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The Hunger Games: Catching Fire (2013)

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Katniss Everdeen and Peeta Mellark become targets of the Capitol after their victory in the 74th Hunger Games sparks a rebellion in the Districts of Panem.

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Nominated for 1 Golden Globe. Another 21 wins & 59 nominations. See more awards »

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Cast

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Greasy Sae (as Sandra Lafferty)
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Storyline

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 rcs0411@yahoo.com

Plot Summary | Plot Synopsis

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The sun persists in rising, so I make myself stand. See more »


Motion Picture Rating (MPAA)

Rated PG-13 for intense sequences of violence and action, some frightening images, thematic elements, a suggestive situation and language | See all certifications »

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Details

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Release Date:

22 November 2013 (USA)  »

Also Known As:

Catching Fire  »

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Box Office

Budget:

$130,000,000 (estimated)

Opening Weekend:

$158,074,286 (USA) (22 November 2013)

Gross:

$424,645,577 (USA) (28 March 2014)
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2.35 : 1
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Did You Know?

Trivia

All three of the songs Ed Sheeran submitted for the film's soundtrack were turned down. See more »

Goofs

It was previously mentioned that Johanna talks to Katniss backstage between their interviews with Caesar when no other Tributes had left the stage after their interviews. However, this explains why Johanna is not in any of the shots while both Katniss and Peeta are being interviewed, but is back on stage after Peeta reveals that Katniss is pregnant. Johanna had gone backstage to fix her dress. See more »

Quotes

[first lines]
Gale Hawthorne: [as Katniss almost shoots him] Whoa, whoa. Easy. Saw some turkeys on the way here. Crossed right in front of me like I wasn't even there.
Katniss Everdeen: How rude of them.
Gale Hawthorne: That's what happens. You spend six days a week working in the mines and stupid birds start to think they own these woods.
[brief pause]
Gale Hawthorne: When's the tour leave?
Katniss Everdeen: Couple hours.
Gale Hawthorne: Well, let's go.
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Crazy Credits

The film's title doesn't appear until the start of the closing credits. See more »

Connections

Referenced in The Simpsons: Let's Go Fly a Coot (2015) See more »

Soundtracks

Silhouettes
Written and Performed by Of Monsters and Men
Courtesy of Republic Records
Under license from Universal Music Enterprises
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Frequently Asked Questions

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User Reviews

 
The Real Hunger Games: Battle Royale
23 November 2013 | by (Aukland) – See all my reviews

Say what you will about the new unofficial remake of "The Hunger Games"—one thing it's not is rebellious. A key to the film's success is that it only flirts with real violence, pain, and outrage—in the end, it's a family film, which offers parents a chance to bond with their kids over the bewildering nastiness that is adolescence. If it's rebellion you want, you're better off seeing the Japanese film "Battle Royale," made in 2000 and newly available on DVD in the U.S., which anticipated "The Hunger Games" and, in many ways, bettered it. "Battle Royale" is also about a group of teen-agers murdering each other in a gladiatorial contest. But its extreme violence and candor—it was nearly banned by the Japanese Diet—lets it say the things "The Hunger Games" can't quite bring itself to say.

"Battle Royale" was also adapted from a best-selling novel, and the two films tell similar (and similarly senseless) stories. "Battle Royale" takes place in a dystopian version of present-day Japan, in which a massive disconnect between the generations has led to the passage of the Millennium Education Reform Act. The Act requires that, each year, a ninth-grade class be transported to a deserted island, where they will murder each other until only one student survives. (The film opens with a shot of last year's winner, a smiling girl in a school uniform, dripping with blood.) The first half-hour of "Battle Royale" is extraordinary and surreal. One minute, the students are horsing around on the bus, on the way to what they take to be a field trip; the next, a creepy teacher is giving them a murderous civics lesson. "Because of folks like Kuninobu here," he says, pointing to one of the students, "this country's absolutely no good anymore. So the bigwigs got together and passed this law: Battle Royale. So today's lesson is you kill each other off until there's only one left…. Life is a game, so fight for survival and find out if you're worth it!" With that, the students are armed, and the killing begins. (Unlike "The Hunger Games," "Battle Royale" is funny and self-aware: each kid's backpack includes a randomly chosen weapon, and the two most likable kids are cursed—they receive a pot lid and a pair of binoculars.)

In terms of violence, "Battle Royale" is to "The Hunger Games" as punk is to emo; in "Battle Royale," the killing is relentless, shocking, cruel, and bloody. In an early scene, two earnest girls stand on a bluff, using a megaphone to suggest that everyone put down their weapons, get together, and make a peace pact; they are machine-gunned from behind, and their killer uses the megaphone to broadcast the agonies of their death to the entire island. In another scene, a boy suggests to a popular girl that they might make love, so that they won't die without losing their virginity; when he threatens to force the issue with his crossbow, she wrestles him to the ground and stabs him repeatedly in the groin. Quentin Tarantino cast this actress, Chiaki Kuriyama, as Gogo, the mace-wielding schoolgirl, in "Kill Bill." He's said that "Battle Royale" is the one film released since he started making movies that he wished he'd made.

If it's your sort of thing, this violence makes the film dramatically more entertaining than "The Hunger Games," which, because of its PG-13 rating, must be evasive and sentimental about the pain and killing that is supposedly its subject. But the violence also makes "Battle Royale" more horrifying and, in a disturbing way, more realistic and trenchant. Where "The Hunger Games" offers only a gentle critique of the culture of competition, "Battle Royale" is a terrifying, endless howl of protest. This, the film suggests, is what the adult world is really like: it starts with a period of longing and uncertainty, in which you wish, pointlessly, that things were otherwise; it progresses through a series of (literally) gut-wrenching and heart-stopping betrayals and compromises; and then it culminates in a slow, painful, lonely, and humiliating death. In the explanatory text at the beginning of the movie, we're informed that things are this way not because some apocalyptic event has destroyed society but simply because of prolonged economic malaise and unemployment. "Battle Royale" isn't a postapocalyptic movie. It thinks of itself as taking place in today's world. Near the end, an intertitle offers some very sincere advice to the teen-agers in the audience. "No matter how far," it says, "run for all you're worth. Run!"

Does "The Hunger Games" contain in it, somewhere, the darkness of "Battle Royale"? Probably not (although Jennifer Lawrence's breakout film, "Winter's Bone," just might). The hopefulness in "The Hunger Games" is what ultimately makes it feel like a product designed for kids by their parents. It's typical of parents, really, to try to turn every tragedy into a positive experience. "Battle Royale," with its existential pessimism, seems truer to the teen-age id. As George Eliot pointed out in "Middlemarch": "If youth is the season of hope, it is often so only in the sense that our elders are hopeful about us." "Battle Royale" gives expression to that most teen-age of feelings: refusal.


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