Mary Poppins Returns


Practically perfect in every way.

(2018) Family (DisneyEmily Blunt, Lin-Manuel Miranda, Ben Whishaw, Emily Mortimer, Pixie Davies, Nathaniel Saleh, Joel Dawson Julie Walters, Meryl Streep, Dick van Dyke, Angela Lansbury, Colin Firth, Jeremy Swift, Kobna Holdbrook-Smith, David Warner, Jim Norton, Norma Dumezweni, Tarik Frimpong, Sudha Bhuchar, Steve Nicolson, Christian Dixon, Karen Dotrice. Directed by Rob Marshall

 

When Disney announced a sequel to their classic Mary Poppins, purists were aghast as were many of those who grew up with the practically perfect nanny. Even though Marshall, the man who essentially resurrected the movie musical, was at the helm, most people predicted that the film would never catch on. Fortunately for the accountants at Disney, it did.

Set roughly 20 years after the original, Michael Banks (Whishaw) still lives in the Cherry Tree Lane home he grew up in. Recently widowed with three young children depending on him, he has been forced to take a job as a teller at his father’s own bank, to whom he’s deeply in debt. Now, the bank and their nasty president (Firth) are foreclosing and Michael has until Friday midnight to pay up. His only chance is to find certificates that his father willed to him, proving that the Banks family own part of the bank.

This is where Mary Poppins (Blunt) comes in. Despite the presence of housekeeper Ellen (Walters) and Michael’s union-organizing sister Jane (Mortimer) the kids are badly in need of a full-time nanny and the stern-faced Poppins intends to whip them into shape. With her friend, lamplighter Jack (Miranda) she takes the kids on adventures in the bathtub, in a chipped china bowl, in the back alleys of London and in her cousin Topsy’s (Streep) repair shop among other places.

That’s where the big yawning chasm between the original and the sequel is locate. The songs here are mainly bland and forgettable, following the standards of 21st century Broadway and pop music in general where it seems that music is being written by focus group rather than actual artists. Several of the scenes here are meant to be homages to the original but they often feel more like rip-offs.

Blunt has the thankless job of taking over for Julie Andrews who was perfect for the role and she comes very close to Andrews’ performance. You can’t fault her for that; nobody could fill Andrews’ shoes in this case. In a very gracious touch, Disney veterans Dick van Dyke and Angela Lansbury make cameo appearances and show that they both can still perform; van Dyke in particular takes on an energetic dance that shows that at 93 he can still out-dance most performers 70 years younger than he.

I give Marshall credit; this is a visually striking film and it is close in tone to the original film. It feels like, in many cases, they chose to adhere to the memories of the original rather than to give the film a personality of its own. In that sense, the filmmakers were damned if they did and damned if they didn’t; had they done what I suggest, it is likely that purists would have screamed bloody murder. It is in a real sense a no-win situation for the filmmakers, despite the hefty box office receipts. I don’t know if Disney is planning to make further sequels to the film; the box office suggests that they could. I hope, however, that they choose to venture a little further on a path of their own if they do.

REASONS TO SEE: Plenty of CGI Magic. Always a joy to see Angela Lansbury and Dick van Dyke.
REASONS TO AVOID: Plays it way too safe.
FAMILY VALUES: There are some mild thematic elements as well as fantasy action.
TRIVIAL PURSUIT: When the role of Mary Poppins was first offered to Julie Andrews, she turned it down because she was pregnant; Walt Disney felt so strongly she was perfect for the role that production was delayed to accommodate her pregnancy. History was repeated when production was delayed on the sequel to accommodate the pregnancy of lead Emily Blunt.
BEYOND THE THEATERS: Amazon, AMC On Demand, AppleTV, Disney+, Fandango Now, Google Play, Microsoft, Movies Anywhere, Netflix, Redbox, Vudu, YouTube
CRITICAL MASS: As of 4/16/20: Rotten Tomatoes: 79% positive reviews Metacritic: 66/100
COMPARISON SHOPPING: Cinderella
FINAL RATING: 7/10
NEXT:
Cotton Wool

The Nutcracker and the Four Realms


Nearly every little girl dreams of being a princess.

(2018) Fantasy (DisneyMackenzie Foy, Keira Knightley, Helen Mirren Morgan Freeman, Tom Sweet, Ellie Bamber, Jayden Forowa-Knight, Richard E. Grant, Matthew Macfadyen, Miranda Hart, Meera Syal, Omid Djalili, Eugenio Derbez, Jack Whitehall, Nick Mohammed, Charles Streeter, Gustavo Dudamel, Misty Copeland, Sergei Polunin, Anna Madeley. Directed by Lasse Hallstrom and Joe Johnston

 

A perennial Christmas family favorite is the Tchaikovsky ballet The Nutcracker. Loosely based on the E.T.A. Hoffman story The Nutcracker and the Mouse King, the timeless music is like an old friend and this one ballet accounts for nearly half the revenue of all ballet companies in the United States. That can be read as depressing or impressive. In either case, it speaks volumes about how Americans feel about this venerable ballet.

Strangely, there has never been a film adaptation that has captured the magic of the ballet; most of those that have tried have literally been filmed versions of the ballet and have looked terribly stage-y. The wizards over at Disney have thought to create a live-action narrative film that features the ballet but is a story unto its own. Chock full of CGI and boasting an impressive cast, Disney was hoping to create a classic holiday favorite and maybe even a franchise. Unfortunately, that’s not what happened.

Clara (Foy) is still mourning the death of her mother (Madeley) as she and her father (Macfadyen) and brother (Sweet) try to cope with the first Christmas since the tragedy. Before she died, Clara’s mother had gotten presents for her and her brother; Clara’s was a locked Faberge egg with a note “All you need is inside.” There was no key, however.

Clara’s godfather, the kindly toymaker Drosselmeyer (Freeman) is throwing his annual Christmas Eve soiree. Clara, who has a keen intellect and an engineer’s touch with mechanical things, feels a particular bond with the eccentric toymaker. He has attached dozens of strings in the courtyard with the names of his guests on them; each string leads to the Christmas present of the named guest. Clara’s leads to…somewhere else.

It is a different dimension, one with four realms that her mother created. The four realms and their regents; the Sugar Plum Fairy (Knightley) of the Realm of Sweets, Shiver (Grant) of the Realm of Snowflakes, Mother Ginger (Mirren) of the Realm of Amusements and Hawthorne (Derbez) of the Realm of Flowers. One of them has turned evil and seeks to conquer all the realms, or destroy them if they cannot be conquered. It’s not the one you think. Aiding Clara in her quest to set things to rights is Hoffmann (Forowa-Knight), a soldier who looks like a nutcracker.

Visually, this is a rich, sumptuous work. The sets, inspired by the ballet, are gorgeous as is the costuming. The CGI is is absolutely marvelous as well although some of it might be squirm-inducing; the Mouse King, for example, is made up of thousands of regular-sized mice who are combined into a single giant-sized mouse. Me, I would have rather seen a CGI Mickey here. At least it would have been more family-appropriate.

I found myself drawn to the ballet sequences which is impressive, when you consider that I’m not all that interested in dance. They are beautifully staged and nicely realized by a troupe of world-class dancers led by the incomparable Misty Copeland.

Despite the great cast, the performances are oddly unfulfilling. Foy has proven to be a talented actress but she’s given a British accent here and it is, quite frankly, awful. It sounds like an American amateur with no ear for accents trying to do an imitation. I also found it strange that while the film is set in London, most of the names are German. They should have just bitten the bullet and set the story in Germany; it would have made more sense.

While this is beautiful to look at with a feeling of a mug of hot chocolate on a cold winter night, the movie remains sadly unsatisfying. The plot is convoluted and seems to be an attempt to reimagine a classic story as a young adult adventure story. Disney is usually fairly adept at translating classic stories to the big screen but they made a major misstep here.

REASONS TO SEE: The ballet sequences are wonderful. The set design is eye-popping.
REASONS TO AVOID: A tremendous cast is wasted. Foy’s English accent is atrocious.
FAMILY VALUES: There Is some mild peril.
TRIVIAL PURSUIT: Hallstrom completed principal filming but was unavailable for the extensive reshoots, which Johnston took charge of for 32 days. Hallstrom returned to oversee post-production and insisted that Johnston receive co-director credit.
BEYOND THE THEATERS: Amazon, AppleTV, Disney+, Fandango Now, Google Play, Microsoft, Movies Anywhere, Netflix, Vudu, YouTube
CRITICAL MASS: As of 4/19/20: Rotten Tomatoes: 33% positive reviews, Metacritic: 39/100
COMPARISON SHOPPING: Alice in Wonderland
FINAL RATING: 6/10
NEXT:
Maserati: 100 Years Against All Odds

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

Christopher Robin


The gang’s all here.

(2018) Family (DisneyEwan McGregor, Hayley Atwell, Bronte Carmichael, Mark Gatiss, Oliver Ford Davies, Ronke Adekoluejo, Adrian Scarborough, Jim Cummings (voice), Brad Garrett (voice), Peter Capaldi (voice), Sophie Okonedo (voice), Toby Jones (voice), Roger Ashton-Griffiths, Ken Nwosu, John Dagleish, Amanda Lawrence, Orton O’Brien, Tristan Sturrock, Katy Carmichael. Directed by Marc Forster

 

Growing up is inevitable. We leave our childish things behind and become young adults, and then adults. It is the natural progression of things. It happens to us all.

It even happens to Christopher Robin (McGregor), the son of the famous author who invented Winnie the Pooh and was himself the inspiration for his namesake character. He works as an efficiency expert for a luggage firm in London (the real Christopher Robin owned a bookstore) and is miserable. He rarely sees his family anymore and wife Evelyn (Atwell) and daughter Madeline (Carmichael) have grown exasperated with their absentee husband/dad and have gone to the countryside to the house where Christopher Robin grew up. Their presence alerts Pooh (Cummings), who has discovered that his cohorts are all missing and needs Christopher Robin to come back to the Hundred Acre Wood to find them, but Christopher Robin – certain that he is cracking up under the pressure – has other fish to fry. Will he rediscover the things that are important before he loses everything?

This is very much a Disney movie and has a whole lot more in common with other Disney movies than it does with the life of the real Christopher Robin. Still, if you let the movie’s charm just envelop you, particularly if you grew up with Pooh, have a child growing up with Pooh or just like movies that are the cinematic equivalent of a grilled cheese and tomato soup, you might well find this a worthwhile investment of your time. Sure, the movie goes off the rails a bit during the climax and yes the clichés come thick and fast, but the Hundred Acre Wood is absolutely magical and the CGI creations, looking like the worn and beloved toys they once were, further that magic. This is perfect viewing for a rainy day or a summer night. Take your pick.

REASONS TO SEE: Remarkable CGI. Voice actors perfectly cast. A big warm down comforter of a movie.
REASONS TO AVOID: Standard Disney clichés. Loses oodles of steam during the final act.
FAMILY VALUES: There are some scenes of mild action.
TRIVIAL PURSUIT: Legendary composer Richard B. Sherman makes a cameo appearance during the mid-credits scene. Also, much of the movie was filmed at Ashdown Woods, the original inspiration for A.A. Milne’s Hundred Acre Woods.
BEYOND THE THEATERS: Amazon, AppleTV, Disney Plus, Fandango Now, Google Play, Movies Anywhere, Netflix, Vudu, YouTube
CRITICAL MASS: As of 12/123/19: Rotten Tomatoes: 73% positive reviews: Metacritic: 60/100.
COMPARISON SHOPPING: Hook
FINAL RATING: 7/10
NEXT:
The Aeronauts

Noelle


Passing Santa’s torch isn’t as easy as Tim Allen made it out to be.

(2019) Holiday Comedy (Disney PlusAnna Kendrick, Bill Hader, Shirley MacLaine, Julie Hagerty, Kingsley Ben-Adir, Billy Eichner, Maceo Smedley, Diana Maria Riva, Anthony Konechny, Michael Gross, Billy Griffith, Aliza Vellani, Amital Marmorstein, Ron Funches, Gary Sekhon, Edwin Perez, Anna van Hooft, Sean Amsing, Steven Rudy, Jagen Johnson, Alvina August. Directed by Marc Lawrence

 

Whether you call him Santa Claus or Father Christmas, we have always had an idea of who and what St. Nicholas is. Jolly, red outfit, sleigh, mittens, a sack full of presents, generally a fun guy to be around.

In this new Christmas wannabe classic, the office of Santa has been handed down from father to son in the Kringle family for generations. Sadly, the old Santa has died, leaving his son Nick (Hader) as heir apparent. The problem is that Nick is much more suited to be a yoga instructor than Santa. He’s terrified of reindeer, claustrophobic in tight places (like chimneys) and can’t steer the sleigh to save his life. His sister Noelle (Kendrick) is much more adept at all these things; she also instantly understands every form of communication from American sign language to French. She also can tell by looking at any kid if they’ve been naughty or nice, and knows instinctively what present they want – in a bit of a running joke it’s usually an iPad.

With Christmas approaching, the pressure is on Nick to get his act together. When Noelle suggests he take a weekend trip to “somewhere sunny and warm,” he takes her up on it – only to decide he’s going to stay there and never return to the North Pole. Christmas is in serious jeopardy and everyone blames poor Noelle, going so far as to take away her Kringle family discount at the local hot chocolate bar and souvenir stores.

Stung, she heads to Phoenix where she thinks her brother might be, accompanied by an adorable CGI baby reindeer named Snowcone and a less adorable elf named Polly (MacLaine, who seems helplessly typecast in grouchy roles these days). Aided by a handsome private detective (Ben-Adir) who is spending his first Christmas as a single dad who is understandably not looking forward a Christmas separate from his son (Smedley) who is spending the holiday with his mom who has since remarried. Meanwhile, back at the North Pole, a tech-oriented Kringle cousin (Eichner) is proposing changes that might just ruin Christmas forever if Noelle doesn’t find Nick and persuade him to put on the red coat and make his Christmas Eve run.

I’m not even sure where to begin with this. Most of the ideas it has have been horked from other films that are way better than this one (Da Queen characterized this as “a not funny Elf) like Arthur Christmas, f’rinstance. There is enough product placement in the movie to make an old capitalist’s heart warm and toasty, which might rub progressive sorts the wrong way but then again, when you think about it, Disney is essentially a massive product placement for itself.

That said, the movie isn’t without its high points. Kendrick is an engaging performer and nobody does adorable quite as well as she does except for maybe Amy Adams in her prime. On a personal note, I’m always up to see MacLaine in anything, even if I’d love to see her do something in which she doesn’t play a curmudgeon which seems to be all she’s cast as these days. Hader hits all the right comedy notes in his performance and the movie really hums along during his training sequence – had the movie continued more along those lines, this might have become the Christmas classic it so desperately wants to be.

The big problem here is that this feels very much like a Disney Channel film in all the most negative aspects of their programming. Insipid pop soundtrack, really groan-inducing Christmas-themed jokes (“Oh, my garland!”) and a plot that seems to be dumbed down so that even ten-year-olds are rolling their eyes. Of course, Noelle should be the replacement Santa; nobody who isn’t brain dead can figure that out.

The subplot of rethinking gender roles is probably not going to play well with the Fox News crowd (some of whom are already trolling reviews elsewhere) but it at least gives some food for thought in a meal otherwise full of empty calories.

REASONS TO SEE: Interesting subtext on gender roles.
REASONS TO AVOID: All the negatives of Disney Channel fare.
FAMILY VALUES: There is some mildly rude humor.
TRIVIAL PURSUIT: The film was originally intended for theatrical release, but Disney decided to put it on their brand-new streaming platform to give it additional value.
BEYOND THE THEATERS: Disney+
CRITICAL MASS: As of 12/14/19: Rotten Tomatoes: 53% positive reviews: Metacritic: 48/100.
COMPARISON SHOPPING: Fred Claus
FINAL RATING: 5/10
NEXT:
A New Christmas

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

Solo: A Star Wars Story


“Chewie, I’ve got a bad feeling about this..”

(2018) Science Fiction (Disney/Lucasfilm) Alden Ehrenreich, Joonas Suotamo, Woody Harrelson, Emilia Clarke, Donald Glover, Thandie Newton, Paul Bettany, Jon Favreau (voice), Phoebe Waller-Bridge (voice), Erin Kellyman, Linda Hunt (voice), Ian Kenny, John Tui, Anna Francolini, Andrew Woodall, Warwick Davis, Clint Howard, Anthony Daniels, Charlotte Louise. Directed by Ron Howard

 

Prequels can serve one of two purposes; to give insight to an established character or franchise, or to forever tarnish them. The much-anticipated Solo: A Star Wars Story could go either way…or both.

Han Solo (Ehrenreich) is an orphan committing crimes for a kind of reptilian Fagin named lady Proxima (Hunt). He and his best girl Qi’ra (Clarke) plan to get out of the life and find a life of their own but their plans go awry and the two are separated. Indy..I mean Han…resolves to come back for her and joins the Imperial Stormtroopers as a pilot. Eventually, he meets scoundrel Tobias Beckett (Harrelson) who along with his squeeze Val (Newton) are planning a big heist, one which may finally get him the opportunity to finally rescue his girl. First he will have to avoid the wrath of the crime boss Dryden Vos (Bettany) and meet up with future allies Chewbacca (Suotamo) and Lando Calrissian (Glover).

This is a movie in which the sum of its parts exceeds the whole. An underrated cast, writer Lawrence Kasdan who wrote arguably the best installment in the series (Return of the Jedi) and one of Hollywood’s most respected directors (Oscar winner Ron Howard). Still, despite exceptional turns by Harrelson and particularly Glover (who at one time was rumored to be toplining a Lando Calrissian movie of his own) the movie feels curiously flat. Perhaps it was because Howard was brought in late after much footage had already been shot by departing directors Phil Lord and Chris Miller, who were (depending on who you ask) shown the door or found it on their own after artistic differences with Disney brass. More likely, it’s because Ehrenreich who is a very talented actor, was given a no-win situation in which he was given. Harrison Ford as Han Solo is one of the most iconic roles of the last 50 years and most people can’t see anyone playing Solo except Ford. I will say that Ehrenreich does his level best but for whatever reason his performance didn’t resonate with me. Great effects, great pacing and great cinematography can take a movie so far but it also has to connect, to inspire and amaze. Solo does none of those things.

REASONS TO GO: Glover and Harrelson do bang-up jobs.
REASONS TO STAY: The film left me feeling flat and was overall a disappointment.
FAMILY VALUES: There is some science fiction-type violence.
TRIVIAL PURSUIT: The fertility idol from the opening scene of Raiders of the Lost Ark can be seen on a table in the meeting room of Dryden Vos, the villain.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Movies Anywhere, Netflix, Vudu, YouTube
CRITICAL MASS: As of 1/30/19: Rotten Tomatoes: 70% positive reviews: Metacritic: 62/100.
COMPARISON SHOPPING: Rogue One: A Star Wars Story
FINAL RATING: 6/10
NEXT:
Then Came You

Avengers: Infinity War


The latest Avengers movie, starring…everyone. Heck, you’re probably in it too!

(2018) Superhero (Disney/Marvel) Robert Downey Jr., Chris Pratt, Chris Evans, Chris Hemsworth, Zoe Saldana, Chadwick Boseman, Scarlett Johansson, Mark Ruffalo, Josh Brolin, Karen Gillan, Tom Hiddleston, Tom Holland, Don Cheadle, Benedict Cumberbatch, Paul Bettany, Elizabeth Olsen, Idris Elba, Danai Gurira, Anthony Mackie, Sebastian Stan, Peter Dinklage, Benedict Wong, Pom Klementieff and a cast of thousands. Directed by Anthony and Joe Russo

 

This is to date the biggest and most epic Marvel movie ever – until the next untitled Avengers movie, filmed concurrently with this one and scheduled for release in May 2019.

The mad Titan Thanos, seeing that the Universe is dreadfully out of balance, believes that he has a solution that will restore balance: to kill half of the entire population of the universe at random. There’s no practical way to do that so he has to do something that has never been done – he must retrieve all six of the Infinity Stones, gems created by the Big Bang and each with control of a different aspect of the universe – space, time, the mind, the soul, and so on.

Of course, the superheroes all oppose this plan and they come from all over – nearly every Marvel movie preceding this one is represented here from the spacefaring Guardians of the Galaxy to the high tech Black Panther and of course the various and sundry Avengers films. It’s a colossal undertaking and quite frankly I didn’t expect them to pull it off. There are an awful lot of characters here and a lot of them really don’t get much screen time.

Thanos (Brolin) gets a ton of screen time and it’s no joke the best portrayal of a comic book villain since Heath Ledger won an Oscar for playing one. Thanos is truly the Big Bad of the Marvel Universe and while the heroes valiantly take him on, things don’t look too good. It’s an epic tale that is taking two movies to tell.

The action is as you’d expect spectacular and the effects seamless. There are even some poignant moments, most of them occurring in the last twenty minutes of the film. Who knew that Marvel knows pathos? In any case, this is an emotional rollercoaster that every Marvel fan is going to be overjoyed to take – even the usually hard-to-impress fanboys have been singing the praises of this one.

Yes, I realize you’ve probably already seen it and if you haven’t you likely aren’t going to and frankly you’re probably not reading this review in that case. So you’ve seen it. Maybe you’ve already purchased a digital copy (the Blu-Ray and DVD editions were just released) and likely you’ll be getting one of those. This isn’t the best Marvel movie yet but it’s damn close.

REASONS TO GO: Brolin gives a game-changing performance as Thanos. The action is non-stop and without peer. There are some very poignant moments.
REASONS TO STAY: There are too many characters to keep track of.
FAMILY VALUES: There is nearly non-stop sci-fi/superhero action and violence, some crude references and some scenes with disturbing content.
TRIVIAL PURSUIT: At the beginning of the film, the distress call from the Asgardian ship is the voice of Kenneth Branagh, the director of the first Thor film.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Microsoft, Movies Anywhere, Vudu, YouTube
CRITICAL MASS: As of 8/15/18: Rotten Tomatoes: 83% positive reviews. Metacritic: 68/100.
COMPARISON SHOPPING: Captain America: Civil War
FINAL RATING: 8.5/10
NEXT:
Songwriter

A Wrinkle in Time (2018)


Oprah Winfrey and Storm Reid try to bring balance to the Force.

(2018) Science Fiction (Disney) Storm Reid, Oprah Winfrey, Reese Witherspoon, Mindy Kaling, Chris Pine, Levi Miller, Deric McCabe, Gugu Mbatha Raw, Zach Galifianakis, Michael Peña, André Holland, Rowan Blanchard, Bellamy Young, David Oyelowo (voice), Conrad Roberts, Yvette Cason, Will McCormack, David MacPherson, Akemi Look, Tim Kang, Jessica Rockwell. Directed by Ava DuVernay

 

As a boy I read – eagerly, I might add – Madeleine L’Engle’s classic children’s book A Wrinkle in Time. I was fascinated by the amazing worlds she created and thrilled to the adventures of the intrepid Murry children. It was a favorite of mine but I haven’t read it in almost since I was 11 or 12 and the details have become lost to me.

Ava DuVernay has created a nine figure-budgeted version – much has been made that she’s the first African-American female director to be at the helm for a movie with a budget more than $100 million – which is not all sizzle and no steak precisely; it’s more accurately that the steak has been overwhelmed by the sizzle.

Meg Murry (Reid) is depressed and acting out to a large degree. Her physicist father Alex (Pine) disappeared four years earlier and her principal (Holland) as well as her mother (Raw) are both beginning to gently push her into letting him go and come to the realization that he’s gone for good. Then into their lives – including her precocious adopted brother Charles Wallace (McCabe) who might be more brilliant than her and her father put together – comes Mrs. Whatsit (Witherspoon), a kind of kooky and eccentric woman who tells her that her father is alive in another part of the universe where he had traveled by the sheer force of his mind and he needs her help in returning home.

Through Mrs. Whatsit she meets Mrs. Who (Kaling) and Mrs. Which (Winfrey), equally eccentric and just as powerful. The two Murry kids along with Calvin (Miller) who’s kind of sweet on Meg, accompany the three Missus to rescue Alex. But he’s being held captive by an evil force of energy called The It (having nothing to do with Pennywise the Clown) and it is growing rapidly to the point that if her father can’t be rescued the Universe will be overrun by the It.

The movie is a massive misstep by one of the most talented directors working today. The story gets lost in a turgid script that emphasizes the visuals (which to be fair are incredibly imaginative and a literal joy to behold) over the story. Worse yet, the dialogue is wretched; people in this film don’t talk like real people. At least Mrs. Who has an excuse; she’s programmed (essentially) to talk in affirmations, but everyone else seems to mouth platitudes that after awhile grow wearisome.

Winfrey, Kaling, Raw, Pine and Witherspoon are all fine actors and they do very well here. Reid can sometimes be a bit smarmy but for the most part she is asked to carry the film on her young shoulders and she doesn’t disgrace herself. McCabe however is Hella annoying and he brings to mind poor Jake Lloyd from Star Wars Episode One as a candidate for worst juvenile performance of all time.

The movie failed to find an audience during its theatrical release in March. Some blame it on the fact that the Murry family was interracial, although the African-ness of Black Panther didn’t seem to hurt it any. I’m sure the success of the Marvel film had an impact on the audience for A Wrinkle in Time but I also think poor reviews and bad word-of-mouth doomed it. In all honesty, I don’t think A Wrinkle in Time is a bad film but it’s not a very good one either. It’s kind of bloated and the message of family, hope and tolerance gets completely lost. I have no doubt DuVernay is going to be making important films for decades to come; this one though likely won’t be on her highlight reel years from now.

REASONS TO GO: The visuals are insanely imaginative. Winfrey, Kaling and Witherspoon are perfectly cast.
REASONS TO STAY: The dialogue torpedoes the film. McCabe’s performance is overbearing most of the film.
FAMILY VALUES: Although suitable for most children, the film contains scenes of peril as well as some themes that may go over the heads of some of the less socially developed kids.
TRIVIAL PURSUIT: Two more Murry children (twins Sandy and Dennys) who appeared in the novel were cut from the film version.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Movies Anywhere, Vudu, YouTube
CRITICAL MASS: As of 6/27/18: Rotten Tomatoes: 40% positive reviews. Metacritic: 53/100.
COMPARISON SHOPPING: The Holy Mountain
FINAL RATING: 5.5/10
NEXT:
Bright

Black Panther


King T’Challa surveys the kingdom of Wakanda that the world sees.

(2018) Superhero (Disney/Marvel) Chadwick Boseman, Michael B. Jordan, Lupita Nyong’o, Danai Gurira, Forest Whitaker, Angela Bassett, Martin Freeman, Daniel Kaluuya, Letitia Wright, Winston Duke, Sterling K. Brown, Andy Serkis, Florence Kasumba, John Kani, David S. Lee, Nayibah Be, Isaach De Bankolé, Connie Chiume, Dorothy Steele, Danny Sapani, Sydelle Noel. Directed by Ryan Coogler

 

It is not accidental that Black Panther was released during Black History Month. It is a movie that has gone on to make history and brought huge crossover appeal to the segment of African-American audiences who aren’t necessarily going out to see superhero movies – although obviously a large chunk of them are. Don’t make the mistake of thinking this is Shaft in spandex though – this is a superhero movie that is going to set the bar for superhero films that follow it.

T’Challa (Boseman), King of the African nation of Wakanda, also carries the mantle of the Black Panther, the protector of his country who is mystically endowed with superpowers. He inherits a country that is technologically advanced but has chosen to hide its true nature so that they don’t become targets. Their isolationism is a sticking point with Erik Killmonger (Jordan), nephew of the recently deceased King, who was raised in America after the murder of his father. He sees things from a much more global point of view and thinks Wakanda should be sharing their technology – particularly their weapons – to help oppressed people of color to rise up and throw off the yoke of colonialism.

There’s a lot more to the film than that but this is a short review. Sure, it’s got the eye candy and jaw-dropping action sequences we come to expect in a superhero film – and they are well done here, make no mistake about it – but also, they are not the be-all and end-all of Black Panther. Rather, they are a jumping off point to discuss more weighty matters – racial relations, colonialism, turning a blind eye to suffering, sexism – things not normally a part of the superhero film equation. It should also be mentioned that the Dora Milaje – the King’s army – are all women and  are the most badass fighting force to turn up in a superhero film ever, even more so than the Amazons of Wonder Woman.

It should also be mentioned that this might be the most talented ensemble ever in a superhero film. The crème de la crème of African-American actors do their thing on this film and none of them turn in anything less than their best. Gurira from The Walking Dead brings the badassery of Michonne and bringing onto the big screen and giving it an African twist. Nyong’o plays a spy and the ex of T’Challa and she plays a fine love interest. Whitaker lends gravitas to his role as T’Challa’s mentor. Best of all though is Wright as the king’s kid sister – a scientific genius responsible for many of the gadgets used in the film. She steals nearly every scene she’s in.

All in all, this is a movie that lives up to the hype and re-confirms that the superhero genre is not just for fanboys but for fans of all sorts. Just for the record, Black Panther isn’t a great superhero film because it has an African-American hero – it would be a great superhero film no matter who the lead was. Come to think of it, Black Panther isn’t just a great superhero film – it’s a great film period.

REASONS TO GO: This is a benchmark for all superhero films. Jordan and Boseman are both terrific in their roles. Coogler hits the director’s A list with his big and bold vision.
REASONS TO STAY: Some of the CGI doesn’t quite work.
FAMILY VALUES: There is lots of violence, superhero and otherwise, as well as a rude gesture.
TRIVIAL PURSUIT: Jordan has appeared in all three of the feature films directed by Coogler to date.
CRITICAL MASS: As of 4/6/18: Rotten Tomatoes: 97% positive reviews: Metacritic: 88/100.
COMPARISON SHOPPING: King Lear
FINAL RATING: 8.5/10
NEXT:
The Workshop