Ralph Breaks the Internet

Cast: (voiced by) John C. Reilly, Sarah Silverman, Gal Gadot, Taraji P. Henson, Jack McBrayer, Jane Lynch, Alan Tudyk, Alfred Molina, Ed O’Neill

Directors: Rich Moore, Phil Johnston

Writers: Phil Johnston, Pamela Ribon


Nowadays Disney tends to make two kinds of animated movies. One half of these films follows the fairy tale tradition that made the Disney brand, drawing from historical myths and fables and adding in music and colour to bring us the likes of Tangled, Frozen and Moana. The other half (moreso if we also include Pixar) looks more at the present in its search for inspiration in making films that depict complex systems and ideas that many children can often find difficult and scary to comprehend. Zootropolis provided an allegory for racism on a societal level and considered how decent, well-meaning people could be prejudiced in ways that they had never considered. Inside Out explored the emotional psyche of a young girl and concluded that sadness is integral to our abilities to cope with growth and change. Coco ventured into the land of the dead in its ode to the Latin American spirituality of ancestry and death. In this sequel to what is perhaps the only great video game movie in all of cinema, Disney sets its sight on their most complicated, perilous and inscrutable setting yet: the Internet.

The Internet is something that other blockbusters have struggled to depict in insightful yet kid-friendly ways, especially in terms of exploring its darker, more toxic side. Ready Player One dared go no further than to say, rather generically, that people should probably spend more time in the real world. The Emoji Movie didn’t even go that far, instead advertising the Internet as this cool, fun-filled landscape where you can enjoy all these trendy apps. This is rather concerning since so many people who use the Internet, including children, can find it to be a dangerous place where bullying, invasiveness, misinformation, illicit dealings and addiction can be allowed to run rampant. A quick Google search revealed to me that the vast majority of films about the Internet made for an adult audience, including The Social Network, Unfriended and Citizenfour, are overwhelmingly negative in their portrayals. This is why I think Ralph Breaks the Internet could be a real groundbreaker (no, I will not apologise for the pun). While the movie doesn’t hesitate in depicting the Internet as this vast, colourful, dynamic world of endless possibilities, directors Johnston and Moore are not blind to the lesser qualities of the online experience and portray them about as well as one could expect of a product of a multi-billion dollar corporate machine with a brand to advertise and a profit to make.

The set-up is a little flimsy but it does the job. Retro video game bad guy Ralph and glitchy speed car racer Vanellope have settled into a pretty comfy routine since becoming the best of friends. Day after day they continue to fulfil their prescribed roles in their respective games and, once the arcade closes, they’ll spend the whole night together drinking root beer, goofing around and chatting about anything and everything. For Ralph life couldn’t possibly be any better. Vanellope however is less satisfied. Having learnt every race track in Sugar Rush by heart and regularly beating her competitors, she’s grown bored with the monotony. In typical Disney heroine fashion, Vanellope desires something more; a larger world with greater possibilities and challenges. Ralph, eager as ever to be the hero, tries to help out by digging a new track, but things get worse when the detour inadvertently leads to the breaking of the game’s steering wheel. New parts for the arcade game are hard to come by since the company that made the game is no longer in business and it looks like Sugar Rush will be permanently shut down. A solution presents itself however when a strange device called Wi-Fi (pronounced wee-fee) is introduced to the arcade. When Ralph and Vanellope learn that a replacement part is available on the Internet, they use the Wi-Fi to transport themselves there so that they might buy it.

As soon as they get there Ralph and Vanellope are awestruck by the Internet in all its enormity and activity. The web is shown to be an endless metropolis made up of titanic skyscrapers housing such techno-industrial giants as Google and Amazon. Lively avatars representing users from around the globe whiz about in every direction from one website to the next, stopping only to be harassed and redirected by obnoxious pop-up ads and unsolicited video recommendations. One click, whether intentional or accidental, will summon a car that will instantly zoom you over to another part of the virtual world. It is a hysterically accurate representation of what using the Internet is like, one that captures exactly how somebody can log on with a specific task to accomplish only to wind up down a rabbit hole of cat videos and Twitter feeds. Amongst the characters our duo meet are KnowsMore, an enthusiastic search engine that compulsively tries to predict the users’ queries, and JP Spamley, a Gil Gunderson type of salesman desperate to make sales on outrageous clickbait ads. Yet Ralph and Vanellope soon learn that it’s all too easy to take a wrong step and find yourself overwhelmed and lost in the chaotic mess that is the world wide web. All it takes is a visit to eBay and a fundamental misunderstanding of how bidding works for Ralph and Vanellope to find themselves in a sticky situation.

Having massively overbid on the part needed to fix Vanellope’s game, she and Ralph now need to raise a lot of money in very little time. This mission ends up taking them all over the Internet to such sites as Slaughter Race, an online racing game so over-the-top in its dystopian grittiness that Mad Max looks almost tame in comparison, Oh My Disney, where you can take an online personality quiz to find out who your spirit Disney princess is (mine is Belle incidentally), and BuzzTube, a Buzzfeed/YouTube hybrid where videos can be shared and receive likes (just don’t read the comments). While Ralph works on becoming a viral star on BuzzTube with the help of Yesss, the arbiter of all that is trending, Vanellope finds herself wholly enraptured by the thrills and challenges of Slaughter Race, especially after meeting the impossibly cool racer Shank, and starts to consider the prospect of staying there rather than returning to her old life with Ralph. It’s this dilemma that allows Ralph Breaks the Internet to truly come into its own as it explores the complexities of friendship and how difficult it is to let somebody go even if that is what they need in order to grow and pursue their ambitions and desires. Through rich animation and the wonderful voicework of Silverman and Reilly, the film teaches an achingly poignant lesson about how there are changes and limitations we have to accept in our lives and that the best we can do is learn to evolve and adapt.

On a more 2018 note, the movie also provides a surprisingly astute illustration of toxic masculinity and how it is exacerbated by insecurity and negative feedback. Ralph, usually the toughest, most macho guy in the room and infinitely happier since finding respect and reverence in his friendship with Vanellope, is someone whose self-esteem depends on near-constant positive reinforcement. When he makes the fatal mistake of reading the comments to his hot-pepper-eating, goat-screaming, bee-punning videos, he finds himself feeling weaker, smaller and more vulnerable than he’s emotionally prepared to handle. Thus he lashes out in ways that threaten to wreck the friendship he and his bestest friend hold so dear. He reads Vanellope’s actions as reflections of his anxieties rather than as those of her own desires and from there his needy, self-destructive insecurities manifest themselves in monstrous ways that must be overcome if their relationship is to be saved. This is a concept that has grown only too prevalent in online culture over the last few years and it is one that Disney handles cleverly and with great sensitivity. What made Wreck-It Ralph so great compared to many of the other animated movies of that era was how endearing its characters were and how much their actions and emotions drove the story. The same is true of Ralph Breaks the Internet and the sequel is almost as great as the first.

The movie’s main issue is that sometimes it takes a while to actually get to the outstanding character-driven moments and that the quest for the steering wheel gets a little tiresome as it becomes less relevant to the central conflict. The movie tends to work better when it either focuses squarely on the characters or forgets about the plot for a while and has some fun with its depiction of the Internet and pop culture. The main highlight is Vanellope’s much-advertised stint with the Disney princesses which leads to some great laughs as they poke fun at some of the tropes Disney has so happily perpetuated from the questionable sexual politics to the easily shrugged-off traumas (“Are you guys okay, should I call the cops?” Vanellope asks as they excitedly recall being poisoned, cursed and kidnapped) and the casual absence of mothers. While the sequence does feel a little like Disney synergism at work in the form of shameless self-promotion (including their Marvel and Star Wars brands), it’s still good fun when taken at face value and it also leads to Vanellope being given her own Menken-composed Disney princess song. While Ralph Breaks the Internet can feel overlong and aimless at times, it manages to bring it all home in the end through hysterical jokes, superb animation, two complex and loveable characters and a profound and socially relevant moral.

★★★★

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Justice League

Cast: Henry Cavill, Ben Affleck, Amy Adams, Gal Gadot, Ezra Miller, Jason Momoa, Ray Fisher, Jeremy Irons, Diane Lane, Connie Nielsen, J.K. Simmons

Director: Zack Snyder

Writers: Chris Terrio, Joss Whedon


The DCEU does not have the best track record. Between the four movies that have been released so far they have all suffered from some combination of messy storytelling, overreliance on darkness as a substitute for drama, conflated self-importance, unfocused and clashing tones, lack of humanity, and fundamentally misguided acting choices made by a couple of certain castmembers in villainous roles. Even the inspiring, colourful, focused, refreshingly superb Wonder Woman wasn’t able to avoid all of these trappings as a couple of them seeped their way into the third act. Thus we come to Justice League, the movie it’s all been building up to. It’s been a long and turbulent journey getting here and through all the highs and lows, after all the disorder, disappointment and division, Warner Bros. has beaten the odds and created a superhero team up movie that turned out miraculously okay.

As the world mourns the death of Superman (Henry Cavill), Bruce Wayne (Ben Affleck) learns that a global threat is imminent and executes his plan to form a team of extraordinary people. Diana Prince (Gal Gadot) joins his cause after receiving a warning from her mother Queen Hippolyta (Connie Nielsen) about an attack on Themyscria by the ancient villain Steppenwolf (Ciarán Hinds). While Wayne sets off in search of Arthur Curry (Jason Momoa), an aquatic being from Atlantis, and Barry Allen (Ezra Miller), a young man with superhuman speed, Diana tracks down Victor Stone (Ray Fisher), whose body is more machine than man. They learn that Steppenwolf is searching for the three Mother Boxes, prehistoric devices of immense energy hidden all over the world. As Batman attempts to bring what will become the Justice League together however, he finds that he isn’t able to inspire them in the way that only Superman could have done and fears that they will not be able to save the world unless he can find a way to unite them.

‘Okay’ is not the word I want to use to describe a Justice League movie but, after the example set by the prior DC movies, I’ll take okay where I can get it. There are issues with the story as there have been with every other instalment (to varying degrees), but there are also two saving graces: the characters and the tone. The film does struggle to find the right balance between focusing on those characters we’ve already met, namely Batman, Wonder Woman and Superman (it’s not a spoiler to say that Superman returns (Henry Cavill’s name is on the poster) it’s only a spoiler to say how and when), and focusing on those we’re meeting for the first time, namely Aquaman, the Flash, and Cyborg. It works though because the characters are all likeable and enjoyable to watch. Affleck continues to shine as a Batman whose cold-heartedness in Batman vs. Superman has been tempered, humbled even, by his awe over Superman’s sacrifice and his guilt for the role he played. Gadot is also once again stellar as Diana as she provides the league with its moral centre and a bit of a motherly presence as the combative and often childish acts of the guys often forces her to be the level-headed one (but thankfully not in a way that does a disservice to the character).

Meanwhile the new guys on the block do their best with what they’re given. The Flash is essentially there to provide comic relief through one-liners, bewildered reactions, and just general eccentricity. It’s hit and miss, but when it hits it really does hit. Aquaman has a couple of cool moments and brings enough appeal and attitude to the role that when he butts heads with Batman it doesn’t feel like conflict for its own sake, it feels authentic. The triumph of Miller and Momoa is making their respective characters interesting and entertaining enough that I actually want to see them carry their own movies. The downside is that Cyborg is mostly sidelined to make room for these characters despite being key to the film’s climax. As for Superman, Cavill is finally allowed to use his charm and charisma to play the Man of Steel the way he was meant to be played. I still think the decision to kill off Superman was a fundamentally stupid one, but Cavill’s performance was so good that I now find myself excited about the character’s future.

With the divisive reception of the previous non-Wonder-Woman DC films, the DCEU has put itself through a lot of self-correcting and, while I can’t say that Justice League was a fantastic movie, it did feel like a definite step in the right direction. A major part of this self-correction has been with the tone and with Justice League, Warner Bros. is ever closer to capturing that tone where it can be serious and funny without coming across as pretentious or childish. There are some scenes that hold real emotional weight, as when Batman shares his private fears and anxieties with Wonder Woman or when Superman is briefly reunited with Lois Lane (Amy Adams). Then there are some genuinely funny moments as we witness the banter and conflicts that ensue between this unlikely collection of unlikely characters (Aquaman’s accidental use of the lasso of truth is a highlight). More than that, there were even a couple of moments that I found truly awesome and exciting (my favourite is one that I cannot go into because of spoilers but basically it involves Superman turning his eyes in slow-motion).

Justice League is not the gamechanger that The Avengers was and is by no means a great film. The villain is as bland and forgettable as the MCU’s were at its most unremarkable, the movie relies on clichés and routine dialogue to get things moving, and the third act is about what you would expect. There are also a bunch of big ideas and themes, something that the DCEU has always been much more interested in pursuing than Marvel, that don’t quite get the development they need. The idea of Superman’s death leading the world to a place of despair where the people feel like all hope is lost and where the darker side of humanity is able to roam free without the presence of this benevolent, god-like symbol of truth, liberty and justice to keep it in check is one I would’ve liked to see more of. Still, I’m glad that I saw this film. Even though Wonder Woman is far and away the stronger film, it was so divorced from the other DCEU movies that it could pretty much be regarded as a standalone. This movie had to build something on top of the mess that the other films had left and that, along with a tempestuous production that saw Whedon take over directorial duties when a personal tragedy forced Snyder to drop out, was no easy task. Justice League is a studio movie through and through, where each and every detail has been calculated according to charts and demographics, but a part of me feels like Warner Bros needed to make this movie as a way of decisively bringing this chapter of the DCEU to an end and allowing themselves to start a new one on a new, blank page. Now, much like the people of Earth at the end of this film, I finally feel hopeful about the franchise’s future going forward.

★★★

Wonder Woman

Cast: Gal Gadot, Chris Pine, Robin Wright, Danny Huston, David Thewlis, Connie Nielsen, Elena Anaya

Director: Patty Jenkins

Writer: Allan Heinberg


Whether it wants it or not (and whether it’s fair or not), Wonder Woman has got a lot of pressure and expectation riding on it. Not only is it the first solo movie for one of the most iconic female characters of all time, it is also the single biggest movie to ever be made by a female director. For years studios have been pointing towards flops like Catwoman and Helen Slater’s Supergirl as evidence that female superhero movies don’t work (as if male superhero movies have such a perfect track record). With the MCU so far neglecting to make any female-led movies in spite of having a popular character and marketable star in Scarlett Johansson’s Black Widow, it falls onto DC to finally break this glass ceiling. While it’s not up to me to judge this movie from a feminine standpoint, I also cannot ignore what a big deal this movie is or how significant its success will be. And it is by all means a resounding success.

The movie starts off with Diana (Gal Gadot) as a child on the secret island of Themyscria, the home of the Amazonian race. There, as the daughter of Queen Hippolyta (Connie Nielsen), she is forbidden to partake in training as a warrior, but does so anyway with her aunt, General Antipone (Robin Wright). Years later, having grown into a strong and capable woman, she rescues a downed pilot as his plane crashes nearby. The pilot is Steve Trevor (Chris Pine) and he is an American soldier fighting in the First World War as a spy. He was being pursued by the Germans as he was escaping with a notebook stolen from the infamous chemist Doctor Poison (Elena Anaya) and must return to London as soon as possible. Diana, believing that the war god Ares, whom her people have sworn to oppose, is orchestrating this war in the form of General Erich Ludendorff (Danny Huston), arms herself with the Amazons’ ‘Godkiller’ sword and accompanies him. Thus she joins the war to end all wars where she will discover the true extent of her powers and find her destiny.

This film marks the fourth instalment in the DCEU, a franchise that has so far proven uneven in its storytelling. Batman v. Superman for example was a movie that felt messy and overblown because it took on too many storylines and spent too much time on world building. One of the strengths of Wonder Woman is that it tells an entirely self-contained story. There are no forced cameos, no tangential set ups for upcoming titles and no unnecessary subplots. This is Diana’s story and the movie keeps the focus on her. When approaching a character such as Wonder Woman, one might have been tempted to sculpt her simply as a strong, badass warrior woman, essentially a female Braveheart. The movie however is more thoughtful and complex than that. Diana is indeed tough and vengeful, but she is also curious, compassionate, earnest and brave. She is an inspiring hero of a kind that movies haven’t really seen since Christopher Reeve’s Superman. When Diana runs into battle to face the enemy, there isn’t a childhood trauma that forces her, no words of wisdom from a mentor that move her, no inner conflict about responsibility and morality that compels her. Diana is a kind, virtuous person who wants to help simply because it’s the right thing to do.

Joining Gadot in her wonderful turn as the DC legend is a strong supporting cast, the best of whom is Chris Pine as the dashing WWI pilot. Whereas Diana is hopeful, naïve even, Trevor is altogether more pessimistic and world weary, a quality to which Pine brings both charm and humour. There is a clear attraction between them on the outset which feels utterly authentic and organic due to the electrifying chemistry they share. Not many superhero movies can make their romances work, but this is definitely one that can. Also great are the Amazonian women, particularly Wright, who are every bit as fierce, steadfast and awesome as a warrior people ought to be. Watching them in action is one of the most thrilling parts of the movie as Jenkins does away with the rapid editing and generic framing we see in most blockbusters. Instead we get to see the warriors in their full glory, fighting in a variety of styles that make the combat feel more like an epic ballet than a punch-by-numbers.

Jenkins is to applauded on more than just the action scenes. Much of Wonder Woman feels unlike anything we might’ve expected from recent blockbusters, including and especially those of the DCEU. For one thing, Wonder Woman has actual colour in it. The magnificent gold of the Amazonian armour and the luscious greens and deep blues of their paradise island can all be seen in their splendour. Even the reds, greys and browns of the Western Front show that dark colours can be dire without being murky and stale. The movie also installs much humanity and humour into its story which, far from undercutting, help to enhance the film’s more serious moments. When we see Diana charging into her battle with her comrades, which include Charlie (Ewan Bremner) the sharpshooter, Chief (Eugene Brave Rock) the Native American smuggler, and Sameer (Saïd Taghmaoui) the Moroccan master of disguise, its all the more affective because the movie has actually taken the time to show these characters bonding. Wonder Woman, being set in 1918, also does a good job of tackling issues of sexism and racism without beating us over the head with it.

The fatal flaw holding this movie back from greatness is its third act which sadly slips into the more generic territory we’ve seen in recent blockbusters. In starts off promisingly enough with a reveal for the villain that is surprising in its sophistication, suggesting that Ares is not in fact the simple baddie we took him for, and there is an excellent final scene between Diana and Steve that I found moving. Otherwise, unfortunately, the climax is typical of the sort of explosive finales that modern blockbusters like with overwritten, pretentious dialogue and a morally confused resolution. I wouldn’t go so far as to call it a weak ending and it certainly doesn’t kill the movie, but it was underwhelming given how strong and fresh the first two acts had been. Still, even if I would have preferred an ending that took a few more risks, Wonder Woman is despite its flaws a great watch. It is gorgeous, exciting and inspiring and is entirely worthy of the comic book icon it has brought to life.

★★★★