auguy86: Blog

Greetings, intrepid readers! M. H. Barton here with another blog on the art and craft of storytelling. Apologies for the three-month absence. A combination of potty training a three-year-old and playing The Legend of Zelda: Tears of the Kingdom ate up much of my writing time. But now, I’m back. I may shift to only blogging monthly instead of biweekly, but we’ll see how it goes.

Today, I wanted to take a look at one of my favorite movie types out there: animated films. Specifically, I’ll be ranking my ten animated films of all time. Now, animation has been around for more than a century, but the benchmark for what makes a great animated film has changed over time, especially as animation techniques have evolved. Accordingly, the animated features in this list all come from the last 35 years. That is meant as no disrespect to the older animated films, which built the foundation on which modern animation stands. Rather, it’s a simple admission of fact that storytelling in animation has grown by leaps and bounds since the art form’s humble beginnings. Again, this is simply my opinion, so feel free to disagree. Anyway, you know how this works by now. On with the show!

Number Ten: The Nightmare Before Christmas (1993)

I’ll start off the list with probably the greatest film made purely with stop-motion animation. While stop-motion was nothing new, having been used in some form before even hand-drawn animation, the technique had never been used to this scale until Tim Burton’s 1993 classic. Innovative doesn’t begin to describe the film and story, though the Walt Disney Company was nervous enough that it released it under the Touchstone logo, rather than as an official Disney film. After all, where previous stop-motion outings usually involved kid-friend “Claymation” stories, as seen in the Rankin/Bass Christmas specials, this new take on stop-motion told a story that was equal parts whimsical and creepy. Still, it wasn’t just the animation that made this film so amazing. The story is well-written, the songs are surprisingly catchy, and the voice cast is absolutely stellar, even if not filled with A-list actors. Nightmare definitely grabs you from the get-go with its eye-popping visuals, but it’s the surprisingly heartwarming story of “you don’t know what you’ve got until it’s gone” that lands it on this list.

Number Nine: How to Train Your Dragon (2010)

DreamWorks Animation has frequently been seen as a second banana to Disney, but when they get it right, they really get it right. With respect to a certain green ogre, I believe this film is their crowning achievement in storytelling. With an excellent cast that includes Jay Baruchel, America Ferrera, and Gerard Butler, it was easy for DreamWorks to immerse the audience in a fantasy world populated by Vikings and dragons. But even with the massive advancements in CGI animation by 2010, the strength of this film is the down-to-earth story lurking beneath the stunning visuals. We first think it will be a father-son story between Baruchel’s Hiccup and Butler’s Stoick, but the story soon veers off in a direction of discovery and friendship between Hiccup and a fearsome young dragon named Toothless. This budding friendship serves the story extremely well, as Hiccup’s awkward tendencies play well with the cat-like behaviors Toothless displays. The story’s tension ramps up dramatically when Hiccup decides to try and change the way his fellow Vikings view dragons, leading to a dazzling and emotional climax. DreamWorks has always known how to tug at the heartstrings with its stories, and this gem is a prime example.

Number Eight: Beauty and the Beast (1991)

The first official Disney film on the list, Beauty and the Beast is often acclaimed as one of the best of the Disney Renaissance era. While The Little Mermaid began the Renaissance, this is the film that perfected Disney’s formula. Not only is it probably the best princess fairy tale in Disney’s library, but it also received an Oscar nomination for Best Picture. This was unheard of for animated films, especially with there being no award for Best Animated Picture at that time. The film features amazing visuals which combine hand-drawn scenes with bits of CGI, some of the best Disney songs of all time, and perfectly realized characters that fit the story’s style. Seriously, Beast and Gaston are a wonderful juxtaposition of outer beauty versus inner beauty. And I haven’t even gotten to Belle, a heroine who is one of the best role models of all the Disney princesses. Kind, well-read, and patient to a fault, Belle is everything an animated heroine aspires to be. There’s not much else to say about this film. It was an easy choice for this ranking.

Number Seven: Toy Story (1995)

Talk about breaking the mold! The maiden voyage for Pixar Studios was a smash success, being the first entirely CGI animated film. Though the graphics are a little dated by modern standards, Woody and Buzz Lightyear are such an iconic pair of characters that it hardly matters. The perfect voice cast only sells this movie further, headlined by Tom Hanks and Tim Allen. The story is heartwarming, the humor is spot-on, and even the music fits the tone of the film. For a movie that was so experimental at the time, it managed to succeed in so many ways, establishing the vital tropes that have made Pixar into one of the top animation studios of all time. All of their headier stories couldn’t have existed but for Toy Story. To infinity and beyond!

Number Six: Princess Mononoke (1997)

Japanese animation is almost its own category of visuals and storytelling, but a few examples are so universally beloved that they transcend national borders. The films of Studio Ghibli are the preeminent examples of this. In addition, there are poor souls out there who believe animated films are only for kids. I always point them to this Hayao Miazaki masterpiece as proof of the contrary. This gritty, violent fantasy adventure does so many impossible things flawlessly. The protagonist, Ashitaka, is tortured yet likable. He stumbles into a war over complex environmental issues in which both sides can seem sympathetic and detestable at the same time. Different types of antagonists present conflicting obstacles for the protagonist to overcome – Minnie Driver’s portrayal of Lady Eboshi is a particular standout. And just when all hope seems lost, Ashitaka uses all he has learned on his journey to bring about an end to the war and a somewhat positive outcome for the various factions. Miazaki manages to tightrope-walk many difficult lines in this story, yet he does so with amazing grace and poetry. He tackles complex and controversial themes in such a way that the story speaks to viewers of all backgrounds and philosophical bends. That is the true mark of a master, and this isn’t even the last Miazaki film on this list. (This was almost a ranking of Studio Ghibli films. Let me know if you’d be interested in that ranking!)

Number Five: Coco (2017)

One of my favorite stories of all time, Coco is a brilliant fantasy reimagining of the Mexican Day of the Dead. Interestingly, this is the only Pixar film to actually be a musical, something they usually leave for official Disney releases. But for the story that’s being told, it couldn’t be any other way. Music is such an important part of this story, featuring a boy who desperately wants to be a mariachi singer despite his music-hating family. The music further contributes to the story’s themes of family, redemption, and what it means to be remembered after death, creating a magical setting unlike anything I’ve ever seen. And that climax. Seriously, if the final scene between Miguel and Coco doesn’t make you cry, you don’t have a soul. This is musical storytelling at its absolute finest.

Number Four: Spider-Man: Into the Spider-Verse (2018)

Multiverse movies are very popular here in 2023, but so few of them get it right. This one, however, does nearly everything right, despite my initial reaction to the trailer. It was a heady concept, a film starring a Spider-Man not named Peter Parker and having him team up with other non-Peter Parker Spider-People from other universes. I never thought it could have widespread appeal, but was I ever wrong. Oh, and the animation style is so different from anything else out there, be it CGI or hand-drawn animation. It looks like a literal comic book come to life. The fact that it caught on and became arguably the best multiverse story ever put to film is such an achievement, and it did it by focusing on character growth before multiverse gimmicks. This isn’t a story about the multiverse. This is a story about Miles, the other Spider-People, and how they deal with their vast differences after the multiverse forces them together. Characters and stories always come first in successful stories, no matter the medium. This film could make the case to be the best superhero movie of them all, if not for…

Number Three: The Incredibles (2004)

Pixar has reached some incredible (hah) heights through the years, but none have equaled this triumph, at least in my mind. As with Spider-Verse, this is a superhero movie more focused on the people behind the masks than their heroic personas. Bob and Helen Parr are just iconic as a married couple trying to raise three kids after being forced to retire from superheroing. Syndrome is one of the best movie villains of all time, in my opinion – a fanboy gone bad. Supporting roles from Samuel L. Jackson and director Brad Bird are glorious. (Where’s my super suit?!) This film celebrates, subverts, and pokes fun at the famous tropes from superhero films as well as family dramas. Hell, the big fight against the Omnidroid features the family literally passing a remote control back and forth! But what makes this film special is that Pixar heart. Bob is strong enough to move buildings, but not to face the chance of losing his family. Helen can stretch in so many super ways, but not when it comes to her marriage. Even with the MCU and the Dark Knight trilogy, this film might still be the best superhero movie ever made and definitely earns its crown as Pixar’s masterpiece.

Number Two: Spirited Away (2001)

While I may prefer Princess Mononoke, I have no trouble admitting the objective truth that this film is Hayao Miazaki’s greatest achievement. He’s an amazing storyteller, able to balance the fantastic and the subtle all at once, often in the same scene! While the type of fantasy story told in this film does feel familiar, being reminiscent of Alice in Wonderland, the stunning visuals and strong themes put it in a class all its own. Loss of innocence, knowing oneself, temperance, consumerism, the environment, and ancient Japanese traditions all feature in some capacity throughout the narrative. That seems like it would be too much weight for any one story to bear, but Miazaki handles it effortlessly in a story that’s just as enjoyable and fun as it is deep and poetic. I can’t say enough about this tour de force. If one only watches a single piece of Japanese animation in one’s entire life, it must be this one.

Before my number one pick, let’s do a few…

Honorable Mentions

Shrek (2001)

It took DreamWorks a bit to find its footing, but it finally struck gold with this subversive fairy tale. I’m not a big fan of this one personally, but I can definitely admit how important and influential it was for animated films as they moved into the new millennium. And the vocal performances by Mike Myers and Eddie Murphy are often praised as some of the best in the history of animation.

Despicable Me (2010)

As an adoptive dad myself, I had to include this gem of a film. Easily the best film Illumination has ever produced, (Though Mario might have something to say about that) this one took the popular trope of “villain becomes a hero” and perfected it. Megamind and Wreck-It Ralph are both great, but neither can top Felonius Gru and his three adorable adopted daughters.

Aladdin (1992)

Growing up in the 90s, Aladdin was my main man! Yes, I’m biased, but this film is also considered by many to be one of the best of the Disney Renaissance. Not to mention it features the single greatest voice acting job of all time in Robin Williams bringing the Genie of the Lamp to life. Rest in peace, Robin. Rest in peace.

Up (2009)

Pixar has always known how to bring out the feels, but this one is something else altogether. Beware the first fifteen minutes of this gorgeous story. Not for those with a weak constitution, especially if you’re a romantic like me. Nonetheless, this tale of adventure, redemption, and second chances is up there in the pantheon of Pixar greats.

Fantasia (1940)

The only old film I’m including, largely because I’m a classical music buff. This was such a cool concept, setting famous symphonies and concertos to Disney animated shorts. I just wish they had managed to keep to their original plan of updating it with new segments every ten years or so. Alas.

With that, let’s reveal the winner.

Number One: The Lion King (1994)

Could it have been anything else? As I made this list, I found that Spirited Away was the only real threat to unseat Disney’s crown jewel. It was a very close call, but an American like me is usually going to give the edge to this one. While the film has detractors claiming it to be overrated, (Some say it rips off Kimba the White Lion) I’m in the camp that believes it absolutely lives up to the hype. The story and characters are downright Shakespearean, carrying a striking number of similarities to Hamlet. And the cast. My god, the cast is spectacular. Jonathan Taylor Thomas and Matthew Broderick as Simba, James Earl Jones as Mufasa, Rowan Atkinson (Mr. Bean) as Zazu, Nathan Lane as Timon, and Jeremy Irons as the greatest Disney villain of them all, Scar. Hell, we even get Whoopi Goldberg, Cheech Marin, and Jim Cummings as the bumbling henchmen! There was not a hair out of place as Disney crafted this film, from the voices and animation to the legendary score from Tim Rice, Elton John, and Hans Zimmer. It’s no wonder this is one of the most popular of Disney’s films for derivations, be it TV shows, sequels, prequels, remakes, or one of the best Broadway stage musicals I’ve ever seen in my life. All of these things speak to the universal story of growth Disney tells in this incredible movie. Through the long history of animated storytelling, this film remains the gold standard. Simba’s epic adventure is truly king.

And that’s going to do it for this ranking. Animation really is a unique storytelling medium and one that I’m always happy to explore in depth. Of course, I’d love to know what you think. Did I hit the mark? Miss any big ones? Feel free to let me know in the comments or reach out directly, especially if you have any ideas or requests for future entries. I’ve got an active running list of ideas, but I’m always open to more. I’d appreciate it if you’d leave a like and share this post on social media. And to stay up to date on future blog posts, you can sign up for my monthly newsletter on my website. Until the next story!

Greetings, intrepid readers! M. H. Barton here with another blog on the art and craft of storytelling. Today, I wanted to explore something in writing that most authors, especially myself, struggle with: showing instead of telling. It can be difficult, as we authors can always get into a groove and start writing a long, boring infodump instead of introducing the same information organically. But how do we do that effectively? To answer that question, I’m going to take a detailed look at the 2019 Marvel film, Captain Marvel, which is a movie I believe did too much telling and not enough showing. I’ll be going over almost all major plot details, so spoiler alert if you haven’t seen this one yet. Anyway, not much introduction needed for this topic, so let’s get into it!

For starters, Captain Marvel was a film I was insanely hyped for back in 2019. Infinity War had just ended on a cliffhanger but gave the promise of Carol Danvers, AKA Captain Marvel, coming to save the day. Of course, we first had to meet the character in a solo film telling her origin story. During pre-production, I remained optimistic due to the excellent ensemble cast and the fact that Brie Larson was the spitting image of Carol Danvers from the comics. Once the movie came out, however, I felt somewhat underwhelmed. It was a good movie, yes, but it hadn’t felt nearly as satisfying as other Marvel origin stories, such as Iron Man, Captain America: The First Avenger, and Guardians of the Galaxy. The supporting cast was very strong, particularly Samuel L. Jackson, Ben Mendelsohn, and Jude Law. I liked many of the new elements, such as the expansion of the Kree and the introduction of their enemies, the Skrulls. And, as usual, the comedic elements were spot-on. Goose the Cat (actually an alien creature known as a Flerken) is one of the best cute sidekicks in the MCU. So why was it underwhelming?

At first, I thought the reason was Brie Larson as Carol Danvers. I found her portrayal of the character wooden and boring, causing me to question if she was the right actress for the job. But as I watched the movie once or twice more, I realized that the actress wasn’t the problem. The problem was the writing and direction. The overall trajectory of the story highlights a number of questionable decisions made by the creative team. These decisions begin to show the story’s weaknesses.

First, the creative team decided to keep secret the fact that Carol Danvers, known for about half of the movie as Vers, is not a Kree. Instead, she is a human imbued with superhuman abilities due to alien technology and an infusion of Kree blood. This alone presents a problem because these facts alone are part of the core character of Carol Danvers from the comic books. Anyone who knows anything about her knows that she is a human who gained superpowers through an explosion of alien tech. This is the equivalent of making a film about Batman while keeping a secret until the climax that Batman is actually Bruce Wayne. Anyone who knows anything about Batman knows that Batman is Bruce Wayne. Other characters may not know, but the audience knows from the start.

The other questionable decision was the creative choice to begin the story in an outer space setting before transitioning to Earth for most of the film. This introduces the character of Carol Danvers (Vers) to us in a setting that doesn’t show us who she really is. Think about some of the other Marvel films. Tony Stark is a genius inventor and engineer who obsesses over control. Steve Rogers is a wimpy kid who so desperately wants to be a soldier. Peter Quill, for all his space shenanigans, is ultimately that kid from Earth who just wants a family and to listen to all of his mom’s favorite songs. From the start, we know who these characters truly are, allowing the audience to root for them as they change and grow. But with Carol, her character has amnesia. We can tell that this space setting seems to be who she isn’t, but it doesn’t tell us anything about who she is. Thus, we’re left wondering and guessing, making it harder for us to root for her throughout the story.

In my mind, the story would have been better served to begin on Earth, briefly showing Carol’s life before the accident that empowered her and wiped her memory. This would ruin the “surprise” of her actually being a human but would allow the audience to see Carol Danvers for who she truly is before the adventure begins. We could see her sarcastic jokester side as she interacts with Maria Rambeau and Dr. Lawson. We could see her temper as she has to deal with the male pilots in the Air Force, itself a unique challenge alongside the natural stress of being a pilot. We could see her incredible determination and skill as a pilot in the action sequence leading up to the accident. And just as Dr. Lawson, really a Kree named Mar-Vell, is killed by Yon-Rogg and Carol destroys her ship, the scene cuts to black, shifting to where the film actually began. Though Carol now has amnesia and is working for the man who killed her friend and colleague, we know who she really is and can begin rooting for her to figure it out and return to her old self. We want to see Captain Marvel’s powers mixed with Carol’s sarcastic personality and incredible flying skills. That’s what we’re waiting for, and it would finally be rewarded at the climax of the story.

That’s all well and good, but this is only the beginning of the film’s mistakes of telling instead of showing. For example, we see Carol’s interactions with her boss, Yon-Rogg, throughout the first act of the film. No less than three or four times, Yon-Rogg tells her to control her emotions and not make rash decisions. Carol responds to this by… controlling her emotions and not making rash decisions. Both Yon-Rogg and Carol constantly tell us that she is emotional and reckless, but we never see it. The closest we come is Carol accidentally blasting Yon-Rogg in their sparring match, but it’s promptly forgotten by the end of the next scene. Other than this, nothing. Carol could have charged in to rescue a soldier during the mission on Torfa, but she doesn’t. Even with Carol’s amnesia, the creative team missed several great opportunities to show this instinctual side of her personality.

The sin of telling instead of showing reaches a fever pitch during what is meant to be the film’s emotional midpoint. Carol has reunited with her old Air Force friend, Maria, who helps fill in the gaps in her memory from her own experiences and with the missing black box from Carol’s crash years ago. Maria states:

“You are Carol Danvers. You were the woman on that black box risking her life to do the right thing. My best friend. Who supported me as a mother and a pilot when no one else did. You were smart, and funny, and a huge pain in the ass. And you were the most powerful person I knew, way before you could shoot fire through your fists.”

It’s meant to be a passionate and empowering speech, the moment where Vers finally reverts to being Carol Danvers. But for all its good intentions, this speech falls flat because, you guessed it, we never see Carol doing any of the things Maria says. We never see her and Maria interacting as best friends for any meaningful length of time. We never see her smarts, her wit, and her tendency to be a pain in the ass. We are told she’s always been powerful, but we aren’t shown. The best we get are short intermittent flashbacks of Carol’s life. A verbally abusive father, getting hit by a pitch in baseball, and her basic training in the Air Force are all shown, but only for brief moments. I get the point that these represent Carol slowly recovering snippets of her memory, but we don’t get any emotional fulfillment from them as short and lacking in context as they are.

This is the other thing Captain Marvel messes up on. While flashbacks and powerful monologues are good tools in storytelling, they must be sprinkled into the story at the proper moment. Captain Marvel uses them like a pair of crutches. Infodumps left and right, flashback bits to try and hint at Carol’s origins, but none of it works. None of it coalesces into a story about a person in the here and now. If Carol is a hero and is growing more heroic, we want to watch her progress. We want to see her get reckless, make mistakes, pick herself back up, and finally succeed, and we want to see these things done by the present Carol, not her past self. With each little moment where she acts a bit more like her old self, the audience becomes more invested and cheers even harder for her to wake up and reject Yon-Rogg.

That brings us to one of the biggest things I’ve realized that has helped me in showing instead of telling. When it comes to all our characters, but especially protagonists, there is the character they were, the character they are, and the character they grow into. Each can show parts of their personality, but in the end, the best growth must be shown in the character that is, not that was or will be. Show their personalities. Show them doing the things, making mistakes, picking themselves back up, and finally finding a way to succeed. Flashbacks and monologues can be helpful tools, but in the end, we must follow the words of Yoda. Try not. Do. Only by doing can we fully show who our characters are and who they can become.

That’s going to do it for this short blog entry. I hope my observations and musings will be helpful to you in your own writing efforts. Showing is a more difficult endeavor than telling, but the rewards for your characters and stories are well worth it. Of course, I’d love to know what you think. What helps you with this technique? Any films, shows, or books you use to help you? Feel free to let me know in the comments or reach out directly, especially if you have any ideas or requests for future entries. I’ve got an active running list of ideas, but I’m always open to more. I’d appreciate it if you’d leave a like and share this post on social media. And to stay up to date on future blog posts, you can sign up for my monthly newsletter on my website. Until the next story!

Greetings, intrepid readers! M. H. Barton here with another blog on the art and craft of storytelling. The wife and I got a babysitter recently and went to the movies, so I wanted to take the chance to do a full review of the film we saw while it’s still fresh on my mind. The movie is, of course, The Super Mario Bros. Movie from Universal Pictures and Illumination animation. This is a film that had a ton of hype from its initial announcement in 2018, yet also an understandable amount of concern from fans, given the absolute abomination that was the 1993 film Super Mario Bros. Thankfully, I was pleasantly surprised on all fronts by this new direction. Moreover, audiences worldwide seem to agree, as this is the greatest financial opening weekend for any film based on a video game ever made. But does that actually make The Super Mario Bros. Movie the best video game film ever made? We’ll discuss that. I’ll talk over plot details, so be warned if you haven’t seen the movie yet. After diving into every aspect of this movie, I’ll rank each with a score out of five. Anyway, enough rambling. Let’s-a-go!

Cast

Ok, let’s start with probably the most controversial part of the movie: the voice cast. From the beginning, fans were worried that the voice of Mario from the games, Charles Martinet, wouldn’t be voicing the character in the movie. Instead, Chris Pratt would be leading the ensemble voice cast. I will admit that I was among those concerned by this but decided to go in with an open mind. Ultimately, I’m very glad I did. Pratt did an excellent job in an unenviable task, voicing a Mario that had not yet gone through the crazy adventures we’ve experienced in the games. This Mario is a blue-collar plumber from Brooklyn, and it shows in Pratt’s vocal performance. It felt odd at first, but by the end of the film, he had grown on me significantly. For this version of the character, I’m comfortable saying that Chris Pratt is Mario.

The other voice actors earned their keep admirably, as well. Charlie Day is simply loveable as Luigi, able to bring out the character’s natural cowardice while also transitioning to a more heroic voice as Luigi grows through the story. Anya Taylor-Joy is excellent as Princess Peach, and she’s probably the biggest reason I decided to give Chris Pratt a fair chance. Taylor-Joy sounds nothing like Peach in the games, lacking the high-pitched girly voice, but nobody complained about this because she sounds exactly how a modern Princess Peach in a movie, not a game, should sound. If such a different take on Peach could work, I could give Pratt a chance to earn the role of Mario. Keegan-Michael Key is fine as Toad, though not particularly memorable. He didn’t distract any scenes with an annoying or out-of-place voice and had a couple of genuinely funny moments, so I consider that a win.

As for the other roles, Seth Rogen stated ahead of time that he wouldn’t be doing a voice for Donkey Kong, and that Donkey Kong would sound like him. I wasn’t sure about this, but hearing it in the film, it worked surprisingly well. Rogen and Pratt also play off each other as rivals for much of the story, adding depth to the characters. Then, of course, we need to talk about that dastardly criminal, Jack Black. Why is he a criminal? Because he steals every scene he’s in as the voice of Bowser! The cast does a good job overall, but Black’s performance is easily the standout, even working in a hilarious singing segment for Bowser. He perfectly captures the duality of the character, being genuinely menacing in one scene and goofy in the next. This is the essence of Bowser and has been for years. Jack Black was perfectly cast for the role.

Finally, I would be remiss if I failed to mention Charles Martinet, the aforementioned voice of both Mario and Luigi from the games. He plays two roles in the movie, one of which is a citizen of Brooklyn named Giuseppe who sounds exactly like Mario in the games. But better than this, the creative team made the excellent decision to have Martinet use his normal voice to bring to life Papa Mario, father to Mario and Luigi. That’s just the perfect way to bring this iconic voice actor into the cast, even if he wouldn’t be voicing Mario himself. Not gonna lie, that realization was one of my favorite moments of all.

Overall, I felt the voice cast did the hard work to bring these characters to life, and I think it worked quite well, especially with the strength of Black’s performance.

Rating: 4 out of 5

Visuals

For any animated film, visuals are always a vital part of how memorable the film is. Illumination has honed its style over the years, and this might be its most gorgeous film yet. As anyone who’s played a game in the Mario franchise can attest, the visual depictions of the worlds Mario travels to are incredible. The Mushroom Kingdom is vivacious and welcoming, Bowser’s Dark Lands are appropriately monstrous, and the Jungle Kingdom is a perfectly lush home for Donkey Kong and his kind. Even New York feels like a perfect animation of the most famous city in the world, being equal parts vibrant and lived-in. Every scene of this film feels like it fits in perfectly with the Mario universe.

Of course, any film like this is going to include a large amount of visual Easter eggs for longtime fans of Nintendo. Subtle references to games such as Punch-Out, Kid Icarus, and Star Fox make quick appearances, as do more overt references such as Donkey Kong and Yoshi’s Island. Still, I think my favorite callback happens in the middle act of the film, which features an extended segment based on the Mario Kart franchise. When I saw that kart racing would be included in the story, my skepticism alarm started ringing. I wasn’t sure if it could be done effectively. Thankfully, the buildup to this section was good and the racing segment itself was great fun, integrating seamlessly into the story. It’s essentially an animated version of Mad Max: Fury Road, which is the only way Mario Kart could work without breaking the flow of the movie. Rainbow Road is as gorgeous as it ever was in the games, and even the infamous Blue Shell makes its dreaded appearance. This racing scene is easily the most beautiful in the entire movie.

Overall, I have little else to say. The visuals are simply incredible.

Rating: 5 out of 5

Direction

The moment this film was announced, it was no secret that Nintendo would be heavily involved in the writing and production. After all, Nintendo gave the directors full creative freedom in making 1993’s Super Mario Bros., and we know how that turned out. Thus, Mario creator Shigeru Miyamoto kept one hand on the wheel as the film was fleshed out. This, to me, was the right decision. It made sure that this film, for its many hallmarks of an Illumination production, remained as faithful as it could to the video game franchise so many grew up with. Miyamoto understood that he had to help Illumination earn the trust of the fans with this film. Otherwise, the risk of going off on a bad tangent was very real.

One of my big fears with this movie was how Illumination decided to modernize Peach. Yes, the decision to update her to an effective leader in the Mushroom Kingdom and not relegate her to a damsel in distress was a good decision, but I was worried they were going to take Peach’s character further than this. Strong female characters are very popular nowadays, but too much of this could cause Peach to overshadow Mario, which would’ve been very bad for the film. The training scene nearly confirmed those fears, what with Peach absolutely dominating the obstacle course and later revealing that she had aced it on her first try. This was my least favorite moment in the film because it changed Peach from a good role model for young girls to someone setting an impossibly high bar.

But just as my stomach started to churn, the moment passed, allowing Mario and Peach to set out on their journey as true partners. This is how their relationship dynamic remains through the rest of the story. Both are heroic and capable in a fight, but neither can accomplish their goals alone. In spite of my distaste for Peach acing the training course so fast, the rest of the movie modernized her character in exactly the right way, in my opinion. Whether this was Illumination’s decision or Miyamoto helping to pull the string just a little bit on her character, I approve. Job well done.

Overall, I found the direction to be good, primarily due to the focus on remaining faithful to the Mario franchise’s history.

Rating: 4 out of 5

Music

Regardless of the varying opinions on the voice cast or direction, I think we can all agree that the music for The Super Mario Bros. Movie is absolutely stellar. Composer Brian Tyler worked alongside original Mario composer, Koji Kondo, creating a fantastic orchestral film score filled with themes and motives from nearly every major game in the franchise. From retro 8-bit clips of older Mario games to sweeping orchestra flourishes of modern Mario music (love me some “Gusty Garden Galaxy!”), the soundtrack just hits every note perfectly. Tyler even goes tongue-in-cheek a few times, using “The Mario Rap” in a commercial for Mario’s plumbing business, the much-maligned “DK Rap” when Donkey Kong first appears, and even the new song “Peaches” for Jack Black’s Bowser to sing as an over-the-top ballad. Top-notch.

The one potential pitfall in the music is the use of modern pop music throughout the film. The likes of “Holding Out for a Hero,” “Thunderstruck,” “Mr. Blue Sky,” and “Take On Me” are heard in various scenes. Many viewers who otherwise loved the film felt that these songs were out of place. In particular, several have suggested that “Take On Me,” played when Mario and Peach enter Donkey Kong’s Jungle Kingdom, should have been replaced with “Welcome to the Jungle.” I can certainly see the merit in this, but other than that, I think the chosen songs were perfect for one simple reason: they’re all 80s songs. They’re meant to pay homage to the decade in which Mario was born. That, to me, makes them just what the film needed to honor the past as they move into the future of video game films. Not to mention that “Mr. Blue Sky” is a wink to the audience, having also featured in the Chris Pratt film, Guardians of the Galaxy Vol. 2.

Overall, the music is simply perfect. I wouldn’t change a thing about it.

Rating: 5 out of 5

Story

* * * SPOILER WARNING * * *

Finally, let’s talk about the film’s plot. Admittedly, most Mario games are very thin on story. The story isn’t why people play a Mario game, creating a bit of a challenge for anyone adapting the character to film or TV. Thus, there isn’t an overly complicated or nuanced story for this film, but I don’t think there needs to be. The world-building is strong, being centered around power-ups that strengthen whoever finds them. The setup is effectively made in the opening minutes, with Bowser finding the strongest powerup of all – the Super Star. As for Mario and Luigi, the brothers are struggling upon quitting their jobs for the overbearing Spike to open their own plumbing business. Even their family mocks this decision, Papa Mario’s words being the most disheartening of all.

After a massive water main break in the streets of Brooklyn, the Mario Brothers set out to fix it and prove their plumbing skills, but a mishap draws them into an alternate dimension. Mario lands in the lush Mushroom Kingdom, but Luigi finds himself in the Dark Lands and is immediately captured by Bowser’s minions. Mario soon meets Toad, who introduces him to Princess Peach, ruler of the Mushroom Kingdom. Realizing that Mario is the only other human she’s ever seen in her world, Peach tests Mario’s athletic abilities and teaches him about using power-ups. After Mario eventually proves his skill, the pair embark with Toad on a journey to the Jungle Kingdom. There, Peach tries and fails to convince the Kong army to help her defeat the looming Bowser and save Luigi, but Mario, refusing to give up, fights and defeats Donkey Kong to secure their help.

With the help of the Kongs, Mario and Peach lead an army of karts onto Rainbow Road in an attempt to ambush Bowser’s forces. Bowser, of course, has gotten wind of Peach traveling with (and possibly falling for) Mario and attacks them on Rainbow Road. Mayhem ensues, resulting in the Kong army’s capture, Peach and Toad barely escaping to the Mushroom Kingdom, and Mario and Donkey Kong being stranded in the ocean. Here, we actually get some good moments of character development, as the rivalry between Mario and DK softens when they realize they’re both out to win the approval of their fathers. Throughout all of this, we’re also shown Luigi’s imprisonment in the Dark Lands, where we learn how much Mario has protected the cowardly Luigi throughout their lives. Soon, Mario and DK figure out an escape and make it back to the Mushroom Kingdom.

There, Bowser’s full forces have arrived and the Koopa king has blackmailed Peach into marrying him to save her citizens from his wrath. This final battle sequence is intensely satisfying, with several characters making fantastic use of multiple power-ups to fight Bowser and his army. In the end, Mario has what we think will be his biggest hero moment, but that moment goes wrong and ends up bringing all sides back to Brooklyn. Now with their own home threatened, Mario gets back up after failing one too many times and Luigi finally overcomes his cowardice. The brothers come together as a team, steal Bowser’s Super Star, and defeat the Koopas. In the end, Brooklyn hails them as the Super Mario Brothers, prompting a change of heart from Papa Mario.

While this film is a bit thin on plot overall, I still think Illumination did a fine job in crafting this story. The emotional moments we do get are surprisingly touching, and every character gets their chance to shine. Peach shows her dedication to her people while also wondering about her origins as the only human in the Mushroom Kingdom. DK gets over his rivalry with Mario and proves himself a worthy successor to his father. But ultimately, this is an origin story for the Mario Brothers. That’s why the simple story works well. It’s all about the brothers, Mario and Luigi, even when they aren’t together. And when they finally do get back together, man, is it fun! This story won’t win any awards for best screenplay, but that doesn’t change the fact that you’ll have a goofy grin on your face most of the time.

Overall, this type of story is exactly what I expected from the movie and was executed maybe even a little better than I expected.

Rating: 3.5 out of 5

Conclusion

The Super Mario Bros. Movie may not be The Godfather, but it’s a damn fun family film with no agenda and plenty of enjoyment to go around. This is the sort of movie families have been wanting for the last several years. Fans of Mario will love the Easter eggs and callbacks. Kids will love the action scenes and visuals. Adults will enjoy relaxing to the simple, fun story, and even more so if they have siblings. This is a fantastic movie for siblings to go see together, whether they’re little kids or kids at heart. And most of all… c’mon, it’s Mario! If you do even a speck of justice to his character and franchise, which Illumination did, even non-gamers will want to come and see it. Obviously, I came at this from the perspective of a longtime Mario fan, but that’s definitely not a requirement. Sadly, this film is another example of critics bombing it for being a weak story or banal kid’s fare, but audiences disagree, almost universally praising it. I feel comfortable saying it’s the best video game film ever made. 2018’s Tomb Raider and 2020’s Sonic the Hedgehog definitely give it a run for its money, but Mario has taken the crown. This is just a fun movie, plain and simple. It has something for almost everyone. Go see it, relax, and be entertained. Trust me.

Final Rating: 4.3 out of 5

And that’s going to do it for this movie review. Of course, I’d love to know your thoughts. Have you seen The Super Mario Bros. Movie? If so, did you like it? If not, do you plan to go see it? Feel free to let me know in the comments or reach out directly, especially if you have any ideas or requests for future entries. I’ve got an active running list of ideas, but I’m always open to more. I’d appreciate it if you’d leave a like and share this post on social media. And to stay up to date on future blog posts, you can sign up for my monthly newsletter on my website. Until the next story!

Greetings, intrepid readers! M. H. Barton here with another blog on the art and craft of storytelling. Tomorrow is April Fools’ Day, so I thought it’d be appropriate to explore some of the best comedic duos in all of entertainment. Comedy is an incredibly diverse and difficult storytelling art, particularly when working as a duo. Nonetheless, several pairings throughout history have truly risen to the heights of the art form. I’ve narrowed it down to ten iconic duos across over a century, from modern YouTube series all the way back to Vaudeville and silent films. Again, this is only my opinion, so no flaming! Anyway, with that out of the way, let’s have a few laughs.

Number Ten – Cheech Marin and Tommy Chong

Rising to popularity in the 1970s and 1980s, Cheech and Chong pioneered the comedy concept of “stoner buddies.” Among the other famous duos that drew influence from them are Jay and Silent Bob, Harold and Kumar, and Ashton Kutcher and Seann William Scott. Fittingly for their style, the pair initially met in Canada while dodging the draft for the Vietnam War. Though they’ve more recently found success in movies and TV shows, they are best remembered for their numerous stand-up routines from early in their careers. While their comedy routines about hippies, drugs, and free love aren’t my thing, there’s no denying the entire subgenre they helped create back in the day.

Number Nine – Matthew Broderick and Nathan Lane

My generation most fondly remembers their introduction to these two actors in Disney’s The Lion King, but they weren’t yet the iconic duo they’d eventually become. No, these two really came into their own through the numerous films and Broadway shows they’ve starred in together. Most notable of all is their transcendent performance in Mel Brooks’ The Producers, where their classic dynamic of The Schemer and The Coward shines as bright as the sun. Not only is The Producers one of the most hilariously politically incorrect stories ever told, but it hits even harder with the delivery and amazing chemistry from these two masters of comedy.

Number Eight – Statler and Waldorf

Ah, the Muppets. Some people love ‘em. Some people can’t stand ‘em. But these two cranky oldtimers are probably the most consistent part of anything involving the Muppets. Whether a stage show, a major motion picture, or a parody of a novel, the audience can be sure that Statler and Waldorf will show up at some point to complain and heckle the Muppets about the zany antics they get up to. Unlike some comedy duos, these two are essentially the same person broken into two characters, but that just makes their biting criticism all the more entertaining. Their antagonistic relationship with bumbling comedian Fozzie Bear is particularly hilarious. Statler and Waldorf are insult comedy at its absolute finest.

Number Seven – Chris Farley and David Spade

Though these two only made two movies together, Tommy Boy and Black Sheep, their incredible chemistry and years together on Saturday Night Live are more than enough to qualify them for this list. They’re simply brilliant together, as they form a new twist on the Straight Guy and Funny Guy trope. From Farley’s over-the-top slapstick style to Spade’s sarcastic witticisms, you knew anything these two did together was going to be gold. Sadly, the two had some major disagreements behind the scenes, resulting in their separation as a team after Black Sheep, but the moments we do get from this pair are a comedic treasure.

Number Six – Tina Fey and Amy Poehler

Another classic pair of SNL alums, these ladies are the undisputed queens of comedy since the year 2000. Their chemistry made them an instant hit, particularly on the “Weekend Update” segment of the show. Still, probably their most iconic moment came when Fey and Poehler parodied politicians Sarah Palin and Hillary Clinton during the 2008 presidential election. Even after leaving SNL and finding individual success as sitcom stars, the duo found time to reunite for a string of comedy films. Even today, they continue to tour together, doing stand-up comedy nationwide. They’ve got stiff competition from the likes of Leslie Jones, Maya Rudolph, and Jane Curtin, but I think these two are absolutely the funniest ladies SNL has ever produced.

Number Five – Jack Lemmon and Walter Matthau

Though best friends in real life, Lemmon and Matthau had massive success in films where they were the worst of enemies. They were likely one of the earliest examples of the modern frenemies trend. Whether as roommates in The Odd Couple, faking an injury lawsuit in The Fortune Cookie, or competing for the same woman in Grumpy Old Men, these two are at their best when trying to humiliate each other. Sadly, Matthau died before he could work with Lemmon on what could have been their crowning achievement, My Fellow Americans. James Garner was an admirable replacement for Matthau, but it just wasn’t the same. Some duos are so iconic that moving on becomes impossible.

Number Four – Tim Conway and Harvey Korman

It may have been called The Carol Burnett Show, but Conway’s absurdism and Korman’s deadpan comedy always ended up stealing the show. Their skits are classic. Korman would frequently try and portray himself as someone intelligent and cultured, only to have his world rocked by one of Conway’s many insane characters, often the extremely slow Oldest Man. Their best moments together are when Conway does such an incredible job that Korman can no longer keep a straight face. Look no further than their classic sketch, “The Dentist,” for a prime example of their interactions.

Number Three – Keegan Michael-Key and Jordan Peele

These veterans of Mad TV teamed up in the 2010s to take the modern world of comedy by storm. Focusing heavily on race relations and social humor, Key and Peele are known to poke fun at every demographic group imaginable. In particular, they love highlighting the hilarity of African American cultural stereotypes. Among their many famous sketches is a recurring bit where Peele impersonates President Obama while Key serves as his anger translator. Key also has his iconic character, Mr. Garvey, a substitute teacher who cannot pronounce his students’ names properly for the life of him. (A. A. Ron!) Still, I think my personal favorite is their sketch, “If Hogwarts Were an Inner-City School.” While this duo is seen as a paragon of African American comedy, their widespread popularity has appealed to audiences of all backgrounds.

Number Two – Stan Laurel and Oliver Hardy

You knew these two would be somewhere on this list. Laurel and Hardy were the original comedy duo and paved the way for everyone else on this list. Though they had great success as individual actors in the silent film era, their incredible chemistry made them an unbeatable team in silent shorts, talkie shorts, and even feature-length films. Their style set the precedents for so many comedic tropes, such as cartoonish violence and slapstick, The Schemer and The Bumbler, and milking a recurring joke. In the end, all their comedic mishaps would inevitably lead them back into the same hardship they began the story. Their success would later inspire the Three Stooges and even the Looney Tunes cartoon shorts. Quite a legacy, indeed.

Before we get to the top pick, let’s do a few…

Honorable Mentions

Jackie Gleason and Art Carney

Best known for their portrayals of Ralph and Ed on The Honeymooners, this iconic duo worked together for years on Jackie Gleason’s own show and on stand-up tours in the years after their initial TV success. They were so popular that they were the eventual inspiration behind another iconic comedy duo – Fred Flintstone and Barney Rubble.

Kenan Thompson and Kel Mitchell

This duo is near and dear to my heart, as my childhood was heavily shaped by their appearances on Nickelodeon. Whether doing get-rich-quick schemes on Kenan & Kel or cooking up Good Burgers on All That, these two were the most memorable comedy duo for many 90s kids.

Mike Myers and Dana Carvey

Another classic SNL pairing, these two were particularly popular in their “Wayne’s World” sketch. This, naturally, spawned a popular feature-length film, also titled Wayne’s World. Their sing-along with Queen’s “Bohemian Rhapsody” remains one of the most iconic musical moments in any film to this day.

Pinky and The Brain

Gee, Brain, whadaya wanna do tonight? The same thing we do every night, Pinky. Try to take over the world! These animated lab rats are easily the most remembered characters from Steven Spielberg’s popular show, Animaniacs. Though poor Brain would always see his plans for global domination ruined by Pinky’s goofiness, we always wanted him to try again the next night.

Gene Wilder and Richard Pryor

Probably the most famed and successful mixed-race comedy duo of all, Wilder and Pryor made a quartet of successful comedies together in the 70s and 80s. Their disagreements sadly pushed them apart in their personal lives, but they came together at the right time for some truly groundbreaking comedy.

And with that, it’s time for…

Number One – Bud Abbott and Lou Costello

Who’s on first? The roundabout journey to try and answer that question gave us the seminal comedic example of the Straight Man and Funny Man trope. During Laurel and Hardy’s reign over the comedy world in the 1930s, comedian Bud Abbott had the good fortune to substitute for Lou Costello’s sick performing partner one night. Their chemistry was immediate and they decided to officially make their act permanent. The pair worked their way up through vaudeville and eventually came to national acclaim from their numerous radio appearances. These guest slots soon allowed them their own radio program, and their careers were off. They then broke into the film industry, with their second film, Buck Privates, being a smash hit, thanks in part to them costarring with the Andrews Sisters. After that, their TV and film credits are almost too numerous to count, making them the undisputed kings of comedy duos. Many have come after and tried to emulate them, but nobody has ever risen to the heights of Abbott and Costello. Why? I don’t know. Third base!

And that’s going to do it for this ranking. Comedy is a tough thing to write, but I hope this look at some of the masters of the art will help in your own efforts. Of course, I’d love to know what you think. Did I get it right? What duos did I miss? Feel free to let me know in the comments or reach out directly, especially if you have any ideas or requests for future entries. I’ve got an active running list of ideas, but I’m always open to more. I’d appreciate it if you’d leave a like and share this post on social media. And to stay up to date on future blog posts, you can sign up for my monthly newsletter on my website. Until the next story!

Greetings, intrepid readers! M. H. Barton here with another blog post on the art and craft of storytelling. It’s Saint Patrick’s Day today, and in honor of the luck of the Irish, we’ll be discussing just that – luck. Specifically, the luckiest of all moments in storytelling where a doomed character is saved seemingly by the will of God - often referred to as a Deus Ex Machina moment. It’s a very powerful writing tool, but absolutely must be done well. If executed properly, it makes a powerful scene nothing short of iconic. If used poorly, it can ruin an entire story, regardless of anything good that comes before or after. To better learn what to do and what not to do, I’ll be ranking, in my opinion, the five worst and five best Deus Ex Machina moments in films. While this is my opinion, I think most of these moments are pretty universally agreed to be good or bad, respectively. Regardless, I think this is an important topic for all writers to understand. With that said, let’s get started!

Number Five Worst – The Wizard of Oz (1939)

Ugh, much as this film is an eternal classic, the final ending was something of a sour note for me. Dorothy is asked what she learned on her journey, answering that there’s no place like home. This alone is a great quote that should have been used to send her home, but the subsequent reveal that the whole movie was a dream? Horrible. Not that it ruined the film as a whole, but it did introduce a trope that has never gone over well. Now, don’t get me wrong. Dream sequences can be a powerful storytelling medium. They can reveal critical information about a character’s personality, thoughts, goals, and fears. But retconning an entire story as a dream, particularly one with a fantasy setting, is a cardinal sin. It’s the sort of lazy cop-out that instantly turns off almost any audience. I honestly can’t think of an instance where this trope was used effectively.

Final takeaway: Better to leave the audience truly questioning if an entire story was a dream than to reveal it really was just a dream.

Number Five Best – Raiders of the Lost Ark (1981)

Man, what a great climax. Indiana Jones and Marion have been captured by the Nazis and lost the Ark of the Covenant in the process. But just as the Nazis prepare to open the Ark, Indy has a moment of realization and warns Marion not to look at the ark, to keep her eyes closed no matter what happens. This ends up being the single factor that spares Indy and Marion from the Nazis’ face-melting fate. What makes this moment so great is how it poetically transforms Indy as a character. Through much of the movie, Indy has professed to be a realist who doesn’t believe in magic, the supernatural, or even religion itself. But early on, Marcus Brody warns Indy about the Ark being different from any other artifact he’s ever gone after. Through his adventure, Indy slowly comes to realize the truth behind Brody’s words. Indy doesn’t have to fully understand the Ark to respect and fear its power, and that gained respect makes his character arc in this film something really special.

Final takeaway: Tying your Deus Ex Machina to a character’s moment of growth can be very effective.

Number Four Worst – The Lord of the Rings: The Return of the King (2003)

The Great Eagles are a hotly-debated topic among fans of these films. While they are established early on in Fellowship of the Ring, there are still many unanswered questions about them. If they can defeat the Nazgûl, how strong are they? Why did Gandalf only send for them during the final battle against Sauron’s armies? Why not have them assist when the garrison at Minas Tirith came under attack or in the ensuing Battle of the Plennor Fields? If they could save Frodo and Sam from the erupting Mount Doom, why did they not fly on the eagles to get to Mordor? The eagles don’t necessarily impact the outcome of the story itself, which is a positive, but the sheer amount of information we don’t know about them causes us to question why the characters took the path they did.

Final takeaway: Established characters aren’t enough in a Deus Ex Machina. Their actions taken and not taken still have to make sense.

Number Four Best – The Avengers (2012)

This ensemble cast managed to portray a group of surprisingly deep and nuanced characters – Control-freak Tony, good-soldier Steve, high-and-mighty Thor, untrustworthy Natasha, and mind-controlled Clint. Still, the one character the audience questions for the longest time in the story is Bruce Banner. We meet him early, we know he’s the Hulk, but we don’t know how he’s gained control over the Hulk. Natasha asks him this at their first meeting, Tony re-asks later on, but we never get a real answer. At least, not until the Avengers assemble for the Battle of New York. Confronted by an intergalactic army, things look hopeless until Bruce reveals his secret: He’s always angry. No longer suppressing his emotions and pretending they don’t exist, the Hulk now takes over only when Bruce willingly surrenders to his anger. It’s a fantastic moment that evens the playing field for the Avengers and sets the stage for one of the best climactic battles in any superhero film.

Final takeaway: Make the audience constantly ask a question before using the Deus Ex Machina moment to answer it.

Number Three Worst – The Matrix Revolutions (2003)

At first glance, the climax of this story had the chance to be rather effective in a tongue-in-cheek sort of way. When Neo makes a deal with the machines for Zion’s freedom, the leader of the machines is even named Deus Ex Machina. Neo then proceeds with his final battle with Smith, ending with Neo martyring himself and allowing Smith to absorb him. This gives the machines the opening they need to delete every Smith and reboot the Matrix, saving Zion in the process. While well-conceived, the execution of this resolution proved to be too much for most viewers. It was a heady idea that simply got too convoluted and was easily lost amidst the visual spectacle of Neo’s final battle with Smith. A disappointing end to what could have been a truly epic trilogy.

Final takeaway: Be careful not to try and do too much with a Deus Ex Machina moment.

Number Three Best – Jurassic Park (1993)

Steven Spielberg’s classic thriller is a chaotic mashup of intense highs and quiet lows throughout. The action reaches a fever pitch when the deadly Velociraptors corner the surviving humans in the Jurassic Park Visitor Center. Just when all hope seems lost, the humans are rescued by the timely arrival of a most unlikely savior: the same Tyrannosaurus Rex who nearly killed them earlier in the film. Some may think this is just lazy writing, as there was no foreshadowing of this happening, but it fits perfectly with the film’s overarching theme of chaos. Dr. Malcolm talks endlessly about Chaos Theory, and the T-Rex charging in and killing the Raptors at the last moment highlights just how chaotic and dangerous John Hammond has now made the world. It may not be an earned or foreshadowed Deus Ex Machina, but it couldn’t have happened any other way in this universe.

Final takeaway: A Deus Ex Machina that is in line with a story’s overall theme stands a great chance of succeeding.

Number Two Worst – Superman (1978)

Christopher Reeve may be the definitive Superman, but his films had their fair share of plot holes. Chief among them is this Deus Ex Machina moment at the climax of his first outing. After failing to stop both of Lex Luthor’s missiles, Supes tragically discovers Lois Lane dead in the aftermath of the ensuing earthquake. Sick with grief, he begins to encircle the Earth and force it to spin in reverse, turning back time itself. This allows him to save everyone, including Lois, before delivering Lex Luthor to prison. While the previous bad examples of Deus Ex Machina moments had some redeeming qualities, I have no excuse whatsoever for this one. It’s just lazy writing that leaves a gaping plot hole in its wake. If Superman can fly so fast that he can make the Earth spin in reverse, he could’ve flown fast enough to stop both missiles. I have no justification.

Final takeaway: Be careful not to contradict yourself in a Deus Ex Machina moment.

Number Two Best – Toy Story 3 (2010)

Pixar Animation Studios is known for emotional moments, but none is more devastating than the sight of Woody, Buzz Lightyear, and all their friends about to be destroyed in a garbage incinerator. We’ve already seen what we think is the end of the Little Green Men, and the situation the toys find themselves in here is downright hopeless. When asked what they should do, Buzz can only lower his head and hold the hands of his friends. But just as they approach the flames, the Little Green Men swoop in with a crane claw and save everyone. This isn’t just a moment of relief for the audience, but a beautiful moment of poetry, as the Little Green Men using the claw harkens back to their original appearance in the first Toy Story, as well as their catchphrase. What else can I say? This scene will make even the toughest viewer cry.

Final takeaway: A great Deus Ex Machina moment can bring a story and even an entire series full circle.

Number One Worst – Star Wars: The Rise of Skywalker (2019)

Good lord, this entire movie is one hot mess. It started off poorly, bringing us the inexplicable return of Palpatine, but the final battle pitting Palpatine against Rey and Ben is just as bad. First, Rey and Palpatine channeling the power of every Jedi and every Sith, respectively, makes no sense and has no explanation. Second, Palpatine being killed with his own Force Lightning makes even less sense. He’d been nearly killed in the past by Mace Windu with this exact technique, and a master Sith like Palpatine wouldn’t chance that happening twice. Finally, Ben resurrecting Rey with a fatal amount of Force Healing just puts the cherry on top, as we had zero indication Ben knew about this skill. I could go on and on, but I won’t. Suffice it to say, this was a horrible ending that absolutely ruined the entire sequel trilogy for me and countless others.

Final takeaway: Multiple Deus Ex Machina moments are never good. Lazy writing early breeds lazier writing later. Trust me, I know.

Number One Best – Star Wars: Return of the Jedi (1983)

Now, this is how you do a Deus Ex Machina! If the first six Star Wars films were an opera, Anakin Skywalker would be the tragic hero of the saga, and it all culminates in the fantastic climax of this film. From the moment Luke Skywalker surrenders to the Empire, he’s playing for time. Every move he makes is in an effort to reach his father’s mind and reawaken the latent goodness in Anakin’s heart. Yet Darth Vader professes that it is too late for him. This is the key line. Not only does Vader believe Anakin is gone for good, but even if he wasn’t, it wouldn’t matter. Both the Vader and Anakin personalities know that Palpatine is far stronger, meaning opposing him would be futile. Still, Luke persists in his efforts, going so far as to remain defensive in his lightsaber duel with his father and later throwing down his weapon entirely. As Palpatine proceeds to torture and kill Luke with Force Lightning, we can feel the hopelessness. For all his skill, Luke still can’t hope to stand against Emperor Palpatine. But as Luke begs for his father to help him, something finally clicks and Anakin reemerges from the shadows of Darth Vader, killing Palpatine at the cost of his own life. While for us, the movie couldn’t end any other way, remember that audiences back in 1983 didn’t know for sure if Luke would live or die. It was entirely plausible for Luke to die a martyr while Vader and Palpatine are both killed in the ensuing Death Star explosion, ending the Jedi and the Sith for good. George Lucas played on the audience’s doubts and fears perfectly with this masterful climax, and it remains the greatest use of Deus Ex Machina in all of cinema, in my opinion.

Final takeaway: A great Deus Ex Machina moment can have foreshadowing if cleverly hidden within the story.

And that’s going to do it for this blog entry. Hopefully, this ranking helped you in your efforts to handle this most delicate tool in the writing toolbox. Of course, I’d love to know what you thought. Were there any good or bad moments I missed? Feel free to let me know in the comments or reach out directly, especially if you have any ideas or requests for future entries. I’ve got an active running list of ideas, but I’m always open to more. I’d appreciate it if you’d leave a like and share this post on social media. And to stay up to date on future blog posts, you can sign up for my monthly newsletter on my website. Until the next story!