2. The Direction Is More Accomplished And Character-Driven
Both Hunger Games films were praise-worthy on their aesthetic values, and again Ross set the template for what was to come. That the new crew doesn't throw out his work or try to re-imagine it is to the series' ultimate benefit. This isn't Alfonso Cuaron giving the world of Harry Potter a completely different vision from Chris Columbus' candy-coated storybook approach. Instead, Lawrence adds a sense of opulence and patient observation, extending the overall timing of shots to include space for meditation€”not much mind you, but these kids don't live in a world where there's much time at all for such pleasantries. His team also expands the scope and emphasis of the visual elements, using them to impart more subtle aspects of Collins story that would often be lost in translation. From beautiful sequences of Katniss standing solitary and alone in the forests of her District, or watching the grief-stricken faces of Rue's family during the Victory tour, cinematographer Jo Willems funnels the fantastical visions of this rotted Oz directly through the eyes of its beleaguered protagonist. The effect is two-fold; we aren't visiting Panem on an escapist jaunt, but as one of its victims, and the enhanced emphasis on Katniss' headspace (turns out PSTD is a side effect of the games) ably replaces the first-person narration of the novel. All of the characters are given more to do, but they also shine in their scenes, and are better linked to the burgeoning storyline. Gale, Katniss' would-be love, and mentor Haymitch are both more interesting here than last time, as is Elizabeth Bank's Effie Trinket. She was all hair and Lady Gaga posturing, now she's the Capitol's example of a little lost sheep trying to pretend everything is ok. Visually, these improvements are achieved through the absolutely fantastic costuming work of Trish Summerville, the sets by Larry Dias, and the production design of Philip Messina, all coming together to inform and inspire the characters instead of crowd them out. Lawrence also gets extra credit for inserting homage into Catching Fire without the need for cheeky reference or wholesale steal. In addition to some carefully placed visual cues that ignite memories of Children of Men, Logan's Run and Soylent Green, there are also odd callbacks to the Fire Swamp of The Princess Bride, and a pivotal moment of rebellion manifests itself as the antithesis of the dark transformation in Darren Aronofsky's The Black Swan. This is a great looking film, but each of its pieces serves the story being told and that makes all the difference.