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.
Follow @Michael Arbeiter
| Follow @Hollywood_com
This year's Toronto International Film Festival, the 37th of its kind, announced its award recipients today. With a variety of awards at stake, Festival highlights such as Silver Linings Playbook and Seven Psychopaths took home big honors. In a ceremony that took place at the Intercontinental Hotel in Toronto, eleven awards were handed out for their achievements. The full list of winners is below.
Best Canadian Short Film
Deco Dawson for Keep a Modest Head. The jury--comprised of journalist and author Matthew Hays, journalist Katrina Onstad and filmmaker Reginald Harkema--remarked: "For the winner of this year’s best short, we chose a film that expands the boundaries of documentary, one that perfectly reflects its surreal subject. The award offers a $10,000 cash prize. The honourable mention goes to Mike Clattenburg’s Crackin’ Down Hard for its unpredictable zaniness."
The City of Toronto + Canada Goose Award for Best Canadian Feature Film
Xavier Dolan's Laurence Anyways. The jury--comprised of producer and filmmaker Jody Shapiro, CPH PIX Festival Director Jacob Neiiendam, actor and filmmaker Valerie Buhagiar and director, writer and producer Patricia Rozema--remarked: "For its breathless cinematic energy and its entirely new love story, the jury felt honoured to watch such unfettered genius at play." This award is made possible thanks to the City of Toronto and Canada Goose and comes with a cash prize of $30,000.
The SKYY Vodka Award for Best Canadian First Feature Film
A tie between Brandon Cronenberg's Antiviral and Jason Buxton's Blackbird was announced. The jury--comprised of producer and filmmaker Jody Shapiro, CPH PIX Festival Director Jacob Neiiendam, actor and filmmaker Valerie Buhagiar and director, writer and producer Patricia Rozema--remarked: "For Best Canadian First Feature Film, we have made a decision that reflects the broad spectrum of Canadian styles and voices. The prize this year has been split between Blackbird, for its authenticity and clear-eyed social conscience, and for its ambitious commentary and visual sophistication, Antiviral." Generously supported by SKYY Vodka, the award carries a cash prize of $15,000. TIFF takes great pride in our role of supporting championing emerging filmmakers and as such, TIFF will be doubling the prize, so that both Brandon and Jason will receive a cash prize of $15,000 each.
The BlackBerry People's Choice Award
The BlackBerry People's Choice Award is voted on by Festival audiences. This year’s award goes to David O. Russell for Silver Linings Playbook. TIFF explained in a press release that "the film is an intense, loving, emotional and funny family story from the director of The Fighter, David O. Russell, in which Bradley Cooper and Jennifer Lawrence find themselves partners in a secret arrangement to rebuild their broken lives. Robert De Niro yearns to get closer to his son (Cooper), as he tries to keep the family afloat with his compulsive bookmaking. The award offers a $15,000 cash prize and custom award, sponsored by BlackBerry. First runner up is Ben Affleck’s Argo. The second runner up is Eran Riklis' Zaytoun.
The BlackBerry People’s Choice Midnight Madness Award
Martin McDonagh’s Seven Psychopaths. First runner up is Barry Levinson's The Bay, and second runner up is Don Coscarelli's John Dies at the End.
The BlackBerry People’s Choice Documentary Award
Bartholomew Cubbins for Artifact. First runner up is Christopher Nelius and Justin McMillan's Storm Surfers 3D. Second runner up is Rob Stewart's Revolution.
NETPAC Award for the Best First or Second Feature World or International Asian Film Premiere
Sion Sono's The Land of Hope. The jury--made up of Laurice Guillen (Philippines), Shelly Kraicer (Toronto/Beijing) and Azize Tan (Istanbul)--remarked: "For its subtle, complex and artful account of the social and political aspects of a national trauma that ends in hope and love, the 2012 Toronto International Film Festival NETPAC Award for best feature film is given to The Land of Hope by Sion Sono."
Grolsch Film Works Discovery Award
The inaugural award went to Rola Nashef for Detroit Unleaded.
For the 21st consecutive year, TIFF welcomed an international FIPRESCI jury for the competition. The jury members consist of jury president Peter Keough (United States), Jon Asp (Sweden), Ashok Rane (India), Louis-Paul Rioux (Canada), Juan Manuel Dominguez (Argentina) and Brian McKechnie (Canada). The following awards were decided upon by the above jury.
The Prize of the International Critics (FIPRESCI Prize) for Special Presentations
Francois Ozon's Dans la maison (In the House). The jury remarked: "For achieving an exquisitely crafted entertainment that blurs the distinction between the storyteller and the story told, and that assuages with playful complexity the tragedies of life with the consolations of art, the FIPRESCI award for Special Presentations goes to Francois Ozon's In the House."
Prize of the International Critics (FIPRESCI) for the Discovery Programme
Mikael Marcimain's Call Girl. The jury remarked: "With an intense sense of cinema reminiscent of the American thrillers of the 1970s, Mikael Marcimain’s debut feature achieves a portrait of an obscure world involving women’s rights and political corruption. Marcimain deals with his sensitive subject with immense ease and craftsmanship. Because of these accomplishments the FIPRESCI Award for Best Film in the Discovery Programme goes to Mikael Marcimain’s Call Girl."
[Photo Credit: TIFF]
Follow Alicia on Twitter @alicialutes
7 Reasons 'Seven Psychopaths' Is One to Watch
Bradley Cooper, Jennifer Lawrence Give Career Bests in 'Silver Linings Playbook'
TIFF 2012 Acquisitions: Ryan Gosling, 'Great Expectations,' Eli Roth and More
While recent animated blockbusters have aimed to viewers of all ages starting with fantastical concepts and breathtaking visuals but tackling complex emotional issues along the way Ice Age: Continental Drift is crafted especially for the wee ones — and it works. Venturing back to prehistoric times once again the fourth Ice Age film paints broad strokes on the theme of familial relationships throwing in plenty of physical comedy along the way. The movie isn't that far off from one of the many Land Before Time direct-to-video sequels: not particularly innovative or necessary but harmless thrilling fun for anyone with a sense of humor. Unless they have a particular distaste for wooly mammoths the kids will love it.
Ice Age: Continental Drift continues to snowball its cartoon roster bringing back the original film's trio (Ray Romano as Manny the Mammoth Denis Leary as Diego the Sabertooth Tiger and John Leguizamo as Sid the Sloth) new faces acquired over the course of the franchise (Queen Latifah as Manny's wife Ellie) and a handful of new characters to spice things up everyone from Nicki Minaj as Manny's daughter Steffie to Wanda Sykes as Sid's wily grandma. The whole gang is living a pleasant existence as a herd with Manny's biggest problem being playing overbearing dad to the rebellious daughter. Teen mammoths they always want to go out and play by the waterfall! Whippersnappers.
The main thrust of the film comes when Scratch the Rat (whose silent comedy routines in the vein of Tex Avery/WB cartoons continue to be the series highlight) accidentally cracks the singular continent Pangea into the world we know today. Manny Diego and Sid find themselves stranded on an iceberg once again forced on a road trip journey of survival. The rest of the herd embarks to meet them giving Steffie time to realize the true meaning of friendship with help from her mole pal Louis (Josh Gad).
The ham-handed lessons may drag for those who've passed Kindergarten but Ice Age: Continental Drift is a lot of fun when the main gang crosses paths with a group of villainous pirates. (Back then monkeys rabbits and seals were hitting the high seas together pillaging via boat-shaped icebergs. Obviously.) Quickly Ice Age becomes an old school pirate adventure complete with maritime navigation buried treasure and sword fights. Gut (Peter Dinklage) an evil ape with a deadly... fingernail leads the evil-doers who pose an entertaining threat for the familiar bunch. Jennifer Lopez pops by as Gut's second-in-command Shira the White Tiger and the film's two cats have a chase scene that should rouse even the most apathetic adults. Hearing Dinklage (of Game of Thrones fame) belt out a pirate shanty may be worth the price of admission alone.
With solid action (that doesn't need the 3D addition) cartoony animation and gags out the wazoo Ice Age: Continental Drift is entertainment to enjoy with the whole family. Revelatory? Not quite. Until we get a feature length silent film of Scratch's acorn pursuit we may never see a "classic" Ice Age film but Continental Drift keeps it together long enough to tell a simple story with delightful flare that should hold attention spans of any length. Massive amounts of sugar not even required.
[Photo Credit: 20th Century Fox]
? The star, famed for played a soldier who lost his lower limbs in hit movie Forrest Gump, was so moved when he heard of the plight of Lance Corporal Juan Dominguez that he organised a benefit concert to raise cash to build a specially-equipped home for him.
Dominguez, who also lost his right arm while serving in Sangin in 2010, was the guest of honour at the concert in Temecula, California last week (ends04Mar12).
Sinise and his Lt. Dan Band performed at the event, covering tracks including Jimi Hendrix's Purple Haze, and the actor has spoken of his delight after learning of the fundraising total.
In a post on his Twitter.com page, he writes, "Thank u (sic) Temecula for coming out in force 4 (sic) our concert in support of Juan Dominguez... It will support getting him a special home."
The star played a soldier who lost his lower limbs in hit movie Forrest Gump and he was moved when he heard of the plight of Lance Corporal Juan Dominguez.
As well as his legs, Dominguez also lost his right arm while serving in Sangin in 2010, and Sinise is hoping his charity event will raise enough to build a specially-equipped home for the solider in Temecula, California.
The actor will outline his plans for the concert, tentatively scheduled to be held on 1 March (12), to Temecula City Council on Tuesday (10Jan12).
In a statement obtained by the Los Angeles Times, Sinise says the event will "recognise the heroism, sacrifice and dedication Juan has displayed".
Last year (11), the actor set up the Gary Sinise Foundation to help aid troops and their families.
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.