What I’m watching: Two family-friendly offerings Date: 1/3/2023 New to Theaters: “Puss in Boots: The Last Wish”
“Shrek” fan favorite Puss in Boots embarks on a new silver-screen adventure in “Puss in Boots: The Last Wish.” This time, the legendary crusader is coming face-to-face with his own mortality. After living eight lives jam-packed with perilous adventures, Puss in Boots discovers he is on his ninth and final life.
The discovery places Puss in Boots in a moral quandary, unsure if he can live a meaningful life without the cheering spectators and thrilling odysseys that became embedded within his legacy. To rediscover his spark, Puss in Boots, a feline lover from a past life and a free-spirited dog journey on a quest to restore his lives through a magical “last wish.” Goldilocks, the Three Bears, Jack Horner and a menacing mercenary, the Big Bad Wolf, follow their trail as they look to stop Puss in Boots once and for all.
Puss in Boots broke out on the screen as a fan favorite in “Shrek 2” before receiving his own standalone feature in 2011. The effective, albeit forgettable, 2011 film feels like a lifetime ago, but I do remember the title providing a solid foundation for highlighting the character’s buoyant personality.
Thankfully, “Puss in Boots: The Last Wish” marks a noticeable improvement over its predecessor. This sequel effectively strives for more ambitious narrative grounds while showcasing DreamWorks animation’s newfound stylistic ingenuity.
I give DreamWorks ample credit for holistically reinventing itself after 20-plus years of success (2022’s “The Bad Guys” is also a stellar film). Taking notes from the innovative success of “Spider-Man: Into the Spider-Verse’s” blending of animation forms, “The Last Wish” comes to life through a flurry of evocative animation flourishes. Directors Joel Crawford and Januel Mercado work prosperously alongside their skilled animation team in splicing traditional 2D animation techniques within the film’s 3D animation backdrop.
The meshing of craft approaches creates a lively storybook canvas fitting of Puss in Boots’ fairy tale nature. I am glad animated studios are now more focused on enhancing their craft through evocative style and framing choices rather than creating the most life-like imagery. “The Last Wish” boasts an electric visual presentation that effectively enhances the tensions and emotions of its narrative. The combative action frames are a particular highlight as the spirited Puss in Boots goes toe-to-toe with the ominous presence of the Big Bad Wolf. During these unnerving encounters, some of the animation team’s techniques sent shivers down my spine in ways most live-action blockbusters can’t equal (kids, look away; the Big Bad Wolf is a legitimate terror).
“The Last Wish” also showcases Dreamworks’ transition towards thoughtful narrative avenues. Paul Fisher’s screenplay genuinely reckons with Puss in Boots’ insular struggles with mortality and entering a new chapter of his once-adventurous life. It’s a narrative focus that awards more complexity and rich textures to Puss in Boots compared to prior offerings. Even supporting characters, like Goldilocks and her deep family ties with the Three Bears, receive expressive attention to detail. Is the film’s descent into its characters and themes incredibly nuanced? Maybe not, but the shading that is present imbues necessary humanity into the proceedings.
The expressive voice-over performances provide an additional spark to the characters. Antonio Banderas exudes movie star charisma as he conveys Puss in Boots’s cunning bravado while still vulnerably digging into the character’s internal struggles. Salma Hayek makes for a fitting comedic partner to Puss in Boots as the sharp-minded Kitty Softpaws. Likewise, the presence of Florence Pugh, John Mulaney and Ray Winstone in their villainous roles enhances the material’s sharp edge.
“Puss in Boots: The Last Wish” is an accomplished sequel that fearlessly strives for and achieves grander heights than most of its animated peers. I am thrilled by the second-act creative renaissance that DreamWorks has initiated, and I look forward to seeing what the studio dreams up next.
New to Streaming: “A Christmas Story Christmas” on HBO Max
Ralphie and his ragtag friends and family entered the hearts of all holiday viewers with “A Christmas Story.” The 1983 film based on the work of author Jean Shepherd received modest acclaim upon its initial release, but it would later grow into one of the season’s seminal staples. It’s hard to think of a title so beloved that TV networks dedicate their entire Christmas schedule to its existence.
Like most, I revisit “A Christmas Story” every year and still find myself endeared by its charms. Part of its distinctive appeal derives from the perspective of Shepherd, who translated elements of his novel “In God We Trust: All Others Pay Cash” with seamless results onscreen. Shepherd possessed a magical quality as a writer. He simultaneously entrenches viewers in the wistful splendor of an adolescent Christmas experience while imbuing yearning reflection from his astute adulthood narration. The balance of perspectives makes the film an accessible offering for viewers of all ages.
Nearly 40 years later, Ralphie returns to the silver screen with “A Christmas Story Christmas.” The film is set three decades after the events of “A Christmas Story,” with Ralphie now serving as the patriarch of his own family. A return home to his former homestead allows Ralphie to reconnect with his friends and family as he assumes the Christmas responsibilities of his deceased father. Ralphie struggles deeply with his father’s absence – a lingering void exasperated even more by his ongoing failures as an aspiring author.
Like most sequels no one asked for, “A Christmas Story Christmas” bases most of its approach on insistent tributes to its predecessor. The trite formula of legacy sequels is starting to become a nuisance, although I praise this sequel for discovering some worthwhile sentiments from its routine approach.
Let’s get the obvious point out of the way: “A Christmas Story Christmas” is not “A Christmas Story.” Director and screenwriter Clay Kaytis and co-screenwriter Nick Schenk lack the astute perspective of Shepherd’s work. Instead, the duo conjures a busy series of comedic vignettes that land with mixed results.
Some gags are groan-inducing in their lack of inventiveness. Kaytis and Schenk rely so heavily upon the lionized legacy of “A Christmas Story Christmas”’ predecessor that they can often forget to build upon its foundation. A passing-by reference to something from “A Christmas Story” does not constitute an actual joke. This is a familiar crutch that all legacy sequels seem to rely upon rather than venturing into new comedic territory.
Kaytis’ filmmaking touch is also underwhelming. “A Christmas Story” director Bob Clarke infused a sentimental touch that morphed the film’s 1940s period setting into a lively canvas bolstered by its distinctive observations of the era. In contrast, Kaytis conveys early 1970s Americana in a generic, sitcom-esque manner. There is an oppressive lack of artistry leading to some creative stagnation throughout this so-so sequel.
Still, some elements of “A Christmas Story Christmas” showcase genuine merit. The sequel is at its best when reckoning with Ralphie’s newfound responsibilities as the master of ceremonies for Christmas traditions. Ralphie feels distressed about his father’s sudden loss and his new duties as the purveyor of Christmas joy, but his trip down memory lane reignites his loving memories of the holiday. These reflective moments, including the film’s heartfelt conclusion, tap into the emotional resonance that made “A Christmas Story” a beloved holiday staple in the first place.
The film’s cast also imbues Yuletide cheer into their roles. Peter Billingsley returns to his iconic role with impactful results, providing a dose of humor and introspection as Ralphie’s aged self. R.D. Robb and Scott Schwartz continue the uproarious high jinks of Schwartz and Flick, while other actors return to their established roles in well-executed cameos.
I don’t know if I can call “A Christmas Story Christmas” a necessarily good film, but this legacy sequel at least provides a semi-successful homage through its formulaic construction. Viewers looking for a comforting sequel could certainly do a lot worse (I’m looking at you, “Disenchanted” and “Hocus Pocus 2”).
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