masonsaul

Zootopia 2 restores Disney animation to its former glory with a high quality sequel that plays to the exact same strengths as the original but doesn't repeat itself thematically. This is another really funny and fast paced adventure where Nick Wilde & Judy Hopps unravel an equally sinister yet more mature conspiracy which goes to the very top, now focused on how the rich use gentrification to expand their ambitions at the expense of those who are different, covering it all up by erasing history with propaganda afterwards.

Ginnifer Goodwin & Jason Bateman are a perfect pairing once again. Their chemistry is faultless and both of them have grown by the end with Ginnifer Goodwin's Judy eventually realising that she doesn't need to always carry the weight of the world on her shoulders and Jason Bateman's Nick has to finally open up by dropping his endless snark for a genuinely affecting moment. Ke Huy Quan playing Gary De'Snake is fantastic casting as the sensitivity he brings is ideal for a character who's designed to go against stereotypes.

Directors Jared Bush & Byron Howard deliver emotionally investing action and the new areas explored makes Zootopia feel even more vibrant, aided by highly detailed animation. Starting this story a week after the first one's narrative ended was a wise choice to avoid missing any character development and there's some hilariously unexpected references to other films as well as so many animal puns. Michael Giacchino's score is easily capable of constantly matching the film's energy and switching things up.

Blue Moon is simultaneously really funny and deeply sad thanks to its unrelenting amount of dialogue that's full of wit but also very vulnerable. It feels fittingly theatrical for a film set in one location with a clear love of theatre and the artists who put everything into their work as it mourns the end of a creative friendship which can be painful to watch. There's an impactful lingering sadness in its final moments despite the amount of laughs throughout.

Even though Ethan Hawke is never alone and supported by a strong supporting cast without a weak link, it can still feel like a one man show that gives him a deservedly showy role. In the first act he barely comes up for air in his many dialogue heavy scenes and he always controls the room effortlessly. His magnetic performance is more than enough to hold your attention and shows how he can be the life of a party as well as someone who is clearly hurting in a lot of ways.

Richard Linklater's considerate direction is designed to let his leading man take all the attention and has definitely done something to his height. Frequent collaborator Shane F. Kelly's cinematography adopts a similar approach and occasionally stands out by creating a few visually expressive frames. The two quotes that the film opens on wonderfully establish the mood of what will follow and Robert Kaplow's dense screenplay is seriously impressive.

Even with some classic Bond film tropes, there's still no other instalment like License to Kill. It's a satisfying yet bloody and more personal tale of revenge that contains all the necessary inventive gadgets, complicated romances and big action sequences whilst showing how the formula can be moulded into a different kind of story without losing this franchise's sense of identity and it's definitely a vital step in paving the way for everything that would follow in the Daniel Craig era.

Timothy Dalton's colder interpretation of 007 works perfectly for this story since Bond is out for blood. He retains the character's charm and even a few one-liners but for the most part he has a new level of unstoppable determination fueled by his pain. Despite the grounded narrative, Desmond Llewelyn's eternally lovable Q actually gets a greater amount of screen time than usual which is a highlight. Robert Davi is a memorable villain who has the necessary intimidating presence.

Considering John Glen had directed three Roger Moore Bond films previously as well as Dalton's previous and more lighthearted outing, it's really impressive how his direction adapts to the darker material here. Michael Kamen's score mostly relies on reworking the main theme which continues to be an easy way to enhance any thrills or tension. The action never disappoints thanks to incredible stuntwork achieving the seemingly impossible and it saves the biggest and best for the end.