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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Based on E.B. White’s enduring children’s story we meet Wilbur the Pig (Dominic Scott Kay) a runt who is saved from the axe by a little farm girl named Fern (Dakota Fanning). She raises Wilbur from infancy but eventually she has to send Wilbur over to her uncle’s neighboring farm since there’s no room for a pig in her house. There in the barn Wilbur meets the assortment of colorful animal characters: Betsy (Reba McEntire) and Bitsy (Kathy Bates) two pessimistic cows; motherly goose Gussy (Oprah Winfrey) and her henpecked hubby Golly (Cedric the Entertainer); Samuel (John Cleese) an uptight sheep; the skittish horse Ike (Robert Redford); the self-serving rat Templeton (Steve Buscemi); and of course sweet Charlotte (Julia Roberts) a spider with a heart of gold. When the naïve Wilbur finds out he might be Christmas dinner Charlotte makes a promise to her new friend that she’ll do everything in her power to make sure Wilbur sees the Christmas snow—and everyone ends up helping her out. What could be more fun than to voice a barnyard animal? Winfrey and Cedric’s geese banter is like an old married couple. Cleese gives Samuel the sheep a certain upper-crustiness. Redford is actually pretty funny as a horse who’s deathly afraid of spiders (“I’ll listen to you but I just can’t look at you”). Buscemi is a particularly nice choice as the sneaky rat Templeton who only thinks about filling his belly with food (no typecasting there we swear). For pure comic relief there are also two crows voiced by Andre Benjamin and Thomas Haden Church who just can’t quite get around the whole scarecrow thing. And as Charlotte Roberts has a truly soothing and loving tone sort of how you’d imagine it from the book. As for the human aspect Fanning continues to do what she does best playing Fern with the right amount of youthful innocence spunkiness and determination. Just wondering how we are going to handle it when this amazing little actress grows up and starts doing like adult things. Actually it is sort of a shame they couldn’t get a live-action version of Charlotte's Web made before Babe. Sure there was the 1973 animated cutesy film but a live-action adaptation of this timeless tale really should have been the standard by which all computer-generated talking farm animal movies would follow don’t you think? Instead Charlotte's Web pales ever so slightly in comparison. Oh well water under the bridge. Director Gary Winick (13 Going on 30) still manages to invoke the wonderful and uplifting spirit of the novel keeping faithful to the text in all ways. Visually the film is crisp and flawless in its execution particularly in the beauty and splendor of how Charlotte spins her webs and emotionally hearts will indeed swell and tears will flow. Charlotte's Web is the perfect family movie to inspire the next generation of young readers and viewers as well as for the rest of us who fondly remember the childhood classic.