Movie Reviews
Movie Review: ‘Zootopia 2’ is a cuddlier, tamer sequel
The original “Zootopia” was a minor miracle. Here was a Disney animated film that took themes of race and prejudice and managed to make a sensitive-to-all-sides tale, anthropomorphize it and, as a bonus, sneak in a Department of Motor Vehicles sloth gag that the DMV is still wincing from.
A sequel coming almost a decade later, “Zootopia 2” isn’t as good. It’s a more timid and tame movie that leans largely on the (still winning) duo of Judy Hopps (Ginnifer Goodwin) and the small-time hustler fox Nick Wilde ( Jason Bateman ). Both are now out-to-prove-themselves rookies on the police force, nicknamed “the fuzz.”
Nobody would call the original “Zootopia” an especially biting satire. But, still, the sequel is a little toothless — not just Nick’s move from con man to cop but throughout the metropolis. Nick’s baby-posing partner in crime, the fennec fox Finnick (Tommy Lister Jr., who died in 2020), is only briefly seen. Missing entirely is anyone like Tommy Chong’s nudist stoner yak. A hint of gentrification, you might say, has swept over Zootopia.
So “Zootopia 2,” directed by Jared Bush and Byron Howard (both veterans from the first film), is, like many long-in-coming sequels, a slightly watered down version of what came before. But the central relationship of Judy and Nick, a team-up with some echoes of “48 Hours,” remains a compelling one, and the primary reason that “Zootopia 2” will be plenty satisfying to families seeking more cartoony lions and tigers and bears (oh my) this November. It looks great, it’s mildly funny and animal cities are fun.
That’s particularly because of Bateman’s fox. For an actor with a long list of credits, it might sound odd to say, but Nick Wilde is Bateman’s best movie role. A sly, sarcastic but secretly sweet canine in a loose tie is so squarely in Bateman’s wheelhouse. No one can better draw out a line about making a rug from the fur off a skunk’s butt, and I mean that as a high compliment.
Out to prove themselves as detectives, Judy and Nick cause widespread damage through the city chasing a criminal, leading Idris Elba’s surly cape buffalo Police Chief Bogo to order them into a therapy session for dysfunctional partners. (Other members include an elephant and mouse duo.)
Acknowledging and talking through differences is the running theme, which dovetails with a plot that goes to the roots of Zootopia. Snakes, we learn, aren’t allowed in the city. As Zootopia prepares for its centennial celebration, Judy uncovers some clues that suggest a snake infiltration. But when one turns up (a cloying Ke Huy Quan as Gary De’Snake), Judy and Nick realize that snakes aren’t so bad.
This image released by Disney shows Nick Wilde, voiced by Jason Bateman, left, and Judy Hopps, voiced by Ginnifer Goodwin, in a scene from “Zootopia 2.” Credit: AP/Uncredited
They follow a deepening conspiracy to keep out snakes that goes back to the founding of Zootopia, “Chinatown”-like. A family of Lynxes, the Lynxleys, has always taken ownership for the weather walls that divide the city into variously accommodating climates. But even one of their own, Pawbert Lynxley (Andy Samberg), suspects foul play — which, I’m sorry to report, doesn’t include a single fowl.
But there are, to be sure, plenty of puns (Gnu Jersey, Burning Mammal) to be found, as well as a “Shining” reference and a quick nod to “Ratatouille” (a sequel to which is also reportedly in development). In “Zootopia,” this stuff is like shooting fish in a barrel. Back is Shakira as a pop-star gazelle named … Gazelle. New characters include a beaver podcaster named Nibbles Maplestick (Fortune Feimster) and a long-maned stallion mayor (Patrick Warburton). Judy and Nick’s adventures take them to a New Orleans-like reptile-friendly enclave and a snowy Tundatown.
For a movie that was in so many ways about a country mouse (bunny) coming to the big city and finding endless varieties of wildlife, both upright and shady, the “Zootopia” sequel spends too much of its time away from its mammalian metropolis. Even Nick Wilde — no longer scheming, more in touch with his feelings — doesn’t feel quite so wild now. The fun caper spirit of the first movie is alive enough to carry Bush and Howard’s film, but you can’t help feel like sequel-ization also means domestication.
“Zootopia 2,” a Walt Disney Co. release, is rated PG by the Motion Picture Association for action/violence and rude humor. Running time: 108 minutes. Two and a half stars out of four.
Desert Warrior, 2026.
Directed by Rupert Wyatt.
Starring Anthony Mackie, Aiysha Hart, Ben Kingsley, Ghassan Massoud, Sharlto Copley, Sami Bouajila, Lamis Ammar, Géza Röhrig, Numan Acar, Nabil Elouahabi, Hakeem Jomah, Ramsey Faragallah, Saïd Boumazoughe, and Soheil Bostani.
SYNOPSIS:
An honorable and mysterious rogue, known as Hanzala, makes himself an enemy of the Emperor Kisra after he helps a fugitive king and princess in the desert.
With aspirations of being a historical epic harkening back to the sword and sandal blockbusters of yesteryear, Rupert Wyatt’s seventeenth-century Arabia tale is about as generic and epically dull as one would expect from a film plainly titled Desert Warrior. Yes, there appear to be real locations here, and there are some admittedly sweeping shots of various tribes storming into battle on horseback and camels, but it’s all in service of a mess that is both miscast and questionable as the work of a filmmaking team of mostly white creatives.
The story of Emperor Kisraa (Ben Kingsley, a distracting presence even with only one or two scenes) rounding up women from other tribes to be his concubines, which inevitably became the catalyst for a revolution led by Princess Hind (Aiysha Hart), uniting all the divided clans and strategizing battle plans for flanking and poisoning, is undeniably ripe for cinematic treatment. The problem is that what’s here from Rupert Wyatt (and screenwriters Erica Beeney, Gary Ross, and David Self) is less than nothing in the primary creative process; no one seems to have a connection to Arabic heritage or culture, but they have made a flat-out boring film that is often narratively incoherent.
Following the death of her father and escaping the clutches of oppression, the honorable Princess Hind joins forces with a troubled, nameless bandit played by Anthony Mackie (he totally belongs here…), who seems to be here solely to give the movie some star power boost without running the risk of white savior accusations. Whatever the case may be, it’s jarring, but not quite as disorienting as how little screen time he has despite being billed as the lead and how little characterization he has. It is, however, equally disorienting as some of the other names that show up along the way.
As for the other factions, Princess Hind talks to them one by one, giving the film an adventure feel that fails to capitalize on using beautiful scenery in striking or visually poignant ways at almost every turn; the leaders of these tribes also often have no character. There also isn’t much of an understanding of why these tribes are at odds with one another. This movie is filled with dialogue that consistently and shockingly amounts to vague nothingness. Nevertheless, each tribe doesn’t take much convincing to begin with, meaning that not only is the film repetitive, but it’s also lifeless when characters are in conversation.
That Desert Warrior does occasionally spring to life, and a bloated 2+ running time is a small miracle. This is typically accomplished through the occasional fight scene between factions that also serves to demonstrate Princess Hind coming into her own as a warrior. When the tribes are united in a massive-scale battle, and that plan is unfolding step by step, one certainly sees why someone would want to tell this story and pull it off with such spectacle. However, this film is as dry as the desert itself.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★
Robert Kojder
https://www.youtube.com/watch?v=embed/playlist
‘4’, the opening track on Richard D James’ (Aphex Twin) self titled 1996 album is a piece of music that beautifully balances the chaotic with the serene, the oppressive and the freeing. It’s a trick that James has pulled off multiple times throughout his career and it is a huge part of what makes him such an iconic and influential artist. Many people have laid the “next Aphex Twin” label on musicians who do things slightly different and when you actually hear their music you realise that, once again, the label is flawed and applied with a lazy attitude. Why mention this? Well, it turns out we’ve been looking for James’ heir apparent in the wrong artform. We’ve so zoned in on music that we’ve not noticed that another Celtic son of Cornwall is rewriting an art form with that highwire balancing act between chaos and beauty. That artist is writer, director and composer Mark Jenkin who over his last two feature films has announced himself as an idiosyncratic voice who is creating his very own language within the world of cinema. Jenkin’s films are often centred around coastal towns or islands and whilst they are experimental or even unsettling, there is always a big heart at the centre of the narrative. A heart that cares about family, tradition, culture, and the pull of ‘home’. Even during the horror of 2022’s brilliant Enys Men you were anchored by the vulnerability and determination of its main protagonist.
This month sees the release of Jenkin’s latest feature film, Rose of Nevada, which is set in a fractured and diminished Cornish coastal town. One day the fishing boat of the film’s title arrives back in harbour after being missing for thirty years. The boat is unoccupied. And frankly that is all the information you are going to get because to discuss any more plot would be unfair on you and disrespectful to Jenkin and the team behind the film. You the viewer should be the one who decides what it is about because thematically there are so many wonderful threads to pull on. This writer’s opinions on what it is about have ranged from a theme of sacrifice for the good of a community to the conflict within when part of you wants to run away from your roots whilst the other half longs to stay and be a lifelong part of its tapestry. Is it about Brexit? Could be. Is it about our own relationships with time and our curation of memory? Could be. Is it about both the positives and negatives of nostalgia? Could be. As a side note, anyone in their mid-40s, like me, who came of age in the 1990s will certainly find moments of warm recognition. Is the film about ghosts and how they haunt families? Could be…I think you get the point.
The elements that make the film so well balanced between chaos and calm are many. It is there in the differing performances between the brilliant two lead actors George MacKay and Callum Turner. It is there in the sound design which fluctuates from being unbearably harsh and metallic, to lulling and warm. It is there in the editing where short, sharp close ups on seemingly unimportant factors are counterbalanced with shots that are held for just that little bit too long. For a film set around the sea, it is apt that it can make you feel like you’re rolling on a stomach churning storm one minute, or a calming low tide the next. Dialogue can be front and centre or blurred and buried under static. One shot is bathed in harsh sunlight whilst the next can be drowned in interior shadows.
Rose of Nevada is Mark Jenkin’s most ambitious film to date yet he has not lost a single iota of innovation, singularity of vision or his gift for telling the most human of stories. It is a film that will tell you different things each time you see it and whilst there are moments that can confuse or beguile, there is so much empathy and love that it can leave you crying tears of emotional understanding. It is chaotic. It is beautiful. It is life……
Rose of Nevada is released on the 24th April.
Mark Jenkin Instagram | Threads
Released through the BFI – Instagram | Facebook
Review by Simon Tucker
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