Coco (2017)

2018 #109
Lee Unkrich | 105 mins | Blu-ray (3D) | 2.39:1 | USA / English | PG / PG

Coco

Pixar’s 19th feature is an American-produced animated fantasy movie that co-opts a foreign culture to tell a story about a guitar-playing kid remembering his dead family — wait, doesn’t that sound familiar? Yes, in broad strokes, Coco is Kubo and the Two Strings Pixar-style. But, instead of Japan, this is Mexico, based around the famed Day of the Dead festival — which has also already been the subject of an American animated movie, The Book of Life. But that didn’t get the best notices, and Kubo didn’t get the respect it deserves, and this is Pixar in non-sequel mode, and so Coco has been praised to the high heavens. And it is good. But I didn’t think it was that good.

So, to start again: Coco is the story of Miguel (Anthony Gonzalez), a kid who desperately wants to be a musician like his idol, Ernesto de la Cruz (Benjamin Bratt). Unfortunately for Miguel, all music is banned in his family, due to his great-great-grandfather abandoning his wife and young daughter to pursue it as a career. On the Day of the Dead, a convoluted and overlong first act eventually gets us to a point where Miguel finds himself actually in the Land of the Dead, surrounded by the skeletal form of everyone who’s passed away. To get back to the land of the living he must go on a quest, accompanied by downtrodden Héctor (Gael García Bernal), who’s being forgotten by the living and needs Miguel to reestablish his memory in the real world. More or less. I mean, the rules get more fiddly and complicated than that.

The magic of music

Frankly, the rambling length was my biggest problem with Coco. It’s not badly flabby, but it’s not as taut as I’d’ve liked it to be either, especially during stretches where you’re waiting for it to get to an inevitable plot twist or development. That’s not to say it’s without surprises — it pulls quite a dark plot twist about an hour in — and surprise isn’t the only virtue a story can have, of course, but it did reach a point where I was virtually shouting at the screen for them to finally get on with what was inevitably going to happen. Surely that’s a sign of something not working.

Maybe that was the music — quite a central part of the storyline, as you may’ve inferred, but I can’t say I was a fan. Mostly it’s fine, but there’s the occasional musical number that just slowed things down. It’s not a musical in the strictest sense either, so the film does stop a bit in order to get each song underway (at least it usually then tries to progress the narrative while the song continues). The big number is the Oscar-winning Remember Me, which has grown on me slightly since I first heard it but, again, I’m not particularly a fan. I don’t know what it is, really, because when I’ve come across mariachi-style music in movies before I’ve often quite liked it. I guess it’s this particular set of tunes, then.

Naturally it looks great — it’s Pixar, would you expect anything less? The colourful Land of the Dead stuff is the best visually, wide shots creating epic vistas, with stunning architecture that suggests quite a world… not that we get to explore it very thoroughly, even though the quest narrative takes us to a few different locations. We certainly don’t get any indication how it functions for the other 364 days of the year. Zootropolis showed us a glimpse of a well-imagined full-scale world, teasing enough that I wanted to explore it comprehensively in further stories. Coco’s just looks pretty.

Colourful vistas

Maybe I’m being too picky? Maybe I’m just trying to work out what it was everyone else loved so much, when I saw a pretty standard Pixar buddy quest story with new surface flourishes. Or perhaps I’m right, and other people were blinded by the emotional ending? The final few minutes are certainly effective at tugging at the heartstrings — even though I hadn’t fully invested in the rest of the film, even I felt a pang… albeit slightly undercut by once again having to yell at the characters to get on with what they were inevitably going to do. Not everything should move at a mile a minute, but c’mon, sometimes you’re just being languorous.

Reportedly Coco had the longest active production of any Pixar movie, with work beginning in 2011 and (obviously) being completed in 2017. There are quite a few deleted scenes included on the Blu-ray which (from a brief flick through) seem to suggest the story once went in quite a different direction. I saw one person say those scenes suggest a much worse movie, too. I guess they kept tweaking the plot, then, maybe until it eventually resembled that familiar broad Pixar shape that dates right back to the original Toy Story.

Coco is good, but I certainly wouldn’t say it’s perfect. And I think I might go watch Kubo again now, actually.

4 out of 5

The UK becomes probably the last major market to get Coco on disc with its release on DVD, Blu-ray, and 3D Blu-ray today.

Toy Story 2 (1999)

100 Films’ 100 Favourites #93

The toys are back!

Country: USA
Language: English
Runtime: 92 minutes
BBFC: U
MPAA: G

Original Release: 24th November 1999 (USA)
UK Release: 11th February 2000
First Seen: cinema, 2000

Stars
Tom Hanks (Apollo 13, The Da Vinci Code)
Tim Allen (Jungle 2 Jungle, Wild Hogs)
Joan Cusack (Addams Family Values, School of Rock)
Kelsey Grammer (Anastasia, X-Men: The Last Stand)

Director
John Lasseter (Toy Story, Cars 2)

Co-directors
Ash Brannon (Surf’s Up, Rock Dog)
Lee Unkrich (Finding Nemo, Toy Story 3)

Screenwriters
Andrew Stanton (Monsters, Inc., WALL·E)
Rita Hsiao (Mulan, My Little Pony: The Movie)
Doug Chamberlin (Bruno the Kid: The Animated Movie)
Chris Webb (Bruno the Kid: The Animated Movie)

Story by
John Lasseter (A Bug’s Life, Tinker Bell and the Pirate Fairy)
Pete Docter (Toy Story, Inside Out)
Ash Brannon (Surf’s Up, Rock Dog)
Andrew Stanton (Toy Story, Finding Dory)

The Story
After Woody is stolen by a nefarious toy collector, the rest of the toys set out to rescue him — but, tempted by the idea of spending eternity in a museum with friends from his TV show, does Woody want to be saved?

Our Heroes
Buzz and Woody are back, and now the best of friends. This time, Woody is confronted with his past when he meets a gang of other toys from the TV series he starred in, but will he stay with them or return to Andy? Meanwhile, Buzz sets out to rescue Woody, but has issues of his own to tackle when he comes face to face with his nemesis, Emperor Zurg.

Our Villain
Al McWhiggin, the owner of Al’s Toy Barn and serious toy collector, who steals Woody when he’s accidentally put in a yard sale box.

Best Supporting Character
Jessie, a cowgirl from Woody’s TV show. Fundamentally an excitable and chipper character, she was left distraught after being abandoned by her owner, and is now scared of being put back in storage — which will happen if Woody isn’t part of Al’s collection.

Memorable Quote
“You never forget kids like Emily, or Andy, but they forget you.” — Jessie

Memorable Scene
On their hunt for Woody, the other toys explore a giant toy emporium, in which Buzz comes across an aisle filled with fellow Buzzes. Spotting one with a new utility belt, he tries to acquire the accessory, only to awaken his double…

Making of
Toy Story 2 was originally commissioned by Disney as a direct-to-video sequel, because they did that a lot back then, and went into production without Pixar’s primary staff, who were already busy creating A Bug’s Life. When early work looked promising, Disney bumped the project’s status up to a full theatrical release. Conversely, Pixar were unhappy with the quality of what they were seeing. The main team took charge, redeveloping the film’s entire story in a single weekend, but still had to meet the release date Disney had already set. Although most Pixar films take years to produce, the production of Toy Story 2 was compressed into just nine months. The pressure got to people: at one point someone accidentally deleted 90% of the film’s files, representing two years work. Fortunately, another crew member working at home had back-ups of all but the last few days’ work.

Previously on…
The original Toy Story was the first computer-animated feature film.

Next time…
Toy Story 3 followed 11 years later, with Toy Story 4 set to come 9 years after that. Also shorts, TV specials, and the Buzz Lightyear spin-off (see last time).

Awards
1 Oscar nomination (Song)
7 Annie Awards (Animated Feature, Directing, Writing, Female Voice Acting (Joan Cusack), Male Voice Acting (Tim Allen), Music, Storyboarding)
2 Annie Awards nominations (Character Animation, Production Design)
2 Saturn nominations (Fantasy Film, Music)
1 Teen Choice Awards nomination (Choice Hissy Fit)

What the Critics Said
Toy Story 2 is a brilliant example of that rarest of Hollywood phenomena — a sequel to a major hit film that’s as good, if not better, than the original. This is mainly the result of a perfect mixture of two essential elements. First, there’s an excellent script by Andrew Stanton and his team of writers […] Second, there’s the remarkable technology developed by Pixar for the film A Bug’s Life. It’s this approach they’ve now taken to even greater heights […] These filmmakers have taken the 1995 characters and given them more depth, creating a new story that lets the toys interact in a larger world. It all comes down to amazing visuals and basic storytelling — and this is one heck of a good tale.” — Paul Clinton, CNN

Score: 100%

What the Public Say
Toy Story 2 is considered, by most, to be a perfect film. The characters are amazing. The stakes are higher than the first film. And the emotional beats hit harder than before. With two successes under their belt, it’s hard to believe that Pixar could not only be consistent with that quality, but somehow also manage to pull off something even more amazing than we thought possible. Expanding the mythology of this world and really making us feel for the toys that we forgot as children, Toy Story 2 is, in the words of Mary Poppins, practically perfect in every way.” — Jaysen Headley, Jaysen Headley Writes

Verdict

Sequels are notorious for not being as good as their progenitor. I feel like this is a trend that is increasingly being bucked — with everything Hollywood makes designed to be a franchise, Film 1 is often about setup and Film 2 is where the makers are allowed to do what they really wanted to do in the first place. But when you strike gold first time out, it’s still hard to do it justice second time round. Pixar do that and more here, with a sequel that is slicker, funnier, more exciting, and more emotional than its forebear. Even if it’s happening more often now, good sequels are still hard to do — trust Pixar to have got there ahead of the pack.

#94 will be… transportive.