Tag Archives: Animated

2022 Films, Adventure, Animated, Children

Puss in Boots: The Last Wish-2022

April 14, 2023 scottmet99 Leave a comment

Puss in Boots: The Last Wish-2022

Director Joel Crawford

Voices Antonio Banderas, Salma Hayek Pinault

Scott’s Review #1,357

Reviewed April 14, 2023

Grade: B

There is a connection between the Shrek film series and Puss in Boots which I didn’t realize until researching this review. The title character appears in Shrek 2 (2004) and a film called Puss in Boots (2011) which I think I’ve seen but don’t remember well precedes the 2022 film Puss in Boots: The Last Wish.

I’m not a big enough fan.

The film is an entertaining adventure laden with bright, colorful animations and Skittles or rainbow-type colors miraged with blacks and greys. This works well and provides energy.

There is also a cool incorporation of familiar fairy tale characters. The names are re-introduced mostly as scheming people intent on capturing Puss in Boots which accelerates the fun and my interest.

The result is a good but not a great film. I’m not sure what would have made Puss in Boots: The Last Wish a masterpiece but the target is firmly placed on the young demographic.

My two cats glanced at the screen once or twice before deciding on a cozy nap instead. They were not engaged.

Even the darker subject matters of death and dog abuse somehow fall by the wayside in favor of the other cute, adventurous, and fight sequences. Surprising is that they do not pack a deeper punch.

Puss in Boots (Antonio Banderas) returns as the daring outlaw who discovers that his passion for danger and disregard for his safety have taken their toll and he is forced to consider retirement.

As a cat, he is on his ninth and last life!

He tries to get those lives back by returning to the Black Forest to find the mythical Wishing Star on his grandest quest yet. At the risk of death, Puss will have to ask for help from his former partner and nemesis, Kitty Softpaws (Salma Hayek Pinault).

They are joined in their journey by a chatty and cheerful mutt named Perro (Harvey Guillén). Together, they try to stay one step ahead of the fairy tale villains including Goldilocks and the Three Bears, ‘Big’ Jack Horner, and the Big Bad Wolf.

I had no knowledge of the character history either from Shrek or Puss in Boots despite having seen them but I’m not sure that’s imperative to one’s enjoyment of the film. I quickly caught on that Puss in Boots and Kitty Softpaws were meant to be an ‘item’.

The story is a compelling enough adventure but there comes a point where it felt meandering. I knew the troupe would ultimately emerge on the Wishing Star and all would end well. It did, and the characters rode swiftly off into the sunset.

That’s how a film like Puss in Boots: The Last Wish is supposed to end and I respect that. Best not to tarnish youngsters too early especially when the reality is sometimes quite dark.

The fun for me was the visuals and specific moments. The stunning and gleaming green eyes that Puss in Boots possesses are astounding and counterbalance nicely with Kitty’s blue ones.

‘Big’ Jack Horner is patterned after Donald Trump. Bullying, fat, and loud, he is a feared pastry chef and a crime lord who plans to use the Wishing Star to gain control of all magic. Snubbed as ‘Little’ Jack Horner as a kid he vows revenge and exhibits a pouty, snotty vibe.

The writers must have fun with that character.

Finally, a darling sequence featuring Mama Luna, an elderly cat lady who initially takes Puss in is excellent. Puss in Boots, more like a human being eating human food and using the toilet, is reduced to cat chow and a litter box like all the other cats.

Director, Joel Crawford, and screenwriters Paul Fisher and Tommy Swerdlow carefully tone down the violence and darker themes in favor of a robust adventure and largely succeed.

Perfect for kids, it’s not bad for adults either.

Oscar Nominations: Best Animated Feature

2009 Films, Adrien Brody, Animated, Bill Murray, Brian Cox, Children, George Clooney, Meryl Streep, Noah Baumbach, Owen Wilson, Wes Anderson, Willem Dafoe

Fantastic Mr. Fox-2009

December 30, 2022 scottmet99 Leave a comment

Fantastic Mr. Fox-2009

Director Wes Anderson

Voices George Clooney, Meryl Streep, Bill Murray

Scott’s Review #1,329

Reviewed December 30, 2022

Grade: B+

I have fond memories of, either reading or being read, Roald Dahl’s famous 1970 children’s novel entitled Fantastic Mr. Fox. The story involves the clever and hungry Mr. Fox and how he outwits his farmer neighbors to steal food from under their noses.

In 2009, it was adapted into a stop-motion animated film by Wes Anderson and includes the voice of George Clooney and Meryl Streep as Mr. and Mrs. Fox. Anyone familiar with Anderson’s work knows well that an added dose of eccentricity will inevitably be included as well as a unique narrative.

I confess to either being in the mood for an Anderson film or not but at least I know to know what I’m in store for.

Anderson co-wrote the screenplay with Noah Baumbach known for making witty and intellectual comedies like The Squid and the Whale (2005) and Greenberg (2010).

Fantastic Mr. Fox pairs well with 2018’s Isles of Dogs if we are talking about Anderson films. Both include the thoughts and peculiarities of animals, similar stop motion, and a story about trickery and revenge pitting man against animals.

There is an eerie and prominent comparison to Animal Farm, a 1950s George Orwell novel and film adaptation, that I noticed.

The farm, animals, class system, and desire for power and authority.

When Mr. Fox’s nightly raids on three nearby farms raise the tempers of three selfish farmers who are losing their chickens, he must outwit the outrageous plans to catch him.

After all, in his mind, he is merely trying to feed his hungry family and neighbors, and Mr. Fox must find a new way to get his paws on the bounty.

Billed as a children’s film probably because it’s based on a children’s novel, Fantastic Mr. Fox contains aspects that will go way over kids’ heads. This suits me well however because I have a fascination for animation that pushes the envelope or moves beyond the overdone ‘safe genre’.

Think of it as a kid’s film for adults.

It would appear difficult to side solely with Mr. Fox since he is a thief. We are all taught at a young age not to steal but it’s difficult not to root for Mr. Fox. He steals not to gorge himself but to feed his family and community.

Of course, he is addicted to being a cad and quickly returns to his thieving ways finding his calling and strong satisfaction.

A good lesson for kids and adults is the neighborly aspect of Fantastic Mr. Fox. There is a camaraderie amongst the animals that I find lovely and inspiring. They band together and cohabitate in an underground community and later the sewer always having each other’s backs.

The farmers are portrayed as the villains though we can certainly understand their hardships at having their animals stolen and eaten. But Anderson hits home that the farmers are greedy and obsessed with their wealth, happy to kill any animals they see fit.

It’s satisfying to see them get defeated.

The story is outshined by the visuals though. It’s difficult not to focus on the technique and stunning attention to detail, especially in the tunnel sequences. The character performances and shadowy framework make one realize just how far stop motion has come.

The autumnal colors of red, orange, and yellow, perfectly enhance the visual style and season that Anderson and team create. Even the cue card titles between scenes are meticulous art that harkens back to sophisticated cartoons of yesteryear.

Fantastic Mr. Fox (2009) is a creative, edgy, and intelligently written and scored production. Multi generations are featured with means young kids, parents, and grandparents with a hunger for a left-of-center and thought-provoking approach will be well satisfied.

Oscar Nominations: Best Animated Feature, Best Original Score

2021 Films, Animated, Best Animated Feature Oscar Winners, Children, Disney

Encanto-2021

December 16, 2022 scottmet99 Leave a comment

Encanto-2021

Director Jared Bush, Byron Howard

Voices Stephanie Beatriz, John Leguizamo

Scott’s Review #1,323

Reviewed December 16, 2022

Grade: B+

Encanto (2021) is a lovely film produced by Walt Disney Animation Studios. It’s part musical, part fantasy, and part comedy with plenty of bright, colorful, and culturally significant sequences, that are quite pleasing to the eyes.

The musical numbers are wonderfully catchy and fun, especially the standouts ‘We Don’t Talk About Bruno’ and ‘Welcome to the Family Madrigal’. Since the musical numbers are mostly created by Lin-Manuel Miranda and composed by Germaine Franco they are professional and memorable.

The film has a wholesome, upbeat yet diverse quality that makes it challenging not to enjoy.

The representation provided is a significant win for the film.

The setting of Columbia helps with this and the main character, Mirabel (Stephanie Beatriz) is darling. Her positive and forthright personality is cheerful and instantly likable and I imagine inspiring young girls everywhere.

It’s nice to see Disney branch out to an international reach in today’s world of inclusion and diversity.

The Madrigals are an extraordinary family who lives hidden in the mountains of Colombia in a charming residence called the Encanto.

The magic of Encanto is well known throughout the nearby town and its magic has blessed every child in the family with a unique gift, except Mirabel who mysteriously has no gift.

Or so it would appear.

When Mirabel discovers that the magic surrounding the Encanto is in danger of running out she may be their last hope.

The success of Encanto lies in the character of Mirabel. She is imperfect and unique but she is strong and confident, not fitting a mold. This is what Disney does well to make her relatable. You could say that Mirabel feels left out and isolated, different from her more conventional siblings.

The most important goal is to create a character that the audience can embrace and feel that they are similar to. Since the target demographic of Encanto is young females the idea is successful.

The animation is also inspiring. Challenged with replicating the mountains of Columbia in a genuine way the gorgeous, lush locales can frequently be seen in sequences. The way the family estate rests along the landscape made me want to be there with them.

The colorful pastels and psychedelic moments are dizzying in a good way. The costumes alone are evidence of this including embroidered wool with cool patterns. With pinks, purples, blues, and yellows it’s an orgy of spectacular images.

The Madrigals appear to be an affluent family revered by their community but besides having magical powers it’s unknown how they cultivate their wealth. They serve the villagers with their gifts but what does that mean exactly? Are they paid with cash?

Encanto (2021) won the Academy Award for Best Animated Feature and this is no surprise. The Academy sometimes rewards creativity and diversity over mainstream fluff and this film is an example of when the academy gets it right.

The film can be enjoyed by the entire family for multiple reasons instead of a product appealing to kids whose parents are forced to tag along.

Oscar Nominations: Best Animated Feature (won), Best Original Score, Best Original Song-“Dos Oruguitas” (won)

2022 Films, Animated, Children, Disney

Lightyear-2022

December 13, 2022 scottmet99 Leave a comment

Lightyear-2022

Director-Angus Maclane

Voices-Chris Evans, Keke Palmer

Scott’s Review #1,322

Reviewed December 13, 2022

Grade: B

The popular Toy Story (1995-2019) franchise spawns a new child with Lightyear (2022), the spin-off prequel film within a film. Box office receipts will determine if Lightyear has any children of its own.

It’s a pleasant and more or less conventional offering since it only focuses on one ‘toy’, the masculine Buzz Lightyear, and tells his story. The visuals are delightful and colorful and there is enough adventure to keep the whole family engaged.

Unfortunately, there isn’t much in the way of legacy or connection to the Toy Story characters, and even the voice of Buzz is replaced by Tim Allen to Chris Evans.

One’s enjoyment of the film largely depends on their preference for the franchise in general or the hero in question. Better satisfied may be now adults who were kids in 1995 harkening to a nostalgic film featuring a favorite childhood character.

As a semi-fan but not a diehard fanatic of the Toy Story films I found the overall result pretty good but not astounding.

It doesn’t explain why Lightyear went from a living and thriving action hero to becoming a suburban kid’s possession but it also doesn’t matter much, at least to me.

For fans of the series, it’s a nice trip down memory lane type of film more than anything groundbreaking or breathtaking.

Sometimes familiarity breeds comfort.

The film follows Buzz Lightyear (Evans) operating as a space ranger who, after being marooned on a hostile planet with his commander and crew, tries to find a way back home while confronting a threat to the universe’s safety.

His ambitious recruits Izzy, Mo, Darby, and his robot companion, Sox serve as new characters following Lightyear’s every move. As this motley crew tackles their toughest mission yet, they must learn to work together as a team to escape the evil Zurg and his dutiful robot army that is never far behind.

Possibly the most interesting and I’ll confess the primary reason why I saw Lightyear was the notorious same-sex kiss that unceremoniously got the film banned in some Middle Eastern countries.

It also pissed off conservatives who found the kiss too much for them and the potential damnation and ruination of young children everywhere.

In truth, the kiss is timid and a non-issue. The issue is more likely a prominent female lesbian character and her wife, and best friend Buzz. It’s like, how dare the all-American Lightyear has a black lesbian for a best friend.

Alisha (Uzo Aduba) is strong, confident, and black. She is a commanding officer and arguably the most interesting character in the film.

What an inspiration for young girls everywhere to see such representation and potential. The kicker is that she is in a relationship with a woman who produces a grandaughter named Izzy (Keke Palmer), one of Buzz’s recruits.

Despite the addition of inclusion and diversity Lightyear is nonetheless a by-the-numbers offering. The message is one of a robust adventure though I appreciate the social importance of such a good character.

Once Buzz is in flight and soaring for the stars Lightyear turns action/adventure in a hurry. The filmmakers intend to create a popcorn summer blockbuster while having our hero save the day and the intention is fulfilled.

The time travel and aging of characters are interesting because we see their lifecycle and generations to follow. For example, Buzz is close to Izzy. He cares so much for Alisha who he misses terribly because he has been far away and not aging while she has aged like a normal human.

Lightyear (2022) provides a safe flight plan despite being brave enough to include some diverse characters. It doesn’t connect to the origin of Toy Story as much as I’d like it to and feels rather like a stand-alone.

Time will tell if a sequel is made but it would be unnecessary.

1968 Films, Animated, Comedy, Musical, Musical Comedy

Yellow Submarine-1968

August 18, 2022 scottmet99 Leave a comment

Yellow Submarine-1968

Director George Dunning, Dick Emery

Starring John Lennon, George Harrison, Ringo Starr, Paul McCartney (*singing only)

Scott’s Review #1,291

Reviewed August 18, 2022

Grade: B+

By 1968 The Beatles, or the ‘Fab Four’, as they were commonly nicknamed, were household names and their music played all around the world.

Instead of their earlier 1960s pop and radio-ready songs, the band was beginning to branch out into far more daring and creative territory.

Yellow Submarine (1968), also a song, is a bright and colorful journey into the weird and wonderful psychedelic sensibilities the band had created. It’s fabulous and edgy though sometimes doesn’t make complete sense.

The target audience was likely adolescents but since ‘Yellow Submarine is a children’s song there is a Sesame Street educational factor to it which is hard to explain well but I felt that vibe.

A thought for adults might be to concoct a powerful libation for maximum enjoyment while watching Yellow Submarine. One’s mind must be kept open to the Blue Meanies and the odd world of Pepperland that are featured as the gang traverses the land in a Candy Land-like maze of events.

Adults might be best-suited foraging into the world of silly while watching.

The film is The Beatle’s only animated project.

The music-loving inhabitants of Pepperland are under siege by the Blue Meanies, an unpleasant group of music-hating creatures.

The Lord Mayor of Pepperland (Dick Emery) dispatches sailor Old Fred (Lance Percival) to Liverpool, England, where he is to recruit the help of the Beatles (John Lennon, Paul McCartney, George Harrison, Ringo Starr).

The sympathetic Beatles ride a yellow submarine to the occupied Pepperland, where the Blue Meanies have no chance against the Fab Four’s charisma and groovy tunes.

As bizarre as Yellow Submarine is to an adult’s frame of mind, I can only imagine the joy and energy a child would take from the film though perhaps not understanding completely. I tried to keep this in mind while watching it.

The colors are dazzling and vibrant one of the biggest strengths of the film. The delightful and vivid greens and blues mix well with the lighter pinks and yellows of the famous submarine.

I confess to having had a difficult time with the plot of Yellow Submarine in the beginning and I struggled to make sense of what was going on. This might have been because of the distraction of the beautiful animation and color direction.

I finally began to piece together clues and characters from Beatles songs and my realization turned into one of pleasure and anticipation.

Once the band meets the lonely Jeremy Hillary Boob Ph.D., also known as the ‘Nowhere Man, I got the point of the film. I began to look for other characters like Eleanor Rigby and Lucy from the song ‘Lucy in the Sky with Diamonds’.

The fun commences with salivation of what the famous Beatles tune could be next. Speaking of ‘Lucy in the Sky with Diamonds’ this number is the trippiest and most interesting of them all as a spirit-like creature dances around with weird shapes and styles.

Other treats like the tremendous ‘All You Need Is Love, the charming ‘When I’m Sixty-Four’, and naturally ‘Sgt. Pepper’s Lonely Hearts Club Band, and ‘Yellow Submarine’ are featured.

Yellow Submarine (1968) is a must-see for fans of The Beatles and those with an appreciation for the arthouse magic contained within the film. Intelligent kids allowed to be exposed to the project will surely fall in love with it and reminisce when watching it years later.

2021 Films, Animated, Documentary, International, International Documentary, LGBTQ+ Documentary, LGBTQ+ Films, LGBTQ+ International

Flee-2021

July 7, 2022 scottmet99 Leave a comment

Flee-2021

Director-Jonas Poher Rasmussen

Scott’s Review #1,274

Reviewed July 7, 2022

Grade: A-

Flee (2021) has the distinction of being the first film that is a documentary, an animated movie, and also classified as international since it was made in Denmark. It was nominated in all three categories for icing on the cake at the Academy Awards.

It’s a unique telling of one man’s journey out of war-torn Afghanistan as a refugee and his eventual safe destination of Denmark. He eventually goes to Princeton University in the United States.

This is pretty impressive for a man who could have easily died in Afghanistan before he even had a fair shot.

The film also depicts stories of his family and his realization that he is gay is made further complicated because of the country he is born in.

Flee contains beautiful graphics and art design and shifts focus from the present-day to the past and back again and includes real-life footage of various soldiers and battles (hence the documentary status).

It’s one of a kind and a tremendous effort, though I longed for a bit more of the LGBTQ+ storyline, and was curious for a glimpse of what the real-life figures looked like, which usually comes at the end of a biography-type film.

In this case, it never did.

But the gripe is small potatoes when stacked against the meaning and inspiration that Flee provides.

The focus of the story is on Amin Nawabi who wrestles with a painful secret he has kept hidden for over twenty years, one that threatens to ruin the life he has built for himself and his soon-to-be husband, Kasper.

Recounted mostly through animation by director Jonas Poher Rasmussen, he tells the story of his extraordinary journey as a child refugee from Afghanistan.

Because of the animation, I was at first thrown by Flee since it starts with the interviewer and interviewee having a conversation. In a traditional documentary, we would see the two people face to face but instead, we hear their voices in animated characters.

I quickly got used to this and it’s the way the film is throughout. The real-life characters like Amin’s family and future husband are all animated and real human beings never appear except for the newsreel-type footage.

Surprising, and also a deepening of the story is when Amin admits that he initially lied about his family all being dead. The reason he does this is out of instinct and a survival technique (for both him and his family).

Flee is perfectly paced at one hour and thirty minutes. There is ample time to discuss and showcase Amin’s decision to leave Afghanistan and the terrible journey his mother and sisters were forced to endure.

They traveled by boat from Russia to the safety of Sweden as human traffickers.

What a horrific way to escape a country especially as many stories of deaths due to suffocation follow human traffickers.

Amin is a man of secrets and anyone who has ever harbored some out of desperation will assuredly relate to Amin’s plight.

He keeps many even from his husband to be and the viewer can understand his secrecy and deep-seated fear of a return to Afghanistan and certain execution.

His story is tragic and courageous but I yearned to know more about his life with Kasper. How did they meet? Did Amin have trouble realizing his homosexuality? He mentions that he was a ‘different’ child and openly wore girls’ dresses but how else did he deal? What obstacles did they or do they continue to face?

There is a beautiful scene where he comes out to his understanding brother and sisters but I guess I wanted more.

Visually, the graphics are modern and edgy. The different countries of Afghanistan, Russia, Sweden, and Denmark all take on distinctive identities and the animation during the boat sequences is quite nerve-racking.

If a standard documentary can provide adequate emotion and storytelling, the way the filmmakers decided to make Flee (2021) is remarkable and worthy of praise.

For those desiring a humanistic story of one man’s valiant plight, Flee will leave you very satisfied.

Oscar Nominations: Best Animated Feature, Best Documentary Feature, Best International Feature Film

2005 Films, Animated, Ben Stiller, Bob Saget, Cedric the Entertainer, Children, Chris Rock, Comedy, David Schwimmer, Jada Pinkett Smith, Sacha Baron Cohen

Madagascar-2005

April 17, 2022 scottmet99 Leave a comment

Madagascar-2005

Director Eric Darnell, Tom McGrath

Voices Ben Stiller, Chris Rock, David Schwimmer

Scott’s Review #1,247

Reviewed April 17, 2022

Grade: B-

Madagascar (2005) is a film that I found mildly entertaining but struggled to enjoy as much as others might. Films with a target audience of ages thirteen and under are a tough sell for me because I don’t see them very often.

Having no children I have few opportunities to join in on the children’s games or sit at the kiddie table and get in that mindset.

Nonetheless, this film somehow crossed my radar.

It’s lighthearted and juvenile but playfully fun sending a positive message of friendship and dedication. Not a fan of the zoo at all my curiosity was piqued at how this angle would be represented if at all.

Would the captivity of the zoo face off against the natural African wildlife?

The screenwriters tread safe waters keeping their audience in mind and don’t go for any deep message or environmental or animal issues, playing it quite safe.

Madagascar suffers from blandness and predictability knowing that the audience isn’t quite ready to think outside the box and their parents will obediently sit beside them watching the film.

The result is a film brimming with possibilities that it never realizes. It’s a ready-made family film and nothing more.

Alex the Lion (Ben Stiller) is the king of the urban jungle and the main draw at New York’s Central Park Zoo. He and his best friends Marty the zebra (Chris Rock), Melman the giraffe (David Schwimmer), and Gloria the hippo (Jada Pinkett Smith) have spent their lives at the zoo with admiring fans and tasty meals provided for them.

In their minds, they have it pretty good.

Yet Marty yearns for more and lets his curiosity get the better of him when he escapes the zoo to explore the world. He and his friends wind up on a ship back to Africa and are then shipwrecked on Madagascar and left to fend for themselves in the wild.

They face dangers and allies during their adventures and wrestle with either returning to the zoo or staying in their natural habitat.

There is plenty of humor to occupy the crowd but most of the jokes are tepid or fall flat altogether. They have very little substance to offer but rather are silly gags meant to keep the adventure going.

Big stars like Rock, Schwimmer, and Stiller are cast most likely to appeal to parents forced to go to the show with their kids. Recognizable voices always sell tickets in the animated world.

Secondary characters work better than the main cast. Sacha Baron Cohen as King Julien XIII is a standout.

Mildly entertaining and soft touch in its approach Madagascar (2005) left me feeling dull and yearning for something a bit more challenging and robust in the field of kid’s film.

Its intent is merely to entertain and not to challenge so the result is a middle-of-the-road experience for me.

I’ll take the Toy Story (1995-2019) films any day.

2020 Films, Animated, Best Animated Feature Oscar Winners, Children, Disney

Soul-2020

August 18, 2021 scottmet99 Leave a comment

Soul-2020

Director-Pete Docter

Voices-Jamie Foxx, Tina Fey

Scott’s Review #1,172

Reviewed August 18, 2021

Grade: B+

It’s quite reassuring when a magical animated feature comes down the pike. Too often, the mainstream multiplex summer offerings are trite or too ‘kiddish’ for my tastes. Soul (2020) is creative, colorful, sentimental, with a terrific musical score composed by Trent Reznor (Nine Inch Nails).

The writing is fresh and inventive with gorgeous animation that feels magical. I did not see the film on the big screen and bet it would have made the experience even more delightful.

Soul is not too dark nor is it too trivial. It contains the perfect balance of humanism, darkness, and hope. The title can be construed with a double meaning. Based on the musical angle, the lead character is a piano player, the soul could mean rhythm, but I’m only half right. An out-of-body or celestial experience and the essence of a living being are also part of his soul.

While watching the film I kept ruminating over how lovely and inspirational a film like Soul is during a crushing pandemic. It has heart and magic.

Unfulfilled music teacher Joe Gardner (Jamie Foxx) finally lands the gig of a lifetime at the best jazz club in town supporting legendary Dorothea Williams (Angela Bassett). But his excitement gets the best of him and he stumbles into a manhole on a New York City street.

Lying comatose, Joe enters a fantastical place: The Great Before. There, he teams up with soul 22 (Tina Fey), and together they find the answers to some of life’s biggest questions while embarking on a journey in the switched bodies of Joe and a therapy cat.

Set in the massive Big Apple itself the film offers so much hustle, bustle, and life. I adored the setting. The smokey jazz club with sultry set design and creative music made me immersed in the wonderful surroundings.

The story itself slightly confused me when Joe arrives in the “Great Beyond” as a soul. Assuming this meant death I was relieved when he backtracked to the “Great Before” and met with counselors all named Jerry. The counselors, I realized, prepare unborn souls for life with the help of mentor souls. This didn’t grip me as much as other characteristics of the film.

Foxx and Fey are fine doing the voices for Joe and 22 respectively but they are not the highlight either. I never really thought of either of them throughout the duration. There were better aspects to focus on.

Disney/Pixar featuring a black central character is worthy of mention and it is about time. Joe’s family is black adding a wonderful mother figure and supporting characters of ethnicity to the fold.

The music, the music, the music! This makes Soul as good a film as it is. Trent Reznor’s collaboration alone made me eager to see it. His creative use of keyboards and partnership with fellow Nine Inch Nails bandmate Atticus Ross provides proper ambiance to the metaphysical sequences. A hallucinogenic trance-like musical beat is unique and trippy.

Younger children may be perplexed or bewildered by much of the activity so I’m not sure I’d recommend that demographic but music fans and admirers of rich stories with a subtext of life will enjoy the experience and subsequent message that Soul (2020) provides.

Oscar Nominations: Best Animated Feature Film (won), Best Original Score (won), Best Sound

2020 Films, Animated, Children, Disney

Onward-2020

July 23, 2021 scottmet99 Leave a comment

Onward-2020

Director-Dan Scanlon

Starring Tom Holland, Chris Pratt

Scott’s Review #1,164

Reviewed July 23, 2021

Grade: B+

An emotionally satisfying adventure film that the whole family can enjoy Onward (2020) feels fresh and inventive while still employing some standard plot points. Pixar/Disney sure knows how to churn out animated features with a nice message and a family unit sensibility.

There is also plenty of diversity that delivers an inclusive feeling so hugely important in the modern age. Kids are impressionable and learn so much from the films they watch so this quality brought a smile to my face in an otherwise enjoyable experience.

The film also celebrates non-traditional families and shows that not having a traditional mother and father and pet dog doesn’t make you strange or unworthy of love and understanding.

Onward is not completely outside the box, however, and is careful to lure in the mainstream middle America audience but some progressive treats mix well with a robust brotherly adventure tale.

Though the title, Onward, doesn’t stick in my mind very long the film itself does.

I may have even shed a tear or two during the heartfelt finale.

Teenage elf brothers Ian and Barley (voiced by Tom Holland and Chris Pratt) embark on a magical quest to spend one more day with their deceased father who loved magic. Their journey is filled with cryptic maps, overwhelming obstacles, and discoveries like any good adventure.

But when their Mom (voiced by Julia Louis-Dreyfus) finds out her sons are missing, she goes into mother lion mode and teams up with the legendary manticore (voiced by Octavia Spencer) to bring her beloved boys back home.

The lead character, Ian, is a sixteen-year-old boy with growing pains and vulnerabilities that immediately make him likable. He is eager to make friends but awkward about doing so. It is suggested that he has no friends coming to his birthday party but it’s unclear why not. Ian is also a nervous driver, terrified of traversing a busy freeway.

He is an ordinary kid who the audience can see in themselves or a former self of years gone by.

His brother, Barley, is the opposite. He is afraid of nothing and cares not who he befriends or what people think of him. His outrageous vehicle, named Guinevere, is a rebuilt van. Think the mystery mobile from Scooby-Doo.

The crux of Onward is about relationships. At first, we assume that the big payoff will be between Ian/Barley and their father. While that sort of happens, a surprise blossoms along the way, and instead of a standard father/son dynamic we get a brother/brother one. This is a treat and manufactures a dual message. Never take for granted a loved one already in your life because one day they may be gone.

I enjoyed the adventures of Ian and Barley mostly because I just knew that some sort of reunion would occur between the boys and the father. Their gift of one day spent with their father was marred by only his bottom half being visible, but I suspected we would see all of the father eventually. Avoiding complete predictability, only one of the boys gets to interplay with his father as the other looks on longingly.

I enjoyed this element quite a bit as it avoided cliche and offered raw emotion.

Speaking of diversity, two gay female police officers appear in one scene and a suggestion that some of a motorcycle gang of pixies might be gay is also noticed. Again, this is important for child viewers to be exposed to.

Another win is the animation itself- just look at the cover art above for proof. With gorgeous purple and blue color, the nighttime scenes work especially well with a bright and luminous look that I adored.

A slight miss was that the boy’s mother never got to reunite with her dead husband and their relationship was treated as merely an afterthought. The featured plot was only that the brothers missed their Dad. A reunion between husband and wife would have been nice.

With a tender and emotionally satisfying conclusion, this cemented my appreciation for Onward (2020). There may be a tad too many car chase scenes and a couple of hokey plot ploys but the film has a lot of heart that shines through.

Oscar Nominations: Best Animated Feature

2020 Films, Animated, Shorts

Oscar-Nominated Animated Short Films-2020

April 20, 2021 scottmet99 Leave a comment

Oscar-Nominated Animated Short Films-2020

Directors-Madeline Sharafian, Michael Capbarat, Adrien Merigeau, Amaury Ovise, Will McCormack, Michael Govier, Erick Oh, Gisli Darri Halldorsson, Arnar Gunnarsson

Scott’s Review #1,135

Grade: A-

Having the honor of being able to view the five short films nominated for the 2020 Academy Award for Best Animated Short Film at my local art theater was pretty amazing. Especially in the year of Covid! Far too often dismissed as either irrelevant or completely flying under the radar of animated offerings, it is time to champion these fine little pieces of artistic achievement.

On par with or even superseding the full-length animated features, each of the five offers a vastly different experience, but each offers either inspired or hopeful messages or dark, devious, and edgy stories. The commonality this year is that there are no similarities. The overall tone is mostly dour in tone save for one cute short featuring a rabbit and a peculiar look at the everyday life of Icelandic people.

Below is a review of each of the shorts.

Burrow-2020 (USA)

A darling story, Burrow tells the tale of a young rabbit who tries to build the burrow of her dreams, becoming embarrassed each time she accidentally digs into a neighbor’s home. By far the safest of the five shorts, and the most hopeful, the experience is pleasant and comical as the rabbit’s exuberance and joys are infectious. I got a real sense of community and warmness seeing the rabbits and other creatures pull together and form a communal bond rather than living in separation. It’s an inspiring and wholesome story. Grade: B+

Genius Loci-2020 (France)

One night, Reine, a young loner, sees the urban chaos as a mystical oneness that seems alive, like some sort of guide. Genius Loci is dark and depressing and tough to understand but my takeaway was one of mental illness and struggle to face daily life. Reine appears to either live with someone or has a child but this is tough to determine. Reine sees the world through watercolors and muted shapes which is quite beautiful to experience but the plot is tough to exactly determine. I used my imagination. Grade: A-

Opera-2020 (USA)

Our society and history, which are filled with beauty and absurdity are experienced with Opera, the oddest of the bunch. At merely nine minutes, it’s a short piece, but intriguing nonetheless. It is one giant shot of all sorts of activity going on within a pyramid shape, meant to represent the history of the world and daily life. There are tons of windows showing different activities. Oddities like a brothel and someone being fed plate after plate of food are featured. This one is also open to much interpretation as so many events can be seen. Grade: A-

If Anything Happens I Love You-2020 (USA) (Won)

If Anything Happens I Love You, produced by Laura Dern, describes the aftermath of tragedy, as two grieving parents journey through an emotional void as they mourn the loss of a child. This short will make the tears flow if not a downright sob and is my favorite of the group. The viewer is aware that the parents have lost their ten-year-old daughter but not how until close to the end. We wonder how death occurs. The timeliness makes it the most powerful in a time of school shootings and constant gun control battles. Yes, it’s depressing but necessary. Grade: A

Yes-People-2020 (Iceland)

As one who has an adoration for Iceland and has been lucky enough to visit the country, I was thrilled to see it represented. One morning an eclectic mix of people face the everyday battle – such as work, school, and dish-washing. As the day progresses, their relationships are tested and ultimately their capacity to cope. Besides Burrow, Yes-People is the only one to include some humor, and the boozy housewife and her fat working husband are my favorites. Joyous is also the couple who have loud sex for their neighbors to hear. Clever is how the word “yes” can be meant in so many tones and textures. It’s a slice of life short giving a glimpse into people’s ordinary lives. Grade: A-

1997 Films, Amanda Plummer, Animated, Charlton Heston, Children, Comedy, Danny DeVito, Disney, Fantasy, Hal Holbrook, James Woods, Tate Donovan, Wayne Knight

Hercules-1997

February 7, 2021 scottmet99 Leave a comment

Hercules-1997

Director Ron Clements, John Musker

Starring Tate Donovan, James Woods, Danny DeVito

Scott’s Review #1,109

Reviewed February 7, 2021

Grade: B-

Hercules (1997) is a modern-day Walt Disney film that centers on the world of Ancient Greek mythology. The premise is one I find fascinating and the characters of Hercules, Zeus, Hades, and Pegasus are the focus.

The names alone hold intrigue and appeal but the film is only an adequate watch.

The product feels “produced” and lacks the authenticity and sincerity that is rich and seamless in beloved Disney classics like Snow White and the Seven Dwarfs (1937) or Bambi (1941).

Besides the initial story intrigue, the animations are nothing particularly special and it feels too kiddie-like.

It’s like comparing The Beatles Sgt. Pepper’s Lonely Hearts Club Band historical album to a latter-day solo effort by Paul McCartney and that’s being generous. It may be fine but can’t hold a candle to the former.

And “fine” is not what I wanted from a Disney film. That’s what I felt about Hercules. It’s okay and entertaining but not up to snuff as compared with finer films.

The film is equipped with a fantastic villain though, the best part of Hercules other than the mythological elements. James Woods, who voices the character of Hades, is wonderful and I’m hardly a James Woods fan but for other reasons, like his politics.

Anyway, the rivalry and competitive edge of Hercules and Hades are unique and compelling and will hold one’s attention.

It all begins in a perfect Disney way when Hercules (Tate Donovan), a son of gods, is snatched as a baby by Hades and forced to live among mortals as a half-man, half-god. When he grows to be an adolescent, Hercules needs to perform a rite of passage on Earth to prove himself worthy of living with the gods on Mount Olympus.

With his sidekick, Philoctetes (Danny DeVito), in tow, Hercules must learn to use his strength to defeat evil creatures.

The strong message is written in Hercules to appeal to a sense of good overthrowing evil. It’s a Disney film, trust me it will.

Though predictable the story feels good in a world where far too often the bad guys get away with bad things and the good guys don’t get enough credit.

Appealing and targeted mostly to kids, the film made a ton of money which means a lot of kids saw it. A great reminder is that with any luck truth and honest will win out. So will remaining true to one’s self.

Woods makes Hades a villain with an edge rather than a generic, cookie-cutter type. Hades speaks rapidly, like a used car salesman trying to sell a customer a good deal. We can tell we are trying to be swindled but there is fun in that.

Megara (Susan Egan), the intended love-interest for Hercules, is working for Hades, which adds a level of intrigue.

Unfortunately, the romance between Hercules and Meg never gets off the ground or works well. The main issue is that there is little chemistry or rooting value for the couple. Meg isn’t my favorite Disney character. She is a sarcastic damsel whom Hercules saves from the centaur Nessus.

After Hercules and the others leave, Meg is revealed to be Hades’ servant, having sold her soul to him to save a lover who then left her. She’s had a tough life and finally does the right thing but I never felt invested in the character.

The main song from the film is okay but rather forgettable. The title of “Go the Distance” is a song of determination but also generic and unmemorable. The look of the animations has a 1990s vibe with bright, vibrant colors that look “of the time” instead of feeling classic or alive.

A decent effort, Hercules (1997) hits its mark sometimes and other times misses completely. I was enraptured with the historical and mythological gods and the trimmings that go along with that mystique, but the modern spin doesn’t work and only made me yearn for the classics from the 1940s and 1950s.

Oscar Nominations: Best Original Song-“Go the Distance”

2019 Films, Animated, Children, Disney

Frozen II-2019

July 22, 2020 scottmet99 Leave a comment

Frozen II-2019

Director-Chris Buck, Jennifer Lee

Starring-Kristen Bell, Idina Menzel

Scott’s Review #1,043

Reviewed July 22, 2020

Grade: B

Six years after the enormous success of Frozen (2013) comes the follow-up, Frozen II (2019).

Surprising is the long gap of time between creations but the beauty of animation is that these characters do not age unless creators want them to.

The adventure story is fun, incorporating a bit of history which always creates depth, but also charts familiar territory as the first installment.

The film showcases lovely visuals and songs which usurp the other elements. Breeding so much familiarity, there seems little need for a third chapter though I’d bet my bottom dollar another will emerge.

We are re-introduced to Anna (Bell) and Elsa (Menzel) as little girls when they are tucked into bed by their father King Agnarr of Arendelle one night. He relays a story about his father (their grandfather), a treaty made with a neighboring tribe, a dam, and a magical Enchanted Forest.

As a youngster, Agnarr barely escapes alive after a fight erupts with the other tribe, causing his father’s death, and enraging the spiritual elements of the forest. There is also a key mention about Anna and Elsa’s parents lost ship, which is apparently how they died.

Fast-forward to present times, Elsa and Anna are adults, three years following the events of the first film. Elsa, the one with ice powers, runs her happy kingdom with Anna serving as Princess. They live in peace and harmony with familiar characters Olaf, the snowman created by Elsa, Kristoff, Anna’s boyfriend, and Sven, his reindeer.

When Elsa begins hearing mysterious voices calling to her from the mountains, she pursues them only to reawaken the spirits and threaten her kingdom and her people. The group must come to the rescue to retain harmony learning the reason for Elsa’s powers in the process.

Frozen II has a “nice” feel which is positive and negative. Family-friendly with a feminist, female perspective is good and crafts a positive and inspiring message for youngsters, especially females, who see the film. Anna and Elsa control their destiny, are empowered to go after what they want, and achieve results.

They also support each other, share sisterly love rather than are rivals, and treat people fairly.

The adventure that the girls and friends face will end happily, that much we know. Slight peril emerges when Anna goads and then flees from gigantic earth spirits, Olaf melts and is assumed dead, and Elsa is also thought dead in the forest, but these are aspects added for dramatic effect, and the safe feel of the film ensures that all major characters will remain in happily ever after harmony.

When Kristoff awkwardly attempts to propose to Anna throughout the film, we are certain he will eventually do the deed which he does.

I criticized Frozen for limiting diversity in its production, which is corrected in Frozen II. Mattias, leader of a group of Arendelle soldiers, is a strong and protective character and is black.

As an LGBTQ presence, one is only hinted at.

When Kristoff befriends Ryder over their love of reindeer, Ryder admits he knows nothing about girls. Mention must be made of Elsa’s barbie doll-like appearance with her bright blue eyes and long blonde hair. Does she have to look that stunning? Might impressionable girls get the idea that looks are most important?

Let’s hope not.

The best parts of the film are the musical numbers, which feel increased from the first Frozen. Using the same song composers, the tunes feel slightly less poppy. The most emotional number is “Into the Unknown”, which possesses a mysterious quality and powerful, compelling lyrics.

Its message is to go for it, which can be interpreted as conquering fears or trying something new. The sound is anthem-like and superior to “Let it Go”.

Frozen II (2019) is a predictable, fun affair ensconced with Scandinavian trimmings with mountains, fjords, and gorgeous landscape providing the necessary cold-weather aspects and magical quality. The visuals are lavish, bright, and sophisticated.

Part II is a slightly more mature affair but on par with Frozen and wisely targets the right audience. Tastes change, so if Part III is made filmmakers might want to think of a deeper plot or subsequent tidbits to retain interest.

Oscar Nominations: Best Original Song-“Into the Unknown”

2010 Films, Adventure, Alain Gagnol, Animated, Anjelica Huston, Children, French, Jean-Loup Felicioli, Marcia Gay Harden, Matthew Modine

A Cat in Paris-2010

April 1, 2020 scottmet99 Leave a comment

A Cat in Paris-2010

Director Jean-Loup Felicioli, Alain Gagnol

Starring (ENGLISH) Marcia Gay Harden, Steve Blum

Scott’s Review #1,006

Reviewed April 1, 2020

Grade: A-

For any lover of all things cats or all things Paris, A Cat in Paris (2010) is a double-punch winner in themes alone and a pure treat.

The French-made film was nominated for the Academy Award for Best Animated Feature along with Chico and Rita (2010), another foreign language animated feature, both considered surprise entries.

This was monumental as it aided subsequent non-American features to be allowed into the mix.

The former is a moody and mysterious caper story involving a cat and a young Parisian girl and the adventures they share. The traditional ink colors and hand drawings are lovely and creative, adding to the inventive mood.

The feline-centered story and feminist empowerment angle provide a unique and worthy experience to be well remembered. The French language version contains native language voices while the English version has English speakers.

The main protagonist of the film is Dino, a pet cat who leads a double life. By day he lives with his friend Zoe (Lauren Weintraub), a little mute girl whose mother, Jeanne (Marcia Gay Harden), is a detective in the Parisian police force.

He sneaks out of the window each night to work with Nico (Steve Blum), a slinky cat burglar with a heart of gold, who regularly evades captors as he glides and swishes from rooftop to rooftop with the picturesque Paris skyline serving as a backdrop.

Dino’s two worlds collide when one night Zoe decides to follow Dino on his nocturnal adventures and falls into the dangerous hands of Victor Costa (JB Blanc), an intimidating gangster who is planning the theft of a rare statue.

Now the cat and cat burglar must team up to save Zoe from the bumbling thieves, leading to a thrilling acrobatic finale on top of Notre Dame.

In an acute tongue-in-cheek final moment, Nico gives Jeanne a snow globe with the Cathedral of Notre Dame in it as a Christmas present.

Despite the film being an animated one, this fact does not take away from the cultural and sophisticated Parisian experience.

Delicious views of the distinguished Eifel Tower and the luminous, glowing skylines of the City of Lights assuredly will captivate each viewer fortunate enough to have ever visited the magical city in person, or those who have daydreamed an afternoon away imagining experiencing the grand city.

Alfred Hitchcock’s work is mirrored throughout A Cat in Paris, specifically his film To Catch a Thief (1955). That film is set along the French Riviera instead of in Paris but features a cat burglar, a thrilling rooftop climax, and enough cat and mouse-thrills to last a lifetime.

The director’s work is easy to spot, and the filmmakers are wise to adapt to his style, carefully weaving elements into an animated film with the hopes of exposing children to intelligent filmmaking.

Adults will equally love the film.

At a mere one hour and five minutes, nearly teetering classification of a short film instead of a full-length feature, A Cat in Paris (2010) more than accomplishes what it sets out to in the limited time.

Utilizing fantastic silhouettes and lit shapes and angles, the visual treats alone make this one exceptional. Adding tidbits of the greatest film director of all time’s work without outright stealing it is a wise choice.

May more intelligent international animated films like this one receive their deserved exposure to mass audiences.

Oscar Nominations: Best Animated Feature Film

2019 Films, Animated, Shorts

Oscar Nominated Animated Short Films-2019

February 4, 2020 scottmet99 Leave a comment

Oscar-Nominated Animated Short Films-2019

Directors-Daria Kashcheeva, Matthew A. Cherry, Karen Ruper Toliver, Rosana Sullivan, Kathryn Hendrickson, Bruno Collet, Jean-Francois Le Corre, Siqi Song

Scott’s Review #986

Reviewed February 4, 2020

Grade: A-

Having the honor of being able to view the five short films nominated for the 2019 Academy Award for Best Animated Short Film at my local art theater was pretty amazing.

Far too often dismissed as either irrelevant or completely flying under the radar of animated offerings, it is time to champion these fine little pieces of artistic achievement.

The commonality this year is relationships, and not necessarily between human beings, as one of them features a darling relationship between cat and dog.

Below is a review of each of the shorts.

Memorable-2019 (France)

This offering is the most visually enticing of the five nominees. In the story, a French painter slowly falls prey to the ravages of dementia, while his wife suffers alongside him as his memory disintegrates. He sinks into a world of impressionistic shapes, vivid with gorgeous color.

The film is both beautiful and heartbreaking, and not an easy watch. The swirling colors and fragmented shapes provide a lush and melancholy feel.

The viewer will likely envelope the only two characters to appear (husband and wife) and relate to each of them and the misery and confusion they experience with the assurance of what the result will be. Grade: A

Sister-2019 (China)

Sister is a touching tribute to a person who does not even exist.

A man thinks back to his childhood memories of growing up with an annoying little sister in China in the 1990s. What would his life have been like if things had gone differently? Would the siblings annoy each other or be the best of friends?

With political overtones, the piece describes the inhumane law that Chinese parents could only have one child, the mother forced to abort an impending birth.

Traditional Chinese colors of red and black are used, and the imaginary sister is cute and energetic, a tragic realization of the terrible loss of potential life in a damaged nation. Grade: A-

Hair Love-2019 (USA) (Won)

Created by a team from the United States and strongly considered the front-runner, Hair Love feels the shortest of the bunch and is the most accessible of all the nominees, but hardly fluff either.

A young black girl battles with her wild head of hair on a special day. After she unsuccessfully tries to create a gorgeous hairstyle by watching Youtube videos, she desperately enlists the help of her kindly father. At first disastrous, they manage some success.

The relationship is at first unclear. Is he a single dad? Is he her dad at all? Is he an older brother? The puzzle is quickly resolved with the revelation of the mother’s whereabouts in a tender and heartfelt ending. Grade: A

Kitbull-2019 (USA)

My personal favorite of the bunch, Kitbull starts tough to watch.

Any animal abuse in the film makes my stomach turn and the beginning turned me off as I anticipated giving the piece a low rating.

Instead, Kitbull results in a marvelous experience as a darling and compassionate story of the relationship between a kind cat and a suffering dog.

The unlikely connection brought tears to my eyes as the cat, presumed to be an independent alley cat, comes to the rescue of the pit bull, presumed to be made to a dog fight. Any animal lover will watch this short with a mix of anger, empathy, and finally, joy.

The sobering reality that so much animal abuse still exists in the world is both mind-blowing and cruel reality. Grade: A

Daughter-2019 (Czech Republic)

Daughter is a vague short film that is confusing to watch, but resilient and creative. The story consists of two characters- a father and daughter- both of who seem to suffer from regret.

The father appears to be either sick and recovered, or to have died (unclear is if the story is told via flashbacks). The frequent pained expressions of both characters as they yearn to rewind the clock and treasure moments of the past, both of hardships and joy, are lessons that every viewer can appreciate and relate to.

The misshapen ceramic figures and the facial movements, especially the blinking eyes, do much to elicit an emotional reaction from the audience. Grade: B+

2019 Films, Adventure, Animated, Children, Musical

The Lion King-2019

January 17, 2020 scottmet99 Leave a comment

The Lion King-2019

Director-Jon Favreau

Voices-Donald Glover, Alfre Woodard, Seth Rogan

Scott’s Review #981

Reviewed January 17, 2020

Grade: B

An impossible feat would have been to eclipse the magic of the stage version or the loveliness of the animated version, but The Lion King (2019) offers a different approach well.

Arguably, animated in a way and in a way not, this version is heavily CGI (or in this case computer-generated animation-CGA) infused with marvelous visual effects and creativity. Partial to the two-former offering, this telling is lovely and perfect for the entire family.

The realism of the animals and scenery is remarkable.

To recap new viewers, the story centers on a den of lions living among the creatures in the “Pride Lands of Africa”. They hunt, prance, love, and guard their territory, mostly from the hungry hyenas, who are kept at bay during peaceful times.

King Mufasa (James Earl Jones) and Queen Sarabi (Alfre Woodard) are fair rulers and anticipate their son, Simba (Donald Glover), taking over the throne one day much to the chagrin of Mufasa’s evil brother, Scar (Chiwetel Ejiofor), who was passed over for the crown.

Envious of Simba, Scar tricks him and his friend Nala (Beyonce) into wandering in the land of the hyenas hoping to cause their deaths. When his plot is foiled by a heroic Mufasa, Scar ups the ante and hatches a scheme to kill his brother.

He not only succeeds but makes Simba believe he caused his father’s death. Ashamed, the youngster runs away to begin a new life unaware that he will one day return to save the day.

Props must be given to the filmmakers for inclusion and cultural authenticity as many of the characters, especially those front and center, are voiced by African- American talent. This is a high achievement since the film is set in Africa and why would the voices be Caucasian?

Heavyweights like Jones and Woodard sound polished, especially Jones with his deep and dominant, yet fatherly voice, perfectly cast as the King. Woodard provides gentle warmth and confident complexity.

The musical numbers are terrific.

The film begins with an energetic and tribal rendition of “Circle of Life” where a legion of wild animals dance around together in a warm example of diversity. The song appears later in the film. The powerful and romantic “Can You Feel the Love Tonight” is performed against a lovely moonlight sky with decadent stars.

The new song “Spirit” performed by Beyonce is adequate but does not figure into the story as much as it should, seeming more like an afterthought.

The best parts of The Lion King, however, are the astounding visuals.

With contrasting sequences of bright, sprawling African terrain and a magical oasis of colorful flowers and running water, set against the dark and foreboding land of the dangerous hyenas, offers the viewer a multitude of treats to dine on.

The orange and red colors during the climactic finale are unrivaled in the dazzling bombast of adventure.

As realistic as the elements are in the film, they are also negative. Watching the animals talk and prowl amid the lush landscape felt wonderful, until realizing that all of it is fake. Real animals were never used, and it is all a virtual reality tool making the effects look real.

This aspect slightly saddens me as the genuine quality left me feeling robbed. The possibility of another alternative would have meant a reboot of the animated classic and I am not sure that would have been wise.

Favreau, once an actor and now a director, known for creating films such as Iron Man (2008) and Iron Man 2 (2010), certainly knows his way around an adventure film.

The story, while containing some menacing moments, also feels a bit safe and lacks the freshness or edginess that the 1994 version possessed. Something seems watered down and the excitement and heart of the original feel missed.

I will always go back to the animated 1994 treasure for a cinematic feast, but while The Lion King (2019) could have been a disaster, it isn’t. With modernized songs and enough CGA to last a lifetime, I could easily see some people hating the film, but I embraced it for what it is.

Spectacular visual treats await any fan of cinema as one will ponder how the project all came together.

Oscar Nominations: Best Visual Effects

2019 Films, Animated, Best Animated Feature Oscar Winners, Children, Disney

Toy Story 4-2019

December 10, 2019 scottmet99 Leave a comment

Toy Story 4-2019

Director-Josh Cooley

Voices-Tom Hanks, Tim Allen, Annie Potts

Scott’s Review #966

Reviewed December 10, 2019

Grade: B

Toy Story 4 (2019) is the fourth installment in the Pixar/Disney-produced Toy Story series, now nearly twenty-five years old!

The glitter is beginning to fade on a once endearing franchise and hopefully, this is the last one- additional segments are not needed unless desperation develops.

After a slow start and too many retread moments, the film shows bombast and familiar heart and tenderness in the finale, presumably wrapping up the long story with a neat bow.

The animation is vivid and colorful, almost astounding, making up for an unnecessary story.

In a flashback sequence, nine years after Toy Story 2, Bo Peep (Annie Potts) is donated to a new owner, and Woody (Tom Hanks) begrudgingly decides to maintain his loyalty to the owner, Andy.

Years later and now a teenager, Andy donates a forgotten Woody to a young child named Bonnie, who lacks the affection for the toy that Andy had. When Bonnie makes and bonds with Forky, a toy made of plastic, Woody struggles to convince Forky that each is more than garbage.

When Bonnie and her parents embark on a summer road trip to an amusement park, Woody and other familiar faces are along for the ride.

The group meets other forgotten toys, some benevolent and some sinister, at the park and a nearby antique store. Woody’s dear friend and comic relief, Buzz (Tim Allen), is in the mix and helps all the toys realize that they are not forgotten and that they can still bring joy to children.

The film provides an unwieldy list of celebrities in major and minor roles. The incorporation of characters like Chairol Burnett, Bitey White, and Carl Reineroceros (voiced naturally by Carol Burnett, Betty White, and Carl Reiner) may not be necessary, but it’s fun to watch the credits roll and see who’s who from the cast.

The minor characters are little more than window dressing, but the creativity is admirable.

The main story of abandonment, loyalty, and discarding of one’s toys is ample and nice but has occurred in every segment thus far in the series.

Do we need to see this again? Yes, it is an important message for both children and adults, but why not simply watch the first three installments of Toy Story, each brilliant in their own right?

Toy Story 4 plays by the numbers with little surprises.

One glaring notice is how almost every single adult is either incompetent or played for laughs. I get that the main draw is the toys and outsmarting the adults is half the fun, but when Bonnie’s father assumes his navigation system is on the fritz, rather than catching on to the fact that one of the toys is voicing the system, one must shake his or her head.

Suspension of disbelief is required more and more in these types of films.

Toy Story 4 picks up steam in the final twenty minutes with a thrilling adventure through the amusement park and a cute romance between Woody and Bo Peep.

When the long-forgotten toy Gabby Gabby (Christina Hendricks) emotionally rescues a lost child, she is rejuvenated and breathes new life into both the child’s life and her own.

In a darling moment, Forky meets another creation named Knifey. Knifey suffers from the same existential crisis as Forky once did, and Forky immediately becomes smitten with her, both realizing that even though they are odd-looking, they still matter.

The nice lesson learned is that even toys from the 1960s and 1970s can provide warmth and comfort to a young child and are more than “of their time”. This is a clear and bold message that correlates with human beings and how advanced age does not come with an expiration date.

Everyone matters and brings importance. The overlying theme is heartwarming and central to the film, bringing it above mediocrity.

What should certainly be the final chapter in a tired franchise that continues to trudge along, the bright message and strong animations remain, but the film feels like a retread.

Given that Toy Story 3 was made in 2010, Toy Story 4 (2019) needs to bring the series to a conclusion before installments 5, 6, 7, or 8 result in dead on arrival.

Oscar Nominations: Best Animated Feature Film (won), Best Original Song-“I Can’t Let You Throw Yourself Away”

1963 Films, Animated, Children, Disney

The Sword in the Stone-1963

May 10, 2019 scottmet99 Leave a comment

The Sword in the Stone-1963

Director Wolfgang Reitherman

Voices Sebastian Cabot, Karl Swenson

Scott’s Review #896

Reviewed May 10, 2019

Grade: B

The 1960s, while not known as the very best of decades for Walt Disney productions, offers a small gem of a film in The Sword in the Stone (1963).

The film, flying marginally under the radar, is not typically well-remembered but is a solid offering, mixing elements of magic and royalty within a cute story.

The production holds the dubious honor of being the final Disney animated film to be released before Walt Disney’s death.

While the film is not great, neither is it bad.

Engaging and innocent it does not offer the ravaging tragedy of Bambi (1942), the emotion of Dumbo (1941) nor the beauty of Snow White and the Seven Dwarfs (1937).

What the Sword in the Stone does offer is an adventure with an appealing lead character, mildly entertaining supporting characters, and a whole host of fun antics enshrouded around education.

Set during ancient times, the King of England has died, leaving no heir to the throne. This elicits peril and worries since with no successor in place, the country is doomed for war. One day a miracle occurs and an odd “Sword in the Stone” appears inside a sturdy anvil in London, with an inscription proclaiming that whoever removes it will be the new king.

Despite a myriad of attempts none of the strong townsmen succeed and England is reduced to the Dark Ages, leaving the sword and the stone forgotten.

When one day a twelve-year-old lad named Arthur appears, he teams up with his tutor, Merlin the wizard, and the adventures commence.

Inevitably Arthur can remove the sword from the stone and will go on to lead the Knights of the Round Table, accomplishing many amazing feats and becoming one of the most famous figures in history- King Arthur.

The Sword in the Stone entertains and pleases the eyes in many regards with vibrant colors and an array of bells and whistles creatively interspersed throughout a myriad of scenes.

The main villain of the story, Madam Mim, is Merlin’s main nemesis. Haggard and dripping with black magic powers, she can turn from a pink elephant into a queen with the flick of her wrist as she giggles and prances about.

Despite being dastardly she is also fun and zany and delights in her brief screen time.

The whimsical antics of Merlin are the best aspects of The Sword in the Stone as the senior gentleman bursts and bumbles from one oddity to another in earnest attempts to aid Arthur.

Thanks to clever writing an educational angle is robustly incorporated into the story. Merlin can see into the future, at least in glimpses, such as knowing that the world is round, not flat.

What a great learning tool the film provides for young kids to discover.

The story risks playing too amateurish in some parts where I can see children under the age of twelve enthralled but adults finding the film too childish to take seriously.

Despite my best efforts to stay tuned, I noticed tidbits of the film that seem too cute for me.

When Merlin and Arthur are turned into squirrels and strike the fancy of adorable but clueless female squirrels, the scene seems best catered to very young audiences.

What would give the film some bombast would be a good solid theme song or a powerful love story. Both aspects, able to solidify a hit for Disney, are glaringly missing.

Snow White and the Seven Dwarfs contain the lovely “Someday My Prince Will Come” while Snow White and the Prince offer a rich love story.

While good, The Sword in the Stone can reach only the second tier of Disney classics, missing the upper echelon with only so-so musical offerings.

A slight miss is a way Arthur’s voice changes back and forth from a child to a teenager going through puberty and this is drastically noticeable.

The reason, rather perplexing when analyzed, is that three different actors were used to play Arthur resulting in some consistency issues.

Why not just use one actor or age the character slowly and gradually deepen his voice? The back and forth feels sloppy.

At the end of the day, the criticisms targeted at The Sword in the Stone (1963) are minor and forgivable as the film plays above average graded on its terms.

The film has a nice message for children about the importance of education and is a wonderful delight best served to the whole family.

Oscar Nominations: Best Scoring of Music-Adaptation or Treatment

1955 Films, Animated, Children, Disney

Lady and the Tramp-1955

May 5, 2019 scottmet99 Leave a comment

Lady and the Tramp-1955

Director Clyde Geronimi

Voices Peggy Lee, Barbara Luddy, Larry Roberts

Scott’s Review #894

Reviewed May 5, 2019

Grade: A-

Released mid-way through a decade of prosperity, Lady and the Tramp (1955) is a lovely production representing an innocent time that still holds up well decades later.

In a Walt Disney film, the story, animations, and characters are charming with a wholesome yet sophisticated vibrancy. A year in the life of its main character (Lady) never was more richly created providing adventure, romance, and fun for the entire family.

During the turn of the twentieth century, presumed to be somewhere in the mid-western part of the United States, John Dear gives his wife Darling a Cocker Spaniel puppy that she names Lady.

The couple is immediately smitten with Lady providing her with all the comforts of warm and lavish country living. As months go by the Dears become pregnant causing Lady to feel left out. When the baby arrives and the Dear’s go on a trip, their dog-hating, and incompetent Aunt Sarah arrives, leaving poor Lady at risk for her life.

Meanwhile, a stray mixed breed named Tramp prowls the streets protecting his friends and avoiding the dog catcher. He dines on Italian leftovers at Tony’s and lives his own idyllic life, proud not to be owned, able to live on his terms.

He befriends Lady through mutual acquaintances Jock and Trusty who reside nearby.

When Lady faces peril the duo embark on an exciting escapade that leads them to a dog shelter and a farm as they begin to fall in love with each other, eventually resulting in a candlelit dinner for two at Tony’s, the highlight of the film.

Each of the animal characters is a treasure and voiced appropriately providing Lady and the Tramp with life and good zest. Tramp is gruff yet lovable with a “footloose and collar-free” outlook, charming and bold in his determination.

The voice of Lady is the polar opposite- demure, feminine, and proper. Her voice is cultured without being too snobbish.

In supporting roles, Tramp’s fellow strays Peg (a Pekingese) and Bull (a bulldog) possess a New York street-savvy that is perfect for their characters.

Besides Aunt Sarah, the dog catcher, and a hungry rat, Lady, and the Tramp contain no villains and each of these characters is somewhat justified in their motivations. The rat just wants to eat, the dog catcher is doing his job, and Aunt Sarah, a cat lover with two Siamese pets, is foolhardier and more clueless rather than dastardly.

She can be forgiven for wanting Lady to have a muzzle because she misunderstands Lady’s intentions toward the newborn baby. These characters are more comical than deadly and Si and Am add mischievous shenanigans to further the plot along.

The heart of the film belongs to the sweet romance between Lady and Tramp. The two dogs immediately appeal to the audience with instant chemistry.

The “Footloose and Collar-Free / A Night at the Restaurant / Bella Notte” medley is the best of the song arrangements as the duo shares a delicious plate of spaghetti and meatballs.

In the film’s most iconic and recognizable scene, the pair lovingly munch on the same spaghetti noodle- if that does not love then what is?

Lady and the Tramp (1955) is a charmer containing innocence, vivid colors, and a rich, welcoming story.

Beginning on Christmas and ending exactly a year later, Lady and Tramp’s wonderful journey is topsy-turvy but culminates in the birth of a litter of puppies cheerily celebrating life.

The happy ending is a perfect bow on a Disney film that is enchanting, harmless, and inspiring.

The quintessential American love story between the pampered heiress and the spontaneous, fun-loving pup from the wrong side of the tracks — has rarely been more elegantly and entertainingly told.

1946 Films, Animated, Bobby Driscoll, Children, Disney, Harve Foster, Hattie McDaniel, James Baskett, Musical, Musical Drama, Ruth Warrick, Wilfred Jackson

Song of the South-1946

May 4, 2019 scottmet99 Leave a comment

Song of the South-1946

Director Harve Foster, Wilfred Jackson

Starring James Baskett, Billy Driscoll

Scott’s Review #893

Reviewed May 4, 2019

Grade: B+

Song of the South (1946) is a Walt Disney film buried in the chambers of cinema history, reportedly an embarrassment never too soon forgotten by the legendary producer and his company.

The reason for the ruckus is the numerous overtones of racism that emerge throughout an otherwise darling film. Admittedly the film contains a racial cheeriness that cannot be interpreted as anything other than condescension to black folk and numerous stereotypes abound.

The mysterious appeal of the film during modern times is undoubted because of the surrounding controversies that hopefully can be put aside in favor of a resoundingly positive message and glimmering childlike innocence that resonates throughout the film.

The hybrid choice of live-action and animation is superlative, eliciting a progressive never before seen, an experience that would be shameful to be spoiled amid the surrounding controversies.

Taking place during the Reformation Era in Georgia, the United States of America, a period of American history shortly after the end of the Civil War and the abolition of slavery, the film has quite the Southern flavor and feel.

Seven-year-old Johnny (Bobby Driscoll) is excited to visit his grandmother’s (Lucile Watson) lavish plantation outside of Atlanta along with his mother, Sally (Ruth Warrick), and father (Erik Rolf). He is soon devastated to learn that his father is to return to Atlanta for business, leaving Johnny behind.

Johnny plots to run away from the plantation and return to Atlanta but develops a special friendship with kindly Uncle Remus (James Baskett) who enchants the young boy with sentimental lesson stories about Br’er Rabbit and his foils Br’er Fox and Br’er Bear.

Drama ensues when Johnny feuds with two poor neighbor boys and develops a friendship with their sister, Ginny. He also forms a bond with Toby, a young black boy who lives on the plantation.

Thunderous applause must go to the creative minds who thought of mixing the animations with the live-action drama resulting in positive and compelling effects.

As Uncle Remus repeatedly embarks on a new story for Johnny to listen to the audience knows they will be transported into a magical land of make-believe as a clear lesson results from these stories.

Uncle Remus is an inspiring character- rare to find a black character written this way in 1946. Often black characters were reduced to maids, butlers, farmhands, or other servant roles.

While the film does not stray from the course by casting these roles aplenty, including Uncle Remus himself, his character is different because he is beloved by little Johnny respected by the grandmother, and treated as part of the family. His opinion counts for something and is not merely dismissed as rubbish.

The musical soundtrack to Song of the South is particularly cheery and easy to hum along to. The most recognizable song is “Zip-a-Dee-Doo-Dah” which reoccurs several times throughout the feature. The best rendition is at the end when the mix of live-action and animation culminates with the sing-along.

My favorite appearance is when the “bluebird” referenced in the lyric comes into play resting on one character’s shoulder, true to the lyrical content.

The accusations of racism are justified as keen viewers will understand the condescension towards blacks in several scenes.

More than once a parade of black people is seen traipsing through the plantation, singing songs, not exactly cheerfully but not despondent either.

The scenes have eerie slavery overtones- despite the black character’s all presumably being free to come and go, the reality is they all work for white folk. The black plight and struggle are completely sugar-coated and dismissed.

The animated characters are voiced by strong ethnic voices and are presumed to be ridiculous. The usage of a Tar-Baby character, completely enshrined in black tar seems offensive almost teetering on the implication of promoting a blackface, minstrel show moment as the character, once white, is then turned black because of the tar.

Song of the South is not the only film of its time to face racist accusations- the enormous Gone with the Wind (1939) and Jezebel (1938) faced similar heat.

Song of the South (1946) is recommended for those who can recognize the racism that exists and appreciate the film’s artistic merits. Wise and resounding friendships between white and black characters are evident as is a lovely story about determination, fairness, and respect.

The film should be treasured for its nice moments and scolded for its racist overtones.

Oscar Nominations: 1 win-Best Original Song-“Zip-a-Dee-Doo-Dah” (won)

2018 Films, Animated, Best Animated Feature Oscar Winners, Super Hero

Spider-Man: Into the Spider-Verse-2018

March 30, 2019 scottmet99 Leave a comment

Spider-Man: Into the Spider-Verse-2018

Director-Peter Ramsey, Rodney Rothman, Bob Persichetti

Voices-Shameik Moore, Hailee Steinfeld, Lily Tomlin

Scott’s Review #881

Reviewed March 30, 2019

Grade: B+

There have been many film versions of Spider-Man.

To my recollection, the first series came in three installments and was directed by Sam Raimi: Spider-Man (2002), Spider-Man 2 (2004), and Spider-Man 3 (2007) with Toby Maguire in the title role. These were the good, old, days.

Andrew Garfield took over in 2012 and 2014 to mixed reviews before the super-hero was merged into Captain America and The Avengers films as well as one or two additional solo outings. This is where I lose track.

Finally, through all the incarnations comes the very first computer-animated film based on the Marvel Comics character.

Spider-Man: Into the Spider-Verse (2018) was an enormous box-office success as well as a critical success winning the coveted Best Animated Feature Oscar. My choice would have been for the dark and sarcastic Isle of Dogs, but the former has impressive merits and grand animation that are astounding to the eyes.

Towards the climax, the film teeters into the familiar and predictable territory from a story perspective though admittedly the super-hero and animated genre is not my most cherished.

Miles Morales is a Brooklyn teenager, bright, energetic, and likened to your average city kid. His father, Jefferson Davis, is a muscled policeman who is no fan of Spider-Man, the heroic masked man who prevents city crime outshining the cops daily.

While close to his father, Miles is much more connected to his uncle, Aaron Davis, despite his father and uncle having a distant relationship.

When Miles is bitten by a hungry spider he immediately begins exhibiting Spider-Man-like abilities and stumbles upon others with similar stories.

The teen meets super-villain Wilson Frisk, (a not-so-subtle Donald Trump parody if ever I saw one) who is intent on accessing a parallel universe to retrieve his deceased wife and son. Events involving a USB drive and the “real” Spider-Man, Peter Parker, also living in a parallel universe come into play.

The overly complex story is not the best part of the experience and I began losing interest in the how’s and why’s especially when compared to the escapist and marvelous super-cool animations.

Spider-Man: Into the Spider-Verse deserves some great praise for making the film’s central character ethnically mixed (Hispanic and Black), never done before in franchise history.

This diversity, evident in Black Panther (2018) is all the rage now in the super-hero genre along with gender equality in a once deemed “guy’s movie” slogan.

This is a delight to witness with hopefully even more of a slant towards richer diversity. Are Asian, gay, or physically impaired character’s coming next?

The film looks amazing with creative and slick modern animation and graphics across the board that never wavers throughout the entire nearly two-hour running time, lengthy for an animated feature.

Styled and bright the film’s most brazen appeal is with its colors and shapes and sizes. The metropolitan New York City is a treat to witness as the creators not only focus on Manhattan, but on Queens and Brooklyn, boroughs were too often forgotten in favor of the glitz and bustle of Manhattan.

The clever re-titling of FedEx trucks to Red Ex is worthy of mention.

With a glitzy look, fast-paced action, and interesting villains, Spider-Man: Into the Spider-Verse (2018) is an impressive feat and a deep-dive into the possibilities of incorporating more of the super-hero and animated genres.

This is around the corner due to the critical, audience, and awards notice that surrounds this film. If only the story contained more twists and turns and less standard genre-pleasing qualities, the possibilities would be endless.

Oscar Nominations: Best Animated Feature Film (won)

2018 Films, Animated, Shorts

Oscar Nominated Animated Short Films-2018

February 18, 2019 scottmet99 Leave a comment

Oscar-Nominated Animated Short Films-2018

Directors-Alison Snowden, David Fine, Domee Shi, Becky Neiman, Louise Bagnall, Nuria Gonzalez Blanco, Andrew Chesworth, Bobby Pontillas, Trevor Jiminez

Scott’s Review #869

Animal Behaviour Bao Late Afternoon One Small Step Weekends

Reviewed February 18, 2019

Grade: A

Having the honor of being able to view the five short films nominated for the 2018 Academy Award for Best Animated Short Film at my local art theater was pretty amazing.

Far too often dismissed as either irrelevant or completely flying under the radar of animated offerings, it is time to champion these fine little pieces of artistic achievement.

The commonality this year is that four of them feature parent-child relationships.

Below is a review of each of the shorts.

Animal Behaviour-2018 (Canada)

The weirdest in the group, Animal Behaviour is also the most humorous and the best in the bunch, but only by a narrow margin.

We witness a therapy session led by a prim and proper dog, who has his issues. In attendance are a blood-sucking leech, a praying mantis, a cat, a pig, and the newest attendee, a gorilla. All are happy to participate except the gorilla who sees the session as a waste of time.

As eating jokes, butt jokes, and other adult humor encases the camaraderie each character develops a clear identity and the gorilla learns, in comedic fashion, that he does require therapy.

This short plays out like an intelligent television sitcom. Grade: A

Bao-2018 (USA) (Won)

The most mainstream of the contenders, Pixar creation Bao is cute and heartwarming and an ode to motherhood.

A perfect Mother’s Day offering, the story tells the tale of a Chinese mother who imagines one of her delicious dumplings to be her son. She takes him to soccer practice, rides the bus together, and is inseparable.

As the dumpling matures, he wants to be alone, see friends, and eventually meets a young woman and proposes marriage. The mother is aghast and in a state of panic swallows the dumpling!

Depressed, she is awakened by her real son, and the two form a sweet bond made from respect and love. The story is blooming with colors and nuanced with kindness so is easily the crowd favorite. Grade: A-

Late Afternoon-2018 (Ireland)

Some will undoubtedly find Late Afternoon a bit of a downer, but I found its honesty uplifting and fraught with creativity.

An elderly woman suffering from Alzheimer’s disease is visited by a caring nurse each afternoon. The nurse is kind and her actions, serving a hot cup of tea or giving the woman a book to read, trigger memories of her youth with so much promise lying ahead of her.

Eventually, she can recognize that the nurse is her daughter.

The short is filled with compassion and while melancholy it is also inspiring, not to mention the creativity immersed in the colors and design. Grade: A

One Small Step-2018 (USA/China)

The most conventional in the lot, One Small Step will be perceived as empowering to women and a story of both loss and courage.

A Chinese-American girl is raised by her patient and caring single father in California. She is taught to reach for the stars and he kindly repairs a shoe of hers and secretly stores it away.

Over the years she is determined to become an astronaut and while she loves her father, she oftentimes takes him for granted. She is denied admission into a prestigious school and, depressed, gives up her dream.

When her father dies suddenly the girl redoubles her efforts and finally becomes a successful astronaut in dedication to her father.

The short champions energy and a never-give-up attitude. Grade: A-

Weekends-2018 (USA)

Weekends is my second favorite of all the shorts, bare runner-up to Animal Behaviour.

The most complex and confusing, the short also features the most interesting hand drawings and artwork with a surreal and beautiful touch.

A child of divorce spends his weekdays with his mother and his weekends with his father. His mother is depressed and lets the house languish while his father lives a metropolitan bachelor-style life.

When the mother begins dating an abusive man the boy is terrified imagining birthday candles that turn into the frightful man. The mother wears a neck brace which implies physical abuse.

The short is moving and hits home on a personal level. Grade: A

2018 Films, Animated

Isle of Dogs-2018

November 15, 2018 scottmet99 Leave a comment

Isle of Dogs-2018

Director-Wes Anderson

Voices-Bryan Cranston, Edward Norton

Scott’s Review #831

Reviewed November 15, 2018

Grade: B+

Anybody familiar with a Wes Anderson production knows what they are in store for and Isle of Dogs (2018) is par for the course.

With zany narratives and fantastic art direction, the film has a familiar stamp. Most resembling his other notable stop-motion film, Fantastic Mr. Fox (2009), Isle of Dogs offers what is to be expected- an intelligent and odd project by a visionary creative mind.

Anderson provides the film with a timely, corrupt Government type message that strongly resonates in 2018. In this way Isle of Dogs, while animated, is so much more than a cookie-cutter story or a wholesome film for kids.

This is a show of bravery by the director to focus on corruption prevalent in today’s world and the fight for justice by ordinary people living under authoritarian control.

Set in dystopian Japan, a recent outbreak of canine flu causes corrupt Mayor Kobayashi to banish all dogs from society to the vast wasteland of Trash Island where they will live out their days with other ostracized canines.

A brave twelve-year-old boy named Atari, who happens to be the mayor’s nephew, steals a plane and crash lands on the island to rescue his beloved dog, Spots.

With help from a pack of dogs led by a former stray named Chief, the group sets out to find Spots and ultimately expose the government conspiracy. Obstacles abound as the mayor has sent a robot dog to return Atari and make mincemeat of any dog in its path.

Meanwhile, a professor is on the cusp of discovering a serum as an outspoken American exchange student, Tracy Walker, investigates the conspiracy.

Isle of Dogs is incredibly original and offers bravura visuals. From the lush and bright Japanese culture to the tired and haggard look of many of the dogs living on the island, the film is a treat for the eyes. The shimmering richness of the city is elegant and feels alive and powerful.

What I admire most about the film is the creativity and the blast of left-of-center story-telling, blowing away most animated offerings of today.

Many contain a robust helping of “cute”, which can turn off a mature viewer. With a target audience of the tween age, what is in it for adults? To sit there with a youngster and pretend to be jovial?

Isle of Dogs is not the crowd-pleaser, it is better than that. Anderson crafts a serious and timely message begging to be absorbed by the careful viewer.

Assuredly, Anderson cannot escape providing a subtle allegory on an evil leader stirring the pot against the most helpless in our society. This point, especially in the tumultuous United States is timely and well thought out. Could this be why an American character (Tracy) was added?

As dynamic as Anderson’s creativity is, the story in Isle of Dogs does not always embrace the viewer and the jarring dialogue is tough to follow.

Standard in his films, the pacing is strange, the conversations between characters are odd, and the film lacks a truly welcoming or warm quality.

Therefore, the film is not an easy watch. And the dogs all speaking English rather than Japanese, with American accents, simply must be overlooked.

Critics and detractors of Wes Anderson need not see Isle of Dogs (2018) as they will be in store for typical Anderson fare. In addition, those seeking a standard mainstream animated feature will be disappointed.

Those with a more open-minded approach to cinema will revel in the stunning look the film achieves and the powerful message bubbling under the surface.

Oscar Nominations: Best Animated Feature Film, Best Original Score

1988 Films, Animated, Bette Midler, Billy Joel, Cheech Marin, Children, Dean DeBlois, Disney, Dom DeLuise, Joey Lawrence

Oliver & Company-1988

October 8, 2018 scottmet99 Leave a comment

Oliver & Company-1988

Director George Scribner

Voices Joey Lawrence, Billy Joel, Cheech Marin

Scott’s Review #818

Reviewed October 8, 2018

Grade: B

Oliver & Company (1988) is a darling animated film released by Walt Disney Pictures, the twenty-seventh Disney feature film to be produced.

The film is based on the Charles Dickens novel Oliver Twist, but Oliver is now a homeless kitten who joins a gang of dogs, and the setting moves from London to the dangerous streets of New York City- present times.

We meet Oliver (Joey Lawrence) as he huddles with other homeless kittens in a cardboard box, chilly from a driving New York rain. As all of the other kittens are snatched up by adoring animal lovers, Oliver is inexplicably left on his own.

He eventually meets up with Dodger (Billy Joel), a mongrel with street smarts, and the duo steals hot dogs from an abrasive food vendor.

When Dodger swindles Oliver out of his share, the kitten follows the dog to a barge, which turns out to be the hideout of Fagin (Dom DeLuise), a human pickpocket. Fagin houses a gang of assorted dogs as he is bullied by loan shark Sykes.

As Oliver bonds with the miscreants, his life suddenly takes a positive turn when he is rescued from the streets by a kindly, wealthy little girl named Jenny and her bumbling butler, Winston.

Jenny’s parents are on holiday in Europe, leaving her and Winston running the house. Along for the ride is Jenny’s sophisticated and spoiled pet poodle, Georgette (Bette Midler), who takes a dislike to Oliver.

By the 1980s Disney films were hardly the hot commodity they once were, and the small budget is evidence of that. Oliver & Company is not on par with classic, lovely offerings such as Pinocchio (1940), Fantasia (1940), or Dumbo (1941).

The film has a severe and decidedly “1980s quality”, mostly due to the upbeat soundtrack, which decades later makes the film feel rather dated.

Speaking of the soundtrack, the highlight is a treat entitled “Why Should I Worry?”, a tune sung by the ensemble cast and impossible not to hum along to.

The film features an array of famous voices that are perfectly cast. The filmmakers wisely cast plenty of native New Yorkers, which results in a huge measure of authenticity. Brazen voices like Midler’s, Joel’s, and Cheech Marin’s as feisty chihuahua Tito, give credibility to their characters.

The odd romantic pairing of Georgette and Tito, on the surface completely mismatched, gives a good dose of comic relief to the story.

The story written for Oliver & Company is the best part of the entire production. Anyone familiar with the famous Dickens novel or Oliver! (1968), the most famous of the film incarnations knows how the story will end.

This did not hinder my enjoyment of the animated film though, a compelling and charming experience. Sykes makes a great villain, drawn with a long face and enormous chin, interesting, but not too scary to frighten young children.

One conspicuous omission is the elimination of the important character of Nancy. As fans know, Nancy played a vital role in the original story. Perplexing is the decision not to include her, but perhaps her ultimate death would have made the story too dark, so this can be overlooked.

Surely not the best in the Disney bunch, Oliver & Company (1988) is nonetheless a decent offering sadly overlooked by fans and critics alike.

The film is nearly forgotten and suffers from a dated quality if not for the widespread knowledge of the classic novel. The film is not one of the storied Disney treasures, nor should it be dismissed altogether.

The result is a darling, innocent experience meant for pure enjoyment.

2017 Films, Animated

The Breadwinner-2017

June 7, 2018 scottmet99 Leave a comment

The Breadwinner-2017

Director-Nora Twomey

Voices-Saara Chaudry, Ali Rizvi Badshah

Scott’s Review #769

Reviewed June 7, 2018

Grade: B

Certainly, a timely and politically charged story, The Breadwinner (2017) provides relevance and a progressive women’s empowerment message.

This should be championed above all else and for that reason alone is recommended as a worthy watch.

The film itself is dark and not entirely a children’s movie nor necessarily family-friendly either, but rather a good lesson learned.

Dragging just a bit throughout, this is small potatoes compared to the importance of the overall story.

The animated feature is based on the best-selling novel by Deborah Ellis, which focuses on life in dangerous Afghanistan (circa 2001) under constant threat by Taliban rule.

Since women are not allowed to leave the house and any men daring to question the Taliban are either slaughtered, beaten, or arrested, the film is quite heavy compared to typical animated fare.

The Breadwinner’s main character is a likable eleven-year-old girl named Parvana, who lives in metropolitan Kabul, Afghanistan. Along with her father, she sells items on the city streets to support the rest of the family- wife, daughter, and male toddler.

Parvana’s older brother has died years ago. Parvana’s father, Nurullah, is a former teacher left crippled by an injury sustained during the war. When he is arrested, Parvana must disguise herself as a boy and work to support her family as she traverses the city with her best friend Shauzia in tow.

The animation is lovely and a definite high point of the film. All of the details look crisp and fresh- from the stark village houses to the vegetable stands and other more metropolitan aspects of the bustling cities, the film just looks very good and professional. The flawless art direction and visuals aid in the believable nature of the story.

Another high point to The Breadwinner is the substance that the story contains- it is not fluffed as commonly seen in modern animated films.

Throughout the film, I knew that I was watching something of meaning. Parvana faces true danger; if she is found out not to be a young boy but instead a young girl she could be beaten, raped, or worse.

Unwisely, early on in the film, she makes an enemy of a young, sadistic soldier, who continues to resurface and threaten Parvana throughout the film.

More than a handful of frightening scenes occur, evidence that director Nora Twomey’s intentions are not for a family-friendly affair.

Given the subject matter at hand, this is a wise move. Toning down the violence and treachery of the Taliban would make the film feel insincere and dishonest. Rather, because of the violence and deaths and beatings that occur throughout, the film feels genuine and the emotions of the characters real.

If I were to point out a shortcoming to the film, The Breadwinner suffers a bit from an erratic approach.

I adore the straightforward aspects of the main story and enjoyed not only the survival instincts and female empowerment but of her innocent friendship with Shauzia. However, a handful of times the film goes in a different direction as Parvana tells stories of a young man’s journey to retrieve seeds stolen from him.

Frankly, this slowed down the main plot and one has little to do with the other making them seem disjointed.

With a worthy and meaningful central storyline, how nice to feast one’s eyes on an artistic animated production so marvelously made.

The Breadwinner (2017) is a treat for those animated film fans yearning for something more intelligent than the standard “kid’s film”.

Perhaps not a perfect “A”, but something of quality nonetheless.

Oscar Nominations: Best Animated Feature Film

2017 Films, Animated, Biography

Loving Vincent-2017

April 5, 2018 scottmet99 Leave a comment

Loving Vincent-2017

Director-Dorota Kobiela, Hugh Welchman

Voices-Douglas Booth, Saoirse Ronan

Scott’s Review #738

Reviewed April 5, 2018

Grade: B+

Loving Vincent (2017) is a highly unique animated feature that is quite the artistic experience and vastly different from any typical film of this genre.

Being the first of its kind to be a completely painted animated feature, hopefully, other films will follow suit, as the result is an exuberance in creativity.

While the biography of Vincent van Gogh is interesting, I was oftentimes left wondering about the accuracy of all the details as the plot is rather dramatic.

Still, the film is to be celebrated for its progressive and edgy nature.

Cleverly, the actors starring in the vehicle simply act while they are subsequently drawn so that the viewer can imagine the action as if it were a standard film since the drawings mirror the actors involved.

For example, Saoirse Ronan can clearly be distinguished as the daughter of a local boatman, who was rumored as keeping close company with van Gogh before his death. We know it is the actress, but in painting form, eliciting a surreal experience.

The action begins one year following tortured artist, Vincent van Gogh’s, tragic suicide. Postman Joseph Roulin asks his son Armand to deliver Van Gogh’s last letter to his brother, Theo.

Suspicion surrounds the artist’s death as mere weeks earlier his mood was calm and level-headed making his death cause for alarm. From this point, Armand traverses throughout France to spend time with those who had dealings with Van Gogh during the last days of his life.

Those characters include his doctor, an innkeeper, and others who may hold clues to the mystery surrounding his death.

From a story perspective, Loving Vincent is a compelling piece as mystery and suspicion are cast around the actual death of the artist. This is not so much a whodunit as we know of the resulting suicide, however, the film certainly casts some doubt about the why of that fateful night.

Did someone drive Van Gogh to suddenly take his own life? What was the romantic situation between either Marguerite or perhaps even Adeline? The supposed copying of Van Gogh’s art by his doctor, Dr. Paul Gachet is an interesting point.

Through all of these dramatic and intriguing facets, I did begin to wonder what was factual and what was not.

The brilliant part of Loving Vincent exists in the unusual and artistic method in which the film is created.

The fact that the film is about one of the most respected and appreciated artists of all time is no accident and this perfectly encases the overall tone of the film in wonderful fashion.

Throughout the one hour and thirty-four-minute duration of the film, I was continually enamored by the “look” of the film. Exquisite and quite beautiful, the filmmakers chose classically trained painters over traditional animators and I feel this makes all of the difference.

The use of actual Van Gogh paintings was an instrumental part of the film and modified to fit into the allotted screen room. The cast performed the film, as if a play, in front of a green screen, and then the painters created their magic- pretty incredible!

Also, mind-blowing is the use of colors to change the time of day (brightness and darkness) that results in a highly effective tone.

By creating a visual masterpiece of cinematic beauty, Loving Vincent is a feast for the eyes. Unknown if the story is true to form or whether facts are embellished, the film succeeds as a work of art and a good glimpse into the life of one of the world’s most beloved and tortured artists.

Oscar Nominations: Best Animated Feature Film

Welcome to my blog! 1,400 + reviews posted so far! My name is Scott Segrell and I reside in Stamford, CT. My blog is a diverse site featuring tons of film reviews I have written since I launched my site in 2014. I hope you enjoy perusing the site for latest or greatest films or to search for your own favorites to see how we compare. Please take a look at my featured sections at the top of the page which change often! Utilize the tags and category links.