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When settling into the second film of a dystopian YA sequence, there are some things you simply have to simply accept. The principles of the world—that are jammed into the primary 5 minutes, like Kate Winslet’s broadcast announcement right here—have been established within the first movie, and there’s actually no level in complaining about them. The principles are the foundations, even when the tenets of that post-apocalyptic society, like in Veronica Roth’s Divergent sequence, occur to be type of dumb.
Sure, the so-simple-it’s-confusing social construction of future Chicago has returned for Rebel, together with its 5 personality-based factions: Dauntless (powerful), Erudite (good however largely evil), Amity (peaceable, earth-tone-loving), Candor (trustworthy and classy), and Abnegation (selfless). Simply to make issues extra complicated, there are the individuals who match into too many factions, Divergents, and the individuals who don’t match into any, the Factionless. Fortunately, with this technique already defined (advert nauseam) in Divergent, the sequel doesn’t spend an excessive amount of time nervous concerning the specifics of why Tris (Shailene Woodley) and 4 (Theo James) are on the run from Jeanine (Winslet), or why they wish to kill her. That’s simply what’s occurring.
Taken for what it’s, Rebel is an enormous enchancment over the franchise’s first installment, largely because of enlargement in two arenas: price range and scope. Typically, the 2 are one and the identical, because the motion strikes from the handful of cheap-looking Dauntless units to the relatively advanced, built-out worlds of the opposite factions. The simple dialogue scenes by no means final too lengthy, explicitly laying out everybody’s motivations and carrying us by means of to the following motion sequence—every of which will get some critical assist from Robert Schewentke, whose course feels downright masterful in comparison with the fights in Divergent.
However a lot of the credit score belongs to Woodley. She is undoubtedly one of many most interesting younger actors working proper now, and seems to be rather more comfy right here than within the first film. One scene particularly forces Tris to publicly and emotionally expose herself, and everything of the sequence’s weight rests squarely on Woodley’s shoulders (or her face, I assume). It’s an incredible feat of performing. In a single take, she makes the viewers imagine—even when only for a second—that hidden beneath the foolish faction system and the ridiculous issues Kate Winslet is compelled to say, there may be not less than one actual individual on this story.