The Magic of Disney Animation, Second Edition: Out of the Sea, Part of Our World, and The Birth of a Renaissance

[Courtesy Great Big Canvas]

WRITER'S NOTE: The following was originally published on March 24, 2020. 

The progress that Disney's Feature Animation division had been making throughout the 1980s had been building up to something, one way or another. And in 1989, it came in the form of a mermaid longing to be human, and who raised her head out of the ocean and literally sung to a new generation.

Based on Hans Christian Andersen's classic fairy tale of the same name, The Little Mermaid became the liviest feature the studio had made in so long. Reportedly, the Mouse House had put more resources into this film than any other up to that point, including the most elaborate water effects created since Fantasia and Pinocchio in 1940. (Seriously, the time they put into animating the millions of bubbles alone is fascinating.) Not to mention some of the most electric and catchy songs ever written and composed in the studio's history, including the showstopping "Under the Sea" and the perfectly-serenading "Kiss the Girl".

Mermaid also represents one of Disney's most complex films, in terms of character dynamics and relationships, which add a contemporary spin while honoring its literary source material. The traits of the titular Ariel, for one thing, redefined the role of a Disney princess for a new generation. As animator Mark Henn described, while the classic female characters (Snow White, Cinderella, and Aurora) were "reactive," Ariel and subsequent others (like Belle Jasmine) were more proactive, taking their own steps in their respective journeys/stories. Ariel wants more than the stuff of human life (she keeps hundreds of worldly items in a secret cove). She longs to really live as they do. And if one looks closely, they may find some surprising spiritual aspects in Ariel's dreams ("Up where they walk," anybody?). She also expresses universal body language when she's on land without her voice (a testament to the animation by Henn and Glen Keane).

For the sake of discerning families reading this: while Ariel is an amazing character (voiced and sung memorably by Jodi Benson), she can also be very rebellious, angsty, have "daddy issues" (something Jasmine from Aladdin would later have in common with her), and make questionable choices. Chief among said choices is instantly falling for a young man she barely knows. Plus, the subplot of her making a deal with an undersea witch where she trades her beautiful voice for human legs (the scheming Ursula is, no doubt, one of the scariest and most dynamic Disney villainesses, alongside the Queen, Maleficent, and Cruella DeVil) probably wouldn't fly today. On the other hand, the theme of the cost of selling yourself in exchange for something else has cautionary undertones. 

On that same note, the role of Prince Eric is more than just a one-note leading man (as most iterations in previous Disney fairy tales have been the case). His intentions in waiting for the "right, and not just marrying for the sake of it, are noble. Plus, he does demonstrate sacrifice, redemption, and genuine acts of love. As for the role of King Triton (while also questionable at times), there's the theme of letting children grow up and allowing them to live and lead their own lives (as the scene-stealing crab Sebastian says).

Revisiting the film, I marvel at the colorful and beautiful animation, the story's emotional arc (especially the iconic "Part of Your World" motif, which was almost cut from the film a la "Over the Rainbow" from The Wizard of Oz), the unforgettable music by Howard Ashman and Alan Menken (his first of many contemporary Disney scores), and thrills from its strong sound design and aforementioned underwater effects. The result is enchanting and entertaining. The Little Mermaid also turned out to be the last hand-drawn film made by the studio before they transitioned to a new digital ink-and-paint system that would redefine the look of the modern Disney feature from thereon.

FILM FREEQ ARCHIVES: "Fast and Furious" Franchise (Second Edition)

WRITER'S NOTE: The following was originally posted on my Instagram page @be.kerian on May 25th, 2021. 

It's interesting to look back at the origins of a film franchise. In the case of The Fast and the Furious, most people may forget that the original movie from 2001 (has it really been that long?) was a gritty street-racing crime drama. The film is dated by today's standards, although it no doubt made stars out of Vin Diesel (as Dominic Torreto), Paul Walker (as officer Brian O'Conner), Jordana Brewster (as Dom's sister, Mia), and Michelle Rodriguez (as tough-as-nails Letty), to name a few.

Its trademark melodramatic dialogue, fast cars (that climactic highway sequence is a standout), and objectified sexuality would carry over into three mediocre sequels. 2003's 2 Fast 2 Furious did feature scene-stealing roles from Eva Mendes (as a Miami officer) and music artists Tyrese Gibson (as the fast-talking Roman) and Ludacris (as the tech-savvy Tej). 2006's Tokyo Drift had impressive, practical drift racing. And 2009's Fast & Furious marked Gal Gadot's big screen debut (as racer Giselle). 

(L-r) Vin Diesel and Paul Walker in The Fast and the Furious (2001, Universal Pictures)

It wasn't until 2011 when a fifth movie (titled, Fast Five) took the series in the direction we know today. Released just as Marvel was establishing their now-iconic cinematic universe, the Fast saga became its own thing with its aforementioned insane action, larger-than-life narrative threads featuring characters from different installments, and almost mythological undertones. Five had a good balance of all these elements, not to mention practical stunts and effects, as well as consistent themes of family and freedom. (To be sure, these movies aren't for everybody.) 

2013's Fast & Furious 6 seemed like an excuse to bring the same team back together, and most importantly Rodriguez as Letty (who did have a signature brawl with MMA pro Gina Gerano). Since then, the series went full-throttle with over-the-top, physics-defying mayhem. 2015's Furious 7 ended up being a poignant chapter, considering the unexpected death of Walker, who was given a fitting and respectful send-off in this genuine, roller-coaster blockbuster. This is arguably where the series should have concluded, whereas 2017's The Fate of the Furious and the 2019 spinoff Hobbs & Shaw seemed unnecessary, squeezing dry all the tension from the 6th and 7th movies for the sake of subversive humor. (Charlize Theron, on the other hand, did make a great villain in Fate.) 

(L-r) Paul Walker and Vin Deisel in Fast Five (2011, Universal Pictures)

With 2021's F9, I think enough time had passed where it became exciting to see the old gang again, along with John Cena (as the film's new baddie) and some more crazy action. And the resulting chapter is, like many its predecessors, definitely a cinematic experience, especially in IMAX. But it also may be a middling one. While its character emphases and arcs are noteworthy and surprising, its convoluted plotholes may leave many (especially those not caught up with this two-decades-and-counting franchise) feeling dazed and somewhat disappointed. With reportedly two more films to go (starting with this summer's Fast X), it's anyone's guess as to whether this series stays in the same lanes or truly takes some unexpected routes. 

REVIEW COLLECTION: The MCU, Phase 4 (Updated and Expanded Edition)

WRITER'S NOTE: The following was originally published on May 9, 2022, based on a collection of reviews posted on my Instagram accounts @be.kerian and @film_freeq (the latter is no longer active, as of this writing) in 2022--and later from early 2023. They’ve been organized chronologically, based on initial release dates, and have been slightly edited. ALSO: I do not own the rights to the included images. 

Now that I've caught up on the numerous Marvel shows on Disney+ (as well as feature films in the fourth phase of their Cinematic Universe), I have to say that I'm generally impressed with what they've done--despite not being entirely "family-friendly". (Then again, like their films, they manage to stay within PG-13 boundaries, even while occasionally pushing the envelope in terms of intense violence and problematic language/crass content peppered throughout.) 

WandaVision (2021) 

A unique throwback to the evolution of television since the 1950s, merged with Marvel's blockbuster aesthetic. Former Avengers Wanda Maximoff a.k.a. the Scarlet Witch (Elizabeth Olsen) and Vision (Paul Bettany) are at the center of this genre-bending narrative, providing clever homages to everything from I Love Lucy to Malcolm in the Middle and Modern Family. Meanwhile, this inexplicable "world" is a place where things aren't as they seem, as government agents try to solve the mystery behind these strange occurances--and why/how Wanda and Vision are at the center of it. Olsen and Bettany are as committed as ever, while Kathryn Hahn is a surprising standout in this genre-bending miniseries. You may never hear The Monkees' "Daydream Believer" the same way again. 

The Falcon and the Winter Soldier (2021) 

Sam Wilson (Anthony Mackie) and Bucky Barnes (Sebastian Stan) team up to uncover a global conspiracy, even as they find difficulty adjusting to a world without Steve Rogers. This series is the most gritty and palpable of the aforementioned shows, echoing the political-thriller vibe established in 2014's Captain America: The Winter Soldier. Wyatt Russell is engrossing as a potential successor to the Cap mantel, despite complex layers and agendas throughout. Ditto Erin Kellyman as a super-soldier runaway and rebel organization leader. Next up: Captain America: New World Order in 2024! 

Loki (2021) 

The ever-popular Norse "god of mischief" (Tom Hiddleston) finds himself in a strange time variant loop following the events of 2019's Avengers: Endgame. Both this series and WandaVision are very creative and subversive in the directions they take with their cast of characters and how they effect the MCU from thereon. How they do it, I won't say. Except to say that Owen Wilson (as a time variant agent) is along for the ride. A second season is on the way in 2023, as part of the MCU's Phase Five. 

Black Widow (2021) 

Agent/assassin Natasha Romanoff finally makes her long-awaited solo feature debut in the MCU--and kickstarting a postponed fourth phase on the big screen (after WandaVision did on the small screen). In a story set between the events of 2016's Captain America: Civil War and 2018's Avengers: Infinity War, the Black Widow is on the run while seeking to bring down the very secretive organization that made her who she is. 

A thoroughly gripping and intense experience (arguably the first of its kind since 2014's Captain America: The Winter Soldier). Some of its humor is a bit out of place, especially during scenes with Natasha's Russian family (David Harbour, Rachel Weitz, and a breakout Florence Pugh), but this was made for the big screen where it belongs. Scarlett Johansson (in her final MCU outing) has come a long way, and counting. (Originally scheduled for a May 2020 release, but postponed for a year, due to the COVID-19 pandemic.) 

What If . . .? (2021) 

An animated anthology series that takes events from previous MCU films and flips the script in alternate realities. High points include seeing Agent Peggy Carter (Hayley Atwell) as the next Captain America, and T'Challa/Black Panther (Chadwick Boseman, in his final screen credit) as a ravager in the Guardians universe. Jeffrey Wright perfectly narrates as the mysterious Watcher. A very daring and polarizing risk that may leave many fans and viewers scratching their heads.

Shang-Chi and the Legend of the Ten Rings (2021) 

I've got to be honest, I had low expectations for this martial-arts action-adventure--the second film installment in Phase Four of the MCU. But I was quite blown away by how good it was. 

Sure, Shang-Chi has dynamic and genuine action sequences (despite the fact that half of it is clearly CGI), a killer score, slick direction (courtesy indie filmmaker Destin Daniel Cretton, of Short Term 12 and Just Mercy), and an awesome cast (mostly Asian and Asian-American actors, including the legendary Michelle Yeoh). But it has a strong, beating heart in its central story of the son of a centuries-old assassin and the complicated family dynamics, misguided use of power, and past mistakes he has to face and ultimately make right. The film does lose a bit of momentum in its second act, and some of the dialogue (unnecessarily crass at times) could've easily been avoided; it even gets surprisingly dark with its elements of mysticism and Eastern spirituality. 

Overall, this is an exciting (if occasionally benign) blockbuster that goes in unexpected directions, showcasing, in the process, how to take what we've learned from those before us and making it our own. Wow. This is one of the biggest surprises of 2021. 

Eternals (2021) 

One thing that's for certain about Marvel Studios, fan or not: they never lack ambition. Even after two monumental Avengers finales and now four phases into their already-unprecedented franchise, Eternals represents one of their most daring and challenging films. Based on Jack Kirby's celebrated comic book series of extra-terrestrial beings who have been on Earth for thousands of years, there's a lot to like about this epic story, as much as there is to be confused by (especially if your not familiar with the history of the series or characters). 

First the good news: the film looks and sounds stunning (especially in IMAX, despite its distracting aspect ratio shifts). The cast is stellar--further proof of Hollywood's significant shift in onscreen and cultural representation, not to mention universal appeal. (Deaf actress Lauren Ridloff is a standout as Makkari.) And the fact that it was shot at real locations around the world (my hats off to director Chloe Zhao and crew) adds to its authenticity and rich world-building. 

That being said, that world-building and mythology can be hard to follow, considering the story jumps back and forth between various time periods in which our central characters have lived through. It can also get very meandering and too introspective. At more than two-and-a-half hours, Eternals (much like another Disney-produced feature this year, Cruella) feels longer than it needs to be, even more than Zack Snyder's Justice League--and that one was barely over four hours in length! Like I said, Marvel Studios never lacks ambition. Only time will tell how this world within their cinematic universe will thrive or shake from here. 

Hawkeye (2021) 

Clint Barton just wants to spend Christmas with his family, but suddenly finds himself thrust into a mission with young archer (and fan) Kate Bishop. This series is thoroughly entertaining, and benefits from the presence of the always-engaging Jeremy Renner and the multi-talented Hailee Steinfeld, respectively. 

Spider-Man: No Way Home (2021)

I mentioned in one of my previous Spider-Man reviews the term "oversaturation," which makes sense in this day and age of multiple franchises and studio tentpoles. In my review for last month's Ghostbusters: Afterlife, I didn't bring up the term "fan-service," which makes more sense when analyzing that sequel in retrospect. 

Both of those terms could easily apply to the MCU's third solo Spider-Man movie starring Tom Holland. At least on the surface. If you've been paying attention to the trailers and marketing, you know by now there would be appearances by former foes like Alfred Molina's Doc Ock and Willem Dafoe's Green Goblin. But No Way Home is way more than that. In fact, it's better.

Not only does it subvert all expectations out of proportion--and you're in for a whole load of surprises! This is a powerful story of second chances and making the right choices, no matter how difficult. And it's not only the best solo Spidey entry in the MCU (honestly, they've been doing an incredible job overall with these installments, and third time really is the charm here), but arguably the best moviegoing experience since Endgame in 2019. Trust me, this one is worth going to the theaters for. My only warning: prepare to be wowed!

And one more thing I'd like to mention: much like Jared Leto got to revisit (and reimagine) his version of the Joker in Zack Snyder's Justice League, so here does Jamie Foxx get to revisit his rendition of Electro from 2014's The Amazing Spider-Man 2. I did mention second chances, didn't I? 

POSTSCRIPT: An extended edition of No Way Home was released in theaters over Labor Day weekend of 2022, featuring over 20 minutes of footage not shown during the film's initial release. Some of these scenes--including a new post-credits segment--involved Midtown High School reporter Betty Brant (yes, that one), as well as another certain crime-fighter's alter ego. The former scenes drag a bit, but the overall thrill of seeing Peter Parker going up against multiple villains from different universes is still in tact. 

Moon Knight (2022)

A lesser-known Marvel property that is thoroughly convoluted and murky as it is ambitious. Oscar Isaac gives convincing dual roles (as an English gift shop employee, and as an assasin) in a grand story set in ancient and contemporary Egypt. The mild-mannered Steven Grant (who suffers from a sleep disorder) soon discovers he has been given the powers of an ancient moon god, alternating between his own world--and personality--to that of several others. (This is the MCU's "Multiverse Saga," after all.) This is overall the least of the aforementioned series on Disney+, in the same league as 2021's Eternals. Although, it does get interesting after a mind-blowing twist halfway through, but only just.

Doctor Strange in the Multiverse of Madness (2022)

On the heels of Spider-Man's previous experiences with the "multiverse" (see 2018's phenomenal Spider-Verse and 2021's awesome No Way Home) and the ambitious Daniels feature Everything Everywhere All At Once, Benedict Cumberbatch's Dr. Stephen Strange has an even more head-trip of a journey through the very concept in this sequel to 2016's psychedelic origin story. Let's just say the plot involves Strange protecting a universe-jumping teenage girl (a breakout Xochitl Gomez, as America Chavez), with Elizabeth Olson's Wanda Maximoff a.k.a. the Scarlett Witch thrown in. 

If you've seen WandaVision and What If . . .? on Disney+ (and the latter aforementioned Spidey flick), then Multiverse of Madness will make more sense. All you need to know, otherwise, is the experience is jaw-dropping (surprise appearances will blow your mind) and polarizing (arguably the studio's first since 2018's Infinity War). This is, after all, Marvel's first full-on horror feature disguised as a superhero adventure; Sam Raimi (who returns to the director's chair after nearly a decade) is a veteran of both genres, having previously made the Evil Dead and Tobey Maguire Spider-Man trilogies. 

The result is, shall we say, a strange blend of thought-provoking themes (i.e., what could've been, the dark sides of various characters); incredible cinematography, art direction, and action sequences (especially in IMAX); chilling sound design; and frightening (sometimes, demonic) imagery that more discerning families ought to think twice about. At least there are other, less problematic, viewing options in this cinematic universe. 

Ms. Marvel (2022) 

Continuing its push for more diverse stories and characters, Marvel presents Muslim-American teenager Khamala Khan, a die-hard Avengers fanatic (especially of Carol Danvers) who soon discovers a long-kept family secret that she may be carrying her own superpowers. Granted, this six-part series weilds some ridiculous CGI and some misplaced humor. But its sense of multiculturalism and emotional stakes improve as the series nears its climax, with rich mythology (recalling Moon Knight), references to Bollywood movies, some clever eye-popping animation interludes, and ultimately a lead-up to 2023's highly-anticipated The Marvels. Move over, Kate Bishop and Yelena Belova. You've got company. 

Thor: Love and Thunder (2022) 

Thor has now officially bested fellow Avengers Iron Man and Captain America with the most solo outings in the Marvel Cinematic Universe. It's interesting that it took as many films for Chris Hemsworth's God of Thunder to find his own unique footing, and counting.

Thor: Love and Thunder redefines the "go big or go home" aesthetic of blockbuster moviemaking. It's thrilling. It has exciting set pieces, visual feasts for the eyes (including the sights of Omnipotent City), and energetic action sequences. The aforementioned banter works best during moments of camaraderie between Hemsworth, Tessa Thompson's Valkyrie, and Natalie Portman's "worthy" return as Jane Foster a.k.a. Mighty Thor. (Don't ask me how.) It's also cool to see the Guardians of the Galaxy in on some of the action, and to hear several 80s rock anthems (especially Guns 'n Roses' "Sweet Child of Mine") put to good use. 

However, like Thor's current identity crisis and damaged Mjolnir hammer, Love and Thunder struggles to hold itself together. One minute, it's rapid-fire witty, and the next, it's quite dark (a standout Christian Bale is menacing and frightening as the villainous Gorr). The film ups the ante of its content issues from the last installment, not to mention the industry's growing inclusion of LGBTQ representation. (Okay, not every mainstream movie has to have these just for the sake of them, or to try and stay relevant.) Plus, the film's handling of various spiritual/religious elements will make it hard for more discerning or sensitive viewers to navigate through. Thor may have the most solo MCU movies at this point. But, as he himself may be the first to admit, he still has some growing to do. Something similar could be said for Marvel's current phase, which has no doubt been ambitious as it has been challenging. 

I Am Groot (2022) 

This series of 5 four-minute shorts centers on the baby  humanoid tree from Marvel's Guardians of the Galaxy franchise. Vin Diesel reprises his iconic role as the titular creature takes his first steps out of a flowerpot, discovers a tiny colony of cute critters, has a dance-off against a shape-shidting stranger, has a sauna that makes him look like a chip pet, and makes a group portrait out of an A.L.F. comic book. Visually eye-popping and appealing. 

WRITER'S NOTE: The "Bath" segment has a few references to gender confusion, while Groot's childlike nature occasionally results in some explosive mayhem. 

She-Hulk: Attorney at Law (2022) 

The MCU turns on itself with this completely subversive legal comedy, based on the comic book series centered on Bruce Banner's attorney cousin, Jennifer Walters. Struggling to balance a work life and a new role as a "superhero," Jen's clever fourth wall narration (thanks to lead actress Tatiana Maslany) throughout this nine-part miniseries almost gives the equally-meta Deadpool a run for his money, as she takes on numerous cases and encounters old rivals, as well as a few new allies (I won't say who). In agreement with some critics, the CGI is, at times, uncanny. Plus, some of this show's more problematic elements do get a little too crass and suggestive at times (particularly references to casual sex). But the meta humor ultimately pays off by the finale, with eye-popping animated closing credits as icing on the cake. (Green icing, that is.) 

Werewolf By Night (2022) 

Next to Multiverse of Madness, the MCU fully embraced the horror genre once again with this brilliant homage to Universal monster movies of the 1930s and 40s. The story centers on a group of international creature hunters (including Gael García Bernal and Laura Donnelly) as they compete for their wealthy leader's estate. Celebrated composer Michael Giacchino makes an impressive directorial debut here. But this morbid tale is also very occultish, violent, and bloody--even in black-and-white. To paraphrase author R.L. Stein: "Viewer beware! You're in for [more than] a scare." 

Black Panther: Wakanda Forever (2022) 

Any discussion of the Marvel Cinematic Universe these days would be remiss without mentioning the impact that the late Chadwick Boseman a.k.a. T'Challa a.k.a. Black Panther has had not only on the franchise, but the entire world. And his absence is felt throughout this powerful follow-up to the surprise 2018 movie phenomenon. 

Director Ryan Coogler and company waste no time in honoring Boseman's memory, while also telling an epic and compelling story--rich in culture and mythology--about carrying on a legacy and mantel in the face of loss and grief. From Ruth Carter's stunning costume design, to Ludwig Gorannson's jaw-dropping score, adrenaline-filled set pieces, and fully-committed performances (including returning players Leticia Wright as Shuri, Danai Gurira as Okoye, Lupita N'Yongo as Nakia, and Angela Bassett as Queen Ramonda), Black Panther: Wakanda Forever is an exceptional follow-up that expands the MCU while still being an equally exceptional standalone film in its own right.

The Guardians of the Galaxy Holiday Special (2022) 

In quite possibly the first time since that infamous Star Wars holiday special back in the early-1970s, Marvel decided to give the Guardians franchise their own Christmas. The plot centers on Drax and Mantis deciding to cheer up Peter Quill by heading to earth and kidnapping, of all people, Kevin Bacon. Featuring James Gunn's trademark wit, macabre and twisted sensibilities, a rocking 80s soundtrack, and visual spectacle, this Disney+ special (like its cinematic predecessors) crosses into some edgier territories that aren't kid-friendly (i.e., one scene of excessive drinking; others involving property damage). Than again, it has more to do with the secular version of the season. A few other elements that stand out: some animated flashbacks (in the style of Ralph Bakshi), and the debut appearance of Cosmo the Space Dog (voiced by Maria Bakalova). 

Pixar Filmography, Volume 4: What To Remember About "Coco"

When Pixar first set out to make Toy Story in the early-1990s, one of their goals was to not make a musical. Twenty-two years later, they ended up going that route--but in an unconventional way--with the fantasy-adventure Coco. 

This spiritual and emotional journey (courtesy directors Lee Unkrich and Adrian Molina) is set during the indigenous holiday known as "Dia de Los Muertos" (or, Day of the Dead), where a young boy named Miguel plays and loves music, despite his family's outright detesting of it. He eventually meets his ancestors when he inadvertently ends up in the Land of the Dead. He also meets a charismatic trickster named Hector, before journeying to meet his music hero, the famous Ernesto de la Cruz, who may or may not be his great-great-grandfather. 

Sure, this vibrant, dazzling, and colorful story features original songs (one by Frozen songwriters Kristen Anderson-Lopez and Robert Lopez) inspired by the country of Mexico. But its characters (including the ambitious Miguel) perform them at venues and other related events throughout the film, resulting in a very grounded approach. (This is something the 2018 remake of A Star Is Born also did very well). 

Miguel and Mama Coco

Coco also represents a stepping stone for onscreen cultural representation, and not just for Pixar or animation in general. Its artistry is breathtaking (such as when Miguel first crosses the leaf bridge) and its character designs (particularly the unique skeleton forms in the Land of the Dead) are idiosyncratic. More importantly, the film is very respectful of Mexican culture, from its customs to its indigenous communities.  

However, the film does step into murky waters with a paganistic and humanistic worldview and an idolized view on family, with no suggestion of a Higher Power--with the exception of one character making a cross signal. (One scene, in particular, suggests that, according to said worldview, once people in the afterlife are completely forgotten, they disappear forever. A depressing fact, indeed.) In addition, the humor, while witty,  often plays on the macabre. With that in mind, Coco is not a film I recommend for younger children; parents will need to navigate some of its more mature and theological elements (including allusions to cancel culture). 

On the other hand, the film does a few things right. As Cars 3 did, Coco illustrates the power of untold stories from people long-forgotten. Other themes include the pursuit of worldly success and the terrible cost involved, along with the hurt, anger, and even lack of forgiveness, that comes with it. The same goes for the danger of looking up to those who seem great but turn out to be the opposite (and vice versa). In the case of Miguel's family line, things go from the pursuit of happiness and self-worth to recognizing the importance of family and remembering (and forgiving) loved ones. Hence, the profound and endearing track "Remember Me" (especially when its true context is revealed, which you'll need a box of kleenex for). Now that's a life-affirming message worth remembering. 

Pixar Filmography, Volume 4: "Cars 3" (Or, Old Roads, New Lessons)

"It Ain't Over 'Til It's Over"

Every family has a black sheep. Pixar Animation Studios' just happens to be a set of talking planes, trains, and automobiles. 

The cheery 2006 blockbuster, Cars, recalled the historic Route 66 of the mid-20th century. Its 2011 sequel, Cars 2, was another box-office hit--and also the studio's first critical dud--but shifted gears and became more of a spinoff, sending comic relief tow truck Mater on an international espionage mission. (In retrospect, having Mater is the main character in this particular plot may not have been the best idea.) 

Fast forward to 2017, when the third installment, Cars 3, took the series back to its roots. Or, should I say, routes? Pro-racecar Lightning McQueen's days may be coming to an end in an ever-changing industry and world, especially when an arrogant rookie starts stealing his thunder and McQueen begins training for one more big event. 

What makes this film an exceptional chapter is its callback to the glory days (and forgotten stories) of old-time racers, including those who never got a chance to show what they're made of, whether because of age, gender, or background. It's an inspiring theme that's especially bittersweet due to the subtle tributes to the late Paul Newman (the voice of Doc Hudson in the first film). It also goes to show that it's never to late to pursue your dreams, and remember what made the sport so great to begin with. 

At the same time, Cars 3 represents a passing of the torch in McQueen's own "hero's journey," transitioning, like Doc, from rookie to champion to mentor, specifically towards auto trainer (and former aspiring racer) Cruz Ramirez. It's a heartwarming and empowering moral that elevates this franchise about anthropomorphic automobiles. It just may be the best installment to date, even if everyone else (including people in the Pixar fan family) doesn't agree. 

Lightning McQueen (voiced by Owen Wilson) and Cruz Ramirez (voiced by Cristela Alonzo) in Cars 3

***

Rated "G" for "General Audiences," or "Gone from the Ratings System"?

In recent years, there haven't really been that many G-rated films released in theaters. (Read my post on Disney films in the mid-1990s to early-2000s.) Perhaps this is one of many signs that our culture (and today's children) have become much more mature and sophisticated. Maybe too fast. 

For example, look at Disney's recent string of films. Tangled (2010). Wreck-It Ralph (2012). Frozen (2013). Big Hero 6 (2014). Zootopia and Moana (both 2016). All are PG-rated, and for reasons varying from "thematic elements" to "action" to "rude humor," and so forth. 

 

Want more proof? Here's a recap of G-Rated theatrical releases in the United States since 2004, when The Incredibles (Pixar's first PG-rated pic) was released: 

2004: Clifford's Really Big Movie (Warner Bros.), The Polar Express (Warner Bros), The Princess Diaries 2: Royal Engagement (Disney)*

2005: Chicken Little (Disney), Herbie: Fully Loaded (Disney)*, Ice Princess (Disney)*, March of the Penguins (Warner Bros.)**, Wallace & Gromit: The Curse of the Were-Rabbit (DreamWorks/Aardman)

2006: Cars (Pixar), Charlotte's Web (Paramount/Nickelodeon)*, Curious George (Universal), The Santa Clause 3: The Escape Clause (Disney)*

2007: Meet the Robinsons (Disney), Mr. Magorium's Wonder Emporium (Fox)*, Ratatouille (Pixar)

2008: Dr. Seuss' Horton Hears a Who (Fox/Blue Sky), High School Musical 3: Senior Year (Disney)*, Kit Kittredge: An American Girl (Warner Bros./New Line/Picturehouse)*, The Pirates Who Don't Do Anything: A Veggietales Movie (Universal), The Tale of Despereaux (Universal), WALL-E (Pixar)

2009: Earth (Disneynature)**, Hannah Montana: The Movie (Disney)*, Ponyo (Studio Ghibli), The Princess and the Frog (Disney)

2010: Oceans (Disneynature)**, Ramona & Beezus (Fox)*, Toy Story 3 (Pixar)

2011: African Cats (Disneynature)**, Alvin and the Chipmunks: Chipwrecked (Fox)*, Cars 2 (Pixar), Gnomeo & Juliet (Disney/Touchstone), Rio (Fox/Blue Sky), Winnie the Pooh (Disney)

2012: Chimpanzee (Disneynature)**, The Oogieloves in the Big Balloon Adventure (Freestyle Releasing)*, The Secret World of Arrietty (Studio Ghibli)

2013: Monsters University (Pixar)

2014: Rio 2 (Fox/Blue Sky)

2015: Monkey Kingdom (Disneynature)**, The Peanuts Movie (Fox/Blue Sky)

2016: The Eagle Huntress (Sony Pictures Classics)*

2017: Born in China (Disneynature)**, Cars 3 (Pixar)

2019: Toy Story 4 (Pixar) 

2021: Paw Patrol: The Movie 

(Paramount/Nickelodeon) 

*live-action

**nature documentary

Courtesy the MPAA (later renamed the MPA)

WRITER'S NOTE: Just because there are less-and-less G-rated films these days doesn't mean they're not worth seeing or that there's no room for them in today's culture. Nor should that be an excuse to make the rating a scapegoat for strictly‐kids-only entertainment. Remember, some of our most enduring and unforgettable films since the early-20th Century have something for everyone, from Disney to MGM musicals and human dramas. 

Pixar Filmography, Volume 4: "Incredibles 2" The Rescue (Or, Super Mom, Mr. Mom, and Screen Time)

Superheroes have come a long way into the 21st Century. In the past decade alone, there's been an undeniable oversaturation of comic-book-related feature films that either crossed over (we're looking at you, Marvel) or merely played off the success of one or more groundbreaking hits (Dark Knight, anyone?). 

Back in the early-2000s, the subgenre--or rather, sub-medium--was in its relative infancy. Certainly as far as standalone entries or series were concerned. But while most other franchises were mere adaptations of previously-published source material, along came writer-director Brad Bird with an original concept: a computer-animated action-adventure-comedy about a family of superheroes in a world where heroics and superpowers are outlawed, and in which the family patriarch has a midlife crisis. 

Okay, so a few similarities could be drawn from Watchmen and The Fantastic Four. But the execution and distinct wit of Bird's screenplay and direction were enough to win audiences and critics over with The Incredibles when it was released in November of 2004. And then some. 

Bird had been brainstorming ideas for a sequel since then. The real question, though, was how to do something fresh in an era where Hollywood has exponentially been turning out numerous tentpole movies. Said the former Disney animator in 2018, 

(L-r) Frozone, Elastigirl, and Mr. Incredible in Incredibles 2

[Back in 2004] The field was lush. It was well manicured. No one had played on it much. Spider-Man was over there, and then way on the other side was X-Men. There was room for us to move. It was really nice . . . And now it’s like a crowded subway with no air. . . . [For the second film] I was sitting there going, ‘In two years are people going to be sick to death of having superheroes every two seconds?' . . . And then I thought, ‘Well, wait a minute, the reason I made the first movie was not to do superpowers, but to comment on family. And that’s still very rich. So once I sort of reassured myself that that was really the core of the movie, I felt like there’s a lot of new stuff to explore there.

Picking up exactly where its predecessor left off, 2018's Incredibles 2 marks the fourth Pixar sequel in which a main and supporting character switch roles. For Cars 2, the star was Mater instead of Lightning McQueen. For Monsters University, it was Mike instead of Sully. For Finding Dory, it was the titular blue tang instead of Marlin the clown fish and his son Nemo. (You get the idea.) And now for Bird's follow-up, the spotlight turns to Helen Parr a.k.a. Elastigirl (voiced by Holly Hunter), who's called into action by a rich businessman and superhero enthusiast, who intends to change the general public's perception on superheroes. (Other costumed figures from around the world, like the over-excited and dimension-opening Void, have additional roles.) 

Meanwhile, her husband, Bob a.k.a. Mr. Incredible (voiced by Craig T. Nelson), plays Mr. Mom for their three kids at home, including force-field-weilding daughter Violet (currently experiencing teenage romance and angst) and fast-running son Dash (whose grade school has been integrating new math into their curriculum).

But it's the adorable baby of the clan, Jack-Jack, who--spoiler alert--revealed his superpowers by the end of the last movie and steals the show this time around. As amusing and unpredictable of a character that he is, Jack-Jack is also a metaphor for how unpredictable and adaptable parenthood can be, and how important it is to get help from others when necessary. 

(L-r) Elastigirl, Jack-Jack, Violet, Mr. Incredible, and Dash in Incredibles 2

The story takes a gripping turn with its central antagonist: the hypnotic, manipulative, and enigmatic Screenslaver, who dupes countless unsuspecting victims that apparently rely on superheroes--and technology and media, for that matter--to do all their good work. (After the film was first released, several theaters posted disclaimers about certain scenes that had flashing lights, especially for photosensitive audience members who have epilepsy.) 

Incredibles 2 feels a bit low-key when compared with its predecessor. On the other hand, it should be commended for promoting healthy lifestyle choices when it comes to eating and school work. (How often do mainstream movies do that?) And while it could've used a better (more risky) payoff in its otherwise exciting climax, the film stands on its own as an entertaining, action-packed, and exceptional entry, with Bird's trademark wit, attention-to-detail, and emphasis on family. 

As an added bonus, the old school supers (a.k.a. Mr. Incredible, Elastigirl, and Frozone) finally get their own catchy theme songs. Move over, Spider-Man and Batman. 

Pixar Filmography: Back to the Shorts (Second Edition)--Part 2

WRITER'S NOTE: The following was originally published on November 13, 2015. Only original theatrical shorts will be discussed, while spin-offs of Pixar's feature films are in a category of their own. (The following short films can be viewed on Disney+ or on the three "Pixar Short Films Collection" DVD/bluray discs.) 

La Luna (2011) 

A lovely fable about three generations of an Italian family, centered on a little boy travels with his father and grandfather to the moon to collect shooting stars. Directed by Enrico Casarosa and featuring a Fellini-esque score by Michael Giaachino, this wonderful story is about discovering our place in our family and in the world. It also honors a family heritage and illustrates the theme of passing the baton from one generation to the next. (Preceded Brave in theaters in 2012.) 

The Blue Umbrella (2013) 

A bittersweet and captivating story (and possibly an homage to the classic Oscar-winning 1956 short film, The Red Balloon) about two inanimate objects who meet on a rainy night in New York City. Directed by Saschka Unseld and featuring a creative score by Jon Brion, as well as delightful animation of anthropomorphized objects and buildings. (Preceded Monsters University in theaters in 2013.) 

Lava (2014) 

Another captivating love story (and fitting companion piece to the full-length film it preceded), in which two volcanoes long for companionship over thousands of years. Directed by James Ford Murphy as a loving homage to the late beloved musician Israel Kamakawiwoʻole, the results are beautiful and universal. (Preceded Inside Out in theaters in 2015.) 

Sanjay’s Super Team (2015) 

An Indian boy is torn between childhood fantasies and his family's religion, until he imagines Hindu gods as superheroes. A semi-autobiography of director Sanjay Patel's own childhood, this colorful and mesmerizing short features daring themes that Pixar had never tackled before. (Preceded The Good Dinosaur in theaters in 2015.) 

Piper (2016) 

Another wonderful companion piece to the feature film it preceded, this charming short tells the story of a baby sandpiper who overcomes its fear of the ocean waves and forms an unlikely friendship with a tiny crab. Directed by Alan Barillaro, the attention-to-detail in the animation (from sand to bubbles) and characters is incredible. (Preceded Finding Dory in theaters in 2016.) 

Lou (2017) 

This inventive story centers on an anthropomorphic assortment of lost-and-found items and a toy-snatching schoolyard bully. Directed by Dave Mullins, the short is also energetic and poetic as it captures a particular part of elementary school adolescence. (Preceded Cars 3 in theaters in 2017.) 

Bao (2018) 

Domee Shi's original short follows a Chinese immigrant (and empty nester) in Canada, and a small dumpling that comes to life. Groundbreaking for its cultural significance, the premise may be weird, but it's also genuine and relatable. (Preceded Incredibles 2 in theaters in 2018.)