REVIEW: The Wild Robot

Directed by Chris Sanders (best known for How to Train Your Dragon), The Wild Robot stands out for its gorgeous animation, rich worldbuilding, and a touching yet humorous storyline. It’s no surprise that Forbes ranked The Wild Robot among the top 10 best-reviewed computer-animated films of all time. While it isn’t packed with action or major plot twists, its heartfelt, compelling narrative draws the audience deeply into its world.

The Wild Robot is an animated adaptation of Peter Brown’s novel. The story takes place on an island untouched by human life, yet thriving with animals and lush vegetation. The protagonist, Roz, is a service robot who crash-lands on the island after a shipwreck. Though the island’s animal inhabitants fear her, Roz’s programming makes her endlessly kind and selfless. Soon, Roz discovers and cares for an orphaned gosling, which marks the beginning of her emotional development that sheds her of her robotic nature.

I was surprised that this film was only 1 hour and 42 minutes long because the pacing felt natural and never rushed. That said, I personally found the opening a bit jarring. The film begins in a violently chaotic, almost overwhelming way that makes it hard to settle into the story right away. In retrospect, I understand why the filmmakers chose this approach—it fully showcases Roz’s sudden and disoriented arrival—but at the same time, it felt slightly off-putting. Thankfully, once the film found its rhythm, I became fully immersed. I grew incredibly attached to the characters and was deeply moved by their evolving relationships. In the latter half, I even found myself tearing up several times.

My favorite voice performance came from Pedro Pascal, who voiced Fink the fox. I was surprised to learn this was his first animated voice role—he sounded incredibly natural and perfectly captured the sly, sarcastic charm often associated with foxes. In fact, his portrayal reminded me of Nick Wilde, the clever trickster fox from Zootopia. Meanwhile, Kit Connor gave Brightbill, the gosling, a wonderfully youthful charm that embodied the innocence and curiosity of a child. Lupita Nyong’o’s performance as Roz became particularly powerful toward the end. As Roz’s emotional intelligence deepened, so did the rich texture of Nyong’o’s voice, further strengthening the robot’s compelling emotional arc. 

Overall, I would give The Wild Robot a solid 9/10. The only reason it doesn’t earn a perfect score is the rocky beginning, which personally made it a bit difficult to get into at first. Still, this is a touching and worthwhile film. It’s perfect for anyone looking to unwind from the stresses of daily life and enjoy a story rooted in nature, empathy, and personal growth.While its emotional depth resonates with adults, its clear storytelling and themes of kindness make it equally appealing for children.

REVIEW: Stefan Jackiw Plays Tchaikovsky

Photos are provided by the Ann Arbor Symphony Orchestra

The Ann Arbor Symphony Orchestra’s February 2025 MainStage took place on Saturday, February 22, at 8 PM in the Michigan Theater, and alongside performing Montgomery’s Overture and Shostakovich’s 10th symphony, theyaccompanied violinist Stefan Jackiw who gave a phenomenally clean and vibrant performance of the Tchaikovsky Violin Concerto in D Major.

The Overture was the first piece in the program. It was my first time hearing Jessie Montgomery’s Overture, but it was incredibly enthralling. The piece opens with strikingly dissonant chords played by the entire orchestra that serves as a unique melodic line. These chords continue to be the main feature before the violins begin to take over with faster-moving notes that are then accompanied by changing chords in the brass instruments. Overall, it was a piece that can be largely described as a musical cacophony and served as a great introduction before moving on to the brighter melody of the violin concerto, which was the highlight of the night.

Similar to many other members of the audience, Tchaikovsky was the main reason why I wanted to attend this concert, as it’s one of the most famous violin concertos. The concerto’s grand melody truly makes the violin sing, which requires the soloist to have a high level of technique. The first movement, Allegro moderato, opens with a gentle melody from the orchestra that slowly builds up to the soloist’s entrance, which is low and soulful and evokes a sense of yearning that Jackiw’s strong vibrato captured perfectly. As the melody continues to ascend in pitch, its playful character grows and flourishes with runs before once again blending into a more soulful tune. I particularly admired Jackiw’s ability to bring out a full sound during each note no matter how short while using the full length of the bow, which requires accurate control of the bow’s weight with your hand. 

The second movement, Canzonetta: Andante, similarly opens with a slower-moving melodic line from the orchestra. However, the soloist’s entrance remains somber and slow for the majority of the movement, a tasteful contrast to the preceding flightful first movement. 

The opening of the third movement, the Finale: Allegro vivacissimo, is then startling. The orchestra is silent as the soloist’s part features strong, rich chords that Jackiw still manages to play with a clear and bright tone. He retained this brightness throughout the whole concerto, which was especially impressive during the last movement as it’s twelve minutes long, and it’s many character changes. The last section of the finale which consists of fierce spiccato was especially impressive, and spectacularly concluded the end of his performance.

Though I love Shostakovich, it was hard to imagine how the last piece of the program, Shostakovich’s Symphony No.10 in E minor, would make for a more satisfying conclusion to the night than the Tchaikovsky. The Moderato begins somberly slow, but the second movement, the Allegro, picks up and starts to set a frantic, anxious atmosphere that often comes with Shostakovich’s music. The character of the piece was fleshed out even more once the short, staccato notes opened the third movement, the Allegretto. Though the mood this piece evoked was much more different than the Tchaikovsky—much less cheerful—the ending of the finale was just as grand with fast notes from the violins and loud chords from the brass.

Overall, I enjoyed this concert. I am so happy I got to hear the Tchaikovsky Violin Concerto live, and Stefan Jackiw did an amazing job at bringing the piece to life. Though he’s a soloist I hadn’t heard of before I’ll keep an ear out for him moving forward.

 

The Crown Experience: Celebrating Black Hair Culture

SAGINAW, Mich.—The Crown Act is a law that prohibits the discrimination of hairstyles in the workplace. Today, people of all ages gathered at the Saginaw Art Museum for an event inspired by the bill celebrating black hair culture through artistic expression.

Organizers provided participants with blank canvases, colorful printouts, and bundles of hair to assemble their creations.

Braids, afros, and twists of many tints and textures filled canvas boards while strangers and friends engaged in laughter and a shared cultural experience.

Event Organizer Terra Riley shares that her friend, State Senator Sarah Anthony, who introduced The Crown Act bill, played a significant role in motivating her to create The Crown Experience.

Riley also shares her personal inspiration behind the event: ” To honor the history of our black story, our black hair story. The idea of slaves braiding rice into their hair. The idea of a braid pattern actually being a map just shows me the intellect, the deep, rich deepness of our people, and so today, I just really wanted to express that.”

Participants were also invited to contribute to the community Kente cloth, which will be displayed in the museum’s office.

While Riley encourages attendees to leave a piece of their art behind, she hopes everyone takes away something even more meaningful. “My hope is that their takeaway is the beauty and richness of who and what we are,” Riley said. “Today, I’m grateful that this space did what it was supposed to do today. People came together and celebrated the beauty of black hair.”

To continue the celebration of art and diversity, the museum is open Wednesday through Saturday.

REVIEW: Look-Alike Dance Performance At Dearborn

Photo Credit: IGSAB

The Look-Alike Dance Performance, presented by IGSAB, transformed Kochoff Hall into a stage for some of the most captivating performances of the night on January 24th. This unique event challenges dancers to embody the styles and personas of iconic performers, paying tribute while adding their own artistic flair. With a lineup of around a dozen participants, each dancer was either preselected or volunteered to represent a well-known figure, ranging from Bollywood superstars to classical legends. Some performances were solo acts, while others featured duets or group numbers, creating a dynamic and diverse showcase of talent.

 

 

Photo credit: IGSAB

Rohan Mehta delivered an electrifying performance inspired by Bollywood superstar Hrithik Roshan, known for his foot-tapping numbers and effortless moves. The moment Rohan stepped on stage, he exuded confidence, and his dynamic presence instantly captured the audience’s attention. His footwork was razor-sharp, every turn executed with finesse, and his energy never wavered.

What set Rohan apart was not just his ability to replicate Hrithik’s style but his command over the stage. He didn’t just perform; he owned every beat, letting the rhythm drive his movements. His transitions between power moves and fluid sequences kept the audience engaged, and his charisma added a natural flair that made the performance all the more compelling.

However, at times, the transitions between sequences felt slightly abrupt, making certain parts of his act seem less seamless than they could have been. Despite this minor flaw, Rohan’s presence and energy made up for it, and the crowd responded with resounding applause. His ability to engage the audience and maintain his stamina throughout a demanding routine spoke volumes about his dedication to the craft.

Photo Credits: IGSAB

On the other end of the spectrum was Sana Malik, who embodied the grace and elegance of Madhuri Dixit in Dola Re Dola. As she stepped onto the stage, adorned in a flowing green and gold costume reminiscent of Devdas, a wave of excitement rippled through the audience.

Her performance was a masterclass in classical dance, marked by delicate yet powerful movements. Every footstep was placed with precision, her hand gestures flowed effortlessly, and her expressions told a story that resonated with the audience. Unlike the high-energy performances of the night, Sana’s act was all about finesse; she captivated not through speed or power but through sheer artistry and control.

While her technical execution was flawless, adding a bit more audacity—stretching her movements farther, expanding her presence on stage—could have made an already stunning performance even more powerful. Classical dance thrives not only on precision but also on projection.  Still, her mastery over the art form was undeniable, and she left the audience in awe.

Both Rohan and Sana brought something uniquely beautiful to the stage—one with raw, explosive energy and the other with poised, classical elegance. Together, they embodied the true essence of the Look-Alike Dance Performance: movement, talent, and transformation.

More than just a showcase of mimicry, the event was a celebration of dance as a performing art, blending cinematic inspiration with personal expression. As the night came to a close, the energy in the room remained high, a testament to the lasting impact of these unforgettable performances.

REVIEW: The Best Kept Secret: Student/Faculty/Alumni Art Exhibition

Walking through Best Kept Secret: Student/Faculty/Alumni Art Exhibition at the Stamelos Gallery, I felt that familiar rush—when art doesn’t just sit on a wall but reaches out and grabs you. Some pieces hit me immediately, demanding attention with their boldness, while others worked more quietly, drawing me in over time. What stayed with me were the ones that sparked something deeper—a sense of curiosity, nostalgia, or even discomfort. As an artist myself, I know how much intention goes into every brushstroke, every composition choice, and every texture. Seeing these works in person, I couldn’t help but think about what decisions led each artist to their final piece, how they balanced control and spontaneity, and what emotions they left embedded in the canvas.

Photo Credit: Mardigian Library

Aleesia Sciacca’s piece immediately caught my attention with its playful yet surreal composition. The smiling figure, rendered in what looks like thick, almost clay-like strokes, feels simultaneously whimsical and unsettling. There’s a childlike joy in the exaggerated, almost cartoonish elements—the floating hearts, the bright colors—but the presence of the knife, the dismembered arms, and the eerie face reflected in the table add a layer of unease. It’s a clever juxtaposition of innocence and something darker, which I admire. The textured, almost sculptural quality of the paint enhances the tactile experience, making me wish I could reach out and feel the surface. As someone who works with different media, I appreciate how Aleesia uses texture to enhance the meaning of the piece rather than just for aesthetic appeal.

Photo Credits: Mardigian Library

Paige Allen’s painting feels like a breath of fresh air—literally. It perfectly captures that quiet, contemplative moment of looking out the window on a winter day. The contrast between the lush greenery inside and the stark, snow-covered world outside is beautifully handled, both in terms of color balance and brushwork. The organic, loose strokes in the plants make them feel alive, almost growing beyond the edges of the canvas, while the background’s subdued tones keep the scene grounded. There’s a lived-in warmth to this piece, as if we’re peering into someone’s personal space. I especially appreciate the way light is handled here—subtle, diffused, natural. It’s not easy to capture the way winter light filters through a window, but Paige does it masterfully. This piece resonated with me because it feels like a moment I’ve lived—one of those in-between spaces of time where everything is still, yet full of quiet energy.

Dr. Madeline A. Berkay ’s charcoal drawing is raw and aggressive in the best way. The stark contrast, the exaggerated expressions, and the almost grotesque rendering of both figures make it impossible to look away. There’s a primal energy to it—two entities locked in an unrelenting confrontation. The creature on the left, with its snarling, exaggerated mouth, mirrors the human on the right, blurring the line between them. I find this fascinating because it challenges the idea of who (or what) is the real monster. The rough, almost frantic strokes add to the intensity, making it feel like this argument is happening in real-time. As someone who has worked in charcoal before, I admire the control Dr. Alexa has over the medium—it’s easy to let it get muddy, but she keeps the contrast sharp and intentional. This piece makes you uncomfortable, and I think that’s exactly the point.

Leaving the Best Kept Secret exhibition, I found myself replaying certain images in my mind, as if the pieces had imprinted themselves in a way I couldn’t shake. Each artwork spoke its own language—some playful, some deeply introspective, others confrontational—but all carried a distinct presence. What struck me most was the raw honesty behind them. As an artist, I understand how vulnerable it can feel to put your work out into the world, to let others interpret and dissect it. That vulnerability is what makes art powerful. This exhibition wasn’t just a display of talent; it was a glimpse into the minds of those willing to express themselves in ways that words often fail to capture. Walking out of the Stamelos Gallery, I wasn’t just inspired—I was reminded why we create in the first place.

REVIEW: Threads of Justice and Legacy: Lester Johnson Art at the Stamelos Gallery

Visiting the Stamelos Gallery at the Mardigian Library on Monday was a powerful experience that gave me a deeper appreciation for Lester Johnson’s work. Stepping into the space filled with his vibrant pieces, I felt the energy of his journey as an artist, a journey that is deeply rooted in the history and culture of Detroit and the broader African-American experience.

The exhibition, FOUR: Lester Johnson’s Selected Works, is a captivating reflection of his life and creative evolution. As I stood in front of his large-scale totem sculptures, I couldn’t help but think about how Johnson’s work is so deeply connected to his childhood in Detroit’s Westside, a historically rich Black community. Growing up just blocks from the iconic Blue Bird Inn, a hub for jazz legends like John Coltrane and Miles Davis, it’s clear how the rhythms and melodies of Detroit’s jazz scene shaped his creative vision. Johnson’s art is infused with the spirit of this music, often created with it playing in the background, as he seeks to channel its energy and emotion into his sculptures and paintings.

Courtesy of Lester Johnson
26 Wood, Fiber, and Fabric Totems. Courtesy of Lester Johnson

One piece that particularly struck me was the 26 Wood, Fiber, and Fabric Totems, which are a tribute to Rosa Parks and Judge Damon J. Keith. These works, rich in color and texture, tell a story of resilience and community. The fabric, woven with African-inspired patterns, speaks to the ways in which culture can bind people together, even in the face of adversity.

For Johnson, fabric is more than just material—it’s a symbol of the strength and unity that communities, particularly Black communities, have built over time despite systemic challenges. The totems were a poignant reminder of the importance of honoring the past while continuing to fight for justice.

As I walked through the gallery, I was also reminded of how much Johnson’s personal experiences shaped his artistic direction. His move into papermaking in the 1980s, influenced by Al Loving and Lynn Forgach, marked a turning point in his work.

I could sense the new textures and depth in pieces like Lynn’s Song and Nerfetiti, where paper became a medium for exploring his longstanding fascination with primal cultures and natural materials. The three-dimensionality of the work felt so immersive, like I could reach out and touch the cultural stories embedded in the fibers of the paper itself.

Courtesy Of Lester Johnson
Lynn’s Song and Nerfetiti. Courtesy of Lester Johnson

 

The most moving aspect of Johnson’s work is its ability to connect deeply with the viewer. Each piece tells a story—not just of the artist’s journey, but of the shared human experience. Whether it’s the universal struggle for justice or the celebration of the cultural legacies that shape our lives, Johnson’s art invites us to reflect on what unites us as individuals and as communities. My visit to the Stamelos Gallery was a reminder that art isn’t just about what we see on the surface; it’s about the stories, struggles, and triumphs that are woven into every brushstroke, every piece of fabric, and every sheet of paper. Johnson’s work is a testament to the power of creativity to honor the past and inspire the future.