Review: The Kid Who Would be King

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There is something about The Kid Who Would be King gets right that other King Arthur movies don’t. It embraces the ideology and mythology of King Arthur. It doesn’t try to be realistic or gritty. But instead it is a source of hope and inspiration. Some of my favorite fantasy books have been based on the Arthurian legends. Some of the screen adaptations have not faired so well, though. Sure Excalibur is a classic, but some of it is a bit silly. Merlin was a decent retelling and straight up Fantasy for the BBC.

After a brief prologue that sets the background for this particular take on the legend of King Arthur and the Knights of the Round Table, we are introduced to Alex Elliott (Louis Ashbourne Serkis), a twelve-year-old boy being raised by a single mother and attending middle school in London. He and his best friend, Bedders are both the subject of bullying by fellow classmates,  Lance and Kaye.

The world is a dark place: international strife; global conflicts; basically our real world. And anybody who is familiar with Arthurian lore knows that after his last battle, and near death, Arthur is taken away to Avalon where his wounds will be healed and in a time of our darkest need, the King will return to fight the forces of evil.

One day, while running away from them, Alex finds himself at a construction site where he encounters a sword embedded into a block of  concrete. The inevitable happens and Alex pulls the sword out. (I seriously heard Wagner’s music in my head from Excalibur as this was happening.) After taking it home and running the engraving through Google Translate — come on, it’s still a kids movie after all — they find that it says it is Excalibur the sword of King Arthur. Alex playfully knights his best mate, Bedders.

Meanwhile deep beneath the earth, Morgana, the half-sister and eternal enemy of Arthur is awakening and sends he minions after Arthur to retrieve Excalibur. At Stonehenge, Merlin, in the guise of a teenager appears to aid Arthur. He suffers from a bit of time confusion as he is not quite assimilated to the timeline yet. But he makes his way to Arthur and Bedders’ school. Using his powers, he joins the school as a transfer student. It is revealed that in four days a total lunar eclipse will occur and that is when Morgana will reappear fully on earth.

What follows is Alex eventually recruiting Lance and Kaye as knights to aid him on a quest to find his absent father, who happens to live in Titagel, legendary home of Camelot. Knighting his companions also allows them to see the dark minions that periodically attack Arthur and Bedders as when they appear, time freezes and no one else can see them.

The story focuses on the need to not only work together despite differences but to also believe that the world can be a better place. Along the way, the uneasy friendship that Lance and Kaye have with Alex and Bedders will be tested as well as Alex’s belief in himself.

As the time of the eclipse draws to a mere few hours away, Alex must convince and recruit an army to defend the world from the evil of Morgana. So what better place to recruit an army but school? In a stretch of the suspension of disbelief, even for a fantasy film, an army of middle schoolers are armed, trained, and set up a fortifications and traps to await Morgana’s army.

This movie had so many opportunities to go sideways but it has a charming cast, a competent script and deft direction. Patrick Stewart, who doesn’t seem to age unless it’s through make-up, is on hand as the older version of Merlin. He pops up every once in a while to render some sage advice. It is ironic that he was also in probably the last good King Arthur movie, Excalibur, as Uriens. Freshman actor Louis Ashbourne Serkis (son of Andy Serkis) delivers a heartfelt performance as the boy who does not want to be king eventually embraces his Once and Future King mantle. Dean Chaumoo, another new actor, provides a believable portrayal as Alex’s best mate. Rebecca Fergusen, who has been appearing quite a bit in movies such as Mission: Impossible – Fallout and The Greatest Showman makes for a very dark and threatening Morgana.

The Kid Who Would be King is definitely entertaining and if you have young ones, I think they will enjoy it. If you are young at heart, you can sit back and have a good time too.

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Review: If Beale Street Could Talk

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Normally, I’m writing about geek and genre things, science fiction, fantasy, anime, etc. Things that go boom and make your eyes bleed with in-your-face special effects. Most of the time, they won’t get any sort of awards come awards season, unless they are for technical achievement. There are a lot of people who only watch these kind of movies. And then they wonder why critics lambast genre films.

If Beale Street Could Talk is one of those films that is pure cinema. Based on a novel by James Baldwin, it is a film that is complex, yet is broken down to the most simplistic idea that love is a powerful force that gives hope and strength to even the most broken of people.

Kiki Layne plays Clementine, called Tish who is having a baby. But her fiance is currently in jail awaiting trial for a crime he did not commit.  Alonzo, or Fonny as he is known is played by Stephen James. Through a series of flashbacks their love story is revealed to us. From when they were growing ups as little kids to their teen years, it appears as if they are destined to be together forever. Lonny shows promise as a sculptor and they plan on finding a loft together as man and wife together in a loft as is the way of so many artists. It’s a simple dream, but it’s also the early 70’s. This is reflected in a scene taken almost verbatim from James Baldwin’s novel:

“They got lofts standing empty all over the East Side, man, and don’t nobody want to rent them, except freaks like me. And they all fire traps and some of them ain’t even got no toilets. So, you figure like finding a loft ain’t going to be no sweat.” He lights the cigarette, takes a drag, and hands it to Daniel. “But, man – this country really do not like niggers. They do not like niggers so bad, man, they will rent to a leper first. I swear.”

The underlying story behind this tale of love is Baldwin’s examination of being black in America, not only of the racial tensions and the injustice of the criminal system, but of the bonds of family that can serve to unite as well as divide

Though the film features exceptional performances from its leads of James and Layne, it is very much an ensemble film with performances that ring emotionally authentic. But Regina King as Tish’s mother delivers an exceptional performance as a strong mother that is the backbone of the family and even has to travel to Puerto Rico where the victim of Fonny’s alleged crime has fled.

There is also a memorable cameo by Diego Luna as Pedrocito, the restaurant owner with a golden heart, and friend of Fonny.

Director, Barry Jenkins, whose last movie Moonlight, won an Academy Award for Best Picture, does a good job of going from flashbacks to present. His script adaptation wisely chooses to stick mostly to Baldwin’s excellent way with words. Though if you have read the book, there are some slight differences in then ending. This could not have been done without the smart editing by Joi McMillon and Nat Sanders.

James Laxton’s cinematography should bon noted for creating scenes of dreamlike near fairy tale quality while interspersing with stark scenes described by Tish of the injustice of the way black men are treated, through still photos.

It may seem like If Beale Street Could Talk is a dark movie, certainly there is dark material here. But the is love that permeates every inch of this film gives hope. And that hope makes the film all the stronger. Highly Recommended.

Review: The Hollywood Jim Crow

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Maryann Erigha has definitely done quite a bit of research for her book, The Hollywood Jim Crow. It’s an open secret that Hollywood has embedded in itself a racial belief and divide that with a few exceptions, Black directed and starred films are not bankable. Though primarily focused on Blacks in the film industry, the author tangentially applies this to Asian and Hispanic led films.

This idea is challenged with researched numbers dispelling this idea, though. Not only do Black helmed films do well, they proportionally outperform. The author primarily focuses on Hollywood’s treatment of Black directors and studio reluctance to dole out films of significant budgets to black directors. I do not dispute that there is significant racial bias in favor of white filmmakers, the numbers prove the author right. Of course there is a reason Peter Jackson directed all three Lord of the Rings movies, he was also the producer and writer. It was his project from the get go. That it ended up as big a budget and as huge a franchise as it ended up being was a gamble that paid off. Erigha used this as an example without the context of the background.

In bringing up Black Panther, the author points out that it took Marvel and Disney eighteen movies to hire a Black director for their films. Without a doubt, Black Panther was a financial success and it scored well critically as well. And let’s face some reality about Marvel movies, part of their success is their ability to fit as a whole narrative almost like a multi-part single movie. Directors are basically work for hire executing a big narrative. There is very little reason for this sort of racial disparity.

Those are blockbusters and The Hollywood Jim Crow points out as many successes as “bankable” stars or directors have had, their have been just as many flops. Yet Hollywood still hands out the big bucks and the projects. There was hesitation of having Denzel Washington star in The Equalizer, for instance. Now, Denzel Washington is probably one of the biggest stars in Hollywood, yet Hollywood still has this belief that a person of color can’t carry an action film, especially overseas. It did quite well. And for the first time in Washington’s long career, he signed on for a sequel.

As it is, studio execs, either purposefully or not, have little to no faith in films by Black filmmakers or starring Black actors in lead roles. And when those films come around, they are lower in budget and given less marketing than their equivalent movies of similar budget. Filmmakers like Tyler Perry have had more consistent profit in the box office despite lower market saturation. Is it because he appeals to a niche market and his films will only be as profitable as what his lower budgets are? We don’t know that for sure.

Although Erigha presents her facts well, at times, those facts are repeated a few pages later. Also, I did have some confusion on whether it was a good thing that Black directors were given projects with primarily White casts or not. Also the book does mention that many Black directors are pigeon-holed into making Black-urban films – characters struggling to get out of their “ghetto” life.  To me, those are fine films but it’s the same as asking a Chinese actor if they can perform martial arts for their character. One anecdote from a director says “I make movies about human.” And the human experience as far as cinema is concerned encompasses every experience of our lives. A recent example from this year of a human story, but also a Black story is the excellent If Beale Street Could Talk.

The book is definitely an academic work. The dead giveaway is that it is published by NYU Press. The Subject matter is compelling and certainly relatable, but at times it does come across as dry. It relies on published anecdotes, and figures but  does not seem to reach out to some of the personalities that the author talks about. It would have been nice to hear from Spike Lee or Chris Rock directly for the book rather than rely on previous interviews. It may have provided more current perspectives, if only a few comments.

Not mentioned in the book as much is also the way Asian actors and directors have been treated in Hollywood. As big a star as Jackie Chan is, he’s never had his own starring vehicle and been paired with a partner for market purposes. It is only recently in the rather serious film from him The Foreigner that he was the main lead, albeit, Pierce Brosnan was the villain. Asian directors, such as Justin Lin, and James Wan have had better success, though. That success in getting the big budget films comes from someone at one time giving them that big budget seat at the table. Not everyone gets that chance.

In the end, much of the author’s arguments are a call to action for better representation not only in the director’s char but in the studio boardroom as well. It is about the money, but that buttresses against old Hollywood beliefs about marketability and bankability. There is quite a lot to digest in such a short book, but it is well worth a read and a read on hand reference for those who don’t buy into the myth that people of color don’ make money in the box office.

I received The Hollywood Jim Crow as an advanced galley through edelweiss.com but it does not effect the positives I feel for this book. It is educational and well-informed. It could have even been wider in scope. But the author made a conscious choice to focus primarily on Black filmmakers and I don’t fault that choice. It is well worth a read.

It is my hope that studio execs give this a read or at least get an intern to read and summarize for them, because it holds a mirror to Hollywood’s shortcomings when it comes to representation behind the camera and within the industry. I seriously doubt it though. But as demographics change, Hollywood will have to as well if they want to stay profitable.

Review: Spider-Man – Into the Spider-Verse

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So Spider-Man has always been Peter Parker, right? No? Okay, here we go.

Comic book universes are full of convoluted histories and some characters who have been around forever have been killed off, resurrected, rebooted and remade — it can drive casual fans mad. Marvel and DC have embraced the idea of multiverses for decades. Multiverses allow for different slants on the same characters. There is a universe where Gwen Stacy is bitten by the radioactive spider instead of Peter Parker. There is a universe where Miles Morales becomes a second Spider-Man. There is also a universe where Peter is an anthropomorphised spider who gets bitten by a radioactive pig, thus is born Peter Porker, Spider-Ham.

Spider-Man: Into the Spider-Verse takes these realities and combines them together into a wildly entertaining ride that only animation can accomplish. The main reality that we deal with is the world of Miles Morales a world in which not only is Peter Parker, still Spider-Man, but is beloved by the city. Miles is trying to cop with his new powers after being bitten by a radioactive spider. He comes across the original Spider-Man, Peter Parker who is fighting bad guys who are bout to turn on a particle accelerator owned by Wilson Fisk, the Kingpin. The accelerator will tear time/space open and allow alternate realities to cross over. The reason Kingpin wants to do this is o bring back his dead wife and son. (The backstory of Kingpin’s wife is fairly convoluted but in this universe she and her son died from a car accident after finding out he was the Kingpin of crime in NY.)

Spider-Man ends up dying trying to save he city and Miles takes it upon himself to take on the mantle of Spider-Man. But the particle accelerator managed to work enough to bring across from the multiverse several different Spideys. Miles first meets Peter B. Parker, a Spider-Man from another reality where his life has failed him. He agrees to tutor Miles on being a superhero so that they can fix the crossed up universe. Along the way they will also encounter a noir Spidey, Spider-Gwen, Peni Parker who controls a Spidey-bot, and the aforementioned Spider-Ham. Together they must fix the rift in the realities or the multiverse will go kablooey.

The sub-plot to this is that Miles still must learn to control his new powers and reconcile his less than perfect relationship with his father, who not only is a police officer but dislikes Spider-Man and thinks of him as a vigilante. Yeah, his life is a little complicated.

The film quite a visual feast for the eyes and is in some ways revolutionary. Sure it is still CG, but there are instances of hand-drawn animation to it. There is a conscious effort to make scenes look like comic book panels, complete with thought balloons. Some of these stylistic choices were a little jarring at first for me as there were some scenes that looked out of focus in the foreground. I thought for a bit we were accidentally seeing the 3D version without glasses. I have been so conditioned for sharp and plastic skin looking CG animated films, it threw me off.

Spider-Man: Into the Spider-Verse does not only a good job at being an animated film but also succeeds at being a good superhero film. It is, of course, not The Incredibles. It doesn’t try to be either. And with the success of this, it can hopefully pave the way for more animated adventures of Marvel characters on the big screen as opposed to the current trend of direct to video releases. DC, has been churning out quality animated (but direct to video) films for years. And to this day I still believe Batman: Mask of the Phantasm is one of the best Batman films ever, live action or animated. I’m still hopeful for adaptations of Squirrel Girl or the Kamala Khan Ms. Marvel. The good news though, is that a Spider-Gwen movie is in development with crossovers from Spider-Woman and Silk. So we have more Spider-Verse movies to look forward to.

Review: Aquaman is Glorious Trash

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Let’s be frank, Aquaman is not a very good move. DC/Warner’s latest attempt at making a good comic book movie starts out a little by the numbers. There is backstory on his parents and how he is half surface dweller, half Atlantean. His mother is a Princess of Atlantis found by a lighthouse keeper after a storm. They fall in love, have a kid and name him Arthur. She is taken back to Atlantis. He’s raised by his dad alone. One day he finds out he can talk to fish in a scene that reminds me of Harry Potter at the Zoo.

Flash forward post Justice League, and Arthur Curry, known as The Aquaman among seafarers is off doing his thing. He saves a Russian sub from pirates. Yeah, it will make sense later why pirates would attack a Russian sub. Not a lot, but it will.

After knocking back a few pints with his dad at a bar, he meets Mera, another princes from “Under the Sea, ” And yes, she has Ariel’s Red Hair from Little Mermaid. She basically says, “Hey your brother is a jerk and wants to wage war on the surface. You are actually the older one and have a claim to the throne, even if you are half human.”

 

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She neglects to mention that she is also engaged to him. But he must also fight his brother in ritual combat to claim the throne. Yeah, we’ve seen this in Black Panther, but this is underwater! Plus it uses a lot more CG. And they have an octopus playing drums. (The musically inclined octopus is in the comics by the way.) This is where I laughed out loud in the theater and figured out DC decided this is just going to be a silly trashy comic book movie. Never before in the modern DC movie era have the filmmakers embraced the silliness of a comic book movie as this has.

It’s a good thing too, because if this movie tried to take itself seriously it would be truly horrible. As it is, it’s full of cringe worthy dialog, flat generic characters, a convoluted story, and an obligatory fetch-it quest for a magical McGuffin. At the center of it is Jason Mamoa, who first got his big break in Stargate: Atlantis. With his “bro, I’m just here to have fun” performance, the film is a ride that takes us from one action scene to another. Amber Heard wavers from trying to be overly serious to eventually embracing the silliness of everything. She has a dress made from jellyfish, really. But she also gets to impale some bad guys with Italian wine.

Other actors seem wasted, however. Yahya Abdul-Mateen II makes a great Black Manta, unfortunately he’s a villain that is under utilized, and comes across as more of a set up for a return in a possible sequel. Patrick Wilson as King Orm, Aquaman’s younger Aryan brother is about as bland as they come. And Willem Dafoe, the biggest waste, is there as just a plot device as a mentor and to Arthur and a mole in Orm’s trust. It was fun to see Dolph Lundgren as King Nereus. He does come across as an old leader.

James Wan, as director, certainly uses a colorful pallet in creating the undersea world of not only Atlantis but other Kingdoms as well. And his action scenes are like Star Wars battle underwater. Well, it’s more like Star Wars battles than the last couple of Star Wars movies anyway. They is certainly a lot going on and I don’t even want to guess what the body count is during some of these fights.

There is a lot of Aquaman lore crammed into a two-and-a-half hour movie apparently. It certainly felt like it, but I’m no Aquaman expert. Perhaps they weren’t expecting a sequel. Despite how overly convoluted the movie is, it is full of action scenes that never become repetitive. And the underlying quest that Arthur has to undertake feels like a video game quest, going from one point of the globe to another and recovering clues.

So, no Aquaman is not a good movie. It’s a mess of popcorn trash. But it seems to know that it’s a silly movie and because of that, it is fun. It’s a visual feast of absolute junk food.

Review: Mamoru Hosoda’s Mirai

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The average movie and genre fan may be familiar with Hayao Miyazaki and the films of Studio Ghibli, which is a good thing. But Hayao Miyazaki will be retiring (again) after one final film and the fate of Studio Ghibli is uncertain. But for the last few years as other anime creators are stepping up with quality anime that tell compelling stories for diverse ages using the medium of animation. The recent phenomenal success of Makoto Shinkai’s Your Name shows that there is massive talent out there that can break into the consciousness of Western movie audiences. I’ve already lauded heaps of praise for Mari Okada’s debut film Maquia, and although it still has yet to receive a North American disc release, A Silent Voice is one of the finest and most moving anime, let alone films, to come along in years. But it was totally snubbed by the Academy for Best Animated Feature that year. So f*ck you, Oscars and your Ferdinand and Boss Baby! More on that later.

One director who has been consistent in quality storytelling and quality animation has been Mamoro Hosoda. From his debut, The Girl Who Leapt Through Time he has shown not only a knack for creating believable characters but situations that blend the fantastic into mundane lives. Family bonds were explored as major themes during Summer Wars and the tear-jerking Wolf Children.

Mamoro Hosoda’s latest film, Mirai (not to be confused with the new Toyota hydrogen fuel car), starts of simply as a four-year old boy, Kun, has so far enjoyed his life as a single child, meets his new baby sister. She is named Mirai, which means (in a little bit of foreshadowing) “future.” What follows is what seems like the standard trope of the brother being jealous of the new little sister that has intruded on a world where he had always been the center of attention. Hosoda injects his unique brand of fantasy into the narrative.

It seems every time that he lashes out or throws a tantrum, and happens to go out into the house’s yard, a world opens up to him where time and space, and the laws of reality bend to create a surreal experience for Kun. Each of these experience seem to be lesson to him much like the visitations Scrooge experiences from the ghosts. And Kun is going to need a lot of lessons along the way.

Some of these appearances are incredibly surreal such as the anthropomorphism of the family dog, who complains he was the prince of the house and everyone’s favorite, until Kun came along. Sound familiar? Well that does give a little perspective to Kun.

He does also get to meet a future version of his sister. She admonishes him by telling him to be nicer to her when she is a baby. But also serves as the main guide for Kun. Along the way we also get introduced to his great-grandfather who serves as an inspiration for the most simplest of tasks of childhood development, the removal of training wheels.

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But at the heart of all the fancy and the whimsy is a family dynamic that is truly built on love for one another. There is light banter, reminiscences, and casual conversations that ring authentic and is like a window into a real family. Except for the time and space bending.

The dynamic between Kun’s mother and father is charming and comes across as genuine. But since this is mostly a film from Kun’s point of view, Hosoda has made sure that the character is not overly annoying as so often little children can be in anime. Yes, Kun throws tantrums, acts out and cries. But it comes across as natural and not mawkish. And although Hosoda is an only child, he is a father of two.

I think what I experience with my family, such as the joys and troubles in our everyday life, is something other families in other parts of the world would experience as well. Three years ago, we welcomed a new baby [girl], and my three-year-old son just couldn’t accept the fact that he was now an older brother. He threw tantrums because he didn’t want to share his parents’ love. When I saw that, I thought I saw the raw and bare soul of a human being. Humans can’t survive without love. Life is all about longing to be loved, wandering around to find love, and accepting others to gain love. That’s what I learned from my three-year-old son.

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What we are left with in the end is a film that is personal, charming, and funny. But it is not Studio Ghibli, and Hosoda is not Hiyao Miyazaki. Where Miyazaki goes for grand pieces of animation and themes, Hosoda really excels at bringing out humanity and personality out of his characters. Despite all the fantastical settings, the focus is on family. Their styles are different but they are similar in that they know how to tell a good story using animation. There may never be a director like Hiyao Miyazaki, but there is no director like Mamoru Hosoda either. And that is what makes him so unique in that he is so accomplished, so talented that his movies garner attention on their own.

Mamoru Hosoda has been invited to join the Academy of Motion Pictures, Arts, and Sciences. So perhaps he can have some sort of influence on the joke of the category that is Best Animated feature. For now, though, Mirai is in limited distribution and just received a Golden Globe nomination for Best Animated Feature.

Highly Recommended.

Review: Ralph Breaks the Internet

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I was born in 1964, so video games like Pac-Man and Frogger were not retro games for me – they were new and big deals. Now, I wasn’t one of those kids who spend endless hours and weekends in the arcade, but I did enjoy what time I had between school and my teenage jobs. So when Wreck it Ralph came along it was a delightful slice of nostalgia mixing real game characters from golden age of arcades it was a fun ride through memory lane. Ralph, not a real game character of our world, was an interesting bad guy who was basically tired of being the bad guy. And the after hours world of the arcade is evocative of the toys in Toy Story that come to life when the humans are not around. With Ralph Breaks the Internet, we move from arcade game nostalgia to the massive sprawl of the internet.

Six years have passed since Ralph and Vanelope from the game Sugar Rush became friends and things seemed to be going great between them in the arcade. Mr. Litwak, the arcade’s owner installs WiFi, which is declared off-limits to the game characters. The internet is a dangerous place, afterall. So when a kid accidentally breaks Sugar Rush’s steering wheel, the only place to get it is on eBay, but unfortunately the price is a little too high for Mr. Litwak to spend on a vintage game so he plans to unplug the game. This would leave hundreds of game characters without a home, including Vanelope.

So of course Ralph and Vanelope end up going into the WiFi signal and enter the internet in search of eBay and a $200 steering wheel. With no understanding of how eBay works, or even money or credit cards, that $200 steering wheel ends up being over $20,000. What follows is elaborate schemes of trying to make that money before Sugar Rush is put to pasture.

The great appeal to Wreck it Ralph was, of course, the nostalgic appeal to it. With him now in the more contemporary world of the internet, some of that appeal is lost. Of course it is still fun to spot cameos of familiar logos like Google and Amazon. Tweets fly around as their bird icon. Geocities and Myspace are in a sort of Sargasso Sea of dead sites.

The best cameos, since this is a Disney movie, is reserved for when Ralph and Vanelope find themselves at a website called Oh My Disney, which is apparently a real thing. No spoilers since it is in all the trailers and ads, she meets the Disney Princesses. All of them. And almost all voiced by their original voice actress with a very amusing turn from Kelly McDonald reprising her Merida voice from Brave, speaking in such a heavy Scottish accent that no one understands her. Or maybe she’s actually speaking Scottish ¯\_(ツ)_/¯. “She’s from the other studio,” one of them tells Vanelope.

While the main plot is about raising the funds to pay for their eBay purchase, the secondary plot involves Vanelope becoming enamored with the word of Slaughter Race, based off of Twisted Metal. The racing in it is a near polar opposite of the cute Sugar Rush game with a definite grim and dark atmosphere.

There are a some not very subtle messages underlying the movie. Chief of it fcuses on Ralph and his inability to let Vanelope follow her dream and leave her mundane world. Yes, a Disney Princes tires of her mundane world and finds joy somewhere that is totally different from the world she is used to. There is actually a gag about this trope too. The other message is about one of the internet’s darker sides.

One of Ralph’s schemes involve making videos on a social platform called BuzzTube (YouTube exists, so this is apparently a competing platform). Somehow he is able to make money by accumulating likes. ¯\_(ツ)_/¯ I don’t know how monetizing on social media works but this  guess this makes sense. At one point, Ralph enters a secret room and sees comments. Number #1 rule of the internet, “Don’t read the comments” says the BuzzTube algorithm Yesss, as played by Taraj P. Hanson. Of course they are filled with trolling and spiteful comments about Ralph, which disheartens him.

We can look back at the references of the first film with fondness to decades old games that are still in the subconscious of our collective memory. One thing about he internet is that things change quickly and what we may think of as something that will be around will be subject to the trash heap of history, such as MySpace. In fact, the Disney crossover was supposed to take place in the Disney Infinities game, then the game and support for it was abruptly cancelled.

Yet, despite some shortcomings, Ralph Breaks the Internet still charms and entertains Adults will enjoy it as well as the kids. And to me, that is what makes a good family film.

Recommended.