In 2022, Puss in Boots: The Last Wish opened an exciting pathway for DreamWorks. The sequel pushed their animation style into vibrant new territory that they’ve embraced in the years since. At the helm of that film was longtime story artist Joel Crawford, who has left an indelible mark on the studio and some of their most iconic stories. He returns to the directing chair alongside his real-life best friend Januel Mercado with Forgotten Island. The duo, who also wrote the film, craft a beautifully manic meditation on friendship through the lens of Philippine mythology. 

Jo (H.E.R.) and Raissa (Liza Soberano) have been best friends since they met outside the principal’s office as children. They bond over a shared love of stories Jo’s Lola (Dolly de Leon) passed down, all centered on a mythical island called Nakali — the two vow to find the island together one day.

However, their friendship lands in a precarious spot after high school graduation, when Raissa prepares to move to the States to attend Caltech. The night before her departure, the two wind up on the island of Nakali, surrounded by the creatures Lola told them about as kids. However, they cannot remember the previous twelve hours and must now figure out a way back home before they’re trapped forever.

Forgotten Island wastes no time diving right in, opening with a breakneck montage of Jo and Raissa’s exploits over the years. The speed of the montage (and the film overall) may leave some viewers breathless as we gloss over emotional cornerstones for the girls, but Jo and Raissa’s relationship is thoroughly established. Jo is a bit rough around the edges and often allows her impulses to get in her way. Raissa loves the comfort of academia and revels in logic. Both unapologetically match each other’s freaks and fully let each other own and celebrate their eccentricities, especially through their shared love of mythology.

They are the grounding force in a zany, chaotic world, constantly holding us to earth with the love they share. They shine bright as a duo, but also stand on their own. H.E.R. disappears into Jo, sounding almost unrecognizable in a refreshing way. She embraces Jo’s thorniness and still finds a way to pulsate with warmth, especially as we get to know Jo better.

Meanwhile, Soberano impeccably harnesses Raissa’s perpetual anxiety for comedic perfection. Raissa repeatedly feels like she is one snagged headphone away from losing it completely, but Soberano gives Raissa levels to fall back on. 

They complement each other beautifully and never overpower the other. H.E.R. and Soberano understand that, like Raissa and Jo, they are a team. Every detail in their voice work serves not only their respective characters but also the other, with dazzling results.

Jo and Raissa encounter a kaleidoscope of creatures that inhabit the island of Nakali, all richly designed with care for the mythology they’re pulled from while allowing them to exist seamlessly in this specific animated world.

Their island guide, Raww (Dave Franco), is a werewolf-esque creature whose intense desire for friendship gets in his own way. Franco comes off the heels of another voiceover performance this year in Hoppers, demonstrating a whole other side to his range. He channels frivolous puppy-like energy that is simultaneously overwhelming and lovable.

Manny Jacinto reaffirms his comedic prowess as Bungi, a demon taking the form of a giant baby. Stealing the show is Kevin McCann as Mermahn, who had my entire theater gasping for air. Jenny Slate brings her usual gusto to Batiba, a memory demon that lurks in the shadows. In an excitingly dark turn, Lea Salonga voices Manang, the island’s most feared creature.

These creatures come together to deliver some excellent comedy work. It’s zany and in your face and, while some audiences may be averse to that kind of humor, there’s a joke a minute for every demographic coming to see this. It leaves you feverish, questioning if that really just happened in the best sort of way.

For all its laughs, though, Crawford and Mercado never baby their audiences; Manang is allowed to be scary, not to a degree that’s traumatizing for kids, but enough to be impactful. Likewise, the film never shies away from the heavier exploration of how friendship evolves and changes as one grows up.

Forgotten Island rarely gives you a moment to breathe until it reaches its third act, where the film ascends from a good movie to something really special. Because Crawford and Mercado take care to make Jo and Raissa believable friends, the film’s emotional culmination is impactful and resonant. Growing up is painful and difficult. We evolve so much. But if we’re lucky, we may find someone to do that with, someone who is willing and able to stand by every iteration.

It’s hard to ignore Crawford and Mercado putting their own love for each other into the fabric of this film. The specificity of their love, though, allows for Jo and Raissa’s friendship to be embraced universally. While the world of Forgotten Island is magnificent and wild, the friendship cuts through and consistently delivers. The dynamic feels so real and lived-in, reminding me of the people in my life who have raised me up on a pedestal and allowed me to soar. 

Forgotten Island is another exciting entry for DreamWorks, embracing a unique visual blend of Filipino art and 90s design. It also zeroes in on a unique cultural lens with love and care, allowing the world to thrive vibrantly. On top of all that, it never forgets its heart and allows it to lead us to exciting destinations.

Review Courtesy of Adam Patla

Feature Image Credit to Universal Pictures