The Riot Club (2014) 68/100

Posted on December 17, 2014 by The Red Dragon

Rating : 68/100 107 Min

A vile film brimming with vile characters, but a good one nevertheless. Laura Wade adapts her own 2010 play ‘Posh’ for the big screen and together with director Lone Sherfig (‘An Education’ 09, ‘One Day’ 11) weaves a tale of toffy nosed excess amongst an elitist society of prigs at Oxford university, the titular Riot Club, almost certainly based on the real life Bullingdon Club (which the current British Prime Minister, David Cameron, and the Chancellor of the Exchequer, George Osborne, were both members of). We enter the main story at the same time as the two central characters do, with Miles (Max Irons) and Alistair (Sam Claflin) beginning their time at uni and quickly coming to the attention of the established RC who only recruit the very crème de la crème of the males on campus, effectively sourcing the best looking and most affluent available. Alistair is arrogant, snooty, calculating, evil and essentially everything you imagine an upper class snob would aspire to be like, contrasting with Miles who is naïve and excited at being singled out for membership but is essentially good at heart, something which also garners him the amorous attentions of the delectable Lauren (Holliday Granger).

We see a little of their very laddish exploits, which largely seem repugnant more than anything else (pretty sure if I joined a group and they broke into my room, ransacked it and then spunked over my notes, that group’s membership would swiftly be reduced by at least one), and the potentially corruptive interplay of group dynamics predominantly rears its ugly head, but the staging of the film is mainly a direct extrapolation of its theatrical origin and politics frequently takes centre stage. Indeed, it is no surprise whatsoever that this was released the weekend after the Scottish independence referendum as the heart of the movie takes place in a restaurant where the group debauch themselves and consistently rub up against the Scottish proprietor (Gordon Brown), resulting in increasingly difficult scenes to watch.

Equally, the nationality of the landlord, who employs his daughter (Jessica Brown Findlay) and is shown to be fairly jovial and proud of his business, is quite deliberate as not only do the Riot Club espouse absolutely everything that we the Scots hate about the English, but they also represent everything the English hate about the English, and indeed everything the rest of the entire world hates about the English for that matter (indeed, whenever anyone from Scotland refers to the English in a negative context we mean these twats, not people from England generally. It’s important to make this distinction), stemming from this much ingrained marker of arrogance as a sort of national symbol – one that has long been the backbone of the money laden elite traditionally filling the halls of power in every walk of the British establishment, and still very much holding Westminster in thrall today.

The film has a modern day setting, which hammers home the point that it is still a current issue despite being somewhat associated with an aloof aristocracy of centuries past, and the film is well acted to the point that it may be difficult to shake off some of the character associations with the performers. A drama of blood privilege that highlights the lunacy of the gulf between the people that run Britain and the majority of the people that live in the country.

The Giver (2014) 58/100

Posted on November 30, 2014 by The Red Dragon

Rating : 58/100 97 Min

Bland, and almost self-defeatingly too simple, this may yet satisfy some of its intended early teenage audience, although it certainly pales in comparison with the much more adroit adaptations of other teen franchises like ‘The Hunger Games’ (2012) and ‘Divergent‘. Based on Lois Lowry’s hugely successful 1993 novel of the same name, which spawned three sequels and found its way onto the recommended reading list of many primary schools, expectations were understandably high for this relatively late translation to the big screen, especially considering the casting of acting goliaths Meryl Streep and Jeff Bridges – although Streep’s role is almost identical to Kate Winslet’s in Divergent, in that she plays the female authoritarian at the helm of a dystopian future human civilisation and her actual screen time is very limited.

Bridges plays the ageing and indeed retiring ‘Giver’ in this society, whose role had been to experience human emotion, vitality and creativity in all its wonder and devilry in a community where the other humans do not experience any of what we would take for granted – rather, theirs is the loss of individual identity for the gain of being part of a cohesive unit. Also operating as a retainer of the memories of mankind, the Giver’s role is partly to just exist in case the others should require access to the wisdom he is a custodian of and so he has a unique role to play in their world, yet it is one also fraught with peril and secrecy and the time has come for the passing of the torch onto a younger candidate – Jonas (Brenton Thwaites), who must come to deal with the socially isolating nature of the work chosen for him by the state, and also contrast what he learns with the neutered bliss that everyone else seems to think they are living in – then there’s the mystery of what happened to the previous hopeful for the job, and what could lie beyond the edges of their known world … (they live in isolation in the clouds, much like on the tepui of southern Venezuela)

Visually, seasoned director Phillip Noyce (‘The Quiet American’ 02, ‘Rabbit-Proof Fence’ 02, ‘Salt’ 10) has decided to show us the world as Jonas initially sees it, so a huge early section of the film is in black and white before Jonas experiences colour for the first time, and although there is a logic to the decision it isn’t great for the audience and will doubtless leave those unfamiliar with the plot thinking perhaps something has gone wrong with the screen. The story has so much potential scope and yet what the film delivers is entirely humdrum – the not in the least bit surprising conclusion trundles towards us with a number of ropey moments, chief amongst them what a baby is subjected to at one point and unreasonably survives, and it seems fair to say that the novel offers more than this does – when we see Taylor Swift appear as one of the secondary characters the priority for financial success over artistry seems clear. At times an easy distraction, but it certainly should have been something more than that.

The Boxtrolls (2014) 73/100

Posted on October 10, 2014 by The Red Dragon

Rating : 73/100 97 Min

The latest from stop-motion animation company Laika (after ‘Coraline’ in 09, and ‘ParaNorman’ in 12), and based on the 2005 young adult novel ‘Here be Monsters!’ by Alan Snow, this is a particularly skilled production, especially so from directors Graham Annable and Anthony Stacchi along with tremendous voiceover performances from Ben Kingsley and Elle Fanning. The Boxtrolls are trolls that dwell in the underdark of the city of Cheesebridge, creeping out in the night to snatch children away from their families, dragging them back to their rat infested lairs to feast on the blood and bone of the city’s innocents. At least, that is what Dickensian bad guy Archibald Snatcher (Kingsley) would have you believe. In reality they are a peaceful and frightened group of creatures, ones who wear boxes instead of clothes and who do have a human child in their midst, Eggs (Isaac Hempstead Wright), who, along with posh girl Winnie (Fanning), generates the central story as the two of them attempt to thwart the dastardly plans of Snatcher as he uses Boxtroll scaremongering to try and wrest political power from the town elite, including Winnie’s father Lord Portley-Rind (Jared Harris).

The trolls are a little garish and could potentially frighten small children, at least in the beginning – their austere introduction is ameliorated as the film progresses and they are all really secondary characters, certainly for older children this is fine and is not in the same ballpark as the genuinely too scary for youngsters ‘Coraline’. It is interesting how much animation aimed at a younger audience has a garish/creepy edge to it outwith the realm of Disney and Dreamworks, perhaps that’s why, to distance themselves from the larger fish in the pond, but perhaps the reason runs a little deeper – after all, anyone who grew up watching ‘Watership Down’ (78) or the animated ‘The Lord of the Rings’ (78) isn’t going to forget cute little bunny rabbits getting torn to pieces or real orcs (there were breaks in the animation with live actors) splattering blood all over the screen in a hurry.

The story is fun and interesting with standing up and thinking for yourself the central theme, and although it’s good enough for adults to enjoy too, they will notice a lull in momentum going into the final third. One of its strengths is the nuances that have been put into the bad guys which makes them much more interesting as characters, and, along with Snatcher, they are well brought to life by Richard Ayoade,Tracy Morgan and Nick Frost (Simon Pegg also has a brief role). It’s clear to see the amount of work that has gone into the film, and if you sit through the credits there is a wonderful scene at the end showing one of the animators at work with a voiceover from Ayoade, poking fun at the amount of work involved, saying ‘it’s more like a hobby really. You should get a real job’, something no doubt familiar to artists everywhere ….

The Rewrite (2014) 63/100

Posted on October 8, 2014 by The Red Dragon

Rating : 63/100 106 Min

Hugh Grant teams up once again with his long time collaborator – writer and director Marc Lawrence (‘Two Weeks Notice’ 02, ‘Music and Lyrics’ 07, ‘Did You Hear About the Morgans?’ 09) for another romantic comedy that’s as predictable, bland and slow as its predecessors, but by the same token it also retains certain qualities that make it reasonably easy to like despite not being especially noteworthy in of itself. Grant plays once hugely successful and now struggling screenwriter Keith Michaels, who is forced to take a teaching position in Binghamton in New York State (also where ‘Twilight Zone’ creator Rod Serling is from, as Grant tells us in the film) a far cry indeed from his normal Hollywood stomping ground.

Initially disdaining, he inevitably warms to the locals (largely due to the charm of Marisa Tomei who takes his class) and comes to realise he actually has something to offer as a teacher and that it can be a very rewarding thing to do. Banging one of the hot coeds along the way (Bella Heathcote) certainly wets his appetite but also helps put him at odds with his superiors J.K. Simmons and Allison Janney, forcing him to confront how he presently views himself and also ask questions of his somewhat embittered take on the creative arts and life in general. Grant’s charisma as a leading man is evident but, much like all the other boxes the film correctly ticks, it barely registers as the softly pleasant humdrum continues. Oddly, one of the more memorable moments comes from the expected ‘Ok, you were right, I’ve been a twat but now that you’ve made me realise that and I’m debasing myself in public you won’t be able to resist forgiving me completely and everything will be hunky dory’ speech from Grant, as all the while we can see the distinctly unimpressed extra in the queue behind him, featured in the pic above ..

A decent enough watch, but if someone asked you in a year’s time to name all the Hugh Grant films you could think of, you might be struggling to remember the name of this one.

The Happy Lands (2012) 85/100

Posted on September 17, 2014 by The Red Dragon

Rating : 85/100 108 Min

A Scottish film from Edinburgh based production company Theatre Workshop, focusing on the 1926 Miner’s strike in Fife (the East coast region between the rivers Tay and Forth), which was in itself part of a larger worker’s strike throughout the United Kingdom playing a hugely important role in the Labour and trade union movement in the 20th century. The film manages that most difficult of things for any historical drama – balancing the importance of the event from a socio-political standpoint, and also relating the events to us in a believable and human way, evoking genuine emotional empathy for the characters onscreen.

The cast seems to be comprised of a mix of experienced and new actors alike, but they all unanimously do a great job – Jokie Wallace in particular as both the local magistrate and the principal organiser of the strike. In fact, for anyone wanting to gain more exposure to the Scots language, this is a very good film to practice with as a lot of the vocabulary that features is in common usage throughout the land and here both the pronunciation and the sound quality are excellent (the film is subtitled in English, much like ‘Trainspotting’ 96 was for American audiences).

Initially, and for the close of the film, we are shown interviews with the cast, talking about the impact the events told had on their forefathers and how they, by extension, have had an effect on their own lives and their shared heritage. The dramatisation that forms the movie’s heart focuses on the friendly local community that brings the strike to the fore, a community where nobody felt the need to lock their doors and who immortalised the slogan ‘Not a penny off the pay, not a minute on the day’ after mine bosses attempted to squeeze them for all they were worth.

It’s a story that is incredibly relevant for today, with the right wing eroding worker’s rights up and down the country once again, all in the name of their own profit with the ‘economic crisis’ the perfect excuse for a carte blanche attack on civil rights and liberties, and the continual extension of privatisation allowing the few to abuse the many who enjoy worse public services charged at ever higher rates, although this is something that Scotland has the opportunity to end in tomorrow’s independence referendum … Films like this are wonderfully educational with regards to the long fight people had for the rights that we now take for granted, the same principals that the Tory party in Britain, and the right wing further afield, are doing their best to obliterate. I don’t really understand why this didn’t get a much bigger general release when it came out (political reasons?) but for very good companion pieces to this see Ken Loach’s wonderful ‘The Spirit of ‘45’ (13) and the recent Polish film ‘Walesa – Man of Hope’, and to be honest there were moments in this that brought me uncomfortably close to actually shedding a tear.

The Hundred-Foot Journey (2014) 73/100

Posted on September 14, 2014 by The Red Dragon

Rating : 73/100 122 Min

A feel good film to watch before you go for dinner rather than after, featuring as it does many shots of sumptuous food being prepared – both French and Indian cuisine mmmm (if you are ever in Edinburgh, be sure to visit the Mosque Kitchen for awesome and affordable curries). Based on Richard C. Morais’ 2010 fictional novel of the same name, this tells the story of one Indian family who leave their home after the personal tragedy of the loss of their mother in a fire, and seek to put down roots somewhere else, eventually settling in the picturesque French village of Lumière (French for ‘light’ but a fictional town, Saint-Antonin-Noble-Val in the south of France was used as the primary shooting location). The only trouble is, they set up their Indian restaurant directly opposite the town’s only other one – a very well to do establishment that already has one Michelin star (France’s highest critical honour) and its owner Madame Mallory (Helen Mirren) is absolutely determined to achieve another. War ensues. Mirren is wonderful as always, as is her adversary, Om Puri, playing the head of the Indian family, as both sides are forced to reconcile their differences and appreciate what each has to offer, even including the possibility of romance. Also with Charlotte Le Bon and Manish Dayal, pictured above, produced by Steven Spielberg, Oprah Winfrey and Juliet Blake and directed by the legendary Lasse Hallström (‘My Life as a Dog’ 85, ‘What’s Eating Gilbert Grape’ 93, ‘The Cider House Rules’ 99, ‘Salmon Fishing in the Yemen’ 11) it’s an endearing film charmingly infused with picturesque surroundings and an abundance of food to salivate over whilst you enjoy them.

The Guest (2014) 51/100

Posted on September 13, 2014 by The Red Dragon

Rating : 51/100 99 Min

From director Adam Wingard and writer Simon Barrett, the creative team behind ‘You’re Next‘, this opens really strongly as ‘David’ (Dan Stevens) appears at the Peterson residence telling them that, as his buddy in the army, he promised their son who died in the Middle East that he would come to his home to deliver his dying words. There appears to be an initial joke in the direction of ‘The Lucky One’ (12) which lets us know there will be a strong undertow of comedy running throughout and sure enough he is invited to stay for a while as a welcome guest, whilst the detractors of the family in the town soon find themselves on the receiving end of a rather pissed off army vet, with one especially great scene involving the local bullies at a bar as David orders the girls in their company shots, and Cosmopolitans for their male counterparts ….

The pace, style and music of this section are all great, and with the right audience it’ll be a lot of fun (I was the only one laughing at various points, infidels) but as soon as the plot brings into focus the daughter of the family (Maika Monroe) things start to unravel and never really stop, largely because she attempts to question the motives and sincerity of the mysterious stranger, taking the story on a different path where it is much more difficult to keep the black humour working as well, and ultimately it falls almost completely flat. The acting is good from all (Leland Orser appears as the father of the Peterson family and does a reasonably good job of persuading us he isn’t the guy who fucked the prostitute in Seven (95) with a balded dildo, but HE WILL ALWAYS BE THE GUY WHO FUCKED THE PROSTITUTE IN SEVEN WITH THE BLADED DILDO) but it’s a major disappointment given the film’s early promise, although Wingard and Barrett are definitely a pair of collaborative filmmakers worth keeping an eye on for future projects.

The Expendables 3 (2014) 63/100

Posted on August 17, 2014 by The Red Dragon

Rating : 63/100 126 Min

Whatever your reaction was to parts one and two of Stallone’s collaborative bullet fest that is the Expendables franchise (part four has been more or less confirmed), you can be pretty sure you will feel exactly the same about this one, largely because the formula has just been reapplied once again replete with the expected increase in the amount of famous names gracing the screen and the number of explosions and bodies they strew each scene with. It’s a series of films that never manages to be as good as it should be, with no real tension and a humour level that always falls short of where you wish it would get to.

To be fair, the writers (Creighton Rothenberger, Katrin Benedikt and Stallone) have more or less done the right thing with the story. Terry Crews is brutally injured during an op gone wrong (presumably penance for appearing in ‘Blended‘) and the team suffers the double whammy of realising an old arch nemesis of Stallone’s is still alive – Mel Gibson (who is arguably the best in the film, relishing in the role of the villain much as he did in ‘Machete Kills‘). Thinking it’s time to protect his, only slightly, aged crew Stallone gives them the elbow and hires new blood in the guise of Kellan Lutz, Glen Powell, Victor Ortiz and female recruit Ronda Rousey – the mixed martial artist and Olympic medallist in her first film role. You can probably guess how the old hands take the news as everything builds to the inevitable finale at Gibson’s complex in, wait for it …. Assmenistan (the suffix ‘stan’, incidentally, means ‘land of’, so this literally means ‘land of the Assmen’).

The action manages to put even the scene in ‘Hot Shots! Part Duex’ (93) where there is a running tally of kills to shame, as enemy soldiers drop like flies every time one of the Expendables points any weapon in roughly their direction. Not content with this basic annihilation though, the various stars of the action genre’s yester year seem to have had a running competition on the go of ‘see who can deliver the most ridiculously self referential line in the weirdest way’ as we witness Schwarzenegger cry ‘CHOPPA!!!’ multiple times and watch Harrison Ford’s government agent Max Drummer say ‘don’t worry about Church, he’s out of the picture’ (Church was previously played by Bruce Willis, but he reputedly asked for a huge fee to come back, and so they just axed him instead. I think they should have at least offered him one dollar for his services first).

The references run the gamut from fun to cringe worthy – as do the one-liners in general. At the beginning the team are trying to break Wesley Snipes out of incarceration, and of course he did just recently get released from jail after a three year stint for tax evasion, so that was a nice touch. Ford saying from a helicopter as he drops a bomb on enemies below ‘Drummer is in the house’ not only must have had the people in the back of the chopper concerned about the sanity of the pilot, but he also delivers it in the sort of matter of fact way you’d say something like ‘there’s milk in the fridge’ – and that kind of sums up the mix that exists for all the cast at one point or another. There’s no Chuck Norris this time around with Antonio Banderas as the other note worthy addition to the crew, and despite some decent action scenes there is a definite lukewarm feel to everything, although given the premise perhaps more credit is due for at least treading water and not letting the series nosedive into complete farce. Here’s hoping the fourth one is more worthwhile.

The Rover (2014) 47/100

Posted on August 16, 2014 by The Red Dragon

Rating : 47/100 103 Min

Continuing Australian film’s long standing love affair with outlaws in the Bush, David Michôd’s latest directorial effort following 2010’s ‘Animal Kingdom’ lands us in a dystopian Outback ten years after the world has gone to hell (we never really learn the details as to how, why, or to what full extent) as we watch Guy Pearce stop at the surviving remnants of a bar for sustenance, his soul exhausted and heavy with despair, barely noticing the liquid he consumes as his car is nicked in the background, instigating his search for both it and the perpetrators for the rest of the film. The thieves are already making a getaway after a robbery gone awry, with the sibling, Robert Pattinson, of one of their number left inured behind, thus becoming the primary lead for Pearce to follow up on.

Ultimately this is simply a very ill conceived ‘buddy’ film, as the two leads begin to bond and look out for one another, despite it originally being a hostage situation, but as time goes on we realise that these characters are basically both scumbags with an approach to violence not justified by the setting – we learn, for example, that law enforcement still operates in the country generally and indeed in the remote settlements where the action takes place. The main point behind this post apocalyptic future is that it sets up Pearce’s character arc – when everything went south globally he committed a horrific crime and nobody chased after him for it. The idea is that his conscience has been tormented by this ever since (both the deed and the lack of ensuing consequences) to the point that now acts of brutality against anyone in his way are done almost without having to think twice about them, as if he were trying to fast-track his own way to hell for the punishment he craves, punishment necessary for the absolution that he hopes will somehow accompany it.

In this respect, the film does have some success and a few notable moments, largely due to another great turn from Pearce (he is consistently impressive, in fact he had back to back cameo appearances in two best picture winners at the Oscars a few years ago with ‘The Hurt Locker’ 09 and ‘The King’s Speech’ 10), but the difficultly lies with every other aspect of the film. I wouldn’t describe Robert Pattinson as a particularly natural actor, in fact I think his spattering of roles since Potter and Twilight have been justified not by his prior work but rather the media status that stalks him, and although it’s true that whilst watching this I did have a large internal debate as to whether or not I was being too harsh on him, I was similarly continually bombarded with the feeling that ‘something just isn’t right here’, eventually coming to the conclusion that his performance is … well, laughable actually, partly because I did laugh at it at the precise moment when the story called for a polar opposite response.

He sports what passes for a good American accent from somewhere in the South, and he is supposed to be not quite mentally handicapped but not too far off it either, but it just constantly feels like he’s trying way too hard, and why after presumably a number of years in Oz (I think he offers some explanation for their current appearance in Australia but he was mumbling so badly I couldn’t make head nor tail of it) is his accent still that strong? Not to mention the fact that his brother sounds nothing like him. Did he fail to pull off an Australian accent during the interview and this was his alternative? When one half falters the whole must suffer, especially when it’s both the character and the actor playing them – and things aren’t helped by the pace and music, which starts off by nicely setting up tension and anticipation but then just becomes monotonous and at times silly (a number of people walked out of the screening, possibly because of the gratuitous violence but likely because it is also peppered with tediousness).

I suspect writers Joel Edgerton and Michôd started with Pearce’s character and his issues as a core concept and then just contrived the rest around it, leaving a hollow feeling, as if some of the violence is in there for its own glory’s sake, and when you finally find out exactly why the protagonist is so ruthlessly hunting his stolen car, well, let’s just say it probably would have provoked more unintentional laughter from The Red Dragon if I hadn’t been beyond caring by that point.

The Unbeatables / Metegol (2013) 53/100

Posted on August 12, 2014 by The Red Dragon

Rating : 53/100 97 Min

Animated tale featuring a foosball table whose players all come to life in order to help their owner, Amadeo (Rupert Grint), defeat his town’s returning tyrant who is desperate for vengeance after Amadeo beat him at the table when they were kids, the only time he was ever beaten at anything, and despite becoming a real life international football star he hasn’t been able to come to terms with the humiliation ever since. This is an Argentinian film that has been dubbed in English and bizarrely, the people in charge of doing the English language version have taken the opportunity to play politics by making the winning foosball team English, with a few foreign players, and the side that is always beaten (Amadeo has never lost a game and seems to always play the same side – one could be forgiven for thinking the table was rigged) is entirely comprised of Scotsmen as far as we can tell. The English captain suggests that they have to work as one and are stronger together, which couldn’t be more obviously referencing the upcoming independence referendum next month, and the heavy suggestion that ‘we are better together because you are shite by yourself’ is unlikely to have the desired effect on voters. Why even go there? They could easily have mixed up the nationalities and kept this ‘better together’ theme going, and their direct referencing is surely going to fly over the heads of their young target audience anyway.

It reminds me of a perfectly pleasant and thought provoking debate on the matter I had with a young gentleman from England in the pub the other day, pleasant, that is, until he put his hands on his hips and triumphantly declared ‘And we both know who gets the most money out of the union,’ he smirked, ‘Scotland, haw haw’. Needless to say he wasn’t looking so pleased with himself when I burned him alive and scattered his ashes around Edinburgh Castle. I mean, it’s possible he’s right – but that’s the point, no one really does seem to know for sure.

As a worthy aside since the film attempts to also dis Scotland’s footballing credentials, England’s media love to laboriously mention they won the World Cup in 1966 (although many of you might have picked up on how little they mentioned that fact during this year’s Brazilian tournament – this is a direct result of the looming vote), but they are less inclined to remind people that during the following British Home Championship it was Scotland that was the first to beat that very same team. Nor were they terribly happy when we beat them at the last ever international to be played at the old Wembley Stadium, in fact they were so miffed they fudged in another international to avoid the humiliation (which they also lost anyway, one nil to Germany). Indeed, the Unofficial Football World Cup actually has Scotland sitting at the top of the all time rankings table, and England’s worst home defeat ever was to Scotland, 6 – 1 way back in 1881.

Although it is fair to say Scottish football at this precise moment in time leaves a lot to be desired. Personally, The Red Dragon thinks they should ban foreign players and managers and just focus on the game for the people of the country – levelling the playing field, increasing domestic support and promoting home talent until we have a decent international team again, get rid of the reliance on business and money and focus on the game. They should promote women’s football as much as the men’s too – it’s just as good, in fact they should have a friendly between the two national teams every year.

Anyway, back to the film – you can often tell the quality of the animation you’re dealing with by looking at how well they render the humans, and here that quality is definitely running at a minimum. The foosball players look much better, but backgrounds and secondary characters are predominantly basic and sometimes even garish, although the creative camera flourishes of director Juan José Campanella do occasionally shine through (Campanella directed best foreign film Oscar winner ‘The Secrets in their Eyes’ 09). The story plods on uninterestingly until the finale is set up – an actual football game between the residents of the town against villain Flash (Anthony Head) and his professional teammates. A match which is to decide the fate of the town, and one that is oddly not as one sided as the recent Germany vs Brazil semi-final. Here the film picks up and delivers a rewarding ending, but there’s not much of value in the rest of the movie, and the animated players spend most of the time just trying to find each other before giving a prep talk to Amadeo, ultimately not doing a great deal over the course of the film.

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