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Thursday, 26 May 2016

Film Review: Zootopia


Let’s face the facts: as of late, Disney has been releasing depressingly mediocre films. Unless they are working with Pixar, the animation studio has suffered a slump with the popular but poorly developed Frozen and the plodding, predictable storyline of Big Hero 6. Don’t get me wrong, I loved those films, but they were conspicuously lacking in terms of plot, and each maintains a façade of panache only with the Disney name, rich art, gorgeous music, and one emotionally charged scene after the other. The last truly solid story we had was that of Wreck-It Ralph, and that was way back in 2012—but now Zootopia delivers in full force, producing a rich, engaging world through riveting development of its multidimensional characters and compelling conflict. A film I didn't even dare to have high hopes for, Zootopia turns out to be almost entirely unyielding in the face of scrutiny: from start to finish confident, brave, and beautifully executed.

Protagonist Judy Hopps, a bunny who fights her way past every odd, obstacle, and stereotype that gets in the way of her dream of becoming a cop, is more of a powerful female lead than Anna or Elsa or Merida ever had the capacity to be—and she didn’t need her movie to be paraded as a revolutionary feminist innovation to do it. She is lovable, badass, kindhearted, naïve, unprecedentedly strong and unapologetically sweet. She is, in short, incontestably admirable. And she’s a girl!

Nick Wilde, meanwhile, is a conman of a fox whose jaded persona seems so carefully cultivated that it is automatically suspect, and his true, softer nature is delightful to watch unfold. His sly tricks and dry wit, paired with the perfect casting choice that is Jason Bateman, make him instantly likable.

The relationship between Nick and Judy is the strongest facet of a consistently strong, multifaceted movie. It evolves fluidly, progressing from one of enmity to adoration without any glaringly obvious turning points; their bond is pure, platonic, and capable of conveying love with endearing rather than overbearing sincerity.

Zootopia’s plot is fast-paced, engaging, well-organised, and fully embraces the presence of contemporary social controversy. Set in a world dominated by mammals of all sizes, the film is unapologetically addresses the systemic racism that persists in the world we call civilized through its own universe’s existing prejudices between predators and prey. Each component of the story works to accomplish two important things: first, to acknowledge that racism (specieism, in this case) is a real, dangerous problem; second, to condemn that problem. In a society which is increasingly intent on pursuing colour-blindness, the idea that people are capable of simply “not seeing race,” this is a vital message—for to deny that people possess inherent biases toward different races is to deny the existence of racism, which is very real, very dangerous, and very, very devastating.

Zootopia accepts that racism endures to this day but drives home the point that it shouldn’t, and makes it clear that undoing centuries of prejudice is a process which at its core is reliant on individuals. It is individuals who need to make the decision not to judge other individuals, and it is up to people on both sides of the racial divide to bring unity to society as a whole.

Tactfully, tastefully, and without compromise, Zootopia pairs thoughtful exploration of a pertinent contemporary issue with timeless storytelling. The characters are complex, coherent, and brilliantly memorable; the visuals, as ever, successfully seek to express the full bounds of human imagination. This movie is an instant classic, and a joyous, explosive redemption of four long years of halfhearted endeavour.


Sunday, 9 November 2014

Film Review: Big Hero 6

The annual animated winter season Disney flick has arrived! And boy, is it impressive, at least visually. The Marvel comic-based plot of Big Hero 6, released Friday, may not hold up to the enthusiastic twists and turns of last year's Frozen, but I've always been of the opinion that those twists and turns were sloppy at best and wholly distracting at worst; at least BH6, despite its predictability, is clean-cut. The film tends to make up for its lackluster storyline with stunning design; the animation is gorgeous, an improvement upon Disney's already consistent CGI work, and art direction is deftly handled by three of my favourite artists in the business: Jin Kim, Scott Watanabe, and Shiyoon Kim, all of whom hold special places my heart for their myriad of exquisite work on Disney's most recent films. The setting design of the imagined San Fransokyo, especially, is breathtaking, both in the concepts:





and the finished product:




As a long-time Tokyo resident, the ability of the art and animation team to capture the essence of the city while complementing it with the best aspects of San Francisco is perhaps my favourite part of the film. I take some issue with the Americanization of the comic book setting, which is actually Tokyo, but Disney is somewhat forgiven on the basis that the storyline of the original BH6 doesn't quite cater to the studio's target audience. Besides, the hybrid city is a fun idea, and makes for fun and varied visuals.

 BH6's aesthetic is not its only remarkable quality, though it might be its most distinguished. The (many) characters are as endearing as expected from Disney, and for once, the most lovable appreciably get the most screen time.

14-year-old protagonist Hiro and his "care-bot," Baymax
Hiro Hamada is a child prodigy who, in spite of going through some of the most obnoxious stages of adolescence, is nothing short of loveable; he is clever, enthusiastic, appropriately moody for his age, and all in all pleasantly easy to empathize with. Baymax, a robot developed by Hiro's older brother, strikes a particular chord with me because he remains emotionless and yet manages to evoke some of the strongest emotions of the film: anger, sadness, humor, love. For a movie so heavily reliant on robots, especially one as fuzzy as this, the decision to keep the AI objective and programming-dependent is refreshing.

The rest of BH6's science fiction is fairly innovative, featuring microbots, 3D-printed armor, and plenty of extra tech that's just about high-fangled enough to count as sci-fi. Most of the tech in this movie is perfected by Hiro, who takes center stage, but it's based on the schoolwork of the rest of the motley Big Hero 6 crew: San Fransokyo Institue of Technology students Honey Lemon, quirky chemist (mad scientist?); GoGo Tomago, Korean biker coolkid; Wasabi No Ginger, neurotic obsessor in the running for best name; and Fred. 

From left to right: Wasabi, Honey Lemon, Hiro, Baymax, GoGo, Fred. 
These guys aren't onscreen nearly as much as anyone would like, especially considering the film's title, and they face a devastating lack of character development, but most of the movie is understandably dedicated to Hiro and how he's managing loss, a theme handled so well and so emphatically in Big Hero 6 that it moved most of the theatre to tears. Specifically, Hiro is forced to deal with the loss of his brother, Tadashi, who is in all respects a perfect human being with just enough screentime for you to fall in love before he goes up in flames. 


Hiro's need to avenge his brother is what drives the whole plot, which is admittedly sparse, but again, Disney hasn't exactly raised the bar on the plot front lately. It's a perverse darkness that lurks in Hiro for a while, spun from of the unremembered loss of his parents and the reeling shock from the death of his brother, which worsens upon discovering it may not have been an accident. This darkness is not sugar-coated, nor ignored; its Marvel origins shine through in that it is not even dealt with particularly delicately. Hiro is in a tough situation that is addressed surprisingly realistically. While the plot itself may be lacking the traditional spark of Disney innovation, the movie's strongest pointsthe beginning, climax, and end—hit hard. BH6 has all the elements of a good film and finishes on such a sweet, satisfactory note with Hiro and Baymax that it's difficult to leave the theatre feeling anything but content. It may not leave you shell-shocked; I concede that's it's nothing revolutionary, but it manages to be nice in a way that feels much less forced than this summer's box-office hits.

However vanilla and predictable the plot of BH6 might be, I feel it's been a while since I saw an animated film so confident in its own goodness, in its value, in its heart. The feature film-length animation world has seemed a little unsure, lately, a little messy and half-finished and just all right, but BH6 pulls through with both vigor and grace. It is thoroughly enjoyable in the face of its flaws, and the end result is something decidedly lovely.

As a standalone, Big Hero 6 is a nice watch. But in the end, as with any superhero film, and considering the underdeveloped characters of the rest of its gang, it is doubtless just an origin storyit all but begs for a sequel, and knowing Marvel, it will get one (or three). I, for one, will be waiting with bated breath for its arrival. 
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