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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A decade-long gap between sequels could leave a franchise stale but in the case of Men in Black 3 it's the launch pad for an unexpectedly great blockbuster. The kooky antics of Agent J (Will Smith) and Agent K (Tommy Lee Jones) don't stray far from their 1997 and 2002 adventures but without a bombardment of follow-ups to keep the series in mind the wonderfully weird sensibilities of Men in Black feel fresh Smith's natural charisma once again on full display. Barry Sonnenfeld returns for the threequel another space alien romp with a time travel twist — which turns out to be Pandora's Box for the director's deranged imagination.
As time passed in the real world so did it for the timeline in the world of Men in Black. Picking up ten years after MIB 2 J and K are continuing to protect the Earth from alien threats and enforce the law on those who live incognito. While dealing with their own personal issues — K is at his all-time crabbiest for seemingly no reason — the suited duo encounter an old enemy Boris the Animal (Jemaine Clement) a prickly assassin seeking revenge on K who blew his arm off back in the '60s. Their street fight is more of a warning; Boris' real plan is to head back in time to save his arm and kill off K. He's successful prompting J to take his own leap through the time-space continuum — and team up with a younger K (Josh Brolin) to put an end to Boris plans for world domination.
Men in Black 3 is the Will Smith show. Splitting his time between the brick personalities of Jones and Brolin's K Smith struts his stuff with all the fast-talking comedic style that made him a star in yesteryears. In present day he's still the laid back normal guy in a world of oddities — J raises an eyebrow as new head honcho O (Emma Thompson) delivers a eulogy in a screeching alien tongue but coming up with real world explanations for flying saucer crashes comes a little easier. But back in 1969 he's an even bigger fish out water. Surprisingly director Barry Sonnenfeld and writer Etan Cohen dabble in the inherent issues that would spring up if a black gentlemen decked out in a slick suit paraded around New York in the late '60s. A star of Smith's caliber may stray away from that type of racy humor but the hook of Men in Black 3 is the actor's readiness for anything. He turns J's jokey anachronisms into genuine laughs and doesn't mind letting the special effect artists stretch him into an unrecognizable Twizzler for the movie's epic time jump sequence.
Unlike other summer blockbusters Men in Black 3 is light on the action Sonnenfeld utilizing his effects budget and dazzling creature work (by the legendary Rick Baker) to push the comedy forward. J's fight with an oversized extraterrestrial fish won't keep you on the edge of your seat but his slapstick escape and the marine animal's eventual demise are genuinely amusing. Sonnenfeld carries over the twisted sensibilities he displayed in small screen work like Pushing Daisies favoring bizarre banter and elaborating on the kookiness of the alien underworld than battle scenes. MIB3's chase scene is passable but the movie in its prime when Smith is sparring with Brolin and newcomer Michael Stuhlbarg who steals the show as a being capable of seeing the future. His twitchy character keeps Smith and the audience on their toes.
Men in Black 3 digs up nostalgia I wasn't aware I had. Smith's the golden boy of summer and even with modern ingenuity keeping it fresh — Sonnenfeld uses the mandatory 3D to full and fun effect — there's an element to the film that feels plucked from another era. The movie is economical and slight with plenty of lapses in logic that will provoke head scratching on the walk out of the theater but it's also perfectly executed. After ten years of cinematic neutralizing the folks behind Men in Black haven't forgotten what made the first movie work so well. After al these years Smith continues to make the goofy plot wild spectacle and crazed alien antics look good.
In the cinematic desert that is the January-February movie-release schedule one gains a greater appreciation for mere competence. And that’s precisely what you’ll get with Man on a Ledge a mid-budget thriller with modest aspirations and genuine popcorn appeal. Sam Worthington (Avatar Clash of the Titans) stars as Nick Cassidy a former New York City cop wrongly convicted for the theft of a prized diamond. After exhausting all judicial avenues for exoneration he takes the unusual and seemingly desperate next step of planting himself on a ledge outside the penthouse of midtown’s Roosevelt Hotel and threatening to jump. An NYPD psychologist (Elizabeth Banks) is summoned to talk him down unaware that Nick harbors an ulterior motive. From his perch above midtown he is secretly orchestrating a scheme to take revenge against the corrupt corporate chieftain (Ed Harris) who engineered his demise and prove his innocence once and for all.
Director Asger Leth making his U.S. feature-film debut with Man on a Ledge keeps the pace brisk and never allows the tone to stray into self-seriousness which is crucial for a movie whose premise is so devoutly ridiculous. The script from Pablo F. Fenjves provides enough feints and twists to keep us engaged. Jamie Bell and Genesis Rodriguez aren’t the most believable of couples but there’s a screwball charm to their comic routine as amateur thieves charged with aiding Nick’s scheme. (Leth can’t resist inserting an entirely superfluous – but nonetheless greatly appreciated – scene of the criminally gorgeous Rodriguez stripping down to a thong in the middle of a heist.) Worthington makes for a likable populist protagonist even if his Australian accent betrays him on copious occasions and Harris’ disturbingly emaciated frame lends an added menace to his devious plutocrat villain.
In the political thriller The Ides of March – George Clooney’s adaptation of the stage drama Farragut North – Ryan Gosling stars as Stephen Meyers campaign press secretary to Mike Morris (Clooney) a leading candidate for the Democratic presidential nomination. Savvy self-assured and blessed with a preternatural ability to spin a story in his candidate’s favor Stephen is a fast-rising figure with a dazzlingly bright future. Unlike his more seasoned – and cynical – campaign-manager boss Paul Zara (Philip Seymour Hoffman) Stephen all of 30 years old still boasts something of an idealistic streak. He believes in Morris not just as a meal ticket but as someone who just might make the world a better place.
Stephen’s idealism and ambition come into conflict when in the feverish days leading up to the pivotal Ohio primary he suffers a series of judgment lapses that threaten to derail his promising career. Teased with the prospect of a job offer he’s lured into a meeting with Tom Duffy (Paul Giamatti) the campaign manager of Morris’ main Democratic rival – a major no-no in a business that prizes loyalty above all else. Later he beds a beguiling young intern Molly (Evan Rachel Wood) who unwittingly drops a bombshell that could very well bring down the entire Morris campaign.
There’s nothing particularly revelatory about Ides of March. Our eyes were long ago opened to the amorality and viciousness of electoral politics. And goodness knows we’ve witnessed political scandals far more salacious than anything depicted in the film. Ides of March’s strength lies in the power of its storytelling in the way that Clooney brings together several distinctive headstrong characters and sets them against each other in a riveting game of intrigue. It helps compensate for the been-there done-that familiarity of the topics explored.
Clooney is very much an actor’s director and Ides of March is a testament to how absorbing it can be to witness skilled performers operating at the peak of their powers. Gosling is particularly fascinating to watch as his character awakens to the severity of his predicament. When Stephen is dismissed from the Morris campaign after Zara learns of his meeting with Duffy the firing triggers in him something akin to a fight-or-flight instinct. His livelihood endangered he scrambles to outwit his former colleagues seizing upon tragedy and scandal to worm his way back into the fold. All pretense of idealism vanishes and his expression betrays the slightest hint of derangement. The game has claimed him.