How I Would Improve 'Elemental' (2023)

I watched Elemental last night (02/08/2024) with no intention of writing a review of it. I decided today though, that I'd make a note of things I think could have improved the film. These are generally small tweaks or reworking what's already in the film. However, I started writing them out and it ended up being longer than most of my reviews. 
Anyway, I hope somebody reads and enjoys:

Ember's reluctance to run the shop is literally introduced more than halfway through the film. Up to that point, it's shown that she actually really wants to run the shop and prides herself on it.
Similarly, we never see her blowing glass artistically. Only ever doing it when it's practical and necessary.

I'd fix both of these by having Ember clearly have a love for creating art from the beginning, even as a baby. (Like it seems so random when they're sat on the beach and she makes a ball with the flower in it). Also "your temper is trying to tell you something" makes no sense in the context of the film.

I'd also make the glassblowing internship more real. It's one of several things they tell but don't show. The guy's mum just mentions it so off hand, like "hey I can get you a job" and that's kinda it.
Maybe Ember's tempered glass fix could have been super beautiful and Gale doesn't just say it's satisfactory but maybe she calls Ember into a big fancy glass building the next day (which we can then be shown is super beautiful and is something she connects with) and be introduced to the glass boss.

There were also lots of very disparate storylines that were either unresolved or underplayed. Definitely had changes in writing or directing, is my guess. But I'd get rid of lots of these.

E.g. The big bow down is meant to be this huge, significant thing that ties them back to their culture but also so is the blue flame. They're serving the same purpose. I'd get rid of one, probably the bow, because the blue flame is much more visual. I'd make it so that the flame shows on someone like an imprint when they are "ready", which is why Ember isn't trusted to run the shop (because her imprint hasn't shown up) but it pops up on her in the glass factory.

Wade's back story is also very weak. Like his dad dying being the reason he "goes from job to job" did absolutely nothing for the story. What we do see is that he's got love and support from his family, which could have easily been flipped to "I get to try lots of different jobs and find what's right for me". Also we only ever see him do 1 job lol. So it has zero impact on the story. Bin it.


I'd also completely cut the Vivisteria subplot. It's a tool they use to let Wade do something nice for Ember but it was super weak. It loosely tied back to the discrimination against fire people but kinda just half arsed both. Let Wade be involved in supporting Ember's art. Also it was pretty visually disappointing, considering the were some great visual moments there were in the film.


I'm generally not a huge fan of romance plots but I think they could have made it a lot more convincing why these two would fall for each other. There's a very weak, off-hand comment about how Wade "connects with people" but this isn't something that's an issue for Ember at all. It's her temper. But they tried to link the two by making her dad say "take a breath, connect" when she loses her temper but this literally does not make any sense. She connects with her parents just fine, connects with the other patrons just fine and only loses her temper when people are being complete dicks to her. So there's no actual link.

The only person she could arguably do a better job connecting with is Clod (I thought she was meaner than she needed to be). Could have been a small little moment, where she keeps his flower but teaches him to be himself, instead of a little knob. But they don't do it.


As for why the two main characters actually do like each other, I think it would have been better if Wade liked Ember for her artistic flair and she liked him for being able to accept his emotions, which is a clear strength of his. (I also didn't love that they chose to portray a man in touch with his emotions as just being a big crybaby). Could have been done in lots of ways but they could easily have set up foil moments where she reacts 1 way to something, then watches as he reacts completely differently.

(Also, the final speech she gives to make him cry was a great opportunity to for her to show how she has learned to connect with him by using her own fucking examples of things that make him cry. Not just repeating the things he said back to him, beat-for-beat).


The biggest issue with the plot overall (not the story) is the source of the leaky pipes. Like this is a massive, structural, life-threatening issue. And it's just like... a broken gate? To me, it seemed like there was meant to be a much bigger and more significant cause, given the tight deadline from the City and the very intentional mention of rust and motor oil (twice). They either needed to make it clear that cause of the issue wasn't a big deal (because at least the leak comes back later on), make the impact of the leaky pipes a lot less devastating or just remove it entirely. Make Wade actually come down as a city inspector. If not, there would have to be a big plot that involved some kind of structure or machinery but that would move too far away from what the film is actually about tbh. (Although there could have been a plot about how Element City is falling apart without the Fire people, since they got banned because it needs everyone living together harmoniously).


Another very persistent issue with the film is its incredibly patronising "tell don't show" approach, as previously mentioned. Idk if this is a reasonable suggestion but I'd just change every instance of characters needlessly saying or explaining something with an at least decent way of showing it. Pixar is usually very good at this.

The most pertinent example is the smoke readings. The mum in general has an embarrassingly insignificant part (could have made her a cooky side character tbh) but the smoke reading is a fairly important plot device. But in the key moment when Wade uses his body to focus Ember's flame, we actually have no idea what the smoke shows. This would have been significantly improved by showing the earlier couple having a somewhat brightly coloured smoke, then Ember and Wade having a super bright combo. What we get instead is very unclear, because the wisps kinda blend together but then from another angle they appear to swirl and never touch. There is no inherent sense of whether this shows a good or a bad match. (This could also easily replace the Vivisteria moment).

Related to this is the Mum being able to smell love. It's a weird plot point but contains two very annoying instances of telling: one when she finds the photo and says "but who is this boy????", like yeah no shit, we know that's what she's wondering; the other when she decides to follow Ember to dinner by sniffing the air and shouting "love!". These would have both been much better if there were a visual representation of the smell of love. We could see a purple (/whatever colour) wisp go by Mum's nose and know immediately what she was smelling.


The biggest overall criticism I have, though, is of the incredibly shallow fake immigrant narratives. It's so surface level that it doesn't do justice to real immigrant stories. Are they supposed to be Hispanic or Chinese? Maybe Indian? Really they're nothing, just a generic, catch-all, foreigner which doesn't represent anyone (for reference, as a child of immigrants, I'd connect better with a real but different culture than I did with a fake placeholder trying to represent mine). And the discrimination ultimately played very little part in the story as well. I personally would have removed the immigrant struggle and replaced it with structural struggle (things burning down etc.) and tied it back in with how people live in harmony together. The line "Element City wasn't built with Fire People in mind" is completely wasted otherwise. What did they change in the city to make it work better by the end? We saw lots of cool adaptations for other elements (like the blimps for the wind people, that was great!). At the end of the film, we should see some great adaptations for fire people. They actually did a great job showing all the really practical uses of fire and they could have built on this. (And taken a page out of ATLA's book - fire doesn't just destroy, it gives us light and life!)


And finally, the romance itself. I didn't mind it too much but I thought that the moment of Ember and Wade realising they could touch each other - hold hands and hug - was much more powerful than their final kiss. So that last scene could have been improved by them maybe realising but not fully confirming that they can touch, then finally fully embracing for the first time after the finale, rather than kissing.


Now if Pixar really wanted to make this a truly great film, I have one last suggestion that is definitely me stepping too far away from what's already there. I think they should have been very bold and actually kept it so that Ember and Wade can't touch. It would have said so much more about the nature of love and companionship if they decided that they loved each other so much that just being near one another was enough. That's what they'd been doing the whole film anyway. They could have easily added a line about how Wade feels warm near Ember and Ember feels cool near Wade. But I get that audiences wouldn't like that.


Also the sports game is just Quidditch.

The Prince of Egypt (1998)

Directors: Brenda Chapman, Steve Hickner, Simon Wells
Writer: Philip LaZebnik
Studio: Dreamworks Animation
Watched on: 01/08/2024

Review contains ***SPOILERS*** for The Prince of Egypt

Ratings:
OVERALL
NB: These are not weighted equally (if at all)
PlotStorytellingAnimationCharacters
74864


 
First things first, there isn't much point discussing the plot of the movie in huge detail. The Bible did all the heavy lifting (ooh, dark pun) but that's the story Dreamworks/LaZebnik picked up and brought to life, so they get some heat for it. To keep it brief though, the story features several apparently very powerful gods, with Moses's god being powerful enough to bring down plagues and part seas; however this god lets their people be enslaved for decades (at least in the span of the movie) rather than have a magical revelation or intervention, electing instead to kill a bunch of first born children, the exact same as the pharoah, to free them. No story that calls that a 'miracle' could ever be given a positive nor even neutral score.

As for the bits that were more in the control of the creative team, some things worked really well. For example, giving Ramses a relatable desire and motivation for his actions and building a genuine, loving bond between him and Moses as brothers, which made Moses's departure an emotional and impactful moment. The film also had to depict with some really dark and horrific moments, like opening up with a sequence showing the brutality of slavery right off the bat. I'd also say they did an excellent job of treating the slavery and mistreatment as a given - something that quietly happens in the background - whilst the brothers focus on their own personal stories. This meant that the audience could stop and really think about how empires are built at the same moment as Moses is made to realise, because we're focused on the pretty pictures in the frame, thinking that us watching the film doesn't do anything to change the fate of the enslaved people.

I previously mentioned the killing of the first borns. I have to single that scene out as being executed incredibly well. They don't duck the responsibility of showing the brutality of this biblical story. There was a lot of great storytelling throughout this film and this was one example, where the shift to almost completely black and near silence to contrast warm colours and orchestral swells up to that point and with the appearance of this ethereal, spectral aura that comes and claims the lives of these children emphatically underlines the reality of what's taking place. There's a sequence of 2 or 3 very clever shots that show you - in decreasing levels of symbolism and ambiguity - that these children are being killed. One shot shows the lamp in one child's window go out as the wisps leave. I'd have absolutely forgiven them for wanting to end the sequence there but they take it further - twice. The next shot shows another child step through a doorframe and out of sight, followed by his arm extending back out across the frame, completely limp after he falls to the ground. The first sound you then hear when it's all over is the wailing and sobbing of the parents. It's genuinely awful, and they get credit for sticking to their task diligently*.
The second time they take it further is their depiction of Ramses carrying the body of his son to his resting place and covering him with a thin veil. That is one of dozens of incredibly powerful shots throughout this movie. That's the element I'd praise the film for the most, by far; its storytelling and cinematography. Shots are dramatic, they're symbolic, they help keep the story moving forward and - something that's easy to get wrong - they really provide a sense of the palace, the land and empire being absolutely massive. They achieve their goal of making it feel physically massive, which of course helps the other goal of making the weight of Ramses's responsibility even heavier. And a lot of the background paintings are just gorgeous as well. They also clearly made a point of having lots of evening/twilight scenes or torch-lit corridors so that they could have high contrast and loads of dramatic lighting, which they nailed.





A selection of some of the absolutely stunning, cinematic shots throughout the film.


Last couple points on storytelling: I loved Moses's dream sequence. In a lot of movies, they use animation to gain a level of abstraction from the 'reality' of the rest of the film. So in this film, an already animated movie, set in ancient Egypt, they have the dream come to him in moving hieroglyphics. I thought that was brilliant. They also made the hieroglyphics super dynamic, including Moses's mother sneaking past the guards by the drawing shifting around a pillar in 3D space. Very clever, great use of the medium. Only knock I could give the storytelling is the pacing of the story. Again, it's adapted from Exodus but even still, the story covers Moses's complete story from birth to face turn in about 40 minutes but then the freeing of the slaves basically takes the rest of the film. Plus there are odd things, like the multiple plagues being glossed over through one song and the Eyptians following the Hebrews to the Red Sea after we've been given the big finale for freedom. It's a bit jerky.

The animation, sadly, wasn't anything that really stood out. The artwork is beautiful, including the charactor work, but the animation itself is pretty standard hand-drawn dreamworks stuff. There wasn't any particularly brilliant character acting and no intricate nor dynamic scenes (can't knock it for not having action sequences but those are really where great animation can shine). There was one single 'turnaround' shot of Moses in the river mouth/bathing room place, which was cool but that was about it for motion shots. What I will say, though, is that the CG elements never felt out of place. The final plague, the burning bush (which was admittedly very cool), the basket etc. All of them blended well enough with the rest of the shots they were in that it was never more of a cost than a benefit. Overall decent animation but not incredible.

Lastly, characters are kinda 'meh' all round. Ramses is interesting but the Pharoah is super flat (and we don't even see him die). Of course, all the women in the story are just there to create the path for the main men characters. That's the bible story, sure, but it's still a feature film and should be treated like one. The creators had choices (as they themselves point out in the prologue) and I think they made some bad ones. Like Moses having 2 mothers, with only 1 just managing to have her name mentioned in the script. The other mother, presumably the Queen, is never named but even worse, to me it seemed she was intentionally depicted as being much younger than the Pharoah. That's probably just being true to the source material, doesn't mean it wasn't gross (without the same intentionality of how the slavery and murder was gross). Tzippora is another typical 90s/2000s cool girl, who seems feisty at first but ultimately says and does nothing other than become a wife to sifgnify Moses's journey. She is a lengy though. Also, I would have liked to see a lot more of the two royal hand/sidekick guys. Their song was pretty disappointing and even if they didn't have any story significance, they could definitely have been given a bit more dramatic flair.

Overall, the movie is a great experience to watch but that is with me intentionally blocking out the religious elements (because things like "god has told me to do this" don't make for a very strong narrative). It definitely starts stronger than it ends. The songs were powerful but didn't really stick with me at all. I think that this film's status as a bit of a niche 'sub-classic' is pretty fair. Narritively not amazing but has some clear strengths.





*Because of the morbidity of some of these scenes, I would even consider classifying this as an adult film, rather than a family film. I actually wouldn't recommend this film for young kids, honestyl. It's too brutal.