Regie:
Francis LawrenceKamera:
Jo WillemsMusik:
James Newton HowardBesetzung:
Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Elizabeth Banks, Julianne Moore, Philip Seymour Hoffman, Stanley Tucci (mehr)Streaming (4)
Inhalte(1)
Katniss Everdeen (Jennifer Lawrence) konnte von den Rebellen aus der Arena gerettet werden und in dem zerstört geglaubten Distrikt 13 in Sicherheit gebracht werden. Für die unterdrückte Gesellschaft wird sie zur heroischen Symbolfigur des Aufstands gegen das Kapitol. Als der Krieg ausbricht, der das Schicksal Panems für immer bestimmen wird, muss Katniss sich entscheiden: Kann sie den Rebellen rund um Präsidentin Coin (Julianne Moore) trauen? Und was kann sie tun, um Peeta (Josh Hutcherson) aus den Fängen des Kapitols zu retten und Panem in eine bessere Zukunft zu führen? (StudioCanal Deutschland)
(mehr)Kritiken (14)
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.
()
Die erste Hälfte des letzten Teils der Hunger Games bietet nichts anderes als ständiges Reden, Vorbereitung auf die Revolution, Sammeln von Mut und Stille vor dem Sturm, während wir ein Jahr auf einen echten Bürgerkrieg und Action warten müssen, bis die zweite Hälfte Premiere hat. Eigentlich ist es eher ein Prequel. Aus technischer Sicht ist der Film gut gemacht, die Schauspieler sind sehr qualifiziert und die Dialoge sind in Ordnung, aber es ist verzweifelt unactionreich und langweilig. Die meiste Zeit wartet man einfach darauf, dass endlich etwas passiert, aber das passiert nicht, weil die Schöpfer es sich für den nächsten Film aufheben. Außerdem sieht das Ganze im Vergleich zu den beiden vorherigen Teilen wesentlich billiger aus. Zumindest konnten Sie sich in den vorherigen Hunger Games an der Pracht der Spielarena, den digitalen Effekten oder zumindest an der extravaganten Farbstilisierung der Hauptstadt und ihrer Bewohner erfreuen. Das droht bei dem Aufstand nicht, denn die meiste Geschichte spielt sich in einem unterirdischen Bunker oder zwischen den Ruinen ab, sodass der Film nicht nur deutlich kleiner, sondern auch nicht besonders visuell attraktiv ist. Für den durchschnittlichen Zuschauer, der möglicherweise keine Ahnung von den vorherigen Teilen hat, ist das Zeitverschwendung. Für Fans der Reihe ist der Film nur als aufregende Darstellung von Ereignissen zu verstehen, die sie bereits aus der Buchvorlage kennen. Für sie macht es natürlich keinen Sinn zu sagen, dass die neuen Hunger Games es nicht wert sind...
()
Ich würde mich wahrscheinlich wiederholen, wenn ich sagen würde, dass die Aufteilung der letzten Episoden in zwei oder mehr Teile dem Film selbst eher schadet, und das einzig Positive daran ist, dass die Produzenten und Verleiher mehr Geld in der Tasche haben. Das Gleiche gilt für den ersten Teil des dritten Teils von Die Tribute von Panem. Alles in allem passiert dort nicht viel. Obwohl es viele Actionszenen gibt, fühlt sich das alles irgendwie unvollständig an. Mir persönlich hat das dritte Buch am wenigsten gefallen, also habe ich nichts Besonderes erwartet. Kurz gesagt, eine schallende Ohrfeige für denjenigen, der auf die Idee gekommen ist, Mockingjay in zwei Filme aufzuteilen (der letzte Harry Potter z. B. hatte wenigstens etwas, worauf man sich stützen konnte, aber die Buchvorlagen von Die Tribute von Panem sind nicht so umfangreich).
()
Der erste Teil der abschließenden Serie war genauso gut wie die vorherigen Episoden. Allerdings hat mich der verwirrende Anfang, so schien es mir zumindest, etwas gestört. Es hat eine Weile gedauert, bis ich das Puzzle nach einer langen Pause wieder zusammensetzen konnte. Aber danach hat mich dann nichts mehr gestört, und ich wurde wieder gut unterhalten und bekam eine Fülle von atemberaubenden Szenen serviert. Der erste Teil gibt einem wirklich zu denken, schließlich nähern wir uns bereits dem Finale und wollen ein bravouröses Ende haben. Das Ende war genau richtig - es war nicht übermäßig spannend, warf aber eine Menge Fragen auf.
()
“Order shall be restored.” The next to last instalment of The Hunger Games is perhaps not the most elegant example of Hollywood storytelling – in the end, the whole film is an unfulfilled promise of something tremendous – but in terms of media self-reflection, it offers enough impetus to keep you thinking for many days after seeing it. Haunted by nightmares, Katniss gains inner peace not by finding a kindred spirit and actively taking control of the situation, but by accepting the media role that has been created for her. Using dresses, computer effects and fighting words, she transforms into an effective tool of revolution, a player in an artificially constructed reality, which she herself gradually stops perceiving as something alien, separate from the real world. She gradually accepts her role and the vocabulary of her creators and adapts her behaviour to the (omni)present camera and the interests of the revolution (“Don't shoot here. I can't help them”). Her position as a mere symbolic object is clear from the situations in which she passively finds herself and from the way the other characters relate to her (even in her presence, they speak of her in the third person and are primarily concerned with making her look good in promotional videos). Playing on emotions, the narrative is tailored to her spontaneous decisions, essentially making it impossible for her to exit the story. What she doesn’t realise is that her story mirrors that of Peeta, that she herself has become a cat dully chasing the light (perhaps a needlessly conspicuous metaphor, but also a quite clear indication that it is a mistake to approach the film as a standard genre flick). The making of the rebel and the selling of the revolution happens in parallel on two levels (in-text and outside of the text) and it’s as if the film gives us a look behind the scenes of its own creation. After a gripping action scene in an otherwise unusually unspectacular, slow and disturbingly quiet film, the same shots of the attack on the rebel hospital are repositioned in the context of a propagandistic “weekly” whose purpose is to manipulate the masses, just as we were manipulated (captivated by the spectacle) a moment before. The camera “journalistically” follows Katniss even in scenes where she is not filmed in the diegetic space. The blending of shooting styles leads to the further blurring of the line between propaganda for the people of Panem and for us. We can thus see the film’s ending, warning against the authentic with the artificially produced television broadcast intended to cover up what is happening in reality in the meantime, as the ultimate act of insincerity perpetrated by an industry built on a similar distortion of reality, or accept it as an ingenious rebellion carried out within the confines of a major-studio Hollywood narrative. However, the filmmakers could not have taken the liberty of launching a rebellion if it didn’t involve an adaptation of a bestseller capitalising on the demand for stories of defiance against the old order and whose multimillion-dollar box-office receipts are guaranteed in advance. 80%
()
(weniger)
(mehr)
Hunger games without the games. Relatively slow pace and two hours of melodrama without any benefit. I found the visuals too mediocre for such a high budget, and slightly digital (compared to Divergent, which was beautifully visually varied and exciting from start to finish, Mockingjay - Part 1 is severely lacking). For me, kind of unsatisfying in almost every aspect. Average and the weakest episode, let's see what the finale has to say. 55%
()
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.
()
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.
()
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...
()
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.
()
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.
()
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.
()
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*-
()
I simply have a problem with this series. I don't like the main character. It's not Jennifer Lawrence's fault, as she's doing her best as an actress, but I simply think the character is poorly written. At least for the film. That's why I don't enjoy watching her, especially in a two-hour marketing campaign about creating a revolution. There are good scenes here, but they get lost in the Hollywood baggage that overshadows everything. If they had filmed the final book as one movie instead of splitting it into two again, it probably would have turned out better. But we'll see how the last film fares next year.
()
Werbung