The Hunger Games: The Ballad of Songbirds and Snakes takes us back to the world of Panem and reminds us why audiences fell in love with this franchise.
Years before he becomes the authoritarian president of Panem, 18-year-old Coriolanus Snow (Tom Blyth), remains the last hope for his fading lineage. With the 10th annual Hunger Games fast approaching, the young Snow becomes alarmed when he’s assigned to mentor Lucy Gray Baird (Rachel Zegler) from District 12. Uniting their instincts for showmanship and political savvy, they race against time to ultimately reveal a songbird and a snake.
The Ballad of Songbirds and Snakes features more music than the previous installments as it’s an integral part of the film and one of the characters. I found myself pleasantly surprised with the quality of the songs, especially the raw emotion and execution from the brilliant Rachel Zegler that brings out the desperation of Lucy Gray’s world. Some are ballads and they hold so much emotion that hit me hard with the way she sold it – her voice deep, full of hurt, and that strives to live. Others feel more festive, and enlightening, and hold more of the joy that this series needs. The execution of the songs holds the dramatic personality that I expected her to have, which was a choice for the film.
The orchestra work holds so much magic to it – ominous percussions, strings that give haunting energy, and a destructive presence that matches the ferocity of Panem. It’s matched well with shots, engaged with sound effects that unleash the full force they were aiming towards, and adds that ambiance to the film and makes it shine.
There is a lot of strong work from the cast and the movie thrives well on the choices they made in the casting. Viola Davis is deliciously wicked, taking her anger from roles and refining it into a sinister discomfort, threatening gestures, and a menacing mean streak that fits beautifully for a primary antagonist. Several of her exchanges send chills down your spine and her wicked-looking nonverbal moments are just cold and callous. Tom Blyth was the perfect choice to play a young Snow. Blyth portrayal is on point, poised, calculated, and yet vulnerable. It’s all in his demeanor and the way and the way he delivers those lines. You can say what you want about Rachel Zegler, but she is perfect and accomplishes a lot with Lucy Gray’s portrayal. She is fiery, passionate, a flair for song, compassionate, and cunning.
The cinematography was spectacular, brilliantly finding angles this movie holds so much masterful crafting of that Hunger Games energy as the 10th game begins. Shadowed filters and pressing shots give the sparse and depressing world an even grander perspective, hope slipping away in that manner Collin’s is clever in writing. The menacing glares and uncertainty shine in the eyes, the viciousness in the Capital kids’ sneers, and just how much the shadows of impending doom settle all over Panem’s misery. The action sequences also hold some perspective that captures the feeling of the games, each contestant getting some dynamic shot that only elevates the suspense Collins was building towards.
It is not the most action-packed game that we have seen, nor is it the most suspenseful, but it does its job of setting the stage for the rest of the story. I will say this it was vicious with some well-laid-out action shots while also providing that sinister nature of the arena that it needed. The reactions from the mentors helped give it that unique feel when their tribute fell to the destructive ploy of the Capital.
The world of Panem is beautifully brought back to life, with the same touch of genius the first movie held. With a fantastic use of of real-life with CGI, the movie can create colossal arenas with the feeling of terror to them, build cities and classrooms of elite status, and nightmarish labs that hold the darkest aspects of the games. The forests, mills, hills, and more are all beautifully integrated, helping balance the majesty with the elite to the simplicity of the pain. The costumes also help sell the status of the tributes, each one holding a characteristic or qualm that only further plays the part and adds to the world.
Overall, The Ballad of Songbirds and Snakes is strong in so many ways to create the perfect theater experience. Everything is beautifully designed, with the movie focusing so much attention on the details of the landscape, the feel of the games, and the immersion into the world of Panem’s earlier years. There is so much emotion, acting, songs, and camerawork that help bring out Collin’s descriptions, and does its best to unleash the fury of the snakes and the beauty of the songbirds without getting lost in the emotion. Action sequences get some added details and the songs help get the characters the rebellious streaks. However, I do feel like this movie could have been split into two parts but I understand why they didn’t, and the movie still has enough bite and gust to bring you into the theater.
The Hunger Games: The Ballad of Songbirds and Snakes is now playing in theaters
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