Toy Story 4 (2019)

Tags

Animation, Comedy, Disney, Family, Pixar

The life that you pour into somebody else’s
Is just as much fuel as a life for one’s self is,
A reason to get up each morning, assured
That you have a purpose by which you are spurred.

But what of the time when the mission is done,
The journey completed, the races well-run?
When nobody needs you and life seems bereft,
What purpose remains here? What journeys are left?

Such crises are normal for those left behind,
But purpose is everywhere. Those who seek find.
_________________

MPAA rating: G (the highest grossing G-rated movie ever, in fact)

I’m sure I wasn’t alone in my groan when Toy Story 4 was announced. Toy Story 3 ended the series with such a definitively satisfying conclusion, being handed off from college-bound Andy to little Bonnie, that I just wanted Pixar to leave it there. A cute little short would pop up occasionally, and I kept wishing they would leave the characters alone. No more sequels, or, Lord help us, a remake! Yet Pixar has pulled off the unlikely so many times before that there was no way they were going to screw up their best franchise. Toy Story 4 still feels unnecessary, but it’s a sweet epilogue to Woody and Buzz’s story.

The Toy Story films have always thrived off their diverse cast of toy characters, and Toy Story 4 still does, joined by a collection of hilarious and welcome additions, but this particular tale is clearly meant to offer full-circle closure for Woody (Tom Hanks). The cowboy doll was always Andy’s favorite, and it’s no surprise that he’s lost that status in Bonnie’s room, yet he finds new purpose in protecting her newest friend, a googly-eyed spork she crafts and names Forky (Tony Hale). Being made of trash, Forky only sees himself as something to be thrown away, yet Woody strives to get the cobbled-together toy to see his own value, running into more than their fair share of trouble when the two are separated from Bonnie during a road trip.

In addition to new characters ranging from a Canadian stuntman plagued by self-doubt (Keanu Reeves) to a pair of plush carnival toys named Ducky and Bunny (Jordan Peele and Keegan-Michael Key), Woody is reunited with Bo Peep (Annie Potts), whom we get to learn much more about than in the first two films. The main change, which is practically a retcon, is that she’s a natural, daring leader who’s grown beyond needing the love of a single child. (I also learned she and her sheep were part of a lamp. Did I just not notice that before?) Also new to the cast is the genteel doll Gabby Gabby (Christina Hendricks), whose deep-seated neediness casts her in the role of villain, though the movie presents her with far more empathy than the other films’ antagonists, to the point of offering her redemption without so much as an apology to earn it (something I only realized after reading another review).Bo offers Woody an alternative to his desperate attempts to stay relevant, and I felt like this conflict resulted in some mixed messages. There’s a clear parallel between the toys watching their kids outgrow them and the empty-nest anxiety of parents, so it’s a worthwhile lesson that life doesn’t have to end once “the mission” is complete, that one can find another purpose. Yet with Woody’s repeated pleas throughout the series that “Andy/Bonnie needs us,” it vaguely feels by the end that he’s contradicting the loyalty he’s instilled in everyone else. My VC was more bothered by the end than I was, but it is a complication worth pointing out.

Yet for all these philosophical holes poked in the plot, the world and players of Toy Story never fail to entertain and remain as lovable now as they were back in 1995. With the spotlight so much on Woody, much of the extended cast, like Rex, Hamm, and Slinky, don’t get much screen time, but that doesn’t diminish the entertainment factor. (P.S. Ducky and Bunny are hilarious.) In some ways, the plot mishmashes elements from the other three films, yet it still bears that Pixar polish and lump-in-throat sweetness that never gets old.

I hope that Pixar has now finally gotten the need for an epilogue out of their system and can let Toy Story rest in peace. Toy Story 4 is easily the least of the bunch and not quite as good an ending as the third film, but it still satisfies, as well as dwarfs most other animated fare these days. All good things come to an end, or should, Toy Story included.

Best line: (Trixie) “I have a question. No, wait. I have all the questions.” [As someone with a reputation for asking questions ad nauseum in any class, this line spoke to me.]

 

Rank: List-Worthy (joining its forebears)

 

© 2019 S.G. Liput
655 Followers and Countin

Aladdin (2019)

Tags

Action, Disney, Family, Fantasy, Musical, Romance

There once was a popular tale
That viewers would watch without fail.
So Disney said, “Wait,
Let’s remake and update
A classic that never was stale.”
Despite the naysayers
And unanswered prayers,
That’s just what they did for resale.
And we, the civilians,
Still offered them billions
And all the support they entail.
__________________________

MPAA rating: PG

Like so many others, I rolled my eyes when I heard Disney was continuing their trend of recycling their animated hits into live-action by setting their sights on 1992’s Aladdin. Even so, I thought Aladdin at least had plenty of additional story material in the 1001 Arabian Nights to draw from, so it could potentially be not terrible. Even the Internet freakout over Will Smith’s blue CGI genie didn’t seem like that big of a deal to me. (I swear, people judge movie effects far too quickly, whether it’s Alita’s eyes or photorealistic Pokemon, and usually it turns out fine once you get used to it.) So despite Disney’s so-so track record with these films, I guess I was optimistic but not exactly excited about another Aladdin, and now that I’ve seen it, my opinion hasn’t changed much.

The biggest weakness of these live-action remakes is that they repeatedly tread the same ground, replicating entire scenes and musical numbers that were already perfect in the original and cannot help but pale in comparison. It’s why I despised 2017’s Beauty and the Beast, yet Aladdin somehow seems more forgivable and entertaining, even if it does suffer from the same fault. I think the actors help immensely in this regard: Mena Massoud is a spot-on charming Aladdin, sporting great chemistry with Naomi Scott’s equally well cast Jasmine, who now champions some non-subtle feminism. And while Will Smith as Genie is no Robin Williams, he isn’t really trying to be, instead replacing some of the frenetic jokes with more of a hip-hop swagger. Plus, he even gets his own love interest in Jasmine’s handmaid, a welcome addition played by SNL’s Nasim Pedrad.

Director Guy Ritchie doesn’t really bring much of his unique action style to the proceedings, but it’s all still competent, fast-paced, colorful, and just different enough from the original to make you say, “Hey, why didn’t Jafar fool Aladdin by dressing up as a little old crazy man?!” Honestly, Jafar is the main weak point. Marwan Kenzari does fine with the role, playing him with more of an inferiority complex, but he’s missing so many aspects that made Jafar an iconic villain – Jonathan Freeman’s deep voice, the imposing stature, the goatee – and Iago and the snake staff don’t make up the difference to make him particularly memorable. The musical numbers are similarly not quite as vibrant as their animated counterparts (although the effects team did better with “Friend Like Me” than I was expecting), and Jasmine’s added girl power anthem is lovely but awkwardly placed as far as pacing.

It’s hard to judge these movies on their own merits since it’s hard not to compare them to the original, but if the original Aladdin didn’t exist, I think this one would be an amazing and innovative family film. As it is, it’s a pretty entertaining if uninspired family film with a laudable message, which still isn’t a bad thing these days. It’s at least not the kind of remake that does a disservice to the original, and since Disney insists on making more and more of these, that might be the best case scenario.

Best line: (Jafar) “Steal an apple, and you’re a thief. Steal a kingdom, and you’re a statesman.”

 

Rank: List Runner-Up

 

© 2019 S.G. Liput
653 Followers and Counting

And a very Happy Thanksgiving to all!

 

Mary Poppins Returns (2018)

Tags

Disney, Family, Fantasy, Musical

They say that you cannot return to the days
When the world held the awe it no longer displays.
The people and scenes are no more in their prime,
And you aren’t the you that you were at the time.
The flavors and sounds may be echoing still,
But the farther you get, the more gone is the thrill.

The memory seals them away as in glass,
Preserving their pricelessness as the years pass.
And even as foolish modernity tries
Revisiting heirlooms to revitalize,
Nostalgia may warrant a smile and sigh
At the echoes that fade but are sure not to die.
_______________________

MPAA rating: PG

There are some movies that shouldn’t be touched by Hollywood’s incessant need to remake its old classics, not necessarily because the originals are better by default, but because there’s no way they can compete with a film that was, is, and always will be a classic. I thought for sure that Mary Poppins was one of those movies, but Disney had other ideas. What they delivered in Mary Poppins Returns is as close as the modern day can come to the old-school style that created its predecessor, but try as it might, there’s just something missing.

Julie Andrews is irreplaceable, but when I heard Emily Blunt was to play Poppins, I figured she had the best chance of anyone to fill her shoes. And in many ways, she does, right from the moment she floats in on the end of a kite flown by one of Michael Banks’s children. Michael (Ben Whishaw) is all grown up now, a widower still reeling from the loss of his wife and struggling to hold onto the family home. Despite his and Jane’s (Emily Mortimer) best efforts, Michael’s three largely responsible kids are in need of some comfort and whimsy, and thus Mary Poppins steps in, perhaps a bit more smile-prone than before but close to the way they/we all remember her.

Mary Poppins Returns is a lot like Star Wars: The Force Awakens in its faithful adherence to the original (some might say too faithful). It follows the general plot of its forerunner to a tee, the same character types, the same sequence of events. Instead of jumping into a chalk drawing, they spin into a cracked ceramic bowl for another semi-animated holiday; instead of floating with Mary’s Uncle Albert, they turn upside-down with her cousin Topsy (Meryl Streep). In place of Dick Van Dyke’s chimney sweep Bert, there’s Lin-Manuel Miranda as lamplighter Jack, doing an excellent job at being casually charming. There are differences, of course, such as the presence of a genuine villain in Colin Firth’s bank president, but sticking so close to the original formula just begs for direct comparison, and Mary Poppins Returns just doesn’t quite match the first.

Yet it’s so close to the spirit of the original that I can’t help but wonder how much the original relies on nostalgia. Mary Poppins is an incomparable, wholesome family movie, but I am surprised at times to think that Julie Andrews won her Oscar for it rather than The Sound of Music. Its plot is loose and episodic, so I can’t criticize the sequel for being the same. I knew my VC, as a staunch fan of the first film, would have the hardest time accepting Mary Poppins Returns, and while she gave it a good try and liked the beginning, she essentially checked out when it no longer conformed to her idea of what Mary Poppins should be.

At one point in the entertaining segment with animation, Mary gets up on stage to perform with Jack and sings some slightly risqué lyrics. My VC immediately thought, “Mary Poppins would never do that,” and the facsimiled magic was broken. That’s why revisiting such classics is so potentially treacherous; while original content is subject to the creator’s whims, sequels and remakes depend on the audience’s. The same happened with The Last Jedi and the whole “not my Luke” debacle; I loved the film but couldn’t deny all of its criticisms. As with Mary Poppins Returns, it’s simply a matter of whether it bothers you or not.

It probably sounds like I didn’t like Mary Poppins Returns, but I did, just not as much as its classic forebear. The music and choreography aren’t as memorable, and by the two-thirds mark, it was bordering on boring, making me think it could have benefited from a shorter runtime than 130 minutes. Yet it has an old-school charm, evident in both the vintage streets of live-action London and the small but welcome return of some 2D Disney animation. In many ways, I’m just glad that movies like this can still be made today and perhaps capture the hearts and future nostalgia of another generation. It at least does no harm to the legacy and spirit of the original and, especially toward the end, comes closer than I ever thought a modern-made Mary Poppins sequel could come.

Best line: (Mary Poppins, singing) “Nothing’s gone forever, only out of place.”

 

Rank: List Runner-Up

 

© 2019 S.G. Liput
633 Followers and Counting

 

Ralph Breaks the Internet (2018)

Tags

Animation, Comedy, Disney, Family, Fantasy

(Today’s NaPoWriMo prompt was for a remix of a Shakespearean sonnet, so I took some inspiration from the theme and first line of Sonnet 141, mixed in to fit a friendship theme of this film.)

In faith, I do not love you with my eyes;
You’re not the most appealing sight, you know.
Your voice can grate; you’re anything but wise;
And every chance you get, you tend to blow.
I’m not your friend for mere appearance’ sake;
If so, I would have bolted long ago.
And yet you’re first in mind when I awake
And last to fade beneath my sleep’s shadow.
It’s true to most our pairing seems bizarre,
So different by the judgment of the crowd,
Yet you as friend are dearer still by far
Than what the world approves or not out loud.
I dread the day you tire of our bond,
For I can see no life for me beyond.
___________________

MPAA rating:  PG

It’s hard to believe that Disney has resisted sequelizing its own animated films for so long. Sure, they’ve churned out plenty of substandard sequels through their separate animation subsidiaries, but Ralph Breaks the Internet is the first sequel since Rescuers Down Under to be included among Disney Animation’s official canon. Of course, this year’s Frozen 2 suggests a continuation of the sequel trend, but I was glad to find that Ralph Breaks the Internet was a funny and worthwhile continuation of the first film.

Some have called it a Toy Story rip-off, but I still think 2012’s Wreck-It Ralph had one of the most imaginative premises of any Disney film. Ralph’s quest to be a hero may have been basic motivation, but the inventiveness of the visuals and world-building was delightful. Not surprisingly, Ralph Breaks the Internet continues that visual innovation, taking Ralph (John C. Reilly) and his best friend, the semi-annoying cart-racing princess Vanellope (Sarah Silverman), outside their arcade home and into the wide and wondrous world of the Internet, visualized as a bustling cityscape of possibilities. The same voice actors thankfully return to deepen their character’s bonds, along with the welcome new voices of Gal Gadot, Bill Hader, and Taraji P. Henson.

While Wreck-It Ralph was certainly successful, it did have some detractors who didn’t entirely buy into the story, my VC among them. Yet one thing I noticed from some critical and blogger reviews was that those who didn’t care for the first film somehow liked the second one better. Sure enough, my VC enjoyed herself with it, and I’m still trying to puzzle out why this one and not the other. I suppose it’s partially that she has never been into gaming, while her familiarity with the Internet helped her understand and enjoy the sequel’s many jokes aimed at online culture, from the intrusion of pop-up ads to the absurd allure of YouTube stardom (or BuzzTube in the film). Oh, and let’s not forget the brilliant cameos of other Disney properties, most notably the Disney Princess lineup, all but three voiced by their original actresses. Sure, it smacks of Disney showing off everything they own, but it left me with a nerdy grin in the same way Ready Player One’s mashup of pop culture did.

Beyond the jokes and setting, Ralph Breaks the Internet is different from most other animated flicks of recent years, in that its conflict is much more internal and emotional than your basic defeat-the-villain climax. Ralph’s friendship with Vanellope is first and foremost, and his own insecurity provides fuel for the finale. It’s hard to say the resolution is subtle, when it’s taken to massive, ridiculously metaphorical heights, but it’s uniquely relatable to anyone who’s been reluctant to lose a friend.

It’s hard to say how Ralph Breaks the Internet will age, with so many of its meme-y jokes and sub-themes based in current Internet culture, which seems to change on a weekly basis. Future generations may roll their eyes at its potential datedness, but for me here and now, it was a whimsical, stunningly animated delight just like the first film. I would have liked a bit more of Fix-It Felix and Calhoun, who are basically cameos, but Ralph and Vanellope provide a sweeter conclusion than I would have guessed from a film about video game characters. (By the way, it has possibly my favorite post-credits scene ever. I guess I’m a sucker for certain memes.)

 

Rank: List-Worthy (joining the first film)

 

© 2019 S.G. Liput
627 Followers and Counting

 

Into the Woods (2014)

Tags

Disney, Drama, Fantasy, Musical

(Today’s NaPoWriMo prompt was for a villanelle, a special form with alternating repeated lines as below, and the prompt suggested incorporating someone else’s words. The repeated lines I used are drawn from the musical Into the Woods, along with part of the theme.)

Careful the tale you tell,
For tales are not words but adventures and fates;
All stories cast a spell.

They conjure the best and worst places to dwell,
And leave you in clouds or burdened by weights.
Careful the tale you tell.

Emotions on strings as they rise and repel
Are pulled by the magic that fiction creates.
All stories cast a spell.

No louche Casanova, no wish from a well
Has broken more hearts or honored more dates.
Careful the tale you tell.

Each one is a world and a ceiling-less cell,
Where soon-to-be-friends and a new home awaits.
All stories cast a spell.

When fantasy finally bids you farewell,
How do you feel as the world deviates?
Careful the tale you tell;
All stories cast a spell.
______________________

MPAA rating:  PG

Those familiar with this blog might already know that I’m a huge fan of musicals. While others roll their eyes or cringe at all-sung films like Les Miserables, I love it. There’s something about the combination of song, lyric, dance, and story that I find particularly appealing and entertaining. However, not all musicals are equal, and all four (sometimes three minus dance) of those ingredients have to be on point for the magic to work. Into the Woods comes so close to nailing them all, yet by the end, I could only wonder what went wrong.

Based on Stephen Sondheim’s popular musical, which is just as old as The Phantom of the Opera, Into the Woods weaves multiple fairy tale stories together: Little Red Riding Hood, Jack and the Beanstalk, Cinderella (Anna Kendrick), Rapunzel, and an original connecting tale of a Baker (James Corden) and his Wife (Emily Blunt) seeking out spell ingredients for a desperate Witch (Meryl Streep). The way the stories blend together and overlap, playing out in familiar ways with unexpected connections, is a joy to watch, especially with hammy but committed performances from Johnny Depp, Chris Pine, and Streep (who shockingly got an Oscar nomination; she’s good, but this is probably her least deserving role).

It’s a highly enjoyable movie, or rather two-thirds of a movie, because at a certain point, it’s just…ruined. At a happy moment that could have ended the film well, the story suddenly takes a left turn into disaster and tragedy and shattered reputations. It’s a dark move, which is apparently even darker in the stage version, and it saps most of the enjoyment from the film as a whole.

Even if none of the songs are instant classics likely to live long in the memory, the music is the saving grace of Into the Woods. My VC thought the tunes were a bit too repetitious, lacking the complexity or vocal range of Phantom or Les Mis, but, as a poet, I especially admired the clever lyrics and rhymes. It has outstanding production values and strong performances too, but in its effort to offer a darkly unsatisfying take on beloved stories, this fractured fairy tale proves to be a failed musical in my book. My VC and I agree that we would recommend the first two thirds; just bail when the tale goes to pot.

Best line: (the Baker’s Wife) “Oh, if life were made of moments, even now and then a bad one – But if life were only moments, then you’d never know you had one.”

 

Rank:  Dishonorable Mention

 

© 2019 S.G. Liput
619 Followers and Counting

 

2017 Blindspot Pick #8: Darby O’Gill and the Little People (1959)

Tags

Classics, Disney, Family, Fantasy, Romance

That jolly ol’ Darby O’Gill
At the pub would be drinking his fill,
Earning chuckles and yawns
Telling of leprechauns,
Half-believed out of simple good will.

Not caring what doubters may think,
Darby’d go home at last with a wink,
To natter and sing
With the leprechaun king,
And together they too shared a drink.
_________________

MPAA rating: G

Live-action Disney movies tend to fall into two categories: childhood-shaping classics (Mary Poppins, Homeward Bound, Swiss Family Robinson) and severely lame duds (The Shaggy Dog, The Million Dollar Duck, The Computer Wore Tennis Shoes). I wasn’t sure which one Darby O’Gill and the Little People would fit in, but I’d gladly place it in the first group, though I doubt this obscure little gem is shaping many childhoods nowadays.

Apparently based on two books by Herminie Templeton Kavanagh, Darby O’Gill feels as genuinely Irish as The Quiet Man but with a more fantastical basis in Irish folklore. Albert Sharpe is a folksy joy as Darby, a good ol’ boy and father of young Katie (Janet Munro of Swiss Family Robinson) in the town of Rathcullen, who loves to recount his stories of leprechaun interactions with everyone at the local pub. They may only half-believe him, but he’s still a beloved member of the community, which sticks up for him against the mocking of the local brute Pony Sugrue (Kieron Moore), who reminded me a lot of Gaston in Beauty and the Beast, just as Darby is like a more respected version of Maurice. After his job is handed off to a younger man (Sean Connery, so young he barely looks or sounds like the Connery I know), Darby has another run-in with the king of the leprechauns Brian Connors (Jimmy O’Dea) and finagles three wishes that might not turn out as he’d hoped.

Darby O’Gill and the Little People has a lot of the charm of other Disney movies from that era, just with a healthy Irish zest that makes you want to dance a jig and crave shepherd’s pie. At times, the Irish brogues are a little thick to fully understand without subtitles, but for the most part, it adds to the authenticity, as does the music, which consists only of a sweet little ballad and an epic but slightly overlong fiddle dance. The special effects, for the most part, are also well-done, consisting mostly of shrinking the leprechauns to be only as tall as Darby’s knees, a visual trick that reminded me of the miniaturized hobbits in The Lord of the Rings. Also effective is the more dated creation of a ghostly banshee and death-coach-driving dullahan; Disney movies have their fair share of nightmare fuel, but I can easily see one scene in particular terrifying the very young.

Most people may not have seen or even heard of Darby O’Gill and the Little People, but that’s a bit of a shame. Where else can you get to see Sean Connery croon about his sweetheart? I especially liked the good-natured rivalry between Darby and Brian and the twist at the end that builds nicely on what came before and rounds it out for a satisfying end. If it were a modern movie, I’d say that Darby O’Gill doesn’t quite do enough with its fanciful concept, perhaps because the special effects could be better utilized, but as an Irish jaunt from yesteryear, it’s an underrated Disney classic that may well have earned placement on my List if I’d seen it as a kid.

Best line: (Darby, of his daughter Katie) “She should be the caretaker. She’s got a tongue would clip a hedge.”

 

Rank: List Runner-Up

 

© 2017 S.G. Liput
506 Followers and Counting

 

Moana (2016)

Tags

Animation, Comedy, Disney, Family, Fantasy, Musical

Out on the ocean, with sea on all sides,
The wind as your engine, the stars as your guides,
You are your own island, though roaming between
The land you called home and another unseen.

To blaze the blue courses no human has plied,
You must navigate more than tempest and tide.
To know destination and where you’ll return,
Your place in the ocean of life you must learn.
__________________

MPAA rating: PG

Most would agree that 2016 was a strong year for Disney (and animation in general), releasing two movies in the same year and both nominated for Best Animated Feature: Zootopia, which I loved, and Moana, which I wish I loved more. I’ve waited to review Moana because I wanted to see it again to see if I liked it better than my initial viewing, and I did, but not nearly as much as everyone else. While others are ranking it among Disney’s best, I’ve got it tucked in the middle of the “I like it” section, and I’m not even completely sure why.

The common complaint is that Moana recycles plot elements and the stern authoritarian father figure from The Little Mermaid, also directed by Disney veterans Ron Clements and John Musker, but that didn’t bother me much. There’s plenty else to set it apart, including the obvious subversion that King Trident wanted to keep Ariel in the sea and away from things of the land, while Moana’s father (Temuera Morrison, who played Jango Fett in Star Wars: Episode II) tries to keep her on their island of Motonui and away from the sea. Literally chosen by the sentient ocean to return the fabled Heart of Te Fiti and stop a spreading darkness, Moana (Auli’i Cravalho) sets out on her own (not unlike Mulan) to find the shapeshifting demigod Maui (Dwayne Johnson) and return the Heart.

Before I get into my nitpicking, I must give credit where credit is due. The animation is a new CGI high for Disney, with special attention paid to the lush island greenery and the photorealistic water, and I don’t think any movie since Finding Nemo has contained this much stunningly animated water. It’s a technical marvel, and one more sign that Disney is handily keeping up with Pixar’s animation quality. The music is also well done, courtesy of Hamilton’s Lin Manuel-Miranda, score composer Mark Mancina, and South Pacific musician Opetaia Foa’i. I still think it’s not as memorable as past Disney soundtracks, yet most of the songs have gotten stuck in my head at some point.  My least favorite has to be the still lyrically clever “Shiny,” sung by the oddly accented crab monster Tamatoa (Jemaine Clement), but Moana’s “How Far I Go” and Maui’s “You’re Welcome” are soon-to-be-classic highlights, making me wish there were more musical numbers throughout.

I’m still trying to figure out why Moana didn’t hit me as it did so many others. I don’t think it’s the Pacific island pagan mythology, since Disney has explored other culture’s religions in the past, like the ancestors of Mulan and the spirits of Brother Bear. So what then? The best answer I can give is that I simply didn’t connect with the setting and, by extension, the story. I personally have no love for tropical islands (I used to live in Florida and moved to get away from that kind of climate), so that could be a factor, whereas I found it easy to enjoy Brother Bear since I love Alaska and its mountain scenery. Likewise, as strong as the main two characters were, I felt there was something lacking in the script, perhaps in the humor department. Moana’s repeated self-motivation got old after a while, and the reason for why the ocean chose her, a question that haunts her throughout, is somewhat glossed over in favor of stirring self-confidence. And why did the ocean, controlling itself like the water column from The Abyss, only help her at some points and not others?

As with so many of my less-than-positive reviews, I don’t want to make it sound as if I didn’t like it. I did. Moana is a solid addition to the Disney canon, boasting colorful and beautifully rendered animation and outstanding voicework. It took some time, but I really enjoyed the dynamic between Moana and Maui and how it grew along their voyage, as well as his tattoo mini-Maui. There’s much to praise, particularly in how Disney has created an admirable dark-skinned heroine and independent role model for kids, much more successfully than in The Princess and the Frog. All I can say is that it’s not one of my favorites, and I understand if people disagree with my gripes. I love Brother Bear and don’t get why some people hate it. One of the many great things about Disney’s canon is how varied it is, and for every lukewarm entry, there’s one to absolutely love. Moana does continue Disney’s streak of winners, but I thought Zootopia was better and deserved its Best Animated Feature win. But that’s just me.

Best lines: (Moana) “Okay, first, I am not a princess. I’m the daughter of the chief.”
(Maui) “Same difference.”
(Moana) “No.”
(Maui) “If you wear a dress and have an animal sidekick, you’re a princess.”

and

(Moana, as Tamatoa tries to take her necklace) “Don’t! That’s my gramma’s!”
(Tamatoa, the crab monster, mocking) “’That’s my gramma’s!’ I ate my Gramma! And it took a week, ’cause she was absolutely humongous.”

 

Rank: List Runner-Up

 

© 2017 S.G. Liput
499 Followers and Counting

 

Tomorrowland (2015)

Tags

Action, Disney, Sci-fi, Thriller

 

Tomorrow, tomorrow,
With no time to borrow,
The future may very well sink into sorrow.

It’s hard to predict
When our views contradict,
And the fears that some carry are dreams others picked.

The future is ever
In danger; however,
We mustn’t believe it’s a futile endeavor.

Are trends that we set then
The kind we’ll regret? Then,
It’s clear dark tomorrows will come…if we let them.
____________________

MPAA rating: PG

What happens when everyone says a movie is bad and you like it anyway? Every review I read of Tomorrowland painted it as an unwieldy flop in which every positive element was spoiled by a negative. Thus, I skipped it, preferring to spend my 130 minutes on something more critically favored. Yet, when I finally gave it a chance, Tomorrowland proved to be a highly enjoyable ride, a sci-fi wonder in which every negative had a positive to mostly redeem it, at least in my opinion.

Beginning at the 1964 New York World’s Fair, young Frank Walker presents David Nix (Hugh Laurie) with a homemade jet pack that isn’t quite fully functional, and Nix’s girl companion Athena (Raffey Cassidy) is impressed enough to invite Frank to the titular technology wonderland. Cut then to teenage Casey Newton (Britt Robertson), who goes out of her way to keep alive the hopes of the Space Age by prolonging her engineer dad’s NASA contract through sabotage. She’s an incorrigible optimist, unwilling to bend to the downbeat world, and when Athena appears again to give her a mysterious pin and a glimpse of Tomorrowland, Casey is eager to pursue it. Joining with a bitter, grown-up Frank (George Clooney), they embark on a thrilling chase to reach the other-dimensional utopia where all does not seem to be well.

I’ll focus first on everything Tomorrowland has going for it. All the actors excel, especially Raffey Cassidy who shines in a wise-beyond-her-years type of role. As a director, Brad Bird also knows how to direct a visually exciting film. With its jetpacks, robots, and floating swimming pools, the striking metropolis of Tomorrowland that appears whenever Casey touches the pin has wonders tailored to both 1960s and present-day tastes. In addition, many aspects of the film feel inspired by the intrigue of Men in Black, incorporating imaginative gadgets, geeky thrills, and futuristic plot devices hidden in plain sight. With all the killer android chases and high-tech detours, it’s easy to let the plot carry you along and ignore the fact that it’s not really going anywhere worthwhile. By the time we see Tomorrowland itself, it feels like a hollow piece of false advertising, though that does make sense for the plot. I do wish that we were able to see Tomorrowland the city as more than just an unreached potential, but it’s a case of the journey overshadowing the destination, with the journey being pretty entertaining.

I see what others have criticized about the uneven plot, the disappointing goal, and the borderline creepy relationship between Clooney and 12-year-old Raffey Cassidy, and they’re not wrong. But Tomorrowland is a prime example of a film that depends on how much the viewer is willing to let such faults bother them. While the two films are nowhere near the same league, I could point to 2012’s Les Miserables as another such film; half of viewers complained about the singing of Hugh Jackman and Russell Crowe and couldn’t take the constant singing seriously, while the other half (me included) were captivated by the film’s emotional and musical power. I can’t say those of the other opinion are wrong; their objections just didn’t ruin the film for me. Sometimes, if the majority of a film delights, a half-baked ending can be forgiven. And the objection about Clooney and Cassidy depends entirely on the strength of your suspension of disbelief; based on Athena’s character as written, it doesn’t have to be creepy.

What Tomorrowland tries to be is an antidote to the constant stream of dystopian fiction in our media. Zombie outbreaks, totalitarian governments, natural disasters—it seems that Star Trek is the only proposed future that is actually worth looking forward to. Tomorrowland takes that fatalism literally and suggests that such warnings are more harmful than good if no one heeds them, a cautious lesson worth more than a casual thought. Perhaps, the film insists, optimism itself can change the world for the better. Yes, it sounds corny, going overboard in the soapy commercial-like final scene, but if the constant pessimism of grim social commentaries can captivate audiences, can’t the polar opposite have its day too? I recognize the flaws of Tomorrowland, not least of which are smacks of elitism in the recruiting of the best and brightest to populate a separated utopia that doesn’t seem to directly better the world at large, but it appeals to the dreamer, the hoper, and the lover of sci-fi adventure. That’s good enough for me.

Best line: (Casey) “There are two wolves, and they are always fighting. One is darkness and despair. The other is light and hope. Which wolf wins?”
(her dad) “Come on, Casey.”
(Casey) “Okay, fine. Don’t answer.”
(dad) “Whichever one you feed.”

 

Rank: List-Worthy

 

© 2016 S.G. Liput
431 Followers and Counting

 

My Top Twelve Disney Animated Films

Tags

Animation, Disney, Lists

 

With the release of Moana, which I still have yet to see, I thought it would be a good idea to revisit my favorite animated features from the House of Mouse. Disney has had its ups and downs over the years, from the dark ages of the ‘70s (which still put out some pretty good films, like Robin Hood) to the 21^st-century slump during Pixar’s heyday. Then again, few can rival Disney when their filmmakers are on their games, whether it be the Golden Era classics that Walt Disney himself directed or the Renaissance of the ‘90s that catered to my childhood. Lately, Disney is back on their game with CGI classics rivaling Pixar, and I can only hope they’ll keep up the consistent quality entertainment of recent years.

One thing I notice about my personal favorites is that some of them are among the less regarded films in Disney’s canon, but Disney films are so varied and appeal to us all so early in our lives that everyone probably has preferences all their own, depending on what they grew up watching. Thus, here are my top beloved Disney cartoons thus far. Do you agree? What are your favorites? Feel free to let me know in the comments and geek out about your favorites too.

 

12. Zootopia (2016)

It may seem premature to rank such a recent film this highly, but I’ve seen Zootopia twice and loved it both times, a couple quibbles notwithstanding. Strong likable characters, a well-realized and Pixar-esque world, stunningly detailed animation, and some thought-provoking themes about being who you want to be rather than how others see you make this the most likely candidate for Best Animated Feature this year, in my book anyway.

 

11. Tangled (2010)

I wasn’t too impressed with The Princess and the Frog a year before, but Tangled proved that Disney could still pull off the princess format that made them so successful. After Bolt, it also confirmed that they could be just as at home with CGI animation as the hand-drawn style of the past, and the radiant animation and Alan Menken songs (his last for a Disney cartoon, as of this writing) are pure delight.

 

10. Cinderella (1950)

My favorite of Walt’s original fairy tale adaptations, Cinderella is as charming today as it was in 1950. Not quite as saccharine as Snow White, it is the definitive version of the Cinderella story in my house and was a particular favorite of my mom’s when she was a kid. Heredity?

 

9. The Little Mermaid (1989)

As the beginning of the Disney Renaissance, The Little Mermaid revolutionized the House of Mouse with Broadway quality tunes and a new high point in animation quality. The colorful marine setting and catchy Menken/Ashman tunes breathed new life into the animation studio and made princess fairy tales all the rage again.

 

8. Big Hero 6 (2014)

While we all know Disney is pulling the strings of the Marvel Cinematic Universe, it was nice to see them incorporate some superhero magic into their animation department. As with The Incredibles and Batman: Under the Red Hood, it’s always a thrill to see a great superhero cartoon. Poignant, action-packed, and all-around awesome, the origin story of Big Hero 6 is my favorite of Disney’s current CGI era.

 

7. Brother Bear (2003)

I really don’t understand all the hate for Brother Bear. Released during the waning years of the Disney Renaissance, it’s still a funny and heartbreaking journey with a beautifully drawn Arctic setting and some great background songs. I remember crying as a 10-year-old in the theater, and any film that brings me to tears holds a special place in my heart.

 

6. Fantasia (1940)

As entertaining as the vast majority of Disney films are, Fantasia is something different, a true work of art, blending classical music with animation at its most imaginative. It’s a shame that its poor commercial showing made Walt Disney initially regret making it because it has since become one of his most highly regarded classics. Yes, it’s a perfect film to fall asleep to, but that has more to do with the sometimes soothing music than what’s on the screen.

 

5. Aladdin (1992)

Buoyed by the brilliantly frenetic voice performance of Robin Williams as the Genie, Aladdin may be the funniest member of the Disney canon. This adaptation of the 1001 Nights continued the winning animation and music that made the Renaissance so special.

 

4. The Hunchback of Notre Dame (1996)

I’m a much bigger fan of Hunchback than most, viewing its darker storyline and lack of a typical happy ending as a risk for Disney that paid off in magnificent fashion. Without a doubt, this is Alan Menken’s masterpiece score, not just catchy and hummable but truly, goosebumpily glorious.

 

3. The Lion King (1994)

Speaking of goosebumps, the beginning of The Lion King is Fantasia-level art, while the rest is an entertaining piece of Shakespeare lite, complete with one of the saddest Disney deaths and one of the best Disney villains. From the thrilling wildebeest stampede to the carefree song “Hakuna Matata,” The Lion King has something for everyone.

 

2. Tarzan (1999)

Another favorite I find hugely underrated is Tarzan, with its lushly gorgeous jungle setting and outstanding Phil Collins soundtrack. Not only is it my VC’s favorite Disney cartoon, it’s one of the first films I actually remember watching in the theater (and yes, I cried at the end), and I recall playing “Trashing the Camp” with my cousin over and over and over on video. Good times….

 

1. Beauty and the Beast (1991)

I personally consider Beauty and the Beast the most perfect fairy tale adaptation in all of Disney’s canon. It’s funny, tragic, enchanting, melodious, elegant, and all-around entertaining. It’s everything that Disney does best and thus feels timeless. I have my doubts about the live-action version next year, but at least we’ll always have the immortal original.

________________

With the exception of Chicken Little and Home on the Range (the only one I haven’t actually seen), I enjoy all Disney movies to some extent, so I thought I’d continue my ranking below with the rest of the animated features on my Top 365 list (not including mixed animations like Enchanted or those only released by Disney, like the Studio Ghibli films). What would your ranking look like?

 

13. Wreck-It Ralph (2012)
14. Pocahontas (1995)
15. Mulan (1998)
16. Treasure Planet (2002)
17. Frozen (2013)
18. Peter Pan (1953)
19. Pinocchio (1940)
20. Lady and the Tramp (1955)
21. The Great Mouse Detective (1986)
22. Hercules (1997)
23. Atlantis: The Lost Empire (2001)
24. Bambi (1942)
25. The Emperor’s New Groove (2000)
26. Meet the Robinsons (2007)
27. The Jungle Book (1967)
28. Dinosaur (2000)
29. One Hundred and One Dalmatians (1961)
30. The Sword in the Stone (1963)

The Jungle Book (2016)

Tags

Disney, Drama, Family, Thriller

 

While man has moved on from the jungle to cities, committees, and ease,
There’s something intriguing and lavish about the deep green of the trees.

We look back at creatures and corners too fierce and exotic to tame,
Caught up in an ancient attraction too dark and uncharted to name.

The beauty of virginal wilderness and wonders no eye has beheld
Still haunt we who harness the future yet still to the past are impelled.

We gladly embrace what is modern, by comfort’s convenience beguiled,
Yet even a civilized person can fall to the call of the wild.
__________________

MPAA rating: PG

I had considered reviewing Disney’s live-action version of The Jungle Book as a Cartoon Comparison, but since I’ve already covered the original 1967 feature, a separate review seemed better. Ever since Disney started in on translating their classic animated films into live-action retellings, I’ve been skeptical. Alice in Wonderland and Maleficent weren’t content to just translate the story but added in dark subtexts that ruined every shred of the original that they incorporated. I was never that fond of the animated Alice in Wonderland or even Sleeping Beauty so it was a lesser form of sacrilege to me, but I’ve always had a soft spot for The Jungle Book. How could Disney possibly do it justice? Well, I’m relieved to say they did, as almost every other reviewer seems to agree. In a world where we’ve seen CGI conjure almost everything imaginable, Disney and director Jon Favreau still managed to impress.

I’m shocked to say it, but this version might actually be better than the original because of how it fleshes out the story with material from Rudyard Kipling’s book. After we’re introduced to Mowgli (very young but good Neel Sethi), his wolf family, and the wolves’ rhyming creed plucked straight from the book, a drought causes the Peace Rock in the riverbed to be revealed, effecting a Water Truce during which predators must cooperate with prey for the sake of water. Such is the Law of the Jungle. This clever rule allows Mowgli to meet the murderous tiger Shere Khan up front, whereas the animated Mowgli isn’t as aware of Shere Khan’s threat until the end. Actually showing the restrained antagonism at the river also gives a more immediate reason for the wolves’ decision to send him back to the human village for his own safety.

The cartoon is far more episodic than many Disney films, bouncing from Kaa the python to the elephants to Baloo to King Louie to Kaa again to those Beatles-style vultures before the end. Favreau’s film follows almost the same chronology (minus the vultures and Kaa’s second appearance), but provides far better connections to create a more cohesive story. Scarlett Johansson’s Kaa, for example, isn’t just a random danger but elucidates some of Mowgli’s history during her brief scene. Christopher Walken as a more menacing Gigantopithecus King Louie instills the idea of fire’s power in Mowgli, and that fire plays a far more significant and complex role in the climax than simply appearing in a flash of lightning and scaring off Shere Khan. I don’t mind how the animated version was told, but the new filmmakers found the perfect way to tell essentially the same tale (albeit with a different ending) in a uniquely well-rounded way for modern moviegoers.

Easily the best things about the original Disney cartoon were the voicework and music. Every voice actor embodies that character, and I wasn’t sure that new voices could pull it off. One of my coworkers has an issue with talking animal movies like Babe or The Jungle Book, seeing them as an abomination of nature, and hearing recognizable voices coming out of the mouths of CGI animals did take some getting used to. At the first listen, Ben Kingsley as Bagheera and Bill Murray as Baloo don’t seem to quite suit their roles, but the more I heard them, the better they fit. Even Walken does well as a more mobster-like King Louie in the film’s biggest action scene. Probably the weakest voice casting was Johansson as the honey-voiced Kaa, but that could be due to how briefly she’s heard; plus, I’m sure Sterling Holloway seemed like an odd choice in 1967. Likewise, Idris Elba is a more fierce-sounding Shere Khan, but there’s something so sleekly villainous about George Sanders’s voice in the cartoon. Bill Murray’s Baloo managed to surprise me the most, offering the best comic relief, and even if he doesn’t quite compare with Phil Harris in the cartoon, I won’t mind future generations growing up with these revised characters. Unfortunately, the songs don’t translate as well, and while “The Bare Necessities” and “I Wan’na Be Like You” work well enough, they could have been omitted and left to the superior cartoon versions.

Much has been said of the film’s visual quality, and the CGI animators truly outdid themselves. Like Life of Pi, the interactions between the boy and the simulated animals are seamless; CGI hasn’t quite reached the point that I can’t tell it’s still CGI, but it’s well on its way. Also, even though this is a far darker adaptation of the story, with more peril and death than the cartoon, the color pallet wasn’t limited for the sake of keeping it dark. The jungle is a lush wonder, like a live-action version of the greenery that made Disney’s Tarzan so stunning. The mood of the forest morphs depending on the tone of the scene, but it’s always a beauty.

Succeeding as both a faithful retelling and a thrilling reimagining, this latest Jungle Book does almost everything right for a remake, even making Mowgli more industrious and clever than his animated counterpart. The voices take some getting used to, but they don’t hamper the gorgeous visuals and the flow of the story. Disney doesn’t seem to be slowing down with its live-action remakes, and even if I’m still concerned about what they might do to Beauty and the Beast or The Lion King, The Jungle Book reinforced the hope that Maleficent almost destroyed.

Best line: (Mowgli) “But I’m helping Baloo get ready for hibernation.”
(Bagheera) “Bears don’t hibernate in the jungle.”
(Baloo) “Not full hibernation, but I nap a lot.”

 

Rank: List Runner-Up (on par with the original)

 

© 2016 S. G. Liput
404 Followers and Counting