Author: Jim Batts

Jim Batts was a contestant on the movie edition of TV's "Who Wants to be a Millionaire" in 2009 and has been a member of the St. Louis Film Critics organization since 2013.

BABYGIRL (2024) – Review

All ready to indulge in a holiday tradition, at least for the last couple of decades? The movie industry discovered that lots of folks do their Christmas festivities the night before and very early (depending on the kiddos maybe dawn) that day, so they want to bag up the ripped-up wrapping paper and head over to the multiplex for a flick, preferably a brand spankin’ (there’s some foreshadowing) new one. Well, that spirited indie upstart A24 (quickly becoming more of a major player) is going to get in on the action. If you’ve been extra nice for this festive season, they’ve got something naughty in store. It appears that they’ve been saving the big star power for the year’s end since they released the steamy QUEER with ex-Bond Daniel Craig a few weeks ago. And now an Oscar winner will be fogging up the auditoriums (rather than shilling for the AMC chain) in the title role of BABYGIRL.

Well, that’s the title’s character’s “role-playing” nickname. To the outside world, she’s a high-powered exec named Romy Mathis (Nicole Kidman). She’s the CEO of a firm touting the benefits of AI in the workforce (hmmm…okay) and is the wife of a successful director of the Broadway stage, Jacob (Antonio Banderas). They have a deluxe Manhatten apartment and a gorgeous country estate upstate which they share with their two daughters. Eighteen-year-old Isabel (Esther McGregor) is a snarky rebel juggling several girlfriends while her kid sister Nora (Vaughan Reilly) is enamored with song and dance. When we first meet Romy and Jacob they’re enjoying some late-night lovemaking. Or so it seems. When she leaves the bedroom for a quick break, she indulges in some rough-content internet porn. The next morning it’s back to life as usual, getting the girls off to school as he prepares a new play. Romy’s got to head to the office, but first, she stops off for some “maintenance” ala facial injections and stripping down in a “freeze chamber”, all to delay “Father Time”. One morning near her offices, Romy is stunned when a stray dog dashes through the crowds to attack someone. Luckily a handsome young man intervenes and calms down the canine before any real damage occurs allowing the pet’s owner to clip its leash back on. Romy is amazed. Later on that day, there’s a “meet and greet” for the interns looking for mentors in the company’s program to develop new talent. Looking them over Romy is baffled when she recognizes one of them as that “dog whisperer” He later walks into her office, introducing himself as Samuel (Harris Dickinson) and informing her that she will be his mentor. Romy calmly states that she’s not one of the mentor candidates, but he strongly insists, putting her “off balance”. He hints that she wants to be instructed which arouses her despite her protests. Thus begins an illicit obsessive affair of dominance between the two. Can they keep it a secret from the rest of the firm? And can Romy hide it from Jacob and her daughters even as Samuel becomes more emboldened and aggressive in his pursuit of her? How far will she go to satisfy her dark desires?

Aside from the Oscar, Ms. Kidman recently received the AFI Lifetime Achievement Award, so it’s not a great stretch that in taking this daring role she’s not resting on her laurels. To say Romy is a complex character, full of contradictions and walking a very thin tightrope wouldn’t be an understatement. Kidman cues us into Romy by playing off several online jabs at her own “cosmetic journey”, so kudos for firing back at the trolls (daughter Isabel teases her mom about acquiring bird-like features). Still, Kidman doesn’t make Romy overly sympathetic as her emotional cravings seem to override her common sense, let alone the marital vows. All the while we see how her icy office demeanor is slowly melting away. The person applying that heat is Samuel, played with a snarky aloof quality by Dickinson, who is also very difficult to “read” as withholds any hint of overt passion. the fellow is an enigma, a very closed book, which allows us to debate his motivations. Has he targeted Romy due to an attraction, or is he going to exploit her for a “leg up” in the company? Or is it as simple as wanting major “hush money”? Dickinson barely changes his facial expressions or his tone is order to draw us toward him, much like Romy does. He’s quite a switch from her hubby, the outgoing, fiery Jacob played with great charm and empathy by Banderas. He’s a good man who is confused by this new side of the woman he adores over everything. Also of note in the cast is the talented Sophie Wilde, so compelling in the recent horror film TALK TO ME, as Romy’s assistant Esme. who unknowingly becomes the third member of the office love triangle.

This is the second English-language film directed by Dutch actress Halina Rejin, who also wrote the screenplay. It’s impressive that she’s adept at exploring the business dynamics alongside the inner workings of this upper-class family. And she makes excellent use of the Big Apple settings in addition to the lush greenery of the Mathis vacation home. The film’s main problems come as the story’s main “selling point”, the forbidden affair between the boss and underling kicks in. We’re supposed to be shocked as Romy submits completely to Samuels’s demands, but the encounters lack any real heat. Perhaps we’re meant to see this “power flip” as liberating, but it all feels like a late-night cable movie retread of late 1980’s “erotic explorations”, ala 9 1/2 WEEKS or BASIC INSTINCT. An attempted dose of danger and suspense is injected when Samuel “invades” the family (dropping off an office item) and later when Romy is pawed in a sweaty dance club as she tracks down Samuel, but it amounts to little more than titillation as we see a famous actress being edgy. When Romy’s worlds finally collide the result is more “meh” than gripping. She is supposed to be liberated by embracing her inner yearnings, but the impact on her marriage is somewhat illogical (ok, she can tell off a sleazy, work letch, so there). The film’s marketing promises fiery carnal chaos, but the lack of solid chemistry between the leads barely generates an errant spark or two in the more lurid than lustful BABYGIRL.

1.5 Out of 4

BABYGIRL opens in select theatres on Christmas Day 2024

SONIC THE HEDGEHOG 3 – Review

Oh my, it looks like the animated critters have taken over the multiplex during this pre-holiday weekend. While Mufusa’s growls and roars are echoing through the hallways, another CGI-rendered creature is threatening to dash right off the screens. Now, they do have a few other things in common as they are both sequels, with this flick actually the third in a franchise. And it’s not based on a beloved thirty-year-old animated classic, but rather a still-adored video game dynasty (which predates THE LION KING by three years). Oh, and this one includes “real live” actors alongside the “pixel pals”. So what new kicks (and spins and dashes) are in store after two previous outings in SONIC THE HEDGEHOG 3?

Well for one thing we’re introduced to a new character (to the film series that started four years ago). At a Tokyo Island G.U.N (Guardian Units of Nations) prison, a creature floating inside a liquid containment chamber is stirring after being dormant for fifty years. A heavily-armed squadron leaps into action but they don’t stand a chance when this black and red hedgehog named Shadow (voice of Keanu Reeves) breaks through the glass. Using his speed and teleporting powers (think Nightcrawler of the X-Men), he escapes into the night. GUN acting director Rockwell (Krysten Ritter) has to call in back-up, namely Sonic (vo: Ben Schwartz), Tails (vo: Colleen O’Shaughnessey), and Knuckles (vo: Idris Elba), a trio of small super-powered alien animals. The trio bids farewell to their adoptive parents Tom (James Marsden) and Maddie (Tika Sumpter) and are whsked to Japan…where they’re defeated by Shadow. Before pursuing him, Sonic and his pals stop to “refuel” at a local eatery and are attacked by floating egg-shaped drones. Luckily they’re helped by a mysterious man in black. It’s none other than an old nemesis, Agent Stone (Lee Mahdoub). He informs them that that drones aren’t sent by his boss, then leads them to the floating underwater home (the “Crab”) of Sonic’s arch-enemy, the now flabby and disheveled Dr. Ivo Robotnik (Jim Carrey). Hearing of the appropriation of his tech he springs into action, theorizing that Shadow is returning to the long-scrapped GUN facility in England. The trio becomes a quintet as they discover the man behind the release of Shadow and the egg drone assault, Ivo’s long-lost grandpa Gerald (also Carrey). It’s all part of his plan to rule the world with his ultimate invention, a space arsenal satellite, the Eclipse Cannon. Can the Sonic crew shut it down despite its defender, the formidable Shadow, before it levels the planet?

Most of the cast (both live and voice) are returning after at least one previous installment of the franchise (and even a streaming series). Schwartz has that rapid vocal delivery to match Sonic’s jet-like speed as he spews wisecracks and zany retorts. Elba has a hesitant humorless stoic line-reading as Knuckles seems to take everything literally and needs to spell things out (like another Marvel staple, Drax). Shaughnessey exudes youthful enthusiasm and sweetness as Tails. This is the exact opposite of the dour, somber Shadow given the proper icy tone by newbie Reeves. The most prominent of the “live-action” actors is Carrey, who’s so frenetic they don’t try to contain him in one character. As Ivo, he’s still the superlative comic villain, full of snarky zingers and rubbery bits of physical schtick. But he’s also Grandpa Gerald the gravel-voiced manipulator who only wants to bond with Ivo to fulfill his dreams of world domination. Sumpter and Marsden are still an engaging couple though they’re on the sidelines for most of the action, only getting a chance to “step up” in the prelude to the big action finale. They’re the warm, nurturing counterpart to newbie Ritter as the tough-as-nails Rockwell. Mahdoub as Stone is still the over-accommodating doormat of a sidekick. Happily, we get a terrific cameo by Adam Pally as goofball lawman Wadw Whipple.

Also returning to the director’s chair for the third time is Jeff Fowler, who strives to keep the slapstick and verbal asides coming at us with the speed of the title character. And that works well for most of the story although the film stumbles a bit during the “ET-like’ flashbacks about Shadow’s friendship in the 70s with a pre-teen girl. It’s to establish Shadow’s arc, but it’s a tad clunky. As are a few other bits of business including a riff on Telenovelas that loses its spicy salsa satire. Ditto for an Ivo and Gerald bonding montage that stops the story in its tracks (plus I kept getting a Jim Gaffigan vibe from elder Robotnik). Other detours are non-sensical as when Tom and Maddie must pass themselves off as her aggressive sister and vain hubby. After so many sideroads the plot concludes in an outer space showdown that piles on the climaxes to the point of exhaustion (lots of action involving those golden ring portals). The youngest fans of Sonic and his various games and off-shoots will probably be amused and engaged, but for the older folks, it may feel like a big party at an unfamiliar office (which happens this time of year). Of course, we get end-credit bonus scenes, so as to hype up their fanbase for continued IP merch long after most have forgotten the few pleasures (mostly from Carrey) in SONIC THE HEDGEHOG 3.

2 Out of 4

SONIC THE HEDGEHOG 3 is now playing in theatres everywhere

MUFASA: THE LION KING – Review

With Christmas less than a week away, the “Mouse House” has decided to send another family-friendly flick into the multiplexes to share space with its recent “box-office behemoth” MOANA 2 (which is still in the number one spot). Oh, and this is somewhat of a sequel, too. When the Marvel Cinematic Universe made a huge cinematic splash, many studios wanted to create their own versions of a “brand”. Naturally Warner Brothers had their DC Comics line (which is getting a big “re-do”) and Universal keeps attempting a “Dark Universe’ based on those classic monsters (THE WOLF MAN is on the way next year). And though Marvel is a partner, Disney itself is “getting into the act” with their legacy of classic animated tales, the twist being that they’re being remade in “live-action”. This new film is unique in that it is “technically” an animated film with pixels replacing the pencils involved with 2-D “hand drawn” films. And, as I mentioned earlier, this is the first sequel. to one of these remakes. Ah, but it’s actually more of a prequel, since its main focus is the “origin” story of MUFASA: THE LION KING.

This film begins a few years after the finale of THE LION KING, as we return to the denizens of Pride Rock. Nala (voice of Beyonce Knowles-Carter) has embarked on a “sabbatical” in the deep woods leaving her daughter Kiara (Blue Ivy Carter) with Papa Simba (Donald Glover). But now it’s time for him to join her so he enlists three “babysitters”: Pumbaa the warthog (Seth Rogan), Timon the meerkat (Billy Eichner), and the shamen-mandrill Rafika (John Kani). Kiara is frightened by the approaching thunderstorm, so Rafika decides to calm her by telling the story of her grandfather, Mufasa. His blissful life as a royal cub is shattered by a flood that separates him from his adored parents. Mufasa is swept far away by a swift stream until another cub, Taka, pulls him onto the shore. The two return to Taka’s pride, where their king, Obasi (Lennie James) shuns him and pushes him toward the females, led by his mate Eshe (Thandiwe Newton). Luckily she is a nurturer and encourages Mufasa’s “gifts”. The years pass, and teenaged Mufusa (Aaron Pierre) and Taka (Kelvin Harrison Jr.) practice their hunting skills and encounter a pride of white lions known as “The Outsiders” ruled by the cruel and avaricious King Kiros (Mads Mikkelsen). When they attack Obasi’s pride, the two teens begin a desperate journey to find the bountiful land known as M’Leilei. Along the way, Mufasa and Taka are joined by a young lioness named Sarabi (Tiffany Boone) and her scout/servant, the hornbill Zasu (Preston Nyman). And they luckily run into their guide, the younger Rafiki (Kagiso Lediga), but can his mystical skills protect them as Kiros and his pack trails them in order to enact his vengeance? Friendships are tested and changed for good during the long hard trek.

Though it’s been five years since the remake (the original just turned thirty), those returning voice actors slip right back into their roles as though they were in the recording studio yesterday. Especially potent is the comic chemistry between Eichner and Rogan who riff like a classic vaudeville comedy team, with Pumbaa a bit more of a lunkhead who beams with pride about his “fragrance” while Timon is the motor-mouthed wiseguy who delights in breaking (not the wind like his BFF) the “fourth wall”. Spin-off, please. In her acting debut, Miss Carter projects a sweet energetic innocence as the future queen. Both Kani and Lediga give Rafiki the proper gravitas and magical mentoring. Pierre is an engaging lead who goes from confusion to confidence as the king-to-be, while Harrison relates the pressure of his lineage while slowly succumbing to very human emotional faults. Boone is a spunky heroine who can dive into the action right alongside the fellas. James is a great blustering and conniving king as Obasi. The film’s best asset might be the compelling Mikkelsen who accentuates each threat with a sneering snarl making Kiro a fearsome villain. He’s pure silky menace.

Aside from the film’s unique structure as a sequel/prequel, it’s got another unusual filmmaker for an animated film in the director’s chair. It’s helmed by the acclaimed crafter of live-action dramas (MOONLIGHT, IF BEALE STREET COULD TALK), Barry Jenkins, who is working from the screenplay by Jeff Nathanson (based on the 1994 film). He gives the story an added emotional heft, slowly zooming in during essential conversations and confrontations. Of the latter, he brings lots of excitement to the deadly encounters, from hungry crocs to the revenge-obsessed Outsiders. The African environments are stunning, going from arid plains to snowy mountains and particularly the utopia of M’Leilei with its lush vegetation. But despite the advancements in CGI, the animals (though expertly rendered) just can’t convey the bravada acting and emoting of those hand-drawn icons of that 90s classic. Though they’re caricatures the gestures and expressions tell us so much more than these computer creations. It helps that the coloring and voices make the main characters here more distinct, along with the voices, but I can still mix up the principals. Wisely, the narrative cuts back to the present, to provide some welcome comic asides from T & P, but the pace seems to drag before the big reveals of the third act (key settings and props are introduced). Perhaps another “pass” at the script was needed to trim a few minutes. Still, it’s a well-crafted extension of the story rather than a quick “cash grab” like the straight-to-home video follow-ups back in the VHS “glory days”. A few more memorable songs might have helped since none of the new tunes comes close to the stellar work of Elton John and Tim Rice. But kids that are “crazy about critters” will be happy to return to the exotic “pride lands” as they explore the legend of MUFASA: THE LION KING.

2.5 Out of 4

MUFASA: THE LION KING is now playing in theatres everywhere

THE END (2024) – Review

As people gather from different corners of the globe to reunite with their families during this holiday season, here comes a film about a family that’s never apart. That’s because they’re all, or nearly, the people left on the planet. For many that may sound like a horror movie, but this can’t be completely categorized as that (so no, it’s not another zombie takeover). As may be expected it is a fairly heavy drama, but it’s also…a musical. This year has seen many tune-filled tales of different styles. We’ll soon see a couple of “jukebox” biographies with BETTER MAN and A COMPLETE UNKNOWN. And the multiplex is still packed with fans of the Broadway-based WICKED. But this new film is closer in spirit to last month’s EMILIA PEREZ as it tackles an unusual subject to be set to music. After all, would you be bursting into song, let alone dance, as you face the very real prospect that this could be THE END?

The story begins deep underground in caves that seem to be part of a massive salt mine. Old cars and pieces of furniture are covered in white dust. Just past a pair of massive steel doors, we meet the family. Somehow they’ve made a cozy, mansion-style habitat, run by Mother (Tilda Swinton). She spends much of her time making sure the rooms are tidy and finding just the right spot for the paintings that would be in the collections of famed museums. Putting around nearby is Father (Michael Shannon), former CEO of an energy conglomerate. They’re also focused on their only sibling, the twenty-something Son (George MacKay). Aiding them is a small staff that has become members of the extended family. Mother’s longtime Friend (Bronagh Gallagher) is the housekeeper/chef. Butler AKA “Butterball” (Tim McInnerny) also helps with the cleaning while tending to Father. And making sure everyone is healthy is the Doctor (Lennie James). Aside from moving the art, most of the day is spent in preparedness. After some brisk lap swimming in their modest pool, Son must be tested in fire safety drills. That’s when he’s not in target practice, in case any of the survivors on the surface try to break in. We learn that a disastrous climate catastrophe set the globe afire a few decades ago. The monotony is finally broken as they patrol about the entrance and discover a young woman has broached the cave. The unconscious Girl (Moses Ingram) is cleaned and nursed back to health before she is to be returned to the surface. But after they hear her desperate pleas, the family has a change of heart. Maybe they can share their resources from their well-stocked greenhouse and aquariums. Plus the Girl is nearly the same age as the Son. Could they save the world by repopulating the planet? It all depends on whether the family can survive after her recent trauma reopens painful emotional wounds from their past.

The big draw for this quirky film might be its always quirky lead actress. Swinton dives into her considerable bag of acting skills to give us another dithering yet tragic eccentric. Mother desperately wants to hang on to the manners of society by being fixated on tidiness and the ongoing display patterns of the painting in a gallery no one else will ever see. It’s interesting that she’s paired with the often scary Shannon who makes Father a shambling, affable fellow (I see a bit of sitcom icon Ozzie Nelson, but due to his unique hairstyle and glasses I kept seeing my favorite cranky former late-night host). It’s not until Father is emotionally “poked” do we get a sense of his inner rage. Doing that poking is his Son who is editing his memoirs (for …someday), and MacKay displays great affection for both parents, though his wide-eyed expression hint at his surprise at being with the “ghosts of the past”. His joy alternates with his anxiety over being the person to “carry on’. But that exhuburance is re-ignited by the arrival of the Girl, who is given a skittish “lost soul” vibe by Ingram, as she treads lightly to fit in, while trying to process the guilt over leaving her own family. Of the “staff”, Gallagher as Friend gives us another haunted survivor who feels a devotion to Mother while also trying to “right the past” with her maternal bond with Son. McInnerny is a sad-faced subservient who’s also full of regret while trying to amuse the others at the expense of his dignity. And James is a nasty “hard case” who lives to “lash out” as a Doctor with the worst “bedside manner”.


In his first narrative feature film, director and co-writer (with Rasmus Heisterberg) Joshua Oppenheimer strives to give the story a dream-like quality, resembling a modern, really futuristic, fairy tale using tiles rather than names (Mother, Father, etc.). Ultimately this becomes repetitive after the Girl begins to settle and a courtship starts with her and Son. This is also when the musical “novelty’ begins to wear thin. Mind you, I was “gobsmacked” when the Son began warbling in the first five minutes of the film. And aside from sharing a very somber adult subject matter, this film suffers from the same malady as EMILIA PEREZ, namely the melodies. The songs are increasingly forgettable, many sound too similar, and the vocal styling of some of the actors is inconsistent, even grating. But unlike PEREZ, the cherography is mainly the actors jumping around the salt piles though Shannon and McInnerny share a simple soft shoe routine. After much melodramatic “hand-wring”, truths are revealed, and a new tragedy occurs which leads to an abrupt “fast forward” that doesn’t address any of the third-act bombasts. It’s an unusual and creative way to tell a survival story, but its turgid pacing and tepid tunes may have you anxious to see that title card indicating THE END.

2 Out of 4

THE END is now playing in select theatres

THE ORDER (2024) – Review

During the pandemic lockdown and in the frigid months of more recent years, many home viewers became hooked on “true crime” stories that were once the lifeblood of broadcast TV news “magazine” shows, but now have entire cable networks devoted to them. And the streaming apps are simply bursting with documentaries and “limited” series that are comprised of recreations and “talking head” interviews. While motion pictures had been the showcase for non-fiction law enforcement tales, recently we’ve seen more of the “over the top” “stunt-heavy” action blockbusters. Now, in between the year-end family fantasies and the somber “Oscar bait”, here’s a nifty thriller that evokes the feel of those zippy “B pictures”. Ah, but there’s a twist in that much of the story still resonates today, several decades later (much like the upcoming SEPTEMBER 5, which you’ll be hearing about soon). Yes, on a cold day almost four years ago, the country was dealing with the legacy of THE ORDER.


A murder in a dark wooded area begins this fable set in the 1980s, just a couple of years into the Reagan presidency. Soon after, a veteran FBI agent named Terry Husk (Jude Law) takes on a new assignment in sleepy Coeur d’Alene, Idaho. After setting up in an empty office space, he checks in with the local police. A counterfeiting operation and bombs planted at synagogues and porno theatres may be linked to the local branch of the white supremacist group, the Aryan Nation. The sheriff is hestitant to help Husk, but young officer Jamie Bowen (Tye Sheridan) is eager to guide him. The film shifts focus to Bob Mathews (Nicholas Hoult), who is living a double life. He has a pregnant girlfriend, Zillah (Odessa Young) while maintaining a home with his wife Debbie (Alison Oliver), and young son Clinton. Or maybe it’s a “triple life” as Bob is the leader of a ‘splinter group” from the Nation called “The Order” which has been robbing banks and armored cars. As the crimes of the group become more violent, Husk brings in some FBI backup led by old partner Joanne Carney (Jurnee Smollett). But Bob is also getting more help as he enlists new recruits to his “crusade” as they plot their biggest score yet while also perpetrating the assassination of liberal radio talk show host Alan Berg (Marc Maron). He is aware of Husk and his crew as the men engage in a deadly game of “hide and seek” that finally explodes in a savage showdown.

Playing against his still dashing leading man looks, Law dives deep into the role of a lawman whose only real passion is for bringing the outlaws in, even at the cost of his health and all of his relationships. With his droopy Wyatt Earp-stache’, Husk seems to be living off nicotine paired with booze-infused caffeine despite his body’s distress signals (a long surgery scar in the middle of his chest and his gushing, ill-timed nose-bleeds). He’s truly a flawed hero, the grim dispenser of justice, though his loneliness seeps through (he reaches out to a family that has fled). But he’s the man for the job, the perfect pursuer of Bob Maxwell, played with wide-eyed zeal by Hoult. Unlike Husk, he remains a family man despite his split loyalties, though neither woman can tear him away from his goal of reshaping his homeland. Hoult goes into full “alpha dog” mode making us understand how he can lead his minions take on the “feds”. This makes Husk’s crew even more essential. Sheridan almost bursts with youthful energy as the small-town patrolman so eager to be “on the line” and stop the bigots tarnishing his “heartland”. And Smollett is all grit and steely determination as the agent who has a past with Husk and will call him on his “B.S.” without hesitation. But she has to temper her passion, especially as she “puts the hurt” on Mathews’ kin. Special kudos for the compelling Mr. Maron who puts a warm, human spin on this early casualty of the culture war.

Director Justin Kurzel doesn’t go for showy camera angles or flashy stunts and CGI bombast. He keeps the film moving at a crisp efficient pace, balancing the quirky character moments (Husk leans too hard on a witness and drenches him in nasal plasma) with suspenseful crime set pieces, bringing sweaty chaos to bank jobs and armored car shakedowns. But thanks in part to the screenplay by Zach Baylin (adapting ” The Silent Brotherhood” by Kevin Flynn and Gary Gerhardt), it’s the quiet moments that leave us with a chill down our spine. During a big picnic at the Mathews house, he lovingly lets his eight-year-old son pull the trigger of an automatic rifle. He later sends him off to bed with a story, a truly “grim’ fairy tale from “The Turner Diaries” a “how to” on rebellion (and we see an illustration of gallows in front of the White House). With the film’s eerie epilogue we’re reminded never to dismiss those “fringe” groups. And it makes us appreciate all those who would defend our country’s ideals. This is a gripping, well-acted thriller that may inspire others to take up the “reigns” from Husk and his aides when another challenge arises from the toxic seeds planted by THE ORDER.

3 out of 4

THE ORDER is now playing in select theatres

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

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

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

RED ONE – Review

Take those jack o’lanterns to the dumpster, it’s Christmas time, at least according to the multiplex (and Thanksgiving gets very little screen time other than PLANES, TRAINS, AND AUTOMOBILES). One such flick is already getting moviegoers in the “spirit” with the modestly budgeted THE BEST CHRISTMAS PAGEANT EVER packing them in after only a week. Well, it’s time for the big studios to load up your stocking with lots of action and firepower. Hey, we get plenty of holiday comedies and romances, so how about a butt-kickin” Kringle? That’s the formula for this, an expansion of the movie within a movie “The Day the Reindeer Died” from the opening of 1988’s SCROOGED, along with lotsa’ laughs in between explosions and a heartful message snuck in. Hopefully, it comes together like a warm fruitcake (and probably tastier) in RED ONE.

Unlike many holiday tales (especially variants of “A Christmas Carol”), this one begins with a flashback as little Jack O’Malley sours the eggnog by debunking the Santa mythos at a big family gathering. Jump cut to now as Santa Claus AKA Nick (J.K. Simmons) is listening to the gift lists from a long line of kids in a busy mall. Luckily a very big, buffy helper/elf named Callum (Dwayne Johnson) is there to make things go smoothly. When the line ends, the two are whisked through a secret exit because this Nick is the “real deal”. He likes to speak with the kiddos to get in the proper mood before he’s on his rounds the next day. And thanks to the secret government agency M.O.R.A. (Mythological Oversight and Restoration Authority) headed by Zoe Harlow (Lucy Liu), they head to the North Pole, through the invisible force field that hides Santa’s workshop where Mrs. Claus (Bonnie Hunt) is working with various creatures (including a talking polar bear) on making all the presents. Meanwhile, the now adult Jack (Chris Evans) is using his criminal skills to nab a top-secret piece of tech for an unknown client. Oh, it turns out that Callum is indeed an E.L.F. (Enforcement Logistics and Fortification), who is planning on retiring after centuries on the job. But something is off, as he sees several lights go out on the big tower. Oh no, they’ve been breached and a heavily equipped band of raiders has grabbed Nick. They’ve got to find him in order to save Christmas. Zoe points him to Jack, and after picking up his pre-teen son from school (things are strained after the divorce), he’s “detained” by the ELF squad. Callum and Jack must team up to find the tech buyer. The squabbling duo embarks on a worldwide trail that leads them to Santa’s half-brother Krampus (Kristofer Hivju) who has a connection to a powerful witch named Gryla (Kernan Shipka) who will stop at nothing to turn all those yuletide dreams into unending nightmares if Callum and Jack don’t thwart her plans in time.

The big “draw” in this bombastic holiday havoc is probably Johnson, though there’s not much to Callum. He’s there to look intimidating and cool (usually with some rockin’ shades) and to try and convince us that this is his last “big show”. Sure, his action “moves” are quite impressive, but he’s mainly a “straight man” counterpoint to Evans (attempting to tarnish his “shield”) as the cynical wise guy Jack. It’s admirable that he’s veering into “bad guy” (maybe a rascally rogue) territory, but he’s saddled with a trite character arc that we can see coming down Candy Cane Lane. Simmons seems to be having the most fun as the “jacked” St. Nick (lots of time in the weight room), and his scenes with the kids delight, but unfortunately, he’s “out of the picture” for the bulk of action (a nice special effects heavy stunt sequence in the finale almost makes up for that). The forever fierce Liu is always welcome on the big screen, though here she mainly barks orders into monitors and is a version of “the guy at the desk”, until her time to show off her fighting skills in the finale. As for the terrific comic actors involved, the wonderful Hunt is there to chide Santa and wring her hands in worry, while Nick Kroll mugs up a storm as an underworld kingpin who’s afraid of Shipka’s Gryla. Perhaps this is a big promotion from teen witch Sabrina, but not nearly as wicked as Sally Draper in “Mad Men”, as she vamps it up in several slinky black Halloween cast-off costumes. A much more engaging villain is Hivju, delivering the snark and menace as the towering Krampus who deserves a spin-off sequel.

Calling the shots on this holiday hybrid flick is Jake Kasdan, who had guided Johnson in the two recent JUMANJI reboots. And there is a sense of satiric fun in the big set-ups in the first act. This is particularly true in the new spins on the Kringle legend dreamt up by screenwriters Chris Morgan and Hiram Garcia as Santa’s village becomes an artic Wakanda (why not do a bit of Marvel “borrowing” since two MCU vets are in the cast), full of cool gizmos to streamline the “delivery day” and answer those kid queries (thinking ANT-MAN style antics). But by the time the “Nick-napping” occurs, we’re weary of the often stilted CGI effects, from the small minion-like workers to that lumbering polar bear (in his own E.L.F. vest) to a trio of snowmen assassins who wandered out of a video game. I’ll toss a few kudos to those who decided to forgo motion-capture for Krampus and instead out Hivju in an “old school” prosthetic full body makeup and kin (reminding me of Tim Curry in 1985’s LEGEND). But then the story gets bogged down with long chases, silly bits of business that fall flat (especially in the “contest” at Krampus castle), and the hamfisted heartstring ‘tugging in changing Jack’s deadbeat dad ways. This all contributes to its over two-hour runtime (a hundred minutes would help loads), which could make the lil’ ones squirm, though there are some horrific scenes that could scare and a leering shot of bikini babes on the beach. Maybe those are aimed at the teenagers, but they probably won’t care for the sentimentality and the bits of myth whimsy. This isn’t the big lump of coal that the trailers promised, but it’s doubtful that Buddy the Elf, Jack Skellington, Ralphie, or even THE SANTA CLAUSE will be displaced as a year-end classic by RED ONE.


2 Out of 4

RED ONE is now playing in theatres everywhere