IP MAN 4: THE FINALE (2019)

The Kung Fu master travels to the U.S. where his student has upset the local martial arts community by opening a Wing Chun school.

December 31st is here, and a fitting review for the final day of the year is Ip Man 4: The Finale. Wilson Yip returns once again to direct this fourth and final film in the official Ip Man saga. For those not aware, the franchise is biographical, based on the life of Ip Man (yes, that is his name), a Chinese martial artist of Cantonese ancestry and a master of the martial art, Wing Chun. His most famous student was Bruce Lee. Ip Man 4: The Finale covers a final chapter of Ip Man's life prior to his death. This a martial arts film, which makes the two most important elements of the film; the story, and the action a.k.a. the fight choreography. Ip Man does much better in one than the other.

The fight choreography is very well executed. Yuen Woo-ping returns in his role as the choreographer and fight advisor, having worked previously on Ip Man 3, as well as such titles as Crouching Tiger, Hidden Dragon, The Matrix franchise, and Quentin Tarantino's Kill Bill Vol 1 & 2. Incredibly fast-paced, with smooth execution. The difference in physicality between the various martial arts styles is very apparent, and well separated. The speed does require some speeding up in post-production and there are a few actions that do not translate too well, making it very obvious that it has been edited to look faster. Nothing too over-the-top to take away from the energy of the scenes, but still noticeable.

The story is very grounded and quite toned back compared to previous Ip Man films. In an unexpected turn, Ip Man's story arc is almost relegated to a minor plot thread, due to the number os supporting characters and the amount of significance placed on the other storylines. It's almost as if there wasn't enough content remaining for a fourth film, but the film was pushed through production anyway, filling the story with as much other material as possible. 

What is a huge element of the film, is the theme of racial persecution and discrimination, and it far overpowers Ip Man's arc of trying to get his son into a school. There is a seriously turned-up racial tone to the film that paints every white character as a hateful white supremacist-level of bigot. Derogatory racial slurs are thrown around with absolute disregard and--whether that was the tone of the period or not--it leaves the audience feeling either uncomfortable at the language or laughing uncontrollably at the overly dramatic and over-the-top dialogue choices. This such a stereotypical good vs evil scenario that you'd be forgiven for thinking every single white American character had a curly moustache and maniacal laugh. 

You can't help but think the film was created as yet another example of Chinese propaganda, trying to change the impressions of the western audience around the Chinese government. Ip Man has a minimal active role in his final film, coming across as more of a passive participant than an active leader. It has taken his more restrained personality traits to the extreme, giving him very little to do. 

Overall though, the Ip Man 4: The Finale is a more than adequate addition to the franchise. With great set designs, costumes, and the contrasting environments and locations between China and the US, the film looks great and still has Ip Man fighting against oppression.

SORRY WE MISSED YOU (2019)

Hoping that self-employment through gig economy can solve their financial woes, a hard-up UK delivery driver and his wife struggling to raise a family end up trapped in the vicious circle of this modern-day form of labour exploitation.

Directed by Ken Loach, and with a screenplay written by Paul Laverty, Sorry We Missed You manages to expose the dystopian working conditions of the modern-day world without the need to insert exaggerated or fantasy elements. A film with an overwhelming moralistic ulterior motive, Loach manages to do so without appearing patronizing.

The story of a family that was surviving well on a single wage and about to buy a house of their own, suddenly finding their plans disrupted by a global recession leaving the father Ricky (played by Kris Hitchen) unemployed, to which point, ten years later, both parents have been forced to take up jobs in the gig economy, working 12+ hours a day, fighting to clear debts and a chance at owning a home, risking homelessness.

A bleak feature film, that has little in the way of a narrative direction, Sorry We Missed You works as a character study, as we observe the effects of gig economy jobs on the family dynamics. An incredibly impactful performance from all actors involved. The relatability of the expectations of low-paying jobs, being employed as an independent contractor, with no contract, no benefits, no days off, and steep financial penalties if targets are not met.

The set designs are well-balanced and the cinematography lacks any flashy stylistic direction, all feeding into the theme of lower-working-class poverty; the cheap furniture, the minimal lighting, the damp aesthetics, and the family photos posted along the walls; no signs of anything resembling art deco.

Sorry We Missed You is another film that I don't want to go into too much detail about, as I don't want to take away the impact that the movie has. This isn't a formulaic piece, and the third act doesn't go in the direction that you expect it to go. There is no payoff at the end, no satisfaction, but the story hasn't ended, and--with the state of capitalism--it likely never will. Sorry We Missed You is a reminder of the humanity of the workers of the gig economy. Next time your package arrives late, maybe have a little sympathy for the driver.  

THE WHISTLEBLOWER (2019)

Following a fatal accident, a Chinese expatriate working for a mining company in Australia discovers that new technology developed by the company may be a health risk, and investigates a web of conspiracies in his search for the truth.

Written and directed by one of the top Chinese film directors, Xiaolu Xue, The Whistleblower is an Australian-Chinese co-production that was given a limited international release. Another attempt to break into the western media with pro-Chinese messages, The Whistleblower is a misstep, after the success of the last Chinese production, The Wandering Earth.  

While the political leanings of the film are not immediately apparent, it does not take long before the Australian characters are readily tarred with the same brush as selfish, egomaniacal, capitalist villains; driven by profit. This is unlike the Chinese characters, who--no matter their transgressions--are the heroes and working in the effort of public safety. Similarities could be seen with the many films portraying relationships between the United States and Russia. Such films are clearly a sign of visual propaganda and prove to be a disappointing turn for the film when it started off rather unbiased (such as how it highlighted the "smog" issues in China, but twists events into a positive correction).

As far as the story goes, it is quite predictable from the very start. Every step is forecast well in advance, and it does reduce the tension being built up. On a positive note, however, the action that occurs in the film is well-grounded. There are no super-powered abilities on display, no unnatural feats of strength or powers. This does help make up for that reduction in tension from the predictable story, by still managing to put our protagonists into situations that aren't world-ending but are still potentially deadly situations for the characters. The tone of the film is inconsistent though, and in the final act, this crime drama turns into an Ocean's Eleven style heist with little set-up at all.

The main protagonists Mark (Jiayin Lei) and Zhou Siliang (Wei Tang) are an interesting choice in characters. Beyond their somewhat uncharacteristic drive to uncover the corporate conspiracies, there are very few redeeming characteristics for the characters at all. The family man that readily cheats on his wife while away at a work party, or the woman that readily cheats on her husband, is only concerned about money, and commits further worse transgressions and the film progresses. This is not a duo that the audience can readily empathise or relate with. The dialogue is not quite as over-the-top and cringeworthy as an Ip Man film, but the performances still come across as wooden and lack any real emotional power.

What the film highlights, is the complete difference in culture from the western and eastern perspectives. Improperly pronounced and spelt company names, constantly referring to the Chinese characters as the "Chinamen", or feeling the need to use blackface to break into ones own company premises. There are many instances where cultural sensitivity seems non-existent (let's not even talk about how Melbourne is portrayed in the film).

The Whistleblower is entertaining, but overall has a convoluted storyline that fails to have any depth to its vision. All of the expected tropes of an undercover conspiracy film are there, and the characters lack the necessary development to make the audience care. The locations are different from what is usually used, providing something slightly different from a visual perspective. From a narrative stance, The Whistleblower is mediocre at best. 

CATS (2019)

A tribe of cats must decide yearly which one will ascend to the Heaviside Layer and come back to a new life.

Cats, based on Andrew Lloyd Webber’s globally popular Cats Broadway musical, which in itself is based on Old Possum’s Book of Practical Cats, a collection of light poems by T. S. Eliot. Its adaptation to the big screen was one of Hollywood’s best-kept secrets until right before the first trailer dropped, and what a surprise that was. Not only was the adaptation unexpected, unwanted, and unwarranted, the special effects and character designs were so abhorrent that the studio underwent an “overhaul” of the effects prior to the release of the second trailer. It has since been released overseas (only opening in cinemas in New Zealand on Boxing Day) but received such a poor reception from critics, that it underwent another “improvement” of the special effects while still in theatres.

Cats is a prime example of a director not understanding the medium. With Tom Hooper having directed the 2012 musical film Les Misérables, he should be an expert in understanding the differences between the mediums of Broadway Theatre and Cinematic Theatre. With a Broadway musical, there are limitations in place; actions must be exaggerated, there is no sense of cinematography as the audience is only able to view the piece from one angle, and being done live, the visual aspect of costuming and set environments is extremely limited. The appeal of theatre is managing to do a lot, and convey those emotions and story without the big budgets or CGI. On the other hand, film has the advantages of being able to put a camera anywhere and make use of the cinematography to bring emotional power through subtlety. In cinema, you can also design any kind of outfit, character, or set design. The limitations of live theatrical performances do not exist in cinema, which is why an audience would expect something on a much grander scale when something to the pedigree of Cats is being adapted into an unrestricted medium.

What the audience end up with is a feature film that is set out to reproduce a bad acid trip. The cats in Cats are supposed to be actual cats (something that Broadway has limited ways of visually showing) but despite the ability to create any form of character design, Cats has created these bizarre half-naked feline-human hybrids. You look at their heads from above and they do look like real cats, but face them from the front, and the monstrosities are far less palatable. The opening scenes of the film combine a dizzying haphazard style of cinematography, with poorly done wire-work, a spine-tinglingly creepy and dissonant musical score to create a completely nightmarish fever dream. When you have more convincing deepfake videos, you know there has been some pretty indecisive minds in the creative department.

With inconsistent CGI, the faces of the actors are attached to their bodies with varying degrees of quality in execution. The faces are one of the big faux pa’s as it seems, creating a visually pleasing experience for the audience seems less of a priority than making sure we are aware that there are some big names involved. In reality, the idea of watching James Corden, Judi Dench, Jason Derulo, Idris Elba, Jennifer Hudson, Ian McKellen, Taylor Swift, and Rebel Wilson dancing around in flesh coloured morph suits would be just as off-putting as some of the set-pieces put together in this film.

In fact, having well-known faces seems more important than choosing people that are able to dance, sing or act, creating a cacophony of tones, as every character brings their own style due to the limitations of their own abilities. Yes, Dame Judi Dench looks swell as Old Deuteronomy, but her singing abilities are lacking and stall the pacing of the film (especially when nothing else is going on onscreen). Sir Ian McKellen suffers from a similar fate, while Jason Derulo looks more out of place than a male stripper at a five-year-old’s birthday party. Rebel Wilson is…well…Rebel Wilson; she plays the same uncoordinated source of physical humour that she always does. In one scene Idris Elba just looks like a greased-up naked man. 

The standout performances actually end up coming from Robbie Fairchild and Francesca Hayward. Fairchild who oozes with charisma, a smooth singing voice, and quick moves. Hayward, on the other hand, perfectly encapsulates that naivety and innocence, her eyes capable of perfectly conveying a wide range of emotions, from fear to an inescapable sense of wonder. Her performance is mesmerizing, her movements somewhat seductive, and she steals the spotlight every chance that she gets. Her experience as a principal dancer in the Royal Ballet at Covent Garden is plain to see, and is a delight to watch.

The story is exactly that of the musical, and offers nothing new in that regard; the same characters are put forward, with the same personality traits--though some genders are swapped around, not that it affects the story at all. It would be difficult to derail the story, as there is no real plot to follow. A series of introductory songs for each of the cats provide the basis of the bulk of the story. There is little to get emotionally invested in, as little happens outside of these introductory song-and-dances, with no real physical threat provided. Jennifer Hudson’s character Grizabella gets the most character development and does pull off an emotional performance of the song “Memory”, even though the outcome was obvious from the very beginning of the film.  

Despite some incredibly off-putting and unusual sequences, Cats was actually a fun film to watch. Not because of an engaging story, but because of some highly questionable design choices, that come across as a comedic house of horrors. A disturbing attempt at cuteness, Cats is laughable as a serious piece, but weird enough to get some enjoyment from. In that regards, the novelty does wear off after a while, and the third act does begin to drag, but for the first two acts, the descent into madness manages to keep you watching (for all the wrong reasons).

JUMANJI: THE NEXT LEVEL (2019)

When Spencer goes back into the fantastical world of Jumanji, pals Martha, Fridge and Bethany re-enter the game to bring him home. But the game is now broken -- and fighting back. Everything the friends know about Jumanji is about to change, as they soon discover there's more obstacles and more danger to overcome.

While reboot/ remake/ sequel of the original Jumanji was something that nobody asked for or wanted (RIP Robin Williams), it's true that Jake Kasdan managed to bring something fresh to the premise with Jumanji: Welcome to the Jungle. Kasdan returns for the follow-up sequel to the reboot/ remake/ sequel (requel?) and brings back Scott Rosenberg and Jeff Pinkner to write the screenplay.

Welcome to the Jungle managed to bring something fresh to the premise, but Jumanji: The Next Level would have to do just that and take this follow-up sequel to the next level in order to keep the franchise fresh; either incorporating new story and game mechanics or by simply increasing the scale of the action. The Next Level does a bit of both. The surprise and intrigue--of what will happen--is lost as the audience is already fully aware of how the game is meant to work. The writers do give their audience the benefit of the doubt and incorporate a few comedic elements that only those familiar with its predecessor will fully appreciate.

The game Jumanji has been altered this time, and with the alterations come new characters, a new mission, and a couple of extra quirks in the game mechanics. The comedy relies heavily on the whole "person playing against their type" trope and does get overzealous with it at times, leaving the audience feeling tired with the whole concept by the third act. It is a highly successful method for getting laughs at the start of the film and does form the vast majority of the laughs. Additions to our cast of "real-life" characters are Grandpa Eddie and Milo Walker, a couple of geriatrics played by Danny DeVito and Danny Glover respectively. 

DeVito and Glover's performances are very entertaining, or should I say, Dwayne "The Rock" Johnson and Kevin Hart do a highly entertaining job of impersonating DeVito and Glover's characters. It works well because their mannerisms are very well known already and do not require a lot of development to be funny. Despite my reservations towards Kevin Hart's comedic abilities, he is really in his element here, and his toned-down performance works in his favour.

There is actually a surprising amount of character development going on in this film, which helps form a stronger sense of relatability with our characters. In the previous film, they were just kids in detention. Now we have that same group, with family members, a history, and some dramas to add to the mix. Karen Gillan has a much larger role this time around, almost taking on the leader role, and does a superb job with it.

The story is still much of the same, however, and Jumanji: The Next Level has a tendency to overuse jokes and tropes until the laughs have well and truly worn out. This does cause a lull in the pacing from time to time until the next action sequence comes together. In general, the pacing is well-done, and the film is a fun and entertaining watch. Jack Black, Rhys Darby, and Nick Jonas are pretty much the same as in the earlier film, but Awkwafina adds a new dimension, and Rory McCann is a more believable antagonist.

The CGI is inconsistent; really good at the close-up shots, but definitely looks fake and green-screened when you get more wide-angle shots. This does, however, take place in a video game, so you could call it intentional. Jumanji: The Next Level is nothing spectacular but is still full of energy, and a fun way to waste 123 minutes in the dark. Be prepared for a mid-credits scene that may show the direction of a final Jumanji film.

DEAD KIDS (2019)

A socially awkward teen bonds with a group of misfits who plot to abduct the school's arrogant rich kids - until their kidnapping scheme turns deadly.

Directed by Mikhail Red, Dead Kids is the first Netflix Original Filipino film to be released on the streaming platform and stars Khalil Ramos, Markus Paterson, Vance Larena, Kelvin Miranda, and Jan Silverio. The film utilises Taglish (a mix of English and Tagalog) which does mean the film requires subtitles to fully appreciate.

The tone of the film transitions as it progresses, starting off like any other coming-of-age young adult drama, with a bit of comedy mixed in. Focusing on this group of dead kids (a slang term for what American films would categorise as the "losers" or British would call "misfits"), we have a generic story about this bullied group taking revenge on the popular jock-like students that have harassed them over the years. As we get into the third act, however, things take a much darker turn as their ineptitude start to cause rifts.

The main group of characters are poorly developed, with only one or two personality quirks that define their characters and motivations (if they are even lucky enough to have one. The main protagonist that we are given to relate to is Mark Santa Maria (played by Kelvin Miranda), yet his character is simply defined by the fact that he is poor, likes a girl, and gets bullied, and he gets the most development of all of the characters. 

There is a subplot in the film that would have brought in an interesting perspective, looking at the effects of class differences between the rich and poor, but the plotline remains largely unresolved. Vance Larena's character of Charles Blanco is potentially the most intriguing character of the group and ties into this sub-element, with a great portrayal of a strong and silent type that has a history with untold trauma. 

While it is safe to say that the third act switches in tone and tries to avoid the predictable tropes, from a narrative standpoint, the story and structure collapse completely as if the screenplay writer had no idea how to end the film. Initially, it does work well as it fits in with the mantra of Sun Tzu's Art of War and the Benjamin Franklin quote, where if you fail to plan, you are planning to fail.

Peculiarly, the female characters in the film are sidelined, with very little to do in the film, the two characters taking up potentially 5 minutes of screentime combined, wasting a great potential source of character development.

Dead Kids puts forth an interesting twist on the usual young adult high school dramas. While the narrative falls apart in the end, it still manages to keep the intrigue until the very end. It would have benefited from an additional 10-20 minutes to runtime to flesh out the ending, as this was where the supposed "thriller" element came into play. But all in all, it was still an adequate flick.

HAPPY NEW YEAR, COLIN BURSTEAD (2018)

Colin hires a lavish country manor for his extended family to celebrate New Year. Unfortunately for Colin his position of power in the family is under serious threat from the arrival of his estranged brother David.

Directed by Ben Wheatley, Happy New Year, Colin Burstead is a comedy-drama so thick of pervasive hostility that is could instead be categorised as a comedic tragedy. As writer, editor, and director, Ben Wheatley retains full creative control of this venture, and intentionally narrows the scope of the film to revolve around a single family and location.

In a similar storytelling narrative to that of his previous films (especially 2015’s High-Rise which starred Tom Hiddleston), Happy New Year, Colin Burstead comes across as an observational character study, rather than a story with a clear plot bearing. The premise is simple enough, a power struggle at a family event, between a group of individuals so dysfunctional that they make Family Guy and South Park look wholesome. Individuals, because this unabashedly British cast are so ethnically diverse and lacking of onscreen chemistry that the relationships feel inauthentic.

The family members themselves are a large group of heinous individuals. Displaying various levels of guilt, grudges, pettiness, and an overwhelming sense of presence due to obligation, this is a group of people that are overwhelmingly negative, not a single likeable character among them, and when so few of the characters want to be there, it begs the question; why are we watching this? Coming from a small family (in this country, at least), this reviewer had trouble relating to the large number of unlikeable characters that had no narrative direction, because I have had no dramas with my own family to that extent. Never have I felt absolute dread when it came to family events and occasions.

There is little that goes on in the film from the perspective of physical events; very dialogue-driven. You could adapt it to a radio soap with relative ease, and as such, there is much more to gain from the film if you can relate to the concept of tense family events, otherwise there is little for the audience to latch on to. This is a prime example of something better suited for theatre, where exaggerated dialogue and gesticulation thrive, and the cinematography and environments have no effect on the end product.

As far as themes go, Happy New Year, Colin Burstead asks the audience to look at the real consequences of scandalous family events. As with any gathering that involves alcohol, internal feelings become external feelings, and often it will reveal itself in an exaggerated manner at some point. Happy New Year, Colin Burstead toys with the concept that this release and communication of anger, resentment, and hostility is healthy, and necessary to overcome the issues that have a tendency to break families. This is not a film about the hatred these people have for each other; nay, this is a film about the underlying love and strength that the family unit has together.

An aspect that draws attention to the weak narrative direction, is the presence of secondary characters and subplots that remain unresolved at the conclusion of the film. The overall level of drama, combined with the breadth of characters and unsettled storylines does give the genuine tone of a dysfunctional family event, but from a structural perspective, Happy New Year, Colin Burstead gives the impression that it is an extended pilot for a television series, rather than a specific feature film.

Being British in nature, the style of comedy is concurrently crass, subtle and pretentious, which will struggle to gain wide appeal from the mainstream movie audiences. Indie and lo-fi in vibe, this dialogue-heavy feature is more likely to appeal to arthouse critics.

PEANUT BUTTER FALCON (2019)

After running away from a residential nursing home to pursue his dream of becoming a pro wrestler, a man who has Down syndrome befriends an outlaw who becomes his coach and ally.

There is something to be said for actors with Down Syndrome. They are exceptional at conveying a sense of naivety, innocence, and uninhibited joy. Stevie Payne was one of the standout performances in Ride Like A Girl; and in Peanut Butter Falcon, Zack Gottsagen manages to form the heart of the film.

Peanut Butter Falcon is the directorial debut of Tyler Nilson and Michael Schwartz, with a screenplay that they have both also written. Inspired by Mark Twain's The Adventures of Huckleberry Finn, Peanut Butter Falcon is a simple story with a beautiful message, portrayed in a very engaging manner. The film revolves around the characters of Zak (Gottsagen) and Tyler (Shia LeBeouf), two individuals from two different walks of life, searching for something. Zak, who wants above all else to be a professional wrestler, and Tyler, who wants to catch a break and have a fresh start somewhere. 

What the film does really well, is its treatment of Zak's Down Syndrome in the film. Tyler at no point treats him like a lesser person; there is no sign of condescension in his character. Like every other character, they have various qualities, skills, and personality quirks. Some helpful, some...not so much, but it's Tyler's positive character traits that lead him to help Zak try to achieve his goals. In fact, the characters in the film can be split into two categories, those that are actively trying to help Zak reach his goals, and those actively working against him doing so. The surprising thing is that the protagonists fall in both categories.

Both Shia LeBeouf's Tyler and Dakota Johnson's Eleanor want to do what is best for Zak, but they have completely opposing opinions on what that would entail. Such is the crux of the film, thematically speaking. If someone is afflicted with an intellectual disability, is that enough to demand that they remain institutionalized for the remainder of their life? To rob these young people of the opportunity to experience life, to have dreams and goals. And at what point are our attempts to constantly help them, treating them with the same disrespect as calling them a slur. There are some great quotes in this film that make you question your stance on a variety of ideas.

As far as the cinematography goes, you can see Michael Schwartz's experience in directing documentaries is coming in handy, with crisp and clear camera shots and lovely wide shots of scenery. No extensive colour grading required, the clean look of the film brings a sense of authenticity to the story. The pacing of the film is quite lethargic and meandering, often with little narrative direction. In many situations, this would make for a boring film, but these quiet moments are where we get the interactions between the characters and the majority of our character development. Little occurs in the film, and yet the audience is fully invested in the story because the characters are so charismatic and well fleshed-out. 

The antagonists in the film do create some tense moments from time to time, but the standout element of the film is its positivity and uplifting nature. The fact that Nilson and Schwartz wrote the screenplay specifically for Zack, who they met at a camp for actors with disabilities, inspired by his determination to achieve his goal, it all adds to the feel-good nature of Peanut Butter Falcon. 

Shia LaBeouf has flip-flopped throughout his acting career, with some great films (Borg vs. McEnroe, American Honey, or Fury), but also some shockingly bad ones too (the Transformers franchise, The Even Stevens Movie, of Eagle Eye), but It's exciting to say that this is one of his best performances to date. Reigning in his usual over-the-top performances, there is a strong emotional background to this character and his pairing with Gottsagen shows them as kindred spirits. 

Peanut Butter Falcon is a brilliant comedy, with heartwarming performances, and well-developed characters. Full of drama and charisma, this is a film not to be missed!

Peanut Butter Falcon is in theatres from December 26, 2019

TOGO (2019)

The story of the sled dog, Togo, who led the 1925 serum run, but was considered by most to be too small and weak to lead such an intense race.

What is the 1925 serum run? It sounds like a bunch of bandits trying to smuggle booze during the prohibition, doesn't it? The serum run is, however, something much more serious. In 1925, Nome was an old secluded town that existed purely because gold had been found there in the past. Not because of its accessibility to any other resources, infrastructure or roading. Not too much of an issue until a disease takes hold, and all of a sudden, you need those resources quickly. Combine that with a severe storm that wipes out any chance of early aircraft making a drop and you are left with only two options. Either send a man with a team of sled dogs to travel 938 miles in five and a half days through the Alaskan tundra in a major storm event to collect an anti-toxin, or allow 1000's to die from Diptheria.

A heck of a true story, that I would have actually loved to see in theatres. Unfortunately, this movie is only available on Disney's streaming platform, Disney+. Considering how poorly the CGI has been handled with their streaming movies to date (Lady and the Tramp and Noelle), there was justifiable cause for concern, knowing that much of the film was shot in the studio. Luckily, unlike the upcoming Call of the Wild--which will involve fully CGI dogs--Togo has 100% real canines (with no horrible CGI mouths). Real dogs, performing real stunts, showing evidence of real training. Because of this, Togo is a thrill to behold.

The film is directed by Ericson Core, who also does the cinematography. Now he has had some questionable titles in his filmography, having been involved in the 2003 Daredevil film and the 2015 Point Break remake, but let's not hold the man's past against him, because Togo is pretty invigorating and engaging. The film stars Willem Dafoe, and while he performs well, the film is not focused so much on his character, as it is on his character's dog, Togo. This is the type of quality that has been missing from Disney films as of late, because the dogs have been expertly trained. The strain, frustration, aggression, happiness and joy, the inquisitive and mischevious nature, it is all there on the faces of these puppers. It is as authentic as it can get. With some great scenes shot on location, you really feel like you are there alongside them as they toil away on their journey.

Granted, it isn't all shot on location (for obvious reasons), and some of the computer-generated environments leave a lot to be desired visually. Even on a small screen, it is very obvious as to what is real and what is not, but--to Core's credit--the cinematography and acting performances still keep you gripping the edge of your seat. When knuckle-deep in the action, Togo has your full attention, and you will find yourself holding your breath, and tensing up during many of the scenes. The film is not set up in a linear fashion though and ends up having to rebuild that tension every time we return to our main characters.

This is due to a lot of emphasis being placed on developing the relationships between Leonhard Seppala (Willem Dafoe), his wife Constance (Julianne Nicholson) and their pooch Togo. The relationships were not in the form that we saw in the opening scenes of the film, and the development is necessary to ensure that the audience is fully invested with the characters. The non-linear structure does have some downsides, however. Initially, it works well, with clear visual differences between the past and present timelines (the entire colour palette is different changing from blue-white to orange-brown), but this isn't simply one or two flashbacks. Frequently, the adventure is interrupted to show more tiny parts of their history, and as it progresses closer towards the present timeline, it gets harder to tell the two apart as they start to look visually similar. 

The film also interrupts the main story with present-day subplots and scenes with minor characters. It's almost as if Core was trying to find any way possible to limit the time spent on the present-day "adventure" portion of the story in order to reduce the budgetary needs. In a film that spans nearly two hours, we only get four set-pieces, which is rather lacking (in this reviewer's opinion).

There is always something so raw and powerful when you look at the emotional connections that are forged between dogs and their owners. Dafoe and Nicholson pull this off well, and Togo's dog actors seal the deal. I read up on the story of the 1925 Serum Run directly before watching this film, and yet I still found myself with teeth gritted, my breath caught, as I willed this team of sled dogs to fight on. There are no antagonists here, just some great character development and man and man's best friend go up against the elements. A vast improvement from the Disney+ Original roster.