Review: The Hunger Games: Catching Fire (dir. Francis Lawrence, 2013)

The headlines on some of the early reviews of The Hunger Games: Catching Fire have called it the Empire Strikes Back of this series, and it’s not hard to see why. The new film fleshes out the characters introduced by the first film, it delves deeper into its central love triangle, it raises the stakes significantly, and it ends on an abrupt cliffhanger that separates the characters from one another and leaves you wondering what’s really going on (though the revelation at the end of this film is nothing compared to the famous “I am your father” moment from Empire).

I have never read the original novels, so I have only a vague idea of where the story is going, and no idea at all how faithful the films have been to the books. But I found I cared about this film in a way that I don’t recall caring about the original Hunger Games, which came out a year and a half ago. I was more impressed by how the film looked, and by the complicated interactions between our protagonists, which no longer fit quite so neatly into the familiar formula whereby a hero is called, trained, sent on some sort of quest and then returned to his or her home.

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Does 42 avoid showing us the faith of its protagonists?

Sometimes you read a critique of a film that makes you wonder if the person who wrote that critique has actually seen the film in question. Such is the case with a recent USA Today column by Eric Metaxas on the Jackie Robinson movie 42, which opened this past weekend.

In his column, Metaxas writes that the film “simply avoids” and “doesn’t tell us” about “the devout Christian faith” that motivated Robinson and Brooklyn Dodgers owner Branch Rickey when they agreed that Robinson should turn the other cheek in response to racial slurs and the like. But Metaxas is simply wrong about that.

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