#mary poppins returns review

[pricelesscinemas]

[thedetectivesteve]

Cold Cases #5: Into the Spider-Verse, Mary Poppins Returns, Mortal Engines

[andrews-reviews-and-thoughts]

Andrew’s Thoughts on Mary Poppins Returns, The Wind Rises, and Ponyo

Thoughts on Mary Poppins Returns: An 8/10. It may have ended up feeling like the original too much with its similar and kind-of predictable story, and have an unnecessary and not well developed villain, but it successfully retained the feel of the original with its charming tone, songs that are rather memorable and do feel like they came from Mary Poppins (though maybe not in the same levels as the original), nice performances from the cast, including Emily Blunt, Lin Manuel Miranda, and a cameo from Dick van Dyke, and great visuals and choreography, especially with the hand-drawn sequence.

Thoughts on The Wind Rises: As Hayao Miyazaki’s final film (maybe), he left off on a big bang. The movie shows the life of Jiro, a young man who ends up designing airplanes for the Japanese military. But Jiro doesn’t make planes that are ultimate weapons or make planes for the sake of his country, he merely wants to create something that is beautiful, which unfortunately ends up paining him that something beautiful becomes corrupted for destruction. The idea of something beautiful being easily corruptible is a big theme of the film, and can provide tons of stuff to think about. The film also shows the relationship between Jiro and Nahoko, and without spoiling the movie, it definitely provides an emotional and heartbreaking part of the film.

   Of course the backgrounds, character design, and animation is as good as it always is, but what makes this stand out is how it shows the elegancy of a plane in flight, along with the dream sequences providing some creativity. It may not have as much innovating moments as the other Studio Ghibli movies, but it probably wouldn’t be considered a bad thing. I’ve already discussed Jiro and technically Nahoko, but there are also other characters. There could be a possibility that they’re overshadowed by the main two characters, but they still get enough screentime for us to look at them. Honjo is Jiro’s friend who’s pessimistically dismayed about Japan’s technology being behind other countries; Kurokawa is Jiro’s hot-tempered boss, though he isn’t too heartless; Kayo is Jiro’s sister who wants to become a doctor and tries to help out Nahoko; and Mr. Castorp is an interesting character who helps out a bit with the romance between Nahoko and Jiro, while also presenting himself as a mysterious figure who may know more than we think (possibly a German or Soviet official on the run). (On a sidenote, there is something in Castorp’s voice that I can’t help but associate with the word snake. You’d get what I mean through watching either the English or Japanese dub.) In short, The Wind Rises is a great film, and could be considered Miyazaki’s equivalent to Isao Takahata’s Grave of the Fireflies. Story: 10/10. Animation: 9 or 10/10. Characters: 9 or 10/10. Overall: 9 or 10/10.

 Finally, to end off on a positive note, I’ll try to discuss Ponyo. Ooh boy, was that a Weird one. Honestly, I’m not sure how I should feel. With the odd childlike tone, the characters treating almost everything nonchalantly or acting oddly and not like expected, and some parts of the story feeling unexplained or more serious than other parts, it makes it seem not as great as the other Ghibli movies. But maybe I’m just being crazy and am failing to see how this could be a nice film to be enjoyed by children, I don’t know. As for the characters, other than what I said, they’re mostly two-dimensional and not as complex as other Ghibli characters, with some feeling like there could have been development for them. As for the animation, it has a more kid-friendly feel like it came from a kids book, but still has the good stuff from other Ghibli films, with a nice and creative look for the sealife. Story: 7/10. Animation: 10/10. Characters: 6/10. Overall: 8 or 7 or 7.5/10.

Random Lines At End: 1: Kurokawa: Jiro, let’s go get some coffee. Jiro: But, I’ve got to go to a... Kurokawa: Cancel it. (Closes door.) 2 (in Japanese): Kurokawa: Jiro, we need to talk. Jiro: I’ve got a meeting. Kurokawa: Cancel it. (Closes door.) 3 (English): Jiro: Schubert’s Winter Journey. (Audio plays.) Honjo: Well, that’s perfect for us. A masterpiece of misery and woe.

[crayonkant]

I love your takes on arca and in gender/transition in general. What do you think about songs like prada where arca seems to assume both a very delicate feminine and dominant masculine approach to sexuality? I’ve seen reviews talking about how that’s arca challenging the views of femininity especially for a trans woman and I was curious to know what you make of it

Dear Anonymous,

First - I'm glad you find something interesting in what I wrote about Arca. I am a recent fan and still in the grips of a very powerful crush :)

Second - why are you asking such a hard question? :) I tried to answer it concisely a couple of times and didn't succeed. So please be patient with me for a bit longer, or send me a direct message for a more fluid conversation.

For now, here is a partial answer:

There's an Arca interview that I keep going to: buttmagazine.com/interviews/arca-2 (August 31 2022). Short quote: "I'm continuing to explore the question of what my womanhood looks like, and how to convey it without it becoming a caricature. [...] It's been a slow process of not wanting to renounce any extreme. Tomboy mode is as important to me as being able to get dolled up. I don't want to replace one script with another script. [...] I'm constantly asking myself certain questions that never go away. The answers change over time." There's a lot to unpack in the interview, and I'd love to return to it in a longer post.

I'd give away years off my life if we could just stop using the words 'feminity' and 'masculinity'. Do you remember Mary Poppins' nanny bag in which everything and anything can fit? This is how I see these words. We stuff in them neat collections of concepts/adjectives ("delicate", "dominant"....), forgetting that their contents is time/culture dependent, and that it is not a given - we choose what is put there, and we don't necessarily agree what fits best in each of them. I'd love to hear from you what is in your bags.

Returning to all this with a longer post soon...

[explainedfilms]

Mary Poppins Returns Movie Ending Explained (In Detail)

Spoilers Alert: The world-famous magic nanny experiences it MARY POPPINS RETURNS a musical revival on the big screen. While the US critics rejoice, we are disillusioned. We reveal why in our review. The Plot Summary London in the 1930s, in the middle of the economic crisis: Michael Banks (Ben Whishaw) has now grown up and works for the bank where his father was employed. He still lives at 17…

[floorman3]

The Little Mermaid Review- A Visually Stunning and Incredibly Sounding Disney Live-Action Remake

The Little Mermaid is the latest live-action remake of one of Disney’s classic animated films from the 90s. The Little Mermaid is an empowering story for little girls and an indication that love transcends all odds. Disney has worked with Rob Marshall a few times in the past on Mary Poppins: Returns and Into the Woods, but this may be the best of their collaborations to date. He has transformed…

[thealmightyemprex]

Gameplan for Disney Month

Ongoing stuff

Have 26 episodes and two specials to watch of Zorro ,will do a full series review if I finish

11 issues to read of Life and Times of Scrooge McDuck

Official film watchlist so far

Mary Poppins (Already watched but holding off till Disney month begins to talk about it . Might be first review )

Kidnapped (Will be first film watched )

Lady and the Tramp

Return to Oz

Popeye

The Love Bug 1997

Official TV series episode watch list so far

Pepper Ann-Megablades of Grass /Family Vacation

Dinosaurs :High Noon

Official musical :

Aida

Comics

TBD

Miscelelanious

Me discussing my favorite Disney ride

@the-blue-fairie @ariel-seagull-wings @themousefromfantasyland @princesssarisa @filmcityworld1 @angelixgutz @marquisedemasque @amalthea9 @goodanswerfoxmonster

[moviereviews101web]

The Disppearance (1977) Movie Review

The Disappearance – Movie Review Director: Stuart Cooper Writer: Paul Mayersberg (Screenplay) Writer: Derek Marlowe (Novel) Cast Donald Sutherland (Don’t Look Now) Francine Racette (Au Revoir les Enfants) David Hemmings (Equilibrium) John Hurt (V for Vendetta) David Warner (Mary Poppins Returns) Christopher Plummer (Knives Out) Plot: Thriller about a contract killer whose wife has…

[shuteyecinema]

If you are here and can understand.

I am not saying what I stumbled upon makes me a genius, but still, I imagine very little to no people at all can grasp what I write here. My reviews excel the most like “Cast Away” “Mary Poppins Returns”, “Logan”, “POTC”, “MIB”, and many others. Note: ChatGPT strictly only tells me that meaning in movies is up for personal interpretation. Let’s suppose what this takes is a 190 IQ and ask…

[denimbex1986]

'...With the reviews and successful box office for Christopher Nolan’s “Oppenheimer,” we could finally find Emily Blunt to get her due as a nominee. Despite Golden Globe noms for “The Devil Wears Prada” (2005) and “Mary Poppins Returns” (2018) and a SAG-winning turn in “A Quiet Place” (2018), the British star has yet to be recognized. This could be her year...

AND THE PREDICTED NOMINEES ARE...

Emily Blunt — “Oppenheimer” (Universal Pictures)...

ALL ELIGIBLE TITLES (ALPHABETIZED BY STUDIO)**...

Emily Blunt – “Oppenheimer” (Universal Pictures) Florence Pugh – “Oppenheimer” (Universal Pictures)...'

[thebuzztrack]

A Review of 'Spider-Man: Across the Spider-Verse' (2023)

Damn, now this movie is entertaining to watch with utmost certainty. I considered the first installment a gem that could not be matched. But here I am after viewing the second movie with the unexpected knowledge there will be a third movie on the horizon. Into, Across, and Beyond the Spider-verse! This movie’s complex blend of animation styles can be information overload and possibly seizure-inducing for those with a photosensitivity impairment. My gosh! It is fascinating how they combined all the visual extremes into one movie. I am surprised it did not give me a headache while I tried to keep pace with the speed of processing all the information at once. It was mind-boggling to see them integrate live-action into an animated film. The last time I remember seeing it be used seamlessly was during the Bronze Age of Disney when the studio blended live-action and animation into their movies, such as with Mary Poppins and Bedknobs & Broomsticks. I thoroughly enjoyed this movie and look forward to the third installment.

As previously stated, this film is a direct continuation of the highly praised Spider-Man: Into the Spider-Verse (2018). The lead character, Miles Morales, returns as the protagonist, joined by a fresh set of heroes from alternate dimensions. The film is helmed by directors Joaquim Dos Santos and Kemp Powers, and penned by Phil Lord and Christopher Miller, the creative forces behind the original movie.

This film boldly depicts Miles' ongoing struggle to balance his dual identities as a high schooler and a superhero, all while confronting a looming danger that threatens to unravel the fabric of the multiverse. With the abundance of thrilling action, clever humor, heartfelt emotion, and breathtaking animation, this movie will surely leave a lasting impression.

This movie was fantastic! It exceeded all of my expectations and left me thoroughly impressed. The animation style was especially noteworthy, as it merged various techniques and genres to produce a stunning visual masterpiece. The voice acting was also top-notch, with Shameik Moore and Hailee Steinfeld delivering standout performances as Miles Morales and Spider-Gwen, respectively. The supporting cast of heroes is excellently portrayed and fleshed out, each with its distinct personality and backstory. Fans of the Spider-Man franchise will appreciate the nods to various comics and movies, as the film cleverly incorporates references and Easter eggs throughout.

The film showcases a considerable amount of emotional depth and character growth. Miles, the protagonist, is both relatable and endearing. He encounters challenges and uncertainties that most people can empathize with. Through his journey, he discovers how to trust himself and his companions and accept his role as Spider-Man. The movie delves into the various topics of family, friendship, accountability, inclusivity, and bravery. It doesn’t shy away from addressing heavy subject matter yet maintains a balanced tone with humor, optimism, and entertainment.

Spider-Man Across the Universe (2023) is hands down one of the best movies I’ve seen at the cinema this year. The remarkable animation and captivating storyline will impress anyone who appreciates superheroes or simply great films. I highly recommend it without hesitation.

[thequeereview]

Exclusive Interview: Alexandra Billings channels Julie Andrews in epic sci-fi series The Peripheral "Mary Poppins, who knew?!"

Exclusive Interview: Alexandra Billings channels Julie Andrews in epic sci-fi series The Peripheral “Mary Poppins, who knew?!”

When actress, singer, author, teacher and activist Alexandra Billings last spoke with The Queer Review in early 2020, she was making history on Broadway in Wicked as the first trans actor to portray Madame Morrible. It was a role that she returned to once theatreland reopened last year. Now, she’s lighting up our screens in Prime Video’s sci-fi epic, The Peripheral, opposite Chloë Grace Moretz.…

[mewreviews]

Mary Poppins Returns Review

“You’ve forgotten what it’s like to be a child”

With the Banks children grown up, and Michael now a father himself, Mary Poppins returns to guide the family once more.

It was inevitable that a sequel to a movie as beloved as Mary Poppins would have cinema seats filled with those doubtful of the second attempt’s success, or even necessity. Mary Poppins Returns, however, brushes aside such concerns almost immediately. Greeted by Lin-Manuel Miranda’s charmingly bad Cockney accent, we cycle through the early morning light of London to arrive at the familiar Cherry Tree Lane. In fact, there’s much about the sequel that seems familiar. Yet director Rob Marshall’s version is not hackneyed, but instead wonderfully comforting. Mary Poppins Returns offers the same blanket-warmth nostalgia of revisiting a childhood story fondly remembered.

The theme of nostalgia is a key element in the sequel. Michael mourns for his recently passed wife, the children their mother. Nostalgia hangs heavy over the house, which the Banks are under threat of losing. Then there is audience nostalgia. Older viewers, reminded of the original as the sequel treads the familiar beats, revisit the first time they met Mary Poppins. This could have tinged the film with an unwanted sadness, emphasised by Mary’s question “Do you ever dream or reminisce, wondering where to find what you truly miss?” But, along with the Banks children, we are reminded that nothing important is ever truly lost.

It is here with “The Place Where Lost Things Go” that audiences will first find themselves tearing up. With this song, the sequel truly cements itself as something special. Returns is just a shade darker than the original, but it is this that lets the sweeter moments shine through brighter. The music throughout is a success, in turns whimsical and fun, and touchingly sentimental. It’s unlikely any of the songs will be as iconic as those from the original – there’s certainly no “supercalifragilisticexpialidocious” here – but they’re still catchy and enjoyable. While Emily Blunt’s voice isn’t quite as powerful as Julie Andrews’, she delivers the songs with far more theatricality and a little more bite.

Blunt’s Poppins has a little more bite in general. Taking more from P.L Travers’ original character than Andrews did, the nanny in Returns, while caring, is certainly not a woman you’d want to cross. Prim and proper, and very self-assured, Blunt plays the character with more of an air of sly mystery and a sharper edge. Miranda’s Jack (this movie’s Bert), is then the ideal balm to the arch of Mary Poppins with his warmth and sweetness. The fact that Blunt makes the character so decidedly her own, however, was crucial. It would have been unwise to emulate exactly what Andrews portrayed, and this Mary Poppins, while different, still seems a natural evolution from the first.

A further evolution from the original was the blend of live action and animation. It seems far more seamless in the sequel, and looks more appealing. The movie still employs hand-drawn animation, however, which lent itself once more to the embrace of nostalgia.

While there were a few missteps (such as the anachronistic inclusion of BMX-riding lamplighters, and an ending that went on slightly too long), Mary Poppins Returns was a faithful and playful sequel. A more perfect follow-up to Julie Andrews couldn’t have been found than with Emily Blunt, and the movie’s genuine devotion to the importance of childishness and joy is one that is sure to leave a smile on any fan’s face.

3.5 /5

[andrews-reviews-and-thoughts]

Andrew's Review of The Inventor (by Jim Capobianco)

Note: This review was made during the time of the 2023 Writers’ and Actors’ Strike (and finished in November of 2023). Despite not being an official reviewer for a website or publisher, I still stand with the strikers and their attempts to gain better wages and treatments for the work they do. As The Inventor is a film made out of passion, this disclaimer is especially applicable to those who work for something that they love doing. I can only hope for the best that the actors and writers get what they want, and continue to make films like this one under the best circumstances. Learn more at entertainmentcommunity.org

                                             The Inventor

   Well, would you look at that, another stop-motion film has come out. I have got to say, when it comes to stop-motion in the 2020s, it has had a good run so far. Whether it be with Aardman producing Shaun the Sheep for Netflix and the Star Wars: Visions short, “I Am Your Mother”, for Disney+, or individual creators like Henry Selick and Guillermo del Toro making animated films like Wendell and Wild and Pinocchio, they have proven to be standouts in their respective years. But this one is not just a regular stop-motion film. This one is the brainchild of Disney and Pixar veteran Jim Capobianco, who has worked as a storyboard trainee on The Lion King, an animation sequence supervisor on Mary Poppins Returns, and, most notably, as one of the writers for Ratatouille, which he got an Oscar nomination for. Back in 2009, he made a short film called "Leonardo,” which was about the life of famous Renaissance artist Leonardo da Vinci, who Capobianco became fascinated with as a person. So much so that in 2018, he started preproduction on an expansion of that short as a feature film that would blend stop-motion with hand-drawn animation! That alone should make this an interesting feature to look at! And with the help of Pierre-Luc Granjon as co-director, Don Hahn as an executive producer, and Cartoon Saloon’s Tomm Moore as a creative consultant, Capobianco has finally released The Inventor to the big screen. That’s right, not to streaming, but to movie theaters. I don’t think there has been a stop-motion film in theaters since Missing Link back in 2019! So now that we will be looking into the life of Leonardo da Vinci, will this film be as grand as his creations, or will it be given the same treatment as Leo was under the Catholic Church? Let’s find out.

The Story

   When the film begins, it acknowledges that it is based on the life of Leonardo da Vinci, mainly involving his time at the French court in the 1510s. While some would think that this is a biographical picture of how Leonardo made his creations during that time, that is not really the case. Yes, the story does involve him leaving Italy for the French court, along with his attempts to make an ideal city there. But instead of focusing on ‘the life of the great Leonardo’, The Inventor treats itself as a way of delving into da Vinci’s philosophies and goals through the setting that he is in. As a man in the early 16th century who has a curious mind and craft for creating things, he and his ideas are constantly opposed by those around him, rather it be by the restrictive Catholic Church, or by people who, as Leonardo said it best, “cannot see.” It is due to the struggles that da Vinci faces that the film is able to spread out its messages, or more specifically, Leonardo’s viewpoints. These can range from how people will adapt to machines of war and continue an endless cycle of violence; how a religious group like the Catholic Church can be so dismissive of other views and suggestions that it will act against its intended nature as a group that spreads the love of God; and most notably, how people can see one’s ideas, and how willing they are to accept them. (The scene where Leo tells Princess Marguerite about the three types of people he has encountered: Those who see, those who can be made to see, and those who cannot see, is shown.)

   In a way, this could be viewed as commentary on not just the behavior and psychology of people, but also the modern world, since most of today’s recent controversies spring from people who refuse to understand something new or progressive, and will violently deny or fight back against it because it does not match up with their limited views of what should be. But there is another thing that this film addresses, which is Leonardo’s pursuit of what the human soul is. Throughout the feature, Leo constantly tries to figure out what it is all about, and asks some rather deep questions for a family-friendly film. What is the meaning of life? Is there a point to our existence? Why is the soul there, and what is it meant for? And by the end of the film, the answer that is given is one that will probably touch deep with several people. While not a full-on biography, and most likely not a completely accurate one, the story still delves deep into the mindset of Leonardo da Vinci, and the questions and views that he posited.

The Animation

   When one hears the words, “from one of the writers of Ratatouille,” they would probably wonder why someone from a CGI-heavy animation studio like Pixar would use stop-motion and hand-drawn animation for this film. Well, as I have mentioned before, Jim Capobianco is already familiar with hand-drawn through his past works, but the most prominent example of his adaptability is the short film that came with the Ratatouille DVD, “Your Friend the Rat.” While Remy and Emile stay their 3D selves, the rest of the short uses a mixture of visual styles, from 2D animation in the style of Ward Kimball’s educational cartoons from the 1950s, to small bits of live-action, pixel art, and, yes, stop-motion. So I think it is safe to say that Jim has plenty of experience to implement those art forms into his own feature.

   But getting back to The Inventor, one thing that stands out upon first notice is the designs. When looking at the characters, it is very easy to make comparisons to the Rankin-Bass specials. The heads are rather ovular, their bodies are clearly reminiscent of toy models, and their eyes are merely black dots much like Yukon Cornelius, Santa and Mrs. Claus’ eyes were in Rudolph the Red-Nosed Reindeer. Simple designs, I know, but they are still rather charming to look at, and do have a thematic reason for looking the way they do. Considering how this film is about Leonardo da Vinci, it technically fits in with his work as a tinkerer. Do the characters seem like little figurines, and the buildings and backgrounds around them look like models? Good, because that is basically what Leonardo is doing with his sketches and contraptions. Even when there are a few characters with stand-out details like Leo’s mouth sometimes appearing over his beard, and Pope Leo X having a jaw similar to Burgermeister Meisterburger’s, it is easy to imagine that someone is experimenting with their models to see what else can be done.

   As for how the characters move, they do have a good amount of fluidity to them. Not to the extent of Laika’s features, but more so Aardman’s films, where the character animation moves at a good pace, and does follow the anatomy of the human body. And even with the designs being simple, the characters are still able to express their feelings, whether it be through how they move their bodies, or letting the mouth, the eyebrows and whatever else is around the eyes to do the emoting. But I am sure you have all been waiting for me to discuss the film’s standout element, the use of hand-drawn animation.

   Throughout the feature, hand-drawn is often used to convey what Leonardo is thinking about, or as a way for a montage or exposition to happen, and It Looks Beautiful. While not changing any of the characters’ designs, the animation does stick close to the artstyle of Leonardo da Vinci, where there are detailed sketches, watercolor and oil paint making up the backgrounds, and even a couple of references to da Vinci’s own artwork. Combine that with some smooth and fluid animation, and having the camera move about to show dynamic angles, and you have got one of the highlights of the picture, especially when Leonardo has one of his soul visions. (Leonardo’s second vision of him trying to reach the female figure is shown.) It is also worth noting that hand-drawn animation does appear within the stop-motion world, and it blends rather well with the full-dimensional figures. Some examples include Leonardo’s thoughts appearing as sketches; the shadowy spies of the Pope slinking about the walls and floors as Literal shadows; and during some of the musical numbers, where the hand-drawn animation both serves as a representation of what the characters want, and interacts with the stop-motion figures most often. (A section from “An Ideal City” where a swarm of people carry away King Francis is shown.) If I were to guess how much which type of animation was used, then I would say it is 65% stop-motion and 35% hand-drawn. And considering how often hand-drawn appears, I think it is safe to say that people will be pleased by the amount that is shown. With some charming stop-motion and a plentiful use of hand-drawn, the animation in The Inventor perfectly replicates the artistic mindset of Leonardo da Vinci.

The Characters

   While there are several characters in here who are based on real people, accurately depicting them is not the movie’s main goal. Again, the goal is to spread the message of Leonardo’s mindset. And who better to start off with than Leonardo da Vinci himself. As an artist and philosopher, Leo is fascinated by everything around him, and seeks to find out as much as he can while trying to bring his ideas and observations to life. However, doing so is easier said than done. Along with the restrictiveness of the Catholic Church, he is faced with scrutiny from people whose views do not match with what Leo sees. Even if what he brings up is technologically impressive and could benefit society, they would rather him do as he is told and stick to what is traditionally acceptable. On top of that, Leonardo is already an old man, and will eventually have to move on, so his studies into architecture, machinery, the human soul, and even the dissection of cadavers could be seen as him trying to make an impact before time catches up with him.

   As for the other characters, I will admit that there can be those who are mostly there to serve certain roles for the plot, and do not have as much development as Leonardo. But even with that, they still do serve their roles well and can stand on their own. First, there is Francesco Melzi, Leonardo’s apprentice who is the closest confidant and friend the old man has. While Melzi is mainly an assistant who is there for da Vinci to talk to, he is still loyal to the old man and helps him out with his experiments, while also trying to remind him of how he should not get into trouble with the people up top. Alongside the apprentice is Zoroastro, the silent heavy muscle who helps Leonardo with construction and retrieving cadavers. Then there is King Francis I, the King of France who invites Leonardo into his court after witnessing one of his inventions. However, while his interest in Leonardo is genuine, it only goes so far, since he wants the artist to make statues of himself to show off to the other kings. And with his blustery attitude adding to his shortsightedness, this often leads to his mother, Louise of Savoy, to be the one to take charge of the situation and determine what is best.

   And then there are two characters who stand out above the rest. The first of the two is Princess Marguerite de Navarre. Out of all the characters, she is the one whose role and development is able to stand toe-to-toe with Leonardo’s. Unlike her brother Francis, Marguerite is more in touch with the civilians of her kingdom, and prioritizes giving them comfort. This mindset draws her towards Leonardo, whose concepts for an ideal city and queries into the universe give her someone she can view and confide in as an equal, while also giving the inventor someone in the upper class to share and teach his ideas to who can hopefully make things go for the better.

   And the other character is Pope Leo X. While only present in the beginning of the film and the end of the second act, his scenes alone are one of the film’s highlights. As the head of the Catholic Church, he is portrayed as a grown man with a childlike attitude, often giving out fiery statements of what is right and wrong, stating one thing in the moment only to hypocritically state another the next minute, and being swayed by whoever is near him. And with him sending out spies to observe what Leonardo is doing, along with being a bit gung-ho for confronting people, he shows how a religious group that is meant to spread the teachings of God and His love can Easily turn into an oppressive regime that is more focused on maintaining a status quo that barely resembles the group’s original intentions.   And considering my comments sound like critiques against a major system of power, I’m probably next on the Pope’s chopping block after Leonardo. (A clip is shown of Francesco telling Leonardo his ideas will “get him into trouble.” The Pope: “BLAS-PHE-MYYYYYY!!!!!” Francesco: “Like, dead trouble.”)

   I would also like to point out that the actors did a good job bringing their characters to life, while also adding to their personalities. These include Stephen Fry’s inquisitive warmth in Leonardo; Daisy Ridley’s curious wonder in Marguerite; Marion Cotillard’s strict and regal tone for Louise of Savoy; and Matt Berry giving out a pompous performance befitting Pope Leo X. Alongside some nice voice acting, the characters come together to show what it is that Leonardo seeks, and can even leave a bit of an impact on the viewer.

The Songs

   Yes, much like Guillermo del Toro’s Pinocchio, this is another stop-motion animated film with songs in it. However, I wouldn’t exactly categorize these as ‘musical numbers’ per say. They instead serve a similar role to the songs in Pinocchio, where, instead of being big, lavish song-and-dance numbers, they are meant to either help show the characters’ wants and states of mind, or progress the story, often through montages.

   The first song of the movie is “The Shepherd’s Song,” which is more of a hymn or sermon that Pope Leo gives to Leonardo, while indirectly describing how he spreads the religious teachings of the Catholic Church. (“The shepherd leads the way / Sheep go about their day / They grow their wool, they breed, and then they die”) Following afterwards is “Mona Lisa,” a brief lament from Leonardo on his situation in Rome and how he may have to stop his studies. (“What counsel can you give me? / Have we really reached the end?” / “We’re out of time, we’re out of time / There’s nowhere left to go”) Then there is “Leonardo’s New Home,” a jaunty little song that also counts as the first ‘montage’ song, accompanying da Vinci as he prepares to bring his ideas to France. (“This will be the perfect library / A study beyond compare! / I could openly look at any book / The Pope need not know nor care”) After a while is “From This Tiny Seed,” sung by Princess Marguerite as she starts to work with da Vinci on the ideal city and what she wants from it. (“Each fulfills their role / Each part forms a whole / Our community / Exists in harmony”)

  Then the next song is “An Ideal City,” where da Vinci and Marguerite present the planned ideal city and how it will work. (“Humans and garlands / With God’s creation / To all the world / An inspiration / That’s what’s in store / For our ideal city / And what’s more / It’s charming and pretty”) After that is “Kings!,” heralding the arrival of the other European kings. Out of all the songs here, this is the one that would fit the most into a Rankin-Bass special, since it is a more fun song that acts like an event rather than a part of the plot. Think of it as the equivalent to “Fourth of July Parade” from Rudolph’s Shiny New Year. (“On your knees / Pay tribute to your kings / About to meet / [Can’t quite discern what is said here. Sorry] simple little things”) Following afterwards is a combined reprise of “Mona Lisa” and “From This Tiny Seed,” but since that one contains some spoilers, all I will say is that it shows Leonardo rising from his lowest moment. So let’s move on to “En Garde, Pret, Allez!”, which is another ‘montage’ song sung by Louise of Savoy while she helps King Francis entertain the other kings. (“En Garde, Pret, Allez / First you’re winning / Then your plans all go astray / When the world makes you feel dizzy / Don’t go into a tizzy / Turn your spinning into a ballet”) And finally, there is “Song of the Stars,” which acts like the final thesis statement of the film. (“See things unseen / Behind the screen / Ever beyond our reach”)

   I will admit, by the time I started making this review, I was having a bit of trouble remembering how the songs went, since some of their melodies can blend together if you’re not paying attention, and their status as ‘slower-paced, non-Broadway songs’ prevents them from being as catchy as a song from Disney. But after taking the time to listen to them individually, I can say that they are rather good. Along with having some nice lyrics and music conducted by Alex Mandel, each of the songs do have their place in the story. Again, they are primarily meant to help establish what the characters think and want, and they do a good job of conveying the hopes and ideas that Leonardo and Marguerite have. Even the montage songs are entertaining in their own right, since they have the animation help show what the characters are trying to do to achieve their goals. The songs in this movie may not be one of the main spectacles on display, but they are still an essential part, and can bring their own value to the picture.

   There have been several big events in theaters this year, but this film is easily up there as one of my top experiences. The Inventor is an amazing film that serves as a celebration of Leonardo da Vinci. The story is simple, yet contains some deep themes and questions; the animation is beautiful and pays tribute to what came before, whether it be the stop-motion Rankin-Bass specials or da Vinci’s hand-drawn sketches; the characters have some nice acting while also being capable of leaving a huge presence; and the songs, while not grand, do help accentuate the characters’ wants, and the themes of the film. If you are a fan of stop-motion, hand-drawn, art, or are interested in Leonardo da Vinci and his creations, this is a must-watch! In fact, I can see this being shown in art classes for kids to watch, even if some of the subject matter may fly over their heads. And while, yes, this was not shown much in theaters and is currently out of them, The Inventor is now available on demand and online, so I would still recommend giving it a watch. I would also suggest sticking through the credits. Not only will you find a few fun Easter eggs in them, but you will also get a look at the behind-the-scenes process of the picture, and have a deeper appreciation for the people who helped bring it to life, either through directly working on it, or just through the Kickstarter campaign. This may not have been as hugely promoted as Mario or any other blockbuster in 2023, but The Inventor is on the same level of quality as Elemental, Nimona, and Across the Spider-Verse, and will be one of my personal favorite films I have watched this year.

Story: 10/10. Animation: 10/10. Characters: 9/10. Songs: 8 or 9/10. Overall Rating: 9/10.

Dingle, Jon. “Interview: Jim Capobianco Chats ‘Ratatouille’, ‘The Lion King’ and ‘The Inventor’.” Filmoria, 15 May 2018, https://www.filmoria.co.uk/interview-jim-capobianco-chats-ratatouille-the-lion-king-and-the-inventor/.

[allthefilmsiveseenforfree]

Mary Poppins Returns

I’m a bad Disney fan, because I have only seen the original Mary Poppins once, and that was probably 20 years ago. I recognize the spirit and emotional flavor of it more than I really remember it, you know? So forgive me if my comparisons of this sequel to the original are not quite accurate - I’m working off of feelings here more than anything. And there were quite a few feelings being felt during my showing of Mary Poppins Returns. What kind of feelings? Well...

Mainly wonder, a tiny bit of boredom, and a deep sadness followed by overwhelming joy. The plot of Mary Poppins Returns (as if that’s why you’re seeing it) follows young Michael and Jane Banks (Ben Whishaw and Emily Mortimer), the siblings from the original, now all grown up. Michael has three young children of his own and they’re struggling to keep the household running smoothly about a year after Michael’s wife has died. Jane is helping as best she can, but when lawyers come calling to collect on an overdue loan things look very dire, and the Banks family is going to lose the home that’s been theirs for over 30 years. If they can find the certificates of ownership showing they own shares in the bank, they can save the house but if not...the house is gone forever on Friday at midnight. Enter Mary Poppins (Emily Blunt) to take care of the children during this time of crisis (with some help from lamp-lighter Lin Manuel Miranda) and help remind Michael of what’s really important.

Some thoughts:

Emily Blunt does an incredible job making the role her own as much as she can. It's impossible to measure up to the incomparable Julie Andrews, but I think this is as close as you could get. I love that her Mary Poppins is a little more brusque, a little more twinkling eye because she’s in on the joke. I couldn’t imagine this one singing “A Spoonful of Sugar” but that’s also not what these kids need, so it works really really well.

Colin Firth! How could you!

The scene stealer for me is honestly Ben Whishaw, but I've been his biggest fan since 2012. His song in which he sings to his dead wife because he misses her terribly and doesn’t know what to do had me literally sobbing. That’s what they don’t tell you about finding the love of your life and getting married - now any time I watch anything in which someone loses their spouse, I’m a wreck because I’m imagining what it would be like if I lost Wife and I cannot. handle. it. Combine that with the4 dulcet tones of maybe the sweetest, best actor in Britain and I just...*SOB*

I regret to say the film does feel longish. About 20 min too long. If it were me, I would have cut some of the extended dance numbers and honestly jettisoned Meryl Streep’s number as a crazy Russian(?) cousin who fixes unfixable things. I love Meryl as much as the next person, but this sequence felt like it took aaaaaages for very little payoff that could have been gotten elsewhere.

The big cameo appearances were excellently done in a way that didn't feel forced or pandering. 

It’s honestly kind of weird to think of a big bank working FOR people's interests and swooping in to save the day rather than dancing in the flames of people’s misfortune. Although I suppose the film is set over 100 years ago, so maybe this is meant to be a quaint reminder of capitalism’s yesteryear when big banks weren’t predatory monsters? I’m happy we get a happy ending, but I grew up during the housing crisis, so you’ll excuse me if all is not forgiven after one feel-good movie.

Shockingly, I was very pleased with the children’s performances. Excellent casting, because the children are so integral to a movie like this successfully achieving its goals.

The lamplighter choreography was very Newsies-esque, but probably the closest to a showstopping number. Overall the choreography and dancing performances were lovely to watch.

The music! While none of the songs have that instant classic Sherman Brothers shine to them, they’re trying their damndest to get there. All are passable and worthy follow-ups to the original film’s songs. Wife pointed out that the songs seemed to specifically be written for the adult actors’ range, rather than the other way round, which leads to stronger vocal performances from Blunt and Miranda. There’s even a little rap section for Lin to do, which was charming. 

Charming is the best word to describe anything regarding Mary Poppins, and this film is no exception. Strong performances from Blunt, with lively help from Miranda, keeps everything afloat, while the emotional heart of the film comes from Whishaw. Just like in the first film, this Mr. Banks needs saving, and watching that transformation happen is just as joyous as it was in the original.

[explainedfilms]

Mary Poppins Returns Movie Ending Explained (In Detail)

Spoilers Alert: The world-famous magic nanny experiences it MARY POPPINS RETURNS a musical revival on the big screen. While the US critics rejoice, we are disillusioned. We reveal why in our review. The Plot Summary London in the 1930s, in the middle of the economic crisis: Michael Banks (Ben Whishaw) has now grown up and works for the bank where his father was employed. He still lives at 17…