Relentlessly grim and doggedly procedural, the last film in this franchise is easily the best of the lot.
Unlike the other films in The Hunger Games series, The Hunger Games: Mockingjay, Part 2 – despite its clumsy title – is the most efficient and involving film of the series, for the simple reason that it’s the most direct and linear; there are no “hunger games” in the film, but rather Katniss Everdeen’s (Jennifer Lawrence) death march with a group of fellow freedom fighters to the Capitol of Panem to kill the despotic President Snow (Donald Sutherland), and that’s about it.
Shot in oddly claustrophobic CinemaScope with a mostly handheld camera, The Hunger Games: Mockingjay, Part 2 is dominated by the grim visage of Lawrence’s character, who is usually seen in tight close-up, and is hardly off the screen for a moment. The other characters in the series make brief cameos, but they’re really peripheral to the main thrust of the film; will Katniss make it to the Capitol and kill Snow, or not? Of course she will.
This is, of course, predestined, just as Julianne Moore’s turn as President Alma Coin – who from the first plans to take over as dictator of Panem once Snow has been dispatched – along with Stanley Tucci, Woody Harrelson, and other players in the game seem to be merely distractions, trotted on and off merely to satisfy followers of the franchise as a whole.
The saddest part of the film is the ghostly presence of Philip Seymour Hoffman, who died during production with one week left to go. Director Francis Lawrence wisely decided not to recreate Hoffman digitally to finish out the film, giving Hoffman’s closing speech to Harrelson in the form of a letter, which Harrelson reads to Katniss, in a penultimate scene so obvious that it’s painful.
But comparisons to The Battle of Algiers and Kanał – I know, I know, but it’s true – are not far off the mark in this aggressively Dystopian film, in which one dictatorship inevitably gives way to another, and everyone is being played for a sucker by some higher power on the political food chain.
Most of all, the film belongs to Jennifer Lawrence – no longer “the girl on fire,” but rather a battle weary Joan of Arc leading her followers on to victory – who steps up and dominates the entire proceedings with an air of solemn gravity, making this the most brutal, and in a curious sense, realistic film of the series.
As Todd VanDerWerff notes in his review of the film in the web journal Vox, “the point of all of this is simple: War is a machine that grinds ever onward, and it steamrolls its participants. It’s repackaged as entertainment for an unsuspecting populace, lest they get too bored by it, but those who took part in it have to live with the scars forever.
Nowhere is this more evident than in the face of Katniss Everdeen, who spends almost the entire first half of the movie in a state of shell-shocked horror, wandering from one encounter to the next, after a former trusted compatriot tried to kill her. It’s like she’s been hollowed out and propped up, transformed into a symbol more than a person.”
There are many things wrong with the film, of course, but overall, the impact of the work is undeniable; The Hunger Games franchise speaks to those in their teens and 20s because it accurately depicts a world in which nothing is fair, the rich have everything and the poor have nothing, and even revolution seems doomed from the start. The stark message of The Hunger Games: Mockingjay, Part 2 is that nothing can be counted on, and the daily struggle to survive is all that awaits.
Worth a look, by any measure – a thoughtful, and well executed mainstream film.