Displaying items by tag: Mark Hammill

THE KING OF KINGS

South Korea/US, 2025, 100 minutes, Colour.

Voices of: Kenneth Branagh, Oscar Isaac, Uma Thurman, Pierce Brosnan, Mark Hamill, Forest Whitaker, Ben Kingsley, Jim Cummings, Roman Griffin Davis.

Directed by Seong-ho Jang.

Yes, the Gospel story. However, this film is an animation-dramatisation of a story by Charles Dickens, a story he wrote in the 1840s for his family, recited every Christmas by the author and read aloud in succeeding family generations, Dickens forbidding publication. However, in 1934, the family made it available over 60 years after the death of the author.

At the beginning of his story, Dickens wrote: My Dear Children, I am very anxious that you should know something about the History of Jesus Christ. For everybody ought to know about Him. No one ever lived who was so good, so kind, so gentle, and so sorry for all people who did wrong, or were in any way ill or miserable, as He was.

This film was made by a South Korean animator, Seong-go Jang, in Korean studios but uses the voices of some very talented English speakers, British and American.

Dickens told the story to his family and in this film he tells it to his younger son, Walter, quite a spirited boy, absorbed by stories of King Arthur, swords and dragons. And he disrupts his father’s presentation on stage of Scrooge and A Christmas Carol.  s Dickens’ sympathetic wife urges him to tell the Gospel story, the young boy becoming more and more interested, initially wanting kings and dragons, but drawn into the story and following the person of Jesus. And, all the while, accompanied by his mischievous cat.

Which means that this is definitely a film for the younger audiences, but could be a pleasure for the whole family.

The animation style is vivid, the characters, the backgrounds, sometimes gently quiet with Jesus healing, with the apostles, at other times very vivid, especially Jesus walking on the water in the overwhelming storm. A great deal of the time is given to the Last Supper, the agony in the garden, Judas betrayal, uses trial and Caiaphas and Pilate, the crucifixion. Audiences who enjoy animation stories like this style and treatment.

But, a key element of the screenplay is having the young boy enter into all the action, observing close-up, being with Jesus, listening, watching, admiring, dismayed… And, at times, Dickens himself comes with his son into the action, close-up, and all the while with Kenneth Branagh’s narration as Dickens. The device of having Walter within the Gospel story is a great means for younger audiences also entering in, identifying, learning about Jesus and his story with a devout theme-highlighting commentary by Dickens.

St Ignatius Loyola founder of the Jesuits, would probably endorse this film. In his Spiritual Exercises, he urges those making retreats, or at any time with gospel contemplations, to enter into the scene, to be there, to experience the Gospels. And, a great challenge to those on retreat is to ask them where they are in the scene, at a distance observing, or very close to Jesus. This film dramatises what this closeness could be like.

The voice cast is very strong, not only Kenneth Branagh, but Uma Thurman as his wife, Mark Hamill is an extraordinarily rambunctious and King Herod pantomime-like , Ben Kingsley is a thundering villainous high priest, Caiaphas, Pierce Brosnan is a disdainful Pontius Pilate – and Oscar Isaac is Jesus.

In 2000, the animated film, The Miracle Maker, with Ralph Fiennes as the voice of Jesus, was very successful in portraying the Gospel stories. Now, The King of Kings is a very welcome addition.

1. How successful as a Gospel film? This, the range of the Gospel episodes?
2. Charles Dickens’ story, for his family, here for his son, the urging of his wife?
3. The style of animation, from South Korea, the quality of the voice cast?
4. The opening, A Christmas Carol, the story of Scrooge, Dickens in the theatre, interrupted by his son, Walter, King Arthur, dragons and sword, stubborn in reacting to his father, the cat, all the disruption, the pages scattered and torn? The audience watching, Walter and the cat? Dickens and his response?
5. Dickens, his patient wife, urging Dickens to tell the story of the Gospels? Dickens own appreciation of the Gospel story, his admiration for Jesus, the tone of his narrative in telling the story?
6. The visuals, journey to Bethlehem, the appearance of the angels, shepherds and magi, Herod and his overreaction, the indications of persecution of the innocent children, the flight into Egypt, Jesus growing up, the return to Galilee, the finding in the temple, Jesus emerging as an adult.
7. The device of having Walter go into the action, with his cat, gradually understanding, becoming involved, emotions, observing and then becoming very close to Jesus?
8. The familiar gospel sequences of Jesus’ public life, the elaborate temptations in the desert, the choosing of the apostles, Peter and the fishing, the healing of the crippled man, the casting out of the Demon, Jesus’ encounters, Mary and the request about Lazarus, the raising of Lazarus, the anointing of Jesus, the complaints of Judas, the entry into Jerusalem, building up the picture of Jesus? Especially the dramatisation of Jesus walking on the water, Peter and his walking, drowning, appeal to Jesus?
9. The Last Supper, Agony in the Garden, Judas and his deal with kindness, the reaction of the scribes and Pharisees, planning to kill Jesus, this, the emphasis on healing the servant’s ear with Peter and the sword, the trial and Caiaphas thundering, rousing the crowd, the choice between Barabbas and Jesus, Pontius Pilate washing his hands, scourging, crowning with thorns, the way to Calvary, the crucifixion, the thieves and the good thief, Jesus’ death? The importance of the resurrection?
10. Dickens entering into the scenes with his son? The effect of the story on Walter, sharing it with the other children?
11. The telling of the Gospel stories with an appeal to the children’s audience and to families?

THE WILD ROBOT

US, 2024, 101 minutes, Colour.

Voices of: Lupita Nyong’o, Pedro Pascal, Kit Connor, Bill Nighy, Stephanie Hsu, Matt Berry, Ving Rhames, Mark Hamill, Catherine O'Hara.

Directed by Chris Sanders.

Fans of Peter Brown’s 2016 illustrated novel, The Wild Robot, will be delighted to see this film version. In fact, delight has been the response of audiences – and also of many critics.

We are definitely in the 21^st-century with an animated family film focusing on a robot – although, Peter Brown in his detailed blog on the Internet about his writing his book over a period of eight years, has many interesting observations about origins of writing about robots as far back as the 1920s. But, to have a children’s film focusing on a robot, very much of our times. (And these years there are many films for adults with dramatic stories about androids and humans being served and protected by them as well as stories of betrayals.)

In trying to describe the perspectives of The Wild Robot, it could be said on the one hand that the picture of nature, animals in the forests, their personalities, is in the Disney tradition, especially of Bambi. And, on the other hand, the picture of robots, technology, artificial intelligence, is very much a contemporary perspective.

And, a robot in the wild, a robot whose name comes from her code initials, abbreviated to Roz, and the machine a female voice by Lupita Nyong’o. A shipwreck, Roz stranded, re-booted, the strong sense of mission (and her repeating her promotion instructions aloud). Needless to say, the wide range of animals, all enjoyably portrayed, do not respond well, fearful.

But, that is just the beginning. Two engaging characters emerge, a little Gosling bereft of family who gets the nickname Brightbird (Kit Connor) and an engaging fox, Fink (Pedro Pascal enjoying himself) whom nobody likes but who becomes a great favourite with the audience.

In fact, there is plenty of plot, Roz teaching the Gosling how to lie while looked down on by the rest of the geese; the bird migration led by the wise Longneck (Bill Nigh); some misunderstandings, some reconciliations, and Roz finally affirmed by the animals as she is able to help them in a very cold hibernation.

And, there is more with the robots, contact with the company, some ruthless executives, wanting to control Roz. While robots have no emotions, Roz learns more and more from her animal friends, standing up for herself and for them.

The film has been written and directed by Chris Sanders, best known for The Crudes series and, especially, charming action story, How to Train Your Dragon. Here he has been able to appeal to younger audiences with a great deal to interest and entertain an adult audience.

1. Family-friendly animation, style, story, characters? Musical score?
2. 21^st-century, robots, artificial intelligence, techno developments? And memories of past animation, animals, the forests? The combination?
3. The situation, the future, robots, the storm, the destruction, Roz stranded, programmed, promoting her services? The female voice? The encounter with the bear, the crushing of the geese, the survival of the Gosling, befriending it, training it, calling it Brightbill? The Fox, Fink, on the outer, yet bonding, helping with Brightbill? The possum, guides of how to mother they Gosling? But fear from the other geese?
4. The range of animals in the forest, memories of Disney animals and Bambi? The fear of Roz? The importance of Brockville learning to fly, to swim, the training, eventual success?
5. Brightbill, personality, growing, succeeding, information about Roz and the loss of his family? Hostility? The preparation for the migration, the role of Longneck? Brightbill and his agitation? The geese flying, the storm, taking refuge in the robot headquarters, the clashes and persecution, Brightbill not afraid, leading them to safety? Longneck sacrificing himself?
6. The hibernation, the animals going into hibernation, Roz helping, their bonding with Roz? The squabbling, fights, traditions, Fink and his mediating? The episode with the bear?
7. Roz, trying to reactivate, the links with the headquarters, the response at headquarters, the head, sending robots, locating Roz, the attack on the animals, the fight back, the fire?
8. The geese returning, Brightbill, reconciliation with Roz?
9. Roz, agreeing to leave, going back to the headquarters, working in the greenhouse, Brightbill and his visit, but her still having her emotional responses?
10. The family friendly story about technology, operation by exploiters, but possibilities for harmony and peace?