MOVIE REVIEW: Onward

Rating: PG / Runtime: 1 hour and 54 minutes

Coming hot on the heels of Pixar’s Best Animated Picture Oscar victory for 2019’s unwanted yet somehow still exceptional “Toy Story 4″, “Onward” is the first of two original stories by the revered studio to hit the big screen in 2020. With fairly light marketing going in, many will find themselves entering a theater in the same position that I was – unexpectedly unexcited. But fear ye not, good peoples of Earth, because that Pixar magic is alive and well (literally in fact, because ya know this story is about wizards and stuff).

“Onward” is a beautifully colorful film set in the fictional city of New Mushroomton, part of a world full of fantasy creatures like centaurs and sprites, that despite once being filled with magic and champions on heroic quests is now taken over by scientific and technological advancement. Mastering magic was “too hard” and innovation for convenience won the day. The story centers around two elf brothers, Barley (Chris Pratt) and Ian (Tom Holland) Lightfoot, who on Ian’s 16th birthday are given a present from their deceased father. This gift is a magical item that if used correctly will allow the boys to spend one last day with their Dad, which both of them desperately desire. Because he passed away from illness while they were young, Barley barely remembers their time together and Ian has no memories of his own at all. It’s something that both haunts and drives him, as he continually makes lists of things to accomplish in life hoping to make his father proud. In the old days, an epic quest was a staple of someone’s 16th birthday and after Ian’s attempt to use the item goes terribly wrong, the brothers set off to retrieve a mythical stone so that they can try again. Before the sun sets, of course. Every good quest needs a time limit.

To reveal any twists and surprises of the story would be completely unfair because the emotional journey Pixar takes viewers on is a truly wonderful one. Pratt and Holland have perfect chemistry as the brothers, who in lieu of a true antagonist for the film have a relationship that is both loving and also filled with many differences of opinion that lead to some exciting situations. Barley is a walking mishap who drives a van named Gwynevere, spends his time in role-playing games or protesting the destruction of historical sites, and generally reminds everyone he comes in contact with about how magic used to rule the land and they’ve gotten away from their true nature. Ian, by contrast, is smart but timid, socially awkward, and thinks his brother’s obsession is mostly lunacy. It makes for a ton of great banter throughout the film as the two embark on a daring quest that features all of the elements you might expect, including but not limited to finding a quest giver to get a map, solving tricky puzzles, and overcoming dangerous beasts with legendary weapons of power.

Yes, “Onward” is basically Dungeons and Dragons or World of Warcraft with a heartfelt and deeply poignant story of brotherhood and parental loss layered into that world, and it’s incredible just how powerful the emotions it evokes are! Make no mistake, at multiple points during the fun adventurous quest full of monsters, spells, and swords, the tears will flow and the heart will pound. This dramatic quest for family grieving is non-stop clever and charming along the way, and with “Onward” Pixar has a truly magical start to 2020 with a film that families (and especially fantasy fans who will enjoy the film’s many references) are going to find themselves enchanted by.

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

FF Black Label – Ask the Black Label

“Black Label” is a special series that will run throughout Black History Month 2020 where four Critics of Color sit down to discuss their love for movies. This special series highlights perspectives in film criticism that are vital to the culture because they are for the culture. In this episode, our round-table answers questions from the listeners that include everything from their opinion on Tyler Perry to how it makes them feel when they hear the term “not black enough”.

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MOVIE REVIEW: A Shaun the Sheep Movie: Farmageddon

Rating: G / Runtime: 1 hour and 26 minutes

There is something I find sincerely appealing about stop-motion animation, be it in the style of Laika or Aardman, who utilizes a beautiful and detailed claymation technique. Both styles of animating take significantly longer than CGI or even hand-drawn technique and is a big reason why these studios can’t pump out new films at the rate Disney and Pixar do. The first “Shaun the Sheep” film came out over four years ago and grossed over $100 million at the box office. This sequel was inevitable, but crafting it took time. 

“Farmageddon” is, in a nutshell, a remake of Spielberg’s “E.T. the Extra-Terrestrial”, with a much cuter alien and an overwhelming amount of references to other famous science fiction films and television sprinkled throughout. The extra-terrestrial, in this case, is Lu-la, a small light blue and pink alien with telekinesis and a powerfully loud/forceful belch. Her space ship lands in a forest and while she’s out exploring, it’s not long before the government sends Agent Red and a team to examine the landing and seek out answers.

Back on the farm, Shaun and his sheep family are living their normal everyday lives, being trouble-makers and fighting with Bitzer the farmer’s sheepdog. When Lu-la stumbles across Shaun and the group, they embark on an adventure of discovery with the goal of ultimately hoping to find Lu-la’s ship so that she can return home. There’s not a lot more to be said about the plot, although Agent Red does have some backstory that provides a reason for why she is so driven. It culminates in one of the sweeter moments of the film and is a welcome character development choice to take her beyond just the typical cookie-cutter governmental baddie. 

Those concerned about the silent nature of Shaun the Sheep films should honestly not be worried at all. I remember being incredibly surprised at how much I loved “Shaun the Sheep” back in 2015 despite the lack of dialogue and in “Farmageddon” I didn’t even miss it. The soundtrack and score show up perfectly, and sound effects are used to greatly enhance the already incredibly expressiveness of the claymation. Because this film is playing so heavily off of sci-fi films of the past, there are frequent musical cues that callback to famous themes, and it was a joy hearing one each and every time. Additionally, the aforementioned soundtrack does a wonderful job of occasionally letting the lyrics being sung help tell the story of what is happening on-screen at that moment. This tactic is used sparingly, but with great success.

References to favorite sci-fi properties are plentiful, and though the story of “Farmageddon” is tender, easy to follow, and full of hilarious goofy action, picking out these moments will be great for major fans of the genre. For one thing, there is the required mention of Area 51. Then the “Alien” tie-is done in a brilliant way that makes it kid-friendly. There are also “Close Encounters of the Third Kind”, “Signs”, “2001: A Space Odyssey”, “Dr. Who” references and more. Agent Red even has a sidekick robot named Muggins that looks like a combination of Wall*E and Johnny 5 and serves as equal parts investigative partner and filing cabinet. This robot will quickly win kids over and is easily one of the film’s highlights. 

“Farmageddon” may not possess the deepest of storylines but that makes it accessible for everyone. With plenty for older geeks to enjoy along the way, this is a rare G film that parents and kids can sit through and enjoy equally together. It moves at a breezy pace and the cute factor is off the charts. This cosmic adventure is all-ages entertainment at its best. Pull up Netflix, hit play, and enjoy.

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

FF Black Label – Combatting Tropes in the Movies

“Black Label” is a special series that will run throughout Black History Month 2020 where four Critics of Color sit down to discuss their love for movies. This special series highlights perspectives in film criticism that are vital to the culture because they are for the culture. In this episode, our round-table ponders how best to combat tropes in the movies, including white savior narratives and the idea of a magical negro.

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MOVIE REVIEW: Sonic the Hedgehog

Rating: PG / Runtime: 1 hour and 39 minutes

Let me just get this out of the way up front. I can confirm that Sonic does indeed go fast! Very fast, in fact. Almost as fast as the studio lept into action and changed the CGI animation of their titular character after extreme internet backlash following the original trailer’s release. That choice was a wise one, removing the creepily human similarities that made the character look very different than its video game origins. The newer design of Sonic is much more approachable, relatable, and adorable, and it likely salvaged Paramount’s chance at having the Sega game adaptation become a success. 

It’s no secret that films based on video games have been more miss than hit, and there are a number of understandable reasons why this is the case. Low budgets at times, a lack of talent or star power, or misunderstanding the market desire for a film version of a game to name a few. The list goes on. But one very real challenge that many adaptations face was something that “Sonic the Hedgehog” can actually count as a strength. The video game style of Sonic, you see, is not extremely narrative-driven, and thus the character is much more of an open slate with which to explore a new storytelling medium. Most casual audience members will simply go into the film knowing that Sonic is a cute furry blue hedgehog-like creature that runs super-fast and collects rings. The film smartly wastes no time in quickly getting most of its lore dump out of the way, showing us see where Sonic came from, explaining to us the power of these iconic collectible rings, and introducing Sonic’s nemesis. 

With the background in our rearview, “Sonic the Hedgehog” can get down to the business of crafting an adventure for the blue devil in the modern world. Sonic (Ben Schwartz) lives a lonely existence. He inhabits a small cave in the forest outside of small-town Green Hills, MT and enjoys watching Tom and Maddie Wachowski (James Marsden and Tika Sumpter) from afar, but he constantly dreams of a world in which he is not alone and can interact with the local humans. Eventually, that happens. After an emotional outburst sets off a special power Sonic was unaware that he has, the government comes calling, sending in their egotistical genius scientist Dr. Robotnik (Jim Carrey) and his legion of drones to capture and study what they believe in an alien specimen of great value. The majority of the movie is made up of Sonic and Tom on a quest to keep him safe, having hilarious and exciting encounters while developing a growing friendship that neither quite knows how to handle. All the while they are chased by the evil, mustache-twirling Robotnik. It’s a performance by Carrey that calls back to his comedic brilliance of the past with him commanding the screen and delivering deliciously ridiculous dialogue in the perfect tone of a video game villain. While Marsden definitely does solid work, even with some slight emotional nuance, and Sonic is competent though unspectacularly voiced by Schwartz, this is Carrey’s movie through and through. True to his name, he carries the film and keeps it enjoyable throughout.

Action pieces in the film are a mixed bag. Some are exciting and others exist only to generate hearty laughs and play with Sonic’s speed in interesting ways, like a slow-motion bar fight that is reminiscent of Quicksilver’s memorable moment in “X-Men: Days of Future Past” or comparable sequences in any number of iterations of The Flash. You probably won’t remember the specifics of any action a day or two later, but it’s never boring and the kids are going to love it. What is more surprising is how emotionally resonant the heart of the film is. Despite some really on-the-nose references to family, Sonic clearly desires one and we want that for him. By the end, you may even find yourself tearing up a bit at some of the sweet character interactions that occur. 

Film adaptations of video games have been so bad for so long that the low bar has reached a point that isn’t honestly that hard to clear. “Sonic the Hedgehog” is certainly nothing special, but it’s a perfectly fun new version of the character to spend an hour and a half with that both scratches the nostalgia itch with its frequent references to the source material and is modern enough to keep younger audience members engaged at the same time. The end of the film teases a sequel and maybe the biggest endorsement of this film I can give is that I truly hope it happens.

** There are two scenes at the end of the film, one of which is mid-credits that you don’t want to miss! **

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

Episode 216: 2020 Oscars/Feeler’s Choice Awards Recap

We have our annual post-Oscars conversation, discussing our favorite speeches, biggest surprises, history-making wins, and more. Then we reveal the 2020 listener-nominated and listener-chosen Feeler’s Choice Awards!

Oscars Recap – 0:01:25

Feeler’s Choice Winners Announced – 1:06:57

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MOVIE REVIEW (Blu-Ray): First Love

Rating: R / Runtime: 1 hour and 48 minutes

Japanese director Takashi Miike is nothing if not prolific. “First Love” marks his sixtieth film in the past twenty-four years and tells the story of Leo (Masataka Kubota), a terminally ill young boxer, who by accident or fate bumps into Monica (Sakurako Konishi), a young drug-addicted prostitute, and is unwittingly caught up in a crazy night of chaos on the streets of Tokyo between warring Japanese and Chinese gangs. All of this is brought on by a young Japanese gangster named Kase (Shōta Sometani) scheming with Otomo (Nao Ōmori), a corrupt cop, to steal and sell yakuza-owned drugs in order to ignite a mafia war between the Japanese and Chinese factions. Stories like this, of course, would be quite boring if everything went according to plan, and so as you’d expect the night goes to hell quickly, and in true Miike form – violently. 

American viewers coming to Miike’s films for the first time may see a resemblance to Quentin Tarantino in the way that the director uses violence. For large parts of the film’s running time, it maintains a dramatic noir-like tone, with small doses of comedy, but in a few specific scenes, he unleashes an explosion of bloody violence. The yakuza are known for wielding swords as well as machine guns and heads quite literally roll at one point. The action includes gunfights, sword fights, martial arts, and body parts flying, and though prevalent, is not non-stop, but scattered throughout in a way that makes the film’s pacing work well. Miike is always building to something, and the climax is full of the stylistic action choreography fans of series like “John Wick” will enjoy. The film’s score and sound design are also noteworthy. Both are exceptional at mood-setting and suspense-building, and contribute much to the film’s action pieces in terms of amping up the excitement, as well.

Emotionally speaking, “First Love” does have at its core a romance brewing, but it’s subtle and not in your face or overly unrealistic in the way that many love stories are. The relationship is one of two people finding redemption, overcoming despair and addiction, and finding something worth fighting and living for together. When the sun rises after this deadly night, lives will have been changed forever, and the ways in which Miike connects us to his characters throughout the film leaves viewers very invested in both their individual and collective future. 

“First Love” is a thoroughly engaging modern-day Asian gangster film. Its blend of action, drama, comedy, style, and violence make it an entertaining watch and a fantastic introduction to Miike’s filmography. 

Rating:


Blu-Ray Bonus Features: 

The only two bonus features on the Blu-Ray disc are three film trailers (“Ip Man 4: The Finale”, “The Divine Fury”, “Freaks”) and an English language audio track. English dubs of foreign language films are notoriously terrible, but while I wouldn’t recommend watching the film with this track on, I can also say that it is one of the better ones I’ve ever heard. Again, I say “better” only relative to the fact that most are completely unbearable to listen to. It is, however, solid enough that I was able to get through the entire film and not lose enjoyment because of the voices. You definitely will lose a lot of context and expression, but the track is there for those who prefer it.

“First Love” was provided by Well Go USA Entertainment for this review. You can buy the film on VOD, Blu-Ray, and DVD on February 11, 2020.


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Birds of Prey

Rating: R / Runtime: 1 hour and 49 minutes

As sold by its marketing, “Birds of Prey” is a total blast of glittery, violent, girl power from start to finish. Picking up soon’ish after the events of “Suicide Squad” (though you have no need to see that film in order to follow this one), Harley Quinn (Margot Robbie) has had it with her Puddin’, a.k.a. The Joker, and is ready to end their relationship for good because she’s tired of being taken for granted. This presents a major problem for Harley, though, because without the fear that Joker strikes in her enemies as protection, a whole host of people she has wronged are about to come calling. Among these are crime boss Roman Sionis (Ewan McGregor) a.k.a. Black Mask and Gotham City PD detective Renee Montoya (Rosie Perez). Montoya is a cop who has been passed over despite her accomplishments in police work while her male co-workers take the credit and advance ahead of her. To her, bringing in Harley is part of a bigger case she’s been chasing, and this woman takes law and order seriously. Sionis is just another rich, eccentric, nasty, evil underlord, flanked by his loyal servant/muscle Victor Zsasz (Chris Messina), who wants to own everything and everyone in town, Harley included.

The overall script is honestly pretty silly and all over the place. In less than two hours it tries to focus on Harley’s life of independence, Renee’s frustration with lack of support from the police chief, and Sionis chasing down a diamond that has been inadvertently stolen by a young orphan street thief named Cassandra Cain (Ella Jay Basco), as well as introducing us to the superheroines Dinah Lance (Jurnee Smollett-Bell) a.k.a. Black Canary and Helena Bertinelli (Mary Elizabeth Winstead) a.k.a. The Huntress. It’s in these backstories where the film falters most, as its structure takes the approach of using flashbacks frequently to tell us who these people are once we’ve already been introduced to them. The same thing happens a couple of times with Harley and in every single instance, it robs the film of precious momentum. It also should be noted that while this film is called “Birds of Prey”, this is really the Harley Quinn show, and there is much, much less attention given to the other characters for most of its running time. That’s okay, though, because Robbie’s performance as Harley is as nuanced as ever, really outpacing the rest of the cast, and she does a great job of taking the character through new emotional ranges while never ceasing to provide the clever, hilarious dialogue and unpredictable decisionmaking we expect. If there is an MVP among the supporting cast, it’s definitely McGregor. The veteran actor is clearly enjoying himself and having a blast going full comic book with his performance. It works great in the context of the film, although if he’s supposed to be more powerful or scary as his alter ego Black Mask, that was not conveyed well at all and rendered any time his supervillain identity was used a pretty big letdown.

Director Cathy Yan reached out to Chad Stahelski, director of the “John Wick” series and founder of the renowned stunt work studio 87Eleven, to help with vision for the film’s action scenes, and it definitely shows. The action choreography is awesome and shot beautifully by acclaimed cinematographer Matthew Libatique. The color palette being mostly muted with the exception of big, bold splashes makes the film visually striking. It always looks great, and seeing it in IMAX was a treat. The soundtrack kicks major ass and like the frequent kinetic action, it is almost always on. This is a rock and roll concert of a comic book film that is unlike any you’ve ever seen, but that does remind in many ways of movies that came before like “Tank Girl”.

“Birds of Prey” is not shy about its empowerment message and all of the characters here have suffered abuse of some kind by men. These women are all about taking their lives into their own hands and making their own way, a strong and positive thought. It’s fun to see a film get to go wild with his idea and serve as a catharsis for many women in audiences who will likely relate to what those on-screen have gone through. I did, however, find the film’s lack of balance to bring it down just a notch. There is not one single male character in the film who isn’t in opposition or causing harm to the ladies in some way (be it physical, emotional, or even just a small act of betrayal). Not one. It paints an unrealistically cruel world in which every male is a villain and that is going to be tough for some viewers to watch. For those willing to reflect on how that makes them feel and why, I think there can be value, but on the surface, it was a choice that somewhat lessens the ability for the movie’s message to translate into real life.

Despite some nitpicks and its big structural flaw, “Birds of Prey” is an incredibly funny and exciting film to watch in the vein of Marvel’s fourth-wall-breaking “Deadpool” series. It serves as yet another unique entry into the DC comic book universe that provides a stylistic experience and delivers its story from a perspective that we haven’t seen before. There may not be a ton of depth worth mining in this ultra-violent (yet somehow not super gory) comedic affair, but “Birds of Prey” is one helluva badass female-led blockbuster that is a great addition to superhero cinema.

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

FF+ 2020 Oscar-Nominated Short Films & Oscar Predictions

For Oscars week, we bring you our annual review of this year’s excellent slate of nominated short film selections, as well as our Oscar predictions. Unlike many pundits, we would never tell you to follow our lead, but maybe us talking through our picks will help you find some clarity.

Live-Action Shorts – 0:01:59

Animated Shorts – 0:28:42

Documentary Shorts – 0:47:04

Oscar Predictions – 1:09:15

 

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Music: City Sunshine – Kevin MacLeod

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Episode 215: 5 Centimeters Per Second

For our fourth and final week of Makoto Shinkai Director Month, we discuss his 2007 episodic film about longing for love across the years. As we note, it’s a beautiful bridge between earlier Shinkai works and his eventual feature film “Your name.” and (in what should be no surprise) another powerful emotional viewing experience.

5 Centimeters Per Second Review – 0:01:36

The Connecting Point – 0:56:19

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