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 four films released annually between 2012 and 2015 present a dystopian near future dominated by class divides and its public’s insatiable appetite for violence and cheap thrills. It focuses upon Katniss Everdeen (Jennifer Lawrence) as she navigates her position as a tribute in the 74th Hunger Games in Panem, what was once North America, before winning and unintentionally becoming the face of a rebellion.

In the universe of the films, the Hunger Games are an annual televised event in which 24 participants (Tributes) are forced to fight to the death until one remains. This competition was enforced by the Capitol (the ruling power of Panem) after the 13 Districts of Panem rebelled against their power. As retribution, District 13 was annihilated, and the 12 remaining Districts must offer up their children into the Hunger Games as a reminder of the cost of insurrection against the Capitol.

One boy and one girl between the ages of 12 and 18 are selected from each District in a lottery system (the Reaping). They are paraded as if they are celebrities, dressed in high fashion, interviewed on mandatory viewing programmes, before being shipped into a custom-made themed arena in a battle that often lasts weeks.

The Victor is then bestowed a home, riches, and exemption from further participation in the Games, while their District receives additional food for the year following their victory. The Victor will then be placed into a pool of Mentors to support the future Tributes of their District as they navigate their own preparation for the Games.

The Quadrilogy follows Katniss primarily, as she wins her first Hunger Games and manages to survive her second until she is liberated by the Rebellion. Whilst this is ongoing, she is navigating complex relationships with Peeta Mellark (Josh Hutcherson), her two-time District 12 Tribute/Victor counterpart, and Gale Hawthorne (Liam Hemsworth), her childhood friend and closest ally in District 12. Meanwhile, she is trying to keep her family safe, primarily her sister Primrose (Willow Shields), and trying to escape any negative attention from her accidental enemy, President Snow (Donald Sutherland).

In this Movie List from The Film Magazine, we are evaluating the best moments across the four films that cover Katniss Everdeen’s journey from a District 12 Tribute to the figurehead of a revolution. We will be considering the moments that made our hearts stop and kept us on the edge of our seats as we attempt to outline what truly are the most iconic moments of the Girl on Fire and beyond. These are the 10 Best The Hunger Games Moments.

Follow @thefilmagazine on X (Twitter).

10. Katniss Adjusting Her Aim to Kill President Coin
The Hunger Games: Mockingjay Part 2 (2015)

The rebellion has ended with the underclass Districts triumphing over the might of the Capitol. The Government of Panem has been overthrown. The end of the Hunger Games, and the end of forced starvation and extreme poverty, is in sight. But Katniss is all too aware of what it has cost her, having witnessed the deaths of her squadron, including Finnick Odair (Sam Claflin) and brutally, in the last moments of the war, her little sister Prim (Willow Shields). The whole saga started with Katniss trying to save Prim from death, and despite it all she couldn’t save the person who mattered to her the most. Katniss has been charged with killing President Snow (Donald Sutherland), the now dethroned ruler of Panem. President Coin (Julianne Moore), the leader of the Rebellion and now assumed President, announces what is about to happen. Katniss pulls the single arrow from her sheath and takes aim at Snow, before quickly adjusting her aim and shooting Coin straight in the heart. She intends to kill herself with a nightlock pill (crafted from poisonous berries) tucked in her outfit, but Peeta (Josh Hutcherson) stops her in her tracks, allowing her capture and Snow to be torn apart by seething crowds.

This, as the end of the war, is what we’ve been waiting a long time to see. Katniss facing President Snow, finally with her in power. However, her previous discussions with him illuminate the pawn she has been for President Coin. Katniss begins to see that Coin is not trying to overthrow Panem for entirely pure reasons, she wishes for power and is willing to allow the Hunger Games to continue in a differing format. Katniss also comes to learn that Prim died in a trap placed by the Rebels, which also killed many Capitol children, seen as collateral damage by Coin. In this moment, Katniss finally reclaims the autonomy she lost as a pawn for both Snow and Coin. Whilst she becomes an enemy of the nation, Katniss knows she has avenged her sister and prevented another corrupt leader rising in Panem. Katniss never wanted to be the hero, but she still did it. This, Katniss’ final kill, represents the end of her journey as a warrior and a piece in their games. Katniss barely makes a sound, but the weight of her emotion is clear in every small movement she makes. She has nothing to lose, but might be able to change the course of the future with one final shot.

This moment makes the list because of how shocking it is, and the gravity of the situation itself. Katniss, a girl from the poorest part of a poor region, now stands before two Presidents as the most important person in the country. The culmination of the series must be represented in the top 10, only hindered by how much we’ve lost to get to this point, and how painful it is to see Katniss ready to die after losing Prim.

9. Finnick Odair’s Death
The Hunger Games: Mockingjay Part 2 (2015)

In one of the scariest moments of the franchise, Katniss and her elite Capitol invasion squad have descended below the streets of the city to avoid ‘pods’ (traps intended to kill advancing rebels) and increased Peacekeeper (Capitol soldiers) presence. However, the sewers and tunnels beneath the city are not without danger. Snow-white humanoid lizard beasts (created by the Capitol) pursue the group, soon decimating them as they attempt to flee via tight, dark sewer tunnels. Our heroes make a last stand as they attempt to climb out of the sewers, with Katniss and Finnick (Sam Claflin) leading the charge as the most skilled combatants. Finnick manages to save Katniss and takes out countless Mutts as the others escape, ultimately throwing his trident straight through a Mutt to save Katniss as she ascends the ladder. Armed only with a knife, Finnick makes it to the ladder before being dragged underwater to be massacred. Katniss activates a detonation sequence in her Holo (a map loaded with sensitive Capitol info) and uses it to kill Finnick and the Mutts.

Katniss having to mercy kill Finnick is yet another traumatic moment for her and the audience. Finnick’s death represents the hopelessness of the group’s Capitol mission. Finnick is the Victor amongst Victors, beloved by all and a larger-than-life personality. Katniss lied to make this mission happen, and she sees Finnick’s death as yet another that she caused, another weight for her to bear. It could have been avoided if she had only stuck to her original orders of avoiding live combat, but she wished to be the one to kill Snow no matter what. Finnick’s death cuts deep as, by this point, we know he has married his childhood sweetheart, and that in his years post-victory of the Hunger Games he was sex-trafficked by President Snow. He was presented as a symbol of success amongst the Districts but treated only as a plaything by those in charge.

This scene is so iconic for many reasons, the pure shock of Finnick’s death when he has become one of the most beloved characters and revealed many new layers of vulnerability throughout the franchise. As an audience member, you just want to see Finnick finally live a quiet life with his wife, however it is snatched away in a particularly horrifying manner, allowing him no reprieve from the non-stop torture he has faced since the age of fourteen. Finnick’s death remains one of the biggest talking points of the franchise many years on.

Recommended for you: 10 Best Twilight Moments

For this Movie List of the 10 Best Films of 2021, I wanted to focus on some of the smaller and more underappreciated movies that didn’t get a large marketing budget. Be warned: as this has been a tough and depressing year, and this list has been written by someone whose favourite artist is Phoebe Bridgers, the entries on this list might bring about deep sadness.

Follow the author of this article, Annice White, on Twitter @annicewhite_.

10. Two of Us 

Starting off this list is a film centred on the somewhat homophobic trope that same sex relationships can never truly be happy.

Nina (Barbara Sukowa) and Madeleine (Martine Chevallier) have been living together in secret for years, just as Pam and Terry did in a favourite of 2020 A Secret Love. Their families think they are just ‘friends’ who live across the hall from each other. When Madeleine becomes ill and her family no longer wants Nina around, their relationship is tested.

Two of Us is a different take on the ‘family doesn’t know about us’ trope. Rather than being a classic “mum, dad, I’m gay”, the film explores serious inequality issues faced by the LGBTQ+ community. Nina is not permitted to look after her partner or even see her. The film shows intimacy between two women: the relationship is clearly not sexless, something which cinema seems to shy away from.

Two of Us hopefully shows how LGBTQ+ movies are broadening out the scope of issues they explore. Or, at least, we can dream.

9. The Mitchells vs. the Machines

The Mitchells vs the Machines works like a fun animated version of a ‘Black Mirror’ episode. It is an absolute joy of a film; perhaps the only joyful film on this list.

Katie (Abbi Jacobson) is an aspiring filmmaker ready to go off to college to get away from her overbearing and anti-technology father. While the family are on an uncomfortable road trip to California, a new AI robot Pal (think Siri) voiced by Olivia Colman, decides it has had enough of being told what to do and looks to take over the world. When Katie thinks she knows a way to stop the robots, the family decide to carry on their road trip and save all of humanity.

The Mitchells vs the Machines follows a typical ‘must save the world’ narrative but this is not necessarily something to be critical of. It is a wonderful film to be enjoyed by all the family, ingrained LGBTQ+ elements being welcomed inclusions.

Supernova (2020)
Director: Harry MacQueen
Screenwriter: Harry MacQueen
Starring: Colin Firth, Stanley Tucci

“Being sad something is gone just means it was great whilst it was there.” 

A middle aged couple set off on a long road trip to see important places from their past, all the while learning to adapt as one of them is suffering from the ever evolving complications that come from living with dementia. Supernova highlights the importance of companionship and the power of family that is required when one is most at need. 

Two years after Tusker (Stanley Tucci – The Devil Wears Prada) is diagnosed with Early-onset Dementia, he and husband Sam (Colin Firth – The Kings Speech) set off on a road trip around the UK in an old camper van with their friendly dog in tow. Along the way they visit places they had been in the earlier days of their relationship, and reflect on the happy memories they have made. Subtle hints towards the ever-progressing illness that Tusker is suffering from are present from the start and grow to be more troublesome when they make a pit stop at Sam’s sister’s house for a few nights stay. Tusker had put together a surprise Birthday party for Sam and had intended to make a speech in which he would thank him for all he does for him, a moment that should have been romantic and emotional but turns out to be the latter for entirely the wrong reasons. Tusker stands to make the speech and, due to his illness getting the better of him, he loses his confidence and asks Sam to read it for him. Sam reads the speech out loud to all their closest friends and family in a beautifully captivating moment, Firth shining in a spine-chilling read that showcases his character’s sheer fragility. It’s a key example of Firth’s strength in a subdued but utterly captivating overall performance; one that sees the Oscar winning actor grow into a pained man, Firth exemplifying not only the hurt that Sam must be going through but the inner strength it takes to love and care for a deteriorating partner. This turning point in the story, when Tusker first admits defeat, spins the whole film on its head and truly drives home the darkness awaiting the loving couple down the road.

Supernova is broken down into three distinct acts, starting with the pure ambiguity of the situation and plot reflecting exactly how emotionally charged the film is. There is a clear unknown regarding the couple’s future, and entering the second act – when they arrive at Sam’s sister’s house – they start to understand what they’re going through and how they’re not tackling it alone. The third act leaves them both with decisions to make, simultaneously together and independently – it’s simply stunning screenwriting from Harry MacQueen, who also excels at directing an intimate screen portrait of love and loss between two middle aged people.

Set against the breathtakingly beautiful backdrop of the Lake District, Supernova shows how despite both men having successful careers – Sam a highly celebrated concert pianist and Tusker a best selling author – and a healthy lifestyle, dementia can affect anyone. Sam and Tusker had their entire future taken away from them in a way that, devastatingly, so many viewers will be able to relate to. 

There are many beautifully comedic moments from both lead performances throughout the film that reflect the personality of the two main characters; the film’s witty, charming dialogue aiding the layered performances from both Firth and Tucci who show an immense on-screen chemistry from the opening to the closing shots. Giving a career best performance, Tucci’s ability to showcase the ever growing struggle from the point of view of someone who is still in the position of knowing exactly what is happening to them is inspired; subtle yet brutally honest. 

Supernova’s long takes and autumnal colour palette make for a cosy and warming film; one that is superbly written, directed and performed, all the while reminding each of us that sometimes having a companion is the most important thing in the world. 

22/24

Easy A (2010)
Director: Will Gluck
Screenwriters: Bert V. Royal
Starring: Emma Stone, Stanley Tucci, Patricia Clarkson, Thomas Haden Church, Penn Badgley, Amanda Bynes

Easy A, loosely based on “The Scarlet Letter” – an American literary classic which often does the rounds in popular culture as a means of discussing women’s place in society – tells the tale of Olive Penderghast (still a rising star, Emma Stone), a virgin high schooler who lies about having sex with a boy from community college then finds herself ‘selling’ similar lies for her classmates. While the boys who claim they’ve slept with her gain respect and confidence, Olive is left literally wearing a bright red letter A; ostracised and very much out of her depth.

From the second Easy A begins, it tries very hard to make sure the viewer doesn’t think they’re watching just another teen movie. And teen movies seem to be director Will Gluck’s thing. John Hughes references come thick and fast. Olive refers to films neither she nor half her audience would have been born to see the first time around. Olive is reminiscent of Juno, 10 Things I Hate About You’s Kat Stratford, and Booksmart’s Molly and Amy. She is a witty, whip smart, beautiful, adorable pinch of rage who knows that high school is just a gateway to bigger and better things. Supposedly 17 in Easy A, Stone went on to play essentially the same character in adult form, Hannah, in Glenn Ficarra and John Requa’s Crazy, Stupid, Love just one year later.

There are many tropes that will leave you paddling in safe water – unmitigated levels of attractive people in their thirties playing teenagers; a love interest who’s both intense and sensitive; an evangelical Christian group with a guitar; a house party inexplicably held in a mansion; teachers dating students; supportive and hilarious parents. By acknowledging the steadfast rules of a teen comedy, Gluck is able to play around and bend some of the rules.

Olive is in charge of narration which allows for snappy lines and insight that dialogue would not have allowed for. Her declaration over webcam was a fitting comment on the rise of social media at the time, too. If it was released today, she’d have chosen TikTok.

The cast is great, the script fast paced enough to iron over the few weaknesses, and Malcolm McDowell as the grumpy headmaster is an inspired casting choice. Olive’s parents are Eugene Levy level funny, sympathetic, and easy going. All the best lines are gifted to Stanley Tucci, and he delivers with a glint in his eye. Nothing says loving father like a proud Tucci affirming that you could be ‘a stripper for governors or athletes’.

It’s certainly not a romantic comedy in the traditional sense. Olive isn’t driven by romance. A poignant scene in the canteen shows that she might actually want to date, but her inevitable boombox moment is a happy coincidence rather than her only purpose.

It has been ten years since Easy A was first released. Positively received by critics and audiences at the time, it has aged pretty well. So many popular teen films, including some of the John Hughes films Olive loves, don’t quite survive the watchful modern eye. If you can see past the 6-inch stilettos Olive is somehow allowed to wear to school, and the completely unbelievable notion that Emma Stone could be a ‘plain Jane’, then it is absolutely worth a watch.

18/24

Written by Martha Lane

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Twitter – @poor_and_clean

As a huge fan of Disney fan and the original 1991 animated Beauty and the Beast, I went into the cinema for the live action version feeling a little sceptical. I grew up with the original and it is the epitome of a Disney classic, so I was rather protective of its legacy. However, after only a few minutes of the film being on screen my concerns were gone. I thought that Disney really worked their magic in their live action version of The Jungle Book but, for me, Beauty and the Beast really knocks it out of the park. This version is filled with the sort of nostalgia any Disney fan can enjoy and really does justice to the original in how it embodies the magic of its predecessor.

I am going to try and keep this review as spoiler free as possible.

As far as the story goes this version kept very true to the original, and it kept many of the most iconic scenes such as the ballroom scene, Gaston’s tavern and the final battle pretty much the same, only tweaking them ever so slightly. As can be expected there were some plot points added to the live action version as the film was two hours long compared to the seventy minute animated original. Don’t let the idea of additions to the story put you off though, if anything they only added more depth to the beloved story. It allowed for more complex character development, especially with characters such as La Fou who was a elevated from his status as sidekick to Gaston, to a fully developed character by the film’s end. We also get to see the relationship between Belle and Beast develop in a more complex and subtle way, and were really encouraged to grow to love Beast as Belle does, avoiding the often rushed romances of the Disney classics. One thing this version of Beauty and the Beast does so well is that it answers questions that the original does not; we get more backstory and more history. For example, without giving too much away, we get to see who the Prince was before the curse and we find out the reason for why he was not such a nice person. We also get to find out why Belle’s mother is not around and we get a glimpse of why Beast’s servants have stayed loyal to him all these years.

The way the characters are presented in the film is particularly great; their likeness to its animated twin is just close enough without losing every sense of originality. Every character’s traits seem to be amplified in this version – for example: when Gaston is funny, he is funnier, and when he is evil, he is more evil. Belle is also portrayed as stronger and more practical. She is an inventor, she is outspoken and she can stand up for herself. This is only amplified by small details such as how she wears trousers under her dress so that she can hitch up her skirt while walking or riding her horse. The triumph of the characters however comes down to the casting, which in my opinion could not have been better.

At first I had my doubts about Emma Watson playing the iconic Disney Princess as I could not get her performances as Hermione Granger out of my head, and initially I was worried that this would effect my viewing of this film. I am pleased to say that she did an excellent job of bringing Belle to life, as did Dan Stevens for Beast. The supporting cast were also excellent: Ewan McGregor as Lumiere, Ian McKellen as Cogsworth and Emma Thompson as Mrs Potts had such great chemistry it would be difficult not to feel joy when their characters were on screen. The stand out however was Luke Evans as Gaston, as he managed to perfectly embody everything that Gaston is, from the delivery of his lines and facial expressions to his interaction with Josh Gadd as La Fou, he really did justice to this classic Disney Villain.

As with any Disney film the music is spectacular; it includes all the songs from the original plus a few new numbers that hold their weight against the classics. Disney legend Alan Menken leads the way once again when it comes the the score and musical numbers, and he does a fantastic job once again. They have managed to breathe new life into the songs that people know so well without changing them so much they’re off-putting or easily rejected. Ewan McGregor’s rendition of “Be Our Guest” is one to particularly look forward to. The new songs also fit into the story nicely. “Evermore”, performed by Dan Stevens, is my personal favourite. Not only is this a rare occasion where we get a solo song from a Disney Prince, but it also adds a new level of emotion to Beast as a character. It is without a doubt that from the opening note of the iconic score in the prologue, the music adds to the overall nostalgia that brings back fond memories of the animated classic.

The overall visual presentation of the film is absolutely stunning, and while the majority of the visuals rely heavily on CGI effects, the animating team must be commending on their outstanding attention to detail. This is particularly evident in the reimagining of the cursed furniture in the castle, in particular Lumiere and Cogsworth, as their design is incredibly intricate and beautiful, and the human features are not as obvious as their animated counterparts, an element of the animation I feel works to enhance rather than diminish the impact of their characters. The castle itself  is also noteworthy in how it is incredibly ornate, creating a magical surrounding fitting for the story and the expectations of many a fan of whom would have carried the same levels of intrigue as I had. The one scene that stood out in the animated original was the famous Ballroom dance scene and therefore this version had a lot to live up to. In my opinion, it exceeded all expectations. From Belle’s infamous yellow gown and the beautiful dancing to “Tale as Old as Time”, this version gave us a scene that was just as stunning as the original.

Perhaps the largest criticism that can be levelled at the film is that it will likely divide audiences. I found the dialogue to be a little forced and unnatural in places, and while Emma Watson was by no means a bad singer, she certainly wasn’t as a strong as the rest of the cast in this regard. Perhaps most importantly, the amplifying of cartoon characters for live-action could be met with criticism, though I would argue that it serves the story well and it shouldn’t be expected that a Disney animation remake should be the place for serious and subtle performances.

Overall, I thoroughly enjoyed Beauty and the Beast. It was visually pleasing and full of nostalgia for any Disney fan, but above all fun. Watching it in the cinema reignited my love for the songs, the story and for the original animated film. It is a great example of how Disney consistently manage to muster their now somewhat trademarked emotion and magic and makes me excited for the other live-action remakes that Disney have lined up. If they are as magical as Beauty and the Beast, we shall not be disappointed.

18/24

Spotlight (2016)
Director: Tom McCarthy
Starring: Mark Ruffalo; Michael Keaton; Rachel McAdams; Liev Schreiber; John Slattery; Stanley Tucci.
Plot: The true story of how the Boston Globe uncovered the massive scandal of child molestation and cover-up within the local Catholic Archdiocese, shaking the entire Catholic Church to its core.

It is often said that for a drama to be truly impactful it must be relevant to the contemporary landscape of its culture and be of exceptional quality. What Tom McCarthy and company have created is just that; a tour de force of shock, horror, empathy and emotion that engages in a way that goes beyond the cinema and into the dark reaches of your thoughts before bed. Spotlight may well be the greatest of all of 2016’s Oscar nominated movies.

Based on the true story of the Boston Globe newspaper’s uncovering of a mass of child molestation in Boston’s Catholic Church, this Josh Singer (The Fifth Estate) and Tom McCarthy written movie presents the journey of four of the newspaper’s journalists, known as the ‘spotlight’ team, as they search for facts and tackle legalities in their pursuit of informing the public of the 7o-plus high ranking church members who molested local youths. It is both a moving and thought provoking destination piece that doesn’t get bogged down in personal stories (love interests, personal distress, and so on) but instead focuses entirely on the story that is being uncovered and the ways in which the Pulitzer Prize winning team come to get it out to the public. Although a dismissal of the personal with regard to any drama’s story telling would usually lead to a complete lack of connection between a movie and its audience, Singer and McCarthy have cleverly constructed a screenplay that feels so communal that you can’t help but to will on its heroes whilst knowing very little about them simply because you want the truth to be outed as much as they do; because you want the faceless villains of the piece and those who protected them to be exposed. In correspondence with this, the script is air tight with almost zero occurrences of time wasting or gap filling that I could argue should have been left on the cutting room floor, making for a tense and thrilling watch without seeming overly long courtesy of a stretched run-time that could have become exhausting given its demand on the viewer, as was the case with its Oscar nominated counterpart The Revenant.

Perhaps just as intelligently, McCarthy’s team selected an ensemble cast of top actors and recognisable faces that helped to make each of the characters feel identifiable beyond the limits of the incredibly focused script, and every one of them delivered work of the highest quality.

The Oscar nominated Mark Ruffalo was the movie’s standout performer, delivering a performance that was a transformation from many of his usual characters yet remained in the confines of believability. The most impressive aspect of his portrayal was the alteration to the rhythm of his speech as it made the usually tonal Ruffalo sound like a completely different person. This, when combined with his off beat twitches and stutters, presented a reporter who was borderline obsessed with his investigation and entirely married to his work, and was without a doubt the best supporting performance I’ve seen out of this year’s Supporting Actor nominees (including Tom Hardy whom I found to be incredibly good too).

Rachel McAdams and John Slattery both gave typically good performances without being stand-outs, while Michael Keaton was very good in his identifiable yet authoritative role as the leader of ‘spotlight’. It was, however, the work of Liev Schreiber and Stanley Tucci that truly grabbed my attention beyond that of Mark Ruffalo, as each man delivered subtly courageous performances in roles with little screen time that worked to entice and provoke an emotional attachment to the wider themes and stories of the movie that go beyond that of the uncovering of the script’s centerpiece tragedy. Tucci’s character was written in such a way that his lovable and identifiable star persona was in keeping with, and was played with the subtlety it required. What Schreiber offered as a strong-willed yet incredibly polite and quiet man was almost entirely different to those roles he has excelled in, in the past. This made for a surprising and admirable performance that helped to boost the quality of the film as an overall presentation and ultimately made his character, who could have been vilified in the script and most certainly will be vilified by portions of the audience opposed to the themes of the film, a likable and respectable character; something that helped to keep the focus of the script’s criticisms on that of the Church and its unlawful members as opposed to Schreiber’s ‘outsider’ character.

Much of the quality of the finished film has to go to its authorial director who was clearly involved in most of the major aspects of the movie. McCarthy, whose back catalog includes the critically panned ‘The Cobbler’ starring Adam Sandler, handled the severity of the true story with humility and respect both in his writing and in his presentation of the picture, and he undoubtedly got the best out of his talented cast. Even in moments of nostalgia, such as how journalists had to work with archivists instead of accessing old press clippings and reports over the internet in 2001, McCarthy was subtle enough to not present this in such a way that made you smile at how far we’ve come or long for those ‘good old days’ to be back, but instead used them only to illustrate how much more difficult the characters’ tasks were at the time. Similarly, the way he handled the movie’s timeline crossing the events of 9/11 was respectful yet remained out of the main focus of the movie and was evidence of a focused and inspired filmmaker making some of his best work.

Perhaps just as importantly, the director’s collaborators seemed to be entirely dedicated to his message and the true story they were presenting. Boston looked beautiful, the office settings looked used and creative, and the actors themselves were dressed and ‘designed’ in such a way that made each of them different to their usual selves while not overstepping the mark and taking attention away from what was being produced. Similarly, the score was somewhat subtly remarkable, issuing reminders of the evocative story rather than provoking emotion on its own. These things, and the ways they were put together by the director, made for a surefire Oscar nominee that I can only liken in its evocative nature and overall quality to The Theory of Everything from 2015’s Oscar Race.

In general terms, this film’s large and culturally significant scope of tackling Pedophilia in the Catholic Church was eye opening and obviously of incredible importance to those not yet knowledgeable about such matters, and while criticism is bound to be fired at it for its rather one sided presentation and the ways in which it comes to be a message of vilification regarding the entirety of the Catholic Church and not just the actions of those in the Boston area over the quarter century between 1975 and 2000, Spotlight must be considered the best of all of this year’s Oscar front-runners in most categories for its combination of respect, humility and passion in all sectors, with fantastic career defining performances in front of the camera and some sensational work behind the camera. Tom McCarthy’s Spotlight is impactful and moving, and certainly one of the best movies released this decade.

23/24

A Little Chaos (2014)

Plot: Sabine De Barra is chosen by landscaper André Le Nôtre to work as a landscape gardener at the Palace of Versailles.

Director: Alan Rickman

Cast: Kate Winslet, Matthias Schoenaerts, Alan Rickman, Stanley Tucci, Helen McCrory.

The film is set in 16^th century France during the age of absolutism under the reign of Louis XIV (Alan Rickman). The king gives André Le Nôtre (Matthias Schoenarts) a vital task: to build the new gardens of the Versailles Palace that will show the power and strength of France to the entire world. In order to do so, Le Nôtre has to choose a landscape gardener that will have to carry out the project. At this point in the story we meet the troubled but lovely and honest Sabine De Barra (Kate Winslet), whose talent will almost immediately capture the master’s attention and things will turn out unexpectedly.

The characters in this film were all equally interesting and Alan Rickman’s performance as both actor and director was compelling. I was looking forward to watching this film not only for the story but also for the cast, and I was particularly curious to watch a film directed by Alan Rickman because I kept wondering if he would be as good of a director as he is an actor. I must say that I wasn’t disappointed. Still, I would definitely suggest that Alan Rickman should keep being an actor instead of a director, he wasn’t bad at all but I think that acting is his main talent – his portrayal of Louis XIV was different from the way you would aspect an absolute monarch to be portrayed, especially in the sequence in the garden, when he talks to Madame De Barra and asks her advice. I won’t share much more about it, but it was undoubtedly one of my favourite scenes. I will just say that he seemed devoted and kind.

Kate Winslet is also a remarkable and versatile actress. I enjoyed watching her in this film: she was exactly as good as I expected, considering that almost all the films in her past acting career were successful and involving. As Sabine De Barra she gives a remarkable insight into the character’s mind and feelings; her distress and sadness caused by shocking past events that still haunt her.

André le Nôtre is brilliantly portrayed by Matthias Schoenaerts. I’ve seen him in other films and he’s always quite fascinating and intriguing – I enjoy watching his films and this one was no exception. André seems an honest man committed to the king and the task he has been given. He lives with a selfish wife Madame Française Le Nôtre who is not capable of  love; she’s just cold and cruel, and she keeps playing with other people’s lives (especially André’s). She seems to see him and treat him just like an object and she expects him to behave and act as she commands him to. André is not of the same opinion, of course, as he’s a strong man who knows what he wants. The scenes between Matthias Schoenearts and Helen McCrory were few but intense and important, as I believe they revealed a lot about both characters’ inner selves and intentions. Another meaningful moment was the first dialogue between Sabine and André at the beginning of the film, although they always shared meaningful moments and their dialogues were enjoyable so it’s a bit difficult to narrow them down.

Overall the film was very good, compelling, interesting and original. The writers were quite imaginative and clearly put a lot of effort into this project. Nevertheless, there are a few things that I didn’t quite like. For example, the film seemed a bit slow and maybe too long; the story wasn’t all that complicated so I think it could have been managed in less screen time. Some moments are too slow and don’t seem to get to the point immediately. And, I personally found the dancing scene at the end of the film a bit over the top – I just think it was a bit too much – although the French Court was famous for its excess and ostentation. You could also easily tell that A Little Chaos wasn’t filmed in France but I guess in the end that wasn’t a really big fault.

I really liked this film and I certainly recommend that anyone who is interested in French history should watch it. Even though it’s not a biopic or a historical film, I still found it interesting. It was a watchable and enjoyable film.

16/24