Jennifer Lawrence on the end of The Hunger Games: ‘I know it’s the right time’

25 Nov 2015 | Author: | No comments yet »

Are Jennifer Lawrence and Hunger Games co-star Liam Hemsworth finally dating?.

Lawrence, EW’s Entertainer of the Year for 2015, played Everdeen across four Hunger Games movies – the last of which, Mockingjay – Part 2, is out now. When the makers of the Harry Potter and Twilight films split the last book of each series into two movies, both saw a box office uptick for the finale.They’ve been close ever since they started work on The Hunger Games – but now the movies are over Jennifer Lawrence and Liam Hemsworth’soff-screen romance is said to be hotting up. “They’re so compatible, and it’s not just about looking good together. The films launched Lawrence to superstardom and helped the 25-year-old foster friendships with costars Liam Hemsworth, Josh Hutcherson, and Woody Harrelson. “It’s weird.

It was reasonable to assume that Hunger Games would follow the same pattern, with Mockingjay – Part 2 delivering a bigger opening than its predecessor. They have the same sense of humour – when they’re together, they laugh non-stop.” However according to reports, despite their undeniable bond – Jen is wary about getting into another high profile relationship after her splits from Chris Martin and Nicholas Hoult. It’s the right time, I guess,” Lawrence said about closing the book on Katniss, before explaining that the cast threw the “greatest house parties.” “Woody chased me with a sweaty sock and we flipped over a couch,” Lawrence recalled. “One time Josh and Liam started playing tug of war with their mouths with one of my shirts.” But despite the finality of the moment, Lawrence isn’t too concerned about her future. “I know it’s the right time,” she said. “Josh and Liam and I see each other all the time.

Those first two books feel as if they were written on a steady incline, building up to Mockingjay’s explosive war between the oppressive Capitol and its angry, starving citizens — which is why it’s such a disappointment that Mockingjay reads like a (very promising) rough draft. And so many of their friends think they’d be perfect together. “I know where it’s coming from, I know they’re trying to establish dominance, but it hurts my feelings. To help you out, we’ve answered a few frequently asked questions about Mockingjay Part 2. (Needless to say, this post contains spoilers for the book and movie.) Black, oily matter spouts like a geyser from the street, billowing between the buildings, creating an impenetrable wall of darkness.

Mockingjay is dark, searing, and appropriately tragic — but in order to work on all the levels Collins wanted it to, the book needed to get the hell out of Katniss Everdeen’s head. Yeah, us neither.) While the tar wave is rushing into the courtyard, Peeta has a psychotic break and tries to attack Katniss, Mitchell tackles him, and Peeta throws Mitchell towards the black tar. When the book opens, Katniss is suffering from post-traumatic stress that often leaves her shaking in hallways or panting in the middle of the night, terrified and angry. The door, opening; the silk robe, shimmering with birds; the crazy hair, those butterflies; the grease, smearing; the woman’s expression, shifting; her mouth, opening; Katniss, unslinging her bow and firing an arrow; the woman, dead. And isn’t that sort of gilding the lily? ¯\_(ツ)_/¯ The cameras in the courtyard are covered with tar, so when all of Squad 451—except for the Leeg sisters, who stay behind—move to another building across the courtyard, the cameras don’t record them doing it.

The Capitol has captured and is torturing Peeta, Katniss’s loyal hometown companion in the Games, her onscreen fiancé, and the most prominent secondary character of the series. Another theory is that, with the addition of the Divergent and Maze Runner franchises – both delivered sequels in 2015 – the dystopian-future YA space has become too cluttered. When the peacekeepers show up to kill the squad, they focus on the building the cameras had shown the squad running into while the tar-wave pod was going off. Put simply, the incredible scope of Mockingjay required more dynamic characters to speak through than Katniss and Peeta — and Collins had two such characters at her disposal in Johanna Mason and Finnick Odair.

The movie is too gray for bright turquoise, too antiseptic for half-eaten sausage grease, too offensively tasteful to let national treasure Jennifer Lawrence shoot an unarmed woman through the heart. Finnick is a handsome, endlessly charismatic champion from District 4 (at least in the book — casting the well-meaning but flat Sam Claflin did Finnick no favors in the movies). While it was beaten this year by the debuts of Fifty Shades of Grey, Fast & Furious 7, Avengers: Age of Ultron, Jurassic World, Minions and Spectre, it’s worth remembering that 2015 has been an exceptionally strong year for blockbusters. It’s implied that the peacekeepers have their own cameras built into their uniforms, and the angle of the footage broadcast by the Capitol suggests that it’s from a peacekeeper camera.

Mockingjay is a towering achievement, a brilliant conclusion to a popular narrative that attacks its own popularity, a dark and sad and funny and above all angry work of political theater. Johanna, meanwhile, is a snarly victor from District 9, whose every spit barb drips with hatred for the Capitol. (She is played in the movies by Jena Malone, who wonderfully commits to Johanna’s acidic bite, even though she gets very little screen time.) While Finnick and Johanna won their respective Games within the decade prior to Katniss’s triumph, they’ve both lived through several lifetimes of pain, thanks to the Capitol’s cycle of punishment — it’s never-ending, even for victors. Sony shouldn’t be too worried: Skyfall experienced a similarly hefty dip (down 47%) in its fourth frame, when it faced competition from the final Twilight film. Peeta and Katniss’s “on again, off again, on again because the Capitol says so” relationship is decidedly more fraught than the platonic one between Johanna and Finnick, who found each other after the Games and became fiercely loyal friends. The first half of the book, which provides the source material for Lionsgate’s first Mockingjay movie, follows Katniss and the other rebels in the bowels of District 13.

One of the only people she feels comfortable with is Finnick, who’s sick with worry over Johanna as well as another of the Capitol’s hostages: wan victor Annie Cressida, his fiancée. All of the residents of the Capitol are invited to the president’s mansion, a move that Katniss deduces is intended to make Snow look good to his remaining loyalists. However, since we’re stuck in Katniss’s perspective, we spend much of Mockingjay’s first half mired in her trauma, lingering around the edges as commanders and diplomats barter and strategize. Spectre has now overtaken Titanic (£80.1m, including the 3D rerelease) to become the third-biggest film ever at the UK box office, after Skyfall and Avatar (£94.0m).

Halfway through the book, it’s Finnick who reveals that victors remain in danger long past their wins in the arena — which finally topples the crucial domino that makes Capitol residents question their actions. She convinces her allies not to kill everyone in District 2 — to give the citizens and noncombatants an opportunity to live — and gives a passionate speech about how everyone in all the Districts should unite against their common enemy. His attack ad (or “propo,” in Hunger Games speak) begins with him talking straight into the camera. “President Snow used to … sell me … my body, that is,” Finnick says. “If a victor is considered desirable, the president gives them as a reward or allows people to buy them for an exorbitant amount of money.

But Collins has so much plot to get through that Finnick’s story is then relegated to Katniss summing it up from the sidelines: Finnick begins to weave a tapestry so rich in detail that you can’t doubt its authenticity. Nonetheless, Katniss abhors Gale’s tolerance for killing civilians and his continued support for Coin, and she thinks that Prim’s death is indirectly his fault. There have been dystopian media satires before, but Hunger Games plays around specifically with the media ideas of our reality TV show moment: fame, and the Constructed Persona vs. the Actual Person, and the weirdness of how some people love reality TV because it’s real and some people love reality TV because it isn’t. “I watch myself get shot on television.” Like everything Katniss says, it’s so straightforward, so you-are-there immediate, that you might miss the droll humor.

In Mockingjay Part 1, Katniss finds the cat in the kitchen of her family’s house in the Victors’ Village and then smuggles the cat into District 13 because her sister loves it so much. The first film in 18 years by Australian director Jocelyn Moorhouse (Proof) offers an unusual mix of mystery, romance, family drama and broad satirical comedy. Typical line from Mockingjay: “I cross some line into hysteria and there’s a needle in my arm and the world slips away.” Katniss is a 17-year-old who has lived her whole life under a repressive regime.

Despite a marketing campaign including illuminated posters on the London Underground, heist thriller Momentum, starring Olga Kurylenko, James Purefoy and Morgan Freeman, failed to engage the interest of cinemagoers. As Katniss herself puts it: “We have a job to do, and I sense that Finnick’s role will be far more effective than mine.” Part of what makes Mockingjay so interesting as the ending to a trilogy is that it muddies the moral waters to the point where Katniss is constantly questioning whom she can trust. The rebels are torn apart by opposing viewpoints, by disputes between those who want to honor a more upstanding code than the Capitol and those who would go to any lengths to destroy the Capitol.

Ever since its live debut in cinemas on 15 October, the RSC’s Hamlet, starring Benedict Cumberbatch, has been giving Justin Kurzel’s Macbeth film, starring Michael Fassbender, a run for its money. Finnick’s steady hope for a better future versus Johanna’s all-encompassing rage in calling for the Capitol’s destruction represent the two sides of the same rebel coin at Mockingjay’s core. When you read Mockingjay, you realize that Katniss has less in common with Movie-Katniss than with another weird teenaged loner embroiled in a fatal underclass uprising: she’s Winona Ryder in Heathers. Despite the fact that Katniss becomes the literal symbol of the rebellion, she’s left out of almost every major decision and struggles throughout the series to catch up on the years she missed.

It’s fair to say that production costs for the filmed Hamlet – a stage play that was in any case running at the Barbican, London – are significantly cheaper. NT Live’s presentation of Broadway show Of Mice and Men, starring James Franco and Chris O’Dowd, was beamed into UK cinemas for the first time on Thursday, having previously played to cinemas in 2014 in other countries including Ireland.

Namely: Finnick’s awful death during the rebel siege, which leaves him flailing in the depths of a sewer as the Capitol’s horrifying mutations (“mutts”) tear him to pieces. Admissions numbers – that’s bums on seats – are in for October and they show an uptick of 16% from the same month in 2014, and 30% up on October 2013. If that trend continues, 2015 will end up with just over 170m admissions, putting it just below 2012 (the year of Skyfall, with 172.5m), and 2011 (171.6m). But the loss of this universally beloved Panem hero could even be more devastating and affecting if we were able to spend some time in his head before he sacrificed himself to save his loved ones. He never once stops believing that the Capitol’s oppressive reign will end — and that hope trickles down to the thousands of citizens who look to him for inspiration.

She and Katniss form an unlikely friendship based on grudging mutual respect and the knowledge that neither would ever bullshit the other, because who has time for bullshit when you’re fighting an all-powerful megalomaniac? You think of the end of The Wild Bunch, with our “heroes” blowing men to pieces until they get blown to pieces, every bullet exploding from blood squibs rigged on the front and back of the actors’ bodies. By the time the rebels rescue her from the Capitol, she is an “emaciated young woman with a shaved head … her flesh shows bruises and oozing scabs.” As she recovers in the hospital ward with Katniss, Johanna gets more dependent on “morphling” (The Hunger Games’ version of morphine), sinks into resentment, and, finally, pushes herself to train for war. You think, for that matter, of Fukasaku’s Battle Royale, another movie about kids killing kids for the entertainment of the masses, where the hero’s best friend gets his head blown off in the first reel. Her trauma from the torture she suffered in the Capitol is too much for her to overcome, leading her to fail a key stress test and be kept out of the action for the entire siege.

But even if Collins needed to keep her on the sidelines, looking at the war through Johanna’s gallows humor would be a far more illuminating lens than Katniss’s dulled confusion. There’s a beautiful and terrifying paragraph on page 207, when Katniss watches her forces — the good guys, remember — destroy a mountain refuge: I imagine the hell inside the mountain. The shrieks of panicked, trapped beings stumbling madly for a way out, only to find the entrances, the launchpad, the ventilation shafts themselves clogged with earth and rock trying to force its way in. Here is how good Collins is at what she is doing: On page 341 of the third book in a dystopian fantasy, nominally written for a teenaged audience, she gives us a sequence that can only really feel like something from a World War I memoir, or a Russian novel, or a Vietnam movie: The kind of story that is ultimately about pointlessness, set in a conflict with no clear moral or obvious happy-ending narrative. Someone has redone her makeup for the cameras.” Check that: The Capitol found a corpse with an arrow in it, and sent a makeup team to make that corpse look prettier.

At one point in Mockingjay, someone tells Katniss: “You’re going to be the best-dressed rebel in history.” That sounds like a line from a David Simon show — muttered with rueful self-awareness, by a cop or a criminal or a politician or anyone in a line of work too complicated for anyone to understand except in some false binary universe where “right” and “wrong” are actual concrete things that exist. Mockingjay knows that it’s not the most lighthearted read. “Frankly, I could use a little sugarcoating,” Katniss says, almost as a throwaway line.

That doesn’t mean a happy ending: We’re perfectly happy with Walter White going out in a blaze of glory against bad guys so irredeemable that they are actually Nazis. But Mockingjay is literally about why books are so often better than movies, because it is about how the media-entertainment complex can take any idea — even a popular, bestselling book series! — and sugarcoat it even further. “The very notion that I’m devoting any thought to who I want presented as my lover, given our current circumstances, is demeaning.” That’s Katniss, throwing shade on the whole ‘shipper concept. Typical line: “With my acid-damaged hair, sunburned skin, and ugly scars, the prep team has to make me pretty and then damage, burn, and scar me in a more attractive way.” The central running idea in Mockingjay is fascinating: Katniss doesn’t actually do anything substantive to help the rebellion, but her mere existence comes to symbolize something greater.

The Christopher Nolan Batman movies circle around the idea of symbolism, too, but Batman always needs to save the city in an actual concrete way, too. Katniss finds them in District 13, half-naked, bruised, and shackled to the wall. “The stink of unwashed bodies, stale urine, and infection breaks through the cloud of antiseptic.” They’ve been imprisoned for stealing bread, that most Les Miserables of minor infractions, punishable here with the Abu Ghraib treatment. After Katniss frees her prep team, her old pal Gale gets confused. “Why do you care so much about your prep team?” he asks, and feel free to overly interpret that he asks that question while literally skinning a rabbit.

Katniss disagrees, but she doesn’t quite know why. (She admits to us: “I struggle to find a logical position.”) “I guess I’m defending anyone who’s treated like that for taking a slice of bread,” she concludes. “Maybe it reminds me too much of what happened to you over a turkey!” This is what’s great about Katniss in Mockingjay. She is confused, often: The genuine moral confusion of a smart person in wartime, and the genuine moral confusion of a young person who realizes all the adults are just making it up as they go along.

There is a detonation; the wounded scream; their allies rush to help them; a second detonation kills those people, too. “That seems to be crossing some kind of line,” says Katniss. “So anything goes? She died, of course. “She was lucky,” Peeta tells them. “They used too much voltage and her heart stopped right off.” Her friend Darius wasn’t so lucky: “It took days to finish him off. They wanted me to see it.” They didn’t want information: I think about that line every time I watch an entertainment about nominally good guys who torture people. I don’t think Suzanne Collins likes Gale, or what he represents: the idea that violence begotten by violence is acceptable, that war should be won by any means necessary. “That kind of thinking,” Katniss tells Gale, “You could turn it into an argument for killing anyone at any time. Gregor meets so many people: people who regret Nazism, people who think Hitler can still win the war, soldiers ready to surrender, concentration camp survivors, soldiers who promise to never stop fighting.

The lead character is a German by birth, a Soviet soldier by trade: It only takes a bit of extra-filmic context to realize that you are watching a movie about the apocalyptic moment when one totalitarian regime ends and a new one begins.

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