Hunger Games - La révolte : Partie 1

I was going into the third Hunger Games movie with respect. I might have even been a little bit afraid. The first one had a premise that was really enjoyable. The second one had a combination of an arena fighting and politics, which enthused me far less, and after watching it, it was clear that the third one would be pure war and politics, which is something I was afraid of. But in the end, it wasn’t that bad. There was politics, but it was bearable. An array of amazing action scenes often came to the rescue, as well as the actors who obviously enjoyed it immensely. Especially Moore and Hoffman whose roles I’ll never forget. I must even admit that even though this movie had a lot of flaws, I’m excited to see the final instalment. (22/06/2015)

Both the The Hunger Games and The Hunger Games: Catching Fire were, in terms of adaptation for young adults, fantastic and perfectly escalating, but for me they simply couldn't match the quality of the source material. Although in the case of the latter, it was a close call. It is precisely because of this that I was more afraid of them splitting the finale, as its political intrigues and gradual war tactics were by far the weakest (and yet quite numerous) passages in the book. But fate and the producers presented the established creative team with two newcomers, the screenwriting duo of Danny Strong and Peter Craig. It's hard to say how these two came together and what led them to The Hunger Games, but it was a decision that definitively shifts the entire saga into self-sufficient territory. With enough time and emotions, all of which hit the right marks thanks to Jennifer Lawrence's unwavering and, on the contrary, growing acting talents. From the first The Hunger Games: Mockingjay, a constantly suspenseful spectacle has emerged, which despite its apparent aimlessness never loses momentum for a moment, and it offers its share of unforgettable moments (Katniss's song, the rose, the final twist). Now Lawrence and company have nothing to prove, because they handled the most critical moment with shocking finesse and have in front of them the even more treacherous task of adapting the pure gold that is the second half. And yes, I am just as anxious as I am excited. (23/11/2014)

The first Mockingjay is one of the most typical blockbusters in the history of Hollywood. The second most commercially successful film in the Unites States in 2014 and the fifth in the given year in worldwide box-office revenues is completely devoid of money shots, epic scenes and bombastic action sequences. Its two-hour runtime predominantly comprises dialogue scenes, as most of the film takes place in an underground bunker and all of the characters wear baggy coveralls. Here the filmmakers can afford to do what would be commercial suicide anywhere else thanks to the fact that this is a feature-length exposition for the climax, which will come in the second film. The knowledge that, thanks to its title, the film will automatically be a hit regardless of what happens in it gave rise to the film saga’s crucial episode. Instead of a seasonal spectacle, we have here a film that appeals exclusively to adolescent audiences, but instead of the formulaicness and superficiality that is associated with this target group on the part of overly clever old people and pragmatic producers, it relates a narrative from an Orwellian grey world that uncovers deceit and media manipulation, showing the heroine fumbling her way between her own interests and the intentions of others, while offering no resolution of the conflicts that have arisen. (26/06/2016)

It's not smarter than the previous parts in the series, just more talkative. It's not even fun. The story has disappeared, and the development of Katniss and Peeta's relationship, which held the first and second parts above water, is sidelined. I've never been a fan of Panem's world, and I really don't have anything to lean on here. Overall impression: 25%. It seems to me that the whole series mentally corresponds to the world of 12-16-year-old teenagers, and it is questionable whether this stretched filler can satisfy them... (31/01/2022)

Worse than the second film. Verbose, with very little action, and unnecessarily political. And there was all this fuss about it, even the new song by Lorde turned out to be unnecessary. It is incomprehensible how Jennifer Lawrence, compared to the excellently coherent and well-paced second installment, stumbled so badly and made a typically arrogant and tearful Hollywood shlock that lacks all the ingredients that made the second film a better one. A leap back to mediocrity with one single inventive moment – the chimney falling on the building. (08/12/2014)

I'm quite pleasantly surprised. The story of the protagonist in the service of propaganda - the revolution is perhaps unnecessarily intimate (the third installment of a very successful series and there is almost no sign from the decor that it had a blockbuster budget), but it cleverly and amusingly rotates the concept of the Games themselves, because although even this time the cameras are on full time and broadcast for crowds of people, it's a completely different broadcast with a completely different goal. But propaganda also works on the other side, and for a while it is (within the genre) a very decent psychological massage, although, of course, there is no doubt who the good guys and the evil guys are. I have to highlight the scenes with the singing and destruction of the dam, and also the liberation of the hostages, because Francis Lawrence filmed them excellently, they have atmosphere, they are thrilling... And I hope the entire next film will be like that. (16/01/2021)

La première moitié du dernier chapitre des Hunger Games ne propose rien d'autre que des conversations incessantes, des préparatifs pour la révolution, le courage et le calme avant la tempête, tandis que nous devrons attendre un an avant que la deuxième moitié ne nous offre une véritable guerre civile et de l'action. En réalité, c'est plutôt un préquel. Sur le plan technique, le film est bien réalisé, les acteurs sont de grande qualité et les dialogues sont corrects, mais c'est désespérément inactif et ennuyeux. La majeure partie du temps, vous attendez simplement que quelque chose se passe enfin, mais vous ne verrez rien, car les créateurs l'économisent pour le prochain film. De plus, cela paraît beaucoup moins cher par rapport aux deux précédents volets. Au moins, avec les précédents Hunger Games, vous pouviez admirer la grandeur de l'arène de jeu, les effets numériques ou au moins la stylisation colorée et extravagante de la capitale et de ses habitants. Ce n'est pas le cas avec La Révolte, car la majeure partie de l'histoire se déroule dans un bunker souterrain ou parmi des ruines, ce qui rend le film non seulement plus intime, mais aussi peu attrayant visuellement. Pour le spectateur moyen, en particulier pour quelqu'un qui n'est pas familier avec les épisodes précédents, c'est une perte de temps. Pour les fans de la série, le film ne sert qu'à illustrer les événements qu'ils connaissent déjà grâce à la version littéraire. Et bien sûr, cela n’a aucun sens de leur dire que les nouveaux Hunger Games n’en valent pas la peine… (20/11/2014)

That I'm giving it the same rating as, say, Inherent Vice deserves a bit of a defense. Because the third Hunger Games is actually incredibly lame in many individual aspects, by which I mostly mean the protagonist, who casts an indifferent cumshot debutante face in all directions as the planets revolve around her; though she knows she’s hanging on the precipice of a revolution, she still floats around like a noodle in a lunch pail, asserting herself solely through a chafing love triangle with two sets of bangs, airing out her tear ducts so many times throughout the film that I'm not surprised how red her eyes got by the end. The tactics of the reborn rebels' uprising are also worth a mention since they can't come up with anything better than frontal assaults, in which half of them must inevitably die, and the fact that they don't is only because the devil's minions here are a bit reminiscent of stormtroopers. Of course, in the context of young adult films based on books where the last installment is split into two parts, this is far, far behind all its predecessors in terms of some central concept and execution. The strongest aspect of the mediocre previous installment was its exploitation of the media space to ignite a revolutionary spark; Mockingjay works almost exclusively in the field of media warfare and manipulation, which suddenly makes the oppressed poor not collective socialist heroes rising up, but just another manipulated mob, and the tyrannical despotism of the Capitol is now faced down by the other practically tyrannical despotism of District 13. The good news is that the film uses the same means on the viewer as well, with many scenes being accompanied by a leading monologue that gives these scenes a different point of view. Likewise, the cheerful song "Katniss", which becomes the anthem of the revolution, does so because it is officially promoted by the Resistance's recruitment videos and not because it spreads among the people. It's that much better when crucial revolutionary scenes work for the viewer primarily because this song accompanies them. Otherwise, Francis Lawrence does the best he can, and a large part of the this film’s refusal to die is thanks to his abilities. (10/03/2015)

The plot of the film was oddly compatible with the current situation on the Eastern Front. An evil ruler is trying to break the desperate but persistent resistance, with propaganda playing a crucial role. It makes no difference if it’s propaganda by the bad guys or the good ones. The way I see it, it's all about lies and manipulation. Plutarch Heavensbee not only showed skills that even Goebbels would have praised him for, but he also looked more likable. Natalie Dormer as Leni Riefenstahl was given much less space, but she pulled off her part very well. The film works excellently as a kind of anatomy of propaganda, but it’s not so great in other respects. Katniss Everdeen got post-traumatic stress syndrome as a bonus to all her amazing qualities, and since she was involved in the aforementioned propaganda, the character became almost insufferable for me, reciting speeches full of clichés and pathos with a face devoid of emotion, and saving the cat. Again, the writing avoided logic like a pedophile priest avoids celibacy. Well, it wasn't worth much, just as I’d suspected. / Lesson learned: Promote the only right ideas and maybe your face will be on posters. 2*- (10/09/2022)

I simply have a problem with this series. I don't like the main heroine. Not that Jennifer Lawrence is to blame, she does what she can as an actress, but I just think that the character is poorly written. At least for the movie, that is. That's why I don't enjoy watching her, especially not in a two-hour marketing campaign on how a revolution is made. There are good scenes here, but they get lost in the Hollywood baggage that drowns everything out. If they had made the final book into one movie instead of two, it might have turned out better, but we'll see what the last film has in store in a year. (22/11/2014)

The first part of the final season was as good as the preceding parts. But that what I thought rushed and confusing opening bothered me somewhat. It took me a while and a break to pull myself back together after watching that. But after that nothing bothered me and I began to enjoy myself, being treated to a host of stupendous scenes. The first part mainly gets you thinking: hey, it’s nearing the end already and we want an action-packed ending. The ending was just about right - not overly suspenseful, but it left a whole load of questions unanswered. (28/03/2015)