(84) With Hunger Games, filmmakers were able to keep the political implications of Panem’s society in the periphery. The plotline of Catching Fire allows for no such sidestepping. The stakes are raised not only for Katniss but for all who inhabit the Districts. It will be interesting to see how the content of Mockingjay, even darker by comparison in print, is handled by Lionsgate. Catching Fire makes for a strong transitional film, even if it isn’t as strong as the first entry on it’s own.
(75) This sequel to Thor is often gloomy and infrequently funny. It is humorous when it tries to be, but the comedy isn’t as organic to the story as it was in the first film. Dark World goes well enough with popcorn, though, as long as one isn’t expecting an Avengers-caliber comic book picture. Those who disliked Natalie Portman’s Jane in the first film aren’t likely to be swayed on account of The Dark World, either.
(85) As a friend pointed out, reducing the titles of the Cornetto Trilogy to a best through worst hierarchy discredits how uniquely fun each of them is as a standalone. What World’s End, the finale, does best is highlight the absurdity of humanity as a whole and celebrate our many imperfections – essentially the core of what the earlier installments were getting at in the first place. While it’s hard to say goodbye to the Pegg, Wright, Frost collaborative, this End is anything but bitter… or lager.