"Elemental" Review: This isn't Pixar's Best
Animation can be a great storytelling tool! When done well, filmmakers can use the genre to express emotions and show things that can’t be done in live-action. With “Elemental”, the ambiguity of anthropomorphism makes for a confusing story, weird relationships and complex storytelling that should otherwise be simple.
Set in a place called Elemental City, the inhabitants consist of fire, wind, earth and water people. Fire is the one element that is somewhat ostracized due to their ability to destroy most elements. Ember (Leah Lewis) is a second generation fire element of the city. Her father (Ronnie Del Carmen) has worked hard to keep his store, The Fireplace, up and running. His goal is to pass it on to Ember. Ember is stuck between wanting to honor her father’s wishes and wanting to find out what she loves. The frustration of being stuck in the middle produces an uncontrollable fireball that Ember has to release. On one such occasion, she retreats to the basement to blow off steam only to have Wade (Mamoudou Athie) come through a leaky pipe. Wade is a city inspector who can’t let the violations he sees in the basement go. So the rest of the film is about the shenanigans this odd couple gets into as Ember tries to save her dad’s shop from being shut down.
There are clear rules in this world. Fire can boil water, water can replenish Earth, water can also douse a flame, etc. So a romantic relationship between fire and water shouldn’t work. Pixar is usually known for being able to mix social messages with their films but there are a few too many messages going on here. There is a generational understanding issue, a xenophobia issue, a class issue, and frankly, an ethnicity issue. Ember’s parents seem to have an Asian accent and exhibit the traditional values of an Asian family. (This is based on director, Peter Sohn’s, life.) So rather than focusing on the elements being blank canvases without intricate human qualities, dealing with universal problems, this feels like the elements are geared after a certain group of people. This is fine when you make clear lines, but the anthropomorphism makes it hazy. There are too many things that writers John Hoberg, Kat Likkel and Brenda Hsueh are trying to tackle. Children won’t care but adults will scratch their heads.
This does feel like new territory for Pixar as the relationship between Ember and Wade feels like young adults falling in love. It’s hard to know their age, but context clues put this in unchartered territory. Perhaps the best part of the film is the visuals that are served to the audience. In fact, the song “Steal The Show” by Ari Leff and Thomas Newman does just that in a beautiful montage of Ember and Wade seeing each other’s uniqueness against the backdrop of Elemental City. It’s a great number and captures what Pixar does best.
This isn’t Pixar’s best in their catalogue. Outside of the song, this isn’t very memorable and leaves a few more questions than answers. Yet, there are moments of Pixar brilliance. No need to rush out for this one parents.
Rating: C
Jurassic World Dominon Review: Fans Will Love It! Anyone Else Should Wait For Streaming.
Let’s cut straight to the point on this. Jurassic World Dominion is great for fans of the franchise and may be disjointed and unbelievable to anyone else. If you are looking for fan service, it’s rich with it. Otherwise, this may be a good streaming pick later.
First, with a word like dominion in the title, you would think that dinosaurs are assorting their dominance in the world. Semantics don’t matter as the species just live among us in this film. Credit goes to screenwriters Emily Carmichael and Colin Trevorrow for creating a world that feels lived in and thought out. What if dinosaurs really lived among us? What would a black market for dinosaurs look like? What would the PETA equivalent look like in this world? They’ve thought of it all, accept how to tell a cohesive story.
The film has a Steve Jobs-like CEO, Lewis Dodgson (Campbell Scott), as its villain. Dodgson was a minor character from the original film and was a corporate rival of the park’s creators. He’s now is the head of a massive company called Biosyn. It’s the type of tech company that is heavily guarded and you have to have an invite to get on campus. He’s bioengineered locusts that eat the crops of the world, in order to control the world’s food supply.
This is where the gang loosely comes together. Owen Grady (Chris Pratt) and Claire Dearing (Bryce Dallas Howard) are looking after Maisie Lockwood (Isabella Sermon), a teenager who Fallen Kingdom revealed to be a clone of a deceased scientist. She holds the key to stopping the disaster and everyone wants a piece of her…kind of literally. We get a globe trotting race to stop impending disaster and the re-introduction of fan favorites Sam Neill, Laura Dern, and Jeff Goldblum. How they all link up is where you have to suspend disbelief. It’s that kind of a film where you really need to just, not think. “It’s a film about dinosaurs!” I hear you yelling at me. I get that, but that doesn’t mean that we have to accept characters being in one location in one scene and appearing in a distant location in the immediate following scene with no context as to how they got there unless they were The Flash.
This film introduces the always interesting Mamoudou Athie as Ramsay and DeWanda Wise as Kayla. Kayla is a black pilot who smuggles whatever for the right price. She provides a source of keep it real comedy that is needed for some of the unrealistic moments in the film. Sermon is the heart of the film as she wars with is she real or not. Jeff Goldblum is his charming, old man swagged out self as Ian Malcolm. His humor is much welcomed as well.
There is a major gripe I’ve had with big beasts/monster movies in cinematic history and that is the fact that, since King Kong (1933), we’ve seen how a white character can bring a beast under control with a touch. This is a film where white characters lift their hand and stare down a dinosaur to make it back down. It happens multiple times throughout this film and this imagery is worrisome because seeing yourself on the big screen is important. King Kong, Godzilla, Frankenstein (before it tosses the girl into the lake), any Potter film and more beasts are always under this spell. Shot sizes and cinematography matters. There is a subconscious message that, against impossible odds, white characters can tame a beast. Hollywood needs to stop planting this in its viewers’ minds or at least spread the wealth in these preposterous situations and reflections of power. Let a little girl from Nepal stare down the next dinosaur!
Off of my soap box, it would definitely be of use to revisit Fallen Kingdom, Jurassic Park, and maybe even Jurassic World for this to catch easter eggs. For fans of the franchise, this is likely to be a good time. If you’re not a huge fan, save your money this weekend, or go see Top Gun: Maverick again!
Rating: C-
"The Front Runner" Review: A Timely Bio Drama
The Front Runner is proof that there’s nothing new under the sun. The film looks at a pivotal moment when politics and media crashed together to change the way we analyze political candidates personal lives and decisions forever. We still deal with political scandal today, much like the 1988 presidential run that crashed within a matter of weeks for Gary Hart, but this is when the idea of news media being a watchdog and covering candidates personal lives to ensure they match. We’ve seen bio drama films like this as well, but co-writer/director Jason Reitman gives us that old gum with a new way to chew it.
Gary Hart (Hugh Jackman) is a man of the people. He is charismatic, smart, handsome, and willing to take a stand against politics as usual. You know, the kind of stuff we like to see even today. All signs pointed to him being the frontrunner of the ’88 election before suggesting to a reporter that he’d be bored if he followed him around, and thus encouraging him to do so. Hart’s bluff is called, as the Miami Herald follows him and uncovers a scandal that ultimately ends Harts political run.
Reitman gives us an inside baseball look at the situation as things unfold. In fact, perspective is key in Reitman’s direction both in the script and in his frame. Numerous times throughout the film he tells two stories simultaneously so that you have to keep up. In one particular scene, Hart sits at a table in a wide shot with his back to the camera as it moves around capturing the conversation amongst Hart’s team. In the background you see a young reporter enter the room and begin a discussion with a member of Hart’s political team. Reitman’s ability to keep our mind engaged, while cleverly displaying multiple stories and pushing each scene forward is what makes the film fun to watch. We know the ending as we watch the story unfold in 2018, but getting there is probably as stimulating cinematically as it was to live through in 1988.
This is an ensemble film in which everyone brings their A game. Jackman, known for his ability to be a larger than life on screen presence, shows considerable controlled restraint and focus. He makes Hart, a player on the team, rather than the star in the film. In doing so, you can focus on all the angles and members of the cast. Vera Farmiga as Lee Hart doesn’t have a lot of screen time in comparison, but her presence is felt. In fact, in one confrontation scene between Gary and Lee, the atmosphere changing of her presence and what’s about to happen is so palpable that you feel as bad for Gary as when your sibling was about to get spanked back in the day. JK Simmons, Molly Ephraim, and Mamoudou Athie all have incredible character archs as they come to grips with Hart’s infidelity and what the fallout means to them. Each perspective gives the audience something to chew on.
The Front Runner may not appeal to mass audiences. It’s certainly a character study that allows viewers to draw conclusions on politics today, and a director’s masterclass on framing and technique. However, its undeniable timeless and timeliness of its subject matter is worth the view!
Rating: B+