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 Best and Worst TV Deaths of 2012
Best AND Worst: Alaric Saltzman on The Vampire Diaries
How he died: After being turned against his will into an Original vampire/vampire hunter with his life tied to Elena’s, Elena drowned. Alaric died, and came back as a ghost to say goodbye to Jeremy.
Why it worked (by Sydney Bucksbaum): There was some debate of whether Alaric’s death worked or not. I believe his death worked because it still gets me in tears thinking about it, it worked so well. The entire goodbye scene both in the cemetery before he turned into an Original vampire/vampire hunter and as a ghost with Jeremy after he died, and then his surprise cameo as an unseen ghost with Damon in the cemetery all was so moving and it never got cheesy or bad. It was a beautiful send off for a fan favorite. So I ultimately decided it was a best, not because we wanted to see him go but because the way TVD did it was good and right.
Why it didn’t work (by Jean Bentley): Sure, it was a beautiful sendoff for a fan favorite character, but that doesn't make the sting of the vampire hunter/history teacher/father figure's loss any less horrible. Even worse: Matt Davis left to star in The CW's worst show of 2012-2013, Cult. At least TVD is a supernatural show, so there's a chance Alaric could grace us with his presence again, and not just in a touching graveside/barside chat with Damon.
&amp;amp;amp;lt;a href="http://polldaddy.com/poll/6732929/"&amp;amp;amp;gt;Do you think Alaric Saltzman's death worked?&amp;amp;amp;lt;/a&amp;amp;amp;gt;
Worst: Elena Gilbert as a human on The Vampire Diaries
How she died: Drowned after her car went off a bridge, but had vampire blood in her system and transitioned into a vampire
Why it didn’t work: While it completely changed the format of the show in a good way, Elena has become the whiniest, most annoying vampire ever. Seriously, will she ever stop crying or complaining? We get it, you are a vampire, but there are some serious advantages to your new lifestyle. Take advantage of them! And now there is talk of her being sired to Damon? Come. On.
Best: Lori Grimes on The Walking Dead
How she died: Giving birth to daughter Judith via C-section without painkillers, antiseptics, or doctors
Why it worked: Lori had made amends with everyone, and knew the only thing left to do to redeem her past transgressions was to give up her life for her daughter’s.
Best: Dale on The Walking Dead
How he died: Pissed at his group, he wandered off into the night right into a walker that tore into his major organs
Why it worked: It was so shocking. Out of nowhere, a walker just jumped on him, even in the safety of the farm. It proved that the Grimes gang wasn’t truly safe anywhere anymore.
Best: Lexie Grey on Grey’s Anatomy
How she died: Crushed under debris from a plane crash
Why it worked: She had finally gained closure with Mark, professing her love for him. They talked through how the rest of their lives would be, together, even though they knew she wasn’t making it out of there alive. It was beautiful, moving, and had us in tears.
Best: Mark Sloane on Grey’s Anatomy
How he died: Complications from injuries and surgeries following a plane crash
Why it worked: He achieved closure with Lexie, professing his love for her. After she died, he clung to life long enough to make it back to Seattle Grace Mercy West to say goodbye to his daughter and all of his friends. Then, he joined his soul mate in death.
Worst: Dan Scott on One Tree Hill
How he died: Taking a bullet that was meant for his son, Nathan
Why it didn’t work: The fact that everyone praised Dan for being a hero for saving Nathan seemed to cause an amnesia epidemic. Did we all forget this man murdered his own brother in cold blood? Good riddance.
Best: Renly Baratheon on Game of Thrones
How he died: Melisandre’s shadow baby spirit appeared out of nowhere to assassinate him the night before a big battle
Why it worked: On a show where you constantly fear for every character’s death, it takes a lot for a death to come completely out of nowhere and surprise you. His death also changed the course of the final battle of Season 2
Worst: Percy on Nikita
How he died: Nikita dropped him down 3 stories
Why it didn’t work: For two seasons we were operating under the known fact that Percy could not be killed or else hundreds of dirty government secrets would be released to the public, causing mass outrage and panic. And in one minute Birkhoff was able to hack into the black box and contain the information, when he was never able to even entertain the idea that he could? It seemed a little too easy, neat, and tidy to me.
Best: Sammy the dog on Revenge
How he died: Old age
Why it worked: While incredibly sad, Sammy’s death broke down the walls between Emily and Jack, and allowed them to have their first real kiss, which Daniel saw, leading him to break off his engagement to Emily.
Worst: Lane Pryce on Mad Men
How he died: Committed suicide in his office
Why it didn’t work: Fans had theorized that there would be a suicide in Season 5. That the falling man from the opening credits would turn out to be the shadow of slimy Pete Campbell, or even Don Draper. Lane Pryce didn't plummet to his demise (in one of the series' grimmest images, it’s revealed that he hung himself on his office door) but it was the death fans knew was creeping at every corner of the show. An absolute heartbreaker.
We're but four days away from the official start of the holiday season shopping madness bonanza palooza hullaboo greed orgy that is Black Friday. And while life would be exponentially easier for everyone if Oprah got us all of our presents, alas, we must join the frenzied masses and risk life and limb for a Furby. (They're back, haven't you heard?)
But, as it turns out, the only thing tougher than trying to figure out what your Secret Santa would want for Christmas, is trying to figure out what your favorite characters on television would buy each other if they too did Secret Santa — or Pollyanna or White Elephant or Yankee Swamp, depending on the region. So while we can't do your holiday shopping for you or hold your place in line at the Apple store, we can come up with what your favorite TV characters would buy each other. It's the gift that keeps on giving! Well, until next season.
Don Draper from Mad Men has....Jessica Day from New Girl...and gives her....absolutely anything from the 1960s. It's vintage!
Kalinda Sharma from The Good Wife has....American Horror Story's Dr. Arthur Arden....and gets him... Fifty Shades of Grey, of course. ::Shudder::
Donna Meagle from Parks and Recreation has....Mad Men's Don Draper...and gets him... what every man desires, a night with Donna Meagle. Eat your heart out, Jean Ralphio.
Walter White Jr. from Breaking Bad has....Carl Grimes from The Walking Dead...and gives him...a Christmas card that reads, 'Dads, amiright?!"
Brad Williams from Happy Endings has...Walter White Jr. from Breaking Bad...and gets him....a gourmet breakfast, complete with international papaya smoothie. Splash!
Jessica Day from New Girl has...Juliette Barnes from Nashville...and gives her...a brand new set of assorted nail polishes, and co-writes her a new jingle on her ukulele called "Stealing is Bad."
Carl Grimes from The Walking Dead has...Elena Gilbert from The Vampire Diaries and gives her...not a goddamn thing. Are you kidding? The kid is stuck in the middle of a zombie apocalypse, leaving not much time to holiday shop for a vampire.
Robin Scherbatsky from How I Met Your Mother has...Nicholas Brody from Homeland...and gives him...only Canadian presents like a Maple Leafs jersey and a Justin Bieber cd. No American-made products for that traitor!
Will McAvoy from The Newsroom has....Robin Scherbatsky from How I Met Your Mother...and gives her...a stern talking to about media and a tutorial on how women send emails.
Nicholas Brody from Homeland has.... Donna Meagle from Parks and Recreation...and gives her...a series of ginger-themed body scrubs and essential oils. Treat yo self, Donna Meagle! Just maybe be aware that the FBI could be tracking you now.
Will Schuester from Glee has.... Brad Williams from Happy Endings...and gives him....an impromptu rap and dance session he most certainly didn't ask for. (No, you can't join Boys II Menorah, Will!)
Elena Gilbert from The Vampire Diaries has.... Kalinda Sharma from The Good Wife...and gives her...an actual diary. It's time to bottle some of that noise.
Juliette Barnes from Nashville has....Will McAvoy from The Newsroom...and gives him...a fully loaded iPad and iPod (complete with her tunes, obviously.) Get with the times, you old grump!
Dr. Arthur Arden from American Horror Story has....Will Schuester from Glee/the Ryan Murphy universe and gives him...hopefully, a one-way ticket to Briarcliff.
Happy holidays, fictitious friends! Which characters do you think would buy each other the best Secret Santa gifts?
[Photo credit: AMC]
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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.