Lamplight on the Ball Project:Toy Story 1995

The Next Step in Animation History and Technology

It all started in 1983, when a young man named John Lasseter was shown the light-cycle scene from Tron, made only the previous year. It was an eye-opening experience that awakened Lasseter to the possibilities offered by the new medium of computer-generated animation. He later tried to pitch The Brave Little Toaster as a fully computer-animated film to Disney, but the idea was rejected and Lasseter was fired. He then went on to work at Lucasfilm and in 1986, he became a founding member of Pixar. In 1986, Pixar was purchased by the late Steve Jobs. At Pixar, Lasseter created short, computer-animated films to show off the Pixar Image Computer's capabilities. In 1988, Lasseter produced the short film Tin Toy, which was told from the perspective of a toy, referencing Lasseter's love of classic toys. Tin Toy won the 1989 Oscar for Best Animated Short Film, the first CG film winner.

THE PLOT

A group of sentient toys, who pretend to be lifeless when humans are around, are preparing to move into a new house with their young owner Andy Davis, his infant sister Molly, and their single mother. Learning that Andy's birthday party has been unexpectedly moved to an earlier date, several toys — including Mr. Potato Head, Slinky Dog, Rex the dinosaur, Hamm the piggy bank, and Bo Peep the porcelain doll — become concerned that Andy might receive something that will replace them. To calm them, Sheriff Woody, Andy's favorite toy and their de facto leader, sends Sarge and his green soldiers to spy on Andy's birthday party with a baby monitor. Andy receives a Buzz Lightyear action figure, who believes he is an actual Space Ranger and does not know he is really a toy. Buzz impresses the others with his high-tech features and becomes Andy's new favourite toy, provoking Woody's jealousy...

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Tin Toy gained Disney's attention, and the new team at Disney, CEO Michael Eisner and Chairman Katzenberg, sought to get Lasseter to come back. Lasseter, grateful for Jobs' faith in him, felt compelled to stay with Pixar, telling co-founder Ed Catmull, "I can go to Disney and be a director, or I can stay here and make history." Katzenberg realized he could not lure Lasseter back to Disney and therefore set plans into motion to ink a production deal with Pixar to produce a film. Disney had always made all their movies in-house and refused to change this. But when Tim Burton, who used to work at Disney, wanted to buy back the rights to TheNightmare Before Christmas, Disney struck a deal allowing him to make it as a Disney film outside the studio. This allowed Pixar to make their movies outside Disney.

Both sides were willing. Catmull and fellow Pixar co-founder Alvy Ray Smith had long wanted to produce a computer-animated feature, but only by the early 1990s were the computers cheap and powerful enough to make this possible. Additionally, Disney had licensed Pixar's CAPS, and that made it the largest customer for Pixar's computers. Jobs made it apparent to Katzenberg that although Disney was happy with Pixar, it was not the other way around: "We want to do a film with you," said Jobs. "That would make us happy."

Catmull, Smith, and head of animation Ralp Guggenheim met with the Disney Feature Animation president Peter Schneider in the summer of 1990 to discuss making a feature film, but they found the atmosphere to be puzzling and contentious. They later learned that while Katzenberg was pushing the idea of working with Pixar, Schneider did not want to bring in a non-Disney animation studio. Katzenberg arranged to meet directly with the Pixar contingent, this time including Lasseter and Jobs. The Pixar team proposed three separate ideas for their first major project, including an original idea entitled Bob the Dinosaur, an adaptation of James and the Giant Peach, and a Christmas TV special called A Tin Toy Christmas. Disney greenlit the third idea, but Katzenberg countered that as long as they were gearing up to transition from 30-second commercials to a half-hour special, they might as well go all the way and make a feature-length film. 

Katzenberg also made it clear that he was only working with Pixar to get access to Lasseter's talents, and that the Pixar team would be signing up to work with a self-described "tyrant" and micro-manager. However, he invited them to talk with Disney's animators and get their opinions on working under him and Lasseter was impressed with what he heard. The two companies began negotiations, although they disagreed on key points including whether Disney would get the rights to Pixar's animation technology or whether Pixar would retain partial ownership of the films, characters, and home video and sequel rights. As Pixar was nearing bankruptcy and desperate for funds, they settled on a deal that would allow Disney to have complete ownership and control of the films and characters, including the rights to make sequels without Pixar's involvement, while Pixar would get approximately 12.5% of ticket sales. These early negotiations became a point of contention between Jobs and Eisner for many years. An agreement to produce a feature film based on Tin Toy with a working title of Toy Story was finalised, and production began soon thereafter.

Katzenberg approved the script on January 19, 1993, at which point voice casting began. Paul Newman, who subsequently accepted another Pixar role, was considered for the role of Woody. Robin Williams and Clint Eastwood were also considered for Woody, but Lasseter always wanted Tom Hanks, claiming Hanks "has the ability to take emotions and make them appealing. Even if the character, like the one in A League of Their Own, is down-and-out and despicable.” To gauge how an actor's voice might fit with a character, Lasseter adopted a common Disney technique: to animate a vocal monologue from a well-established actor to meld the actor's voice with the appearance or actions of the animated character. This early test footage, using Hanks' voice from Turner & Hooch, convinced Hanks to sign on.
Billy Crystal was approached to play Buzz, and was given his own monologue, utilizing dialogue from When Harry Met Sally. However, he turned down the role, believing the film would be unsuccessful due to its animation. Crystal regretted this upon seeing the film; again, he subsequently accepted a later Pixar role In addition to Crystal, Bill Murray, Chevy Chase and Jim Carrey, along with a number of other actors, were considered for the role of Buzz. Lasseter took the role to Tim Allen, who was appearing in Disney’s Home Improvement, and he accepted. Crystal later stated in an interview that he would not have been right as Buzz, and that Allen was "fantastic" in the role. Before Wallace Shawn and Jim Varney were cast as Rex and Slinky Dog, Though Rick Moranis and John Cleese were originally considered.
To cast Andy, Pixar held an open call for young male actors to bring a toy with them. John Morris brought multiple toys, specifically 45 X-Men figures, contrary to the instructions of bringing just one, and Pixar reacted to his dumping of the toys with laughter.

MY VERDICT

I can’t remember how old I was when I first saw this film, but I did see it in the cinema; and of course it was a huge shock to someone who was used to handrawn movies from Disney. But I think around the point of Buzz’s first flight, I was officially hooked. I wll admit that the animation looks dated compared to later Pixar films, but I never let that detract from my enjoyment. And neither should anyone else. And as for the rest of this trilogy? We’ll get to that awesomeness in due course.

Is Toy Story a Pixar Classic? Just like Snow White before it, it was the first of it’s kind. And just like Snow White, it has aged like fine wine.

Lamplight on the Ball Project: Intro

Five years ago, I embarked on a daring, if not exactly new, endeavour, that still continues to this day, to watch and review all of Disney’s animated films from Snow White to, at that point, Frozen 2. And then keeping it going with every new film Disney releases thereafter. And I made the rule back then that Pixar was one thing I would not be including in my reviews. 

YET. 

Well, ladies, gentlemen, and all points in between, that long awaited day of Pixar’s freedom from my review purgatory has finally arrived. Because, as with Disney, I’ve been a devoted fan all my life. I was five when Toy Story came out, which I loved, and three years later A Bug’s Life came out and I remember convincing my aunt to come with me to see it again and we both loved it.

And, incidentally, as with Disney, I also have a Pixar tattoo on my shoulder blade, first one I ever got. 

The problem is, however, since there are obviously far fewer Pixar films than Disney, the margin for error is far smaller. But, my goal will remain the same; nostalgia and fandom will play no part in it. Only objective, unbiased study and criticism.

So, very soon, I will be reviewing all films released by Pixar since 1995. And again, every time a new film comes out.

TO INFINITY AND BEYOND!!!

The Magic Kingdom Project: Moana 2 2024

The One That Should Have Been A Series

Disney has always received a ton of flack for its reliance on recapturing the magic of the past, which I find ironic, considering the fact that of their 63 films, only four have been given theatrically released sequels, Rescuers Down Under, Fantasia 2000, Ralph Breaks the Internet and Frozen 2. As opposed to that questionable period in the 90s - 2000s when every successful Disney film was given a sub par, direct - to - DVD sequel.

It's also interesting to remember that this film wasn't even in the works until last February, when Bob Iger announced that a planned Disney+ series about our first Polynesian princess was being metamorphosed into a cinematic sequel coming November. Did this mad new plan actually produce a worthy sequel to an animated gem like Moana?... I think so. Mostly.

THE PLOT
Three years after allying with demigod/trickster/manchild Maui to restore the heart of Te Fiti, Moana has become a master wave finder exploring islands near Motonui in the hope of finding other people who are as connected to the ocean as she is. In the middle of an Ava ceremony, Moana is hit with a sudden vision of her ancestor, Tautai Vasa, who explains to her that none of those people are connected anymore because the malicious, vengeful storm god Nalo (Tāwhirimātea in Polynesian mythology), wanted to rule over the mortal world, so he sank the legendary connecting island, Motufetu, into the sea. Tautai warns Moana that if she cannot somehow raise Motufetu, her own people on Motonui will be extinct in the near future. Moana realises quickly that she cannot do this alone, so she puts together a mostly willing crew of her countrymen, plus the aforementioned demigod/trickster/manchild and a couple of animals, to follow the path of an incredibly convenient comet towards the spot whence Motufetu is said to have been drowned.

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From this summary, one can easily see how episodic it all sounds, especially since Moana and Maui don't reunite for about 40 minutes out of 100. In a show, this would be a plot to keep you hooked, but in a full length film, especially one in which the central relationship between the two is one of it's best strengths, it could be a problem. But thankfully, Moana and her crew keep you mostly well entertained until he does show up. At which point the film improves just that little bit extra that it may have been lacking.
Note: None of this is to say that Moana is not an interesting character without Maui. On the contrary, the great and powerful Auli'i Cravalho slips back into her role almost effortlessly. And her vocal performance is one of the same equal parts fearlessness and ferocity that made her perfect for the role in the first place. Moana is as positive and bubbly as she was nine years ago but also evolving before our eyes into the mature leader she was always meant to be, proving that she can face any challenge necessary for the betterment of her island and family. 
Sadly, Lin - Manuel Miranda has been busy slumming it with Mufasa, the Lion King. So Abigail Barlow and Emily Bear were brought in to replace him, resulting in mostly pale imitations of the songs from the first movie, with "How Far I'll Go" becoming "Beyond" and "You're Welcome" becoming "Can I Get A Chee Hoo?". Not to mention "What Could Be Better Than This?", which is where Miranda's absence is most obvious. Sung well, don't get me wrong, but the lyrics in the rap section are incredibly clunky and just don't flow like Miranda's lyrics would. On the other hand, the soundtrack, from Mark Mancina and Opetaia Foa'i is monumentally gorgeous.

MY VERDICT
Like the Rescuers Down Under 35 years ago,  Moana 2 is clunky on its narrative, but a visual masterpiece. One must assume that once turned from a series to a film, the animators began a gargantuan overhaul of the sequences originally intended for TV to rework them to become cinematic. And in this, they were a resounding success. Dazzling photorealistic water, lush tropical backdrops and practically human character designs, the animation surpasses that of the original. Every frame accentuates the fact that the big screen is where this film will forever belong.

Is Moana 2 A Disney Classic?: Visual splendour, mostly well written characters, but a clunky narrative and not many decent songs... I think not.

The Magic Kingdom Project: Wish 2023

The Legacy of an Empire

As their expansive year-long Disney 100 celebration finally concludes, Walt Disney Animation Studios is set to deliver their 62nd feature-length animated film nearly ninety years after Snow White and the Seven Dwarfs began arguably the most enduring legacy in the history of cinema. Standing as a loving tribute to everything that makes Disney animation so unique, magical and uniquely magical, Wish is a gem. A wondrous throwback to classic animated musicals of the past, this is easily the best family film of the season.

THE PLOT

Through the combined use of that ancient tradition of the storybook opening, and the Disney Renaissance tradition of a lively opening musical number, we’re introduced to the mythical island kingdom of Rosas, a utopian society established by the charismatic King Magnifico (Chris Pine, making up for his questionable vocal performance in DreamWorks Rise of the Guardians) that welcomes lost souls from all around the world. One such inhabitant is Asha (a perfectly cast Ariana DeBose), a wide-eyed 17-year-old anxiously preparing for her interview with the king to hopefully land the coveted role as his sorcerer’s apprentice. For, of course, Magnifico is no ordinary ruler.

After a dark tragedy in his youth, Magnifico learned the mystical arts to become a powerful wizard capable of granting wishes to those he deems worthy. On their 18th birthday, the citizens of Rosa each make a wish before Magnifico which vanishes from their memory into bubbles for their king to keep safe in his imposing tower. Each month, Magnifico selects one lucky resident to have their wish fulfilled. And, this month, Asha is hoping her beloved 100-year-old grandfather, Sabino (Victor Garber) will be the chosen one.

But that all changes when Asha learns the truth behind Magnifico’s selection process and his true intentions for everyone’s wishes. Desperate for help to overcome Magnifico’s nefarious plans, Asha follows her late father’s advice to “wish upon a star,” leading to a literal, magical ball of boundless energy called Star floating down to Earth. With Star’s magic and the support of her trusty (and, thanks to a sprinkle of stardust, anthropomorphic) pet goat, Valentino (Alan Tudyk), Asha must find the strength to defeat Magnifico and save her beloved town.

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It is obviously no coincidence that this film has been released in conjunction with Disney's centenary; it's been plastered everywhere all year, though, being the hobbit I am, I saw very little of that until really the trailers. It is the very summit of everything the studio has been celebrating this year, and Walt Disney himself, I'm sure, is in some kind of mirror dimension, having watched it all come together, and positively crying with joy. While there are conceptual throwbacks to numerous other Disney animated films, it’s a golden formula that still works after 84 years of films.

Now do not mistake me, this film is SO much more than some irritating little fest of nostalgia that does nothing more than strangle us by the past; we have all the live action remakes for that. There are beautiful little Easter eggs dotted all over the film; most of which made me, one who has seen and owned every single animated film Disney has ever made, giggle like a little fan boy. It begins with the aforementioned storybook automatically opening its pages, reminiscent of some favourites of mine like Sleeping Beauty and Cinderella. The very notion of wishing upon a star is an obvious nod to Pinocchio. Asha has a group of seven friends who each share a characteristic and colour palette with Snow White’s seven dwarfs. Magnifico’s lair features a familiar-looking poisonous apple. And cute sidekicks, an OBVIOUS villain, and a few catchy original songs are the very cornerstones of every Disney classic.

But this film is ultimately how you create a loving homage instead of lazily rehashing it. What really brings back those memories of Disney animated films of yesteryear is the stunning visuals. While it’s not entirely a return to traditional 2D “hand-drawn” animation, it’s the closest we’re going to get for a while yet sadly. Something thought seemingly impossible in an age where 3D photorealistic animation dominates the industry. It’s hugely refreshing to see Disney try something different after years of animated films that all looked marvellous but mostly similar in style.

MY VERDICT

Some people may have expected/wanted this film to actually feature one character from each of the 61 previous films. Methinks this would have been completely superfluous and the characters this film already has, stand perfectly on their own. The music is equal parts nostalgic and current, and really solid. The animation, a mix between 3D and 2D, is personally the stand out of this particular film for me.

Is Wish a Disney Classic? Of course. If not now, then soon. And inevitably.

The Magic Kingdom Project: Strange World 2022

The Charming Little Living Wonder

You probably didn't hear about this one until it was whisked onto Disney+ without even any noticeable promotion, which is very strange for Disney, of all multi billion dollar corporations, to do. You'd think they would want to make as much noise as possible about their attempt to make up for their support of the  "Don't Say Gay" bill in Florida. But, having said that, Disney definitely attempted to make up for that with a charming little piece of multi minority representation that deserves celebration, not crickets.

While its plot is generic, Strange World is a beautifully animated delight with an intergenerational father-son narrative that may just hit you right where you wanna be hit. Elevated by stunning world and character design and a hefty helping of progressive topics major animation studios generally shy away from, it’s an unassuming game-changer that pays tribute to the Disney's centennial legacy while pushing it into uncharted territory.

THE PLOT

Intrepid explorer Jaeger Clade (Dennis Quaid), has made it his life’s mission to find a path beyond the treacherous mountain peaks that completely fringe the border of his secluded homeland of Avalonia. Unlike his father, Searcher (Jake Gyllenhaal) has little interest in exploration and is far more invested in science and farming. After the pair butt heads on Jaeger’s latest path found through the cliffs, Jaeger ventures off on his own, never to be seen again.

Fast forward 25 years and Searcher is now somewhat of a hero in Avalonia after discovering a mysterious orb plant known as Pando holds electrical properties and has been utilised to power the entire town. Living blissfully on his pando farm with his pilot wife, Meridian (Gabrielle Union) and their gay teenage son, Ethan (Jaboukie Young-White), Searcher’s life is upended by a visit from Callisto (Lucy Liu), his father’s old exploring pal and current president of Avalonia.

It seems an unknown virus is infecting all pando crops in the land, reaching all the way down to the “heart of pando,” the original source of the plant at the centre of the world. Determined to uncover what’s causing the catastrophic disease, Callisto invites Searcher to join her expedition and lend his scientific expertise. While initially apprehensive, Searcher reluctantly agrees but forbids exploring-obsessed Ethan from tagging along.

Naturally, the mission doesn’t go as planned, with the entire crew transported to a bizarre underground labyrinth inhabited by exotic flora and fauna wherever they look. Things only become more complicated when Searcher discovers Ethan and the family’s trusty three-legged dog Legend have stowed away on board and the unexpected re-emergence of Jaeger, who’s evidently been trapped in this foreign world for more than twenty years.

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OK, So the plot is not at all groundbreaking or original. A mismatched group of characters venturing off into a fantastical world of weird creatures, exotic locations, and dangerous situations is something the animation genre has done to death. Films like Treasure Planet and Atlantis: The Lost Empire have famously travelled this road, and not spectacularly well at that, so there’s nothing about this setup that you haven’t seen before. Screenwriter and co-director Qui Nguyen leans heavily into the familiar tropes of the adventure genre and pays homage to classic films like Journey to the Centre of the Earth and 20,000 Leagues Under the Sea. It’s a predictable experience, and this is what makes this movie beautiful, but not exactly memorable.

But where Strange World differentiates itself from the shallow Disney animated films of the past is its keen focus on character and its commitment to exploring deeper themes. The entire Clade clan feel like fully-fleshed-out characters with complex personalities that often juxtapose with those around them. The father-son narrative is rooted in the universally empathetic notion of wanting to make your parents proud. And vice versa of yearning for your child to be proud of your efforts as a parent and find a common understanding of the choices, decisions, and mistakes you’ve made. And as a side note, there is a shot of a paraplegic boy in the beginning of this movie, and as a disabled person, it always warms me to see a disabled character in any film whether it be animated or not.

That’s a challenge that becomes complicated when father and son are so wildly different and the child isn’t interested in following in their parent’s footsteps, as seen with Searcher’s desire to settle down on the farm instead of heading off on a daring new adventure like Jaeger. If this describes your relationship with your parents, this film will strike you right in the heart. When Searcher begins to realise his son seemingly connects stronger with his grandfather’s adventurous outlook on life, he fears their relationship is headed for a similar fractured territory. It’s in these intimate and relatable moments that Ngyuen’s writing really shines.

Apparently Pixar dabbled with brief LGBTQ representation in Lightyear and the potentially gay subtext of Luca, I say apparently because I never saw either of those films, and I don't think I will see Lightyear. Disney beats them to the punch with an openly gay character at the forefront of one of their animated film. And it’s not entirely subtle about it either. When we first meet Ethan, he’s evidently already come out to his accepting parents and has no problem candidly discussing his burgeoning crush on local boy Diazo. Later, he shares this information with his grandfather who doesn’t bat an eyelid when Ethan uses male pronouns to discuss who his heart desires. In the hands of lesser filmmakers, Jaeger may recoil at this revelation and take a nauseating path to tolerance over the course of the film. He doesn’t and the film is better for it.

MY VERDICT

As someone who isn't part of the LGBTQ community, the rainbow community, I call it; I wasn't sure what to make of this one at first. But now I see that this is a movie that dares to say, despite what the Mike Pences and Sarah Palins of the world would have you believe, that LGBTQ people are normal human beings with thoughts, feelings and hearts. On the other hand, neither is it overtly sexualised or confronting to the point it may be too much for kids. It’s all handled so seriously and sensitively that you might assume queer members of the production team were consulted for their input to get it right. It’s refreshing to see a queer character and a gay romance conveyed in a manner that truly breaks new ground for Disney animation. 

As we’ve come to expect from animated fare this decade, Strange World is a visually dazzling epic that genuinely pounds away at your eyeballs for ninety minutes in the best conceivable way. The worlds and creatures resemble something like a glorious cross between the lands of Avatar‘s Pandora and the underwater marvels of Australia’s Great Barrier Reef. This eccentric luminescent wonderland is filled with creatures and environments that take inspiration from the sea with curious twists that create something staggeringly unique. There’s eventually an explanation as to how and why everything co-exists in this world that suddenly makes everything you’ve witnessed make much more sense. It pushes the narrative into an environmental conservation message that maybe feels a little preachy to some, but personally I think if we've learned anything from Zootopia, it's that even obvious can be obvious enough.

Is Strange World a Disney Classic? In time, perhaps it might be, but not yet.

The Magic Kingdom Project: Encanto 2021

The Celebration of Cultura Colombiana.

It’s been quite a year for Lin- Manuel Miranda. Does this man ever sleep? From a big-screen adaptation of his Tony Award-winning musical In The Heights in June to his directorial debut with the stellar triumph Tick, Tick… Boom! in November (plus an Emmy win in September for the Disney+ live recording of Hamilton), Miranda wraps up 2021 by collaborating with Walt Disney Animation Studios and the Oscar-winning directorial duo behind Zootopia.

Considering the mighty pedigree behind Encanto, expectations are naturally rather high for Disney’s canonical 60th animated feature film. The fusion of Colombian culture with the beautiful visual magic of Disney animation proves to be a real winner. One of the best family films of the year, Encanto is gorgeously animated and fueled by a story with so much heart. Its narrative may be familiar, but its heartwarming message is timeless and its characters are magical in more ways than one.

THE PLOT

Deep in the mountains of Colombia, in a secluded valley, lives the Madrigal family, lead by Abuela Alma. By the power of an ever - burning candle, the Madrigals have been gifted with a sentient "casita" as refuge after a terrible personal tragedy. To help protect the family and their neighbours, the candle also imbues each new family member with a special power. Alma's three children, for example, Julieta, Bruno and Pepa, are gifted respectively with the powers to heal with food, to see premonitions, and to control the weather with her emotions. 

When the next generation of Madrigals each turned five, the casita would present a new door that reveals their gifts. Dolores has the hearing of a fox. Camilo can shape-shift. Antonio, the newest recipient, can talk to animals. Luisa is female Heracles. Isabela can make beautiful flowers blossom at will. And then there’s Mirabel, who stunned her entire family by getting the gift of, as my late grandfather would put it, sweet Felicity Arbuckle.

Thus Mirabel feels like an outsider and a disappointment all the time, especially to Alma. So when Mirabel starts noticing cracks in Casita's walls and floor, she realises the magic that’s blessed her family may be failing. Terrified at the very idea that her family may be losing their gifts, not to mention their home, Mirabel is determined to at least attempt to save both. But is Mirabel the answer to this problem or the cause??

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In many ways, Encanto is not typical animated fare. It’s comparatively low stakes are centred on a familial drama rather than some daring adventure. More concerned with exploring these characters than plonking them in bombastic set-pieces. There’s no surprise dastardly villain, nor sign of a gooey love story for our protagonist. As with most animated heroines of late, the decidedly “ordinary” Mirabel does not fit the archetypical Disney mould of yesteryear. She’s awkward, insecure, and feels wildly inadequate compared to her “perfect” sister, Isabela. Only decades ago, Mirabel’s gorgeous sibling would have the central character. Mercifully those days are over.

Though, of course, decades ago, no dang Disney movie would ever have been set anywhere like Colombia, and even if it were you'd never know, because the movie would never feature the locals anywhere but the background, to say nothing of the fact that the voice cast would be composed entirely of white people trying to sound Latinx. Mercifully, again, times have changed. As with Raya and the Last Dragon earlier this year, Disney is attempting diverse representation in animation by way of an authentic depiction of chosen set country, it's culture and people. And, like Raya, it sets another landmark moment for a studio with a questionable history that it has atoned for about three times over within the last ten years alone.

Obviously it is not for an ageing white man who knows next to nothing of Colombia to determine the accuracy and authenticity of what has been created here; but for the money of said ageing white man, Encanto is as joyous a celebration of Colombia as Pixar's Coco was of Mexico. They both almost literally leap out of the screen. It also shows how committed they are to presenting an accurate depiction of the country they present to the world when you see the different skin tones of all the characters; added again to that, the fact that these characters have no big names providing their voices, simply choosing the right actors for the right parts, most of them actually Colombian.

And then there are Lin - Manuel Miranda’s eight original songs that highlight his penchant for zippy wordplay. There’s only one immediate earworm of a song, but they all fit the typical roadmap that comes from the melding of Broadway sensibilities and Disney animation we’ve come to expect since the days of the late, great and powerful Howard Ashman. The toe-tapping opening number “The Family Madrigal” introduces us to the entire clan and their unique abilities. Mirabel and her sister Isabela are each given the staple “I Want” numbers in the forms of “Waiting On A Miracle” and "What Can I Do?" respectively.  And everything wraps up with a lavish celebratory ensemble number in “All Of You.”

MY VERDICT

Encanto is a STUNNING creation. 84 years and 60 films since Snow White and the Seven Dwarfs in 1937, the magic of the kingdom and the house that Walt built is still clearly as strong today as it was then. This film is a joyful ode to the power and spirit of family and Colombian culture.

Is Encanto a Disney Classic? Now? I doubt it. Later? Only time will tell. For me? Without question.

The Magic Kingdom Project - Raya and the Last Dragon 2021

The Semiprecious Gem in Disney's Crown

After a slight release date delay and a change in release strategy, Walt Disney Animation Studios is finally ready to unveil their 59th animated feature film. In what will stand as one of the first big blockbusters of 2021, Raya and the Last Dragon is the breath of fresh air we all need after months of lockdown. With all the hallmarks of classic Disney animation, it’s a dazzling, entertaining delight that gifts the world a courageous new Disney heroine for the ages and a hilarious, loveable sidekick who takes her place amongst the best there’s ever been.

THE PLOT

“How did this world get so broken?” asks our titular protagonist, Raya (Kelly Marie Tran). It seems her mythical ancient Asian homeland Kumandra wasn’t always the desolate dystopia we see before us. 500 years ago, Kumandra was a utopia where humans and dragons lived in harmony. The dragons protected the inhabitants from evil forces and brought peace and prosperity to Kumandra. When catastrophic plague monsters known as the Druun threatened to destroy Kumandra and turn the humans into stone, the dragons sacrificed themselves to save humanity. The last of their kind, Sisu (Awkwafina) placed all her energy inside a gem to defeat the Druun and disappeared from existence. But possession of the gem caused in-fighting amongst the citizens of Kumandra and the land split into five separate factions, each named for a part of a dragon: Tail, a harsh desert land home to a band of fierce mercenaries; Spine, a floating market filled with sneaky thieves; Spine, a lush bamboo hinterland inhabited by booming warriors whose weapon of choice is an axe; Fang, which boasts angry assassins and their angrier cats; and Heart, the land from which Raya herself hails and where her family has guarded the dragon gem for generations. After hundreds of years of fighting, Raya’s father, Chief Benja (Daniel Dae Kim) attempts to unite the lands and re-establish Kumandra to its former peaceful glory. But when jealousy and betrayal cause the Druun to return, Raya and her pet pill bug Tuk Tuk (“voiced” by the sound effects stylings of Alan Tudyk) must journey afar in an attempt to locate Sisu and vanquish the Druun once more. Hot on Raya’s heels is Namaari (Gemma Chan), a warrior princess of Fang whose mother, Chieftainess Virana (Sandra Oh) has plans of her own for the dragon gem.

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The key to the success of such a concept lies in the voice casting, particularly that aforementioned scene - stealing sidekick. Mulan had Eddie Murphy. Frozen had Josh Gad. Moana had Dwayne Johnson. And Raya and the Last Dragon has Awkwafina. Selecting her as the goofy water dragon is a piece of ingenious casting perfection. From the moment Sisu bursts onto the screen, Awkwafina’s sublime performance grabs your attention and refuses to let go. Overflowing with endless humour and gorgeous heart, Awkwafina’s sensational vocal work is reminiscent of the late, great Robin Williams in Aladdin. Much like Genie, Sisu is a deeply empathetic soul, filled with a sweet naïveté, yearning loneliness, and an insatiable spirit that’s impossible to resist. And this is a change of pace for me because Awkwafina usually irritates me or at least, she did in Crazy Rich Asians.

With the brave, plucky Raya, Disney continues its impressive determination to offer modern animated female protagonists that break the tired damsel in distress mould Frozen effectively shattered in 2013. Raya isn’t waiting for her prince to come which is lucky because there is no semblance of a love interest for the titular character in sight, unless, like me, you count the sexual tension between Raya and Namaari that may one day be fully realised when Disney stops being afraid of the army of bigots and homophobes who make up a heavy portion of their audience. This story is of one young woman’s journey of self-discovery and enlightenment. Burnt by a wicked betrayal in her youth, Raya is a sceptical misanthrope who will soon learn the power of friendship, trust, and unity. Voiced with the perfect balance of strength and vulnerability by Tran, Raya is a fresh, intelligent new icon for young viewers to emulate. And she’s like an Asian Xena to boot. Blessed with impressive fighting skills and natural ability with a sword, Raya swashbuckles her way through numerous thrilling set-pieces, overflowing with exciting fight choreography that taps into ancient martial arts with impressive precision. While she was apparently woefully underused in those Star Wars films I never saw, Tran showcases an ability to lead a film with tremendous energy and endless warmth. Her earnest chemistry with Awkwafina is almost sororal and it becomes the film’s true heart. Throughout Raya’s epic journey, she’s joined by a cast of characters that each steal focus when given the opportunity including Benedict Wong as Tong, a booming Spine warrior with a heart of gold, Thalia Tran as Little Noi, a cheeky toddler con artist aided by a trio of monkey-like ongi, and in a slightly lesser way, the incorrigible Izaac Wang as Boun, a scrappy, fast-talking young entrepreneur with the best shrimp dishes in Tail. And, of course, Tuk Tuk is another sublimely adorable Disney animal creation who’s part pill bug, part armadillo, and a dash of pug. 

MY VERDICT

In another huge step forward for diversity in Disney animation (though it took them seven years to do it), the locations and characters retain their distinctive Asian features without feeling too “Disneyfied.” Unlike Mulan, the voice cast is composed entirely of Asian actors, highlighting the progression of the Disney production and casting process. What this song lacks in ear worms, it makes up for with animation that rivals Sleeping Beauty and a score that rivals Aladdin. Plus an excellent plot which, though familiar in places, is still overall new and very creative. My one gripe would seem quite trivial to many but it’s not trivial to me, I miss my Disney Villains and I want them back.

Is Raya and the Last Dragon a Disney Classic? With a terrific cast, stunning animation and a plot that is both familiar and new, I will gladly put this film in the Disney Classic category.