Soul


There’s no doubt that Jamie Foxx has soul.

(2020) Animated Feature (Disney*Pixar) Starring the voices of Jamie Foxx, Tina Fey, Graham Norton, Rachel House, Alice Braga, Richard Ayoade, Phylicia Rashad, Donnell Rawlings, Questlove, Angela Bassett, Cora Champommier, Margo Hall, Daveed Diggs, Rhodessa Jones, Wes Studi, Sakina Jaffrey, Fortune Feimster, June Squibb, John Ratzenberger, Peggy Flood. Directed by Pete Docter and Kemp Powers

 

Since its inception, Pixar has consistently turned out some of the most thought-provoking and imaginative animated features in history, winning multiple Oscars and changing the game forever. Once known for being one of the original computer-generated animation studios, they have completely redefined storytelling in the animated medium.

Not all of their films have been home runs, of course – no studio that has been around for nearly 30 years can be expected to be perfect every time out, but they have very few movies in their library that aren’t at least entertaining at worst and thought-provoking. Whether it is on the nature of toys and their relationship with our memories, to the emotions and how all of them are important to who we are, and including stories about a rat who longs to be a famous French chef and anthropomorphic cars, Pixar has something for everybody. Therefore, it is really saying something when I lead off a review of one of their pictures by saying it might be the best they’ve ever made.

 

Joe Gardner (Foxx) wants to be a jazz pianist with all his heart and soul. He has never gotten the big break he needs, though, and so has had to make ends meet by teaching music at a New York City high school. His mother (Rashad) wants him to give up on his dreams and deal with the reality that he needs to earn a living, and it looks like he might be doing that as his part-time gig at the school is aout to be turned full-time and permanent, complete with benefits and a pension, which is exactly what his mom wants for him.

But fate isn’t done with Joe. He gets and nails an audition with legendary saxophone player Dorothea Williams (Bassett). Finally, the big break he’s been praying for. As he makes an excited call home, he doesn’t notice the manhole cover that is ide open and falls in.

He hovers between life and death and his soul heads for the great beyond, but before he can head to his final destination, incensed at the thought of dying before he can make it, which he considers to be his destiny, he escapes the conveyer belt taking him to the great light and ends up in the great before – where souls go before they are born to adqure the personality traits that will stick with them after birth. Joe is given the stubborn soul-let 22 (Fey) to mentor. She is missing the spark that will fill out her check boxes and send her to Earth to become a person. The trouble is, 22 doesn’t want to leave. And Joe doesn’t want to stay – he needs to get back into his body before he misses the gig that he has been waiting his whole life to play.

As you can see, there are some pretty heavy concepts going on here. How do we become who we are? What happens to us when we die? Not exactly typical subjects for a kid flick, but Pixar regular Pete Docter (along with Kemp Powers, who wrote the acclaimed One Night in Miami which is just about to be released on Amazon Prime as I write this) makes it not only thought-provoking, but fun as well. In the Great Before, there are beings all named Jerry (voiced, by among others, by Rachel House, Alice Braga and Richard Ayoade) that resemble concept drawings in Picasso’s sketchbook; one of the mentors there calls human beings “meat suits.”

This is a gorgeously rendered film, as nearly all Pixar films are. The New York City here is so real you can almost smell the garbage; a rat hauls away a slice of pizza with the grease glistening on the pepperoni. It’s the details that make the film; the jazz tunes are written by John Batiste whose performance on the keyboard was filmed so that the animators could match Joe’s fingering to that of Batiste exactly.

Speaking of music, the score – by Oscar-winning duo Trent Reznor and Atticus Ross – is lustrous and mind-bending, in my opinion one of the best scores ever to grace an animated feature. The movie also celebrates African-American culture without pandering, which Hollywood productions sometimes do.

Foxx, an Oscar winner himself, is simply outstanding as Joe. His performance is full of pathos and humor as he gives Joe a unique personality; stubborn and at the same time, giving. You root for Joe without thinking he’s too good to be true; there are definitely warts there, but Foxx makes him all too relatable. Perhaps his experience bringing Ray Charles to the screen stood him in good stead here. In any case, it should rank among Foxx’s best performances ever, which is something to crow about.

In a year that has tested all of us, this is a lovely reward for making it this far. It is the kind of movie that we can watch together as a family, whether we are actual relations or not. It is a movie that explores what it is to be human, and what it is to be more than human – to explore the nature of what a soul is. It’s a brilliant work and one of the year’s best fims, if not THE best.

REASONS TO SEE: Wildly inventive and one of Pixar’s all-time best. The score is the best ever for an animated feature. Foxx is absolutely awesome. Doesn’t overdo the sentimentality. Takes on some very difficult subjects without talking down.
REASONS TO AVOID: The ending is a bit of a stretch.
FAMILY VALUES: There is some mild profanity and adult themes.
TRIVIAL PURSUIT: This is the first Pixar film to feature an African-American as the lead character.
BEYOND THE THEATERS: Disney Plus
CRITICAL MASS: As of 1/11/21: Rotten Tomatoes: 96% positive reviews; Metacritic: 83/100.
COMPARISONSHOPPING: Inside Out
FINAL RATING: 10/10
NEXT:
Queer Japan

To Your Lasts Death


Someone give this guy a hand.

(2020) Animated Feature (Quiver) Starring the voices of Morena Baccarin, Ray Wise, William Shatner, Bill Moseley, Dani Lennon, Damien C. Haas, Benjamin Siemon, Bill Millsap, Florence Hartigan, Tom Lommel, Steve Geiger, Tanya C. Klein, Jim Cirile, Ruairi Douglas, Charles Wyman, Jason Axinn, Paige Barnett. Directed by Jason Axinn

 

Animated features tend to be fantasy or science-fiction oriented. There are dramas and comedies, to be sure (particularly from Europe), but for the most part there are elements of either one of those genres involved. It makes sense that the horror genre would also be fertile ground for animation, but surprisingly, very few animated features have gone that route.

In this opus, Miriam DeKalb (Lennon) has survived an unthinkable ordeal that has seen all of her siblings killed. Suspected of involvement in the grisly demise of her family, Miriam has been held in the prison wing of the hospital as interrogations by the police have illustrated their disbelief in her story. Then, she is visited by the Gamemaster (Baccarin), an alien being who is able to control time and puts on entertainments in which high-end clients bet on the outcomes. Miriam is given the opportunity to go back 24 hours, armed with the foreknowledge of what is going to happen, and attempt to save her sister and brothers. Should she choose not to, it is likely she will never know freedom again.

24 hours earlier, her father Cyrus (Wise) had gathered them together – sister Kelsey (Hartigan), and brothers Ethan (Haas) and Collin (Siemon) to inform them that he is dying. But rather than using the opportunity to draw the family closer together, their deranged old man – a wealthy arms manufacturer whose run for vice-president of the United States was torpedoed by his children when they informed the press of his many moral failings – chooses to take his revenge for that indiscretion and kill all his children. Sounds kind of medieval (or at least Biblical) to me.

He has locked up the office building and staffed it full of gunmen and set up lethal traps tailored to the weaknesses of each of his children. Miriam tries desperately to tell her siblings what is coming, but that only makes them suspicious that she’s in collusion with Cyrus. To make matters worse, the Gamemaster is changing the rules by changing events from how Miriam remembers them. There are no guarantees that she herself will survive, let alone save her brothers and sister from the maniacal machinations of their father.

Axinn spares no bloodshed and why should he? It’s not like he has to pay for additional fake blood. The problem here is that the various scenarios for each sibling comes off as kind of a lame retread of the Saw series, only much more heavy-handed. Considering that the sky is the limit when it comes to animation, it’s a bit of a drag that Axinn didn’t go more over-the-top here. It feels like a failure of the imagination.

Shatner guest stars as the narrator here and his dialogue is truly cringeworthy. You may be forgiven if you give in to the urge to fast-forward through his narration. It’s not Shatner’s fault; it’s just florid writing. Even Meryl Streep would have a tough time making the narration sound any better than Shatner does.

There’s still plenty of gore to delight the most exacting of horror lovers, and certainly if on the one hand one wishes for a little more originality, the execution of the various torture porn scenes are right on the money and at least as well done as any in that genre. I suspect that most hardcore horror fans and Adult Swim fans are going to find this delightful. It certainly is an idea whose time has come. I just wish the writers would have taken a little more care to utilize the medium to their advantage better.

REASONS TO SEE: Gloriously violent and gory.
REASONS TO AVOID: The story lacks ingenuity.
FAMILY VALUES: There is a ton of bloody violence and gore, rape, nudity and more profanity than you know what to do with.
TRIVIAL PURSUIT: The animation was hand-drawn and took five years to complete. The filmmakers used Archer and Metaloccalypse as inspirations for the animation style.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Hoopla, Vudu
CRITICAL MASS: As of 11/29/20: Rotten Tomatoes: 67% positive reviews. Metacritic: No score yet.
COMPARISON SHOPPING: The Saw Franchise
FINAL RATING: 6.5/10
NEXT:
The Estate

How to Train Your Dragon: The Hidden World


A dragon and his boy.

(2019) Animated Feature (DreamWorks) Starring the voices of Jay Baruchel, America Ferrara, F. Murray Abraham, Cate Blanchett, Gerard Butler, Craig Ferguson, Jonah Hill, Christopher Mintz-Plasse, Kristen Wiig, Kit Harrington, Justin Rupple, Robin Atkin Downes, Kieron Elliott, Julia Emelin, Ashley Jensen, AJ Kane, Olafur Darri Ólafsson, James Sie, David Tennant. Directed by Dean DeBlois

 

The DreamWorks animated franchise, based on the children’s books of Cressida Cowell, is neatly wrapped up with a big red bow in a satisfying if unoriginal conclusion. Hiccup (Baruchel) has turned Berk into a kind of sanctuary for dragons, who continue to be hunted down in the rest of the world, but the nefarious Grimmel (Abraham) is out to capture Toothless, Hiccup’s dragon and the alpha male of Berk.

=After a vicious attack brings the island village to its knees, Hiccup – now the leader of his incomprehensibly Scottish Vikings – decides the only way to truly protect the dragons is to lead them to The Hidden World, the place from which all dragon-kind has sprung. With Grimmel hot on their trail, they really have no choice if they are to save the dragons. Nobody’s ever actually been there and most consider it a fairy tale, but hey, this is a cartoon, no?

DeBlois does manage to go out with a bang, as the animation here puts nearly every other animated film to shame. Some of the sequences are actually moving (in a variety of ways) from scenes of sorrow to scenes of intense beauty and everywhere in between. Even jaded parents may well find themselves ooh-ing and ah-ing at the visuals here.

But the movie’s downside is essentially the same issue that has plagued the series from the beginning; a kind of standard plot of Hiccup lacking self-confidence when faced with a big challenge/major baddie and getting the confidence he needs from his buddy Toothless. Hiccup was never really a well-developed character to begin with; he’s fairly one-note and that makes the movie drag somewhat.

Nevertheless, it is gorgeous enough to be worth a family movie night. I’m not a huge fan of the franchise, but I will admit that if you’re going to bring a trilogy to a conclusion, this is the way to do it.

REASONS TO SEE: The strongest animation of the series by far.
REASONS TO AVOID: Feels formulaic.
FAMILY VALUES: There is mild rude humor and cartoon action.
TRIVIAL PURSUIT: The three movies in the trilogy were each distributed by different studios; the first one by Paramount, the second by Fox, this one by Universal.
BEYOND THE THEATERS: Amazon, AMC On Demand, AppleTV, Fandango Now, Google Play, Hulu, Microsoft, Movies Anywhere, Redbox, Vudu, YouTube
CRITICAL MASS: As of 7/27/20: Rotten Tomatoes: 90% positive reviews, Metacritic: 71/100
COMPARISON SHOPPING: The Hobbit: The Desolation of Smaug
FINAL RATING: 6.5/10
NEXT:
Days of the Whale

The Lego Movie 2: The Second Part


Everything is still awesome…isn’t it?

(2019) Animated Feature (Warner Brothers) Starring the voices of Chris Pratt, Elizabeth Banks, Will Arnett, Tiffany Haddish, Stephanie Beatriz, Alison Brie, Nick Offerman, Charlie Day, Maya Rudolph, Will Ferrell, Jadon Sand, Brooklynn Prince, Channing Tatum, Jonah Hill, Richard Ayoade, Jason Momoa, Cobie Smulders, Ralph Fiennes, Bruce Willis, Gary Payton, Sheryl Swoopes. Directed by Mike Mitchell

 

The 2014 hit The Lego Movie was a breath of fresh air in the animated feature universe, chock full of pop culture references but with enough whimsy and creativity to satisfy children and adults alike. After two spinoffs hit with a bang (The Lego Batman Movie) and a thud (The Lego Ninjago Movie), will the sequel recapture the magic of the original?

Well, no. In the new film, Emmet (Pratt) is building the dream home for himself and Lucy/Wyldstyle (Banks), complete with double decker porch swing. But all is not well in Bricksburg; Finn (Sand), the little boy whose imagination powered the first movie, is forced to play with his little sister (Prince) and her Duplos with catastrophic results. The town is a barren wasteland, populated by Duplo-built monsters. Everything is decidedly not awesome.

To make matters worse, Emmet’s friends have been kidnapped by General Mayhem (Beatriz) to attend the wedding of Queen Watevra Wa’Nabi (Haddish) and Batman (Arnett) is busy “on a standalone adventure” so it is up to Emmet to save the day, although Emmet who still retains his optimism despite the devastation, may not be up to the task.

The pop culture references are still plentiful, the oddball humor is still there, but it all feels really stale. There’s a feeling that this is geared towards even younger kids than the first, which isn’t necessarily good news for the parents roped into watching this alongside them. While Pratt, Arnett (who arrives late in the third act) and Haddish do their level best, they can’t overcome the sense that we’ve seen this before. I really enjoyed the closing credits, though; it is not a good sign when the best thing about a movie are the credits at the very end.

REASONS TO SEE: Pratt, Haddish and Arnett get the job done.
REASONS TO AVOID: Not an improvement from the first film.
FAMILY VALUES: There is some peril and rude humor, as well as mild profanity and drug references.
TRIVIAL PURSUIT: After the disappointing box office results for the film, Warner Brothers let the rights lapse; future Lego movies will be coming out on Universal, who snatched them up.
BEYOND THE THEATERS: Amazon, AMC On Demand, AppleTV, Fandango Now, Google Play, HBO Max,  Microsoft, Redbox, Vudu, YouTube
CRITICAL MASS: As of 6/29/20: Rotten Tomatoes: 85% positive reviews, Metacritic: 65/100
COMPARISON SHOPPING: How to Train Your Dragon: The Hidden World
FINAL RATING: 6/10
NEXT:
No Small Matter

Spider-Man: Into the Spider-Verse


A gathering of Spiders.

(2018) Animated Feature (Columbia) Starring the voices of Shameik Moore, Jake Johnson, Hailee Steinfeld, Lily Tomlin, Mahershala Ali, Brian Tyree Henry, Luna Lauren Velez, Zoe Kravitz, John Mulaney, Kimiko Glenn, Nicolas Cage, Kathryn Hahn, Liev Schreiber, Chris Pine, Natalie Morales, Oscar Isaac, Jorma Taccone, Lake Bell. Directed by Bob Perischetti, Peter Ramsey and Rodney Rothman

Spider-Man has been perhaps the most popular character in the history of Marvel Comics. So much so that the hero has progressed beyond Peter Parker; there are a number of iterations of the character in the comics; some serious, some not.

Miles Morales (Moore) is one of those characters. A young, African-American/Hispanic teen, he likes hanging out with his Uncle Aaron (Ali), and less so with his cop father (Henry). He’s a very smart kid, but not so interested in school and a little on the timid side. When he’s bitten by a radioactive spider, he gets the powers of Spider-Man. He relies on the comic books to kind of guide him through.

But then the Kingpin (Schreiber), a corpulent villain, opens up gateways to a multitude of parallel universes, threatening all of them. Spider-men from all around the multiverse begin to flood in, including a tired and nearly broken Peter Parker (Johnson), an iteration in which Gwen Stacy (Steinfeld) becomes Spider-Gwen, a black and white character from the 30s called Spider-Noir (Cage), a porcine cartoon pig named Spider-Ham (Mulaney) and a sprightly teen from the future named Peni Parker (Glenn). Together they will have to face down against the Kingpin and his scientific advisor Doc Octopus (Hahn) if they are to save the multi-verse.

Visually, this is a striking film that is meant to look more like a comic book than conventional animated features. It is certainly meant to appeal to Spider-Fans, with lots of little in-jokes and Easter Eggs for those who follow the character in the comics, but even for those unfamiliar with the various Spider-Man characters, there is some clever dialogue to keep the story moving, even though at just a hair under two hours long it might be too much for the attention-challenged. Still, this was the Oscar winner for Best Animated Feature at the 2019 Academy Awards and quite honestly, it deserved to be.

REASONS TO SEE: Wonderful animation. Plenty of Easter Eggs for fans. Clever dialogue.
REASONS TO AVOID: A bit too long.
FAMILY VALUES: There is some cartoon violence, mild profanity and thematic material.
TRIVIAL PURSUIT: Both Steve Ditko and Stan Lee, the original creators of the Spider-Man comic, passed away during production of the film.
BEYOND THE THEATERS: Amazon AMC On Demand, AppleTV, Fandango Now, FlixFling, Google Play, Microsoft, Redbox, Vudu, YouTube
CRITICAL MASS: As of 5/12/20: Rotten Tomatoes: 97% positive reviews, Metacritic: 87/100
COMPARISON SHOPPING: The Incredibles
FINAL RATING: 8.5/10
NEXT:
Hope Gap

Ralph Breaks the Internet


Welcome to the information superhighway.

(2018) Animated Feature (Disney) Starring the voices of John C. Reilly, Sarah Silverman, Gal Gadot, Taraji P. Henson, Jack McBrayer, Jane Lynch, Alan Tudyk, Alfred Molina, Ed O’Neill, Sean Giambrone, Flula Borg, Timothy Simons, Ali Wong, Hamish Blake, GloZell Green, Horatio Sanz, Rebecca Wisocky, Sam Richardson, Jaboukie Young-White, Maurice LeMarche, Melissa Villaseñor. Directed by Phil Johnston and Rich Moore

 

When last we saw video game bad guy Wreck-It Ralph (Reilly) in the movie of the same name, he had reformed and become a good guy. He had also found a new bestie, Princess Vanellope van Schweetz (Silverman). Life for the 8-bit games in Litvak’s arcade is good.

Then Vanellope’s game breaks down and they need to find the spare part it needs or else Litvak (O’Neill) will pull the plug on the game permanently. Ralph and Vanellope utilize a new Wi-Fi connection to access the Internet and what a world wide web it is! They are like a couple of kids from a rural small town in West Virginia who had never left town their entire lives suddenly waking up in Tokyo.

The details of the plot really don’t matter here; this is actually a more visually brilliant film than the predecessor, and in many ways much more fun. Whereas adults were largely the only ones in on the jokes in the first film, much of the content here will sail over the heads of parents but Internet-savvy kids will get it.

One of the most fun things about the film is how it portrays the Disney princesses, nearly all of whom make at least an appearance. They’re bad to the bone and the kind of role models that are more fitting for modern girls than perhaps Snow White or Aurora might have been back in the day. They are absolutely delightful and to my surprise the best part of the movies. I had always seen them as the epitome of spoiled little girls – ask me about my “Eff you, I’m a Princess” story sometime – but when you really think about it, Princesses should be all about empowering little girls and here, they are.

While the movie at right about two hours drags quite a bit in the middle and Ralph typically makes a mess of things despite his best intentions but while maybe not quite as subversive as the first movie was, it retains much of its heart. This is definitely a bit of an improvement and is likely to be a staple of any video game-obsessed kid for the foreseeable future.

REASONS TO SEE: A unique and wonderful environment is created. The Disney Princesses are Da Bomb!!!
REASONS TO AVOID: The movie drags a bit in the middle with a few holes in logic confounding things.
FAMILY VALUES: There is a bit of cartoon action as well as some rude humor.
TRIVIAL PURSUIT:  The only Princess not voiced by her original actress other than those that had passed away was Cinderella; Mary Costa was 88 years old and her voice not suitable to play a 16-year-old girl.
BEYOND THE THEATERS: Amazon, AMC On Demand,  AppleTV, Disney+, Fandango Now, Google Play, Microsoft, Movies Anywhere, Netflix, Vudu, YouTube
CRITICAL MASS: As of 4/7/20: Rotten Tomatoes: 88% positive reviews, Metacritic: 71/100
COMPARISON SHOPPING: Tron
FINAL RATING: 7/10
NEXT:
Agatha and the Truth of Murder

Hotel Transylvania 3: Summer Vacation


Don’t you want to take me on a sea cruise?

(2018) Animated Feature (Columbia) Starring the voices of Adam Sandler, Andy Samberg, Selena Gomez, Kevin James, David Spade, Steve Buscemi, Mel Brooks, Fran Drescher, Molly Shannon, Keegan-Michael Key, Jim Gaffigan, Kathryn Hahn, Joe Jonas, Chrissy Teigen, Tara Strong, Chris Parnell, Asher Blinkoff, Genndy Tartakovsky, Aaron LaPlante, Michelle Murdocca. Directed by Genndy Tartakovsky

 

The Cartoon Network has done the world a disservice. Yes, some of the things that they have put out are actually pretty good, but the majority of their output is poorly animated and dumbed down, treating kids like easily distracted morons rather than actual people. Sadly, that tendency has begun to filter into major studio animated features as well as studios are looking for franchises that they can market and merchandise out the yin-yang.

Dracula (Sandler), proprietor of the monsters’ resort Hotel Transylvania is lonely and tired. His beloved daughter Mavis (Gomez) notices and decides to book a family vacation on a monster cruise ship. There Drac finds love with Ericka (Hahn), captain of the vessel but she is hiding a secret that might just destroy Dracula once and for all. Never mind that; at least the gang is all there with him for the fun.

The animation here is much improved over the first two films in the franchise; it is certainly the best of the series so far. Sadly, the script doesn’t keep pace; it is just as predictable and lowbrow as other kid flicks that have dominated the big screen of late. The sad fact is that Pixar and Illumination have shown that animated features can appeal to both adults and kids. Most adults will probably be better off finding something else to distract them while the kids are watching this.

There is an air of finality about this one; I think that it was initially intended to be the last in the series but Sony has scheduled a fourth installment for December 2021. I hope that the animation is as good or better as this one but that they put a little more effort into writing a script that has a bit more heart and a bit less fart jokes.

REASONS TO SEE: The animation is better-than-average.
REASONS TO AVOID: Kids will love this; parents, not so much.
FAMILY VALUES: There is some fairly rude humor.
TRIVIAL PURSUIT: Some of the names of the ships in the Bermuda Triangle sequence are the names of ships that reportedly disappeared there in reality.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, Netflix, Vudu, YouTube
CRITICAL MASS: As of 12/31/19: Rotten Tomatoes: 62% positive reviews: Metacritic: 54/100.
COMPARISON SHOPPING: Mad Monster Party
FINAL RATING: 6/10
NEXT:
Slender Man

Klaus


This is not your daddy’s Santa Claus.

(2019) Animated Feature (Netflix) Starring the voices of Jason Schwartzmann, J.K. Simmons, Rashida Jones, Norm McDonald, Joan Cusack, Will Sasso, Sergio Pablos, Mila Brener, Neda Margrethe Labba, Sydney Brower, Teddy Blum, Emma Shannon, Kendall Joy Hall, Julian Zane, Amanda Philipson, Finn Carr, Tucker Meek, Hailey Hermida, Jaeden Bettencourt. Directed by Sergio Pablos and Carlos Martinez López

 

We’ve all seen origin stories of the big guy in Red before. No, I’m not talking about Shazam! I’m talking about the real big guy. Santa. Claus, even.

This delightful animated feature has the distinction of being the first animated feature to be distributed by streaming giant Netflix (after a brief theatrical run) and it will have the added bonus of making animated feature aficionados wish that Netflix would have made it more widely available in theaters, because the animation is that gorgeous, with a hand-painted look that hasn’t been seen since the halcyon days of Disney, which is where director Sergio Pablos cut his teeth, by the by.

The film is about Jesper (Schwartzmann), the indolent scion of a politically connected and wealthy family. Jesper, the son of a Central European country’s postmaster general, is coasting his way through life, shirking work whenever possible and looking forward to using his family’s political connections to maintain his lifestyle of personal butlers, espressos on demand and silk sheets. However, his father has different ideas. He exiles his son to Smeerensburg (which is based on a Finnish town that no longer exists), a town above the Arctic circle where no letters have been mailed in years.

It turns out there’s a reason for that. The town is run by two families that have been feuding for centuries, the Krum family whose matriarch (Cusack) absolutely hates the patriarch (Sasso) of the Ellingboe family. The two family heads have recruited the children into a vicious cycle of hate and pranks which gives the film a kind of Looney Tunes feel and also a kind of warped satisfaction as the lazy Jesper is often the butt of the children’s tricks.

Through a convoluted set of circumstances, Jesper meets Klaus (Simmons), a lonely and isolated woodsman who has deliberately isolated himself for reasons that are made clear later. He has a gift for wood carving and eventually delivers a toy to a young child whose melancholy drawing touched his heart. Jesper, recognizing a scam when he sees one, induces the kids to write letters to Klaus to get him to send them toys; he just needs six thousand of them to be released from his exile. He utilizes Alva (Jones), a teacher who came to a town where none of the kids attend school, to teach the kids to write letters. She has resorted to converting the school to a fish market in order to make ends meet and save up enough to get out of that crazy town. But as the kindness of Klaus begins to affect the children, Mrs. Krum and Mr. Ellingboe begin to plot to end this change which threatens the status quo.

The movie starts out a bit slowly and the early Looney Tunes section might pale in comparison with classic cartoons, but it picks up steam as it goes along and never fails to charm. Kids will be entranced with the lovely images and adults will find the movie heart-tugging – the ending in fact is likely to generate more than a few tears from sensitive viewers. I, myself, loved it.

As Christmas films go, this one is certainly superior to the glut of direct-to-home video projects that make up the bulk of what’s available at this time of year. Klaus is the kind of movie you and your kids will want to see again and again, year after year. That’s the kind of Christmas gift that keeps on giving.

REASONS TO SEE: The animation is magical. The film is charming throughout, with the ending being absolutely wonderful.
REASONS TO AVOID: It’s a bit of a slog during the first third.
FAMILY VALUES: There is some rude humor as well as mild animated action.
TRIVIAL PURSUIT: This is the first hand-drawn animated film to make use of CGI lighting techniques to give it almost a 3D feel.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 12/8/19: Rotten Tomatoes: 92% positive reviews: Metacritic: 63/100.
COMPARISON SHOPPING: Santa Claus is Coming to Town
FINAL RATING: 7.5/10
NEXT:
The Boy, The Dog and The Clown

Leo Da Vinci: Mission Mona Lisa


Leo and Lorenzo are sky high.

(2018) Animated Feature (Ammo Content) Starring the voices of Johnny Bosch, Cherami Leigh, Bryce Papenbrook, Faith Graham, Landen Beattie, Michael Sorich, Keith Silverstein, Jamieson Price, Darrel Guilbeau, Tom Fahn, Kyle McCarley, Tony Azzolino, Katie McGovern. Directed by Sergio Manfio

 

From a video content standpoint, we live in an age of too many choices and things are only going to get worse in that regard. With literally dozens of streaming outlets all clamoring for content with more and more being added all the time, it leads to an embarrassment of riches when you think about the wonderful movies and shows that are available these days but that also means, conversely, that there is also an awful lot of dreck out there.

This Italian CGI film, which is a fictionalized account of a young Leonardo da Vinci as his restless intellect and imagination are leading to some fantastic and sometimes bizarre inventions, falls somewhere in between wonderful and awful. Leo (Bosch) lives in a small village in the 15th century as Europe is moving out of the Dark Ages and into the light of the Renaissance. He hangs out with his pal Lorenzo (Papenbrook) and Lisa (Leigh) whom he has a secret crush on – one that everybody knows about.

While showing off his latest inventions – a vehicle called the Barrel that is a combination roadster, paddlewheel boat and ornithopter as well as a prototype diving suit – Lisa’s farm burns down, leaving her father (Sorich) in a precarious financial position. In fact, if something isn’t done, Lisa will be forced to marry the foppish and despicable son of the landowner whom Lisa’s father rents his land from. Determined to not let that happen, Leo heads off to Florence with Lisa and Lorenzo – only Lorenzo doesn’t show. He has a really good excuse, though – he’s been kidnapped by pirates.

Once in Florence, Leo learns of the location of a lost treasure. Aided by little pickpocket Agnes (Graham), who refers to herself in the third person, and the extremely polite little inventor Niccolo (Beattie), Leo and Lisa locate the treasure. However, they are unaware that there are pirates seeking the same treasure and who will stop at nothing to get it.

This is very definitely meant to be a video babysitter for your young ‘uns, particularly those in the six to eight-year-old range. The colors are bright and cheerful, there is no objectionable content here and while the history might be fudged somewhat as well as little details – Lisa is depicted as wearing a kind of yoga pants and while very modern, back in the 15th century it was considered a sin for women to wear trousers so it would have been skirts for Lisa. Children might also be distracted (if they bother to notice) that the dialogue doesn’t match the movement of the character’s mouths but this was originally in Italian.

The story is full of adventure and intrigue and even a little science (Niccolò explains how eclipses work). There are also some godawful songs that even the kids won’t sing. It’s kind of bizarre hearing a 15th century character singing about bicycles and mobile phones, things not available back then. There are some friendly dolphins and a trio of sharks straight out of Finding Nemo. There’s even some references to the real Da Vinci’s later work. And did I mention pirates? To quote Fred Savage from The Princess Bride, “Pirates are good.” Even the ones with excessive blue eye shadow.

REASONS TO SEE: The backgrounds are lush and beautiful.
REASONS TO AVOID: The human characters are a bit wooden and expressionless.
FAMILY VALUES: There is a little bit of rude humor and situations of peril.
TRIVIAL PURSUIT: The film is based on an Italian animated television series on da Vinci.
CRITICAL MASS: As of 8/5/19: Rotten Tomatoes: 33% positive reviews: Metacritic: No score yet.
COMPARISON SHOPPING: Aladdin
FINAL RATING: 6/10
NEXT:
Fyre

The Incredibles 2


The Incredibles live in a bubble.

(2018) Animated Feature (Disney*Pixar) Starring the voices of Holly Hunter, Craig T. Nelson, Samuel L. Jackson, Sarah Vowell, Huckleberry Milner, Catherine Keener, Eli Fucile, Bob Odenkirk, Michael Bird, Sophia Bush, Brad Bird, Phil LaMarr, Isabella Rossellini, Jonathan Banks, Barry Bostwick, Adam Gates, John Ratzenberger, Bill Wise, Kimberly Adair Clark. Directed by Brad Bird

 

Pixar’s 2004 animated superhero movie The Incredibles is for many fans of comic books their favorite offering from the computer animated giant. After 14 years, director Brad Bird has finally found a story to tell that he thinks is worthy of the franchise, but is it?

Well, nearly. A telecommunications mogul (Odenkirk) and his whiz-kid sister (Keener) want very much to lift the superhero ban that has hamstrung the caped heroes of old but rather than choosing Mr. Incredible (Nelson) as their poster boy, instead they select his wife Elasti-Girl (Hunter) who is far less destructive and a role model for women. With new superheroes coming out of the woodwork, Mr. Incredible becomes something of a house-husband taking care of angsty teenager Violet (Vowell), hyperactive kid Dash (Milner) and baby Jack-Jack (Fucile) who is developing some destructive powers of his own. However, there’s a villain (LaMarr) out there who is hypnotizing people through their computer/smartphone/tablet screens into acts of violence. Can Elasti-Girl stop the carnage?

Maybe it’s just the glut of superhero films talking but this feels kind of tired and old hat. The technical end is, as we’ve come to expect from Pixar, dazzling and the superhero battles (including one between Jack-Jack and a persistent raccoon) rival anything Marvel or DC have done. Hunter does a great job carrying the film largely but as with most team superhero movies, there are too many characters and that means many of them get little sunlight. Overall, the movie feels aimed more at a younger audience (despite the subtext that those devices that connect us to the Internet fail to connect us to life) but at just about two hours in running length, it seems a bit much to ask most kids to sit still for that much time.

REASONS TO SEE: The superhero battles are nicely done.
REASONS TO AVOID: Very formulaic and predictable; it feels like it was aimed at a much younger audience than the first film.
FAMILY VALUES: There is some comic book action violence and some mild profanity.
TRIVIAL PURSUIT: Dash is shown eating Sugar Bombs, the chocolate frosted version of which is the favorite cereal of Calvin of Calvin and Hobbes.
BEYOND THE THEATER: Amazon, Fandango Now, Google Play, iTunes, Movies Anywhere, Netflix, Vudu, YouTube
CRITICAL MASS: As of 7/14/19: Rotten Tomatoes: 94% positive reviews: Metacritic: 80/100.
COMPARISON SHOPPING: The Fantastic Four
FINAL RATING: 6.5/10
NEXT:
Destination Dewsbury