Kung Fu Panda 3 (2016)

2016 #176
Jennifer Yuh Nelson & Alessandro Carloni | 95 mins | Blu-ray | 2.35:1 | USA & China / English | PG / PG

Kung Fu Panda 3Po and co are back in a movie that bucks the sequel trend by being perhaps the best Kung Fu Panda yet.

The two-pronged plot sees Po (Jack Black) finally meet his birth father (Bryan Cranston), while evil warrior Kai (J.K. Simmons) breaks out of the afterlife to hunt down the Dragon Warrior, putting Po’s new-found community in harm’s way.

After the occasionally muddled second film (which I felt improved a little with repeated viewings, at least), KFP3 sets the legendary adventures of awesomeness back on track with an appealing mix of humour, action, and moral lessons for kiddies and adult viewers alike. It keeps things focused and pacey, running just 83 minutes before credits, as well as maintaining the series’ typically stunning animation, which is just as polished whether creating epic scenery or up-close physical combat.

It’s also particularly satisfying when watched alongside its forerunners: it feels like Po’s story has come full circle, with the film linking in and wrapping up plot points from the first movie (as well as resolving things from the second). Reportedly DreamWorks have three more Kung Fu Panda films planned, but at this point it feels like a completed trilogy.

A downside for UK viewers, though: our localised soundtrack replaces the voices of two palace geese with members of the Vamps, who are a popular music combo, apparently. Wow. Aside from the underwhelmingness of the ‘famous’ guest voices, they’re appalling actors. They only have about three lines between them and they’re still terrible. To rub salt in the wound, some ‘clever’ disc coding means that if you have a Region B Blu-ray player this soundtrack is completely unavoidable, even if you import. Poor region-locked people. Family resemblanceI hope for humanity’s sake the version on Sky Cinema retains the original voices.

There are very few threequels that can lay claim to being a series’ best entry. Whether KFP3 actually tops the original or not is debatable, but it at least feels like a course correction after the somewhat disappointing first sequel.

4 out of 5

Kung Fu Panda 3 is available on Sky Cinema from today, screening on Premiere at 1:40pm and 7:15pm.

Wizardhood (2016)

2016 #186
edited by Tim Stiefler | 78 mins | download (HD) | 2.35:1 | UK & USA / English

WizardhoodAt the tail end of last month, a story did the rounds on entertainment sites about a fan edit that took the eight-film, 20-hour Harry Potter series and reduced it into a single movie that ran just 78 minutes — a reduction of over 93%. You see stories about these kind of fan edits all the time (or you do if you read certain sites, anyway), but I usually don’t get round to watching them. I mean, who has time for a dozens-of-hours supercut that puts every piece of footage from every Marvel movie (and short) into chronological order, or whatever? But as I was off to Harry Potter Land — and as it’s less than an hour-and-a-half long — I did make time for Wizardhood (like Boyhood, see?)

(I did debate whether this merited a new number, because it’s a fan edit of other people’s movies; but it’s such a radical restructuring of that material, and (as I’ll come to in a moment) it’s designed to function as a film rather than as a long video summary, so I’ve decided it does count, as would any official major re-edit.)

So how exactly do you go about making such a huge reduction? Is it just a really, really long “previously on”-style montage? No, thank goodness, it isn’t. What editor Tim Stiefler (a 27-year-old New Yorker, if you’re interested) has produced is less an abridgement and more a complete retelling of the Potter story. His cut doesn’t even attempt to tell whole swathes of the story, instead ditching them entirely. Stiefler has clearly tried to make a film out of this material, not just a long précis of the story. That means we don’t just get a series of vital scenes that further the plot. Instead, moments are allowed to play out a bit to convey their emotional impact or their humour. He’s even selected a couple of the series’ many action sequences, presumably based on the points in his cut that benefit from that adrenaline boost — just as you would if you were pacing a ‘real’ film.

Harry Potter and the Streamlined StoryWizardhood focuses in on the main narrative of Harry vs Voldemort, and the need to destroy the Horcruxes. In practice, that means there’s a chunk of Film 1 to establish the world, followed by cursory scenes from Films 2, 3, 4 and 5, mainly for texture and pace, before great chunks of Films 6, 7 and 8 are used to complete the narrative. In the process it also focuses on certain characters. It’s centred around Harry, Ron and Hermione, obviously. The latter two are only really there because they’re always around Harry, although Stiefler makes a decent subplot out of their relationship. Also retaining much of their storylines are Dumbledore and Snape, who both have primary roles in Harry’s story. Draco Malfoy and Neville Longbottom get subplots, again mainly because they have vital roles to play in the main tale. There are a couple of scenes featuring major players like McGonagall, Hagrid, Ginny, and Umbridge, but otherwise every major character is cut: the Dursleys and Sirius Black don’t even appear; the likes of Lupin and Mrs Weasley are in a shot or two without any dialogue; and so on (I’m not going to list everyone!)

It’s a little hard to say how Wizardhood works as a standalone movie, because if you’ve seen all eight films in full then your brain can fill in the gaps. That said, it does seem fairly smooth. It’s so efficiently and cleverly edited that there are barely any lines or moments that aren’t relevant to the version of the story it’s telling, and the excised stuff is so thoroughly removed that you kind of don’t miss it. It’s not the ideal way to view the Harry Potter saga — it loses so much of the texture, the plot, the characters — but as an exercise in telling the series’ primary conflict in a single-film-length way, it’s an impressive piece of work.

4 out of 5

The full Harry Potter series is on ITV daily from Christmas Eve to New Year’s Eve, beginning with Philosopher’s Stone today at 1:30pm. If you want to see Wizardhood, you’ll have to go looking

Who Framed Roger Rabbit (1988)

100 Films’ 100 Favourites #97

It’s the story of a man, a woman,
and a rabbit in a triangle of trouble.

Country: USA
Language: English
Runtime: 104 minutes
BBFC: PG
MPAA: PG

Original Release: 22nd June 1988 (USA)
UK Release: 2nd December 1988
First Seen: VHS, c.1991

Stars
Bob Hoskins (The Long Good Friday, Super Mario Bros.)
Christopher Lloyd (Back to the Future, Addams Family Values)
Charles Fleischer (A Nightmare on Elm Street, Gridlock’d)
Kathleen Turner (Romancing the Stone, The Virgin Suicides)

Director
Robert Zemeckis (Back to the Future, Beowulf)

Screenwriters
Jeffrey Price (Doc Hollywood, Dr. Seuss’ How the Grinch Stole Christmas)
Peter S. Seaman (Wild Wild West, Shrek the Third)

Based on
Who Censored Roger Rabbit?, a novel by Gary K. Wolf.

Animation Director
Richard Williams (Raggedy Ann & Andy: A Musical Adventure, The Thief and the Cobbler)

The Story
When cartoon movie superstar Roger Rabbit is accused of murder, rundown private detective Eddie Valiant overcomes his dislike of toons to take the case — which masks a much bigger conspiracy…

Our Heroes
Eddie Valiant is an alcoholic Hollywood PI who used to work high-profile cases involving toons, but now dislikes them because one killed his brother. Nonetheless, an innate sense of justice (and a pair of handcuffs) brings him to the aid of Roger Rabbit, the manic major cartoon star who’s accused of murder and on the run for his life.

Our Villain
The cheerily named Judge Doom, the sinister and literally-black-hatted judge responsible for Toontown who has developed a special substance especially for killing toons, called “Dip”. Very keen to introduce Roger to it.

Best Supporting Character
Jessica Rabbit, Roger’s human (well, cartoon human) wife. A slinky, sexy, 2D femme fatale, she’s the cartoon character even people who aren’t attracted to cartoon characters are attracted to.

Memorable Quote
“I’m not bad, I’m just drawn that way.” — Jessica Rabbit

Memorable Scene
When Judge Doom and his henchmen discover Roger in hiding, he and Eddie escape in a cab — an anthropomorphic toon cab called Benny. Cue a chase involving a real human in a cartoon vehicle, which exemplifies the film’s technical chutzpah.

Technical Wizardry
The whole film is a technical marvel, what with many of the lead characters being created in 2D animation integrated into live-action footage. What’s even more impressive is that they’re 2D characters who exist convincingly within a 3D space. Production went to a lot of effort to pull this off, including using life-size models on set. (And if you need proof of how hard it is to do right, watch Cool World.) In total, 326 animators worked full-time on the film, drawing and painting 82,080 frames of animation. Animation director Richard Williams estimates that, after including storyboards and concept art, well over a million drawings were completed for the film.

Making of
With a production budget estimated at $70 million, Roger Rabbit was the most expensive film produced in the ’80s. Animation is expensive, of course, and the team were dedicated: when Eddie takes Roger Rabbit into the backroom of the bar to cut the handcuffs, the ceiling lamp is bumped and swings around, meaning lots of work for the animators to match the shadows between the live-action footage and the animation — something most viewers aren’t even going to notice, at least not consciously. Apparently “bump the lamp” has since become a term used by Disney employees to mean going the extra mile to make something special even when most viewers won’t notice.

Next time…
Three short animations starring Roger Rabbit were made to promote the film and screened with other movies (they’re all available on the DVD/Blu-ray release). Although the original book is very different (and therefore any sequels to it are presumably unlikely to provide suitable movie material), Gary K. Wolf has nonetheless penned two follow-ups: 1991’s Who P-P-P-Plugged Roger Rabbit? and 2014’s Who Wacked Roger Rabbit? Talk of a movie sequel has occurred ever since the original film was a hit — J.J. Abrams met with Spielberg in 1989 to work on an outline and storyboards, for example. Nat Mauldin wrote a prequel titled Roger Rabbit: The Toon Platoon, about Roger and his animated friends having to rescue Jessica from the Nazis in 1941, but Spielberg decided he couldn’t satirise the Nazis after directing Schindler’s List. Retitled Who Discovered Roger Rabbit, the screenplay was reworked to cover Roger’s rise to fame on Broadway. That version got quite far: Alan Menken wrote five songs and test footage was shot that mixed live-action, traditional animation and CGI, but it was abandoned when the budget spiralled over $100 million. Nonetheless, various people involved have expressed their interest ever since, with numerous scripts supposedly in the works. Even Bob Hoskins’ death hasn’t stopped such talk, though it seems to have led to a definite focus on any follow-up being a prequel.

Awards
4 Oscars (Editing, Sound Effects Editing, Visual Effects, Special Achievement Award to Richard Williams for “animation direction and creation of the cartoon characters”)
3 Oscar nomination (Cinematography, Art Direction-Set Decoration, Sound)
1 BAFTA (Special Effects)
4 BAFTA nominations (Adapted Screenplay, Cinematography, Editing, Production Design)
1 Annie Award (Technical Achievement)
3 Saturn Awards (Fantasy Film, Director, Special Effects)
5 Saturn nominations (Actor (Bob Hoskins), Supporting Actor (Christopher Lloyd), Supporting Actress (Joanna Cassidy), Writing, Music)
Won the Hugo for Best Dramatic Presentation

What the Critics Said
“This splendidly entertaining film, which craftily combines live action with cartoon animation, […] is an absolutely new and novel motion-picture concept. Illusion on the big screen has never been better executed or more uproarious in effect. Assuming you can withstand the laughs during the first 10 minutes of the film — with its dazzling, breakneck animated sequence and introduction of the goofy star, Roger — then brace yourself; you`re in for the ride of your life, disbelieving all you will see and hear.” — Roger Hurlburt, Sun Sentinel

Score: 97%

What the Public Say
Who Framed Roger Rabbit is not a children’s film; it’s too noir for that; there’s scenes of drinking, smoking, sexual intrigue and murder. The strong animated aspect, however, draws children into the film and these dark overtones engage them in a completely different way. That’s one of the things that’s so special about Roger Rabbit; you feel as if you’re watching a film made for an adult audience using elements that appeal to one’s more childish side. The USA and UK ratings of the film are a PG, so younger audiences can still watch. However, the twisting noir-esque plot focusing on Judge Doom’s attempt to destroy The Red Car trolley service and ToonTown in order to build a freeway can be hard enough for adults to follow. […] This is why the film works so well; everyone is committed and the characters show no awareness that they’re in a PG rated noir with elements of comedy; they commit as if they are in a 1940s, life-or-death, grown-up movie.” — queenieem, the6fingeredblog

Verdict

“Effects movies” used to mean lots of model work and now of course means non-stop wall-to-wall CGI, but you could also apply it to Roger Rabbit, considering the monumental effort involved in animating half the cast, not to mention props and locations. But that would undersell it, because while the technical achievement remains impressive today (bearing in mind the limitations of the time) it’s all in service of the characters and the story. Even as you marvel at the visuals, you’re engrossed by the mystery and kept amused by the gags, including clever and witty references to cartoons and film noir.

I’ve always liked Roger Rabbit, but I re-watched it recently for this project and discovered I really love it. I think it’s underrated, even — it’s a masterpiece.

#98 will be… the beginnings of another stage of human evolution.

Toy Story 2 (1999)

100 Films’ 100 Favourites #93

The toys are back!

Country: USA
Language: English
Runtime: 92 minutes
BBFC: U
MPAA: G

Original Release: 24th November 1999 (USA)
UK Release: 11th February 2000
First Seen: cinema, 2000

Stars
Tom Hanks (Apollo 13, The Da Vinci Code)
Tim Allen (Jungle 2 Jungle, Wild Hogs)
Joan Cusack (Addams Family Values, School of Rock)
Kelsey Grammer (Anastasia, X-Men: The Last Stand)

Director
John Lasseter (Toy Story, Cars 2)

Co-directors
Ash Brannon (Surf’s Up, Rock Dog)
Lee Unkrich (Finding Nemo, Toy Story 3)

Screenwriters
Andrew Stanton (Monsters, Inc., WALL·E)
Rita Hsiao (Mulan, My Little Pony: The Movie)
Doug Chamberlin (Bruno the Kid: The Animated Movie)
Chris Webb (Bruno the Kid: The Animated Movie)

Story by
John Lasseter (A Bug’s Life, Tinker Bell and the Pirate Fairy)
Pete Docter (Toy Story, Inside Out)
Ash Brannon (Surf’s Up, Rock Dog)
Andrew Stanton (Toy Story, Finding Dory)

The Story
After Woody is stolen by a nefarious toy collector, the rest of the toys set out to rescue him — but, tempted by the idea of spending eternity in a museum with friends from his TV show, does Woody want to be saved?

Our Heroes
Buzz and Woody are back, and now the best of friends. This time, Woody is confronted with his past when he meets a gang of other toys from the TV series he starred in, but will he stay with them or return to Andy? Meanwhile, Buzz sets out to rescue Woody, but has issues of his own to tackle when he comes face to face with his nemesis, Emperor Zurg.

Our Villain
Al McWhiggin, the owner of Al’s Toy Barn and serious toy collector, who steals Woody when he’s accidentally put in a yard sale box.

Best Supporting Character
Jessie, a cowgirl from Woody’s TV show. Fundamentally an excitable and chipper character, she was left distraught after being abandoned by her owner, and is now scared of being put back in storage — which will happen if Woody isn’t part of Al’s collection.

Memorable Quote
“You never forget kids like Emily, or Andy, but they forget you.” — Jessie

Memorable Scene
On their hunt for Woody, the other toys explore a giant toy emporium, in which Buzz comes across an aisle filled with fellow Buzzes. Spotting one with a new utility belt, he tries to acquire the accessory, only to awaken his double…

Making of
Toy Story 2 was originally commissioned by Disney as a direct-to-video sequel, because they did that a lot back then, and went into production without Pixar’s primary staff, who were already busy creating A Bug’s Life. When early work looked promising, Disney bumped the project’s status up to a full theatrical release. Conversely, Pixar were unhappy with the quality of what they were seeing. The main team took charge, redeveloping the film’s entire story in a single weekend, but still had to meet the release date Disney had already set. Although most Pixar films take years to produce, the production of Toy Story 2 was compressed into just nine months. The pressure got to people: at one point someone accidentally deleted 90% of the film’s files, representing two years work. Fortunately, another crew member working at home had back-ups of all but the last few days’ work.

Previously on…
The original Toy Story was the first computer-animated feature film.

Next time…
Toy Story 3 followed 11 years later, with Toy Story 4 set to come 9 years after that. Also shorts, TV specials, and the Buzz Lightyear spin-off (see last time).

Awards
1 Oscar nomination (Song)
7 Annie Awards (Animated Feature, Directing, Writing, Female Voice Acting (Joan Cusack), Male Voice Acting (Tim Allen), Music, Storyboarding)
2 Annie Awards nominations (Character Animation, Production Design)
2 Saturn nominations (Fantasy Film, Music)
1 Teen Choice Awards nomination (Choice Hissy Fit)

What the Critics Said
Toy Story 2 is a brilliant example of that rarest of Hollywood phenomena — a sequel to a major hit film that’s as good, if not better, than the original. This is mainly the result of a perfect mixture of two essential elements. First, there’s an excellent script by Andrew Stanton and his team of writers […] Second, there’s the remarkable technology developed by Pixar for the film A Bug’s Life. It’s this approach they’ve now taken to even greater heights […] These filmmakers have taken the 1995 characters and given them more depth, creating a new story that lets the toys interact in a larger world. It all comes down to amazing visuals and basic storytelling — and this is one heck of a good tale.” — Paul Clinton, CNN

Score: 100%

What the Public Say
Toy Story 2 is considered, by most, to be a perfect film. The characters are amazing. The stakes are higher than the first film. And the emotional beats hit harder than before. With two successes under their belt, it’s hard to believe that Pixar could not only be consistent with that quality, but somehow also manage to pull off something even more amazing than we thought possible. Expanding the mythology of this world and really making us feel for the toys that we forgot as children, Toy Story 2 is, in the words of Mary Poppins, practically perfect in every way.” — Jaysen Headley, Jaysen Headley Writes

Verdict

Sequels are notorious for not being as good as their progenitor. I feel like this is a trend that is increasingly being bucked — with everything Hollywood makes designed to be a franchise, Film 1 is often about setup and Film 2 is where the makers are allowed to do what they really wanted to do in the first place. But when you strike gold first time out, it’s still hard to do it justice second time round. Pixar do that and more here, with a sequel that is slicker, funnier, more exciting, and more emotional than its forebear. Even if it’s happening more often now, good sequels are still hard to do — trust Pixar to have got there ahead of the pack.

#94 will be… transportive.

The Good Dinosaur (2015)

2016 #130
Peter Sohn | 90 mins | streaming (HD) | 2.35:1 | USA / English | PG / PG

The Good DinosaurOnce upon a time, Pixar could do no wrong. Then Cars happened; and worse, its sequel. Now, their movies remain an event, and some people still swear by everything they do, but I think there’s a greater awareness that they’re fallible. When it came out at the tail end of 2015, The Good Dinosaur was received as further evidence of that. Especially coming in the same year that gave us the universally praised (*coughoverratedcough*) Inside Out, it was instantaneously dubbed a “lesser Pixar”. But here is where completism has its merits, because I really enjoyed it.

Set in an alternate world where the dinosaurs were never wiped out and so have evolved to the point where they talk, farm, etc, the film tells the story of little Arlo, an Apatosaurus who’s regularly overshadowed by his siblings. When an accident leaves him stranded many miles from his family he must make the long trek home, finding his inner courage on the way ‘n’ that kind of thing.

There’s no denying that The Good Dinosaur contains an abundance of re-heated elements: there are multiple plot beats shared with The Land Before Time, not to mention the general “talking child dinosaurs” thing; a major inciting incident is taken from The Lion King; the episodic structure is reminiscent of The Jungle Book; animated dinosaurs on photo-real backgrounds recalls Dinosaur; and the moral message and main character arc are lifted from any number of children’s animations. While I did find this bothersome at first — especially as the worst offenders are concentrated in the saccharine first act — by the time the film had settled into its meandering middle I came to quite like it.

MalickianPixar have on several occasions produced films with an innovative opening act that descends into derivative kids’ animation runaround territory. WALL-E and Up are the worst offenders for this; Inside Out does it too, though there’s more of a mix of the two throughout the film. For many critics and viewers, the quality of those openings seem to be enough to earn the films heaps of praise. The Good Dinosaur inverts the formula: the easy, overfamiliar material is at the start, while the more meditative, mature content comes later. Clearly this didn’t work for many viewers, so I guess the lesson for Pixar is to put the clever stuff up front if they want universal praise.

Instead, The Good Dinosaur was often dismissed as only being for very young children. Some bits do come over that way, but it has quite a harsh edge at times, and the scene where the heroes get high on rotten fermented fruit is freaky even for adults (or this adult, at any rate). It’s a bit of a tonal oddity in this respect, especially when you also factor in some of the leisurely, silent moments spent admiring nature that evoke a filmmaker like Terrence Malick. No, seriously. That’s helped by the animation being mind-blowingly good. Not so much the character animation (which is still strong — the character models are more detailed than you first suspect), but the scenery those characters are placed in… wow. If you didn’t know better I’m sure much of it could pass for photography. And the way they’ve achieved water, a notoriously hard thing to capture in CGI, is absolutely incredible.

You've got a friend in mePerhaps most powerful of all is the relationship it creates between Arlo and a young human child he befriends, Spot. With humanity in a much earlier state of evolution, Spot is basically characterised as a dog — the way he moves, comes to his name, follows scents, shakes, scratches and enjoys being scratched, and so on — so of course I warmed to him. Nonetheless, though the building blocks used to create their friendship are very familiar, the way the film sells its emotional arc is ultimately immensely effective. Its resolution may even bring a tear to the eye.

While it may take a while to warm up, The Good Dinosaur is ultimately a very affecting entry in Pixar’s canon. It’s by no means a perfect movie, but I do think it’s an underrated one. And, in all honesty, I enjoyed it more than Inside Out.

4 out of 5

Toy Story (1995)

100 Films’ 100 Favourites #92

The toys are back in town.

Country: USA
Language: English
Runtime: 81 minutes
BBFC: PG
MPAA: G

Original Release: 22nd November 1995 (USA)
UK Release: 22nd March 1996
First Seen: cinema, 1996

Stars
Tom Hanks (Sleepless in Seattle, Catch Me If You Can)
Tim Allen (Galaxy Quest, The Shaggy Dog)

Director
John Lasseter (A Bug’s Life, Cars)

Screenwriters
Joss Whedon (Alien Resurrection, Avengers: Age of Ultron)
Andrew Stanton (A Bug’s Life, John Carter)
Joel Cohen (Cheaper by the Dozen, Garfield)
Alec Sokolow (Cheaper by the Dozen, Garfield: A Tale of Two Kitties)

Story by
John Lasseter (Toy Story 2, Planes)
Pete Docter (Monsters, Inc., Up)
Andrew Stanton (Finding Nemo, Toy Story 3)
Joe Ranft (Beauty and the Beast, Cars)

The Story
In a world where toys come to life when humans aren’t around, Woody is six-year-old Andy’s favourite doll… until he gets Buzz Lightyear, a space ranger action figure, for his birthday. An upset Woody clashes with Buzz, but when the bickering pair are left behind during a house move they must work together to get back to their kid.

Our Heroes
Woody is a cowboy doll, the favourite of his kid, Andy, and consequently the leader of all Andy’s toys. That is until Andy gets a shiny new Buzz Lightyear action figure, whose newness ingratiates him with all the other toys. Plus, to Woody’s continued annoyance, Buzz believes he really is a space ranger and has no idea he’s just a toy.

Our Villain
Sid, Andy’s nasty neighbour kid who does terrible, terrible things to toys…

Best Supporting Character
Mr Potato Head, whose various body parts are slotted on and therefore removable and interchangeable. Hilarity ensues. Also has a nice line in snarky comments.

Memorable Quote
“To infinity, and beyond!” — Buzz Lightyear

Quote Most Likely To Be Used in Everyday Conversation
“You are a sad, strange little man, and you have my pity.” — Buzz Lightyear

Memorable Scene
One of Buzz’s claims as a real space ranger is that he can fly, so Woody challenges him to prove it. Buzz closes his eyes, dives off the bed… and, through a series of flukes, bounces and coasts his way around the room, landing back on the bed. “That wasn’t flying,” cries Woody, “that was falling with style!”

Memorable Song
The film’s themes are perfectly reflected in Randy Newman’s Oscar-nominated and endlessly catchy song, You’ve Got a Friend in Me. Both Toy Story sequels have tried to emulate it, with… less success.

Technical Wizardry
Only the whole movie — it was the first feature-length wholly-computer-generated animated film. As such, we have it to thank/blame for the current entire state of popular Western animation.

Making of
The animators perfected the movement of the toy soldiers by nailing a pair of shoes to a wooden plank and trying to walk around in them.

Previously on…
Toy Story was the first feature-length computer-animated film — there is, in that sense, literally nothing before it.

Next time…
Two feature film sequels, both of which are at least as artistically successful as this first, with a fourth set to follow in 2018. Also, three short films and two TV specials to date, plus direct-to-video spin-off movie Buzz Lightyear of Star Command: The Adventure Begins and the TV series that follows it. You could also argue the entirety of Pixar’s highly-praised output is a follow-up to the success of Toy Story, as well as American feature animation’s almost entire conversion from traditional cel animation to 3D CGI.

Awards
1 Special Achievement Oscar to John Lasseter for “the development and inspired application of techniques that have made possible the first feature-length computer-animated film.”
3 Oscar nominations (Original Screenplay, Song, Musical or Comedy Score)
1 BAFTA nomination (Visual Effects)
8 Annie Awards (Animated Feature, Directing, Writing, Producing, Music, Production Design, Animation, Technical Achievement)
1 Annie Awards nomination (Voice Acting (Tom Hanks))
2 Saturn nominations (Fantasy Film, Writing)
Nominated for the Hugo for Best Dramatic Presentation

What the Critics Said
“Far from just a technological breakthrough, this hellzapoppin fairy tale […] is a magically witty and humane entertainment. It has the purity, the ecstatic freedom of imagination, that’s the hallmark of the greatest children’s films. It also has the kind of spring-loaded allusive prankishness that, at times, will tickle adults even more than it does kids. The moment Mr. Potato Head arranges his snap-on features into a Cubist mash and says, ”I’m Picasso,” it’s clear that director John Lasseter and his team of writer-technicians have taken their most anarchic impulses and run with them. […] In its techno-cool photo-realist way, though, this movie, too, invites you to gaze upon the textures of the physical world with new eyes. What Bambi and Snow White did for nature, Toy Story, amazingly, does for plastic — for the synthetic gizmo culture of the modern mall brat. The film’s wit (and resonance) is that it brings toys to life exactly the way children do in their heads. It molds plastic into pure imagination.” — Owen Gleiberman, Entertainment Weekly

Score: 100%

What the Public Say
“The Animation is superb. Given that this was one of the first ever feature length computer animated movies, those guys at Pixar really hit the nail on the head. The colours are vibrant and the characters are dynamic. An excellent use of Blues, Yellows and Reds really accentuate the ‘children’ and ‘toys’ feel. There are also beautiful realistic elements such as a scene where Woody and Buzz find themselves under a lorry in a petrol station. With this, I was simply amazed at the attention to detail with the stones, tarmac and oil stains on the textures. It really looks like you are close-up to the ground and I love it!” — Alexander Potter, Pottercraft’s Pictures

Verdict

Just because something’s the first to do something doesn’t necessarily mean it’s any good, but Pixar didn’t strike gold with Toy Story just because computer animation was New. It’s the likeable characters, how they develop and learn, the amusing situations they’re put in, plus some heartwarming messages about friendship. There’s more emotion and character development in these wooden-and-plastic toys generated with pixels in a computer than many a film can achieve with real human beings, and that’s why Pixar came to revolutionise and dominate the Western animation genre.

Some would say “the original is still the best”, and it is up there, but on Sunday I will beg to differ…

#93 will be… a superior sequel.

Batman: Return of the Caped Crusaders (2016)

2016 #174
Rick Morales | 78 mins | Blu-ray | 1.78:1 | USA / English | PG / PG

Batman: Return of the Caped CrusadersHoly nostalgia hit, Batman! This animated movie reunites the surviving stars of the enduringly popular ’60s Batman TV series (and spin-off movie) for a new adventure in the style of their classic ones — that is to say it’s funny and colourful, a world away from the Dark Knight version of Batman we’re so accustomed to these days.

In some respects, that’s all you need to know in terms of a critical review of this film. If you’ve never seen the ’60s originals, it’s not really ‘for’ you. I mean, it’s perfectly accessible, I think, but it’s loaded with winks and nods to its inspiration. I definitely missed some of those because I haven’t watched the series for a while (I really need to get stuck into the Blu-ray set they released a couple of years back), but, from what I can remember, it captures their tone well. That is to say: on the surface it’s pulp superhero derring-do, but underneath it’s laced with a knowing wit and an awareness of its own glorious ridiculousness. The animated medium is used to push beyond what would’ve been possible in live-action TV 50 years ago, but I won’t go into detail so as not to spoil it for anyone who’s not seen it yet (though it screened in cinemas last month and has been out on disc on both sides of the Atlantic for a bit now).

The voice cast is headlined by — of course — Adam West as Batman, along with Burt Ward as Robin and Julie Newmar as Catwoman. West is nearly 90 now and you can hear that in his voice, but he’s still got it. You soon forget the old-age huskiness and just revel in his consummate skill at delivering his Batman just so; that earnest delivery of humorous material that led some people to miss for decades that the series was actually, Vile villainous verminfundamentally, a comedy. Conversely, Ward still sounds pretty spry, and is gifted plenty of those “Holy [insert something here], Batman!” catchphrases that never cease to be fun. Unfortunately, Newmar also sounds her age, but doesn’t seem to quite have the liveliness that West retains. In the behind-the-scenes featurettes she seems a delightfully kooky old bird (at the recording she’s wearing cat ears, for one thing), so it’s hard to resent her, but the portrayal of Catwoman as slinky and sexy feels a little… odd. On the bright side, it means you don’t get the uncomfortableness of West flirting with a much younger actress, even in animated form.

The rest of the cast has to be rounded out by replacements by necessity. The most famous foes from that era of the Bat — namely, the Joker, the Riddler, and the Penguin — are all in on the action, and voice actors Jeff Bergman, Wally Wingert, and William Salyers do a bang-up job recreating their recognisable tics. However, I think the biggest respect is due to writers Michael Jelenic and James Tucker. They’ve managed to pen something that feels like a tribute without being set in aspic; that’s genuinely fresh and funny in its own right, while also evoking the beloved classic that inspired it, including plenty of in-jokes and nods at other screen iterations of Batman. I also particularly enjoyed the alliteration-addled dialogue, because I do love a bit (or a lot) of alliteration. I’m a man of simple pleasures sometimes.

Batty Batman's back!On the whole, Return of the Caped Crusaders is a resounding success. It’s a fun return to a beloved incarnation of arguably the most popular superhero; a version who’d been somewhat left out in the cold for a couple of decades by a world that grew up a bit too much, but is now being re-embraced and held in deserved esteem. And, even better, there’s already a follow-up in the works. Holy must-see sequel, Batman!

4 out of 5

Star Wars (1977)

100 Films’ 100 Favourites #88

A long time ago
in a galaxy far, far away…

Also Known As: Star Wars: Episode IV – A New Hope

Country: USA
Language: English
Runtime: 121 minutes | 125 minutes (special edition)
BBFC: U
MPAA: PG

Original Release: 25th May 1977 (USA)
UK Release: 27th December 1977
First Seen: VHS, c.1990

Stars
Mark Hamill (Batman: Mask of the Phantasm, Star Wars: Episode VIII)
Harrison Ford (American Graffiti, The Fugitive)
Carrie Fisher (When Harry Met Sally…, Star Wars: The Force Awakens)
Alec Guinness (Kind Hearts and Coronets, The Bridge on the River Kwai)
James Earl Jones (Field of Dreams, The Lion King)

Director
George Lucas (THX 1138, Star Wars: Episode I – The Phantom Menace)

Screenwriter
George Lucas (American Graffiti, Star Wars: Episode II – Attack of the Clones)

The Story
When he discovers a distress call from a beautiful princess, a young farmhand joins forces with an old warrior, a roguish pilot, his bear-like first mate, and a pair of bickering robots to rescue her — which involves taking on the evil galactic Empire, and in particular their chief enforcer: Darth Vader.

Our Heroes
Farm boy Luke Skywalker just wants to go off and join the rebellion, but little does he realise how much that path leads to his destiny. Helping him get there is smuggler Han Solo, who may come from a wretched hive of scum and villainy and is happy to shoot first at the same time as his opponent, but has a heart of gold really. The object of their mission, and both their affections, is the strong-willed Princess Leia.

Our Villains
A man in a black suit with breathing problems might not sound like one of the most effective screen villains of all time, but that’s what you get when you come up with pithy descriptions like that. In fact, Darth Vader is so badass, he’s not above choking members of his own side, the evil Empire — and they’re evil.

Best Supporting Character
R2-D2 is the best supporting character in every Star Wars film, but in this one we are also introduced to Obi-Wan Kenobi. A mysterious old man who inducts Luke into the ways of the Force, Obi-Wan is played by veteran character actor Alec Guinness, meaning he is bestowed with instant awesomeness. Not as handy with a lightsaber as he used to be, mind.

Memorable Quote
Darth Vader: “Your powers are weak, old man.”
Obi-Wan Kenobi: “You can’t win, Darth. If you strike me down, I shall become more powerful than you could possibly imagine.”

Quote Most Likely To Be Used in Everyday Conversation
“I have a very bad feeling about this.” — Luke Skywalker

Memorable Scene
It’s fair to say Star Wars is loaded with memorable scenes, but for pure effectiveness you’d have to go a long way to beat the opening sequence: giant spaceships flying overhead, blasting laser beams at each other; walking, talking robots bickering; a gunfight between men and armoured soldiers; and then Darth Vader, stalking into the movie like a sci-fi vision of Death himself.

Memorable Music
George Lucas wanted a score reminiscent of classic Hollywood movies to help inform audiences about what they were watching — that although it was set on alien worlds with giant spaceships and laser swords, it was a familiar kind of heroic adventure tale. Composer John Williams delivered exactly that, drawing on influences including classical composers, like Stravinsky and Holst, and film composers, like Erich Wolfgang Korngold (King’s Row) and Alfred Newman (How the West Was Won). He produced not only a great soundtrack all round, but arguably the most famous movie theme of all time.

Truly Special Effect
Star Wars did so much to break new ground in special effects, it’s difficult to know where to start. Some of it’s a little skwiffy (the lightsaber effects are notoriously problematic, their colours varying even in recent remastered versions), but the model work — the spaceships and their battles — is fantastic.

Letting the Side Down
Han shot first! *ahem* Yes, A New Hope is definitely the movie where Lucas’ unpopular Special Edition fiddling is it at its least liked, primarily for that bit where Han no longer shoots Greedo in cold blood. What do you have to do to get a merciless good guy these days, eh? Other changes have varying degrees of effectiveness: having extra X-Wings in the Death Star battle looks pretty neat, but the CGI Jabba the Hutt — complete with Han stepping jerkily over his tail — is terrible.

Making of
George Lucas screened an early cut of the film for a group of his director friends, most of whom agreed with him: it was going to be a flop. Brian De Palma even called it “the worst movie ever”. There was one dissenting voice: Steven Spielberg, who predicted it would be a huge hit. As if that man’s entire career wasn’t proof enough that he knows what he’s talking about…

Previously on…
Star Wars’ influences can be clearly traced back to the sci-fi cinema serials of the ’30s and ’40s, like Flash Gordon. In-universe, the saga begins with the Prequel Trilogy, and there’s shedloads of other spin-off media. Most pertinently, this December’s first live-action non-saga Star Wars film, Rogue One, should lead more-or-less directly into the start of A New Hope.

Next time…
Star Wars essentially inspired the next 39 years (and counting) of effects-driven summer blockbusters. It also started a mini-industry all of its own — well, quite a large industry, actually: films, TV series, novels, comic books, computer games, board games, role playing games, toys, clothes, lunch boxes… anything you can imagine, I’d wager. Primarily, the story is directly continued in The Empire Strikes Back and Return of the Jedi, and resumed in The Force Awakens, with more to come in 2017 and 2019.

Awards
7 Oscars (Editing, Score, Sound, Art Direction-Set Decoration, Costume Design, Visual Effects, Special Achievement Award for Sound Effects)
4 Oscar nominations (Picture, Supporting Actor, Director, Original Screenplay)
2 BAFTAs (Music, Sound)
4 BAFTA nominations (Film, Editing, Costume Design, Production Design/Art Direction)
13 Saturn Awards (Science Fiction Film, Supporting Actor (Alec Guinness), Director (tied with Spielberg for Close Encounters), Writing, Music (John Williams tied with himself for Close Encounters), Costumes, Make-Up, Special Effects, Editing, Sound, Art Direction, Set Decoration, Special Award for Outstanding Cinematographer)
4 Saturn nominations (Actor (both Harrison Ford and Mark Hamill), Actress (Carrie Fisher), Supporting Actor (Peter Cushing))
Won the Hugo for Best Dramatic Presentation.

What the Critics Said
“The battles, the duels, the special effects — and what special effects! Swords made of light, blasters shooting laser beams, exploding planets — it goes on and on. All the aging acid-heads who tripped out to Stanley Kubrick’s overrated 2001: A Space Odyssey, will go bananas over Star Wars. Not to mention comic-book freaks, science fiction and fantasy fans, lovers of old westerns, romances, mysteries and movies about the Crusades. In addition to being a slickly produced and highly entertaining adventure suitable for the whole family, Star Wars is richly evocative of a whole range of old film forms and I predict that entire books will be written on the sources, the religious symbolism, the mythological and historical allusions, and so on and so forth that Lucas has incorporated” — Robert Martin, The Globe and Mail (This review from the original release, before it was called Episode IV, also notes that it “opens like Episode 6 of a serial”. Good call, sir.)

Score: 93%

What the Public Say
“To this day, A New Hope is used as a primary example of storytelling. It perfectly establishes a world and introduces audiences to a protagonist that goes on his hero’s journey. There’s a reason that so much pop culture parodies and pays tribute to this film and it’s because of how near perfect it is. You have the Princess in peril still holding her own against what will always be one of the greatest movie villains of all time in Darth Vader. That is also one thing the prequels do that take away from this movie and the two that come after: They soften Vader. Vader is cold, ruthless, robotic, and menacing. Not someone who cries about his girlfriend. […] A New Hope just does everything the right way. When it wants you to be excited, you are. When it wants you to be sad, you are. John Williams contributed to this a great deal with his score; and Lucas’ use of practical effects to tell his story make it a masterpiece.” — Reed, We’re Not Sorry

Elsewhere on 100 Films
I’ve written about the original Star Wars trilogy twice before, both times back in 2007. Of A New Hope’s modified DVD version, I said that “there are a few extremely minor changes from the ’97 version… sadly, though, not to the CGI: Jabba still looks dire, not even as good as the Episode I version — CGI that was five years old by the time of this release.” Then, treating the film as the fourth part of the saga, I wrote that “the biggest change [from the prequel trilogy] is in tone: I to III present an epic fantasy story, full of wizard-like Jedi, intricate galactic politics, and ancient prophecies; by contrast, A New Hope is straight-up action/adventure, far more concerned with gunfights, tricky situations, exciting dogfights, and amusing banter than with whether the President has been granted too much executive power.”

Verdict

In my post on The Empire Strikes Back, I said it wasn’t actually my favourite Star Wars film. For all the popularity the series has as a whole, there’s only really one other possible contender for that crown: the first one. By which I mean this one, not Phantom Menace. Here, Lucas almost instantly conjures up a universe that feels wholly-imagined and genuinely lived-in (which is part of the reason people ended up so disappointed by the made-up-as-they-went-along, fill-in-the-blanks prequel trilogy). Throw in an array of likeable and entertaining characters, plus groundbreaking special effects, and you’re on to a winner. The plot may just be a classical hero narrative, but it’s in space and has laser swords — that counts for a lot.

Next: #89 ! Fuck yeah!

Cool World (1992)

2016 #70
Ralph Bakshi | 102 mins | streaming (HD) | 16:9 | USA / English | 15 / PG-13

Cool WorldSometime recently, I said I was making more of an effort to avoid watching movies I know are going to be bad — when there’s so much good stuff to see, why knowingly waste time on bad stuff? But then sometimes something just catches your attention and you have to see for yourself. It sounds as if no one had anything good to say about Cool World when it came out back in 1992, and no one’s had anything good to say about it since either, but after spotting it on Netflix (I’m not sure I’d even heard of it before that) my curiosity was piqued.

Directed by Ralph Bakshi, who’s probably best known for the animated Lord of the Rings, it’s the story of cartoonist Jack Deebs (Gabriel Byrne) who’s created the zany, surreal ‘Cool World’. But Cool World is actually a real place (a real cartoon place, as it were), which Jack ends up getting transported to. He meets femme fatale Holli Would (voiced by Kim Basinger) who wants to escape to the real world, but is being prevented from doing so by Frank (Brad Pitt), another real human who was transported to Cool World decades earlier.

If this all sounds a bit of a mess, it is. It’s not a fundamentally bad story at a conceptual level, but its execution is a jumble, and the twisted Cool World is an unpleasant place to have to spend time. The darkness of the story is actually toned down from Bakshi’s original concept (which had an underground cartoonist fathering a half-real / half-cartoon daughter who tries to kill him), but only so much: it’s still full of sex, references to sex, Holli Would, and she willand general depraved behaviour. It’s clear it got caught in the crossfire between a creator/director who wanted to make a hard-R adults-only animated/live-action movie, and a star and producer who wanted to make something they could show to sick kiddies in hospital. The end result surely satisfies neither, because it pulls some punches to not get that R, but there’s no way this is kid-friendly.

It came out a few years after Who Framed Roger Rabbit, and suffers from the comparison. It’s not just that Cool World is a less successful riff on the same concept, or that its storytelling is more muddled, but it’s less technically proficient too. The animation and live-action elements never gel as well as in Roger Rabbit, with plenty of lazy eye-lines and actions not quite lining up. This probably explains why Byrne and Pitt both give lacklustre performances, not that Basinger fares any better.

There’s some interesting stuff in Cool World, which is why I haven’t sunk it to the irredeemable depths of a single star, but the merits are slight and not worth the effort. Apparently it does have something of a cult following, though, so the adventurous may still feel it’s worth a visit.

2 out of 5

Cool World featured on my list of The Five Worst Films I Saw in 2016, which can be read in full here.

The Twilight Saga: New Moon (2009)

2016 #170
Chris Weitz | 131 mins | download (HD) | 2.35:1 | USA / English | 12 / PG-13

The Twilight Saga: New MoonLast Halloween, I reviewed one of the most horrifying movies of all time: Twilight. This Halloween, at the risk of establishing a terrible tradition that could potentially run for another three years, I’m turning my attention to its first sequel, New Moon.*

If you watched the first movie and thought things couldn’t get any worse… well, you clearly didn’t watch New Moon. I don’t blame you. My original plan had been to watch all five and review them over the course of a week last Halloween, like I did for George A. Romero’s zombie movies in 2013 (plug!), but after the first I couldn’t stomach any more straightaway. Or for an entire year, apparently.

Anyway, the film. New Moon picks up more or less where Twilight left off, with human teen Bella (Kristen Stewart) and 109-year-old vampire Edward (Robert Pattinson) deeply in love. Their relationship is complicated by the slightest sign of Bella’s blood making members of Edward’s vampire pseudo-family want to kill her, but he refuses to turn her. Then Edward’s family have to leave the area and he decides it would be better if she didn’t come. Bella goes into extreme mourning — OK, teens over-feel break-ups, but Bella goes fucking mental, screaming in her sleep like a junkie going cold turkey. Her father confronts her: “It’s just not normal, this behaviour.” Bang on, daddy-o!

So, Bella discovers that doing crazy adrenaline-generating things — like riding on motorbikes with strangers — gives her visions of Edward. It’s unclear if she’s imagining these or if he’s actually manifesting to her. In most movies you’d know it was the former, but this is a supernatural flick about vampires and werewolves, for crying out loud — make yourself clear, moviemakers! Anyway, to replicate this rush Bella salvages some bikes from a tip or something and gets her chum Jacob (Taylor Lautner) to rebuild them. She still can think of nothing but Edward… until Jacob takes his top off. My face is up here, BellaAnd they accuse teenage guys of being shallowly obsessed with the opposite sex’s chests. But then Jacob starts acting aggressively, and hanging out with a gang, and there are stories about beasts in the woods killing people, and his tribe leader type guy looks shifty whenever all that’s mentioned, and… wait, could there be a connection between Jacob and his friends and the wolf-like attacks in the woods?! Gasp!

New Moon is a terribly slow, terribly mopey movie, which takes forever to get to really obvious ‘reveals’ — like, yes, Jacob and co are werewolves (after a fashion). That’s when it’s not trying to build a love triangle that we all know can only end one way. I mean, Bella tells Jacob “it will always be Edward”. Not subtextually — she tells him literally, with words. Those exact words. And when it’s not doing that, it’s slowly building up some form of mythology, presumably to use properly in future instalments. Then it ends with what I think is meant to be a cliffhanger and/or surprise ending, but it’s so ridiculously unsurprising or cliffhanger-y that it’s almost insulting. Bella’s forced Edward’s hand, making him agree to turn her into a vampire because they can’t bear to be apart and want to spend forever together, so why should it be such a surprise that he wants to marry her?!

Then there’s the pathetically hand-holding direction — a shot that shows the changing seasons conveys the passage of time perfectly decently, so why superimpose the names of the months on top as if we’re all 5 year olds who can’t understand it hasn’t literally turned from late summer to autumn to winter in 90 seconds? The CGI is uniformly terrible, We feel your pain, Bellaso that even bits that aren’t bad in isolation (the wolves, for instance) are poorly integrated into the live-action. And at one point the characters go to the cinema to see an action movie… called Face Punch. At this point New Moon slips from ineptitude into genius. It’s the best worst fake action movie title ever. The scene where they discuss it is so hilarious, I actually had to pause the movie to finish laughing.

Though it may contain the funniest thing I’ve seen in any movie this year, it’s not enough to save New Moon. It’s even worse than the first one, because it’s boring. Some bits and bobs may actually be improved (some of the direction is slicker; Bella’s terrible voice over is reduced), but goddamn, it’s so dull. So little actually happens. It feels like it’s probably setting things in place for whatever’s to come next for an entire movie.

On the bright side, that might mean the series improves from here. I can but hope.

1 out of 5

New Moon featured on my list of The Five Worst Films I Saw in 2016, which can be read in full here.

* Here’s a thing: the film has two title cards: the first says New Moon, the second says Twilight Saga: New Moon — no “The”. But as all the posters and, y’know, everyone else uses the “the”, I am too. Fighting my urge to use the accurate on-screen nomenclature here, people. ^