Katniss Everdeen is in District 13 after she shatters the games forever. Under the leadership of President Coin and the advice of her trusted friends, Katniss spreads her wings as she fights to save Peeta and a nation moved by her courage.
Katniss Everdeen voluntarily takes her younger sister's place in the Hunger Games: a televised competition in which two teenagers from each of the twelve Districts of Panem are chosen at random to fight to the death.
As the war of Panem escalates to the destruction of other districts, Katniss Everdeen, the reluctant leader of the rebellion, must bring together an army against President Snow, while all she holds dear hangs in the balance.
In a world divided by factions based on virtues, Tris learns she's Divergent and won't fit in. When she discovers a plot to destroy Divergents, Tris and the mysterious Four must find out what makes Divergents dangerous before it's too late.
Twelve months after winning the 74th Hunger Games, Katniss Everdeen and her partner Peeta Mellark must go on what is known as the Victor's Tour, wherein they visit all the districts, but before leaving, Katniss is visited by President Snow who fears that Katniss defied him a year ago during the games when she chose to die with Peeta. With both Katniss and Peeta declared the winners, it is fueling a possible uprising. He tells Katniss that while on tour she better try to make sure that she puts out the flames or else everyone she cares about will be in danger. Written by
Hollywood remakes of Asian films are always an iffy proposition. How
will the nuances and culturally-specific references translate across
oceans and continents? Generally, however good the remakes, they rarely
if ever eclipse the original films. In recent memory, perhaps only
Nolan's INCEPTION, unofficial based on PAPRIKA, has managed to find a
life of its own. Other remakes, like Luc Besson's LUCY and Aronofsky's
BLACK SWAN?, have sunk into ignominy. Spike Lee's Oldboy is completely
terrible, and it does lose quite a bit of the dark, bruising,
ambivalent flavour of Park Chan-Wook's 2003 Korean classic.
Jennifer Lawrence takes centre stage in Suzanne Collin's ripoff. She
sinks credibly into the wooden, dazed-like demeanor of Katniss
Everdeen, a pretty white female version of Shuya Nanahara.
On its own merits, The Hunger Games: Catching Fire is passably stuffed
with filler in order to pad out the story into multiple movies, thus
tripling profits. It entertains and put to sleep in equal measure,
packing in a great deal of PG-13 violence and torture that runs the
gamut from offscreeen to offscreen and everything in between. The
relationship that develops between Katniss and backery worker Peeta is
pure Twilight fan-service, if a little forced. no questions asked.
What works rather less well is the deliberate dilution of the twist in
Battle Royale's tale, presumably because American audiences can only
handle so much moral and emotional ambiguity. Where Kenji Fukusaka's
version sees the revenge mission warped with a horrifyingly emotional
dilemma, Lawrence's film shies away from such s conundrum. As a result,
the film becomes far less subtle and considerably more dunbed down.
There's a flashback sequence towards the end of the film that's
ridiculous enough to make audiences laugh rather than gasp, even as CGI
baboons are added to the story (!).
The cast assembled is impressive, even though they're not really given
a lot to work with in the frequently stilted, over-blown script. JLaw
anchors the film with admirably stony listlessness, but her Katniss
never seems to really feel the weight of her plight. Hutcherson, too,
stumbles around a bit, as if never quite sure how to play his part, and
Stanley Tucci comes close to overplaying his hand when he emerges from
the shadows to drop a few hints about the reasons behind Katniss's
There's enough on display in The Hunger Games: Catching Fire for the
film to jog by at a fairly quick clip. Collins pays tribute along the
way to a few iconic elements of the Japanese film a clock shaped
playing field, a prolonged execution in an elevator and the cast
tries its hardest to make it all work. But it's hard to shake the
feeling that something a little deeper, richer, sadder and weirder was
lost in translating the film into a vernacular more pleasing to
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