The Hunger Games (2012) // dir. Gary Ross

Lawrence and Hutcherson prove that the odds are ever in their favour.

Based on Suzanne Collins' best-selling novel; The Hunger Games is set in a post-apocalyptic world. North America (now called Panem), has been separated into 12 dystopian districts and the Capitol, the tyrannical hub of Panem. In an effort to maintain oppressive governmental control following an unsuccessful uprising, a teenage boy and girl from each district is unwillingly chosen to partake in the Capitol's annual Hunger Games; a live televised event in which each of the 12 districts fight to the death. All of the focus is on the impoverished district 12, where Katniss (Jennifer Lawrence) makes Hunger Games history by volunteering to take her sisters place as "tribute" in the 74th annual games. Joined by male tribute Peeta (Josh Hutcherson), the pair head to the Capitol for survival and fighting training in preparation for the imminent games. When they finally head into the arena, The Hunger Games really hits its stride, becoming a tour-de-force of slow-build excitement. Ross' use of handheld, shaky camera shots enabled the viewer to empathise with Katniss' struggle, whilst simultaneously adding a 'fight-or-flight' style of urgency to her situation. In order to retain its 12A certificate, The Hunger Games tends to leave the grisly violence to the imagination, opting to focus on the impact of the violence and the tension between the tributes, as opposed to a Battle Royale style bloodbath. The Games' opening ceremony aside, the film keeps its integrity intact with its distinct lack of cheesy moments. Although evidently aimed at a particular age-group, it is surprisingly mature without patronising its audience, presenting itself as a cut above other "teenage" films. Even Katniss and Peeta's inevitable love story does not undermine the film; acting as a catalyst which has the potential to be (and is) manipulated by the Hunger Games dictators, or even the pair themselves. Lawrence, as the films heroine, is entrusted with the task of carrying the weight of the film upon her shoulders, and she does so with an almost gladiatorial quality, acting as the glue holding it all together. She is flanked by fellow newcomer Josh Hutcherson, whose performance is a little wooden at times, but is very likeable as Peeta. Also, look out for veteran's Donald Sutherland, and Stanley Tucci, who is on brilliantly evil form.

It has successfully paved the way for the forthcoming sequels (Catching Fire and Mockingjay), but independently, The Hunger Games stands out as a highly entertaining, grown-up film.

Badlands (1973) // dir. Terrence Malick

Sheen and Spacek attempt to outrun the law in Malick's debut feature.

Inspired by the Starkweather-Fugate killings of the 50's, Badlands follows young lovers; Kit (Martin Sheen), a desensitised and reckless James Dean wannabe, and Holly (Sissy Spacek), an impressionable girl absorbed in the literary fantasies she constantly reads. After Kit's fatal shooting of Holly's disapproving father (Warren Oates), the couple flee into the surrounding South Dakotan badlands. With an increasing body count, the couple detach themselves from society and live a life of solitude until the inevitable final showdown. Badlands, on the surface, resembles a less savvy version of 1967's Bonnie and Clyde. But beneath the lovers on the lam exterior, it is a wholly different affair. In terms of plot and characters, Badlands is a very minimalist and simplistic film. The story, told almost exclusively by Spacek's voiceover, tends to float along at an even pace and seemingly keeps in tune with the deserted South Dakotan backdrop. The character development is similarly uncomplicated. Badlands boasts a cast of very few characters who (bar Kit and Holly) are elaborated upon very little, beyond inadvertently acting as accessories to Kit's nonsensical crimes. The performances are relatively emotionless; from their naive and often childlike relationship, to the added pathos of Spacek's fanzine-style commentary that glosses over the brutality of their crimes - it all adds to the theme of disconnectedness. But where Badlands truly outshines its 1967 counterpart, is through Malick's poetically visual style of filmmaking. The use of endless, panoramic horizon shots gives it a relaxed and dreamlike feel, whilst subsequently acting as a metaphor for Kit and Holly's isolation. However, for some, this may be seen as a weakness. Instead of the couple's crimes being dealt with so casually, sometimes you feel it might benefit from a bit more action, and a little less focus on the mise-en-scene - after all, it is based on a real life killing spree.

Badlands isn't just a pretentious Bonnie and Clyde rehash; it is artistic and evocative, and has definitely earned its understated, yet iconic status.