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
As you prepare to enjoy the 4th of July weekend, SSN gives you a preview of good TV to look out for in the coming weeks.
We hope you tuned in to Showtime last night for the final season premiere of Dexter and the premiere of Ray Donovan. Dexter is back in fine form as his sister Debra has quit the police force and is mentally going off the rails. This is the show’s final season and you should be on the lookout for Charlotte Rampling in upcoming episodes as a neuro-psychiatrist who knows a lot about Dexter even though he doesn’t realize who she is at first.
Ray Donovan stars Liev Schreiber as a very effective Hollywood fixer with personal problems of his own, starting with his ex-con father Mickey (Jon Voight). Ray tries to protect and take care of his family and his two brothers, Bunchy (Dash Mihok) and Terry (Eddie Marsan), but as soon as Mickey shows up in L.A., it all starts to go south. Be sure you make time each Sunday night for Dexter and Ray Donovan.
Upcoming shows we’re looking forward to:
INTERIOR THERAPY WITH JEFF LEWIS SEASON PREMIERE Tuesday – July 9th, 2013 at 9:00pm on Bravo
Reasons To Watch: Say what you will about Jeff Lewis: his OCD makes him extra-particular about everything, his eye for detail sometimes borders on the insane but the man knows how to make a home livable and beautiful. Lewis and his right-hand gal Jenni Poulos are back to help troubled couples and families with home decorating issues that also affect their relationships.
THE BRIDGE SERIES PREMIERE Wednesday – July 10th, 2013 at 10:00pm on FX
Academy Award nominee Demian Bichir (A Better Life) and Diane Kruger star in this new drama from writers Meredith Stiehm (Homeland, Cold Case) and Elwood Reid (Hawaii Five-O, Cold Case). Based on the Danish/Swedish series Bron, which was set on the border of Denmark and Sweden, The Bridge is set on the border between El Paso and Juarez. It centers on two detectives, one from the U.S., Detective Sonya Cross (Kruger), and one from Mexico, Marco Ruiz (Bichir), who must work together to hunt down a serial killer operating on both sides of the U.S.-Mexican border. The Bridge co-stars Ted Levine, Annabeth Gish, and Thomas M. Wright. Gerardo Naranjo (Miss Bala) directed the pilot.
Reasons To Watch: Bichir never gives a bad performance. We loved him as a drug kingpin on Weeds a few seasons ago and we know he’ll be equally compelling as a lawman. We also loved Stiehm’s writing on Homeland, especially the pivotal season one episode “The Weekend.” If The Bridge adheres to the FX drama brand, it will be worth watching.
ORANGE IS THE NEW BLACK SERIES PREMIERE Thursday – July 11th, 2013 at 12:01am on Netflix
Reasons To Watch: Jenji Kohan (Weeds) adapted Piper Kerman’s memoir of an executive’s time in a minimum security women’s prison for drug charges. Kohan excels at writing women in unusual circumstances and combining humor and pathos. We’ve seen the first two episodes and we’re in for the run. Taylor Schilling is cast well as Piper Chapman, the yuppie gal who goes to prison for a crime she committed ten years ago. Jason Biggs plays her loving fiancée Larry, Laura Prepon is a woman from Piper’s past (no spoilers here) and look for Kate Mulgrew in a very different kind of role.
HOLLYWOOD GAME NIGHT SERIES PREMIERE Thursday – July 11th, 2013 at 10:00pm on NBC
Reasons To Watch: Jane Lynch and games! Jane Lynch hosts this fun, light show that has celebrities like Matthew Perry, Lisa Kudrow, Jason Alexander, Josh Gad, Kristin Chenoweth, Martin Short, Allison Hannigan, Kristen Bell, and Daniel Dae Kim teaming up with civilians to compete in party games.
THE NEWSROOM SEASON PREMIERE Sunday – July 14th, 2013 at 10:00pm on HBO
Reasons To Watch: This Aaron-Sorkin-penned drama is far from perfect (don’t get us started on how Sorkin writes female characters) but the combination of fast wordplay and Jeff Daniels make the show worth watching. We also think Thomas Sadowski and John Gallagher Jr. are great and we hope they both get meatier storylines this season. We also hope to see more of Jane Fonda, though we haven’t heard how many episodes she’ll turn up in during this second season.
What will you be watching? Do you have any summer TV favorites? Let us know in the comments.
More: ‘The Newsroom’ Season 2 Trailer Brings the Drama ‘Ray Donovan’ and ‘Dexter’ Nap Killer Ratings for Showtime Netflix Goes to Prison With ‘Orange Is the New Black’
From Our Partners:What Happened to 33 Child Stars (Celebuzz)40 Most Revealing See-Through Red Carpet Looks (Vh1)
When a movie gets knocked around from one crummy release date to another one would assume that it is pretty awful. However even I a knowledgeable and open-minded film geek wasn’t prepared for the monstrosity that is Season of the Witch a medieval mess that has reportedly been in the works for a decade. You’d never be able to tell so many years of preparation went into this sad excuse for a B-movie based on its laughable CGI dialogue and contrived premise. How many flavors of bad is this supernatural stinker? Sample this…
A period horror action flick Season of the Witch is initially set in a cursed city suffering from the Black Plague that has deformed and decimated the majority of its population. The disease has been unleashed as a result of a literal witch-hunt gone wrong. Ancient evil forces are afoot and the blame is put on a young girl who the Church believes is a witch. Though imprisoned in the dungeons of a castle her power reigns supreme. Enter Behman (Nicolas Cage) and Felson (Ron Perlman) Knights of the Crusades who happen upon the city on their way back to civilization. Once recognized as deserters they are imprisoned and given the choice to remain captive or lead a suicide transport mission to a remote monastery where the girl’s innocence or guilt can be determined. If deemed evil she is to be destroyed.
The premise though far from original could have been cool if executed with some style but director Dominic Sena (Gone In Sixty Seconds) is incapable of making it enjoyable. Instead of creating suspense through eerie environments he settles for cheap thrills that fall short every time. His use of CGI is painfully bad conjuring effects that would’ve looked dated around the turn of the century. Most insulting is the film’s big “twist” - a lazy paradigm shift so easily foreseeable the movie should have just been called The Devil’s Advocate. Is that not bad enough for you? Just wait it gets better (read: worse).
Stars Cage and Perlman are Razzie bound with a pair of pathetic non-performances. The accomplished actors don’t even try to get into character. Rather they don period garb shield and sword and run around like cheap imitations of their former selves for two hours. You won’t hear any attempts at English accents because apparently 14th Century Knights are just like contemporary buddy cops. With this little effort being put forth by the two men who are essentially the reason folks will pay to see the movie Season of the Witch doesn’t have much of a leg to stand on. The supporting cast which includes Ulrich Thomsen Stephen Graham and Christopher Lee try to bear the burden but cannot undo the damage that Cage and Perlman inflict upon this film. The scariest thing about Season of the Witch is the movie itself an abomination of bad filmmaking and terrible acting.