Episode 277: Zack Snyder’s Justice League

We welcome back Patrick, who pops in during his hosting break, to unite the podcast hosts in hopes of doing justice to our conversation about the mythic (and much anticipated by us) Snyder Cut.

Zack Snyder’s Justice League Spoiler Review – 11:35

The Connecting Point – 1:36:26

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Episode 276: Raya and the Last Dragon

This week we dig deeper into Disney’s newest animated tale, a fantastical adventure in a Southeastern Asian inspired land where a dragon must join forces with a human warrior princess to unite a broken world. This film’s themes provide a timely message and come wrapped in a visually spectacular package that we thoroughly enjoy discussing in depth.

Raya and the Last Dragon Spoiler Review – 05:25

The Connecting Point – 54:46

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Episode 272: Wolfwalkers

We discuss the third film in Cartoon Saloon’s Irish “folklore trilogy”, a blend of myth and history that tells a story of timely human relevance in a visually stunning and emotionally powerful way.

Wolfwalkers Spoiler Review – 09:09

The Connecting Point – 44:00

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Episode 267: Soul

Caless Davis is here to join us as we do some soul-searching about Pixar’s newest animated feature film. It’s got heavy existential ideas, jazz, a talking cat, and the first ever black leading character in a film by the studio. Oh, and it’s really really really freaking good.

Soul Spoiler Review – 0:07:28

The Connecting Point – 1:15:33

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Episode 258: Isle of Dogs

Our next film about dogs sums up our feelings on canine companions in its very title. Yes, we do love dogs. We enjoy discussing how Wes Anderson’s signature whimsy shows up in this stellar animated work and also how watching this in the midst of the COVID-19 pandemic is a little bit extra eerie.

Isle of Dogs Spoiler Review – 0:12:14

The Connecting Point – 1:01:33

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Episode 220: Onward

This week we have a great conversation about Pixar’s latest film, one that takes place in a modernized Dungeons & Dragons like world. We discuss its epic adventure, brotherhood, the importance of parental support, and more.

Onward – 0:03:08

The Connecting Point – 0:44:33

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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.

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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: 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.

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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: Gretel & Hansel

Rating: PG-13 / Running Time: 1 hour and 27 minutes

Hansel and Gretel, a brother and sister, have been kicked out of their childhood home due to the lack of food and resources available. On their trek to find a permanent place of residence, they start to feel the pangs of hunger and hope starts to feel like a figment of the past. Out of nowhere, they find a house rich with edible treats, beds to lay their weary heads, and protection from the dark forces looking for any easy morsel of blood. An old woman, the owner of the house, would love nothing more than to have a couple of extra hands to help with chopping wood and doing the chores necessary for the upkeep of her residence. Over time, the sister starts to receive visions and nightmares of something sinister that she can’t shake; she fears that she and her brother have stumbled onto an evil force. The old woman, as per legend, is a conductor of dark sorcery who has been luring kids in order to have them as a main dinner course. It becomes a matter of life and death for these two children to defeat this evil force once and for all in order to stop her reign of terror.

“Gretel & Hansel” has style eeking out of every bit of its frightful atmosphere based on the well-known Brothers Grimm folk tale. In the early days of 2020, this art-house horror flick sets itself apart from the pack with piercing cinematography and minimalist but magnificent set design. Cinematographer Galo Olivares uses natural light to expose the fantastic beauty of shrouded woods and the interiors of German-inspired architecture, as well as a stunning use of differential focus to place the emphasis on characters in accordance to the scary world they are traversing. When the film goes really dark, the staging of silhouettes in the frame of wide angles is a creepy sight to watch. The color palette is not wide-ranging, using only three main colors (blue, red, and brown) but it feels accurate and authentic to the period setting of medieval folk tales. Director Oz Perkins follows the journey of two starving kids who end up befalling to the dark sorcery of a witch with stylish use of handheld, medium close-ups and using a 1.55:1 aspect ratio to call back to some of the earlier days of historical horror cinema. “Gretel & Hansel” has the aesthetics of an A24 horror film with a strong emphasis of style over substance.

Unless you are a big fan of the original tale, this film is a hard sell, offering nothing new when it comes down to the mechanics of the story. Problems exist like snail-like pacing and hard to comprehend use of Medieval Germanic language. The horrific moments are not jump-out-of-the-seat worthy and the fear factor becomes lessened by the end. Even with some elements reworked and changed from the source material, the general progression is very easy to follow; at the end of the day, what good is a story if it doesn’t give any compelling or memorable pieces that will stick in the membrane? The literary experience is much more superior while the film could have found better footing as a TV series or a short film. Technical design is the only calling card this film can tout as a major strength.

“Gretel & Hansel” stands head over heels versus other horror films in the month of January, but that isn’t saying much. If you want to be wowed by great technical design, illustrious cinematography, a futuristic inspired score, and some stand out shots, this will fulfill your cinematic sensibilities. If story and pacing are what you cherish, then save your money and wait for the Redbox rental. Most viewers are ultimately much better off just reading the book.


Caless Davis is a Seattle-based film critic and contributor to the Feelin’ Film Podcast. He loves any discussion of film and meeting new people to engage in film discussions on any subject. You can follow him on Twitter and Instagram.

MOVIE REVIEW: Dolittle

Rating: PG / Runtime: 1 hour and 41 minutes

If someone had told me beforehand that this movie was essentially a kid-friendly combination of the Uncharted video game series mixed with “Pirates of the Caribbean”, where the human companions were animals and there’s a lot less combat, my teenagers wouldn’t have had to beg me to take them. That is to say, it turns out “Dolittle”, Robert Downey Jr.’s first post-MCU headliner, is actually a lot of fun and right in this adventure lover’s wheelhouse.

As much as “Dolittle” follows the titular doctor (Downey Jr.), who is a sort of super veterinarian that can communicate with animals by speaking their language, it equally is about a young boy named Tommy Stubbins (Harry Collett) who stumbles upon Dolittle’s overgrown estate in need of emergency animal medical support. Stubbins was out hunting with his uncle and cousin, and we quickly learn that he’s much too soft-hearted toward the cute woodland critters, which eventually makes it easy for he and Dr. Dolittle to relate. Dolittle has been a recluse up until their meeting, avoiding contact with humanity as he endlessly grieves over the loss of his wife. From there a young emissary of the Queen of England arrives, beckoning him to Buckingham Palace. The Queen has fallen ill and needs Dolittle’s help. Up until this point, the story feels pretty generic and uninteresting, but upon learning that the necessary cure lies in a magical fruit on a mythical undiscovered island that Dolittle’s wife died while searching for, the excitement rises considerably. 

The bulk of the film then plays out like a traditional adventure tale, with some highlights being a thrilling chase at-sea, the infiltration of an island of outlaws, and an ever-present over-the-top villainous rival determined to stop Dolittle and steal his praise. Along the way Dolittle must overcome his fear of opening up to others while Stubbins gets many (often amusing) life-changing lessons and discovers a passion for working with the animals. And it’s understandable why, because Dolittle’s animal friends are silly, sweet, and always entertaining.  Voicework by some big Hollywood stars is mostly a delight, with Kumail Nanjiani’s Plimpton the Emu, John Cena’s Yoshi the Polar Bear, and Ralph Fiennes’ Barry the Tiger being particular standouts. 

That’s not to say that everything comes up roses in this newest adaptation of the classic American children’s book. Downey Jr. chooses to use an odd, distracting accent and plays the character with an eccentricity that reminds of Captain Jack Sparrow. The animal banter is mostly great but there are definitely some dud jokes, too. And the CGI leaves a lot to be desired, getting increasingly more noticeably bad the more action that is taking place.

Still, even though it may not be particularly memorable, “Dolittle” ends up being a hilarious and wholesome mythical adventure that is fun for the entire family. Talking animals will always be a hit with kids and the added elements of high seas adventure and pirate-like action combined with the search for a magical item will keep teens and adults interested as well. Throw in some lovely relationship-building and a big dose of hope, and you’ve got a great option for a weekend family theater outing.

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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.