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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Earlier this year (11), ABC network bosses announced All My Children will come to an end in September (11) after 41 years on air, while One Life To Live will also be scrapped following a 43-year run.
But the shows look set to dominate the 38th annual Daytime Emmys - All My Children, which has 13 nominations, is up for Outstanding Drama Series, competing against The Bold and the Beautiful, General Hospital and The Young and the Restless, while its stars Alicia Minshew, Debbi Morgan and Ricky Paull Goldin will all do battle in the Leading Drama Actor categories.
All My Children's Melissa Claire Egan will go up against One Life To Live actress Bree Williamson for Best Supporting Drama Actress title, alongside the likes of Julie Pinson (As The World Turns), Heather Tom (The Bold and the Beautiful) and Tricia Cast (The Young and the Restless), while Williamson's co-star Brian Kerwin will fight for Best Supporting Drama Actor, a category which includes Jonathan Jackson and Jason Thompson from General Hospital.
Medical drama series General Hospital leads the nominations with 21, while The Young and The Restless garnered 20 and children's show Sesame Street earned 16.
Comedienne-turned-talk show host Ellen DeGeneres is also set for a big night after taking 12 nods, including Outstanding Talk Show - pitting The Ellen DeGeneres Show against The View, Regis & Kelly and Rachael Ray.
DeGeneres' hit programme also gained recognition for direction, set design and make-up, although the star herself failed to land a nomination for Outstanding Talk Show Host - a title she has won four times before. Instead, The View's star-studded line-up - consisting of Whoopi Goldberg, Joy Behar, Sherri Shepherd, Elisabeth Hasselbeck and Barbara Walters - will battle against the presenters of Regis & Kelly, Rachael Ray, The Doctors and Dr. Oz for the top TV category.
The nominees for the 2011 Daytime Emmy Awards, which celebrate the best in U.S. TV production, were announced early on Wednesday (11May11).
The winners will be unveiled at a ceremony in Las Vegas on 19 June (11). Actor/comedian Wayne Brady will host.