The Hunger Games: Mockingjay - Part 2

The unfathomable having become undeniably rational, entrenched rebel forces prepare for an assault on Panem's capitol, the districts conscientiously united, President Snow (Donald Sutherland) locked down and reeling, Katniss Everdeen (Jennifer Lawrence) disobeying direct orders to simply act as messianic catalyst, thereby overtly inspiring heroics, instinctively striking back against iconic tyranny.

But the politicians are aware of their potential post-victory predominance, and fear Everdeen's influence in their reimagined state, divisive hypotheses compromising the purity of their cause, the innocence of guiltless reckoning, pushed propagandistically to the sidelines.

The extraordinary orchestrations of the bellicosely desperate beget a dissolute response with extreme dispassionate contempt.

Two leaders, Snow and President Alma Coin (Julianne Moore), one male, one female, holding on to or coveting supreme authority, drastically maneuvering to inculcate anew.

Throughout The Hunger Games it's clear that the rebel's cause is just.

Snow must be defeated.

He rules absolutely.

Yet in Mockingjay - Part 2 the politics of revenge and their inherent conflagrations remind viewers that citizens of the capitol did not necessarily support Snow, and were indeed terrorized citizens themselves inasmuch as they could not politicize, as a child spots but doesn't give up the Mockingjay, her mother brutally killed moments later.

There's no invincible playbook for such situations, and when terror strikes, or absolutism oppresses, resultant countermeasures can be as uncompromising as those they intend to suppress.

The Mockingjay - Part 2 constructively operates within this volatile antagonism, providing thought provoking disparities for those who engage in war.

The film, on the one hand, seems too sterile, a lack of emotion or a too hardened drive dehumanizing the conflict, making it seem more like a textbook than a testament, still boldly running through the motions.

But on the other, this point of critique fails to recognize the cold calculating dehumanizing affects of war, which turns communities into ordinances, the mischievous into the monstrous.