Stars Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Sam Clafin, with Elizabeth Banks, Julianne Moore, Philip Seymour Hoffman and Donald Sutherland Directed by Francis Lawrence One year later and we get the second half of the Mockingjay story with no more mucking about in the gloomy corridors of District 13. This is essentially a War Movie as Katniss decides to push for action on her own. While there are some merits in splitting the final book into two movies here, unlike in some other cases or rather just one waste of time that shall remain nameless, the Mockingjay movies have their individual problems. Despite that, the movies are held together with some very solid performances from the cast led by the ever excellent Jennifer Lawrence. Screenwriters Peter Craig and Danny Strong distilled Suzanne Collins’ book wonderfully for the screen giving the main stars some wonderful lines, particularly for Josh Hutcherson in this round as Peeta struggles with his version of PTSD while being out in the war zone, even recalling lines from the first movie. While the trailers dropped the line hinting that this final assault would be considered the 76th Hunger Games, with the capitol itself being the booby-trapped arena, the movie doesn’t treat it as such, instead reflecting the trek towards President Snow’s mansion more like a squad of soldiers making their way through a war zone with potential IEDs around every corner or down some alleyway, albeit with the occasional death trap instead of simple bombs. While we had the world fleshed out in the previous movies, the spark of rebellion leading to this, Mockingjay Part II takes into account some of the tactics used in war and the ultimate cost it brings about, as well as the politicking that goes on behind the scenes. Director Francis Lawrence continues with his vision for the series by giving the movie a very grounded sense of place while defying certain tropes one might expect from these movies based on YA novels. The number of characters surrounding Katniss have been greatly reduced from the novel as well, as the focus of the story here is kept to a singular mission once Katniss decide to act on her own instincts rather than take orders from someone else. As mentioned, the cast do stellar work across the board, some having lived with these characters the last few years. Naturally, the absence of Philip Seymour Hoffman is noted, even with a few solid scenes at the beginning of the movie. The combination of the two, action set-pieces and performances from established stars, create some problems. Characters we’ve enjoyed in the past are cast aside or left behind in the wake of the plot line. Stanley Tucci’s preening showman gets one sombre scene to remind us he was around before. Robert Knepper pops up for one brief cameo. Elizabeth Banks’ Effie finally gets her fancy back, and what the heck was that with Woody Harrelson’s Haymitch? Where did that come from? Donald Sutherland revels with a slip from menacing to over-the-top camp villain. And then there are the “mutts” in the sewers. Still, the good outweigh the bad. The emotions hit the marks as needed. The action set-pieces are satisfactory and the pacing works well enough with the story. As a conclusion to the overall series, it delivers where it counts, even if the epilogue is a little drawn out, at least, not to the extent of say, The Lord of The Rings. While The Hunger Games worked well as a movie, the three sequels feel very much like an extended TV series meant to be consumed as a whole or a trilogy on its own. Given the nature of TV series these days and the habit of binge-watching, it’s not a bad thing. Rating: ***1/2 / 5 Please support by buying or recommending to others. Thank you. - b
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Stars Daniel Craig, Christoph Waltz, Léa Seydoux, Ralph Fiennes, Ben Whishaw, Naomie Harris, Dave Bautista with Monica Bellucci, Rory Kenner and Andrew Scott Directed by Sam Mendes First of all… this is one long movie! At close to 150 minutes run time, this has got to be the longest Bond film ever! And did the movie’s story or plot warrant such an extended run-time? Well… Daniel Craig’s run as super-spy James Bond has been very different from the previous incarnations. The stories have meant to give Bond a more personal stake in the ‘missions’, and it’s been one long story, seemingly culminating here. Which mean, everything that’s happened since Casino Royale through Quantum of Solace to the blockbusting super-hit Skyfall, they’re all connected. Even the “B-story” involving the politicking shenanigans on the homefront is an extension of what was started back in Quantum with very small hints; i.e. how relevant can a spy like James Bond be in the world today? The thing is, Craig’s Bond hasn’t been much of a spy since his entry into the franchise, at least, not in the traditional sense. Bond here doesn’t covertly gather information and follow leads, he picks up hints and barrels his way through the numerous thugs in his way in order to achieve his goals. It’s probably meant to reflect the change in how the ‘bad guys’ operate in today’s world. And so with Spectre, we finally get to see the massive machine behind the likes of Le’Chiffre, Quantum and even Raoul Silva. And Spectre here is just a name, it isn’t necessarily an acronym for anything like before. And in the spirit of making things personal for Bond, the main villain of the piece and head of Spectre is reportedly Franz Oberhauser (Christoph Waltz) who has personal ties to Bond’s past. And therein lies a problem. The scale of the plot is seemingly simple and small, but at the same time has very far reaching, and practically epic implications that complexly ties to that “B-story” and thus that extended run time. And much like Die Another Day, this one feels like it’s hitting specific marks to pay tribute or homage past glories. A fight on a train recalls From Russia With Love. An snowy mountaintop clinic brings to mind On Her Majesty’s Secret Service. A car chase through the twisty streets of Rome at night is a little reminiscent of Goldfinger. Along with that, some traditions are back in place too- the “barrel-roll” opens the movie; Q and his workshop; M’s office; Moneypenny is behind the desk, mostly; and the car has the requisite gadgets labeled with Dymo tape! The casting is mostly spot-on and the cast themselves do well. that “B-story” seems designed to give the home team (Ralph Fiennes, Naomie Harris, Ben Whishaw) some additional screen time dealing with their own slimy nemesis, Andrew Scott as Max Denbigh, head of MI-5. Léa Seydoux’ Madeline Swann seems to get a short shrift coming across more as a damsel in distress, but manages to help Bond at times. Despite the massive publicity, Monica Bellucci’s role is very much an extended cameo, not unlike Teri Hatcher in Tomorrow Never Dies. Christoph Waltz’s Oberhauser, while creepily enigmatic at times in his earlier scenes, doesn’t seem to carry enough menace throughout the second half and his motivations, particularly involving Bond seem very unclear. This is mainly due to Mr Hinx (Dave Bautista bringing a return of the seemingly indestructible henchman) often attempting to kill Bond while Oberhauser seems to prefer to be the cat to Bond’s mouse. Still, director Sam Mendes manages to continue with his overall plans to reestablish a classic Bond for the times. A bravura tracking shot through Mexico City’s Day of the Dead celebrations sets the tone followed by a very impressive helicopter set-piece opens the movie. While Roger Deakins is not back behind the camera, cinematographer Hoyte Van Hoytema does equally well with giving us some truly gorgeous visuals and lightings. Thomas Newman’s score is an extension from Skyfall with the new theme song peppered about. The rest of the crew, seasoned with the previous films do what they do best to keep the action and effects going strong enough. While the story suffers a little in places and the plot serves mainly to bring Spectre to the fore, perhaps in time and with multiple viewings, some of it may be forgiven, as with Quantum of Solace, which isn’t as bad as many make it out to be and follows the through line well, but has the same problem of a not-quite-menacing villain. In all, not quite the heights of Skyfall, which is a tough act to follow, but Spectre delivers in terms of action and set-pieces along with some surprises (some expected). The lengthy run-time works against it, but it is still a Bond movie. There are problems, and perhaps a few indulgences from the director (that epilogue, for one), but quite likely, you’re along for the ride anyhow. Rating: ***1/2 / 5 |
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