The Hunger Games: Mockingjay - Part 2

First Hit:  I was barely able to watch, let alone like, the screen for its 137 minute running time.

I thought that Part 1 was one of the worst of this series until I watched this final film of the 4 part series. I enjoyed the original film, the second, “Catching Fire”, was too long and wasn’t up to the first film’s stature.

Part 1 (#3 in the series) was one very long uneventful setup for Part 2 (#4). This series started on a high note and fell into the gutter. For instance, what was the fighting scene in the sewers about? It had no value except to get some people killed and make Katniss (Jennifer Lawrence) feel more pain to spur her on.

The ending was obvious and exposed way too soon. There was no surprise (reminded me of the line from a Who song: Meet the new boss, same as the old boss). The acting in most cases seem stilted and without feeling, like the actors just wanted to get through it.

Watching a purposefully elongated story was absolute torture. It is hard for me to conceive of people with active and useful brain cells objectively watching this film and thinking it is good. There is nothing that I can say that is good about this film except I don’t ever have to watch another Hunger Games film again.

Lawrence was good at times but generally, it felt as though she wanted it to be as over with as I did. Josh Hutcherson as Peeta had one of the most difficult and awkward roles. As a plot ploy, he had to pretend to be both in love with and be a hurtful enemy of Katniss. It’s difficult to pretend to be brainwashed and Hutcherson didn’t pull it off. Liam Hemsworth as Gale was a poorly executed character. His role of hero martyr felt stilted and without soul. Woody Harrelson as Haymitch tried to bring adult thinking to the role – he failed because the film failed to make it important. Donald Sutherland as President Snow, did his job and it felt like it. Philip Seymour Hoffman as Pluarch was painful to watch because it’s a lousy role, his performance poor, and it is the last time we’ll see him in a new film – sad. Julianne Moore as the new President Alma Coin was so below her recent performances that I cringed. Peter Craig and Danny Strong’s script was lazy, without interesting dialogue, and bloated. Francis Lawrence’s direction provided little interest and absolutely no excitement.

Overall:  I wanted to leave the theater so bad that I felt like a runner waiting for the starting gun and when final credits began to role – like a flash I was gone.

Brooklyn

First Hit:  This film shares a wonderful heartfelt story with remarkable acting and stunning visuals representing the 1950’s.

Irish immigration to the US and specifically to Brooklyn during the 1950’s (the 3rd wave) is highlighted in this film.

The film does give homage to an earlier 2nd wave of Irish Immigration to the US by sharing information about how they built a lot of the infrastructure in eastern US cities. Knowing that by 1860 or so, one quarter of New York City’s population was Irish, when we join this story we are aware of Irish influence in the city.

This story begins with Eilis (Saoirse Ronan) living with her mom and sister in a small Irish town. She works as a clerk in Miss Kelly’s (Brid Brennan) small store. Where Eilis has a quiet caring heart Miss Kelly is mean and spiteful. This life is weighing Eilis down, so her sister Rose (Fiona Glascott) sets her up with a Visa and a job in New York City.

Afraid and excited, she leaves on a ship only to land in a repressive boarding house run by Mrs. Kehoe (Julie Walters) and working as a clerk in a fancy department store. She is lonely and sad, misses her family, and is terribly homesick. All this changes when she meets a young Italian plumber named Tony (Emory Cohen). He is totally smitten by her and while she’s slowly warming up to the attention and affection, Tony blurts out his love for Eilis.

The scenes of them together are amazingly precious. The first meal at his family’s house is ripe for enjoyment. Then there are scenes at the Ms. Kehoe’s boarding house dinner table that are simply funny, witty and insightful to the plight of these young girls trying to find a life in New York City.

Then there are the heartfelt and decisive scenes back in Ireland when Eilis returns to pay her respects to her recently deceased sister. The heart pulling wish of her mother wanting her to stay and not go back to New York, along with her ability to see her old friends as well as being seen as someone who is beautiful and smart makes her wonder about staying.

Ronan is beyond wonderful. She gave the kind of performance that elevates her incredible resume. I loved her as a young curious and confused girl named Briony in “Atonement”. She sparkled physically and intensely as the assassin in “Hanna”. Here she gives a deeply moving and evolving portrait as a women coming into her own. This is a great actress. Cohen is so wonderfully charming in his role, you just cannot help but love him here. Walters is perfect as the strict matron of her boarding house, trying to keep her women on solid respectful footing. Glascott was perfect as the thoughtful sister. Brennan was on point as a sharp, pushy, and mean store owner. Jim Broadbent as Father Flood was flawlessly cast as Eilis’s rock during her first months in the US. Nick Hornby wrote a dazzling screen play capturing the feel of the time and the intent of Colm Toibin’s novel. John Crowley captured the innocence, despair, history, and feeling of the time perfectly.

Overall:  Wonderful to watch, beautiful to feel.

Spotlight

First Hit:  Excellent writing, outstanding acting, powerful scenes, and a story that turned out to be spot-on.

This is a story about how Catholic Priests took advantage of young boys (and girls) by molesting them and getting away with it for years.

It begins with the Boston Globe getting a new Chief Editor named Marty Baron (Liev Schreiber) and while doing his due diligence of current staff, discovers that the Globe has a small group of reporters called “Spotlight”. This team digs deep to uncover meaningful stories that make a difference to Boston and beyond.

An old article comes across his desk about priest abuse and he asks Walter “Robby” Robertson (Michael Keaton), head of the Spotlight team, if this is the kind of story they work on. The team of Mike Rezendes (Mark Ruffalo) Sacha Pfeiffer (Rachel McAdams), and Matt Carroll (Brian d’Arcy James) are asked to take a deeper look. As they begin to dig, the level of cover up by Cardinal Law (Len Cariou) and his crew of Bishops and Priests becomes grossly apparent.

Many people are involved with the cover up including the creation of a cottage business where lawyers and their law firms defending the church reap high fees while the abused is paid next to nothing and told to keep quiet. There were many heart breaking interviews with the abused including Eric Macleish (Billy Crudup) who, with needle marks in his arm, tells how this has affected his life and his family.

The script was sharp, always on point, and reflected a caring towards giving the audience a clear understanding of the problem. This film never lagged and reflected the urgency required to make a difference.

Ruffalo was superb. His ability to be smart, urgent and both careful and reckless and the same time was perfect. Schreiber was excellent as the steady hand looking to make the paper relevant again and seeing that this story was worthy of the effort being put in by his staff. Keaton was amazing as the leader of Spotlight, knowing when to reign in or let his staff loose. The confrontation with Ruffalo was respectfully wonderful and intense. McAdams was strong and especially good in her interviews with the abused. Her empathy and ability to obtain information was excellent. James was wonderful. I loved his caring about the home near his house and how he wanted to ensure everyone knew about the danger lurking inside for young kids. Crudup was so strong in his portrayal of an abused man that I felt his pain while he spoke. Cariou was very good as the Cardinal who tried to come across as Teflon. One of the most outstanding parts is by Stanley Tucci as an independent attorney working for the abused. His role was amazingly great because of him. McCarthy and Josh Singer wrote a remarkably strong pointed script. There was no fat, just great dialogue. McCarthy directed this film with a purpose, to tell a difficult story with clarity of purpose.

Overall:  I was fully engaged and entrenched in this story in every way.

Suffragette

First Hit:  Just before the final credits roll, the audience gets a strong message about just how difficult it has been for women to have a voice in the country they live.

This story takes place in Britain, but when the end of the film comes, it is a testament to every woman in every country in the world.

In the US women didn’t get to vote until 1920. In Switzerland 1971. And there are many countries that women do not have the right to vote. It is one of the primary downsides of Muslim countries and some interpretations of Islamic law – women who make half the world’s population had little say in the way the world is run. It makes me incredibly sad, filled with disappointment and to me shocking that although we can make huge forward leaps in the world technology, we have silenced so many people by not giving them a voice in how the world is run.

The Suffragette movement in Britain was an underground affair where women would meet, with the support of a few men, in clandestine ways to organize marches and protests against the English government. Leading this movement is Emmeline Pankhurst (Meryl Streep) who in a couple of scenes sets the tone for the real foot soldiers, Edith Ellyn (Helena Bonham Carter), Violet Miller (Anne-Marie Duff), and Maud Watts (Carrie Mulligan). Watts has a young boy and she’s worked at a laundry company her whole life. She tries to stay out of trouble, but as her bravery begins to grow with the injustice she sees around her, she ends up being one of the stronger voices and leaders of this group of women trying to make a change.

The cost is high. Men run the country and families and she loses her son to her husband who then sends the boy off with another family. She’s living in the street, family gone, but sees that this is the only path for her – getting the vote, and getting more say in her life and country.

The dialogue is very strong and many of the scenes/sets are perfectly attuned to the time and feeling of this darkness coming to light.

Mulligan is terrific. She is believable and carries the inner strength needed to make her choices congruent with the part through and through. This is a wonderful role for her. Duff is equally strong as a woman having to also make hard choices, especially when she becomes pregnant again. Carter is very strong as a medical practitioner, who uses her connections and supportive husband to keep the movement going. Finbar Lynch as Carter’s husband Hugh is incredibly wonderful in his very subdued background supportive role. Abi Morgan wrote a great script which evoked strength and fear in strong reflective ways. Sarah Gavron had excellent control of the script and subject. She made this come alive in an intelligent manner.

Overall:  The film was very good, but when the list of countries appeared on the screen listing the years they gave women the vote, it put a very loud and strong exclamation point on the subject.

Room

First Hit:  A dark dialogue rich film with outstanding acting that portrays the inside horror of being held captive.

Ma (Brie Larson) is living in a soundproof shed and is being held captive there by “Old Nick” (Sean Bridgers).

She’s been held there for 7 years and has a 5 year old boy, fathered by Nick, named Jack (Jacob Tremblay). He has lived his whole life in the “Room” with Ma who has done her best to raise Jack. He knows little of the outside world but after turning 5, Ma begins to tell him what the world is really like outside the Room.

Jack is upset and wants to believe the stories Ma had previously told him about outside the Room. As Ma becomes more determined to find a way get Jack out of the room she comes up with a risky plan to fake Jack's death.

The remaining part of the film is about their adjustments to the real world. The inquisitive press, Ma’s rejection by her father, and Jack’s struggle to engage with all that the world outside the Room offers. The questions by the press push Ma into a deep depression because they intimate that she kept Jack as a way to save herself by not thinking of Jack’s well-being.

This is complex film and the acting by Tremblay is amazing and superb. The filmmaker did a great job of creating a sense of wonder through Jack as he sees the world outside the room for the first time.

Larson is very, very strong and deserves a lot of credit for making this film work. Tremblay is sublime. His slow transition from captive boy with a limited view of the world to engaged boy with an understanding of the world around him is fantastic. His ability to say goodbye to the “Room” was extraordinary. Joan Allen (as Ma’s mother Nancy) was very good. Emma Donoghue wrote a very strong script that felt very realistic. Lenny Abrahamson did an excellent job of directing the actors and creating scenes that felt true – especially the scene where Jack escapes in front of the man with the dog – the confusion, fear and concern were perfectly executed.

Overall:  This is a dark film and afterward I couldn’t help but think about the captured and imprisoned women we’ve read about in the last few years.