In the glut of remakes Disney has released in which they make a cash grab by simply reshooting their animated classics as live-action versions, their 2019 retelling of The Lion King is one I missed. (To be honest, I think 2019’s Aladdin is the only one of these that I’ve seen. To me, they seem like cynical bits of content trading on raw nostalgia. I found Aladdin superfluous at best.) The general impression I got of director Jon Favreau’s remake of The Lion King is that it was a CGI – so, basically animated – shot-for-shot remake of the original; a project lacking in purpose outside of making a huge sum of money.
Inspiration for something truly original can come from anywhere, though, and singer/songwriter/megastar Beyoncé – who played Nala in the Lion King remake – used the Disney property as a jumping-off point for something fresh, stunning, exciting, and unapologetically in praise of blackness. Black is King is a visual companion art piece to Beyoncé’s tie-in album The Lion King: The Gift, in which the artist “reimagines the lessons of The Lion King for today’s young kings and queens in search of their own crowns.”
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This is the next entry in my ongoing 100 Essential Films series. If you missed the first one, you can find the explanation for what I’m doing here. Film number six is the first feature-length animated film ever produced: Walt Disney’s (with the help of dozens of artists) Snow White and the Seven Dwarfs. I had the experience that probably most people would have upon sitting down to watch it: I know the basic story, the songs, and the characters (including all of the dwarfs), but I don’t know that I had ever actually watched the whole thing from beginning to end, aside from maybe when I was three years old. The movie is just so ingrained in our cultural memory, it’s easy to assume you’ve actually seen it, even if you haven’t. Just like the other films in the series, I borrowed a Blu-ray through intralibrary loan. It was the 2016 Disney Blu-ray release, and the film looks fantastic.
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I was 15 in 1995 when the first Toy Story was released. That’s a bit older than the target audience for Pixar’s inaugural feature film, but I vividly remember seeing it and being dazzled by both the story and the groundbreaking animation. I’ll be 40 next year. I’ve been wowed by each successive Toy Story installment released over the last quarter century. Both the astonishing leap in digital animation technology and the touching stories involving old pals Sheriff Woody, Buzz Lightyear, and the rest of the gang – Toy Story 2 and 3 consistently bring me to tears with every revisit – get better with each new film.
That’s definitely the case with the seemingly impossible jump in animation quality between Toy Story 3 and Toy Story 4. The plot, however, isn’t quite up to the level of the earlier films, especially Toy Story 3, probably the strongest of the series. While “cash grab” is too strong a phrase, this is the first entry in the franchise that feels like the artistic vision got a little fuzzy.
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It’s impossible to say if author P.L. Travers would have liked the second Disney film to feature her most beloved creation, the magical nanny Mary Poppins, any more than she liked the first. As documented in the 2013 film Saving Mr. Banks, Travers disliked almost everything about what became one of Disney’s most cherished movies, 1964’s Mary Poppins. She hated the musical numbers, she hated the animated characters, she hated the changes Disney made to the Poppins character. If Saving Mr. Banks is to be believed, she hated the general whimsy of the picture. That’s the exact quality that has made it such an enduring piece of pop culture.
The new sequel Mary Poppins Returns – a project which Travers stymied for decades and her estate finally approved years after the author’s death – manages to conjure some of the whimsical magic of the original. But the movie also suffers from being over-plotted to within an inch of its life. It’s true that the original has a message, but it never becomes as overbearing as the one in Mary Poppins Returns. The actress portraying Poppins in the new film, Emily Blunt, also has the insurmountable task of living up to the iconic performance of Julie Andrews. Both of these factors make Mary Poppins Returns a shadow of the movie that it attempts so very hard to evoke.
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When I wrote about Rogue One, the first of the Star Wars anthology films, one of my main takeaways about the picture was how much it broke from the previous movies in the Star Wars universe. It was thematically dense in a way we had never seen in a Star Wars movie, and it only tangentially relied on callbacks to the earlier films to connect us to the series. Much of the credit for that innovative feel was probably due to The Walt Disney Company (which now owns and produces all things Star Wars) introducing fresh blood into the franchise. Neither director Gareth Edwards nor writers Chris Weitz or Tony Gilroy had ever been involved with any Star Wars project prior to Rogue One. The new anthology entry, Solo: A Star Wars Story, is like the anti-Rogue One, but I don’t mean that in the strictly pejorative sense that you’re probably expecting.
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The highest praise you can bestow on a kids’ movie is that adults can enjoy it, too. Is that just us grown-ups being selfish? Not really, because if a movie is aimed at children, but is sophisticated enough for adults, that usually means it’s not talking down to its target audience. It gives kids credit for their own level of sophistication. See just about every Pixar movie for the best examples of this sort of filmmaking.
A Wrinkle in Time truly is a kids’ movie. It’s not meant for me, so it feels mean-spirited to beat up on it too much. There are perhaps millions of kids out there who might have a cultural earthquake happen inside them when they see this picture. But, the movie does a disservice to the kids it wants to entertain. Aside from the gigantic budget and the production value that goes along with it, A Wrinkle in Time doesn’t offer its audiences (either the kids or the adults) much sophistication at all.
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I’m a runner, and I live in Texas. The day after I saw Finding Dory, I ran seven miles in 86° heat with 70% humidity. I promise I’m not bragging. The sequel to the 2003 Pixar smash hit Finding Nemo actually helped me get through that run. While I was baking in the heat, my mind wandered back to the theater several times – to the cool, wet mise-en-scéne of the movie’s oceanic setting. One of my favorite things about Finding Nemo was the gorgeous underwater animation, and the meticulous care that was clearly spent bringing the world beneath the surface to life. Finding Dory absolutely excels in these areas, too. If you find aquariums soothing, you know what I mean.
Aside from the visuals, Finding Dory also does an admirable job trying to match the magic and fun of the original. It doesn’t quite make as big of a splash as its predecessor, but it’s a close call. Close enough to make Finding Dory a really rewarding time at the movies. I don’t know what it is about the deep sea environs that translate so well to the Pixar style of animation, but, for me, both Finding Nemo and Finding Dory are absolutely mesmerizing in a way few other Pixar movies are. The Toy Story franchise comes closest to achieving the same effect, but even the first rate animation of those pictures don’t beguile me in the same way that the Finding movies do.
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