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Spider-Man: No Way Home – A Hero for Everyone [Spoiler-Free]

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[This review contains no spoilers for Spider-Man: No Way Home–but it does deal with themes and ideas within the film that may hint at certain elements of the story.]

There’s no question that Spider-Man: No Way Home is Marvel’s big present for fans under the tree. And, frankly, it’s everything you hope that it will be.

Taking place immediately after the final moments of Spider-Man: Far From Home, No Way Home leans into the fallout of having the Webcrawler’s identity revealed to the world. Under constant scrutiny by those who believe he murdered Mysterio, Peter Parker seeks out the help of fellow Avenger, Dr. Strange. After Peter asks him to cast a spell that will make people forget his identity, the good Doctor reluctantly helps. However, when the spell goes wrong, the effects on space/time are devastating. As other characters from the multiverse sneak into their own world, Parker must attempt to capture his mysterious foes before its too late.

There’s really no other way to say it. Despite building hype over the past few years, Spider-Man: No Way Home somehow manages to deliver the goods. Once again directed by Jon Watts, the conclusion to the ‘Home Trilogy’ balances epic scale Marvel action sequences and intimate character-driven moments that work on a number of levels. While Marvel sometimes has a tendency to sacrifice storytelling for the sake of action sequences (and vice versa), No Way Home finds a way to incorporate them into one another in such a way that they actually impact each other. (This is especially true in the film’s third act ‘mega-battle’, which actually furthers the emotional arc of the films characters.) After three films, Watts cares enough about this franchise to tell a story that means something to his team and the results are spectacular. Seamlessly blending genres and generations together, Watts creates an epic finale but never sacrifices the soul of his characters in the process.

Of course, No Way Home is an absolute nostalgia-fest for every fan of the Spidey-franchise over the last 20 years. For years, people of debated which iteration of the cinematic Spidey-verse is superior to the others. Here though, Marvel gets to celebrate them all in one big party. This is a festival of all things Spidey that should delight three eras of superhero filmgoers at the same time. 

Even if Peter Parker has No Way Home, this film is a welcome homecoming for many old friends.

However, while nostalgia may be fun for everyone, what makes the film work is that their appearances are relevant to the story through some sharp writing. By bringing back familiar faces in new situations, No Way Home could have simply devolved into a fanservice mess yet their appearances somehow further developing their original story arcs. (Returning villains like Willem Dafoe, Jamie Foxx and Alfred Molina are allowed the chance to develop their characters further without detracting from their original stories. In fact, Marvel arguably elevates their previous material in the process.)

At the same time, the film becomes a perfect finale for this chapter of the Spider-Man story. Throughout his three Spider-films, Watts has done a (mostly) impressive job spinning interesting stories for the Wallcrawler. Whereas Homecoming told a small and intimate tale of a young boy who simply dreams of becoming an Avenger and Far From Home showed that young man trying to balance his life, No Way Home takes that journey even further. Having almost literally grown up onscreen before our eyes, Holland has exemplified the youthful enthusiasm that we expect from the character. In No Way Home, further completes his coming-of-age into a true Spider-Man as opposed to Spider-Teen. Having moved through high school, Holland’s Spider-Man is now faced with understanding what it truly takes to be a hero. In No Way Home, Parker has to make decisions about his life and the safety of his friends that he would have been unable to make earlier on in the franchise. Without giving away any spoilers, this iteration of Spider-Man needed to learn what it means to sacrifice himself out of love for others. 

Why? Because that’s what heroes do.

However, No Way Home is also about second chances. Although most superhero films of the last two decades have featured heroes battling unsalvageable villains, No Way Home actually makes a point of arguing that everyone deserves a chance at redemption. Rather than writing off these villains as ‘bad guys’, Holland’s Spidey is challenged to view them as more. Here, iconic villains like Doc Ock, Green Goblin and Electro show their vulnerability and humanity more effectively than they have in other films. 

What if the ‘bad guys’ are actually the ‘lost guys’?

There’s a sensibility to this film that, maybe, anyone can change. Despite the ‘fate’ that they are dealt, No Way Home allows the opportunity for a crack in the villainous armor. Despite the negative tone of its title, No Way Home wants to believe that there is a new way for anyone who chooses it. Maybe, regardless of their past actions, there’s an opportunity for these villains to find hope. For Parker, maybe these villains are more than the sum of their darkness.

While the nostalgia is fun and action is well-executed, it’s this aspect of Spider-Man: No Way Home that truly leaves its mark. Wrapping up this chapter of the MCU’s Spidey-Verse, Watts completes the emotional arc that he began about a crew of high school kids learning how to grow up. But he also manages to tread new ground for characters that we already felt we knew. Leaning into hope for the ‘bad guys’, the film gives Spidey the chance to try to help everyone, not just his friends in his neighbourhood. 

Because that’s what heroes do.

Spider-Man: No Way Home is available in theatres on Friday, December 17th, 2021.

West Side Story: Spielberg’s Update Dances into our Hearts

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When I heard that a new West Side Story was due to premiere, I was sceptical. Did I really want to see a remake of one of my favourite movies? When I heard that Steven Spielberg was directing, and that he had wanted to make this movie for over 30 years, I was intrigued. When 91 year old Stephen Sondheim died in late November, seeing this new iteration became a necessity. When I heard that a new role had been written into the movie for 89-year-old Rita Moreno, seeing the movie became a happy obligation.

I was not disappointed. 

Sixty years after the original movie walked away with 10 Oscars, Spielberg’s new version soars to even greater heights – singing and dancing its way into our hearts. All of the songs are there; sung by new magnificent voices. The star-crossed lovers still pine for each other. The Jets and the Sharks still battle for their piece of the American dream. Everything beloved from 1961 is intact. 

What West Side Story 2021 adds is context, depth and a magnificent New York city backdrop. The movie starts in black and slowly expands to light, showing derelict, crumbling buildings. “Dump”. “Slum Clearance”. It’s the late 50’s and what has been the fought over home turf to both the Irish and Polish Jets and the Puerto Rican Sharks (now played by Latinx actors) will become the beautiful Lincoln Centre and the home for the gentrified rich. It’s an old story that continues to the present. The gang boys and girls aren’t just fighting each other; they’re fighting for a future that has no place for them. 

If we ever wondered why Tony no longer fights with the Jets, now we know. He has spent time in prison for almost killing a boy and he does not want to become that hate-filled person again.  The neighbourhood store owner, Doc is now replaced by his widow, Valentina. She is played by the magnificent Rita Moreno. She is the one steady adult in the film – linking both gangs and acting as their conscience. And she can still sing. I thought I would get through this movie without a tear but her rendition of a WSS favourite song (always sung by another character) defeated me. Is it possible for an actor to get the same Oscar for another role in the same movie – 60 years later?

West Side Story is known for its amazing songs and fabulous dancing. This movie does not disappoint. Here, however, New York City and its streets and stores are highlighted, along with the colourful explosion of the dancers’ movements and costumes. 

All the actors should also be congratulated. Tony (Ansel Elgort) and Maria (newcomer Rachel Zegler) are perfect for the Romeo and Juliet leads. They’re both beautiful, have wonderful singing voices, and are able to bring both gravitas and lightness to the roles. Canadian David Alvarez is tough and focused as Bernardo (Shark leader) and is also a wondrous singer and dancer. My favourite character, surprisingly, was Riff (Mike Faist), the leader of the Jets. Faist brings a quirky vulnerability to the role – the kid with no family, whose future can only be assured if he enacts the toughness that will eventually kill him.

So head to the theatre this week. West Side Story 2021 will not disappoint you. If you don’t know the story, it will be a joyous, heart-rending experience. And if you do know the story, it will be a joyous, heart-rending experience. 

West Side Story opens in theatres on Friday, December 10th, 2021.  

Encanto: Cracks in the Foundation

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By Seun Olowo-Ake

Encanto is the story of the magical Madrigal family, their sentient casita and the people in their community that they have taken it upon themselves to protect. Written by Jared Bush and Charise Castro Smith and featuring music by Lin-Manuel Miranda the Great (Incidentally, that’s how I shall be referring to him henceforth), Walt Disney Animation’s 60th film brings us magic, familial love, bright colours and Miranda’s conversational music style.

As the only person in the family Madrigal that was not blessed with a magical gift, Maribel (Stephanie Beatriz) compensates by helping her family out in any way she can. However, she soon discovers that, rather than aiding it, her efforts put her in the way of the family’s efficiency. This doesn’t deter her though, as when she discovers her family’s magic is in trouble, she decides that she will be the one to save it. Cue awkward dinners, ‘bigger on the inside’ adventures and making amends.

I really love my family and the idea of family in general so, even though it shocked me, I was not surprised to find myself teary eyed by the end of the movie. Seeing the Madrigals siblings, cousins, parents, tias and tios–all led by the graceful Abuela (Maria Cecilia Botero)–helping each other out made my heart very happy.

Encanto conveys different themes: from the importance of family (where the true magic lies) to the weight that comes with having to be perfect/having nothing go wrong with you to finding and understanding your gift when everyone around you seems more exceptional than you are, as seen in Maribel who is determined to prove her worth to the rest of her family.

However, by the end of the movie, I found myself asking an important question: what is good leadership?

Abuela and the Madrigals are the centrepiece of the community, and it is their magic that keeps it running. But when that magic starts to fade, the problem is not just that their family is losing their magic. It is that they are leaving their community vulnerable. Abuela understands this and tries to sell the illusion that the magic is okay for as long as possible. To me, she exemplifies the type of leader that feels they must always project strength, even when that strength is lacking. This need to show strength has been passed on to the rest of her family who eventually crack under the weight of that pressure, forcing them all to reckon with the fact that though they are the “strongest”/“most gifted”, they need their community. The film tells us by the end that good leader doesn’t just do everything in their power to take care of those in they lead. They also empower those under their influence to become leaders themselves.

A good leader understands they can’t do everything alone, and a good leader is not afraid to ask for help when they need it.

Now, I’m going to listen to the soundtrack on repeat because, believe it or not, this fast-talking rap music lover could not fully understand what was going on in some of the songs. Personally, I blame that on the fact that I watch everything with subtitles. (Or maybe I’m getting up there in age. Lol)

Encanto is premieres in theatres on November 24th, 2021.

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+.

Eternals: Marvel Takes Itself Seriously

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Marvel’s Eternals has a Spider-Man problem.

No, the latest MCU entry does not contain direct ties to the next Spidey flick. But, in some ways, the oncoming Spidey-fest No Way Home is a great example of what will make Eternals so divisive. Although the third Home film promises multiple villains, wild crossovers and all the fun that most MCU films have to offer, Eternals offers something entirely different.

While I personally find it refreshing and engaging, Eternals is going to frustrate others.

Sent to our planet over seven thousand years ago, the Eternals are a race of immortal alien beings who have been sent to curate the Earth and protect it from Deviants, violent beasts who prey on humanity. After having defeated what they believed to be the last of their enemies, the Eternals decide to separate and live in secret amongst their human counterparts. Although, after the sudden return of half the population in the battle with Thanos the Deviants are revived with renewed hunger for blood. As a result, the Eternals must reunite once again in order to save humanity from their vicious counterparts. 

Directed by Chloe Zhao, Eternals spins an epic story that spans multiple millennia and bears her signature style. Epic in scale and beautiful, it does not put the emphasis on the pop and sizzle that has made Marvel the most successful film franchise in history. Instead, Eternals takes all of the MCU’s tropes and flips them on their ear. Never one for frenetic pacing herself, Zhao allows her love of long takes, reflective speeches and romantic interests to mark the film. Despite the fact that Eternals has the budget of other major Marvel products, it still seems to contain the beating heart of an indie film underneath. 

Similar to her work in Nomadland, Zhao wants the viewer to feel muted at the feet of an expansive world in front of you. As a result, she frequently makes her heroes seem small at the hands of an enormous universe and (literally) massive villains. Having worked on multiple MCU films, including Dr. Strange, Guardians of the Galaxy and Captain Marvel, cinematographer Ben Davis brings something unique and different to this film. Leaning into Zhao’s vision, he creates some of Marvel’s most beautiful and immersive onscreen images here, helping the viewer to experience the awesome scope of the film’s universe.

What’s more, this global emphasis also extends to its use of characters and storytelling as well. While the Avengers have always been globe-trotting, Eternals wants the film to be fully inclusive. Featuring a cast that highlights its multicultural aesthetic, the film has a global feel more than any James Bond film. Eastern weddings, western arguments and Middle Eastern sensibilities all play a part within this sprawling epic. (This will likely be the only Marvel film that contains a Bollywood number, for example.) 

Now, having said this, it’s also these details that will cause many to struggle with Eternals. Unapologetic with its intent and style, the film is a drastic departure from the ‘zip and quip’ energy of other entries into the MCU and will challenge its more casual fanbase. This is not a film that goes out of its way to be funny—although Kumail Nanjiani is a national treasure—nor does it care to be. Eternals wants the viewer to sit in the midst of its philosophical conversations and engage them. But that’s not going to sit well for a number of people.

Whereas some will marvel (pun intended) at its scope, others will feel that it is ‘slow’. Although there are those who will celebrate its willingness to delve into its complex history, others will say it’s ‘overstuffed’ with too many plot lines. While credit must absolutely be given to Marvel for backing Zhao and her unique vision, Eternalsmay be one of the first films in a long time that will prove divisive amongst its fanbase for the same reason. 

In the most interesting of ways, Eternals seems to be Marvel’s foray into the realm of DC storytelling. Marked in recent years by their propensity to lean into the grandeur of Snyder’s vision, DC has always felt more comfortable treating their heroes as god-like beings than does Marvel. Led by Superman’s divine metaphor, DC views its characters as humanity’s saviours, whereas Marvel’s stories tend to focus on man’s quest to achieve greatness or overcome their brokenness. (In fact, the importance of Disney’s first references to Batman and Superman cannot be understated.) As such, Marvel rarely delves into the realm of supernatural help. 

However, Eternals is different. It unravels an epic tale about gods who choose to help as opposed to merely heroes who fall into their responsibility. This is a story about man’s interaction with the divine and beg for answers. While the film shows these god-like beings as benevolent and loving so too, it’s also unafraid to ask complex questions about why these supposed guardians would not intervene amidst the world’s greatest crises. (Where were they when Thanos was attacking, for example?)

What’s more, one of the most fascinating aspects of the film is that the gods themselves disagree on their mission. Without getting into spoilers, some of the Eternals view humanity as worth saving while others are not so sure. The fate of the world hangs in the balance of these beings who, for all intensive purposes, do not have to help those under their care. They have seen humanity’s flaws and must decide whether or not we matter enough to save… and what it means to do so.

Quite simply, these are not questions that Tony Stark ever had to answer.

Even so, while what makes Eternals so special to me, it will undoubtedly drop to the bottom of many’s list of favourite Marvel movies for the same reason. One hopes that Marvel does not get scared off by early response to this film and allows Chloe Zhao to continue the narrative. (And yes, there are two post-credit scenes worth staying for.) This is her story and it would be a shame for someone like James Gunn or the Russos to step in and make it more palatable to a wider audience. Personally, I believe this is a film that deserves to be re-watched, discussed and reframed. 

However, admittedly ‘fun’ is not the first word to describe it. And, that could be unfortunate for its box office returns.

Now, when is the next trailer for Spider-Man coming out…

Eternals debuts in theatres on Friday, November 5th, 2021.

Ron’s Gone Wrong: But His Movie Goes Right

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Ron’s Gone Wrong is an unexpected joy.

Developed by 20th Century [Fox] Studios, Ron’s Gone Wrong is a weird and wonderful mixture of ET: The Extra Terrestrial, Mission: Impossible and buddy comedy that’s filled with heart and humour. While Pixar and Illumination seem to garner the animated headlines, 20th Century is also the same studio that offered the vastly underrated The Peanuts Movie and Spies in Disguise films and, with Ron, they continue to offer animated fair that’s both silly and smart. 

Ron’s Gone Wrong tells the story of Barney (Jack Dylan Grazer), a socially awkward pre-teen who struggles to connect with his peers. Living in a small house with his grandmother and dad, Barney’s family loves each other but struggles financially. Then, as every other kid in school is given a B-bot, a highly intelligent robot toy that plays infinite games and videos, Barney feels excluded. After his dad finally manages to buy Barney one of the highly-coveted toys, Barney quickly discovers that there’s something unique about his bot. Calling himself ‘Ron’ (Zach Galifianakis), the droid begins to malfunction, drawing the ire of a corrupt CEO who values his company’s stock prices over everything else.

Anchored by an endearing performance by Galifianakis, the film is sharply written, engaging and should provide some key conversations for parents and their children as they attempt to navigate the complexities of connecting in an online world. While Ron himself looks and feels like a smaller version of Big Hero Six’s Baymax, the character carves out an emotional arc entirely his own. (Seriously, if Disney isn’t working on a line of Ron merchandise, they’re missing out on a golden opportunity here…)

Though it looks like a simple comedy about a boy and his toy, the film actually works on several levels. Written by Peter Baynham and Sarah Smith, Wrong is ultimately a conversation about what it means to be a friend. As we become increasingly self-absorbed in an iPhone, iPod, iMac culture, the emphasis on ‘i’ cannot overstated. In answer to this, Ron‘s Gone Wrong focusses on the fact that friendship is a two-way street. Here, friendship is shown as not being about finding somebody who wants to do the things your way. Instead, it is about two individuals coming together and both recognizing each other as important simply for who they are. For example, although Barney has a few kids who are willing to be his friend, there is also an expectation that he will be just like them. Feeling ashamed of his home life, Barney keeps them away from his family and begs his parents to buy him a Bubblebot so that he can fit in properly. When Ron pops out of his box, Barney believes that he has finally found a friend that he can shape in his own image yet the broken bot fails to meet his expectations. Over time though, his relationship with Ron shows him how important it is to see things from another perspective. 

At the same time, everything in Ron‘s world is seen as a commodity and the Bubble corporation knows it. Bubble CEO Andrew (Ed Helms) sees every disaster as an opportunity to drive up stock prices. To him, publicity and sales are the end target and every Ron mishap requires cost analysis.  However, on the other hand, Marc (Justice Smith), the young creator of B-bots, seems to genuinely want to build connections amongst people to him, what he wants us to bring people together. He believes that he can use the robots to accomplish this by sharing mutual interests and information, thereby improving the lives and relationships of their youthful consumers. With kids’ attention (and money) on the line, Marc and Andrew consistently vie for control of the situation with the hope of driving Bubble’s vision and future. (In a complete coincidence, the film’s conversation regarding profits vs. consumers couldn’t be more timely as it comes on the heels of the now famous ‘Facebook Whistleblower’.) 

Interestingly, the film even wants to have a conversation about the right to privacy and how we have given it away for the sake of validation from others. Despite Marc’s desire to help consumers, his B-bot algorithm is far from perfect. By creating more opportunities for validation from viewers around the world, Marc’s product unintentionally distracts kids from what (and who) is around them. Suddenly, as kids put an increasing emphasis on ‘content’ and ‘likes’, they become more self-obsessed and focus their attention on viewership instead of personal connections. With each streamed video and customization, they are willing to give up all their personal information the sake of gaining more followers. (It’s worth noting as well that parents are not immune from tech addiction or self-absorption either. In a brief moment at the beginning of the film, Barney’s dad begins to lecture him on having too much screen time until he is immediately distracted by his phone himself.)

Even so, it’s also important to realize that Wrong never actually seeks to demonize technology itself. Instead, the film explores the types of problems that can develop when people aren’t critical of their online usage. The problem with Ron (or rather, the perceived problem) is that he helps his friend to see the world as opposed to simply focusing on content creation or playing games. All other robots are trying to emphasize the importance of kids focusing on the digital world as opposed to what and who are around them. However, Ron is different. Ron wants to learn about the world and his new friend. Whereas other B-bots become mirrors that reflect the interests of their owners, Ron becomes an opportunity for Barney to genuinely connect with others.

Though it may seem ironic that a film about selling tech is also chastising the sale of it, Ron’s Gone Wrongseems acutely self-aware of its intent. With a sharp satirical eye, Baynham and Smith have written a film that understands the need to live in a digital world without allowing ourselves to become trapped by it. As such, while Ron’s Gone Wrong, the film is absolutely right.

Ron’s Gone Wrong is available in theatres on Friday, October 22nd, 2021.

8.02 Family History in SHANG CHI AND THE LEGEND OF THE TEN RINGS

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In SHANG CHI AND THE LEGEND OF THE TEN RINGS, Sean (Simu Liu) is enjoying his life of simplicity in San Francisco. However, when a group of hired assassins attempt to attack him and his friend Katy (Awkwafina), Sean must re-enter a world that he has left behind in an attempt to stop an old foe from destroying the world. This week, Jason Thai and Daniel Collins drop by to talk about celebrating culture, breaking free from our parents’ legacy, and owning who we are.

You can watch the episode on YouTube and stream on podomatic, Alexa (via Stitcher), Spotify, Google Play or Amazon Podcasts! Or, you can download 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.

8.02-Shang-Chi-and-the-Legend-of-the-Ten-RingsDownload

Star Wars Visions: A Whole New World

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As a Star Wars fan, I’ve grown accustomed to a certain style of storytelling. Not necessarily because I wanted to… but because I knew that that was just how things were going to be.

Disney bought Star Wars and they had a formula that they wanted to maintain.

This was most evident when Disney first purchased Lucasfilm back in 2014. While the excitement was high for fans about the return of the franchise, the fallout was swift. With the House of Mouse’s desire to control its properties, any books, video games, and comics that were released under the Star Wars label (other than the six films) were no longer considered ‘canon’ and disappeared. (Sigh. Where did you go Dark Forces?) With a single blast from their proverbial Death Star, Disney vaporized such beloved characters as Mara Jade, Grand Admiral Thrawn and more from the Star Wars universe. While some of those characters have been reintroduced over the years, fans were left angered as their favourite tales were deemed unworthy of the next generation of stories. Admittedly, there’s certainly an argument for this decision (after all, Disney couldn’t possible may all these conflicting stories work within their continuity). However, it also limited the space for any real originality to the universe.

Then, along came Star Wars: Visions.

Now available on Disney+, Star Wars: Visions is a 9-episode series of shorts produced by six different Japanese animation studios. Directed in differing styles of anime by different directors, each episode feels like a completely new and exciting interpretation of the galaxy far, far away. 

What’s most impressive though is that, with the release of these shorts, Disney has injected a breath of fresh bacta into the Star Wars tank. Unhampered by the burden of ‘canon’, these visions rely on something much more important: creativity. Like a bolt of lightning, these simple stories have energized a world which had become a little stale. (Aside from Baby Yoda, of course.) For once, Disney allowed their storytellers to develop their own… well… vision for their closely guarded universe, create unique characters and styles that showcase the talents of their artists. Though it’s safe to say that there were certain boundaries given, every short differs wildly from one another and challenges our assumptions about the Star Wars universe. 

A samurai protects a small village from a Sith Lord.

A band of youth embark on a dangerous mission to rescue their friend from Jabba the Hutt.

Two twin siblings battle to redeem (or recruit) the other.

Each individual narrative is fully enclosed with no reliance on the other episodes. That gives each storyteller the freedom to simply dip their toe into the sands of Tatooine without being burdened by larger narratives or story arcs. Most importantly though, they allow the animators to tell their stories in their own voice in their own way. From Solo to Rogue One, there are multiple stories in recent years that site Disney’s penchant to control their IP and has resulted in the firing of numerous directors. However, with Visions, the House of Mouse has turned off the targeting computer and let their animators have the freedom that they need.

And the results are stunning. 

Featuring some truly eye-popping animation, it is refreshing to see the universe stretched with its interpretations. From their use of colour and style to their philosophical conversations, every individual episode feels like a masterclass in anime storytelling. (In addition, the voice cast features some impressive talent as well, including Shang Chi‘s Simu Liu, Henry Golding, George Takei, Alison Brie, Joseph Gordon-Levitt and, of course, Tamuera Morrison returning as Boba Fett.)

In this way, although not quite the restoration of what was lost, these new visions of the Star Wars universe feel like Disney has given a gift to the fans. 

And not just the animators either.

Star Wars: Visions feels like a long overdue gift to those who have been clamouring to hear their own voice represented in the Star Wars universe. Frankly, this begs the question of what could be next? Could there be Star Wars stories told from an African perspective? Indian? Middle-Eastern? The possibilities are endless… and every one of them has the potential to bridge the cultural gap in storytelling as well. No, Visions hasn’t changed the game—but it has provided an opportunity for the world to share in a property that had previously only been told from one perspective.

So, maybe something old really can be new again.

Star Wars: Visions is available on Disney+ on Wednesday, September 22nd, 2021

Shang Chi and the Legend of the Ten Rings: Celebrating (and Owning) Culture

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In Marvel’s Shang Chi and the Legend of the Ten Rings, skilled fighter and assassin Shang Chi (Simu Liu) is confronted by the family legacy and past that he thought he had left behind. His father is known as The Mandarin, the leader of the Ten Rings organization and one of the most villainous people in history, uses a legendary weapon to give himself immortality and power so great that it rivals Thanos’ Infinity Stones. After Shang Chi escapes his father’s grasp and flees to San Francisco, The Mandarin recaptures his son and wants him back in the fold to help with his master plan. 

There has been a great deal of attention lately focusing on Asian hate during the pandemic. (In fact, as crimes and hate against Asians have increased, Shang Chi earned terrible early reviews on Google despite not having been released to the public yet.) However, with an uncompromising vision, one of the best aspects of Shang Chi is that the movie never tries to “whitewash” him or the story to appeal to the general audience. Instead, the film embraces Asian representation and use of culture in all aspects, from the wardrobe, fight scenes, backgrounds, mythical creatures, weapons, and even allowing them to speak Chinese onscreen. 

Like Black Panther’s celebration of African culture, Shang Chi shows the audience just how rich Asian culture can be and how much great talent there is in Hollywood right now that is being overlooked. The whole movie is really an immersive cultural experience and those who have never seen an Asian-led film before are going to be blown away. Of course, it still does also do all of the great things that have made Marvel be so successful as well, such as its trademark witty humor, CGI glory, and super creative/intense superhero fight scenes. (Incidentally, in its set pieces, Shang Chi really creates martial arts scenes that you’d expect to see from a classic Jackie Chan movie, a style which blends really well with Marvel’s cinematography and choreography.) As an absolute huge celebration of Asian culture, Shang Chi is a huge step in the right direction for inclusion and diversity for Disney and the movie industry as well. (And, of course, make sure to stay for both after credit scenes.)  

Marvel’s first Asian led superhero movie, Shang Chi takes its audience on a mythical journey of intense martials art action mixed with a storyline that really speaks to Millennials and Gen-Z’s. Being a second (or longer) generation immigrant, there is often a huge lack of cultural identity. For example, while you may grow up learning bits of your background and know that you are Asian but you may not really identify (or want to identify) with your culture. In this way, you can be kind of tied between your ethnic origins and the culture of the country that you’re growing up within. Especially when as a child, you’re constantly bombarded with media that does not celebrate or acknowledge you. This notion also relates to Shang Chi himself, as his character arc follows the story of a second-generation immigrant who is troubled by his past and the legacy that his father is forcing on him.

Typically, the aspirations of a tiger parent are known for pushing their kid to become something that they don’t want to be. For many Asian parents, this dream is for their child to become a doctor or lawyer. For Shang Chi, however, it’s to become head of the Ten Rings. Wanting nothing to do with his heritage, Shang abandons it entirely by running away and completely disassociating himself with it. (In fact, he’s even ashamed of his true origins.) The relatability of watching him is how a lot of Asians feel about their family and culture too. To these youth, their parents’ culture is something to hide and attempt to break free from. Without giving away any spoilers, it’s only after Shang Chi goes on this adventure and confronts his family and homeland that he reconnects with his roots. In doing so, he begins to feel some pride in who he is and who he can become. (“You are a product of all that have come before you,” he’s told.) Personally, I really believe that the film uses this to highlight the struggle for younger Asians to acknowledge their culture and own their background is a part of who they are now. There is a message of cultural celebration within the film that invites second-generation immigrants to be proud of their heritage, rather than hide or be ashamed of your own race. 

Overall, Shang Chi and the Legend of the Ten Rings is an amazing celebration of Asian culture that was long overdue. By celebrating Asian culture, Marvel has really taken a great step in the right direction at a time when it’s needed. As the latest new character into the MCU, the film is fueled by family ties that really drive the story and demonstrate the struggle of the next generation to connect with their history. 

Shang Chi and the Legend of the Ten Rings is in theatres on Friday, September 3, 2021

Vacation Friends: Real Friends v. Vacation Friends

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What happens on vacation doesn’t always stay on vacation.

Vacation Friends tells the story of Marcus and Emily (Lil Rel Howery and Yvonne Orji), a straight-laced couple from Chicago going on a romantic vacation to Mexico. When a mishap leaves them without a room, the two must spend the week sharing a room with wild, thrill-seekers Ron and Kyla (John Cena and Meredith Hagner). Even though they’re fairly level-headed, Marcus and Emily let loose. (After all, they are on vacation…) But, as they leave Mexico, they also have every intent of leaving the craziness (and their friends) behind to resume their lives. However, when Ron and Kyla show up uninvited to their wedding, Marcus and Emily must navigate whether or not their ‘vacation friends’ are actually their real friends.

Going straight to streaming, Vacation Friends is a silly and raunchy comedy that works, despite its flaws. The first feature directed by Clay Tarver, Vacation feels like it could have been a much wilder ride, yet somehow seems familiar (and even predictable in places). In some ways, Tarver seems to be holding back, despite the film’s R-rating and its move to streaming where box office revenue becomes less of an issue. 

Even so, despite its perceived flaws, there’s a lot more to like about this Vacation than you might expect. While the film itself is a fairly standard comedy, the material works primarily due to the strength of all four of its leads, especially Cena. This summer, Cena is having something of a moment with roles in two other major films (Fast 9, The Suicide Squad) in addition to this project. Whereas those films primarily focus on his viability as an action (super)hero, Vacation Friends highlights his often-underappreciated gift for comedy. Even in moments when the material is lacking, Cena’s smarmy charisma somehow continues to sell it. With Howery giving his all as Cena’s straight-man, the two have some genuinely fun moments together as the tw forced friends begin to genuinely care for one another.

Whereas Marcus and Emily may live organized ‘grown up’ lives at home, their world is shaken by the arrival of Ron and Kyla. Although they may be successful, Marcus and Emily have few meaningful relationships with others. Living their lives by their schedules, the two have built their lives around well-organized plans and clear boundaries. When they meet Ron and Kyla at the resort, there is something appealing about their free spirits, even though they wreak havoc upon their lives. 

As a result, Marcus and Emily reluctantly allow their lives to change temporarily. 

But when they get home, their expectations are different.

For Marcus and Emily, vacation may be a time to play but their ‘real lives’ are based upon professionalism and appearance. As a result, when they run into Ron and Kyla again threatens everything about their ordered lives, especially when it comes their impending wedding. But it’s in these moments that Vacation really surprises. Whereas one might expect that the film is going to hammer down its message about ‘lightening up’, instead the story is really all about the hearts of its characters. 

Despite their brash exterior and wild antics, the true joy of Ron and Kyla lies in their commitment to friendships. To them, friendship is more than a statement but something that truly matters. Their hearts are truly open to serve and care for their friends. Held up against the more reserved Marcus and Emily, Ron and Kyla demonstrate what it means to see past people’s exteriors and love them for who they are at their core. Though they have no personal boundaries, there’s an earnestness about Ron and Kyla that makes them endearing and shows their new friends what it truly means to care for others.

Wacky, wild (and sometimes wonky), Vacation Friends wins you over by the strength of its performances. Anchored by the energetic Cena and friends, the film manages to charm you enough to make this worthwhile. In other words, even though it may not be a perfect Vacation, it’s still one worth taking.

Vacation Friends is available on Hulu and Star+ on Friday, August 27th, 2021.