Nimona's character is the best thing in the film and steals the focus from the first time she appears. Then no other character matters unless he's used as comic relief, not even Ballister.

"Nimona" lacks real conflict. The whole question is summarized in "I don't have any problem, it's society that is wrong." It is obvious what the correct answer is, no viewer will support society, not when you present it in such a simplistic and one-dimensional way. On top of that, the topic is something already quite hackneyed that has been discussed hundreds of times in recent years and apparently no one knows how to execute it in an organic and credible way. However, I appreciate that "Nimona" has something to tell even if it doesn't manage to tell it well.

The half-medieval, half-futuristic setting is dissonant and strange. It feels absurd, but seeing the tone in which the film works and the direction it takes, it seems like a conscious decision.

The jokes are great, at least for me. That's why the movie is entertaining even if it fails in many other aspects.

"Nimona" does not respect serious moments, it is as if it was afraid that the film was too serious for his audience. Every time something remotely strong happens, it's interrupted by comic relief. That kills the immersion and seriousness that the film tries to build.

The last conflict where Ballister has the fight with Nimona when he doubts her because of the piece of parchment that her boyfriend gives him... Terrible. How is it possible that all this time Nimona gives you to understand that society and everything in it must be questioned, but when they show a parchment all worn out that was in God knows where, drew it God knows who and talks about a time in the past when you were not born, you believe what it says and question the person who was helping you not die all this time? You more than anyone know that the director is the real villain of the matter, she said it herself, she herself tried to kill your boyfriend when she was confronted by him. Are you really going to question everything you saw and know with complete certainty because of a piece of paper? Teeeerrible execution, an attempt to create a simple conflict at the expense of the realism of your characters and your own narrative construction.

I read the book as this release came nearer, and I thought that while good, it was clearly a ‘first big passion project that grew in scope and theme in the telling’. And that resulted in a charming work, but also one that could be refined and sharpened if given a second go around and seen by experienced eyes. Well, this movie did that and then some. It’s an affecting allegorical fairy tale for our time, one I honestly sorely needed after all that happened today.

If there’s one word to sum it up, it’s unapologetic. There’s a very big reason Disney didn’t take this on, yes, but there’s a whole lot smaller ones too. This is daring in a way their work hasn’t been allowed to be in years, if not a decade or two. A gay romance is one of its centerpieces, but it also tackles the fear of the other hurting so many today, the classism holding so many down, how it’s rooted institutionally, how you can’t just play nice and appease them. Balister did everything right, he played by the rules, he excelled, he gives them chance after chance, but that’s never going to be enough. The system and those behind it will toss you aside because you don’t belong.

Riz Ahmed plays him perfectly, making what could’ve been a stick in the mud such fun to listen to, and displaying his journey from lost and tossed aside golden boy to a man who’s found strength in the truth and most of all, his friend. In conjunction with the most effective set of puppy dog eyes I’ve ever seen, you can’t help but feel and root for him. Beck Bennett is always a gem in any ensemble and gets some big laughs. Eugene Lee Yang was a sleeper hit- I didn’t expect a Try Guy to remind me so heavily of Crispin Freeman, and that is high praise. It’s not that he sounds like a discount version of him, but that he has a similar lived in earnestness and genuine personality amidst a theatrical and dramatic performance, somehow grounded and knightly all at once. And Conroy is a risible antagonist, one who has convinced herself her paranoia and prejudices are noble and for the greater good and all the worse for it. She does not consider herself a monster by any means, but an aggrieved martyr doing what must be done, and Conroy makes her real while not sympathetic to anyone but herself.

But the most striking performance of all, of course, is Chloe Grace Mortez as Nimona. She put her heart into this role and you can feel it. She straddles the line of what could’ve been either ‘softened and smoothed so as to lose all edges’ and ‘so obnoxious and bloodthirsty so as to lose empathy’, and makes it look easy, instead conveying a character who’s found her way to survive in a world that turned its back on her first. An inner pain at the heart of her rage, one that’s always hoping that she’ll be proven wrong. Or rather, proven right with what she first saw all those years ago- that people can accept and love something different. But the film also never frames her as in the wrong for pointing that anger where it belongs- at the system that props up what was done to her. Many films would’ve agreed the director was the only problem, but this one asserts that the institute and the wall that enables and created her must also be torn down. Mortez goes hand in hand with immaculate writing and gorgeous animation to craft a character who’s hilarious, heartfelt, and devastating. Nimona in motion is such a striking vibrancy against everything else, bringing a life and beauty and color they don’t see until the end. And it makes it such a gut punch when Nimona has lost hope and that pink is replaced with black and white.

There’s a lot of ways Nimona resonates with today. The Director exclaiming Balister has a weapon is a subtle, brief one that only lasts a minute but hits like a punch to the gut. There’s Nimona defending herself being taken as self evident proof she is a monster. There’s her suicide attempt, where the rampage in the book is a path of vengeance here it’s just a last resort after once again losing everything and being rejected on a fundamental level. All that is one reason Disney wouldn’t take this on. But another is it’s sense of humor, or in acknowledging that yes kids know what blood is and many like it and they can handle it. The movie’s not a bloodbath by any means, but blood is just. There! Gay people are there! This movie, despite Disney, despite the conservative backlash against queer children’s media, is here. Saying you are seen. You are not alone. It’s something I think a lot of people, of any age, needed to hear today, and will need to hear in the future. I know I’m one of them.

Honestly not as good as I was hoping. Still decent, but ultimately falls a little flat for me.

My biggest gripes are with the world and characters. Almost every single person in this movie is frustrating to watch, with misunderstanding and lack of communication being an annoying, ever-present trope on display. Everyone also acts very irrational and cruel, often where it doesn't make sense or seems out of character.

On that topic, it breaks my suspension of disbelief seeing literally everyone in the setting be ignorant and unquestioning of everything. They live in a futuristic society that's progressed 1,000 years, and yet nobody knows what's on the other side of their city's walls? The story seems to focus far more on symbolism and ideas than actually making logical sense.

Other than the writing itself, the rest of the movie is pretty decent. Visually it looks great, the shading and colors are quite pleasing to witness. And it's nice to see a movie not still following the uninspired style of most Disney or Illumination movies. Music ranges from great to serviceable, which I'll definitely take.

Overall not a bad film, but I think it struggles a bit where it really counts.

Well, this is a bit different. Sci-fi knights? Yeah, I can dig that. There's a lot of fun to be had here but a lot of meaning and dark emotion runs right alongside it. I do have a bit of a gripe about two of our main players being gay though. No, I don't have a problem with anyone's sexual persuasion, it just seems like every movie these days has to include a gay or lesbian couple. It's like there's some Hollywood mandate that demands it. Even when it adds absolutely nothing to the story being told. Great watch. Be prepared to cry.

The Queen has broken with tradition and elevated a commoner - "Boldheart" to knighthood. She hopes that this will offer a proud and positive future to her country but, unsurprisingly, she has her detractors and when she is brutally killed at the ennobling ceremony, the kingdom turns on it's erstwhile hero. Even his boyfriend, fellow knight "Goldenloin" seems to be against him and so he must flee into the darkness. It is here that he is sought out by the eponymous teenage creature who determines to help him prove his innocence. Using her amazing morphing skills and both of their courage, they quickly discover that there was a conspiracy to frame him, and it goes right to the top! Can he thwart the ambitious plotting and restore some semblance of his love? It's a solid adventure story this, with plenty going on - loads of colourful and vibrant action that could well have suited Tony Curtis! The gay byline is left at just that - it's essentially an action animation peppered with some quite funny one-liners from "Nimona" and plenty of entertainingly compact combat scenes and shape-shifted creatures. I don't suppose there is too much jeopardy with the plot, but it was still fun-to-watch on it's limited big screen run. Enjoyable Arthurian-style fun!