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Paw Patrol: The Movie | An Animated Film For Kids and Kids Only

Paw Patrol: The Movie is an adaptation of a popular TV show destined solely for die-hard fans (and their parents).

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As I went to the theater last weekend to attend an empty IMAX screening of Lisa Joy’s Reminiscence, I was shocked by how many people were inside the theater. It was the first time since 2019’s Star Wars: The Rise of Skywalker that I saw a cinema this packed with families who were going to see a movie, especially on a hot and sunny Friday afternoon. Moviegoers were lined up at the concession stand; the arcade was full of children happily playing and enjoying an unfiltered version of life. This was a sign that the movies are indeed back. But what particular film drew a literal crowd akin to The Rise of Skywalker‘s opening weekend in mid-August? By now, most people had seen F9 and Black Widow, and while Free Guy is certainly entertaining for families, it may not be appropriate for small children. What movie was it? That’s right, PAW Patrol! If you were living in Montreal’s greater south shore region and wanted to see it in cinemas this weekend, heh, good luck trying! Most screenings were packed with families making their grand return to the movies after an 18-month long period of no theatrical experiences, and what better way to return to the place where all dreams are possible than watching an adaptation of a top-rated children’s TV show that contains the same aesthetic as the TV PAW Patrol with a 2.35:1 aspect ratio and film stars instead.

If you aren’t a fan of the TV show (which probably means your age is above 6 years old), don’t bother. The film panders strictly to children who are well-versed in the world of PAW Patrol through a breezy animated adventure that won’t require much thinking nor any storytelling risks in the process. This feels more like a film to introduce young children to the art of moviegoing (and could potentially influence them to work in the industry, you never know) than anything else. I mean, put yourself in the mind of a 3-year old going to see a movie on a screen so immense with a bag of buttered popcorn ready to be whisked away to be a part of the latest PAW Patrol adventure. It’s immensely memorable and something they will never forget for the rest of their life, especially when this film introduces them to the art of the cinematic language. It’s not groundbreaking, by all means, but for them, it’ll be a masterpiece.

PAW Patrol: The Movie chronicles our titular characters’ fight against political corruption in Adventure City (not even joking) as they are tasked to stop the nefarious Mayor Humdinger (Ron Pardo) from destroying the city through a cloud-sucking weather device unleashing a week’s worth of bad weather and multiple instances of criminal negligence to fill his overtly petulant ego. It’ll be up to the PAW Patrol to regain control of the city and arrest the mayor for his crimes against the citizens of a rather peaceful place. And if you’ve seen any kids’ films with despots/egotistical politicians as its primary antagonist, then you’ll be glad to hear that PAW Patrol: The Movie is no different than the plethora of risk-free animated films being released on our screens these days.

Foreground: Chase (voiced by Iain Armitage) and Ryder (voiced by Will Brisbin). Background L-R: Skye (voiced by Lilly Bartlam), Rocky (voiced by Callum Shoniker), Rubble (voiced by Keegan Hedley), Zuma (voiced by Shayle Simons), and Marshall (voiced by Kingsley Marshall) in PAW PATROL: THE MOVIE from Paramount Pictures. Photo Credit: Courtesy of Spin Master.

I was surprised by how many positive reactions the film has gotten from professional critics, with many unironically calling it a sweet and lovable animated film. And while it certainly is quite lovable and carefree for children looking for pure escapism, PAW Patrol: The Movie isn’t anything groundbreaking, nor an animated film that’ll do any wonders for the medium. It exists purely as a commercial for kids that haven’t been introduced to the TV series and an accompanying piece of content for existing franchise fans. If you haven’t seen the show, don’t worry, the film does a decent job of contextualizing who the main characters are within its opening scene, which is the film’s most entertaining part. Tyler Perry voices a distressed truck driver carrying Canadian maple syrup, who has an accident trying to avoid a turtle on the road and gets rescued by the PAW Patrol. The comedic timing of the sequence is quite good, featuring bouts of humor adults will enjoy. But it’s after the film’s opening credits sequence where PAW Patrol: The Movie becomes strictly for young children looking to see a cinematic version of their favorite animated TV characters.

L-R: Chase (voiced by Iain Armitage), Rocky (voiced by Callum Shoniker), Skye (voiced by Lilly Bartlam), Zuma (voiced by Shayle Simons), Rubble (voiced by Keegan Hedley), and Marshall (voiced by Kingsley Marshall) in PAW PATROL: THE MOVIE from Paramount Pictures. Photo Credit: Courtesy of Spin Master.

This scene, alongside its surprisingly cinematic action sequences, which strangely recalls the work of Zack Snyder in Legends of the Guardians: The Owls of Ga’Hoole, make PAW Patrol: The Movie a relatively easy film to watch, though it’s not anything spectacular. None of the protagonists are developed and stay inside the same cyclical character beats of the show. We know a bit more about Chase (Iain Armitage) compared to the film’s other characters, as he has a traumatic past life in Adventure City but not much else to clamor for. Most of his fears get resolved through two pep talks, with Ryder (Will Brisbin) and Skye (Lilly Bartlam), which are extremely surface-level, though that may be enough for young kids to find poignant and adults enjoy its messaging.

Unless you’re three years old, you’ve seen the film’s plot countless times before, where a group of lively protagonists will overcome faux adversity to defeat pure evil. This time around, the pure evil is Mayor Humdinger, an egotistical political force who does everything he can to serve himself and himself only while looking down at his population. Adult viewers will likely find the similarities between him and President Donald Trump (the movie never hides it). At the same time, kids may see Humdinger as an adult version of a high school bully who constantly plays the victim and flees the scene after harming people. It’s an interesting antagonist for a children’s film and one that could’ve worked if it was better developed and didn’t revert to endless clichés and familiar character traits.

But the problem is that writer/director Cal Brunker and his co-scribes Billy Brolick and Bob Barlen never go past clichés and familiar character traits. Some will say, “you’re judging a film made for three-year-olds too harshly,” which is a valid argument but riddle me with this. When I was three, we had legitimately intelligent kids programs like Sesame Street to not only educate us but raise awareness on the social issues of our time in a thoughtful life. Nowadays, kids seem to enjoy brainless entertainment without much thought on the values they’re learning, nor if they’re being educated by watching one episode per day. If we expose our kids to thoughtful stories as they grow up, they have a better chance of becoming more literate in society, not only through art but on the way they see the world. And while PAW Patrol: The Movie certainly has the makings of a thought-provoking animated film, it never wants to surpass audience expectations and pander to die-hard fans of a cyclical show that’ll never end.

Great animated movies go above and beyond fan pandering and craft a truly memorable story for kids and adults to enjoy, but this one has no interest in doing that. Instead, it presents a simple story with simple character development and simple resolution. Heck, the PAW Patrol resolve three similar situations (or strikes) brought by the Mayor before arresting him. Strike one gives us a first look at Chase’s fears, while strike two exalts them until strikes three finally sees Chase overcoming his fears through pure willpower and cinematic slow-motion. Minimal development equals minimal results and minimal entertainment. Of course, if you’re looking to introduce your child to the art of moviegoing through a purely carefree and escapist piece of entertainment that won’t require much thinking from children and will distract them for 88 minutes with popcorn and a large screen, then look no further. But if you’re looking for something more wondrous and imaginative for both children and adults, with values that are way more memorable than in anything eight years of PAW Patrol taught us, then you better watch Vivo on Netflix instead.

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PAW Patrol: The Movie is now playing in theatres and streaming on Paramount+

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HORROR

Choose or Die – A Miss For Netflix

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Netflix’s home page suggestions can always be hit or miss, and unfortunately its latest release ‘Choose or Die’ falls into the category of the latter. Captivated by Asa Butterfield on the poster, I was curious to see what this film had to offer and begrudgingly it didn’t have a lot.

We follow Kayla, a broke student who has a lot to deal with in terms of her family situation and being the sole provider for herself and her mum. She then stumbles upon a retro video game from the 80s which forces her to choose and ultimately leads to various chain reactions of horrific events involving people close to her.

Lola Evans as Kayla and Asa Butterfield as Isaac

The premise of the film sounds interesting, however, I think it swings and misses quite early into the film’s first act. Eddie Marsan sets the tone and trail of interest for Choose or Die as we are introduced to this sadistic game and the chain of events it will inevitably pursue. 

Choose or Die doesn’t make it easy to empathise with its characters, finding any connection to Kayla or Isaac was difficult. This ‘are they aren’t they’ subplot lingers throughout the film’s narrative but adds nothing to the overarching story. The supporting characters, such as Thea and Laura, are much more interesting and genuinely have you intrigued as to what decisions they will make.

What stood out to me was the violent and gore-like scenes of 80s horrors, with some pretty good stomach churning special effects make-up. Those intense scenes, one involving a rat, had me genuinely glued to the screen, anticipating what may happen next. Choose or Die’s strongest component are the early moral decisions Kayla has to make and ultimately demonstrate Meakin’s passion for the horror genre.

Ioanna Kimbook as Grace in Choose or Die, seen here in the diner in one of the more grotesque decisive moments for Kayla

The way in which this film is shot, felt very “student-esque” with its lackluster camera movements and setting. The set design lacked little depth, except for Isaac’s room which is full of detail, therefore making the world feel small and less three dimensional. An element which pulled me out of this cinematic experience, was the fact that this was evidently filmed in the United Kingdom, and the cast contained predominantly a lot of British actors doing an American accent so I wasn’t fully immersed into this world. 

Meakins clearly uses his passion for the horror genre to influence this film’s dark tone, from it’s leading characters’ moral compass as well as the gorey visuals that inevitably come with those decisions. The whole world feels cold and derelict, be it the place in which Kayla cleans or the housing estate of which she lives in, this is an unwelcoming world that no-one wants to comfort you in. 

Choose or Die isn’t a film that will stick out as one that defined 2022, however I’m sure someone will take something away from this film, be it’s reference to 80s gaming or the violent and graphic elements that the director is clearly passionate about. 

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Anaïs in Love Review | The Worst Person in France

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Right on the heels of the stellar film, The Worst Person in the World, a film about a woman named Julie (Renate Reinsve), who is in a transitional state in her life and going through a millennial “mid-life” crisis. Enter Charline Bourgeois-Tacquet’s Anaïs in Love, a film about a 30-year-old woman named Anaïs (Anaïs Demoustier) who is down on her luck and can’t find true love. Both Joachim Trier’s capper to the Oslo trilogy and Anaïs in Love tell authentic stories about millennials, and while the latter doesn’t pack quite as much of an emotional punch as The Worst Person in the World, it’s a strong character piece about not just finding what you want in life, but taking it.

The similarities between Julie and Anaïs, while perhaps a tired comparison, are too prominent to ignore (lead actress Anaïs Demoustier could even be mistaken for Renate Reinsve in a certain light). For one, they are similar in age; perhaps resulting in their similar struggles. While Anaïs doesn’t go on quite as experimental of a sexual journey as Julie, neither can find true love. Neither feel ready for kids—at least at the beginning of their respective films. The former can’t even sleep in the same bed as another guy (or ride an elevator, for that matter), much less stay committed to a guy. They also both work in a bookstore but this similarity isn’t as important as it was amusing for me. And yet, despite wanting someone who knows what they want, Anaïs struggles with this.

Anaïs Demoustier is a great leading actor and plays the character of the same name with the right balance of indecision and innocence. There’s also a wide-eyed, cheery aura about her akin to a young child. Take, for instance, the scene where Anaïs first encounters Emilie. She is overjoyed to be speaking with her, and she’s overjoyed as if she has just seen a face that she won’t forget the time or place where they met (yes, that’s a Beatles reference). Demoustier is an experienced actress with plenty of credits to her name, yet she is someone that I was not familiar with coming into Anaïs in Love but am now eager to check out some of her other roles as she is really good in Anaïs in Love.

A still from Anaïs in Love. Photo courtesy of Magnolia Pictures.

Opposite Demoustier is Valeria Bruni Tedeschi as Emilie, the woman that Anaïs falls in love with in the film. She is also great, with her playing the more mature one in the “fling.” At some point in the film, she exclaims that at the age of 50, she’s no longer scared by much, if anything at all. It’s a reflection of what Anaïs strives for, and yet, in the end, Emilie is not able to hold back as much as she’d like. But Bruni Tedeschi’s cherry on top comes in the form of a monologue towards the end. What is said will not be spoiled here, but both Bruni Tedeschi and Demoustier give great performances in this scene. It’s by far the most human and relatable part of the film, and applause is deserved for the directing, writing, and acting in this particular scene.

A still from Anaïs in Love. Photo courtesy of Magnolia Pictures.

Imagine this: You’re sleeping with someone and then end up falling for their partner. As absurd as it sounds, this is exactly what happens to our titular character, Anaïs. Emilie is one of Anaïs’ favorite authors and just so happens to live with Daniel (Denis Podalydès). After following her to a stop on her book tour, Anaïs only falls harder for Emilie like a teenager and their first love.

Smartly, Anaïs in Love doesn’t just hand the audience what they want. Reading the synopsis of the film, it’s clear that Anaïs is going to fall for Emilie at some point or another, but Bourgeois-Tacquet takes her time getting to this—the two don’t have a substantial encounter until about an hour in—and as Billy Joel said, “she only reveals what she wants you to see.” There is a lot of scenes of “sexual tension” as the kids say, and it does eventually pay off, but one can appreciate the choice to make the film a marathon, not a sprint.

Director Charline Bourgeois-Tacquet. Photo courtesy of Magnolia Pictures.

Within the span of a few months, there have been two movies for millennials that are going through crises. While it doesn’t quite reach as much of millennial life as The Worst Person in the World, Anaïs in Love tells a story of love and maturing on its own terms; and that’s quite special. Excellent film and one that should not be slept on.

Anaïs in Love is in select theaters now and will be available on VOD Friday, May 6.

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Doctor Strange in the Multiverse of Madness | Non-Spoiler Review |

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If nothing else, Doctor Strange in the Multiverse of Madness is a reminder of how the theatrical experience and the MCU go together like Al Pacino and screaming. With the sheer number of MCU projects to keep tabs on, it can feel overwhelming and redundant in all honesty. For as well-acted as Moon Knight is and as unique WandaVision was — at least for the first eight episodes — but something about a tentpole film needs the big screen to fully do it justice. No, Multiverse of Madness is not as good of a multiverse movie as Everything Everywhere All at Once, but Sam Raimi’s stylistic panache bleeds through enough to make it feel different than other MCU projects; at least for portions of Multiverse of Madness.

Maybe it’s just the comfort of seeing a character such as Dr. Strange (Benedict Cumberbatch), who has really grown into the likable hero that the MCU needs to lead them into the foreseeable future. His first outing was rough; it felt as if the MCU was trying to force him into being the next Tony Stark like the WWE did with Roman Reigns and John Cena way back when. But over time, with cameos in Thor: Ragnarok and a prominent role in Infinity War, Cumberbatch and the creative teams have worked to make the character more likable. They have succeeded for my money, and while Cumberbatch is capable of so much more, he’s a really good Dr. Stephen Strange for what it’s worth.

Joining Strange on his quest across the multiverse are Wong (Benedict Wong), the Sorcerer Supreme, and newcomer America Chavez (Xochitl Gomez). The former plays the same role he has in all of his other appearances, that’s not a critique as much as an honest observation. The banter you’ve been hearing since Infinity War (perhaps the first Dr. Strange film as well, I loathe it and didn’t rewatch it ahead of time) is found in the Multiverse of Madness. Gomez brings much-needed youth to the forefront, and while she is a damsel in distress and the MacGuffin of the film, her energy and chemistry with Cumberbatch make her a stand out.

Promos for the Multiverse of Madness made it appear as though this was Wanda’s origin story. There’s a brilliant line about how Wanda bending the rules gets looked down upon as compared to when Strange does, and the conflict between the two is gripping. Elizabeth Olsen has come so far as Wanda and is becoming one of the best parts of the entire MCU. This is her best performance by a long shot, even better than WandaVision, due in big part to the turn she takes. There isn’t much more to say without spoilers, but it’s the Elizabeth Olsen show.

Elizabeth Olsen as Wanda Maximoff in Marvel Studios’ DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS. Photo courtesy of Marvel Studios. ©Marvel Studios 2022. All Rights Reserved.

[Insert Raimi camera swerve] In regards to Sam Raimi’s vision, for those concerned, there are the signature camera movements expected from a Sam Raimi film. And there are some actual horror elements for what feels like the first time in the MCU. It’s not a PG-13 horror film on the same level as Lights Out, but it’s a refreshing change of tone when the scenes of horror play out. And leave it to the creator of the Evil Dead franchise to have a character covered in blood for an entire fight sequence. Many directors have come and gone in the MCU, but Raimi undoubtedly makes his presence known more than the rest.

Again, Everything Everywhere All at Once really nailed the multiverse in a way that makes it hard to top. There’s an emotional weight in that film that is absent from the Multiverse of Madness. Yes, I get it, Wanda is still recovering from the events of WandaVision and Dr. Strange is dealing with the aftermath of past decisions in his first solo venture and Infinity War, but the film keeps up a fast pace and doesn’t stop to marinade in the sorrow for very long. One similarity the film does share with Everything Everywhere All at Once is how Wanda channels other variants of herself. No, there are no paper cuts or chewing gum from beneath a desk, but it was a similarity worth noting.

On left: Benedict Cumberbatch as Dr. Stephen Strange in Marvel Studios’ DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS. Photo courtesy of Marvel Studios. ©Marvel Studios 2022. All Rights Reserved.

Perhaps above all of the other minor issues that are found in the Multiverse of Madness—a lackluster script, spotty CGI, failing to set something exciting up for the future of the MCU—the biggest one of all is that for as good of an effort as Raimi puts in to make the film feel outside of the box, the Multiverse of Madness still fits into that box more often than not. It’s very much a dog scared of its own shadow in the way that Raimi’s style only carries the film so far. There is some extra gore, a few PG-13 jump scares, and far more dark elements than other MCU projects, but the action sequences feel like an MCU action sequence and the film very much follows a linear three-act structure.

The film hits the ground running, getting right to its first action sequence within minutes, but it follows the basic formula of a nightmare proceeded by the hero waking up in a panic, attending some mundane event (a wedding in this case) before it is interrupted by some big force that requires the help of a superhero. From there, Strange fights the giant squid which reminds me of the giant eye in The Suicide Squad. Oh, and to clarify, that nightmare “wasn’t just a dream, it’s the multiverse” as America Chavez states.

Elizabeth Olsen as Wanda Maximoff in Marvel Studios’ DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS. Photo courtesy of Marvel Studios. ©Marvel Studios 2022. All Rights Reserved.

Another common flaw that the film, with just about every other MCU movie, has is that there are no real stakes. Not every film needs world-ending stakes, but being that this is a sequel film to an established character, you could play with the audience. For example, how fun is it to watch professional wrestling if you’re sitting there thinking, “Hey, this stuff is fake!”? There has to be suspension of disbelief in the case of professional wrestling, and MCU movies need to add stakes in films that don’t have the scope of films like Infinity War or Endgame.

In the end, Doctor Strange in the Multiverse of Madness is a really cool comic book flick. You can’t take away the fact that it can sometimes feel different from other MCU projects and is likely the closest thing the MCU will make to a horror film. And while it doesn’t always work or land with the emotional punch it wants, the film is able to entertain and is unlikely to bore casual MCU viewers. It should be stated that while there are some awesome cameos, don’t go in expecting cameo galore (the best one shines in the post-credits scene, by the way). Danny Elfman’s score also kicks all kinds of ass with a guitar riff that features the level of tenacity The Edge had on Love is Blindness. Good stuff, Marvel.

Dr. Strange in the Multiverse of Madness will be released on May 6.

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