'The Lion King' (2019) Review

Nominated For: Best Visual Effects.

Synopsis: In the African savanna, a future king is born. Simba idolizes his father and takes his royal destiny to heart. But not everyone in the kingdom celebrates the new cub's arrival. Scar, former heir to the throne, has plans of his own. The battle for Pride Rock is soon ravaged with betrayal, tragedy, and drama, ultimately resulting in Simba's exile. With help from a curious pair of newfound friends, Simba must mature and take back what is rightfully his.

Runtime: 118 minutes

MPAA Rating: PG (for sequences of violence and peril, and some thematic elements)

Who should see it? Families and fans of Disney's live-action remakes.

Adapted from the iconic 1994 animated incarnation, The Lion King is directed by Jon Favreau as Disney's latest "live-action" retelling. Considering the 2019 version was rendered from scratch, it's challenging to categorize The Lion King as animated or live-action since it's the first of its kind. Favreau and Disney classified this uncharted territory as "live-action filmmaking techniques with photorealistic computer-generated-imagery" which is essentially jargon for a CG-production. Utilizing the groundbreaking technology that was employed in the making of Avatar and The Jungle Book (2016), animators meticulously recreated much of the original film's classic iconography to appear alarmingly photorealistic. Though certainly a remarkable technical achievement, this innovation comes at a steep cost. 

The Lion King is undeniably an impressive two-hour visual effects demonstration, but it sorely lacks the personality and energy of the original. This is largely because Favreau set parameters for his team of animators and vfx artists, which only allowed the animals to express emotion as they would in real life. As a result, the disembodied voices of an A-list ensemble are solely responsible for conveying their characters' emotional responses. Yet, vocal performances from veteran actors also fell flat. I'm unsure if this stemmed from Favreau's direction or the acting talent themselves, but the voice-over was mostly monotonous delivery of familiar dialogue. Jeff Nathanson adapted Irene Mecchi, Jonathan Roberts, and Linda Woolverton's screenplay while Brenda Chapman received story credit as the animated film's story supervisor. However, none of the other twenty-five writers or credited crew involved with the first film were recognized. I'm aware that Timon and Pumbaa's trademark motto "Hakuna Matata" means "no worries," but I have several.

For a remake so beholden to the original, I'm baffled to learn this is the case on account of semantics concerning protections and residuals from Writer's Guild and the Animation Guild. Credit logistics aside, The Lion King retains approximately 80-85% of the first film's dialogue and replicates almost the entirety of its predecessor's visuals. A few additional scenes serve as supplemental story material to overtly explain the story's subtleties, which didn't really need to be shown. Otherwise, it's basically a shot-for-shot recreation with minor tweaks. Worst among these changes is the replacement of Hans Zimmer's score with Beyoncé's original song "Spirit" in the scene where Simba decides to return to Pride Rock. The scene, which is supposed to be a profound moment with an epic accompaniment, is instantly cheapened by a typical Beyoncé song that is hysterically out-of-place. Not to mention, Mufasa reappears to Simba as a generic cloud that only resembles a lion during instantaneous flashes of lighting. Favreau's insistence on grounding this tale in realism increasingly grew more and more absurd when I realized singing animals were part of the equation.

Chief among my complaints, The Lion King's larger-than-life musical numbers were staged in literally the least exciting way imaginable. The photorealistic approach naturally confined Favreau's creativity in this regard, but animals simply walked or ran around their environment while singing. It was rather dull to watch, and the lyric annunciation and syncopated rhythms of the songs are changed to better suit the actors I suppose. Without the heightened exaggeration and vibrant colors front-and-center in the 1994 animation, these songs are hardly any fun. The cast's singing ability is there for the most part, though there are some glaring exceptions such as Seth Rogan's Pumbaa. It's mercifully brief, but nobody involved bother trying to mask it via auto-tuning as Disney did earlier this year in Aladdin (2019).

Maybe, I'm being a bit harsh in actively comparing this reimagining to the first film. However, it's nearly impossible to avoid doing so since it borrows so much and is a downgrade in almost every respect. I've attested to the emotional disconnect intentionally inserted by Jon Favreau, and that decision alone seems to have stifled the possibilities that accompany bringing this story to life. Even standing entirely on its own, this iteration lacks the emotional vitality necessary to tell this story. The effects are incredible, but everything is a soulless rendering. Young Simba is admittedly a cute cub, but he's hardly capable of emoting. When Mufasa was trampled by a stampede of wildebeests (spoiler alert?), Simba's vacant expressions matched my own. Otherwise, Hans Zimmer probably earned the easiest paycheck of his life as his score is virtually identical aside from a couple new refrains and slight occasional re-arrangements.

I briefly addressed the ensemble, but I was amazed to see such high-profile talent lend performances devoid of personality when they seemed like ideal casting choices. JD McCrary, Shahadi Wright, Donald Glover, and Beyoncé portray Simba and Nala respectively at varying stages of life. The quartet's voices shine in the musical numbers but are otherwise serviceable. The legendary James Earl Jones reprises the role of Mufasa, and even he failed to spark life into a character which he'd already made iconic. Perhaps, it's due to his age, but that doesn't explain the other's inconspicuous contributions. Amongst the supporting cast, John Oliver's Zazu and John Kani's Rafiki are unusually restrained when compared to their animated counterparts while Afre Woodard's Sarabi practically serves as set decor. 

Not all is lost, though. Billy Eichner and Seth Rogan were sure-fire stand-outs as Timon and Pumbaa and the sole source of successful comic relief. The rapport between Eichner and Rogan is unique, but true to the spirit of Nathan Lane and Ernie Sabella's dynamic from the original. The duo breaks the fourth wall in fun and exciting new ways, but it occurred a little too often and risked veering towards being Deadpool-esque at times. However, I will admit to breaking out in a fit of laughter at the subversive and abrupt ending to their amusing remix of "The Lion Sleeps Tonight."

Chiwetel Ejiofor's Scar speaks with a hushed intensity that sets him in the shadow of Jeremy Irons' eccentric take. The cunning and manipulative tendencies remain, but the larger-than-life malevolence is stripped away. Florence Kasumba, Keegan-Michael Key, and Eric André portray the prominent trio of hyenas and are equally subdued.

Given the enormous success of Disney's other live-action re-imaginings, a remake of The Lion King was inevitable. After seeing The Jungle Book, I'll admit that I was also interested in seeing Jon Favreau take a stab at it. I now deeply regret that request as in the theater I often sang to myself, "Oh, I just can't wait for this to be over."

Film Assessment: D+

'Long Shot' (2019) Review

Synopsis: When Fred Flarsky reunites with his childhood crush Charlotte Field, who happens to be one of the most influential women in the world, he charms her with his self-deprecating humor and his memories of her youthful idealism. As she prepares to make a run for the presidency, Charlotte hires Fred as her speechwriter. A fish out of water on Charlotte's elite team, Fred is unprepared for her glamorous lifestyle in the limelight. Sparks fly as their unmistakable chemistry leads to a round-the-world romance and a series of unexpected and dangerous incidents.

Runtime: 125 minutes

MPAA Rating: R (for strong sexual content, language throughout and some drug use)

Who should see it? Adult fans of romantic comedies.

Directed by Jonathan Levine and written by Dan Sterling and Liz Hannah, Long Shot is a romantic comedy which features the unlikely pairing of Seth Rogan and Charlize Theron. Those who know me or frequently visit my blog are likely aware that I don't often watch or review rom-coms. I tend to gravitate towards the sci-fi, action, musical, or awards-oriented fare. However, I chanced seeing Long Shot based on overwhelmingly positive word of mouth, and I'm glad I did. Long Shot isn't a groundbreaking or revolutionary rom-com by any means, but it's certainly an enjoyable one!

Setting itself apart from other romantic comedies, Long Shot is imbued with sharp political commentary. Refreshingly, the political angle of the story doesn't become too ham-fisted or relentlessly attack one side of the aisle. Screenwriters Dan Sterling and Liz Hannah acknowledge the pervasive problems in contemporary political discourse, scandals, and elections with a balanced perspective and poke fun at the division along the way. If you're legitimately offended by the humor in Long Shot, then you're probably just taking it too seriously. Your political stance shouldn't detract from your enjoyment because Long Shot's about so much more than political squabbling. That's merely the set dressing. 

At its core, Long Shot exemplifies the age-old mantra to "be yourself" and not compromise your integrity for the sake of achievement. Levine, Sterling, and Hannah just so happen to present this theme in a political context. In her ambitions to become president, does Charlotte Field lose herself? It's relevant and applicable to any candidate running for office, regardless of their party. Will they stay true to their word and what lengths are they willing to go to maintain a quality public image? The outcome's predictable since Long Shot abides by the rom-com bylaws to a tee, but the film retains an honest appraisal of the contemporary political landscape along the way. And, of course, it helps that Long Shot is a hysterical affair as well! Not every joke lands, but I laughed at the vast majority of one-liners.

Given Rogan's involvement, I feel it's worth noting that certain gags involve sex/drugs because I'm aware this may repel some viewers, but these rarely degraded the picture and proved to be relatively insignificant. Long Shot also doesn't devolve into a quip-fest, retaining focus on the story at hand rather than constantly exchanging one-liners.

Anchoring the feature, Charlize Theron and Seth Rogan share a delightful rapport. Theron portrays Charlotte Field as a self-serious politician while Rogan's Fred Flarsky is an endearing schmuck. Though the match-up's impractical, the actors play well off one another. Sprinkled in the supporting cast, Bob Odenkirk, Ravi Patel, June Diana Raphael, O'Shea Jackson Jr., Alexander Skarsgård, and an unrecognizable Andy Serkis each shine in their varying roles.

Long Shot may seem like a long shot based on its premise and those involved, but the endearing romance, a pair of likable leads, sharp political commentary, and a cascade of hilarious bits ensure it's a worthwhile venture. 

Film Assessment: B

'The Disaster Artist' Review

[This review was originally written in December 2017 and is now being published that my internship is over. For an explanation of this, visit my Fall 2017 Important Update post.] 

Nominated For: Best Adapted Screenplay.

The Disaster Artist follows aspiring film actor Greg Sestero as he meets the strange and mysterious Tommy Wiseau in an acting class. The two quickly become friends and decide to move to Hollywood in order to pursue their acting ambitions. Once they decide they've faced enough rejection, the two decide to realize their dream by making their own movie. The Disaster Artist then details the conception of one of the worst films ever made, The Room.

The Disaster Artist is a film I've been looking forward to seeing for quite some time. While I hadn't seen The Room till far more recently, I had heard about it amongst conversation with the cult fanbase and was well aware of its existence so the idea of a film about the making of the disasterpiece intrigued me to say the least, and the trailer only increased my anticipation. However, I was slightly concerned that the Franco brothers and Seth Rogan might coast on purely recreating the most memorable moments from The Room. As per usual, my worries were unwarranted though.

One of the more interesting aspects of The Disaster Artist was how James Franco championed Wiseau's strategy of directing, producing, and starring in the movie. While he didn't fully follow in Wiseau's footsteps by writing The Disaster Artist's script, Franco was fortunate enough that Scott Neustadeter and Michael H. Weber adapted Tom Bissell and Greg Sestero's book. In order to make this work, everyone involved would require an insurmountable appreciation of The Room... and thankfully, it seems everyone behind the camera genuinely cared about telling a hilarious and heartfelt story surrounding a passion project that didn't pan out as the artist had hoped.

The Disaster Artist could have easily just mocked Tommy Wiseau and his entirely unique vision that is The Room, but instead Franco and the writers realized there was an emotional core to this story. It'd admittedly be difficult to discover and depict onscreen because that would involve analyzing and understanding one of the most mysterious men in Hollywood, but it was there. Everyone (even exceptionally talented people) can relate to putting their all behind something and being underwhelmed by the results, and that's exactly what Franco keys in on. He excellently explores what it's like to chase your dreams and end up with an undesirable outcome. The Disaster Artist is a film that takes Wiseau's willingness to put himself out there in wacky, weird ways and shows admiration for it. Not many would dare to do that, so I can't help but respect Franco for respecting Tommy Wiseau (which I'll touch more on in a moment).

For fans of The Room hoping to see their favorite moments recreated, there's a lot of fun to be had in that department... Especially with the endless stream of surprise celebrity cameos. Though The Room is certainly not essential viewing in order for you to enjoy yourself. Even if you haven't seen it, you'll likely laugh at the insane shenanigans and perhaps be inspired to go watch that film afterwards. With that being said, I think you'll have a deeper appreciation for everything if you have watched it. Also worth noting is the fact that there is a post credits scene. I had no idea a few weeks ago when I went to see the film, so I left before the credits were finished. I wasn't exactly expecting to Tommy Wiseau to be recruited by Nick Fury or anything so I didn't stay, but I personally like to watch those regardless of what they are, so I'm letting you know because I would have liked to have known when I first saw it.

At the center of The Disaster Artist is a totally transformative performance from James Franco that's managed to already earn a lot of awards acclaim, and quite frankly, it's the one I'm rooting for in the Best Actor race. Franco could have simply done a lazy impersonation of Wiseau, but his performance is surprisingly layered beyond nailing Wiseau's unique accent and quirky mannerisms. Franco seems to have a fundamental understanding of Wiseau's humanity, and the way he communicates it while maintaining the Wiseau's peculiar personality is absolutely incredible.

Dave Franco does a solid job ensuring Greg is a relatable, empathetic audience surrogate in this crazy story, and Seth Rogan is funny as Wiseau's script supervisor Sandy. As I mentioned earlier, there are countless other celebrity cameos, but I won't reveal them here so it remains a surprise if you choose to watch the film.

"It's not true! It's bull-sh*t!" The Disaster Artist is not a disaster as some may gleam from the title. The Disaster Artist is actually a great big Hollywood movie about a really terrible one (that was a line from The Room for those confused). 

Film Assessment: A-

'Sausage Party' Review

I walked out of Sausage Party wondering what in the world I had just watched, and that's coming from someone who had a general idea what he was in for. Essentially it's about marketplace food discovering what actually happens to food when it's purchased and the insane shenanigans that follow.

At it's core, Sausage Party clearly mocks many tropes of Disney/Pixar style animation opening with an outrageously humorous song composed by Alan Menken, known for scoring Disney films such as Beauty and the Beast (1991), Aladdin, and Hercules, and borrowing the central idea of living inanimate objects and their lives from Toy Story but trust me, they are distinctly different in terms of appropriateness and quality.

Sausage Party is a raunchy animated comedy, and I feel that's something that's important and should be expressed if you plan on watching it, because this film doesn't hold back on it's jokes and crosses the line fairly quickly with no plans to tread backwards. If you are easily offended by racial stereotypes or inappropriate humor, this is not the comedy for you. Greg Tiernan and Conrad Vernon's direction lends itself perfectly to the filthy comedy as every creative choice is certainly a bold one.

The animation is sub-par and never near the heights of Disney, Pixar, Dreamworks, or even Illumination Entertainment but that's no surprise considering Sausage Party had a budget of $19 M and the Sausage Party's aesthetic isn't the film's primary focus. It's purpose is to make you laugh and Sausage Party's biggest hurdle for me was that it's rarely as it funny as makes itself out to be.

The screenplay from writers Kyle Hunter, Ariel Shaffir, Seth Rogan, and Evan Goldberg offers up some gags that had me laughing hysterically but not every joke landed. There are some sequences that offer up plenty of shock and awe as things unfold that are absolutely bananas, so I can give them props for daring to go that far, but at the same time I was very weirded out by it all. Surprisingly the screenplay does offer up some fairly smart social, political, and religious commentary, but once again not as high brow as it'd like to be since it juxtaposes these messages with some grungy jokes and racial stereotypes for cheap laughs.

However with that all being said, Sausage Party boasts a massive ensemble of comedic talent including Seth Rogan, Kirsten Wiig, Jonah Hill, Michael Cera, Edward Norton, Paul Rudd, Bill Hader, and Nick Kroll along with many, many more brilliant comedians. Some voices are instantly recognizable while others had me on the ropes and part of the fun of seeing the film is trying to figure out which celebrity talent is associated with which character so I won't discuss their performances individually.

Overall, Sausage Party is definitely not for everyone, but if you love raunchy comedy this will scratch your itch. Oh and please DON'T bring your children to see Sausage Party as it may appear to be a cute animation, it's nothing of the sort. I also didn't find the experience to be heightened by seeing it in a theater so if you're iffy on Sausage Party, wait for the home media release and check it out then. In conclusion, Sausage Party is a brilliant parody, but only a passable comedy. It offers up enough unique humor for at least one viewing, but honestly I don't feel as though I would ever watch Sausage Party again.

Film Assessment: C-

'Kung Fu Panda 3' Review

I'm a tad late with this review but I recently saw the latest installment in the Kung Fu Panda franchise after recently rewatching the first two films for my Throwback Thursday Reviews the two weeks leading up to the third film's release. Animated sequels have a tendency to fall short of the original with a few exceptions and Kung Fu Panda 3 proved to be a solid conclusion to the Kung Fu Panda trilogy that brings the overarching narrative full circle. When compared with the other two, there are certainly huge similarities in embracing the classic heartfelt message to be yourself. This film probably has the most depth and substance in the franchise once again dipping it's toes in the water of mature themes involving Po feeling torn between his adoptive and biological fathers. Simultaneously, this is the most fun, entertaining installment yet that sports gorgeous animation, fun humor, and some cool kung fu action sequences. The entire vocal ensemble cast are great when utilized properly. Jack Black once again brings life into Po, with charisma and heart galore. Bryan Cranston is a welcome addition to the franchise as Po's father and James Hong, who voices Po's adoptive dad, got to delve into some of the deeper themes and nails it. The returning cast are for the most part relegated to smaller supporting roles but are great when used. J.K. Simmons made for a great new villain as Kai with a malevolent gravitas. Kung Fu Panda 3 takes the groundwork laid by it's predecessors, Kung Fu Panda and Kung Fu Panda 2, and elevates it to a new level of fun, entertaining animation with even more heart. Kung Fu Panda 3 brings the Kung Fu Panda trilogy to a close, cementing the films as another solid animated trilogy that leaves the door open for another potential installment should Dreamworks decide to go in that direction. If you enjoyed the first two, you'll certainly have fun watching Kung Fu Panda 3.

Film Assessment: A-

Throwback Thursday Review: 'Kung Fu Panda 2'

This week continues and completes my Throwback Thursday Reviews of the Kung Fu Panda films leading into this week's Kung Fu Panda 3.  Next week I will review
Zoolander to get ahead and review it leading up to it's sequel the following week since Zoolander 2 and Deadpool are coming out the same weekend. Therefore I will review Zoolander next week, followed by X-Men Origins: Wolverine the following week.

'Kung Fu Panda 2' Review

Nominated For: Best Animated Feature.
Kung Fu Panda 2 picks up after the original and strays from feeling like a retread, which can be a problem for many sequels, but rather an extension of the story that began in Kung Fu Panda. The sequel elevates so much of what the original introduced. The animation once again is top notch and the action sequences are even better than before accompanied with great humor once again. The voice cast once again nails it as they perfectly match their respective characters. Jack Black is so entertaining as Jack Black, providing so much charisma and heart to the character of Po. Dustin Hoffman is great in his limited screen time but when onscreen brings the wise demeanor of Master Shi Fu. Meanwhile on the other side of the coin, Angelina Jolie's role as Tigress becomes significantly more important as opposed to the first film. The film's villain is a great standout as Gary Oldman provides the voice for Lord Shen. Shen is so menacing and makes for a complex antagonist for our heroes. I can't speak too much for the rest of the voice cast as the remainder have very limited speaking roles and didn't particularly standout. Now speaking for the film as a whole, Kung Fu Panda 2 does something few animated sequels can accomplish in that it escalates the fun of the franchise to a new level bringing with it a new layer of sophistication and depth putting it with some of Dreamworks' best work alongside the Shrek films, How To Train Your Dragon films, and the original Kung Fu Panda.

Film Assessment: B+

Throwback Thursday Review: 'Kung Fu Panda' Review

This review begins what will be my brief series of Throwback Thursday reviews leading up to  Kung Fu Panda 3  Next week I will continue with my review of Kung Fu Panda 2.

'Kung Fu Panda' Review

Nominated For: Best Animated Feature.

Kung Fu Panda, just the idea of a Panda learning Kung Fu seems at least a bit intriguing. Essentially, that is a basic outline of the plot. Kung Fu Panda isn't quite at the level of any of Pixar's films, although it's a Dreamworks Animation film so it's not exactly expected to, but that means that while the film is quite entertaining it doesn't exactly have the mature themes and depth that many Pixar films contain. As I said, the film is quite entertaining and that's in large part to a number of things.  The animation is beautiful, there's some decent humor, and some really cool action sequences. The major martial arts action sequences are the main draw to the film and are all particularly enjoyable. I can't speak too much about the voice cast but everyone seems to be perfectly cast paired with their respective characters. In particular, Jack Black is quite amusing as Po. Overall, I can say Kung Fu Panda held up to how I remembered it and certainly remains among some of Dreamwork Animation's greatest animated films, alongside the Shrek and How To Train Your Dragon films.

Film Assessment: B