(Rated PG for thematic elements and some peril)
The last time I recall reading Madeline L’engle’s book A Wrinkle In Time, was during the summer of 2003, when I decided to spend my summer reading banned books.
While I wasn’t wholly in love with the book, most of it’s concepts still stuck in my head (warping space and time is often a good way to get my attention).
When word came that Jennifer Lee (the writer of Disney’s Frozen) was attached to write an adaptation, I was actually excited to see what she could do with the material. And then, when word came that Ava DuVernay (the director of Selma) was attached, I felt this might definitely be something special, coming from the House of Mouse.
It’s been four years since the patriarch of the Murry family (played by Chris Pine) suddenly disappeared. In that time, Mrs Murry (played by Gugu Mbatha-Raw) has tried to care for their two children, Meg (Storm Reid), and Charles Wallace (Deric McCabe).
While Charles Wallace is an intelligent young prodigy, Meg has not coped well with the disappearance of her father. One day, she is surprised when Charles Wallace introduces her to three strange women, who may know where her father is.
As the film started out, I was very surprised at the pacing DuVernay was moving at (we don’t have any super-long backstories, and we don’t have Meg brooding around for half the film). This is definitely a film that trusts that it’s audience is smart enough to assemble the pieces, and just keep on moving!
While advertising has played up the roles of Mrs Which (Oprah Winfrey), Mrs Whatsit (Reese Witherspoon), and Mrs Who (Mindy Kaling), they are most definitely here to just fill supporting roles (like Johnny Depp in Alice in Wonderland), along with providing a little humor (courtesy of Who and Whatsit). While some may be disappointed about not getting a huge dose of Oprah, I felt it was nice that the script didn’t try to make the three wear out their welcome.
For much of the film, the secret weapon that the marketing seems to hide, is Storm Reid as Meg Murry.
Reid’s characterization manages to feel ‘real,’ and even when she’s spouting a few lines that should sound corny, she never seems to falter. This is Meg’s journey, and we can definitely see a change come over her, as the story goes along (plus, I did enjoy that Reid sports glasses throughout the entire film, just like Meg in the book!).
I had vague memories of Charles Wallace being a child prodigy from reading the book, and Deric McCabe managed to portray the character quite well. With know-it-all children, there is a certain propensity for them to get really obnoxious on film, but McCabe never manages to get there.
Overall, the film’s cast seems to be it’s greatest strength. Even the minor players like Levi Miller and Zach Galifianakis, work remarkably well with their limited roles.
The trailers have definitely played up a lot of fantasy visuals, but don’t expect this to turn into The Chronicles of Narnia. While most of the scenes manage to do a good job showing us places beyond our Earth, the film feels like it meanders a bit too long in a picturesque green landscape, that feels like Lord of the Rings mixed with the painterly visuals from What Dreams May Come.
There are also a few areas that seem to almost have a very abrupt change-of-pace. One notable scene felt like it was building to something bigger, when it just suddenly fizzled out to a rather ho-hum resolution.
A few times, I was surprised when non-orchestral score music was used across several scenes, somewhat ruining the mood for me. While this may have been done to play to the younger audience, I couldn’t help but wonder what composer Ramin Djawadi could have done with the few scenes I saw.
At times, I was reminded of the tone of films like Bridge to Terabithia and the recent remake of Pete’s Dragon. There’s a sense of trying to make a family film that is a bit ‘smarter’ than most of the other stuff out there, and one that almost goes back to the ‘darker’ tone of films from the 1980’s (such as The Neverending Story, and Labyrinth).
A Wrinkle in Time does have it’s faults, but I was very surprised that even so, it’s heart was in the right place. DuVernay’s film managed to hit me emotionally in several places…something that I felt was severely lacking from the last Wrinkle in Time adaptation I saw, which was made by Disney’s Television division back in 2004.
Final Grade: B (Final Thoughts: Ava DuVernay’s adaptation of “A Wrinkle In Time” brings us a PG-rated fantasy film, that carries along at a good clip, thanks to the talents of it’s cast and crew. The pacing of the story can feel a little uneven in places, but even with a run-time of almost two hours, it never feels boring. )
With the first episode of Season 3 introducing us to a dangerous (and uncertain) new Mewni, along with Queen Moon’s past, I was eager to know what stories lay ahead in the second episode of the Battle for Mewni storyline.
This time, Star and her Mom take a backseat, as we focus on Ludo, Glossaryck of Terms, King River, and…Marco Diaz!?
Following events at the end of Season 2, we have Ludo waking up, wondering what destroyed his lair, and why his wand is suddenly a part of his right hand! We also find that Glossaryck of Terms and the wand’s Magic Instruction Book, are still with him.
After being informed by Glossaryck that he took down the Magic High Commission, Ludo eagerly wants to write about this in the book (nevermind that he doesn’t know just how he defeated the commission!), but finds that the tome is somewhat uncooperative, and…it might not ‘belong’ to him anymore…
In this story, Glossaryck is his usual, enigmatic self, though like some other appearances of his, there may be a ‘method’ to his ‘madness.’ Also notable, is that one theory I had regarding how he operates, may have been partially confirmed (regarding his place in space and time).
Much of the story’s focus is on Ludo, and like Wile E Coyote trying to catch the Roadrunner, the humor from the segment comes from Ludo trying to get the book to cooperate with his demands. There is the typical humor of using Ludo’s incompetence and childish nature for comedy, but also within the story, is a chance to show us once again that he can be vulnerable, and naive.
The structure of Book reminded me of a few other episodes, where the story tends to be off-the-wall for the majority of the run-time, but in the last few minutes, they suddenly shift from comedy-to-drama. They tried to use this with the segment titled Starstruck last season, but it failed to redeem that story. A better version of this method, was used in a segment titled Collateral Damage, though it’s ending wasn’t quite as ‘heavy’ as what we have here.
With By the Book, that dramatic turn near the end actually worked, as we’ve seen that Ludo has wrestled with his emotions, and sometimes, his snap-decisions and desperation to be taken seriously, can lead to bitter regret.
Rewatching some of the Season 2 episodes recently, I was surprised to see the story had even included some continuity with Bird and Spider, from the end of last season! Those little ‘easter eggs’ are always fun to find.
Final Grade: B
With Queen Moon gone from the Kingdom of Mewni, King River tries to keep morale up with constant partying. However, when Marco arrives from Earth hoping to find Star at the castle, River may have to face some harsh realities.
I found this segment surprising, especially in seeing how Marco was sad about Star going away in the first episode of season 3, but finding out here, that he still retained his pair of dimensional scissors from last season (I thought maybe Star had them with her)! Given how he can easily travel to Mewni, that show of emotional depression seems rather out-of-place now (to me, at least).
King River Johansen is our main focus here, much the way Moon the Undaunted focused on the Queen. However, while Moon’s story was intriguing, King River’s modern-day tale just doesn’t feel as wholly entertaining.
Personally, I was hoping we’d get a little more introspection into River’s background, much like what we had with Queen Moon. We have seen in the past that River can seem competent, but it feels like the further we’ve gone on into the series, the more he’s been used largely for comic relief. It’s starting to make me wonder just why Moon married him in the first place (maybe she didn’t marry him for love, but because he was a loyal and caring friend?).
For this story, Marco serves as a ‘cheerleader’ for the troubled King, oftentimes trying to put things into perspective. We’ve seen Star can take after her Father when it comes to uncontrolled recklessness, and much like Marco oftentimes talking sense to her, he does the same to River here. Of course, it isn’t so hard to see Marco doing this, given that his own parents seem a bit ‘childish’ at times as well.
We do get some more information about the lower-levels of the kingdom, and some of it’s denizens. At times, the low morale and ‘everyone in a state chaotic quandary,’ reminded me of when Echo Creek Academy went haywire in the Collateral Damage storyline last season.
Overall, it feels like the show’s crew tried to give us a little humor before the story ends on a cliffhanger, but I still feel like they missed a golden opportunity to explore more regarding River.
Final Grade: B-
Compared to the first episode’s segments , the second episode’s feel a bit less exciting. There is information to be gleaned here, but it’s buried within stories that feel like a small gag, stretched thin.
Book be Gone brings us back into the story of Ludo and Glossaryck, and seems to act as a form of ‘comic relief’ from the rather heavy storytelling of the last episode. While there is humor derived from Ludo trying to make the book obey him, it’s final moments get rather dramatic, in ways that I don’t think anyone expected.
Marco and the King brings Marco back to Mewni, as we see him observe the King in action. The story has it’s moments, but it feels like King River has sadly begun devolving moreso into ‘royal comic relief’ for the show, making me wish the storyline could have given us more information about his past.
Whew! Well, we’re halfway through The Battle for Mewni.
Next time, we’ll review Puddle Defender, where Star and her Mom seek help for their predicament, from an unlikely source. Plus, in King Ludo, we’ll see Mewni Castle under new management, and Marco trying to find a way to help King River, with some very unlikely Mewmans. See you back here in a few days!
‘Rated PG for some action violence, peril and frightening images
Of all the animated features that were released during my youth, Beauty and the Beast is one of those that is at the top, when it comes to animated features that made me consider pursuing a career in animation.
I was enthralled by Glen Keane’s designs for the Beast, the wonderful songs and lyrics of Alan Menken and Howard Ashman, and a story that delivered on a satisfyingly emotional level, that I hadn’t yet encountered in animated films at that time.
Of course, when it comes to turning animated features into live-action movies, I approached the studio’s recent take on Beauty and the Beast with some trepidation. I had been intrigued by what Kenneth Branagh brought to Cinderella in 2015, but felt little need to see Jon Favreau’s The Jungle Book adaptation last year.
Of course, being the glutton for punishment that I am, I bought the ticket, and decided to ride the ride, to see what a live-action version of this “tale as old as time” had in store for audiences.
In the small provincial town of Villeneuve, resides Belle (Emma Watson), and her artistically-inclined father, Maurice (Kevin Kline). Of those living in the village, Belle is seen as an anomaly amongst the townspeople, though entrances a former army captain named Gaston (Luke Evans), who wishes to make her his wife.
One day on a trip, Maurice stumbles upon a snow-shrouded castle, and plucks a rose for his daughter, enraging the castle’s Beastly owner (Dan Stevens). Belle willingly trades her life for her father’s, and soon meets the castle’s enchanted servants (played by Ewan McGregor, Ian McKellan, Emma Thompson, and many more), who hope she can break the spell they are under.
From the early word and trailer imagery, Disney made few attempts to hide that they were attempting to translate the 1991 film (and some of it’s successful Broadway stage adaptation) to the big-screen.
The live-action film doesn’t stray far from it’s roots, and like any adaptation these days, attempts to fill in the blanks, and embellish the story we know so well.
Did you ever wonder just where Belle and Maurice came from? How about what led the Beast to be such a pompous jerk in the first place? We get those answers here, as well as some vague motivations surrounding the Enchantress who cursed the Beast and his servants.
Composer Alan Menken returns to the world he helped create, but has brought on Tim Rice (whom he worked with on Aladdin), to make a few alterations to the film’s music. Some lines are changed from previous works, and a few songs add in bits from the original demo tracks of the animated feature (which were co-written by Menken’s former collaborator, the late Howard Ashman). The Beast even get his own solo (much like in the Broadway production), but none of the newer musical pieces seemed to enthrall me. We even get Celine Dion back, singing a song at the end, that feels more like an afterthought.
When it comes to behind-the-scenes names, Director Bill Condon should be familiar to many when it comes to musicals-on-film. He wrote the adapted screenplay for Chicago, and directed the film adaptation of Dreamgirls back in 2006.
One would assume his pedigree with adapted musicals would be a slam-dunk for this production. Unfortunately, BatB seems to suffer from some ‘speed issues’ when it comes to holding it all together.
I haven’t seen enough of Condon’s filmography to pass proper judgement, but with this film, he really seems to step on the gas-pedal, when the film has to shift into it’s musical numbers, or require a lot of visual effects. Some of the numbers fly by so fast, I was struggling to figure out where my eye was supposed to be focused on (this was most problematic during the Be Our Guest number, which felt like he was trying to ape Baz Luhrmann’s manic Moulin Rouge numbers).
It isn’t until the halfway mark, that the film seems to finally catch it’s breath. In those moments, Condon shows that when he slows down, he can really get to work on making us focus on the characters and their development.
Deep down, I feel that if the film had been more like 2015’s Cinderella, and been less of an adaptation of the animated feature, it would have been more palatable, and stronger in it’s emotional resonance.
The ‘palette’ of the film, seems to derive itself from 19th century French landscapes. I will admit during the early bits in the village, as we see the landscape surrounding it, I found myself making note of the soft color palette of the backgrounds, almost as if the filmmakers were attempting to make it look like the characters had stepped into a painting.
The film also attempts to pay some small homages to it’s roots. The village is named after the original author of the tale, and, Maurice attempts to bring Belle a rose from the Beast’s garden, which was part of the original story.
However, much like the story here, the characters can be rather give-and-take as well.
Sadly, Emma Watson did not enthrall me with her singing voice, but she can deliver in certain moments when it comes to emotions. There is an added character point, that Belle is a forward-thinking young woman in the eyes of her rather mundane village, but it just feels like an afterthought as the story goes on.
Dan Stevens as the Beast, has the task of working through motion-capture, that works ‘most’ of the time. The live-action Beast is a bit like the early concept of a ‘man with a beast head,’ rather than the more animalistic creation of master animator Glen Keane. The concept works some of the time, but mostly in the quieter moments.
Luke Evans’ take on Gaston is different from the muscle-bound lothario we all know. A war veteran who seems to satiate his lust for war by hunting, this take on the character is a bit less hunky, and more mental in several of his decisions…though not by much.
One of the highlights of the film regarding comedy, is Josh Gad as LeFou. Every other word out of his mouth just made me and the audience chuckle, and unlike his animated counterpart, he’s given a bit of character growth. I have a feeling many will find Gad just as entertaining here, as he was as Olaf in Frozen.
When it comes to the enchanted objects of the castle, I was hoping they would enthrall me as much as their animated counterparts did, but that was not the case here.
There are no cartoonish features, or large white eyes to draw one’s attention. Instead, the designers try to take an object’s parts and decoration, and make them into faces (or in the case of Lumiere, just make a miniature man holding candles, with another atop his head!). This may look good in close-ups or when a character is being still, but once they start moving around, I found it maddening, trying to keep track of where an eye or a nose is!
A prime example, is Maestro Cadenza, who has been turned into a harpsichord (and played by Stanley Tucci). His keys and music stand are meant to stand in for his mouth and facial features, but I found myself struggling to figure out where his eyes were, let alone his nose and moustache when the camera focused on him ‘talking.’
There is a sliver of an attempt to give the enchanted objects a bit more characterization, but many of the group scenes feel rather poorly staged, and some that involve dozens of other CG-created objects moving about, feel too busy with motion, for us to figure on where to focus our attention.
Almost 25 years ago, at a swap meet in San Diego, CA, I picked up a book that would change my life forever: The Art of Animation: From Mickey Mouse to Beauty and the Beast.
The book has been a part of my life since then, and has been in the hands of (and signed by!) several persons associated with the animated Beauty and the Beast.
At the end of the book, the final pages tell how the next generation of Disney animators (in 1991), screened the film for their predecessors (several of whom had worked with Walt Disney himself). After the screening, instead of high praise, word was the new generation was met with: “Eh, it’s kind of like what we did.”
That line was in my head tonight. As the film went on, a number of names I had memorized from that making-of book, popped into my head. Looking at some scenes, I was thinking things like, “Glen Keane did that better,” or “Nik Ranieri made that characterization read so much clearer!”
The film definitely doesn’t skimp on the effort, but it sadly feels like another adapted production, that could have been much more solid, had it not been tied so closely to it’s animated counterpart.
The film seems to try and fly by moreso with it’s visuals and putting Emma Watson front-and-center, when what it needed more of in my opinion, was a story that could be just as emotionally involving today, as the animated feature was to me and millions of others, once upon a time.
Final Grade: B-
It is a period of civil war. Rebel spaceships, striking from a hidden base, have won their first victory against the evil Galactic Empire.
During the battle, Rebel spies managed to steal secret plans to the Empire’s ultimate weapon, the DEATH STAR, an armored space station with enough power to destroy an entire planet.
Those were some of the first words, that introduced millions of people to George Lucas’ Star Wars universe. While they offered a small backstory as to this ongoing war raging across the galaxy, there were some over the years who wondered, if they could be expanded upon.
That’s what The Walt Disney Company and Lucasfilm Ltd have done with Rogue One: A Star Wars Story. Set between the events of Episodes III & IV, we follow that small group of “rebel spies,” and find out how they got those secret plans, into the hands of Princess Leia Organa.
The team consists of Jyn Erso (Felicity Jones), Cassian Andor (Diego Luna), K-2SO (Alan Tudyk), Chirrut Imwe (Donnie Yen), Baze Malbus (Wen Jiang), and Bohdi Rook (Riz Ahmed).
Jyn and Cassian are our main leads in this story, with both having had their fair share of troubles, thanks to the machinations of the Empire. However, it largely feels like we’re supposed to care about them, because they’re the main characters. Most of the time, it feels like they’re simply the driving force in the story, to propel us from one location, to another.
When it comes to director Gareth Edwards, I will admit that I am not a huge fan of his work. Having seen his films Monsters and Godzilla (2014), I can’t help but feel he likes to focus more on the atmosphere and supporting characters, that revolve around his main ones.
Donnie Yen and Wen Jiang’s tag-team of Chirrut and Baze, was a bit of yin-yang characterization that held my attention when they were on-screen. While Chirrut seems to be strongly willing to believe in the power of the Force, Baze relies on his wits and weaponry.
Two other characters that I think will also stick in most people’s minds, are pilot Bodhi Rook, and K-2SO, a reprogrammed Imperial droid.
Bodhi is almost like our ‘Finn’ of the piece, and it seemed whenever he was on-screen, I was very much enamored with what he was doing. It feels like out of all the supporting characters, he gets the most development.
Much like BB-8, K-2SO proves to be another entertaining droid for people to smile about. The filmmakers manage to find the sweet-spot between making him both informative and humorous, and it was one of the droid’s first lines, that made many in the audience give some of their first applause of the evening.
Also on hand as a new face in the Empire’s cadre of suited figures, is Orson Krennic (Ben Mendelsohn). This (previously unseen) mastermind behind the Death Star’s construction, almost seems written in, to give us a taste of how credit and bureaucracy, often don’t see eye-to-eye.
The Force Awakens last year, definitely touched off plenty of similarities to the films we remembered from our past. Rogue One does some of the same, but moreso feels like a less-pandering extension of those worlds we were first introduced to. We get plenty of new set-pieces, and some familiar ones, expanding on our past knowledge. Plus, for those of you that are die-hard fans of George Lucas, it appears that there’s a subtle reference to another of his early works.
Of course, the time-frame of the film, also gives us a chance for a few cameos. These can often bounce around from good, to bad (though I will admit there were a couple that made my face light up like a Christmas tree!).
Composer Michael Giacchino fills our ears with a score that sounds like a ‘distant cousin’ to the works of John Williams. While a few familiar musical strains are heard, he is able to walk into the universe, and add his own inspired touch to a number of scenes.
Some of the battle sequences, also feel like they are a bit ‘scattershot’ in the way they are put together. While I like a good action sequence in a Star Wars film as much as the next person, it felt like they carry on too long in certain places. This almost made me pine for the tighter editing of battle scenes in some past films. Say what you will about the prequels, but it felt like even the act of juggling multiple scenes at the end of The Phantom Menace was handled better.
That isn’t to say Rogue One is a bad film. I walked into it just like I did Episode VII last year, asking only that it entertain me, and it did just that.
Like any film that attempts to rewrite something we’re already familiar with, there are certain elements that are embellished and expanded upon. Given the way the series’ fandom functions, it will be entertaining to see if some of the ret-conned items, end up becoming as ‘scandalous’ as some of the items that Lucas wrote about in the prequels.
The film proves that Star Wars can build an expanded universe on film, and should probably give plenty out there hope, for additional Star Wars Stories in the coming years.
Final Grade: B+ (“Rogue One: A Star Wars Story,” is the first attempt to expand the film universe of the world’s most famous space saga beyond it’s typical ‘episodes,’ and succeeds in being an entertaining prequel to the events of “A New Hope.” While our main cast of characters doesn’t prove as overall satisfying as the ragtag band of rogues in “Guardians of the Galaxy,” there’s still enough here that should please “Star Wars” fans, both old and new.)
(Rated PG for peril, some scary images and brief thematic elements)
Earlier this year, Walt Disney Feature Animation surprised many of us, with its Spring release of Zootopia. The story and visuals, showed that the company’s animation division was continuing to “keep moving forward,” honoring the studio’s artistic legacy.
This year is also the first since 2002, that the studio has released two animated features from its Feature Animation division in the same year.
My anticipation for the fall release of Moana was high, given its main directors are John Musker, and Ron Clements. The two have directed over 7 animated features together over the last 30 years, including The Little Mermaid, and Aladdin. And now, 7 years after The Princess and the Frog, they have returned, with Moana.
On the island of Motunui, resides Moana (Auli’i Cravalho), the daughter of the village Chief Tui (Temuera Morrison), and his wife Sina (Nicole Scherzinger). Though her parents try to make her see that their island has plenty to offer, the young girl can’t help but wonder what lies beyond it’s familiar shores.
As Moana grows up, hardships begin to affect the island’s people , and she decides to make a daring attempt to save them. Leaving home, she sets out to find the ancient demigod named Maui, who may be their only hope.
From the very start, Moana quickly reminded me of several other Disney animated films, but soon began to head down its own path.
Though many media and marketing materials claim Moana to be a Princess, she’s simply just the daughter of the island’s chief, and as such, certain royal titles are never brought up (well, only in a few jokes in the film). Not actually having a ‘title,’ actually helped make Moana more of an ordinary girl to me, though one who has a secret or two that makes her a little…extraordinary.
Moana has a spunkiness about her that may remind some of Rapunzel, or Anna (from Frozen). Of course, where she shines most, is in her determination as she takes on a journey that most would probably caution against.
We do get a bit of animosity between her and her father, Chief Tui, who keeps trying to keep his daughter focused on leading the islanders. Tui also shows a stubborness to break free of the old ways, which leads to a small bit of friction with his daughter.
The film may also be one of the first, in which we really see less of a connection with the lead’s parents, and moreso with a grandparent. Moana seems to get along well with Gramma Tala (Rachel House), who for being considered the village’s ‘crazy lady,’ still has a few life lessons to instill, and a few secrets to be told (to those who will listen).
Of course, one of the biggest selling points for the film, has been Dwayne Johnson (aka ‘The Rock’), playing the demigod, Maui. The way he’s portrayed, Maui comes across almost like a former rockstar, with a bit of an ego problem.
A small staff of hand-drawn animators also inject some humor into Maui, as they bring several of his many tattoos to life (with one acting almost like Maui’s conscience at times).
And then, there’s the music.
Broadway sensation Lin-Manuel Miranda has teamed up with Opetaia Foa’i and Mark Mancina, to produce a a soundtrack that manages to keep one foot in the Polynesian world, and the other foot amid the likes of Broadway musicians Howard Ashman, and Alan Menken.
Tracks like We Know the Way, give us a taste of the culture the film hails from, while Maui’s song You’re Welcome, almost sounds like a combination of the songs Friend Like Me, and Gaston.
For me, one of the most enjoyable songs, is sung by Jermaine Clement, who sounds like he’s channeling David Bowie, and Ursula from The Little Mermaid (trust me, it works!).
And as we’ve come to expect, the talented artisans at the studios in Burbank, craft a world so believable, you’ll want to get your feet wet on the shores of Montunui, or explore more of the eerie Realm of Monsters. The film also manages to do for water, what Frozen did for ice. One can only imagine how many sleepless nights were had, to make the ocean waters appear as believable (and unbelievable!) as they do.
One of the biggest hurdles I had while watching the film, was that some of the action sequences felt like a massive blur of color and motion. One scene I was really looking forward to, sadly seemed to barely give me much of a chance to really get a handle on what was going on.
There’s also a few modern-day references that didn’t work for me (and for most of the audience, judging by the silence), but overall, Moana proved to be one of the first Walt Disney Feature Animation releases since Wreck-it-Ralph, that seemed to really engage me on an emotional level. I feel that if it could entrance me as well as it did, it will surely do the same for you.
Animated Short Review: Inner Workings (Rated G)
After Zootopia was released earlier this year without an animated short in front of it, I was afraid that Disney had abandoned the idea completely. Fortunately, Inner Workings proves that the tradition is still alive.
Taking its cue from textbooks that diagram the inner parts of the human body, the short functions almost like Inside Out, except with internal organs. The two main ones, are a man’s brain, and his heart. One wants to be sensible, while the other wants to be more spontaneous.
Director Leonardo Matsuda has some fun with the concept, giving identities to the organs, let alone exaggerating the world around our main character. The world outside of the man’s workplace, is full of curves, while he and his co-workers, are in a confined ‘square space.’
It’s a fun concept that Matsuda plays with, though I couldn’t help but feel that the short Paperman from a few years ago, really did a more entertaining job with its message of ‘follow your heart.’ Then again, maybe the short could just be telling us introverts, that sometimes, it can be okay to break out of our shells, and throw caution to the wind.
Final Grade for “Moana”: B+ (Final Thoughts: This “Princess” film that isn’t, proves to be a pleasant and entertaining surprise. Moana’s journey leads her on a tale of self-discovery, in which the past and present collide, as she looks towards the future. Dwayne Johnson as Maui, adds some fun with his supporting role, and the music helps bring something new to the studio’s filmography. Some jokes don’t work so well, and a few action scenes come off as muddled, but the emotional resonance of the film helps keep it on course.)
Final Grade for “Inner Workings”: B (Final Thoughts: This animated short from the “Walt Disney Studios” shows that the studio is willing to experiment with new shorts and ideas. However, even with some wonderfully stylized characters and settings, the story feels rather average, as it attempts to encourage us to try something new.)