There’s been talk of a Disney renaissance; hot off the heels of Frozen’s commercial – and critical – success, the studio released Big Hero 6, a charming flick that was met with a similarly superb response. So much so, it went on to beat the likes of The Lego Movie and The Tale of Princess Kaguya to the Best Animated Feature Oscar. The accolade was clearly indicative of the golden period Disney now finds itself in – away from the depths of the 2000s; the award was sweet, a success story, a signifier of great things to come. The award was undeserved.
Big Hero 6 is undoubtedly a pleasant, likeable film. Baymax, the sidekick of main protagonist Hiro (Ryan Potter), is irresistibly adorable and wonderfully voiced by Scott Adsit. Together these two heroes attempt to stop a mysterious masked villain in control of a creation owned by Hiro himself – microbots -, a figure of formerly ambiguous motives. To conquer this villain, they team up with a group of scientists/thinly-veiled caricatures, each given an upgrade via Hiro’s genius that tailors to each character’s specific skill set. To give any more plot points away would risk delving into spoiler territory – it’s a shame then that you’ll see each plot development coming a mile away. Disney has certainly benefited from their control over the majority of Marvel, and Big Hero 6 is a way to flaunt that control; adapted from the Marvel comics of the same name, the series offers a huge array of creative sequences to choose from. And Big Hero 6 certainly excels in its world-building – the film takes place in the city of San Fransokyo, an imaginative hybrid city that looks beautiful and is much a character of the film as any of the other characters. If the movie shines in one department, then its most obviously the world created, and its sumptuous visuals.
The creativity of the city isn’t translated into plot however, where somehow the writers manage to turn an animation – a cinematic form that has endless possibilities – into a formulaic, albeit enjoyable romp that’s inseparable from a large proportion of live-action movies: A protagonist is introduced, a traumatic event occurs that spurs on the emergence of a hero from within the protagonist, a villain arises and the protagonist, with the help of some lazily-written sidekicks, battle this villain in a huge showdown of mass destruction. It’s disappointing, and frustrating, to see a plot mishandled and shaped into a generic Marvel formula when there’s potential for so much more. It’s not just live-action Marvel films that Big Hero 6 seems to be copying- the animations wears references of The Iron Giant on its sleeve, the similarities bravely shuffling on the edge of ripping-off as opposed to endearingly referencing.
The dialogue itself is a mixed bag – some jokes hit, others are miscalculations, a large portion of the characters are poorly written and used more as plot devices than for realism, and there are many, many expositional problems at the start of the film (“Our parents died in a fire when I was 3, remember?”). Where the script succeeds is in its truthful, adult moral message, and how the film conveys that message. It’s touching, heartfelt, and admirably separates itself from feel-good animations that may end up serving as lies given to younger viewers. This is fast becoming a trend in 2015 – Inside Out deals with a similarly mature, acceptance-themed message too, and is made all the better for it. The ending of Big Hero 6 hits hard (although it’s then hindered by a following scene), despite the likelihood that you may see it coming, and proves to be a high of a film that’s otherwise a little flat.
Big Hero 6 is one of the most beautiful films animated, yet its visuals and resoundingly satisfying message can’t quite make up for poor plot-characterisation, poor plot writing and simply a poor plot. How this won the Oscar over The Lego Movie is anyone’s guess.
– Gus Edgar