"Hunger games - kindling" a discount blockbuster but touching

After "Twilight ", " The Ender strategy " and to a lesser extent " Percy Jackson" , it is quite easy to see in which way fits " Hunger Games - the fire ," the second volume of the adventures of the young Katniss , at once revolutionary and puppet mascot teenager post apocalyptic totalitarian regime that sends again in this fight "Koh Lanta " bloody .

First is the cheap aspect of the form is striking here : it is not for Katniss , Peeta and others to compete with "Harry Potter" in the field of large expensive show for teens, but to obey, for better or for worse, to stress economic rigor or maximum profitability - attract fans to the maximum with a minimum sub . Before these digital sets fourth area , the second skewer cachetonnant knives with impunity ( Harrelson, Seymour Hoffman, and Donald Sutherland hilarious that you could almost guess the end of the check exceed his costume dictator ) , we can help to consider such sagas as an alternative to the catastrophic prediction Spielberg this summer, about the traditional Hollywood blockbusters including Glint and maousses budgets threaten to implode the system. Just compare the dizzying score the first episode ( the same barrel ) with the hyper expensive "Pacific Rim " to be convinced : the " Hunger Games" is emerging as a solid model whose mass entertainment constraints and the device eyeing more towards the TV series that sound and light XXL.

We may regret this lack of formal ambition, but it is not so serious. The value of " Hunger Games 2" is based more on the attractive and lightweight way the director weaves its patchwork of influences between self- zapping clever juggling and symbols. But mostly , like its big brother "Twilight ," the film is carried by the breath of bookish romantic saga that adapts breath envelope without ever crashing. It is not here to resize the narrative contours of a traditional long film, but to follow the rails , to forage early mythology in a spirit of modesty and malicious opportunism. The introduction incomprehensible to the uninitiated, is not encumbered pedagogy, it asks simple chainon of the previous episode and the story to flow big broth , both clear and dense , good mix of emotional issues , moral dilemmas and games without frontiers.

The viewer to enter the bandwagon ( it's pretty simple finally ) the filmmaker to lead without being noticed . The concentration camp part of the story, set by a tyrant operetta ever to reconfigure the meaning (the rules of game show , the identity of the participants , the nature of their connections , sanctions ) is a good metaphor film itself : actors, director , hero and sidekick , all are condemned to flourish under the same leaden .

The result is a pretty depressing visual formatting (then usually , Francis Lawrence is not the worst of Hollywood stylist ), but also a wave of proletarian solidarity which effectively holds all power . More than calls to revolt or verbal insolence Jennifer Lawrence, gurgling protest beside which a flow of Pierre Sarkozy goes for a monument of subversion , it is in these moments of collective spleen and victimizers effusions that the film finds its best moments, daring movement here quite upsetting release ("on a good team " declaims weeping press attaché Katniss , summoned by the system happily send his filly to break pipe ) , where a desperate act that undermines the hum of the machine. And gives it a little extra something not amazing , but frankly not unpleasant