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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This coming season of Saturday Night Live will be missing a few greats, including Fred Armisen, Jason Sudeikis, and Bill Hader. But SNL has hired six new cast members, which is always exciting, since the show has always been pretty good at filling its ranks. Though you might not recognize the new cast members (comedians usually become famous during or after their stint on SNL), here are some videos that give you a feel for their comedy.
Brooks WheelanThis cute Comedy Central-showcased comedian and CollegeHumor writer is adept at crude, earnest humor.
Beck BennettBennett is best known for his AT&T commercials, but you should also check out his Youtube comedy group Good Neighbor.
Kyle MooneyAnother member of Good Neighbor, Mooney has also appeared on Jimmy Kimmel Live, Parks and Rec, and Sports Show with Norm MacDonald.
Noël WellsWells has proven herself adept at impersonations on CollegeHumor and Cracked.
John MilhiserPerhaps the least well-known of the new cast, check out this Step Up parody if you have any doubts about Milhiser's abilities.
Michael O'BrienO'Brien already writes for SNL, and he is an amazingly awkward host on the Youtube channel Seven Minutes in Heaven.
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When author Mia March caught Sophie's Choice when she was sixteen, her life was instantly changed. "Because of what the film meant to me, and [Meryl's] performance, I read the novel that the film was based on, and the book got me into wanting to study literature and become a writer myself." Decades of watching Meryl Streep's films and a passion for literature helped March begin a journey that ended this week with the publication of her new book The Meryl Streep Movie Club, the story of three estranged relatives who assemble at the family matriarch's inn in coastal Maine for R&R and, of course, some Streep movie-watching. The power of the actress' films spark discussion between the trio, opening the door for self-discovery and solutions to a few of their bigger life hurdles.
March drew from many of her own experiences to inspire the novel (she cites The Bridges of Madison County as a movie that saved her family Thanksgiving one year), but found herself continuing to return to Streep's filmography both for original ideas and simply for pleasure. Meryl, at least from March's point of view, is the everywoman actress, always worth watching again in any genre, in any plot. As March puts it, "she just has this shining light above her, she’s brilliant."
With a vast knowledge of Meryl Streep movies and paperback proof of her connoisseurship, it was only natural that I pick March's brain on the stand out films in the actress' filmography. Despite picking favorites being March's own Sophie's choice, here are few titles to get your own Meryl Streep Movie Club started:
Meryl Streep's Best Comedy:
"You know, I don’t even know if you can call it a comedy, but she’s just so effervescent in this film, Julie and Julia. It’s not quite a comedy, but it’s a fun movie, regardless. And Defending Your Life. A hilarious actor, [Albert Brooks], it’s his movie, but that’s just the funniest. It’s really such a funny movie."
Meryl Streep's Best Drama:
"The best, the very best, I would say is Sophie’s Choice, but my favorite movie is Out of Africa. It might be that she is portraying a real live person, but it’s such a soaring, beautiful epic movie. And she really makes you feel this woman’s life history, and everything she’s striving for on this coffee farm. She gives her such dignity, and it’s such an amazing performance. I just recently saw it again, for the sixth time. Love it."
Meryl Streep's Craziest Role:
"You know, that’s interesting, because I don’t even think you can say there is a performance that’s anti-Meryl. The people maybe were surprised with her in Mama Mia, that’s still Meryl Streep! You know, belting out those Abba songs with her long hair and overalls. That’s so her!"
Meryl Streep's Career Low:
"Everyone I know who I talk about this with, there is a film that they mention they don’t like. I love it. And that is She-Devil, with Roseanne Barr. I love that movie. I think I’ve watched that movie like, four times on Comedy Central. It is hysterical.It’s based on a hilarious book, that I also love. Yeah, people don’t seem to like that. It’s by Faye Wells, The Lies and Loves of the She-Devil."
Meryl Streep's Best Film of the Last Ten Years:
"She was pretty incredible in Doubt. She’s just so good in everything. Sometimes it’s easy to overlook. Like a friend of mine said, “Ugh, you’re gonna put It’s Complicated in the book? You know, why would you do that? That’s not one of her best.” But I think it is, I think they’re all her best."
The Meryl Streep Movie Club is available in stores and online now.
Follow Matt Patches on Twitter @misterpatches
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[Photo Credit: Simon & Schuster, WENN.com]
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.