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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In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.
This weekend at the box office, moviegoers finally got to work out their frustrations.
As expected, the new comedy Anger Management beat the daylights out of the competition with a whooping $44.5 million,* making it the highest opener of 2003 (topping Daredevil, which opened in February with $40.3 million).
"The comedy genre this year is just incapable of burning out," Paul Dergarabedian, president of box office tracker Exhibitor Relations told the Associated Press. "People are looking to blow off steam. What better way than seeing a movie that combines Jack Nicholson and Adam Sandler?"
And Management was apparently all moviegoers wanted to see this weekend, as the rest of the list paled miserably in comparison. Last week's top dog Phone Booth, came in at No.2 with a measly $7.5 million, while the teenybopper What a Girl Wants took third with $6.7 million.
Rounding out the Top Five were the enduring comedy Bringing Down the House, which held the fourth spot with $4.6 million and the cop drama A Man Apart, which came in a No. 5 with $4.4 million. Horror newcomer House of 1,000 Corpses opened in seventh place with $3.4 million in limited theaters.
Even with Management's huge numbers, this weekend's box office only jumped five percent from last weekend. Still, the film helped revive a four-week slump, which is a good sign that things may finally be picking up.
THE TOP TEN
Sony Pictures' PG-13 Anger Management screamed its way to the top with an ESTIMATED $44.5 million in 3,551 theaters ($12,532 per theater).
The film's strong opening makes it the best April opener of all time, beating out The Scorpion King, which opened in 2002 at $36 million. It's also the best opening film for both its stars Jack Nicholson and Adam Sandler. Nicholson's best opening to date had been Batman, which hit theaters in 1989 and took in $40.5 million its first weekend, while Sandler's 1999 Big Daddy was his biggest at $41.5 million.
Management follows the exploits of a mild-mannered man who is mistakenly ordered into an anger management program to battle his inner demons--but it turns out the only real demon in his life is his unorthodox therapist.
Directed by Peter Segal, it stars Sandler, Nicholson, Marisa Tomei and John Turturro.
20th Century Fox's R-rated Phone Booth called in at No. 2 with an ESTIMATED $7.5 million, dropping 50 percent from its top spot last week. The thriller about a man trapped in a phone booth by a homicidal sniper played at 2,489 theaters ($3,023 per theater) and its cume is approximately $26.6 million.
Directed by Joel Schumacher, it stars Colin Farrell, Kiefer Sutherland and Forest Whitaker.
Slipping down a spot to third was Warner Bros.' PG-rated What a Girl Wants with an ESTIMATED $6.7 million (-41%) at 2,964 theaters (+ 8 theaters, $2,260 per theater). The Teen Beat comedy, which follows a young American girl who heads to London in hopes of meeting the father she's never known, a high-profile politician, has collected approximately $20.4 million thus far.
Directed by Dennie Gordon, it stars Amanda Bynes, Kelly Preston and Colin Firth.
Proving comedies are indeed the flavor of the year, Buena Vista's PG-13 Bringing Down the House moved up one place to fourth with an ESTIMATED $4.6 million (-45%) at 2,830 theaters (-80 theaters, $1,625 per theater). Now in its sixth week, the laffer's cume is approximately $117.7 million.
Directed by Adam Shankman, it stars Steve Martin and Queen Latifah.
New Line Cinema's R-rated A Man Apart dropped a few notches to fifth place with an ESTIMATED $4.4 million (-60%) at 2,495 theaters (+36 theaters, $1,784 per theater). The cop drama--about a U.S. narcotics officer who takes on a Tijuana drug cartel to get retribution for the murder of his wife--has taken in approximately $18.2 million so far.
Directed by F. Gary Gray, it stars Vin Diesel and Larenz Tate.
DreamWorks' PG-13 Head of State slid from No. 4 to No.6 with an ESTIMATED $4 million (-53%) at 2,256 theaters (+101 theaters, $1,773 per theater). Its cume is approximately $30.9 million.
Directed by and starring Chris Rock, the film also stars Bernie Mac, Lynn Whitfield, Robin Givens and Tamala Jones.
And for those horror fans--Lions Gate's R-rated House of 1,000 Corpses debuted in seventh place with an ESTIMATED $3.4 million at 595 theaters ($5,714 per theater).
Set in the 1970s, the film revolves around two young couples who take a misguided tour onto the back roads of America and are set upon by a bizarre family of psychotics. Murder, cannibalism and satanic rituals are just a few of the thousand horrors that await.
Director by heavy-metal singer Rob Zombie, it stars Karen Black, Michael J. Pollard, Bill Moseley and Chris Hardwick.
*Box office estimates provided by Exhibitor Relations, Inc.
Miramax Films' PG-13 Chicago held onto eighth place with an ESTIMATED $3.29 million (-36%) at 2,114 theaters (-281 theaters, $1,556 per theater). Now in its 16th week, Miramax's most profitable film has earned approximately $156.9 million.
Directed by Rob Marshall, it stars Renee Zellweger, Catherine Zeta-Jones and Richard Gere.
Taking a dive three spots to dig in at No. 9, ,Paramount Pictures' PG-13 The Core shoveled in an ESTIMATED $3.22 million (-48%) at 3,019 theaters ($1,068 per theater). The disaster thriller about saving the Earth by jumpstarting its core has made $25.6 million in three weeks.
Directed by Jon Amiel, it stars Hilary Swank, Aaron Eckhart, Delroy Lindo, Stanley Tucci, D.J. Qualls and Tcheky Karyo.
Also shaving off three spots to claim tenth place was Sony's R-rated Basic, which came in with an ESTIMATED $2.2 million (-59%) at 2,246 theaters (-630 theaters, $980 per theater). Its cume is approximately $23.8 million.
Directed by John McTiernan, it stars John Travolta, Samuel L. Jackson and Connie Nielsen.
Guess word of mouth counts for something. The critically acclaimed R-rated independent film Better Luck Tomorrow from Paramount Classics opened in 13 theaters with an ESTIMATED $398,489, averaging a very healthy $30,653 per theater.
The film plays on the story of straight-A, Asian-American teens in Southern California who, bored with their suburban lives, slide into petty crimes that lead to violence.
"These kids could be anybody," Van Toffler, MTV president told AP. "It's silly to underestimate the eclectic moviegoing tastes of our demographic. The cast doesn't have to look or feel like them for them to want to see it."
Directed by Justin Lin, it stars Parry Shen, Jason Tobin, John Cho and Karin Anna Cheung.
The Top 12 films this weekend grossed an ESTIMATED $ 86.9 million, up 5.76 percent from last week when they totaled $82.2 million. The Top 12 were also up 6.30 percent from last year when they totaled $81.7 million.
Last year, Paramount Pictures' R-rated Changing Lanes opened in the top spot with $17.1 million at 2,613 theaters ($6,555 per theaters). The Panic Room came in No.2 with $10.6 million at 3,119 theaters ($3,405 per theater) while Sony's The Sweetest Thing debuted in third with $9.4 million at 2,670 theaters ($3,532 per theater).