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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Have you paid attention to the headlines this past week? If you have, then you know that Tiger Woods has a new girlfriend. No, she's not a stripper or a porn star — she is professional ski racer Lindsey Vonn. We also got to celebrate being Irish on Sunday, even if we weren't Irish. And then on Monday, Lindsay Lohan headed to court where she was sentenced to go back to rehab. Yes, it's been an entertaining week in pop culture — and the Twitter comedians had plenty of material.
RELATED: Lindsay Lohan's New Mug Shot Completes 'The Lohan Lot'
Check out the 10 funniest pop culture tweets of the week.
10 Funniest Pop Culture Tweets of the Week:
1. Wendi McLendon-Covey: "This just in: Michelle Shocked and Victoria Jackson are forming a ukelele/screaming act called 'THE IRRELEVANTS.'"
This just in: Michelle Shocked and Victoria Jackson are forming a ukelele/screaming act called "THE IRRELEVANTS."
— Wendi McLendon-Covey (@wendimclendonco) March 19, 2013
2. Rob Delaney: ".@ChanningTatum teach me... pic.twitter.com/kguVTshwxv"
.@channingtatum teach me... twitter.com/robdelaney/sta…
— rob delaney (@robdelaney) March 19, 2013
3. Joan Rivers: "Ryan Seacrest and Julianne Hough have split up. The judges have voted her out of the relationship."
Ryan Seacrest and Julianne Hough have split up. The judges have voted her out of the relationship.
— Joan Rivers (@Joan_Rivers) March 19, 2013
4. Michael Ian Black: "Does this mean Lindsey Vonn is going to start doing porn?"
Does this mean Lindsey Vonn is going to start doing porn?
— Michael Ian Black (@michaelianblack) March 18, 2013
4. Lauren Ashley Bishop: "i bet linsday lohan took the 90 day stint in rehab deal just to get out of paying rent for 3 months"
i bet linsday lohan took the 90 day stint in rehab deal just to get out of paying rent for 3 months
— lauren ashley bishop (@sbellelauren) March 18, 2013
5. Conan O’Brien: "I picked M.I.T. in my NCAA pool. Their robots are unstoppable."
I picked M.I.T. in my NCAA pool. Their robots are unstoppable.
— Conan O'Brien (@ConanOBrien) March 19, 2013
6. Sam Grittner: "Lil' Wayne was released from the hospital an hour ago. Doctors told him to take it Weezy."
Lil' Wayne was released from the hospital an hour ago. Doctors told him to take it Weezy.
— Sam Grittner (@SamGrittner) March 19, 2013
7. Paula Pell: "#Enlightened is cancelled but the good news is on this week's "Kardashians Go Somewhere" they had a vagina smell-off. I need to lay down."
#Enlightened is cancelled but the good news is on this week's "Kardashians Go Somewhere" they had a vagina smell-off. I need to lay down.
— Paula Pell (@perlapell) March 20, 2013
8. Allie Hagan: "I hope Lindsey Vonn got all her shots."
I hope Lindsey Vonn got all her shots.
— Allie Hagan (@allie_hagan) March 18, 2013
9. Morgan Murphy: "I'd buy a calendar where every month is a new picture of Danny DeVito & Rhea Perlman cuddling."
I'd buy a calendar where every month is a new picture of Danny DeVito & Rhea Perlman cuddling.
— Morgan Murphy (@morgan_murphy) March 16, 2013
10. Sammy Rhodes: "I’d rather get mauled by a bear than pronounce Bon Iver in front of a table of hipsters."
I’d rather get mauled by a bear than pronounce Bon Iver in front of a table of hipsters.
— sammy rhodes (@prodigalsam) March 20, 2013
Follow Lindsey on Twitter @LDiMat.
[Photo Credit: Santa Monica Police Department]
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There is something particularly unnerving about demon possession. It's the idea of something you can't see or control creeping into your body and taking up residence eventually obliterating all you once were and turning you into nothing more than a sack of meat to be manipulated. Then there's also the shrouded ritual around exorcisms: the Latin chants the flesh-sizzling crucifixes and the burning Holy Water. As it turns out exorcism isn't just the domain of Catholics.
The myths and legends of the Jews aren't nearly as well known but their creepy dybbuk goes toe-to-toe with anything other world religions come up with. There are various interpretations of what a dybbuk is or where it comes from — is it a ghost a demon a soul of a sinner? — but in any case it's looking for a body to hang out in for a while. Especially according to the solemn Hasidic Jews in The Possession an innocent young person and even better a young girl.
The central idea in The Possession is that a fancy-looking wooden box bought at a garage sale was specifically created to house a dybbuk that was tormenting its previous owner. Unfortunately it caught the eye of young Emily (Natasha Calis) a sensitive artistic girl who persuades her freshly divorced dad Clyde (Jeffrey Dean Morgan of Watchmen and Grey's Anatomy) to buy it for her. Never mind the odd carvings on it — that would be Hebrew — or how it's created without seams so it would be difficult to open or why it's an object of fascination for a young girl; Clyde is trying really hard to please his disaffected daughters and do the typical freshly divorced parent dance of trying to please them no matter the cost.
Soon enough the creepy voices calling to Emily from the box convince her to open it up; inside are even creepier personal objects that are just harbingers of what's to come for her her older sister Hannah (Madison Davenport) her mom Stephanie (Kyra Sedgwick) and even Stephanie's annoying new boyfriend Brett (Grant Show). Clyde and Stephanie squabble over things like pizza for dinner and try to convince each other and themselves that Emily's increasingly odd behavior is that of a troubled adolescent. It's not of course and eventually Clyde enlists the help of the son of a Hasidic rabbi a young man named Tzadok played by the former Hasidic reggae musician Matisyahu to help them perform an exorcism on Emily.
The Possession is not going to join the ranks of The Exorcist in the horror pantheon but it does do a remarkable job of making its characters intelligent and even occasionally droll and it offers up plenty of chills despite a PG-13 rating. Perhaps it's because of that rating that The Possession is so effective; the filmmakers are forced to make the benign scary. Giant moths and flying Torahs take the place of little Reagan violently masturbating with a crucifix in The Exorcist. Gagging and binging on food is also an indicator of Emily's possession — an interesting twist given the anxieties of becoming a woman a girl Emily's age would face. There is something inside her controlling her and she knows it and she is fighting it. The most impressive part of Calis's performance is how she communicates Emily's torment with a few simple tears rolling down her face as the dybbuk's control grows. The camerawork adds to the anxiety; one particularly scary scene uses ordinary glass kitchenware to great effect.
The Possession is a short 92 minutes and it does dawdle in places. It seems as though some of the scenes were juggled around to make the PG-13 cut; the moth infestation scene would have made more sense later in the movie. Some of the problems are solved too quickly or simply and yet it also takes a while for Clyde's character to get with it. Stephanie is a fairly bland character; she makes jewelry and yells at Clyde for not being present in their marriage a lot and then there's a thing with a restraining order that's pretty silly. Emily is occasionally dressed up like your typical horror movie spooky girl with shadowed eyes an over-powdered face and dark clothes; it's much more disturbing when she just looks like an ordinary though ill young girl. The scenes in the heavily Hasidic neighborhood in Brooklyn look oddly fake and while it's hard to think of who else could have played Tzadok an observant Hasidic Jew who is also an outsider willing to take risks the others will not Matisyahu is not a very good actor. Still the filmmakers should be commended for authenticity insofar as Matisyahu has studied and lived as a Hasidic Jew.
It would be cool if Lionsgate and Ghost House Pictures were to release the R-rated version of the movie on DVD. What the filmmakers have done within the confines of a PG-13 rating is creepy enough to make me curious to see the more adult version. The Possession is no horror superstar and its name is all too forgettable in a summer full of long-gestating horror movies quickly pushed out the door. It's entertaining enough and could even find a broader audience on DVD. Jeffrey Dean Morgan can read the Old Testament to me any time.
Disney's new movie Mars Needs Moms suffers from a classic mistake: focusing too much on one aspect of a production -- and in this case it's the visuals. The result is an unbalanced mess that looks terrific but doesn't have enough substance to leave the audience with anything more to "ooh" and "ah" at other than all the pretty colors. As we all know from that one really really hot girl/guy in high school who's now overweight and working a dead-end job looks can only go so far.
Adapted from the children's novel by Berkeley Breathed and directed by Simon Wells Mars Needs Moms follows Milo (acted by Seth Green voiced by Seth Robert Dusky) as he chases after his mother who's been stolen by Martians just a few hours after he told her he'd be better off without her. Once he arrives on Mars (by sneaking on the ship) he meets Gribble (Dan Fogler) who informs him of his problem: the Martians are ruled by a ruthless queen-like Supervisor (Mindy Sterling) who's decided that the hatchlings (babies who sprout from the ground like vegetables) must be divided: all males are thrown away into the dump and the females are raised by "nanny-bots" -- robots programmed by the "discipline" energy of good moms like Milo's from Earth. Milo and Gribble buddy-up and with the help of a rebel Martian named Ki (Elisabeth Harnois) the three of them venture to save Milo's mom before it's too late.
And venture on they do. Coming from producer Robert Zemeckis and utilizing the same motion-capture technology as The Polar Express A Christmas Carol and Beowulf Mars Needs Moms rushes forward embracing its visually stunning universe without taking a moment to stop and breathe. The characters never have a chance to do anything significant that would make the audience think they're substantial or important -- especially Gribble whom the filmmakers really really want us to care for. On top of that it relies on a plot line that we've all seen before and instead of diving into the parts that made it interesting (like the question of why men were thrown in the garbage and not women) it skims safely along the surface doing its best to avoid anything deeper than basic themes.
But that may be a little too picky. After all the movie is just supposed to be a fun little child's tale right? In that vein it succeeds. We feel like we're on an amusement park ride thanks to Ki's vibrant '60s flower-power paintings and the adventures on the Red Planet's surface. Even the moments that aren't super fast-paced present environments that are beautiful. Plus Fogler's performance as Gribble (as Jack Black-esque as it was) gives us some fun enjoyable moments and one-liners that kids will no doubt love.
Yet at the same time Mars Needs Moms' visuals aren't all glorious. In fact some hurt the plot because frankly the humans aren't animated very well. There's no life in their eyes. Simple movements like walking look awkward and too often characters facial expressions don't match the urgency found in their voices. Instead the animation just turns all the characters into weird cartoony versions of themselves that look so "almost human" they appear fake. And as always it's difficult to care for fake people.
Children will definitely enjoy Mars Needs Moms but from a filmmaking standpoint Wells really missed an opportunity to deliver something other than neat visuals and one-liners.
Based on a 1913 novel The Lodger is a story about a couple who take in a mysterious lodger and find out he might be a suspect in a series of Jack the Ripper-like murders. Alfred Hitchcock made a film version in 1927 -- and it should have ended there. But writer/director and all-around Hitchcock groupie David Ondaatje couldn’t help himself. This time it’s set in current West Hollywood in which an estranged couple (Hope Davis and Donal Logue) take in handsome tenant (Simon Baker). Meanwhile police detective Chandler Manning (Alfred Molina) tries to solve the case of a ruthless killer murdering prostitutes on the Sunset Strip Ripper style. Bunch of questions arise including the biggest one of all: Why bother with ANY of this hogwash? Even more baffling is why a fine group of actors would ever spark to such a dismal script. The usually wonderful Molina is adrift in a role that increasingly makes no sense as the film meanders along. As his rookie partner Shane West piles on cliché after cliché of every police procedural. Davis comes off looking even worse but really no one could have made this part work. Logue yells a lot. And Baker who currently has a hot TV series The Mentalist is probably wishing he had those powers to see what a turkey this was going to be before signing on. Ondaatje is a self-professed student of Hitchcock but he should have spent more time studying Hitch’s films rather than actually trying to copy one. Even though he tries to ape several signature shots of the famous director it’s all in vain. The Lodger is nonsensical amateurish and so brazenly predictable. Check out Hitchcock’s original instead.