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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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.
Top Story: The Little Fish That Did
As if it comes as a surprise, the blockbuster Finding Nemo has broken more records, as the DVD and video sales for the animated film have totaled 8 million its first day on the shelves, Reuters reports, beating the previous single-day record of 5 million DVD and video sales for the Disney/Pixar classic Monsters, Inc.. The demand is so high for Nemo, Disney may be looking at the possibility of shortages. Bob Chapek, head of Buena Vista Home Entertainment, told Reuters the company shipped 25 million units to retailers, but underestimated demand. "Some of our customers have told us they sold three times what they projected on day one," he said. "We're aggressively making as many (copies) as possible, but it is likely that some of our major accounts may go out of stock," he said. Finding Nemo was released in May and has been 2003's biggest box office hit with just under $340 million in movie ticket sales in the United States and Canada, Reuters reports.
Chicago Critics Join Ban Protest
The Chicago Film Critics Association has joined the protest against banning screeners by announcing they are suspending their 2003 awards, The Associated Press reports. This follows last month's decision by the Los Angeles Film Critics Association to cancel their awards. The Motion Picture Association of America originally made a deal with studios in September to stop sending out screeners in an effort to curb piracy, but changed the terms last month to allow videotapes to be sent to the approximately 5,600 Academy Awards voters. No other groups, however, are allowed screeners. The CFCA president Dann Gire said Wednesday that his group approved the suspension pending further action by the MPAA.
Brit Indie Awards Get Dirty
Stephen Frears' gritty drama Dirty Pretty Things swept Tuesday's British Independent Film Awards, Reuters reports. The film, about an illegal Nigerian immigrant (Chiwetel Ejiofor) working as a night porter in a London hotel, took home four awards, including best film, director and actor (Ejiofor). Olivia Williams won the best actress award for her turn in The Heart of Me.
Producer Winkler Honored
The American Society of Cinematographers will honor producer-director Irwin Winkler with the prestigious Board of Governors Award, AP reports. The Oscar-winning Winkler, 72, best known for producing the 1976 Rocky, 1980's Raging Bull and 1990's GoodFellas, will receive his award in February at a ceremony in Los Angeles. Past award recipients include Gregory Peck, Steven Spielberg, Martin Scorsese, Warren Beatty, Robert Altman, Francis Ford Coppola and Jodie Foster. It is the only award the group reserves for non-cinematographers.
Talk Show Host Williams Caught With Drug Paraphernalia
Brash talk show host Montel Williams was fined $100 after authorities at the Detroit Metropolitan Airport found marijuana paraphernalia in his possession, AP reports. Diagnosed with multiple sclerosis, the 47-year-old Williams said in a statement that he has been prescribed medicinal marijuana to treat his chronic pain.
Righteous Brothers Member Dies
Bobby Hatfield, one half of The Righteous Brothers singing duo, was found dead a western Michigan hotel Wednesday, Reuters reports. Hatfield, 63, was found about 6:45 p.m. by hotel workers in Kalamazoo, Michigan, after he did not respond to a wake-up call before a show. Reuters reports Kalamazoo police said there were no signs of foul play and that, while an autopsy would be conducted, Hatfield apparently died of natural causes. The duo is best known for its 1964 song "You've Lost That Lovin' Feeling."
The Late Cash Wins CMA Awards
The Country Music Association awarded the late Johnny Cash the top three awards Wednesday at their 37th Annual Country Music Awards, including album of the year, single of the year and video of the year, AP reports. "It's amazing my father had such a life that he could expose himself and still never lose his dignity and his charm," said Cash's son John Carter Cash, who accepted the awards with Cash's daughter, Kathy Cash. Cash died Sept. 12 of complications from diabetes. Other winners of the evening included Alan Jackson and Martina McBride.
Academy To Unveil 76th Oscar Poster
Pop artist Burton Morris and Academy of Motion Picture Arts & Sciences executive director Bruce Davis will unveil Morris' design for the 76th Academy Awards commemorative poster on Nov. 13. "Oscar is a uniquely recognizable symbol, not only in American culture but throughout the world, and I'm both honored and excited to create a design around such an icon," said Morris in an AMPAS press release. The commemorative poster will be available for purchase after the unveiling on the Academy's Web site, www.oscars.org/publications. The Academy Awards airs live from the Kodak Theater Feb. 29 on ABC.
Role Call: Tyrese Wins Verdict
Tyrese Gibson, star of the summer hit 2 Fast 2 Furious, will star in MGM's DA Verdict, a dramatic thriller based on a treatment scripted with the actor. Variety reports the film is about a man (Tyrese) rising in the ranks at an urban district attorney's office who is torn between his job and those he must prosecute from his neighborhood. Tyrese will also act as executive producer.