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    Movie Review

    Coco uses the power of family to craft another winner for Pixar

    Alex Bentley
    Nov 22, 2017 | 2:00 pm
    Coco uses the power of family to craft another winner for Pixar
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    While the masters at Pixar have rightly been lauded for their technical and storytelling prowess over the past 20+ years, they had fallen down on the job in portraying any significant minority characters. That is no longer the case, as they have jumped in with both feet with the Mexican tale Coco.

    Set amid the Dia de los Muertos (Day of the Dead) celebration, the main character is not Coco, but Miguel (Anthony Gonzalez), the youngest member of the Rivera clan. He loves music, especially that of his hero, the late Ernesto de la Cruz (Benjamin Bratt). But a longstanding family bias against music means he must hide his passion.

    Like many Pixar films, Coco leans heavily into the theme of family. Miguel’s family is loving but constricting, and he chafes at what he thinks are unnecessary restrictions. The family is ruled by the iron fist of Abuelita (Renee Victor), but it revolves around her mother, Mama Coco (Ana Ofelia Murguia). Coco’s musician-father left when she was young, thus beginning the family’s ban on music.

    While trying to find a way to play his music in public, Miguel accidentally gets transported to the Land of the Dead. He receives help in getting back to the land of the living from a variety of long-dead family members; Hector (Gael Garcia Bernal), a kind-if-desperate soul on the verge of being forgotten; and even de la Cruz himself.

    Co-directors Lee Unkrich and Adrian Molina, working from a script written by Molina and Matthew Aldrich, do their best to educate the masses about the Day of the Dead tradition without getting bogged down in details. Still, they could have defined many of the elements more clearly, as only those already in the know will truly understand the meanings of certain things.

    However, while Day of the Dead is an integral part of the plot, it’s not necessary to know all of its ins and outs to enjoy the film immensely. Miguel is the driving force, and his desire and determination are infectious. His interactions with other characters run the gamut from hilarious to melancholy, and they rarely strike a false note.

    The visuals within the Land of the Dead are eye-popping — almost overwhelming, even. The animators let their imaginations run wild on this project, and that creativity shows up in everything from the shockingly different varieties of skeletons to the innumerable structures the world contains.

    Due to the specificity of the plot, a connection to Coco likely will be felt more strongly by some than others. But its general story about the power of family is universal and fits right in with every other great movie Pixar has ever made.

    Ernesto de la Cruz (Benjamin Bratt) and Miguel (Anthony Gonzalez) in Coco.

    Benjamin Bratt and Anthony Gonzalez in Coco
    Photo courtesy of Walt Disney Pictures
    Ernesto de la Cruz (Benjamin Bratt) and Miguel (Anthony Gonzalez) in Coco.
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    Movie review

    Nick Jonas and Paul Rudd chase their dreams in music-heavy Power Ballad

    Alex Bentley
    Jun 8, 2026 | 10:30 am
    Nick Jonas and Paul Rudd in Power Ballad
    Photo by David Cleary for Lionsgate
    Nick Jonas and Paul Rudd in Power Ballad.

    Writer/director John Carney is one of the great purveyors of movies featuring music (as opposed to musicals) in the 21st century. Starting with Once in 2007 (which was turned into a Broadway musical several years later), he has made music-themed stories like Begin Again, Sing Street, Flora and Son, and now Power Ballad.

    Rick Power (Paul Rudd) is a former wannabe rock star who is now the lead singer of “Ireland’s #1 Wedding Band,” The Bride & Grooves. While they mostly play smaller weddings, a gig at a country estate leads to an encounter with Danny Wilson (Nick Jonas), a former boy band member struggling to make it as a solo artist. Rick and Danny wind up bonding in a booze- and pot-filled jam session, sharing various song ideas.

    After returning to Los Angeles and desperate for a hit, Danny steals one of Rick’s songs, which miraculously turns into the No. 1 “How to Write a Song (Without You).” Rick, initially overjoyed that something he wrote has become big, is crushed when he finds out Danny didn’t give him credit. His quest to find a way to prove his worth sends him into a spiral, upending the ordinary life he had built.

    Co-written by Peter McDonald, the film is a nice exploration of two men trying to hold on to their music dreams. Their individual circumstances could not be more different, but each of them knows the ups and downs of the business as well as the other, as well as the ineffable magic of creating that one great song. While the music scenes are hit-and-miss because of a reliance on lip synching, the scene featuring Rick and Danny trading ideas is electric with creativity.

    Oddly, though, the film could have used a bit less music and more of a focus on the two men’s personal lives. Rick wound up living in Ireland after falling in love with his future wife, Rachel (Marcella Plunkett), while on tour with his former American band. He spends a decent amount of time with her and his daughter, Aja (Beth Fallon), but his story needed a few more family scenes to drive the point home. Danny’s personal life is all but nonexistent, giving his arc less impact than it could have had.

    Instead of loved ones, Carney and McDonald try to give Rick and Danny more depth through friends and business associates. Rick’s bandmate Sandy (McDonald) is a ride-or-die kind of guy for him, but his presence is only good for a few humorous distractions. Danny’s manager Mac (Jack Reynor) is difficult to parse, as he goes to bat for Danny on multiple occasions, but also seems to keep him at arm’s length.

    It’s long been joked that Rudd never ages, and that youthfulness serves him well in this role, in which his character is supposed to be much younger than his actual age of 57. His energy and enthusiasm make his character appealing throughout, even when Rick starts to go off the deep end. Jonas is decent in his role, selling the music side well, but there might be a reason his character doesn’t have many scenes requiring him to show emotions.

    While Power Ballad has all the hallmarks of another great Carney music movie, it’s missing a few pieces that could have put it over the top. It’s still a fun film with an insanely catchy song at its center, but it’s not quite as memorable as most of the filmmaker’s previous efforts.

    ---

    Power Ballad is now playing in theaters.

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