Wednesday, 28 November 2012


Identify how media products from your case study make links with other media platforms.
What are the reasons for these links?

The three films The Hunger Games, Lesbian Vampire Killers and Sucker Punch all make links with other media platforms in order to promote the films, attract new audiences, and to gain new attention to the films.

One major link that all three of my films make is through social networking. The Hunger Games especially has used social networking as a major form of promotion. There are 13 Facebook pages representing each district, which Facebook members can become virtual citizens of. According to the Uses and Gratifications (Blumler and Katz 1974) theory, this could be seen as social interaction and diversion, as the fans becoming part of these virtual districts are meeting new people who are also part of the district and people could be using these forms of social networking to diverse away from their everyday lives and problems to become part of a virtual family. The Hunger Games also has an official main Facebook page which has 8,000,000 likes and a Twitter account with 664,000 followers. Sucker Punch also has a Facebook page with around 950,000 likes and a Twitter account called ‘Sucker Punch News’ which surprisingly only has 1060 followers. Lesbian Vampire Killers, which is a far lower budget film than The Hunger Games and Sucker Punch, has a Facebook page with 16,000 likes and a Twitter page which was initially used for promotion of the film, with only 100 followers. As The Hunger Games was such a major box office success, the use of social networking is far greater than the other two films, as there is a much larger fan base for the film, and more hype surrounding the film, meaning more and more social networking websites and pages will start to appear.
The reasons these three films make links with social networking could be due to the internet being such a predominant way of people finding out about new films, and a key way for fans to interact with others. It is important for the institution to use social networking, as advertising on websites such as YouTube and Yahoo could be major promotion of the film as so many people use these kinds of websites for surveillance and social interaction each day, and it is likely to spark interest in the film, and build a new, and wider audience. The Hunger Games already had an established fan base due to the film being a film adaption of The Hunger Games novel by Suzanne Collins. This means that to appeal to a wider audience, new forms of advertising and promotion on websites that have an extremely open and wide audience will attract new types of viewers for the films.   

User Generated Content could be seen as an important link between media platforms for The Hunger Games, Lesbian Vampire Killers and Sucker Punch.
Each of these films has User Generated Content online. For example, on YouTube, there are a number of different fan made trailers and edited clips of the film for Sucker Punch. These trailers give the fans view of the film, include what they believe to be the best parts of the film, and could be considered a way of the institution advertising the film for free and from a different perspective to the original adverts and trailers.  For the Hunger Games especially, there are lots and lots of fan made websites, for example ‘www.thehungergamesfansite.com’. This website is set out in a similar layout to a blog page, and often updates with information such as The Hunger Games facts, shots from the film, character profiles and things you didn’t know about The Hunger Games. This is similar to the official Australian Lesbian Vampire Killers website which has information such as character profiles, an interactive comic strip of the plot and downloads etc. As these websites have included pages such as character profiles, this allows the audience who are new to the film, and have not watched it or done any background research, get to know the characters in the film, understand the plot, and start to build personal relationships and personal identities due to getting to know the characters better. User Generated Content for all three of these films ranges from e-media, broadcast and print. As there is such a wide range of UGC on all three media platforms, these links are important as it ensures that no matter what the audience are researching or looking at, UGC is accessible, whether it is found on websites such as YouTube or Google images etc.

Film reviews are beneficial to both the audience and the institution as they provide a wide range of opinions from different types of institutions and people.  For example, The Empire gave The Hunger Games a 4/5 star rating and said ‘As thrilling and smart as it is terrifying. There have been a number of big-gun literary series brought to screen over the past decade. This slays them all.’ However, a review from Yahoo Movies describes the film as ‘simply a bad teenage movie.’ Lesbian Vampire Killers also received very negative reviews, with a review describing the film as ‘profoundly awful’ and an ‘instantly forgettable lads’ mag farce.’ These types of film reviews are especially useful for the audience, as it is often important to find out other opinions on the films before spending time and money watching them. They are also important to the institution as they can see what the audience enjoyed about the film, and what they weren’t so sure of, so they can understand what the audience’s expectations are from these types of films, and what they need to do to fulfil their expectations.

Overall, products from my case film case study, such as social networking, user generated content and film reviews all make links with other platforms which are beneficial to the audience and the institution in order to ensure that the film is advertised well, attracts new and wider audiences, and ensures that fans get the most out of the films they can, with things such as fan websites where they can connect with other fans.

Case Study Post 6:

'The Sun' - Lesbian Vampire Killers Review:



Vamps a bite of alright



LESBIAN VAMPIRE KILLERS
Vampires don't suck ... Mat Horne and James Corden meet sexy Scandinavians

LESBIAN VAMPIRE KILLERS (15) 86 minutes


JAMES CORDEN. You know the type. The class clown who wants to be everyone’s friend.
He says “mate” a lot, tries to be a lad by talking about women’s breasts and uses phrases like “Do I look like a t***?” No comment, James.
It’s bad acting because it is obvious that Corden’s reluctant vampire-slaying character Fletch is just putting on an act. And that act is the loud person Corden thinks we want to see.
To be honest, The Sneak doesn’t watch much telly so has only ever caught a couple of episodes of Gavin & Stacey, the comedy that made Corden a star. But after just 25 minutes of the big-boned actor’s movie debut, his likely lad act was already wearing very thin.
Steamy ... Girl-on-girl action heats up proceedings
Steamy ... Girl-on-girl action heats up proceedings
The opening scenes were greeted with barely a snigger from the audience, apart from one bloke who let out an OTT guffaw every time Corden opened his mouth.
Fortunately, Lesbian Vampire Killers is not a one-man fright fest.
The pained “Please shut up” expression on sidekick Mat Horne’s face is highly amusing. It is impossible not to empathise with his character Jimmy. You feel sorry for anyone who has to put up with Fletch.
What really makes the film hot up is the arrival of the lollypop-chewing, mini-skirt-wearing Scandinavian girls who happen to be visiting the same cursed village in Norfolk as Fletch and Jimmy.
Amusing ... Mat Horne
Amusing ... Mat Horne
All of them, apart from Lotte, are soon transformed into lesbian vampires. It’s knowingly silly.
Vampire movies are ripe for a spoof and this doesn’t stray far from the path of modesty trodden by Hammer House. There is little nudity, no sex and no blood.
Impish Swede MyAnna Buring as kick-ass Lotte and Paul McGann as a vampire-hating vicar both play it brilliantly deadpan.
Once Horne and Corden are split up, with the vicar teaming up with Fletch and Lotte falling for Jimmy, the laughs start to flow. By the end of the movie your critic had lost control of his funny bone.
mpu
Many other reviewers will undoubtedly say that LVK is another British comic flop but The Sneak won’t be driving that stake into its heart.
Best Line: The vicar responds “Do they?” when Fletch tells him everyone knows how to kill vampires.
Best character: Feisty Lotte pulls the soppy lads into action.
Family rating: Lots of swearing.
Bum numbness: Far from eternal.
Rating out of five: Three
UK release date: March 20


Case Study Post 5:

Lesbian Vampire Killers Website:


On the official Lesbian Vampire Killers website (http://www.lesbianvampirekillers.com.au/intl/au/) there is an interactive comic book strip of the plot of the Lesbian Vampire Killers film.
Case Study Post 4:

Sucker Punch Website: 


This is a screen shot from the Sucker Punch website (http://suckerpunchmovie.warnerbros.com/dvd/index2.html#/art) under the section of 'art' - Art work made surrounding characters and ideas from the film.
Case Study Post 3: 

Sucker Punch Interview:

Sucker Punch Explained:



Interview with cast members Emily Browning & Jena Malone where they explain the ideas behind the film Sucker Punch. 
Case Study Post 2:

The Hunger Games Nominations:


'The Hunger Games' receives seven People's Choice Awards nominations

After pre-nomination voting by fans, The Hunger Games has received seven People's Choice Awards nominations.
The seven categories include:
  • Favorite Movie
  • Favorite Movie Actress (Jennifer Lawrence)
  • Favorite Action Movie
  • Favorite Face of Heroism (Jennifer Lawrence)
  • Favorite Movie Franchise
  • Favorite On-Screen Chemistry (Jennifer Lawrence/Josh Hutcherson/Liam Hemsworth)
  • Favorite Movie Fan Following ("Tributes")
Voting for the winners is now open. The People's Choice Awards will be broadcast live on Wednesday, January 9th from Los Angeles on CBS. Check local listings.
The Hunger Games is facing some stiff competition from blockbusters like The Dark Knight Risesand The Avengers. However, the franchise has proven popular in fan-driven awards before. Earlier this year, the movie took home multiple titles at the MTV Movie Awards and again at theTeen Choice Awards.
Case Study Post 1:

The Hunger Games - Honest Trailer: 




This is a video uploaded to YouTube called 'Honest Trailers.' The creators of this trailer have taken footage from the original trailers and footage from the film, and have created a spoof trailer, which explains the basic plot and outline of the film from an 'honest' view. 

Friday, 23 November 2012

Tuesday, 20 November 2012


Church of England general synod votes against women bishops


The Archbishop of Canterbury after the vote on women bishopsThe outgoing Archbishop of Canterbury was in favour of allowing women bishops
The general synod of the Church of England has voted against the appointment of women as bishops.
The decision came at the end of a day of debate by supporters and opponents - and a 12-year legislative process.
The measure was passed by the synod's houses of bishops and clergy but was rejected by the house of laity.
Controversy had centred on the provisions for parishes opposed to women bishops to request supervision by a stand-in male bishop.
The measure needed two-thirds majorities in each of the synod's three houses.
The votes were 44 for and three against with two abstentions in the House of Bishops, 148 for and 45 against in the House of Clergy, and 132 for and 74 against in the House of Laity.
The vote in the House of Laity, at 64%, was just short of the required majority.
Just six more "yes" votes would have tipped it over the two-thirds mark.
Twenty years after the introduction of women priests, the issue has continued to divide traditionalists - among those on the Church's evangelical and Anglo-catholic wings - from reformers.
Had the move been backed by the synod, the proposed legislation would have made its way through Parliament before receiving royal assent.
The Bishop of Norwich, the Rt Rev Graham James, said: "It is very disappointing that the vote was lost so narrowly."
Campaign group Women and the Church (Watch) said the outcome was a "devastating blow for the Church of England and the country".
The Rev Rachel Weir, chairwoman of Watch, said "This is a tragic day for the Church of England after so many years of debate and after all our attempts at compromise.
"Despite this disappointing setback, Watch will continue to campaign for the full acceptance of women's gifts of leadership in the Church's life."
Watch said bishops would need to act promptly to offer pastoral support in the coming weeks to women clergy and others who felt devastated by decision.
Both the Archbishop of Canterbury, Dr Rowan Williams, and his successor, the Rt Rev Justin Welby, were in favour of a "yes" vote.
The Catholic Group in General Synod said "mediation and conciliation are needed so that new legislation can be framed to provide fairly for all members of the Church of England".
The group said in a statement: "We regret the synod was put in the position whereby draft legislation failed at final approval because it was unclear and unfair in its provision for those who, in conscience, are unable to accept the ministry of women as bishops or priests.
"The Catholic Group calls on the House of Bishops to reconvene the talks started in the summer between representatives of different groups, chaired by Bishop Justin Welby.
"The Catholic Group is committed to playing a full part in the process of achieving good legislation to enable us all to move forward together in mission and service to the nation."
The vote at the Church House in central London came after several speakers opposed the legislation.
The result means it will be at least five years before the synod gets to vote on final approval of such legislation.
The House of Bishops will hold an emergency meeting on Wednesday morning following the decision, a Church spokesman said.


SKYFALL - Sky Movies HD Advert

Monday, 19 November 2012

Sunday, 18 November 2012

Silver Linings Playbook - Trailer 



The Silver Linings Playbook is a film starring Jennifer Lawrence, Bradley Cooper & Robert De Niro due to be released in the UK on 21st November 2012. 

'After a stint in a mental institution, former teacher Pat Solitano (Bradley Cooper) moves back in with his parents and tries to reconcile with his ex-wife. Things get more challenging when Pat meets Tiffany, a mysterious girl with problems of her own.'


Thursday, 15 November 2012

Does celebrity culture make us superficial and lazy?


 Modern celebrity culture could be seen to make us superficial and lazy. With reality TV shows such as The Only Way is Essex, Made in Chelsea and Keeping up with the Kardashians, it is now very, very easy gain celebrity status. These kinds of reality TV shows glamourize these people’s lives, and they show these people going about their normal days, what they do on the weekend and very basic things as them going to the hairdressers etc. and makes these things into a TV show. The people on these kind of shows generally have little talent/show little talent in these shows, yet they are considered as much of a celebrity, and often bigger celebrities as people such as Olympic athletes.
As a large majority of people watch these kinds of reality TV, it could be considered to make us superficial and lazy as we are shown an ‘ideal’ situation of how to make a lot of money and gain celebrity status. As we can see that these types of people are not having to do anything or have any talent to become as big as musicians and athletes etc. it could present us with an easy and quick way to get rich, instead of having to work and study hard.
Kim Kardashian, from the American reality TV show, Keeping up with the Kardashians was reported by New York Post as the highest-paid television reality star of 2010, as was estimated to have earned $6,000,000 from the show and endorsements for products. Kim Kardashian only came to fame after a tape of her and her ex-boyfriend Ray J was released in 2007. Following on from the media attention she got from this tape, Kim then released her first perfume in 2009. Just from a sex tape getting into the media attention, Kim Kardashian then earned enough money and enough publicity to start her own product lines for various things, which may make us more superficial and lazy, as Kim is proof that you don’t need to work hard for wealth and fame, and this could be considered the ideal lifestyle to a lot of people.


http://www.youtube.com/watch?v=28lF32sbg7A&feature=fvst

This clip is from The Only Way is Essex and shows James Argent and Mark Wright in a Jewellers discussing what watch Mark is going to buy. The two men are represented as having a lot of money, as the Jeweller quotes Mark £3700 for a Rolex, and he accepts to pay this price, which also suggests that are willing to waste money and have enough to buy anything they like.
Mark could be seen as a stereotypical 'essex man.' He obviously takes care of his appearance, and is trying to persuade James to buy a watch to 'be a bit smart.' The fact that this small, and insignificant scene is involved in the programme, suggests that the programme is built up around unimportant events of people who are considered celebrities with lots of money for very little reason.

Thursday, 8 November 2012

Lesbian Vampire Killers

Behind the Scenes with the Lesbian Vampire Killers (FHM shoot):


This shoot represents women in this film in a sexual way, with close ups of various body parts and in lingerie on a bed etc. The whole point of this video is to show the women's sexuality to attract the audience to this film.



Lesbian Vampire Killers Set Visit:


This set visit shows interview with the cast (including Horne and Corden) and gives us an insight into what happens behind the scenes and how everything within the film worked.


Fan Made Video:


This is a video made by a fan, including clips from the original film. It is the fans own take on the whole film, including what they possibly considered the best bits of the film.
Lesbian Vampire Killers

Broadcast Film Review (By Mark Kermode):


In this video, Mark Kermode reviews Lesbian Vampire Killers.
Says there isn't much to the film, funny in parts due to James Corden and Mathew Horne - Repetitive story line - doesn't think it lives up to how funny Horne and Corden are. 
Script is a 'dogs dinner.'



Print Film Review (empireonline.com):


Review

Best we get the parallels out the way first — mainly because they’re not so much invited as gatecrashed... Two young,talented actors. Hot from a zeitgeisty TV Britcom. Buddy up for the big screen. Make comedy horror... This isn’t, however, Shaun Of The Dead 2. It’s not even Dracula: Dead And Loving It. And that was Leslie Nielsen’s 876th comedy.

It was hard to tell how Lesbian Vampire Killers was going to play, given the splendidly tacky title. A snarky horror parody? Kitschy B movie? As it turns out, it’s not even smart enough for that. If Nuts magazine made a horror movie, this, for better or worse, is what it would look like.

James Corden and Mathew Horne come to this with a generous amount of goodwill, courtesy of their BAFTA-winning Gavin & Stacey, and they share an easy, slacker chemistry. Maybe better movies are ahead of them, because the material here’s second-rate sketchy. Director Claydon deserves credit for brushing up the budget with a Hollywoody sheen. But when his fondness for gimmicks — speedy-uppy zooms, comedy sound effects — isn’t letting him down, it’s his comic timing, set roughly 16 hours behind GMT.

Writers Paul Hupfield and Stewart Williams have comedy previous for the Friday Night Project and The Kevin Bishop Show, which gives you a good indicator for what to expect. Instead of punchlines or character comedy, there’s mild, gunge-y gross-out and swearing. Or, more accurately, Corden swearing, gracelessly, with all the charm of Jamie Oliver with a utensil in his head.

The project has, famously, had production birth pains, and the stretchmarks on the script are all too visible. Silvia Colloca’s vampirette appears to be on nemesis flexitime, introduced in an amusingly self-aggrandising, Coppola-spoofing prologue, then offscreen until the final 20 minutes. Which may explain why an alarmingly aimless mid-act largely consists of Corden running around the set in circles like a Hanna-Barbera cartoon while Horne is tied to a tree. Who ever thought that would give it dramatic momentum? By the time Corden turns Lad The Impaler with a sword shaped like a penis in the fleeting, fumbled anticlimax, it’s all out of gunk. And the scares? Just the one — there’s the threat of a sequel at the end credits.
Verdict
Hammered horror. You will it on, but this is laddy, laboured and low on belly laughs.


Reviewed by Simon Crook 
Sucker Punch

Cast Interviews:


AMC talk with Emily Browning, who plays the lead role in Sucker Punch. Discuss the idea of the fantasy world in the film, and representations of Babydoll (the character who Emily Browning plays) throughout the film. 

Discussion and description of Babydoll & the other characters.



Official Full Trailer for Sucker Punch:


Gives an insight into the issues the film faces, and introduces the audience to the 'fantasy world' that is created in the film.



Fan Trailer:


This trailer was made by a fan who wanted to 'showcase the amazing visuals' of the Sucker Punch film.
Sucker Punch

Broadcast Film Review (Mark Kermode):


Believes that the film is based all around the costumes - no story, the narrative is being built around the costumes.
The fantasy world - Dressed as strippers - stupid idea, but not much idea at all.
The film is only a 12, yet the girls are described as hookers, are sexual, and it is quite explicit for a 12. 
Isn't a fan of Zack Snyder - doesn't believe he's come up with a good idea. Main character is 20 - yet dressed as stripper and in school uniform. 'One of the worst story tellers in the world.' - Mark Kermode says about Zack Snyder.


Print Film Review (www.telegraph.co.uk):



Sucker Punch, review

Zack Snyder’s 'Sucker Punch' is a witless blend of girly titillation, computer-game clichés and banal dialogue.




If you thought Zack Snyder’s previous films, among them 300 and Watchmen, were over the top – cliché-embracing, muscle-bound pseudo-triumphs of digital effects over storytelling – they have nothing on Sucker Punch.
His first movie to be based on original material (a relative concept, to be sure), and presumably named after the sensation of duped idiocy it will induce in many of those reckless enough to see it, it’s a cacophonous, militantly stupid orgy of guns, knives and explosions that recalls Kill Bill, Shutter Island and Lara Croft: Tomb Raider.
In Lemony Snicket’s A Series of Unfortunate Events, Emily Browning played Violet Baudelaire, a young girl worth millions whose creepy uncle is trying to bump her off. Here she plays Baby Doll, a sweet young thing with enormous eyes who is sent away to a mental hospital by her evil stepfather after he learns that she – and not he – will benefit from his wife’s will. Into this dank, gothic universe she enters, most likely to be lobotomised.
Suddenly, the film changes tack and she embarks upon a multi-levelled psychological journey that’s structured according to the rules and logic of modern computer games.
Baby Doll joins a posse of spunky dancers – Sweet Pea (Abbie Cornish), her sister Rocket (Jena Malone), Blondie (the very un-blonde Vanessa Hudgens), Amber (Jamie Chung) – who, at the brutal behest of an impresario named Blue (Oscar Isaac), entertain bordello clients with their comely gyrations. They seem resigned to their fate, but she – kick-ass and defiant in spite of her little-girl-lost looks – hatches an escape plan. It requires “a map, fire, a knife, and a key”, listening to the ministrations of a mysterious sage (Scott Glenn), and occasionally drifting off into reveries during which she crosses swords with diabolical warriors and monsters.
The maddening thing about Snyder is that he knows what kinds of characters (scratch that: I mean action figures) look good on the big screen. Giant samurai warriors flinging fire and metal at their enemies? Check! “For-mash-get Smash”-style metal robots that have gone berserk? Cool! Steam-fuelled Nazi zombies? What could be better?
Snyder picks and mixes from the long history of pulp and anime monsters, and interlaces these with scantily-clad young women whom he’s forever implying are on the brink of titillating girl-on-girl action, but he can’t for the life of him wrest new shapes out of the genres on which he draws, far less create any dramatic tension from these elements.
Ack-ack-ack. Splat-splat-splat. Chugga-chugga-chugga. Snyder, who wrote the film with Steve Shibuya, is happier at creating ballistic onomatopoeia than he is at stringing sentences together. The script is a clumsy mish-mash of speak-and-spell-level banalities and mewling philosophical clichés (“If you don’t stand for anything, you’ll fall for anything.” “Who holds the key that will set you free? You!”).
Better these, though, than the soundtrack, which features lumpen indie-rock (choice lyrics: “Where is my mind?”) and an excruciating rendition of the Smiths’ lovely Asleep that’s less a cover version, more a surgical strike.
Actually, the whole film is a surgical strike on your visual senses and intellectual faculties. Snyder’s efforts to have you believe this is some kind of empowering, riot-grrls-together redemption story would be more convincing if the cameras didn’t slather quite as droolingly whenever the women, clad in fishnets and schoolgirl outfits, come into view. The men, meanwhile, are a one-dimensional army of lechers, paedophiles, rapists and misogynists.
The standard defence for this kind of film is that it’s not meant to be analysed too closely, it’s only entertainment. With Sucker Punch, you could also say that its narrative slackness is down to its themes (mental instability) and to the way that it taps into the dream logic of gamer culture. But even its battle scenes are deadly boring. If I had to choose between this and the most bog-standard computer game, it wouldn’t be any contest at all.


The Hunger Games Marketing Campaign:




The link below from New York Times (How 'Hunger Games' Built Up Must-See Fever) includes a video which talks about the marketing of The Hunger Games and how it is going to become such a huge blockbuster hit. 

http://www.nytimes.com/2012/03/19/business/media/how-hunger-games-built-up-must-see-fever.html?pagewanted=all 

The Hunger Games 

Cast Interviews:


Interview with all main characters, with the questions asked by fans.
Talk about all aspects of The Hunger Games, as well as the cast themselves etc. - Helps fans to get an insight into the cast away from The Hunger Games.



The Hunger Games Official Trailer:


On YouTube, there are many different trailers (the 'official' trailer, theatrical trailer, The Hunger Games trailer 1,2 and 3) etc. This trailer is called the 'official trailer' on YouTube and it gives the audience and insight into The Hunger Games film, and leaves the audience wanting more and to see moe into this film.


Fan Made THG Trailer:

On YouTube, there are hundreds of fan made The Hunger Games trailers, some actually creating their own Hunger Games footage, and others using fitting footage from other films.




The Hunger Games:

Broadcast Film Review: 

The film review below is a Broadcast review of The Hunger Games by Mark Kermode. Mark Kermode compares THG to Twilight, suggesting that they both have a similar fan base, which make these films such huge blockbusters.

Describes The Hunger Games as having a 'shocking theme' and surprised that it is a 12 in the UK - intense film - disturbing - taken aback by how intense the film is for the certificate - sense of dread.

Wanted more bite on the idea of reality TV. 

Gripping, directed to the edge of what would be accepted up to the age range, says about exploitation and revolution surrounding reality TV. Although the film has flaws, the central idea of the games was well handled. 

Praise for Jennifer Lawrence. 





Print Film Review (Hollywoodreporter.com): 



Jennifer Lawrence and Liam Hemsworth

The Hunger Games: Film

 Review

11:00 PM PDT 3/15/2012 by Todd McCarthy
Suzanne Collins' monster young-adult best-seller that could have used a higher blood count in more ways than one. As she did in her breakthrough film Winter's Bone, Jennifer Lawrence anchors this futuristic and politicized elaboration of The Most Dangerous Game with impressive gravity and presence, while director Gary Ross gets enough of what matters in the book up on the screen to satisfy its legions of fans worldwide. This Lionsgate release is being positioned as the hottest property for the teen audience since Twilight, and there's no reason to believe that box office results won't land roughly in that vaunted vicinity.
Published in 2008, The Hunger Games marked the beginning of a trilogy, rounded out by Catching Fire and Mockingjay, which has in total sold more than 26 million copies, with many more to come now that the film has arrived. A giant opening weekend beginning March 23, which is all but guaranteed, will no doubt trigger a green light for the second big-screen instalment in the series, for which the three lead actors are already set.
A speculative fiction piece about a 16-year-old expert hunter who becomes one of 24 teenagers to compete in an annual televised combat spectacle from which only one will emerge alive, Collins' tale rips along on the page with unflagging momentum while generating legitimate suspense and a strong rooting interest in its resourceful heroine. So visually vivid are the book's episodes that you can practically picture a film version while reading it, meaning that it would have been foolish for any film making team to veer far from the source.
With Collins on board as both a co-screenwriter and executive producer, there was little chance of that, so it's more a matter of emphasis and cinematic elan. Ross, Collins and third writer Billy Ray have stressed the fascistic political side of the story, pointing up the micromanaged manipulations of the public and the games themselves while also suggesting that contemporary reality shows and televised competitions differ from this extravaganza only in their lower mortality rate.
As for visual spectacle, there's enough, but along with it, a feeling of being slightly short changed  the long shots of gigantic cityscapes, of a fast train gliding silkily through the country, of massive crowds gathered to see this year's gladiators before they set off to kill one another, of the decorative flames emanating from the leads' costumes as the pair is presented to the public for the first time -- all are cut a bit short, as if further exposure would reveal them as one notch below first-rate. On the other hand, the costumes and make up are a riot of imagination designed to evoke a level of topped-out decadence comparable to that of Nero's Rome or Louis XVI's Paris.
Most noticeable of all, however, is the film's lack of hunting instinct. The novel conveyed a heady sense of blood-scent, of Katniss Everdeen's lifetime of illegal hunting paying off in survival skills that, from the outset, make her the betting favourite to win the 74th edition of the Hunger Games. While present, this critical element is skimmed over on screen  reducing a sense of the heroine's mental calculations as well as the intensity of her physical challenges and confrontations. One senses that the film makers wanted to avoid showing much hunting on screen  for fear of offending certain sensibilities; stylistically, one longs for the visceral expressiveness of, say, Walter Hill in his prime. It's also clear that the need for a PG-13 rating dictated moderation; a film accurately depicting the events of the book would certainly carry an R.
That said, Hunger Games has such a strong narrative structure, built-in forward movement and compelling central character that it can't go far wrong. From the outset, it's easy to accept a future North America, once decimated by war and now called Panem, divided into 12 districts kept under tight control by an all-powerful central government in the stunningly modernistic Capitol.
Katniss, embodied by Lawrence just as one might imagine her from the novel, lives in far-flung District 12, a poor mining region that can only have been Appalachia in earlier times (indeed, the film was shot in North Carolina). Like all other teenagers, she's annually entered in the Reaping, in which a boy and girl from each district are chosen by lottery to compete in a murderous contest designed both for its political symbolism and public intoxication value. When her beloved little sister's name is shockingly called, Katniss, a dead shot with bow and arrow, volunteers to take her place as a district Tribute, alongside Peeta Mellark (Josh Hutcherson), a shy, seemingly sweet kid with goo-goo eyes for Katniss. Her male model-like soulmate Gale (Liam Hemsworth) gets left behind.
The remainder of the first hour details the contestants' preparation for the games. This involves cleaning, buffing and accoutering (rather like what happens to the visitors upon arrival in The Wizard of Oz), fight training alongside fellow combatants, abundant eating, tactical advice from oft-inebriated long-ago District 12 winner Haymitch (Woody Harrelson) and a public interview conducted by flamboyant TV host Caesar Flickerman (Stanley Tucci ), a one-man panic so skilled at playing his guests that he gets Peeta to confess his adoration for the unsuspecting Katniss. Decked out with a balloon of backswept blue hair finished off by a giant bun, Tucci has a ball with this fun character, who serves to frame the brutality to come as entertainment by accentuating its personal melodramas.
Once thrown into “the arena,” a topographically varied stretch of wilderness, the Tributes do whatever it takes to survive. Quite a few are butchered at the outset in the mad dash for weapons and supplies. For her part, Katniss hightails it for the interior, where she sleeps out of sight in trees before the “gamemaker,” Seneca (Wes Bentley), has her flushed out by wildfire. The film goes further than the book in illustrating how omnipotent studio controllers can manipulate the action as they wish, in ways they think will create better television and, in the bargain, please their all-powerful president (Donald Sutherland), who will countenance no sign of resistance or rebellion.
And, yet, that is what happens when the games' youngest and sweetest contestant, Rue (Amandla Stenberg), after bonding with Katniss, is abruptly killed. Everything that happens out in the field is captured by countless hidden cameras (Ross and cinematographer Tom Stern shift between lush, steady camerawork for “objective” coverage and a jittery, hand-held style for on-the-spot verite footage), and Rue's death ignites unrest in her working-class district. But this represents a mere prelude to what Katniss pulls off in the ingenious climax, which troubles the already suspicious president and neatly sets the stage for the political turmoil of the sequels.
A crucial area in which the film falls far short of the book is the charade aspect, as Katniss experiences it, of her “romance” with Peeta. Without her interior narration and deliberate play-acting once she allies herself with her fellow District 12 cohort, the gradations of her ambivalence and acceptance are smoothed over to the point of blandness. The survival story retains its vitality, but what lies underneath is stunted.
At the center of things most of the time, Lawrence remains compelling all the way. As in Winter's Bone, she's onscreen alone, or nearly so, a great deal, and she holds one's attention unselfconsciously, without asking for attention or even doing much other than the task at hand. Lawrence is one of those performers the camera loves; her appearance alters in different scenes and shots -- lingering baby fat shows here, she resembles a Cleopatra there -- and she can convey a lot by doing little. An ideal screen actress.
The young men on hand can't measure up to her standards and, while Harrelson has his moments, the combustible Haymitch has been rather cleaned up from the book. Making a decided impression here is Lenny Kravitz, who will probably field more acting offers after his turn as Katniss' charismatic stylist Cinna (quite a few characters are named after Romans).
Production values are ample if not lavish. The soundtrack, a joint venture between composer James Newton Howard and executive music producer T Bone Burnett, features an intriguing blend of regional and atmospheric flavours (the end-title tune from Taylor Swift engages on a first listen), though more musical propulsion would have helped juice things up in the late going.

This film review is very impressed with Jennifer Lawrence, who plays lead role, Katniss Everdeen. Overall fairly positive review of the film. Again speculation over the rating of the film - how many cuts were made to suit a PG-13 rating?