Movie Review – Teen Titans GO! To the Movies!


EXPECTATIONS: Something as enjoyable as Captain Underpants.

REVIEW: The Marvel Universe and the DC Comics film extended universe. If one were to think about the incredibly savage conflicts involved in superhero fandom, the battle between these two isn’t a bad place to start.

Ever since the Marvel Universe was king, the DC Universe tried to one-up them in every single opportunity, with mixed results. Only one of their films was critically acclaimed while the rest were either polarizing or just cinematic kryptonite.

But sometimes during conflict, humour can be mined and the jabs between the two universes had started to come into fruition in a major way when Tim Miller‘s Deadpool came out. Ripping the Marvel Universe and DC Universe to shreds as well as subverting action tropes and conventional storytelling, it took Hollywood by storm.

Which leads us to Teen Titans GO! To the Movies, which has the same meta approach towards its superhero peers. With the TV show that it is based on, struggling to be a success in the eyes of television critics as well as the fans of the original Teen Titans cartoon show due to its meta approach to itself and its rambunctious attitude, the Titans finally have the major opportunity to prove themselves with their own feature film. Will they succeed?


Based on the TV show of the same name, the film shows the adventures of its titular teen heroes, including Robin (Scott Menville), Beast Boy (Greg Cipes), Cyborg (Khary Payton), Raven (Tara Strong) and Starfire (Hynden Walch).

The story revolves around the efforts of the group, who are disappointed over not having starred in a superhero movie of their own. They start attempting to rectify the situation by convincing a famed Hollywood director (Kristen Bell) to develop one for them. Complicating their plans is the dastardly villain Slade (Will Arnett) and his scheme to conquer the world.


For a family film to succeed, the film is supposed to provide satisfying entertainment for the entire family and not just for the children. Thankfully Teen Titans GO! To the Movies does exactly that, even with the inclusion of fans, and– You know what, I’m gonna go straight to the point here and say that Teen Titans Go! To the Movies is the funniest film of the year. An absolute blast from beginning to end that has a sense of humour that’s even more savage to superhero films than the Deadpool films.

One of the major reasons the film succeeds is that no subject gets away from a good skewering. Superhero films? You betcha. Superhero origins? Of course. The Hollywood industry? Why not. Family films in general? Throw them in there too! The Teen Titans GO! show itself? Bring it in! But even with the plentiful targets on display, the film never feels like it collapses under its own weight and that’s due to the incredibly fast pace and the delivery of the jokes.


Blink-or-you’ll miss jokes are plentiful like seeing the movie posters like Aquamanatee or Detective Chimp: The Movie). Pop culture references and parodies are executed brilliantly like an inspired sequence involving The Lion King and another sequence involving Back to the Future.

Also, film tropes and conventions are subverted just right with catchy musical numbers like a song where the characters commit many shenanigans called…Shenanigans. Or an upbeat inspirational song about life called…An Upbeat Inspirational Song About Life, sung by a talking tiger voiced by Michael Bolton of all people!

And of course, the Marvel Universe and DC Universe get lampooned to maximum effect like how Slade is made fun of by the Titans for looking exactly like Deadpool, despite the fact that Deadpool is an actual rip-off of Slade. Or how the ‘Martha’ scene in Batman V Superman: Dawn of Justice is parodied to amusing effect when their fathers are brought into the picture.

Even throwaway lines and offbeat casting are factored into the humour like the mentioning of Gene Hackman‘s real estate scheme or how Nicolas Cage is cast as Superman (when he almost played the superhero in a film by Tim Burton) and how his son, Kal-El Cage was cast as Young Bruce Wayne. It is jokes, gags and Easter eggs like that, which gives the film a lot of replay value.

And then there’s the adult-related jokes that will fly over the children’s heads but will startle the parents and fans into absolute hysterics. One joke involves a hit-and run while another involves the use of kryptonite against Superman in such a suggestive manner that I personally was in absolute shock. Other jokes involves time-travel and the way the characters change the origins of various superheroes will provides loads of laughs, mainly due to how dark and abrupt the jokes are delivered.


But what makes the dark and adult jokes feel earned and non-provocative is the level of childlike innocence and sincerity these characters have when they are portrayed on-screen. The obliviousness, the enthusiasm and the lack of cynicism is what gives the humour the punch it needs.

The voice cast deliver on all fronts, including the original voice cast from the TV show, newcomers who clearly have experience working in animation like Will Arnett (Bojack Horseman, The LEGO Movie, The LEGO Batman Movie), Kristen Bell (Disney’s Frozen) as well as off-kilter casting including Nicolas Cage, Halsey, Lil Yachty and even Stan Lee himself!

As for flaws, and there are very little, there are some moments in the film that could’ve had more development into the story as well as could’ve been mined for more humour i.e. how female directors like Slade Wilson are directing superhero films. And there will be some jokes that will irk parents due to how suggestive the jokes are. One visual joke that involves Superman as a baby will definitely put off some.

Exceeding this reviewer’s expectations, Teen Titans Go! To The Movies is an absolute ball of a time with high-spirited animation, lovable characters, infectiously catchy musical numbers and a wonderful sense of humour that is either adorably innocent for its demographic and beyond; savagely meta towards itself and its superhero peers, ingeniously referential towards pop culture references and is hilariously inappropriate, thanks to the gags that will fly over the heads of children but will soar with adults.



This review can be also seen at IMPULSE GAMER. Visit the site by pressing the picture above.

Cast: Greg Cipes, Scott Menville, Khary Payton, Tara Strong, Hynden Walch, Will Arnett, Kristen Bell, Nicolas Cage, Halsey, Greg Davies, Jimmy Kimmel, Lil Yachty, Dana Snyder, Kal-El Cage
Director: Peter Rida Michail, Aaron Horvath
Screenwriters: Michael Jelenic, Aaron Horvath


Movie Review – Incredibles 2


EXPECTATIONS: Something that doesn’t equal the original, but is a fun time nonetheless.

REVIEW: It has been a very, very long 14 years, but the long-awaited sequel that many were asking for is finally here. Toy Story 4 Incredibles 2 has finally arrived! The first film was branded as the Fantastic Four film that people deserved and it catapulted the career of director Brad Bird to new heights, including live-action ventures like Mission: Impossible – Ghost Protocol and Tomorrowland.

And with the vast amounts of superhero films we have today and many more on the horizon, it is clearly a no-brainer for Bird to make the sequel. Will Incredibles 2 succeed as a sequel that stands on its own as well as a great superhero film in its own right?


Incredibles 2 starts off where the first film ended, where the Parr family encounter the villain, The Underminer. Although, as a family, they have foiled his plan to rob the major banks, he escapes, leaving the Incredibles with a worse reputation than they already have from government officials.

It only gets worse when Rick Dicker (Jonathan Banks, replacing Bud Luckey who sadly passed away) reports that the superhero relocation program is shut down, leading the family to dire straits. But hope comes into the picture when Frozone (Samuel L. Jackson) informs Helen (Holly Hunter) and Bob (Craig T. Nelson) about Winston Deavor (Bob Odenkirk), the CEO of a telecommunications company who’s also a superhero fanatic. Alongside her sister, Evelyn (Catherine Keener) who is a technological marvel, the two want to bring supers back into the spotlight by changing the public’s perception of them.


Since Helen is chosen for her light approach to saving the day (in comparison to Bob’s sloppy approach), she is out, doing all the work, advocating superhero rights while Bob is at home, as the stay-at-home dad, taking care of the moody Violet (Sarah Vowell), the hyperactive Dash (Huck Milner, replacing Spencer Fox) and the increasingly troublesome Jack-Jack, who’s experiencing his own super phase.

As the two adjust to their new change in lifestyles and as superheroes come back into the spotlight, a new supervillain comes into the midst, called the Screenslaver, who has the ability to use any screen to hypnotize and control people who look at them.


Was Incredibles 2 worth the 14-year wait? Thankfully, it is, as it provides younger children a very entertaining respite from the high-stakes storytelling of other superhero films like Avengers: Infinity War and Black Panther. And no, Deadpool 2 is not for young children!

One of the best factors of the first Incredibles film is the integration of the family dynamic into the superhero genre and thankfully, it is kept intact in the sequel; the much-needed grounded feel that audiences can relate to. But this time, focusing on how Bob takes care of the family.

And it is because of that, it ends up being surprisingly funnier than the original. Bob’s reactions to mundane tasks like helping Dash with his homework or trying to put Jack-Jack to sleep are hilarious. Jack-Jack in particular, is the funniest thing in the film. His interactions with the family and a certain creature pay off with the biggest laughs.


The action sequences, while not emotionally thrilling like the airplane set-piece in the first film, are still a lot of fun to watch, especially when one of them is similar to a set-piece in an infamously maligned sequel. It helps a lot when Bird comes up with new superpowers for the Incredibles to fight against eg. teleportation or hypnosis; or when he gives something new for the Incredibles to do eg. when Helen (aka Elastigirl) rides her motorcycle to scale and jump on tall buildings by splitting apart, similar to parkour.

Like all of Pixar films, they always choose actors who are right for the parts, and not just choose people with massive star power. All the cast members assembled are on point with their characters, including Bird himself as the hoot-and-a-half Edna Mode. The newcomers including Catherine Keener, Sophia Bush and Isabella Rossellini (just her appearance alone makes me laugh) all commit with ease and sound like they are having fun while they’re doing it. Bob Odenkirk needs to do more voicework, that’s all this I’ll say. And the biggest laugh for me is when Samuel L. Jackson (as Frozone) almost does a trademark of his. Almost.


As for its flaws, it basically comes down to expectations. Since the film came out 14 years after the original, there would be a build-up of audience anticipation that may affect how people would feel about the film. It could easily had come out 2 years later, it’s possible the film would have a better reception.

Back to actual flaws, the film isn’t as emotionally stirring as the original, as the film focuses more on fun and less on stakes. And the motivation for the villainous scheme for what he or she (or they?) isn’t as involving as it could’ve been, particularly in comparison to the motivation of Syndrome, the villain in the first Incredibles film.

Overall, Incredibles 2 is a hell of a fun time for the entire family, providing lots of superhero antics that rival films in the MCU and DCEU, loads more laughs than the original film and the cast and crew all back in the height of their game. Don’t ever get get old, Jack-Jack.



Quickie Review


Fantastic action scenes

Many, many hilarious moments

Keeps the compelling family dynamic intact

Many memorable side characters, including the villain, the Screenslaver


Not quite emotionally stirring as the original

Could’ve easily came out much earlier and not have the pressures of the long waiting time

The motive of the villain isn’t as good in comparison to Syndrome from the first film

SCORE: 8/10


This review can be also seen at THE IRIS. Visit the site by pressing the picture above.

Cast: Holly Hunter, Craig T. Nelson, Sarah Vowell, Huck Milner, Samuel L. Jackson, Brad Bird, Jonathan Banks, Bob Odenkirk, Catherine Keener, Sophia Bush, Isabella Rossellini, John Ratzenberger, LaTanya Richardson Jackson
Director: Brad Bird
Screenwriters: Brad Bird

Movie Review – Mary and the Witch’s Flower


EXPECTATIONS: Something as magical as the Studio Ghibli entries.

REVIEW: It’s that fantastic time of the year again! We have another Studio Ghi–Wait a minute! This isn’t a Studio Ghibli film! It is in fact, a Studio Ponoc film. In case you don’t know, Studio Ponoc is an animation studio that was founded in 2015 by people who used to work in Studio Ghibli. One of these people is Hiromasa Yonebayashi, the director of such Ghibli hits like The Secret Life of Arietty and When Marnie Was There.

Since the temporary halt in production in Studio Ghibli due to acclaimed director Hayao Miyazaki‘s retirement back in 2014 (and later, his return), Studio Ponoc was born and Mary and the Witch’s Flower was declared as their first film project. Having been in production for two and a half years, the film was finally released, receiving acclaim from filmmakers like Isao Takahata and Toshio Suzuki.

And now we have the film up for release in English-speaking territories with an English dub, featuring voicework from Ruby Barnhill, Kate Winslet, Jim Broadbent and others. Does Mary and the Witch’s Flower live up to the high Ghibli standards or will it succumb to being a Ghibli wannabe?


Mary Smith (Ruby Barnhill) is living with her great-aunt Charlotte (Lynda Baron) while her parents are on a business trip. It’s the last week of summer before school starts and Mary is bored because virtually all the local kids in the small British town of Redmanor are away on holiday. Desperate to do something to escape the boredom, she requests to do house chores but she fails at doing the simplest tasks and thinks low of her own self-worth.

One day, while eating lunch, she sees a black cat turn to a gray one, she readily follows it into the woods, where she finds a strange glowing blue flower. This, it turns out, is Fly-by-night, or the Witch’s Flower, an incredibly rare flower that blooms every seven years. When Mary takes a hold of the flower, it releases magical powers and leads her on a magical adventure that exceeds her wildest dreams.


The synopsis is quite vague but it is best to watch this film with very little prior knowledge of it. Does Mary and the Witch’s Flower live up to the standards of Studio Ghibli? It comes very close to it, but as a first entry for Studio Ponoc, it’s a huge success.

For a change of pace, let’s dwell with the negatives first, if you can call it that. The story is very familiar to casual audiences, since it is very reminiscent of the Harry Potter book, despite the fact the story is based on The Little Broomstick by Mary Stewart, a film that predates Harry Potter by about a quarter of a century. Where as the sci-fi angle of the film is quite reminiscent of Laputa: Castle in the Sky, with its terms of greed and lust for power and steampunk inspirations. Even the themes are reminiscent of Hayao Miyazaki tropes, like environmental messages such as animal testing, the wide-eyed heroine, the same sense of wonder and others things.

Not only that, what can bother Ghibli fans is that the visuals and animation are very reminiscent of prior Ghibli films to the point that it sometimes looks recycled. One of the villains has roughly the same face as Kamaji, the boiler operator in Spirited Away, while a slimy creature in the film is reminiscent of No-Face in Spirited Away. And there’s also Mary’s climb up a scary cliff-side staircase and her visit to a house surrounded by water both closely evoke Spirited Away.

There are all sorts of familiar Ghibli images in Mary and the Witch’s Flower, from a character that resembles fire that recalls Calcifer in Howl’s Moving Castle to Mary’s broom-riding adventures and a black cat familiar, reminiscent of Kiki’s Delivery Service. Hell, there’s even a monster/vehicle that is eerily similar to the one in Laputa: Castle in the Sky. So if you’re expecting something new and out of the box from Studio Ponoc, chances are you’re going to be a bit disappointed.


“If it ain’t broke, don’t fix it” seems to be the motto for Mary and the Witch’s Flower but thankfully all of the parts add up to a magical and fun time. The animation, character designs and the playful musical score by Muramatsu Takatsugu (however familiar they are) are stunning to behold, perfectly bouncing from serenity, fantasy and whimsy with ease. The opening prologue, which involves a daring escape via broomstick from shape-shifting minions, is absolutely thrilling and electrifying and hints of the many great things to come.

The character of Mary is very well-developed as she discovers the self-confidence and independence she will need to rely on in adulthood, throughout the film. She starts off as doubtful, as she faces moments about starting at a new school and her frizzy red hair and in the middle of the film, she turns brash and cocky with her newfound powers but at the end, her change in character feels earned and satisfying, without an ounce of sentimentality or forced emotion. While I’ve never read the source material, I’m sure it the female empowerment element was instilled there and director Hiromasa Yonebayashi and co-writer Riko Sakaguchi (who last co-wrote the Studio Ghibli film The Tale of Princess Kaguya) honoured it for the film.

The other characters like Great-Aunt Charlotte and Peter all compliment the film but the standout villains like Madam Mumblechook and Doctor Dee are both entertainingly menacing and yet, are realistically recognizable by their actions and ambitions driven by greed and lust for power. In fact, their actions are so recognizable, the film acknowledges both science and magic together, much like the collaborations of the characters, in a way that is quite refreshing.


And let’s not forget the cast assembled for the English-language dub, which is very well done. Ruby Barnhill (who was great in Steven Spielberg‘s The BFG) is fantastic as Mary, as she expresses the growing confidence and inner turmoil of her character with ease, and even gets in on the Japanese mannerisms with aplomb. Kate Winslet does icy and posh really well as the villainess, Madam Mumblechook while Jim Broadbent is an over-the-top hoot as Doctor Dee, as he displays enthusiasm and liveliness that otherwise would’ve made a villain quite annoying.

Overall, Mary and the Witch’s Flower is basically a greatest hits album of Studio Ghibli tropes and elements, but it’s a very well-assembled one that proves if the formula ain’t broke, why bother fixing it? With astoundingly beautiful animation, a playful and lively musical score, an empowering heroine, fun and menacing villains and a fun story, Mary and the Witch’s Flower is a great first entry for Studio Ponoc. Conjure up the next spell!



Quickie Review


Fantastic animation

The cast do great with their performances

Well-developed characters, particularly in the case of Mary

Retains the magic and spirit of Studio Ghibli entries


Similar to prior Ghibli entries the point of being derivative

SCORE: 8/10


This review can be also seen at THE IRIS. Visit the site by pressing the picture above.

Cast: Ruby Barnhill, Kate Winslet, Jim Broadbent, Lynda Baron, Louis Ashbourne Serkis, Ewen Bremner
Director: Hiromasa Yonebayashi
Screenwriters: Riko Sakaguchi, Hiromasa Yonebayashi, based on the book “The Little Broomstick” by Mary Stewart

Movie Review – Your Name


EXPECTATIONS: A film that lives up to its buzz.

REVIEW: Makoto Shinkai is an animation film-maker that has been earmarked to become the next Hayao Miyazaki with his spectacular animation. But in my opinion, he’s not really there yet. Although he gets the visuals right, his storytelling is quite flawed due to the slow pace and he never gets to end his films in a satisfying manner.

The endings are either abrupt, lack impact or at one point, incredibly overwrought. But the biggest problem with his films is the use of musical montages. Whenever a film of his reaches an emotional peak, he tends to play a song over it with the intention of eliciting poignancy. But unfortunately it ends up being lazy, cheap and ruins the cinematic panache of the film, making it look like a television episode at times.

So when I heard that Shinkai’s latest film was breaking Japanese box office records AND was chosen to be in the running for Best Animated Film at the Oscars, I knew I had to watch it to see if the film lived up to its hype. So does the film live up to its sterling reputation or will it end up being underwhelming?


Edited and expanded synopsis from Madman: Mitsuha (Mone Kamishiraishi) and Taki (Ryunosuke Kamiki) are two total strangers living completely different lives. But when Mitsuha makes an impulsive wish to leave her mountain town for the bustling city of Tokyo, they become connected in a bizarre way. She dreams she is a boy living in Tokyo while Taki dreams he is a girl from a rural town he’s never been to.

The two realize the situation that they are in and decide to make the most of it until they develop an intimate relationship. But they suddenly lose contact with each other and Taki decides to personally meet up with Mitsuha over at her hometown. Little does he know, he ventures into something that will send both into an emotional journey that few could dream of. Will their relationship survive through the tumultuous turn of events?


Let us get the obvious out of the way. From the looks of the screenshots alone, Your Name looks visually spectacular. Everything just has a pinkish/orange hue that gives the film such a warm, optimistic feel that made me smile. The music by RADWIMPS (a change from Shinkai’s usual composer, TENMON) gets the emotional pull of the film quite well, despite some major flaws.

As for the storytelling, Shinkai thankfully has improved in some ways. First of all, the editing (by Shinkai himself) has tightened up considerably, leading to a pace that is manageable for the story as well as keeping the emotional momentum going. Secondly, he actually sticks the landing and provides a satisfying, albeit predictable ending. Without spoilers, the ending does not feel abrupt, nor does it feel overwrought and it actually feels earned and rightfully so.

Thirdly, the fun sci-fi premise never interferes with the storytelling. There is very little spoon-feeding and exposition that slows the film down and it benefits greatly from it. And finally, Shinkai finally develops a nice sense of humour that provides the perfect offset from the potentially darker turns of the story.


As for the voice acting, all the actors give great performances. Ryunosuke Kamiki, who is a veteran in voice acting as far as his projects for Studio Ghibli go, is great as Taki, as he provides the perfect balance between brimming anger and kindness. While Mone Kamishiraishi (who was fantastic in the leading role of Lady Maiko) is no beginner in voice acting due to her performance in Wolf Chidren, is great as Mitsuha, as she makes her character likable and compelling, with a great portrayal of both naivety and hubris. The supporting cast all add life to their roles from Masami Nagasawa providing a certain sultry appeal as Miki, Taki’s senior and romantic crush; to Kana Hanazawa as Ms. Yukino, Mitsuha’s teacher and is a reprisal of a character in one of Shinkai’s previous films.

But as much as improvements go, there is always room for it and Shinkai still has ample space of it. The lightest flaw is typical of films with this premise, which leads to some plot holes and lapses in the film’s logic, but I can’t really say further, since it would spoil part of the film. The other flaw, and this is a major one, is one I stated in the beginning of this review: the musical montages. Yes, they are still present and there are more present than usual, which really harms the emotional pull of the film, as well as unintentionally making the film cheap, looking like part of a TV episode.

But overall, Your Name is Shinkai’s most satisfying and complete film to date. With its amazingly beautiful animation, a fun yet familiar sci-fi premise, a great melding of genres (sci-fi, romance and disaster movie?) and great vocal talent, Your Name is a film that is worth seeing and remembering.

Quickie Review


Spectacular animation

Fantastic voice work from the cast

Little spoon-feeding and exposition about the fantasy premise

Great storytelling and editing, ensuring a good pace

A satisfying ending


The use of musical montages

Problematic subtitles

Some plot holes and lapses in logic

SCORE: 8/10

Cast: Ryunosuke Kamiki, Mone Kamishiraishi, Masami Nagasawa, Ryo Narita, Aoi Yuki, Obunaga Shimazaki, Kaito Ishikawa, Kanon Tani, Masaki Terasoma  
Director: Makoto Shinkai
Screenwriters: Makoto Shinkai

Movie Review – Kubo and the Two Strings


EXPECTATIONS: A beautifully realized fantasy adventure from Laika.

REVIEW: Laika Studios is an animation studio that I am not fully familiar with. Now put your pitchforks away, it’s not due to bad expectations. I honestly don’t know why I am not more into their work although without knowing, I have enjoyed their first studio film, Coraline, immensely. And reading about their other works like The Boxtrolls and Paranorman, I was interested of what they have cooked up for their latest film. An Asian-influenced fantasy film with the use of stop-motion that adapts the art of origami? And it also stars Charlize Theron and Matthew McConaughey as a monkey and a beetle samurai? This honestly sounds like a film I would have loved to have seen when I was a kid. Hell, it sounds incredibly appealing at my current age. So does the film live up to its studio’s sterling reputation or will it rank alongside mediocre animated films like The Angry Birds Movie and the latest Ice age sequel?


In Ancient Japan, a young boy named Kubo (Art Parkinson) cares for his sick mother in a village. A spirit from the past known as The Moon King (Ralph Fiennes) turns Kubo’s life upside down by re-igniting an age-old vendetta. This causes all sorts of havoc as gods and monsters chase Kubo. In order to survive, Kubo must locate a magical suit of armor once worn by his late father, Hanzo a legendary Samurai warrior. On his journey, he also gains some allies in a Monkey (Charlize Theron) and a Beetle (Matthew McConaughey) and he realizes he also has more demons on his way, like his twin aunts, whom are also phantoms (both played by Rooney Mara).


As you can see by the pictures (or the trailer), the animation is absolutely spectacular. The sheer commitment to the animation is just mind-blowing to the point that everything you question on-screen about whether it is CGI or practical effects, trust me, it is all practical. Even the water! And the character designs are all distinct while retaining the Asian influence. I especially loved the character design of the twin aunts, particularly when the first appear in the night. It was reminiscent of ghost stories in Japan i.e Kwaidan stories. And the stop-motion animation of the monsters are endearingly reminiscent of Ray Harryhausen films, which will please adults as much as children.

Speaking of pleasing adults, the story is surprisingly thematic and mature. Venturing towards themes such as death and autonomously determining your fate with minimal sugar-coating or being patronizing to children, it fits into the story in terms of its character development like a glove, which helps the audience relate to Kubo. Even if the themes go over the minds of children, the film still provides a rollicking fantasy adventure. The action scenes are thrilling to watch, particularly the martial arts scenes. Planning and executing them had to be a pain to do, but it pays off really well, particularly in a scene where Monkey fights one of the twins on the ship out in the ocean.


And what would it be without the characters? With such a strange Hollywood cast chosen for these fantasy characters, it’s a wonder that they work as well as they should. Art Parkinson (known for his appearances in Game of Thrones) is endearing and convincingly conflicted as Kubo, as he not only has to deal with this quest involving family conflict, but he is also going through adolescence and owning up to his destiny, and Parkinson portrays that well. Matthew McConaughey is a hoot as Beetle, a former samurai who worked under Hanzo yet his memory isn’t quite what it used to be, leading to some very funny situations.

Ralph Feinnes can play the villainous role in his sleep and with his small role as the Moon King, he suffices. Rooney Mara seems to be relishing playing the twin villains, as she seems to be quite animated (not a pun) and delightfully acidic, when you compare it to her other live-action performances. But the big standout is Charlize Theron as Monkey. Authoritative, strong and paternal to an amusing degree, she steals every scene she is in and the chemistry between her and McConaughey is surprisingly sweet despite the two never working together in the same vicinity. And it was great to hear veteran actress Brenda Vaccaro again, who delights in her small role as Kameyo.


As for its flaws, the story may be a little bit too simple for some and the motivation for some of the villains are not really clear, hindering the ending a little bit. Also, although the character of Beetle is very funny, his comic relief antics can intrude with the dramatic through-line at times.

But overall, Kubo and the Two Strings is one of the best films of the year and I highly recommend it. With its spectacular animation, thrilling action scenes, likable characters and a great message, Laika Studios has gotten me interested to watch their other work.

Quickie Review


Spectacular animation

Likable characters

Resonant themes

Fantastic action scenes


Motivations of villains a bit unclear

Intrusive comic relief

Overly simplistic story

SCORE: 9/10


This review can be also seen at THE IRIS. Visit the site by pressing the picture above.

Cast: Charlize Theron, Art Parkinson, Ralph Fiennes, George Takei, Cary-Hiroyuki Tagawa, Brenda Vaccaro, Rooney Mara, Matthew McConaughey.
Director: Travis Knight
Screenwriter: Marc Haimes, Chris Butler, Shannon Tindle

Movie Review – Sausage Party


EXPECTATIONS: A mildly amusing experience that gets the most out of its one-joke premise.

REVIEW: Seth Rogen has always been associated with stoner humour and raunchy comedy, but in the case of Sausage Party, he takes it to a whole new level. With animated films that have anthropomorphised objects like toys (i.e. the Toy Story films) and cars (i.e. Cars), Rogen had the idea to anthropomorphise consumer products while retaining his own sense of humour.

And while the trailer was amusing in its own right, it implied that the movie was just a one-joke premise, which is seeing food swearing. But with daring animated films like South Park: Bigger, Longer and Uncut and Team America: World Police, both of those films effectively mixed vulgar humour with timely themes. So does Sausage Party make a big enough impression to join alongside those two fantastic films?


Co-writer/star Seth Rogen voices Frank, a sausage who is part of the grocery store called “Shopwell’s”. All the groceries of the many aisles all dream of one thing: to be chosen by a customer (seen as Gods) and be taken to the Great Beyond. But according to a supposedly crazed chosen one who had returned (voiced by Danny McBride), he says that the story is all bullshit. After knowing the horrifying truth of what the humans do with the consumer products, the groceries will have to set aside all of their differences of faith and product origin to unite as one and fight back against the humans before the day of celebration.

Unless you’ve read articles about the film, I’m going to be murky about the story details. If you thought this film was just a typical Seth Rogen joint that just so happens to be in animation, then prepared to be surprised. Not only does Sausage Party succeed as a hilariously unhinged and unadulterated comedy, it also succeeds almost as well as providing food for thought. Much like the South Park film dealt with censorship and how Team America dealt with the global implications of United States politics, Sausage Party deals with the conflict between science and religion and existentialism.

Like how everyone is conditioned to believe without any substantial proof or how small differences with each other can drive each other apart so easily to even innate fears that we do not even question that prevent us of our desires, all of this conveyed with wit and raunchiness that offers gut-busting laughs. A scene involving non-perishable groceries (voiced by Bill Hader, Craig Robinson and Scott Underwood) revealing the truth about the Great Beyond satirizes the creation of the Bible so furiously, that had me tearing up with laughter.


What is also surprising is the world-building, which is just as good as Pixar. The grocery store is filled with distinct characters and the many different aisles are so well-realized, that they can be characters of their own. Sure, there are many racial stereotypes, but with the themes they are dealing with and the comedic force they have, you’re bound to break a lot of boundaries.

And speaking of boundaries, Sausage Party not only destroys them, but it defecates and urinates all over them, stomps on them into oblivion and sets them on fire. And that is definitely true in the final act, where every single depraved action known to man is committed in all of its glory. Movie references to Terminator 2 and Saving Private Ryan hit the mark with ease while also adding punch to the offensive feel. Every single race and orientation will find something in the film that has the potential to offend, but the film’s gleeful attitude towards excess is so undeniable that you can’t help but be swept up by the hilarity of it all.

Most of the credit is to the cast. Seth Rogen and Kristen Wiig play their roles with such sincerity (well, as much as the premise allows), that their relationship actually becomes substantial enough to invest in. Michael Cera is great as Barry, the sausage in the unfortunate position of being a coward, and his subplot is a very enjoyable side-quest that is actually an amusing twist of a scene in Toy Story.

While the other supporting cast are great, the best includes Nick Kroll, who plays a villainous douche (literally, of course) with such enthusiasm, that he becomes a villain you love to hate instead of dreading him every time he shows up. And there’s Edward Norton, who plays a bagel with such a killer Woody Allen impression that I would love to see Allen’s impression if he ever gets to see Norton’s performance.


Besides the supposed flaw that the film will possibly offend everyone, the film can be incredibly brash and insistent in its message and themes, which can irk some. Also, I was a bit disappointed that there was only one song in the film. With a great talent like Alan Menken, who has given so much to films with his musical genius, I was expecting more.

But overall, Sausage Party is a hilariously fun time at the movies, but with its thought-provoking plot and its gloriously excessive attitude towards political incorrectness, it is elevated to cult status alongside the South Park film and Team America: World Police. The film ends with a lead-in to a sequel, and the idea for it is so profoundly silly, that I would love to see where it goes.

Quickie Review


Surprisingly thought-provoking plot

The go-for-broke approach to politically incorrect humour

Fantastic voice cast

The extremely satisfying final act


Will offend almost everyone

Lack of musical numbers

SCORE: 9/10


This review can be also seen at THE IRIS. Visit the site by pressing the picture above.

Cast: Seth Rogen, Kristen Wiig, Michael Cera, Jonah Hill, Edward Norton, Salma Hayek, Nick Kroll, David Krumholtz, Craig Robinson, Bill Hader
Director: Greg Tiernan, Conrad Vernon
Screenwriter: Seth Rogen, Evan Goldberg, Kyle Hunter, Ariel Shaffir, Jonah Hill

Movie Review – Finding Dory


EXPECTATIONS: A Pixar sequel not as underwhelming as Cars 2, but along the lines of Monsters University.

REVIEW: Pixar Studios has been long regarded as one of the best animation studios in the world today, alongside Studio Ghibli, which my denial says that it still exists. But ever since the release of Cars 2, an incredibly disappointing sequel (to a film that wasn’t that good to begin with) that seems more like a product than an actual film, the seemingly infallible quality of Pixar has fallen. With other films like Brave, Monsters University and The Good Dinosaur, it seems to go towards that theory, but a creative upward surge happened with the release of Inside Out, a wonderfully exuberant and creative film. And now we have Finding Dory, the long-awaited sequel to the 2003 hit, Finding Nemo. Will the film be worth the 13 year wait, or will it end up being disappointing like Cars 2?


Approximately one year after the events of the first film, Dory (Ellen DeGeneres) is now living with Marlin (Albert Brooks) and his son, Nemo (Hayden Rolence, replacing Alexander Gould). Having memories gradually coming back involving her family, Dory sets out to find her family, much to the worry of Marlin. Remembering something about “the jewel of Morro Bay, California”, the three end up at the Monterey Marine Life Institute. The three unfortunately get split up and they have to find each other as well as Dory’s parents, Jenny (Diane Keaton) and Charlie (Eugene Levy) with a bunch of new friends like Bailey (Ty Burrell), a white beluga whale; Destiny (Kaitlin Olson), a whale shark; and Hank (Ed O’Neill), an octopus, who becomes her guide.


Was this film worth the 13 year wait? Yes and no. Don’t get me wrong, I’m not truly criticizing the film in any major way, but sequels with long time gaps are usually made to cash in on the nostalgia value rather than being made for valid creative reasons. But seeing this film, the reason for this film to exist makes perfect sense and fits the Disney/Pixar formula to a T. What also bothered me was the decision to make Dory the main character of the film. Considering what happened with Cars 2, which made the disastrous decision to make Mater the main character (much to the annoyance of many, including myself), I was fearful that Finding Dory would also end up being an annoyance. Thankfully, that never happened and it is all thanks to Ellen DeGeneres‘ performance.

Having perfect comic timing and seamlessly going into drama, DeGeneres is still fantastic as the lovable Dory, who is more than just comic relief. The characters of Marlin and Nemo are merely passengers for The Dory Show Finding Dory, but Albert Brooks and Hayden Rolence still play off well as father and son. Marlin’s bird call still makes me laugh even when I’m writing this review. The supporting cast are great with their roles, with standouts like Ty Burrell as Bailey, a neurotic beluga whale who can’t seem to perform the act of echolocation (amusingly referred as the world’s best pair of glasses); Kaitlin Olson as Destiny, a near-sighted whale shark and childhood friend of Dory’s; and Ed O’Neill as Hank, a grumpy octopus who yearns to be confined in an aquarium and is jokingly referred as a “septopus” due to his lost tentacle.


The Pixar formula is still running with Finding Dory, as it tries to balance laughs and emotion, but it has gotten a little bit rusty, making this film a bit inferior to Finding Nemo. The attempts of tugging the heartstrings of the audience has gotten a bit more manipulative, especially with more reliance on music cues. Plus, it does not really help that the plot of Finding Dory is still a retread of the first film. Fortunately, for what it lacks in emotional investment, it makes up for with laughs and charm. The many visual gags evoke plenty of guffaws like Hank’s camouflage and the character of Becky, a strange looking bird. But the final act of the film has one of the funniest climaxes that Pixar has ever done. Involving echolocation, car traffic, land animals and a well-placed song, it had me gleefully choking at my popcorn at one point. Plus the cuteness levels are off the charts when you see the young version of Dory and the plentiful otters. And do not get me started on the surprise celebrity voice cameo played by a fantastic actress, whom actually figures into the plot, that made me laugh so much whenever she was being referred to.

Does this film stand up to the original? Sort of. It does not make a mockery to the Pixar name like Cars 2 did, and it is better than unnecessary films like Monsters University, but it falls short of the fantastic quality Pixar films like Inside Out, the Toy Story films and Up, or even this year’s Disney animated film, Zootopia. But it is still great fun for the whole family, has a simple but important message and it shows that Pixar is far from being over.

P.S – Stay after the end credits for a delightful surprise.


Quickie Review


Ellen DeGeneres is fantastic as Dory

The Pixar formula still charms and delights

Supporting characters are great

Hilarious gags, whether visual or vocal (the celebrity guest cameo had me grinning and laughing out loud)


Emotionally manipulative at times

Plot is a retread of the original film

SCORE: 7.5/10


This review can be also seen at THE IRIS. Visit the site by pressing the picture above.

Cast: Ellen DeGeneres, Albert Brooks, Ed O’Neill, Kaitlin Olson, Hayden Rolence, Ty Burrell, Diane Keaton, Eugene Levy, Sloane Murray, Idris Elba, Dominic West, Bob Peterson, Kate McKinnon, Bill Hader, Sigourney Weaver
Director: Andrew Stanton
Screenwriter: Andrew Stanton, Victoria Strouse, original story by Andrew Stanton

Movie Review – The (Murder) Case of Hana and Alice (Japanese Film Festival 2015)

EXPECTATIONS: A film as charming and beautiful as its live-action predecessor.

REVIEW: In my previous review of April Story, I’ve mentioned that the first live-action Japanese film that I saw was Hana and Alice, so you can probably assume that I had high expectations for this animated prequel. And to hear that all of the original cast had returned for the film had me excited (although one actor plays a different role). Even more so is the type of film-making for the prequel (rotoscope animation, like in A Scanner Darkly), which is an ingenious way of sidestepping the age of the actors as well as still filming in real environments and sets. But I was afraid that Shunji Iwai would not be able to capture the magic of the original as well as not conveying his visual film-making to his bet to the media of animation. Well guys, I am happy to report that this film is not only a fantastic story about lost love and what it can do to a person but it is also a charming, beautiful and oddly weird story about the beginning of a delightful friendship.

Set in the year 2000 (as evident by the flip mobile phones), three years before the events of the live-action film, were are introducted to Tetsuko “Alice” Arisugawa (Yu Aoi), a 14 year old girl who moves into a new town, Fujiko, with her recently divorced mother (Shoko Aida). The people there aren’t exactly the helpful kind, with many weird and eccentric characters that you think it might not get any weirder, until Alice is swept into a case that involves ghosts and a murder of a student, Yuda (a playful way of saying Judas). Through her investigations, she is led to meet with a shut-in, Hana Arai (Anne Suzuki), who not only is an integral part of the case but she is also a neighbour of Alice. The two work together in solving the case but what they might end up with in the end is more than a solved case.

Now you’re probably wondering (especially for people who have seen the live-action film) is why in the world would the prequel involve ghosts and murder? It turns out it is a lot of fun, similar to cases that Scooby-Doo or Nancy Drew would investigate, but this is a Shunji Iwai film. His films were always more about details than story so if people are reading this review and/or are planning to watch this film expecting a true mystery will be quite disappointed. Fortunately, Iwai succeeds in making the film a character study about two girls who forge a friendship that made the live-action film so compelling. The rotoscope animation does take a bit of time to adjust at first but the movements of the characters look surprisingly natural and the scenery and locations such as Hana’s flower garden to the playground gymboree where Alice plays look breathtaking. One of the things that make the film such a great thematic follow-up to the live-action original is how the film is so naturalistic, you forget that you’re watching an animated film but a fairy tale come to life, and the cinematography and music of both films really capture that feel.

Another thing that makes the film a resounding success is the cast. The only way the film would work is that the two leads can make you believe that they could be the best of friends and they clearly are up to the task. Yu Aoi is still the goofy, playful and strong Alice and has plenty of opportunities to show it, like investigating a lead who may or may not be the right person or hysterically pleading her mother to move out of their new house because it might be inhabited by ghosts. Anne Suzuki is still the timid, lovesick instigator, who may or may not have been responsible for the murder, that you can’t help but want to give her a hug. The actresses still have the lovely chemistry that again makes you question why the two weren’t friends in the first place. There’s a scene later in the film where they lay snugly under a car for warmth and the two bond that I really enjoyed, and it is one of the many scenes in the film that bring it to life. Even the scene when the two first meet played out exactly the way I wanted it to be, with amusingly bad first impressions. What makes their interactions even more joyful is the fact that the two are playing 14 year olds, yet the actresses are double their age, so whenever they act out the character’s youthfulness, it comes off as hilarious.

I also loved that Iwai got every actor from the original film and have them reprise their roles. Like a scene with Alice and her father (Sei Hiraizumi) who visits every month is very touching due to the restrained sadness of Hiraizumi’s performance. Or how Alice’s mother is beginning to flirt with men, trying to regain her lost youth is amusingly portrayed by Shoko Aida. There’s a scene when Alice joins her childhood friend to a ballet studio, with Tae Kimura reprising her role as the ballet teacher. Even Tomohiro Kaku comes back, but in a different role as a teacher, who has a passion for snails (a visual joke that appears in the live-action film). It is callbacks to the original film like these that the initiated will definitely appreciate. The callbacks don’t just come from the reprising cast, but from the costumes (Hana wears the same sweater from the earlier film, as well as Alice in another scene), duplicated shots and even the live-action film’s origins (the presence of Kit Kat, which was integral to having the short films of Hana and Alice that lead to the live-action film).

But the uninitiated do not need to be hesitant to watch this film since the final product is so endearing and wonderfully realized that it will make you nostalgic for the friendships and times at school. A truly beautiful story about a blossoming friendship by Shunji Iwai.

Quickie Review


The move from live-action to rotoscope animation has not dulled Shunji Iwai’s visual film-making

The chemistry from the two leads has not dulled over the past 11 years

Shunji Iwai’s weird and quirky humour is still apparent

Many small and amusing callbacks to the original live-action film

The original supporting cast reprise their roles with great effect


Some of the animation looks jerky at times

Those looking for an actual mystery will be disappointed

SCORE: 9/10

Readers in Australia want to watch the film? Book tickets for it at Japanese Film Festival 2015! Press the logo below for more details!

Cast: Yu Aoi, Anne Suzuki, Ryo Katsuji, Haru Kuroki, Tae Kimura, Sei Hiraizumi, Shoko Aida, Ranran Suzuki, Tomohiro Kaku, Midoriko Kimura
Director: Shunji Iwai
Screenwriters: Shunji Iwai