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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If you had to choose between Girls, Game of Thrones, and Homeland, which one would you say is your favorite show? We know, this is tough question. The shows are all equally entertaining, but in very different ways. These and other series have been pitted against each other in the 2013 Arqiva British Academy Television Awards (put out by the British Academy of Film and Television Arts) international category. Up against Danish/Swedish crime drama The Bridge, only one of these four shows can come out the winner. Which one will it be?
See the full list of 2013 BAFTA Television nominees below.
2013 BAFTA TV Nominees:
LEADING ACTOR:Ben Whishaw, Richard II (The Hollow Crown)Derek Jacobi, Last Tango In Halifax Sean Bean, Accused (Tracie’s Story)Toby Jones, The Girl
LEADING ACTRESS:Anne Reid, Last Tango In Halifax Rebecca Hall, Parade’s End Sheridan Smith, Mrs Biggs Sienna Miller, The Girl
SUPPORTING ACTOR: Peter Capaldi, The Hour Stephen Graham, Accused (Tracie’s Story) Harry Lloyd, The Fear Simon Russell Beale, Henry IV Part 2 (The Hollow Crown)
SUPPORTING ACTRESS: Anastasia Hille, The Fear Imelda Staunton, The Girl Olivia Colman, Accused (Mo’s Story) Sarah Lancashire, Last Tango In Halifax
ENTERTAINMENT PERFORMANCE:Alan Carr, Alan Carr: Chatty Man Ant and Dec, I’m a Celebrity… Get Me Out of Here!Graham Norton, The Graham Norton Show Sarah Millican, The Sarah Millican Show
FEMALE PERFORMANCE IN A COMEDY PROGRAM:Jessica Hynes, Twenty Twelve Julia Davis, HunderbyMiranda Hart, Miranda Olivia Colman, Twenty Twelve
MALE PERFORMANCE IN A COMEDY PROGRAM:Greg Davies, Cuckoo Hugh Bonneville, Twenty Twelve PeterCapaldi, The Thick Of It Steve Coogan, Welcome To The Places Of My Life
SINGLE DRAMA :Everyday, Revolution Films/Channel 4 The Girl, Wall to Wall/BBC Two Murder, Touchpaper TV/BBC Two Richard II(Hollow Crown), Neal Street Productions co-production with NBC Universal and WNET Thirteen/BBC Two
MINI-SERIES:Accused, RSJ Films/BBC One Mrs Biggs, ITV Studios/ITV Parade’s End, Mammoth Screen/BBC Two Room At The Top, Great Meadow Productions/BBC Four
DRAMA SERIES:Last Tango In Halifax, Red Production Company/BBC One Ripper Street, Tiger Aspect Productions/BBC One Scott And Bailey, Red Production Company/ITV Silk, BBC Productions/BBC One
SOAP & CONTINUING DRAMA: Coronation Street EastEnders Emmerdale Shameless
INTERNATIONAL:The BridgeGame of ThronesGirlsHomeland
FACTUAL SERIES:24 Hours In A&E, Garden Productions/Channel 4Great Ormond Street, Films of Record/BBC TwoMake Bradford British, Love Productions/Channel 4Our War, BBC Productions/BBC Three
SPECIALIST FACTUAL:All In The Best Possible Taste With Grayson Perry, Seneca Productions/Channel 4The Plane Crash, Dragonfly Productions, MAP TV/Channel 4The Plot To Bring Down Britain’s Planes, Raw TV/Channel 4The Secret History Of Our Streets, Century Films, Halcyons Heart Films/BBC Two
SINGLE DOCUMENTARY:7/7: One Day In London, Minnow Films/BBC TwoBaka: A Cry From The Rainforest, River Films/BBC TwoLucian Freud: Painted Life, Blakeway Productions/BBC TwoNina Conti – A Ventriloquist’s Story: Her Master’s Voice, Nina Conti in association with the BBC/BBC Four
FEATURESBank Of Dave, Finestripe Productions/Channel 4Grand Designs, Boundless/Channel 4The Great British Bake Off, Love Productions/BBC TwoPaul O’Grady: For The Love Of Dogs, Shiver/ITV
REALITY & CONSTRUCTED FACTUAL:The Audience, The Garden Productions/Channel 4I’m a Celebrity… Get Me Out of Here!, ITV Studios/ITVMade In Chelsea, Monkey Kingdom/E4The Young Apprentice, Boundless Productions/BBC One
CURRENT AFFAIRS:Britain’s Hidden Housing Crisis(Panorama Special), Genie Pictures Ltd/BBC OneThe Other Side Of Jimmy Savile(Exposure), ITV Studios/ITVThe Shame Of The Catholic Church(This World), BBC Northern Ireland/BBC TwoWhat Killed Arafat?(Al Jazeera Investigates), Al Jazeera English/Al Jazeera English
NEWS COVERAGE:BBC News At Ten: Syria, BBC News/BBC One & BBC News ChannelChannel 4 News: Battle For Homs, ITN/Channel 4Hillsborough – The Truth At Last(Granada Reports), ITV Granada/ITV
SPORT & LIVE EVENT:The London 2012 Olympics: Super Saturday, BBC Sport/BBC OneThe London 2012 Olympic Opening Ceremony: Isle Of Wonder, Done & Dusted/BBC OneThe London 2012 Paralympic Games, Sunset & Vine, IMG/Channel 4Wimbledon 2012 – Men’s Final, BBC Sport/BBC One
ENTERTAINMENT PROGRAM:Dynamo Magician Impossible, Phil McIntyre Entertainment, Inner Circle Films/WatchThe Graham Norton Show, So Television/BBC OneHave I Got News For You, Hat Trick Productions/BBC OneA League Of Their Own, CPL Productions/Sky One
COMEDY PROGRAM:Cardinal Burns, Left Bank Pictures/E4Mr Stink, BBC Productions in association with Bert Productions/BBC OneThe Revolution Will Be Televised, Hat Trick Productions/BBC ThreeWelcome To The Places Of My Life, Baby Cow/Sky Atlantic
SITUATION COMEDY: Episodes, Hat Trick Productions/BBC TwoHunderby, Baby Cow/Sky Atlantic The Thick Of It, BBC Productions/BBC Two Twenty Twelve, BBC Productions/BBC Two
Follow Lindsey on Twitter @LDiMat.
MORE:BAFTA Nominations 2012 Homeland Teaser: 5 Questions We Need Answered Making A Case for Homeland
David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
A decade-long gap between sequels could leave a franchise stale but in the case of Men in Black 3 it's the launch pad for an unexpectedly great blockbuster. The kooky antics of Agent J (Will Smith) and Agent K (Tommy Lee Jones) don't stray far from their 1997 and 2002 adventures but without a bombardment of follow-ups to keep the series in mind the wonderfully weird sensibilities of Men in Black feel fresh Smith's natural charisma once again on full display. Barry Sonnenfeld returns for the threequel another space alien romp with a time travel twist — which turns out to be Pandora's Box for the director's deranged imagination.
As time passed in the real world so did it for the timeline in the world of Men in Black. Picking up ten years after MIB 2 J and K are continuing to protect the Earth from alien threats and enforce the law on those who live incognito. While dealing with their own personal issues — K is at his all-time crabbiest for seemingly no reason — the suited duo encounter an old enemy Boris the Animal (Jemaine Clement) a prickly assassin seeking revenge on K who blew his arm off back in the '60s. Their street fight is more of a warning; Boris' real plan is to head back in time to save his arm and kill off K. He's successful prompting J to take his own leap through the time-space continuum — and team up with a younger K (Josh Brolin) to put an end to Boris plans for world domination.
Men in Black 3 is the Will Smith show. Splitting his time between the brick personalities of Jones and Brolin's K Smith struts his stuff with all the fast-talking comedic style that made him a star in yesteryears. In present day he's still the laid back normal guy in a world of oddities — J raises an eyebrow as new head honcho O (Emma Thompson) delivers a eulogy in a screeching alien tongue but coming up with real world explanations for flying saucer crashes comes a little easier. But back in 1969 he's an even bigger fish out water. Surprisingly director Barry Sonnenfeld and writer Etan Cohen dabble in the inherent issues that would spring up if a black gentlemen decked out in a slick suit paraded around New York in the late '60s. A star of Smith's caliber may stray away from that type of racy humor but the hook of Men in Black 3 is the actor's readiness for anything. He turns J's jokey anachronisms into genuine laughs and doesn't mind letting the special effect artists stretch him into an unrecognizable Twizzler for the movie's epic time jump sequence.
Unlike other summer blockbusters Men in Black 3 is light on the action Sonnenfeld utilizing his effects budget and dazzling creature work (by the legendary Rick Baker) to push the comedy forward. J's fight with an oversized extraterrestrial fish won't keep you on the edge of your seat but his slapstick escape and the marine animal's eventual demise are genuinely amusing. Sonnenfeld carries over the twisted sensibilities he displayed in small screen work like Pushing Daisies favoring bizarre banter and elaborating on the kookiness of the alien underworld than battle scenes. MIB3's chase scene is passable but the movie in its prime when Smith is sparring with Brolin and newcomer Michael Stuhlbarg who steals the show as a being capable of seeing the future. His twitchy character keeps Smith and the audience on their toes.
Men in Black 3 digs up nostalgia I wasn't aware I had. Smith's the golden boy of summer and even with modern ingenuity keeping it fresh — Sonnenfeld uses the mandatory 3D to full and fun effect — there's an element to the film that feels plucked from another era. The movie is economical and slight with plenty of lapses in logic that will provoke head scratching on the walk out of the theater but it's also perfectly executed. After ten years of cinematic neutralizing the folks behind Men in Black haven't forgotten what made the first movie work so well. After al these years Smith continues to make the goofy plot wild spectacle and crazed alien antics look good.
Gillian Anderson is Lily Bart a woman of shaky means for who parties are business and the pursuit of marriage has become a constant vocation. She falls in love with Lawrence Seldon (Eric Stoltz) but quickly realizes she can't seriously consider him since he actually works for a living. Still her efforts to marry for money instead of love are so half-hearted that she sabotages her chances with a wealthy prig and continues her flirting gambling cigarette-smoking ways. This in turn puts her out of favor with her rich aunt and a tragic demise waits in the wings. Bribery extortion and character assassination rear their scandalous heads as the wrong men make improper plays for the desirable Lily. Intriguing as it may sound revealing letters that have been tossed into a fire are all that smolders in this film.
Leaving the realm of supernatural phenomenon ("X-Files") for the spookier world of Victorian society Gillian Anderson plays the ever so wronged but resolutely brave Lily. Anderson's self-righteousness and wretched desperation fail to endear her leaving her tragic long-suffering Lily somewhat remote. But it's Stoltz's opaque inert Lawrence who truly irritates. A once-likeable actor he has begun to play all his roles with a tad too much smugness. Sincere but utterly passive the character is annoyingly subdued. Laura Linney is refreshingly vital as the dangerous Bertha. Dan Aykroyd fails to impress as a villain in sheep's clothes and Eleanor Bron is a caricature of a stern sour aunt.
After seeing one too many Merchant Ivory films one might tire of the convention in which a woman of meager means falls for a poor working man while searching for a rich husband. And for those who haven't seen any you just might tire of it midway through Terence Davies' languid dour drama. Davies ("The Neon Bible " "Distant Voices Still Lives") doesn't do for Wharton what Martin Scorsese did in "Age of Innocence " namely bring her words to lively engaging life.