‘Ruby Gillman, Teenage Kraken’ Explores What It’s Like to Be a Sea Monster Family Living Amongst the Humans

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What’s Kraken? (CREDIT: DreamWorks)

Starring: Lana Condor, Toni Collette, Jane Fonda, Annie Murphy, Sam Richardson, Colman Domingo, Jaboukie Young-White, Liza Koshy, Blue Chapman, Eduardo Franco, Ramona Young

Director: Kirk DeMicco

Running Time: 91 Minutes

Rating: PG for Colorful, Town-Upending Sea Creature Battles

Release Date: June 30, 2023 (Theaters)

What’s It About?: 15-year-old Ruby Gillman (Lana Condor) lives with her parents and younger brother in the oceanside town of Oceanside, but she’s not allowed to ever go in the water. She soon discovers why, as an impromptu attempt to save her crush from drowning results in her blowing up into a certain gigantic legendary sea creature. As it turns out, her mom Agatha (Toni Collette) chose to raise her kids on dry land to escape the eternal underwater struggle for power. But once Ruby discovers that her grandmother (Jane Fonda), who insists on being called “Grandmamah,” emphasis on the last syllable, is the Warrior Queen of the Seven Seas, she happily embraces her royal heritage. On top of all that, Ruby becomes fast friends with a new girl in town who’s also a mermaid (Annie Murphy), whose eagerness to please might just merit a little skepticism.

What Made an Impression?: Oh, Canada, That Explains Everything: One gag that I wish Ruby Gillman had leaned on a little harder is the Gillman family cover story. They’re non-human creatures living amongst humans, so they explain away their cerulean hue and swishy physicality by insisting that they’re from Canada. It’s like the Coneheads saying that they’re from France: there was nothing particularly French about those SNL aliens, just as there’s nothing particularly maple-filled aboot these krakens. But it’s delightful to witness their neighbors accept that claim at face value. Instead of serving as a running gag, though, it’s just an appetizer to the fantastical adventure.
It Runs in the Family: With its transformational premise, you’d think that Ruby Gillman is primarily a metaphor about adolescence, and I suppose it is. But what struck me more was the focus on conflicting parenting philosophies. Or rather, accidentally similar mothering despite a concerted effort to avoid the previous generation’s mistakes. Agatha appears to be much more sensitive to Ruby’s predicament than Grandmamah ever was to her, but she’s also just as insistent that her kids must live a particular way. In a key scene, Fonda and Collette throw down in a tête-à-tête that illuminates the importance of granting grace to our family members, especially in the face of a wider threat.
Where There’s a Will: Ruby Gillman brings the comic relief in the form of some reliable yukmeisters. First, there’s Sam Richardson as Agatha’s eternally positive brother Brill, and then especially, the good humor cranks up when Will Forte makes waves as the wary but determined old sailor Gordon Lighthouse. This is the sort of character whose maiden is the sea, as he devotes himself to hunting down underwater creatures with Ahab-like devotion. Forte excels at these types who exist on the fringes of society, and he’s a welcome joy to leaven the scary-by-PG-standards action.

Ruby Gillman, Teenage Kraken is Recommended If You: Suspect that mermaids are hiding something

Grade: 3 out of 5 Tentacles

Movie Review: ‘Alita: Battle Angel’ Features Visionary Effects and a Convoluted Story

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CREDIT: Twentieth Century Fox

Starring: Rosa Salazar, Christoph Waltz, Jennifer Connelly, Mahershala Ali, Ed Skrein, Jackie Earle Haley, Keean Johnson, Michelle Rodriguez, Eiza González, Lana Condor, Jorge Lendeborg Jr., Idara Victor

Director: Robert Rodriguez

Running Time: 122 Minutes

Rating: PG-13 for Cyborg Limbs Flying All Over the Place

Release Date: February 14, 2019

Can slightly-larger-than-normal human eyes in a motion capture performance exist anywhere other than the Uncanny Valley? That is the conundrum at the heart of Alita: Battle Angel‘s box office prospects, but from where I’m sitting, they’re clearly the best part of the film. Yeah, those peepers might be creepy, but they are also a deep wellspring of an infectious personality. Rosa Salazar may have given her performance while dressed up in a bodysuit with a camera mounted on her head, but her enthusiasm to be part of groundbreaking cinema is consistently palpable.

Based on the manga series Gunnm, Alita: Battle Angel was co-written and co-produced by James Cameron, but presumably because he’s busy with all those Avatar sequels, directing duties fell to Robert Rodriguez. This could have been a clash of auteurs, as both men are enamored with creating digitally rendered, visually rich fantasy worlds, but Rodriguez has never really worked on the same scale as Cameron. (To be fair, nobody works on quite the same scale as Cameron.) But the steampunk metropolis of Iron City in 2563 is a sight to behold, and its array of cyborg citizens are correspondingly fascinating. Rodriguez has mostly realized Cameron’s vision without putting his own unique stamp on the project, but even so, on a technical level, this is the best James Cameron movie that Cameron never directed.

Too bad the plot is incomprehensible. A bunch of sci-fi tropes about the dangers of creating and living alongside artificial life are thrown out there, but none of them amount to anything. There is some talk about how Alita resembles the deceased daughter of her scientist caretaker (Christoph Waltz), but that does not lead to any of the expected emotional confusion. Alita is also being hunted down by other cyborgs, but it is never clear what threat she actually poses to anyone. Also, she is centuries old and the last of her kind, which could mean that she is a sort of Rosetta stone to the past, and people treat her that way, but nobody ever clearly explains why that matters. With all the empty dialogue in Alita, it makes me wish that someone in 2019 would be bold enough to make a $200 million sci-fi extravaganza as a silent film.

Alita: Battle Angel is Recommended If You Like: James Cameron’s Brand of 3D Visual Effects, Overly Busy Impenetrable Screenplays

Grade: 2.5 out of 5 Big Eyes