Perhaps in a few years’ time, when the Department of Public Health has ground every individual under its heavy boot, America will look back at “Songbird” and wonder why no one listened. Maybe the film, directed and co-written by Adam Mason, will end up being prophetic. The problem with “Songbird” lies in almost everything after that rudimentary premise. The format has produced some noteworthy films (“Short Cuts,” “Magnolia,” “ Crash”) and could have been an effective angle to reflect a current moment in society across social spectrums, especially something like a historic pandemic that affects everyone. stories” and marries it with a post-apocalyptic setting. It essentially takes the subgenre of “interconnected L.A. All of these stories crash into each other when Sara is reported as being infected, soon finding herself in the crosshairs of the militant Department of Sanitation and its eccentric leader (Peter Stormare).Īt its most basic, “Songbird” isn’t a bad idea. Griffin’s cheating doesn’t upset his wife, Piper (Demi Moore), as much as his trips outside that risk exposing their immunodeficient daughter (Lia McHugh). Griffin (Bradley Whitford) is having an affair with a young musician (Alexandria Daddario) who live streams her performances to her adoring fans. On the other side of town, wealthy record executive Mr. He’s in love with Sara (Sofia Carson), despite the fact that they’ve never been in the same room together because she’s not immune and lives in lockdown with her grandmother.
Apa) is an “immuney” working as a courier for Lester (Craig Robinson), biking all over L.A. Those who are immune to the virus operate as a servant class outside of those zones, while the wealthy elite live their privileged existences sequestered in their expensive fortresses. “Songbird” takes place in Los Angeles 2023 in a world where COVID-19 was never effectively treated and camps are filled with people who were forcibly rounded up because they may be infected. It achieves the bare minimum by being professionally edited, sufficiently lit and correctly framed. “Songbird” is a morally reprehensible film along these same lines that has no real saving grace beyond the occasional good shot by cinematographer Jacques Jouffret, a few decent tracks in an otherwise mediocre score by Lorne Balfe, and performances by actors (who should honestly know better than this) trying their best with awful material. There have been many scandalous films that defy basic morality by indulging in tacit endorsements of violence, animal cruelty, racism, misogyny and other things that are tough to watch as a viewer.
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