Raya and the Last Dragon Movie Review: Disney added the daughter of Southeast Asian warriors who swim to the list with the last and last dragon

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Raya and the Last Dragon Movie Review

Water is a motive that determines the last and last dragon. It triggered a change in the sea of ​​the princess soldier at Disney’s new animated film center. Water, not fire, empowered his dragon, who exhaled steam fog and had the talent for swimming (“I got the waters’ skills killed. I slaughtered when I hit water.”).

Water connects five soil Kumandra. This protects the life of a deadly outbreak that has changed most of his world into a desert. It’s a natural force that helps heal wounds in the past before paving the way for change and updates.

Disney films carry nostalgic baggage, which is quite large.

That’s why the studio has mined an IP instead of telling a new story. 2016 probably a great year for animated home-mouse animated clothes, after giving us two gems in Zootopia and Moana.

Five years later, Disney made his first foray into creating a new IP with Raya and the last dragon. While the film Don Hall and Carlos López Estrada did not measure DUD, it did not have a bottoming of “IT” that increased past films to classical status.

Raya (Kelly Marie Tran) serves the history of Kumandra as 101 in the Prolog Expository. Humans and dragons have lived together in harmony. It does not survive because a group of lumps called Druun, which turns living things into stone, see it.

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So, the dragon sacrificed himself to save humanity, leaving a magical gem that could ward off Druun. Five hundred years later, “people become people” because Raya asked to take gems. In the next one-upmanship, the gem penetrated five pieces, allowing the return of Druun.

So, Raya started an impossible search to find the last dragon to stop the threat of extinction and reunite Kumandra again.

The search begins with a trapped cave, developing through a stealth mission in a well-maintained fortress, and ends in the order of climax battles. Raya navigates them like ordinary Croft Lara. The similarity also extends to noble birth and a gentle relationship with his father.

The Head of Benja (Daniel Dae Kim) has trained his daughter to protect the Heritage of Kumadra since the pre-teenager. Being a Disney film, Benja, who turned to Batu was an event that incited down, with his mother has mysteriously discarded before the story begins.

This trauma plays the problem of confidence.

To overcome his father’s loss and betrayal of a close friend, Raya released himself from all over the world. This is a lesson about how trauma can affect our total creatures, drastically changing how we see the world.

Our safety and desires for relationships with other people have flinched because such trust needs to be studied again. This is where Dragon Sisu (Awkwafina) entered.

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He helped Raya remember his father’s lessons taught about learning to believe and take the first step in faith. Trust is repeated to semantic society. But is built into the clumsy bridge. The visual metaphor and the Water below.

Reflective of our society who does not believe ourselves, Raya and his friends, Nama’s Nomeri is now a two-sided Gemma (Gemma Chan). They have been friends because they claim themselves “Nerdon’s dragon.”

Both of them come from families of single parents and believe they respect their parents’ wishes. Even though they both want the same thing (to create a safe and better world for their people). They are, respectively, blinded by hatred. Assuming others to be a storied criminal.

When Dragon Gem is divided after the name’s name and mother:

Virana (Sandra OH) forces a hostile takeover, easily divided into five parts, as if to ensure each of the five conflicting factions in Kumandra has one. To collect damaged pieces from five countries and unite them all, Raya with reluctant to assemble the MacGuffin fellowship.

SISU is a water dragon that can take human form. He brought a mixture of comedy that shrank, occasional wisdom, and a get-out-of-jail-free card.

Then, a tuk-tuk (alan tuk-tuk) is a kind of armadillo traveling, as the name suggests. Completing the collection of merchandise is the chef of the shrimp ship (Izaac Wang), a giant (Benedict Wong), “con dear” (Thalia Tran), and three small monkeys.

Water also informs the choice of film style, moving away from the dry field back to the highest and most significant contextual dragon contextual symbols. In the first action, the problem of confidence was at its peak as he navigated the barren landscape.

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Their desolation is reinforced. With the saturated colors and high contrast. The color scheme softened when the action shifted. The mainland surrounds by Water. There were many boat adventures from one country to another where Raya finally learned to trust each other again.

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