Tag: Film

REVIEW: Raya and the Last Dragon

Nellie Shih Leave a comment

Raya and the Last Dragon is Disney’s newest film, and it has a lot of firsts for Disney: it is their first film to be inspired by Southeast Asian culture, it has a unique score, and it even looks and feels like a video game at times. But, despite these firsts, the film is quintessentially Disney. It features goofy side characters and has some corny dialogue, and its overall message makes it a Disney film at heart. The titular heroine, Raya, seeks the last dragon, who she hopes will vanquish the menacing Druun monsters that have been ravaging her home. Raya belongs to one of five tribes that had previously been united under the land of Kumandra, but were divided by the arrival of the Druun. Raya’s adventures take her through Kumandra, where she witnesses the widespread effects of the very monsters that have been devastating her own home.

The overall message of the film can probably be ascertained by this premise alone; audiences have a pretty good idea of what lesson the characters will learn early on in the film. As the runtime is just under two hours, the story and Raya’s development feel very simple. Perhaps the film could have focused exclusively on Raya and her foil introducing a kind of complexity and grey area Disney does not explore as often. That being said, the film is not overly predictable, nor does lack redeemable qualities.

Most of the film’s strengths are technical. The film features a beautiful soundtrack, with whimsical themes for the fantastical moments, and also lively themes to accompany the thrilling action sequences. It’s amazing to see how much Disney’s animation has evolved over the years as this film showcases some of Disney’s most exciting fight scenes to date. There is a battle near the end of the film that is flawless – Raya’s rage comes across so strongly just from the lead-up, locking audiences in for the actual fight.

Whenever Disney is praised for their diversity, it can always be called into question. The film’s creators took great care to travel to Southeast Asia as well as hire cultural consultants, however the majority of the principal voice cast is East Asian. East Asian roles in film are already minimal, but there are even fewer opportunities for Southeast Asian actors. Though the film celebrates Southeast Asian culture, the casting can come across as a misstep. The film is streaming on Disney+, which is not currently available in Southeast Asia. However, the voice of Raya, Kelly Marie Tran, is the first actress of Southeast Asian descent to voice a lead role in an animated Disney movie. Tran was harassed online by Star Wars fans following her breakthrough role in The Last Jedi, only to be written to the side in the trilogy’s conclusion. Despite this, Tran has persevered, and her determination makes her the perfect fit for the role of Raya.

Raya and the Last Dragon is imperfect, but it is a worthy film that teaches trust and forgiveness to kids in the most Disney way possible.

REVIEW: You Will Die At 20

Emma Pinchak Leave a comment

Recently I’ve been thinking more about mortality; I guess I’m not old, but everything these days feels like a crossroads. They are each so definite, a fixed point in time that demands a decision, either by me or whatever fate or force controls me. For Muzamil, all other paths have been eliminated; it’s just a short, straight path to a certain end. It feels like there are a million hidden stops along the way; they come out of nowhere, they hinder, they allow you to pass. I don’t know what that is, but in the context of You Will Die at 20, I guess it’s the townspeople, everyone preventing Muzamil from living without severe restrictions on where he goes, what he does.

Having only a little time on Earth is supposed to increase the value of life. Knowing that it will end, likely before we want it to (or more precisely, before we’re adequately prepared for it to), should free us from monotony, allow us to respect each day as something special. But thinking about the ending inserts countless checkpoints, countless worries: are you eating healthy, exercising, getting your teeth cleaned regularly, had your flu shot, checking that your car mirrors are positioned correctly, getting your oil changed often, making enough money, making enough money to retire before you die, making enough money in case of an emergency? The stops expand a life, drawing out its borders infinitely. Now it’s too long, too much. Sakina numbers the days in chalk on the walls of a sunlight-slashed room, waiting for her child to die. The main difference in opposing views of mortality is the degree to which one accepts their end, no matter how untimely. There is mourning, and there is apathy. With each there is some ratio of fear to happy passiveness, the very worst kind of Punnett square. There’s not necessarily one option that’s the best, or least likely to ruin the psyche, but when something forces you into extremes, like a sheikh prophesizing your early demise, it can seriously alter your mental state for a startling amount of time.

 

The village, much like its residents, is almost totally austere: rather neutral tones but harsh surfaces, little life able to grow, stark. The amount of calm, steadiness, in the characters and their surroundings was unsettling, but of course that’s where the movie’s power is.Where there are richer colors, the contrast with their surroundings hurts to look at, makes you feel like crying no matter the subject of the scene. Excitement was always paired with doom, at some point down the line; there was always worry behind the beautiful points.

Most of the movie covers Muzamil’s 19th year, his last-ditch efforts at individualism, or just proving he’s alive. Early-onset death throes, the last dregs. If we lived more like that, tried to feel more, all of the time, would we be better or worse? As people, friends. Citizens, leaders. I’ll invite you to watch this movie and try to think about that. You can access it for free until March 17th.

You can find both in-person and at-home showtimes for the Michigan and State theaters here.

PREVIEW: Raya and the Last Dragon

Nellie Shih Leave a comment

Raya and the Last Dragon is Disney’s newest film, set to drop on Disney+ Premier Access tomorrow, March 5th. The film has been marketed as inspired by Southeast Asian culture, and stars Star Wars’ Kelly Marie Tran.

Raya’s story takes place in the fictional world Kumandra, a land where dragons used to roam and live in harmony with humans. 500 years later, Raya is tasked with tracking down the last dragon to stop the sinister monsters that wiped out the dragons in the first place.

I’m excited to see that this film is based on a culture Disney has not explored yet, but I am wary they are just checking off a box on their diversity quota list. The voice cast is primarily East Asian, which is disappointing given that Southeast Asian actors have been presented with fewer opportunities than East Asians actors in Hollywood. That being said, I have seen a lot of positive buzz and excitement towards the character designs in the film, and I’m generally glad Disney is making some sort of an effort to represent more of its audience.

Raya and the Last Dragon will be available to stream to those with a Disney+ subscription for an additional $29.99.

REVIEW: The Dig (2021)

Max Freeland 1 Comment

The Dig focuses on excavator Basil Brown (Ralph Fiennes) as he works on a site in Britain in 1939, owned by Edith Pretty (Carey Mulligan). The driving force of the film becomes the people who are brought to the site as they unearth an ancient artifact. We’re given glimpses into the lives of incredibly complex individuals, all who have their own internal and external struggles, and the only thing that has brought them all together is the dig site in the countryside.

Without giving too much away, I’d like to praise this movie as much as possible. From the beginning you can see how beautiful the film is, the sprawling landscapes of grass and trees, slightly obscured by morning mist or shrouded in a thick fog, the billowing clouds full of rain allowing only the most brilliant sunbeams to pass through, and quite frankly the dirt which looks so rich and velvety that you want to be there, in the film, just to dig your own hands into the gorgeous earth. I was blown away again and again by the scenery, and if nothing else, the film is worth the watch just to look at how beautiful nature can be. On top of that, the performances given by Mulligan and Fiennes are spectacular, and both are able to make the audience feel the way the characters are feeling, sometimes incredibly excited, other times extremely frustrated or full of existential sorrow.

One thing that I absolutely loved about the film was its spirituality and how it reminds us of our place in the universe. Each character has to wrestle with the idea that they are impermanent, that in a thousand years they will be forgotten, and all that will remain of them are some fragments of their possessions. We can see characters greedily cling to things that will preserve their past, which creates a dynamic between some upper class individuals and some of the workers on the site. Some of the highly educated want the glory associated with making such a momentous discovery, but those who actually did the work learn to let go. The characters that we sympathize with are those who realize that they are playing their part in an intergenerational saga. They aren’t meant to live forever as a famous name in history, they’re meant to live their lives and create a history for all of us to learn about.

I would encourage everyone to watch this movie. While it is admittedly quite Eurocentric (which I think is to be expected from a period piece based on a true story which took place in Britain), it delivers justice to hardworking people and critiques the upper class’s desire for self preservation. I think you would be hard pressed not to be sucked into the storyline within the first fifteen minutes of watching, and until you’re invested, the imagery will keep you more than satisfied. If you like to see how brilliant actors can be, watch Fiennes in the first opening scenes, listen to his accent and recognize that this is the same person who played Voldemort in the Harry Potter franchise (what a range!). Stay for Mulligan’s beautiful transformation as she struggles with letting go of her son, and the drama that develops when Lily James’ character is introduced at the halfway point of the film. The more I think of this movie, the more I realize how brilliant it really was, the direction, writing, sound design, and acting are all phenomenal. If I were to keep writing I’m sure I would give too much away, so I’ll contain myself and stop for now. If you can, please watch this movie, I’m sure you won’t regret it. 10/10

PREVIEW: Promising Young Woman

Nellie Shih Leave a comment

Promising Young Woman stars Carey Mulligan as a … promising young woman whose future was derailed by a mysterious event. The film is presented as a black comedy thriller, and it is writer/producer/director Emerald Fennell’s directorial debut.

Critics have praised Mulligan’s performance, and she is said to be one of the frontrunners for a Best Actress Oscar nomination and possibly win. The film overall has received positive reviews, however the ending of the film seems to be very divisive, with some saying it ruins the entire movie.

I’m excited to see this film for myself as Golden Globe and Oscar nominations are approaching!

Promising Young Woman is now available to rent.

REVIEW: Wolfwalkers

Nellie Shih 5 Comments

There is a certain kind of beauty to animated films, especially hand-drawn ones. The world-building is always extremely extensive, as they are not restricted to practical effects and sets, and whatever the latest advancement in CGI may be. One animation studio that has excelled in the hand-drawn art department – both in terms of backgrounds and character designs – is Irish studio Cartoon Saloon. They are responsible for films such as The Secret of Kells, Song of the Sea, and The Breadwinner. All of these films are illustrated in a unique, very 2D and flat style, which makes up for its lack of dimension with detail and color palettes. The studio’s art style is reminiscent of what you would find in a children’s book. The studio never fails to create beautifully animated fantasy worlds with fun characters, and their newest film showcases how much the studio’s art style has advanced since 2009.

 

Wolfwalkers is Cartoon Saloon’s newest film, which follows a young girl named Robyn, who has recently moved to Ireland with her father, who has been tasked with wiping out the last pack of wolves. Robyn believes she is capable of helping her father and she feels restricted by the town’s rules and Lord Protector. After sneaking outside of the town walls, she meets Mebh, whose mother is the leader of the pack of wolves. She soon discovers that Mebh is a Wolfwalker, a human who turns into a wolf when she sleeps. The film is directed by Tomm Moore and Ross Steward, and the duo has drawn inspiration from Irish folklore in most of their feature films. Additionally, Wolfwalkers touches on the environment and extinction, and the history of the English invasion of Ireland in the 1600s. The film is set during this time, and addresses the divide between Catholics and Protestants, as well as the history behind how the English worked to rid Ireland of its wolves.

These themes are expressed not only through the story itself and the characters’ motivations – there’s Robyn who is forced to be a scullery maid by her protective father who fears the Lord Protector, all contrasted by the wild and carefree Mebh – but also through the animation. As Robyn’s world becomes more intertwined with Mebh’s, her character design evolves to resemble that of Mebh and the wolves. The character design of the townspeople is very clean and precise. On the other hand, Mebh and the wolves are designed to be more sketch-like, as the initial sketches are visible underneath outlines. The film represents magic as it has in the studio’s past films, with beautiful sequences illuminated by more abstract figures.

I would say more about the story, but due to the nature of a film that geared towards kids, I would cross into spoiler territory very quickly. However, I will say that although this is a film for kids, it’s still a beautifully animated movie that addresses themes of family that can be appreciated by audiences of all ages. The film has been well-received by critics, and I’m excited to see how it will perform during awards season.

 

Wolfwalkers is now streaming on Apple TV+.