MINIVIEWS TAKE TWO

I think somewhere along the line I swore to myself that I’d never let it get to the point where I do a bunch of miniviews again but…here we are.

Same rules as last time: I will discuss my main thoughts on the film, choose a standout element, say whether or not I think you should see it, and rate it. And then I’ll make some cute promise about not doing this again. šŸŒ

(This time I blame real life and also the release of Luigi’s Mansion 3. HAVE Y’ALL PLAYED THAT YET IT’S SO GOOOOOOOOD)

Lessgoooooooooo:

MINIVIEW 1: DORA AND THE LOST CITY OF GOLD

MY THOUGHTS:

I can honestly say that I never thought in the year of our lord 2019 I would be writing about a movie that is a live-action adaptation of Dora: The Explorer and be saying that it’s…really, really good.

I mean like even the trailers had me like “wow that looks…decent??” And uh…it was???

But more than that, the movie is, as I like to say, a damn good time. If you grew up with the TV show like I did, it’s such a funky little love letter to everything we loved and hated about the show. My poor parents knew like nothing about it and I may or may not have made them a presentation on Dora basics so they knew what they were signing up for by going with me to see this.

It’s genuinely so much fun–it has great characters, a pLot TWisT, a lovely story, JUNGLE PUZZLES!!!, and even a really cool moral. It knew exactly how ridiculous it was and just ROLLED WITH IT.

I mean y’all someone literally made a movie of that College Humor skit from YEARS AGO…AND IT WAS GREAT.

STANDOUT ELEMENT:

Y’ALL DORA LITERALLY USED A YO-YO AS A WEAPON I–

I started learning yo-yo tricks this year (or as we in the in-crowd say, I started “throwing” this year) and I keep trying to tell people that a yo-yo could be a seriously good weapon, I mean do you know how many times I’ve whacked myself this thing is a hazard??

AND SHE LITERALLY USED IT AS A WEAPON I CANNOT–

Also I loved whenever Dora spoke to the camera or whenever she talked to people like “Hi! I’m Dora!” Like she’s a ray of sunshine and I love her.

SHOULD YOU TAKE YOURSELF TO SEE THIS MOVIE?

PLEASE DO. It’s just so much fun. Also–a Latinx-led cast!

Also stay tuned for my essay on how Dora and Alita went through very similar character arcs in their respective films but Dora’s actually worked and developed her character more and she’s literally DORA THE EXPLORER–

Haha just kidding.

…unless? šŸŒ

All in all, I give Dora and the Lost City of Gold…

5/5 DEADLY WEAPON YO-YOS!!

MINIVIEW 2: BLINDED BY THE LIGHT

MY THOUGHTS:

Lemme preface this by saying that Bend It Like Beckham is one of my favorite movies of all time, and the same people worked on this movie, so I was already really excited about it.

And like, I was not disappointed at all.

This movie is a delight from start to finish. The characters are lovable and well-rounded and the story is just so fun and heartwarming. There’s a little bit of drama, a little bit of romance, a lotta friendship, a lotta Bruce Springsteen music, and a whole lot of family love. There’s kinda something for everyone in this movie.

(I mean hey, if you’re a blood-and-gore action fan, there’s even a protest that interferes with a wedding party and someone gets injured and you see the blood, so–yay there you go I guess!)

My biggest complaint is the girlfriend character. Don’t get me wrong, she’s super cute and a delight, but at least in my view, her whole character was just: Girlfriend. That’s it. What music does she like? We don’t know. Her family? We don’t know. Favorite color?? WE DON’T KNOW.

Granted, she’s not the main focus at all, but they spent a whole lot of time developing our leading man, his ex-best friend and his new best friend, so like…if they all get development…….can my girl get some development too……..

I mean it’s like you could switch out her and Alita and neither of their movies would change very much….I’m just sayin…….šŸŒš

STANDOUT ELEMENT:

By far the incorporation of Springsteen’s music. Just like you saw in the trailer, they had the lyrics appear onscreen in real time and it was such a fun little thing to do–I mean don’t we all feel a little like that when listening to music??

No???? Just me???????? Cool.

Also that whole scene where they takeover the radio booth at school and then dance around the streets and go crazy? So fun to watch.

SHOULD YOU TAKE YOURSELF TO SEE THIS MOVIE?

Generally? Yes. And I’m speaking as someone who knew absolutely none of the songs used in the film. So if you’re worried about that, please know that you’ll still really enjoy it.

But I also know that this is my type of movie…it’s a character drama about relationships and the power they can have in our lives (also, music) and I ABSOLUTELY eat that shit up. If it’s not your kind of thing, you probably won’t like this movie.

But if you’re home one night and just want a feel-good drama with some great tunes, I definitely recommend you check this movie out.

All in all, I give Blinded by the Light…

4/5 CASSETTE TAPES!!!

MINIVIEW 3: DOWNTON ABBEY

MY THOUGHTS:

*sniff* SO THE ROYAL SERVANTS ARE MEAN AND ANNA AND BATES WORK TOGETHER AND THEY’RE HAPPY FOR ONCE *sob* AND CARSON COMES BACK BECAUSE MARY NEEDS HIM *deep inhale* AND THOMAS OH GOD MY SWEET BABY THOMAS IS HAPPY *long sniff* AND THE SCENE WITH MARY AND MAGGIE SMITH AT THE BALL OH GOD–*all-out-crying*

Uh so yeah it was okay.

I think what I really, really loved about this was that it never tried to be anything more but an elongated episode of the tv show. Like it didn’t try to be anything that would draw in a different audience because it trusted that all of us would be absolute SUCKERS and come back for these dorks AND IT WAS RIIIIIIIIIIGHT WE ALL FELL FOR IT DAMMIT.

I’m not mad about it though tbh like it was fantastic. I didn’t even get fully caught up on the show and I STILL loved it. I feel like every character had a good arc and had their moment to shine, and it was all interwoven in a really lovely way.

I’m bitter that everyone was so quick to accuse Branson about being a political problem again but that’s because he’s my favorite (also can we all collectively mourn the fact that Branson and Mary never got together I just–) but anyway, I digress.

It was so heartwarming and fulfilling and such a lovely, sweet farewell to these amazing characters that captivated me for years and years. I will miss them all so much but I adore where their story ended.

STANDOUT ELEMENT:

THOMAS’S ENTIRE STORYLINE I’M GONNA CRYYYYYYYY

Thomas has always been such a fascinating character and now he got a really good, happy plot and I’m so happy for him?? It was heartbreaking watching him try to “fix” himself near the end of the show and now he’s out here kissing cute boys in the kitchen??? What an icon. I love him.

Also again, Maggie Smith’s final scene at the ball with Mary was absolutely heartbreaking in the best way possible. It was so sweet watching those two connect in such a vulnerable way I’m GONNA CRY AGAIN.

SHOULD YOU TAKE YOURSELF TO SEE THIS MOVIE?

Please do absolutely if you are a Downton fan. Please please please. If you aren’t a Downton fan, first of all what are you doing with your life, secondly yeah, okay, maybe this movie isn’t for you.

It’s still good though.

Better female character development than some other movies I could and will mention ruthlessly *cough*ALITABATTLEANGEL*cough*.

All in all, I give Downton Abbey…..

4.5/5 CRYING BOWTIES!!!!!

MINIVIEW 4: THE GOLDFINCH

MY THOUGHTS:

So like, I know this book was a really big thing for a while but uh, I never read it. I don’t know why, I think I was just solely in my YA dystopian fiction phase when it came out and I was just like…meh.

(Tbh I’m still in that phase but it’s more out of spite now because I will defend YA dystopian fiction till my last breath thanks)

So I guess the main thing I’ll say is that wow seeing the movie made me really, really want to read the book.

Overall, the movie is beautifully shot and acted, and wow Ansel Elgort does an amazing, amazing job. I love him in basically anything but that’s beside the point.

Actually like all the acting? Really wonderful.

It’s an interesting, really gritty tale, and I was a little surprised by how much I did like it. But like…I dunno if I would watch it again? At least not until I read the book. Because like, the movie was good. But it just makes me wonder if the book is fantastic.

STANDOUT ELEMENT:

Oh the cinnamontography for sure. That entire scene where our main boy wakes up in the gallery after the bomb is stunning and super eerie and beautifully done.

Also–it’s super gay, y’all. I genuinely don’t care what they’ve said in interviews, it’s gay. That kiss was not platonic. That forehead touch was not platonic. THEY ARE NOT PLATONIC. If you watched that and said “wow, that’s just like me and my friends!” BOY DO I HAVE SOME NEWS FOR YOU.

Also Nicole Kidman is the light of my life, thank you for coming to my Ted Talk.

SHOULD YOU TAKE YOURSELF TO SEE THIS MOVIE?

I mean…maybe?? Again, I really really liked it, I just think the book might be better and maybe we should all go read that instead I’m just saying…….

But, if you were on the fence about it or think you do want to see it, I absolutely think you should because it is really good. Also like, I cannot get over how much I thought they were going to end on a really depressing note and I was about to be SO MAD and then WOW that sudden plot-twist turn-around in the last 10 minutes or so was iconic. So that’s another thing: if you’re worried about a depressing ending, it isn’t.

Also I mean if for some reason you’re like “wow my only two options for movies tonight are The Goldfinch and Alita: Battle Angel…” watch The Goldfinch.

All in all, I give The Goldfinch…

3.5/5 PUDGY LITTLE GOLDFINCHES!!!

MINIVIEW 5: THE ADDAMS FAMILY (2019)

MY THOUGHTS:

If you saw the trailers for this and you, like me, were like “oh boy I hope that’s actually good!” DO I HAVE SOME NEWS FOR YOU BECAUSE YES. YES IT IS.

It is absolutely a fun family flick about the best family in the world, and I want to watch it again purely to be able to catch all the dorky little details they threw in because there are so many. You can tell they had so much fun making this and I’m glad, because I had a lot of fun watching it. The animation is a delight, the voice-acting is incredible, THE REMIX OF THE THEME SONG IS ACTUALLY REALLY CUTE, and the message about family and accepting who you really are and how being different is a good thing is super sweet.

So many of the characters had a really fascinating arc and it was fun to watch how those arcs were mirrored in some of the new original characters. Also YOU GET TO SEE MORTICIA AND GOMEZ’S WEDDING AND IT’S RIDICULOUS AND AMAZINGGGG

STANDOUT ELEMENT:

So fun fact: apparently all the character designs for this movie were based on the ORIGINAL designs from the ORIGINAL COMIC STRIP. YEAH. I didn’t even know that there was a comic strip before there was a TV show?? But there is! And the movie designs really look like the comic designs just walked off the page, it’s kind of really impressive.

Also Snoop Dogg voices Cousin Itt I–

ALSO the end credits are shot like the TV opening and the ENTIRE AUDIENCE DID THE SNAPS WHEN IT HAPPENED.

SHOULD YOU TAKE YOURSELF TO SEE THIS MOVIE?

Honestly, yeah. I mean if you’re already kind of an Addams fan, I recommend going to see it. It’s super heartfelt and very sweet and fun.

If you just like quirky movies, yes.

If you want a whole lotta bloodshed I mean…uhhhh I’m sure there’s blood somewhere I forgot, I mean, it’s the Addams family.

All in all, I give The Addams Family…

4.5/5 BOMBS!!!

(I was gonna do swords because that’s a big thing but I realized that bombs works much better in honor of Puggsley and his whole character arc about being true to himself. It makes sense, I swear.)

TRAILERS WE HAVEN’T DISCUSSED YET: (I THINK…SOMETIMES I DON’T TOTALLY REMEMBER TBH OH WELL)

Crash course trailers HERE WE GOOOOO

Arctic Dogs is….a movie. That’s uh…really all I can say about this one.

Charlie’s Angels looks super good and I really hope it is good and I cannot WAIT to see itttttt

Last Christmas is a movie I have seen already and BOY are we gonna talk about that one. After I stop crying.

Brittany Runs a Marathon looks like it could be really decent. Or really preachy. Or both.

Ford v Ferrari looks like a real Oscar-bait of a movie but maybe it’s actually good. I dunno. I have such mixed feelings about racing because like I mean eh, also it’s really dangerous, but on the other hand….FAST CARS COOL.

Harriet looks beyond absolutely incredible.

Dark Waters looks so, so good and amazing. Mark Ruffalo is already the love of my life and this story looks incredible. I’m real excited.

Western Stars looks really sweet and uh…yeah.

Just Mercy looks…wow. I have a feeling it does not end happily at all but it looks incredible.

Doctor Sleep…okay look. I love Ewan MacGregor. I would do almost anything for him. EXCEPT see a Stephen King horror movie I will not do that for him I’m sorry Ewan.

Jojo Rabbit looks FANTASTIC and I’m SO EXCITED to see it I am adding Taika Waititi to the list of movie makers who own my soul thanks.

And that does it for the Miniviews!! I really enjoyed this batch of films. This will be in stark contrast to my next planned review because…well I saw Joker. And uh…yeah we’ll get to that.

The Lion King (2019) REVIEW

Alright it is time for Disney live-action remake numberrrr…a lot.

A couple weeks ago (Actually by now it was a lot of weeks ago, like, months ago…THANKS, REAL LIFE), I took myself to the movies and saw The Lion King!

Listen–I have a plethora of feelings about all these remakes, okay? On the one hand, there is a whole assortment of movies that I think would make great live-action remakes, and then there are the most profitable ones. For example–live-action remake of Atlantis: The Lost Empire? Iconic. Amazing. Please stop ignoring my baby Atlantis. Instead, we’re getting a lot of princess movies because everyone loves princesses (KIDA IS ALSO A PRINCESS YOU IMBECILES I’m fine) and now we’re getting Big Cats.

I feel like no one really knew how to handle this when it was announced. I mean, on the one hand…why? This is unnecessary? On the other hand…

But we’ll get into details later. For now, let’s start with the basics:

THE PLOT

For any Lion King or Shakespeare newbies, let’s discuss.

We start with all the animals in Pride Lands going to Pride Rock to see the…crowning? Christening? Announcing? Of the new baby lion king, Simba. Simba is tiny and adorable and pure. I sure hope nothing happens to destroy that innocence of his!

We are introduced to a whole slough of key characters: Zazu, the king’s assistant or something (played blessedly by John Oliver); Mufasa, the lion king himself; Sarabi, the lion queen (if you ignore actual lion biology and behaviors); Scar, Mufasa’s brother and perpetually bitter about not being lion king; Rafiki, spiritual monkey dude who doesn’t say much; Nala, apparently Simba’s intended and a general sweetheart; and of course, Simba, the little lion prince himself.

Scar, having no soul I guess, is determined to get rid of Simba and Mufasa so he can be king (if you know the plot of Hamlet, you know where this is going), so he hatches a plan to lure Simba to the dreaded Elephant Graveyard so that he can become hyena chow. Simba and Nala take the bait because…well, plot, and they sing a song in order to get rid of Zazu and head to the Elephant Graveyard.

Once there, they do indeed almost become hyena chow, but Mufasa himself shows up (alerted by Zazu) and he saves the two little punks. Mufasa and Simba have a Conversation about responsibility or whatever, and then they talk about the kings of the past living on in the stars (this will be important later).

It is revealed that Scar is in league with the hyenas (and everyone pretended to be shocked) and he promises them actual status in the Pride Lands once he gets rid of Mufasa and Simba and becomes king. The hyenas are skeptical until Scar sings a really, really watered-down version of the classic villain song “Be Prepared,” and Scar hatches a new plan.

He leaves Simba down in a ravine to practice his roar, telling him this is what all future kings do. He then has the hyenas initiate a stampede. Scar runs to retrieve Mufasa, who of course leaps down into the stampede to save his son. Mufasa manages to get Simba to a safe location on the side of the steep cliffs, but struggles to climb back up on his own (why did he not also just wait it out like Simba instead of trying to get back to the top? BECAUSE PLOT). Simba doesn’t see this, but when Mufasa reaches the top, Scar actually shoves him back down into the stampede.

Everyone’s favorite heartbreaking moment happens as Simba finds his dad’s body and asks him to please wake up. Scar confronts Simba and tells him to run far away and never return (since he totally killed the king and all). Simba totally believes him because PLOT and runs away. Scar takes over the Pride Lands. The hyenas overhunt. Simba is found by Timon and Pumbaa and raised without a care in the world far away from the troubles of the Pride Lands and his past.

Until one sunny day when Nala comes stumbling into the oasis and tells Simba he has to go back to confront his uncle and take his rightful place as king. But Simba can’t go back and face everything that happened…can he?

THE REVIEW

So here’s the thing: I liked it. I really did.

Is it unnecessary? I mean…kinda, yeah.

We’ll get into this more in detail below, but the basic fact is that there is a lot to discuss when it comes to these remakes. Are they necessary? Is it a requirement that they add anything new? Should they stay completely faithful to the original source material? Does this story even work in this new medium? Why are we continuing to be okay with Disney owning our souls? So on and so forth.

Regardless of all of this, the fact remains that when the sunrise began onscreen and the first notes of “The Circle of Life” started playing, I was damn excited.

Were there things I was unhappy with? For sure.

Were there things I totally loved and appreciated? Absolutely.

I guess what I need to do is create a new category for movies like this: will they win any awards? Not necessarily. Do they contribute anything on a larger scale? Not necessarily. Do they make the audience ponder something, or think and discuss it afterwards? Not necessarily.

Is it a damn good time?

ABSOLUTELY.

Spoiler alert ahead! (If you somehow don’t know The Lion King…or Hamlet)

THE MUSIC

Listen. It’s Lion King. It’s my boy Hans Zimmer. The music is fanTASTIC.

I’m fully up to arguing about it with you but you’re not likely to change my mind tbh.

Spotify made a playlist with all the music from the new movie specifically, if you’re interested, so go check it out!

Like I briefly mentioned above, my one little…problem, I guess, is the changes specifically made to “Be Prepared.” That song is such an iconic villain theme, and it’s just not present in all its glory here.

(Also like…fam…BeyoncĆ©.)

THE CHARACTERS

I feel like any large change in major characters was due more to the animation choices when it comes to facial expressions rather than anything else related to actual character…like, Simba wasn’t as emotional? Y’all, his face barely moved in this version. I’m sure he still felt things.

…Probably.

Zazu has always been memorable, of course, but I would like to thank and also sell my soul to whatever stars aligned to allow us to have John Oliver as Zazu. I am not even exaggerating. To some degree, he almost feels out of place since he’s everyone’s favorite comedian in a surprisingly serious Disney movie (more on the tone later) and maybe I’m biased as a huge John Oliver stan, but…I don’t care, y’all. He was fantastic. It is disappointing to me that we didn’t get to hear him sing snippets of “It’s a Small World” and “I’ve Got a Lovely Bunch of Coconuts” (is that the name of the song? It is now), but again…more on the tone later.

In the complete opposite corner, we have Scar. Scar is…a character. I feel like the biggest change for him comes in the form of being angrier. Original Scar felt like he dealt with his issues by covering it up with sarcasm and witty retorts–he was still the villain, but he knew he was more cunning than he was physically strong. This Scar, while certainly still cunning, doesn’t cover up any of his issues or insecurities with humor. This Scar has allowed everything that happened to him to harden him as an individual, so while he’s certainly a villain, he’s a lot less fun than the original.

Rafiki’s change was…fascinating. But I’ll get into that later.

Many of the other characters didn’t change much (with the exception of less facial expressions, of course). Timon and Puumba are voiced by different comedians, so their whole thing is slightly different, but the same idea is there.

Overall, the characters weren’t that different comparatively. So what did change?

THE COLOR

As much as watching the original is painful because nothing will ever be okay when Simba is asking Mufasa to wake up (and now I’m crying), the overall tone of the original was just…playful.

It was a serious story, for sure, but it was tempered with fun all throughout. The colors are bright and boisterous. The self-aware jokes abound. Yet it still sells itself as perfectly serious when it needs to be.

So how does that work?

Well, if you’ll allow me to dive way too deep into a kids’ movie (as I adore doing)…the movie begins with bright colors and a cheery mood. It’s still a realistic palette, because it’s “reality,” but it’s warm and cheery, just like Simba’s life at the start. Then, during “I Just Can’t Wait to Be King,” the colors explode in an unrealistic fashion to match the song and the choreography where animals do things they normally can’t. This is a stark contrast to the Elephant Graveyard that immediately follows, full of grays and purples. There is danger here, a realistic danger, not like the fantasy world Simba had just come from. Scar’s fantastic villain song, “Be Prepared,” is all greens and blacks, shadows and eeriness. Like many of the other songs, the colors shift to be just a little unnatural, but it’s still not as out there as Simba’s song. Anyway, the colors shift again during the stampede and following it. The warm colors from the beginning are suddenly too bright and harsh, and it frames Simba’s exile well. Then, when Simba meets Timone and Puumba, the bright colors from “I Just Can’t Wait to Be King” return because essentially, Simba has found his fantasy world again. The bright, somewhat unnatural colors of paradise are a perfect setting for “Can You Feel the Love Tonight,” and it’s a perfect contrast to the wasteland the Pridelands have become. Simba’s conversation with Rafiki about his destiny and his dad are all the cool, toned-down colors of night. The battle between Simba and Scar is fiery, so the palette returns to those unnatural warm colors from the stampede scene. Once Scar is defeated, it rains, and the harsh warm colors from both the battle and the memories of Mufasa’s death wash away to return to the cool palette of night that we saw when Simba talked with Rafiki. It ends where it began–the colors are a realistic, gentle palette again as Simba’s daughter is introduced to the world, and the circle of life continues.

Clearly, I could talk about color theory forever. And I will. One of the endlessly beautiful things about the Disney renaissance films especially is their stunning use of color, and it’s used so gorgeously in The Lion King.

When you adapt an animated film to live action, you naturally lose that use of color. Animation is a medium that excels in the use of color, but live action doesn’t have that, and that’s just a fact. You can make up for it somewhat in settings, framings, and especially in costumes, but it won’t ever be quite the same as the entire screen exploding with color like you see in the animated films.

I think it’s why the live action Cinderella and Aladdin work for me a little more than the live action Beauty and the Beast and, yes, The Lion King. The characters from Cinderella and Aladdin, while played by “live action people” (I can’t say “real” people because voice actors are real people, too, I promise), are still set in a fantastical world that wasn’t established to be grounded in reality. Cinderella takes place in a kingdom, sure, but where? When? We’re never told. We don’t have to know. Because of that, they can get away with more color. The green of the leaves and the forest can be just a little too bright. The gold of the palace can be just a little too shiny. The garish colors of the ball gowns can be just a little too, well, garish. It’s fantastical and it fits. It’s the same thing with Aladdin–it has a general overall setting, but it’s never fully grounded in time or place, so everything can be just a little too enchanting.

Beauty and the Beast, on the other hand, tethers itself to a specific location (France) and a specific time period (late 18th century). That immediately limits what you can do because the audience expects some sort of reality amidst the fairy tale. It can work, of course, but it just takes some of the magic of the animation away–there’s no way around it. The costumes and the hair and the setting have to be specific to the time period and location you’ve established–you’ve immediately limited yourself.

The live action Alice in Wonderland, hated as it is (why are people so angry at movies all the time?), I think is a good example of this because the creative minds behind it used the plot point of a magical world to still give us all that over-the-top fun from the animation while still grounding it in reality. It’s a fun trick, because you as the audience, like Alice, can never be sure if you were dreaming or not. Alice’s reality is boring and bleached of anything remotely fun, but when she enters her dream world, the colors explode, characters behave like they are animated, and even when she returns to her reality, everything looks just slightly more magical.

I think there’s a way you could have done something similar with The Lion King, but despite the fact that this is a live action animated film (I mean it’s technically CG so we can’t even call it live action I guess?), it feels like everyone was so focused in grounding things in reality. It’s a movie about talking lions, but heaven forbid they show facial expressions. The colors are toned down to, I suppose, recreate reality, but I think the movie suffers for it. The fiery battle with Scar at the end followed by the rain still happens, but the brilliant color scheme is lost–sacrificed for the sake of reality.

In some ways, I think the movie did a good job with this. “I Just Can’t Wait to Be King” is no longer an over-the-top fantasy sequence where animals dance and sing with Simba, but a boisterous romp through the watering hole. Simba and Nala turn the whole situation into their own sort of jungle gym as they weave in and out of animals to escape from Zazu’s watching eyes. I think the scene is beautiful and fun, even if it is drastically different from the original.

In others, I think they really missed out. The rather lackluster “Be Prepared” has no element of playful fun to it at all, unlike the original. It’s purely dark–both in tone and in the colors onscreen. It’s unsettling, sure, but that’s about it. We already know that Scar hates Mufasa and is jealous of him, but establishing that is about all this scene does in this version. In the original, “Be Prepared” was fun. It was still a villain song, but it established how cunning and dangerous Scar really was. All we’d seen of him up to that point was how lazy and disenchanted he was–“Be Prepared” was where we first got the hint that something far, far bigger was going on underneath the sarcastic surface.

This ties into part two of the big change, which like I mentioned above, is:

THE TONE

I think one thing I’ve always loved about the original film is that I knew I was in for a good time. Some scenes are devastating to watch, this is true, but above all else, the animated movie always held a tone of whimsy and fun. The point was to be an enjoyable, beautiful story. With talking animals. Comedic relief abounded, and good thing, too, because…it’s pretty dark if you think about it too much.

I feel like the change in tone is most evident when it comes to a couple specific characters.

1. SCAR

Poor, sweet, beautiful Scar…what did they DO to your villain anthem??

I think how I would best describe animated Scar is that he’s an enjoyable villain. Many of the Disney renaissance villains are ones I would categorize as such–Scar, Hades (though I guess Hades isn’t technically renaissance because Hercules technically isn’t but he’s one of my favorite so he stays haHA), Ursula…you get the idea. We kind of love to hate them. They’re terrible people for sure, but look at their designs!! Their songs!! Their memorable quips!! They’re all such a perfect balance of fun while also being absolutely awful. They’re fun to watch but you wouldn’t necessarily want to deal with them yourself–and always without fail their humorous moments are tempered beautifully by their horrific actions. Ursula’s all good fun until she steals Ariel’s voice and uses it to steal her prince (#rude). Hades is relatable AF, but we don’t love him for laughing about Meg’s death and releasing the titans to destroy everything. Scar is the funky distraught uncle until he straight-up murders his brother and convinces a CHILD that it was his own fault and should be banished.

Along with the loss of vibrant color theory play, this enjoyable villain thing is something I feel like the live-action remakes have generally missed. Like a lot. I would argue that Cate Blanchett’s delightful stepmother in Cinderella is the closest they’ve come–she’s classy and delightful to watch, but you’re furious with her for smashing the glass slipper and scheming the way she does. Is she the absolutely horrifying Lady Tremaine of the shadows from the animated version? No, but she’s still good. On the other hand, you have Jafar from the live-action Aladdin, who was just…he was just pure villain. You at least got the impression in the animated movie that Jafar at least had fun every now and then (also Iago? I love him), but this live-action Jafar was just dark and evil and cruel through and through. He wasn’t as interesting that way, just…dark.

This, unfortunately, carries over to Scar in this version of The Lion King. Scar used to be sarcastic, overly dramatic, and delightfully snarky. He was clearly outmatched physically with Mufasa, so he made up for it with a quick wit and dramatic schemes. This new Scar is just like the new Jafar–any semblance of fun or enjoyment has been torn away from him, and what we’re left with is a bitter, angry character with no redeeming qualities.

Interestingly, the 2D animated Scar felt like much more of a well-rounded, three-dimensional character than the one we got in the live-action film. He’s still Scar, he still goes through all the motions, but without any of the heart or fun.

2. THE HYENAS

I group the hyenas together, but there is a disclaimer here–my main issue is with how they changed Shenzi.

Of the three main hyenas of the original story, Shenzi has always been the more competent, but like Scar, she still had an element of fun to her. She was goofy and ridiculous, and she messed up a lot. This, I think, made everything so much more meaningful when she led the final charge against Scar at the end. She finally stood up to him and showed she was plenty smart and cunning, thank you.

The Shenzi we got in the live-action film is still interesting, sure, but also like the new Scar, she’s so much darker. She was even more of a goofball than Scar in the animated film, and here, she’s even more evil. She’s much more silent and reserved–I don’t even remember if she still leads the charge against Scar because it doesn’t mean as much. Her character change here made her much more of a chained-up dog waiting to pounce than she used to be. Scar’s hold on her was a lot more tentative here, which means the surprise of her attacking him (if that even did happen) was lost–you expect it throughout the entire movie.

The other two hyenas are still a sort of comic relief, but not in the same way. This movie is so much more serious than the animated version, so any sort of attempt at comic relief honestly feels a little flat. The two somewhat silly hyenas seem very out of place now, where before they used to fit the puzzle perfectly.

3. RAFIKI

I love puppets. Like, a lot.

I promise this is related.

When I was a relatively new theatre-nut as a kid, my parents and I were able to go see the stage version of The Lion King, which is kind of famous in the theatre world for being a full-length musical done with a whole lotta gorgeous, stylized puppets (this was before Avenue Q, okay?…I think)

Now Rafiki in the stage show is one of the few non-puppets, and Rafiki is also typically played by a woman. Rafiki sings one of my favorite musical theater songs ever (“He Lives in You (Reprise)”) and is just generally wonderful. This is a delightful new take on a character I already enjoyed for being a complete mystical goofball in the original animated movie.

So yeah, I got a little bit of a soft spot for Rafiki. I generally don’t like monkeys, but Rafiki is the one exception for me.

I was excited to see what they’d do with Rafiki in the live-action adaptation. Would he be as much of a goofball as I remembered? Would they pull some sort of inspiration from the stage show and have Rafiki be played by a woman? Would Rafiki sing my favorite song????

The answer is uh…none of the above. I realize it’s been a few weeks (months) since I’ve seen the movie at this point, but uh…Rafiki didn’t do anything in this movie, y’all.

Not only did he barely appear, but I genuinely don’t think Rafiki said a single damn word.

This was such a weird change for me because I cannot for the life of me understand why this change was made. They kept in the classic scenes of Rafiki holding Simba the cub up on Pride Rock, him drawing baby Simba and then crossing him out when he’s presumed dead and gone, so on and so forth. I think he fights at the end?

One of my favorite scenes from the animated movie is when Rafiki speaks with Simba when he’s at his lowest. It’s why I like “He Lives in You (Reprise).” Rafiki shows Simba that Mufasa is alive–in him. He doesn’t tell it to him outright, but he helps him realize it in possibly the most vague and frustrating way imaginable. And isn’t that how life is?

Rafiki, Shenzi, and Scar are characters who, while they are definitely more than that, are silly. They’re comedic as well as crucial. They add to the animated film’s tone of lightness when it’s needed–and enhance it to be even more. The live-action movie took all of that away from them, and it’s a real shame.

The live-action movie, for some reason, decided it needed to take the more serious elements of the original film and enhance them by about a billion, and these characters prove that. Any element of fun was stripped from them and replaced with something else (or nothing else, in Rafiki’s case). Is it bad? Not necessarily. With the exception of Rafiki, I still think it’s executed well. It’s just…different. Unfortunate, if you know the source material, but not necessarily bad.

SHOULD YOU TAKE YOURSELF TO SEE THIS MOVIE?

Listen, if you expect something groundbreaking and breathtaking and the best thing in the world like…Black Panther, this movie ain’t it, chief.

On the other hand, it’s also not something confusing, disappointing, but still visually appealing, like…*cough*ALITABATTLEANGEL*cough*

This movie, like The Meg, Late Night, and arguably Scary Stories to Tell in the Dark, is just a damn good time. Maybe it doesn’t add anything new or say anything incredibly profound and life-changing, but that doesn’t mean it’s bad.

And who knows, maybe some people did get something new and profound and amazing out of this film–and that’s awesome!

For me, I don’t think it necessarily adds anything to the original animated story (unlike Cinderella and Aladdin and I guess Maleficent? I always forget that’s technically the live-action Sleeping Beauty…I mean it’s GREAT though), but it’s still enjoyable. It’s definitely still a fun time, and it’s still gorgeous to look at. It’s just…different.

But if all you want is a damn good time at the movies, I think I can recommend this to you. Unless you’re someone who is continually offended by the live-action remakes–you may be too blinded by love of the original to see anything good in this one. And I get that, believe me! So maybe this one isn’t for you, and that’s just fine.

As I like to say, I don’t know you, I don’t know your life.

All in all, I give The Lion King…

3/5 REALLY AWESOME DRAWINGS OF BABY SIMBA!!!

What are you talking about, this is exactly what they looked like in the movie.

FAVORITE MOMENT:

I really do love the “I Just Can’t Wait to Be King” sequence, but also can we please talk about changing the distraction joke from Timon wearing a hula skirt and singing to Timon putting on a horrible French accent and singing “Be Our Guest”? Iconic.

I mean, I love you Ewan McGregor, but…yeah.

“OOF” MOMENT:

As discussed above, the changes made to Rafiki really irked me, and I’m still not over what they did to “Be Prepared.” Big frowny face from me, y’all.

TRAILERS TO WATCH OUT FOR:

Playing With Fire looks so, so bad. And it’s a shame, because I think if they took it seriously, it could be an interesting story. But because it’s aimed at kids, it’s going to be filled with stupid humor. Because kids aren’t smart enough to understand anything else, right? (I should say though, that the last time I saw this trailer in a theatre full of adults, THEY were all laughing at it. These were adults who came to see the Downton Abbey movie. DOWNTON. ABBEY. WHAT IS HAPPENING TO THE WORLD.)

Listen. Listen. Cats is unironically my second favorite musical and you bet I am going to see this movie at least once and be unironically excited about it. Were interesting choices made? 100%. Am I still going to see it because Taylor Swift is a cat? Without a doubt.

Mulan is…happening. I’m so torn. This may be the remake that breaks me. Because on the one hand, I’m thrilled they’re changing things so that it stays more faithful to the original Chinese legend. On the other hand…”I’ll Make a Man Out of You” šŸ˜¦ (then there’s all the drama with the lead actress making public her support for the Hong Kong police which is a whole other barrel of worms…are there any more updates about that? Does anyone know?)

And that about does it for this review!

Is it the best Disney movie ever? Definitely not, that honor belongs to Tarzan and Atlantis: The Lost Empire…although I guess Black Panther is technically a Disney film, too, because Marvel…? So fine, that one can stay, too.

But it’s still good. It’s still fun. And y’all…it still has BEYONCƉ.

Toy Story 4 REVIEW

Itā€™s cute how this poster lies to you by making you think all these characters are actually super important in the movie

So, a while ago, (in my defense–it was Shark Week) I took myself and the fam to the movies, and we saw Toy Story 4.

Which is…a film.

I will freely admit that although I tried to go in without any expectations, I still had a lot. I mean, it’s PIXAR. And…it’s Toy Story.

So while it’s safe to say that it’s certainly a well-done movie, I just…I have feelings about it.

THE PLOT

We pick up right where we left off in Toy Story 3, with all of Andy’s toys now belonging to Bonnie, and–

…wait, we don’t do that?

Oh…okay.

We ACTUALLY pick up in a sort of flashback. It was briefly mentioned in Toy Story 3 that somehow, our favorite group of ragtag toys lost Bo Peep sometime during the years when Andy was growing up. While it’s certainly sad, I mean Woody and Bo were like…aw, she’s not the only toy they’ve lost over the years. Again, while it’s sad, it’s something they’ve dealt with before, but the important thing is that they all stuck together because they are each other’s family.

Oh, jeez, I’m sorry, I’m going on and on about the consistent message the past three films were giving us, about the importance of finding who you are based off of the people who care about you and not what society tells you, about overcoming sadness and heartbreak by facing it and moving forward with your family who loves you because you’re never alone in anything, about how found family is just as powerful if not more so, about how friendship can always win…

Anyway, Toy Story 4 basically answers the question none of us asked: why is it that these movies are so focused on friendship when we all know romance is the TRUE superpower??

…plot. Yes. We’re talking about plot.

Andy’s younger sister Molly grew tired of her Bo Peep lamp, so the family decided to give her away (I initially assumed to some sort of collector, but it sounds like she did go to another family with a kid first before ending up in the antiques shop). After performing a daring rescue to save RC Car from the gutter during the rainstorm, Woody heads back outside to save Bo Peep as well.

Bo gently points out that she’s not Andy’s toy, so there’s no need for him to try and keep them all together or something like that. So Bo and Woody have a heartfelt goodbye in the rain, Andy freaks when he realizes Woody is outside somehow, and life goes on.

Now we finally catch up to where we left off perfectly in Toy Story 3. All our favorite toys now belong to Bonnie, and life carries on as usual. The only problem is, Bonnie never actually plays with Woody, and she leaves him in the closet all the time.

This gives Woody a bit of an identity crisis because, I mean, he’s a toy!! He should be played with!!! He’s the leader!!!! So he breaks all the rules and sneaks inside Bonnie’s bag to accompany her to kindergarten. Bonnie is, heart-achingly, scared of kindergarten and doesn’t want to go. She’s shy and doesn’t easily make friends, and when she tries to, her art supplies get thrown out. Woody sees this and magically gets the art supplies back on her table. Bonnie, now determined, makes herself a friend: Forky.

(Sidenote: it drives me crazy that Forky is actually a spork. I know that’s part of the joke, but like…he refers to himself as a spork…other characters refer to him as a spork…JUST CALL HIM SPORKY. You’re telling me Bonnie didn’t know what the difference was between a fork and a spork?? I learned that when I was younger than Bonnie and it was my favorite fact in the world. Anyway. Back to the plot.)

Forky is a little, uh…he’s a little lost. He keeps trying to throw himself away because…I mean he’s a plastic spork, but Woody won’t let him. He tells everyone that Forky is “the most important toy to Bonnie right now” so he has to protect him.

Bonnie’s family ends up going on a road trip, and of course, Forky escapes on the road. Woody jumps out of the RV to go find him and bring him back, and then they get side-tracked because Woody sees what he thinks is Bo’s lamp in the window of an antiques shop. This is where they meet Gabby Gabby and her weird army of silent puppet minions, and also where, yes, you guessed it, Woody and Bo are reunited.

The adventure unfolds, new friends are made, and while Woody’s consistent goal is to get back to Bonnie, he has to keep asking himself…does he really want to?

(Yes. Well, the old Woody would. I don’t know this new guy.)

THE REVIEW

OKAY, now that the plot’s out of the way, I get to be as snarky as I want to.

I really wanted to like this movie.

I always have high expectations with Pixar, and even though I’m not the biggest fan of sequels (and Pixar has certainly had some less-than-stellar sequels…lookin’ at you, Finding Dory and Cars 2…), I’ve loved all of the Toy Story movies. In fact, as I was ruminating on what I would say about this movie, I realized that the second Toy Story is actually my favorite of the bunch!

What I appreciated is that every addition to the Toy Story franchise brought something new that added to the world and the characters and almost never felt redundant or unnecessary–the first is about coming to terms with being a toy and learning how to deal with not being a favorite anymore, the second is about second chances and trust and also about legacies vs. friendship, and the third is all about growing up, change, and facing hardships together.

None of the major plot points in Toy Story 4 are new, with the exception of Forky’s creation, which just brings about so many questions about how inanimate objects even work in this universe. Even then, Forky’s entire plot line is thrown to the curb not even halfway through the film, because despite the advertising, he’s not the main focus of the story at all–Bo Peep is.

Look–I could go on and on, and trust me, I will. While I certainly have nitpicks as well as just general overall problems with the film, I still will say that it’s a good movie. It just is. It’s absolutely gorgeous, for starters, and some of the new characters are delightful additions to the franchise (Ducky, Bunny, and Gabby in particular). I still cried like a baby during the entire last act. I still liked it.

That doesn’t change the fact that I left feeling disappointed. And I know, because I’ve said it in many of my reviews, that not all movies are for everyone. That’s one of the most beautiful things about cinema as a whole–there are so many options, there’s bound to be something for everyone. Just because I, and a very select few others, were disappointed with the film and have some issues, doesn’t mean everyone feels the same way. Lots of people loved the film and were so happy for Woody and Bo, and that’s great.

I guess what hurts is that I grew up with this franchise and these characters. I got used to seeing Pixar as a studio that, ultimately, could make stories that mostly everyone could enjoy. I got used to this franchise that stuck to its main theme of friendship being so much more powerful and important than we are normally taught it is. I got used to this weird sense of entitlement with these stories, and I get that these movies are not for me.

It’s just…it always felt like they were.

So what is it exactly that set this movie apart in such a weirdly negative way?

If you’re still with me, let’s charge ahead!

WHO’S READY TO OVERANALYZE A KIDS’ MOVIE????

THE ART

Like I mentioned previously, this is a gorgeous movie. It just is. The animation is just…it’s jaw-dropping. And the attention to detail? Just ridiculous. Pixar goes above and beyond to make this a beautiful experience if nothing else, so credit where credit is due: those animators and those artists deserve so much love and attention for their work on this film. It’s so detailed and realistic it’s sometimes hard to remember that this is supposed to be a kids’ film and an animated movie…

I…yeah. I mean the only way to really appreciate it all is to go and see the film for yourself. Despite my personal feelings about the rest of it, I do genuinely think it’s worth seeing for the art alone.

The music is, for the most part, delightful. Again, it’s Toy Story, it’s Randy Newman, it’s wonderful.

…with the exception of the re-use of the classic theme “You’ve Got a Friend in Me,” but we’ll get to my beef with that later.

Donā€™t get attached to any of these lovable friends, theyā€™re barely in the movie

THE CHARACTERS

…let’s start with the new characters before I get into…other things.

Forky is a precious summer child and I love him. All the jokes about him being the perfect representation for people finally because…he’s trash (and so are we all) are hilarious. He’s adorably naive about everything since he’s only been alive for a couple days, but I don’t think it ever gets annoying at all. He vexes Woody, sure, but it’s more adorable than obnoxious. Once he understands Bonnie’s attachment to him and how important he is, his determination to get back to her is super sweet. We only experience a portion of it because, again, despite all advertisement he is not the focus of the film, but I digress.

Ducky and Bunny are a pair I was convinced would be annoying, kind of like the little alien in MIB: International, but they were surprisingly lovable. The various “plush rush” jokes were fantastic, and the fact that their “hands” were sewn together and therefore they constantly had to move like that was super great. My main quip with them is that they were introduced with this whole plot line of “we’re mad at Buzz because he ruined our chances to be won as a prize and go home with a kid!” And then it was just suddenly dropped in favor of the whole Bo x Woody thing. Like, whoops, my bad, I thought we were playing by the previous Toy Story rules of “everyone joins our found family group” haha SILLY ME.

Gabby Gabby is by far my favorite part of this film. I mean she was heavily advertised as the villain, and they do present her and her minions that way. When we learn about her from Bo’s point of view, we accept she is the villain. What’s fascinating about Gabby is that she’s just like every other toy (except for Bo): she just wants a kid. In fact, she has her heart set on one kid in particular, and when we learn this about her, it only makes her more endearing. It is genuinely heartbreaking when she is rejected by the shop owner’s granddaughter. We are genuinely happy for her when she gets to go home with the girl who was lost at the fair. Hers is the one plot line I would say is genuinely unique (besides Forky’s, perhaps) and even then, there’s some overlap. Anyway, I love Gabby and I wish her the best of the best.

Bo Peep is by far the star of the film, and that’s fine. She was never my favorite toy from the previous films, but I’m not holding that against her. I like the idea of her making a comeback (though I still think it’s an unnecessary storyline since Woody had definitely moved on from her, but we’re apparently getting rid of everything the past films taught us anyway so moving on) and having changed into a sort of kick-ass vigilante type. To give credit where it’s due, Bo’s transformation to lost toy was very believable and effective, and I think it suits her character well. I do believe that despite her strength during their flashback goodbye, she would definitely still have feelings about Woody and would miss him. They were great friends and inferred great loves. That’s all fine.

What’s not fine is Woody, but I think I need an entirely different section for that.

I can’t even talk about any of the other characters because they don’t get enough screen time to justify it. Keanu Reeves voices a Canadian stuntman doll who’s a great source of comedic relief, but that’s about it.

THE WOODY PROBLEM

How do I put this without sounding like a complaining child…I honestly don’t know if I can. This is a kids’ film after all, and continuity and great characterization are generally low on the list because it’s just for kids after all, who expects that?

But the problem is that Pixar built an entire foundation on getting us to expect things like that. Each previous Toy Story sequel took what was already good about the previous film and built on it. This film knocked over the entire tower.

Woody has always been a fun protagonist in the sense that he’s not perfect–far from it! The films don’t shy away from that. He’s selfish, easily jealous, passionate to a fault, an unrealistic dreamer, and sometimes just a flat-out jerk. It was always refreshing, then, to see him grow and change with every film. In the beginning, he had to wrestle with the idea of being replaced (or at least not being the favorite anymore), something we can all relate to. Then he had to struggle with choosing fame and legacy over friends and family (admittedly, not something that’s as easy to relate to, but somehow the film still presented the struggle in a sympathetic light). Then he had to struggle with the massive change that comes with growing up, and even at one point, coming to terms with death (something we all will have to relate to at some point). While Woody was always presented as the protagonist, he never dealt with anything alone. These films always pushed friendship and found family above all else, which has always been an incredibly refreshing take.

Woody learned how to make peace with not being the favorite toy, he learned how to show compassion for and learn about someone he initially didn’t like, he learned how to come to terms with a legacy that can easily overshadow him and take him away from what’s important, he learned that family and friends who fight for you no matter what are more important than anything, he learned that dealing with loss is a fact of life but one you never, ever have to face alone, he learned that sometimes the people who seem the nicest hide the cruelest intentions, he learned that life goes on even when we lose people, even when they grow and change…

And we learned all those things with him.

This is why it felt wrong for Woody to fall back into old habits from the first movie and suddenly be jealous about not being the favorite toy again. This is why it felt wrong for Woody to so easily and without question abandon the friends and family he’d sworn over and over again to fight for and be present for. This is why it felt so wrong for him to just choose romance over lifelong friends and family.

Rather than moving forward with the beautifully and intricately weaved plot over the years, this movie felt like it took 17 steps backwards, or even just created an alternate universe entirely. While the lost toy plot and choice is an interesting one, it’s a story that didn’t have to be Woody’s. Woody’s story was so neatly wrapped up in Toy Story 3 that it didn’t need all this extra out-of-character fluff. Give the plot line to RC Car–maybe the trauma of the rain gutter rescue really got to them and they decide they want to go around saving other toys or helping them so they never feel the way RC Car did. It would develop a character that we hardly heard anything from in this movie, but still be a good story about family and friendship.

Speaking of…

THE ENSEMBLE PROBLEM

It’s rare to find a series that does such a good job as a true ensemble piece. Sure, Woody and Buzz are in essence the “lead characters,” but we know and love the other characters just as much as them because they are all just as developed. We love Rex, Jessie, Bullseye, Slinky, Mr. and Mrs. Potato Head, Sarge and the guys, RC Car, Hamm, and all the rest of them just as much as our two leads because they also get screen time.

This was an element that, although blatantly present in all past installments, was blatantly absent in this film. So much emphasis was put on Woody and Bo and all of…that, that the rest of the ensemble (WHOM WE ALSO KNOW AND LOVE) got barely any screen time.

It felt hollow when Woody said goodbye to Buzz and the gang because we’d hardly seen them that film, just as Woody had hardly seen them. Rather than being thrilled to be united with them again (LIKE THE REAL WOODY WOULD HAVE BEEN), he had very little trouble just leaving them. Forever. It’s like….I mean….WHAT.

It’s called Toy Story. Not Woody Story. And I get that Pixar has had some major staffing renovations or whatever, I don’t follow drama if I can help it because then I just get sad *cough*THEMAGICIANS*cough*, but…this just felt way out of left field. For a series that used to preach on and on about how important and powerful friendship is, this just felt like a punch in the gut and in the childhood. And me and like, maybe two other people didn’t appreciate it.

THE ROMANCE PROBLEM

Now, listen. LISTEN.

I am a huge romantic. I fully admit and embrace this. Proposal videos make me cry. A sweet, well-executed romantic moment in a show, movie, or book will also make me cry. The scene in Ever After when Henry comes to save Danielle and calls her by her true name for the first time makes me SOB. EVERY. DAMN. TIME.

And maybe it’s because moving to a new state and losing a lot of really good friendships will do this to you, but I’ve grown to appreciate good depictions of healthy friendships just as much as healthy romance. It’s why I’ve grown to love series like Toy Story even more as the years go by (yeah, I know, “shut up ya 22-year-old millennial”).

While I can appreciate the sweet relationship that Bo and Woody have, I don’t prefer it to the friendships by any means. As cute as they are, Bo and Woody had barely any screen time and development over the course of the series compared to Woody and Buzz, Woody and Jessie, Woody and Andy, Woody and…literally almost anyone else. While I can believe that Woody would be nostalgic for Bo and what could have been, I can’t believe that he would abandon his family for her.

For some reason, 2019 seems to be the year of media friendships being literally shoved aside and tossed into the fires of “who cares I guess” to make room for romance that like…okay, I guess.

How to Train Your Dragon: The Hidden World was the first example of this that I can think of, and even though I praised the film for its depiction and inclusion of the realism of life or whatever then, I’m rethinking my stance a little. A great friendship was still ruined in favor of romance, and the Light Fury was even less-developed than Bo Peep. I do appreciate, however, that the reasoning behind the choice was at least well-thought-out. It wasn’t really a conscious choice on anyone’s part–it was presented as the unfortunate reality of the world they lived in. The only way to stay truly safe was to separate. Does it still suck and am I still a little bitter about it, looking back? Yeah. 100%.

Then we had Avengers: Endgame. I dunno if they were just trying to appease all their older, comic-book-loving white guy fans (assuming they cared about appeasing the fans at all #burn), but there is something genuinely wrong with the way Steve just up and abandoned Bucky and Sam. This is a case that I think is a lot more similar to the Toy Story situation than HTTYD is. Even though Steve was shown to fight for Bucky and Sam (but like, especially Bucky) and their friendship in movie after movie, for some reason, the first chance he gets to time travel, he goes back and stays with Peggy. Now don’t get me wrong, Peggy is great and I love her, but Steve had canonically moved on. Was it still sad? Absolutely. But Steve had great friends and family to surround himself with, and then suddenly he just noped out of there without even explaining to his so-called friends what he was doing. It, too, felt like a punch in the gut because it’s almost like it was saying (since he is Captain America after all) “the true American dream is getting married and living out a romance, forget all those friendships you have, they don’t matter.”

And it’s not just movies pushing this romance-over-friendship narrative–TV shows have been guilty of it this year as well (although some shows seem to be taking the complete opposite road and just not giving anyone any happiness ever because it’s “subversive” or whatever). I don’t know what is in the air this year, but I don’t like it.

Look–romance is fine. Romance is GREAT. When done well, it can absolutely serve as a tremendous plot point that both adds to the story and the overall narrative (as we will discuss in the movie Yesterday, coming soon to a blog near you!). But the narrative point of Toy Story has always, always, been friendship. I mean, even when they brought in Jessie, a perfect female counterpart to Woody, they didn’t force the two together. Sure, Woody already had Bo Peep here, but that’s not the point. The point is that they created a perfect partner for Woody, it was a perfect setup for romance…and they didn’t go that route. She’s his partner alright…HIS PARTNER IN CRIME.

Woody helped Jessie heal from her past trauma and found her a family and a kid to give her a new purpose, while fully realizing that he is an essential part of that family, too.

And yeah, Jessie and Buzz get all romanced in Toy Story 3, but that’s still not the point of the movie. Just as Woody and Bo have never before been the center plot, Jessie and Buzz weren’t either. The scene we all remember from the third movie is when they all hold hands and stay together, resigned to their fate in the incinerator. The message there isn’t romance above all–it’s friendship. It’s family.

There is nothing wrong with romance…except when it overshadows the point.

This is why I’m upset with them using the classic “You’ve Got a Friend in Me” song. That’s a friendship song. That’s Woody and Buzz’s song. You don’t get to use that song if you focus on romance the whole time and tear apart the two best friends that the song IS ABOUT. THAT’S RUDE.

THE THEME PROBLEM

So what is the theme of Toy Story 4?

….anyone?

Anyone?

Yeah.

You could argue that it’s all about finding your purpose, and I’d be inclined to agree with you, except then I’d say “but that was also tied into Woody’s character arc in the first movie, Jessie’s arc in the second, and the whole group’s arc in the third. It’s an arc that was so satisfyingly fulfilled at the end of the third movie, it’s beyond beating a dead horse in this movie (sorry Bullseye).” Can it still be the movie’s theme? Yeah, sure–when it comes to Gabby and Forky. But again, they’re not what this movie is about (even though the trailers would have you believe otherwise and YES, I WILL KEEP COMPLAINING ABOUT THAT).

You could argue that it’s about friendship, like all the films have been! After all, Woody made new friends and made it his life’s purpose to help other toys find friendship. Great! Except then I’d tell you, “how on EARTH can you argue this movie is about friendship when Woody said goodbye to not only his best friends in the world (not that you could tell from how much damn screen time they got in this movie, i.e., PRACTICALLY NONE) but also Buzz?? BUZZ FREAKIN LIGHTYEAR, HIS PERFECT FOIL, HIS PARTNER, HIS BEST BEST FRIEND, HIS GOOD BUDDY WHO HAS CHASED HIM DOWN AND TALKED SENSE INTO HIM AND BROUGHT HIM BACK HOME TIME AND TIME AGAIN?? Yeah. Yeah this movie is really aaaaaallllll about friendship. Right.”

You could argue that who the hell even cares, it’s a kids’ movie, and it’s not like it’s a bad kids’ movie, stop overanalyzing it. To which I’d say “yeah, I get it. Believe me. EXCEPT YOU CAN’T SERIOUSLY EXPECT ME TO OVERLOOK THAT WHEN THEME HAS PLAYED SUCH A CENTRAL ROLE IN EVERY DAMN TOY STORY MOVIE UP UNTIL NOW. YA CAN’T JUST RAISE THE BAR SUPER HIGH AND THEN BE SHOCKED WHEN I THEN GET UPSET BECAUSE THE BAR BARELY GOT OFF THE GROUND WITH THIS MOVIE.”

Or, you could argue that the theme of the movie is, of course, romance. It’s a perfect “ending” where Woody bids farewell to the family and friends he claims are most important to him (just like we’re supposed to do, we should be saying goodbye to these characters just like Woody is, real freakin’ subtle Pixar LEAVE MY CHILDHOOD ALONE) to spend the rest of his days uniting toys and kids with a romance he had already gotten over just like we had. Don’t we all feel fulfilled???

No.

But that’s the theme. That’s the winner. It’s a romantic drama that masqueraded as a family fun adventure film with a focus on friendship and love saving the day. First of all, rude. Second of all, RUDE.

Yes pls leave and bring back the true Woody, thanks

SHOULD YOU TAKE YOURSELF TO SEE THIS MOVIE?

Look. I know, okay? I get it.

It’s a kids’ movie. I’m not the target audience (even if I did grow up with these characters). It’s not meant to be graded as anything other than a movie for children about talking toys. I do understand that, believe it or not.

And even though I think the previous films form a perfect trilogy that really set the stage for what family films can be, and that this one doesn’t even come close to the same league as the other three, I can’t deny that it’s still a good film.

It’s gorgeous. It’s funny. It’s heartbreaking. It’s meaningful.

And if you’re not as offended by continuity errors and the whole cash-grab-esque nature of it all like I am, you’ll probably love it.

Trying to explain to people in a short sentence why exactly I had so many problems with this movie is not an easy task, because so much of it is under the surface of a good film.

“But it’s Toy Story 4, how can it be bad??”

That’s just it–it’s not bad. It’s almost insulting how good it is, because it’s even harder to defend myself on why I dislike it so much. And that’s frankly rude of you, Pixar.

I guess all I can do is look at people and say “look. It’s no Wall-e. It’s no Ratatouille.” And hope they understand.

(They won’t of course, because for some reason no one likes Ratatouille? The nerve of some of y’all…)

Pixar established itself early on as a company that cares. Genuinely. They took a medium that was established in America as being for kids only, and turned it into something more. The movies they make are for kids, sure, but it’s more than that–they’re for everyone. They rarely pandered to you with characters or a message that was anything less than incredible. I think that’s why Cars 2 was such a disappointment–because that was a kids’ movie more than it was just…a movie. Pixar used to care about continuity, about creating a world and characters we can genuinely care about, because they cared about them, too.

But now that Disney owns them? It’s starting to look hopeless. Gone is the love and care and attention to detail (unless it comes to the specific stitches in Bo Peep’s outfit). Disney as a company now only cares about one thing: your money. And they keep getting a lot of it by playing off of established, well-loved franchises and characters.

The results have been…less than ideal. Not all the time! I stand by the live action Cinderella, Incredibles 2, and even Aladdin (which should really be called Jasmine).

But overall?

They’re putting out less-than-stellar work because they don’t think they have to do anything more than that in order to get people’s money. And we’re letting them get away with it.

It’s kind of disgusting, and all the more reason we should absolutely support smaller studios and any animated movie that is not Disney, basically, like the incredible Into the Spider-verse movie and the Laika animation studio.

BASICALLY–all my personal bitterness aside, go see Toy Story 4 if you want to. You’ll probably like it, and it is good.

But if you left the theater after watching Toy Story 3 feeling satisfied and fulfilled at these wonderful characters’ arcs and the amazing completion of the storyline, I’d probably stay away from it. Toy Story 4 doesn’t answer any lingering questions, doesn’t fill any annoying plot holes, and doesn’t make you feel good after watching it. It leaves so much more open than the third movie does, trust me. You might leave feeling like you watched something good, but you probably won’t leave satisfied.

Or maybe you will. I don’t know you, I don’t know your life. I know I’m in the minority on this. Whatever.

Plus, on the other hand, apparently a whole bunch of moms wanted to boycott the movie because in one like, maybe 4-second shot, a child is shown with two moms. So I take it back, go see this movie and then only talk about how fantastic that particular scene is just to anger people and also show Disney we want more stuff like that, please.

Overall, I give Toy Story 4

3/5 SPORKY’S!!! (Because he is a SPORK, not a FORK, DAMMIT)

Look, the whole thing reads like a fan fiction of Toy Story where someone was bitter about Bo Peep’s “missing” status in the third movie, rather than an official installment.

I probably could have just said that about it rather than my long ranting review up there. Oh well. No regrets.

FAVORITE MOMENT:

When Gabby showed herself to the girl crying at the fair. That was much more genuine and much less forced than Woody and Buzz’s goodbye, which in my mind didn’t even happen anyway, so. The movie actually ended after this scene. Crazy, huh?

“OOF” MOMENT:

To everyone saying that “Bonnie’s just a kid and kids are fickle with toys!! Don’t blame her for forgetting Woody and her promise to Andy to look after him!”

Exactly. Kids are fickle about toys. So you can bet one day that Bonnie’s gonna remember Woody and go looking for him…only to find him gone.

Yeah. This is potential canon now. Thanks, Pixar.

TRAILERS TO WATCH OUT FOR:

Spies in Disguise has the GREATEST premise I have seen in a long time and I am SO EXCITED FOR IT. Will it be a mess? Very likely. But it just looks like a good time and I am here for it.

Trolls World Tour is a movie that is actually happening…for some reason.

Onward is the first new original Pixar film in YEARS which means I’m naturally thrilled for it. Here’s hoping I don’t have to be talking about Onward 2: Electric Boogaloo in a couple years. But I probably will be.

And that’s it!

Again, odds are you will go see Toy Story 4 and you will like it, and that’s fine. Not every movie can be Black Panther. But we should expect movies to at least make an effort, right? We should want movies that are both visually stunning and filled with thought-provoking plots and delightful characters?? Not just movies that are pretty much only visually stunning??? *cough*TOYSTORY4 AND ALITABATTLEANGEL*cough*.

*shrug emoji*

A Collection of Mini Reviews (Miniviews)

OH HEY EVERYONE.

So like I mentioned when I started this blog, I have that AMC A-List thing which means I have the opportunity to go see quite a lot of movies!

Which is super fun until I have absolutely no motivation to review them and then the other parts of my life start kicking up and then I get distracted by other things (namely, and I’m 100% serious: My Singing Monsters Composer. #notsponsored)…yeah.

So I finally sat down to do a tally this morning, and realized that I have seen SIX movies lately that I haven’t reviewed. Like a FOOL. Now because I don’t know how to say anything concisely, those six full-fledged reviews would take a loooooooong time. And I realized that of those six, there aren’t really any that stood out in such a significant way that I’d want to write a full-fledged review about them (with the exception of Booksmart because…Y’ALL. But in that case, just take my word for it and go see it because I cannot fully put into words how delightful it is).

So this post is a catch-up of sorts: I’m gonna do a mini review (or miniview if you will, because…reasons) for each of those six films and just crash-course them to the essentials. So without further ado, let us go!

MINIVIEW 1: BOOKSMART

MY THOUGHTS:

I cannot say enough about this movie. I have seen it three times now and I will be seeing it many more. It’s clever, it’s funny, it’s raunchy (but not too much), it’s an absolute delight from start to finish. The acting is amazing, the directing is great, it’s so beautifully shot, and the music?? THE MUSIC?? Spotify has something called “The Official Booksmart Playlist” which features all the songs used in the film plus little commentary clips from composer and arranger Dan the Automator and director Olivia Wilde, which is ridiculously fun if you’re a mega nerd like me. It’s just so obvious that so much love and care was put into this film, and it feels like a love letter to high school and buddy cop movies alike. Plus, it’s incredibly quotable. I know that I was skeptical because the trailer made it seem like…I mean it could be good, but…it could also be really not good. But it’s so, so good. Please do yourself a favor and see it. It does exactly what movies should do: allow you an escape alongside characters you can love in a story you can enjoy and appreciate.

There are so many little things that I love: the casual all-gender restroom scene, the main relationship focus being a positive and supportive female friendship, Amy doesn’t have a plot line about discovering she’s gay and dealing with that it’s just who she is, Molly doesn’t have a plot line about being plus-size and dealing with that it’s just who she is…I could go on and on forever.

Plus–IT’S AN ORIGINAL STORY!!! It’s not a remake!! It’s not a sequel!! It’s not based on a book!!! IT JUST EXISTS!!!!!!!!!!

STANDOUT ELEMENT:

The movie is shot and written in such a way that you judge all of Molly and Amy’s classmates the same way they do, so that when each classmate’s story is revealed by the end, you’re kind of ashamed of yourself for judging them like Molly and Amy do…because you experience everything with them, you feel everything with them, too. When Molly and Amy come crashing into graduation and all their classmates cheer? Iconic. You want to cheer as well. When Molly talks about each classmate and how she’s learned who they really are? You have, too! It’s such a fun way to experience the story and I just love everyone and I’M FULL OF FEELINGS.

Every character has a story that serves to flesh them out as an individual and make them likable…Unlike, say another movie I could mention…….

*cough*ALITABATTLEANGEL*cough*

Also–that underwater scene at the party????? I CANNOT.

SHOULD YOU TAKE YOURSELF TO SEE THIS MOVIE?

YES.

Overall, I give Booksmart

6/5 SCHOOL BOOKS!!!

Seriously, it’s such a good time, and it suffered at the box office opening weekend because it came out alongside Aladdin (we’ll get to that) and John Wick (we will not get to that). We want more movies like this, fam.

MINIVIEW 2: UGLYDOLLS

MY THOUGHTS:

I struggled with what to say about this one because I know it got a lot of negative reviews when it came out. I was excited because I’m generally a sucker for musical movies, I’m very nostalgic for Uglydolls, and Janelle MonĆ”e is in it. Once I saw it, I guess the reason I didn’t relate to all the negative reviews is because like…this is very clearly a kids’ movie. You can’t review it like a movie movie because it never presents itself as such. Unlike, say, the How to Train Your Dragon franchise. HTTYD is a series for kids based off a bunch of kids’ books, sure, but it is presented in such a way with serious themes that it’s a family film, rather than a kids’ film. Uglydolls never tries to invoke serious themes like HTTYD does, or like most Pixar movies do (….most). If you just appreciate it for what it is, it’s a very well-done kids’ movie. It’s not a great adult/family movie because it never tries to be: it’s a kids’ movie, guys. Chill out.

Am I biased because Kelly Clarkson and Janelle MonƔe are in it? Most definitely. But this is a solid, fun, feel-good movie.

STANDOUT ELEMENT:

The animation is to die for, but what really stands out to me is the overall message of the film: beauty standards are dumb.

This film serves as such a huge kick in the teeth to the beauty industry and society as a whole that I just have to applaud it? I mean the main antagonist is a white, blonde guy who decides what makes everyone else beautiful even though he looks nothing like most of them. There’s a girl who needs glasses but she’s afraid to wear them because she’s been told they make her less beautiful. All of the Uglydolls are told they’ll never be wanted because they’re not perfect enough. And even then, when they try to conform to the ridiculous beauty standards Nick Jonas’s character sets, he still doesn’t accept them. The good ending only comes when they all realize that they’re beautiful and perfect just the way they are–do you even know how important it is for kids to hear messages like that in the media? They’re growing up in a world where fat-shaming, photoshopping, and racism in the beauty industry run rampant and are hardly ever called out (although they are more so now). The more kids learn to be comfortable with exactly who they are and how they look, the less power the beauty industry has over them. And that’s phenomenal.

And to the reviewer who complained that the message of the movie was completely contradicted because the Uglydolls aren’t actually ugly, they’re adorable? That’s the whole damn point, my dear. The Uglydolls represent everyone who has been told by society that they are not enough for whatever reason, but they are enough. They’re not ugly, of course they’re not. No one is ugly. Society tries to tell us there are people who are ugly and people who are perfect, but the point is that that is not true at all: everyone is beautiful and wonderful just the way they are, no matter what.

Plus, super fun songs. I mean, Kelly Clarkson’s Moxie singing to herself “look how much you weigh! And you couldn’t look better!!” WE STAN A QUEEN.

You know what movie doesn’t have fun songs to get the message across??

…okay a lot of them don’t, but SPECIFICALLY *cough*ALITABATTLEANGEL*cough*

SHOULD YOU TAKE YOURSELF TO SEE THIS MOVIE?

Look, it’s super cute and fun. It’s sweet and pure and has really cute and genuinely funny moments (Gibberish Cat gets me every damn time) and I do think that if you have kids, they’ll enjoy it, and you might, too. Please teach the kids in your life that they are beautiful and smart and brave and wonderful just the way they are.

Overall, I give Uglydolls

4/5 UGLYDOLLS!!!

I personally didn’t think it was the mess that reviews made it out to be. Could I be biased? 100% absolutely. So decide for yourself. AND REMEMBER THAT YOU ARE GORGEOUS, WITH OR WITHOUT GLASSES OR WHATEVER.

MINIVIEW 3: DETECTIVE PIKACHU

MY THOUGHTS:

I KNEW EVERYONE WAS CRYING ABOUT THE BULBASAURS BUT THAT STILL DIDN’T FULLY PREPARE ME AND I WAS SOBBING ABOUT BULBASAURS

*ahem* So anyway.

I think Uglydolls and Detective Pikachu are similar in that they both very specifically knew their audience. Where Uglydolls was directly aimed at kids, Detective Pikachu was directly aimed at kids obsessed with PokƩmon as well as adults like me who grew up with PokƩmon and are fully willing to cry about Bulbasaurs.

So with all that in mind, I thought it was absolutely delightful. It was cute, well-animated and well-acted, and I just…Ryan Reynolds. As Pikachu. I never knew I needed that.

Was the plot twist completely predictable? Of course. Was it cheesy and goofy and unrealistic? 112%. But it was so much fun and just…I loved it?

STANDOUT ELEMENT:

I think what made the movie work, despite the ridiculousness and the predictability and the goofiness is that it truly was a love letter to the franchise. Remember when PokĆ©mon Go came out and we all lost our collective minds because oh my god there’s a Squirtle in my living room??! They captured that magic yet again with this film, but tenfold. So much love and care was put into every PokĆ©mon that appeared, down to how they interacted with the modern world around them in the most minute ways. Their designs were faithful to the original but adapted just enough to make them fit in (unlike, say for example completely randomly……Sonic the Hedgehog…..)

It was literally like watching my childhood come to life on the big screen and it was just…it was amazing.

SHOULD YOU TAKE YOURSELF TO SEE THIS MOVIE?

It really depends. If you love PokĆ©mon, absolutely. It’s so fun and precious and wonderful. But if you have no idea what PokĆ©mon is and the entire thing about Bulbasaurs confused you, I think you can skip it. The downside of this film is that I really don’t think it has anything to offer anyone who’s unfamiliar with the franchise. But that being said, it never promised to and it doesn’t have to. It was made for people that are already fans of the franchise, and for once, it’s an adaptation that is both faithful and completely new. It’s filled with love and that is so nice to see, especially when compared to…The Sun is Also a Star. Or probably like, say, *cough*ALITABATTLEANGEL*cough*. Although I don’t know for sure on that one since I came in completely unfamiliar with the source material. I just like bringing it up whenever I can.

Overall, I give Detective Pikachu….

4/5 POKƉMON THAT MADE ME CRY!!!!

Seriously. Look at that Bulbasaur. Look at his little green Bulbasaur face.

MINIVIEW 4: ROCKETMAN

MY THOUGHTS:

Let’s establish that I was probably completely biased coming into this film as well because Taron Egerton, first of all, and the love of my life Jamie Bell. That is all.

This movie is incredibly well done. I loved the framing element of Elton John being in AA as we cut back and forth to his life story, and all the music scenes with the dancing and just…it was all super fun.

I do know (because this is just what people do I guess) that a lot of people have compared this to last year’s Bohemian Rhapsody and the general consensus seems to be that Rocketman is somehow better. I genuinely think the only way you can compare these films is to mention that they’re both a form of biopic documenting some iconic musicians, and also both Freddie Mercury and Elton John were in incredibly abusive relationships with their managers at one point (and they both overcame it!). But Bohemian Rhapsody was explicitly shot like a concert whereas Rocketman is explicitly shot like a movie musical, or even a music video. They have completely different points and reasons for the story being told, and one isn’t necessarily “better” than the other one. You’re welcome to like one more than the other, of course, but they’re both good movies. Bohemian Rhapsody was swarmed in controversy because of the director, but a movie is so much more than its director, and if that’s the reason you’re dismissing it, you need to rethink it. Both these films are incredibly well-done and amazing. Elton John himself had good things to say about Rocketman, and Queen themselves worked right alongside everyone for Bohemian Rhapsody.

They’re both good films, everyone. Enjoy them for what they are and form your own opinions of course–but don’t compare these two films and raise one up for the sake of knocking the other one down.

Compare them to Alita: Battle Angel and knock that one down.

(Kidding, sort of…I know lots of people really liked Alita and that is…so great for them)

STANDOUT ELEMENT:

I have a huge weakness for self-love plotlines, so the whole scene near the end where Elton John got to confront everyone in his life including his own past self had me bawling. It’s a beautifully shot scene and it’s such a satisfying way to lead in to the end of the story.

Also, in general all the over-the-top dancing for the musical scenes. Super fun and ridiculous and I loved every second of it.

Also also, Taron Egerton and Jamie Bell. MY SONS.

SHOULD YOU TAKE YOURSELF TO SEE THIS MOVIE?

I think so. Even if you’re not a huge Elton John fan, you’ve likely heard at least a couple of his songs, and it’s just a good story that’s told in a beautiful and fun way.

Plus like….Taron Egerton……y’all.

(Fun Fact: this is actually the second time Taron Egerton has sung “I’m Still Standing” for a movie! I think this should be a career requirement for him from here on in)

Overall, I give Rocketman

4.5/5 ELTON JOHN SUNGLASSES!!!

These by no means match the most fun ones both in existence and in the film, but it’s a fun taste. Go see the movie to see more of them!!

MINIVIEW 5: MEN IN BLACK: INTERNATIONAL

MY THOUGHTS:

So I will freely admit that I haven’t read reviews for this one since I wanted to go in blind, and I only saw it…last week? I think? Anyway. But I guess it’s getting bad reviews because I got a YouTube notification that was something like “why MIB: International completely bombed” and I…wasn’t aware that it had?

I went with a couple friends and we were in a BIG theatre that was completely full, and everyone was laughing and enjoying themselves. This might be another example of “critics hated it because they have no souls but audiences generally liked it” (wait–do I have to count myself as a critic now? NOOOO DON’T LUMP ME IN WITH THEM).

Here’s the thing: it’s not the original movie. It can’t be. The original is iconic and hilarious and wonderful and nothing can ever be that one. What I appreciate is that this film never tries to be the original, and maybe that’s why people didn’t like it? I dunno. It is completely and fully its own story, with its own characters and own aliens and own conflicts. It’s original and unique and goofy.

It’s an incredibly fun time. All the characters are likable and fun, and I totally thought I knew the twist and I thought they were hinting at it and THEN THEY SWITCHED AROUND THE TWIST ON ME AND IT WAS SOMETHING ELSE ENTIRELY SO THAT’S GREAT.

Is it a standout, knockout, over-the-top amazing film? Nah.

But it is well-done and a damn good time.

STANDOUT ELEMENT:

There’s a light hint of it, but I am proud to report that there is absolutely no romance between Tessa Thompson and Chris Hemsworth’s characters. Huzzah! More than anything, they have an incredible friendship and an incredible partnership.

The special effects are absolutely incredible.

Tessa Thompson wears a suit just like all the other agents (although she does have some kickass fun combat boots).

Emma Thompson is in charge of the American branch and she’s killin it.

Tessa Thompson’s character stops a fight by using relationships and a prior friendship, but she can also hold her own in a fight and she’s probably a lot more capable than Chris Hemsworth–

Ooooooooohhhhhhhhhh.

Is this why everyone was mad? Because Tessa Thompson saved Chris Hemsworth multiple times and was probably a better agent than him? Because Emma Thompson is in a position of authority?

Ahhhhhhh it all makes sense now. It was more a Women in Black film than a Men in Black film, and that’s why people are pissed…

I mean no one seemed to be mad about Alita being all kickass and whatever in her movie…is it because her character was presented in a much more sexualized way than the women in MIB: International were? Yeah. Yeah that’s it probably.

SHOULD YOU TAKE YOURSELF TO SEE THIS MOVIE?

Yep. Not only is it a fun time, it’s also pissing off older white guys because it has powerful female characters! So go support it!!

(Also–if you were worried like I was that Kumail Nanjiani’s mini alien character would just be annoying the whole time, rest assured that he was genuinely entertaining and extremely lovable and fun)

Overall, I give Men in Black: International

3.75/5 MIB SUNGLASSES!!

I know I did sunglasses for Rocketman but like…it’s MIB…I couldn’t not…..

MINIVIEW 6: ALADDIN

MY THOUGHTS:

Like many of Disney’s upcoming live-action remakes (Lady and the Tramp??? REALLY???) I was convinced this was completely unnecessary and I was not excited for this…like at all.

I knew I should see it probably, but I kept avoiding it because like…eh. I really love the original animated movie, and this just didn’t look like it offered anything new.

Maybe it’s because I went in with such low expectations, but I’m happy to report that I was pleasantly surprised by this movie. It wasn’t like, absolutely amazing by any means, but I actually kinda liked it.

This is mostly due to Naomi Scott’s Jasmine, but we’ll get to her.

The additions to the story and the costumes are both beautiful, and if anyone can perform the genie instead of Robin Williams, it’s Will Smith. It’s a fun, quirky time and a really lovely film. Not incredible, but definitely good, actually. Again, though, I set the bar real low going into it.

Oddly enough, I think one of the low points of the film was actually Aladdin himself? Not that he wasn’t great, Mena Massoud did an excellent job, but the character himself was just kinda…there. Plus–have you seen Massoud’s natural curly hair?? So much better than what we got in the movie. I think they were trying to make him look like the animated version, but they already changed so much else, just let us have his natural curly hair!!! He is so lovely!!! GIVE US THE CURLS!!!!!

STANDOUT ELEMENT:

NAOMI SCOTT’S PRINCESS JASMINE. HANDS-DOWN.

I mean, she was good during the whole of the story, but when she sang “Speechless” and literally disintegrated all the men in her life telling her what to do?? ICONIC AND AMAZING AND SHE IS EVERYTHING.

Unsurprisingly, the guys who wrote “Speechless” also wrote the songs for The Greatest Showman (YAAAAAAAS) and La La Land (…meh). It’s an incredible standout power ballad that takes Jasmine’s character from decent to incredible. She takes center-stage in the best way, and all the little girls that wanna be Jasmine for Halloween this year? It’s gonna mean something completely different–it’s gonna mean being a princess who will not be silenced and will take power to do good.

Genuinely by the end I didn’t want Jasmine to end up with Aladdin because she doesn’t need him?? Like they can be bros I guess but she quite literally don’t need no man. This film should have been called Jasmine. She 100% stole the show and turned it into something else entirely in the best way possible.

Unlike, say, another movie named after the main girl….*cough*ALITABATTLEANGEL*cough*

Also–lots of fun political commentary if you know where to look. Especially if you wanna make parallels between Jafar and…someone else…

SHOULD YOU TAKE YOURSELF TO SEE THIS MOVIE?

Actually, yeah. This movie did what a remake should do (if remakes should do anything, that is, since many are unnecessary): it pays homage to what made the original so good while also adding something completely new that both makes this version good, too, while setting it apart as something different.

It’s a good time, and if you were skeptical like I was, you may just find yourself pleasantly surprised.

Also–you have to experience “Speechless.” You don’t watch or listen to “Speechless”–you experience it. No, really.

Overall, I give Aladdin (which should really be called Jasmine)…

3.5/5 HAPPY GENIE LAMPS!!!

Like I’ve said for some past films, it’s good. It’s not great, but it’s good.

TRAILERS WE HAVEN’T DISCUSSED YET:

K, crash course trailers, here we go:

1. Sonic the Hedgehog–release has been delayed because of the public outcry over Sonic’s…unique design. Fingers crossed they treat the animators/designers fairly and let them eat during all of this, but probably not. Jim Carrey as Eggman looks worth the price of admission alone, I love my son.

2. Godzilla: King of the Monsters–I know we have discussed this one, but there’s a new trailer where one of the scientist guys introduces Godzilla by breathily saying “Zillaaaaaaaaa” and it’s just…it’s the strangest and funniest thing ever.

3. Yesterday–I’m going to see this hopefully soon!! I love the premise and I hope it’s really good and fun like it looks. Plus, Lily James ā¤

4. Blinded by the Light–uhhhhhhhh a movie by the team that made Bend It Like Beckham???? I AM SO THERE?????

5. Maleficent: Mistress of Evil–I’m curious to see what they do with this one because a sequel is so incredibly unncessary?? This is like if they announced a sequel to Toy Story 3, I mean, all the loose ends were tied up in a perfect way and it’s so good the way it is, what could you possibly–…oh, wait.

6. Crawl–Yeahhhh this is a big nope from me. This is like Anxiety: The Movie, and I’m not about that life. I barely survived watching Pet Sematary alone you guys, how on earth do you expect me to do survival-crocodile-jumpscare movie?? I do really like how the music for the trailer is all made by like, rhythmic water drips and flashlight-winding. That’s kind of fun.

7. Child’s Play–WHY WOULD YOU DO THIS?? Really though, it looks like they updated the idea so that Evil Doll Chucky is connected to a sort of smart-home system, so it’s like…they update the horror story so it’s relevant to right now?? Fascinating. Also, absolutely horrifying. I don’t care how much I love you Mark Hamill, I refuse.

8. Where’d You Go, Bernadette–This is probably better than the trailers make it seem (also, that last trailer gives away?? Everything??). I love me some Cate Blanchett, and this just looks like a really delightful and fun heartwarming story about family or whatever.

9. Angel Has Fallen–I think this is the one where the president is attacked and the guy who saves him is under arrest for some reason and there were a lot of explosions?? I guess this is a sequel, and I honestly have no desire to see either one of these.

10. The Art of Racing in the Rain–YO CATCH ME CRYING IN THE THEATER WHEN THIS MOVIE COMES OUT, THIS BOOK IS SO INCREDIBLY GOOD AND I AM SO READY TO SOB ABOUT A DOG WHO LOVES RACE CARS ALL OVER AGAIN!!!!!!!

11. Judy–I don’t have strong feelings about this one, but I’m sure it’s another well-made biopic about an icon and all that. I’ll probably see it.

12. The Kitchen–this looks like it could be really good and fun (but like, also violent) and I think I’ll try to see it.

13. Terminator: Dark Fate–mmmmmmmmmmmmmmmmmmmmm no.

14. Maiden–This looks absolutely fascinating. I’m all about stories of women who blazed the trail in a male-dominated field for other women. Also like–boats!!

OKAY. That should be everything so we’re all caught up now. I think I’m gonna try to see Toy Story 4 this afternoon, or possibly tomorrow, and then that review WILL BE UP BY THE END OF THE WEEK, I SWEAR. REALLY I DO.

If these films are still playing where you are, check them out! I don’t regret seeing any of them, and they’re all enjoyable in their own way (particularly Booksmart).

Avengers: Endgame REVIEW

It’s finally here!

Yay!

…I guess!

I gotta say, it was a bit of a challenge carving out a three-and-a-half-hour block from my dad’s and my schedules to go see this finally, but we did!

And…I mean it’s definitely a movie!

Endgame is the culmination of a whole lotta Marvel cinematic universe films, all leading up to this huge and ridiculously long finale. The pressure was certainly on for the Russo brothers, directing this super monstrosity of a movie.

Did it live up to the massive hype surrounding it?

I mean let’s save my opinion for later.

NOTE: I will try to keep the following two sections as spoiler-free as possible, as always, but if you really want to see this film, it’s probably best to go in completely blind. Unless you’re like me, and you actually prefer having spoilers sometimes so you know what you have to put up with. I didn’t get that for Endgame, and…well…

NOTE 2: After completing this post and going back to re-read it, I have decided that I think you should have this movie spoiled for you. There’s nothing groundbreaking about it, and the whole spoiler campaign was just so you would throw more money at the production companies. Don’t do that.

NOTE 3: Also also, the first half of this review is mostly incoherent rambling and angry ranting because…well, you’ll see. The second half is a lot more poetic. This movie brought out a lot of different sides of me. Oh well.

Anyway, let’s get on with it. Spoiler warning. But also like…it’s whatever.

THE PLOT

The film actually starts back before the big ol’ snap that ruined everything, with Hawkeye (Jeremy Renner) having a peaceful, fun BBQ with his family–so you know everything’s about to go wrong. And it does! His entire family disappears because of the snap. So. Yeah.

Then we cut to: the rest of the team! Following the rather catastrophic events of Avengers: Infinity War, the team is a bit of a mess. Luckily, they’re able to locate Thanos (Josh Brolin) by reading some kind of unique energy signature that the infinity stones give off. They trace him to some other planet where he’s set up some kind of peaceful farm life for himself, but the Avengers ain’t havin it.

Determined to reunite the stones to bring back everyone they lost, they drill Thanos about the location of the stones. Thanos, rather frustratingly, admits that he actually used the stones…to destroy the stones. Their work was done, he says, so he nearly destroys himself in the process destroying the stones.

Fed up, Thor (Chris Hemsworth) slices his head off. Ha. Get it. Because if only he’d done that last movie, everything would have been fine. Ha. HAHA.

We then cut to 5 years later, and everything is…it’s still a mess. The team has all but separated. Black Widow/Natasha Romanoff (Scarlett Johansson) remains at the Avengers base, overseeing operations of…some kind from afar, determined to keep making a difference. I guess now she suddenly has some plot line about feeling useless and needing to be a hero, and literally the only reason this is suddenly introduced is for the ridiculous “payoff” later on.

BUT I DIGRESS, EVERYTHING IS FINE.

Anyway, Captain America/Steve Rogers/Cap (Chris Evans) shows up and is all “I love pretending everything is fine, don’t you?” Basically everyone’s just really depressed.

At some point we cut to some kind of…impound lot? Storage lot? I dunno. Anyway, it’s the Ant-Man van! A rat is moving about the dashboard, accidentally activates the quantum realm portal, and suddenly iiiiiiiit’s Ant-Man/Scott Lang (Paul Rudd)!

Lang, having been in the quantum realm since the end of his second movie (Wasp (Evangeline Lilly) and Dr. Pym (Michael Douglas) were supposed to bring him back, but they, too, disappeared in the snap), is a little disoriented. For Lang, it hasn’t been 5 years, only about 5 hours or so. He races around, trying to figure out what’s happening, and stumbles across a…very detailed memorial for all those lost in the snap (I mean, they go out of their way to show what a post-apocalyptic setting we’re in since we lost half of all life, but somehow we were able to build such a detailed, nice-looking memorial? Did they just need some way for Lang to see his name and freak out? Yeah. Yeah that’s it). Confused because he finds his own name there, Lang heads to Avengers HQ.

Lang is hyped because he thinks there has to be some way to go back in time and fix everything. After all, time works differently in the quantum realm, so there must be some way for it to work! But they need a real man of science on this: they need…Iron Man/Tony Stark (Robert Downey Jr.).

Aforementioned Stark is living out his days in a very peaceful cabin in the woods with Pepper (Gwyneth Paltrow) and their daughter, Morgan (Lexi Rabe). Having been brought back from space and the literal edge of death five years prior by Captain Marvel (Brie Larson–by the way, don’t get used to her. She does almost nothing in the movie, despite being advertised as a major player), Stark isn’t really keen on abandoning this family he finally has to go chasing down bad guys on a hunch that may not even work.

The team is distressed, but they ultimately leave Stark alone to find the other science man on the team: the Hulk/Bruce Banner (Mark Ruffalo). Banner has…somehow…managed to figure out how to be both Hulk and himself at…the same time? Anyway. Banner’s down to help, but he doesn’t entirely know what he’s doing, and he says as much. The team doesn’t care–they want their friends back.

Stark, meanwhile, has been unable to stop thinking about this whole time travel thing. He uses Friday (Kerry Condon) to run different…tests…of some sort. I dunno, it’s time travel, so it’s not explained in a way that us normal folk can understand. He somehow figures it out though, I guess, and he tells Pepper that if she doesn’t want him to go, he won’t. Pepper, knowing him really well, tells him to go.

Stark shows up just in time, as Banner turned Lang into a baby, an old man, a kid, and finally himself again. They hunt down some other team members, including Hawkeye who is an assassin suddenly? And Thor who um…wears a fat suit the entire film. Yyyyep.

Anyway, they figure out that there are basically four different timelines they need to go to in order to steal the Infinity Stones before Thanos is able to gather them. There’s some kind of half-assed explanation given as to why they can’t just go back in time and kill Thanos as a baby, which I’ll get into later. Basically, they decide that the only thing they can do is get the Infinity Stones first, snap to bring everyone back, and then destroy the stones.

Of course, nothing goes according to plan, and three hours of ~hilarity~ ensues.

THE REVIEW

I wanted to like it. I really did.

I think part of the problem is that it was so hyped up. I mean even after it was finally out and people were screaming to “not spoil the endgame,” positive reviews and incredible box office returns were flooding the Internet. How could you not be excited even as a casual Marvel fan??

The problem with hype is that it inevitably leads to disappointment. With so many fans, there’s just no way to please them all, and I get that. It just sucks being in the demographic that dislikes it– these characters you’ve come to love are handled in a way that’s just disappointing to you. But everyone else seems to like it, so maybe it’s just you…

Anyway. I wanted to like it. I really didn’t.

And the thing is…I kind of liked the first 2/3 of it? I love time travel plots, and it was so fun seeing the callbacks to previous films and characters (especially ones I actually liked). I loved seeing how the characters dealt with the events of Infinity War. I mean, they lost, and they’ve never really lost before? And they all handled it so differently.

But I realized as the movie went on and more and more plot twists occurred…I wasn’t enjoying myself anymore. Things were happening left and right that were never explained, tons of pointless things happened, characters were poorly handled, and the movie broke its own established time travel rules?? I just…why?????

The other disappointing thing has been the creators’ responses to the questions. Instead of saying things like “I see how it could be interpreted this way, and while that wasn’t our intention, we’re sorry for the hurt that may have caused” they say things like “no no no, you’re wrong, this is what it means and we’re right and you’re wrong because we made it and you didn’t, now shut up and go buy another movie ticket.”

(Okay slight paraphrasing, but you get the idea)

I just left the theater feeling really disappointed and honestly really angry. I just felt like Infinity War was handled relatively well, and don’t even get me started on how great Civil War was…but this just…eh.

Again, I liked parts of it!

But the rest of it really killed the movie for me.

So here’s the deal: because this damn movie is three hours long, it doesn’t really make sense to split up the categories like I usually do because there’s just too much information. That, and these are characters who’ve been in plenty of other films prior to this, so…well, we’ll get there. What I’ll do is simply talk about sections I liked (there aren’t a lot) and sections that disappointed me (there are many). So without further ado…major, major spoiler warning now in effect.

(But really like…it’s genuinely not that big of a deal. Seriously. Spoil yourself. This movie doesn’t deserve all the secrecy it had surrounding it to force you to buy a movie ticket)

THE TIME TRAVEL

So let’s start with probably the biggest elephant in the room: the time travel.

Because we needed to have some all-out epic battle at the end involving Thanos, we couldn’t have the Avengers simply go back in time and kill Thanos as a baby. You can’t do that because superhero fans don’t pay to see plots that make sense, they pay to see epic battles!!! Raaaaaaaaaah!!!

*ahem* anyway, because of that, the time travel plot line is basically explained as such: everything you think you know about time travel because of incredible movies like Back to the Future is WRONG. Going back in the past to change something doesn’t change anything in your future…because I guess then that past becomes your future, so nothing actually changes because it’s just your future as always? Anyway, the idea is that when you change something in the past, you actually just end up creating an entirely different, separate timeline. So the idea is that even if they want back, killed Thanos as a baby…that would just create a different timeline where baby Thanos died, but when they went back to their own time, the snap will still have occurred and all their friends are still gone. Thanos wasn’t killed as a baby in their timeline, he was killed in a different one.

So they decide instead, they need to go back in time and steal the infinity stones before Thanos can get them and snap to bring all their peeps back. Now, of course, they don’t consider the possibility that Thanos from the past they go to will figure out what they’re doing and confront them and just take the Infinity Stones that THEY’VE GATHERED FOR HIM, LIKE IDIOTS. Nah. They don’t even consider that.

So of course that’s exactly what happens.

There are…there are a lot of frustrating things about this that I can talk about, so let’s make a list:

1. It is so, so frustrating to me that they never even consider the possibility that a past version of Thanos will confront them. Like…I mean I get that they have a lot on their minds but really???

2. The movie really yada-yadas over the whole “Pym Particles” thing. Basically, they need these particles to travel around in time as well as whatever code Stark cracked. Of course, they only have just enough of these particles for one round trip through time for each of the heroes. Like…I get that they can’t get more because Dr. Pym was snapped, but…they can’t just go back in time and get more from a different version of Pym? I mean they do that later in the film only after everything has gone wrong, but they couldn’t like…do that? The movie only says that the Infinity Stones are what need to be returned to their respective timelines, not any other objects, so like…just go get a lot of Pym Particles in case something goes wrong…? Whatever.

3. Nebula (Karen Gillan) was one of my favorite characters in Infinity War and Guardians of the Galaxy vol. 2, and she was a complete idiot in this movie. I mean…not only did she know that a past version of Thanos was also looking for the stones in one of the timelines they had to travel to, but she also knew the sacrifice required to get the soul stone and SHE DIDN’T THINK TO TELL ANY OF THEM??? I mean jeez Nebula, that is all information that WOULD HAVE BEEN HELPFUL YESTERDAY. If she had just happened to mention “okay by the way, my dad will also be looking for the stones when we go back to 2014, so just we should keep that in mind. Oh also, past me will also be looking, and since I’m a robot and he can read my memories, I should probably stay behind because past me and current me may be connected and Thanos may be able to figure stuff out from current me’s memories. Oh also also, the soul stone requires you to sacrifice something you love, so maybe we should come up with a game plan for that before we go galavanting off in time. Just maybe.”

4. Cap…*sigh*. This is where the movie unhelpfully breaks its own time travel rules. Cap is sent back (alone for some reason?) to return all the stones to their correct timelines so that …something doesn’t happen. I dunno. So the idea is that he disappears from the platform, and though it’ll be longer for him, he’s supposed to reappear on the platform in the current timeline in 5 seconds. Which…he doesn’t. Instead, Bucky (Sebastian Stan) notices someone sitting on a bench down by the water. Sam (Anthony Mackie) goes to investigate only to discover it’s Cap!! But…old! Apparently Cap went back and then just decided to find Peggy (Hayley Atwell) again and live out his days with her, and then he shows up here and hands off his shield to Sam. It’s a sweet scene but…hang on. If Cap went back to be with Peggy, therefore changing the past, he should be in a completely different timeline now, right? He wouldn’t be able to show up on that bench in the current timeline because he’s not a part of it anymore…right? Please? Somebody? It makes no sense!

I just…my head hurts.

But since the movie doesn’t really bother to explain time travel and then breaks its own time travel rules, I guess we don’t need to worry about it, either. Whatever. Nothing matters.

THE SOUL STONE

Just thinking about this genuinely exhausts me.

Okay…so we got introduced to the soul stone in Infinity War. The idea is that the soul stone demands a soul, a soul for a soul, so on and so forth, sacrifice, huzzah. To prove you’re “worthy” or whatever, you have to sacrifice something you love in order to obtain the stone (sidenote: the wording is always something you love, not someone…so like, could you sacrifice an object and no one would have to die? Your favorite food? Your laptop? I know it’s all “a soul for a soul” but in that case the wording should really be more clear and they should say someone you love. Anyway. I’m getting nit picky now. Moving on).

In Infinity War, the stone is used as a plot point to both kill Gamora (Zoe Saldana) and try to give some humanity to Thanos, I guess, but it fails spectacularly. We’ve already watched Thanos kill all of Gamora’s own people, kidnap her, and abuse her and her sister, and now we have to feel sorry for him because he ultimately murdered her?

No. Sorry.

Anyway, so the frustrating thing here is that Natasha and Clint don’t know this. Because again, NEBULA DIDN’T BOTHER TO TELL THEM.

So they head to retrieve the stone with absolutely no idea what it will cost. But the really sucky part is that we as the audience know. So we know before they even meet Red Skull (Ross Marquand) that one of them isn’t getting out of there alive and that just…really sucks. The build-up in Infinity War worked much better because we didn’t know what was coming–unless you read the comics I guess but anyway.

Once they do figure it out, both Natasha and Clint are so full of Hero Complex (TM) that they fight each other in order to sacrifice themselves. Ultimately, they’re both hanging off the edge, and Natasha kicks herself off, forcing Clint to let go of her…and she dies. Clint gets the stone. Yay, I guess.

There are a couple really stupid things about this.

1. Why is it that both characters we’ve seen be sacrificed to the soul stone are women? Why? Is it because women are the more disposable characters? Because they’re not as developed as the men? Because they don’t bring in the big bucks? IS IT BECAUSE OF SEXISM?? Both characters who died here were strong, powerful, no-nonsense women who still had a lot to offer, and instead, they die. Gamora’s death is genuinely sad because she’s straight-up murdered, but Natasha…

2. I am damn sick of heroic sacrifices. It’s just glorified suicide, fam. The whole entire reason Natasha was suddenly feeling useless on the team is that so her death here could be “justified.” See? She’s not useless after all! She can kill herself so that the team can get the magical stone! And it’s okay because she doesn’t have a family like Clint does, so ultimately, it’s just heroic all the way around! Do you know what that tells little girls who admire the Black Widow character? That ultimately, the only thing you can do to be useful is sacrifice yourself? Especially if you’re not living the Ultimate American Dream by having a perfect family and kids?? Have we forgotten everything she did in the past movies??? Yeah. We have.

3. As I mentioned earlier, it’s established that Clint has a family and Natasha doesn’t. When asked if there’s any family she has that they can contact, Banner says that they were her family. They don’t get to be with her anymore, but Clint gets to be with his wife and kids again, so everything’s fine. So…what, found family doesn’t matter as much as blood? That’s nice. This is also coming after the reveal that Natasha was operated on so she can never have kids, and she calls herself a monster because of this. Ummmmm…I have several questions…

4. So…again, in Infinity War, Thanos straight up pushes Gamora off the cliff, thereby actually sacrificing her…so it makes sense when he gets the stone. But Clint doesn’t do that…? Clint doesn’t want to let go of Natasha–she’s the one who kicks off the cliff and forces him to let go of her! She literally kills herself!! Clint didn’t sacrifice shit!!! How does he get the stone after this?? It makes ZERO. SENSE.

I just…this was stupid. It just was. Also–it’s implied that even with ~time travel magic~, they can never get Natasha back because the stone says so I guess? Of course. What even are the rules?? ARE THERE ANY???

No.

THE CHARACTERS’ TREATMENT

So here’s the thing: some of the characterization work was wonderful.

I think it’s why the time hopping segment was my favorite–it was finally, finally like I was watching an Avengers movie. Look at Steve and Tony bantering like always! Look at Banner trying to awkwardly science his way out of non-science situations! Look at Clint and Natasha being friends again! Look at Lang being just an incredibly awkward dork! Look at the teamwork! Ahhhhhh!!

But it’s like everything fell apart in the third act. Like I’m glad that Clint spent the rest of the film absolutely haunted over Natasha’s death even though he was reunited with his family, but you’re honestly going to tell me he didn’t make damn well sure they had a funeral for her like they had for Tony? I guess you could say it’s because he still hadn’t come to terms with her death but like…he did though? He understands she can’t come back (even though I don’t) and he talks about how he wished she knew they had won. He gets it. He also knows Natasha better than anyone else, he knows how much the Avengers meant to her. Why wouldn’t he make sure they have a funeral for her, too?

Don’t even get me started on Captain Marvel. They built up her being in the film and the she’s barely onscreen?? I know it’s because “oh it’s supposed to be the send-off film for the original heroes, she’s not one of them so” like that’s fine but then ADVERTISE IT THAT WAY. This film was not advertised as a “send-off for the original heroes” it was advertised as the “ultimate superhero event” which implies that ALL THE HEROES PARTICIPATE. “But she does participate! She destroys Thanos’s ship and fights him one-on-one!” Yeah, she does! And that all makes sense for her character! What doesn’t make sense is Thanos randomly knocking her out? She’s supposed to be the “most powerful character in the MCU” and she just…got knocked out by one stone? The only reason, THE ONLY REASON, she does not play a bigger role in dispatching Thanos is because the narrative says it has to be one of the original heroes since it’s their send-off. Does it make sense at all when looking at the characters, the narrative up to this point, and the rules set down by the movie itself? No.

And Cap?? CAPTAIN STEVE ROGERS AMERICA, CAPTAIN “TILL THE END OF THE LINE,” CAPTAIN “HAVE TO FOCUS ON SAVING THE FUTURE,” CAPTAIN PULLED A LITERAL HELICOPTER OUT OF THE AIR IN ORDER TO SAVE HIS BEST FRIEND IN THE WHOLE WORLD…then just straight-up abandons that friend. Look–I think Steve’s arc with Peggy is wonderfully tragic. I love the idea of time travel opening up a chance for him to be with her, I do. But having him stay there and live out his life? It completely invalidates all his character development involving her up to this point. Her funeral? Pointless. All his personal work on remembering her forever but healthily moving on? Forgotten. He claims he’d do anything for Bucky, his best friend, and he just leaves him behind to go live an entire life without him. He does that to not one good friend, but two! Neither Sam or Bucky deserves that, and that is so, so out of character for Cap. I can believe he’d go back to dance with Peggy-maybe–but he would not stay with her. He would not abandon his friends, his family like that. He did so much to find them again and then he just…abandons them. And Bucky and Steve don’t even talk when Cap is all old or whatever?? Ridiculous.

An interesting point made by YMS on YouTube is that Thanos is especially frustrating in this film because he has no relationship with our heroes. The obnoxious guy from Infinity War who, while still not sympathetic despite filmmakers’ efforts, had a personal seething hatred for each of the Avengers for a specific reason? He was killed within the first…what, 20-30 minutes of the movie? Probably less. It all blurs together when the movie is three hours long. The Thanos they fight at the end of the movie is from the past, and while they know him, he doesn’t know them at all. He knows of them, he knows what they’ve done because of Nebula’s memories, but he doesn’t know them. The battle is kind of half-hearted because he isn’t a personal villain anymore–he’s just annoyed at everyone trying to stop him and that makes him extra annoying. I mean damn, I know he’s not supposed to be likable, but at least make him a good villain for the heroes.

And Tony…Tony getting to make some sort of peace with his dad during the time travel segment was wonderful. Every time we see him be a little more emotional rather than snarky, it’s nice. Like he’s super snarky and sarcastic, but he’s also incredibly soft and loving (fun fact: apparently there’s a clip of Tony kissing Peter on the head when they finally reunite and the Russo brothers cut it because heaven forbid our male heroes have feelings I guess MASCULINITY YEAH and Robert Downey Jr. is mad they cut it. GOOD). It’s one reason why his ultimate sacrifice or whatever is so stupid.

Do you know how many times Tony Stark should have died by now? His whole arc was about finding something to live for. His first sacrifice attempt in the first Avengers makes sense with his arc because he wasn’t quite there yet…this team, these friends, Pepper, adopted son Peter Parker, biological daughter Morgan Stark, he learns that they are all what make life worth living. “Oh but he didn’t have a choice, Dr. Strange told him that there was only one outcome where they win, and it was the one where he dies!”

Nuh-uh.

THE ENDING

The ending of this movie genuinely exhausts me and I hate having to revisit it. As problematic as he sometimes was, as over-the-top ridiculous and selfish, Tony Stark was a great, great character. He was probably my favorite. So yes, some of my anger over the ending purely comes from watching my favorite character die. I mean, it’s never fun, but at least sometimes it’s “justified” at least.

This was not. At all.

Like I mentioned before, Tony Stark has had several very close brushes with death. Most of the Avengers have, really, but Tony’s relationship with it has always been stronger than the others. He should have died in that raid in the beginning of Iron Man. But he didn’t. He should have died when Obadiah ripped out his arc reactor and left him. But he didn’t. He should have died on accident testing out his different suits, honestly. He should have died in Avengers when he flew that missile through the portal. He should have…he should have…he should have…

But he didn’t. Unlike the other Avengers (except for perhaps Black Widow (also maybe Bruce Banner?) but we’ll never know now will we), his story starts with death and it looms over him his entire arc. What is his worst fear when Wanda invades his mind in Age of Ultron? That his team dies. His family. And he’s left alone. Why does he engage in this feud with Cap and Bucky? Because Bucky (albeit brainwashed) was responsible for Tony’s parents’ death, leaving him alone. And Cap knew. What haunts him most after Infinity War? That he watched Peter Parker die in front of him while he could do absolutely nothing about it. He couldn’t stop Peter from dying alone. He couldn’t stop Peter from leaving him alone when he died.

There’s a consistent pattern in Tony’s character arc that was completely thrown out the window with the ending of Endgame. Tony is found at the beginning of the movie, brought back from the brink of death yet again, and he has a chance to start a family. It’s pretty insulting that Clint’s family is built up as this big character point for him, the reason he does everything, the reason Natasha sacrifices herself, and he gets to reunite with them like everything’s fine…while Pepper has to explain to their young daughter that Tony is never coming back. Clint’s family reunion feels hollow in comparison, like it’s wrong to enjoy it. And I’m sure Clint felt the same way–he’s so guilty over Natasha’s death that you can’t honestly tell me he wouldn’t understand how lucky he is to be with his family but how awful it is that Tony can’t be with his–but they don’t bother showing that in the movie.

There’s nothing subversive or shocking about killing a character who canonically suffers from PTSD involving death and suicide.

I’ve mentioned The Magicians before, but I’ll bring it back now in more detail because it unfortunately fits this same situation and trope. Spoilers if you haven’t seen the season 4 finale of Syfy’s The Magicians.

The main character in The Magicians is Quentin. Quentin is, canonically, suicidal and depressed. We meet him in a mental institution where he checked himself in. His depression and his suicidal tendencies are brought up throughout the run of the show. The show runners were praised for featuring a main character who suffers from such things. In the final “battle” of season 4, Quentin uses magic in the “mirror world” knowing full-well that it may cost him his life, but it will save his friends. He dies. He is shown how his friends are remembering him, he is told how much he changed their lives, he is told how loved he was. And then that’s it.

No matter how the show runners tried to phrase it in interviews, there’s no getting around the fact that Quentin ultimately committed suicide. In the afterlife, he flat-out says “did I save my friends…or did I finally find a way to kill myself?”

The idea of the heroic sacrifice trope is nice, I’ll admit, since it seems like such a logical peak for a heroic arc; but it’s so overused by this point that we all expect it. How many movies do we assume the character is dead after they make some sort of sacrifice? Usually they’re not actually dead, but lately, creators seem to think that that’s not “shocking” enough, and what audiences really want is to watch their favorite heroes actually die. At least it’s heroic!! And it’s subversive!! No one ever does that!! I know they have friends and family and a great character arc that involves not wanting to die but that was all for shock value!!!!

There is nothing subversive or shocking about killing a character who canonically suffers from PTSD involving death and suicide.

“But it’s realism! People die in real life all the time! Not everyone can survive, I mean come on!”

Okay first of all: you really wanna talk to me about realism in your stories about magic, scientists who become big green monsters when they get angry, people who get superpowers from spider-bites, and gods of thunder and mischief? Really?

Secondly–there’s a great G.K. Chesterton quote that Neil Gaiman paraphrases in Coraline that reads: “fairy tales are more than true–not because they tell us dragons exist, but because they tell us dragons can be beaten.”

I don’t need my very unrealistic media to tell me that sometimes people die. I’m well aware of that fact, believe me. What I want to see is people like me who, against all odds, are able to overcome things like that. In a universe with time travel, super-beings, and TALKING TREES, it’s almost insulting to be told that the ONLY time where the Avengers won and Thanos was beaten is the time where Tony sacrifices himself.

And the only reason they did it that way is because Tony Stark had to have a send-off. But he couldn’t have a happy send-off like Captain America, filled with dances and love and peace, oh no. Tony, who has feared death his whole life, had to die. He leaves behind a wife, a young daughter, and a band of fiercely upset friends. His family. There is no reason why Captain Marvel, the “most powerful hero in the MCU,” couldn’t have wielded the stones instead of Tony. Tony Stark is still a human. Captain Marvel is not–she can fly through space without a helmet and fly through an entire alien ship to destroy it. She could easily have wielded the stones and survived (yeah it almost killed Thanos and Hulk to do it BUT IT DIDN’T BECAUSE THEY ARE NOT HUMAN). The only reason she didn’t is because they needed some subversive perma-death and what better way to wrap up this Marvel arc than by killing off the man who started it all?

I genuinely don’t want to see Spider-Man: Far From Home at this point because that means I have to watch precious, deserves-so-much-better-than-this Peter Parker deal with yet another father figure’s death. It was hard enough watching Tony deal with Peter’s death. But they got one hug–and now Peter lost someone else. No wonder he doesn’t want to bring the spider-man suit on the school trip, I wouldn’t wanna be Spider-Man after that either.

…also, can we talk about Tony’s funeral? How absolutely no one is crying? How all the characters just stand there in black looking solemn? TONY’S OWN DAUGHTER ISN’T EVEN CRYING.

There is no reason why Tony Stark couldn’t have quietly retired from being Iron Man to live out his days peacefully with his family. He’d already done it for 5 years. If anyone deserves a soft epilogue, it is Tony Stark.

WRAPPING UP

Look, this movie has three full hours of material for me to be upset about, and clearly, I am.

There are still things I loved. Time travel plot? Fun! Wacky! Needlessly ridiculous!

Thor crowning Valkyrie as the new leader of Asgard? Perfect! She deserves it! Excellent!

All the women heroes (except Black Widow and Gamora since they’re only good for sacrifices) teaming up to get Captain Marvel across the battlefield? Unbelievably wonderful! Give me a movie of just that! Incredible!

Special effects? It’s a very pretty movie! It all looked very super!

But none of that makes up for the mess that is the final product. There are so many plot holes (Natasha killed herself so Clint never made a sacrifice and still got the stone? Cap took Mjolnir back in time with him and then…what? How was Nebula able to just stick her tech fingers in the time travel machine and bring Thanos? Why didn’t Nebula warn anyone about past Thanos or the Soul Stone sacrifice? Why did Cap abandon Bucky and Sam? Why was no one crying at Tony’s funeral? Why did no one use actual teamwork on Thanos like they did in Infinity War because that was the closest they ever got to being able to take the gauntlet off? I could keep going but I digress).

I think that superhero movies can be phenomenal. Look at Black Panther. Look at Avengers. Look at Iron Man. But I genuinely think it’s difficult to write a big superhero mashup movie because…there are too many superheroes. Seriously. It’s hard to write a villain that can genuinely overpower all of those super beings. It’s probably why Captain Marvel was MIA the whole movie. It’s why no actual teamwork was used. It’s why Tony Stark “had to die.” Superheroes, in their own universes, have powers that are explained and make sense (generally). It’s exciting to think of combining those heroes and having them team up to face off against a villain, but there are so many rules and powers that it’s hard to keep track of them all.

Generally, I feel like Endgame had a whole lot of excitement building up to it, and it just fell flat. It’s crushing box office records and that makes sense, it’s not so much a movie as it is an event. It’s not so much a movie as it is a chance to show off the special effects (and they were great!). It’s not so much a movie as it is a money-maker.

But there has to be more to a movie than just the visuals and the audio. You can decorate a cardboard box to look like the most appetizing cake in the world, but at the end of the day, you’re just going to be eating pretty cardboard.

The point of Endgame was not to tell a story. It was not to tie up loose ends. It was not to give satisfying conclusions to the character arcs of the original heroes who are leaving. The point was to make money. The point was to sell tickets. The point was to be a product.

And it worked.

FAVORITE MOMENT

Like I said, I have a couple favorites, but I am such a sucker for the trope of “WE HAVE A CLEAR PLAN IT IS FOOL-PROOF” and then it’s followed by “THIS IS ALL WRONG WE ARE THE FOOLS!!!”

It was the one part of the movie that was just fun and hopeful, even when everything went sideways and hilarity ensued.

“OOF” MOMENT

Too many to name, so instead have a happy Tony Stark. That’s what I’d rather have tbh.

SHOULD YOU TAKE YOURSELF TO SEE THIS MOVIE?

No.

I mean I know a lot of people like it, but I also know that some have had the same complaints and reactions that I did. And here’s the thing–studios don’t care about that. They don’t care about your opinion, especially if you didn’t like it. You still gave them money, and that’s all that matters to them.

If this doesn’t sound like a movie you’d enjoy, obviously don’t see it. There’s nothing about it that’s noteworthy if you’re not a superhero person (unlike, say, Black Panther).

If you’re a casual Marvel fan and this sounds like a disappointment, do not see it.

Here’s the really shitty thing about the whole “don’t spoil the endgame” campaign: they made sure you went to go see the movie just so you could know what happened. They made you feel small for not seeing it before the “spoiler lift” for the media. They made you feel like a bad fan for not supporting all these actors you love and have supported in the past.

You had to give them the money they wanted just so you could enjoy a story that ultimately fell flat. They didn’t make this movie for you–they made it for the awards, the accolades.

I genuinely regret seeing this movie in theaters. This film, which does not function well as a standalone movie at all, toppled Titanic in box office numbers.

(“But Titanic is dumb because they both could have fit on that board!!” Yeah well this movie is dumb because Tony Stark and Black Widow didn’t have to die. At least Titanic gave the characters some depth and heart.)

I will not be seeing this movie again. I love re-watching Marvel movies because it’s fun and up till now, they’ve been good. They’ve felt like character studies more than anything else, and that’s what drew me in. This movie? This treats its characters–and its audience–as products.

If you liked it, that’s wonderful. If you’re happy with how things played out, that’s great. If you don’t regret spending money on this, I’m jealous, that’s awesome.

As for me, I can’t wait for creators to go back to giving us stories with heart and characters that are treated with respect. You can have great special effects in a film, but your movie cannot stand on special effects alone.

Anyway, all in all, I give Avengers: Endgame

2/5 CHARACTERS WHO DESERVED BETTER!!

Don’t get me wrong though–all the characters deserved better. These are just the ones I’m most angry about. And Shuri. Did she even have any lines in this movie? Unbelievable. Also Peter Parker. Don’t even bring him up. I’ll just think about how his voice broke when he saw Tony dying and how he had to lose a father-figure all over again and FOR THE LOVE OF ALL THAT IS HOLY STOP DOING THIS TO HIM HE IS A CHILD.

At this rate, the only way I’ll be excited for another Marvel movie is if they truly do a next gen thing with Peter Parker, Morgan Stark, Cassie Lang, and Clint’s daughter whose name I forgot. Sam can be their really tired leader who is Too Old For This.

TRAILERS TO WATCH OUT FOR

Mostly repeats, but the two new ones are:

Gemini Man, which looks…interesting? Generally I’m always ready to hop on the Will Smith sci-fi train, I just really wanna know if this movie has an actual plot or not.

Star Wars: The Rise of Skywalker which I’ll be seeing because I have generally enjoyed the new trilogy. Also I want to cry about Carrie Fisher.

And that about does it for this review!

I’m ready to stop thinking about this movie, personally. Every time I think about it I just

It exhausts me.

I wanted to like it, but I just left the theater feeling so hollow…much to the chagrin of the AMC worker asking people what they thought. I don’t think he wanted an actual answer and was just being nice, but I’m socially awkward so how was I supposed to know.

Anyway, if this really does sound like something you would actually like, then sure, go see Endgame. But if you’re able to survive without seeing it, and trust me…you are able to survive without seeing it, I say skip it. Really. Please don’t give them anymore money.

(Sidenote: did you hear about how the Russo brothers claim that one of the MCU characters is secretly gay??? *GASP*

Plot twist: it’s Natasha. Because she’s dead. Can’t have happy representation. #buryyourgaysIguess.)

Missing Link REVIEW

So yesterday, I took myself to the movies and saw Missing Link, the new film from Laika.

If you’re unaware, Laika is a studio that specializes in stop-motion epics that are full of heart and laughs and they generally always make me cry (in a good way), so there’s that. You’ve probably heard of them, they’re the minds behind Coraline, The Boxtrolls, ParaNorman, and Kubo and the Two Strings.

(ParaNorman, by the by, is one of my all-time favorite movies and you can definitely expect a post about it around Halloween because y’all.)

While I feel like I saw advertising for Kubo EVERYWHERE prior to its release, I honestly had no idea Missing Link was even a thing until about a month ago, maybe. I truly didn’t know what to expect, except that it would have amazing visuals and hopefully other good things as well.

I was not entirely disappointed!

THE PLOT

The movie starts by following renowned classy adventurer Sir Lionel Frost (Hugh Jackman) and his less-than-enthusiastic valet Mr. Lint (David Walliams) on an epic quest: to get photographic evidence of none other than the Loch Ness Monster. It seems far-fetched at first, but after a unique move by Frost to broadcast bagpipes underwater, the monster appears! It takes some doing to get the creature posed (poor Mr. Lint is tasked with holding on to the rope), and once the picture is taken, Nessie grabs Mr. Lint in her mouth and dives underwater with him.

“Huh. A carnivore.” Frost says before diving in to rescue his poor valet. Frost does save him, but Nessie whacks their boat in retaliation, destroying the camera and Frost’s proof all in one fell swoop. Mr. Lint quits shortly after, proclaiming “I’m a human being, I can’t take this anymore, you’re INSANE, no wonder everyone leaves you!” Ouch. So, Frost is alone again, and it’s here that he stumbles across a letter written to him about undeniable proof of Bigfoot himself. Filled with new energy, Frost crashes the party of the “League of Adventurers” or whatever to announce his plans to get proof of Bigfoot so they’ll finally accept him into the society. Lord Piggot-Dunceby (Stephen Fry), the head of the society and all around Not Nice Person, strikes a wager with Frost: if he brings back proof, he’ll be let into the society and respected. If he doesn’t, he never bothers them again.

Dunceby is convinced that Frost will fail, but not enough to not take some precautions of his own–he hires someone to kill Frost so any evidence he may or may not find will still never come to light and he’ll never have to deal with Frost again.

Frost, meanwhile, is determined and heads to the address specified in the letter. What he finds, however, is Bigfoot, the missing link himself (Zach Galifianakis). He’s mostly self-educated since he scares everyone off, and wrote to Frost because he hopes Frost will take him to the Himalayas to be with the Yetis, his cousins. He’s the only one of his kind, and he’s lonely, so he figures if he can be with his cousins, he won’t be so lonely anymore.

In exchange, Bigfoot promises to give Frost whatever proof he needs for the society. The deal is struck, and the bizarre duo head off on their adventure. Along the way, they must deal with Dunceby’s hitman, Willard Stenk (Timothy Olyphant), Frost’s old flame Adelina Fortnight (Zoe Saldana), and the hard truth that maybe seeking out family in the wrong people is something many of us are all too good at.

THE REVIEW

I admittedly went into this with very high expectations because, again, I love Laika.

What I got was a very good, very beautiful movie. It’s not my favorite Laika film (nothing beats ParaNorman, nothinggggggg) by any means, but it’s a darn good movie and a really fun one to watch.

I feel like this film, more than some others from Laika, had a lot more “kid humor” in it. Potty humor especially abounds, which is, well, a choice. It’s not necessary for the film (especially when they have really clever jokes about chickens…more on that later) as there are plenty of other ways to establish Mr. Link’s naivety, but I digress.

I feel like that element is really what takes me out of the story more than anything else. There’s also the point that this is a very short film, running about 85 minutes in total, and there’s a lot they have to cram in plot-wise. I refuse to complain about the runtime, however, because it’s stop-motion and the dedication to even get 85 minutes is astonishing to me. So like. Yeah.

Plus like…I’m not the target audience for this film. I may love Laika with all my heart, but this is still a kids’ movie, and kids think that stuff is hilarious. So fine.

All that aside, this is a great movie. It’s so charming and lovable and filled with really interesting political parallels. Just…we’ll get there.

So what is it that makes this movie such a delight? Let’s follow in the big footsteps of Laika’s new family adventure and figure that out.

…that was a stretch for a metaphor, I admit. MOVING ON.

Spoiler warning now in effect!!

THE MUSIC

The music, like the movie as a whole, is charming.

There are a couple musical moments that definitely stood out: “Westward Ho” is a fun track that plays during the montage of Frost traveling to America to find the sender of the letter. “Forest Primeval” is probably my favorite track, and plays when Frost first sees Mr. Link and chases him through the forest. It’s fun and mystical and since it plays before we know his personality, it helps paint the mystery around Mr. Link as Frost desperately tries to catch him. “Bar Brawl” is fun and ridiculous, just like the scene it accompanies. It starts out slow and otherwise unassuming, and then once the fighting kicks up and guys are punching each other for no reason, the instruments really get going and it’s just ridiculous.

Overall, while the music is good, it doesn’t really take center stage at any point during the film, and it doesn’t really need to. It’s good, but it doesn’t take over.

Also, the end credits song “Do-Dilly-Do (A Friend Like You)” is ADORABLE. Please listen to it if you need to feel happy, it should do the trick. And it’s been stuck in my head all day and I can’t even complain about it.

Also, fun fact, the composer is Carter Burwell, who also did the music for the Twilight series, Three Billboards, and A Knight’s Tale. So. The more you know.

THE CHARACTERS

Since characters in media mean a lot to me and I won’t get invested if I don’t care about them *cough*ALITABATTLEANGEL*cough*, a big reason Laika is so dear to my heart is that they create such good characters. But why?

Despite their incredibly stylized appearances, Laika characters feel like real people. None of the characters in any of their movies are perfect–they’re all flawed in different ways, and their journey in the film usually ties into confronting those flaws and how they affect the other people in their lives. Coraline was so convinced her mother didn’t love her that she ended up traveling to an alternate world where her Other Mother loved her a little too much. Norman was so afraid of and sick of being bullied for his unique power with ghosts that he ignored his destiny so long he almost destroyed the world. Kubo was a scared little kid who just wanted a normal family that he didn’t stop to see the found family he’d created (yeah and then the twist is that they were actually his parents all along, which…ehhhhhh anyway). I would discuss The Boxtrolls, but I haven’t actually seen it since it was in theaters and I don’t remember enough of it to comment. This “dealing with our flaws” thing is something we all have to do at some point, so it’s refreshing to see it have to happen to these cartoon characters in their fantastical worlds, too.

This whole “confronting flaws that affect other people in my life” trope is probably the most prevalent in Missing Link. Lionel Frost is, despite being the guy we follow the entire film while the other characters only come in later, obnoxious. He just is. He’s full of himself, convinced he can do no wrong, and he’s incredibly selfish. He plays it off by being suave and “adventure-savvy,” but he doesn’t realize how much his selfishness affects others. He is only able to find a real happy ending when he starts actually thinking of and caring for others, even if it costs him his precious reputation. Even then, it’s hinted that he’s still not totally learned his lesson, but he’s getting there: Mr. Link is wondering what he’s going to do now that his plan for a home has fallen through, and Frost says “well I’m in the market for a new valet!” And Adelina has to elbow him to remind him to say “a new partner.”

Despite this being probably the most like a typical kids’ film Laika has ever made, it’s the first film to follow an adult protagonist compared to a kid. While Frost’s problems are not kid problems, his journey is still a valuable lesson to kids about making sure you put effort into relationships with people who want you for exactly who you are, not for who you’re not.

Frost’s journey is, of course, mirrored with Mr. Link’s/Susan’s.

(One of my favorite scenes in the film is when Frost is asking Mr. Link to choose his own name, maybe based off of someone who really touched his heart and his life in a positive way. Link goes off about this one prospector who came and didn’t run off scared the second they saw him, and how kind they were. Frost enthusiastically declares that yes! That prospector’s name should be his name! What was the name? And Link smiles and says “Susan.” Frost is initially like “but wait that’s a girl’s name…you know what? It suits you. Susan it is.” Which like??? LOOK AT LAIKA SMASHING GENDERING AROUND NAMES. YOU GO, LAIKA. And for the rest of the review, Mr. Link is now Susan, because that’s his name.)

Susan is just as alone as Frost is, but unlike Frost, Susan realizes this. He doesn’t want to be alone anymore, and called in Frost specifically so that he could find others like him, his kind, his family. Susan is awkward, being self-taught with language, so he doesn’t understand sarcasm or specific sayings. For example, when they’re trying to break into Adelina’s house, Frost hands Susan a grappling hook attached to a rope so that they can climb over the wall. Frost tells him to “throw it over,” and Susan does just that: he throws the hook and the rope in its entirety over the wall. Frost, annoyed, holds out his bag with the rest of his tools and says “oh great, well why don’t you just throw this over the wall, too?” And Susan does, of course. Because he was told to.

While Frost has been educated in “polite society” and understands all of this, Susan does not, and much of the character’s charm and humor comes from this. Susan is like a child in many ways, just wanting to belong and not understanding why people do the things they do.

Frost initially separates himself as much as possible from Susan, not wanting to be associated with him beyond bringing back proof to Dunceby, but Adelina is the one who points out how similar and utterly alone the two characters are. This realization being spelled out for both Frost and the audience is why the ending of the film, where the two characters choose to stay together and be their own family, is so heartwarming and satisfying.

Adelina as a character is just…she’s a spitfire. She’s likable instantly because she doesn’t swoon over Frost like he expects, she’s not afraid to be angry and fight, but she’s also not afraid to be gentle and emotional when it’s called for. She’s a fully rounded-out female character, which is still a rarity in today’s media, as I’ve discussed in both my Alita: Battle Angel review and my Captain Marvel review.

While it’s established that Adelina and Frost have a romantic history, it doesn’t become the sole reason Adelina joins their adventure. She’s been cooped up at home since her husband’s death, and she wants to get out. She flirts with Frost as he gradually becomes a better person, but ultimately, she doesn’t choose to stay with him. She says he’s a great man, now, but she deserves greater. It’s so refreshing to see these two characters acknowledge a past flame between them that clearly caused them both some pain, heal through that, and then ultimately move on. Frost may have wanted her to stay, but he doesn’t ask her to. He lets her go because, again, he’s learning to not be so selfish anymore.

The villains are also one of my favorite parts of any Laika film. Like the heroes, they’re not perfect characters, and they always have some reason behind why they do what they do. Our main villain is Lord Piggot-Dunceby, the mastermind behind the plan to thwart Frost’s expedition and the leader of the Society for Great Men or whatever. Both he and his assistant guy very clearly state that they don’t like Frost, he’s weird, and they aren’t afraid to stoop to new lows to get rid of him. Dunceby complains that all these young people are trying to change the world that he knows, and he doesn’t like it. Electricity. Suffrage. All ridiculous things that he didn’t grow up with, so he doesn’t understand them and doesn’t like them, doesn’t want to learn to understand or like them, so he doesn’t think they’re necessary. In a way, he’s just as selfish as Frost, and in him, we see what happens to someone who never learns to outgrow that selfishness.

The other constant villain is the hitman, Stenk. Stenk is a mean little weasel of a man who resorts to whatever means necessary to get what he wants. Be this in the form of sneaking around to listen in on Frost’s plans, threatening Adelina to get Frost to give up, inciting a mob mentality on the ship so they attack Susan (who, it’s established early on, doesn’t actually like fighting and wishes people weren’t so scared of him), the list goes on and on. Like Dunceby, Stenk believes that things should be done the way they always have been done, and like Frost, he wants fame attached to his name. Stenk initially wants to kill off Frost so he can take credit for the Bigfoot discovery, and it’s that notion that makes Frost start the bar fight with him. If Dunceby is the ultimate example of Frost’s selfishness, Stenk is the ultimate example of Frost’s journey for power and fame. Stenk, like Frost, has no real family or friends and is ultimately alone. He’s convinced that having his name be known and being famous will fix all his problems, but his death at the end of the film ultimately affects…no one. He dies alone, and as we’ll discuss a little later, he chooses to. Stenk and Dunceby are important foils for Frost, because by the end of the movie, Frost sees how easy it is to become them, and he realizes that he doesn’t want to.

Also Emma Thompson makes an appearance as a Yeti elder once they reach the Himalayas and she’s great. We’ll get to the Yetis in a moment.

THE ART

Like all Laika films, Missing Link is beautiful to watch. Someone on tumblr mentioned that it’s probably Laika’s prettiest film to date, and I would definitely agree. While every Laika film does a great job at visual world-building, they’ve absolutely upped the ante with every film, and Missing Link is definitely a crowning achievement. They built different sets to show the bustling streets of London, the forests and towns of early North America, the ocean during a storm, the beautiful, lush scenery of India, and the towering mountains of the Himalayas. Every shot of scenery is done with the utmost care and you can absolutely tell. There’s even a shot during the end credits where they show the workers building the India set as the elephant puppet is controlled and walking around–you’re able to get just a sense of how much work goes into these movies, even in just a short, seconds-long clip, and it’s just astounding.

For the actual character puppets, Laika uses 3D printers to create every single facial expression the characters use, and they swap out each face on the puppet for each frame as needed. I was able to see some of the different printed faces used in Coraline at the Cartoon Art Museum in San Francisco, and wow. I highly recommend looking up behind the scenes stuff for Laika films, because it just makes watching the movies a whole new experience and you appreciate everything so much more.

The colors used in the film are bright and cheerful, especially when Frost first sets out on his Bigfoot expedition. The character designs are stylized and fun, especially Susan himself, who is just the embodiment of the word “lovable.”

I can’t truly do the visuals of the film justice through words, you really have to see it to experience it all and fully grasp what I mean. It’s a very pretty movie. It really is, but calling it that just doesn’t do it justice.

THE TWIST/THE END

While Missing Link does have a twist of sorts, it’s not really on the same narrative-changing scale as say, ParaNorman.

Our bedraggled travelers have finally reached their destination, populated by Yetis, Susan’s own kind! They’re greeted by a Yeti Elder, who asks why they have come. Frost and the Elder actually have an interesting back-and-forth, where Frost promises they are not there to destroy anything the Yetis have built. Susan says he just wants to be with his family.

The Elder looks at Susan and says “ah…yes…our…cousin. The redneck.” She takes the three outside to a hidden valley in the snow-covered mountains, which she says has remained untouched and pure and always should. Our protagonists swear they’re not here to change that, but the Elder doesn’t believe them. (A great funny moment is when Frost says “we found it! Shangri-La!” And the Elder says “it has many names. We call it *unintelligible roaring noise*. It means “Keep Out, We Hate You.”)

She has them thrown into “The Inescapable Pit of Misery and Disappointment,” and boy, you can just tell how disappointed Susan is at being thrown away to rot by those who should love and accept him because they’re family.

We expect the Yetis to be different, to be welcoming to Susan, whom we’ve come to love and adore over the course of the film…but the Yetis are exact mirrors of the Society of Cool Guys back in London that Frost is obsessed with. Adelina points out that both Frost and Susan have been so busy desperately trying to prove themselves to people who don’t even want them, they don’t notice how alike they both are. She calls “the Great Lionel Frost” a myth, just like the monsters he chases, because he isn’t a great man. He isn’t even a good one.

Something about this strikes a chord in Frost, and he tells Susan to get up, because he’s going to fulfill his end of the bargain: he’s going to take Susan to where he belongs.

*cue EVERYONE CRYING but mostly me, probably*

The group manages to escape the Pit and evade the Yetis (while the Elder yells “quick! The people we don’t want here are escaping!!”) only to be stopped on the ice bridge by none other than Dunceby and Stenk (and the assistant guy whose name I completely forgot). Dunceby, determined to make sure Frost’s discovery never sees the light of day so he can’t outshine him, breaks the ice bridge, yelling out what would have once been Frost’s greatest nightmare and probably still is Dunceby’s: “no one will remember your name!”

It’s not Frost’s greatest fear anymore, though. His greatest fear now is losing the ones he’s come to care so much about, so they run. Dunceby, so caught up in his fury and obsession, doesn’t realize what he’s done until it’s too late, and he falls as the bridge breaks.

The whole thing is falling apart, now, as the characters desperately try to outrun it. The assistant guy is unable to and also ends up falling to his death. Then it’s just Frost, Adelina, and Susan, all tied together with a rope and hanging on for dear life. Stenk is safe, and is all set to drop the heroes to their doom. Frost says that he doesn’t have to, Dunceby is gone, now! But Stenk says that it isn’t about the paycheck anymore, he just genuinely hates Frost at this point and wants him gone, especially by his hand.

In the ensuing confrontation, our heroes manage to work together to safely reach the top of the cliff, while Stenk, so determined to off Frost, also falls into the rocks below.

Normally, in Laika films, the villains are developed in such a way that we want to see them be redeemed–they’re fully-formed characters just as much as the protagonists are, so there has to be a chance, right?

The difference here is that even if there is a chance for these three characters, they don’t want to change. They’re so caught up in their hatred and fear of Frost changing things and overshadowing them that their deaths serve as a sort of metaphor: they let their negativity rule their lives so much that it overpowered them and caused their ultimate demise. While Frost serves as a reminder that it’s so, so easy to become like those characters, it’s also just as easy to not become like them.

There’s a fascinating scene earlier in the film where Dunceby learns that Frost has evaded Stenk yet again and still lives. Dunceby throws a literal temper tantrum, in public, in front of all these people, and then proclaims that Frost’s existence is the “destruction of civilized society!!”

…Really?

It’s fitting, then, that he causes his own death by destroying something beautiful–an ice bridge that leads to Shangri-La itself.

While the assistant guy seems a little unsure of some of Dunceby’s actions, he ultimately stands by him and supports Dunceby’s decision to send a literal hitman after the guy. He dies trying to escape the results of Dunceby’s actions, and he’s unable to. While the assistant guy didn’t call any of the shots on his own, he certainly didn’t make any effort to stop Dunceby, and it caught up with him later.

Stenk is offered a chance by Frost. Frost says that Dunceby is gone, this doesn’t matter anymore! But Stenk is so obsessed with the principal of the thing, he puts his revenge ahead of anything else, his belief that Frost is still the bad guy…and it costs him dearly.

Now I don’t know how intentional any kind of political metaphor is in this movie, but I’m just saying…it’s interesting that all the villains work for a “Society of Great and Awesome Men” who believe that “men shape the world!” (“But I’ve learned that the world shapes us!” Frost says in response to this at the end) and that any kind of opposition to this way of life is a threat to everything they hold dear. They’re all old white guys. I’m just saying.

Dunceby even yells at Frost “you’ve aligned yourself with apes and women!” As if that’s an insult. Both the audience and Frost, by this point, have learned that both Susan and Adelina are so much more than that. But Dunceby refuses to see that because it goes against what he believes and it threatens his power.

There’s so much more we can talk about–how easily Stenk tries to stir up a mob on the ship by pointing at Susan carrying Adelina (he just rescued her) and yelling “look! A monster! And he’s got a defenseless girl!” Susan responds to this by saying “monster?” While Adelina says “DEFENSELESS??”

Or how Dunceby is introduced as a character by telling some long, drawn-out tale about his conquests and by waving a gun around.

Or how Dunceby tells Frost that the Society is renowned for traveling the world and “conquering and rescuing the savages” they come across.

Or how easily all the guys in the bar started fighting once just one person starts fighting, but Susan makes a face and doesn’t want to–who’s supposed to be the civilized one, again?

Or how Frost & Co. made a point of respecting Gamu the elder and asking for her help to find Shangri-La, whereas Dunceby & Co. made a point of threatening her, and when that didn’t work, threatening her baby grandson so they could get information out of her.

I’M JUST. SAYING.

FAVORITE MOMENT

I absolutely adored that entire opening sequence with the Loch Ness monster, it was just so fun and quirky. But I also totally loved the entire “dinner with Gamu” scene and all the jokes about the chicken (the chicken that we don’t talk about, of course). While my favorite moments are probably the funny ones because I think they’re executed so well, I also just enjoyed (of course) the visuals for the movie as a whole.

“OOF” MOMENT

Pretty much anything that was like, potty humor. It’s just not my cup of tea, and while I don’t think it ruined the movie by any means, it did distract at times. A lot of it was framed around Susan’s ignorance and general “not knowing how things work” and all that, which like, at least it makes sense, and one or two jokes would have been fine and still fit the character and narrative, but I just felt like there was too much of it. Again, though, I’m not the target audience, and I get it. I think it’s unfortunate, but I get it.

SHOULD YOU TAKE YOURSELF TO SEE THIS MOVIE?

Yes.

Look, my bias for Laika aside, this is a very good movie. It’s charming, it’s witty, it’s uplifting, and if you enjoy possibly unintentional but definitely can be pointed out political commentary that ends in a satisfying way, this movie is for you.

I think it’s so important to support studios like Laika. They put out consistently good films, and they work damn hard on them. There is unbelievable love and care put into every inch of their movies, and it’s not just a movie when they’re done with it: it’s a piece of art.

It’s not my favorite Laika film, it’s not the best movie I’ve ever scene, but it’s damn good and just a lot of fun. And again, we want to support studios like Laika and all the work they do.

Actually pretty much any studio putting out good animated films and isn’t Disney.

Nothing against Disney, just…well, okay, kind of something against Disney. They run the world and maybe like they shouldn’t.

Animated movies don’t get nearly the love and attention that they should because they’re animated, and it’s viewed as just a kids’ medium that can’t carry the emotional weight other films do. Studios like Laika prove that that simply isn’t the case. Animation can be just as breathtaking as live-action, just as powerful, and just as emotional.

Studios like Laika and Cartoon Saloon (The Secret of Kells, The Song of the Sea, The Breadwinner) are proving that animation is a great medium for great stories, and I think we should all support them in that.

Overall, I give Missing Link

4/5 SASQUATCHES!!!

Look, they’re happy to see you!

TRAILERS TO WATCH OUT FOR:

Pretty much everything was a repeat and also showed before Dumbo, with one exception…

They’re making an animated movie of The Addams Family and it looks like it might actually be really, really good.

Other than that, same old, same old.

So that about does it for this review!

If you love Laika like I do, if you want to take your kids to a movie that won’t make you want to die a little inside, if you love a good story with good characters, if you just need an evening to relax and escape to another world where everything turns out happy, if you love found family stories, I highly recommend you take yourself to the movies and see Missing Link.

…we won’t get into how a bunch of stop-motion puppets have more facial expressions than a certain character in Dumbo…I swear……

………….but they totally do.

Dumbo (2019) REVIEW

So last week, I took myself to the movies and saw Dumbo, Tim Burton’s take on the 1941 Disney animated film.

I was apprehensive because the 1941 Dumbo is definitely not one of my favorite films–I mostly remember it just being kind of strange (and then I was scarred for life by that INSANE PINK ELEPHANTS SCENE). I know there are some diehard fans for the original, and nothing against that, it just wasn’t my cup of tea and I had no desire to revisit it before seeing this version.

On the other hand, it’s Tim Burton!!

I can say that it’s definitely a fun movie, it’s an absolute assault on the senses in typical Burton/Elfman fashion (in the best way), and it’s a good time.

Is it great?

Ehhhhhhhhhhhhhhhhh……

THE PLOT

It’s 1919! Circuses abound! Button-down shirts! Boots! Trains! Animal abuse! Yay!

…wait.

We start off by following the train for the Medici Brothers Circus, featuring such acts as a strongman, a mermaid, a horse-training duo, and elephants. As the train makes their next stop and tents begin to rise, we meet Milly (Nico Parker) and Joe (Finley Hobbins). Milly has a cage of pet mice dressed for their own little circus (this is a reference to Timothy Q. Mouse from the original, but other than that, this little mouse circus of Milly’s is never explained) and she is giving them a check-up to establish that Milly is a Modern Girl (ohhhhh the theater nerd in me just realized…”Thoroughly Modern Millie” the musical…ughhhhhhhhhhhh) interested in ridiculous things like Science. Joe is younger than Milly and is just generally excited about everything. For instance, there’s a train!

Milly and Joe run through the circus to the train platform, looking for someone, and suddenly there he is: COLIN FARRELL! Okay, actually it’s their dad, Holt, played by Colin Farrell. They run to meet him (as I would do if I saw Colin Farrell on a train platform) but stop short when they see he’s missing an arm. Holt has just returned from fighting in World War I, and he’s come back to be with his kids and work in the circus again.

It’s clear there’s some tension between Holt and the kids as he greets them and goes to meet with the ring leader Max Medici himself (Danny DeVito) about getting his job in the circus back. Medici gives a great speech chock full of exposition to explain that not only did Holt’s wife die of influenza while he was away (and his kids had to endure that without him), but Medici also sold the horses Holt used in his act. But all is not lost! Medici recently purchased a ~pregnant elephant~ and since everyone loves babies, this will boost ticket sales like crazy and give Holt a job as the elephant guy!!

Holt is distressed, naturally, as he tries to come to terms with how much things have changed. We meet Rufus who is the current (?) elephant guy and a Grade A Worst Human Being Ever. Rufus doesn’t like Holt because he’s Decent, and also he’s taking his job? I think? Anyway, the pregnant elephant has given birth, and once the baby shakes off all the straw it was hiding in, it’s revealed to be not…typical.

Baby and Mrs. Jumbo are super close, and Milly and Joe immediately connect with the outcast baby elephant, but the rest of the circus members are kind of…meh about it. Medici in particular is convinced all is lost and he’s doomed, and Holt is tasked with hiding the baby’s massive ears for his debut performance.

So Baby Jumbo is dressed up for his debut to be carted around the tent, but since Rufus is the Worst Human Being Ever, he purposely causes a stampede with the elephants just to make Holt look bad (and to like, ruin the circus’s reputation in general but I don’t think he thought that hard about it). Fearing for her baby, Mrs. Jumbo storms in, chaos reigns, everyone’s screaming, and the tent collapses (in an ironic twist, the only casualty of this event is none other than Rufus himself).

(Also–Baby Jumbo was wheeled around in a carriage that said “Dear Baby Jumbo” but in the chaos of the stampede, the letters get messed up so it spells out “ear Baby Dumbo.” Milly suggests they keep the name instead of calling him Baby Jumbo just because it might make him think of his mom and make him sad. So at least it puts a slightly more positive spin on the original, where Dumbo was a cruel name given to him by the other elephants)

Mrs. Jumbo is labeled a mad elephant, and Medici sells her in a desperate attempt to save face and get money. Around the same time, Milly and Joe discover something unbelievable–Dumbo can fly! But no one believes them. During an accident at the following performance, however, Dumbo does fly, and now the circus is famous for it! Unfortunately, this draws the attention of V. A. Vandevere (Michael Keaton), who competes with Rufus for the title of Worst Human Being Ever.

The rest of the film is an exploration of family, power, and what really matters most in life: REUNITING DUMBO WITH HIS MOM. Oh and like, love, too. I guess.

THE REVIEW

So like, let me start off by saying that this movie has an excellent opening. I mean you are plunged right in to the Burton/Elfman madness and it’s INCREDIBLE. I mean I was watching and already giving this movie 6/5.

Then…we got introduced to the human characters.

Perhaps the biggest change from the original (except the removal of certain…crows…) is the emphasis on the human characters. I’ll go more into detail in that section, but I really think unfortunately that the human characters are why the film isn’t…great. Part of the issue is that they have all new storylines and nothing to pull from the original film, which I get. But because there is so much emphasis put on them, it’s a shame they’re really not developed all that well.

…I mean I say that, but some of the human characters are awesome. It’s a fine line that, again, I’ll get into later.

Generally, the movie has some really impressive points and some really disappointing points, and unfortunately, it’s so strongly one way or the other that the film suffers for it. Some of the characters are so lacking that they hurt the overall story. Some of them are so strong that all you can do is wish the others were more like them. Visually it’s so striking and fun that it’s disappointing when you aren’t looking at the detailed circus sets because you’re stuck with a forced emotional scene instead. The music is so intense and fun and whimsical that it almost seems out of place with the more lackluster moments.

But overall, I do think it’s a good movie. It was fun to watch, and in true Burton/Elfman fashion, I was absolutely transported to another time and place for the duration and it was a fun ride.

So what exactly is it that makes the film both so good and so meh at the same time?

Spoiler warning now in effect as we soar into the details of this Dumbo reimagining!

THE MUSIC

THE MUSIC. THE MUSIC THE MUSIC THE MUSIC.

*ahem*

Okay, so the music is Danny Elfman, which means it’s just…it’s phenomenal. It’s so good, you guys.

What I’ve always loved about Burton and Elfman’s teamwork is how well they work together with sight and sound to create a story. Elfman’s compositions serve to transport the viewer to somewhere magical just as much as Burton’s visuals do. The soundtrack just gives off incredibly fun “magic circus” vibes. Do you know how long it’s been since I’ve gone to a circus? I barely remember the last time I was at one (I don’t really count Cirque de Soleil because it was a school thing and also that’s like Rich People Circus), but the soundtrack for Dumbo brings you to a circus just with just a couple notes.

My favorite tracks include “Train’s A Comin'” (IT PLAYS OVER THE CIRCUS TRAIN ARRIVING AND THE SOUND EFFECTS OF THE TRAIN MATCH UP WITH THE DRUMS AND IT!! IS AN EXPERIENCE!!), “The Homecoming” (that fun guitar melody that then slows down when the kids see their dad again and he’s missing an arm like THEY DON’T NEED WORDS BECAUSE THE MUSIC DOES IT ALL), “Goodbye Mrs. Jumbo” (it’s Dumbo’s theme song but slowed down and sad and just WHY), “Pink Elephants On Parade (2019)” (MORE ON THIS LATER OHHHHHHHMYGOD), and “Soaring Suite” (this is like if the words “uplifting and magical” were music).

I just…I can’t do it justice with words, y’all. It’s on Spotify, please listen to it, that’s the only way to really feel it.

“But I’m not a movie music nerd like you” YOU WILL LISTEN TO IT AND YOU WILL LIKE IT.

Also, we have to discuss “Baby Mine,” of course. Just like the heartbreaking scene in the original, this plays while Mrs. Jumbo and Dumbo are separated after she’s labeled a mad elephant. She reaches her trunk through the bars to hold her son, who’s trying to reach her with his short little baby trunk. This time, though, the music comes from the various circus members, singing around a campfire. They’re clearly disheartened by the day’s events, and it’s a solemn scene as they sing and play instruments together, layered with the shots of Dumbo and his mom trying to reach each other.

Anyway. I’m not crying. Moving on.

Listen to the soundtrack.

THE CHARACTERS

Fun fact: that is the daughter’s facial expression the entire damn film.

So here’s the thing–I like the idea behind the human characters. I mean, think about it: a WWI vet returns to his home, the circus, missing an arm to find that his wife has died and the act he used to perform with her can no longer be. He can’t connect to his kids because he doesn’t know how to without their mom, not to mention, they had to endure her death without him. He can’t even begin to imagine their experiences. Then, the baby elephant he’s tasked with taking care of does connect with his kids, and that’s even before the elephant’s mother is taken away, too. He soon realizes that this baby elephant, this “abomination,” is the way to reconnect with his kids, and he wants that.

It’s hard, though, when this rich fancy guy shows up and gives his kids everything he’s unable to–a beautiful house with individual rooms, immediate belief in his daughter’s scientific dreams, and fame and fortune for their new best friend, the baby elephant.

So what does he do when the new guy gives the order to have the baby elephant’s mother killed? What can he do but be the hero his kids have always hoped he could be?

It’s an interesting idea to mirror the kids’ loss of their mother with Dumbo’s. It gives the kids motivation to reunite the elephants besides just “they’re kids and they believe in happy endings.” Milly and Joe want to reunite Dumbo and his mom because they would have done anything to reunite with their own mom–it’s why they can be frustrated by their father’s lack of belief both in them and in himself.

It’s such a shame this doesn’t translate in the film, then.

I found myself not really liking many of the human characters, but I couldn’t put a finger on why until Vandevere showed up. See, Vandevere, for as incredibly evil as he is, is so much fun. He’s a genuine cartoon villain come to life, he’s over-the-top ridiculous, and because of that, he’s probably the one human character I actually liked. It’s almost like Burton was like “okay, we can’t really push for realism in a story like this, so the villain doesn’t have to be realistic, either.”

And it works!!

Because the rest of the film is so stylistic and unrealistic, Vandevere fits right into the world the film creates and he’s an enjoyable character even though he’s the villain.

Everyone else, though?

Let me start by saying I love Colin Farrell, and we know he can play the estranged and troubled father because he does it incredibly well in Saving Mr. Banks. It just doesn’t translate as well here because, again, he’s almost too realistic for this outlandish story. If he’d been allowed to be a little more quirky, for example, he’d have fit into the world more and thus, been more likable. He did a great job though with what he had, it’s just that what he had seems like it should be from an entirely different movie; a realistic story about a failing circus rather than one that involves big-eared, flying elephants.

Eva Green’s Colette has to (literally and figuratively) walk this tightrope between cartoonish and realistic. She’s cartoonish for the most part, and I do like her character a lot, but she’s not developed to the same degree as the main family and Vandevere, so she feels incomplete. She’s still good, and mostly likable, and she doesn’t feel as out of place as Colin Farrell’s Holt does.

Danny DeVito’s Max Medici is ridiculously cartoony and fun in the beginning, so he fits in, but it’s not entirely clear what makes him change his mind to help the original circus group–after all, he was shown to primarily be interested in money, so why the sudden change of heart? Yeah Vandevere wanted to fire everyone from his original circus, but he was never shown to have really bonded with them in the first place. I’m glad he does have a change of heart, and it makes his speech at the end about the new circus really heartwarming, but again, there was some key element of development that’s just missing for him.

Joe has some really sweet moments, and I liked him just because he was always so excited and eager to please, but those are pretty much his only two character traits. He primarily serves as Milly’s helper, and while Milly and Holt get to have a nice father-daughter moment, Joe never gets anything of the equivalent, which kinda sucks, frankly.

The main circus ensemble are all pretty likable with the little dialogue they have, but like many of the other characters, they aren’t developed enough to really get graded as fully fleshed-out characters.

My biggest issue is with Milly. She drives me crazy.

I kept trying to make excuses for her. Maybe she’s like this because again, she had to watch her mom, whom she was clearly very close with, die. She had to take charge caring for her brother in their mom’s absence. She likes Science!

The bottom line is, however, that Milly has exactly one emotion through the entire film, and it’s šŸ˜

Not that you couldn’t do something with that, you absolutely could, but Milly is supposed to be the emotional center of the film. It is her connection with Dumbo and her strained relationship with Holt that are supposed to drive so much of the story, and it just doesn’t work when she says all her lines like this šŸ˜

Even when she charges up the ladder to get Dumbo a feather so he can fly out of the flames, and she falls and has to get pulled away, she doesn’t fight or try to get back to Dumbo, she doesn’t scream in worry for him, she doesn’t look concerned at all.

She looks like šŸ˜

IT IS INSANE.

It is especially out of place in such a cartoony film. She’s surrounded by flying elephants and theme parks designed by Tim Burton and she just šŸ˜

Dumbo, a CGI elephant, has more facial expressions and shows more emotion during this movie than our leading emotional character.

I mean, put her in a horror movie with creepy kids and I’m sure she’d do great, but FOR CRYING OUT LOUD. THIS IS A KID’S MOVIE. BE A KID. SHOW SOME WONDER. I DON’T CARE IF YOU’RE EXCITED ABOUT SCIENCE, SCIENCE IS COOL AND CALLS FOR FACIAL EXPRESSIONS. YOU KNOW WHAT ELSE DOES?

FLYING. ELEPHANTS.

The point is, the human characters could have worked. Many of them mostly do. But the character that is supposed to emotionally connect and invest us in the story and Dumbo himself just…

šŸ˜

Now don’t get me wrong, you can absolutely have an emotionless/seemingly emotionless character at the center of your film. You just can’t also have that character be the emotional center of your film. It just contradicts…everything.

And look, I get it, she’s a child actor. Unfortunately, I’m going to compare her to the likes of other child actors like, say, Millie Bobby Brown of Stranger Things fame or Sophia Lillis of It and Nancy Drew and the Hidden Staircase. I’m sure she can do great, just maybe not as the emotional center of a kid’s movie about flying elephants. I’m telling you, though, if she was cast as the creepy kid in a horror movie? She’d be awesome. Stop making films about creepy little boys and cast Nico Parker instead. For this particular movie, I just don’t think she was cast correctly.

And honestly, Dumbo does a great job all on his own on making us care about him.

But I genuinely think that the human characters, and Milly in particular, are really what keep this good movie from being great.

THE ART

So as you can tell from above, because it’s Tim Burton, the film is a visual marvel. Yeah it’s supposed to take place in our world in 1919, but stylistically, it feels like it takes place in an alternate version of our world where maybe elephants can fly.

Pigs, too, probably.

I mentioned the opening shot with the circus train in the music section (THE TRAIN SOUNDS!!! MATCH THE DRUM BEATS!!!!!), but it truly does a beautiful job of setting up the film. The train itself, being completely Burton-ized, looks like a face–every part of the train, in fact, looks just cartoony enough to not be real. All the sets in the film stand on this line of being sort of realistic but not quite. It reminds me a little of the engagement party scene in Burton’s Alice in Wonderland, where everything looks real and as you’d expect but also just ever so slightly…off.

In a good way! I know Alice in Wonderland wasn’t necessarily a favorite when it was released, and I know Dumbo now isn’t getting rave reviews, but I do think these kind of stories are ideal for Burton. He does well with stories where characters are transported to an alternate land where things don’t have to make sense, and he does really well with circus stories (first Big Fish and now this??). Think about it: the main goal of a circus is to promise the impossible is real, to fool you into believing in magic. Burton’s style plays into circus stories because he specializes in the fantastical with the real, the impossible with the possible.

Also, he got to have Danny DeVito play a ringmaster again, which I’m sure was fun.

You would think it would be too much, and especially when Vandevere’s Dreamland comes into play, it almost feels like too much to take in for both you as the audience member and the characters onscreen. It never crosses that line, though. Everything visually in the film is a feast for the eyes in the best possible way, and everything has meaning and care behind it.

So much so that, like I mentioned above, scenes without all the visual marvel that rely on the characters to carry us through are sorely lacking. Pretty much any scene that focuses solely on the interactions and dialogues between the human characters are dull in comparison, and they shouldn’t be. The scenes where the kids connect with Dumbo are hard to get through, partly because we don’t have any fun circus scenery and mostly because we have to deal with Milly. Scenes where the emotions of the characters should provide all the spectacle we need are hurting, because when Milly and Joe are talking about “well maybe Dumbo misses his mom, we have to help him, we miss our mom, too!” And then “my mom gave me this key to look at whenever I felt like there was a door I couldn’t get through. Maybe I’ll still feel like I can’t open it, but the key reminds me that there’s always a way” are all said in the flattest possible way.

The visuals are stunning. The costumes are amazing. But they shouldn’t have to bear the weight of the characters’ lack of feeling through the entire film, and unfortunately, they do.

The opening scene with the train and the circus being set up is fun and loud and truly feels magical, and it’s a shame the rest of the movie doesn’t quite live up to it (kind of like how the opening number of La La Land promised great things and then you left the theater carrying the broken pieces of your heart and also your dreams).

There’s another moment later in the film, however, where that magic comes back, if only for a moment.

We have to talk about pink elephants.

This is quite possibly my favorite scene in the film, which is kind of funny considering it’s my least favorite scene from the original. Dumbo doesn’t get drunk in the 2019 version, but there are still pink elephants dancing. As a way to prepare the audience at Dreamland’s Colosseum for Dumbo’s act, performers take giant bubble wands and in unison, create magic with them.

It’s unclear whether or not the bubbles actually form the elephants or if Dumbo’s just seeing things (hey, he’s probably never seen bubbles before), but it’s an absolutely spellbinding sight and honestly may be worth the price of admission alone (maybe). It’s a beautiful scene rather than a slightly terrifying one, and it manages to be just as overwhelming as the original animation but in an entirely different way. Dumbo gets caught up in the beauty of it just as much as we do.

I like to think of it as Dumbo and the rest of the Medici Bros. Circus members not being drunk literally, but rather being drunk on this new power and fame they suddenly possess.

Am I reading too much into it? Probably.

But seriously, it’s genuinely a spellbinding scene. I was actually shocked when I found out that the track for that scene was only 1:47–during the film, it feels like a full 4 minutes at least. Not because it felt like it went on forever in a bad way, it just felt like a full-length intense dance number that you don’t want to end, and it was less than two minutes??

Iconic.

THE “SUBTLETY”

Dumbo is not one for subtlety when it comes to the film’s message(s).

And honestly, it’s executed in such a fun way that for the most part, I’m okay with it.

For example, a large focus of the film is family, obviously. Holt has to find a way to reconnect with his own kids without his wife, Dumbo just wants his mom and she just wants him, and it’s implied that the circus ensemble all find family in each other (or they just believed that all along, they’re not really developed enough for us to say for sure).

This actually all comes to a head with our good ol’ baddie Vandevere. It starts when he introduces us to Colette, his…girlfriend? Her relationship with him is never explicitly explained, but it can be implied that she likes money and he has it. But Vandevere has no “real” family of his own to speak of. He then pulls Medici aside when he’s discussing buying out the circus, to which he says “I know there’s no other Medici. You probably wanted one, though.”

The circus is called “Medici Bros. Circus,” but Vandevere is right; Max Medici is actually the only one, there are no “brothers.” That’s partly why Medici is so easily swayed by Vandevere’s offer. He wants the money, sure, but he also wants to have a partner. He wants to belong to something bigger than himself.

This whole family idea comes to a head when Holt thanks Vandevere for the nice lodgings he and his kids receive, to which Vandevere simply replies “of course! Your family’s mine.”

I don’t know how it translates in writing, but when you hear him say that, your brain automatically finishes the saying: “your family is my family.” But that ain’t what he says. Vandevere makes it clear that he owns people, he doesn’t stoop down to the level of belonging with them.

This is made even more clear when Colette’s backstory is revealed: she was a street performer in Paris, Vandevere saw her, offered her more. There is no actual connection with them at all, he just owns her.

So when Vandevere goes absolutely bonkers in the last act of the film and everyone abandons him, it’s easy to infer why: everyone else has found family in each other because they sacrifice for each other and help each other. Vandevere would never do that for any of them, so they don’t help him when his whole amusement park burns to the ground–they leave him.

True family can’t be bought.

Colette and Vandevere have some fun and ridiculously over-the-top dialogue during their final confrontation as well. Colette and Dumbo fly to the tower that serves as the main power source for the park and shut it all down so they can get Mrs. Jumbo out. Vandevere storms inside and yells “WHAT HAPPENED TO MY POWER???”

To which Colette simply replies, “what power?”

GET IT. BECAUSE HE NEVER HAD ANY REAL POWER. LOVE WAS THE REAL POWER ALL ALONG AND HE HAS NONE.

GET IT.

Then, as Colette is leaving with Dumbo, he screams after her “YOU WERE NOTHING BEFORE I MADE YOU MY…MY…”

And Colette smugly looks at him and says “I believe the word you’re looking for is queen” and then she flies off with Dumbo like a badass leaving Vandevere sputtering after her.

GET IT. GET IT.

Okay, anyway.

And then it all comes together at the end because the circus is back together (sans a couple elephants) and now it’s called the Medici Family Circus instead.

GET IT.

Also there’s a real slap-you-in-the-face message about how animals shouldn’t be kept in cages or something. I’m just saying, if Dumbo’s mom had been raised in captivity, she wouldn’t know how to survive in the wild. Luckily we know she was actually captured as a pregnant adult, so the wild is what she knows and she’ll do fine. All Dumbo knows is people, but he has his mom in the wild to guide him. But if she’d been raised in captivity, the best thing to do would be to keep her but treat her well. It’s clear that prior to the Medici Family Circus, the animals were abused like crazy, and that’s absolutely accurate to 1919 circus life. But releasing an angry, abused animal into the wild is like sticking a target on their back–it doesn’t benefit anyone (except a very lucky predator, maybe).

Anyway, nothing is subtle, but that fits right alongside the overall cartooniness of it all.

(Also, we can absolutely talk about how ironic it is that Dumbo, as a “freak of nature” becomes a huge money-maker for an amusement park that looks a lot like Disneyland. They even show a vendor selling out of Dumbo plush toys every night–toys that look like the original animated Dumbo. And that park burns to the ground, the “freak of nature” is allowed to leave and be happy with his mom so he’s not on display every night for cruel humans, and the circus members find family performing with each other, not for others. It’s just interesting that a Disney film seems to be really taking a jab at how Disney runs things…especially with all those live-action remakes on the horizon…ANYWAY………)

THE ELEPHANTS

DO YOU LIKE CRYING??? Great.

All I could think of while watching this film was the different things I’ve read and heard about elephants in the past couple years or so.

For example, a study was done by UC Davis to research elephants and the different relationships they have with humans. They concluded that elephants can absolutely form special relationships with humans, which is especially interesting because unlike domesticated animals, they haven’t been bred over generations to get used to us. Of course it’s also true that elephants can be absolutely hostile to humans and to be fair, if you’re out hunting elephants, you absolutely deserve whatever the elephants do to you.

Another example was a study published in 2014 that stated that elephants will aid and care for other elephants when they’re sick or dying. If they hear another elephant in distress, they will go to them and respond with calls and touches to console them.

Elephants can suffer from PTSD–this can be caused by being tortured, abused, forced into captivity, or witnessing the death of a family member by a poacher.

They have a complex family and social system in their herds, where the elders instruct the young how to interpret calls and follow specific social cues. If the elders are killed, that information is never passed down to the younger elephants.

Perhaps most interestingly, elephants seem to mourn for their dead. If they encounter the remains or skeleton of another elephant, they slow down and will touch the bones with their trunk–they don’t do this for other remains they come across.

There’s even research that reports that elephants seem to cry as an emotional response.

Elephants are crazy complex creatures, and it makes having them be at the center of a movie like this all the more powerful, especially one scene in particular.

Throughout the film, Dumbo and his mom clearly have a very strong bond. They have a powerful connection, to the point where Dumbo is able to recognize his mom’s call all the way across Dreamland to where she’s being kept (in an attraction called “Nightmare Island” where they keep all the world’s “most dangerous animals”). At first I remember thinking “yeah right” but?? Knowing what we do about elephants, why wouldn’t he be able to recognize her call? I mean jeez, penguins can do it!

This is why the ending scene with Dumbo and his mom is so beautiful, because it’s so good to see them together and happy, finally.

But all that we know about elephants makes the “Baby Mine” scene even more upsetting. Of course Dumbo would reach for his mom with his little trunk. Of course his mom would reach out and cradle him with her trunk. Of course they would cry. OF COURSE.

Let’s not forget that the only reason Dumbo’s mom is chained up in this scene is because Rufus (Worst Human Being Ever) purposely put her baby in danger. Of course she heard him crying. Of course she sensed his fear. Of course she came running for him. He’s her baby. OF COURSE.

It’s the one scene that feels appropriately emotional, and it’s all because of CGI elephants.

My last three brain cells trying to figure my life out

FAVORITE MOMENT

I think it’s probably obvious because I’ve talked about the scenes extensively, but I love the pink elephants scene and “Baby Mine.” One is so ridiculously over-the-top it’s great, and one is just calm and sad and emotional its great.

“OOF” MOMENT

…can I say anytime Milly spoke?

Okay, okay, fine. Really it’s almost any time they tried to have an emotional scene with any of the human characters, it just never really comes across right. It never reaches the level of “Baby Mine,” and that would be fine except they make it seem like those scenes are supposed to hit that level. They just don’t.

Also, the whole “Medici Family Circus” montage has Danny DeVito break the fourth wall and talk right to the camera and it’s just…a choice.

SHOULD YOU TAKE YOURSELF TO SEE THIS MOVIE?

I think it’s very likely that for all my griping about the humans, it’s possible to not have it be that big a deal. Again, as much as it’s played out as being the main story of the film, it’s really not.

Despite all the šŸ˜ , there’s still a whole lot of incredible scenery, stunning music, fantastic villainy from Michael Keaton, and a really cute little baby elephant.

This is still a very good movie, and it’s certainly a really fun time going to see it. If you need some escapism, you like Tim Burton/Danny Elfman, you like elephants, you like Dumbo, and you don’t care about emotional scenes and how they’re portrayed and you think I need to chill out, I definitely say go for it, see this movie.

It’s good. It’s not great, but it’s good. And it’s fun. And you’ll cry a little and then be all inspired about family or something.

Overall, I give Dumbo…

3.5/5 MAGICAL FLYING FEATHERS!!

I have no idea if the whole “Dumbo has to fly with a feather” is a key thing in the original film, but it was like a really big deal in this one. Until he realized that he didn’t need a feather to fly, the ~Magic Was Inside Him All Along~.

Or something.

TRAILERS TO WATCH OUT FOR

We had a couple repeats (Ugly Dolls, for example) but also some new ones that we get to talk about! Missing Link is the newest film from the studio LAIKA, probably one of my favorite studios ever in the world, so I will absolutely be seeing it (in fact at the time of writing this I have already seen it and that review is on its way!).

I…can’t believe I’m about to say this, but…Dora and the Lost City of Gold looks…really…good? Like I genuinely don’t know how to approach this movie for the most part, but like…I mean I’m gonna see it, I just…I mean you don’t understand, it’s like someone saw that College Humor video and said “no but REALLY THOUGH.” And now here we are. Wow.

Abominable looks like it could be really, really cute, so I definitely want to see that. I am all for this sudden trend of movies where characters befriend mythological creatures and go on adventures. Can we have a Mothman adventure next??

Aladdin is…a movie…I mean, okay, I loved Aladdin as a kid. I also loved the character Aladdin as a kid because, I mean, c’mon. Plus, Robin Williams at his finest, really. Of course I’m gonna see it, and maybe it’ll be good, but also like…there has been no sign of Iago in any of the trailers and I have SEVERAL CONCERNS, OKAY.

And that about does it for this review! If this sounds like something you’d enjoy (and again, it is just generally a very good time), I say take yourself to the movies and see Dumbo.

Just like…don’t get too excited about it.

šŸ˜

Okay I’m done. I’ll stop.

Captain Marvel REVIEW

EYYYYY it’s been a hot second, huh?

So about a…couple weeks ago, I took myself and my dad (pretty much the only family member who will see superhero movies with me) to the movies and we saw Captain Marvel, the 21st (22nd? I hear conflicting reports) film in the Marvel Cinematic Universe and the 1st MCU film to center around a woman hero. So that’s. Good.

I don’t generally follow all the DC vs. Marvel discourse, but I do know at the very least that Marvel has been supremely more successful with their cinematic releases than DC has. That being said-can you believe that DC released a woman-led superhero movie before Marvel? And it was GOOD??

Anyway. I was relatively excited just because I generally like superhero movies, I really like Brie Larson, and I am all for movies with a female lead (I think that was well-established by my Miss Bala review). That being said, I wasn’t like…immensely excited. I mean, I thought it would probably be good, but let’s think about how Marvel has dealt with its female superhero characters…

Yeah.

I am happy to report, however, that I was pleasantly surprised by this movie. So, without further ado, let’s dive into Captain Marvel.

THE PLOT

The movie begins with an actual explosion. Everything is all slow-motion-y and dramatic as our leading lady herself (Brie Larson) looks around, confused. She sees an older woman standing near her (Annette Bening) and someone else approaching with some sort of space gun thing. She then wakes up, and we formally meet her as Vers, a member of the Kree (some sort of alien race, for those of you who are admittedly as uneducated as I am about these details). She then goes to train with her mentor, Yon-Rogg (Jude Law). During the fight, their conversation reveals that Vers desperately wants to be a fully-recognized soldier, but Yon-Rogg says she lets her emotions control her actions too often and therefore, she isn’t ready. He says something about how once she’s able to defeat him without using her sparkle fist powers, then she’ll be ready.

Vers then meets with “Supreme Intelligence,” the leader of the Kree. No one knows what they really look like, they take the form of the person you most admire. For Vers, she sees the woman from her dream, though she doesn’t actually remember who she is. Supreme Intelligence basically says “yeah sure you can be a soldier and go on this mission but remember we gave you your sparkle fists and we can take them away too k have fun byeeee.”

Vers, Yon-Rogg, and the rest of their team are tasked with recovering an operative trapped on another planet. The Kree are in the middle of a war with another alien race, the Skrulls, and they’re fighting because apparently the Skrulls keep taking over planets and massacring everyone they come across. Yon-Rogg emphasizes how dangerous this mission is and like…I dunno they’re all emotionless alien soldiers so they all just nod like “yep.”

Anyway, the group splits up upon arrival and Vers comes across what she thinks is the Kree operative, but oh SNAP it’s actually a Skrull because they’re SHAPESHIFTERS. The other inhabitants the Kree come across turn out to also be Skrulls and it’s a full-out ambush. Vers gets captured. The Skrulls poke around in her head and she has a whole lot of memories and flashbacks that she does not remember at all. It turns out the Skrulls are looking for the woman from her dreams, whose name is Dr. Wendy Lawson. Vers manages to knock out the Skrulls keeping her captive with her sparkle fists and she escapes, crash-landing onto…EARTH.

Because this takes place sometime in the 90’s, she crash-lands into a Blockbuster Video (all together now…*in the aaaaarms of the angels, fly awaaaaaaay* RIP Blockbuster, forever in our hearts). Her crash, her space outfit, and her general demeanor alert a CGI’d-to-be-young Nick Fury (Samuel L. Jackson), who begins chasing her down with, wait for it, AGENT COULSON (Clark Gregg). It takes some time and some deep conversations for Fury and Vers to really bond and trust each other, but soon they decide they’re on the same team and it’s up to them to figure out what’s really going on with the Kree and the Skrulls, and who Vers really is.

THE REVIEW

So like I mentioned above, I was pleasantly surprised by this movie. I genuinely enjoyed it. Again, I tend to like superhero movies anyway, but I would say this is one you can enjoy even if you’re not typically a superhero fan. Like Wonder Woman and Black Panther before it, I think it offers a whole lot more as a film than just the whole “super person wears a funky outfit and fights bad guys with a quirky ensemble” thing.

Was it perfect? Not necessarily. I don’t think it’s a must-see like Black Panther, but it has a lot to offer. Plus, it made a lot of older white guys mad for some reason, so you know it’s probably a good idea to support it somehow.

The characters were all really likable, the plot twists were interesting, and all of the “girl power” moments were incredibly satisfying. All of the gags with Goose the cat were immensely enjoyable, and I do appreciate how the main relationship in Carol’s life was her best friend.

Also-the costume design. I mean, I know it’s crazy, but it is possible to have a woman superhero NOT wear a skin-tight outfit. I just. It’s insane. People have also pointed out that all of the Kree soldiers have the same outfit. Vers and Minn-Erva don’t get special designs that hug their bodies more, are more revealing, or in any way highlight the fact that they are women. It’s all the same because they are ALL Kree soldiers!

Even when Carol swaps her Kree gear for some human clothing, she doesn’t go for a dress, or shorts, or something skin-tight. It’s boots, loose jeans, a grungy t-shirt, and a leather jacket–and she STILL looks amazing and comfortable and she can STILL FIGHT. None of her fight scenes or actions in her human outfit are unbelievable because it does look like she could naturally pull all of it off. I didn’t fully appreciate how much of a breath of fresh air that all was until I re-watched some of the other Marvel films this past week to prep for Endgame and…pretty much all of Black Widow and Scarlet Witch’s costumes make me want to cry. It’s so unnecessarily just CLEAVAGE. ALL THE TIME.

(Now yes, to be fair, Steve has some very tight shirts of his own, which…I mean, it’s all a choice, okay)

But what exactly were the specific details that made the movie so good? What exactly made it just a good time to watch?

Let’s blast our way through the specifics, which means spoiler warning is now in effect!

(My pun game is…not as sharp as it once was when I started all of this)

THE MUSIC

As always, we begin with my favorite element: the music!

Much of the music didn’t really stand out to me in the beginning, admittedly. There was nothing I particularly noticed that stood out, at least at first. I mean, I feel like there’s a whole separate genre of cinematic music now that is just “it’s for a superhero movie; it’s heroic-sounding.”

That being said, the track “More Problems” (composer: Pindar Toprak) is phenomenal–a little over 8 minutes of what sounds like what would happen if a victorious battle cry was orchestrated. I believe it underscores most of the final act of the film (again, it’s been a couple weeks since I’ve seen it) when Carol learns the truth about everything and goes after Jude Law who DEFINITELY deserves it.

The other musical moment I really loved is during one of the final fights when “Just a Girl” plays. It’s such a Captain Marvel song, too; you can tell she’s having fun finally embracing her full identity and taking it out on the people who lied to her for years. Plus, it serves as a really poignant jab at the fact that this is the 21ST (or 22ND) MARVEL FILM AND THE FIRST CENTERED AROUND A WOMAN SUPERHERO. WHY.

THE CHARACTERS

For the most part, I felt all the characters were incredibly well-done for the purpose they served.

A lot of the film, I remember thinking that Carol herself wasn’t that well-developed, but that ties into the film perfectly–for a lot of it, we see her the only way she knows herself: a Kree warrior whose only goal is to go out on real missions to prove herself. As more of her memories get uncovered, however, we learn about her personality and what makes her who she is at the exact same time she does. We get connected to her as a character because we go through things right along with her, and I LOVE it.

(To go off for a moment here, I mentioned in my Alita: Battle Angel review that one of the things that really bugged me about the movie is that it was like in order for Alita to be a good hero and protagonist, she had to squash all of her emotions because it was the only way to move forward. I don’t think it made her relatable at all, it just further alienated her from me and I cared less and less about what happened to her or her story. Carol has a similar moment where she learns exactly what happened in her past, she’s at her lowest point, but instead of shoving it all deep inside her and refusing to acknowledge it, instead she uses that pain to move forward and be stronger because of it. She went through something awful and she lost someone incredibly dear to her; both characters did. What matters is how they were written to handle it, and it makes all the difference)

Baby Nick Fury was an absolute delight, and he had such an interesting arc over the course of a single film. We see him go from doubter and rule-follower to believer and fighter, and honestly it makes his meme line in Avengers all the funnier now. I mean: “I recognize the council has made a decision, but given that it’s a stupid decision, I’ve elected to ignore it.” You just KNOW that’s something he’d say that Carol would both be proud of him for and also tease him about. We’ve seen Fury as a leader in the other Marvel films, albeit not a perfect leader, but that’s part of what makes him such a good character. He’s just as flawed as the heroes he tries to be in charge of, but you can tell he’s weighed down by red tape and decisions that are beyond his control. Here, we get to see him be not only young and inexperienced, we get to see him form a real friendship with someone. The post-credits scene is phenomenal for this very reason; Carol and Fury have a fascinating bond, so when she shows up to confront the Avengers and Fury is nowhere in sight? Of course she’s pissed.

Maria is a wonderful character and a great best friend for Carol. I loved her the instant she came on-screen and she didn’t disappoint the entire film. She really brings humanity to Carol before she remembers everything, so she’s a perfect addition to Carol and Fury as a team. (Side note: there’s not an explicit romance in Captain Marvel, but many fans have pointed out that Carol and Maria are incredibly close, although they just say best friends. Then again, as one fan pointed out on tumblr, the film takes place right in the middle of “Don’t Ask, Don’t Tell.”…Carol and Maria were both in the military….speaks for itself. Plus, Brie Larson frequently retweets fan art of Captain Marvel either with Maria or Tessa Thompson’s Valkyrie, SOOOOOOOOOOO…..).

Jude Law’s Yon-Rogg is yet another great character; he does such a good job at playing trustworthy in the beginning, and yet it’s totally believable when he’s revealed to be the real bad guy all along (is this why older white guys/white guys in general didn’t like the film? Because the white guy was the villain? Is that it?). He’s absolutely malicious in his final fight with Carol. Speaking of, that whole moment when Yon-Rogg says “I TOLD YOU THAT ONE DAY YOU’D HAVE TO PROVE YOURSELF TO ME BY BEATING ME WITHOUT USING YOUR POWERS WELL TODAY IS THAT DAY–” and Carol just decimates him with her sparkle fists and says “I don’t have to prove anything to you” that is ICONIC I AM LIVING.

The only character I feel wasn’t as developed as the others is Dr. Wendy Lawson, and that’s a shame since she’s supposed to be a big icon and inspiration in Carol’s life. We know she was intent on ending wars rather than fighting them, and she knew what the Kree really were compared to the Skrulls. So she’s clearly like, perfect, but we don’t see much of her. She’s featured silently in some memories of Carol’s, she does talk in at least once other, but most of her appearances in the film are actually when we see Carol talking with the Kree Supreme Intelligence.

“But Filmennial!” I hear you say, “you could just read the comics, and then you’d learn all there is to know about Dr. Lawson/Mar-Vell!” To which I say,

No.

That’s the nice thing about Marvel movies: they’re generally enjoyable even if you haven’t read all of the comics. There are so many, y’all. Plus there are different authors and timelines and I just…

No.

THE TWIST

The twist(s?) was very welcome, like I mentioned earlier, and it was an interesting commentary. Like Carol, we as the audience (unless you’ve read the ~comics~ I suppose (but seriously no offense, and I admire your dedication, I really do)) are brainwashed. We accept that the Kree are the good guys and the Skrulls are the bad guys because that’s all we know. It’s played out brilliantly, too; the good guys are soldiers, they look strong and proud, they go on missions to protect the galaxy from evil. We naturally want to trust them (isn’t that what we do in America, too?). On the opposite end, you have the Skrulls. Not only can they shape shift, thereby branding them instantly untrustworthy as they could be anyone, their natural form is much more alien than the Kree. Many of the Kree have blue skin, yes, but they still look human to some degree; the Skrulls look LITERALLY alien in comparison. They have green skin, weird Thanos chins, they’re bald, and they have pointy ears. Just based off of looks alone, they’re different, and our natural reaction is to believe they’re evil because they’re unrecognizable.

It’s disconcerting then to both Carol AND the audience when it’s revealed that the Skrulls are actually refugees; they are just searching for a peaceful planet to call home because not only did the Kree destroy their home, they keep hunting them to maintain their image (and just because they want to). Everything we’ve been told up to this point, everything we believed in, is a lie.

So then Carol finds out that not only was her mentor, Dr. Lawson, Kree herself, she was trying to end the war between the Kree and the Skrulls because there shouldn’t even be a war to begin with. It wasn’t the Skrulls that killed Dr. Lawson the day Carol was with her; it was none other than Yon-Rogg, Kree himself, and Carol’s mentor when she was training to be a Kree warrior. Her powers were not given to her by the Kree, it was an accident because she blew up the power source the Kree were after at Dr. Lawson’s request and ended up fusing with it. Yon-Rogg saw this and kidnapped her, essentially, purely hungry for the power Carol now possessed.

All of this is what makes the final fight sequences so fun and satisfying to watch. Carol takes her Kree uniform and has Maria’s daughter change the colors so it is all her own now (side note, Yon-Rogg asks “what have you done to your uniform” when he sees her again but like…it was a feature of the suit? Why did they build it with that feature if they didn’t want people to change them ever? It’s fine). She uses her powers, unafraid for the first time ever, and takes out everyone who lied to her so she can protect the ones they hunt.

Also, there are great moments in the final fight where Goose shows off his real identity as a Flerken, a terrifying and deadly alien being. So, a cat.

THE GIRL POWER

Captain Marvel does not shy away from its central messages of peace and girl power at all. It’s worth dwelling on the fact that Carol and Maria’s mentor in the military was a doctor who only wanted to end wars, not fight them. They wanted to work under her for that very reason, and also since they are women, they weren’t allowed to be actual pilots, and since that’s all they really wanted to be, this was their only way to get in the air.

Captain Marvel, as a character, specializes in ending wars. The Avengers, as a group and as a series, always seem to be a little more occupied with fighting wars rather than trying to find the best way to end them. Not always, of course, but compare this to Captain America’s origin film: the whole reason he signed up for the super soldier experiment is because it was the only way he could fight. It’s all he wanted to do…ever, basically. Iron Man started off wanting to quit building weapons so that the bad guys couldn’t get a hold of them, but then he ended up building a bunch of iron man suit weapons that the bad guys got a hold of time and time again anyways. There’s a reason why these two were the headliners for Captain America: Civil War.

It’s why I’m so, so glad that Captain Marvel will be joining the crew for Endgame, because if anyone can end the infinity war, it’s her.

I mentioned above that there’s a whole fight sequence underscored by No Doubt’s “Just a Girl,” but that’s only one of the ways the film focuses on the idea of girl power. As previously stated, Carol and Maria weren’t allowed to be pilots simply because they were women. There’s a real gross flashback where some drunk soldier tells Carol that “it’s called a cockpit for a reason” which just…ew. There’s a scene where some guy tells Carol that she should smile, which I DEARLY hope was added in after the whole “guys complained that Captain Marvel doesn’t smile enough in the released footage and posters” thing. Probably not, but it was an extra funny scene just recalling that–and the look Carol gives him? ICONIC.

There are subtler things, too, that I don’t think everyone would catch. Throughout the film, Carol is told that her sparkle fist powers are a nuisance, a problem, that she should be able to fight without them. She should hide her powers so she doesn’t stand out, and the only way to do that is to control her emotions. How often do we hear complaints, jabs, and jokes that women are “too emotional” to get anything done?

It’s so refreshing, then, to see Carol go full-out with her powers and to embrace the emotions that got her to where she is. In her final confrontation with the Kree Supreme Intelligence, when Carol is being told that she should be grateful to the Kree for saving her since she’s only human…Carol uses that against the Supreme Intelligence. She embraces her identity as a human, a broken, emotional, angry human, and it’s only after she accepts all of that that she is able to overpower the Supreme Intelligence and the rest of the Kree.

Then Yon-Rogg, her Kree mentor, her friend, says that she must prove herself to him? After what she learned that he did? Nahhhhhhh.

Captain Marvel tells little girls watching that not only can they be superheroes too, but that they can be superheroes no matter what they’re feeling or who they are.

One of my favorite marketing things for this film will always be when they layer “see what makes her a hero”–they show the word “her” first, and then the other letters fade in to spell “a hero.” Captain Marvel is a woman first, with everything that entails, and a superhero second.

FAVORITE MOMENT

I’m so torn between Carol saying “you’re right–I’m only human” and then blasting the Supreme Intelligence away because that was SO SATISFYING and when she blasts Yon-Rogg away after saying “I have nothing to prove to you.” I JUST LOVE HER SO MUCH, ENDGAME IS GONNA BE GREAT, Y’ALL.

I mean actually Endgame is probably just gonna be a lot of pain. But at least it’ll be pain featuring CAPTAIN MARVEL!! YEAH!!!

“OOF” MOMENT

Genuinely, nothing stands out to me as awkward or unfortunate. My one nitpick is still about Wendy Lawson as a character, but that’s not really a “moment” thing.

I mean there was the moment when Goose scratched Fury’s eye. But that “oof” was more of a sympathy “oof” because I too have a vicious cat creature who would do that if given the chance.

SHOULD YOU TAKE YOURSELF TO SEE THIS MOVIE?

Well I’m late again, so if it’s still playing where you are, then yes, I think you should. Again, I don’t think it’s as much of a must-see as Black Panther (#BESTPICTUREINMYHEART), but it is a damn good time. Loose ends are tied up (rare for a Marvel movie), everything is satisfying, and it’s funny just as much as it’s poignant.

I don’t think you’ll regret going to see it, unless you’re offended that it’s not “for you,” in which case I dunno how to help you, fam.

All in all, I give Captain Marvel

4.5/5 CATS THAT ARE ACTUALLY FLERKENS!!

Well, that last one is definitely a Flerken, hence the tentacles. The other ones MIGHT be normal cats…

TRAILERS TO WATCH OUT FOR

I don’t remember if there were any repeat trailers (again, it’s been a while, and they all kind of blur together at some point?) but as for newbies we have: Long Shot, which like…okay, I think it looks kind of fun. It has every potential to be absolutely terrible, and I’m prepared for that, but honestly it has been a while since there looks to be a semi-good new romantic comedy and I just want that, okay?

Fast and Furious: Hobbs and Shaw is…a movie. I’ve never really followed the Fast and Furious franchise to begin with, and though it looks really tongue-in-cheek and kind of fun and full of banter, I’m sure it’s also full of pointless explosions and car chases and god knows what else. Which like, again…it’s a choice.

There was a new trailer for Dark Phoenix and guys…it’s just Frozen. That’s it. Girl with powers, girl scared of powers, girl struggles with controlling her powers, girl hurts family/friend because of this, girl blames herself…so on and so forth. I’m assuming there won’t be singing and dancing and living snowmen, but it’s basically the same, right?

Rocketman looks amazing and I will absolutely be seeing it.

Oh hey, speaking of Frozen, Frozen II is a thing that’s happening. I genuinely don’t know how to feel about it. I mean I’ll see it, obviously, but like…what even is the trailer? What is happening? Why is Elsa running into the ocean? Why are there new people? Why does Anna kill the cameraman? Whatever.

And with that, we come to the end of this review! I definitely enjoyed Captain Marvel and felt really empowered by the end, which I think is important. If it sounds like something you’d enjoy and it’s still playing at your theater, I highly recommend you take yourself to the movies and see Captain Marvel.

Also, boost the reviews and ticket sales so all the old bitter white guys who were complaining about it get even MORE mad.

How to Train Your Dragon: the Hidden World REVIEW

This poster is deceitfully charming and does not prepare you for all the crying

So like…a couple weeks ago (almost a month ago…wow…), I took myself (and the parents) to the movies to see How to Train Your Dragon: the Hidden World!

I know what you’re thinking: “wait didn’t that movie come out like…ages ago why are you like this” to which I say, until I get paid to write these things, occasionally my actual job will take priority and will run My Entire Life.

Anyway, if for some reason you haven’t seen this yet and are still thinking about it (like I am) and want to know my thoughts, HERE YA GO.

I cried. A Lot.

Remember when animated movies werenā€™t super pretty and astounding and NOW

THE PLOT

Sometime nearby before the second movie, Hiccup (Jay Baruchel) & Co. (Astrid (America Ferrera), Snotlout (Jonah Hill), Ruffnut (Kristen Wiig), Tuffnut (Justin Rupple), Fishlegs (Christopher Mintz-Plasse), and Valka (Cate Blanchett)) are chasing down Vikings who capture dragons so they can free them and take them back to Berk. This raid we see goes well-ish, although thereā€™s one dragon who purposely hides herself so she doesnā€™t get freed (itā€™s unclear why she does this, I mean she has this ability, but wouldnā€™t she want to be free? Itā€™s possible sheā€™s just real wary of humans, and after we meet Grimmel (F. Murray Abraham), itā€™s understandable why). One of the Vikings on the ship makes an Angry Face as the group flies off, so we know thatā€™s gonna come back to bite them. Hiccup introduces the new dragon recruits to Berk, which has become a paradise for dragons and humans alike (sort of). Toothless is still the Alpha Dragon (as we saw from the last movie) and sort of keeps all the other dragons in line. Gobber (Craig Ferguson) complains to Hiccup that he canā€™t keep bringing dragons back here because it makes them real vulnerable to attacks and also itā€™s just real crowded and dragons keep bathing in the soup. He also says that itā€™s about time Hiccup and Astrid got married, to which thereā€™s a lot of awkward fanfare.

We catch up with the Angry Face Viking from earlier, who apparently works with this big Viking council that weā€™re only just now learning exists, and theyā€™re all real bitter that Berk has become so peace-and-dragon-loving because they keep releasing the dragons they unfairly capture and thatā€™s just Rude. This is where we meet Grimmel, the main villain. Heā€™s real gaunt and evil-looking, and has these two scorpion-dragons that chillax with him. He doesnā€™t really care about everyone elseā€™s problems with Berk and Hiccup as chief until they mention that Hiccupā€™s dragon is a Night Fury. I guess Grimmel is the reason we donā€™t see any other Night Furies-he killed ā€˜em all. He takes this pretty personally and vows to destroy Toothless and Hiccup and all of Berk or whatever, and he plans to use the dragon from earlier (the one who hid and didnā€™t go with the other dragons being freed) to lure Toothless into a trap.

Hiccup, meanwhile, has a lot of flashbacks to when he was a kid (which means we get to see Stoick (Gerard Butler!) again!!). In a very The Lion King moment, Stoick holds a young Hiccup in his arms as he looks out at the sunrise and talks about how one day, Hiccup will be chief of all of this. He also talks about something called ā€œthe Hidden Worldā€ which is a brand new plot device and apparently where all dragons come from/live/hide/something, itā€™s not really explained (remember how in the first movie, the dragon lair they found was supposed to be the main source of dragons? Now itā€™s the Hidden World). Hiccup decides that this Hidden World is their best chance, and that the way to fix everything is to straight up move Berk to the Hidden World, where humans and dragons can live secretly in peace.

Everyone else thinks this is crazy, but they go along with it (albeit kinda unwillingly) because Hiccup is the chief. Grimmel, however, is hot on their tail (PUN INTENDED) at every move, and he always seems to be three steps ahead of them. He introduces Toothless to the Light Fury (which Hiccup calls a ā€œBright Furyā€ at first which like I thought that was pretty good, that couldā€™ve stuck, cā€™mon), and then the rest of the film is a tense back-and-forth between Hiccup, Grimmel, and the dragons these Vikings have begun to call friends.

Determination.jpg

THE REVIEW

I am full of emotions, yā€™all.

Iā€™m part of a group of people that really kinda grew up with this franchise and these characters (the first movie came out when I was 13) so thereā€™s something especially bittersweet here for me. It reminds me of when the last Harry Potter book came out, and then when the last movie came out…it feels a little like the ending of an era. Now, I realize that it doesnā€™t necessarily mean the end; it is Hollywood, after all! The Harry Potter universe is giving us Fantastic Beasts currently, and thereā€™s every chance that more dragon movies will be made about the next generation, or even other characters.

Still, though, thereā€™s nothing quite like the book closing on the original storyline.

Iā€™m always skeptical about sequels, especially when it comes to a movie I love, because sometimes I feel theyā€™re so unnecessary and just serve as a cash-grab for the company. I honestly would have been perfectly fine with just the first How to Train Your Dragon, except that both sequels do such a beautiful job with expanding the world and the characters (sometimes it kills them, but We Donā€™t Talk About That).

Still, as good as both How to Train Your Dragon 2 and The Hidden World are, theyā€™re not the first movie. The first movie will always be one of my favorite movies ever, and at least in my opinion, the two sequels never quite live up to it. Are they still amazing? ABSOLUTELY. I also know that Iā€™m alone in thinking the first movie is better than the second (and third). Maybe Iā€™m just bitter about it all ending; itā€™s hard to watch characters you love grow up and change, and make hard decisions in their world that end up affecting everything.

The point is, this is a great movie and a great end to a great series. I donā€™t think itā€™s quite as good as the first movie, but itā€™s still absolutely incredible.

Plus, crying. Lots of crying. So much crying.

Iā€™m still crying.

So without further ado, letā€™s soar into what exactly makes this movie so incredible, and an excellent send-off to our favorite dork and his dragon.

Spoiler warning now in effect!!

LOOK EVERYTHING IS FINE AND HAPPY AND SHINY AND NOTHING WILL GO WRONG EVER AT ALL I SWEAR

THE MUSIC

Yā€™ALL.

So full disclosure, John Powell is one of my favorite composers, and the original How to Train Your Dragon soundtrack is definitely one of my favorites. It was the first soundtrack album I bought (kind of a moot point now that I use Spotify for everything, but back in high school it MEANT SOMETHING), I listen to it constantly even now, I recommended we play the music in high school band…I have a very strong connection to the original soundtrack, basically, if you couldnā€™t tell.

That is why every time the original theme started playing, I was basically already crying. Itā€™s like when they used Hedwigā€™s theme in the last Harry Potter movie when sad things were happening-they used our own nostalgia against us!

And actually, itā€™s a genius move, no complaints here. Lots of tears, maybe, but no complaints!

There were lots of new things in the soundtrack that separated the story from its predecessors without taking anything away from it, in my opinion. It was adventurous and emotional and made me want a dragon friend to fly around on. That could be said of the whole movie series, really.

By far my favorite character detail aside from their frog faces is that their arms go out real wide and then they suddenly have tiny little claw hands LOOK AT THEM I LOVE THEM

THE CHARACTERS

Again, itā€™s How to Train Your Dragon, so the characters are all lovable and great (except for the villain, of course, and weā€™ll get to him).

Hiccup has always been a fascinating lead-heā€™s not the typical Viking we all think of, and he remains that way throughout the series. He believes in loving and rescuing the dragons above all else, and he really only engages in combat if he feels he has to (or if someone dear to him has been threatened or something). But whatā€™s interesting about Hiccup in this film is that we get to see him truly struggling to fill his fatherā€™s shoes as the leader. We see him truly dealing with his fatherā€™s absence, shown particularly in flashbacks with his dad when he was super small. His big conflict in the film is that he knows heā€™s not his father, but he truly doesnā€™t know who he is besides the guy who saves dragons. So when heā€™s faced with the idea of losing Toothless, itā€™s a real roadblock for him. Astrid has a great conversation about who he is without Toothless-still a whole person. Hiccup has dealt with a lot of loss in his life-first his mom, then he found Toothless. Then he found his mom again, but lost his dad. Now heā€™s faced with losing Toothless, and thereā€™s no real replacement for him. His mom is here again, but sheā€™s been there at this point. Astrid is there, but again, sheā€™s been there as well. Thereā€™s no one new Hiccup can focus on to help him get past the pain of loss…or is there? Hiccupā€™s arc in this film is all about him finding himself. He is the new person he has to love and accept to help him get over and deal with losing Toothless. Iā€™m a strong believer in self-love (and I struggle a lot with it myself) so this was an incredibly personal part of the movie for me.

I would argue that none of the other characters have quite the arc that Hiccup has-none of them are growing and changing in quite the way that he is. Snotlout is in love with Hiccupā€™s mom for some…reason…Ruffnut and Tuffnut are delightful little dorks as always (Ruffā€™s capture and Tuffā€™s beard are absolutely two of my favorite plot points), Gobber is still the supportive gruff guy we all know and love, Fishlegs has a little baby dragon the whole time and itā€™s super cute (DID ANYONE ELSE NOTICE THAT AT THE END HE MADE HIMSELF A LITTLE STUFFED VERSION OF THE BABY DRAGON HE GAVE UP BECAUSE EVERY TIME I THINK ABOUT IT I CRY SOME MORE)…and of course, thereā€™s Astrid. Astrid has always been a great character in my opinion, and her relationship with Hiccup has always been incredible to watch.

One of my favorite elements of the series is that Hiccup and Astrid never have any crazy relationship drama? We see how much they are friends as much as they are lovers, and itā€™s such a good, positive relationship model. When theyā€™re married at the end, itā€™s made very clear they are leading Berk as equals. Would it have been great to get a little more individual development for Astrid? Yeah, of course. But their relationship isnā€™t the centerpiece for the films, nor should it be. How to Train Your Dragon has always, always been about friendship, especially when it comes to humans and nature.

Before we go forth to discuss the dragon characters, I have to touch on our main baddie, Grimmel. He’s…he’s a jerk you guys. And in a weirdly uncharacteristic move for this franchise, he’s not redeemable. The past films have always had some kind of arc for the “villain” so that we learn about them and they are allowed to grow and change. Grimmel is not treated the same way…his obsession with controlling and wiping out the dragons is never fully explained. He is filled with pure hatred for these creatures, and we never really learn why. To some degree it makes him all the more unnerving-it’s like he hates just for the sake of feeling hatred. He embraces anger and revenge, and he loves to torture both dragons and humans alike. He’s constantly outsmarting our heroes, and we find out that he’s controlling his scorpion dragons by brainwashing them with their own venom. He’s…he is not nice, fam. I guess he’s one of my pet peeves in the film, because while I appreciate how delightfully evil he is, it’s weird that we never truly learn that much about him. Even the other village leaders follow him purely because he’s a lil’ scary. What is his DEAL, y’all???

So since we can’t really touch on Grimmel all that much purely because the movie doesn’t really let us, that brings us to some of the dragon characters. Particularly, Toothless and the Light Fury (does she have a name? Sparkles? Can it be Sparkles? Sheā€™s real glittery you guys).

HAHAHA I LOVE CRYING

THE FRIENDSHIP AND GROWING UP

Like I mentioned above, the How to Train Your Dragon series is about friendship above all else. It starts with an outcast kid finding kinship with a lonely force of nature. Hiccup finds purpose in Toothless just as much as companionship, and Toothless finds love and loyalty in Hiccup just as much as purpose.

I donā€™t think thereā€™s anything more powerful than a good story about companionship between humans and animals. Itā€™s why stories involving ā€œthe boy and his dogā€ or ā€œthe girl and her horseā€ are so iconic. Many of us know that we humans are social creatures, but many of us also feel that we generally kinda suck at connecting with other humans. We know we canā€™t survive alone and weā€™re not supposed to, but damn it, itā€™s hard! Thatā€™s why weā€™re drawn to stories where the awkward outcast finds a powerful, social relationship with an animal. Itā€™s made more powerful because the bond is often formed without words.

We all want relationships like that, so itā€™s nice when we get to see or hear about a relationship like that.

What I love about the How to Train Your Dragon series is that it gives us that relationship, but it also shows us what happens to it over time. After all, we all know that theoretically the story continues past the first ā€œdeath scare that actually makes the bond stronger and makes the grumpy dad believe in the power of loveā€ or the ā€œvery important race that doesnā€™t need to be won but actually yes it does because that means you can keep your horse because it clearly only listens to you also hereā€™s some flowers and like a trophy I guess.ā€

Hiccup and Toothless are tested in the first movie when theyā€™re learning about each other, when Stoick separates them, when Toothless dives into the fire to save Hiccup (well, most of him). Their bond is strengthened when Hiccup loses his leg because now theyā€™re both physically ā€œbroken.ā€ Theyā€™re tested in the second movie when they face a new foe, when Toothless loses control and costs Hiccup his dad, when Hiccup yells at him to leave for that, and then later when Hiccup apologizes and begs for his best friend to come back.

In some ways, the series set us up for a hard fall with the third film, because we believed up to this point that their friendship could and would stand against anything. We saw it stand up against impossible odds, didnā€™t we? What could possible change that?

COLD, HARD REALITY, OF COURSE.

Hereā€™s the facts, yā€™all. Toothless, much as he seems to share a human bond with Hiccup, is an animal. Heā€™s a part of nature. Heā€™s gone his whole life being the only one of his kind, so as much as he loves Hiccup and all his other dragon friends, heā€™s lonely. Like us humans, he craves that social relationship with others of his kind.

So of course when he meets the Light Fury, he desperately wants to be with her.

Now I donā€™t think Toothless, when Hiccup initially lets him go after the Light Fury, was actually planning on staying away forever. I think it would be hard for him to communicate that to Hiccup, necessarily, but I also think he trusts Hiccup to know how much he wants to be with the Light Fury. Hiccup, of course, is a human and therefore plagued with anxiety, so this doesnā€™t quite work out, and Toothless is a lilā€™ bitter about that.

Toothless has a deep, inner need to be with the Light Fury and the other dragons-he wants to be with her and the other dragons. We see most of the movie from Hiccupā€™s point of view, so all we are really allowed to relate to is Hiccupā€™s anxiety about Toothlessā€™s departure. But itā€™s meant to be that way-we are like Hiccup, we will always relate to him more, so therefore we will always want him to be with Toothless. Thatā€™s how itā€™s always been, right?

The reality, however, is different. Because of the dragonsā€™ presence, Berk is a target. Because of Stoickā€™s death, Hiccup is the leader and has to make hard decisions. Because of how humans are, dragons are not safe. Because, because, becauseā€¦

And isnā€™t that how it is in reality?

As much as this is a fantasy series, it does bring in some things that are just as real as what we all have to deal with at some point; but itā€™s never been the forefront of the series as much as it is in this third film.

We all know that friendships grow and change just like we do. Sometimes, we have to leave good friends behind because of whatever reason, but that doesnā€™t mean your friendship has to end. Maybe sometimes it does, and thatā€™s okay, too-but it doesnā€™t have to. Life gets in the way and you may have to say goodbye, but that doesnā€™t mean your friendship is any weaker for it. Iā€™ll touch more on the very ending of the film a bit later because it really ties into this. Many of our friendships, battered and tested by distance and time, can remain the same-just as strong as when they began.

It can still hurt of course, which brings us to…

HAHAHAHA I STILL LOVE CRYING HAHAHAHA

THE GOODBYE

Everyone ready to cry?

GREAT.

I will freely admit that a teaser for the film actually spoiled the big goodbye twist for me. There was a short clip of Toothless, looking longingly off to some other dragons flying nearby, with a voiceover of Hiccup saying ā€œitā€™s okay, bud. Itā€™s time.ā€

Once Iā€™d picked up the shattered pieces of my heart, I realized I was actually thankful for this…I think the film was slightly easier to sit through since I knew what was coming. Granted, the movie teases the Big Goodbye relatively early on. Hiccup almost says goodbye to Toothless after they first find him in the secret dragon lair, but then Plot happens.

Unfortunately, knowing it was coming did not make it any easier to sit through.

The bond between Toothless and Hiccup is a refreshing one, so simple and powerful and hopeful! So watching them hug one last time and say goodbye for…they didnā€™t know how long?

My popcorn was flavored with my many, many tears.

But! I knew this was coming! Plus, it made sense plot wise, the dragons werenā€™t safe, Toothless wouldnā€™t be alone, and neither would Hiccup! Itā€™s okay! Theyā€™re still friends! Itā€™s fine!!!

What was NOT fine was then having to watch the ENTIRE VILLAGE OF BERK SAY GOODBYE TO THEIR DRAGONS, TOO. I mean, all at once, everyone is hugging their dragons and crying and I JUST.

I think the real kicker, though, was watching Astrid say goodbye to Stormfly. There was something about the way her voice cracked and their little snuggle hugā€¦

Anyway, not even popcorn anymore, just soggy, salty, once-was-popcorn.

(Fun fact: supposedly the dragons have voice actors to help the animators with facial expressions and gestures before final editing, and I guess Toothless straight-up says ā€œI donā€™t want to leave youā€ in that final hug with Hiccup so Iā€™m just gonna go crawl under a rock and sob for a thousand years, thanks)

It was heart-wrenching, and you know itā€™s the best solution all-around because humans are awful and canā€™t be trusted with nice things like dragons.

But you know what else it was? Hopeful.

Goodbyes are just as real as friendships, unfortunately, and the move highlights that pretty strongly. But it also makes clear that not only is everyone strong enough to say goodbye, everyone is never alone when they say goodbye, either. Sure, Berk and the dragons had to separate, but they still had each other. Toothless has the Light Fury and his whole dragon community, and Hiccup has Astrid and all of Berk. Itā€™s bittersweet, sure, but itā€™s real (as real as an animated movie about Vikings and their dragon buddies can be).

But you didnā€™t think that was the end of the story, did you?

Cause of death: the way Hiccup looks at Astrid

THE ENDING

I remember when the last Harry Potter book came out-I was too young to go hang out outside the bookstores with my siblings and their friends, and I didnā€™t have a group of my own to go with (this was when I was attending a fairly conservative school that required a signed permission slip to even check the Harry Potter books out of the school library, soā€¦). But I do remember my parents and I reading the book together. Weā€™d each take turns reading a chapter out loud, and sometimes my dad would have to take over if my mom and I were crying, which happened a lot. I remember being so pleased with it. It felt like a perfect ending for these characters Iā€™d grown up with. They deserved the happy endings they got, and I was so pleased they all remained friends.

When the movies came out and they ended the same way, with our leads all grown up and seeing their own children off to have their own adventures, that was when I became more aware of the outcry. I hadnā€™t realized how many people hated the ending before that. They felt betrayed that these characters, their characters, would just grow up and have normal lives…have kids…so on and so forth. Many remain disgruntled with their job choices.

Finally though, one of my friends posted on Facebook an article explaining why my generation seemed to be so miffed with the ending-it didnā€™t feel like our ending. It felt like we watched these millennial kids we grew up with achieve the baby boomer dream, and they were happy with that? Many of us maybe donā€™t want kids. Many of us donā€™t see a marriage and a family as our happy ending. Many of us wanted more of an acknowledgement for the trauma these characters went through.

Whatever the reason, and Iā€™m sure there are more, people were unhappy.

I think more than anything, though, we were just mad that there was an ending at all. Sometimes itā€™s easier for us to swallow if the story ends before a big epilogue that skips 20 years and emphasizes the whole ā€œwhere are they now?ā€ Thing. At least then, we can imagine what happened-we can still see ourselves in those characters and imagine theyā€™re still with us as we grow and change ourselves. But when weā€™re told what happens, when weā€™re shown the reality of the 20 years later and the marriage and the kids and the family, we suddenly donā€™t see ourselves anymore. Weā€™re still in the stage of our lives where weā€™re slowly picking up the pieces of the battle of Hogwarts-we havenā€™t reached the stage where we send our own kids off to magic school and wave to them from the platform with our perfect spouse before we head off to our perfect job.

I think it felt like a betrayal of an ending because we felt like weā€™d been left behind by these characters we used to be able to relate to.

I bring all this up because I was expecting the same thing from How to Train Your Dragon: The Hidden World. After all, we get the same thing-a flash forward of however many years, our leads we used to be able to relate to now older, wiser, full of facial hair or whatever, and they have kids. They are no longer our relatable protagonists because they have grown and changed and gone through life and weā€™re forced to face that very suddenly. Itā€™s jarring-quite suddenly out of the fog we see Hiccup, but itā€™s not our Hiccup. This one is taller, even more muscular, quite full of facial hair, and he holds himself in a way we havenā€™t seen before. Then thereā€™s Astrid-poised, older, not the scrawny overconfident kid we remember. And then thereā€™s MINI Hiccup and Astrid!!

From the other end of the fog, we see him-Toothless, standing on the rocks with the Light Fury. They look relatively unchanged compared to our human heroes, and it actually takes a moment for Toothless to recognize Hiccup and not attack. Then MINI Toothlessā€™s come streaming over the rocks and onto the boat, Hiccup and Toothless are reunited, and then Hiccup has his kids reach their little hands out to touch Toothlessā€™s nose, just like their dad did at the beginning of the story.

What I really like about the ending is Hiccupā€™s final narration. He talks about how when he was a kid, there were dragons. So on and so forth, humans suck, so the dragons had to leave…but legends say that when an earthquake happens, or a volcano erupts, itā€™s just the dragons reminding us that theyā€™re here, waiting for us to be ready for themā€¦

Listen I am all for believing that dragon buddies are real and just waiting for us to not be so stupid and violent. Iā€™m down with this.

As sad as the ending is, and I am not kidding when I tell you about the crying, yes itā€™s a kidā€™s movie, shut up, itā€™s extremely hopeful. For me, thatā€™s the best kind of ending. It encourages dealing with goodbyes in a healthy way; to recognize them, to embrace them, and then to seek out the good that you still have. For Hiccup, he lost constant contact with a dear friend…but he found a leader within himself, friends and family with the people of Berk, and a connection with his fellow leader and equal in Astrid.

Friendship is incredibly powerful-but sometimes life gets in the way. Goodbyes suck-but theyā€™re necessary. Most of all though?

Dragons are real-weā€™re just too big of jerks to handle them yet.

But just like Hiccup taught his kids to approach the dragons with kindness, so each generation that comes is a more kind, hopeful one.

Cā€™mon I couldnā€™t NOT put this moment in

“OOF” MOMENT

I…genuinely donā€™t think there was one? I think my main pet peeve is just that we truly do not know much about the Light Fury. Sheā€™s barely developed (aside from the moment where she saves Hiccup from falling #OHLOOKIAMCRYINGAGAIN), and I get why, but like…what is her name?? I NEED A SHIP NAME FOR HER AND TOOTHLESS.

Wait…actually…that whole weird subplot with Snotlout having a thing for Hiccupā€™s mom. Just…why.

Also, what happened to Grimmelā€™s scorpion dragons? We saw they were being brainwashed, so they could theoretically be saved and good like the rest of the dragons, but they just…die in the explosion I guess? Meh.

FAVORITE MOMENT

Ugh, so many. However, I will settle on the end of Toothless trying to romance the Light Fury on the beach. When all else fails, he draws her face in the sand. Itā€™s a delightful callback to my favorite scene from the first movie, and also my favorite piece on the soundtrack. Like I teared up then just because of what it called back to, and that was EARLY.

Yes I know itā€™s a kidā€™s movie shut up.

Can you imagine if Hiccup tried to actually ride Toothless this way heā€™d be falling off in a MILLISECOND and Astrid would be laughing

SHOULD YOU TAKE YOURSELF TO SEE THIS MOVIE?

Look, clearly, I have a lot of feelings. Like, I do just in general, but especially about this movie.

I think it goes without saying that if youā€™re a fan of the series, see this movie. If youā€™ve seen even a part of the films and/or the TV shows, see this movie. If you like really, really well-animated things that make you laugh and cry, see this movie.

I get this series isnā€™t for everyone-different things speak to different people after all. But if you just want a genuinely good escape, I definitely think you should take yourself to this movie.

If itā€™s still in theatres. This is a super late post, after all. Otherwise, see it when it comes out to buy, because it is so, so worth it!

I give this movieā€¦ā€¦.

5/5 TEARDROPS THAT ARE ALSO SAD AND CRYING!!

Look, that last one is still coming to terms with everything, it doesnā€™t even know what to feel yet

TRAILERS TO WATCH OUT FOR

There were a lot of repeats…I mean between this and the 2nd LEGO Movie, Iā€™ve seen a lot of kidsā€™ movies lately, okay??

The two new ones were Angry Birds 2 whichā€¦..UGHHHHHHHH. I was a big fan of the game back in the day, okay? I wasnā€™t great at it by any means, but it was cute and fun! I wanted to like the first movie, I really did, but…wow. It was…it was real bad. I think it had good parts, I genuinely laughed once (maybe twice), but overall…wow.

The other new one is Nancy Drew and the Hidden Staircase. Iā€™ve never really been a Nancy Drew person, which is weird when I think about it because I think the series is like, exactly my aesthetic. Itā€™s probably because everyone else liked it, therefore I couldnā€™t. I had to find something ~unique~. Hence, Harriet the Spy. Which I do recommend if you havenā€™t read it. Anyway, this adaptation stars Sophia Lillis in the title role, whom you may recognize since she was Bev in the new IT adaptation! It actually genuinely looks enjoyable, though itā€™s definitely a kidā€™s film. I mean the How to Train Your Dragon series is also for kids, but it doesnā€™t necessarily market itself as such.

Anyway, that does it for this review!! Hiatus over, Iā€™m back for at least a while, and hopefully Iā€™ll be adding a new feature to the reviews coming soon!

For now, if The Hidden World is still playing near you, I highly recommend you see it because crying is good for you, ya know?

Alita: Battle Angel Review

Soooo last week, I took myself (and my dad) to the movies, and we saw Alita: Battle Angel. I really didn’t know what to expect from it, but I know people were excited, and my dad wanted to see it, and since it’ll probably be nominated for something since it’s James Cameron and Robert Rodriguez, I figured I should see it.

I have…mixed feelings about it.

But we’ll get into all that later.

them big eyes will see into your soulllllll

THE PLOT

The movie starts with Dr. Ido (Christoph Waltz) finding the head and partial torso of a cyborg in the scrapyard of Iron City. He gives her a body since he is a cyborg clinic doctor of some sort, and the cyborg awakens the next morning to a brand new body (and also a head of hair? That’s never explained). This is Alita (Rosa Salazar). Alita talks with Ido and his assistant (Idara Victor), asking if they know who she is, as she has no idea. Ido claims to not know either, and he takes Alita out for a brief day on the town. This is where she meets Hugo (Keean Johnson) and he’s cute and saves her from oncoming traffic so naturally she liiiiikes him.

Because of this meeting with Hugo, Alita’s rebellious teenage phase kicks in fast, and she meets with him and his pals as often as possible, learning of a rather violent and popular sport called Motorball. She joins them for a scrimmage, and after she’s shoved aside by Hugo’s friend Tanji (Jorge Landeborg Jr.), her vengeful warrior phase kicks in fast and she absolutely decimates him in retaliation. Tanji complains about this to Hugo, and Hugo just goes “haha yeah she beat you up lol she’s pretty” (I mean that’s basically it, okay).

In other news, some…villain or something is apparently targeting women on the streets at night where he apparently destroys them and sells their parts (this is never fully explained in the movie, but apparently in the manga it’s common knowledge that the world has gotten to the point where humans can replace almost their entire body with cyborg parts, and if they could, why wouldn’t they? We see this in the film, but we never really get an explanation. Anyway). Because of this, Ido doesn’t want Alita out alone after dark. But she’s ~rebellious~ so she follows him one night and, based off of what she sees, assumes Ido is the murderer. She tries to stop him, but it’s revealed that he’s actually hunting the murderer, and this was actually a trap. They’re attacked by various cyborgs, and though Ido tells Alita to stay out of the way, Alita dives into combat to save him and absolutely destroys two of the three cyborgs (she cripples the third and he escapes screaming that he “NEVER FORGETS!!!!! EVER!!!!!!!”).

The battle brings on a sort of flashback for Alita, where she’s in a big battle on the moon, as you do. Ido reveals that he is a hunter warrior, which is kind of like Iron City’s version of police since they don’t actually have police. Anyone can apply to be a hunter warrior (or bounty hunter as they’re called during the other half of the movie), and they get paid for the marks they destroy. Alita, naturally, is all over this but Ido says it’s too dangerous. Alita, in response, runs away from him very maturely.

There’s a lot of other stuff that happens, basically Alita really wants to know who she is but she also becomes a hunter warrior, also she gets a new body. As you do. She does all this against Ido’s wishes but ~she doesn’t live by his rules~. Ido is initially upset by this but then he’s like “eh whatever.” His assistant has maybe three sentences the whole film. Hugo gives Alita sparkle eyes the whole film, but his main character trait is that he wants to get to the sky city of Zalem, which is where Alita probably came from since she was found in the scrapyard.

I can’t really say much more without spoilers, so let’s dive into it.

this scene was cool until you realize that half the terrible things that happen later wouldn’t happen if Alita hadn’t…been like this

THE REVIEW

I really wanted to like this movie. Really!

I like robots. I like cyberpunk. I like beautiful scenery and well-choreographed fight scenes. I like intricate world-building.

But I also really like good characters. And I really…didn’t like anyone in this movie. I didn’t like the script (much of the dialogue was so cheesy that the actors couldn’t do much about it). I really didn’t like most of the plot.

Now, this movie is based off of a manga (Battle Angel Alita, or Gunnm). And from what I’ve read from fans of the manga, this is a relatively faithful adaptation, and they really like it! And that’s great. I came into this completely fresh-I’m an anime fan myself, but I’d never read Gunnm and I’d never seen the two OVA’s that were made based off the manga. All of this was completely new to me, and it was hard to follow, felt really disjointed, and just…bleh.

So it’s entirely possible that maybe I would have liked it if I’d been a fan of the manga first-it’s always fun to see something like that come to life in a new way. I think it’s why I’ll probably really like the Detective Pikachu movie no matter how weird it is.

But coming to this as an outsider, there wasn’t anything for me to like, really. I’ll go into each point in more detail, but I guess if you’re an avid Battle Angel fan, you might wanna stop reading now. I don’t have a lot of good things to say, admittedly. Except about the scenery and the character design (with the exception of those big ol’ scary eyes), both of which were delightful. But the acting? I don’t get why everyone is obsessed with Rosa Salazar’s performance in particular. The romance? Bleh. Not believable and sooooo predictable and just…there’s no basis to it. The characters? Anyone I may have liked is killed or has two lines of dialogue. The animals? HAHA RIP. The plot? It just felt very all over the place and just…I didn’t really care about it? The villains? The main big bad barely shows up, teasing a sequel, of COURSE. They build up this big fight and there is ZERO PAYOFF.

I did want to like it, really! It just wasn’t enjoyable for me. I’ll include things that would have helped, in my opinion, but again: if you did really like the film, that’s awesome! I’m happy for you! I did not, but that’s on me, it’s my personal taste, and ours differs here.

For everyone else, let’s get into it. Spoiler warning now in effect!

get it she’s lit up because she’s a “fallen angel” GET IT

THE MUSIC

As always, we start with the music.

Meh.

Honestly it didn’t play that big a part in the movie. There were the occasional moments where the fun techno-y beat would come in and that was fun, it fit the cyberpunk aesthetic. But there was no particular score moment that really stood out to me. I’d probably have to listen to the soundtrack on its own so that I can be a better judge of it without my negative thoughts about the movie crowding my brain.

The credits song was a Dua Lipa song about being powerful, so that was good.

Grey’s Anatomy: Season 219

THE CHARACTERS

Alright, sit down with me, kids, as we discuss why I didn’t like anyone in this film. (actually, I take that back: I liked 3 people. We’ll get to that)

So much of the film hinges on the likability of three characters since we spend the most time with them, hands down: Ido, Alita, and Hugo.

Ido is probably the most likable of those three for me, but that’s not saying much. He’s interesting, at least-we learn that he runs this clinic where he does free repairs on people who have cyborg parts and can’t afford to go anywhere else. He keeps the clinic open with the payments he receives as a hunter warrior/bounty hunter. He had a daughter in a wheelchair (we never learn why she is in a wheelchair, if there was an accident or something she was born with, it’s never explained) named Alita who was killed by one of Ido’s patients. This is why his wife (?) Chiren (Jennifer Connolly) left him. He names Alita after his dead daughter, and her first body is one he designed for his daughter that she never got to use (I guess in the source material, he names Alita after a late cat he was very fond of, but I guess that wasn’t ~dramatic~ enough for the film). But while Ido has all these interesting traits, they never do a lot with him. He is a plot device used to put Alita and Hugo back together. He clearly is protective of Alita since he sort of accidentally replaces his daughter with her, but even after she disobeys his orders countless times, he never punishes her or argues with her, not really. He has one facial expression the entire film. Alita is able to manipulate him to do what she wants suuuuuuper easily. And it doesn’t even matter because she does what she wants anyway!

Hugo is ~cool~ because he wears a leather jacket and has long broody floppy hair and he rides a motorized unicycle (YOU THINK I’M KIDDING). But he’s pretty and thinks Alita is pretty and he’s a strong, developed character because he makes sure the audience knows he is not intimidated by how terrifyingly murderous Alita is. That’s a line. In the film. He says “you know most guys would be intimidated by a girl like you” BUT I’M NOT MOST GUYS I’M ~DIFFERENT~. We learn next to nothing about his backstory, except that he wants to get to the sky city. Honestly that’s like, everyone’s backstory. They all want to get to the sky city because Iron City is absolute hell. He’s almost interesting when it’s revealed that he and his friends work for Vector (Mahershala Ali) by paralyzing people and stealing necessary parts. He got into it in order to raise enough money to get to Zalem. However, once he and Alita are ~involved~, he wants to get out of the business. Especially before Alita finds out. BECAUSE WHY TELL HER HIMSELF, AM I RIGHT. So, I mean, yeah he feels bad about the part-stealing once he loves Alita, but we don’t even know him long enough to see where that would have gone because he gets killed. And then he’s alive. And then he dies again.

Alita is…annoying. She really is. I adored her in the beginning because it was super cute watching her discover the world. Oranges?? Amazing! CHOCOLATE??? Best thing ever!!!! Cute boys??? Ooooooooh! They could have done so much more with that! Like how does she know how to react around Hugo? How does she know about kissing or hand-holding or any of that? Can you imagine a scene where Hugo explains a kiss to her? (A la Mork and Mindy, of course) But we never get that. Look, I love that she is the main character of this film. She is a badass girl and the center of a major sci-fi thriller, which is awesome! But you can’t make a character like that be so invincible that they’re just not relatable. The fight scenes were almost never nail-biters because you know Alita will be fine-even when she’s nothing but a torso with a head and one arm, she somehow punches her way out and Ido rebuilds her anyway. They try to make it this big thing that Alita is starting over with a clean slate, only she can decide if she’s gonna be good or bad…which is fine, except she never really has that clean slate. Except for the very beginning when she’s discovering oranges and boys, she is never naive enough to have a choice. She is immediately drawn to the violence of Motorball because she was a warrior. She’s drawn to conflict and loves fighting because she was a warrior. She never had a clean slate-but she could have been a fascinating anti-hero choosing a new path. Maybe she did terrible things in the past, killed hundreds, maybe thousands, and being aware of that is what helps her change. But no, instead we get a forced narrative and an impossibly invincible hero we can never really worry about because of course she’ll be fine.

My other main issue with Alita as a character is that she never has to face the consequences of her actions. Not really. She never apologizes to Ido for going out at night against his wishes because she saved him so of course everything’s fine. She never apologizes for Ito for getting his dead daughter’s cyborg body destroyed in the second fight with Grewishka. She immediately gets the Berserker body she wanted after the fight, despite Ido saying she shouldn’t have it because of how dangerous and lethal it is. She never assumes that it is her fault that Zapan came after Hugo and killed Tanji because of the way she humiliated him. She doesn’t even have to face the consequence of Hugo’s first death because Chiren is there like a freakin deus ex machina and surgically wires him to Alita’s life force to save him.

“But what about Hugo’s death the second time??” Look, I get that this is from the source material, but the emotional impact of Hugo’s death is utterly destroyed the second he has to die again. Also, how do we even know for sure he’s dead this time? All we saw is him falling dramatically. I know he’s dead in the source material, but this is Hollywood. Do they ever really die?

I’m not saying it’s not awesome that Alita is so powerful- again, it’s great to see an ultra-powerful female character be the star and the center of a major sci-fi film. We should have more stuff like that! But it’s like filmmakers are so afraid to make anything other than a perfect, flawless female who’s way overpowered and has no weaknesses. That scene at the end where she slices her own tear in half? What, is she not allowed to feel? (Trick question-she’s a cyborg)

There’s nothing wrong with giving your hero characters some flaws-that’s what makes them relatable. We want to see them succeed when we know they’ve struggled to get where they are. We cheer for them when they overcome their own flaws because we want to do the same. People want to see themselves on the screen, especially as the hero: but it doesn’t seem attainable when the hero is perfect. Take my personal favorite Marvel hero Iron Man, for example: dude’s a mess. He’s narcissistic, a genius and he flaunts it, and absolutely riddled with PTSD. He has panic attacks in Iron Man 3. It didn’t weaken him as a hero-it made us feel for him and be happy for him when he pushed through his pain. He cries and we cry with him because that’s okay!

Alita is not allowed to mourn Hugo because she has to stay strong to make it to Zalem to fight Nova. Fine, but let her break down. That scream she gave when Hugo fell? Show her broken, alone in her bed crying. If she loved Hugo like she said, she would absolutely be torn apart by his (second) death. But we never see that. She sheds one tear and cuts it in half. She’s not allowed to feel because she’d be less of a hero if she did.

And that simply isn’t true! Let heroes be vulnerable. It makes their successes that much more powerful for the audience.

I could rant about Alita as a character forever (clearly) but I have to touch on some other characters:

First, let’s discuss some of the other bounty hunters: most of them end up dead, and we never really learn much about them anyways! Cool, that was fun. There is one bounty hunter who works with a whole lot of robot dogs, which like…give me a movie about him, please!!

Next: Ido’s assistant Nurse Gerhad, Tanji, and Koyomi (Lana Condor). Both Gerhad and Koyomi make it through the film alive (miraculously) but Tanji is brutally murdered trying to save Hugo. And all we get is one shot of his death and on mention from Hugo that he died. Alita (naturally) doesn’t seem to care that Tanji is dead-that would be facing the consequences of her actions and as we know, Alita doesn’t do that.

Gerhad and Koyomi have a couple sentences each in the film. And that’s it.

Fun fact: you can’t claim it’s diversity if your diverse characters all die or barely speak during the film!!

this whole scene is one big cringe

THE ROMANCE

Ughhhhhhhhhhhhhhhhhhh

When I read some reviews from people who knew the source material, I was hoping that Alita’s and Hugo’s relationship would be further developed in the manga, but it doesn’t really sound like it. I guess the major change is that apparently, Hugo was so blinded by his desperation to get to the sky city that he didn’t notice Alita’s feelings for him. That could have been fun, but instead, we get this.

Alita and Hugo are obsessed with each other, like, to a scary degree, and right from the start. Alita’s fixation on him kind of makes sense, he saves her from getting smashed in the street, and she’s a cyborg, it’d be fascinating to go into how cyborg “love” might be different from human love (and I feel like they sort of play with that in a later scene? But it’s never really…explained. Like she quite literally takes out her own heart and offers it to Hugo and when he refuses she’s just like “HAHA THAT WAS INTENSE, SORRY LOL” like…what), but nooooooooo. Hugo I guess just has a thing for big eyes? Idk man.

Look, I’m a huge romantic, I own this about myself. I think it’s absolutely possible for Hollywood to create a lovely, beautiful romantic relationship, but of course, the flip-side is also true. If you couldn’t tell, characters are important to me and can really make or break a film in my opinion. As previously discussed, none of the characters in Alita: Battle Angel really spoke to me (literally and figuratively since they died or had two lines in the entire film), and that includes our main pair of lovers here. I guess they’re going for a Hunger Games-esque relationship with these two-two teens in a dystopian world, battling their circumstances and their feelings for each other or whatever.

Now, everyone has their own opinions about how the Hunger Games romance(s) work(ed) out, but you have to admit that at the very least, we got some actual character development for our romantic leads. They all had scenes that showed all sides of them: good, bad, broken, and unique. Gale is Katniss’s best friend, her person, but he’s also easily blinded by anger and his personal desire for revenge, and he’s also incredibly selfish. Peeta is completely selfless in some ways, he would give himself for Katniss in an instant (they both would, really). He was abused by his parents and is also never not injured. Like…really. He’s also very quick to shut people (especially Katniss) out when he’s hurting. Katniss, as our narrator and main character, is the one we spend the most time with, so we know her the best. She’s incredibly caring and protective, and all of her most glorified actions in the rebellion are born completely out of her love for someone or something (placing bunches of flowers all around Rue’s body, singing the “hanging tree” song, doing the famous whistle and salute, and of course, volunteering to take Prim’s place). Katniss also has terrible PTSD, I mean, of course she does. Like Gale, she’s also easily blinded by anger. She often acts without thinking. Like Peeta, she’s willing to give her life in an instant because she thinks she’s not worth it.

Now, all of that is those characters at their most basic. Compare that to Alita and Hugo. What sides do we see of them? Hugo wants to go to the sky city. Okay…do we know why? He just wants to escape the “hell” that is the Iron City. I mean, okay, fine. He chooses Alita over his friends, specifically by telling them they need to stop stealing people’s cyborg parts for money. He gets framed for a murder he doesn’t commit. Alita wants to learn about her past, and she disobeys the father figure who rescues her time and time again to do it. She’s ruthless when it comes to people who are hunting her down, presumably because of her mysterious warrior past. She loves the little dog she befriends (I assume? They had two interactions before…we don’t talk about that scene).

Alita and Hugo are cookiecutter characters at best; they do the things they do because it moves the story along and the plot calls for it, not because of any specific character traits they possess that explains their actions.

Katniss is a rebellious teenager just as much as Alita is. But all of Katniss’s actions are motivated by who she is, not what she is. Alita doesn’t have any quirks (besides giant eyes and being a cyborg, I guess?) to help explain her behavior except TEENAGE GIRL!!!! AHHHHHHHH!!!

All this to say, Alita and Hugo’s romance isn’t believable because they aren’t believable as whole, separate characters on their own.

Now, I realize that this is just one movie, and unfortunately, there’s a giant sequel-tease, so there will probably be at least one more of these. So Alita may very well be more developed in the future. I’m also sure she’s well-developed in the source material; anime and manga characters are (generally) consistently very, very well-developed and well-rounded characters with positive and negative traits alike. Hugo might even be interesting in the source material instead of just ~pretty~ and ~brooding~.

He reminds me of that violinist guy from that one…weird movie High Strung. Anyone see that? I think it’s on Netflix. It’s a trip. There’s a scene where guys fence with violin bows.

(also like…that whole second death scene is just…first of all, it takes away all of the emotion from the initial death scene, like Alita already went through this, but like…isn’t her body like super powerful now? Like it heals itself? Is there a reason she couldn’t just…let go and cradle Hugo as they fell so she took most of the brunt force of the landing? No? Is it…is it because of the drama and the sequel-baiting? Is that it? Yeah. Yeah that’s it.

It’s that stupid door from Titanic all over again.)

we don’t talk about this scene

THE ONE MOMENT

We have to talk about it. They put it in here so we have to talk about it.

So listen, when I was reading reviews from people who knew the source material, I was disappointed to learn that this scene is also in the source material. I mean, I’m not surprised I guess, but…blech.

I knew there was going to be some moment where Alita put blood on her face like war paint (which is very unsanitary but you do you I guess) because of the trailer.

But I guess I thought the blood would be like, her father figure. For like real intense motivation, you know? Or like maybe, in her flashbacks, she would always be wearing warpaint or something, so this would be a way to connect with her previous self.

But no. What happens is that the pure, innocent, cute little stray dog that Alita befriended in the beginning stands up to Grewishka to protect Alita…and he gets slaughtered for it.

And it’s the dog’s blood that Alita puts on her face.

Look, I’m sure it’s supposed to represent some intense metaphor like the DEATH OF INNOCENCE because this is also right before Alita destroys her “younger” body (YEAH WHEN SHE GETS HER NEW BODY, it changes as it gets used to her, which basically means she gets more curves and bigger boobs onscreen. This causes the nurse and the doctor to be like “oh she was older than we thought. Haha!” GROSS. STOP. NO. WHY.)

Like, whatever, but leave innocent little dogs out of this. We already don’t deserve dogs and you’re making it worse. There has to be some other way to symbolize the DEATH OF INNOCENCE.

For example, that moment in Mulan? It’s when she replaces her father’s conscription notice with her hair comb. It perfectly symbolizes the DEATH OF INNOCENCE and the change Mulan goes through-she matures so much in that instance and she’ll never try to be a delicate flower again.

See? Beautiful, effective symbolism, all without the unnecessary death of lovable canines. Thanks.

this guy’s CG robot throat is very distracting, not gonna lie

THE “VILLAINS”

You could argue that this movie has multiple villains. You could try to do that, yes.

The big baddie is the mysterious Nova, who…we barely see during the film. He can somehow infiltrate the bodies of others, which is never explained, and while his reigning presence is brought up through the film, there’s never any pay-off because HEAVEN FORBID WE DON’T HAVE A SEQUEL.

Other villains include Zapan (pictured above), who only became a villain really because Alita made a big deal about showing him up at the bar. Like, he was obnoxious and rude and obviously not great before, but Alita’s insistence at humiliating him turned him into an actual villain. She is the reason he frames Hugo for murder and ultimately is the reason for his death. Alita slices his face off because, I mean, TEENAGE GIRLS AM I RIGHT.

There’s also Vector, who like, could have been a fascinating villain if he’d had…any development whatsoever. But he’s the villain because!! He…rigged the Motorball tryouts! And…he doesn’t like Alita! That’s…that’s about all he is and does. The rest of the movie, Nova is basically controlling him, and when Alita kills Vector? It’s not even Vector. She has no mercy for him and doesn’t even let him die as Vector. He dies as a Nova puppet. Which like…ooh, you go, Alita? You really…showed him? Vector’s not even her main enemy, but he’s built up as if he is, and then his death is like “meh, well, that’s done.”

WHAT IS HIS BACKSTORY??? WHY did he get into the nasty business of transporting people(‘s organs) to the sky city??? WHO IS HE??? We will literally never know. Now Mahershala Ali does great with the role, of course, for what little it actually is.

Grewishka is built up as this BIG, BAD BADDIE WITH NO FEELINGS!!! ONLY HATRED!!! KILL ALITA!!!! MRAHHHHHH!!! GET BIG EVIL CHAIN CLAW ARMS!!!!!

And then Alita kills him REAL quick in the final act. And that’s it.

Cool.

LOOK ALITA’S WEARING A RAINBOW SHIRT, GUYS. ARE WE GONNA BOYCOTT THIS MOVIE??? NO…? Is it because she has a heterosexual relationship? Yeah. Yeah that’s it.

THE ART

Aight, there is a LOT I dislike about this movie, clearly. And I will own that. But I do have to talk about the scenery, the designs, and the general art of the movie.

Because DAMN, YOU GUYS.

While I was sitting there absolutely hating pretty much everyone who was on the screen, I was simultaneously in awe of the design of the movie. Because this is a LOVELY movie you guys, at least visually. The world-building of the Iron City is stunning and I loved whenever they were just walking around or showing different parts of the city. The character design? Gorgeous. The design of Alita’s first body is like, engraved ivory or something, it’s beautiful. The Motorball scrimmage scene is just fun-looking, it’s gritty and dystopian and perfect. The thought that goes into the design of every single different cyborg character is incredible.

Now, I have mixed feelings about Alita’s ridiculously giant eyes. It’s like we said “hey can we have an actually decent anime adaptation that isn’t white-washed and clearly shows love for the source material?” and Hollywood was like “so what you’re saying is…the thing we’re missing in these anime adaptations…is the biG ANIME EYES!! YES!!!” and we all said “no wait” but they did it anyway.

However, I read from one of the people who knows the source material, that apparently when Ido finds Alita in the scrapyard originally, her eyes are OPEN. Like that’d be super freaky of course, but apparently it’s because there’s this whole big theme in the original series about the importance of eyes-in the current world, it’s possible to replace almost every part of your body with cyborg parts. Eyes are incredibly valuable because of this. Plus there’s all that stuff we know about “eyes being the window to the soul” or whatever.

So like, from that standpoint? Super cool.

Did they actually explain that or go into that in the movie?

No.

At least everything was pretty to look at.

more movies with robots holding cute little stuffed mushrooms, please

WHAT I WISHED HAD HAPPENED

I think this movie had a lot riding on it, and it had a lot of potential. Apparently, I am very alone in thinking it wasn’t good…at all. And that’s fine.

One thing that consistently bugs me the more I think about it is Alita’s characterization. Now, again, I don’t know how it goes down in the manga/OVAs, but when I liked Alita the most is when she had just woken up and was seeing the world for the first time-that was when she was actually vulnerable. That was when Alita was relatable. Seeing Alita freak out about chocolate? YES, GIRL, ME TOO. Seeing her lose her mind about a cute boy that saved her and smiled at her? SAME, GIRL, SAME. And this picture here, where she’s curled up like a kid with a cute stuffed…thing?

As soon as Alita becomes this invincible weapon, she loses any humanity she’d previously developed and Hugo apparently loved her for. And maybe that’s the point. But it was so quick.

She NEVER goes back to this vulnerable kid again-even when she loses Hugo (for real…”for real”) she doesn’t get to break down about it. Yeah, she screams for him in the moment, but like I mentioned before, she then slices her own tear in half and doesn’t let herself feel weak.

Now, okay, okay, this could be good setup for an interesting arc in the sequel. I agree! Maybe Alita learns that letting yourself feel the sad things makes you more human, not less, and isn’t that what Hugo would have wanted (I guess? who knows what Hugo wants. His character is never explained. Except big eyes? Is that what he wants?)? Sure!

My point is that you can’t give Alita all these vulnerable scenes and then rip ALL of that away from her-why does she have no remorse for those she kills? Why does she paint the dog’s blood on her face rather than cry for it?

Dear Hollywood,

You’re allowed to write strong female characters that also have emotions. Showing them breaking down and feeling sad and then working to overcome those feelings, watching them dealing with them rather than ignoring them…that’s what makes a strong female character.

Female characters don’t have to be either ALL emotion or NO emotion. They can be both.

Groundbreaking, I know.

All I want is a movie about a cyborg girl who discovers things like oranges and chocolate and then discovers she used to be a weapon and then spends time choosing to be a weapon again, not because she feels like she has to because she used to, but because she finds something to fight for. Let her feel something about the people she kills. It’s okay to. Or if she doesn’t explain why. Let her go through a journey.

As beautifully choreographed as the fight scenes in this movie were, maybe less fight scenes and more character development. It makes the story stronger.

Just me?

Okay.

THE WAND CHOOSES THE WIZARD, ALITA. Or the sword chooses the cyborg. Because yes, it is a ~magical cyborg sword~

“OOF” MOMENT

…can I say the whole movie?

Okay, okay, that’s mean. But really, there were so many moments that just…ugh it didn’t feel like I was watching a big blockbuster movie, it felt like I was watching a student film project. It’s the dang script. “You are the most human person I’ve ever met”? REALLY?

YOU HAVE REAL HUMAN FRIENDS, HUGO. NOT THAT YOU WOULD KNOW BECAUSE YOU IGNORE THEM MOST OF THE FILM AS SOON AS ALITA SHOWS UP.

Anyway. That dog death scene though. The one we don’t talk about. Yeah. That moment wins.

FAVORITE MOMENT

Hands down it’s when Alita tries chocolate for the first time.

“wait who is this character you didn’t talk about this chara-” yeah because she’s in the movie for all of one entire scene and then she dies. BUT SHE GETS A POSTER!

SHOULD YOU TAKE YOURSELF TO THIS MOVIE?

Look, clearly, I am not the person to answer this question.

But, the general consensus seems to be that yes, you should. Do you like the source material? Great, you’ll probably like the movie. Do you like movies with lots of fights and a dead dog and poorly developed characters and terrible dialogue and did I mention the dead dog and also no pay-off because Hollywood can’t make a movie without baiting a sequel anymore? Cool! You’ll definitely like this movie!

I understand that people who are a fan of the source material are a fan of this adaptation, and that’s great! But coming into it as a fresh eye with no knowledge of the source material? I hated it. I really did. And I hate it more the more I think about it. A week has gone by and I’ve definitely settled on hating it. I used to just dislike it.

But if you like it, that is AWESOME. I’m glad you can appreciate things about this movie that I can’t!

But for me, I give Alita: Battle Angel…

1/5 VERY GOOD BOYS WHO ARE ALSO VERY ALIVE BECAUSE THEY DESERVED BETTER!!

Look at how happy and pure and not dead they are!

TRAILERS TO WATCH OUT FOR

We got a couple of repeats as usual (Us!!!! And PetĀ Sematary AGAIN), so here are the newbies: CaptiveĀ State looks FASCINATING. When the trailer first started, I thought it was another Cloverfield movie (and let’s be real-it might still somehow be a Cloverfield movie), but it looks like it’s some sort of dystopian take on political issues but with ALIENS??? I really hope it’s as interesting as it looks, because it sounds like it might be really cool. Next is MIB:Ā International WHICH. Y’ALL. FAM. I AM SO BEYOND EXCITED FOR THIS MOVIE. I didn’t even know I needed Tessa Thompson and Chris Hemsworth as MIB agents but I DO. I SO DO!!!! TheĀ Hustle looks…mehhhhhhhh. I so want it to be good, I’ve loved Anne Hathaway lately, but Rebel Wilson movies seem to be extremely hit or miss. Like it’s a fun premise and it could be really good, but it could also be a lot of physical humor revolving around “haha Rebel Wilson is fat and Anne Hathaway isn’t” which like…we need to stop doing that in female-led movies. In ANY movies, but especially female-led ones because we are better than that. Finally, there was Tolkien, which, as soon as someone figures out what that movie is actually about, please let me know. Like…is it about his life? How he came up with LordĀ ofĀ theĀ Rings? The trailer is really pretty but it honestly doesn’t tell us much. Except that Lily Collins is in it, and I love her. Which means she probably dies.

And that does it for this review! If you made it this far and still want to see the movie, go for it. I won’t understand it, but you do you, pal.