ambitious films

Okay so I’m ordering my cintiq in two days and while I would just LOVE to faraway a bunch a fandom stuff, I really gotta crack down on my final film for school so that’s probably what you may see the most of like animation shots and character designs and background stuffs. I’ll TRY to squeeze in some glorious garnet goodness when I can/if I have energy to do so lol

         “ don’t worry, it’s a closed set, “ yvi murmured, looking away from her camera. “ just you and me. i mean, i know a bunch of people might be looking at this and then a bunch more if it gets into a film festival but … believe me, the scene’s tasteful. just you, your hand and a whole heap of fake moans. or real moans. authenticity gives you tonnes of extra brownie points, “

open to f &&. m &&. nb :: indie film director &&. aspiring actor

partlysmith  asked:

CN also had O Canada which was nothing but Canadian animated shorts, which were often artier and more mature. I remember seeing it once as a kid and being too put off by it and never watching it again (or even remembering any of the shorts)

I feel like What a Cartoon was trying so hard to be divergent from The Disney™ and studios but all they did was mostly poorly emulate what Looney Toons did well 60 years prior. 

This feels much more sincere and ambitious even tho every film distributed by the National Film Board of Canada feels like it was made on an alien planet that somehow ended up being nearly the same as Earth Canada.

I remember watching the Black Flies (the latter half of the second video) short in class ages ago in music class cause we were learning the song. 


Planetarium dir. Rebecca Zlotowski (2016)

Kate and Laura Barlow, two young American spiritualists in 1930s Paris, finish their world tour. Fascinated by their gift, a powerful French film producer hires them to shoot a highly ambitious film. In the vortex of cinema, experiments, and feelings, this new family doesn’t yet see what Europe will soon go through.

Top Ten Films of 2014

Last year, I made my first video top ten (which you can see here), and while that was fun, as it so happens I’m a bit too busy right now to go through all the trouble of making a video at the moment. So here we are, back to the old way of doing things.

On an interesting side note, I found an unintentional theme in my list this year. Many of my films are in some way about the creation of art, as well as the price paid to be a great artist. Also, many of these movies could be seen as “coming-of-age” films. Once again I find myself astonished at how many great films came out in a single year (and I haven even seen all of them yet). So as usual, you can find my long list of “honorable mentions” at the end. 

Like always, this is just my personal top ten films of the year. Even if we share the same tastes, I guarantee you that my list would be different than yours. It’s just too subjective.

So starting at number ten and counting down… here we go!

10. Mr. Turner

As far as pure craftsmanship goes, “Mr. Turner” is perhaps the most well made film of the year. Mick Leigh is a master, and every shot is purposeful and completely stunning. The film itself looks like an old beautiful painting. Timothy Spall sinks deep into his role as J.M.W. Turner, and it’s probably his best performance to date. The deliberate pacing and lack of traditional structure might turn away some viewers, but “Mr. Turner” is nevertheless a great work of art, and a portrait of a fascinating man.

9. Frank

I knew very little about this film before seeing it, and I think that’s a good thing. From the opening scene, I instantly fell in love with this darkly funny film. At it’s core, there’s some rather deep subject mater, and yet “Frank” cleverly offsets this with some truly hilarious moments that keep the film entertaining throughout. Domhnall Gleeson is outstanding here, but of course, the real star of the show is Michael Fassbender, who gives an incredibly expressive performance despite the fact that we can’t see his face. I enjoyed nearly every moment of this picture, and it’s definitely one that you need to see.

8. Ida

Some films just belong in the Critrion Collection. Ida is one such film. It’s haunting and artful and features the best black and white photography I’ve seen in years. The sharpness and contrast of every shot is remarkable. The narrative is beautifully simplistic. In fact, the minimalistic nature of the film as a whole is part of what makes it so special. “Ida” is sparse, gorgeous, and masterful. Certainly one of the best foreign films of the year.

7. Only Lovers Left Alive

Vampires are cool, but Tom Hiddleston and Tida Swinton bring it to a whole new level. These old lovers have seen it all, and while they still appreciate art, science, and philosophy, they’ve grown tired and indifferent while mankind continues to make the same mistakes.  Jim Jarmusch’s film is a special kind of vampire story, because it may be the first one to really capture just how lonely, dangerous, and exhausting being immortal really is (or would be).  "Only Lovers Left Alive" has a deliberate pacing that glides slowly along with it’s characters. Along the way, we learn how they live and what they’ve grown to appreciate, and it’s all quiet fascinating. It’s my opinion that “Only Lovers Left Alive” ranks as one of the very best vampire films ever made. 

6. The Grand Budapest Hotel

A Wes Anderson film can always put a smile on my face. His last few films have been some of his best, and “The Grand Budapest Hotel” is certainly no exception. This film is so beautifully stylized, and so hilariously funny, I find it hard to believe that there’s anyone who wouldn’t enjoy this film. The cast is fantastically entertaining (especially Ralph Fiennes), the colors are vibrant, the humor is clever, and the filmmaking is flawless.  When I saw “Moonrise Kingdom”, I said it might be Wes Anderson’s best film yet…. when I saw “The Grand Budapest Hotel”, I said the same thing.

5. The Duke of Burgundy

Captivating and visually arresting, Peter Strickland’s “The Duke of Burgundy” is one of the most compelling films I saw all year. It’s beautifully shot, colored, and textured with elegant pacing and precise direction - I really can’t say enough positive things about this film. It’s surreal and challenging while retaining a soft and gentle nuance of love and tenderness. “The Duke of Burgundy” certainly won’t be everyone’s cup of tea, but I found it extraordinary and deeply inspiring.

4. Boyhood

I know many cinephiles will probably place “Boyhood” as their number one film of the year, and I wouldn’t fault them for that. Richard Linklater’s “Boyhood” is one of the most innovative and uniquely profound films ever made. Shot over the course of 12 years, we literally watch Mason grow up before our eyes. It’s a remarkable experience unparalleled by any comparisons I could make. We owe it to Linklater for having the guts to push our medium forward in such a beautiful way. This will probably win Best Picture at the Oscars, and it’s easy to see why. 

3. Birdman: (or The Unexpected Virtue of Ignorance)

Simply one of my favorite cinematic experiences in a very long time. In the first scene, I made a mental note that we were in a long take, but to my wonder and astonishment, that long take never ended. There are, of course, cuts and interludes (this isn’t a “Russain Ark” situation) but the effect is very much that Alejandro Iñárritu’s film is one singular shot. It’s remarkable, but could be called nothing more than an impressive gimmick if the film itself wasn’t so strong. 

This is the best cast ensemble of the year, and the cinematography is gorgeous (made more impressive again by the long takes). But “Birdman” also has some interesting things to say about the creation of art, as well as the criticism that always accompanies it. It’s an intriguing film, and one with something to say. I loved every minute of it.

2. Vi är Bäst! 

Every year, there are films that just seem to come out of nowhere and surprise me. Before it was released, I knew nothing of “We Are the Best”, nor was I familiar with Lukas Moodysson’s previous work. However, this film was perhaps the most enjoyable film I saw all year.

If you know nothing of this film, it’s the director’s adaptation of his wife’s graphic novel “Never Goodnight” (by Coco Moodysson). It centers around three young teenage girls living in 1980s Stockholm who start a punk band - despite two of them not knowing how to play an instrument. While the band plays an important role in the film, some of the most interesting scenes are when the girls are simply hanging out. The performances from these three young ladies are perhaps the most natural I’ve ever witnessed from anyone their age. At times, it seems that they’re not even acting at all, as if the cameras just happened to be there to catch these authentic moments. These girls are so funny, enduring, and most importantly, real. This film understands what it really means to be a hardcore punk. And that is a rare thing. I really can’t say enough good things about “We are the Best”. You just need to see it.

And my number one film of the year is…

1. Whiplash

This is not the most ambitious film of 2014. It’s not a space epic. It wasn’t shot over twelve years. It doesn’t give the illusion of being one continuous shot. It’s not even by a famous director. Yet, “Whiplash” was the single most thrilling  piece of cinematic art I saw all year.  

“Whiplash” tells the story of a young ambitious drummer who dreams of being one of the great jazz musicians of our time. He soon finds himself under the mentorship of a cutthroat teacher who is willing to do whatever it takes to push his students to the limit. The film shows painful abuse and heartache, but then just when you think the film will find contentment in an obvious solution, it aggressively charges forward into the single most intense, passionate, raw, violent, and beautiful final scene of the year. A scene that made my heart race until it finally cut to black, and the credits rolled. Then, and only then, did I finally catch my breath. This film bleeds with a passion that’s visible in every aspect, from its photography, to its editing, to the stellar performances. Enough can’t be said about Miles Teller and J.K. Simmons. They both give 100% to their roles, and it’s both beautiful and heartbreaking to watch.

I found “Whiplash” to be painfully relatable at times… and I’m sure that contributed to my fondness for the film itself. Nevertheless, I think everyone should see this amazing work of art. Damien Chazelle has crafted a challanging look at what it truly means to be a young artist with high ambitions. The road to greatness is filled with suffering, pain, loss, frustration, blood, sweat, and tears… and it seems the filmmakers here understand the price that is paid. 

So there you have it - My top ten films of 2014. Please let me know what your favorite films were! Now, some of you may have noticed that a certain favorite director of mine not on this list…. so please see my honorable mentions below.

Honorable Mentions 


Inherent Vice - I know! I know! I can’t believe it either. P.T. Anderson is my favorite director, and I do love this film…. it just didn’t move me like his other work as done in the past. “Inherent Vice” is great. I just like 10 other films more.

Gone Girl - Yet another one of my favorite directors. David Fincher is to the point where he really doesn’t make bad films anymore. The craftsmanship is just too good.

Calvary - This is a touching and somewhat heartbreaking portrait of a priest genuinely trying to live a good life. A thankless job to be sure. It’s bleak but Brandon Glesson gives a wonderfully tender performance.  

The Babadook - Rich with metaphor, this is easily one of the best horror films in years. Love it so much, and you really need to see it.

Under the Skin - Who could forget this surreal work of art from Jonathan Glazer? Scarlett Johansson does wonderful work here.

Jeune & Jolie - “Young & Beautiful” was an underrated French film from François Ozon. I really loved it a lot, though I might be in the minority.

Snowpiercer - Joon-ho Bong is a crazy good director, and “Snowpiercer” is a thrilling sci-fi action movie far more worthy of your time than most summer blockbusters. 

Top Five - Chris Rock made an excellent film with a deep Woody Allen influence. I really hope he will continue this style into future projects. 

Foxcatcher - A remarkable film. Bennett Miller is on a roll. There’s really nothing to complain about with this film. See it.

The One I Love - A fantastic little gem from Charlie McDowell. Mark Duplass and Elisabeth Moss are great.

The Imitation Game - A very sharp screenplay, and a brilliant performance from Benedict Cumberbatch.

A Most Wanted Man - The last leading performance from my favorite actor. 

Guardians of the Galaxy - Finally, Marvel made their finest MCU film yet. It’s fun and fast and a really great watch. 

Unfortunately I did not get the chance to see “A Most Violent Year”, “Winter Sleep”, “Goodbye to Language 3D”, “Leviathan” and serval other foreign films. I’m sure they all could have made my list if I had seen them. 

not to be dramatic… but last night’s GIRLS was the best episode of television of the last 30 years… maybe 40… more poignant and ambitious than any film ever produced… i died

My Review - Colossal

Please go watch, and support Colossal if it’s playing in a theatre near you. 

It’s an ambitious small Indie film that is being sidelined by shitty giant corporate money-spinners like The Boss Baby, Power Rangers and Beauty And The Beast, but it deserves more.

Originally posted by sogothimdead

I honestly don’t want to say what it is about, and encourage that you watch it without even watching the trailer - Trust me, you will enjoy the movie even more this way. 

Originally posted by philledwithpuns

All I will say is that it is a Comedy, Si-Fi like you have never seen before.

The screenplay has some loopholes, but it is so smartly written that you let go of them, and just have fun with what is being presented to you. 

Director/ Writter Nacho Vagabond throws these stereotypical scenarios your way, but always manages to convert them into curve balls. 

What also helps is that the movie never takes itself seriously, and always constantly entertains.

Originally posted by astoundingbeyondbelief

Kudos to Anne Hathaway and Jason Sudeikis for taking up this small movie. They have acted the shit out of their characters, and have done something you have never seen them do before. 

Nacho has made a movie that deserves to be a “Sleeper Hit” of the year!



A Cure For Wellness

A Cure for Wellness is an upcoming 2017 American-German psychological thriller film: An ambitious young executive is sent to retrieve his company’s CEO from an idyllic but mysterious “wellness center” at a remote location in the Swiss Alps. He soon suspects that the spa’s miraculous treatments are not what they seem. When he begins to unravel its terrifying secrets, his sanity is tested, as he finds himself diagnosed with the same curious illness that keeps all the guests here longing for the cure.

More Horror/Crime Movie Trailers (I update regularly)


The Movie Maestro’s Reviews: The Martian (2015) dir. Ridley Scott

The Martian definitely feels like the overachieving big brother of the ‘survival in space’ films I watched in my youth; everything is simply better. Acting, direction, writing, camerawork, visual effects, music, and on and on…it all works. Gravity may be a more ambitious film, but you simply can’t beat Ridley Scott, especially when he decides to do sci-fi that doesn’t leave you trembling in a corner or wondering if human beings are worth the space they occupy. The Martian is a different beast: one that employs real science smartly to prove that, yes, human beings are awesome.

Read the full review at


fangirl challenge = 5/10 actresses ♥ emma thompson

“I never expected to be a film actress and I wasn’t terribly ambitious about it. And film acting and stage acting are not the same thing. In the theater, you have to wear all your energy on the outside in order to project the character to the guy in the back row, but if you do that for film, it’s too much. You have to internalize because a thought can be translated by a muscle in your face, and a film audience will be able to read that.”


Merle Oberon (1911 - 1979) was Hollywood’s first movie star of South Asian descent, yet this is a fact that many don’t know because Merle chose to hide her ethnicity from everybody and was ashamed of it. 

She was born in India and was of Sri Lankan and Irish descent, though her parentage was dubious and the woman who she claimed was her mother may actually have been her grandmother. Nicknamed Queenie after Queen Mary, Merle was extremely beautiful and ambitious and started her film career at age 17. Before that, she had lived in Calcutta after her father died since she was 6 years old. At the prestigious boarding school she attended, she was taunted for being a “halfie” and eventually dropped out and chose to be home-schooled instead. Merle would go to nightclubs looking for handsome older men, and eventually met an actor-turned-colonel Ben Finney. She dated him until he saw her dark-skinned mother and realized she was not fully white and left her. In the future, Merle would make sure to hide her mother away so this wouldn’t happen again.

In England, she got her big break when the director Alexander Korda discovered her and eventually went on to make Hollywood films for Samuel Goldwyn. Since she was fairly light skinned, she was able to pass for white, though people were curious about her “exotic” looks. Merle was desperate to keep her South Asian heritage secret, and began to bleach her skin and disguised her dark-skinned mother as her servant. When she commissioned portraits of her mother, she made sure the artists painted her a few shades lighter than she really was. Merle told people that she was Tasmanian, and was humiliated when, on a promotional trip to Tasmania, she was forced to admit that she had lied. After a car accident in 1937, her complexion was ruined and this was exacerbated by the white make-up she constantly caked her face with.

Merle refused to admit her true heritage and kept it a secret to her grave. After she died, it was the records that confirmed she was from India. It’s disconcerting that this woman was filled with so much self-hatred that she went to such huge lengths to bury her racial origin, and cared more about her career than anything else to the point that she claimed her own mother was her servant. She can’t even be admired for being the first South Asian Hollywood actress because she denied that part of herself. Instead, Merle’s tale is a sad one of shame and internalized racism.


Great Witches in Film Series: Maleficent (the epitome of fantasy evil)

In 1959, when Maleficent entitled herself “THE MISTRESS OF ALL EVIL,” the world agreed and sure as hell wouldn’t question it.  Picture a girl of about 5'4’’ with blond hair, blue eyes, and a pixie’s build.  Now, add to this hypothetical girl the audacity, bravery, straight-up animal ferocity, and endowed with enough boldness to punch a man three times her size in the face…and have him conceding before the blow is actually struck.  This hypothetical personal is my actual sister.  The woman is scared of VERY few things (I’m certainly not the bravest member of my family).  What one thing scares my sister?  Maleficent.  From the witch’s cackle to cloak, my sister has been petrified of this model villain as long as I’ve been alive.  Until I was in middle-school, this fear of Maleficent was part of my programming.  I remember thinking, as a very young child, “When I grow up, I can watch Sleeping Beauty.”  You know, THE CHILDREN’S CARTOON.  I read a few articles about how a creation perfect as Maleficent almost never came to be.  Her original designs were more Madam Mim.  One of the artist’s saw a picture of flames in a Renaissance painting–which given the film’s superb attention to every minor detail with a focus on a tapestry-like aesthetic is plausible–he began to conceive of her visual appearance extremely differently.  What came was an awesome black robe with a purple finish.  Then came the horns.  The reasoning of their creation was simple enough to the animator: “horns like the devil.”

A few minor details were necessary before the piece of transcendent art that is Maleficent was to come to life.  Being the master of dark sorcery par excellence, she needed a staff.  It’s simple enough to act as an extension of her power but not gaudy enough to draw our attention to where Maleficent’s magic is conjured: her voice.  Eleanor Audley, who has triumphantly voiced Lady Tremaine–one of Disney’s easiest-to-hate villains–brought a voice to the character that carried on the theme of the character as pure, merciless evil itself but also an evil with endless sophistication.  Her voice expresses regality, politeness, all of which are ironic given that she makes no attempt to hide her truly insidiousness.  Disney films of this caliber–though there are few comparable to this particular movie–flourish with as many details as possible in order to make all events of the narrative so logical that the viewer leaves their doubt and disbelief at the opening of the expositional book of fairy tales.  Maleficent’s decaying castle, full of grotesques, is the best shadow we have of the inner Maleficent.  This is not a villain who takes time for granted.  She sees time how many mortals see time: the unwinding of the yarn of fate.  Her job is to make all fate horror, and she can play with time at her leisure.  Time works towards a happy ending in a fairy tale, and all of Maleficent’s villainous acts work to counter the happy nature of time moving forward to a point of Utopian bliss.  For example, what better way than to damn a Kingdom to an eventual death by means of cursing the sole heir to the throne?  Fate, in many respects, is on Maleficent’s side because she understands how easily it can be changed, and how irreparable the damage this change has caused can be.  

She couldn’t have hoped for anyone better than Prince Phillip when she “set her trap for a peasant.”  I’ve probably talked about this before, but, to me, the depth of Maleficent’s cruelty is not victory so much as making sure the victim knows the full pain of their defeat.  This is why her talk with Prince Phillip about his 100-year sentence is so nefarious and also essential to understanding Maleficent’s grand design.  She is deliberately perverting the fairy tale protagonist’s destiny, which she seems knows all too well. Releasing Prince Phillip, if he is even still alive, in 100 years would send a message to the world.  Aurora’s ageless sleep would still be in effect, but Phillip, were he to survive, would be as feeble as you could probably get.  The couple might be reunited under those terms, but it would be a complete inversion of the designs of the characters (not only of Phillip and Aurora, but also those hopes of the royal families and the Fairies).  Maleficent would allow the “happy ending” to come to pass but only through her terms, and the happy ending is definitely more of a harsh and abrudt ending rather than a happy conclusion.  She would have closed the book of Sleeping Beauty by destroying all of the faith invested in the future of the titular princess. 

One final note, and this is a point I feel makes Maleficent even more intriguing.  People tend to have made up their minds on what Maleficent actually is.  Typically, they defer to the heritage of the fairy tale and classify her as a wicked fairy.  Since she doesn’t seem to bear any of the traits of the other fairies in the film, many think of her as a witch.  She is only ever really described as a witch, but her appearance and abilities render that definition inaccurate.  I may have mentioned this before, but, given her ambiguous and (as I’ve argued in the past) somewhat queer [queer in the sense of being deliberately ambiguous in order to defy and subvert the power given to methods of supposedly clear classification] ontology, I prefer to think of her as a type of demon.  Given that dragons like the kind Maleficent becomes have outright satanic connotations in European history, I’m hesitant to say that the title “witch” can accurately articulated what she is.  Also, I think this ambiguity of her identity was a stroke of genius by the artists.  Such indeterminacy makes her power and what she represents more ominous due to its ineffable sense of evil.  The Villains wikia, which is an absolutely fabulous resource, has created a special definition for warlocks.  

Warlocks are a specific kind of Sorcerer, one that engages in dark worship and often has dark qualities themselves. Unlike your standard ‘evil wizard" or “Sorcerer, a Warlock tends to be as much a creature of darkness as he is a man and will have access to near-unlimited dark powers.

The classification is not referring to male witches but is rather a useful category for assessing creatures who seem like humans with magic but seem to have a more demonic ontology.  While not included on her page said wiki (yet), Maleficent seems to perfectly fit this category.  Though, I do feel that she continues to escape our attempts to define her, which makes her all the more endearing.  I would also add that recent attempts to define her have only resulted in piss-poor dilutions of a magnificent, original, and wholly unique character that was a powerful change from the source material.  Think about the major problems with the Maleficent film.  She is given a backstory that is not worthy of her, but this backstory is only made possible by her definition as one of the fairy folk.  It deprives that interpretation of the ambiguity that makes her such an intriguing mystery in the first place, not to mention subsequently denying us the pleasure of her very unapologetic brand of evil.  I would recommend not buying into Disney’s recent attempt to clarify what Maleficent is through their ability to arbitrarily dictate what is “official.”  The Disney corporation that was responsible for Sleeping Beauty no longer exists: the Disney we know now is drastically different.  Even Kingdom Hearts has defined her as a sorceress, which is a much more frustrating title (see the character guide in the first game).  For a more unique and artistically ambitious viewing of the film, don’t rely on these brittle understandings of superbly complex character.  I’d encourage you to view the film with a formalist approach, wherein the work of art exists in and of itself without the distracting and reductionist rhetoric that has only narrowed our understanding of the single greatest animated witch/fairy/demoness.  I find this to be a much richer way to approach the work and understand Maleficent for what she is: Hell on Earth.     

  • what she says: i'm fine
  • what she means: elijah wood appeared in one of the most ambitious film projects ever undertaken, having starred in all three movies of the lord of the rings trilogy, including "return of the king", which won 11 total academy awards including best picture. however, despite the massive and relatively unprecedented success of these films, why is it that the first film elijah appeared in after lotr was a cameo in, of all movies, spy kids 3: game over? what's even more confusing is that he plays a character named only "The Guy". more so, while "The Guy" is the only player to ever beat level 5, how is it possible that a single lightning strike took all 100 of his lives? why did elijah go from international acclaim to easily defeated legend of a virtual reality game? how do you die 100 times at once?
Walt Disney Feature Animation D23 Impressions

It’s that time of year for Disney to showcase upcoming projects for fans to check new information and announcements. We expected to hear new things from Disney and Pixar films.

Walt Disney Feature Animation


The first film showcased is Zootopia, and that movie is almost there for its release. There is more information about the world-building in Zootopia and its characters.

There are different habitat-themed boroughs in Zootopia including Bunny Burrows, Sahara Square, Tundra Town, and The Burrows. The images of the scenery is eye-popping and inventive. It shows that animals world is creative with its different districts and how the animals behave. This is what makes Zootopia unique from other talking animal movies.

The story is about Judy Hopps, a rabbit who moves to the big city to become a cop though only big animals like hippos and elephants take the job. She takes the role of the meter maid, whose job is giving parking tickets. Judy meets a fox named Nick WIlde at the ice cream shop. The predator and prey have to work together when they take on the missing person assignment that involves looking for an otter.

There is hilarious clip where the enter the DMV during the assignment where the sloths who are slow workers. The sloths will be funnier than Sid in the later Ice Age sequels.

New character revealed is a Gazille voiced by Shikira. She will perform one of the songs in the film. There will be musical number with Gazille though the film isn’t a musical. Her song will be “Try Everything” which reflects the theme about doing anything. Her appearance is sexualized which I find distracting. The gazille is similar to other characters such as Lola Bunny and Jessica RAbbit.

Although Zootopia seems more kid-oriented than Disney’s previous films, Zootopia will be funny and enjoyable film with its creative animal world and witty humor. It will a fun film to watch and I’m curious to see the next trailer.


The major announcement in D23 is Disney’s re-imagining of Jack and the Beanstalk called Gigantic. Once again, Disney is adjectives for their fairy tale movies. A better title would be World of Giants or Jack and the Giant Girl. This isn’t Disney’s first Jack and the Beanstalk adaptation. Anyone remember the segment from Fun and Fancy Free starring Mickey, Donald, and Goofy.

This will be different from the source material. It takes place in the exploration age at Spain, and Jack is a Spaniard. Jack befriends a giant who is an cute 11-year old girl named Inma.  Jack enters the world of the giants. The villains in the movie are the storm giants. There won’t be a romance between Jack and Inma because she is too young. It will be more of a friendship story of the boy and his giant.

The concept art for Gigantic looks breathtaking. Inma the giant looks cute and the encounter between her and Jack is adorable. The concept art shows the designs for the characters.

The concept art in the film shows the story of the film. Inma views the human Jack as a toy. It will be a boy and his companion story that is used in How to Train Your Dragon, Big Hero 6, and The Good Dinosaur.

Judging from the art, these are the the storm giants in the film. There is cloudy skies and lightning in the background. Storm giants might have the ability to control the storm.

The Lopezes are back to write songs for the movie. They wrote one song which is the friendship between Jack and Inma where the giant thinks of Jack as a doll. 

I remember that there was an original story for Gigantic where is about Jack involved in a love triangle between a girl and an explorer, and the humans making a deal with the giants to trade their livestock and resource for their safety. Jack presumable befriends a male giant. The story is apparently changed for the better. The love triangle would have made the story convoluted and the story seems to have some resemblance the Bryan Singer-directed flop Jack and the Giant Slayer. At least that movie will be forgotten by the time Gigantic comes out. This movie will be better Jack and the Giant Slayer. It’s a good thing they made a more simple story that would work best for the film. 

Gigantic comes out in 2018. The specific date for the film will be March 9, 2018. 

Overall, Gigantic is shaping up to be another exciting Disney movie with its unique take on the Jack and the Beanstalk story.


What is perhaps the D23 equivalent to Fallout 4 demo at E3 2015 at least to me is Moana. I already mentioned that Moana is one of the most anticipated films of 2016 but I’ll explain why. This is the first CG-animated by Disney veterans Ron Clements and John Musker of The Little Mermaid, Aladdin, and Hercules fame. Given their track record (their weakest film is Treasure Planet but it’s still a good movie), Moana should be a damn good movie.

It shows footage that is already shown in the Cannes presentation earlier in the summer. But we get a slew of concept art and final character designs.

We finally know what Moana and Maui will look like. We also see her father and grandma for the first time. The piglet Pua looks cute and the rooster looks cranky. 

It will be a touching story about a young girl who sets out to be a wayfinder. The premise is that a tribal princess Moana sets off on an high-sea adventures with his pig and rooster companion at her side following her grandma’s death despite her father not allowing her to do so. She encounter Maui, the demi-god, on her journey. They will encounter sea creatures, underworlds, and other dangers. 

This is what Moana’s village looks like.

The ocean is the living character in the movie. The ocean interacts with Moana by part the water to create a path for her (much like the parting of  the red seas in the Prince of Egypt). The water can also  form in an arm and other shapes to interact with Moana.

There also more details regarding Maui, played Dwayne Johnson. We know that Maui has magical tattoos that animate. He tells his story to Moana and her pig Pua using his animated tattoo though they are not amused. Maui uses a magical hook used to fish out islands from the bottom of the sea. He can also shapeshift into animals. The new details of Maui is intriguing. He is like a cross between the Genie and Hercules.

Of all the monsters she will face, Moana encounters a volcanic monster in a stunning concept art. She is a terrifying creature and it’s show creative and epic this film can get.

Opetaia Foa’i, Mark Mancina, and Lin-Manuel Miranda will the provide the music that has the South Pacific flavor. 

Moana is shaping up to be one of the most ambitious Disney films yet. It has an intriguing world that follows South Pacific ocean and has unique fantasy elements that makes it intriguing. The movie comes out in November 2016 and I’m watching this movie for sure once it comes out.