Silver Linings Playbook (2012) // dir. David O Russell

Following an 8 month stint in a mental hospital, bi-polar Pat (Bradley Cooper) heads home to re-build his life and reconcile with his estranged wife, Nikki. But things become complicated when Pat meets a recently widowed and depressive Tiffany (Jennifer Lawrence). In exchange for Tiffany's help in contacting and reconnecting with his wife, Pat (reluctantly) agrees to be Tiffany's dance partner in an upcoming competition. The pair form a rocky, but touching, friendship and when the dancing competition approaches, it is more than just friendship on the line...

Achieving the same level of success as his previous award-winner, The Fighter, was always going to be an arduous task for O Russell. A dramedy about mental health might seem like a hard-sell, but with the appropriate balance of sensitivity and humour, and two charming yet believable protagonists, Silver Linings could just be the perfect follow up. Without a doubt, casting Cooper and Lawrence was O Russell's masterstroke. Both leads are extremely likeable, and the chemistry between the two is positively electric - cue a multitude of intense stares and almost-kisses. Cooper displays gravitas and convinces as a bi-polar sufferer, but it is scene-stealing Lawrence that keeps Silver Linings engaging. By incorporating all the feistiness of Katniss, and the vulnerability of Ree from Winter's Bone, Tiffany becomes a complex amalgam of Lawrence's previous notable roles. However, it is the injection of Lawrence's own, natural, razor-sharp sense of humour that gives Tiffany an extra, more relatable, dimension. The nod from the Academy, and the recent Golden Globe win are undoubtedly deserved. The supporting cast are equally as strong, with a both refreshing and reassuring turn from Robert de Niro. After so many years of headlining plotless 'paycheck' movies - (I know we all have to pay the bills somehow Robert, but COME ON, you were Travis Bickle! Where along this road of soulless 'comedies' did you lose your integrity, Robert, WHERE?!) - he retains his dignity, and slips back into a role of some substance as Cooper's football-loving, gambling addict, OCD suffering father. But, it is Animal Kingdom's Jacki Weaver as Cooper's stoic, yet passive, mother who is the anchor struggling to keep her family grounded.

So often has Hollywood portrayed mental illness as dangerous and violent, that Silver Linings is a rare delight; highlighting the everyday vulnerabilities and hardships that coexist with mental health such as, familial strains and social struggles. But it only dips its toe into the ocean of these hardships, rather than swimming around in its murky depths. Anything that is on the borderline of being "too serious" is quickly countered by something amusingly kooky; after all, it still needs to be kept audience-friendly. But as the final act starts to meander down the very well trodden path of familiarity, the time arrives for the romance that has been simmering under the surface, to bubble over for the inevitable happy ending. And thus, the issues of mental health are swept under the proverbial rug.

Silver Linings is a feel-good comedy drama with an ending to soften even the hardest of hearts, but disappointingly leaves a lot of its core issues either underdeveloped or unaddressed. 

 

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.