***1/2

Disney’s live action remake of its Polynesian heroine mythological romp – out in UK cinemas on Friday, July 10th

It’s a curious experience watching Disney’s live action remake of Moana (John Musker, Ron Clements, 2016), one of the Studio’s better animated movies of recent years. Of course, some audience members (particularly small children) may never have seen the orginal, or, equally, because Disney are very, very good at marketing their films to a mass audience, they may already be familiar with it. Either way, the film is likely to be enjoyed by both those who know the original and those who don’t.

The original had its roots in Maori mythology, and this live action retread follows much the same path. It’s set on the island of Te Fiti, a resting goddess whose heart (a small, round, green stone) has been stolen from her in order to give humans the power of creation by the demigod Maui, and then lost along with his giant fishhook which bestows shapeshifting powers upon him.

As a small child, the chief of the island Te Fiti’s daughter Moana can’t stop thinking about venturing beyond the reef, a trangression forbidden by her father Chief Tui (John Tui) and his ancestors.… Read the rest

The first hour and a half **1/2

The last half hour ****1/2

Chinese islanders under Japanese Occupation in WW2 set out to rescue a thousand plus British prisoners from a sinking, torpedoed ship – streaming on UK VoD from Friday, April 17th

An announcement in English on the BBC, from October 1st, 1942: “On September 27th 1942, the Japanese transport ship Lisbon Maru carrying 1,816 British prisoners of war departed Hong Kong for Japan. On October 1st, she was struck by a torpedo from American submarine USS Grouper and began to sink off the Eastern coast of China. Just two miles South West of the site lies a small island known to the Chinese as Dongji Island… This information comes overwhelmingly fast at the start, accompanied by CG images of the incident. Anyway, you get the drift.

And then, as if to suggest at least one of the directors’ true interests lie somewhere else altogether, there follow breathtaking images of an island, vast spaces with grasses blowing in the wind. And more verbal exposition: two young boys were rescued from the sea by Old Wu, but then the Northern islanders banished the boys to the Southern part of the island, believing them to have “pirate blood”.… Read the rest

***

Lupin and his friends are lured to a zombie-populated island run by an immortal being where a toxic gas kills people after 24 hours – out in UK cinemas on Saturday, February 21st

Lupin III (or LUPIN THE IIIRD as he’s called here) has been around in Japan a very long time, first in the manga created by artist Monkey Punch in 1967 and later in live action movies, animated TV series, animated features and various other media formats.

You be forgiven for thinking that makes the franchise inaccessible for the newcomer, but this latest instalment opens with a burst of fuzz guitar and black and white images of ink clouds in liquid and drawings of the five main characters, who are helpfully introduced one by one, invaluable to the newcomer but equally, given the stylish drawings and the rapid pace at which they are introduced, a pleasure also for the viewer already familiar. Thus, we meet master thief (and narrator) Arsène Lupin III (voice: Kenichi Kurita) (“the cops are always after me”), his gunslinging partner Daisuke Jigen (voice: Akio Otsuka), his friend Goemon the swordsman (voice: Daisuke Namikawa), his friendly rival the curvaceous Fujiko Mine (voice: Miyuki Sawashiro), briefly zipping up cleavage that appears have been considerably enlarged for this particular film, and his nemesis Inspector Zenigata (voice: Koichi Yamadira) who has failed to apprehend him for decades, here introduced as an ace even though elsewhere in the franchise he’s pretty hapless.… Read the rest

***

A group of mercenary hunters and a traumatised family find themselves on an equatorial island populated by mutant dinosaurs – out in UK cinemas on Wednesday, July 2nd

The difficult seventh movie, made on a shorter production schedule than its predecessors – according to the production notes – and probably made too quickly for its own good. First there were three Jurassic Park movies, then there were three Jurassic World movies, and now there’s a seventh Jurassic. What to call it? Jurassic Beyond? Jurassic Outside? Jurassic Environment? Jurassic Habitat? Jurassic Equator? Jurassic Island? Jurassic Laboratory? Jurassic Lab? Jurassic Experiment? Jurassic Mutation? (Those took me a mere five minutes.) No: unable to think of a word to replace Park or World, this one is saddled with the marketing-led Jurassic World Rebirth. Which no doubt will do the job, but when Michael Crichton coined Jurassic Park for his novel’s title and Spielberg ran with it, no-one outside of palaeontologists and dinosaur-geeks (I number myself among the latter) knew what ‘Jurassic’ was. It didn’t matter: it was Spielberg and dinosaurs, that sold it, and the film more than lived up to the lure and the promise.… Read the rest

****

Instead of fighting dragons like other viking teenagers, Hiccup shoots a dragon out of the sky then secretly trains it as his steed– live action remake of animated classic is out in UK cinemas from Monday, June 9th

Following in the footsteps of Disney, who are slowly but surely turning their back catalogue of animated features into live action movies, Dreamworks have taken the plunge and turned the first of their three animated How To Train Your Dragon movies into live action. Director DeBlois previously directed the three animated outings, and clearly cares a great deal about the franchise because he has made a live action equivalent of the first film with the same plot, dragons that look near identical, and locations that feel like those in the original.

If you’re an admirer of the first film, which I am, as you’re watching this new one, you feel like you’ve seen it all before. Except, this is in live action. It’s enjoyable enough, and avoids the obvious trap of trying to redesign its classic animated characters for live action (the trap that Disney’s Snow White remake (Marc Webb, 2025) walked straight into with its hyperrealist dwarfs).… Read the rest

**

Odysseus returns home to his island kingdom of Ithaca ten years after the Trojan War to find faithful wife Penelope fending off insistent suitors who threaten to kill son Telemachus – out in UK cinemas on Friday, April 11th

A young man (Charlie Plummer) stares out on clear blue Mediterranean waters crashing against the shore’s rocks. In an interior, an older woman (Juliette Binoche) weaves at her shuttle. On a beach, unobserved, the flotsam and jetsam of a shipwreck wash up, as does the unconscious body of a man (Ralph Fiennes). In the local village, a man threatens the young man with a knife.

Under pressure to marry one of the men in the village – her husband Odysseus, the island’s king, never having returned from the Trojan War – Penelope (for the woman played here by Binoche is she) claims she will do so once she has finished weaving her grandfather’s shroud. She is accused of having been weaving it for months.

The Fiennes character is rescued from the sea by a boat, only for crew members to throw him back into the sea.… Read the rest

It originally played in the 2019 Annecy International Animation Festival.

A boy hangs from a tree by a parachute in a wilderness. He wakes. A strange, towering black / grey figure approaches, shining as if metallic or viscous like a solidified, smooth, crude oil or tar. It picks him up. He is in a dark tunnel, light at one end. He goes the other way, is out of the giant’s clutches, runs. It slowly turns and lumbers after him. There are occasional, giant, semicircular hoops in his path. He goes through them, eventually entering a grotto, through which fully circular hoop the giant can’t follow. Welcome to the strange, dreamlike world of Away.

Beyond an abandoned motorbike, in the middle of the grotto, is a lake bordered with orange trees and the ocean. The boy feeds, bathes and makes the acquaintance of a shy, little yellow bird. Finding a key and a map in a rucksack, the boy learns that the semicircular hoops mark a route to a harbour.… Read the rest

*** 1/2

The desire to connect with the people who must surely live beyond the known horizons of her world drives Moana on a new seafaring adventure – out in UK cinemas on Friday, November 29th

Set three years after Moana (John Musker, Ron Clements, 2016), this features the eponymous Polynesian heroine (voiced once again by Auli’i Cravalho) not as a 16-year-old but as a 19-year-old. She has now become a wayfinder and the leader of her island people. Weirdly, perhaps, for a leader, she likes nothing better than going off into the middle of the island, accompanied by her two Disney-obligatory small animal friends Pua the pig and HeiHei the dim-witted cockerel (voice, or at least cockerel noises: Alan Tudyk), climbing to its highest point and blowing a shell in the hope that someone out in the world beyond the one she knows might respond. She wants to reach out and connect with other islander populations. Alas, she gets little more than Heihei blowing a shell a few yards away.

Following a vision in which she is visited by Tautai Vasa (voice: Gerald Faitala Ramsey), a wayfinder from a distant generation who sent out to sea and never came back, Moana and her small crew set sail for the lost island of Motufetu.… Read the rest

£6.99, Dist Warner Screen Classics

***

Reviewed on VHS for Manga Mania sometime in the late 1990s.

Now over twenty years old, this 1973 offering holds up pretty well as an average HK martial arts movie and remains a milestone in terms of Western involvement in the HK film industry. The plot, which owes more than a little to Ian Fleming’s Dr.No, has Bruce Lee sent to the island home of despot Han, a trafficker in opium and young women who has disgraced Lee’s temple and killed Lee’s sister. Han doesn’t allow guns on his island and recruits fighting talent by putting on martial arts contests with intent to employ the best entrants (an idea reworked later with supernatural trimmings in Mortal Kombat, Paul W.S. Anderson, 1995) – among them the unknown Jim Kelly (sporting embarrassing period afro) and the young John Saxon.

Much of the proceedings are taken up with one on one contest fights, with numerous yellow or white clad extras clapping politely after every blow or kick. The stunts remain impressive, but this current release isn’t in widescreen (unless you count titles, credits, and two fight scenes duplicated in widescreen at the start of the tape) with the result that essential parts of the fight sequences (e.g.… Read the rest

*****

A reimagining of the Robinson Crusoe story with Robinson as a doctor on an island where Friday is the only survivor of a refugee ship – plays with the accompaniment of the Bălănescu Ensemble at BFI Southbank on Friday, September 6th 2024 – from the 2022 Annecy International Animation Festival in the Official Competition section

The story of Robinson Crusoe, the man shipwrecked on a desert island befriended by a native he calls Friday, is here turned on its head by director Damian (Marona’s Fantastic Tale, 2019) bringing to life a clever script using an inventive mixture of 2D and CG animation techniques. Robinson (voiced by musician Alexander Bălănescu, who composed the music and songs with Ada Milea) is a Westerner, a well-off doctor who spends most of his time lounging around on an island with an i-Pad. He might be a shipwreck survivor, at least metaphorically. He sings about dreaming of shopping when hungry, and after a while we wonder if he’s simply disillusioned with the Western materialist way of life.

He finds himself in the company of Friday (Lucian Ionescu), sole survivor of a refugee boat who treats the doctor as his saviour.… Read the rest