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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Sunday night marked the 2013 Academy Awards, when the best and the brightest in Hollywood gathered to celebrate the best and the brightest filmmaking of the year. And the ceremony came complete with a few surprises. Not only did Life of Pi walk away with the most wins of the evening — four Oscars — but the film's Ang Lee eked out David O. Russell and Steven Spielberg for Best Director. But there were some expected finishes as well: Jennifer Lawrence won Best Actress, Daniel Day-Lewis took Best Actor, and Adele even scored Best Original Song for "Skyfall."
But who else picked up awards? Check out the full list of winners below!
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The 2013 Academy Award Winners:
Best Picture:Beasts Of The Southern WildSilver Lingings PlaybookZero Dark ThirtyLincolnLes MiserablesLife Of PiDjango UnchainedWinner: ArgoAmour
Best Actor:Winner: Daniel Day-Lewis, LincolnDenzel Washington, FlightHugh Jackman, Les MiserablesBradley Cooper, Silver Linings PlaybookJoaquin Phoenix, The Master
Best Actress:Naomi Watts, The ImpossibleJessica Chastain, Zero Dark ThirtyWinner: Jennifer Lawrence, Silver Linings PlaybookEmmanuelle Riva, AmourQuvenzhane Wallis, Beasts Of The Southern Wild
The 2013 Academy Award Winners:Best Director:David O. Russell, Silver Linings PlaybookWinner: Ang Lee, Life Of PiSteven Spielberg, LincolnMichael Haneke, AmourBenh Zeitlin,Beasts Of The Southern Wild
Best Writing, Original Screenplay:Flight, Written by John GatinsZero Dark Thirty, Written by Mark BoalWinner: Django Unchained, Written by Quentin TarantinoAmour, Written by Michael HanekeMoonrise Kingdom, Written by West Anderson and Roman Coppola
Best Writing, Adapted Screenplay:Beasts Of The Southern Wild, Screenplay by Lucy Alibar and Benh ZeitlinWinner: Argo, Written by Chris TerrioLincoln, Written by Tony KushnerSilver Linings Playbook, Written by David O. RussellLife Of Pi, Written by David Magee
Best Original Song:"Before My Time," Chasing Ice, Music and Lyric from J. Ralph"Pi Lullaby," Life Of Pi, Music by Mychael Danna; Lyric by Bombay Jayashri"Suddenly," Les Miserables, Music by Claude-Michel Schonberg; Lyric by Herbert Kretzmer and Alain Boubill"Everybody Needs a Best Friend," Ted, Music by Walter Murphy; Lyric by Seth MacFarlaneWinner: "Skyfall," Skyfall, Music and Lyric by Adele Adkins and Paul Epworth
Best Original Score:Anna Karenina, Dario MarianelliArgo, Alexandre DesplatWinner: Life Of Pi, Mychael DannaLincoln, John WilliamsSkyfall, Thomas Newman
Best Production Design:Anna Karenina, Sarah Greenwood (Production Design); Katie Spencer (Set Decoration)The Hobbit: An Unexpected Journey, Dan Hennah (Production Design); Ra Vincent and Simon Bright (Set Decoration)Les Miserables, Eve Stewart (Production Design); Anna Lynch-Robinson (Set Design)Life Of Pi, David Gropman (Production Design); Anna Pinnock (Set Decoration)Winner: Lincoln, Rick Carter (Production Design); Jim Erickson (Set Decoration)
Best Achievement in Film Editing:Winner: Argo, William GoldenbergLife Of Pi, Tim SquyresLincoln, Michael KahnSilver Linings Playbook, Jay Cassidy and Crispin StruthersZero Dark Thirty, Dylan Tichenor and William Goldenberg
Best Supporting Actress:Sally Field, LincolnWinner: Anne Hathaway, Les MiserablesJacki Weaver, Silver Linings PlaybookHelen Hunt, The SessionsAmy Adams, The Master
Best Achievement in Sound Editing:Argo, Erik Aadahl and Ethan Van der RynDjango Unchained, Wylie StatemanLife Of Pi, Eugene Gearty and Philip StocktonWinner: Skyfall, Per Hallberg and Karen Baker LandersWinner: Zero Dark Thirty, Paul N.J. Ottosson
Best Achievement in Sound Mixing:Argo, John Reitz, Gregg Rudloff, and Jose Antonio GarciaWinner: Les Miserables, Andy Nelson, Mark Peterson, and Simon HayesLife Of Pi, Rob Bartlett, D.M. Hemphill and Drew KuninLincoln, Andy Nelson, Gary Rydstrom, and Ronald JudkinsSkyfall, Scott Millan, Greg P. Russell, and Stuart Wilson
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Best Foreign Language Film of the Year:Winner: Amour, AustriaNo, ChileWar Witch, CanadaA Royal Affair, DenmarkKon-Tiki, Norway
Best Documentary Feature:5 Broken CamerasThe GatekeepersHow To Survive A PlagueThe Invisible WarWinner: Searching For Sugar Man
Best Documentary Short:Winner: Inocente, Sean Fine and Andrea Nix FineKings Point, Sari Gilman and Jedd WiderMondays At Racine, Cynthia Wade and Robin HonanOpen Heart, Kief Davidson and Cori Shepherd SternRedemption, Jon Alpert and Matthew O'Neill
Best Live Action Short Film:Asad, Bryan Buckley and Mino JarjouraBuzkashi Boys, Sam French and Ariel NasrWinner: Curfew, Shawn ChristensenDeath Of A Shadow (Dood Van Een Schadow), Tom Van Avermaet and Ellen De WaeleHenry, Yan England
Best Achievement in Makeup and Hairstyling:Hitchcock, Howard Berger, Peter Montagna, and Martin SamuelThe Hobbit: An Unexpected Journey, Peter Swords King, Rick Findlater, and Tami LaneWinner: Les Miserables, Lisa Westcott and Julie Dartnell
Best Achievement in Costume Design:Winner: Anna Karenina, Jacqueline DurranLes Miserables, Paco DelgadoLincoln, Joanna JohnstonMirror Mirror, Eiko IshiokaSnow White And The Huntsman, Colleen Atwood
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Best Achievement in Visual Effects:The Hobbit: An Unexpected Journey, Joe Letteri, Eric Saindon, David Clayton, and R. Christopher WhiteWinner: Life Of Pi, Bill Westenhofer, Guillaume Rocheron, Erik-Jan De Boer and Donald R. ElliottMarvel's The Avengers, Janek Sirrs, Jeff White, Guy Williams and Dan SudickPrometheus, Richard Stammers, Trevor Wood, Charley Henley and Martin HillSnow White And The Huntsman, Cedric Nicolas-Troyan, Philip Brennan, Neil Corbould and Michael Dawson
Best Achievement in Cinematography:Anna Karenina, Seamus McGarveyDjango Unchained, Robert RichardsonWinner: Life Of Pi, Claudio MirandaLincoln, Janusz KaminskiSkyfall, Roger Deakins
Best Animated Feature:FrankenweenieThe Pirates! Band Of MisfitsWreck It RalphParaNormanWinner: Brave
Best Animated Short Film:Adam And Dog, Minkyu LeeFresh Guacamole, PESHead Over Heels, Timothy Reckart and Fodhla Cronin O'ReillyMaggie Simpson In "The Longest Daycare," David SilvermanWinner: Paperman, John Kahrs
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Best Supporting Actor:Winner: Christoph Waltz, Django UnchainedPhilip Seymour Hoffman, The MasterRobert De Niro, Silver Linings PlaybookAlan Arkin, ArgoTommy Lee Jones, Lincoln
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[Photo Credit: Joe Klamar/Getty Images]
Oscars 2013 Special Coverage
Oscars 2013 Red Carpet Arrivals: PICS!
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The actress, who plays Queen Cersei Lannister in the hit fantasy drama, filed papers in Los Angeles last week (ends20Jul12), citing irreconcilable differences, according to TMZ.com.
She wed Peter Loughran in May 2007 and the couple has one son, Wylie, who is two.
The basic premise of most crime revenge dramas is how much of our humanity we're willing to trade to get back what the other people — the ostensible baddies — have taken from us. Oliver Stone returns to this familiar stomping ground with Savages a splashy adaptation of Don Winslow's novel about a unique love affair a major marijuana-dealing business and an increasingly violent pissing match between two SoCal growers and the Baja Cartel.
Stone's frenetic visual style is in full swing but even this Oscar-winning auteur can't quite raise the film from mediocrity. It's hard to care whether or not Ben (Aaron Johnson) and Chon (Taylor Kitsch) rescue their gorgeous mutual girlfriend O (Blake Lively) from the cartel if O isn't engaging enough to persuade us she's worth the bloodshed. O (short for Ophelia — an allusion to her earthshaking climaxes) is not a well-written character to begin with but she's even less engaging as played by Lively. Johnson is unconvincing as the bleeding heart Ben and the details his character is given — extra earrings a shoddy-looking tattoo on his neck even white boy dreads at one point — undercut his believability even more. Kitsch is given a few prominent scars and a mean squint but he doesn't quite bring the weird slightly empty vibe of Chon to life.
On the villain side Benicio Del Toro chews every inch of scenery from Laguna Beach to Tijuana as Lado. He's rocking an intense moustache that he strokes when he's lying or being a creep (which is most of the time) a vaguely mullet-like wig and a fondness for torture. Salma Hayek takes no prisoners as the head of the cartel nicknamed Elena la Reina who is both a frustrated mom whose college-age daughter is blowing her off (aw!) and a brutally tough woman in a man's world. John Travolta definitely enjoys a bit of Pulp Fiction ridiculousness as Dennis a DEA official who's in Ben and Chon's pocket. It's hard to tell just how funny Savages is aiming to be. Lado Elena and Dennis are cartoonish but Ben Chon and O are earnest — which is to say a little bit boring.
The double- and triple-crossing is practically moot as is the wacky technology that Ben and Chon employ; it's like The Social Network meets surfers. The real meat of the movie is the flash and violence but it's not the kind of thing that stays with you like Stone's Natural Born Killers. Savages doesn't have the same lingering aftertaste. It's not that a movie needs to have some sort of message with its pointed commentary on the media's bloodlust but the gist of Savages — that we're all savages at heart or that we can easily become a savage given the right circumstances — is not that interesting or unique.
Oddly enough Savages pulls a few punches when it comes to its source material (hard to believe when the movie kicks off with a glimpse of an abattoir-like enclosure and close-ups of men begging for their lives just as a chainsaw revs in the background). Winslow's book is a quick enjoyable read with an interesting on-page style that's hard to replicate verbally. It has a sort of ADD-addled feel that the movie tries to but doesn't quite capture. While it's not always fair to compare an adaptation to the book it's based on Winslow is both the author and one of the screenplay writers so some of the choices made behind the scenes don't quite add up. Cut are significant and menacing back story for Lado and all of the zestiness out of O. Why add in certain plot points and take out others unless it was to give one of its big name stars more screen time? The most interesting part of the story the love story is treated like a wink wink homoerotic thing than an actual relationship between three people who adore each other which is how it's portrayed in the book. It's hard not to be a little disappointed especially given Stone's no-f**ks-given attitude. (Or as O would say baditude.)
That said it is a somewhat entertaining diversion and a nice tour of lifestyles of the rich and criminal. Lively is all tangled tan limbs and luxurious hippie clothes and the homes they frequent whether on Laguna Beach or a desert compound are meticulously decorated with exquisite expensive taste. Santa Muerte imagery also figures heavily in the background of many scenes. The scenery is gorgeous — even the marijuana looks amazing. It's good for adults to have another R-rated choice in what's usually a season dominated by blockbusters but in years to come you'll more likely to reach for your old True Romance DVD than Savages.
The Scotland-born star passed away on Wednesday (07Oct09) in a Montreal, Canada hospital surrounded by his family.
Campbell began his acting career in 1953 at the annual Stratford Shakespeare Festival in Ontario, Canada, where he regularly performed until 2001.
He also directed several productions and later took his skills to Broadway, appearing in Gideon and overseeing an adaptation of Moby Dick.
The actor starred in a string of movies, including 1985's Perfect, opposite Jamie Lee Curtis and John Travolta, and portrayed Santa Claus in 2000 holiday film Once Upon a Christmas.
Campbell was awarded the Order of Canada medal for his services to the arts in 1997.
He is survived by his wife Moira Wylie and six children.