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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Sometimes a director has a favorite actor that they jibe with whom they cast in a whole whack of movies in a row. Think Scorsese and DiCaprio Wes Anderson and Bill Murray or Sofia Coppola and Kirsten Dunst. It's a sort of professional infatuation that can serve a project well but it can also lull them into self-indulgence. Although this is only the second time that Killing Them Softly's writer/director Andrew Dominik has worked with Brad Pitt it feels like they have a certain camaraderie. The symbiosis previously worked in their favor in 2007's The Assassination of Jesse James by the Coward Robert Ford. This time around they never quite find the same rhythm.
Of course Killing Them Softly has an entirely difference cadence than that golden-hued meditative Western; it's stylishly violent and blackly hilarious. After all the catalyst for this whole affair is a half-cocked scheme cooked up by a wanna-be gangster nicknamed Squirrel (Vincent Curatola) and carried out by a desperate ex-con (Scoot McNairy) and a scummy Australian junkie (Ben Mendelsohn) who steals and sells purebred dogs for cash. Their plan to knock over a mobbed-up card game is air tight (or so it seems): the game runner Markie (Ray Liotta) has confessed to setting up a heist of his own game in the past. The knuckleheads think the card-players will blame him again.
Unfortunately for them Jackie Cogan (Pitt) is called in to investigate the matter. His record is impeccable his glasses mirror-slick and his hands steady. His technique is of course to kill his victims "softly " from a distance. "It's so embarrassing " he comments to a middleman played by Richard Jenkins to watch his targets plead and cry and lose control of their bodily functions. It's just as embarrassing to see his colleagues lose their mettle like Mickey (James Gandolfini) a gangster he called in to help out. Mickey is a dogged drunk and a womanizer who's given to rapturous platitudes about a prostitute he knew in Florida. "There's no ass in the whole world like a young Jewish girl who's hooking " he tells an increasingly frustrated Jackie. Grossly funny scenes like this the scatological problems one encounters while driving dog-napped pups across country and an explosion gone awry are outweighed by a weirdly bloated narrative that makes pits stops so characters can loll in junkie nods to the tunes of the Velvet Underground.
The changing political climate of the era is used as a clumsy foil for this underground economy. At first it's interesting and makes you feel a bit clever to notice the TV in the background playing an old clip of George W. Bush droning on about the economy or a huge political ad on a billboard looming over a desolate area. As time goes on Bush is replaced by Obama (first as senator later as president) on TV but nothing really changes for these people or their situations. Midway through it's obvious and by the end overbearing especially as Jackie lectures Jenkins's lawyer (and us) about why the system is as screwed as the characters. "America's not a country it's a business. Now f**king pay me " he tells Jenkins's Driver in an echo of the classic Goodfellas line uttered by Liotta.
Dominik has only made three films but he's a formidable writer and director with a keen eye for assembling ensemble casts. It's possible that time and multiple viewings will treat Killing Them Softly as well as it has The Assassination of Jesse James or Chopper but for now it works better as a character study or perhaps a showpiece for its talented performers than an overall experience.
When the nominations for the 74th Academy Awards® were announced today in Los Angeles, Miramax Films received a total of 15 overall nominations, the most for any studio, including a Best Picture nomination for In the Bedroom, and a Best Foreign Language Film nomination for Amélie.
The Best Picture nomination is the company's 11th Best Picture nomination over a span of the last 10 consecutive years (1992-2001), the longest streak for any company since the Academy limited the Best Picture nominees to five films in 1944.
"We are very humbled that the members of the Academy have honored and celebrated such a wide range of Miramax's films over the past ten years," said Harvey and Bob Weinstein. "It is a great tribute to the writers, actors, directors, producers, cinematographers, composers, costume and set designers, editors, sound technicians and everyone else who made these films possible."
In the Bedroom, directed by Todd Field, stars Tom Wilkinson, Sissy Spacek, and Marisa Tomei.
Set on the coast of Maine, In the Bedroom tells the story of a couple whose only child is involved in a love affair that ends tragically and the characters' evolving response to the loss.
"I am grateful to the Academy for acknowledging the film in this way, although I am reluctant to use the word I, because it is we who are grateful--my co-writer, my producing partners, and the actors, whose performances transcended my expectations for these characters in every way," said Todd Field, writer, director, and producer of In the Bedroom.
Academy Award winner Sissy Spacek was nominated for Best Actress for her role as Ruth Fowler in In the Bedroom, for which she also won a Golden Globe and received a BAFTA nomination and SAG nomination. In 1981, Spacek won the Academy Award for Best Actress for Coal Miner's Daughter.
"I am so thrilled to be recognized by the Academy and it makes it so sweet to be nominated along with Tom and Marisa," said Sissy Spacek. "It's wonderful for a film of this nature to get the recognition and support that it has. What a gift."
Tom Wilkinson was nominated for Best Actress for his role as Dr. Mark Fowler in In the Bedroom, for which he also received a BAFTA nomination and a SAG nomination.
"I am very thrilled that all our work on In The Bedroom has been thankfully recognized," said Tom Wilkinson. "And I hope this will encourage more people to see the film."
Marisa Tomei was nominated for Best Supporting Actress for her role as Natalie Strout in In the Bedroom, for which she also received a Golden Globe nomination. In 1993, Tomei won an Academy Award for Best Supporting Actress for My Cousin Vinny.
"I am tremendously excited to be put in the company of my fellow nominee's and to be recognized for a film and a role that I loved so much," said Marisa Tomei. "I am so thankful to the Academy for honoring me in this way."
Amélie received five nominations, including one for Best Foreign Language Film, which is Miramax's 20th nomination in this category over the past 14 years. Amélie was also nominated for Best Achievement in Art Direction, Best Achievement in Cinematography, Best Achievement in Sound and Best Original Screenplay.
Amélie is a fanciful comedy about a young woman who discreetly orchestrates the lives of the people around her, creating a world exclusively of her own making.
"I am thrilled and honored that the Academy has recognized this great team who collaborated on Amélie, said Jean-Pierre Jeunet, writer and director of Amélie.
Academy Award-winner and British legend Dame Judi Dench was nominated for Best Actress for her role as Iris Murdoch in Iris. Last year, Dench received a nomination for Best Supporting Actress for Miramax's Chocolat.
"I am very moved to receive this nomination," said Judi Dench. "My performance is very much due to the work of director Richard Eyre and Jim Broadbent, and Richard (Eyre) and Charles Wood, who wrote such a delicate, beautiful film."
Kate Winslet was nominated for Best Supporting Actress for her role as the Young Iris Murdoch in Iris.
"I'm absolutely thrilled and amazed," said Kate Winslet. "I would not have received this nomination if it wasn't for Richard and his brilliant direction. It was enough of an honor to support Judi Dench in this film, and to be nominated along side her and Jim Broadbent, not to mention the other nominees in my category is like all my Christmas's at once."
Jim Broadbent was nominated for Best Actor for his role as John Bayley in Iris.
Renee Zellweger was nominated for Best Actress for her role as Bridget in Bridget Jones's Diary.
"I am shocked, honored, grateful and shamelessly laughing and dancing around my apartment," said Renee Zellweger. "I am just happy--so happy!"
Sting was nominated for Best Achievement in Music (Original Song) for "Until..." from Kate & Leopold, for which he also won the Golden Globe. Last year, Sting was nominated for Best Achievement in Music (Original Song) for "My Funny Friend and Me" from The Emperor's New Groove.
"I'm thrilled and delighted by this honor particularly because it is for the song 'Until...,'" said Sting. "I was sent this film to watch shortly after September 11th at a time when we all felt numb. The movie was filled with love and optimism and inspired me to write a song that would be as romantic and positive as the film itself. I'm pleased that those sentiments have been met with such enthusiasm. Trudie and I had such a wonderful time last year at the Oscar's and I'm glad to have been invited back."