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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While the annual Sundance film festival continues to be a place that launches young filmmaking talent, over the years it's also become a star-studded publicity machine attracting big names looking to debut their new films. The list of celebs attending the 2013 festival for the out-of-competition premieres of their new movies should not disappoint.
The most anticipated premiere won't happen until the end of the festival, when the Steve Jobs biopic jOBS, starring Ashton Kutcher as the Apple guru, is honored as the closing night film.
Oscar-winning screenwriters (and sometime sitcom stars) Nat Faxon and Jim Rash will make their directorial debut with a film they wrote called The Way, Way Back, starring Steve Carell and Toni Collette.
Joseph Gordon-Levitt will take it one step further by starring in his self-penned directorial debut, DonJon's Addiction, alongside Scarlett Johansson and Julianne Moore.
There's also Lovelace, with Amanda Seyfried as the titular '70s porn star, the third union of Ethan Hawke and Julie Delpy in Before Midnight, and Jane Campion's six-hour epic Top of the Lake, among many others.
The documentaries premiering out of competition cover diverse topics, including Wikileaks, Jeremy Lin, multiple sclerosis, Dick Cheney and more.
The 2013 Sundance Film Festival runs from Jan. 17-27, 2013.
A.C.O.D. / U.S.A. (Director: Stuart Zicherman, Screenwriters: Ben Karlin, Stuart Zicherman) — Carter is a well-adjusted Adult Child of Divorce. So he thinks. When he discovers he was part of a divorce study as a child, it wreaks havoc on his family and forces him to face his chaotic past. Cast: Adam Scott, Richard Jenkins, Catherine O'Hara, Amy Poehler, Mary Elizabeth Winstead, Clark Duke.
Before Midnight / U.S.A. (Director: Richard Linklater, Screenwriters: Julie Delpy, Ethan Hawke, Richard Linklater— We meet Jesse and Celine nine years on in Greece. Almost two decades have passed since their first meeting on that train bound for Vienna. Before the clock strikes midnight, we will again become part of their story. Cast: Ethan Hawke, Julie Delpy, Xenia Kalogeropoulou, Ariane Labed, Athina Rachel Tsangari, Seamus Davey-Fitzpatrick.
Big Sur / U.S.A. (Director and screenwriter: Michael Polish) — Unable to cope with a suddenly demanding public and battling advanced alcoholism, Jack Kerouac seeks respite in three brief sojourns to a cabin in Big Sur, which reveal his mental and physical deterioration. Cast: Jean-Marc Barr, Kate Bosworth, Josh Lucas, Radha Mitchell, Anthony Edwards, Henry Thomas.
Breathe In / U.S.A. (Director: Drake Doremus, Screenwriters: Drake Doremus, Ben York Jones) — When a foreign exchange student arrives in a small upstate New York town, she challenges the dynamics of her host family's relationships and alters their lives forever. Cast: Guy Pearce, Felicity Jones, Amy Ryan, Mackenzie Davis.
Don Jon's Addiction / U.S.A. (Director and screenwriter: Joseph Gordon-Levitt) — In Joseph Gordon-Levitt’s charming directorial debut, a selfish modern-day Don Juan attempts to change his ways. Cast: Joseph Gordon-Levitt, Scarlett Johansson, Julianne Moore, Tony Danza, Glenne Headly, Rob Brown.
The East / U.S.A. (Director: Zal Batmanglij, Screenwriters: Zal Batmanglij, Brit Marling) — An operative for an elite private intelligence firm goes into deep cover to infiltrate a mysterious anarchist collective attacking major corporations. Bent on apprehending these fugitives, she finds her loyalty tested as her feelings grow for the group's charismatic leader. Cast: Brit Marling, Alexander Skarsgård, Ellen Page, Toby Kebbell, Shiloh Fernandez, Patricia Clarkson.
The Inevitable Defeat of Mister and Pete / U.S.A. (Director: George Tillman Jr., Screenwriter: Michael Starrbury) — Separated from their mothers and facing a summer in the Brooklyn projects alone, two boys hide from police and forage for food, with only each other to trust. A story of salvation through friendship and two boys against the world. Cast: Skylan Brooks, Ethan Dizon, Jennifer Hudson, Jordin Sparks, Anthony Mackie, Jeffrey Wright.
jOBS / U.S.A. (Director: Joshua Michael Stern, Screenwriter: Matt Whiteley) — The true story of one of the greatest entrepreneurs in American history, jOBS chronicles the defining 30 years of Steve Jobs’ life. jOBS is a candid, inspiring and personal portrait of the one who saw things differently. Cast: Ashton Kutcher, Dermot Mulroney, Josh Gad, Lukas Haas, J.K. Simmons, Matthew Modine. CLOSING NIGHT FILM
The Look of Love / United Kingdom (Director: Michael Winterbottom, Screenwriter: Matt Greenhalgh) — The true story of British adult magazine publisher and entrepreneur Paul Raymond. A modern day King Midas story, Raymond became one of the richest men in Britain at the cost of losing those closest to him. Cast: Steve Coogan, Anna Friel, Imogen Poots, Tamsin Egerton.
Lovelace / U.S.A. (Directors: Rob Epstein, Jeffrey Friedman, Screenwriter: Andy Bellin) — Deep Throat, the first pornographic feature film to be a mainstream success, was an international sensation in 1972 and made its star, Linda Lovelace, a media darling. Years later the “poster girl for the sexual revolution” revealed a darker side to her story. Cast: Amanda Seyfried, Peter Sarsgaard, Hank Azaria, Adam Brody, James Franco, Sharon Stone.
The Necessary Death of Charlie Countryman / U.S.A. (Director: Fredrik Bond, Screenwriter: Matt Drake) — Traveling abroad, Charlie Countryman falls for Gabi, a Romanian beauty whose unreachable heart has its origins in Nigel, her violent, charismatic ex. As the darkness of Gabi’s past increasingly envelops him, Charlie resolves to win her heart, or die trying. Cast: Shia LaBeouf, Evan Rachel Wood, Mads Mikkelsen, Rupert Grint, James Buckley, Til Schweiger.
Prince Avalanche / U.S.A. (Director and screenwriter: David Gordon Green) — Two highway road workers spend the summer of 1988 away from their city lives. The isolated landscape becomes a place of misadventure as the men find themselves at odds with each other and the women they left behind. Cast: Paul Rudd, Emile Hirsch.
Stoker / U.S.A. (Director: Park Chan-Wook, Screenwriter: Wentworth Miller) — After India's father dies in an auto accident, her Uncle Charlie comes to live with her and her mother, Evelyn. Soon after his arrival, India suspects that this mysterious, charming man has ulterior motives but becomes increasingly infatuated with him. Cast: Mia Wasikowska, Matthew Goode, Dermot Mulroney, Jacki Weaver, Nicole Kidman.
Sweetwater / U.S.A. (Directors: Logan Miller, Noah Miller, Screenwriter: Andrew McKenzie) — In the late 1800s, a fanatical religious leader, a renegade Sheriff, and a former prostitute collide in a blood triangle on the rugged plains of the New Mexico Territory. Cast: Ed Harris, January Jones, Jason Isaacs, Eduardo Noriega, Steven Rude, Amy Madigan.
Top of the Lake / Australia, New Zealand (Directors: Jane Campion, Garth Davis, Screenwriters: Jane Campion, Gerard Lee) — A 12-year-old girl stands chest deep in a frozen lake. She is five months pregnant, and won't say who the father is. Then she disappears. So begins a haunting mystery that consumes a community. Cast: Elisabeth Moss, Holly Hunter, Peter Mullan, David Wenham. This six-hour film will screen once during the Festival.
Two Mothers / Australia, France (Director: Anne Fontaine, Screenwriter: Christopher Hampton) — This gripping tale of love, lust and the power of friendship charts the unconventional and passionate affairs of two lifelong friends who fall in love with each other’s sons. Cast: Naomi Watts, Robin Wright, Xavier Samuel, James Frechevile.
Very Good Girls / U.S.A. (Director and screenwriter: Naomi Foner) — In the long, half-naked days of a New York summer, two girls on the brink of becoming women fall for the same guy and find that life isn't as simple or safe as they had thought. Cast: Dakota Fanning, Elizabeth Olsen, Boyd Holbrook, Demi Moore, Richard Dreyfuss, Ellen Barkin.
The Way, Way Back / U.S.A. (Directors and screenwriters: Nat Faxon, Jim Rash) — Duncan, an introverted 14-year-old, comes into his own over the course of a comedic summer when he forms unlikely friendships with the gregarious manager of a rundown water park and the misfits who work there. Cast: Steve Carell, Toni Collette, Allison Janney, Sam Rockwell, Maya Rudolph, Liam James.
2013 DOCUMENTARY PREMIERES
ANITA / U.S.A. (Director: Freida Mock) — Anita Hill, an African-American woman, charges Supreme Court nominee Clarence Thomas with sexual harassment in explosive Senate hearings in 1991 – bringing sexual politics into the national consciousness and fueling 20 years of international debate on the issues.
The Crash Reel / U.S.A. (Director: Lucy Walker) — The jaw-dropping story of one unforgettable athlete, Kevin Pearce; one eye-popping sport, snowboarding; and one explosive issue, traumatic brain injury. An epic rivalry between Kevin and Shaun White culminates in a life-changing crash and a comeback story with a difference. SALT LAKE CITY GALA FILM
History of the Eagles / U.S.A. (Director: Alison Ellwood) — Using never-before-seen home movies, archival footage and new interviews with all current and former members of the Eagles, this documentary provides an intimate look into the history of the band and the legacy of their music.
Linsanity / U.S.A. (Director: Evan Leong) — Jeremy Lin came from a humble background to make an unbelievable run in the NBA. State high school champion, all-Ivy League at Harvard, undrafted by the NBA and unwanted there: his story started long before he landed on Broadway.
Pandora's Promise / U.S.A. (Director: Robert Stone) — A growing number of environmentalists are renouncing decades of antinuclear orthodoxy and have come to believe that the most feared and controversial technology known to mankind is probably our greatest hope.
Running from Crazy / U.S.A. (Director: Barbara Kopple) — Mariel Hemingway, granddaughter of Ernest Hemingway, strives for a greater understanding of her family history of suicide and mental illness. As tragedies are explored and deeply hidden secrets are revealed, Mariel searches for a way to overcome a similar fate.
Sound City / U.S.A. (Director: Dave Grohl) — Through interviews and performances with the legendary musicians and producers who worked at America's greatest unsung recording studio, Sound City, we explore the human element of music, and the lost art of analog recording in an increasingly digital world.
We Steal Secrets: The Story of WikiLeaks / U.S.A. (Director: Alex Gibney) — In 2010, WikiLeaks and its sources used the power of the Internet to usher in what was for some a new era of transparency and for others the beginnings of an information war.
When I Walk / U.S.A., Canada (Director: Jason DaSilva) — At 25, filmmaker and artist Jason DaSilva finds out he has a severe form of multiple sclerosis. This film shares his personal and grueling journey over the next seven years. Along the way, an unlikely miracle changes everything.
Which Way is the Front Line from Here? The Life and Time of Tim Hetherington / U.S.A. (Director: Sebastian Junger) — Shortly after the release of his documentary Restrepo, photographer Tim Hetherington was killed in Libya. Colleague Sebastian Junger traces Hetherington's work across the world's battlefields to reveal how he transcended the boundaries of image-making to become a luminary in his profession.
The World According to Dick Cheney / U.S.A. (Directors: R.J. Cutler, Greg Finton) — How did Dick Cheney become the single-most-powerful nonpresidential figure in American history? This multi-layered examination of Cheney's life, career, key relationships and controversial worldview features exclusive interviews with the former vice president and his closest allies.
Follow Jean on Twitter @hijean
[Photo Credit: Dale Robinette/Millennium Films]
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At the moment there are few greater clichés in the media than the freaking out single woman on the cusp of 30. Of course clichés are clichés for a reason worth exploring even through the lens of just one or two women as in Lola Versus. Unfortunately while the intention behind Lola Versus isn't that we should all be happily married by the age of 30 it still fits into the same rubric of all those "Why You're Not Married" books.
Lola (Greta Gerwig) has a gorgeous fiancé Luke (Joel Kinnaman) and they live in a giant loft together the kind of dreamy NYC real estate that seems to exist primarily in the movies. Just as they're planning their gluten-free wedding cake with a non-GMO rice milk-based frosting Luke dumps her. It's cruelly sudden — although Luke isn't a cruel man. Lola finds little comfort in the acerbic wit of her best friend the eternally single Alice (Zoe Lister-Jones) who is probably delighted to see her perfectly blonde best friend taken down a peg and into the murky world of New York coupling. Lola and Luke share a best friend Henry (Hamish Linklater) a messy-haired rumpled sweetheart who is kind and safe and the inevitable shelter for Lola's fallout. Her parents well-meaning and well-to-do hippie types feed her kombucha and try to figure out their iPads and give her irrelevant advice.
Lola Versus is slippery. Its tone careens between broad TV comedy and earnest dramedy almost as if Alice is in charge of the dirty zingers and Lola's job is to make supposedly introspective statements. Alice's vulgar non-sequiturs are tossed off without much relish and Lola's dialogue comes off too often as expository and plaintive. We don't need Lola to tell Henry "I'm vulnerable I'm not myself I'm easily persuaded" or "I'm slutty but I'm a good person!" (Which is by the way an asinine statement to make. One might even say she's not even that "slutty " she's just making dumb decisions that hurt those around her just as much as she's hurting herself.)
We know that she's a mess — that's the point of the story! It's not so much that a particularly acerbic woman wouldn't say to her best friend "Find your spirit animal and ride it until its d**k falls off " but that she wouldn't say it in the context of this movie. It's from some other movie over there one where everyone is as snarky and bitter as Alice. You can't have your black-hearted comedy and your introspective yoga classes. Is it really a stride forward for feminism that the clueless single woman has taken the place of the stoner man-child in media today? When Lola tells Luke "I'm taken by myself. I've gotta just do me for a while " it's true. But it doesn't sound true and it doesn't feel true.
In one scene Lola stumbles on the sidewalk and falls to the ground. No one asks her if she's okay or needs help; she simply gets up on her own and goes on her way. It's a moment that has happened to so many people. It's humiliating and so very public but of course you just gotta pick yourself up and get where you're going. In this movie it's a head-smackingly obvious metaphor. In one of the biggest missteps of the movie Jay Pharoah plays a bartender that makes the occasional joke while Lola is waiting tables at her mom's restaurant. His big line at the end is "And I'm your friend who's black!" It would have been better to leave his entire character on the cutting room floor than attempt such a half-hearted wink at the audience.
Lister-Jones and director Daryl Wein co-wrote the screenplay for Lola Versus as they did with 2009's Breaking Upwards. Both films deal with the ins and outs of their own romantic relationship in one way or another. Breaking Upwards a micro-budget indie about a rough patch in their relationship was much more successful in tone and direction. Lola Versus has its seeds in Lister-Jones' experience as a single woman in New York and is a little bit farther removed from their experiences. Lola Versus feels like a wasted opportunity. Relatively speaking there are so few movies getting made with a female writer or co-writer that it almost feels like a betrayal to see such a tone-deaf portrayal of women onscreen. What makes it even more disappointing is how smart and likable everyone involved is and knowing that they could have made a better movie.
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.
The Bold & the Beautiful star staged a fairytale ceremony at sunset on 25 September (09) for his bride.
Guests were asked to keep the happy news under wraps until the couple had had a chance to honeymoon.
DeVasquez arrived at the nuptials in a horse-drawn carriage and guitarist Moss paid tribute to his bride by performing the theme to Romeo & Juliet with actress Nadia Bjorlin.
The couple was married by stuntman Wally Crowder, who is an ordained minister.
Actress/model Cindy Margolis, Barbara Moore, Tina Hillstrom and Moss' daughters Creason and Calee were bridesmaids, while actor Lorenzo Lamas was the groom's best man., Ronn's castmate Winsor Harmon, Leigh McCloskey and Dr. Brad Hillstrom were groomsmen.