Reseñas de la crítica

The actors are too good for this material; that's par for the course. Like The Hunger Games, this is young-adult angst spiced with B-movie action – but Tris is at least more interesting than Katniss, plagued by guilt and self-loathing.

The action sequences in which Tris has to prove herself, even against her will, have a pure vertiginous vigor that feels like a dramatized funhouse ride. They take place high above the ruins of Chicago, involving leaps onto shards of concrete, a sky-bound rock climb, Tarzan-like vine-swinging, and a variety of a fight (too good to spoil) that's a perfect mirror of adolescence.

I feel bad for these Divergent movies. They're a mess, mostly because the Veronica Roth books they're based on are a mess, too. I appreciate the attempt to try to make this world — an obliterated, totalitarian Chicago — as watchable as possible. But there's too much to keep straight.

Robert Schwentke is hardly what you'd term an actor's director, but then he's not much of an action director either. If he finds a few fleetingly inspired visual motifs in the film's CG-ridden, video-game finale, his sense of both space and pace remains terminally lacking.

The film seemingly has no idea what to do with its cast, opting to find actors of boilerplate attractiveness into already played-out scenarios of young-adult futurism.

Directed by action specialist Robert Schwentke ("Red," "Flightplan"), "Insurgent" surges along with capable set pieces but less meaningful human interaction than in "Divergent" ...In the end, the stage is set for Tris to lead the charge and save the world as the third book, "Allegiant," is split into two films. Much like Woodley herself almost singlehandedly saves these films from being just another overwrought dystopian nightmare.

Tighter, tougher and every bit as witless as its predecessor, "The Divergent Series: Insurgent" — the second segment in the cycle — arrives with a yawn and ends with a bang. In between, bodies run, leap and fall amid nuzzling lips, blasting bullets and periodic story turns that make the movie a modest cultural artifact if one largely devoid of aesthetic interest.

The nicest thing you can say about Insurgent is that no one involved in the making of it would test positive for the intelligent Erudites, but then author Roth has, perhaps out of spite, reframed smart as evil.

The freedom [of being a middle film in a series] often allows the filmmakers to indulge in the pleasures of discursive action, or focus on shading the characters supporting the whole franchise. And while Insurgent offers plenty of both, at no point do the material or the performances expand the series's canvass beyond what the first Divergent managed. If anything, it makes one furious Tris and Four didn't finish Jeanine off the first time around.

There's a new director at the helm — Robert Schwentke, who brings a flair for taut and flavorful action (as demonstrated in Flightplan and RED, if not R.I.P.D.). There's no question that the feature is a leaner, meaner affair than its predecessor. That's not enough, though, to counterbalance the often oppressive self-seriousness (though Miles Teller gives it a welcome shot) or to plaster over the holes in the premise.