The Mitchells vs. the Machines (2021)

Tags

Animation, Comedy, Family, Sci-fi

(I almost decided to skip this last day of NaPoWriMo, being late once again, but it’s still April 30 on the West Coast, I suppose. The last prompt of April was for a poem giving directions, so mine is meant to lead to a happy family.)

There are many forks to family,
Where the road splits east and west,
Every one a chance to grow a bond
Or leave it cold and unexpressed.

Will you raise your voice or calm it,
Eye your child or your phone,
Repeat the things they want to hear
Or speak opinions of your own?

Take a left at dream-supporting,
Take a right at honesty,
And the forks will prove a straighter line
Than anyone on earth can see.
_____________________________

MPA rating:  PG

Rarely do I watch a Netflix movie so soon after it is released, but I’ve been eager to see The Mitchells vs the Machines ever since it was known as Connected and supposedly coming out last year as a non-Netflix movie. And I don’t mind it being sold to a streaming giant (thanks again, COVID) since it allowed me to watch a fantastic movie from the comfort of my home. The warm-hearted, hyperkinetic love child of Gravity Falls writers (Mike Rianda, Jeff Rowe, who also directed together), The Lego Movie’s producers (Christopher Lord, Phil Miller), and Into the Spider-Verse’s animation company (Sony Pictures Animation), The Mitchells vs. the Machines is an animated blast making full use of the talents behind it.

On the surface, The Mitchells vs. the Machines could easily have lapsed into one-note laziness, its plot boiling down to “dysfunctional family must deal with robot apocalypse.” On top of that, it really does embrace a ton of cliches, from the stressed father-daughter relationship, to the main character’s “I’m different from everyone else” monologue, to the villain saying “I already have” when they’re told they’ll never get away with it. It’s really a testament to the writing that the film is so consistently hilarious and the characters so well-realized that its strengths completely outshine the apparent weaknesses.

Honestly, this movie made me laugh harder and more often than any other in recent memory, thanks to its sly repeated gags, social commentary, and cultural self-awareness. I have long been a fan of Gravity Falls so it’s about time its writers were given an even bigger budget with which to play. My love for animation was further fed by the wondrous 2D-3D mix that Into the Spider-verse pioneered; it’s not quite as frenetic as that film’s comic book extravagance (which I think is a good thing), though it still includes imaginary, sketch-like flourishes to highlight how the movie-loving Katie Mitchell sees the world. Plus, the soundtrack is awesome, culminating especially in the action climax.

Abbi Jacobson does a fine job as Katie, but Danny McBride as her dad, Maya Rudolph as her mom, and Olivia Colman as the AI taking over the world are pitch-perfect casting. (Rudolph’s Linda Mitchell also gets the greatest mother beast mode scene in film history.) And as I said, the script is filled with huge heart to go with its constant jokes, stressing the power of familial bonds and subverting the usual trope of only the parent needing to grow to improve the strained relationship. I can’t wait to see The Mitchells vs. the Machines again, and I sincerely hope this creative team can deliver more gems like this one.

Best line: (Katie, after her dad locks the car doors) “Yeah, that’ll keep the robots out.”
(Dad) “Hey, you don’t know. Maybe locks are the robots’ weakness.”
(Mom) “Guys, can’t we all just be terrified together as a family?”

and

(Dr. Mark Bowman, the Steve Jobs-ish creator of the AI) “I’m sorry about causing the whole machine uprising. It’s almost like stealing people’s data and giving it to a hyper-intelligent AI as part of an unregulated tech monopoly was a bad thing.”

Rank:  List-Worthy

© 2021 S.G. Liput
731 Followers and Counting

Over the Moon (2020)

Tags

Animation, Comedy, Musical

(For Day 15 of NaPoWriMo, the prompt was to detail a habit picked up from a parent, which brought to mind the mooncake tradition in this film.)

I’d watch her in the kitchen,
Covered in a coat of flour,
Every movement sending clouds to scatter more.
She’d stuff the dough with filling,
Working hour after hour,
Leaving powder-stenciled footprints on the floor.

She taught me how to do it,
Find a rhythm and a cadence,
Every batch a surging wave to tempt the tongue.
She’d tell me ancient stories
Filled with animals and maidens
That thrill me still, though I am not as young.

I stand here in the kitchen,
With a flour layer ghostly
And form them each according to her spec.
They bear the same ingredients
And taste the same… well, mostly,
If only she were here to double-check.
__________________________________

MPA rating:  PG

With China becoming an ever more important market for films, Chinese culture has grown more prominent in the world of animation. Some are products of China itself (Ne Zha, Jiang Ziya), while others are the result of collaborations between Chinese and American studios, such as DreamWorks’ Abominable and last year’s Netflix-produced Over the Moon, both the work of China’s Pearl Studio. As a family musical with flights of fancy and relatable themes, Over the Moon has earned many comparisons with Disney movies, and while I wouldn’t go quite that far, it’s a quality film worthy of its recent Oscar nomination for Best Animated Feature.

While set in modern times, the story has deep roots in Chinese mythology, particularly the legend of Chang’e, the moon goddess who was separated from her lover Houyi when she took two pills of immortality and was flown to the moon with a Jade Rabbit. After learning and loving this legend, young Fei Fei (Cathy Ang) loses her mother early in the film (in true Disney fashion) to illness and is horrified when her father (John Cho) begins dating another woman (Sandra Oh) with a troublemaking son named Chin (Robert G. Chiu). In an effort to prove Chang’e is real for her mother’s sake, Fei Fei builds a rocket to the moon and, with Chin, encounters the moon goddess herself (Phillipa Soo of Hamilton).

While Over the Moon has a lot of the same ingredients as Disney classics (including direction by Disney animator Glen Keane), it doesn’t quite meet that hard-to-reach standard for me, whether because the songs are good but not great or because its tone often comes off as a “kids movie” rather than one for all ages. There’s certainly fun to be had with the eye-popping colors of the lunar city Fei Fei visits, and Soo as Chang’e herself is excellent playing the goddess as a pop star diva. And despite my earlier dig, the film actually has some surprising depth by the end concerning the pain of losing a loved one and how to move on. A poignant scene with a crane seeming to represent Fei Fei’s dead mother brought to mind how my own family takes comfort in the sight of a cardinal for similar reasons.

I guess the biggest problem for western audiences is perhaps not understanding the cultural and mythological basis of Over the Moon, making certain creative choices (giant frogs on the moon?) seem strange and random without context. I would recommend this video as a companion piece to the film; it actually increased my opinion of the movie and its many culturally authentic details that I as an American wouldn’t immediately understand. (For example, Chang’e is still so associated with the moon that China’s lunar landers are named after her, with rovers named after the Jade Rabbit. Plus, I had no idea what a mooncake was before this movie, but now I’m curious to try one.) In some ways, I could compare Over the Moon with The Polar Express as a smile-worthy journey to prove the existence of a mythological figure, but the 2020 film has enough colorful charm and cultural identity to stand on its own.

Rank:  List Runner-Up

© 2021 S.G. Liput
728 Followers and Counting

Ocean Waves (1993)

Tags

Animation, Anime, Drama, Romance

(The prompt for Day 3 of NaPoWriMo was to create a “Personal Universal Deck” of self-descriptive words, so I tried to come up with some word impressions for the characters of a lesser Ghibli film.)

Waves on the beach,
Wisdom to teach,
Woman and leech,
Scorning my speech.

Waves on my mind,
Wicked and kind,
Who she maligned
Is no longer blind.
__________________________

MPA rating:  PG-13 (for thematic material, very little objectionable)

I love so many Studio Ghibli films, but there are a few gaps I’ve been trying to fill, lesser-known works that have slipped through the cracks. Ocean Waves is one of them, an early ‘90s TV film based on a novel that was meant to give the younger animators a chance to show their stuff. It’s one of those subdued high school stories with a melodramatic love triangle that isn’t bad but can’t escape an overall dullness.

Told largely in flashback, the tale follows Taku as a high schooler who learns his friend Yutaka has a crush on a new girl named Rikako, and Taku is soon pulled into her life and drama more than he expected or wanted. My mom initially didn’t like Forrest Gump because of the way Jenny treated Forrest, and Rikako is in a similar mold. She manipulates, lies, uses people, and barely shows any remorse, yet her actions are eventually viewed with fondness. A high school reunion near the end hits some excellent nostalgic poignancy, but the main two characters aren’t exactly typical romance material, to the point that some have said the two male friends have more chemistry than the central “couple.”

Again, Ocean Waves is well-animated and not terrible, but it’s low-tier Ghibli with very little personality of its own and many tropes that have been done much better elsewhere. In fact, my favorite Ghibli film Whisper of the Heart has a lot of the same ingredients (high school love triangle, boy and girl who dislike each other at first) and yet has so much more character and passion to it. Perhaps Ocean Waves was just the warm-up.

Rank: Honorable Mention

© 2021 S.G. Liput
722 Followers and Counting

Soul (2020)

Tags

Animation, Comedy, Drama, Fantasy, Pixar

(The prompt for Day 1 of NaPoWriMo was to write something perspective-challenging based on a surreal jazz music video. I thought that the jazz and a change of perspective would apply well to Pixar’s latest film.)

Would the world appear different behind different eyes?
Before or behind them – which matters the most?
How much of his life can a man criticize
Before it’s reduced by his deep-rooted roast?

I’d hate to have nothing to show for my time,
My effort, my busyness spent every day.
If mountain views aren’t at the end of the climb,
Why struggle and strive to reach only half-way?

If I could fulfill all the hopes I once dreamed,
If I could be him or be her or do that,
Perhaps the time wasted could still be redeemed,
A medal to earn in life’s mortal combat.

How foolish, however, to think that my worth
Depends on a goal that can move as I near it!
How mindless to plan upon riches on earth,
No thought for what nurtures my soul and your spirit.

The climb can be tedious staring ahead,
A rock wall in front and a far distant peak,
But spare a glance round at the background instead
And find where you never considered to seek.
_____________________________

MPA rating:  PG

Thanks to a certain virus and the advent of Disney+, I was thankfully able to watch Pixar’s latest film from the comfort of my couch right at the tail end of 2020, though I would have gladly gone to a theater for it if one had been open. With Pixar’s diminishing creative trend over the last decade, I wasn’t sure where Soul would land among their undeniable classics and good-not-great outings, but I was thrilled to join the general consensus in deeming it the former.

The first Pixar film with an African-American protagonist, Soul follows pianist and middle school music teacher Joe Gardner (Jamie Foxx) as he manages to earn the jazz gig of his dreams and then promptly die, which isn’t a spoiler strangely enough. Appearing as a blue blob on his way to the Great Beyond, he escapes into an in-between realm where unborn souls are prepared before going to earth. He is paired with an uncooperative soul called 22 (Tina Fey), with whom he questions the meaning of his life and existence.

That last bit may sound overly heavy for a “kids movie,” and indeed Soul doesn’t seem designed for kids, with its middle-aged main character and existential questions of life and death. Director Pete Docter has explored weighty concepts before in Up and Inside Out, but other elements of those films seem clearly geared for a young audience. More than any other Pixar film, Soul seems especially mature, not in content, but in theme, while still retaining a likable sense of humor, and I personally love and admire animated films that can pull off such a tonal balance successfully.

The plot itself stays unpredictable and throws in some thought-provoking concepts without much time to consider all their implications, later utilizing them in surprising ways, much like Inside Out did. The animation is yet more evidence of how Pixar is leaps and bounds ahead of its CGI competition, full of textured backgrounds, hyper-realistic lighting, and amazing fluidity, such as the shifting forms of the charming Picassoesque entities named Jerry in the “Great Before.” And then there’s the music, both snappy instrumental jazz and a gorgeous score by Trent Reznor and Atticus Ross, which is almost a character in itself as Joe’s creative passion.

I can’t say Soul is perfect, since it does have some unaddressed plot holes and oddly stops short of explicitly affirming Joe’s job as a teacher, which I think would have been a nice touch similar to Mr. Holland’s Opus. Nevertheless, Pixar excels in its dramatic gut punches, and Soul absolutely delivers those moments, from relatable reconciliations to noble sacrifice, and succeeds in conveying a life-affirming message that doesn’t come off as trite or recycled. Since it hasn’t happened for a Pixar film in a decade, I was really hoping that Soul would snag a Best Picture nomination, but alas, that didn’t happen (though it was nominated for Best Animated Feature, Score, and Sound). While I would have liked perhaps a more religious view of the afterlife, Soul remains general and accessible enough in its spirituality to appeal to all audiences, and its message of valuing life’s little moments ultimately meant a lot to me.

Best line: (musician Dorothea Williams, to Joe) “I heard this story about a fish. He swims up to this older fish and says, ‘I’m trying to find this thing they call the ocean.’ ‘The ocean?’ says the older fish. ‘That’s what you’re in right now.’ ‘This?’ says the young fish. ‘This is water. What I want is the ocean.’”

Rank:  List-Worthy

© 2021 S.G. Liput
721 Followers and Counting

2020 Blindspot Pick #4: Pom Poko (1994)

Tags

Animation, Anime, Comedy, Drama, Fantasy

Nature weeps “Farewell”
As mankind bids it “Hello.”
Neither understands.
_____________________

Some may look at the fact that I’m only reviewing #4 of my list of 12 Blindspots for the year in October as a sign of being way behind and perhaps despair because of it. I prefer to think, “Wow, I’ll have such a great sprint of good movies around the holidays!” Either way, I’m finally returning to my Blindspot series with Studio Ghibli’s Pom Poko.

I’m very fond of the majority of the studio’s work, including the heartrending Grave of the Fireflies from the same director, but Pom Poko has never gotten much of a spotlight. Even in montages of various Ghibli movies, Pom Poko is pretty much relegated to one notable scene: a comical battle between two warring tribes of tanuki (Japanese raccoon dogs), which happens to be one of the very first scenes in the film. The rest of the movie was a mystery to me, so I was quite curious to see the rest of the story. Now that I have, I can see why it’s counted among the B-list of Ghibli classics, with the studio’s trademark charm and weirdness being overextended by length and repetition.

From the humorous battle scene on, the film often plays like a mythological nature documentary, explaining the many eccentricities of tanuki pulled straight from Japanese legend: their mischievous antics, shapeshifting abilities, penchant for parties, belly drumming, and…um, their prominent testicles. Yeah, more than anything else, that last point is probably why Pom Poko never hit it off in America. Folk tales tell of the many uses tanuki have for their shapeshifting male parts, and the movie runs with that (the English dub using the euphemistic “raccoon pouch”) as they’re shown expanding their “pouches” into parachutes and weapons. Just writing this feels bizarre, but hey, myths can be weird, especially considering raccoon dogs are a real species.

As with many other Ghibli films, the story is an environmentalist fable, detailing the loss of the tanuki’s forest habitat as man and technology encroach further and further. (I find it interesting that the comic strip Over the Hedge debuted just a year after this film with a similar basic premise.) Much of the movie is spent with the creatures attempting to fight back, leading to some highly entertaining sections where they use their supernatural abilities to scare the unsuspecting humans away. However, from the moment they realize mankind’s threat to the point of no return, there are far too many scenes of the leaders debating their strategy, weighing their options, and trying the same things repeatedly. At nearly two hours, I felt like the film could have easily shed a half hour with little loss.

Director Isao Takahata, Miyazaki’s compatriot in heading the studio’s early releases, won my heart with Grave of the Fireflies, but nothing quite compares with that tragic masterpiece. Pom Poko is at least a visual treat, and the character animation swings wildly in depicting the tanuki as realistic animals, anthropomorphic bipeds, or cartoony caricatures, depending on the mood of the scene. The English dub (which Americanizes the tanuki as just “raccoons”) also boasts a talented voice cast, including Jonathan Taylor Thomas, Clancy Brown, Maurice LaMarche, Tress MacNeille, and J.K. Simmons.

Aside from Spirited Away, Pom Poko might be the Ghibli film most wedded to Japanese culture; one extended scene has a master tanuki conjuring a horde of illusory yokai (Japanese spirits) to scare the humans, referencing stories that are no doubt far more familiar to Japanese audiences than Western ones. Plus, despite its cartoonish aspects, its themes and a few story elements are geared for somewhat older audiences compared to the more kid-friendly Ghibli options. Pom Poko is weird, overlong, creative, frequently delightful, wacky, and even bittersweet by the ending. It’s not likely to become a favorite, but I’m glad to have seen another entry from a legendary studio.

Best line: (Narrator, with a line you’ll never find in any other film) “They used their balls as weapons in a brave kamikaze attack.”

Rank:  Honorable Mention

© 2020 S.G. Liput
701 Followers and Counting!

I Lost My Body (2019)

Tags

Animation, Drama, Fantasy, Foreign, Romance

A hand without a body or a man without a hand –
Which would be more piteous or prone to reprimand?
The hand is guiltless, lacking fault; its owner bears the blame
Of entering a situation liable to maim.
The hand is helpless, lacking mind; its owner bears the thought
That they may wish to clap and clasp two hands and yet cannot.
The hand is listless, lacking will; its owner bears the task
Of moving on and living life behind a fragile mask.

The former owner bears so much, yet his lot I’d prefer
Than that poor hand that cannot even know how things once were.
Pity the hand but love the stump and all to it attached.
At bouncing back from tragedy, we humans are unmatched.
____________________________

Rating: TV-MA (should be PG-13)

I take the Best Animated Feature Oscar perhaps more seriously than others do. After superb anime films like Your Name or Maquia have been spurned in recent years, I take notice when the Academy deems other foreign films worthy of the honor of nomination. The seventh French production to earn such a nomination was last year’s I Lost My Body, a strangely poetic meditation on loss that happens to involve a severed hand.

At first, we don’t know how the severed hand came to be, though; the film starts out with the appendage “waking up” in the macabre fridge of a hospital and figuring out how to walk and jump with its fingers, like a more mobile Thing from The Addams Family. Cut then to the past and sullen pizza delivery guy Naoufel (Dev Patel in the quite good English dub), whose childhood of joy and trauma is recounted in flashback throughout the film. In failing to deliver a pizza, he becomes acquainted with a librarian named Gabrielle (Alia Shawkat) and takes up a job as a woodworker to get closer to her. Edited into this more grounded story, Naoufel’s future hand (which is evident from a scar they both have) makes its way across Paris in search of its owner.

It’s hard to call any movie about an animate severed hand anything but strange and morbid, but I Lost My Body treats it as an extended metaphor, which, as I said before, grows surprisingly poetic, heightened by a memorably haunting score. The close calls of the hand’s travels across a dangerous urban landscape provide thrilling visuals, while Naoufel’s struggles offer bittersweet human drama. Naturally, the film’s ultimate lead-up is to how the hand and its owner were separated, which is both cringeworthy and deeply symbolic.As an art film that happens to be animated, I Lost My Body’s main drawback for me is how open-ended it is, not offering much closure beyond what viewers choose to interpret. What does the hand represent? It’s up to you, I suppose. At one point, Naoufel is criticized for not knowing another character is sick and accused of not truly caring; the film never mentions it again, so I guess the film doesn’t care much either. Despite this, I’ve often said that I enjoy animations that can delve into mature themes without wallowing in mature content, and I Lost My Body fits that laudable mold. Amid last year’s nominations, Missing Link was the weak link that should have been replaced last year, preferably with Weathering with You; while imperfect, I Lost My Body is a worthy nominee.

Best line: (Gabrielle) “Once you’ve dribbled past fate, what do you do?”
(Naoufel) “You try to keep away from it. You run blindly… and keep your fingers crossed.”

 

Rank: List Runner-Up

 

© 2020 S.G. Liput
697 Followers and Counting

 

Frozen II (2019)

Tags

Animation, Comedy, Family, Fantasy, Musical

I wish life were more like the movies that end with a swift fade to black,
Where characters make their departures while still in their glory and prime,
Where stories have definite endings and rarely, if ever, come back.
(Unless they accumulate money; then it’s only a matter of time.)

I wonder sometimes where my own life would warrant a “Cut!” and a “Print!”
I’m working my way to a climax, that’s hopefully not when I die.
I wonder if I’m stuck in filler and wish God would give me a hint.
I trust that I’ll know when I see it and hope that it will satisfy.
_______________________

MPA rating: PG

I liked Frozen when it came out in 2013. It’s on my Top 365 movie list. I watched it in the theater and still think “Let It Go” is one of the best movie songs from the last decade. Yet I did put it on my Top Twelve List of Overrated Movies, not because it was bad but because it was overexposed. Disney milked the merchandise so much that it was hard to tell whether the Frozen products ever really went away before the Frozen 2 merch took their place. So it’s easy to believe that Frozen 2 was made solely with profit in mind, but even if that’s the case, it deserves a fair shake and appraisal on its own merits. And I must say I enjoyed this sequel about as much as the first. Like its predecessor, it’s not above criticism, but it’s an enjoyable return to the franchise.

Peace has returned to Arendelle with Elsa (Idina Menzel) as queen, but a strange voice reaches out to her, drawing her to the enchanted forest to the north. And, of course, sister Anna (Kristen Bell), her boyfriend Kristoff (Jonathan Groff), Sven the reindeer, and Olaf the snowman (Josh Gad) are right at her side. The plot of Frozen 2 seems to be the aspect most criticized, and indeed it is rather convoluted with flashbacks, mysteries, and vague explanations that can boil down to a single line of dialogue and thus aren’t answered as clearly as they could have been. Even so, cheap cash-ins don’t usually have this kind of laudable ambition, so I still appreciated how the world and lore of Frozen were expanded, even if its parallels to real-world issues are a bit half-baked. Oh, and did anyone else think the ending is suspiciously similar to Ralph Breaks the Internet? Just sayin’.

But come now, who watched Frozen for the plot? “Let It Go” was clearly the biggest draw, so how does the soundtrack compare? The songs of Frozen 2 may not seem as good at first, but I’ve found they get better with repetition. (Yes, I’ve listened to the soundtrack at work.) “Into the Unknown” is the most “Let It Go”-ish belter for Menzel and the only one nominated for the Best Song Academy Award, and I think it was robbed at the Oscars. But “Show Yourself” has even greater power, especially in the context of the film, while “Some Things Never Change” and “The Next Right Thing” are underappreciated gems, especially the latter for its surprisingly deep and relatable lyrics. The animation at least is one aspect that is clearly on par or better than the original; from the horse spirit made of water to the gorgeous fall foliage, the animation is as lovely as any Disney movie yet. I mean, look at this art!

Frozen 2 may not have been able to replicate the original’s awards, not even being nominated for Best Animated Feature (but neither was Weathering with You, so it’s in good company), but it did become the highest-grossing animated film ever, assuming you don’t count that Lion King remake. I still consider Elsa a bit too lacking in personality, but both films are a welcome return to the classic princess genre that so defined the Disney Renaissance of the ‘90s, with their strong female leads and lovable sidekicks. (Olaf once again gets the funniest scenes.) Plus, as a big fan of Norwegian singer Aurora, I was thrilled that she got such high-profile exposure being featured as “The Voice” in the film and “Into the Unknown,” even if her role is just four notes. Time will tell if Frozen 2 has the same kind of staying power that its predecessor had, but it’s a good way to end Disney Animation’s resurgence in the 2010s. Let’s hope it will continue into the next decade.

Best line: (Olaf; the irony is strong with this one) “Tell me, you’re older, and thus all-knowing; do you ever worry about the notion that nothing is permanent?”   (Anna) “Uh, no.”   (Olaf) “Really? Wow, I can’t wait until I’ve aged just like you, so I don’t have to worry about important things.”

 

Rank: List-Worthy (joining the first Frozen)

 

© 2020 S.G. Liput
697 Followers and Counting

How to Train Your Dragon: The Hidden World (2019)

Tags

Action, Animation, Comedy, Dreamworks, Family, Fantasy

(Today’s NaPoWriMo prompt was for a poem praising pets, so I went a bit mythological to extol a dragon as a pet.)

Cats are cute and dogs are dear,
And yet the pet without a peer
Is easily the rarest kind,
The least beloved and most maligned,
The lizards born of myth and lore
That few have ever seen before,
Who ride the winds and skim the waves
And send the bravest to their graves,
Who’ve earned renown as hoarders, wyrms,
Monsters, fiends, and harsher terms
Yet are perhaps misunderstood
And might spice up the neighborhood.
For, given love, like any beast,
A dragon can be tamed, at least.

So Mom and Dad, you have to let
Me get a dragon as a pet.
I’ll take him out on flights each day
And teach him how to roar and slay.
He’ll never singe the rugs, I swear.
Oh, please, let’s have a dragon lair!
______________________

MPA rating: PG

I wasn’t sure what to expect from the third installment in the How to Train Your Dragon series. I loved the first film, while the second left me rather cold, and angry honestly at the way Hiccup’s father was torn from his family. I still consider myself a fan of the series, so I was hopeful The Hidden World would end the trilogy on a better note. Thankfully, it managed to deliver both an entertaining adventure and a satisfying conclusion to the story of Hiccup the Viking and Toothless the Night Fury.

Like many a DreamWorks film, The Hidden World does feel a tad recycled. Expanding the first film’s culture of dragon-hunting, the new villain is the famous and feared dragon hunter Grimmel (F. Murray Abraham), who, like Drago in the second film, employs his own dragons for his purposes. And since the first film’s dragon nest and the second film’s dragon sanctuary weren’t impressive enough, we learn that Hiccup’s father was also searching for an even bigger “Hidden World,” the original home of the dragons. When Grimmel threatens the village of Berk and the peace between Vikings and dragons, Hiccup and his friends evacuate everyone to search for a new safe haven in this Hidden World.

Thanks to ever-improving technology, The Hidden World is probably the best looking of the three films, with lighting, shading, and fire and water effects adding greatly to the atmosphere and the thrilling action scenes. Abraham’s voice also makes Grimmel a dignified but menacing antagonist. The dire threat reinforces the slightly darker epic tone of the second film, while some well-played running gags successfully lighten the mood with doses of humor.

As I watched The Hidden World, I was trying to figure out what was lacking between this (one of DreamWorks’ best franchises) and the likes of Disney or Pixar. In addition to a few mixed messages (like calling dragons pets in the first film yet treating them as equals here), I think a main issue is the side characters; Astrid (America Ferrera) and Hiccup’s mother (Cate Blanchett) fare well, but Hiccup’s other friends are hastily introduced in an opening action set piece yet never make much of an impression beyond a few gags. Despite this, Hiccup and Toothless are a lovable pair to make up for other faults, and it’s genuinely sad as they start to drift apart when Toothless becomes enamored of a female “Light Fury.” Like Ash and Butterfree in Pokemon, it’s clear right away where the story is going with the relationship between dragon and rider, but, even if it didn’t bring a tear to my eye like it might well have when I was ten years old, it was still a touching and beautiful conclusion to an inconsistent but ultimately satisfying trilogy.

Best line: (Stoick, in a flashback) “But with love comes loss, son. It’s part of the deal. Sometimes it hurts, but in the end, it’s all worth it. There’s no greater gift than love.”

 

Rank: List Runner-Up

 

© 2020 S.G. Liput
684 Followers and Counting

Abominable (2019)

Tags

Animation, Comedy, Dreamworks, Family, Fantasy

(Today’s NaPoWriMo prompt was to write about a fruit. While I haven’t watched any big fruit-related movies lately, I went with the humble blueberry, which was featured in this movie.)

A humble fruit of pie and scone,
The blueberry is barren-grown
In berry fields from East to West
And happy, though it sounds depressed.

With belly-buttons on both ends,
One out, one in, this fruit transcends
The fact it’s on the tiny side
By filling pints in stores worldwide.

If you should drip a drop of juice
Upon your shirt, farewell its use.
Its stain is deep; its flavor sweet,
The M&Ms of nature’s treats.
__________________________

MPA rating: PG

From the trailers, Abominable looked like a been-there-done-that kind of movie, one more example of Dreamworks splicing together pieces of better animated films. Now that I’ve seen it, I’ll admit… it is exactly that, but that’s not to say it’s bad. In fact, I’d say it’s one of the studio’s better films of late, albeit overshadowed by the third How to Train Your Dragon last year.

Abominable is mainly notable for its Chinese setting, ranging from the metropolis of Shanghai to the gorgeous countryside to the snowy peaks of the Himalayas. A teenage violinist named Yi (Chloe Bennet), still grieving from her father’s death, discovers a young Yeti on the roof of her urban apartment and is whisked away as it flees from a wealthy industrialist (Eddie Izzard) attempting to collect it. Along with her two friends, she accompanies the creature she names Everest on a western journey to its mountain home, pursued by Everest’s would-be captors.

As I said, Abominable has plenty of familiar elements: the gentle-giant-bonding-with-kid dynamic (E.T., The Iron Giant), the bad-guy-trying-to-redeem-himself-from-ridicule cliche (Up, Paddington), the hurt-kid-learning-to-move-on-via-friendship trope (The Good Dinosaur, Lilo & Stitch, Next Gen). The waters are well-charted, but the trip and destination are still comfortable. Plus, it’s not entirely predictable, such as making one of the villains not as bad as they seem, and the characters are consistently likable as they grow on their journey. Like Coco’s Latin cast, care was taken to hire mostly actors of Chinese descent to match their characters, though it doesn’t do much to dive into Chinese culture, and I enjoyed hearing Chloe Bennet of Marvel’s Agents of S.H.I.E.L.D. as the main heroine Yi.

Best of all, the animation is a visual feast. Everest proves to have magical powers that grow and manipulate the natural environment, and some of those scenes were stunning to behold. The best is probably the interlude where Yi plays her violin as flowers grow all around; both the visuals and Rupert Gregson-Williams’ music are lovely, and for some reason, they throw in a bit of Coldplay’s “Fix You,” which was random but fine by me. Abominable doesn’t reinvent any wheels – heck, with three Kung Fu Panda films, it’s not even Dreamworks’ first set in China – but it’s an enjoyable, family-oriented ride nonetheless.

Best line: (Mr. Burnish) “I’m so used to looking down on the world, it’s amazing how small one feels just by looking up.”

 

Rank: List Runner-Up

 

© 2020 S.G. Liput
684 Followers and Counting

The Emoji Movie (2017)

Tags

Animation, Comedy, Family, Fantasy

(Today’s NaPoWriMo prompt was for a poem about outdated technology, so I went a little into the future to see how generations yet to come might look back on a present-day craze.)

 

The primitive Egyptians had their hieroglyphic font,
A picture-style penmanship to decorate the wall.
And slightly less archaic humans later chose to flaunt
Another image language on the phones they used to call.

You see here all the tiny illustrations they would use
To message, manage, and react in digital discourse.
We’re not sure why developed people (for the time) would choose
To discard words in favor of these mini-metaphors.

From faces showing every mood to smiling excrement,
These symbols were exchanged among them by the gadget-full.
These hands betoken clapping, and this sobbing shows lament,
And no one’s really sure about this purple vegetable.

It took a while for mankind at last to move beyond
This graphical vocabulary sent through cyberspace.
Now who will raise your hand and tell us what replacement dawned?
What new communication took the poor emoji’s place?
______________________________

MPA rating: PG

I watched The Emoji Movie at the end of a terrible day, thinking that, if it was truly as terrible as everyone said, I would associate it with that day and never want to see it again. It’s been lambasted so many times that it’s practically a meme to hate on it. Yet despite all the loathing, four Razzies, and the 7% Rotten Tomatoes score, I must admit it’s not that bad.

The premise is straight out of Inside Out or Wreck-It Ralph, but instead of emotions or video game characters, the cast consists of various emojis living within the digital city of Textopolis, inside the phone of a high schooler named Alex. Gene (T.J. Miller) is the son of two “meh” emojis, and although he is meant to personify indifference, he tends to “break character,” so to speak, and show emotions he shouldn’t, which eventually gets him in trouble and sends him on a dangerous journey through the phone and its many apps.

Would I characterize The Emoji Movie as good? No. It’s frequently dumb or crude humor is lackluster, and the climax, in which a single emoji somehow saves the day and causes an instant change in the direction of the plot, is socially myopic at best, not saying much good for the communication skills of the next generation. Yet, is that really enough reason to label it one of the worst films of the decade?

Other reviews I’ve read have insisted that this film has no redeeming qualities whatsoever, which is a pretty absolute statement for an adult to lob at a film aimed at kids. I thought the animation was colorfully fun and polished, and the world inside the phone, while obviously derivative, had some sparks of creativity, like visualizing Spotify as a series of literal “streams” of music to ride. Though some are grating, I didn’t mind the voice actors either (James Corden, Anna Faris, Maya Rudolph). I do cringe at Patrick Stewart voicing the poop emoji, but Steven Wright as Gene’s “meh” father was an inspired choice.

So The Emoji Movie may be “meh” overall and is so tied to present-day technology that it’s sure to age poorly, but I don’t see what makes it worse than some similarly dumb blockbuster like Minions. There are many other films out there worth hating more.

 

Rank: Honorable Mention

 

© 2020 S.G. Liput
679 Followers and Counting