Film Review - "Chip n' Dale: Rescue Rangers"

Chip n' Dale: Rescue Rangers

Directed by Akiva Schaffer

Starring John Mulaney, Andy Samberg, and Will Arnett

I think most of the people reading this know I'm a big Disney fan. I grew up on it, and many of my younger days in the early nineties were spent watching the many animated series that were part of the Disney Afternoon lineup (and the Disney Channel. When it was good). My favorites I think were the same as many people's...DuckTales, Darkwing Duck, and Chip n'Dale: Rescue Rangers (If I had to pick a fourth it's a coin toss between Timon & Pumbaa or The New Adventures of Winnie The Pooh).

Chip n'Dale, like DuckTales, not only had an ear-worm of a theme song, but its leads were characters of Disney legend. I loved Chip n' Dale growing up, not just in Rescue Rangers, but in the classic shorts where they made Donald Duck's life a living nightmare. So like any millennial with an attachment to a classic old property, I got a bit defensive when the Hollywood Machine wanted to reboot/reimagine/revive whatever you wanna call it, Rescue Rangers. It's just the way of the world now. Originality in Hollywood is dead, "childhood ruined" and so on...

Now here we are, and I am so proud to say I was wrong. The Chip n' Dale: Rescue Rangers film is one of the biggest surprises and most fun film (Non-MCU) I've seen in awhile. 

The film is not exactly a direct continuation of the original series. Much like the world of Who Framed Roger Rabbit, Chip, Dale (Mulaney, Samberg) and all toons coexist with humans, and some are actors. In the nineties, Chip and Dale made a big name for themselves with aforementioned tv series, until Dale decided to leave the show to expand his career. Unfortunately, this got the series cancelled, and both chipmunks' careers took a hit. It's all very meta, and also I'm guessing in the reality of this film all the older Chip n' Dale shorts produced by Disney just didn't happen.

Cut to the present day, and Dale has had CGI-surgery (Love that bit) and living off the convention circuit, and Chip is working as an insurance salesman. A desperate call from their old friend and co-star Monterey Jack (Eric Bana) reunites the estranged friends. Turns out Monty has run afoul of a very dangerous gang that has been rumored to be kidnapping old toons, making them over, and forcing them to make bootlegs of classic animated films. Chip n' Dale reluctantly reunite to rescue Monty and crack the case, living out the glory days of The Rescue Rangers.

I'm sure the plot where estranged friends reunite on a case/quest/adventure sounds familiar. It's a plot that I think is almost tailor-made for a continuation of Rescue Rangers, decades after the original series ended. Regardless, I appreciate the film's approach to not making it a direct continuation of the series, but instead taking the Roger Rabbit angle. Really the only connections it has to the original series is its name, and the premise of "Chip and Dale solve a mystery".

The film is much more a commentary on animation, celebrity and Hollywood. The creative team definitely had a lot of fun making this. The attention to detail...you will need a second viewing just to catch all the Easter Eggs, visual gags, and cameos. So many wonderful cameos. It's unfortunate the internet was so quick to spoil the best one. The film is also incredibly funny. Not just in its sight gags there's a lot of clever, laugh-out-loud lines. You can tell this was a film made by fans, for fans. It's hard to not appreciate the sincere effort that's right on the screen.

We need to talk about the animation for a minute because it's all over the place stylistically and it's lovely. There's not just top-notch traditional animation and CGI. There's clay-mation (JK Simmons's Gumby-like detective, Officer Putty, looks amazing). There's horrific motion-capture/hyper-realistic animation in the manner of Cats and Beowulf. There's even puppets of both the Muppet and sock variety. There's so much being homaged here from every era of animation. This film deserves a Special Achievement Oscar. I will say the hand-drawn animation on some characters was a bit iffy for me at times, specifically Chip and Sweet Pete. I chop it up to 2D designs being brought into a 3D world so there's a bit of "transition period", and I could say the opposite for CGI Dale (But man that surgery bit is too good).

On paper, you wouldn't expect the voices of John Mulaney and Andy Samberg to work for classic characters like Chip n' Dale, but they really do here. They still capture the spirit and dynamic of the duo, with a modern twist, and their high-pitched voices are their "stage voices" here (Think Baby Herman). It's another fun bit. JK Simmons is amazing as Officer Putty. Will Arnett perfectly captures the spirit of Sweet Pete, who if you couldn't tell by the marketing is a bitter, aged-up Peter Pan. Kiki Layne is fine as Detective Ellie Stickler. She doesn't really add much to the film, and is sort of like the stand-in for the audience.

As much as I enjoyed this film...there are two things that just don't sit well with me. If you want to avoid any hint of spoilers I suggest you skip this next paragraph...

First, Sweet Pete's backstory is nearly identical to the real life story of child-star and original voice of Peter Pan, Bobby Driscoll. I say do your own research but, it's not exactly the nicest chapter in Disney history. This was either a very unfortunate coincidence or a very dark bit of parody. I'm not sure will ever know which. Second, while this is Chip n' Dale's films, it is sort of sad that the original supporting cast of the show is put on the back burner, and what they did story-wise with two of them...I'm not sure I'll ever recover from the trauma. If you know, you know...

Chip n' Dale: Rescue Rangers is not only a spiritual successor to Who Framed Roger Rabbit, it's Disney answer to the 21 Jump Street films. It's a very clever, fun, and heartwarming watch. Perhaps the biggest surprise of the year. It's an easy film to recommend, and I hope Disney, animation, and comedy fans alike give it the attention it deserves. Head on over to Disney Plus and add it to your watchlist (I wonder if they're kicking themselves for not putting it in theaters...)

...Now can we get a Darkwing Duck film please??

 

Film Review - "Doctor Strange in The Multiverse of Madness"

Doctor Strange in The Multiverse of Madness

Directed by Sam Raimi

Starring Benedict Cumberbatch, Xochitl Gomez, and Elizabeth Olsen

It's been six years since Benedict Cumberbatch's Doctor Strange made his MCU debut in the film of the same name. He's become a constant ever since, from being a key player in the last two Avengers films, to having supporting roles in Thor: Ragnarok and Spider-Man: No Way Home. Needless to say, the character has been through a lot, and there's no way in The Multiverse of Madness he's going to catch a break anytime soon.

As Stephen Strange (Cumberbatch) attends the wedding of his former flame Christine Palmer (Rachel McAdams), a young girl named America Chavez (Gomez) falls into New York City, being chased by a demon part-cyclops and part-octopus. After being rescued by Strange, and his mentor/friend/Sorcerer Supreme Wong (Benedict Wong), Chavez explains she is being hunted for her power to travel the multiverse. Strange's decision to help Chavez leads him to seek help from Wanda Maximoff aka The Scarlet Witch (Olsen). This brings Strange down a path to learn much more about the multiverse and himself.

The film is a wild ride, and one of the most unique chapters of the MCU. That is no small credit to Director Sam Raimi, whose history with horror films is clearly on display here. This is almost the first MCU horror film, complete with jump scares and ghoulish sights. The film also has a bit of gore, and quite an impressive body count...If you're not big on horror this might not be your cup of tea, and parents might want to have younger MCU fans hold off or skip this one. 

While the film has the thrills and chills turned up to eleven, it's also very restrained in its multiverse madness. Don't expect hundreds of cameos peppered throughout the film, although there are plenty of surprises. The story is much more concerned with servicing its two primary characters, Stephen Strange and Wanda Maximoff, which is a good thing because that's what the film needs to do.

Everything each character has been through has led to this, especially Wanda, who practically steals the whole film. She outshines our lead hero for a fair amount of time, but that isn't to say Doctor Strange gets the short end of the stick. He gets some much-needed character work in this film beyond being the guy who knows everything (or at least thinks he does), and it builds off not just what he went through in the first Doctor Strange film, but in Infinity War and Endgame as well. He becomes a much more sympathetic and vulnerable character.

Despite all the good work the film does for The Scarlet Witch and would-be Sorcerer Supreme, the screenplay does lack a little focus, and pacing does become an issue. The film comes out guns blazing, then hits some speed bumps as it transitions from act-to-act. Though like I said, the film is a wild ride, and incredibly entertaining. There are some really distinct visuals in and out of the multiverse, and the creative styling of the magic users' powers are a sight to see. A highlight is a battle that uses notes off of sheet music. Speaking of music, props to Danny Elfman as this is probably one of his more unique scores for a film, meaning I didn't even recognize his typical style throughout the film (maybe he saves that for Tim Burton...)

Benedict Cumberbatch remains a perfect Doctor Strange, again getting to go more in-depth and personal with the character. Elizabeth Olsen, as always, is amazing as Wanda. Her performance is both a treat and terrifying, and just in case you're worried your lack of a Disney Plus subscription will leave you in the dark, this film gives you enough of a clue to what happened in WandaVision (but you should still watch it because it's great). Xochitl Gomez makes her MCU debut as America Chavez and holds her own well against the likes of Cumberbatch and Olsen, but isn't given that much to do. Hopefully we'll see her again soon. Rachel McAdams is given significantly more to do this time as Christine Palmer. She gets to play to her strengths of portraying a character that's equally sweet and snarky, and her chemistry with Cumberbatch is put to much better use. Benedict Wong as...Wong, once again proves he's one of the best supporting players in the MCU, perfectly weaving between the role of stoic moral compass and dry-witted comic relief. 

Doctor Strange in The Multiverse of Madness has its shortcomings, but is still one of the most unique MCU films to date. It's highly entertaining, though viewers with a low threshold for horror films should err on the side of caution. It's full of unique visuals, wonderful performances, and plenty of crowd-pleasing moments. I definitely can't wait to see it again, and see where the MCU takes us next in this vast multiverse.

Film Review - "Turning Red"

Turning Red

Directed by Domee Shi

Starring Rosalie Chiang and Sandra Oh

There seems to be a Civil War of sorts going on in Hollywood right now, and it's between Disney and Pixar. Over the past year or so, many Pixar employees have go on record over how the studio's recent films have been treated by The Mouse. 

Their last three films have had their theatrical releases cancelled, only to be unceremoniously uploaded to Disney Plus, without the $30 Premier Access paywall Disney laid in front of the likes of Black Widow, Raya & The Last Dragon, and the live-action remake of Mulan. Even Encanto, the company's last in-house animated feature was granted a theatrical release before moving to the streaming service. There are also recent reports of Disney censoring important moments of representation in Pixar films, which is awful.

It doesn't sit right when you remember before Marvel Studios, LucasFilm, and even The Muppets, Pixar was the only thing keeping Disney afloat at the start of the millennium. While their own animation studio was starting to flounder, Pixar really started hitting their stride. Disney was giving us Brother Bear and Home on The Range, while Pixar gave us Finding Nemo and The Incredibles.

(By the way I'm not saying any of the Disney films from this era are bad, all entertainment is subjective, but in the grand library of animated classics these ones pale in comparison to say Beauty & The Beast or The Lion King.) 

Sure Pixar has had some missteps in the past with Cars sequels or mediocre dinosaurs but for most of the time they've been the gold standard for animated films, sometimes overshadowing the animated films of their parent company. Since 2001, when the category for Best Animated Feature was first instated at the Oscars, Pixar has literally taken home fifty percent of the trophies (The Academy might not give a damn about this category or respect animated films these days but that's another story...)

Anyway it just seems like Disney's "first born property" has become lost in the shuffle, and is now treated like a cliché red-headed (See what I did there?) stepchild. Which again, is a real shame because this decade has started out very strong for Pixar, with Onward, Soul, Luca, and now Turning Red (Yes I know. 'Finally he's going to get to the review...')

Turning Red follows Meilin "Mei" Lee (Chiang), a 13-year-old Chinese-Canadian student growing up in 2002 Toronto. Mei works hard at school and home to make her mother Ming (Oh) proud, but also loves chilling out with her friends and obsessing over their favorite boy-band 4*Town.

One evening an ancient family curse befalls Mei, causing her tontransform into a giant red panda whenever her emotions run high (Like the Hulk but fuzzier). Naturally Mei is a bit shocked by these changes, and her overbearing mother dives headfirst into helping her through this process. Unfortunately, Ming forbids Mei from doing much of anything until the panda is under control, and that includes going to the upcoming 4*Town concert (I suppose a boy-band concert would invoke strong emotions in a young girl...) What follows is Mei's struggle to balance her own wants while still trying to please her mother, and keep her inner panda under control.

The best way I can describe Turning Red is if Pixar did a Disney Channel Original Movie, and I think if you were a big fan of DCOMs you'll really like this film. But it's also much more than that. It's a charming coming-of-age story that will resonate with anyone that's ever been a teenage girl, or just anyone who's tried to honor their parents and true selves simulatenously. For me it was much more the latter.

Mei's arc throughout the film is a very personal journey, and this a very unique Pixar film in so many ways. The film does a great job at characterizing young girls at the age (dorky, rebellious, awkward, obsessed with crushes, all that stuff). It also perfectly illustrates the relationship of a mother and daughter at this stage in life. I was sort of reminded of A Goofy Movie, as in both parent and child are being embarrassing to the other, but neither are necessarily in the wrong.

I think Pixar does a great job of finding great voice actors to play their child protagonists, and Rosalie Chang continues that trend. She just puts so much passion and humor into it. It's another iconic Pixar performance. All the young actresses playing her friends do great as well, and the dynamic of the group is spot-on. You can tell Sandra Oh was having a lot of fun playing her mother Ming. She embodies the archetype of an over-bearing mother, but also makes her very sympathetic and comical. Again, another high-energy performance in a film with a lot of energy. 

The animation is also great, and super expressive, sort of like if Pixar did an anime. It's also one of their funniest films. They really lean into the comedy. The animation definitely helps with the comedy too. I think the songs for  4*Town written by Billie Eilish were perfect, like they were ripped right out of the boy-band era of the early 2000's. I'd be lying if I said one or two of them haven't gotten stuck in my head...

I didn't find the film to be perfect though. It's a bit of a struggle to get invested in the first third of the film, as it is mostly just awkward teen humor, and establishing the fact Mei is embarrassed by her mother. Personally, it could be the fact I first watched the film with my mother and I was getting second-hand embarrassment, or that coming-of-age teen films have never been my favorite, but once we got to the "turning red" of it all, I was on board. Although in many ways you can predict where the film is going with the plot, that doesn't make it any less enjoyable. It's the journey, not the destination. This final point is not so much a criticism as much as an observation, and a bit of a spoiler but...the final act borrows from the superhero film playbook...make of that what you will.

Overall, I enjoyed Turning Red. It's one of Pixar's most unique, and personal films. I think it will become a lot of people's favorites, and I think anyone can connect with it on some level. Even the boys! (That's a joke. If you know, if you know.) Again, Pixar's on a serious hot streak these last two years, and I hope the public recognizes that, and I certainly hope Disney does too. The creators of Toy Story, Monsters Inc, and countless other classics deserve better. Fingers crossed they don't pull the rug out from Lightyear and make it another Disney Plus Original...

"Atlantis" & "Treasure Planet" - Disney's Unjust Failures

Last year I made the decision to rewatch all of the films produced by Walt Disney's Animation Studio, chronologically from beginning to end. So that means starting from Snow White & The Seven Dwarfs, and then going all the way to Raya & The Last Dragon Encanto. Yeah it's taken a bit longer than I expected...life, what can I say?

However I am approaching the end. So you're probably thinking "Oh so now he's going to rank them all." Lord no. That's sixty films, my guy. Some of the studio's earlier films I haven't watched in over year. Not a challenge I have the time and mental capacity for right now. 

No instead I've decided to write a couple think pieces, each focusing on a specific film or films. While I've seen many of these films numerous times, others I was watching for the first time in years, or believe it or not, for the first time ever.

Last week this House of Mouse Marathon brought me back to two films from The Experimental Era of Disney Animation (1999-2008), Atlantis - The Lost Empire and Treasure Planet. These two films are quite similar. They're both sci-fi adventure films, that blend hand-drawn and computer animation, and believe it or not, each feature a cast member from Frasier. Both films are products of their time, and in many cases are victims of it.

At the time of their respective releases, each received average-to-poor reviews from critics (Critics were nicer to Treasure than Atlantis), and turned out to be box office failures. Atlantis made very little profit, and Treasure didn't even break even. Fast forward to present day and many see both films as cult classics. 

So...what happened?

I think a lot factored into the unjust failures of Atlantis and Treasure Planet. Atlantis was released in June of 2001 and Treasure in late November of 2002, over the Thanksgiving holiday. They were some of the first films released by Disney Animation in the new millennium, and after the hot streak that would become known as The Disney Renaissance (1989-1999, so The Little Mermaid through Tarzan).

On paper, there are a lot of consistent threads throughout the films of The Disney Renaissance. They're all based on either fairy tales or classic literature, musicals, and family friendly (for the most part). Atlantis...is none of those things. It is Indiana Jones meets 20,000 Leagues Under The Sea, and a lot (A LOT) of people die in the action sequences. To be a background character in Atlantis is the Disney equivalent of being a red-shirt in Star Trek or a Stormtrooper in Star Wars. Treasure Planet is based on Robert Louis Stevensons's Treasure Island (Which Disney previously adapted in live-action in 1950), but like Atlantis is much more mature and heavy in its action.

Suffice it to say, these films were a stark contrast from the ones Disney released in the prior decade. Gone were the singing teapots, magic genies, and talking lions of the nineties. Atlantis and Treasure were weren't exactly what audiences had come to expect from Disney Animation, and could be seen as unconventional choices for the studio. But then again, so were Dinosaur, The Emperor's New Groove, and Lilo & Stitch which also came out in the same three-year period. This was a time when the studio was moving away from the animated musical formula, and trying new things (Hence the name The Experimental Era).

Atlantis and Treasure were definitely the most adult-oriented films that came out during this period, and I say that well aware of the fact there is an alien in Treasure Planet that speaks in fart ("Flatua" if you wanna get technical). Animation is not specifically for kids though (Say it again with me...ANIMATION IS NOT JUST FOR KIDS. Stupid Oscars.) Disney was already experimenting with more mature themes and ideas in their animated films prior to the 2000's, see The Hunchback of Notre Dame, Tarzan, and I guess Pocahontas. This was also a time when traditional hand-drawn animation was starting to decline in popularity, and computer-animation was on the rise. Disney for the longest time had become synonymous with traditional animation. As audiences became less interested in the medium, they became overshadowed by the likes of Pixar and bold new offerings like Shrek from Dreamworks, and Ice Age from Blue Sky. It is worth noting that Atlantis and Treasure both have great traditional animation that combines CGI elements beautifully. Atlantis does the blend flawlessly, while Treasure definitely has some shots where the tech hasn't aged well.

Atlantis came out the first year the Academy Awards decided to instate the Best Animated Feature category. Shrek would go on to win the Oscar, while Atlantis wasn't even get nominated. Treasure would secure a nomination alongside Lilo & Stitch, Ice Age, and Spirit - Stallion of The Cimarron, but the Oscar went to Hayao Miyazaki's Spirited Away, which is traditionally animated in the Japanese style. 

By that class of nominees alone you can see that there was still an audience for hand-drawn animation, although I wouldn't use the Oscars as the best example of it. In future years the Academy would nominate the likes of Shark Tale and...The Boss Baby.

At the box office, these two films were failures. Atlantis was released on June 3rd 2001, which sounds like a perfect release date for a film like it. Schools were getting ready to close for summer vacation, and it being a sci-fi adventure, it should have fit perfectly into the traditional blockbuster season. It came out the same weekend as Lara Croft: Tomb Raider starring Angelina Jolie, and came in second place to it. It wouldn't be fair to say they were competing for the same audience, although they are both adventure films. Atlantis also had to deal with the fact that Shrek had come out less than a month ago.Why would parents take their kids to see "another Disney cartoon" when all they've heard lately is how good Shrek is? Atlantis wouldn't have a chance to make up for lost profit over the summer, when films like Dr. Dolitte 2, The Fast & The Furious, Jurassic Park III, and Planet of the Apes came out in the following weeks. Ultimately it ended up in fifteenth place at the overall 2001 summer box office.

Now Treasure Planet...this film was set-up to fail. It released over the same Thanksgiving weekend as Die Another Day, the fourth and final film to star Pierce Brosnan. Not exactly a film it would be in direct competition with. It also had to go against another Disney film, The Santa Clause 2, which had already been out for a few weeks, delivered holiday cheer for the season, and already had an established audience because like Die Another Day it was a sequel. Speaking of sequels, what also came out earlier that month...was Harry Potter & The Chamber of Secrets...Treasure Planet had no chance.

What kills me is Disney didn't learn from this mistake and made a far worse decision nine years later when they released a new Winnie the Pooh film on the same day Deathly Hallows Part 2. But "oh no hand-drawn animation is dead! It's not our poor business decisions..."

Treasure Planet, also a sci-fi adventure like Atlantis, could've benefited from a release during summer blockbuster season. Of course these days blockbuster films get released all year round. Unfortunately, Disney also released Lilo & Stitch that year and gave it a June release. You could argue that because Lilo & Stitch came out a few months before, families might have had their fill of Disney Animation for the year. Why did they decide to release both in the same year? Who knows. Apparently Disney didn't do a lot of marketing for Treasure Planet either, which is sad when you remember the superb marketing for Lilo & Stitch. Those trailers where Stitch invaded iconic moments in other Disney films? Genius.

Did Disney even care about Treasure Planet? The story goes that legendary animation directing team Ron Musker and Jon Clements pitched the idea to Jeffrey Katzenberg after The Great Mouse Detective got the studio back on solid ground. Katzenberg pretty much went "Nah I don't care for it". Katenzberg is a sourpuss and a jerk, though to be fair Disney Animation was struggling back then, especially after the colossal failure of The Black Cauldron. Treasure Planet was probably seen of too much of a risk at the time (ironically, the film probably would have thrived in the eighties).

Over the next few years a pattern unfolded that pretty much went like this:

"Can we make Treasure Planet now?"

"No make The Little Mermaid."

*The Little Mermaid is a hit*

"Can we make Treasure Planet now??"

"No make Aladdin"

*Aladdin is also a hit*

"Can we make Treasure Planet now???"

"No BUT, if you make one more successful film (Hercules), then you can."

*Hercules does alright"

"Can we make Treasure Planet now????"

*Jeffrey Katzenberg has left the chat*

Although Katzenberg was long gone as chairman by the time Treasure Planet was made (He left in 1994, the film was released in 2002!!!), he and the studio honored his word, and Musker and Clements were finally allowed to make their passion project. We already know how it turned out. 

The fact that the man who allowed Treasure Planet to be made had already flown the coop well before its release gives you some sort of idea of how much the studio was invested in it...or does it? I mean Musker and Clements were clearly well-known and well-liked at Disney or they wouldn't have gotten this far. They even went on to make Princess & The Frog and Moana after this. Not to mention a sequel was in pre-production, and there were talks of a franchise. Willem DaFoe set to play the villain. These plans were scrapped when the film had a poor box office performance.

The crazy thing is, Disney also had similar plans for Atlantis that were canceled as well (No I didn't forget about Atlantis). A television series titled Team Atlantis was in the works, but was scrapped due to the film's poor performance. The few episodes that were produced were repurposed into a direct-to-video sequel Atlantis: Milo's Return. Here's a fun fact...both films were considered for the rebranding of the Submarine Voyage ride at Disneyland. Eventually they did find a film to rebrand it with, Finding Nemo, which seems more appropriate anyway. So Disney definitely saw franchise potential in both Atlantis and Treasure, and frankly why wouldn't they?

I've already mentioned who directed Treasure Planet and their body of work at length. They also wrote it alongside Ted Elliot and Terry Rossio, who together wrote Aladdin, Shrek, and rather fittingly, the Pirates of the Caribbean films. Atlantis was directed by Gary Trousdale and Kirk Wise, another iconic Disney duo. Together, Trousdale and Wise helmed Beauty & The Beast and The Hunchback of Notre Dame, and they also wrote the script with Joss Whedon (*Before* we knew he was garbage). Combine all this with the stellar animation and voice casts, each of these films had all the makings to be Disney classics, but sadly it wasn't meant to be.

Now I don't have a lot of memories of watching these films. I didn't see either of them in theaters. I was gifted Atlantis on VHS, and watched it a fair amount. Treasure Planet I didn't see until years later when kids I was babysitting had it on DVD and requested a viewing. Neither film really stuck with me through the years. Have my opinions on them changed with recent rewatches? Yes and no.

Atlantis has great animation, stellar action sequences, and a wonderful ensemble of characters. The protagonist, Milo Thatch (Micheal J. Fox), can be a little annoying at times, and Mole (Corey Burton)...he's just there for the kids I guess. Man though is Vinny (Don Novello) a riot. The voice cast is great, featuring Fox, Novello, James Garner, Cree Summer, and many more. The amount of detail that went into crafting the Atlantean culture is really impressive. I will say though that the plot and the villains, are a little cliche and predictable. That doesn't necessarily make it a bad film, but it does make it a bit less substantial. That, and like Trousdale and Wise's previous film Hunchback of Notre Dame, there's a bit of an uneven tone. It's not as bad as like the slapstick of the Gargoyles, but there is an imbalance. It's almost like how people complain when MCU films undercut a lot of serious moments with one line-OH MY GOD I FORGOT THIS FILM WAS WRITTEN BY JOSS WHEDON...Anyway, despite its flaws I think Atlantis is a solid viewing.

I never really went for Treasure Planet's "steam-punk gimmick". It's old, it's futuristic, just make up your mind. Now, I think it's pretty creative. You have to admire the detail that went into the world-building. The animation is also spectacular here, but like I said a bit dated in some shots. Some of the designs of the aliens are a little too off for me. Some are cute, some are ugly (I remind you of the one that speaks in fart), they cover all their bases. Thankfully the designs of all the main cast are appealing, and again this a wonderful ensemble of characters with a great voice cast. Young Joseph Gordon Levitt is great in the lead role of Jim Hawkins. Brian Murray is iconic as Silver. David Hyde Pierce, Emma Thompson, Laurie Metcalf are superb in their supporting roles. I hate to say it, but Martin Short as the robot B.E.N. is awful, and it's not his fault! The character just does nothing but yell and panic. It's a waste of Short's talents to cast him as Disney's version of Jar Jar Banks (Is that too harsh?). Other than that, my only real problem with Treasure Planet is the use of modern pop songs in the montage where Jim and Silver grow close, and the final scene. They just don't mesh with the rest of the film, and using "I'm Still Here" by John Rzeznik in the montage just helps gloss over important character development. It's not a non-traditional musical like Tarzan where there are songs throughout not sung by the characters. It's this one, isolated musical moment in a film that's not musical. That said, the music composed by James Newton Howard is amazing and I love the main theme.

So yeah, it took me a few years but I do enjoy and appreciate Atlantis and Treasure Planet. It took a lot of people a few years to appreciate them. Thankfully both are now part of the massive Disney Plus library, where they can find new audiences, and their part in the Disney Legacy can carry on. Do they have their flaws? Yes. Are they bad films? No, and Disney has made much worse. Forgive me for saying this but, these two are some of the very few Disney animated films that could *benefit* from a live-action remake.  

Atlantis - The Lost Empire and Treasure Planet had a lot working against them. Changes of taste in both audiences and filmmakers, poor release strategies, but it can all be summed up in one phrase: Bad Timing. They shouldn't be looked at as terrible failures of Disney, because they came out during a period when nothing that was coming out of their animation studio was really succeeding (except for Lilo & Stitch). Timing can be a B-word, but time can also have a way of working things out. Atlantis, Treasure Planet, and other Disney films from this era have thrived since their initial releases, been given second chances by audiences and achieving cult-classic status.

I wouldn't call either of these film failures...maybe just late bloomers, and as The Emperor in Mulan said "the flower that blooms in adversity, is the rarest and most beautiful of all"

...That's probably overselling it but you get it.

Film Review - "The Batman"

The Batman

Directed by Matt Reeves

Starring Robert Pattinson, Paul Dano, Zoe Kravitz, etc.

I don't think I'm out of line when I say we've seen a lot of Batman films in our time. Much like Spider-Man, and I suppose Superman at one point (Can we please get Henry Cavill in a proper Man of Steel sequel?) The Caped Crusader is a hero audiences will always be drawn to see on the silver screen. Matt Reeves' continues the legacy with The Batman, the newest and one of the more unique, albeit not perfect Bat-Films to date.

While not a rehash of the classic origin story, The Batman takes place at a time when Bruce Wayne (Pattinson) has been operating in the shadows as the titular masked vigilante for only two years. The film follows Bruce as he tracks down a sinister serial killer known as The Riddler (Dano), who is targeting high-profile citizens across Gotham. Helping him with his investigation is Lieutenant James Gordon (Jeffrey Wright) of the Gotham City Police, and cat burglar Selina Kyle (Kravitz). As Batman follows The Riddler's trail, he discovers more about his family's past, which will ultimately help shape him into the hero he's destined to become.

As I said, The Batman is not the typical origin story of the character but in many ways it still operates as an origin story. The film takes inspiration from the graphic novels The Long Halloween and Year One (Two of the very first graphic novels I ever read), showing how he operated in his early years. He's still learning the ropes on how to be Batman, and in some respects, Bruce Wayne. So the version of the character we see here is still green, and lacking experience. It's important to keep that in mind, because this Batman is not the smoothest operator. His crime-fighting is a bit more rugged, and his detective skills need a bit more finesse. That said there are some unintentionally silly moments here that sort of throw off the tone of the film. But again, Young Bruce Wayne/Batman, he's still growing. Once you come to terms with that fact, it's all a little easier to accept. 

The direction taken here is great, as it really dives into the detective side of Batman, giving us a noir-driven mystery, wrapped inside a superhero film. The mystery is compelling and keeps you guessing where it's all going. The production quality is quite possibly the best ever seen in a Batman film. It really does look like those aforementioned graphic novels come to life, perfectly capturing the bleak and gritty atmosphere, giving Gotham City its most signature appearance yet. The lighting and camera work are top-notch too. There are a lot of iconic shots throughout the film. 

Robert Pattinson shows a lot of promise as cinema's new Batman. He definitely nails the cold, calculating, brooding side of the character. He does do a lot better as Batman than as Bruce Wayne, or at least the Bruce Wayne many come to expect (Again, remember, Young Batman). There's a lot more room to grow and I'm interested to see where Pattinson and Reeves go next. Zoe Kravitz is a real standout as Selina Kyle, nailing the seductive and morally grey aspects of the classic Catwoman, and you almost wish she was in more of the film. Jeffrey Wright is great as James Gordon, and is the perfect partner-in-solving crime to Pattinson's Batman. I would even go as far to say Wright has more chemistry with Pattinson than Kravitz does!

Paul Dano is...Paul Dano as The Riddler. Look I'm not a big Paul Dano fan. He's good at what he does, and he's just playing to his creepy, off-putting, human punching-bag strengths here. Colin Farrell is literally unrecognizable as Oswald Cobblepot/Penguin and steals almost every scene he's in. John Turturro is also unrecognizable (though obviously not as much as Farrell) as crime boss Carmine Falcone, giving a very subtle and menacing performance. Fans of Andy Serkis might be a bit disappointed that Alfred Pennyworth, Bruce Wayne's trusted butler and confidant, takes a backseat in this film. What we do get is nice though, so let's hope we get more of him in the sequel.

I would say that The Batman's biggest problem is pacing. This film did not need to be three hours long, and there are times you really feel its length. The car chase with Batman and The Penguin seen frequently in the trailers, in the grand scheme of things ends up being more sizzle than steak. The film's climax is rather...anticlimactic, a little bit clunky...and somehow fitting? Can you tell I have conflicting feelings about this film? Composer Micheal Giacchino delivers another fire film score, and his Batman theme is legendary. Lastly I wanted to say I loved the Batsuit in this film, particularly the cowl. Something about the white of his eyes coming through the mask just look so good. Pattinson seemed to take advantage of it, because you can see so much is going on behind the eyes, and I guess Reeves could see it too because there are a lot of long close-ups on him.

So I did like The Batman but I don't think it's perfect. Not many films are. I will say it's been a week since seeing it and I haven't been able to stop thinking about it. I think that's a good sign when a film can do that to audiences. But its amazing visuals, compelling story, and top-notch cast making it a real standout in the library of Bat-Films. There are also reports that Matt Reeves is planning to make a trilogy so this might just be one piece of the puzzle. This could be to Batman what the Homecoming trilogy was for Spider-Man, where a series of films might operate as a larger, non-traditional origin story for this version of the character. Who knows? Time will tell, but I think a lot of people are going to be talking about The Batman in the years to come.

Top 10 Films of 2020

I wasn't sure if I would ever do a Top 10 Films of 2020. It's not fun to talk about 2020, but I need to breathe some life back into this dead blog. I definitely plan to do a Top 10 Films of 2021, and since in my mind both years meld together in a chaotic blur, I might as well do both lists.

What can you say about 2020 that hasn't already been said? As far as films, many got their release dates delayed as a result of the pandemic, and in many cases some are still getting delayed. But some did make their way to audiences through theaters, streaming services, or even both.  

Films, television, all entertainment can be a way to find comfort and escape the never-ending hellscape of reality, and we all really need that. Personally I've watched a lot of films, both old and new, in these extended periods of social isolation. I think almost every new release in 2020 I took the opportunity to see, and despite it being a lackluster year, we did get some good films. 

Some of them definitely were a bleak reflection of the grim year they were released in. I guess you could chop that up to bad timing. But some were pleasant, feel-good features that could put a smile on your face. You’ll find a eclectic mix of both here on this list. This is my Top 10 Films of 2020. Let’s get weird.

Oh and while I absolutely 1,000% drank the Hamilton Kool-Aid when it dropped on Disney Plus, I’m excluding it here. It’s not really a film. It’s a high quality recording of an AMAZING Broadway production and it’s not really fair to put it amongst traditional films, despite what the Hollywood Foreign Press thinks…nominating it for “Best Motion Picture - Comedy or Musical” 

Alright, you dweebs. But let’s just say for the sake of The Revolution, Hamilton is #0 of this list.

10. Extraction

Directed by Sam Hargave

Starring Chris Hemsworth, Rudhraksh Jaiswal, and Golshifteh Farahani

I'm not going to say that "in a normal year this film wouldn't even come close to cracking my Top 10" because frankly you could say that about half of this list...but, yeah. Extraction. It's pretty enjoyable. You don't watch these types of films for the plot. You watch it to get hyped up by the action and brother there is plenty of balls-to-the-wall, insane action. The action sequences are also shot really well. The violence gets too gruesome at times, but for this film, it works. It's a wild action film but it's not completely lacking heart. It keeps the story simple. Chris Hemsworth carries the film with his performance and he nails every fight scene. The film probably could've been elevated with some more time to develop his character, and his relationship to Jaiswal's Ovi, but it is what it is.

If this spawns a type of John Wick franchise I'm cool with it. I love Chris Hemsworth. But that's all I really have to say about Extraction. It's a mindless crowd pleaser. I liked it.

(Extraction is available to watch on Netflix)

9. Wonder Woman - 1984 

Directed by Patty Jenkins

Starring Gal Gadot, Chris Pine, and Kristen Wiig

Look I know it's not great, and it doesn't hold a candle to the original Wonder Woman but you know what in a year like this, it's fine! Wonder Woman 1984 is fine. Like you're going to look at me and tell me that I'm wrong when I say Gadot absolutely owns this character and its an absolute delight to see her reprise the role?? Anyway...

While the script needed polishing, I appreciated the message of embracing what you have instead of wishing for more. It took me some time to process what the film was trying to say (Because it's long and a bit clunky) but I picked up what they were putting down, or at least that's how I interpreted it. I respect the full-on embrace of the 80s aesthetic, both the "vibrant zaniness" side and the "mass paranoia of impending doom" side (1984!). It actually did feel like a superhero film made in the 80s at times. There are a lot of great sequences in the film, both heart-warming and action-packed. As I said, Gadot is wonderful (Heh). Chris Pine does great as the newly-resurrected fish-out-of-water Steve Trevor, Pedro Pascal has his moments to shine as Maxwell Lord, and Kristen Wiig does really well (most) of the time as Barbara Minerva/Cheetah.

I feel like the more I talk about Wonder Woman 1984 the harder it is to defend it so I'll stop (Like we're not going to talk about the body snatching...) but I had a good time with it. If I could borrow a line from Pedro Pascal, it's good...but it can be better.

(Wonder Woman -1984 is available to stream on HBO Max)

8. The Devil All The Time

Directed by Antonio Campos

Starring Tom Holland, Robert Pattinson, Sebastian Stan, etc.

The Devil All The Time, based on the novel of the same name by Donald Ray Pollock, takes place across the 1950’s and 60’s post-World War II, in Ohio and West Virginia, and interweaves the stories of multiple characters. The film is heavy on themes of the power of faith and religion, and asks bold questions like can those things betray us or lead us astray. God (or some higher power) is operating in every scene. The line between right and wrong is blurred to the point of non-existence. No character is completely good, but some of them might be pure evil. Think Love, Actually but dark.

The film has a real strong ensemble. You can’t help but root for poor, innocent Tom Holland. Robert Pattinson is deliciously vile. Other standouts include Sebastian Stan, Bill Skaarsgard, and Harry Melling. While the film is thought-provoking and leaves a strong impression, it can be a chore to get through. It is slowly paced and gets quite dark (At one moment I actually screamed “Oh come on!!!” at the screen). In hindsight, probably too dark a film to come out in a year like 2020.

That said I enjoyed the storyline linking all these characters and its themes really bring it to the next level. It left an impression on me. If you’re looking for a think piece with plenty of character work, I recommend it.

(The Devil All The Time is available to watch on Netflix)

7. Onward

Directed by Dan Scanlon

Starring Tom Holland, Chris Pratt, and Julia Louis-Dreyfus

Onward came at the right time for everyone I think. The story of two brothers (Holland and Pratt) on a quest to revive their late father for 24 hours is a nice reminder of the "magic" that still exists in the world. That even though at a time when we can't always be there for one another physically, we can be there in our thoughts and our actions. It's a beautiful story about the people that are always there to support us, and the times when we have to support them (Crap, I'm tearing up...). The relationship between Ian and Barley is just so well written and although I find Chris Pratt's Barley to be a bit annoying, he gives a great performance, and so does Tom Holland as Ian.

The animation is right in line with Pixar standards. There are some good jokes. I feel like the writers didn't take full advantage of the fantasy setting but there are some fun set pieces. I don't think Onward is Pixar's best but it is an enjoyable, heartwarming film, and one of the most important stories they've put to screen.

(Original Review. Onward is available to watch on Disney Plus)

6. Happiest Season

Directed by Clea DuVall

Starring Kristen Stewart, Mackenzie Davis, and Alison Brie

The first of two Christmas films on this list. On paper, Happiest Season runs like a typical Hallmark or Lifetime film, but with a higher budget. Does that make it any less enjoyable? Absolutely not. 

It's a great film about relationships, family dynamics, and how the latter can come to a boil over the holidays. The film treats the central relationship between Abby and Harper (Stewart and Davis) with plenty of respect and sincerity, and you really root for them (Almost...Avoiding spoilers.) That's a credit not just to the writers, but the actresses playing them. 

Much like Robert Pattinson, Kristen Stewart has come a long way since her Twilight days. You're in her corner the whole film. Mackenzie Davis...I don't want to give out any spoilers but she really brings this character to life. As a matter of fact the whole cast is amazing. Alison Brie, Dan Levy, Mary Steenburgen, Victor Garber, and Aubrey Plaza. Whoever casted this film deserves a raise. They're all perfect. Also a real scene stealer is Mary Holland as Harper's sister Jane.

I revisited Happiest Season over the 2021 holidays and I surely will again. It's a wonderful Christmas romantic dramedy (Is that a thing?) with plenty of laughs and heart, that I think can resonate with anyone.

(Happiest Season is available to watch on Hulu.)

5. Promising Young Woman

Directed by Emerald Fennell

Starring Carey Mulligan, Bo Burnham, and Alison Brie

I went into Promising Young Woman with a minimal understanding of the premise, and came out having one of the realest viewing experiences of my life. So real I had to take a break after one particular scene. I think this is a film everyone should see. The premise is spectacular and rooted in harsh reality. The film is like a new neo-noir, and has a very unique feel from its use of lighting and color, to its music choices. It's a very bittersweet, black-comedy and will stay with you long after the credits roll. You think you know where it's going but trust me you don't. Fennell won for Best Original Screenplay at last year's Oscar and it was well-deserved.

As far as I'm concerned this is Carey Mulligan's career-defining role. She's funny, terrifying, and emotional all at the same time. And there are some great supporting roles from Burnham, Brie and many more. 

I'm not giving you a lot of information because I think the less you know the better going into this film. If you've seen it, you know what I'm talking about. If you haven't seen it, watch it. Just...be prepared. Maybe do a little research. Not a lot. Just a little...man this film rattled me.

(Promising Young Woman is available to watch on HBO Max and Hulu)

4. Fatman

Directed by Esholm Nelms & Ian Nelms

Starring Mel Gibson, Walton Goggins, and Marianne Jean-Baptiste

I mean, Mel Gibson as Santa...I didn't think it was going to work but it did! The fact that know one had ever made a film where a naughty kid hires a hitman to kill Santa for revenge baffles me. But we have it now, and that makes me happy. Mel Gibson was kinda perfect for this type of Santa story. He's lost his love for his work. He's bitter and depressed towards the state of the world. He has less influence in the modern world where people are just naturally meaner. It's sort of the perfect Santa story for 2020? 

I do wonder what a film like this would've been like with a bigger budget. Maybe a little bit more money but not a ton because then who knows? We would've gotten this crazy CGI-dogfight in the sky with Santa's sleigh and some bi-planes? And I say this with all my heart...more Walton Goggins never hurt anyone.

Fatman is unique, wild, shocking, and the perfect Christmas film for 2020. Damn the Rotten Tomatoes reviews, I will remind you to watch this film every year.

(Original Review. Fatman is available to watch on Peacock)

3. Palm Springs

Directed by Max Barbakow

Starring Andy Samberg, Cristin Milioti, and JK Simmons

We didn't have a summer blockbuster season in 2020, and Palm Springs didn't go to theaters, but Palm Springs was *the* film of Summer 2020. The premise of character(s) being stuck in a time-loop is  familiar, but Palm Springs takes the familiar and works wonders with it. This is both a great character study and just a really fun film. 

Andy Samberg and Cristin Milioti are a perfect pair. Samberg is always great with the comedy but it was nice to see him flex his dramatic chops in some scenes, and Cristin Milioti is just amazing in everything she does. Seriously the industry needs to give more attention to Cristin Milioti. And you're really going to nominate Samberg for a Golden Globe and not her, Hollywood Foreign Press? She is the heart of the film, you dweebs... 

Palm Springs is familiar but delightful, with two great leading performances, and probably the most fun I had watching a film in 2020.

(Original Review. Palm Springs is available to watch on Hulu.) 

2. Soul

Directed by Pete Docter

Starring Jamie Foxx, Tina Fey, and Graham Norton

Pixar really out here trying to induce an existential crisis in the aging millennial? Ugh. In the words of Jean-Ralphio Saperstein, "That was beautiful. That changed me." Soul is probably the most adult Pixar film to date (which might make this one not resonate to much with younger audiences) but it absolutely connected to me. 

Joe Gardner (Foxx) is probably one of the most relatable protagonists in a Pixar film, and Jamie Foxx's voice work is top-notch. He has amazing chemistry with Tina Fey's 22. Fey is perfectly cast as this cynical, vulnerable, and adorable character and it's as much her film as it is. Soul has some of Pixar's absolute best animation. The rendering of New York City almost looks live-action. The use of lighting and color both in the real world and the fantastical is so stunning, particularly when it's paired with the great music in the film. This is inarguably as close as Pixar has come to pulling off their own Fantasia.

At the heart of Soul though is a powerful message of passion and purpose, and how those two things differentiate. One could walk out of this film with a better appreciation of life, and revitalized to live it to the fullest (Just maybe not right now, because Big Rona). Soul is a stunning and inspiring film. It's another Pixar triumph...also Graham Norton should do more voice acting.

(Soul is available to watch on Disney Plus)

Before we get to numero uno, a literal couple of honorable mentions:

Over The Moon: A very unique, visually stunning and touching animated gem, directed by Disney Legend Glen Keane. Available to watch on Netflix (Guys there are apparently a lot of great animated films on Netflix nowadays).

The Sound of Metal: A powerful and insightful piece with a great lead performance by Riz Ahmed. Available to watch on Amazon Prime.

And even with all that pandemic down time, here are some films I still haven't seen but want to:

The Invisible Man

The Way Back

Da 5 Bloods 

Tenet

Freaky

Enola Holmes

My Octopus Teacher

1. Howard 

Directed by Don Hahn

Featuring Howard Ashman, Alan Menken, Peter Schnieder, etc.

For those that don't know Howard is a documentary about the life of songwriter Howard Ashman. If you don't know his name, you know his work. Ashman along with Composer Alan Menken, composed the music for the stage musical Little Shop of Horrors, as well classic Disney films like The Little Mermaid, Beauty & The Beast, and Aladdin. Ashman was also a producer on Mermaid and Beauty, and wrote the initial treatment for Aladdin. 

Unfortunately, Howard Ashman died of complications from AIDS in March of 1991, before Beauty & The Beast was released and Aladdin even got off the ground. I've always been fascinated with Ashman's story and this documentary is a beautiful tribute to this man, who was a major part of Disney/film history, and who's name might not be recognizable to many. It's amazing to hear first-hand stories from his friends and colleagues, learn of his humble beginnings, and get this inside look at his work on these famous productions. Even Alan Menken composed the score of the film, as a homage to his friend.

To bring it full circle, a line from Hamilton can directly apply to Howard Ashman..."What is a legacy? It's planting seeds in a garden you never get to see." You would be hard pressed to find someone who hasn't been touched by one of if not all three of the Disney films Howard worked on, and look what they've become. They're all huge parts of the Disney legacy and are still popular to this day. It's very bittersweet because this man did not get to see how far his work would live on, but he does live on in his work, like so many other talented people that have left us.

...So yeah, bring the tissues. Howard is a beautiful, emotional look at a man who's work still continues to impact audiences to this day. As a big Disney person, film person, hell just as a person this film

had a profound effect one me. It was my favorite film of 2020.

(Howard is available to watch on Disney Plus)

So that's that. Like I said, quite an eclectic mix. Somehow though it still checked off all the Chris Flaherty boxes: Disney, superheroes, Christmas...But it's an unpleasant world we're living in, and...as I've said on my new podcast Movies That Matter (I have no shame) when times get tough, escape into  your favorite film, or TV show. Ignore the critics. Ignore the box office. Just watch what you love.

Stay tuned for my Top Films of 2021. That's still a work in progress. But more to come in the meantime. 

Film Review - "Cruella"

I bet you're expecting me to hate this film like I hated Maleficent. Well, guess what?!?

Cruella

Directed by Craig Gillespie

Starring Emma Stone, Emma Thompson, Joel Fry, and Paul Walter Hauser

I mean I wasn't exactly excited to see this film, despite loving the lead actress and the director's last film (I, Tonya). The reviews ended up being overall pretty positive, but a lot of people liked Maleficent too...and gave it a sequel. Regardless, I had every intention of giving Cruella a chance, and I finally caught it on Disney Plus last week. You know what? I had a pretty good time with it.

The film opens on young Estella having a gift for fashion, and causing trouble. Her mother pulls her out of school and moves to London to keep her out of trouble, but tragedy strikes leaving Estella an orphan. She makes friends with two con-artists/street urchins Jasper and Horace. Ten years later, Estella (Stone), Jasper (Fry), and Horace (Hauser) spend their days pulling schemes throughout the streets of London. 

On her birthday, Jasper and Horace give Estella a job at a prestigious department store...as a janitor. One night Estella drunkenly redecorates a window display in the store, and attracts the attention of prolific designer Baroness von Hellman (Thompson). The Baroness recognizes Estella's talent and offers her a job at her studio. As she grows closer to The Baroness, Estella uncovers a startling connection between them. This revelation sets her down a dark and immoral path that will turn Estella into Cruella.

First off I appreciate them trying to give Cruella de Vil a fully-fledged backstory, and an original one at that. They're not doing some revisionist history of 101 Dalmatians here. There was one questionable story choice that didn't sit with me, but I was able to get past it. Cruella was actually surprising and I wasn't sure where it was going to go. You're rooting for Estella but also not, if that makes sense. She's a likable character and you almost don't want to see her become Cruella de Vil. She's very much an anti-hero, and I dig that.

The film rests on Emma Stone's shoulders, and she carries it with ease. You can tell she's having a ton of fun with this role, and she flips between the light and the dark (the white and the black. Dalmatians!) of Estella/Cruella. Emma Thompson goes toe-to-toe with her as The Baroness. Thompson does great playing a dry, malicious antagonist. She probably could play Cruella de Vil herself if she wanted to. Joel Fry and Paul Walter Hauser are a great pair as Jasper and Horace. Fry brings a lot of heart to the film, which is surprising considering what Jasper was in 101 Dalmatians, but that's fine Jasper is Cruella's moral compass now I guess. Paul Walter Hauser steals every scene he's in as Horace. One of the best castings in a Disney live-action remake??

I liked the look of the film, bringing retro London to life. It fits right in with the style of the original animated 101 Dalmatians. There was some shoddy CGI in some scenes but it was minimal. What I didn't like is the film's soundtrack. It's like someone was skipping through a CD of "Now That's What I Call 70's", playing the most popular songs from the era. Don't get me wrong I like all the songs they used, and some of them worked, but some of them are so overused in film/television, they take you out of the viewing experience. Whatever happened to using original music to set a scene? Not as bad as the soundtrack in the original Suicide Squad, but just as noticeable.

So, why do I like this film and not Maleficent? Well while Maleficent tried to "redeem" its titular character, and as a result tare down a Disney classic, Cruella actually respects the source material. I mean, it does make a popular Disney villain a bit more sympathetic but she's still not a good person. Again, anti-hero. Again, Cruella doesn't fold into a retelling 101 Dalmatians halfway through. It does something original. 

*Mild spoilers* It doesn't take us right to the point where Cruella decides to kill puppies for fur coats, but it puts her in the right (or wrong) direction. It treads that line and I respect that. "Shockingly", there will be a sequel, and we'll have to wait and see what story that film tells (I think the credits scene can give us some hints) but for now, I'll remain cautiously optimistic.

Cruella is not without its flaws but it's a pleasant surprise regardless. It's a fun film with a strong lead performance. I had a good time with it. But Disney you're 1-1 on villain origin films. Let's not push it by trying to dive into the untold stories of Jafar or Gaston-oh no wait they are doing that one just as a miniseries on Disney Plus...anyway...