The Hunger Games: Mockingjay–Part 1 (2014)

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The biggest problem with a new Hunger Games film is right there in a title: Part 1. Mockingjay, a final installment in Suzanne Collins’ best-selling YA trilogy, wasn’t recognised in dual parts. That was a preference done in Hollywood by a studio looking to double down and divert each final dime out of a blockbuster franchise. The suits substantially thought, ”Hey, it worked for Harry Potter and Twilight, so given not us?” You can’t censure them for wanting to keep a good times rolling. But it’s a flattering asocial business plan, and it’s led to a film that feels needlessly padded. Mockingjay—Part 1 is like a tenure paper with a margins lengthened and a arise distance jacked adult to strech a reserved array of pages.

This is generally unsatisfactory given a prior chapter, 2013’s Catching Fire, was such a pleasing surprise. While a 2012 strange laid out Collins’ dystopian death-sport feel with aptitude and faithfulness, it was also a bit flat. Catching Fire, on a other hand, gave a heroine, Katniss Everdeen, an adrenalized urgency. As played by Jennifer Lawrence, Katniss grown into a impression who was both brainy and badass. Now, in Mockingjay—Part 1, she’s spin passive. The film picks adult after a agitator finish of Catching Fire‘s Quarter Quell, when Katniss was discovered and brought to a rebels’ subterraneous outpost in District 13. Here, a anti-Capitol leaders tract their subsequent strike opposite President Snow (Donald Sutherland), hatching a devise to spin Katniss into a burning pitch of a insurgency and coax a unable adults of Panem to arise adult opposite a Capitol. It’s a promotion war, and she’s a tip weapon—a Che Guevara T-shirt done flesh. The insurgent mind trust includes President Coin (Julianne Moore, sporting china Cruella De Vil locks), spin-savvy strategist Plutarch (Philip Seymour Hoffman, to whom a film is dedicated), hacker Beetee (Jeffrey Wright), a newly purify and solemn Haymitch (Woody Harrelson), and Effie Trinket (Elizabeth Banks, channeling a drag queen). They send Katniss and Gale (Liam Hemsworth) to a front lines with a riotous film organisation that annals her terrain heroics and beams it all behind to a huddled masses.

But Snow has a tip arms of his own. Kidnapped by a sinful president’s army during a finish of a final movie, Peeta (Josh Hutcherson) reappears in a Capitol, and in a array of interviews with a sensationalist publisher Caesar (Stanley Tucci), he denounces Katniss and urges a cease-fire. The profanation devastates her, forcing her to comprehend that her feelings for him weren’t a sham after all. With a Wag a Dog subplot and fist-in-the-air proletarianism, Mockingjay might be a many harmlessly Marxist film to come out of Hollywood given Reds. we suspect executive Francis Lawrence and writers Peter Craig and Danny Strong merit some credit for adventurous to hide any domestic cheekiness into a film that’s as large and corporate as this. But altogether their hands are tied too tightly. While a series’ initial dual films prisoner a loftiness of a outdoor during a kill-or-be-killed competitions, Mockingjay is mostly firm to a dour and claustrophobic guts of a bunker. It suffocates a film. And when a story finally does conduct to get engaging toward a end, it only screeches to a hindrance and cuts off, withdrawal fans wriggling on a offshoot for a culmination they won’t get to see for another 12 months. That’s not a cliff-hanger, that’s only a tease. B-

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