Both this and Toy Story 3 surprised me I guess, I don’t really remember when I watched the first two — definitely I was young and they were broadcast with ad breaks — but they felt epic, big adventure movies in their own right, despite being so small looking back. They left their mark, but never sunk in the way they might if I saw them properly.
I’m telling you, I knew that Alden Ehrenreich would be a great Han Solo from the start. Maybe I was more confident on the performance that he would turn out under the originally slated directorial duo; but I was certain that there could be no level of charm that the man who brought us Hobie Doyle wouldn’t be able to achieve. I’ll just take a moment here to luxuriate in the feel of a shot well called, even if it weren’t my shot to call in the first place. The dude is bloody amazing in this joint.
Hi. This review is going to spoil the new Marvel movie Avengers: Infinity War. I ain’t joking. I ain’t playing. There is gonna be some frank discussion of the ending and what it is and what it means. It is impossible to turn a reasoned critical eye to the film and avoid discussing, it demands you to. So, if you care about the film it’s probably best to avoid reading this until after. And if you think you probably don’t care enough, you definitely don’t care enough. Feel free.
I’m not sure if I were feeling particularly weak in the theatre yesterday. There was not a single point throughout Coco that I was not either laughing or crying. Lee Unkrich & Adrian Molina’s film flies straight towards the top of the Pixar canon.
There’s a whole lotta movie in Star Wars: The Last Jedi. It doesn’t all work, it can feel muddled and disparate at times, the wild variety of tones that it tries to capture don’t quite settle into a script that feels far more invested in being funny.
Cars 3 is a bold choice. Like the choice to use your state of the art animation technology to beautifully conceive (seriously Pixar’s landscaping work is just exploding year on year) what is essentially the plot of some 20 mil Fox Searchlight joint don’t make no sense on the surface. They’ve also made this total dad film: a film about the fear of aging, the fear of being outpaced, the fear of the young. Y’all can’t quite grasp without seeing it the subtle contempt that the joint got for youth.
Okay, sure, Dead Man’s Chest is a incoherently structured trashpile and At World’s End is an overlong, overstuffed mess and with On Stranger Tides they realised far too late that Depp’s Jack Sparrow can’t carry a film on his own. But despite all that, despite all the self-indulgence and self-importance threatening to overwhelm it, there’s a core to these films which I can’t escape.