'The Hunger Games' (2012) Review: A Strong Cast and Fascinating World Keep the Odds in Its Favour
By Dan Bremner - November 13, 2026
The first instalment of the colossally popular The Hunger Games franchise, based on Suzanne Collins’ novel of the same name, hit theatres in 2012, and revisiting it on the big screen at the Odeon in Guildford left me with a mix of nostalgia and unease. I was 15 year-old when this film debuted, and now, 14 years later at 29, I couldn’t help but feel a little sick from the passage of time. Seeing audience members who were likely teenagers at the original release now sitting with their young children was a jarring, existential gut-punch. I’d been meaning to revisit the series for a while, so catching this in a cinema again was a welcome chance to reflect.
This series has never fully clicked with me, though I’ll admit it’s grown on me over time. As a teen, I’d dismiss it with shallow “Battle Royale knock-off” jabs, ignoring what sets it apart, but maturity has softened that stance. The YA adaptation boom is mostly behind us now, and The Hunger Games emerged during a flood of similar films. Yet, aside from Harry Potter, it stands as one of the strongest of its kind. Each rewatch reveals more to appreciate, even if it’s weighed down by minor flaws and the predictable tropes you’d expect from the genre. The shaky-cam violence, for instance, dilutes the harshness of the brutality, softening what could’ve been truly visceral moments into a jittery blur. It’s a choice that undercuts the story’s stakes, making the violence feel less real than it should.
That said, the sci-fi dystopian world-building is a standout triumph. I’m consistently more captivated by the first half of the film, exploring the oppressed Districts and the garish excess of Panem, than the titular Games of Hunger themselves. The freaky, vivid details suck me in: rich wankers flaunting midget-gem-shaped, boldly dyed hairstyles, absurd outfits, and makeup so pale it rivals Daniel Stern’s flower-smeared face in Home Alone 2.
The Panem society’s obsession with treating the Games and its contestants like a warped popularity contest is both horrifying and fascinating. The production design and atmosphere are so rich that I almost wish the story lingered there instead of rushing into the arena. There's a real life to the production design that makes Panam feel fully realised and lived in.
Once the Games kick off, though, the film shifts gears into a survival gauntlet that’s equal parts tense and frustrating. The arena is a sprawling, manipulated forest offering some gripping moments, like Katniss outsmarting her foes with traps, dodging fireballs hurled by the Gamemakers to push her towards other contestants, or even the inclusion of council estate pitbulls and giant hornets added to the mix. But the shaky-cam approach saps the action of its punch, turning brutal kills into a nauseating mess of quick cuts.
The Career tributes, trained killers from wealthier districts, are menacing enough, yet their threat feels blunted by the choreography and editing. It’s still thrilling to watch Katniss rely on her wits and archery skills, but the Games themselves never quite live up to the build-up, leaving me more intrigued by the politics outside the arena than the bloodshed within it. One thing I also noticed this time, is while I understand Katniss has to be seen as a likeable lead to root for, it is noticeable how every single one of her kills are actively in self-defence, relieving her of any morally grey or hardening choice that could have added to the character a bit more.
The cast is an undeniable strength, elevating the material beyond its YA roots. Jennifer Lawrence carries the film as Katniss with a raw, grounded intensity. While the ensemble that includes Stanley Tucci, Elizabeth Banks and Donald Sutherland brings Panem’s twisted elite to life with flair. Woody Harrelson, though, is the highlight as Haymitch, the boozy, cynical mentor. He steals every scene with a mix of sarcasm and surprising depth, turning a potentially one-note role into something that is highly memorable.
On the flip side, Peeta (Josh Hutcherson) is an absolute drag. He’s a soggy, whiny loaf of a character, supposedly a baker, yet he brings zero flavor. His bland devotion and lack of edge make him a weak link, especially next to Katniss’ fire. I’ve never understood the appeal, and he drags down the dynamic every time he’s on screen. Had completely forgotten that Jack Quaid and Esther Orphan both pop up as horrifically violent tributes, no depth to them, but fun to see them appear.
The Hunger Games holds up as a flawed but solid entry in the YA adaptations roster. The world-building and cast help things stand apart, even if the shaky-cam violence and familiar beats dull some of its sharper edges. I'm always more taken by the first half that builds this world than the actual Games themselves, but I always find enough to enjoy overall.
Follow our Retro Reviews of 'The Hunger Games' series as we get closer to the release of 'The Hunger Games: Sunrise on the Reaping'.
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Dan Bremner
Writer
Dan is a writer from Guildford with a love for all things genre, schlocky, and thoroughly '80s, and a part-time philanthropist.
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