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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Man or woman cannot survive on DVD box sets and possible Netflix reboots alone when it comes to enjoying our favorite TV casts. What better way for television's most dynamic duos to live on than in podcast form? With that thinking in mind, former co-stars of the beloved '90s Nickelodeon show The Adventures of Pete & Pete, Michael Maronna (Big Pete) and Danny Tamberelli (Little Pete)are hosting their own podcast. "The Adventures of Danny and Mike," will send them out on the road to try their hand at different jobs such as guest-bartending in Montreal or managing an ice cream truck in Brooklyn. I guess that means Tamberelli will have to take a break from touring with his jam band. The recent announcement got us thinking of what other former duos should team up again to join the podcast-sphere.
Larry David & Leon Black
While some would argue that Larry and Jeff from Curb Your Enthusiasm would make the most compatible hosts, we think it would take Leon (played by J.B Smoove) to really push Larry's buttons and make for much more interesting airtime. The two already briefly reunited for David’s HBO Film, Clear History, but that gives us just a taste of what these two masters of improv could accomplish if given their own show. Let's call it "Tit for Tat" for now.
Daria Morgendorffer & Jane Lane
If you’re going to tease millennials with a Pete & Pete reunion, they why not give them what they really want – a Daria and Jane reunion. They've already mastered the art of voice-acting, so a podcast would be a natural transition for both Tracy Grandstaff (Daria) and Wendy Hoopes (Jane). They could talk about the "Plastic of the Week" and expose everyday hypocrisy in a very, very soothing voice. Granted, Grandstaff's schedule is tight being a vice-president at Comedy Central and all and Hoopes is still acting, but we think they could make it work for the sake of the greater good.
Bret McKenzie and Jemaine Clement
These comedic troubadours from New Zealand started off as a BBC radio show, so it makes sense for them to return to their roots. Flight of the Conchords made an early exit from HBO – leaving us with an emotional void that only the sweet falsetto of Bret McKenzie and smooth dulcet tones of Jermaine Clement can fill.
Dr. Frasier & Dr. Miles Crane
For the NPR-listening, tweed-clad set, a spin-off Frasier podcast would be just the thing to ease into your morning and fend off road rage with the some spirited discourse from our favorite buttoned-down WASP brothers. Kelsey Grammer would be a natural fit, having already played a radio host in the sitcom and David Hyde Pierce could diagnose people's problems with faux psychiatry. Having won a Tony, perhaps he could occasionally break out into song while Grammer dishes out dirt on Real Housewives of Beverly Hills.
Rickie Vasquez & Rayanne Graff
Claire Danes may have received all the accolades, but for us, My So-Called Life revolved around Rickie & Rayanne played by Wilson Cruz and A.J. Langer. Their chemistry was unmistakable and their sartorial choices have probably inspired thousands of tumblr themes, so why not bring this fierce twosome back together? Cruz can fluctuate into talking about modern gay culture and basic b**tches while Langer or shall we call her "Lady Courtenay," can reveal what her day-to-day life is like being married to an English Earl.
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Director Alexander Payne's (Election Sideways) new film opens over sprawling landscape shots of Hawaii's scenic suburbia accompanied by George Clooney's character Matt King summing up his current predicament: "Paradise can go fuck itself." The reaction unfortunately is reasonable.
We pick up with King an ancestor of Hawaiian royalty in the middle of deliberations over a plot of land handed down through his family over generations. With every uncle aunt and cosign whispering opinions into his ear King is suddenly presented with an even greater problem: taking care of his two daughters. A boating accident leaves his wife in a coma forcing Matt to take a true parenting role with his young socially-troubled daughter Scottie (Amara Miller) and his rebellious teen Alexandra (Shailene Woodley) who was previously shipped off to boarding school. Matt awkwardly hunts for the emotional glue necessary for the mismatched bunch to become "a family " but matters are made even more complicated when Alex reveals that her mother was cheating on him before the accident. Murphy's Law is in full effect.
With The Descendants Payne continues to explore and discover the inherent humor in life's melancholic situations unfolding Matt's quest for understanding like a road movie across Hawaii's many islands. Simultaneously preparing for the end of his wife's death and searching for the identity of her lover Matt crosses paths with a number of perfectly cast side characters who act as mirrors to his best and worst qualities: his father-in-law Scott (Robert Foster) who belittles Matt for never taking care of his daughter; Hugh (Beau Bridges) an opportunistic cousin who pressures Matt to sell the land; Alexandra's dunce of a boyfriend Sid (Nick Krause) who always has the wrong thing to say; and Julie (Judy Greer) the wife of the adulterer in question. Colorful yet real Matt experiences a definitive moment with each of them yet the picture never feels sporadic or episodic.
Clooney and Woodley help gel these sequences together as they observe experience and butt heads as equals. Clooney's own magnetism stands in the way of making Matt a fully dimensional character but he shines when playing off his quick-witted daughter. His reactions are heartbreaking—but it's the moments when he has to put himself out there that never quite ring true. But the script by Nat Faxon Jim Rash and Payne gives Clooney plenty of opportunities to work his magic visualizing his struggle as opposed to vomiting it out like so many of today's talky dramas.
The Descendants is a tender cinematic experience an introspective and heartwarming film unafraid to convey its story with pleasing simplicity. Clooney stands out with a solid performance but like many of Payne's films it's the eclectic ensemble and muted backdrop that give the movie its real texture. The paradise of Descendants isn't all its cracked up to be but for movie-goers it's bliss.