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“Raya and the Last Dragon,” which opens in limited theaters this week and will also be available on Disney+ for an additional fee, is a wonderful adventure film from Disney. It’s an ambitious family film that will appeal to people of all ages because it incorporates imagery and mythology from several Southeast Asian cultures into its own vision. It never talks down to its audience while providing them with an entertaining and thought-provoking story. It also contains some of the most visually arresting imagery that Disney has ever created, placing its characters in a world that feels both timeless and contemporary at the same time, as seen in the trailer below.
Raya (Kelly Marie Tran) has been hearing stories about the last dragon from her father, Benja, for quite some time (Daniel Dae Kim). In the midst of a villainous force sweeping the land, turning people into stone, magical dragons banded together to form a stone, which one of them, Sisu, used to avert the approaching apocalyptic event. She made the ultimate sacrifice in the process, despite persistent rumors that she survived it. When the film begins, the stone is in the possession of Benja and Raya’s people; however, the other clans of the now-divided world steal it, break it into pieces, and scatter the pieces throughout the land.
In order to reunify her people and fulfill her father’s vision of loyalty, Raya embarks on a quest to track down both Awkafina and the fragments of the stone, which she hopes will lead to the discovery of both. During their journey, they are pursued by Namaari (Gemma Chan), the princess of a clan seeking full power, and come across a number of memorable supporting characters, including the gregarious Boun (Izaac Wang), one-eyed Tong (Benedict Wong), and even a “con baby,” a young girl who takes advantage of her undeniable cuteness to become an alley con artist. Because the stone’s fragmentation had an impact on all of these colorful characters, the film’s central cast becomes an unforgettable part of what is essentially an old-fashioned adventure film that evokes everything from Indiana Jones to “Princess Mononoke.”
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Every design element in “Raya and the Last Dragon,” directed by Don Hall (“Big Hero 6”) and Carlos López Estrada (“Blindspotting”), is a testament to the high level of craftsmanship put into the film. Each of the lands that Raya and her companions visit appears to be a fully realized world in its own right. The streets where Raya encounters the baby and her accomplices-in-crime are alive with activity and background detail, which is something that many films like this simply ignore. It also has a stunningly beautiful character design, which is much more thought out than most modern blockbuster animation, particularly the stunning appearance of Sisu and her fellow dragons. Despite the fact that she resembles other dragons we’ve seen in Asian cinema before—impossible it’s not to think of “Spirited Away” when she takes to the skies in her own way—she ultimately stands on her own, thanks in part to the way her design blends with Awkwafina’s fantastic voice work. She has a lot of expression without being overtly cartoony. Raya’s visual appeal stems from its vibrant color palette and remarkable level of detail, which never veers too far into fantasy elements, resulting in the perfect balance between reality and fantasy.
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It is possible to maintain this balance because screenwriters Qui Nguyen and Adele Lim do not become disoriented in their new animated playground and do not lose sight of the emotional stakes of the story. Raya is not only attempting to bring her father back to life, but she is also attempting to bring the entire world back together. It’s an intelligent film about one of the most important themes of our time: the search for unity. Because the film is about trying to find common ground and cause again after betrayal and division, there will be a plethora of social and political interpretations of the film to choose from. For me, one of its many strengths is how it challenges the traditional superficiality of blockbuster animation, acknowledging the fact that children are capable of dealing with more complex plots and themes than Hollywood typically offers them. “Raya” can be enjoyed solely on the level of an adventure film, but it is likely to elicit a few thought-provoking discussions with children about trust, forgiveness, and courage. Is fear a symptom of distrust or is it the cause of distrust? Rather than being divided over whether we are enemies, or because we have been told that we are enemies,
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However, and this is a rare criticism of studio animation, “Raya and the Last Dragon” can occasionally become almost too dense with thematic material. This is especially true of the film’s final half-hour, which has a habit of spelling out its ideas through dialogue more than it really needs to. However, while the characters and storytelling are excellent, I occasionally wished that “Raya” would allow for more quiet development rather than the rapid-fire pacing employed by Hall and Estrada. It has a tendency to overexplain itself when its imagery and narrative are sufficient to accomplish the task at hand.
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The quality of the voice work is outstanding throughout. Raya is played with the perfect balance of vulnerability and strength by Tran, and Awkwafina exudes an infectious sense of wonder and optimism throughout the entire film. All of the actors are on their A-game: Kim establishes a father/daughter dynamic with only a few scenes, Wong is so entertaining that he could easily be the star of a spin-off series about his character, and Chan sells the complex arc of a young woman who is forced to act against her own beliefs by her mother. All of them are also ably supported by one of James Newton Howard’s best scores, which is included in this collection.
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“Raya and the Last Dragon” could have been a traditional princess story—another tale of a young woman chosen by fate or magic to save her people—had it not been a fantasy novel. That is not the film in question. Ultimately, it is a story about fallibility and the uncertainty that often accompanies courage, all wrapped up in an unforgettable narrative that pays homage to mythology that has come before it while simultaneously creating its own past, present, and future. Many films have felt dismissed as a result of the closure of theaters in the last year, as they have not received the attention that they might have received during normal times. “Raya and the Last Dragon” is the kind of film that I wish I could have seen in a crowded theater, but it’s also the kind of film that I’m confident will not be lost to history and will find an audience. It’s simply too good to pass up.
The film will be released in theaters on March 4, 2021, and will be available on Disney+ the following day for an additional fee.
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