Luca

Copyright © 2021 by Walt Disney Studios Motion Pictures

Story
In a small town off the coast of Italy, Luca Paguro (Jacob Tremblay) is a sea monster who lives with his family underwater and they forbid him to be anywhere near the surface. He meets another sea monster named Alberto Scorfano (Jack Dylan Grazer) and they quickly become close friends. With Alberto’s encouragement, Luca spends his time on land while unearthing the ability to assume human form as long as their bodies stay fully dry.

Review
Other than the occasional misses, Pixar has been the frontrunner for quality storytelling over the years, boasting earthshattering concepts and emotional intricacies. Its predecessor ‘Soul’ gave us all that and rightfully swept at this year’s awards season. The studio now has its 24^th feature released and even though ‘Luca’ is significantly scaled down compared to past classics, there is still plenty of elation and heart in this literally fish-out-of-water tale.

The stakes are lower than what we have been fed with usually. No life-threatening situations that require the planet to be save here. Instead, ‘Luca’ is a sweet and moving movie about friendship and identity between two boys who happen to be mythical beings from the sea. Since the first trailer premiered, many have commented on its similarities to ‘Call Me By Your Name’. They are both set in Italy, directed by an Italian and about two young men connecting through a shared secret.

With the animation now available in theatres and Disney+, netizens are also declaring its coming-of-age story is anything but heteronormative. Well, I do not doubt the symbolisms are there and interpretations will vary to each viewer but without overthinking about it, ‘Luca’ is a lovely ode to being yourself with the people who matter and accept the best and less appealing parts while confronting the trials to adulthood during a pre-love life childhood.

Rating
Entirety: B+
Acting (Voice): A-
Plot: B+

​Rated PG for rude humor, language, some thematic elements and brief violence

In the Heights

Copyright © 2021 by Warner Bros. Pictures

Story
Operating a bodega in Washington Heights, a borough of New York, Usnavi de la Vega (Anthony Ramos) hopes to fulfill his él sueñito (little dream) of repurchasing and managing his father’s old bar in the Dominican Republic. Intending to leave her neighbourhood too for bigger opportunities is Usnavi’s crush Vanessa Morales (Melissa Barrera) who aspires of becoming a fashion designer.

Review
Previous smash from director Jon M. Chu, ‘Crazy Rich Asians’ dealt with the lavish and excessive lifestyles of an affluent society. This time his attention is on the marginalised Latin community, grappling with money issues, societal pressures and racial prejudice. Having directed two ‘Step Up’ sequels and no stranger to musical elements being part of his movies, Chu is the ideal man to bring ‘Hamilton’ creator Lin-Manuel Miranda’s Tony-winning, hip-hop hit on Broadway to the screen.

It is a cinematic experience bursting with vigour distinguished by innovative shots and angles. The song and dance numbers are continuous and contagious with only minimal unsung dialogue inserted to ease the transitioning from one performance to another. Musicals are a tricky lot. Veer too close to tradition, it alienates most for the perceived notion of being uncomfortably campy and corny. Not embracing the flamboyance at all risks being labeled as a con.

But ‘In the Heights’ retains the right blend of cool and joyful which is a tipping point when it teeters on a ham-handed pro-immigration message. Even with a running time of 143 minutes, there is a lot of ground the musical wants to cover that leaves the political aspects bearing the brunt of callous writing. Despite the snags, Ramos’ star quality is going through the roof and he turns up the heat as he breaks into rap from the title track, never letting the ensemble piece lose its rhythm until the last note is belted.

Rating
Entirety: A-
Acting: A
Plot: B+

​Rated PG-13 for some language and suggestive references

The Conjuring: The Devil Made Me Do It

Copyright © 2021 by Warner Bros. Pictures

Story
Paranormal investigators Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) assist Arne Johnson (Ruairi O’Connor) in defending the circumstances of him committing murder is supernatural. Arne claims he acted under a demonic possession which he unintentionally invited from his girlfriend’s cursed brother, David Glatzel (Julian Hilliard) during the boy’s exorcism.

Review
With a $1.9 billion haul against a combined budget of $139.5 million, ‘The Conjuring’ franchise continues raking in the moolah with the latest entry from director Michael Chaves. Helming the awful ‘La Llorona’, Chaves exhibits some conspicuous upgrades, designing a few well-choreographed jolts that mimic James Wan’s masterful technique. It does not reach the highs of the original but the energy does not deflate even when the scares are fewer and the material pivots from haunted house to detective procedural.

It is the treading into new territory and dropping of many classic horror references that reinvigorates this ailing universe from mediocrity. The case-changing reveals come rapidly but smoothly as the Warren’s piece the puzzle of the curse’s origin. It gives Ed and Lorraine the chance of working together as a team through most of the movie. This bond rewards us with tender moments that boost and embody their loving connection. It also leaves us agape and nervous when they are apart.

Stalwarts Farmiga and Wilson are the beacons of light and hope in this series. Having appeared in three and a half movies (they bookended ‘Annabelle Comes Home’), their irresistible charm and compatibility ward off any ill will sustained from some of the hackneyed spin-offs. Amidst the chaos, the couple remains as the voice of reason and do not buckle while combating their various invisible nemeses. Though ‘Devil’ loses its urgency when they are off-screen, it still gets by thanks to a change-up that rejuvenates the well-trodden horror traditions applied in the earlier hits.

Rating
Entirety: B+
Acting: A-
Plot: B+

​Rated R for terror, violence and some disturbing images

A Quiet Place Part II

Copyright © 2020 by Paramount Pictures

Story
In the wake of devastating events that led to Lee Abbott’s (John Krasinski) death and the destruction of their home, the rest of the family ventures to the outside world in search of other survivors. Having realised that Regan’s (Millicent Simmonds) cochlear implant weakens the monsters, they intend to weaponise it, giving the humans a chance in killing them and ending the onslaught.

Review
Given the universal love ‘A Quiet Place’ received, I was in the minority who believed that a great concept was hampered by underwritten characters but saved by extraordinary acting and direction. Though the ending was abrupt, the story worked as a standalone and did not need any follow-up. Like ‘Cruella’, money prevails and it is unsurprising a sequel has been fast-tracked to expand its own cinematic universe. While the ambiguity from the original is no longer a mystery, ‘Part II’ still exceeds expectations becoming the rare superior continuation which does fill in some of the blanks left by part one.

After delaying for more than a year until cinema-going is safe again rather than releasing it on demand, the wait is well worth. Every aspect that worked in the 2018 suspenser is preserved while covering new themes and character depth in a still lean running time of only 97 minutes. By shifting the focus to the surviving Abbott children, the narrative also changes from fears with modern parenthood to the anxieties of kids on the threshold of adolescence, allowing Simmonds and Noah Jupe who plays Marcus to really shine.

They accelerate into adulthood under extreme conditions but they remind us the optimism exuded from their generation that even if the world goes to hell, there is still hope it could be fixed. A stark contrast in Cillian Murphy’s Emmett, a friend of the family from before the invasion who carries a lot of self-hating and is reluctant to lend a helping hand. It has been a while since we last saw Murphy in a plum role and he does not waste any single minute of it projecting a hardened, lost and withdrawn soul. But none of it would have materialised had Paramount handed the reins to lesser hands. We have Mrs Krasinski to thank for that.

Rating
Entirety: A-
Acting: A
Plot: A-

​Rated PG-13 for terror, violence and bloody/disturbing images

Cruella

Copyright © 2021 by Walt Disney Studios Motion Pictures

Story
Born with an eye for fashion but struggles to conceal her cruel streak, Estella Miller (Emma Stone) is orphaned at 12 and finds her way to London where she meets orphan brothers Jasper (Joel Fry) and Horace Badun (Paul Walter Hauser) and joins them in committing petty crimes while she hones her designing skills. She manages to secure a job at Liberty but only as a cleaner. After a drunken act impresses Baroness von Hellman (Emma Thompson), Estella is hired and mentored by the haughty designer herself. But when a dark past resurfaces, it propels Estella’s full transformation into Cruella de Vil as she takes the fashion world by storm.

Review
Let’s face it, the trend of remaking Disney’s cherished animated classics ain’t easing off anytime soon. Quality notwithstanding, we have seen the back half of the 2010s dominated the box office with the likes of ‘Cinderella’, ‘Beauty and the Beast’ and ‘The Lion King’. ‘Maleficent’ branched out by reimagining and retconning a beloved Disney character to commercial but not critical success and its sequel got progressively worse. The attention has now shifted to the antagonist from ‘101 Dalmatians’ and we are drawn in to a gritty prequel of how Cruella de Vil earned that moniker.

I think whenever Hollywood decides to remake or reboot any of their properties, the question is ‘do we really need it?’ I cannot speak for everyone but if it is going to be made anyway, it better be a damn good one. And I am happy to report that ‘Cruella’ works in filling us with a backstory that expands beyond her cartoonish wickedness and obsession for dog fur coats. The characters are multifaceted and a series of heists in the script provides the avenue for them to bare a gamut of emotions which many Disney productions tend to be lacking.

The ‘60s-‘70s setting also differentiates itself stylistically and aesthetically for director Craig Gillespie to have some visual fun. His imprint is felt throughout the picture pirouetting around dazzling locations and lush sets that are followed by a robust selection of songs. And fashion lovers such as moi have plenty to rejoice. The costumes are fabulous. But the cherry on the cake is the incredible cast fulfilling their tasks with enthusiasm and flair. Stone is spotless as the little bit mad fashionista while Thompson’s own spin of Miranda Priestly from ‘The Devil Wears Prada’ is a delight whenever she hurls vicious insults at anyone who is not Mark Strong.

Rating
Entirety: A
Acting: A+
Plot: A-

​Rated PG-13 for some violence and thematic elements