Tag Archives: Disney+

Black Is King

The Lion King live action remake got one thing right: it remembered that it is primarily an African story. To be fair, it was likely the Broadway show that did this for them, but Jon Favreau had the presence of mind to follow their lead and cast actual black actors in the important speaking parts. The Disney cartoon from 1994 wasn’t motivated by authenticity and we as a culture failed to keep them honest. So when Favreau chose only one returning voice actor to serve as a link between the two films, James Earl Jones was both the obvious and the best choice. His is the voice of wisdom that runs throughout both films, but the 2019 version backs that shit up with a stellar cast that is as talented as they are representative: Chiwetel Ejiofor, John Kani, Alfre Woodard, Keegan-Michael Key, JD McCrary, Chance the Rapper, Shahadi Wright Joseph, Florence Kasumba, Eric André. But none were chosen more carefully or more brilliantly than our Simba and Nala, Donald Glover and Beyoncé; they aren’t just black actors but recent symbols of owning one’s blackness. If the The Lion King remake justifies itself at all, it’s by putting those two front and centre, sending a powerful message of just who should be King and Queen.

Black Is King is a visual album from genius multi-hyphenate Beyoncé. It reimagines the lessons of The Lion King for today’s young kings and queens in search of their own crowns. It is a love letter to her African roots while celebrating Black families.

Beyoncé is the undisputed Queen of Pop. Her ascension must have come with a lot of racism, overt and covert, attached – she would have been accused of exploiting her culture while also being asked to suppress it – problems the likes of Pink and Madonna and Lady Gaga never considered let alone experienced. This system seems to have caused or at least contributed to the internalized hatred of his race in her counterpart, King of Pop, Michael Jackson. And yet Beyoncé has not just transcended the challenges to her skin tone and hair texture, she has come out on the other side a powerful and vocal advocate for anti-racism. For many of us, the change in her was undeniable at the 2016 Super Bowl, a performance dubbed “unapologetically black,” incorporating dancers in Black Panther berets performing black power salutes, arranging themselves into the letter “X” for Malcolm, a homemade sign demanding “Justice for Mario Woods”, and Beyoncé’s own costume, said to be a tribute to Michael Jackson. The performance reflected the modern civil rights movement Black Lives Matter and handed us her rallying cry in the song Formation, which references slogans such as “Stop shooting us”, riot police, the shamefully neglectful official response to Hurricane Katrina which demonstrated that poor, predominantly black lives were clearly deemed not to matter. “I like my baby hair and afros. I like my Negro nose with Jackson 5 nostrils, ” she sang, offering an education in the Black American experience.

Beyoncé has always been a proud African-American woman and artist. She pursued movie roles in Dream Girls and Cadillac Records. Her wondrously thick thighs became politicized in her Crazy In Love video. There were criticisms with racial undertones when she headlined Glastonbury in 2011. She sang At Last to the Obamas for their inauguration dance. She and fellow Destiny’s Child Kelly Rowland started a charity to help Katrina survivors. Husband Jay-Z has been critical of the injustice of the profitable bail bond industry, with over 400,000 people who have not been convicted of a crime incarcerated simply because they can’t afford bail, often set at less than 5K. Beyoncé didn’t suddenly discover her blackness in 2016. Whether the political climate pushed her over the edge, or becoming a mother to her own Black daughter did it, or she realized that her success and popularity gave her immunity, Beyoncé started using her voice and her platform quite blatantly, and quite brilliantly. There are few people in the world with her kind of power, and she’s been able to snatch back the Black narrative from the fringes and help spotlight it centre stage. But it was also a risk to have her name synonymously linked with black rights, but as she states rather directly in this film, “Let black be synonymous with glory.” If 2016’s Super Bowl half time show was her coming out party, her 2018 Coachella performance cemented her mythic, iconic status. As the first black woman to headline the festival, her show was explicitly black, triumphantly black. Look no further than her documentary Homecoming to see how deliberately, lovingly, boldly she created every element in her show to be marinated in cultural meaning. She didn’t just pay homage to those who came before her, she used her two hour set to unpack a lesson in black music history. She literally used her platform to honour and recognize black art; the performance was a revelation to the predominantly privileged white audience of Coachella, but it created a real moment in time that reached into the hearts and souls of those could fully appreciated it. Having already achieved pop royalty status, Beyonce is free to make the strong personal and political statements that have defined her career ever since. Her success is no longer measured by mere radio plays; freed from having to abide by what makes her white audience comfortable, she and Jay-Z are reigning from a throne of their own making. She no longer has to shrink or contain her blackness and it’s clearly been a boon to her creativity and craft. Black Is King follows in the footsteps of Lemonade, defiantly blazing her own path, and returning to the African desert that clearly still calls her name.

This visual album is of course an occular and audible delight. It jumps off from The Lion King, swapping lions for Black men and women. It highlights the extremely varied beauty of the African landscape, and of its people. There are set pieces in here where you can readily imagine the ka-ching of literally millions of dollars spent per second of film.

The Gift, Beyoncé’s Lion King-inspired album, takes us beyond Disney’s version of Hollywood’s Africa. Her original contribution to the film’s soundtrack, Spirit, is a gospel-charged anthem, but she didn’t stop there. She found up-and-coming African artists, songwriters, and producers to join her on the album, creating an international vibe with a strong and undeniable heartbeat.

The accompanying film is stuffed with imagery, implication, poetry and practice that feels like such an intimate declaration of love and admiration that I watched on the verge of a constant blush. Even Kelly Rowland felt it, being the recipient of Beyoncé’s sincere serenade, breaking the beaming eye contact with an overwhelmed giggle.

The visual album exists to toast beauty, observe beauty, create beauty, memorialize it. But a visual album from Beyoncé is to define and redefine it, to find beauty in new or forgotten spaces it, to celebrate a spectrum of beauty, to infuse it with ideas of culture and identity, to own it, to actually physically own it. And for that reason, I almost wish I could watch it at half speed. There are so many lavish tableaus set with precision and abundance but only glimpsed for a second or two; I want so badly to just live in that moment, to possess and savour it a minute longer.

And like a true Queen, she steps aside and allows herself to be upstaged by African collaborators, like Busiswa from South Africa, Salatiel from Cameroon and Yemi Alade and Mr Eazi from Nigeria. This album is a show of solidarity, an act of unity. She places herself among them, among the ancient beats and contemporary sound.

A thousand words in, dare I only broach the subject of fashion now? The sheer quantity of couture from Queen B is nearly numbing, except each look is so bold and unique you do your best to keep up to the dazzling, nonstop parade: Valentino, Burberry, Thierry Mugler, Erdem. But also a barage of Black designers from around the world, curated diligently and I’d guess rather exhaustively by Beyonce’s longtime stylist, Zerina Akers: D.Bleu.Dazzled, Loza Maléombho, Lace by Tanaya, Déviant La Vie, Jerome Lamaar, Duckie Confetti, Melissa Simon-Hartman, Adama Amanda Ndiaye…you get the picture. It’s MAJOR, every one of them re-imagining a wardrobe fit for an African Queen, their number so plentiful that no one garment or gown overpowers the beauty of their canvas: brown skin.

Beyoncé surrounds herself with Black beauties, including Naomi Campbell, Adut Akech, and Lupita Nyong’o, but also her own mother, Tina Knowles Lawson, and daughter Blue Ivy. Her family is often presented as a symbol of her strength, young twins Rumi and Sir making appearances as well, equating “kingship” with engaged fatherhood.

There is so much to unpack in this film, from the frenzied and joyous dancing of black bodies, to their posing as sculpture on pedestals, to the recreation of moments from her own storied career, there is more here than I can enumerate let alone appreciate. Like the star herself, Beyoncé’s concept of blackness is a hyphenate of her ancestral lands and the country of her birth. It’s an amalgamation of black art and black history and a vision of black power, of ethnic and cultural splendor. And what a time to have dropped it, in a world where white people are just now opening their eyes to the racial injustice and inequality that has yoked people of colour for centuries, where black bodies are being discriminated against at best, black minds suppressed, black art appropriated, black experienced denied. And here is a woman who could easily coast on her laurels but instead is serving her people by framing the Black experience not only in a positive light, but a powerful and empowering one. Black Is King is not a cure for racism, not even a vaccine, but it may just be the booster shot of pride we all need right now.

The Crimson Wing

The Crimson Wing: Mystery of the Flamingos sounds like it might be a classy film noir detective story from the 1940s where everyone smokes and matchbooks are almost always a clue. It’s not. It’s an early (2008) Disneynature documentary, before they developed the simple titling system that created such gems as “Bears” and “Penguins.” Today’s Disneynature docs are slick affairs, incredible photography paired with an anthropomorphic narrative that makes it fun to follow, and the big-name celebrity lending their voice sure doesn’t hurt.

But while The Crimson Wing is still working out this recipe for success, it’s still a pretty good watch.

Lake Natron in northern Tanzania is quite unique. Its water can often reach the same alkaline levels of pure ammonia. Thanks to a nearby volcano, a sodium crust forms on its surface. This is where a million crimson-winged flamingos are born (or lesser flamingos, if you will), live, and die, and have done so for nearly 20 million years. It’s a dramatic and unforgiving landscape. The salt builds up around little baby ankles, like shackles, that perilously slow them down, or shuts them down altogether (yeah, dead baby birds, it’s rough).

But the drive to stay alive and thrive is innate in all of us, and these flamingos aren’t chicken. They’ve kept the species going this long, hardship is in their blood, and the presence of a few cameras isn’t going stop them from living life. This is a rarely-photographed slice of Africa, a vast area of little besides drying salt that often gets left off even maps. But Disney gives us a bird’s eye view (ew, pun), and if you’re willing to tolerate the agonizing stamping out of the fuzziest, downiest life you’ve ever seen, young, hopeful little creatures who keep persevering long after being left behind, defying the odds, the predators, the searing heat – all just to succumb to salt accumulation around their dainty little ankles. If nature is the mob, then salt is the cement shoes, and soon their fluffy little bodies become just another bump in the road.

All right, enough moaning. I understand that death is part of life (sound like bullshit to anyone else?) and blah blah blah, why be upset about this one headstrong, floofy little chick when heavy rains literally washed out every egg in the nesting grounds so that the crew had to sit around on their own butts waiting for the flamingos to breed again.

People who live out in these crazy conditions for years at a time just to get one perfect shot of an innocent baby’s last breath must be a special kind of nut. We call them documentary film makers, but that’s definitely a euphemism for nut. And it’s not just because they used both snowshoes and hovercrafts to get around (although: nutty), it’s more that when the nearby volcano erupted during filming, they described it as “fortunate” when literally everyone else on the planet would have gone the other way on that one.

Anyway, the flamingos remain dignified even while being scrutinized by nuts, proving that whoever called them lesser got it wrong.

Hamilton (!!!!!!!!) (exclamations my own)

However much you thought I was looking forward to seeing Hamilton on Disney+, double it. Then cube it. Then add 10 000 more. Then halve it. Then times it by 13.24 million billion. Then you’d at least be within a three planet range of my excitement supernova.

Hamilton: the hit Broadway play that no one could ever get tickets to, and now you don’t have to! I mean, still do, if you haven’t already. There’s an electric current to a live performance that streaming can’t quite replicate – but this one sure comes the closest. This is not a film adaptation of a play, it is the stage performance itself, taped in front of a live audience, with so many cameras and angles and microphones even Lin-Manuel Miranda’s own mother can’t get seats this good.

Miranda disrupted Broadway with his follow-up to the very well-received In The Heights. Hamilton is a very old story told in a very fresh way. American founding father Alexander Hamilton is perhaps not the most enthusiastically remember by history, but Miranda gives just cause for his placements among the greats, and pays tribute to him with his own unique blend of culture, politics, and son. The actors portraying contemporaries such as George Washington and Thomas Jefferson are from diverse backgrounds, representative of today’s American population, and reflective of the period’s influx of immigrants. The costumes are relatively period-appropriate, with just a kiss of the modern to still feel true to the hip-hop-heavy numbers.

The original Broadway cast appears on stage, performing together one last time before many of them dispersed to other projects (the musical itself of course lives on, or it did before COVID darkened Broadway’s lights). This show was so electrifying that it blew up every single person in the cast – making the likes of Daveed Diggs, Anthony Ramos, Leslie Odom Jr., Jasmine Cephas Jones, and Renée Elise Goldsberry household names, or pretty near. Certainly they were the toast of Manhattan and all have continued to find fame and fortune beyond the shadow cast by Hamilton. Lin-Manuel Miranda is chief among them of course, tapped by the folks at Disney to write songs for Moana, and to co-star in Mary Poppins Returns.

Disney was so exuberant about Hamilton that it paid a record-setting $75 million for its distribution rights, and set it for a fall 2021 release. However, COVID-19 reared its contagious head, shutting down stage and cinema alike. So Disney made the decision to bring Hamilton to the people, and Miranda made family viewing possible by sacrificing two of his 3 f-bombs (only half of one remains, the f word started and implied but not completed).

Hamilton is such startling and tasty treat it simply must be seen. Director Thomas Kail makes sure this film feels just as vital and urgent as any live performance. The actors, having rehearsed their roles on Broadway for an entire year before filming in 2016, are at the very tops of their game; besides Miranda, Leslie Odom Jr., Phillipa Soo, Jonathan Groff, Daveed Diggs, Christopher Jackson, and Renee Elise Goldsberry all earned Tony nominations. Of its unprecedented 16 nominations, Hamilton won 11, including, of course, Best Musical. And it really is.

Artemis Fowl

Artemis Fowl is a series of quite beloved fantasy novels written by Eoin Colfer. If you are a fan of the books, may I suggest you put that aside right now and meet Artemis Fowl the movie as a similarly titled but only loosely based third cousin twice removed type situation.

Artemis Fowl (Ferdia Shaw) is a 12 year old genius rambling about his big old house in Ireland with only his definitely-not-a-butler manservant/bodyguard Domovoi Butler (Nonso Anozie) for company. He learns from TV that his father (Colin Farrell) has gone mysteriously missing (is that redundant? i think yes) and also, I think, that he’s behind some major art-thievery. Which is when Alfred Mr. Butler gently guides young Bruce Artemis down to the batcave secret lair and lays some truth on him: he comes from a family of criminal masterminds. He’s meant to be some sort of prodigy villain, and so donning the batsuit and sunglasses, he receives the obligatory ransom call and gets down to saving the world or maybe just his dad, I’m really not sure, this part wasn’t entirely clear to me.

Meanwhile, keeping in mind that Ireland is apparently quite magical, we’re introduced to some non-human characters such as Mulch Diggums (Josh Gad), a felonious oversized dwarf who seems like he would have bad breath, Holly Short (Lara McDonnell), who I think is a fairy, and her boss Commander Root (Judi Dench), who’s in charge of making sure magical creatures don’t mix with humans, and Juliet (Tamara Smart) who is some much younger relation of Mr. Butler’s and whose presence I never quite understood. Also various goblins, elves, trolls, Italians, and even a centaur with a sexy little canter. Most of these…beings…are technically enemies. Well, enemy is a strong word for people who don’t even know each other. Maybe “non-belligerent” is a better term for it, a term I picked up mere moments before watching this film thanks to a Spike Lee movie about the race discrimination and the Vietnam war (who knew these two movies would have so much this one thing in common!). Anyway, it’s hard to keep track of who’s on who’s side and what that side wants and why. And then there’s you know, alliances made and broken, objectives intended and abandoned, just stuff. Presumably. I don’t really know. There’s magical force fields/space-time continuums (?), dislocating jaws, and a coup against an 800 year old stickler for rules.

The movie is kind of a mess. This is a kid’s movie and I’m struggling to relay any of the plot points, and I’m frankly not even 100% convinced there were any, it may have just 90 minutes of pure pixie chaos for all I know. It hurt my brain to try to keep up, but on the other hand it wasn’t really interesting enough to pause let alone rewind.

Those who have read the book(s) will of course bring important supplemental information to the film, which will either a) make it a more pleasant, sensical viewing experience or b) make it that much more frustrating, just a big old soak in a bath of disappointment. I’m guessing it’s b but let’s not marinate in negativity. Let’s optimistically assume that you subscribed to Disney+ hoping for a child’s version of Men In Black where the aliens are now fairies and the good parts are now the suck and the idea of a sequel both frightens and confuses you.

If you wanna hear more, and you know you do: Youtube!

The Disney Family Singalong

This special feature aired on TV a couple of weeks ago but if you missed it then, it’s now available to steam on Disney+, and if your family likes Disney songs half as much as I do, you won’t want to skip it. This special was put together surprisingly quickly by the folks at Disney in response to the quarantine due to COVID-19. It’s an hour’s worth of popular Disney songs performed by a whole host of celebrities, but it’s all self-shot in their own homes. Accordingly, some of the footage is better than others, proving that we’re all equally at the mercy of the strength of our wifi connectivity.

Auliʻi Cravalho, the actual voice of Moana, sings How Far I’ll Go, and sounds movie quality. Josh Groban covers a song from Toy Story. Christina Aguilera belts out Can You Feel The Love Tonight from The Lion King soundtrack. The cast of Broadway’s Aladdin deliver Friend In Me. Ariana Grande covers I Won’t Say (I’m In Love) from Hercules. Beyonce dedicates When You Wish Upon A Star to all the brave health care workers. These are all professional singers and they do a terrific job of covering some great songs – often inter-cut with scenes from the movies.But for my money, things really get interesting when celebrities go above and beyond.

Donny Osmond, who provided the original singing voice for Shang in Mulan, covers I’ll Make A Man Out of You and he sounds just as good as he did 20+ years ago. What makes his performance great though is that he involves all (well, maybe not all, but an awful lot) of his grandkids in the song. They’re all self-isolating in their own homes of course, but everyone had a cell phone and a few lines to sing and the result is pretty adorable.

Country singer Thomas Rhett Akins Jr. gets help from two of his daughters on Do You Want To Build A Snowman?, the pair adorably dressed as Anna and Elsa. The little Anna is sometimes VERY into singing and sometimes bored to tears and mildly angry, all within the 3 minutes of the song, reminding me very much of my own sweet niece. Her older sister is a little more shy, and a little more enthusiastic about throwing the snow. Little Big Town are also joined by their children as they each sing A Spoonful of Sugar from their respective kitchens. Amber Riley does a song from Frozen too, introduced by her niece, who is incredibly poised and professional, proving herself to be a host equal at least to Ryan Seacrest who is managing the show from his own kitchen. Josh Gad and Luke Evans reprise their roles from the live-action Beauty and the Beast for Gaston, with Evans belting out his part with surprising aplomb. Darren Criss plays several instruments and does his own backup vocals on “I Wan’na Be like You (The Monkey Song)” from The Jungle Book. But for my money, the very best effort is also the first, and it’s by someone who doesn’t sing at all.

I can’t believe I’m saying this, and I’ll deny it if you bring it up, but Derek Hough stole the show with a jaw-dropping choreography to Be Our Guest. He’s joined by quarantine buddy (and girlfriend) Hayley Erbert who’s very game. I don’t see any credits for choreography, but for them to have thrown this together themselves in what I can only assume is a pretty short amount of time is impressive. I know they’re professional dancers, but there were plenty of cute and funny little bits that raised the bar to an insurmountable high. Julianne Hough joins in via cellphone to top it all off.

Penguins

We have continued our binge of Disney nature documentaries streaming on Disney+. It’s a welcome break from all the junk. Disney docs are like the strawberry of movies; they’re technically healthy but sweet enough to be eaten for dessert. We recently raved about both Elephant and Dolphin Reef, and now we’ve watched 2019’s Penguins. And guess what? It’s great.

Now, we’ve insinuated before that Disney nature documentaries are perhaps not the greatest source of information. They’re not just shooting facts at you rapid-fire, they’re crafting a story, which makes the doc far more palatable and definitely kid-friendly. that’s why I don’t call Disneynature documentaries the kale, but they’re definitely in the same tier of the pyramid.

In Penguins, “Steve” is a 2 foot Adelie penguin in the Antarctic. It’s spring time, and this is Steve’s coming of age. He’s finally considered old enough to make his way to the breeding grounds with the other male penguins. I’m not gonna lie: Steve is a bit of a bumbler. He trips over his own feet, he gets lost and turned around. He’s the last to the breeding ground, so he’s got fewer materials to make a nest to impress the ladies. He’s going to face a lot of rejection. Will he find himself a honey and make a family? You’ll have to watch to find out.

But even if Steve fails to triumph, there are still plenty of reasons to check out this movie. First, writer David Fowler puts together an awesome story and makes Steve into a compelling and relatable character. And then narrator Ed Helms steps in to fully animate Fowler’s story, giving life to penguin Steve, and drawing us in to his triumphs and challenges.

Of course, it’s nothing without the amazing pictures. Cinematographer Rolf Steinmann and principal photographer Sophie Darlington share the credit with a team of very dedicated people who bring a frozen land and its inhabitants straight into our living rooms. The crew can spend years capturing enough footage for a single 70-minute film, but the immersive experience captivates us and endears us to our little protagonists. Penguins is a fantastic offering from Disney+.

Dolphin Reef

Last week we were discussing Elephant, a brand new nature documentary released on Disney+. Disneynature films are perhaps not the most scientific among documentaries but they are beautifully photographed and extremely family-friendly. During these difficult days of self-quarantine, parents struggling to home-school their children or even just provide for some less junky screen time may want to turn to Disney+ for this not inconsiderable benefit. In fact, Disney+ is also home to National Geographic programs as well, perhaps better suited to older students. In any case, you can get a free one month trial from the streaming service and it’s hard to imagine a better time than now to use in.

Dolphin Reef is another incredible offering from Disneynature. This one dives under the waves near the Polynesian Islands in the Pacific Ocean to explore a colourful and diverse environment on the ocean’s floor. Dolphins have long been fascinating to we bipedal, air-breathing, earth-walkers. They are smart and engaging. They communicate and express emotion. They are playful and have close family bonds.

Echo is a young bottlenose dolphin who, at the age of 3, is struggling with the notion of growing up. His mom is devotedly and determinedly trying to teach him the ways of the reef but Echo keeps giving in to his silly side. But despite his playfulness, dolphin society is tricky, and survival depends on skill and preparedness.

As if Echo isn’t enough, we’ll also meet a mother-daughter humpback whale duo and learn some of the parallel trials and tribulations of growing up whale. In fact, there’s an entire ocean filled with orcas, sea turtles, and cuttlefish, and we’ll get the most amazing front row seats to it all.

What distinguishes a Disney nature documentary from others is that they write a narrative to go along with the pictures so kids get to know the animals personally. Each one becomes a character we can not only learn about, but root for. A few liberties are taken but on the whole the story fits accurately within the animal kingdom and the result is an exciting and engaging watch.

For me, even besides the dolphin and whale families we’ll get to know intimately, I just love trolling along the sandy bottom and discovering the bright and beautiful life that lives there. Lots of people look to the stars and imagine what alien life might exist, but I’ve always preferred plunging below the sea and exploring those unfathomable depths. There are creatures living on our own planet that defy our understanding. This documentary explores fairly shallow waters and still encounters fascinating species to capture the imagination.

Narrated by a very excited Natalie Portman, Dolphin Reef is an adventure worth taking.

Stargirl

Ladies and gentlemen, it is my pleasure to introduce the new Michael Cera, Graham Verchere.

I know, I know, where has the time gone if we’re already putting Michael Cera out to pasture. Well, technically he’s going to be the new Jon Cryer and Jon Cryer’s going to be the new Steve Buscemi and so on.

Anyway, that was a bit of a digression and I apologize. We first saw Graham Verchere at a film festival in Montreal where he was starring in a horror movie (a good one) called Summer of 84. And now here he is all grown up on Disney+, working for the very talented director Julia Hart, who we first saw at a film festival in Austin, alongside Giancarlo Esposito, whom we also met at SXSW, albeit the year before, directing a movie that was called This Is Your Death at the time and later got renamed rather lamely, The Show. Anyway, this was another digression because we’re already seeing film festivals (including SXSW) cancelled due to corona virus and we may lose our whole festival season, which is sad because it’s where we’ve discovered so many gems over the years.

Anyway, if Graham Verchere is the new Michael Cera then I suppose that makes his costar Grace VanderWaal the new Emma Stone (move over, you old cow). Which isn’t a bad comparison, really, because VanderWaal is both luminous and a talented singer. But Stargirl is no Superbad, and that’s not a (super) bad thing. While my generation settled for movies where boys were obsessed with popularity and sex and girls where afterthoughts at best (and often just a means to an end), Stargirl is a movie that embraces awkwardness and gives it a starring role.

Leo (Verchere) moved to a new town with his mom after his dad died. His sartorial tribute to his dearly departed father made Leo a target for bullies, so he learned to keep his head down and fit in. This all changes around his 16th birthday when a new girl, Stargirl (VanderWaal), starts attending class and soon disrupts the whole school. Stargirl is the kind of girl who can completely dismantle a marching band. Well, technically one lonely boy who falls out of step can dismantle a marching band, but Stargirl is the cause and the crush either way. She’s weird from the barrettes in her hair to the pompoms on her shoes, and startlingly, she’s unashamed. She owns her oddness in a way that is immediately fascinating to all, and her penchant for ukulele serenades is not just tolerated but celebrated, propelling her toward not just popularity but a spot on the cheer-leading squad. Sure it’s for the losingest football team in the history of sports, but still. Even her uniform outshines the rest. And it’s okay! Have these same kids who once bullied Leo for his porcupine tie are somehow woke enough to embrace Stargirl without a trace a jealousy.

At least for a while. Don’t worry: kids today can still be dicks. Interestingly, Stargirl is more than just a manic pixie dream girl – sure she casts a magical spell on everyone, but she has her own inner workings, her own growth, her own arc.

Stargirl is a John Hughes movie for the modern age – without all the racism.

Meet The Robinsons

Lewis is abandoned by his mother on the steps of an orphanage. By the age of 12, he’s been through over a hundred adoption interviews with no luck, so he spends his time on inventions that never quite work out. One day his school science fair is interrupted by two interlopers: a weird dude in a bowler hat, and a kid named Wilbur who claims to be visiting from the future. It seems like a pretty dubious claim until his space ship whisks them away.

In the future, Lewis meets the Robinson family, a wacky bunch of people he bonds with instantly. Which is too bad, because for the good of the space-time continuum, he really will have to go back.

This movie feels like it was designed by committee if that committee was a classroom full of kindergarteners shouting out their most favouritest things: robots! dinosaurs! food fights! And Disney’s feeling generous enough to stuff the movie with every last ounce of feedback it received, no idea too outlandish or sporadic to include. A story can be weaved around them all, and it involves time travel and one genius kid with big ideas.

It’s not the best film that Disney has to offer, but it’s got rapid-fire visual gags and a riot of crazy ideas and eccentric characters brought to life by some vivid animation. And eventually it circles back on sweet themes, like family and imagination, things you might expect that Walt himself would have been proud his legacy continues to endorse.