The boy with the dreadful complex.
WHAT HAPPENS WHEN a guy feels himself too short, too pale and too ugly for his gorgeously beautiful wife? Naturally, he over compensates. For corporate headhunter Roger Brown (Aksel Hennie), over compensation comes by way of providing for his wife through dodgy means, namely stealing art objects. And he does fairly well at it until a new threat to his marriage and income arrives in the form of tall, blond and handsome named Clas Greve (Game Of Thrones’ Nicolaj Coster-Waldau).
This is what Morten Tyldum’s Headhunters is all about. Adapted from Jo Nesbø’s bestselling novel, the Scandinavian thriller with script penned by Lars Gudmestad and Ulf Ryburg cleverly combines dark humor and brutal action with even proportions, which is rarely found in the genre. Roger Brown is not an overly sympathy-inducing character – he is vain, manipulative and cheats on his wife (Synnøve Macody Lund) with another woman (Julie R. Ølgaard) – and the threats Clas pose to him seem justifiable in the beginning.
Wrath Of The Titans
Now one hundred percent Kraken-free.
JONATHAN LIEBESMAN, director of alien war film Battle L.A. must have had uphill battle to reorganize the mess left by his predecessor in Clash Of The Titans and make Wrath Of The Titans a success. 2010’s Greek myth sword-and-sandal film, which is a remake of the 1981 classic with the same name, was a failure if you consider how widely criticized it was, starting from lead actor Sam Worthington’s distracting Aussie accent to the chaotic and disorganized action set pieces. But it was the utter wreck of a 3D conversion that took home the prize of Biggest Disappointment Of The Year and after all this, it would take Liebesman a Herculean effort to convince anyone to give Wrath a go.
One one side, Wrath had the advantage of coming up with its own story instead of paying homages to the classic. And the story goes like this: ten years after the events in Clash, Worthington’s Perseus now lives far away from war and conflict and his father Zeus (Liam Neeson) as a fisherman, of all professions, in a small village with his son. But when Zeus begs him for help, followed by a Chimaera attack on his village, Perseus has no choice but to pick up his rusty old sword and defend his family from the imminent threat of his uncle, Hades (Ralph Fiennes). In a way, the inclusion of this dysfunctional family dynamics makes for a substantial plot that marches rapidly with no unnecessary directions on the way. Unfortunately this renders all the set pieces bland and unmemorable.
The Hunger Games
Deadly entertaining and brutally fascinating.
THE HUNGER GAMES is not ‘the new Twilight’. Gary Ross’ adaptation of Suzanne Collins’ bestselling novel may have elicited the same shrieking reaction from the fans as the one often heard at a screening of the movie about glittery vamps, but The Hunger Games, a much bloodier feast than its fanged counterpart, is more likely to make people scream from pain and misery than Jacob Black’s state of shirtlessness.
That is why it is perhaps appropriate that The Hunger Games was kicked off by an agonized scream – this one belonging to Willow Shields’ Primrose Everdeen, the sister of leading lady Katniss (Jennifer Lawrence) as she wakes up from a nightmare. Her older sister hugs her for a while, soothes her with a lullaby and then makes for the woods, to hunt food for her family. Seeing this opening sequence it is easy to assume that Lawrence, who nabbed an Oscar nod through a similar role of a young girl providing for her poor mom and siblings in the indie flick Winter’s Bone (2010), has been caught in the typecasting trap Hollywood laid out for her. However, as the story of Hunger Games proceeds, she proves her worth as the best actress of her generation.