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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In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.
Negotiators for TV and film writers and their producer employers resumed talks at noon Wednesday amid speculation that they had already reached a broad agreement on money issues and were now in intense talks concerning "creative rights" issues. Thursday's New York Times quoted one industry exec who attended a 4:00 p.m. session as saying, "If we can resolve the creative rights, then it's a run for the roses." However, Thursday'sLos Angeles Daily News quoted a producer as remarking, "There's no way in hell they were going to strike over the creative issues." Meanwhile, the Writers Guild of America, which agreed with producers to impose a news blackout on the negotiations, dismissed as "incorrect" a report that appeared in Wednesday's Los Angeles Times claiming that "the two sides had a basic outline of a proposed settlement." Among other things the article, which cited unnamed sources briefed on the negotiations, said that, under a new contract, writers would receive no increase in residual payments for reruns on basic cable channels but would for pay-TV outlets like HBO. Thursday'sedition of the Times features a front-page article quoting a source with knowledge of Wednesday's talks as saying, "We got through enough of the underbrush that we can now make a push to the finish."
REEBOK CREATES SPOT FOR "SURVIVOR" FINALE
Reebok has created a special commercial for tonight's Survivor: The Australian Outback finale intended to take its "Defy Convention" campaign one step further. The spot, featuring a sumo wrestler dancing in untied Reebok sneakers, is titled "Defy Reason.' Thursday's Wall Street Journal observed that part of Reebok's deal with CBS for the show called for Survivor contestants to wear Reebok T-shirts, bandannas and shoes. Meanwhile, the New York Post reported today that it appears that Survivor 3 will be set in Kenya. It quoted sources as saying that host Jeff Probst recently visited Nairobi, where he taped a promo for next season that will air on Thursday's finale.
200 EXECUTION WITNESSES; 2 TV REPORTERS
Indiana officials said Wednesday that 45 minutes prior to the scheduled May 16 execution of Oklahoma City bomber Timothy McVeigh, they will release a list of TV reporters eligible to serve as observers and that the reporters will then have to decide which two -- one national, one from Oklahoma City -- will serve as serve as press pool witnesses. "The reporters are going to have to talk among themselves - it will be a peer-selection process," Court TV exec Marlene Dann told Thursday's New York Post. Two hundred persons will witness the execution.
"NIGHTLINE" CARRIES SOUNDS OF EXECUTIONS
Wednesday night aired portions of a radio documentary that features on-the-scene descriptions of prison executions in Georgia between 1983 and 1998. ("When the first surge entered his body, he stiffened and I heard a pop, as if one of the straps broke," a prison official says on one of the tapes. "He is at this time sitting there with clenched fists, with no other movement.") The tapes were assembled by award-winning public radio producer-reporter David Isay. The entire program is being carried by public radio station WNYC in New York and is being made available to other public radio stations. NPR's All Things Considered, which regularly features Isay's work, was offered the tapes originally but declined, published reports said today (Thursday).
CBS HAS THE LATEST MUST-SEE NIGHT
Wednesday night is becoming a stronger night for NBC than its onetime invincible Must-See TV Thursday. All-new episodes of The West Wing at 9:00 p.m. and Law & Order at 10:00 p.m. pulled some of their best ratings for the season, winning their time periods with an 11.9/18 and a 14.1/22 respectively. CBS won the 8:00 hour with a Murder, She Wrote special.
"PRODUCERS" STARS TO HOST TONYS
Nathan Lane and Matthew Broderick, who star in Mel Brooks' The Producers on Broadway, have agreed to co-host the 55th annual Tony Awards, scheduled to air on CBS June 3. Tony nominations -- expected to be dominated by The Producers -- are due to be announced on Monday.
GOSSIP COLUMNIST: "I'M A CLEAN PERSON"
Hollywood Reporter gossip columnist George Christy has denied accepting favors from movie producers in exchange for mentions in his column. In an interview appearing in Thursday's Los Angeles Times, Christy maintained that he had acted in every film for which he had received credit, although, he said, some of his scenes may have ended up on the cutting room floor and others involved work as an extra in which he might not have been recognized. Referring to the national publicity that resulted when the publisher of the Reporter spiked a story about him written by the trade paper's labor reporter, Christy remarked, "I'm a clean person. I really feel I'm being victimized here." The labor reporter, David Robb, resigned last week, sparking the resignation of the Reporter's editor, Anita Busch, and film editor Beth Laski. Asked by the Times about reports that he had received free office space from producers Steve Stabler and Brad Krevoy, Christy commented, "These are friends of mine. I don't think it's a conflict."
ARCHERD: I'M NO CHRISTY
Daily Variety columnist Army Archerd has acknowledged that he, too, has received some 25 credits in motion pictures -- but that he can be seen in each of the films. "Don't try to make any comparison between me and George Christy," Archerd said in an interview with the New York Post's "Page Six" column.
ALL RIGHT, LADDIE, WE'RE GOING TO REDO THE MOVIE
DreamWorks agreed to redo scenes in the animated Shrek featuring a character voiced by Mike Myers when Myers, after seeing a rough-cut, decided that he wanted to redo the voice with a Scottish accent, Britain's Guardian newspaper reported Thursday. The newspaper said that producer Jeffrey Katzenberg agreed to the change after he heard Myers' new take on the character, a grumpy ogre. "It was so good we took $4 million worth of animation out and did it again," he told the Guardian.
CANADA BRACES FOR WORK STOPPAGE
Film crews in Toronto are expecting a jarring slowdown in production during the second half of the year, regardless of whether a strike materializes. (Canadian film and TV unions have agreed to support their U.S colleagues by boycotting U.S. productions, which account for 65 percent of the country's film and TV business.) Toronto production manager Michael Wray told Wednesday's Canadian National Post that U.S. companies scheduled the bulk of their shoots during the first half of the year in anticipation of a strike, so "even if there's not a strike, there will still be a work slowdown." Alex Gill, a spokesman for the Canadian actors' union, observed that there are about 20 U.S. movies of the week now filming in Toronto. "For this time of year, that's very busy," he told the National Post.