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Not Okay (2022)

One film that has gained a lot of attention on social media is Not Okay. The film follows Danni Sanders (Zoey Deutch), an aspiring writer currently working as a photo editor for an online magazine. Despite her extreme privilege, Danni is unsatisfied with life and pretends that she has been accepted on a writing retreat in Paris. Using her photo editing skills, Danni posts pictures on social media but this comes back to haunt her as she finds herself in a web of lies when a terrorist attack happens at the Arc de Triomphe where she had posted as her location at the time of the attack. Pretending that she is a survivor of the attack, Danni finds the fame and recognition she wanted whilst also befriending people from a local trauma support group such as Rowan (Mia Isaac). However, the more famous she becomes, the more twisted the lies become.

Written and directed by Quinn Shephard, Not Okay is hilariously self-aware from the opening shot. The film begins with a warning card that includes “unlikeable female protagonist”, apparently a clapback at some negative feedback from initial screenings. It’s clear from watching the film that Danni is not meant to be a “likeable” character as she radiates entitlement. However, what Shephard’s script does is peel away at Danni’s character until we see her eventual breakthrough. As Danni’s friendship with Rowan grows, the former starts to realise the gravity of the situation she’s in and begins to act more human despite the lies. This being said, Shephard isn’t interested in justifying or understanding Danni’s behaviour with the film being an exploration of privelege and identity. Danni is so eager to gain recognition on social media and is clearly willing to do whatever it takes to achieve this instead of coming clean in the first place.

Zoey Deutch stars as protagonist Danni Sanders, a young woman who comes from a privileged background and feels that deserves more. From her opening scenes in which she patronises her LGBTQIA+ coworkers and ignores her photo editing colleague, it is clear that Danni is an inherently selfish and self-absorbed person. Like a lot of people, she lives her life on social media and craves a wider recognition. When she pretends to visit Paris on a writing retreat, she begins to grow in popularity but she cements her influencer status when she lies about surviving a terrorist attack and speaks of her “experience”. Deutch’s performance perfectly mixes the entitlement and the character’s sincere struggle for recognition. There is a level of self-awareness in Deutch’s performance that works brilliantly as the dark humour takes the weight from some of the heavier subjects discussed in the film.

Mia Isaac is one of this year’s breakthroughs as Rowan Aldren. Rowan is a brave and resilient young woman who is part of a trauma support group after she witnessed a school shooting. Using her story, Rowan has since become an activist fighting against gun use and has a strong social media following thanks to her passionate speeches and spoken word. Isaac’s performance is nothing short of fantastic, channelling Rowan’s trauma which makes the eventual realisation of Danni’s lies absolutely devastating. The scenes in which Rowan performs her spoken word poetry are captivating and you can feel Isaac emphasising each and every word as though her life depends on it.

In a small but hilarious role is Dylan O’Brien as influencer, Colin. Colin dismisses Danni, despite her clear efforts to get him to notice her, but soon becomes interested once she garners fame. O’Brien’s performance feels similar to James Franco’s turn as Alien in Harmony Korine’s Spring Breakers in that both characters are clearly taking on a stoner bravado. O’Brien is not in the film a lot and Colin doesn’t contribute a lot to the film’s overall plot, except to showcase how shallow influencer-culture can be. However, O’Brien is clearly having a lot of fun in the role and shows him in a more comical role that he hasn’t shown before.

One of the highlights in the film is the music by Pierre-Philippe Côté. The original tracks are short and sweet with a cappella sounds that are snappy. Côté’s score being so short and quick reflects social media’s tendency to focus on one topic or subject intensely for a brief amount of time before swiftly moving onto another without looking back. The music itself sounds cheery and upbeat for the most part, contrasting greatly with the darker subject matter.

Not Okay is a pleasantly surprising film. It is completely aware of its “unlikeable female protagonist” and doesn’t try to understand or justify her actions. Deutch and Isaac’s performances are excellent with the latter providing a brilliant breakthrough with such range and talent. Not Okay may not be a perfect film, but it manages to grapple with surface topics such as identity and social relevancy whilst also delving into more political territory such as gun control.

What did you think of Not Okay? Let me know in the comments below!

Not Okay is available to watch on Disney+ now!

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Chip ‘n Dale: Rescue Rangers (2022)

Chip ‘n Dale: Rescue Rangers is a film that seems to play on Disney’s desire to bring beloved characters from their history into the modern day. Filled with plenty of nostalgia and meta-jokes, Chip ‘n Dale: Rescue Rangers follows the titular chipmunks as they are reunited after years away from stardom and fame with Chip working in insurance and Dale working the convention circuit in a desire to reboot his career. Filled to brim with familiar characters from Disney and beyond, Chip ‘n Dale: Rescue Rangers is one of the biggest surprises of the year, bringing plenty of laughs and an all-star cast that makes this a must-watch.

The film is directed by Akiva Schaffer with a script written by Dan Gregor and Doug Mand. Schaffer is known for his directing work with the Lonely Island, meaning that he is able to capture Mulaney and Samberg’s humour perfectly. The screenplay is filled with self-conscious jokes and humour that is expected of the Lonely Island, albeit toned down for the younger audience. That being said, there are moments when the film ventures into more mature and darker themes which can feel a little disjointed at times. For the majority of the film, there is a lightheartedness and self-awareness as the chipmunks are forced to live “normal lives” with Chip working in insurance and Dale attending conventions in the hope that he can reignite his career once more. Seeing the difference in animation style between the chipmunks is a funny inclusion as Dale undergoes “surgery” to make him appear CGI in a bid to be more exciting and modern, while Chip maintains his traditional animation style. There are plenty of jokes through the film and enough nostalgia to please audiences of all ages, making this a fun adventure for the family to enjoy.

Leading the cast are John Mulaney and Andy Samberg voicing Chip and Dale, respectively. The latter has worked with Schaffer as a member of the Lonely Island for many years, so it makes sense that Samberg would be picked as his and Schaffer’s humour is similar. This works well for the film as it feels as though Samberg is given more in terms of material and characterisation than Mulaney, although Mulaney makes the best of what he has. It’s undoubtable that Mulaney and Samberg have a great chemistry which it what drives the film and makes it so enjoyable to watch. The scene in which the two rap as a distraction to break into Sweet Pete’s sauna locker is hysterical and showcases the unique brand of humour that the Lonely Island promotes.

One of the major talking points of the film is the character, Sweet Pete. A variation on Disney’s iconic rendition of Peter Pan, Sweet Pete is a middle-aged version who has put on weight and has drinking problems after he is fired from Disney for getting “too old”. Pete now runs an underground bootlegging operation in which he forces former stars to feature in his bootleg films. While this may seem like a comical turn of events for such an iconic character, the appropriateness of Peter’s fate seems to echo that of the original Peter Pan voice actor, Bobby Driscoll, whose life was plagued by drinking and drug problems after Disney let him go when he grew up. Although this plot line seemed to look at the harshness of Disney’s contracts and the way they treated their talent, the way in which this particular character echoes the original voice actor’s fate seems a bit inappropriate, and it’s hard to believe that they weren’t aware of the history since this behavior is exactly what they are alluding to. Luckily, Sweet Pete isn’t in the film as much as anticipated, but it does bring the film into a darker territory that can feel uncomfortable at times and not reflect the same lightheartedness and quality that is present throughout the rest of the film.

Chip ‘n Dale: Rescue Rangers is a film that combines plenty of live action with various styles of animation. It’s tone and genre seems to be in the style of Who Framed Roger Rabbit? and this is evident thanks to the array of homages that Chip ‘n Dale incorporates such as a cameo by Roger Rabbit as well as a moment when Sweet Pete is looking through his torture tools and has a bottle of Dip, which was a substance used in Who Framed Roger Rabbit? to kill the toons. Nowadays, it’s common to see films that combine live action and animation so while Who Framed Roger Rabbit? was innovative and new for its time, Chip ‘n Dale: Rescue Rangers brings in new styles of animation such as CGI which wasn’t available when Roger Rabbit was released. That being said, the various styles of animation can be overwhelming and chaotic at times, especially when there are numerous characters on screen.

While there are elements of the film that venture in darker territory that can feel uncomfortable such as the allusions to drug and alcohol abuse throughout. However, the other content in the film is enjoyable to watch, making it surprisingly entertaining, while the various animation styles used seems to reflect the success of Who Framed Roger Rabbit? 30 years before. Although Chip ‘n Dale: Rescue Rangers may not have the longevity that Who Framed Roger Rabbit? has, it’s still an enjoyable watch from beginning to end, thanks to the lovable performances provided by Andy Samberg and John Mulaney in the titular roles.

What did you think of Chip ‘n Dale: Rescue Rangers? Let me know in the comments below!

Chip ‘n Dale: Rescue Rangers is available to watch on Disney+ now!

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The French Dispatch (2021)

2021 saw a slew of star-studded films and one of these was Wes Anderson’s newest feature, The French Dispatch. The film follows the team at the titular magazine and the fictional French town of Ennui-sur-Blasé where the team is located. The cast is led by Bill Murray who plays the magazine’s editor, Arthur Howitzer Jr, based on The New Yorker’s founder Harold Ross with a starry cast including regular Anderson collaborators such as Owen Wilson, Jason Schwartzman, Tilda Swinton, Adrien Brody, Frances McDormand, and Anjelica Huston, among many others. Unlike his other films, The French Dispatch is an anthology film and consists of a tour around Ennui-sur-Blasé followed by three stories from the magazine’s final issue and an obituary for Howitzer, who has passed away.

The film is written and directed by Wes Anderson and features all the weirdness and wackiness that you would expect from one of his films. The town of Ennui-sur-Blasé sits perfectly in Anderson’s cinematic universe, while Anderson plays with the structure of the film itself, structuring it like a visual magazine with a content’s page that gives an overall summary, some stories, and a final conclusion in its obituary. The French Dispatch may not have as strong a story like The Grand Budapest Hotel or as many memorable characters such as those in The Royal Tenenbaums, and this seems to have divided hardcore Anderson fans, but to see Anderson experiment with film structure and the way in which the magazine influences the actual film and vice versa makes it intriguing to watch.

The first segment of the film is called “The Concrete Masterpiece” and stars Benicio del Toro as incarcerated artist Moses Rosenthaler who delves into abstract art inspired by his muse, Simone (Léa Seydoux). When fellow prisoner and art dealer, Julien Cadazio (Adrien Brody) spots one of Rosenthaler’s works in the prison, he makes it his mission to ensure that the latter is the most famous artist in the world even though he remains in prison. This segment features the strongest characterisation as there are fewer leading characters meaning that there is more room for them to be explored. Seydoux is spectacular as Simone. When we first see her, she is completely naked as she poses for Rosenthaler, but the way in which she is portrayed is full of empowerment as her role as prison guard means that she has ultimate control over the situation. Leading this segment is del Toro, who has never worked with Anderson before but proves to be a natural fit within his vision, while Brody can always be relied upon to bring a strong performance.

The second chapter is titled “Revisions to a Manifesto”, which follows reporter Lucinda Krementz (Frances McDormand) as she records a student revolution in which the male students, led by Zeffirelli (Timothée Chalamet) demand access to the female dormitory. This segment is probably the weakest of the three in that the other two have stories that are more compelling. This isn’t to say that it is a bad portion, but when compared to the other two, it’s clear that it doesn’t have the same level of magic. McDormand is perfect as always as the cynical Krementz, who is dead set in her ways and refuses to conform despite efforts from those around her, while Chalamet is absolutely charming as the young Zeffirelli.

The third segment, “The Private Dining Room of the Police Commissioner”, is the best of the three sections and features the most captivating performance in the entire film thanks to Jeffrey Wright’s incredible performance as reporter Roebuck Wright, who is inspired by James Baldwin and A. J. Liebling. Roebuck is a character whose reporting incorporates food and this specific story recalls his private meal with the Commissaire (Mathieu Amalric) where the food is prepared by renowned chef/police officer, Nescaffier (Stephen Park). There are a lot of moving parts in this segment, so the other characters aren’t as well-developed, but Roebuck’s character and his own experiences as a homosexual in a foreign country are particularly poignant and provides a nuance to the film that grounds the wackiness going on.

The music is provided by none other than Oscar-winning composer, Alexandre Desplat, who won his first Oscar for his amazing work on Anderson’s The Grand Budapest Hotel. Desplat was originally slated to work on Guillermo del Toro’s latest film Nightmare Alley but chose to work on The French Dispatch in his fifth collaboration with Anderson and the score is incredible. The score is filled with classical French inspiration while the tracks alter in terms of tone and style to suit the stories that are being told. The track that plays while the shoot-out is taking place in the third segment is a particular highlight. On one hand, the score for The French Dispatch demonstrates Desplat’s affinity for capturing the world, and Anderson’s vision perfectly, but it is a shame that we didn’t get to hear his score for Nightmare Alley as it would have been incredible to see Desplat work with del Toro again and work with the noir and carnival aspects of the film.

The French Dispatch may not have the same level of magic as other Anderson features, but the way that he plays with the film’s structure allows it to stand out against other entries in his filmography. Relying on a slew of familiar faces that he has previously worked with, it’s great to see that the best performances came from those whom he hasn’t worked with before such as Jeffrey Wright and Benecio del Toro, who lead their segments with ease. Anderson proves yet again why he is one of the most creative minds that Hollywood has to offer thanks to his ability to create whimsy and mix it with deadpan comedy and points of drama, making a film that is filled with excellent balance.

What did you think of The French Dispatch. Let me know in the comments below!

The French Dispatch is now available to watch on Disney+!

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Belle (2021)

Anime is always an exciting medium as it boasts some of the most progressive filmmaking. While most people are familiar with the works of Studio Ghibli, there is another huge animation studio that has become hugely popular in Japan and has a large following worldwide. Studio Chizu was founded by director Mamoru Hosoda and producer Yuichiro Saito in 2011 and has released four films to date. The newest of these films is Belle, which had its premiere at the 2021 Cannes Film Festival, where it received a 14-minute standing ovation. The film is an adaptation of Jeanne-Marie Leprince de Beaumont’s fairytale Beauty and the Beast, but where there have been many traditional adaptations over the years (with the most famous rendition being Disney’s Oscar-winning 1991 animation), Belle completely reinvents the story for the modern-day by incorporating social media while still sticking to the moral and basic storyline of the tale.

The film follows Suzu, an introverted 17-year-old schoolgirl who loves music and singing but hasn’t sung since her mother died, who sets up an account on social media app U which allows users to create an avatar and experience a whole new world. Suzu’s avatar is called Belle and quickly gains popularity by singing songs that she has written. When Belle is due to perform at her biggest concert to date, the performance is crashed by the “Dragon”, a mysterious figure who is plagued with anger and fury, and the two eventually bond.

Like all of Studio Chizu’s outputs, Belle is written and directed by Mamoru Hosoda, who strips the original fairytale down to its core and propels it into the 21st century, while providing little nods to the 1991 Disney adaptation. What makes Hosoda such a brilliant visionary is his ability to delve deep into the characters’ internal conflicts and his fearless approach means that we are able to see all sides of his protagonists while injecting plenty of humour and lightness into the film to provide a perfect balance. With Belle, Hosoda provides plenty of background and characterisation for Suzu, so we get a perfect idea of who she is and why she acts the way she does. We see that Suzu has a deep internal conflict as she struggles to form her own identity which is contrasted with the confidence that she exudes as Belle in the world of U. Adding onto this, Hosoda is not afraid to shy away from mature themes and adds in discussions on grief, loss, and child abuse, proving that animation can discuss real-life topics in the same way that live-action films do.

The style of the film is captivating from the opening scene as we are immediately thrust into the world of U and get to see Belle performing a song while riding a whale. The great thing about the U universe is the limitlessness and imagination that takes hold as we see hundreds (if not thousands) of uniquely designed characters against a computer-animated backdrop that is vast and endless. The production design is carried out by Tomm Moore, Ross Stewart, Alice Dieudonné, Almu Redondo and Maria Pareja, who are best known for their work for Cartoon Saloon, and it proves to be a perfect combination as they help bring Hosoda’s vision to life.

Leading the cast is Kaho Nakamura, who voices Suzu and Belle, providing the speaking and singing performances. Nakamura perfectly captures Suzu’s frantic and nervous energy as we sense her internal conflict and desire to forge her identity, while also providing the confidence and sense of self that Belle has. Although Belle is technically Suzu, it is technically a role of two parts as Belle is a part of Suzu that Suzu feels unable to convey to the real world, meaning that this is not an easy task to achieve. However, Nakamura portrays every aspect of both characters beautifully, while also having the singing voice to match. The contrast between the opening scene in which we hear Belle sing confidently and fantastically and the following scene in which Suzu frantically gets ready for school shows a huge conflict in her personality and identity.

Now that we’ve discussed the Beauty, it’s important to discuss the Beast, which in this case is Dragon. Providing the voice of Dragon is Takeru Satoh whose performance is filled with the darkness and turmoil that the character feels. The character is introduced with a bang halfway through when Belle has risen to fame and is performing at a huge concert as he is pursued by a group of vigilantes who swear to bring justice and order to the U universe. Dragon’s first scene is highly intense and violent, marking a huge contrast to the events of the film up to this point, and perfectly marks the differences between the two main characters. Dragon doesn’t say a lot, but when he does, Satoh perfectly conveys the struggle that the character has and the physical and mental anguish that he is feeling.

Going against the norm, Belle incorporates musical elements, which is almost unheard of in Japanese cinema, especially within anime. Hosoda originally wanted Belle to be a musical but restricted the number of songs; however, the songs that managed to make the final cut are exceptional and fit beautifully into the story and the world of the film. The film’s opening number “U” is our introduction to the character of Belle, who we see before we are introduced to Suzu, and immediately immerses the audience into the world of U and the various characters that inhabit the social media world. The film’s climactic moments lie in the performance of “A Million Miles Away”, which is a slow ballad that Suzu sings when she is searching for Kei and Tomo. The song builds and builds, showing the power and community that has brought millions of social media users over. Comparing the emotional tone of “A Million Miles Away” with the upbeat and celebratory tone “U” displays the complexities in Suzu’s character, and her ability to connect with people through the power of music.

Belle is an animation that will steal your heart and stay with you long after it has finished. Fearless in its theme and progressive in style, Belle marks another triumph for Hosoda and Studio Chizu, and it is such a shame that it hasn’t had a look-in at the major award boards. Between Suzu’s impeccable characterisation and the wonderful songs, Belle is a film that has a lot to say and propels anime into a new age thanks to its combination of hand-drawn and computer animation.

What did you think of Belle? Let me know in the comments below!

Belle is available to watch in cinemas now!

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Encanto (2021)

Disney has been on a roll this year and Encanto marks their third animated release (including Pixar) following Raya and the Last Dragon and Luca. Following the traditional format of the animated musical, Encanto is set in a small village in Colombia and follows the magical Madrigal family where each member has a unique gift that helps the community to flourish thanks to an enchanted candle that was gifted to the matriarch except for protagonist Mirabel who was not granted any powers and is often underestimated or seen as a nuisance and burden, especially by the matriarch, her Abuela Alma. What follows is Mirabel trying to solve the mystery of her family’s powers and why she wasn’t granted a power in the hopes that she can eventually unlock her gift. The result is a film that boasts exceptional animation filled with eye-catching colours and a world full of imagination and magic that would make audiences of all ages captivated by the wonder and beautiful storytelling.

As with most Disney animations, Encanto is a collaboration when it comes to the direction and writing as it is directed by Jared Bush and Byron Howard and written by Bush and Charise Castro Smith. What Encanto does so well is subvert stereotypes and challenge expectations and perceptions. Mirabel’s sisters are a great example of this as the strong and muscular Luisa is able to show her sensitive side while Isabela is known for her beauty and perfection but she wants to feel free and unrestricted. Mirabel’s position as an outsider works well as we are able to observe these characters at a distance and witness their growth while simultaneously seeing Mirabel develop and forge her own identity. One of the major themes in the film is finding a place to belong from Abuela Alma’s struggles as she is forced to flee her home and building a community from the ground up to Mirabel’s desire to find out where she truly belongs. The brilliance of the events in Encanto is that we don’t leave the area unlike other films such as Moana where the titular character has to venture overseas to solve the mystery, Mirabel has everything she needs within the home and her family but simply has to put these pieces together. This doesn’t make the film suffer and allows for great pacing that means we see the supporting characters more than other Disney films.

The protagonist of the film is Mirabel who is voiced by Stephanie Beatriz who is known for playing Rosa Diaz on TV show Brooklyn Nine-Nine. Diaz’s performance is fantastic and following her turn as Carla in this year’s In the Heights (with music also provided by Lin-Manuel Miranda), she is able to add her singing talents to Encanto as well as her quirky humour while also delving into the dramatic elements of the plot. Mirabel’s struggles from having no power and the way that her family view her as a hindrance. What makes Mirabel such an effective protagonist is the realism in terms of her mannerisms and attitude. She isn’t portrayed as someone who is perfect and right all the time but a flawed young woman who makes mistakes and has a good heart. Her good intentions don’t always generate good results but this doesn’t mean that she is unlikeable and makes her more relatable than a lot of animated Disney protagonists.

The songs in the film are provided by Lin-Manuel Miranda who has developed a close relationship with Disney in recent years. As expected, the songs perfectly capture the setting and emotions of the characters while incorporating signature Miranda elements such as mixing genres and singing styles to create a soundtrack that is distinguishable and unique. There are many brilliant songs on the album from the opening introduction “The Family Madrigal” to the slow and dramatic “We Don’t Talk About Bruno” and songs that are completely sung in Spanish with no subtitles which heightens the authenticity of the Colombian setting. Miranda’s soundtrack for Moana was undoubtedly a hit but with Encanto, he has proven his ability to write for film that differs in context and setting with ease without sacrificing his own artistic license.

In a year that has seen Disney release several animated films, Encanto comes out top as the most original, vibrant and creative of the three thanks to the memorable characters, stunning animation and incredible soundtrack. Not only does it capture the Colombian setting and culture fantastically, it does so in a way that is captivating thanks to the writing and development of Mirabel as a great protagonist.

What did you think of Encanto? Let me know in the comments below!

Encanto is out in cinemas now!

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Luca (2021)

Pixar’s latest film, Luca, takes us all the way to the Italy and follows the life of the titular character, a sea monster, who longs to have adventures on the surface after being introduced to the land by his new friend, Alberto, who is also a sea monster. The two escape to the nearby town of Portorosso in a bid to purchase a Vespa so they can go on many adventures. There have been comparisons made with other films such as Call Me By Your Name and Disney’s own The Little Mermaid but Luca is a distinctly unique film of its own and blends wonderful animation style with an unexpected storyline. Directed by Enrico Casarosa and based on a script by Mike Jones and Jesse Andrews, Luca will leave you breathless thanks to the beautiful animation, engaging characters and heart warming message.

Casarosa’s direction is wonderful and Luca marks his feature directorial debut for Pixar following his beautiful Oscar nominated short, La Luna. What made La Luna such a standout short among the Pixar shorts is how vivid it is in its use of colours as well as how emotional the storytelling is. Casarosa certainly knows how to convey the emotion of storytelling through the differing landscapes. The script also does well in serving this desire for freedom as we are thrust into Luca’s world with very little set up so we become introduced to everything as Luca is. Taking inspiration from the films of Studio Ghibli in terms of the rich scenery, coming of age journeys as well as naming the town Portorosso after Ghibli’s beloved film Porco Rosso which also takes place in Italy. Jones and Andrew have written a film that dives deeper than what’s on the surface.

Leading the cast as the titular character is Jacob Tremblay, who has had a brilliant career for someone so young. Having his breakthrough aged 9 in the Oscar winning Room, Tremblay has quickly established himself as an actor capable of bringing a variety of strong performances that many adults could only hope to achieve. This makes him perfectly cast as the titular character, Luca, who wants to explore the world against his parents’ wishes. There are a lot of similarities between Luca’s character and Miguel from Coco in that they are both young boys who want to venture away from what is expected from them and express themselves. Where Miguel wishes to create music, Luca wants to travel and learn about the world. At the start of the film, we see how Luca’s life is micromanaged and despite living in the ocean, is confined to a particular amount of space and is not allowed to venture outside of it before his eyes are opened by Alberto who shows him that there is an entire world out there. Tremblay embodies Luca’s adventurous side and enthusiasm for learning really well and makes the film even more enjoyable to watch.

The rest of the cast is full of newer faces as well as established names which provides a freshness and balance which is needed. Sometimes, animated films can be filled to the brim with starry names but this can take away from the magic of the film. Jack Dylan Grazer does a fantastic job as Alberto, the confident know-it-all who introduces Luca to the surface. As he grows closer to Luca, we begin to see Alberto’s deeper layers and his vulnerability begins to show. Grazer portrays this perfectly and, like Tremblay, has demonstrated his ability to act in a wide range of roles. Newcomer Emma Berman brings a wonderfully energetic performance as outgoing Giulia, who is determined to win the local triathlon while acting staples Maya Rudolph and Sacha Baron Cohen are absolutely wonderful in their small roles as Luca’s mother and uncle respectfully.

With the film being set in Italy and showing this big adventure and friendship between Luca, Alberto and eventually Giulia, the music had to be spectacular to match the film’s brilliance. When it comes to superb film composers, there are few that have achieved the emotion and spectacle in their music as Dan Romer. Romer’s score for the phenomenal Beasts of the Southern Wild is one of the best scores this century thanks to his strong control using brass and strings specifically to convey the fine line between emotions. It is no different with Luca. Bringing in signature brass statements when the boys escape to Portorosso and mixing it with softer pieces, Romer adds another successful installment in a filmography that is bursting with so much talent.

Luca does have an abrupt start but once it finds it flow, the film begins to unfold and develop beautifully. Combining lovable characters, a great script and fantastic direction that has become a staple of Pixar creations, Luca brings an important message of accepting one another’s differences and pursuing your passions in a world that is full of sunshine and colour. A brilliant summer blockbuster, it definitely would have been great to see this on the big screen and hopefully Pixar will be coming back to cinemas with their next release.

What did you think of Luca? Let me know in the comments below!

Luca is available to watch on Disney+ now!

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Raya and the Last Dragon (2021)

Raya and her nemesis, Namaari, face off amid the snowy mountains of Spine. Featuring Kelly Marie Tran as the voice of Raya and Gemma Chan as the voice of Namaari, Walt Disney Animation Studios’ “Raya and the Last Dragon” will be in theaters and on Disney+ with Premier Access on March 5, 2021. © 2021 Disney. All Rights Reserved.

Disney’s latest animation, Raya and the Last Dragon continues the inclusion of strong female characters being incorporated into the Disney universe. Taking inspiration from an array of Southeast Asian cultures, the film takes place in Kumandra, a nation that is divided into five tribes following a power struggle between them that ended when Sisu, the last dragon, concentrated her power forming a magical gem that brings peace. Raya, the Princess of Heart, is tasked with recruiting all the pieces of the gem after it is broken. Travelling to the other four lands: Tail, Talon, Spine and Fang, Raya and Sisu work together to restore peace and bring Kumandra to its former glory.

Beautifully animated with fantastic characters that we have come to expect from the current Revival Era, Raya and the Last Dragon feels more mature than previous releases as it isn’t afraid to showcase the violence of conflict and the grief of loss. The film is directed by Don Hall and Carlos López Estrada with a screenplay written by Qui Nguyen and Adele Lim and it is clear that a lot of research has gone into developing the backstory and origin to ensure that it is a respectful and accurate depiction while also maintaining an original story that is both captivating and moving. The animation itself is rich in colour and intricately details. From the opening scene, you feel engrossed into the world and the culture from the animation style and the immersion of cultural folklore. Whether travelling through the rough sands of Tail to the wintery scenes in Spine, Raya and the Last Dragon is filled with breathtaking scenery, well developed characters and a story that takes you on a journey through folklore and adventure making it enjoyable for audiences of all ages.

Kelly Marie Tran provides a great leading performance as the voice of Raya. Having proven herself a worthy actress as Rose in Star Wars: The Last Jedi, Tran is perfectly cast as Raya as she provides the confidence and strength required of the character. We really feel Raya’s struggle and fight as she is faced with numerous obstacles that threaten to turn everyone in Kumandra to stone. Raya doesn’t sing about her feelings nor does she have a love interest, the film is solely about her and her mission to restore the gem and bring peace to the land. The scenes where Raya and Fang’s Princess Namaari collide are brilliant thanks to the intense performances from Tran and Gemma Chan, who voices the latter.

Awkafina is one of the most exciting actresses working today and has already shown a wide range through various genres and mediums so it makes sense that Disney tapped her to voice the lovable dragon, Sisu. The design of Sisu is absolutely breathtaking using a wonderful pastel colour palette that is rich in blues which make her stand out visually. Awkwafina’s signature humour and charisma helps Sisu’s personality come forward and elevates the character from a mythical Godlike creature to a more humanised interpretation that feels more relatable. This allows for great moments between Sisu and Raya as the former’s optimism helps drive the latter forward.

The score composed by James Newton Howard takes its inspiration from Southeast Asia and helps to elevate the action. There are some really wonderful pieces such as the solemn melancholic music that plays as Raya’s father is turned to stone and the more upbeat, exciting piece that plays as Raya is chasing a baby around Talon to get the gem back. Howard is one of the most prolific composers in the film industry and can always be relied upon to enhance the viewing experience. Raya and the Last Dragon is no exception. Unlike most Disney films (and Disney Princess films especially), there are no songs in this film so making sure that the music was just as captivating was important so as to keep younger audience’s attentive and driving the story forwards.

Overall, Raya and the Last Dragon deserved a longer cinematic release. A film of such richness and spectacle was a treat to see on the big screen and really allowed the details to stand out. After a year long absence, Disney Animation Studio has come back with a huge hit on their hands that is surely going to find itself on the nomination list of many Best Animated Feature categories when awards season arrives. The world of Raya and the Last Dragon is one that would be wonderful to revisit in the future thanks to the stellar performances from the cast and the writers.

What did you think of Raya and the Last Dragon? Let me know in the comments below!

Raya and the Last Dragon is available to watch on Disney+ now!

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Top 5 Films of 2020

2020 has certainly been a whirlwind of a year for many reasons thanks due to global pandemic. Like many others within the film community, I have found solace in films during the difficult times and the closure of cinemas have resulted in the majority of new releases being released onto streaming services. My website has seen huge growth and I feel more confident in my writing now thanks to all of the support. This year also saw me review my first lot of film festivals with London Film Festival and Raindance Film Festival providing unforgettable experiences.

As a lot of people begin to post their Best of 2020, I thought I would do the same. Rather than do a top 10, I thought I would do a top 5 instead (it’ll become clear why when you see my choices). Bear in mind that I am counting films that were released after this year’s awards season so films like Parasite won’t be included (if I had included them, it would have to be a top 30 and I don’t have the time sorry!). I will be writing a mini review for each but my full reviews that be accessed by clicking the links.

Before I commence my top 5, I want to give an honourable mention goes to Pedro Almodóvar’s spectacular short film, The Human Voice. As my list consists of feature length films, I thought I would mention The Human Voice here. Featuring a stellar Tilda Swinton performance (as if she delivers anything less!), it’s a fantastic glimpse into the deterioration of a woman whose life slowly becomes to fall apart as she comes to terms with the end of her relationship. You can read my fuller review for The Human Voice here.

Without further ado, here are my top 5 films of the year:

5) Soul

Kicking off this list is the first of two animation choices. In a year of strong animation output, Pixar’s Soul was the most discussed, especially since their awards attention was going to be pushed onto this film more than Onward which was released just before lockdown. Just when you thought Pixar couldn’t get bigger with their imagination, they got Pixar legend Pete Docter in to direct yet another masterpiece. A film that delves deep into one man’s life and his purpose, Soul is mesmerising in both its animation and narrative. At times abstract and bizarre, it feels artistic at times thanks to the limitless minds at Pixar which is what makes the studio so exciting. Boasting an A list cast and a score to die for (pun intended), Soul kicks off this list with hugely high standard.

4) Small Axe

So my number 4 choice is a tad controversial as I have given it to Steve McQueen’s revolutionary anthology film series Small Axe rather than a specific film from the collection. Hear me out though! I initially had compiled a top 10 and unsurprisingly, it was overwhelmed with the films from Small Axe and so I wanted to acknowledge McQueen’s phenomenal cinematic achievement in one go. Spanning several decades and showing the discrimination faced by the West Indies community in London, Small Axe explores well known stories such as first installment Mangrove and lesser known issues as seen in the concluding installment Education. Each film as good as the last, McQueen is one of the most exciting directors working today (you can read my article on his films here). He is a fearless filmmaker who isn’t afraid to confront the racial issues head on, whether that is through the realistic brutality endured at the hands of the police sworn to protect or the vile discriminatory language used to belittle the community. Small Axe is an anthology series that has flipped the script on how filmmaking can be perceived as well as making that important statement that the issues explored haven’t completely gone away.

3) Da 5 Bloods

It couldn’t be a proper top 5 without the incredible Spike Lee. Following on the flawless Blackkklansman with the equally stellar Da 5 Bloods, Lee takes us through the African-American experience in Vietnam during the war and its aftermath. Following 4 men returning to Vietnam to locate their fellow soldier’s body, Da 5 Bloods is a film that makes it statement, showcasing the struggle of men who fought for a country that treats them unfairly. Mixing in different forms of film to provide a wider historical perspective, Lee is a true master of making his films into political statements that have plenty to say. His films are made to show the disturbance within a system that is sworn to protect its people. The racial discord is clearly one that is still evident today and those connections from the Vietnam War to now is evident in how Da Bloods are treated throughout the film. Disrespected wherever they go, the men can only find true solace in each other because no one else has had their experience both in the literal war and racial war.

2) I’m Thinking of Ending Things

My number 2 pick takes us deep into the wonderful world of writer-director-genius Charlie Kaufman with his adaptation of I’m Thinking of Ending Things. In true Kaufman style, what begins as a straightforward narrative in which an unnamed woman (Jessie Buckley) contemplates ending her relationship with partner, Jake (Jesse Plemons) soon turns into a winding labyrinth into the subconscious where reality and fiction and time and space become completely fluid to the point where nothing really makes sense. Eventually, the woman’s name is changed on a regularly basis and the tone shifts from drama and comedy to thriller and suspense. It’s a film that doesn’t allow you to glance away for a moment. Kaufman really is one of a kind but it is his mind and imagination that has drawn fans in again and again. His films are entirely up to interpretation so one person may take something from the film whereas the person next to them will take another. I’m Thinking of Ending Things is a film you will either love or hate but the bottom line is you will feel strongly about it one way or other.

1) Wolfwalkers

Just as we begun the top 5 with an animation, we’ll end it with an animation as well. Easily my top pick for this year is the incredible Wolfwalkers. Cartoon Saloon’s latest offering is beautiful beyond words and becomes even more magical on every rewatch. Available now on Apple TV, not only does it deserve to sweep the animation categories, it fully deserves to be a contender among the Best Picture nominees when the time comes. I go into more detail on my review which you can access by clicking the film title but be assured that Wolfwalkers is a film that will impact you long after viewing it. From the contrasting artistic styles to showcase the conflicts within the film to the spellbinding music, Wolfwalkers is a film that provides escapism while also incorporating important life lessons and folklore in a way that is engaging to audiences of all ages.

While this year has been one full of challenges and sadness, film can always be a portal to escape those troubles for an hour or two. Despite the closure of cinemas, this has been an extremely strong year for film and the upcoming awards season has proved to show huge competition, particularly in the acting, directing and writing categories. A year of diversity across all mediums has shown the desire and importance to create films from cast and crew from varying background. Not only does this give something different to what the usually white mainstream cinema is accustomed to but the differing perspective makes way for revolutionary discussion and helps to break those barriers.

What were your favourite films this year? Let me know in the comments below!

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Soul (2020)

One of the most hyped film of 2020, especially after it was delayed a couple of times after the pandemic took hold. Pixar’s Soul has been the subject of much conversation when Disney announced that it would be uploaded onto Disney+ on Christmas Day. I had actively avoided watching any trailers but knew that it involved jazz somehow. Watching the film provided to be both captivating and enlightening, providing one of the most emotional scenes I have ever seen in a Pixar film (yes, you read that correctly!).

Soul is directed by Pete Docter who is responsible for some of the best Pixar films including my favourite of all time, Up. What Docter does so well is include more mature themes that children may not understand initially but can grow to appreciate whilst maintaining that feeling of hopefulness and light. The film follows aspiring jazz musician, Joe (voiced by Jamie Foxx) who is struggling to find purpose as he works as a middle school teacher to make ends meet. Juggling the pressure from the school and his mother, Joe finally is given an opportunity to play with professional musician, Dorothea (voiced by Angela Bassett) but an unfortunate incident leads to his untimely death. What follows is an abstract and bizarre journey that explores what happens after life. When he finds himself mentoring an unborn soul called 22 (Tina Fey) to help find their spark and purpose to live, Joe begins to understand that there may be more to life than just jazz.

The film has garnered a lot of controversy among parents who feel as though the subject of life and death is too macabre to explain to children but death is a part of life and if your child is too young to understand then they are not likely to be affected by that aspect of the plot. Pixar’s earlier films Coco and Onward are among the many films that have incorporated life and death into their narrative yet generated no controversy for doing so. Soul has more to offer than simply suggesting what may lay ahead and there is enough music and liveliness to keep the overall tone lifted. Films can often be seen as a form of escapism but there is no harm in including some challenging questions and ideas into the storyline.

As expected, the cast is glittered with stars, bursting at the seams with huge A list names. I have previously mentioned some of them above and everyone does a fantastic job. I would, however, like to draw attention to the casting of Richard Ayoade and Rachel House as some of the monitors based in the “Great Before”, the place one enters before venturing to the “Great Beyond”. Ayoade and House mainly provide comic relief and their distinctive voices are always a nice inclusion in any film.

In terms of the score, it’s quite clear that Trent Reznor and Atticus Ross are having a stellar year after their recent collaboration for David Fincher’s Mank. The score for Soul is unlike any sound they have experimented with before. Combining jazz inspired music with dramatic ballads to show the clash between worlds from Joe’s perspective, the score is more subdued than what I thought it would be, particularly considering that jazz and music in general plays an integral role in the film. However, it feels as though that decision was made to show that music doesn’t necessarily have to be everything in Joe’s life. The tender moments we see him (or 22 as him) share with the people around him get him to realise this.

Soul really was worth the wait and more, particularly a scene near the end in which Joe journies as far as he can with 22 to Earth made for one of the huge emotional moments in Pixar history. The animation feels like it has been turned up a notch in terms of how much detail and scope the artists go. The scenes in which Joe ventures through the Great Before are the reason why audiences became captivated with Pixar in the first place. That unhindered imagination where nothing is impossible is hard to ignore and easy to appreciate. I do feel as though the ending could have done with an extra scene just to tie everything up neatly but that is proper nitpicking. Missing out on Soul is missing out on one of the best cinematic experiences of the year. It is just such a shame that it wasn’t to be appreciated on the big screen.

What did you think of Soul? Let me know in the comments below!

Soul is now showing on Disney+ so watch it as soon as you can!

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The Muppet Christmas Carol (1992)

Carrying on with the Christmas film viewings and I have watched another that makes my annual list. The Muppet Christmas Carol tends to be a film that splits the audience. Some people absolutely love it and others class it as one of the worst films they have ever seen. Considering I own a giant cinema poster for the film that was from its release, it’s safe to say that I am definitely in the former and nothing gets me in the Christmas spirit more than singing along to the songs from the film. But more on that later! The Muppet Christmas Carol is an adaptation of Charles Dickens’ A Christmas Carol which follows the miserable bookkeeper, Ebenezer Scrooge, a man hellbent on misery especially during the Christmas season. On Christmas Eve night, he is visited by the ghost of his former business partner, Bob Marley who is bound in chains as punishment for how he treated people and subsequent Ghosts of his Past, Present and Future, who show him the kind of person he was, is and will be. By doing this, they allow Scrooge to evaluate his behaviour and turn it around before he is doomed to the same fate as Marley.

The Muppet Christmas Carol features all of your favourite Muppet characters with Kermit the Frog as Bob Cratchit, Gonzo as Dickens and Miss Piggy as Mrs Cratchit. Topping off the bill is Michael Caine as Scrooge and it works so well. Caine’s approach to filming was to treat his Muppet costars as if they were dramatic human actors and the result is a performance that feels completely sincere and moral, getting in touch with the message of the original story. Not only is this a fantastic adaptation of the Dickens material but it is done in a way that is fun and accessible for audiences of all ages.

Caine’s performance as Scrooge is actually among my favourites of his career. This may seem a bit odd considering the wide variety of “serious” films Caine has starred in over the decades but as stated before, his approach and the result is worthy to be up there. We really feel Scrooge’s emotional journey as he starts off as someone incapable of empathy and ends as someone who embraces their community. The turning point for his performance comes during his time with the Ghost of Christmas Present. This also happens to be my favourite segment in the film as it features the best song, “It Feels Like Christmas”, and is where the film begins to shift in tone from dark and gritty to uplifting and festive. Scrooge begins to truly see the ripple effect of his actions as we looks on at his nephew’s household as well as the Cratchit family where he becomes drawn by the youngest member, the sickly Tiny Tim.

Another highlight in this film is definitely the music and songs. I have already touched on this with “It Feels Like Christmas” but the opening number “Scrooge” really sets up the film fantastically as well. We follow behind Scrooge as he makes his way to work as everyday people sing about his miserable and selfish nature. Even before we see his face, we get a clear and well-rounded image of his character while watching lots of cute Muppets in adorable costumes harmonising in their signature way. The score composed by Miles Goodman is clearly inspired by Christmas Carol tunes, Victorian sounds and the uplifting Muppet music. The result is something that sounds timeless and fits well within the Muppet discography while maintaining a distinct and unique score. The same can be said about the songs written by Paul Williams. Using the text by Dickens for much of the lyrical inspiration, he really captures Dickens’ London while maintaining that Muppet feel.

There is no doubt that Jim Henson was a genius and this film marks the end of an era. Made in his memory, it is the perfect swansong to an illustrious career that was defined by bringing happiness and imagination to audiences of all ages. The Muppet Christmas Carol remains one of the best Muppet outputs of all time as well as a memorable and beautiful project of passion.

What do you think of The Muppet Christmas Carol? Let me know in the comments below!

The Muppet Christmas Carol is streaming on Disney+ so be sure to catch it as soon as you can.