Hunger Games: Mockingjay Part 2 review

Susanne Collins’ book series and its subsequent film adaptations “The Hunger Games” has lead the pack of young-adult dystopian fiction. As an outside observer and a non-reader of the source-material, my familiarity of the films' well-worn pulp and science-fiction tropes combined with the overall seriousness in which they are presented has often left me cold. As the series has progressed both in budget and quality and as the story shifted from the hokey set-up of booby trapped game shows—hokey in execution, not necessarily concept—to the devastation of a revolutionary war scenario, my patience has increased in terms of the films’ undeniable tween demo targeting.

“The Hunger Games: Mockingjay Part 2” concludes this franchise with an emotional and visceral payoff for those who have been invested since the first page of the first novel. It’s by far the darkest of the four movies and challenges “Harry Potter and the Deathly Hollows Part 2” with its mounting body count. But unlike many of the films in this series that awkwardly juxtaposed its themes of violence with its interest in filling the multiplex with 13 year old girls, this installment is fully committed to the trauma and complex psychological torture involved with oppression and war.

Katniss Everdeen (Jennifer Lawrence) has decided to break out on her own, away from the safety net of the other rebels and away from the propaganda war perpetrated by the rebel leader Alma Coin (Julianne Moore). With a little help getting out of her city district, Katniss and a group of other young soldier attempt to travel across the war-torn Capital to assassinate President Snow (Donald Sutherland).  On their journey they must avoid a series of dangerous booby-traps—less hokey this time around—while staying under the radar of the Capitals extensive surveillance.

After spending much of the last film brain-washed by the leaders of the evil government, Peeta Mellark (Josh Hutcherson) has rejoined the rebels, now suffering from post-traumatic stress. The rest of the group, including Katniss’ other would-be suitor Gale (Liam Hemsworth), are skeptical of Peeta’s reintegration and Katniss’ loyalties are once again divided. By this point in the series, amongst all of the death and destruction at hand, the last thing I want to see is the further development of a love triangle. Though much of it is truncated in favor of the film’s more interesting arc about the exchange of one governmental dominion to another, whenever the movie pauses to pay lip-service to this sub-Twilight will-they-or-wont-they, the tragedy of war is momentarily trivialized.  

Besides the tonally inappropriate love-story, the majority of the movie has a shocking lack of levity. The stakes are as high as anything the series as presented thus far and director Francis Lawrence flavors the rebel’s deadly pursuit with almost horror-movie levels of tension and anxiety. In one particularly suspenseful scene, Katniss’ group are held up in a subway tunnel where they are attacked by subterranean mutant vampire-like creatures. There’s not a lot of blood-letting or gore in this sequence but the set-up and its cinematic effect adds up to some pretty scary stuff for a younger than teenage audience. It also happens to be the only moment in which Lawrence seems to be havin fun with the pulpier elements of this franchise.

“Mockingjay Part 2” makes interesting points about the way classism and war exploits those most vulnerable, doing most of the heavy lifting for the privileged outliers who only wish to propel their own ideologies. The film’s final act—minus a saccharin and pointless epilogue—includes a shocking political gesture and a bravely messy cap on the good-guys-verses-bad-guys nature of the story. It’s about 25 minutes too long, drags whenever the characters have talk to each other, and cannot be bothered to consider its existence as a piece of genre entertainment, but as the full maturation of a YA property, this final installment is smart enough and intense enough to warrant the lesser entrees that preceded it.

Grade: B-

Originally published in the Idaho State Journal/Nov-2015

Listen to more discussion about "Mockingjay Pt.2" and "Carol" on this week's Jabber and the Drone podcast.

The Hunger Games: Mockingjay Pt.1 review

         Truth be told, I have never been as sold on this Hunger Games stuff as much as the general zeitgeist demands.  I don’t really have any interest in reading the books and though I don’t specifically hate anything about the films, they've never grabbed my attention, mostly because I can’t see anything past their base influences and trope-y plot conceits. But what I do appreciate about this franchise, and more specifically this last film, Mockingjay Pt. 1 (of two, because Hollywood), is that they try to discuss ideas of governmental power, class divisions, ideologies, and political revolution with a younger, impressionable Gen-y audience that frankly needs to hear about this stuff, as it’s more relevant right now than they probably even know.
Katniss Everdeen (Jennifer Lawrence), having broken the tradition of the annual Hunger Game battles, has now been chosen by the rebel army to be the stern face of the growing revolution against the Capital, known as the Mocking Jay. Meanwhile, her old fighting partner Peeta Mellark (Josh Hutcherson) is being held within the custody of her enemies, releasing distressing interview footage exclaiming that Katniss has been brain-washed by the rebels. This then prompts the leaders of the revolution (Philip Seymour Hoffman, Julianne Moore) to hire Katniss to star in their own propaganda news-reels as they fight in the rubble of their former districts, recently leveled to nothing by the merciless President Snow (Donald Sutherland).
What makes this installment more substantial and engaging is that they have finally done away with the worst element of the past films, those stupid Hunger Games.  Now that they don’t have to build the plot around a series of hokey Home Alone traps and thematic violence they never really had the guts to show in any meaningful way, this movie feels freed from the pressures of fan service, focusing more on directly with the political allegories. It’s gestures towards ideological battles and the complicated role that propaganda plays during war is far more sophisticated and tense than the series has been known to provide thus far.
          Katniss is sure that Peeta is being puppeted or mislead to say the things he says against her and he believes the same of her, and in the real world, where the political right and left are split 50/50, that’s exactly how each party frames the other’s point of view.  In the movie, while bombs are being hurled and bodies are being stepped over, the battle for truth is the most important one being fought because both sides don’t seem to be all that concerned with moving the line of objectivity wherever they need to make a convincing argument.
        Sometimes, however, the message is a little muddled. After a previous scene where Katniss speaks furiously into a camera about mistreatment of her people by the Capital, her leaders re-cut the speech into a propaganda video that recalls the look and style of a "Hunger Games" movie trailer. It’s a meta moment that while clever on the surface and grin inducing, maybe doesn't mean quite as much we are supposed think it does. (Is this about the compromising nature of celebrity? Are Hollywood films propaganda pieces? What are you getting at movie?)
Director Francis Lawrence revels in the story’s bleakness and designs many unnerving action moments that work quite well, including a visually striking break-in sequence at the end of the film, anxiously cross cut with footage of Katniss speaking directly with Sutherland who's eating the scenery up as beard twirling Snow. But, with all that said, I still don’t care about Katniss’ lingering feelings for her childhood friend Gale (Liam Hemsworth), the dialogue is painfully bogged down with exposition and superfluous explanation—remember, these movies are made for teenyboppers—and the Oscar winning Jennifer Laurence does some of the worst fake crying she’s ever done on camera. It’s not a perfect film and while it does some things very well, it’s not the first, second or even 100th film to ever do them, but, in my estimation, after spinning its tires in the dirt with the two previous installments, “Mocking Jay pt.1” is at least finally going somewhere.

Grade: B-

Originally Published in the Idaho State Journal/Nov-2014

Carrie review

              Brian de Palma’s 1976 adaptation of Stephen King’s “Carrie” is not only one of my favorite horror movies of all time, but among one of the greatest films of the 70s. It’s full of surprising performances, tender sentiments and it brilliantly walks a stylistic tight-rope between intentionally campy melodrama and operatic terror.  But despite my adoration of the original film, I can confidently say that this 2013 remake really, really sucks.

                The idea of Kimberly Peirce taking a stab at this story isn’t the worst idea anyone ever had. After all, this is the indie director of 1999’s “Boys Don’t Cry”, the film that got Hilary Swank her first Oscar, playing a transgendered victim of intolerance.  In a lot of ways the structure and themes of that film is not too far off from King’s first novel— a teenage female protagonist with a secret, spends the first two thirds of the story heading towards a violent but inevitable conclusion.  And though we didn’t exactly need a new iteration of “Carrie”, at least Pierce’s approach to “Boys Don’t Cry” was unflinching and painfully honest.  However, none of that nuance or personality is explored in this flaccid, overproduced remix of a remake.

                Whether trying to remain faithful to the original novel or paying homage to de Palma’s 1976 version, this new adaptation doesn’t stray far enough from what we have already seen. Carrie White (Chloe Grace Moretz) is a depressed, unpopular high school senior who’s bullied at school by the other students and emotional and psychologically abused at home by her religious zealot mother (Julianne Moore).  Upon secretly realizing that she has the ability to move things with her mind, a fellow student surprises her with kindness by having her football star boyfriend take her out to the prom, where she is unwittingly targeted by her enemies with a dark and disgusting prank.

                What makes this story unique to the horror genre is the way the audience is asked to sympathize with Carrie’s plight.  She’s a meek and vulnerable character in a cruel and mean spirited world, and when the violence and mayhem does take place, it’s not only supposed to be cathartic and thrilling but also tragic and unfair as well.  Unfortunately, this updated version seems so poised to get to the action that it blandly glosses over the gravity and pain that’s necessary to inform the characters and their motivations. This is in no small part due to the obvious miss-casting of Chloe Moretz in the lead role. 

                Unlike the mousy pathos that dripped from every gesture and tick that Sissy Spacek encoded her character with, Moretz simply mugs and pouts as a way of ineffectively masking her natural confidence.  By the end of the film, when she does get to boldly enact her revenge, Chloe’s physicality, combined with the film’s artificial looking special effects, more closely resembles a superhero than an enraged victim of life-long abuse. Either way, she never makes an effective connection with audience.

                 Julianne Moore does her best to downplay the histrionics of Piper Laurie’s iconic portrayal as the monstrous Margaret White, but in trading Piper’s operatic tantrums with whispered brooding, the character recedes to the point of barely registering on camera.

                Stylistically, this lazy remake doesn’t have a specific vision. It’s vaguely modernized, as we can tell by the inclusion of smart phones and Youtube, but even this semi-clever cyber-bullying conceit isn’t explored deep enough to fully realize its potential.  Most of all, and most importantly, this film is frustratingly boring.  It slavishly copies the original beat-per-beat but somehow still manages to miss the power and the sorrow inherent to this story. It isn’t scary when it’s supposed to be scary, it isn’t sad when it’s supposed to be sad, and it’s only funny when it isn’t supposed to be at all. 

Grade: D-

Originally published in the Idaho State Journal/Oct-2013