Category: Animation

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In 2007, Japanese animator Hiroyuki Imaishi gained worldwide attention for the series Gurren Lagann from the studio Gainax. He also directed the 2010 series Panty & Stocking with Garterbelt before leaving Gainax in 2011 to start Studio Trigger. Their first project was the 2013 short film Little Witch Academia, which spun off into Kill la Kill. Imaishi frequently worked with writer Kazuki Nakashima, whose credits include Ultraman Max, Kamen Rider Fourze, and Batman Ninja. In 2017, Studio Trigger and XFLAG revealed a new project that had been in production for roughly four years. Later announced as a film in 2018, the project would see Imaishi and Nakashima returning to collaborate. The two had previously worked on Gurren Lagann and Kill la Kill, both earning critical praise. Promare premiered in Japan in May and the US in September two years later.

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Synopsis

A series of spontaneous combustions ends up killing half the world’s population in an event called the Great World Blaze. Following the cataclysmic event, a group of people with pyrokinetic abilities emerged called Burnish, and they continued spreading. Thirty years later, the firefighting group Burning Rescue rolls out whenever a fire arises due to Burnish attacks. They run into Mad Burnish, a terrorist group led by Lio Foita, during one such episode and take them down. Burning Rescue member Galo Thymos is hailed as a hero by Kray Foresight, the city governor and Galo’s hero. However, Kray reveals his true intentions when Galo learns he’s using Burnish to power a spaceship. It turns out the Earth is about to explode, and Kray wants to migrate with a select group of people. Galo and Lio have to settle their differences and work together to save the world.

Review

Promare is one of the most stunningly beautiful animated movies I’ve seen in quite some time. There are so many bright and vibrant colors that it feels like a euphoric trip throughout. The pacing is fast-paced and kinetic, so you’re never bored and constantly left on the edge of your seat. The music, which is insanely catchy and quickly gets stuck in your head, perfectly complements the kinetic pacing. At just under two hours, the film flies by pretty fast but not so much where it feels anemic. Even though the target audience is teens, even hardcore and casual adult anime fans will enjoy watching this. Admittedly, some of the transitions between 2D and 3D can be jarring, and the fast pace can get overwhelming. It’s almost like an animated Michael Bay movie, but it’s way better than the live-action Transformers movies.

Unfortunately, despite how dazzling the animation is, the story comes off as convoluted, and the characters are paper-thin. There is so much happening, and it goes by so fast that it’s challenging to keep up with sometimes. Also, the characters don’t have much of a personality aside from the basic archetypes they fill. You’ve got the reckless hero, the solemn and misunderstood villain, and the hero figure revealed to be the true villain. Aside from their designs, even the side characters are pretty one-dimensional and primarily forgettable, though they’re not the central focus. The film does touch on some serious issues, such as exploiting people considered harmful for a supposedly good cause. Even with a basic story and characters, this movie will satisfy you if you’re looking for a fun thrill ride. Overall, Promare is a flawed but enjoyable roller coaster of an animated movie.

Buy Promare from Amazon: https://amzn.to/3J2OZIS.

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In 1965, Kazuhiko Katō, under the pen name Monkey Punch, created Lupin the Third, a manga about a gentlemen thief. Inspired by the character Arsène Lupin created by Maurice Leblanc, the manga was published in 1967 in Weekly Manga Action. Upon its publication, the manga proved to be a massive hit and was adapted into numerous anime series and movies. The first animated feature was 1978’s The Mystery of Mamo, followed by 1979’s The Castle of Cagliostro from Hayao Miyazaki. Over the years, Monkey Punch wanted to see the character brought to life as a 3D animated character. Work began in early 2019 with Monkey Punch supervising, but he sadly passed away in April of that year. Many cast and crew who’ve worked on previous adaptations came back for this ambitious project. Lupin III: The First was released in Japan in December 2019 and the US in October 2020.

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Synopsis

Renowned archaeologist Professor Bresson (Marc Thompson) entrusts his diary to his family as it contains secrets the Nazis are after. Unfortunately, Bresson is killed and the family dies in a car crash, the only survivor being their infant daughter. Years later, the diary is displayed at a museum when infamous thief Arsène Lupin III (Tony Oliver) tries stealing it. Unfortunately, a young woman named Laetitia (Laurie Hymes) steals it, then femme fatale Fujiko (Michelle Ruff) steals it from her. Lupin’s arrested by Inspector Zenigata (Doug Erholtz) but is rescued by his cohorts Jigen (Richard Epcar) and Goemon (Lex Lang). Lupin catches up to Laetitia, who reveals that she’s working for her adoptive grandfather Lambert (David Brimmer). Lambert is working for Gerard (Paul Guyet) who’s looking for a weapon called The Eclipse to restore the Third Reich. It’s up to Lupin, Laetitia, and his crew to stop them from finding it.

Review

Lupin III: The First is a wonderful animated adventure that both fans and even non-fans will find enjoyable. While it’s difficult to convert something 2D to 3D, here it works thanks to the fluid and stylized animation used. All of the characters have very unique designs, fluid and exaggerated movements, and a wide range of facial expressions. Honestly, the animation is on par with anything Pixar or Disney Animation could create, though some things don’t translate well. For instance, the 3D animation gives many of the characters a weird, plastic-like sheen to them, which can be distracting. Also, some of the more cartoony facial expressions that worked in 2D don’t always translate well to 3D. The same thing goes for some of the movements, which can come off as stiff and unnatural at times. Still, it’s an impressive feat given the risks in translating a popular character to something new.

The story moves at a good pace, with the action-heavy scenes and more dramatic scenes being well-balanced. Admittedly, several exposition-heavy scenes drag the film down at times, but the action and humor keep things moving. Each of the characters is memorable in their own ways, either being loveable goofballs, intense villains, or cool archetypes. Admittedly, the main villain can come off as a bit bland and one-dimensional, but it works given the material. The voice acting fits the characters well, with many of the original English actors returning for this film. Each of the action sequences is over-the-top and fun to watch, in a way harkening back to old-school adventure serials. At roughly 90 minutes in length, the film never overstays its welcome and entertains throughout despite some parts that drag. Overall, Lupin III: The First is a solid animated adventure that even people unfamiliar with the manga will love.

Buy Lupin III: The First on Amazon: https://amzn.to/3qb8c0s

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In 1990, 21-year-old Pete Docter was given an animation job at Pixar Studios after being recommended to John Lasseter. Pretty quickly, he started working on some of the company’s early successes, including being a key writer on Toy Story. Docter got his first chance at directing with 2001’s Monsters, Inc., which was a massive critical and commercial success. Years later, Docter got to direct yet again with 2009’s Up, which got him his first Academy Award. He earned his second Oscar for his third directorial outing, 2015’s Inside Out, and quickly started planning his next film. Despite taking on more responsibilities at Pixar, Docter started developing his next project, which would focus on more existential themes. Along with up-and-coming writers Mike Jones and Kemp Powers, who received a co-directing credit, Docter fleshed his ideas out further. After numerous delays due to COVID-19, Soul was released to Disney Plus.

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Synopsis

Joe Gardner (Jamie Foxx) is a middle school band teacher who feels stuck in his life and is seeking fulfillment. He dreams of being a famous jazz musician much to the ire of his mother Libba (Phylicia Rashad). One day, he gets an opportunity to perform at a jazz club with renowned musician Dorothea Williams (Angela Bassett). Unfortunately, he falls down a manhole to his death and ends up in the “Great Beyond”, though he escapes. He ends up in the “Great Before”, where new souls are prepped for life on Earth by soul counselors. He gets paired with #22 (Tina Fey), an unborn soul who doesn’t see the value in life on Earth. With her help, Joe tries to escape the “Great Beyond” and return to Earth in time for his gig. However, much like life itself, nothing is simple, and some body-swapping hijinks ensue.

Review

Compared to Pixar’s Onward, which was released earlier this year, Soul is an overall better film in so many ways. While that film was treading on the already explored ground, this film offers a very unique take on its themes. Soul deals with themes of our own existence, like what is our purpose, are we fulfilled, and what is living? This is one of the film’s strongest and weakest attributes, as it’ll appeal to older audiences more than young children. While the best family films should appeal to audiences of all ages, most kids probably won’t understand its themes. Inside Out worked because children and adults understand the challenges of growing up, and Up dealt with the age gap. Obviously, I’m not suggesting that children are too dumb to understand, but many of Soul‘s themes are fairly complex. Still, I applaud Pixar for being more experimental with this film.

As with many of their recent films, the animation here is amazing, perfectly balancing cartoonish designs with realistic lighting/textures. Considering the history of racist caricatures in animation, it’s impressive to see how respectful and detailed the characters are. Speaking of, many of the characters, particularly Joe Gardner, are memorable in their own ways and wonderfully acted. Not only did Foxx and Fey do a great job as the main characters, but Bassett and Rashad were exceptional. Admittedly, the character of #22 did come off as grating at times, but she eventually warmed up to me. Also, the whole body-swapping plot point initially threw me off, but the way they used it worked for the story. While not as great as Toy Story, The Incredibles, or Docter’s other works, this is still one of Pixar’s best. Overall, Soul is a wonderfully animated look at what it means to live.

Watch Soul on Disney Plus: https://bit.ly/2L2CsMj

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After graduating from college in 1998, Dan Scanlon quickly rose through the ranks of Disney animation, eventually working for Pixar. He started off working on the direct-to-video sequels to Pocahontas, The Little Mermaid, 101 Dalmatians, and Tarzan amongst others. After being hired by Pixar in 2001, he was a story artist for Cars and Toy Story 3. Later on, he moved up to being part of the senior creative team on Brave and Inside Out. Then in 2013, he directed his first feature-length animated film, Monsters University, a prequel to 2001’s Monsters Inc. The film went on to be a massive commercial hit, though critical reception was mixed, to say the least. Following its success, Scanlon decided his next project would be more personal, inspired by losing his father as a child. That project soon culminated in his second directing effort, the 2020 animated fantasy film Onward.

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Synopsis

Once upon a time, the land was inhabited by mythical creatures who could wield magic and go on exciting adventures. However, as new technological advancements were being made, magic started to fade and all the mythical creatures lived normal lives. We soon meet the Lightfoots, including Ian (Tom Holland), his older brother Barley (Chris Pratt), and mother Laurel (Julia Louis-Dreyfus). For Ian’s 16th birthday, their mother gives him a present left behind by their late father: a staff and gem. Turns out he left behind instructions for a spell that would allow him to see them for one day. Unfortunately, the spell goes wrong, and Ian only brings back their dad’s legs, in the process destroying the gem. So, Barley decides to take Ian on a quest to find another gem to hopefully restore their dad before sunrise. It’s an adventure involving pixies, centaurs, and The Manticore (Octavia Spencer).

Review

Since childhood, I’ve been a huge fan of Pixar, and they’ve delivered high-quality content, for the most part. For every lackluster A Bug’s Life, Cars, and Monsters University, we get animated classics like The Incredibles, Wall-E, and Up. Compared to their other works, Onward lies somewhere in the middle: not one of their best nor worst either. Given that it’s Pixar, the animation is spectacular as always, from the well-designed characters to the imaginative environments. Speaking of characters, the voice work is very well-done, especially from Holland and Pratt, who have great chemistry together. Julia Louie-Dreyfus is fun as the nervous but cool mom, and Octavia Spencer steals the show as The Manticore. Mel Rodriguez is also fun as Officer Colt Bronco, a centaur cop who tries to be a good stepdad. Plus, the story moves at a solid pace and never feels like it’s dragging along.

While this film marginally better than Scanlon’s last film, Onward is not without its problems, though it’s still enjoyable. Firstly, they talk a lot about how great the father was when he was alive, but we’re never shown it. Also, the fact that the father is mostly just legs makes it hard to feel an emotional connection. Granted, Onward seems more focused on the relationship between the two brothers than necessarily on seeing their dad. Also, most of the film goes through the typical buddy movie tropes with not much of anything exciting happening. Luckily, the film picks up quite a bit in the third act, and you’re still rooting for the brothers. While this is far from being one of Pixar’s best, it’s still a worthwhile watch for kids and adults alike. Overall, Onward is an enjoyable buddy movie about two brothers coming together on an epic quest.

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With the release of Toy Story 3, Pixar had planned for that entry to be the finale to the franchise. In fact, Lee Unkrich, who directed the previous film, stated that they had no immediate plans for a fourth film. John Lasseter, the head of Pixar, further emphasized this point, until he, Lee, Andrew Stanton, and Pete Docter had ideas. Josh Cooley, the head of story on Inside Out, was hired to co-direct with Lasseter, but Lasseter willingly stepped down. Interestingly, Lasseter said in an interview with Variety, “we do not do any sequel because we want to print money.” When it came to doing voice-overs, both Tom Hanks and Tim Allen expressed how emotional and heartfelt the story was. While many of the original cast returned, sadly Don Rickles passed away in 2017, though they used previously recorded voice-overs. So, nine years later, we now have Toy Story 4.

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Synopsis

With Bonnie (Madeleine McGraw) as their new kid, our favorite toys couldn’t be any happier, except for Woody (Tom Hanks). While he’s happy to be one of Bonnie’s toys, he starts being played with less and less overtime. Things change when she has to go to kindergarten orientation, and Woody decides to join her and keep her safe. During Arts & Crafts, she creates a makeshift toy out of a spork, pipe cleaners, popsicle sticks, and googly eyes. She names it Forky (Tony Hale), and he immediately starts going to the trash can, believing that he’s trash. It’s now Woody’s job to make sure Forky is safe since he means so much to Bonnie despite his objections. During a road trip, Forky ends up jumping out the back window, and Woody goes after him and rescue him. Along the way, they meet friends old and new, starting a new adventure.

Review

When news of Toy Story 4 first surfaced, I was very skeptical, feeling that this all for the money. Fortunately, I’m happy to say that this is a phenomenal entry and one of the best animated films in years. First off, the animation is breathtaking, almost photorealistic at times, really showing just how far Pixar has come. Much of the returning cast, including Tom Hanks, Tim Allen, Joan Cusack, Wallace Shawn, and John Ratzenberger deliver solid performances. Though I was worried about him being annoying comic relief, I actually grew to love Forky as a new character. Another casting highlight are two plush toys named Ducky and Bunny, voiced respectively by Keegan-Michael Key and Jordan Peele. Also, Keanu Reeves voices a Canadian stunt toy called Duke Kaboom, who steals the show with his Canadian puns. There honestly is no false note when it comes to the cast assembled here.

Toy Story 4’s central focus is the Woody and Forky’s relationship, similar to his relationship with Buzz in Toy Story. What makes it different is that Woody recognizes Forky’s importance and tries to help him rather than object to him. Another major plot element revolves around the return of Bo Peep (Annie Potts) and the romance with Woody from before. Not only is the romance sweet, but Bo Peep is greatly expanded upon, making her one of the biggest highlights. There is a somewhat central villain, a talking doll called Gabby Gabby (Christina Hendricks), but she becomes more sympathetic. This film deals with some pretty heavy themes, such as finding one’s worth, clinging to the past, and self discovery. Toy Story 4 appeals to adults and kids of all ages. Overall, whether or not it’s the last, Toy Story 4 is still a great time for the whole family.

Buy Toy Story 4 from Amazon: https://amzn.to/484eCql.

Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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Where to watch Toy Story 4 (2019)

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Following the massive success of Toy Story and Toy Story 2, Pixar was becoming a force to be reckoned with. Instead of producing another sequel right away, they created films such as Monsters Inc, Finding Nemo, The Incredibles, and more. Around the same time, tensions between Disney and Pixar were worsening, a possible split between the two seeming likely. In 2004, Michael Eisner, then Disney chairman, started working on a third entry at his Circle 7 Animation studio. Eventually, the studio fell apart, and Disney acquired Pixar in 2006, John Lasseter named head of Pixar and Disney Animation. Though Circle 7 had a concept planned, Pixar decided to scrap their ideas and start fresh with their own concept. Unfortunately, many of the files they had for the original were unusable, so they had to start from scratch. After years of work, 2010 finally saw the release of Toy Story 3.

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Years have gone by since the first two films, and Andy (John Morris) has grown up and going to college. He plans on taking Woody (Tom Hanks) with him to college, while taking the remaining toys up to the attic. His mother accidentally throws them in the garbage, so they escape, hop into her car, and hide in a box. Woody tries to convince them to stay, but the toys don’t believe him, so he goes along with them. They’re taken to Sunnyside Daycare, where they meet other donated toys, led by Lots-O’-Huggin’ Bear aka Lotso (Ned Beatty). While the others are excited, Woody is skeptical and tries returning home, but is taken by young Bonnie (Emily Hahn). Meanwhile, the other toys are put in the toddler room, where they’re subjected to all sorts of rough play. They soon learn the truth about Lotso, and Woody must save them.

Coming out eleven years after the previous entry, Toy Story 3 certainly had a lot to live up to. Luckily, this entry not only lives up to the first two, but it works as a standalone fantastic animated film. Given that so much time has passed between films, Pixar made major advancements in their animation, and it really shows. Even several years later, the animation still looks incredible, really showing how far they’ve come since Toy Story. Like before, the characters are what makes these films so memorable, and this one is no exception. Several of the original toys return, all doing a great job, and the new ones are more than a match. Much like Stinky Pete in Toy Story 2, Lotso initially comes off warm and welcoming, but quickly takes a turn. Ned Beatty does a great job going between these moods and is perfectly cast.

Some minor characters from before, notably Mrs. Potato Head (Estelle Harris) and Barbie (Jodi Benson), are further expanded upon. The scenes between Barbie and Ken (Michael Keaton), in particular, provide some of the biggest laughs. Another stand-out gag is when Buzz (Tim Allen) accidentally gets set to Spanish and basically turns into Antonio Banderas. The climax is a mixture of suspenseful and exciting as the toys try to escape from Sunnyside. Once it gets towards the last act, there are some really emotional moments that will leave most audience members crying. Without going into spoilers, it’s a perfect metaphor for taking your childhood things and passing them onto a new generation. It’s a perfect way to cap off the overall story, while also leaving open opportunities for future installments. Overall, Toy Story 3 continues the legacy of the previous films and ranks as one of Pixar’s finest animated features.

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