For the longest time, Disney had this reputation of sanitizing fairy tales for a family-friendly audience. Now that Disney has evolved into an eldritch abomination of a mega-corporation, however, there’s a movie within the umbrella that takes fairy tales back to their horror-themed roots: Doctor Strange in The Multiverse of Madness.
Spoilers for Doctor Strange: Multiverse of Madness.
Each of the main characters in this movie fall under a fairy tale archetype. While the movie is categorized as horror, fairy tales and horror have a long history of going together. The original Brothers Grimm fairy tales usually had some sort of body horror along with lots of dark atmospheric settings.
America Chavez: The Princess In Distress
Yes, my dear readers, America Chavez is secretly a Disney Princess. And like a lot of Disney Princesses, she starts out as a damsel in distress. This precocious young girl is in way over her head with powers she doesn’t understand along with demons chasing after her. However, America learns that she needs to tap into her self-confidence and trust in her ability to hone her powers. Once she does so, she ends up saving the day. I really hope that I see more of America Chavez in future MCU installments.
Wong: The Noble Knight
Wong is the Sorcerer Supreme and while he plays a supporting role in this movie, his archetype is that of the Noble Knight. He is stalwart, courageous, and loyal to his friends. He stands up to the villain and keeps Doctor Strange in check.
Wong seriously needs his own movie or series on Disney Plus.
Christine Palmer: The Helper-Maiden
In Saint George and the Dragon as well as the myths of Jason and Medea (and Theseus and Ariadne), the helper-maiden is a woman who helps the hero. Christine Palmer is essentially Doctor Strange’s anchor, reminding him of what he needs to do. Much like Wong, Christine constantly questions Strange and does her best to protect America Chavez.
Wanda Maximoff: The Evil Witch/Queen
Every fairy tale has one. And I’m not gonna lie: Wanda being the villain of this movie hurt, especially after Wandavision. Corrupted by the Darkhold and driven by a grief that she hasn’t been able to process, Wanda grasps at dark powers, all for the desire to have some sense of control over her life.
What separates Wanda from every other Evil Witch and Evil Queen is that her motivations are ones that any grieving mother and widow can understand. And eventually, she learns her lesson, realizing that she turned into a monster that frightens her own children.
(I also do not think that Wanda is dead, even with her collapsing the Darkhold tower around her. She is way too powerful to go down that easily.)
Doctor Stephen Strange: The Clever Trickster
Doctor Strange’s archetype is one that’s found more often in mythologies and folklore than fairy tales. The Clever Trickster takes the form of the cunning fox or the sly crow, the gods Hermes and Odin, and Loki, heroes like Odysseus, Jason, and Theseus.
Doctor Strange’s lesson in this movie is humility. Every other Strange in every other universe was arrogant, prone to corruption, and always took charge at the expense of what everyone else needed. Strange knows better than anyone that actions have consequences and by the end, he takes a good step in humility by bowing to Wong, the Sorcerer Supreme and his most trusted friend.
One other way that Doctor Strange learns humility is that he is humble enough to let Christine Palmer be happy. Even though he loves Christine, he won’t hold her or any other version of her hostage. Their love was never meant to be and Strange has accepted that.
I’ll end this blog post with a quote from GK Chesterton, who knew a thing or two about fairy tales:
Fairy tales, then, are not responsible for producing in children fear, or any of the shapes of fear; fairy tales do not give the child the idea of the evil or the ugly; that is in the child already, because it is in the world already. Fairy tales do not give the child his first idea of bogey. What fairy tales give the child is his first clear idea of the possible defeat of bogey. The baby has known the dragon intimately ever since he had an imagination. What the fairy tale provides for him is a St. George to kill the dragon.
Exactly what the fairy tale does is this: it accustoms him for a series of clear pictures to the idea that these limitless terrors had a limit, that these shapeless enemies have enemies in the knights of God, that there is something in the universe more mystical than darkness, and stronger than strong fear.
And that is why fairy tales and horror go hand in hand.
By now, Raya and the Last Dragon has been out in theatres for a while and will be on Disney Plus for free to watch by next month or by June. But I’ll do my best to keep things as spoiler-free as possible.
It goes without saying, but Asian stories, much like Asian cultures, are not a monolith. They do, however, have a different type of story structure and worldbuilding. Certain movie commentators were quick to compare how similar Raya was to Avatar: The Last Airbender and I can see why. When I first watched the trailer, Raya reminded me of Korra because of how she dressed. And if you watched the Honest Trailer, the premise is similar to Avatar in the sense that a world needed to be rebuilt.
What makes Raya unique are the major characters. Raya, in contrast to most Disney protagonists, is cynical. She has trust issues and her character arc centers on her learning how to open up and trust people again. She is both a warrior and a princess. She’s an amazing leader and I cannot wait to cosplay her when conventions are a thing again.
The reason why Raya has trust issues is Namaari from Fang, the main antagonist (aside from the Druun) who has what I call a “shonen rivalry dynamic” with Raya. Shonen rivals are common in anime. Think Deku and Bakugo from My Hero Academia or Goku and Vegeta from Dragon Ball Z or Naruto and Sasuke. The main character of a shonen anime always has a rival who acts as both a foil and an antagonist, but the rival isn’t always necessarily the main villain.
Sisu is an especially fascinating character to me. I don’t usually see “mentor” characters who have a more idealistic mindset. This is just a theory, but I think Sisu might be a child in dragon terms. The way she talks about her fellow dragons reminds me of a young child describing their older siblings. In the trailer, Sisu describes herself as the kid that didn’t contribute much to the group project and it’s established that she doesn’t have any specialized powers aside from being a good swimmer. Whatever other powers she gets in the movie were borrowed from the MacGuffin.
The supporting characters, while not as fleshed out as the main three, feel unique to me as I don’t usually see the comic relief sidekicks contributing to the main action, at least not in typical Disney movies. In fact, the only other instance where the comic relief side characters got involved with the main action was Mulan (the original, not the live-action version). All of them were very enjoyable to watch.
I also love that there are elements of Southeast Asian culture. I could recognize stuff that came from Filipino culture, especially the emphasis on food and gift-giving. (Incidentally, Sisu’s love language is totally gift giving and she’s a great example of how gift giving doesn’t mean spending big, but just the desire to give a gift to someone in the hopes of making them happy.)
Do I think this movie is 100% perfect? Heck no! Did I enjoy this movie? Totally! And I think it’s definitely one for the whole family. The moral of this movie is a bit of a mixed message considering real world implications, but it’s one that’s worth discussing. And at the end of the day, I love the idea of a positive, uplifting message in times such as these.
I really hope that there can be some kind of expanded material for this movie, in a similar vein to Tangled, which got its own series. I want to explore the world of Kumandra more because I really liked all the characters and want to spend more time with them.
And if you can’t take my word for it, I’ll share this video from a Filipino historian with a lot more cred:
In a traditional storytelling sense, Westley is the hero of The Princess Bride. The story, after all, centers around his love for Princess Buttercup. However, I, along with many other fans of The Princess Bride, consider Inigo Montoya to be the real hero of the story and here are seven reasons why:
Inigo the only one with an actual character arc. All the characters in The Princess Bride essentially remain the same throughout the story. Westley starts out as a farm boy and ends up a pirate, but he’s determined, devoted, and dashing from beginning to end. Inigo starts off being a mercenary without a sense of direction, driven by revenge. In his first scene, where he appears with Vizzini and Fezzik, Vizzini berates him for being a drunkard and threatens to fire him. We don’t really know much about Inigo until his sword fight with Westley. In this scene, we learn that Inigo insists on using his left hand when sword fighting. Jill Bearup analyzes the meaning behind this iconic scene. Some things she mentions are all part of establishing Inigo’s character arc: He’s impatient, but he’s also a man of honor (not cutting Westley down or killing Westley as soon as he gets to the top). Inigo opens up to Westley, a perfect stranger, and is willing to wait until Westley is ready to fight. Inigo likes a good challenge, but he also likes to win. Most of all, we learn that Inigo only has one goal in mind: to get revenge on the man who killed his father. And when Westley is on the verge of defeating him, Inigo is desperate and devastated, scared to die before fulfilling his goal.
Inigo is smarter than he thinks. He’s smart enough to know that Vizzini isn’t using “inconceivable” in the correct way. Later on, upon hearing that Count Rugen was the man who murdered his father, Inigo tries to formulate a plan. He may not be able to figure out a specific way to storm the castle and find the count, but he’s smart enough to know that he has to find Westley. Once Inigo and Fezzik rescue Westley from the Pit of Despair, Inigo takes him to Miracle Max. And even as Westley formulates a plan to storm the castle, Inigo knows that he still has to find the Count, meet up with Westley and Buttercup after, and figure out a way to escape from the kingdom. For a guy who doesn’t consider himself as smart as Vizzini, Inigo definitely has a mind for strategy.
Inigo is empathetic. When Westley screams under the agony from the life-sucking machine, Inigo is the only one who recognizes Westley’s voice and he’s smart enough to realize why Westley is being tortured and uses Fezzik to help him out. Aside from that, he is not willing to kill Buttercup, even if it’s part of the job. Once Inigo takes Westley to Miracle Max, he advocates for the noble causes of true love and avenging his father. When he realizes that Miracle Max was humiliated by Humperdinck, he argues that reviving Westley will ruin the wedding and humiliate the prince forever, empathizing with Miracle Max’s desire for a potential revenge.
Inigo is determined. His desire for revenge aside, his fight with Count Rugen shows Inigo’s determination. Rugen runs like a coward and then tries to kill Inigo before they even have a chance to fight. In spite of being close to death, Inigo is determined to kill Rugen. And he knows that Rugen is offering false promises, so he won’t let anything the Count says stop him. Being able to fight in spite of his injuries, wanting to do the right thing even though Inigo didn’t see himself as anything special? That’s what makes him a hero.
Inigo proves to be a good leader. Contrasted with Vizzini, Inigo knows the strengths of the people he’s with and he encourages them to lean into their strengths instead of threatening them. Inigo has to do a lot of the legwork once he, Fezzik, and Westley get inside Humperdinck’s castle. I’m not saying that he’s a perfect leader, as he prioritizes his fight with the Count over getting Westley to Buttercup, but he at least knew that Fezzik’s strength would be able to help them both. Later on, when Fezzik arrives with the horses, Inigo praises Fezzik for taking initiative.
The meta-narrative part 1: Keep in mind that the framing device for The Princess Bride is a grandfather telling the story to his grandson. The kid literally asks his grandfather if Inigo kills Humperdinck. He never considers Westley to be someone who would kill Humperdinck. Granted, Westley was assumed to be dead when the grandfather stopped the story in the Pit of Despair, but Inigo was enough of an engaging character to make the kid think that Inigo could kill Humperdinck. It implies that if Westley was actually dead, Inigo had the potential to carry the rest of the story on his own.
The meta-narrative part 2: This story is well-known amongst fans of The Princess Bride as well as Mandy Patinkin fans, but for those who don’t know, Mandy Patinkin, who played Inigo Montoya, went into this role seeing the six-fingered man as representing the cancer that killed his father. He identified with the loss that Inigo suffered. So when Inigo killed the six-fingered man, Mandy felt as if he also killed the cancer that took his father.
Sarah Crickard is a Catholic wife and mother living among Ohio’s beautiful and infinite cornfields. When she is not working with low-income seniors as a caseworker, she enjoys writing fantasy, sewing, running and posting pictures of her food on Instagram. She is fluent in Arabic and sarcasm. Instagram: @SarahCrickard
Much to my loved one’s annoyance, I have had a very public and long-winded problem with the 1992 Disney movie Aladdin for…ever. So much so that when I finally went to Disneyworld at the tender age of 26 I had to get a picture of myself “fighting” with Jasmine, and my husband truly wondered if I might get us kicked out of the park if and when we ran into that particular princess. It was on the “do not play” list among my middle school and high school friends because they all wanted to avoid having to listen to my analysis of the movie’s many flaws for several hours.
Disney announced their live-action remake of Aladdin, scheduled to come out on my birthday in 2019 (Oh, the irony). I don’t have much time to go to the movies, so I waited for the film to become available for purchase, and bought a digital version to watch at home. And watch it I did…last night. So clearly I have to write up my thoughts right now. I’ll begin with my problems with the original, the 90s version. Once we get those out of the way I can get to raving about how much I loved the remake.
Aladdin is set in the imaginary kingdom of Agrabah. If I had a nickel for every time someone stressed to me that it was an imaginary place, as an excuse for the film’s overall cultural insensitivity…I’d have a lot of nickels. The movie opens with “Arabian Nights“, a musical narration of the setting. The song makes it very clear that this is an Arab country, even if it’s an imaginary Arab country. The song also contains gems like “Where they cut off your ear If they don’t like your face. It’s barbaric, but hey, it’s home.” In Disney’s defense, when the song was poorly received in 1992, they re-released the song without these lyrics, but my family had already purchased the original on VHS and these are the lyrics I, and many, grew up with.
The song essentially starts off the movie with two points: It’s hot and sandy here because this is the middle east, and the people are barbarians. This, while we are given aerial shots of a very Taj-Mahal-like palace, and women in saris walking the streets. The rest of the movie continues like this with random references to Islam and Arab culture sprinkled throughout in the hopes that no one will notice that what they’re looking at really looks a lot more like India than the Middle East. If Disney set out to make up a fake culture, they utterly failed. What they did end up doing is poorly representing two distinct and rich cultures by mashing them together and portraying them entirely in stereotypes. The 2019 remake also doesn’t seem to distinguish Arab and Indian culture, but I’ll talk about why it’s okay in the remake in a moment.
The issues continue as we meet our two main characters Aladdin and Jasmine. These were supposed to be the Arab prince and princess I could look up to as examples as a young Arab-American girl growing up in a very white mid-west.
Aladdin, instead, is kind of stupid. He is smart enough to escape the blundering mooks that serve as guards but is immediately bested the moment he faces a semi-competent nemesis in Jafar. In fact, all his victories seem to happen simply because everyone around him got a little stupider while he was there, or because he has a magical servant who can actually snap his fingers and fix it. Aladdin’s arc is simply one of a man who starts off a liar and thief, and then in the last five minutes of the movie learns to tell the truth. This lesson is learned very quickly and without much in the way of consequences. He basically apologizes for lying once and is given a bride (who comes attached to a future kingship).
Jasmine is even more of a letdown. She’s introduced as some sort of feminist icon, who wants to be free to choose her own future. Her struggle throughout the movie is that she does not want to marry for political gain, but for love. At first pass, this seems good, but if we really think about it, she only reinforces the problems she is facing. She rebels against the notion that she should marry in order to give her kingdom greater security but instead wants to find someone who gives her butterflies. This culminates in her choosing the man who’s been lying to her for the duration of the movie. So she uses her “freedom” to make, arguably, a very silly choice. The 2019 remake addresses both of these characters’ flaws as well as the cultural setting they are living in.
Aladdin, when we meet him in the 2019 version, is being chased by guards just like in the original. We’re shown immediately that this new Aladdin is able to outrun the guards, not because they are bumbling idiots, but because he’s smart. When he realizes he is going to be caught, he creates a decoy, and promptly escapes in the other direction, leaving the guards puzzling over where he’d gone. Then, he and Jasmine have a discussion about the fact that Abu, Aladdin’s pet monkey, steals indiscriminately, while Aladdin himself only steals what he needs. Jasmine’s bracelet goes missing and she believes Aladdin has lied, although we can see it was really Abu who took it. Aladdin then sets out to return the bracelet and prove he’s not a liar. This, among other things, is a drastic departure from the 1992 Aladdin who really did just steal and lie because he didn’t seem to know any better. Our 2019 Aladdin steals and lies, but he spends the movie grappling with his own greed, eventually choosing the right thing multiple times in the last half of the movie, even when it gets him into worse situations.
Jasmine, too, is much improved. We’re shown that her desire to marry is balanced by a desire to rule. Isolated in the palace, she’s spent her life studying politics and maps. She wants to marry for love, not so that her loving husband can rule her kingdom, but so that she can rule with someone supportive by her side. We are shown that all the men in her life find her annoying. Then Aladdin steps in and believes that she is capable of making good decisions with or without his help. These two character arcs are worlds better than the 1992 version and give us two real people we can struggle and feel with.
The other improvement is the wider setting of the movie. In the 1992 version, we see silly things in the background like “Hakim’s discount fertilizer” a cart of manure that Aladdin flings a guard into. Aladdin also comically injures a sword swallower, snake charmer, and a man on a bed of nails. The cultural notes in the background all serve for comedic moments, and there’s no concern given to what snake charmers, sword swallowers, spice merchants, camels, etc. mean to the people in this culture.
I’ve been to an Arab Bazar in Bethlehem and it was the single most dazzling experience of my life. This is captured in the 2019 version of “Arabian Nights”which has been rewritten as a celebration of the mingling of Eastern cultures in trade centers. Lyrics like “Where you wander among every culture and tongue. It’s chaotic, but hey, it’s home” the song tells us that this a fantasy land before going on “As you wind through the streets at the fabled bazaars with the cardamom-cluttered stalls. You can smell every spice while you haggle the price of the silks and the satin shawls. Oh, the music that plays as you move through a maze in the haze of your pure delight. You are caught in a dance, you are lost in the trance of another Arabian night.”
I began to cry (and my husband will attest it takes a lot to make me cry) when the movie opened on these lyrics. I turned to him and said “This. This is a celebration of my part of the world.” “Arabian Nights” is still the musical orientation of the movie’s setting, but this time we’re told that Agraba is a place where cultures come together and mix. It’s an imaginary kingdom where the best of India, the Middle East, and the East, in general, can come together in a dazzling display of human creativity. The movie continues as a showcase of this as we see traditional and modern dancing, spectacular costumes, and beautiful architecture. None of the cultural notes are played for comedy. This is why the 2019 version is able to get away with mixing together cultures. It is a celebration of the East and not a sloppy mockery of it.
I grew up feeling very out of place. I knew from a young age that “Arab” was a large part of my identity, even though, at first glance, I don’t necessarily look like a person of color. In the 90s and then even more so starting in 2001, Arabwas not a very popular thing to be. I was proud of my heritage, and I never wanted to be anything else. The problem was showing others that. I often interacted with people who felt I should be apologetic for what I was or at least try to be a little more discrete. I grew up in the habit of being a translator for my family members. I became used to the looks of disgust when someone would tell me, a perfectly ordinary American child, something and I would turn to my grandmother and repeat it in Arabic, then relay the response. It was clear to me from a young age that my hair and skin were too dark, my language sounded too angry, and that my beautiful culture made people uncomfortable.
1992’s Aladdin being Disney’s “Arab movie” only reinforced that we were the wrong sort of people. I have always known this to be untrue, but there’s something especially painful about seeing that lie in technicolor on the big screen. The 2019 remake has taken that lie and transformed it into a celebration, and I for one, am here and ready to party.
Now excuse me while I rock out to the song Speechless for the hundredth time today.
This movie is worth the hype. Even though the marketing behind this movie was a bit on the pushy side, causing a lot of political controversy, I am gonna be judging this movie on its own merits.
When I first saw this trailer, I knew this movie would have me the moment that Captain Marvel fell through the roof of a Blockbuster. What I didn’t expect was that this movie was actually a conversion story a la Saint Paul.
Hear me out.
Saint Paul started out fighting on the wrong side of things. Back when he went by the name of Saul, he took his hatred of Christians to the extreme, going on missions to kill innocent people. Those who’ve seen Guardians of the Galaxy and Agents of SHIELD know that the Kree are a bunch of radicals bent on galactic domination and kill anything and everything that won’t bow down to their will. The problem is that the Kree have brainwashed Captain Marvel into becoming their personal living weapon.
When Captain Marvel ends up on Earth, she starts to learn the truth about her past and about the Kree. Once she reconnects with who she really is, she starts fighting for the right side, just like how Paul (once the Truth was revealed to him) became a missionary for Christ.
There are so many wonderful moments I loved in this movie. The first thing I’ll mention are the two, yes two tributes to Stan Lee. Right at the beginning, as the Marvel Logo played, I watched a montage of Stan Lee’s cameos playing in the letters. I started tearing up and the movie didn’t even start yet. Later on, Captain Marvel smiles at Stan Lee as he’s memorizing his lines for the Kevin Smith movie Mallrats. Even though I know Stan Lee didn’t really have a hand in creating Captain Marvel, the captain’s smile was heartwarming as she chose not to smile for a catcaller on a motorbike.
I also loved seeing a softer side to Nick Fury. Some people were complaining about Fury not being his usual badass self. I would like to remind everyone that some of the most popular moments in the MCU were the moments when the heroes were cutting loose. Think of the scene where all the Avengers were playing with Thor’s hammer in Age of Ultron or the cute Homecoming prep montage in Spider-Man Homecoming. We do not get enough moments of the heroes being chill. Also, Goose is the real star of the movie. Nuff said.
One other thing I loved was all the 90s aesthetic. I was born in 1990, so I count myself as a 90s kid. My ears perked up every time I recognized a song from my childhood and in a lot of ways, Captain Marvel reminds me of Buffy, too.
So speaking of feminist heroes, I will address the political aspect of this movie. In my honest opinion, the feminism was done just right. Not all the men in this movie were evil or condescending to Captain Marvel. In fact, Fury basically becomes a “buddy cop” with Carol. The sexism Carol experienced in her past felt realistic. After all, the US Air Force, at the moment, is only 20% women. Best of all, the movie held its own without the need for a forced romantic subplot. (Although if Avengers Endgame follows the comics and shows some ship tease with Captain Marvel and Rhodey, I am more than ready to ship it!)
Basically, I’m saying that politics aside, this movie is amazing. Whatever issues I have with the movie are spoiler-related minor nitpicks at best. I cannot wait to see Captain Marvel and the Avengers kick Thanos’s ass in April.
What happens when you turn the myth of the abominable snowman on its ear? You get Smallfoot! Based on a book from the creator of the Despicable Me films, Channing Tatum stars as Migo, a Yeti who encounters a human (played by James Corden). The only problem is nobody believes him. because they don’t believe humans exist at all. So Migo goes on a journey to prove his village wrong.
“Smallfoot” stars Channing Tatum (“The LEGO® Batman Movie,” the “Jump Street” films) as the Yeti, Migo, and James Corden (“Trolls,” “Into The Woods”) as the Smallfoot, Percy. Also starring are Zendaya (“Spider-Man: Homecoming”), Common (“Selma”), LeBron James (upcoming “Space Jam 2”), Gina Rodriguez (“Jane the Virgin”), Danny DeVito (“The Lorax”), Yara Shahidi (TV’s “Black-ish”), Ely Henry (TV’s “Justice League Action”), and Jimmy Tatro (“22 Jump Street”).
“Smallfoot” is directed by Karey Kirkpatrick, Annie Award-winning director of “Over the Hedge.” The film is produced by Bonne Radford (“Curious George”), Glenn Ficarra (“Storks,” “The is Us,”) and John Requa (“Storks,” “This is Us”). Serving as executive producers are Nicholas Stoller, Phil Lord, Christopher Miller, Jared Stern, Sergio Pablos, and Kirkpatrick. The creative team includes editor Peter Ettinger, and composer Heitor Pereira.
The film is set to debut in theaters September 28, 2018.
This movie broke me. I’m not the kind of girl who cries at the movies. Heck, I haven’t cried at the movies since Les Miserables and then this movie comes along and gets me bawling by the time the end credits are rolling. This movie is not for the faint of heart and no matter how much you prepare yourself, you will not be ready for what’s to come. All I can say is that if it wasn’t for the fact that I know there will be sequels planned for this movie and for some of the characters, I would be inconsolable.
That’s not to say that this movie is bad. If anything, it really did its job. I wouldn’t be crying if it didn’t make me care about the characters. This has been the work of ten years of buildup, with movies that made us actually care about star-spangled spandex men and men in robot suits. If anything else, this movie shows that all the work that Marvel has put into their movies has paid off.
When people call this an event movie, they aren’t kidding. It’s a major crossover with a great villain. I am ranking Thanos up there with Kilgrave, Loki, Kingpin, and Killmonger as far as effective and compelling Marvel villains. He’s brutal, he’s got some aspects of his life that make him sympathetic, but make no mistake, he is not one to mess with.
Every character gets a moment to shine here, even the heroes who would be labeled as supporting characters or second string/B-team. I honestly wish there were more moments with the “second string” characters, but that would make the movie longer than it already is. The story is tragic in the best way possible (see my crying face), the effects are a spectacle, and the action is visceral. I felt like I was pulled out of my body for a while and then thrust back in, Doctor Strange style.
Overall, I want to give this movie and 8/10. It’s not absolutely perfect, but it is worth seeing, especially if you’re a fan of the Marvel Cinematic Universe. Congratulations, Russo Brothers. You blew us all away.
Now if you want to know why I don’t give this movie a 10, read below. Spoilers ahead.
I realize that I’m late to the Coco party. However, with Divine Mercy Sunday around the corner, I decided that this would be a #FlashbackFriday type of review. I honestly think that Coco is the most Catholic movie that Pixar ever made and I’m not just saying that because the movie is inspired by Mexican culture. What makes this movie Catholic are the themes: family, forgiveness, and never forgetting to honor the dead.
Spoilers ahead for those who haven’t seen this movie yet. I highly recommend at least renting the movie. It’s available on Redbox. It’s definitely worth a watch.
The emphasis on being loyal to one’s family is established early on in the movie. It’s clear from the beginning that Miguel loves his family, in spite of the fact that his abeulita tries to keep music from their lives a little too much. Miguel is especially close to his great-grandmother Coco.
Side note, but I think this is the first Disney/Pixar movie to feature an entire family unit. Both of Miguel’s parents are alive and aside from the relatives who are living in the land of the dead, nobody in Hector’s family gets killed off. Not only that, but you see a family working and living together.
The conflict that drives the movie is Miguel’s desire to pursue music, even if it means ignoring or even outright cutting himself off from his family. It’s clear that he’s a great musician and for a while, it feels as though his family takes the anti-music stance way too far, especially when Miguel’s abuelita destroys his guitar. However, the events of this movie show Miguel that it’s important to stay connected to your family, especially when he learns that Ernesto got his fame by murdering his songwriter friend Hector.
I love the character of Hector, by the way. The movie does a great job at making you suspicious of Hector at first, but he slowly becomes more endearing, especially when he encourages Miguel and shows that he cares for him and is protective of him, even though Miguel is just a stranger.
The theme of remembering the dead is what drives the subplot of the movie: Hector wants to visit his daughter and be remembered or else he will disappear into oblivion. It’s never said where the souls of the forgotten go after the “Final Death,” but it compels the audience to take on a very Catholic tradition: to pray for those who have no one to pray for. In that way, no soul is ever really forgotten.
On a similar note, the land of the dead really reminds me of Purgatory, final death thing put aside. It’s not exactly heaven, given that a murderer like Ernesto is living there, but it’s not Hell, either. It’s a place for departed souls to live and there’s still a link to those who are living, even if it’s just one day a year.
One good thing that came out of the broken pedestal experience though is that Miguel finds out that Hector is his real great-great-grandfather. This leads into the second Catholic theme of the movie, which focuses on forgiveness. When Miguel and Hector are reunited with Miguel’s deceased relatives towards the end of the second act, his great-great grandmother Imelda is reluctant to forgive Hector for leaving her.
What makes the relationship with Hector and Imelda interesting is that Imelda never remarried. She cut Hector and her love for music out of her life, even though she loved both very much. When she confronts Ernesto, she berates and hits Ernesto for “murdering the love of my life.” In classical tsundere fashion, she still claims to be mad at Hector, but she at least loves Hector enough to know that he doesn’t deserve to be forgotten.
I love that forgiveness is shown to be a process. Imelda goes from hating Hector to defending him to finally allowing him to be in her life and her family. This is shown in the climax, when Miguel has to return to the land of the living. At the start of the movie, Imelda wants Miguel to promise her to never pursue music again when he returns to the land of the living. In the second attempt to get Miguel back, Miguel is actually willing to make good on that condition. The third attempt, however, is made with no conditions. Just the type of selfless love that seriously has me reaching for the tissues.
The two themes of family and forgiveness get tied together in what I feel is my favorite scene: Miguel plays “Remember Me” for Coco in front of his family. His abuelita tries to stop him, but his father allows Miguel to play. The song restores Coco’s memory and allows her to tell everyone in her family about all the mementos she kept from her father and how her parents both loved music.
One year later, Miguel’s deceased relatives, Hector and Coco included, get to spend time with the living on the Day of the Dead. Miguel and his family join in on a song and it’s shown that Hector is playing along with him. All is forgiven and music has returned to the lives of the Rivera family. I love the ending of this movie because it shows that pursuing one’s passion should never come at the expense of family.
One last side note: I love the animal sidekicks in this movie, especially Dante the Xolo dog. He’s a lot like Scooby-Doo in that he seems so goofy and is kinda cute even if he’s a hairless street dog, but he is also foreshadowed to be a true guide in the land of the dead, instinctively throwing Hector and Miguel together a lot. Plus, the name is very fitting as those familiar with The Divine Comedy or at least Inferno recognize the name from the protagonist of those stories, who literally goes through a journey through Hell, Purgatory, and Heaven.
This movie isn’t just great to watch for the Day of the Dead. It’s one I recommend watching for Lent and even now, in the Easter season.
Pray for the souls of those who’ve died, especially those who have no one to pray for.
I didn’t have high expectations going into Black Panther and while a lot of people, including the critics are praising this movie to the skies, there are some people who are experiencing what is known as “hype backlash.” This review is just going to express my opinion. So yes, I did like Black Panther. A lot. Is it the best Marvel movie ever? No. But it’s still a great introduction to a hero who is probably not as well-known as the other Avengers. And, aside from Thor, this movie has the most Shakespearean themes, which is a major treat for me.
So here’s the question: How is this movie Shakepsearean?
Minor spoilers ahead.
I can’t compare this movie to any one Shakespeare play. Shakespeare fans may compare this movie to the historical plays, such as any of the ones with Henry in the title. Instead, Black Panther‘s theme is about the responsibility of kingship. Thor’s movies are essentially about the journey to becoming king while Black Panther is about how kingship is carried out in practice.
One thing this movie has in common with the best of Shakespeare is that the movie has a strong supporting cast. The female characters are especially memorable. Shuri is by far everyone’s favorite, being the sassy genius younger sister. In the first part of the film, she is the Q to T’Challa’s James Bond, giving him all sorts of gadgets to use for a mission in Korea. At the same time, she can also hold her own in a fight and she is always a delight in whatever scene she’s in. (Side note: Please don’t ship her with anyone. She’s 16 years old and doesn’t need to be in a romantic relationship. If she shows romantic interest in somebody, ship all you want, but as of now, she ain’t interested in any relationship.) T’Challa’s love interest, Nakia, is thankfully nothing like her comic book counterpart, who was basically a Woman Scorned. She is a spy, whose experience in doing worldwide missions, advocates the idea that Wakanda should be more involved in the world. her weapon being reminiscent of Xena’s chakrams.
And, like the most memorable of Shakespeare plays, the villain is not only memorable, but sympathetic and has a personal connection to the protagonist. Even though Erik Stevens AKA Killmonger has the same motivations of previous Marvel movies (distribute powerful weapons, burn the world, etc.), but Michael B. Jordan puts a personal touch to Killmonger’s motivations. As a child orphaned and abandoned, he becomes a product of his time. Like many of Shakespeare’s villains, he is bloodthirsty and short-sighted, which becomes his undoing.
My one nitpick with this movie is something towards the third act. plot is nothing new and the themes may not resonate with everyone, but I still think this movie is worth watching so that you can make your own call.
It really feels like Spider-Man has, in fact, come home. Even though the Sam Raimi Spider-Man trilogy started off well, it ended on a sour note and while Andrew Garfield’s Spider-Man was cool, there were too many plot threads left hanging and The Amazing Spider-Man was trying too hard to be dramatic.
What makes Spider-Man: Homecoming the best Spider-Man movie so far, toppling all the ones that came before it? It kept itself grounded and wasn’t afraid to be funny. Similar to Deadpool, the movie has its own sense of self-awareness that gives a feeling of authenticity to the audience. Without going into spoilers, I will explain this sense of authenticity through the characters. It’s really because of the characters that the movie feels legit.
First of all, Tom Holland’s Peter Parker is the most adorkable little baby who needs to be protected at all costs. As a high school sophomore, Peter is eager to prove himself to Tony Stark, wanting to stand alongside the Avengers. Unfortunately, he constantly gets in trouble in school for missing classes or being late. In spite of his initial mistakes, Peter is able to realize that he needs to be the “friendly neighborhood Spider-man” since someone needs to look out for the little guy. (Side note: It would’ve been nice if Defenders got a shout-out in this movie.)
One common complaint about Marvel is that there aren’t enough memorable or well-developed villains. Most of the good Marvel villains are either on Agents of SHIELD or the Marvel shows on Netflix. Aside from Loki, there hasn’t been a villain in the films that audiences found compelling. Until now.
Michael Keaton’s Vulture is a sympathetic antagonist, created from circumstances unique to the MCU. He starts on a road to hell paved with good intentions. He is willing to do everything just to make a living, even though it means developing a resentful attitude. But unlike every other villain, he doesn’t jump across the Moral Event Horizon. He’s more of an anti-villain by the end, thanks to an act of great mercy that I can’t go into further without spoiling the villain.
The supporting cast as a whole give the movie great levity and help the audience empathize with Peter. Peter’s best friend, Ned, acts as the audience surrogate. He’s excited about Peter’s new abilities and wants to be part of the action, but quickly learns the downsides of having a double life. Liz Allen is a surprisingly sweet popular girl, showing that she has brains behind her beauty. Even Flash Thompson provides some good levity and gets a small level of comeuppance for bullying Peter all the time.
Aunt May is great in this movie, but the granny glasses and frumpy clothes feel like a visual dissonance to her first impression in Captain America: Civil War. It could be argued that she’s dressing ugly on purpose because she’s not over what happened to Uncle Ben or not interested in having a relationship in general, but much like Calista Flockhart, it’s near-impossible to try and make Marisa Tomei look old or ugly.
Robert Downey Jr as Iron Man is the perfect mentor for Peter, especially when you consider how different the two of them are. It’s clear that Tony doesn’t want Peter to follow in his footsteps and end up alienating everyone, but all Peter can see is the hero he’s admired since he was a kid. Peter is the closest thing Tony has to a son and their friendship is a heartwarming one.
The only character who fell short in this movie is Michelle, played by Zendaya. While she had all the coolest lines, she didn’t do anything else. She was basically a Tumblr Snowflake. You know, those girls who complain about all the politically incorrect things wrong with history but still fangirl over Alexander Hamilton? In Michelle’s case, she’s got a crush on Peter, but instead of acting on her feelings or trying to just be friends or be more involved in his life, she’s just on the sidelines, snarking and reading a book. Give Michelle something to do, writers!
I highly recommend this movie to older kids who are probably the same age as Peter in the movie, as they will find themselves relating so much to him. Even though the idea of “great power” and “great responsibility” are still a prominent part to this movie. Peter deals with the consequences of neglecting his everyday responsibilities. Older Spider-Man fans will love all the nods to the overall Spider-Man mythos, too, and some shout-outs to a certain 80s movie.
I give Spider-Man: Homecoming a 9/10 for bringing Spider-Man into the MCU in a way that feels authentic and real.