Wish (2023)
Directors: Chris Buck, Fawn Veerasunthorn
Screenwriters: Jennifer Lee, Allison Moore
Starring: Ariana DeBose, Chris Pine, Alan Tudyk, Angelique Cabral, Victor Garber, Natasha Rothwell, Jennifer Kumiyama, Harvey Guillén, Evan Peters, Ramy Youssef, Jon Rudnitsky

One hundred years of Disney. How does one possibly celebrate such an occasion? The little studio that begun with animated movies about a cartoon mouse (and rabbit) almost one hundred years ago now exists as a behemoth of the entertainment industry, owning half of Hollywood as well as the famed Disneyland and Disneyworld theme parks. With so much power, so much history and so many controversies, what could the company plan for their 100th birthday party release Wish that could possibly pay homage to such a legacy?

After undergoing a five year hiatus from releasing original animated movies between 2016’s Moana and 2021’s Raya and the Last Dragon, Disney have gone back to what they do best, what they are most known for, animation. They have returned to their roots in the past few years and released animated pictures like Raya, Encanto, and Strange World, to varying degrees of success. 

Wish finds itself set in the wonderful kingdom of Rosas, which is ruled by its king Magnifico (Chris Pine). King Magnifico performs a yearly ritual in which once someone turns 18, they can pass their greatest wish onto him and he will protect it and potentially allow it to come true one day. However, once Asha (Ariana DeBose) discovers that Magnifico’s intentions may not be as pure as they seem, she realises that she must do whatever she can to stop him. Even wishing upon a star. 

As is probably obvious from the story of a young girl wishing upon a star, the film finds itself heavily inspired by the famed Disney tune “When You Wish Upon a Star”, which originally featured in Pinocchio but has since become Disney’s signature song. Much like this little reference to the past of the company, the film is also filled to the brim with references that show the journey of Disney from then to now. 

It’s a good idea in scope; a nice way to celebrate the history of the studio whilst pushing forward with the new. This is, however, the only facet of the movie that feels at all genuine.

Whilst Disney were patting themselves on the back for how great their company used to be, they forgot to put heart into any other aspects of Wish. Similar to the hand-drawn animation style that the film attempts to replicate, much of Wish is flat and one dimensional.

This disingenuity is most evident in the film’s characters. The main character Asha (voiced by DeBose in perhaps the only memorable vocal performance of the entire film) is given a bit more depth and personality, but the side characters make it clear what was most important to Disney in the making of this film. The supporting cast of Asha’s family, friends and sidekicks is upwards of ten people, all of whom are of varying races, genders and sizes, placing equality, diversity and inclusivity at the forefront of the film to showcase the company’s core values. At least, what the company would like you to think are their core values. This becomes painstakingly obvious through the number “Knowing What I Know Now”, in which the film makes a point to show the differences in the characters through their blocking.

The issue is, these characters are given so little to do and have such little depth that we simply do not care about a single one of them. Though the filmmakers would like us to believe that these are beliefs, values and causes that the studio care about, they do almost nothing to convince us of that fallacy. Instead, the little bit of character that Asha’s friends are afforded is that each of them are inspired by the dwarfs in Snow White and the Seven Dwarfs. This once again proves that what Disney cares about the most is patting themselves on the back.

Wish essentially only exists as a form of corporate self-fellatio that is as insufferable to watch as it is to write about.

Coming in at only ninety-five minutes, the centenary celebration of Walt Disney Studios moves along at a breakneck pace, showing us that even the execs up at Disney HQ wanted this one to be over just as quickly as we did. This simultaneously illustrates just how little care was put into the story aspects of the film and how Wish is really just one big advertisement for the company that made it. Come the end of the film, a character asks how they could possibly keep the magic of the Kingdom of Rosas alive, to which another responds “easy, just keep wishing.” What Disney are really saying is “keep buying tickets.”

Just as one man’s trash is another man’s treasure, it must be said that among the garbage there are some nuggets of gold in Wish. The story has a really good idea underpinning it, and the film offers a nice opportunity to create a full-circle moment for the “wish upon a star” fable that Disney is essentially built upon. Going back to the hand-drawn aesthetic is also a nice touch, as is making the film a musical. Given more time, care and passion, Wish could have been something special. All it needed was some heart. The lack thereof in the final product tells us more about the company that made it than anything in Wish ever could. 

Wish is a hollow and lazy picture that feeds its audiences the propaganda of Disney, only this time they aren’t even hiding it with the usual magic that pervades throughout their output. Though the kids seeing this film will undoubtedly enjoy it, they deserve better. 

Score: 7/24

Peter Pan & Wendy (2023)
Director: David Lowery
Screenwriters: David Lowery, Toby Halbrooks
Starring: Alexander Molony, Ever Anderson, Jude Law, Alyssa Wapanatâhk, Jim Gaffigan, Joshua Pickering, Jacobi Jupe, Yara Shahidi, Molly Parker, Alan Tudyk

70 years ago, Walt Disney Productions released their animated musical Peter Pan (based upon J.M. Barrie’s iconic children’s stage play) and guided an entire generation of young viewers to magical Neverland where they would never have to grow up. With his first project for Disney in seven years – having previously directed the surprisingly good Pete’s Dragon – singular writer-director David Lowery returns for the studio’s latest reimagining of one of their animated classics and gratifyingly brings some new-ish ideas in addition to everything you might expect.

Wendy Moira Angela Darling (Ever Anderson) is an imaginative Edwardian pre-teen deeply apprehensive at the prospect of having to grow up on the eve of going to boarding school, leaving her games with her younger brothers John and Michael (Joshua Pickering and Jacobi Jupe) far behind. That same night, the boy from their bedtime stories, Peter Pan (Alexander Molony), appears at the Darlings’ nursery window and flies them to Neverland where he and his gang of Lost Boys are pursued by Captain Hook (Jude Law) and his pirate crew.

David Lowery’s films return time and time again to themes of captivity and freedom, whether literal or figurative. Imagination and whether we have to lose it as we mature is the main idea explored here, clear from the opening scene in which Mrs Darling (Molly Parker) gives her daughter a gentle reality check about having to grow up sooner or later and encourages her to be a responsible older sister to her brothers: “You barely fit in your bed” / “They will follow your lead so you must be a good leader”.

It’s a neat visual to have everything Peter touches in the nursery float alongside him, like pixie dust exerts some kind of otherworldly gravity field, and Molony’s Peter manages to look like he’s not on a restrictive wire rig either, moving like someone very comfortable with defying physics, changing his inversion at a moment’s notice to run along walls and spring to the ceiling. The flying does feel appropriately wondrous despite some imperfect VFX,  the sheer exhilaration and utter freedom the Darlings feel the first time they take to the air present in the young actors’ performances and the staging of the scenes.

This Captain Hook is not a gentleman pirate but a neurotic and paranoid man-child who overcompensates massively for ageing and for his sad history with Peter by vainly dying his greying hair and attaching a particularly mean-looking butcher’s meat hook at the end of his arm.

Lowery’s film stands out as one of the few adaptations to establish a very different connection between Peter and Hook, rather than the usual trouble-making child vs stern housemaster dynamic. Hook is a tragic figure who has lost who he was and has become jaded and cruel with age (“This is what growing up looks like”), so they definitely could have done more with the paternal side of Mr Smee (Jim Gaffigan) in turn. Bob Hoskins remains the best Smee of them all (for his part in Steven Spielberg’s Hook) due to his unique bickering gay lover take on Captain Hook’s second in command. There was definitely scope to mine a little more emotional resonance from character relationships in general here, but there’s no getting around the fact that Hook’s main purpose in life is to kill a child he hates, and because of that the central rivalry really works. 

Jude Law’s enjoyment in his every scene as a flamboyant pantomime baddie is evident, and Ever Anderson and Alexander Molony (particularly the former) are both a welcome modern update and embody the youthful curiosity and wonder of Barrie’s central characters pretty well. Elsewhere it’s difficult to gain any real traction on any of the pirates, Neverland natives or Lost Boys, which is particularly disappointing for Wendy’s brothers who probably have only half a dozen lines each.

Crocodile fans will be pleased to hear that despite its appearance being brief, the creature looks great in its truly massive scaly glory, and the filmmakers do a spectacular big-budget live-action version of the slapstick runaround from the animation in which it chases Hook around a cave.

While several of its songs are now deeply problematic, fans of the 1953 film might be a little disappointed there are so few nods to it in the new score from Lowery regular Daniel Hart. We don’t even hear the iconic refrain from “You Can Fly!” properly until the end credits. A couple of times it feels like they’re about to break properly into song but they never quite do.

Kids will likely have a lot of fun with all the younger-skewing Pirates of the Caribbean-esque swashbuckling action, but whether there is actually enough going on to keep the most restless little ones interested is debatable. You could also wish for a bit more polish in the fight choreography which is often obscured in the edit or the wider cinematography, the latter of which is favoured to take in the entirety of the busy and often chaotic brawls.

Peter Pan & Wendy evokes the timeless themes of childhood imagination and sweeps parents and kids up in a pretty memorable fantasy adventure. Aspects of Barrie’s enduring bedtime fantasy have been done better elsewhere over numerous adaptations, but new angles on certain characters and concepts keep things fresh even if this doesn’t come close to the level of originality David Lowery has shown in his original works.

Score: 16/24

Lucas Film and Disney have collaborated to bring us the first ever live-action standalone feature film from the Star Wars universe and, courtesy of a chilling script from Chris Weitz (assisted by Tony Gilroy) and a similarly startling visual construction from Godzilla (2014) director Gareth Edwards, have provided a spectacular action sci-fi movie that is not only fitting of its ‘Star Wars’ title but may even be as good as movies from the original trilogy. Perhaps this is one film better left to fans of the franchise than potential newcomers, but gosh is it good if you’re already invested.

Taking place just before A New Hope in terms of the Star Wars universe’s timeline, Rogue One centers on the rebellion’s quest for hope against the increasing power and dominance of the imperial army and specifically focuses upon the story of Felicity Jones’ character Jyn Erso as she journeys from innocence to nonconformity and right through to heroism. In this respect Rogue One’s screenplay is that of a typical Star Wars film, but only in this respect. Chris Weitz’s story will undoubtedly have you clutching at the arms of your cinema seat and clenching your fists in bursts of anger, sadness and excitement through methods not often seen in the Star Wars universe or mainstream blockbuster movies in general. The director, Gareth Edwards, must take praise for his visualisation of Rogue One’s themes in correspondence with Star Wars Episodes 1-6 (including his self-professed favourite film of all time, Rogue One’s follow-up ‘A New Hope’ – 1977), something which the director completed with a seamlessness that slotted the series’ incredibly important debut stand-alone feature film alongside those of its main titles. Part of that seamlessness was born out of the director’s use of practical effects, sets and stunt work, all of which occurred despite his industry history as a visual effects expert and his notably CG-clad directorial work, showing an understanding of not only the source material but also his craft. These elements weren’t without notable CG pay-offs however, with sequences of engulfing destruction on a massive scale really helping to drive home the universal risks at stake in the movie, with further use of this CG making for some incredible nods to ‘A New Hope’ and almost unnoticeable motion capture animation.

One of the standout uses of motion capture/CG was in the performance and presentation of K-2SO (Tudyk), a former Imperial droid reprogrammed to assist rebel forces in the fight against his creators. The character slotted in to the movie with an acceptance that came courtesy of his excellently animated robotic skeleton and infectious personality, and was a stand-out of the film not only for the creators’ technological feat but also because of the droid’s combination of comedic timing, physical dominance and its excellent look that made him about as ‘cool’ as any other character.

Vitally, Edwards’ movie managed to create an excellent cast of characters alongside K-2SO that rivaled any other movie in the franchise man for man (or woman for woman as may be the case), with Wen Jiang’s Baze Malbus, Riz Ahmed’s Bodhi Rook and Diego Luna’s Cassian Andor each bringing their own elements of worthwhile characterisations to the film. It was, however, Donnie Yen’s Chirrut Imwe, a ‘the force’ believing blind man with a knack for beating people with a stick, that was the stand-out side character in the movie. Imwe’s overwhelmingly strong belief in the force created an understanding and identifiability for the extraordinarily gifted martial artist of whom headlined the distinctly unforgiving team of rebel fighters, and harkened back to some of Star Wars creator George Lucas’s original inspirations found in the likes of ‘Seven Samurai’ (1954), thus becoming not only a stick-wielding force to be reckoned with but also one of the main points of investment in the film, making him the coolest of all the cats; the standout character of the bunch.

Ben Mandelsohn’s villain, Orson Krennic, was also a character that demanded interest courtesy of an intricate construction of his persona and a story arc that actually developed (take note other mainstream blockbusters). He was, truly, a despicable villain that somewhat awkwardly connected with the darker sides of yourself that you’d probably not like to admit exist. However, Krennic was also a character that was somewhat subject to knowledge of the other Star Wars films and therefore worked as a reminder that not everything in this movie was as great as it could have been.

Rogue One’s biggest issue was without a doubt its reveling in its own hype; it was the monster of its own filmmakers’ fandom. If you had never seen a ‘Star Wars’ film, or even if you’d only started with ‘The Force Awakens’ (2015), then you’d likely find difficulty in understanding Mandelsohn’s character’s powers or struggles, and you’d therefore likely find less enjoyment in the story as the stakes wouldn’t seem so high. This doesn’t only apply to the villain or his affects either, as much of the film relied upon knowledge of the original trilogy in particular to make any sense, simply because the filmmakers didn’t want to waste any time explaining that which they expected you to already know. Perhaps this was an intentional move to push the ‘universe’ concept the big studios find so valuable, but it will certainly divide the fans of the franchise from a number of newcomers, something which wasn’t helped by the screenplay’s brave and fan-satisfying distancing from the typical cliches of the genre and ‘Star Wars’ in particular.

One newcomer who had little trouble in adapting to the ‘Star Wars’ universe was Felicity Jones who played the film’s central character Jyn Erso with the same hidden bravery that has come to define so many of her more critically acclaimed performances, not least that of her Oscar-nominated display in The Theory of Everything (2014). She was a solid crutch for the entire plot to rest upon, and despite being overtaken by more interesting and elaborately presented secondary characters and performances, was as vital to the success of the film as any other on-screen talent. Hers was a more understated role that was less interesting to watch simply because it was the centrepiece of the movie, and in this respect the film was very typical of its own series as she suffered from her story being told sufficiently enough to satisfy the mythos surrounding the character (and therefore not build any external intrigue with the audience) in much the same way that Mark Hammil and the Luke Skywalker character suffered in the original trilogy.

Some of Rogue One was entirely fresh and some of it so very familiar. It was this mix of old and new that seemed to continue through to the movie’s score, which was not composed by John Williams for the first time in the franchise’s history. Instead, Michael Giacchino, close friend to The Force Awakens director JJ Abrams and the composer of the music in the ‘Star Trek’ reboots, was tasked with merging some of Williams’ original work with some equally compelling and at times daunting musical compositions that would help audiences to reminisce on the old while still ushering in the new. In Rogue One, as much as in Star Trek (2009), Giacchino knocked it out of the park. His work was sensational in all aspects, and certainly completed the composer’s mission of moving the universe beyond Williams with the respect the legendary composer truly deserves. It was of testament to Giacchino that the score was implemented with the same emotive effect that his predecessor’s work was in all seven of the other movies, and a true joy to witness in correspondence to this generally very impressive film.

It is clear, then, that Rogue One was more than just ‘another spin-off’ in our current climate of movie universes and franchises, but it was also a well developed and challenging stand-alone film that honoured its own universe while still creating an intelligent story that demanded more investment from its audience than is typical for movies of its type. From its performances to special effects, direction to score, and particularly through its screenplay, this ‘Star Wars’ movie was as much of an on-screen adventure as one can hope for. Sure, it may be a little challenging for non-fans and there may be one or two divisive moments for fans and non-fans alike, but this particular Star Wars movie is certainly good enough to be compared to the classics of the franchise and there is simply no higher praise than that.

20/24

Number 10: V For Vendetta 

V for Vendetta is the first but not the last comic book movie on this list. However, it’s not your typical comic book movie such as the likes of the Spider-Man series which was circulating around the same time as it deals with much darker themes, and at its centre is a protagonist who is very much an anti-hero. V for Vendetta was not a huge hit but the overall vision of the film has seemed to drum up quite a cult following. It is a highly political, gripping, intense, chilling and visually stunning adaptation of the graphic novel it is based on. It’s a more mature, complex and sophisticated addition to the genre with some superb acting from Hugo Weaving and Natalie Portman, and some outstanding visual effects.

The 10 Greatest Moments of Gunpowder, Treason and Plot in V for Vendetta

Number 9: Batman Begins 

Christopher Nolan brought back Batman in 2005 for the first time since Batman and Robin in 1997, and made Batman Begins the first of his incredibly successful Dark Knight trilogy. As was the case with V For Vendetta, this a darker look at the comic book genre after many more colourful adaptations started circulating. Batman Begins is an origin story that covers many of the true to comic book events that you could possibly need without dedicating too much of the film to them; we get all of the important information without it clogging up the plot. This is the first time we see Christian Bale as Bruce Wayne and Batman, and it is clear that this is a very different portrayal of the hero in comparison to what we have seen in the past. The film is excellent overall, but what is most important is that it sets up two even more brilliant films in the series to come. Christopher Nolan certainly puts his stamp on this film and what he created is beautiful.

10 Best Batman Begins Moments

Number 8: The 40-Year-Old Virgin

The 40-Year-Old Virgin was the first big thing to come from Judd Apatow as a writer and director. In some ways, he created a whole new genre of comedy, as from this film many others of a similar nature were spawned with Apatow connected to them in some way. With a very funny cast that is now synonymous with this type of comedy, and writing from both Apatow and TV-comedy icon Steve Carrell, it was a huge hit in 2005. Steve Carrell, and the likes of Paul Rudd and Seth Rogen, proved that they were the new faces of comedy in this film and have since then gone on to star in some of the funniest films of the decade.

Number 7: Harry Potter and the Goblet of Fire

The Goblet of Fire is the fourth instalment in the Harry Potter series. They managed to do a pretty good job of adapting this to film without it feeling rushed. It is at this point in the series that the story starts to get a lot darker and grittier; the characters are now starting to grow up and, appropriately, more grown up themes are introduced. Our heroes now have to deal with the situations they face in a much more adult way. It is also at this point where the overall story, running throughout the entire series, really gets going and we become more involved. It is a transition point for the films, the characters, and the audience, as each one becomes more developed. Harry Potter is not only one of the biggest and best films of 2005, but was so for every year that a new instalment was released.

Harry Potter Movies Ranked

Number 6: Capote 

Possibly one of the finest performances from the late Philip Seymour Hoffman is in this critically acclaimed 2005 film. So much so that he went on to win the Academy Award for Best Actor in this very role. Based on the life of author Truman Capote, as he develops a relationship with a killer he is researching for a crime novel, Capote received universal praise upon its release in 2005. Where the story and cinematography are is excellent, it is Hoffman’s performance that elevates this film to a higher level of success. In Capote, Hoffman cements himself as one of the acting greats as he captures every characteristic of this person perfectly. The film is moving and interesting, and Philip Seymour Hoffman is truly captivating.

Number 5: Sin City 

Sin City was released at a time when comic book movies were really picking up steam and were at the forefront of the box office. Sin City broke comic book movie conventions in every way as it was gritty and disturbing, and was completely for adults. Already a highly popular graphic novel, this was the film that grown up comic book movie lovers were waiting for. Robert Rodriguez and Frank Miller did not just make a film adaptation, they completely captured the essence of the graphic novel and they brought these characters to life in a way that any fan would be proud of. Sin City is smart, sexy, stylish and violent, with an all star cast, seamless directing, and stunning cinematography.

Number 4: Jarhead 

Jarhead is one of the 2000s’ best war films. If you are expecting a war film with action-packed scenes, a fast-paced plot, and a ton of explosions, then Jarhead may not be the film for you – it is a very realistic depiction of modern warfare and is not a story of good vs bad; it is a representation of trying to live a life within war – it defies all expectations and shows something true to life. Some criticisms of this film at the time of its release were that it had no message or political stance, but that is the point of Jarhead; it is purely a film about the characters and how they deal with being a marine. The cinematography is spectacular and the characters are interesting and captivating, and this is mainly down to the brilliant casting.

Number 3: Serenity 

Serenity is any sci-fi lovers dream, especially to those who were fans of the TV show ‘Firefly’. Where this is a film completely for the many disgruntled fans of the TV show, it also brings in non-fans with its action packed story and incredibly likable characters. Nathan Fillion’s Captain Malcolm Reynolds leads his band of outcasts on a western adventure in space; what is there not to love about that? It is a far more human story than you may expect from a sci-fi film, where the characters are strong and intelligently thought out – even if you had not been familiar with the characters from ‘Firefly’, they are so well developed in Serenity that the film could stand very well on its own. Although it has a lot of action, Serenity never seems to lose sight of the plot; the script is amazing and the cast give some incredible performances. Joss Whedon did an excellent job of giving the Firefly fans the ending they so desperately wanted and created an incredibly well rounded sci-fi film that anyone could enjoy.

Number 2: Walk The Line

This multi-award winning film depicts the life of rock music legend Johnny Cash, with outstanding performances from Joaquin Phoenix and Reese Witherspoon. The film was given the label ‘Oscar Worthy’ well before its release, and sometimes when this happens it is hard to believe the hype, but with Walk the Line the label was completely accurate. Joaquin Phoenix transforms into Johnny Cash, in a way that no one thought possible – the unique thing about Cash was his look and his voice there was no one else like him, yet Phoenix embodies him so comfortably. Even with this performance, Reese Witherspoon still manages to steal the show with her portrayal of June. The word to describe Walk the Line would be ‘satisfying’, as you will not walk away from this film feeling cheated or disappointed. It is a movie all about the characters, and when the characters are people in real-life we are so familiar with, it is important that they shine on screen in the way that they do in Walk the Line.

Number 1: Brokeback Mountain 

An absolute masterpiece from Ang Lee, with unforgettable performances from Jake Gyllenhaal and Heath Ledger, and a beautiful story, Brokeback Mountain is the best film of 2005. In many cases films fail to transcend the controversy that surrounds them, but that was not the case with Brokeback Mountain, nor was it trying to be controversial to begin with. It is a poignant look at the notion of unexpected love that is all-consuming and makes you question who you are; the fact that it is two men is irrelevant. Every moment is there to make you feel and there is never a wasted frame. It is honest and raw, and poetic to its core. There are no tricks and no illusions in this film, it is just natural and beautiful. It is rare that we come across a film like this and it is one that will stand as a great film for a very long time. Number one: Brokeback Mountain.

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