14.4.23
I know why The Last Wish is such an impressive sequel that massively improves on the original Puss in Boots, but I sure as shit don’t know how the creators gathered the ingenuity to pull it off, considering just how pedestrian so many kids films are these days. The committed performances of its star-studded voice cast; the blending of cutting edge CGI and stepped animation styles; and the surprisingly mature, pathos laden story all work together to create a breezy adventure worthy of favour for audiences across the age spectrum.
Although most of the characters are so familiar through children’s books, nursery rhymes and from the original Shrek films, none of their actions here feel formulaic or predictable. Reimagining Goldilocks and The Three Bears as a misfit band of Cockney bounty hunters, and Little Jack Horner as a meglo-maniacal wizard feel like cunning moves from the studio in an attempt to make the characters feel both recognisable and refreshing.
But out of all the new and old characters, Death (Wagner Moura) is without doubt the standout. He is a fucking brillant screen villain; charismatic, scary, and although this could be premature, I think totally iconic. The best screen characterisation of Death since William Sadler’s Reaper from Bill and Ted, and also gives The Seventh Seal a run for its money.
With so much of the output from Disney, Star Wars and the comic book universes being so placid in recent years, it’s great to know that great family films can still illuminate the imagination and come from the most unexpected of places. The Last Wish is the best animated film since Spider-Verse; a vibrant triumph of colour and a celebration of the enduring power of fairy tales.
The best film of 2023 so far. Straight. Up.