Watch The Hunger Games: Mockingjay Online
Unsubtly resonant, at times quite rousing and somewhat unsatisfying by design, this penultimate series entry is a tale of mass uprising and media manipulation that itself evinces no hint of a rebellious streak or subversive spirit: Suzanne Collins’ novels may have warned against the dangers of giving the masses exactly what they want to see, but at this point, the forces behind this hugely commercial property are not about to risk doing anything but. It’s a sensible if not exactly inspired strategy, and with Jennifer Lawrence once more carrying the proceedings and director Francis Lawrence (no relation) dutifully replicating the elements of an inherently cinematic story, Lionsgate’s plans for worldwide B.O. domination look secure.The Hunger Games: Mockingjay For the millions who have devoured Collins’ bestselling trilogy and are awaiting this movie with an obsessive fervor equal to that of the most rabid “Harry Potter” and “Twilight” fans (who also had to see their beloved franchises end on a maddening two-part note), the only real source of suspense here lies in the crucial question of where exactly Collins’ story has been cleaved in two. Rest assured, the decision has been made with near-Solomonic wisdom, allowing for just enough incident to sustain this relatively trim two-hour setup until its quasi-cliffhanger of an ending, while leaving several big twists to come in “Part 2” (due out Nov. 25, 2015), along with a presumably epic final showdown. Audiences coming to this film with no prior knowledge of the material, however, may feel their patience squeezed and their appetite for action a bit neglected; following the bright-hued battle-royale spectacle of its predecessors, “Mockingjay” reveals a darkening shift in mood, emphasis and color palette as it decisively exits the arena and literally burrows underground.
The Hunger Games: Mockingjay After shooting the fateful arrow that brought the Quarter Quell edition of the Hunger Games to a tumultuous close in “Catching Fire,” Katniss (Lawrence) was rescued and brought to the ultra-secret District 13, a large, gray-walled subterranean bunker that houses a growing movement bent on uniting the other districts of Panem and overthrowing the Capitol and its totalitarian President Snow (Donald Sutherland, marvelously menacing as ever). The leader of the uprising is the poised, formidable President Coin (Julianne Moore, who seems to have taken hairstyling tips from Meryl Streep in “The Giver”), who urges Katniss to officially embrace her role as the Mockingjay, the rebellion’s fiery, feathered figurehead. As masterminded by Coin’s media-savvy associate Plutarch Heavensbee (Philip Seymour Hoffman, in his second-to-last bigscreen appearance), Katniss will be sent into the war zone to star in a series of propaganda videos, or “propos,” designed to go viral (or its nearest Panem equivalent) and further stoke the fires of revolution across the nation.
As ever, complications emerge stemming from our heroine’s indeterminate romantic feelings toward the noble, self-sacrificing Peeta (Josh Hutcherson), her two-time partner in the Games and her public love interest. Now being held at their Capitol, Peeta is regularly trotted out on live TV to be interviewed by the smarmy Caesar Flickerman (Stanley Tucci, seeming ever more like Regis Philbin’s evil twin), where, under duress, he urges Katniss to quell the uprising; clearly, Snow and his regime are trying to take down the Mockingjay by dangling their own reluctant mascot in front of the camera. To the understandable chagrin of her longtime companion, Gale (Liam Hemsworth), who has bravely joined the fight against the Capitol, Katniss seems more invested in Peeta’s safety than anything else, including the success of their cause.
Like the novel, the screenplay (penned by franchise newcomers Peter Craig and Danny Strong) ably conjoins elements of political thriller, combat movie and mass-media satire, weaving a dense network of unsteady alliances, secret conspiracies, ratings-minded power plays and the always-knotty entanglements of love and war. It helps that some of Collins’ storytelling devices, particularly her critical inquiry into the temptations of overnight fame and the uses and abuses of televised propaganda, feel naturally suited to the screen — a fact that director Lawrence and his “Catching Fire” d.p., Jo Willems, have exploited to canny effect. An early sequence finds Katniss stumbling through what remains of her home village of District 12, which Snow’s forces reduced to rubble in the wake of her escape from the arena; it’s a picture of bombed-out, skull-ridden horror worthy of Vereschagin’s “Apotheosis of War” and other visions of hell on earth.
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