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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After garnering widespread praise (and an Oscar nomination for screenwriting) for his 2000 directorial debut You Can Count on Me Kenneth Lonergan was in-demand. In September 2005 the writer/director began production on a follow-up feature: Margaret which touted Anna Paquin Matt Damon Mark Ruffalo Matthew Broderick Allison Janney as well as legendary filmmakers Sydney Pollack and Anthony Minghella (The English Patient) as producers. The movie wrapped production in a few months time. The buzz was already growing.
Now six years later the movie is finally hitting theaters. So…what took so long?
The journey to this point hasn't been an easy one and it shows. If a film's shot footage is a block of granite and the editing process is the careful carving that turns it into a statuesque work of art Margaret feels like it was attacked by a blind man with a jackhammer. The film is a cinematic disaster a mishmash of shallow characters overwrought politics and sporadic tones. The story follows Lisa Coen (Paquin) a New York teenager who finds herself drowning in chaos after distracting a bus driver (Ruffalo) causing him to hit and kill a pedestrian (Janney). Initially Lisa tells the police it was all an accident but as time passes regret takes hold and the girl embarks on a mission to take down the man she now regards as a culprit. That's just the tip of the iceberg–along the way Lisa deals with everyday teen stuff: falling for her geometry teacher (Damon) combating her anxiety-ridden actress mother losing her virginity dabbling in drugs debating 9/11 and the Iraq War cultivating a relationship with her father in LA and more. There are about eight seasons of television stuffed into Margaret but even a two and a half hour run time can't make it all click.
For more on Margaret check out Indie Seen: Margaret the Long Lost Anna Paquin/Matt Damon Movie
The Coen brothers could be adding a third Writers Guild of America Award to their impressive trophy case next month if they can nab best original screenplay for their quirky comedy Burn After Reading. The WGA, who announced their nominees today, presented Joel and Ethan Coen with best adapted screenplay last year for No Country for Old Men and best original screenplay in 1997 for Fargo.
Rounding out the contenders this year are Dustin Lance Black for Milk, Woody Allen for Vicky Cristina Barcelona, Tom McCarthy for The Visitor and Robert Siegel for The Wrestler.
The WGA’s best adapted screenplay noms include Eric Roth for The Curious Case of Benjamin Button with story by Roth and Robin Swicord; Jonathan Nolan and Christopher Nolan for The Dark Knight with story by Christopher Nolan and David S. Goyer; John Patrick Shanley for Doubt, based on the stage play; Peter Morgan for Frost/Nixon, based on his stage play; and Simon Beaufoy for Slumdog Millionaire.
WGA members will meet simultaneously in New York and Los Angeles for the award ceremony on Feb. 7.
Burn After Reading, Written by Joel Coen & Ethan Coen, Focus Features
Milk, Written by Dustin Lance Black, Focus Features
Vicky Cristina Barcelona, Written by Woody Allen, The Weinstein Company
The Visitor, Written by Tom McCarthy, Overture Films
The Wrestler, Written by Robert Siegel, Fox Searchlight Pictures
The Curious Case of Benjamin Button, Screenplay by Eric Roth; Screen Story by Eric Roth and Robin Swicord; Based on the Short Story by F. Scott Fitzgerald, Paramount Pictures and Warner Bros. Pictures
The Dark Knight, Screenplay by Jonathan Nolan and Christopher Nolan; Story by Christopher Nolan & David S. Goyer; Based on Characters Appearing in Comic Books Published by DC Comics; Batman Created by Bob Kane, Warner Bros. Pictures
Doubt, Screenplay by John Patrick Shanley, Based on his Stage Play, Miramax Films
Frost/Nixon, Screenplay by Peter Morgan, Based on his Stage Play, Universal Pictures
Slumdog Millionaire, Screenplay by Simon Beaufoy, Based on the Novel Q and A by Vikas Swarup, Fox Searchlight Pictures
Boogie Man: The Lee Atwater Story, Written by Stefan Forbes and Noland Walker, InterPositive Media
Chicago 10, Written by Brett Morgen, Roadside Attractions
Fuel, Written by Johnny O'Hara, Greenlight Theatrical / Intention Media
Gonzo: The Life and Work of Dr. Hunter S. Thompson, Screenplay by Alex Gibney, From the Words of Hunter S. Thompson, Magnolia Pictures
Waltz with Bashir, Written by Ari Folman, Sony Pictures Classics
Dramatic Series Dexter, Written by Scott Buck, Daniel Cerone, Charles H. Eglee, Adam E. Fierro, Lauren Gussis, Clyde Phillips, Scott Reynolds, Melissa Rosenberg, Tim Schlattmann; Showtime
Friday Night Lights, Written by Bridget Carpenter, Kerry Ehrin, Brent Fletcher, Jason Gavin, Carter Harris, Elizabeth Heldens, David Hudgins, Jason Katims, Patrick Massett, Aaron Rahsaan Thomas, John Zinman; NBC
Lost, Written by Carlton Cuse, Drew Goddard, Adam Horowitz, Christina M. Kim, Edward Kitsis, Damon L. Lindelof, Greggory Nations, Kyle Pennington, Elizabeth Sarnoff, Brian K. Vaughan; ABC
Mad Men, Written by Lisa Albert, Jane Anderson, Rick Cleveland, Kater Gordon, David Isaacs, Andre Jacquemetton, Maria Jacquemetton, Marti Noxon, Robin Veith, Matthew Weiner; AMC
The Wire, Written by Ed Burns, Chris Collins, David Mills, David Simon, William F. Zorzi, Richard Price, Dennis Lehane, George Pelecanos; HBO
30 Rock, Written by Jack Burditt, Kay Cannon, Robert Carlock, Tina Fey, Donald Glover, Andrew Guest, Matt Hubbard, Jon Pollack, John Riggi, Tami Sagher, Ron Weiner; NBC
Entourage, Written by Doug Ellin, Jeremy Miller, Ally Musika, Steve Pink, Rob Weiss; HBO
The Office, Written by Steve Carell, Jennifer Celotta, Greg Daniels, Lee Eisenberg, Anthony Farrell, Brent Forrester, Dan Goor, Charlie Grandy, Mindy Kaling, Ryan Koh, Lester Lewis, Paul Lieberstein, Warren Lieberstein, B.J. Novak, Michael Schur, Aaron Shure, Justin Spitzer, Gene Stupnitsky, Halsted Sullivan; NBC
The Simpsons, Written by J. Stewart Burns, Daniel Chun, Joel H. Cohen, Kevin Curran, John Frink, Tom Gammill, Valentina Garza, Stephanie Gillis, Dan Greaney, Reid Harrison, Ron Hauge, Al Jean, Brian Kelly, Billy Kimball, Rob LaZebnik, Tim Long, Ian Maxtone-Graham, David Mirkin, Bill Odenkirk, Carolyn Omine, Don Payne, Michael Price, Max Pross, Mike Reiss, Mike Scully, Matt Selman, Matt Warburton, Jeff Westbrook, Marc Wilmore, William Wright; Fox
Weeds, Written by Roberto Benabib, Mark A. Burley, Ron Fitzgerald, David Holstein, Rolin Jones, Brendan Kelly, Jenji Kohan, Victoria Morrow, Matthew Salsberg; Showtime
Breaking Bad, Written by Vince Gilligan, Peter Gould, Patty Lin, George Mastras, J Roberts; AMC
Fringe, Written by JJ Abrams, Jason Cahill, Julia Cho, David H. Goodman, Felicia Henderson, Brad Caleb Kane, Alex Kurtzman, Darin Morgan, J.R. Orci, Roberto Orci, Jeff Pinkner, Zack Whedon; Fox
In Treatment, Written by Rodrigo Garcia, Bryan Goluboff, Davey Holmes, William Meritt Johnson, Amy Lippman, Sarah Treem; HBO
Life on Mars, Written by Josh Appelbaum, Andre Nemec, Scott Rosenberg, Becky Hartman Edwards, David Wilcox, Adele Lim, Bryan Oh, Tracy McMillan, Sonny Postiglione, Phil M. Rosenberg, Meredith Averill; ABC
True Blood, Written by Alan Ball, Brian Buckner, Raelle Tucker, Alexander Woo, Nancy Oliver, Chris Offutt; HBO
Episodic Drama - any length - one airing time
“Don’t Ever Change” (House), Written by Doris Egan & Leonard Dick; Fox
“Double Booked” (Burn Notice), Written by Craig O’Neill & Jason Tracey; USA
“Gray Matter” (Breaking Bad), Written by Patty Lin; AMC
“Pilot” (Breaking Bad), Written by Vince Gilligan; AMC
“Pilot” (Eli Stone), Written by Greg Berlanti & Marc Guggenheim; ABC
“There’s Something About Harry” (Dexter), Written by Scott Reynolds; Showtime
Episodic Comedy - any length - one airing time
“Believe in the Stars” (30 Rock), Written by Robert Carlock; NBC
“Cooter” (30 Rock), Written by Tina Fey; NBC
“Crime Aid” (The Office), Written by Charlie Grandy; NBC
“Crush’d” (Ugly Betty), Written by Tracy Poust & Jon Kinnally; ABC
“Succession” (30 Rock), Written by Andrew Guest & John Riggi; NBC
“Vote for This and I Promise to Do Something Crazy at the Emmys” (My Name is Earl), Written by Greg Garcia; NBC
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This period piece takes place amidst the gossip of aristocrats in fascist Italy where the characters search for freedom passion love and self-identity. This is a straightforward tale and much like a good play it has plenty of witty dialogue and a well-paced story. The film opens with a bit of history but we soon enter a world of lust death blackmail and escape. It's an odd love story to be sure but it works. The chemistry between a beautiful English aristocrat (Kristin Scott Thomas) and an American playboy (Sean Penn) lights up the screen.
Scott Thomas and Penn are brilliant together utterly believable as romantic partners. Thomas' elegant demeanor combined with Penn's grittier charms will certainly keep audiences interested. Anne Bancroft's over-the-top princess is full of zest and wit much like her Miss Havisham was in the recent remake of "Great Expectations."
Philip Haas brings together a rich and sensuous blend of settings and characters. He skillfully combines the lushness of a Merchant-Ivory film with bristly more muscular storytelling.
SANTA MONICA, Calif., Jan. 28, 2000 - Jacqueline Susann was the queen of flashy trash -- the first literary pop star of the modern p.r. age. And Hollywood is putting her in the spotlight today with the opening of "Isn't She Great," a Susann biopic starring Bette Midler. It's a comic look at the woman behind "Valley of the Dolls" -- the once-shocking novel filled with every tawdry Tinseltown element its author could muster.
"Dolls" was published in February 1966, replete with pill-popping, sex-crazed movie stars in a tragic vein (a central trio transparently based Judy Garland, Marilyn Monroe and Ethel Merman). Susann's husband, former radio producer Irving Mansfield (played by Nathan Lane in the film), put together a whirlwind promotional tour which sent the book to the top of the New York Times bestseller list by May. "Valley of the Dolls" held that No. 1 position for 28 consecutive weeks.
Susann, who died in 1974 of cancer, once said: "All the people in my books, the ones who are glamorous, or beautiful, or rich or talented -- they have to suffer, see, because that way the people who read me can get off the subway and go home feeling better about their own crappy lives, luckier than the people they've been reading about."
In honor of Susann's grasp of the glamorous and the tragic, here's a quick list of fateful film figures, both in and out of the pages of author Jacqueline Susann. The real-life "Valley of the Dolls," per se:
Few celebrity deaths ever generated as much noise as Monroe's apparent suicide at the age of 36. Her body was discovered in the bed of her Brentwood home, where she had succumbed to a massive dose of sleeping pills.
Thanks to the big MGM family, Garland began playing with "dolls" in her teens: she used pills to go to sleep, pills to stay awake, and even more pills to suppress her appetite. Is it any wonder she began seeing psychoanalysts at the age of 21? Or that her death in 1969 at age 45, officially described as accidental overdose of sleeping pills, came in the wake of a number of suicide attempts?
MGM producer Paul Bern took his own life barely two months after marrying the "blonde bombshell" in 1932. His death note read, in part: "Dearest Dear: Unfortunately this is the only way to make good the frightful wrong I have done you and to wipe out my abject humiliation. You understand that last night was only a comedy." Harlow died five years later, of cerebral edema, after becoming seriously ill during the filming of "Saratoga."
Was the casting of Hayward in the film version of "Dolls" hitting a little close to home? In 1955, she received hospital treatment after taking an overdose of sleeping pills. She died in 1975 at age 56 after battling a brain tumor for two years.
Famous for her peek-a-boo bangs, Lake shot to the top of Paramount's female roster in the early 1940s, but faded quickly when she cropped the style in support of the nation's war effort. By 1951, Lake had declared bankruptcy. At the low point of her career, in 1962, the New York Post spotted Lake, with hair pulled back, working as a barmaid at the Martha Washington Hotel in New York.
LILLIAN "PEG" ENTWHISTLE
She's probably the least known of tragic Hollywood figures, but her life played out just like the quintessential Hollywood tragedy. A stage actress who couldn't make a go of it in the movies, Entwhistle climbed to the top of the "H" in the Hollywood sign and leapt to her death.
That's part of your problem. You haven't seen enough movies. All of life's riddles are answered in the movies." "Grand Canyon," 1991
Where ya' gonna be at that precise split second between 1999 and 2000? New York? New Orleans? Paris? The corner bar?
No matter your choice, as far as Tinseltown players are concerned, they've been there, done that.
Hollywood could always throw a party. Sometimes Hollywood acted as if it invented parties, and sometimes we even believed it. There were the luncheons and the dinner parties and the no-meals parties. Some private celebrations got so outrageous, so out there, so out of hand, the bashes made the papers. Or the courts.
So Hollywood folks know how to party off screen. But what about on screen? As we count down and ring-a-ding-ding in a new century, let's see what the movies have had to say about partying time and raising hell in general.
NORA: Hey, what hit me? NICK: The last martini. "The Thin Man," 1936
Now is the time for all good men to come to the aid of the party. "Holiday," 1938
Scusi! Scusi! I'm also very good at parties! "The Gay Divorcee," 1934
You call this a party? The beer is warm, the women are cold, and I'm hot under the collar. In fact, a more poisonous little barbecue I've never attended. "Monkey Business," 1931
For good, clean fun, there's nothing like a wake. "Nothing Sacred," 1937
It's some tradition. They throw a great party for you on the one day they know you can't enjoy it. "The Big Chill," 1983
When I heard you were alive, I drank a bottle of champagne and played Chopin's funeral march in swingtime. "The Great Lie," 1941
ADOLPH: Marcel, why did you tell me it was a costume party? MARCEL: Oh, sir, I did so want to see you in tights. "One Hour With You," 1932
Let's blow trumpets and squeakers and enjoy the party as much as we can like very small, quite idiotic school children. ... Let's be superficial. "Private Lives," 1931
I want a sit-down orgy for 40. "A Funny Thing Happened on the Way to the Forum," 1966
What I'm out for is a good time -- all the rest is propaganda. "Saturday Night and Sunday Morning," 1960
You don't think I enjoyed what we did this evening, do you? What I did was for Queen and country! "Thunderball," 1965
Time is just a clock some sucker winds. "Malaya," 1950
Time! Time! What is time? The Swiss manufacture it. The French hoard it. Italians want it. Americans say it is money. Hindus say it does not exist. Do you know what I say? I say time is a crook. "Beat the Devil," 1954
No looking ahead. No tomorrows. Just today. "Only Angels Have Wings," 1939
Let joy be unconfined. Let there be dancing in the streets, drinking in the saloons and necking in the park! "A Night at the Opera," 1935
You know something, Phil? I suddenly want to live to be very old. Very. I want to be around to see what happens. The world is stirring in very strange ways. Maybe this is the century for it. Maybe that's why it's so troubled. Other centuries had their driving forces. What will ours have been when men look for back to it one day? Maybe it won't be the American century after all. Or the Russian century. Or the atomic century. Wouldn't it be wonderful, Phil, if it turned out to be everybody's century? When people all over the world -- free people - found a way to live together? I'd like to be around to see some of that in the beginning. I may stick around for quite a while. "Gentleman's Agreement," 1947