I’m shocked this isn’t the pilot for a new series, and maybe it one day will serve as such, because Enola Holmes is such a sprightly, effervescent, enjoyable rehash of the classic sleuth but this time from the girl power point of view of a younger sister. Millie Bobby Brown (Stranger Things) shines as the headstrong, quirky, loquacious Enola Holmes setting off on her own adventure to find her missing mother (Helena Bonham Carter) and to push against her older brothers Mycroft (Sam Claflin) and Sherlock (Henry Cavill) and their perceptions of what is appropriate for a lady. The best moments are when Brown gets to showcase her pluck and grit, proving presumptions wrong, and winning fans along the way. There is nothing new about this kind of movie where a young woman fights against sexism and proves herself capable and heroic. It’s a tried-and-true formula that works because, with enough polish, an underdog is always going to draw in the audience to watch them triumph over their doubters. Add a dash of feminism to boot and bake as necessary (not a joke on feminism, mind you). The actual plot is secondary to the situational mishaps and character bickering, which is good because there isn’t really a mystery to uncover. Enola gets pulled into protecting a young royal on the run from a wealthy family benefactor that wants to make sure he doesn’t live to collect his inheritance. Their interaction adopts a screwball romance sort of tone, which provides Brown ample opportunity to be sunny, exuberant, and overall delightful, a side rarely seen as the somber, alienated Eleven. I enjoyed the stylistic asides and visual inserts to better showcase Enola’s hyperactive thinking and sleuthing, borrowing a page from the new Benedict Cumberbatch Sherlock TV series to visualize the processes of rapid-fire thought in a pleasing and amusing manner. Cavill is perhaps the most dashing Sherlock put to screen and provides a suitable establishment stand-in of accepted masculinity and intelligence that serves as contrast for what Enola is pushing against. Given that almost all the main players are attached to ongoing Netflix series (The Witcher, The Crown) I feel like we should expect more adventures down the line with the irascible Enola Holmes, and with a bubbly Brown seizing the mantle, that’s fine by me.
Nate’s Grade: B
It’s one part survival-at-sea drama, one part relationship drama, and you get an equal slice of both until an unforeseen ending explains why the narrative was so divided. Based on a true story, Adrift tells the journey and survival of a couple (Shailene Woodley, Sam Claflin) lost at sea for 41 days after getting too close to a hurricane. Woodley takes the lead to fix the sailboat, gather supplies, tend to the grievous injuries of her boyfriend, and plot their treacherous path to Hawaii. If they’re off just a few degrees, it will be life and death. The survival half is viscerally entertaining and steady with its details, allowing the audience to get comfortable in following the steps and reasons. The camerawork by director Baltasar Kormakur (Everest) is sweeping and methodical, pulling us into the danger and isolation while creating a sterling sense of verisimilitude. The screenplay vacillates between the present and past, supplying flashbacks to fill out the romantic relationship. It’s a smart move because it allows us to immediately get into the stakes of survival while also finding room to develop the characters in a more normal setting. Plus it also makes more sense by the Tully-esque end. This is pretty much Woodley’s (HBO’s Big Little Lies) show; her secondary co-star might as well be her nipples poking through her character’s swimwear and tops. As readers may know, I’m a big fan of Woodley and the naturalism she brings to her performances, and Adrift is no exception. She can say so much through her smiles. She’s a great anchor for a storyteller. Ultimately, Adrift is a survival drama that takes a while to get going but leaves a favorable impression thanks to the acting and technical merits.
Nate’s Grade: B
Their Finest (not to be confused with Their Finest Hours, even though this is based on a book called Their Finest Hour and a Half) is a disarmingly sweet and poignant true story that resonates with empowerment and the power of creativity. Set at the start of WWII, the British film industry is trying to make ends meet as well as provide morale boosts to the public. Catrin Cole (Gemma Arterton, her best performance yet) goes in for a copywriting job and walks out a hired screenwriter, pegged to write the “women’s parts.” Thanks to the depleted workforce, Catrin has an opportunity she never would have otherwise and she blossoms under the crucible of creative collaboration. This was one aspect of the movie that I was very taken with, as a writer and screenwriter myself, the natural progression of creativity, solving a problem, finding a solution, and the elation that follows. The complications keep coming, first from the British film office who need the movie to be inspirational, then from the divergences from the true story of a pair of French girls who stole their uncle’s boat to rescue soldiers at Dunkirk, then from working with American producers who insist on an American hero who can’t act, and then from natural calamities of scheduling, casting, and oh yeah, the bombing and blitzes that could obliterate everyone. The movie is alive with conflict and feeling and the sweet story of a woman finding her sense of empowerment in the arts. The movie-within-the-movie is filmed to period appropriate techniques, and Bill Nighy is effortlessly amusing as an aging actor still fighting for some scrap of respect in an industry ready to forget him. The insights into the different stages of film production were fun and illuminating. I appreciated that the war isn’t just something in the background but a constant. It upsets the order, takes lives, and is a striking reminder why these people are doing what they’re doing. The film also rhapsodizes the power of the arts, and in particular cinema, in a way that feels reverent without being overly sentimental or self-congratulatory. A great collection of characters is assembled as a ramshackle sort of family with a mission, and the movie drives right into one payoff after another, lifting your spirits and warming your heart. There is a sudden plot turn that will likely disappoint many in the audience eager for a simple happy ending, but I almost view it as industry satire on the difference between American and European cinema tastes. Their Finest is a small gem with sympathetic characters trying their finest and achieving something great. It’s a rich story that deserves its moment in the spotlight and I’d advise seeking it out if possible.
Nate’s Grade: B+
It’s been a year and a half since The Hunger Games broke box-office expectations, gifting Lionsgate studio with a formidable franchise. Based upon Suzanne Collins’ series of young adult novels, the first film was an agreeable adaptation that was occasionally hobbled by poor direction, rushed plotting, and budget limitations. Catching Fire, the second film, improves upon the established groundwork in almost everyway with the chief drawback being a terminal sense of dystopian déjà vu.
In the months after the events of the 74th Hunger Games, the two victors from District 12, Katniss Everdeen (Jennifer Lawrence) and Peeta Mellark (Josh Hutcherson), are traveling across the other districts of Panem as part of their victory tour. What better way to endear yourself than visiting other districts to remind people that their children are dead and you survived? On the tour, there is growing unrest throughout, and the people have turned Katniss as their symbol of defiance against the tyrannical Capitol. President Snow (Donald Sutherland) threatens Katniss to control her media image, to convince the people that she’s madly in love with Peeta and not a fledgling revolutionary. In order to check the power of the victors, Snow introduces a rule change for the 75th games, the Quarter Quell. This year the participants will be culled entirely from previous past victors, meaning that Katniss and Peeta will be plunged back into the deadly games and this time their competition aren’t children.
What a difference a director with a sense of cinematic visual command can make. Early into pre-production, the original director Gary Ross (Seabiscuit, Pleasantville) decided to bow out for sequels, and so Francis Lawrence (Constantine, I Am Legend) was hired, and goodness does the movie benefit from this change at the helm. Lawrence has a much stronger visual authority, having cut his teeth in commercials and music videos (remember those, kids?) before feature films. The man couldn’t frame a lousy shot if he tried. With a stronger visual lens, the world of the Hunger Games is able to stretch, given a proper budget, and the visual grandeur unfolds around you, especially the largess of the Capitol. The movie doesn’t feel like they had to cut corners with their budget or special effects, and part of that is credited to the skill of Lawrence. And with this new visual stylist comes the demise of shaky cam. Dance and celebrate that Ross’ misapplied docu-drama approach has been abandoned; this time, when there is onscreen action, you can comprehend what is happening. I read the book years ago but even I was feeling twists of tension, notably the start of the Quarter Quell. The action isn’t terribly developed but it’s sufficient, though again the kill-or-be-killed extremity kept to PG-13 safety is starting to chafe. My only visual complaint is that much of the action within the games takes place at dawn/dusk and thus low-light environments. It feels like someone threw on a muddy filter, though perhaps this was just my theater’s light bulb-saving projection setting.
Now that the world of Panem is established, Catching Fire does a nice job of showing the various social conflicts coming to a head, bubbling into uprising. The pre-games victory tour opens up the world, allowing us into other districts and viewing the different strife befalling them. It’s jolting to watch the public defiance met with summary executions and yet the people will not be stopped. Now the class conflicts of the haves and have-nots get pushed to their breaking point. There’s a great contrast provided with a Capitol party so lavish, with food so sumptuous and plenty that the Capitol denizens have cocktails on hand to induce vomiting. That way you can continue eating (historical fact: vomitorium is actually not what you think but instead a passage below a tier of seats for easy exit, like in modern stadiums). The themes and the points aren’t subtle, that’s for sure, but they are effective and intriguing. Katniss, who only wanted to survive, has been thrust as the face of revolt, and now she has to walk a delicate line to again save her loved ones. The fascist politics and media manipulation hinted at in the first film are given more examination, providing a richer narrative. What works in the first Hunger Games is generally expanded upon and what faults the first film had have been, generally, nipped and tucked. There’s nothing as eye-rollingly awful as Peeta’s human rock sculpture camouflage. The burgeoning love story elements again are abbreviated the harshest, but when the world is coming apart, you have to spend more time on revolution than love triangles.
The film also benefits from a slew of new characters that have strong personalities. We’re introduced to other formers winners of Hunger Games past, and they make the most with their limited exposure. Joanna Mason (Jena Malone) is an axe-wielding woman given to speaking her mind with devil-may-care attitude. Her first scene in the film involves her stripping naked in an elevator with Peeta and Katniss. Malone (Sucker Punch) really has fun with the blithe approach of the character and manages to come across as comical while still being a credible badass. She’s a terrific character and you’ll be seeing more of her in the sequels to come. The other famous victor is Finnick (Sam Claflin) who bathes in the celebrity limelight, luxuriating in his media image as a suave playboy. Except there’s more under the surface and you’ll be given peaks throughout the film. I’m not as sold on Claflin (Snow White and the Huntsman) as I am on Malone; he’s got the requisite chiseled physique, but I don’t feel the charismatic pull the character demands. Also, when I close my eyes and listen to him speak I hear James Franco, and I don’t know what to make of that. Then there’s the new head game maker, Plutarch Heavensbee (Philip Seymour Hoffman), who is presented as an enigma. He leans on President Snow to spare Katniss rather than turning her into a martyr for the cause. However his alternatives are sinister and media savvy. Hoffman is one of our best working actors today but he seems to sleepwalk through the role, perhaps because he’s meant to be vague. However it’s played, it’s hard to get a read on Plutarch until the very end.
Strong as ever, Lawrence (Silver Linings Playbook) is the rock of this franchise. The Oscar-winning actress has been on a tear as of late and her acting and overall presence elevates the material. They struck gold when they hired her. There’s more fire to her and more devastation, as she’s going through the PTSD, plagued by nightmares. She’s haunted by the horror she’s escaped but also by the continuation of the threat from Snow, the ongoing charade that she will have to keep up for the rest of her life. There is no time out of the spotlight as a victor let alone a national celebrity like Katniss. Lawrence can convey so much wordlessly and she can convincingly play the different dimensions of her wounded warrior.
Many of the criticisms one can hurl at Catching Fire are the same from Collins’ book. There is a repetitive plot structure, where the games themselves feel like too much of a retread. It feels forced to serve up what worked the first time. The problem with throwing Katniss and crew back into the Hunger Games is that all the real consequential action is taking place outside of them. We’ve been watching the stirrings of revolt all movie, watching the cracks take shape, and then the movie returns to its deadly TV competition when the audience just wants to leave to see if the revolution will be televised. Breaking free of Katniss’ first-person perspective from the book allows the filmmakers to add scenes fleshing out the world and the characters, with some nicely malevolent conversations between Snow and Plutarch. But that also means we don’t have to be locked into watching Katniss’ every move (I know this sounds like sacrilege). It’s not like the creatively torturous games are boring, but it’s hard to ignore an increasing sense of been-there-done-that. When there are so many larger, wider-reaching consequences happening outside throughout the various districts, you can’t help but feel a bit antsy. Another reason the film doesn’t break free from the games repeat is that it purposely keeps Katniss, and in turn the audience, in the dark about the larger outside machinations. The collective ignorance has a purpose but it also makes the plot frustrating.
Really, Catching Fire is more a setup for the series greater conflict rather than a complete film/story. Things are unraveling in the country of Panem, but if you want resolution you’ll have to wait until 2014 for the next movie, or more likely 2015 for its concluding half. What Catching Fire does is tease out the plot change and then transition to it, but only in the final minute. As my pal and colleague Ben Bailey notes, it ends in similar fashion to 2003’s Matrix Reloaded, and you’re left on a cliffhanger that doesn’t seem like a natural resting point for the story. Again, these critiques can be waged at the book as well as the film is a fairly close adaptation that will satisfy the die-hard fans.
From here on out, the Hunger Games movies are going to get more interesting. With two remaining films to cover the ground in one book, it should allow for greater development of characters, conflicts, dramatic themes, social commentary, or just larger kickass action sequences now that we’re in a larger arena, so to speak. Under the screenwriting expertise of Danny Strong (HBO’s Recount and Game Change) I’m anticipating a more politically astute and intellectual dystopian drama. Francis Lawrence has brought visual dynamism and stability to the franchise, just in time for when things are poised to get really interesting. As a film, Catching Fire is a step above the previous entry, ironing out some of the shortcomings and presenting more subtext when it comes to its social unrest. It introduces a bevy of intriguing new characters, escalates tensions throughout the realm, and promises greater suffering and strife ahead. However, the repetitive plot structure of throwing Katniss back into the games for an hour eats away at time that could be better spent watching the revolution ferment. It’s still a reliably entertaining film with a sharper visual gloss, so fans should go home happy and audiences should be suitably thrilled. The alterations from Collins’ book are all for the better. Catching Fire will slay the box-office with little trouble but I’m most thankful that we’ll be leaving the games behind for good.
Nate’s Grade: B