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Julian Roman’s “The Hunger Games: Catching Fire” Thrice Crowns

In response to Julian Roman’s 699‑word review of The Hunger Games: Catching Fire on MovieWeb

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While falling into the trap of retooling old school B movie  cinematic serials (by substituting the newest euphemism, ‘franchise’) aimed at putting butts in seats, Julian Roman’s “The Hunger Games: Catching Fire” redeems itself by use of a keen architect’s eye for a series of glittering towers of imagination which strive for the ‘A’ list.

And, this particular edifice has a sound foundation, darkly envisioned by its architect, Francis Lawrence, it is persuasively posited.  Standing in its own light despite this dark exterior, this construct, though perhaps overly tall, provides Roman’s taste for engineered dramatic effect, combining plot with subplot in a pleasing composite of heroic metel.

First, supported by the fitting keystone of Ms. Lawrence and her ready-made prefabricated audience jolted by her early conquest of Oscar, the face that launches this revolutionary assault upon false and grotesque facades of respectability.

Next, the exposing of raw steel in the face of weak fleshly inhabitants of its shadow, a ruthless erection of raw though insecure vertical power.

Finally, Roman’s “Catching Fire“‘s interior moments of humane emotive power between the key contestants within this coldly constructed symbol of excessive power conjures notions of Victor Hugo-like rage against the mechanistic, describing nobly the nobility of human loyalty and devotion, ideas whose time is coming, soon, to a theatre near us all.  

Indeed, Roman makes Hugo’s case with blueprint clarity: nothing can stop a sequel with Jennifer Lawrence.    

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