A producer of comic and futuristic theatrical fare who came out of Roger Corman's New World low-budget factory, Jon Davison made a name for himself apart from Corman as producer of the comedy hit "Air...
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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Fans of the British sci-fi series were recently sent into a frenzy when reports suggested TV bosses were planning to bring together all of the remaining actors who previously played the doctor for an anniversary episode with current star Matt Smith.
However, when a follower on Twitter.com asked sixth Doctor Who Baker if the story is true, he replied, "(I) wish I could (say it was true) but alas... I am not aware of any 50th (anniversary) stories nor have I been approached."
Current plans to mark the show's 50th anniversary celebrations this year (13) include a series of tributes at the British Film Institute (BFI) in London throughout 2013.
A number of the show's former stars will give talks at the institute's headquarters and chat with fans at monthly question-and-answer sessions.
Doctor Who has previously been played by actors including David Tennant, Sylvester McCoy and Peter Davison.
The actor who played the first doctor, William Hartnell, died in 1975, and Patrick Troughton and Jon Pertwee have also passed away.
Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
DreamWorks' "Gladiator" should be victorious again on the box office battlefield this weekend.
With "Gladiator" still commanding a 30% first-choice tracking score among opening and released movies, there's little doubt the R-rated action adventure will keep a tight grip on the top spot.
If "Gladiator" slips 36% from its $34.8 million opening, its second weekend tribute will still be a handsome sum of about $22 million.
DreamWorks is distributing "Gladiator" domestically, while Universal is releasing it internationally. The two studios co-financed the film, which reportedly cost $103 million to make, and are 50-50 partners, sharing equally in its success.
Directed by Ridley Scott, it stars Russell Crowe.
Warner Bros. and Franchise Pictures' PG-13 rated sci-fi action adventure "Battlefield Earth," opening at 3,307 theaters, should win the battle for second place. With its 19% overall first-choice tracking score, it's likely to gross about $10 million.
"It's a 22% first choice for males under 25 and a 29% first choice for males over 25," explains one studio executive. "Its awareness is 80% and the definite interest is 42% for males."
Directed by Roger Christian, it stars John Travolta, Barry Pepper and Forest Whitaker.
Universal's PG-13-rated comedy "Screwed," opening at 1,760 theaters, is a 12% first choice in the tracking. It is likely to be third with $7-8 million.
"It certainly did pop on the tracking," says an insider. "It's a 20% first choice for males. The awareness for males is 81% and the definite interest is 48% for males."
Written and directed by Scott Alexander and Larry Karaszewski, it stars Norm MacDonald, David Chappelle and Danny DeVito.
Universal's "U-571" should float downstream two slots to fourth place in its fourth week. If the PG-13-rated World War II submarine drama falls 40%, it will gross about $5 million.
Directed by Jonathan Mostow, "U-571" stars Matthew McConaughey, Bill Paxton, Harvey Keitel and Jon Bon Jovi.
New Line's PG-13-rated time thriller "Frequency" should tumble one peg to fifth place in its third week. If it slides 35%, it will do about $4 million.
Directed by Gregory Hoblit, it stars Dennis Quaid and Jim Caviezel.
Columbia's PG-13-rated youth appeal dance film "Center Stage," opening at 1,506 theaters, isn't likely to kick off in the Top Five given its modest 7% first-choice tracking.
"It's not showing on the tracking much at all," notes one studio executive.
Directed by Nicholas Hytner, it stars Amanda Schull, Zoe Saldana, Susan May Pratt, Peter Gallagher, Donna Murphy and Ethan Stiefel.
20th Century Fox's PG-13-rated drama "Where the Heart Is," a $9 million domestic pick up for Fox, was fifth with $5.1 million last week. Its third week should see it depart the Top Five.
Directed and produced by Matt Williams, it stars Natalie Portman, Ashley Judd, Stockard Channing and Joan Cusack.
Columbia's "I Dreamed Of Africa," which opened in ninth place last week to just $2.4 million, will be struggling to stay in the Top Ten in its second week.
"Africa," made on a mid-range budget of about $34 million, is directed by Hugh Hudson and stars Kim Basinger.
Filling out lower rungs: "Flintstones in Viva Rock Vegas" and "Love & Basketball."
On the limited release front: Miramax Films opens its R-rated contemporary version of "Hamlet" in New York and Los Angeles.
Directed by Michael Almereyda, it stars Ethan Hawke, Kyle MacLachlan, Sam Shepard, Diane Venora, Bill Murray, Liev Schreiber and Julia Stiles.
Although this weekend won't set any records, insiders are happy because they anticipate a strong summer season spread around among most of the major studios. That's exactly the sort of summer theater owners enjoy most since it keeps their multiplexes filled with moviegoers, who are certain to buy their share of popcorn, candy and soda.
This summer should see business spread around among many mid-sized hits rather than concentrated, as it was last summer, in two mega-hits -- Fox and Lucasfilm's "Star Wars: Episode One - The Phantom Menace" and New Line's "Austin Powers: The Spy Who Shagged Me." Together, the two sequels did about $626 million in ticket sales through Labor Day weekend.
This summer there already are very high hopes for Paramount's "Mission: Impossible 2," which will own Memorial Day weekend. Although "M: I-2" doesn't arrive until May 24, it's already an enviable 23% first choice in the tracking. The original "Mission: Impossible" opened May 22, 1996, and grossed $180.9 million domestically, $284 million internationally -- for a worldwide total of $464.9 million.
Memorial Day weekend hits don't always wind up as the summer's biggest grossing films. The original "Mission," for example, was out-grossed by "Twister," which opened nearly two weeks earlier on May 10, 1996, and went on to gross $241.7 million domestically, $254 million internationally -- for a worldwide cume of $495.7 million.
Hollywood has found over the years that movies opening in mid-June or for July Fourth weekend often are the ones that rewrite the record books.
For instance, "Jurassic Park" opened June 11, 1993, and did $357 million domestically. "Independence Day" opened July 3, 1996, and did $306.2 million domestically. "The Lion King" arrived June 15, 1994, and did $312.8 million domestically. "Forrest Gump" opened July 6, 1994, and did $329.7 million domestically. "Men In Black" opened July 2, 1997, and did $250.1 million domestically. "Ghost" appeared July 13, 1990, and did $217.6 million domestically.
Looking beyond "M: I-2," at least eight other summer releases are already shaping up as potentially big box office contenders. Those generating the best buzz at this early point - listed in order of their release dates - include:
* Buena Vista/Disney's computer-animated family film "Dinosaur," which reportedly cost $150 million-plus to make (May 19).
* 20th Century Fox's R-rated comedy "Me, Myself & Irene," directed by Bobby and Peter Farrelly ("There's Something About Mary") and starring Jim Carrey and Renee Zellweger (June 23).
* Columbia's action-adventure "The Patriot," set during the Revolutionary War, directed by Roland Emmerich ("Independence Day") and starring Mel Gibson (June 28), which reportedly cost about $100 million to make.
* Warner Bros.' Action-adventure "The Perfect Storm," directed by Wolfgang Petersen ("Air Force One") and starring George Clooney, which reportedly cost about $120 million to make (June 30).
* 20th Century Fox's live-action fantasy-adventure "X-Men," based on the best-selling comic book series, directed by Bryan Singer ("The Usual Suspects") and starring Patrick Stewart, Hugh Jackman, Ian McKellen, Halle Berry, Famke Janssen, James Marsden, Bruce Davison, Rebecca Romijn-Stamos, Ray Park and Anna Paquin (July 14).
* DreamWorks' fantasy thriller "What Lies Beneath," directed by Robert Zemeckis ("Forrest Gump") and starring Harrison Ford and Michelle Pfeiffer (July 21).
* Universal and Imagine Entertainment's comedy sequel "Nutty Professor II: The Klumps," directed by Peter Seagal ("Tommy Boy") and starring Eddie Murphy, Janet Jackson, Larry Miller and John Ales (July 28).
* 20th Century Fox's comedy remake "Bedazzled," directed by Harold Ramis ("Groundhog Day") and starring Brendan Fraser and Elizabeth Hurley, a potential summer sleeper (Aug. 11).
Produced "Grand Theft Auto", the directorial debut of Ron Howard
Left New Wold Pictures
First film as producer not under the New World banner, "Airplane!"
Joined New World Pictures as director of advertising and publicity
Produced "Starship Troopers"
Produced the sequel "Robocop 2"
Was executive producer of "Robocop"
First film as associate producer (for Roger Corman's New World Pictures), "Big Bad Mama"
Named to head production at New World Pictures
A producer of comic and futuristic theatrical fare who came out of Roger Corman's New World low-budget factory, Jon Davison made a name for himself apart from Corman as producer of the comedy hit "Airplane!" (1980) and of the "Robocop" series of films. Davison studied at NYU's Film Institute where Martin Scorsese was one of his instructors. While at NYU, Davison staged film retrospectives at the famed Fillmore East in the East Village. His NYU classmate, director Jonathan Kaplan, suggested Davison move to L.A. where Davison rewrote a script for Corman which led to his becoming Corman's advertising and publicity director at New World. By 1974, Davison was an associate producer on "Big Bad Mama", starring Angie Dickinson, and later was second unit director on both "Rock 'n Roll High School" (1979) and "The Howling" (1980). Davison struck out on his own at Paramount producing "Airplane!", the first parody by the Zucker Brothers and Jim Abrahams. Still based at Paramount, Davison produced "White Dog" (1982), about a girl (Kristy McNichol) who takes in a dog unaware it has been trained to kill African Americans, and "Top Secret!" (1984), an Elvis Presley espionage parody by the Zucker Brothers and Abrahams. After a dry spell, Davison executive produced "Robocop" (1987), the hit film about a cyborg law enforcer, and went on to produced it sequel "Robocop 2" (1990) and executive produce "Robocop 3" (1993) as well as consulting on the 1994 TV series version. Davison produced "Trapped in Paradise" (1994), with Nicholas Cage, Jon Lovitz and Dana Carvey as larcenous brothers, and, in 1996 gathered some of the up-and-coming actors of the 90s (Jake Busey, Dina Meyer) to be in the cast of Paul Verhoeven's futuristic "Starship Troopers" (1997).