Stars: Ryan Potter, Scott Adsit, Daniel Henney, T.J. Miller, Jamie Chung, Damon Wayans, Jr., Genesis Rodriguez, James Cromwell, Alan Tudyk, James Cromwell
Director: Don Hall and Chris Williams
Oscar History: 1 nomination/1 win (Best Animated Feature Film*)
Snap Judgment Ranking: 2/5 stars
Disney seems to be on an oddly gender-balanced trend lately,
though this is assuming all stereotypes are in play in regard to gender-geared programming. First we get Tangled,
then we get Wreck-It Ralph. Frozen
was last year, and now we get the action hero adventure of Big Hero 6 (and yes, this seems to be
continuing as the latest princess tale Moana
looks to be next on the lineup).
Though the films never seem to quite catch the movie magic that the 90’s
Disney films were able to master (perhaps because they seem too focus on Shrek-style trendiness, as is evidenced
by their names), they have generally had a pretty consistent level of
excellence in the years since the low-point in the mid-Aughts, when Disney was the Baby
Jane Hudson to Pixar’s Blanche.
(Spoilers Ahead) Unfortunately,
I feel like Big Hero 6 is more in the
mid-Aughts style “forgettable” film than a number of its more recent
counterparts. The film takes place
in a hybrid city combining San Francisco and Tokyo (at first I thought I was mishearing the city's name, but it's actually a combination of the two cities, which is cute and explains the
lovely geography of the city, a locale which is easily the best character in
the film), and follows a young boy named Hiro, who has a tragedy that is very
early-Disney (both his parents, as well as eventually his brother, die, leaving
him an orphan). Hiro is a whiz
with electronics, but doesn’t use his power for good, and instead tries to make
money at illegal robot fights. Guided
by his soon to be dead brother Tadashi, Hiro comes to learn that applying his
knowledge to more pragmatic matters, like a robot that cures diseases, would be
a more practical application of his talents.
The problem that Big
Hero 6 encounters is that it doesn’t quite know how to do a mash-up with
the heavier world of Marvel Comics (the source for the movie) and the
cute-and-cuddly world of Disney.
This film probably would have functioned better in the pre-Little Mermaid era of the Mouse
House. They weren’t as afraid to
shovel the bitter down with the sweet, and as a result they ended up with a
more realistic, but more disturbing view of childhood.
This is evidenced with the haunting darkness of, say, Hiro
trying to avenge his brother with the marshmallow main robot Tadashi created
called Baymax. There are scenes in
the film that are truly wonderful where the mash-up works (specifically I’m
thinking of the scene where Hiro flies over the beautiful architecture of San
Fransokyo, which is a visual delight), but for the most part it feels like an either-or situation, which
doesn’t jive properly. Take, for
example, the scene where Hiro changes Baymax cartridge to make him evil rather
than cute. This should have more
power behind it, but because every other character is expositionally telling us
“this is wrong,” it loses its weight.
This is a story where less spelling-it-out would do a huge service to
the actual picture. The actual
story underlines every plot point, as if the film has no trust in its young
audience to follow that, say, Robert Callaghan is in fact a bad guy masquerading
as a good guy, or that Hiro is depressed and dealing with emotional
issues. As a result of this
opaqueness, we end up with a pretty bland and paint-by-numbers movie when we
could have had an interesting start to franchise.
I also want to specifically spell out Honey Lemon’s
accent. I don’t know why but
Genesis Rodriguez gave what may be one of the oddest vocal performances I’ve
ever heard. Her accent for the
character seems to change in every single scene, which was extremely
off-putting and confusing for her character. This really bugged me, and I’m sure no other critic is going
to make a comment about it, so I thought I would throw that into the world.
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