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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Celebrated TV screenwriter Peter Moffat was honoured with a top prize at the 2013 Writers' Guild Awards in London on Wednesday (13Nov13). Moffat picked up the Best TV Drama award for legal series Silk, starring Maxine Peake and Rupert Penry-Jones, seeing off competition from another of his shows, The Village, and hit crime drama Broadchurch.
Legendary playwright David Edgar was also feted at the ceremony, winning a prize for his "outstanding contribution to writing and writers".
The prizegiving is held annually by The Writers' Guild of Great Britain.
Imagine the sci-fi spirit of Blade Runner crossed with the drug-induced musings of Fear and Loathing in Las Vegas and set to trippy animation. Now consider that this animation plays like a book by Philip K. Dick (who also penned Blade Runner’s novel) and you’re likely spinning with imagery; welcome to A Scanner Darkly. Set in Anaheim California seven years into the future an undercover narc named Bob Arctor (Keanu Reeves) is assigned to spy on his druggie friends (Robert Downey Jr. Woody Harrelson Winona Ryder and Rory Cochrane). They’re all hooked on Substance D the latest suburban drug and its side effects--including possible manifestation of separate identities--can be downright nasty. Unfortunately Bob the “scanner ” is hooked too and he leads the ultimate double life unbeknownst to him: By day he partakes in “D” consumption; by night he watches the surveillance tapes as a cop--not realizing he may in turn be spying on himself. Scanner marks a welcome return of sorts for all five actors to their more decadent (cinematic) days. Downey and Harrelson are up to their old Natural Born Killers tricks even though their characters share nothing other than insanity with those in Oliver Stone’s movie. Downey perennially the most underrated actor steals every scene he’s in with his character James’ mile-a-minute psychobabble. Not far off is Reeves who somehow grasps Bob’s drug-induced psychosis almost too well and is much more comfy (and likable) playing the central character in a film that’s not carrying an entire production company. We haven’t seen Ryder in a major release since ‘02’s Mr. Deeds and although her part isn’t as meaty as the boys’ she gives a compelling performance. And Cochrane whose breakout role was the dopey burnout in Scanner director Richard Linklater’s Dazed and Confused is an often funny casualty of the paranoia associated with Substance D. Linklater’s last release was Bad News Bears and his next is October’s Fast Food Nation. Clearly and to his credit no director offers us as much variety with so many of his films clicking on all cylinders; to his discredit however parts of his latest film don’t click. The biggest flaw is the animation which while truly amazing to behold detaches us. What began as a winning experiment--on his 2001 philosoph-ilm Waking Life--can no longer be dismissed as such but rather a gimmick behind which Scanner hides. Sure it’s apt for Dick’s futuristic dystopia but this film didn’t need any added complexity to bog our brains down. In addition Linklater’s Scanner outcasts fail where his others have been immortalized: They don’t endear us--yes that truth is faithful to the source material but films can’t get away with such disconnect. Ultimately all we feel towards the characters is fascination over their animated likenesses. But Linklater is praiseworthy for even tackling such a novel and the adaptation will find a fervent cult following.
December 04, 2003 12:27pm EST
It might have been early in the morning, but that didn't stop everyone from Dido to Moby to Evanescence's Amy Lee from showing up at the announcement of the 46th annual Grammy Award nominations this morning at the Beverly Hilton Hotel in Beverly Hills, Calif.
OutKast, Jay-Z, Beyoncé, and the Neptunes' Pharrell Williams are tied for the lead with six nominations apiece. Missy Elliott, 50 Cent, Eminem, the Neptunes' Chad Hugo, Justin Timberlake, Ricky Skaggs, Evanescence, Luther Vandross and the late Warren Zevon are close behind with five noms each.
The four big categories--album of the year, record of the year, song of the year and best new artist--reflect the dominance of rap, hip-hop and R&B artists in mainstream music as well as the renewed popularity of rock music.
Up for album of the year are Missy Elliott's Under Construction, Timberlake's Justified, Evanescence's Fallen, the White Stripes' Elephant and OutKast's Speakerboxxx/The Love Below.
Hip-hop duo's OutKast's single "Hey Ya!" will go head-to-head for record of the year against Black Eyed Peas' "Where is the Love?," Beyoncé and Jay-Z's "Crazy in Love," Eminem's "Lose Yourself" and Coldplay's "Clocks."
For song of the year, which goes to the songwriter as opposed to the recording artist, nominees are Linda Perry for Christina Aguilera's "Beautiful," Eminem and Luis Resto for Eminem's "Lose Yourself," Richard Marx and Luther Vandross for Vandross' "Dance With My Father," Avril Lavigne and the Matrix for Lavigne's "I'm With You" and the late Warren Zevon and Jorge Calderon for Zevon's "Keep Me in Your Heart."
Sean Paul, 50 Cent, Evanescence, Fountains of Wayne and Heather Headley will compete for the best new artist award.
The Grammy Awards will be held on Sunday, February 8 at the Staples Center in Los Angeles and will be telecast on CBS from 8-11:30 p.m. (EST/PST).
Here is a partial list of nominations (a full list of nominees is posted on Grammy.com):
Album of the Year
Under Construction, Missy Elliott
Speakerboxxx/The Love Below, Outkast
Justified, Justin Timberlake
Elephant, The White Stripes
Record of the Year
"Crazy In Love," Beyoncé Featuring Jay-Z
"Where Is The Love?," Black Eyed Peas featuring Justin Timberlake
"Lose Yourself," Eminem
"Hey Ya," Outkast
Best New Artist
Fountains Of Wayne
Song of the Year
Linda Perry for "Beautiful" (performed by Christina Aguilera)
Richard Marx and Luther Vandross for "Dance With My Father"
Avril Lavigne and The Matrix (Lauren Christy, Graham Edwards and Scott Spock) for "I'm With You"
Jorge Calderón and Warren Zevon for "Keep Me In Your Heart"
Jeff Bass, Marshall Mathers (aka Eminem) and Luis Resto for "Lose Yourself"
Best Rap Song (NEW!)
Calvin Broadus (aka Snoop Dogg), Chad Hugo and Pharrell Williams for "Beautiful" (performed by Snoop Dogg Featuring Williams and Uncle Charlie Wilson)
Shawn Carter (aka Jay-Z), Chad Hugo and Pharrell Williams for "Excuse Me Miss" (performed by Jay-Z Featuring Williams)
Mike Elizondo, Curtis Jackson (aka 50 Cent) and A. Young for "In Da Club" (performed by 50 Cent)
Jeff Bass, Marshall Mathers and Luis Resto for "Lose Yourself" (performed by Eminem)
Missy Elliott and Tim Mosley for "Work It" (performed by Elliott)
Best Rap Album
Missy Elliott, Under Construction
50 Cent, Get Rich Or Die Tryin'
Jay-Z, The Blueprint2 - The Gift & The Curse
Outkast, Speakerboxxx/The Love Below
Best R&B Album
Erykah Badu, Worldwide Underground
Blu Cantrell, Bittersweet
Aretha Franklin, So Damn Happy
Isley Brothers Featuring Ronald Isley aka Mr. Biggs, Body Kiss
Luther Vandross, Dance With My Father
Best Contemporary R&B Album
Ashanti, Chapter II
Beyoncé, Dangerously In Love
Mary J. Blige, Love and Life
Anthony Hamilton, Comin' From Where I'm From
R. Kelly, Chocolate Factory
Best Rock Album
Foo Fighters, One By One
matchbox twenty, More Than You Think You Are
Nickelback, The Long Road
Best Rock Song
Evanescence, "Bring Me To Life" (David Hodges, Amy Lee and Ben Moody)
Train, "Calling All Angels" (Charlie Colin, Pat Monahan, Jimmy Stafford and Scott Underwood)
Bruce Springsteen and Warren Zevon, "Disorder In The House" (Jorge Calderón and Warren Zevon)
The White Stripes, "Seven Nation Army" (Jack White)
Nickelback, "Someday" (Chad Kroeger, Mike Kroeger, Ryan Peake and Ryan Vikedal)
Best Rock Performance By A Duo Or Group With Vocal
The White Stripes
Best Female Pop Vocal Performance
Christina Aguilera, "Beautiful"
Kelly Clarkson, "Miss Independent"
Dido, "White Flag"
Avril Lavigne, "I'm With You"
Sarah McLachlan, "Fallen"
Best Pop Collaboration With Vocals
Lil' Kim and Christina Aguilera, "Can't Hold Us Down"
Tony Bennett and k.d. lang for "La Vie En Rose"
Pink and William Orbit for "Feel Good Time"
Bob Dylan and Mavis Staples for "Gonna Change My Way Of Thinking"
Sting and Mary J. Blige for "Whenever I Say Your Name"
Best Pop Vocal Album
Christina Aguilera, Stripped
George Harrison, Brainwashed
Annie Lennox, Bare
Michael McDonald, Motown
Justin Timberlake, Justified
Best Pop Male Vocal Performance
George Harrison, "Any Road"
Michael McDonald, "Ain't No Mountain High Enough"
Sting, "Send Your Love"
Justin Timberlake, "Cry Me A River"
Warren Zevon, "Keep Me In Your Heart"
Best Pop Instrumental Performance
Ry Cooder and Manuel Galbán for "Patricia"
Dave Koz, "Honey-Dipped"
Randy Newman, "Seabiscuit"
The Brian Setzer Orchestra, "The Nutcracker Suite"
Best Traditional Pop Vocal Album
Bette Midler Sings, Bette Midler
Rosemary Clooney Songbook, Rosemary Clooney
The A Wonderful World, Tony Bennett and k.d. lang
As Time Goes By…The Great American Songbook: Volume II, Rod Stewart
The Movie Album, Barbra Streisand
Best Spoken Word Album For Children
Charlie And The Chocolate Factory, Eric Idle
Harry Potter And The Order of the Phoenix, Jim Dale
Prokofiev: Peter And The Wolf/Beintus: Wolf Tracks, Bill Clinton, Mikhail Gorbachev and Sophia Loren
Tell Me A Scary Story, Carl Reiner
Winnie-The-Pooh, Jim Broadbent
Best Spoken Word Album
Fear Itself, Don Cheadle
Lies And The Lying Liars Who Tell Them: A Fair And Balanced Look At The Right, Al Franken
Living History, Hillary Rodham Clinton
Nikki Giovanni Poetry Collection, Nikki Giovanni
When You Ride Alone You Ride With Bin Laden, Bill Maher
Best Female Country Vocal Performance
Patty Loveless, On Your Way Home
Martina McBride, This One's For The Girls
Dolly Parton, I'm Gone
Shania Twain, Forever And For Always
Best Country Collaboration With Vocals
Willie Nelson and Norah Jones, Wurlitzer Prize (I Don't Want To Get Over You)
Willie Nelson and Toby Keith, Beer For My Horses
June Carter Cash and Johnny Cash, Temptation
Alan Jackson and Jimmy Buffet, It's Five O'Clock Somewhere
James Taylor and Alison Krauss, How's The World Treating You
Best Country Album
Faith Hill, Cry
Lyle Lovett, My Baby Don't Tolerate
Willie Nelson and Ray Price, Run That One By Me One More Time
Willie Nelson, Live And Kickin'
Shania Twain, Up!
Compilation, Livin', Lovin', Losin' - Songs of the Louvin Brothers