Directed by: Enrico Casarosa.
Featuring the sound skills of Jacob Tremblay, Jack Dylan Grazer, Emma Berman, Maya Rudolph, Jim Gaffigan, Marco Barricell, Saverio Raimondo, Sandy Martin, Francesca Fanti, Gino D’Acampo and Sacha Baron Cohen.
On the Italian Riviera, an unlikely but strong friendship grows between man and a sea monster disguised as man.
At times, Luca (the latest from Disney-Pixar) feels like it’s heading in the direction of the all-too-familiar and dreaded “be yourself” animation feature. It’s not that it’s a bad message, rather, one that animated filmmakers rely on too much to gather harmless child-friendly distractions to say they were at least trying to teach a valuable lesson. Before I go any further, I assure you Luca is never miserable or even mediocre; far from it. Nor is it necessarily a matter of synchronization, because once it is over, the flow and progress of the narrative are natural. However, the third show is significantly stronger, richer and more emotional (Dan Romer’s beautiful result should remain constant throughout the award season as it arrives).
When it becomes clear Luca there is more fear of being rejected for who you are, rather than an easily digestible encouragement to open up about yourself (many animated traits don’t involve dealing with social comments). It is a story of identity as much as a well-written and wonderfully presented story of an inappropriate friendship. Director Enrico Casarosa (using a screenplay by Jesse Andrews and Mike Jones) is also aware of the powerful impact that embraces true identity on those who are afraid to do the same. the main report talks a lot about the important message to be sent.
Luca of the same name (RoomJacob Tremblay, who delivers radiant and layered performance that competes with this breakthrough role) is a sea creature living under the Mediterranean. His genre has never been defined, so it seems the art team had the freedom to be creative, digitally creating humanoids with colorful and scaly amphibians reminiscent of the cross between mermaids and seahorses. They really got up to the opportunity. Nonetheless, Luca lives with her family, where she is put to work as a fishmonger and is denied by her parents (comedians Meyer Rudolph and Jim Gaffigan cheerfully express themselves as overprotective guardians). Portocello. The reason is that people hunt seafood, as evidenced by a quick prologue that also uses objects like a gramophone to place time next to a place.
Luca is a good boy who listens and wouldn’t dare do that (even if he’s imaginatively realized dreams of life on the surface). However, if he steps out of line, he is forced to live in the depths with his strange and physically transparent uncle, who occasionally needs to beat his heart to continue pumping (including none other than Sacha Baron Cohen). Just by accident, Luca stumbles out of the sea and onto the Italian Riviera, which is naturally horrified by the spread of family fears, and meets Lonely but adventurous Alberto (Jack Dylan Grazer) for a moment. Here Luca literally becomes a fish from the water story, Alberto teaches Luca how to get up and walk. Oddly enough, it’s also about where that style of humor ends (neither of them blinks when they see a cat in the city, for example), which is probably best because the story has more ambitious goals.
Alberto, also a sea animal, has nowhere to go, and spends his days waiting for his father to return. He also has a zest for life that Luca shares, the latter being nervous and skeptical to explore the unknown. While Luca wants to return to her family, she also has to build an immediate scooter with Alberto, hoping to travel anywhere and everywhere and live to the fullest. It is to be expected that making a Vespa scooter from scratch (properly functioning) will prove impossible, taking the fellow friends to Portocello, where they both befriend the bullied marginalized Giulia (expresses spiritual Emma Berman) and learn the annual triathlon from prize money that allows us to happily buy genuine dirty and decomposed but still functional).
What is special about punctuality here is that very much of the way someone in real life can make friends with gays, bisexuals, transgender people, or possibly disabled in some way, Giulia has no idea that Luca and Alberto are storytelling seafood. They all accept each other from the beginning and immediately start a beautiful friendship. Yet genuine acceptance does not necessarily mean that people are immediately comfortable being, shelling more layers of themselves for those closest to seeing. Having said that, the gap between Luca and Alberton opens, and the latter thinks Giulia (and the whole world) will never accept them and let them integrate into society.
They’re not sure what’s going on, and they do their best to avoid splashing into the water (though at first it seems to make a small amount of water turn the boys back into marine animals, but the last 30 minutes or so vigorously performed a nitpick than long ago), and look especially suspicious Giulia sea animal hunting experience. The local bully also complicates things with his unchecked evil, which the Hangout guys fear more than sincerely. Some may find Ercole (Saverio Raimondo) a one-dimensional villain, which is an obstacle for these protagonists, but that is entirely the case; some people have no rhymes or reason for their anger. He may not be a deep antagonist, but he is definitely believable.
Humorous, charming and equipped with a Pixar touch that can make anyone cry, Luca also covers Italy (with state-of-the-art CGI) despite all the great views, great architecture, delicious dishes (one of the triathlon stages includes a pasta eating contest where competitors don’t know what is being served, allowing preparation scenes where filmmakers really embrace different, cultural culture) the summer weather virtually exploded from the screen. I myself am partly Italian, and the characters in the middle also supply the front with care and authenticity.
Luca is a bold friendly match with an emphasis on identity and refreshing faces telling a story. Like a crumbling Vespa in uneven terrain, the procedure begins a little bumpy before leveling and rising, being able to go anywhere and nail the destination like Luca and Alberton’s hopes and dreams. It’s not just for kids, because people of all ages are likely to find a source of strength in film in accepting and owning an identity without fear.
Flickering myth rating – Movie: ★ ★ ★ ★ / Movie: ★ ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also a Flickering Myth review editor. Check here For new reviews, follow mine Twitter or Letterboxdor send an email to [email protected]