FernGully: The Last Rainforest (1992)

2018 #99
Bill Kroyer | 73 mins | streaming (HD) | 1.85:1 | USA & Australia / English | U / G

FernGully: The Last Rainforest

I remember ignoring FernGully when it came out (probably when it hit rental video rather than at the cinema) because it looked a bit rubbish. I mean, it was an animated movie but it wasn’t made by Disney — “could such things even exist?”, wondered little me (probably). As the years went by, I kinda assumed everyone else had ignored or forgotten it, leaving it as some curio I vaguely remembered from video shop walls. But fastforward to 2009 and suddenly everyone was talking about it, because it had been remade as a big-budget 3D sci-fi epic by James Cameron. Okay, Avatar wasn’t actually a FernGully remake, but the disparaging comparison came up a lot. Fastforward another decade to now (a time when Cameron’s fourfilm remake of FernGully 2: The Magical Rescue (yes FernGully got a sequel) is still over two years away (provided they don’t push it back again)), and on a whim I finally watched FernGully to see this supposed likeness for myself.

So, what’s FernGully actually about? Well, not blue creatures on an alien moon, although it’s equally as fantastical. It’s set in the Australian rainforest, where fairies live in isolation, believing humans to have gone extinct… that is until loggers turn up to destroy their home. Fairy Crysta (Samantha Mathis) shrinks human Zak (Jonathan Ward) down to her size to save him from a falling tree, at which point he learns about their way of life — oh, right, Avatar here we are. Anyway, many years ago an evil entity called Hexxus (Tim Curry) was trapped inside a tree, which the loggers cut down, and suddenly everyone’s at threat.

If it’s not obvious already, FernGully is pretty heavy on the environmental messaging (it’s even dedicated to “our children and our children’s children”, and there’s a note at the end of the credits about donating proceeds to the Smithsonian for environmental work). I seem to remember this was all viewed as being kinda-loony eco stuff back when the film came out. Now, of course, acceptance of those views is much wider, and what the film has to say seems a little obvious. Though we’re still destroying the planet, so I guess we’ve not learned that much in the three decades since.

Batty, indeed

Even more of-its-time are the musical numbers. They’re very 1992, and not in a good way. That said, although it’s a terrible song, If I’m Gonna Eat Somebody (It Might As Well Be You) is one of the best titles ever.

One of the people lumbered with an awful tune is Robin Williams, playing a mentally-deranged rapping bat. Nonetheless, he’s definitely one of the best things in the film — not as much as his Genie was in Aladdin, but he does occasionally bring a similar irreverence. It’s needed when the rest of the film is being a bit po-faced about the magic of nature. The other vocal standout is Tim Curry, who always gives good villain. He’s supported by nice design and animation, with Hexxus visualised as a dripping oil-creature, plus a couple of other forms as the film goes on, all of which look pretty effective. Like the rest of the movie, his characterisation and motivation are very underdeveloped, and Curry’s given little to do after his initial birth/song sequence, but the character looks good.

All in, FernGully is a decent little animated adventure — a tad earnest perhaps, but not too bad — but it’s held back by weak music and a thin plot.

3 out of 5

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Review Roundup

Even though my film viewing has slowed to barely a trickle recently (more about that on Thursday), my review backlog is still humongnormous (so I big I had to invent that new world to describe it).

So, here’s another exceptionally random selection of quick reviews to help clear out a tiny fraction of it. They’re connected merely by being films I watched over a year ago. Three of them score 3 stars, one of them scores 4, and I suspect you won’t guess which that is…

In today’s roundup:

  • American Assassin (2017)
  • Captain Underpants: The First Epic Movie (2017)
  • Wild Strawberries (1957)
  • Yes Man (2008)


    American Assassin
    (2017)

    2018 #79
    Michael Cuesta | 112 mins | streaming (HD) | 2.35:1 | USA & Hong Kong / English, Arabic, Italian, Polish, Turkish & Persian | 18 / R

    American Assassin

    Based on the Mitch Rapp series of novels by Vince Flynn (and, since Flynn’s death, Kyle Mills), American Assassin is an action-thriller about a CIA operative that’ll feel very familiar to anyone who’s ever seen a film starring Jason Bourne, Jack Ryan, or anything else along those lines. Indeed, it particularly reminded me of the last-but-one Jack Ryan reboot, crossed with something altogether murderier — you’ll notice this has an uncommonly high 18 certificate. I guess that was for some torture that goes on; although it also features a very intense opening scene, depicting an attack by terrorist gunmen on tourists at a beach resort. Considering this is no more than a dumb action-thriller, one might consider it a bit much to include such a viscerally-real-feeling sequence, inspired by relatively recent real-life attack(s), just to kickstart the hero’s journey…

    The film was made for just $33 million, which is chump change in modern Hollywood, and they’ve not done badly off it. The shooting locations do seem a little limited (the main sequence in Istanbul looks more like it was shot in a London shopping precinct (which, as I found out when I checked after, it was), and the bit in Poland is moderately familiar as London too (it’s Somerset House, recognisable to UK cinephiles as where Film4 host their outdoor summer screenings); but I’ve seen worse CGI in bigger-budgeted films, and the fisticuffs are decently staged.

    Altogether, it makes for quite an entertaining action thriller, with some decent scenes, but the story is wholly familiar — Mitch Rapp: Sum of All Shadow Recruits, if you will. Fans of the genre will likely get a kick out of it, especially if they’ve not seen some of the other films it feels so similar to (though if you’re a fan of the genre I don’t see how you wouldn’t’ve), but others need not apply.

    3 out of 5

    Captain Underpants:
    The First Epic Movie

    (2017)

    2018 #91
    David Soren | 85 mins | streaming (HD) | 1.85:1 | USA, Canada, France, UK & India / English | U / PG

    Captain Underpants: The First Epic Movie

    Somehow I was vaguely aware of the existence of a series of books called Captain Underpants, but I’d paid them no heed because they’re for young kids, and also because they looked stupid. I thought the same thing of this movie adaptation, but then I started hearing good things about it and, well, here we are.

    It’s about two young boys who love nothing more than pranking teachers and creating superheroes. When their headteacher separates them because of the former, they manage to hypnotise him and convince him he’s the latter — the eponymous Captain Underpants. Initially that just makes their school life more fun, but then a supervillain turns up, so he’s handy for that too.

    Obviously it’s all thoroughly daft and primarily aimed at younger children — there are Messages without it being preachy, and it’s suitably irreverent and base at times. It’s the movie equivalent of mixing veg into, like, a burger, or something (I dunno, I’m not a parent. What food do you hide veg in?) But it also contains some good gags for the adults (satire!) and some clever bits of animation and stuff as well — it’s more inventive than you might expect in that regard.

    Indeed, I feel like it’s all-round better than you’d expect, given the title and overall style (the kiddie design and tone; the toilet humour)… but not so much better that it warrants 4 stars, so…

    3 out of 5

    Wild Strawberries
    (1957)

    aka Smultronstället

    2018 #90
    Ingmar Bergman | 87 mins | DVD | 4:3 | Sweden / Swedish | PG

    Wild Strawberries

    “Wondrously warm, one of Bergman’s very finest achievements, and a landmark in the history of cinema,” says Geoff Andrew in the notes that accompany the UK DVD release of Wild Strawberries, one of Ingmar Bergman’s most acclaimed movies from a career filled with them. However, speaking for myself, I’m still struggle to get a handle on the director’s output.

    It’s about a grumpy old professor (Victor Sjöström) who sets out on a road trip to collect an honorary doctorate. Along the way he has various encounters with other travellers, which prompt daydreams and memories that cause him to reassess his life and its worth.

    Put like that, what it’s “about” seems obvious, though in my notes I wrote “I’m not sure I have any idea what it was about. Something to do with old age and looking back and maybe death,” so how effectively its themes come across on a first viewing is, perhaps, debatable. That said, I’m fully prepared to accept I was looking in all the wrong places, maybe focusing too much on the literal road-trip storyline and not the figurative exploration-of-self the trip was provoking.

    On the bright side, there’s some effective imagery in the dream sequences, and I found it less crushingly dull or obtuse than Persona, which is something. Maybe Bergman’s just not for me? Or not for me yet? Well, I didn’t dislike it, but at the same time I didn’t get much out of it. Maybe some day I will.

    3 out of 5

    Wild Strawberries was viewed as part of my Blindspot 2018 project.

    Yes Man
    (2008)

    2018 #86
    Peyton Reed | 100 mins | streaming (HD) | 16:9 | USA & UK / English & Korean | 12 / PG-13

    Yes Man

    Loosely based on Danny Wallace’s memoir of the same name, Yes Man stars Jim Carrey as a negative chap who attends a motivational seminar that encourages him to start saying “yes” to every opportunity that comes his way.

    On the first night, he says yes to a homeless guy who wants a lift across town, then yes to letting the guy use his phone, then yes to giving him all his cash. But it turns out the drive used all his fuel, the call used all his battery, so he can’t phone for help, and he has to trek miles in the dark to buy fuel… not that he has any cash. So much for saying “yes” to everything. But at the petrol station he meets Zooey Deschanel and they hit it off. So, yeah, point made with perhaps the most outsized karmic reward ever.

    I suppose everything about Yes Man is broadly familiar — the romcom story arc; the kooky supporting characters; Jim Carrey’s schtick (it feels very much in same vein as the high-concept ’90s comedies that made his name; although there’s no fantastic element this time, and the worst excesses of his ‘act’ are thankfully limited to one or two scenes) — but it carries it off with reasonable charm. I mean, if you have no time for Carrey’s comedies, and aren’t attracted to Deschanel being a MPDG again, then there’s nothing here that’s going to win you round. For fans of such shenanigans, however, this is a perfectly enjoyable experience. It’s a 3.5-out-of-5-er, but I had a nice time with it, so my score leans on the side of generosity.

    4 out of 5

  • Finding Dory (2016)

    2018 #122
    Andrew Stanton | 97 mins | Blu-ray (3D) | 1.78:1 | USA / English | U / PG

    Finding Dory

    I was never that big a fan of Finding Nemo. I mean, I like it well enough — it’s a very good movie — but I’ve never loved it. My rewatch last year confirmed that feeling. It was something of a surprise, then, that I mostly really enjoyed this sequel. It’s a weird thing where I wouldn’t necessarily say it’s better than the first film, but I think I like it more.

    Made 13 years later but set not too long after the events of the first movie (I don’t know what the lifespans of these fish are in real life, but I imagine considerably less than 13 years), the plot revolves around Nemo comedy sidekick Dory (Ellen DeGeneres) — in the first film her memory loss was a comedy bit, but here it’s front and centre, as Dory goes searching for the family she forgot she had. Accompanied by Nemo (Hayden Rolence) and his dad Marlin (Albert Brooks), she heads to California and the theme park-ish Marine Life Institute.

    Like so many Pixar movies, Nemo didn’t desperately need a sequel, so I was worried this would seem like little more than an excuse to return to these characters. In fact, the plot actually works very well. Far from being a desperate stretch, it actually feels like a worthwhile development and follow-up from the first movie. Alongside the worth of the narrative, it’s also just a lot of fun to watch, even if it gets a bit outlandish in the final act (fish driving cars…?)

    Something fishy going on...

    Another concern I had was that I remember thinking Dory was a bit irritating in the first film, so making her the central character could’ve scuppered it for me (other people seem to find her endearing, so I can see why Pixar went with this concept). But no, she makes for a likeable enough companion. The film does a really good job of handling her memory loss, too. It’s more than just a joke this time round, what with Dory being the central character. The easiest route to take for the filmmakers would’ve been to cop out of it somehow, either by flat-out fixing her memory, or at least not being wholly true to how short-lived it was before. Instead, they’ve put the problems and the scariness of having no memory at the forefront of the film. For example, at one point Dory needs to enter a network of pipes to get somewhere vital within the Institute, but she won’t go in because she knows she’ll forget the directions. A more constant fear is that she’ll forget about her family or friends, the people she loves, which I think is the kind of notion a viewer of any age could empathise with.

    As a Pixar movie, it goes without saying that it looks superb, but I’ll nonetheless take a moment to mention that I thought the 3D aspect was really great too. It seems to be pot luck with this stuff (I found Nemo’s rather underwhelming, and I wasn’t that impressed by Coco’s either, for example). I guess most people don’t care anymore, but there we go.

    Finding Dory was a pleasant surprise all-round. In fact, I’d go so far as to say this is Pixar’s best non-Toy Story sequel. Maybe that’s not saying much (half its competition is Cars movies), but I mean it positively nonetheless.

    4 out of 5

    Pixar’s latest sequel, Toy Story 4, is out in the UK and US next Friday.

    Ice Age (2002)

    The 100 Films Guide to…

    Ice Age

    Sub-Zero Heroes

    Country: USA
    Language: English
    Runtime: 81 minutes
    BBFC: U
    MPAA: PG

    Original Release: 14th March 2002 (Indonesia & Mexico)
    US Release: 15th March 2002
    UK Release: 22nd March 2002
    Budget: $59 million
    Worldwide Gross: $383.26 million

    Stars
    Ray Romano (Welcome to Mooseport, Paddleton)
    John Leguizamo (Romeo + Juliet, Land of the Dead)
    Denis Leary (The Thomas Crown Affair, The Amazing Spider-Man)
    Goran Visnjic (Practical Magic, Elektra)

    Director
    Chris Wedge (Robots, Epic)

    Co-Director
    Carlos Saldanha (Ice Age: The Meltdown, Ferdinand)

    Screenwriters
    Peter Ackerman (Ice Age: Dawn of the Dinosaurs, eight episodes of The Americans)
    Michael Berg (New Jersey Turnpikes, Ice Age: Continental Drift)
    Michael J. Wilson (Shark Tale, Ice Age: Collision Course)

    Story by
    Michael J. Wilson (Alyce in Wonderland, The Tuxedo)


    The Story
    A trio of mismatched prehistoric animals endeavour to return a baby human to its tribe before the oncoming ice age cuts off the path to their camp.

    Our Heroes
    The aforementioned trio are overenthusiastic Sid the sloth, wannabe-loner Manny the mammoth, and Diego the sabre-tooth tiger, who has ulterior motives…

    Our Villains
    A group of bloodthirsty sabre-tooth tigers who want to kill the baby human in revenge for… something. I forget. Diego is their inside man.

    Best Supporting Character
    Weird squirrel-like creature Scrat — he was all over the marketing and is consistently associated with the franchise, so you’re probably vaguely familiar with him. He’s got nothing to do with the main story, instead popping up for asides of silent comedy. His opening scene was only added to the film because otherwise the first sequence featuring snow and ice wasn’t until over half-an-hour in, but he was so popular with test audiences that he was given more throughout the rest of the movie.

    Memorable Quote
    Sid: “For a second there I actually thought you were gonna eat me.”
    Diego: “I don’t eat junk food.”

    Memorable Scene
    Walking through an ice-cave shortcut, Sid sees various other prehistoric creatures frozen in the ice: an ugly fish, a dinosaur, an evolutionary series that ends with him… and a flying saucer. (See also: Next Time.)

    Letting the Side Down
    Most of the time the deliberately stylised designs help the film get away with the early-’00s quality of its CG animation (and some flourishes, like fur, actually look rather good), but the tribe of humans move rather stiffly, and consequently look a bit like a computer game from the same era.

    Making of
    Believe it or not, Ice Age was originally pitched as a drama. Fox insisted that if it was animated it had to be a children’s comedy (because that’s what all major Western animation is, right? And when it isn’t, it flops, like Fox’s previous animated movie, Titan A.E. Incidentally, that failure is also why they abandoned plans to make Ice Age in 2D cel animation). The original dramatic concept is presumably why some slightly-too-serious stuff remains in the storyline.

    Next time…
    Four true sequels, plus the usual wealth of connected short films and TV specials that accompany popular kids’ animation franchises nowadays. A sixth film and/or TV series may be in development. Interestingly, each of the things Sid sees preserved in the ice (see Memorable Scene) is connected to one of the sequels. I’ve no idea if that was deliberate or a huge coincidence; though, either way, I’m sure it can’t’ve been planned from the outset.

    Awards
    1 Oscar nomination (Animated Feature)
    7 Annie nominations (Animated Theatrical Feature, Directing in an Animated Feature, Writing in an Animated Feature, Character Animation, Character Design in an Animated Feature, Production Design in an Animated Feature, Music in an Animated Feature)
    1 Saturn nomination (Animated Film)

    Verdict

    Ice Age was one of the first computer-animated franchises, though it doesn’t seem to have stuck in the collective consciousness as well as, say, Toy Story or Shrek. Personally, I first and last saw it sometime shortly after its original release, but all I could remember was enjoying it well enough. Well, all that is probably because it’s not as good as the best of Pixar or DreamWorks. It’s amenable enough, but it lacks the sharpness of concept, dialogue, character, and story that makes those movies truly memorable. I can see why I remember liking it but couldn’t recall much else. So, I’m not sure it deserves to be better-remembered than it already is, but it’s not at all bad for anyone who chooses to seek it out.

    Teen Titans Go! To the Movies (2018)

    2018 #246
    Aaron Horvath & Peter Rida Michail | 84 mins | streaming (HD) | 16:9 | USA / English | PG / PG

    Teen Titans Go! To the Movies

    I don’t think I’d even heard of the Teen Titans Go! animated series until promotion for this big screen version started. Best I could tell, a lot of entitled fanboys hate it — it’s too childish and comical, whereas they’d prefer the ‘grown-up’ seriousness of cancelled animated series Teen Titans — and consequently weren’t at all impressed by it getting the honour of film adaptation. Whatever — I thought the trailer looked funny, and, fortunately, the end product lives up to it.

    The Teen Titans are a superhero team made up of erstwhile Batman sidekick Robin, half-robot Cyborg (who, in other iterations, is a member of a certain major-league superhero team), shapeshifter Beast Boy, half-demon sorceress Raven, and alien princess Starfire. After they’re criticised for not having their own movie, the Titans set out to get one made. First step: get an arch-nemesis, for which they target Slade Wilson, aka Deathstroke.

    Although ostensibly a children’s series, and therefore presumably a children’s movie, Teen Titans Go is actually full of gags and references aimed at older viewers, without resorting to cheap double entendres or the like designed to fly over kids’ heads, but instead focusing on the wider universe of superhero movies — it has less respect for the fourth wall than a Deadpool movie. It’s often genuinely witty, and burns through plot and jokes at a joyously fast pace (possibly a legacy of its short TV episodes). It also might be the first time I’ve ever seen a fart gag and thought, “that’s actually quite funny and kinda clever (for a fart gag).” That’s a special kind of achievement in itself.

    4 out of 5

    Teen Titans Go! To the Movies is available on Sky Cinema as of this weekend.

    It placed 23rd on my list of The 26 Best Films I Saw For the First Time in 2018.

    Nausicaä of the Valley of the Wind (1984)

    aka Kaze no tani no Naushika

    2018 #130
    Hayao Miyazaki | 117 mins | Blu-ray | 1.85:1 | Japan / English | PG / PG

    Nausicaä of the Valley of the Wind

    I watched Princess Mononoke before Nausicaä, and also checked out the Blu-ray’s special features. Those include the film’s original Japanese trailers, which emphasise that it’s “13 years after Nausicaä”, which intrigued me, because director Hayao Miyazaki had made plenty of other films in between. But, having watched the earlier movie, the connection and similarities become clear: Nausicaä features an ecological message, a threat from nature that isn’t, industrial humans (with a female general) being the actual villains, innocent townsfolk that need saving, a princess who’s the only one who understands, and a boy from a different kingdom who helps her. They’re not identical, of course, but there’s a lot of overlap…

    The animation is nice without being quite as mindblowingly good as later Ghibli productions — they certainly hit the ground running, but they would improve too. The full-length English dub was created in 2005 (the original US release was drastically cut and rewritten) and boasts a helluva cast: Uma Thurman, Patrick Stewart, Mark Hamill, Edward James Olmos, plus Alison Lohman as the lead and a young Shia LaBeouf. I don’t mean to disparage those actors who primarily ply their trade dubbing anime, but these starry Disney-funded dubs do add a certain extra oomph to the vocals.

    Nausicaä was only Miyazaki’s second feature, but already shows a lot of the themes and concerns that would go on to characterise his later movies. I feel like maturity and/or experience make some of those later films better, but this is still a powerful demonstration of his talents.

    4 out of 5

    Nausicaä of the Valley of the Wind was viewed as part of my Blindspot 2018 project, which you can read more about here.

    Princess Mononoke (1997)

    aka Mononoke-hime

    2018 #73
    Hayao Miyazaki | 134 mins | Blu-ray | 1.85:1 | Japan / English | PG / PG-13

    Princess Mononoke

    When I was first becoming aware of anime in the late ’90s, Princess Mononoke was one of the titles that everyone seemed to talk about (alongside the likes of Akira, and TV series like Cowboy Bebop and Neon Genesis Evangelion). This may be in part due to it being the first Studio Ghibli film afforded a US release since Nausicaä (that was a bad experience for director Hayao Miyazaki — the film was cut by 25 minutes and the dialogue was drastically changed — hence the moratorium until Miramax persuaded him otherwise. Still, Miyazaki refused to sell the rights until Miramax agreed to make no cuts, which, considering Harvey Weinstein’s scissor-happy reputation, was a wise move). But it’s also because it’s a stunning film in its own right.

    Set in medieval Japan, it’s a fantasy epic about the conflict between industrialising humans and the gods of the forest they’re destroying. Our hero is Ashitaka, a young prince who kills a demon but is infected by it. Travelling to find a cure, he encounters the aforementioned war and finds himself torn between the two sides. On one is Lady Eboshi, who razed the forest to produce iron in Irontown (imaginative naming), which has become a refuge for social outcasts. On the side of the gods is San, the titular princess (“mononoke” is not a name but an untranslated word, meaning an angry or vengeful spirit), a human girl raised by wolves who intends to kill Eboshi.

    There’s more to it than that, because Miyazaki has imagined a very lyrical and meaningful story, about nature vs industry, and their possible coexistence. The theme isn’t exactly subtle in the film, but that doesn’t mean it isn’t well portrayed. He’s populated the narrative with interesting characters, too. There’s little easy right or wrong here, with those on all sides coming across as nuanced individuals, with complicated relationships. Naturally, it’s beautifully animated, both the natural splendour and the physicality of the world, including some superb action sequences. Some of the violence is exceptionally gory, though — I can’t believe this only got a PG (if it was live action it’d be a 15 easily, if not an 18).

    Bloody princess

    However, while I really enjoyed the earlier parts, it begins to go on a bit towards the end. The last hour-ish felt like it needed streamlining, with too much running back and forth all over the place. When introducing the film’s Western premiere at TIFF, Miyazaki concluded by saying “I hope you will enjoy all of the ridiculously long 2 hours and 13 minutes,” and I tend to agree with him — you can have too much of a good thing.

    I always feel like I should watch anime in its original language with subtitles, and sometimes I do and sometimes I don’t. With Princess Mononoke, I was swayed towards the English dub because it was written by the great Neil Gaiman. There’s also a quality cast including the likes of Billy Crudup, Claire Danes, Minnie Driver, Billy Bob Thornton, Gillian Anderson, and Keith David. It’s definitely superior to an average dub, both in how it’s written (sounding more naturalistic than the “literal translation” feel some have) and performed (more understated and less histrionic than they can be). Out of curiosity I turned the subtitles on at one point, and they were completely different to what was being said in the dub. No wonder fans hate it when a disc only includes “dubtitles”.

    Even if I have some reservations about the film’s pace and length, primarily in its second half, it’s a beautifully-produced film throughout, and the good stuff is so good that I can’t but give it full marks.

    5 out of 5

    Princess Mononoke was meant to be viewed as part of my What Do You Mean You Haven’t Seen…? 2015 project… just three years late.

    Godzilla: The Planet Eater (2018)

    aka Gojira: Hoshi o Kuu Mono

    2019 #3
    Hiroyuki Seshita & Kôbun Shizuno | 91 mins | streaming (HD) | 16:9 | Japan / English | 12

    Godzilla: The Planet Eater

    Picking up where the previous film left off, this concluding instalment in the anime Godzilla trilogy (which also doubles as the 32nd official Godzilla movie) sees the eponymous kaiju lying dormant while plans swing into action to bring Ghidorah, a being from another dimension who’s worshipped as a god by some, into our dimension, where it will eat Godzilla and then Earth itself.

    Yeeeaaah.

    But before we get to the headline monster mash, there’s an attempt at a plot. By the end of the last film, the alliance between humans and a couple of alien races who’d helped us out was looking a bit shaky. What once looked like it might make for a Battlestar Galactica/Babylon 5-style conflict has turned out to be nothing so developed, and in this final film it noodles along, driven by minor supporting characters we have zero attachment to; a something-and-nothing plot line that kills time until it’s summarily wiped away. Meanwhile, down on Earth, we’re treated to dozens of scenes in which the trilogy’s equally unmemorable lead characters wander around waffling Religious Studies 101-level stuff about religion as propaganda and a manipulation tool. At one point a character talks about soup as an analogy for, like, society or something, coming to the observation that “unlike the soup, we have free will.” It’s a deep philosophical movie, man. About as deep as a bowl of soup.

    All the while, we’re made to wait for the guy we came to see to wake up. Yes, Godzilla literally sleeps through the first half of the movie. Well, I can’t say I blame him.

    Godzilla vs Ghidorah

    On the bright side, it does eventually get to some good bits (that’s more than I’d say about the preceding instalment). There’s a sequence where the alien death cult religion summons Ghidorah, who initially manifests as some kind of shadow-demon that begins massacring everyone in the room, which is all quite creepy. It’s followed by a large-scale sequence where Ghidorah’s glowing energy snake-dragon form emerges from a space-time singularity and destroys the humans’ spaceship in some kind of temporally-messed-up way, which is also quite striking. You have to appreciate these individual sequences almost in isolation, because the plot they’re part of is a load of muddly claptrap.

    Then there’s the climax, in which we get to witness a mountain-sized dinosaur-ish monster with atomic breath (Godzilla) battle an interdimensional three-headed dragon-snake apparently made of glowing yellow light (the trilogy’s take on Ghidorah). It has its moments, but it’s overlong and mixes in a bunch of the cod-scientific wannabe-philosophical gubbins too, which takes the wind out of its sails somewhat.

    There have been some interesting ideas tucked away in this trilogy, both in how it reimagined the kaiju and their mythologies, and in the brand-new stuff it attempted to introduce with the alien races and their beliefs. Unfortunately, that promise has been lost under unengaging characters, poorly defined relationships, and the kind of philosophising you might expect from a Sixth Form student. It was bold to try to take the Godzilla franchise in a new direction, but that boldness feels squandered.

    2 out of 5

    Godzilla: The Planet Eater is available on Netflix now.

    Shrek Forever After (2010)

    2018 #132
    Mike Mitchell | 93 mins | Blu-ray | 2.35:1 | USA / English | U / PG

    Shrek Forever After

    Shrek the Third suggested that DreamWorks’ golden-goose animated franchise was running out of fairytales to subvert, so this fourth — and final (for the time being) — movie turns its attention on the series itself.

    Shrek is becoming disgruntled with life as a family man, so signs a deal with Rumpelstiltskin to have just one day as a “real ogre” again — but Rumpelstiltskin is a tricksy so-and-so, using the small print to land Shrek in an alternate timeline where he was never born. If Shrek can’t sort it out by midnight, he’ll be erased forever and the new timeline will stick. The filmmakers take this storyline as an opportunity to give us a look at how characters might’ve turned out in a Shrek-less world: Fiona is a warrior leading an ogre resistance, disillusioned by life after no prince came to rescue her; Puss in Boots is a fat, pampered kitty; and Donkey is working as a cart-donkey… but is otherwise pretty much the same. I guess some personalities never change.

    Sundry of the series’ many supporting characters get the same treatment, and it’s in this upending of familiarity that Forever After finds its greatest entertainment value. The result therefore favours dedicated viewers, while newcomers would be advised to seek out the franchise’s first two instalments. While this conclusion might not be quite as good, or iconic, as that pair, it does have a lot going for it, making it a more fitting finale than its mediocre predecessor.

    4 out of 5

    Shrek Forever After is on BBC One today at 3:10pm, and will be available on iPlayer afterwards.

    Spider-Man: Into the Spider-Verse (2018)

    2018 #254
    Bob Persichetti, Peter Ramsey & Rodney Rothman | 117 mins | cinema | 2.35:1 | USA / English | PG / PG

    Spider-Man: Into the Spider-Verse

    When it was announced a couple of years ago that Sony were developing an animated Spider-Man movie, there was, I think, some confusion about what they were playing at. The live-action movies were continuing, so this wasn’t a replacement. Was it connected? If so, why was it animated? If not, why did it exist? What was the point? Besides the obvious, anyway (popular brand + movie = money). Maybe Sony were just ahead of the game: where previously only one actor or series took on the mantle of a character at any one time, we’re increasingly in a world where multiple screen versions can exist simultaneously. Not that this film focuses on the same Spider-Man as the other ones…

    Into the Spider-Verse begins by introducing us to… Peter Parker. Well, of course it does — he’s Spider-Man, right? But after a witty do-over of his backstory (second only to Batman’s in terms of the number of times we’ve seen it adapted, I should think), focus shifts to one Miles Morales (Shameik Moore), a Brooklyn teenager struggling to fit in at his new private boarding school and deal with the pressure put on him by his police officer father. Escaping school one night to hang out with his Uncle Aaron (Mahershala Ali), Miles gets bitten by a genetically-modified spider and… well, you know the rest, more or less. But Miles has more than just new powers to contend with: evil scientists have created a machine to open a doorway to other dimensions (who they are and why they’re doing it, I’ll leave for the movie to reveal). But the malfunctioning machine is likely to rip the universe apart, and it falls to Miles to stop it. Fortunately, the dimensional instability means a whole host of alternate-universe Spider-People show up to help him.

    Spider-People

    It’s bold to do a team-up movie with a whole host of characters we’ve never met before — it’s something DC were criticised for with Justice League as soon as it was announced, and we were actually introduced to half of that team before the team-up happened. Well, Spider-Verse isn’t really a team-up movie in the Avengers Assemble sense. This is Miles’ movie; the other heroes are a supporting cast. This is the kind of thing that goes on all the time in comic books — heroes popping up for cameos or supporting roles in other heroes’ books — and, of course, something Marvel have increasingly brought to the screen in the MCU. Spider-Verse handles its big cast smartly, both in terms of how much screen time they get, but also how they’re introduced. Comic books will often have a cameo occur assuming you know who that character is and why they’re significant, and if you’re not an avid fan this can be confusing. Spider-Verse is a bit smarter. Brand-new characters get a solid introduction, but there are others certain others who pop in with the assumption you’ll know who they are — and, considering we’ve had over 15 years of immensely-popular Spider-Man movies, you probably do. This isn’t really a film aimed at total newcomers to Spider-Man’s world, though you’d probably get by if you are.

    That’s just one way in which Spider-Verse is perhaps the most comic-book-y comic book movie ever made. Another is the animation style, which works overtime to evoke comic books of old, while still being suitably modern and detailed. To describe the minutiae of all the little visual tricks and treats going on would take paragraphs and, frankly, get a bit dull — they’re interesting to watch, but not so much to read about spelled out in prose. Suffice to say the cumulative effect is certainly unique. Whether it always works… well, there were times I worried I’d actually wandered into a 3D screening and not brought any glasses, let’s put it that way. (I hadn’t.) But while it might take some getting used to, ultimately I really liked it.

    King of the swingers

    Indeed, that could be said of the film as a whole. Having heard a lot of advance hype from critics and preview screenings, Spider-Verse comes laden with expectation. Some earlier parts of the film play out a broadly standard superhero origin story, and, while it’s by no means bad, it doesn’t necessarily feel exceptional. But as more characters and concepts are introduced, and the film begins to pay off what it’s been setting up, it really comes together. It culminates in a powerful message — underlined by a closing quote from the great Stan Lee himself — that’s especially pertinent in the current climate of media criticism, which seems to see most people pushing for greater diversity of representation and artistic voices, while a vocal minority push back with thin “I’m not a racist but” arguments. Spider-Verse has an inclusivity at its core that is well balanced: if you want to shut out any messages and just enjoy a bunch of super-powered people engaging in hyper-kinetic action sequences, it can scratch that itch; but it demonstrates its core values, only stating them in summation at the end, rather than preaching them.

    So it turns out that, yeah, Into the Spider-Verse lives up to the hype, if you give it the time to get there. It’s a movie that will satisfy comic book fans in particular, I think, but also anyone who enjoys animation as an artform. This isn’t your standard Disney/Pixar/Illumination/etc fare, but a thrillingly-realised vision of what animation can do.

    5 out of 5

    Spider-Man: Into the Spider-Verse is officially released in the UK today and the US on Friday.

    It placed 9th on my list of The 26 Best Films I Saw For the First Time in 2018.