REVIEW: “Raya and the Last Dragon”

REVIEW: “Raya and the Last Dragon”

March 8th, 2021

Martin Goodman

Raya and the Last Dragon, in production since 2017, is Disney’s 59th film, or should I say, films, because there is more than one movie at work here. By the time I sat down to write this review, I found myself feeling like the shattered dragon orb (the McGuffin of the movie, trying to reunite the disparate elements of the picture into an integrated whole. In my count, we have three separate films here.

The first (and best) film, taken apart from the story, is a technological masterpiece, the new cutting edge of CGI animation until 3D holography replaces it; even then, it may not look as good. The titular last dragon, named Sisu, is a water dragon. Therefore, the film is rife with depiction of water in all forms; never in the history of animation has water, above or below its surface, rain, or fog been depicted with such photorealistic accuracy. One scene, which is plainly showing off the skills used to produce the effects, shows Sisu gamboling beneath the waves; it is frankly incredible.

The movie involves five separate kingdoms (more like tribes), and each one has a different ecosystem. For the record, they are the Fang, Heart, Spine, Talon, and Tail. Some are lush jungles, while others are bustling cities and others in ruins. Each one is brilliantly animated and varyingly lit, without one false note from the production team. The layout artists are in for special kudos; there are several scenes of girl-on-girl combat in the film, and the action surpasses most live-action fight scenes, which would have to be speeded up to replicate what the animated characters do in this film. The dragons (Sisu in particular) are marvelously sinuous in rapid, airborne motion without losing shape or volume. This film could (largely) be viewed without any sound at all and would still be a marvel to anyone watching it.

The second film consists of the plot, which is less inspiring than the visuals. There is a prologue set in the land of Kumandra which is a mythical hodge-podge of East Asian countries. Five hundred years ago, an ancient, deadly scourge known as the Druun (shapeless masses of angry chaos who turn their victims into statues) were defeated by a cadre of dragons, who sacrificed their lives in the effort. Their final act was transferring their unique essences in a magic orb and leaving it in the care of Sisu, who then went into hiding. The orb ended up in the possession of Chief Benja of what became known at the Heart tribe, since Kumandra split into five tribes out of jealously of Benji’s prosperous people.

Benji, however, dreams of reuniting the kingdom and believes that the other tribes should work together to rebirth Kumandra. His young daughter Raya, who has been in training helps to guard the orb, helps him issue an invitation of peace to the remaining tribes. At the great feast, Raya is lulled into revealing the location of the great orb by Namaari, who uses the occasion to try and steal it for the Fang tribe. All hell breaks loose and all the tribes scuffle over the orb, breaking it into five pieces. The Druun soon return, and Raya is next seen six years later, determined to reunite the stones, defeat the Drunn, and realize her father’s wishes for universal piece. The first step is to find the long-hidden last dragon. This Raya does, but the dragon, Sisu, is certainly less than imposing. Thus begins the quest for the stones, which takes up the rest of the film. Along the way, Raya and Sisu pick up allies from each tribe, including 10-year-old Boun, a budding nautical chef, Baby Noi and her trio of bizarre tiny pets, and Tong, a big-hearted giant warrior. I’m avoiding spoilers, but be assured that trickery, betrayals, and untrustworthy characters await our heroes at every turn.

The third movie involves the story, screenplay, and direction, and this is where Raya and the Last Dragon has a few problems. The direction, by Don Hall (who has been a Disney story person or director since 1999) and Carlos Lopez Estrada (Frozen II) is adequate for what is really a misfit-gang-on-a-magical-quest movie with very few nuances or twists in the telling. Does Raya succeed in her quest? Does the kingdom get reunited? Will there be peace and harmony? Will the Druun be defeated? And will Sisu really be the last dragon? Do you need any more questions? This is, after all, a Disney picture. At least Frozen II and Onward had bittersweet resolutions; a tale as mythic as Raya has a brilliantly happy ending which, happy to say, avoids a big dance party at the end.

It was also hard to not see this film as a political allegory. A once united kingdom torn apart by envy and hatred? Each faction believing that they should declare what is right? Mistrust, lies, and betrayals? People hardened into stone by malevolent spirits, unable to accept any competing viewpoint? The only solution – to stop hating each other’s “tribes” and work together for peace and prosperity? If I didn’t know better…

Disney has a had a problem as far back as the Hunchback of Notre Dame and can be seen most vividly in Brother Bear: This movie is set in some mishmash of ancient East Asia and the time is not contemporary to ours (I didn’t see any modern architecture, weapons, iPhones, or any vehicles save for what looks to be a giant rolling pangolin), but too much of the dialogue is in 2021 lingo, lending a bizarre tonal contrast to the visuals. One of the worst offenders is Sisu; Awkwafina’s performance is truly fine, but her lines diminish the character; she might as well be playing herself. Maybe Disney does this to chum up to the older kids and tweens; I for one hate it. Also annoying to me were a few moments of manipulation, one depicting the killing of Sisu (you didn’t really think she died, did you?) and one involving a darkest-before-the-dawn moment with the magical orb near the end of the film.

I will say that the actors, particularly Kelly Marie Tran as Raya and Gemma Chan as her nemesis Namaari, are outstanding. Since the movie focuses so much on them through several dialogues and combat scenes, there is no real screen time for the kid sidekicks Boun and Baby Noi to be as irritating as, say, Ranjan in Jungle Book 2. Add to the plus side is the amazing musical score by film veteran James Newton Howard; it is his best for a Disney film.

In short, Raya and the Last Dragon is a film in which the animation soars above the script and story like a dragon streaking above the clouds. Once I accepted its thematic limitations, I found Raya to be an enjoyable film well worth seeing. It is certainly the leading light of 2021 animated films thus far.