Pixar

Film Bouquets 2018

Bouquets&Brickbats

Bouquets&Brickbats

Bouquets&Brickbats

2018 has yielded a lot of interesting films, and it’s been hard to choose which most deserve Bouquets. Still, we’ve managed it, and here – in order of viewing – are those that made the cut.

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Alexander Payne’s brilliant satire had its detractors, mostly people who had expected a knockabout comedy –  but we thought it was perfectly judged and beautifully played by Matt Damon and Hong Chau.

Coco

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A dazzling, inventive and sometimes surreal love letter to Mexico, this Pixar animation got everything absolutely right, from the stunning artwork to the vibrant musical score. In a word, ravishing.

The Shape of Water

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Guillermo del Toro’s spellbinding fantasy chronicled the most unlikely love affair possible with great aplomb. Endlessly stylish, bursting with creativity, it also featured a wonderful performance from Sally Hawkins.

Lady Bird

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This semi-autobiographical story featured Saoirse Ronan as a self-centred teenager, endlessly at war with her harassed mother (Laurie Metcalfe). Scathingly funny but at times heart-rending, this was an assured directorial debut from Greta Gerwig.

I, Tonya

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Imagine Good Fellas on ice skates and you’ll just about have the measure of this stunning biopic of ice skater Tonya Harding, built around an incandescent performance from Margot Robbie, and featuring a soundtrack to die for.

A Quiet Place

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This film had audiences around the world too self-conscious to unwrap a sweet or slurp their cola. Written and directed by John Kransinski and starring Emily Blunt, it was one of the most original horror films in a very long time – and we loved it.

The Breadwinner

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Set in Kabul, this stunning film offered a totally different approach to animation, and a heart-wrenching tale of a young woman’s fight for survival in a war-torn society. To say that it was gripping would be something of an understatement.

American Animals

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Based on a true story and skilfully intercutting actors with real life protagonists, Bart Layton’s film was a little masterpiece that gleefully played with the audience’s point of view to create something rather unique.

Bad Times at the El Royale

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Drew Goddard’s noir tale brought together a brilliant cast in a unique location, and promptly set about pulling the rug from under our feet, again and again. There was a superb Motown soundtrack and a career making performance from Cynthia Erivo.

Wildlife

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Based on a Richard Ford novel, this subtle but powerful slow-burner was the directorial debut of Paul Dano and featured superb performances from Carey Mulligan, Jake Gyllenhaal and newcomer, Ed Oxenbould.

The Ballad of Buster Scruggs

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The Coen brothers were in exquisite form with this beautifully styled Western, which featured six separate tales of doom and despair, enlivened by a shot of dark humour. But, not for the first (or the last) time, we heard those dreaded words ‘straight to Netflix.’

Roma

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Another Netflix Original (and one that’s hotly tipped for the Oscars), this was Alfonso Cuaron’s lovingly crafted semi-autobiographical tale off his childhood in Mexico, and of the nanny who looked after him and his siblings. It was absolutely extraordinary.

Philip Caveney & Susan Singfield

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Coco

14/01/18

Pixar Animation Studios can generally be counted on to provide quality entertainment but it’s been a little while since they truly knocked something out of the park. Here’s a film that puts them right back where they belong. In a move that seems destined to send this film plummeting to the bottom of President Trump’s ‘to watch’ list, Coco is a celebration of Mexico and its culture. It’s a dazzling, inventive and sometimes surreal love letter to the country and, for once, the makers have got it absolutely right, employing Mexican talent in just about every area of this charming production.

Young Miguel (voiced by Anthony Gonzalez) longs to be a mariachi, just like his hero, the late (and locally born) Mexican screen star, Ernesto De La Cruz (Benjamin Bratt). But there’s a problem. Miguel’s great-great-grandmother was married to a musician who abandoned her and her baby daughter – the eponymous Coco – for the lure of fame and fortune, so now, generations later, music is a taboo subject around the home. Instead, everyone is involved in the family shoe-making business, where Miguel is expected to one day take his place.

As the story starts, it’s fast approaching November 1st, when families across Mexico celebrate El Dia de los Muertos (the Day of the Dead), where everyone congregates in the local cemetery to enjoy a feast along with their departed relatives. When Miguel hears that there is to be a talent contest in the town square, he is determined to enter it, but for that he needs a guitar – his own, home made effort has been smashed to pieces by his over protective grandmother, Mama Imelda (Alanna Ubach). So Miguel sneaks into de la Cruz’s tomb, intending to borrow the late star’s famous guitar. In doing so, he inadvertently manages to slip between worlds and finds himself stranded in a land populated entirely by the dead – and it’s here that he meets Hector (Gail Garcia Bernal), a guitar-playing skeleton who is desperately trying to get back to his own loved ones on the other side…

Coco is such a ravishing feast for the senses, it’s hard to know where to begin with the superlatives. It looks absolutely astonishing in just about every frame, the music is terrific and the story is funny and inventive. Perhaps most importantly, it perpetuates that great Pixar tradition where it can be enjoyed as much by the parents as their offspring. Interestingly, the film has a PG certificate – after all it does deal predominantly with the afterlife – but it would be a sensitive child indeed who’d feel threatened by its lively cast of skeletons and colourful alebrijes (the spirit animals who look after the dead). The title Coco, by the way, refers to Miguel’s ailing great-grandmother, and the way she has been characterised probably deserves some kind of an award all by itself. This is animation at its most accomplished.

Ultimately though, how refreshing to see a depiction of Mexico that isn’t peopled by drug-dealing gangs, intent on torture and murder, but by loving families, who realise only too well that people only truly die when they are forgotten by the living. Perhaps this should be required viewing for all those Americans who believe the best way to deal with Mexico is to wall it off.

But I’m being way too political. Coco is perhaps best enjoyed as a slice of pure entertainment. This advance screening is surprisingly empty, but maybe the word just hasn’t got around yet. The news that is has already outgrossed the earnings of all twelve previous Pixar releases in China alone would suggest that the Disney empire is on target for yet another massive hit – and, in this case, it’s one that’s totally deserved.

Don’t you dare miss this. And don’t go thinking that if you haven’t got kids in tow, you can’t go along and enjoy it. Trust me, you’ll love it, whatever age you happen to be.

5 stars

Philip Caveney

Finding Dory

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31/07/16

Pixar don’t often do sequels and they’ve certainly waited a long time before offering this one, following on from Finding Nemo (2002). This film concentrates on the character of Dory (Ellen DeGeneres) the fish with short term memory disorder. We start with her as a child desperately trying to follow the instructions of her parents and then cut to one year after the events of ‘Nemo’ with Marlin (Albert Brooks) still trying to cope with his best friend’s irritating habit of repeating everything at five minute intervals. Somewhere amidst the flashbacks she regularly encounters, Dory remembers her doting parents and before you can say ‘tunafish’ she and Marlin and Nemo (Hayden Rolance) have set off on an epic quest to find them.

What can I say about this film? Obviously, it’s not aimed at people of my age and obviously, it reintroduces a raft of characters from the original film. I remember enjoying Nemo and I guess I mostly enjoyed this one. The animation is as customarily dazzling as you’d expect from Pixar and perhaps it’s unfair to attribute the occasional forays into cheesy fridge magnet mawkishness to the fact that Disney now own the animation studio and are bound to exert a certain influence. It also occurred to me somewhere along the way that the story could be interpreted as an metaphor about senile dementia, but perhaps I’m over over-thinking something that has much less serious intentions.

There are good elements scattered throughout proceedings. I particularly liked a pair of indolent (English) sea lions and Hank (Ed O Neill) the intrepid octopus (or should that be septopus, since he’s missing a tentacle?) A sequence towards the film’s finale depicting an articulated lorry going over a cliff in slow-motion is suitably awe-inspiring, and  – even if, ultimately, Finding Dory is just swimming gamely along in the wake of its ground-breaking progenitor – it is beautifully done and there’s much to commend it.

Kiddie-winks will love this; and do try to get along early enough to see Piper, the by now traditional short animation that precedes the main feature.

4 stars

Philip Caveney