Incredibles 2 Review

Of all the great films Pixar has made over the years, there’s perhaps none more beloved than The Incredibles. The 2004 super hero feature – which still ranks above every super hero feature made since – garnered wild critical praise, and more importantly, became a cherished classic, but for very different reasons than most Pixar films. While the studio is often known for bringing audiences to tears, The Incredibles was instead an action-filled romp, but one filled with all the intelligence you would expect from the Pixar brand. It was also more adult than the studio’s previous features, dealing with issues and themes that would likely go over the heads of younger audiences. Perhaps most importantly, The Incredibles shifted Pixar and, subsequently, western animated features to a stronger level of auteurism. Brad Bird became the first outside director hired by the studio, and brought with him the concept of the film, which he had planned virtually shot for shot.

In a time when it seems every animated film and (even more so) every super hero film receives a sequel, The Incredibles seemed like the most likely Pixar candidate to receive a follow-up. Even when Pixar started producing more and more sequels, to the point where people questioned the state of the studio’s originality, The Incredibles was the Pixar sequel everyone wanted to see.

Audiences had to wait fourteen years, but Incredibles 2 finally became a reality. With Brad Bird returning as writer and director, the film serves as an absolutely winning continuation of the original, even if it doesn’t quite match it.

Almost tauntingly, Incredibles 2 begins mere minutes after the ending events of the first film. Three months after Syndrome’s defeat, the Parr family – the secret identities of Mr. Incredible, Elastigirl, and their children – are re-adjusting to civilian life, when the mole-like Underminer attacks, resulting in the Parrs getting ready to do battle with the spelunking villain.

That’s where the first film wrapped up, and fourteen years later, it’s right there that this sequel begins. Mr. Incredible, AKA Bob Parr (Craig T. Nelson), Helen Parr, AKA Elastigirl (Holly Hunter), and their children Violet (Sarah Vowell) and Dash (Huck Milner) are on the Underminer’s tail, all while protecting civilians and babysitting the youngest Parr, baby Jack-Jack.

Though the Parrs manage to stop Underminer’s devastating machinery, damage has been done to the city, and the villain escapes. Super heroes are still illegal in the world of The Incredibles, and this last, botched scuffle proves to be the last straw for the government, who shut down their ‘Super Hero Relocation Program.’ With their last relocation being a ‘modest’ motel, the Parr family is in a bind.

Luckily, Bob’s best friend Lucius, AKA Frozone (Samuel L. Jackson) happened upon an employee of eccentric billionaire Winston Deavor (Bob Odenkirk), who is determined to help super heroes regain legality. Deavor wants to meet Bob, Helen and Lucius to explain his idea of improving the public image of supers. Winston and his cynical inventor sister Evelyn (Catherine Keener) hire Helen has their first representative (her stretching abilities being less destructive than Mr. Incredible’s strength or Frozone’s ice powers), which puts her back in the super hero role just as a new villain, the Screenslaver (Bill Wise), is coming to prominence. This in turn makes Mr. Incredible  Mr. Mom.

The film takes a cue from previous Pixar sequels Monsters University and Finding Dory by promoting the original film’s deuteragonist into the protagonist, with Helen Parr and her escapades taking center stage, while Bob’s story takes a relative backseat as he tries to manage stay-at-home life with the kids, which turns out more difficult than he prepared for. Violet is having issues with her crush, and Jack-Jack – whose powers were revealed to the audience at the end of the first film but remained unknown to the Parr family – are becoming more powerful and varied. Perhaps the only downside in the plot is that Dash doesn’t have much to do compared to everyone else in the family, mostly providing comic relief, as the closest thing he has to his own sub-plot is trouble with homework.

But I guess not every character can play as large of a role, and Dash’s reduced presence is a small price to pay for the fact that the story frequently matches the structural perfection of its predecessor, as well as its intelligent writing.

Helen’s story serves as the main plot, and features action scenes that match the excellence of the Mission: Impossible franchise and some top-notch moments of dialogue between her, Winston and Evelyn. Bob’s story is a little more comical and low-key, but it still manages to bring out a lot of heart and character development in the film. And as you might expect, the plots eventually converge on each other, which only kicks things into high gear.

Of course, with Helen separated from the rest of the family for most of the film, that does mean we get less moments of the sharp banter between her and Bob, which is a little disappointing. The Incredibles movies are often at their best when they’re dealing with familial issues, and though the early scenes feature some memorable moments with every Parr family member, you do kind of miss the realistic arguments and conversations between the parents in the film’s middle act.

Again though, these are only quibbles in comparing these elements to their presence in the original Incredibles film, which is a pretty much perfect movie. So any of these narrative complaints are only relative.

Incredibles 2 may actually be the funnier of the two films featuring the super hero family. Unlike most animated sequels, which introduce a new comic relief character for marketing reasons, the primary sources of comedy are Jack-Jack – whose multitudes of powers exhaust poor Mr. Incredible – and super hero fashion designer Edna Mode (voiced by Brad Bird himself). Both were characters from the original film, with Edna once again wisely being used sparingly, and Jack-Jack getting a more prominent (and humorous) presence than in the first film. The only major new characters are Winston and Evelyn, as well as the villain Screenslaver and a spunky super hero named Void (Sophia Bush), all of which feel like natural additions to the Incredibles universe, as opposed to flashy new characters created to sell more toys because they’re new.

As stated, the action sequences are top-notch, proving once again that Brad Bird is one of the go-to filmmakers for A-grade action. Like the aforementioned Mission: Impossible films (which Bird has had a hand in in the past) and Mad Max: Fury Road, Incredibles 2 features action scenes that flow along with the story, instead of merely being attention grabbers that exist outside of the plot. Even with only two movies and fourteen years between them, The Incredibles may just provide the best action sequences of any super hero franchise.

Of course, in those fourteen years since the first Incredibles movie, CG animation has only gotten better, and Incredibles 2 certainly showcases how far the medium has come. Incredibles 2 features state of the art animation that rivals anything else out there right now. And with its uniquely stylized character designs, it may just outdo all of its contemporaries.

Much like the first film, Incredibles 2’s score evokes not only super heroism, but James Bond-style spy films and espionage as well. And just like the first go-around, it’s among Pixar’s catchiest and (dare I say it?) sexiest scores.

If Incredibles 2 falls short of the original, it’s only ever-so-slightly. But that’s only a testament to just how perfectly crafted The Incredibles was. Incredibles 2 really isn’t that far behind – suffering only from a bit of longing to see all of the Parrs together more frequently – and is very likely the best sequel Pixar has made since Toy Story 2. Its  animation and action set pieces may be outstanding, but they are merely complimentary to the strong storytelling and memorable characters. The shadow of its predecessor may be unavoidable, but Incredibles 2 more than lives up to its name.

Now, when’s Incredibles 3?

 

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Very, Very Late: My Favorite Movie of 2017

* The following contains spoilers in regards to some 2017 films*

2017 was an interesting year for the movies. Some great films, some bad films, some overrated films, some overlooked films, and so on. It was inconsistent, to say the least. As much as I enjoyed some of 2017’s films, my opinion as to which one I enjoyed the most was as fluctuating as the year’s releases themselves. So fluctuating, in fact, that I missed out on writing a proper favorite films of 2017 list and am only now – in July of 2018 – writing about which one was my favorite. I flip-flopped back and forth what to finally name as my favorite film of 2017. So, in the end, I simply went with the film that left the biggest emotional impact with me. And well, if you’ve followed my writing for a while, you probably won’t be the slightest bit surprised.

 

Winner: Coco

Runners-up: Star Wars: The Last Jedi (really), The Disaster Artist, Dunkirk, Spider-Man: Homecoming

Yes, I know, I picked another animated film. That may seem obvious coming from me, a confessed lover of animated cinema, and someone who has officially named an animated feature as his favorite film of the year consistently since at least 2013 (Frozen, The Tale of the Princess Kaguya, Inside Out, and Your Name, respectively). But I think it’s a fair statement to say that the past two decades have seen animated films reach new heights and consistency in quality. Japanese animation has received wider recognition in the west, while western animation has become more sophisticated and achieved a greater sense of autersmanship, thanks in large part to the efforts of Pixar and others. With animation providing better and better movies, it’s simply a great time to be an admirer of animated cinema.

That’s not to say that I simply name an animated film as my favorite of the year because it’s animated. In fact, I seriously considered naming The Last Jedi or The Disaster Artist as my favorite 2017 film just so my current streak didn’t showcase too much of a bias…before I realized that’s utterly stupid and the movie that I genuinely think is the best should be named as my favorite. When you’re naming anything as “the best” or “your favorite,” shouldn’t you pick what you believe earns that monicker, even if they fit a continued trend? Not everyone should get a trophy. You shouldn’t deny what you think is best just to be fair to everyone. That’s idiotic.

And if it makes you feel any better, my worst movie of 2017 would also be animated, The Emoji Movie. So there’s that.

So yes, in the end, it was Pixar’s Coco that left the biggest impact on me of any film of 2017. Yes, I greatly enjoyed The Last Jedi and appreciated it from a filmmaking standpoint, a concept that’s clearly beyond the understanding of fanboys who simply want movies to pander to them. But at the same time, there are still some creative decisions where I can understand the (more civil) complaints, as they currently just leave a big question mark on things (I actually like the idea of Rey’s parents being random nobodies, but killing Supreme Leader Snoke – the “big bad” of this trilogy – in the second entry without explaining anything about him is still something I flip-flop on). Meanwhile, while The Disaster Artist gave a fun insight on the backstory of arguably the greatest bad movie ever made, it didn’t resonate with me nearly as much as Coco did.

I know, saying a Pixar movie made you emotional is a bit obvious, to the point that the cynical internet age often makes it out to be a running joke (“how dare a movie express genuine emotion and not just be filled with self-referential nonsense that doesn’t take itself seriously!”). But the way I see it, the fact that Pixar has so regularly made films that can bring such emotion to audiences is a testament to the studio’s capabilities of storytelling. After all, it used to be a rare thing that people would admit that a movie made them cry. But Pixar has been consistent at providing such an effect.

Although Coco may not be as ‘structurally perfect’ as, say, The Incredibles or Inside Out, it may provide Pixar’s most emotional highs outside of the latter aforementioned film. It’s a movie about life and death, love and loss, that is able to beautifully convey such heavy subjects while still being a perfectly enjoyable piece of family entertainment. Again, staples of Pixar. But if your staples are being pretty much the best at your craft, well, is it a problem if you follow suit with just that?

No, Coco may not be the most ‘perfect’ Pixar film, taking a few narrative shortcuts in order to get to its ending, which was surely the first thing Director Lee Unkrich and company thought up. But when the ending is that beautiful and emotional and rewarding, I think a few small narrative blips are easy to look past. I don’t think there was a dry eye in the theater when the credits began to roll during my viewing. And I was right there with everyone else, teary eyes and running nose. Pixar’s story of a young boy, Miguel, searching for his deceased great-great-grandfather in the land of the dead proved to be one of the most heartfelt and poignant films from a studio that is no stranger to heartfelt and poignant films.

Unfortunately, it was another example of an animated film being ignored come award season, only being allowed to win its token animation award as well as Best Song (both of which it deserved, but could have, and should have won more). Yet, the awkward and clunky romance between a woman and fish-monster as depicted in The Shape of Water could snag Best Picture. I guess the story of a young boy learning the importance of remembering lost loved ones was just too unrealistic for the Academy or something. But I’m not here to judge the continued ignorances of the Oscars. Rather, I’m here to declare my favorite film of 2017.

Coco is simply an exceptional film. It’s beautiful animation and soundtrack are merely complimentary to the wonderfully heartfelt and emotional story. In a time when it seems the climax of every movie is a super fight in the midst of citywide destruction, a film in which the payoff of the adventure is a kid singing a lullaby to his great-grandmother is all the more special.

It may not quite be Pixar’s best film, but no doubt that Coco was, as far as I’m concerned, the best film of 2017.

Ant-Man and the Wasp Review

Some were a bit skeptical about Marvel releasing the sequel to Ant-Man as the follow-up to Avengers: Infinity War. After all, Infinity War is the (first part of) the grand crescendo of the entire Marvel Cinematic Universe up to this point, and Ant-Man is a more lighthearted and small-scale sub-series within the MCU. But really, after the heaviness and somewhat exhausting Infinity War, a movie like Ant-Man and the Wasp is exactly what the MCU needed. Sure, it’s one of the smaller Marvel movies of recent times, but it’s kind of nice to have a film in this mega-franchise that feels like it goes back to basics with a simplistic super hero romp, without having the need to connect to the bigger goings-on in the MCU.

Ant-Man and the Wasp follows Scott Lang (Paul Rudd), the one-time Ant-Man, under house arrest, following the events of Captain America: Civil War. But Scott soon finds himself getting pulled back into super hero duty by scientist Hank Pym (Michael Douglas) and his daughter Hope (Evangeline Lily).

After the events of the first film, in which Scott Lang managed to escape from the “Quantum Realm” after his shrinking powers as Ant-Man were taken to the extreme, Pym and Hope believe they can find a way to rescue the long-lost matriarch of their family, who has been trapped in that very dimension for thirty years. Meanwhile, Pym’s technology is soon the target of two very different antagonistic forces: the black market criminal Sonny Burch (Walton Goggins), and the mysterious Ghost (Hannah John-Kamen), a woman with the ability to phase through solid objects.

It’s a refreshingly small-scale plot, and one that is consistently fun due to how it juggles between its different sub-plots (one of the more unique aspects of the story is how it’s always finding ways for Scott to go back and forth between being Ant-Man, and continuing his house arrest, all while finding ways to get the authorities to believe he never left his home). It also becomes all the more fun when the film’s central plot device becomes Pym’s lab itself, which he can shrink to become a wheeled briefcase. I don’t know, there’s just something fun about a miniaturized building being at the center of the action.

Speaking of action, that’s another area where Ant-Man and the Wasp shines. The first Ant-Man made super hero action sequences fun with the way Scott Lang was able to change size during the fights, and now that he’s joined by Hope’s alter-ego of the Wasp – who has the same shrinking abilities plus blasters that can change the size of other objects – the filmmakers are able to get really inventive with how the action scenes play out.

One of the things that made the first Ant-Man one of the more memorable MCU movies were the characters themselves, and this is another area in which Ant-Man and the Wasp delightfully follows suit. Scott Lang differs from many of the other heroes of the MCU thanks to his everyman personality, and his standing as a father doing his best for his young daughter amidst his divorce and criminal background. Hope continues to be a great foil, as her intellect serves as a great contrast to Scott’s more comedic ‘averageness.’ Ghost is also made into one of the MCU’s more interesting villains, going into a life of crime not for selfish gain, but to find a means to save her own life. There’s even an excellent scene in which Ghost and her accomplice dialogue about how far they’re willing to go for her goal, and even set a perimeter for what they’re not willing to lower themselves to.

So far so good. On the whole, Ant-Man and the Wasp is a very fun and humorous addition to the Marvel Cinematic Universe. With all the positives though, the downside to Ant-Man and the Wasp is that, in the end, it doesn’t exactly ascend beyond the majority of quality MCU entries. It follows the winning formula, and like its predecessor, does so with one of the MCU’s best casts. But now that we’re at a point when three or four MCU films are released a year, it’s all the more important for each individual MCU entry to stand out. And, well, if you’re a little super hero’ed out at this point, Ant-Man and the Wasp probably isn’t the entry that will pull you back in. I’m someone who has greatly enjoyed the Marvel Cinematic Universe films (Iron Man sequels and Thor 2 aside), and even my enthusiasm for them is getting a little diluted by this point.

That’s a shame, because had Ant-Man and the Wasp been released a little further apart from Infinity War, and Black Panther, and Thor: Ragnorok (and so on), it might be better remembered. But being the smallest Marvel release in a year that’s crammed with their heavy-hitters, Ant-Man and the Wasp ends up having a bit of a ‘flavor of the month’ feeling to it. The fact that it follows Incredibles 2 – a super hero feature that greatly ascends from the genre’s standards – hurts this Ant-Man’s sequel’s appeal all the more.

Ant-Man and the Wasp may be a really enjoyable film in its own right, but unless Marvel and Disney can start changing up the MCU formula a bit, they may need to rethink their release strategy for their smaller MCU features, lest they get lost in the shuffle.

 

7

The Incredibles is the Best Super Hero Movie Franchise

Well, after fourteen years of waiting, Pixar’s The Incredibles FINALLY has a sequel, and a damn good one at that. Incredibles 2 has already broken box office records, and is on track to break several more. It couldn’t be more deserved, because not only was The Incredibles one of Pixar’s greatest achievements, but (if you ask me) the best super hero film of all time. And now, Incredibles 2 can also claim to be among Pixar’s best, as well as one of the best movie sequels ever (dare I say it has surpassed Toy Story 2 as Pixar’s best sequel?), and with its release, The Incredibles can now claim to be the greatest super hero movie franchise of all time.

I know what you’re thinking, “but what about the Marvel Cinematic Universe?” Well, it’s true that the decade-strong mega-franchise now boasts 19 films (with the 20th soon to hit theaters) that branch through several different tones and styles, which is no small feat. And the fact that Marvel has managed to pull off this complicated crossover is an achievement unto itself.

While I may enjoy most of the Marvel Cinematic Universe (the Iron Man sequels kinda sucked), I have to admit, even the ones I like begin to blur together. Yes, it seems no matter how different their heroes’ powers are, or whether their plots are more serious or comical, they all ultimately get lost in the shuffle. Again, that’s not to say that I dislike the MCU – far from it – but I find it hard to say I “love” most of the movies within it. I may acknowledge them as being good movies, and that they do what they do really well, but for the most part, the MCU as a whole is what feels like a big deal, as opposed to the individual films within it. The first Avengers movie was something special in that it brought the various Marvel heroes together, and the first Guardians of the Galaxy, along with the Captain America sequels were very well done. But even they kind of blur with the rest of the franchise.

It may be telling that the movie based on a Marvel comic that I still hold in the highest regard is Spider-Man 2 (2004), a film that predated the MCU by a full four years, because it felt like something special in itself. It was a vast improvement over its predecessor, and took the genre to new heights with added character depth and emotional storytelling (shame about that Spider-Man 3…). But the MCU, no matter how fun it gets, almost exclusively feels like it’s always giving a wink as to what’s ahead, instead of producing timeless classics in their own right.

The Incredibles, by contrast, always felt exceptional. Perfecting – and yet, defying – both its status as a super hero film and a mainstream animated feature, The Incredibles was built on layers of narrative depth and themes, and told its story in such a smart way that it was perfectly relatable and entertaining for both kids and adults. In short, it was quite possibly the perfect family film. Even in Pixar’s practically peerless pantheon, The Incredibles was (and is) a standout.

Fourteen years later, and The Incredibles finally has a sequel, one that’s so good that, if it doesn’t match the sheer excellence of the original, it comes damn close enough to not make it an issue. It is every bit the fitting continuation we could have hoped it would be. It feels special, without having to hype up some impending crossover with a dozen other movies in order to do so. It’s sharp script, impeccable set pieces, and strong character depth give it an identity that stands well above most super hero fair.

But things don’t end there, as I would argue that, despite being “kids movies” both Incredibles films are much more intelligent in both structure and thematics than what their live-action contemporaries offer, with Christopher Nolan’s The Dark Knight being the only super hero film that can stack up against them in those regards (though it still falls short).

There’s a humanity to the Incredibles films – both of their depictions of every day life and conversation, and in their philosophies – that the Marvel films simply lack. Even The Dark Knight and Spider-Man 2 don’t quite share that human quality that either of the Incredibles movies boast. They at once deliver big, blockbuster entertainment, family comedy and drama, and a sense of cinematic auteurism that make them feel like works of art that stand above anything produced by other super hero franchises.

Now, that’s not to say that I need every super hero movie to be a masterwork. That’s a tall order to fill for a film of any genre. But my point is that, although the MCU films have been mostly solid fun, their lack of producing any such film has prevented them from feeling distinct from one another. Yes, the Marvel movies are entertaining, but The Incredibles films – like Spider-Man 2 and The Dark Knight – take the super hero genre to greater artistic heights, and do so better than the aforementioned films. So while the Marvel Cinematic Universe may keep cranking out hit after hit, in the end, they all just end up feeling like “another” Marvel movie. Very entertaining movies, mind you, but I’d be lying if I said the MCU films linger in my memory in the way that The Incredibles films do.

The Incredibles has provided a one-two punch, producing two of Pixar’s very best films. And that extensive (and painful) wait between the two has only made them feel that much more special. As fun as they are, all twenty MCU films don’t stack up to being as meaningful as just two Incredibles.

Well, Now I HAVE to Get Kingdom Hearts 3

I may not be the biggest Kingdom Hearts fan out there. Despite some fun ideas, I find the games are bogged down by an utterly convoluted, incomprehensible plot, cliched original characters, and often monotonous gameplay. Not to mention the fact that all the spinoff titles released on a myriad of different platforms all serve as parts of the main story have made it impossible for anyone but the most diehard of fans to follow.

But by God, Kingdom Hearts 3 has a Frozen level!

Allow me to fanboy-out for a moment here. Frozen is my favorite Disney animated film, and yes, one of my favorite films, period. And yes, its presence in Kingdom Hearts 3 is enough to sell me on buying the game (again, the series isn’t horrible. If it were, I wouldn’t buy it even with the Frozen stuff).

Now, this really shouldn’t come as any sort of surprise. Seeing as Frozen is the biggest animated film in history – and is especially popular in Japan – it would be nothing short of dumbfounding to leave it out of a game filled with Disney franchises. But to actually see it in action is just…YES!

On the downside, some of the dialogue in the reveal trailer suggests that this entry may still suffer from the narrative gobbledygook of the series. But heck, I’ll push through it for Anna and Elsa.

Although I still have my skepticisms with Kingdom Hearts 3, I do admit I’m intrigued by the fact that it seems to be emphasizing modern Disney movies more than past entries of the series. Along with Frozen, Tangled, Wreck-It Ralph, Big Hero 6, and Pixar films like Toy Story and Monsters, Inc. have already been announced. I’ve made it no secret that I think Disney’s current run is their best ever (I don’t care what your nostalgia says). So while some older Disney films will be making a return (Hercules), I’m happy to see something as prominent as Kingdom Hearts is putting modern Disney in the spotlight.

Yeah, I would probably prefer Kingdom Hearts if it were just the Disney (and Final Fantasy) characters. But whatever. We get Frozen. And they even nabbed Josh Gad to voice Olaf for the game, which is pretty great.

Anyway, here’s the reveal trailer for the Frozen stuff in KH3, though be warned, some elements are clearly unfinished (pretty sure Elsa’s ice blast is supposed to have sound), which makes some parts a little awkward. Same goes for the fact that Haley Joel Osment is still the voice of Sora, despite the actor now being 30 and the character still a teenager (have we learned nothing from Goku’s ungodly Japanese voice?).

 

…I promise I’ll add meaningful content soon.

Meet The Robinsons Review

Walt Disney Animation Studios may be the world’s most famous producer of animated features, but their history is one of peaks and plateaus. Though the post-Walt/pre-Renaissance era was their darkest age, Walt Disney Animation Studios entered another dry spell during the 2000s, which bridged the aforementioned Disney Renaissance of the 1990s and their modern resurgence of the 2010s that continues to this day. Outside of Lilo & Stitch, the Disney films of this period either had no staying power, or were downright terrible. Meet the Robinsons, Disney’s 2007 animated feature, can at least claim to fall under the former category. It was certainly a marked step-up from Disney’s previous animated feature (2005’s Chicken Little, more than likely Disney Animation’s all-time low point), and feels like a genuine effort on the studio’s part. Unfortunately, even with its charms, Meet the Robinsons falls well below what the studio is capable of.

Meet the Robinsons follows the story of an orphaned boy named Lewis (Daniel Hansen and Jordan Fry), a boy genius and would-be inventor hoping to find a family. He manages to invent a ‘memory scanner,’ which can uncover lost memories, in hopes of finding his birth mother. He brings the machine to his school’s science fair, and that’s where things get complicated.

A teenage boy named Wilbur Robinson (Wesley Singerman), who claims to be from the future, shows up to the fair to warn Lewis that a man in a bowler hat – aptly labelled the ‘Bowler Hat Guy’ (Steve Anderson, the film’s director) – has stolen a time machine and is running amok in Lewis’ time. Unbeknownst to Lewis, Bowler Hat Guy has sabotaged his machine, which then wreaks havoc at the fair.

Losing confidence at yet another failed invention (one that could help him find his family, no less), Lewis becomes frustrated and decides to give up inventing. Wilbur returns to cheer Lewis up and to encourage him to continue his inventing. But a disheartened Lewis wants to hear none of it, and doesn’t buy that Wilbur is from the future. To prove himself, Wilbur takes Lewis to his future home via his time machine (one of two built by his father), where he introduces Lewis to his expansive and often bizarre family (while hiding the fact that Lewis is from the past). All the while, they try to find a way to recover the other, stolen time machine to prevent the Bowler Hat Guy from messing with the space-time continuum.

It’s a pretty wacky plot, and like any film that deals with time travel and isn’t Back to the Future, there are certain elements that really don’t make much sense when you think about them (in Back to the Future, the characters’ presence in the past altered historical events, while in every other movie, it seems the tampering with history somehow results in the creation of the events of their original timeline, which wouldn’t make sense unless they had been altered before, but differently). But Meet the Robinsons doesn’t take its time travel element as seriously as a lot of other movies, so I suppose the fact that things don’t always add up doesn’t matter too much in the greater context of the story.

The sad thing about Meet the Robinsons is that it actually feels like Disney made a solid effort to try to get things back on track after years of misfires (which is a big step up from Chicken Little, where I can’t imagine what the filmmakers were thinking). So it is a shame that Meet the Robinsons ultimately comes off as disappointing.

Though the plot can be fun and heartwarming, it just takes too long to get going, with a first act that feels like it came off a conveyor belt. And not all of the humor hits the mark (one member of the Robinson family is married to his hand puppet, which elicits more questions about his mental health than it does laughs).

Meet the Robinsons can also be kind of weird at times, which on one hand feels a little ahead of its time (just look at the surreal animated series that aired on TV a few years later, like Adventure Time or Regular Show), but in execution it stumbles, and feels more like the filmmakers were acting out of desperation to get a few extra laughs out of audiences. The Robinsons have an octopus monster for a butler, they have singing frogs as pets; and two members of the family live like potted plants at the family’s front door, each insisting guests ring the doorbell on their side of the door. I’m all for weird, especially in animation, which feels right at home with the surreal and strange. But again, Meet the Robinsons weirdness feels more thrown together – perhaps to make up for a lack of comedy in the writing – than it does imaginative.

The animation itself also seems uninspired. Though it’s not ugly, the character designs and animation are far from impressive. Usually, Disney movies – at the very least – stand out visually. But Meet the Robinsons only ever looks average.

By this point this is all sounding negative, but the truth is that Meet the Robinsons is a film I wish I could like more. It’s far from a total loss, with some solid voice work, and a strong improvement in story quality in the third act, including a pretty touching ending.

Long story short, Meet the Robinsons feels like a genuine effort, and I can appreciate it for that effort. Perhaps even the young audience that serves as the film’s target demographic can have a lot of fun with it. But when you consider that this is a Disney animated film, a canon that boasts more than their share of timeless classics that both older and younger audiences can appreciate, Meet the Robinsons comes off as a pale imitation.

The next year would see the release of Bolt, which served as another step forward for Disney, but it wouldn’t be until two years after Robinsons when the animation giant would really get their mojo back with The Princess and the Frog, which started a winning streak that continues today. Meet the Robinsons is thus one of Disney’s more forgotten animated films, but it’s certainly a lot better than many of Disney’s output that came before it, and may even win over some audiences. I mean, any film that names its villain ‘Bowler Hat Guy’ definitely has something going for it.

 

5

Solo: A Star Wars Story Review

There’s perhaps no more beloved Star Wars character than Han Solo. The roguish rule breaker made famous by Harrison Ford was thus the perfect candidate to get his own standalone origin film. Although a host of production issues – including replacing directors Chris Miller and Phil Lord with Ron “Arrested Development Narrator” Howard – meant the film stands on some shaky foundations, it still delivers another solidly entertaining Star Wars adventure.

Of course, the movie centers around a young Han Solo (Alden Ehrenreich), and the various adventures that made him the scoundrel we all know and love. We see how he meets Chewbacca and Lando Calrissian (Donald Glover), his first flight with the Millennium Falcon, and we even get to see that fabled Kessel Run first mentioned in the very first Star Wars movie.

The film begins with Han’s hard life on the planet Corellia, where we meet his first love interest, Qi’ra (Emilia Clarke). When it finally looks like Han and Qi’ra are free to get off the harsh planet, Qi’ra is caught by Imperial troops at the last minute. Thus Han begins his journey to become a great pilot to return to Corellia and find Qi’ra. Han first attempts this by joining the Imperial forces, but after flunking (due to not following orders), he decides to join a band of smugglers who are ready to pull off a major heist, one that could snag Han his own ship.

This ragtag band is comprised of Tobias Beckett (Woody Harrelson), his wife Val (Thandie Newman), and a small, multi-armed monkey-man named Rio Durant (Jon Favreau). They are later joined by the aforementioned Lando Calrissian and his droid, L3-37 (Phoebe Waller-Bridge). But things grow complicated, and eventually Han and the gang find themselves serving a mob boss called Dryden Vos (Paul Bethany).

Appropriately, Solo: A Star Wars Story is a much simpler film than most other Star Wars fare, with galactic struggles of good and evil being replaced with a much smaller scale story of Han and company simply trying to survive the criminal underbelly of a certain corner of that galaxy. Because of this, Solo lacks much of the drama and depth of recent Star Wars features The Force Awakens, The Last Jedi, and even fellow anthology film Rogue One. While Solo may be lighter fare than its Star Wars kin, it nonetheless shares their adventurous spirit.

“Fun” is perhaps the key word to describe Solo. It lacks many of the fantasy elements of the series (no Jedi here) and instead solely focuses on the ‘movie serial’ quality of the franchise. It lacks in ambition, being the safest Star Wars movie since Disney’s acquisition of the series, but makes up for it in one thrilling set piece and action sequence after another.

That’s not to say that their aren’t a few bumps in the road along the way. As fun as Solo is, the film’s troubled production may be present at times, with the movie having somewhat inconsistent pacing. Not to mention some of the film’s best characters (Rio Durant) could have used some more screen time, while the film’s most obnoxious character (L3-37) gets way too much.

Though the biggest issue with Solo: A Star Wars Story goes back to its sense of complacency and its unambitious nature. Solo is a fun movie throughout, and certainly a solid effort at delivering what it promises (a little detour of the series focused on a single, beloved character), but it’s also the first of these recent Star Wars films to not feel ‘special.’ At least not within the context of being a Star Wars film. I suppose the fact that it’s a big-budget crowd pleaser that doesn’t involve super heroes is a special achievement in its own right in this day and age.

If all you’re looking for is a good time at the movies, and a thrilling adventure that happens to take place in a certain galaxy far, far away, then Solo: A Star Wars Story easily delivers. But you might want to downplay your expectations if you’re looking for the next Star Wars classic.

With that said, we do get to see Chewbacca kick all kinds of ass. And that’s always a lovely, lovely thing.

 

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