Timely Zootopia 2 a vibrant, entertaining fable
Adhering to the maxim that “if it ain’t broke, don’t fix it,” Disney’s Zootopia 2 follows much the same template as the original. Writer/directors Jared Bush and Byron Howard, who were also behind the 2016 hit, once more weave timely, vital social commentary into this kid-friendly animated feature, all it suffused with a sly, subversive sense of humor that will keep parents amused. And while their approach is the same, that doesn’t prevent the film from being one of the most striking visual animated features of the year as well as one of the cleverest.
Riding high after having uncovering the widespread corruption that ran through the halls of Zootopia’s government, Judy (voice by Ginnifer Goodwin) and Nick (Jason Bateman) are riding high. Yet, despite their hero status, they’re still looked down upon by their police officer peers as being “newbies” and unworthy of the accolades heaped upon them. However, they get the chance to prove themselves when a rare book, the Lynxley Journal, is stolen. It contains the plans and patent to the innovative Weather Wall system that allowed different climates to neighbor one another, which made Zootopia a reality.
The culprit is Gary De’Snake (Ke Huy Quan), a viper, which is rare unto itself. All reptiles have been banned from Zootopia, relegated to live in Marsh Market, where snakes, beaver, seals, walruses and other swamp-based creatures live. Seems they were pushed out of their own environment to make way for Tundra Town, a development owned by Milton Lynxley (David Strathairn), grandson of the inventor of the Weather Wall.
Why a snake would expose himself and steal the Lynxley Journal is the question Judy and Nick set out to answer and, of course, it turns out to be much more complicated than they suspected. Before their investigation is complete, they realize they can trust no one as they uncover another nefarious plot.
The jokes come fast and furious, more of them landing than not. Clever puns (the Daily Gnus, Ewe Tube) abound as do numerous funny moments in which the opposite nature of the characters is mined for humorous effect. A Mismatched Partners therapy group, which finds an elephant paired with a mouse and a badger with a deer, results in one big laugh after another, while Nick’s numerous sarcastic quips never fail to elicit a sardonic grin.
The visuals are equally inventive as well as densely rendered. Marsh Market, with its weathered wooden piers, half-sunken ocean liner, seedy waterfront bars and murky depths is a wonder of detail. Accented with signage that parodies its real-life counterparts only adds to its overall ambiance. Equally impressive is an abandoned light tower where the climax occurs, a shadow-laden, icy locale bathed in blues and blacks which underscore its dire nature.
The only objection is the pace in which the too-numerous action scenes are rendered. Manic and at times, incomprehensible, these are the sort of moments seizure sufferers are warned about. Much like their real-life action counterparts, they don’t entertain as much as pummel the audience, leading to disinterest, confusion and ultimately tedium. The exception is a third-act set piece taking place on a collapsing, icy ledge that is quite spectacular.
Thematically, Bush and Howard espouse the dangers of marginalizing those deemed “different” and the corrosive effects of societal racism. The reptiles are the species that’s been pushed aside and set for extinction, progress and greed being the driving forces behind it. While the movie’s intent will be obvious to grown-ups, the message will be easy to understand to the younger set. Whether they catch additional barbs leveled at climate change denial and wealth disparity is questionable.
In the end, Zootopia 2 handsomely pulls off what I want from every animated film in that it appeals to adults and kids. I was never bored as this adventure played out and was more often amused than not, particularly by Nibbles Maplestick (Fortune Feimster), a conspiracy theory espousing beaver. Visually dynamic, consistently clever and wholly entertaining, Zootopia 2 proves to be perfect holiday fare for everyone, delivering its message vibrant flair and admirable intelligence. In theaters.
Relatability the key to Eternity
I’m easily sucked into films with knotty moral dilemmas and David Freyne’s Eternity has a most intriguing one. It’s “what would you do if” scenario that finds a woman facing an impossible choice. Having died, she’s told she can choose to spend the rest of eternity with her first husband, who was killed in the Korean War, or her second spouse of over 50 years. As you would imagine, her response is not immediate nor simple, the script by Patrick Cunnane and Freyne putting her through the emotional wringer as she determines whether she should stay with what she knows or opt for what might have been. There’s plenty of narrative mileage here, and it’s to the writers’ credit they’re able to maintain our interest in this quandary as there are more than a few unexpected turns that add further wrinkles to our heroine’s plight.
Joan (Elizabeth Olsen) has been a faithful and loving wife, even when her husband, Larry, (Miles Teller) taxes her patience and while they are both in their 80s, his passing comes as a shock. As with most long-time marrieds, she soon follows him in death, meeting him in an afterlife waystation. He’s been anxious for her arrival, wanting to consult her on which eternity they should choose to exist in. There’s Beach World, Capitalist World, Smoker’s World, Nude World, Vampire World and many others whose simple titles succinctly sum up what they contain.
However, before a decision can be made, Joan reunites with Luke (Callum Turner), her first husband who put off choosing an eternity to wait for her. Having hung around for nearly 60 years, this profoundly romantic gesture throws her for a loop. Not sure what to do, she wrestles with the pros and cons of each situation, while each of the two men attempt to convince her that he is her true soulmate.
The tone of the film is crucial to its success, Freyne and his able cast taking a lighthearted, absurdist approach to the premise. The list of available eternities is quite funny and clever, each speaking to a basic desire one can imagine people would willingly embrace forever. The fact that the “Women Only” eternity is full and a second section is being open is spot on and appropriately pointed. That the afterlife is overrun by 10-year-old boys, because your eternal physical form is that of when you were happiest during your life, is the sort of pithy humor that buoys the movie.
Equally inspired are the Afterlife Coordinators, semi-angels who explain to new arrivals where they’re at and what they’re facing. As Anna, Da’Vine Joy Randolph conveys a tired cynicism that is a wonderful counterpoint to Teller’s naivety, while John Early’s tireless exuberance as Joan’s guide, Ryan, provides just the right dose of silliness.
The three leads are good, but more importantly, they each bring a likability factor that’s vital. We can’t help but like each of these characters and come to identify with each of them at various times. What’s most refreshing is the friendship that develops between the two men. Rivals at the start, they come to see the other’s point of view, each ultimately stepping aside for the other. These honorable acts only complicate things for Joan, the men’s selfless behavior making them even more attractive in her eyes.
These actions don’t lead to a conclusion either, as Cunnane and Freyne give Joan no easy outs. That being said, they go to the narrative well too often and the story begins to sag during the third act. Still, Olsen’s anguish is beautifully realized throughout, her emotional turn keeping us hooked until the end. As for what she finally opts for, it’s a “your mileage may vary” conclusion, one that will likely strike some as a cop out, others as inevitable. Be that as it may, Eternity’s relatable ethical predicament is one the viewer can’t help but put themselves in, a question that may cause some to reevaluate the seeming eternity they’re already enduring. In theaters.
Plan 2 a pleasant diversion
Simon Cellan Jones’ The Family Plan 2 tries to be two things at once. On the one hand, it wants to be an action thriller, replete with international settings and a bad guy who makes no small plans. On the other, it strives to be a warm-hearted family comedy that stresses the importance of being together and the power of forgiveness.
Regarding its efforts to be a slam-bang thrill-fest, it fails horribly. Jones is clueless when it comes to choregraphing and filming action scenes. The kinetic editing employed to piece them all together results in a headache-inducing mishmash, the visuals on display impossible to follow. Where the second goal is concerned, the film is much more successful. David Coggeshall’s script manages to find the perfect balance between tension and mirth. The sentiment isn’t laid on too thick and, surprisingly, it’s quite funny at times. Of course, Jones’ committed cast proves to be the key ingredient as they manage to sell this piece of ridiculousness.
Having found out that dear old dad, Dan Morgan (Mark Wahlberg), was a spy before he got married, the various members of his family have seemingly adjusted to this revelation with ease. His wife, Jessica (Michelle Monaghan), sees him in a new, sexier light; their daughter Nina (Zoe Colletti) is studying abroad in England; their son Kyle (Van Crosby) can’t wait to go off to college and their youngest, Max (Peter and Theodore Lindsey) remains blissfully clueless to all that goes on.
However, things go off the rails when Dan takes the crew to London to surprise Nina with a Christmas visit and answer an inquiry from a prospective client of his high-tech security business. That turns out to be Dan’s half-brother, Finn (Kit Harrington), whom he hasn’t seen in decades. Seems he needs his estranged sibling’s help in accessing their deceased, criminal father’s vast fortune. Of course, Dan refuses and soon the Morgans are on the run, as Finn, bad sport that he is, has put out a bounty on their heads and every mercenary in Europe is on their tail.
Obviously, none of this is to be taken seriously and, wisely, no one involved is doing that. There’s a light, at times, goofy tone to the film that is charming, so much so, you’ll likely be wishing, as I was, that the action had been omitted and this was simply a straight comedy. The familial interactions have a lived-in feel to them and the humor generated from them is unforced and natural. A welcome addition to this dynamic is Reda Elazouar as Nina’s boyfriend, Omar, a practitioner of parkour and getting Dan’s goat whenever he can.
Equally effective are the performances: Wahlberg brings just the right amount of exasperation to his on-edge Dan, Monaghan gives Jessica a sense of strength that’s not overbearing, Colletti manages to make Nina opinionated without being irritating and the sense of teen exasperation Crosby gives Kyle is understandable and sympathetic. Granted, the combined cuteness of the Lindseys as Max is too much, but what are you going to do?
Perhaps the most surprising thing about the movie is its conclusion. An unlikely reconciliation occurs that, while hardly probable, is welcome nonetheless. In these tumultuous times, I’ll take examples of kindness wherever I can find them. Granted, you’ll likely forget everything about the film once the credits begin to roll, but as a mindless time-filler, you could do much worse than Plan 2. Streaming on Apple TV+.
