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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WHAT IT’S ABOUT?
Adapted by Bret Easton Ellis (Less Than Zero The Rules of Attraction American Psycho) from his own 1994 novel about the excesses of the rich and not-so-lucky in Hollywood circa 1983 this shallow film seems out of touch now in a time of economic turmoil — even if it is disguised as a period piece. Presented as a multi-story look at L.A. at its sordid best The Informers introduces us to a sleazy movie executive his estranged wife her poolboy lover a coked-out British punk rock star a fading newscaster a voyeuristic doorman a slimy ex-con and any number of beautiful vapid sexed-up twentysomethings who seem to spend their days either partying or snorting immune to any kind of social consciousness in an era marked by the dawn of the AIDS epidemic.
WHO’S IN IT?
The ensemble cast is split between older stars who’ve seen better days and a promising group of new talent unfortunately caught up in this mess. Billy Bob Thornton sleepwalks through the studio exec role while a pre-Wrestler Mickey Rourke (in a glorified cameo) shows us the kind of dreck he’s been stuck in the last few years as a tough ex-con who seems obsessed with someone called “the Indian.” Kim Basinger survives intact as a long-suffering Hollywood wife looking for a human connection from anyone who crosses her path while Winona Ryder projects just a shadow of her once-promising career as the aging newscaster. The late Brad Renfro who himself apparently fell victim to a drug-induced lifestyle is oddly touching as the peeping-tom doorman. Filling in the lost youth part of the equation are Jon Foster Amber Heard Austin Nichols Lou Taylor Pucci and amusing British star Mel Raido who do the best they can with their clothes on and off. Chris Isaak and Rhys Ifans also turn up in minor roles.
For what it’s worth The Informers has been handsomely shot and does capture emotional deadness well but unfortunately there’s nothing behind the façade of a group of characters we just don’t care about.
Ellis covered this all in Less Than Zero — same era same losers — so did we really need a LESS THAN Less Than Zero in 2009? It’s also a shame to see a fine group of actors so completely wasted both on screen and off.
BEST STONED-OUT LOSER SCENE:
The tenor of the whole film is summed up in the ice cube-filled bathtub sequence where a drunken almost catatonic British rocker proceeds to nearly kill himself trying to light a cigarette and answer a phone that NEVER stops ringing.
NETFLIX OR MULTIPLEX:
This movie may already be available on DVD before you finish reading this review.
Spanning from WWI to the 21st century Eric Roth’s screenplay (based loosely on a 1922 short story by F. Scott Fitzgerald) tells the unique story of a man named Benjamin Button (Brad Pitt). He is born in New Orleans as a very old baby the equivalent of a man in his 80s who then ages backward into youth over the better part of a century. The film is told in flashback by a very old dying woman Daisy (Cate Blanchett) who recounts her tale to her daughter (Julia Ormond) from a hospital bed during Hurricane Katrina. Left on the doorstep of a retirement home one night by his father (Jason Flemyng) Benjamin is brought up by Queenie (Taraji P. Henson) who runs the place. While there he meets a young girl Daisy who will become a key figure -- romantically and otherwise -- in his life. Ben does have some grand adventures: He goes to work on a boat sees sea battles during WWII finds love with an older married woman (Tilda Swinton) -- and gets progressively younger as the decades fly by. It all manages to be alternately haunting romantic funny epic emotional and incredibly moving and will likely to stay with you a lifetime. Brad Pitt manages to deliver a thoughtful and subtle performance through all the special effects makeup and CGI. He does so much just by using his eyes. Cate Blanchett is equally fine as she plays Daisy from a teenager to an old woman and matches Pitt in bringing an entire lifetime skillfully to light. Her aging makeup is completely natural and she’s very moving in the hospital scenes opposite Ormond. Henson is just marvelous as Queenie a warm and understanding soul. Swinton is elegant and memorable in her few crucial encounters with Ben and plays beautifully off Pitt. Jared Harris (TV’s The Riches) as the colorful Captain Mike who hires Ben on his tug boat and Flemyng (The League of Extraordinary Gentlemen) as Ben’s father are also effective in their brief screen time. Interestingly Benjamin Button has been gestating for decades in the Hollywood firmament but needed time for the proper technology to catch up to it. Director David Fincher (Zodiac Fight Club) with his early background at George Lucas’ ILM proves to be the perfect choice to marry a compelling story with spectacular visual effects achievement. He did not want to do the film unless the technology allowed one actor to play the role throughout the course of the film. Remarkably they were able to achieve this superimposing Brad Pitt’s face and eyes into all the incarnations of Ben Button. In one sequence Pitt looks just like he did in Thelma and Louise. It’s an amazing feat. He has seamlessly created a unique universe without ever bringing attention to it advancing the art of screen storytelling leaps and bounds ahead of everything else that has come before. Benjamin Button is a plaintive and provocative meditation of life death and what we do while we are here. It’s the stuff of dreams.
Don't expect too many happy moments in Beyond Borders. Even though it follows a rather tepid romance the movie is more a travelogue of third-world horrors than anything else. Separated into three time periods the film begins in 1984 when newly married socialite Sarah Jordan (Angelina Jolie) first sees renegade doctor Nick Callahan (Clive Owen) at a London event delivering a fiery plea on behalf of starving children in Ethiopia. His intense commitment stirs Sarah's soul--so much so that she drops everything to take food and supplies to the dusty drought-ridden area herself. In Ethiopia she meets the unorthodox doctor face to face and witnesses the determination that he and his non-governmental organization (NGO) in saving lives. Sarah and Nick make a connection but Nick is too involved in his work to act on it and she is married after all (sigh). Four years later Sarah's marriage has turned sour but she now has a son and a life's passion working for the United Nations refugee agency. When the opportunity arises to see Nick again Sarah travels to Cambodia at the height of country's bloody civil war with a shipment of medical supplies. Amidst life-threatening situations she and Nick consummate their feelings for one another at last. But alas Nick is aware his devotion to his work hampers his capacity for love and he leaves her again (heavy sigh). The final segment takes place five years later when Sarah sets out on a quest to rescue Nick who has been captured in war-torn Chechnya. Will Sarah be able to save him so they can finally be reunited? Remember there are no happy moments in this film.
After reading the script for Beyond Borders which was filmed in 2001 Angelina Jolie began her real-life UN efforts so in a way Jolie's fictional alter ego reflects the Oscar-winning actress' real life. As Sarah learns about third-world strife she decides to dedicate her life to helping others through the United Nations as did Jolie who became a Goodwill Ambassador to the United Nations High Commissioner for Refugees in 2001 a role she has extended for two more years. In Beyond Borders whether Sarah is nursing a child near death from starvation or standing up to a corrupt Cambodian general it's empowering to see Jolie the humanitarian pouring out her true feelings on screen. Owen (Gosford Park) does a more than believable job as the hard-bitten Nick who plays the character full of fury and grace as he is willing even to sell his soul to the devil--in this case a CIA operative who uses Nick to transport anything from secret documents to guns to the troubled areas in exchange for money to fund the NGO's efforts. Yet the film's main flaw lies in the lack of chemistry between Nick and Sarah. Nick is the smarter of the two--he knows his one true love is his work. Sarah is just too besotted to realize their affair--and her character arc--is doomed from the start.
Director Martin Campbell knows how to create spectacular vistas having directed such scenery-heavy films such as Vertical Limit and GoldenEye. From London's gray skies to Ethiopia's orange desert Cambodia's lush greenery to Chechnya's stark white winter Campbell's film is a visually stimulating treat. By far the most moving and alarming scenes take place in Ethiopia which was filmed on location in Africa's Namib desert. Seeing the emaciated (albeit mostly CGI) bodies of the dead and dying in the choking desert is enough to move anyone into humanitarian action. Be that as it may Borders should stop for a moment and give more history on the conflicts brewing in each beautiful yet troubled region--particularly by the time we get to Chechnya (actually Quebec). Rather than give any background on the region's raging civil war it simply shows bombed-out buildings and shooting in the streets and follows Sarah into the snowy woods on the search for Nick. While the other parts of Beyond Borders inspire your spirit this last part focuses solely on the love story and frankly it's just not as interesting