In the modern cinematic era, the franchise film is front and center. Regardless of quality, remakes, reboots and sequels ascend towards box office dominance. Cash hungry studios tend to milk well-known media brands to capitalize on their popularity. Disney’s live-action remakes, ranging from serviceable to completely lifeless, are a prime example.
When “The Hunger Games” prequel was first announced, I was hesitant to get my hopes up. Although I thoroughly enjoyed the books and films as a kid, not all franchises have the legs for a second life — especially young adult adaptations. The film, adapted from Suzanne Collins’s 2020 novel, “The Ballad of Songbirds and Snakes” (see our book review), proves the series has some fire left in the tank. Its dynamic lead performances, strong technical production and meandering script make for a solid but overstuffed return to Panem.
“The Ballad of Songbirds and Snakes” takes place 64 years before Katniss Everdeen volunteers as tribute, following the early years of Panem’s eventual tyrannical ruler, Coriolanus “Coryo” Snow (Tom Blyth). When tasked with mentoring District 12’s Lucy Gray Baird (Rachel Zegler) for the 10th annual Hunger Games, Coryo sees a chance for a change in fortune. Among Capitol politics and a budding romance, he is forced to confront his fiery ambitions.
Blyth, who was relatively unknown prior to the role, does a great job inhabiting the twisted evolution of a young President Snow. He portrays Coryo as a genuinely likable and charismatic protagonist — a necessary and powerful way to set up the film’s devastating but inevitable conclusion. There are glimpses of darkness sprinkled throughout the narrative that build upon each other to the bitter end. He dips into softness, anger and wisdom, culminating in an inviting yet intimidating performance.
Lucy Gray is a bubbly, charming and scrappy performer. The film makes excellent use of Zegler’s singing ability, with several songs scattered throughout. She’s also the most emotionally compelling character and the easiest to root for. At just 22 years old, Zegler is undoubtedly a star in the making.
The costume design and score were, in Hunger Games fashion, expectedly well done, but the production design impressed me the most. I’m delighted that director Francis Lawrence used fleshed-out, tangible sets instead of opting for green screens and overdone visual effects. The film benefits from allowing its actors to interact with their surroundings. The cinematography isn’t anything special, and the color palette possesses the typical dystopian dullness, but a handful of well-shot action sequences piqued my interest.
The supporting performances from Hunter Schafer, Peter Dinklage and Viola Davis are well-executed but underserved. They play a significant role in Coryo’s arc but don’t get enough screen time to feel truly developed, emphasizing the film’s most blatant issue.
Even at a whopping 157 minutes, the film is glaringly overstuffed. Juggling the mentorship competition, an entire arena battle royale, a romance arc and Coryo’s villain evolution, there isn’t enough time to fully develop the story.
The third act, which is primarily focused on the aftermath of the games, felt particularly rushed. It goes from an adrenaline-pumping, high-stakes competition to a toned-down, wandering character study. Plot points and character progressions occur so rapidly that some of Coryo’s decisions feel unwarranted and out of nowhere. The ending made sense, but it wasn’t quite as satisfying or earned as I would’ve hoped. Though I understand why they didn’t opt for a two-parter, I think the film could have benefitted from it.
While it’s not the best entry in the “Hunger Games” saga, “The Ballad of Songbirds and Snakes” is a well-acted dystopian thriller with charming leads and an admirable production. Despite the film’s flaws, I’m glad this franchise stuck around and I look forward to any future installments.
