Category Archives: Family

03.17.23
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Shazam! Fury of the Gods

Billy Batson and his foster siblings protect Philadelphia with the powers that give them the strength of the gods, but soon the daughters of Atlas arrive seeking revenge for the stealing of their family’s magic ages ago, and declare war on the Shazam family and the human world.

Shazam! remains one of the best films in DC’s current shared movie universe, and Fury of the Gods brings forward everything that worked about the first movie, while expanding on the family dynamic. It’s very entertaining to watch as all the siblings are now superpowered and how it affects their interactions and characters moving forward, as the siblings who weren’t Billy and Freddy were much more minor characters in the first film. The movie also retains the same sweet, heartwarming energy that makes the Shazam saga irreverent, touching and harmlessly entertaining. The action is more in line with Tom Holland’s Spider-Man films than something as world-ending and grim as Justice League — though sometimes the world as still at stake. Zachary Levi’s charisma and natural sense of humor shines again, though it’s way more interesting to see him on screen than Asher Angel. However, Billy is a formidable hero who’s selfless, kind, and even clumsy. However, Jack Dylan Grazer and Adam Brody shine equally as Freddy. Grace Caroline Culley also stands out as both the normal and superpowered Mary, as well as Rachel Zegler, who continues to take the world by storm after West Side Story. Though Helen Mirren is incredibly entertaining as a villain, Lucy Liu’s performance is occasionally eyebrow-raising and questionable.

The visual effects also have some moments that could have used polishing, including the creatures or large set pieces, but overall most of the sets fit the Sunday-cartoon-like vibe that Shazam has always been aiming for. Not to mention, the humor is easily as memorable as the first, though the themes aren’t so as much as Billy and Freddy’s bonding in the first movie. There’s also a few scenes with Djimon Honsou that are funny but the least interesting parts of the movie. However, Shazam! Fury of the Gods gives viewers everything they signed up for while making them laugh and smile at the screen.

12.23.22
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Puss in Boots: The Last Wish

Puss in Boots discovers that his passion for adventure has taken its toll: he has burnt through eight of his nine lives. With the help of old and new allies — and with some new foes in the way — Puss sets out on an epic journey to find the mythical Last Wish and restore his nine lives.

Eleven years after the first spin-off focusing on Puss in Boots was released, it wasn’t really necessary to continue or dive back into the franchise, but The Last Wish absolutely tops the first movie. Antonio Banderas is having a blast as a role that may at this point be as iconic to his name as Zorro, not to mention the characters bear plenty of similarities. Florence Pugh and John Mulaney also give the film so much with their voice performances, and Olivia Colman and Ray Winstone almost feel like they were born to voice Mama and Papa Bear, not to mention a menacing Wolf voiced by Wagner Moura. Unlike the more realistic animation of the first Puss in Boots, this blend of 3D animation with 2D coloring to create a storybook look feels reminiscent of Spider-Man: Into the Spider-Verse, The Mitchells vs the Machines, and The Bad Guys. Though the frame rate or 2D look of some shots occasionally distracts, the animation ultimately creates for a more colorful and visually impressive experience than the first movie, not to mention the well-paced and engaging action. The movie also pushes Puss to new places as a character — he’s forced to confront his pride, mortality, fears and motives and we feel like we’re watching the animated feline find some genuine growth by the end. But most importantly, its sweet, energetic, and playful intentions definitely translate to the final product, despite some overused jokes or themes that aren’t unfamiliar to animated films. It delivers a reward for families that exceeds expectations, and one of the year’s best animated films alongside films like Guillermo del Toro’s Pinocchio and Turning Red.

12.06.22
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Strange World

The legendary Clades are a family of explorers whose differences threaten to topple their latest and most crucial mission.

Strange World is incredibly visually vibrant, which is never an aspect Disney misses in, not to mention director Don Hall’s outstanding track record at Disney in the past with Big Hero 6 and Raya and the Last Dragon. The imaginative color palette in the titular world the Clade family journeys through is engaging and surprising, even when the story material feels a little hollow. Jake Gyllenhaal is perfect as the lead role Searcher Clade, and it feels long overdue for him to join the Disney animation family. His voice has an incredible likability and he delivers the balance between “frustrating (but devoted) dad”, “frustrated/traumatized son” and “reluctant adventurer” really well. Dennis Quaid, Jakoubie Young-White, and Gabrielle Union are all having plenty of fun in the recording booths as well as a dysfunctional family that all want to just get along and enjoy each other’s company, though the grandpa and legendary explorer Jaegar Clade (voiced by Quaid) has other priorities and is overly consumed with his duties to his pride and explorations. Though the style is always visually inviting, the substance behind the conflict doesn’t always click until the end, and the characters’ relationships are way more interesting than the action itself. The style believes it’s being very nostalgic, presenting itself as a tribute to pulp magazines, but it actually looks and feels very modern. Though the film is quite heartfelt due to the characters it develops, the actual themes of familial expectations have been done plenty in recent animated films, most notably in Encanto and Turning Red that are still fresh in all our memories. There are instances where it tries to even become self-aware of the cliches its indulging in, which simply makes it even more awkward. On the positive side, the movie has Disney’s most prominent representation of an LGBTQ main character in one of their animated films, which is a celebratory step forward for family films on the big screen. Gyllenhaal’s voice performance is outstanding, backed by heartfelt supporting characters, and the animation gives the film lots of energy, but not enough to rank it among other adventures from the modern era of the studio like Zootopia or Wreck-It Ralph, though it’s still sweet and a decent one-time watch for families.

06.19.22
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Lightyear

Lightyear imagines what the movie would’ve been that got kids like Andy excited to get the toy of him in Toy Story. In this universe, Buzz Lightyear is a space ranger tasked with a difficult mission and must learn to make new friends and approaches to his mission — and his purpose as an astronaut and a man — on the way.

Lightyear dazzles as an animated Star Trek of sorts, with some of the best animation I’ve seen in years. The designs of spaceships, suits, weapons and settings, as well as the concept of flight and hyperspace travel, are designed so beautifully that you forget you’re watching something completely animated and get immersed in the visual adventure. The intergalactic settings let Pixar’s animators explore their incredible skills and make something that looks gorgeous. Chris Evans is perfectly cast as Buzz Lightyear, not just because he does the Lightyear voice well but because his character parallels Captain America so well in that they both are willing to give whatever it takes for the greater good but must find their own identity and life for themselves. Keke Palmer is also great as Lightyear’s new companion, and Taika Waititi is as always hysterical as another “rookie” that takes on a deadly mission with Buzz. A highlight though, is Sox, a robotic cat voiced by Peter Sohn whose destined to be a fan favorite Pixar character and steals the screen. The script always finds inventive ways to bring in conflicts and there’s some signature humor and heart Pixar is known to have mastered. Although there’s a twist at the end that may have not had the thematic resonance it was trying to get at, it’s still an exciting movie throughout and could please action/sci-fi movie fans of all ages. Though it’s not as great as the last two Toy Story movies per say, Lightyear has likely Pixar’s most stunning animation since Soul and is a blast for the whole family, with a top-notch Chris Evans voice performance and lovable supporting cast.

03.11.22
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Turning Red

Mei Lee is a 13-year-old girl who is torn between being her mother’s obedient daughter and the chaos of her youth. As if that were not enough, when she gets too excited, she turns into a big red panda.

Turning Red has some surprisingly mature undertones but manages to be witty and charming in its execution just enough to please youngsters, as all Pixar’s films find the balance to do. Director Domee Shi gives the film imaginative visuals and unique use of culture for an animated film. Rosalie Chiang shies in her first ever voice performance as Mei, and Sandra Oh proves herself a fantastic voice actress as her mother Ming, who embodies the mother who expects big things of her daughter but forgets to let her live a life of her own, which may be exactly what her character did in another Disney movie, Raya and the Last Dragon. The movie portrays youth in a lively way that involves the frights of adolescence, and the journeys of growing up with your friends and being obsessed with boy bands with them, for some. This leads to a lot of charm from the youthful side of the film, as well some some wit in the execution and the way the music ties into the film’s mood. Ludwig Goransson of Black Panther, Creed and Tenet fame again proves himself one of the most exciting film composers, and Billie Eilish and Finneas contribute to the lyrics of the fictional boy band 4*Town’s songs. This coming-of-age fantasy comedy doesn’t rank among Pixar’s stronger works but it proves that they’re still at the top of their game with new ways to bring sweet, relatable themes to the screen, in this case about loving your family while staying true to yourself, and embracing your flaws whether that be anxiety or rebelliousness.

12.05.21
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Encanto

Maribel Madrigal, a member of the magical Madrigal family in Colombia, is the only Madrigal without powers, but soon discovers she’s the family’s only hope of saving their magic.

Encanto once again shows off the unlimited abilities of Disney’s animation team, already having a great year with Raya and the Last Dragon and Luca, as well as Lin-Manuel Miranda who has been everywhere this year, including In the Heights and Tick, Tick… Boom! One of the stars from the former, Stephanie Beatriz, delivers the (voice) performance of a lifetime as Mirabel, a role that feels written for her and she fits it beautifully. Her singing range is also wonderful and Mirabel is incredibly heartfelt as a protagonist. There’s one song in particular called “Waiting on a Miracle” in which her vocals, character arc and the emotion of the entire film especially hit hard. But the catchiness doesn’t stop there — although “The Family Madrigal” and “We Don’t Talk About Bruno” won’t reach the heights of other recent hits like “You’re Welcome” (Moana) or “Remember Me” (Coco), they’re still fun and the musical themes bring so much to the film. With that though, there are a few songs that aren’t as memorable. The animation is Disney’s most colorful yet, and it’s surreal to see them outdo themselves more than once this year but the shots of the Colombian scenery as well as the magic created in their home, an “Encanto”, is so beautiful it’ll invoke emotion just journeying through it. The story revolves around Maribel trying to fit in and find herself when the family’s dynamic is built on each one’s abilities and how they can contribute physically — but each of them is more than that under the surface. With this we also get a number of interesting examinations of Maribel’s connections with her parents, sisters, and Abuela. There are occasions, however, where the pace drags and you wonder where the story is going, but once you get there, it gets fun once again. The movie also continues Disney’s recent trend of ditching traditional villains for complex characters whose decisions conflict but are more complicated than that. While I wouldn’t put this in the same discussion as Coco, Moana or Zootopia, it’s a heartwarming and vibrant family film with strong cultural representation and themes and a lovely protagonist and animation style.

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07.02.21
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Luca

Set in a beautiful seaside town on the Italian Riviera, Luca shares an adventurous summer with his newfound best friend, but all the fun is threatened by a deeply-held secret: he is a sea monster from another world just below the water’s surface.

Luca proves that Pixar’s stories are always rooted in family appeal, charm, and emotional truth. Though it’s not as revelatory as Inside Out, Coco, and Soul, it would be unfair to dismiss it solely for that reason. It provides a sweet story about differences and compassion, though that may be the main aspect that draws similarities to other animated films like Finding Nemo and The Little Mermaid, especially the idea of a young character wanting to leave the nest to the disapproval of an overprotective parent. The strongest aspect of the story is the innocence of the main characters, such as their friendships, heart, and aspirations. The purity of childhood is beautifully depicted and draws parallels to the feels of old Italian cinema. Jacob Tremblay and Jack Dylan Grazer deliver great voice performances and their parts’ friendship beautifully anchors the story. Maya Rudolph, who was also wonderful in the 2021 Netflix animated film The Mitchells vs the Machines, seems to never do wrong and here plays Luca’s sea creature mother. Be on the lookout for a special voice cameo in the first act from a beloved star that you may or may not miss. The characters are ones to root for, and their wonder and awe of the world around them is such a fun part. Whenever Luca must face his fears, he goes “Silenzio, Bruno!” to silence the voice inside of him that tells him he can’t, a relatable message for all of his. The animation of the Italian settings is terrific, although the character designs feel more 2-dimensional than Pixar’s previous films. The musical score by Dan Romer is the highlight of the productional values and even warrants an Oscar nomination if you ask me. The movie keeps bringing new situations, sometimes obstacles they must face and sometimes humor — both situations and details off to the side that will make you laugh. Ultimately at all culminates in another heartwarming story that feels exactly like what we all need right now — no matter your age — presenting many themes to children in a positive light that won’t ever feel exclusively for kids either, as Pixar excels at making stories that fit every audience’s desires without exception.

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06.09.21
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Cruella

Cruella dives into the origins of the infamous 101 Dalmatians antagonist. Emma Stone is seriously great as the lead and another reason to praise the actress as well as the seemingly impeccable casting directors at Disney. Her performance is charming, unpredictable, and twisted. Though she is notoriously an insane criminal and dog-killer, she is likable in comparison to the other big Emma of the film. Emma Thompson plays a ruthless, egomaniacal fashion designer whose absolutely repulsive without a single redeeming quality. Her repugnance reminded me of Meryl Streep’s Miranda Priestly in The Devil Wears Prada, another evil, sadistic, fashion designer. Thompson portrays this narcissism and wickedness well, and the movie does a mostly good job, aside from a few lines, keeping her out of cartoonish territory. The relationship between the Emmas onscreen is easily a gripping anchor for the film’s story. Two other standouts are Cruella’s loyal surrogate brothers and sidekicks, played by Joel Fry and Paul Walter Hauser. My favorite was especially Hauser, who is much more comedic (and British) than his other popular turns in films like I, Tonya, Richard Jewell and Da 5 Bloods, and nails every moment he’s on screen. As a fan of his, I was especially glad to see him be in a film with a wide audience like a Disney film.

Cruella‘s script manages to, for most of the runtime, distance itself from the famous story it’s inspired by, despite a few nods and a shoehorned post-credits scene thrown in for the Disney hardcore fans. It feels very much like a Craig Gillespie movie — like his previous film I, Tonya, it’s a fast-paced chronicle of a morally ambiguous woman’s journey into such obscurity. However, it’s the hyper-stylistic approach that’s most detrimental to the film. The soundtrack is a nonstop barrage of rock music with no room for silence or drama, with one popular rock song after the other, and the music choices being frankly on the nose and unoriginal (seriously, why do so many films use “Sympathy for the Devil” by The Rolling Stones?). Had the style kept some of this energy but toned it down to make scenes feel less fluffy and more dramatic for its villain, the movie would’ve resonated more. With such gorgeous production design and costumes that made me awe (and trust me, I don’t always notice beauty in costume design like I did in this film), as well as solid acting and writing, why didn’t Disney trust its audiences to stay engaged from these elements instead of throwing in popular music every second? There’s also a little too much narration for my taste, and you can tell this took inspiration from Scorsese’s hyper-style he trademarked with Goodfellas and The Wolf of Wall Street — a style at least one big movie a year feels the urge to adapt. The movie’s script is best when it follows the psychotic nature of Cruella and her descent into darkness, which Stone wonderfully portrays and is the most intriguing part of the film. It’s also enjoyable to point out the similarities between Cruella and other popular solo movie villains like Joker and Harley Quinn (who headlined the considerably entertaining Birds of Prey), I only wish this movie embraced what worked so much about those two aforementioned films’ approach to their villains. And that’s not saying they should have gotten rid of the energy and fast pace — which does work once Estella becomes Cruella — just give the darker, more unpredictable moments of Stone’s performance room to breathe rather than be edited like a fun heist sequence from an Ocean’s Eleven movie. There’s also a few iffy moments of CGI, including the dogs and a scene involving water, that made me cringe. Cruella is entertaining, fashionable, and has fun with its concept, but feels boxed in by a soundtrack poorly edited into the film that weakens the impact of certain scenes and connections to the original IP that feel thrown in just to check boxes on a studio checklist. Those who are interested will enjoy it, as it’s certainly a good time that’s carried well by its cast, especially the insanity conveyed by Stone, but I feel like there was potential for a stronger film in the editing room.

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03.07.21
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Raya and the Last Dragon

Centuries after the dragons sacrificed themselves to save humanity in a war, Raya sets out to unite the human tribes of Kumandra once again and stop an old threat, with the help of the last dragon Sisu.

It’s easy to wonder why Disney would waste time with an easy cash-grab sequel like Frozen 2 when tasked with original films, they knock it out of the park. Raya and the Last Dragon proves so with stunning images and settings, and an engrossing adventure that, although I wish I had seen in theaters (which wasn’t possible due to the film not having a wide release, although it is available on Disney+), makes a story that would otherwise be familiar feel inviting and visually memorable. For those seeing it on the big screen, it’ll be surely unforgettable. The mythical settings and journeys to different corners of Kumandra make this feel like a more epic journey than any of Disney’s live-action films, and the skies, buildings, lights, and natural world that the characters interact with make this another achievement when it comes to animation, and its no less than another such adventure film on Disney’s resume, Moana. Kelly Marie Tran brings a complex voice character who displays optimism, empathy, bravery, rage, and determination in many stages of the film, bringing a flawed hero but one that fits perfectly into Disney’s roster of strong animated heroes. Awkwafina is a joy as Sisu and brings much needed comedic relief and enjoyment to an already great movie. Ever since her amazing performance in The Farewell, the actress/comedian has proven to be a treasure in Hollywood. She was such an inspired and wholesome choice to voice the charismatic dragon who, although 500 years old, has a youthful energy to her as she is figuring out how to be a hero as much as Raya. Benedict Wong is also excellent as a supporting hero. While there are no one-sided villains, Gemma Chan certainly plays a standout character, and Sandra Oh and Daniel Dae Kim are great too as the parents of Chan and Tran’s characters, respectively.

The chemistry between Tran and Awkwafina’s characters, the breathtaking animation, and the large scale are the binding elements of what make this movie another instant classic. The imaginative worlds and challenges the leads face through new settings, as well as the colorful and lively action sequences, felt as exciting to me as it would to child audiences. While the film’s emotional core and themes aren’t as moving as Soul‘s, which I think had some of the strongest messages in animation lately, the movie does have touching messages that will definitely work especially for younger audiences, and serve the story well enough, about choosing trust and empathy over greed and fighting. It’s only unfortunate that Disney didn’t wait for everyone to experience this film theatrically, as it’s one of their most visually imaginative films in years. But that’s another story. Whether you do seek it out in a theater near you or stream it on Disney+, watch it with your family and loved ones.

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01.03.21
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Soul

In Pixar’s latest film, which after delays from theaters, is now out on Disney+, Joe Gardner is a music teacher who aspires to make it big as a jazz pianist. However, on a big day where his dreams start to get closer, he gets into an accident that separates his soul from his body, bringing him to the You Seminar, a limbo where souls are prepared to start a life on Earth. He goes on an existential journey through New York with another soul and learns the true purpose of life.

Soul brings no less to the screen than the lively, all-ages-friendly adventures that Pixar has made us used to. Director Pete Docter, who has brought to life Pixar classics like Monsters Inc. and Up, brings the same wondrous animation and spirit to Soul that he brought to Inside Out. The streets of New York are depicted with such realism and beautiful, diverse energy. The You Seminar is also portrayed vividly although not difficult to compare to the animated corners of Riley’s brain in Inside Out. Within the first few seconds, Jamie Foxx proves to be perfectly cast as Joe Gardner, who aspires to become a famous musician while teaching middle school and living up to the expectations of his mother, also perfectly played by Phylicia Rashad (who you may know as the titular character’s mother in Creed and its sequel). Tina Fey delivers a great voice performance as Soul 22, a both unenthusiastic and curious/energetic soul who has her reservations about starting a full life on Earth. Graham Norton, in what I believe is his first film role outside of himself in Eurovision Song Contest, is funny and entertaining in a supporting role. However, an absolute standout for me was Angela Bassett, whose immediately recognizable voice brings ferocity and status, exactly what was needed for her part — Dorothea Williams, a respected jazz musician and sax player whose band Joe hopes to join.

With every following year, I realize more and more how intricately mature Pixar’s films are to not just appeal to kids, but also tug on the heartstrings of adult audiences, and never compromise the entertainment for any age group, even with a film like this that has some physical comedy. Like I said, the lovely animation is hard not to appreciate — even small details like cars passing by feel rhythmic. At first I was surprised by how quickly the story gets going but as the film progresses, it develops Joe even more with his decisions in and out of his body. The plot also manages to play with concepts about life, history, and souls in believable and fun ways. It’s easy to notice borrowed elements from Inside Out and Coco, though, especially the visual tones of the former and the afterlife aspect of the latter. The writing is also a little all over the place in a few moments, but ultimately nails its themes. It’s a film that reminds you to live in the moment and amount life not just to our goals, but to every cherished memory we have with our world, ourselves, and our loved ones. Viewers will be able to connect as the film emphasizes the passions we all chase and can’t live without, and stresses the importance of those things that “bring out the real you”, but reminds you to embrace every minute of life on the way.