Top 5 Film Composers

When it comes to movies, one thing that can amplify a given work is its musical score (aka 'soundtrack'); while the music a composer produces is meant to accompany what happens in a film, there are a select few of these artists whose music manages to elevate what's taking place onscreen, to the point that just hearing a part of the score automatically enables one to recall the scene that it accompanies! With this being said, today, we're going to give shout-outs to those composers whose music has left an indelible impact on my experiences as a movie-goer. Not everyone may agree with my choices and the order in which I've listed them; despite this, please feel free to list your top favorite composers in the comments below. Without further to do, let's begin the list!

5. Ludwig Göransson 

This Swedish composer made the list thanks to his Academy Award-winning work on Marvel Studios' 2018 smash hit Black Panther and his musical contributions to the Disney+ TV show The Mandalorian. What separates Göransson's compositions from those of his contemporaries is his choice of instruments (e.g., a flute and drums for The Mandalorian's theme, as well as what's known as a 'talking drum' for the track "Wakanda" from Black Panther, among other examples) which are often radically different from what one would expect from a film score. This 'experimentalism' that Göransson brings to his projects is what made him stand out enough to warrant inclusion on this list.

 

Disclaimer: I know The Mandalorian isn't a movie, but it is a show set in the Star Wars (which is obviously a movie franchise) galaxy and has some feature film-level production values, so I therefore figured alluding to the series as one of Göransson's standout projects was okay to do.

4. Steve Jablonsky 

Steve Jablonsky is an American composer whom I know best for his contributions to the Transformers franchise (the ones helmed by Michael Bay, as Jablonsky sadly didn't return to do the score for the 2018 reboot of the movie series known as Bumblebee). And I know what some of you might be thinking, 'He worked on those blots of cinema? How could he be on this list, then?!?' Although the quality of the Bay-directed Transformers movies is certainly up for debate, one facet of them I think everyone can agree was decent was the scores! For the first film from 2007, for example, Jablonsky gave us such tracks as "Autobots", "The All Spark", "Optimus", "Soccent Attack", "Optimus vs. Megatron", and of course, "Arrival to Earth" (arguably the track viewers are most likely to remember from this flick). As divisive as the subsequent movies may be, they still have pieces of music that manage to stand out in big ways; these include "Forest Battle" from Revenge of the Fallen, "Battle" and "It's Our Fight" from Dark of the Moon, "Autobots Reunite", "Lockdown" (the theme music for the eponymous Cybertronian antagonist), and "Dinobot Charge" from Age of Extinction, and even "Calling All Autobots" from The Last Knight. Suffice to say, as someone whose introduction to the Transformers franchise was through the movie franchise that began all the way back in 2007, I, along with many other viewers, owe a lot to Jablonsky for composing scores that are 'more than meets the eye'!

 

Before we move on to the next entry, I just wanted to make a disclaimer: I was torn over which of the following 2 composers would take the #3 and #2 spot (respectively), so let's just consider the next two entries as interchangeable (in that they may switch from #3 to #2 on my list or vice versa depending on how I feel at a given time). With that, let's move on to my #3 entry!

3. John Powell

John Powell first came to my attention with his Oscar-nominated score for 2010's How to Train Your Dragon and has since continued to win me over with his soundtracks for the second and third installments of the How to Train Your Dragon trilogy, as well as his prior scores for 2006's Ice Age: The Meltdown (taking over for David Newman, who was the composer for the 2002 original) and 2009's Ice Age: Dawn of the Dinosaurs. What makes Powell's compositions so impactful lies in how they capture the 'mood' of whatever's unfolding onscreen whilst managing to sound memorable to the point that viewers find themselves humming certain musical pieces even after finishing a movie Powell was the composer for; what I especially like about Powell's work is his smart utilization of vocalists/choirs for various parts of his scores, which can enhance the existing music they accompany by either providing a sense of grandness or a foreboding/eerie aura, thus providing for an even more immersive audio-based experience. With all this in mind, John Powell is easily one of the most underrated composers working today, who is quite overdue for an Oscar!

2. John Williams

Of course I couldn't make a list of my favorite composers without including this living legend! John Williams has rightfully earned his reputation as a titan of film scoring, known for his numerous collaborations with equally renowned director Steven Spielberg on such projects as Jaws, Close Encounters of the Third Kind, and E.T. the Extra-Terrestrial, as well as the beloved Indiana Jones movie series. However, what I personally know Williams for is his musical contributions to a little saga readers might know as:

In addition to being the mastermind behind the legendary score for George Lucas' beloved original trilogy (which ran from 1977 to 1983), Williams' music also graced audiences' ears in the prequel trilogy, with such unforgettable pieces as "Duel of the Fates" from Episode I - The Phantom Menace, "Across the Stars" from Episode II - Attack of the Clones, and "Battle of the Heroes" from Episode III - Revenge of the Sith practically branding themselves into audiences' psyches. Although what Williams gave us in the sequel trilogy was (arguably) rather forgettable, it wasn't without its highlights either, such as "Rey's Theme", "March of the Resistance", and what I call the 'First Order/Kylo Ren theme', which all debuted in The Force Awakens (which reigns as my personal favorite of the sequel trilogy as of now). In addition to Star Wars, I also know Williams for his work on the first two installments of the Jurassic Park franchise (the 1993 original of the same name and its 1997 sequel, The Lost World: Jurassic Park), particularly the theme music for said films. With such a decades-long career and 5 Academy Awards under his belt, there's a darn good reason John Williams has made it so far up my list! 

 

Despite such a musical legacy that's given audiences so many memorable scores, though, who could possibly top this musical wizard? That brings us to my #1 pick:

1. Hans Zimmer

As iconic as John Williams may be, Hans Zimmer claims the top spot on this list because of the monumental impact his music had on my youth. Having produced the scores for such staples of my childhood as The Lion King, the Pirates of the Caribbean series, and the criminally underrated 2002 DreamWorks Animation flick Spirit: Stallion of the Cimarron, Zimmer's music alone contributed to making these and numerous other films he's worked on that much more special for me growing up. Even in more recent times, Zimmer has managed to prove he can still make engrossing pieces of music, as seen with his impressive work on the Kung Fu Panda trilogy (funny enough, he scored the first two films in the series alongside the previously-mentioned John Powell before composing by himself for the third installment), as well as the utterly epic new theme for Wonder Woman he (alongside fellow composer Tom Holkenborg, aka Junkie XL) crafted for the heroine's appearance in 2016's Batman v Superman: Dawn of Justice. If that wasn't enough, Zimmer is also the owner of the film score company Remote Control Productions; its members include the aforementioned Steve Jablonsky and John Powell, as well as such talented composers as Tyler Bates (composer of both Guardians of the Galaxy movies and the John Wick trilogy), Ramin Djawadi (who's composed for 2008's Iron Man, Guillermo Del Toro's Pacific Rim, and the hit TV show Game of Thrones),  Harry-Gregson Williams (composer behind the Shrek franchise and the film adaptation of The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe, among other projects), and James Newton Howard (whose work includes the 2000 Disney animated feature Dinosaur, the 2005 Peter Jackson-directed remake of King Kong, and the first two films of Christopher Nolan's Dark Knight Trilogy, which he worked with Zimmer on, as well as the more recent Raya and the Last Dragon). With all this under his belt, Hans Zimmer has, and continues to, have a profound influence on my life, and I don't think I'd want it any other way, hence his place as my #1 favorite composer!

So, there's my list of my top film composers. If you'd put anyone different on the list or want to share your own list/other thoughts, please feel free to do so in the form of comments. Thanks for reading!

Mulan 2020 quick-view

Welcome to the first of my ‘quick-views’, where I examine movies on a (somewhat) more condensed and smaller scale (compared to the usual length of my normal reviews). Today, we’ll be finding out, does this 2020 remake live up to the 1998 Disney animated feature that came before it, or does it bring dishonor upon its predecessor as well as the line of live-action remakes it’s part of?

When it comes to my experience with the original 1998 animated film, which starred Ming-Na Wen (who was more recently in The Mandalorian) as Mulan, I recall watching it several years ago and did like it, but I wouldn’t consider it one of my all-time favorite Disney films, either. With that being said, when I saw some of the promotional media for the remake, I was cautiously optimistic, as while I don’t recall it being a remake everyone was clamoring for, at the same time, I saw potential for it, as unlike its predecessor, the 2020 version of Mulan was doing away with musical numbers and had a cast of (mostly) Chinese-born actors, thus lending a more ‘genuine’ (for lack of a better term) aesthetic compared to its animated predecessor.

Having watched it at last (via Disney+) over the past weekend, I’d overall describe the 2020 version of Mulan as something of a mixed bag (to put it nicely); while it thankfully manages to avoid being merely a carbon copy of the 1998 original (something the remakes of Beauty and the Beast and The Lion King have been accused of), the majority of the characters come off as rather stiff and unmemorable, with the exceptions of Commander Tung (thanks to being brought to life by talented martial artist Donnie Yen of Rogue One: A Star Wars Story fame) and the witch Xianniang, in large part due to her backstory and unique combat style. While the cast try to do what they can with their portrayals, they likely could’ve delivered something truly special if they were provided with better directing for their performances. Mulan seeks to examine women’s roles in society, which is certainly a fascinating topic to scrutinize taking into account such social organizations as the ‘#MeToo’ movement that’ve emerged in recent times. However, the movie arguably wastes this concept in that there are multiple instances where the issue of women’s roles is handled in a decisively less than subtle manner.

 Thankfully, this version of Mulan isn’t all bad, as there are certainly two areas where it makes a positive impact: Firstly, there’s the cinematography; this has to be one of, if not the most, visually striking live-action movies Disney has produced in a long time, as the distinctive visuals of the Chinese landscape are spectacularly realized courtesy of cinematographer Mandy Walker: 

On the other hand, Mulan also shines in its action sequences, whether it be the villainous Böri Khan’s attack on an imperial garrison, the various forms of training Mulan and her fellow soldiers undergo, or the large-scale battle between Mulan’s contingent and Khan’s Rouran forces. What makes these set pieces distinct is the kinetic choreography used to bring the sequences to life onscreen, which involves moves (e.g., running along or even up walls, kicking spears out of midair at enemies, quickly maneuvering around on horseback to fire arrows while facing backwards) that wouldn’t be out of place in Ang Lee’s Crouching Tiger, Hidden Dragon, yet don’t seem that absurd given the movie’s fantastical atmosphere. With this being said, however, there were multiple instances where it was somewhat problematic trying to make out the choreography being performed onscreen or blows being dealt between combatants. While one could argue that this is to avoid the pushing the violence past what a PG-13 rating would allow, keep in mind that Disney has been able to get away with displaying some nasty stuff in their live-action films before, with the Pirates of the Caribbean movies being chief examples of this (though the PG-13 rating was also likely justified due to the potential nightmare fuel brought about by the hideously grotesque Flying Dutchman crewmembers and the Kraken from the second film in the series, Dead Man's Chest, for instance); as such, I feel that certain parts of Mulan’s action sequences could’ve been redone to ensure what happens onscreen is discernible from start to finish.

In general, Mulan, while being far from the worst live-action film to come from Disney, is nonetheless a clear example of squandered potential thanks to its forgettable characters, a message about women’s roles in a male-dominated society that has the subtlety of a raging avalanche, and action sequences that needed more ‘polishing’ to truly glimmer. Despite this, if you’re not a fan of musicals (which the 1998 Mulan falls under), you might find some enjoyment in the 2020 retelling, as it’s arguably less padded-out than its predecessor due to not having any songs to cram in. While nowhere as insulting or unbearable as something like The Emoji Movie or The Last Airbender (I'm referring to the 2010 disgrace of an adaptation, not the beloved show), I’d highly recommend checking out the 2016 remake of The Jungle Book if you want to watch an instance of a Disney remake done right; to close out this more condensed version of my regular reviews, here’s the one and only Eddie Murphy as Mushu (in a memorable scene from the original 1998 film) to sum up the 2020 version of Mulan in a nutshell when compared to its animated counterpart:

New type of reviews coming up

Hello there, readers! I just wanted to make an announcement regarding a new type of 'review' that I'll be utilizing in the near future; here, I'll give primarily my brief thoughts on a movie without going into as much depth as I would in my usual full-length reviews. This is something I'm trying out so I can produce new content at a faster pace. With that being said, expect the first of these reviews (the subject of which I won't give away) to be posted on here in the very near future. Take care, and I'll see you all come this future mini-review!

Power Rangers (2017 film) review

Does this 2017 reimagining of the iconic TV franchise pack as much of a punch as the Power Coins that give the eponymous team their powers, or is it a failure of an adaptation that should be condemned to the bottom of the ocean as Rita Repulsa initially was? It’s time to find out as we take a look at:

For a little bit of background, the Power Rangers series had something of a presence in my early youth, as I accumulated a good number of toys from some of the franchise’s various incarnations (especially the Dino Thunder line) and watched assorted episodes of the multiple TV series. Despite this, I’m not sure I’d say Power Rangers played a standout part of my childhood per se, at least not to the extent of Star Wars, Transformers, and the various Marvel Comics superheroes (especially after the Marvel Cinematic Universe began).
Despite this, I was still interested when I saw some of the marketing for this big-budget adaptation, but ultimately never got around to seeing the film on the big screen. However, I finally watched Power Rangers in its entirety after finding it at my local library, and I’m happy to say this is a solid big-screen adaptation! While there are elements I would’ve changed if I was director (or a screenwriter), this movie certainly doesn’t deserve the lukewarm response it was given during its theatrical run. Let’s find out why this is the case!

Power Rangers follows five high school students, Jason, Billy, Kimberly, Trini, and Zack, who are all outcasts in some shape or form. Eventually, all five teens end up at the local quarry where they find uniquely colored coins that, the next day, they each discover have enhanced their physical abilities drastically (e.g., increased strength, greater durability). Upon returning to the quarry in hopes of finding out more about what’s going on, the quintet find a buried alien ship, where they meet Zordon and his robotic assistant Alpha-5. From the extraterrestrial pair, the adolescents learn that, by virtue of finding the coins (which are actually known as Power Coins), they’ve been ‘chosen’ as the latest generation of elite warriors known as Power Rangers (of which Zordon used to be a member as the Red Ranger prior to his physical body’s death, which resulted in his consciousness being transferred to the ‘Morphing Grid’). While the teens initially want nothing to do with such positions (along with what it entails), the reemergence of Rita Repulsa, an alien sorceress who was once a member of Zordon’s team of Power Rangers before betraying them, forces the young protagonists to come together to stop her. Can the new Power Rangers bond as a team (enabling them to ‘morph’ into their signature armor) and train to the point of being able to stand a chance against the power-hungry Rita, or will the former Ranger succeed in gaining the Zeo Crystal (an artifact of immense power), wiping out all life on Earth in the process?

While the story admittedly isn’t anything revolutionary and has been done before, where this movie truly shines is in its main protagonists. The original ‘90s Power Rangers show frequently gets made fun of in that, for supposedly being ‘teenagers with attitude’, the original incarnations of the titular heroes didn’t exactly give off such an aura. In the 2017 film, on the other hand, all five protagonists come from circumstances that’d definitely make one rather cynical/withdrawn. For instance, at the time the narrative begins, Jason has jeopardized a potential career in football and strained his relationship with his dad after a failed prank against a rival high school, while Billy finds himself a frequent bully magnet thanks to being on the autism spectrum. Kimberly, on the other hand, is a remorseful former cheerleader who was kicked off her team (and forsaken by her close friends) after an ill-advised social media post; Trini repeatedly finds herself being the ‘new kid at school’ as a result of her family constantly moving, whereas Zack often misses school because he has a critically ill mother he’s trying to care for. This fleshing out helps the five leads to each stand out as individuals, thus preventing them from becoming indistinguishable from one another.
The most compelling aspect of these latest incarnations of the Power Rangers, however, has to be the progression of their relationships with one another as the narrative unfolds, with a noteworthy instance of this growth occurring during the film’s second act, when the teens open up to one another around a campfire, thus ‘shedding their masks’ (as Zordon put it earlier in the movie) as they get to know one another more personally. While Power Rangers could’ve had more action in its runtime, the characters and their journey to becoming as tight knit as siblings keeps the movie compelling in its own right and helps it stand apart from the other superhero flicks that came out in 2017 (e.g., Wonder Woman, Thor: Ragnarök).

As captivating as Power Rangers’ titular characters are, the writing behind them is complemented by the performances of the actors that were chosen to bring them to life. While Dacre Montgomery (who would go on to have a role in the hit Netflix show Stranger Things), Naomi Scott (aka Jasmine in the 2019 remake of Aladdin), Becky Gomez (also known by her stage name Becky G), and Ludi Lin (who would later have a supporting role in 2018’s Aquaman) are all commendable as Jason, Kimberly, Trini, and Zack (respectively), the one who arguably ‘stood out from the crowd’ was RJ Cyler as Billy. He does an exceptional job at portraying someone with autism, whether it be in the convincing way he stumbles over his words, talks louder than necessary (without realizing it), or goes on ramblings to the point that he needs to be made aware of it/gently told or asked to stop. As someone who’s on the autism spectrum myself, the mannerisms Cyler brought to his performance as Billy came off as convincing (especially in regard to his ramblings and speaking louder than needed), whilst avoiding coming off as gratuitously over-the-top, which is a balancing act I have to give Cyler props for!
While we’re on the topic of the development of the Power Rangers’ relationships, the main reason their interactions are so engaging lies in Montgomery, Scott, Gomez, Cyler, and Lin having remarkable chemistry with one another. This harmony between the actors makes exchanges between their characters seem that much more believable, and the evolution of their onscreen fellowship therefore becomes more organic. Top the performances of these five talented young actors with a supporting cast consisting of the delightful Bill Hader as Alpha-5, Bryan Cranston (aka Walter White/Heisenberg in the critically acclaimed show Breaking Bad) as Zordon, and Elizabeth Banks (who manages to be impressively unnerving yet unapologetically malicious) as Rita Repulsa, and you have a cast that packs as much power as the Power Rangers themselves!

While this film may fall short in the action department (quantity-wise), when it’s finally time for the Power Rangers to show what they’re capable of when ‘morphed’ into their iconic armor, director Dean Israelite makes the wait worth it! From a hand-to-hand mêlée with Rita Repulsa’s monstrous Puttie minions, to a battle in the Rangers’ hometown of Angel Grove in which the towering mechs known as the Zords get their time to shine, to a two-part clash with the titanic Goldar, the climax of this film knows how to deliver in the action department! However, all three of these sequences occur in the last third of the movie, meaning the path to get here may feel sluggish to some viewers. From what I’ve read, the opening of Power Rangers was initially supposed to involve a full-on battle between Zordon’s Ranger team and the traitorous Rita, instead of only seeing the aftermath like in the finished film. While I can see why this was cut (the fact we haven’t gotten to know Zordon’s Ranger team would likely result in their deaths at Rita’s hands feeling rather empty), on the other hand, such a sequence would help to illustrate just how great of a threat Rita is to Earth (though this would admittedly later be established via her almost effortlessly curbstomping the un-morphed Rangers later on in the film’s second act) and could satiate those who may identify as action junkies. To put it simply, while the fight scenes we do get are worth the buildup, placing one or two more action sequences (of reasonable length, mind you) earlier in the movie wouldn’t’ve hurt, either!

Although Power Rangers may not have the most groundbreaking story and could’ve used a little bit more action in the first 2/3rds (in addition, Ludi Lin does have some rather dodgy moments in his portrayal of Zack that could’ve used a second take to get right), it most certainly makes up for it with its captivating quintet of protagonists and the laudable performances of their respective actors, as well as an entertaining climax that arguably makes the wait to see the Power Rangers in all their glory that much more worth it. Although it made back its budget during its theatrical run, Power Rangers sadly ended up ultimately under-performing financially (likely due to the costs associated with marketing, among other things), with Paramount Pictures planning a full-on reboot instead of continuing where this movie left off, which I find to be a real shame; I would’ve loved to see more of these versions of the Power Rangers (especially with a cast as tight-knit off-screen as they are onscreen, as seen in these videos), and as such, I strongly recommend checking this flick out!

Why Avengers: Endgame is Rogue One done RIGHT (non-review)

Disclaimer: I know it's been several years since both movies came out, but with the COVID-19 pandemic having drastically reduced the release of new cinematic content, I'm just trying to make the most out of the circumstances.

WARNING: SPOILERS FOR AVENGERS: ENDGAME AND ROGUE ONE: A STAR WARS STORY WILL BE DISCUSSED. PROCEED AT YOUR OWN RISK.

The grand finale of Marvel Studios’ highly ambitious Infinity Saga that’s been years in the making has made quite the impact on popular culture, having surpassed James Cameron’s Titanic to become one of the highest-grossing films of all time (behind 2009’s Avatar, also directed by Cameron)!  With all this being said, it’s very clear that Marvel Studios has hundreds of thousands, if not millions, fully invested into the encompassing storyline that’s been meticulously unfolding ever since the mid-credits scene of the first Avengers revealed that it was Thanos the Mad Titan himself who’d provided the devious Loki with the means to invade Earth in order to retrieve the Tesseract (which contained one of the six Infinity Stones Thanos sought, in this case the blue-colored Space Stone). 

2016’s Rogue One: A Star Wars Story, meanwhile, was widely anticipated for its return to the era of the beloved original trilogy (which also meant the return of one of cinema’s most iconic villains, Darth Vader), as well as its narrative that revolved around the fateful mission to retrieve the plans to the first Death Star that was alluded to in the legendary opening crawl of Star Wars: Episode IV - A New Hope. Thankfully for Lucasfilm, Rogue One managed to turn in quite the profit, grossing more than $1 billion globally, and was generally well received, with some considering it the best of the Disney-released Star Wars movies so far.

With those introductions out of the way, let’s get into why Avengers Endgame is essentially a better version of Rogue One!

 

A More Compelling Narrative: As I initially watched Avengers: Endgame back in 2019, I noticed that the narrative that takes up much of the second act is, like Rogue One before it, a heist movie to retrieve McGuffins (a term coined by the legendary filmmaker Alfred Hitchcock referring to plot devices that are key to the narrative) that’ll essentially allow the heroes to triumph against the insurmountable odds facing them. In Avengers: Endgame, the McGuffins our heroes are trying to retrieve are the all-powerful Infinity Stones that they intend to use to undo Thanos’ culling of half of all life in the universe (as seen in Avengers: Infinity War). Meanwhile, the McGuffin of Rogue One that the main protagonists are trying to obtain is the first Death Star’s plans, which will play a key role in the moon-sized battle station’s destruction in the original Star Wars. 

However, the way in which Endgame differentiates itself from Rogue One is in the execution of this narrative, as the Avengers and their allies end up traveling back in time using the mysterious Quantum Realm (that was previously established in 2015’s Ant-Man and its 2018 sequel, Ant-Man and the Wasp) to retrieve the Infinity Stones from various points in the past (as it’s revealed at the start of Endgame that Thanos destroyed the present versions of them). This results in the protagonists traveling to various locations and events from previous installments in the Marvel Cinematic Universe (or MCU), such as the Battle of New York from the climax of the first Avengers film and the temple on Morag from the beginning of the first Guardians of the Galaxy, meaning that, in addition to being part of the plot (as the characters go to the earlier versions of these and other locations to retrieve the Infinity Stones), Endgame is able to use these visits to the past to simultaneously act as one big celebration of the MCU up until that point (as Spider-Man: Far From Home had yet to be released at the time)! Ultimately, the fact that this movie’s directors, Anthony and Joe Russo, as well as the screenwriter duo of Stephen McFeely and Christopher Markus (whose previous credits include the screenplays for all three movie adaptations of The Chronicles of Narnia, the Captain America film trilogy, and Avengers: Infinity War) were able to successfully do something new (via the time-travel aspect of the plot) with the ‘heist’ narrative that’s been done in so many movies prior (e.g., Ocean’s Eleven, Reservoir Dogs, and even the MCU’s own Ant-Man) while being able to give shout-outs to the previous Marvel Studios movies who's successes enabled this film to become reality is what really makes Avengers: Endgame’s heist storyline able to stand out from its predecessors! 

Rogue One, meanwhile, feels like wasted potential in that it takes what feels like forever to get to the heist plot we were promised in the marketing, as first the protagonists’ journey to the desert moon of Jedha to get a message from the lead character Jyn Erso’s scientist father Galen. Following this, they go to the rainy world of Eadu to rescue Galen (at Jyn’s insistence), which doesn't exactly go according to plan (to put it lightly), before finally getting to the McGuffin-retrieving portion of the movie that we paid to see! This wouldn’t be so frustrating if everything leading up to the last third of the movie actually flowed well. At the end of the first act of Rogue One, in his message to Jyn, Galen Erso reveals the design flaw he hid in the Death Star can be found in the plans on the tropical world of Scarif. However, because Jyn is viewed as untrustworthy due to her checkered past (which is conveyed via an exposition dump earlier in the movie's runtime), the plot doesn’t 'cut to the chase' until 2 acts later! In addition, like several movies that involve some form(s) of espionage, Rogue One involves the main team carrying out the raid while some distraction draws the majority of the enemy forces off their scent. While these events are done quite well, mind you, it doesn’t feel as unique as the way in which Avengers: Endgame executes its own heist plotline (via time travel), which is what makes Endgame come out on top in terms of the execution of the main plotline!

 

Characters Audiences Actually Care About: While I feel the second act (in which the 'time heist' occurs) of Avengers: Endgame left a bit to be desired in terms of action sequences, at least the film makes up for it in that viewers can readily get invested in what happens to the protagonists (as well as even the main antagonist, Thanos)! Although the characters certainly benefit from having several previous movies to develop them as individuals, even when viewing Endgame on its own, its characters nonetheless manage to stand out as a highlight of the film. This can be attributed to the engaging performances of Endgame's ensemble cast (e.g., Robert Downey Jr., Chris Evans, Chris Hemsworth, Jeremy Renner, Karen Gillan, Josh Brolin, etc.) and the solid writing regarding the characters' journeys that've unfolded over the course of the films that make up the Infinity Saga. 

Although Rogue One's first two-thirds does a better job of satisfying my action craving, many of the sequences feel too short in length (the biggest offenders arguably being Saw Gerrera's partisans' ambush of an Imperial squad escorting a shipment of valuable kyber crystals on Jedha and the Rebel Alliance's attack on an Imperial lab on the rainy planet Eadu). Unlike Endgame, however, this absence of action of decent length ultimately hurts Rogue One because, with a few exceptions (chief among them being the scene-stealing droid K-2SO and the intriguing Force-believing monk Chirrut Imwe), it's rather difficult to give a hoot about the main characters because of how dull they can come off as onscreen. While they certainly have potential as characters on paper, there's something rather lackluster about their execution, which I blame director Gareth Edwards for, as he seems to have quite the problem (going back to his first big-budget Hollywood blockbuster, 2014's Godzilla) with being good at delivering on spectacle, yet seriously faltering in terms of getting appealing performances out of most, if not all of, his cast (with a select few actors utterly trumping their costars in terms of portrayals, such as Alan Tudyk and Donnie Yen as the aforementioned K-2SO and Chirrut Imwe, respectively, in this movie). Don't get me wrong, the actors themselves did commendably in the film itself, it's just that they could've had a lot more to work with in their portrayals, something Avengers: Endgame outshines Rogue One in!

In general, while there could've been more action during the second-act portion of its runtime, Avengers: Endgame manages to improve upon Rogue One: A Star Wars Story in that it has well-realized characters (thanks to the contributions of the screenwriters, directors, and especially the actors bringing said individuals to life) and a unique execution of the main plotline (through the utilization of time-travel) that enables it to stand out from heist movies before and after it! 

Hope you enjoyed my work! If you like this inclusion of non-review content, feel free to let me know; any and all feedback (e.g., comments) is welcome, as it'll be beneficial in helping me refine my 'craft'! Have a good rest of the day (wherever you are) and I'll see you in the next review (or other piece of content)!

 

 

Soul (Pixar film) review

Is this new animated feature worth all the acclaim that critics and audiences are heaping upon it, or is it little more than a pretentious exemplification of 'style over substance' that should be given a one-way ticket to the 'Great Beyond'? Let's find out in my look at:

 

I watched Soul yesterday (via Disney+) and I have to say, Pixar Animation Studios has proven once again why they rival Walt Disney Animation as one of the leaders in quality animated films! With that being said, let's see just why this movie stands out as a true bright point in the mixed bag that was 2020!

 

Soul revolves around Joe Gardner, a middle school music teacher and an avid jazz pianist who looks to have finally gotten his big break with an upcoming performance alongside renowned jazz musician (who specializes in the saxophone) Dorothea Williams. However, a sudden accident involving an open manhole results in Joe's soul getting separated from his body, which lands him in the 'Great Before', a 'realm' (for lack of a better term) where souls are developed before (literally) descending to begin life on Earth. With the help of a pessimistic soul named 22, can Joe get back to his body before it's too late? 

In a year as (at numerous times) messy as 2020, it seems only natural that people around the world would find themselves becoming sardonic over the direction(s) life has taken; Soul shines in that, throughout its narrative, it shows audiences various (though not random) examples of what makes life worth living, as well as the meaning of 'purpose' (in the context of individuals) and manages to do so in a way that avoids coming off as ostentatious or drab, which is testament to the filmmakers at Pixar's talent for delivering compelling and poignant narratives/themes.

 

One of the most standout aspects of this movie has to be its cast, particularly its leads. Academy Award-winner Jamie Foxx stands as another example of Pixar's terrific ability to find the right actors for given roles, as he brings Joe Gardner to life in a way that doesn't feel derivative of his previous works (e.g., Ray, Django Unchained, Baby Driver), whilst at the same time managing to make the character his own in terms of the believability of his voiceover performance. 

While Foxx is admirable as the main character, Tina Fey calls to mind Billy Crystal's portrayal of Mike Wazowski in Monsters Inc. (which was the directorial debut of Soul's director, Pete Docter, who also helmed Up and Inside Out) in terms of how virtually irreplaceable she is as the soul known as 22. Fey almost effortlessly realizes 22's particularly cynical (at least initially) outlook on life, as even though she hasn't been to Earth prior to the movie, it's established that 22 has had hundreds, if not thousands, of 'mentors' (who are the souls of individuals who've made noteworthy contributions during their time on Earth, such as Abraham Lincoln or Mother Theresa), thus giving her something of an idea (albeit an incomplete one) of what life is like. The fact that some of the most laugh-out-loud moments of the movie involve 22 in some capacity is testament not just to Doctor's (along with co-writers Mike Jones and Kemp Powers, the latter of whom also co-directed the film) directing and writing, but also to Fey's vocal performance (funny enough, she actually helped in writing 22's lines, thus leaving an even bigger mark upon how her character was ultimately realized!). 

Although Foxx and Fey certainly do well as their individual characters, where Soul really shines is in Joe and 22's interactions, as together, they have arguably one of the most memorable character dynamics in recent memory! They bounce off each other in a remarkably organic way that's incredibly engaging (and amusing at multiple points), yet still moves the narrative along very effectively. Between the duos of Mike & Sulley in Monsters Inc. and Joe & 22 in this movie, Pete Docter has proven that he knows how to create believable dynamics between characters, which in the case of Soul, helps viewers get even further invested in what unfolds onscreen!

 

With Soul being an animated film being produced by Pixar Animation Studios, there's no way I could do a review of it without addressing the animation. In addition to compelling stories and unforgettable characters, Pixar has made a name for itself in creating visually arresting and immersive worlds; suffice to say, Soul stands proudly as the latest illustration of this legacy! While the film's rendition of New York City is able to stand out from previous animated renditions of the iconic location, where it really shines is in its depiction of the 'Great Before', a striking realm that's impressively visualized with a color palette that consists predominantly of a gentle blue and purple/violet/magenta, and bears a landscape peppered with rounded hills. In addition to the hundreds of unborn souls, the 'Great Before' is populated with astral beings acting as soul counselors that all share the name 'Jerry' and, according to a website I frequent named TV Tropes, they, along with an obsessive accountant for souls entering the Great Beyond named Terry, are all 2D-animated! Despite their abstract appearances, these characters are integrated into their 3D world seamlessly, and the fact that I didn't know/couldn't readily tell they were 2D-animated instead of 3D-animated until after watching the movie is yet another thing to commend Pixar's animators (and other artists) for, as it shows just how far the company has come since Toy Story's release over 20 years ago.

 

Unlike Docter's previous two animated projects, Up and Inside Out, Michael Giacchino didn't return to compose the score for Soul; instead, Trent Reznor and Atticus Ross of the band Nine Inch Nails were brought on for the score of this film, while musician Jon Batiste produced several jazz numbers (which is rather fitting, considering what Joe's passion and occupation are) to accompany the portions of the movie that take place in New York City. Despite all this talent behind the scenes, I feel like the resulting music, while complimenting what unfolds in Soul quite nicely, ultimately pales in comparison to what's heard in Pixar's previous soundtracks (e.g., Finding Nemo, The Incredibles, WALL-E). However, my indifference towards this film's music may be due to how I was more focused on the story, characters, and animation, which certainly isn't a bad thing in itself; perhaps, upon rewatching Soul and/or listening to its soundtrack in the future, I can attain a new appreciation for Reznor, Ross, and Batiste's musical contributions. Only time will tell!

 

Besides the music, issues I have with Soul pertain to the Great Before and the fate of one of the main characters. In regard to the Great Before, I found it to be an intriguing and well-realized location that I wish could've had more screen time to be explored, as it is a solid example of a world that leaves you hungry for more! I'll be going into spoilers for the next point, so consider this your official spoiler warning; jump past the 'end spoilers' portion of this paragraph to skip over this portion of the review. The last time we see 22 towards the end of Soul, she's on her way to be fully 'born' in an undisclosed part of the world that's left ambiguous to audiences, and we never find out what ultimately becomes of her. Considering how much I enjoyed Joe and 22's relationship throughout this movie, I was dismayed to see them parted; according to co-director Kemp Powers, one ending considered involved Joe touring with Dorothea Williams' jazz quartet whilst being a private music teacher as a secondary career. Here, it'd turn out that one of Joe's new students was none other than 22, whom he would recognize. This would've been such a rewarding way to reunite the pair after the journey they'd gone on together (and it would've tied into the appreciation 22 acquired for jazz earlier in the film), and as such, I feel incredibly frustrated that Docter, Powers, and co. chose to cut this ending! If they had kept this conclusion, it would've had the potential to be just as 'Heck yeah!!!'-inducing as Sulley's implied reunion with Boo just before the credits rolled in Monsters Inc. or Baymax's return at the end of Big Hero 6! Alternatively, in the future, Pixar could utilize the concept of Joe and 22 being reunited in the form of a short film or television special follow-up. It wouldn't be the first time Pixar's done a continuation in either of these formats, as Toy Story 3 previously got a trio of short films known as Toy Story Toons and two TV specials (Toy Story of Terror! and Toy Story That Time Forgot), all taking place after Toy Story 3. With this in mind, who says Pixar couldn't do the same with Soul? END SPOILERS

 

With those gripes out of the way, after a bit of a hiatus in quality (as I personally found Coco to be rather overrated and thought Incredibles 2, while not 'bad' per se, was nonetheless a step down from its beloved 2004 predecessor), I'm happy to report I was most pleased with Soul! It explores compelling ideas, has well-executed and impressively acted characters, and dazzling animation, making this another home run from Pixar Animation. It isn't without its problems or things I would've changed, but this movie is an instance of Pixar at its best, and it's great to see the company moving back towards original projects (as opposed to churning out sequel after sequel of existing properties like the aforementioned Incredibles 2 and 2019's Toy Story 4). If Soul is anything to go by, the future certainly looks bright for Pixar, and I look forward to seeing more of them! I definitely recommend giving Soul a watch, hope you enjoyed my critique of the film, and I'll see you all in the near future!