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Knives Out: A Revew

12/13/2019

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By Mason Leaver
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Rian Johnson’s Knives Out (2019) is a standout film that offers a refreshing return to classic mystery while still managing to pack in plenty of surprises. After his last film Star Wars: The Last Jedi (2017) was met with a mixed reception from critics and fans alike, Johnson has returned to his area of expertise, mystery thrillers. Rian’s previous directorial work, Brick (2005), The Brothers Bloom (2008), and Looper (2012) all focus on stories of intense mystery and intrigue. Brick is a neo-noir detective story set in a high school, starring Joseph Gordon-Levitt. The Brothers Bloom is a heist film , with two great performances by co-stars Mark Ruffalo and Adrien Brody. Looper is a time travel mystery film, also starring Joseph Gordon-Levitt. All three are great films, and certainly worth a watch. Knives Out is a true return to form for Johnson, and he is at the top of his game. 
    Knives Out is a closed room murder mystery. When a famous mystery author is found murdered in his family mansion on his birthday, every family member is a suspect. Detective Benoit Blanc, the world’s last gentleman detective, is brought on to the case, family secrets start to come out. The plot feels like it is straight out of an Agatha Christie novel, from the closed room setting, to the suave gentleman detective. Just like his previous films, Johnson manages to tap into the iconography of a well established genre and bring new life into it. In many ways, Knives Out improves on the standard golden age detective story. The plot feels fresh and captivating, while still feeling like a classic mystery. Within the first twenty minutes of the film, I was surprised at a major turn in the plot. And the story does not do this once, but several times throughout. It is a fine line that Johnson walks, but he manages to both pay homage to the golden age detective myths that he borrows from while also introducing many surprising twists and reinterpretations into a well explored genre.
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Daniel Craig as Benoit Blanc and Ana De Armas as Marta Cabera in "Knives Out"
One of the most immediately striking elements of Knives Out is its incredible cast. The film is full of major Hollywood stars. The Thrombey family is full of big names like Chris Evans, Jamie Lee Curtis, Michael Shannon, and Toni Collette. Even Frank Oz, the voice of Kermit and Yoda, makes an appearance. All of their performances are both convincing and funny, it’s a wonderful ensemble cast, one of the strongest since Murder on the Orient Express (Branagh, 2017). It seems that mystery films have a way of drawing strong ensemble casts like this. But the two standout performances come from costars Ana de Armas and Daniel Craig. Ana de Armas plays Marta Cabera, a nurse who worked for the murdered author, who becomes entangled in the mystery of the film. This is Armas’ largest role to date, and she delivers a performance that encompases a range of emotions; she is terrified, brave, funny, and relatable. I hope that we will be seeing much more of Ana de Armas in coming years. Craig plays the detective, Benoit Blanc. Going into the film I worried that his time playing James Bond might muddle his performance, that it might feel like James Bond was solving a murder. I’m relieved to say that Craig completely sells the part. Craig immerses himself into his character’s southern drawl and quirky mannerisms, depicting a very unique take on the gentleman detective archetype. 
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The entire cast of "Knives Out"
Behind the camera, things are more of a mixed bag. Nothing in the film is expressly bad, but some parts of the film just feel “fine”. Specifically, the editing felt rather uninteresting. I can’t go so far as to say it was bad, but the best thing I can say is that it was serviceable; it doesn’t stand out. The cinematography is more notable than the editing. Director of Photography Steve Yeldin, who Johnson has worked with on all of his films since Brick, delivers another unique visual experience. Yeldin manages to re-imagine himself on each film he works on with Johnson, his visual style changes continually. In Knives Out, Yeldin uses lots of high contrast, low key lighting to emphasize shadows and conceal characters. It gives the film a nice, visually appealing look, while not drawing much attention to itself. Camera movement is similarly very limited; the film doesn’t feature complex camera movements or framing. When the editing and camera work does become more stylized, namely when Johnson and Yeldin makes use of slow motion, it stands out as feeling cheesy and out of place. Johnson wants the audience to focus on the performances and the story, not on the cinematography. 
    Overall, Knives Out makes for a very entertaining mystery that will provide plenty of twists and turns, and also offers a nostalgic look at the golden age of detective stories, with a fresh spin. The film even has things to say about immigration and politics in the United States, and about racial and economic barriers. With stand out performances by a great ensemble cast, and a plot that felt surprising and new, Knives Out is certainly worth watching, and even rewatching. 
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Heath Ledger’s Joker and Why It Can Not Be Matched

12/9/2019

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By Connor Cigrang
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What does it take to have your name become synonymous with the most famous comic villain of all-time? A breath-taking performance would be a good start, but the prestigious honor of such an accomplishment requires far more than just brilliant acting. The actor must evoke an emotional reaction in the viewer that leaves him both happy and confused; a feeling through which he doesn’t know if he should love the brilliance of the performance or hate the evil of the character itself. 

Generational talents are rare, they are people who pour into their work and become obsessed with portraying their character perfectly. Everyone wants to be remembered for their acting but not everyone is willing to put in the time necessary to do so, those who are willing are the actors we still talk about decades later.
 Heath Ledger’s portrayal of ‘the Joker’, in Christopher Nolan’s The Dark Knight, (2008) is widely regarded, amongst colleagues and critiques alike, as one of the best acting performances of all time. Fellow cast member Maggie Gyllenhaal, who played Rachel Dawes in the film, praised Ledger’s performance in an interview with Comingsoon.net, 
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“I knew immediately that he was doing something really unusual and rare and extremely special, even for the most talented and experienced actors, which is that he sort of found this stride where he was totally free.”
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Ledger and Gyllenhaal in a scene from The Dark Knight.
The performance won him an Oscar in 2009 for, ‘Best Performance by an Actor in a Supporting Role’. Nolan’s writing proved to pair brilliantly with Ledger’s performance, cumulating in a fresh, innovative version of the classic comic book character. The Dark Knight brings forth a version of the Joker that is darker and more twisted than any previous interpretation. Depicting the clown prince of crime in new form, Ledger created a mysterious figure that is always one step ahead.  

​The character of ‘the Joker’ has origins far before Ledger’s portrayal of him. Beginning as a comic book character in the DC Universe, the Joker was Batman’s arch nemesis. Always playing tricks on and fooling Batman, the Joker ensued chaos whenever and wherever he could. He was depicted first on the big screen by Caesar Romero in the 1960’s telecom Batman as a giggly troublemaker who gleaned at tricking Batman and his sidekick Robin. Jack Nicholson followed Romero in 1989, bringing forth a new version of the Joker in Tim Burton’s Batman. A deformed mobster, Nicholson’s play on the Joker introduced a more sinister side to the character while still maintaining his funny and quirky personality. Romero and Nicholson both brought forth comedic versions of the character, but still included elements of crime. Each made audiences laugh with their jokes and wit, even managing to get audience members to forget their character was “the bad-guy”. 
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Romero (left)
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Nicholson (right)
Ledger’s performance makes a dramatic shift from the appealing version of the Joker that Romero and Nicholson had made iconic. He and Nolan put a unique spin on the character, retaining the Joker’s comedic personality but, displaying it in an even darker and psychotic way. Unlike previous versions of the character, Ledger’s version of the Joker found humor in the terror and pain he inflicted on others. Rather than finding fun in simply thwarting Batman’s plans, Ledger’s version enjoys creating anarchy. As is depicted in the film, the Joker enjoys killing and ‘making the world burn’. He does not care about any material elements the world can offer, but rather creating chaos in the most civilized places. He works to expose the true persona of Gotham’s most respected members of law enforcement and appeals to the darkest emotions of each individual. The Joker breaks Batman’s will by destroying the status quo he created.  
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Unlike traditional comic book scenarios, the hero does not win in The Dark Knight. This is what makes the film, and Ledger’s version of the character, so brilliant. While yes, Batman manages to stop the Joker and capture him at the end of the film, it comes at a cost. The Joker exposes the true nature of Gotham’s white knight, Harvey Dent, by disfiguring him and taking away what he loves most. He also forces Batman to go against his most valued principle and choose one life over another (saving Harvey Dent and therefore allowing his childhood friend Rachel to die). Becoming disfigured and losing the love of his life (Rachel) proves too much for Dent and his true ‘two-faced’ nature is exposed. The Joker knew that even Dent, the shining symbol of legitimate justice in Gotham City, could be broken and that he could turn him into a monster as horrific as himself. In order to save Dent’s reputation, and preserve the little will the city had left, Batman is forced to kill Dent and then take the blame for all the murders he had committed. Unlike any prior version, the Joker wins. His psyche and desire for anarchy are so strong that not even Batman can stop him. This element is huge, never before had audiences seen a villain truly break Batman down in the way that the Joker does in this film. 
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Ledger in The Dark Knight
Ledger’s acting is brilliant, he personifies a man whose gruesome figure strikes fear into the hearts of all who see him. Despite the legendary performances of Romero and Nicholson, Ledger has become the new standard for the Joker character. It is often debated as to whether Nicholson or Ledger put on the greatest “Joker” performance. Nicholson, a legendary name of Hollywood who starred in The Shining, stole the show with his performance as the Joker. Yet, he is edged out by Ledger not because of persona but rather his inability to be defeated. Nicholson’s version is dark, but Ledgers takes things to a whole other level. Ledger’s version radiates everything that a clown prince of crime should be, and, he beats the hero. He is a bipolar, sadistic, violent, lunatic who can get under even the toughest persons skin and break them. He does this to Batman, he does this to Harvey Dent, and he even manages to do it to their colleague. Commissioner Jim Gordon. Nicholson’s version may cause chaos and wreak havoc on the city, but, he is eventually ‘figured out’ and defeated. Heath Ledger’s Joker can never be categorized and is not capable of reason, he therefore cannot ever be truly stopped as his effect on Gotham City can never be reversed. This is why his version is the greatest, he brought to life a villain whose affect never goes away. 
    
​This interpretation of the Joker by Ledger is so appreciated by the audience because he captures everything that viewers believe such a man would be. Previous versions maintained a “comic book style” look for the Joker. These versions of the character were spectacular, but, none of them possessed any ‘realistic’ elements. Ledger’s Joker feels real, he has a completely different look from any other version and is a true psychopath. He carries his scars with pride and is an expert at turning the world from civilized to chaotic in a matter of days. He translates the chaos of his mind into the psyche of others and manipulates them into becoming the very evil they fight to destroy. He is a villain that keeps you coming back for more. As terrifying as he is fascinating, Ledger’s Joker captivated audiences in a way no other villain ever has. The film is centered around Batman’s fight for justice yet it is not he that made the film what it was. The Joker did, he creates the world in which every other character in the film struggles to understand. He holds all the chips while everyone else is allowed to believe that they are in control.   

    
​Ledger’s version of this iconic character is unrivaled, and has therefore become the benchmark for all other interpretations. While the benchmark he set will likely never be surpassed, it remains the standard when a new version of the Joker is released; the character himself is truly as unforgettable as he is disturbing. 


Who could ever forget the iconic phrase Ledger coined so well… “Why so serious?”  


Sources: ​

https://www.imdb.com/name/nm0005132/awards

https://www.syfy.com/syfywire/the-best-joker-is-still-cesar-romero-in-the-66-batman-tv-show-hands-down

https://comicbook.com/dc/2016/09/08/5-reasons-why-jack-nicholsons-joker-is-so-iconic/

https://www.comingsoon.net/movies/features/46854-the-dark-knight-cast-and-director-remember-heath-ledger

https://www.google.com/url?sa=i&source=images&cd=&ved=2ahUKEwiEjZ6c-OrlAhXhg-AKHRczCQUQjRx6BAgBEAQ&url=https%3A%2F%2Fwww.cinemablend.com%2Fnew%2FHeath-Ledger-Joker-Diary-Reveals-Important-Clues-His-Process-76217.html&psig=AOvVaw0eiy-WaGRQv51v5_qZFmXA&ust=1573863395503177
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https://www.google.com/url?sa=i&source=images&cd=&ved=2ahUKEwj4x97z-OrlAhWtnuAKHcXrAcAQjRx6BAgBEAQ&url=https%3A%2F%2Fwww.amazon.com%2FD3314-Ledger-Batman-Knight-POSTER%2Fdp%2FB00E6MP8K0&psig=AOvVaw1ic1kI5xwDKUryD8uhZnpp&ust=1573863552851793

https://www.google.com/url?sa=i&source=images&cd=&ved=2ahUKEwiQi_aP-erlAhXhmuAKHfjyDv4QjRx6BAgBEAQ&url=https%3A%2F%2Fwww.usatoday.com%2Fstory%2Flife%2Fmovies%2F2018%2F07%2F17%2Fhow-dark-knight-heath-ledger-fueled-our-joker-obsession%2F786702002%2F&psig=AOvVaw1ic1kI5xwDKUryD8uhZnpp&ust=1573863552851793
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https://www.google.com/url?sa=i&source=images&cd=&ved=2ahUKEwi7tp_V-erlAhUEhOAKHcaCDsEQjRx6BAgBEAQ&url=http%3A%2F%2Fwww.lecturesalternatives.fr%2F2016%2F12%2Fjoker-is-bruce-s-best-friend-the-dark-knight-part-2-3400-words.html&psig=AOvVaw1X22Cx1aLNqGSpXiCQy3ja&ust=1573863763640273
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https://www.google.com/url?sa=i&source=images&cd=&ved=2ahUKEwjGsY6j-urlAhWNct8KHZUxBFoQjRx6BAgBEAQ&url=https%3A%2F%2Fbatman.fandom.com%2Fwiki%2FThe_Joker_(Dozierverse)&psig=AOvVaw0nwiIFVPqr8OpFNDnnCXKh&ust=1573863886666837

https://www.google.com/url?sa=i&source=images&cd=&ved=2ahUKEwi9p7DG-urlAhXEhOAKHa6yD2sQjRx6BAgBEAQ&url=https%3A%2F%2Fwww.newsarama.com%2F36090-ranking-the-best-joker-actors-of-all-time.html&psig=AOvVaw0nwiIFVPqr8OpFNDnnCXKh&ust=1573863886666837

https://www.google.com/url?sa=i&source=images&cd=&ved=2ahUKEwi6iJ-S--rlAhVwmuAKHUMKB38QjRx6BAgBEAQ&url=http%3A%2F%2Fwww.fanpop.com%2Fclubs%2Fthe-dark-knight%2Fimages%2F9471606%2Ftitle%2Frachel-dawes-photo&psig=AOvVaw1zjtyr9RdMvJfhU_YjzKgs&ust=1573864153111014
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The Fine Tonal Balance: A Jojo Rabbit Review

12/5/2019

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By Bill Friedell
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In a recent interview, Todd Phillips, director of Joker (2019) stated that the current culture we live in has killed comedy films. Taika Waititi’s newest film Jojo Rabbit (2019) stands as a direct refute of this sentiment, delving into an unlikely source of comedy; Nazi Germany. But Waititi isn’t interested in just making a controversial comedy, he’s interested in dismantling Nazi hatred and policy. It deconstructs the machine of propaganda, fear and hate and how it can be overcome.

Jojo Rabbit tells the tale of a young Hitler Youth named Jojo (Roman Griffin Davis), who wishes to join the Nazi soldiers at war and become part of Hitler’s guard. He also has an imaginary friend named Adolf (Taika Waititi) who encourages Jojo on his quest. However, due to an injury at camp, he returns home early and discovers that his mother (Scarlet Johanson) is hiding a Jewish girl named Elsa (Thomasin McKenzie). At a stalemate with each other, Jojo learns that the information he’s been given about Jews was wrong, causing him to rethink his loyalties and what he believes is right.

All the performances given in this film work both comedically and dramatically. Taika Waititi’s portrayal of Adolf was the most impressive as it balances both comedy and drama in a really effective way. He starts out incredibly funny, like all of his performances, but as Jojo begins to lean away from Nazi ideology, he leans more into the real life Adolf Hitler’s mannerisms, shouting more and taking on a more authoritative demeanor. It’s a synecdoche of the entire film, representing the tonal balance Waititi is attempting. Scarlet Johanson also impresses, giving a warm, life loving presence, embodying Waititi’s thesis statement that life is precious and worth celebrating. Roman Griffin Davis and Thomasin McKenzie ultimately ground the film with their performances. McKenzie delivers a performance with resilience, wit, and a sense of barely holding on. Davis acts as the perfect POV character as we see the world of Nazi Germany through a boy’s eyes and how his new experiences forge him into the person he will become, both growing and gaining something that was once thought lost. 
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The center of the film is Jojo (Roman Griffin Davis) better understanding Elsa (Thomasin McKenzie), which forces him to confront the ideology he has idolized.
The most impressive feat of the film has to be the tonal balance of the film, dealing with the atrocities of Nazi Germany while also being a comedy. If handled wrong, the film wouldn’t work, but Waititi knows where to direct the comedy at; the Nazis and their ideology, never making fun of the Jews or other victims of the Nazis at their expense. The comedy serves a purpose to the overall themes of the film. It deconstructs the machine that creates a society that would support a racist, fascist regime that is on the verge of collapse. But that doesn’t mean there aren’t dramatic moments. One such dramatic moment is when Jojo and his mother witness a group of people hung dead in the streets. The fact that these elements never clash is a strength of Waititi’s writing and directing. 

 It’s built on a society of lies and disinformation in order to insight blind hatred. One brilliant sequence that beautifully illustrates this is the use of archive footage of Hitler and his rallies as the Beatles song “I Wanna Hold Your Hand” is sung in German plays, showing the fanaticism of Hitler as a celebrity with a fanaticism similar to the Beatles. The Hitler Youth Camp also illustrates this point, not only showing the radicalization of young children, but also showing the childishness of the Nazi ideology, but is then turned on its head as the climax shows the desperation to throw bodies at their enemies, forcing the Hitler Youths inhabiting the roles of soldiers. The image is satirical and silly, but Waititi’s framing of this idea punches you in the gut as you see Jojo’s dream become a reality, but is now horrified due to his new perspective
Jojo Rabbit is a beautiful and hilarious coming of age story that ingeniously uses humor and drama to tell a story of loving life rather than stewing in hate while not coming off as oversimplistic. The performances, both dramatically and humorously work towards Waititi’s direction and delivers one of the funniest and poignant films of the year.

​Works Cited

“Jojo Rabbit.” IMDb, IMDb.com, 24 Oct. 2019, www.imdb.com/title/tt2584384/.
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Wanshel, Elyse. “'Joker' Director Todd Phillips Said He Left Comedy Because Of 'Woke Culture'.” HuffPost, HuffPost, 2 Oct. 2019, www.huffpost.com/entry/joker-director-todd-phillips-woke-culture_n_5d94e1c2e4b0019647b28793?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAABjq7Zp4gRsO99LrfM9KU7eiMQ1oTEQswMJXMgWJp2P7ULUVXINHNdSo72JPRCs-zfvso_Zlc8u1V8VC_8DqiOxDc0MTney8fEURff6Fapz9CFFIoWzmi1FwXpCaVwliIbvFnvjZdBsEMQ3vjpFfLBIC4YuV2izOVQ7m9wJ9OcYo.

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Missing Link and the Search for Belonging

12/2/2019

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by Landen Kennedy

Spoiler Alert for Missing Link

    If there ever was a movie made just for my younger self, it would be Missing Link (Chris Butler, 2019). The adventure genre and monsters like the Loch Ness Monster and the bigfoot have been some of my favorite topics since childhood, so when I saw Missing Link for the first time, I felt like a child again. Perhaps the biggest reason I felt a child-like glee watching this movie was because of its relatable themes. This movie is not only about the search for a mythical lost city in the Himalayas, but it is about the search for belonging. This desire is something that all of the characters share, and is a feeling so deeply human that any audience can relate with it.
Laika Studios, who produced Kubo and the Two Strings (Travis Knight, 2016), and Coraline (Henry Selick, 2009) are famous for their stop motion children’s movies. Their latest adventure film follows Sir Lionel Frost (Hugh Jackman), a daring yet self-centered monster hunter and explorer as he teams up with Mr. Link (Zach Galifianakis) a lone bigfoot. The duo attempt to discover Shangri-La, a mythical ancient city and home of Link’s relatives, the yeti. The film contains many of the tropes of the typical adventure movie; chases and fights, exotic locations, legends and myths, and a villain who wants nothing more than to stop the adventurers.
    The film begins with Frost and his current assistant, Mr. Lint (David Williams), as the hunt the elusive Loch Ness Monster. In this scene, we are introduced to Frost as a character. He acts in his own self interest, even when his partner is in danger. He is more interested in getting a good photo of the beast than in saving his assistant, as becomes evident when his camera is destroyed and he becomes angry, though he keeps his cool when the monster has his assistant in its jaws.
    In the next scene we find Frost attempting to join an adventurer’s club. The club is full of pretentious, upper class hunters, and is led by the worst of them all, Lord Piggot Dunceby (Stephen Fry). The club does not accept Frost into their ranks because he is a “monster hunter.” They are real adventurers, and the very notion of Frost’s latest adventure is beneath them. What is important about this moment is that we see how Frost desperately wants to join their ranks, despite the fact that they see him as a disgrace to their profession. 

     When Frost travels to America, he finds that the sender of the letter that told him the sasquatch was living in the forest, was the sasquatch himself! Mr. Link has heard of Frost’s monster hunting prowess and wants to join him on a journey to Shangri-La where his ancestors, the yeti, live. Link tells Frost that he is lonely in the woods by himself. He wants to be with the closest thing to a family that he has. Frost jumps at the opportunity to find the mythical city, but he does this mostly out of the desire to prove himself to Piggot Dunceby.
    They eventually find themselves inside the yeti’s home at Shangri-La. Along the way they acquire another companion, Adelina, who has a troubled history with Frost. The leader of the yeti family tells them, “There is no place for you among us.” The yetis see Link as their distant cousin, a redneck compared to their elegance.. After escaping from the yeti prison and confronting his selfishness, Frost comes face to face with Piggot Dunceby, who has followed them all the way to the entrance of Shangri-La, a bridge of ice crossing a deep canyon. Frost tells Dunceby that he has “evolved” beyond his selfish interest and is more concerned about remaining friends with Link and Adelina. Dunceby cannot believe this. “Of course you want to be one of us. We are great men! We shape the world!” Frost responds by explaining that the world shapes us, not the other way around. There is a harrowing scene where the bridge collapses and through teamwork, our heroes survive. The film ends with Frost taking on Link as his new assistant, the two of them fulfilling their need for belonging with each other.
    The theme of this movie is finding a home, or a place where you belong. Both of the main characters primary motivations are to get acceptance from a specific group of people. Dunceby and the yetis represent elitism and exclusivity. One could even read further into Dunceby’s character and say that he is a representation of certain political and social ideas in the modern world. He chastises Frost for being hand-in-hand with women and apes, and stresses how great men are. These talking points may fly over the heads of children, but to a more mature audience, they can give the story a completely different meaning. Modern politics is seen as extremely divisive and polarizing. This film seems to suggest that keeping yourself apart from people who think, look, or act differently from you is wrong. It praises the diversity between Frost, Link, and Adelina, while showing how wrong Dunceby is by excluding them.
    Karyn Hall writes in an article in Psychology Today that, “a sense of belonging is a human need” and that “Some seek belonging through excluding others. That reflects the idea that there must be those who don't belong in order for there to be those who do.” Dunceby is a great example of seeking belonging through exclusion. He does not want to let Frost join because he wants to belong to a group of great men, and he does not see Frost that way. Letting Frost in would negate his sense of belonging to an elite group. At the end of the film he is upset when Frost no longer wants to join the group. This is because Frost deciding to not join the group makes it seem like a less desirable and special position to be in. This film tackles some pretty deep issues, both political and universal. The sense of belonging is something all people desire, and teaching kids that belonging can be found anywhere is a good message. These wonderful themes are wrapped in a fun, adventurous, stop-motion animation that is sure to leave you entertained and enlightened.



Work Cited
Hall, Karyn. “Create a Sense of Belonging.” Psychology Today, Sussex Publishers, 4 Mar. 2014, https://www.psychologytoday.com/us/blog/pieces-mind/201403/create-sense-belonging.

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