★★★ / ★★★★
A pregnant queen was terminally ill and the only thing that could cure her was a magical flower. But Gothel (voiced by Donna Murphy), obsessed with reclaiming her youth, kept the flower for herself because it only gave back her good looks for a short time. When the royal soldiers found the flower, the queen was cured and she successfully delivered a baby girl. Villainous Gothel snuck into the castle, discovered that the child absorbed the fantastic properties of the flower, kidnapped her, raised her as her own child, and kept her in a tower for eighteen years. Rapunzel (Mandy Moore) yearned to experience life outside of her home but couldn’t find it to do so because her so-called mother convinced her that the world was dark, selfish, and cruel. Based on the fairy tale of Jacob Grimm and Wilhelm Grimm, “Tangled” was a joy to watch because it radiated positivity but wasn’t afraid to take a dark turn when it needed to. There was a good amount of humor for both kids and adults. I laughed at Flynn Rider’s (Zachary Levi) vanity, Rapunzel’s purloiner of a prince charming/wanted man. I liked him because he was a different kind of lover that a girl ended up with in most Disney movies. He was modern, almost a parody, but he had good qualities that convinced us that he was a great fit for a girl like Rapunzel. I also enjoyed the chameleon, Rapunzel’s pet and only friend, and the horse determined to catch Rider and his thieving ways. The chameleon and the horse were more than just animals for us to think of as cute. They had human qualities. They were capable of giving begrudging looks, had the tendency to be bossy, and were capable of being sweet. They couldn’t speak, unlike Sebastian the crab in Ron Clements and John Musker’s “The Little Mermaid,” but they didn’t need to. Their facial expressions and body languages said it all. The songs were catchy and they always related to the story. I particularly enjoyed two songs: the time Rapunzel cleaned her house and the visit in the pub full of ruffians. Listen to the lyrics and there was a wink or two aimed directly at our pop culture. The style of animation kept my eyes fixated on the screen. I especially admired the scene in which the characters had to run away from the powerful water after the dam had collapsed. I felt like I was with Rapunzel and Rider when the camera showed the raging water in the background as the duo ran toward us. I mentioned the film having a dark side. It showed Gothel holding a knife. The manner in which she held it with malice suggested murder. There was even a scene in which someone was stabbed in the back. I’m glad that the filmmakers were brave enough to show them. With all kinds of violence featured on television, I think kids of all ages should be able to handle it. “Tangled” wasn’t very deep but it didn’t need to. It just needed to feel magical.
The Goonies (1985)
★★ / ★★★★
In Richard Donner’s “The Goonies,” a group of kids found a map containing the location of a pirate treasure. Brothers Mikey (Sean Astin) and Brand (Josh Brolin) had a week before their family were forced to move because their parents could no longer afford their home. But when Data (Jonathan Ke Quan), Mouth (Corey Feldman) and Chunk (Jeff Cohen) agreed with Mikey to search for the mythical treasure for one last adventure, they stumbled upon the hiding place of three Italian criminals (Anne Ramsey, Joe Pantoliano, Robert David) on the run from the cops. Their hiding place contained a secret passageway that led to an underground cave that housed the legendary pirate ship. “The Goonies” would appeal to kids because they would most likely be able relate to the characters’ silliness and quirkiness, the soundtrack was energetic, and it played upon the universal idea of children’s penchant for treasure hunting. Despite being a kid at heart, I wasn’t that entertained. There were far too many people in the cave. The two girls, Andy (Kerri Green) and Stef (Martha Plimpton), were completely unnecessary. The romance between Andy and Brand dragged the picture’s momentum. How could we root for their romance if they weren’t fully realized characters? The fact that the picture kept suggesting that there could be something between Andy, around sixteen years old, and Mikey, who was still in elementary school, was more awkward than funny, creepy than cute. I felt like the girls in the movie were added simply to appeal to the same sex. I wish they made their exit when they stumbled upon a well where three guys above could have taken them home. I grew tired of their whining. I enjoyed the film most when the guys accidentally triggered booby traps. It was like watching a light version of Steven Spielberg’s “Raiders of the Lost Ark,” exciting but we never truly felt that the characters were in any real danger. We were simply curious to see how the protagonists would adapt to the quickly changing environment. I did wish, however, that the criminals were more dangerous. Most of the time, they acted more like cartoon characters. I didn’t buy for one second that they were smart enough to pull off breaking someone out of jail as they did in the first scene. “The Goonies” wasn’t rich with subtlety. The child actors’ lines often felt forced and it was obvious when some of their lines were dubbed. They probably ran out of takes. Still, the movie was entertaining and charming in its own way. Based on Spielberg’s story, I couldn’t help but wonder how sharper and stronger it might have been under his direction.
Winnie the Pooh (2011)
★★★★ / ★★★★
When Pooh (voiced by Jim Cummings) woke up, his stomach grumbled with great hunger. He knew the perfect cure: delicious, gooey honey. But when he got to the kitchen, all the honey jars were empty. He thought he’d ask his friends if they had some to spare. In the forest, he stumbled upon Eeyore (Bud Luckey) who claimed that his tail was missing. Concerned about their friend, Christopher Robin (Jack Boulter), Owl (Craig Ferguson), Piglet (Travis Oates), Tigger (Cummings), Rabbit (Tom Kenny), Kanga (Kristen Anderson-Lopez), and Roo (Wyatt Dean Hall) held a contest: whoever could find an object that would best replace Eeyore’s tail would win a jar of honey. “Winnie the Pooh,” based on the works by A.A. Milne and Ernest Shepard, brought out the inner child in me. Granted, it isn’t particularly difficult because I’m easily amused by corny childish jokes and puns but the film was on a constant creative overdrive. Coming into it, I hadn’t seen a single episode of the television show nor have I sat through prior Pooh features. (I’ve read a picture book or two.) It really surprised me because the dialogue and the images rapidly reached an effortless comedic synergy. An image could be as simple as Pooh staring at a pinecone and weighing the reasons how or how it couldn’t work as Eeyore’s tail and I would catch myself smiling at how adorable it was. I loved the film because the characters reminded me of my friends and I. Each had a distinct personality and I was glad all of them were given a chance to shine. My favorite scene was when Owl suggested that whoever acquired the best tail replacement ought to receive some sort of remuneration for his or her trouble. Meanwhile, Pooh leaned into Piglet and whispered, “What are we supposed to renumber?” It caught me off-guard with how ingenious it was. There I was watching, essentially, a children’s movie but I lost track of that fact. That moment nudged me, without feeling distracted or detached, of its nature. Most kids (and, I reckon, most adults) won’t know the meaning of “remuneration.” They defined it but it didn’t feel like being in a classroom and learning words because the joke’s punchline came before the definition. The picture also had a great lesson about friendship. Eventually, the animals ended up in a big hole with no means of escape. Piglet was the only one who could rescue them. That scene could easily have been annoying or unnecessary. After all, Owl had the ability to fly. The writers ignored Owl’s innate ability because there was a lesson about patience. In meaningful friendships, when a friend messes up or does things that make no sense, it’s important that we don’t make them feel less than. I think it’s a great message for kids (for everyone, really) not to say things like, “You’re so dumb!” or “You’re so stupid!” As someone who’s worked with children, such put-downs, harmless as they may seem at the time, do germinate anger and self-loathing. Directed by Stephen J. Anderson and Don Hall, “Winnie the Pooh” was a delightful animated film. It’s one of those movies I can show my future kids and I wouldn’t mind watching it with them.
Shrek Forever After (2010)
★★ / ★★★★
Lovable ogre Shrek (voiced by Mike Myers) was going through a midlife crisis. He missed his old life in the swamp when he was able to do whatever he wanted whenever he pleased. Gone were the times when people would see him and scatter about in fear. After storming out of a party and having an argument with his wife Fiona (Cameron Diaz), Shrek ran across the devious Rumpelstiltskin (Walt Dohrn) who was too conveniently trapped under a carriage. Supposedly grateful for being rescued, Rumpelstiltskin, experienced in dark magic, offered Shrek a proposition: Shrek could spend 24 hours in the past if the magician could take any day from Shrek’s life. Before he knew it, the green ogre’s new world was entirely different. Donkey (Eddie Murphy) was no longer his best friend and Puss in Boots (Antonio Banderas) was now a fat cat who could not even lick himself. While I do think that the fourth installment was the best since the first in the series, I failed to see anything special about it. I could feel the voice actors being enthusiastic in playing their roles, which was great, but I didn’t think the jokes were fresh enough to keep me constantly entertained. The familiar characters being completely different in the alternate universe became a running gag that grew tired quickly. I wanted the script to poke fun of Shrek’s so-called midlife crisis more consistently. I almost missed the random pop culture references because even though they came out of the blue, they managed to surprised me. Everything in here felt like a rehash of the first three “Shrek” pictures driven by the concept of Frank Capra’s “It’s a Wonderful Life.” It didn’t take enough risks so the experience was far from rewarding. The subject of alternate universe had been explored so many times that we’ve grown tired of the formula. The “Shrek” franchise, being a satirical jab at fairy tales and pop culture, could have challenged that familiar formula and invigorated the story. Sadly, despite the swashbuckling adventures on screen, the storytelling was too safe, even predictable. Half-way through the picture, I thought it needed an inspiration to keep going. Even the big lesson that Shrek learned in end could be seen from very far, far away. Directed by Mike Mitchell, “Shrek Forever After” was completely breathless as it reached the finish line. The actors and the filmmakers assured that this was the last picture of the series. Unless the writers have truly creative ideas for a fifth movie, I suggest it remains in a deep slumber.
The Secret of Kells (2009)
★★★ / ★★★★
Young Brendan (voiced by Evan McGuire) had been living within the fortified walls of a medieval outpost all his life in which his uncle Abbot Cellach (Brendan Gleeson) was the no-nonsense leader. Brother Aidan (Mick Lally), with a mysterious but incomplete book in hand, successfully escaped from the Vikings’ invasion of his home island and seeked refuge in the outpost. In order to complete the book, he gave Brendan a mission to collect berry-like fruits in which emerald-colored ink could be extracted. The problem was such berries could only be found outside of the walls and in the dangerous forest where dark creatures lived. “The Secret of Kells” had to really earn my attention and keep my interest. After watching so many computer-generated animation, I’m willing to admit that watching an old-fashioned style of animation can be a bit of a struggle. Another factor in the struggle was the fact that I was not familiar with the Celtic culture and traditions so I was initially confused about what was happening and why certain artifacts were important to the characters. However, thirty minutes into the film, I found myself completely engrossed because it told its story in a refreshing way. The images were deceptively simple. Its lack of depth and dimension actually added to the magic because there were times when it created illusions. But there were times when the images were almost abstract, it was hard what to make of them. I did not find it to be a negative quality because my eyes were always busy. I would gloss over an image, fixate on something else for a second, then it occured to me that something I just saw did not make particular sense, and I found myself needing to look back on the initial image. It may sound exhausting but it was actually a fun experience. The strange images aided by various types of animation highlighted the picture’s folk stories and sense of wonder. The story and the dialogue were relatively simple so kids would be able to follow the storytelling with ease. Time was constantly against the characters because they had to finish the book before the Vikings’ invasion. Without the book, knowledge would be lost and their traditions would not be passed to future generations. There was also enough danger and scary imagery, such as when Brendan was attacked by wolves and had to obtain an eye from a mythical serpent, to keep the adults curious and entertained. Directed by Tomm Moore and Nota Twomey, “The Secrets of Kells” had a rich and colorful imagination with an inspired execution. For a children’s movie, I find it strange that I couldn’t help but think about the images and the meaning the behind the images for hours afterward.
James and the Giant Peach (1996)
★★★ / ★★★★
James (Paul Terry) lived with his egocentric aunts (Joanna Lumley, Miriam Margolyes) ever since his parents died in a car accident. His guardians were very abusive, often sending him off to clean up after them, calling him worthless, teasing him about being an orphan and not having friends, and leaving him off to feed on scraps from the garbage. But when an old man (Pete Postlethwaite) gave James some magical green “crocodile tongues,” the boy’s life had a chance to finally change for the better. But first he had to escape the horrible household, cross the Atlantic Ocean, and make his way to New York City. Adapted from Roald Dahl’s story, “James and the Giant Peach” worked mainly for children but it had enough darkness to keep the older audiences engaged. While the film was full of energy, especially the first-rate stop-motion animation scenes with the eccentric bugs (Susan Sarandon as Miss Spider, David Thewlis as Earthworm, Simon Callow as Grasshopper, Richard Dreyfuss as Centipede, and Jane Leeves as Ms. Ladybug), the scenes when James had to deal with the feelings of abandonment due to the death of his parents and his yearning to be free from an abusive household carried a certain level of gravity. It was touching, sometimes a bit melodramatic, but we could not help but root for James because a child should not had to endure so much. However, admittedly, I enjoyed the picture more when I was a kid. While some of the jokes were still amusing, I wished the story had focused more about James instead of the bugs. After all, it was supposed to be about James learning to make new friends, despite how strange they may have been, after a considerable amount of time in isolation. The stop-motion animation and character development should have formed a kind of synergy instead of one getting in the way of another. Nevertheless, when I look at the big picture and its possible impact on its intended audiences, the movie was enjoyable because its high level of creativity in terms of its visual puns and wordplay. Directed by Henry Selick, “James and the Giant Peach” offered a strange universe with creepy images and eerie atmosphere but it wore its heart on its sleeve so kids should not be disturbed by its darker undertones. Younger kids may question their parents about death but I do not think it is a subject that parents should shy away from because it is a natural part of life. In fact, tackling the subject should further highlight the fact that, like the giant peach, life is indeed quite magical.
E.T.: The Extra-Terrestrial (1982)
★★★★ / ★★★★
A group of aliens visited Earth to get some plant samples, but they were interrupted by humans whose mission was to record extra-terrestrial life. One alien failed to make it back to the ship. On the night Elliot (Henry Thomas) went to pick up pizza from the delivery man, he heard a noise in the shed. Elliot threw a ball inside. Something threw the ball back to him. Elliot was a lonely kid. He recognized the creature as harmless and they became friends. Written by Melissa Mathison and directed by Steven Spielberg, “E.T.: The Extra-Terrestrial” was a prime example of the power movies can have across generations. It appealed to children because the alien was cute and cuddly. The scenes of E.T. exploring the family’s home, held together by a recently divorced matriarch (Dee Wallace), was comic genius. Those of us whose parents allowed us to stay home alone could relate to E.T. as he explored the refrigerator and made a complete mess of the kitchen. Furthermore, no one could resist releasing burst of laughter when Gertie (Drew Barrymore), Elliot’s precocious younger sister, dressed up E.T. as a girl. As for adults, it was a genuinely heartwarming film. The connection between Elliot and E.T. was fully explored so being emotionally invested was effortless. Symbolisms, notably the flower, were present but they were never manipulative nor did they take the focus away from the boy and his pet alien. But what I admired most, and the reason why Spielberg is one of my favorite directors, was in the way Spielberg carefully controlled his scenes. Notice when the family was having dinner and the conversation started in a light-hearted way. The topic was what they should be for Halloween. After several lines of funny dialogue, Elliot started to get annoyed by his older brother (Robert MacNaughton) because he insisted that what Elliot saw in the shed was just a goblin or a coyote. However, Elliot’s frustration was directed to the unsuspecting mother, the easier target, someone physically closest to him on the table. The painful subject of their father being with another woman in Mexico suddenly came up. The progression from funny to annoyance to hurt was masterful. We learned about the subtle intricacies of the characters by simply observing how they reacted to the flow of conversations. A similar technique was used toward the end, involving a freezer, but the emotions were entirely different: From sadness, surprise, to utter joy. I also admired the way the director ended the film as our protagonist looked into the sky full of hope, wonder, and maturity. Right when I yelled, “Cut!” in my head, the picture faded to black. An unparalled story about the universality of friendship, “E.T.: The Extra-Terrestrial” doesn’t seem to age. That’s because the lessons it had to impart about empathy, love, friendship, and family define us as a species.
The Karate Kid (2010)
★★★ / ★★★★
A mother (Taraji P. Henson) and her son Dre (Jaden Smith) moved to China for better opportunities. On their first day in China, Dre developed a crush on a girl (Wenwen Han) with a talent for music but a bully (Zhenwei Wang) just as quickly interrupted their conversation. It turned out the bully was not just someone Dre needed to watch out for around his apartment complex because they both attended the same school. The fact that the bully knew kung fu did not help Dre’s confidence. The film was without a doubt commercial and at times cliché, but I could not help but enjoy it. There were three elements I loved about it. First, the maintenance man (Jackie Chan) did not teach Dre kung fu until about an hour and fifteen minutes into the story. I thought it was a big risk because the film had the challenge of keeping the audiences interested. It was a smart decision because it successfully established why Dre was someone worth rooting for. For instance, although Dre was bullied, he was not afraid to fight back. Unfortunately, he did not have the technical skills to stand up against other boys who knew martial arts. I found it very easy to relate with Dre moving to a different country and having trouble fitting in. When I moved to America when I was twelve, to say that the transition was difficult is an understatement because I didn’t know the language well and I wasn’t fully equipped to adapt a new culture. So when Dre finally confronted his mom about how much he hated being in China, that scene had a special meaning to me. Second, Henson was pure joy to watch. I’ve mostly seen her in Tyler Perry’s movies so I knew that she was very capable of delivering angst and sadness. I was surprised that she could actually be funny. Every time she was on screen, I couldn’t help but smile because she injected a certain enthusiasm in her character, that everything in China was great, and she was ready to be strong for her son when the occassion called for it. Her facial expressions were priceless. Lastly, the scenes in the tournament made me feel like I was there. The build-up regarding Dre’s hardwork, the bullying, and honor at stake finally came to fruition. Even though Dre’s mentor consoled him that winning or losing did not matter as long as he earned the audience’s respect, I thought Dre had to win no matter what. I was so invested in what was happening, I couldn’t help but vocalize my thoughts. “The Karate Kid,” directed by Harald Zwart, worked as an interpretation rather than a remake. It did not have anything to do with karate (the filmmakers should have just named it “The Kung Fu Kid” to silence the haters–a simple solution) but I was entertained for over two hours.
★★ / ★★★★
Future supervillain Megamind (voiced by Will Ferrell) and future superhero Metro Man (Brad Pitt) were sent to Earth by their parents right before their home planet was engulfed by a black hole. The former grew up in a prison and the inmates taught him right from wrong–rather, wrong from right. His only friend was an adorable fish, equipped with wit and razor-sharp teeth, named Minion (David Cross). Grade school was horrible for him. He was often picked last for gym and his many attempts to impress his classmates always ended up horribly wrong. Over the years, he became bitter and developed a penchant for kidnapping Roxanne Ritchie (Tina Fey), a reporter, who had a crush on the superhero. But when Megamind, with a bit of blind luck, finally defeated Metro Man, he found his villainous role obsolete. Megamind’s big brain came up with a brilliant plan: He would construct a superhero (Jonah Hill). Would this little experiment backfire like all the others? Absolutely. “Megamind,” written by Alan J. Schoolcraft and Brent Simons, was a kaleidoscope of colors aimed for the younger kids and double entendres for the adults. Its manic energy successfully tickled every sense as it referenced other superhero films and comic books. However, it would have been far stronger if it didn’t try so hard to be funny like the characters breaking into a dance for no reason. If might have sounded cute on paper but painfully awkward to watch and sit through. What I enjoyed most about “Megamind” was although it spoofed other superhero franchises, it had an identity on its own. The scenes were not simply driven by references. There was a defined story, interesting and amusing characters, and a specific perspective in which it remained loyal throughout so the allusions were secondary. It aslo had real moments of creativity. For instance, after Metro Man’s death, Megamind began to rely on his invention which had the ability to make him transform into any being. Due to certain circumstances, he chose to be Bernard (Ben Stiller), a geeky guy who worked in the newfangled Metro Man Museum. As Bernard, Megamind started to fall in love with Roxanne Ritchie. His identity crisis from a lack of a superhero to fight on a daily basis also worked on another level. He started to have a literal identity crisis as he switched from Megamind to Bernard which generated some of the best scenes when both had to appear in front of the girl. Our protagonist rationalized that the villain never end up with the girl so he had to be something else, preferably not blue. There was sadness in his situation and we rooted for him to find happiness. Directed by Tom McGrath, “Megamind” was a good animated film for the majority of the time. If it managed to dial down the cheese and pumped up the edge, it could have been special.
Diary of a Wimpy Kid (2010)
★★★ / ★★★★
Based on the books by Jeff Kinney, “Diary of a Wimpy Kid” was seen through the eyes of plucky Greg Heffley (played wonderfully by Zachary Gordon) as we followed his often very funny misadventures in middle school. Even though Greg had a lot of attitude toward and opinion about the lameless of the constantly evolving social hierarchy of middle school, he kept looking for ways to fit in and be at the top (or near the top) of the food chain. His schemes that could potentially make him a cool kid overnight were often thwarted by his awkward and corpulent best friend Rowley (Robert Capron), but Greg couldn’t find it in himself to leave him because they’ve been BFFs for as long as he could remember. I loved the main character because I saw lot of myself in him. He was a bit vain but charming, weird but sensitive during the perfect moments, vulnerable yet capable of subterfuge when pushed toward a precipice (or social suicide). Despite his many flaws, I rooted for him because he knew that one day he would be able to look back in time and just laugh about the stupid decisions he made, the shallowness of social climbing, and the ones who took middle school so seriously. There were a number of scenes that stood out to me. One of my favorites was when he tried to persuade us that there was a subtle difference between a journal and diary–that the latter was geared more toward girls while the former was a bit more manly. Another scene I really liked was when he said that fashion was easy and if he wore a tie and a dress shirt to school, everybody would think he was cool. As a person who tried it before (we really did have a lot of similarities), I thought it was absolutely hilarious. However, what did not work for me was when it took the Disney Channel path somewhere around the middle. While I did like the Halloween scenes (like Greg’s, it’s also my favorite holiday), it became too sweet and uninteresting. I wanted more scenes of Greg’s relationship with his obnoxious older brother (Devon Bostick) and the smart seventh grader (Chloe Moretz) who took pictures for the school paper. Even the parents (Steve Zahn, Rachael Harris), as one-dimensional as they were, sometimes showed promise that there was something surprising about them. The symbolism regarding the moldy cheese was obvious but, ironically enough, I didn’t think it was cheesy because the film had a lot of things going for it. For instance, it was able to successfully integrate the characters’ insecurities and apply them to situations where the kids could learn something from their experiences. “Diary of a Wimpy Kid,” directed by Thor Freudenthal, is one of the best non-animated children’s movies I’ve seen in a while. It was sassy, quirky, imaginative, funny and full of energy. Adults who are a kid-at-heart would most likely find it enjoyable because it was relatable. It’s one of those movies I must have in my collection.
★★★ / ★★★★
The constantly bullied Alan Parrish (Adam Hann-Byrd) was the son of an emotionally distant factory owner (Jonathan Hyde) who stumbled upon a magical board game called Jumanji. After a row with his father about being sent to boarding school, he rolled the dice and he was sucked into the game and lived in the jungle for 26 years. The new residents (Kirsten Dunst, Bradley Pierce) of the former Parrish mansion then found the game and started playing, all the while unaware of the dangerous situations of which they were about to face. With the help of Alan and his crush (now 26 years older played by Robin Williams and Bonnie Hunt), the four had to finish the game in order restore peace in their town. “Jumanji” was one of those films I watched so many times when I was a kid because I couldn’t get enough of its manic energy and wondrous sense of adventure. It had emotional resonance for me because the heart of the picture was the bond between the father and the son and at the time my dad was in America while my mom, brother and I were in the Philippines. Every time I saw the movie, I thought about my dad and how much I missed him. I identified with Dunst’s character–how imaginative she was and how she had to take care of her brother. I guess it helped that Pierce looked somewhat like my brother with his curly hair and wisecracks. One of the elements I found to be most effective in the film was its increasing amount of danger every time a character rolled the dice. The board game started off with giant African bats and only became more impressive from there. I found my eyes being fixated on the screen in suspense just in case something would suddenly pop out from nowhere. To balance the excitement and suspense, the picture also had a great sense of humor. I loved the small details like a rhinoceros being barely able to keep up during the stampede, Hyde also playing the villainous Van Pelt whose goal was to kill Alan (talk about father-son issues), all the looting that happened in stores when the town was in absolute chaos, and even the dated CGI (those creepy monkeys!) was all part of the fun. It didn’t take itself too seriously but it didn’t dumb down the material for its audiences so it became a solid popcorn entertainment. The film could have been stronger if it had more scenes between Alan when he was a kid and his father. There was a real pain and sadness in their strained relationship. The revelations that happened much later would have been more moving and bittersweet. For a movie being older than 15 years, “Jumanji,” based on the novel by Chris Van Allsburg and directed by Joe Johnston, is still fresh and better than most kid-friendly adventure movies out there today.
Percy Jackson & the Olympians: The Lightning Thief (2010)
★★ / ★★★★
Percy Jackson (Logan Lerman) thought that he was nobody special but was, in fact, the son of Poseidon (Kevin McKidd). After Hades (Steve Coogan) kidnapped Percy’s mother (Catherine Keener) because he believed that the boy had stolen Zeus’ lightning, Percy, his best friend (Brandon T. Jackson) and Athena’s daughter (Alexandra Daddario) went on a quest to find a way to go to the underworld, rescue Percy’s mom, and save the world. Based on a series of novels by Rick Riordan, the film impressed me with its special and visual effects but the big picture left me wanting more. It’s strange because for a two-hour undoubtedly thrilling action-adventure, it felt somewhat like an empty experience because it failed to really explore its characters except for exposing their most obvious quirks and dominant personalities. I like Logan Lerman as an actor but there were times when I spotted weaknesses in his acting. Some of the lines he delivered fell completely flat and I caught myself either rolling my eyes or chuckling because I just did not believe the words that were coming out of his mouth. There was a disconnect between him and the character and therefore his character and the audiences. This was particularly glaring during the most emotional scenes when he was supposed to summon sadness or rage. Perhaps if he was given more takes, he could have nailed the lines. However, as far as children’s adventures, I hardly think the movie was a failure. I enjoyed many scenes such as the duel with a minotaur, a nice surprise on who played Medusa (and I think she did a wonderful job), and that brilliant scene in Las Vegas in the Lotus Casino (it was nice that it illuminated why it was called as such). It was fun to watch, despite the characters making unnecessarily stupid decisions, lacking internal dialogue and angst, because it was very energetic and creative when required. If a sequel is in store for “Percy Jackson & the Olympians: The Lightning Thief,” directed by Chris Columbus, I’ll be interested in watching it. People have compared this film to “Harry Potter and the Sorcerer’s Stone” and its sequel so I’m curious to see if it can grow as a strong franchise. In order for it to achieve “Harry Potter”-level, it is going to need more focus on the story and characters, much stronger acting especially from the lead, and more magic via playing with our expectations and emotions.
Toy Story 2 (1999)
★★★★ / ★★★★
Andy (voice of John Morris) was about to leave for cowboy summer camp with plans of taking Woody (Tom Hanks) with him, but after Woody’s arm had a small rip, Andy decided not to take his favorite toy and was shelved–a place where unwanted toys were placed. After Woody rescued a fellow unwanted toy from a garage sale, Woody himself ended up on the sale where a toy collector (Wayne Knight) spotted Woody and realized how valuable he was. Despite Andy’s mom making it clear to the toy collector that Woody was not for sale, the toy collector stole Woody and sold him to someone residing in Japan. We then get to learn who Woody really was such as his relationship with the cowgirl Jessie (Joan Cusack), Bullseye, and Stinky Pete (Kelsey Grammer). “Toy Story 2,” directed by John Lasseter, promised to be bigger than the original with its epic opening sequence in outer space in which Buzz finally faced the evil Zorg. And, in some ways, “Toy Story 2” is arguably bigger and better than the original. I thought the jokes were far more creative and funnier (the happy meal joke was spot-on and I never saw it coming), the supporting characters had more defined roles and it served as a complement to the first installment in which Woody was the one needing to be rescued this time around. Furthermore, it felt that much more personal. We learned more about Woody and the picture began to ask deeper questions about his relationship with Andy; it even hinted at several moving elements that were tackled head-on in “Toy Story 3” such as Andy moving on without his toys and the toys having to accept that reality and they, too, had to move on from Andy being their owner. In a nutshell, “Toy Story 2” had more mature content than its predecessor but the energy was as childlike–one of the main reasons why we fell in love with the franchise in the first place. I was very moved by the scene that showed us Jessie’s relationship with her former owner–how the owner grew up over the years but Jessie remained the same. It made her sad and angry and we came understand why she was so bitter about Woody desperately wanting to return to Andy. As emotional as those scenes were, Buzz Lightyear (Tim Allen), Mr. Potato Head (Don Rickles), Slinky Dog (Jim Varney), Rex (Wallace Shawn), and Hamm’s (John Ratzenberger) big adventures in the streets and a toy store provided an excellent balance of laugh-out-loud humor and imagination. “Toy Story 2” was a transitory phase which delivered the fun and heart we expected but multiplied by ten.
Toy Story (1995)
★★★★ / ★★★★
A cowboy toy named Woody (voiced by Tom Hanks) felt like he was going to be replaced as Andy’s favorite toy when Andy (John Morris) received a spaceman toy named Buzz Lightyear (Tim Allen) for his birthday. Out of jealousy, Woody tried to get rid of Buzz and the two, after a series of adventures, ended up right next door–where another boy named Sid (Erik von Detten) lived and had a penchant for ordering explosives and blowing up his toys to smithereens. Buzz and Woody then had to work together in order to escape and return to Andy’s care before his family finished packing to move to another house. It is no stranger that Pixar’s first animated film was an international success because it was able to deliver state-of-the-art animation without sacrificing Indiana Jones-like adventure and witty sense of humor. It also had a real sense of danger denoted in scenes where Woody and Buzz had to face the neighbor’s toys after Sid performed cruel surgeries on them. At the same time, there were lessons in scary and dangerous scenes, especially for kids, such as not judging something solely based on its appearance and how creativity and imagination can triumph over the most seemingly insurmountable challenges. There were even lessons about empathy and taking care of the things we own. The picture really was multidimensional in terms of story and the meanings we could extract from the visuals and the script. Even though the characters’ faces looked more wooden and had sharper angles compared to its sequels, “Toy Story,” directed by John Lasseter, is something special because each character had a memorable characteristic and was able to contribute something crucial to the project. Some stand-out scenes include Woody and Buzz meeting green aliens who believed that if they were chosen by The Claw, they would go to a better place, when post-surgery toys acted like zombies in order to teach Sid a lesson, and when Woody and Buzz had to chase Andy’s car in which failure meant losing their friend forever. Based on the screenplay by Joss Whedon, Andrew Stanton, Joel Cohen and Alec Sokolow, “Toy Story” proved that animation was not just for children as long as the story had an element of uniqueness that the audiences could invest in. And just like classic films, animated movies could also be timeless not just in terms of visuals but the universal emotions we couldn’t help but feel every time we would watch them.