Or seven if they do the profitable and familiar splitting of the last franchise (City of Lost Souls). Expensive and seem money-hungry but advisable especially where every loose end has to be knotted.
It's a whole, brave new world in Mortal Instruments; a whole new perspective; a whole new love - wait, uhm, a whole new perspective. The characters of Cassandra Clare are more mature, tolerant, and allow Russovoir to say, a literary nonconformist. Speaking for himself, blissful by ignorance of the books, the film has flavor that eschews predictability and cheesiness; instead, it envelops a fantastical fear, similar to the return of Voldemort, impatient how this existing presentation ends because it looks too screwed up to have a happy ending and Russovoir prefers happy endings and it felt like it's been running too long and why is it still interesting, have they revealed all six books, oh my god (breathe). That flush of anxiety and arguably a fanatic spasm, finally in relief the ending assures it's not the end of the complexity of their lives and those affected by it, is a confession that for six years (or seven), Russovoir's money is to their box office. It can only get more engrossing than this (reminder, The Hunger Games: Catching Fire this November; the second book).
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| "Bach is to demons what garlic is to vampires." |
New elements come to play (the symbols, the institution, the clave); new enemies (the Down World); new allies; and visual representations that could only come from Clare's counsel, Mortal Instruments: City of Bones, a decree by Russovoir, should be a concurrent phenomenon.
The plot is so captivating that what good acting maintained was forgotten, and bad acting forgiven - the spell of fresh storytelling.
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