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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.

Chip ‘N Dale: Rescue Rangers – Dusting Off these Two Gumshoes

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When Chip ‘N Dale: Rescue Rangers was named as Disney’s next reboot for streaming, the decision simply made sense. 

After all, Disney+ has provided the House of Mouse with an entirely new way to bring their content to the next generation with very little risk. From DuckTales to Darkwing Duck, their investment in bringing back popular franchises for the kids of the modern era have been fairly successful thus far. (I’m still waiting for the return of The Adventures of the Gummi Bears but I digress…)

But things began to take a turn for the strange when it was announced that the franchise would be passed to director Akiva Schaffer, who intended on taking a more meta-approach to the material. Usually, that’s often a bad sign. After all, every reboot (especially a beloved one like Rescue Rangers) comes with certain expectations in tone, humour and style. When you mess with the formula entirely, it can alienate the audience. (See Ferrell and Kidman’s Bewitched)

Amazingly though, Schaffer has come through.

In Disney+’s Chip ‘N Dale: Rescue Rangers, Chip and Dale have seen better days. After the cancellation of their fame animated series over 30 years ago, the characters have both moved on. With Chip (John Mulaney) now living in obscurity as an insurance salesman, Dale (Andy Samberg) spends his days attending fan conventions with the hope of garnering enough interest to resurrect their franchise. However, when one of their beloved former co-stars is kidnapped, the two estranged rangers reluctantly come together to solve a real crime in the face of overwhelming odds. 

Using his signature sarcasm, Schaffer infuses Rescue Rangers with a winking eye and sardonic edge that still feels like a love letter to the property. By blending multiple animation styles ranging from claymation to puppeteering but still grounding the project in the human world, the film feels very much like a spiritual sequel to Disney’s Who Framed Roger Rabbit?. (In fact, any comparisons to the classic 80s animated classic are absolutely deliberate as Schaffer includes numerous references to it.) Sharply written and executed, Rescue Rangers is absolutely eye-candy across the (story)board that features a never-ending stream of pop culture references that should make the film enjoyable on rewatch. (The billboards and advertising that adorn the film’s streets are worth the watch alone.)

And no franchise is sacred. 

Somewhat surprisingly, Rescue Rangers is more than willing to break out of the Disney canon and satirize other studio properties as well. (Again, another key ingredient for Roger Rabbit.) Whether it’s poorly rebooted animation like ‘Ugly Sonic’, or beloved franchises like My Little Pony, Looney Tunes, Pokemon or even ET: The Extra Terrestrial, there’s a surprising amount of support from other studios to let Disney lampoon their products. 

As such, Rescue Rangers feels more like a meta-take on the challenges of rebooting old properties than it does trying to feed you the same Disney product again. In essence, rather than offering a strict reboot of Rangers, the film leans into the difficulties of doing so. Characters who were once beloved by fans have now been relegated to the convention circuit, with the hopes that enough interest will bring them back into pop culture relevance. 

At the same time though, there is no doubt that this film is made with love. Schaffer does not use the film to mock the franchise but rather to somehow reinvigorate it with the understanding of an adult. Jokes referencing CGI surgery, cheese addiction and even references to a strip club and [cartoon] trafficking are made with an adult audience in mind. 

In this way, while the film’s primary story may focus on the missing characters, the true antagonist of the film is getting older. From Lumiere to Tigra the forgotten Avenger, none of these animated characters are ready to settle into the dustbin just yet. (“It’s gotten tough out there for us old timers”, Monteray Jack groans.) Emotionally tied to their faded fame, each one wants to prove that they’re still worth something. This desire to hang onto the glory days is especially true of Chip who yearns to be remembered as more than a ‘2nd banana’. From begging for attention on social media to having CGI surgery, Chip is left scratching and clawing at the elusive celebrity status that he once enjoyed. Though the rest of the world has moved on, he simply wants them to know that he still has value. In a world where no one cares to know your name, how do you know you matter? What does hope look like when your best days seem behind you?

Middle-age is tough, even for animated chipmunks.

But that leads to the film’s biggest question: who is the target audience? Unlike other kids fare that includes the adults, Rangers does the opposite by targeting adults first. Ultimately, this approach works fine, except for the fact that Rangers comes with the baggage of a being known property. For example, in the case of Roger Rabbit, Disney had a blank canvas upon which to create their adult-targeted story. Not so for Rescue Rangers, a series which is known for targeting little ones. (It’s also worth mentioning that, as recently as last year, Disney rebooted Chip ‘N Dale as an animated series that targeted kids). So, with this in mind, parents of young ones may need to exercise caution before hitting play.

Nevertheless, there’s little doubt that Chip ‘N Dale: Rescue Rangers is a reboot win. Fast and furry-ous with its humour, Schaffer manages to walk the line between parody and preposterous in ways that revive an old property without feeling stale. So, even if it does seem odd to target the parents over the kids, it’s absolutely worth dusting off these two gumshoes for old time’s sake.

Chip ‘N Dale’s Rescue Rangers streams on Disney+ on Friday, May 20th, 2022.

SF Radio 8.20 Sacred Sexuality in PAM & TOMMY

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In the ‘greatest love story ever sold, Hulu’s Pam & Tommy tells the story of the theft and release of the celebrity couple’s sex tape back in the late 1990s. Beginning with the energy of a raunchy comedy, the series gradually shifts its perspective into something much more poignant and (dare I say it?) powerful in its conversations about gender and sexuality. This week, Amanda Jane Smith and Miriam Ibrahim return to have an honest discussion surrounding the nature of ‘gaze’ and the relationship between consent, sexuality and pornography.

You can stream on podomatic, Alexa (via Stitcher), Spotify, iHeart Radio or Amazon Podcasts! Or, you can downoad the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

8.20-Pam-TommyDownload

The Dropout: Welcome to the Show

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Looking back, you should probably be concerned if your company’s CEO idolizes Mark Zuckerberg.

Taking the audience back to tech boom of the early 2000s, The Dropout tells the true story of Elizabeth Holmes (Amanda Seyfried), an impetuous young woman determined to become the world’s youngest CEO. After believing that she’d developed the technology to diagnose patients from a single drop of blood, she drops out of college to pursue her dream by changing the pharmaceutical industry forever. However, as her innovations become more fiction than fact, Holmes and her boyfriend, Sunny Balwani (Naveen Andrews) attempt to keep the company afloat by promising more but offering less.

While one can never be truly sure what the ‘facts’ of these dramatic representations of true life events may really be (see Anderson, Pamela), The Dropout definitely has the goods to make for entertaining television. Like the fable of Icarus, there’s still something compelling about watching a person fly so close to proverbial sun and Holmes’ story is no different. Led by showrunner Liz Meriwether and director Michael Showalter (The Big Sick), there’s an energy to the series that keeps it moving well. While it certainly isn’t comedic per se, there’s a liveliness to this story of Holmes and her fall from grace that gives it life. 

Star Amanda Seyfried increasingly owns the role with each episode, fueling Holmes with a fearlessness that also reveals her immaturity. Here, Holmes is seen as a woman who struggles to let go of control and Seyfried turns in solid work as the wannabe millionaire. Although she wheels and deals for increasing financial backing, there’s a fragility behind her eyes that makes her somewhat unpredicatable. Having said this, it’s possible that the most welcome work in the series lies with veteran actor Naveen Andrews as Holme’s boyfriend and partner, Sunny Balwani. Best known perhaps for his role as Sayid Jarrah in ABC’s Lost, Andrews provides the necessary maturity and strength that counterbalances Seyfried’s often-erratic Holmes. While he is far from innocent in the fall of Theranos, he remains sympathetic throughout. (Also, can someone please pronounce Sam Waterston a national treasure? His presence simply makes almost anything better.)

As a woman in the tech industry, The Dropout acknowledges the incredible challenges that Holmes faces along the way. (There’s even an episode entitled, ‘Old White Men’.) As a young and impetuous CEO of a major tech company, her ability to break through the glass ceiling and its toxic masculinity is nothing short of remarkable.  

But this is also what makes her fall so much more tragic.

Facing impossible odds by a male-dominated industry that refused to trust her, her drive to leave her mark on the world is admirable, but her willingness to compromise her integrity mars her legacy. Instead of becoming a model for future generations of young women to achieve the impossible, Holmes’ endless stream of lies becomes the story that others remember. This inability to be honest with herself, in addition to the falsehoods of the company as a whole, creates the destruction of an idea that had limitless potential. Nevertheless, rather than take the necessary time to really change the world, Holmes’ ego and self-delusion drive her forward recklessly and carelessly into her world of deception. With each small slide into complacency, her hard work falls further into the shadows of her many indiscretions. 

Highlighting Holmes’ brilliance in the corporate world, there’s a certain level of admiration within the series for her ability to play the game. However, at the same time, Dropout never allows her to shirk responsibility for her actions. With each increasing compromise and falsehood, The Dropout reminds the viewer the tragic consequences that occur when we’re willing to sacrifice our integrity for the sake of maintaining ‘the Show’. 

The first three episodes of The Dropout stream on Hulu and Star+ on Thursday, March 3rd, 2021 with new episodes following weekly.

No Exit: Though the Weather Outside is Frightful…

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Though the weather outside is frightful… it’s probably more terrifying to stay inside.

No Exit tells the story of Darby (Havana Rose Liu), a young woman who currently resides in an addiction treatment centre. When she hears of her mother’s hospitalization, Darby decides that she needs to see her immediately and breaks free from her facility. En route, a terrible blizzard forces her to find shelter in a highway rest area with a small group of strangers. However, when she soon discovers a young girl trapped in one of parked vehicles outside, she finds herself caught in the midst of a terrifying race to uncover the identity of the kidnapper and set the young captive free.

Directed by Damien Power, No Exit is an energetic ride suitable for a night of at-home streaming on a cold night. As the director of Killing Ground, Power has experience in the thriller genre and he puts those tools to good use here. Taking place over the course of one evening, the film has some legitimate twists and keeps the viewer engaged throughout. Set in an offramp conservation station during an intense blizzard, Power uses its confined space to build an atmosphere of claustrophobia. Tight camera work keeps us focused on the faces of the players involved, making their interactions feel like a chess match between potential adversaries. What’s more, with only two or three rooms in use, Powers keeps the characters in each other’s way, forcing them to be involved in their lives for the time being. 

While the film doesn’t break any new ground for the genre, Exit’s energy and pacing keep the viewer interested and makes for some light fun. Despite the fact that the film does address multiple issues ranging from drug abuse and child trafficking, none of them are explored in any real depth and merely provide some background to the characters. As a result, though the film seems not to have any particular social agenda, Exit remains propped up by its liveliness. Clocking in at a mere 90 minutes, it’s pacing and brevity keep the film moving quickly and the viewer engaged.

As her first film in a lead role, Liu does a particularly good job conveying an inner strength within her character. As the broken but determined Darby, Liu carries the film with vivacity that never allows the film to drag. While the rest of the cast seem fairly engaged with the material, the other most notable cast member is veteran Dennis Haysbert, who’s calm demeanor provides the film with a much-needed. 

Underneath the criminal exploits, No Exit seems interested in asking the question of what defines who we are. Having been all but abandoned by her family due to her past drug addiction, Darby lives a life of isolation. When she hears of her mother’s hospitalization, she is determined to reach her family, despite the fact that they have essentially disowned her. During her time in the off-ramp facility, the motley crew that she encounters do not appear to know anything about one another yet they all seem to believe that they know who she is. Whether she’s referred to as military child or drug addict, numerous labels are thrown around to describe her, both positive or negative. As such, these pieces of her story instantly become identifiers to her new acquaintances. Even so, she refuses to be defined by these moments of her past. Although she may have struggled with addiction, she is more than an addict. Although her father’s military background is a key part of her life, she is more than a ‘military kid’. In this way, No Exit points out that who we were does not necessarily mean that that is who we are. Darby’s story is her own and she will chart her own path forward.

While No Exit may not be particularly memorable, it still delivers the goods for an evening of thrills and entertainment. Despite its flaws, there’s something instantly likeable about the film that keeps you watching. (Any film that can make a simple game of cards feel high stakes must have something going for it.) As such, when this stop on the streaming highway becomes available, this remains an Exit worth taking.

No Exit streams on Hulu in the US and on Disney+ in additional territories on Friday, February 25th, 2022.

Olaf Presents: Retelling the Old Story

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Though the Frozen films may be on hiatus, Olaf is still more than willing to tell us some stories.

In Disney+’s new series of shorts Olaf Presents, the beloved snowman does his best to recreate the magic of some of Disney’s most well-known animated films. From The Little Mermaid to Tangled, Olaf (voiced once again by Josh Gad) takes a few moments to take on the roles of mermaid, genie, lion king and many, many more as he speedily recalls the tales that defined a generation using his unique voice and vision.

Directed by veteran Disney animator Hyrum Osmond, Olaf Presents is silly, (very) brief but ultimately fun addition to the Disney+ canon. Designed as additional content for ‘Disney+ Day’, Olaf continues in the vein of rapid storytelling that marked his role in Frozen 2. Recounting the events of the first Frozen adventure, Olaf’s interpretation of the story added a certain level of goofiness and self-awareness to the Frozen franchise and Osmond and Gad clearly want to do the same here. By poking fun at other major Disney franchises such as Moana, The Little Mermaid, Aladdin and more, Disney injects a little bit of meta-humour into their greatest hits and, frankly, it works well.

Although the shorts are extremely… well… short at only 2 minutes each, Gad definitely brings the energy and enthusiasm that one would hope for this sort of project. Having shown up in a number of projects as the lovable snowman (like the Lego Frozen project?), Gad is now synonymous with the character and clearly enjoys embellishing the role. (Seriously, whereas it can be easy to substitute voice actors, it’s actually hard to imagine anyone else as Olaf at this point.)

Admittedly, there’s very little to Olaf Presents by way of character arc or development of any kind. However, the project does serve as a gentle reminder of the fact that stories are shaped by perspective. Despite the fact that Olaf sticks closely to the original tales, his own unique brand of humour does shape the way that the events are presented. In Aladdin, he points out the silliness of the Sultan’s inability to change his own laws. In The Lion King, he points out the irony of Mufasa’s leadership over the animals while he still needs to eat. He even mocks Flynn’s overuse of the ‘smolder’ in his interpretation of Tangled. In this way, Disney does lean into the notion that the meaning of these stories can be affected by who tells the tale. Olaf’s innocence and unique take provide a different window into the stories that we have grown up with. Even if it’s done with silliness in view, that’s an interesting suggestion about the way we understand the world.

However, while the power of perspective is certainly an important aspect of these shorts, the ultimate goal of these tales is strictly entertainment. Olaf’s silliness and enthusiasm are infectious, even within these brief mini-tales. After all, who doesn’t love a good story, especially one that help us ‘see the light’ in a new way.

Olaf Presents is now playing on Disney+.

Lego Star Wars: Terrifying Tales – Scared Silly

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Hallowe’en has come early.

To kick off its ‘Hallowstream’ Event, Disney+ offers its latest gift in the form of Lego Star Wars: Terrifying Tales, it’s latest entry into the long-running animated franchise. Following last year’s Lego Star Wars Holiday Special, Tales continues to lean into the holiday-themed material with an episode devoted to the Dark Side and its minions.

Terrifying Tales takes place after the events of The Rise of Skywalker as Poe Dameron and BB-8 are forced to make a sudden landing on the volcanic planet of Mustafar. Standing at the base of Darth Vader’s iconic hideaway, they soon discover that Graballa the Hutt has bought the castle so that he can repurpose it into a luxury hotel. While they wait for their ship to be repaired, they are intrigued by the mysterious Vanee (Tony Hale). Once working as Vader’s loyal servant, Vanee spins three eerie tales that are linked to the past and leads them deep within the castle’s walls. As his sinister plan is revealed, Poe, BB-8 and young mechanic Dean must face their fears and defeat an ancient evil from taking hold once again.

Taking a page from Marvel’s What If…? series, Terrifying Tales spins its own web of Jedi stories that may (or may not) have happened amidst the Star Wars canon. True to other Lego Star Wars animated fare, the series pops with silliness and fun, even as the proverbial ‘terrifying tales’ themselves focus on the more villainous characters in the universe. Just like it’s Marvel cousin, the show frees up its storytellers to tell stories without the burden of overarching storylines and continuity. As a result, there’s a gleeful freedom within this particular episode that sets it apart from other entries into the Lego franchise. (I mean, how much fun is it to see the story of impetuous farmboy Luke joining the Empire so he can live his dream as a great pilot?)

Concerned parents may find it important to know that these ‘terrifying tales’ hardly live up to their name. Although there are a few minutes of shadows and spookiness, ‘terrifying’ is hardly the word to describe these lighthearted adventures. (Although, it’s worth noting that these particular animators clearly love The Shining as it influences some of the better jokes within the episode.)

Since it’s leaning into the Dark Side of its stories, the show puts a heavy emphasis on stories about fear and power. (Again, lightly and playfully, of course.) However, Disney does admittedly surprise here by taking the opportunity to talk about the nature of courage as well. As Dean is exposed to Vanee’s ‘terrifying tales’ of the past, so too is he tempted to fall into their fear. Even so, Poe uses the moment to speak into Dean’s life.  Acknowledging his own fear, the pilot let’s Dean know that everyone experiences it but what matters most is what you do with that fear. To him, fear can be overcome when you lean into it and believe that you are stronger than it says. (“Without fear, you can’t have courage,” Poe says.) In this way, Terrifying Tales does a good job of helping kids recognize that fear is a normal part of their experience and empowering them when it strikes.

Goofy and entertaining, Lego Star Wars: Terrifying Tales is a suitable addition to the Lego Star Wars universe. Featuring fun side stories about some of the franchises favourite villains (Kylo Ren origin!), the episode is lighthearted enough to kickstart a month of Hallowe’en specials and spooks. But the best part is the fact that Disney doesn’t leave its kids wallowing in fear but shows them the path to courage along the way.

Lego Star Wars: Terrifying Tales is available on Disney+ on Friday, October 1st, 2021.

Jungle Cruise: Watch Your Step

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“Over there are the remains of my last crew. You can tell they had a good time–look; they are still smiling!  Those smiles are just plastered right on their faces.”

One of the more unique rides at Disney World and Disneyland involves a boat cruise. No, I’m not talking about the Liberty Belle that circles Tom Sawyer Island. Instead, the Jungle Cruise is a fast-paced tour of a tropical river, complete with waterfalls, headhunters, hippos, and a wise-cracking tour guide with a penchant for perfectly horrible puns. The ride is fun, but is the newest film from Disney (of the same name) just as enjoyable?

Jungle Cruise certainly has its moments but leaves too much of the ride’s fun out at the expense of a journey that feels forced in the second half of the film. Nevertheless, there are some good reminders of heroism, trust, and sacrifice we all would be better off talking a look at.

Since I’ve already provided most of the film’s plot, it might be wise to introduce the main cadre of characters. MacGregor and Lily Houghton (Jack Whitehall and Emily Blunt) are a brother/sister pair who live in England during WWI and are trying to seek funding for an expedition to the Amazon. Their goal is to find the Tree of the Moon and recover some petals from it for healing. (Seriously, haven’t we seen and heard this plot device before?) He shares the proposal; she uses her expert cunning to acquire an arrowhead meant for Prince Joachim (Jesse Plemons) that may prove to be useful. She also knows how to pick locks, and it opens a lot of doors for her.

Upon their arrival at Porto Velho in Brazil, they meet Frank (Dwayne Johnson), a wisecracking tour guide who, well, cracks constant jokes and seems to have the entire jungle working to make his rapid-fire puns work to the delight (and disdain) of tourists. He needs funds to keep his boat going or Nilo (Paul Giamatti) will take it.

Enter Lily and MacGregor. She’s an adverturer; he’s like Princess Vespa in Spaceballs, complete with tons of luggage. Frank soon learns he’s met his match in Lily (other than the fact that she’s deathly afraid of water). The journey leads to numerous confrontations with said headhunters and Prince Joachim, who makes the journey to the Amazon in a submarine (too bad it went under).

Once Frank and crew nearly go over a waterfall, the story switches from fun-loving and joking to high-stakes adventure. To accomplish this Herculean task, Frank reveals some unique aspects about himself. Lily has to get over her fear of water (and receives a few kisses from Frank in an odd manner). The tree appears, but not before Prince Joachim shows up (along with various forms of Aguirre [Edgar Ramirez]–some of which are rather creepy). The tree blooms. You can probably guess what happens next.

Does the embellishment of a 20-minute ride into a 2-hour film work? I think that if the jokes were kept at a steady stream and the adventure was more unique, it would be quite good. Jungle Cruise is not a bad film, but certain things caused my mind to wander from the plot. For example, the Disney opening has a Metallica song playing underneath it. There’s a reason for it, but I’m not sure “Nothing Else Matters” quite fits. In addition, there’s a strange mishmash of films ranging from the Indiana Jones series, The Mummy, the Lord of the Rings trilogy, and even Beauty and the Beast (note the color of the tree petals and how the conflict is resolved in the end). It’s wacky and unrealistic, but there’s some fun—enough to justify the film’s run time of two hours.

Director Jaume Collet-Serra found two fantastic leads in Johnson and Blunt, and their chemistry is evident from the moment they lay eyes on each other. Whitehall is on the screen a good amount as well but comes off as wooden and uninspired. Prince Joachim is laughable for the wrong reasons. Outside of that, the main character of the film is the CGI. The river sequences are absolutely gorges in some places, a bit wonky in others (the waterfall sequence), and creepy when Aguirre shows up (hope you like snakes—they have a bit of a hissy fit).

I think it’s important to note that there are a number of specific themes that can be detected in Jungle Cruise—heroism, trust, and sacrifice being three of them. Another, more subtle, aspect to the film comes in the form of standing alongside those one cares about and loves. Although MacGregor and Lily are brother/sister, there’s a telling line about halfway through the movie. When Frank asks MacGregor why he is so close to Lily, he replies that she “stood by me, and for that, I would’ve followed her into a volcano.” It does have a Samwise Gamgee/Frodo feel to it, but that’s one aspect of true friendship.

The writer John Donne noted in Meditation 17 that “No man is an island, entire of itself.” (You can also translate that as “toucan do better than one can.”) It has been difficult for many people during the worldwide pandemic when physical distancing has been the norm. To that end, many have resorted to life in front of a computer, using programs like Zoom, Google Meet, or Microsoft Teams to create virtual community. Over time, however, the sense of unity has drifted further and further away from view, bringing some to a breaking point. My prayer is that we would take the time to communicate intentionally to those we love (even bringing back what worked a generation ago—a simple phone call) and growing those relationships. At some point in the near future, we will be able to stand by those people in real time, reminding them that friends are there in times of need (see Proverbs 18:24).

Until then, we can agree that puns are good things, the Rock and Emily Blunt need to be in more films together, and it’s okay to be there for those dear to us. If it takes Jungle Cruise to remind us, that’s perfectly fine.

Also remember that, if you feel your feet getting wet as you leave the boat, you’ve probably gone out the wrong side.

Jungle Cruise can be streamed on Disney+ or viewed at your local theater (depending on area).

Luca: Finding Your Way (With Some Help)

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“Just follow my lead . . . I know what I’m doing.”

One of the strangest books that I’ve had the opportunity to read involved a seaside town, romance, swashbuckling feats, and unique creatures not indigenous to the local population. It was also a parody.  Entitled Sense and Sensibility and Sea Monsters by Ben Winters, it’s exactly what Jane Austen would’ve penned at her desk if she had a penchant for the macabre. There’s little to say about the plot that isn’t given in the title, so I’ll spare you the details (except that Leviathan makes an appearance). 

Thankfully, Pixar’s latest film Luca does not go the way of Winter’s book. It tells a tale of three kids who, in many respects, find their way in life—except that two of them are also sea monsters.  It’s an interesting concept and is both cute and touching at times.  However (and it pains me to say this as a Pixar aficionado), it’s quite disjointed and misses a great opportunity to dive deep into some relevant issues of our time.

Outside the Italian town of Portorosso lives a family of sea monsters—Daniela (voiced by SNL regular Maya Rudolph), Lorenzo (comedian Jim Gaffigan), Grandma (Sandy Martin), and Luca (Jacob Tremblay).  They’re preparing for an upcoming craft show, so Luca is left to tend to a school of fish that act like sheep.  While doing so, he comes across an alarm clock and other items from above water.  Another monster named Alberto (Jack Dylan Grazer) takes then from him, and when Luca follows him, he suddenly finds himself on a beach, transformed into a human being (not unlike Daryl Hannah in the 1980’s film Splash).  It seems this class of sea monsters has the ability to transform into humans if there’s no water on their bodies.

Alberto lives in an old castle turret where he’s kept all of his collected human items, including a poster of a Vespa. Since neither is familiar with the ways of land dwellers, they believe they can create their own Vespa out of the collected items and run away from their past (Luca’s parents are ultra-constricting, which doesn’t make matters any better). They visit Portorosso and nervousness sets in for Luca—will he be outed as a sea monster?

When they actually see a real Vespa, they naturally gravitate to its owner, Ercole (Saverio Raimondo), who promptly dismisses them with insults. Their saving graces are a girl named Giulia (Emma Berman) and an annual competition of swimming, pasta eating, and bike riding that Ercole has won five consecutive years.  Giulia has tried in the past, but pasta and bike riding don’t always pair well—especially when accomplished back to back.  Luca and Alberto offer to help her win, so she invites them over for dinner.  Her father, Massino (Marco Barricelli), has only one hand but loves to go after sea monsters (he also looks a lot like the father in the Pixar short “La Luna” [2011]).  While this plays out, a sweet friendship between Luca and Giulia begins to bloom, leaving Alberto in the cold. Meanwhile, Daniela and Lorenzo enter town, take on human form, and realize that if they get a sea monster wet, they can find their runaway son.

Will Alberto and Luca be discovered as sea monsters?  Will Giulia finally defeat Ercole in the Portorosso Cup?  Will Ercole act like a smarmy, entitled jerk that has created a pseudo-Mafia to make things happen? Will something come of the friendships between the three kids? The answers come in typical Pixar form with a few minor surprises thrown in for good measure.

Although I think Luca is a fine film with a familiar animation style and a fantastic soundtrack, something’s off this time around. The plot is a bit simplistic and bounces from point to point with minimal connections. The Vespa sequences and Daniele and Lorenzo’s parental mission to dump water on every child of Portorosso get old after a while.  However, the biggest issue with Luca involves the wasted opportunities to go deep on subjects such as hiding from one’s dreams, running away from life, the monsters inside each of us, and parental overprotection.  As a result, director Enrico Casarosa’s film feels limited, sort of like the cramped streets of Portorosso itself. An additional five or ten minutes may have made the difference. 

Two things stuck out to me while watching. One: the cat Machiavelli is a scene-stealer. Two: the sheer unlikability of Ercole surprised me. He acts like he runs the town, but nobody ever calls him out for his attitude, sarcastic comments, and brazen lying (he’s too old to compete in the Portorosso Cup yet is still allowed to compete). However, his omnipresence makes any success by the protagonists that much sweeter.

It is important not to discount the emphasis that Luca places on the value of friendships and helping others find their way. Simply put, Luca would’ve never grown had he visited his Uncle Ugo (Sacha Baron Cohen) and disappeared into the black netherworld of deep water. Instead, he had Alberto and Giulia along for the ride.  A proverb states, “As iron sharpens iron, so one person sharpens another” (Proverbs 27:17 NIV); this certainly proves to be the case with each transforming the others into something better by the end of the movie. Trying to go through life alone isn’t the answer; letting people come alongside to cry, comfort, and cheer with and for us adds a richness and depth to draw from in challenging times. In many ways, this is what salvages the film for me.

Well, that and a few plates of Massino’s pasta.

Luca is available in theaters and Disney+ as of June 18,2021