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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The film follows the same tired action genre step by step. Ex-con and single dad O2 (Tyrese Gibson) is trying to go straight for the sake of his young son Junior. But when the kid is kidnapped in what seems to be a typical carjacking O2 has to pull out all the stops to get him back. Turns out O2 had some nefarious dealings with a gang overlord named Big Meat (The Game) who likes to hack off people’s body parts with a machete. And now Meat wants some payback taking for ransom the only thing O2 cares about in the entire world [sniffle]. So what’s a guy to do? Pit rival gang leaders against each other hook up with a beautiful street hustler (Meagan Good) rob safety deposit boxes and get caught in an extended car chase that’s what. "It's either all or nothing " realizes O2. Very prophetic. Waist Deep has got some great character names--Meat O2 Coco Lucky Junior. Too bad most of the performances can’t live up to them. Tyrese (Four Brothers) does try his best though as the hunky O2 making a convincing albeit a tad stiff attempt at playing a father who’s whole life is his son. Good (Roll Bounce) gets to wear tight sexy clothes and strut around as Coco O2’s accomplice and eventual love interest as they rob banks Bonnie and Clyde style. Larenz Tate (Crash) plays Lucky O2’s unreliable cousin who actually isn’t lucky at all caught between a rock and hard place. And then there’s Meat played by big-time rapper The Game in his feature debut. With a battered face and covered in tattoos The Game certainly looks like one mean badass wielding a mad machete. Thankfully he doesn’t have to do much more than that. Here’s a few words of advice to would-be actors who want to play effective bad guys: Less is more. It’s movies like these that really give South Central L.A. a bad rep—shoot-outs in the middle of the street in broad daylight the carjacks the depravity the sad stories of little kids getting shot. It’s not exactly a warm and fuzzy place. Of course actor-turned-director/co-writer Vondie Curtis-Hall (best known for his numerous TV guest spots) doesn’t want it to be showing the grit in all its glory and collecting a cast from the area who could lend some credibility to the surroundings. But Hall needs a few more lessons in how to craft a well-thought action movie. The script is hackneyed beyond the usual taking bits not only from Bonnie and Clyde but also Thelma and Louise Boyz N the Hood--and even a little Shawshank Redemption. Hall’s camerawork is also too frenetic at times almost dizzyingly so with unnecessary close ups and choppy sequences. That isn’t to say some of the gun play and car chases aren’t exciting enough. There just seems to be a lack of experience overall.
November 14, 2005 6:06am EST
Since the age of 12 Marcus (Curtis “50 Cent” Jackson) wanted to be a rapper. After his mother Katrina (Serena Reeder) is brutally killed Marcus’ rap dreams are put on hold and he begins hustling drugs to make enough money for a nice pair of shoes. Only he doesn’t stop at the shoes. When Marcus gets involved with Majestic (Adewale Akinnuoye-Agbaje) he sees how much money there is to be made in the drug business and he wants it all. Then his childhood best friend Charlene (Joy Bryant) moves back to Queens and they fall in love. But it isn’t too long before she gets pregnant and he is arrested. While perfecting his rap skills in jail he meets Bama (Terrence Howard) who becomes his manager and lifesaver on the outside taking him out of the drug game for good. 50 Cent may have the rap world locked up but his acting skills leave a lot to be desired. Watching him trying to emote is sort of akin to watching a bad comic bomb on stage. He seems to be the first rapper-turn-actors these days who can’t cut it. Thankfully Get Rich’s supporting cast help out--a little. Marc John Jefferies (Stuart Little 2 Spider-Man 2) who plays the young Marcus nearly steals the show. At first loving and caring then turning cold and unforgiving Jefferies made it look easy to flip the switch between the two. Another standout is Adewale Akinnuoye-Agbaje (HBO’s Oz) as the crooked drug lord Majestic. And in a year chockfull of good performances Terrence Howard who obviously just wanted to work with Sheridan adds much needed comic relief as the quirky Bama. Director Jim Sheridan whose resume includes Oscar-winning films such as In America and My Left Foot probably thought that if Oscar-winning director Curtis Hanson could handle Eminem’s 8 Mile with aplomb then he could do the same thing with a gangsta rap story. Guess he forgot the fact Hanson (L.A. Confidential) can do gritty. The very Irish Sheridan is just clearly way out of his element. Get Rich jumps around so much you don’t have any time to figure out what’s happening who’s who or where the heck the film’s heading. And it doesn’t help that the chaotic script is peppered with such stereotypical dialogue. Honestly if you want to see a compelling story about a wannabe rapper getting his shot (and not shot at) rent this year’s Hustle & Flow.