Archive for the Animation Category

Despicable Me 3

Posted in Action, Adventure, Animation, Family on July 1, 2017 by Mark Hobin

 photo despicable_me_three_ver3_zpsq185xh6v.jpg photo starrating-1andahalfstars.jpgWell, It took seven years, but Illumination Entertainment finally delivered The Despicable Me movie its detractors have accused them of making all along. Tedious, frantic, disjointed, shallow, dull, dumb. Despicable Me 3 is an insufferable mess of a film. It doesn’t have a focus so much as disparate interludes that have been randomly thrown together with no regard for the components needed to create an intelligible story. It’s up for discussion, but I think I counted at least four different story threads. These have then been haphazardly assembled to justify a 90 minute runtime. I’m not even sure I can even coherently outline the action, but I’ll try.

The alpha plotline begins when Gru (Steve Carell), former evildoer now an agent for the Anti-Villain League, is fired from the group because of his inability to apprehend criminal Balthazar Bratt (Trey Parker). He’s the worst excuse for a villain, but I’ll get back to him. Plot B details when Gru discovers he has a twin brother named Dru. The whole family – which includes wife Lucy and adopted daughters Margo (Miranda Cosgrove), Edith (Dana Gaier) and Agnes (Nev Scharrel) – are invited to go hang out at his estate in Freedonia. The Duck Soup reference is cute. Then more developments: Mother Lucy (Kristen Wiig) is worried about being a good step-mom to the little girls, Edith and Agnes try to find a real unicorn, and Margo is almost married off to a little boy in a cheese ceremony. Meanwhile in Plot C, Gru is still preoccupied with retrieving the world’s biggest diamond from Balthazar Bratt. By accomplishing this, he hopes to get his old job back at the AVL. Oh and I almost forgot the Minions who are treated like an afterthought here. Plot D has the little yellow creatures upset that Gru is no longer interested in villainy. They leave but are promptly arrested and thrown in jail after trespassing at a talent show. Seriously if you’ve always hated the Minions, then this is the picture for you.

The narrative couldn’t even offer compelling supporting personalities this time around. Steve Carell also voices Dru, Gru’s long-lost twin brother. He’s a billionaire, has a higher pitched voice, and is flamboyantly carefree but he’s essentially the exact same person – just with a mane of blonde hair. We’re supposed to care about this familial reunion but their relationship is given short shrift. There’s simply too much going on to even care.

Now about that villain. A chronicle fixated on an antagonist is only as good as that personality. Balthazar Bratt is a lackadaisical suggestion of a individual. A former child star of a tacky 80s TV series called “Evil Bratt”, he found his popularity wane after entering puberty. Now an adult, he’s bent on world domination. Why? Good question. The writers aren’t concerned with such exposition, but I’m thinking it’s a case of “Waaaaah! You better notice me!” We’re never given an explanation as to why he is doing what he is doing.  Dressed in a purple jumpsuit with outrageous shoulder pads and parachute pants. He sports a droopy mustache and a black mullet with an extreme hi-top fade. He plays the keytar which gives the soundtrack an excuse to flood our senses with lots of late 80s hits (“Bad”, “Sussudio”, “Money For Nothing”, “99 Luftballons”, etc.) at every juncture. Their ostensible purpose? To elicit the reaction “Hey I recognize that song!” He’s merely a visual/auditory joke and nothing more. He’s easily the most lazily created villain of this franchise.

I’ve enjoyed the wacky playful antics of this series. Despicable Me and Despicable Me 2 were well-crafted exercises that combined fun with feeling. Even the underappreciated Minions had enough laughs to support its existence. They had the zany joy of those classic Warner Bros. Cartoons. They were goofy, sure, but they had a sense of purpose in the pursuit of an actual story. This time the scattershot atmosphere yields boredom. It’s a sloppy, commercially focused, Hollywood product that inspires nothing but pure unadulterated apathy. It lacks everything – wit, heart, joy – that made the first two installments great. It’s so empty that the experience was soul crushing for this self-avowed fan. As expected, Despicable Me 3 ends with a set-up to yet another one of these films. No thanks, I’ve had sufficient. I’ve stood by this franchise long after my peers abandoned it but here’s where I’m jumping ship too.

06-29-17

Cars 3

Posted in Adventure, Animation, Comedy, Family, Fantasy on June 21, 2017 by Mark Hobin

 photo cars_three_ver3_zpscemphvxy.jpg photo starrating-3stars.jpgCars is officially a trilogy so we must now discuss it as we would the original Star Wars, Godfather and Lord of the Rings sagas.  All joking aside, there’s something almost comforting about the Cars movies.  They sort of offer proof that even the almighty Pixar is imperfect.  None of these films are terrible, mind you.   However, they aren’t particularly meaningful either.  Especially when you compare it to the high standard at which Pixar has always operated.  Given the setting, an automotive analogy is appropriate.  For Pixar, this what shifting into neutral and just coasting looks like.  These pictures are solid entertainment in the moment but don’t expect a timeless classic.

Cars 3 is a return to form, but let me reiterate.  I’m talking about a return to the quality of Cars, not the best Pixar movies. After Cars 2 shook things up by fixating on tow truck Mater over racecar Lightning McQueen, the franchise gets back to the basics of the original.  Here we revisit the focus on the joys of racing and not on an action-packed spy movie.  Cars 3 feels more like a sequel to the first Cars. Even Doc Hudson (Paul Newman, in previously recorded snippets) pops up in flashback offering wisdom from beyond the grave. It’s almost as if Cars 2 never happened.

The drama concerns the current season of racing at the Piston Cup competition. Older racers Lightning McQueen (Owen Wilson), Bobby Swift (Angel Oquendo) and Cal Weathers (Kyle Petty) find themselves surpassed by a much more technologically advanced upstart named Jackson Storm (Armie Hammer). It’s clear the senior guys can no longer compete at the same level.  A fresh generation is taking over.  One by one the seasoned racers throw in the towel and retire, but Lightning refuses to quit.  That’s a good thing, right?  Not so fast.  A desperate attempt to push himself to the same speed as Jackson Storm leads to a disastrous accident for Lightning.  He decides to regroup.  Lightning heads off to the Rust-eze Racing Center where he meets the new owner named Sterling (Nathan Fillion).  Sterling is a big fan of Lightning McQueen and wants to see him succeed.  Sterling introduces him to his young trainer, Cruz Ramirez (comedian Cristela Alonzo). As the narrative progresses, Cruz becomes a notable addition to the cast.

Now you might think that this is all leading to a feel-good tale where Lighting learns how to retrain, be the best again and triumph over adversity.  Nope.  Sorry. Not even close.  The events are actually rather subversive and it’s that unpredictability that beckons the viewer to keep following.  There’s a lot of entertainment value in the capricious developments of the story.  It’s never boring.  However every time the drama seems to be pushing toward a particular moral, certain plot contrivances flip the script in a different direction.  We’re misled a few times and the results can be a bit unfulfilling.  It’s like we’re noshing on several appetizers instead of feasting on one entree.  Ultimately the climax can best be described as poignant.  Hint: We do age and there will always be a younger generation to take our place.  That can be seen as both depressing and uplifting.  In the end, Cars 3 is a pleasant diversion. Perhaps more importantly for the studio, it will sell a ton of new toys. Now the real question is, will your kids want to play with Cruz Ramirez or Jackson Storm?

06-15-17

Captain Underpants: The First Epic Movie

Posted in Action, Animation, Comedy on June 14, 2017 by Mark Hobin

 photo captain_underpants_zpslgih4pza.jpg photo starrating-3stars.jpgGeorge and Harold are two mischievous 4th graders that enjoy playing practical jokes because they cheer the students up at their miserable school.  They also write comic books in their spare time. Their latest superhero creation is Captain Underpants, a literary work that is ripped up by their ill-tempered principal, Mr. Krupp (Ed Helms).  Despite the fact he doesn’t have proof, Mr. Krupp knows they are behind the practical jokes on the teachers at their elementary school. At the Invention Convention, the boys tamper with a fellow classmates’ entry called the Turbo Toilet so that it shoots toilet paper rolls at the audience. However this time, Mr. Krupp has video evidence of their shenanigans. He threatens to end the kids’ alliance by splitting them up into different classes. Before this can happen, the kids put him in a trance using a Hypno-Ring they got out of a cereal box. They make him act like a chicken, then a monkey, until finally…Captain Underpants. Hilarity ensues.

Captain Underpants: The First Epic Movie is based on an extremely successful 10-part series of children’s fiction by author and illustrator Dav Pilkey.  The saga revolves around George and Harold, two imaginative but disobedient fourth graders.  The youngsters defy authority and are prone to pranks. The massive popularity of the books, particularly with children ages 6–8 has garnered much attention since they were first published in 1997.

The boys’ playful disrespect for authority has garnered some controversy. The series surprisingly topped the list of the most banned books in America in 2012, beating out the much more controversial Fifty Shades of Grey. These novels were never part of my upbringing.  I was a wee bit older than 8 in 1997. I haven’t read any of them, but I can affirm there’s nothing in this kid-friendly movie that would offend even the most delicate sensibilities. Yes the main protagonist does wear tighty whities but let’s face it, if the sight of a cartoon wearing underpants is offensive to you, then you probably shouldn’t be watching films made after 1968 anyway.

The humor is rather innocent, but it certainly doesn’t reach sophisticated highs either. The potty jokes are mild but they’re constant. I suppose gags about poop and other bodily functions carry a certain charm – for budding minds anyway.  If you still think a planet with the name Uranus is hilarious, then calling it a “gas giant” should have you rolling with laughter.  That experience is what originally unites these two friends.  The taunts don’t get any more vulgar that “weirdo,” “stupid,” and “suck up”. Although some parents may bristle at one of the film’s subtle underlying messages.  The kids’ decision to tinker with a classmate’s science project is partially based on the fact that he enjoys learning and is excited about going to the science fair.  Since Melvin is socially awkward, he is apparently deserving of their ridicule.

The movie is colorful and should appeal to the young and young at heart. Where the production excels is in the bright and lively animation. When Professor P ( Nick Kroll) attacks the school, it’s presented as slapstick.  The action for the climatic big battle switches from the 3D computer graphics to the style of a flip-book. It’s such an amusing way to lighten the mood while lending interest to the scene. The voice actors are all well cast.  The two main 4th grade protagonists are especially good.  George is portrayed by well-known comedian Kevin Hart.  His best friend Harold is voiced by lesser known actor, Thomas Middleditch (TV series Silicon Valley).  The uplifting takeaway amongst all the poo poo and pee pee jokes is the unshakable bond of true friendship. George and Harold’s loyalty to one another is something to admire and emulate. Nonetheless, potty humor is still low comedy. Not objectionable in this case, just naive, simplistic and childish.  The film is a trifle. The main antagonist introduces himself as Professor P but the boys later discover the P stands for Poopypants. If that reveal causes you to burst out giggling, then I highly recommend this.  5 years olds will totally dig it. Some adults will too.  You know who you are.

06-07-17

Your Name

Posted in Animation, Drama, Fantasy with tags on April 12, 2017 by Mark Hobin

 photo Your_Name_zpsscwpbv9e.jpg photo starrating-3stars.jpgTake a body switching fantasy, add a young adult romance, mix in a sci-fi time travel twist and throw in a natural disaster for good measure. Your Name is like a cross between Freaky Friday and Deep Impact. To be fair, that is overly simplifying things. Your Name is nothing if not ambitious. Ever since legendary anime director Hayao Miyazaki announced his (temporary) retirement after The Wind Rises, thoughts over which filmmaker(s) would become his successor have inspired much speculation. Director Makoto Shinkai is definitely a possibility. Already a massive hit in its native Japan, Your Name is the first anime not directed by Hayao Miyazaki to earn more than $100 million at the Japanese box office. The film has now been released in the U.S. to critical acclaim.

Taki is a high school boy who lives in Tokyo. Mitsuha is a teenaged country girl living in Itomori, a rural Japanese village. Their lives become intertwined one day after they inexplicably swap bodies when they awake one morning. At first, it isn’t clear what’s exactly happening. We do know that Mitsuha isn’t happy with her homemaking duties. “Please make me a handsome Tokyo boy in my next life!” she calls out at an early point. An approaching comet might have something to do with it too. At first, it appears they’re just dreaming. That’s how our lead characters assess what has occurred. But their friends’ reactions let them soon realize this has indeed physically transpired. The body exchange phenomenon continues to take place at random intervals for brief periods. They start leaving notes for the other so that when they change back they can ease the transition and not disrupt the other’s life. Taki allows Mitsuha to become more popular with her classmates. Conversely Taki’s new personality catches the eye of Ms. Okudera, his female boss. The idea that Okudera is more attracted to the transposed Mitsuha is a subversive contemplation that is brought up but never resolved. Ditto Taki’s male pal who thought he was cute the other day.

Anime or Japanese animation is an acquired taste. One has to be conditioned to understand its rhythms and idiosyncrasies The accounts are often so fanciful or overly convoluted as to render them almost incomprehensible to viewers expecting an accessible plot. Those not already accustomed to the offbeat style of anime may find this perpetually morphing narrative a bit puzzling.  I mean I was down for the “traditional” body switching story but when it was further shuffled with time-shifting events that led to a transmigration of souls across the astral plane, I was less engaged. Let’s not forget there’s also an impending comet that promises a monumental act of God. Whew!

I find if you tinker with a narrative too much, you lose the audience’s commitment to the drama. Your Name is more comprehensible than some anime, but it’s still pretty packed with plot machinations. At one point you realize our protagonists are not even existing in the same time frame anymore. Taki drinks something called kuchikamizake, which is essentially fermented rice that Mitsuha chewed up and spit into a jug years ago.  This somehow allows Taki to have some control over his ability to swap bodies with Mitsuha in another dimension. One leap of faith and I’m still invested. Three or four and I’m reduced to a shrug.  I lose interest. I appreciate the desire to creatively tell a story, but there’s beauty in a straightforward tale of boy meets girl.  Simply put: less is more. The visuals are crisp. When the comet finally arrives it’s beautifully revealed. Your Name’s mainstream teen saga of young love is further emphasized with a modern sensibility. An emo pop soundtrack by Japanese rock band RADWIMPS underlines the production. For Western audiences, think of the pop/punk melding of Fall Out Boy. The cheesily upbeat tunes nicely complement the teenybopper romance. It’s a bit cloying, but I was rooting for these two to finally meet. Your Name is highly watchable. I was entertained, but regrettably I wasn’t moved.

I saw it in the original Japanese with English subtitles. There is also an English dub.

04-09-17

My Life as a Zucchini

Posted in Animation, Comedy with tags on March 22, 2017 by Mark Hobin

 photo ma_vie_de_courgette_ver2_zpso33svp5z.jpg photo starrating-4stars.jpgQuirky, dark and charming. These are the three words that immediately spring to mind when I think of My Life as a Zucchini (also titled My Life as a Courgette). Icare (Erick Abbate), or Zucchini as he likes to be called, is a 9-year old boy who lives with his single mother. An only child, he’s a lonely lad seemingly without any playmates. His mother spends her days watching TV and drinking beer, as evinced by all the aluminum cans lying around the house. He passes time playing up in the attic and flying his kite adorned with a drawing of his father as a superhero. The dad is MIA by the way – whereabouts unknown. One day, little Zucchini is playing up in his room while his inebriated mom is downstairs. He has collected her discarded beer cans and is stacking them to build a tower. Most kids would use blocks but you use what’s available right? One thing leads to another and suddenly Zucchini is facing the unexpected death of his mother. I told you it was dark.

The animation is a painstakingly rendered stop-motion charmer. The plasticine people have big heads and large eyes like a Margaret Keane painting. Their faces are not as expressive as the cartoons with which we are familiar, but that almost gives these characters a sense of mystery underneath their pleasant facades.  My Life as a Zucchini is French-Swiss director Claude Barras’  first full-length feature. It’s an adaptation of Gilles Paris’ 2002 novel Autobiographie d’une Courgette.  Barras receives an able assist from a screenplay co-written by Céline Sciamma (Girlhood).   The intelligent writing details how resilient children truly are.  Despite the medium, this material isn’t meant for young children, hence the PG-13. Although most pre-adolescents age 10 and up should be fine, the subject matter might disturb kids of Zucchini’s age or younger.

Zucchini is taken to an orphanage by a friendly policeman named Raymond (Nick Offerman). There he meets 5 others like him without parents already living there.  They’re a ragtag group. Amazingly the screenplay takes the time to develop a nuanced personality for each waif. Red haired Simon (Romy Beckman) is “the boss”. Alluring Kafka-reading Camille (Ness Krell), who arrives later, turns his head.  This enchanting stop-motion cartoon was originally presented in French, but the English language dub features actors Will Forte, Nick Offerman, Ellen Page and Amy Sedaris. I found their work engaging.  For the most part, Zucchini’s encounters are positive experiences.  It’s refreshing that a state-run institution is actually presented as a place of kindness rather than terror. The boys have a hilarious conversation about the birds and the bees and it captures the spotty understanding that a group of 10-year-olds would have. We love these kids

My Life as a Zucchini flies by in a scant 70 minutes but mines more depth of emotion than a drama twice its length. The nature of the production allows the disturbing script to deal with sensitive problems that might be off-putting in a live action movie. As performed with stop motion puppets the weighty issues take on a poignant charm.  Sometimes children find themselves without a mom or a dad. The circumstances are many: some have passed on, others arrested, deported, or maybe they have just simply abandoned them.  It’s a heartwarming tale that doesn’t sugarcoat the toughest thing a youngster may ever have to face. Yet somehow kids manage to weather the tribulations that life throws at them.  The narrative delves into the need for a child, and anyone really, to feel loved. My Life As A Zucchini received an Oscar nomination for Best Animated Feature Film well before it was even available in theaters. Now it has been officially released and it’s still pretty hard to find. I suspect most people will have to discover this lovingly crafted gem once it’s available to rent. And please do seek it out. It’s an unconventional delight.

03-19-17

2017 Oscar Nominated Short Films (Part 1 of 2)

Posted in Animation, Awards, Shorts with tags on February 21, 2017 by Mark Hobin

For the past decade, ShortsHD has made all three of the Oscar-nominated short film programs (animated, live action, documentary) available to audiences around the world.

Animation

The animated compilation was released to theaters on February 10th, giving the public the opportunity to see the nominated entries before the Oscar Awards ceremony on February 26th.

In addition to the theatrical release, the nominated live-action and animated shorts will also be accessible online ( iTunes, Amazon Instant Video) and on VOD/Pay-per-view Platforms (AT&T, Comcast, DIRECTV, etc) starting February 21st.

The animated segment is often my favorite of the shorts programs because they are the most succinct.  They elicit both joy and sadness, sometimes in the span of 5 minutes.

I’ve ranked them in the order from best to worst.

[Side Note: How Disney’s delightful Inner Workings got snubbed is beyond me.  The animated short aired theatrically before Moana so millions saw it.  Perhaps it was too thematically similar to Pixar’s 2015 feature Inside Out.]

 

Piper
USA/6MINS/2016
Director: Alan Barillaro
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Piper was released alongside Pixar’s Finding Dory last year. Given that it made $486 million, chances are you’ve seen this one already.

Not much story to speak of. A baby sandpiper learns to overcome her fear of water. So why is this my favorite short?  1), The photo realism is rendered so perfectly that it transcends current animation. Director Alan Barillaro utilizes new technology to advance the medium forward with visuals we haven’t seen before. 2.) Its buoyant atmosphere stands out in this mostly downbeat collection of nominees.  Piper is uplifting and it made me feel better than anything in this largely depressing lot.

 

Pearl
USA/6MINS/2016
Director: Patrick Osborne
 photo Pearl_zpsd0nma7sg.jpg
A father and his daughter travel across the country in their beat up broken down hatchback affectionally known as Pearl. He’s a musician and the story follows the pair through the years as they grow older. A reflection on how our lives change and the way our talents are learned from those that mold us. A poignant tale.

Director Patrick Osborne took home the 2015 Oscar for Best Animated Short with Feast.

 

Blind Vaysha
CANADA/8MINS/2016
Director: Theodore Ushev
 photo Blind Vaysha_zpsbdbzo2no.jpg
Vasyha is born with one green eye and one brown eye. That’s harmless enough but it gets worse. A terrible curse prevents the girl from living in the present. Her left eye sees only the past. Her right, only the future. Grim fable has a clear moral. Savor the present moment! The fantasy is captivatingly odd but bleak.

 

Pear Cider and Cigarettes
CANADA & UK/35MINS/2016
Director: Robert Valley
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This nihilistic tale concerns a hard-living man named Techno Stypes. He starts out as a golden boy athlete but wastes his life away as a rabid alcoholic. Techno’s behavior soon demands he must get a liver transplant. Vancouver animator Robert Valley narrates the autobiographical tale about his childhood buddy.  

The short has the feel of a graphic novel and embraces a decidedly rock-and-roll vibe. Lots of music is played throughout. It all make sense when you learn that Valley is known for his work on the Gorillaz music videos.  Style to spare, but the story left me cold.

 

Borrowed Time
USA/7MINS/2015
Directors: Andrew Coats and Lou Hamou-Lhadj
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An old Sheriff returns to the scene of an accident that has haunted him his entire life. Directors Lou Hamou-Lhadj and Andrew Coats have both worked together at Pixar so you can best believe the animation looks good.  However, this is far darker than anything that studio has ever produced. 7 minutes really isn’t enough time to properly convey the emotional depth of this grave tale.

Points for the score by Oscar-winning composer Gustavo Santaolalla (Brokeback Mountain) though.

The Red Turtle

Posted in Adventure, Animation, Family with tags on February 18, 2017 by Mark Hobin

 photo the-red-turtle-2016-01_zpsacawydlr.jpg photo starrating-3andahalfstars.jpgThe story, such as it is, begins when a man adrift in a storm washes ashore on an uninhabited island. At first, he forages for food, but after awhile he endeavors to escape. He builds a raft.  However, at sea, a large red sea turtle swims below and smashes the boat from underneath. The man swims back to the island. He tries, again and again with an increasingly bigger raft and each time the animal foils his attempts. Then one evening, the man spies the creature on the beach attempting to crawl inland. In a fit of rage, he hits the turtle over the head with a bamboo stick and then turns it upside down, setting in motion a fantasy that will blend elements of Hans Christian Andersen with an already Robinson Crusoe influenced tale.

The Red Turtle is a partnership between Japanese Studio Ghibli and French distributor Wild Bunch. Dutch-British animator Michaël Dudok de Wit is doing the artwork. He received international recognition after winning the Oscar for his 2000 short film Father and Daughter. This is his debut feature. His style is reminiscent of Belgian cartoonist Hergé and his comic The Adventures of Tintin. It’s nice to see there’s still a place for the hand-drawn animation that has been widely rejected in recent years by major animation houses like Disney and Pixar. This production is above all an exquisitely animated gem.

The Red Turtle is an artistic work that is virtually wordless. Except for a few shouts of “Hey!” or cries of “Aargh!” there is no dialogue at all. The illustrations draw explicit attention to naturalistic detail. Beauty lies in the meditation on the flora and fauna – the whisper of the wind through the trees, an approaching rain, the buzz of cicadas in the forest, the rhythmic splash of waves against the sand, seeing the stars and moonlight reflected on the water. Whether it be a flock of birds flying overhead or a cast of crabs acting like cartoon sidekicks, this concentrated reflection on nature never ceases to be calm and comforting.

The Red Turtle coasts on ambient noise and wildlife sounds. Assisting the atmosphere is the sumptuous score of composer Laurent Perez Del Mar. By itself, the music is lushly atmospheric, but when paired with the gorgeous spectacle it occasionally veers to excess as it overly emphasizes the emotional cues.  When a tsunami hits, the music swells.  The visual splendor is enough. There’s no need to gild the lily.  Nevertheless, the exhibition is certainly a delight for aesthetes who prefer mood to plot and a languid pace over action.  While The Red Turtle feels like a short expanded to feature length, it’s undeniably pleasant and serene. Its simple joys are pure.

02-16-17

The LEGO Batman Movie

Posted in Action, Adventure, Animation, Comedy, Superhero with tags on February 12, 2017 by Mark Hobin

 photo lego_batman_movie_ver4_zpsc1rro5mm.jpg photo starrating-3andahalfstars.jpgBack in 2014, Batman was introduced as a supporting role in The Lego Movie, an animated tale from Warner Bros. Now the Dark Knight has returned. Both his gravelly voice and out-sized ego are in full force in this humorous take that is his most (deliberately) funny manifestation yet. I still contend Joel Schumacher’s 1997 Batman & Robin is unintentionally funnier.  Director Chris McKay (Cartoon Network’s Robot Chicken), who worked as an editor on The Lego Movie, is making his feature film debut here and he maintains the buoyant quality of the first picture.

The Lego Batman Movie is a rollicking good time. The light and breezy humor pokes fun at its own creation. The pop culture amalgamation is steeped in self-aware satire. It relies heavily on Batman history and every incarnation he’s ever had. Not only sampling from Tim Burton’s and Christopher Nolan’s work but from comic books, the campy 60s TV show, and animated adaptations as well. Unless you’re a superhero savant, it should be impossible to correctly place all the references. I laughed at a part where they recite a ridiculously long list of villains.  The Riddler, Catwoman and the Penguin I knew, but Polka-Dot Man, Crazy Quilt, and the Condiment King? I chuckled at the seemingly made up names. I had no idea that they were all real characters. The joke is amusing either way.

If you thought the triumph of The Lego Movie was a fluke, prepare to be surprised once more. The Lego Batman Movie is another delight. It’s smart and witty in a way that everyone, even this comic book illiterate, can enjoy. Batman fights crime by night but by day he lives an ordinary existence. He retires to his living room to watch a live action projection of Jerry Maguire on a big screen while he eats his microwaved Lobster Thermidor. His computer assistant informs him he has an expired Bed Bath & Beyond coupon, “but I hear some stores will honor them after the expiration date,” she offers. That’s so random it’s genius. Listen closely for a mention of cheesy 80s martial arts flick Gymkata.

But The Lego Batman Movie is first and foremost about the Caped Crusader. He’s once again articulated by Will Arnett. His absurd rendition stands in stark contrast to the dark and brooding iterations of the cinematic adaptations since 1989. Nevertheless, his goofy performance ranks up there with the very best. It’s a clever choice that his Arrested Development co-star Michael Cera voices Robin. The cast is spirited.  Rosario Dawson is the new police commissioner, Barbara Gordon. Ralph Fiennes is Bruce Wayne’s loyal butler. Zach Galifianakis is the Joker. Even Mariah Carey plays a character. The whole production is agreeable fun. If there’s a quibble, it’s that the story is merely a perfunctory excuse to make wisecracks.  Even as the narrative sags in the 2nd half, the action continues to zoom forward in an increasingly eccentric fashion.  It plays for 15 minutes too long. Still, there are enough left-field references and rapid-fire gags to entertain. In fact, it’s tough to catch them all the first time around. I just might be willing to see it a second time.

Sing

Posted in Animation, Comedy, Drama, Family, Music, Musical with tags on December 26, 2016 by Mark Hobin

 photo sing_zpskxzncfte.jpg photo starrating-3andahalfstars.jpgBuster Moon (Matthew McConaughey) is a plucky koala who owns a music theater. Lately, his productions have bombed and now he is in financial trouble. He loves the concert hall for it has a rich history. In an effort to save his failing business he decides to hold a singing contest, not unlike American Idol. He starts by holding auditions and we’re introduced to an interesting assortment of animal critters. Sing is the latest offering from Illumination Entertainment, the animation company owned by Universal Studios. They scored big this Summer with The Secret Life of Pets and it looks as though they’ve got another major hit on their hands.

Sing gets a lot right, starting with juggling a colorful cast with ease. The screenplay wisely takes the time to thoughtfully delve into the backstories of various individuals. We become emotionally invested in these critters. Five leads emerge: Rosita (Reese Witherspoon) is a pig who is a devoted wife and loving mother. She longs to return to the entertainment spotlight of her teenage years. Mike the mouse croons like Frank Sinatra and has got the confidence to match. Ash is a porcupine who comprises one-half of a punk rock duo with her arrogant boyfriend Lance. She can belt it out, but hasn’t been given the chance. Meena is a shy teen elephant with an incredible voice. Unfortunately her crippling stage fright holds her back. Lastly, there’s Johnny (Taron Egerton), a British mountain gorilla. He longs to perform, but his father wants him to take part in the family’s criminal escapades. These characters occasionally touch on ambitions that can be a bit clichéd. They may follow conventional tropes but they manage to engage. These are reasonably well-developed personalities with some unexpected depth. The narrative could have easily worked as a live action movie with human actors.

“Sing, sing a song / Sing out loud / Sing out strong…” sang Karen Carpenter in a 1973 hit song penned by Joe Raposo. Oddly enough, that similarly titled ditty is NOT included in Sing. This jukebox musical contains over 85 tunes ranging from 1940s standards by Frank Sinatra to current pop singles. These are heard throughout both in the background of scenes or sung in competition by the contestants. The compositions work and many actually feel as though they were written for the drama. Katy Perry’s “Firework” as sung by Rosita (Witherspoon), and Elton John’s “I’m Still Standing” sung by Johnny (Egerton) as his climatic number at the end, are galvanizing pop hits that pluck your heartstrings. Johnny’s incarcerated father discovers his son’s vocal talent from the TV in his jail cell. I can’t explain why I got choked up, but I did gosh-darn it! There’s a lot here that feels familiar. I mean did we really need yet another version of Leonard Cohen’s “Hallelujah”? Please retire that ballad immediately. Nevertheless, I freely admit that it’s beautifully sung here by Tori Kelly. 2016 has been a stellar year for animated films. The bar has been raised incredibly high. Sing doesn’t reach the heights of the year’s very best (Zootopia), but I still left the cinema with a smile.

12-22-16

Moana

Posted in Adventure, Animation, Comedy with tags on November 24, 2016 by Mark Hobin

 photo moana_ver4_zpshihqyz6h.jpg photo starrating-4stars.jpgIf there’s an archetype that Disney is most known for, it’s the princess. Snow White, Cinderella Sleeping Beauty – these are the classics. In recent years we’ve added ones from Tangled and Frozen. The studio’s latest offering is Moana (voiced by Hawaiian teen Auli’i Cravalho). Ok so she’s actually the daughter of her tribe’s Chief Tui Waialiki (Temuera Morrison), not royalty as she herself points out for us, but she fits the princess mythology. The paradigm has always been loosely defined, but if the movie is a success, then she’s adopted into the tradition. If there’s any justice, this movie deserves to be a huge hit.

Moana is all about a quest. She hails from the fictional island of Motunui. Although that is indeed the name for a settlement in New Zealand, the location is set on an unspecified archipelago. This could be also Samoa, Tonga, Hawaii or any peninsula in the South Pacific. Moana is intrigued by the sea. However, her love for the oceans is sternly repressed by her father. The world is a dangerous and scary place he tells her. Those feelings are rooted in his own personal trauma. Yet we’ll discover, Moana’s longing has a basis in her cultural destiny. Her island is slowing declining. Crops are dying, coconuts are rotting, and fish are becoming scarce. According to legend, there’s a reason for this. Many years earlier, demigod Maui (Dwayne Johnson), stole the heart of the goddess Te Fiti. This was a glowing green, jade-like stone. The absence of Te Fiti’s heart will continue to bring hardship. So, inspired by her Grandma Tala (Rachel House) Moana sets out on a journey to find the ancient gem and restore her world to its original magnificence.

The leading ladies of Disney have undergone a personality overhaul over the past three decades beginning with Belle in Beauty and the Beast. The classic princesses have been criticized for being too simplistically innocent. On the other hand, the modern ones can be a bit self-centered in their rebellion against a repressive society. I know it’s technically Pixar (owned by Disney) but Merida from Brave actually turned her mother into a bear. She was downright mean. Yes, Moana rebels in predictable fashion too, but she feels a little different. For the first time in quite a while, she exudes more humility than I have seen from Disney’s recent heroines. Simply put, she is a nicer person. Additionally, she has no love interest. It’s lamentable that we’re at a point where even a minor deviation from the rigid princess blueprint is considered revolutionary but here we are. Moana is refreshingly different.

You’ve got a spunky, can-do explorer at the center of a bright shiny musical with a positive message. Moana may be set between 2000 and 3000 years ago, but she’s still a contemporary heroine tailor made for a 2016 audience. Whether it’s Jasmine, Pocahontas, Esméralda, Mulan or Tiana, Disney has included more ethnically diverse protagonists for quite some time now. This time the formula is gently tweaked to include a Polynesian setting and people. Moana isn’t tall and stick thin but she’s still attractive. Certainly an athletic type. Disney has yet to really get subversive and create a leading lady that doesn’t look like she could model. Legendary demigod Maui has a wildly expressive face and a giant physical presence when compared to Moana. The juxtaposition of her tiny physique with his massive frame is amusing. The art direction draws heavily from Samoan culture incorporating the architecture, statues, even body art. The adult characters sport tattoos. Maui even interacts with a figure on himself that pantomimes advice like his sidekick.

Moana finds Disney working very much within their wheelhouse. The production is immeasurably enhanced by songs written by Opetaia Foa’i of the New Zealand group Te Vaka, Lin-Manuel Miranda of Broadway’s Hamilton fame, and American composer Mark Mancina (Disney’s Tarzan), who also composes the musical score. Moana‘s “How Far I’ll Go” is the obvious bid for a hit single in the vein of “Let It Go” from Frozen. However, there are many others that stand out. The Rock sings “You’re Welcome” and it’s instantly catchy.  The tribal chant “We Know the Way”, partially sung in Tokelauan, is great too. Oh and “Shiny” sung by a villainous coconut crab named Tamatoa (Jermaine Clement) is completely unexpected – like early 70s era David Bowie. The music is great. I think the sheer number of memorable songs is higher than any of their animated features since perhaps the 90s.

Young girl wants to realize her destiny by breaking free from the strict confines of her society. We’ve seen the hero’s journey story before. It gently recycles elements of The Little Mermaid, Mulan and half a dozen other of their own creations. Even the way the chronicle presents fluctuating happy and sad events won’t surprise anyone over the age of 5. Moana and Maui’s rocky relationship are highlighted by ups and downs that I would warmly describe as haphazardly predicable . Yet the production is carried out in such a proficient manner that the appropriation is still incredibly entertaining. The soundtrack is filled with one transcendent song after another. The animation is vibrant and appealing. The evocation of paradise is stunningly beautiful. Even the water is a translucent character that protects our young hero. Her pets, a pig (Puanani Cravalho) and a rooster (Alan Tudyk), each provide wonderful comic relief. Moana happily employs an ‘everything but the kitchen sink’ mentality that includes the sum total of what makes a Disney film entertaining.  You want colorful animation, music, sidekicks, a comic villain, humor, a moral?  Well how about an army cuddly cute coconut warriors?  You get all that and more and it’s skillfully presented in an artistically appealing way.

11-22-16