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 Producers Guild of America will give out awards tonight, with the teams behind A Beautiful Mind, Moulin Rouge and Shrek among those in contention for its top honor. The producers of Harry Potter and the Sorcerer's Stone and Lord of the Rings: The Fellowship of the Ring are also in the running for the Darryl F. Zanuck Producer of the Year Award.
The honor is similar to the motion picture academy's best picture prize, and the winner is considered a near shoo-in for Oscar gold. The 1,500-member Producers Guild has correctly predicted the best picture Oscar winner 10 out
of the last 13 years.
A Beautiful Mind, Lord of the Rings and Moulin Rouge are
nominated for both the PGA award and best picture Oscar. But the guild opted for box office hits Shrek and Harry Potter for its other two slots,
while the Academy chose the indie critic faves In the Bedroom and Gosford Park.
The Producers Guild will also hand out awards in three television categories, with such shows as The West Wing and The Sopranos among those in the running.
The teams behind CSI: Crime Scene Investigation, Law & Order, Six Feet Under, The Sopranos and The West Wing are nominated for the Norman Felton Producer of the Year Award in episodic television-drama.
Contenders for the Danny Thomas Producer of the Year Award in episodic television-comedy are Frasier, Friends, Malcolm in the Middle, Sex and the City and Will & Grace.
The nominated producers of Frasier include the late David Angell, who was aboard one of the hijacked planes that crashed on Sept. 11.
Among the David L. Wolper Producer of the Year Award in longform television nominees are some well-known names--Billy Crystal for HBO's 61*, and Tom Hanks and Steven Spielberg for HBO's Band of Brothers.
Husband-and-wife actors Bradley Whitford of The West Wing and Jane Kaczmarek of Malcolm in the Middle will host the guild's 13th annual ceremony at the Century Plaza Hotel & Spa.
Formed in 1950, the Producers Guild has about 500 active members and 1,000 affiliated members.
Here is the full list of nominees:
Darryl F. Zanuck Theatrical Motion Picture Producer of the Year Award in Motion Pictures
A Beautiful Mind, Brian Grazer and Ron Howard
Harry Potter and the Sorcerer's Stone, David Heyman
Lord of the Rings: Fellowship of the Ring, Barrie M. Osborne, Peter Jackson and Fran Walsh
Moulin Rouge, Martin Brown, Baz Luhrmann and Fred Baron
Shrek, Aron Warner, John H. William and Jeffrey Katzenberg
Norman Felton Producer of the Year in Episodic Television-Drama
CSI Crime Scene Investigation, Jerry Bruckheimer, Ann M. Donahue, Carol Mendelsohn, Anthony Zuiker, Jonathan Littman, Sam Strangis, Danny
Cannon, Cynthia Chvatal and William Petersen
Law & Order, Dick Wolf, Barry Schindel, Jeffrey L. Hayes, Lewis H. Gould and Kati Johnston
Six Feet Under, Alan Ball, Robert Greenblatt, David Janollari and Alan Poul
The Sopranos, David Chase, Brad Grey, Mitchell Burgess, Robin Green, Ilene S. Landress and Terence Winter
The West Wing, John Wells, Aaron Sorkin, Thomas Schlamme, Llewellyn Wells, Christopher Misiano, Alex Graves and Michael Hissrich
Danny Thomas Producer of the Year Award in Episodic Television-Comedy
Frasier, David Angell, Peter Casey, Kelsey Grammer, David Lee, Dan O'Shannon, Mark Reisman and Maggie Blanc
Friends, Kevin S Bright, Marta Kauffman, David Crane, Shana Goldberg-Meehan, Scott Silveri, Andrew Reich, Ted Cohen and Todd Stevens
Malcolm in the Middle, Linwood Boomer and James S. Simons
Sex and the City, Michael Patrick King, Cindy Chupack, John P. Melfi and Sarah Jessica Parker
Will & Grace, James Burrows, Jeff Greenstein, Max Mutchnick, David Kohan and Tim Kaiser
David L. Wolper Producer of the Year Award in Longform Television
61*, Billy Crystal and Ross Greenburg
Anne Frank, Hans Proppe and David R. Kappes
Band of Brothers, Tom Hanks, Steven Spielberg and Tony To
Life With Judy Garland: Me and My Shadows, Craig Zadan, Neil Meron, Robert Allan Ackerman and Lorna Luft
Wit, Cary Brokaw