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

Sonic the Hedgehog (2020)

Tags

Action, Comedy, Family, Sci-fi

(For Day 9 of NaPoWriMo, the prompt was to write a to-do list for an unusual character, so I wrote one for Sonic himself as he hides away in a small town at the start of this movie.)

Let me review
My daily to-do:
I’ll watch the sun rising at 7:02.
I’ll scarf down some breakfast by 7:03,
Then on to a new day of being 3D.
I’ll challenge myself to ping pong yet again;
I do always win, but I’m bored by point ten.
I’ll watch the town sheriff eat donuts and sit
And wait for a car driving past the limit.
I’ll watch as the Little League team has a game
And hide in the shadows to cheer every name.
I’ll watch the town crazy go still unbelieved
As he tells of the spiky blue beast he’s perceived.
I’ll watch the schoolchildren, the farmers and vets,
All living their lives with no sign of regrets.
I wish I could join them and just coexist.
Perhaps I’ll add that to tomorrow’s new list.
_________________________

MPA rating:  PG

I don’t know that anyone really expected Sonic the Hedgehog to be good. Not only are video game movies rarely successful, but backlash against Sonic’s initial appearance in the first released trailer prompted a swift redesign and a three-month delay, which is rarely a good sign. Those low expectations only make the finished product an even more pleasant surprise. Sonic the Hedgehog is better, funnier, and far more likable than it has any right to be.

I played and enjoyed one Sonic Game Boy game back in my golden tween years, but I’d never say that I was as invested in the Sega franchise as, say, the fans who expressed such strong opinions about that creepy version of the character from the first trailer. Yet this film does a marvelous job at fitting in plentiful fan service that never detracts from telling an entertaining story accessible to non-fans as well. Sonic himself is something of a refugee from another dimension/planet, possessing super speedy power for which he must keep himself secret. Thus, he hides out in a small town in Montana, forming a one-sided relationship with local sheriff Tom Wachowski (James Marsden) and his wife (Tika Sumpter), but the fun-loving hedgehog eventually draws the attention of the government and mad scientist Dr. Robotnik (Jim Carrey) and must rely on Tom for help.

I’ll freely agree that Sonic’s more cartoonish design is far better than the realistic one that fed people’s nightmares, but, as top-notch as the animation is, that still seems secondary to Ben Schwartz’s outstanding vocal performance of the character, which sometimes seems like he’s trying to emulate Robin Williams as the Genie. Likewise, James Marsden’s talent for acting opposite CGI animals has apparently become a calling card of his, and he serves as a straight man to Sonic’s antics as they embark on a road trip to get the alien to safety. And then there’s Jim Carrey, who hams it up as Sonic’s iconic robot-loving nemesis. Honestly, Robotnik is amusing, but anyone else would have been just too campy; Carrey fits the insane character into the over-the-top schtick that made him a star in the ‘90s, and he really is a hoot chewing the scenery, such as during a dance sequence to The Poppy Family’s 1971 song “Where Evil Grows.”

Sonic the Hedgehog doesn’t always seem very original, such as during super-speed sequences directly recalling Quicksilver’s best moments in the X-Men prequels, yet it has an overall likability and a great sense of self-aware humor. Moments that seem hackneyed don’t always play out as expected, and the product placement is so blatant that they actually work it into the film’s jokes. It subverts the expectations for a corporate cash-grab and works just as well as a family-friendly adventure extolling friendship as it does a potential starter for a cinematic universe. Plus, it had the advantage of coming out right before the COVID pandemic hit, making it the sixth highest-grossing film of 2020 and the most successful video game film yet. Based on the numbers alone, I’d say there’s a market for films like this that can please fans and non-fans alike.

Best line: (Sonic, hidden inside a duffel bag) “How much longer? I can’t breathe in here!”
(a bystander) “Do you have your child in that bag?”
(Tom, nonchalantly) “No…. I mean, yes, it’s a child, but it’s not mine.”

Rank:  List Runner-Up

© 2021 S.G. Liput
724 Followers and Counting

The Christmas Chronicles 2 (2020)

Tags

Christmas, Comedy, Family, Fantasy, Netflix

To all who would rather be elsewhere,
To all who are feeling alone,
To those who wish Christmases long past
Could somehow return when we’re grown,

To all who are missing a loved one,
To all who wish wishes were real,
To all who are hoping that Christmas
Can brighten a year so surreal,

I know well this plaintive nostalgia,
Yet bypassing cynics’ deaf ears,
I still wish you all Merry Christmas.
May smiles replace all your tears.
________________________

MPA rating:  PG

Two years ago, Netflix delivered The Christmas Chronicles, with one of the more fun incarnations of Santa Claus delivered by the incomparable Kurt Russell. In true commercial Christmas fashion, we now have a sequel to the family-friendly romp, but whereas the first film borrowed heavily from Adventures in Babysitting for its plot, the second film leans a bit more on Gremlins and The Santa Clause 3, with mixed but still enjoyable results.

Teenagers Teddy (Judah Lewis) and Kate Pierce (Darby Camp) are still True Believers two years after their previous adventures with Santa Claus (see first movie), but Kate is now depressed having to spend Christmas in Cancun with her mother’s new boyfriend (Tyrese Gibson) and his young son Jack (Jahzir Bruno). While Teddy was the one with the character arc in the last movie, he’s quickly sidelined in favor of Kate and Jack, who are suddenly whisked away to the North Pole by a mysterious ne’er-do-well (Julian Dennison of Hunt for the Wilderpeople) with designs on Santa’s Village.

The first film was a hodgepodge of admittedly likable ingredients from other movies, and its sequel is much the same, though there are still spurts of inspiration. We get to see more of the North Pole this time, a sprawling collection of specialized toy and candy shops populated by impish elves, which should capture any child’s imagination without the creepy qualities of, say, The Polar Express. And following the first film’s example, this one again includes an exuberant musical number of pure Christmas spirit (featuring Darlene Love) that is worth the price of admission.

It’s rather predictable and not quite as good as the first movie, feeling even more like a farrago of Christmas-themed elements that don’t always fit naturally. The antagonist Belsnickel is particularly meh for the most part, though Dennison does his best to channel cartoonish malice. I did enjoy the new cast members, such as wide-eyed Jahzir Bruno and the larger role for Goldie Hawn as Mrs. Clause, though it was weird seeing Tyrese Gibson as a family man compared with his swaggering ladies’ man role in the Fast and Furious films. I also liked how the story expanded on the series’ Santa mythos as well, even if it also tosses in time travel for a sweet yet contrived reason. The Christmas Chronicles 2 probably won’t become a holiday staple, though there are rumors of a third film in the works, but it’s a diverting watch to remind the world of what a great Santa Claus Kurt Russell is.

Rank:  Honorable Mention

© 2020 S.G. Liput
708 Followers and Counting

A very Merry Christmas to everyone!

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

Paddington 2 (2017)

Tags

Comedy, Family, Fantasy

(The final NaPoWriMo prompt for the month is to write a poem about something that returns, so I went a bit cynical for a lovably uncynical film.)

A ubiquitous rule of the filmmaking sphere
Is “That which makes money returns.”
Before all the interest and buzz disappear,
They’ll double whatever it earns.

Who cares if the second is not the first’s equal?
(It could be, but most tend to doubt.)
The crowds will turn out nonetheless for the sequel;
That’s why they keep churning them out.
___________________

MPA rating: PG

Paddington 2 is what got me to finally watch these movies. The first Paddington‘s 97% on Rotten Tomatoes is nothing to sniff at, but when its sequel earns a rare 100% and becomes the highest-rated film in Rotten Tomatoes history, it’s time to take a look. And indeed Paddington 2 is the kind of sequel other sequels wish they could be, building on the first with even more genuine sweetness and gently clever humor.

Paddington Bear (Ben Whishaw) is still living happily with the Brown family in London and searching for the perfect birthday present for his distant Aunt Lucy, finding it in an antique pop-up book. In place of Nicole Kidman’s vengeful taxidermist, the new villain on the block is Hugh Grant’s arrogant but washed-up actor Phoenix Buchanan, who has his own designs on the pop-up book and manages to frame Paddington for its theft. With Paddington in prison, the Browns seek to clear their ursine family member’s name.

Ignoring a few predictable elements toward the end, Paddington 2 is an all-around joy of a family film. Paddington himself remains a refreshingly genteel and lovable protagonist, and I loved how he gradually wins over the hardened criminals in the jail through, you know, friendship and marmalade. Many scenes are made wondrous through their handsome visual playfulness, whether by unique sets or seamless effects, and I had to admire how well-structured the gags and side characters’ sub-stories were, each one getting some kind of payoff during the climax. With Hugh Grant being so highly praised for his flamboyant villain, I was expecting a bit more from him, but he still provided a theatrical hamminess that fit perfectly into the plot. And it’s a cold heart that won’t want to shed a tear at the ending.

I’m torn on the ranking I should give Paddington 2. I did love it, but I feel like I’d love it more if I’d seen it as a child, with the same nostalgic fondness I have for something like Stuart Little. Of course, my affection for it could very well grow the more I see it. I don’t know that it deserves to be the highest-rated film ever, but I can certainly agree it’s as close to a modern classic as any recent family film has gotten. It’s a heartwarming reminder that, every now and then, a sequel can validate its existence on its own merits.

Best line: (Mr. Curry, glad that Paddington is gone) “We don’t want him here.”   (Mr. Brown) “No, of course you don’t. YOU never have! As soon as you set eyes on that bear, you made up your mind about him. Well, Paddington’s not like that. He looks for the good in all of us, and somehow he finds it! It’s why he makes friends wherever he goes. And it’s why Windsor Gardens is a happier place whenever he’s around. He wouldn’t hesitate if any of us needed help! So stand aside, Mr. Curry, ’cause we’re coming through.”

 

Rank: List Runner-Up

 

© 2020 S.G. Liput
684 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

Paddington (2014)

Tags

Comedy, Family

(Today’s NaPoWriMo prompt was to write about life’s small pleasures, which can include how we treat one another.)

It’s the little things, you know,
That make a day a joy,
The little interactions, like a smile, a wink, a wave,
The “please” or “Miss” or “Mister”
That a shrinking few deploy,
Reminding us some people still recall how to behave.

When hate’s on all horizons
And stress is in the air
And every morning seems less optimistic than the last,
A touch of common courtesy,
Less common but still there,
Can prove the world’s not too far gone, no matter the forecast.
________________________

MPA rating: PG

At last, I finally got to see why everyone loves Paddington so much. For some reason, I never got around to seeing this family film from 2014 until recently, perhaps because I never read the original classic British children’s books when I was young. Paddington has quickly become beloved by both critics and audiences, and it does indeed have a near-perfect blend of whimsy and humor.

The film starts with a flashback about a British explorer discovering a pair of intelligent bears in Darkest Peru, teaching them about England and marmalade sandwiches before returning home. Decades later, those bears’ nephew (voiced by Ben Whishaw) journeys from the jungle to Paddington Station in London, where he is taken in by the kind Brown family (Hugh Bonneville, Sally Hawkins), who give him the name Paddington. He struggles, though, to find where he belongs, even as he’s targeted by a cruel taxidermist (Nicole Kidman).

It’s common for a family film to veer too far into puerile territory and be demoted to a “kid’s movie.” As a kid at heart, I can appreciate the vast majority of cartoons and such (as evidenced by yesterday’s review), but it’s clearly difficult for filmmakers to create something that can appeal to kids and adults without patronizing either. Pixar has mastered it, and so, it seems, has Paddington. There are, of course, jokes and burps and slapstick for easy laughs, but beyond that is an overwhelming abundance of charm. Paddington himself, rendered in bravura CGI, doesn’t have an unkind bone in his body, and his interactions with everyone are marked by a politeness and courtesy that is genuinely refreshing, due to how rare they’ve become in recent times. I’m sometimes irritated by characters who are defended for being clumsy and destructive, and there’s a little of that here, but the charm easily outweighs any negatives.

More than anything, Paddington reminded me of another film about a polite CGI character trying to find his place in the world and being accepted into a nuclear family: 1999’s Stuart Little, which was a beloved movie for me growing up. My nostalgia makes me prefer the earlier film, but I like how Paddington has become the Stuart Little of a new generation. Paddington certainly is more critically lauded, and its inventive camerawork and set design only add to an overall delightful aesthetic. It’s a family film in the truest sense of the words.

Best line: (Mary Brown, giving a description of Paddington to a policeman) “He’s about three foot six, he’s got a bright red hat on, and a blue duffel coat… and he’s a bear.”
(Policeman) “It’s not much to go on.”
(Mary) “Really?”

 

Rank: List Runner-Up

 

© 2020 S.G. Liput
679 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

Sing (2016)

Tags

Animation, Comedy, Family, Musical

(Today’s NaPoWriMo prompt was for a poem inspired by a favorite musical genre. So I wrote my own lyrics to the beautiful Leonard Cohen classic “Hallelujah,” which was used in this film, and it’s best sung to that tune.)

I heard there was a big contest
Where people sang to prove they’re the best,
But who would try when all the world sees through ya?
Yet trying is a practice sport,
It’s hard to start, easier to thwart,
But still I saw a chance for hallelujah!

I answered to the casting call;
I saw so many give their all,
But not too much or else they’d have to sue ya.
Then my turn came, and I stepped sincere;
I flung my lungs to the judges’ ear
And hoped to God I’d find my hallelujah.

The echoes waned, and I waited there,
And one leaned backward in his chair,
And said, “If I produced, I would pursue ya.
But this audition’s meant for dance,”
So clearly I did not advance,
But still I got a chance at hallelujah.
It is true-ya,
But who knew-ya?
My debut-ya,
My limelight, but not quite,
Hallelujah.
____________________

MPA rating: PG

At first glance, Sing looks very generic, especially with Illumination largely meh record (The Secret Life of Pets, Despicable Me). Anthropomorphic animals? Seen it, that same year actually with Zootopia. A singing competition? That’s only been done, oh, about 100 times. So what does Sing offer? Well, nothing new really, but it does present its familiar elements in a highly crowd-pleasing way with an all-star voice cast and bright animation to rival its competitors.

A koala named Buster Moon (Matthew McConaughey) owns an old failing theater with great passion and nostalgia, and when the bank threatens to foreclose on it, he decides to hold a singing competition to revive the venue’s reputation, accidentally offering a cash prize he doesn’t have. A motley crew of animal characters then audition for the show with their eyes on the prize, and things go both very wrong and very right.

The most notable aspect of Sing is the sheer number of pop standards it includes, over 60, sometimes only for a few seconds, an expense that reportedly used up 15% of the film’s budget. From Taylor Swift and Frank Sinatra to Queen and Stevie Wonder, it’s a veritable auditory feast of well-produced popular music, which also offered me the surprise of realizing how well actors like Scarlett Johansson can sing, even as a porcupine. Plus, I have little doubt that Taron Egerton’s rendition of “I’m Still Standing” helped clinch his casting as Elton John in Rocketman.

The diverse characters and personalities – mice, porcupines, pigs, gorillas, elephants – all get basic but relatable character development, and I liked how every one of the contestants had a different reason for wanting to sing and win the money, whether for selfish needs, a chance to start over, or for more personal hopes and dreams. There was charm to spare in the voice cast, which also included Reese Witherspoon, Seth MacFarlane, Tori Kelly, John C. Reilly, and Peter Serafinowicz, and the animation was smooth and colorful, particularly an impressively rendered scene involving a flood.

So ultimately, Sing is an enjoyable film built on a lackluster base. It’s easily criticized for its lack of originality, yet all the ingredients come together to make it surprisingly… likable, I guess is the word. It’s easily Illumination’s best film, in my book. Plus, I do love the original song “Faith,” sung by Stevie Wonder and Ariana Grande, which deserves a place in my End Credits Song Hall of Fame. Sing doesn’t step far out of any box, but it’s a thoroughly amusing and pleasant watch sure to get your toe tapping.

Best line: (Buster, showing Ash a garish costume) “Isn’t this a great color for you?”
(Ash) “I can’t tell. It’s melting my eyes.”

 

Rank: List Runner-Up

 

© 2020 S.G. Liput
679 Followers and Counting