Showing posts with label Family. Show all posts
Showing posts with label Family. Show all posts

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.

Sinbad: Legend of the Seven Seas (2003)

Director: Tim Johnson, Patrick Gilmore
Writers: John Logan
Studio: Dreamworks Animation
Watched on: 19/02/2023

Review contains ***SPOILERS*** for Sinbad: Legend of the Seven Seas

Ratings:
OVERALL
NB: These are not weighted equally (if at all)
PlotStorytellingAnimationCharacters
76776


Sinbad. Pretty cool film. Obviously not perfect but that's what the state of the audience and the industry was at the time. But overall, a really great, very fun film. Has the typical romance storyline that ruins most fun films but it's just brief enough to ignore. But almost everything else was well done, executed nicely and came together for a solid end product. So the first thing to talk about is Eris and her amazing character acting. The way she flows in and out of states of being, from place to place, glides through the shadows, all of that comes together to make her an incredibly likable villain. I honestly think if they had gone all out with some chilling, creepy music, she would definitely have given kids nightmares. Naturally, it follows that the animation in this film is wonderful - for the most part. Right from the start, the film has really well animated (and choreographed and framed) action sequences. The very first fight scenes of Sinbad and then Proteus fighting multiple guys at the same time were excellent. It was a little bit disappointing that there was then nothing like that afterwards. But overall, the 2D animation was fluid and fun. And typical of the time, they included a loveable and very expressive pet companion. Which shows they absolutely had the capability to do the same for Eris's massive mythical beasts; unfortunately they didn't. Just like Treasure Planet, the early CG creatures have aged poorly. Fair enough, they were pushing boundaries for the medium but I can't say it looked good most of the time. What I can say though, is that it worked really well for when the beasts were in Eris's realm and their bodies were these ethereal, galaxy substances. Wasn't executed perfectly but definitely much better in concept than the normal creatures. So yeah, solid animation overall. The characters in the film are definitely a mixed bag. Obviously we have different views on gender and stuff now but as mentioned, the main female character, Marina, has a pretty stereotypical woman character's journey and is of course, mainly a love interest to the two main men in the movie. Fine, it's based on an old folk tale but I'm just as critical of the source tbh. Marina is a cool character with a lot of agency over herself and to be fair, her main character trait of wanting to explore the world does make the annoying little lovel triangle have a sensible resolution. Proteus is a very likeable character and does the honorable thing of letting a woman make a choice, which is pretty cool. Eris is fantastic but the rest are just kinda nothing.

The plot is nice and straightforward. All the trials and tribulations faced by the gang are actually created by the villain, so there isn't really any genuine conflict nor challenge but it serves its purpose of driving us through all the cool settings they want us to see. (Side note, the design of Republic City (it was actually called Syracuse lmao) was pretty sick). No major complaints, aside from the fake paradox of Eris's final gambit. Think the writers probably all knew that was a weak ending.

Storytelling was pretty strong. Lots of ideas communicated visually and some cool shots, especially in the action and chase scenes. I'm giving it a 7, although it's now been over 7 months since I watched it, so it's probably getting the benefit of the doubt because I found the film so fun.

In conclusion, yes I do consider this film to have massive value from an animation perspective and I think it's really cool in a similar way to Treasure Planet (does fall short though). However the lack of substance probably explains why this is more of a cult classic than just a classic. Glad I've seen it now/

Anstasia (1997)

Director: Don Bluth, Gary Goldman
Studio: Fox Animation Studios

Watched on: 11/09/2023

Review contains ***SPOILERS*** for Anastasia

Ratings:
OVERALL
NB: These are not weighted equally (if at all)
PlotStorytellingAnimationCharacters
74576



Watching Anastasia properly for the first time (I'm sure the VHS got played in the background at my cousin's house many times through my childhood), I realised it's no wonder at all why the film did so well. It's magical, it's pretty and it rode the princess wave of the time incredibly well. I did find it a little bit strange to see an American depiction of Russia but obviously it's based around some real people. Also I don't know enough about history to say why it was nuts but the evil arch-wizard being called Rasputin did feel weird coming out of an American studio as well. Maybe it was just a common name in Russia, historically. Anyway, the film is really lovely and I'd highly recommend it to nostalgic milennials and anyone who likes a gorgeous setting.

That's actually where I have to start: the background art/design for the entire film was absolutely stunning. And I have to say it's the art and the design, because the backgrounds are so beautifully made, but the conception of the grand palace and it's massive halls make up a big part of how good it looks on screen. The filmmakers also did a great job of (what I think was) using contemporary Russian art and stylings in the film; my favourite example of this was the family portrait hanging up in the palace, with little baby Anastasia in it. The fancy balls felt magical and even some of the settings that only appear for a scene or two (like the European countryside, or even the view from under a tablecloth!) are really beautifully done. Even Paris! I loved how they styled everyone in the city and captured the idea of boujie paris so well and even topped it off with a fun little song.



Seriously, look how pretty these backgrounds are






Overall, the animation is really good. Nothing incredibly unique nor innovative but fantastic traditional animation, done the right way. Really great character acting and a great balance of exaggeration and realism (i.e. leaning heavily towards exaggeration) and although they went for a really sparse and simple approach with the line art (especially for faces), they still captured lost of details, like rolled-up sleeves, fur coats etc. One thing that really stood out to me was that they really did not shy away from animating hands. There were loads of complicated hand gestures, characters fiddling with props etc. and it all looked amazing. Also ther was a bit of CG stuff but that looked fine (not sure if it's remastered on Disney Plus or what but no real issues there). So yeah, great animation, as you'd expect from a Don Bluth classic.

The story is a bit odd. It works fine as a vehicle to carry you through the scenes and let the characters get into their songs. But it is a bit of a straight line. They want to do something, they try to do it, then something gets in the way, then they do it anyway. I totally get that this is a kids film though and actually aimed at an audience that had a totally different relationship to the screen to what kids have today but they definitely could have made the story a bit more interesting.

That also ties into the storytelling. And here, I just mean storytelling, so not even just visual storytelling. So firstly, we as the viewer know that 'Ania' is Anastasia, the lost Princess. So there's no curiosity and no tension. But then the film acts like we're all discovering her true identity together. So moments where she 'uncovers' things that suggest she might be the Princess just have no impact. Story-wise, I reckon it would be way more impactful to have us start the film in the orphanage and learn about the lost Princess slowly throughout the story as Ania goes out to find herself, but I actually get why they did it the other way, because it allowed for that amazing opening royal ball sequence. So yeah, odd way to literally tell the story but the visual storytelling was okay. Got the job done, nothing really striking and mostly pretty obvious. But no complaints.

The characters are pretty good. I think all of their designs are really brilliant, especially within that era. They might not all get the screentime they need to talk about the complex lives they'd had to live in post-Tsar Russia but they all had a tiny bit of depth to them. Like it would have been really easy to have Grand Duchess be jumping for joy when they arrived in Paris to meet her but instead, she was emotionally exhausted and combative. Dimitri is principled but also slimy, Anastasia is smart but self-aware and interesting (those two have that classic 'fiery' teen romance but can't hate on that too much). I even liked characters with small parts, like Sophie. Oh and Rasputin himself. Dark bastard he is. Whoever his key animator was did an amazing job. He's got that real sinister streak but also the quite funny dramatic flair. Thought he was excellent.

On a side note, two quick things about Rasputin's white bat sidekick, Bartok: 1.) I think Hank Azaria did pretty badly at his attempted Russian Accent, which came out sounding more like parody Dutch. 2.) The very last shot has a 'female' bat appear and woo Bartok and it was just such a weird unnecessary moment that shows some pretty standard deeply ingrained sexism in animation, with the female bat needing to be shown to be visibly female, so they obviously gave her massive eyelashes but then also pink fur (which is extra bizarre, because Bartok is presumably supposed to be Albino, so she's either also albino with eye shadow all over herself or like... erythristic?).

So overall, the film's pretty much what I expected. Really wonderful and pretty with not the best story but deservedly earned itself a spot as a classic.



One thing I almost forgot: Fuck me, that sleepwalking on the boat scene is insanely morbid! Definitely think that was a bit too far but it was very cool visually at least.

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.