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Willow: Rediscovering the Magic

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In some ways, I may be the wrong person to review Willow. 

Let’s start at the very beginning. When the original film debuted in 1985, it simply never had my interest. To me, it felt like another fairytale being brought to life on the big screen. Younger readers may not realize this but, at the time, they were a number of projects that had appeared in the multiplex that featured the darker impulses of a magical world. Whether it was in response to the self-focused ‘Me Generation’ or the popularity of Dungeons and Dragons at the time, fairytales experienced a bit of a revival at the time. Whether it was The Dark Crystal, Labyrinth, The Neverending Story or even Amazing Stories, the 1980s seemed to inspire these stories into the mystical darkness. (In fact, it’s also worth remembering that, although it went on to mega-fame years later, The Princess Bride initially emerged as a satire of these stories of the time.) 

(R): Mims (Annabelle Davis) with Nelwyn Villagers in Lucasfilm’s WILLOW exclusively on Disney+. ©2022 Lucasfilm Ltd. & TM. All Rights Reserved.

So, Willow was a film that simply slipped past me.

While this may not seem like important information, it certainly affects my lens as I reflect on the return of Willow. (In fact, knowing that there would be others like me tuning in for the first time, I even decided not to view the original beforehand.) Now streaming on Disney+, the rebooted series is a direct sequel to the original film. Written by Jake Kasdan, Willow is set once again in the kingdom of Nockmaar where Queen Sorsha (Joanne Whalley) yearns for her children Airk and Kit (Dempsey Bryk to Ruby Cruz) to step into adulthood. Airk has been tapped to become a mighty warrior and Kit betrothed to Prince Graydon (Tony Revolori), the next leader of a neighbouring nation. However, when disaster strikes, Kit, Prince Graydon and other mismatched heroes-in-waiting must set out to find the only hope that they have left: the long-disappeared Nelwyn sorcerer Willow (Warwick Davis).

So, as a newcomer, the series feels like a bit of a mixed bag. Although the series offers a brief synopsis in the opening moments, it is difficult to appreciate the film’s epic adventure in a few short clips. As such, in a decision that could be intimidating for newcomers (like myself), Willow trusts that the viewer already understands the world as it begins. 

(L): Mims (Annabelle Davis) in Lucasfilm’s WILLOW exclusively on Disney+. ©2022 Lucasfilm Ltd. & TM. All Rights Reserved.

Performances are enjoyable, although a little bit jarring at times. With an emphasis on a more ‘modern’ aesthetic characters, sometimes the contemporary dialect used by its younger stars slightly distracts from the more whimsical atmosphere. (Actually, this isn’t uncommon for Disney either as their recent Shakespearean reboot, Rosaline, takes a similar approach.) 

However, one can’t help but fall in love with Warwick Davis. A stalwart of the fantasy genre over the years, Davis is always a joy and he brings that charm to his performance as the begrudging and imperfect wizard. Perhaps like the franchise itself, Willow is hesitant to return to adventure after so much time. Even so, he remains up for fun, even if the stakes this time remain heightened as they battle the forces of evil. 

Though set in a mythological era, Willow’s kingdom feels like a reflection of our own modern-day culture. In recent years, Disney has done an excellent job of revisiting storytelling and gender tropes with an eye on dissecting them and that trend continues certainly here as well. This is a series that features strong, female leads who are willing to change the system for the sake of a newer world. Celebrating LGBTQ+ romance, changing gender roles in and empowering the next generation to make their own choices. (“We are going to rule the kingdom someday, there’s no reason that we have to do things the way that our parents did,“ Prince Grayden reminds Kit.)

Dove (Ellie Bamber) in Lucasfilm’s WILLOW exclusively on Disney+. ©2022 Lucasfilm Ltd. & TM. All Rights Reserved.

In response to its changing world though, Willow invites the viewer to believe in power is beyond what they can see. This is a world where magic once ruled yet its power has been lost over time. The sorcerers have died out, and the kingdom of Nockmaar has become somewhat in satiated with their own strength. After all, they believes their own ability to prevent the return of evil without relying on any higher power. 

But, as the series reveals, evil cannot be held back forever. And Elora must be found to prevent disaster.

Without giving away any spoilers, the rediscovery of Elora means the rediscovery of hope, but even she is on her own emotional journey. For Elora to lay claim to the prophesy about her, she must first accept that the world she has known is not reality. Her overreliance on strength and toughness pales in comparison to the limitless powers of magic that lies at her feet, but this is a journey that must be taken willingly. In order for Willow, Elora and the rest to tap into hope for the kingdom, they must recognize that their personal power is limited. 

(L-R): Mims (Annabelle Davis), Willow Ufgood (Warwick Davis), Jade (Erin Kellyman), Karthy (Simeon Dyer) and Nelwyn Villager (Arti Shah) in Lucasfilm’s WILLOW exclusively on Disney+. ©2022 Lucasfilm Ltd. & TM. All Rights Reserved.

One cannot simply kill evil with sword or bow. It must be defeated with something else.

Having said all this, I admit that it’s impossible for me as a newcomer to know whether Willow will satisfy the needs of the franchise’s fans. However, at the same time, I also  found the story engaging and fun. Like Willow himself, I may have been brought into this adventure somewhat begrudgingly but also willing to join this ragtag group on their adventure with them.

Like Willow, I’m ready for more magic.

Willow is available on Disney+ on Wednesday, November 30, 2022.

The Guardians of the Galaxy Holiday Special: Holiday Cheer and Redefining Home

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This Black Friday, the best holiday deal you’re going to find is on Disney+.

Written and directed by James Gunn, The Guardians of the Galaxy Holiday Special begins as the Guardians wonder how they can help Peter Quill (Chris Pratt). As the Terran celebration known as ‘Christmas’ approaches, they notice that he’s hardly in the holiday spirit. In an effort to cheer him up, Drax and Mantis (Dave Bautista and Pom Clementieth) decide to give him the ultimate gift by bringing Quill his favourite ‘hero’: Kevin Bacon.

Fans looking for progression and character development here will likely end up disappointed as this adventure has very little to do with the larger franchise, despite claims otherwise. (However, it’s worth noting that two small bits of information are revealed that could play an important part in the upcoming Vol. 3.) Nevertheless, this is the type of entry that Disney+ is made for. Fueled by Christmas cheer, The Guardians of the Galaxy Holiday Special is short, silly and an absolute party from start to finish. 

Once again, Gunn’s signature style is also very much at work here. Featuring another hot soundtrack, Holiday Special plays right into fan’s expectations with its humour and heart. (Although, it’s also worth noting that the best song may be its initial ditty about how aliens just don’t understand the holiday.) 

While he may be making the move over to DC in the future, Gunn clearly still enjoys playing with his Marvel toys. Having established and defined this group of ragtag misfits, Gunn has a love for these characters that remains evident. After two films and several other appearances (including a new Guardians ride that he directed at Walt Disney World), Gunn has ensured that we have a relationship with these characters and care about their well-being. After all, why else would we care if Peter Quill is sad on Christmas? It’s actually a tribute to Gunn’s work that fans have become so invested Quill’s trauma that from the loss of Gamora that this story would even be an interesting to fans of the MCU. 

He has cared about them. So, we still care about them.

As a result, Holiday Special is a hilarious addition to the series that, while silly and non-sensical, still somehow becomes heartwarming by its finale. While all the Guardians are involved, this is truly a story anchored and led by Drax and Mantis. Somewhere along the line, these two characters have become the soul of the team and have delightful chemistry onscreen. In Holiday Special, the duo are unleashed and let their silliest impulses run wild while never losing the heart of the characters that has made them so beloved. (Although, one must also recognize the work here by Bacon who simply leans into the holiday spirit with an almost giddy performance.)

What’s interesting about a lot of modern holiday specials is the fact that they want to talk about Christmas without actually talking about Christmas. While Quill mourns the loss of the holiday from his home planet, we aren’t really left with much knowledge as to why. Instead, to borrow a line from NBC’s now-defunct series Community, the Guardians Holiday Special seems to suggest that ‘the meaning of Christmas is that there’s meeting in Christmas’. Christmas lights stun the eyes and giving gifts to the ones you love feels important. But the love of the holiday seems to stem from a love for the holiday itself.

However, one of the clearest emotional notes of the Special is its relationship to family. Having travelled far across the galaxy at a young age, they see that Quill feels like something is missing. As Kraglin remembers Quill’s holiday failings with Yondu, he and the Guardians believe that he has lost a piece of himself without his home. Because he’s been separated from his home world, Quill has experienced great loss in his life. Whether it’s his family or Gamora, the holidays have left him feeling lost without a family.

And therein lies the secret to the holidays within this story. 

For the Guardians, to discover Christmas is to recognize the importance of being with family. While Quill may miss the decor of the holidays, what means the most to him is being with the ones that he loves. As such, this Holiday Special features no villain to be defeated (an MCU first, btw) or world to save. Instead, it simply wants to sit with holiday humour and remind fans to treasure the people around us. In doing so, the Specialrecognizes that, no matter what corner of the galaxy you’re in, it’s these people that make a home.

Although, getting Kevin Bacon as a Christmas gift doesn’t hurt either. 

The Guardians of the Galaxy Holiday Special is available on Disney+ on Friday, November 25th, 2022.

Rosaline: Stepping onto Centre Stage

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Hell hath no fury like a Shakespearean princess scorned.

Every now and then, a project will take Shakespeare and swing at him from the sides. Popularized by I, Claudius and Rosencrantz and Guildenstern are Dead, modern retellings of Shakespearean narratives have often emphasized characters that are less ‘important’ to the famed stories we know. 

Rosaline is one such character. 

As the unrequited love of Romeo in Shakespeare’s Romeo and Juliet, Rosaline has always remainedsomewhat of a mystery. Hers is a story that has never been told, as the primary love story that ‘mattered’ was that of its two protagonists. (After all, ‘never has there been a tale of more woe than that of Juliet and her Romeo’.)

But Rosaline is finally having her day in the spotlight.

(L-R): Isabela Merced as Juliet and Kyle Allen as Romeo in 20th Century Studios’ ROSALINE. Photo by Moris Puccio. © 2022 20th Century Studios. All Rights Reserved.

Now available on Disney+, Rosaline shines a spotlight on Rosaline (Kaitlyn Dever), a modern woman in Shakespearean times. Passionate about making her own decisions for her beau, she chooses the flighty Romeo (Kyle Allen) as her suitor. However, because of the feud between families, they decide to keep the romance a secret. [(Sound familiar?) However, when unavoidable circumstances keep her from the costumed ball, her boyfriend comes face-to-face with her younger cousin Juliet (Isabela Merced) and passion sparks immediately between them. When she di spurned and she begins to plot against the new star-crossed lovers. 

Admittedly, at first, Rosaline comes across as a bit of a jarring experience. Leaning far into the modern sensibilities of the character, the film’s tone seem jarring. Featuring a pop soundtrack and modern language, Rosaline seems to be a story out of time and the pieces struggle to fit together. For example, as Romeo attempts to woo his young love, he speaks with 21st Century dialogue. Then, when he does use classic prose, Rosaline is confused. (“Oh, I only spoke like that because I thought it sounded romantic,” he explains.)

(L-R): Kaitlyn Dever as Rosaline and Kyle Allen as Romeo in 20th Century Studios’ Rosaline, exclusively on Hulu. Photo courtesy of 20th Century Studios. © 2022 20th Century Studios. All Rights Reserved.

But, as Rosaline begins to play more aggressively with Shakespearean storytelling, the film becomes increasingly fun and even memorable. Led by a delightful performance by Dever, the film comes to life with her undeniable energy and charisma. Rosaline‘s endless schemes to help separate the two lovers may have modern sensibilities, but they somehow add to the character’s story. Speed dating, and sex-positive literature help Rosaline attempt to educate her young cousin in the power of femininity, even if her ambition remains to drive a wedge in their relationship. (In fact, this sort of semi-bawdy humour would have likely made Shakespeare proud, given his emphasis on double entendre.)

As such, Rosaline is a reminder that everyone’s story matters. Although Romeo and Juliet remain the focus of the famed romance, there are multiple side characters that go largely ignored. However, Rosaline provides an opportunity to remind the viewer that, although she is never present in the play, her story matters as much as those of Romeo and Juliet. Having said this, its also interesting to note that Rosaline doesn’t actually care if she is remembered by history. Instead, she simply wants to live her life in the present. To her, all that matters is living her life in the moment, rather than being on centre stage. Rosaline understands that her character matters without the glamour of the limelight.

(L-R): Isabela Merced as Juliet and Kaitlyn Dever as Rosaline in 20th Century Studios’ Rosaline, exclusively on Hulu. Photo courtesy of 20th Century Studios. © 2022 20th Century Studios. All Rights Reserved.

In the end, while it doesn’t earn a standing ovation, Rosaline definitely can help provide perspective to a tale that we’ve heard countless times before. With a winking eye, the film manages to flesh out the story of an unknown character in a way that should delight modern audiences (and likely show up in a few high school classrooms as well).

Rosaline is available on Disney+ and Hulu on Friday, October 14th, 2022.

Werewolf by Night: Classic Monsters vs. Corrupt Man

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Marvel is always at its most interesting when it takes risks

While not every experiment always works, the mega-franchise always feels a little fresher when they are willing to colour outside the lines of their own franchise formula. With the release of Werewolf by Night on Disney+, Marvel has yet again taken its toys out of the box to try something unique. 

Werewolf by Night begins on a dark and stormy night follows Jack Russell (Gael Garcia Bernal), a monster hunter who joins a group of fellow beastly killers as they converge on Bloodstone Temple after the passing of their wealthy benefactor. In order to claim his powerful inheritance, the group must engage in a mysterious hunt for a vicious monster. However, Jack also has his own secret that threatens his involvement in the game and unleashes the rage of his fellow hunters.

Ulysses Bloodstone in Marvel Studios’ WEREWOLF BY NIGHT, exclusively on Disney+. Photo courtesy of Marvel Studios. © 2022 MARVEL.

With its new interest in short form ‘specials’, Werewolf by Night is somewhat of a refreshing experiment for the MCU. Without investing in 8-10 episodes, we are simply allowed to enjoy a simple story. Although there’s no doubt that that this particular episode will tie into some larger plans somewhere down the line, Werewolf is a tightly-executed, horror feast that can be devoured in less than an hour. 

For this generation of Marvel storytelling, that’s saying something.

Although Werewolf also checks a lot of the Marvel boxes such as introducing new CGI beasties and potential franchise building, the special feels much smaller in scope in comparison to their other films and TV shows. Focusing on several monster hunters gathered and tasked to kill the most beastly of creatures amongst the maze-like grounds of their deceased benefactor, this is set-up to be one single night of monster mayhem. This is meant to feel like something outside of the MCU and, for the most part, it does so successfully as Werewolf feels like a classic monster mash from the 1930s. Shooting entirely in black-and-white and featuring sets that border on German Expressionism, the special is an aberration to the brightly-lit world of the MCU. (Though, frankly, the effects here feel more tightly executed than She-Hulk.) 

Harriet Sansom Harris as Verussa in Marvel Studios’ WEREWOLF BY NIGHT, exclusively on Disney+. Photo courtesy of Marvel Studios. © 2022 MARVEL.

It’s also worth noting that the special is a little gorier than traditional Marvel products. Featuring severed limbs and blood splatters, families with younger viewers should note that Werewolf kicks up the violence a notch in order to be more in keeping with the Halloween season. Even so, the gore still remains toned down for the Marvel audience. By blurring the beastly feasts and minimizing the violent visuals, it never leans too far into its brutality. 

However, instead of creating a monster to be hated, Marvel takes the edges off its ‘with or against us’ premise and shows us another side of the beast. Introducing yet another Marvel monster into the fray, we soon quickly realize that this is not a creature to be despised but merely one that is misunderstood. In fact, Werewolf even gives him the name Ted to humanize him even more. (Though, this is apparently also true to the comics.)

A scene from Marvel Studios’ WEREWOLF BY NIGHT, exclusively on Disney+. Photo courtesy of Marvel Studios. © 2022 MARVEL.

In this way, at its heart, Werewolf wants to explore what it means to be the monster. Although Jack can transform into a terrifying werewolf, neither does he approve of his own rampages. (In fact, he even takes precautions in order to keep people safe from his monthly hunts.) As such, the monsters within Werewolf are shown to have a soul of kindness while the human race with brutal and violent beasts. In Werewolf, the humans are fueled by xenophobia and fear, attempting to destroy anything that is different from them. (What’s more in doing so, Marvel continues to set the table for the arrival of the X-Men, who are also despised by the human race.) 

Here, the line between man and monster is compassion.

So, even though Werewolf by Night may seem like another cog in the MCU mega-machine—and that’s not incorrect either—its unique style and form keep it fun and fresh. For those looking for Halloween havoc, this tribute to classic horror bares its teeth but still feels like fresh meat.

Werewolf by Night is available on Disney+ on October 7th, 2022.

Hocus Pocus 2: Still Some Magic

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Some franchises are always popular and some grow over time.

Such is the case with the Sanderson Sisters of Hocus Pocus. Although the first film’s release was hardly a massive success, the Sisters have grown in popularity over time to the point where a sequel has become a highly anticipated event. Now, with the release of Hocus Pocus 2 on Disney+, the Sisters ‘are back, witches!’ with fans eager to hop on their broom (or roomba) in celebration.

Directed by Anne Fletcher, Hocus Pocus 2 takes place 29 years since the Black Flame Candle was first lit, unleashing the terrifying Sanderson Sisters. However, after a trio of teenage girls find themselves separated on Halloween, the candle shines once more and Winifred, Sarah and Mary (Bette Midler, Sarah Jessica Parker and Kathy Nijimy respectively) find themselves revived once more to wreak havoc on the town of Salem.

(L-R): Sarah Jessica Parker as Sarah Sanderson, Bette Midler as Winifred Sanderson, Kathy Najimy as Mary Sanderson in HOCUS POCUS 2, exclusively on Disney+. Photo by Matt Kennedy. © 2022 Disney Enterprises, Inc. All Rights Reserved.

Since their first appearance in 1993, the legacy of the Sandersons has continued to grow in popularity in Salem and they are not considered to be urban legends. (In this way, art is definitely imitating life as the original film has become its own cult classic since its release as well.) In this way, Pocus 2 feels like a film that wants to be the next chapter of an ongoing franchise. While this film leans into the present, it very much ties itself to the previous entry. Emphasizing stories of unrequited romance, legacy and the tease of boyfriend’s past, Pocus 2 leaves plenty of room open for another installment. (And yes, there is a post-credit scene that teases the return of another major character.) As such, Disney clearly realizes that there could be more magic to be made without waiting another 29 years to do so.

I have to admit that I’m always a little bit fascinated with a franchise that wants you to fall in love with villains, especially ones who have very few [if any] redeeming qualities. That’s not to suggest the performances are bad, by any stretch. Instead, it’s to point out that it;s a delicate task to make villains lovable without making them sympathetic. Such is the case with the Sandersons as they remain the charm that drives the film yet we do not want them to succeed in their plot. Despite being villains that wish to eat the souls of children, there’s a silliness about the Sanderson‘s that makes them so likable. Scenes in a CVS and a costume contest helped reveal how out of touch they are in modern culture in ways that make their villainy seem less… dark. 

(L-R): Kathy Najimy as Mary Sanderson, Bette Midler as Winifred Sanderson, and Sarah Jessica Parker as Sarah Sanderson in HOCUS POCUS 2, exclusively on Disney+. Photo by Matt Kennedy. © 2022 Disney Enterprises, Inc. All Rights Reserved.

Although almost three decades have passed, stars Najimy, Parker and Midler still bring the necessary enthusiasm to their characters in order to make the film work. This is a franchise that works solely due to the charm of its leads and the trio are up for the fun in its sequel. However, although Najimy And Parker do their best to keep up, undoubtedly the brightest star here is Midler. Now in her 70s, Midler rarely chooses projects at all, so the fact that she was willing to return after all this time is somewhat of a coup. As a result, it seems as though she is given the chance to have the most fun of the three and the film is fueled by her energy, even in moments when the script lets them down.

Underneath the magic, Pocus ultimately about the power of together. In fact, the film’s most intriguing conversation about power is the fact that it is best shared between people. Leaning into the practice of covens, Pocus 2 wants to emphasize the idea that there is strength in numbers. Here, power is not something to be attained by a single person but to be used equally by those around us. In this way, the film feels more current as it elevates the importance of each member of the group, as opposed to any single person.

(L-R): Kathy Najimy as Mary Sanderson, Bette Midler as Winifred Sanderson, and Sarah Jessica Parker as Sarah Sanderson in Disney’s live-action HOCUS POCUS 2, exclusively on Disney+. Photo by Matt Kennedy. © 2022 Disney Enterprises, Inc. All Rights Reserved.

Having said this though, these themes are often minimized for the sake of the party. As the theme song proudly says, the witches are back and there’s no doubt that we are meant to celebrate. While I admit I was late to the party, I can’t help but feel like it’s one worth attending. No, Hocus Pocus 2 may not a film that will be required viewing for me each Halloween season, but it was certainly worth joining in the fun.

Hocus Pocus is available on Disney+ on Friday, September 30th, 2022.

Pinocchio: Coming Alive with Conscience

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Let’s be serious. What do you really remember about Disney’s Pinocchio?

If you’re like me, your memory of some of these classic animated films is limited to a few key scenes. In fact, it’s this limited nostalgia that has allowed the House of Mouse to cash in on some of its animated properties with successful live-action remakes. (Admit it. Can you remember any other part of the original animated The Jungle Book other than Bare Necessities?)

Which brings me to Pinocchio.

Originally released in 1940, the classic was only the second feature length animated film released from Disney Inc. Remembered primarily for its colourful characters and charming songs like When You Wish Upon a Star and, to a lesser extent, I Got No Strings, there are few other aspects of the film which come to mind. Again, nostalgia gives way to actual memory. (Honestly, I even thought that the tune for An Actors Life for Me was from the theme from the Pirates of the Caribbean ride.) As a result, Disney has somewhat of a blank slate from which to work with its latest live action retread, now available on Disney+. Somewhat amazingly though, it stays incredibly faithful to the original tale while delivering an entertaining and visually stunning final product.

(L-R): Cynthia Erivo as the Blue Fairy, Pinocchio (voiced by Benjamin Evan Ainsworth), and Jiminy Cricket (voiced by Joseph Gordon-Levitt in Disney’s live-action PINOCCHIO, exclusively on Disney+. Photo courtesy of Disney Enterprises, Inc. © 2022 Disney Enterprises, Inc. All Rights Reserved.

For those who do not remember, Pinocchio tells the story of Gepetto (Tom Hanks), an aging woodcarver who specializes in cuckoo clocks. When he builds a puppet made from pine, he names his creation ‘Pinocchio’ and makes what he believes to be a silly wish that he might become a real boy. But, when you wish upon a star, dreams come true. Then, when the Blue Fairy (Cynthia Erivo) brings the puppet to life, Pinocchio (Benjamin Evan Ainsworth) is assigned Jiminy Cricket (a surprisingly faithful Joseph Gordon-Levitt) to be his conscience in order to help the young man make good decisions and please his father.

First and foremost, what’s most noteworthy about Pinocchio is its production design. Directed by Robert Zemeckis, the film is surprisingly good quality, especially for film sent directly to Disney+. Featuring some gorgeous CGI work on Jiminy Cricket and Pinocchio himself and elaborate set design, the finished product is lush with colour. What’s more, co-written with Chris Weitz (About a Boy), the film is surprisingly willing to engage in the darker aspects of the original (even if it pulls its punches a little for its 2022 audience).

And there are some dark stories being told here.

Again, despite what you may remember, Pinocchio has never been particularly fun film. Themes of xenophobia, child slavery and giving into temptation are all pervasive within the original film and remain fully on display here, even if some changes have been made. It’s worth noting that the original was created at the tailend of the Great Depression and released during the Second World War so that would have undoubtedly shaped the storytelling. (In fact, that realization gives new meaning to When You Wish Upon a Star…) In the live action, more empowerment is given to children, especially those under Stromboli’s reign of terror. So, parent may want to take care with younger viewers who may be frightened by some of the scenes.

Just as in the first film, this version of Pinocchio is all about character and conscience. Determined to become a ‘real boy’, Pinocchio is filled with determination to please his father by doing the right thing. However, as young people often are, he soon becomes distracted by the trappings of self-indulgence and fame. (Incidentally, in a clear reference to our social media culture, this particular version even highlights the power of being an ‘influencer’.) Pinocchio struggles to know who to listen to, especially considering that both the bad influences and Jiminy Cricket claim to tell him the truth. 

Frankly, it’s overwhelming for him.

Pinocchio (voiced by Benjamin Evan Ainsworth) in Disney’s live-action PINOCCHIO, exclusively on Disney+. Photo courtesy of Disney Enterprises, Inc. © 2022 Disney Enterprises, Inc. All Rights Reserved.

Nevertheless, Pinocchio begins to learn that true character comes from within. Rather than listening to outside voices, his desire to do the right thing needs to affect his decisions as opposed to any ease of fame. (In fact, the easier the fame and comfort comes along in Pinocchio, the more toxic and terrifying it usually is.) There are moments when he falls but he slowly begins to realize that he needs to take responsibility for making his own choices, rather than depend on his (surprisingly absentee) Cricket conscience. In this Pinocchio, its these decisions that determines whether or not one can be a ‘real’ boy, even more than the Blue Fairy herself.

Pinocchio is available on Disney+ on Thursday, September 8th, 2022.

She-Hulk: Attorney at Law – Roaring for Justice

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Not every Hulk is the same. And that’s okay.

She-Hulk: Attorney at Law follows Jennifer Walters (Tatiana Maslany), a brilliant and successful defense attorney. When travelling with her cousin, Bruce Banner (Mark Ruffalo), a car accident results in her receiving his Hulk-infused blood, transforming her into the She-Hulk. Determined to resume her life, Walters returns to her old life with her new body and begins to specialize in superhuman-oriented legal cases, while still navigating life as a single, 30-something.

(L-R): Tatiana Maslany as She-Hulk/Jennifer “Jen” Walters and Drew Matthews as Dennis Bukowski in Marvel Studios’ She-Hulk: Attorney at Law, exclusively on Disney+. Photo courtesy of Marvel Studios. © 2022 MARVEL.

Now in the second year of the Disney+ experiment, we have seen that other Marvel series like Hawkeye, The Falcon and the Winter Soldier or Wandavision have taken themselves with a sense of urgency or seriousness. (Even more comedic entries such as Ms. Marvel or Loki still carried a sense of importance.) But She-Hulk has its own tone and style. Villains are more laughable than fearsome. Playfulness in its lawyer drama akin to famed 90s comedy Ally McBeal gives us a winking eye into the world of the MCU. Appearances from characters such as Ruffalo’s Banner/Hulk combo, Benedict Wong, and Tim Roth help place the series firmly within the Marvel Universe and the goofiness seems to flesh out their characters, in some ways. (And, surprisingly, Ruffalo seems quite comfortable with more comedic material.) 

What is apparent, however, is that She-Hulk wants to create something new for the Marvel universe. Billed as a comedic ‘lawyer show’, the series feels more like a sitcom than any of the other standard MCU fare. Unlike their more tepid style of humour, conversations about Captain America’s virginity, Hulk-sized hangovers give the show an edge that points the needle more firmly in the direction of Deadpool. (In fact, in a move also similar to the Merc with the Mouth, Jessica also frequently breaks the fourth wall to address the audience.) As a result, there’s a silliness about the show that makes it different. 

Tatiana Maslany as Jennifer “Jen” Walters/She-Hulk in Marvel Studios’ She-Hulk: Attorney at Law, exclusively on Disney+. Photo courtesy of Marvel Studios. © 2022 MARVEL.

To be fair, ‘different’ is always welcome, especially in the cookie-cutter MCU. 

Whether or not that always works is another story entirely.

Interestingly, one of the more divisive parts of the series may be Maslany herself. While only the first few episodes have been screened to critics, Maslany feels both instantly likeable and out-of-place at the same time. Maybe it’s the show’s tone or writing but her performance initially feels as split as her personality within the series. Without question, Maslany is a remarkable talent and fully willing to engage in sci-fi material. (Just revisit Orphan Black. You’ll thank me later.) When she steps into the role of Walters as lawyer, Maslany lights up the screen with confidence. To Walters, her most powerful weapon is her mind and she is willing to defend the most controversial of characters so that they can have a fair trial. However, when she ‘hulks out’, part of that confidence seems to fade away. Perhaps it’s the CGI or even just her newness to the role but, at times, it feels like something gets lost in the transformation.

(L-R): Mark Ruffalo as Smart Hulk / Bruce Banner and Tatiana Maslany as Jennifer “Jen” Walters/She-Hulk in Marvel Studios’ She-Hulk: Attorney at Law, exclusively on Disney+. Photo courtesy of Marvel Studios. © 2022 MARVEL.

What is most interesting about the series though is the fact that this She-Hulk is a more fully integrated version of Ruffalo’s Big Green Beast. Unlike Banner, Walters is also stronger, faster and instantly psychologically integrated. Within her, there is no other ‘hand on the wheel’ or battle for control of her mind. Instead, she is at once both She-Hulk and Jessica, able to control herself more easily than her tormented cousin. But, in doing so, thankfully She-Hulk avoids any potential ‘man-splaining’ of her training. (Though not for lack of his trying…) In this way, there’s an empowering spirit to Walters onscreen. She maintains her passion for justice and fights for her clients. She is willing to express her femininity and ferocity equally in positive ways. There’s a self-awareness within this series that allows Walters to embark on her own personal journey, without mimicking the original character. 

Again, there’s genuine potential in this series. Like Walters herself, the series simply hasn’t fully realized it… yet…

The first episode of She-Hulk: Attorney at Law is available on Disney+ on Thursday, August 18th, 2022 with new episodes available every Thursday.

Prey: The Hunter Becomes the Hunted

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Sometimes, the best way to reboot a franchise is to… not reboot it?

Set nearly 300 years ago, Prey is a refreshing and energetic take on a franchise that has long needed one. Since Arnie successfully defeated the big baddie in the jungles of the 1980s, Hollywood has been looking for another way to allow the Predator to return. This has led to a number of sequels and reboots which have not met expectations. From nonsensical battles with the Alien franchise, boring scripts and (lest we forget) the infamous “Predator Suit“ from the most recent iteration, the franchise has simply devolved into nonsensical madness, without adding to the original film in any positive way. 

But Prey finally breaks the pattern.

Dane DiLiegro as the Predator in 20th Century Studios’ PREY, exclusively on Hulu. Photo by David Bukach. © 2022 20th Century Studios. All Rights Reserved.

As the latest entry into the classic Predator franchise, 20th Century Studios’ Prey takes place in the Comanche Nation as young Naru (Amber Midthunder), a highly skilled warrior seeks to begin the necessary process to become a tribal hunter. Then, when her camp comes under attack, Naru insists that she is allowed to participate in the hunt to protect her people. However, they soon discover that the prey that they hunt is actually a brutal predator from another world that threatens to wipe out all who oppose it.

Filled with brutality and violence, Prey is a genuine surprise and a welcome return for the iconic beast. Directed by Dan Trachtenberg, there is a ferocity embedded within this film that we have not seen since the original. With the change in setting (and era), Trachtenberg has the opportunity to start from scratch while still tapping into the nostalgia vein. Sharply written and executed, Prey allows the bodycount to rise with glee yet never becomes the self-parody that we have seen in other sequels. Instead, skinned animals and severed limbs play out with an edge that meets the franchise’s gore-ifying expectations but, more importantly, serve the story as well. 

Amber Midthunder as Naru in 20th Century Studios’ PREY, exclusively on Hulu. Photo by David Bukach. © 2022 20th Century Studios. All Rights Reserved.

The best thing about Prey is that it strips the franchise down to its basic routes. The most terrifying trait of the intergalactic beast was not its weaponry or the fact that it could disappear. Instead, the most intriguing part of its character was simply that it was a hunter looking for the challenge of its next kill. (He is the Predator, after all.) But by shifting narrative focus onto a people who pride themselves on their ability to do the same, Preyalso manages to blur the lines between hunter and hunted, creating a unique dramatic tension within the film.

In fact, Prey even feels like it has something to say. Featuring a cast comprised almost entirely of Native and First Nations talent, Prey does an excellent job of highlighting a group that are often underrepresented in Hollywood, celebrating the strength and bravery of their culture. What’s more, with the addition of some new characters midway through the film, it allows the film explores the terror of colonization and its detrimental effect. (In fact, these moments even open up the conversation on what it means to truly be an ‘invader’.)

(L-R): Samiyah Crowfoot as Young Comanche Girl and Amber Midthunder as Naru in 20th Century Studios’ PREY, exclusively on Hulu. Photo by David Bukach. © 2022 20th Century Studios. All Rights Reserved.

At the same time, Prey is also a celebration of feminine spirit and strength, especially through the eyes of its star, Amber Midthunder. As young Naru, Midthunder offers an incredible performance as a young woman attempting to prove herself to her tribe. While the women of her tribe usually take on the role of homemaker, Naru is a gifted tracker and yearns to be a hunter. However, neither the men nor the women of her tribe see her as qualified for this role of provider, she does not believe that is the case. (In fact, even the Predator itself fails to see her as much of a threat.) Wanting to honour the traditions of her people, Naru struggles to break free from the expectations of her tribe. Nevertheless, there is a bubbling strength and ferocity within her that is just waiting to be unleashed. With fire in her eyes, Midthunder fuels Naru with increasing viciousness as she draws nearer to the intergalactic beast.

She doesn’t fully understand her prey but she does understand what she needs to become in order to protect her people.

Amber Midthunder as Naru and Dane DiLiegro as the Predator in 20th Century Studios’ PREY, exclusively on Hulu. Photo by David Bukach. © 2022 20th Century Studios. All Rights Reserved.

If anything, the most frustrating aspect of Prey is that it has made its debut solely on Disney+. Perhaps it was a lack of confidence in the IP or its marketability, but this is a film that would have been an energetic addition to the summer theatrical lineup. Prey is fun, furious and surprises in the best of ways. 

And, while a sequel is only barely teased, I’d certainly welcome another hunt.

Prey is available on Disney+ on Friday, August 5th, 2022.

Light & Magic: Mad Scientists of Wonder

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When it comes to visual effects, there are few companies that stand out like Industrial Light & Magic.

Known for creating worlds such as Star Wars, Terminator 2 and the Indiana Jones franchise, ILM has brought sights and sounds to the screen that no one else could have achieved. Now, in Light & Magic, filmmaker Lawrence Kasdan invites viewers to look behind the curtain of the famed visual effects company. Featuring interviews with George Lucas, Steven Spielberg, Kathleen Kennedy and many more, Light & Magic explores the origins of ILM and how it inspired some of the most legendary filmmakers in Hollywood.

George Lucas in a scene from Lucasfilm’s LIGHT & MAGIC, exclusively on Disney+. © 2022 Lucasfilm Ltd. & ™. All Rights Reserved.

Beginning in the 1970s, Light & Magic opens the vault on the development of one of Hollywood’s greatest special effects houses. Developed by George Lucas, Industrial Light and Magic has made a name for itself as the premiere creators of whimsy on the big screen for almost 5 decades now. With the opportunity to explore the Wonderful World of Lucas in-depth, Kasdan speaks about the special effects factory with joyful reflection. While we have seen numerous documentaries before about the creation of Star Wars that highlight the magic of creation, Light & Magic instead expands the story to focus on the creation of the business itself. With each creature and feature, Light & Magic emphasizes the incredible work going on behind the scenes of the iconic company. (Incidentally, Kasdan worked closely with Lucas on a number of occasions, including writing the Star Wars films.) Conversations about vision, hiring and the wizards that work behind the scenes lead the way as the company grows into something special.

However, that is not to say that Light & Magic is unwilling to give up its secrets. From the Galaxy Far Far Away to Indiana Jones and Poltergeist to Jurassic Park, each episode is a treasure trove of information on how these young men and women changed the way that we consume the film experience. As an audience member, we simply watch the film and accept what’s before our eyes. But the team at ILM has worked hundreds of hours to make that happen. (Incidentally, if there’s a criticism of the series, it may be that we don’t get to see the process unravel in real time, in the same way that Jackson’s acclaimed Get Back did for the Beatles.)

(L-R): Joe Johnston, John Dykstra and Dave Jones in a scene from Lucasfilm’s LIGHT & MAGIC, exclusively on Disney+. © 2022 Lucasfilm Ltd. & ™. All Rights Reserved.

Light & Magic even shows the evolution of the age of digital effects and the ripple effect that it had throughout the industry. Rivalries develop as technology threatens the way things have been done. Those who would spent their days tirelessly working on molds felt as though they were being left behind in the digital age. (“I feel extinct,” says one creator flatly.) However, the passing of the torch was not only necessary but inevitable and filmmakers must decide whether or not they trust the new tech. For example, at one point, there’s a fascinating conversation with director Jon Favreau regarding his work on Iron Man. Still unsure about the nature of digital effects, Favreau himself is fooled by the blur between practical and digital in such a way that he became a believer in what could be achieved.

Even so, one of the best parts of the series is its emphasis on the people themselves. Light & Magic is a celebration of the mad scientists that created Death Star trenches, imploding houses and dinosaurs and brought them to life on screen. However, what’s most interesting about them is that many of them had no experience in the film industry. Instead, these were simply people who are interested in helping out and using their creative sensibilities that made them want to do the impossible. 

(Clockwise from far left): John Knoll, Erik Tiemens, Christian Alzmann, Rene Garcia, Ryan Church, Madeleine Sandrolini and Doug Chiang in a scene from Lucasfilm’s LIGHT & MAGIC, exclusively on Disney+. © 2022 Lucasfilm Ltd. & ™. All Rights Reserved.

They were mad scientists, allowed to mix potions freely in a lab.

Multiple times throughout the series we are reminded of what fun this band of rebels were having behind the scenes. Working roughly 18-hour days and spending much of their lives in these non-air-conditioned warehouses, the creative environment required them to trust one another as they worked together. The work was hard and intense at times, but this series focuses on the relationships that were built. In fact, this is what makes gives their work its magic. The passion of these men and women extended beyond clay models and camera work. 

For them, it was a chance to create wonder. 

In Light & Magic, one gets the sense that each staff member genuinely believed that they’re doing something remarkable. To many, what began as a hobby has become a calling. In fact, as effects become more common widespread, one of the greatest concerns is that people now take for granted the work that they do. Whereas people were once in awe at seeing the Millennium Falcon fly into a squadron of Tie Fighters in 1977, this sort of visual treat has become more commonplace. 

Scene from Lucasfilm’s LIGHT & MAGIC, exclusively on Disney+. © 2022 Lucasfilm Ltd. & ™. All Rights Reserved.

Though they’re not giving up. 

If anything, Light & Magic ends on a note that suggests that they’re continuing to strive towards the impossible. At a time where CGI wizardry has taken over, there is a genuine desire amongst this crew to continue to bring audiences into a place of wonder.

While the methods may have changed, but the vision remains the same.

Light & Magic is available on Disney+ on Wednesday, July 27th, 2022.

Under the Banner of Heaven – Faith wrestles doubt

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Faith and doubt struggle within a police detective investigating a brutal murder in Under the Banner of Heaven. The FX/Hulu series is a fictionalized version of a non-fiction book by Jon Krakauer about a 1984 double murder in Utah. It is steeped in the beliefs of the Church of Latter Day Saints (often referred to as Mormons, although the church prefers that term not to be used). The book and the story show parallel histories involving the murders and LDS history.

The focal point of the series is a fictional character, Detective Jeb Pyre (Andrew Garfield), a devote LDS member who is investigating a brutal murder of a woman and her baby. Pyre serves as our guide into the LDS church and practices, as well as the person who must struggle with doubt as secrets become exposed. His partner, Detective Bill Taba (Gil Birmingham), is a Paiute and not a member of the church. He serves as an outsider who (like most viewers) doesn’t understand LDS beliefs and culture.

The series follows Pyre’s investigation that first looks at the victim’s husband, Allen Lafferty (Billy Howle), who has already stepped away from the church. As Pyre talks with him, his own faith begins the process of being challenged by one who has such strong doubts. As the investigation expands, exploring variants of LDS church and teachings and the history of the church (seen in historical flashbacks to the times of Joseph Smith and Brigham Young), Pyre must deal with information that all is not as he has always thought. The whodunit aspect of the series (although well done) is not the real draw of the show, however. More important is the way doubt and faith are woven into the story and the characters.

I am aware that there has been some criticism of the series from people within the LDS church. My knowledge of the church’s history, teachings, and practices is limited, so I won’t be commenting on those things. However, the concepts of faith and doubt that hold a central place in the narrative of the series is something that is common among all people. Watching Pyre try to navigate his own growing doubts while trying to remain faithful to his job, his family, and his church is what makes Under the Banner of Heaven worth watching, because we can see our own struggles in him.

Where do all these doubts come from? There are various sources. The first is the kind of doubt that arises from when religion doesn’t fulfill our expectations. Early on, when Pyre is interviewing Allen, Allen said that when he found the bodies, he prayed. But when Pyre asks why he would pray if he doesn’t believe, Allen responds, “It was my last unanswered prayer.” I found that to be a powerful line to describe the feelings of being abandoned by the God he believed in.

More doubt grows from learning more about the history of the church as Pyre digs into Lafferty’s family. (There are several brothers, some of whom have adopted radical fundamentalist teachings.) In the historical flashbacks we see the early persecution of the LDS and its founder Joseph Smith. We also see the violence done under Brigham Young to non-believers). Pyre knows some of these stories, but there are parts of the history that are often left out. This is something that is not exclusive to the LDS. Many faithful people are shocked to learn about some of the stories in the Bible that are often glossed over in Sunday School. We may also be challenged by the way the church has acted through the centuries, including blatant and violent antisemitism, and the persecution of varieties of Christians we disagree with. (Cf. the way the Puritans in Massachusetts treated Baptists, or Protestants and Catholics in Northern Ireland.)

Still more doubts arise for Pyre when he learns that he must deal with the church hierarchy that is more concerned with image than with the truth. As Pyre looks into the fundamentalist beliefs of the Lafferty brothers, the church wants all these ideas covered up. But the powers in the church are subtle in their intimidation, including using his family against him. There are too many stories in the broader church about churches and denominations that have covered up many kinds of abuses. Often the stated reason is to protect the faithful, but when the truth eventually comes out, the lies of the coverup really do more harm to faith than the abuses themselves.

At the beginning of the series, Detective Pyre has a strong, but simple faith. He has lived in an environment in which that faith is shared by nearly everyone. Questions are rarely brought up. When he must deal with so many issues in this investigation, he must struggle with the doubts that arise. It could be that those doubt have the power to strangle his faith. Or perhaps, in the wrestling his faith will get stronger.

Under the Banner of Heaven streams on Hulu in the US and Disney+ (Star) in Canada.