Moana 2

The decision to continue the sailing ways of Moana – the strong-willed daughter of a chief of a Polynesian village – as an animated musical feature film instead of a TV series will be a major success when making money. The first “Moana” was a huge massive box office hit and is one of the most streamed films on Disney+ that more stories were an obvious decision.

Because the sequel, “Moana 2,” released last month, will make so much money, there will be either a third film or the original plans to create a TV series will be brought up again. Either choice will be another smart moneymaking decision.

The problem with making a sequel – whether or not it started out as a TV series – is that there are certain parts that can’t be done again. Rick Bentley said in his review, “In this case, the fact Moana is no longer an untested champion, the lack of a specific villain and a musical soundtrack that doesn’t have the same spirit leaves “Moana 2” a good movie but nowhere near as great as the initial offering.”

Moana, voiced by Auli’i Cravalho, was an underdog in the first film. There was a natural tension created by her journey to free her island after being selected by the ocean to place a mystical relic back in the goddess Te Fiti. “Moana 2” takes her on a new journey to lift a curse that has isolated her people from the other islands. She’s confident there are other people beyond her island but finding them means facing and overcoming many deadly trials.

Joining Moana on her journey are her faithful sidekicks, Hei Hei (Alan Tudyk) the chicken, Pua the pig, expert repairwoman Loto (Rose Matafeo), grouchy Kele (David Fani), Moni (Hualalai Chung), and demigod Maui (Dwayne Johnson). They must sail to the far seas of Oceania and into dangerous, long-lost waters for an adventure that she’s never done before.

Because she demonstrated such heroism in the first film, no one thinks that she will fail. Bentley said, “The addition of a worried little sister adds some tension to Moana’s brave expedition, but those moments play toward the sappy side.”

Bentley continued, “The bulk of the journey is a very linear trip across the water interrupted by various dangers that must be faced. There is no drop in animation quality from the original as the team has created a blend of colorful characters (suitable for merchandising) and built stunning worlds for them to exist. The design of the water is so close to the real world it is almost as if a heavenly hand had been involved.”

What is missing is an antagonist. Moana and her team have to survive a clam and deal with the evil Matangi (Amhimai Fraser), a storm demigod who appears to be the villain of the film but is actually working for Nalo (Tofiga Fepulea’i).

Bentley pointed out, “Matangi would have been an acceptable villain, but writers Jared Bush and Dana Ledoux Miller use her only as a filler.” Nalo doesn’t make an appearance until the mid-credits scene. Bentley said, “Not showing Nalo to the end is like watching “Peter Pan” and Mr. Smee is the villain until the closing credits.” Saving the reveal of the bad guy in “Moana 2” for the end is nothing but setting up for more stories of Moana to come.

Bentley noted, “It is also odd that Fraser’s Auckland accent comes through in her performance as it sounds very out of place compared to the rest of the cast. Not enough had been established about the world of Moana to make such an accent appropriate.”

The other flaw of “Moana 2” is that composer Lin-Manuel Miranda didn’t create the music for the sequel. The Grammy-winning team of Abigail Barlow and Emily Bear have written the songs for the film. Their songs are good but not memorable.

Bentley said, “The curse of a hit movie is that there is a reason the production had so much success from original ideas to unexpected surprises.” “Moana 2” has enough good characters, great action and nice musical numbers to be entertaining but it can’t solve the problem that just hurts so many sequels where they always look like a step down when compared.

Don’t get me wrong, when my mom, siblings, and I went to the theaters to see this a few weeks ago, we loved it. However, we do admit that it is not as good as the first one, but we are glad we saw it. I was surprised that they decided to make a sequel as I felt the first one stood on its own and didn't need one, but since we got a sequel, I'm glad. I will say this was a better sequel than “Frozen 2.” If this is still playing in the theaters, I would say go see it because this is not a waste of time. You will love it, but just not as much as the first one.

Alright everyone, we have now come to the end of “Disney Month 2024.” I hope everyone enjoyed this as we have now reached the end of the year. I did a little less reviews this year compared to last year, but that’s fine as each year is unpredictable of how many reviews I will do. Hopefully everyone enjoyed these reviews as I will plan on what excitement I have in store for everyone next year. Have a great end of the year and let’s ring in the new year with some hopes and plans that will help everyone out.

I will see everyone next year as I will take a few days off before starting back up with my regular Friday reviews.

Agatha All Along

Jared Mobarak started his review by admitting, “I wasn’t sure what to expect from AGATHA ALL ALONG since I was pretty lukewarm on WANDAVISION while so many others loved it. I thought that series started off strong before discovering it didn’t really have anywhere to go. Not because the grief angle wasn’t good, but because it lost its visual and cinematic intrigue the moment the veil was pierced. What felt fresh and unique suddenly devolved into the same old explosive MCU nonsense sans true emotional stakes (until the theatrics finally finished to allow the characters to feel them).”

Creator Jac Schaeffer must have felt the same because she’s fixed this mistake. Rather than give up halfway through, she hides that there’s a game being played. Not completely, obviously. This is about Agatha Harkness, reprised by Kathryn Hahn. There is something going on. This question is whether another game is being played. If so, what is in control. Because we know from the first time the “Witches’ Road” is said that something is going on. Agatha being the only one who knows how to get there and the only one to survive just seems too convenient. Everywhere are lies.

Mobarak said, “As a result, we’re forced to take it all at face value with skepticism. We’re forced to assume what we’re seeing is real. The actions are the cause of chaos and drama, not the machine itself.” Rather than give one-woman complete power (Wanda), Schaeffer gives the entire cast equal amount. Yes, they all don’t grieve the death of a loved one, but they do all grieve. The past. Lost power. Declining purpose. Agency. That’s what the road is about. It’s a series of trials that are magic filled into existence so those who survive can earn their wish. However, unlike Wanda, the only people who are at risk here are the ones traveling the road.

Mobarak noted, “That’s what I really loved about the show because it inherently means that earning their wish won’t always be accomplished via a happily ever after. The road doesn’t just give through addition. It also heals through subtraction. It supplies the opportunity to prove who these witches are by ensuring they learn what they seek was never truly gone. You live that long with the easy button and you forget power isn’t found in magic alone.” They might ridicule when “Teen,” played by Joe Locke (who is something that won’t let the witches know who he really is because of his sigil) thinks “analog magic,” but getting back to their roots is exactly what’s needed.

He's the entry – even after discovering who he is changes everything. Agatha is the villain even though she is the anti-hero protagonist. The latter is important because we do need to respect that she’s a murderer. This show isn’t about recovery from her, it’s about understanding how evil she is. Yes, she isn’t as intentionally bad as Rio, played by Audrey Plaza, but the sarcasm and rebound only hide the fact she will kill whoever she must to get her “purple” back. Mobarak said, “The maternalism she shows “Teen” is thus drawn to be as potentially authentic as it is presumably a trick. Rumor does say she traded her own son for the Darkhold.”

Hahn is unsurprisingly great in the role and her banter with Locke carries the series by walking the line between cooperative and dependent. Mobarak admitted, “That said, though, I’d be lying if I didn’t say the supporting cast really steals this thing.” While Agatha and “Teen’s” story go on for the nine episodes, Jen (Sasheer Zamata), Lilia (Patti LuPone), and Alice (Ali Ahn) are given must more time and limited revelations. LuPone is at her best with the episode “Death’s Hand in Mine” proving the explicit highlight in writing, structure, emotion, and stakes. Debra Jo Rupp is in a smaller comic relief role and it’s impossible not to be taken by this temporary coven.

Mobarak compared, “It leans heavily on the main WIZARD OF OZ trope that filters through a ton of media (shades of LABYRINTH and even THE USUAL SUSPECTS populate the climactic reveal as a result) for good reason considering the physical journey we see is also a psychological battle for each respective participant. The special effects work is solid, the “Witches’ Road” song is perhaps the first Kristen Anderson-Lopez and Robert Lopez piece that I actually like, and the humor is on point from the opening “credits” (based on the Danish series Wandavisdysen).” Despite this finally ending like most MCU stuff with a look of what’s next, “Agatha All Along,” released in September, effectively accomplishes its own mysteries with definitive resolution too.

I really liked the show because it did something it’s not known for and did a good job on. This is one of MCU’s darker stuff and it was very well done, despite them being famous for their lighter and more comical material. The production value was great, it was funny, and the cast, especially Hahn, Locke, LuPone, Plaza, were really good in their roles. If anyone is into the more dark, gritty take on Marvel, check this out if you have a Disney+. You will get into this show; I can assure you that.

Alright everyone, look out tomorrow where I will look at the latest sequel in the finale to “Disney Month 2024.”

The Acolyte

The best “Star Wars” releases in recent years are the ones that detract from the original story.

From “Rouge One” to “The Last Jedi” to the animated “Visions” and “Andor,” the franchise finds the path by taking risks and focusing on original stories that just happen to be set in a galaxy far, far away. Proma Khosla said in her review, “With the middling quality of so many other Star Wars offshoots since Disney+ launched in 2019, Leslye Headland‘s “The Acolyte” finds company, mercifully, in the former category, with an intriguing crime thriller set further back than any other live-action entry.”

“The Acolyte,” which came out in June, takes place further back in the franchise’s history, during the High Republic Era that’s even before young Anakin Skywalker in “The Phantom Menace.” It’s a time of peace, as the opening text says (no title crawl), but like all peaceful times in Star Wars, that gets interrupted. A violent crime is brought to the attention of the Jedi council, making Jedi Master Sol (Lee Jung-jae) to investigate and confront a person from his past (Amandla Stenberg).

Khosla said, “The first two episodes premiered on June 4, but even then Disney is tight-lipped about spoilers. Without getting into plot details, backstory, or the pilot twist, it’s fair to say that “The Acolyte” draws on crime procedural and murder mystery shows, two wildly popular genres that thrive in a world of mystical powers, shrouded history, and strained relationships.” Stenberg’s character is connected not only to Sol, but to Indara (Carrie-Anne Moss), Torbin (Dean Charles Chapman), and Kelpacca (Joonas Suotamo). Headland directed the first two episodes, the third and seventh directed by Kogonada, the fourth and fifth by Alex Garcia Lopez, and the sixth and eighth by Hanelle Culpepper.

Khosla said, “And here we honor the spoiler embargoes, for withholding their secrets gives us more time to praise Lee for an outstanding performance in his first ever English speaking role. In just a few scenes as Sol he delivers some of the finest acting ever seen in Star Wars, a mesmerizing array of nuanced emotion that still toes the line of Jedi detachment.” He pairs skillfully with Moss, with Charlie Barnett, with Dafne Keen, and Elizabeth Henderson (who remind everyone that fantasy hair and makeup don’t have to inhibit performance), Stenberg, and pretty much anyone. The performances overall are more active, the writing more engaging than usual for Disney+, which keeps the series from uninteresting like the previous ones.

Khosla said, ““The Acolyte” seems notably more interested than any live-action Star Wars in interrogating the Jedi Council’s police-state behavior.” It was this very action that made Ahsoka Tano leave the Order, but that’s not the point of “Ahsoka,” and once Grogu abandons his training it no long matters in “The Mandalorian.” However, with the rise of the Jedi, “The Acolyte” uses the present to add layers to the Star Wars galaxy’s past. Khosla said, “There’s less glory and religious subtext to the Jedis’ rigidity and law enforcement, more secular peacekeeping (the title obviously alludes to that subtext, but it’s not from the Jedi side).” Despite her unreceptive response, Stenberg’s character and neighbors like Qimir, played by Manny Jacinto, are rightfully doubtful of the Order, where power runs apparently unchecked in the hands of a group that claims to be nonviolent until they draw deadly weapons.

The four episodes shown for critics went by and showed promise. The final verdict depended on the villain of the series, which is an unknown person with an unrecognizable voice whose followers share his loathing for Jedi. Is this a known character, or a new person from a different universe – maybe a new invention completely. Khosla ended her review by saying, “The Star Wars shows that fall flat often do so after an eleventh hour connection to the Skywalkers, ironically dooming otherwise interesting stories in an effort to plumb nostalgia. Maybe the Jedi were on to something when they eschewed attachment — without sentimentality for the world that spawned it, “The Acolyte” deserves its own following.”

For the most part, I got into this show. I loved the characters, the action, the set design of the planets, and overall, this was an engaging story, but I do acknowledge the problems this show has. I wasn’t fond of the twists. If they didn’t take certain directions, maybe the show could have been better. Not to say this is a bad show but it’s not as good as some of the other Star Wars shows on Disney+. With the certain directions they took with the story, I feel they could have made better decisions. Still, even though fans are thrashing this on Rotten Tomatoes, I think people can still see it.

Sorry for the late posting. I took a nap and tried to get as much done before I got to bed. Tomorrow, I will be looking at another MCU spin-off in “Disney Month 2024.”

Echo

As the first series under Marvel Studios’ new Spotlight banner, there’s a lot going on “Echo,” the series that was released at the beginning of the year. Paul Klein said in his review, “Not only is the series hoping to herald a new era of darker, more mature stories for Marvel but also looks to bring attention to a lesser known character from the comic books.”

Having made her debut in the surprising show “Hawkeye,” Maya Lopez aka Echo (Alaqua Cox) gets her own series where she looks to fight against powerful crime boss Wilson Fisk aka Kingpin (Vincent D’Onofrio).

Klein mentioned, “The first two episodes, directed by Sydney Freeland, set out the table early doors. This is going to be a grounded story, more inline with what audiences of the Netflix series got – which helps given there's a hefty dose of Daredevil lore in it.” This is also a story about disability with Maya being both handicap with an amputated let and deaf, along with dealing with Native American culture. The cast are a large number of Native actors, including veteran Academy Award nominee Graham Greene.

The cast are great, especially Greene and Tantoo Cardinal as Lopez’s grandparents. Giving a type of cultural warmth that feels both specific and universal. While Cody Lightning as Maya’s cousin Biscuits is here to give comic relief.

The most interesting aspect that is explored is the history of the Choctaw and their connection to Maya. The first episode sets up a lot, going through the history of Maya and her connection to Fisk and the second gives an opening where the Choctaw take part in a sporting event in the early 1200s that has viewers wanting to watch a historical epic about those people. Klein said, “All of this is to say that the series grounded take pays off many fold when action becomes central.”

The slow building crime war gives plenty for Cox to do, and she carries the show with her serious performance as Lopez. She controls the scenes even when acting with someone as impressive as D’Onofrio, and gives a look into the emotional connection she has with her estranged cousin Bonnie, played by Devery Jacobs.

Klein mentioned, “The action is slick and brutal, a punch-up with another costumed hero and some thugs is particularly good, giving a feeling of pain and space, and Cox is more than prepared for the role. But it's the shows quieter moments where she peels back the layers of Lopez' isolation, how she can't connect to her own family, not because of language but because of pain.”

This is where the series looks like it’s strongest, looking at what it means to be someone who is isolated, who has disconnected with both family chosen and blood family and despite the superhero necessities, the series looks to continue forth looking at what a Native Woman with disabilities means in the modern world. It’s a fantastic start to a new chapter.

This show looked like it was bringing the MCU back on track to what made it so lovable to fans. If you haven’t seen this, see it on Disney+ because you will really get into this show. This is one of the best shows the MCU has put out and I’m looking forward to if they make another season or bring Echo into the films.

Tomorrow I will be looking at a Star Wars show in “Disney Month 2024.”

What If...? Season 2

Many Marvel fans have said that 2023 was not a good year for the studio, one that used to be the biggest box-office driver in Hollywood. After so many bad movies, as well as some really decent movies that people overlooked, the studio looked like it finally got back on track with what is easily the best installment of Phase Five at the time. The standards haven’t been that high by the Multiverse Saga, but “What If…?” Season 2, which came out at the end of 2023, manages to help out and be the main driver amongst the movies and shows that have cost the studio so much money without giving much return.

This new entry into Marvel’s Disney+ television series is not in any way going to save the MCU from falling, but it may be the first sign that it will get them back on track. Hands down, Season 2 capitalizes on “What If…?’s” amazing idea in so many satisfying ways that its first season. For those not familiar, the series, narrated by the almighty being called The Watcher, voiced by Jeffrey Wright, takes viewers through different timelines to look at what might have happened if certain events throughout the MCU happened differently.

Throughout the series’ first nine episodes, many fans felt the writers were being held down with stories they could change. Many of the episodes were weak compared to the possible of the series’ idea. The only real highlight was Episode 3, “What If…Doctor Strange Lost His Heart Instead of His Hands.” Ethan Dayton said in his review, “The episode was emotionally poignant, offered a vastly different look at a character fans knew and loved (unlike Party Thor…), and had real consequences hinting toward more significant MCU stories.”

Despite there not a certain episode in Season 2 that reaches the same level by Strange Supreme, a few episodes come close, including an emotional one that sets up a completely original character with major potential for a live-action movie. Episode 6, “What If…Kahhori Reshaped the World?” is about Kahhori, a Native woman, voiced by Devery Jacobs, as she “ventures into the waters of the Forbidden Lake to help save her people.” It’s exciting to see Marvel invent brand-new characters in different formats, and it works great with Kahhori. Dayton noted, “She has Captain America-like morals, undying resolve, and her powers look undeniably strong on screen.”

This season of “What If…?” went out of its way to give fans scenarios and action scenes that Marvel would never do in live-action, as is evident in the next two best episodes that season: “What If…Captain Carter Fought the Hydra Stomper?” and “What If…Hela Found the Ten Rings.” The former is way more exciting than the title says, showing a sincere friendship between Captain Carter (Hayley Atwell) and Natasha’s Black Widow (Lake Bell.)

Meanwhile, Cate Blanchett impressed everyone when she entered in the MCU as Thor’s half-sister Hela in “Thor: Ragnarok.” However, with how that film handled the character’s finale, many fans thought they’d never again see Blanchett in the role again. Dayton said, “Thank God Marvel shelled out the big bucks to bring her back, as it’s hard to imagine this episode working as well as it does without Blanchett doing the voice work. On the surface, Thor and Shang Chi’s worlds don’t seem to have much to do with each other.” Still, Episode 7 greatly shows the similarities between the two worlds while giving great character depth for Hela and Xu Wenwu, otherwise known as The Mandarin, voiced by Feodor Chin.

This past year was slower for superhero movies, with DC taking a complete break and Marvel slowing the content down once “Echo” premiered on Disney+, which was a surprise hit the MCU needed. With how good Season Two of “What If…?” ended up, Marvel fans went into this year with high(er) hopes that the superhero studio will once again release the high-quality entertainment they were once known for creating.

If you loved the first season of “What If…?” then you should definitely check out the second season on Disney+. This series is showing some great potential of different timelines and I was really impressed with how amazing this turned out. Check it out and see some great episodes. There is a third season that is currently being streamed on Disney+, but I haven’t seen that yet. Once I do, I will let everyone what I thought.

Tomorrow I will let everyone know my thoughts on “Echo” in “Disney Month 2024.”

Kraven the Hunter

Last night, I watched “Kraven the Hunter,” which came out 13 days ago. Is this finally the movie the Sony Spider-Man Universe needs to break their bad films cycle or is it another one that deserves the thrashing it gets?

Sony has done everything possible to start their own version of the Marvel Cinematic Universe.

While the “Venom” franchise has been somewhat successful, despite the three films just going downhill, other possible films like “Morbius” and “Madame Web” have failed to attract people to the franchise.

Now comes “Kraven the Hunter” in what might be the final film for Sony to prove it is capable of making a comic book film that doesn’t involve Spider-Man. “Kraven” is more similar to its predecessors – a failed attempt at a film that lacks a lot creativity. Micheal Compton said in his review, “It’s a bland, assembly line action film that really feels like it is coasting on autopilot.”

The protagonist is actually Sergei Kravinoff (Aaron Taylor-Johnson), the son of the evil mob boss Nikolai (Russell Crowe) who gets his powers when he is given a magical serum after being attacked by a lion. Sergei develops animal like instincts and the ability to move like an animal, making him stronger and faster than how he was before.

As Sergei/Kraven tries to get used to his new powers, he is followed by multiple criminals. There is a villain called the Rhino (Alessandro Nivola in one of the strangest performances in recent history), a hypnotic time changer called the Foreigner (Christopher Abott) and even to a point his father Nikolai.

With help from his brother Dimitri (Fred Hechinger) and Calypso (Ariana DeBose), a lawyer connected to Kraven’s past who becomes a helper.

Compton noted, ““Kraven” was directed by J.C. Chandor, whose previous work “All Is Lost,” “Margin Call” and “A Most Violent Year” — all three good films, but none of the material that would suggest that you knew your way behind the camera of a comic book action film.”

Taylor-Johnson brings a little more to the protagonist than the six pack, a boring anti-hero that won’t exactly leave audiences wanting for more films.

Rhino is not really an interesting villain, while the Foreigner is wasted with very little screen time. Compton said, “The villains may be a little undercooked, but it is still more than DeBose is given — a thankless role that has very little to offer.”

Basically, the only thing that does work is Crowe, who pretty much eats the scenery with his over-the-top Russian criminal. Crowe feels like he is in another movie – getting everything he can in his small screen time.

Crowe proves to be the highlight in a film with very little pros to offer. You’d think a franchise would want to be with this much on them they would have to put every bit of creativity possible in the final version, but that is not the case with “Kraven.”

This is a boring film that looks like it will not be in theaters after the holidays and may be the end of Sony making another comic book film that isn’t around the Spider-Man universe.

I felt like nothing happened in this film. Which for a comic book movie is the worst crime to happen since they have been around so much and have a huge fanbase. There’s very little action, and the amount that is in here is good when it doesn’t like CG’ed, there’s so much dialogue which gets boring and tiring fast, and it feels like the main motive in here is being raised in a bad family. This might be the worst film I saw this year and I would highly recommend everyone to not see this film in theaters. Don’t waste your money on this and go see something that will be worth the movie, like the new Sonic.

Thank you for joining in on this review everyone. Stay tuned tomorrow for the continuation of “Disney Month 2024.”

The Boy and the Heron

Studio Ghibli’s 2023 film, “The Boy and the Heron,” is an animated period fantasy directed by Hayao Miyazaki, whose return to filmmaking more than a decade later marks his break from retirement. Luca Padovan voices Mahito Maki, the main character of the film who loses his mother, Hisako, voiced by Gemma Chan, in a hospital fire. His father, Shoichi (Christian Bale), remarries Natsuko (Chan). Forced to evacuate the cityside due to the war, Mahito, Shochi, and the now-pregnant Natsuko relocate to their ancestral house in the countryside.

Ankit Ojha said in his review, “Mahito, experiencing whiplash from being uprooted both emotionally and physically from his previously idyllic life, stays distant from his stepmother—whom he still addresses as his aunt—but any attempt to acclimatize in his new environment is consistently interrupted by the presence of a grey heron who takes a keen interest in—and continues to stalk and harass—him.” The heron, voiced by Robert Pattinson, he finds out, can talk and raises his subject of interest to a rundown mansion after Natsuko goes missing. Transported to a strange sea world, Mahito must find Natsuko before time runs out and he’s caught by a flock of power – and human – hungry parakeets.

The fact that the narrative of “The Boy and the Heron” plays with the rules of fantasy isn’t new for its director, Miyazaki’s strong understanding of worldbuilding makes the sea world simultaneously incredible, terrifying, and alive. Ojha said, “Led by Ghibli regular Joe Hisaishi’s (“The Tale of the Princess Kaguya,” 2014) sweeping compositions for its soundtrack, every frame of the director’s latest evokes boundless beauty.” Its seven-year-long production process – because of the pandemic and workflow-related delays – feels sharp, but the visually beautiful finished film more than justifies how its makers chose to create it. According to its studio’s co-founder Toshio Suzuki, it was a process “without a deadline,” and “cost more than the production of (any other Japanese film) ever made.”

Unlike the light touch of the director’s previous fantastical endeavors in “Spirited Away” and “Ponyo,” “The Boy and the Heron” is a considerably darker film. Ojha said, “Mahito’s entire existence is uprooted before he’s able to process the loss of his parent, and his inability to let go is what forms a lot of its thematic undertone, echoing the almost dogged stubbornness of the man we’ll only call The Tower Master (Mark Hamill) for now. Not that there aren’t any moments or visual depictions of levity; the Warawara (Karen Takizawa)—essentially cute sentient white blobs that form the Japanese version of the storks-fly-down-and-give-you-babies fable—are adorable enough to make even the stone-hearted weep.” (That, and every bird in “the real world” actually defecates everywhere. On coats, on people, on window sills, you name it).

Ojha noted, “Miyazaki goes all out here, though—to the point that the filmmaking can sometimes feel a bit esoteric—which is part of the charm instead of a crutch. There’s a palpably personal story at play that, while accessible to children, isn’t the kind of typical fare made for kids, even for Ghibli. The introduction of the grey heron is deeply unsettling, and both hearing and watching the bird speak in a sinister, gruff tone, but possibly the most significant threats in the narrative of “The Boy and the Heron” come from the anthropomorphic man-eating parakeet kingdom, whose power-hungry ruler and his subjects are still viewed in a sympathetic light.” Their decisions come mainly from the determination to survive in a world alien to them in the best way possible.

Played with a type of authority, Dave Batista is excellent even though his character’s really small appearance in the film’s runtime, but, like with a lot of the film’s characters around its main people – and there are a lot – everyone has their place and time. No character’s presence in the movie is for the sake of appearing. Karen Fukuhara, who voiced Lady Himi, is very good and is supported by her character’s fiery determination and vocal chemistry with Padovan – with whom she shares the most time as a voice actor. Probably the most memorable change comes from Pattinson, who is surprisingly good as the grey heron, a sneaky, often uncomfortable personality who often begrudgingly ends up doing the right thing in the duration of the film.

The biggest problem of “The Boy and Heron” is not really a problem – it has more to do with your expectations before seeing the film. Ojha pointed out, “The existential undercurrent of the film echoes “The Wind Rises,” while its violent tinge is less surreal, more visceral, a la “Princess Mononoke.” If you walk in blind, the international English title, as opposed to the original Japanese “How Do You Live?” gives off the vibe of a fun fantasy that could involve the boy and the heron going on an adventure together.” That’s not completely false, a rewatch could significantly help you refocus on the reality of its narrative’s text as opposed to how the film made you think the first time – if you were looking for something more lighthearted.

Ojha noted, “(Now, whether its English title had anything to do with “The Boy and the Heron” topping the box-office charts in cinemas across the United States and Canada, one can’t say, but this writer can only hope it revitalizes Studio Ghibli and encourages the company—and, more importantly, Miyazaki himself—to make more 2D hand-drawn works of art).”

“The Boy and Heron” is a great return to form for both Studio Ghibli and Miyazaki. While its director’s trademarks of high-fantasy and visual artistry, along with Hisaishi’s great soundtrack, work, it is his deeply personal touch and constant determination to explore the darkest holes of loss, the inability to let go and the painful road to acceptance that make it his greatest achievement. Perfectly written, beautifully animated, and emotionally inspiring, Miyazaki has made another film for the time you need to see on Max to believe.

This is a nice return from Studio Ghibli after taking nearly a decade off from filmmaking. If you’re a Ghibli fan, then you should see this on Max because it is one for everyone. This is not one of the best, but it is still a good one to check out. Fortunately, this is not one of those sad films like “Grave of the Fireflies,” which makes it difficult to watch and you can’t see it after one viewing. This can be rewatched. However, it’s like Hitchcock’s “The Birds,” where certain birds scenes are very scary, so be forewarned.

Tomorrow I will be looking at the second season of “What If...?” in the continuation of “Disney Month 2024.”

Klaus

Every film feels like they need to elaborate on the works of the past. “Klaus,” released in 2019, tries to re-interpret the magical origins of Father Christmas, Saint Nicholas, a universal figure in winter’s holiday celebrations. Wesley Lovell said in his review, “The film takes the audience to places it hasn’t been, but is that enough for persnickety moviegoers who sometimes reject creativity re-engineering.”

Lovell continued, “Once a dark horse for the Best Animated Feature at the Oscars, Klaus has become something more than that and if you’ve seen the film, you can understand why. Klaus is the story of a young dilettante who is forced into being a mail man in his father’s postal organization and is wholly reluctant to live up to his potential.” His father sends him to a remote winter city to use the skills that he should have learned to revive the town’s postal services.

Voiced by Jason Schwartzman, Jesper wants nothing more than to get out of the purgatory and return to his comfortable life of privilege, but if he quits, he will be disowned and forced to live on the street. When coincidence results in a letter he was holding for a small child reaching a mysterious woodsman who makes toys, the story of Santa Claus finds a new origin. Or does it? As expected, everything starts falling around him in the most predictable way possible and whether he can save himself or those in this community, you’ll have to see for yourself.

The greatest vocal work in the film is by Joan Cusack as the leader of one of the village’s two parties who have been fighting like Hatfields & McCoys for as long as they can remember. Lovell noted, “Schwartzman’s lack of emotional detail and clarity to his performance make him an incomplete hero, one that the story must forcefully push forward.” J.K. Simmons voices the huntsman, Rashida Jones the school teacher saving up to move out of town, SNL alum Will Sasso as Cusack’s main enemy, Sam McMurray as Jesper’s father, and the late Norm MacDonald as the criticizing ferry boat captain who gets on Jesper all give generally solid performances.

The art work is stylized for the most part and sometimes very inventive, but the overall look of buildings and the town’s bad attitudes feel exactly like a reflection of “How the Grinch Stole Christmas” and a lot more predictable. This sweet and charming film tells a solid, if predicable story and audiences of all ages could bring this into their homes as a regular holiday tradition.

“Klaus” is a film that’s both magical and ordinary, a great concept that succeeds, but does so with some cautions. Lovell ended his review by saying, “While the vocal work is sometimes uneven and the writing can be hackneyed in parts, there’s no question that younger audiences and their parents will be delighted with this creative exploration of the secret origins of Santa Claus.”

This is one of those feel-good Christmas movies that everyone should check out. I found out about this film a few years back when I saw one of my siblings watching this on Netflix that I decided to check it out a few days ago. See this if you have a Netflix because you will love this. This is a great way to celebrate Christmas and everyone will love this, I promise you.

Happy Holidays everyone. Hopefully everyone had a great day and got some great presents. Stay tuned tomorrow when I review Studio Ghibli’s latest film in “Disney Month 2024.”

Wish

The problem with “Wish,” Walt Disney’s official 100^th anniversary 2023 production, is not that it is a bad film. It is that is surprisingly typical. While undeniably there are many younger viewers – and young at heart, obviously – will be entertained, in the long run this is not going to be remembered as one of the greats. Directors Chris Buck and Fawn Veersunthorn have both made better films.

On the Mediterranean island of Rosas, 17-year-old Asha (Ariana DeBose) applies to become apprentice to king and sorcerer Magnifico (Chris Pine). Magnifico is loved by the people for granting a person’s wishes out of dreams given to him by his subjects. When Asha finds out that Magnifico’s actions are not so generous, and she is visited by the very star that she wished on, Asha resolves to free Magnifico’s captured wishes and return them to their owners.

Grant Watson said in his review, “There is a superficial resemblance here to Neil Gaiman’s novella Stardust, but really the origins of the story are fairly obvious: the events are initiated by a character wishing on a star. This is not the only reference to Disney’s animated history to be found in Wish. The production runs awash with visual and character-based cues from Mickey Mouse to Snow White and the Seven Dwarfs, Peter Pan, The Little Mermaid, and many others. According to one Internet source I read, these nods run to at least 40.” This becomes into something of an Easter egg hunt, distracting from and weakening the main storyline. One or two might have been understandable. 40 is overdoing it.

Asha is a reasonable main character and Magnifico a somewhat decent villain, but the film’s supporting cast runs far too broad and numerous. Besides from Asha’s mother (Natasha Rothwell), grandfather (Martin Stein from “The Flash” and “Legends of Tomorrow,” Victor Garber), and pet goat (Alan Tudyk), she also has seven close friends – each one resembling one of Snow White’s seven dwarfs. While viewers might remember royal baker Dalhia (Jennifer Kumiyama) and the grumpy Gabo (Harvey Guillén) by the end of the movie, it seems unlikely they will also be able to name and identify Hal (Niko Vargas), Simon (Evan Peters), Bazeema (Della Saba), Safi (Ramy Youssef), and Dario (Jon Rudnitsky). The film becomes overflowed with characters, all to make a film reference.

Watson said, “Aesthetically there is a bold attempt to blend computer-generated animation with a flat, painterly look intended to resemble hand-drawn traditional art. As an experiment it is interesting, but as an overall presentation the look backfires. The loss of detail makes the animation look weaker. More than once I was reminded of a cut scene in a videogame.”

The songs, by Julia Michaels and Benjamin Rice, seem to make all of the expected beats without making a specific “knock-out” musical number. The same goes for Dave Metzger’s orchestral score, which feels fitted to the events on the film yet never inspires much enthusiasm. Watson said, “These drawbacks represent Wish in a nutshell: it is competent but boring, typically Disneyesque yet unenthused and forgettable.”

The quality of the Walti Disney Animation Studios goes up and down with time, like any company that has been around forever. “Wish” seems to capture the studio in an unused period. Watson said, “2022’s Strange World was uncharacteristically poor, and looking forward there is nothing announced but sequels. It is slightly unfortunate that Wish‘s closing credits are decorated with images of Disney’s long legacy of animated features (although, notably, The Rescuers, The Black Cauldron, and a handful of 1940s films fail to get a look in.)” They are there to be special, but just remind us how much better Walt Disney can be.

There are problems with the film. Like Magnifico quickly changing sides, the motive of the movie changing from Asha wanting to be the apprentice to getting everyone’s wish back, Magnifico finding out and wanting to find Asha, and all of the stuff that makes it feel like it is changing movies so quick. I think it has nice animation for the most part and the music can be upbeat and catchy, but for the 100^th celebration, the company could have done a lot better. This isn’t entirely bad, but it is forgettable. If you want to check it out on Disney+, I don’t think it will hurt, but I don’t recommend it.

Later today, I will do my yearly holiday film. Stay tuned for that.

The Lord of the Rings: The War of the Rohirrim

Tonight, I saw “The Lord of the Rings: The War of the Rohirrim,” which came out 11 days ago. As a huge fan of “The Lord of the Rings” movie trilogy and “The Hobbit” movie trilogy, and who listened to all the audio CDs after seeing the movies, I was excited to go see it. Especially since this is animated, which I don’t think has been done since Ralph Bakshi and the Rankin Bass people have made their films, I was looking forward to seeing how this would be made. However, this movie has been getting slammed and there aren’t that many showings of it now, so is this really as much of a disappointment as others are making it out to be or is this another film that critics are wrong on?

This is an anime prequel to the famous film trilogy, is a visually rich diversion made with undeniable care. It’s also a greatly distrustful example of so much that’s wrong with Hollywood today.

Zaki Hasan said in his review, “While suitably respectful of J.R.R. Tolkien’s text and Peter Jackson’s adaptations, the animated movie can’t outrun the specter of what it is: an attempt by the “Rings” rights holders to keep the assembly line churning and hold onto its most precious of properties.”

More than 20 years after they were released, the “Lord of the Rings” trilogy still is one of the biggest chances in movie history. Home studio New Line Cinema took a huge chance on Jackson’s determined plan to film all three books of Tolkien’s famous fantasy books at once. The result was three successive hits between 2001 and 2003, and so many Academy Awards that had competing studios desperate to recapture the same magic.

Then fans got a trilogy adaptation of “The Hobbit” (2012-14) and Amazon Prime Video’s current prequel series “The Lord of the Rings: The Rings of Power” (which I have heard have no connection to the films). Hasan noted, “There’s money to be minted in Middle-earth, and the quest to keep those “Rings” riches coming also accounts for the existence of “The War of the Rohirrim.””

Hasan continued, “Taking inspiration from one of the multitudinous appendices in Tolkien’s texts, the anime is set roughly 200 years before the events of “The Hobbit,” expounding on the backstory of Rohan, a significant location in the “Lord of the Rings” second and third film installments.” “The Two Towers” has its three-act battle scenes set at a mountain fortress called Helm’s Deep. If you watched that part and thought how the place got its name, then you can see it in this 134-minute origin story.

Hasan said, “Jackson is aboard as executive producer here along with co-scenarist Fran Walsh and co-writer Philippa Boyens, who helped draft the story, so the lineage is there to ensure that it dovetails with what came before. That they were able to pull so much plot from a pretty threadbare premise is an impressive feat all by itself, including the creation of lead character Hèra (voiced by Gaia Wise) — heretofore unnamed daughter of Rohan’s king — almost out of whole cloth.”

The pieces are definitely there. Hasan said, “The voice cast includes Miranda Otto (reprising her cinematic role of Éowyn) as narrator of the story and Brian Cox (“Succession”) bringing all his gravelly gravitas as King Helm Hammerhand, who packs a right hook worthy of his moniker.” Stephen Gallagher’s score also nicely extends and musical themes created by Howard Shore in the previous films. Hasan said, “The animation is fluid and captivating, with veteran anime director Kenji Kamiyama (“Blade Runner: Black Lotus”) giving the proceedings an undeniable cinematic polish.” This is hands down a beautiful movie to look at.

Hasan pointed out, “Yet, when the credits roll, one can’t help but come away feeling like we were running on a treadmill for a little over two hours. Sure, you got your steps in, but you haven’t gotten anywhere. Where the “Lord of the Rings” trilogy drew at least some of its appeal from how it wound inexorably toward a very definitive conclusion, “The War of the Rohirrim” instead signals the studio’s intent — like the song sung by wizard Gandalf in “The Fellowship of the Ring” — that the road goes ever on.”

Tolkien’s fantasy world is always worth rewatching, and that makes “The War of the Rohirrim” worth seeing even if it doesn’t amount to much in the end once you look past the obvious visual style. Hasan ended his review by saying, “After a lot of sturm and drang about wounded honor, burned villages and oh, so many charging armies, there’s nothing beyond the familiarity to justify its existence. It just seems to serve as a placeholder for other “Lord of the Rings” branded offerings ready to clog up the production pipeline.”

I’m sorry guys, but this film is a huge disappointment to filmgoers and “The Lord of the Rings” fans. This has nothing to do with anything else related to this franchise. With so many grudges, battles, war fights, and bloodbath, this does not classify as “The Lord of the Rings.” I can see why there aren’t that many showtimes left in the theaters, despite the fact that this just got released. Save your money and don’t see this in the theaters. If you want to wait until this comes out on streaming, go ahead.

Thank you for joining in on this review. Stay tuned tomorrow for the continuation of “Disney Month 2024.”

Once Upon a Studio

Mark Baker started his review by saying, “Being the Disney fan that I am, I was excited when I started hearing about the short Once Upon a Studio.  It sounded like it would be a great tribute to the 100th anniversary of the Disney studio.  I made sure to watch it when it premiered on the TV, and I’ve watched it again on Disney+.  Needless to say, I love it.”

The premise to this 2023 short is simple. In honor of the 100^th anniversary of the studio, all the Disney characters are getting together for a group picture. This includes all the protagonists, antagonists, sidekicks, characters from the shorts, and movies. Mickey Mouse and Minnie Mouse are organizing it.

That’s the plot. Baker said, “I mean, it’s less than ten minutes long.” Most of the short is watching the characters gather and what complications they face along the way. For Disney fans, this is just a joy. They’ve got characters interacting who have never interacted before as far as fans would tell. They’ve got some great jokes and they’ve got tender moments too. Baker noted, “No, I didn’t cry like some did, but I was definitely moved at the tribute to Walt and hearing “When You Wish Upon a Star.””

They also combined the animation styles, so characters look like they originally did. That means there are hand drawn and computer animation together. Baker pointed out, “They two mix seamlessly, and I love the look.”

This is just a Disney project. If you are looking for Pixar characters, Star Wars, or Marvel, you won’t see them here. (The one exception is BayMax from “Big Hero 6,” which as a Disney animation film with Marvel characters.)

There are so many characters it’s hard to take everything in. some of them only have small cameos. Baker admitted, “Even watching it a couple of times, I know I’ve missed stuff.”

As much as possible, they used the original voice actors. Sometimes, that means they used archival recordings. Baker noted, “Yes, I can usually tell (because I recognize a line), but I don’t care.  Naturally, there are times they’ve used the newer voice actors as well.  I wouldn’t know any better.  (And yes, that is Robin Williams voicing the Genie with approval from his estate.)”

Baker continued, “The other things this does is make me want to watch the classic Disney movies all over again.  They really have released some magical stories, haven’t they?”

“Once Upon a Studio” is at once a celebration of Disney’s history and a thank you to the fans, and it works as both. If you love Disney, you need to watch this short.

This was released on Disney+ last October and seeing how it is about 10 minutes long, you can sit through this no problem. If you want to see all of your Disney characters come together and take a group photo outside Disney Studios, then make it your mission to see this short. You will love it, I promise you.

Tomorrow I will be looking at another Disney film that was meant to celebrate their 100^th anniversary, but didn’t work, in “Disney Month 2024.”

Ferdinand

Inspired by Munro Leaf and Robert Lawson’s famous book The Story of Ferdinand, this 2017 Blue Sky Animation feature film was a surprise late-year winner, a film released in awards season but without the usual awards season promotions and expectations.

It probably doesn’t help that “Ferdinand” was released simultaneously with “Star Wars: The Last Jedi.”

What’s really sad was that “Ferdinand” didn’t win the weekend’s box office.

Richard Propes said in his review, “While Ferdinand is a little more Americanized than I would like it to be, especially in terms of its music, Ferdinand is also one of the year's best animated features.” Certainly unsure of the great “Coco,” “Ferdinand” is still a fun time with a huge heart and a film that one can only finds an audience even though “Star Wars” was with most of the people.

“Ferdinand” tells the story of a giant bull with a huge heart. Raised to be a fighter, Ferdinand is instead a lover and a very gentle bull who wants to find a place where he can be the bull he is meant to be.

Propes noted, “"The Story of Ferdinand," however, has always been a much bigger story than simply "be yourself." First published in Spain in 1936, we're talking pre-World War II here, this story of a bull that rejected bullfighting as his ultimate destiny was interpreted not just as a personal statement but as a cultural statement. Ferdinand was a revolutionary and Ferdinand the film truly brings that revolutionary to life.”

Casting one of my favorite WWE wrestlers John Cena as Ferdinand is either hypocrisy or a completely smart move. Propes said, “My vote? It's a stroke of genius. While Cena has made his mark, and his fortunes, as an over-the-top wrestler whose brawn has left more than a few wrestlers bloodied, Cena the man is known as one of the kindest and gentlest souls among professional wrestlers and has granted more children's wishes through the Make-A-Wish Foundation than any other celebrity. Recently known for such films as Trainwreck and Sisters, Cena is both acknowledging the truth of who he is while defying those stereotypes.”

He is Ferdinand.

He’s a funny character, but it’s thankfully a different kind of funny that never comes at the expense of his rareness. We laugh with Ferdinand as he tries to learn how to live out these differences, but not because he lives out these difference.

There’s a huge difference. It’s great to watch.

Propes said, “I mean, c'mon, there has to be a "bull in a china shop" scene and, of course, there actually is one. Instead of feeling predictable and stereotyped, though, it is wonderfully realized and sweet and funny.”

To anyone familiar with the book, it won’t come as a surprise that Ferdinand necessarily expands upon it. The story of how Ferdinand comes to find out what he knows will be his permanent home won’t be shared here, but we can say that Nina, voiced by Lily Day, is a little girl who loves her bull and it’s the type of special friendship that we usually see with household pets. Paco, voiced by Jerrod Carmichael, is Nina’s dog who fits nicely into his role of being a dog but can’t seem to keep from wagging his tail when Ferdinand calls him “brother.”

Propes noted, “Weird is celebrated in Ferdinand as "the new normal" and the film's relentlessly good heart is always on display in a myriad of ways.” Even though he is ridiculed by other bulls, voiced by Peyton Manning, David Tennant, Anthony Anderson, and Bobby Cannavale, Ferdinand is a revolutionary and it becomes clear soon enough that his culture may very well change if he truly continues.

Propes pointed out, “Ferdinand, in a remarkably kid friendly way, also addresses unhealthy masculinity and dysfunctional gender roles. Adults will understand it completely, while all kids will be able to absorb the film's refusal to cater to such ridiculous stereotypes.” As Lupe, a “calming goat” used to help manage the bulls, Kate McKinnon has a good number of the film’s best one-liners yet her vocal work also shows a deeper understanding of what exactly is going on here that needs to be understood.

“Ferdinand” is a winner, a feel-good film filled with heart and humor and accepting anyone that makes them different and all that makes them wonderful. Propes admitted, “While the film's soundtrack features delightful and memorable tunes from the likes of Nick Jonas, Pitbull, and Juanes, it occasionally gets a little too pop-oriented for my own taste.”

In all honesty, I think this film is a good family film for everyone to see. Check it out on Disney+ and have a great time watching it. I found it funny that a bull doesn’t want to be a fighter but have a love for flowers, and I think everyone will love this, especially the children. Everyone can watch this and get into it great, so check it out and have a nice feel-good time.

Tomorrow I will be looking at another short in “Disney Month 2024.”

Tomorrowland

While not lacking in heart and soul, “Tomorrowland,” released in 2015, was lacking something.

While Brad Bird’s inspirational story will be sure to interest some younger viewers, the film oversold itself with a title like “Tomorrowland.” Therese Lacson said in her review, “Trailers and promotions sold the film to be nothing short of a fantastical adventure into a living breathing version of Disney’s Tomorrowland theme park, however the delivery left much to be desired. Watching the film, I constantly felt like I was waiting for us to be transported into a world that Britt Robertson’s Casey only glimpses at.”

Lacson continued, “It spends a lot of time building up and makes half of the movie feel like exposition, while the other half proves to be something similar to candy-coated disappointment. The message of the story is blared loud and clear, optimism and hope wins out in the end, and boy, is that message hammered into you.” It is very much a Disney film, but somehow manages to lose some of the impact of a real Disney film.

Animated films like “Up,” “Toy Story 3,” and “Frozen” manage to impress not only children, but also the general audience of all ages with a heart-warming story and a positive message. In comparison to its animated film, “Tomorrowland” lacks.

George Clooney’s Frank Walker, a grayish pessimist brings some seriousness to an otherwise life film, as does Hugh Laurie’s David Nix. Lacson admitted, “Robertson’s Casey Newton bears an incredibly suffocating amount of optimism, and often challenged my belief of her brilliance when she seemed to repeatedly make the most basic of mistakes.” Newcomer Raffey Cassidy does manage to be good as Athena, and her chemistry with Clooney manages to show from their scenes together.

The set design of the actual Tomorrowland is shiny, bright, and beautiful, complete with all the gadgets you would see of a utopian, innovative future world. It would have been awesome to see Casey and Frank interact with the other citizens of the city, and watch them as they are sucked into the titular realm. Unfortunately, when you see it, the movie does not deliver.

Lacson ended her review by saying, “While entertaining in some aspects, Tomorrowland falls flat in promising what it’s advertising, feeling more like concept art before a final film. Overflowing with optimism, it fails to feel genuine. The cast give their best, but this is not a film I would watch again.”

The idea is good, but it doesn’t deliver in what it wrote out. Laurie feels like he is slipping in out of his Dr. House voice that a lot of the times, you don’t hear his accent. I don’t know if that was intentional or not. Still, this is a film that I won’t be seeing after seeing it once because it was just a disappointment. Don’t see this film, but if you see it on Disney+, then it’s on you. Like I said, I don’t think this will be a film for everyone, but younger viewers will probably like this one fine, but adults will probably not want to sit and watch the whole film.

Tomorrow I will look at an animated film that is about some animals that were never focused on before in “Disney Month 2024.”

Rio 2

“Rio 2,” the 2014 sequel, finds Macaws Blu (Jesse Eisenberg) and Jewel (Anne Hathaway) happily raising their children together in the forest of party city Rio de Janeiro. However, when hearing that a flock of Blue Macaws may be living in the Amazon rainforest, the two decide to take a family trip (with a couple of friends) across South America to find out. Once they’re in the Amazon, Blu and the others discover that more of their breed do exist in the forest, with Jewel’s long-lost father, Eduaro, voiced by Andy Garcia, as their leader.

Blu then tries to prove himself to Jewel’s spectacle dad, unknown to the fact that his old enemy, Nigel the Cockatoo, voiced by Jemaine Clement, no longer able to fly, has followed him to the Amazon, looking for revenge. Meanwhile, a group of humans are running an illegal logging operation in the area serving a serious threat to every lifeforms in the rainforest.

Animation filmmaker Carlos Saldanha tries to go bigger with the sequel to his first “Rio” movie, similar to his method on second and third “Ice Age” movies. However, “Rio 2” greatly increases the number of subplots and characters features in the previous film, while also making the cartoon action and colorful forest on a larger portrait. Sandy Schaefer said in her review, “The final movie result is a passable kid-friendly adventure, even though it doesn't offer a lot more than shiny bells and whistles attached to a sitcom-esque emotional core.”

Saldanha was born and raised in Brazil, so he has a real appreciation for South America and its rich culture. Schaefer said, “That shines through in Rio 2, helping to infuse the film with just enough flavor to elevate it above the bar of being yet another perfunctory animated sequel targeted at the juice box crowd. Blue Sky's animators successfully combine a bright tropical color palate with animal character designs that blend exaggerated (read: cartoonish) features with photo-realistic qualities (see: the Blue Macaws' feathers).” In the end, is then mixed with enough stylistic additions, solid voice-acting from the entire cast, and catchy, if also periodic, songs to make the film easy to sit through (while still reflecting its director’s South American heritage).

However, there are problems with “Rio 2.” Schaefer said, “the aspects of the film that make it feel like homogenized Hollywood sequel fare.” Stylistically, the human characters – including Blu and Jewel’s former owners Linda (Leslie Mann) and Tulio (Rodrigo Santoro) – are subpar in design. Schaefer said, “they're neither stylized caricatures with tangible details (a la Pixar's work), nor Expressive snapshots of real people like, say, the humans in Cloudy with a Chance of Meatballs. Similarly, the 3D visual elements aren't all that effective, as the film is neither structured to provide an immersive experience nor animated in a manner so that colors and/or objects really pop out in the third dimension.” However, the 3D doesn’t really distract from the viewing either, so it’s recommend that those wanting to see “Rio 2” just decide to put it on Disney+.

Saldanha co-wrote the screen story/script for “Rio 2” with Toni Brenner and the late Don Rhymer. Based on the writing staff’s credentials, it may not come has a surprise to hear that “Rio 2’s” main plot points – Blu proving that he can survive and care for his family without being dependent on human technology – covers very familiar territory, by giving respectable yet generic family-friendly movie lessons while ignoring the more serious ideas that are briefly mentioned, then passed over (like the pros of cross-cultural integration).

However, a number of subplots int eh film come down to giving the side characters something to do. That includes a narrative part with Rafael (George Lopez) and Nico (Jaime Foxx), who join with Blu’s family in order to find new talent for the Rio Carnival, along with Nigel wanting revenge – both that, when you look at it, could’ve been cut with little complaints. With the pros, having so many characters subplots does set up some nice musical numbers, performed by Broadway star Kristin Chenoweth as Gabi (a poison dart frog in love with Nigel) and hip-hop singer Bruno Mars as Roberto (Jewel’s childhood friend). Also, any film that starts with an original tune by Janelle Monáe must be doing something right.

Schaefer said, “Indeed, the enjoyable music and traces of authentic Brazilian spirit in Rio 2 tip the quality scale towards "good," providing enough decent material to compensate for the film's derivative qualities and storytelling flaws - if only barely so.” Viewers young and old might not remember much of what happened afterwards, but at least the film is decent fun while it runs.

This may not as good as the first, but I still think it wouldn’t hurt to see it. If you want to see it on Disney+, then by all means go for it. I don’t know how much adults will get into it, but if children who loved the first one see this, then they will probably get into it fine. This is probably one of those films you put on for your kids when you want to distract them so they don’t make too much noise.

Tomorrow I will be looking at another live-action film that I didn’t really get into in “Disney Month 2024.”