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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Actress Paz De La Huerta has accused a musician ex-boyfriend of attempting to sabotage her career by hiding her scripts during their relationship. The former Boardwalk Empire star doesn't mention the ex by name, but she began dating embattled rocker Scott Weiland in early 2008 before they split at the end of 2009. She has also previously been linked to The Virgins rocker Donald Cumming.
She insists nothing good came out of what she calls "a destructive insane relationship", and tells the New York Daily News, "I was in a toxic relationship with a musician. We were together almost two years... This toxic human being who came into my life said he was encouraging my work and then he would hide my scripts."
De La Huerta's career suffered a further setback following their break-up after she was hit by a truck in a stunt gone wrong on a movie set in Toronto, Canada.
She claims the accident left her fighting for her life, and she subsequently underwent around 20 operations to treat her injuries, which included a broken coccyx.
She met photographer Alexandra Carr soon afterwards and the snapper inspired her to channel her pent-up emotions about love and loneliness into a new photo book, Paz de la Huerta: The Birds Didn't Die over the Winter.
The actress says, "(I was in a) really dark place... I was heartbroken. I was confused. And then I met Alexandra."
The basic premise of most crime revenge dramas is how much of our humanity we're willing to trade to get back what the other people — the ostensible baddies — have taken from us. Oliver Stone returns to this familiar stomping ground with Savages a splashy adaptation of Don Winslow's novel about a unique love affair a major marijuana-dealing business and an increasingly violent pissing match between two SoCal growers and the Baja Cartel.
Stone's frenetic visual style is in full swing but even this Oscar-winning auteur can't quite raise the film from mediocrity. It's hard to care whether or not Ben (Aaron Johnson) and Chon (Taylor Kitsch) rescue their gorgeous mutual girlfriend O (Blake Lively) from the cartel if O isn't engaging enough to persuade us she's worth the bloodshed. O (short for Ophelia — an allusion to her earthshaking climaxes) is not a well-written character to begin with but she's even less engaging as played by Lively. Johnson is unconvincing as the bleeding heart Ben and the details his character is given — extra earrings a shoddy-looking tattoo on his neck even white boy dreads at one point — undercut his believability even more. Kitsch is given a few prominent scars and a mean squint but he doesn't quite bring the weird slightly empty vibe of Chon to life.
On the villain side Benicio Del Toro chews every inch of scenery from Laguna Beach to Tijuana as Lado. He's rocking an intense moustache that he strokes when he's lying or being a creep (which is most of the time) a vaguely mullet-like wig and a fondness for torture. Salma Hayek takes no prisoners as the head of the cartel nicknamed Elena la Reina who is both a frustrated mom whose college-age daughter is blowing her off (aw!) and a brutally tough woman in a man's world. John Travolta definitely enjoys a bit of Pulp Fiction ridiculousness as Dennis a DEA official who's in Ben and Chon's pocket. It's hard to tell just how funny Savages is aiming to be. Lado Elena and Dennis are cartoonish but Ben Chon and O are earnest — which is to say a little bit boring.
The double- and triple-crossing is practically moot as is the wacky technology that Ben and Chon employ; it's like The Social Network meets surfers. The real meat of the movie is the flash and violence but it's not the kind of thing that stays with you like Stone's Natural Born Killers. Savages doesn't have the same lingering aftertaste. It's not that a movie needs to have some sort of message with its pointed commentary on the media's bloodlust but the gist of Savages — that we're all savages at heart or that we can easily become a savage given the right circumstances — is not that interesting or unique.
Oddly enough Savages pulls a few punches when it comes to its source material (hard to believe when the movie kicks off with a glimpse of an abattoir-like enclosure and close-ups of men begging for their lives just as a chainsaw revs in the background). Winslow's book is a quick enjoyable read with an interesting on-page style that's hard to replicate verbally. It has a sort of ADD-addled feel that the movie tries to but doesn't quite capture. While it's not always fair to compare an adaptation to the book it's based on Winslow is both the author and one of the screenplay writers so some of the choices made behind the scenes don't quite add up. Cut are significant and menacing back story for Lado and all of the zestiness out of O. Why add in certain plot points and take out others unless it was to give one of its big name stars more screen time? The most interesting part of the story the love story is treated like a wink wink homoerotic thing than an actual relationship between three people who adore each other which is how it's portrayed in the book. It's hard not to be a little disappointed especially given Stone's no-f**ks-given attitude. (Or as O would say baditude.)
That said it is a somewhat entertaining diversion and a nice tour of lifestyles of the rich and criminal. Lively is all tangled tan limbs and luxurious hippie clothes and the homes they frequent whether on Laguna Beach or a desert compound are meticulously decorated with exquisite expensive taste. Santa Muerte imagery also figures heavily in the background of many scenes. The scenery is gorgeous — even the marijuana looks amazing. It's good for adults to have another R-rated choice in what's usually a season dominated by blockbusters but in years to come you'll more likely to reach for your old True Romance DVD than Savages.
A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.
Enigmatic and deliberate Tinker Tailor Soldier Spy makes no reservations while unraveling its heady spy story for better or worse. The film based on the bestselling novel by John Le Carre is purposefully perplexing effectively mirroring the central character George Smiley's (Gary Oldman) own mind-bending investigation of the British MI6's mole problem. But the slow burn pacing clinical shooting style and air of intrigue only go so far—Tinker Tailor Soldier Spy sports an incredible cast that can't dramatically translate the movie's impenetrable narrative. Almost from the get go the movie collapses under its own weight.
After a botched mission in Hungary that saw his colleague Jim (Mark Strong) gunned down in the streets Smiley and his boss Control (John Hurt) are released from the "Circus" (codename for England's Secret Intelligence Service). But soon after Smiley is brought back on board as an impartial observer tasked to uncover the possible infiltration of the organization. The former agent already dealing with the crippling of his own marriage attempts to sift through the history and current goings on of the Circus narrowing his hunt down to four colleagues: Percy aka "Tinker" (Toby Jones) Bill aka "Tailor" (Colin Firth) Roy aka "Soldier" (Ciaran Hinds) and Toy aka "Poor Man" (David Dencik). Working with Peter (Benedict Cumberbatch) a conflicted younger member of the service and Ricki (Tom Hardy) a rogue agent who has information of his own Smiley slowly uncovers the muddled truth—occasionally breaking in to his own work place and crossing his own friends to do so.
Describing Tinker Tailor Soldier Spy as dense doesn't seem complicated enough. The first hour of the monster mystery moves at a sloth's pace trickling out information like the tedious drips of a leaky faucet. The talent on display is undeniable but the characters Smiley included are so cold that a connection can never be made. TTSS sporadically jumps around from past to present timelines without any indication: a tactic that proves especially confusing when scenes play out in reoccurring locations. It's not until halfway through that the movie decides to kick into high gear Smiley's search for a culprit finally becoming clear enough to thrill. A film that takes its time is one thing but Tinker Tailor Soldier Spy does so without any edge or hook.
What the movie lacks in coherency it makes up for in style and thespian gravitas. Director Tomas Alfredson has assembled some of the finest British performers working today and they turn the script's inaccessible spy jargon into poetry. Firth stands out as the group's suave slimeball a departure from his usual nice guy roles. Hardy assures us he's the next big thing once again as the agency's resident moppet a lover who breaks down after a romantic fling uncovers horrifying truth. Oldman is given the most difficult task of the bunch turning the reserved contemplative Smiley into a real human. He half succeeds—his observational slant in the beginning feels like an extension of the movie's bigger problems but once gets going in the second half of the film he's quite a bit of fun.
Alfredson constructs Tinker Tailor Soldier Spy like a cinematic architect each frame dripping with perfectly kitschy '70s production design and camera angles that make the spine tingle. He creates paranoia through framing similar to the Coppola's terrifying The Conversation but unlike that film TTSS doesn't have the characters or story to match. The movie strives to withhold information and succeeds—too much so. Tinker Tailor Soldier Spy wants us to solve a mystery with George Smiley but it never clues us in to exactly why we should want to.
Fela!, about the life of revered African world music star Fela Kuti, will go up against Green Day's American Idiot, Memphis, and Million Dollar Quartet in the coveted Best Musical category at the 64th annual prizegiving, which honours the best on Broadway.
Meanwhile, Grammer and Hodge, who star as a camp gay couple in La Cage, will compete against Sean Hayes (Promises, Promises), Chad Kimball (Memphis) and Sahr Ngaujah (Fela!) for Best Performance by a Leading Actor in a Musical.
The evening is sure to be a star-studded event, with Hollywood actors Jude Law (Hamlet), Alfred Molina (Red), Liev Schreiber (A View from the Bridge), Christopher Walken (A Behanding in Spokane) and Denzel Washington (Fences) pitted against each other for the Best Performance by a Leading Actor in a Play award.
Washington's co-star Viola Davis will battle it out in the category for Best Performance by a Leading Actress in a Play, against Valerie Harper (Looped), Linda Lavin (Collected Stories), Laura Linney (Time Stands Still) and Jan Maxwell (The Royal Family).
Catherine Zeta-Jones (A Little Night Music), Kate Baldwin (Finian's Rainbow), Sherie Rene Scott (Everyday Rapture), Montego Glover (Memphis) and Christiane Noll (Ragtime) received nods for Best Performance by a Leading Actress in a Musical, and Scarlett Johansson's Broadway debut in A View from the Bridge has earned her a nomination for Best Performance by a Featured Actress in a Play.
Nominations for Best Play include In the Next Room (or The Vibrator Play), Next Fall, Red and Time Stands Still.
The winners will be announced on 13 June (10) at Radio City Music Hall in New York City.
The main list of nominees is as follows:
In the Next Room (or The Vibrator Play)
Time Stands Still
Million Dollar Quartet
Best Book of a Musical:
Everyday Rapture - Dick Scanlan and Sherie Rene Scott
Fela! - Jim Lewis & Bill T. Jones
Memphis - Joe DiPietro
Million Dollar Quartet - Colin Escott and Floyd Mutrux
Best Original Score (Music and/or Lyrics) Written for the Theatre:
The Addams Family - Music & Lyrics: Andrew Lippa
Enron - Music: Adam Cork, Lyrics: Lucy Prebble
Fences - Music: Branford Marsalis
Memphis - Music: David Bryan, Lyrics: Joe DiPietro, David Bryan
Best Revival of a Play:
Lend Me a Tenor
The Royal Family
A View from the Bridge
Best Revival of a Musical:
La Cage aux Folles
A Little Night Music
Best Performance by a Leading Actor in a Play:
Jude Law - Hamlet
Alfred Molina - Red
Liev Schreiber - A View from the Bridge
Christopher Walken - A Behanding in Spokane
Denzel Washington - Fences
Best Performance by a Leading Actress in a Play:
Viola Davis - Fences
Valerie Harper - Looped
Linda Lavin - Collected Stories
Laura Linney - Time Stands Still
Jan Maxwell - The Royal Family
Best Performance by a Leading Actor in a Musical:
Kelsey Grammer - La Cage aux Folles
Sean Hayes - Promises, Promises
Douglas Hodge - La Cage aux Folles
Chad Kimball - Memphis
Sahr Ngaujah - Fela!
Best Performance by a Leading Actress in a Musical:
Kate Baldwin - Finian's Rainbow
Sherie Rene Scott - Everyday Rapture
Montego Glover - Memphis
Christiane Noll - Ragtime
Catherine Zeta-Jones - A Little Night Music
Best Performance by a Featured Actor in a Play:
David Alan Grier - Race
Stephen McKinley Henderson - Fences
Jon Michael Hill - Superior Donuts
Stephen Kunken - Enron
Eddie Redmayne - Red
Best Performance by a Featured Actress in a Play:
Maria Dizzia - In the Next Room (or The Vibrator Play)
Rosemary Harris - The Royal Family
Jessica Hecht - A View from the Bridge
Scarlett Johansson - A View from the Bridge
Jan Maxwell - Lend Me a Tenor
Best Performance by a Featured Actor in a Musical:
Kevin Chamberlin - The Addams Family
Robin De Jesus - La Cage aux Folles
Christopher Fitzgerald - Finian's Rainbow
Levi Kreis - Million Dollar Quartet
Bobby Steggert - Ragtime
Best Performance by a Featured Actress in a Musical:
Barbara Cook - Sondheim on Sondheim
Katie Finneran - Promises, Promises
Angela Lansbury - A Little Night Music
Karine Plantadit - Come Fly Away
Lillias White - Fela!
Best Direction of a Play:
Michael Grandage - Red
Sheryl Kaller - Next Fall
Kenny Leon - Fences
Gregory Mosher - A View from the Bridge
Best Direction of a Musical:
Christopher Ashley - Memphis
Marcia Milgrom Dodge - Ragtime
Terry Johnson - La Cage aux Folles
Bill T. Jones - Fela!
Rob Ashford - Promises, Promises
Bill T. Jones - Fela!
Lynne Page - La Cage aux Folles
Twyla Tharp - Come Fly Away
Jason Carr - La Cage aux Folles
Aaron Johnson - Fela!
Jonathan Tunick - Promises, Promises
Daryl Waters & David Bryan - Memphis
Best Scenic Design of a Play
John Lee Beatty - The Royal Family
Alexander Dodge - Present Laughter
Santo Loquasto - Fences
Christopher Oram - Red
Best Scenic Design of a Musical:
Marina Draghici - Fela!
Christine Jones - American Idiot
Derek McLane - Ragtime
Tim Shortall - La Cage aux Folles
Best Costume Design of a Play:
Martin Pakledinaz - Lend Me a Tenor
Constanza Romero - Fences
David Zinn - In the Next Room (or The Vibrator Play)
Catherine Zuber - The Royal Family
Best Costume Design of a Musical:
Marina Draghici - Fela!
Santo Loquasto - Ragtime
Paul Tazewell - Memphis
Matthew Wright - La Cage aux Folles
Best Lighting Design of a Play:
Neil Austin - Hamlet
Neil Austin - Red
Mark Henderson - Enron
Brian MacDevitt - Fences
Best Lighting Design of a Musical:
Kevin Adams - American Idiot
Donald Holder - Ragtime
Nick Richings - La Cage aux Folles
Robert Wierzel - Fela!
Best Sound Design of a Play:
Acme Sound Partners - Fences
Adam Cork - Enron
Adam Cork - Red
Scott Lehrer - A View from the Bridge
Best Sound Design of a Musical:
Jonathan Deans - La Cage aux Folles
Robert Kaplowitz - Fela!
Dan Moses Schreier and Gareth Owen - A Little Night Music
Dan Moses Schreier - Sondheim on Sondheim
Special Tony Award for Lifetime Achievement in the Theatre:
Regional Theatre Tony Award:
The Eugene O'Neill Theater Center, Waterford, Connecticut
Isabelle Stevenson Award:
David Hyde Pierce
Tony Honors for Excellence in the Theatre:
Alliance of Resident Theatres/New York