Flame Out: Review of The Hunger Games: Mockingjay Part 2

The Hunger Games: Mockingjay Part 2

Director: Francis Lawrence

By Alex Watson

Finally the adventures of Katniss Everdeen are given a skillful end by Francis Lawrence. After the misfiring Part 1 installment, The Hunger Games: Mockingjay Part 2 delivers the thrills. Injection a sense of neat tension into the mix, Lawrence ensures that final assault on Panem is one to remember. These adventures have become one of the cornerstones of the young adult genre and with a hard-nosed heroine like Katniss they are impossible to dislike. 

The stakes are no longer just for survival in District 13 and Katniss Everdeen (Jennifer Lawrence) realizes that she will have to kill President Snow (Donald Sutherland) to unite this world. Her feelings are conflicted between old friend Gale (Luke Hemsworth) and tortured former lover Peeta (Josh Hutcherson) whose had his mind warped by Snow previously. However there is a still the question about the motives of President Alma Coin (Jennifer Lawrence). 

"It's so frustrating when she goes rogue" smirks Plutark Heavensbee (Philip Seymour Hoffmann) as she once again deserts to join in an attack. The audience however will disagree because Katniss' rebellious streak is what keeps Mockingjay Part 2 alive. This young woman is not the chosen one by any means but is no the less continually willing to put her body on the line. Unwilling to play along to the tune of her unofficial handlers Coin and Heavensbee, Katniss revels being on the front line as is unafraid to talk to her audience directly and icily convince them to lay down their arms. The fine line between politics and good storytelling has been a highlight of this franchise. In this installment it is no exception. 

Katniss in some ways has become disillusioned with her fight and seems aware that the cause she is fighting for is potentially a losing one. Alma Coin was a mysterious figure whom our heroine forged a tentative alliance with in the previous installment. Her motives have always been ambiguous but in Part 2 it becomes clear that she perhaps isn't so far removed from Tyrant Snow after all. This mission has the odds going for it, Capitol is currently struggling to keep up with the rebel advance. But although each player pulls their own weight such as propaganda director Cressida (Natalie Dormer) the end cost will be one that is brutal. 

The set pieces add the most excitement into Lawrence's last installment, there is an almost horror film feel as the encounters 'The Mutts' into sewers of Panem. Prepare to jump in your seat as the team runs, dodges and sets things on fire. One sequence sees them attempt to advance on a block of abandoned buildings only to encounter the pods the enemy has place to stop them. Moments later a surging black liquid causes them to literally run for their lives. In the end lives are altered and by the time they reach Snow's mansion one final act will firmly blur the lines of right and wrong leadership. However, it is all worth it to see the venomous glint in Snow's eye as Katniss stares him down for the final time. I won't give away too much here but expect to have a rug pulled from under your feet. 

Jennifer Lawrence has made the Hunger Games series her own and as Katniss Everdeen she has made for a ballsy but heartfelt heroine. Lawrence has given this woman a bold feel over the four installment and this has been one of the key steps towards her cement her A-List status. Josh Hutcherson and Woody Harrelson also deserve credit for bring to life two conflicted souls in Peeta and Mitch. The pair have been irreparably shaken by their outings and are attempting to get back to what they are. Donald Sutherland has perhaps stolen the show during his time as President Snow and with great relish he has bought this Machiavellian villain to life. A true adversary who is both smarter and unafraid to play dirty, he has proven an obstacle to climb! 

So it is with great regret that we say goodbye to the fine franchise and Mockingjay Part 2 has been a send off that fans should be proud of.

Best Random Musical Moments

Magnolia: Wise Up

In PT Anderson's acclaimed ensemble drama, this feels like an unlikely play for a musical montage. However, through the heart breaking lyrics of 'Wise Up' by Aimee Mann these few minutes effectively sum up the persona's of each conflicted soul present. Also if you like Tom Cruise's Rock of Ages crooning then this is far better!

Wayne's World: Bohemian Rhapsody

In Mike Myers now legendary 1992 piece the tongue in cheek tone is set pretty much from the first frame. Queen seems an unlikely choice for these guys to rock out to- but boy do they ever nail this one!

40 Year Old Virgin: Age of Aquarius/ Let The Sunshine In

After two hours of seeing Steve Carrell attempting to get it on, the climax of this piece takes a turn into a rather zany road. Though bizarrely enough it is rather fitting as a release of sexual tension.

500 Days of Summer: You Make My Dreams Come True

In a few short moments, Joseph Gordon-Levitt pretty much sums up every man after doing coitus. Sound tracked to Hall & Oates a big crowd of passers by join into celebrate the mans big moment. As our smiles go wide, we all give kudos to the Han Solo inclusion.

Ferris Bueller's Day Off: Twist & Shout

Proving that this is one student who could truly draw crowds, Ferris Bueller (Matthew Broderick) bring a parade together to serenade his conflicted friend Cameron (Alan Ruck). The result is a jubilant sing along of Twist & Shout by The Beatles. I'm sure even the Fab Four would have approved.

Back To The Future: Johnny B Goode

Deciding to play a classic well before it has been released to the 1955 high school crowd does down a storm from Michael J Fox. Well, until he nails that solo! Eagle eye music lovers watch out for "Chuck, its your cousin Johnny Berry- I think I found that sound you're looking for!"

Best Ralph Fiennes Moments

The Grand Budapest Hotel

In Wes Anderson's divine 2014 comedy, Fiennes proved his comic worth in a golden performance as self absorbed concierge Gustave M. His talents for fast talking and subtle humour where best demonstrated during one of cinema's most unorthodox interviews!

Schlinder's List

Steven Spielberg's 1993 Oscar winner was people's real introduction to Ralph Fiennes- as stone cold Nazi commandant Amon Goeth, Fiennes is able to freeze a scene whenever he steps forward. This sequence provided a perfect insight into Goeth short temper and perhaps inner frustration with himself. Hearts are in mouths as he attempts to shoot a Jewish factory worker simply because he can!

In Bruges

As foul mouthed mob boss Harry, Fiennes gave us an insight into his ability to do funny. The F-Bomb is never far away whenever this man rears his head. Through limited screen time, Fiennes succeeded in taking the movie from under star Colin Farrell. In this scene, his lurking threat is felt even when off scene!

Harry Potter and The Goblet of Fire

As 'You Know Who' Fiennes was the perfect casting and his icy malice cast a dark and wide show over the series. Making the perfect entrance, his presence is felt almost immediately and in an instant, the man nightmares were created for is born!

(Maid in Manhatten Not Included!)

The Masterplan: Review of Our Brand Is Crisis

Our Brand Is Crisis

Director: David Gordon Green

By Alex Watson

On paper Our Brand Is Crisis should have been a winning political comedy, but despite a fine cast the story just doesn't ignite and the needed tension is sorely lacking. Needed an added bite, the script by Peter Straughan fails to make full use of the interesting satire it has at its disposal. Director of stoner comedy The Pineapple Express and the innuendo filled Your Highness, David Gordon Green was a surprising choice to helm this. Although he shows that his work can go surprisingly deep, Green sadly misses the target. 

Jane Bodine (Sandra Bullock) is a political strategist who has gone into seclusion after some widely covered personal errors which gained her the nickname 'Calamity Jane'. An olive branch is extended to her when she recruited by Ben (Anthony Mackie) and Nell (Ann Dowd) to help out with a political campaign in Bolivia. The candidate Pedro Castillo (Joaquim De Almeida) is out of touch with his public and behind in the polls. The real tempting reason is the chance to get one over on her former rival Pat Candy (Billy Bob Thornton) who is heading the campaign for the opposition.

In some places David Gordon Green does succeed in making Our Brand Is Crisis shine, one sequence where Jane gets drunk with some locals raises the most laughs. The faults of this picture are not obvious but the story is the biggest fault with the story. Jane's past is not nearly touched upon as much as required and we never get a full sense of her inner conflict. Likewise with her relationship with Pat Candy, referred as a "Sicilian Blood Feud" by Rich (Scoot McNairy). This love/hate relationship is not explored and there is a lack of brooding hate which makes their encounters undercooked.  

Politically the story could have been an interesting one as Castillo has already been President of Bolivia before and when he did his privatizing of industries didn't go down well! Electing him to office again is a seemingly impossible task. Being produced by Grant Heslov and George Clooney, you would expect so political depth and perhaps so good commentary on the Bolivian economy. Green sadly only brushes over this area and despite rumours of the country having a possible IMF bail out which could cripple the poorer regions, we are left to wonder exactly what the game plan is? Resurrecting Castillo's campaign does offer some rib tickling injections of humour- Llama gets run over while making commercial, leading Jane to muse "It's like he killed himself rather than appear in our commercial!" Other than these brief glimpses of hope there is a stale after-taste. 

Morally there is a problematic centre about its chief characters as Jane is continually self loathing over the people she chooses to serve. At the beginning we get a sliver of her convoluted persona as she tell us how she believes in getting the vote and not wondering about the politician himself. Jane like others in her field is a gun for hire who after fighting the good war shall just locate the next battlefield. Earning the nickname 'Calamity Jane' has hurt her deeply and she is now far from home attempt to resurrect herself for a cause she maybe doesn't full believe in. There is a big sense of hurt and betrayal on both personal and business levels during the climax. Although the sentiment rings hollow and it feels ever pushed upon us, it does leave our brain cells ticking. 

The principle strength of this picture comes from the strong central turn from Sandra Bullock. Breezing through the movies problems like they are nothing at all Bullock makes great use of her comic timing. Despite having little to work with she easily dominates each scene she appears and becomes this movies main selling point. A woman forever  since her 2009 Oscar win, Sandra Bullock is now in definitely contention for another nod. 

Our Brand Is Crisis really should have been a far stronger and more satirical effort from David Gordon Green but his want to make this centuries Wag The Dog hasn't come to fruition. Lord know what would have happened if he cast James Franco and Danny McBride? 

Hear Me Roar: Review of Suffragette

Suffragette

Director: Sarah Gavron

By Alex Watson

A powerful central turn from the wonderfully consistent Carey Mulligan isn't enough to spark Sarah Gavron's Suffragette into life. A brutal recollection of a campaign where women literally put their bodies on the line to secure voting rights. The main problem is this film feels far more preachy and drawn out than neccessary. Mulligan's character is well realized and in places superbly underplayed, just a shame that writer Abi Morgan couldn't spread this to the other characters. 

Maud Watts (Carey Mulligan) is a working class woman who has worked in the same laundry since age 12. Although she leads a contented life with husband Sonny (Ben Whishaw) her son George, Maud is still struggling to survive. The Suffragette campaign for women's rights has taken a more militant approach under Emmeline Pankhurst (Meryl Streep) and soon Maud's eyes open to the oppression that women like are facing. However, the more she becomes involved, the more her life begins to falls apart. 

Suffragette is a well acted piece, there is no question there but it is also a rather narrow sighted picture by Gavron. All the men around Maud are shown as callous and sexist pigs that believe women don't deserve anything. Even Sonny eventually revealed as a rather fat headed chauvinist who believes her place is as his wife. At first, our heroine goes about her business without argument puts up with her lout boss Mr Taylor (Geoff Bell). When her friend Violet (Anne-Marie Duff) is unable to speak at Parliament, Maud takes her place and this introduction to activism provides her with a renewed purpose. 

Although Maud is well written, writer Abi Morgan doesn't given nearly the same treatment to character such as educated chemist Edith (Helena Bonham Carter) or her abused yet hopeful friend Violet (Anne-Marie Duff). Both ring in a fine pair of supporting performances but their depth only goes skin deep. Emmeline Pankhurst is made out as a holy and idolized figure but aside from a brief and barnstorming Meryl Streep appearance, her relevance to the story is minimal. The law men such as cynical detective Steed (Brendan Gleeson) are not presented as the boo-hiss villains expected. Steed is one of the few men who believes in keeping the peace and perhaps importantly, preventing these women from doing something worse. The exchanges between Steed and Maud are one of main flickers of electricity. 

Gavron does a decent job in presenting just how violent and risky this campaign became through time. Any numbers of times we see female activists attacked by police after venting their frustrations. Their actions such as bombing a government ministers empty home and the last drastic action of Emily Davison (Natalie Press) are neither praised or condemned. This picture works on a level where there is a level of repression that feels the need to break free. The third act is the one that slightly breaks the camel's back as the woman are imprisoned and attempt to go on hunger strike. Despite some hard-bitten force feeding, it just doesn't crackle like it should do. 

Overall Suffragette is a gritty and otherwise heartfelt piece but sadly it doesn't feel as meaty as one would expect. I expect we will probably see this among the ten Best Picture nominees, but its lack of depth on its subject may have some voters going against it. 

What We Do In The Shadows: Review of Spectre

Spectre

Director: Sam Mendes

By Alex Watson

Although it matches Skyfall blow for blow in the thrills department, the new Bond offering Spectre lacks a certain something. The set pieces on display from returning director Sam Mendes are mind-blowing in places. Perhaps the real problem is the inclusion of the problematic childhood story that its predecessor grabbed so beautifully. Daniel Craig is a force as usual in 007 mode, but this just doesn't feel like the memorable ride that it should have been (and lets not get started on Sam Smith). 

When a vital clue to the secret of his troubled youth is found in the rubble of Skyfall, James Bond (Daniel Craig) begins to go rogue to follow the trail. Despite pressures from new boss M (Ralph Fiennes), Bond stumbles into the path of a powerful secret organization know only as Spectre. Headed by the villainous Franz Oberhauser (Christoph Waltz) who seem to have paid a very close eye on Bond since childhood! 

Making a bright starting with a remarkable long tracking shot during Day of the Dead in Mexico City, Spectre at points is able to shift into excitement overdrive. Sadly Mendes' follow up is never fully able to balance itself out and become the accomplished picture is seeks. Centrally there is a hangover effect still lurking from the prior outing. The script by Robert Wade, John Logan, Neil Purvis and Jez Butterworth doesn't have an immediate spark in draw us in. Bond's hunting high and low for the clues that could explain everything or nothing about his childhood have a stop and go effect on the story. There is also the tricky matter of how Oberhausen and devilishly tricky new boss C (Andrew Scott) and his desire for constant surveilance fit into the picture?

The 24th outing of the Bond franchise does show its unique combination of wit and action. When Bond is grilled on his appearance in Mexico City he coolly remarks "I was taking some overdue vacation." But all the moments that should make this an accomplished thriller are ones that fall surprisingly flat such as car chases through empty cities. As hard as Ralph Fiennes works to fill the void left by Judi Dench, the old girls presence is still badly missed. In this picture the boss is permanently confined to the end of a phone whilst dealing forever making inquiries about Bonds whereabouts to suffering Q (Ben Whislaw) who in this picture literally takes on the problem solver role. "Don't worry Bond, it was only a £3 million prototype!" he bemoans another Aston Martin meets the bitter end. 

There are winks towards the successful Bond formula's of old as such the wordless henchman Mr Hinx (Dave Bautista) who with a crushing unease asserts himself. Lea Seydoux does credit for playing above the typical damsel in distress as Madeleine Swan. With little to work with she is able to crave out a throughly plausible character. Despite a white cat herring to one of the most beloved Bond villains, Christoph Waltz feels wasted in what could have been the meaty nemesis of them all. Confined mainly to the shadows until his third act reappearance, the segway into his personal vendetta against Bond is rather hoaxy and just a little too predictable. Coming across as more comical, Oberhausen lacks the needed icy cold that could have been so memorable. Knowing the kind of charm and unease that a skilled actor like Waltz is able to bring, this feels like a missed opportunity. 

Daniel Craig is again a fine figure to watch as 007 and it seems unthinkable these days just how much doubt surrounded his future to begin with. Able to conjure a rarely seen emotion and angst lurking beneath the cool outlook, Craig has become the cornerstone of this character in the modern-day. Should this be his last outing, whomever dons the tuxedo next will have one hell of a task! 

Spectre despite having the same tools to work wonders with is one effort that doesn't quite hit the high notes. It succeeds a straight forward and entertaining piece of action but sadly is not the pinnacle that we so badly hoped for. 

Pawn Sacrifice: Review of Bridge of Spies

Bridge of Spies

Director: Steven Spielberg

By Alex Watson

Marking the fourth collaboration between Steven Spielberg and Tom Hanks, this one might just be their strongest effort yet. Bridge of Spies is a finely made thriller that almost effortlessly bring forward the tension and frailty that the Cold War provided. This ride to justice is a long one, but the journey never once feels strained. Thanks to an Oscar worthy Tom Hanks and a cracking Coen Brothers script we see how much one man was willing to put on the line to save others. 

When Rudolf Abel (Mark Rylance) is arrested by the US Government for being a Soviet spy, insurance lawyer James B Donovan (Tom Hanks) is given the unlikely task of defending him. Despite the guilty verdict, he still presses for the mans innocence much to the displeasure of his fellow partner Tom Watters (Alan Alda). But when a US pilot is shot down while on a mission over Soviet territory, Abel and Donovan find themselves involved in a potential swap deal. 

Spielberg smartly does not rush the telling of his story in Bridge of Spies as he knows that the sheer power of it drives the movie along. The build up to the possible exchange gets to almost unbearable levels of anxiety as Donovan enters East Berlin. Here a fair outcome is not promised and there is a sense that both the CIA and the Soviet agents aren't thoroughly concerned with being by the book. Abel is an almost meek and gentle presence who when arrested by the US agents greets them in his underpants asking them to hand him his false teeth. Donovan is a straight shooting character who believes that any man has a right to defense under the US Constitution. At first defending Abel is simply as a publicity stunt which frightens his wife Mary (Amy Ryan). Dirty looks are cast his way and the people soon turn against him, but never once does he fold. From early on he realizes the value Abel could bring to the US and this trust pays off big time. 

The chemistry between Abel and Donovan gives Spielberg's thriller an almost comic edge. Frequently we see his attorney ask the man "Aren't you worries?" only for him to reply "Would it help?" Early on a big pawn enters into the game when US pilot Francis Gary Powers (Austin Stowell) and idealistic and love-sick student Frederic Pryor are both captured and imprisoned. Entering the other side of the Iron Curtain, Donovan has to meet some ruthless and temperamental persona's such as shady and volatile GDR agent Vogel (Sebastien Koch). Securing a swap for both men is seemingly impossible and even his own government seems more concerned with Powers than Pryor. In East Berlin, Donovan is desperately out of his depth and there are moments that shock us. One moment sees two people brutally gunned down while attempting to cross from East to West! 

Featuring a script by the Coen Brothers, at point there is a typically zany feel by these two in Bridge of Spies. Watching Donovan meeting Abel fake and delusional East German family is one moment that is throw back to the screwball humor that are able to bring. There are also sequences that are wonderfully underplayed but offer electricity nonetheless. The calm and docile opening chase sequence on the Brooklyn subway is eye-catching throughout. The real point of suspense late on is as the switch becomes nearer. Will this go smoothly? Or will one over zealous agent throw a spanner into the works? Donovan in this sequence steps up his game and emerges as a real hero, particularly in the docile and almost charming way he blackmails a youthful office assistant. In this moment, he has found perhaps the one man in Berlin will listen hard! The uncertainty of what Abel's people will do with him is one question that haunts the picture. 

Tom Hanks shows what a presence he can still be when tasked with holding things together. As James Donovan he is the voice and face of reason and even when the odds are stack he goes down swinging. Hanks plays to the characters strengths and is an engrossing presence who willfully steps into the crooked ground. Mark Rylance however, steals the film from underneath Hanks with a buttoned down turn as the quiet Abel. Whenever Rylance appears he is a likable and almost tranquil presence. Steadfast in his beliefs, Abel makes no apologies for his past or present actions, he simply just wants to paint. Cast as the BFG in Spielberg's new adaptation of Roald Dahl's beloved novel, Rylance gives a big sign of what could be next. In this he is very much the little friendly giant who has become the US' most valuable asset. 

Bridge of Spies is one film that will no doubt be an awards favourite this year, if only for the acting work on display. Spielberg and Coen brothers have proven a fine mix and hopefully this is one collaboration we will see again.