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Wait, what? Isn’t it supposed to be the other way around? It certainly was with 2012’s “The Hunger Games,” an acceptable but impersonal big-studio adaptation of Suzanne Collins’s hit young-adult novel. As is often the case, that first film was cautiously directed (by Gary Ross) in order to protect the hoped-for movie franchise and attendant profits.

Mission accomplished, and with the sequel, the gloves come off. “The Hunger Games: Catching Fire” is a muscular, engrossing, unexpectedly bleak epic of oppression and insurrection, directed with dramatic urgency and a skilled eye by Francis Lawrence (“Constantine,” “I Am Legend”). Set in the fascist future state of Panem, the movie takes pains to show its young mass audience what living under a totalitarian dictatorship might look and feel like. But the sharpest aspects of “Catching Fire” — the parts that sting — play as an allegory for today. Very few people will take in this spectacle of a society amusing itself to death, of “reality games” and the vapid media hysteria that surrounds them, and not draw a parallel to our own televised bread and circuses. At its best, “Catching Fire” is a blockbuster that bites the culture that made it.