*SPOILERS*
Millions of years ago, a team of Eltarian warriors called Power Rangers were betrayed by one of their own: Rita Repulsa (Elizabeth Banks). Their leader, Zordon (Bryan Cranston), in his final act secured the Power Coins and brought down a meteor that sent Rita into the water, where she sank to the bottom. The story then picks up in present day Angel Grove, where football captain Jason Scott (Dacre Montgomery) is pulling a prank towards a rival school. Things turn south quickly when the cops show up and he has to make a getaway. Just when he thinks he got away, he gets into an accident and the film cuts to a black screen with the title in the corner.
3 weeks later, Jason's off the team, under house arrest, and has to attend Saturday school (he made it sound like he acted alone instead of with his teammates). We're now introduced to a couple of our other leads: Kimberly Hart (Naomi Scott) apparently spread an embarrassing photo around of another classmate then punched out her boyfriend, and now her old friends want nothing to do with her. Billy Cranston (RJ Cyler) is an autistic genius, and seems out of place in detention with the rest of the troublemakers. (We learn later it's because an experiment blew up in his locker.) When he's bullied by one of the other students, Jason steps and gets him to back off. In exchange, a grateful Billy does some GPS spoofing with Jason's ankle monitor, giving the young man back his freedom.
The two then drive to a mining quarry on the outskirts of town, where Billy's intent on digging for something. Jason wanders off and runs into Kimberly, who's swimming in a grotto. He's concerned when he doesn't see her resurface, only for her to show up behind him. They have some character moments, having gone from popular to outcast in the span of a few weeks, and are just about ready to give up on their town. However, they're not the only teens in the area. Zack Taylor (Ludi Lin) is out for some peace and quiet, and spots Trini Kwan (Becky Gomez) doing some meditation exercises. When Billy sets off an explosive, the teens run back in his direction and discover the Power Coins in the rubble. Unfortunately, the authorities are also attracted to their location, prompting a getaway. It's an incredibly haphazard escape, which ends with the teens getting hit by a train...and waking up in their beds on Monday morning. Meanwhile, Jason's father is working on a fishing boat when they manage to net Rita's body and leave her in the cargo hold, where she begins to revive.
Recent season of the show have given the Rangers physical enhancements in addition to their morphing powers, and that's what manifests first: super strength and super jumping. Jason, Kim, and Billy agree they have to go back out there. They run into Zack and Trini again, but have to chase the latter down before falling into a grotto. They discover they're glowing in the water and swim down to the bottom, where an air pocket leads to Zordon's Command Center.
Alpha 5 (Bill Hader) reveals himself and is overjoyed to meet them. The little robot instantly endeared himself, and serves as a friendly counterpoint to Zordon (his consciousness placed in the ship before his death), who explains to the teens that they are the new Power Rangers, and need to be able to morph so they can stop Rita from reviving Goldar and destroying the Zeo Crystal, which is buried somewhere under Angel Grove. They try to morph and fail, so the training montage begins. The Rangers are pitted against holographic representations of the Putty Patrol, who are far more rocky and monstrous in this version. While their fighting continues to improve, attempts at morphing are still met with failure. While all this is going on, Rita gradually takes on a more humanoid appearance while killing people and stealing gold.
Zordon's patience is running thin, and Alpha tries to incentivize the team by showing off their Dino Zords: powerful robotic vehicles who took the form of the strongest creatures on Earth at the time. They're not ready for them yet, but that doesn't stop Zack from taking his out for a spin. This puts him at odds with Jason when he gets back, prompting Billy to put himself in between the two to stop the fighting...which somehow gets him to morph into the Blue Ranger. Unable to trigger the transformation a second time, Zordon sends them out for the day. Jason stays behind and discovers another reason Zordon needs them to morph: it would open up the Morphing Grid and allow Zordon to step back into the land of the living, where he would presumably take back the Red Coin and stop Rita himself. Jason storms out in anger.
The Rangers figure that the reason they can't morph yet is because even as they become a better team, they're all still strangers, so they bond over a campfire swapping their own stories. Zack has been taking care of his sick mother, but doesn't go home at night to avoid facing the possibility of her death. Billy's father has been dead for some time, but as he spends more time with the others, he doesn't miss him as much. Kimberly doesn't want to talk, but confides in Jason later when they're alone. Trini's family is constantly moving, which she doesn't mind too much, but it doesn't give her much time to discover who she is (the subtle implication is that she's lesbian, bisexual, or at least queer; not a lot of detail).
After these character moments, we're thrust back into the story when Rita interrogates Trini in her home, and in what's definitely a true Power Rangers moment, the team decides it's time to go after her whether they have powers or not...This does not go well.
Rita overpowers the teens easily, capturing them and forcing Billy to reveal the location of the Zeo Crystal, something he worked out on his own. Having what she needs, she drowns Billy and sets the others free. They pull him out, but he's already dead. It's a complete shock that they would do this not just to a main character, but to the one member of the team who had the least baggage.
Desperate, the Rangers take Billy's body back to the Command Center, but there's seemingly nothing that they can do. The quartet mourn their fallen comrade, wishing they could trade their lives for his. Suddenly, the Morphing Grid is active. This would be Zordon's chance to step through, but he doesn't take it, allowing Billy to come back in his stead. The Rangers are finally ready and it's not a moment too soon, as Rita has begun bringing Goldar to life. It's Morphin Time. (Finally!)
The suits took some getting used to when they were revealed, but once they're on-screen, they look great. After an all too brief fight with the Putties, the Rangers get to the Zords and drive off to fight Goldar, the old theme playing briefly as they ride off into battle.
There's a lot going on in the fight, and while the show often doesn't waste any time getting to the Megazord, here we see each vehicle get to do something and fight off the monster. However, Goldar still succeeds in digging up the Zeo Crystal under the local Krispy Kreme. The Rangers try to hold the line, but are still pushed into the pit...only to emerge as the Megazord. The team takes a moment to figure out how to pilot it together, and manage to win. Rita remains defiant, but is slapped into space (the Green Coin no longer on her person as she gets iced over). The townspeople cheer, the day is saved, and our heroes settle back into their everyday life, ready for when the world needs the Power Rangers again.
It's an enjoyable origin story, that admittedly takes a little too long to get to the climax. The cast and characters fortunately manage to keep you engaged. Our troubled teens each go through a character arc. Jason and Kimberly specifically have redemption arc, as does Zordon, so there's a great underlying message that it's never too late to overcome your past mistakes and do something good. There's even a more subtle scene with Jason and his father about fixing up his truck from the night of the accident. Jason and Kim are the atoners, Zack and Trini are the outsiders, and Billy is the heart keeping the team together.
Goldar makes for an imposing visual, but it is disappointing he didn't have a personality or identity like his TV counterpart. By contrast, Rita is fantastic. Elizabeth Banks walks a fine line between camping it up and being a very serious threat. She got her hands dirty and fought the Rangers directly, which is something the old Rita never did. Zordon's a far more reluctant mentor than he used to be, but it's a relief that he does come into the role and grows to care for our heroes enough to give up his one chance at resurrection. His holographic wall also makes for a unique visual effect and lets him
interact with the team more than just being a head in a tube. Bryan Cranston actually used to do monster voices in the original show, so his full circle presence here is a treat.
With the origin story out of the way, I hope later films follow up with something a bit more action oriented. What we got was great, but it makes up maybe the last 25 minutes of a 2 hour movie. If the rest of the story hadn't fallen into place as well as it did, this would have been a disappointment. I'm glad I saw this movie and am really looking forward to what these teenagers with attitude do next.
Saturday, March 25, 2017
Thursday, March 23, 2017
Finding Dory
"I forget things almost instantly. It runs in my family...at least, I think it does...where are they?"
Recalling this line from Finding Nemo, and then learning the title of the sequel, I was able to accurately predict the plot of this film. One year later, Dory has stayed close to Marlin and his son Nemo, even helping Mr. Ray out during school. Then during one field trip, the class is being taught about the undertow, and Dory has a sudden flash of memory that she had a mom and dad. One day when she was a tiny, adorable child, she got pulled away into the current and lost. In her forgetfulness, she doesn't stay still very long, asking fish after fish if they've seen her parents. This goes well into her adulthood until she can't remember who she was looking for. Then a boat passes above her, Marlin bumps into her, and the rest was history.
With this memory returned, Dory decides to set off to California and find them. Marlin, after failing to talk her out of it, decides to go with her, and Nemo tags along as well. It doesn't take long for Marlin to lose patience with her, tho, as a run in with a giant squid nearly gets Nemo eaten. Suddenly, Dory is netted by some marine workers, tagged and taken to quarantine, and it's revealed she and her parents lived in an aquarium.
As the two clownfish try to get her back, Dory continues to retrace her memories to find her old home. A cranky 7-tentacled octopus named Hank agrees to help her in exchange for her tag (he doesn't want to go back to the ocean). She also meets a beluga whale named Bailey, and is reunited with her old friend Destiny, a friendly but nearsighted whale shark. Both provide some insight in how to get around the aquarium.
Animation is standard for Pixar, which is to say it looks astonishing. You really get swept in by the vibrant colors of the ocean, aquarium, and various marine life our characters come across. As predictable as the premise was, the story and humor are still pretty great. It was endearing to see Nemo have a more active role in this one, interacting a lot more with Dory and Marlin than in the first film. Marlin still worries about him, but he gives his son a bit more room to grow, and learns to have that same faith in Dory, who overcomes her own memory issues to great effect here.
If there's a downside, it's a bit repetitive. While going through the aquarium, the characters go back and forth to a few locations. However, the frequent change in scenery is also welcome, since in contrast, Nemo spent a good portion of his own movie stuck in a dentist's fishtank.
The flashbacks to Dory's childhood will melt your heart. We get an idea of what is was like for her growing up with a bad memory, but also how caring and patient her parents were, which gives their reunion an additional impact.
The title and idea seem so simple, and yet has so many meanings to it. While Marlin and Nemo are trying to find her, Dory's trying to find her family, and manages to find herself too. It turns into a great lesson in appreciating others, overcoming personal handicaps, and giving people a chance. If you like the first film, this is a perfect follow-up for people of all ages.
Recalling this line from Finding Nemo, and then learning the title of the sequel, I was able to accurately predict the plot of this film. One year later, Dory has stayed close to Marlin and his son Nemo, even helping Mr. Ray out during school. Then during one field trip, the class is being taught about the undertow, and Dory has a sudden flash of memory that she had a mom and dad. One day when she was a tiny, adorable child, she got pulled away into the current and lost. In her forgetfulness, she doesn't stay still very long, asking fish after fish if they've seen her parents. This goes well into her adulthood until she can't remember who she was looking for. Then a boat passes above her, Marlin bumps into her, and the rest was history.
With this memory returned, Dory decides to set off to California and find them. Marlin, after failing to talk her out of it, decides to go with her, and Nemo tags along as well. It doesn't take long for Marlin to lose patience with her, tho, as a run in with a giant squid nearly gets Nemo eaten. Suddenly, Dory is netted by some marine workers, tagged and taken to quarantine, and it's revealed she and her parents lived in an aquarium.
As the two clownfish try to get her back, Dory continues to retrace her memories to find her old home. A cranky 7-tentacled octopus named Hank agrees to help her in exchange for her tag (he doesn't want to go back to the ocean). She also meets a beluga whale named Bailey, and is reunited with her old friend Destiny, a friendly but nearsighted whale shark. Both provide some insight in how to get around the aquarium.
Animation is standard for Pixar, which is to say it looks astonishing. You really get swept in by the vibrant colors of the ocean, aquarium, and various marine life our characters come across. As predictable as the premise was, the story and humor are still pretty great. It was endearing to see Nemo have a more active role in this one, interacting a lot more with Dory and Marlin than in the first film. Marlin still worries about him, but he gives his son a bit more room to grow, and learns to have that same faith in Dory, who overcomes her own memory issues to great effect here.
If there's a downside, it's a bit repetitive. While going through the aquarium, the characters go back and forth to a few locations. However, the frequent change in scenery is also welcome, since in contrast, Nemo spent a good portion of his own movie stuck in a dentist's fishtank.
The flashbacks to Dory's childhood will melt your heart. We get an idea of what is was like for her growing up with a bad memory, but also how caring and patient her parents were, which gives their reunion an additional impact.
The title and idea seem so simple, and yet has so many meanings to it. While Marlin and Nemo are trying to find her, Dory's trying to find her family, and manages to find herself too. It turns into a great lesson in appreciating others, overcoming personal handicaps, and giving people a chance. If you like the first film, this is a perfect follow-up for people of all ages.
Thursday, March 2, 2017
Batman: Return Of The Caped Crusaders
Adam West's incarnation of Batman has been a staple of nostalgia for over 50 years. The campy, often ridiculous plots and props, the scenery-chewing guest stars, and some good old superhero fight scenes complete with sound effects popping up on the screen. West himself always had a wonderful charisma, and this impact has been seen throughout his career. His cameos and voiceover roles frequently pay homage to this iconic role, usually in the form of parody. It's no surprise that fans would rejoice when a direct to video animated feature was announced, in which Adam West and Burt Ward were set to reprise their 1966 roles as Batman and Robin.
The nostalgia trip begins as soon as the credits role, with an instrumental variation of the TV theme music, while the Dynamic Duo swing into action through Golden and Silver Age comic covers. The plot itself at first fits right at home in the old show. It could also be seen as a sequel to the theatrical movie, as it features the same four villains: Joker, Penguin, Riddler, and Catwoman (reprised by Julie Newmar). They steal a duplication ray from some scientists, and manage to subdue our heroes after their first fight. Catwoman drugs Batman in hopes it will turn him over to their side, but at first it appears not to work, so the villains leave him and Robin to their fate in an elaborate deathtrap. Of course they escape, and continue on the trail. And every time you think the movie's over, it just keeps going.
Setting aside potential spoilers, this movie is a treat from start to finish. The look and atmosphere of the 1960s is recreated beautifully, from stately Wayne Manor, to the Batcave, to the Batmobile, and most of the character models themselves. Some note that the animation looks a little stiff compared to other modern animated features, but it's not particularly noticeable, and may be a reference to TV animation of the time, which was often limited in movement, but could still create a unique and memorable look. It's great hearing West, Ward, and Newmar return, their age having barely an impact. They get right into character and you can tell they're having a lot of fun with the material. The supporting cast filling in for deceased actors all do a great job as well, and everybody gets a moment to shine. Burt Ward does a particularly good job, and Robin gets quite a bit of focus through the second half of the story.
The best thing of all, it's fun. Superhero films (especially DC) have been going down a dark path, with films like Dawn Of Justice and The Killing Joke drowning out some of the enjoyment in favor of edgier atmosphere. So the Adam West and Lego versions of Batman provide a much needed break from more adult elements in favor of something family friendly and thoroughly entertaining.
The nostalgia trip begins as soon as the credits role, with an instrumental variation of the TV theme music, while the Dynamic Duo swing into action through Golden and Silver Age comic covers. The plot itself at first fits right at home in the old show. It could also be seen as a sequel to the theatrical movie, as it features the same four villains: Joker, Penguin, Riddler, and Catwoman (reprised by Julie Newmar). They steal a duplication ray from some scientists, and manage to subdue our heroes after their first fight. Catwoman drugs Batman in hopes it will turn him over to their side, but at first it appears not to work, so the villains leave him and Robin to their fate in an elaborate deathtrap. Of course they escape, and continue on the trail. And every time you think the movie's over, it just keeps going.
Setting aside potential spoilers, this movie is a treat from start to finish. The look and atmosphere of the 1960s is recreated beautifully, from stately Wayne Manor, to the Batcave, to the Batmobile, and most of the character models themselves. Some note that the animation looks a little stiff compared to other modern animated features, but it's not particularly noticeable, and may be a reference to TV animation of the time, which was often limited in movement, but could still create a unique and memorable look. It's great hearing West, Ward, and Newmar return, their age having barely an impact. They get right into character and you can tell they're having a lot of fun with the material. The supporting cast filling in for deceased actors all do a great job as well, and everybody gets a moment to shine. Burt Ward does a particularly good job, and Robin gets quite a bit of focus through the second half of the story.
The best thing of all, it's fun. Superhero films (especially DC) have been going down a dark path, with films like Dawn Of Justice and The Killing Joke drowning out some of the enjoyment in favor of edgier atmosphere. So the Adam West and Lego versions of Batman provide a much needed break from more adult elements in favor of something family friendly and thoroughly entertaining.
Wednesday, September 21, 2016
Voltron: Legendary Defender
Voltron: Defender Of The Universe is a classic anime from the 80s about a team of space explorers who crash onto a planet, where a Princess bestows onto them the responsibility of piloting five robot lions who combine together to form the titular awesome robot. The original series itself underwent heavy editing, rewrites, and censorship, but is still remembered fondly for its characters, giant robot, and amazing music.
There have been a few attempts to revive Voltron in the past, including The Third Dimension (a completely CGI series that brought back a few of the original voice cast) and Voltron Force (a Nickelodeon series that deserved to last a little longer than it did). While those two shows could arguably take place within the same continuity as the original, Legendary Defender is a complete reboot of the story, helmed up by the same creative team who gave us Nickelodeon's Avatar franchise (The Last Airbender and The Legend Of Korra).
The series begins with The Rise Of Voltron, which in typical adventure show fashion, would probably be a 3-part episode if it aired on TV. The series as we know it is shaken up almost immediately. While the characters' names and appearances are overall similar to the original, there are some pretty big differences. In the original, the characters' uniforms (with the exception of Pidge and Hunk) did not match the Lion they were partnered with. This was changed in the other spin-off shows. Here, it's switched up by having the Lions match the pilot's original color. Only Pidge and Hunk are piloting their original Lions. Keith, normally the standardized leader piloting the Black Lion, is now an outcast rebel piloting the Red Lion. Lance was normally the Red Lion pilot, and his rivalry with Keith remains intact, but is seen here piloting the Blue Lion. The original Blue Lion pilot, Sven, has been replaced with a similarly designed character named Shiro, the team's shell-shocked leader. He escaped from Zarkon's forces and pilots the Black Lion. It's definitely good that unlike his counterpart, he stays uninjured throughout all episodes in this first season.
As with Avatar, Legendary Defender is a great blend of comedy and drama, strengthened by its great characters and beautiful animation. Lance tries to talk the talk, but his own insecurities and attempts at ego often get in his own way. He's really the Sokka/Bolin of the team; constantly overshadowed by Keith and Shiro but still comes through in the end. Keith's personality is a departure from previous versions, following his instincts and doing what he thinks is right despite what authority figures might say. Shiro is a great departure from his original counterpart (Sven), the team leader and big brother figure. The whole team respects him and rallies behind his judgment. Hunk doesn't have his counterpart's bravery quite yet, but he's willing to face his own fears and insecurities for the good of his friends. But the biggest change comes in the form of Pidge. Still the youngest member of the team and tech expert (as other incarnations have made the character), the Green Lion pilot is now motivated by a search for a missing father and brother, and is determined to find them no matter what. There's another revelation about halfway through that really needs to be witnessed for oneself.
The first season unfortunately ends on a cliffhanger, which is always a bit irritating. Here's hoping the second season doesn't take too long to come out.
There have been a few attempts to revive Voltron in the past, including The Third Dimension (a completely CGI series that brought back a few of the original voice cast) and Voltron Force (a Nickelodeon series that deserved to last a little longer than it did). While those two shows could arguably take place within the same continuity as the original, Legendary Defender is a complete reboot of the story, helmed up by the same creative team who gave us Nickelodeon's Avatar franchise (The Last Airbender and The Legend Of Korra).
The series begins with The Rise Of Voltron, which in typical adventure show fashion, would probably be a 3-part episode if it aired on TV. The series as we know it is shaken up almost immediately. While the characters' names and appearances are overall similar to the original, there are some pretty big differences. In the original, the characters' uniforms (with the exception of Pidge and Hunk) did not match the Lion they were partnered with. This was changed in the other spin-off shows. Here, it's switched up by having the Lions match the pilot's original color. Only Pidge and Hunk are piloting their original Lions. Keith, normally the standardized leader piloting the Black Lion, is now an outcast rebel piloting the Red Lion. Lance was normally the Red Lion pilot, and his rivalry with Keith remains intact, but is seen here piloting the Blue Lion. The original Blue Lion pilot, Sven, has been replaced with a similarly designed character named Shiro, the team's shell-shocked leader. He escaped from Zarkon's forces and pilots the Black Lion. It's definitely good that unlike his counterpart, he stays uninjured throughout all episodes in this first season.
As with Avatar, Legendary Defender is a great blend of comedy and drama, strengthened by its great characters and beautiful animation. Lance tries to talk the talk, but his own insecurities and attempts at ego often get in his own way. He's really the Sokka/Bolin of the team; constantly overshadowed by Keith and Shiro but still comes through in the end. Keith's personality is a departure from previous versions, following his instincts and doing what he thinks is right despite what authority figures might say. Shiro is a great departure from his original counterpart (Sven), the team leader and big brother figure. The whole team respects him and rallies behind his judgment. Hunk doesn't have his counterpart's bravery quite yet, but he's willing to face his own fears and insecurities for the good of his friends. But the biggest change comes in the form of Pidge. Still the youngest member of the team and tech expert (as other incarnations have made the character), the Green Lion pilot is now motivated by a search for a missing father and brother, and is determined to find them no matter what. There's another revelation about halfway through that really needs to be witnessed for oneself.
The first season unfortunately ends on a cliffhanger, which is always a bit irritating. Here's hoping the second season doesn't take too long to come out.
Thursday, August 25, 2016
Sausage Party
It's 4th of July weekend at Shopwell's grocery store, and the food products long for the opportunity to be taken out of the store by their gods (the humans) away to the Great Beyond. However, as they soon find out, humans eat food, and it's up to a hot dog named Frank (Seth Rogen) to expose the truth and convince the produce to fight back for their own survival.
While it maintains the aesthetic of a children's movie akin to Pixar and DreamWorks, this film carries an R rating for good reason. Even without the swearing, there's all sorts of crude humor and offensive stereotypes that should be a huge tip-off that this film is not family friendly. (Toiletries and hygiene products are sentient as well.)
A nice trick is that from the food's perspective, the movie is bright and colorful. But when we're shown the point of view of the humans, the colors are more muted and the food's anthropomorphism is gone. While the trailers give away quite a bit, they managed to avoid this detail, as well as hiding the true antagonist.
But beneath the film's vulgarity and darkness, there's a lot of heart and hope that's generally found in most computer animated features. Frank and his love interest, a hot dog bun named Brenda (Kristen Wiig) have good chemistry. There's a subplot between a seemingly Jewish bagel (Edward Norton) and a seemingly Muslim flatbread (David Krumholtz) who hate each other, but still join Frank and Brenda on the way back to their aisles (a sort of Incredible Journey). Over the course of their time together, they find some common ground and form a close relationship. There's also a taco (Salma Hayek) who wants to be loved by Brenda who comes across as very sympathetic. You begin to like these characters and hope they don't get eaten.
There's also a lot of focus on Barry (Michael Cera), a smaller hot dog who has to find his way back to the grocery store and reunite with Frank. Both characters learn the truth in different ways, and when Frank fails to convince the foods that the gods can be defeated, Barry and the foods he met along the way come through with the solution.
The climax is actually pretty inspiring in a similar way to A Bug's Life, showing strength in numbers and that by working together against overwhelming odds, anything can be accomplished...Then it gets weird...and then it gets meta.
So while this is an enjoyable film, I'm hesitant to recommend it for obvious reasons. Depending on your tastes, you'll either laugh all the way through, or might gag at some of the more obscene bits, and probably lose your appetite either way. After the opening song, it does take some time to get going again, but once it picks up it's god. I hope more adult animated movies get made as a result of this. While there are stories of difficulties behind the scenes with the animation staff, it's clear that the writers and voice actors had an absolute blast making this film, and the hard work of everyone involved should be recognized.
While it maintains the aesthetic of a children's movie akin to Pixar and DreamWorks, this film carries an R rating for good reason. Even without the swearing, there's all sorts of crude humor and offensive stereotypes that should be a huge tip-off that this film is not family friendly. (Toiletries and hygiene products are sentient as well.)
A nice trick is that from the food's perspective, the movie is bright and colorful. But when we're shown the point of view of the humans, the colors are more muted and the food's anthropomorphism is gone. While the trailers give away quite a bit, they managed to avoid this detail, as well as hiding the true antagonist.
But beneath the film's vulgarity and darkness, there's a lot of heart and hope that's generally found in most computer animated features. Frank and his love interest, a hot dog bun named Brenda (Kristen Wiig) have good chemistry. There's a subplot between a seemingly Jewish bagel (Edward Norton) and a seemingly Muslim flatbread (David Krumholtz) who hate each other, but still join Frank and Brenda on the way back to their aisles (a sort of Incredible Journey). Over the course of their time together, they find some common ground and form a close relationship. There's also a taco (Salma Hayek) who wants to be loved by Brenda who comes across as very sympathetic. You begin to like these characters and hope they don't get eaten.
There's also a lot of focus on Barry (Michael Cera), a smaller hot dog who has to find his way back to the grocery store and reunite with Frank. Both characters learn the truth in different ways, and when Frank fails to convince the foods that the gods can be defeated, Barry and the foods he met along the way come through with the solution.
The climax is actually pretty inspiring in a similar way to A Bug's Life, showing strength in numbers and that by working together against overwhelming odds, anything can be accomplished...Then it gets weird...and then it gets meta.
So while this is an enjoyable film, I'm hesitant to recommend it for obvious reasons. Depending on your tastes, you'll either laugh all the way through, or might gag at some of the more obscene bits, and probably lose your appetite either way. After the opening song, it does take some time to get going again, but once it picks up it's god. I hope more adult animated movies get made as a result of this. While there are stories of difficulties behind the scenes with the animation staff, it's clear that the writers and voice actors had an absolute blast making this film, and the hard work of everyone involved should be recognized.
Wednesday, July 27, 2016
Star Trek Beyond
The Kelvin timeline has been a mixed bag for many fans ever since its debut in 2009, separating itself from the prime setting of the television shows and previous films to tell stories in an alternate universe. While the cast has been almost universally well received, the story and tone of the films are often said to not fit in with the Star Trek that so many know and love. There was even greater contention when a new director was brought in, the early trailers (admittedly) felt off, and we're immediately made aware that the USS Enterprise (NCC-1701) doesn't make it out intact. However, these films are much more faithful than many would care to admit. Not only are they a perfect gateway to the rest of the franchise, but this movie captures the feel of the franchise in a better way than its immediate predecessors.
It begins with a botched attempt at diplomacy, as Captain James T. Kirk (Chris Pine), is presenting a peace offering from one alien race to another. Everything Kirk says is perceived as a threat by these aliens, who at first seem to be large and foreboding. But as their leader jumps down to assault Kirk, we see they're no bigger than a well-fed Tribble. Kirk's beamed out of there as they try to bring him down (accidentally transporting one of them up with him), and the artifact is stowed away on the ship.
And here's where the beauty of this movie begins. The next several minutes do a wonderful job showing off deep space, the Enterprise, and creating pathos for Kirk and his crew. It's been 3 years since Star Trek Into Darkness, and Kirk's birthday is coming up. It's a sore topic for him, not only because his father sacrificed is life to save his family and Kelvin shipmates, but also because Jim has now outlived George Kirk. He still takes pride in his position and his crew, but is considering taking a desk job as a station Admiral. Commander Spock (Zachary Quinto) and Lieutenant Nyota Uhura (Zoe Saldana) have broken off their relationship, and she attempts to return his mother's necklace to him, which Spock declines. The ship arrives at the Yorktown space station, and it is beautiful. All sorts of people and species living in the same biosphere. Lieutenant Hikaru Sulu (John Cho) is revealed to have a daughter and a husband living on the station. (This was an initial point of controversy, but it's incredibly subtle, and could easily be overlooked. Overall, well handled.) Almost as soon as the crew settles in, Spock is pulled away by some other Vulcans. Ambassador Spock (the late Leonard Nimoy), his own future self from the prime universe, has passed away. Many would expect Justin Lin to turn this into an all style and no substance action film, but these quiet scenes leave the viewer proven wrong.
An alien female then arrives at Yorktown in a panic, begging for help, and the Enterprise is set off again on another mission. After making their way through a nebula, the ship is literally swarmed by alien ships let by a monstrous alien named Krall (Idris Elba). The crew attempts to fight back, but like Kirk in the prologue, the size and multitude of the aliens proves to be too much. This is the third time the Enterprise has been destroyed on film (The Search For Spock, Generations), and it would be too easy to hate the film just for that, but the emotional impact is there. You feel frightened for the crew, and saddened by the loss of the ship. Krall and his forces infiltrate the ship and he attempts to steal the artifact, but Kirk manages to hide it away. The ship goes down and the crew is scattered. Many are lost, some make it to the escape pods, Lieutenant Commander Montgomery Scott (Simon Pegg, who also helped write the film) manages to get out in a torpedo (possibly the only reference to the last movie), but a majority of them end up taken by Krall.
Despite this punch to the gut, the following events feel like a classic Star Trek adventure. The crew is stranded on a strange new world, and now they have to regroup, stop a threat, and prevail for the sake of humanity. Kirk is paired up with Ensign Pavel Chekov (Anton Yelchin, who sadly died in an accident before the film was released) and the alien who brought them here, who was working for Krall from the start. She's dispatched after a brief detour back to the downed Enterprise's saucer section.Scotty runs into a female alien named Jaylah (Sofia Boutella), who's survived on the planet for some time, and wants to escape just like the rest of them. Doctor Leonard McCoy (Karl Urban) is teamed with an injured Spock, and their dynamic from the original series is perfectly replicated. Trading quips and insults while making their respect for one another clear. During another quiet moment, Spock confides in McCoy about his counterpart's death, and how he feels he needs to carry on his legacy and help rebuild Vulcan society. To him, that means not only leaving Starfleet, but also leaving Uhura, and joining with another Vulcan to ensure his race's survival. Uhura, Sulu, and the rest of the surviving crew are deep in Krall's stronghold. A female Ensign reveals Kirk cleverly hid the artifact on her person, and gives it to Krall to spare the crew. He combines it with another disc to form a weapon called the Abernath. Much like Krall's fleet, it's a black matter that engulfs things and eats away it until nothing remains, which he demonstrates on the poor Ensign. Krall shows great disdain for the Federation, and plans to use the Abernath to wipe out Yorktown.
Meanwhile, the rest of the crew begins to reunite as Scotty and Jaylah repair the USS Franklin (NX-326) a crashed Federation Starship where she had been living. The ship and its uniforms bear a nice resemblance to the ones seen on the prequel series Enterprise without looking identical. Once Spock has been healed and lock onto a unique radiation signature in Uhura's necklace, they put together a plan to rescue the crew. Kirk and Jaylah provide a distraction on a motorcycle that the Franklin had on hand and a cool hologram trick, Scotty, Chekov continue repairs, while McCoy and Spock go in with transporter beacons to beam out the crew. It's time to take off and save Yorktown.
Krall still has advantage in numbers, but our crew discovers their hive mechanisms can be disrupted by a radio frequency. Spock and McCoy are transported into one of the ships and manage to commandeer it. The Franklin's radio is then fed through the swarm with "Sabotage" by the Beastie Boys, and its use in the trailer finally makes sense. It works in a couple of ways: First, it's a call-back to Kirk's joyride off a cliff in the first film. Second, it literally is a sabotage of Krall's invasion, as the ships begin to crash into each other and blow up. Krall's forces are whittled down to 3 ships. Two of which get taken out, and the Franklin collides with Krall himself. Kirk and Uhura sweep the Franklin and discover not only that Krall has escaped but that he was once Captain Balthazar Edison, Commanding Officer of the Franklin, and a former MACO (Starfleet Marine Corps) who fought in the Xindi and Romulan Wars. His ship and crew crash landed on the planet, and blames the Federation for leaving them to die. The native population had a procedure which prolonged his life (and probably his crew's) and giving them a more alien appearance. He's reverted to his human form and makes his way towards the station's atmospheric dispersal system, and it's up to Kirk to stop him. Edison attempts to call Kirk out on their similarities, the former having given up on humanity and the latter ready to give up his command, but Jim's found purpose again, fighting and willing to die for the salvation of others. Krall is finally consumed by his own weapon as they're both shot into space, with only his Starfleet Command insignia remaining.
Crisis averted and the station saved, we return to our moments of peace, quiet, and pathos. Spock goes through the Ambassador's personal effects, and a box is among them. Upon opening it, he discovers a photographic image of the original crew during the movie era on the bridge of their Enterprise. It's genuinely touching moment, which could likely make even the most cynical fan cry.
Kirk meets with the station's Admiral, as they close the case on the lost crew of the USS Franklin, and he declines the desk job to stick with his command. He adjourns to a surprise birthday party, as he gives a toast to the Enterprise and "to absent friends". (There's an unintentional tug at the heartstrings as the succeeding shot gives you a clear view of Chekov.) Jaylah is offered a place in Starfleet Academy, Spock and Uhura patch things up, Chekov chats up a girl about the inventions of Russia, and we're treated to a sped up circular shot of the construction of a new Enterprise (NCC-1701-A). As that finishes, the film concludes with the familiar narration delivered not only by Spock or Kirk, but by the entire bridge crew. The credits roll through a gorgeous outer space and rendition of the theme music, then fading to black with dedications in memory of Leonard Nimoy and for Anton (Yelchin).
Suffice it to stay Star Trek Beyond gets it right. Unlike JJ Abrams, Simon Pegg and Justin Lin were long time Trekkies with a love for the source material, and it shows from beginning to end. That isn't to say the previous two films were even bad, so much as this one outdoes them. It is a little disappointing that Alice Eve didn't return as Carol Marcus. She had good chemistry with Kirk and meshed well with the crew. Maybe she was reassigned or even requested a transfer at some point during these three years, and her absence may have even been a factor in Kirk's feelings early in the movie. Michael Giacchino provides the music once again. His orchestra creates a powerful atmosphere, and manages to sneak a few familiar cues that would feel right in place in the old series. (The only problem with his variation of the original theme is that he sticks to the version heard in the title sequence, and leaves out the bars that would be heard in the show's end credits. It would be nice if this was straightened out in later films.) The new high collar ship uniforms and away team jackets are great too. The former being similar yet different, while the latter were again similar to Enterprise. The cast all do a great job and work well together, and it's a tad bittersweet knowing we'll never see Anton Yelchin's Chekov again. If this is the Kelvin timeline's finale, they're going out on a high note. However, if there is a sequel, then we can look forward to seeing what's out there.
It begins with a botched attempt at diplomacy, as Captain James T. Kirk (Chris Pine), is presenting a peace offering from one alien race to another. Everything Kirk says is perceived as a threat by these aliens, who at first seem to be large and foreboding. But as their leader jumps down to assault Kirk, we see they're no bigger than a well-fed Tribble. Kirk's beamed out of there as they try to bring him down (accidentally transporting one of them up with him), and the artifact is stowed away on the ship.
And here's where the beauty of this movie begins. The next several minutes do a wonderful job showing off deep space, the Enterprise, and creating pathos for Kirk and his crew. It's been 3 years since Star Trek Into Darkness, and Kirk's birthday is coming up. It's a sore topic for him, not only because his father sacrificed is life to save his family and Kelvin shipmates, but also because Jim has now outlived George Kirk. He still takes pride in his position and his crew, but is considering taking a desk job as a station Admiral. Commander Spock (Zachary Quinto) and Lieutenant Nyota Uhura (Zoe Saldana) have broken off their relationship, and she attempts to return his mother's necklace to him, which Spock declines. The ship arrives at the Yorktown space station, and it is beautiful. All sorts of people and species living in the same biosphere. Lieutenant Hikaru Sulu (John Cho) is revealed to have a daughter and a husband living on the station. (This was an initial point of controversy, but it's incredibly subtle, and could easily be overlooked. Overall, well handled.) Almost as soon as the crew settles in, Spock is pulled away by some other Vulcans. Ambassador Spock (the late Leonard Nimoy), his own future self from the prime universe, has passed away. Many would expect Justin Lin to turn this into an all style and no substance action film, but these quiet scenes leave the viewer proven wrong.
An alien female then arrives at Yorktown in a panic, begging for help, and the Enterprise is set off again on another mission. After making their way through a nebula, the ship is literally swarmed by alien ships let by a monstrous alien named Krall (Idris Elba). The crew attempts to fight back, but like Kirk in the prologue, the size and multitude of the aliens proves to be too much. This is the third time the Enterprise has been destroyed on film (The Search For Spock, Generations), and it would be too easy to hate the film just for that, but the emotional impact is there. You feel frightened for the crew, and saddened by the loss of the ship. Krall and his forces infiltrate the ship and he attempts to steal the artifact, but Kirk manages to hide it away. The ship goes down and the crew is scattered. Many are lost, some make it to the escape pods, Lieutenant Commander Montgomery Scott (Simon Pegg, who also helped write the film) manages to get out in a torpedo (possibly the only reference to the last movie), but a majority of them end up taken by Krall.
Despite this punch to the gut, the following events feel like a classic Star Trek adventure. The crew is stranded on a strange new world, and now they have to regroup, stop a threat, and prevail for the sake of humanity. Kirk is paired up with Ensign Pavel Chekov (Anton Yelchin, who sadly died in an accident before the film was released) and the alien who brought them here, who was working for Krall from the start. She's dispatched after a brief detour back to the downed Enterprise's saucer section.Scotty runs into a female alien named Jaylah (Sofia Boutella), who's survived on the planet for some time, and wants to escape just like the rest of them. Doctor Leonard McCoy (Karl Urban) is teamed with an injured Spock, and their dynamic from the original series is perfectly replicated. Trading quips and insults while making their respect for one another clear. During another quiet moment, Spock confides in McCoy about his counterpart's death, and how he feels he needs to carry on his legacy and help rebuild Vulcan society. To him, that means not only leaving Starfleet, but also leaving Uhura, and joining with another Vulcan to ensure his race's survival. Uhura, Sulu, and the rest of the surviving crew are deep in Krall's stronghold. A female Ensign reveals Kirk cleverly hid the artifact on her person, and gives it to Krall to spare the crew. He combines it with another disc to form a weapon called the Abernath. Much like Krall's fleet, it's a black matter that engulfs things and eats away it until nothing remains, which he demonstrates on the poor Ensign. Krall shows great disdain for the Federation, and plans to use the Abernath to wipe out Yorktown.
Meanwhile, the rest of the crew begins to reunite as Scotty and Jaylah repair the USS Franklin (NX-326) a crashed Federation Starship where she had been living. The ship and its uniforms bear a nice resemblance to the ones seen on the prequel series Enterprise without looking identical. Once Spock has been healed and lock onto a unique radiation signature in Uhura's necklace, they put together a plan to rescue the crew. Kirk and Jaylah provide a distraction on a motorcycle that the Franklin had on hand and a cool hologram trick, Scotty, Chekov continue repairs, while McCoy and Spock go in with transporter beacons to beam out the crew. It's time to take off and save Yorktown.
Krall still has advantage in numbers, but our crew discovers their hive mechanisms can be disrupted by a radio frequency. Spock and McCoy are transported into one of the ships and manage to commandeer it. The Franklin's radio is then fed through the swarm with "Sabotage" by the Beastie Boys, and its use in the trailer finally makes sense. It works in a couple of ways: First, it's a call-back to Kirk's joyride off a cliff in the first film. Second, it literally is a sabotage of Krall's invasion, as the ships begin to crash into each other and blow up. Krall's forces are whittled down to 3 ships. Two of which get taken out, and the Franklin collides with Krall himself. Kirk and Uhura sweep the Franklin and discover not only that Krall has escaped but that he was once Captain Balthazar Edison, Commanding Officer of the Franklin, and a former MACO (Starfleet Marine Corps) who fought in the Xindi and Romulan Wars. His ship and crew crash landed on the planet, and blames the Federation for leaving them to die. The native population had a procedure which prolonged his life (and probably his crew's) and giving them a more alien appearance. He's reverted to his human form and makes his way towards the station's atmospheric dispersal system, and it's up to Kirk to stop him. Edison attempts to call Kirk out on their similarities, the former having given up on humanity and the latter ready to give up his command, but Jim's found purpose again, fighting and willing to die for the salvation of others. Krall is finally consumed by his own weapon as they're both shot into space, with only his Starfleet Command insignia remaining.
Crisis averted and the station saved, we return to our moments of peace, quiet, and pathos. Spock goes through the Ambassador's personal effects, and a box is among them. Upon opening it, he discovers a photographic image of the original crew during the movie era on the bridge of their Enterprise. It's genuinely touching moment, which could likely make even the most cynical fan cry.
Kirk meets with the station's Admiral, as they close the case on the lost crew of the USS Franklin, and he declines the desk job to stick with his command. He adjourns to a surprise birthday party, as he gives a toast to the Enterprise and "to absent friends". (There's an unintentional tug at the heartstrings as the succeeding shot gives you a clear view of Chekov.) Jaylah is offered a place in Starfleet Academy, Spock and Uhura patch things up, Chekov chats up a girl about the inventions of Russia, and we're treated to a sped up circular shot of the construction of a new Enterprise (NCC-1701-A). As that finishes, the film concludes with the familiar narration delivered not only by Spock or Kirk, but by the entire bridge crew. The credits roll through a gorgeous outer space and rendition of the theme music, then fading to black with dedications in memory of Leonard Nimoy and for Anton (Yelchin).
Suffice it to stay Star Trek Beyond gets it right. Unlike JJ Abrams, Simon Pegg and Justin Lin were long time Trekkies with a love for the source material, and it shows from beginning to end. That isn't to say the previous two films were even bad, so much as this one outdoes them. It is a little disappointing that Alice Eve didn't return as Carol Marcus. She had good chemistry with Kirk and meshed well with the crew. Maybe she was reassigned or even requested a transfer at some point during these three years, and her absence may have even been a factor in Kirk's feelings early in the movie. Michael Giacchino provides the music once again. His orchestra creates a powerful atmosphere, and manages to sneak a few familiar cues that would feel right in place in the old series. (The only problem with his variation of the original theme is that he sticks to the version heard in the title sequence, and leaves out the bars that would be heard in the show's end credits. It would be nice if this was straightened out in later films.) The new high collar ship uniforms and away team jackets are great too. The former being similar yet different, while the latter were again similar to Enterprise. The cast all do a great job and work well together, and it's a tad bittersweet knowing we'll never see Anton Yelchin's Chekov again. If this is the Kelvin timeline's finale, they're going out on a high note. However, if there is a sequel, then we can look forward to seeing what's out there.
Monday, February 1, 2016
Animated Movies I Saw In 2015
This posts includes feature-length animation. This post will continue to be updated as I remember stuff.
The Peanuts Movie
This film remains true to the characters we know and love while introducing them to a newer generation. The animation is a sort of 2.5D, maintaining Charles Schulz's character designs, but with fully rendered props and backgrounds. As is tradition, Charlie Brown and his friends are all voiced by actual kids, and they all seem to do a good job. We've all been Charlie Brown at some point in our lives, feeling like the world is working against us and anything that can go wrong will. The great thing about him, though, is that this never stops him from trying and hoping for the best. And of course, you can't go wrong with Snoopy. Whether he's helping Charlie Brown with something, stealing Linus' blanket, or shooting down the Red Baron, he's a hoot to watch. You and your kids will love this one.
Equestria Girls: The Friendship Games
Twilight Sparkle's human counterpart is revealed to go to Crystal Prep, a rival school to Canterlot High who routinely beat the Wondercolts in an annual academic and athletic competition called the Friendship Games. She's been investigating the magical energy coming from Canterlot High, unaware of what it truly is, while her principal Abacus Cinch makes her reluctantly compete in the Games. She's created a compact which was just supposed to detect magical energy, but instead is capable of absorbing it, taking away the Rainbooms' transformations, closing off the portal to Equestria, and making the competition much more dangerous than it should be. This is the first movie in the series to take place entirely in the human world, with pony characters relegated to cameos towards the end as the magic breaks loose. This version of Twilight is fairly similar to Moondancer in her focus on her studies and social isolation (and glasses). As with the previous films, Spike tends to steal the show, being a normal dog in this version who's later granted the ability to talk. I do like how the film series has transitioned its protagonist status from Twilight Sparkle to Sunset Shimmer. The first movie was about Princess Twilight trying to get her crown back from Sunset. Rainbow Rocks showed Twilight out of her league and the reformed Sunset ultimately helping stop the Dazzlings. Here, the roles are completely reversed. The movie is focused mostly on Sunset, and while the human Twilight is well-developed, she's a reluctant antagonist by the climax. The rival school allowed for the introduction of new characters, as human versions of familiar characters, but they're not given much focus. It's still a good, fun addition to the franchise
The Peanuts Movie
This film remains true to the characters we know and love while introducing them to a newer generation. The animation is a sort of 2.5D, maintaining Charles Schulz's character designs, but with fully rendered props and backgrounds. As is tradition, Charlie Brown and his friends are all voiced by actual kids, and they all seem to do a good job. We've all been Charlie Brown at some point in our lives, feeling like the world is working against us and anything that can go wrong will. The great thing about him, though, is that this never stops him from trying and hoping for the best. And of course, you can't go wrong with Snoopy. Whether he's helping Charlie Brown with something, stealing Linus' blanket, or shooting down the Red Baron, he's a hoot to watch. You and your kids will love this one.
Equestria Girls: The Friendship Games
Twilight Sparkle's human counterpart is revealed to go to Crystal Prep, a rival school to Canterlot High who routinely beat the Wondercolts in an annual academic and athletic competition called the Friendship Games. She's been investigating the magical energy coming from Canterlot High, unaware of what it truly is, while her principal Abacus Cinch makes her reluctantly compete in the Games. She's created a compact which was just supposed to detect magical energy, but instead is capable of absorbing it, taking away the Rainbooms' transformations, closing off the portal to Equestria, and making the competition much more dangerous than it should be. This is the first movie in the series to take place entirely in the human world, with pony characters relegated to cameos towards the end as the magic breaks loose. This version of Twilight is fairly similar to Moondancer in her focus on her studies and social isolation (and glasses). As with the previous films, Spike tends to steal the show, being a normal dog in this version who's later granted the ability to talk. I do like how the film series has transitioned its protagonist status from Twilight Sparkle to Sunset Shimmer. The first movie was about Princess Twilight trying to get her crown back from Sunset. Rainbow Rocks showed Twilight out of her league and the reformed Sunset ultimately helping stop the Dazzlings. Here, the roles are completely reversed. The movie is focused mostly on Sunset, and while the human Twilight is well-developed, she's a reluctant antagonist by the climax. The rival school allowed for the introduction of new characters, as human versions of familiar characters, but they're not given much focus. It's still a good, fun addition to the franchise
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