The procedure of turning fantasy book series into blockbuster films has developed into a repeated routine. They begin with a screenplay that is as similar to the book as possible, then they pick a good director that can pick a good cast, sooner or later they hire a more professional director for the last movies. “The Divergent Series” has gone through this routine without any energy.
In “Allegiant,” Four’s mom Evelyn (leader of the factionless) wants to continue to keep the walls around Chicago closed and to bring justice to the former Erudites that helped Jeanine try to take over the city. Meanwhile Tris and a couple of her friends disregard authority by venturing over the wall. Their first surroundings were Mars-like and there was periodically red rain. Tris and her friends reach an advanced city where she meets David, an architect of her life, as she and her friends attempt to get used to the new society. Here Tris and her friends meet an ill-advised form of government which they embrace, then distrust and try to overthrow it.
For a growing series about breaking free from categorization, these films love to reject their casts forward momentum. For the third movie in a row, Peter tags along with the heroes, then turns selfish and helps the enemy. There are cool sci-fi effects, like mini drones that help characters in battle and perplexing imagery of a memory-erasing serum. However, “Allegiant” still ends up in Chicago with an exceptionally laughable final shot that actually alludes to another call to arms.
Perhaps this call will be responded to next time with suitable additional improvements to finally make a good “Divergent” movie. As a conclusion, though, this movie is not just following a routine, but it’s conscientiously adhering to a procedure formed to cancel out any good elements that get blended in there by mistake.