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Caitlin Ann Cherniak (85 KP) rated Moana (2016) in Movies
Oct 4, 2018
A real feminist Disney film (3 more)
LOVE THE SOUNDTRACK
The Rock actually makes an extremely good Maui
The animation is to DIE for!
David Bowie musical number ripoff, but that's a very minor issue (1 more)
WHERE'S PUA?
Letterboxd review: https://letterboxd.com/caitcher/film/moana-2016/
First Impressions:
I said it was one of the best movies I've ever seen two years ago. It's still one of the best movies I've ever seen. First, let me start by saying that the animation was definitely at its best with this film (And it's the best as far as the Disney animation studio is concerned; Pixar has nothing to do with this). It is very hard to animate water as real as Moana was made to be, but Disney did it. The film is also one of the most colorful that I have ever seen in years, and it was super appealing to all of the senses. I loved the casting because the majority, if not all, the characters are played either by those of Pacific Islander or New Zealand descent, and that's diversity without shoving it into everyone's faces. Also, remember when Frozen's commercials were saying that its soundtrack was the best since the Lion King. That's bull. Moana's soundtrack is one of the best since the Lion King. This movie beat Frozen by a landslide.
First Impressions:
I said it was one of the best movies I've ever seen two years ago. It's still one of the best movies I've ever seen. First, let me start by saying that the animation was definitely at its best with this film (And it's the best as far as the Disney animation studio is concerned; Pixar has nothing to do with this). It is very hard to animate water as real as Moana was made to be, but Disney did it. The film is also one of the most colorful that I have ever seen in years, and it was super appealing to all of the senses. I loved the casting because the majority, if not all, the characters are played either by those of Pacific Islander or New Zealand descent, and that's diversity without shoving it into everyone's faces. Also, remember when Frozen's commercials were saying that its soundtrack was the best since the Lion King. That's bull. Moana's soundtrack is one of the best since the Lion King. This movie beat Frozen by a landslide.
Often cited as one of the most influential comic-books/graphic novels, alongside the likes of [b:V for Vendetta|5805|V for Vendetta|Alan Moore|https://images.gr-assets.com/books/1343668985s/5805.jpg|392838]'V for Vendetta' and [b:Batman: The Dark Knight Returns|59960|Batman The Dark Knight Returns (The Dark Knight Saga, #1)|Frank Miller|https://images.gr-assets.com/books/1327892039s/59960.jpg|1104159]'The Dark Knight Returns', this was, if I'm honest, one such that I'd never even heard of until the 2009 movie of the same name.
Set in an alternate 1985 America in which costumed superhero's are (were) real but have since been outlawed, there's a definite argument to be made that this would inspire the Pixar film The Incredibles: family drama, costumed superheroes coming out of retirement, conspiracies afoot ... see what I mean?
But whereas The Incredibles is aimed at a family audience, this is anything but: violent throughout, slow (at times seemingly glacial) moving and even dealing with the effects of (and fallout from) rape, this is definitely not one for the younger reader!
On the plus side, it does have a stunningly realised world alongside a compelling backstory to several of the characters: like several other literary classics, this is one that I can now say that I've read but wouldn't really be rushing back to do so again anytime soon.
Set in an alternate 1985 America in which costumed superhero's are (were) real but have since been outlawed, there's a definite argument to be made that this would inspire the Pixar film The Incredibles: family drama, costumed superheroes coming out of retirement, conspiracies afoot ... see what I mean?
But whereas The Incredibles is aimed at a family audience, this is anything but: violent throughout, slow (at times seemingly glacial) moving and even dealing with the effects of (and fallout from) rape, this is definitely not one for the younger reader!
On the plus side, it does have a stunningly realised world alongside a compelling backstory to several of the characters: like several other literary classics, this is one that I can now say that I've read but wouldn't really be rushing back to do so again anytime soon.
Bob Mann (459 KP) rated Coco (2017) in Movies
Sep 29, 2021
An animated masterpiece? I should Coco!
I had no great expectations of this film. In fact, I honestly went to see it solely because – with the lazy multiplex habit of milking films like Jedi, Jumanji and (God help us) Pitch Perfect 3 – this was the only film at my local cinemas that I hadn’t seen. But wow… just wow!
For this is a masterpiece, and with the Oscar nominations released yesterday, it almost seems a crime that it wasn’t included in the Best Picture list (it must surely follow its Golden Globes win and snatch the Best Animated film category… although I admit that “Loving Vincent” clearly looks like it took a lot more work!).
Miguel (voiced by Anthony Gonzalez) lives in the quaint Mexican village of Santa Cecilia with his extended shoe-making family, including his grandmother Abuelita (Renée Victor) and his wizened old great-grandmother Coco (Ana Ofelia Murguía, via a brilliant piece of animation). Coco was a child from a broken home, with music being the cause of all the trouble, and this has led to a multi-generational ban that Abuelita polices with fierce passion. Unfortunately, Miguel “has the music in him”, idolising the – now deceased – singing sensation and matinee idol Ernesto de la Cruz (Benjamin Bratt, “Doctor Strange“). Desperate to perform in the Piazza talent contest, held during the evening of the “Day of the Dead” festival, Miguel takes destiny into his own hands…. which might prove fatal as he is dragged, alive and kicking, into the ‘land of the dead’.
The film is a thing of beauty. Some of the scenes: notably the candlelit graveyard, the “petal bridge” and the first sight of the land of the dead are done with such majesty and art that they take your breath away. Literally jaw dropping! (Try to make sure you see it on the big screen). So there are similarities here with “Blade Runner 2049” which also had images that could easily grace the walls of any art gallery in the world.
Where the film deviates from “Blade Runner” though is the original story by Lee Unkrich (who also directs), Adrian Molina (who co-directs), Jason Katz and Matthew Aldrich. Whereas the sci-fi reboot was a bit flaccid, story-wise, Coco develops in a surprisingly non-linear way. The story you think you are on suddenly does unexpected switchbacks and gets very deep indeed.
Deep? But this is a kids film right? Well, no, not really. Sure it has a lot of fun skeleton action, in the style of the re-constituting Olaf from “Frozen”, and a cute but mangy dog with a ridiculously long tongue. But the themes exposed here are FAR from childish. They encompass family, ambition, work/life balance, death and remembrance in such a fashion that parents exposing the film to young kids (I would think, up to 7 or 8 years old) should be ready with sensitive answers to “Mummy/Daddy, why…” questions so as to avoid significant anxiety and nightmares. The relationship between Miguel and his grandmother Abuelita, switching from violent outbursts to sudden loving hugs, might – I think – also confuse and disturb young children. Its UK certificate is “PG”, not “U”, for good reason.
So be prepared to cry. If you are anything like me, there will be a point in this film where you are desperately trying to recall the faces and voices of all of those people in your life that you have lost over the years. And some of the final jolts in this film will leave you almost as drained (almost!) as the start of “Up”.
As befits the subject matter there is a great score, with a mariachi feel, by Michael Giacchino, including a nice rendition of “When You Wish Upon A Star” over the Disney castle production logo. And there are some great songs, including the pivotal “Remember Me” which is now Oscar nominated.
Passport control at Heathrow was never like this.
Watch out for some nice cameo voice performances as well: Cheech Marin (from Cheech and Chong) plays the ‘border control’ officer, and Pixar regular John Ratzenberger (Hamm in “Toy Story”) turns up again playing Juan Ortodoncia, a character whose dentist fondly remembers him (LOL)!
With John Lasseter recently dragged into the #metoo scandal, and taking 6 months off to ponder on his “missteps”, one hopes this will not knock Pixar off its track too much. For with this evidence the studio shouldn’t keep trying to milk existing “Incredibles” and “Toy Story” franchises, but come up with more original entertainments like this. Because, for me, this rises into my top-three favourite Pixar films of all time (along with Toy Story and Wall-E).
For this is a masterpiece, and with the Oscar nominations released yesterday, it almost seems a crime that it wasn’t included in the Best Picture list (it must surely follow its Golden Globes win and snatch the Best Animated film category… although I admit that “Loving Vincent” clearly looks like it took a lot more work!).
Miguel (voiced by Anthony Gonzalez) lives in the quaint Mexican village of Santa Cecilia with his extended shoe-making family, including his grandmother Abuelita (Renée Victor) and his wizened old great-grandmother Coco (Ana Ofelia Murguía, via a brilliant piece of animation). Coco was a child from a broken home, with music being the cause of all the trouble, and this has led to a multi-generational ban that Abuelita polices with fierce passion. Unfortunately, Miguel “has the music in him”, idolising the – now deceased – singing sensation and matinee idol Ernesto de la Cruz (Benjamin Bratt, “Doctor Strange“). Desperate to perform in the Piazza talent contest, held during the evening of the “Day of the Dead” festival, Miguel takes destiny into his own hands…. which might prove fatal as he is dragged, alive and kicking, into the ‘land of the dead’.
The film is a thing of beauty. Some of the scenes: notably the candlelit graveyard, the “petal bridge” and the first sight of the land of the dead are done with such majesty and art that they take your breath away. Literally jaw dropping! (Try to make sure you see it on the big screen). So there are similarities here with “Blade Runner 2049” which also had images that could easily grace the walls of any art gallery in the world.
Where the film deviates from “Blade Runner” though is the original story by Lee Unkrich (who also directs), Adrian Molina (who co-directs), Jason Katz and Matthew Aldrich. Whereas the sci-fi reboot was a bit flaccid, story-wise, Coco develops in a surprisingly non-linear way. The story you think you are on suddenly does unexpected switchbacks and gets very deep indeed.
Deep? But this is a kids film right? Well, no, not really. Sure it has a lot of fun skeleton action, in the style of the re-constituting Olaf from “Frozen”, and a cute but mangy dog with a ridiculously long tongue. But the themes exposed here are FAR from childish. They encompass family, ambition, work/life balance, death and remembrance in such a fashion that parents exposing the film to young kids (I would think, up to 7 or 8 years old) should be ready with sensitive answers to “Mummy/Daddy, why…” questions so as to avoid significant anxiety and nightmares. The relationship between Miguel and his grandmother Abuelita, switching from violent outbursts to sudden loving hugs, might – I think – also confuse and disturb young children. Its UK certificate is “PG”, not “U”, for good reason.
So be prepared to cry. If you are anything like me, there will be a point in this film where you are desperately trying to recall the faces and voices of all of those people in your life that you have lost over the years. And some of the final jolts in this film will leave you almost as drained (almost!) as the start of “Up”.
As befits the subject matter there is a great score, with a mariachi feel, by Michael Giacchino, including a nice rendition of “When You Wish Upon A Star” over the Disney castle production logo. And there are some great songs, including the pivotal “Remember Me” which is now Oscar nominated.
Passport control at Heathrow was never like this.
Watch out for some nice cameo voice performances as well: Cheech Marin (from Cheech and Chong) plays the ‘border control’ officer, and Pixar regular John Ratzenberger (Hamm in “Toy Story”) turns up again playing Juan Ortodoncia, a character whose dentist fondly remembers him (LOL)!
With John Lasseter recently dragged into the #metoo scandal, and taking 6 months off to ponder on his “missteps”, one hopes this will not knock Pixar off its track too much. For with this evidence the studio shouldn’t keep trying to milk existing “Incredibles” and “Toy Story” franchises, but come up with more original entertainments like this. Because, for me, this rises into my top-three favourite Pixar films of all time (along with Toy Story and Wall-E).
Gareth von Kallenbach (965 KP) rated Turning Red (2022) in Movies
Mar 7, 2022
The digital animation geniuses at Pixar are back with “Turning Red” and it marks a departure for the studio known for the “Toy Story” and “Cars”, franchises.
Set in 1990s Toronto, the film centers around 8th grader Mei (Rosalie Chiang), who considers herself an adult at 13 and eagerly applies herself to school when she is not helping her family tour business at a local Temple or hanging with her friends.
Life comes crashing to a halt when after a traumatic day of embarrassment; Mei awakens in the form of a large Red Panda. In a panic, Mei attempts to hide her situation which causes her over-protective mother to assume it is Puberty related and that her hormones are kicking in.
Mei desperately wants to get her life back to normal and learns that as long as she is calm her Panda is under control. However, this proves to be harder than expected and soon Mei learns that the Panda is the result of a family bloodline but there is a way to end it during a Lunar ceremony in a couple of weeks.
Chaos soon follows as Mei struggles with her situation and must find a way to cope with the changes that are going on and make some very important decisions about her life and her future.
The film is a difficult one to review for me as never having been a teenage girl dealing with puberty, raging estrogen, and the issues that go with it. That being said the film struggles to find a balance as it tacks on the capers of Mei in Panda form without being overly funny or charming and keeps the focus on Teen Angst, puberty-related issues and becoming an adult.
The film lacks the interesting characters, charm, and appeal that have set the foundation for so many Pixar films and it is surprising that a company that can elicit a range of emotions in an animated short fail to really connect with their latest feature. There were some amusing parts but the film as a whole was rather dull and lacked much in the way of humor and was very predictable.
The decision to put the film directly on Disney+ as the studio’s recent “Soul” and “Luca” was raised some controversy but in the end, I do believe it was the right decision as “Turning Red” is not likely to be a film that draws people to the cinema beyond the opening weekend.
It is a film that is a bold step for the company, but one that lacks the charm and humor of previous films as not everyone is going to want to sit through a feature-length film on teenage angst and dealing with changing bodies and the emotional turmoil that follows. However, the target audience is likely to connect with the characters and it will be interesting to see what the reaction to the film is long-term.
3 stars out of 5
“Turning Red” will debut on Disney+ on March 11th
Set in 1990s Toronto, the film centers around 8th grader Mei (Rosalie Chiang), who considers herself an adult at 13 and eagerly applies herself to school when she is not helping her family tour business at a local Temple or hanging with her friends.
Life comes crashing to a halt when after a traumatic day of embarrassment; Mei awakens in the form of a large Red Panda. In a panic, Mei attempts to hide her situation which causes her over-protective mother to assume it is Puberty related and that her hormones are kicking in.
Mei desperately wants to get her life back to normal and learns that as long as she is calm her Panda is under control. However, this proves to be harder than expected and soon Mei learns that the Panda is the result of a family bloodline but there is a way to end it during a Lunar ceremony in a couple of weeks.
Chaos soon follows as Mei struggles with her situation and must find a way to cope with the changes that are going on and make some very important decisions about her life and her future.
The film is a difficult one to review for me as never having been a teenage girl dealing with puberty, raging estrogen, and the issues that go with it. That being said the film struggles to find a balance as it tacks on the capers of Mei in Panda form without being overly funny or charming and keeps the focus on Teen Angst, puberty-related issues and becoming an adult.
The film lacks the interesting characters, charm, and appeal that have set the foundation for so many Pixar films and it is surprising that a company that can elicit a range of emotions in an animated short fail to really connect with their latest feature. There were some amusing parts but the film as a whole was rather dull and lacked much in the way of humor and was very predictable.
The decision to put the film directly on Disney+ as the studio’s recent “Soul” and “Luca” was raised some controversy but in the end, I do believe it was the right decision as “Turning Red” is not likely to be a film that draws people to the cinema beyond the opening weekend.
It is a film that is a bold step for the company, but one that lacks the charm and humor of previous films as not everyone is going to want to sit through a feature-length film on teenage angst and dealing with changing bodies and the emotional turmoil that follows. However, the target audience is likely to connect with the characters and it will be interesting to see what the reaction to the film is long-term.
3 stars out of 5
“Turning Red” will debut on Disney+ on March 11th
Gareth von Kallenbach (965 KP) rated The little mermaid (2023) in Movies
May 26, 2023
(By my wife Genevieve)I must admit that I may be biased about this movie, being a huge fan of all things Disney. However, the popular and beloved original The Little Mermaid was released in November 1989, about 6 months before I graduated high school. Not really the age to be that interested in an animated movie about a mermaid who trades her voice away to be able to live where the people are. But of course, I still watched it and I, like many, definitely loved the songs. The storyline? Not so much.
When I first heard a live-action version was in the works, my initial response was tepid, "That's nice." Only when I heard a person of color would play Ariel was my curiosity really piqued. As a minority, when many asked, "Why?", I thought, "Why not?" I was very moved when I saw the videos of young Black girls reacting excitedly to the first trailer when they discovered Ariel looked like them, further answering the many still asking "Why?" with "This. This is why."
If you've seen the animated version, then you know the gist of the story - young mermaid Ariel, played beautifully by Halle Bailey, is fascinated by the world above the water and collects all the human thingamabobs that litter the sea floor. She rebels against her father, King Triton, the handsome Javier Bardem, by giving in to her curiosity and ends up rescuing the merchant Prince Eric from drowning when the ship he's sailing is caught in a treacherous storm. Ariel is instantly smitten and Prince Eric, played by the perfectly-cast Jonah Hauer-King, is equally obsessed with the voice he heard as he was revived by Ariel’s siren song.
While obviously geared towards a younger audience, I found much to love about this movie. Jodi Benson’s original version will always be perfection, but Halle Bailey’s emotional rendition of “Part of Your World”, coupled with her luminous and expressive face, was just phenomenal. I had to temper my applause after her performance while a few appreciative “Whooo!” sounded through the audience. Melissa McCarthy’s Ursula and her iconic “Poor Unfortunate Souls” was definitely a highlight. Daveed Diggs as Sebastian (also inspired casting) and Awkwafina as Scuttle need their own spinoff. They’re hilarious together.
Alan Menken’s classic songs from the original were given new life by McCarthy, Bailey, and Diggs, and Lin Manuel Miranda’s signature touch is easily identifiable in the new ballads for Ariel and Prince Eric, and a Hamilton-style rap by Awkwafina and Diggs.
I appreciated the parallel stories with the prince just as curious about the world beyond his island as Ariel is about the world beyond her ocean, both bound by duty to their parents and their people, while yearning to explore the great “out there”. In all my Disney and Pixar movie-watching experiences, it has consistently been Pixar movies that get me emotionally compromised, so I was a bit surprised to find myself reaching for a napkin at the end of this movie, after a scene between Ariel and her dad. I will blame it on the nostalgia.
4 out of 5 stars just for the musical performances alone.
When I first heard a live-action version was in the works, my initial response was tepid, "That's nice." Only when I heard a person of color would play Ariel was my curiosity really piqued. As a minority, when many asked, "Why?", I thought, "Why not?" I was very moved when I saw the videos of young Black girls reacting excitedly to the first trailer when they discovered Ariel looked like them, further answering the many still asking "Why?" with "This. This is why."
If you've seen the animated version, then you know the gist of the story - young mermaid Ariel, played beautifully by Halle Bailey, is fascinated by the world above the water and collects all the human thingamabobs that litter the sea floor. She rebels against her father, King Triton, the handsome Javier Bardem, by giving in to her curiosity and ends up rescuing the merchant Prince Eric from drowning when the ship he's sailing is caught in a treacherous storm. Ariel is instantly smitten and Prince Eric, played by the perfectly-cast Jonah Hauer-King, is equally obsessed with the voice he heard as he was revived by Ariel’s siren song.
While obviously geared towards a younger audience, I found much to love about this movie. Jodi Benson’s original version will always be perfection, but Halle Bailey’s emotional rendition of “Part of Your World”, coupled with her luminous and expressive face, was just phenomenal. I had to temper my applause after her performance while a few appreciative “Whooo!” sounded through the audience. Melissa McCarthy’s Ursula and her iconic “Poor Unfortunate Souls” was definitely a highlight. Daveed Diggs as Sebastian (also inspired casting) and Awkwafina as Scuttle need their own spinoff. They’re hilarious together.
Alan Menken’s classic songs from the original were given new life by McCarthy, Bailey, and Diggs, and Lin Manuel Miranda’s signature touch is easily identifiable in the new ballads for Ariel and Prince Eric, and a Hamilton-style rap by Awkwafina and Diggs.
I appreciated the parallel stories with the prince just as curious about the world beyond his island as Ariel is about the world beyond her ocean, both bound by duty to their parents and their people, while yearning to explore the great “out there”. In all my Disney and Pixar movie-watching experiences, it has consistently been Pixar movies that get me emotionally compromised, so I was a bit surprised to find myself reaching for a napkin at the end of this movie, after a scene between Ariel and her dad. I will blame it on the nostalgia.
4 out of 5 stars just for the musical performances alone.
Gareth von Kallenbach (965 KP) rated Onward (2020) in Movies
Feb 23, 2020
The magicians at PIXAR have returned with the new animated film “Onward”. The film stars Chris Pratt as Barley and Tom Holland as his younger brother Ian. The two brothers live with their mother Laurel (Julia Louis-Dreyfus), following the loss of their father before Ian was even born.
This has resulted in Ian being unsure of himself as on his 16th Birthday he still lacks confidence, cannot drive, and is embarrassed by his over the top brother.
The fact that both Ian and Barley are Elves who live in a modern world filled with mythical creatures is what makes this such an interesting premise.
When a gift is revealed that will be able to give Ian and Barley a chance to temporarily reunite with their father to give them both the closure they seek, the duo are forced to take on an epic adventure in a race against time.
Naturally the impulsive Barley and the cautious Ian must overcome many obstacles both physical and emotional along the way as they bond and face a myriad of creatures in a race against time to complete their quest.
The film is an enjoyable enough tale and the cast is very strong. The biggest Issue I had is that the plot is fairly linear and may not have enough twists and variation to sustain an older audience during the full run time.
Thankfully there is some amazing animation to go with the great cast and the abundance of Medieval gags in a modern setting make this one that the entire family could enjoy and hopefully will start a new franchise for the studio.
4 stars out of 5
This has resulted in Ian being unsure of himself as on his 16th Birthday he still lacks confidence, cannot drive, and is embarrassed by his over the top brother.
The fact that both Ian and Barley are Elves who live in a modern world filled with mythical creatures is what makes this such an interesting premise.
When a gift is revealed that will be able to give Ian and Barley a chance to temporarily reunite with their father to give them both the closure they seek, the duo are forced to take on an epic adventure in a race against time.
Naturally the impulsive Barley and the cautious Ian must overcome many obstacles both physical and emotional along the way as they bond and face a myriad of creatures in a race against time to complete their quest.
The film is an enjoyable enough tale and the cast is very strong. The biggest Issue I had is that the plot is fairly linear and may not have enough twists and variation to sustain an older audience during the full run time.
Thankfully there is some amazing animation to go with the great cast and the abundance of Medieval gags in a modern setting make this one that the entire family could enjoy and hopefully will start a new franchise for the studio.
4 stars out of 5
Emma @ The Movies (1786 KP) rated Coco (2017) in Movies
Sep 25, 2019
Aspiring musician Miguel, confronted with his family's ancestral ban on music, enters the Land of the Dead to find his great-great-grandfather, a legendary singer.
This film really does deserve all the excitement around it, and oh my god how I cried.
As a way of not ruining films for me this year I'm trying not to read anything about them before I actually go and see them. The most I'm doing is seeing trailers while I'm at the cinema and then possibly catching the odd synopsis. When it comes to Disney Pixar though it's difficult not to be engulfed in a wave of information months before they're due out. I was however successful on this occasion, and I'm grateful that I got to enjoy it without any more information than had been in the trailer.
For something with a slightly morbid edge to it I thought it was done really well, and while the topic of death is obviously a potential pitfall you're reassured with the warmth and humour throughout the film.
If the songs in a film are good then I'll always be won over, and these ones gave me goosebumps. They bring a smile, and a tear, and that warm feeling inside that makes you sigh.
My last passing comment would be the tears... because I wasn't exaggerating. I cried A LOT. Even though I came out of the film loving the whole thing I was still crying as I drove home. *calming breath* I can feel myself losing my mind right now just thinking about it. It's a beautiful film, everyone should go and see it.
This film really does deserve all the excitement around it, and oh my god how I cried.
As a way of not ruining films for me this year I'm trying not to read anything about them before I actually go and see them. The most I'm doing is seeing trailers while I'm at the cinema and then possibly catching the odd synopsis. When it comes to Disney Pixar though it's difficult not to be engulfed in a wave of information months before they're due out. I was however successful on this occasion, and I'm grateful that I got to enjoy it without any more information than had been in the trailer.
For something with a slightly morbid edge to it I thought it was done really well, and while the topic of death is obviously a potential pitfall you're reassured with the warmth and humour throughout the film.
If the songs in a film are good then I'll always be won over, and these ones gave me goosebumps. They bring a smile, and a tear, and that warm feeling inside that makes you sigh.
My last passing comment would be the tears... because I wasn't exaggerating. I cried A LOT. Even though I came out of the film loving the whole thing I was still crying as I drove home. *calming breath* I can feel myself losing my mind right now just thinking about it. It's a beautiful film, everyone should go and see it.
Gareth von Kallenbach (965 KP) rated Moana (2016) in Movies
Jul 12, 2019
Moana (pronounced MoWAHnah) is a spirited and determined young daughter of an overprotective father who happens to be the chief of Motunui Island.
On this idyllic, mystical Polynesian island, Moana (voiced by Hawaiian actress Auli’i Cravalho),grew up listening to her grandmother’s stories about the legendary demigod Maui and how he stole the Heart of Te Fiti, condemning his people to an uncertain fate.
Ever since she was an adorable toddler, the ocean has called to her. Her name means “ocean” after all. However her father forbids her from even considering the notion of sailing beyond the reef that protects Motunui.
But when Moana’s island starts showing signs of disease that threatens her people’s livelihood, she is convinced she can save her island by returning the Heart of Te Fiti. Against her father’s wishes she sets sail in search of Maui (voiced by Dwayne Johnson)in hopes of saving her people.
Pixar and Disney have long mastered the art of emotionally compromising their audience with characters and storylines that pluck at your heartstrings. Yet I was still surprised at how much Moana moved me. With her touching relationship with her grandmother, her deep respect of her culture, and her dauntless temperment, Moana quickly became my favorite Disney heroine.
From the gorgeous animation, the pitch perfect voice acting and the beautiful music, I really believe Disney has made something special with Moana that will deeply resonate with islanders and those who love the islander culture.
If you’re a Hamilton fan, you’ll easily recognize Lin-Manuel Miranda’s voice and his lyrical signature in the many memorable songs. So don’t be surprised if you leave the theatre singing “You’re welcome.”
On this idyllic, mystical Polynesian island, Moana (voiced by Hawaiian actress Auli’i Cravalho),grew up listening to her grandmother’s stories about the legendary demigod Maui and how he stole the Heart of Te Fiti, condemning his people to an uncertain fate.
Ever since she was an adorable toddler, the ocean has called to her. Her name means “ocean” after all. However her father forbids her from even considering the notion of sailing beyond the reef that protects Motunui.
But when Moana’s island starts showing signs of disease that threatens her people’s livelihood, she is convinced she can save her island by returning the Heart of Te Fiti. Against her father’s wishes she sets sail in search of Maui (voiced by Dwayne Johnson)in hopes of saving her people.
Pixar and Disney have long mastered the art of emotionally compromising their audience with characters and storylines that pluck at your heartstrings. Yet I was still surprised at how much Moana moved me. With her touching relationship with her grandmother, her deep respect of her culture, and her dauntless temperment, Moana quickly became my favorite Disney heroine.
From the gorgeous animation, the pitch perfect voice acting and the beautiful music, I really believe Disney has made something special with Moana that will deeply resonate with islanders and those who love the islander culture.
If you’re a Hamilton fan, you’ll easily recognize Lin-Manuel Miranda’s voice and his lyrical signature in the many memorable songs. So don’t be surprised if you leave the theatre singing “You’re welcome.”
Chris Sawin (602 KP) rated Lightyear (2022) in Movies
Jun 17, 2022
Visually gorgeous animation (2 more)
Sox
Designs of the insects, robots, and especially Zurg
Too much Star Wars influence (1 more)
Writing is a bit underwhelming
A Visually Gorgeous Nod to Science Fiction
Lightyear has a simple premise that fits it into the Toy Story timeline while also giving the film the freedom to creatively do just about whatever it wants. This on-screen version of Buzz Lightyear is what inspired the toy and this film was Andy’s favorite film.
Test pilot Buzz Lightyear (now voiced by Chris Evans) wakes up from hyper sleep to research and explore a nearby planet that is off the course of his ship’s destination. The mission results in Buzz’s entire crew being marooned on a planet overrun by giant insects and bothersome vines. With guilt weighing heavily on his shoulders, Buzz takes it upon himself to be the pilot responsible for hyper speed tests.
After spending a year on the planet, there’s finally enough resources for a test flight. But the mission fails and when Buzz returns, four years have passed. Intending to finish the mission despite the consequences, Buzz pilots test flight after test flight as each mission results in years passing while he’s away. He watches his friends age and die until he finally returns to a planet that now cowers to the ominous Zurg and his battalion of relentlessly inhuman robots.
After co-directing Finding Dory and while working as an animator for Pixar since 1998’s A Bug’s Life, Lightyear is the directorial debut of Angus MacLane. Written by MacLane, Matthew Aldrich (Coco), and Jason Headley (Onward), Lightyear is receiving a lot of backlash for including a same sex relationship as well as an on-screen lesbian kiss (some countries are refusing to release the film in theaters because of it). The relationship involves another Space Ranger named Alisha Hawthorne (Uzo Aduba, Orange is the New Black, Steven Universe). Hawthorne and the life she builds on a planet she is essentially stuck on ends up being the inspiration for not only Buzz, but as well as Alisha’s granddaughter, Izzy (Keke Palmer). Even if you’re against homosexuality, Alisha’s relationship is undeniably the most sentimental aspect of the film. Lightyear wouldn’t be the same without its inclusion.
The film does some different stuff with Zurg as far as who he is and how he relates to Buzz that may or may not retcon what was established in Toy Story 2. Both the story and the writing of the film seem to play it safe as they take a predictable approach to what essentially could have been something more unique. The discussion that’s been floating around about the film is that the jokes, sillier moments, and more absurd lines of dialogue seem to always disrupt the film whenever it tries to take a step towards being a thrilling sci-fi film. It’s difficult to argue with this statement, especially since Mo Morrison’s (Taika Waititi) whole purpose in the film is to broadcast his incompetence and the film revolves around a team of misfits attempting to save the planet despite their shortcomings.
The film is visually one of the year’s best looking films; animated or otherwise. Taking inspiration from early sci-fi films and space operas like Star Wars, Angus MacLane wanted Lightyear to look, “cinematic,” and, “chunky.” If you see the film in IMAX, this is the first animated film to ever have sequences shown in the 1.43:1 aspect ratio (it’s usually 2.39:1) as visual effects supervisor Jane Yen states that a virtual IMAX camera was developed to shoot said sequences, which were then cropped to standard definition. The film is gorgeous and even looks different in comparison to other Pixar films. With its lush colors, heavy use of shadows, bright lighting for highlights, and character designs for insects and robots that seem to be directly inspired by the likes of Starship Troopers and Gundam, Lightyear is a visually delicious treat.
Angus MacLane has his love for Star Wars showcased a bit too often in Lightyear as certain sequences seem to be directly lifted from the George Lucas created franchise. Many of Zurg’s scenes are a direct homage to various Darth Vader sequences in the Star Wars films. When Buzz is carried upside down by a Zyclops as Izzy and the others try to help him free borrows heavily from The Empire Strikes Back when Luke is hanging upside down in the icy Wampa cave; Buzz is even wearing an orange and white outfit that resembles Luke’s when he pilots the X-Wing. The love for Star Wars is as much a hindrance as it is an inspiration. The film spends more time referencing its origins rather than putting more of a focus on establishing its own identity.
Sox is legitimately the most fun character of the film. He’s humorous and resourceful; a robot cat that is Buzz’s most useful tool and companion. If Disney doesn’t resurrect Teddy Ruxpin technology for a new Sox animatronic toy then it will end up being wasted potential to a soul crushing extent.
Like Toy Story 4, Lightyear is an unnecessary installment to the Toy Story franchise, but is enjoyable nevertheless. Its homage to science fiction makes the animated film feel more like a sci-fi actioner rather than an animated film the majority of the time. It has a rich and palpable atmosphere that is gorgeously animated and is filled with the laugh out loud and heartfelt moments Pixar is typically known for.
Test pilot Buzz Lightyear (now voiced by Chris Evans) wakes up from hyper sleep to research and explore a nearby planet that is off the course of his ship’s destination. The mission results in Buzz’s entire crew being marooned on a planet overrun by giant insects and bothersome vines. With guilt weighing heavily on his shoulders, Buzz takes it upon himself to be the pilot responsible for hyper speed tests.
After spending a year on the planet, there’s finally enough resources for a test flight. But the mission fails and when Buzz returns, four years have passed. Intending to finish the mission despite the consequences, Buzz pilots test flight after test flight as each mission results in years passing while he’s away. He watches his friends age and die until he finally returns to a planet that now cowers to the ominous Zurg and his battalion of relentlessly inhuman robots.
After co-directing Finding Dory and while working as an animator for Pixar since 1998’s A Bug’s Life, Lightyear is the directorial debut of Angus MacLane. Written by MacLane, Matthew Aldrich (Coco), and Jason Headley (Onward), Lightyear is receiving a lot of backlash for including a same sex relationship as well as an on-screen lesbian kiss (some countries are refusing to release the film in theaters because of it). The relationship involves another Space Ranger named Alisha Hawthorne (Uzo Aduba, Orange is the New Black, Steven Universe). Hawthorne and the life she builds on a planet she is essentially stuck on ends up being the inspiration for not only Buzz, but as well as Alisha’s granddaughter, Izzy (Keke Palmer). Even if you’re against homosexuality, Alisha’s relationship is undeniably the most sentimental aspect of the film. Lightyear wouldn’t be the same without its inclusion.
The film does some different stuff with Zurg as far as who he is and how he relates to Buzz that may or may not retcon what was established in Toy Story 2. Both the story and the writing of the film seem to play it safe as they take a predictable approach to what essentially could have been something more unique. The discussion that’s been floating around about the film is that the jokes, sillier moments, and more absurd lines of dialogue seem to always disrupt the film whenever it tries to take a step towards being a thrilling sci-fi film. It’s difficult to argue with this statement, especially since Mo Morrison’s (Taika Waititi) whole purpose in the film is to broadcast his incompetence and the film revolves around a team of misfits attempting to save the planet despite their shortcomings.
The film is visually one of the year’s best looking films; animated or otherwise. Taking inspiration from early sci-fi films and space operas like Star Wars, Angus MacLane wanted Lightyear to look, “cinematic,” and, “chunky.” If you see the film in IMAX, this is the first animated film to ever have sequences shown in the 1.43:1 aspect ratio (it’s usually 2.39:1) as visual effects supervisor Jane Yen states that a virtual IMAX camera was developed to shoot said sequences, which were then cropped to standard definition. The film is gorgeous and even looks different in comparison to other Pixar films. With its lush colors, heavy use of shadows, bright lighting for highlights, and character designs for insects and robots that seem to be directly inspired by the likes of Starship Troopers and Gundam, Lightyear is a visually delicious treat.
Angus MacLane has his love for Star Wars showcased a bit too often in Lightyear as certain sequences seem to be directly lifted from the George Lucas created franchise. Many of Zurg’s scenes are a direct homage to various Darth Vader sequences in the Star Wars films. When Buzz is carried upside down by a Zyclops as Izzy and the others try to help him free borrows heavily from The Empire Strikes Back when Luke is hanging upside down in the icy Wampa cave; Buzz is even wearing an orange and white outfit that resembles Luke’s when he pilots the X-Wing. The love for Star Wars is as much a hindrance as it is an inspiration. The film spends more time referencing its origins rather than putting more of a focus on establishing its own identity.
Sox is legitimately the most fun character of the film. He’s humorous and resourceful; a robot cat that is Buzz’s most useful tool and companion. If Disney doesn’t resurrect Teddy Ruxpin technology for a new Sox animatronic toy then it will end up being wasted potential to a soul crushing extent.
Like Toy Story 4, Lightyear is an unnecessary installment to the Toy Story franchise, but is enjoyable nevertheless. Its homage to science fiction makes the animated film feel more like a sci-fi actioner rather than an animated film the majority of the time. It has a rich and palpable atmosphere that is gorgeously animated and is filled with the laugh out loud and heartfelt moments Pixar is typically known for.
Lenard (726 KP) rated Toy Story 4 (2019) in Movies
Jul 4, 2019
For a movie aimed at children, Toy Story 4 deals with many themes. First, there is the multi-generational lines of playthings. You have 1940s era ragdolls, 1950s era porcelain dolls, 1960s era plastic resin movable action figures, 1970s era pullback and action toys, plus Plushies, Mr Potato Head, and new-age DIY toys of this millennium. Like Pixar and its films, it serves to connect the generations of humans and demonstrate the similarities we share no matter how old we are. Also, the older generations are always looking out for the younger generation as demonstrated by the grandmother in this film and Woody.
A second theme is the whole concept of what makes a toy. Does a child's love bring it to life? Can a lonely creative child make her own friends? What happens to the toys we no longer play with or forget about? Another thing I noticed is that in the previous installments the toys remain inanimate among the humans, but this time they meddle in the human world.
Along the way, Woody learns about the outside world. Early in the film, Woody is given a chance to escape with the toy he obviously loves and get "lost." He however cannot give up the job he was given as a favorite toy. Now, years later, he has a new owner and becoming obsolete. He still has a responsibility to protect the new toy Bonnie makes. He reconnects with a lost love. Everywhere he goes, he meets various toys who yearn for the love of a child, something they either have never had or lost long ago. Like Toy Story 3, Toy Story 4 becomes a movie about growing up and moving on when you are no longer dependent on the love of your "parent."
A second theme is the whole concept of what makes a toy. Does a child's love bring it to life? Can a lonely creative child make her own friends? What happens to the toys we no longer play with or forget about? Another thing I noticed is that in the previous installments the toys remain inanimate among the humans, but this time they meddle in the human world.
Along the way, Woody learns about the outside world. Early in the film, Woody is given a chance to escape with the toy he obviously loves and get "lost." He however cannot give up the job he was given as a favorite toy. Now, years later, he has a new owner and becoming obsolete. He still has a responsibility to protect the new toy Bonnie makes. He reconnects with a lost love. Everywhere he goes, he meets various toys who yearn for the love of a child, something they either have never had or lost long ago. Like Toy Story 3, Toy Story 4 becomes a movie about growing up and moving on when you are no longer dependent on the love of your "parent."