Time to light the lights for the return of The Muppet Show

The big Muppet news of 2026 so far has been a one episode revival of The Muppet Show. It seems to have been championed by Seth Rogan (executive producer) and featured Sabrina Carpenter as the show's special guest.

There is always a worry when a beloved franchise gets a reboot - as I said when The Muppets was released back in 2011. But Disney has done a reasonable job as caretakers of the Muppet legacy in the past 15 years, releasing lots of new projects although not much has really made an impact.

There was a follow up film, Muppets Most Wanted, that was okay. I didn't like it as much as the 2011 film. Disney tried two series featuring the main characters (The Muppets and then Muppets Now!) and also did a short series about the Muppet Show band, The Electric Mayhem and a Hallowe'en special - Muppets Haunted Mansion. None of the series grabbed me and Cathy and we didn't finish watching any of them. (Maybe, as Gonzo sings, we're going to go back there again, someday.) 

So, I watched The Muppet Show special with low expectations but high hopes - fan chatter before the release seemed positive and I'd seen a couple of clips that made me feel less apprehensive than I would have felt going in blind. And overall, it was a decent epsiode that vibed very much with the feel of the original show.

It was the usual chaos behind the scenes, lots of recognisable background characters, fourth wall breaking comments, a guest star who leaned in and took it seriously but didn't take herself seriously, and some fun musical numbers. The duet between Kermit and Sabrina Carpenter featuring lots of harmonising muppet fish and swamp critters felt very OG Muppet Show. Statler and Waldorf were back in their box. Rowlf was back on piano. Scooter was back backstage. It was all done very well.

I had a couple of minor quibbles. Bobo the bear shouldn't have been saying "It's good to be back" when he was a character first introduced on Muppets Tonight, not The Muppet Show. Pepe the Prawn was under-used and appeared in probably the weakest sketch of the show. I'm not sure what Beauregard was meant to be doing during the rats' musical number. 

However, those are really penickity issues. I'm quite happy that all I have are penickity issues as that's a sign of how much this one off special got right. Here's hoping it gains enough of an audience that Disney agree to doing more!

Cinema viewing 2025

In 2024, five of the seven films I went to were 'quels of some sort. My cinema trips in 2025 started in the same vein with a Disney sequel to one of my favourite films.

Moana 2 (Odeon, Cardiff Bay)

I'd put Moana in my top 5 Disney films, no question. So this sequel had a lot to live up to. My overall sense was that it was a decent attempt, but some aspects didn't really work. 

This time Moana is trying to raise a sunken island, which for some reason is keeping the various peoples scattered across the ocean's island chains separated. She connects with Maui, the demigod again, and they team up to raise the island to the chagrin of a storm god who sunk it. 

It's always difficult when sequels feel they need to go more epic and don't quite pull it off. It's also a fine balance between preserving the aspects of the story and characters that made a film work first time around and introducing some new aspects that keep things fresh and interesting.

I felt they didn't quite get the balance right with Moana 2. This time Moana has a motley crew of islanders helping her, but none of them were developed as characters. It was a stereotypical 'crew' with the talented but clumsy one, the grumpy curmudgeon, and so on. More could have been done with those extra characters as opposed to just being extra hassle for Moana to deal with. 

So, yeah, a decent attempt that fell slightly short of a very high bar. It was worth seeing and I enjoyed it. 

The Penguin Lessons (free preview at Showcase, Nantgarw)

Cathy scored us some free tickets to go and see this film that was based on a true story. Steve Coogan isn't my favourite actor, but he does dramatic non-comedy roles pretty well. He plays a teacher called Tom who is moving around South America and winds up in a school in Argentina just at the start of the crackdown that established the brutal junta dictatorship in the 1970s. 

He also acquires a penguin after a drunken holiday over the border in Uruguay. The penguin becomes attached to him and won't leave and the story then follows a fairly familiar story arc as the initially hostile Tom becomes very attached to the penguin in turn, becoming a better person along the way.

While Coogan plays the character well, the penguin is cute, and Jonathan Pryce is excellent as the headmaster of the school, I found the historical setting of the film the most compelling bit. The film managed to capture the slow descent of an unstable country into scary totalitarianism. The scenes where the secret police disappear people off the streets - many of whom are never accounted for - are shocking, and Tom's inaction in the face of such shocking brutality is captured incredibly well. The remorse he feels at his cowardice, as he confesses his shame to his penguin friend, lifts the film out of the 'human saved by an animal' genre.

It poses that question of 'what would you do?' if you were in a situation like that. In the film Tom intervenes on behalf of one character, but apparently that sub-plot was added to the script and wasn't something that happened in real life. There is a poignant note at the end about how many mothers were still waiting for news of their disappeared children.

The unexpected serious side of the film made it a much better watch than I initially expected. 

Elio (at Y Galeri, Caernarfon)

Pixar films have been quite hit and miss of late. This had moments that really made me laugh. It fell a little bit into the animated story trope of kid losing their parents and the adult trying to care for them really struggling. Within that trope, the main character, Elio, inadvertently makes contact with an alien having family troubles of their own. They become friends and find a way forward together. 

The alien antagonists that threaten Elio are suitably scary, but there is a point to their martial aggressive natures. The subtext that trying to hide your soft centre behind sophisticated battle armour is laid on a bit thick, but the point is valid and Pixar make sure to hit several other moral compass points along the way - dishonesty leads to disaster (for others if not for you), authenticity matters more, expressing love isn't weakness. 

I don't think the film did particularly well in the cinemas, which is a shame. There weren't many in the showing we went to - at the little arts cinema in Caernarfon that we try to go to when we are on holiday in the area. But even though it didn't seem to get a lot of press, I'd prefer Pixar to carry on creating original stories instead of just adding more instalments to successful franchises. (Yes, of course I will watch Toy Story 5 when it comes out, but that's not the point...)

Sketch (free preview at Showcase, Nantgarw)

More free tickets, for a decidedly odd film that is best described as 'horror for kids'. It would score highly on the kid's film bingo card. Dead parent, check. Unexplained supernatural situation, check. Conflict with adults who don't believe the kids, check... until they do believe, check. 

I don't want to put too many spoilers in this, but the story is basically about two kids who have lost their mum and don't want their dad to sell their house. They find a place with magical powers and inadvertently trigger an invasion of monsters. Which they then need to stop. 

The adult roles are played by Tony Hale as the dad, and D'Arcy Carden as the kid's aunt who is helping the dad sell the house. D'Arcy is, frankly, a bit wasted in this. She is a supremely funny actress but this felt a bit flat. 

There are some good action sequences and comic moments, but the story is a bit weak. It's the kind of film to put on while ironing as you don't need to be paying it full attention. Some of the kids in the screening we went to got quite bored in the slow bits. 

Zootropolis 2 (Odeon, Cardiff Bay)

We went to this with a group of friends to celebrate Cathy's birthday. Another Disney sequel to a film I rate highly. The original Zootropolis is a very enjoyable, narratively complex story about politicians generating misinformation to stir up fear between different groups of people for their own benefit. That theme is still very pertinent.

The story in the sequel is along the same lines but this time the villainy is perpetuated by wealthy citizens of Zootropolis. So, it's a little more cliched than the first movie. Unlikely cop duo Judy Hopps (a rabbit) and Nick Wilde (a fox) pursue the case against all odds and against direct orders. Will they succeed in bringing the bad guys to justice? Well, this is a Disney film so you can probably guess the answer. 

There are plenty of callbacks to funny moments in the previous film, and multiple nods and homages to other films, both Disney and otherwise. Special highlights were jokes about Ratatouille and The Silence of the Lambs. Overall the film was excellent and I would rate it as probably the best Disney sequel I've seen. I definitely want to watch it again. 

The Muppet Christmas Carol (Cineworld, Shrewsbury)

A Christmas Eve treat for me and Cathy, watched with my brother and three niblings in tow. I saw the film when it was originally released in the early 1990s, then many times over the years on VHS, DVD and latterly streaming. I was delighted this was the original cut with Belle's song 'The Love is Gone' in it. The song adds such emotional depth to Scrooge's visit to Christmases past. 

I would argue this is both the finest adaptation of Charles Dickens' classic novel and probably the best Muppet film as well. It has lost none of it's vitality and it was great to see it in the cinema again. 

Erasing Cara Dune from Mandalorian merchandise

Cara Dune was a major character in both seasons of The Mandalorian. She debuted in the fourth episode of the first season, when the Mandalorian and the Child he is protecting seek sanctuary on a quiet planet. Cara is also hiding out there, and they team up to protect a village that is being attacked by hostile bandits.

At the end of the first series, the Mandalorian assembles a team of allies that he has made on his various adventures, to take the fight to the people pursuing the Child. Cara joins him and at the end of the final epsiode in the series, stays behind on the planet Navarro, where the showdown took place.

A few episodes into the second season of the show, the Mandalorian returns to Navarro, at the request of Cara and another character, to help them destroy a remnant Imperial base. In the process, they discover some more of the Child’s back-story hinting at why the remaining Imperial forces are hunting him. At the end of that episode, Cara is recruited by the New Republic to become a Ranger, which is a bit like a police sheriff.

At the end of the series, the Mandalorian approaches Cara for help, using her privileges as a newly minted Ranger to find and recruit someone to help him in his mission to rescue the Child from the Empire. Cara joins the Mandalorian and is part of the climactic battle against the Imperial warlord who has captured the Child.

So, as a character, Cara plays an important role in the story arcs of both seasons of The Mandalorian. However, after the second season wrapped, the actor who played Cara, the former MMA fighter Gina Carano, made negative comments about transgender people and refused to apologise. Gina then moved on to other topics, including conspiray theories about the pandemic, and was subsequently fired by the Disney Corporation. This was despite her being lined up to star in a new series set in the Star Wars universe, which Disney has decided to ditch as well.

So, basically that means it’s the end of Cara Dune as a character in future Star Wars projects. Because of the controversial comments made by Gina Carano, any attempt to recast the character would just dredge up all the reasons why the original actor got fired. Disney have decided to move on without both Gina Carano and Cara Dune.

Disney has the right to not employ people who don’t share the organisation's values. As the controversy dragged on, Gina Carano, had several opportunities to retract comments and de-escalate the situation. Instead, things got more toxic until Disney decided it had had enough.

However, Disney has now gone a step further and started removing the character from materials relating to The Mandalorian.

Towards the end of last year, Topps released a set of trading cards in the UK based on The Mandalorian. It was basically a re-release of two sets that had come out previously in the USA, with both sets combined into one big set covering both series. However, Cara Dune is notably absent from the cards.

Cara appears in a couple of still photos taken from various episodes, but very much as a background character. She barely features on the cards with pictures from the episode where she is introduced and first teams up with the Mandalorian. She is notably absent from the shiny ‘character cards’ that are in the set, although other characters who appear in just a few episodes are included.

While I understand the decision to not continue with the character in future projects, I feel ambivalent about the retroactive redaction of media to remove the character completely. Maybe there are contractual issues, although I would imagine the contracts for merchandise were signed a long time ago. Shiny character cards featuring Cara were included in the original trading card releases in the USA. So this is a decision made after the controversy.

I’m not keen on the phrase ‘cancel culture’, because it feels to me that the people who object the most to ‘cancel culture’ are, ironically, the people who think we should ban or boycott anything they don’t like. But this redaction is really noticeable. Because of how prominent a character Cara Dune was in the show, removing her is really obvious, and, weirdly, the removal of the character acts as a reminder by omission of the toxic comments that prompted the controversy. It’s almost as if Cara Dune – the character – made those comments and has been removed from the follow-up media.

I don’t know what the best way forward for the various companies involved would have been. They might have attracted negative attention if Cara Dune appeared in the trading card set from people who can’t distinguish between a character and an actor. Or maybe I am being naïve in thinking that it is possible to watch and enjoy a show without endorsing the views and opinions of the actors playing the characters. These things become intertwined and are hard to differentiate.

Some final notes

The Cara Dune action figure at the top of this post was released as part of a range of ‘retro’ looking figures that copy the style of the original Stars Wars figures that were released over 40 years ago. Because of the controversy, it is very unlikely there will be future action figures of this character. So, I bought one, as a future curiosity more than anything else.

The box of trading cards was a Christmas gift. I now have a complete set of the base cards and most of the insert series. The highlight of the box was a “parallel card”, with a purple tint. 

Only 50 of these were released and I got the very first one as noted on the back!

The character, Moff Gideon, is the Imperial warlord who captured the Child for his wicked plans at the end of the second season of the show. He's not my favourite character but at least he is in several episodes and has a speaking part!

Reflecting on 2021 - films and TV

I saw three films in the cinema this year. They were, in order, In the Heights (which was fantastic - I blogged about it shortly after we saw it), Scoob! and Dune. I was going to write an extended review of the latter, but didn't get round to it in the recent busy weeks. 

Broadly speaking, I thought Dune was an excellent capture of the essence of the book. I realise if someone hadn't read the book then it might be hard to follow. But, you know what, the book was published over 50 years ago so people have had plenty of time to read it. For once it was nice to watch an adaptation that didn't dumb it down for the non-reading masses. My only criticism was that it had a score by Hans Zimmer, whose one trick is big, blaring atonal noises to signify vastness. It could have done with more subtlety, because everything is vast in the Duneiverse so there were lots of atonal blarts throughout the film.

Similarly, Scoob! played to the fans. I especially liked the cameo appearance by Captain Caveman. The little kids who were with us watching the film seemed to like it too. So, all in all, that was a decent film as well. 

We have also seen some new films via the streaming services as well. We watched the new Disney animations Raya and the Last Dragon, Luca, and, on Christmas Eve, Encanto. All of them felt like tick the box Disney stories. None really had anything particularly that stood out. I did laugh at Luca's creepy uncle who lived in the ocean deep and therefore was see-through. 

I think the best new release I saw on a streaming service was Free Guy. There was one scene in particular that really moved me. I blogged about it back in October. 

We also watched the two new Marvel releases, Black Widow and Shang-Chi and the Legend of the Ten Rings. They were OK. I don't feel they added much to the Marvel Cinematic Universe (MCU), and in the case of Shang-Chi, I was mainly left wondering how many other mythologies being real and hidden worlds within worlds there can be in the Marvel canon.

Turning to TV, though, and there have been four series set in the MCU. I would rank them in order of quality as Loki, WandaVision, Hawkeye, The Falcon and the Winter Soldier. All the series are trying to move characters on into the story arc that is taking over from the Avengers story arc of the last 10 years. WandaVision was a tease for the first few episodes, which Cathy found annoying. In a later episode it included a memorable comment about the nature of grief, which prompted me to blog.

Loki was similarly focused and introduced the idea of parallel universes and divergences in timelines. It was quite clever and I enjoyed the other versions of Loki that cropped up. (Aligator Loki being my favourite.) Hawkeye was released in the run up to Christmas and was suitably seasonal. It introduced some new characters, including a villain who may become relevant in the rest of the MCU.

The Falcon series couldn't decide what it wanted to be. Was it a series addressing race issues, or addressing fascist responses to displaced peoples? Were the terrorists the bad guys, or the good guys? Unfortunately I found the terrorist leader to be completely unbelievable as a character and the show itself veered between the peril that the Falcon's family might lose the family fishing boat and shadowy figures manipulating events on a global scale. 

Two series on Netflix that we really liked, Kim's Convenience and Atypical, came to an end this year. Both opted for sweet endings with unresolved storylines left hanging. In Atypical almost all the characters got a happy ending that meant they would be embarking on an adventure somewhere. It was both satisfying but sad that in a way the characters were going off and doing something else and we wouldn't see what would happen to them. That is how life works though, with people moving on and living a life invisible to us. 

We also rewatched a lot of TV. We watched the entire run of Frasier, most of which was still very good, years after it first aired. We watched most of Cheers, which hasn't aged as well. We watched all 8 seasons of Castle, which got a bit wrapped up in its story arcs and then bodged the ending of the final season with a tacked on scene that didn't work. 

Towards the end of the year we started rewatching Futurama. One or two episodes have been uncomfortable to watch, showing how much things have changed in the last 20 years. However, most of the jokes have made me laugh.. for the umpteenth time. And the episode with Fry's dog, well, I knew it was coming, but dammit, I still choked up at the end! 

That's the mark of good telly - that it can still hit you in the feels even though you know it's gonna hit you in the feels. 

I may have jumped the gun on this review as the first episode of The Book of Boba Fett is about to drop on Disney Plus. But I will save that for a future review post.

Star Wars Day 2020 - a long review of The Mandalorian

As it’s Star Wars Day I feel this is as good a day as any to review The Mandalorian, the newish series set in the Star Wars universe. 

THIS POST CONTAINS SPOILERS so I'm posting a picture of my lockdown workstation buddies to break up the text. Read on at your own risk!

Yep, they're Lego!

The Mandalorian is the flagship series on the new Disney Plus streaming service. I’m not saying it’s the only reason we bothered buying Disney Plus, but the way the service launch coincided with the lockdown combined with this series that it feels like half of the geekier end of the Internet has been raving about, made the purchase almost inevitable.

(A sidebar on Disney Plus. Is it worth the money? Kind of. Except we already own most Disney and Pixar films on other formats, along with Star Wars and the better Marvel movies. The rest of the programming isn’t hugely exciting. The Star Wars animated series Clone Wars and Rebels are probably next on my watch list. Despite them saying its all of Disney’s back catalogue there are a couple of omissions – the film ‘Song of the South’, which has a fairly relaxed attitude to slave plantations implying how life as a slave was okay really, isn’t on there. Neither is that famous nature documentary where off-scene riggers literally threw lemmings off a cliff. Maybe that’s for the best.)

Disney have been adding a new episode of The Mandalorian every Friday for the past six weeks, with two available straight away. The eight episode run is now concluded. It was ace. I have to say that right from the start. It had humour. It had believable characters. It kept me hooked week to week.

It’s not a kid’s TV series. That’s not to say it’s hugely gritty or anything. Characters aren't using the f-word and nobody’s injecting narcotics into their eyeballs. There’s no nudity, or even hints at sex. But there is violence and even blood, which you don’t get a lot of in the Star Wars universe. Bad guys die some pretty horrible deaths, including getting tipped headfirst into a smelter, although they do tend to die their horrible deaths mercifully quickly.

The series is set in the aftermath of the Empire’s collapse. There are traces all around. Some Imperial generals have set up as warlords. Some high-calibre weaponry has got into the hands of thugs and thieves. It all feels quite believable – the power vacuum when the dictatorship collapses is something we’ve seen a few times. Ordinary people are trapped by it. The new regime doesn’t really care, or have the means to sort the problem out. There are New Republic X-Wings in one episode. They turn up for their plot point and then disappear. One character is a disillusioned former Rebel Alliance soldier. Even the good guys get jaded.

We learn more about the Mandalorian Warriors. The Clone Wars cartoon series has filled in quite a bit of back story, and this series adds to it. I liked the way it was considered as a creed rather than a race, with its own lore, and honour code. Most of all the Mandalorians were recast as ambiguous, neither good, nor evil, but following their rules. “This is the way,” being their affirmation of a course of action, and signalling agreement with it. The Armourer, who is sort of the sect leader, is a combination of smith and priest, and had some real gravitas.

The lead protagonist is the Mandalorian, a bounty hunter. Other members of the bounty hunter Guild just call him "Mando". We learn a bit about his back story as the series progresses, and his real name in the last episode. But overall he manages to remain a mystery man. He is the character the story follows without the story ever really being about him. I appreciated that. Too many shows rely on character exposition rather than letting you learn about them through observation. 

The main other character is “Baby Yoda”, although that is the name ascribed to the creature by fans rather than in the show. In the script the creature is just ‘the child’ and its origins, race and purpose are a mystery to everyone, except, presumably, the Imperials who are hunting it. I knew about Baby Yoda before watching the show because, like I said, the Internet went nuts about it. I didn’t realise Baby Yoda was going to provide the main story arc of the show. I’m not complaining at all. I love a good mystery, and maybe we will learn something about Yoda along the way.

Other characters are good too. I liked Kuiil (pronounced Queel) the Ugnaught. His way of ending arguments by just saying “I have spoken” has already passed into our household vernacular. They managed to give him a backstory – enslavement by the Empire and earning his freedom – in a few short lines that made him real.

Cara Dune, the jaded former rebel soldier, was a bit less three-dimensional. There’s definitely more in her back story that could be explored, and I’d like to know more about her. IG-11, the assassin droid hunting Baby Yoda, was a character in its own right by the end of the show. I’ve noticed that Droids tend to be expendable in Star Wars spin offs now (Rogue One and Solo spring to mind). Sadly, The Mandalorian continues this theme. 

The Imperial generals are a bit cookie-cutter villains, but that’s not necessarily a bad thing – often a villain trades menace for screen time. It’s the Jaws effect – the less you see of the shark the scarier it is.

There a lot of little background details that probably need several rewatches to get. I thought it as funny seeing the Salacious Crumb creatures being sold for food in the street market. And if you ever wondered what the Cloud City refugee carrying what looked like an ice cream maker was actually carrying, then that was resolved as well. But those details are for the fans and aren’t obtrusive. 

The only thing it would be helpful to know is that the robots in a flashback scene are Super Battle Droids from the Separatist Army in the Clone Wars. But you don’t really need to know that to get what is happening, or why the titular Mandalorian became a Mandalorian Warrior. I also really liked seeing Mos Eisley again.

There wasn’t much I didn’t like about the series. One episode was a bit duff, when the Mandalorian is forced to track down a wild beast. But even that episode has a very important plot point regarding Baby Yoda. The writers have run through a number of tropes though. We’ve had the ‘village in peril needs a gunslinger’ episode, the prison break episode, the ‘blackmailed into a feat of derring do’ episode, and the ‘helping a rookie’ episode. It feels like every science fiction series has the same stock story elements for episodes.

Overall though, despite being set in a well-known and well-worn fictional universe, I felt The Mandalorian had enough new elements and introduced plenty of innovative concepts to seem like it was breaking new ground, rather than rehashing the same old thing. That contrasted a lot with Star Wars Episode IX: The Rise of Skywalker, which I saw around Christmas, which really didn’t offer anything new at all and felt totally bound by the conventions of Star Wars script-writing. (After The Last Jedi had controversially ripped up the blueprint for a Star Wars movie, Episode IX felt like a real let down.)

I feel The Mandalorian benefitted from not revisiting the same old scenes and from showing us something new, or showing us those things in a new way. (Mos Eisley is a big enough place to go back to.) The callbacks to the massive Star Wars back catalogue were subtle and evidence of the care shown by the creative team, but they weren’t included by people trying to show off their fanboy credentials. Blink and you’ll miss them. Those knowing nods are much more satisfying than in some of the cinematic releases, where it often feels they are trying a bit too hard.

So, overall, I really enjoyed The Mandalorian. And I’m a hard guy to please when it comes to modern Star Wars stuff. I know it’s entitlement, but I have been into Star Wars since 1983 so I have high expectations. The Mandalorian met those expectations, and I would say it’s probably worth signing up to Disney Plus even if that’s the only thing you watch on it.

Animation review: Kung Fu Panda 3 and Zootropolis

In the last few days I've seen Kung Fu Panda 3 and Zootropolis. Both were pretty solid animated films with some surprisingly mature themes. This post includes minor spoilers.

Don't upset the Dragon Warrior

Kung Fu Panda 3 pretty much continues where the second one left off, with Po meeting his real panda father who was a post-credits reveal at the end of Kung Fu Panda 2. The plot is split between Po discovering his panda heritage while also having to fight a new baddy – General Kai, who has returned from the Spirit Realm to steal the chi life force of the living.

For fans of the first film, Ugwe, the turtle who chose Po as the Dragon Warrior is back. I always liked Ugwe. The animation is top drawer, especially a sequence with an elemental dragon towards the end. There are also lots of very cute baby pandas.

If I was a bit critical I’d say the members of the panda tribe were a bit overdone in being goofily clumsy and fat. It was funny at first, but there is only so many time you can see someone bouncing off a massive panda tummy in slow motion and still laugh at it.

The more mature storyline is the conflict between Po’s panda dad and his adoptive goose dad, who has raised Po ever since he discovered him in a box of radishes. I think it covered the difficulty faced by foster fathers and birth fathers quite sympathetically, even if it resolves it more neatly and quickly than things like this get resolved outside animated films. What is telling is that both panda and goose want to see Po happy, and that enables them to get over their differences. Po ends up with two dads, instead of replacing one. That’s a very positive message.

Zootropolis (called Zootopia everywhere else besides the UK) is the latest Disney film. I really enjoyed it. The plot is a nod to police movies and unlikely buddy movies – a rabbit, Judy Hopps, becomes the first bunny to become a police officer in the city of Zootropolis but struggles to be accepted because of her status as a prey species. She teams up with a streetwise fox, Nick Wilde, in an ‘unnatural’ partnership between a predator and prey species to solve a missing persons case that turns out to be much bigger than she first realised.

Wait, this isn't the Number 8 bus...

There were some good jokes along the way. The scene in the DMV run by sloths was no less funnier for being one of the extended trailers for the film, and Flash the sloth pops up again later in the movie in a moment that really made me laugh out loud. There is also an very nice homage to the Godfather as well. The animation is really outstanding, particularly when Judy sits in the observation car of the train taking her to Zootropolis and we see the city, with its different climate zones revealed one after the other. That whole sequence knocks most science fiction movies out of the park for the level of detail and wonder.

The big plot theme here is the relationship between predator and prey species in a clever parallel to racial tensions in the human world. With predators seemingly falling victim to their ‘biology’ and going savage, the prey species are being urged to take action. It’s no accident that one of the more prominent prey politicians has a hairpiece reminiscent of Donald Trump. The assertion that ‘we outnumber them ten to one’ and therefore need to crush them to protect ourselves from them is a bit like the anti-Muslim rhetoric you sometimes hear. Removing a predator cheetah (who is only really a danger to doughnuts) from the front desk of the police station because the powers that be feel as a predator he doesn’t project the right image, really rams the point home about stereotyping.  (Even if the love of doughnuts is in its own way also a stereotype.)

So, Zootropolis has a very deep theme and an important message. It also boasts a fine meta joke - Alan Tudyk voices the thief Duke Weaselton, who is a weasel. In Frozen he voices the Duke of Weaselton. When he is welcomed at Arendel castle as the Duke of Weaselton, he issues a correction and says it's Wesselton. In Zootropolis his name is mispronounced and he corrects it to Weaselton. I doubt any kids will even get the link, but that’s the sort of thing I quite enjoy.

Ratings:

Kung Fu Panda 3: 7.5/10

Zootropolis: 9/10

2015 in review: Films I watched on TV or DVD

I've decided to list all the films I watched for the first time in 2015. I've already listed the 19 I saw in the cinema in another post because otherwise this would be crazily long. As previous, I've listed these films in the order I saw them rather than in order of quality. As I saw them on TV or DVD, some of them are a few years old, although some were released this year.

Freebirds
A fairly poor animation about a group of turkeys who travel back in time to try and stop the tradition of eating turkey at Thanksgiving (and the resultant slaughter of turkeys in the present day). It had its moments, but none of them memorable enough for me to recall for this review. The notion that turkeys suffer because humans want to eat them isn't really explored in any depth, but this film could provide a useful discussion starter with kids about animal welfare and vegetarianism, if you wanted something like that. But then Chicken Run probably does it better.

Identity Thief
Melissa McCarthy steals Jason Bateman's identity and he has to track her down to clear his credit rating. McCarthy is an acquired taste, but I quite like her. Jason Bateman raises the film slightly and it's nice to see him playing the wronged victim for a change.

The Smurfs 2
Sequel to The Smurfs from a couple of years ago, For me, the new characters didn't really work that well, but Hank Azaria as Gargamel puts in another scenery-chewing performance that ensure the film is better than many animated sequels. It's not as good as the first one, which I really enjoyed.

Hoodwinked Too
I didn't think I'd ever see this sequel to Hoodwinked, as it got pulled from cinemas before release for some reason. However, a fellow animation fan had it on imported DVD and loaned it to us. It was very funny, like the original, although not all the characters returned, sadly. It also suffered from the trope of 'baddie was just misunderstood and decides to help the good guys after a short heart to heart conversation', which even in a cartoon isn't really that believable. But easily deconverted villain aside, it was generally well-scripted and quite fun.

10 Years: The Reunion
A cheapie DVD we bought because it had Chris Pratt in it. (After Guardians of the Galaxy and Parks and Recreation, we got slightly obsessed with him.) So, about this film... It's basically the most photogenic bunch of friends who ever went to high school in America reunite for their reunion. Nothing much happens in the course of the film and there are no big questions here. Chris Pratt plays an obnoxious, high-spirited individual and gives some comedy value to the proceedings, but generally this is a forgettable film.

Delivery Man
I quite like Vince Vaughn and he lends a certain air of quality to this fairly average story that illustrates the 'great concept / poor story' conundrum that many films fall into. Vince plays a man who discovers his deposits in a sperm bank have been used to father over 500 children, many of whom are now joining together to find out who their biological father is. Unwisely, he starts to interact with them and it all gets a bit messy. Chris Pratt is his best friend and legal counsel and manages to steal the scenes he is in. Worth a watch, but not one for repeated viewings.

The Nut Job
Animated adventure featuring squirrels trying to steal enough nuts for winter after an accident wipes out their food supply. Covering similar ground to A Bug's Life and Over the Hedge and with a fairly obvious story, this was enjoyable, but not great.

The Five Year Engagement
Jason Segal proposes to Emily Blunt but then life gets in the way and the engagement drags on. It's a sort of anti-romantic comedy up until the happy ending. The stand out moment is Chris Pratt (again) doing a rendition of Billy Joel's 'We Didn't Start the Fire' listing all Jason Segal's former girlfriends at the meal celebrating his engagement. Cringe-inducing but hilarious. Rhys Ifans is also great as a seedy professor with eyes on Emily Blunt.

Crazy, Stupid Love
Steve Carrell is known for slapstick comedy, but it's his darker turns where he really shines. However, he kind of stumbles through this slightly sad film. When his character's marriage breaks down, he comes under the tutelage of ladies man Ryan Gosling who turns him into a hit with the ladies that doesn't help with the hurt and loss he is feeling. There's a twist at the end I didn't see coming and also a highly inappropriate plot-line involving someone taking nude photos of themselves. Despite an almost happy resolution, the film left me feeling a bit gloomy.

Mr Peabody and Sherman 
A big-budget flop and it's not hard to see why. The script cuts so many corners I imagine it was printed on circular paper. There's a villain who is a villain for no other reason than the plot needs a villain. Characters switch allegiances way too easily. The jokes don't work. It feels criminal to waste the talents of Ty Burrell (Phil from Modern Family) in this, but this is the second poor film I've seen him in after the Muppets sequel. Maybe he doesn't have what it takes to make the leap to the big screen.

Quantum of Solace
I watched this on TV to fill in the gap before going to see Spectre. It was alright. Not really sure it added much to the Bond mythos at all. The trope for the Daniel Craig era Bond films tends to be the women he sleeps with end up dead. It happens in this one too as Gemma Arterton gets drowned in oil. Bond doesn't seem to care. The next conquest will be along in a minute. It also suffered from the villain's base having 'Death Star syndrome' as the whole building blows up with the minimum of effort.

Cinderella
Disney's live action version of their cartoon. I really liked this, mainly for the theme of 'Have courage and be kind' - what a great motto! - and for Helena Bonham Carter as the Fairy Godmother. I don't like watching cruelty on-screen so actually found wicked stepmother Cate Blanchett quite hard to watch. They also made Prince Charming into an actual person with his own moral dilemmas. So, all told, well worth seeing.

Elf: Buddy's Musical Adventure
This is an animation using songs from the stage show and the plot-line of the film, Elf. Confused? Well, it's enjoyable nonetheless. The animation is pretty good. The songs are pretty funny. A good film for repeat Christmas-time viewings.

Home
This animation didn't do that well at the box office but I really liked it. The main character, an alien called Oh who is voiced by Jim Parsons (Sheldon from The Big Bang Theory), is a bit annoying, but bearable. The plot isn't totally unique but has enough charm to get past that. The bad guys have a reason for being bad guys, which gives the film an unexpected turn, and overall, this is different and funny enough to justify watching it more than once.

The Muppets: Letters to Santa
Before the Disney-backed revival the Muppets released occasional straight to DVD films. This one is from 2008. It's not terrible, but it's not brilliant either. The film title tells you what you need to know. There's a fun musical number in a post office. Uma Thurman and Nathan Lane appear in cameos. The late Richard Griffiths plays Santa. There's a heart-warming moral, as you'd expect.

Maleficent
Disney's live action retelling of Sleeping Beauty that explores the story of the villain, Maleficent. Some grown up themes of greed and betrayal, loss and vengeance, and a pre-Frozen exploration of the idea that a 'true love's kiss' might not be from a handsome prince. Overall I was impressed with the film. Angelina Jolie is other-worldly as fearsome faerie queen Maleficent, and Sharlto Copley plays the King, and father of Sleeping Beauty, with the right mix of wickedness and tragic doom.

Into the Woods
Disney does Stephen Sondheim in a musical mash-up of various fairy tales. It's very dark. We watched this on New Year's Eve and finished it just past midnight, but I'm counting it in the 2015 list. James Corden is a better actor than you might think and carries this. Emily Blunt is also very good. Johnny Depp steals his scene as the Wolf who encounters Little Red Riding Hood - "There's a difference between nice and good." I also like the Prince's line: "I was raised to be charming. Not sincere."

So, that's 17 films on TV or DVD, making for a grand total of 36 films I've seen for the first time this year. That's 3 a month. Not too shabby.

2015 in review: Films I saw at the cinema

I've decided to list all the films I watched for the first time in 2015. I've split them into cinema releases and movies I watched on TV or DVD, some of which are a bit older - those follow in another post because otherwise this would be crazily long. FYI, I've listed these films in the order I saw them rather than in order of quality.

Kingsman ~ The Secret Service
Comedic take on spy films based on a comic book. Despite the ludicrously over the top violence, I enjoyed this apart from the controversial brief sexual content right at the end. Although the big names in it were Colin Firth, Samuel L Jackson and Michael Caine, it also offered a rare cinematic outing for Mark Hamill, who didn't have much to do except look surprised.

Big Hero Six
Disney animation based on a comic book. A genius kid inherits his brother's robot nurse (naturally, being a Disney film, family members die) and turns it into a super-hero. It was a good film, but the supporting hero team weren't necessary and the villain's actions didn't really make any sense. So it turned into one of those films with some good central characters and not much of a plot.

Selma
Moving drama about the events in Selma, Alabama, during the height of the Civil Rights movement. It really made me aware of how the racism of powerful institutions worked to keep black people subjugated, and the sheer strength of character shown by Dr Martin Luther King and other leaders. I blogged about it here.

Chappie
South African-set science fiction action drama about a robot programmed to become self-aware. I quite liked this because it seemed quite realistic in portraying how a machine would feel when it came alive - shocked and awkward.

Avengers: Age of Ultron
Latest chapter in the Avengers franchise. Didn't really do much for me. Also about machine intelligence, but fell too easily into tropes. Why would a robot decide to create multiple copies of itself when theoretically it could just take over any machine going? Also it passed over spending time with characters in favour of MORE EXPLOSIONS!

Tomorrowland
Disney live action science fiction story starring George Clooney and Hugh Laurie. It had a surprising theme of hope in the future despite the way the world has been exploited and ruined to the point where it's on the brink of destruction.

Jurassic World
Basically, this is Jurassic Park, except the park and the dinosaurs are bigger. It had a more callous approach to human victims than the original, especially one character, an Executive Assistant, who was marked for death early on because she had a British accent. Chris Pratt starred, continuing his A-list trajectory that started with Guardians of the Galaxy last year.

Spy
Melissa McCarthy divides opinion. But this film was funnier than the trailers would have you believe. Also featured Alison Janney (yay) and Miranda Hart ( no, seriously) along with Jude Law as a slimy James Bond-spoofing chick magnet spy. But Jason Statham stole the show for sending up so many of his own films.

Moomins on the Riviera
A slow animated adventure based on an early Moomins story. If you like Moomins then it's one for you. It's European origins are very obvious.

Minions
The Despicable Me prequel. Being fair, it had some great set pieces. The first 20 minutes or so were fab. But the point about the Minions is they are knockabout background characters and asking them to carry a movie is a bit much. Although the showing we went to see did have the added bonus of a chap showing up in an adult Minion onesie, much to the embarrassment of his friends.

Terminator Genisys
I really enjoyed this. It took the Terminator mythos and turned it on its head. Arnie was back, which was the big seller, and they incorporated his real-world ageing well into the film. He was also deadpan funny. In many ways every Terminator movie is about the same thing - avoiding the fate that seems unavoidable, and this wasn't too different, but the plot was suitably complex to keep me interested. Matt Smith, former Doctor Who, has a small but important part as well.

Ant-Man
I knew very little about this going  in, except that it was Marvel Comics and the trailer looked good. It was very enjoyable, different enough from the main story arc to not feel like a retread of the same old ground (unlike Age of Ultron). In fact, the bit that jarred was the unnecessary attempt to tie in the wider Marvel franchise with an appearance by The Falcon. Although that did lead to a fun on-screen fight. Paul Rudd made a likeable leading man. Michael Douglas is always good value. And the final showdown involves a model train set. Could you ask for anything more?

Inside Out 
The summer's big Pixar movie, starring the emotions inside a little girl's head. As usual for Pixar, this is a top concept and very cleverly done. The basic story is the 'main characters are exiled and need to get back to their home' that worked very well in Toy Story, but didn't work so well here. It does have what I would contend is the cleverest joke to appear in any Pixar movie as a throwaway gag that I think most people missed. My main complaint, however, is the way Pixar allowed their main characters to shill for Sky and Subway, with them appearing in adverts before the film came on screen, That spoiled it for me. There was also an ad for the toys that gave away a key plot point. It would have been a better movie without these commercial spoilers.

Song of the Sea
This is my movie of the year. It's a beautifully drawn animation based on an old Irish legend about a little girl who is a selkie and the last hope of the faerie folk trapped in the human world. The artistry of the animation is gorgeous. The story deals with love and loss and I'm not ashamed to say I was blinking away tears at the end. Thoroughly recommended.

Suffragette
Before seeing this movie I hadn't fully grasped what it meant to be denied the vote and various rights on the basis of what genitals you were born with. I thought the subject matter was well-handled. It didn't glorify acts of terror, but it did made me think about how the boundaries blur. I recognise the sacrifices of the suffragettes, but setting off bombs and destroying property aren't really actions to endorse. Or are they? I've written more about it here.

Spectre
James Bond does what he does best - following his own orders, killing people mercilessly and exploiting vulnerable women for sex. I've written about glorifying a sexual predator here. On the other hand there was a lovely shot of a train in the North African desert, which if you like trains is worth watching the film for.

The Good Dinosaur
Pixar's first flop? Certainly the first Pixar film that I thought borrowed too heavily on other films. A bit of A Bug's Life as Arlo the dinosaur doesn't fit in and makes a mess of things, a bit of the Lion King (why do parents always die in Disney films?). The similarities to non-Disney franchises like Ice Age were also surprising. This film took ages to get to screen apparently and had been in production almost a decade. And yet, while beautifully animated even by Pixar's high, high standards, it was still let down by the story.

Star Wars: The Force Awakens (seen x3)
Also known as Episode VII. This was great. Long review WITH SPOILERS here. My Mum loved it as well. In her words "So good to get away from the awful prequels."

Charlie Brown and Snoopy: The Peanuts Movie
I have to admit I found this a bit slow. It is a very loving tribute to the original TV cartoons but there isn't much of a script. However, Cathy is probably one of the biggest fans of Peanuts there is and she really enjoyed it, so that's all that really matters. I did enjoy Snoopy acting out his dogfights with the Red Baron, prompting phone calls from worried kids all over the neighbourhood to Charlie Brown.

And that's it. 22 trips to the cinema to see 19 different films makes for a very full year of movie-going.

The dark heart of Disney’s The Lone Ranger

This post contains spoilers...
I wasn't prepared for The Lone Ranger. The trailers made it look like an enjoyable romp through the old West, with derring do, gunfights, wisecracks, chases along train carriages and so on. It had all that, it’s true, plus Johnny Depp on brilliant form. But there was an unexpected darkness at the heart of the film.

I wasn't expecting a scene of cannibalistic murder committed by an outlaw. Or the wholesale slaughter of Comanche warriors under the rattling clacks of Gatling guns. These were interspersed with moments of levity that felt inappropriate.

As the Indians are massacred by machine guns, Tonto and the Lone Ranger are stuck on a pump truck being gained on by a train – a scene that is comic in itself, especially for the way the characters interact. However, juxtaposed as it was with the scenes of one-sided warfare, it felt wrong to be laughing at the main characters’ predicament.

Similarly the murderous villainy of the leader of the outlaw gang, Butch Cavendish. In the past it would only be necessary for him to line his pistol with the forehead of the mortally wounded Texas Ranger that he kills, and pull the trigger. The report of the pistol would be enough, with maybe a view of the corpse to establish that he is definitely dead.

Considering this was released by Disney, with toys in the Disney store (and a large Lego tie-in range as well), to have Cavendish finish off his Ranger victim by cutting out his heart and eating it was fairly horrific. Admittedly most of this happens off-screen, but he is handed a napkin by one of his goons afterwards to wipe away the blood from his mouth.

I’m not necessarily against extreme violence. I watched Dredd and the two Kill Bill films and despite the violence being brutal, appreciated the merit of including it. There was no merit to including this scene in The Lone Ranger. It didn't add to the drama. Seeing his brother executed at close range by a bullet to the head would have been enough to make Dan Reid seek understandable vengeance as The Lone Ranger.

Equally, it messed up the rest of the story, as we connect the dots between the outlaw leader and the other villains of the piece. Despite being the kind of guy who eats a lawman’s heart, Cavendish is quickly incorporated into the entourage of a bigger enemy, and from then on seems a lot less menacing.

Outside the law he is wild and savage, but it’s hard to take him seriously when he is supposed to be part of a bigger plan. It just doesn't work. He is too far gone down the path of brutality to be relied on by an intelligent criminal. And that’s a shame, because the link between Cavendish and his partners and Tonto pulls the film together well.

So, what is left in the film? The chase sequence at the end is brilliantly ludicrous and convoluted and highly enjoyable. Unfortunately, this only served to highlight how darkly drawn the preceding almost two hours had been. Helena Bonham Carter is woefully under-used but is pure comic joy when she is on-screen. The landscapes are gorgeous, shot mainly in Utah among the sandstone mesas and canyons that I fell in love with when I went there. (In fact, point worth noting, this wasn't filmed in Texas at all!)

The film also asks plenty of interesting questions, particularly in its portrayal of the Cavalry. The use of Government military strength to back up the expansionist plans of industry against the natural inhabitants of the land has parallels with the oil-grabs in Iraq following the US-led invasion. The ethical questions surrounding the decimation of the indigenous peoples by 'civilisation' aren't answered here, but they are at least asked.

The opening device and introduction of Tonto as one of history’s most unreliable narrators is a nice touch as well. The opening scene is set in 1933 when these events have already passed into history, folklore and legend, and that’s clever because it legitimises these events as having a factual basis.

The Lone Ranger is considered a bit of a flop by Disney’s standards. It’s not hard to see why. It’s clearly unsuitable for children. It’s long – with a running time of 143 minutes. And it only really comes alive with the chase sequence at the end. Bits of it were very enjoyable, but it was too bleak in places and never really answered its own moral questions.

Movies of 2012

Instead of doing my round up of films I watched and saying which one was best, I've decided to try and present a few 'awards' in different categories. So, here goes...

Most surprising movie
Disney/Pixar's Brave was a big surprise. I'd been very disappointed by Cars 2 and didn't think the trailers were anything special. I thought it looked like a Scottish-set version of Mulan or something, but the story veered off in an unexpected direction. The animation was top-notch, it had some very funny scenes, and generally I thought it was excellent.

Most underwhelming movie
Prometheus promised much and delivered very little. It somehow managed to combine pretentious ambitions with weak characterisation and a plot that seemed to be mainly made up of holes. Very, very disappointing.

Movie that made me think a bit harder than I expected
I really liked Looper, although I'm pretty sure the central plot device of time travel unravelled right at the end. But it was very well acted - Joseph Gordan-Levitt was excellent, as was Bruce Willis - and the story kept me guessing right to the end. All-in-all, a sci-fi move that was well worth watching.

Enjoyable action movie of the year
I really liked Avengers Assemble. It may not be as cool as the recent Batman films, but it was fast-paced, the actors took the job seriously, but most of all it was the culmination of a series of films that all fed into a much larger picture. As such, it was a believable 'cross-over' film. The characters had back-stories, but this was a move forward for all of them. It maybe was a bit long, but that's about the only criticism I can make.

Movie that made me feel a bit 'meh' afterwards
Two movies vie for this award - The Dark Knight Rises and Skyfall. I don't think either enriched my life. The Batman film had an interesting political edge to it - that without the ruling 1%, all you get is anarchy and terror, while the James Bond film was nihilistic in the extreme (as I said when I reviewed it before). Nihilism can work in a movie (for example, I thought Dredd was very well done), but Skyfall was unremitting for a movie ostensibly about a 'hero'.

Comedy of the year
I didn't see that many comedies this year. Ted was funny, but a bit rude, so I'm going to give this one to Ice Age 4: Continental Drift, mainly because it made a joke about a previous installment in the series involving dinosaurs and said that it "didn't make a lot of sense." That amused me.

Film of the year
And so to the big one - my personal favourite film of 2012 and it has to go to... (drumroll) The Muppets. As I said when I reviewed it back in February, I liked the way the film treated the original Muppet ethos with respect. Disney did a very good job at capturing what made the Muppets work a few decades ago, and it was just a great family movie, with several jokes that made me laugh out loud. On another note, the recent acquisition of the Star Wars empire by Disney hasn't really worried me - given how Disney treated the Muppets, I have high hopes they will capture the spirit of Star Wars in the right way. (And as Cathy has pointed out, they really can't mess it up as badly as George Lucas did with the prequels.)

I'm already looking forward to some of the films due out in 2013, but that was 2012.

July – month of films

 I feel 2011 has been a quiet year for me in terms of film-viewing, but that has changed this month with four trips to the cinema.

Three of the four films I’ve seen on the big screen have been sequels. I’m not sure what that really says about the risk-averse culture in Hollywood at the moment, but it’s been interesting to see how differently they’ve approached things. [Warning - contains information some people may regard as spoilers]

Transformers 3: Dark of the Moon takes some of the main characters from the first two films and runs with a continuing story. Of course, the most interesting story about the movie was the public spat between female star of the first two movies, Megan Fox, and the director Michael Bay. Fox got dropped from the third movie, although it’s not clear who was exactly the winner there.

So what can be said about Transformers 3? Not much. It’s better than Transformers 2, but so is just about any other movie ever made about anything. The ‘plot’ is fairly formulaic. I’d issue a spoiler alert here, but the story is so obvious that when you watch it, if you can’t spot what’s going to happen then you really shouldn’t be going to movies. You know that Optimus Prime is going to be double-crossed. You know the Autobots aren’t all dead. You know that Patrick Dempsey will turn out to be a baddy.

Still it’s vaguely entertaining. I went with the lowest of low expectations and as a result found it quite enjoyable.

Kung Fu Panda 2, meanwhile, is a top-notch sequel. Moving on from the original movie in a quite unexpected way, we learn about Po, the Dragon Warrior’s origins and why his father is a goose not a panda. Cue an incredibly moving scene at the end of the film about discovering who you really are and who your real family is. I had a moist eye moment and had to manfully struggle to keep it together.

There are one or two clunky moments, but generally this film gets it right from the very first visual in the Dreamworks logo that features the wise old turtle Ugway fishing from the moon. It also has possibly the funniest final showdown shouting match between Po and the psychopathic bad guy Shen (superbly voiced by Gary Oldman), who can’t hear what Po is saying and so misses the bold statements about the justice that Po plans to mete out on him.

So to the only original movie in the quartet: Green Lantern. I quite liked this, although it was a bit slow. It felt a bit like a feature-length pilot for a TV series, especially as there was a lot of narration. The sfx varied in quality, and the acting was generally okay, but there wasn’t much to set this apart from any other about-average superhero flick.

There was some humour – when Hal Jordan, the Green Lantern, tries to woo his lady friend as his alter ego she recognises him and asks whether he thought she wouldn’t know it was him just because she can’t see his cheekbones. Also, it seems you can’t make a movie these days without anticipating the sequel – a micro-scene at the end seems to set up the next chapter in the story.

Finally, we went on the opening night to see Cars 2. This has been aggressively promoted just about everywhere, from TV spots through to a new Lego range. Unfortunately, the calibre of the film didn’t warrant such attention.

Strangely, considering this was an animated film, my main criticism is that it felt too much like a cartoon. Lightning McQueen and Mater bopping wheels together in a gangsta-style best friends’ handshake near the start of the film set the tone for the rest of the movie. Cars don’t do that. The cars in Cars didn’t do that. But the cars in Cars 2 do. It was annoying.

The other defects in this film included poor characterisation, an obvious villain ‘hidden in plain sight’, and an unnecessarily convoluted, unconvincing plotline surrounding ‘lemon’ cars with a grudge against society discrediting alternative fuels. Oh yeah and racial stereotypes aplenty.

There was a great short film starring the Toy Story characters in front of the main feature, which genuinely made me laugh, so the studio hasn’t lost its touch, but you can almost see the Disneyfication of Pixar happening in real-time as its imagination is commoditized into product inventory. Pixar generally have set the bar so high for themselves they were bound to fail at some point. Even so, I was surprised that Cars 2 was so mediocre and unimaginative.

A clever joke about cryogenics and conspiracy theories

We went to see the slightly surreal Boothby Graffoe last Friday night. I liked this joke in particular...

"I took the kids to see Disney on ice. It was just his head."

(It's not funny if I have to explain it.)

Frankie Boyle's sort of toys?

A few weeks ago comedian Frankie Boyle (who seems to grow less funny with every passing month) caused a nasty sort of stir when he used various racist slurs in one of his routines. One of those words was 'Paki'.

Given that 'Paki' is considered quite an offensive term, I'm not sure who really thought up the names for these Disney characters...

The potential for miscommunication is immense.

"Where's Billy?"

"Oh, he's up in his room playing with a little Paki..."

Just occasionally I get to say 'told you so'

Terri, our current resident waif and stray, has just started working down the local Odeon and brought home some bad news the other day.

"We're not getting Alice in Wonderland for the IMAX," she announced. "Apparently Disney are being arses and no one's going to show it."

Now, while it was true there was a spat between Disney and the cinemas because Disney want to release the DVD a mere 12 weeks after its cinematic release instead of the industry standard 17 weeks, I thought it was unlikely nowhere would show it at all. True enough a few days later the Cineworld chain broke with its movie-showing brethren and said they would have it.

But apparently Odeon were holding fast. Tez insisted it wasn't going to happen. I went 'Yeah, it will...' And then today the BBC reported that... 'Yeah, it will.'

Which in a way is a shame because Disney do perhaps need someone to stand up to them. And stuff comes out on DVD so fast now anyway it's slowly killing off the joyous wait for the film you really crave to see again. Pretty soon we'll all have films beamed instantaneously into our heads whether we want them or not.

But in another way it's cool, because I'll get to see a Tim-Burtonified Wonderland at the IMAX just down the road. Oh, yes, and because I got to say the most satisfying three words in the English language to Tez.

Told you so.

The Princess & the Frog: Disney get it slightly wrong (again)

It’s ironic that after my rant yesterday about patronising poor people, I spent a good proportion of this film thinking about how patronising this film is of poor, black people.

If you want to set a film in 1920s New Orleans and not mention racism, yet make it aspirational for black people, then this film would give you some tips. Like, ignore history completely.

In fact, go the other way – stereotype your main white character as a spoiled rich kid wishing upon a star while the world is handed to her on a platter, and your black heroine as a hard-workin’, two-jobs-a-day, real-world-inhabiting believer that you are the only person who will make it happen. And you’ll do it through hard work, not crying to your rich plantation-ownin’ daddy.

Disney has copped a lot of flak for it’s ‘Princess’ idea that all you have to do in life is be beautiful and wait for your Prince Charming to turn up. So, fair play, they have tried to reverse that style of thinking. But there is still an undercurrent here that nags – for a black girl to be a princess, she has to be a hard-workin’ girl with ambition and drive and a feisty attitude to win her prince. Whereas all white girls have to do is leave a glass slipper behind, or fall asleep under a spell, or something.

I’m sure plenty more intelligent folks will have plenty to say about the lazy stereotyping of the Bayou, with voodoo, jazz, gumbo, and a population that has nothing else to do than mess around with voodoo, play jazz and eat gumbo. New Orleans is some kind of hedonistic paradise where you can laze away the days with music and fine (fried) food. It's the easiest version of the Big Easy ever. The only thing I’d say is that it’s nice to see Disney stereotyping Americans so badly.

This is, of course, what Disney does: project a fantasy ideal of what life should be like. This is 1920s New Orleans without the bootlegging, or the racism, or the lynch mobs. Everyone smiles. Everyone has enough gumbo to eat. Voodoo works – if you’re a good person, at least. There’s a happy ending. There are no hurricanes.

This commentary makes it sound like I hated the film. I didn’t. It has serious flaws. But the frogs were fun. I liked Louis the jazz-playing alligator and Ray the lightning bug. I liked the dog, although she was hardly in it. There was some character development and growth. The bad guy was genuinely creepy. And most of the songs were by Randy Newman, so were of a good standard.

The problem was I was just left looking for the magic. Maybe the 20th Century isn’t long enough ago to count at ‘once upon a time…’