In a slew of adaptations of dystopian young adult (YA) novels that have been so far the craze (The Hunger Games or The Maze Runner series, to name a few), Insurgent, the latest sequel from Veronica Roth’s trilogy–which ironically advocates individuality–struggles and falls to a bland taste no one but its fans can differentiate.
Following Divergent, this follow-up continues with the journey of Tris (played by a surprisingly monotonous Shailene Woodley) and her boyfriend, Four (portrayed by Theo James, a bankable yet weak casting effort), leader of the Dauntless (one of the five factions that has hitherto divided a post-apocalyptic Chicago), in an effort to stop its city’s overlord, Jeanine (a caricaturish Kate Winslet), from assuming absolute control over its citizens.
The plot’s basically it. It remains an almost two-hour long journey of redundant chases in thick forests, guns here and there, trips along ruins of modernity we recognize too well. One might argue that a movie adaptation has always been a derivative of its original medium, and its limitations are likely bound, so to speak. From a non-reader’s point of view, however, it is inexcusable, as there have been movie adaptations, although rare these days, that have actually improved their respective original materials. Without going all-out fallacious over this argument, focusing solely on Veronica Roth’s Divergent universe has perhaps already proven a hurdle for its moviemakers, with the two movie releases so far. Insurgent, however an inch better than the first movie, is still a convoluted, directionless mess. The pacing is stale, the acting wooden (has there been an explicit agreement that everyone should be so monotonously serious all the time?), save for Miles Teller’s portrayal of Peter that is at least injected with some personality.
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Insurgent is a movie only its fans can probably appreciate (or tolerate). It remains an unfortunate thing that this has to last for another two movies (Allegiant is reportedly split into two, to no one’s surprise), but if Robert Schwentke steps down from the helm, and another director steps in, maybe that is a less dystopian prospect. As of now, “Insurgent” has tried to become so much in such genre, as its messianic Divergents, yet has unfortunately ended up as a redundant and forgettable iteration of the genre that is perhaps more Factionless.
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