Tag: Animated Feature

THE SPONGEBOB MOVIE; SEARCH FOR SQUAREPANTS – Review

Patrick Star (Bill Fagerbakke) and SpongeBob SquarePants (Tom Kenny) in The SpongeBob Movie: Search For SquarePants from Paramount Animation and Nickelodeon.

And just what type of feature film has been at the top of the box office for the last couple of weekends? Oh, and it just became the biggest grossing flick of 2025 (we’ll see if that holds with the Nav’i arriving from Pandora this Friday). I’m talking about ZOOTOPIA 2, an animated feature film. And a sequel that could be part of another ongoing big franchise. That’s not too unusual for movies from the “mouse house” (and their Pixar partners), but rare for others. Sure, there’s DreamWorks with SHREK and ICE AGE from Blue Sky (actually now part of Disney). Well, there’s now Paramount Animation whose lil’ yellow, smilin’ hero is headlining his fourth big screen adventure, all since debuting on the Nickelodeon cable TV network way back in 1999. So let’s travel to Bikini Bottom via the multiplex for THE SPONGEBOB MOVIE: SEARCH FOR SQUAREPANTS. Whew, to paraphrase another seafarer and the poster, “we’re gonna’ need a bigger marquee”.

To start this tale of deep sea exploit, we’re treated to a prologue from a live-action pirate who tells us of the legend of the Flying Dutchman. Not to worry kids, we’re quickly reunited with our guy, Spongebob Squarepants (voice of Tom Kenny), who’s very excited at his pineapple home. Turns out he’s gotten taller, actually tall enough to ride the roller coaster at a nearby amusement park, Glove World. Yes, he’s a “big guy”! His BFF Patrick Star (Bill Fagerbakke) join him on this momentous trek. Ah, but the very dangerous-looking ride causes Bob to have a “change of heart”. Yup, he’s the “chicken of the sea”. The duo head back to the Crabby Patty diner, where the owner, Mr. Krabs (Clancy Brown) teases him with tales of his past “daring do” showing off his own “swashbuckler certificate”. Hoping to earn one of his own, Bob and Patrick go through a secret trap door, to Krabs’ old artifacts and “knick-knacks”. Somehow, the duo pass into an “ultra secret” section that has a portal to the pirate ship of the Flying Dutchman (Mark Hamill). It turns out that he’s tired of being a green ghost who must sail the seven seas for eternity. He has a chance to be human once more via a magical device that can only be activated by “the purest innocent”. Sounds like our “big guy” Bob. As they sail away, Krabs and Squidward (Roger Bumpass), head downstairs and try to follow the ship to rescue Bob and Patrick. Can the squabbling pair catch up to the Dutchman before Bob somehow sends the old pirate into the real world? And would Bob replace him as the captain of his ghostly vessel?

It’s amazing that the veteran voice ensemble (past 25 years already) can still bring such sprightly energy to the “core” cast of characters, particularly the gifted vocal styling of Mr. Kenny (Bill, Clancy, and Roger aren’t “phoning it in”, though they could). Now, with this outing, they’ve brought in a few more actors into their “play pen”. Hamill is the perfect craggy, cranky green pirate ghost, while Regina Hall make for an excellent “first mate/assistant” Barb. As good as they are, the visuals really have to sell this story. While the original TV series and the first feature were produced in glorious “hand-drawn” 2D-style “classic” animation (though I’m guessing some “flash” was in use), the producers have completely-embraced fully-rendered, rounded, textured 3D CGI tech. Happily none of the rubbery expressions and exaggerations are lost, as the artists really make the cast very expressive in their physicality, often recalling the “loonier” art of Bob Clampett (a “touchstone” in zany poses). And we even get some live-action actors and settings in the big finale, though they can’t compare with the eye-popping splendor of the undersea backdrops (what they can do with the sand and sea greenery). The only problem with this is the exhaustion from the manic “in your face” pacing, which was meant to keep kids engaged, but is so draining for over 90 minutes (maybe this would’ve worked better in a multipart TV miniseries). You really need some time to catch your breath, since there aren’t big musical numbers or any quiet interludes. Yes the visuals are superb (some “gross-out” close-ups feel like the handiwork of Spumco, the Ren & Stimpy studio, stalwart Vincent Waller), but it really begins to blend together by the third act. But the overall quality is maintained after all this time in the “briny deep” so that longtime fans (the original TV viewers can bring their kids and maybe grandkids) will get a nostalgic charge out of THE SPONGEBOB MOVIE: SEARCH FOR SQUAREPANTS. Oh, and the TMNT short that proceeds it is pretty clever, too.

2.5 Out of 4

THE SPONGEBOB MOVIE: SEARCH FOR SQUAREPANTS opens in theaters everywhere on Friday, December 19, 2025

IN YOUR DREAMS (2025) – Review

While we’re awaiting the big year’s-end animated sequel from the “Mouse House”, here’s quite a tasty CGI (mostly) appetizer you can stream at home. Fledgling Kuku Studios , with assists from Netflix and Sony Animation Studios (yes, the Spider-Verse folks) have produced quite a charming bit of lyrical whimsy that focuses on family dynamics via the imaginary world dotting the “dream-state”. Sure, it sometimes veers into nightmare territory, but more often several rousing fantasy adventures occurs IN YOUR DREAMS.

We’re first introduced to the story’s main character, a pre-teen girl named Stevie (voice of Jolie Hoang-Rappaport) during a pleasant daydream set in the not-too-distant past. She’s having lots of fun making a French toast breakfast in the kitchen, along with her lovably goofy musician Dad (Simu Liu). Soon after Mom (Cristin Milioti) joins them, the dream shifts into chaos with the sudden arrival of a baby brother. Stevie awakens in the present day as she is distracted while making breakfast by the antics of her now eight-year-old wannabe magician kid brother Elliot (Elias Janssen). Mom and Dad are nearby having a pretty serious discussion (the thin walls allow Stevie to get the gist). Mom is heading to Duluth (several hours away) to interview for a higher-paying job, since Dad’s music career has somewhat stalled. Could this prompt a big move. Unfortunately, Dad wants to remain in the old house, so could this lead to them breaking up? Fortunately, Stevie is given a task to take her mind off her worries. She’s going shopping with Elliott to find a book he can write a report on for his class. At a second-hand shop, Elliot innocently brings home a tome from the “off-limits” back room (that dreamy clerk did say it’s priceless). The dusty ole’ storybook is all about “the Sandman”. As if prompted by its subject, Stevie has a weird dream that Elliot’s bed behaves like a flying horse. Or is it a dream? Before she can figure things out, the duo are whisked to a land of living breakfast foods where Elliot is reunited with his thought-to-be-lost favorite childhood toy, a stuffed giraffe named Baloney Tony (Craig Robinson). Somehow he leads them to the land of the Sandman (Omid Djalili) who gives Stevie a chance to make all her dreams come true. Can this be the only way to keep her family together?

This film is truly an entrancing tale with splendid dollops of “eye candy’ that will dazzle animation lovers of all ages (there’s even a few seconds of 2D-style classic “line art”). Big congrats to Erik Benson and Alexander Woo on their feature film directing debut and on the heart-tugging, witty script they co-wrote with Stanley Moore. In that aspect they’ve crafted a most sensitive approach to a great fear of family fragmentation with empathy and maturity. But they haven’t been stingy with the laughs. Baloney Tony may be the big breakout comedy star due to his bouncy, “floppy” physicality and the infectious energy in the vocal work from Robinson. Ah, but those visuals…particularly in the dream settings, with the Sandman’s desert-like domain highlighted by a grainy castle inspired by M.C. Escher (stairs in every possible direction). I was also impressed by the land of breakfast treats, from their sprightly intro to the later “dark turn” with “zombie donuts”. Much of the film’s strength comes from the steady pacing, allowing us to drink in the themes without manic “in-your-face” extreme reactions. But when things kick into action mode, the movie soars, much like the amazing over-the-city and above the clouds flight of Elliot’s bucking-bronco-bed. Also worth savoring (hit that rewind) is the hilarious montage of nightmare trope (“naked in public”, “unprepared for a test”, “teeth falling out”, etc.). All the excellent animation acting (the natural gestures and bouncy double and triple-takes) are given extra “oomph” by the subtle music score by John Debney. Sure, it’s not a big epic blockbuster, but family audiences will savor the wonders and everyday warmth (lots of laughs and heart) of Stevie’s journey throughout IN YOUR DREAMS.

3 out of 4

IN YOUR DREAMS is now streaming exclusively on Netflix

PREDATOR: KILLER OF KILLERS – Review

It’s always great as a reviewer when you can alert folks to a film that’s truly worth their time, a real engaging story full of twists, turns, and often very pleasant surprises. An even greater “stunner” is the fact that it’s the sixth (though some may argue it’s the eighth) installment of a nearly forty-year-old film franchise. Normally, I’d suggest that you would be wise to order tickets early to see it at your favorite multiplex, but I can’t really do that. So, here’s the perplexing and frustrating part: it premieres on a streaming app. However, it’s more than worthy of an IMAX-sized screen. The last time I felt like this was three years ago, with the action/SF/thriller PREY. And, wouldn’t you know it, this is from the very same “shared universe”. By the way, did I mention that it’s an animated anthology? Just another element in the countless delights of PREDATOR: KILLER OF KILLERS. Let the “hunt” begin!

Yes, I did say “anthology”. At least for most of the movie. Each section has its own time period and title. First is “The Shield”, set in the early ninth century. This is a Viking revenge fable focusing on the angry warrior queen Ursa (voice of Lindsay LaVanchy), who is leading a crew of killers, including her own teenage son Anders (Damian C. Haas), on a quest to take King Zoran out, the man who murdered her father. But when they breach his sanctuary, Ursa and her compatriots are not alone. It turns out that the hunters are being hunted by an otherworldly demon, a Predator. We zip ahead about 800 years for “The Sword”, set in feudal Japan. This one’s a tale of family rivalry as a grim shogun pits his two pre-teen sons against each other over the ownership of his estate. One brother triumphs as the other is banished. The years go by, and the father passes on. Before son Kiyoshi claims his inheritance, his prodigal brother Kenji (Louis Ozawa) returns. Ah, but a different Predator silently observes, waiting for his time to strike. Finally, we’re in the 20th century, though at the start of WWII. In “The Bullet”, we meet newly drafted Latino-American (I’m guessing Cuban) John Torres (Rick Gonzales) is a gifted mechanic stationed on an aircraft carrier near Vichy France. He yearns to fly, but his supervisor, Captain Vandy (Michael Biehn), just wants him to make sure the planes are ready for combat, including John’s rickety fighter he’s dubbed “the Bullet”. Several pilots land in damaged planes, telling of a weird, almost invisible “enemy”. Vandy takes his squad into the “danger zone” as John finds something odd embedded in one of the engines. It’s a metal spearhead, unlike anything on this Earth. He then disobeys Vandy’s orders and takes Bullet into the battle. He arrives in time to see several squad members get taken down by a “bogey,” which becomes visible when struck. It’s an attack spaceship piloted by another Predator. When the fight ends, John’s saga is far from over as he finds himself in a locked cell on a vessel along with Ursa and Kenji. The trio, who are unable to communicate, have odd metal collars snapped around their necks and are eventually led off the ship and into an arena filled with the Predator beings. The warlord/MC informs them that they must fight to the death or their collars will explode. But John tries to inspire them to work together. But can this mismatched team survive a giant, savage alien beast and attempt to somehow find a way home?

Speaking of PREY, the same talented director is behind this. Dan Trachtenberg works with co-director Joshau Wassung to create this compelling, original exploration into the mythos of these iconic movie alien a*#kickers. They’ve even taken animation feature storytelling to a new level, expanding on the dramatic possibilities opened up by the “Spider-Verse” films. Yes, there have been many dramatic/ action animated features before (BATMAN: MASK OF THE PHANTASM immediately springs to mind), but this tackles the brutal intensity of any live “R-rated” horror/action epic. While most of the straight-to-home-video films feel close to the “four-color” comic books, this is more akin to the darker balck and white “graphic” magazines from the Warren company (“Creepy”, “Eerie” and “Vampirella”, the “unholy trinity”), though Marvel would “dip their toe” with “Savage Tales” and its ilk. Basically, the carnage is more straightforward, as the Predators chop and dismember with ghoulish glee. Oh, and the creature design is inspired. Yes, each has that “crab-pincer” mouth, but each segment has wild variants with weird weapons. Fighting the Vikings is a Hulk-like, near seven-foot-tall alien (one of the crew calls it “Grendel”), sporting a “repulsor/sonic blaster” for a right claw. In Japan, we get a leaner. graceful sword-wielding hunter with a spear on a whip-like chain. The “battle ace” beast has a smooth dome as it propels all manner of devices (constricting nets, grappling hooks, etc..) from its armored hull. And the animation is superb, though it appeared a bit stiff in the early scenes. Perhaps this was to make the battle energy more impactful (it does). And each “chapter” has a distict tone, with “The Shield” looking dark and chilly”, “The Sword” giving a Springtime feel with the forest landscapes, as opposed to the 1940s early “recruitment poster color” of “The Bullet”. It’s all paced perfectly with an “Easter egg” final shot that will have fans jumping from their couches. And that’s my only real complaint. In a “just world” I’d have been swept up in these sprawling stories by being engulfed in the biggest screens, with booming Dolby-type audio. Nope, this is only streaming, and its quality is on par with any of the other recent franchise entries. Bravo to Trachtenberg and company. Those “trilling/growling” hunters are in great hands. And I anxiously await your next live-action installment in November, PREDATOR: BADLANDS. But for the next few months, fans will be delighted, becoming eager “trophies” for the animated epic PREDATOR: KILLER OF KILLERS.

3.5 out of 4

PREDATOR: KILLER OF KILLERS streams exclusively on Hulu beginning on Friday, June 6, 2025

THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE – Review

This weekend sees a big “first” for two media superstars that have been in the pop culture “zeitgeist” for ninety years! Well, that’s one of them because his “partner” is actually a couple of years shy of that (still impressive). So, how can they still be working in a new flick, let alone pulling off some amazing stuntwork that would make Tom Cruise envious? Okay, ya’ got me. They are cartoon characters, so they never really age (any wrinkles can be easily erased). They aren’t from the “mouse house”, rather they’re from one of the main Disney rivals in the short subjects market, though many would say that their home base really had no rivals for consistently hilarious cartoons from the 1930s to the early 60s. And they’ve never been the stars of a full-length feature, though they have had “supporting roles” in a few. So, it’s finally their time in the spotlight for the manic mallard and the stammering swine on THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE. As the former would bounce about and say, “Woo-hoo! Woo-hoo!”.


Now, they’re “off-stage” as the story opens. A scientist that appears to be right out of a 50s sci-fi flick (glass, lab coat, etc.) is alarmed by a look through his telescope. It’s a massive meteor heading toward Earth. As if that wasn’t bad enough, a flying saucer zips ahead of the rock. The UFO speeds up to take out a big chunk of a home’s roof before landing in a field. The scientist heads to the crater, peers downward, and lets out a scream before a weird green gas envelops him. And now the story’s main heroes are introduced. We learn how the towering “Farmer” Jim (voice of Fred Tatasciore) adopted two orphaned animals and raised them as though they were his human offspring. When they reach adulthood, Jim disappears into the clouds after advising them to always take care of each other and their home. His big farmland has now been taken over by the suburbs of the town of Grandview, but still standing is that home now occupied by Porky Pig and Daffy Duck (both voiced by Eric Bauza), quite an “odd couple”. It’s a hectic morning when they realize that it’s the day of the town’s “home inspection”. They scramble to clean up, but it’s all for naught when the haughty inpector, Ms. Grecht (Lariane Newman) points out (how did the boys miss this) the big hole in the roof (which is dripping with an odd glowing green goo). The place will be torn down in a few days unless the guys get the cash needed to repair it. But the duo fails in every job they attempt, so they stop in at the diner where fate arrives in the form of a sweet sow named Petunia Pig (Candi Milo). She’s a flavor research scientist at Grandview’s big business, the Goodie Gum factory…and they’re hiring! The boys get a job on the assembly line, but while Porky makes time with Petunia, Daffy spies that opening scene scientist lurching like a zombie around the massive vat of “Super Strong-berry” gum (the new big roll-out flavor). The interloper then pours some of that green goo into it. Daffy’s conspiracy instincts kick in. Can he convince Porky and Petunia that something is off? And could it be connected to the meteor and the UFO?

To say this is a “love letter” to the artists at “Termite Terrace” (the Warner’s animation ramshackle HQ back in the day) would be an understatement. Much like the classic shorts, this feature deftly mixes smart satire (SF, zombie flick tropes, and rampant consumerism) with stunning slapstick (Daffy can pull a giant mallet out of thin air). Sure, it is set in the modern age (Daffy wants to be an “influencer”), but there are lots of affectionate nods (even “Easter eggs”) to iconic imagery. They try and become baristas at “Bean’s Brews” (Porky’s original feline sidekick), the duo don caps from the short “Baby Bottleneck” as Raymond Scott’s “Powerhouse” music accompanies the conveyor belt, and even the great silhoutette bit that Tex Avery perfected. Speaking of the great animator icons, the main inspiration isn’t Mr. A, or Friz, Chuck, and R. McKimson, but the wild and wacky Bob Clampett (who gets a “shout out” and a “legacy” voice cameo). All the characters, especially the “lil’ black duck”, stretch, twist, and go delightfully “off model” in extreme forced perspective and screen-filling reactions. Much of the credit for the frenetic pacing and vibrant visuals (the surreal factory abstract sequence is super) has to go to director Peter Browngardt, who was also one of the fourteen (!) credited writers (hey, this is sixteen times longer than those shorts, so it makes some sense). Actually the only time the story starts to sputter is when a big conflict arises in the last act, perhaps to squeeze in some pathos and build some tension. But it doesn’t detract from the rousing finale and the overall sense of gloriously goofy and zany shenanigans.

Hey, here’s the duo from their first meeting in 1937’s “Porky’s Duck Hunt”!

Those stunning visuals are enhanced by the terrific vocal cast, who add lots of inspired energy even to the established toon superstars. I’m talking of course, about Mr. Bauza, who honors the legacy of the “man of a thousand voices” Mel Blanc with these reverent re-workings of the story terrific twosome. Milo also brings a lot of loopy fun to that “flavor fanatic” Petunia. Newman is a haughty hoot as the villainous “house enforcer”. But the main baddie may be the alien invader voiced by Peter MacNicol, who brings a campy menace to the long-fingered overlord, though I kept wondering why this wasn’t Marvin the Martian (perhaps they didn’t want to bring in more members of the classic ensemble). And speaking of honoring the originals, the soundtrack from Joshua Moshier seamlessly blends the Carl Stalling standards with sprightly new melodies, both merry and melodramatic. Oh, and you’ll enjoy that score over the end credits as you drink in the wonderful pre-production sketches and modeling poses (the scientist went through lots of variations). So, if you’re a fan of those original shorts or the recent batch made for the MAX streaming service, or just want to introduce your kiddos to those heroes of past Saturday mornings who actually inspired us to not sleep in after five days of school, do the Daffy “bounce’ into the multiplex for THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE. I hope that’s not all, “folks”!

3.5 Out of 4

THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE opens in theatres everywhere on Friday, March 14, 2025

DOG MAN – Review

So, new year (well, a month old now), new slate of cinematic superheroes invading the multiplex. This weekend sees the premiere feature film adaptation of a beloved crimefighter (Captain America will be throwing his shield when he flies in on Valentine’s Day) who’s rather unique in this realm. First off, he’s not a member of the Marvel Cinematic Universe (MCU). nor does he originate at Warner’s DC Studios. And, thankfully, it’s not another Sony “Spider-Verse” spin-off. No, this is from Scholastic, who have published fourteen graphic novels in this series, which sprung from another successful series. I’m certain they and his millions of fans are hoping that this is this will begin a new film franchise for the canine crusader known as DOG MAN.


The action takes place in a big bustling metropolis known as OK City, which seems to be constantly under attack by the supervillain Petey the Cat (voice of Pete Davidson). Luckily the Chief of Police (Lil Rel Howery) enlists the aid of his top cop Officer Knight (Pete Hastings) and his trusty sidekick Greg the dog to thwart the feline fiend. Unfortunately, they’re unable to defuse a bomb planted by Pete, and the duo is caught in its explosion. After being rushed to the hospital, the doctors make a fateful decision to combine their still functioning parts (Greg’s head on Knight’s body) to create Dog Man, champion of law enforcement. This heroic hybrid successfully stops the new schemes from Petey, sending him to prison which seems to have a revolving door. After yet another escape, Petey thinks he can keep ahead of his nemesis, by copying, really cloning, himself. But he’s stunned when the result is a kitten version he names Li’l Petey (Lucas Hopkins). When he’s rejected, Dog Man adopts the innocent fuzzy tyke. Pete continues with a new plan to revive a deceased fish called Flippy (Ricky Gervais), a true super-powered villain with the ability of telekinesis. Can OK City survive the terrible teaming of Petey and Flippy, even with Dog Man and Li’l Petey on the case?

This funny fantasy romp benefits from the expert comedic vocal casting. Davidson proves to be a superb comic villain, giving his lines a bombastic energy while still retaining a snarky spin on his threats and retorts. He’s not the only former SNL castmate enlisted as Cheri Oteri pipes in as the Mayor, Melissa Villasenor is a hard-selling realtor, and even Laraine Newman voices a brilliant scientist. Howery is a frantic hoot as the befuddled, overworked Chief who not-so-secretly pines for roving video reporter Sarah Hatoff, given a crisp energetic delivery by Isla Fisher. Hopkins is adorable as the cute bit never cloying kitty, while Luenell makes the Chief’s main assistant Milly a low-key sarcastic delight. And Gervais is gleefully snide making Flippy a twisted snicking super-menace.

In this his animated feature debut, Pete Hastings (yes, the voice of Knight and all the growls and howls of the title hero), directs his screenplay adaptation of the Dav Pilkey series, giving it a jovial, bouncy pace expanding from an origin story to introduce us to the many players and elements of Dog Man’s world. The animators have taken Pilkey’s line drawings into the CGI universe, making the characters resemble fuzzy, rubbery toys and retaining the child-like simplicity of the settings (we can imagine a kid constructing buildings of folded cardboard with funky hand-lettered signage). I was a tad surprised that much of the story’s first act echoed themes of the original ROBOCOP as Dog Man finds he can’t return to his old life (GF has split and put his home up for sale). Then the jokes swiftly connect until the tempo loses a bit of momentum by the one-hour mark, but Flippy’s fantastic feats involving some nifty walking skyscrapers invigorate the finale. Sure, there are a couple of crude gags mocking canine habits and a scathing “burn’ from Li’l Petey that may get repeated on the schoolyard, but this is really an all-ages romp that the whole family can enjoy (again, thanks to a talented cast), making a howling, tail-waggin’ triumph for the first screen adventure of DOG MAN.

3 Out of 4

DOG MAN opens in theatres everywhere on Friday, January 31, 2025

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 WILD ROBOT – Review

Summer may be over, but 2024 isn’t finished with feature animation by a long shot. The “mouse house” has a big one lined up for Thanksgiving weekend in fact. Plus its sister company, Pixar, had a most surprising blockbuster a couple of months ago with INSIDE OUT 2. Now, one of the other big cartoon studios, Dreamworks, is releasing a real rarity: an original animated feature. Yes, it’s based on a beloved children’s book series, but it’s not been brought to “big screen life” before, as with this year’s new installments of franchise faves like Despicable Me, the Transformers, and Garfield. And its subject matter is also unique as it combines cute and cuddly critters with a futuristic mechanical being. But there are no humans to get it, hence its interaction with wildlife inspires its moniker, THE WILD ROBOT.

That title character is a service device from a big high-tech company named Universal (like its studio distributor) Dynamics. The product’s formal designation is ROZZUM unit 7184, or “Roz” for short (voice of Lupita Nyong’o). In the opening moments of the story we see Roz climbing out of its packaging crate, which has washed ashore after the cargo ship has run aground on an island full of animals. After trying to connect with a pack of frisky curious otters (“What is the task I can complete?”), Roz is seemingly under attack from all the different species of the nearby forest. Finally, Roz shuts down so that its computer system can take in all the different squeaks and growls and translate the many “languages”. When Roz reboots, the onslaught resumes until it must deal with the biggest aggressor, a surly brown bear named Thorn (Mark Hamill). The big chase ends as Roz crashes into a nest, leaving only one survivor, an unhatched egg…which is promptly scooped up by a hungry fox called Fink (Pedro Pascal). After Roz retrieves the egg, it cracks open revealing a wide-eyed baby goose. Fink explains that it has “imprinted” on Roz since it was the first thing the gosling saw when it opened its eyes. He thinks Roz is his “mommy”. The fox also shares that to survive, the mini-mallard will need to learn to feed itself, swim, and fly. Roz has a task at last, though time is running out. With Winter on the way “Brightbill” (Kit Connor) must join the flock on the southbound migration to survive. Can Fink and Roz get him “up to speed”? And what will happen when Roz’s “creators” track it down to the island?

Happily, the filmmakers have opted to recruit several excellent character actors rather than the usual “stunt” vocal casting of hot stand-ups and pop stars. Nyong’o imbues Roz with a plucky, overly pleasant accommodating tone (“Are you pleased with ny completion of the task?”), often giving the readings a “sing-songy” tone of artificial friendliness. Pascal brings a sly (natch’) rascal spirit to Fink the fox, making him endearing but never totally trustworthy. Connor makes Brightbill a teen straining to be a grown-up while still yearning for a connection to his mechanical mom. Speaking of moms, the movie’s biggest ‘scene-stealer” may be the snarky possum matriarch Pinktail given a sweet but surly spin by comedy icon Catherine O’Hara, bouncing right back from the Beetlejuice smash sequel. She scores big laughs and has us wanting much more, just like a great party guest who has to dash away early. The other major ‘bot role, Vontra, is acted by recent Oscar nominee Stephanie Hsu, who issues the sweetest syrupy threats. Bill Nighy flies in for the role of elder mallard Longneck, the mentor who literally takes Brightbill under his wing. Another comic kingpin is the always entertaining Matt Berry, so great on the TV version of “What We Do in the Shadows”, as the haughty, determined Beaver Paddler who will not be deterred from his mission, though he’s got time for some great caustic insults. Oh, there is one true vocal vet in Hamill (the superb animated Joker on several shows and games), who gives Thorn an intimidating but often warm guttural growl.

The driving force behind this film is animation wizard Chris Sanders, the man who gave us LILO & STITCH, HOW TO TRAIN YOUR DRAGON, and many other gems (he even did a recent live-action, with CGI, take on CALL OF THE WILD) Adapting the book series by Peter Brown, he utilizes all of his impressive art and storytelling skills to deliver a compelling modern fable full of insight into parenting while extolling kindness. And the world certainly needs a lot more of that. Sanders has guided an army of skilled craftspeople to give the film a bright, bouncy look, turning this island forest into a magical wonderland that often explodes with color (butterflies rest on the side of a tree before filling the screen in flight). The grass, the tree, and the caves all enhance the action and never detract from the terrific character design of the critters (who give entrancing physical performances). The most imaginative design may be that of Roz whose look invokes THE IRON GIANT (can it really be 25 years old), BB-88 of the last Star Wars trilogy, and Baymax from BIG HERO 6, while sporting some nifty new bits of wondrous gadgets. Its hands can detach are retrieve, while its arms and legs are extended elastic coils. It’s astounding how much emotion they can get from Roz’s volleyball-like noggin. Yes, we get a glimpse of a futuristic city along with some silent humans running from their computer screens, but the heart of the story is with Roz and her new pals, though the slapstick-filled chaos of the opening act may make it feel like any recent action-packed blockbuster. But then the pace slows a tad and begins to draw us in with its emotion and pathos. Now, here’s a film that is unabashedly made for the entire family, so be sure to travel via your local multiplex to the island home of Brightbill, Fink, Pinktail, and their guardian, THE WILD ROBOT. “Task completed”.

3.5 Out of 4

THE WILD ROBOT is now playing in theatres everywhere.

DESPICABLE ME 4 – Review

As we approach the big extended (four days) holiday weekend the big Summer movie season dashes past its halfway point with a new entry in a fourteen-year-old film franchise. No big surprise, but this one is hoping to “ride the wave” generated by a sequel that caused an unexpected near-seismic tsunami at the box office, only a few weeks ago. Oh, did I mention that both flicks are animated? Yes, INSIDE OUT 2 exceeded all the financial forecasters to be the first billion-dollar movie of 2024. So, will “lightning strike” again, as this is the first installment of the series in seven years, not counting a couple of prequel spin-offs. Perhaps Gru and his gang, including lotsa’ manic Minions, can lure some families at the multiplex away from another visit in Riley’s noggin with DESPICABLE ME 4.

The story does start with the “DM’ himself, Gru (voice of Steve Carell) as he attends, with a trio of Minions, a class reunion at his old “alma mater”, Lycee Pas Bon. But he’s not there to “catch up’, rather he’s on a mission for the Anti-Villain League (ATL) to capture an old classmate and rival, Maxime Le Mal (Will Ferrell). When he receives a special award, Maxime reveals that he has harnessed the power of cockroaches, even fusing parts of them into his body, to make himself an unstoppable mastermind. This nearly derails Gru’s plans to arrest him until his backup ATL team arrives. Soon Gru is back home with his loving family: wife Lucy (Kristen Wiig), daughters Margo (Miranda Cosgrove), Edith (Dana Gaier), Agnes (Madison Skyy Polan), and baby son Gru Junior. But just as things are getting back to normal they get a surprise visit from the ATL director Silas Ramsbottom (Steve Coogan) who tells them that Maxime, with the help of his GF Valentina (Sofia Vergara) has busted out and is on his way for revenge. The family Gru is quickly whisked away to a new locale with new identities as part of a protection “program”. While all but three of the Minions are taken to the secret ATL lab, the family is sent to cozy suburban Mayflower. Gru tries to become friends with snooty neighbor Perry Prescott (Steven Colbert), which leads to his association with his pre-teen daughter Poppy (Joey King). She recognizes him as a former super-villain and threatens blackmail unless he aids her in a high-risk “heist”. Meanwhile, at the lab, five of the Minions are chosen for a special experiment to give them super powers (flying, strength, laser-ray eye, etc.) creating the Mega-Minions. All this as Maxime and Valentina track down their prey. Can Gru and his family triumph over their bug abilities and weapons or will Gru Jr. become Maxime’s new son?

The veteran voice cast reunites to bring plenty of star power to their now-familiar roles. Carell brings a lot of energy and his expert comic timing to Gru’s endearing accent (perhaps near Boris Badenov’s hometown). Wiig is the most prominent of the SNL vets as the perky affable Lucy with a “sing-song” TV sitcom housewife delivery. The other big “get” has a connection to her and to Carell with the introduction of the new “big baddie” Maxime voiced by SNL icon and that ANCHORMAN himself, Ferrell, who seems to be enjoying his over-the-top French accent. Vergara is a good bored, petulant vamp as Valentina. And Coogan has the right tone of cultured stuffiness as Silas. Oh, there are two more TV vets involved. Lariane Newman, an OG SNL founder, is the angry matron Melora while current SNL “mimic marvel” Chloe Fineman is the bubbly Southern belle next door, Patsy. Colbert is pure waspy privilege as her hubby Perry. King affects a nice snarky “mean girls” riff as their daughter Poppy. And kudos to the mix of new and veteran voices as the daughters.

The director’s chair is shared by Chris Renaud (the man behind so many Illumination flicks) and Patrick Delage (in his feature debut). Perhaps this team-up happened to somehow shoehorn the three (maybe more) plot elements into a coherent and cohesive film. And they don’t really get there as the plot will suddenly stop any momentum to “switch over” to “story B” (hey, we need some Minion slapstick) dividing our focus. Maybe another “pass” was needed on the script from Mike White ( a lauded live-action scribe) and one of the original DM writers, Ken Daurio. Another stumble is the lack of a really interesting villain in Maxime, whose “reason for revenge’ via a cutesy flashback, isn’t that engaging. Plus the script “falls back” on too many pop culture riffs and “shout outs” topped by a “burn” on the live-action superhero “tentpoles”. Yes, over-powered heroes causing havoc trying to help is as old as the concept (“Snafuperman” and “Stuporduck” shorts from the 40s and 50s). The scenic backdrops are very colorful and dynamic, but the character design is often derivative with almond-shaped heads, big “floopy” hair, and spindly legs that shouldn’t support the bulky torsos (and what’s with Maxime’s puffy “hotel carpet” coat). By the time the film lumbers along to its “city demolition” climax, we’re exhausted despite its 95-minute runtime. Hardcore fans of the series will be happy to have the old gang back complete with lots of Minions schtick as they spew gibberish while bouncing about, but after seeing the superb sequel from Pixar last month maybe the Gru family and friends (and fiends) should retire into cinema “witless protection” after squandering the comic talent ‘at the mike” in DESPICABLE ME 4.

2 Out of 4

DESPICABLE ME 4 is now playing in theatres everywhere

INSIDE OUT 2- Review

Well, now we’re in “prime” Summer movie season mode as one of the big “crowd-pleasing” studios drops its 28th feature film into the multiplexes this weekend. Oh, and it is truly animated with eye-popping visuals and splendid imaginative designs. And after the animal stars dominating the cartoon landscape this year with Kung Fu Panda and Garfield, we’re focusing on a human being, Well, mostly what’s going on in this teenager’s head, so we’re revisiting a set of creatures based on emotions and meeting a bunch of new “feelings”. Of course, I’m speaking of Pixar, who have decided to produce a sequel to a much-admired Oscar-winning 2015 “dramedy/fantasy”, after several interesting original flicks like SOUL, TURNING RED, and ELEMENTAL (so don’t think they’re just exploiting their “IP”). Yes, it’s been nine years, but animation can “tweak” time, so it’s only been a couple of years since we’ve checked in with that young woman named Riley. And there’s a lot going on at her brain’s control center at the start of INSIDE OUT 2.

But there are lots of familiar faces and emotions pushing buttons at “the board”. Joy (voice of Amy Poehler) is still mainly in charge, aided by Sadness (Phyllis Smith), Anger (Lewis Black), Fear (Tony Hale), and Disgust (Liza Lapira). As for Riley( Kensington Tallman), she’s enjoying the last year of grade school playing alongside best pals Grace and Bree on the school’s championship-bound hockey team, the Foghorns. Joy believes a bit part of her success is Riley’s developing “Sense of Self”, a glowing sculpture that emits phrases like “I’m a good person”, which is proudly on display in the control room (Joy made room for it by creating a “launching device’ that hurls “bad” memories way to the back of the brain). The last Summer before high school looks to be even better when Coach Roberts (Yvette Nicole Brown) of the high school’s team the Firehawks, invites Riley and her pals to be part of a hockey camp. It’s quite a lot to dream about, but the emotions’ slumber is interrupted by a loud siren from a flashing red light on the board. Oh no, “puberty’ has “hit”! As Joy and her crew scramble, a construction team bursts through a wall. After the control board is”upgraded”, a new set of emotions arrive. There’s Envy (Ayo Edebiri), Ennui (Adele Exarchopoulos), Embarrassment (Paul Walter Hauser), and their leader, Anxiety (Maya Hawke). During the chaos, Riley learns that Bree and Grace will be going to different high schools. That bad news is offset by the fact that the star Firehawks player, the ultra-cool Valentina (Lilimar) will also be at the hockey camp. This “ramps up” the rivalry between Joy and Anxiety leading to the SOS being flung to the bad memory “dump” just before the hulking Embarrassment stuffs Joy’s team into a jar to be taken far away to a dark vault, and eventually forgotten. Can they escape, retrieve the SOS, and “take back” the control board before Anxiety guides Riley into some terrible decisions? Oh oh, it all rests on the slumped shoulders of Sadness!

Quite an impressive roster of performers has been assembled to give these emotions distinct voices. As for the returning “team”, Poehler just super-charges Joy with an infectious energy and an engaging lilt, though she gets to delve deeper into the frustration of always being the positive “guiding light”. And Black explodes as Anger, pummeling each hilarious retort, a great counterpoint to the halting sweet delivery of Smith as Sadness Oh, I’ve got to also mention the return of the wonderful Diane Lane and Kyle MacLachlan as Riley’s parents, who become more a part of the “framing plot” of the main “sports” story. Now, on to the “newbies”, which include a couple of replacements on Joy’s “squad”. Lapira is an excellent snarky Disgust, while Hale brings a Don Knotts-like jittery panic to Fear. Oh, and as the now teenage Riley, Tallman hits “all the right notes” from sweet to awkwardly desperate and even conniving. And now we get to the new crew, led by the wonderfully zany Ms. Hawke who literally bounces across the backgrounds with a frantic confidence, becoming, at times, the accidental villain of the tale. Her manic delivery is almost matched by the exuberant Edebiri as her “right hand” Envy. The big “scene stealer” might just be Exarchopoulos as the bored, detached Ennui who only awakensr from her sleepy state when her phone-like control device goes missing. And though he has only a couple of lines, aside from some sighs and groans, Hauser is quite effective as the conflicted Embarrassment. In smaller, but pivotal roles, Ron Fuches is achingly funny as the goofy 90s kids TV show icon Bloofy and June Squibb is endearing as the “we’re not really ready for you” emotion Nostalgia.

This is the feature directing debut of Kelsey Mann who truly “hits it out of the park” (maybe a hockey analogy would be more appropriate) with perhaps the best Pixar sequel since TOY STORY 2 (though 3 and 4 are also great). It’s a delicate “tightrope walk” as the familiar elements of the beloved first flick are melded with the new story and the older main character. While Riley had to deal with the big family move last time, now she must decide how to deal with her friends, both old and new. All comlicated by the “P” word in the sophisticated and very funny script by Mann, original scribe Meg LaFauve, and Dave Holstein. Unlike the recent IF, they didn’t hold back on the jokes in favor of the big “heart moments” (and there are plenty). Happily, the talented artisans at Pixar have given this story a dazzling life with vibrant colors and outstanding designs. like Anxiety’s frazzled vertical “water fountain” hair, Embarassment’s bulbous nose sticking out of his tight hoodie, and Ennui’s rubbery body (as though her spine was replaced by the classic toy “Slinky”) who’s always draped over the furniture. I still love that the emotions have no hard “outline” (color or black), but have a grainy edge with specks always moving (much like the leads in ELEMENTAL), unlike Riley and her pals in the “real world”. They’re nice subtle caricatures not too removed from us, unlike the often child-like cartoony looks of the emotions (Anxiety is almost a child’s enhanced “scribble”). And for the first time, the CGI figures are acting alongside 2D “drawn” characters (usually left for the end credits) such as Bloofy and his pal Pouchy who are joined by an “8-bit” video game icon named Lance Slashblade. This leads to some delicious satirical gags about cable kids TV and gaming (love the efforts of Lance to walk out a door). Speaking of gags, one sequence pokes fun at 90s animation “sweatshops”. Plus there are perfect puns a’ plenty, though a few are “groaners”. Yes, there are a couple of moments in the third act, when the pace begins to soften, but the “big game” (excellent action movement) finale brings all the plot threads together into a beautiful bow making us eager to see how Riley and her “brain buddies” handle the new challenges of high school after the touching, clever, witty, and inspiring INSIDE OUT 2.

3.5 Out of 4

INSIDE OUT 2 is now playing in theatres everywhere

ROBOT DREAMS – Review

So it’s been long established that the Summer season is the “go-to” release time for animated features (along with the year-end holidays). Kids are out of school and parents need an air-conditioned refuge for the whole family. This season has begun at the multiplex with a fully CGI’d version of the “funny papers” feline, and we’ll soon get an ’emotional” reunion with a Pixar sequel and another visit from Gru and his minions. Ah, but “in between” we’re getting treated to something special and somewhat unique as it’s not part of a franchise, rather it’s based on an acclaimed graphic novel. Plus it’s done in the “classic” animation style, often referred to as 2D, much like the “hand-drawn” shorts and features (and TV shows) of the past. Oh, and it’s an Oscar nominee…from last year. Yes, it was one of the five nominated films in the March ceremony. And though THE BOY AND THE HERON took home the gold, this little gem more than deserved to be “in the race”. Now, at last, everyone will get a chance to be dazzled and delighted by some heart-tugging ROBOT DREAMS.


This story’s “waking life” begins in an anthropomorphic (much like ZOOTOPIA) version of NYC nearly forty years ago. The canine hero (known only as “Dog”) spends his nights in a walk-up one-bedroom apartment (perhaps in Brooklyn or Queens) in front of his tube TV. It’s hooked up to a “home gaming system” enabling him to play the classic “Pong” by himself (each hand holding a joystick makes it a new spin on Solitaire). Dog then switches his set over to basic cable, and pops a frozen “mac & cheese” dinner into the microwave. Setting up his “TV tray” he notices the windows of buildings across the street revealing happy couples enjoying life. And then a commercial inspires him. It’s an ad for the “Amica-2000” robot companion. Dog grabs the phone along with his charge card and places an order. After days of listening for a delivery truck stopped on his street, the big package arrives. After the driver (a bull) leaves, Dog quickly assembles his new mechanical buddy. Its steel noggin sports wide quizzical eyes and a broad smile. Soon Dog and “Robot” are inseparable, strolling down the street, watching TV (THE WIZARD OF OZ is a fave), playing video games, sharing a pizza, and even roller skating in the nearby park. As the temps rise, Dog decides they should hop on a bus to “Ocean Beach Park”. After some fun and food on the “boardwalk”, the duo ventures into the water. After a bit of trepidation, the pals finally engage in some undersea exploration. Afterward, they grab a bit of blanket space on the sand and bask in the sun. They doze off and awaken to a nearly deserted beach at dusk. Dog hastily begins gathering their things and takes Robot’s hand. But he can’t move. perhaps the seawater damaged his inner workings (could be rust). Dog then leaves his friend (assuring him he’ll return) and heads back into the city for his tool kit (and an oil can). But when Dog returns, a fence has been erected because the beach is now closed for the season, the sign stating it will be re-opened in June of next year. He tries to squeeze through the fence but the police gorilla hauls Dog away. Can these “best buddies” survive the separation? Could something happen to either one during the long months of waiting?

This is quite an emotionally complex story for an animated feature, though told in a seemingly simple way. As I mentioned earlier, these aren’t digitally shaded characters with “pixel’d” strands of fur and whiskers. Sure there’s a “double color layer” to suggest a light source and guide the shadows, but the main duo would be right “at home” with the Flintstones, Jetsons, or the first seasons of the Simpsons, though Robot could be a distant cousin to Futurama’s Bender. The backgrounds also benefit from a smooth, slick design, with meticulous detail to the time period (from a couple of pop culture nods, I’m zeroing in on 1986). Plus the fact that Spanish craftsman could so convincingly recreate the Big Apple is most amazing. And the movement is quite impressive, as there’s no real spoken dialogue other than some “chirps”, grunts, and growls. Through body language we know exactly how the heroes are reacting and their “inner life”. Which touches on the universal adult feelings of loneliness and the joy of finally connecting with someone, even if you did have to build him. There’s a sense of that even as the duo are kept apart for months. Dog has a brutal “dust-up” with two nasty twin aardvarks, and later he begins a romance with an athletic duck. Even as he lies on the beach, Robot has some encounters, including a rabbit rowing team and a bird seeking a safe nest for its eggs. And he does dream, drifting into shattering fantasies of reunion and whimsy. It all builds to something beyond the usual cartoon “happily ever after” ending, instead, it’s a warm interlude bathed in melancholy. Surprising that these simple shapes could elicit “all the feels”. Even more startling is the director’s resume, as Pablo Berger is mainly known for live-action comedies and dramas (talk about hitting a homer the first time at bat). But then the source material he adapted, from graphic novelist Sara Varon, has plenty of both. So even though this is technically from 2023, ROBOT DREAMS is one of the best films, animated or live-action, that you’re likely to view, and be moved by this year.

4 Out of 4

ROBOT DREAMS is now playing in select theatres