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.
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.
I read and wrote a review of the standalone Japanese novel, The Night is Short, Walkon Girl, a long time ago. It was a month before the lockdown that changed all of us. Now, what feels like a lifetime later, I found myself watching The Night is Short, Walk on Girl‘s 2017 movie adaptation, since it was on HBO Max. One of the reasons is that I reread my review of the novel, and realized that it was god-awful. My opinion on the work will probably remain unchanged, but I want to give a more professional dissertation all the same. Also, one thing I didn’t mention in the book review is that I had a bad feeling about it even before going into it. Back in the old days of MyAnimeList, the movie was often paired with Monogatari and the like as a profound and mind-blowing examination of the human condition; the kind of “elitist” stuff that you can’t criticize without risking an insult to your intelligence (even if that criticism is very intellectual in and of itself). So, without further ado, let’s get to reviewing The Night is Short, Walk on Girl!
In The Night is Short, Walk on Girl, a young college student is finally about to confess his love to the girl of his dreams! However, she manages to elude him without even trying. Will he be able to survive a long night in Kyoto, and meet up with her by chance?
Before getting into the movie, I need to confess my love for the movie’s setting. City nightlife is a real experience, even more-so in urban Japan. The night is a rare chance for Japanese people to be their true selves, especially when drunk (a major theme of this movie). In fact, one of my research books said “you don’t truly know a Japanese person until you see them drunk.”
The strangeness of the night is brought to life with the movie’s unique visuals. It’s minimalistic and abstract, with cartoony movements happening alongside Dali-like surrealness. Already, I found this to be my preferred version of Night is Short just from the visuals alone. It’s a real surprise that the same team would end up doing Ride Your Wave.
In case you couldn’t tell, the dude spends the entire ninety-minute movie just trying to talk to this girl. Visuals aside, the movie is a pretty simple rom-com. Both man and woman end up in ridiculously silly situations, all while in relatively close proximity to each other. Just like the book, the movie is split into four acts.
Of course, it takes more than whacky visuals for the anime community as a whole to consider Night is Short profound. The movie is full of philosophical nonsense, and you can bet your ass that people take it way more seriously than how it’s framed in context. The main profoundity (new word) that’s explored is fate. It’s a major symbol for the whole movie. Elements of the many different stories all have some sort of connection, in order to provoke your thoughts into thinking that fate is a real thing. The amount of coordinating all of this is admittedly pretty impressive.
Sadly, like the book, I did not give a rotting carp about it. I personally call philosophy “overthinking mundane things, the job”, and it’s because none of it matters in the long run. Like, what is the takeaway supposed to be here? Is it open to interpretation? Am I supposed to look at the world differently? Is it all a vain attempt at pretending to be smart?
To go at this from a more personal angle, well… let me begin by stating that I have autism (in case this is the first post of mine that you’re reading). As an outlier, I overanalyze mundane aspects of life all the time, and it’s only led to mental anguish. To be perfectly real, a lot of the stuff that comes up in philosophy is all in our heads. Morality, for instance, is an entirely human construct. Any other species would go extinct if they had to live by our rules, simply because they would all be guilty of murder. To paraphrase Temple Grandin, the best way to approach all the mysteries of the human condition is to not even bother trying to figure it out in the first place, and works like this movie are the exact antithesis of that mentality.
Surprisingly, I ended up liking the characters more this time around. The voice actors all do an exemplary job at giving everyone a ton of personality. When I reviewed the novel, I accused the girl of having no personality, when she’s actually got quite a bit going on. She’s got a childlike innocence, and is attracted to pretty much everything (read as: “booze”). She believes in fate, yet ironically dismisses her encounters with the dude as coincidence.
Speaking of the dude, he’s a classic underdog. All he wants is love, yet it seems like the world is against him. Surrounding them are a quirky cast of characters, from the tengu whose name I forgot, to the old cynicist Rihaku.
Final Verdict: 8/10
I enjoyed this version of The Night is Short, Walk on Girl more than the book. However, it’s still a pretty pretentious movie. I don’t know what it is, but a lot of Japanese writers have a real thing with trying to make the mundane feel otherworldly. Call me an uncultured swine, but I just don’t get it. In any case, I recommend this movie if you love Monogatari, or the novels of Haruki Murakami.
How long has it been since I saw an anime movie in theaters?! Oh right, 2021… Completely forgot about Earwig and the Witch (for good reason). More importantly, however, how long has it been since I saw a Mamoru Hosoda movie?! I actually own Summer Wars, his only movie I ever saw, and that was years ago. I didn’t exactly love it, mainly because I’m an autistic person who doesn’t understand neurotypical family relationships (i.e. half the movie), but his artstyle is pretty novel and I always wanted to give his other films a chance. The problem was that he apparently hates streaming? Call me a Zoomer, but streaming is a crucial money-saver in this century (and it helps Earth because it saves on the resources used to make a physical copy). Fortunately, Hosoda’s newest film, Belle, premiered in theaters just recently. I was skeptical due to it being a romance, but if I didn’t see it now, I wouldn’t be able to see it ever! Was the risk still worth taking, though?
In Belle, a social media network known as U is spreading like wildfire, dethroning Zuckerberg and becoming the most popular platform of its kind. It’s a virtual network that connects directly to your body and creates an avatar called an AS based off of your innermost self. It’s the perfect hobby for motherless, socially depressed Suzu, who ends up becoming Belle, the world-famous virtual singing sensation. However, things get dicey when she has a run-in with the Dragon, a naughty-boy avatar with a lot of cryptocurrency (and probably NFTs) on his head.
Holy crap… Where do I begin with this movie? While straightforward, it ended up being way more involved than I had ever expected, especially compared to Summer Wars. Let’s start with the first thing you notice: how it looks. It’s called Belle (the French word for beauty) for a reason, and I’m not talking about the main character’s name. The movie looks absolutely spectacular. Hosoda’s style involves trading texture for consistent fluidity; basically, imagine a TV anime’s artstyle but with actual animation. The CG in Belle is some of the best I have ever seen in an anime, massive in scope yet able to incorporate the most minute little mannerisms. I probably shouldn’t be surprised, since it’s been over a decade since Summer Wars. I’m immensely glad I saw it in theaters.
I should also talk about the soundtrack. A lot of it is made up of original musical numbers, which are very orchestral and surprisingly powerful (for not being metal). One of these songs is called ‘U’ (like the setting), and it’s composed by King Gnu vocalist Daiki Tsuneta’s side band, millennium parade. They’re a band I tried when they were first starting out, but ended drifting away from when I converted to metal. I had no idea which song happened to be ‘U’, but since the whole soundtrack was solid, I feel like it was one of their better songs. However, you’ll just have to wait for my review of their debut album from last year before you know if I meant that as a compliment. Yay, marketing!
So, when it comes to Belle, it boils down to two major components: one, it’s inspired by Beauty and the Beast. No shit, Sherlock. The other aspect is that it’s an allegory to the beautiful digital prisons of our creation. It’s not new nor cerebral, but Hosoda conveys the general feel really well. Textboxes tend to clutter the screen as people mutter their crap. People make up stuff about themselves as well as stuff about others, such as the Dragon. Rumors form, cancel culture takes hold. The main villain, named Justin, is an SJW running a squad of Ultra-Mans who can literally reveal someone’s personal information to the world. As a blogger with a pen name, I could feel that anxiety of letting your other self be traced back to you.
Of course, what it boils down to is some good ol’ fashioned waifu power. Suzu has to find the Dragon (or Beast, in case the symbolism wasn’t obvious enough), and make him less emo because… love? I dunno, she just gets enamored by his naughty-boy-ness when he first shows up. The plot is very straightforward for the most part. Despite it being Allegories ‘R Us, there’s nothing really left up to interpretation. Despite that, I still found myself surprisingly engaged throughout the whole film.
This is especially surprising because the cast was… something. Suzu is extremely relatable; in fact, Hosoda didn’t need to pull the “kill the mom” trope at all to make a character that people will resonate with, especially in this day and age. She has the classic Internet celeb character arc of having to find her true self between her physical and virtual bodies. Most of the others are just plot devices. Her nerd friend Hiro does all the techy stuff when she has to, these old ladies at this choir club Suzu attends offer support when they need to, etc. There’s some cringe-inducing, very teenagery romance, including a subplot involving some saxophone-playing girl and these two studs from school, and it means absolutely nothing. Also, why does Suzu’s father exist? He is the most passive fictional parent ever, practically letting her do whatever she wants.
Also, the Dragon doesn’t get much elaboration either. It’s sufficient if you understand visual storytelling, and narrative tropes in general, but a lot of his arc also feels very plot device-y. Minor spoilers, he ends up not being among the characters we discussed, making his big reveal anticlimactic. On the flipside, it is realistic with how kids these days lose their minds over people whose physical forms they’ve never seen in any capacity (plus, Dragon’s situation is pretty darn urgent). Of course, being a romance, the ends justify the means this time around.
Justin, the aforementioned villain, doesn’t get much development either. There’s no big fight against him or anything; he just ceases to exist after some point. Maybe that’s an allegory to beating back cancel culture people: ignoring them. In addition, don’t expect anything regarding the reason why U exists at all. They simply say it was created by “The Voices,” but we never get any more than that. The main focus of the movie is the romance, and the lack of any explanation of U is something that needs to be shrugged off.
Final Verdict: 8.65/10
I dunno why, but I really loved Belle. I was prepared to call its social commentary pretentious and its romance manufactured, which it arguably is, but I wasn’t mad for some reason. Hosoda has the same Disney-like vision that Miyazaki has, but he adds a lot more of that quintessentially anime nonsense that makes Japanese culture so exotic to Westerners. Most importantly, he’s a SIGNIFICANTLY better director than Makoto Shinkai! I’d recommend Belle, but by the time you’re reading this, you’d probably have to rent it off of Amazon Prime video. Hosoda movies on streaming services pleeeeeeeeease!
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.
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.
Anime movies are pretty hard to watch sometimes. While HBO Max has everything by Ghibli, they don’t have much of anything else. Streaming services are all missing a lot of movies by various people, especially Mamoru Hosoda. The Fathom Events screenings courtesy of GKids is the only option I have to see a movie when it’s new. Or… I could watch Weathering With You on HBO Max. Its famous creator, Makoto Shinkai, directed 2016’s Your Name, Japan’s highest grossing animated feature ever (unless the Kimetsu no Yaiba train movie beat it). I’m also pretty sure he’s the only anime movie director besides Miyazaki to get nominated for the Academy Awards’ Best Animated Feature (even if, like Miyazaki, he’ll never win because the Academy is the Academy). While not as popular as Your Name, Weathering With You was still immensely successful, both commercially and critically. With a new Shinkai movie in the works, I might as well watch one of his movies now to see what the hubbub’s all about.
In Weathering With You, a boy named Hodaka runs away to Tokyo. He lands a job with a single dad named Suga, who is sent to investigate an urban legend regarding the recent emergence of strange weather patterns. The source ends up being a McDonald’s employee named Hina, who has the power to make it sunny whenever she wants.
I already knew that Shinkai’s movies had impressive visuals, but seeing is believing. Weathering With You is gorgeous, sporting impressive feats such as individually animated raindrops. Even in crappy weather, Tokyo looks like an exotic paradise. No wonder why this man’s been nominated for the Academy Award.
The plot is a lot simpler than the actual animation work, though. When people start catching wind (or rather, catching sun) of Hina’s power, they pay her fat stacks to make it sunny all the time. In case it wasn’t obvious enough, her power will cost Hina her life. Oh, and the police get involved because Hodaka just so happened to have stumbled upon a loaded handgun.
The main philosophy of Weathering With You (besides “love trumps all”) is that the weather creates a placebo effect in humans’ moods. I don’t know if it’s because of the pandemic, but I found that belief to be a bit on the “dead wrong” side. There really is nothing else to the lore of the movie, except the apparent fact that cumulonimbus clouds all have golf courses atop the big flat bits that are home to magic water-fish.
Look, in case you couldn’t tell, I didn’t exactly enjoy the movie. That is also evident in the fact that I didn’t remember anyone’s surnames (their first names took everything I had). Naturally, I didn’t like a single person. Weathering With You has every appealing trope, presented in super-stock-looking characters. While Shinkai movies know how to have splendid backgrounds, these characters have the least style out of any anime movie I have ever seen. Sure, Ghibli and Hosoda’s tend to have same-face syndrome, but there’s at least a style. There is nothing in the cast that can even mildly perturb anyone.
That basically leads into my core gripe with the movie. I expected something that was at least so laughably bad, and manufactured, that I would enjoy roasting it. However, Weathering With You isn’t even that. Like Ride Your Wave, it is completely and utterly devoid of risk. Everything about the movie is precisely and perfectly set up. The commissioned musical numbers are also timed perfectly based on the mood to provide maximum emotion. Add the visuals to all this, and I completely understand how Shinkai works his magic. However, Weathering With You was still not an awful movie. I liked it more than Ride Your Wave and SIGNIFICANTLY more than Patema Inverted. The compliments end there, though.
Be forewarned of the typical logistics issues that exist by nature in movies like this. I didn’t find them funny because… I guess I just expected them to exist, and they exist with no flare whatsoever. In essence, it’s a lot of the whole “kids constantly one-up the police” a la E.T. What makes this particularly stupid is that Japan has an uncompromisingly powerful police force when they’re actually needed, and it shouldn’t have been possible for anyone to oppose them. Also, at some point, Hodaka gets like a billion yen as “severance” pay. Yeah, sure, okay. Whatever, Shinkai.
Final Verdict: 7/10
Weathering With You is very manufactured and accessible, and like many mainstream things, I do not understand why people think Shinkai is a genius. Yes, he knows how to pluck at your heartstrings, but I don’t consider that a compliment. This was extremely middle-of-the-road, and I can only be glad that I saw it included with a streaming subscription.
With that being said, I will probably pay to see his upcoming movie, Suzume’s Locking Up, in theaters when it comes around. I’m at least putting faith in Shinkai that his formula has some amount of variation. If not, then I disrespect him on an artistic and professional level. You, on the other hand, may enjoy Weathering With You to an extent, because it was tailor-made that way, but if you want a better anime feature with similar philosophies and actual balls, then watch the tragically underrated Children of the Sea instead.
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?
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.
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?!
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.
As someone who suffers from anxiety and an inherent fear of physical contact, and as someone who follows a number of public figures who think COVID is the threat that the media says it is, I was—and am—a nervous wreck. Even at this point where people are just tired of it, I’m still scared for my life. I was forced to see Studio Ghibli’s Earwig and the Witch in theatres (since my family doesn’t have HBOMax) as a way for me to face my fears, and I truly did feel afraid for my life. Was I able to enjoy the movie despite all that was going through my head? Also, is the movie itself enjoyable? That’s the more important question! Oh, and of course, I never read the source novel for it!
In Earwig and the Witch, the titular Earwig (a.k.a. Ayatsuru if you like subbed) is left at an orphanage. After living most of her young life there, she is adopted by the titular witch, Bella Yaga. Since she’s empowered and all that, Earwig is determined to own her new home.
Let’s not beat around the bush. This is Ghibli’s first CG movie, and I wanna talk about the CG. It’s not Pixar to where they individually rig every single hair follicle, but everything else checks out. The lighting is good, the style is faithful to 2D animation while still being 3D, and the characters are very emotive. It’s not perfect, but it’s at least better than some of the horrid TV anime CG.
Sadly, that’s really all that makes this stand out from Ghibli’s filmography. Well, I say “sadly” as if it’s a bad thing. Ghibli sets a high standard for Japanese animation for a reason, after all. Earwig is full of the same charm and homeliness you’d expect out of My Neighbor Totoro and Spirited Away. It’s simple, to the point, and has a lot of wholesome charm.
Unfortunately, this also means Earwig has the same problems as most Ghibli flicks. The pacing is abysmally slow, despite its short length. It’s also structured like most Ghibli movies, to where more than half of the core narrative isn’t tackled until the last ten percent of the runtime. A lot is also left up to interpretation, assuming Ghibli even bothered to leave subtle clues in the first place.
The cast consists of four main characters, and literally no one else. Earwig is an unusual subversion of characters of her ilk; she enjoyed her life at the orphanage, and is incredibly headstrong and feisty when at the receiving end of Bella Yaga’s… er… parenting. As someone who tends to like control freak types, I was initially drawn to Earwig’s character arc. But with this being a family-friendly coming-of-age story, I’d thought they’d try to give her a redemption arc, which ends up not happening. Her adoptive mother, Bella Yaga, has a fetish with worms, but other than that, she’s your typical lousy foster parent character.
Also living in the same house is Thomas, a black cat who tries to be comic mischief (key word: “tries”). The movie’s tragic hero is the owner of the house, known only as the Mandrake. He comes off as super sketchy, but different elements about him are organically divulged over the course of the movie, making him the most complete-feeling of the cast.
In a completely spoiler-free manner, I warn you about the ending. Honestly, we [the anime community] have seen this often enough to know that it’s just Ghibli being Ghibli. Even the ones that aren’t as, well, Earwig-ish, have left me with a sense of… lack of accomplishment. I dunno, maybe it’s the uncultured swine in me talking.
Final Verdict: 7.15/10
To be brutally honest, the fact that Earwig and the Witch is CG is the only incentive to watch it. It is bog standard Ghibli in every other sense, and it’s still outclassed by stuff like Spirited Away and Kaguya. I’d only recommend it to diehard fans of Ghibli and the art of animation itself.
Preface: I was going to post this sometime in June, when the movie would actually hit its twentieth anniversary. However, I feel like my posts have been getting awful lately. I’ve been running out of steam, and have been considering a hiatus. In other news, the Attack on Titan anime is slated to end before the manga. And since it looks like it’ll end with exactly one chapter left, Hajime Isayama will probably just tell MAPPA what happens, making it so that the anime will be one of the first to end before the manga while still being faithful all the way through. As such, to avoid spoilers, I will likely take a hiatus, not just from the blog, but from the Internet. It’ll be in early March, after whenever I publish a review of Raya and the Last Dragon. Well, with that out of the way, let’s get to the actual post!
The early 2000s was when I grew up, and as a result, a lot of Disney’s… er… projects at the time ended up being among my first impressions of the company. I mainly watched Disney Jr. back when it was called Playhouse Disney (nostalgia!), but I also watched some of the classics… sequels. Look, I was a kid, okay?! Fortunately, they didn’t solely focus on straight-to-VHS sequels. In fact, they followed-up their renaissance era of the 1990s by pulling a xerox era and COMPLETELY abandoning their typical formula. This led to what are considered the company’s biggest cult classics. I did say I was not going to do a retrospective of 2001’s Atlantis: The Lost Empire in my Three Musketeers retrospective, but you know what, it did turn twenty this year, so… Yeah. It’s been about three years since I last watched it, but to be honest, I’ve changed a lot even since then. So let’s see how it holds up (btw, unmarked spoilers abound in this one!).
In Atlantis: The Lost Empire, a nerd named Milo Thatch has had it rough. He’s been dead set on the idea that the waterlogged city of Atlantis is definitely real (which it is, since they show you a whole opening sequence of it sinking). Unfortunately, no one cares. Well… no one except for this old coot and his team of explorers who happen to be going on an expedition to find the place.
Trying to do a fair review of this movie is hard, mainly because I have a lot more nostalgia for it than Three Musketeers. Even if I hadn’t last seen it three years ago, I would nonetheless have a dangerous amount of nostalgia going into it now. I rented Atlantis so many times from Blockbuster, I distinctly remembered a large number of scenes to this day, from Milo’s unique way of starting up a boiler, to Cookie making Rhode Island dance. I’m not a scholar, so all I can do is write about my experience at face value.
But where do I start? There’s a lot to say about Atlantis, mainly because of how different it is from most core Disney animated movies. It’s one of two with a heavy science fiction theme, plus it has no musical numbers, and it’s much more violent than most in the company’s filmography.
Despite that, Atlantis still has some of that Disney magic. It’s got high production values, charming characters, and a great sense of humor. It has one of the best feelings of pure adventuring spirit that I have seen in any Disney movie to this day, even if you know who’s going to survive due to a classic case of Red Shirts vs Not Red Shirts. The music is also great, with a main theme that actually gets played on the Walt Disney World status update channel on the resort room TVs, which is one of two times Atlantis has been acknowledged in Disney Parks (the other instance, unfortunately, no longer exists).
Of course, a consequence of having Disney magic is having those same old Disney tropes. As a kid, the movie felt as deep and layered as Isaac Asimov’s Foundation novels. But as an adult, Atlantis is not only straightforward, but lightning fast. A lot of character arcs are rushed, to the point of being glossed over, and the same almost goes for specific plot points.
For example, in the part when they get to Atlantis, Kida shows Milo around the city, and it looks pretty alright at a glance, but she goes on and on about how the city is dying. You don’t really get a sense of how much is at stake without her telling the audience, which is a case of the good old “tell don’t show”, instead of the more time-honored “show don’t tell”. It seems that the spinning face machine (a.k.a. the Heart of Atlantis) works perfectly fine as long as it’s in the city at all, whether in space or underground, since you don’t see Atlantis actually lose power until after Rourke takes it away. But even then, the fish planes still function perfectly fine (compete with lasers). Other than that overly-analyzed aspect, most of Atlantis‘ other flaws are minor logic hiccups. From the forced romance between Milo and Kida, to the fact that the entire population of Atlantis somehow becomes master pilots of machines that they never used before for convenience’s sake, there are a lot of those little things that you kind of have to laugh off. Perfect with some friends, pizza, and booze!
The cast of Atlantis is rather interesting for a number of reasons. Milo Thatch is one of the few male lead protagonists out of the core Disney lineup, and I still love him to death. He’s similar to Quazi Moto from Hunchback of Notre Dame in that he’s not exactly a strapping young man such as Prince Eric. But unlike Quazi, who is honestly the same overly ideal Disney man personality-wise, Milo is a lot more flawed. In his mock presentation at the beginning, where you see him struggling to lift a shield, getting chalk all over his shirt and having to make a funny pose to fill in the image on the chalkboard, it is readily apparent that he is one of Disney’s most socially awkward main protagonists, if not THE most socially awkward. As someone who is both lanky and socially awkward, I did relate to Milo as a kid. Because of that, I can’t tell if my continuing love for his character is impartial or not.
The female lead is Kida, who is technically the most forgotten Disney princess of all time. Introducing the female lead protagonist over halfway into the movie is an unusual move for Disney, which is yet another reason why Atlantis stands out. Unfortunately, this does make her the most forgotten Disney princess for a reason. She doesn’t exactly do much outside of a few charming interactions, and she’s not even present during the climax on account of turning into a cryogenically frozen Super Saiyan. With her late introduction, her romance with Milo is even more rushed (fortunately, they don’t have a gross kiss at the end). Disney was not yet at their ongoing feminist Disney princess phase, so Milo still has to save the “damsel in distress”.
Oh, but they aren’t the only characters, not by a long shot. At this point, I’d only have to go over the antagonist and the marketable comic relief character, but not with Atlantis. The rest of the crew that joins Milo is one of the largest in Disney history (and—for the sake of today’s era of P.C.—one of the most diverse). Fun fact: I’ve seen this movie so many times, but it took until I watched it for this retrospective to be able to commit their names to memory. Since there were so many of them, I could never remember them all as a kid.
Every single one of them, from Audrey the tsundere to Vinny the pyromaniac and Best Girl Mrs. Packard, all have personalities as distinct as their character designs. Unfortunately, there was no way to develop a cast this big in the timeframe of a typical Disney movie. As a result, their backstories are given a very rushed run-down during a camping scene (likely made for that specific purpose). Plus, the way they warm up to Milo is way too instantaneous. And of course, them magically going to Milo’s side after Rourke’s Top Ten Anime Betrayal is one of those “because Disney” things that you have to laugh off.
And speaking of Rourke, let’s talk about that sumbitch. Similar to Hans from Frozen, his antagonist role is introduced incredibly late into Atlantis. But unlike Hans, Rourke’s has much more impact because he’s someone who Milo actually bonds with throughout the journey. They go through the same obstacles with the rest of the crew, and it’s heartbreaking to see him betray Milo later.
…Is what I would be saying if it wasn’t an incredibly predictable character arc. I’ve seen a lot of people say that something was “mind-blowing to them as a kid” as if that’s supposed to showcase how good the story is. But honestly, I find that statement to prove the inverse true. Kids are pure and sweet, but very impressionable and gullible. So me saying that Rourke’s betrayal scene—one of my first introductions to a plot twist in my life—blew my mind as a kid means nothing. You don’t even need experience to tell. Veterans would likely figure it out by looking at him, but there are two dead giveaways that he’s bad: Helga telling him “There weren’t supposed to be people here” (which implies that he planned to yoink the spinning face machine right out of Atlantis), and a cutaway to his men arming themselves with shotguns (pretty self-explanatory). Furthermore, the fact that he goes from mourning the men lost to the lobster robot to not hesitating to throw Helga off of a hot-air balloon makes him come off as over-the-top. I don’t want to be that guy who says that “more human” antagonists are objectively better, but they kind of squandered that opportunity with Rourke. It’s a real shame, because he’s pretty up there with Hans for most lacking charisma out of all the Disney villains.
If you still aren’t convinced that Atlantis is one of the most unique Disney animated features, check out the visuals. The characters are much more angular in design than in other Disney movies, and it is very heavy on CGI. Like I said before, sci-fi is unusual for Disney, and there are a lot of setpieces that you do not see often.
After All These Years: 8.6/10
Atlantis: The Lost Empire is a cult classic for a reason. It might be nostalgia talking, but I think this might be in my Top Fifteen (or Ten?) Favorite Disney movies of all time. It’s got a lot of personality and very unusual choices which make it stand out from the rest, especially in the current era of soul-searching stories that they’re doing. I’d recommend it to people who don’t like Disney, and also to Disney veterans who want something different.
I’m not one of those vocal people who thinks things like “2020 is the year of suffering” because of the media’s scare tactics regarding COVID-19, and their ability to withhold anything legitimately positive. Despite me knowing the actual facts about COVID, it was hard on me as well. Even as someone who’s not active on social media, I am around a number of people who are, and they happen to only focus on one side of the story. So yeah, I’ve broken into tears at least once a week all year. Overly long preface aside, Pixar decided to give us a Christmas present: Soul. I didn’t know what it was about, but I had to see it.
Mild spoilers in this paragraph, if you have no idea what the movie is about. In Soul, a man named Joe Gardner dreams of playing jazz with the big boys—wait, wrong movie—some lady named Dorthea Williams. He manages to land a gig, but dies on the way over to the venue. Now that he’s in purgatory, he’s gotta find a way back into his body. And his only ticket is in a literal wayward soul named Twenty-Two, who wants nothing to do with life.
Boy, this movie is sure… something else. First off, it’s definitely a twist for Disney to have a movie about one of its many, many, MANY deceased characters instead of someone who’s, well, alive. It’s kind of hilarious, actually. In any case, Pixar’s interpretation of the afterworld is more than just a world of never ending happiness where the sun shines both day and night; it’s that usual Pixar sense of imagination. Also, this movie shows just how much more lenient we’ve become with cursing in front of kids. They say the words “hell” and “crap”, which were more than enough to earn you a trip to the former back when I was a kid. Well, Disney was also the first to depict a clergyman and humanity itself in villainous roles in animated media, so… yeah.
Soul has your usual Pixar magic in terms of the storytelling. It knows how to bounce between being hilarious and emotional without feeling inorganic. This one knows how to hammer in the feels, but it gets bizarrely terrifying at times. It’s not outright horror; think along the lines of one of those psychological indie games like Arise: A Simple Story.
Like any Disney or Pixar movie, Soul is definitely not new in terms of social commentary. Not to spoil it, but the takeaway is definitely something you’ve seen before, unless you’re literally the target demographic of the movie and have never seen it before. Once again, it’s something that anyone can relate to. Unfortunately, due to the fact that we HAVE to go to work and pay our bills, Soul‘s message will probably be forgotten as easily as the other times the message has been communicated.
The characters are some of the better in Pixar’s filmography. Joe Gardner is an interesting case, not just because he dies, but because he’s the oldest lead protagonist I’ve seen in a Disney animated feature. Given the nature of the movie, his journey is a bit more spiritual than most Disney flicks; definitely keeping up the trend of abandoning the tired “good vs. evil” themes of their past. As you can expect, his father is dead. Big surprise for Disney. But honestly, I feel like this is the first time a Disney parent’s death actually meant something to the plot since Bambi. That’s something at least.
Other than Joe, we have the aforementioned Twenty-Two, who’s the sarcastic and rambunctious type. She and Joe end up learning the same life lesson through each other. Running purgatory is/are a bizarre being named Jerry, along with what serves as the main antagonist: Terry. They’re pretty deadpan, but have some of the better lines in the movie.
I shouldn’t even bother discussing visuals because Pixar pretty much always nails it. Soul is simply stunning, as good at looking both photorealistic and undeniably cartoony as any Pixar film. The movie does, at least, showcase some of the most abstract and experimental visuals I’ve seen in their entire career. Soul honestly feels like a Pixar short but as a feature film instead. I’d say that they did a great job considering COVID separated the whole team, but this movie was probably in post production since 2018.
Final Verdict: 9.5/10
Soul is one of the best Pixar movies I’ve ever seen. Everything about it is impeccably executed, and is definitely what the doctor ordered for this year. I recommend Soul if you want a straight-up great movie, especially if you’re a Disney fan.
And P.S.: Disney, can you please do the whole “release movies on Disney+ the same day they would’ve come out in theatres” more often, maybe forever?