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The Hunger Games and Real World Parallels: Can Kids ‘All Become Katniss Everdeen?’

Young heroes rebel against a fascist government that controls its citizenry through institutionalized terror and reality television, igniting a revolution that spreads across an isolated land via broadcast images and word of mouth. The Arab Spring? Nope. Try The Hunger Games , set in a dystopian sci-fi future that parallels current global unrest, which stars Jennifer Lawrence , Elizabeth Banks , and Donald Sutherland say they hope could spur a generation of YA-consuming youths into political action. “We live in a world where in the past, present, and possibly future governments and certain countries are controlling their people by keeping them separate, weak and hungry so that they’re not strong enough to fight back,” said Lawrence, who stars in the adaptation as teenage coal miner’s daughter/District 12 tribute Katniss Everdeen . “I think that there are a lot of messages [in The Hunger Games ] about history repeating itself and how something is wrong when you stay quiet, how we are the new generation.” Elizabeth Banks , who plays Capitol-assigned chaperone Effie Trinket , echoed the sentiment. “There are oppressive regimes all over the world that are being toppled by young people using YouTube to start revolutions,” she said. “There is no greater connection. This book is happening right now.” It can certainly be argued that Collins’ book series and the Gary Ross-directed feature adaptation has the potential to influence a generation of youngsters who’ll come for the sci-fi escapism and leave the theater appreciating its personal messages of personal accountability and standing up for what’s right in the face of impossible odds. More subtle are the franchise’s critiques of capitalism, celebrity, and media exploitation; if The Hunger Games succeeds in teaching kids to think critically about reality television alone that will be some sort of cultural coup. (Of course, there’s the tricky contradiction of getting such message from a heavily-marketed $70+ million studio production whose elaborate campaign has tapped social, online, and mainstream media in the pursuit of a huge box office, not to mention the issue of selling “ Capitol Couture ” as a merchandising tie-in.) Thankfully, here’s Donald Sutherland to put the Hunger Games potential for real world translation into relatable terms: “This has the possibility to change everything – to motivate, to catalyze, to activate, whatever revolutionary instincts there are in what is, essentially, from my point of view, a dormant generation.” “I just hope that they see from this allegory that the future is unacceptable. But more than that, it’s unimaginable. If you look at the weather, if you look at fossil fuels, if you look at a political party that just says no only because they want to get elected – they have no concern for four years for the people… those people are our business managers! “We own this country; they’re supposed to administer it for us. It’s not for them. They’re not supposed to be profiting from it! You don’t profit from it in Canada. You don’t profit from it in France. You don’t spend hundreds of millions of dollars to get elected! Nobody in their right mind would spend that much money in Canada, it’s just a bad investment! But it’s a good investment here, and that’s a problem.” “And you’ve got a Supreme Court that says a corporation is a citizen? Sorry, no. They don’t file the same tax forms I file… if they do, I’d like to know what it is. Because General Electric can make $4 billion in profit and they don’t pay any tax? I’m sorry. Oliver Wendell Holmes said, ‘Taxes are what you pay for a civilized society.’ If you carry that all the way backwards, we’re not civilized.” Of course, while older viewers may be prompted into critical political thinking by The Hunger Games , 12-year-olds clutching Mockingjay pins may not quite grasp the world as Sutherland sees it… yet. Then again, maybe all that needs to be planted is the seed of awareness. “It could make them stand up and become aware through this allegory of the political structure that they live in and what needs to be changed,” insisted Sutherland. “They could all become Katniss Everdeen.” Read more on The Hunger Games , which arrives in theaters March 23. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .

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The Hunger Games and Real World Parallels: Can Kids ‘All Become Katniss Everdeen?’

Weekend Receipts: Why You Shouldn’t Cry For John Carter Just Yet

Everything went pretty much according to plan at the box office over the weekend: Scurrilous liberal plot The Lorax indoctrinated enough kids and families to reign over a second consecutive week, while Disney’s super-expensive sci-fi gamble John Carter settled somewhat anemically into second place. But it’s not all bad for our boy on Barsoom. Your Weekend Receipts are here. 1. Dr. Seuss’s The Lorax Gross: $39,100,000 ($121,950,000) Screens: 3,746 (PSA $10,438) Weeks: 2 (-44.3%) The year’s biggest hit to date achieved that distinction in nine days, as opposed to roughly three full weeks for the likes of Safe House and The Vow . And there was even one less hour this weekend. Summer is here! Break up The Lorax ! 2. John Carter Gross: $30,603,000 (new) Screens: 3,053 (PSA: $4,487) Weeks: 1 Right or wrong, the widely reported $250 million (at least) price tag will precede any and every conversation regarding John Carter as long as people are talking about John Carter . Which may be longer than the sluggish domestic gross implies — though not that much longer — if the rest of the world has anything to say about it: Andrew Stanton’s epic took in nearly $70 million abroad , including the fourth-highest debut ever in Russia. The takeaway remains relatively grim: No blockbuster status is foreseen, but at least the unprecedented write-down foreseen at Disney may not be that bad. Happy Monday? 3. Project X Gross: $11,550,000 ($40,125,000) Screens: 3,055 (PSA $3,781) Weeks: 2 (Change: -45.1%) Not a remarkable hold, but considering the competition both above and below it &mdash plus the long-ish tails of several of the year’s bigger releases to date — Warner Bros. will take it. The only question remaining: What’s the threshold to greenlight the sequel? 4. Silent House Gross: $7,010,000 (new) Screens: 2,124 (PSA $3,300) Weeks: 1 Here is a conversation sure to have ensued in roughly 750 theaters screening the very soft-performing Elizabeth Olsen thrller: Viewer 1: “That doesn’t look like Ryan Reynolds.” Viewer 2: “When does Denzel show up?” Viewer 1: “Are we in the right theater?” Viewer 3: “Shhhh!” [Throws popcorn] 5. Act of Valor Gross: $7,000,000 ($56,100,597) Screens: 2,952 (PSA $2,372) Weeks: 3 (Change: -48.4%) Slowly, inexorably, probably futilely, Relativity continues to push its Navy SEALs experiment toward $100 million theatrically. Look for a special St. Patrick’s Day weekend campaign pushing Act O’ Valor : “Erin go BLAM,” “Kiss me, I shot Osama bin Laden in the face,” etc. Or… not. [Figures via Box Office Mojo ] Follow S.T. VanAirsdale on Twitter . Follow Movieline on Twitter .

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Weekend Receipts: Why You Shouldn’t Cry For John Carter Just Yet

Exclusive: Hear 3 Songs From Goh Nakamura’s SXSW Film Daylight Savings

It’s too rare that we get to bring the tunes around here, so Movieline is extra-pleased to debut three songs from the soundtrack to the SXSW premiere Daylight Savings — all featuring singer/songwriter (not to mention the film’s leading man) Goh Nakamura. Director Dave Boyle’s sequel to last year’s Surrogate Valentine bows Thursday in Austin ; the official synopsis goes a little like this: San Francisco-based musician Goh Nakamura (playing himself) is at the height of his career. With a national tour on the horizon and his song being featured in a national TV commercial, Goh has the life he always wanted. When his long distance girlfriend Erika (AYAKO FUJITANI) breaks up with him over Skype, Goh feels lost, as though no one could ever heal his broken heart. One night in San Francisco, he meets a fellow indie musician Yea-Ming (playing herself). Unexpectedly, Goh experiences a special connection with Yea-Ming and finds himself on a road trip with his cousin Mike (MICHAEL AKI) to see her in Las Vegas. And there’s more where this came from, which the filmmakers hope to release on a soundtrack album with a little help from Kickstarter. You can check out and/or contribute to that campaign here . Turn it up! Follow S.T. VanAirsdale on Twitter . Follow Movieline on Twitter .

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Exclusive: Hear 3 Songs From Goh Nakamura’s SXSW Film Daylight Savings

GALLERY: The 10 SXSW ’12 Films With the Most to Prove

Each year SXSW plays host to a slate of risk-taking fare of all kinds, from true indie offerings to upcoming studio releases geared to a slightly more open crowd, and the 2012 film line-up features no shortage of movies poised to earn that precious film festival commodity: Positive buzz. But some projects have more at stake than others — say, Joss Whedon and Drew Goddard’s long-awaited Cabin in the Woods , Will Ferrell ‘s Spanish-language comedy Casa de mi Padre , or the directorial debut of actor Matthew Lillard . On the eve of SXSW 2012 (which runs March 9-17 in Austin, Texas), check out the ten SXSW titles with the most to prove going into their festival debuts. Click to launch the gallery! Want more? Read all of Movieline’s SXSW 2012 coverage and follow us on Twitter .

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GALLERY: The 10 SXSW ’12 Films With the Most to Prove

First Look: Johnny Depp and Armie Hammer in The Lone Ranger

And just like that, a million Halloween couple-costumes are decided. Thoughts? [Photo: Peter Mountain/Disney]

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First Look: Johnny Depp and Armie Hammer in The Lone Ranger

Woody Allen to Act, Pimp Out John Turturro In Fading Gigolo

Because the only thing audiences want to see more than Woody Allen acting in someone else’s movie is Woody Allen whoring John Turturro out to rich women, we will soon have a film entitled Fading Gigolo (which still sounds better than Nero Fiddled ). Turturro will write and direct the buddy comedy, “which finds Turturro and Allen playing cash-strapped best friends who decide to go into the gigolo business together and subsequently attract the suspicion of the Hasidic Jewish community in which they live. Duo take on the pseudonyms Virgil and Bongo, with Allen pimping out Turturro’s character until he falls for a Jewish widow, who has not yet been cast.” [ Variety ]

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Woody Allen to Act, Pimp Out John Turturro In Fading Gigolo

REVIEW: Israeli Comedy-Drama Footnote Makes Talmudic Scholarship Seem Almost Dynamic

Sometimes a movie demands attention more for its “How” than its “What,” and writer-director Joseph Cedar’s Footnote falls squarely in that category. A movie about feuding father-and-son Talmudic scholars isn’t a surefire way to pack ’em in at the box office. But Cedar approaches his subject with so much wit and verve that he almost – almost – makes you forget you’re watching a movie about a very small, cloistered subset of academic obsessives whose life’s work is about as visually undynamic as you can imagine. How do you get action and drama out of pages and pages filled with Hebrew lettering? Somehow Cedar – who was born in New York but who has lived in Jerusalem since the age of 5 – pulls it off. Footnote was the Israeli Academy Award nominee for 2011; it lost to Asghar Farhadi’s A Separation , which provided the bullying Iranian government with an unfortunate opportunity to declare artistic supremacy (in addition to every other kind) over Israel. But while Footnote is a very different movie – it doesn’t pack the emotional charge that A Separation does – its craftsmanship is exceptional. Cedar has made a picture about scholarly obsession that really moves, even when its characters – who spend a lot of time at their desks, surrounded by piles of papers and books adorned with wrinkled sticky-note flags – don’t. Eliezer Shkolnik (Shlomo Bar-Aba) has spent years, practically a lifetime, analyzing various versions of the Talmud, getting deep into minute differences in wording and phrasing. He makes a big research breakthrough, but just as he’s about to announce it, a rival professor (played by Micah Lewensohn) scoops him. Eliezer, an uncommunicative and taciturn sort, retreats deeper into his research, hoping that one day he’ll be appreciated and awarded the coveted Israel Prize. Meanwhile his son, Uriel (Lior Ashkenazi), also a Talmudic scholar, surpasses his father in both the respect and likability departments – he’s more of a born star, and he certainly likes the limelight. When it’s announced, finally, that Eliezer has been chosen for the Israel Prize, Uriel is relieved and happy for his father – until he learns exactly what Eliezer’s achievement will cost him, both professionally and personally. Between Uriel’s outright ambition and Eliezer’s naked need for recognition and respect, the relationship between father and son – which was never, it’s suggested, particularly warm to begin with – becomes increasingly tense. Cedar has cleverly organized his movie into chapter-like sections that somehow make analyzing reams of ancient text seem like an adventure, or at least something worth devoting your life to. He uses some lively effects, most of which are quite simple: He suggests the feverishness of scholarly devotion, for example, by showing sheafs of text whizzing across the frame, accompanied by the appropriate whooshing sound effects. The picture has a surprising agility, considering it really is about two guys with furrowed brows whose heads are generally buried in books. There is still the fact, though, that scholarship is just never going to be the jazziest subject on the planet, and even Cedar seems to know it. In places, Footnote strains to delineate the tension between father and son, re-embroidering their conflicts over and over again, long after we’ve gotten the point. Cedar – who previously made the 2007 Israeli war drama Beaufort – has taken great pains to add lots of emotional dappling and texture to this story, though in the end, what we take away from the relationship between these two characters is pretty simple: They’re victims of your garden variety criss-crossing jealousy and resentment. Still, the actors keep the drama believable and engaging: Bar-Aba, in particular, pulls off the tricky feat of making an impenetrable character sympathetic, albeit in a maddening, “Would it kill you to crack a smile?” way. And both Bar-Aba and Ashkenazi comfortably navigate the dry comic touches Cedar has added to the story: We don’t know whether to wince or laugh when, early in the film, Uriel publicly praises his father with a long-winded, backhanded story that essentially makes the guy sound like an uncommunicative jerk. Then again, that’s what he is. What Cedar captures here is the way a father and son can be bound so tightly they almost choke the air out of one another. You can’t exactly call it affection; it’s that far more complicated thing we call kinship. Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .

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REVIEW: Israeli Comedy-Drama Footnote Makes Talmudic Scholarship Seem Almost Dynamic

Movies: The Latest Excuse For European Youths to Get Drunk

Unemployment is bad, but things like What’s Your Number are apparently worse: “In the overall (all countries) adjusted model, adolescents with higher exposure to alcohol use in movies were significantly more likely to have engaged in binge drinking, even after controlling for age, gender, family affluence, school performance, television screen time, sensation seeking and rebelliousness, and frequency of drinking of peers, parents, and siblings.” The most troubling part of this study might be its definition of binge drinking as five or more drinks in one sitting, which I otherwise tend to refer to as “lunch.” [ Pediatrics (PDF) via Deadline ]

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Movies: The Latest Excuse For European Youths to Get Drunk

9 Pro Tips for Landing That Action Star Gig from John Carter’s Taylor Kitsch

Taylor Kitsch is about to have a very big 2012. In addition to carrying Disney’s ambitious sci-fi adaptation John Carter as the titular Edgar Rice Burroughs hero, a Civil War veteran transported to Mars, he’s also fronting Peter Berg’s alien invasion actioner Battleship and starring in Oliver Stone ’s Savages later this year. But as Kitsch revealed to Movieline, the John Carter job wasn’t easy to get — and the toll it took on him during production was a challenge in itself. So who better to offer pro tips on nabbing the spotlight and handling the pressure of becoming an action hero than Kitsch, on the eve of a new chapter in his career? It should be noted that Kitsch is no stranger to action, having appeared in films like Snakes on a Plane , The Covenant , and X-Men Origins: Wolverine already in his six-year career, and no stranger to the spotlight thanks to his beloved turn as Tim Riggins on Friday Night Lights . But John Carter marks his first starring role and by far his biggest film to date, a sprawling epic set on a vast alien world envisioned in great detail by director Andrew Stanton ( Finding Nemo , WALL-E ). So how did Kitsch land the coveted role? What does his John Carter role share in common with his last one, as the late South African photojournalist Kevin Carter, in The Bang Bang Club ? All this and more as Taylor Kitsch shares his pro tips on landing (and keeping) that action hero gig. 1. Don’t think of yourself as an action star . “That’s you guys labeling me, so me saying yes to that – I can’t say yes to that because I refuse to put myself in that bubble. You saw Bang Bang Club , that’s no action movie. We hope to keep throwing you curveballs so you can’t put me in a spot like that.” 2. Ignore the hype and the naysayers – worry about putting pressure on yourself to do the work so you can sleep at night . “The pressure is what I put myself on in the sense of getting and doing the best I can, and having no regrets with what I put into it. That’s the pressure. The pressure now is that you can overthink everything, from how it’s going to do and how people are going to perceive it, you, this and that. If you want to drive yourself crazy over that you can, but I think that’s why you put so much into it. So you can lay down at night and be okay with what you did and be like, you know what? I still wouldn’t change it. If you say I’m fucking shit, I still wouldn’t change it.” 3. Be picky. Taking on a blockbuster gig is a huge commitment, so make sure you’re doing it for the right reasons. “Hopefully you feel that, you see it. You see the emotion and the energy that it takes to really do what it deserves, potentially. I think that’s what it’s about, and that’s why I’m so picky with the jobs. I’m all in. I’m never going to do a job for the sake of working. So we’re at a point now of looking at the next job, or whatever that is, and my people, my team, have been with me from Day One. If I don’t work for a year, I’m OK with it. We’re not going to do it unless we have to do it. “I was and still am okay with doing indies for the rest of my life. I don’t need to be in the spotlight; if anything, I’ll push it away even more. I live in Austin. I love the work. I love the storytelling, and that’s what the first meeting represented. I could play so many parts in this one character, from the Western, from the guy that doesn’t give a shit, to the guy who’s finally come full circle and become the leader that he’s pushed away for so long. I love that, and I love working with an Andrew Stanton, a Willem Dafoe, a Mark Strong, a Sam Morton, a Thomas Haden Church, a Lynn Collins.” 4. Make sure there is a “there” there. “Man, I will be shit if you give me nothing to play. Any actor will tell you, the more you can give me, the more depth I can escape into, the better it’s going to be on every level.” 5. Flawed characters are more interesting to play, and are worth diving into headfirst — even if it takes a lot out of you. “It’s not the war thing, but the more interesting guys I grew up watching — I like watching the more flawed guys than the perfect guys, and that’s more interesting for me to play. That’s more real to me. I love that and I love bringing people into a performance and it takes so fucking much out of you to do it honestly, but it’s worth it. Kev Carter – you won’t meet a guy more flawed. That crushed me.” 6. Remember to maintain balance with the emotional and physical demands of carrying a tentpole… especially when they require regular, long-term maintenance of action-hero muscles. “I was beyond exhausted in this film. Yeah, six day weeks is what killed me. I think I just pushed myself — I don’t regret it because you see it, but at times I could have had a better balance, maybe, just because waking up that early so often and the lack of sleep and pushing yourself that much, to have that much energy onscreen… for seven months, to be at that aesthetic! It’d be a lot easier if I had one shirtless scene and I could just get toned for that then be OK and balance it out, but it was 11 months that I was on that diet and training regimen. It’s very unreal to do that and to look that way, obviously, but it’s what I guess I demanded out of myself. This goes back to Kev [Carter, of the Bang Bang Club ], too. No one asked me to lose a pound, I wanted to. 7. That said, don’t worry too much about how you look, stud . “Fuck, man. You never want to be that conscious in a scene. That’d mean I’d be so totally out of John Carter mode, if I’m really that conscious of how I look and the lighting. That’s really bad. [But] you definitely have to do what you have to do to put yourself in the moment so it’s connecting to whatever it is. I think you’ve just got to get to a point where you’re okay with how you look and what you’re doing and you leave it and let it lay. Whatever it is, I look at that scene and it is what it is” 8. Go out for a role knowing it’s yours to lose. The audition process for John Carter was particularly grueling, with five actors and five actresses vying for the same roles over the course of two intense days. “Man, I was just so focused, I was so myopic with it. I prepped so much for that audition. I’ve always been an underdog and I came in on this gig that way, but it was like I felt it was mine to lose. I went in with that thinking really, if I can go in all out on this, I’m going to go in and kill it as much as I can. But it was a tough process, for sure. Two 14-hour days… and you’ve got to remember, what’s bizarre about getting roles and auditioning for the most part is you do your prep and everything for the most part after you get the role. It’s like OK, now I’ve got to sit down and really sketch this guy out. It’s a trip. “ 9. Whatever you do, do not go out partying the night before a big audition. “I won’t call the guy out, but I know and it gave me more oomph, put it that way, knowing that this one guy that was up for it was out partying quite hard the night before or two nights before. No matter what, I hear about that and I know I got ya, man. It’s like, good on ya for making it a little bit easier on me.” John Carter is in theaters this week. Read more on the film here . Follow Jen Yamato on Twitter . Follow Movieline on Twitter .

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9 Pro Tips for Landing That Action Star Gig from John Carter’s Taylor Kitsch

File Under Never: Boy Scouts vs. Zombies

Or, as it’s known around the ML office, BS vs. Zzzz : “Etan Cohen, one of the town’s hottest comedy scribes, is in negotiations to make his directorial debut on Paramount’s horror-comedy Boy Scouts vs. Zombies . With an ‘it’s all in the title’ moniker, Boy Scouts centers on a troop that must save a group of girl scouts from a pack of zombies with designs on spoiling a camping trip.” [ THR ]

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File Under Never: Boy Scouts vs. Zombies