Rio (2011) – Film Review

From Blue Sky Studios, the production company behind many light-hearted family animations like ‘Robots,’ ‘Epic,’ ‘Ferdinand,’ ‘Spies in Disguise,’ and most notably, the ‘Ice Age’ series. ‘Rio,’ released in 2011, is a vibrant animated adventure which despite its occasionally childish humour and relatively straight-forward story is sure to keep adults and children alike joyfully content without reinventing the animation wheel, compensating for its lack of originality though its charming voice cast and exuberant chase sequences.

Plot Summary: After being captured by smugglers and taken from Brazil when he was just a hatchling, a blue macaw named: ‘Blu,’ never learned to fly and now lives a happily domesticated life in Minnesota with his owner: ‘Linda.’ But when ornithologist: ‘Tulio’ arrives at their door and informs the pair that ‘Blu’ is the last male of his kind, the two decide to travel to Rio de Janeiro to meet ‘Jewel,’ the last female…

Taking inspiration from the true story of a Spix’s macaw named Elvis, whose owner agreed to let him join the captive breeding program to help preserve his species. ‘Rio’ may follow a very familiar formula for a family flick, yet what makes ‘Rio’ stand-out is exactly that, Rio de Janeiro itself. As director Carlos Saldanha (Ice Age, Robots, Ferdinand) is himself a resident of Rio, and first came-up with the concept in 1995, only at that point in time the story focused on a penguin washing-up on the beaches of the Brazilian city. However, when Saldanha learned two other penguin-related animated features were in production, these being: ‘Happy Feet’ and ‘Surf’s Up,’ he was forced to radically rewrite the film’s screenplay. Interestingly, this film is also cited as the reason as to why Pixar cancelled their film: ‘Newt,’ as it was said to have had a very similar plot.

Recording many of his lines while filming for: ‘The Social Network’ was still underway, Jesse Eisenberg agreed to provide his voice for: ‘Blu’ on weekends to compensate for lost time, admitting that it diverted him away from the mindset of his nearly joyless ‘Social Network’ character. And while Eisenberg doesn’t give a ground-breaking performance here, Eisenberg is, in my opinion, the perfect casting choice for this kind of character. As ‘Blu’s awkward and nervous personality shines perfectly through Eisenberg’s whiny vocal performance, which is only amplified after he encounters the feisty female: ‘Jewel’ portrayed by Anne Hathaway, as their shy romance gradually blossoms over the course of the runtime. Furthermore, the supporting cast of George Lopez, Jemaine Clement, Will.i.am, Jamie Foxx, and Tracey Morgan all do a wonderful job, with nearly every member of the cast also stretching their vocal cords for many of the film’s lively songs.

When it comes to the film’s visuals, director Carlos Saldanha uses the exquisitely rendered backdrop of his home city to great advantage, as the film’s animated cinematography is constantly swooping, soaring and spinning high above the sunny beaches and multicoloured parasols of Rio de Janeiro as ‘Blu’ and ‘Jewel’ scamper through the city on trolleys, cable cars, and in one of the film’s most uplifting scenes, atop the wings of a paraglider. In spite of its characters always being on the move, ‘Rio’ also manages to avoid the usual problem animated films tend to run into, as the film’s plot moves along at just the right pace to keep younger viewers entertained.

With ‘Rio’ being Blue Sky Studios’ first attempt at a musical, one or two of the film’s songs are catchy, but inevitably are nowhere near as memorable as many songs from Disney’s vast catalogue of animated classics. Yet I feel this may be due to Will.i.am’s potential influence, as many of the film’s songs such as: ‘Hot Wings’ and ‘Funky Monkey’ sound like nothing more than modern, age-appropriate pop songs forced into the film’s soundtrack. Contrarily, the original score by John Powell slightly elevates itself above your standard family film score through tracks like ‘Morning Routine,’ ‘Paradise Concern,’ and ‘Birdnapped.’

Whilst the actual animation throughout ‘Rio’ is usually just as energetic and colourful as any other modern animation, its undoubtedly at its best when replicating Rio’s many iconic landmarks, with a large majority of them being almost picturesque. This accuracy is more than likely due to the crew’s research, as many of the film’s animators not only visited Rio de Janeiro in order to precisely replicate the city, but also consulted with a macaw expert at the Bronx Zoo for the design and movements of their avian characters.

Overall, although most audience members have always seen Blue Sky Studios as secondary to more well-known production companies like Disney, Pixar, DreamWorks, and even Sony Pictures Animation in recent years, I’ve always enjoyed Blue Sky’s animated endeavours even if many of their stories feel fairly unoriginal from time-to-time. Still, just as ‘Rio’ proves, this issue of unoriginality can be overshadowed with the right methods, as ‘Rio’s titular setting and dazzling colour palette will ensure the film’s place as a love letter to Brazil if nothing else. Final Rating: low 7/10.

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This Year in Film (2020) – Film List

Due to COVID-19, the film industry (much like the world itself) has deeply suffered this year, with many films be pushed-back or even put on-hold indefinitely. And while I obviously agree with all of the new precautions introduced for the safety of both the cast and crew for films currently in production, I’m also truly hoping that the film industry can recover by next year. Regardless, in no particular order, here’s my thoughts on what few films I did manage to see this year, which I will update in time as I get around to seeing any other films I may have missed.

Soul

A return to form for Pixar Animation, Pixar’s ‘Soul’ not only features the usual gorgeous animation the company is known for, but also delivers on an original and unique story with many fascinating ideas melded within. Although some of its concepts may be a little difficult for younger viewers to understand, ‘Soul’ is still a wonderful mixture of heart and creativity, and is such a breath of fresh-air for both the animated genre and Pixar themselves.

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Mank

Capturing the look and feel of a 1940s film, the sharply-written and brilliantly performed: ‘Mank,’ peers behind-the-scenes of one of the greatest films ever made, that being: ‘Citizen Kane,’ to tell an old Hollywood tale that is just as engaging as it is well-crafted. And while I don’t believe the film will end-up becoming a classic in its own right, as I could see general audiences finding the film quite dull, cinephiles will surely get a kick out of this remarkable drama.

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Tenet

Thrilling and distinctive yet very flawed in terms of its writing, ‘Tenet’ is nowhere near as compelling as many of Christopher Nolan’s other blockbusters, suffering from an incredibly undeveloped protagonist/antagonist as well as a handful of moments that feel like spectacle-over-substance. But through its impressive CG effects and exciting action sequences, ‘Tenet’ does certainly have plenty of entertainment-value even if it’s script was in need of some refinement.

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Mulan

Another of Disney’s live-action reimaginings of their beloved classics, the new incarnation of: ‘Mulan’ is beyond lacklustre, with its unlikable protagonist, dull filmmaking and more historically-accurate yet uninteresting story all being far less enjoyable than the original animated adventure. And with this film flopping at the box-office due to its purchasable release on Disney+, we can only hope that ‘Mulan’ is one of the last remakes Disney decides to force upon its viewers, but after looking at their current release schedule, this does seem unlikely.

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Scoob!

Serving as what was intended to be the first film in an animated Hanna-Barbara cinematic universe, ‘Scoob!’ Is an enormous missed opportunity for a reboot of: ‘Mystery Inc.’ As the film quickly becomes distracted by its singular goal of setting-up this interconnected universe and as a result, forgets to tell the entertaining and charming origin story its trailers promised, or even a classic spooky adventure more in-line with the original animated show.

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Onward

An intriguing idea/story quickly spoiled by its overly-fast-pacing and overstuffed world, before ‘Soul’ came along and redeemed their streak, ‘Onward’ simply felt like another disappointing film in the long-list of underwhelming Pixar flicks released in recent years. Whilst the modern-fantasy world the film takes-place within does take its opportunities to be amusing or charming, it also isn’t very memorable in the long-run.

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The Hunt

While the political-commentary throughout ‘The Hunt’ is quite easy to ignore if you only desire to see some dark comedy and intense violence. ‘The Hunt’ still somehow managed to be one of the most controversial yet also most neglected films of the year, eventually leading Blumhouse Pictures to use the film’s controversy to market the film, which really displays the company’s lack of faith in the film itself, which is nothing short of a slightly more comedic but just as bland ‘Purge’ flick.

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Possessor

From the son of David Cronenberg, Brandon Cronenberg. ‘Possessor’ may not be quite as ground-breaking as horror/sci-fi classics like ‘The Fly’ or ‘Scanners’, but this original and intriguing narrative is only complimented by its compelling themes and exceptional filmmaking, and serves as a brilliant second outing for this iconic director’s son, who I personally can’t wait to see more from.

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Extraction

Although ‘Extraction’ is very loose on story and characterisation alike, the film’s exciting action set-pieces will be more than enough to satisfy action fanatics. As Chris Hemsworth fittingly places all of his training and gruff-exterior to the forefront for the film’s many violent, exhilarating and occasionally even over-the-top moments.

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His House

A low-budget British horror with some intriguing themes, ‘His House’ is a terrifying and eye-opening look at the specters of the refugee experience. Directed by first-time filmmaker Remi Weekes, the film is certainly not for everyone, as it avoids many common horror clichés in favour of aggressively playing into its central concept, which usually works quite well aside from one or two moments where it can feel a little heavy-handed.

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Underwater

A fantastic throwback to 80s creature-features, ‘Underwater’ was undoubtedly one of the most overlooked entries into the sci-if genre this year. And although it’s story isn’t anything we haven’t seen before, this simplistic yet flashy flick will surely please any fans of cult horrors and science fiction stories, having heavy inspirations of both H.P. Lovecraft and even the 1979 classic: ‘Alien.’

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The Gentlemen

Going back to his ‘Snatch’ roots, ‘The Gentlemen’ directed by the brilliant Guy Richie is simultaneously stylish, well-crafted and hilarious. Whilst I personally feel ‘Snatch’ still has a slight edge over Richie’s latest feature, it’s still a very enjoyable ride nevertheless, and is more than likely one of my favourites from this year.

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The Midnight Sky

Iconic actor George Clooney returned to directing this year with the Netflix Original: ‘The Midnight Sky,’ and even though it lacks the dramatic heft to match its narrative scale, its flaws are often balanced by its thoughtful themes and poignant performances from both Felicity Jones and George Clooney himself.

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The Invisible Man

Another one of my personal favourites from this year, this remake of the classic 1930s monster flick: ‘The Invisible Man,’ is a refreshing and very well-directed take on the iconic character. Remaining tense and entertaining throughout its mostly original storyline, all the while continuing to impress with its excellent performances, effective cinematography and impactful original score.

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We Can Be Heroes

Attempting to capture both the imagination of younger viewers as well as the nostalgia of older audiences who grew-up with colourful family flicks like ‘SpyKids’ and ‘The Adventures of Sharkboy and Lavagirl,’ ‘We Can Be Heroes’ had an opportunity to interject some light-hearted fun into this challenging year. But with its predictable and overly-marketed focus on superheroes, not to mention its clearly inexperienced young cast and abysmal CG effects and costume-design, ‘We Can Be Heroes’ ended-up being just as irritating as it was corny, lacking any of the charm those older films had for all their problems.

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Color Out of Space

A wonderful slice of cosmic-horror, ‘Color Out of Space’ explores this subgenre and its weirdly-fascinating story remarkably well. As although I personally adore cosmic-horror, this subgenre has always received little attention in modern-day cinema, yet this adaptation of H.P. Lovecraft’s novel of the same name is just as creative and disturbing as it’s source material, sometimes even more so despite a few moments of robotic dialogue and weak acting, resulting in a strange yet truly captivating experience.

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The New Mutants

Finally, after years and years of waiting, the horror-esque superhero flick: ‘The New Mutants’ was released in 2020. And it’s fair to say it made its way into cinemas with little applause, missing its train of anticipation by years at this point, and as a result, ‘The New Mutants’ seemed to have just gone unwatched by most, and for those who did see the film such as myself, simply experienced a dull, cheesy and messy film which felt unsure of what it even wanted to be by the runtime’s end.

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Sonic the Hedgehog

Jim Carrey makes his long-awaited return to the silver screen in this adaptation of the iconic video game character: ‘Sonic the Hedgehog,’ delivering an expectedly over-the-top performance as the film’s antagonist: ‘Dr. Robotnik.’ And while the film follows the usual formula many family films stick-to, never really doing anything unexpected or overly-impressive, it does remain enjoyable-enough for children and fans of the video game series alike throughout its simplistic story.

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The Devil All the Time

Gripping, tense and dramatic, ‘The Devil All the Time’s descent into darkness may be harrowing to the point of unwatchability for some, and isn’t a film I’d recommend to general audiences. Having a devilish mix of neo-noir intrigue and gothic horror based on William Hjortsberg’s page-turning novel, the film is a compelling feature only elevated by the strong work from its all-star cast.

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The King of Staten Island

This comedy/drama from director Judd Apatow isn’t one of the director’s best films to-date, as ‘The King of Staten Island’s uncertain tone and indulgent length stop this coming-of-age dramedy’s ability to find itself, but Pete Davidson’s soulful performance and the director’s usual flair for comedy do manage to keep the film afloat.

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The Babysitter: Killer Queen

Whilst this sequel to 2017’s ‘The Babysitter’ does delve more into the supernatural aspects only hinted at in the first film, ‘The Babysitter: Killer Queen’ is worse than it’s predecessor when it comes to both its comedy and it’s pacing. Ending-up as a mostly straight-forward and drawn-out chase sequence similar to the original film, only this time without the amusing jokes or clever horror satire to hold it up.

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The SpongeBob Movie: Sponge on the Run

Aside from its attractive animation and extremely vibrant colour palette, the third major film focusing on the iconic cartoon character: ‘SpongeBob SquarePants,’ contains barley any story or hilarious moments. Instead, relying on bizarre celebrity cameos and strange dream sequences to fill it’s short runtime, which is sure to do nothing other than leave children bored, adults confused and fans of the beloved animated show immensely disappointed.

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Arthur Christmas (2011) – Film Review

From Sony Pictures Animation and Aardman Animations, the latter being the iconic British company behind many beloved hand-crafted films such as: ‘Wallace and Gromit,’ ‘Chicken Run,’ ‘Morph’ and ‘Early Man.’ Comes a festive family adventure focusing on ‘Santa’s son: ‘Arthur’ as he races across the globe to deliver a present to an overlooked child, and although the film doesn’t feature the impeccable stop-motion animation the company is well-known for, it does make-up for its mostly generic CG visuals through its amusing moments, charming characters and inventive story.

Plot Summary: On the night of Christmas Eve, after ‘Santa’ and his enormous team of elves believe themselves to have succeed in another year of present delivery for the children of the world. ‘Santa’s clumsy son: ‘Arthur’ and a skilled wrapping elf named: ‘Bryony,’ discover a young girl’s present has been misplaced, leaving her the only child in the world without a gift from ‘Santa.’ Fearing what the young girl will think when she awakens to find nothing under the tree Christmas morning, ‘Arthur’ sets-out on a desperate mission with ‘Santa’s elderly father to deliver the forgotten gift…

Directed by Sarah Smith and Barry Cook, ‘Arthur Christmas’ is actually the first directorial effort from Cook since the Disney flick: ‘Mulan’ in 1998, with Smith having never directed a feature before in her career. Yet even with these fairly inexperienced directors, ‘Arthur Christmas’ never gets muddled within its own story, managing to balance its many characters, exciting sequences and themes of family and symbolism/icons immensely well, whilst the film also cleverly answers the question that has perplexed children around the world for years, that being: “How Does Santa Deliver All His Presents in a Single Night?” The only major issue ‘Arthur Christmas’ suffers from as a film is its fast-pacing, which does remain very quick throughout the runtime and results in some scenes feeling very rushed.

James McAvoy portrays the film’s protagonist: ‘Arthur,’ who is likable-enough and easy to root for as a character in wanting to deliver the misplaced present, though I could see McAvoy’s performance irritating some viewers, as ‘Arthur’ is always very energetic, jumping from fearful to cheerful incredibly fast even if it is a nice change-of-pace for a protagonist to have nothing but love for the Christmas season. The rest of the cast of Bill Nighy, Hugh Laurie, Ashley Jensen, Jim Broadbent and Imelda Staunton are all exceptional in their roles as the ‘Claus’ family, adding-up to a splendid family-dynamic which the story actually explores a fair amount of.

Just as lively as the film’s fast-pacing, the animated cinematography for: ‘Arthur Christmas’ is very innovative, constantly displaying a number of visually-interesting and fairly unique shots, many of which capture the massive scale of the ‘S-1,’ the high-tech sleigh-replacement ‘Santa’ now utilises, as it soars across the sky. Additionally, with ‘Arthur’ and ‘Grandsanta’ being unfamiliar with the modern world due to them being mostly confined to the North Pole, much of their journey revolves around them accidently arriving at various locations as they attempt to find the young girl’s home in Trelew, England. And each location manages to feel diverse and allows for many exhilarating set-pieces, from the sleigh being chased by the Spanish police force through Trelew, Argentina, to ‘Arthur’ and ‘Grandsanta’ almost being eaten alive by lions after finding themselves on the Savannah plains.

However, the original score by Harry Gregson-Williams is the complete opposite, as the film’s soundtrack is your standard animated score with little memorable or interesting about it. From tracks like ‘Trelew, Cornwall, England,’ ‘Operation Christmas’ and ‘Goodbye Evie,’ the original score is fairly disappointing when considering many of the film’s creative ideas in regards to its story. Still, with that said, the track: ‘One Missed Child’ does capture ‘Arthur’s true awe at the sight of the original sleigh perfectly, as short as the scene itself may be.

The animation itself isn’t extremely well detailed but does remain attractive throughout the story, despite my distaste of a few of the character’s designs that is, as I personally found many of the characters to appear far too cartoonish and even slightly unappealing, particularly when it comes to many of the elves’ designs. These design choices are actually intentional however, as the animators decided to approach the character designs with the goal of making them feel authentically British and quirky, rather than air-brushed and immensely appealing.

On the whole, ‘Arthur Christmas’ has far more merits than it does faults, as the film serves as a refreshing take on the typical ‘Santa’ saves Christmas story. Interjecting a family-dynamic and a large array of adult-centered humour into what is already an entertaining and surprisingly smart narrative for a family flick. So even in spite of its average-looking animation and overly-fast-pacing, ‘Arthur Christmas’ is truly a joyful film to watch with a heartfelt message at its core, and I feel is likely to become a modern Christmas classic in-time. Final Rating: high 7/10.

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The Grinch (2018) – Film Review

Theodor Seuss Geisel, better known as his pen-name: ‘Dr. Seuss,’ is recognised today as one of the best authors in children’s literature. Through his whimsical writing, memorable characters and surreal illustrations, many of Geisel’s stories have become truly timeless as a result of how original they were compared to other children’s books released around the same-period. So, of course, it would only be a matter of time till Geisel’s various characters began making their way to the silver screen, with one of his most villainous characters: ‘The Grinch,’ receiving many adaptations, the most recent of which possibly being the worst to-date.

Plot Summary: In the town of: ‘Whoville,’ the residents known as ‘Whos’ excitedly await the arrival of Christmas Day. But just north of: ‘Whoville,’ on the top of: ‘Mount Crumpit,’ the cantankerous and green-furred: ‘Grinch’ begins to hatch a plan with his pet-dog: ‘Max,’ crafting a scheme to steal Christmas from the ‘Whos’ in an attempt to silence their irritating holiday cheer once and for all…

This 2018 readaptation of: ‘How the Grinch Stole Christmas!’ is animated by Illumination Animation, the animation company behind modern family flicks like ‘Despicable Me,’ ‘Sing’ and ‘The Secret Life of Pets’ in addition to a previous ‘Dr. Seuss’ adaptation: ‘The Lorax’ in 2012. This isn’t surprising of course, as Illumination Animation have truly exploded in popularity since 2010, mostly due to their creation of: ‘The Minions.’ And whilst I personally don’t despise the company as a whole as I feel many of their films are entertaining-enough for younger viewers, its fair to say their film catalogue is spotty at best, with many of their films bosting extremely predicable humour and usually attractive yet repetitive-looking animation, and ‘The Grinch’ is unfortunately, no exception.

Benedict Cumberbatch portrays the title character, and although Cumberbatch is usually an actor I adore, having given an array of brilliant performances throughout his career. ‘The Grinch’ is without a doubt one of his weakest, as his performance somehow manages to feel both minimum effort and also far too cartoonish. Resulting in this version of the nefarious characters becoming instantly forgettable, especially when put in comparison with Jim Carrey’s beloved performance. Then there is also Cameron Seely and Rashida Jones who portray ‘Cindy-Lou Who’ and her mother: ‘Donna,’ who this time around have their own subplot mostly unrelated to ‘The Grinch’s scheme, which serves little purpose aside from one particular scene. And finally there is Pharrell Williams as the story’s narrator, which is some of the most bizarre casting I’ve ever seen, as his typical American accent doesn’t remotely fit the role of a traditional storyteller.

Similar to the rest of Illumination Animation’s films, ‘The Grinch’ is visually-impressive at a first glance, as the film’s animated cinematography and extremely vibrant colour palette is likely to catch any viewer’s eye. Yet also in-line with their other films, Illumination Animation’s style does feel very repetitive after so long, as each character/location does little to make itself stand-out. A perfect example of this is ‘The Grinch’ himself, as while ‘The Grinch’ is implied to have very poor hygiene similar to other adaptations of the story, neither ‘The Grinch’ nor his home within ‘Mount Crumpit’ are ever displayed as unpleasant, even though ‘The Grinch’s home being dark and filthy serves as an extension of his vile personality.

Aside from ‘Tyler the Creator’s abysmal new rendition of: ‘You’re a Mean One, Mr. Grinch,’ the original score by Danny Elfman is completely unremarkable. From ‘A Wonderful Awful Idea’ to ‘Stealing Christmas,’ all of the film’s tracks lack both memorability and charm, barley embracing the fantastical nature of: ‘Dr. Seuss’ stories or the festive season itself, with the rest of the film’s soundtrack just relying on other modern renditions of classic Christmas songs.

Undoubtedly the most disappointing aspect of this readaptation however, is the actual animation style. As one obvious benefit that this new adaptation has over the live-action adaptation of: ‘How the Grinch Stole Christmas!’ is simply being animated, as this allows the film’s designs to greatly lean-into the wonderful illustrations of: ‘Dr. Seuss,’ as his sketches are incredibly difficult to recreate in real-life as result of their harsh curves and gravity-defying arictecture. But strangely, the film doesn’t take advantage of this, with many designs only having a slight ‘Seuss’ influence in spite of the clearly inspired rhyming dialogue.

Overall, ‘The Grinch’ is a worst-case scenario for a readaptation, as I feel this animated film falls flat in most areas, never reaching the emotional or comedic heights of: ‘How the Grinch Stole Christmas’ from 2000, or even matching-up to the delightful hand-drawn animation seen in the original 1966 short. So, whilst its visuals may appear pleasant at first, it quickly becomes apparent something is missing. As this new adaptation gives the impression it was made by a team of producers rather than just one director, and as a result, fails to breathe new life into this age-old Christmas tale. Final Rating: 3/10.

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How to Train Your Dragon (2010) – Film Review

One of the highest-regarded films from DreamWorks Animation, 2010’s ‘How to Train Your Dragon’ is successful in nearly every regard as an animated feature, making many changes to its original source material (all of which for the better), to excel as a brilliant piece of family-focused storytelling. With plenty of memorable characters, exhilarating action sequences and an outstanding original score by John Powell, ‘How to Train Your Dragon’ would soon go on to become one of DreamWorks’ most recognisable and profitable franchises for good reason.

Plot Summary: On the island of: ‘Berk,’ ‘Hiccup,’ the frail son of the Viking Chief, aspires to hunt dragons and keep his home safe like the rest of his clan, earning the respect of his fellow Vikings. But after inuring a ‘Night Fury,’ one of the rarest and most powerful dragons known to exist, ‘Hiccup’ forms an unlikely friendship with the creature, soon realising that dragons aren’t at all what Vikings believe them to be…

The first film to be directed by duo Chris Sanders and Dean DeBlois since the Disney classic: ‘Lilo and Stitch’ in 2002. The film adaptation of: ‘How to Train Your Dragon’ makes many alterations to the story seen in the original children’s book. As firstly, ‘Hiccup’ does not have a love interest, and the now-iconic DreamWorks character: ‘Toothless’ is about the size of the ‘Terrible Terror’ dragon breed, his skin is also green and red, not black. Furthermore, ‘Toothless’ gets his name when ‘Hiccup’ first finds him with no teeth. But the film’s producers decided, with the approval of author Cressida Cowell, that it would be more cinematic to make ‘Toothless’ large enough to be ridden as a flying mount. As such, ‘Toothless’ was completely redesigned as a rare ‘Night Fury,’ a highly intelligent breed of dragon evolved for speed and stealth with teeth that retract into their jaw when shooting a fiery pulse.

Protagonist: ‘Hiccup’ is portrayed by Jay Baruchel, a fairly under-the-radar actor. But similar to his character in ‘The Sorcerer’s Apprentice’ from 2011, Baruuchel suits a nervous character like ‘Hiccup’ extremely well due to his naturally anxious voice, making for a likeable yet never vexatious protagonist. Gerard Butler as ‘Hiccup’s father: ‘Stoick’ is another member of the cast who naturally fits his character, as Butler’s rough Scottish accent melds with the hefty Viking’s design perfectly. The film also features a great ensemble cast for the other young dragon recruits through America Ferrera, Jonah Hill, Christopher Mintz-Plasse, T.J. Miller and Kristen Wiig, who together provide many of the film’s comedic moments.

The animated cinematography throughout ‘How to Train Your Dragon’ is superior to a number of other animated flicks when put in comparison, as the film continuously features beautiful visuals. The most obvious being within the scene: ‘First Flight,’ in which, ‘Hiccup’ hops aboard ‘Toothless’ for the first-time as they soar across the stunning land of: ‘Berk,’ breezing over acres of forest and past/through cliffs all while being tracked by the camera. Interestingly, many of these dragon-flying moments are also inspired by combat and aerobatic aircrafts, as ‘Toothless’ performs many aerobatic maneuvers and combinations such as a ‘Loop and Snap.’

Nominated for an Oscar at one point-in-time, the original score by John Powell is truly sensational, a majestic score that occasionally even utilises bag-pipes in order to further fit with the film’s Scottish setting (which is alluded to by the many Scottish accents). And while Powell has always been known for creating phenomenal scores for animated flicks, with ‘Ice Age,’ ‘Kung Fu Panda’ and ‘Horton Hears a Who!’ being just some of his sublime work, the soundtrack for: ‘How to Train Your Dragon’ is by far some of his best, with the tracks: ‘This is Berk’ and ‘Forbidden Friendship’ becoming some of the most notable tracks in all animation.

The animation itself has begun to show its age in a handful of shots since the film’s initial release, but as a result of the film’s many wonderful designs, usually in relation to its dragons, which display different abilities, colours, horns and skin-tones for each breed, the film manages to redeem any shot that feels at all dated. These pleasant designs also help distract from the film’s overly-fast-pacing, as whilst I understand that younger viewers may have shorter attention spans, the film can sometimes feel as if its rushing through one scene to quickly get to the next.

Although I share the quite controversial opinion of disliking the sequels to ‘How to Train Your Dragon,’ as I personally find them much more generic and by-the-numbers when it comes to their storylines. The original film is still one of DreamWorks Animation’s best efforts, and I’d even argue is on the level of beating-out their previous fantasy franchise: ‘Shrek’ in terms of its characters, creatures and world-building. So, even if you don’t enjoy animated/family films, perhaps ‘How to Train Your Dragon’ will sway you into the genre just as it does with its wonderous story. Final Rating: low 8/10.

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Wreck-It Ralph (2012) – Film Review

Equally entertaining for both children and parents who will catch the many references to classic arcade games, ‘Wreck-It Ralph’ is a funny, colourful and exciting adventure from Walt Disney Animation Studios. Directed by Rich Moore, most known for his work on ‘The Simpsons’ in addition to some other recent Disney flicks. This eight-bit odyssey may not quite match-up to some of the other iconic films Disney has released in its many years of crafting animated stories, yet is still sure to please any game-enthusiasts in search of a new favourite.

Plot Summary: After many years of being the bad guy and being defeated in his own game day-after-day, ‘Wreck-It Ralph’ longs to be as beloved as his game’s perfect protagonist: ‘Fix-It Felix.’ So, when a modern, first-person shooter arrives in his arcade, ‘Ralph’ sees his opportunity for heroism and happiness. But now, with his game at risk of being put out-of-order due to his disappearance, ‘Ralph’ must quickly return home before its game-over for everyone…

From the get-go, one of the best elements of: ‘Wreck-It Ralph’ has to be its initial concept, as the film portrays the idea of video-game characters coming-to-life in a similar fashion to the ‘Toy Story’ series, but also adds a living virtual-world alongside. Interestingly, Disney first began developing an animated film based around a world of video-game characters in the 1980s. At that time, the project was titled: ‘High Score,’ it was then changed to ‘Joe Jump’ in the 1990s. Until in the late 2000s, when the film was finally pushed forward, the first two months of story development focused on ‘Fix-It Felix Jr.’ as the protagonist, which eventually evolved to the film we received in 2012.

John C. Riley and Sarah Silverman lead the cast as the titular characters: ‘Wreck-It Ralph’ and ‘Vanellope Von Schweetz’ superbly, as unlike most animated films, the main group of actors regularly recorded their sessions together in the same room, a situation which led to large amounts of improvising and gave the cast a real sense of chemistry. But regardless of how much of his dialogue was improvised, ‘Ralph’ still remains, in my opinion, one of the most memorable and likeable characters Disney has created in their more modern animations, mostly due to his design and understandable motivation of wanting to be seen as a hero rather than a villain. Jack McBrayer, Jane Lynch and Alan Tudyk make-up the remainder of the cast, who are all also wonderful within their roles as ‘Fix-It Felix,’ ‘Calhoun’ and ‘King Candy’ respectively, as each actor plays into whichever type of game they originate from, e.g. intense sci-fi solider with a overly-dramatic backstory or a quirky/cartoonish kart-racer.

An area ‘Wreck-It Ralph’ is lacking however, its on the promise of exploring the many different video-game worlds its story implies. As while the film does explore its two signature worlds of: ‘Hero’s Duty’ and ‘Sugar Rush’ well, ensuring each location feels vastly different in terms of both its design, animated cinematography and colour palette. The film is limited in how many video games its characters actually explore, which is a shame when considering the many possible adventures its different arcade worlds could contain, especially when taking into account the huge number of cameos from video-game icons like ‘Pac-Man,’ ‘Q’bert’ and ‘Sonic the Hedgehog.’

Although the original score by Henry Jackman is a huge missed opportunity to have a classic eight-bit score to further fit with the video-game narrative, the film’s soundtrack still features plenty of great tracks, which just like the film’s visuals, alter depending on which video game world the characters are currently inside. As outside of the generally enjoyable tracks: ‘Wreck-It Ralph’ ‘Life in the Arcade’ and ‘Messing with the Program,’ the score occasionally gets quite creative, even having an original theme created for the kart-racing game: ‘Sugar Rush’ by J-pop band: ‘AKB48’ (as the fictional video-game is supposedly manufactured in Japan).

Whilst the animation itself is visually stunning and brimming with small details as with nearly every animated Disney film, the main flaw ‘Wreck-It Ralph’ suffers from its without a doubt its story structure. As what may throw many viewers off is that the film begins focused entirely on ‘Ralph’ and his journey, before then quickly and drastically changing direction to focus more on ‘Vanellope’ and her desire to become a playable ‘Sugar Rush’ racer, which can be a little jolting when recalling the film’s first act.

Overall, ‘Wreck-It Ralph’ may not always use its signature concept to its best extent, and can often go too far when it comes to some of its immature or video-game-related humour. Yet the film’s delightful characters, gorgeous and distinctive locations and beautiful animation all manage to save the film from its faults. So, despite ‘Wreck-It Ralph’ not going-down with audiences as successfully as some other animated Disney flicks like ‘Frozen’ or ‘Zootropolis’ for example, I still feel the film is worth grabbing a joystick for should you get the chance. Final Rating: 7/10.

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The Problem with Live-Action Disney Remakes – Film Discussion

In years recent years, Disney has noticeably been taking quite an aggressive approach to reimagining many of the company’s classic animated adventures into live-action blockbusters, which I personally feel is having a bad influence on the rest of the film industry in more ways than one…

Despite Disney actually beginning the trend of remaking their classic films all the way back in 2010 with the semi-sequel/remake of: ‘Alice in Wonderland’ directed by Tim Burton. Disney didn’t begin to get truly rampant with its approach until the later successes of: ‘Cinderella’ and ‘The Jungle Book’ in 2015 and 2016 respectively, with ‘Beauty and the Beast,’ ‘Dumbo’ and ‘Aladdin’ following not far behind, eventually leading to their most recent releases, that being: ‘The Lion King’ and ‘Lady and the Tramp’. Yet whilst all of these films did receive mostly positive reviews from both critics and audiences upon their initial release, I personally have never understood why. As for me, none of these remakes ever manage to really justify their existence, with each new film simply feeling like nothing more than a product, a money machine disguised as a film created purely for the purpose of rinsing profit out of Disney fans who desire to see their childhood classics recreated in a new light, and by this point, I just find it irritating.

Of course, remaking classic/iconic films is nothing new for the film industry, with dreadful remakes such as: ‘RoboCop,’ ‘Ghostbusters’ and ‘Robin Hood’ all being great examples of how taking a classic film and giving it a sleek modern-aesthetic doesn’t automatically make it superior to the original. However, it’s the way Disney goes about executing their remakes that makes them even more frustrating. As even though most reimaginings may not differ too much of the original story, the majority of Disney remakes feel almost identical to their animated counterparts, featuring nearly all of the same scenes and dialogue, now just dragged-down by much weaker visuals, vocal performances and songs. Which in turn, also allows directors and writers to simply borrow material from previous filmmakers without having to innovate much themselves. Another issue I have with Disney converting their animated classics into live-action is that many of the original stories were always envisioned to be animated as they were being written, meaning when transferred into a different style of filmmaking, they usually are forced to rely on enormous amounts of CGI.

Although most audiences seemingly don’t take issue with Disney’s constant remakes, there are still some Disney fans who have spoken-out about losing interest Disney’s future live-action endeavours. In particular, I personally recall many weren’t looking forward to watching the ‘Aladdin’ remake around the time of its release, which I feel is understandable. As just from its trailer alone, it was clear that not only would the film intensely mirror the original, but it was obvious just from a glance that its visuals were also far, far duller, as the remake was lacking in both colour and style. Focusing more on being semi-realistic rather than fully engaging in its elements of fantasy (which for a narrative revolving around a powerful genie who grants three magical wishes feels like a huge mistake to me). Whilst the original: ‘Aladdin’ may not be the most visually-enthralling of Disney’s catalogue of family flicks, the classic style of 2D hand-drawn animation is still very pleasing to look at even by today’s standards for CG animated films.

It may even surprise some to know that many of these bland remakes were actually directed by talented filmmakers like Jon Favreau and the previously mentioned Tim Burton. Yet with each new film, every director’s unique style always seems to be stripped-away or completely absent. As not only does each remake barely utilise any creative cinematography or editing, relying nearly entirely on CG effects to impress the audience. But usually inventive directors such as Guy Richie, who has made phenomenal use of his unique style editing and humour in the past within his films: ‘Snatch’ and ‘The Gentlemen,’ suffers as a result of how simply generic and even somewhat boring his reimagining of: ‘Aladdin’ is, and while Disney may not be entirely to blame for this, I do believe the company would prefer to keep each remake fairly easy to digest in order to appeal to a wider-audience.

In addition to both the visuals and directing however, the cast of the original animated flicks were also a huge contributing factor to them becoming as beloved as they now are, with not only actors like Robin Williams as the original: ‘Genie’ of course, but also lesser-known actors such as Nathan Lane and Ernie Sabella as ‘Timon’ and ‘Pumbaa,’ to Jodi Benson and Pat Carroll as ‘Ariel’ and ‘Ursula.’ As all these voices not only gave the characters great comedic timing and a distinct tone, but they soon even became an extension of the characters themselves, making them recognisable purely through their voice. Whereas Disney’s newer remakes prefer to just take the much easier approach of simply casting the most relevant actors at the time and throwing them into an iconic role, and whilst actors like Donald Glover and Chiwetel Ejiofor will always be superb at their craft, forcing these performers into roles within ‘The Lion King’ simply due to their popularity will always make their vocal performance feel very out-of-place when in comparison with the original film.

The final area I find Disney remakes to be most lacking is with the tampering of classic Disney songs, as although I’m personally not an enormous fan of musicals within the realm of live-action, I’ve always enjoyed many of the songs in Disney animated classics. As not only do I feel these songs add to the characters and the story of each film immensely, but many classic Disney songs also manage to become iconic amongst themselves, with nearly any fan of animation more than likely knowing all the words to ‘Be Our Guest,’ ‘The Circle of Life’ and ‘Under the Sea’ (just to name a few). But when it comes to the remakes, once again, both the original score and songs feel far more dull, even in spite of the legendary Hanz Zimmer returning for: ‘The Lion King’ remake to recreate many of his classic tracks. Still, a few of the reimaginings do at least attempt to throw-in some original songs, which unfortunately end-up being mostly forgotten due to them being overshadowed by the classic songs audiences more familiar with.

In conclusion, it seems the influx of live-action Disney remakes won’t be stopping anytime soon, with ‘The Lion King’ racking-in over £1.298 billion worldwide, Disney will most likely continue this remaking trend until their audience completely loses interest. As reimaginings of: ‘Mulan,’ ‘Peter Pan,’ ‘The Little Mermaid,’ ‘Pinocchio,’ The Sword in the Stone’ and ‘Lilo and Stitch’ as well as many, many more, are already set for release. Whilst the ‘House of Mouse’ does still have a few original films on the horizon, Disney seems to be heading down a similar path to their paired animation company Pixar, that being one of laziness, relying mostly on their previous stories and franchises for profit rather than creating something new, which in turn is also encouraging other production companies to do the same. So if you share my opinion, perhaps sit-out Disney’s next live-action release, stay at home, and just relive many of the beautifully animated stories from the past, as I honestly believe many of these films are timeless.

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Inside Out (2015) – Film Review

From the iconic animation studio Pixar, who brought-us animated classics such as: ‘Toy Story,’ ‘Monsters, Inc.’ ‘Finding Nemo,’ ‘The Incredibles’ and ‘Ratatouille’ among many others. Comes another emotional and beautifully animated adventure with some surprisingly deep concepts and ideas to-boot. As ‘Inside Out’ takes-place nearly entirely inside the mind of a young girl, focusing on how her various emotions handle new and unexpected changes within her life.

Plot Summary: After young ‘Riley’ is uprooted from her Midwest life and moved to San Francisco, her emotions: ‘Joy,’ ‘Sadness,’ ‘Fear,’ ‘Anger’ and ‘Disgust’ all being to conflict on how best to navigate a new city, house, and school. But after a freak accident causes ‘Joy’ and ‘Sadness’ to be flung from ‘Headquarters’ with ‘Riley’s ‘Core Memories,’ the two have to find their way back before its too late and ‘Riley’ loses all emotion…

Even though ‘Inside Out’ usually streamlines many of its story’s concepts and themes to make them more understandable for children, the animated flick also never fails to remain both very imaginative and very colourful throughout its runtime. As with the film’s story taking-place within the mind of an eleven-year-old girl, ‘Inside Out’ doesn’t hold-back from bringing-to-life the world within a child’s head, a world not confined by the barriers of logic and psychics. From ‘Imagination Land’ to ‘The Train of Thought’ and ‘Long Term Memory,’ ‘Inside Out’ constantly explores plenty of amusing locations and is always building on its enchanting ideas.

Despite some characters not receiving quite as much screen-time as others, ‘Riley’s various emotions are portrayed superbly by Amy Poehler, Phyllis Smith, Bill Hader, Lewis Black, and Mindy Kaling, with Amy Poehler and Phyllis Smith as ‘Joy’ and ‘Sadness’ being the true stand-outs of the cast. As their two characters bounce extremely well of each other due to the polarity of their friendship, which also makes for plenty of humorous moments. Richard Kind also makes an appearance within the film as ‘Bing Bong,’ ‘Riley’s imaginary friend from when she was younger, who in many ways is the true heart of the film. As alongside his variety of entertaining quirks (some of which do result in a few immature jokes). ‘Bing Bong’ also ends-up becoming a very likeable and charming character mostly as a result of the scene: ‘The Memory Dump,’ easily one of: ‘Inside Out’s most impactful and heartbreaking moments.

Filled with plenty of inventive shots throughout, the animated cinematography does add to the film’s already incredibly vibrant colour palette and varied locations, with a constant array of attractive shots, the film’s visuals are always appealing to look at when inside ‘Riley’s mind. Yet when the viewer is thrown back into the real-world, the colour palette is far more pale and tame, creating a clear visual contrast between the two.

Featuring a number of memorable tracks such as: ‘Bundle of Joy,’ ‘Team Building,’ ‘Rainbow Flyer’ and even the track that plays over the film’s ending credits: ‘The Joy of Credits,’ the original score by Michael Giacchino is truly one of the best scores Pixar has to offer, even when taking into account their already impressive list of soundtracks. As nearly all of the film’s best moments whether comedic or emotional are elevated by the film’s wonderful score, with many of the tracks throughout ‘Inside Out’ displaying great variety and talent.

Similar to many of the other films from Pixar’s catalogue, the animation throughout ‘Inside Out’ is simply gorgeous. As not only do all of the designs of the different emotions differ drastically depending on which emotion they representing, but the level of detail on every character and location throughout the film is astounding, with the individual particles that make-up each emotion even being visible during many of the film’s close-ups. Interestingly, when ‘Inside Out’ was in the very early stages of its development, many other emotions were also considered as characters (around twenty-seven in total). But after the writer’s decided to just settle on the core five emotions to make the narrative less-complicated, many other potential characters had to be left on the cutting-room floor, e.g. ‘Surprise,’ ‘Pride,’ and ‘Trust.’

Overall, ‘Inside Out’ is definitely worth a watch for any age. Although this animated flick isn’t without its faults, ‘Inside Out’ still remains a delightful experience from start-to-finish, mostly due to its unique story, great voice performances and extraordinary visuals, the film really feels as if there isn’t the slightest ounce of laziness put into crafting it. Whilst there has been plenty of other exceptional animated classics produced by Pixar in the past, their fifteenth animated feature is certainly one of their most experimental yet least discussed to date, which I think is a shame. As while ‘Inside Out’ may be aimed mostly towards children, I feel this film might speak an even deeper volume to adults. Final Rating: 8/10.

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Tangled (2010) – Film Review

Disney’s first CG animated fairytale is both incredibly funny and heartwarming. As ‘Tangled’ brings to life the well-known fairy princess: ‘Rapunzel,’ now-updated for a new generation of children. Through some beautiful animation, wonderful original songs and an incredibly vibrant colour palette. ‘Tangled’ feels almost as if it’s an enchanting classic restored from Disney’s golden age of animation, despite its few small problems here and there.

Plot Summary: When the ‘Kingdom of Corona’s most-wanted and most charming bandit: ‘Flynn Rider’ hides-out in a mysterious tower, he’s taken hostage by ‘Rapunzel,’ a feisty tower-bound teen with magical golden hair. Eventually leading the two of them to strike a deal so ‘Rapunzel’ can achieve her long-desired dream of seeing the annual release of the kingdom’s lanterns…

Heavily praised since its release, ‘Tangled’ was created by Walt Disney Animation Studios, which have produced a variety of fantastic animated films in recent days. Releasing films such as: ‘Bolt,’ ‘Zootropolis,’ ‘Wreck-It Ralph’, ‘Moana’ and of course, the smash-hit: ‘Frozen’ in 2013. Many of which even beginning to surpass Disney’s other animation company over-time, this obviously being Pixar, who now seem to be far more focused on creating constant sequels, prequels and spin-offs rather than original stories.

Mandy Moore and Zachary Levi bounce extremely well-off each other as ‘Rapunzel’ and ‘Flynn Rider,’ with both the characters having plenty of amusing moments in addition to some surprisingly great chemistry (considering they are fully animated). The cast also features Donna Murphy as ‘Mother Gothel’ and Ron Perlman as one of the ‘Stabbington Brothers’ (a.k.a. The antagonists of the film), and although neither of these two villains ever become quite as memorable or as iconic as some other Disney antagonists. They do serve their roles within the story effectively and are intimidating enough. During the story, ‘Rapunzel’ also receives a character-arc, growing as a character to become more confident and independent as the runtime continues on, which I feel is not only executed well but also gets across an important message for children.

Featuring an array of stunning wide-shots, the animated cinematography throughout ‘Tangled’ is decent overall. While nothing overly imaginative, the animated cinematography works really well for many of the film’s fast-paced action sequences. The animated cinematography is also improved by the film’s incredibly colourful visuals, as many scenes throughout the film are dripping with bright colours and magnificent lighting. Some of the colouring of character’s clothing even reflect their personalities, as ‘Rapunzel’ wears purple, a colour often associated with royalty and ‘Flynn’ wears blue and white, colours that often stand for goodness. Whereas ‘Mother Gothel’ wears red, a colour that usually symbolises evil.

The original score by Alan Menken is certainly the weakest element of the film, as ignoring the actual songs within the film, most notably: ‘When Will My Life Begin’ and ‘I See the Light.’ The score is mostly generic and little bland at points when it comes to animated flicks, as I feel the soundtrack could’ve been greatly improved if the score would’ve embraced the more fantasy-esque aspects of its narrative. Occasionally, the film can also over-rely on musical cues, as during a number of scenes the film feels the need to accompany every action or piece of humour with a trumpet cue, which feels nothing but unnecessary throughout.

Being many years on from the film’s initial release, it’s inevitable that the film’s animation would begin to age. However, although a couple of the close-ups on character’s faces may look a little out-dated. ‘Tangled’s animation predominantly holds-up well since 2010. In particular, the CG effects on ‘Rapunzel’s long-hair, which still look marvellous even today. The film’s humour is also fairly excellent, as the film has a large amount of range when it comes to its jokes, usually having plenty of comedic moments that will appeal to older viewers as well as young children. ‘Tangled’ also gets some great comedic moments out of its horse character: ‘Maximus,’ who quickly ends-up becoming one of the film’s greatest characters through his constant drive to catch ‘Flynn Rider,’ with many of his movements being presented as if he is a large dog or even a human.

Although it may not be one of Disney’s best, ‘Tangled’ is still very enjoyable from start-to-finish. Despite its sometimes overly-fast-pacing and slightly dated animation. The film has more than enough to please families, with some likeable protagonists, plenty of memorable songs and an overall joyful and adventurous tone. ‘Tangled’ is in my opinion, on the higher-level of fantastical family films, and whilst some may feel the film is aimed more towards one gender with its story being based-around a fairy princess, I’d argue otherwise. Final Rating: 8/10.

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Rango (2011) – Film Review

From the director of: ‘The Ring’ and the first three entries in ‘The Pirates of the Caribbean’ series, Gore Verbinski. Comes ‘Rango,’ an animated-western featuring a bizarre cast of comedically-grotesque animals, and although that strange concept may not sound as if it couldn’t possibly work, ‘Rango’ is without a doubt one of my favourite animated films in recent memory. As the film’s entertaining story and classic western visuals make the film an incredibly fun watch, regardless of your age.

Plot Summary: When ‘Rango,’ an ordinary pet chameleon accidentally winds-up in the small town of: ‘Dirt’ following a car accident, he begins to realise the dry, lawless outpost is in desperate need of a new sheriff. Being the talented actor that he is, ‘Rango’ poses as the answer to their problems…

Whilst ‘Rango’ is front and foremost a family flick, ‘Rango’ also serves a pretty successful throwback to classic westerns, balancing plenty of hilarious moments with more serious scenes and even some exciting action sequences throughout its story. The film even features a reference to the icon of the western-era himself, that being Clint Eastwood as ‘The Spirit of the West’, which I really appreciated as a fan of the genre. However, the character himself isn’t actually portrayed by Clint Eastwood, which I did feel slightly took away from the scene he appears in despite its short length.

Although all the supporting cast of Isa Fisher, Abigail Breslin, Bill Nighy, Alfred Molina and Ned Beatty are all fantastic as the residents of the small town of: ‘Dirt.’ Each having a western accent which sometimes even makes their voice unrecognisable in Isla Fisher’s case. Johnny Depp as the protagonist: ‘Rango’ is truly some flawless casting. As Depp always portrays ‘Rango’ as likeable and funny, yet cowardly, with plenty of humourous lines throughout the runtime. The film’s antagonist: ‘Rattlesnake Jake’ is also worth mentioning, as Bill Nighy lends his voice to this gigantic menacing gunslinger, actually mirroring the two actor’s characters within ‘The Pirates of the Caribbean’ series, whether intentional or not.

‘Rango’ is also one of the rare animated films which actually has some pretty stunning cinematography, as all of the film’s animated cinematography is very reminiscent of classic westerns. From extreme close-ups of character’s faces during stand-offs, to wide-shots of the barren desert, to even close-ups of hanging broken bottles on a porch, every-shot really adds to the narrative, whilst also displaying the film’s large variety of distinct locations. Truly utilising the limitless potential of animated cinematography. Legendary cinematographer, Roger Deakins, who worked on iconic films like ‘The Shawshank Redemption,’ ‘No Country for Old Men’ and ‘Skyfall’ in the past, was even consulted when it came to the film’s cinematography.

Iconic composer Hanz Zimmer returns to the work once again with director Gore Verbinski, and once again with another magnificent original score. This time replicating classic western scores without taking-away from the film’s adventurous tone. Making fantastic use of both electric and acoustic guitars, tracks such as: ‘Rango and Beans’ and ‘Rango Returns’ feel as if they were ripped straight-out of the golden age of film. The soundtrack even includes a unique western-esque version of the orchestral classic: ‘Ride of the Valkyries,’ which backs-up what is already a pretty memorable action sequence.

The animation itself is wonderful throughout the film, as ‘Rango’ takes a more daring and unique route when it comes to its animation. As rather than being overly-colourful and cartoonishly-attractive similar to films like ‘Toy Story,’ ‘Frozen’ or ‘Despicable Me.’ ‘Rango’ focuses far more on being rather realistic and dirty, with each location always feeling very old and rustic. The character designs themselves also reflect this, as every piece of clothing and every object is coaked in scratches and dirt, giving the film an overall unpleasant yet not unattractive look. This animation style also continues to the film’s colour palette, as the pale beiges and browns give the film a true western feel. Due to ‘Rango’s reliance on this highly-detailed kind of animation however, there is the occasional shot where the animation looks slightly dated by today’s standards.

Packed with plenty of great comedic moments, attractive visuals, a great original score and of course, its marvellous cast. ‘Rango’ stands as one of the best modern animated films to date, as this western adventure truly does anything it can to make itself stand-out. As despite the film’s few fourth-wall-breaking moments (which come-off as slightly cheesy) and the film’s sometimes overly-fast-pacing, ‘Rango’ still remains an enthralling ride. Although this animated flick may seem pretty unusual when compared to many other films the family can enjoy together, this true oddball of a film is sure to please those who decide to give it a chance. Final Rating: 8/10.

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