Oct 4 2024

The Wild Robot’s Emotional Story Almost Overwhelmed My CPU

It’s no hot take that DreamWorks Animation (DreamWorks) always knocks it out of the park when it comes to adapting beloved books into unforgettable movies, and The Wild Robot is no exception. Every single decision that led to the finished product was nearly perfect and it really feels like the people behind this movie’s creation, such as director Chris Sanders (who directed Lilo & Stitch and How to Train Your Dragon), poured their whole hearts and souls into developing this film, which makes sense since this is sadly the last in-house animated film for DreamWorks. I highly recommend The Wild Robot to everyone who reads this review to go out there and see it in theaters because it deserves the love and the theater experience for this one was definitely unique. This review will be split into 4 parts.

STORY

The story follows a lost robot named ROZZUM Unit 7134 (“Roz”, voiced by Lupita Nyong’o) as she finds her way around an island entirely inhabited by wild animals. She is programmed to be an aide and seeks to offer her services to the animals as part of her pre-programmed goals before she can activate a beacon to be picked up by her manufacturers. As Roz explores the island, it becomes clear that she is unable to communicate with the animals, so she spends months listening in on their conversations and is eventually able to hear and speak in their tongue.

Along the way, she unofficially adopts a baby gosling named Brightbill (Kit Connor) after she accidently kills his family. Having a new purpose, Roz must help raise the gosling to be prepared for the upcoming winter season when the geese migrate off the island. During their time together, Brightbill sees Roz has his mother while Roz begins to develop genuine emotions and is conflicted with her protocol to leave the island after her task of raising Brightbill is completed.

This movie’s story is genuinely amazing and almost made me tear up 3 separate times in only the first two acts. DreamWorks did such a phenomenal job at delivering a heartfelt story that is so emotionally rich that you feel somewhat of a bond with the characters in this film. My only issue, if I absolutely had to have one, was that the pacing was very quick, like whiplash quick. But surprisingly, unlike many other films with fast pacing, this film somehow made it work and it didn’t feel too off-putting. Every plotline progressed off the previous one and every scene felt more action packed and engaging than the last.

CHARACTERS

The characters are well written in The Wild Robot. To start, Roz is a complex character and is able to feel emotions that robots shouldn’t; she is instantly one of my favorite DreamWorks protagonists. She has a heart of steel that comes from her programming where she is unable to harm other living things despite what they think of her. She is unyielding in whatever task has been assigned to her and refuses to give up even in the most impossible scenarios.

Throughout the film, Roz is accompanied by a mischievous and unpopular local fox named Fink (Pedro Pascal) who is sly and has no problem with lying but is also willing to help others who are mentally and physically vulnerable. He is also a really funny supporting character and has great chemistry with both Roz and Brightbill. As the adopted child of Roz, Brightbill is an adorable and inspiring goose that overcomes all odds against him. We get to see him grow from baby to young adult in mere moments, but it feels as if we were with the family every step of the way.

Brightbill’s journey was more difficult than it was for those around him because he is a runt and had an unusual upbringing, but he proved everyone who doubted, and even bullied him, wrong. There are many other supporting characters that played

into their roles really well, such as the stoic and tough owl, Thunderbolt (Ving Rhames), who helps teach Brightbill how to fly, the gentle and wise Longneck (Bill Nighy), the leader of the island geese who welcomes Brightbill into his flock, and a crusty but helpful beaver named Paddler (Matt Berry). These and other minor characters get their moments to shine throughout the film and add to the rich tapestry of characters throughout the film.

SOUND DESIGN

The sound design in The Wild Robot is stellar and every voice actor knocked it out of the park. To start with the soundtrack, it included very strong and epic music that complimented certain key scenes very well, adding onto the layers of immersion this film has. The two original songs featured in this film are amazing and I recommend listening to both of them (“Kiss the Sky” and “Even When I’m Not” by Marren Morris). The voice acting is phenomenal and every character’s actors were chosen perfectly.

My personal favorites were Lupita Nyong’o as Roz, Kit Connor as Brightbill, Pedro Pascal as Fink, and Bill Nighy as Longneck. The original score only amplifies the experience of watching this movie, as it makes every scene either emotional, casual, or heart-pounding.

ART AND ANIMATION

The only word to describe the art style of this movie is gorgeous; this is without a doubt one of the best-looking animated movies ever made. The art style is a mixture of natural landscapes, watercolor strokes, and the wonderous joy of storybook pages. Every character looks so high quality that I wanted to personally thank every person in charge of developing this fantastic identity. The animation is astonishingly brilliant and it’s so good that every frame of animation could by captured as a photo and used for marketing material. The people who worked so hard to animate Roz’s fluidic, yet robotic movements deserve so much praise. The backgrounds and landscaping are also beautiful; there is this one shot that involves Roz being in front of a giant moon in the background that I cannot stop thinking about because it was such an amazing shot. I am probably rambling on about the art and probably sound like a broken record, but that’s how much I genuinely love the work put into making this movie shine so visually.

CONCLUSION

The Wild Robot is an unforgettable and story-rich adventure that no one will want to miss. Its story is unique, the characters are lovable, the sound design is elite, and the animation is easily one of the best of this decade so far. This DreamWorks movie is one of its best and it is a shame that this marks the end of in-house animated movies for the company. I am usually not one to advocate for sequels, especially in an age where they get more and more mediocre, but I really would not be opposed to seeing another two movies based on the other books in the Wild Robot trilogy by author Peter Brown. Be sure to watch The Wild Robot, out now in theaters!

Angelo Soto

Sep 25 2024

Increasing Optimism For The MCU

It’s been commonly accepted that the Marvel Cinematic Universe (MCU) has been on a downward spiral given the mediocre results of their recent offerings such as Secret Invasion and The Marvels. But the powers that be (Kevin Feige and Marvel Studios) have taken corrective steps to rectify the situation with the MCU and from what we are seeing, we fans have cause for optimism.

As most of us know, Feige has restructured the slate of films and TV shows to the point of redoing them as was done with the upcoming Daredevil: Born Again and next year’s Captain America: Brave New World. Feige took an honest and hard look and admitted what was working with the MCU projects and what wasn’t. Marvel Studios has also reassessed which film and TV projects, which were planned and announced previously, would actually go forward. This meant that some anticipated and announced projects will not see the light of day, at least for the near future.

However, while we can mope about the lost projects like Armor Wars and the endangered Blade, we can rejoice with recent concrete developments and the current and upcoming releases.

Of course, Deadpool & Wolverine was a smash success that delighted fans and critics alike as it reveled in Easter eggs, raunchy humor and unfiltered violence. The film is now the second biggest hit of the year and the most successful R-rated film ever released. Seriously, Deadpool & Wolverine could not have arrived at a better time. The film demonstrated that Marvel Studios was still capable of producing quality films that could engage audiences, which translated into box office success.

Then Marvel Studios just began streaming on Disney + the TV show Agatha All Along, the sequel/spinoff to Marvel Studios’ best TV show, WandaVision. Even though the spinoff TV show about the witch Agatha Harkness wasn’t highly demanded by fans, it so far has exceeded expectations with its witty, clever and imaginative early episodes. Sure the jury is still out and we have to see if it sticks the landing, but Agatha All Along is off to a great start.

Another reason to be optimistic is due to the success of the animated TV show X-Men ’97, which captured the essence of the classic X-Men animated TV shows of the 1990s and the best X-Men stories and characters. Even though X-Men ’97 and Deadpool & Wolverine are not actually part of the MCU, they were produced by Marvel Studios and both projects showcased the talent from the studio that could still deliver the goods.

While there has been leaked footage of upcoming TV shows like Daredevil: Born Again and of sizzle reels for The Fantastic Four: First Steps, fans have not had much else to sink their teeth into. But what they have at the moment is more than enough. The trailers for Captain America: Brave New World look very promising, which is a bit of a relief given the behind-the-scenes reports of a troubled production that practically had to be reshot. Hopefully, the actual film, which comes out in February next year, will be half as good as the trailers promise.

Also promising with the release of just one trailer is Thunderbolts*, which can be best explained to non-fans as the MCU answer to the Suicide Squad. Essentially, a bunch of misfit anti-heroes and low-grade villains teaming up to fight a powerful foe and becoming actual heroes in their own right. The trailer that was just released a couple of days ago perfectly captured this theme and the film looks like it will be a lot of fun. Hell, even the first official poster for Thunderbolts* is great and captures the mood the trailer is selling of misfits who can’t get along with each other but are forced to cooperate. Take a look, below.

All we need now is a sneak peek of The Fantastic Four: First Steps, but all in good time. Then there is the constant stream of news and speculation about the upcoming Avengers films featuring Robert Downey, Jr. as Doctor Doom. Surely, once confirmed plans for the X-Men come out the fans will go ballistic. The only news and speculation giving us a pause has to do with the troubled Blade film and whatever Sony Pictures plans to do with future Spider-Man films. But we’ll see how that situation works out.

Sure, the upcoming films and TV shows could wind up being huge disappointments but let’s stay optimistic, shall we? That is because for now it’s a thrill to be excited for the MCU again.

Sep 15 2024

Exploring The Land Of The Lost

Fifty years ago, the children’s program Land of the Lost premiered on Saturday morning on the NBC television network and surprised many viewers with its well written and imaginative scripts. Even though the production was undeniably low budget and the acting by some of the performers was a bit over the top, Land of the Lost quickly won over many fans thanks to its spirited presentation. The TV show was produced by Sid and Marty Kroft who ruled the Saturday morning TV landscape in the ’70s with many fantasy and comedic live-action programs. Land of the Lost stood out and was their best production because it ditched the juvenile humor seen in their other programs and focused on drama and sci-fi elements. Even though it was a program aimed at children, Land of the Lost had an unexpected mature and serious tone that was appealing to anyone.

The TV show followed the adventures of the Marshall family, Rick (Spencer Milligan) and his children, Will (Wesley Eure) and Holly (Cathy Coleman), who while out whitewater rafting in the Grand Canyon fell through an interdimensional portal that transported them to a timeless world full of dinosaurs. Trapped in the lost land, the trio struggled to survive while trying to find a way home. During their adventures the Marshalls encountered many unusual denizens including Cha-Ka (Phillip Paley), a member of the Pakuni, a primitive tribe of ape-like humanoids, and Enik (Walker Edmiston), an advanced reptilian/insect-like humanoid who was also trapped in the Land of the Lost. What made Enik’s backstory so fascinating was that his race the Altrusians actually devolved into the savage Sleestaks, who were the dominant species in the Land of the Lost. The Marshalls usually met other travelers from different eras who wound up trapped in the land and often found a way to return to their own time period.

The episodes were devoted to plots about environmentalism, family strife, survival and surprisingly imaginative sci-fi concepts, especially time travel. During the show, the Marshalls discovered these interdimensional constructs called pylons that could transport anyone who entered them into different dimensions including modern-day Earth, though navigating them was difficult. These devices were used to explain why Rick Marshall left the show (in reality Mulligan was removed from the TV show due to conflicts over merchandising) as the father was whisked back to Earth unexpectedly at the start of the third season and replaced by Uncle Jack Marshall (Ron Harper). As Jack explained to his nephew and niece, he was trying to find his brother and his children and followed the same route that stranded the Marshalls in the lost land.

By the third season, the scripts were less imaginative and more geared toward children. The storylines took on more fantastical elements as Uncle Jack, Will and Holly encountered the Medusa, fire-breathing dimetrodon, a unicorn and the ghostly captain of the Flying Dutchman ship. Still the first two season were very thought provoking as the Marshalls met an eerie translucent alien called the Zarn, mysterious human visitors, and alternate versions of themselves. One of the reasons why the scripts stood out was because many of them were written by acclaimed sci-fi authors like Ben Bova, Norman Spinrad, Theodore Sturgeon and Larry Niven. Star Trek scriptwriter David Gerrold was the story editor in the first season and recruited fellow Star Trek writers like D.C. Fontana, Margaret Armen and even Walter Koenig to write a few episodes.

Thanks to its dramatic tone, the stories that focused on survival were more impactful and viewers felt the constant dangers the Marshalls faced as they dealt with carnivorous dinosaurs, environmental dangers, temporal and interdimensional dilemmas and the barbaric Sleestaks. One haunting episode, “The Search” had Will and Holly struggling to save their father who was electrocuted by crystals that operated the pylons. Anyone watching it could sense the desperation and panic from the siblings who were forced to face the possibility of their father dying. Another eerie episode “Split Personality”, had the Marshalls encountering alternate versions of themselves who were frozen in time and needed their help.

Even though the series never had a concluding episode, due to the temporal nature of Land of the Lost it can be argued that the Marshalls did find their way back home in the first season finale episode called “Circle”. Inside one of the pylons, the family was able to return back to their home but it was revealed they were trapped in a Mobius loop and another version of themselves wound up trapped in the Land of the Lost by the time the episode concluded. So in a sense, at least one version of the Marshalls returned home and subsequent episodes followed their variants.

In the decades since Land of the Lost stopped airing, the program has maintained a cult following thanks to a heavy syndication run that lasted many years. There were two attempts at remaking Land of the Lost. One included another TV show that aired for two seasons and featured the Porter family who were stranded in another dimension inhabited by dinosaurs and Sleestaks. Then there was a feature film in 2009 that starred Will Ferrell and as expected by the casting was more comedic. The film was a major dud with critics and fans and flopped at the box office. It also featured one of Leonard Nimoy’s last voice performances as he portrayed Enik. Sadly, the film ignored the dramatic survivalist aspects of the original Land of the Lost and insulted the memory of the original with its moronic humor. Regardless of how the remakes were received, Land of the Lost still has many devoted fans who appreciated the bright scripts and its imaginative, dramatic tone that engaged viewers.

José Soto

Sep 1 2024

The Bell Riots, September 1, 2024: A Critical Moment In Star Trek History

Once again reality has caught up and will pass science fiction at the time of this post, in this case with Star Trek: Deep Space Nine. Fans of the TV show know all too well that this date marks the time of the infamous Bell Riots.

In the two-part episode, “Past Tense” Commander Ben Sisko, Dr. Julian Bashir and Lt. Commander Jadzia Dax accidentally time traveled to San Francisco on August 30, 2024, and were pivotal figures in the Bell Riots on September 1, one of the most violent periods in American history.

For anyone who has not seen these episodes, the Bell Riots were an important event in American history that influenced the country to seriously tackle its social problems. During this time period of the 2020s, the homeless and jobless were forcibly housed in so-called Sanctuary Districts, which were essentially walled-off, overcrowded internment camps were the residents were poorly treated and lived under harsh conditions. Things came to a head on August 31, 2024, when Bashir was attacked by a gang of thugs. One man, Gabriel Bell, tried to help Bashir but was stabbed and killed for his action. Bell’s death created a ripple effect in history were the United States deteriorated and ultimately the United Federation of Planets was never formed.

It turned out that Gabriel Bell would have become a key figure in an uprising in the San Francisco Sanctuary District that took place on September 1, 2024. Bell became the face of the riots and his actions by protecting District employees who were taken hostage and giving a sympathetic face to the homeless residents. Unfortunately, Bell was killed by national guardsmen who took back the District, but his actions were publicized and turned public opinion against the Districts and swayed the United States to find long-term solutions to its social problems.

Bell was killed near the conclusion of the first episode and Sisko quickly realized the devastating effect Bell’s death would have on history. Thus, when “Past Tense, Part I” concluded, Sisko and Bashir took part in a takeover of the District’s processing center where the hostages were held and announced that he was Gabriel Bell. The dilemma was that in order to carry out Bell’s life to its conclusion, Sisko had to die. But how was this resolved in “Past Tense, Part II”? Well, this is Star Trek. 😀

“Past Tense, Part I and II” was one of the better time travel episodes in the Star Trek franchise because of its unique nature that it took place during a then-future period in our history (the episodes aired in January 1995, which was a risk. After all, it was very likely at the time of filming that the future portrayed in “Past Tense” would not come to be and fortunately the Districts do not exist in our reality. Obviously, the now-contemporary Earth depicted in those episodes are set in an alternate timeline. Yet, the social issues are still with us.

Homelessness is a major social issue affecting many communities in the United States and is getting worse partly because of the affordable housing crisis. San Francisco has been demonized by many who decry it as the epicenter for urban decay as it faces homelessness. Thankfully, no one has advocated for rounding up the homeless population and dumping them into so-called sanctuaries. Then again if things get worse, this can happen in our future.

At least unemployment is low and not a major issue as depicted in those Star Trek: Deep Space Nine episodes. It should also be pointed out that the episodes did not and could not have predicted that the world was recovering from a pandemic or that a woman was running for president of the United States. But the episodes did hint that democracy was at risk based on the authoritative actions of the California governor in the episodes (who was not Gavin Newsom). Sure it was inevitable that predictions would turn out to be incorrect, but at least it did get correct that housing and homelessness would still be issues and as a bonus the episodes did get correct that the internet would be prevalent in our culture.  

While these episodes of Star Trek: Deep Space Nine may have been a bit heavy handed when it tackled the issue of homelessness and social and economic inequality, it carried out the noble Star Trek tradition of examining current issues facing our society in a sci-fi setting. The backdrop of the social messaging capably added to the tense drama of Sisko and his companions trying to survive a savage period of time. More importantly the issues it brings up were not easily solved and still provide food for thought to this day.

Aug 18 2024

Alien: Romulus Brings The Alien Franchise Back To Basics

The Alien films have had its share of stumbles with the last few films in the franchise. Director Ridley Scott’s recent attempts at expanding the lore of the franchise had mixed results with Prometheus and Alien: Covenant. After Alien: Covenant did little to reinvigorate the franchise, it seemed as if the franchise would go dormant. Thankfully, this is not the case with this weekend’s release of Alien: Romulus and the upcoming TV show, Alien: Earth.

Alien: Romulus succeeds where most of the films in the franchise have failed with its back-to-basics approach that emphasizes horror and favors the use of practical special effects. Even though, there is CG used in the film, it’s usage is restrained and blends nearly flawlessly with practical effects. However, what makes the film stand out is the tight, claustrophobic atmosphere created by director Fede Alvarez, which harkens back to the original Alien.

The film opens with a spaceship probe finding the floating wreckage of the Nostromo from the first Alien film. Among the wreckage the ship recovers the fossilized body of the alien xenomorph that was ejected into space at the end of Alien.

Alien: Romulus shifts ahead to a mining colony on the planet, Jackson’s Star, and Rain Carradine (Cailee Spaeny), a young miner who is desperate to leave the colony along with her adoptive brother Andy (David Jonnson), an artificial being who is an older model of the artificial beings featured in other Alien films. After her attempts to legally leave the planet fail, she is approached by her friend Tyler (Archi Renaux) to help him and his crew of his ship, the Corbelan, to raid a derelict space station that entered the planet’s orbit, but will soon crash. The crew of the Corbelan consists of Tyler’s sister, Kay (Isabela Merced), his abrasive cousin Bjorn (Spike Fearn), and the ship’s pilot, Navarro (Aileen Wu). Like Rain, Tyler and his crew hope to leave the planet but need cryopods to make the long journey to the next world. Tyler plans to raid the station in order to salvage unused cryopods for themselves.

Once the group boards the station, they discover that the crew aboard the station are dead because the xenomorph they recovered from the Nostromo revived, massacred the crew and irreparably damaged the station. Onboard the station are dormant alien facehuggers, which are a crab-like form of xenomorph that forcibly impregnates victims in order to hatch infant versions of the skeletal xenomorphs. It turns out that the station is owned by the company, Weyland-Yutani, which as seen in the other films is dedicated to capturing xenomorphs at the expense of anyone else in order to carry out scientific experiments on the alien creatures.

During their efforts to retrieve the cryopods, Tyler and Bjorn accidently revive the facehuggers, which soon imperils the crew of the Corbelan, as well as Rain. Andy, meanwhile receives a software upgrade in order to find out how to deal with the facehuggers and adult xenomorphs that are nestled within the dark corridors of the station. However this upgrade overwrites his benevolent personality and his motives become more nebulous as Rain and the others try to escape the station.

While Alien: Romulus has a fairly simple storyline, it delivers with well-earned jump scares and a pervading sense of dread and intense suspense throughout the film. It also has a few homages and call backs to the other films, which are sometimes a bit too-on-the-nose. But overall, these references pan out and the film manages to add new wrinkles to the Alien lore as the motivations behind Weyland-Yutani are fleshed out, which leads to some truly horrifying moments in the final act.

Fede Alvarez deserves much of the credit for how well Alien: Romulus turned out. He injects the film with a back-to-basics approach that focused on horror, which is what made the first film so memorable. Alvarez knows how to keep audiences in suspense with his use of shadows and sounds, which made the station feel like a haunted house in space as the deadly xenomorphs stealthily stalked their victims. He wisely keeps the creatures in the shadows, which adds to the feeling of primordial terror we and the characters feel while confronting the deadly and opaque unknown.

The actors turn in solid performances with Jonnson being the best standout thanks to his portrayal of Andy. At first, Andy, being an obsolete model, comes off as a sympathetic character from the way he is mistreated by humans. We can see that although Andy is synthetic, he has emotions and only wants to protect Rain and the others. But once, he receives his upgrade he transforms into a cold and unfeeling being who is compromised by the goals of the Weyland-Yutani company to the point that the characters cannot be certain that he has their best interests in his artificial heart.

By going back to basics, Alien: Romulus reinvigorates the Alien franchise by focusing on what made the first two films work so well. That is the sense of cosmic terror one may encounter out there in the unknown regions of space.

José Soto