Movie Review ~ Lady and the Tramp (2019)


The Facts
:

Synopsis: American Cocker Spaniel named Lady lives with an upper-middle-class family and meets a mongrel known as the Tramp on the streets. They embark on a romantic journey and eventually fall in love.

Stars: Tessa Thompson, Justin Theroux, Thomas Mann, Kiersey Clemons, Ashley Jensen, Benedict Wong, Sam Elliott, Janelle Monáe, Yvette Nicole Brown, Adrian Martinez, Arturo Castro, F. Murrary Abraham

Director: Charlie Bean

Rated: PG

Running Length: 104 minutes

TMMM Score: (7.5/10)

Review:  Waking up on November 12 reminded me of one of those 80s John Hughes movies where the lead character lazily opens their eyes from slumber, blinks a few times, yawns, and then decides a few more minutes of sleep won’t do them any harm.  Then, with a jolt, their eyes snap open and they bolt upright because they’ve Just Remembered Something Important Is Happening Today.  It was on this Tuesday that I found myself acting out these same emotions/motions when I was reminded that the new streaming service Disney+ was launching and with it, a whole catalog of Disney titles and new original programming.  Long in the planning and constantly in the headlines leading up to its induction, this was a big deal and while I was definitely interested in the new movies and series, I was just eager to have easy access to titles that were harder to come by (Flight of the Navigator anyone?  Anyone?) and poured over the catalog with reckless abandon.

There was a new title I made sure to position near the top of my queue and it was the movie Disney+ had been showcasing as a big selling point for subscribing early to their service.  This would be the only place you could see the film as it hadn’t premiered first in a theater so if you wanted to watch, you had to sign up.  Originally conceived as a theatrical release, the live-action remake of Lady and the Tramp was refashioned as a cornerstone of the new Disney+ service and it largely succeeds on this smaller scale where the stakes aren’t quite as high.  Had it been, ahem, unleashed in cinemas it would likely have been held to more scrutiny from finicky nitpicks but it’s easy to slough off concerns when watching from the comfort of your own home.

Until I started doing some prep for this review, I never knew that Disney’s original 1955 animated film was based on a story first featured in a 1943 issue of Cosmopolitan magazine.  Though that classic film has never been too overplayed in my household, I do have several fond memories of it throughout the years but didn’t hold it so precious in my heart that the thought of a live-action remake made me recoil.  What did give me pause was the thought of another live-action remake in 2019 after the tepid receptions of Dumbo, Aladdin, and The Lion King.  I wasn’t sure I could take another talking animal movie, especially when the bigger budgeted films failed to convince me the technology supported all the furry yapping.

At the turn of the century, young couple Jim Dear (Thomas Mann, Them That Follow) and Darling (Kiersey Clemons, Antebellum) welcome a charming Cocker Spaniel they name Lady into their home.  Lady (voiced by Tessa Thompson, Creed) lives a life of luxury, slightly spoiled but not sour.  When not with her family, she visits with neighborhood canines Trusty (Sam Elliott, A Star is Born) and Jock (Ashley Jensen, The Pirates! Band of Misfits), sniffs out a corner of the elegantly trimmed back yard, or chases away a pesky rat that’s been hanging around her house.  In another part of town, mutt Tramp (Justin Theroux, Bumblebee) scrounges for scraps and avoids a determined dogcatcher (Adrian Martinez, Office Christmas Party) who is always in pursuit of any unlicensed animal.

When her young owners start a family and their new baby takes focus away from her, Lady begins to act out, not understanding why she’s the attention she once had is going in a newer, smaller, direction.  By the time Aunt Sarah (Yvette Nicole Brown, Avengers: Endgame) has brought her swaggering, troublemaking cats over for an afternoon that goes horribly wrong, Lady finds herself on the run and falls in with Tramp who takes her under his mangy paw.  Together, they embark on an adventure through town that opens Lady’s eyes to a world outside her block and brings the mismatched dogs closer together.  How long can this pampered dog and streetwise tail-wagger keep away from the dogcatcher, though, and what will happen to Tramp when Lady has to return home?

For what it’s worth, Lady and the Tramp is no dog and is often a downright delight.  Yes, the movie is schmaltzy in all the old-fashioned ways but so is the original film.  You can’t tell me you won’t watch the famous “Bella Notte” sequence (sung by Arturo Castro, Semper Fi and F. Murrary Abraham, The Grand Budapest Hotel) where the dogs share an Italian dinner under the stars and not get a little choked up out of nothing but happiness.  Director Charlie Bean (The Lego Batman Movie) works wonders with the largely CGI dogs to make you think they’re living and breathing hounds and even if the effect doesn’t always gel and the talking mouths look a tad creepy, the end result worked for me.  Though smaller in budget, I was surprised at how good the movie looked.  It’s 1909 setting was handsomely recreated and I appreciate the timeline wasn’t modernized, it helped keep things simple and focused squarely on our characters.

Creepy talking mouths aside, the voice acting in the movie is quite pleasant.  Theroux and Thompson bring a warmth to their roles, never making Tramp too sly or Lady too snooty.  They balance well with the supporting cast featuring Elliott matched with a dog that looks frighteningly like the actor himself as well as singer Janelle Monáe (Harriet) strutting around as a pound puppy who tells Lady all she needs to know about Tramp.  As for the human actors, I didn’t quite get why the screenplay had the dogcatcher pursuing the clever canine as if locked in a Javert/Valjean epic hunt but I suppose it all adds that extra oomph to an emotional resonant finale.

For the first movie Disney+ had waiting for viewers out of the gate, I’d say Lady and the Tramp scored as a a fine inaugural outing.  It’s about 10-15 minutes too long by my estimation and some trimming would have made the movie an easier sit for younger kids (and this older kid, too) but it’s filled with enough eye-catching moments to keep that interest going longer than you’d expect.  This remake has wisely done away with the outdated cultural stereotypes of Aunt Sarah’s cats, changing their breed and giving them a new song.  That’s going to please some and anger others.  Those upset are free to watch the original film, which is also available to add to your watchlist 🙂 With more live-action remakes heading our way and other feature films planned, I’m looking forward to seeing what quality future direct-to-Disney+ will be like.

Movie Review ~ Frozen II

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The Facts
:

Synopsis: Anna, Elsa, Kristoff, Olaf and Sven leave Arendelle to travel to an ancient, autumn-bound forest of an enchanted land. They set out to find the origin of Elsa’s powers in order to save their kingdom.

Stars: Kristen Bell, Idina Menzel, Jonathan Groff, Josh Gad, Evan Rachel Wood, Sterling K. Brown

Director: Chris Buck & Jennifer Lee

Rated: PG

Running Length: 103 minutes

TMMM Score: (8/10)

Review:  There are some reviews that you look back on and wonder if you just had an off day when you saw the movie or when you wrote the prose. Or maybe you were perhaps too effusive in praise of something that doesn’t hold up to a second (or third) watch.  Then there are the reviews that haunt you in the ensuing years, the ones you wince a little at when you realize how off the mark you were and wonder what you missed and why you missed it.  True, movies and criticism are subjective and that’s what makes this whole reviewing gig as fun as it is (no really, it’s fun…usually) but it’s hard not to beat yourself up a little when you were off target.

Though I wasn’t exactly hard on Frozen back in 2013, I do remember feeling so ho-hum about it and I was quoted as saying it “wasn’t destined to become a pivotal Disney classic”.  Ouch.  I’ve often thought about that phrase as I watched the power ballad “Let it Go” win an Oscar for Best Original Song and the movie win for Best Animated Feature.  The words floated through my brain while seated for the trimmed down theme park show at Disney’s Hollywood Studios in Florida and watching clips from the larger-scale production in California.  And I most definitely shook my head at my statement after I had traveled to Denver, CO and paid a good sum to see the pre-Broadway tryout of the big-budget stage musical based on the movie.  Frozen was a phenomenon and I had said in my review I found it less interesting than Tangled.  It’s enough to keep a guy up at night, I tell ya.

So you better believe I was ready when Frozen II was announced to listen a little more to my younger side this time around.  Announced soon after the first film was an unexpected box office smash (making over a billion dollars worldwide), it’s taken six long years for the sequel to materialize and that’s a hearty stretch of time for their target audience to wait.  Disney had to count that children who were the right age to appreciate the original movie would still be interested in the further adventures of Elsa and Anna, two royal sisters that found a deeper understanding of each other at the close of Frozen.  It was a wise bet that has paid off because with the bulk of the creative team reassembled, including the Oscar-winning songwriters, Frozen II confidently builds off its predecessor and delivers as a warm-hearted and surprisingly subtext-rich sequel.

Now that Elsa has come to terms with her icy powers and returned to reign as Queen of Arendelle, life has settled into an ordinary routine for her royal highness and those close to her.  Her sister Anna is clueless to beau Kristoff’s pending marriage proposal that keeps getting interrupted, sometimes by goofy snowman Olaf, who continues to pontificate about life with childish wonderment.  Even with everything running smoothly, Elsa feels unrest and that’s further complicated by a strange siren’s call that only she can hear and apparently tied to a legend her father told as a bedtime story when she was a child.  When Elsa replies to the call, it opens up a passage into an unknown area outside the realm of Arendelle that may hold the answers to her powers and also a dark part of her family history that she and Anna will need to resolve.

It’s a smart move for directors Chris Buck and Jennifer Lee to have the sisters join forces and make this trip to uncharted territory together. Of course, Kristoff, Olaf, and reindeer Sven are along for the journey too but aside from a few songs and bits of comedy, the latter half of the film is reserved for Elsa and Anna to sort things out for themselves.  The story trajectory takes some interesting turns and while some of the action may feel a bit like a rehash from the earlier film, all the forward motion feels fresh and hits a true chord of fun discovery.

While the screenwriters (aside from Buck/Lee there were three more) do their best to amp up Anna’s role, it’s hard to come away from Frozen II not feeling like Elsa was again the true star and with good reason.  Here’s a character that draws her power from within and doesn’t need any outside force or person to tell her how she should be using her strength.  Her lack of self-confidence is incredibly relatable, as is the way she comes to terms with the way she feels different than others.  It’s understandable that she’s become a bit of an icon for the LGBTQ community and even if it’s not expressly said, it’s difficult to bear witness to a big anthem like “Show Yourself” and not hear the underlying subtext and I found that incredibly moving.

It helps that “Show Yourself” is performed with gusto by Idina Menzel (Ralph Breaks the Internet) again voicing Elsa with a Broadway belt that could shatter ice.  I still feel Menzel’s voice doesn’t match with the animated character (Elsa’s lungs look to be the size of a thimble) and there’s a lot more big notes in Menzel’s songs this time around – the other big number, “Into the Unknown” comes early in the movie and has a earworm-y hook that had audience members singing it on the way out.  So parents…be prepared for another song to make you crazy.  I know that the Frozen II team is going to push “Into the Unknown” as their Oscar song but I find “Show Yourself” to be the one with more mileage in the long run…plus that one also features Evan Rachel Wood (Across the Universe) as Elsa’s mother in addition to Scandinavian singer AURORA as the voice of the siren.  The other numbers are all pleasant but don’t get their hooks into you the way those others do.  As Anna, Kristen Bell (Hit and Run) still has the sunniest singing voice you’ve ever heard while Jonathan Groff’s (American Sniper) Kristoff scores with his Peter Cetera-esqe anthem.  Returning to play Olaf make it official: Josh Gad (The Wedding Ringer) should only appear as a voice in movies from now on.  In live action, he stinks.  As an animated character, he’s a winner.

Like the first film, this runs out of steam as it chugs toward the end and it could easily lose a solid ten minutes, likely lopped off at the beginning because there’s some good character-driven material we don’t often get in animated films around the end that I wouldn’t want to sacrifice.  It may lack some of the larger emotional beats Pixar is so curiously good at but Frozen II isn’t completely bereft of deeper feeling either.  I definitely found myself choked up a few times and even listening to the soundtrack after and hearing the words again I got all misty.

I’ve heard the phrase “cash grab” tossed around in relation to this film and I’m not sure how a film that took six years to get made could be considered a desperate attempt to squeeze money out of a product.  This is a bona fide cash machine and with two movies, a Broadway show going strong, a national touring company getting ready to roll out, and international companies planned, this machine is just getting started.  We should already be getting ready for Frozen III.  If the filmmakers and songwriters can keep finding the heart to these characters and giving them strong songs to express themselves with, I’m all for it.

 

 

Movie Review ~ Christopher Robin


The Facts
:

Synopsis: A working-class family man, Christopher Robin, encounters his childhood friend Winnie-the-Pooh, who helps him to rediscover the joys of life.

Stars: Ewan McGregor, Hayley Atwell, Bronte Carmichael, Mark Gatiss, Jim Cummings, Chris O’Dowd, Brad Garrett, Toby Jones, Nick Mohammed, Peter Capaldi, Sophie Okonedo

Director: Marc Forster

Rated: PG

Running Length: 104 minutes

Trailer Review: Here

TMMM Score: (4/10)

Review: A year ago, this Winnie-the-Pooh fan was excited to learn of two upcoming projects. One promised to go deeper into the life of the author A.A. Milne and the other from Walt Disney Studios would bring the famous bear and his friends to life in a live-action/CGI hybrid. Both films had serious potential considering the beloved material and high nostalgia factor. Well…fool me once (Goodbye Christopher Robin), shame on you. Fool me twice (Christopher Robin), shame on me.

Whereas 2017’s Goodbye Christopher Robin was a manipulative mess of a biography, Christopher Robin is a dreary miss that clings too tightly to its wistful moments. The movie is constructed to have you biting your lip and furtively wiping away tears at very specific points but it tries too hard to get you to go that sad place. Maybe I’ve turned into a monster in my old age but I resisted and outright resented the way the film went about its business.

Opening with young Christopher Robin attending a going-away party in the Hundred Acre Wood thrown by his animal friends, we learn he’s off to boarding school and will be leaving his friends far behind. Thus begins a rather long prologue where the lad becomes a man (Ewan McGregor, Beauty and the Beast) and eventually a war veteran. He’s now working for a luggage manufacturer with a wife (Hayley Atwell, Cinderella) and young daughter (Bronte Carmichael, Darkest Hour) he rarely spends time with. It’s a familiar sketch of a child that grows up and forgets what it’s like to conjure the kind of make believe fun that fueled a rich imagination. I mean, we all saw Hook, right?

With his family away for a weekend, Christopher is supposed to be working through the logistics of making cost-saving budget cuts at his job when he meets up with Winnie-the-Pooh. Pooh can’t find his friends but found his way through a magic door that connects the Hundred Acre Wood to the outside world. Christopher follows Pooh back through the door and begins a sentimental journey through his past that connects him back to the likes of Tigger, Piglet, and Eeyore.

Director Marc Forster has been hit or miss in my book for a while. I enjoyed World War Z, am slowly coming around to his James Bond entry Quantum of Solace, and last year’s All I See Is You was pretty underrated in my book. He’s had a diverse range of tones/genres which I respect but there’s this curious heaviness he adds to Christopher Robin that feels wrong. Even though it makes a last ditch effort to zing up the action in the last 20 minutes, the majority of the movie is too somber for young children and far too slow for older kids. Adults are advised to bring a pillow.

The marginal good news is the period film looks amazing and the characters (much closer in design to Milne’s vision) are brought to impressive life through CGI. Whatever crazy subliminal product messages Disney put in the film worked because I left wanting to get a set of the updated Pooh and co. for my very own. The action blends seamlessly with the live actors and McGregor gets a gold star for making me believe he’s interacting with a stuffed bear. The film doesn’t try to hide the fact these animals can talk, nicely avoiding at least one tired plot device hurdle of stories such as this.

With bits and pieces culled from better movies about growing up too soon (add Peter Pan and Mary Poppins to the list while you’re at it), Christopher Robin is a disappointing entry in Disney’s attempt at giving its characters a live-action treatment. The film scores high in production value and is often saved by its CGI creations but it’s too tangled in its gloomy plot and obvious attempts at wringing tears out of you to be more than a summer bummer misfire.

Movie Review ~ Incredibles 2


The Facts
:

Synopsis: Everyone’s favorite family of superheroes is back but this time Helen is in the spotlight, leaving Bob at home with Violet and Dash to navigate the day-to-day heroics of “normal” life.

Stars: Craig T. Nelson, Holly Hunter, Sarah Vowell, Samuel L. Jackson, Huckleberry “Huck” Milner, Brad Bird, Bob Odenkirk, Catherine Keener, Jonathan Banks, Sophia Bush, Isabella Rossellini

Director: Brad Bird

Rated: PG

Running Length: 118 minutes

TMMM Score: (9/10)

Review: In this age of fast turnaround, never-ending binge options, and instant gratification, audiences don’t usually have to wait very long to get more of what they love. When Pixar’s The Incredibles opened in 2004, it was right in the studio’s heyday where they couldn’t lose and the spy adventure was a bona fide winner. Boasting innovative computer animation and pitched at a breakneck pace, it signaled a shift in tone that felt like a steppingstone to another level of prestige. Though Pixar famously claimed an aversion to sequels in favor of original concepts, after winning the Best Animated Feature film Oscar, it seemed like a sure bet another Incredibles adventure would be in the cards.

Well here we are 14 long years later and the Parr family has finally returned to the big screen in Incredibles 2 and the wait was most definitely worth it. Though computer animation technology has advanced leaps and bounds in the decade since the original was released, Pixar has fashioned a sequel that sits side by side with its predecessor on a high shelf. Re-watching The Incredibles in preparation for the sequel, I was struck by how, uh, quaint the film looks after all these years. It was still an entertaining ride, don’t get me wrong, but what once looked shiny and new then seems positively retro now.

Right from the start, the film hits the ground running by literally picking up where the first movie left off.  It’s a very Back to the Future II way to go by having the two films overlap in this way, effectively joining two separate movies into potentially one uninterrupted spree.  Mom Helen/Elastigirl (Holly Hunter, Copycat), Dad Bob/Mr. Incredible (Craig T. Nelson, Poltergeist), daughter Violet (Sarah Vowell) and son Dash (Huck Milner) spring into action against the mole-like Underminer, who first appeared at the tail end of the original. Through a city wide chase that racks up some costly amounts of destruction, it isn’t long before the family runs afoul of the government so intent on keeping superheroes illegal. When a brother and sister team intending to champion the legalization of superheroes approaches Helen, Bob, and their friend Lucious/Frozone (Samuel L. Jackson, The Hateful Eight), the heroes in hiding see it as an opportunity to show the world there’s still a need for crime fighters and help heroes from around the globe can come out of the shadows. Needing someone to be the face of the campaign, Helen becomes the star of this show, only to be pursued by a mysterious villain known as The Screenslaver who has big plans for a gathering of international heroes at sea.

Meanwhile, back at home, Bob is in charge of the kids. Between helping Dash with his math homework, (he learns the perils of New Math) and giving the lovesick Violet some advice on boys, he fails to notice his younger son Jack-Jack starting to develop a whole host of strange powers of his own. Jack-Jack is unquestionably the main attraction in Incredibles 2 and with good reason, his scenes are silly yet hysterical that result in some astounding physical comedy sequences that are pretty dazzling. Like much of the film, Jack-Jack’s adventures with his super powers blaze across the screen with color and sound so quickly that I’m sure I didn’t catch all of the sight gags created by the Pixar gang.

I’d put this sequel on an equal plane with the first film, maybe slightly higher just due to its clever construct and entertainment factor. The voice work is consistently good and it’s nice to hear interesting casting choices like Bob Odenkirk (Nebraska) and Catherine Keener (Peace, Love & Misunderstanding) as the brother and sister duo, not to mention the grand return of fashion designer Edna Mode (voiced by writer/director Brad Bird, Tomorrowland).  It’s also extremely funny, producing several laugh out loud moments that often caught me off-guard.  It’s sometimes easy to get a kick out animated films but it’s rare for one to elicit a well earned guffaw…and Incredibles 2 has more than a few of these instances.

At 118 minutes, Incredibles 2 is the longest Pixar film to date but it moves so fast and furious that you’re likely to either skip looking at your watch completely or sneak a peek as the film nears its conclusion. Sure, there are some overstuffed bits but if you’re going to the movies and paying through the nose for tickets and concessions for the whole family, don’t you want to get your money’s worth? Bird (Mission: Impossible – Ghost Protocol) knows how to give fans what they want, nicely continuing the tone of a kid-friendly Bond film that’s still a bit dark and definitely not for super young tykes. Parents, heed the PG rating because this one gets a bit intense and, coupled with Oscar-winner Michael Giacchino’s (Star Trek) robust score, can be quite loud.

Special Note: Don’t be late!  The Pixar short shown before the movie, Bao, is another winner!

Movie Review ~ Bao


The Facts
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Synopsis: A woman gets a second shot at motherhood when one of her handmade dumplings comes alive.

Director: Domee Shi

Running Length: 8 minutes

TMMM Score: (8/10)

Review: Proving once again that there is no emotional well they can’t mine for a few surprising tears, Pixar’s latest animated short  (playing before Incredibles 2) falls right in line with some of their more plaintive fare.  Think UP territory kind of emotions.  Directed by Chinese Canadian illustrator Domee Shi, Bao is a tale of an empty nester that gets an eyeful just as she’s about to take a mouthful of her carefully prepared dumplings.  Over the course of eight minutes, Shi (the first female director of a Pixar short) takes us through a fast-tracked parental journey that culminates in a bit of a shock only to resolve itself in a most beautiful fashion.  Pixar would be wise to allow for a five minute “Call Your Mom And Tell Her You Love Her Break” after this one is over.

The Silver Bullet ~ The Nutcracker and the Four Realms

 

Synopsis: A young girl is transported into a magical world of gingerbread soldiers and an army of mice.

Release Date: November 2, 2018

Thoughts: It doesn’t take much to get me to go on a Disney journey so the first preview of The Nutcracker and the Four Realms already has me packing my bags.  Sure, it has a whiff of the irksome overproduction of Oz: The Great and Powerful, Alice in Wonderland and its sequel but it also has shades of The Chronicles of Narnia.  The visuals in this brief teaser alone are a feast for eyes that have been on a drab buffet lately.  Attempts to bring E.T.A. Hoffmann’s tale to the screen before have debuted to various degrees of success, either focusing too much on story or too much on ballet/music.  Maybe new screenwriter Ashleigh Powell can make sense of it all and she’ll surely be helped by directors Lasse Hallström (The Hundred-Foot Journey) and Joe Johnston (Jurassic Park III).  Starring Keira Knightley (Anna Karenina), Morgan Freeman (Lucy), Helen Mirren (Woman in Gold), and Mackenzie Foy (Interstellar), The Nutcracker and the Four Realms doesn’t arrive for another year but this overture to the main event has generated some pleasant excitement this holiday season.

Movie Review ~ Coco

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The Facts
:

Synopsis: Aspiring musician Miguel, confronted with his family’s ancestral ban on music, enters the Land of the Dead to work out the mystery.

Stars: Anthony Gonzalez, Benjamin Bratt, Gael García Bernal, Ana Ofelia Murguía, Renee Victor, Jaime Camil

Director: Lee Unkrich

Rated: PG

Running Length: 109 minutes

TMMM Score: (9/10)

Review: There was time when Disney/Pixar had the market cornered on movies that hit you with enough emotional force that tears were inevitable.  Often they were happy tears but every now and then they’d find a way to trigger the kind of ugly cry that made audiences glad the lights didn’t come on right when the credits rolled. With the advent of 3D technology being used in their films, we then had another way to hide our red eyes as we shuffled toward the exit and our cars.

Over the past decade Pixar has lost a little bit of that luster producing not fully satisfying sequels to proven franchises.  They looked great and were amusing, sure, but something was missing…there wasn’t the magnitude of honest heart and soul the studio was known for.  Add to that live-action movies and rival animation studios locking into that coveted emotional sweet spot and Pixar started to become one of the gang instead of their leader.

Now along comes Coco.

I didn’t know what to expect from Pixar’s latest release, an original tale of a boy in Mexico struggling with accepting his family and having them understand him too.  Early previews didn’t give much in the way of plot but they sure got tongues wagging with its spectacular animation and the promise of something inventive. not just another rehashed sequel (Monsters University).  Could this be the spark that re-ignited the Pixar fire?  And would audiences make time for something that might be out of their cultural comfort zone?

Young Miguel (Anthony Gonzalez, who also has a sweet singing voice) narrates our tale and through a creative prologue catches us up on his family history.  His great great grandmother was abandoned by her musician husband, leaving her to raise their daughter alone.  Banishing all forms of music from her descendants, she starts a successful shoe business that is passed down from generation to generation.  In present day, though he knows its forbidden, Miguel dreams of becoming a famous musician like his idol, matinee star Ernesto de la Cruz (Benjamin Bratt, Doctor Strange).  Though de la Cruz perished onstage in an unfortunate scenery malfunction, his memory lives on in movie appearances Miguel replays in a secret hiding place where he can play his guitar along with his hero.

When a talent contest is announced to take place in conjunction with Dia de los Muertos (the three-day celebration in October that’s a staple of Mexican culture), Miguel chooses to emulate de la Cruz and ‘seize the moment’, but when his family gets wind of his plot his dreams are crushed.  It’s when he breaks into the mausoleum of de la Cruz and strums his famed guitar that Miguel becomes enmeshed in a family curse he’ll need de la Cruz’s help to break.  Meeting up with his relatives that have long since passed and teaming up with a fast-talking hobo (Gael García Bernal, Rosewater) to find de la Cruz, Miguel embarks on a journey of discovery to get back to the Land of the Living before the sun rises.

The story, co-written by director Lee Unkrich (Inside Out) is full of colorful characters and creative endeavors.  There’s a bit of a mystery to solve and it gets more interesting as the film goes along and Miguel learns more about his family.  Parents should heed the PG rating because there are some images/ideas that may frighten younger children but kids that can sit through its rather long running time should be quite enthralled.  I was pretty mesmerized from the word go and marveled at how intricate the plot becomes, especially when it threw in Frida Kahlo and other references to Mexican history.

Speaking of detail, the animation here is just outstanding.  The background designs are super and the fine details on each of the skeletal faces of the inhabitants of the Land of the Dead are unique and serve to soften what could be a scary sight.  There’s wonderful music pulsating through the film (some from the team behind Frozen) and a recurring musical theme is put to good use, especially in the final 1/3 when Unkrich amps up the emotion and carefully (if shamelessly) goes for the jugular.

For a film that takes place mostly in the Land of the Dead, there’s an abundance of life and joy on display.  It signals that Pixar is listening to audiences and critics that wanted the studio to get back to what made them so special in the first place: telling original stories that touched us on more than a simply entertaining level.  Coco represents a high-water mark for the studio, arguably one of their best films so far.  In addition to its dazzling animation that uses every color known to the human eye it has a strong story about family and finding one’s place in your lineage.  It pulls very few punches and will likely inspire some discussion afterward for parents to have with their children. Make sure to stay until the end, the final image that serves as a thank you from the filmmakers is the cherry on top of an already personal-feeling experience.  Also…major props for directing audiences to their local libraries to study up on the cultural events depicted in the film.

The Silver Bullet ~ A Wrinkle in Time (2018)

Synopsis: After the disappearance of her scientist father, three peculiar beings send Meg, her brother, and her friend to space in order to find him.

Release Date: March 9, 2018

Thoughts: Madeleine L’Engle’s celebrated 1963 novel has been on my bookshelf for years and holds a special place in my heart.  I’ve seen high school productions of it (and been in one myself) and made it through most of a 2003 made for television film that couldn’t capture the energy of its source material.  Now comes a new adaptation from one of the writers of Frozen directed by one of the most exciting filmmakers working today.  Ava DuVernay (Selma) has assembled a dynamite A-List cast and, from the look of things in this first teaser, a damn fine film.  Starring Oprah Winfrey (Lee Daniels’ The Butler), Reese Witherspoon (This Means War), Mindy Kaling (This is the End), Chris Pine (Into the Woods), Gugu Mbatha-Raw (Beauty & the Beast), newcomer Storm Reid, and Zach Galifianakis (Keeping Up with the Joneses) as The Happy Medium, this is one page to screen adaptation I’m welcoming with open arms.

Movie Review ~ The Good Dinosaur

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The Facts:

Synopsis: An epic journey into the world of dinosaurs where an Apatosaurus named Arlo makes an unlikely human friend.

Stars: Raymond Ochoa, Jeffery Wright, Steve Zahn, AJ Buckley, Anna Paquin, Sam Elliott, Frances McDormand, Marcus Scribner, Jack Bright

Director: Peter Sohn

Rated: PG

Running Length: 100 minutes

Trailer Review: Here

TMMM Score: (8/10)

Review: It’s usually never a good sign when a release date for a movie is changed once.  It’s an even worse sign when it changes twice.  Then when you hear that nearly all of the cast was replaced, the director removed from the project, and reshoots were required you can rest assured that when (if?) the movie is actually released you’ll have the critical vultures swarming around looking to feast on the carcass of the wounded cinematic animal.

In this case, the movie in question is Disney/Pixar’s The Good Dinosaur, finally seeing a release date a full two years after its intended November 2013 opening.  Those expecting a misfire from the studio limping into the holiday movie season will be in for a surprise because for the second time in 2015 Disney/Pixar have a hit on their hands.  For all of its fabled troubles on its way to theaters (including replacing the voices of John Lithgow, Judy Greer, Neil Patrick Harris, and Bill Hader) it’s clear from the final product that whatever tinkering and tailoring was done was necessary and worth the wait.

Featuring what I feel is Pixar’s best animation to date, The Good Dinosaur may lack the overall complex creativity of June’s Inside Out (which ingeniously taught children and adults how to own and celebrate their emotions) but it’s not short on memorable characters and moments.  I went in expecting something along the lines of The Land Before Time but got a lovely family feature that’s generous with humor and heart.

Positing an alternate timeline where the asteroid that ended the reign of the dinosaurs missed the planet completely, The Good Dinosaur takes place in the present…albeit in a present where dinosaurs never went extinct and humans never became the dominant species.  This isn’t a dark vision of what might have been but a thoughtful pondering a future were these great beasts continued to thrive for millions of years, living off the rich bounty of a land uncorrupted by progress.

Poppa Henry (Jeffrey Wright, The Hunger Games: Mockingjay – Part 2) and Momma Ida (Frances McDormand, Promised Land) are a brontosaurus couple spending their lives farming and plowing the fields.  Opening with the hatching of their three baby dinos, from their first moments we can see what each of their personalities will be like: Buck is the tough one, Libby is the playful one, and Arlo is…well…he still doesn’t quite know where he fits in.  The runt of the litter (arriving in the biggest egg), he’s a bundle of dino nerves that’s scared of everything from a tiny bug that lands on his nose to the raggedy chickens he’s tasked with feeding.

Borrowing a page from the old-fashioned Disney canon, a tragedy occurs for Arlo followed by a separation from his home that sends him on a journey of discovery to find his way back to his family.  Following the river through the gorgeous untouched landscapes of nature, he’s joined by Spot, a human child that acts like a feral dog that Arlo has a score to settle with.  Eventually the two come to need each other as they face the harsh realities of nature and meet a number of wildlife along the way like a cross-eyed Styracosaurus (hilariously voiced by director Peter Sohn), a pack of threatening Pterodactyls, and a family of cowboy T-Rexes (headed by splendid Sam Elliott, I’ll See You In My Dreams) on a cattle drive.

The material is more adult-oriented than previous Pixar films and I appreciated that the film doesn’t make any excuses for the dramatic (and often scary) turns it takes.  Parents should know that it’s PG for a reason, some kids at my screening had a rough go with the beasts and some of the subject matter.  Arlo is constantly threatened with danger whether it be falling off rocks, plunging into water, or fending off a host of creatures that see him and Spot as their next meal.  The supporting players are perhaps the most bizarre creations from Pixar yet, with the Pterodactyls being most troublesome for this critic thanks to their crazed rants and appetite for food of any kind.

Pixar is no stranger to tapping into emotions and there are several passages of The Good Dinosaur where you may find tears welling up behind your 3D glasses.  While the 3D isn’t revelatory, it goes well with the impressive vistas and animals that pass you by.  Though I tried my hardest to hold it in, I cried a few times over the course of the film thanks to some developments that I could relate to on a personal level.  It won’t give you the Sally Field Ugly Cry Face that Inside Out and Up did, but don’t be surprised if the tears come when you aren’t expecting it.  I also laughed a lot, especially at some unexpected frivolity in the form of a trippy tangent brought on by Arlo and Spot eating spoiled fruit.

The feature goes nicely with Sanjay’s Super Team, the father-son centered short that precedes it and while most will give the Best Pixar of 2015 edge to Inside Out, there’s a case to be made for The Good Dinosaur too.  It’s perhaps less original in conception but in execution it showcases the absolute best animation that Pixar has created so far.

Movie Review ~ Sanjay’s Super Team

Sanjay's_Super_Team_poster

The Facts:

Synopsis: Bored with his father’s meditation, a young Indian boy daydreams of Hindu gods as superheroes.

Director: Sanjay Patel

Rated: PG

Running Length: 7 minutes

TMMM Score: (6.5/10)

Review:  Each passing Pixar film becomes more and more of an event…and so does the animated short that precedes them.  Already this year we had Lava, screened before Inside Out, that warmed up your tear ducts for the feature film and now we have Sanjay’s Super Team arriving before showings of The Good Dinosaur.  Disney’s first animated short that features a Hindu American lead and inspired by the childhood of its director, Sanjay’s Super Team is a pleasant mixture of Pixar imagination and color.  Still, I found myself not engaging in the story of a boy that falls into a daydream mixing his Hindu culture with his love of American superheroes as much as I was supposed to.  For me, it’s one of the more down the middle shorts but there’s no denying it ends on an emotionally honest note.