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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It's a very sad day for gay Americans. Today the Supreme Court heard arguments for and against Proposition 8, the California ballot initiative that struck down the state's marriage equality law. While some were expecting the Court to overthrow Prop 8 and once again validate Ellen DeGeneres and Portia de Rossi's wedding, it now looks like they aren't going to make any sweeping declaration.
We're very broken up about the news, and, if you look around the country, there are plenty of gay people and characters who are just as broken up. Look at how sad everyone is!
Come on, Supreme Court. Stop bumming everyone out.
Follow Brian Moylan on Twitter @BrianJMoylan
[Photo Credit: Warner Bros Television; Adam Rose/FOX; David M. Russell/CBS; Byron Cohen/NBC; Bob D'Amico/ABC; ABC; Vivian Zink/NBC; Eric McCandless/ABC Family; Peter Morrison/NBC/NBCU Photo Bank via Getty Images; Logo; Lacey Terrell/HBO; NBCU Photo Bank/Getty Images]
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The Tommy moviemaker passed away in November, 2011 at the age of 84 after a suffering a number of strokes.
His second wife Vivian Jolly and his third, actress-turned-artist Hetty Baynes, both attended his funeral and they have grown so close since Russell's death they are planning to spend this Christmas (12) together.
Britain's Daily Mail newspaper now reports the pair is also planning to pen a book about the star.
Baynes tells the publication, "We immediately bonded at Ken's funeral. We married a genius and we both loved him, but he was an impossible man to live with.
"I've known (Jolly's) daughter, Mollie, by Ken and now we have become good friends. So she and Mollie will be coming to me for Christmas."
Baynes also reveals she and her son Rex paid tribute to Russell on the first anniversary of his death last week (begs26Nov12) by dining out and watching his 1977 movie Valentino.
She adds, "Rex and I marked the anniversary of his death last week with a meal out at Ken's favourite restaurant and then went back (home) and watched his film Valentino. Rex is a talented young actor whose father would have been proud of him."
Last year director Garry Marshall hit upon a devilishly canny approach to the romantic comedy. A more polished refinement of Hal Needham’s experimental Cannonball Run method it called for assembling a gaggle of famous faces from across the demographic spectrum and pairing them with a shallow day-in-the-life narrative packed with gobs of gooey sentiment. A cynical strategy to be sure but one that paid handsome dividends: Valentine’s Day earned over $56 million in its opening weekend surpassing even the rosiest of forecasts. Buoyed by the success Marshall and his screenwriter Katherine Fugate hastily retreated to the bowels of Hades to apply their lucrative formula to another holiday historically steeped in romantic significance and New Year’s Eve was born.
Set in Manhattan on the last day of the year New Year’s Eve crams together a dozen or so canned scenarios into one bloated barely coherent mass of cliches. As before Marshall’s recruited an impressive ensemble of minions to do his unholy bidding including Oscar winners Hilary Swank Halle Berry and Robert De Niro the latter luxuriating in a role that didn’t require him to get out of bed. High School Musical’s Zac Efron is paired up with ‘80s icon Michelle Pfeiffer – giving teenage girls and their fathers something to bond over – while Glee’s Lea Michele meets cute with a pajama-clad Ashton Kutcher. There’s Katherine Heigl in a familiar jilted-fiance role Sarah Jessica Parker as a fretful single mom and Chris “Ludacris” Bridges as the most laid-back cop in New York. Sofia Vergara and Hector Elizondo mine for cheap laughs with thick accents – his fake and hers real – and Jessica Biel and Josh Duhamel deftly mix beauty with blandness. Fans of awful music will delight in the sounds of Jon Bon Jovi straining against type to play a relevant pop musician.
The task of interweaving the various storylines is too great for Marshall and New Year’s Eve bears the distinct scent and stain of an editing-room bloodbath with plot holes so gaping that not even the brightest of celebrity smiles can obscure them. But that’s not the point – it never was. You should know better than to expect logic from a film that portrays 24-year-old Efron and 46-year-old Parker as brother-and-sister without bothering to explain how such an apparent scientific miracle might have come to pass. Marshall wagers that by the time the ball drops and the film’s last melodramatic sequence has ended prior transgressions will be absolved and moviegoers will be content to bask in New Year's Eve's artificial glow. The gambit worked for Valentine's Day; this time he may not be so fortunate.
Did Hollywood have anything to do with the emergence of the Occupy Wall Street movement? The whole thing seems a little bit convenient. Last month saw the behind-the-meltdown docudrama Margin Call and the sci-fi metaphor In Time. Now we have Tower Heist a comedy that pits the blue collar staff of the Trump Tower against a thieving Bernie Madoff-esque tenant. The movie's an Ocean's 11 for the 99% with a sense of timeliness that makes the simple plotting and wisecracking that much more effective.
Ben Stiller stars as Josh Kovacs overseer of all the goings-on at the Tower. He wakes up before dawn and heads home after sunset spending his day catering to the occupants of the ritzy apartment complex and managing his eclectic crew—including former Burger King cook Enrique (Michael Peña) Jamaican maid Odessa (Gabourey Sidibe) and his slacker brother-in-law Charlie (Casey Affleck). The crew's greatest concern is multi-billionaire Arthur Shaw (Alan Alda) the penthouse resident Tower board member and thanks to attention paid trusted friend of Josh.
Trusted...until the FBI busts Shaw for stealing millions including the Tower employees' pensions.
Like all good tower heists Josh's titular harebrained scheme is prompted by a drunken night out with lead investigator Claire (Téa Leoni) who tips the irked manager off to Shaw's hidden stash: a possible eight-figure sum hidden somewhere in his apartment. In pursuing the American dream of revenge Josh recruits his slighted co-workers along with distraught former-millionaire Fitzhugh (Matthew Broderick) and Josh's childhood friend-turned-thief Slide (Eddie Murphy). Together the motley crew concocts a plan to retrieve what's rightfully theirs—all while sinking Shaw in the process.
Tower Heist isn't as slick or intricate as the Ocean movies but its straightforward take on the crime genre is strengthened by Stiller Murphy and the rest of the cast's ability to inject ridiculous humor into sympathetic characters. When Josh realizes his decade spent commanding the operations of the Tower were for naught he wigs out marching up to the top floor to beat the crap out of Shaw's priceless convertible (it was owned by Steve McQueen in case you were wondering why anyone would keep an antique car on the top floor of a building). Not entirely realistic but relatable which sums up every over-the-top satisfying scenario these characters find themselves throughout the film.
Most importantly Tower Heist delivers on the funny. Playing the straight man is an art and Stiller's one of the masters (although you'd never know it from his Night at the Museum shtick or wackier roles like Zoolander) riffing off his co-stars while giving them ample time to be complete weirdos. The movie is being touted as a comeback for Murphy but he wisely steps into a supporting role delivering on his character's manic charm while never trying to steal the spotlight. The one who really steals the show is Broderick whose clueless neurotic Fitzhugh can't help relapsing mid-heist into memories of luxurious trips to Greece.
Credit goes to director Brett Ratner who cranked out three Rush Hour movies and an X-Men threequel while never really nailing down what it takes to make a group dynamic work. Here he pulls it off finding the right beats to make Tower Heist funny and thrilling. There are moments during the actual heist scene set during the Macy's Thanksgiving Day parade that cause quite a stir—a rarity in today's run-of-the-mill thrill rides.
Tower Heist is the definition of a cinematic softball avoiding risky choices and utilizing each actor to their previously known (and successful) traits without feeling lazy. As the holidays roll in and families look for something they all can enjoy Tower Heist delivers a little something for everyone. Except maybe Bernie Madoff.
After garnering widespread praise (and an Oscar nomination for screenwriting) for his 2000 directorial debut You Can Count on Me Kenneth Lonergan was in-demand. In September 2005 the writer/director began production on a follow-up feature: Margaret which touted Anna Paquin Matt Damon Mark Ruffalo Matthew Broderick Allison Janney as well as legendary filmmakers Sydney Pollack and Anthony Minghella (The English Patient) as producers. The movie wrapped production in a few months time. The buzz was already growing.
Now six years later the movie is finally hitting theaters. So…what took so long?
The journey to this point hasn't been an easy one and it shows. If a film's shot footage is a block of granite and the editing process is the careful carving that turns it into a statuesque work of art Margaret feels like it was attacked by a blind man with a jackhammer. The film is a cinematic disaster a mishmash of shallow characters overwrought politics and sporadic tones. The story follows Lisa Coen (Paquin) a New York teenager who finds herself drowning in chaos after distracting a bus driver (Ruffalo) causing him to hit and kill a pedestrian (Janney). Initially Lisa tells the police it was all an accident but as time passes regret takes hold and the girl embarks on a mission to take down the man she now regards as a culprit. That's just the tip of the iceberg–along the way Lisa deals with everyday teen stuff: falling for her geometry teacher (Damon) combating her anxiety-ridden actress mother losing her virginity dabbling in drugs debating 9/11 and the Iraq War cultivating a relationship with her father in LA and more. There are about eight seasons of television stuffed into Margaret but even a two and a half hour run time can't make it all click.
For more on Margaret check out Indie Seen: Margaret the Long Lost Anna Paquin/Matt Damon Movie
Albert Markovski (Jason Schwartzman) a bleeding heart poet and staunch environmentalist is convinced a series of unexplained coincidences involving a tall African doorman somehow mean something leading him to married metaphysicians Bernard and Vivian Jaffe (Dustin Hoffman and Lily Tomlin)--otherwise known as the Existential Detectives. Instead of looking for other people this pair tirelessly investigates the mysteries of their clients' secret innermost lives--their "Beings " so to speak--to help them answer their questions. Immediately digging in Bernard and Vivian find out that Albert has a deep-seated hatred for Brad Stand (Jude Law) a golden-boy sales executive at the popular retail superstore chain Huckabees who at first sponsors Albert's Open Spaces Coalition to save a nearby marsh from commercial construction but who ends up taking over the coalition. The Existential Detectives believe Brad may be the key to cracking Albert's case but get sidetracked when Brad hires them for himself--leading them to explore Brad's ambitions hang-ups and his superficial relationship with Huckabees' hot blonde spokesmodel Dawn (Naomi Watts). Meanwhile Albert becomes disenfranchised with Bernard and Vivian and pairs up with another of the duo's clients--firefighter tough guy and uncompromising soul searcher Tommy (Mark Wahlberg). Together they join forces with the Jaffes' arch nemesis sexy French philosopher Caterine Vauban (Isabelle Huppert) whose life teachings revolve around "cruelty manipulation and meaninglessness." Now as Being intermixes with Nothingness Albert Tommy Brad Dawn Bernard Vivian and Caterine get all tangled up in one another as their wild romp through life's biggest questions brings them to some startling truths. Whew!
With such a clever script to back them up it isn't hard to see why the Huckabees wannabes turn in some cracking good performances. Schwartzman once again plays a nebbish sullen but lovable geek (similar to his side-splitting turn in Rushmore) bringing out the film's heart and soul especially with his environmental poetry ("You ROCK rock!"). Veterans Hoffman and Tomlin who are dead-on as the happily married Existential Detectives and Huppert as the deadpan French philosopher complement the proceedings beautifully. For the first time in a long time Hoffman doesn't overplay his part instead letting his quiet inner "Being" out taking his character's philosophies to heart ("Everything you ever desired or wanted to be you already have and are"). But who knew more serious actors--Mark Wahlberg Jude Law and Naomi Watts--could be so excruciatingly funny? Wahlberg's freethinking obstinate firefighter would rather ride a bike to a fire than get into a gas-guzzling fire truck while Watts' Dawn decides she doesn't need to be pretty and is fearless with overalls a bonnet and Oreo cookies stuck in her teeth. As the straight man Law actually has the most difficult part playing the handsome cad who thinks he doesn't believe in all that existential bullcrap but ever so slightly gets slammed with the reality of it anyway.
Writer/director David O. Russell is one fascinating guy. With a body of work including the really weird and wild Spanking the Monkey the hilarious slapsticky Flirting With Disaster and the intense Three Kings it's obvious he is capable of handling a wide variety of subjects. With Huckabees Russell gets into some serious deep thinking. He says he became "intrigued with the idea of a detective following someone around not for any criminal or personal intrigue but rather as part of a very serious investigation about existence itself " drawing concepts from several different strains of existentialism--from the non-dual interconnectedness theories of Eastern philosophy (Bernard and Vivian's take) to the Sartrean notions of a more meaningless universe that demands a profound individualism (Caterine's point of view). Huh? Don't worry your pretty little heads about it too much. Russell's bone-crushing sense of humor comes shining through--as does his unique vision as the camera is used in new and different ways (especially creative when Albert is trying to find his "Being")--to piece together a wondrous coherent albeit thought-provoking little gem. Oscar gold awaits.