Tag: Animated Feature

MINIONS & MONSTERS – Review

So, after seeing the new TOY STORY installment (at least once), you say that ya’ just can’t get enough of CG animated franchises? Well, the multiplex movie gods have answered your prayers. Less than two weeks after the return of Woody, Buzz, and their plastic pals comes the newest flick in a series that’s almost half as old. Technically, this is the seventh one in the series, but it’s really the third of the spin-offs. So, has this gang of jabbering yella’ fellas “worn out their welcome”, or do families need another visit from them? Hold on, looks like they’ve brought some company, since this comic adventure is titled MINIONS & MONSTERS.

After a really nostalgic and clever opening credit sequence, we join an inquisitive tour group at a Hollywood movie history museum. When their guide, Olivia (the voice of Allison Janney), shows them the display honoring the Minions, the kiddies are perplexed. She explains as we begin a flashback to a time long ago when the Minions were in search of a “big boss” (they have to be sidekicks to somebody evil and worthy). When things don’t work out with several potential candidates, they make their way to North America. Naturally, there are rebels in the mix (a trio): the plump, silent Ed, artist James, and the dreamer, the writer of stories, Henry. In a desert out West, the team spies a desperate bandit on horseback as he tries to elude a determined posse. Ah, but it seems that the “M squad” has stumbled onto the set of a silent movie in the 1920s. When the chase ends in bustling LA, the flick’s director, Max (Christoph Waltz), believes his epic is ruined. But when he shows the footage to his bosses, Frank and Elwood, the heads of Bright Brothers Studio, it’s a sensation. The duo proclaims that the lil’ guys will be in all their features from now on. Max finds them and proceeds to make the Minions big, popular movie stars. Still, Henry and James want to tell their own stories. But fame is fickle, and the guys fall out of favor with the arrival of “talkies,” AKA sound films. Henry believes that the sure way to get back “on top’ is to make a monster movie. However, all his yellow buddies, except James and Ed, decide to resume their “big boss” quest. Luckily, Henry still has a book of spells from a wizard, so they conjure up a monster, saving on special effects and makeup. Ah, but the lil’ green guy, Goomi (Trey Parker), has an evil scheme up his sleeve. Can he deceive the trio? And what happens when the other Minions find a new “candidate”, a robot-costumed science-fiction fan named Dort (Jesse Eisenberg)? Will they reunite to stop Goomi and finally meet their dream “mastermind”, Gru?

As the old TV commercials used to say (maybe still do) “your mileage may vary”. Here, I’m referring to your own feelings and tolerance for the lil’ “banana bros”. I still find them somewhat amusing in small doses, so I had some trepidation about a third feature. However, much of this does work, at least in the first act or so. By delving into their past, we’re given new backdrops for their comic chaos with some nicely designed “masters”. The international settings are great, but the artisans really shine as they recreate La-La-Land from a hundred years ago. The colors are dazzling with the city still shiny and new. Plus, this works in lots of nifty tributes to the classic stars of the time, though the museum settings also do this with a fun filmmaker cameo. We get a nice riff on the oft-told tale of silents going from sound, perhaps best seen in SINGING IN THE RAIN and THE ARTIST (let’s try to forget the wretched BABYLON). Oh, this would be a terrific TV special, a splendid streaming thirty minutes or so. But then, it keeps going. The plot requires the M’s to split up and bounce between the “A and B’ stories. And neither are half as engaging as the opening. Per the title, we’ve got to meet those monsters, led by the Lovecraft-inspired Goomi, with Parker tweaking his Cartman tone. His larger henchmen, Howard and Phil (aha, H P), aren’t that interesting, though Irene, the “mega-monster”, is more compelling with her zillion eyeballs floating in caramel pudding look. In the “B” zone, Dort doesn’t transcend the old “nerd SF geeks” cliches even as he begins a romance with a sweet suffragette, Debbie, voiced by Zoey Deutch. As for the other vocal talents, Bridges seems to be having fun as the twins (one mellow, as the other fumes), and Waltz brings lots of Stroheim-zeal to Max. Once more, all the Minions are played by this film’s director, Pierre Coffin. It’s a shame he has to pad out the plot, since the physical acting is superb and the images compare favorably with the Pixar wizardry. But by the time the extended finale showdown finally concludes (guessing this is a kaiju/Kong satire), the kids may be exhausted beyond the somehow lengthy ninety-minute runtime. It’s an improvement over the previous two flicks, but the separate plots and urban destruction detract from the silent era celebrations at the heart (and opening) of MINIONS & MONSTERS. And, speaking of the latter, why are there none of the classic movie monsters in this release from Universal Studios (at least Lon Chaney, Sr.)?

3 Out of 4 Stars

MINIONS & MONSTERS opens in theatres everywhere on Wednesday, July 1, 2026.

TOY STORY 5 – Review

Summertime is truly “funtime” once more at the multiplex because several dear old childhood pals have returned for a brand-spanking-new adventure. Now it’s not the Avengers or those “furious-fast fellas”, either. You see, this ‘team’ has been entertaining us in theatres for over thirty years now, so original fans are introducing them to their offspring. They’ve really been through a lot (the warranty has lapsed long ago), but this may be their biggest challenge yet, one that many parents are dealing with: the “screens”. And isn’t it somewhat ironic that the first big CG animated heroes of movie features are tussling with “tech” in TOY STORY 5? Double that since this comes to you from one of those dreaded “devices”.


Strangely, this installment actually starts on what appears to be a deserted island. A cargo ship has washed ashore, spilling its contents all over the beach. Why, it’s an army of the new “tech-enhanced” versions of Buzz Lightyear. As these confused Space Rangers attempt to return to civilization, the location switches to the bedroom of sweet, shy lil’ Bonnie (voice of Scarlett Spears) as she stages a big wedding involving nearly all the toys that were gifted by Andy (from TS 1-3). It’s fun, but the toys’ leader, Jessie (Joan Cusack), along with her smitten admirer, the original “low-tech” Buzz (Tim Allen), are concerned that she’s not making many friends, including the twins that moved in across the street. Bonnie’s parents share their worry and try to help by bringing home a new plaything, a game-filled children’s “first computer” called Lilypad (Greta Lee). It quickly becomes apparent that this “device” has become the pre-teen’s obsession, taking away all “playtime’ with the toys. After deputizing Buzz, Jessie puts in a call to the AWOL (from TS 4) Woody (Tom Hanks). But Lilly has her own agenda, and connects Bonnie with her dance classmates, who invite her to a sleepover. In an effort to tag along, Jessie and Bullseye the horse end up at a reminder of Jessie’s past heartbreak. Meanwhile, a confused Woody reunites with his pals and joins Buzz in a battle of wills with Lily. Can the gang finally get back together and triumph over the tech, or will they get “boxed up” and forgotten as Bonnie is swayed by the “screen”?

Yes, those rumblings online prove to be true: this is Jessie’s story. So, let’s let out a most appreciative yodel to the wonderful Ms. Cusack, who deftly mixes spunk, snark, boisterious energy, and sweet sentiment to everybody’s (this’ll grow the fanbase) favorite ginger cowgirl. Of course, it helps that the story builds on one of the greatest scenes of the series, the “backstory” of her first “kid,” Emily. It’s no wonder that “Andy’s gang” flourishes with her as the new “sheriff”. It’s great that Jessie has much more depth here than in the last installment, which also goes for her romantic “pardner'” Buzz. Allen brings some of that original bravado tinged with trepidation as he struggles to find the “right moment” to express his feelings. And, of course, Hanks is terrific as the more “mature” Woody, complete with poncho and “bare” pate spot. As for the new additions, Lee as Lily, has a soothing “singsong” quality which gives a great passive-aggressive tone to her “burns’ and boasts about “hooking” Bonnie. Spears melts our hearts as Bonnie, and is a sweet “play pal” to another “newbie” Blaze, given a rowdy tone by Mykal-Michelle Harris. But the most interesting and funniest new “old” toy (he’s a big “plot propeller”) is Smarty Pants, a friendly old school low-tech “potty-trainer” blessed with the sneering sarcasism and caustic comic timing of Conan O’Brien. In such an impressive ensemble of talent, he might be the supreme scene-stealer.

Though he’s been part of the screen stories for all of this series, this film marks the first to be directed by Andrew Stanton, sharing the “chair” with McKenna Harris (both wrote the script). This duo expertly balances the comic interplay with the characters with a whole lot of heart (again, Jessie’s history, along with Bonnie’s “social challenges”) along with a rollicking adventure structure (the ole’ heroes’ journey). While many fans have slammed Pixar for “falling back” on sequels (hopefully this year’s successful HOPPERS silenced some of the most vocal), here they’ve found a great way to return to the “toy box” via an important message concerning a current parenting quandary. The “screens” are dazzling the toddlers, so how does this affect personal interactions? The filmmakers have crafted a timely tale that addresses this, while never preaching, and promoting a balance. Plus, they’ve given a new “spin” on the usual “villain” tropes of the series (Sid in #1, Al and Pete in #2, Lotso in #3, and Gabby Gabby in the last one), so they avoid a “retread” and allow for an engaging redemption arc. Of course, the animation is splendid with expert physical acting, wonderful character design (even the minor humans and animals), and superb background renderings from suburbia to a lush ranch, with a tropical ‘stopover”. While many early viewers have stated that this is the best of the franchise (it doesn’t match TS2, though that’s an incredibly “high bar” to surpass), it is true “family entertainment” of the highest quality (miles from a “churned out” “cash-grab”). The artisan wizards of Emeryville have dazzled us once more, bringing wonderful wit and relevance to the beloved movie icons that “started it all” way back at the end of the last century (whew) with TOY STORY 5. Now that’s some quality “playtime”…

3.5 Out of 4

TOY STORY 5 is now playing in theatres everywhere

THE SUPER MARIO GALAXY MOVIE – Review

April brings those showers, which may bring May flowers, and bring big box office returns for the movie studios. That’s because one of Pixar’s biggest rivals, Illumination Animation, is joining them in getting a two-month head start on the race for the usual Summer cartoon feature crown. Before Ryan Gosling blasted into space, Pixar’s HOPPERS ruled the multiplex. Now this new flick isn’t another entry in Illumination’s almost unlimited franchise DESPICABLE ME, nor those MINIONS. The studio has acquired some notable IPs, mainly the literary library of Dr. Seuss. But its biggest “get” was the deal with Nintendo, which spawned a worldwide ticket-buying tsunami almost three years ago. And so it’s no huge surprise that those heroic pumbers and their pals have returned in THE SUPER MARIO GALAXY MOVIE. Game on…

This one begins in a different world as Princess Rosalina (voice of Brie Larson) is getting the glowing star-like creatures called Lumas ready for bed (after a story, of course). But the “quiet time” is shattered by the arrival of a hulking robot/tank outside the castle. After a valiant effort, Rosalina is captured by the operator of the “war machine”, Bowser, Jr. (Benny Safdie). But one of the frightened Lumas manages to escape. Meanwhile, in the Mushroom Kingdom, those Brooklyn-born brother plumbers, Mario (Chris Pratt) and Luigi (Charlie Day), are “on call”, along with a new assistant, the green baby-dinosaur-like creature Yoshi (Donald Glover), who can swallow almost anything and discharge it through his body in an egg. Mario’s a bit preoccupied since the big birthday celebration for Princess Peach (Anja Taylor-Joy) is later that day (he wants to give her a parasol and …his heart). The party is crashed by the escaped Luma, who tells them of the attack by Bowser’s son. Peach decides to mount a rescue of her “long lost” sister (they separated when Peach was a toddler), but they’ll need to bring along an unlikely ally, the now imprisoned and minaturized Bowser, Sr. (Jack Black). But can he really be trusted? And can this motley crew, including the mushroom Toad (Keegan Michael-Key), find Rosalina before Bowser, Jr. drains her of her magic energy, despite the addition of a new ally, the swashbuckling space pilot Fox McCloud (Glen Powell) and his flying squad?

Well, as is said with many sequels and franchise installments, if you enjoyed the first one, you’ll probably like this one (I suppose you could also say that about fast food spots, really). I wish I could work up more enthusiasm (mine is easy to “curb”), but I haven’t been part of Mario’s world since dropping many, many quarters in various arcade devices right after college (you can probably guess the year). And this flick feels as though you’re standing over somebody’s shoulder who is very…uh… proficient with the joystick (I’m stifling a “heh. heh.”) But then the youngsters love to watch countless streaming videos of folks racking up the big “scores’ on the games. So, this will easily satisfy the legions of fans, but there’s little to hook those “uninitiated”. Mind you, from an animation aficionado’s viewpoint, the look of the movie is pretty spectacular, packed to the brim with colors and bursting effects that seem to break out of the big screen. The script is just so-so, with most of the best lines going to Black and Safdie as the “Bowser bunch”. The returning voices are on the same level as the 2023 original. The new additions aren’t given much of a chance to shine, as Larson is in her MCU mode, while Powell is a more energetic “space jockey (think a younger “harrier” Han Solo). There are a couple of “name” cameos (Luis Guzman and Issa Rae), but I was pleased about a few cartoon voice vets who scored big roles, namely Kevin Michael Richardson as the wizard-like Kamek. The same trio of directors also returns, stuffing the film to the brim (and spilling over a bit) with settings and side characters, some extremely sweet (my teeth) and cute, from the popular game series, so the wee ones will be engaged, while the near-nonstop bouncing and frenetic stunts might pummel the “civilians” into slumber. I can respect the craft, though it all feels like an effort to re-energize the “brand” while not trying to expand its scope. But why am I kvetching, since it should swiftly zip past the billion-dollar box office mark, with another epic already being planned? Still, it would be nice if it grabbed us in the “feels” like those “returning soon” toys and those HOPPERS. While those die-hard players will give it unlimited stars, I can only muster up…

2 Out of 4

THE SUPER MARIO GALAXY MOVIE is now playing in theatres everywhere

A MAGNIFICENT LIFE – Review

We’re still officially a couple of months away from the big Summer movie season, so it’s interesting that one of its staples, the animated feature film, is having quite a successful 2026 (at least the first quarter). After the sports-themed smash from Sony, GOAT, Pixar is scoring (another sports term) big with HOPPERS. It’s still in the top five, a win (again) after their last few original (non-sequel) projects have fizzled. So, now let’s turn to a subject more familiar to the “art house”. Those mentioned flicks are in the usual cartoon genre of slapstick “funny animal” comedy. This week’s wide (select theatres, for sure) is in the “biopic” genre, a nonfiction animated film. It’s not a first as FLEE garnered three Oscar noms five years ago, and 2007’s PERSEPOLIS was a critical hit. Ah, but here’s a twist: the focus here is on a moviemaker, a writer-turned-director. And though he had his struggles, you will probably agree that this man lived A MAGNIFICENT LIFE.

The man in question is French stage and screen icon Marcel Pagnol. We first meet him close to the end of his career, when he “fell out of fashion” in the early 1960s. His latest play isn’t “putting butts in the seats”. After a party, he goes to his opulent home to “tinker” with another of his “perpetual motion machines”. His work is interrupted by the maid, who informs him that a messenger has arrived to pick up his autobiographical piece for a publisher. Ah, he sees that the carrier’s bike needs fixing, so he sends down some tools to “stall” him. Luckily, Marcel’s “muse” finally appears, a “memory-ghost” of himself as a boy of nine or ten. The lad guides him through his life, growing up near Marseille, clashing with his papa over a career pursuit while adoring his mother, who is taken from him far too soon. Eventually, Marcel teaches Latin at the local grade school, but he yearns to be a writer for the stage. After marrying, he and his new bride are swept up by the delights of Paris, where Marcel tries to get his work into a theatre. After returning to teaching, he’s given a chance, though his marriage crumbles. Eventually, Marcel is tapped by the budding local film industry and soon becomes a director and a studio head, opening a facility near his hometown. Over the years, he bonds with the famed actor Raimu, deals with the Nazi invasion in WWII, and begins a new romance with a lovely young actress. The memories fuel his pen, but can Marcel finish his tome before the delivery boy rings the doorbell to collect this rushed memoir?

It’s truly appropriate that the story of this wonderful artist is told by another wonderful artist, master filmmaker Sylvain Chomet. He adapted Pangol’s memoirs for this engaging screenplay. It’s another aspect of his considerable talents, displayed in this, his third animated feature film after the Oscar-nominated gems, THE TRIPLETS OF BELLEVILLE (so delightful) and THE ILLUSIONIST (almost a comedy from the silent era). Let’s hope this isn’t the final entry in a “trilogy”, as he is one of the best artisans continuing the glories of classical 2D “line-drawn” feature-length animation. Yes, there’s some stunning work in CGI out there, but it’s refreshing to see these detailed line renderings brought to swirling life. Chomet evokes the history of historical caricature in his interpretation of these giants of French cinema, in front of and behind the camera. There’s even a touch of puppetry, as the heads are slightly out of proportion to the bodies, much like marionettes. This captures the emotions, since there’s not the manic action of most animation (a criticism from some), but the superb physical acting, especially the gestures and body language, really immerses us in the Pangol legacy. And yes, there’s a bit of computer tweaking with props and backdrops, and a couple of funny animals (who look and behave like, well, animals), but this stretches and expands the medium. Chomet also evokes the era by bringing the Art Deco-style magazine imagery of the 1920’s. And, there’s also the clever use of the real live-action footage when we see Pangol’s work on a movie screen or an editing device. Kudos also to the excellent vocal performances, led by Laurent Laffite as the adult Marcel. In short, Chomet and his army of artisans create a magnificent and moving tapestry of A MAGNIFICENT LIFE. Or should I be brief and just say “Magnifique”?


4 Out of 4

A MAGNIFICENT LIFE is now playing in select theatres

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