Showing posts with label 3D/CGI. Show all posts
Showing posts with label 3D/CGI. Show all posts

Arcane (2021)

Creators: Christian Linke & Alex Yee (various writers)
Directors: Pascal Charrue, Arnaud Delord, Bar Maunoury
Finished first watch: 23/11/2024
Animation Studio: Fortiche

Review contains ***SPOILERS*** for Arcane

Ratings:
OVERALL
NB: These are not weighted equally (if at all)
PlotStorytellingAnimationCharacters
88999



It's tough, because I'm still feeling a lot of emotions from having just finished Arcane season 2, smashing out the last 3 episodes on the day of release as well. So I think this write-up might suffer from my immediate feelings getting in the way of objective assessment. Maybe I'll come back to this after a few months, maybe even a rewatch, and check myself. But for now, there are 2 things I would say about Arcane that I think are undeniable:
    1. It is simply one of the greatest series ever made (and a good candidate for the #1 spot)
    2. Despite this, there are still lots of ways it could have been improved.


Characters
Even above its stunning animation, I would say that the absolute strongest element of Arcane is its characters development, alongside the strength of the characters themselves. Every single member of this ensemble cast went on a journey throughout the series - they changed their attitudes, they fell under each other's influence and they significantly grew as a result of their on-screen experiences (including through some really thoughtfully used time-skips). And it was all driven my the massive, literally life-changing events that we saw them go through as part of the plot. Even side characters had such understandable and realistic responses ('realistic' more so meaning consistent and believable within the Arcane universe, than reflective of our real world); Caitlyn's dad, Salo, Sky(!!), for example, were all complete side characters yet still had really meaningful development throughout the show. And if main characters didn't have amazing development throughout the series, we'd get insight into their back stories which would still give us a really great sense of how they got to who they are in the story. The writers, who cannot be given enoough credit, then of course used this development to create more tense situations and force more decisions, which would lead to more of these seismic life events, building even more development and the cycle would continue.
    The incredible development also wasn't just within the characters' personalities but was also masterfully reflected in their character designs. I have to use a pretentious word like 'masterfully' because the designers genuinely did show a mastery in their craft with this. All the young versions of the main cast are brought into the present era so well, visually. Jinx stops looking like a sweet little kid and instead does look like a troubled teenager. Vi goes from a tough kid to someone who will beat the shit out of you. You even see Jayce's outfit get more and more formal and regal as his political capital increases. Then when you get to season 2, the events get truly foundation-shaking and again this is reflected brilliantly on the characters. Dishevelled Jayce, pit brawler Vi, demigod Viktor, fascist dictator Caitlin. All significantly shifted desigs to reflect the characters' mental state and motivations, all whilst still being so incredibly appealing! That's something that is consistent throughout - every design is just so incredibly distinct and intersting. Even characters who didn't change too much still get thoughtful redesigns; thinking Silco (in the flashbacks and in the Alternate Reality) and Ambessa, who (literally) shows more of herself and gets more battle ready as season 2 progresses.
    The apex of this incredible character design flexibility shows up in the phenomenal AU episode in season 2. Seeing how different Ekko and Powder would look at the same age if they hadn't been through the same events wasn't just creative and very cool to see but also really underscored the fact that they are who they are because of what they've experienced. Honestly, Arcane might have the best, clearest and most tangible character development I've ever seen. No 'subtle', half-baked nonsense - the stuff really happens and it really shows.


The characters themselves are, of course, also great. The cast is varied and deep. They all have understandable motivations and opinions and really interesting flaws and limitations. For example, it's easy to love Vander but still see that he's complicit in the status quo and, to an extent, a coward for accepting it. Silco is cruel and mistreats his own people but still has moments where it seems like he has genuine affection for Jinx, which is endearing. Of course this is all rooted in League of Legends lore but it made for characters who were great ingredients to an excellent story.

Oh and also, even the weapon designs develop over time! Vi gets the v1 rusty mitts, then the hex tech prototypes, then the final enforcer version. Jayce comes back from the Void with a completely overgrown wild rune Hammer. Jinx of course improves her proficiency and makes bombs and tools that are less cute and far more intimidating over time. More attention to detail that makes these characters and their journeys so great.

Plot
The story writing is incredible. Not only does it have the previously mentioned events, impacts and character decisions linked but it also has the different strands of the story interact with and influence each other in really clever ways, as well as managing a really intriguing fantasy/magical component and tying that in with everything else. The story also does reflect very relatable and topical issues from the real world in very entertaining and appealing ways but never relies on the viewers' perceptions of these issues. They always clearly show how each character feels about them and thoroughly explains why. The plot is also constantly evolving and shifting too. So the twists and turns the story takes keep it interesting and keep a great level of tension throughout. And nothing ever feels like a cheap twist, either. I would honestly say that the plot and writing for season 1 are the best I've ever seen, although I'd sadly have to say that season 2's isn't quite as good. The two main reasons being: 1.) the lack of explanation and resolution of quite a few of the storylines, and 2.) the pacing. The pacing for season 1 was perfect but there were quite a few events in season 2 that just needed a bit more time to breathe or maybe a bit more of a build-up. For example, Jinx accepting that she was being heralded as a rebel hero or Caitlin implementing martial law in the undercity. Both were quite abrupt and didn't necessarily follow on directly from where the storylines had last left off. As for the storylines that weren't actually fleshed out enough, here's a mini list:
    -Mel being magical. She gets a whole new backstory, as well as mage powers and accepts and masters both of them within an episode, to the point that she's then war ready. Definitely needed more explanation and learning (for her) and a lot more exploration (for us). I'd also say I liked the way Mel influenced the story as a clever councillor early on, so the magic felt unnecessary.
    -Linked to that, the Black Rose storyline was far too vague throughout. We're given thee bare bones but we then got no real explanation for why they actually wanted to kill/get Ambessa. Then at the end, Mel says "I see through you" or whatever, with zero explanation of what she actually means. Did she save her mother from them? What did she see through them about? Were they dishonest about something? Why did it matter? They were also just too abstract as characters as well. We only ever see glimpses of 2 of them on screen (apparently not even in their true forms), yet they're driving force behind Ambessa's entire story. It would have improved her character significantly if we'd been given the full context.
    -Viktor's actual plan and motivations**. We spend the vast majority of the show hearing Viktor talk about helping people, including becoming a magical healer. To the have him suddenly flip to wanting to evolve humanity(?), effectively make everyone braindead and also be willing to fight a bloody war to achieve it is very jarring. But also it just didn't make sense mechanically. What was he actually doing, how did the wild rune magic work? What even is Jayce's solution?
    -Jinx's madness practically disappears. She also becomes very altruistic out of nowhere (if anything she should be more fucked after losing Isha). Even before that, we end Season 1 with Jinx being at her most lost, unable to turn to Silco or Vi but then Season 2 kicks off with her pretty much finding immediate stability and safety. Side note, but I also remember being incredibly disappointed with Jinx's first appearance in season 2, because it was very anticlimactic. Whereas her first appearance as Jinx in season 1 is so fucking good. So impactful.
    -Singed. What was his actual plan and why did it rely on Viktor? And if it did rely on Viktor, why did it still kinda work out even though Jayce stopped him? Also, how did Singed slip out completely free after his role in the war? And did he actually reanimate his daughter? He was another one who was basically the root cause of a lot of stuff but just didn't get the exposition needed on screen.

I would also just say that in season 2, the show kinda lost itself. It got too swept up in the mystique and mythos and lost sight of the storylines that had been so engaging up to that point - the love and hate between the 2 sisters and Zaun's struggle against Piltover. Completely brushing those 2 stories to the side to fight for the existence of humanity didn't create a very satisfying final act for me. In general, I'd say that massive, existential stakes are generally a lot less compelling than small-scale, very human stakes. There were also just some other choices they made with the show that I didn't personally like, although they weren't necessarily bad or wrong:
    -The shift away from very tangible story and magic mechanics (hex tech, shimmer) towards unquantifiable and unknowable magic (the wild runes, Viktor)
    -Bringing back Vander didn't really work for me either. It led to some really beutiful moments (one of which made me actually cry) but it felt strange to (literally and metaphorically) revive his dead corpse as a way of bringing the sisters back together.**
    -Again, definitely just a style preference but it's become very predictable and honestly a bit stale at this point for fantasy series to end in a big war. So that was a bit disappointing too. Same again for multi-versing; it's a bit of a trend recently but fair enough, they made a genuinely beautiful episode out of it.
 
On storylines, I also want to give a specific mention to Caitlin and Vi's romance storyline. I usually find romance stories in entertainment to be a bit boring and forced. A good example of this is AU Ekko and Powder kissing. I think that episode would have had more emotional impact as a reflection of Ekko grieving a lifelong friendship - making it romantic sort of undercut that because it seemed to be more of a fantasy than the loss of the deep bond they already had. However, Caitlin and Vi on the other hand, is possibly the first on screen romance that I have absolutely loved, because it was constructed and executed so well! You see these two characters, who are both in crisis in their own ways, have their worlds and perceptions changed by each other. They each represent the other's enemy but over time, they warm up to each other and that opens up the possibilities of humanising the other side. Their romance also completely mirrors the overarching storyline of Piltover vs. Zaun, so it's thematic and story-relevant. And even if it's not healthy, they find comfort in each other during times when they're grieving or feeling lost. Importantly though, they clearly find really admirable traits within each other during their excursion in the Lanes (Caitlin learns that Vi is loving and principled rather than just a criminal and Vi learns that Caitlin is honorable and tough rather than just pampered and pretentious). This also means that the will-they-won't-they moments even feel real, because Jinx's actions start to erode away at those very same traits - they find themselves in crisis again and retreat back into their old habits but they can still see those admirable qualities within each other throughout it all. I absolutely loved the dialogue before before their big scene in season 2, when Vi says "I choose wrong every time". Because it was so clear that yeah, duh! That's what Caitlin loves about you! You choose to believe that everyone can change and you want to show them compassion, even when you say you've given up on them. And of course, it's great to see a romance between two women that doesn't end tragically. Bechdel test of course passed with... flying colours.

**Last point on plot, I recognise that a lot of what I know as 'Arcane' is built off existing LoL lore. So the two starred points above, were always in the plan, since they were already established elements of those characters' backstories. The Viktor and Vander from season 1 were already destined to become the Viktor and Warwick from LoL (which I now know, following a week or so of watching youtube videos/shorts about the lore). Same with things like the Black Rose, which have their own deep mythology already established, apparently. That doesn't mean Arcane's creators get a pass to not develop or explain these things properly, in fact it's maybe the opposite. I think it highlights the fact they really needed more time to get from the end of Season 1 to where they wanted to end up. What I wll give them credit for, however, is how well they established these new versions of these characters, so that their already published histories felt like they were thrust upon them. I'd also include in that Vi becoming an enforcer - they gave Arcane Vi such a strong identity that even though she has Police Officer skins in game, it still felt strange seeing her become a cop. Side note though, being an underprivileged kid and having served jail time, fucking a cop inside a jail cell is absolutely insane behaviour. Great scene, just insane for a very ACAB character.


Storytelling
This is another thing that the series does exceptionally well! Of course, 'show, don't tell' isn't an absolute law of film and TV but the way Arcane tells its story visually without having to spell things out via dialogue is amazing. I'd even extend the phrase to 'show beyond what you need to tell', which the show does an incredible job of doing. One example of this that I loved was NewJinx heading back to the arcade in Season 1. It's a place of comfort and somewhere that will always be linked to Jinx's past - so we subconsciously get a sense of where she is mentally from that alone. But when we see her actually turn the boxing machine on, not only do we get a great action sequence with really strong, visually impactful poses, we get to learn that Jinx, unlike Powder, absolutely can fight. She's physically strong, she's quick and she's willing to get involved in combat. So that shows us how her character has developed during the time skip. But then the scene finishes with her completing the round on the machine and the scoreboard lighting up to show her high score - 2nd highest. She enters the 3 letters for her name slot but of course, the no. 1 spot, not illuminated, is taken up by none other than Vi. That confirms to us that although Jinx is now clearly an adept fighter, Vi would still beat her ass if it came to it. But beyond that, I think it showed that Vi was still dominating her thoughts and that she was still chasing after her. Especially since the entire sequence has cuts and flases of her memories of Vi. The whole passage also happens over the span of about 2 minutes. So we get such rich, engaging and visually pleasing story telling without wasting valuable screentime. That's pretty much consistent with the rest of the show.

In general, I'd say that the storytelling always keeps things visually interesting, so that even straightforward conversations are coupled with visual symbolism or at least atmospheric/quiet world building. They never leave you just looking at the same angle for long enough for it to become stagnant. The staging/framing is also excellent, especially when they draw parralells. For example, Jinx injecting Silco's eye comes across as such a domineering power play by Silco at first, as we see Jinx being incredibly delicate and precious in how she approaches him. But when she finds out Vi is still alive, this is completely flipped, so that it becomes an act of aggression and assertion from Jinx, to the point that it feels like Silco's life is in her hands as she holds the needle. Especially across season 1, it just felt like they kept finding great ways to do transitions and montages and it was always cool and visually pleasing. It may be a bit harsh to say but there were times in Season 2, however, where they leaned on the great storytelling a bit too much to try and bridge gapw left by the absence of some important story events. It was a bit frustrating, because they effectively found the most interesting way to cover up a lack of substance with literal style, where they actually used different animation and art styles to tell the story. Can't knock the storytelling for that, I guess it too was just complicit in the story falling short.

Something else I think the directing did amazingly well was having amazing, powerful, metaphorical and cinematic shots, which were story-relevant. One of the best ones, in my opinion, was Silco appearing in the lanes and holding out the vials of shimmer to the shimmer addicts, after they sold out Vi. It's a really cool shot, that frames Silco as being like a god to these people but really, it's more the case that they're at their lowest point. I would compare it to a similar shot in Batman v Superman, when Superman gets adoration from a bunch of people wearing Mexican Sugar Skulls. I'd say both are equally cool shots but in the Superman shot, these characters are not story relevant (they don't appear in any way outside of that shot and are not named or otherwise interacted with), whereas for Silco, this shot is used to give the viewer and Caitlyn/Vi a sense of despair, as they realise these people they had trusted (who are afflicted by Shimmer, one of the central plot points) are actually loyal to Silco (really their addiction), which makes their situation much more desperate. There were so many more shots like that, especially in season 1.

Also, incredible music, fantastic voice acting (and a stacked voice cast!) and an amazing, very well thought out world also support that brilliant storytelling.



Animation
Somehow, I'm speaking about animation last but I think it's all already been said by every other Arcane fan. The animation is absolutely stunning. I genuinely don't think there is a single project, big or small screen, that has such fluid and intentional movement of its character models. Even subtle movements and secondary actions, like eye movement and small smirks were done with great attention and care and added to that phenomenal storytelling. Of course, in addition to this we saw great shots, really strong poses (which were held for just long enough at the right times) and some really brilliant fight scenes. To be honest, after watching quite a few Netflix animated series/movies, I was astonished at the animation quality in Arcane. Of course, that's because it isn't quite a 'Netflix' series in the way that Nimona or The Sea Beast are Netflix movies, but Arcane blows everything else completely out of the water.

Arcane distinguishes itself stylistically through its painted textures, that all look incredible. There's no substitute or software solution for painting all of your props, models and backgrounds and these guys did it beautifully, to create a style that is distinct and clearly video-game-like, whilst never being too abstracted from reality to keep your sense of immersion. They also incorporated lots of different animation styles throughout the run. Most prominently was all of the hand-drawn effects animation. Somehow, this never looked out of place against the 3D modelled world and it was all done beautifully. As far as I could tell, it only ever needed to be straight-ahead animated, so I think the artists who got to work on it really were allowed a lot of freedom. So lots of details did end up looking really gorgeous, like explosions, smoke or even just a little bit of steam from a hot cup of tea. Really pretty. Then of course, there are the full sequences where they change styles entirely. Like Vander's memories being rendered in watercolour, which really added to the feeling of nostalgia and sadness. Or when they rendered Ekko's fight with Jinx on the bridge in a charcoal/stencil style - was clearly still modelled but again, the consideration and attention to render it in a different style amplified the impact of the sequence.
   
The animation is actually probably the only thing that doesn't dip in quality from season 1 to season 2 - in fact, it might even improve in the second half! When you get to these abstract and ethereal passages with Viktor, the animation (and overall concept) is really beautiful. I don't know if Sky in season 2 is her actual spirit or just an apparition summoned by Viktor's guilt (which is actually the kind of thing I don't mind being left to interpretation, because it's completely inconsequential to the story) but the way that the two of them look in this spectral dimension really takes you there as a viewer. They aso really stepped up the combat sequences for the war in the final episode, which was a lot of fun.


Conclusion
The more time I spend thinking about Arcane, the more I realise how well put together it was. It's definitely the kind of thing that people can write analysis and interpretations of for years and years into the future, and I personally can't wait to follow along with all of it. I know there's a whole bunch of symbolism and foreshadowing I missed! Sadly though, I think I'll always remember it as something that was astonishing and wonderful but didn't realise its full potential.

However, to finish off, I have to give massive props to the executives from Riot who decided to create this series and their overall approach and philosophy. Great story and great animation are not easy nor cheap to create. However, they made a clear decision that if they were going to create this show to draw new players to their game, they were going to do it in a way that honours the existing lore and creates a fantastic series that could stand and be brilliant on its own. I especially loved this quote from Marc Merrill, Chief Product Officer at Riot, in response to a question about Arcane's reported $250million budget:
"We're more than comfortable with the spend it took to deliver a show that was worthy of our players's time." 
That alone is enough to make this show great. Right now, most of what we see on our screens, especially in animation, is held back by companies and executives choosing lower costs over a perfect end product. To have someone give a piece of art this kind of backing and commitment is rare and commendable. So alongside anything else I might say, I will always consider Arcane legendary for the fact it was made for its fans and no one else.




Random Thoughts:
-Ambessa's mask design was so fucking cool. I'm sure they designed it to look like the face of a leopard, which is even cooler (although potentially kinda real Earth-centered).
-It should be noted that it's a huge win for the series to feature a prominent lesbian/sapphic/wlw couple between two of its major main characters (and do it so well!). This is something that absolutely should be celebrated, because it isn't the norm yet.
-Similarly, this is a series that included several incredibly well-developed and well written women characters, none of whom were tokenistic in any way. So again, the show's creators should get a lot of credit for that.
-Ambessa absolutely loves a Twink and that was both hilarious and relatable (and tbh good strorytelling still).
-I could have watched Ambessa kicking the shit out of Caitlyn and Mel all day, that was an amazing fight scene (I think I love Ambessa)
-It was very cool how they included character models for the band Imagine Dragons in the actuall meat of the show. Great service to them as artists.
-The more and more I find out about LoL, the more I appreciate how well they honoured the game through the series. E.g. Ekko specifically stating that his time skip tool could go back exactly 4 seconds is actually a nod to one of his in-game abilities
-Jayce and Vi teaming up to go and bust up the shimmer plant was a reall fucking cool scene.
-Shout out to FlowChartKen for loads of great LoL lore videos, which I've been watching since finishing the series. They've really helped give me a deeper appreciation of a lot of stuff. Also shout out to this other random video for catching the Vander-Warwick thing on the spot after season 1.
-Similar to the point about Vander being a coward, I really liked how Ekko ends up putting Heimerdinger to shame in the AU by being so adamant on getting back to their universe. Heimerdinger is so content to just forget his failures and hardships in the main universe and enjoy the paradise here but Ekko knows that he can't do that when so many people are relying on him back home. Similarly, it creates a parallel with Jayce's AU adventure, where Jayce had to fight through a nightmare to get back but Ekko had to make the more difficult choice to leave this perfect paradise and go back to hell. He's a legend for that.

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 Sea Beast (2022)

Director:Chris Williams
Writers: Chris Williams, Nell Banjamin
Studio: Netflix Animation, Sony Pictures Imageworks

Watched on: 22/01/2023

Review contains ***SPOILERS*** for The Sea Beast

Ratings:
OVERALL
NB: These are not weighted equally (if at all)
PlotStorytellingAnimationCharacters
66675


A pretty predictable family film that adjusts the formula just enough in terms of looking at society correctly but doesn't really deliver much in terms of story. It's cute and has some pretty impressive animation but overall, wouldn't say this is one anyone needs to rush to watch, nor do I imagine anyone considers it a classic. It's calm.

For me, the best thing about the story is its concept. It encourages us to question why we we wage wars, reflect on the harm we cause to animals and overall focus more on living a great life than dying a great death, as glorious and noble as it sounds. So it's a win on that front. But otherwise, the story is pretty boring and doesn't bring a lot of new stuff with it. I'd even say that its themes and settings are way too close to How to Train Your Dragon for it to even really be considered novel. I will say it starts off strong but kinda falls off from the fight with the Bluster onwards.

The story is a good one in principal but feels like it's missing its own story beats. Even for key parts of the story. Like Jacob and Maisie become the typical unlikely family but there aren't any moments when they really bond; you basically just get familiar with seeing them together because of sheer screentime. Practically nothing happens to convince Sarah Sharpe to act any differently to how she has for the last (presumably) 40+ years. Same thing for all the people in the fancy shmancy royal town. Why did they suddenly believe the word of this completely random kid instead of a lifetime's worth of propaganda? It would have been way more convincing if the beast had done something really extraordinary (and no, simply not attacking Captain Crow isn't extraordinary enough - not in nature and not even by significance on screen). With all of these significant events missing, it seems even stranger to have included the weird blood oath with the shaman lady, which had absolutely no impact on the story. Not the price to pay, not even the poison, really. Could have cut that out and actually shown all the other stuff.

The characters are pretty meh. Even the main characters seem to switch up with no real life-changing events. The side cast seems pretty cool but doesn't have much depth to it. Although I will give the film props for making the King and Queen look as ridiculous and pompous as they possibly could. Otherwise, even character designs are pretty standard. Nothing super distinctive or revolutionary going on and even the design for Red itself looked like it was a draft design yet to get the last touches. Legitly even made it hard to connect with the beast at times. Although the other beasts were pretty cool looking.

Animation was definitely very high quality in this film. The odd shot here or there seemed a bit uncanny but otherwise, from start to finish it's impressive. The ocean, complete with waves and foam, was so skillfully done! It even had the perfect level of transparency for you to be able to see the beasts beneath the surface or for them to do an over- and under-water shot in the same scene. Plus they had loads of different hair textures on all the human characters (Maisie's coils especially must have taken a lot of time and attention, because they had multiple shots of it dry and wet) and the various moving body parts of a handful of beasts. They even occasionally threw in a fight scene, which was nice and they were perfectly weighty and believable.

Storytelling is another one that was pretty good throughout. Nice clear shots with solid framing, sharp angles to emphasize size or force and lots of clear articulation of the many massive ocean encounters. Can't say they did anything revolutionary either but it was definitely good.

So yeah, happy to see Netflix pumping out animated features and not shying away from encouraging its audience to question those in power. But truthfully, not an amazing film by any means.

Vivo (2021)

Director: Kirk DeMicco
Writers: Quiara Alegría Hudes, Peter Barsocchini
Studio: Sony Pictures Animation

Watched on: 21/12/2021

Review contains ***SPOILERS*** for Vivo

Ratings:
OVERALL
NB: These are not weighted equally (if at all)
PlotStorytellingAnimationCharacters
65774


This film was a pleasant surprise. Not only did I have low expectations of it, I also paused it at about 10 minutes in (to go and do something) and was actually happy to just leave it at that. I was off for Christmas that week, so had plenty of time on my hands, so I did go back to it the next day and within the next 10 minutes, I was genuinely hooked back in. The rest of the film was then a bit underwhelming but all-in-all, a pretty solid family film.

The very first thing I noticed when I put this on was how the film achieved the effect of making the setting (in Havana) really feel like it was alive. It's something I noticed when I watched Coco and conversely, something I felt was lacking when I watched Glen Keane's 'Over the Moon' recently. The backgrounds and background characters moved and behaved in a way that felt settlingly real, as opposed to the kind of stagnant movement that reminds you that you're watching something that had to be animated piece by piece. Overall, the animation was fun and expressive and I'd say Sony did a really good job on the details and textures - I can't imagine generating kinkajou fur was an easy feat!

The majority of that pleasant surprise I mentioned earlier was in the directing. Lots of simple frames with basic symmetry etc. made the film pleasant to watch but the film also had a few really visually powerful moments, e.g. the fountain representing Vivo's tears at Andrés's death, the Florida swamps being used to make us feel lost and uncertain (any viewer with access to Netflix is likely far more comfortable in a City) and the music and background going completely silent and only Vivo's footsteps (not visual but still great directing). There were also some really great little visual comedy moments, like the bridge jump with the bike and also the set-up and let-down of them making the leap to the boat, which they brilliantly diffused by just making Gabi laugh about it. Also loved the little King Kong reference!

The story and characters were generally very surface-level, it has to be said. The plot (after those first 20 minutes) is literally just "need to do this thing", "have now done thing", with some pretty frivolous tasks in between. Like what was the point of the birds (spoonbills, Platalea ajaja) and the snake? If you took them out of the story, it still would have gone exactly the same. Ultimately, the end goal didn't move or change based on the events of the story. Maybe Gabi got closer to her mum a bit but even she didn't grow or change at all throughout the film, really. And again with Vivo himself, most his growth was done up front. And the whole lyrics vs. melody thing was pretttttty weak for me. I liked the last scene, which showed how they all live now and what they get up to after the move (which is all I ask from a lot of other movies). I did really like that Vivo got to carry on what he did with Andrés with his kin.

One thing I really really noticed, was along with my usual dislike of Lin-Manuel Miranda's approach to hip hop (which is blatantly that of an outsider to the genre in my opinion), I also noticed the guy really can't sing that well. I'd say he didn't even sing well enough for his part in this; at certain points you could hear he was out of his range. The songs were mostly not great but I think there were 1 or 2 I did like. The big song around which the entire story hinges was thoroughly underwhelming. I do also have to say, Coco did the whole song for a final memory thing and of course did it infinitely better.

All in all, a pleasant surprise but not much better than that. Animation was very nice though.

Encanto (2021)

Directors: Jared Bush, Byron Howard
Writers: Jared Bush, Byron Howard,Charise Castro Smith, Jason Hand, Nancy Kruse, Lin-Manuel Miranda
Studio: Walt Disney Pictures Walt Disney Animation Studios

First watch: 15/01/2022

Review contains ***SPOILERS*** for Encanto

Ratings:
OVERALL
NB: These are not weighted equally (if at all)
PlotStorytellingAnimationCharacters
76786


Such a great film with so many great messages and magical moments. I had so much fun (and cried a whole lot) watching it and it was visually incredible but it still has areas it could imporove in.

So yeah, visually it was so amazing. Walt Disney animation studios is never going to struggle in this department but like I always seem to notice in these 3D animated features, all the environments felt so alive, with extras and animals who all seemed to have truth in their movements and seemed to live and breathe completely independently of this story taking place. And of course, the magic, the decoration and the scenery in the settings made it feel super vibrant and made the whole film an incredibly pleasant experience. Colour does a lot. Also that super high Disney quality was there, to the point that you could see the baby hairs on Luisa's back when she flexed; those animators must have worked their arses off! One of my favourite bits to get completely lost in was the discovery of Antonio's room; what an absolute dream.

The visual storytelling also adds to the visual impact of the film. They did so many amazing things on screen to get points and feelings across. I really enjoyed moment's like the engagement dinner, where they did the Dwarves Thing: they had Camilo react to the news by shapeshifting into Mirabel then Bruno, then Félix (who has no powers) finds out and spits out his drink, then Pepa finds out and her expression drops as a thundercloud forms above her head. They also used a lot of that Golde Age super imagery for the songs (think 'I Just Can't Wait to Be King', with the cutaways to crazy scenes that are just for show). There was also a lot of visual metaphors, like cracks appearing and cacti amongst flowers.

The message of the film, I think, is probably more important than the story itself (although the story was authentically driven at all points - a big plus!). The message is what shapes the story and as the film progresses, that message becomes more and more obvious. The story does have a very solid foundation for delivering that message but I think some of the details, some of which might fall more under storytelling, could have been changed to improve the impact of that message (suggestions below). They put too much focus on some bits, not enough on others etc. Even another song or two could have helped shape the story and relationships between the characters a bit better. There were also lots of smaller messages in the film, which I think they executed brilliantly.

The best example of these mini-messages is Luisa basing her value as a person on her ability to provide a service to people. This was a really good way of reframing masculinity and a quite common trait in men; that said, it was maybe lost a litte because Luisa is a woman but on balance, Disney made the best decision they could with her character. With that message, the character needs gift of super strength and it would be all too in line with the current state of damaging gender roles to assign that to a man character. So Disney pretty much got the message across as best it could whilst also swimming against the current; I think they nailed it. Also, I'm glad they made Luisa visually very pretty and 'feminine'. That's another reason I think they nailed the decision of making her a woman, because they also showed that women can be feminine and also be buff. It was great. Other messages like not overextending yourself, understanding each other and not having to fit anyone else's mould were great too.

Characters were cool. I would have loved to have seen more of Luisa and Isabela but their whole character stories were great. More emphasis on their journies would have driven home the respective messages better, because it seemed as though they were of eqal importance to the cousins when story-wise, they weren't. Abuela is a little bit off-the-shelf and I regret to say that Mirabel wasn't exactly groundbreaking. But they all did their part and were relatable in the moments they needed to be. Antonio was a little King! I absolutely fucking loved him and he of course had the coolest gift. His little outfit on his gift day was also adorable. Character design, however, is top drawer. Everyone looks exactly like what their character embodies. Just looking at their character sheets would tell you everything you need to know about them. I think this can be seen the most clearly with hair textures. I don't know how the hell they did it but Isabela's hair literally looked like it was fresh out of a fancy salon, Mirabel's was a little messy and although I'd maybe withold the design=character comment with regards to Félix and his kids, they did a fantastic jobs with the afro hair textures! Also, well done to them for placing Félix into that family to give the film some solid afro latino representation. I'm not an expert on that but I was glad to see it.

Regarding the animation, there isn't much to say. It's Disney, it's the gold standard. Of course it was expressive, weighty and perfectly stylised.

Highly recommend this film to anyone at all but especially people looking for a family film to please a crowd with mixed ages.


Now, things they could have added to make the film even better: -More moments between the sisters before they sing their songs. Their songs are where we only first get to meet them properly in my opinion, but their songs are where they start to develop. Essentially they get development with not enough exposition. Of course we get told about them and shown them using their gifts briefly but that's more just an idea of them, rather than actually who they are. Maybe a song between the 3 sistsers, maybe even some backstory about how close they used to be! That would also clarify that the 3 of them are the drivers of the story. It felt completely random when Bruno's new vision was for Mirabel and Isabela to hug. Because Isabela was just not in the story. -Spending a just a tiny bit longer (literally like 45 seconds) emphasising how the sisters use their gifts now and that the true gifts are each other and themselves. They did do this but it was only about 5 seconds each, which just wasn't enough for me. I wouldn't even have minded if they did a bit of telling here.
-Similarly, we could have had Abuela really clearly showing (or telling) that the real gift is each other. She could have literally put the candle out herself to show it (and there could have been some kind of plot device, like a candle snuffer that we saw but didn't know the purpose of). -They could also have had the Casita and the Candle be gone forever to really drive home the message. As I always say, if outcomes can just be undone, then all the actions that led to them become inconsequential. But it's a family movie, so it's for kids too - I get why they didn't do that. -GIVE MIRABEL A ROOM!! So Brutal we didn't even see that lol. She doesn't get a 'gift', which was really good of them to stick to, but she so could have been given a door. Is she just going to spend the rest of her life in the nursery watching a revolving door of toddlers go by?
-That said, I'd have liked to see what Mirabel's life looks like after the movie. Luisa and Isabela have this renewed outlook on life and now provide for people without compromising on themselves, but what does Mirabel do? Does she just pure chill out?
-Some of the gender roles could have been improved. Like if Mirabel's mum were her dad instead, it would have been nice to see a man who heals people with food and a lovely wife who's super sweet.
-Lastly, the whole way through the film, I though Mirabel's parents didn't back her enough. To the point it felt unsettling. In the context of the film, it really would have made sense for her parents to back her up and believe her and believe in her constantly. Felt wrong to watch and also in my opinion, would have sent Mirabel over the edge actually.