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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WHAT IT'S ABOUT?
Essentially about the offbeat relationship between two very distinct people with anything but normal families Gigantic centers around the search for meaning by Brian Weathersby a 29-year-old high-end mattress salesman who is looking for something to anchor his life to. He becomes determined to adopt a baby from China but soon gets involved in an unexpected and wholly different kind of romance when the quirky and pretty Harriet aka Happy wanders into his showroom and falls asleep on one of the beds. Along the way he must deal not only with her loudmouth father Al but also his own dippy parents and two older more successful brothers.
WHO'S IN IT?
When describing the charms of Gigantic all roads lead to Paul Dano who underplays Brian in a wonderfully droll deadpan-style reminiscent of the great Peter Sellers in Being There. Dano who has done this low-key kind of act before in Little Miss Sunshine is truly winning without expressing visible emotion and letting others play off his blank canvas. As Harriet Zooey Deschanel also takes what could be a one-note character and invests her with complexity and quirky humanity. You can't take your eyes off of her when she's on-screen. Veteran actors Edward Asner and John Goodman play the pair's fathers and both adapt their oversized personas beautifully to the precise rhythms established by the stars. Goodman gets great mileage out of his character's bad back problems and is better than he's been on screen in years. Jane Alexander as Brian's mother also has a couple of wonderful moments. Hot comedian Zach Galifianakis takes on the film's oddest role as a mysterious homeless man who keeps showing up to attack Brian.
Co-writer and first-time feature film director Matt Aselton takes a cue from directors like Hal Ashby (Harold and Maude Being There) and Spanish surrealist Luis Bunuel in creating a tone and distinct minimalist sandbox for his actors to play in and it works beautifully for those in the audience who don't need every little detail explained. By dialing it way down he gets an aura of originality not attempted in many comedies these days.
By crossing the line between fantasy and reality and intentionally blurring his main character's emotional well-being a unique device is used throughout that will require patience and suspension of belief before its ultimate payoff toward the end. The less adventurous viewers may not want to make the investment.
A restaurant double-date between Dano Deschanel plus Goodman and his date is brilliantly written and acted as Brian is grilled in vivid detail by Harriet's take-no-prisoners dad.
BEST GREETING BY A STONER:
A slacker friend who has probably already smoked his lifetime supply of weed asks and answers his own question with every hello: "Hey dude What's up? Not much."
NETFLIX OR MULTIPLEX?
If you can find this indie gem in theaters go! But it should be hitting the video shelves before you can say "Hey dude. What's up? Not much."
After a brief flashback prologue where we see how the young lion Alex (Ben Stiller) is separated from his father Zuba (Bernie Mac) inadvertently ending up in the Big Apple the story returns to present day as our favorite New York zoo denizens prepare to take off from Madagascar in a crudely constructed airplane piloted by the penguins and propelled by slingshot. Unfortunately for Alex lovelorn giraffe Melman (David Schwimmer) fast talking zebra Marty (Chris Rock) and svelte hippo Gloria (Jada Pinkett-Smith) instead of landing in NYC the aircraft sputters and crash lands right in the middle of Africa where they run into a world of exotic creatures. This also includes Alex’s long lost dad and mom. Happy reunion? Not quite. Zuba’s nemesis Mukunga (Alec Baldwin) insists they follow lion pride lore which means Alex must go through a rite of passage -- one he is sure to fail if Mukunga has his way. Meanwhile Marty tries to integrate into a pack of zebras; Gloria gets hooked up with a soulful hippo (will.i.am); and Melman is up to his neck looking for love. Oh and they also all have to save the Kenya preserve from a life-threatening water shortage. No biggie! Madagascar: Escape 2 Africa’s witty and hip dialogue provides rich voice over opportunities for a talented crew of actors. Stiller continues to be a riot as the showbiz loving Zooperstar Alex especially in his attempts to earn the pride’s respect. Chris Rock earns his stripes as he tries to hang with a large group of look-a-like sound-a-like zebras. Schwimmer is winning and hysterical as Melman now considered a witchdoctor by his fellow giraffe-ians while Pinkett-Smith continues to shine as hippo Gloria looking for a little action. Among the new voices rapper will.i.am as Moto Moto the last of the red-hot hippos will have you wanting More More while Alec Baldwin gets to play the heavy with Lion King style. The late Bernie Mac playing it relatively straight as Alex’s father proves (as he does in his other new release this week Soul Men) shows us just how much his unique brand of humor will be sorely missed. Stealing the show however and getting king-sized laughs in an expanded role is Sacha Baron Cohen back as King Julien the hard-partying head of the lemurs. With a vast improvement in Madagascar’s state-of-the-art computer graphic work directors Eric Darnell and Tom McGrath take this sequel several notches up in terms of technical savvy including the exciting opening sequence as well as the plane crash. But they really score with the script with new co-writer Etan Cohen adding some crisp comedy. What was mostly just a serviceable script the first time around has gotten a lot more sophisticated and clever a development parents being dragged by their kids will be keenly grateful for. This is the rare animated sequel that actually has a reason for existence other than minting money. It has more heart drama and laughs than the original Madagascar which despite its flaws still made half a billion dollars worldwide. Madagascar: Escape 2 Africa should make even more as it proves to be one of the year’s most entertaining comedy delights.
Harrison Lloyd (David Strathairn) is a world-renowned Pulitzer Prize-winning photojournalist who has it all: a devoted wife two beautiful children and an illustrious career. Although his wife Sarah (Andie MacDowell) is supportive of his career she wishes Harrison would spend more time at home being a husband and father rather than gallivanting around the world taking pictures. Before long Harrison is whisked off overseas to cover bloody ethnic conflicts in Yugoslavia and is presumed dead after the Yugoslav National Army flattens the town he is in. Sarah however is convinced Harrison is still alive because "something would have broken inside if he were dead." She barricades herself into a room with half a dozen televisions determined to uncover something about her husband's whereabouts. Miraculously she sees an image of Harrison in a crowd of civilians being hoarded to the small Croatian town of Vukovar and decides to go there herself and bring him back alive. Despite warnings that war-torn Yugoslavia is not the place for her she manages to dodge bullets and Soviet T-55 tanks while waving around a 5x7 color glossy of Harrison yelling "Have you seen this man?"
As Sarah Harrison's devoted wife Andie MacDowell (Four Weddings and a Funeral) is convincing but irritating. While we feel for her and desperately want her to find her husband alive there is nothing more annoying than watching her traipsing around yelling "Harrison? Harrison!" while the destruction of what was once the breadbasket of the region happens all around her. Adrien Brody (Summer of Sam) plays Kyle Harrison's archnemesis who ends up helping Sarah in her efforts to find Harrison. Brody is probably the most believable and well-developed character in the film despite hokey lines like "We better both pray that some day we find somebody that loves us the way she loves him." No one actually talks like that do they? In the role of Harrison's friend and colleague Yeager is Elias Koteas (The Thin Red Line). His character is supposed to be this famous photographer (we know this because he is credited for that famous photograph of the confrontation between a Chinese student and a T-59 tank during the 1989 Tiananmen Square demonstration) but he is completely despicable. He comes off as a pompous know-it-all rather than a good friend to the Lloyds.
Director Elie Chouraqui wants us to believe MacDowell's character is this brave devoted wife but I found it hard to sympathize with her predicament. Sure it's sad that Harrison is missing and all but forgive me if I found myself more troubled by the execution of thousands of innocent men women and children instead. And in Vukovar amidst the dead bodies of Serbs and Croats she still finds time to take pictures and send them back to the press in the United States. The pictures come out crisp and sharp despite the fact that she shoots most of them in the dark--without a flash. Come on! What takes the cake however is the blatant Schindler's List rip-off: We see a little girl in a yellow dress who stops and smiles for a picture only to end up dead later in the film with a photographer exclaiming "It's the girl in the yellow dress!" It is also hard to buy the film's plot when when all we really know about Harrison is that he likes flowers which are the only thing he photographs in color. Overall Sarah's plight to find her husband almost seems petty in lieu of what is going around her.