Tag Archive | Walt Disney Studios

Episode Review: Star vs the Forces of Evil (Season 3, Episode 2) – Book be Gone/Marco and the King

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!?

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Book be Gone

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

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Best line from segment (said by Ludo): Star was always your favorite, wasn’t she? The cute little sparkles on the cheeks. I’m just a sad little dingus in a chip bag!”

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Marco and the King

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-

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Best line from segment (said by Foolduke): “WHERE’S MY MONKEY!?”

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Best honorable mention line from episode (said by Ludo, in Book be Gone): “Book, I demand that you let me write in you this instant, or I’ll turn this car around so fast, it’ll make your head spin!”

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.

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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!

2017’s D23 Expo – The Place to be for Disney Cosplay

Back when I attended my first D23 Expo in 2013, I was surprised by the amount of Disney-related cosplays that I saw. While there were the familiar mainstays like Snow White or Aladdin, I was very surprised to see cosplays of characters I probably would never see in other, non-Disney venues!

This year, I decided to do another blog post like I did in 2013, and chronicle over 30 different cosplays I took pictures of, during the three-day event. Like last time, I ended up taking a lot of pictures, so I had to whittle my choices down to the ones below.

And trust me, there were plenty of great ones to choose from!

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One character I don’t often see much of, is Giselle from the live-action/animated feature, Enchanted. This cosplayer did a nice rendition of the dress she made from Robert Philip’s curtains.

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Sometimes, people dress up as representations of things related to Disney, and that’s what this couple did! Taking their cues from Pixar Animation Studios, the girl’s dress is a representation of the famous Pixar ballwhile her partner is an interpretation of it’s famous hopping lamp, Luxo, Jr.

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This year marked the 15th anniversary of the release of Lilo & Stitch. While I did see a lot of girls and women wearing Lilo’s red dress with white leaf imprints, I was very surprised to come across Mertle Edmonds. Mertle was the bossy little redhead in Lilo’s hula class, and like in the film, she had to flaunt some attitude when I took her picture.

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“Abigail! Amelia! My two favorite gooses!”
I hadn’t seen The Aristocats in years, but upon seeing these two girls, Uncle Waldo’s declaration rang through my head, as I saw some nearby expo-goers, trying to figure out just who they were! It was fun to see that to simulate their webbed feet, they were wearing orange shoes!

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“Name’s Hades, Lord of the Dead, hi how’ya doin?”
Some cosplays will make me just rush over to snap a picture, and seeing this guy from the back, was one of those times! He REALLY put a lot of effort into this, as that is actually a facial prosthetic he’s wearing! He’s also got spiked dentures, contact lenses covering his eyeballs, and he was even in ‘lifts’ to give him some extra height! He even wore gloves to give his fingers the spindly, ‘Scarfe’ look of the character!

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One of the reasons I went to the expo this year, was to attend the events related to a recent DisneyXD series I watch: Star vs the Forces of Evil. While there were plenty of ‘ordinary’ cosplays of title characters Star Butterfly and Marco Diaz, this couple to me, beat them all! They were not only wearing the disguises Marco and Star wore to infiltrate St Olga’s Reform School for Wayward Princesses, but the girl portraying Star here, also hand-crafted the Flying Princess Pony Head figure her boyfriend was holding!

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Many of us know Merlin from The Sword in the Stone wearing his blue robes, but how often do you see him in his 20th century vacation duds, that he wore while in Bermuda?

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I saw a few people dressed up as Indiana Jones on the expo floor, but this was the first time I had seen an Indy, with Marion Ravenwood! It wasn’t enough that she made a version of Marion’s outfit from Cairo, but she was also wearing her medallion, AND carrying around that two-timing little monkey spy!

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“Can you turn yourself into a fly?” I asked this guy, in my best Mickey Mouse voice.
“Are you sure you don’t want a, pink bunny?” he asked, smiling that I recognized him.
This fellow is dressed as Willie the Giant, from the Mickey and the Beanstalk short. And just like Willie in the short, he had a little Mickey in his hand, to pose with.

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I’m always on the lookout for cosplays of my favorite modern-day Disney shorts, Paperman! This couple was one of several walking around the expo. Word was, the other had painted themselves grey to more closely resemble their animated counterparts.

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I saw quite a few Edna Modes from The Incredibles, but this little woman captured her larger-than-life attitude perfectly!

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Tron: Legacy has somewhat faded from most people’s minds, but it was neat to see Quorra and two of the Sirens from the film, off-the-grid.

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I definitely didn’t expect to encounter Percival McLeach from The Rescuers Down Under, but it was an even bigger surprise to see his monitor lizard Joanna, trying to purloin a few of his eggs (again).

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This Centaurette from Fantasia’s Pastoral Symphony, was part of a mother/daughter duo, that I saw outside the convention center. There was also a blue Centaurette who entered into the Mousequerade contest.

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I saw a few Maui’s on the floor, but this one had the physique and facial features, to really sell that demigod look (plus, his hook lit up!). It was also humorous, that everyone who thanked him for a picture, was greeted with a “you’re welcome” from him!

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Like an older woman I saw dressed as Mulan from the 2013 expo, these two are examples that you’re never too old to cosplay! It’s not often I see Anna, AND a snow-caked Christof from Frozen.

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While I’ve seen plenty of Ariel’s roaming the floor, this was the first time I had seen her daughter Melody, from Little Mermaid 2. Her ‘tail’ is actually a skirt that she could raise and lower.

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There were quite a number of ‘mash-ups’ regarding various properties and characters (I saw a Spider-Ariel at one point), but this was rather unique: a number of leading ladies, crossed over with the villains of their respective films!

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I saw a few people cosplaying characters from 1995’s A Goofy Movie, but there was only one Powerline, who was walking the floor with a boombox, blasting the film’s soundtrack. He was accompanied by a girl dressed as Stacey, the character Roxanne’s best friend from the film.

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The opening day of the Expo, had the most cosplayers there, due to the Mousequerade costume contest. When it was all said-and-done, these two girls, dressed as Te Fiti and Te Ka from Moana, were the big winners! Word is Te Ka’s volcano form was made from sculpted foam, and actual smoke emitted from it!

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With the announcement of a new Kingdom Hearts game, there were plenty of Sora’s around, though this guy really captured the character (especially with his huge shoes, and spiked hair!).

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Given that Gravity Falls creator Alex Hirsch was at the Expo on Friday, there were a number of GF cosplays to be seen that day. Before the day was up, I managed to snap this pick of Mabel, and “Grunkle” Stan Pines.

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“DARLA!!!” Yes, the Australian dentist’s niece from Finding Nemo finally made an appearance at the Expo!  Poor Chuckles, though.

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It often amazes me how beloved Tangled is by a number of fans, and I was surprised to see several of the thugs from The Snuggly Duckling. Here, we have Hook Hand, and Atilla (with his cupcakes)!

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The evil Madam Medusa from The Rescuers, was seen on the floor taking Nero for a walk, with the Devil’s Eye Diamond in his mouth. “Brutus is at home,” she informed me, of her other pet crocodile.

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This costume mash-up I almost passed by. This girl is playing a combination of Lilo and Rey (from The Force Awakens). What caught my eye, was her BB-8, that is actually made up as Lilo’s doll, Scrump!

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“So, what’s the sitch?”
Hard to believe Kim Possible debuted on The Disney Channel 15 years ago! I also saw Shego walking around, but really…where’s Ron Stoppable!?

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There were a number of people needing wheelchairs or scooters to get around, and this guy took his scooter, and decided to become Captain Jack Sparrow, steering his own Black Pearl around the expo floor!

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No, it isn’t “Showgirl Gadget,” it’s Miss Kitty, who performed “Let Me Be Good To You” at the Rat Trap Pub, in The Great Mouse Detective.  Sadly, she was the only Great Mouse cosplay I saw, walking the expo floor.

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Like the 2013 Expo, I saved my favorite cosplay for last, and this year, it was this woman, dressed up as Big Thunder Mountain Railroad, from the Disney Parks! What was even more impressive, is that the train on her dress worked, and could complete a full trip all the way around her! Sadly, she didn’t win the Mousequerade contest’s big prize, but she did win for the “Inspired by Disney” sub-category! 

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And those were 30 of the many cosplays I saw at this year’s D23 Expo!  There were plenty of other amazing ones, such as a male version of Aurora from Sleeping Beauty, with a pink/blue splattered dress suit, Tinkerbell as a Rebel pilot from Star Wars, and even Vanellope Von Schweetz in her candy kart (that had to be specially taken through the security area!). There was even a woman dressed up as the pub thug Shorty from Tangledin his “cupid” getup.

If any of you readers are the cosplayers I snapped pics of, please leave a comment! Any tidbits about making your costumes, or stories about their creation, are always welcome!

Movie Review: Beauty and the Beast (2017)

‘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.

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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.

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The Beast (Dan Stevens)

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.

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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.

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Belle (Emma Watson)

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.

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Gaston (Luke Evans), and LeFou (Josh Gad)

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!

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Lumiere (Ewan McGregor), Cogsworth (Ian McKellan), and Maestro Cadenza (Stanley Tucci)

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.

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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-

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Book Review: Star and Marco’s Guide to Mastering Every Dimension

When I was younger,the way in which books were connected to visual media, was definitely different.

Some shows like The Care BearsTransformers, and even Sesame Street, would often have books released, that would feature original story ideas, or stories taken from a television series, and condensed down into book form.

However, in this day-and-age, many companies in the entertainment business, have advanced well beyond this simplicity, and we’ve seen print media tie-ins, take on a whole new life of their own.

Want to know more about the story behind the latest Transformers movie? There’s probably a prequel comic mini-series, to explain where some of the new characters came from.

Just how did The First Order and The Resistance come to be the new Empire and Rebellion of Star Wars: The Force Awakens? There’s several hardcover novels to fill in those blanks.

Of course, there are also other methods of reaching out to the viewers of a series, via the printed page.

DisneyXD’s series Gravity Falls, is one such example. The last couple years have seen book tie-ins for Falls, including a ‘choose your own adventure’ storybook, and a real-world representation of the show’s third journal, that Dipper Pines carried around with him through both seasons of the show!

When it comes to the DisneyXD series Star vs the Forces of Evil, we’ve had some of the episodes collected into Cinestory comic books, and seen the expansion of the show, through the currently-running, 8-part original comic series, by Joe Books.

Though in regards to a tie-in that aims to have some fun with it’s fans, that seems to be what has been created, with Star and Marco’s Guide to Mastering Every Dimension.

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The book is structured in a scrapbook-style format, with Star Butterfly being the main commentator, along with some additional  information from her best friends Marco Diaz, and Flying Princess Pony Head.

The concept is that one day, out of sheer boredom, the three decide to put together the book, to chronicle a number of things in regards to the show’s multiverse, as well as what Star has learned while living on Earth.

Each character uses their own pen for writing, with their own specific ink color (though how Pony Head can write so well without hands, is left to our imagination!).

I will admit that in some later chapters of the book, I got a little confused, when Star Butterfly would take over writing but use rainbow-colored inks, which made me wonder if maybe Marco was contributing to the items. Maybe this was the writers trying to make the book as wacky and wild as the show, but I can’t say for certain.

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Example of Star Butterfly, Marco Diaz, and Princess Pony Head’s writing within the book.

For those who are fans of the show, you’ll find plenty of additional information about certain dimensions, and…the last names and distinctions of several characters. This to me, is where most of the fun in the book lies, as a few doors are thrown open with this additional information.

We also get our trio of writers, interviewing their friends (and friend-enemies?), to get their advice on a few things, as well as some commentary on how they feel about some people they know.

Like the title says, we also get to learn more about  various dimensions, including just where Star’s ex-boyfriend Tom, and Pony Head reside. Personally, I had hoped maybe we’d get some more dimensions than most of what we’ve seen, but at least we get an identification for a few dimensions that had no names in the television series.

Also of note, is additional information on Pony Head’s family tree (she is one of 13 sisters!), as well as more information about The Grandma Room, glimpsed briefly in the Season 2 segment, Into the Wand. There’s definitely some revelations to be had, but probably not enough to totally blow the doors off our curiosity (minor spoiler: we’re still no closer to knowing more about Queen Eclipsa!).

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One of several tapestries shown in the guide, that gives information on past Queens of Mewni.

One section I was really eager to get through, was one that delved into some pages of Star’s magic instruction book, with notes by Glossaryck of Terms.

Unfortunately, my hopes to finally understand the ancient language we’ve seen in the book, failed to yield anything concrete.

However, we get a small understanding regarding spells, how some can be altered, and how Star comes up with several of the ones she recites in the series.

I will admit that when it comes to the writing, I found the style of characterization for Pony Head, to be a bit too contrasted from her Season 2 role.

Sure, she’s been somewhat abrasive in Season 2, but it feels like the writers of the show toned her down (we’ve even seen that Marco after awhile, is better able to put up with her!). The writers try to create some back-and-forth banter with Pony Head claiming she is Star’s ‘bestie,’ but it just feel a little ‘flat’ to me.

There are also some activity pages, including a cut-out diagram to design your own pair of dimensional scissors, and a page to draw what dimension the reader wold like to visit.

A tri-fold poster is also included in the back of the book. One side of it has the opening character shot from the second season’s intro, AND, if you flip it over, you get a map of the Kingdom of Mewni!

And, for those with wicked culinary skills, there is a recipe for how to make “Marco’s Super Awesome Nachos!” I’m not much good in the kitchen, but I have considered trying to follow Marco’s recipe and see if I can pull this off.

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A portion of the map of the Kingdom of Mewni, that is contained in the book!

This book was originally set to be released in early January, but was pushed back by two months.

Going over it’s contents, I could see why it happened. Several chapters actually acknowledge some episodes and storylines, that hadn’t been released yet (maybe the ‘Starbomb’ of episodes in February, was a way to get them all out before the book release?). Plus, I believe the writers have included a few small tidbits, about what happened after the conclusion of Season 2 (sorry folks, no spoilers!).

What I’ve really enjoyed about some of the expanded universe material for Star vs the Forces of Evil, is that almost all original,  ancillary story materials, has had involvement by people who have also worked on the show! I really like that kind of dynamic, and it makes me pretty sure that those working on these materials, have a good idea of the show’s continuity, as well as how certain things are to be portrayed.

It should also be noted, that a few of the listed persons who worked on this book, also had illustration duties on the Svtfoe comic series that is currently out!

Overall, Star and Marco’s Guide to Mastering Every Dimension, is a fun book that has been made by the show’s crew, for the fans, as well as any who are weird or crazy enough to pick it up, and want to find out more a bout this show! Definitely recommended reading material for all fans of the series.

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Movie Review: Rogue One – A Star Wars Story

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.

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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).

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Jyn Erso (Felicia Day) and Cassian Andor (Diego Luna), walk through the Rebellion’s secret base.

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.

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K-2SO (Alan Tudyk) takes the controls.

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.

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Work is almost complete on the Death Star.

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.

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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.)

Movie Review: Moana (with short: Inner Workings)

 

(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.

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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.

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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.

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Gramma Tala (Rachel House) has a few words with Moana (Auli’i Cravalho)

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!).

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Maui (Dwayne Johnson) encounters Mowana (Auli’i Cravalho)

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.

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Animated Short Review: Inner Workings (Rated G)

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Lungs, heart, and stomach start off a brand new day.

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.

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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.)

Movie Musings: Remembering ‘Chicken Little,’ 10 Years Later

In 1985, The Walt Disney Studios were poised to usher in a new era of filmmaking. The studio was pushing the next generation of Disney animators into more grown-up territory,, with the PG-rated feature film, The Black Cauldron, based on the second of five books in the Chronicles of Prydain series, by Lloyd Alexander.

However, instead of attracting an older crowd that was into the likes of Star Wars and Indiana Jones, the film crashed and burned upon release. To add insult to injury, the studios’ first PG-rated animated feature, was beaten at the 1985 box-office, by a G-rated animated feature: The Care Bears Movie!

Fortunately, the studio’s fortunes soon turned around after Cauldron. The Great Mouse Detective was released in 1986 to favorable reviews, and has been considered by some, to be the start of the studio’s animation Renaissance, that went on for almost 15 years.

Of course, the good times couldn’t last for long.

As animated features became more lucrative and successful than even during Walt Disney’s time, much of the studio’s upper management began to throw in their own ideas. Pretty soon, it wasn’t so much the people working in Feature Animation that were calling the shots, but men-in-suits…men-in-suits who had never animated a character, or tried to storyboard an emotional scene. All they had on their side, were fancy degrees, and facts and figures on how to run a business.

Pricey animated films like Atlantis: The Lost Empire and Treasure Planet fizzled at the box-office, and attention began to turn to other studios that were raking in the cash.

Box-office grosses from the likes of Dreamworks’ Shrek and Blue Sky Studios’ Ice Age films, were in the eyes of “the suits” in Burbank, California…and that meant some changes were in store for the studio.

And so, it was soon declared by the higher-ups, that hand-drawn (aka “2-D”) animation…was dead! According to them, the public was tired of 2-D, and 3-D was the future…and the company had to ‘modernize.’

And so, studios the company owned in Paris, France, and Orlando, Florida, were shut down. After completion on films like Brother Bear and Home on the Range, a large number of hand-drawn animators were shown the door…with a select few kept on board, that could then turn their skills to the computer-generated frontier.

To those of us in-the-know, the hand-drawn legacy went out with a whimper, when the animated feature Home on the Range came out in the Spring of 2004…with a measly $13 million opening weekend, and quickly sank from sight.

Of course, the executives at The Mouse House were already on board their own ship, charting a course to big-time profits. We’ll just slap the Disney name on a 3D animated feature, and the cash will flow in, must have been the first thing on their minds.

But where to begin? Animating humans in the computer would not be easy, so why not go with animals? And, how about a familiar story that everyone knows…or at least, they think they know.

And so, the fable of Chicken Little was modernized, and would become the studios’ first step into playing the 21st century game that Dreamworks, and Blue Sky Studios, and PIXAR were already involved in.

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As the story begins, Chicken Little throws his hometown of Pokey Oaks into a panic, when he claims a piece of the sky “shaped like a stop-sign,” hit him on the head. His father, Buck Cluck, assumes it to be an acorn, and Chicken Little is ridiculed and ostracized by the town following the events.

His best friends Runt of the Litter, Abbey “Ugly Duckling” Mallard, and Fish Out of Water, still believe in him, but Chicken Little finds himself trying to prove himself to the rest of the town, as well as win back the lost respect of his father…until, the sky falls, again!

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Once upon a time, Disney was the leader of animated features. 95% of the Hollywood studios, when making an animated film, would never make a move outside-the-box, but just look at what Disney had done, and try to copy them. Prince and Princess stories? we can do that. A sidekick that cracks pop-culture shtick? check. A musical? double-check!

But when it came to Chicken Little, it was clearly obvious that the leader, had now become a (desperate) follower, thanks to management and executive oversight.

Watching the film, one can’t help but get a huge Shrek vibe from the entire thing: a story you think you know…but with a twist!

The biggest problem with the film I feel, is that it’s missing a heart. The entire thing is strung together on pop-culture references, and oftentimes, is a pretty mean-spirited production.

Every other character just seems to serve a small purpose, and it feels that meaningful character development, has been replaced by making everyone loud and obnoxious.

It’s true that we can find sympathy in a downtrodden character (like Dumbo), but the slings and arrows just never seem to let up for Chicken Little. It’s not just a select few, but the entire town that pretty much blames him after a year’s time, even to the point that a movie was made over the incident. In a way, Pokey Oaks almost feels like an entire town of bullies.

Chicken Little’s misfit friends serve to try and give him a cushion against what’s happening, but it never really feels like they ever move beyond being one-note. Runt freaks out so many times, I think you could make a drinking game out of it. Abbey keeps trying to be the logical friend most of the time, but it feels that once her purpose is done 3/4 of the way through the film, she just becomes as two-dimensional as Trinity in the Matrix sequels. There’s also Fish Out of Water, who just seems to be the weird kid that tags along, but oftentimes, seems to be off in his own little world.

Also hard to find much sympathy towards, is Buck Cluck, Chicken Little’s father. Disney goes back to the well with the widowed-parent cliche, but even so, Buck becomes a father-figure that makes you more upset that he is willing throw his son under the bus regarding the town’s ire. It also doesn’t help his character that in the aftermath of the sky-falling incident, he also seems to shun his own son, and be unwilling to listen to half of what he says most of the time.

The film tries to be snappy and quick, which is one of director Mark Dindal’s trademarks. The director of Cats Don’t Dance and The Emperor’s New Groove, Dindal was able to make entertaining and even likable characters out of such irascible characters like Darla Dimples, and Emperor Kuzco. However, in Chicken Little, there’s little charm to be found.

The film also utilizes a number of popular songs, to the point where during an alien invasion (yes, and you thought Kingdom of the Crystal Skull was the first film to be ruined by aliens), R.E.M.’s song End of the World as We Know It plays…as if some executive thought, “hey, this song played in Independence Day, that’s pop-cultural! This will get lots of laughs!”

Even the amount of pop-culture references made me cease laughing pretty quickly. Whether it be Runt of the Litter singing to showtunes constantly, or the animals watching Raiders of the Lost Ark in their local theater (yes, animated characters watching a live-action Harrison Ford film. That image above is not Photoshopped). I like to think pop-culture overload began around 1992, when everyone became entranced with Robin Williams’ Genie in Aladdin. After that, it seemed every film had them built into the story in some way. When used sparingly it can work fine, but when it never lets up, it grates on you (If any of you saw the dub of the Magic Roundabout animated feature into the Americanized Doogal, you witnessed something that out-pop-cultured even Chicken Little!).

The advertising campaign also toyed with its audience, tending to rely on mis-direction. The advertising was erratic, loud, and oftentimes, just seemed to rely on ‘cool-and-hip’ animation. They even touted such background characters as Morcupine Porcupine, who in the film, only garnered less than a minute of screentime.

The posters made for the advertising campaign, also showed little creativity, with bad puns galore. Most notable, is this image of Chicken Little sitting in an egg-chair, and wearing shades much like Will Smith and Tommy Lee Jones in the Men in Black II poster. At least in the MIB films, we saw the egg-chairs referenced in the poster, but in this case, noone in the film sits in a cracked egg, or wears a suit like this.

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In the end, Chicken Little’s final US box-office grosses tallied up to $135 million, just a little shy of its $150 million production budget.

Even so, the studio was still planning to go forward with other, hip-and-edgy films. The next feature film A Day in The Life of Wilbur Robinson, was re-branded with the more hip title of Meet the Robinsons, and Chris Sanders (creator of Lilo & Stitch), was working on a production dubbed American Dog. There was even word that the company’s CEO Michael Eisner, wanted to take the earlier hand-drawn features made by the studio, and redo them, in CGI!

That all changed, once Disney kicked Eisner out, and Bob Iger became the company’s new CEO. Iger’s first order of business was to end the stalemate between Disney and PIXAR, and orchestrated a $7.4 billion acquisition deal, keeping the Emeryville studio on board.

PIXAR’s top brass John Lasseter, and Ed Catmull, soon came to take prominent positions within Feature Animation (a place Lasseter had worked for and been released from in the early 80’s), and began to clean house.

A number of projects were re-worked or scrapped (Robinsons was overhauled, and American Dog became Bolt, at which point Sanders left Disney for Dreamworks). The direct-to-video productions were scrapped, which also meant the end of sequels like Dumbo 2, and even a Chicken Little 2.

To this day, I still feel Chicken Little was the equivalent to The Black Cauldron: something that upper-management said would be good for the company, but had too many hands in the pot, to even make it boil to a proper conclusion. It just reeks of desperation, trying to be all things for all audiences, but its attempts to get your attention, just feel lackluster.

I can’t fully fault some of the animation done on the show, though. They tried their darnedest to get some squash-and-stretch into what would normally be rigid computer models…though there are a few times one can tell they may get a little carried away, trying to figure out how everything works. in one scene, Abbey Mallard’s face and mannerisms almost seem to move a little too much, to the point I thought I might get motion sickness.

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Of course, from this film, began the climb back to prominence. John Lasseter and Ed Catmull had some say in the upcoming Meet the Robinsons, and the story changes I feel, helped steer that film back into the realms of emotional storytelling, that I and many others had longed for.

From there, they continued climbing the ladder, their efforts continuing to improve from film-to-film. And though Lasseter did renege on the ‘2-D is dead’ campaign, the studio only put out two hand-drawn features: The Princess and the Frog, and 2011’s Winnie the Pooh. Sadly, while both had some good storytelling, they were at the mercy of bad titling (according to the analysis on Frog’s lower box-office take), or being put up against bigger films (seriously, what executive said “let’s release Winnie the Pooh on the same weekend as Harry Potter and the Deathly Hallows, Part 2?”).

In the last 5 years, the studio has had a number of big successes, with Tangled, Frozen, and Big Hero 6. Next year, they’ll return to a world of anthropomorphic animals, with Zootopia, a buddy-cop movie in a world where animals of all shapes and sizes exist. I’m actually excited to see what they come up with character and concept-wise for the film, and hope it will continue to be a crowd-pleaser for audiences.