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    Move Magic

    Hunger Games stars open up on the secrets, stresses and stunts of the movie series

    Tyler Rudick
    Nov 24, 2013 | 8:31 am

    At long last, ravenous Hunger Games fans can sink their teeth into Catching Fire, the long-awaited second installment in fantasy film franchise swiftly rivaling the empire built by that wizard kid with the glasses.

    CultureMap sat down with stars Alan Ritchson, Stephanie Leigh Schlund and Golden Globe-winner Jeffrey Wright at the Houston Four Seasons to hear how they developed three of the film's most formidable contestants in the gruesome 75th annual Hunger Games.

    While filming on location in Hawaii may sound like a Hollywood dream to most of us, Ritchson and Schlund — who play knife-wielding siblings Gloss and Cashmere — agree that the physical demands of their roles added a layer of stress to their extended stay in paradise.

    "I've never had to train as hard as I trained for this," explains Ritchson.

    "I've never had to train as hard as I trained for this," explains Ritchson, a Smallville alum recently cast as Raphael in Michael Bay's reboot of the Teenage Mutant Ninja Turtles series. "I thought I was in better shape than I was. In the first five minutes, I was dry-heaving and asking for a break.

    "Everyone was making fun of me . . . because it was just the warm up."

    With the exception of few dangerous falls, Schlund says that she and Ritchson did all their own stunts after months of knife training and rehearsals.

    "They set us up in a corner of this warehouse and there'd be weapons flying in every direction. If someone hollered 'duck,' you'd better duck," she laughs. "They taught us the basic moves, but you didn't know what you'll actually be doing until you're on set because of the rocks or sand or trees."

    For exploring the depth of their characters, cast members had the rare opportunity to refer to the original trilogy of young adult novels by Suzanne Collins, who co-wrote the screenplay and remained on set throughout the filming process.

    "Younger audience members don't have ownership of other films and stories like they do with The Hunger Games. I think ​it's going to blow the minds of fans."

    "[Suzanne Collins] has an incredible ability to reveal her characters with so few words," Ritchson says. "It was a huge advantage for us that the screenplay was so faithfully adapted from the novels. The author's intent was well preserved in the film, so the books became these wonderful resources."

    For Jeffrey Wright — known for playing Felix Leiter in the current James Bond series as well as for his starring role in the 1996 cult classic Basquiat — the book series not only provided insight into his tech-saavy character Beetee, but also helped to unravel the complex post-apocalyptic world created by Collins.

    "Francis Lawrence, the director, has this amazingly clear vision of the larger storyline," he notes. "Younger audience members don't have ownership of other films and stories like they do with The Hunger Games. I think ​it's going to blow the minds of fans."

    While the books may have been written for young adults, Wright says the mass appeal of the franchise stretches across generation lines thanks to its pointed social commentary.

    "At the spinal center of the film are these themes that will raise broader questions among viewers about themselves and the world around them. That's the best filmmaking you can have, this wonderful marriage of escapism and relevance."

    The Hunger Games: Catching Fire official movie poster (detail)

    The Hunger Games Catching Fire official movie poster November 2013 DETAIL
    Collider.com
    The Hunger Games: Catching Fire official movie poster (detail)
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    Movie Review

    Over-the-top acting and incoherent plot drag down Her Private Hell

    Alex Bentley
    Jul 23, 2026 | 3:00 pm
    Sophie Thatcher in Her Private Hell
    Photo courtesy of Neon
    Sophie Thatcher in Her Private Hell.

    Danish filmmaker Nicolas Winding Refn is not someone who plays nice with the general film world. His 2011 film Drive introduced him to American audiences in a big way, but that pulsating thriller was followed up with artier films like Only God Forgives and The Neon Demon that eschewed coherent plots in favor of moody, atmospheric pieces.

    Winding Refn, who hasn’t made a feature film in 10 years, has gone fully down the rabbit hole with Her Private Hell. Taking place in a liminal space that kind of resembles Earth but also feels like someone’s dreams/nightmares, the film focuses on Elle (Sophie Thatcher), an actor currently starring in a sci-fi film. Staying at a hotel with newcomer Hunter (Kristine Froseth), the two bond over their shared passion and the legend of Elle’s father, Johnny Thunders (Dougray Scott), who’s now married to Elle’s friend Dominique (Havana Rose Liu).

    After spending a good amount of (mostly incomprehensible) time with that group, Refn introduces Private K (Charles Melton), who seems to be living in post-World War II Japan. He is looking for his daughter, who might have been taken by a mysterious figure known as “Leatherman,” and he will stop at nothing to find her, fighting whoever stands in his way.

    It becomes clear almost right away that Winding Refn has no desire to engage in traditional storytelling in this film. The main characters wander through neon-drenched streets and buildings, which are often surrounded by a mist that is referred to on multiple occasions but never explained. Everyone speaks as if in a constant state of wonderment, and there are many moments where it’s unclear if events are actually happening, part of a movie-within-a-movie, or something else entirely.

    Unlike his previous films, Winding Refn has taken the characters in this film completely out of the real world, with every scene taking place in a sparsely decorated room or street that is obviously a movie set. While there are moments where this decision really works, especially the striking first shot of a human-like figure mixed in with a cityscape and clouds, most of the time it only adds to the stilted nature of the film as a whole.

    In fact, the entire movie has the feel of an avant-garde theater exercise. Every actor seems to be trying to outdo the others with awkward performances and out-sized reactions. Two very specific characters make appearances in both sides of the story for seemingly no reason other than to inject their weirdness into both spaces. The shocking violence that crops up on occasion would have more of an impact if it was related to anything intelligible.

    Thatcher (Companion) and Liu (Tuner) are among the young stars who have had breakout moments in recent years, but neither of them is served well by this hot mess of a movie. They, along with Melton, still demonstrate the talent they possess, but the oddity of the film weighs them down. Scott makes an impression for all the wrong reasons, while Froseth is called upon to play a character who might as well not be there at all.

    If there’s any kind of message that Winding Refn was trying to convey with Her Private Hell, it’s lost among the flashing lights, overload of pink, and jewel-like structures. Filmmakers who try to make art for art’s sake have a place in the world, but this film too often feels like people are making things up as they go, with no real goal in mind.

    ---

    Her Private Hell opens in theaters on July 24.

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