Movie Review: “Insurgent”
Shailene Woodley, Theo James, Kate Winslet, Ansel Elgort, Miles Teller, Naomi Watts, Jai Courtney, Mekhi Phifer
No movie franchise embodies the term “meh” better than the “Divergent” tetralogy, because although the second installment is a competently made sci-fi thriller, it suffers from many of the same problems as the last movie – namely, a troubling lack of excitement, suspense and emotion. You’d think the fact that “Insurgent” isn’t bogged down by the same tedious exposition would allow the film to dig deeper into its characters and mythology, but you doesn’t learn much more about the main players by the end of the movie than when it began. That might be forgiven if author Veronica Roth’s universe was the least bit interesting, but the whole faction concept is so silly and contrived that it’s a wonder no one thought to question it sooner. And to think there’s an entire faction dedicated to intelligence.
“Insurgent” picks up several days after the events of the first film, with Erudite leader Jeanine (Kate Winslet) denying involvement in the attack on Abnegation, instead placing the blame on Tris (Shailene Woodley), Four (Theo James) and the rest of their sympathizers, who have since sought refuge with Amity. When Jeanine recovers a mysterious box containing a message from the colony’s founding fathers that requires a Divergent to unlock it, she sends bulldogs Eric (Jai Courtney) and Max (Mekhi Phifer) to round up Divergents to put through the box’s rigorous testing process. Meanwhile, Tris and Four unite their Dauntless friends with the factionless rebels – which is led by Four’s presumed-dead mother, Evelyn (Naomi Watts) – to take down Jeanine and the whole faction system.
It shouldn’t come as a surprise to anyone that “special one” Tris is the key to unlocking the film’s MacGuffin, which apparently doesn’t even appear in Roth’s novel, because there isn’t a single original idea in the movie. The generic plot device doesn’t serve much purpose, either, other than to keep Jeanine busy and provide a staging ground for the special effects-heavy final act that puts Tris through a series of virtual reality simulations designed to test her aptitude in all five factions. The problem, however, is that with the exception of the final 20 minutes and a few small character moments, “Insurgent” doesn’t do enough to progress the overarching story to warrant an entire film. The big reveal at the end will undoubtedly change the direction of the series going forward, and hopefully for the better, but the real question is whether anyone will still care by that point.
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Movie Review: “Divergent”
Shailene Woodley, Theo James, Kate Winslet, Ashley Judd, Jai Courtney, Zoe Kravitz, Maggie Q, Miles Teller, Ray Stevenson, Tony Goldwyn
The young adult craze (“Twilight,” “The Hunger Games”) has recently crashed (“Beautiful Creatures,” “Vampire Academy,” “The Mortal Instruments: City of Bones”), and the media has decided that the fate of future young adult film adaptations will live and die on the box office returns of “Divergent.” This is patently unfair, of course; “The Hunger Games” sold 14 times as many books as “Vampire Academy,” so why should anyone expect anything less with their film adaptations? Answer: they shouldn’t, but somehow this is now “Divergent’s” problem. The good news is that “Divergent” should fare much better than the three ‘crashed’ movies. It’s intriguing, and asks valid questions about when we can reasonably expect a young adult to know who they truly are, and why we tend to punish people who prefer to think for themselves, but it has some issues as well, namely an absurd amount of exposition, a rigid story structure, and a lack of emotional impact.
Set in dystopian post-war Chicago at an undetermined time, all residents of the city are divided into five factions. Beatrice Prior (Shailene Woodley) is a member of the selfless Abnegation faction, but she faces a big decision in the next few days. As a 16-year-old, she, along with her brother Caleb (Ansel Elgort) and all other 16-year-olds, will choose whether to remain in their current faction or join a new one. Both Beatrice and her brother defect to other factions, with Caleb choosing Erudite (smart, fact-driven) and Beatrice choosing Dauntless (brave, fearless). As a “stiff” (A derogatory term for Abnegation), Beatrice has her work cut out for her, but she proves to be more resilient than most had expected, and a lot of that has to do with the results of her pre-ceremony exam, where she was found to be Divergent, meaning that she exhibited the qualities of more than one faction. Her examiner (Maggie Q) warns her against telling anyone that she was Divergent, and Beatrice (who rechristens herself Tris in Dauntless) quickly discovers why: the fluid (read: non-conformist) tendencies of Divergents have branded them as the enemy of Chicago’s faction world, and they are hunted and killed when exposed.
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Movie Review: “Labor Day”
Kate Winslet, Josh Brolin, Gattlin Griffith, Clark Gregg, Tobey Maguire
For a moment, it seemed like Jason Reitman could do no wrong, following up his excellent directorial debut, “Thank You for Smoking,” with one great movie after the next, and earning a quartet of Oscar nominations in the process. But even the best filmmakers are capable of making bad movies, and though “Labor Day” isn’t a complete failure, it’s the director’s weakest film by a country mile. Based on the 2009 novel by Joyce Maynard, the movie represents a major departure for Reitman, who’s made a name for himself telling stories with a dark comedic bite. That trademark humor isn’t present in “Labor Day,” instead replaced by the kind of gooey sentimentalism that you’d be more likely to find in a Nicholas Sparks adaptation, which leads me to wonder what Reitman was even thinking.
Set in a quaint New England town during Labor Day weekend in 1987, the film stars Kate Winslet as Adele, a shut-in single mother on the verge of a nervous breakdown. During a rare excursion outside to take her teenage son Henry (Gattlin Griffith) clothes shopping for the new school year, they’re approached by a wounded stranger named Frank (Josh Brolin), who takes Adele and Henry hostage and holes up in their rundown house with the intention of making a run for it at nightfall. A convicted murderer who escaped from the hospital while recovering from an emergency appendectomy, Frank insists that there’s more to the story, and as they spend more time with the supposedly dangerous fugitive, he turns out to be a pretty nice guy. So when Frank ends up staying the next day to do some repairs around the house, Adele and Henry don’t complain, and before long, he’s accepted as a part of the family, serving as a father figure to Henry and passionate lover to the fragile Adele.
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