Zootopia: Mini-review


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Ginnifer Goodwin

Ginnifer Goodwin does the Bunny Hop in Zootopia

B+Walt Disney Studios was seemingly built on the back of a cheerful yet plucky animated mouse named Mickey. Some 90 years later, Disney has another major success on its hands in Zootopia, courtesy of another animated herbivore, a bunny with the appropriate name of Judy Hopps (voiced by Ginnifer Goodwin), and a seemingly inappropriate occupation as a police detective.

Actually, Judy’s occupation is the entire point of Zootopia, which is set in a world populated solely by anthropomorphic mammals of all shapes and sizes. Judy becomes the first rabbit member of a police force dominated by larger animals, but her boss, Chief Bogo (Idris Elba) makes her a meter maid. She eventually gets her big chance to investigate a missing person (or, in this instance, missing otter) case, and recruits a streetwise fox, Nick Wilde (Jason Bateman) to help her.

While today’s better animated films work both as juvenile slapstick and inside humor aimed at adults, Zootopia goes even one step further. There’s plenty of visual humor in the movie, featuring a major city that’s been designed for use by creatures ranging from mice to elephants, and it’s a delight to see the architectural and stylistic contortions needed for this to happen. Further, the “missing otter” case winds up involving a massive conspiracy with noirish undertones that would, minus the animation, make a good adult thriller. Zootopia doesn’t neglect the in-jokes in this regard either, with takeoffs on The Godfather (with a bizarre Mr. Big) and Chinatown.  But Zootopia also uses its animal characters to make some very important human points aimed at both young and old, raising issues of stereotyping characters, in this case based on the species, not the individual. Judy fights the cuddly bunny stereotype, while Nick has become a con artist because that’s what everyone expects of a fox. Zootopia makes its points in a generally subtle, albeit inconsistent manner (it’s okay to make jokes about slow-moving sloths working at the DMV) that never gets in the way of the film’s lively visuals, clever humor, and a catchy song by Shakira (who fittingly plays a rock star named Gazelle in the movie). Zootopia lacks the emotional impact of the best Disney films, but it’s definitely one of the brighter spots in a so-far underwhelming 2016 in theaters.
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The Gift: Mini-review


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Joel Edgerton

Quadruple threat Joel Edgerton wrote, directed, produced and starred in The Gift

B+People who have seen the trailer for the new thriller, The Gift, or who have seen Fatal Attraction or any of its dozens of clones over the last two decades may think they know where the movie’s heading in its first 15 minutes. If so, writer/director Joel Edgerton has them right where he wants them, as he tweaks the formula over and over, resulting in a movie that really does have the audience guessing.

In addition to writing and directing The Gift, Edgerton co-stars as Gordo, a high school acquaintance of Simon Callen (Jason Bateman), who has just moved back to California with his wife Robyn (Rebecca Hall). A chance meeting leads Robyn to invite Gordo to dinner, much to Simon’s dismay. After Gordo starts leaving the couple various gifts and popping in unannounced. Simon wants to cut off their relationship with the guy known in high school as “Gordo the Weirdo” but Robyn is more sympathetic. But when Simon does tell Gordo not to bother the couple any more, The Gift takes a far more sinister turn.

Edgerton demonstrates a deft touch in all three aspects of his work here. He’s well aware of the conventions of the stalker thriller, but he takes his time letting the story of The Gift play out and twists audience expectations around to create a genuinely tricky and unsettling movie. As an actor, Edgerton underplays his role perfectly, avoiding showy moments other actor/directors might seize. Gordo is awkward and a bit unsettling, but viewers are trying to figure out right along with Robyn just how dangerous he might be. Gordo also manages to get past Simon’s self-assured façade as well, and a harried Jason Bateman gradually loses control of his emotions and the situation as the movie goes along. Finally, as a director, Edgerton sets up menace using the many glass windows in the Callen house and shots of the exposed Robyn without going for obvious gotcha moments. The ending disappoints a bit, as it’s too conventional and not credible as far as the characters are concerned. Still, The Gift proves to be a genuine departure from rote thrillers and, instead, a real present for viewers.
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