The Hunger Games: Mockingjay – Part 2
Hunger Games: Mockingjay – Part 2, The (2015)
★★★★ / ★★★★
If I could pick only one word to describe this film (and the series as a whole), it would have to be “brave.” It requires courage to tell this story in such a way that it entertains and makes one think a little deeper about its themes, characters, and ironies. It could easily have been just another movie designed to steal money from casual viewers and diehard fans. Thus, despite the emotional and grim events that unfold in “The Hunger Games: Mockingjay – Part 2,” directed by Francis Lawrence, it is ultimately an example of optimistic filmmaking. It would not be an exaggeration if one were to claim that “The Hunger Games” series is a benchmark when it comes to dystopian future young adult fiction that has been translated on screen. Others would be wise to follow.
Right at the heels of brainwashed Peeta (Josh Hutcherson) attempting to kill Katniss (Jennifer Lawrence) with his bare hands, the human suffering caused by the war between the rebels, led by President Coin (Julianne Moore), and the Capitol, led by President Snow (Donald Sutherland), is becoming all the more intense and apparent. Frustrated with constantly being used as a pawn behind the political machinations, Katniss decides to go on a one-woman mission to assassinate Snow herself. However, the Capitol is already littered with brutal yet ingenious traps designed by Gamemakers, people who designed and controlled the country’s annual tournament to the death.
Although action-packed once the gears start rolling, the film remains true to its human relationships. Painted beautifully is the complicated dynamics among Katniss, Gale (Liam Hemsworth), and Peeta. But unlike other dystopian films targeted toward young adults, the story does not revolve around choosing a boy. It is impressive that it has never been about that. Instead, topics such as friendship and betrayal are explored. It touches upon forgiveness, too, and what that word entails whether it be through actions or words. There is a small but excellent exchange between Gale and Peeta when Katniss is supposedly asleep. There is humor in that conversation. And mutual respect.
Look at how the camera is so close to the performer’s faces when they reveal their characters’ thoughts, hopes, and motivations. Lawrence, Hemsworth, and Hutcherson are not only there to look cute or pretty. There are real emotions behind their eyes and so it becomes easier for us to understand and perhaps identify with their characters’ respective inner turmoil. Yes, even when there is war happening and although they are on the same side, we feel that their priorities when it comes to specific things they value vary. The screenplay Peter Craig and Danny Strong treats these characters as if they were in a dramatic picture, not just an action movie where buildings blow up and lives are taken for the sake of delivering a body count. Many of the deaths are felt and given meaning.
There are two standout action pieces. The first involves what appears to be black tar—an ocean of it—making its way through flights of stairs as our protagonists run for their lives. The second is a terrifying trip underground where white-skinned, eyeless monsters wait for them. During these two scenes, I caught my face contorting in horror and my hands felt cold.
When I watch a movie, especially horror and thrillers, it is a habit that I try to figure out possibilities of how characters could extricate themselves from a challenge. Here, I was floored; I had no idea how they could possibly make it out alive. I took comfort in knowing that it is only natural that at least some of them would live to face President Snow.
“The Hunger Games: Mockingjay – Part 2” commands a feeling of coldness about it precisely because of these reasons: it understands that war is rarely black and white, that the costs of war are significant and do not just end when victory is announced, and that war hardens people. The sadness of Katniss and her story touched me in such a way that many movies of this type—even those outside the sci-fi action genre—does not. This is due to the story and its execution being tethered with something real.