Her Last Bow
Well, it's a cold and rainy afternoon in November, and the threat of references to Battle Royale and The Year of the Sex Olympics hangs heavy in the air, so I suppose it must be time for this year's Hunger Games movie. I must confess to having gone along to the latest instalment, Mockingjay Part Two (directed, like the last couple, by Francis Lawrence), more out of habit than any sense of genuine excitement or anticipation. This should be something of an anomaly, given I have always been impressed by the previous offerings in the series.
I must also confess to a certain relief that this is the last movie in the series. Standard operation procedure for any series of book adaptations, these days – especially a genre or YA series – is to chop the final volume in half in order to maximise revenue. The result is often rather choppily paced films with arbitrary-feeling start and finish points. The fact that they're largely aimed at a pre-existing, fanatically-dedicated audience also often means that the film-makers feel free to skip things like recaps and other ways to refresh one's memory of the previous episode.
Mockingjay Two is a bit like that, opening with Katniss Everdeen (Jennifer Lawrence) recovering from the attempt on her life by her long-term is-he-or-isn't-he-love-interest Peeta (Josh Hutcherson), who has been conditioned to want to kill her by nasty President Snow (Donald Sutherland). In case you are wondering, we are in the midst of a full-blown civil war, but to be perfectly honest, if you haven't seen the previous episodes, you probably shouldn't bother with this one at all.
Anyway, the conflict seems to be tipping the rebels' way, and as the assault on the Capitol gets underway, Katniss embarks on a personal mission to assassinate the author of all her woes (I'm talking about Snow, by the way, not Suzanne Collins), along with – but of course! – a squad of equally photogenic cohorts, along with a few adults who are mainly there to frown a lot. Some people are looking ahead to whatever will follow the conclusion of the war, and realising that the inspirational qualities that have made Katniss such a useful media asset during the conflict could make her an equally dangerous enemy once it is over – so perhaps putting her in harm's way isn't such a bad idea...
'Harm's way' is a bit of an understatement, for the path to Snow, as well as being blocked by vast legions of Stig lookalikes, has also been extravagantly booby-trapped by the twisted minds of the Capitol's light entertainment division. Will anyone survive the mission to take out the President? And even if they survive the war, surviving the peace is another question...
Regular viewers may recall that I was generally impressed by the first film, somewhat disappointed by the second one, and rather surprised by the sheer sophistication and astuteness of number three – not to mention a little concerned that this concluding exploit was going to cop out in some manner. Well, I am pleased and not a little startled to say, it does not; it absolutely does not.
I suppose I am so impressed by the Hunger Games films simply because on paper they resemble a bunch of other movies based on popular YA series (Twilight, Maze Runner, Divergent, that sort of thing) and I automatically manage my expectations sharply downwards as a result. That said, if all YA film adaptations are anywhere close to these ones in quality, then this subgenre comprises the best-kept secret in modern cinema, for the Hunger Games films are genuinely impressive on so many levels.
It's not just in their technical proficiency, which is of course commendable, but in the way they manage to be so consistently sharp and cynical. This one is no exception: it doesn't romanticise or glamourise combat in any way, and while it's theoretically an SF movie, it doesn't shy away from the brutality of war (or politics) in the slightest. I think I said once that this is the most thoroughly horrible dystopian vision ever to make it into a blockbuster, and I stand by that: the film is relentless in the way it deconstructs the mechanisms of power and politics, and finds the people at the top of both sides to be virtually indistinguishable.
This is one of the things that makes the Hunger Games films distinctive: for all that they are set in a futuristic otherworld, and occasionally feature genetically-engineered mutations and the like, they are always firmly grounded in reality, almost painfully so (for all the absurdly OTT death traps involved, there are also some shockingly bleak moments in this film). For all their huge SFX budgets, they also shy away from the big action set-pieces you expect from this kind of movie – they are almost always character-driven, when it comes down to it. Perhaps this is at the root of my inability to completely engage with them, despite their quality: they may look and get advertised like huge action blockbusters, but they're not. (That said, half-way through this film is a stunningly effective Aliens and Blade 2-influenced action sequence which seems to have wandered in from a different film entirely – and like a lot of the movie, it stretches the limits of the 12A certificate to breaking point and beyond. This is absolutely not a film for anyone yet to reach their teens.)
And this is why the films have been so lucky to get an actress like Jennifer Lawrence to lead them – such a character-driven series needs a performer of her quality, even if she perhaps isn't required to use all of her range. She receives customarily good support from all the usual suspects this time, with Sutherland on especially good form. (Julianne Moore looks rather like Theresa May this time around.) I feel compelled to mention that this is the last film to feature Philip Seymour Hoffman, although his contribution this time is sadly limited.
It's really a small miracle that Mockingjay Two sticks to its guns and stays so downbeat and dourly realistic almost to the end, although I suppose one shouldn't be surprised that a degree of idyllic rustification pops up before all is said and done – the underlying politics of these films has always been fairly traditional, perhaps even reactionary, when you really think about it. Nevertheless, this is a worthy and impressive conclusion to a series which maintained a startlingly high level of consistency throughout. In years to come I suspect these four films will come to be regarded as classics, of a sort – and there'll be no injustice to that.