The Hunger Games: The Ballad of Songbirds and Snakes (2023)
Director: Francis: Lawrence
Screenwriter: Michael Lesslie, Michael Arndt
Starring: Tom Blyth, Rachel Zegler, Hunter Schafer, Josh Andres Rivera, Peter Dinklage, Jason Schwartzman, Viola Davis

Everyone loves a good origin story. Whether that origin story is worth telling is a different matter entirely.

When The Hunger Games was released more than a decade ago, its massive success (both with fans and at the box office) opened the floodgates for countless other young adult dystopian adaptations. We got The Mortal Instruments, I Am Number Four, Ender’s Game, Divergent, The Fifth Wave, and The Maze Runner, all of which failed to garner the same praise as The Hunger Games had. Though this trend didn’t make it out of the mid-2010s alive, The Hunger Games series has continued to endure thanks to the quality and consistency of the performances, writing, directing, and production design across all four films. Its themes of war, rebellion, oppression, and the power of love, are more timely than ever.

It was inevitable that Hollywood would eventually circle back to The Hunger Games, especially considering the new trend that has emerged in recent years: nostalgia. In the years since The Hunger Games series ended, Star Wars, Harry Potter, and Ghostbusters have all been resurrected to varying degrees of success, each new entry seemingly struggling to justify its reason to exist. But The Hunger Games: The Ballad of Songbirds and Snakes somehow manages to escape the same fate. Based on the 2020 prequel novel of the same name by “The Hunger Games” author Suzanne Collins, the film stands on its own, reigniting the same spark that made the original films so popular, without ever using those films as a crutch.

In Songbirds and Snakes, we return to the world of Panem 64 years before Katniss Everdeen stepped into the arena. The country is struggling to rebuild following the war, the dark days are barely behind them. The Hunger Games is in its 10th year, but Head Game Maker Dr. Volumnia Gaul (Viola Davis) is struggling to figure out how to get people to keep watching her sickening reality show. Amid this, a young Coriolanus Snow (Tom Blyth), years before he will become the powerful and cruel dictator we know him to be, is desperate to save his family from financial ruin. Though his father helped to create The Hunger Games, his suspicious death left the family penniless. Coriolanus lives in a constant state of possible eviction with his grandma’am (Fionnula Flanagan) and older cousin Tigris (Hunter Schafer), who will go on to become a stylist for the games and later an ally to Katniss in the resistance against The Capitol.

At the academy, Coriolanus is informed that there will be one more test before graduation: seniors must become mentors in the upcoming games. “Your job is to make them into spectacles, not survivors,” Dean Highbottom (Peter Dinklage) tells them. Coriolanus ends up being paired with Lucy Gray Baird (Rachel Zegler), a fiery tribute from District 12 and member of the Covey, a traveling musician troupe. Lucy Gray doesn’t have much in the way of fighting skills, but she is a performer and the arena becomes her stage. She also has a habit of slicing snakes on people that have wronged her. When Coriolanus and Lucy Gray form an unexpected connection, he ends up risking everything to make sure she makes it out of the games alive, but the threat of rebellion in the districts and Coriolanus’ ambition begin to tear them apart.

Songsbirds and Snakes works for a couple of different reasons, chief among them being the fact that almost the entire production team behind The Hunger Games returned to make it. Francis Lawrence, who took over for The Hunger Games director Gary Ross with Catching Fire (2013) and stayed until the end of the series (2015), returned to direct, along with producer Nina Jacobson. Returning production designer Phillip Messina and cinematographer Jo Willem manage to recreate the look of the original series to ensure that it feels as though no time had passed between the final instalment and this prequel, while still giving the film its own visual flair. While The Hunger Games is not tame by any means, the luxury and gloss of The Capitol’s state of the art technology gives everything a glossy sheen. In Songbirds and Snakes, everything is primitive and wild: the arena is a crumbling concrete dome, there is no late night talk show, no fancy training center or tribute living quarters, everything feels rough and unpolished and ten times as dangerous. The color pallet, although reminiscent of the original films, is decidedly darker. The production and costume designers took obvious inspiration from the 1940s, and particularly Nazi Germany, especially in regards to the battle rifles used. While The Hunger Games used analogue technology as a jumping off point for its futuristic designs, Songbirds and Snakes takes that to another level. It’s easy to see how this Panem will eventually becomes that one, decades later. The film is one of those rare big-budget spectacles that actually looks as expensive as it is.

The Hunger Games succeeded in part because the novels were adapted with care, the filmmakers making sure to keep important details and characters and moments that made the story work in the first place. The narrative wasn’t tossed into a blender and then thrown up on screen. Suzanne Collins’ rich world building remained in tact throughout the four original films, and the same goes for Songbirds and Snakes. Every film in the original series is nearly 1 to 1 to its novel counterparts. Fans eager for another faithful adaptation will not be disappointed. Songbirds and Snakes stays almost entirely true to the spirit of the novel.

Despite the pressure of being the first entry in a widely popular franchise in nearly decade, Songbirds and Snakes is not trying to replicate the story beats of The Hunger Games. Suzanne Collins crafted an intriguing origin story for her main villain, and that is partially responsible for this, but the filmmakers can also take credit as they didn’t feel the need to replicate moments from the original series or reference characters and events that haven’t happened yet (in the timeline of their in-film world). The closest they get to a wink and a nod is when Lucy Gray tells Coriolanus that the plant she’s holding is Katniss. Of course, those looking to have a little bit of the original series injected in their veins will not be disappointed either. Composer James Newton Howard knows exactly when to employ his Mockingjay theme. The structure of the film is also different and not just a carbon copy of the previous films, which almost always ended in the arena or in some type of explosive battle. Songbirds and Snakes takes the opposite approach. The first half of the movie is spent preparing for and executing the games, with the latter half dedicated to the unravelling of Coriolanus and Lucy’s relationship. Although, the movie does lose some steam once the games are over.

As far performances go, Songbirds and Snakes has a strong main cast that helps elevate the material and convey the complex inner lives of our characters even when it’s not necessarily found on the page. In addition to an impeccable American accent and a really good blond wig, relatively unknown English actor Tom Blyth manages to step into the shoes previously worn by the prolific Donald Sutherland with ease, although he doesn’t quite have Sutherland’s flair for the dramatic. But he’s just as charismatic to watch, and although he makes the character his own, it is not hard to believe that he is the younger version of a character we already know. He has a similar face and a similar voice, but there’s a hint of humanity in him that he has all but abandoned when we see him in The Hunger Games. In Songbirds and Snakes, there’s a vulnerability to him, but there’s also a darkness lurking just below the surface and Blyth balances that very well. Rachel Zegler is perfectly cast as Lucy Gray, brimming with charm and confidence. It should be no surprise that Zegler has a fantastic voice, thanks to her screen debut as Maria in Steven Spielberg’s West Side Story. Josh Andres Rivera is an absolute scene stealer as Sejanus Plinth, classmate of Coriolanus whose sympathy for the rebel cause becomes his ultimate downfall, and Hunter Schafer, who burst onto the scene as Jules on the HBO series “Euphoria”, is enchanting as Snow’s cousin Tigris, although her talent does feel wasted on such a small part. Jason Schwartzman (Asteroid City) is absolutely hilarious as Lucretius “Lucky” Flickerman, first television host of the games and presumed relative of Caesar Flickerman, who was played by Stanley Tucci in the original. His one liners in the midst of children killing each other highlights just how crass and and out of touch the people in The Capitol are. His performance never feels forced or over the top, as Tucci’s sometimes did.

All in all, Songbirds and Snakes is a worthy entry into The Hunger Games canon, offering a rich and intriguing peek into the past. It’s not as emotionally satisfying as the original series, but with only one film as opposed to four, that’s a difficult height to reach. Still, in an industry overrun with remakes, prequels, sequels, and reboots, Songbirds and Snakes understands how capturing the magic of a series so many already love is easy, you just have to tell a really good story.

Score: 22/24

The ceremony will seemingly go ahead, despite TV network NBC dropping it from their schedule. This decision followed a controversial report about the awards that revealed that there were no black people included in the 87 members of the HFPA. This is the body of journalists that vote at the awards. This shocking lack of diversity resulted in many celebrities shunning the show, including Tom Cruise who handed back his three Golden Globes.

Additionally, a report by the L.A. Times implied corruption within the association and suggested that voters were often bribed by production companies. The example given was when voters were flown to Paris by Netflix to coincide with the release of the streaming service’s series ‘Emily in Paris’. Despite the show’s mixed reviews, ‘Emily in Paris’ received two nominations including Best Television Series – Musical or Comedy.

Following the controversy, the HFPA have recruited 21 new members that are predominately diverse and made its existing members take diversity and equality training. A chief diversity officer has been appointed in addition to a partnership with National Association for the Advancement of Colored People (NAACP) to ensure an awards ceremony more representative of the diverse talent that makes up the film industry.

Typically the Golden Globes mark the beginning of awards season, being the second biggest ceremony behind the Oscars. However, it remains to be seen what impact the upcoming event will have with no network to air on and likely little fanfare from the nominated talent.

The nominations themselves seek to highlight the top films of the year. The most nominated films for the 2022 ceremony are Sir Kenneth Branagh’s drama Belfast and Jane Campion’s gripping western The Power of the Dog. Both films are nominated for 7 awards, including Best Motion Picture – Drama and Best Director. Belfast has already picked up some significant awards including the People’s Choice Award at the 2021 Toronto International Film Festival. The Power of The Dog meanwhile continues Netflix’s trend of releasing award show juggernauts, with previous efforts including The Irishman and Roma. 

Behind these two are the star-studded Don’t Look Up, Will Smith vehicle King Richard, Paul Thomas Anderson’s love letter to 1970s L.A., Licorice Pizza, and Steven Spielberg’s first ever musical, West Side Story. Each have been nominated for 4 awards.

The winners will be announced on the 9th January 2022.

The nominees in film for the 2022 Golden Globes are:

BEST MOTION PICTURE – DRAMA
Belfast
Coda
Dune
King Richard
The Power of the Dog

BEST MOTION PICTURE – MUSICAL OR COMEDY
Cyrano
Don’t Look Up
Licorice Pizza
Tick, Tick … Boom!
West Side Story

BEST DIRECTOR
Kenneth Branagh (Belfast)
Jane Campion (The Power of the Dog)
Maggie Gyllenhaal (The Lost Daughter)
Steven Spielberg (West Side Story)
Denis Villeneuve (Dune)

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BEST ACTOR – DRAMA
Mahershala Ali (Swan Song)
Javier Bardem (Being the Ricardos)
Benedict Cumberbatch (The Power of the Dog)
Will Smith (King Richard)
Denzel Washington (The Tragedy of Macbeth)

BEST ACTRESS – DRAMA
Jessica Chastain (The Eyes of Tammy Faye)
Olivia Colman (The Lost Daughter)
Nicole Kidman (Being the Ricardos)
Lady Gaga (House of Gucci)
Kristen Stewart (Spencer)

BEST ACTOR – MUSICAL OR COMEDY
Leonardo DiCaprio (Don’t Look Up)
Peter Dinklage (Cyrano)
Andrew Garfield (Tick, Tick … Boom!)
Cooper Hoffman (Licorice Pizza)
Anthony Ramos (In the Heights)

BEST ACTRESS – MUSICAL OR COMEDY
Marion Cotillard (Annette)
Alana Haim (Licorice Pizza)
Jennifer Lawrence (Don’t Look Up)
Emma Stone (Cruella)
Rachel Zegler (West Side Story)

BEST SUPPORTING ACTOR IN A MOTON PICTURE
Ben Affleck (The Tender Bar)
Jamie Dornan (Belfast)
Ciarán Hinds (Belfast)
Troy Kotsur (CODA)
Kodi Smit-McPhee (The Power of the Dog)

BEST SUPPORTING ACTRESS IN A MOTON PICTURE
Caitríona Balfe (Belfast)
Ariana DeBose (West Side Story)
Kirsten Dunst (The Power of the Dog)
Aunjanue Ellis (King Richard)
Ruth Negga (Passing)

BEST SCREENPLAY
Paul Thomas Anderson (Licorice Pizza)
Kenneth Branagh (Belfast)
Jane Campion (The Power of the Dog)
Adam McKay (Don’t Look Up)
Aaron Sorkin (Being the Ricardos)

BEST ORIGINAL SCORE
The French Dispatch (Alexandre Desplat)
Encanto (Germaine Franco)
The Power of the Dog (Jonny Greenwood)
Parallel Mothers (Alberto Iglesias)
Dune (Hans Zimmer)

BEST ORIGINAL SONG 
“Be Alive” (King Richard)
“Dos Orugitas” (Encanto)
“Down to Joy” (Belfast)
“Here I Am (Singing My Way Home)” (Respect)
“No Time to Die” (No Time to Die)

BEST MOTION PICTURE – ANIMATED
Encanto
Flee
Luca
My Sunny Maad
Raya and the Last Dragon

BEST MOTION PICTURE – FOREIGN LANGUAGE
Compartment No. 6 (Finland)
Drive My Car (Japan)
The Hand of God (Italy)
A Hero (Iran)
Parallel Mothers (Spain)

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West Side Story (2021)
Director: Steven Spielberg
Screenwriter: Tony Kushner
Starring: Ansel Elgort, Rachel Zegler, Ariana DeBose, David Alvarez, Mike Faist, Rita Moreno, Brian d’Arcy James, Corey Stoll

It was one heck of a challenge to attempt to match Robert Wise and Jerome Robbins’ 1961 film adaptation of Leonard Bernstein and Stephen Sondheim’s stage musical West Side Story. If there was one director up to the task it was filmmaking heavyweight for our times Steven Spielberg, and he’s managed to bring all his usual grand sweep and attention to detail to bear in this, a film that is undeniably his vision of this iconic Broadway show.

In 1957 a gang war rages between the white Jets and the Puerto Rican Sharks in the Upper West Side of New York City. Amidst increasingly violent fighting for rapidly shrinking territory as the neighbourhood is torn down for new urban development, former Jet member Tony (Ansel Elgort) and the sister of the Sharks leader Bernardo (David Alvarez), Maria (Rachel Zegler), fall head-over-heels in love with each other.

West Side Story is famously a riff on Shakespeare’s “Romeo and Juliet”, the story of forbidden love between warring houses. It is made relevant for the modern age by rooting it in a specific time, place and culture, and makes for one of the darkest and most violent song and dance shows out there.

Spielberg may have delivered his particular take on most film genres over his storied 50 year career, but this is his first proper musical; the closest he’d previously come to doing one was probably the dance number in the opening scene from Temple of Doom. Not that his talent or versatility was ever in doubt, but Spielberg is able to draw from some very strong material to begin with. Bernstein’s orchestration is always going to send your heart soaring and set your feet tapping, Sondheim’s lyrics will always wow with their dexterity and cleverness. Match the right voices to belt out the tunes and you’re on to a real winner straight out the gate.

Rachel Zegler is a real find, and delivers an attention-grabbing and layered performance in her film debut as Maria. Ansel Elgort seems to take a little more time to find his feet as Tony, but certainly grows into the role from the magical moment when the central pair first meet. The standouts in the vibrant ensemble are undoubtedly Ariana DeBose as Maria’s formidable friend Anita, Mike Faist’s emotionally raw Jets leader Riff and the original film’s Anita, Rita Moreno, in a very poignant and surprisingly meaty new role surely destined for awards recognition.

The most striking image in a film full of striking images (courtesy of Schindler’s List and Saving Private Ryan DP Janusz Kamiński) is undoubtedly the two gangs approaching each other for their prior-agreed rumble for territorial control in the city salt storage warehouse, shot from above so the exaggerated shadows both groups cast look like two German Expressionist hands reaching out to meet each other.

The brawl that follows this stylish lead-in bears no relation to the dance-fighting in the same sequence in the original film. This is down and dirty, nasty gang violence between teenagers prepared to maim or kill each other out of ignorance and anger, justified or not.

There is a definite aesthetic shift after the muted colours of the film’s prologue introducing the gangs and the idea that their turf will soon be no more once the area is gentrified and the Lincoln Centre (ironically, a performing arts venue) is completed. The transition is signposted most notably by the dance hall sequence where the Jets and their partners are dressed in shades of blue and their Shark counterparts are in oranges and reds, their competitive dancing coming together in the centre of the hall, giving the appearance of water dousing fire. From here, the visuals become more theatrical and full of metaphorical imagery – people considering themselves and their future in reflective surfaces and water, literal barriers between lovers touching, draped fabric in symbolic colours.

The best sequence in the film (no change from the 1961 version) is the American Dream-mocking, prejudice-skewering extravaganza “America”. Switched up from taking place on a rooftop to the busy streets of the San Juan Hill neighbourhood, “America” is not the only number that has been smartly re-staged by Spielberg, screenwriter Tony Kushner and their collaborators. The scathing but comic “Gee, Officer Krupke” is now performed in lockup, the uplifting “I Feel Pretty” is restored to the pallet-cleansing position it occupied in the stage show and now takes place in a department store being cleaned at night, and Rita Moreno is bequeathed the tear-jerker “Somewhere” to hugely moving affect when paired with her character Valentina’s revealed backstory.

The original film was quite rightly criticised for casting non-Latino actors in the Sharks roles, caking everyone (including the few Latino performers like Rita Moreno) with brown makeup to better fit ethnic stereotypes. Everyone is appropriately cast here and the Puerto Rican characters naturalistically flit between speaking English and Spanish in domestic settings, the Spanish mostly left untranslated but the meaning always clear from context.

One aspect of the story really emphasised in this new version is that this is a conflict between kids from a place but with nowhere to go versus kids adjusting to a new home with their families at their back. The Jets appear to live their lives on the streets with no other concerns, whereas the Puerto Ricans, particularly the women, all hold down employment to pay their way in their new country. One group is trying to get on with their lives and look to the future, the other is stuck in the past and can’t see far enough to blame anyone but the newcomers for the sad state they find themselves in.

Steven Spielberg’s West Side Story wows, updating the more tired tropes and adding grit (and dramatic heft) without losing any of the musical’s energy or heady romance. Those particularly attached to the choreography, the staging or the performances of the original might find themselves predisposed to compare the two films and the different choices that were made, but if you go in with an open mind and allow yourself to get lost in the sheer majesty of the thing you’ll leave shiny-eyed and with many wonderful tunes going around your head for days.

22/24