The final installment of the Hunger Games series, Mockingjay – Part 2, received relatively little fanfare compared to the releases of the previous films. Though it is probably fair to say that the interest dwindled after Catching Fire due to many audiences feeling the series had become “too dark,” it wasn’t really until after Mockingjay – Part 1 that the general fan base seemed to disappear entirely.
For me, the issue with the Hunger Games film series is relatively simple: it is neither brutal enough nor committed enough to what the essence of the Hunger Games story is.
I read all of the books in the Hunger Games series, and remember that I felt a similar disinterest about the final book as I did with the final film. It just seemed that the idea had run its course by the end of Catching Fire, and that anything that followed the second book’s publication was just a feeble attempt to bring in more money and to wrap up a story that didn’t particularly need more wrapping.
Continue reading The Hunger Games: Mockingjay – Part 2 (2015)
“There are two wolves,” says Casey of Tomorrowland. “One represents darkness and despair, the other light and hope. Which one survives?” To be sure, the philosophizing throughout Brad Bird’s latest film is never any more subtle than this (or less). Casey, optimist to such a ridiculous degree that we learn that about her before we even learn her name, disregards any need for subtext and instead just states the thing itself: “I’m an optimist”. She answers the wolves question in a similarly matter-of-fact manner. Which one survives? “The one you feed.”
Happily, we put this very quote to work in our review of an episode of The Red Road called “The Wolf and the Dog“. It’s much less of a stretch here in Tomorrowland, and again, you don’t really have to stretch at all. It’s plainly clear that the vast majority of today’s storytelling is geared towards the grim, towards the harrowing action-filled future, towards the Cormac McCarthy-style doom and gloom. This is true of almost every medium and almost every target audience, but since Tomorrowland is so much in line with the present Young Adult craze (and because Casey is a teenager) we’ll deal in that genre. The examples should leap readily to mind: Hunger Games, The Maze Runner, The Giver, Divergent, The Mortal Instruments and Ender’s Game are all youthful dystopias with damn similar plots and damn similar everything else. Even Harry Potter, while not dystopian in any way, was a kid’s story turned dark and brooding on screen (see: everything after Daniel Radcliffe grew up).
Continue reading Tomorrowland (2015)