OK, let’s be honest, the first Angry Birds movie was awful. I only came back for the sequel because there was something about the trailer that gave me some hope. And it wasn’t unwarranted, though it wasn’t fully rewarded either.
The first movie tried to leverage the game that spawned the characters far too much. It was a confrontational movie between birds and pigs, and creepy and unsatisfying on many levels (not to mention a really bad script). But they learned from those errors.
This sequel is more about “pranks” between the birds and pigs (rather than omnivorous emnity). The plot requires them to work together. The humor has a lot of levels, from the slapstick to the more subtle. And the main characters have some arc to them.
Don’t misunderstand, this is still children’s fare to be ingested with lots of sweets or popcorn, but it isn’t a painful affair to spend time with. It’s simply a silly distraction stacked with an impressive voice cast list (though nothing worth calling out). Up to you if you want to spend time with it or simply need to distract some youngsters while you do something else. Either way, it was nice to see that they learned from their errors and put more creativity into this sequel.
There’s nothing more romantic than a severed hand making its way back to its body, right? OK, the whole thing is meant as metaphor, but this film takes the idea of soulmates and makes it literal, not to mention loss. Through the travels and adventures of the hand as it wends its way through Paris, we learn about the life and relationships the young man at the center of it all has experienced.
And somehow it works beautifully. Creepy as some of it can get, particularly for those of us who grew up watching horror films like The Beast with Five Fingers (or any number of others over the years), Jérémy Clapin’s first full-length anime somehow stays sweet and hopeful. As far as movie magic goes, this is amazing (and forgive me) sleight of hand.
Clapin delivers the story in an understated way, forcing you to pay attention, to evaluate and think about what you’re seeing. The animation is wonderful and simply falls away, leaving you with its reality. Unlike its probably awards competitors, this is a wholly adult film, with themes and statements that will resonate for anyone who ever had a romantic bone in their body, hands included. But while focused on that aspect, there are also oblique reflections on society today that make it a richer tale. That Clapin co-wrote this with Jean-Pierre Jeunet’s oft-time partner and font of source material, Guillaume Laurant (The Young and Prodigious T. S. Spivet, A Very Long Engagement, City of Lost Children, Amélie, Micmacs), should give you a sense of the core and scope of the film.
There is a reason I Lost My Body has been sucking up awards, and will continue to into the Oscar race this year. It may not be your typical fare, but it’s a magical and unexpected journey that never quite goes where you expect it to. More importantly, it sticks with you as you internalize and digest it long after the viewing. And, if you’ll forgive me one last bad reference, it is the visual equivalent of one hand clapping: creating the beautiful from the impossible.
The first Toy Story had surprise going for it, both technologically and in the script. But I never found the series all that gripping or effective. However, this installment and (one hopes) resolution to the tale of motley toys is the best all around. Like the previous movies, it takes on adult themes beneath the surface of the silliness, but this script is richer and more subtle as it tackles growing up on several fronts.
It’s an even more impressive feat when you realize that it’s director Josh Cooley’s first feature and that the script and story had 9 different sets of hands stirring the pot. For a cohesive and interesting story to come out of that stew of sensibilities is pretty amazing, even if several had been involved in the series over the years.
There is also a huge list of voice talent involved. Many retuning voices will be familiar, as well as some new ones as guests. I’m not going to laundry list them all and, frankly, no one really stood out as brilliant. They all serve their purpose, which is the most important point.
This is the first of the series I actually recommend whole heartedly. It is certainly in contention for awards this year, including the yet to be announced Oscars. And, for a change, I agree it should be.
While I fully admit this is a children’s animation, it’s a cut above most of those I’ve seen this past year for a number of reasons that let me recommend it.
First, it is set in China without explanation or apology. It simply is, and allows (generally) the story to be driven culturally from there. It is certainly Westernized, but it is also suprising and unique for that, and remains so despite echoing Missing Link in few places. Second, it has humor that isn’t entirely juvenile…at least not without purpose. It manages to surprise, even amidst the predictable. And, finally, because it’s production design is clever and well thought through.
Jill Culton co-directed with her Open Season co-directorTodd Wilderman. She also wrote the script, no doubt leveraging her story experience from Monsters, Inc. to create relatable characters and a child’s sense of wonder and adventure. The result is pretty to watch and entertaining. Brilliant? No, not really, but it feels different and certainly was better than I anticipated. Give it shot if you’ve got a youngster to share it with. It isn’t really for most adults without that incentive.
OK, this isn’t a Pixar masterpiece…it’s simply a Blue Sky (Ice Age) silly tale filled with humor and a relatively tight script (with more than a few shortcuts to be sure). The point is, it is entertaining for adults and kids, even while being as subtle as a sledgehammer in its message.
Will Smith (Aladdin) and Tom Holland (The Current War) play well together as the brawn and brains for the good guys. The two work through their own individual issues as well as those between them while being pursued on two fronts.
Rashida Jones and her team, which includes an amusing Karen Gillan (Jumanji: The Next Chapter) among others, are one of the teams. In their various altercations, you’ll recognize several James Bond films in nice light touches as well a few other action movies.
My only real gripe with this silly jaunt was Ben Mendelsohn’s (Captain Marvel) voice for the villain on the other team. It just didn’t work for me. Part of that was that it didn’t match the visual, but it also was just a bit too flat and forced, not to mention inconsistently executed by Mendelsohn. Fortunately, he doesn’t talk much.
For a first directing job by Nick Bruno and Troy Quane, both of whom are normally behind the camera in the animation shop, it’s a very credible result. Kids are sure to like it, while the adults in the audience will not get bored as they pick up jokes intended just for them. Assuming this does as well as it has started, you can also be sure to see this expand as a francise in future.
I will grant Chris Buck (Frozen) and Jennifer Lee (Wrinkle in Time) this: they actually created a sequel to their previous mega-hit. It isn’t quite as good as the first, but then it couldn’t be. Part of the appeal of Frozen was that it was something different. That surprise is gone, but the characters still has journeys to take. And the duo managed it while still maintaining the aspects of the first film that made it such a breakthrough for Disney.
Buck and Lee didn’t make easy choices for their story. The young women are the focus of the story and are still pretty much in control of their own fates (well, mostly). And I also appreciated that the characters were dealing with getting older, much like their audience and acknowledging that years have past since the last story (six, to be exact); sometimes with hilarious results in the dialogue to entertaining the adults in the audience.
However, my favorite aspect of the film is probably a bit less expected, and a bit guilty. There is no breakout song like “Let it Go” that will haunt us a million times a day. The music, generally, isn’t nearly as good as the first film, but it supports the tale well. I was perfectly happy with that. I’m betting a lot of parents out there will be as well.
I don’t need to push this movie on anyone. Pretty much every family that can will be there over the next several weeks. And they won’t be disappointed.
(Note: Though it seems to be pretty well known, based on the number of families that hung about during the 12 minutes of credits, there is an amusing 30-sec tag after the credits that is pretty amusing.)
The Disney march to create live action analogs of their animated hits continues. We could ask why, but c’mon, we know it’s solely for the money.
Honestly (and however heretical), I can’t say I was overly impressed or pulled in by the result of this movie. Jeff Nathanson’s (Pirates of the Caribbean: Dead Men Tell No Tales) script adaptation of the original skips along time-wise jarringly. There is little or no chance to feel connected to any character or situation, absent a couple solidly scary moments. And Rafiki, the baboon has no real meaning or place in this version of the tale. Without knowledge of the earlier animation it would have made no sense at all. Also, which animals can talk and which can’t is a bit problematic and subtly judgemental.
Coming of age stories are a staple with Disney. And using animals as a distancing way to approach those subjects for younger viewers is also well established. This movie echos all the back to Bambi. There is also an environmentalist overlay to Simba’s world, but that subplot is neither fully realized nor resolved. When the comic relief in the form of Timon (Billy Eichner), Pumba (Seth Rogen – The Disaster Artist), and Zazu (John Oliver – Wonder Park) are the highlight of the movie, you know something went wrong–that’s would be like Martin Freeman being the best part of Black Panther.
What I can say about this movie is that the technology Jon Favreau (Spider-Man: Far From Home) ushered in to film the tale is astounding. However, much like other films that were in the vanguard of new tech, the result is a little mixed making it the source of much of my frustration.
Most impactfully, I found the photo-realism itself challenging. The animation was restricted to, well, reality. The voices never quite matched the mouth movements nor the characters. The experience felt like some odd, non-ironic verion of What’s Up Tiger Lily. Purely cartoon animation allows for some adjustment to faces that help us accept and connect to the characters. The animals don’t move or act 100% naturally, but they allow us to anthropromorphize them better.
Ultimately, this film is a bit of a victim of the perils of technology. As a first use, the results of the cinematography are astounding. But the distance it creates is exacerbated by the script. In the end, this is a pretty ride, but not a euphoric one nor, at least for me, a memorable one. However, the type of filming it has championed is going to affect the industry for a long time.
There are so many lost opportunities in this movie, it is a wonder. The core of the story is there, but the opening setup is long while the rest of the story is rushed and way too scary for its intended audience.
The writing team behind Mission Impossible – Ghost Protocol, André Nemec and Josh Appelbaum, couldn’t quite find the appropriate rhythm or tone. This story is for young kids…not tweens, not adults, not anyone with any real experience in the world. That’s fine, but if you’re going to aim young, you have to respect their attention spans and their limits, and this story did neither. First-time (and uncredited) director Dylan Brown didn’t help the result either, though some of his cast delivered some good voice talent behind the ink.
But for all the names you might recognize in the cast, the movie is stolen by John Oliver. He walks away with the best lines and moments with his dry delivery and amazing timing. Jennifer Garner (Peppermint), Matthew Broderick (Manchester by the Sea), Ken Jeong (Goosebumps 2: Haunted Halloween), Mila Kunis (The Angriest Man in Brooklyn), and even the young lead, Sofia Mali, all just exist. They aren’t bad, but there isn’t much there because they’re rushed from moment to moment. Only Oliver manages to feel different.
If the movie were less scary or faster out of the blocks (the first third or more is setup) or even less frenetic for the last part of it, it might have sold me more. As it is, it really needed stronger hands at the helm and a good set of discussions before they went into production to focus it better. As I said, there is a story here, and a good one. It just doesn’t quite sell it (except forAnne Preven’s Pi Song, which is a throw-away hoot).
When a sequel can’t even be bothered to come up with a cleverer title than “2” you have a sense of the effort they put in. The movie isn’t awful, it just isn’t anything new compared to the first one. In fact, in many ways, it is less interesting than the first because the whole sense of reality of that “secret life” wasn’t a part of this movie. It was all crazy impossibility, often right in front of the humans.
I will admit that there are just enough clever moments (and one brilliant one) to keep it all going, but the truth is that this just isn’t a required story. Young kids who loved the first would probably be thrilled there was more to see, but not much more than that. Even the addition of Harrison Ford (Blade Runner 2049) only barely elevated a section of the tale.
For a throw-away, popcorn evening that you will likely soon forget, it will work fine. If you want something new and memorable, look elsewhere.
This series, a prequel to the classic and beloved movie, fully captures the sense and production design of the original. That is both its blessing and its curse. But that said, this story grew on me as it played out, unlike the same-day-launched Amazon fantasy Carnival Row, which diminished over time for me.
Let me get the “curse” comment out of the way. Having just rewatched the original flick, I was looking forward to some significant updating of the approach, particularly the Gelfling designs to make their mouths move more naturally. I can see the bind the producers were in…update a classic and risk the wrath of fans, or cleave closely to the original and risk a more dated feel. Definitely no-win. But there were subtle updates, especially to the Skeksis, whose tongues were truly a thing of creepy beauty.
Also, in order to provide a launching pad for the series, they twisted the known facts a little. If you haven’t seen the movie, don’t worry about it. If you have, you’ll need to be more than a little patient to accept the setup and await it all to make sense. Of course the big question is how long before the movie does this series take place? No one seems to know or want to commit. My best guess was about 100 years or so, though it could be longer. The studio was purposefully vague and won’t pin it down.
The voice talent is an astounding list of folks; far too long to enumerate here. The puppeteering is top notch. The production design clever enough to link to the movie but still make it their own. The world of Thra is expanded and gorgeously designed. There are familiar characters and new ones to enjoy. The story is richly complex, despite its clear aim to pull in a younger audience as well as adults. And this installment of the story finally plumbs some of the dark depths the original movie touched on but wasn’t willing to dive into. In fact, the writers and director Louis Leterrier (Now You See Me) helped marry the tale to current times in wonderful ways.
They also left plenty of room for more stories and a whispered about second season, but not in an unsatisfying way…well, at least if you know the movie. However, if you’ve not found the movie yet, wait to see where the series goes and then get to the end of the story.
As both a revival and a continuation of the tale, Dark Crystal: Age of Resistance is a winner for me. There is something about the craft of bringing these inanimate creatures to life that sparks the imagination in ways CGI, or even most stop-action animation just can’t touch. Here’s hoping they get to continue the story and fully complete the sequence.
Art, writing, life explained… or at least commented upon…