"Encanto" Review: Disney Has Another One!
My initial thought as Encanto started was that it was a Columbian version of The Incredibles, but I quickly realized that was an unfair judgement and cheap comparison. Instead, the film is a beautiful statement on family, the gifts/talents we’re all born with, and a fresh cultural perspective that Disney does earnestly. With catchy musical sequences, this is guaranteed to be another Disney classic!
The Madrigal family has been imbued with special, magical gifts since matriarch, Abuela Alma (Maria Cecilia Botero) escaped to Colombia. Mirabel (Stephanie Beatriz) gives us our eyes into the family. In fact, she introduces us to all of her family members after village children ask her what her gift is. Luisa (Jessica Darrow) is super strong, Isabela (Diane Guerrero) can make beautiful flowers grow, Camilo (Rhenzy Feliz) is a shape shifter, Pepa (Carolina Gaitan) controls the weather and the list goes on. The only issue is, Maribel doesn’t have a gift.
It’s been years since the last time a gift was given out and tonight is Antonio’s (Ravi Cabot-Conyers) turn to receive. While Antonio receives the gift of speaking to animals, Maribel has a vision of the house starting to fall apart. This alarms Abuela, who is already on edge. With the weight of not having a gift on her shoulders, Maribel takes it as a personal mission to figure out what’s going on with the house and why the Encanto seems to be on the fritz.
What’s fascinating here is that Maribel authentically does not have a gift like the rest of her family. Thus the film spends time analyzing what it means to feel like an outsider in your family. It shows the pressure that Maribel’s sisters, Isabela and Luisa, are enduring. Luisa always gets the job done and takes on literal and figurative weight without question. Isabela is told that she is the perfect granddaughter and Abuela drills it home. When you strip back the layers, you start to see that Abuela’s trauma of losing her husband and not having a fairytale life has become the vision she has for Isabela. This vision is a box that Isabela is trapped in. So while Encanto is an awesome music filled, adventure, it addresses very real and deep issues we can see in our own family.
It’s hard to choose which song will be your favorite as there are so many instant classics! Mirabel is easy to fall in love with as a kind-hearted character seeking to keep her family together while dealing with her own insecurities. Encanto is easily the best animated film out this year! Go see it in theaters or stream it on Disney +!
Rating: A
"Safety" Review: A Safe Telling of A True Story Worth Celebrating
“Safety” is the true story of Ray “Ray Ray” McElrathbey (Jay Reeves), who played safety for the Clemson Tigers from 2005 to 2007. During that time, his mother (Amanda Warren) went into a rehabilitation program to deal with her addiction, forcing Ray to take care of his younger brother, Fahmarr (Thaddeus J. Mixson) by housing him on campus. The film could trim about thirty minutes of fat and fumbles in the screenwriting with some Disney emotional cues, but when it focuses on the heart of the issue it’s in the zone.
The film introduces us to Ray just as he’s starting to play, on scholarship, for Tommy Bowden at Clemson. Almost as quickly as he adjusts to the rigorous schedule of college football, he has to adjust to the fact that his brother is at home without positive supervision with his mother in rehab. (In the film, there is an adult in the apartment with Fahmarr, but he seems to be into street life.) Ray quickly takes Fahmarr back to his dorm and pulls his roommate, Daniel (Hunter Sansone), into the scheme.
The first hour is set up for comical buddy/caper comedy moments with Ray trying to hide his brother under laundry and getting him to and from school without his friendly resident advisor catching them. He also meets Kaycee (Corinne Foxx) and spends time trying to court her while balancing his new responsibilities. The film doesn’t really find its groove until an hour into its run time.
At times, “Safety” feels like one of the best student films you’ll see about football this year! The acting, camera work, and silly jingles playing underneath certain scenes feel forced and uninspired. It does have a measure of weight and depth when the story digs into the true life conflict of Ray trying to balance school, his brother and mother’s welfare. It’s a difficult situation to be in. The crux of the story is about a mother who chooses herself in getting clean and the weight that puts on Ray, a brother turned father, who has a scholarship and his own future on the line. The conflict of Ray being torn between his own dreams and desires for himself but being willing to sacrifice everything to make sure his younger brother is taken care of is the reason that the story was known in every household around America at the time.
I’ll be the first to admit I have a few biases. First, I went to the University of South Carolina, so it’s kind of in my blood to hate Clemson. Second, I graduated in 2005, so it’s really hard for me to believe that a line like “Whatchu know about Lauryn Hill?” would come out of Kaycee’s mouth. Lauryn Hill was still the GOAT at that time. The soundtrack is extremely accurate though- like if buying soundtracks was still a thing and you were in college during that time, it would take you back! Biases aside, there is a constant fight between stale performances (Foxx) and authentic performances (Reeves) and rehashed storylines and a heartwarming story.
“Safety” feels like a three hour movie because it spends the first hour meandering and crawling to its fifty yard line. The second hour is where the film gets into the end zone. What Ray McElrathbey did is noteworthy, but this film is just a passable representation of it.
Rating: C-
"Frozen II" Review: Disney, Let It Go!
Perhaps much like the theme of the movie, the Frozen franchise is in its autumn. Frozen II offers up a change in its characters, settings and gives a form of growth to all. Suffering from the sophomore slump, while this film offers big numbers and beautiful scenery, it doesn’t quite capture the magic of its predecessor because it’s too busy trying to stand in the shadow of it.
Picking up shortly after the original, Anna (Kristen Bell) and Queen Elsa (Idina Menzel) are leading the kingdom of Arendelle with Kristoff (Jonathan Groff) and a newly permafrosted Olaf (Josh Gad) by their sides. Still trying to find herself, Elsa can’t ignore the voice she hears calling out to her. The voice may hold answers to the past as the kingdom tries to find answers to its future after the spirits of Earth, Fire, Wind and Water remove everyone from their homes.
Following the voice takes the group to an enchanted forest, which previously could not be entered by anyone. Inside they meet two factions that have been stuck inside for years and search for answers to the past to secure their future. Equipped with solo songs for each character throughout the film, like its songs, it’s forgettable. In fact, most of the songs help to move the struggling story along rather than being an extension of each characters’ inner feelings bursting out of them as musicals should do.
Another reason this outing isn’t as great as the last is because it’s missing heart and a true villain. The heart of the first film was the love between two sisters and the power that exists and can be cultivated from that love. Here, each character follows their own storyline and thus, as a whole, the movie suffers from meandering at times due to a seemingly forced narrative instead of the organic story in the first film. Without a true villain to physically go up against, these characters aren’t written well enough to display the true struggle of (wo)man vs. self that it whiffs at. There’s an opportunity for the film to explore what happens when a loved one smothers you with good intentions, but doesn’t realize they’re holding you back. There are decisions that some characters make that seem to be, well, out of character. It’s as though going from the beat sheet that five writers created for the story wasn’t quite filled in by Jennifer Lee’s screenplay.
On a positive note, Olaf steals the show as the lovable snowman who seems to be graduating from kindergarten to first grade metaphorically. He’s inquisitive about the world around him and his curiosity and zest for life is endearing. Olaf certainly provided most of the laughs that the children in the audience I saw the film with had.
Frozen II is an example of Disney’s machine over-cranking. While the film will undoubtedly be a money maker, lightning hasn’t struck twice. You won’t be able to name a single tune you heard upon exiting the theater. With glimpses of what could have been a solid, universal story, the writing is half baked and thus this film falls short. Your kids will love it though!
Rating: C
"Dumbo" Review: The Film Doesn't Soar
2019 promises to give us a slew of live-action films based off of some classic property. Aladdin, The Lion King and Dumbo are the titles parents can get ready to take their kids to. As a parent of young children, I now realize that some films my parents took me to growing up is another example of their love because sitting through it must have been hard to endure. Dumbo is retribution for their sacrifice, and I can only hope the rest of the year doesn’t exact more vengeance!
Danny DeVito runs the Medici Bros circus as Max Medici. His circus of outsiders travel from town to town in 1919 by train, bringing fun to the towns they stop in. Amongst the circus family is Holt Farrier (Colin Farrell) and his two children: Milly (Nico Parker) and Joe (Finley Hobbins). They take care of the elephants, which includes Dumbo, the newest addition to the clan. Dumbo has oversized ears and they quickly learn that the tickle of a feather can make him fly.
Once the word is out that there’s a flying elephant in the world, the chance to bring the spectacle under his own circus brings tycoon V.A. Vandevere (Michael Keaton) running. He buys the Medici circus and pushes to make Dumbo the main event. You can imagine the heroism that has to follow in order to keep Dumbo safe.
This film comes down to casting and it’s hit and miss. Danny DeVito is great, but he gets put into a closet literally and figuratively after Vandevere takes over. Keaton enjoys playing Vandevere a little too much, becoming a caricature of the evil villain missing a mustache but with a bad toupee. Farrell’s southern accent is absolutely ridiculous, and Nico Parker’s delivery of her lines is equally cringeworthy.
The first half of the film feels like Disney got director Tim Burton to succumb to their bright and beautiful ways, but once Dumbo goes under Vandevere control the film takes a darker tone. Cinematographer Ben Davis changes the bright and hopeful lighting scheme to a dark and oppressed washed out dark blue. There’s no doubt that Burton is able to capture some of the wonder and awe of the circus through his set pieces and swells in the score, but that’s the best part of the film and it’s not enough.
My kids loved the film, and I was shocked at the number of adults in the theater without kids as well. So this film will definitely have an audience of kids or adults looking for a nostalgia fix from the 1941 animation. If it’s an indication of the films we’re about to see this year take a deep breath and make sure you’re seats are reclinable because at least your money will go toward getting a comfortable spot to watch the back of your eyelids.
Rating: C-
"Incredibles 2" Review
Incredibles 2 is a fun summer movie sequel. The new film from Brad Bird, whose previous film 2015’s Tomorrowland underperformed greatly at the box office, returns to the world that he created back in 2004 (which feels oddly similar to how after 2012’s John Carter bombed badly at the box office, director Andrew Stanton retreated back to Pixar to direct 2016’s Finding Dory). Even though it feels safe at times, this is an enjoyable film from start to finish! Given Pixar’s spotty track record with their sequels, I would say that this is their best sequel they have made since 2010’s Toy Story 3.
Immediately picking up after the events of the first film, the Parr family comes across Winston Deavor (Bob Odenkirk), a telecommunications tycoon who wants to bring superheroes back into the spotlight. With the assistance of his sister Evelyn (Catherine Keener), they propose a plan to have Helen/Elastigirl (Holly Hunter) be the face of the new program. Helen goes off on her missions leaving Bob/Mr. Incredible (Craig T. Nelson) in charge of looking out for their kids: Violet (Sarah Vowell), Dash (newcomer Huck Milner, replacing Spencer Fox), and Jack-Jack. Along the way, the Incredibles comes face to face with The Screenslaver; a mysterious figure that has nefarious plans of his own.
I enjoyed how Bird switched up the dynamic in this one by having Helen take the lead while Bob watches the kids. It’s hilarious to see how Bob adapts to being a stay at home dad, and you can tell that Bob wants no part of it as everything slowly overwhelms him. More often than not, some of the strongest parts of the film revolve around the domestic aspect of the story with fun moments Bird plays with. The voice acting is still on point, especially between Hunter and Nelson and the chemistry they have with one another. Bird gives strong characterizations to the family themselves allowing each family member have their own standout scene. The MVP of the film is easily Jack-Jack, who they all come to realize is way harder to handle than they previously thought. Although at times it feels as if his scenes are lifted from a Looney Tunes short. Side note, if Disney/Pixar can make a spin-off film or a short involving Jack-Jack and Edna (also Bird), that would be awesome!
The animation in this was a beauty to look at, which is expected from Pixar, and there are some gorgeous shots that Bird and his team put together. The 60s aesthetics that Bird employed with the first film is carried over into here, and at times, the film feels like an animated James Bond movie come to life. The action scenes are inventive and nicely edited, with each having their own rhythm and pace to them that doesn’t feel stale. Finally, Michael Giacchino’s score is an absolute standout! Make no mistake about it, it’s one of the best film scores I’ve heard in a theater so far this year!
While I had a good time in the theater watching this, the story in this is predictable at times. This was one of those films where you can figure out the basic plot points of the film from watching the trailers. I didn’t buy into the villain’s motivation at all in the context of the story. In fact, a couple of the storylines that we are introduced to don’t get resolved at all, as if Disney/Pixar were setting certain things up for an inevitable Incredibles 3. Finally, even though the family had great character development, there isn’t much character development with the other characters in the film.
Overall, I think families will love this film. If you enjoyed the first one, chances are you will get a kick out of watching this one. As I said in my opening, I had an enjoyable time watching Incredibles 2. The question I had going into this film was whether or not the story that was presented was absolutely necessary for Disney/Pixar to tell. Even though I had some slight issues with the film, Bird accomplished what he needed to do, which is to make a fun superhero film for families to watch. After watching this, would I watch an Incredibles 3? Sure I would. When you do see this, you will be treated to Pixar’s latest short Bao, which is a sweet and touching story about a lone dumpling. So, on that note, I would say check this out in the theater.
Rating: B
"The Jungle Book" Review
Lately, Disney seems to be rooting through its vault to find classics to remake into big-budget, live-action blockbusters. They stumbled early on with misfires like Alice in Wonderland and Maleficent, but they finally recaptured that Disney magic with last year’s Cinderella. And with live-action adaptations of Pete’s Dragon, Beauty and the Beast, Dumbo, and Peter Pan mapped out as far as 2020, it looks like we’re going to be stuck with this trend for a very long time.
Which won’t be a bad thing if these upcoming projects turn out to be even half as good as The Jungle Book.
This movie rocks. It freaking rocks!
Director Jon Favreau, who brought his proficiently crowd-pleasing sensibilities to such films as Iron Man and Cowboys and Aliens, knocks it out of the park once again here. He simply gets it. He gets what goes into making an effective film: a simple story, well-drawn characters, visual pizazz, and most importantly, heart. The Jungle Book does something that few movies nowadays are able to do: inspire wonder in its audience.
The story concerns a young human boy, Mowgli (Neel Sethi, destined to be a big star), who is abandoned in the jungle and raised by wolves. When a vicious tiger named Shere Khan (a menacing Idris Elba) threatens his life, Mowgli is forced to leave the jungle with the help of stern panther Bagheera (Sir Ben Kingsley) and lazy but lovable bear Baloo (Bill Murray).
While it may sound familiar, this new version manages to pay loving tribute to both the Rudyard Kipling stories as well as the 1967 animated Disney film, while integrating certain elements from each in its own distinct narrative direction. However, like the other incarnations before it, this new version is quite episodic in its structure, with Mowgli wandering from one unrelated set piece to the next.
So while the story itself is pretty conventional fare, it’s how the story is told that is the crucial element, and it’s what Favreau and company get so right. The Jungle Book has it all. There is humor, most of it coming from Murray’s quippy asides. There are valuable morals about right and wrong, facing one’s fears, and the importance of family. And there is spectacle—from a hair-raising stampede to a trippy sequence involving the seductive snake Kaa (Scarlett Johansson), to an exciting and scary chase with the towering orangutan King Louie (the great Christopher Walken).
It cannot be understated how fantastic these sequences look. The visual effects featured here are pushing the boundaries of what can be done with visual effects. All one has to do is spend but a moment in the world of the film to be completely immersed in it. With state-of-the-art digital technology, viewers are transported to a jungle so tactile it’s easy to forget that it was shot on a soundstage with a green-screen backdrop. Here, they meet animals so lifelike it’s easy to forget that they were all rendered on someone’s computer. The illusion that these are real, flesh-and-blood animals is never broken. Not even when they break out into classic tunes like “The Bare Necessities” and “I Wanna Be Like You.”
There are many more remarkable things about The Jungle Book, but I recommend you go see the film to find out what they are for yourself. Bring the kids. See it on the biggest screen possible. And prepare to be taken on an exciting, imaginative journey.
Darn you, Disney. You’ve done it again.
Grade: A-