Hoppers

Last night, I watched the new Pixar movie, “Hoppers,” which was released theatrically in March but on Disney+ 11 days ago. I was wanting to watch this in theaters, but we didn’t get the chance, so I waited until it was released on Disney+. How is this new Pixar movie? Is it an original idea or something Pixar has already done before?

There is something quietly encouraging about a Pixar film that just works. Not in the way that it reinvents animation or redefines storytelling, yet the studio has done that more times than most. However, in the way it reminds you why Pixar became such a great force to begin with.

Doug Jamieson said in his review, “Strong characters, a clear emotional core, humour that lands for both kids and adults, and a story that wears its heart openly without tipping into saccharine excess. That particular balance has felt elusive at times in recent years, with the studio chasing ambition in different directions.”

Jamieson continued, “Yet their latest arrives as a confident, charming recalibration, a film that may not aim for the stars visually, but hits a deeply satisfying emotional sweet spot.” Directed by Daniel Chong and written by Jesse Andrews, “Hoppers” is, at the center, a story about connection.

Between humans and animals, between grief and purpose, between the version of ourselves made by anger and the one made by understanding. Jamieson notes, “It wraps those ideas in a zany, high-concept premise involving mind-linked animal robots, yet never loses sight of the grounded emotional truth at its centre.”

The film introduces Mabel Tanaka, voiced by Lila Liu, as a child whose love for animals is on the fence of rebellion. Whether she tries to free classroom pets or standing up against the way her town treats wildlife, Mabel’s feelings are driven by a strong, if unfocused, sense of justice.

Then her grandmother she gets really close with, voiced by Karen Huie, calmly redirects that anger, showing her toward a silent glade where she learns to listen rather than fight, to understand rather than react. That advice from her childhood becomes the film’s emotional basis.

Years later, as a university student, Mabel (Piper Curda) finds herself still attached to that place, now under threat from a planned beltway supervised by the shallow, self-centered Mayor Jerry Generazzo (Jon Hamm). The animals that once occupied the glide have started to leave, and the feeling of loss is deep, not just environmentally, but spiritually.

Jamieson points out, “This is no longer just a childhood refuge. It’s something that needs protecting. Enter the film’s delightfully absurd central device.”

Through the research of her biology professor, Dr. Sam, voiced by Kathy Najimy, Mabel gets access to experimental robotic animals that can be controlled via a neural link. The process, called “hopping,” allows humans to occupy animal bodies, experiencing the world from a completely different perspective. This is an idea that Pixar immediately supplies both comedy and meaning, combining physical humor with a deeper look at empathy.

Jamieson mentions, “From there, Hoppers opens up into its most playful and imaginative stretch, as Mabel, now disguised as a beaver within the animal world, attempts to solve a very practical problem, convincing a real beaver to rebuild the dam that once sustained the glade’s ecosystem.” What she finds instead is a completely realized animal society, that have their own rules, hierarchies, and personalities.

Breaking those rules almost immediately, by preventing the hungry bear Ellen (stand-up comedian and former SNL star, Melissa Villaseñor) from eating the forever exhausted beaver Loaf (Eduardo Franco), Mabel accidentally gets the attention of King George, the friendly and slightly confused leader of the beavers, brought to life with perfect comedic timing by Bobby Moynihan. We also have Aparna Nancherla and Sam Richardson voicing assistants of Dr. Sam.

It's here that the film really finds its rhythm. The friendship between Mabel and King George, along with the growing team of animal characters, gives a steady flow of genuinely funny, character-driven comedy.

The humor is not just situational, yet there is plenty of that, but based in personality, misunderstanding, and the essential silliness of a human trying to navigate animal life. Particularly, Moynihan is a standout, making a character who is equally ridiculous and charming, his leadership style as questionable as it is genuine.

However, underneath the comedy is a gradually developing emotional center. As Mabel spends more time with the animals, forming bonds and earning trust, the film deepens its look at identity and perspective.

The method of “hopping” becomes more than a narrative part. It becomes a metaphor, a way of understanding lives that exist along with our own but are so often ignored or dismissed. The film’s message about conversation arrives naturally from this, not as a lecture, but as a lived experience. That balance is where “Hoppers” succeeds.

The film’s message of environmentalism is one of its greatest strengths. There is something genuinely emotional about the way it encourages empathy toward the natural world, making environmental protection not as a mental concept but as a deeply personal responsibility.

Even with a relevant message at its center, “Hoppers” never loses its feel of fun, embracing its crazy premise with enthusiasm, yet it consistently keeps that energy in character and theme. The growing issue with Mayor Jerry, whose plans for development threaten not just the glade but the entire ecosystem, gives a clear villain.

Jamieson said, “Thankfully, the film wisely avoids turning him into a purely cartoonish villain.” Hamm plays him with just enough charm to make him believable, despite his actions becoming increasingly frustrating.

All around, the voice cast is terrific. Jamieson credits, “Curda carries the film with ease, giving Mabel a sincerity that anchors even the most outlandish moments. She brings a wonderfully naturalistic quality to the heroine, avoiding the overly heightened delivery that can sometimes creep into animated performances.”

There’s an established, almost modest sincerity in her voice work that makes Mabel’s emotional journey feel true, mainly in quieter moments where reflection and doubt take over. Curda allows the character to feel like a real young woman, figuring things out in real time, which gives the film an emotional fix that never feels forced.

Moynihan is perfectly cast as the instantly lovable King George. He goes fully into the weirdness of the possibly optimist leader with a performance that feels both spontaneous and carefully adjusted.

Jamieson credits, “He finds humour in the character’s contradictions, a leader who projects confidence while often flying by the seat of his pants, and imbues him with a surprising level of warmth beneath the chaos. It’s the kind of voice performance that keeps revealing new comedic details with each scene, making George one of the film’s most consistently delightful presences.”

Jamieson continues, “Supporting voices like Meryl Streep as the feared Insect Queen, Dave Franco as her tyrannical son, Titus, Ego Nwodim as the snooty Fish Queen, and Vanessa Bayer in a hilarious apex predator role that’s best left unspoiled flesh out the world with distinctive, memorable contributions. There is a sense of ensemble playfulness that carries through the film, each performance contributing to its lively tone.”

Visually, “Hoppers” is hands down beautiful, even if it does not target the same level of technical innovation as some of Pixar’s most recent works. Jamieson praised,

The glade itself is rendered with a soft, almost storybook quality, its lush greenery and reflective waters creating a sense of calm that contrasts with the encroaching threat of development.

The animal world is expressive and vibrant, with character designs that prioritise personality over hyper-realism, allowing for greater comedic flexibility. Each creature feels thoughtfully constructed with distinct silhouettes, expressive features, and small behavioural quirks that give them immediate personality.

There’s a tactile charm to their design, balancing stylisation with just enough realism to make them feel alive, which makes it all the easier to invest in them as fully formed characters rather than background whimsy.

If there is a limitation here, it would be the animation rarely feeling groundbreaking. In the past, Pixar has pushed the envelope forward with each release, redefining what animated storytelling can look like. “Hoppers” is more satisfied to work within established boundaries, delivering clear, lovable visuals without wanting that next leap.

This is a conscious decision, and one that works the film’s tone, but it does mean it lacks the visual amazement factor of the studio’s most determined work. Also, the narrative follows a familiar path.

From Mabel’s main frustration to her look in the animal world, the eventual revelation of her secret, and the rise toward a crazy, high-energy third act, the story is recognizable. Jamieson pointed out, “There’s even a self-deprecating gag about how this plot is similar to that of Avatar.”

The film’s final act, involving a larger confrontation and a gathering of the wildlife council, goes heavily into its insane sensibilities, occasionally feeling a little overdone in its attempt to bring everything together. However, even when it feels predictable, it remains completely engaging.

Chong and Andrews understand that familiarity is not a flaw if it is done with care. Jamieson said, “What ultimately elevates Hoppers is its boundless sincerity.”

It believes in its message, characters, and invites the audience to do the same, not through manipulation, but through real emotional connection. The relationship between Mabel and her grandmother lingers throughout the film, a quiet reminder of where her journey began, while her increasing understanding of the animal world gives a satisfying feel of growth.

By the time the film arrives at the end, it may not surprise you, but it will possibly win you over. This is hands down a happy, good-natured return to classic Pixar storytelling.

This is funny, genuine, occasionally messy, but always good-intentioned, and in a landscape where animated films often chase vision at the cost of substance, “Hopppers” feels happily grounded in what matters most.

This may not be Pixar at its best but it is Pixar at its most endearing with a genuinely likable story full of heart, humor, and lovable insanity. That’s something the animation company always does so wonderfully well.

At a time when this message hits really close to home, “Hoppers” is one that everyone must see. Sure, we have plenty of environmental movies out there that all have the same message, but “Hoppers” does it in a way that doesn’t feel stale and repetitive. This is a movie that families should watch together and learn something, as we need more people behind this cause. You’ll love the animation, characters, and especially the story. See it on Disney+ and have fun.

Thank you for joining in on this review today. Stay tuned this Friday for the continuation of “Bill Paxton Month.”

Elio

Tonight, on Disney+, I saw the new Pixar movie, “Elio,” which came out theatrically in June but today on Disney+. How is this, seeing that this is new for Disney and not cashing in on something they did previously.

Marissa Hill started her review by admitting, “Elio, Pixar’s latest animated adventure, was an unexpected delight that soared beyond my initial expectations. As someone who’s seen animations swing from brilliant to forgettable, I approached this film with cautious optimism, expecting another hit-or-miss storyline. Yet, Elio not only met but surpassed my hopes, delivering a story I could watch repeatedly without losing its charm.” The film is about Elio Solis, a small boy who, after losing his parents, lives with his Aunt Olga, an Air Force major who wants to fly into space. Elio’s obsession with aliens takes him to a space misadventure when he's mistakenly taken on the Communiverse, an interplanetary hub where he’s thought as Earth’s ambassador. Hill described, “With its vibrant animation, reminiscent of a cosmic lava lamp, and heartfelt exploration of identity, belonging, and family, Elio captures the magic of childhood wonder in a way that resonates deeply.”

The story focuses on Elio, voiced by Yonas Kibreab, whose quirky personality and alien obsession make him immediately relatable. Living with his Aunt Olga, voiced by Zoe Saldaña, Elio struggles to fit in after his parents passed. Olga, who gave up her dreams of being an astronaut to raise him, has frustration with Elio, especially when he skips school to lie on the beach with a sign asking the aliens to take him. Hill said, “His passion for ham radios, a hobby I connected with from my own childhood, adds a unique layer to his character as he tries to contact extraterrestrial life. This personal touch made the film especially meaningful to me, evoking memories of tinkering with radios to explore the unknown.”

Elio’s struggles are heightened by bullying from other kids Bryce and Caleb, voiced by Dylan Gilmer and Jake Getman, who mess with his ham radio, injuring his eye and forcing him to wear an eye patch for two weeks. At Olga’s base, Elio sneaks into a meeting where Gunther Melmac, voiced by Brendan Hunt, gives evidence of alien responses to Voyager 1. Elio’s use of Melmac’s device to send a message causes a power outage, nearly getting Olga fired. Sent to a youth camp with Bryce and Caleb, Elio gets bullied more, causing him to run away, where he gets abducted by an alien ship and taken to the Communiverse, a colorful interplanetary hub.

In the Communiverse, Elio is mistaken for Earth’s ambassador and must navigate a crisis with warlord Lord Grigon (Brad Garrett), whose son Glordon (Remy Edgerly) becomes Elio’s friend. After being imprisoned, Elio uses Glordon as leverage, leading to the creation of a clone to represent Earth. Back on Earth, Olga thinks Elio is a clone, and through a sequence of stuff, Elio and Olga make up, ending with Glordon being saved and resolving the issue with Lord Grigon, Elio learns he’s never alone, helped by Ambassador Questa’s (Jameela Jamil) guidance, and the quirky supercomputer OOOOO (Shirley Henderson).

The voice cast helps the film’s quality. Yonas Kibreab brings Elio to life with innocence and curiosity, perfectly getting his journey. Zoe Saldaña as Aunt Olga gives a strong, caring aura, capturing the emotional character. Remy Edgerly as Glordon adds a special alien likability, while Brad Garrett’s evil yet layered Lord Grigon adds depth to the conflict. Jameela Jamil as Ambassador Questa helps Elio with authority and kindness, and Shirley Henderson as OOOOO gives humor and heart in this space adventure. Ana de la Reguera as Turais, another alien ambassador, adds to the Communiverse’s diversity.

Hill credited, “I love the coloring scheme of this animation; it reminds me of my favorite colors in a lava lamp. The storyline is simple and sweet, which was nice. I feel like a lot of recent animations try to cater and pander to a certain audience, and this one did not feel that way, which was refreshing.” It has simple looks of culture, with Elio being Hispanic, clear with the details like him referring to his aunt as “Tia” and cultural food references.

In the end, “Elio” is a lovable animated film with simple yet sweet storyline that doesn’t feel like it’s targeting to a specific audience. Hill ended her review by saying, “Its subtle cultural references and vibrant animation make it a delightful watch, and the inclusion of ham radios struck a personal chord, evoking my own childhood fascination with the unknown. I can see myself returning to this cosmic delight again and again, as it offers a heartwarming exploration of identity, belonging, and the importance of family and friendship that resonates with both children and adults.”

This is not a completely innovative movie, as it does borrow some storylines that you can predict, but compared to the other stuff that Disney has put out this year, this is enjoyable. There are some references to other sci-fi properties out there that people could point out. It’s not one of the best movies Pixar has put out, but it’s still a good one to see and I think everyone will enjoy this, especially those who are fascinated with space. After “Coco,” this is the other Pixar movie to be about a Hispanic family, but it is not about the language or any of the culture, but then again, that was not the main focus. Check it out on Disney+ because I think everyone will enjoy this a lot.

Thank you for joining in on this review tonight. Stay tuned this Friday for the continuation of “Happy Madison Month.”

Inside Out 2

Last night, my sister, cousin, and I went to the theaters to check out “Inside Out 2,” which came out a little over two weeks ago. Will this be the Disney that will get people back into loving them again?

Who would imagine that the thoughts keeping people up at night come from a feeling that means well? However, after watching “Inside Out 2,” it’s hard to think of Anxiety any other way.

Valerie Kalfrin said in her review, “It’s been nine years since Disney/Pixar’s Oscar-winning animated feature Inside Out introduced viewers to the cutely complex emotional landscape inside the mind of a tween girl named Riley. Her emotions—Joy, Anger, Disgust, Fear, and Sadness—floundered as her family relocated from suburban Minnesota to San Francisco.” However, they all fount out they each have a purpose, even Sadness, whom Joy had tried to limit to keep Riley feeling happy and positive.

“Inside Out 2” does some similar ideas as now 13-year-old Riley, voiced by Kensington Tallman, experiences more emotional turmoil. Kalfrin said, “But anyone who appreciates the shorthand emotional intelligence of the original will love the clever way the film depicts and handles what happens to Riley once Anxiety takes over.”

The beginning shows Riley, an energetic ice hocky player, playing a game as feelings Joy (Amy Poehler), Sadness (Phyllis Smith), Anger (Lewis Black), Disgust (Liza Lapira), and Fear (Tony Hale) take turns at the emotional controls inside her. Kalfrin said, “Like a fluid unit, Anger steers when Riley charges ahead with the puck while Disgust steps in when she grabs the wrong mouthguard.”

The feelings celebrate as Riley and her best friends, Brie (Sumayyah Nuriddin-Green) and Grace (Grace Lu), catch the attention of the high school coach famous for leading the undefeated Firehawks. When the coach invites the girls to a weekend hocky camp with other potential and current teammates, Riley is ecstatic – until puberty arrives.

Puberty announces itself with an alarm and a wrecking crew that makes more room in HQ for more feelings – and makes the emotional console way more sensitive. Now the slightest touch from Anger and Disgust show Riley getting frustrated, to her mother’s alarm. (Kalfrin admitted, “I was mildly curious who pilots the console during Riley’s period—a huge hallmark of puberty for girls—but the filmmakers dodge that altogether.”)

Anxiety, voiced by Maya Hawke, shows up, literally with so much luggage. With her are the tall Embarrassment (Paul Walter Houser), a mostly silent feeling who slouches inside a hoodie, Envy (Ayo Edebiri), and Ennui (Adéle Exarchopoulos), who lays across a chaise lounge and can control the console from an app on her cell phone.

Kalfrin described, “Bright orange, Anxiety is the least-humanoid of the feelings, with scraggly hair, pinhead green irises, and a wide mouth of gapped teeth.” She chugs energy drinks in a case, a fast-talker with projected scenarios for every possible future outcome. Determined for Riley to make a good impression at camp, she soon discards Riley’s old sense of self, along with Joy and the other original main feelings. She throws them toward the back of the mind, where Joy took it upon herself to throw other unpleasant memories.

As Joy and the others find their way around the Stream of Consciousness and other areas, Riley feels the effects of Anxiety controlling her actions. Writer-director Kelsey Mann, a longtime storyboard artist and writer making her film debut, and writers Meg LeFauve and Dave Holstein nicely create the visual humor and puns around Riley’s insane emotional changes.

The animation – always bright and colorful – shows more tone, with orange appearing more in real life as Anxiety grows stronger. Kalfrin said, “The music by Andrea Datzman (Zootopia, Inside Out) also becomes more complex, incorporating more pop and rock with touches of Michael Giacchino’s original twinkly score.”

Though made as an antagonist, Anxiety is impossible to hate, with Hawke’s serious tones showing her good intentions. She wants what’s best for Riley. Kalfrin said, “She forces Riley’s imagination to work overtime, keeping the poor girl up at night, and starts to craft a new sense of self that’s all sharp edges and mantras like, “I’m not good enough”—nothing like the person Riley used to be.”

Kalfrin continued, “The rest of the voice talent is stellar, showing degrees of personality. As Joy, Poehler’s chipper bossiness gives way to uncertainty and realization; Smith’s Sadness melts into empathy, and even Black finds—dare I say?—the upside of Anger. Among the newcomers, Exarchopoulos stands out as Ennui, shambling around to deliver infuriatingly vague responses that any teen’s parents will recognize.”

Like the previous film, “Inside Out 2” gives some emotional ideas inside an entertaining and relatable part of life. We all have varieties, and balancing them is how we grow.

I highly believe this is better than the first film. You can relate to Riley in every way possible with how she grows up. Especially with the new emotions that come in and try to dominate Riley’s thoughts, especially Anxiety. Everyone has anxiety, some suffer with it worse than others. Check this out in the theaters, you will love it, I promise you. This film is a contender for being the best film of the year.

Thank you for joining in on this review tonight. Stay tuned Thursday for the yearly “Independence Day Movie Reviews.”

Elemental

Today on Disney+, I saw the new Pixar movie, “Elemental,” which came out theatrically in June and on streaming five days ago. How is the new Pixar movie compared to the others?

Rick Bentley started his review by saying, “Like a cinematic alchemist, director Peter Sohn (“Lightyear”) has mixed all of the right elements to create the latest Disney and Pixar offering, “Elemental.” The problem is that the final compound is not that explosive.”

“Elemental” takes place in Elemental City, a suburb where fire, water, land, and air residents live together. As long as fire and land don’t encounter or water and fire collide, everything is great. One of the best parts of the film is watching how the elements are given human traits.

Ember (Leah Lewis) is a fiery young woman who is caught between being a good daughter and building a relationship with the easygoing water boy Wade (Mamoudou Athis). They have been told their entire lives that fire and water just don’t mix and being together is dangerous for both of them.

Writers John Hoberg, Kat Likkel, and Brenda Hsueh put together two different storylines. There is the story of Ember and her father, Bernie, voiced by Ronnie del Carmen. They had always planned on Ember taking over the family store when she was ready. The only problem is her impulsivity keeps getting in the way.

Then there is the elemental-crossed Ember and Wade. Bentley noted, “They feel an attraction but that like an acid and an alkali, they know their mixture could be disastrous.”

Had the writers focused on the young romance, “Elemental” would have been a good combination of humanizing and funny material. They just weren’t satisfied and slowly kept adding more and more elements to the story.

The big storyline has to do with immigration. Bentley compared, “Just like those who came to Ellis Island, when Bernie and his wife, Cinder (Shila Ommi) arrive at Element City, they are stripped of their native names and given more generic identification.”

The film leans heavily into the reality that there is prejudice between the elements. Bernie and Cinder turned away because their the element of fire. They eventually find a home and build a life. However, there are elements of racism all over the production.

There is also an economic element at play. The fact Element City is made to be more accommodating for the water people shows that there are some ethnic groups – even those made up of fire, water, wind, or earth – who have risen above the others and take advantage of that.

Bentley said, “Additional plot themes never get strong enough to eclipse the young romance parts of the story.” Even that part of the story comes with a realistic lesson on racism as the two young people have always been told they could never be with the other kind.

All of this plays out against the amazing visuals that have become such a strong trademark of Pixar animation. Bentley mentioned, “The team was given a world of visual building blocks to depict what life would be like living as a walking flame, a free-crying water or even a blustery wind.”

Over the years, elements like fire and water have been a challenge for animators creating computer-generated characters. Bentley said, “Getting those elements to have a natural movement in a pixelated world took work but the result is this film where every flicker or drip looks like a creation of Mother Nature.”

The film does have some original music but nothing memorable. Bentley compared, “Thomas Newman’s score is functional but is little more than the kind of music that gets ignored in elevators.”

As had been the main point with Pixar films, there is one musical number added that does little to move the story but serves more as a possible Oscar nomination. The most recent example was We Don’t Talk About Bruno from “Encanto.”

“Elemental’s” song, Steal the Show was written and performed by Lauv. The song isn’t bad but just not memorable.

Everything comes together to make “Elemental” a film that gives some entertainment value but does not have the kind of fire that past films from the company have had. Bentley said, “There is a short film before the feature featuring Carl from “Up.” Those few minutes are packed with far more emotions than in the 103 minutes of the movie.”

Sohn could be suffering from having to live up to the standard set by a studio that created such emotionally and entertaining films like “Monster’s, Inc.” and “Toy Story.” Because of the company’s history, what would be a major success for another studio ends up feeling less successful because of the Disney and Pixar names.

Bentley compared, “The pieces of “Elemental” go together just like the blending of hydrogen and oxygen to create water. Water serves a purpose but is not that exciting on its own.” The same can be said of “Elemental.”

In the end, I liked the film. Sure, the story is nothing compared to past films that might have told a similar story, like “Zootopia” and “Onward,” but I believe everyone will still love this movie. I wouldn’t say this is one of the best, but it is still a good Pixar movie. Especially with how Pixar keeps making each film look better than the previous one. I mean it, the animation in this film is one of the best I have seen from Pixar. This looks like a city I would love to live in. Besides the segregation and prejudice in here, I think it will be great to live here. If you missed the chance to see this in theaters, see it on Disney+. Watch it with the entire family, everyone will enjoy this.

Thank you for joining in on tonight’s Pixar review. Stay tuned Friday for the continuation of “Morgan Freeman Month.”

Lightyear

Tonight, I saw “Lightyear,” which was released in theaters back in June, but came out on Disney+ three days ago. This was one of the movies that I wanted to see, and now that it was released on Disney+, I will let everyone know my thoughts on it.

This is a space adventure with inspiration for everyone’s favorite toy astronaut on a fascinating mission to defeat a robot invader and get his crew home.

One thing that helps animated film is making sure they bring audiences of all ages because kids aren’t going by themselves and adults would like to not be bored. No question, Pixar understands this and has been releasing widely popular movies for decades. However, they – and the fans that love them – have frequently returned to where it all began: “Toy Story.” Now that Andy is an adult, and Woody and the gang are bringing joy to other kids, it became a question of where do we go from here? The answer goes all the way back to before they were toys. Thus, “Lightyear” is the movie that looks like an inspiration for the arrogant astronaut action figure.

Buzz Lightyear (Chirs Evans) and Alisha Hawthorne (Uzo Aduba) are Space Rangers, traveling the galaxy with so many humans in pods as they make their way home. Unfortunately, some mistake maroons them on a hostile planet. Refusing to give up and wanting to get the mission back on track, Lightyear sacrifices his chance at a life to get everyone home. With Hawthorne’s support and the help of an A.I. cat named Sox, played by Peter Sohn), Lightyear just might do it. However, then an occupying robot alien race led by Zurg, voiced by Josh Brolin’s father, Fames Brolin, decides to mess up their plans, threatening to destroy everything the Space Ranger worked so hard to save.

From face value, the narrative is a typical sci-fi story about a mission gone wrong and the need to adapt to a new environment. It starts with an action scene where the protagonists are introduced to the planet’s unfriendly occupants, followed by a high-speed escape. Sarah Gopaul said in her review, “When it’s discovered they cannot leave the planet, the second act shows a resilient group of people who make the best of a bad situation, while Lightyear does his best to rectify the error and get everyone back to where they belong.” Seeing how this is a family-friendly science fiction, Lightyear learns a lesson as the film goes on about learning from his past mistakes, accepting people’s flaws by focusing on their strengths, and accepting help once in a while.

Gopaul said, “Lightyear is slightly less arrogant than the toy version of him, though he’s still very courageous and unwavering in his commitment, which Evans can portray in spades. Hawthorne has strong Monica Rambeau vibes as she lives for the adventure and is quick on her feet.” She’s Lightyear’s best friend, while her granddaughter, Izzy, voiced by Keke Palmer, becomes his greatest ally. The younger Hawthrone, along with a small group of rookies, turn out to be involved in helping Lightyear…and the source of a lot of trouble as they mess up most of their tasks. Taika Waititi just can’t avoid playing loveable characters as Mo is a little clumsy, but is very resourceful. Also, Sox is a complete enjoyment and he has so many “Star Wars” references.

As a story that comes before “Toy Story,” fans shouldn’t expect too many connections beyond Lightyear’s catchphrases. However, fans of the toy astronaut will not be disappointed by this film.

Couple of complaints that I have is one being the design of Lightyear. They didn’t make him look like he did in the “Toy Story” franchise, but maybe that’s because, as they stated before the film began, this is based on a movie that Andy saw, which made Lightyear the boy’s favorite toy. Maybe I shouldn’t be too hard on that, but the one that I think people could agree on is that Chris Evans is no Tim Allen. I don’t get why they wouldn’t cast Tim Allen in this movie since he has been voicing the character since the first “Toy Story” movie. If Allen could voice the character in the animated series from way back, why not for this movie? Are they trying to make it that action figures don’t always sound like they do in films? Because I always thought they did.

All of that aside, this is a good Pixar film. If you haven’t seen this yet because you don’t really go to the theaters since the pandemic, watch it on Disney+. For those who are fans of the “Toy Story” franchise should not miss the opportunity to see this. Check it out and have an enjoyable time. I wouldn’t be surprised if they make a sequel to this, because I wouldn’t mind seeing this turn into a franchise.

Thank you for joining in on my review tonight. Look out next Friday for the continuation of “Brad Pitt Month.”

Turning Red

Tonight, I saw the new Pixar movie, “Turning Red,” which came out on Disney+ yesterday. How is this new film by Pixar? Is it up there with one of the best or not?

Based on director Domee Shi’s background in Canada during her childhood, “Turning Red” captures the time right before teens were dependent on the internet. You really go back to that time in middle school with flip phones, trying to pass notes in class, and boy bands. However, what’s amazing, besides from finally having more coming-of-age films that does not occur in the 80s, is how relatable the sudden change from childhood to teenager.

Everyone had to go through that time their parent found out they aren’t a child anymore, and it’s always a nightmare. Sabina Graves said in her review, “There’s a moment in Turning Red’s first act where you get Ratatouille’d back to that nightmare core memory.” You’ll be awed at the screen thinking the film’s protagonist Mei (Rosalie Chiang) is just having a nightmare when her mother (Sandra Oh) finds out what she hides under her bed. Graves said, “It’s the most stressful case of sympathetic secondhand embarrassment that’s too real.” That’s before Med turns into a giant red panda.

Graves said, “Shi, along with co-writer Julia Cho, give us an endearingly comical exploration of a teen girl’s journey navigating every messy bit of entering adolescence. At a cultural level through Mei’s Asian-Canadian family, the movie speaks to the societal molds that women have been expected to fall in step with that don’t entirely change even when East meets West. Whether through cotillions, bat mitzvahs, or quinceañeras, womanhood usually comes with an expectation of making sure the proverbial Pandora’s Box comes delivered wrapped with a bow keeping the true nature of it tucked away.” For Mei, that true nature just happens to be a family trait where sometimes female members can transform into a giant red panda when their emotions take over them.

Mei genuinely represents the generation that began to break away when she immediately accepts her panda. Her mother has other plans, trying to prepare Mei for a traditional ceremony to rid of it. Graves notes, “Her mother’s fierce overprotectiveness isn’t played to enable domineering parent tropes, but deconstructs them. The teen angst jumps out and Mei rebelliously pushes back in secret.” Instead, she depends on her friends Miriam (Ava Morse), Priya (Maitreyi Ramakrishnan), and Abby (Hyein Park) to accept her changes she finds herself going through – even when Mei beings to see living her truth dangerously to see her favorite boy band might unleash a household anger like she’s never seen. Graves said, “On her hilarious journey to utilize her panda powers to get herself and her friends to a 4*Town concert (a perfect pastiche of the boyband hearthrobs of the era), Mei lets herself stumble through awkwardness with boys and clashing emotions between who she is with her friends versus the perfect daughter she is at home. In spite of the fantastical bent, it touches on feelings that are all too real.”

Life among the teens in “Turning Red” is shown with complete relatability, even when it deals with the sickening part of growth, like what girls go through during that time. Graves asked, “Is a girl’s metaphorical sexual awakening really shocking compared to, say, movie scenes where parents find their son’s crusty socks, or the countless films that center boys’ coming of age through their virginity bets? Women have long had to extend themselves to empathize with depictions of youth in global cinema that centered the male gaze.” A teen turning into a giant red panda while she is figuring out who she is shouldn’t be too much of a stretch to understand in comparison. Graves noted, “Spiritually, Turning Red has more in common with A Goofy Movie, dealing with parent-child relationships while they grow up, get their first crushes and just have to make it to the concert, OK?” (The 4*Town song created for the film by Billie Eilish and Finneas, the latter of whom voices one of the band members, is an earworm.)

Graves noted, “Turning Red is a stellar accomplishment from Pixar that enriches and diversifies the kind of coming-of-age stories so often depicted in movies and other mediums. Despite constraints put upon its creatives when it came to tackling certain subjects, Shi still manages to deliver a deeply personal picture.” The music, the clothing choices, the split between school and home life…everything is there, like opening your diary with memories from a box somewhere in the attic. Through Mei, her friends, and her family, we get to see how supporting love can be so permitting, especially when breaking generational traditions together – and how we really need both our real and made-up families to honor ourselves in ways our ancestors weren’t able to.

If you have a Disney+, check this out, it’s a good one. I think out of all the Pixar movies they have made, this one is probably one of the most, if not the most, relatable film they ever made. Seeing how it is based on a part of childhood we all had to go through and don’t have fond memories of, I think everyone will like it. Especially since it hints at the parts of adolescence but bases it on transforming into a red panda. Check it out and see the growth that is made during the runtime of the film.

Thank you for joining in on tonight’s review. Stay tuned next Friday for the continuation of “Matt Damon Month.”

Luca

Last night I checked out the latest Pixar film, “Luca” and I will let all of you know what I thought about it.

At the highest point of the pandemic in December, Pixar came out with the incredible, thoughtful, observed “Soul.” Now, with summer and things looking up, the studio releases the opposite: “Luca,” a funny, lighthearted vacation film.

Released yesterday on Disney+, thankfully without a premier access fee, and in theaters, “Luca” looks to entertain rather than understanding. It feels just right.

This is the directing debut of Enrico Casarosa, story artist on “Ratatouille,” “Up” and “Coco,” and director of the short “La Luna.”

Like many Pixar films, especially last year’s “Onward,” it’s about deep, life-changing childhood emotions.

A young character is curious about the land but lacks the courage – and the support of his protective parents – to venture out on land. (Jeffrey Anderson asked in his review, “Are all animators shy and withdrawn?”)

Anderson continued, “As happens so often in life, a bold rapscallion befriends the reluctant one and gives him a helpful push.”

Luca, voiced by Jacob Tremblay, is actually a sea creature, whose job is to watch a hilarious flock of sheep-like fish, which stare blankly in the far waters while making “baa” sounds.

While out with his flock, he finds some human objects, and, like Ariel in “The Little Mermaid,” gets really interested in them.

However, his mother (Maya Rudolph) and father (Jim Gaffigan) don’t allow him to go very far, or he could be seen by humans.

Here comes Alberto, voiced by Jack Dylan Grazer, whose father left him to do anything he wants. Alberto persuades Luca to the surface, where their scales become skin, and Luca learns to breathe and walk.

Alberto tells Luca about his dream to own a Vespa scooter and explore the world. While he still is afraid of getting in trouble with his parents, Luca goes with everything.

Anderson notes, “The new friends make their way to the nearby seaside town of Portorosso in the Italian Riviera, as beautiful, as relaxing, and as summery as a small town can get. (It’s said to be based on director Casarosa’s childhood memories.)”

They find out that in order to get money for the scooter, they must enlist in a race – teaming up with courageous human girl Giulia (Emma Berman) – against an obnoxious, arrogant villain, Ercole Visconti (Saverio Raimondo).

“Luca” has an animated sense of humor. Sacha Baron Cohen is in here in a hilarious weird part as a spooky uncle of Luca’s.

Anderson noted, “It also gets fine mileage from a recurring “Looney Tunes”-style joke: the monster friends must avoid getting wet, which causes their scales to inconveniently re-appear.”

Other jokes include riding in reckless, handmade scooters, jumping off the edges of cliffs or speeding down twisty, narrow streets. Alberto teaches Luca a saying – “Silenzio, Bruno!” – to quiet the rebellious, practical voice in his head.

Hands down, director Casarosa looks like he is enjoying himself representing irresistible forces and immovable objects hitting in unruly ways.

Anderson mentioned, “In interviews, he said he hoped to enlist the services of legendary Italian composer Ennio Morricone (who died in July) for the score; one can only imagine the glorious noise that would have accompanied these high-spirited images.”

Despite Pixar’s best movies really deal with death or the fear of growing up and distant, “Luca” pieces its focus on sub-themes, sadly soothing the potential impact of both.

There are five parental characters we see: Luca’s overprotective parents, his clever grandmother (Sandy Martin), Alberto’s absent father, and Giulia’s strong fisherman father (Marco Barricelli), who becomes a kind of surrogate father.

Anderson noted, “Then there’s an uneven triangle of friendship. Luca is slowly drawn more into Giulia’s orbit, with her love of outer space and the universe, than into that of Alberto, who believes stars are sardines.”

The plot also ends with the race’s result, the mission for the Vespa, and the eventual truth of the boys as sea creatures.

All of these elements balance interestingly in a light, cheerful way. Anderson said, “Nothing is cluttered or forced, as was the case in the moving “La Luna,” one of Pixar’s best shorts. About a boy goes to work with his father and grandfather sweeping up fallen stars on the moon, it purely and simply touches upon the passage of time and differing generations.”

Anderson continued, “Perhaps in his next feature, Casarosa can recapture that magic, with a focus on exploration and discovery rather merely experience.” Until then, there’s nothing wrong with a little enjoyment, a little “bellissimo,” and “Luca” has it.

At first, I thought this was going to be the same story that we had seen so many times and I would have to say that Pixar’s good movie streak had finally ended. However, it wasn’t completely repetitive, as there were so many aspects of the film that I found myself enjoying. I wouldn’t say this is one of my favorite Pixar movies, but it’s another good one that I know for a fact that everyone can watch and enjoy. See it on Disney+ with the whole family and have a great time watching it.

Little sidenote: I thought that the voice actor for Luca was the same as the voice actor for Miguel in “Coco,” but when I looked up the voice actor, I found out that I was wrong.

Thank you for joining in on my review tonight. Look out next week for the finale of “Mark Wahlberg Month.”

Soul

Pixar has a new film. That’s got to be the only thing to attract audiences. For others, the fact that “Soul,” released tonight on Disney+, is Pixar’s first animated film with a black lead is a huge factor especially in 2020. “Soul” has the style, rhythm and overall perfection Pixar style to result in another great movie for the studio.

Joe, voiced by Jamie Foxx, is a part-time middle school music teacher who hasn’t let go of his dream of becoming part of a jazz ensemble. However, when he gets his big break of performing with saxophonist Dorothea, voiced by Angela Bassett, is on the edge of being accomplished, Joe falls in a life-threatening situation that cost him his life.

When he’s on a hospital bed, his soul travels to the beyond where souls get their personalities implanted under the leadership of summary characters that are all named Jerry, voiced by Alice Braga and Richard Ayoade.

Thinking this chance is better than going to the next step into the great unknown; Joe agrees to mentor 22, voiced by Tina Fey, a soul that has little interest in going to Earth to find her passion. A mistake sends them back to Earth in roles they didn’t want and Joe beings a serious try to make his dream real no matter the boundaries.

Director/co-writers Pete Docter and Kemp Powers have a smart idea. Jeffrey Lyles said in his review, “They approach Soul with some unique real world moments mixed with metaphysical and spiritual questions of purpose and self.”

Lyles continued, “The waiting area is a slow moving conveyor while the staging area feels like something workshopped for an app complete with a somewhat sterile, matter of fact feel to it.”

As always, the animation is top notch with some beautiful effects. Docter and Powers don’t stay on the traditional modern animation styles and great creative with intangible designs.

Lyles noted, “It’s not hard to envision the think pieces dissecting the script, co-written by Mike Jones, from deep thinkers. There’s some unintended connections to Get Out that could ring out for some viewers and there’s the continuing trend with black lead characters in animated films.”

“Soul” looks like it was following the typical hooking people in cliché of animated films with black leads like “Spies in Disguise” and “The Princess and The Frog.”

Everyone knows how the marketing goes. Lyles said, “The black lead is heavily promoted only to get turned into an animal early on.” “Soul’s” blue energy orb looking like Joe really shocked people, and the patterns shows up in a more obvious way later on.

Lyles admitted, “I felt more lenient in this instance as Joe, the black main character, didn’t disappear from the screen for lengthy potions of the film.” This is important in the second act as Joe takes 22 on a tour of the city where she is amazed by all of the sights, sounds and feelings with city life.

Lyles credited, “To the filmmakers’ credit, Soul isn’t a color blind animated film. The film captures the flavor of New York while nailing specific tones of black experiences like the communal feel of a barbershop and family pressures. These scenes are easily some of Soul’s richest and most rewarding scenes.”

The score by John Baptiste, Trent Reznor and Atticus Ross is also excellent and is the type you’d play in the background just to listen to the score.

“Soul” might not be playing every formula piece of “Inside Out,” but it is working off a similar formula. Instead of emotions, “Soul” looks at passion and purpose. Pixar films always hit the right areas of entertaining children and adults in different ways and “Soul” might hit a little differently for adults this time.

The children audience will love the slapstick physical comedy and body switches, but adults may find the questions of purpose way more significant.

A lot of Pixar films give adults an unusual look at life they’ve already gone through. “Soul” shows the future is still ahead for those who still want to go through it.

This is a movie that was needed for this year. This is a good lesson for everyone watching to be fearless, dream big, hold on to those dreams and massage them because dreams do come true. Follow your passions and harness them. Don’t ever think that you don’t have a purpose in this world, you have a purpose and you need to find out what that purpose is. This is great for those who have doubts and think negative thinking they are worthless when no one is. The animation is great, the CGI looks like you’re looking at real people at certain areas, and the voice acting is top notch. Seeing how this was released on Disney+ today, if you have an account, check this out because I give it a recommendation. I would even say this is one of my favorite Pixar movies. Give it a watch, and brighten up your holiday cheers.

Once again, Happy Holidays to everyone. I hope all of you have been playing it safe. Stay tuned tomorrow for when we finally wrap up “The Mighty Ducks trilogy” in “Disney Month 2020.”

Onward

Tonight, I saw the new Pixar movie, “Onward,” which came out three weeks ago, and I will let everyone know what I thought about it.

Two teenage elf brothers go out to find out if there’s any magic left in the world in this latest film by Pixar. The filmmakers work hard to create some of the magic, but it’s a laborious task.

“Onward” is a suburban fairytale where the supernatural been out of date by labor-saving machines and addictive digital devices.

Unicorns search in dumpsters and growl at anyone who tries to approach them. Dragons have been domesticated.

The fearsome Manticore, voiced by Octavia Spencer, has remodeled her ancient, Gothic castle as a family restaurant. She now restricts her firebreathing abilities to lighting the candles on children’s birthday cakes.

On the night of Ian Lightfoot’s (Tom Holland) 16^th birthday, he receives a strange gift from his late father – an ancient staff, an enchanted stone, and a spell. Everybody, including his wife, Laurel (Julia Louis-Dreyfus), thought Wilden Lightfood (Kyle Bornheimer) was an accountant, but it turns out he was a secret wizard.

With the help of his annoying older brother, Barley, a Dungeons and Dragons fan, voiced by Chris Pratt, Ian manages to bring half the dad he has never met from the otherworld before he loses control of his new magical abilities.

The two siblings have exactly one day to complete the spell before their dad is gone for good. To complete the spell, they must find a rare gem.

Vicky Roach said in his review, “And so they embark upon a perilous quest in Barley’s barely roadworthy Kombi van to locate said item before the clock runs out.”

Roach continued, “If malicious sprites don’t get them, a booby-trapped maze surely will. But each challenge reveals hitherto unexpected emotional resources in Onward’s timid, self-doubting hero.”

Ian’s livid fight with Manticore surprises everyone, including himself.

Roach mentioned, “And there’s an extremely tense scene in which he traverses a yawning chasm solely by maintaining his faith in his own capabilities.”

Ian’s brother, Braley, does not have an emotional part, but he’s just a comic relief.

Roach commented, “Pratt conveys the aching vulnerability beneath his character’s blustering bravado. Holland is just as relatable as the cripplingly shy introvert.”

It’s the vibrant between the two brothers, both who are struggling to grieve over the loss of their father, that is the main focus of this film.

Also, if the demon released from the magical gem’s curse is a little underwhelming, it’s great to see two middle-aged women release their inner fighters.

Roach ended his review by saying, “Onward isn’t as fully realised as the best Pixar films but because the animation studio has set the bar so very high, even its second-tier product is strong.”

Don’t worry, this is another Pixar movie that everyone can go watch when it gets released on Disney+ early April. You will love it, I promise. Definitely another one that I think the whole family can watch. Just not on the same level as some of Pixar’s best work. Still, this is a nice, heartwarming, relatable film that everyone can sit and watch.

Thank you for joining in on tonight’s review, stay tuned next Friday for the continuation of “Jackie Chan Month.”

Toy Story 4

My brother and I went to see “Toy Story 4” tonight, which came out almost three weeks ago. Originally, this was supposed to be released last year and “Incredibles 2” was supposed to be released this year. However, after test screening “Toy Story 4,” Tom Hanks said in an interview that the audience at the test screening hated it, so they had to redo 25% of the movie. Brad Bird had to speed up production to finish “Incredibles 2” for it to be released last year, so certain things that he wanted in the movie couldn’t be added. However, if they were to make an “Incredibles 3,” Brad Bird said that whatever footage he couldn’t use in the second movie will be added in the third installment. However, enough of all that production talk. How is the movie you may ask?

For many people, the main question going into “Toy Story 4” was, understandably, “Why?” In every respect, there was no reason for Pixar to make another sequel to the great “Toy Story 3,” which nine years ago ended the franchise on a great note. How many movie trilogies can you think of where the third movie was the best? (Peter Rainer said in his review, “Except for “The Lord of the Rings: The Return of the King,” I can’t think of any.” I can, though.) Making a fourth anywhere as well would look like it would be impossible.

Rainer said, “Unlike “Toy Story 3,” “Toy Story 4” is not a masterpiece, but I was almost relieved about that.” It doesn’t put you through the emotional heap the way the last one did, but it’s continuously creative, funny, amusing, and heartfelt. To put it simple, it’s a lot better than it has any right to be. It’s more than good enough to make it worth making.

The new film starts with college student Andy’s toys now under the ownership of little Bonnie, voiced by Madeleine McGraw. Woody, reprised by Tom Hanks, overlooks the collection, but he’s no longer a favorite toy.

He still finds it necessary to take care of Bonnie. When she fearfully leaves for her kindergarten orientation, he hides inside her backpack and secretly helps with a project where she creates a toy out of a plastic spork, pipe cleaners, wooden craft sticks, and huge eyes. Her beloved Forky, voiced by Tony Hale, becomes her new favorite toy, despite that, created together from trash can items, Forky has other plans. The concept of a “toy” is foreign to him. He keeps running into trash cans because that’s where he thinks he belongs.

Woody happily announces to his friends that Bonnie has literally “made a new friend.” However, then Forky goes missing during a road trip in an RV to an outdoor carnival, ending up locked in a China Cabinet in a local antique store. Woody goes to rescue him, with help from friends, like Buzz Lightyear (Tim Allen), Ducky and Bunny (Keegan-Michael Key and Jordan Peele, respectively), Canadian stunt motorcyclist Duke Caboom (a hilarious Keanu Reeves), and Bo Peep (Annie Potts), who comes back to the gang after happily enjoying her independence. (Her sad separation from Woody is shown at the beginning of the film.)

Their main enemies are Gabby Gabby, voiced by the hot Christina Hendricks (who you might remember as Joan Holloway on “Mad Men”), the antique store’s Ginger doll, and her ventriloquist dummy henchmen. Gabby wants Woody’s voice box. Rainer is right when he said, “Her scenes have an eeriness that at times seems more “Twilight Zone” than Disney, but that’s appropriate.” Whether we are humans or ornaments, toys are not always our friends.

What gave “Toy Story 3” its deep emotionally was the sad realization that even favorite toys are eventually donated. More so than ever, Woody has to come to that realization in “Toy Story 4.” If a toy is there to be loved by a child, what then is its reason for living if it is no longer loved?

Director Josh Cooley and his writers, Andrew Stanton and Stephany Folsom, don’t sugarcoat the emotions, which is just as well. Rainer said, “I’m not a big fan of being hit over the head with life lessons when I go to the movies. Instead, the filmmakers have concocted a comic wingding, full of marvelous slapstick and sight gags, into which the more heartfelt moments are subtly woven.” All of this makes this film, which also was the fact for the other “Toy Story” movies, but especially “Toy Story 3,” as watchable for adults as for children.

It should not be debated that wonderful children’s movies, almost by meaning, are also wonderful for adults. Rainer said, “Who would relegate, say, “E.T.” or “The Black Stallion” or Alfonso Cuarón’s “A Little Princess” to the realm of kid flicks?” The main question of “Toy Story 4” has a meaning for everybody: What happens to us when we no longer feel needed? Rainer answered, “If the “Toy Story” franchise were to end right here I would be more than happy, but then again, I felt this way nine years ago with “Toy Story 3.”” Never say never.

In all honesty, I think this film is the best of the “Toy Story” franchise. I really thought this was the most emotional and most funny of the films. If you haven’t seen this film and you love the other “Toy Story” movies, you should definitely see this one. If not, watch the first three first or any of the other you haven’t seen before you see this film. You will love this, I promise. If you have kids, show them this franchise because everyone will love it. Especially with comedy legends Carol Burnett, Mel Brooks, Carl Reiner and Betty White in the cast, there’s more reason to see this. This is easily another one of my favorite animated and Pixar movies. However, I have to say to Pixar to stop making “Toy Story” sequels. I don’t think there is anymore that needs to be told about this franchise. Just go on and create original movies or sequels to films that need sequels. Just leave the “Toy Story” franchise alone because this is the definitive cap on the franchise. Tom Hanks said to Ellen DeGeneres that this would be the last film, Mark Nielsen did not rule out a possibility of a fifth film.

At the end of the credits, the film paid tribute to the late Don Rickles (which I applauded when his name came up) and animator Adam Burke.

Thank you for joining in on tonight’s review, stay tuned on Friday for the continuation of “Jack Ryan Month.”