Marvel released a behind-the-scenes look at FANTASTIC FOUR #1 Monday, featuring conversations with new series writer Dan Slott, SVP and Executive Editor Tom Brevoort, and Editor-in-Chief C.B. Cebulski.
FANTASTIC FOUR #1 hits your local comic books on August 7.
The Internet went abuzz about the ending for DARLING IN THE FRANXX, the show completely pulled the drag shoot, and left people wondering what they saw. Many thought “They did this before, it was called Kill la Kill.”
Shinji Ikari…I mean Hiro, is a member of a military academy and is part of a group of students calling “Parasites”, who pilot Evas…I mean Franxx. In a unique twist, simultaneously intriguing and disgusting, the mechs require two people, one male and one female. The way the female is positioned however, is very disturbing, and brings up questions of irony. The Franxx’s purpose is to defeat giant monsters called Angels…I mean…Klaxosaurs.
Anyway Hiro doesn’t have a female partner. Even his best friend, Ichigo (no, not the one you’re thinking of) has a partner. Until he meets 002, a hot headed, quirky pilot who tends to suck the energy out of pilots. She’s widely regarded as a “project” and under strict scrutiny from the defense force called APE. Anyway, 002 wants Hiro to be her “Darling”, to the obvious disdain of everyone.
On first impression, the series appearing to be directly ripping off Evangelion. You have a wimpy protagonist, wild red-head, calm female support character, a mysterious organization with shady goals and fighting eldritch abominations with bizarre names. However, the execution (in the A-1 Pictures episodes) feels more akin to Aldnoah.Zero than Anno’s masterpiece. The Trigger episodes resemble something like Gurren Lagann meets Evangelion, with the best parts of both mixed in. Studio Trigger never seemed like a studio who thought out their ideas, which shows often, and it adds a childlike quality to their thought process.
The characterization is relatively solid. 002, comes off as a cross between Asuka from Eva, a cat, and a succubus. Goto is the most levelheaded out of all the male pilots. Hiro still feels blander than blank printer paper. Yet all the solid characterization and decent storytelling is overshadowed by the rampant sexualization.
(This paragraph involved the rampant sexualization in Darling in the Franxx, has been censored for the sake of humanity. We apologize for this oversight. -The Management)
Still despite the sexual awkwardness; there is a decent amount which works here. For example, the animation is top notch.
The show was produced by three studios: Trigger, A-1 Studios (of Aniplex), and CloverWorks (a division of A-1 Pictures). Not surprisingly the animation is crisp and clear. The trademark of an A-1 Pictures anime. Trigger’s work is instantly notable, with insanely fluid action scenes (Hiroyuki Imaishi, the director of Gurren Lagann and Kill la Kill fame is listed as “action director” for the series), making up for the angst ridden drama.
However, the fact there were three production companies leads to a big problem: episode consistency. The series waivers on the tone. The A-1 episodes seem to have been created in a world, where the concept of levity is something to be ashamed of. The Trigger episodes are created in a world, where the concept of angst, is ashamed of. There are two conclusions to be drawn from this. One, infighting between the studios. Two, inconsistency in story structure. Since the structure itself, isn’t problematic it is safe to assume the former is the most correct conclusion.
Which brings us to the music. In the A-1 episodes it’s noticeable and seems to overpower some of the scenes of dialogue. This is also something which happened on Aldnoah.Zero. It was a bit problematic there too. In the Trigger episodes, the music is there, yet it’s not distracting, i.e. doesn’t overpower dialogue, so it’s a B+, if nothing else.
In conclusion, DARLING IN THE FRANXX is a mecha show, which shows a decent amount of potential. However, the tone waivers between who is producing which episodes, the trap of “Trigger Syndrome.” It gets a PASS but this one could go downhill later on fast.
The main obstacle Gundam Build Divers has standing before it is the shows which preceded it. Gundam Build Fighters was near universally loved. Gundam Build Fighters Try was somewhere in the middle. If the show addresses issues and themes which were already presented in the previous two series, is it doomed to failure and simply labeled a bland repeat? Not necessarily.
It’s Riku vs. Tigerwolf in a no holds fight to the finish.
The idea of senior character taking on the rookie he trained is not new. Back in Gundam Build Fighters, one of the best fights came when Ricardo Fellini faced off against Sei and Reiji, two young fighters Fellini had helped to support throughout the series. Watching the two combatants clash with everything on the line was intense and made you wonder who was going to win.
Surprisingly, Gundam Build Divers is able to replicate the energy and enjoyment of the fight (not the intensity though, Sei and Reiji vs. Fellini still get the vote). As the veteran player, Tigerwolf, goes up again against Riku, his former student there is similarity between the previously mentioned fight but Gundam Build Divers finds a way to stand out and be different enough to prove its worth. Thanks to over the top moves and a deep introspective into Tigerwolf and his character dynamics the episode is able to entertain and add actual weight to the episode.
The premise for the audience has seen before but thanks to intense action and not having a predictable ending its a much more enjoyable episode. If more episodes of Gundam Build Divers are like this moving forward than the series will be much better off in the long run. Hopefully this trend will continue as the next episode seems to be mimicking a storyline from Gundam Build Fighters Try.
Gundam Build Divers is Streaming on The GundamInfo YouTube Channel.
Steve Orlando is no stranger to comics fans. Currently killing it on Wonder Woman, the scribe has also written Midnighter, Justice League of America, Batman/Shadow, Batman and many more other DCU characters. Steve took a little bit of time out of his herculean schedule to talk to us at Monkeys Fighting Robots about Wonder Woman #52, what makes Diana Prince so important, the awesomeness of the new Aztek, and much, much more.
Steve, first of thanks for taking the time to talk to us at MFR!
Steve Orlando: It’s my pleasure!
So Steve, for those who haven’t been reading, can you catch them up on what’s been happening in Wonder Woman?
SO: Wonder Woman has just been through an emotional ringer, banished from Paradise Island, unpacking how she feels about the discovery and loss of her brother, and most of all, I think…wishing she could get back to work. There’s peace to be made, and she is conscious of that verb: “make.” She knows peace isn’t something you just find, you work for it, you create it, and she’s ready to roll up her sleeves.
Between revelations like Jason and Grail, and without a way to go back to Themyscira, Diana is also struggling with her view of the Amazon legacy. Here she is, a lone Amazon Warrior in Patriarch’s World, but how has she changed, how have the people she’s meant to represent change? Finding kinship and community where it truly lies, not where we wish it could be, is a big theme for our arc.
What makes ‘The Enemy of Both Sides’ such a good jumping on point for readers?
SO: ‘The Enemy of Both Sides’ is a relatively simple adventure with a strong emotional heart, which makes it a great on-ramp for folks. This is Diana at her most pure, fighting for peoples and cultures abused, inspiring others to fight with her. And through Aztek and Artemis, we also get an unusually broad set of perspectives on who Diana is – we don’t just see her as she wants to be her, but through the eyes of not just a budding hero and fan, but a jaded peer and naysayer…at first, at least.
This issue features the latest Aztek as a major character. What drew you to the character/concept of Aztek?
SO: Have you seen that design? Aztek was always one of the coolest characters in comics when I was coming up. But more than that, the new Aztek, Nayeli Constant, is as new to the heroic world as some of us may be to Diana, and to DC Comics. Like us, she’s jumping head first, the lone warrior in a war that’s already gone on for centuries, learning as she goes, and catching up on the battlefield. Faced with the monolith of Continuity, she is in many ways us, and she gets to ask the question we might ask, while at the same time showing herself to be a hero.
Why do you think the character gels so well with Wonder Woman?
SO: Aztek is someone who is inspired by Diana, but not cowed by her. She is fiercely confident about what she knows and excels with but is strong enough to admit what she doesn’t know. So often, Diana’s legacy is misinterpreted as one of either warlike violence or naive compassion. Loving Submission is a complex concept, as is fighting for peace, and strength itself. In Aztek, Diana is heartened to see someone who understands or is on the way to understanding, the nuance of strength.
Along with Aztek, Artemis is a big player here too. What are your thoughts on her?
SO: Artemis is incredible, she’s become the surprise of my entire run. Because in many ways, ways that are different from Aztek’s, Artemis is our mouthpiece. She’s the one that doesn’t buy into Diana’s message, she’s too cynical, too jaded, and what’s more interesting is that when it comes to Themysciran Amazons in general…she might be right! But her mistake is assuming Diana is like all the rest. She gets to misbehave when Diana doesn’t, but always learns the price of that in the end. I think we all have a bit of her in us, the one who gives the middle finger to the rules. Sometimes that’s a bad thing, but sometimes…it’s just what you need.
Let’s focus on Diana for a bit. What draws you to Wonder Woman?
SO: I spoke about it above, but it’s her compassion. Because compassion is hard. Anger is easy, a warrior’s death is quick. As she says in Wonder Woman 51 – what is the more enduring, riskier fight? To the death? Or to life?
Diana’s greatest asset isn’t her superpowers, it’s that she never takes the easy way. She takes the right way, often when I personally wouldn’t be strong enough to do the same. Her powers mean no one’s going to stop her from doing the right thing, but I think even mortal she’d be the same person. A million people might turn away from someone in need that they’ve never met, but Diana would defend that person with her life, damn anyone who tries to rationalize anything else.
What makes her so important to the DCU?
SO: Diana is the lynchpin of the DCU, in my opinion. While she’s associated with the Trinity, her origins cast her actions in a different light to me than Batman and Superman, both of whom are understandably driven by tragic injustice, be it of a robber’s gun or a planet’s core. Superman is closer, inspired by the humble upbringing his parents gave him. But Diana, I think, looks at the world every day and see her motivation not in the past, but in the burning present. She sees the injustice of the present and wades into it every day, ever vigilant. And even seeing that, even as the world may fail to live up to her hopes, she never gives up on it. Diana is driven chiefly by love, and that makes her unique among the DCU’s icons. Loving something means not just sticking with it when it’s good, it means raising it up, supporting it, and forgiving it when it falls. That’s how Diana feels about the whole world and even the other heroes of the DCU. I think even they know that her door is always open and that in her presence a plea for help given honestly will never be ignored.
Have you always wanted to write Wonder Woman?
SO: I have! Diana is an incredible character, but it is extremely intimidating. Seeing people meet Gal Gadot at SDCC 2017 really put it in perspective for me, watching men and women of all backgrounds, young and old, moved to tears by what she created through Diana. I know without fail Linda Carter has inspired the same, and that’s because of Diana’s power as an icon. It’s because of her acceptance, her reverence, for all. So going into Wonder Woman, I thought long and hard about Diana. It’s a heavy baton to pick up, but as the story unfolds, my chief hope is we’ve done her justice.
Wonder Woman #52 has some beautiful art by Aco, David Lorenzo, and Romulo Fajardo Jr. What was it like working with this team? What did you love about their art?
SO: It’s a dream – ACO and Rom have been with me since Midnighter, and I’m lucky any time we can work together. Both elevate every page they touch, and ACO has only become MORE inventive and surprising in our time together. Every time we work together, whether it’s Milk Wars or this, I try to challenge ACO and Rom, and every time they turn back work that is even more innovative than I would have imagined.
Can you tease us where the title may be going?
SO: All over the world! Enemy of Both Sides will take us from the jungles of Mexico across the Atlantic to Qurac and the current home of the Bana-Mighdall. This is big adventure in every page! And Diana is at its heart, with Artemis at her side.
And finally, you’ve written all over the DCU, from Lobo to Dick Grayson to Midnighter and now Diana Prince. Is there one or more DCU characters you are dying to write about?
SO: There’s so many! Right now the Ditko creations are on my mind: Odd Man, Hawk and Dove, the Creeper (LOVE the Creeper), and as always my favorite character is Martian Manhunter. J’onn is always going to be my #1.
After last week’s episode of Succession, Adam McKay and Jesse Armstrong had all of us on what seemingly was a road to war between Kendall (Jeremy Strong) and Logan (Brian Cox) but the story took a sudden turn. Unpredictability, outrageous moments, and storylines rich with intrigue are some of the many reasons why this season finale was perfect and a preview of what’s to come down the road.
One of the many blessings about being a critic is that we are allowed to see these big moments before the general public, and I was lucky enough to watch the finale last week. Of course, HBO wouldn’t let anyone share what they saw until Sunday night, but truthfully that embargo gave me the time to process what had just occurred. Armstrong managed to shift the dynamics of the show’s narrative trajectory ever so slightly, and the result is a reminder to us all who is indeed in control. This is Logan’s world, and everyone is but a piece on his costly chess board.
What’s crazy is that Kendall had him beat and Logan knew it. This is why he lost his mind when the note was delivered to him while he prepared for the reception. However, Kendall made it all too easy giving him leverage over him following the car accident which killed the server who was driving somewhere to get more drugs. It appears that the events before and after the takeover attempt made the patriarch of the Roy family realize just how dangerous he could be.
Shiv (Sarah Snook) and Tom (Matthew Macfadyen) do end up getting married, but that isn’t without its entanglements. Shiv is beginning to realize that Tom is not putting on some act and is this nice which results in her feeling incredibly guilty about her fling with her old friend who works on the campaign. She comes clean about the affair while Tom starts talking about the significant incident on their cruise liner which Shiv uses to her advantage. They forgive each other and Tom start exhibiting Roy family traits and kicks Nate out of the reception even asking him to pour his wine back into the bottle. Shiv has always been ruthless but is she mellowing out while Tom is getting fired up about the littlest of things.
Roman (Kiernan Culkin) and Connor (Alan Ruck) are slowly moving into the limelight which in season one was dominated by Kendall. Culkin’s character is responsible for pressuring a satellite launch which resulted in a massive explosion costing the company millions. Logan isn’t aware of it just yet, but that sort of thing will likely cost Roman his current position. Connor announced to run for president on his… let’s just say “unique” platform which will probably either make him a laughing stock or land him in the White House (who could tell these days). While I’ve certainly enjoyed each of their character arcs in season one, it’s apparent that they will be a more significant factor in season two.
Stewy (Arian Moayed) and Sandy (Larry Pine) have to be steamed about Kendall backing out of their bid to takeover Waystar. Both actors were undoubtedly fantastic, but it is crystal clear that Adam Mckay and Jesse Armstrong need to make Moayed a regular on the show. Stewy bring so much levity to Succession and adds a much-needed element of sleaze.
Overall, Succession in its first season slowly built towards this beautiful menagerie of hilarity, debauchery, and ruthlessness making the show a smash hit. The only downside is having to wait for the new season to arrive. Utilize this break between seasons one and two to binge watch it and get caught up before season two comes.
A Fantastic Four comic book is finally back on the shelves this Wednesday at your local comic book store, and Dan Slott and Sara Pichelli set up an emotional rollercoaster for you.
The Steve Ditko tribute at the beginning of the book feels appropriate and extra special setting up a sober, celebratory mood for the book.
Writer: Dan Slott
Artist: Sara Pichelli with Elisabeth D’Amico’s inks
Color Artist: Marte Gracia
Letters: Joe Caramagna
The main story from Fantastic Four #1 is “Signal In The Sky,” and it’s a therapy session for anyone who has missed the Fantastic Four since the series was canceled more than three years ago. Johnny Storm and Ben Grimm are at an emotional crossroad with the loss of Reed, Sue, Franklin, and Valeria. Johnny and Ben play the roles of hope and despair. Slott must have been listening at all those conventions he spoke at because he understood what the fans need. Some of the dialogue is corny at times, but it has raw emotion attached.
Pichelli is a top artist at Marvel, but it is her understanding of shape and form that separates her from the pack. As Slott verbalized our feelings, Pichelli put us in the panels. Every body type is represented in Fantastic Four #1, and it brought you closer to the characters and the story.
Sidebar – Pichelli’s detail in hairstyles is insane, and more importantly, it was consistent. Johnny Storm looks like he has a fresh blow dry and style every panel. Elisabeth D’Amico’s inks and Marte Gracia colors are substantial factors in the beautiful hair for all.
Gracia’s color palette is perfect with the vibrant primary colors that harken back to the Jack Kirby days. The color scheme of the book is what pushes the theme of adventures, and hope and optimism.
As a Mets fan, it has been a horrible year, but Joe Caramagna lettering had me singing “Meet the Mets” for the rest of the day.
Overall, it was everything a Fantastic Four fan could ask for in a book, with a cliffhanger at the end that has you excited for issue two.
Writer: Dan Slott
Artist: Simone Bianchi
Color Artist: Marco Russo
Letters: Joe Caramagna
You cannot have the Fantastic Four without Doctor Doom, and Slott, with the help of Simone Bianchi, resurrects the legend with “Our Day Of Doom And Victory.” The short story quickly recaps where Doom has been and pushes him forward with a new understanding of the character for the readers.
Bianchi has a style that is somewhat muddled, but this works out well for a villainous tale. Marco Russo’s dark color palette builds tension, until the final page explosion.
After “Signal In The Sky,” you want to read more Fantastic Four and “Our Day Of Doom And Victory” fits perfectly within the book as a backup tale.
Writer: Dan Slott
Artist: Skottie Young
Color Artist: Jeremy Treece
Letters: Joe Caramagna
“What The Pop?!” correctly closes out the issue with one page. It acknowledges the stupidity of nerd rage while consoling the rational readers.
Fantastic Four #1 is a well-written book with spectacular art that begs for a second issue immediately. The creative team connects with the reader and takes them on a journey, that’s the magic of comics.
After you read Fantastic Four #1 let me know what you think in the comments below.
Bloodshot Salvation #12 is out this week, putting an end to this beautiful and action-packed story, and an end to Jeff Lemire’s seminal run on Bloodshot.
Bloodshot is still in 4002 A.D. while Omen has captured his daughter back in the present day. Will Ray make it back in time to save her? And will he finally have his salvation?
Lemire has been writing Bloodshot for over three years and three titles. Through each one, one theme has persisted: redemption. Can Ray Garrison, a man turned into a killing machine, a man who can’t remember the last time he wasn’t somebody’s puppet, go back to having a normal life? Can he be free of his past?
Salvation #12 isn’t the end of Bloodshot’s story. It doesn’t wrap everything up with a nice little bow. But that’s what makes this series – and most of Lemire’s work – so special. It recognizes that life is messy and not always fulfilling. It feels real, despite all of the super soldiers, time travel, and over-the-top comic book violence. But on top of that gritty realism lies hope. And on that note, I’ll say no more about the plot and allow you to enjoy this conclusion on your own.
Doug Braithwaite’s art fits the aforementioned grit. This is a full-on action comic, full of blood, gore, and explosions, and Braithwaite brings the intensity to match it. It’s brutal and raw; there’s a double page splash in here that will make your jaw drop. Despite the deep, internal conflict that Lemire is writing about, Braithwaite (and every other artist that has worked on this book) doesn’t let you forget that Bloodshot is first and foremost a war comic.
And on that note, huge props to Simon Bowland on lettering. In an issue like this, pacing is everything. You want to create a fast-paced experience for the reader, and Bowland’s lettering does just that. His layout guides your eyes through action sequences in quick, fluid strokes.
Finally, Jordie Bellaire’s colors are exactly what you expect them to be at this point in her career: outstanding. She captures the tone and intensity of a scene so well that you know exactly how you’re supposed to feel as soon as you turn the page. It’s her work on the last few pages, however, that steal the show, helping end this seminal run on the perfect note.
I had not only never read a Bloodshot comic before Bloodshot Reborn, I had never read a Valiant comic period. Jeff Lemire introduced me to this universe, and although he’s saying goodbye, I’m here to stay. This has been a saga full of action and drama, of gore and sadness, and of hope. It was a wild ride, and one well worth taking.
Stop the press, look up in the sky! Can it be true?
Yes, Supergirl is coming back to the big screen.
According to Deadline, a Supergirl film is in the works at Warner Brothers. While still early in development, the movie is moving forward. There is yet no producer attached to the movie. Whether or not Superman will appear in the film is unknown.
The report reveals that Oren Uziel is writing the screenplay. Uziel has credits including 22 Jump Street, Mortal Kombat, and The Cloverfield Paradox. Currently, he’s working on the script for Sonic the Hedgehog.
For now, Supergirl can be seen in the CW television series starring Melissa Benoist.
Announced at Image Expo back in February, Crowded is a twisted, satirical look at ten minutes into the future brought to you by Christopher Sebela (writer), Ro Stein (penciller), Ted Brandt (inker), Tríona Farrell (colour artist), and Cardinal Rae (letterer).
Set in a world where the gig economy has become absolute, anything and everything is for sale or rent. Assassinations may have once been a clandestine affair, but in this time of hyper-capitalism and greed, the latest app “Reapr” allows you to crowdfund your revenge and turns everyone with a smartphone into a potential hitman. With a concept that high and a creative team of that caliber, it is of little surprise that the book’s inaugural outing is such a success.
Charlie Ellison is just your average, self-centred millennial working twelve shared jobs a day to make ends meet. Her life takes an unexpected twist after she discovers that someone has put a hit out on her. What’s worse, the Reapr campaign has reached over a million dollars, with thousands of backers. In order to survive, Charlie enlists the help of Vita Slatter, a moody, low-rated bodyguard on the security app “DFEND”. They have thirty days until the campaign ends and outrun the slew of assassins on their tail. Mysteries will be solved. Bodies will be dropped. And in the end, they may just discover something about themselves along the way.
From the opening salvo, Crowded impresses with stunning artwork, sublime character moments, and compelling world-building. Our leads: Charlie and Vita, immediately stand out in both design and personality. Sebela’s voice for characters remains as strong and distinctive as ever. Charlie’s Instagram-esque self-obsession is reminiscent of the best of Clueless and Mean Girls. Yet this shallowness betrays a darker side, one that has yet to be brought to the surface, but is allowed to peak out slightly in the quieter moments. Similarly, Vita wishes to portray herself as an uncaring and by the book, but its clear that this facade is there for her own protection rather than that of others. Whatever sense you may have had initially as to these character’s motivations and histories is subtly chipped away by a combination of cutting lines of dialogue and wonderful foreshadowing within the art itself.
Farrell’s colours present them in wonderful pinks and yellows that hammers home their desire to stand out, begrudgingly in Vita’s case. It’s more than just a desire, distinguishing themselves is a necessity their line of work. In an economy where your success is dependent on customers swiping right on your profile, you need to stand out.
The matter of fact way which the “Reapr” is introduced as the nation’s favourite pastime is terrifying. Now every petty grievance, every slight is potentially an executable offence if you can rally enough support behind you or find someone desperate enough. It takes our obsession with social media to an extreme, but in many ways logical conclusion. The team have created a truly fascinating world in which to play and each revelation only begets more questions.
Action scenes are interspersed sparingly throughout the issue, but each one is dynamic and kick-starts the heart. The sheer economy on display within these moments is a testament to the purposive approach taken by Stein and Brandt. Nothing feels surplus to requirement, but rather adds to the layers of the world being built. More importantly, these action beats are used to inform character rather than as mere spectacle.
The cartoonish linework from Stein and Brandt creates a false sense of security by friendly face on a society gone mad. The same can be said for Farrell’s colours with incredibly bright and vibrant colours occupying an unassumingly dystopian world. They are the gloss that allows people to be drawn in and consumed by this high-capitalist society. It creates a contradiction in terms: a world that’s desperately trying to present itself as pure, but the cracks are beginning to show. In many ways, the art reflects the culture of presentation that curating one’s online persona and profile entails.
A high panel density means there is a lot of story packed into each page. Credit goes to Stein and Brandt, who bring so much detail to their work. One particular splash page will have you simply entranced. In this sense it owes a lot to the European tradition of album comics. Rather than feeling crowded, if you’ll pardon the pun, it gives you something to sink your teeth into on every page. Not to say that this is heavy book in any sense, to the contrary, it is addictively readable. Rather, this is a book that invites and, indeed, rewards closer, careful consideration. It makes for one of the most satisfying reads of the year so far.
It has been quite some time since a book fulfilled the promise of the premise as skillfully as Crowded. It really is a special book, one that you’re going to want to add to your pull-list. If the pre-release announcement that Crowded would be made into a movie didn’t get you excited, then you owe it to yourself to pick it up next Wednesday and see what all the fuss is about. You will not be disappointed.
Marc Forster’s Christopher Robin is an intriguing exploration of the power connections have on us and a look at how as we grow older our identity morphs.
Screenwriters Tom McCarthy and Alex Ross Perry were able to construct a narrative which remained faithful to A.A. Milne’s source material while providing a unique spin on what many critics perceive as a narrative trope. Yes, Christopher Robin does gets sucked into the rigors of his job and often at the expensive other family members. However, that’s not even what Christopher Robin is about. Forster’s latest film is about losing one’s way and the struggles that come with it.
Christopher Robin centers around the transition of the young boy we all loved in A.A. Milne’s classic as he transitions into adulthood. Christopher (McGregor) slowly transforms over the years in boarding school from this idealistic young man into an adult who is driven by rigor and nothing more. Even meeting the beautiful Evelyn (Hayley Atwell) isn’t enough to derail what is to come. In short order, they are married and have a daughter, but it seems not even these life-changing moments are enough to fix Christopher’s perspective. Meanwhile, Pooh and the rest of the gang living in the 100 Acre Wood appear lost without their friend. An unexpected chain of events at Christopher’s office reunites Pooh and his best friend just as his life seems to be at a crossroads.
Christopher Robin does make a conscious effort to stay within the source material as the film is framed around A.A. Milne’s “The House On Pooh Corner” which is the last written adventure of Robin and his furry friends. Screenwriters McCarthy and Ross Perry attempt to answer questions which aren’t easy to tackled surrounding one of the more iconic children’s tales. What becomes of an idealistic boy who grows up and has a family? Their answer is he becomes a reflection of his ultra-conservative father who wrapped himself in his work. In London, during the 1920’s this was more of an accepted way of life, but in mid-1950’s, these decisions are subject to scrutiny. Evelyn accepts these things but makes sure Christopher knows how she feels. His daughter Madeline (Bronte Carmichael) is so starved for attention that she begins to value work over play so her dad will be proud. She thinks that doing this busy work will allow them to connect. This doesn’t sit well with Christopher’s wife who reminds him that she didn’t fall in love with this business-centric man but with the idealistic man with a big heart. It does bring forth an interesting question: is it better to stay grounded, be a visionary, or a combination of both?
In the midst of the long hours of unpaid overtime, and papers Robin brings home from the office, he doesn’t realize his family is slipping away. It takes a chance reconnection with his good friend Pooh to see what truly matters. That silly old bear is looking for his old friends while he’s concerned about keeping those important papers pristine. Their connection seemingly hasn’t wavered and still is very impactful. During their jaunt back into that magical 100-Acre Wood, Christopher is forced to see what he’s become and the effect it has on others. I loved those sweeping shots giving the audience a broad look at his old stomping grounds.
Jon Brion’s score set the perfect tone for the film. McGregor and Atwell were perfectly cast in their respective roles. My only concern about Christopher Robin involved the pacing of the film. At times the movie felt like it was dragging, but it wasn’t drastic enough to take me out of enjoying it. Overall, Christopher Robin is touching and will have audience members looking for their tissues as they exit. It certainly does cause you to think about what truly matters. Is that critical promotion which went to someone else leaving you to feel slighted? I believe our good friend Pooh would say “Doing nothing often leads to the best something.”
