The Book of Life.

Review #1571: The Book of Life.

Cast: 

Diego Luna (Manolo Sánchez), Zoe Saldana (María Posada), Channing Tatum (Joaquín Mondragon Jr), Ice Cube (The Candle Maker), Ron Perlman (Xibalba), Kate del Castillo (La Muerte), Christina Applegate (Mary Beth), Héctor Elizondo (Carlos Sánchez), Ana de la Reguera (Carmen Sánchez), Danny Trejo (Luis Sánchez), Grey Griffin (Grandma Anita Sanchez), Carlos Alazraqui (General Ramiro Posada / Dali / Chuy), and Plácido Domingo (Jorge Sánchez) Directed by Jorge R. Gutierrez.

Review: 

"From day one, I felt the weight of all of Mexico behind me, but it’s sort of a weight I’m used to carrying. That’s what I’ve always done in my career; I’ve always wanted to showcase my culture"

Mexico has resulted in a variety of filmmakers over the prevailing decades, ones who aspire to get out into the world and make their own projects over time, whether that means in live action or animation. Jorge Gutierrez was born in Mexico City and raised in Tijuana, and he had a clear love of his culture that carried over to his work in animation, which included study at the California Institute of the Arts; his 3D short Carmelo (2000) was a breakthrough in some respects. He did character design alongside writing on a variety of animated series before getting the chance to do his own series with the Adobe Flash-animated El Tigre: The Adventures of Manny Rivera, which ran for one season. Gutierrez developed the idea for this film over the span of a decade, with original plans of optioning at Dreamworks before it fell into the hands of Reel FX Creative Studios (behind features such as Cirque du Soleil: Worlds Away), with 20th Century Fox Animation serving as a fellow producer. Others would join soon after to help produce, such as Guillermo del Toro. He wanted to make sure he made a movie about the culture of Mexico with his own brand of magic, to the point that he mandated that the animation crew not go to Mexico for research, believing that they would only find things that would make a "tourist version of a culture." 

It could be inevitable to think about this film in relation as one of two animated features released worldwide dealing with the Day of the Dead, both involving trips to the underworld alongside trying to avoid being kept under (or worse yet forgotten about), with the other being Coco (2017). One can watch either before the other and still find plenty to find satisfaction with however, regardless of the clear distinct difference in quality. It might seem a bit unfair to pick on this film, because it is a nice looking movie, achieving the basic ambition set out by its director to capture vivid animation within Día de los Muertos (Day of the Dead). Its picking of cast that mixes familiar voices here and abroad do fine in keeping a good head above underworld waters, at least for the most part. Luna does fine with what he is offered, which namely involves a bit of posturing and silly moments. Saldana does alright with balancing some humor involving this main trio, taking charge that surpasses Tatum, who seems a bit miscast in actually lending the right degree of banter to go with the others. Ice Cube fares about as much as one could expect from casting first-time voice acting meant for comedy - decent, but curiously placed in a film that desires something more involving. Perlman and del Castillo do make a fair pair together, while Applegate tells the story with patient timing. The others are alright, but one basically tries to lose themselves in the animation before being reminded of a silly joke or songs that come along for the ride, which again could have worked with more original songs. It has nice designs at times (such as with La Muerte), and a case could be made that it doesn't overstay its welcome at 95 minutes, and that will surely be more than enough for some. It is the structure that comes from the film in trying to have both a world of creative whimsy and ties with clichés from other films of its ilk that clouds the overall result, particularly when it comes to its unnecessary singing to tell new threads in an old-fashioned fable that could do with more mystery and less wringing overall (telling the story to an audience is one thing, literally showing an audience of kids being told this is another), which goes down from overcoming fears and achieving your own distinct destiny and yada yada yada you know where it's going from there. Ice cream can come in many flavors, but if you find it a bit runny, it isn't going to make the result better than the ice cream truck down the road. I thought the film was fine when it stuck to depicting a view upon a culture that Gutierrez obviously has a passion for with charm and vibrant nature, and if that seems more than enough for young audiences, it likely will hit the note needed for a watch. It isn't anything great, but it suits the basic needs for those who desire said enjoyment from a fable of old and new cloth.

Overall, I give it 7 out of 10 stars.