Francis Lawrence

The Long Walk: Fear Eats the Stroll

Jeremy BeckReviews
David Jonsson, Cooper Hoffman, and other dudes in The Long Walk

As depicted in The Long Walk, the United States is a land of turmoil and suffering. Shortfalls in productivity have led to a crippling economic depression. State-sanctioned violence is broadcast in the form of bread-and-circuses entertainment. The military persecutes citizens who dare voice their dissent. To clarify, the movie is a work of fiction, not a documentary.

Specifically, The Long Walk is based on a novel by Stephen King, though its horror is allegorical rather than supernatural. Taken literally, the story’s premise—in which 50-odd young men compete in a grueling endurance test that doubles a perverse battle for life and death—isn’t especially plausible. But it’s less unrealistic than it might have seemed, say, eight months or three days ago. When the nation’s president declares war on the free press, when his toadies mount an intimidation campaign against anyone who opposes conservative orthodoxy, when TV networks suspend late-night programs out of fear of governmental retribution… well, it becomes more difficult to frame the image of tanks rolling down public streets as a flight of imaginative fancy. Read More

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The Hunger Games: The Ballad of Songbirds and Snakes: The Ditty of Lost Children

Jeremy BeckReviews
Tom Blyth and Rachel Zegler in The Hunger Games: The Ballad of Songbirds and Snakes

The premise of the Hunger Games franchise—every year, the tyrants of The Capitol conscript two dozen children from the surrounding “districts” for a televised gladiatorial competition designed to continually cow potential rebels into submission—is one of recurrence. So it’s only natural that the series keeps perpetuating itself—first with three sequels (which were pretty good until they cratered), now with a prequel that rewinds 60-odd years and explores the ritual’s genesis. If The Ballad of Songbirds and Snakes reminds us of what we’ve seen before, well, isn’t that the point?

To its credit, this new-old movie, which Francis Lawrence directed from a script by Michael Lesslie and Michael Arndt (adapting Suzanne Collins’ novel), isn’t overly reliant on its own mythology. Sure, there are some throwaway references to surnames like Flickerman and Heavensbee, and I suspect that the initiated will locate plenty more easter eggs in the margins. (When a character uttered the word “katniss,” the teen-heavy audience at my screening buzzed with audible recognition.) For the most part, though, Songbirds and Snakes has its own story to tell, one that is by turns awkward, engaging, clumsy, and commendable. It doesn’t really work, but the ways in which it doesn’t work are strangely satisfying. Read More

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Red Sparrow: Can You Trust Anyone? Nyet!

Jeremy BeckReviews
Jennifer Lawrence as a Russian spy in "Red Sparrow"

In the deeply silly and agreeably entertaining Red Sparrow, Jennifer Lawrence plays a Russian ballerina who transforms into a devious and lethal spy. If you think that sounds like a stretch, you’ve never seen Lawrence act. Having previously applied her prodigious talents to a number of American Everywomen—housewives and mothers, travelers and strivers—here she dons an ushanka and a Russki accent, soldiering forward in a chilly, vodka-soaked Europe. It’s a ridiculous part, but Lawrence is just too damned good to let it go to waste. She initially plays it big and bold—savoring every morsel of Russian diction and leaning into every absurd revelation—only to sneak up on you with her intelligence and vast feeling. All good actors can play well-written roles convincingly; here, Lawrence turns an outrageous conceit into a real character.

That’s more than I can say for Red Sparrow, an implausible thriller that, despite a capable cast and a tone of deadly self-seriousness, struggles to transcend its narrative shortcomings. But while the movie has significant problems—it is too long, too scattered, and too convoluted—it is never less than watchable. Star power can go a long way, and so can sleaze. Read More

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The Hunger Games: Mockingjay, Part 2 — The Revolution Is Being Propagandized

Jeremy BeckReviews
Natalie Dormer directs Jennifer Lawrence in the final installment of "The Hunger Games"

The Hunger Games is a franchise about progress. It chronicles a revolution, in which the effectively enslaved rise up against the ruling class, striving to topple a ruthless system of oppression and install a more democratic form of government. It is bitterly ironic, then, that each successive movie in the series has been progressively worse than its predecessor. The original Hunger Games, based on the first of Suzanne Collins’s three taut novels, was a bracing dystopian drama, hypnotically terrifying in its assured depiction of a society that used children for blood sport. It was a feat that the first sequel, Catching Fire, largely repeated—it lacked the initial installment’s spark but compensated with craft. The third movie, continuing an artistically dubious but commercially inviolable studio practice, covered roughly half of Collins’s final book, Mockingjay; it struggled to infuse energy into relatively lifeless material, but it nevertheless had its virtues, with strong performances from a phenomenal cast and an electric final 20 minutes.

And now we’ve come to the end with Mockingjay, Part 2, which ought to bring the franchise to a bold and powerful conclusion. Instead, this fourth and final film feels woefully inert, not only lacking in excitement and intrigue, but also missing the reliable filmmaking competence that suffused the prior entries. It’s as if the director, Francis Lawrence, who has helmed each of the three sequels (the original was made by the enigmatic Gary Ross), simply became too exhausted with the labor of transmuting Collins’s terse prose into moving pictures. The most damning thing about Mockingjay 2 isn’t that it’s bad—it’s that it feels so tired. The franchise may have its faults, but it galvanized a legion of teenagers with its punchy themes and robust storytelling. It deserved better than to go out with such a pitiful whimper. Read More

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