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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There are a handful of experiences in this world that can really, truly change a man. Really get to his core and mess things up. There's war. Prison. Being lost at sea, probably. And watching a Harmony Korine movie for the first time. If you've never braved the challenge, then you probably still foster some semblance of faith in the idea that the universe is a wholly good and rational place. Ah, to be young again...
Korine's latest venture is Spring Breakers, a film that starts young pop idols Selena Gomez and Vanessa Hudgens — Muse Entertainment/Division Films have released a first look at the movie, which you can watch in the clip below (courtesy of in an "adventure/comedy/drama", according to IMDb) about "four college girls who land in jail after robbing a restaurant in order to fund their spring break vacation find themselves bailed out by a drug and arms dealer who wants them to do some dirty work." Sounds like a wacky summer comedy, maybe veering a little closer to the R-rating than the names involved might suggest, doesn't it? Still, nothing too shocking. Knowing Gomez and Hudgens, it'll probably boast a series of cartoonish calamitous hijinks, maybe a musical number or two, and life lessons about friendship, growing up, and getting your head in the game.
Well, that's probably not what is going to happen...
See, Korine is the writer and filmmaker behind such twisted gems as Kids, Gummo, and a handful of short films, all of which embrace bonkers sensibility and wormhole-levels-of-dark themes. Take 2011's Snowballs, wherein two young girls dressed as Native Americans are lured into the home of a lecherous old man with a hi-fi. Or Umshini Wam, also made in '11, in which a wheelchair-bound duo goes on a killing spree to earn the respect of others. How about the 2009 feature film Trash Humpers, which is exactly what it sounds like. In short, Korine's pieces are definitively macabre and bizarre.
Unsurprisingly, Korine has not worked with a great deal of big name (or even moderately recognizable) actors. Chloë Sevigny, whose first and third features were Kids and Gummo, in '95 and '97 respectively, is really the only of Korine's actors to have graduated to any modicum of mainstream fame — Sevigny also worked with Korine on 1999's Julien Donkey-Boy and the 2009 anthology film 42 One Dream Rush.
It's worth wondering how the presence of already big-name figures like Gomez, Hudgens, and James Franco (who plays the drug/arms dealer mentioned in above synopsis) will affect Korine's voice. With these actors attached, Spring Breakers is already more largely associated with the mainstream than anything Korine has written or directed before. So is he changing his ways to make a more approachable movie? Or is it just the opposite — he's working his way into the mainstream with the likes of Gomez and Hudgens, only to unleash his mad genius unto the world in the most unexpected, shocking, and provocative fashion yet? James Franco does seem like he'd be totally on board with a plan like that.
Somewhere between the expectations of a Gomez/Hudgens summer adventure, and the past trash-humping, STD-spreading, Da Fool-acting works of Korine lies the above clip, wherein Gomez spouts a nihilistic deconstruction of her nothing town, while Hudgens sits quietly, mock-shooting her friends and self with her fingers. It's dark and ominous, but hardly enough of either to be notable as a classic Korine piece. Granted, it's only a 30-second video, and an introductory one at that. But in this clip alone, we feel a more comprehensible and reliable reality than we've seen in past Korines.
Admittedly, Korine's 2007 feature Mister Lonely does swim in gentler territories than Kids and Gummo do, and serves its story with a greater responsibility to linear structure. It's still an odd film, but it's Korine's softest picture to date; thus, we know that Korine can bridle his chaos and still produce something worth watching. But can Korine still do this when the themes involved are the ones boasted by Spring Breakers? Robbery, assault, drugs, weapons? If Korine dials back his proclivity to handle these elements explosively (as he always does), will it feel like he's selling the movie short of his unique take on the subject matter?
Again, the 30-second clip, mild (for Korine) as it may be, doesn't conflict with the possibility of an overall diabolical attitude. Maybe the mood gradually evolves toward madness as the girls descend deeper into trouble; or maybe, in the context of the story, the above clip will seem a hell of a lot more threatening and heated than it does on its own. The point is, we shouldn't expect anything close to what the phrase "Selena Gomez/Vanessa Hudgens spring break movie" would ordinarily suggest. Even the softest, most linear, most normal movie Harmony Korine is capable of making will still be, invariable, some degree of bats**t.
Selena Gomez, Vanessa Hudgens, Bikinis and Scooters on 'Spring Breakers' Set: Photo
'Spring Breakers': The Movie About Selena Gomez & Vanessa Hudgens in Bikinis — PICS
Val Kilmer on Fake Val Kilmer, Real Tom Cruise and Saving Angelina Jolie's Breast
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.
Imagine only being able to communicate through blinking. Now imagine trying to dictate your memoirs in this grueling and time-consuming fashion. That’s how Jean-Dominique Bauby had to put his life and thoughts down on paper. The editor of French Elle suffered a stroke so severe that it rendered him almost entirely paralyzed for the remainder of his short life. He died less than 18 months later just days after the publication of his 1997 memoirs. Making amends for his laughable adaptation of Love in the Time of Cholera Ronald Hardwood pays homage to Bauby’s remarkable achievement with an eloquent screenplay that examines the power of the mind over the body. The Diving Bell and the Butterfly begins on the day when Bauby (Mathieu Amalric) wakes up from a coma and is alarmed to find himself in a hospital completely paralyzed and unable to speak. But his mind is sharp as it ever was. Flashbacks reveal Bauby to be a man who lived life to the fullest and relished every challenge that came his way. So being stuck in a body that no longer functions as it once did is clearly pure hell for Bauby--until his therapist Henriette (Marie-Josee Croze) teaches Bauby to communicate by blinking his left eye. Bauby suddenly decides to honor a book contract he had signed before his stroke--and in the process he discovers his raison d’être. Like My Left Foot’s Daniel Day-Lewis before him Amalric indelibly proves that the mind can and will thrive even when the body is broken and beyond repair. Amalric though has less to work with than the wild-eyed Day-Lewis who had the luxury of drawing you into his performance by tapping into Irish author Christy Brown’s abrasive personality and larger-than-life presence. It’s mesmerizing to watch the intrepid Amalric at work even though he’s practically motionless for the entire film bar for a few flashbacks. While the rest of his face remains frozen solid Amalric eloquently expresses Bauby’s innermost hopes and fears through the mere blink of his left eye. There’s never a time when you don’t know how Bauby feels. And his narration is laced with gallows humor which helps keep Diving Bell free from drowning in sentimentality. As Bauby’s therapist Croze personifies patience dedication and resourcefulness we all expect and demand from health-care professionals but don’t always receive. Emmanuelle Seigner maintains a brave face as Bauby’s neglected wife Céline. You wait for Céline to crumble especially as Bauby never stops asking about his mistress but Seigner reveals Céline to be caring and forgiving. The most heartbreaking moments come between Amalric and Max von Sydow who plays Bauby’s father who is much trapped inside his apartment as Bauby is inside his body. There’s great sadness and regret to be found in von Sydow’s every word as he comes to the painful realization that he will outlive his rich and successful son which no father wants to do. Yes Diving Bell is the latest in a long line of inspirational fact-based films about physically and/or mentally challenged people mastering their disabilities. But director Julian Schnabel distinguishes himself and the film by shooting the first act solely from Babuy’s perspective. We see everything Bauby sees through his one good eye from the moment he comes out of his coma. What follows is confusing disorienting and taxing. And darkly humorous as evidenced by Bauby’s admiration of his females nurses. Schnabel’s approach though works to dramatic effect because we receive a greater understanding and appreciation of what Bauby’s experiencing. Stay the course and you will be rewarded for your patience. Once Bauby comes to terms with his fate and refuses to spend the rest of his days wallowing in self pity Schnabel finally turns his camera on Bauby to reveal his post-stroke physical appearance. It’s a quiet but ingenious way for us to accept Bauby as he accepts himself. Schnabel then concentrates on Bauby’s Herculean effort to dictate his autobiography which is occasionally interrupted by poignant flights of fantasy (it’s not hard to guess what the diving bell and the butterfly symbolize). Equal amounts of joy and regret are be found in Bauby’s reminiscing but Schnabel never tries to romanticize his subject or ignore to his past transgressions. Diving Bell doesn’t set to turn a flawed man into a hero but Bauby’s will and determination ultimately reinforces the notion that anything’s possible if you set your mind to it.
Two of the most prestigious independent film communities have recently each given their stamp of approval on independent cinema both past and future. Nominees for the 2006 Independent Spirit Awards were announced as was the lineup for the independent feature film and world cinema competitions for next year’s Sundance Film Festival.
Although each organization acknowledge and reward independent filmmaking, the two fetes are quite different. The Spirit Awards are more of a conventional awards show, which will be handed out March 4 in Santa Monica, California [for full coverage on the Spirit Award nominations, click here].
The Sundance Awards are the culmination of the 10-day festival (Jan. 19-29 in Park City, Utah) that showcases the films in contention for awards. Next year’s Sundance Film Festival lineup marks a return of sorts to the fest’s roots, by giving way to more fresh faces. The total number of submissions increased, resulting in a different and exciting format--the expansion of the world competition to include more international films.
Below are the films to be shown in the four competition sections:
American Dramatic Competition A Guide to Recognizing Your Saints (Director, screenwriter: Dito Montiel) Come Early Morning (Director, screenwriter: Joey Lauren Adams) Flannel Pajamas (Director, screenwriter: Jeff Lipsky) Forgiven (Director, screenwriter: Paul Fitzgerald) Half Nelson (Director: Ryan Fleck; screenwriters: Anna Boden, Ryan Fleck) Hawk Is Dying (Director: Julian Goldberger; screenwriters: Harry Crews (novel), Julian Goldberger) In Between Days (Director: So Yong Kim; screenwriters: So Yong Kim, Bradley Rust Gray) Puccini for Beginners (Director, screenwriter: Maria Maggenti) Quinceanera (Director/screenwriters: Richard Glatzer and Wash Westmoreland) Right at Your Door (Director, screenwriter: Chris Gorak) Sherrybaby (Director, screenwriter: Laurie Collyer) Somebodies (Director, screenwriter: Hadjii) Stay (Director, screenwriter: Bob Goldthwait) Steel City (Director, screenwriter: Brian Jun) Stephanie Daley (Director, screenwriter: Hilary Brougher) Wristcutters: A Love Story (Director: Goran Dukic; screenwriters: Goran Dukic, Etgar Kerett)
American Documentary Competition:
A Lion in the House (Directors: Steven Bogner, Julia Reichert) American Blackout (Director: Ian Inaba) An Unreasonable Man (Directors: Henriette Mantel, Stephen Skrovan) Crossing Arizona (Director: Joseph Mathew) God Grew Tired of Us (Director: Christopher Quinn) Ground Truth: After the Killing Ends (Director: Patricia Foulkrod) Iraq in Fragments (Director: James Longley) Small Town Gay Bar (Director: Malcom Ingram) So Much So Fast (Directors: Steven Ascher, Jeanne Jordan) Thin (Director: Lauren Greenfield) 'Tis Autumn: The Search for Jackie Paris (Director: Raymond De Felitta) The Trials of Darryl Hunt (Directors: Ricki Stern, Annie Sundberg) TV Junkie (Director: Michael Cain) Wide Awake (Director: Alan Berliner) Wordplay (Director: Patrick Creadon) The World According to Sesame Street (Directors: Linda Goldstein Knowlton, Linda Hawkins Costigan)
World Cinema Dramatic Competition 13 Tzameti (Director, screenwriter: Gela Babluani), France Allegro (Director: Christoffer Boe; screenwriters: Christoffer Boe, Mikael Wulff), Denmark The Aura (Director, screenwriter: Fabian Bielinsky), Argentina The Blossoming of Maximo Oliveros (Director: Auraeus Solito; screenwriter: Michiko Yamamoto), Philippines Eve & The Fire Horse (Director, screenwriter: Julia Kwan), Canada Grbavica (Director, screenwriter: Jasmila Zbanic), Bosnia-Herzegovina The House of Sand (Director: Andrucha Waddington; screenwriter: Elena Soarez), Brazil Kiss Me Not on the Eyes (Director, screenwriter: Jocelyne Saab), Lebanon Little Red Flowers (Director: Zhang Yuan; Screenwriters: Ning Dai, Zhang Yuan), China Madeinusa (Director, screenwriter: Claudia Llosa), Peru No. 2 (Director, screenwriter: Toa Fraser), New Zealand One Last Dance (Director, screenwriter: Max Makowski), Singapore The Peter Pan Formula (Director, screenwriter: Cho Chan-Ho), South Korea Princesas (Director, screenwriter: Fernando Leon de Aranoa), Spain Solo Dios Sabe (Director: Carlos Bolado; screenwriters: Carlos Bolado, Diane Weipert), Brazil/Mexico Son of Man (Director: Mark Dornford-May; screenwriters: Mark Dornford-May, Andiswa Kedama, Pauline Malefane), South Africa
World Cinema Documentary Competition 5 Days (Director: Yoav Shamir), Israel Angry Monk--Reflections on Tibet (Director: Luc Schaedler), Switzerland Black Gold (Director: Marc Francis, Nick Francis), U.K. By the Ways, a Journey with William Eggleston (Directors: Cedric Laty, Vincent Gerard), France Dear Pyongyang (Director: Yang Yonghi), Japan The Giant Buddhas (Director: Christian Frei), Switzerland Glastonbury (Director: Julien Temple), U.K. I is for India (Director: Sandhya Suri), England/Germany/Italy In the Pit (Director: Juan Carlos Rulfo), Mexico Into Great Silence (Director: Philip Groening), Germany Kz (Director: Rex Bloomstein), U.K. No One (Director: Tin Dirdamal), Mexico The Short Life of Jose Antonio Gutierrez (Director: Heidi Specogna), Germany Songbirds (Director: Brian Hill), U.K. Unfolding Florence: The Many Lives of Florence Broadhurst (Director: Gillian Armstrong), Australia Viva Zapatero (Director: Sabina Guzzanti), Italy