Ten Years of Changing Fate and Mending Bonds!: Brave Retrospective

Pixar’s Brave turns ten this year. Who’da thunk that’d ever happen? Since I’ve done many-a Disney movie retrospective, I thought it’d be time for me to tackle Brave! It’s one I remember fondly, but as someone who hadn’t seen it in at least five years, I can’t exactly go off of that. As such, it’s time to see what it’s like from the perspective of a hyper-critical adult!

In Brave, we are taken back to the good old days in ancient… er… Scotland(?). Princess Merida learns to be a badass from her dad, much to the chagrin of her protective mother. Oh, and dad almost gets offed by a bear in that classic Disney fashion. When Merida becomes a teen, mom gets REAL overprotective. Merida hates this, and in her blind rage, makes a deal with a witch to change her fate (you of course have to read those last three words in a Scottish accent). The witch’s spell turns mom into a bear, and the only way to reverse it is to mend the bond torn by pride (oh, and same for those last six words as well).

I sure didn’t appreciate the Celtic atmosphere when I was younger, but for a pagan metal junkie like myself, I was able to enjoy Brave‘s setting more than I ever have. Europe really is something else, and Pixar—as always—knocks it out of the park when making magical locales. This is the perfect opportunity for some Celtic folk-inspired musical numbers…!

…All two of them. The first is a song I guarantee most Disney fans only know the chorus of; you know, it’s the one set of lyrics that they always use every time Brave comes up in a Disney park attraction. Unfortunately, upon hearing the full song for the first time in years, I found it to be one of Disney’s weaker numbers. The iterations of it that appear in the aforementioned Disney attractions have way more weight and impact than its original use in the movie. The other number is a cutesy, sentimental piece used during a mother-daughter bonding montage. I had completely forgotten about it until seeing the movie for this retrospective, and forgetting a Disney song ever existed is a sure sign that it’s not particularly likable. I really feel like they squandered an opportunity here. While their next Disney princess movie (which also turns ten next year) is set in Scandinavia, most of the songs in it aren’t exactly inspired by pagan folk music. 

In case you couldn’t tell, the plot is pretty straightforward. While Merida struggles to mend the bond, she and her mom learn to get along with each other. Things go awry, the dad ends up rallying up the other clansmen to try and kill his own wife, mom realizes that she was being REALLY dense, and the power of love turns her human again. Oh, and they have a run-in with the evil bear from the beginning, who happens to have been a previous customer of the aforementioned witch. Like I’ve said numerous times, you generally don’t see Pixar movies expecting something mind-blowing. 

However, there is something VERY unexpected that I felt quite flummoxed by. There’s implied nudity, including during the brief moment after Merida’s very young brothers turn back from bear to themselves, and even the old fart clan leaders ogling Merida’s naked mom when she turns back into a human. There’s also a scene of one of the brothers swan diving into a very traumatized maid’s cleavage. I’m not joking; there’s even a zoom in right into her bosom. If you’re familiar with hentai, this’ll seem like nothing. However… This is a movie for children; a Pixar movie. Man, how different things would become in just four years after Brave‘s release.

While the plot itself isn’t too interesting, it’s one of the more digestible Pixar movie plots thanks to the movie’s seriously star-studded cast. Most Disney characters are super expressive, but to be perfectly real, they were REALLY expressive in Brave. Every character, and every mannerism, were just so memorable. I enjoyed their interactions way more than when I saw the movie the first time! 

Merida and her mom are the stars of the show, for they are the entire plot. Merida’s cool and all, albeit a bit immature, but her mom is actually one of the best Disney parents… eventually. She’s insufferable at the beginning, but has some amazing moments throughout, such as when she just ear-grabs her husband and the three clansmen to resolve a fracas. Also, the way she tries to act human even when she’s a bear is just perfect as well. Merida’s dad and her brothers are also very silly and rambunctious. The brothers don’t say a single word, and they’re just as bursting with character as everyone else.

The clansmen and their sons are additional comic relief. They all have very distinct character designs, and are—as expected—full of mannerisms. I wish they had more screentime, but it makes sense why they didn’t.

The weakest character is its main antagonist, Mordu the evil bear man. Like I said with The Princess and the Frog: Facilier was the last true Disney villain. In the transitional phase to Disney’s current system, we get some unremarkable Disney villains like Mordu who seem to exist just to spice things up (and we’ll be seeing another example in that other movie that I said would be turning ten next year). He’s at least got good foreshadowing, but he just seemed to be a plot device for the whole movie.

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After All These Years: 9.35/10

I’m gonna be honest, I thought I was going to revisit Brave, and walk out of it thinking it wasn’t a particularly remarkable movie. However, it might be one of my favorite Pixar movies of all time. It’s not groundbreaking, but it just does what Pixar does really, REALLY well in sheer execution. It’s aged really well in every department. I recommend it to kids and Disney nerds.

Lightyear: Pixar’s Simplest Movie

Well, aren’t we lucky this year? Pixar didn’t just give one movie; they gave us two! While Turning Red was great, all the hype was put into the in-universe first installment of the Buzz Lightyear franchise that spawned the popular Toy Story character whom we know and love: Lightyear. It sure looked like a departure from the formula, and those departures tend to be really something. Let’s hope this one meets the company’s high standards.

In Lightyear, the titular character crash lands his ship full of science crew on a hostile alien world. Traumatized from his eff-up, he insists on testing each attempt at reproducing hyperdrive technology. However, each time he does it, time on the planet passes several years because science. By the time he succeeds, everyone he knows and loves is dead, and there are killer robots running around. I feel like the latter is more pertinent.

Before talking about the movie itself, I kind of want to bring up something funny. The visuals, as always with Pixar, are stunning. It looks cartoony, yet photorealistic, as usual. However, keep in mind that in the Toy Story universe, this came out in the early 1990s. That means that CG movies looked better than reality itself, in that universe. I don’t know if that’s supposed to mean something for any Pixar theorists, but I’m just throwing it out there.

In terms of the movie itself, I’m going to be perfectly honest: I’m actually having a hard time trying to find an abundance of positives with Lightyear. For the record, I saw it in theaters, and I’m sure I made it clear how I feel about those. Also, the pre-show had a politically charged climate crisis commercial in it, which put my anxiety on edge for a lot of the beginning of the movie. 

Lastly, I—for some reason—expected something with more nuance. Lightyear is not meant to be like Pixar’s usual introspective stuff; it’s a popcorn flick. I generally don’t do popcorn flicks at all, and I have only seen Disney and Pixar movies lately because I know they aren’t popcorn flicks. I’m just annoyed that I had to go through all the usual theater crap just to see a popcorn flick. I get that most people watch movies just like this all the time, and it’s a customary experience for them. Me being disappointed at Lightyear being overall very mindless and driven entirely by sensory-overloading spectacle is entirely my fault.

With all that being said, I’m going to try to discuss the story—without spoilers—in a scholarly way even though it’s simplistic enough to be described in one sentence. The story is, well, not too remarkable, and this is coming from a Disney fan, which is saying something. Although most of the company’s films are straightforward, there’s some kind of takeaway that only adults can really appreciate. The Incredibles, for example, is definitely a popcorn flick, but it’s one of Pixar’s best movies. In addition to pulse-pounding spectacle, we get the complexities such as Syndrome’s character arc, and clever interactions that I never noticed as a kid, such as when Helen and Bob are arguing about which directions to take to pursue the Omnidroid during the climax. Lightyear, as I’ve implied, has none of that. It’s a mindless action romp where Buzz and a ragtag team of textbook underdogs fight the evil emperor Zurg. The cherry on top is that time travel is involved; that rarely leads to a coherent narrative, and this is not one of those times.

I also found the cast to be among the lamest in a long time. Buzz is perhaps the worst of them all; when a toy version is better than the real thing, you know something is wrong. His obsession with getting everything done himself, and completing the mission, is the catalyst for the entire conflict of the movie. The epic, badass space ranger, whose toy counterpart has won the hearts of millions for decades, is a simple case of “you gotta rely on your friends” straight out of a Disney Junior program. 

There are only four other protagonists who play a major role in the movie, three of which are those aforementioned underdogs, and I only caught one of their names: Izzy Hawthorne. She’s the granddaughter of Buzz’s idol, but she’s not as competent. There’s some skinny guy who’s scared of everything, and a mad convict grandma. Of these three, I only liked the mad convict grandma. She was the best. Everyone else felt like typical characters, whose arcs most people could predict in their sleep. The other character I enjoyed was a robot cat named Socks (or is it Sox?). He’s basically the comic relief, but he has some utility, such as vomiting tranquilizers. 

Zurg in this movie is… er… well, he’s something. I can’t even discuss him without spoiling the movie. Basically, there’s a BS twist that is implied—in context with the universe—Andy, and even Toy Buzz, have known all this time. Since it’s Pixar, I can only assume that the reveal with him has been foreshadowed way back in Toy Story 1, and even the old Buzz Lightyear cartoon that I only remember because it had the voice actress of Shego from Kim Possible in it (MatPat will probably have a video about it if he hasn’t done so already). However, foreshadowing or not, the twist itself approaches Kingdom Hearts levels of nonsensical, and some of the important details are glossed over.

I’m really giving it some flack, so I should highlight some positives. Lightyear is, for all intents and purposes, a sci-fi spectacle drama whose main protagonist is named Buzz Lightyear. However, Pixar manages to really make it believable that it is a Buzz Lightyear movie. All the details are there in the right places, including each line that would inspire the toy’s iconic phrases. They at least did something right.

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Final Verdict: 8.25/10

When Disney and Pixar travel off the beaten path, they tend to put out some of their best and weirdest stuff. Lightyear was not one of those times. In fact, this is the most disappointing Pixar movie I’ve seen in years, even if most of those feelings are on me. Regardless, it’s at least an enjoyable movie, especially considering the kind of “cinema” that most audiences have grown accustomed to by now. As long as you enjoy spectacle movies, Lightyear should be right up your alley.

The Owl House (Season 2): Now With More Plot (read as “Ships”)

The Owl House is a typical modern cartoon. It’s dumb and predicatble, but I like it just about as much as the next guy. Unlike a certain isekai show about frogs, this season has been quite the thing. After this is, apparently, a trilogy of two-parters to close off the show. But in the meantime, let’s talk about what happened.

So, family is a thing sometimes. It’s perfectly normal for sisters to cast curses on each other that sap their magic and turn them into monsters, just as Lilith did to Eda. Since it’s a Disney show, no one died, but Lilith now shares a bit of Eda’s curse. Also, Emperor Belos has a suitcase portal of his own for some reason, and we gotta figure out a way to stop him in the only way we know how…

…By solving self-contained conflicts that slowly build into the overarching plot! This season is where The Owl House starts in earnest. Luz tries to find her way home, we learn more about what’s going on in the Emperor’s Coven, and there’s even a sneak preview of what’s going on back on earth with Luz’s mom. A lot of crazy stuff happens this time around. 

To be honest, this is a very character-driven season; most of the plot pertains to character development, for faces both new and old. Might as well start with the driving force of the entire series: Luz and Amity. If the basic signs weren’t present enough in season one, their inevitable romantic partnership is telegraphed so ham-fistedly that it initially comes off as self-aware cringe. Most of their scenes just had Love Handel’s “Don’t just stand there, kiss her!” in my head over and over again. Fortunately, they don’t tease it for as long as 90% of other romances do. Their relationship feels believable, like how they blush every time they hold hands or compliment each other. Plus, it has some legitimate bumps in the road; no ship is built perfectly.

The other residents of the titular Owl House get development as well, including (most importantly), our pal Hooty. I won’t spoil the greatness of his character arc; just see it for yourself (also, poor Hooty…). Eda learns, in the most cliché ways possible, to cope with her literal inner demons. And King, well, we finally learn the truth about him. In addition, Lilith gets her inevitable redemption arc. She learns to be a better person (which is pretty easy for her since she cursed her own sister once upon a time), and she shows emotions other than anger this time around. 

But man, R.I.P. Gus and Willow. Gus gets some good character development in a couple episodes, but he’s still pretty much a third wheel. Willow hardly does anything. All of the eggs are in Amity’s basket. Her relationship with Luz pushes her to finally be the girl she always wanted to be. Classic tsundere. A nice touch is when she gets her hair dyed, and the opening sequence is changed to match.

Meanwhile, in the Emperor’s Coven, we learn some more about Belos, as well as his right-hand-man, the Golden Guard, a.k.a. Hunter. He’s one of those morally ambiguous antagonists who’s all edgy and brooding and stuff. Belos continues to be a knockoff Hollow Knight boss. Eda also has an ex named Raine Whispers. They used to be part of a rebel group, but now they’re in the Emperor’s Coven instead? Regardless, I didn’t particularly care for their arc because it’s a pretty uninspired instance of the “used to be good but now bad because reasons” trope.

Sadly, The Owl House is still quite predictable. I saw quite a few plot twists coming, including one of the really big ones that’s meant to absolutely blow your mind. Also, despite how it tries to be a horror show, it won’t seem like much compared to the crap Cartoon Network lets on its airwaves (especially back in the day).

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Verdict: 8.85/10

The Owl House has surely established some sort of identity in the sea of childrens’ cartoons (which is hard to do these days when it’s not the 1990s). It’s not groundbreaking, but it’s good. Hopefully it’ll stick the landing!

Turning Red: Kung-Fu Panda But Wholesome

Full transparency: Pixar’s Turning Red was the studio’s first movie since Toy Story 4 that I did NOT want to see. I know that they generally undersell their masterpieces in the trailer, but Turning Red didn’t even LOOK like a Pixar movie. The idea, the character design, the inclusion of at least one famous popstar in the music… It looked like Blue Sky Studios, or any of the non-Disney studios whose movies tend to ONLY appeal to kids. However, with the war going on, there is a chance this could be Pixar’s last movie ever made, on account of the possibility that we’re all going to be vaporized in a nuclear explosion. Also, these movies—regardless of quality—are important to support the Disney industries that I truly care about (that and the fact that I do not use Disney+ often enough). Let’s see if Turning Red describes what my face looks like after watching it!

In Turning Red, Meilin Lee enjoys a quaint life in Toronto, Canada. Unfortunately, she has the classic case of overbearing parent. Oh, and the classic case of turning into a red panda during heightened states of duress.

So… despite all my build up to a negative review, I ended up having my words eaten pretty thoroughly. Right off the bat, Turning Red has a lot of personality, from anime-like flourish, to watching Mei’s dad cook dinner. It also has the level of humor expected from Pixar; whether that’s a good or bad thing is up to your discretion.

Of course, the actual plot is more straightforward than a Saturday morning cartoon. When I said that the idea wasn’t interesting, I meant it. Turning Red is a classic story of a girl with an overbearing parent who inevitably learns to accept herself for who she is. The main “MacGuffin” is a K-Pop concert that Mei wants to attend without her mom’s permission (I know that band is multinational, but I don’t care; boy band=K-Pop). 

I don’t want to sound pretentious here, but I have to mention something that I’m pretty damn sure EVERY review of the movie will be incredibly hoity-toity about: Pixar acknowledges periods. This is the first time in the studio’s history, and it has absolutely no bearing on the quality of the movie to me. Maybe my opinion would be different if I was an actual woman, but I digress. Of course these days, when people have to constantly vomit their humanity to the world, this minor thing that comes up twice in whole movie is way more important than any of the other content.

The cast of Turning Red is as Pixar as you can expect. We already discussed Mei, but the real stars are her friends: Miriam, Priya, and Abby. Packing quirky personalities of their own, their chemistry with Mei is priceless. The mom is, more-or-less, the antagonist of the movie. If you’ve seen her type of character trope before, then you can probably guess how her arc resolves. However, the real MVP is the dad. He has one scene with Mei, and he basically tells her what’s important in life. If he had done it sooner, then a large portion of the conflict of the movie would have never had to transpire. Classic Saturday morning cartoon tropes.

If there is anything negative that I can actually say (other than the generic idea), it’s the setting. Canada is a really lovely place (at least according to its pavilion in EPCOT), but it’s really easy to forget that Turning Red is set in Canada at all. If it rained even one time, I would’ve assumed it was in Seattle. In fact, the movie frequently shows the Canadian flag on T-shirts and stuff, as if they knew you’d forget. In all honesty, I’m just salty that they didn’t set it in Quebec, where the beautiful French architecture is.

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Final Verdict: 8.75/10

Turning Red was way the heck better than I thought it would be. It’s a fun and cute movie to tide us over until Lightyear comes out. It’s no masterpiece like Soul, but it at least has some soul. 

Disney’s REAL Edgiest Animated Feature: Treasure Planet Retrospective

The turn of the 21st Century wasn’t the worst era of the Walt Disney Company’s history, but it sure was one of the strangest. Following their Renaissance Era in the 1990s, they did some weird stuff. First off, they made a lot of cash-grabby, low-budget sequels to existing I.P.s that nobody asked for. In addition to that, any new I.P.s were serious departures from their classic formula, and it wouldn’t be until Princess and the Frog that they went back to the way things were. That era came with cult classics like Atlantis: The Lost Empire (which I covered on its twentieth anniversary last year), The Emperor’s New Groove (which I’d do a retrospective on if I didn’t have it memorized), and… an adaptation of Robert Louis Stevenson’s novel, Treasure Island. For the latter, they changed the genre to science fiction, and named it Treasure Planet, which I had not seen in over fifteen years until watching it for this post. Oh, and by the way, being someone who doesn’t read classic literature, I never read Treasure Island, so don’t expect any intellectuality whatsoever here.

Just in case you’ve somehow never heard of Treasure Island, allow me to give you a run-down. A boy named Jim Hawkins finds a map and is like, “Wow! Treasure Island!” He goes on a pirate expedition to find the place. And since the novel is super-old, the product description now spoils that one of the pirates, Long John Silver, is secretly the main antagonist. Treasure Planet is pretty much the same, except he has no dad, and his house burns down because it’s Disney (oh, and it’s in space).

There ended up being a lot more to say about Treasure Planet than I thought initially going into it, and it’s pretty much impossible for my train of thought to not go all over the place. What immediately stands out is that this is probably the edgiest core animated feature Disney has ever put out, even more so than Big Hero 6. This was the early 2000s, and everyone—even Disney—was embracing full edge culture. And as we discuss the various components of the movie, you’ll see just how edgy it is.

One thing I do remember as a kid is how much the setting blew my mind, which isn’t saying much, of course. To be honest, though, Disney was pretty creative with a lot of aspects of the movie. One example is a spaceport that’s literally in the shape of a crescent moon. Also, in trying to blend the pirate and science fiction themes, they ended up inadvertently predicting NASA’s Lightsail project. Just keep in mind that they do some things that require major suspension of disbelief, like when they survive a supernova and escape a black hole from well within the event horizon. The movie has some intense action sequences, in case you couldn’t tell from the aforementioned supernova and black hole. They are some of the most violent in Disney’s animated films, more so than in Atlantis.

Again, I have no idea what Treasure Island was like, but Treasure Planet definitely has some of those beloved Disney clichés. One of the worst is the case of Jim Hawkins’ father, who isn’t dead, but missing. It’s definitely different from Disney’s usual emotional hook of killing the parents, but it feels half-assed here. For starters, his dad doesn’t appear at all at the beginning when Hawkins is a toddler (before he left), so it’s kind of just thrown at you when he turns into an angsty teen. They also never explain what happens, which can technically be construed as something to leave up to interpretation. It’s possible that he tried to go to Treasure Planet on his own, or that Long John Silver could be his father. Since I don’t like to psycho-analyze and retcon Disney movies, it’s one of those things that has to be glossed over. There’s also some other silly hiccups, such as the death of this one red-shirt guy. He’s murdered by a lobster dude, and they pin it on Hawkins, which is later just overlooked (it’s as if that guy was killed for shock value). Lobster guy gets away with the crime, leaving Hawkins to have an abnormally easy time getting over what he thinks is him committing involuntary manslaughter. Other than that, Treasure Planet is pretty straightforward. They go to the titular planet, find the treasure, escape before it blows up, and learn that the real treasure is the friends they made along the way. That last part is quite literal, because the bread and butter of this movie is the relationship between Hawkins and Silver. Due to how I like to do things, we’ll get to that when we discuss the characters.

The worst part of the movie is probably the soundtrack. I don’t remember a single song in the movie, and that’s saying something for Disney. What stands out in Treasure Planet’s soundtrack is its one musical number. Remember ‘Immortal’ from Big Hero 6? That wasn’t the first edgy alt-rock song by a hired band for a core Disney movie, but the second. They have a montage/backstory for Hawkins, and just like everything in the early 2000s, it’s a sad and moan-heavy punk rock ballad that doesn’t fit at all with Disney, even more so than ‘Immortal’. Whatever this song is called, it’s now my least favorite Disney musical number of all time. 

Treasure Planet has a rather wild cast of characters; and unfortunately, a lot of them are now my least favorite Disney characters of all time. Jim Hawkins, for example, has become one of my least favorite—if not, straight-up least favorite—lead protagonists the company has ever put out. He’s brash, whiny, gullible, has no shortage of sarcastic comments, and has a frat-boy’s dream hairstyle. Disney tried way too hard to make an edgy teen protagonist, and I didn’t like him whatsoever. At the very least, one unique quality is that he’s a lead protagonist who gets no romance.

However, that doesn’t mean there is no romance in Treasure Planet at all. This movie’s lucky bachelor is a scientist named Dillbert who is stupid rich and associated with the Hawkins family for some reason. The fact that he’s rich means that he could’ve paid to have Mrs. Hawkins’ inn rebuilt, but he really wanted an excuse to go to Treasure Planet. Thankfully, Dillbert ended up being the best character in the movie. He comes off as the hoity-toity type, but he’s got an unexpectedly large amount of character that made him more fun than the actual comic relief characters (more on those two later). 

His wife ends up being… er… Look, I did a good job remembering the cast of Atlantis last year, but they literally use the lead female protagonist’s name once in the whole movie. And that’s because she’s the captain of the ship, and insists on being referred to as Captain or Ma’am. Whoever she is, imagine Mary Poppins as a pirate and that’s basically Captain Ma’am in a nutshell. On another note, she has either become more or less controversial over the years (I honestly don’t know which) because she’s a cat-girl. So uh yeah, if you’re offended by that kind of stuff, then this movie is not for you. 

Usually, Disney has a good track record of making cute characters who exist for gags, but Treasure Planet has two of my least favorites in that category. The first one is a blob named Morph. Imagine Figment but ten times more annoying. He shapeshifts and stuff, but that’s about it. Most of his attempts at being funny come off as incredibly annoying, and if I had ever found him funny as a kid, then shame on my house and my cow. 

Additionally, there’s B.E.N…. who isn’t much better. Fun Fact: for all this time, I had thought that this guy was voiced by Robin Williams. He has a spastic, spontaneous personality, much like the characters that Williams has played. However, B.E.N. is actually voiced by Martin Short, which was a huge mind-f*** for me. I must say… as much as I like Short, he was pretty screwed with this role. B.E.N. is just very boring. I don’t know, but none of his lines felt funny, even though Short tries his damndest to make them funny. One standout thing is that B.E.N. is a fully CG character among a cast of hand-drawn ones. For 2002, he moved better than something like RWBY, which is both impressive and sad. 

The problem with both Morph and B.E.N. is that they do that thing where they inadvertently work against the protagonists simply because they’re stupid. Well, the former was technically working with Silver, but it’s the same basic idea. Morph constantly busts Hawkins’ chops and steals the MacGuffin, while B.E.N. constantly gets the bad guys aggroing on Hawkins. I can’t really say anything else about them. They just really suck by Disney standards. 

At the very least, they have one of the most subversive—but tragically forgotten—Disney villains of all time: Long John Silver. I have no idea how Silver’s character arc is in the source novel, but Treasure Planet’s Silver is (I presume) the one Disney villain with a redemption arc. He pretends to give a crap about Hawkins, but then actually gives a crap about Hawkins, and years later, someone (probably) writes a long article about how the two are secretly gay for each other. Silver isn’t particularly interesting, and only stands out when compared to Disney villains. As a small side note, if this was how Silver’s character arc originally was, then I hate him because that probably makes him responsible for the whole “villains must be complex no matter what” stigma that everyone thinks is an absolute rule in storytelling. Thanks, Stevenson!

I always discuss visuals last for some reason, and the visuals in Treasure Planet are stunning. This thing has CG everywhere, and it’s aged pretty well. It doesn’t look as jarring as you’d think for something that turns twenty this year (eighteen as of when I actually watched it for the post). And as you’d expect, the characters have that Disney attention to detail which makes them feel alive, even if none of them are particularly interesting.

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After All These Years: 8.6/10

Other than a few dumb plot contrivances (and lackluster soundtrack), Treasure Planet is a tragically underrated Disney movie that deserves a bit more love. If you’re one of those people who only follows Disney because they own Star Wars and Marvel (which Disney didn’t ruin, because they were already ruined well before being bought out OOOOH SNAP), then Treasure Planet is an easy recommendation. Just don’t think you can use it to write a book report on Treasure Island without reading it.

Encanto: Smart House but Cranked up to Eleven

Does anyone remember the one good thing about COVID-19, i.e. when movie studios streamed new movies as an additional option on release? Nowadays, studios are like “Yeah, we can go back to making theaters the only option again”. And guess what, Disney’s Encanto is no exception! As the first animated movie since Moana to have potential future Disney Legend Lin-Manuel Miranda at the helm, risking my life would be more than worth it (albeit a bit inconvenient). 

Encanto begins when the Madrigal family narrowly escapes what I presume to be the Conquistadors. They get saved by a candle, of all things. A candle that creates the enclosed world of Encanto, with a magic house at the center. Over the course of fifty years, every Madrigal is blessed with a gift. And like any media ever with a “gift” system, our main protagonist, Mirabelle Madrigal, gets nothing. And like any media where that happens, it’s the person without a gift who has to save everyone.

Disney movies will always be very predictable, especially since this is their sixtieth animated feature. As soon as you hear Abuela utter the T-shirt-worthy phrase, “Make your family proud”, you know the theme, or rather, themes. Encanto is about family and trauma. Specifically, it’s about how families place burdens on one another because they want to keep things peachy keen.

One of the most interesting aspects of Encanto is its setting. Being enclosed from the rest of the world, the house—La Casita—is where the bulk of the movie takes place. This makes it feel much more compact than most Disney settings I’ve seen. Of course, that doesn’t mean there’s a shortage of Disney magic. La Casita has as many surprises as its personality!

Speaking of personality, the cast is full to bursting with it. Mirabelle is probably one of the best female leads Disney has cooked up. She’s not banging you over the head with feminism (although that was never a Disney issue as much as an issue with Western culture in general), but she shows that she’s a big-hearted girl who loves her family. 

But wait, there’s more! Mirabelle’s family is… big to say the least. Each person, from Best Girl Luise, to drop-dead gorgeous Isabel, have fully realized character designs and flaws. Bruno is likely my favorite character, what with his tragic backstory and quirky personality. Abuela is kind of a weak spot, being a traditional bad Disney parent like Miguel’s grandma in Coco. But you know what, at least Abuela had a more tangible reason to be dense! Hang on, did I say Bruno was the best character? No, that’d be La Casita; the house, like a loyal animal companion, is the only one to actually stand by Mirabelle from start to finish (okay, technically Antonio did too, but he’s not a magic house).

Of course, what always separates Disney from what I’d call the “superficial at best” mainstream is how much stock they actually put in to bring their stuff to life. As expected, every aspect of the movie is intricately well thought out, down to every particle. Also, they once again manage to perfectly border photorealism without ever entering an uncanny valley. 

Last but not least is the one thing I was looking forward to the most in Encanto: the soundtrack. Between Hamilton, Moana, and Mary Poppins Returns, master maestro Lin-Manuel Miranda hasn’t only crafted top quality numbers, but a high quantity as well. Sadly, Encanto has a whopping not many songs. What’s there is top-notch stuff, but as of writing this review (mere minutes after seeing the movie), I already have withdrawal! Next Lin-Manuel Miranda movie when?

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Final Verdict: 9.85/10

Honestly, I don’t remember having been so captivated by an iteration of the traditional Disney formula in quite some time, but that could also be because the last two years have felt like a lifetime. Encanto is a masterpiece of Latinx culture, introspection, and most of all… family! I highly recommend it to any Disney fan, and to anyone who wants a brief respite from the depressant that is being alive during a pandemic.

The Owl House (Season 1): A Distinctly American Isekai

I had actually started watching The Owl House on a whim around the time the first season came out on Disney+. I was so certain it would be two seasons that I didn’t think I needed to do a season-by-season review. But according to Wikipedia and IMDB, it’s actually going to be two and a half seasons? Well, regardless, the second season has been turning different enough to where I should review The Owl House season-by-season. So yeah, here’s my review of season one!

In The Owl House, a girl named Luz is very eccentric and creatively expresses herself all the time. Of course, we can’t have any of that in America, so her mom decided to ship her off to summer camp to make her more mainstream. Luz instead chases an owl into a suitcase portal, where she ends up in a fantasy realm called the Boiling Isles. With pretty much no hesitation, she decides to live here with a witch named Eda the Owl Lady and a chuunibyou demon named King in the titular Owl House. 

The Owl House is modern, childish, and very one-dimensional. But it’s not just those things; it’s mind-numbingly straightforward. They don’t even try to hide that it’s a pure escapist fantasy, what with the aforementioned summer camp literally being called “Reality Check Summer Camp”, and the first episode showing a prison called the Conformatorium. 

“Well, at least it’s not another Harry Potter clone,” you comment. Unfortunately, that’s not entirely true. The initial interest of having someone learn magic through a wanted criminal like Eda gets brushed aside about two-thirds into the first season. Luz discovers a long lost method to do magic, entirely by happenstance, and ends up enrolled in the local school, Hexside.

And it gets more cliché than that simply by being a children’s show. It goes through a lot of the motions, where a protagonist does something blatantly stupid and learns a lesson at the end. It’s just about as clear-cut as any kids’ show, and as a result, The Owl House ends up reinventing the wheel quite often. There is also zero subtlety, as it practically beats you over the head with teasers of things that will happen.

Fortunately, it more than makes up for spoon-feeding you “American values” with sheer entertainment. The show is whimsical, colorful, and builds on itself just about as organically as any good modern cartoon. And speaking of building, the show does have some decent worldbuilding. The Boiling Isles has a lot of creativity going into it, from some guy’s house being held up by a giant hand to school bells that scream bloody murder. It’s meant to look grotesque and terrifying to try and subvert the idea of it being an escapist fantasy realm, but that ends up falling to the wayside because of how charming the Boiling Isles end up becoming. The vibrant and appealing visuals help tie it all together. 

And speaking of charming, the cast—despite being very cliché—ends up being just that. Let’s start with the worst of the bunch first: the main protagonist, Luz (oh, everyone’s going to hate me for saying that, aren’t they?). She’s your typical isekai protagonist through and through. Luz is reckless, tomboyish, and overly easy to relate to. The show tries to make her not seem like a special snowflake, but based on what I discussed earlier, that doesn’t exactly happen.

Fortunately, everyone else is better. Imagine Grunkle Stan from Gravity Falls but ridiculously sexy and you get Best Mom Eda. She’s just about as snarky as Stan, plus she seriously embodies the American spirit. Her tragic backstory is the driving force of the narrative throughout season one, which involves her sister, Lilith (who is also quite sexy but not as fun). King is an adorable little sociopath who tries every angle to assert dominance over others, and it’s fun to see him have melodramatic speeches just from things like climbing to the top of the local playground.

Luz ends up making a few friends in Hexside. Willow starts off as the “my parents want me to do this even though I’m a lot better at something else” character, but that ends up being resolved in the first episode she’s introduced in, and seems like a relatable conflict created just to hook audiences into liking her (which ends up being such a non-issue to the point where we don’t even get to see her parents). But hey, she’s lovable enough on her own. There’s also Best Boy Augustus, who offers a lot of comic mischief without falling into a rut of the same joke over and over again. My least favorite of the Hexside kids is Amity Blight. She’s basically the tsundere, and that’s about it (and now the entire fandom REALLY hates me). On another note, Hexside’s principle is actually pretty great, but he doesn’t show up often enough.

Of course, I must dedicate an entire paragraph to the best character in the entire show: Hooty. He’s a literal door, and is basically a perfect person. 

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Verdict: 8/10

The Owl House is nothing new, but it’s fun, and at least tries harder to be interesting than Amphibia. And from what I’ve seen of season two at this point… yeah, it’s WAY more interesting than Amphibia. I recommend it if you want some Disney magic with a bit of edge.

When Disney Decided to Dig a Little Deeper: Princess and the Frog Retrospective

Well, I kind of cheated with this one. Basically, I got to rewatch Princess and the Frog during a movie under the stars event in Disney and decided to write a retrospective on it, in advance of its twentieth anniversary. However, I got impatient and instead decided to post it now. In any case, this review was written after watching the movie for the first time in over two years, so I should be able to break it down pretty impartially.

In Princess and the Frog, a girl named Tiana dreams of opening a restaurant in New Orleans. But since it’s Disney, her father dies early on and she gets screwed out of a vacant property right when she saves up enough money. What’s worse is that she runs into Prince Naveen (*smack* of Maldonia), a strapping prince who happened to be visiting the States, and the two of them turn into frogs.

Princess and the Frog was the start of a new trope for Disney’s female leads. They would no longer be damsels in distress who were swept away by some hunk. In fact, a lot of these Disney women would start off on bad terms with their husbando-to-be. Princess and the Frog also starts a trend of Disney lessons that are practical to real life, unlike previous ones which were like “If you cry hard enough some magic grandma will come save you.” The movie shows you the line between wants and needs, as well as work and play. I hate saying that something is good solely from being relatable, but Princess and the Frog is really easy to relate to, whether you’re some greedy hoarder, a workaholic, or anything in between. Heck, it’s something I still need to learn while juggling this blog and a full-time I.R.L. job.

But as far as the story itself, Princess and the Frog is about as straightforward as any mainstream Disney flick. The bulk of the movie is Tiana and Naveen goin’ down the bayou to reach Mama Odie, who supposedly has the ability to turn them human again. And of course, when they get to her, she’s all like “stuff Mufasa said probably” and sends them back to New Orleans so Naveen can make out with Tiana’s BFF. As you can expect, she gets the best of both worlds in the end. 

Fortunately, if you like classic Disney, then you’ll find Princess and the Frog to be one of their best. All the personality and Disney magic is still present, even though the behind the scenes for this movie has one of the producers saying “the world had grown too cynical for fairy tales” (which is more true now than ever thanks to social media and, well… last year). It’s lighthearted, funny, emotional, and bursting with color and heart.

The characters are among the most likeable in Disney’s repertoire. Tiana and Naveen aren’t that interesting by themselves, but it’s their relationship that brings out the best of them. They are two extremes; with Tiana being extreme work and Naveen being extreme play. To my knowledge, this is the second time in Disney history with a tsundere Disney Princess (the first being Belle). But unlike Beast, who saves Belle’s life and gives her Stockholm Syndrome as a result, Tiana and Naveen’s values clash in some bizarro way that results in the true wuv that we all care about (and them learning how to properly manage their lives).

Like I said in my Disney rant, people don’t care about the leads as much as the other characters. Louie the crocodile is your typical comic relief character. However, as lovable as he is, he’s not that funny. The most hilarious part about him is the sheer concept of a crocodile who wants to play jazz with the big boys, and the only funny bit is him not knowing “the geography and the topography” of the bayou. Of course, people (and myself) love Raymone to bits and pieces. The interesting part is that he’s one of the few Disney protagonists to die towards the end of the movie, as opposed to the parents who don’t even live for half an hour (such as Tiana’s dad). As desentized to Disney deaths as I am, I admit that seeing him be reincarnated as a star right next to his waifu in the sky is pretty moving.

A sadly unutilized character ends up being Best Girl Lottie. She’s loaded thanks to her father, John Goodman. Being a rich girl, her deep friendship with a low-income girl like Tiana could arguably inspire hope for  kids to this day. Regardless, she’s hilarious in every scene she’s in, even if those are low in number.

The antagonist, Facilier, is—to my knowledge—the last true Disney villain. After him, they would get less and less presence in the movies, and now, they pretty much don’t exist. With that in mind, what a banger to end on! He’s become a modern fan-favorite for a reason, and it’s because he’s constantly oozing charisma. He’s really intimidating for such a skinny guy, and his death is perhaps one of the scariest out of the Disney villains.

Being a Disney Princess movie, Princess and the Frog has a phenomenal soundtrack. I don’t like jazz at all, but I’m always surprised by how many different atmospheres and moods that they can convey with the genre in this movie. Also, Facilier’s number is probably one of the best villain songs in Disney history.

Princess and the Frog hasn’t aged a day, despite its use of traditional hand-drawn graphics. It’s a visually stunning film, with both nostalgia and modern flair. They make New Orleans look just about as fantastical as any Magic Kingdom, that’s for sure. The behind-the-scenes said that they’d occasionally like to return to hand-drawn graphics every now and then, but they still have yet to do it. WHY?!

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After All These Years: 9/10

Princess and the Frog is really damn good! There’s nothing else to say besides that. If you like Disney, then you should have no problem with this one.

Luca: Kaiju Plus Italian Food Equals Success!

By this point in human history, most of the United States will have been freed from the pandemic that definitely warranted EVERY SINGLE mandate taken against it. Theaters are open, but despite that, Pixar once again elected to squander the chance to actually profit off of one of their movies. Yep, their newest film, Luca, is included with a simple Disney+ subscription, just like with Soul. At least one good thing came from that whole incident!

In Luca, the titular sea monster (or as I would prefer to call it, Kaiju) boy is having a crap life herding fish-sheep with a dream to see the human world. Naturally, he’s forbidden to live said dream. Fortunately, all it takes is a chance encounter with a sassy teenage Kaiju named Alberto for him to completely disregard his parents and head there anyway.

The first interesting thing about this movie is the setting: Italy. This is, to my knowledge, Disney’s first movie to represent Italian culture, and as an Italian myself, it feels… underwhelming? From what I understand, kids of different heritages are supposed to feel some sort of solace in learning about where they came from. And before you tell me that my apathy is because Italians are White, allow me to tell you that Italians were just as much victims of racism in the early 1900s as any minority group. In any case, you can probably chalk up my lack of an existential and cultural awakening to my neuro-atypical brain. If you’re Italian (and not me), you’ll probably fan-gush your butt off at this setting.

What brings said setting to life is Pixar’s long-running expertise in visual presentation. Outside of a few dream sequences, the movie isn’t as abstract as Soul, but it still looks beautiful. It blurs the line between cartoon and realism thanks to its noodly characters contrasting against the extremely detailed environments. The devil is in the detail as usual, especially when it comes to those quintessentially Italian hand gestures.

Also expected from Pixar is Luca‘s very simple plot. The main conflict is that Luca and Alberto want to obtain a motorcycle to travel the world with, the problem being that they need cash. The best opportunity to get cash is to win the Porto Rosso Cup, and luckily enough, they meet a human girl named Giulia who wants to win the Cup as well. Of course, the whole Kaiju thing complicates matters.

For me, the movie’s biggest strength is in its cast of characters. Luca is kind of generic, but he develops some interesting relationships with Alberto and Giulia. Alberto is an interesting case. He has an assertive policy that inspires Luca to explore the human world, but he does it a bit to the Nth degree. This is shown throughout the movie, and is—in recent memory—one of the few organic buildups to that classic “Disney argument”. Giulia is that best friend type who’s proactive and ambitious; she’s not complex but it’s hard not to like her. I have a strange feeling that, given the month that this movie came out in, people will not be pleased at how Luca and Alberto’s relationship turns out in the end.

The parents—for once—manage to both have proper arcs and not die. Luca’s parents are dense as you can expect at first, but eventually have to acknowledge that their little Kaiju’s grown up. In the meantime, they eventually head to the surface to search for him and have some hilarious escapades. Luca’s grandma is much more likable, but she doesn’t get significant screentime. Fortunately, Giulia’s awesome dad makes up for that lack.

The weakest character ends up being the main antagonist (whose name I’m probably spelling wrong), Erkele. He’s the first Disney “villain” in like a decade, and he kind of shows that maybe they should stick with not having villains. He’s very expressive and funny, but he gets no real arc other than to be a jerk and impede the protagonists.

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Final Verdict: 9.25/10

Luca is a great Pixar movie as usual. I don’t quite think it’s as good as Soul, but it’s definitely easier to rewatch since—for the time being—everything from last year is kind of cursed. In any case, Luca is great, and I want to stay at Disney’s Riviera Resort now.

DuckTales 2017: The Reboot I Have Zero Nostalgia For

PREFACE: I know I’m supposed to be on hiatus, but I ended up backed up with way too many posts. I finished THREE more Oz books in this time, plus I decided to review Amphibia by each individual season. I also have a several that have been ready to go for months, but never had the time to publish them. Since I deactivated my Twitter, and don’t even read posts on my Facebook outside of the bands I follow (thank goodness they have a Favorites system), I should have no worries about spoilers for the Attack on Titan finale coming out very soon, especially since the final season of the anime is getting a part two.


Before we begin (Hooray! Another preface!), I have a confession to make. I was a sheltered nineties kid. I never watched Spongebob Squarepants until I was well into middle school because it and other cartoons were too extreme for me (and, well, because I would’ve probably mimicked some of the dangerous cartoon stunts and killed myself). As a result, there were a LOT of popular shows from the late 20th Century through the turn of the 21st Century that I never watched, and would always feel a little disconnected whenever my favorite YouTubers would discuss them at length. I never got to see Dexter’s Laboratory, Powerpuff Girls, Wild Thornberrys, Hey Arnold… and even as a budding Disney fan, I never got to see DuckTales (I was only allowed to watch Mickey’s House of Mouse, among some of the stuff on Disney Jr. back when it was Playhouse Disney). But because I heard good things, I reluctantly dove into the 2017 reboot of DuckTales without any of the nostalgia and prior experience that I would’ve wanted to have going into it. Well, I suppose I can view it OBJECTIVELY then. Oh, by the way, since I know nothing about the old DuckTales or the other ‘90s Disney shows, I don’t know what’s new or old (also, I didn’t bother looking any of it up).

In DuckTales, Donald Duck is unemployed (not surprising). So, he dumps his three nephews onto his rich Uncle, Scrooge McDuck. The guy doesn’t give a rat’s arse about them… at least not until after they end up accompanying him to the lost city of Atlantis. After that, the boys go on all sorts of wild adventures with Scrooge (and plucky girl-duck, Webbey), where all kinds of hilarity ensues.

But it sure doesn’t feel that way sometimes. Similar to Gravity Falls, DuckTales has some semblance of an overarching narrative, but it’s disjointed in season one. Some early episodes end in unresolved cliffhangers, and made me do a double-take a couple of times. Fortunately, once season two starts, it’s practically a straight-up linear narrative, with episodes picking up from where the previous ones left off. Sometimes.

Unfortunately, the context of the thing is also not entirely clear. I figured that, as a reboot, it would have a number of nods and carry-overs from the original show for the sake of being faithful. However, the way everything is all reintroduced leads me to believe it’s a sequel. The villains clearly already know Scrooge, after all. At the same time, it could be a prequel, because it’s established as the first time in a decade that Donald speaks to Scrooge, plus it’s the first time that the triplets see Scrooge at all. Also, Daisy Duck is introduced in Season 3, and it is very apparent that they had never met her before. But then… how do you explain the lack of Webby and others in stuff like Mickey’s Once Upon a Christmas? OR MAYBE it’s in a different universe entirely?! Regardless, DuckTales definitely expects you to be acquainted with Donald Duck, his three nephews, and Scrooge McDuck at the very least. If you grew up with a TV, then you probably passed that part.

So, enough about structure… is the SHOW actually any good?! The answer is a resounding “Yes, Definitely, Absolutely!” (Oh wait, wrong show…). DuckTales has the same modern and clever sense of humor that Disney has consistently been able to nail since the start of the 2010s (knowing what audiences find funny is part of being as mainstream as Disney). There are also some great meta commentaries, like the first Darkwing Duck episode, which is a commentary on reboots of popular I.P.s (and a commentary on the show itself as a result). The show also sets out to answer some of the age-old questions surrounding the cast… such as the identity of the triplet’s mother, Della Duck. Additionally, I’m pretty sure that this is the first time in Disney history that they started making fun of Donald’s… er… accent. Unfortunately, there is some melodrama at various points in this series, but it’s a bit more justified than Gravity Falls, as it helps resolve flaws that these beloved characters have had for decades. It’s so weird seeing new developments for these characters who’ve been around for so long… and I love it (and they probably did half of this stuff in the old show).

As expected, DuckTales has a large ensemble of memorable characters. Scrooge is pretty much exactly the same as he always was: daft, yet a freaking bad-ass. Donald is also the same, which I’m not complaining about, because… well… he’s been my favorite out of the three O.G.s for twenty years. I know he can be a big S.O.B., but I dunno, I always loved the guy. Also, whenever he enters his berserker state, it’s a show of force that should place him on any Top Ten Most Powerful Anime Characters list. Like I said before, he gets amazing new character development thanks to the whole Della thing, but you also get inside Donald’s head on a much more intimate level than ever before, and possibly the most in Disney history.

Most surprisingly, the triplets are legitimately enjoyable… at times. Huey, Dewey, and Louie were once all little turds who always caused trouble, but now they’re little turds who always cause trouble while having defined personalities. Huey’s brainy, Dewey’s reckless, and Louie is… er… unchanged. They also must’ve entered puberty, because they actually sound like people instead of high-pitched Donalds. They get great character development that helps resolve their shortcomings, which is why I thought this was a sequel, because they’re definitely turds all the way through in older stuff. Unfortunately, due to the fact that this is a Saturday morning cartoon, it hardly feels like they really grow. Louie can learn to not be a greedy jerk in one episode, but then proceeds to keep being a greedy jerk in another episode. These characters need to have poor judgement, or else… Who can teach our kids important American values?!

In addition to the main ducks, we have some newcomers… I think (this is what happens when you don’t watch the old show!). One of them is Webbey (whose grandmother is swole as all heck, and may or may not be in a doujin with Donald). She is literally Mabel from Gravity Falls (down to having a grappling hook), so I have no complaints here. What I do have complaints about is a girl named Lena that she befriends early on. While I have no problem with her personality, the audience is shown that Lena is in cahoots with one of Scrooge’s old nemeses (who I presume is carried over from the old show?). This results in, yes, an American Dragon-type situation, and if you read my old review of Marissa Meyer’s Renegades, you’d know how I feel about that. (at least that whole arc concludes by the end of season 1). 

Fortunately, there’s always a silver lining, and that lining is Launchpad. He’s basically Soos from Gravity Falls, except even more brawn-over-brain. His dialogue and lovable idioticness is always entertaining. In addition, there’s Scrooge’s kind-of-evil mad scientist, Gyro Gearloose. Gyro has an intern named Fenton, who ends up becoming a tokusatsu hero named Gizmoduck. A ways into season 2, Della does return to the McDuck household. Other than being—pardon my French—a hot mom, she doesn’t have much experience at being a mom, and she has a lot of character development to go through. They also integrate some obscure characters, such as the aforementioned Darkwing Duck, as well as the Three Caballeros, to introduce them to a new generation (and me). 

Unlike Gravity Falls, DuckTales has some great antagonists (Oh snap). Flintheart Glomgold (who I assume is a carryover?) is basically the Scottish villain from Kim Possible combined with Drakken from Kim Possible, making him a fun guy with hilariously over-the-top plans—I mean—schemes. There’s also the Beagle Boys (who are all brothers from a single mother), and Mark Beaks, a living incarnation of social media and clickbait. Oh right, and there’s Magica de Spell, who is just Duck Maleficent.

Disney doesn’t cheap out (well, not always). The animation in DuckTales is fluid, vibrant, and appealing, with a neat, comic book aesthetic. The new designs aren’t as jarring to get used to as the thing that I refer to as “Modern Mouse” (unless you can’t handle Donald’s EDGY, BLACK sailor suit). The instances of CG are pretty obvious, but that’s probably my anime-watching PTSD talking.

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Final Verdict: 9.75/10

This version of DuckTales has been fantastic from start to finish. Of course, it’s not perfect, but it’s definitely my favorite Disney Channel program (sorry, Gravity Falls). I recommend it if you want to see classic Disney characters in a new, modern light.