11 Katniss & Peeta Quotes From ‘The Hunger Games’ That Prove They’re …

24 Nov 2015 | Author: | No comments yet »

Analyzing Katniss Everdeen: Is She Really the Hero We Think She Is?.

LOS ANGELES (AP) — “The Hunger Games: Mockingjay — Part 2,” the final film in the highly successful franchise, easily topped the box office in its first weekend in theaters, grossing $102.7 million. Many will question if Lions Gate was foolish to split the final book into two films, but given the moderate cost associated with the productions, profitability came quickly.One Wall Street observer suggests security concerns affected the end of the Katniss Everdeen saga, which opened to a franchise-low $101 million domestically, as deal chatter returns. That’s slightly above the studio-reported estimates from Sunday but lags behind the figures set by the previous three films, which peaked with the $158.1 million debut of “Catching Fire” in 2013.

Fans flock to the theaters for Mockingjay—Part 2 viewings for many reasons, whether it be a dose of adrenaline or a chance to ogle at the smoldering Gale Hawthorne. Its opening-weekend performance was both impressive and disappointing, as the film handily beat its competitors while falling short of its predecessors’ success (Part 1 opened at nearly $122 million in 2014). Holdovers “Spectre,” the James Bond film, and “The Peanuts Movie” took the second- and third-place spots with $15 million and $13.2 million, respectively.

Lionsgate analysts weighed in Monday, with Evercore analyst David Joyce citing short-term security concerns in the wake of the Paris attacks as grounds for the initial box office shortfall. “We would not yet extrapolate this past weekend’s light moviegoing attendance out to our full theatrical release estimates. The Seth Rogen holiday comedy “The Night Before” debuted with $9.9 million, while the Julia Roberts thriller “The Secret in Their Eyes” opened with $6.7 million. Following this final installment, The Hunger Games will enter a second life as entertainment experiences in a planned series of theme parks and licensed attractions around the world, the first of which is slated to open in Dubai in 2016. We think a better retention ratio for the second weekend is possible — the Thanksgiving weekend in the U.S. — as there seems to be less theatrical competition even for the next month, up until Disney’s Star Wars release,” Joyce wrote in a note Monday.

The top 20 movies at U.S. and Canadian theaters Friday through Sunday, followed by distribution studio, gross, number of theater locations, average receipts per location, total gross and number of weeks in release, as compiled Monday by Rentrak: Universal and Focus are owned by NBC Universal, a unit of Comcast Corp.; Sony, Columbia, Sony Screen Gems and Sony Pictures Classics are units of Sony Corp.; Paramount is owned by Viacom Inc.; Disney, Pixar and Marvel are owned by The Walt Disney Co.; Miramax is owned by Filmyard Holdings LLC; 20th Century Fox and Fox Searchlight are owned by 21st Century Fox; Warner Bros. and New Line are units of Time Warner Inc.; MGM is owned by a group of former creditors including Highland Capital, Anchorage Advisors and Carl Icahn; Lionsgate is owned by Lions Gate Entertainment Corp.; IFC is owned by AMC Networks Inc.; Rogue is owned by Relativity Media LLC. In time, it’s possible — albeit not overwhelmingly likely — that there may be more movies as well: Lionsgate, the studio behind the massively successful films, has said that it is investigating prequel or sequel opportunities. Stifel Nicolaus analyst Ben Mogil reduced his own estimates on Lionsgate’s three-year guidance, if only to the lower end, after opening-weekend box-office results fell short. “We believe that M&A expectations, with Starz able to enter into a tax inversion starting early next year, as somewhat offsetting the valuation pressure,” Mogil said. He was referring to persistent speculation that Lionsgate and Starz might merge after John Malone and two of his major assets, Liberty Global and Discovery Communications, bought into the studio. But the issue at hand today isn’t her well-documented (and well-deserved) admiration—it’s whether she’s really the Hero-with-a-capitol-H we’ve been painting her as.

Initial efforts to adapt the books into big-budget movies were met with skepticism: The story’s unrelentingly bleak outlook and its physically and emotionally brutal depictions of violence committed both against and by children made the story a tough sell. With a commitment from theaters to keep Mockingjay: Part 2 in theaters into early January 2016, those earnings will continue to balloon up and eventually so will the earnings.

That’s also not even counting the film’s international earnings which so far have been right on estimates and coming closer to Part 1’s earnings than ones Stateside. But rather, since this beloved series is now wrapped up for good, we’ve found ourselves at a crossroads where the only thing left to do is look back on the saga and ask the hard questions. Matthew Harrigan, an analyst at Wunderlich Securities, said Monday that the $247 million opening for the fourth Hunger Games installment was “not exactly dystopian,” but argued new movies in the Lionsgate pipeline were key to feeding the bottom line going forward. It’s the perfect blockbuster for the millennial generation as it comes of age — an all-purpose metaphor for life as a young person in the post-recession era.

Just look at her in any poster or movie still: She has the sleek costume, the signature weapon, and even that infamous superhero stance (feet wide, arms down, face stony). The first book in Collins’s trilogy hit stores on September 14, 2008, just as the financial crisis was in the process of unfolding; Lehman Brothers would file for bankruptcy the very next day. Wunderlich’s Harrigan predicted releases in 2016 for Divergent and Now You See Me sequels “could plausibly each generate $100 million in profit,” even as a question mark continues to hang over a third big release next year, the fantasy adventure Gods of Egypt. “Lionsgate has only $10-15 million of production cost exposure with strong foreign presales and a 46 percent Aussie tax benefit. In so much of the series’ advertising, especially for the militaristic final installment, she’s shown doing all sorts of superhero things: disembarking from hovercrafts, shooting through fire, running from deadly black sludge, uttering superhero-y one-liners like “Snow has to pay for what he’s done” and “Tonight, turn your weapons to the Capitol.” It’s hard not to draw comparisons to another snarky superhero dressed all in black—Scarlett Johansson’s Natasha Romanova, a.k.a Black Widow.

The presidential election that would put Barack Obama in the White House was just six weeks away, and the worst economic turndown since the Great Depression was about to take its toll. Even if this film doesn’t break $500 million (which is unlikely, but stay with me), then you’ve turned $300 million into at the very least $1.2 billion. And I’m not saying Lions Gate will never have another hit, it’s just for now they have the Divergent series (which does half this amount of business) and a series of smaller sequels and re-boots in the pipeline. Let’s also be cognizant here that the actual Mockingjay book is nearly 400 pages, so splitting it into two parts is really doing the audience a favor. Morgan analyst Alexia Quadrani in an investor note Monday said the recent weakness in Lionsgate’s share price was “overdone,” and that a buying opportunity was at hand: “Lionsgate is immune from many of the challenges in the current media landscape including concerns around shifts out of television advertising and the fraying of the traditional cable bundle.”

Those districts are forced to work tirelessly in what are often poverty-level conditions by rulers in the Capitol, where wealthy and powerful residents live in extreme luxury. For starters, she has a team of people—or who we might goodhearted-ly call pushers—coaxing her along at every step and all but forcing her into the position of savior. Remember Warner Bros. caught the same grief when it split The Hobbit into three separate films, but after the success of The Lord of the Rings trilogy, who could blame them? Lions Gate has banked enough profits off these Hunger Games films to solidify its coffers for a while, especially considering it doesn’t usually make expensive films in the first place.

No spoilers here, but fans will understand why we find it valid to mention that her vengeful actions towards President Coin don’t quite jive with the rhetoric of humanity and rational thinking she’s always preaching. But the particular combination of story elements, at once familiar and deeply twisted, give the series a powerful contemporary resonance, refracting and reflecting the interlocking anxieties of the present-day US into an unusually potent sci-fi mélange. The ghoulish televised death match at the heart of the story owes more than a little to the reality show competitions — from Survivor to The Voice — that dominate network television programming today. And the ways in which Katniss is remade for public consumption, dressed and coached both as a participant in the Games and as a symbol of the resistance, play off concerns about corporate media manipulation as well as anxiety about the omnipresent demands for selective social media self-presentation. The Games themselves, run by devious Gamemakers who operate according to their own rules, work as a bloody metaphor for the escalating trials of high school and the increasingly cutthroat college application process: They’re arbitrary and cruel, controlled by adults who claim to care but provide no alternative, designed to pit teenagers against one another in a merciless contest that authorities claim is for the good of both those involved and society as a whole.

Meanwhile, the abject poverty of the outer districts and their subjugation by the spectacularly wealthy elites of the Capitol recall both libertarian concerns about the power and privilege of an overreaching central government and liberal concerns about economic inequality. But, unlike other characters who might be thrust into her position, she has conviction and compassion, and in the post-apocalyptic world—and today’s world, for that matter—those might be the two best things a person can be.

She’s also skeptical and self-reliant, decent and kind but rarely trusting, intensely wary of any overarching ideology and keen to the ways that authority figures of all stripes — in the media, the government, elite society, or even alternative centers of power — want to exploit her for their own purposes. We don’t see her struggling to function in a world where she’s not saving others, and we’re not watching her march back into the darkness, destined to sacrifice to a life of turmoil for others’ freedom and safety.

Instead, she finds her peace from a (relatively) conflict-free world, picking flowers with her little family, in the same way most of us would find peace. But a pawn is just what she is to the rebels she’s now aligned with. “You’re very valuable to us,” the rebel leader, President Alma Coin (Julianne Moore) says to Katniss as she asks her to continue making propaganda films for the cause. It will stay with us because it offers hope that those who make it through that bleakness can escape, and make something better out of whatever comes next.

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