Category Archives: Animated

“Frozen II” Movie Review

The lengths I would go to protect my sister.

This computer-animated family fantasy film was released in theaters worldwide by Disney on November 22nd, 2019. Following the biggest opening weekend of all time for an animated feature, it has gone on to gross over $1.268 billion at the global box office thus far. This almost puts it financially up to par with its predecessor in a shorter amount of time. With a little more time, it has managed to become the most successful animated film ever released, in addition to the positive attention it’s gotten from fans and critics.

Once again co-directed by Jennifer Lee and Chris Buck, the filmmakers and studio had constantly talked about a sequel to the 2013 hit for a couple years before officially moving forward. Lee worked on several different drafts alongside Allison Schroeder, although the latter ended up not getting a real credit for the screenplay. The actors’ recording for dialogue and songs supposedly began as early as late 2016, though the veracity of these claims is disputable. The studio also worked in close collaboration with various experts and representatives of the Saami people to get some story elements culturally accurate.

Set 3 years after the first film, Idina Menzel and Kristen Bell return as Queen Elsa and Princess Anna, who have managed to keep the kingdom of Arendelle in prosperity. One night, Elsa begins hearing a strange voice singing repetitive notes to her and drawing her away into a mystical forest. There, the two of them alongside Kristoff, Olaf, and Sven- voiced respectively by Jonathan Groff and Josh Gad -travel there and discover a deeply rooted conflict between their kingdom and the natives of the land. Wanting to mend things before it’s too late, they also find that their journey may bring them closer to what happened to their parents.

The original Frozen, when it first came out in 2013, was a hugely pleasant surprise for me. It had all of the elements of a classic Disney movie (Memorable songs and heartwarming characters) while also finding interesting ways to invert the traditional format of the past. It was also an indisputably gorgeous movie with some of the best animation of its time and still looks stunning to this day.

It being far more successful than anyone had anticipated, a sequel to the film was pretty much inevitable. I was extremely curious to see how Chris Buck and Jennifer Lee would be able to continue the story, especially since Lee has been made the new head of Disney Animation following John Lasseter’s unfortunate exit. And while Frozen II is certainly a step down from the first installment, it’s still a great time at the movies with the whole family.

Just like last time, this movie is at its best when its questioning the usual tropes of a typical adventure story. Despite what the people around her seem to think, Elsa is neither a villain nor a damsel in distress; she’s just unsure of how to rule a kingdom and manage her mysterious powers at the same time. Similarly, Anna wants to be the princess who falls in love and gets married, but she also learns how to retain her own agency and doesn’t want to be defined either by her sister’s status or her romantic relationship with Kristoff.

Where Frozen II starts to falter is that, while it acknowledges change as something inevitable and even positive, it still doesn’t quite make enough narrative progress to be fully satisfying. It’s undeniably cool to see this world grow beyond the kingdom of Arendelle and even see the potential origins of magic in this universe. Still, by the end, you can’t help but feel that they played a little too safe for its own good, particularly because of how it teased something that could have been much more.

Idina Menzel is still just as iconic as she was in the first go-around, and cements Elsa as one of the most interesting monarchs in Disney’s library. Still unsure of her capability as a leader, she strives to find a balance between the powerful and humble, thinking distance is the safest option for her loved ones. Her voice is still a powerhouse as always and she releases all of her worries and troubles into song whenever possible.

Also, Kristen Bell is charming and delightful as ever as she returns to the role of Anna. Her own sense of confidence and self-worth have grown immensely since the previous film, but she still cares deeply about the fate of her sister, willing to do whatever it takes to keep her happy.

Josh Gad also makes a return as Olaf, the magical talking snowman. He proves to be much more fun and likable as a side character than a protagonist, and brings out some of the biggest laughs of the whole movie. He also has a newfound sense of wisdom and maturity in this film; although much of it proves to be him misunderstanding its true meaning for comic effect, it still creates an interesting dynamic with the others.

Jonathan Groff, Alan Tudyk, and Ciarán Hinds all reprise their respective roles from the first installment while Alfred Molina, Evan Rachel Wood, Sterling K. Brown, Martha Plimpton, and Norwegian singer Aurora come in new ones. All of them bring different weight and while not all of them get a chance to sing, they’re memorable for the most part. Woods and Brown were particularly interesting and I was hoping to see more from their parts than we ultimately did.

And from a technical point of view, Frozen II proves that even after 58 animated features, Disney is still able to make some real surprises. The animation in this movie is somehow even more stunning and rich than the previous one, utilizing 3D animation to its full potential. The stupid amount of detail in everything in every frame, even the hair or fabric of a character’s wardrobe, is jaw-dropping. Not to mention the remarkable physics being displayed on-screen throughout.

There’s a heavy emphasis on the colors blue and orange. We see all different shades of blue in the film, from the ice emitting from Elsa’s powers to the deep blue of the ocean. For orange, it’s mainly an autumnal look from fall leaves and even Anna’s brunette hair has a bit of orange in it. It plays up a nice contrast in the visual composition, representing the contrast between the life the main characters want to live versus the adventure they’ve embarked on.

Songwriters Kristen Anderson-Lopez and Robert Lopez return from the first film to provide a whole new soundtrack here. And with the help of composer Christophe Beck, they’re able to create a bounty of memorable new songs. The big one is obviously “Into the Unknown,” a powerful ballad that allows Idina Menzel’s powerhouse vocals to work magic. It uses the motif of light and uncertainty to a great advantage as it builds and builds, much like Elsa’s confidence.

But for me, the best song of the film is “Show Yourself,” which comes in the latter half of the story. The natural culmination of all the elements that have come before it, it’s a true showstopper as Elsa finally comes to terms with her abilities and their implications. It also features the vocals of Evan Rachel Wood, who proves to a worthy song partner as their voices collide. The animation of the scene that song plays in is some of the best in the whole movie, and both come together to create something special.

More safe and fun than forward-thinking, Frozen II is a perfectly fine family-friendly romp with gorgeous animation and great music. While it doesn’t take as many risks as it probably should, Chris Buck and Jennifer Lee are still able to deliver a fun sequel to its immensely successful predecessor. The vocals of the cast are all still excellent and the Lopez’ give them new tunes worthy of the gold voices singing them.

I think part of what made the first Frozen so surprising and special is that it defied expectations and subverted several of the classic Disney tropes. This sequel still understands those tropes exist, but is more content to coast on the comfort of the characters from last time. Even if it means it has to miss out on what could have been some truly exciting storytelling opportunities here.

Image result for frozen 2 poster 2019

Top Ten Most Anticipated Movies of 2020

Welcome to the new year! Welcome to the new DECADE! As the last one passes on by, the next one comes in with an embarrassment of promising cinematic riches. Some of the films on this list have been on my radar for quite a while, others have only recently come to my attention. In any case, these are the 10 feature films that I’m most excited for coming out in the year 2020. I’d like to start off, however, by labeling some honorable mentions for other films that look pretty promising.

Honorable Mentions:

Artemis Fowl, The Way Back, West Side Story, The Prom, Free Guy, Saint Maud, Halloween Kills, The Eternals, Birds of Prey, Onward, Next Goal Wins, The Rhythm Section, The Trial of the Chicago 7, The Witches, Wonder Woman 1984, Black Widow

Now, let’s get on with it, shall we?

#10: “Soul” (Opens June 19th)

After a couple of long in-development sequels to beloved classics of theirs, Pixar is finally making the return to original filmmaking in 2020. Onward also looks interesting, but it’s Pete Docter’s newest film that has my attention the most. Early impressions seem to give off the feeling that this is yet another creative and heartfelt creation from the animation studio. The animation looks unsurprisingly vibrant and the integration of jazz music into the narrative has me giddy for whatever kind of personality it has in store- especially because Trent Reznor and Atticus Ross are handling the score. And given the recent shakeup in leadership at Disney’s animation branch, if Soul ends up being Docter’s swansong, it looks like a big way to go out.

#9: “The Gentlemen” (Opens January 24th)

Many filmmakers are able to sustain their careers by stretching out into different genres. Guy Ritchie isn’t really one of those directors, as his personal style never quite fit into a live-action Disney musical or a fantasy epic. However, his next movie The Gentlemen feels like a return to form for him, similar to Snatch and Lock, Stock, and Two Smoking Barrels. With an all-star cast at his disposal, all of whom seem to be having the time of their lives, it looks like Ritchie has found his comfort zone again. Let’s hope it’ll be genuinely fun and not just two hours of him trying desperately to relive his glory days.

#8: “Mank” (TBA 2020)

David Fincher finally making another feature film is enough reason for me to become excited about the project. But hearing that it was written by his late father Jack makes it sound much more personal for him, even with the near-mythical subject matter. It promises to be a movie about screenwriter Herman J. Mankiewicz, who fought with Orson Welles to attain a writing credit on the film Citizen Kane. Seeing talent like Gary Oldman, Amanda Seyfried, and Charles Dance among the cast members makes it seem like this could be a major awards contender for Netflix next fall. Fingers crossed Mank won’t get buried in their catalogue.

#7: “Last Night in Soho” (Opens September 25th)

After the success of Baby Driver, Edgar Wright could have done anything he wanted for is project. Rather than choosing something obvious or right up his alley, he’s doing a non-comedic horror movie with Anya Taylor-Joy, Matt Smith, and Thomasin McKenzie. The first image above teases something genuinely creepy and stylistic that he’s created alongside rising co-writer Krysty Wilson-Cairns. We still don’t know exactly the story might entail, but it sounds like it will be his rendition of psychological thrillers from the 1970’s. That alone is enough for me to be at least intrigued for whatever Wright and company have cooked up for next fall.

#6: “Cherry” (TBA 2020)

It’s always an exciting prospect when established blockbuster filmmakers move away to something smaller and more personal. Cherry sounds like such a prospect, as it finds the Russo Brothers reuniting with Tom Holland on a true-story drama that’s, unfortunately, only increased in its relevance. The tale of Nico Walker, a PTSD-ridden soldier who becomes addicted to opioids, is one that begs to be told. I’m eager to see how all parties involved can get a film made that doesn’t have to be defined by the constraints of a traditional Hollywood blockbuster like the Marvel Cinematic Universe. Although it technically doesn’t have a 2020 release date or distribution deal set just yet, I really hope the major studios will at least try to give it some attention when the time comes.

#5: “The Invisible Man” (Opens February 28th)

I’m still recovering from the spectacularly failed promise of the “Dark Universe” 3 years ago. It pretty much convinced me that none of the classic Universal Monsters could be properly adapted to the modern age. However, it looks like Leigh Whannell and Blumhouse have managed to find a new and relevant angle on The Invisible Man. It looks like it will be taking a MeToo approach, using the titular character as a way of relating society’s absurd reluctance to listen to women’s stories of abuse even though they can’t really see it. Add in Elizabeth Moss as the lead, and this looks like it could become a real word-of-mouth hit in February.

#4: “No Time to Die” (Opens April 8th)

The James Bond franchise has, by and large, been hit or miss for me over the years. Skyfall still remains my favorite one, and Daniel Craig’s version of the character has been remarkable, but there have been a number of stinkers every now and then. However, his 5th and supposedly last outing as 007 looks intriguing as hell. After a troubled early production history, No Time to Die looks like it’s on the right track based on what we’ve seen thus far. Cary Joji Fukunaga making the transition to big blockbuster filmmaking is incredibly interesting, especially when you consider how gorgeous the film looks visually. And of course, Rami Malek as the main villain sounds really exciting, and I can’t wait to see Phoebe Waller-Bridge’s writing come to light after a hyper-successful rise with Fleabag and Killing Eve.

#3: “In the Heights” (Opens June 26th)

Of the high-profile Broadway adaptations coming to theaters this year- the others being Everybody’s Talking About Jamie and Spielberg’s spin on West Side Story -it’s In the Heights I’m the most pumped for. I’ll admit to having only become a fan of Lin-Manuel Miranda in the past few years because of Hamilton, but his first musical is still a joy to listen to. The first trailer showcased exactly what I was hoping to see from the film, and seeing Anthony Ramos in a huge leading role, not to mention the whole ensemble surrounding him, makes me so pumped.

#2: “Tenet” (Opens July 17th)

Christopher Nolan might be one of the last filmmakers who’s able to let a major studio allow him to make a completely original blockbuster on a massive budget. And after finally getting an Oscar nod for Dunkirk, I knew that whatever he did next would be unique. And seeing him recruit John David Washington and Robert Pattinson for a huge action epic, alongside a wildly exciting crew, makes it sound amazing. As for what Tenet’s plot seems to be? Even after watching the glorious first trailer, I probably still won’t know what the film is actually about until I see in theaters. And I absolutely love that.

#1: “Dune” (Opens December 18th)

Denis Villeneuve was, unquestionably, the breakout director of the last decade. Blade Runner 2049 is one of the best films of all time, Prisoners is an underrated masterpiece, and Arrival is a modern sci-fi classic. So it’s only fitting that his newest project is an adaptation of one of the biggest and most influential science-fiction novels ever written. It feels almost like the type of film that he’s been building his whole career towards, especially with all of the support involved. He also has an enormously talented ensemble at his disposal, from Timothée Chalamet to Jason Momoa to Stellan Skarsgård bound to bring their all to the table. In short, Dune is shaping up to be a true sci-fi epic that could hopefully define cinema of the coming decade.

Do you agree with my picks? What movie are you most excited to see come out in 2020? I’d love to hear your thoughts in a Comment below. And for more awesome content like this, be sure to leave a like and Follow my Blog. Happy New Year, everyone!

“Toy Story 4” Movie Review

Who could have predicted that an antique store could be so intimidating? I’ve only been to a couple in my lifetime, and they never seemed nearly this frightening or creepy. This computer-animated comedy was released in theaters around the world on June 21st, 2019, making it the 21st feature from Pixar Animation Studios. In its opening weekend alone, it managed to gross nearly $250 million, shattering records for an animated feature’s opening. It has gone on so far to gross over $917 million at the worldwide box office and could continue well into the $1 billion marker. Directed by Inside Out co-writer Josh Cooley, the sequel was originally announced back in 2014, much to the dismay of many fans and critics. John Lasseter, helmer of the first Toy Story movie, was originally set for the director’s chair with Rashida Jones and Will McCormack, but all parties eventually left due to creative differences. From there, the Pixar team started from scratch and the story came organically, evolving from a planned romantic comedy to a full-on adventure. It’s also worth noting that this is one of the few Pixar films without a short that plays at the beginning, and the two main stars have publicly said how difficult it was to finish recording their lines. Taking place two years after the events of the third film, we once again find Woody, voiced by Tom Hanks, trying to lead the gang to take care of their new kid Bonnie. One day in kindergarten, Bonnie uses leftover materials in the trash to create a brand new toy named Forky, voiced by Tony Hale. While on a road trip with Bonnie and her family, Forky begins to have an existential crisis, which leads him and Woody to an old antique store where they find Bo Peep, voiced by Annie Potts. Bo, who’s found solace in being nobody’s toy, agrees to help Forky get home, while Woody still has feelings for her. For all intents and purposes, this movie has no right to exist. None, at all. Toy Story 3 had already wrapped up the story in such a perfect bow back in 2010, so there was no possible way Pixar and CO. could continue it without milking it. Granted, many people had said the exact same thing about Toy Story 3 back in the day, so it could go either way. From the first trailer, I was worried that my fears had been confirmed and Pixar was officially losing their magical touch. Some sequels of theirs have proven worthwhile, but that still didn’t dissuade me from thinking that they would go down the same path as Cars 2. And thankfully, as soon as the movie started, all of my fears were unfounded because Toy Story 4 is an amazing follow-up and an even better conclusion than last time. After this installment, I’m now thoroughly convinced that the story of these sentient toys could not possibly continue any further.Andy’s tale is far done, but while Bonnie is an endearing new kid, I’m not sure that her story can carry much farther than here. If anything, this film is more about finality and moving on than getting new adventures with a younger kid. What I appreciate most about Toy Story 4 is that every single beat taken towards the finale feels natural and organic. Most of the voice cast from the previous movies return here, once again headed up by Tom Hanks and Tim Allen. Without these two, the journey of Buzz and Woody wouldn’t be nearly as involving as their vocal chemistry is so incredibly natural. Watching these two coming to terms with their age and growing irrelevance is both gripping heartbreaking, as they want to always stay attached to a kid. Returning to the series for the first time in nearly 20 years, Annie Potts hasn’t missed a beat as Bo Peep. With far more independence and agency than she’s ever had before, her story was really fascinating to see how she’s ended up after all this time. She still genuinely cares about Woody and the gang but has seen and done too much to want to go back to a life of ownership. The returning cast (Including archival recordings of Don Rickles) is joined and quite frankly outshined by the batch of newcomers. Chief among them are Keegan-Michael Key and Jordan Peele as fluffy duck and bunny toys from a sprawling carnival, Tony Hale as the existentially confused and trash-loving Forky, Christina Hendricks as the deceptive doll who runs, and Keanu Reeves as a deeply insecure Canadian stuntman of a toy. Key and Peele are easily my favorite ones, with such amazing and hilarious lines that it often feels as though they improvised most of them. And technically speaking, Toy Story 4 might be the most visually impressive Pixar film to date, which is really saying something. Even though the style has become the norm nowadays, the computer animation in this film is hands down the most stunning and jaw-dropping I’ve ever seen. Just compare the animation in this film to that of Toy Story 2 20 years ago, and see how far both the studio and the medium have come; it’s not even close. Seriously, there were numerous shots and scenes throughout the film where it looked almost photoreal. Everything in the frame is filled with so much detail and so much color and personality, you’d swear they spent 10 years working on this. Even tiny little details like the fabric for Bo’s new purple cape or the fur on Forky’s clumsily built arms look so stupidly lifelike. It’s also able to capture more subtle aspects such as characters’ facial expressions and lighting beautifully. And the landscapes are all wide-ranging; the stuffy and archaic antique store is just as visually interesting as the highly colorful carnival outside. As with all three previous installments, the musical score is provided here by Randy Newman, who explores new avenues for the characters. Whereas in years past, he used more jazzy motifs for the aloof adventure, here it’s more melancholy. As the film is all about saying goodbye in many ways, the use of strings and oboes perfectly punctuates the sense of time passed with these characters. You can hear little leitmotifs of his old scores in various tracks, including a redone version of “You’ve Got a Friend in Me” in the beginning. He also produces two new songs, the first one being “The Ballad of the Lonesome Cowboy” performed by country singer Chris Stapleton. The use of twangy guitars and Stapleton’s soulful voice make it a great lament for Woody’s aging. The other new song is “I Can’t Let You Throw Yourself Away,” performed by Newman himself. With an upbeat tempo and universal lyrics that work perfectly in the context of the film, it’s an excellent way to close out the film. In a year chock full of final installments and series finales, I wasn’t expecting to be nearly as satisfied as I was here. I keep saying this over and over, but there’s literally no further avenue that they can take this story. The studio has already confirmed they’re gonna be committed to original projects for the foreseeable future and I couldn’t be happier about it. Bringing the studio’s oldest property to its natural conclusion, Toy Story 4 is a funny and poignant adventure with immense resolution to its characters. Despite the bumpy road to being made and the lingering feeling that it wasn’t necessary, Josh Cooley did the impossible here. He somehow managed to upend the seemingly perfect ending to Toy Story 3 and gives the franchise the ending it deserves. To infinity… and beyond.

“The Lion King” Movie Review

Okay, yes, I am writing a review for this movie because of the impending “live-action” remake next month. However, it also turns out that this movie is celebrating its 25th anniversary this month. This beloved animated musical was originally released in theaters on June 15th, 1994, to overwhelming success. In its initial run, it managed to gross over $766 million at the worldwide box office, making it the most successful film of that year. It was later re-released in 3D in 2011, which brought its total intake to around $968 million. In addition, it remains the best-selling film of all time on home video and the highest-grossing film made from traditional animation. Co-directed by Roger Allers and Rob Minkoff, the story was first conceived in 1988 while Jeffrey Katzenberg and Roy E. Disney were in Europe promoting Oliver and Company. With no less than 17 people credited for the story, original director and producer George Scribner and Thomas Schumacher left the project after constantly clashing visions with Disney. Their departure led to the story being greatly rewritten and reimagined as a musical. Although William Shakespeare’s Hamlet was a big inspiration for the story, it’s also worth noting that this was the first animated film under the Mouse House to be an entirely original property with no pre-existing source material. The classic story follows a young lion named Simba, voiced by Matthew Broderick, who’s destined to rule as King of the Pride Lands in Africa. After his father Mufasa is murdered by Simba’s paternal uncle Scar, he is manipulated and shamed into thinking that the death was his fault and runs away. Years later, Simba is all grownup, living with meerkat Timon and warthog Pumbaa, voiced by Nathan Lane and Ernie Sabella, and is completely divorced from any sort of responsibility. But when he gets word of the horrible conditions under Scar’s tyranny, he must rise up to the challenge and reclaim his rightful place as King. This is a film that has been ingratiated into the minds of so many childhoods over the last two-and-a-half decades. If you grew up in the late 1990’s or early 2000’s, there is virtually no way that this movie wasn’t involved in your life. It’s very hard for me to remember a time in my early childhood when it wasn’t around; it just seemed like the movie was always being played in the house. All of that nostalgia initially had me a little hesitant to review the movie now as a fully grown adult. I was worried that it would cloud my judgement on seeing the film purely for its own merits; or worse, that it wouldn’t hold up as well as I remember it. And yet, even without any childhood bias, I can still confidently say that The Lion King is still the peak of the so-called Disney Renaissance. For those who don’t know, the Disney Renaissance was a period of time in which Walt Disney Animation Studios churned out one high-quality movie after another. Other films released during this time included Aladdin, Tarzan, Mulan, and The Little Mermaid, all of which allowed the studio to further establish its worldwide brand. And even since its conclusion, fans such as myself have constantly debated over which one was the best of the all. For me, as you may or not have figured out, it’s no competition; this film contains everything those other films had and more. Memorable musical numbers, awesome characters, fantastic animation, a great sense of humor and heart. If there’s a certain criteria you have for a capital “G” Great animated feature, The Lion King probably has all of it. Matthew Broderick may be best known for Ferris Bueller in the titular movie, but there’s a lot to like about him as Simba. While probably not the most nuanced or complex protagonist in the studio’s arsenal, his struggle to step up and take on a tremendous task is something nearly all viewers can relate to. Also, James Earl Jones is fantastic as Mufasa, Simba’s wise and stern father. A completely different father figure from his turn as Darth Vader, his deep voice resonates with audiences of any age with many sage monologues filled with wisdom. Jeremy Irons also impresses as the voice of Scar, hands down one of the best animated villains ever, Disney or otherwise. His regal voice is one that is built for chewing the scenery and the way his character’s movements are animated makes it seem like he’s acting it out in the recording booth. And of course, we have Nathan Lane and Ernie Sabella as Timon and Pumbaa, Simba’s laidback mentors. The comedic timing and slight immaturity in their voices sounds completely naturalistic in their hands, and their timeless number, “Hakuna Matata,” is one for the ages. Moira Kelly, Robert Guillaume, Madge Sinclair, Whoopi Goldberg, and Rowan Atkinson all provide their voices for various supporting roles. It’s quite hard to point out a real weak link in the cast here, as they all contribute something memorable. It’ll be interesting how the new version changes these characters, if at all. And as with most other films of its period, The Lion King still stands as a technical marvel in the genre. Like some of its peers, there are a handful of shots that seem to blend traditional animation with then-burgeoning CGI. And despite being released in 1994, this mixture is not obvious; quite the opposite. It makes for some truly cinematic shots in iconic scenes, such as the heart-stopping stampede scene relatively early on in the film. And even when it’s just purely traditional animation, it’s absolutely gorgeous. The use of colors like orange, yellow, and red is ingenious in creating the atmosphere for the Pride Lands. It helps to deepen the character of the setting and define the characters’ personalities. Every time I watch it, the visuals always pop out, right from the opening shot of the sunrise on the horizon. Hans Zimmer won an Oscar for a reason because his original score here is a true classic of cinema. The soundtrack is just as epic and exciting as the story, utilizing a wide range of instruments and vocals for different tracks. Whether it’s an exciting bit where characters are being chased by the hyenas or a moment where Simba realizes his destiny, Zimmer knows what to do. It goes from being filled with rapid percussion and strings to haunting vocals in an instant and somehow still feels organic. In addition, musician Elton John and lyricist Tim Rice composed several original songs together, many of which have earned a spot in the annals of Disney history. Whether it’s the attention-grabbing, nostalgia-inducing opening number “The Circle of Life” or the Oscar-winning ballad “Can You Feel the Love Tonight?,” those two really know how to play it right. But who are we kidding? The best one is obviously the villain song, “Be Prepared,” in which Scar lavishly talks about his planned coup for the throne. There’s honestly WAY more that I could say about this film. About how it essentially defined a whole generation, how nearly every family had it playing in the house at some point growing up, and son on and so forth. But I have a feeling that everyone reading this already knows that and so, I’m gonna leave it off here. The Lion King remains the undisputed chief of traditional animation and the king of Disney proper. Even with a lean runtime of 88 minutes, there’s so much packed into this film that’s literally impossible to not fall in love with every viewing. I have limited expectations for Jon Favreau’s reimagining next month, but we’ll always have the original. If you ask me, this film was, is, and probably always will be the absolute pinnacle of animated cinema.

Image result for the lion king poster 1994

“How to Train Your Dragon: The Hidden World” Movie Review

This franchise has become a lot more than jut one where a skinny guy leans how to fly a dragon. This has become a full-on friendship saga, and I’m here for it. This computer-animated fantasy adventure was released worldwide on February 22nd, 2019, after nearly three years of constant delays. Before that, audiences in Australia got to see it starting on January 3rd, and had already grossed over $181 million at the worldwide box office and should pull in even more numbers from domestic markets. Produced on a budget of $129 million, it has gone on to gross more than $440.5 million and garnered some of the best reviews for any film released so far this year. It also currently holds the record for one of the highest-grossing advanced screenings of all time. Written and directed by Dean DeBlois, the same man behind the previous installment, this is the latest in the series based (Albeit, very loosely) on the book series of the same name by Cressida Cowell. The director had always planned on making a trilogy of films, and scrapped a very well-developed plotline about halfway through production to rework everything. And after running out their contract with 20th Century Fox, this is the first film from Dreamworks Animation Studios to be distributed by Universal Pictures. All parties involved have repeatedly vowed that this stands as the definitive conclusion not just to the film trilogy, but to the entire franchise as a whole. Set one year after the events of the second movie, we once again follow Jay Baruchel as Hiccup, the young leader of a small Viking village called Berk. Having completely integrated humans with dragons into their population, Hiccup and his trusted Night Fury dragon Toothless work with several other warriors in the village to rescue dragons from rival clans. This draws the attention of Grimmel the Grisly, voiced by F. Murray Abraham, an infamous dragon hunter set on capturing or killing Toothless and a newly discovered female “Light Fury.” With little time and a massive armada on their tail, Hiccup decides to lead the citizens of Berk to a legendary Hidden World, said to be the true home of the dragons. I’m a huge fan of both the first and second How to Train Your Dragon films from 2010 and 2014, respectively. Although Dreamworks itself can honestly be hit-or-miss most of the time, these were two of the best, most epic animated films of the decade. In fact, they were both superior in quality to some of Pixar’s latest outings, which is a damn near impossible task to accomplish for the company. And although I paid no attention to the smaller shows that spawned out of it, I had long been hungry for the concluding chapter of the trilogy to hit theaters. It’s constant delays had started to make me a little worried that it may not be able to properly wrap up the entire franchise. Especially because the trailers I had seen for it weren’t all that enticing, a common problem for Dreamworks. Would Universal fundamentally change how they made their film? Well, I’m extremely happy to say that How to Train Your Dragon: The Hidden World is not only a satisfying conclusion to the animated saga, but it’s also a great movie in general. And perhaps the best compliment I can give this film is that it really feels like a finale to a franchise. Each installment in the saga has improved upon the last one, and the same goes here for the third film. Much like the Toy Story films, this series has gradually grown up with its audience as the years have gone by, becoming a darker and more mature tale. However, unlike the Toy Story films, How to Train Your Dragon has the wisdom to know when its narrative should end and how to make it feel justified. Witnessing Hiccup and Toothless’ friendship together come to a head is a highly emotional journey as the lessons they’ve learned from past adventures come into play. And it’s incredibly wonderous to see that the filmmakers managed both to make the ending here worthwhile and keep it as entertaining. I cannot express to my readers enough how stupidly rare it is for trilogy cappers in cinema to actually be satisfying. I haven’t really been a fan of Jay Baruchel as an actor, but his voice role as Hiccup continues to impress me. Having grown from a yuppy wimp in the first film into a capable leader in this one, he consistently struggles with how to balance his desire for pacifism and the need to protect his people. By his side this entire franchise is America Ferrera as Astrid, Hiccup’s beautiful and headstrong girlfriend. She has full control over her own agency and isn’t afraid to tell Hiccup when she thinks he’s wrong on something. F. Murray Abraham also does impressive work as the villain Grimmel the Grisly, an utterly ruthless dragon hunter. While he isn’t given much of a backstory or motivation, his voice and look give a menacing presence that resonates every time he’s in a scene. The rest of the voice cast is filled out by returning players, none of whom have lost a beat. These include Cate Blanchett, Kit Harrington, Craig Ferguson, Jonah Hill, Christopher Mintz-Plasse, Kristen Wiig, and even Gerard Butler. While not all of them have as rewarding of an arc, they still contribute something unique to the experience. Meanwhile from a technical standpoint, Dreamworks has never had a better looking film than How to Train Your Dragon: The Hidden World. While the two previous installments in the series were very well-animated and had fantastic art direction, the imagery in this film is so awe-inspiring and beautiful that it makes others look shabby by comparison. There is so much subtle detail in every animation, whether it be sand on a beach or flora and fauna in a cave, that feels alive. Moreover, the film is made in an extremely cinematic style in aspects such as camerawork and lighting. You’d swear that Roger Deakins himself shot this film with how controlled it is. We get a lot of swooping shots and glorious pans that reveal the true scope of this imaginative world. In addition, John Powell returns to compose and conduct the instrumental film score, and it’s just as amazing as the last couple times. It incorporates leitmotifs from the previous films in various parts, and always feels full of personality. A wide range of different instruments are brought together to create a gorgeous and epic sound, such as vocal chorus and strings. It also undercuts with woodwinds and percussion to give the feeling of one last grand adventure. Bringing together all of the elements from previous films that made them so amazing while amplifying it to eleven, How To Train Your Dragon: The Hidden World is an epic and emotionally fulfilling end to a truly awesome saga. After 9 years, it has become one of the rare third installments of a trilogy that is the best of the bunch, thanks in no small part to its astound animation and story. This has become the pinnacle of the Dreamworks brand and what they’re capable of doing in film.

“The Lego Movie 2: The Second Part” Movie Review

One has to wonder what Solo: A Star Wars Story would have looked like if Lord and Miller had actually finished it their way. I know that’s very cliched thing to say now, but I just can’t help but be mighty curious, especially with something like this and Spider-Man: Into the Spider-Verse. This computer-animated comedy adventure was theatrically released on February 8th, 2019, almost exactly 5 years since its predecessor. While it has grossed over $103.8 million at the worldwide box office thus far, given its $99 million budget, it performed under expectations for the studio. In fact, some are debating whether it will be able to turn a real profit by the end of its theatrical run. That being said, it has still received fairly positive response from audiences and critics, albeit a little less so than the first film in the series. Directed by Mike Mitchell, the original film’s creators Phil Lord and Christopher Miller return to produce and write the screenplay. The biggest creative hurdle they faced during production was seamlessly and successfully moving between the headspace and imagination of the human children. There were also a number of brand new Lego mini-figures created specifically for the film, many of which were made with the subject’s permission. Taking place 5 years after the events of the original, the vast and diverse world of Bricksburg has been turned into Apocalypseburg after an invasion from Duplo bricks. Master Builder Emmet Brickowski, voiced by Chris Pratt is struggling to adjust his attitude to the hardened tone of many of his world’s inhabitants, including his girlfriend Lucy/ Wyldstyle, voiced by Elizabeth Banks. One day, an alien named General Mayhem kidnaps Lucy and various other Master Builders and takes them to a brand new place called the Systar System. Racing against time to save them, Emmet gets some unexpected help along the way from a mysterious galaxy-defending, raptor-training cowboy named Rex Dangervest. I absolutely loved The Lego Movie from 2014 and it remains one of the biggest cinematic surprises I’ve ever seen. Although I genuinely regret missing it in theaters, it proved everyone who thought it would be terrible wrong by providing fast-paced humor and a surprisingly thoughtful story to go along. Not to mention, it’s proven to be an incredibly rewatchable movie with tons of cool references and jokes to find each new time. And while I enjoyed The Lego Batman Movie and The Lego Ninjago Movie, I was waiting eagerly for a proper sequel to that modern classic. Whether or not it would actually live up to the first one is a bit unfair, since its predecessor had the element of surprise whereas this one became highly anticipated. And the answer is no, The Lego Movie 2: The Second Part is ultimately not as good the second time around. But still, it’s a very entertaining animated romp with plenty of humor and action to keep viewers preoccupied for 107 minutes. What’s most surprising about this sequel is how it doesn’t seem interested in retreading old ground or repeating what happened last time. Instead, Lord and Miller attempt to move things forward in a relevant way, finding time to address new topics. Whereas the previous one was a thinly veiled critique of capitalism and anti-copyright law, The Lego Movie 2: The Second Part is more of an indictment of toxic masculinity. Emmet has no idea how to be tough and strong in a world so fundamentally weary of itself, and when he tries it ultimately hurts both him and his loved ones. As one character points out, “It’s easy to harden your heart, but opening it up is one of the hardest things we can do.” Liking things that were meant for kids or staying upbeat in dark times is never a thing to feel ashamed of, no matter what others may tell you. Chris Pratt pulls double duty, both returning as Emmet Brickowski and voicing his self-parody as Rex Dangervest. They present a fun and interesting duality of his career; one is the lovable everyday guy who doesn’t think too much, the other is a badass, self-serious action hero. Tiffany Haddish is among the newer additions to the cast and is more than welcome. As Queen Watevra Wa’Nabi, a shape-shifting alien monarch ruling over the Duplos, she is every bit as witty and hilarious as she is in many of her other live-action roles. Pretty much all of the voice cast from the first film reprise their roles here and are still perfect. These include Will Arnett as Bruce Wayne/Batman, Elizabeth Banks as the troubled girlfriend Lucy, Charlie Day as the spaceship-obsessed astronaut Benny, Nick Offerman as the cantankerous pirate MetalBeard, and Allison Brie as the feisty and unpredictable Unikitty. Other newcomers include Brooklyn Nine-Nine‘s Stephanie Beatriz as the deadpan General Mayhem, who is not what she first appears to be. Hearing her speak awkward lines in a menacingly robotic voice had me and the audience in stitches numerous times. And when it comes to the technical aspects, The Lego Movie 2: The Second Part is extremely impressive and polished. One thing I love about this series is that even though it’s computer-animated, they go through an insane amount of motions to make it look like stop-motion. That continues here with gloriously smooth textures and a wide-ranging color palette. The level of detail in each individual shot is almost unreal, with virtually everything on-screen- including explosions, water splashes, and dust clouds -resembling Lego pieces. Mark Mothersbaugh, who previously composed for the first entry in the franchise, once again provides the instrumental film score. Much like last time, it’s a whimsical one befitting of the sweeping and wacky adventure shown on-screen. It’s a very diverse and wide-ranging sound, with instruments like synthesizers, percussion, and strings going back and forth over who controls the melody. It’s highly suspenseful and thrilling for the action scenes and more calm or moody when establishing the setting, including the Mad Max parody of Apocalypseburg. And also like the first film, the soundtrack features a couple of earworms out of original songs. The most obvious one this time around is “Catchy Song” by Dillon Francis, T-Pain and That Girl Lay Lay. It’s a musical number which literally promises in its lyrics that it will get stuck inside your head, and it does. But there’s also a somber redux of the original’s “Everything is Awesome” into “Everything’s Not Awesome.” Hearing the whole cast sing it in the tired world of 2019 was something I never expected I would need to hear. Utilizing a new line of characters and choosing new themes to address, even if it doesn’t always stick the landing, The Lego Movie 2: The Second Part is a playful reminder of kid-like wonder and fun. Miller and Lord continue to do wonders with ideas that should be absolutely terrible on paper, but end up being highly entertaining for broad audiences. And while the messaging and plot may not be as clever in this sequel as its predecessor, it’s still a welcome one. In these dark and scary times, everything isn’t awesome- and that’s okay, and we shouldn’t let that force us to change ourselves.

Final 2019 Oscar Predictions

After nearly a whole year’s worth of screw-ups, terrible announcements, last-minute changes, and other controversial matters, the 91st Academy Awards are finally upon us. And as was with last year, I managed to see nearly all of the major contenders from last year in preparation for this one night. While there are more frontrunners this year than previous expected, I still have some thoughts about who I think will win in all 24 categories (Which will THANKFULLY be all aired live) as well as who I think better deserves it. Also like last year, I took the liberty of including some films I really thought deserved a nod in a category that were ultimately snubbed. And remember, regardless of how it turns out or if we even like it, the ceremony airs this Sunday, February 24th.

Best Picture

Will Win: Roma

Could Win: Green Book

Should Win: Roma

Should Have Been Nominated: If Beale Street Could Talk

 

Best Director

Will Win: Alfonso Cuarón for Roma

Could Win: Spike Lee for BlacKKKlansman

Should Win: Alfonso Cuarón for Roma

Should Have Been Nominated: Marielle Heller for Can You Ever Forgive Me?

 

Best Actor

Will Win: Rami Malek in Bohemian Rhapsody

Could Win: Christian Bale in Vice

Should Win: Bradley Cooper in A Star is Born

Should Have Been Nominated: Joaquin Phoenix in You Were Never Really Here

 

Best Actress

Will Win: Glenn Close in The Wife

Could Win: Olivia Coleman in The Favourite

Should Win: Olivia Coleman in The Favourite

Should Have Been Nominated: Viola Davis in Widows

 

Best Supporting Actor

Will Win: Sam Elliot in A Star is Born

Could Win: Mahershala Ali in Green Book

Should Win: Sam Elliot in A Star is Born

Should Have Been Nominated: Michael B. Jordan in Black Panther

 

Best Supporting Actress

Will Win: Regina King in If Beale Street Could Talk

Could Win: Rachel Weisz in The Favourite

Should Win: Regina King in If Beale Street Could Talk

Should Have Been Nominated: Tilda Swinton in Suspiria

 

Best Original Screenplay

Will Win: The Favourite

Could Win: Green Book

Should Win: Roma

Should Have Been Nominated: Sorry to Bother You

 

Best Adapted Screenplay

Will Win: BlacKKKlansman

Could Win: A Star is Born

Should Win: BlacKKKlansman

Should Have Been Nominated: Widows

 

Best Animated Feature Film

Will Win: Spider-Man: Into the Spider-Verse

Could Win: Incredibles 2

Should Win: Spider-Man: Into the Spider-Verse

Should Have Been Nominated: Teen Titans Go! to the Movies

 

Best Foreign-Language Film

Will Win: Roma (Mexico)

Could Win: Cold War (Poland)

Should Win: Roma (Mexico)

Should Have Been Nominated: Border (Sweden)

 

Best Documentary- Feature

Will Win: Free Solo

Could Win: Minding the Gap

Should Win: RBG

Should Have Been Nominated: Won’t You Be My Neighbor?

 

Best Documentary- Short Subject

Will Win: A Night at the Garden

Could Win: Period. End of a Sentence

Should Win: A Night at the Garden

Should Have Been Nominated: Zion

 

Best Live-Action Short Film

Will Win: Fauve

Could Win: Detainment

Should Win: Fauve

Should Have Been Nominated: One Cambodian Family Please For My Pleasure

 

Best Animated Short

Will Win: Bao

Could Win: Late Afternoon

Should Win: Bao

Should Have Been Nominated: The Ostrich Politic

 

Best Original Score

Will Win: Black Panther by Ludwig Göransson

Could Win: If Beale Street Could Talk by Nicholas Britell

Should Win: Black Panther by Ludwig Göransson

Should Have Been Nominated: First Man by Justin Hurwitz

 

Best Original Song

Will Win: “Shallow” from A Star is Born

Could Win: “All the Stars” from Black Panther

Should Win: “Shallow” from A Star is Born

Should Have Been Nominated: “Hearts Beat Loud” from Hearts Beat Loud

 

Best Visual Effects

Will Win: First Man

Could Win: Ready Player One

Should Win: First Man

Should Have Been Nominated: Mission: Impossible- Fallout

 

Best Cinematography

Will Win: Roma

Could Win: A Star is Born

Should Win: Roma

Should Have Been Nominated: Widows

 

Best Costume Design

Will Win: Black Panther

Could Win: The Favourite

Should Win: The Favourite

Should Have Been Nominated: Paddington 2

 

Best Makeup and Hairstyle

Will Win: Vice

Could Win: Border

Should Win: Vice

Should Have Been Nominated: Suspiria

 

Best Production Design

 

Will Win: The Favourite

Could Win: Black Panther

Should Win: First Man

Should Have Been Nominated: Annihilation

 

Best Film Editing

Will Win: Vice

Could Win: Bohemian Rhapsody

Should Win: BlacKKKlansman

Should Have Been Nominated: Hereditary

 

Best Sound Mixing

Will Win: A Star is Born

Could Win: Bohemian Rhapsody

Should Win: Roma

Should Have Been Nominated: Mission: Impossible- Fallout

 

Best Sound Editing

Will Win: Roma

Could Win: A Quiet Place

Should Win: Roma

Should Have Been Nominated: Mission: Impossible- Fallout

 

Do you have thoughts or predictions of your own? What films do you think will, could, or should win in each category? What are some that you feel got snubbed by the Oscars? Be sure to leave a Comment on it below, and if you like what you see here, be sure to Like this post and Follow my Blog for similar film-centric content.