Typically, it’s a rare occurrence for a film adaptation to be better than the book it is based on. But director Francis Lawrence has managed to improve upon his source material, the wildly popular Hunger Games novels, twice now: first with Catching Fire, and now with the franchise’s penultimate installment. Here’s the thing, though; Catching Fire was a great movie based on a good book. Mockingjay is a good movie based on a… well, not-so-great book.

I’ll put the disclaimer out there now: my undying girl crush on Jennifer Lawrence might mean I’m just a little bit biased in saying that, once again, she is absolutely stunning as the series’ heroine, Katniss Everdeen. After having escaped the Hunger Games a second time, Katniss is tasked with becoming the face of the rebellion of the oppressed, impoverished Districts of Panem against the Capitol. With her friend and lover Peeta Mellark (Josh Hutcherson) held captive by President Snow in the Capitol, Katniss must lead the rebels under the guidance of District 13 President Alma Coin (Julianne Moore) and former head Gamemaker Plutarch Heavensbee (the late great Philip Seymour Hoffman, in his final role).

As Katniss, Lawrence believably portrays the traumatic stress of someone constantly forced to choose between killing or being killed, while living with the constant fear of those she loves being taken from her. The supporting cast is rounded out by Woody Harrelson and Elizabeth Banks as Katniss’s mentors (who give the film some much-needed comic relief), Natalie Dormer (speaking of girl crushes…) as the director of the propaganda videos Katniss must star in, and Sam Claflin as one of Katniss’s fellow rebels and former Hunger Games victor. They’re all great, but other characters were a bit lacking: it seems like Katniss’s best friend Gale (Liam Hemsworth) only serves to further the cliche love triangle plotline involving him, Peeta and Katniss. And it still seems like Katniss lacks chemistry with her younger sister Prim (Willow Shields), even though their relationship is central to the entire story.

The film does an excellent job of portraying the desolation of the districts and contrasting it with the extravagance of the Capitol. The shots of District 13 are dark and feel claustrophobic, matching the desperation of the District’s citizens. But the movie falters with its pacing--the great performances and cinematography don’t quite make up for the lack of action. A lot of time is spent setting things up for the finale, and by the time things really start picking up, it’s cut to black and the credits are rolling. Of course, this has a lot to do with the nature of splitting one book into two movies- only the second one is going to have the exciting climax and ultimate conclusion. But the other issue is that Mockingjay just isn’t that great a book; it’s slow-moving and overlong. Considering that, at the very least Francis Lawrence was able to improve upon the source material: what few actions scenes the film has are compelling, mostly thanks to the leading lady.

Even though Mockingjay: Part 1 is probably the weakest entry in the series so far, that isn’t necessarily a bad thing (the first two films set the standard pretty darn high). This film takes the time necessary to set everything up for what should be a very satisfying conclusion.


Grade: B+

In 2003 two high school-aged sisters named Sandra and Beth Andersen, who would later become known as the infamous “Bathtub Girls,” murdered their mother and almost got away with it. Perfect Sisters is a crime drama based on the true story. Linda Andersen (Mira Sorvino) is an alcoholic unable to hold a job who brings home a new boyfriend every other week. Sandra and Beth (Abigail Breslin and Georgie Henley, respectively) have only each other to depend on, and when they finally become fed up with their mother’s lifestyle and her new boyfriend’s abuse they decide to take matters into their own hands. After reaching out to their father and calling child abuse prevention centers yields no results, the girls decide there’s only one thing left to do: kill their mother and use the insurance money to start over.

As the protagonists, Breslin and Henley are excellent, thanks largely in part to the strong chemistry between them. Mira Sorvino, too, is well cast, as watching Linda relapse again and again is truly pathetic. Over and over she promises her daughters she will change, but despite her sincere efforts she fails not only her children but also herself. While on the surface the film seems to depict two cold-blooded killers, it proves to paint a portrait of two tortured girls desperate to create better lives for themselves. The depiction of other teenagers in the film is interesting as well. Word of the girls’ plan to murder their mother gets around their high school months before it actually happens, and not one student thinks to report it to the authorities. Rather, it is something of a running joke, just another piece of gossip that everyone seems to be in on. Thinking up ways to kill Linda and make it look like an accident becomes a game for the girls and their friends, as is depicted in a darkly humorous montage set to St. Vincent’s “Cruel,” a song almost too perfect for this film (“Forgive the kids, for they don't know how to live / Run the alleys casually cruel”). Here, it becomes painfully apparent just how damaged Sandra and Beth are.

While they are initially relieved after the murder is committed and they are able to leave their mother’s house, the girls are not entirely remorseless, nor are they able to forget their old lives completely. Even though Linda is gone, the mark she left on her children—particularly Sandra, the older of the two—remains. They keep up appearances at school, but at home they are the same tortured children, just in different ways than before.

The film tries to use special effects to create fantasy sequences in which the girls imagine a perfect mother, but these feel out of place and don’t quite work. The behavior of the other teenagers—who should be much more well-adjusted than Sandra or Beth—is often ridiculous, as they encourage the girls to go through with the murder and even treat them like celebrities in the aftermath. Still, after viewing the film I looked into the true story on which it is based and was surprised to find just how closely the movie adheres to its source material. As in the film, it was almost a year before a classmate finally reported the real Sandra and Beth Andersen to the police.           

The film raises some interesting questions: were the girls really driven to the point that they truly believed there was no other way out? Why did no one respond to their cries for help? Why didn’t the hundreds of kids who knew what was happening say anything? Was it out of fear? Apathy? Yes, Sandra and Beth Andersen killed their mother, but are they the only ones to blame? Despite some odd stylistic choices, the film succeeds in taking a closer look inside the psyche of a broken family.

Grade: B+       

With thrilling action scenes, stunning special effects, and a classic good guys vs. bad guys story, Captain America: The Winter Soldier has all the ingredients of the wildly popular superhero genre. However, it’s far from formulaic: what puts this film above other superhero movies is the introduction of ethical dilemmas and political power struggle. Throw in a few plot twists, some trusty sidekicks and witty humor, and you have what just might be the best movie to come out of Marvel Studios yet (after The Avengers, of course).

Living in Washington, D.C. and still working with S.H.I.E.L.D., the law enforcement agency run by Nick Fury (Samuel L. Jackson), Steve Rogers/Captain America (Chris Evans) is still assimilating to life in the 21st century after having been frozen in a block of ice since the 1940s. Rogers begins to question the motives of S.H.I.E.L.D. when Fury introduces him to Project Insight, a deadly defense mechanism intended to preemptively eradicate possible threats. “This isn’t freedom,” says Rogers. “This is fear.” Fury scoffs at his idealism and insists that this is the only way. Also in favor of Insight is the subversive S.H.I.E.L.D. official Alexander Pierce (Robert Redford).

When Rogers becomes suspicious of a possible conspiracy plot from within S.H.I.E.L.D., he enlists the help of fellow agent Natasha Romanoff, a.k.a. Black Widow (Scarlett Johansson). She’s quick-witted, ruthless, and just plain badass, serving as a perfect complement to her more empathetic, morally upright companion. Also helpful is Captain America’s loyal friend Sam Wilson (Anthony Mackie), who proves to have a few special abilities of his own. It’s a good thing the Captain has backup, as he soon finds himself a target of the Winter Soldier, a lethal assassin with mysterious motives.

The film touches on contemporary issues like government surveillance and paranoia over terrorism in a plot that is surprisingly intricate. Still, it is never less than hugely entertaining, with comic relief in all the right places. Chris Evans makes for a valiant, honest hero, which is refreshing in a time of such moral ambiguity. And the action scenes are visually stunning, but that’s come to be expected of movies of this genre and budget. However, the story of the film is what really makes this work.

The Winter Soldier is the Marvel Cinematic Universe’s ninth release in six years. To produce films of such high quality in rapid succession is truly an impressive feat. This one has me so excited for the next movie, The Avengers: Age of Ultron, that I’m already anxiously counting down the days until its release.

                  (391 to go, in case you were wondering.)

Grade: A

Set in a dystopian future and featuring a strong female protagonist, Divergent is the latest young adult sci-fi adaptation to hit the big screen. Based on the popular bestseller by Veronica Roth, the film centers on a society in which all citizens are required to choose and then live in one of five factions--Abnegation, Amity, Candor, Dauntless, and Erudite--each of which emphasizes one particular virtue. Once you choose your faction there is no going back, so the Choosing Ceremony at which all sixteen year olds make their decision is kind of a big deal. Thankfully, to make things a little easier there’s an aptitude test that will tell you exactly where you belong.

Unless you’re Beatrice Prior, that is.

Shailene Woodley is outstanding as our heroine, whose test results reveal that she is “Divergent” and cannot be categorized into any one faction. This is extremely rare, and in a government system that thrives on oppression and conformity, very dangerous. The confused Beatrice is left to her own devices at the Choosing Ceremony, where she decides to leave her family and join Dauntless, which values bravery and trains its citizens to become soldiers to protect the factions from the unknown outside world.

As Beatrice, who is renamed Tris upon joining Dauntless, struggles to keep up with the other initiates in a series of mental and physical challenges, she must also work to keep her true identity a secret. This becomes difficult as her instructor Four (Theo James), a love interest, and later government official Jeanine Matthews (Kate Winslet), become suspicious of her. Rather than allow Four to become a standard, one-dimensional love interest, James brings substance to the character, who has a few secrets of his own. Winslet, however, hardly makes a convincing villain. The character is underwritten and underdeveloped, and fails to bring a sense of urgency even at the film’s climax.

Winslet isn’t the only one suffering from the bland script here. Ansel Elgort, as Tris’s twin brother Caleb, as well as Zoe Kravitz and Ben Lloyd-Hughes as fellow Dauntless initiates, aren’t given enough to really distinguish themselves as actors or their characters as people.

The action scenes--particularly those showcasing the fearlessness of the Dauntless--are beautifully shot, and the film is, for the most part, faithful to its source material. But it spends a little too much time setting up its premise--Tris’s transition and initiation into Dauntless--and not enough exploring the larger themes, such as the true intentions of oppressive government officials like Jeanine Matthews and what being Divergent really means for Tris.

Despite its flaws, Divergent has a solid lead in Shailene Woodley, who is more than capable of carrying the franchise. And with all the worldbuilding out of the way and the premise firmly established, there’s plenty of room for the sequels to consider more deep, thought-provoking ideas. For now, though, this first installment is likely to please its large, dedicated fan base.

Grade: B

Just a couple of days before I watched The Bag Man, my brother and I had been joking about how it seems like Robert De Niro makes at least five bad films for every good one. In recent years, the two-time Oscar winner has been just as likely to star in a Best Picture nominee like Silver Linings Playbook as he is to make an appearance in the critically panned Grudge Match, The Family, The Big Wedding, or New Year’s Eve. I was optimistic about The Bag Man, though. I figured that because it’s a low budget indie, De Niro--who plays the film’s main antagonist, crime boss Dragna--must be in it for more than the paycheck.

...Yeah, I was wrong.

The crime thriller has an interesting enough premise, but the characters are totally one-dimensional and the writing is incredibly clichéd. John Cusack stars as Jack, a criminal hired by Dragna to pick up a mysterious bag and then bring it to a motel, where he must wait for his boss’s arrival. We don’t know the bag’s contents, as Jack has been explicitly instructed not to look inside. Soon after arriving at the motel, he crosses paths with Rivka, a former prostitute (Rebecca Da Costa). The two form an unlikely partnership and rely on one another to survive as their presence at the motel draws suspicion from the police.

The film’s biggest mistake is that it takes itself much too seriously. It assumes we care about the characters without giving us any real reason to. We know Jack has a criminal history, but know nothing about his redeeming qualities. We’re told Rivka has a dark past, but we aren’t given any details about it. So why should we feel for these characters? The film is almost two hours long, and Jack is onscreen for practically all of it, but by the end I still didn’t feel like I knew him at all. Dragna is supposed to be frightening, but his lines are often so silly he seems more like a cartoon villain than anything else. For example, he explains to Jack that he was inspired to give up his plans to pursue a career in academia and become a mobster after watching an episode of Full House… unfortunately, it doesn’t sound any less ridiculous coming out of De Niro’s mouth than it does here. The highlight of the film is probably Crispin Glover as Ned, the motel’s creepy manager who grows suspicious of Jack and Rivka. Glover has mastered the art of playing the oddball so well that he can make even the most absurd dialogue sound totally natural.

Rebecca Da Costa--still an up and comer--definitely has potential as an actress, but this film doesn’t give her any opportunities to showcase her talent. And why seasoned actors like Cusack and De Niro would take part in a film so mediocre with a script so amateurish is a total mystery to me. What a waste of such a talented cast.

Grade: C+

           

NUFEC writer Meghan Murphy had a conversation with David Grovic, director of The Bag Man, on the inspiration for the film and his creative process.

Meghan Murphy: The Bag Man is your directorial debut. What made you decide to take on the task of both writing and directing a feature film?

David Grovic: I was waiting for a script that excited me. I was particularly taken by [The Bag Man]. There were a number of aspects that really appealed to me, specifically the fact that the story took place within 24 hours, so I liked the fact that, with the time being so condensed, it really increased the tension. And I liked the fact that that so much, structurally, was along the lines of Ancient Greek theater, of Greek tragedy, with the unity of time, the unity of place. So there was a lot on this script that I really liked.

MM: The film is inspired by “The Cat” written by Marie Louise von Franz. How did the story influence the film?

DG: The tale itself, of “The Cat,” is riveting and strange and dreamlike and fierce, and that is the same tone as The Bag Man. And it’s also about feminine and masculine principles being at odds. So the theme, it’s not really about man and/or woman but about masculine and feminine principles being [at odds], and the similarities between the characters, John Cusack’s character Jack and Rebecca Da Costa’s character Rivka very much match that.

MM: How was working with an up and comer like Rebecca Da Costa different from directing veteran actors like John Cusack and Robert De Niro?

DG: I think the first thing is that the actors really, to get them to come on board, people of that ilk, they really have to like the script. And the thing with all three of them is that they really really responded to the material, and they really saw the movie in a similar manner to the way that I saw it. So, we were starting from the same page. Obviously having Robert De Niro on set is an amazing experience. Bob and John were friends prior to the movie, so that was helpful. And then also prior to the movie, Bob and John met with Rebecca, so everyone was very much at ease. I think Rebecca has done… seven or eight movies prior to this. They were all very excited by the material, and really, how I like to shoot, is something that worked very well for all three of them. I like to shoot a series rather than do a take and say “cut” and then have the lighting adjusted and continuity of makeup come onto the set--I hate that. So we would, as much as possible, shoot in a series of three, or a series of five, and all the actors seemed to really appreciate that.

MM: The crime thriller has become a very popular genre and turned out some very successful movies. What do you think sets The Bag Man apart from other films of the genre?

DG: First of all, I love this genre and I think that helped to set it apart. I think the fact that the writing, the setting, the performances are not typical--as in, De Niro doesn’t play a typical crime boss. John Cusack’s character has flaws and imperfections to go with everything else. Rebecca Da Costa’s femme fatale is also set up differently, as in her Wonder Woman getup at the beginning. So I think that we played very much against stereotypical aspects. The color palette hasn’t really been seen in any noir, not compared to what we’re used to. And then, as I’ve been saying, sort of having the advantage that everything happens within 24 hours, we have a built-in tension. And I like to think that the humor, that that alleviates the tension. It is very funny, and I think that the combination really stands out.

MM: Was there anything you learned in the making of the film that will influence how you approach future projects?

DG: I think it’s very important to know one’s cast, to meet and spend time with them in advance, because by doing so it makes the whole filming process so much smoother. So that’s something I’ll definitely take with me to my next project. And then also, I had a very good crew with very few exceptions. I think that when you look at people like Clint Eastwood or the Coen brothers, they typically have the same people around for each movie. And I think that if one can get into that fortunate position of having a team who knows you backwards, I would love to have that. And I think that there’s a large percentage of this team I would love to take with me onto my next movie.

MM: Do you have any upcoming projects in the works?

DG: I’ve got a couple of scripts that I’m very fond of. One is more towards the comedy aspect, and the other is--I suppose you could probably call it a thriller. Hopefully they will come to fruition, or one of them will in the not-so-distant future.

At Middleton, the feature-length film debut of writer/director Adam Rodgers, stars Vera Farmiga and Andy Garcia as two parents who meet and fall in love while accompanying their respective children on a college campus tour. The film is an innocent and pleasant romantic comedy, but often falls victim to the clichés and shortcomings of its script.

The film follows the “opposites-attract” formula, as many movies of this genre do. Things don’t start out well between Edith (Farmiga) and George (Garcia)--he thinks she’s eccentric, and she thinks he’s uptight. But the two begin to bond when they are separated from the rest of their tour group and decide to embark on their own adventure, reliving their college years. Meanwhile, Edith’s ambitious daughter Audrey, who has her sights set on nothing but studying at Middleton under one of the nation’s most distinguished professors, is left to tour the school with George’s son Conrad, who is unwilling to even consider a school like Middleton. Neither George nor Edith is able to get through to the kids, but by the end of the day, Conrad and Audrey learn a life lesson or two from one another.

We find out early on that both Edith and George are married, but that their respective spouses could not be present for the campus tour. Beyond this, the movie really doesn’t tell us much else about them. Are they unhappy with their home lives? Why are they so quick to fall in love with someone else? If not for the brief mention of their absent spouses, I probably would have assumed both were single parents. Here, the film missed an opportunity to really flesh out and explore its lead characters. By the end, we know more about Audrey and Conrad, whose storylines are meant to be secondary to that of their parents.

Even though it’s often formulaic and rather forgettable, At Middleton is an enjoyable enough romantic comedy that comes in time for Valentine’s Day.

Grade: B