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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Power producer Neal Moritz’ (Green Hornet Fast & Furious) company is called Original Film which is ironic because he hasn’t made a truly unique motion picture in some time. His latest effort Battle: Los Angeles isn’t groundbreaking by any stretch of the imagination but packs enough punch to leave you saying “Thank you sir may I have another?”
Jonathan Liebesman (The Texas Chainsaw Massacre: The Beginning) directs this massive movie about a race of aliens colonizing our planet but as the title suggests the action is centered on the City of Angels. Instead of watching the world at war we witness the American military’s last stand on the West Coast by following a single squad of soldiers on the ground as they fight their way through the city to pick up scattered civilians before the Air Force levels Los Angeles. 2nd Lt. William Martinez (Ramon Rodriguez) leads the troop but is too young to be calling the shots in a cataclysmic event like this. Thank heavens Squad Sgt. Michael Nantz (Aaron Eckhart) was called back in for one last mission because it doesn’t take long for the rest of the battalion to realize that the reluctant hero is their best chance for survival.
It’s a good thing that Liebesman and his technical crew are on the top of their game in Battle: LA because most of the other aspects of the production are just downright foolish. Writer Chris Bertolini took the framework from a handful of classic war movies and applied them to his script resulting in highly predictable scenarios and a pace that marches to the beat of past genre entries like Independence Day and Black Hawk Down. His dialogue filled with military jargon and 5th grade humor is quite literally laughable at some points while the thinly crafted characters are all token “team members” that you’ve seen before in films like Jarhead from the soon-to-be-father who’s not sure if he’s going to make it back to his wife to the new recruit/virgin who’s too young to die to the guy with the chip on his shoulder. We get brief glimpses of their back-stories in the first twenty minutes of the movie but as Nantz says during his Bill Pullman moment when the tide begins to turn “none of that matters now.”
What does matter is that Battle: Los Angeles is a roaring thrill ride that barely lets up from start to finish. From the moment the soldiers hit the streets they’re thrust into a tense and gritty survival situation that vaguely mirrors the urban environments in which our Marines are currently engaged in the Middle East. Liebesman uses handheld cameras and close-ups to capture the calamity of combat giving the picture a documentary quality that helps it find some semblance of individuality. Though his actors aren’t required to do much acting (save for Michael Pena whose small role as a dedicated father stands out) and the script as stated is noticeably sub-par capturing their facial expressions as hovercrafts blow fighter jets out of the sky brings out emotion that most of them wouldn’t be able convey in a more traditional performance.
As I continue to heap praise upon the film’s technical achievements I must also note editor Christian Wagner’s chaotic cuts that heighten the soldier’s state of paranoia and the overall sound design of the picture. Until we get up close and personal with one of the aliens Liebesman doesn’t show us much; we have a hard time seeing them because they move so fast but we can hear their quick movements and the affect is quite unsettling much like the performances from Michelle Rodriguez Ne-Yo and a slew of the films co-stars.
Whether or not the filmmakers originally intended on making a movie that was more than the average alien invasion flick is neither here nor there. Is it a rehash of the most exciting moments in War of the Worlds or Red Dawn? Sure it is but it’s also an electrifying film that manages to be engrossing and entertaining in spite of its flaws.
With college behind them East Great Falls High School alums Jim (Jason Biggs) and Michelle (Alyson Hannigan) decide the time is ripe for marriage. After an embarrassing restaurant proposal that involves under-the-table fellatio and a missing ring Michelle accepts and sets her sights on the perfect wedding ceremony. Jim and his best buds Finch (Eddie Kaye Thomas) and Kevin (Thomas Ian Nicholas) decide to leave Stifler (Seann William Scott) in the dark about the upcoming nuptials to avoid any possible calamities but it doesn't take long for the Stifmeister to figure things out. Stifler the only one of the gang who has not matured since high school lays on the charm--and the Lacoste sweaters--and quickly gains acceptance from Michelle's stuffy parents and her attractive sister Cadence (January Jones). The film basically revolves around Jim trying to turn Michelle's dream wedding into a reality while Stifler unintentionally foils his friend's every effort. American Wedding follows the same formula as its two predecessors and while there are some really funny gags here you can spot their setup from a mile away. When Stifler for example accidentally feeds Michelle's wedding band to a dog waits on it to pooh it out then scoops up the jewelry with a paper doily we are hardly flabbergasted when it is later mistaken for a truffle. And that just about sums up the movie: funny but formulaic.
In the first two American Pie movies Biggs's character Jim was always a key comedic player. For instance who could forget his Internet snafu with Nadia the foreign exchange student or the Crazy Glue incident at the beach house? But while American Wedding is all about Jim and Michelle's wedding Biggs and Hannigan take a back seat to the laughs here: they're the stressed-out grown-ups. Also turning in a more muted performance is Nicholas as pal Kevin who doesn't appear to have a purpose at all in this installment--although he does provide a bit of comic (albeit non-speaking) relief during Stifler's botched attempt at a bachelor party. Contrary to Jim Michelle and Kevin who have blossomed into somewhat dependable adults Scott's character Stifler has degenerated. Stifler is more crass and obnoxious than ever perhaps even a little too over-the-top. The actor whose performance stands out the most in this comedy is Thomas in the role of Finch. Thomas has taken the character's haughtiness and peculiarity to a new level fine tuning Finch's attributes and stylishly transforming him from a high school geek to a cool brainy college graduate. Eugene Levy who is back in the role of Jim's overly involved father but his shtick has become redundant. His only purpose in the films is to walk in on his son at every inopportune moment.
All three films in the American Pie series were penned by screenwriter Adam Herz and produced by Paul and Chris Weitz--who also served as directors on the original--but they have all gone through different directors; the J B Rogers-directed American Pie 2 and now American Wedding helmed by Jesse Dylan (How High). Like the second installment American Wedding has its moments and there are a handful of truly funny ones including a scene in which Jim shaves his pubic area and dumps the hair out the window where it blows towards a group of unsuspecting guests (and the cake). But unlike this particular instance most of the jokes suffer from overkill; the cameras keep rolling long after the yarn stops being funny. Others are stereotypical like Stifler's dance-off with a patron in a gay club while others including a midnight rendezvous in a dark hallway closet are predictable. But even though the film revolves around the now all-too-familiar characters Herz has matured them in a way that still makes them both amusing and endearing. Don't however look for Oz (Chris Klein) Heather (Mena Suvari) Vickie (Tara Reid) or Nadia (Shannon Elizabeth). The filmmakers believe these characters weren't needed since the story wasn't about them anymore but it would have been nice to mention them and what they were up to.