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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Hallmark has laid claim to many an industry — sentimental family movies, holidays conspired entirely for card sales, a school store in Hudson, N.H. — but the corporate giant with Missouri roots has yet to sate its worldly appetite. The next realm to conquer: television shows. The Hallmark Channel has greenlit its first original series, Cedar Cove, set to launch in January with a two-hour pilot. The program, based on a book series by author Debbie Macomber, will place venerably Hallmarky actress Andie MacDowell at the center as a municipal court judge named Olivia Lockhart (a venerably Hallmarky name). Variety reports that the network has also begun planning four additional original series, each set to hit the air by 2014.
It's only natural to assume that Hallmark will draw from some of its other regimes to develop this new empire. After all, you've got to imagine that the company's renowned expertise in the art of cardsmanship should translate at least somewhat effectively to TV. Given this double-sided aisle of possibilities, here are a few Hallmark-worthy pitches we'd like to suggest.
Get Well Soon
Marcus Halloway is a street-tough who never had nobody to look after him. But when he gets caught racketeering in the premiere episode, a local judge forces him to spend his days caring for bedridden senior citizen Gretta Cardman as community service. Over the course of the series, Marcus comes to care for Gretta, learning a little bit about life, love, and growing up, as he tries long and hard to make her comfortable through her terminal illness.
Dr. Hallie Markowitz is the top cardiologist at Greetings Hospital, helping both her patients and colleagues week after week. Hallie cures sickly visitors to the hospital with her surgical prowess but is just as impressive as an inspiration to young interns and jaded doctors, thanks to her knack for crafting poetic, life-affirming greeting cards (which frame the narration of the episodes) for every occasion.
H. Allan Markenheim is a rich, business-driven socialite who has spent the last ten years of his life investing every ounce of his humanity into keeping his father's Fortune 500 company at the top of the industry. But when he meets Anna Versary in the pilot, Allan starts to realize that maybe there's more to life than work and money, and he begins focusing all of his energy on the girl of his dreams.
In this sci-fi procedural, has-been mailman Jeff Schmallmark (I know, I'm getting lazy, just deal with it) teams up with crime-fighting robot E-CARD (Executor of Criminal Analysis and Riot Deterrence) in a dystopian future to maintain justice and deliver messages from murder and kidnapping victims and jailed criminals to their loved ones.
[Photo Credit: Hallmark]
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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.
The mother of a murder victim whose alleged killer is the subject of new film Alpha Dog has attempted suicide three times in the wake of the movie's release.
Susan Markowitz and her family are disgusted by the film, which stars Justin Timberlake, Sharon Stone and Bruce Willis, insisting it profits from their son's horrific death.
Fifteen-year-old Nicholas Markowitz was kidnapped and killed by a drug gang in 2000, allegedly over a debt owed by his brother.
The victim's father Jeff Markowitz says of his wife Susan, "She is so tortured by what happened that she has tried to take her own life. The last thing that either of us want is to see this picture.
"How would any loving parent feel about a Hollywood movie that glamorizes their son's death and allows celebrities to cash in on a brutal, evil murder?"
Nicholas' alleged killer, Jesse James Hollywood, 26, is currently in jail and awaiting trial in Los Angeles later this year. A federal court recently declined the accused killer's request to block Alpha Dog's release in America on Jan. 12.
Director Nick Cassavetes insists his film was not made to cause offense or have any influence over the trial.
He says, "The last thing we would want to do is prejudice a trial or bring unnecessary suffering to anyone. I don't believe this movie does that. Real life is way more important than movies."
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