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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Chasing Mavericks is one of those hoary "based on a true story" movies that borders on hagiography. It's a fictionalized take on the early life of surfing wunderkind Jay Moriarity (Jonny Weston) and his attempt with the help of his mentor Frosty (Gerard Butler) to conquer the giant waves known as "mavericks." Although the beaches of North California and their crashing waves are gorgeous the story and the acting don't hold water. Chasing Mavericks is more interested in showing Moriarity to be a hero than an actual person and the movie suffers for it in the end.
Weston plays Moriarity as a 15-year-old and although Weston is still in his early twenties he looks disconcertingly older. The tan make-up doesn't help and neither does his hollow performance which is mostly just him looking wide-eyed and earnest. He's not given much to work with the challenges he has to overcome not given much weight at all. Moriarity's dad left when he was a kid and his mom (Elisabeth Shue) is often drunk and can't keep a job. This could have been an interesting development — Jay has to take care of her and loan her money and lives in what looks like a cubbyhole in the living room — but it's given short shrift. The movie Moriarity patiently does her laundry and wakes her up for work instead of what a normal 15-year-old would do which would probably include at the very least some choice four letter words or acting out. Although his mentoring at the hands of Butler's Frosty does explore some of Jay's pain and fears he's not particularly affected by anything. He just shakes it all off like a shaggy dog who's spent a day at the beach.
Other plot developments are equally toothless and without any real consequence. He has a bully who verbally taunts him but eventually respects him. His best friend is either doing or selling drugs given his shady goings-on and wads of dough in his pocket. Moriarity holds a torch for his childhood friend Kim (Leven Rambin) who is apparently embarrassed to be seen with him but even she isn't all that bad. It's like an after-school special that runs for 105 minutes (but feels much longer).
His crusty mentor Frosty is supposed to be a damaged man whose passion for surfing trumps everything even it seems supporting his family. At one point it's clear he's lied to his wife about going to do construction work but she just sort of shrugs it off. Brenda (Abigail Spencer) knows Frosty's love for the ocean and how it heals him from past tragedies so she mostly tolerates his behavior aside from a few sharp remarks. As his voiceover indicates (delivered by Butler with an accent that goes in and out) these "Children of the Tides" are simply drawn to the ocean even if it kills them. The passion trumps all as it surely did in the life of the real Jay Moriarity.
The footage of the men surfing is the centerpiece of the story which is probably why everything else feels like an afterthought. Even this is uneven though. Some of it is obviously Butler and Weston — Butler was injured on the set while filming a surfing scene — but the faraway shots don't really match up. It's not clear if this is archival footage or if it's just poorly edited and filmed. A few scenes in the movie look startlingly different all cloudy grays with Butler haggard and thinner and although it could be just a really ham-handed way to visually indicate grief this interlude looks like it's from an entirely different movie. A perk of Chasing Mavericks is its "alternative" music soundtrack that is immediately recognizable and surprisingly on point with songs from Mazzy Star Matthew Sweet and the Butthole Surfers popping up at appropriate times.
While surely the people involved in making the film are dedicated to preserving Jay's memory and inspiring others it's hard to take it seriously or be emotionally moved by such a blatantly unblemished portrayal. Real tributes show that grit and shortcomings of their subjects as much as why they're heroes.