| Lionsgate | Release Date: November 20, 2015 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
32
Mixed:
11
Negative:
2
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Critic Reviews
Time Out LondonNov 4, 2015
This might be the most downbeat blockbuster in memory, a film that starts out pitiless and goes downhill from there, save for a fleeting glimmer of hope in the final moments. It’s a bold statement about the unforgiving nature of war, unashamedly political in its motives and quietly devastating in its emotional effect.
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“If we die, let it be for a cause, not a spectacle,” the heroine barks at one point. If such a statement sounds fairly insane coming from a series that has grossed (to date) $2.3 billion worldwide, Mockingjay — Part 2 is sturdy enough to render it moot while you’re watching. After that, it’s up to you whether to swallow the irony or choke on it.
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Grim, relentless and immensely satisfying, The Hunger Games: Mockingjay – Part 2 sends out the dystopian sci-fi franchise on a feel-bad high. Readers of Suzanne Collins’ source novel, who already know what’s coming, will be pleased by the movie’s merciless fidelity to the source material (or perhaps, considering the book is the least popular in the trilogy, will just be annoyed all over again).
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One could argue that “Mockingjay” didn’t really merit being split in two (and surely a single three-hour movie could be made of it), but we benefit from the fact that the film has been given room to breathe, which allows for subtle character moments...and the gradual building of suspense during the actual siege in the Capitol.
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Director Francis Lawrence stages the action sequences, both aboveground and underground, with a modicum of flair, and Julianne Moore as rebel leader Coin gives off some sparks – she’s a reformer with a totalitarian streak – but for the most part there is nothing divertingly new or different about this franchise fade-out.
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This concluding chapter is a solid culmination of a franchise that has had its ups and downs. Lawrence’s superb performance grounds the film, as she oscillates between badass archer and increasingly disenfranchised political pawn, and mercifully the late Hoffman’s CGI scenes are kept to a minimum.
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