Month: November 2024

MOANA 2 – Review

For most of the country it feels as though Winter is finally settling in (though it’s officially a few weeks away), so why not indulge in a cinematic virtual island getaway for a couple of hours? To make it a tad more enticing it’s also a reunion with some dear movie friends you first met eight years ago. Since that first animated romp, the popularity of the characters and setting seems to be growing, with several reports saying that it was the most streamed feature film during the pandemic “lockdown” way back in 2020. Now, according to some other articles, this movie’s plot was originally developed as a Disney+ series, but can any home entertainment system ever match the big multiplex screens? That’s the only way to cruise the waves and bask in the sun with that plucky princess (in the film she denies that, but her bud and many others disagree) of the seas in MOANA 2.

When we catch up with that “Wayfinder” Moana (voice of Auli’i Cravalho) is exploring a tiny island of Oceania, looking for clues to other island natives. Surprisingly her pet rooster Heihei (Alan Tudyk) stumbles into a bit of pottery with an image etched on its surface. They rush back to Motunui Island where Moana’s papa chief Tui (Temera Morrison) explains that this is a relic of the lost island of Motufetu, which their ancestor Tautai Vasa tried to locate in order to unite all the people of the far-flung islands of Oceania. Moana decides to take on this quest, but she’s not going alone, though her pig and rooster will be at her side. She’ll need a bigger vessel and a crew: brainy designer Loto (Rose Matafeo), brawny demi-god “fanboy” Moni (Hualalai Chung), and grumpy elderly farmer Kele (David Fane). Moana’s confident, though she hopes that they’ll get a hand from her old pal, the shape-shifting demigod Maui (Dwayne Johnson). Ah, but he’s been captured by the angry god Nalo along with his prisoner/aide the “bat lady” Matangi (Awhimai Fraser). After a raucous encounter with the small but fierce “coconut warriors” of a floating island/ship, Moana and her friends are swallowed by a giant clam, which also holds Maui. He joins their mission since he must raise the sunken island of Motufetu from the sea floor in order for the human crew to embark and facilitate the uniting of the many different island natives. But can they thwart the efforts of the angry Nalo, who hates people and wants to destroy another such gathering?

You’d never think that eight years have passed since the talented vocal ensemble jumps right back into their roles as if only a day or two has passed. And Cravalho is still a powerhouse singer bringing an energetic optimistic spirit to the title character. Sure, Moana can feel down but she’s soon back at the ship’s helm. Of course, she’s still an excellent teammate with the bombastic Johnson who imbues Maui with a charming swagger as we can hear his growing affection for the “humans”, though he’s a tad “creeped” by “super-fan” Moni, who is given an endearing goofy sweetness by Chung. But nobody is as sweet, or just darned adorable, as the film’s new addition, Khaleesi Lambert-Tsuda as Moana’s precious kid sister Simea, who just makes your heart ache as she tries to get sis’ to stay home. On the other end of the spectrum, Fane is also compelling, and very funny, as the often sour, but semi-sweet Kele. Another “newbie” is Fraser who gives Matangi a sultry slinky vocal “vamp”. It’s a nice counterpart to the warm, nurturing tone of Rachel House as Tula, Moan’s ghostly (really a manta ray spirit) grandmother.

As I hinted earlier, this sequel is, like its predecessor, a feast for the eyes with its perfect ocean waves and smooth sand buffeted by lush green foliage. It is dazzling, much like the character designs, I’m still a fan of the stocky Maui who somehow has a real graceful lilt to his movements. The real “kicker” for him is the terrific line animation that brings his tattoos to life, thanks to Disney drawing titan Eric Goldberg and his “mini-Maui” crew. But the animation “acting” and body language of all the principals is “top-notch” particularly as Moana and her team are flung around the ship’s bow via the sail and ropes. Most impressive as this is the first feature for the Vancouver branch of Walt Disney Animation, which made the slick transition from the TV series. Surprisingly, the movie doesn’t feel like it was “stitched” from several episodes, although I could imagine a half-hour focused on those tough lil’ coconut critters (tailor-made for shelves and work cubicles). So, it looks great, but there’s little of the emotional “heft” of that first flick, though it suffers like many follow-ups as there’s no “discovery’ as we meet these new characters and backdrops. Plus, none of the new tunes are “grabbers’ with Maui’s solo (as forgettable as the other songs) here falling short of the bouncy “You’re Welcome”. Fans of the 2016 original will enjoy diving back into that world, but those looking for a story just as engaging may have their expectations become “water-logged” after the drawn-out climax of MOANA 2.

3 Out of 4

MOANA 2 is now playing in theatres everywhere

GLADIATOR II – Review

Paul Mescal plays Lucius and Pedro Pascal plays Marcus Acacius in Gladiator II from Paramount Pictures.

Director Ridley Scott returns to the world of ancient Rome with GLADIATOR II. GLADIATOR is an iconic film which made Joaquin Phoenix a star and starred Russell Crowe in this greatest role but this enduringly popular epic didn’t particularly feel like it needed a sequel as it felt pretty complete. Yet here we are. Actually, GLADIATOR II is a combination of sequel and remake, and has an excellent cast including Paul Mescal, Pedro Pascal, and Denzel Washington. Paul Mescal star as Lucius, whose story both reflects and connects to Russell Crowe’s Maximus’ tale. Two members of the original cast return, Connie Nielsen as Lucilla and Derek Jacobi as Gracchus, and while Jacobi’s screen time is brief, Nielsen plays a major role. Yet despite a fiery, Oscar-worthy performance by Denzel Washington and good work by the rest of the cast, plentiful gladiator fight scenes, and impressive sets, costumes and visual effects, the sequel/remake does not have the same energy and narrative drive as the original.

Taking place some years after the original, we return to a Roman empire ruled by a pair of red-headed, debauched brother Caesars, Emperor Geta (Joseph Quinn) and his more blood-thirsty but less rational brother Emperor Caracalla (Fred Hechinger). Meanwhile, in a distant land Lucius (Paul Mescal) and his warrior wife are preparing to defend their city from a Roman army led by General Marcus Acacius (Pedro Pascal). Things don’t go well, and the wife ends up dead and Lucius ends up as a galley slave and then a gladiator, owned by wealthy former gladiator Macrinus (Denzel Washington). But when Macrinus brings his prize gladiator to Rome, we learn this Lucius is the grown-up son of the daughter of Marcus Aurelius, Lucilla (Connie Nielsen) who, as it happens, is married to Pedro Pascal’s honorable General Acacius, whom Lucius has sworn to kill to avenge his wife.

That is no spoiler as it the film’s synopsis and not hard to guess anyway. The film embarks on a tale of intrigue, ambition, revenge and plentiful of bloody spectacle set in ancient Rome which parallels the original in many ways. Paul Mescal is a gifted actor but doesn’t have the big screen charisma of Russell Crowe. The twin emperors are appropriately awful, and Joseph Quinn and Fred Hechinger are entertainingly crazy, together and separately, but they are not the brainy plotters that Joaquin Phoenix’s emperor was. The true source of evil intriguing is more diffuse and concealed until well into the story. Not everyone is as good or bad as they seem at the film’s start, making this epic more twisty than a straightforward heroic tale like the original.

The most striking performances are Connie Nielsen’s, as the older Lucilla, harkening back to her earlier character and moving this new tale forward, and the flashy, fabulous one by Denzel Washington, in a part that starts out echoing Oliver Reed’s memorable turn as the gladiator-turned-entrepreneur, but taking his character much further. Washington is irresistible every time he’s on screen, with a knowing, sly humor, and exuding style and sophistication. It is Denzel Washington’s best performance in years in a rich role he can really mine for all its complexities. Watching him work is perhaps the major delight of this film.

The problem is that the original story was pretty complete, and although writers Peter Craig and David Scarpa did come up with a clever way to continue that tale, while also recapping it, it never feels like a necessary story. The director may have recognized that as the film has several clips of the original, often as Paul Mescal repeats scenes Russell Crowe did first. While it reminds the audience of the beloved original, it also takes out of this story. It is this choice, plus the weaker, less straight-forward story, that limits the film, despite the best efforts of the cast and the spectacular effects and lush visual world it created.

But if you are just here for the spectacle, GLADIATOR delivers on that, in a big way. The recreation of Rome is eye-popping, with a mix of physical sets and visual effects, and there is plenty of bloody battle and gladiator fights to please action fans and lavish costume drama gorgeousness to delight those fans. Stunt work is great and the CGI creatures are impressive.

On the downside, the film plays very fast and loose with real history, even more so than the original, with an ending so far from the facts that is rivals INGLORIOUS BASTERDS’ Nazi alt-history fantasy. I fear for any poorly-educated young person who might take fantastical yarn this for history.

Still, while revisiting the world of Ridley Scott’s GLADIATOR is enjoyable, there is little in GLADIATOR II that adds much to that, beyond the visual delights and Denzel Washington’s crazy good performance.

GLADIATOR opens Friday, Nov. 22, in theaters.

RATING: 2.5 out of 4 stars

WICKED – Review

Hold on, here’s the big mega-budgeted and marketed blockbuster that could make the multiplex spin like a farmhouse in a twister. Yes, it has its roots in a much beloved iconic movie, but this version harkens back to another trend dating back to Hollywood’s Golden Age. I’m speaking of the “event” films that were taken from Broadway “smash” shows. Of course, the studios mounted so many original musicals, like the 1939 classic I mentioned earlier, though the stage ‘transplants” really became the “prestege” flicks through the 1950s and 60s with the Rodgers and Hammerstein adaptations, and the “roadshow presentations” that often garned Oscar gold, like THE SOUND OF MUSIC and MY FAIR LADY. Plus the “behind the scenes” wheeling and dealing filled the gossip columns as fans wondered if the original stage casts would be on film, or would they be replaced by “name” movie stars. The success of CHICAGO somewhat revived this sub-genre, though the Broadway to Hollywood formula hasn’t been a “sure” thing (how ’bout them CATS). Well, grab your wand (or broom) because those mega-screen sound systems will be put to the test with the long-awaited arrival of WICKED.

The movie opens near the ending of that timeless tale of THE WIZARD OF OZ, as word of their tormentor’s demise reaches the land of the Munchkins. The confused residents look to their protector, Glinda, the good witch of the North (Ariana Grande-Butera) for confirmation. She tells them that the news is true, which prompts much dancing and celebrating. It’s cut short when one of the revelers asks Glinda if she knew the wicked witch of the West. Yes again, and she tells them of a green baby born to the Munchkinland Governor’s wife, perhaps due to dalliance with a traveling salesman who “plied” her with a mysterious green elixir. The child is rejected by her father but develops a strong bond with her paraplegic kid sister after their mother dies in childbirth. Years later, the younger sister, Nessarose (Marissa Bode) is accepted to Shiz University. Her older sister Elphaba (Cynthia Erivo) takes her to the campus orientation, where her fellow students are stunned by her green skin, especially the arriving “diva” Glinda Upland. When Elphaba panics over the staff’s brusk treatment of Nessarose, she inadvertently casts a levitating spell that attracts the attention of the lauded faculty member Madame Morrible (Michelle Yeoh). She offers private magic tutoring with Elphaba, but she’ll need to stay on at Shiz and share a room with Glinda (much to her ire). Despite their clashes, the two begin their studys, with Elphaba bonding with the historian Dr. Dillamond (voice of Peter Dinklage), the only animal teacher (a goat) at the school. Things get more complicated when the dashing and handsome Fiyero (Jonathan Bailey) begins classes, making Glinda swoon while annoying Elphaba (perhaps a spark). Over the next weeks, an anti-animal movement ousts Dillamond, and a friendship forms between Glinda and Elphaba just as she is summoned to Emerald City for an audience with the wonderful Wizard of Oz (Jeff Goldblum). The roommates travel together, but a nefarious plot turns the fun vacation into a desperate dive into dark magic, which will change the duo in unexpected ways.

As to the concerns of the previous stage-to-screen adaptations, even though the film actors didn’t “tread the boards, this is truly a dream ensemble of performances bringing these characters to life on film. First and foremost, after all, the title really refers to her role, is the powerful Ms. Erivo who brings that strength to Elphaba, but also shows us her vulnerability, whether as she joyfully imagines the meeting between “The Wizard and I”, or expressing her anxiety through dance at the big “secret” party. Erivo stands tall as she puts up a wall between her and a mocking world, then allows her strident glare to soften as she finally feels the warmth of kindness. Plus her thunderous vocals make the story soar in the big finale. It helps that she is a great “team player” as she pushes against the comedic juggernaut that is Grande-Butera as the vain, casually cruel, and often ditzy Glinda (though she really wants to be called “Gulinda” for much of the tale). Ms. Ariana sparkles off the screen, actually endearing us to her character’s catty “burns” or by her self-aware “hair-flipping”, weaponizing those lush locks. Speaking of lush, whew, that velvety voice is a big aid to Glinda being “Popular”. This is really the story of this mismatched pair, but they’ve got lots of support, starting with the equally gorgeous Bailey, who seems to be the perfect match for Glinda, until Elphaba nudges him away from his “mirror gazing”. Plus Bailey can really “cut a rug’ as he leads the school in a big splashy number at the library. Yeoh is quite a nurturing mother figure as Morrible, which makes the final act revelations more heart-wrenching. Goldblum is an affable a song-and dance dude ( truly “A Sentimental Man”) who also seems to be the perfect patriarch until, well, he’s not. Bode as Nessarose is full of wide-eyed wonder amplified when she meets her suitor, the sweet awkward Bok from Munchkinland played with a clownish slapstick ease by stage vet Ethan Slater. And in the background, though garnering great laughs are Glinda’s entourage led by the bombastic Browyn James as ShenShen and the snarky sensation of SNL, Bowen Yang as Pfannee.

Guiding through the familiar but somehow fresh and fabulous Oz is director John M. Chu, who honed his musical “chops by bringing us another stage hit IN THE HEIGHTS three years ago and helmed two entries in the STEP UP series. He keeps the camera moving swiftly through those incredible sets (mostly real with few pixels), knowing when to go “big” for the musical showcases but also letting the quiet inform us of the emotions. and how to hit the correct comedy “beats”. He’s more than “opened up” the live show, allowing us to immerse ourselves in this colorful gaudy wonder world. It helps that’s he’s got a witty script to work with thanks to the screenplay by Dana Fox and Winnie Holzman (who did the stage “book”) adapting the original novel by Gregory Maguire. And I must lavish praise on the superb art direction once again. Aside from the aforementioned sets, the costumes are fluid and functional, paired with some stylized, imaginative props, down to the unique eyeglasses worn by Elphaba and Pfannee. The Shizu sets are incredible, but they may be a ‘warm-up” for the astounding look of Emerald City and a great “take’ on the Wizard’s scary “false front”. The dancing is energetic and engaging, though much as was done in the HEIGHTS, often we’re getting overhead shots of folks dancing in their “box space”. Still, the number in the library as students dance and twirl on what looks to be the interior gears of a clock, is eye-popping. Much like the wonderful songs, leading up to a true showstopper in the final moments with lofty strains of “Defying Gravity”. And though the studio marketing team is trying to leave it off the ads and posters, this isn’t the full story, but those looking for epic entertainment will be ecstatic, and eager for the next serving, experiencing the tale of two witches that is WICKED.

3.5 Out of 4

WICKED is now playing in theatres everywhere

BLITZ (2024) – Review

With a big holiday mere days away. this week’s new film reflects on families that can’t be together, certainly not for the “big feast”. And not by choice as it focuses on a dark time when the whole world was indeed at war. World War II is the setting for this drama. inspired by so many true events of the time. At the heart of this tale is a decision so difficult it may be tough for a modern audience to comprehend. But it was done. But there’s also the fervent desire to reunite, to return to the family unit, no matter how fractured or how dangerous. That’s because death was literally in the air and all around during the time of the BLITZ.

As the film begins we watch as bombs drop from a German bomber flying over London in 1940 (a year or so before the US joined the fight). Rita (Saoirse Ronan) is a single mother living with her widowed dad Gerald (Paul Weller) and trying to raise her mixed-race son George (Elliott Heffernan). As they return from an air raid shelter, she must prepare for a heartbreaking journey. For George, alone. In order to escape the near-nightly bombing of the city, the government sent children via train to live with families in the countryside until the city was back to normal (nobody knew when). George is furious and refuses to say goodbye to his Mum as he boards the train. The other kids in his train car mock him over his darker skin and thick curly hair. But George has a plan. While his seatmate sleeps he grabs his seatcase. opens the door to the outside connecter, and leaps off the speeding locomotive. He’s bruised but still determined and begins walking the rail to hop onto a train heading in the opposite direction AKA home. Meanwhile, Rita sadly goes back to work with her girlfriends at the munitions plant. At least she’ll get to sing on the radio when the BBC drops in. George does have some luck in jumping into an open boxcar of a passing train where he’s befriended by a group of other young “returnees”. The danger really begins as they try to elude the “bulls” in the London train yard. George makes it back to London, but it’s still a long long way from Mum. During his journey, he is helped by a friendly African immigrant air raid warden named Ife (Benjamin Clemente) and is later “recruited” into a gang of looters led by the unhinged Albert (Stephen Graham). Back at the factory, Rita learns from the relocation agents that George didn’t make it to the country. She then leaves the plant to look for him and enlists the help of a young fireman who is smitten with her, named Jack (Harris Dickinson). But even with their combined efforts, can they find George before he becomes another casualty in the war-ravaged heart of Britain?

Making his screen (big or small) debut is Heffernan, who is really the focus of this historical fable, despite the film vet that gets top billing in the marketing. He’s completely captivating as George, who can be sweet, soulful, fearful, and frustrating (verging on bratty) often within the same scene. He projects a real vulnerability as he’s taunted by the local kids, and transfers a bit of that cruelty as his mother makes a terrible decision that is for the best, though it doesn’t ease her heartache. We root for George when he triumphs and hold our breath as he tries to survive. Also running the gamut of emotions is vet Ronan as Rita, a working-class woman trying to shield her child from the horrors of war, while dealing with the heartache of losing her partner to the prejudices of the time (George’s papa is sent back to his faraway island birthplace). After Rita sends her son to safety, she’s near-catatonic until her chance at radio fame revives her a bit. When she gets the news of George’s train jumps, she goes into “mama grizzly” mode as we see the determination in Ronan’s eyes. Kudos to the strong supporting players, especially Clemente as the caring and gentle Ife who connects with George and to Graham as Albert who only wishes to exploit and deceive the lad (think of him as a psychotic Fagin).

This WW II family odyssey comes from writer/director Steve McQueen who expertly recreates the period’s look and emotions of fear and dread as sunset doesn’t bring rest and relief, but the threat of sudden decimation. We can almost smell the wounded and dying as the camera takes us through piles of rubble that were home just moments ago. It’s a story that has been recalled in films set in that era (HOPE AND GLORY) and other lands (LION), with great parallels to another wartime family reunion, EMPIRE OF THE SUN with a touch of the NARNIA series. Still, McQueen provides a fresh take thanks to the strong cast and several haunting set pieces. The sudden slaughter at the train yard is real nightmare fuel. that’s especially true as we go inside a swanky nightclub that operates as though all is normal outside its door. And then we hear the sirens and the whizzing sounds (cutting to the great shots of the bombs coming at us through the clouds). After a flash cut, we’re next to Albert and his crew of ghouls as they pry away jewelry as the rescue teams look away. As the story concludes, we’re running through those crumbling streets as this story of family love proves to be stronger than any damage inflicted by the BLITZ.

3 Out of 4

Blitz is playing in select theatres and streams exclusively on Apple TV+ beginning on Friday, November 22, 2024

Sam Rockwell, Marc Maron, Craig Robinson, Anthony Ramos And Awkwafina Return For More Antics In New Trailer For THE BAD GUYS 2

Everyone’s favorite felons are back, and this time, they’ve got company. 

In the new action-packed chapter from DreamWorks Animation’s acclaimed comedy smash about a crackerjack crew of animal outlaws, our now-reformed Bad Guys are trying (very, very hard) to be good, but instead find themselves hijacked into a high-stakes, globe-trotting heist, masterminded by a new team of criminals they never saw coming: The Bad Girls.

THE BAD GUYS (review) grossed $97.2 million in the United States and Canada, and $153.4 million in other territories, for a worldwide total of $250.4 million.

Based on the New York Times best-selling book series by Aaron Blabey, which has soared from 8 million to over 30 million copies sold since the first film’s release in 2022, The Bad Guys 2 stars the stellar original cast, led by Academy Award® winner Sam Rockwell as Mr. Wolf, SAG award nominee Marc Maron as safe-cracker Mr. Snake, SAG award nominee Craig Robinson as master-of disguise Mr. Shark, Grammy winner Anthony Ramos as Mr. Piranha and Emmy winner Awkwafina as hacker Ms. Tarantula, aka “Webs.” 

The returning voice cast is joined by a new trio of comedic powerhouses as The Bad Girls: Oscar® nominee Danielle Brooks (The Color Purple) as Bad Girls leader Kitty Kat, a dangerously clever snow leopard; Oscar® nominee Maria Bakalova (Borat Subsequent Movie Film) as Pigtail, a brilliant Bulgarian wild boar engineer; and Emmy nominee and comedy icon Natasha Lyonne (Russian Doll, Poker Face) as Doom, a wry raven with a knack for deception. 

From celebrated returning director Pierre Perifel and producer Damon Ross, The Bad Guys 2 also features the alumni voice talents of Emmy nominee Zazie Beetz as Governor Diane Foxington, BAFTA winner Richard Ayoade as Professor Marmalade, Emmy winner Alex Borstein as Police Chief (now Commissioner) Misty Luggins and Lilly Singh as sensationalist reporter Tiffany Fluffit. 

The Bad Guys 2 is co-directed by JP Sans, who served as head of character animation on the first film. The music is by Oscar®-nominated returning composer Daniel Pemberton.

THE BAD GUYS 2 is in theaters AUGUST 1.

(from left) Pigtail (Maria Bakalova), Kitty Kat (Danielle Brooks) and Doom (Natasha Lyonne) in DreamWorks Animation’s The Bad Guys 2, directed by Pierre Perifel.

(from left) Mr. Snake (Marc Maron) and Doom (Natasha Lyonne) in DreamWorks Animation’s The Bad Guys 2, directed by Pierre Perifel.

ALIEN: EARTH Trailer And Synopsis Have Landed

When a mysterious space vessel crash-lands on Earth, a young woman (Sydney Chandler) and a ragtag group of tactical soldiers make a fateful discovery that puts them face-to-face with the planet’s greatest threat in FX’s highly anticipated TV series Alien: Earth from creator Noah Hawley.

Lead by Chandler, the series showcases an expansive international cast which includes Alex Lawther, Timothy Olyphant, Essie Davis, Samuel Blenkin, Babou Ceesay, David Rysdahl, Adrian Edmondson, Adarsh Gourav, Jonathan Ajayi, Erana James, Lily Newmark, Diem Camille and Moe Bar-El.

What is this eye??!!! Guess we will find out next year. Alien: Earth arrives Summer 2025. Only on Hulu.

https://www.fxnetworks.com/shows/alien-earth

Watch The New Featurette For SONIC THE HEDGEHOG 3

Sonic the Hedgehog returns to the big screen this holiday season in his most thrilling adventure yet. Sonic, Knuckles, and Tails reunite against a powerful new adversary, Shadow, a mysterious villain with powers unlike anything they have faced before. With their abilities outmatched in every way, Team Sonic must seek out an unlikely alliance in hopes of stopping Shadow and protecting the planet.

Director Jeff Fowler returns along with our all-star cast including Jim Carrey, Ben Schwartz, James Marsden, Tika Sumpter, Idris Elba, Colleen O’Shaughnessey, Natasha Rothwell, Shemar Moore, Adam Pally, Lee Majdoub, newcomers Alyla Browne and Krysten Ritter, with Keanu Reeves joining the franchise as Shadow the Hedgehog.

The film hits theaters December 20, 2024.

Catch the new featurette below.

Based on the SEGA Video Game, the first two films were at big hit with fans and a smash at the box office. Sonic the Hedgehog (2020) brought in $319,715,683, while Sonic the Hedgehog 2 (2022) saw $405,154,426.

SONIC THE HEDGEHOG 3 has been rated PG for action, some violence, rude humor, thematic elements and mild language.

Sonic (Ben Schwartz) in Sonic the Hedgehog 3 from Paramount Pictures and Sega of America, Inc.

Paramount Pictures Presents

In Association with Sega Sammy Group

An Original Film / Marza Animation Planet / Blur Studio Production

“SONIC THE HEDGEHOG 3”

Watch The First Trailer For HOW TO TRAIN YOUR DRAGON

Watch the teaser trailer now and experience HOW TO TRAIN YOUR DRAGON in theaters June 13. It’s playing with WICKED and it looks awesome in IMAX!

From three-time Oscar® nominee and Golden Globe winner Dean DeBlois, the creative visionary behind DreamWorks Animation’s acclaimed How to Train Your Dragon trilogy, comes a stunning live-action reimagining of the film that launched the beloved franchise.

Once again the CGI is brilliant and Toothless looks great!

On the rugged isle of Berk, where Vikings and dragons have been bitter enemies for generations, Hiccup (Mason Thames; The Black Phone, For All Mankind) stands apart. The inventive yet overlooked son of Chief Stoick the Vast (Gerard Butler, reprising his voice role from the animated franchise), Hiccup defies centuries of tradition when he befriends Toothless, a feared Night Fury dragon. Their unlikely bond reveals the true nature of dragons, challenging the very foundations of Viking society.

With the fierce and ambitious Astrid (BAFTA nominee Nico Parker; Dumbo, The Last of Us) and the village’s quirky blacksmith Gobber (Nick Frost; Snow White and the Huntsman, Shaun of the Dead) by his side, Hiccup confronts a world torn by fear and misunderstanding. As an ancient threat emerges, endangering both Vikings and dragons, Hiccup’s friendship with Toothless becomes the key to forging a new future. Together, they must navigate the delicate path toward peace, soaring beyond the boundaries of their worlds and redefining what it means to be a hero and a leader.

Mason Thames (right) as Hiccup with his Night Fury dragon, Toothless, in Universal Pictures’ live-action How to Train Your Dragon, written and directed by Dean DeBlois.

The film also stars Julian Dennison (Deadpool 2), Gabriel Howell (Bodies), Bronwyn James (Wicked), Harry Trevaldwyn (Smothered), Ruth Codd (The Midnight Club), BAFTA nominee Peter Serafinowicz (Guardians of the Galaxy) and Murray McArthur (Game of Thrones).

How to Train Your Dragon is written, produced and directed by DeBlois. It is also produced by three-time Oscar® nominee Marc Platt (Wicked, La La Land) and Emmy winner Adam Siegel (Drive, 2 Guns). How To Train Your Dragon is part of the Filmed For IMAX® Program, which offers filmmakers IMAX® technology to help them deliver the most immersive movie experience to audiences around the world.

Inspired by Cressida Cowell’s New York Times bestselling book series, DreamWorks Animation’s How to Train Your Dragon franchise has captivated global audiences, earning four Academy Award® nominations and grossing more than $1.6 billion at the global box-office. Now, through cutting-edge visual effects, DeBlois transforms his beloved animated saga into a breathtaking live-action spectacle, bringing the epic adventures of Hiccup and Toothless to life with jaw-dropping realism as they discover the true meaning of friendship, courage and destiny.

The amazing score from the trilogy was from composer John Powell – read our interview HERE.

Check out our reviews for the 3 movies: https://www.wearemoviegeeks.com/2014/06/how-to-train-your-dragon-2-the-review/; https://www.wearemoviegeeks.com/2019/02/train-dragon-hidden-world-review/; https://www.wearemoviegeeks.com/2010/03/review-how-to-train-your-dragon/

https://www.welcometoberk.com

(from left) Writer-Director Dean DeBlois (left), Gabriel Howell (center) and Nico Parker (right) on the set of Universal Pictures’ live-action How to Train Your Dragon.

GET FAST – Review

The review of this aptly-named, fast-paced action flick, GET FAST, will contain fewer plot and character details than usual because they just don’t matter. The film opens with a heist and a heist of the first heisters. We learn that the big bags of cash being contested belong to a ruthless criminal who will do anything to get her bucks back. What ensues in the sprawling desert landscape is a series of chases, fights and shootouts, as the multiple factions compete for the loot, while scrambling to survive whatever the others throw at them. It’s high-octane, fairly bloody, and liberally laced with dark humor and dollops of slapstick.

The most familiar face belongs to Lou Diamond Phillips as a contemporary Fancy Dan cowboy who is the boss lady’s designated hitter… decidedly not in the baseball sense. It took a moment to recognize him behind the facial hair of an 1890s’ saloon owner who is channeling his inner Sam Elliott. It takes a while to figure out who is who, partly because events occur so quickly and violently that the downtime for thinking is minimal. Director, co-writer and lead actor James Clayton may be the star of the show more for what he did behind the camera than in front of it.

Impressively, this is only his second time wearing all three hats, following 2022’s similarly-themed BULLET PROOF. He again works with editor Zach Steele. The dudes are in sync, as they intertwine multiple arenas of action efficiently and coherently. When your fatigued grey matter is seeking the respite of pure escapist, no-brainer action, this one’s a solid option. Nobody will call this a great movie, but the guys hit the target at which they were aiming.

3 out of 4 Stars

GET FAST is available On Demand and Digital on November 15 from WellGo.

Rated R for violence/bloody images and brief language.

A REAL PAIN -Review

This weekend sees the release of a film that is an interesting variation on the “road” movies, and I’m not speaking of the beloved series that sent Bob Hope and Bing Crosby clowning and singing across the globe for nearly 20 years. Although, this film does spotlight an engaging if somewhat mismatched duo. And it can be quite funny, meshing with moments of despair and heartache. Naturally the old “fish out of water” tropes arise since neither character speaks the locale’s language, nor are they versed in the customs. In that way, there’s also an element of the old travelogues as we take in the land’s quaint beauty and “old world” charms. But “the sights” never distract us from the emotions, and the complex family relationship at the heart of A REAL PAIN.


At the story’s start we meet the first half of that duo, David Kaplan (Jesse Eisenberg) as heads to the airport for a vacation away from his beloved wife and son back in NYC, where he works in media advertising (mainly those banner ads just a bit above this post). During the long cab ride he’s leaving lots of messages (“C’mon, pick up!”) for his cousin, the “in between gigs” thirtysomething (they were born mere weeks apart) Benji Kaplan (Kieran Culkin), who lives a couple of hours away from the city. The two reunite outside the gate of their flight to Poland, the birthplace of their beloved, recently deceased grandmother. The long trek gives them a chance to catch up as we observe that David is rather introverted and reflective while Benji’s in an unpredictable “wild card” going from outgoing and gregarious to dark and moody. And we find out that they’ve purchased two spots in a guided tour group of the country. After landing, they take the train to their hotel where they meet the rest of their “party” It’s headed by their British academic guide, James (Will Sharpe), who introduces them to the other tourists. There’s an older married couple, Diane (Liza Sadoovy) and Mark (Daniel Oreskes), a middle-aged recent divorcee Marcia (Jennifer Grey), and an emigree from Rhawnda, Eloge (Kurt Egyiawan). David and Benji will travel with them for most of the tour and “break away” to explore their grandmother’s birth home in a remote village. As the group sees the Polish architecture and historical sights (including several sculptures and a WWII concentration camp), the cousins explore their personal history as they attempt to repair a tight childhood bond that has been nearly severed by adulthood, forming new families, and deep internal turmoil. Will this trip bring David and Benji closer or is this a final reunion?

Though he’s being touted by the film’s marketing team as a supporting player, the story truly showcases the superb Culkin as, really, the title role. Benjy can be painful, either unintentionally cruel or just abrasive, yet somehow he draws us in rather than repels. Culkin’s expert comic timing meshes with Benjy’s often “no filter” verbal streaming, though he also conveys a real sweetness in the role’s vulnerability. He’s the puppy that shreds your favorite slippers in that it’s tough to unleash your anger at him. Perhaps this is part of the reason that Culkin’s been scooping up so many TV awards in the last few years. Providing the counterbalance, AKA the voice of reason and a classic comedy “straight man”, is the intense but also endearing Eisenberg, who eases up on the twitchy, rattled line delivery to make David a real caring brother to Benjy, while also taking the reigns as the parent trying to put him back on the right path, even providing a much-needed lifeline (as we learn of recent rifts in the relationship). Even though they don’t share the same parents, this is an “iron bond” and the two actors really make us believe in them as more than cousins. The quartet of fellow travelers is solid (nice to see you back in the movies, Ms. Grey), led by the terrific Sharpe who also becomes a great comic foil for Benjy as his pre-planned spiel is often disrupted, though we get the feeling that James really enjoys being rattled to the point of emotionally engaging with his background’s legacy.

Back to Mr. Eisenberg, big kudos on his sophomore feature directing effort. As with WHEN YOU FINISH SAVING THE WORLD, he also crafted the screenplay, though he’s tasked with acting in this one. And he really delivers, giving us a wonderful character study of the two men, while also sending us into the rich history of Poland and its people. Plus it’s the first time a narrative film has shot inside a concentration camp, providing a somber respectful view of Majdanek. Everything adds to the story arc of the Kaplans whether they’re frantically catching a train (lots of rail travel) or just strolling into their adored granny’s neighborhood. It’s also impressive that Eisenberg gets such great dramatic dynamics between himself and Culkin (there’s a focused filmmaker). As the holidays begin to dominate the final weeks of the year, moviegoers wanting to explore another look at family bonds (and engage in some virtual vacationing) should make a real effort to see A REAL PAIN.

3.5 Out of 4

A REAL PAIN is now playing in select theatres