Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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The Painted Veil is based on W. Somerset Maugham’s 1925 novel about British colonialism in China. The film's cohesion is largely helped by a user-friendly script from Ron Nyswaner (Philadelphia) who tackles amorphous movie-unfriendly themes like emotional longing. We meet Walter Fane (Edward Norton) a lovesick middle-class bacteriologist who spots Kitty (Naomi Watts) an upper-class socialite approaching the upper limits of marrying age at a party. Walter not smooth with women woos Kitty with his intensity and persuades her to join him in cholera-stricken China. With a wandering eye Kitty is soon caught in a lusty affair with a local British diplomat Charlie Townsend (Liev Schreiber) but Walter eventually forgives her but imprisons her in the desolate green south China countryside. The film's crucial problem is its setting of a Western-centric love story on top of a palette of Chinese human death and disease albeit framed beautifully and exotically. Norton and Watts take producers' credits as well. The actor pushed for years to get The Painted Veil made painstakingly and authentically co-produced with the China Film Board. These facts hint at the commitment and intelligence Oscar nominees Norton and Watts bring. Norton always impresses and surprises. Each role in his resume is tasty in its own way a wholly new creation and never derivative. In Norton's previous film The Illusionist he was a similarly powerful opaque character from a far away time and place. Although sometimes seeming she’s on autopilot Watts is also brilliantly underrated as the conflicted Kitty who doesn't love the man she married even though he loves her as much as she loves herself. Her tricky darting eyes mixed with uneasy body language tells us we don't know what to expect other than that she'll probably sabotage herself. Toby Jones--who played Truman Capote to critics' acclaim in Infamous--does a provocative turn as the mysterious opium-smoking neighbor. The Painted Veil falls short of greatness when the second half crumbles into laziness right when the emotional impact should be the strongest. Director John Curran is relatively untested ( We Don't Live Here Anymore) especially with difficult material and he stumbles a bit in this ambitious drama. Veil's storytelling meanders with a few unnecessary scenes. Lame mini-montages lapse into TV movie territory. Attention to detail however (minus Norton's highlighted hair) is superb. Four exquisite wisely picked Chinese locations were used in concert with local actors and crew to produce an internationally representative work of Chinese/American art. Interior sets are post-WWI prudish and upper-class underlying the movie's "painted " hidden ideas. Old-world rickshaws and water systems are true to the time. The haunting soundtrack feels postmodern and contemporary. But overall like last year's disappointing Memoirs of a Geisha the mish-mash of American and Asian story themes doesn't quite work.
Go ahead and throw logic out the window on this one folks. A mysterious Tibetan monk with no name (Chow Yun-Fat) has spent a lifetime protecting an ancient document known as the Scroll of the Ultimate--a parchment that will yield unlimited power to anyone who reads it. After running around the globe for 60 years the Monk knows it's time to hang up his robes and find a new guardian but spotting a successor isn't easy in the hustle bustle of the 21st century where Tibetan traditions and rituals are almost non-existent. Maybe the next protector should be the crafty rebellious pickpocket Kar (Seann William Scott) who learned martial arts from watching kung-fu movies; after all Kar helps the Monk escape from the scroll's most avid pursuer Strucker (Karel Roden) a sadistic old Nazi who wants to use the its power to rid the planet of inferior races. Or maybe the Monk's successor is the elusive but beautiful bad girl Jade (James King) whose skills are numerous and who seems to pop up to help Kar whenever he gets in a jam. Whomever the Monk eventually chooses they must first unite to battle the ultimate enemy--and keep the scroll safe.
If it weren't for Yun-Fat Bulletproof Monk would be pretty hopeless. The charismatic actor finds a nice balance no matter what he does and in this case he resists the obvious temptation to play the Monk as a fish out of water in the big city. Since he's long been one of Chinese cinema's most well-known action heroes he's definitely in his element in Monk standing on top of a car with guns blazing and the Zen master persona he discovered in Crouching Tiger Hidden Dragon serves him well here too. The script requires him to spout off fortune-cookie mumbo jumbo but he manages to do it without sounding ridiculous. The petite King actually holds her own as the brawny-yet-brainy tough chick but the wisecracking Scott is completely out of his element for the first time in his career. He handles the little comedic tidbits well but in no way is it possible to believe that the "Dude" who couldn't find his car and the jackass who drank someone else's bodily fluids in American Pie can be a martial arts hero who saves the planet. It just isn't going to happen.
Bulletproof Monk relies on the ghosts of movies past including Crouching Tiger and the 1986 Eddie Murphy stinker The Golden Child for its plot which results in a film that's chock full of cliches especially the evil Nazi who has spent 60 years chasing after the scroll using his tow-headed granddaughter whose cover is an organization for human rights to do the dirty work. A few bright moments with Yun-Fat coupled with director Paul Hunter's good use of fast-paced martial arts action make the rest of this unimaginative movie somewhat palatable--even novices Williams and King look good doing the moves--but all in all Bulletproof Monk is shooting blanks.
Li Mu Bai (Chow Yun Fat) is the most skilled martial artist in the region
yet after years of training and fighting he's ready to give it all up to
lead a new peaceful life. Only he's got two more challenges ahead of him:
love and a young mysterious thief with martial arts skills like he's never
seen. Before he can slip into retirement he attempts to make a deal with
the young thief: He'll become her master and polish her martial arts if
she'll turn from her evil ways.
Unlike most martial arts films this one is an equal-opportunity flick -
with the two female co-stars Michelle Yeoh and Zhang Ziyi doing the bulk
of the karate chopping. Their scenes are one of the many highlights
throughout this little gem which is told in the form of an ancient fantasy.
Fat's presence dominates the screen with his portrayal of a wise and highly
skilled martial artist who can deliver deadly damage to a foe with a single
finger jab. Ziyi's also delivers an impeccable performance of a character
who can be innocent at first glance but when provoked can unleash a flurry
of kicks jabs and tumbling acrobatics.
Ang Lee (The Ice Storm Eat Drink Man Woman) adds a very different film
to his impressive repertoire. Here he plays on his childhood fantasies in
Taiwan to create world of ancient martial artists who fly through the air
during their many fighting sequences. As corny as it may seem Lee's
character's supernatural abilities give these sequences an air of elegance
to the martial arts. And he's managed to skillfully blend the special
effects with a romantic subplot in China's beautifully spacious landscapes
of deserts and lush forests.