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
WHAT'S IT ABOUT?
Jennifer Check and Anita "Needy" Lesnicky are lifelong best friends and high school students in tiny Devil's Kettle Minnesota. Needy is the practical bookish counterpart to small-town sexpot cheerleader Jennifer who controls most everyone around her — Needy included — with knowing relish using her hypnotic good looks. After Jennifer and Needy escape a grisly fire at the local dive bar Jennifer is whisked away in a creeper van by the band that was playing there despite Needy's pleas not to. In a "sell your soul for rock and roll"-style move the fame-hungry indie rockers Low Shoulder kill Jennifer in an occult virgin sacrifice ceremony which goes awry because Jennifer isn't one. After being left for dead Jennifer shows up at Needy's house covered in blood spewing black bile and grinning wickedly.
The next day amidst the fire tragedy aftermath Devil's Kettle's star football player is found disemboweled and half-eaten in the woods adjacent to the school. Jennifer of course did it and after the vixen kills a sweet emo boy she confesses to Needy (after a too-brief girl-on-girl makeout session complete with heavy tongue close-ups) that the botched sacrifice turned her into a demon and that she becomes happier and more beautiful — and thus deadlier — after she feasts on the blood of horny high school boys. Needy does some research in the occult section of the high school library and discovers her best friend is indeed a pawn of the devil. Needy warns her boyfriend Chip to watch out for Jennifer and consequently finds herself covered in bile with Chip dead in her arms at the prom because he doesn't. Then she seeks revenge.
WHO'S IN IT?
The ever enjoyable Amanda Seyfried takes the lead as plain jane Needy and Johnny Simmons is her sweet doting boyfriend Chip. Adam Brody doing a spot-on Brandon Flowers impression is the killer front man of Low Shoulder. Amy Sedaris makes a too-brief cameo as Needy's mom and Juno's dad J.K. Simmons is a high school teacher with an unexplained hook for a hand. Megan Fox is in it too.
Diablo Cody's script is smart funny and infinitely more interesting than the typical teen slasher swill. The movie revels in its gory moments without being gratuitous and employs a healthy amount of sex without coming off like it's pandering to horny teens. Rather Jennifer's Body is the perfect template for the incomparably hot Megan Fox to use her looks as a plot-forwarding mechanism. This is a professionally signficant departure from her eye candy turns in the Transformers movies and lets Fox prove that she can actually act. There's no one else in Hollywood right now better suited to this role. Fox's performance is unhinged and charming and she makes good use of all the Diablo Cody-isms ("You need a mani bad. You should find a Chinese chick to buff your situation.") that devil-may-care Jennifer gets to utter. The love/hate best friend relationship is interesting and there's a load of good-girl-gone-wrong catharsis in Seyfried's revenge-fueled rampage. Cody and director Karyn Kusama are adept in skillfully if a bit condescendingly creating a convincing depiction of a small Midwestern town which serves as the perfect ultra-real backdrop for the story.
Cody's unique style adds the perfect quirk factor to what could otherwise be run-of-the-mill cinematic garbage.The Cody-isms however sometimes come off as cloying when they aren't being uttered by Fox. Also hopeful Fox worshippers might be disappointed that the sexually radiant actress despite her character's penchant for using sex to lure her victims doesn't actually bare anything that necessitates the film's R-rating.
With its surprising plot twists a snarky bff vs. bff subplot and Cody's flair for linguistics Jennifer's Body is a smart horror flick for anyone who enjoys jolly gore or Megan Fox in a mini-skirt.
WHAT IT’S ABOUT?
Eddie Murphy is terrific in Imagine That as Evan Danielson an overworked financial advisor who is so immersed in his job he’s forgotten about Olivia his daughter from an estranged marriage. When he is given custody for a week and he gets too busy with work she retreats into her fantasy world imagining a group of princesses who as it turns out really know their way around big business. When Dad figures out his daughter’s special blanket and otherworldly friends have the magic touch for investment advice he becomes an instant superstar in his firm. But his newfound success soon sets up a confrontation with his chief rival Johnny Whitefeather whose presentations are often full of (Red) bull.
WHO’S IN IT?
From Dr. Dolittle to Daddy Day Care Murphy has carved out a solid alternate career as a star of family-friendly movies. But none of those previous works play to his overall talents as a comedian better than Imagine That in which he gets to merge his kid’s fantasy world with office politics for optimum laughs. The purely delightful premise in which Murphy faces off with skeptical business partners is perfectly toned to his talents and allows him to be widely appealing for both kids and their parents. As daughter Olivia newcomer Yara Shahidi won out over 3000 girls and is wonderful a real charmer who goes toe to toe with Eddie. Thomas Haden Church provides the perfect foil for Murphy as Whitefeather a guy who plays off a phony Native American heritage and spouts nonsensical advice like he’s E.F. Hutton. As bosses vying for Murphy’s newfound talents both Ronny Cox and Martin Sheen play it straight lending the appropriate gravitas to their roles. Nicole Ari Parker is winning in her few scenes as Olivia’s mom.
Murphy’s comedic tendency to go way over the top (i.e. Norbit) is kept in check with great results. He’s totally believable as a stressed-out businessman and his trip into his daughter’s imagination is handled realistically mined for the optimum number of laughs without sacrificing credibility. Credit for this goes to Karey Kirkpatrick (Over the Hedge) an animation director making his live-action debut for keeping cartoonish antics to a minimum and emphasizing heart and the father/daughter bond instead.
The scenes between Murphy and Shahidi are so effortlessly charming and real that you wish there were more of them. (One highlight is when father teaches daughter to sing Beatles songs which are heard throughout the film.) It’s the kind of thing Bill Cosby did so well on TV but could never pull off in movies. Murphy does.
Murphy is in top comic form all the way and is never better than when he berates Littlefeather’s hokey presentation then comes up with one based on his daughter’s doodlings that shows off the comic genius we haven’t seen in this actor’s comedy vehicles in quite a while.
NETFLIX OR MULTIPLEX?
Imagine That is a family film in the truest form and ripe for an outing with your kids. If you don’t have any rent one and go.
Richard Riddick (Vin Diesel) has a really bad rep and with good reason: Five years ago convicted killer Riddick escaped the galaxy's law enforcement during a botched interplanetary prison transfer and has been on the lam ever since. As The Chronicles of Riddick picks up our antagonist finds his relative freedom has been compromised when mercenaries out for the $1 million bounty on his head discover his location and hunt him down. Riddick escapes their clutches steals their ship and sets off for Planet Helion to find Imam (Keith David) the Muslim cleric he rescued in Pitch Black and the only person who could have squealed his location to authorities. But while Riddick's hunch about Imam are correct the cleric has a reason for luring the mammoth murderer out of hiding: Helion is falling to unholy armies of Necromongers--warriors who conquer by force in the vein of Star Trek's Borg. Of course Riddick doesn't give a damn about the Helions or their plight--until he gets wind that the Necromogers want to kill him because of an old prophecy that foresees their end at Riddick's hands. Like it or not Riddick is left with no other choice but to battle the Necromongers.
The character of Riddick is unquestionably what made Pitch Black one of the most sequel-worthy sci-fi films in years. And Riddick would not have been one of sci-fi's most intoxicating characters if it weren't for Diesel. Like his Dominic Toretto in the 2001 actioner The Fast and the Furious Riddick is a villain of few words but when he speaks his carefully chosen words have impact--even if the dialogue is at times overly theatrical. Riddick is the perfect antihero; a cold-blooded and indifferent being who somehow evokes more compassion than the film's so-called good guys. Joining Riddick are some recurring characters including David as Imam but Riddick benefits the most from the addition of some new characters particularly Colm Feore as Lord Marshal the Necromonger leader whose goal is to rid the universe of all human life. Feore channeling nuggets of Julius Caesar into his role makes for one of Riddick's most thrilling foes. Another prominent addition to the cast is Judi Dench who has a surprisingly small role as Aereon an Elemental captured by the Necromongers and used for her special powers including ESP.
Writer/director David Twohy took his horror pic Pitch Black which gained a cult following since it was released four years ago and managed to successfully turn it into an sci-fi actioner of epic proportions. Everything is grander here which is almost a given considering Twohy shot Pitch Black on a dime in Australia using colored filters. In Riddick the director distinguishes the film's different environments--the Necros' mothership Crematoria's cavernous prison and Helion--using warm to cool tones that are dazzling yet more subtle than its predecessor. The CGI effects get a little gamey at times but production designer Holger Gross' gargantuan sets are impressive and help craft Twohy's otherworldly vision into a plausible one. And although Twohy jumps genres from Pitch Black to its sequel his storyline evolves logically from the original premise. But while moviegoers unfamiliar with Pitch Black will be able to follow the story easily enough they may have a difficult time grasping what makes Riddick such a big deal; the film explains the legend but never fully captures its quintessence. This could hurt Riddick's chances to broaden its Pitch Black fan base.