Gary Ross
Hunger Games

Based on the first book of the eponymous trilogy by Suzanne Collins, “Hunger Games” (2012) marks the return of Gary Ross behind the camera after a 9-year hiatus since his previous film “Seabiscuit.”

The result is a well-shot movie, where the literary material is not only faithfully respected but, in some aspects, even elevated due to the effectiveness and clarity with which almost all elements of the book are converted into images. More specifically, Ross, perhaps aware of the extreme derivativity of the subject, decides to fully immerse himself in the apocalyptic future described (admittedly somewhat sketchily) by Collins and to compensate for the lack of originality in the screenplay with truly noteworthy attention to detail: from costumes to makeup, from the choice of locations to the interiors, and last but not least, to the cast of supporting characters (with honorable mentions for an immortal Donald Sutherland and a perfectly cast Lenny Kravitz. Effective too, but not exactly faithful to the literary character, however, Woody Harrelson). What stands out, above all, is the director's ability to move effortlessly through the various settings of this first chapter of the trilogy, skillfully alternating narrative and directorial registers: from the desolation of the miners' District in the first part, to the awe at the kitsch excesses upon the protagonists’ arrival at Capitol City, and finally culminating in a more “action-oriented” final portion set in the arena where the actual Hunger Games take place.  Moreover, the Los Angeles director must share much of the credit with the young but remarkably talented Jennifer Lawrence, tasked with embodying the saga’s protagonist. Lawrence, indeed, seems to have fully captured the spirit of Katniss Everdeen, providing her with the right physicality and intensity. It must be noted, however, that the film is not without its flaws. On one hand, the romantic subplot between the two main characters (already quite cloying in the book) is portrayed in an overly syrupy manner. On the other hand, at least one entire sequence (the rebellion in District 8) is imbued with an irritating sense of "artificiality" (not surprisingly, it turns out to be practically the only significant addition compared to the literary work). The final assessment, however, can certainly be considered positive: “Hunger Games” effectively entertains and, although evidently aimed at a teenage audience, does not embarrass or make regretful the unwary over-18 viewer.