Tag: Animated Features

HOPPERS – Review

At last, the cruel, cold winter is giving way to a fast-approaching Spring (at least for most of the country). And what do many young men’s (and ladies’) fancies turn to, other than a amor? Why, going back to nature, naturally (see what I did there). Well, it just so happens that for their 30th (wow) feature film, those digital animation gurus at Pixar have fashioned a story about going back to nature in the most literal and fantastical way possible. Wth a bit of science fiction magic, this movie’s young heroine can comingle and even communicate (stop me before I launch into that catchy tune, “If I Could Talk to the Animals”) with the woodland critters that she’s watched from afar. Yes, that includes frogs, though they’re not the story’s main focus, nor are they the inspiration for this flick’s title, HOPPERS.


As this modern fable begins, we meet the aforementioned heroine, Mabel, in the Beaverton grade school system (she’s maybe eight or nine) as she embarks on her mission (and not the first attempt) to liberate the many “class animal pets” from their cages, aquariums, and other “jails”. She’s soon sent home with her mom, who, in turn, takes her to her adored grandmother Tanaka (voice of Karen Hule). To calm down the child, they sit on a big rock near a pond in the forest behind Granny’s home. Mabel is spellbound as she watches the water with a beaver dam at its center. Fast forward about ten years or so, as now 19-year-old Mabel (Piper Curda) still enjoys the tranquility of that sweet spot, even though Grandma” T has passed on. But the quiet is soon shattered by a noisy construction crew, determined to complete a big highway and pave over the place. It’s the dream project of Mabel’s constant nemesis, the affable Beavertown mayor, Jerry Generazzo (Jon Hamm). Since all the wildlife has left the pond, it’s fair game for the “improvement”. After failing to get enough signatures on a petition to stop them, Mabel heads over to the college (she’s a frequent “class-skipper”) to enlist the aid of Professor “Sam” Fairfax (Kathy Najimy), who explains that a single beaver could bring back all the animals. Mabel decides that she’ll try to lure and trap a beaver…and it works! One shows up, but he ignores the bait and scampers away to the Prof’s campus lab!


It turns out that, to observe the wildlife, Sam and her two aides have created a robotic beaver connected to a device (looks like one of those big “oldie” hair dryers) that can transfer(or the “hop”) the consciousness from a sleeping human subject to the “bot”. Oh, and the facimilile can talk with and understand all the critters. Of course, Mabel “borrows” the gizmo and literally “high-tails it” to the forest. There she learns of the woodland society, ruled (in a nice way) by the “king of the mammals”, a beaver named George (Bobby Moynihan). Mabel bonds with him and convinces George to unite with the other royal leaders (birds, bugs, fish, and reptiles) to stop the impending construction destruction. But when a decision is made to eliminate the “Human King,” Mabel must try to save her arch enemy, all while avoiding Sam and her staff’s attempts to retrieve their device, and wake up the sleeping real Mabel. Suddenly, there’s more at stake than saving that “watering hole”!

After hitting a major bump in their “original” film slate (yes, I don’t count the big sequels) last Summer with ELIO, Pixar comes roaring back with this truly “all ages” cartoon comedy classic. Oh yes, it brings the laughs, but they haven’t neglected the heart (Mabel and Granny’s super-strong bond), and even a message sneaks in (we’re never pummelled by the ecology themes). Again, the studio doesn’t showcase lots of “big name superstars” for the marquee and marketing value, instead opting for a solid cast at the microphone, though a certain “multiple-Oscar-winner” spreads her “wings” (hint, hint). Curda’s an energetic lead hero with lots of “spunk”, while Moynahn makes the most out of his good-natured charm that we saw during his stint on SNL (and he’s not the only “8H’ vet). Leading man Hamm flexes his comedic chops and continues to be a big audio asset (this is his fourth toon gig). I thoroughly enjoyed Najimy even as some of her Peggy Hill (TV’s “King of the Hill”) seeped in, especially as Sam is flummoxed by Mabel (“No! This is nothing like AVATAR!!”). And kudos for all the cartoon voice vets in the incidental animal extras. Oh, and speaking of “ear candy”, what a terrific bouncy score from kids’ TV icon (“Pee Wee’s Playhouse”) Mark Mothersbaugh!


So, which of the gifted minds in Emoryville concocted this bit of delirious entertainment? Hard to believe that this is the theatrical feature directing debut of Daniel Chong (creator of TV’s “We Bare Bears”), who co-wrote the screenplay with Jesse Andrews (ME AND EARL AND THE DYING GIRL). Sure, there are some “lifted” elements, like the earlier-mentioned AVATAR mixed in with lots of DR. DOLITTLE (all incarnations), but they take the old trope conflict of nature versus commerce, and give it a refreshing spin (the bulldozing baddie is really a fairly nice fella). The script is truly lifted to the heights and beyond by the superior visuals that truly dazzle. The Pixar “pack” has really “upped” the level of sophisticated animation acting here. A third act sequence with Jerry being “taken over” has facial exaggeration and body movement that harkens to the works of “toon masters” like Bob Clampett and “Tex” Avery (I think it would work very well without the audio). I must mention the interesting “coding” of the critters. When Mabel is in the “device,” the animals have big eyes with lots of prominent white while gesturing wildly. But to those in “reality”, the wildlife isn’t nearly as wild, as they move with a slower pace, and the eyes are more or less dark brown dots. The design and some “takes” of the humans seem to be influenced by anime (much like what we saw in LUCA and TURNING RED). The overall look of all the characters is lots of fun (now I can call out the “eye candy”), and they mesh expertly with the lush backgrounds (that’s one beautiful forest). Again, this is “all ages” entertainment at its zenith, delivering a great original Pixar “fix” before another big sequel in a few months. I suppose I should end this by saying film fans should run, no walk briskly, rather than hop to the multiplex for HOPPERS.

3.5 Out of 4

HOPPERS is now playing in theatres everywhere.

SCARLET – Review

2026 is turning out to be a big year for those fans of the bard, but then, William “Big Bill” Shakespeare has never really had a bad year in popular culture, and we’re not talking years, but centuries. And not merely on stage, the first venue for his works, but in the movies. Now, many films are “line-for-line” adaptations, while others have used his themes as a “starting point”, much like WEST SIDE STORY, which has had its “progeny” (GNOMEO AND JULIET). Of the scribe’s plays, it’s “Hamlet” that seems to be this year’s big “inspiration”. Though it was technically a 2025 release, it’s almost a “sure bet” that HAMNET will snag some Oscar gold. That story of the “melancholy dame” has even been translated into animation. Yes, way back in 1994, there was THE LION KING (which got sequels and a CGI “live-action” remake), but now it’s getting another animated “spin”, though it’s closer to anime. And there’s a “gender swap” too, as its title character is a princess named SCARLET.


As the story begins, Princess Scarlet (voice of Man Ashida) is wandering alone through a dusty desert. The desolation ends when she is dragged down a watering hole by gnarled, claw-like hands. An elderly woman appears to tell her that she is in the “Otherworld”, a limbo-like region for the recently deceased, before their journey ends either dissolving into “nothingness” or basking in the heavenly afterlife of “Infinite-land”. Scarlet screams at the old woman, explaining that she can’t be dead, which prompts her to think about her past life. In 16th-century Denmark, she is the only daughter to kindly King Amulet (Masachika Ichimura), a widower who weds the cruel Gertrude (Yuki Saito). She plots with the king’s envious brother, Claudius (Koji Yakusho). Soon their plot to seize the throne succeeds when Amulet is framed for criminal misdeeds and is executed. A distraught Scarlet devotes herself to becoming a fierce fighter, with fists and swords. The conflict erupts at a big celebration ball when we see that a potion is poured into a goblet. Cut to Scarlet writhing in agony, then back to the Otherworld as she frees herself. Along the barren landscape, she encounters strangers from many eras (bandits with guns, camel caravans, etc.). Then, somehow, she bonds with a paramedic, a young man from modern-day Japan named Hijiri (Masaki Okada). He wants to continue healing others, while Scarlet embarks on a trail of revenge when she learns that Claudius and several of his underlings are also in this weird place. Can this mismatched duo work together in order to enter the Infinite-land, or will Scarlet’s uncle triumph? And is there a chance either or both will return to the land of the living?

This imaginative spin on a classic was written and directed by Mamoru Hosoda, who gifted moviegoers with another unique artistic interpretation a few years ago with his “Beauty and the Beast”-inspired BELLE. Huzzah to his dedication to classic drawn animation, which he has cleverly integrated with modern tech to provide detailed textures to figures and backdrops. It also stylistically separates the two “worlds” that Scarlet occupies. The real Denmark has a linear look resembling a children’s book illustration from early in the last century. The “in-between” Otherworld has a more “lived-in” appearance as each traveler carries the dust, dirt, and “mileage” of their journeys. Hosoda also provides a nice “tribute” to a couple of celebrated cartoon “gizmos” from the Fleischer Brothers Studio, a rival to Disney from the 1920s to the 1940s (the creators of Betty Boop, who also made the first screen incarnations of Popeye and Superman). At a couple of points in the story, we’re treated to elaborate dance numbers with characters whose renderings seem to be drawn over live footage of dancers, much like the use of “rotoscoping” (tracing over film of live actors) as used by many “Golden Age” US studios. Also, for heightened dramatic effect, Hosoda utilizes photographs and miniature sets, much as the Fleischers did by framing their clear cartoon drawings against tiny sets on a turntable (an early 3D feel). But these flourishes would falter without the superb storytelling and the expertly crafted staging and movement (concise acting and gesturing), from the quiet moments of the romance between Scarlet and Hijiri to the violent battle set pieces (the princess is quite a fighter). Yes, there are some tropes here from the anime world (the principals scream with wide-open mouths), but it never detracts from this fable of the afterlife. For lovers of animation who want something beyond the usual slapstick and adorable animals, Scarlet is quite an engaging cinematic fantasy.

3 out of 4

SCARLET opens in select theatres on Friday, February 6, 2026

ZOOTOPIA 2 – Review

What’s this? Or maybe I should say, “What’s gnu?”. We’re almost at the end of the year, and we’ve got a flick that hits the usual Summer “sweet spot” twice. Yes, this is an animated feature, and it’s a sequel, though it’s been nine (!) years since the original opened, time enough for a whole new “moviegoer generation” (back before home video, Disney would re-release their classics every seven years, as a kind of “turn-over”). And much like the return of THE BAD GUYS, we’re back in a world without humans, just cute (mostly) adorable animals. And at the heart of the story is a most unlikely, very odd couple. Oh, and now they’re both “on the force”, so it’s “buddy cop” movie, too. The “Mouse House” hopes that everyone will want to join them on their new “case” in ZOOTOPIA 2.


After a brief flashback back to the finale of the original, we’re soon return to the wild streets of “Tundra Town” in Zootopia with Det. Judy Hopps (voice of Ginnifer Goodwin) and her partner Det. Nick Wilde (Jason Bateman). Somehow the bust of a smuggling ring goes, well,”bust” as the bunny and fox end up destroying the statue of the beloved creator of the “Weather Wall” (which generates vastly different climates with the city, that allows the various mammals to co-exist). Of course, they’re reprimanded by their boss, Chief Bogo (Idris Elba) and taken off patrol duty (riding a desk). But does this stop the ever-upbeat and curious Hopps? No, she spots a logo on footage of the smuggler’s van that connects it to a big fancy museum gala that will showcase the original design book of that Weather Wall with the offspring of the inventor, the wealthy and powerful Lynxley family in attendance. Hopps and Wilde don disguises and sneak in. But just as Hopps has a friendly meet up with the less-celebrated of those heirs, the bumbling shy Pawbert (Andy Samberg), someone cuts the lights and the treasured book is snatched. The police duo corner the thief, who is revealed to be a pit viper named Gary De’Snake (Ke Huy Quan). How can this be? Reptiles were banished from Zootopia years ago. When Gary escapes, Hopps and Wilde must use all their sleuthing skills to learn the true origins of their home, before sinister forces destroy it.


Wisely the producers have assembled a stellar vocal cast mixing the usual celebrity “star” roster with a few cartoon voice vets like Maurice LaMarche (forever “The Brain”), Bob Bergen, and Debra Monk. Since he’s been so prolific “behind the mike” we could add Patrick Warburton, who is quite funny as actor turned politico Mayor Windancer ( love how he constantly whips his mane), along with Alan Tudyk (the studio’s “good luck charm”) as several supporting characters. As for the “big names”, Goodwin and Bateman are still are a terrific pairing as Hopps and Wilde with her sprite-like sunny energy and his laid-back cool. Ditto for Elba’s intimidating, “bass-heavy” Bogo. A few of the “newbies” really shine. Quan gives the slithery Gary a real sweetness as he tries to toss away his species’ “bad rep”. Samberg conveys a needy, goofy quality as Pawbert. As his father Milton Linxley, David Strathairn, is quite effective as the impossible to please tyrant of a papa. Another big addition comes from the world of stand-up as comic Fortune Feimster puts an energetic, frantic spin on the conspiracy-lovin’ podcast-hostin’ beaver, Nibbles Maplestick.

The directing team of Jared Bush (who doubles as screenwriter) and Byron Howard return to ensure the same excellent artistry of the original. This film will benefit from multiple viewings, since it’s almost impossible to consume all of the “eye candy” that fills nearly every frame with witty visual puns and bombastic sight gags. Everywhere, there’s a pun-filled sign or an interestingly garbed animal engaging in a wacky bit of business. Of course, the latter begins with the superb character design, ranging from towering elephants and rhinos to the diminutive mice and moles. The artisans really had a “field day” with Gary whose elastic coiling torso balances an almost angelic face (even with the fangs). But then all of the physical acting (such emotive gestures) are top-notch. Michael Giacchino contributes a score nearly as light and bouncy as his work on the Fantastic Four flick. Critter-loving kiddies should be in “hog heaven” as they ID the astounding variety on screen, though the too-convoluted conspiracy plot line (almost a stumper for Benoit Blanc) may leave them lost in the various twists and turns (simple’s always better, along with a slightly-shorter runtime). Otherwise, this is a superior bit of family entertainment, ZOOTOPIA 2 is a nice extra dessert (along with that pumpkin pie) for this Thanksgiving.

3 Out of 4

ZOOTOPIA 2 arrives in theatres everywhere on Wednesday, November 26, 2025

NE ZHA II – Review

As we reach the end of the big Summer cinema season of 2025, feature animation fans have had a variety of entries to savor. Though the biggest hits have been the “live action” adaptations of HOW TO TRAIN YOUR DRAGON and LILO & STITCH, mind you, the filmmakers utilized realistic computer techniques to render the latter’s title co-star and the winged beasties of the former, there have been a few fully “created from pencil and computer” flicks. Near the start of the year, we saw a hit family film based on the DOG MAN book series, while in the last few weeks, we’ve been treated to another visit from the SMURFS and those BAD GUYS. Perhaps the greatest work may be an extension of a long-running live-action series with PREDATOR: KILLER OF KILLERS. One segment of it was set in feudal Japan. Now, if that piqued your interest in more furious martial arts action, then that indie powerhouse A24 has just the movie for you. They’re releasing to theatres the dubbed-into-English box-office blockbuster (the biggest one in China ever) sequel NE ZHA II.

And it hits the ground running, and leaping, and punching. From that previous film, we see that the demon-like Ne Zha and angelic Ao Bing are without bodies. Luckily, Master Taiyi Zhenren is overseeing the villagers of Chentang Pass, who are mixing up a gelatinous goo that will form their new physical body “hosts”. Unfortunately, Bing’s forming body is destroyed while defending the town from an attack by three of the Dragon Kings. But his spirit is sent into the body of Zha. His parents, Lady Yin and Li Jing, send him with Taiyi aboard his flying pig on a quest to regain his immortality and split up the personalities. But they’ll have to face a series of trials and tests set up by Wuliang of the heavenly Chan set in order to acquire the needed magic potion for Bing. Ah. but things get complicated as his nefarious father, Ao Guang, actually the Dragon King of the East Sea, is preparing an attack, leading an army of undersea hybrids. Several decptions and double-crosses culminate in a battle for the planet with an advancing heavenly army and a fiery cauldron that creates elixers to confront the dragon forces and the increasingly more powerful Ne Zha.

To say that the film is visually stunning doesn’t really describe the amazing artistry that went into this. It’s told in now-traditional computer animation with incredible attention to detail along with some glorious effects (fire, oceans, etc.), and superb character design, especially the snake-like sea dragons. Unfortunately, that’s most of what stayed with me after the very lengthy 143-minute runtime. The story seems to be zipping in several directions all at once, making it jumbled and confusing. The only “big name” voice actor in this English “dub” is the always compelling Michelle Yeoh as the ethereal beauty Lady Yin. The other vocal talent often sounds as though they’re playing “catch up” with the exaggerated mouth movements. It’s especially the case with the motor-mouthed Taiyi (often a gluttenous bufoon) and the ill-tempered at times Ne Zha, who resembles so many anime tots. What really surprised me was the barrage of bodily fluid and functions gags (literally) that really try to elicit strained laughter or “gross-ou” groans. I did enjoy one comedy sequence in which Yin and Jing try to come up with the “perfect image” of Ne, going from muscle-bound behemoth to cuddily cute ragmuffin. This film is an interesting look at an action-adventure cartoon tale (well, the battle with the marmot tribe is pretty good) that may fascinate animation aficionados, but the average filmgoer may be baffled and a little dumfounded (maybe “brain-numb”) by the “eye candy” on display in NE ZHA II.

1.5 Out of 4

NE ZHA II is now playing in select theatres

ELIO – Review

They’ve had their time in the sun (the multiplex, actually), so move over live-action adaptations, and make room for a fully animated feature film (so the humans are behind the microphones). After scoring lasr Summer with the box office juggernaut INSIDE OUT 2, the artists of Emoryville, California, are back. But, hold on to your computer monitors, this weekend’s new release is indeed “new”, as in not a sequel (or prequel or “spin-off”. This is the first flick without a number in the title in over two years, when we entered the world of ELEMENTAL, which didn’t have a spectacular opening weekend, but stayed in the B.O. top ten for many weeks. Now this world is a tad familiar, as Pixar returns to space again, after the iconic WALL-E and the misguided LIGHTYEAR (oh well, he’ll always be integral to the TOY STORY series). Really, this is a bit of both, or all, worlds as much of this adventure begins on Earth, birthplace of the story’s focus, ELIO.

When we first meet the title character, a pre-teen lad called Elio (voice of Yonas Kibreab), he’s having a tough time adjusting to life without his recently departed mother and father. But luckily, he’s been taken in by his aunt Olga (Zoe Saldana), an Air Force major stationed at a base that tracks space debris. And that’s where sad little Elio really wants to relocate, outer space. Or any other planet than his home world. In the opening scene, he sneaks away from his “tia” to view a special museum exhibit all about the 1977 Voyager space probe. He soon becomes obsessed with tracking it and using the device to contact alien life. And when one of Olga’s equally fervent co-workers, Gunther Melmac (Brendan Hunt) thinks he’s picked up an alien transmission, Elio sneaks to his computer and sends out his own message to “anyone out there”. Which causes a big power outage and nearly gets Olga dismissed (she’s already given up on becoming an astronaut). This, and a recent “dust-up” with two other kids over a “ham” radio, prompts Olga to send her nephew off to a military camp. Another altercation with the same kids is interrupted by a beam of light that freezes his tormentors and sends Elio floating into a spaceship. There , he is greeted by a diverse group of aliens known as the “Communiverse”, who believe that Elio is the leader of Earth, which they’re considering admitting into the group. Ah, but there’s also another candidate. It’s the angry, armored warrior king from the planet Hylurg, Grigon (Brad Garrett). When he’s rejected, Grigon returns to his battle cruiser in order to organize his troops and return to conquer. Since the Communiverse would rather flee than fight, they prepare to send Elio back home. Thinking quickly, he convinces them that he can negotiate with Grigon. So they make an Earth-bound clone of Elio (using a gross source for DNA) and put him into a ship and send him back to the Hylurg star cruiser. When things go sideways, Elio is thrown into the “brig”, escapes, and meets Grigon’s timid young son, Glordon (Remy Edgerly), which leads to an unlikely friendship. Can the two new BFFS broker a truce? And will the clone somehow fool Aunt Olga back on Earth?


Once again, the braintrust at Pixar hasn’t embraced the notion of the current “hot celeb” casting for their vocal talent. Sure, there’s a recent Oscar winner, but this is a fairly unknown, though very talented, ensemble. In the lead role, Kibreab is a true ball of youthful energy threatening to explode as the boy embarking on his dream adventure, and possibly a new life. Sure, Elio has his moments of doubt, but Kibreab conveys his endearing optimism and his ability to “go with the flow”. He’s got great rapport with Saldana (in her first feature follow-up to taking the gold for EMILIA PEREZ), who is a warm, nurturing caregiver, also given to doubt in her choices as a suddenly new parent. And Kibreab has a great comedic “back and forth” with Edgerly as the adorable, sweet Glordon who blossoms with his new friendship even as he balks at his family’s plans. That future is spearheaded (ah, weaponry) by Garrett, who provides the gravelly threats as Glordon’s rage-fueled daddy, invoking memories of Buzz Lightyear’s nemesis, Emperor Zurg. But he’s still funny, especially as he mulls over his own parental concerns and decisions. Hunt is all manic frenzy as the conspiracy-crazed Melmac (perhaps a shout-out to 1980s TV icon “Alf”), a character who seems to have sprinted in from THE MITCHELLS VS. THE MACHINES. Plus, there’s terrific support from the vocalists behind the Communiverse, particularly Jameela Jamil and Shirley Henderson (a floating computer aide called OOOO).

This galaxy-spanning adventure apparently required a solid directing team to pilot its course. But it’s not a duo, but rather a trio of filmmakers, Adrian Molina, Madeline Sharafian, and Domee Shi, who guide Elio’s journey, from the map/screenplay of eight (!) authors. The Pixar artisans have again crafted a visual marvel, full of eye-popping landscapes, imaginative props (love the beverage cups and the living encyclopedia), and delightful designs of the alien races. The Communiverse delegates have distinctive looks (I was drawn to one that resembled a shifting smooth “paperweight” that Don Draper might have used at his desk) and Glordon who looked like one of those magnified “dust mites” crossed with a bald mole rat (a challenge for the animators since he had no eyes and his emotions are all conveyed form the mouth shapes and body language). The film is pushing its 3D version (unlike most other recent flicks), and I’m sorely tempted to check out the “up-convert” for the many scenes of floating and flying past the great backdrops. The human characters are also well done, though they seem to harken back to the “rounded” facial features seen in TURNING RED and especially LUCA, but just as expressive (yes, the “acting” is superb all around). The movie’s look often “makes up” for the screenplay’s wobbly structure. Yes, there are several terrific scenes inspired by sci-fi classics (E.T. is obvious at the camp’s forest, while the clone recalls the many “Body Snatchers” adaptations). Perhaps the script needed a couple more “passes” to flesh out the lead as he’s often too “single focused” and doesn’t evoke enough empathy, although he does reference his “lost” parents. They may have thought that this would add more dramatic weight to his third act “decision” that also builds on the finale of Spielberg’s 77 alien epic. The marketing folks are making many comparisons to COCO, but this doesn’t come close to that film’s emotional wallop (which packs a punch many years later). Still, it’s great to see that the studio isn’t putting all of its energy into sequels (mind you, they’re on the way), and they can still produce worlds that are so immersive and dazzling. So, for a fun, family trip away from the remakes, moviegoers will have a blast blasting off into the cosmos with ELIO.

3 out of 4

ELIO is now playing in theatres everywhere

WALLACE & GROMIT: VENGEANCE MOST FOWL – Review

Wallace & Gromit: Vengeance Most Fowl. Cr. Courtesy of Netflix © 2024

Happy New Year 2025 indeed, since it’s off to a “crackin’ good start’! And you’re no doubt wondering why? Well, premiering just 72 hours after the “ball drop” is the feature film return of one of the most beloved comedy teams on the planet. Now, it’s not another biopic set in Hollywood’s Golden Age ala STAN & OLLIE nor a Farrelly Brothers follow-up to THE THREE STOOGES. Mind you this duo has been entertaining audiences for over 35 years, starting with a couple of acclaimed shorts before making their first feature in 2017. Oh, did I not mention that they’re animated characters, rendered in clay? From “across the pond” it’s their full-length adventure from the artists of Aardman Animations Limited, WALLACE & GROMIT: VENGEANCE MOST FOWL. Put the kettle on and bring out the cheese…

This story begins with a flashback from over thirty years ago, near the end of the classic short subject, “Wallace & Gromit: The Wrong Trousers”. Gromit the dog watches silently as his best pal Wallace (voice of Ben Whitehead) phones the police after tying up the mastermind behind the Blue Diamond heist, the penguin known as Feathers McGraw. He’s swiftly brought to justice, locked up in a musty jail cell that opens into the Arctic animal habitat at the local zoo. But Feathers keeps in shape while waiting patiently for the perfect time to escape. Spring ahead to the present day as Gromit worries over the deluge of overdue bills in the “morning post”. Wallace doesn’t fret as he completes his newest creation that will rescue Gromit from toiling in the garden (which he actually enjoys). It’s a robotic groundskeeper resembling a garden gnome that he dubs “Norbot” (Reece Shearsmith). Several neighbors observe it making the backyard “neat and tidy” and inquire about renting its services. Aha! Financial problems are solved, though Gromit remains a bit leery of the grinning tech sprite. Soon the local media cover the story of Wallace’s gizmo, and Feathers catches a morning TV news crew segment. The “stars have aligned” as the local museum is about to bring out that Blue Diamond from the vault where it has been since the attempted theft, which is now the main interest of the soon-retiring original officer Chief Inspector Mackintosh (Peter Kay) and eager new PC Mukherjee (Lauren Patel). What happens when McGraw’s plan for revenge utilizes the Norbot and casts doubt on the honesty of its creator Wallace? Can even his dedicated and resourceful buddy Gromit hope to thwart this dastardly scheme?

Well. well, who should get the first bit of praise for this excellent entertainment? We may as well begin with the superb vocal ensemble led by an actor with a most daunting task. Namely, he had to take over the role of Wallace since his original much-beloved voice, Peter Sallis passed away in 2017. I’m happy to report that Mr. Whitehead is also quite charming as the eccentric inventor evoking just the right mix of childhood enthusiasm and endearing daffiness. He’s the ultimate “child-man” who delights in his toys but is often hurt when the world shuns him. Shearsmith is also gloriously goofy as Norbot with his awkward upbeat delivery even when he’s hiding a threat. As the defenders of the peace, Kay is a delightful fumbling “old school’ copper while Patel has a bubbly youthful zeal as she reminds her mentor of the “proper procedures” in a nice parody of the cop/buddy pairing of grizzled vets and “by the book” newbies’.

Now we need to laud the incredible team of craftspeople and artisans for creating the world of Yorkshire especially 62 West Wallaby Street (where Wallace works his wizardry). I was particularly “wowed” by the dazzling colors of the gardens and the intricate details of every dwelling, inside and out”. This touches on the props with everything from the furnishings to the transports (we get vans, motorcycles and racing boats). Happily, the characters move flawlessly with a touch of graceful physical movement much like classic clowns and gestures (of course Gromit’s deadpan evokes Buster Keaton, with a touch of Bob Newhart’s exasperated “takes”). Of course this would all be very impressive “eye candy” without the clever, witty script by Mark Burton and W&G’s creator Nick Park which deftly juggles vibrant visual gags, silly slapstick (love Wallace’s morning “bath flume”), smart satire (Feathers does a great “Max Cady” CAPE FEAR homage), tense action (a midnight hunt leads to an aquatic showdown), and a heart-tugging celebration of the unbreakable bond between the leads. It all works as an action comedy due to another team, the directing duo of Park and first-timer Merlin Crossingham (apropos moniker). They prove that an all-ages film can keep the whole family enthralled and engaged. These cartoon cutups have been around since 1989 and they still feel fresh, exciting, and hilarious. With this creative team in place, “firing on all cylinders”, let’s hope this will be the first of many new “inventor adventures”, though it’ll be tough to equal, let alone top, the wild, warm, and wacky WALLACE & GROMIT: VENGEANCE MOST FOWL.

4 Out of 4 stars

WALLACE & GROMIT: VENGEANCE MOST FOWL streams exclusively on Netflix beginning on Friday, January 3, 2025

MOANA 2 – Review

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

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

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

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

3 Out of 4

MOANA 2 is now playing in theatres everywhere

KUNG FU PANDA 4 – Review

Since we’re nearly into Spring Break season for students, the studios are gearing up to release some sequels (usually a Summer staple). I suppose you could consider last weekend’s DUNE: PART TWO a sequel, though it’s really the conclusion of the original story. Ah, but this weekend’s big studio release is the latest entry in a “tentpole”, a franchise that’s now a teenager (sweet sixteen). Plus it’s an “all-ages” series with a”PG” rating that parents are always searching for (he’s been MIA at the multiplex for eight years now). It’s not from the “Mouse House”, but rather their biggest animation rival for a time. And this was the character they created that truly worked for me (I’m not a fan of the look of the big green ogre’s exploits). Watch out, and hold on to your snacks, as Master Po is back, and hungry as always, in KUNG FU PANDA 4. Skadoosh!!

This new adventure begins with a “call back” of sorts when some hard-working mineral minors are menaced by an old foe who should be chilling in the afterlife. Cut from the prologue to the happy patrons of the noodle shop run by Mr. Ping (voice of James Hong) and Li Shan (Bryan Cranston) who are thrilled to meet the Dragon Warrior himself, Po (Jack Black). But the festivities are cut short by a surprise visit from Master Shifu (Dustin Hoffman). It seems that it’s time for Po to step up into the role of the spiritual leader of the valley creating the need for a new DW. Auditions are held, but Po isn’t quite ready to decide. Things get more complicated when he stops a skilled “sneak thief, a fox named Zhen (Awkwafina) from looting the Jade Museum. After she’s handed over to the jailer, those miners, from the opening scene, arrive to beg for help. Po is baffled that an old foe is back until Zhen mentions that this is the work of the shape-shifting master criminal The Chameleon (Viola Davis). Naturally, Zhen can lead Po right to her. The fox is put into his custody and soon the duo are on the way to her hometown, the bustling Juniper City. Along the way, they must hire a boat to take them across the vast sea. Unfortunately, the captain of such a vessel, is at a truly dangerous “dive bar”, the “Happy Rabbit”. But the danger really kicks (get it) in J.C. as they earn the wrath of the local police while trying to enlist the aid of Zhen’s old cohorts in the “Den of Thieves”. And with Ping and Li only a few hours behind him, can Po keep them all out of danger and defeat the devious, cunning Chameleon, or will his new temporary partner (the “Furious Five” are all battling evil elsewhere) pull a “fast one” on the lovable ursine?

So how can an actor be so energetic in a role he’s been “voicing” since 2008? Answer me that, Mr. Black! Perhaps that’s a big part of the near-universal appeal of the panda named Po. But it’s not all “hollerin’ and whoopin’ it up”, as Black shows us the sweet side of the bear, even giving us a touch of the caring teacher. That’s especially the case in his scenes with Zhen, whose streetwise, fast-talkin’ delivery comes from the very busy Awkwafina (this is her second Dreamworks character). Her wisecracks and “burns” keep pace with the fox’s manic slapstick, although we get some dramatic shading in the big finale. And the two are a terrific team, almost matched by Hong and Cranston as the two bickering but united “daddies”, an animalized “odd couple”. Well, there’s a third papa if you consider Hoffman’s Shifu who is still a perfect peeved straight man, er…red panda, to the exasperating Po. The story also benefits from a couple of inspired new voice actors. Ke Huy Quan is quite engaging as Zhen’s former “father figure” Han, the armadillo-like (a Sunda pangolin to be precise) who rolls about the underground lair of the underworld. It’s been said that a great villain reflects on the hero, and Davis is a treat as the regal, silky, sneering Chameleon who imbues venom into every command and taunt.

Making this sprawling action/fantasy yarn proved to be a task for two terrific directors, Stephanie Stine and Mike Mitchell, who deliver the comedy and the pathos with equal aplomb. The staging of the stunt setpieces is truly amazing, defying gravity and using it as another threat, as in the big brawl in the pub teetering on the edge of a cliff overlooking the sea (one character even asks, “Who thought this was a good location?”). The directing duo also guided an army of tremendous artisans in the look of the environments (Juniper City dazzles above and below ground) and the design of the new characters from shifty alligators to snarling wolves and even a trio of sadistic bunnies (shades of that white rabbit that bedeviled those Holy grail seekers). I was especially impressed by the constant flow of Juniper City foot (well paw and claw) traffic. The artistry is enhanced by a clever script that sports a few wild twists and a big finale that salutes the previous big-screen epics. Sure, some will be missing the “Furious Five”, but those returning characters and the new friends and enemies more than “take up the slack”. If desired this is a great send-off for the series, even as the end credits hint at a possible new direction(s). If we return to the Valley of Peace, audiences will be “pleased as Po” if they’re as well done (ala Ping’s noodles) as KUNG FU PANDA 4.

3 Out of 4

KUNG FU PANDA 4 is now playing in theatres everywhere

MIGRATION – Review

It’s the big holiday weekend, and for many families, it’s the perfect time for a big getaway. Oh, we’re not talking about a brief trek “over the river and through the woods”. Nope, how about a big excursion like the McCallister clan in the original HOME ALONE (Paris, sheesh somebody’s doing well)? Come to think of it, it’s strange that the Grisswalds don’t travel anywhere in CHRISTMAS VACATION, though Cousin Eddy drops in from afar. But I digress. Now if that’s what human families do, then how about animal families? To be more specific, those “fine feathered” families. Now in this new animated feature, it’s not ‘”yuletime”, but the temps are starting to fall prompting those web-footed folks to join a big southbound MIGRATION.


Oddly enough this story begins, actually, during storytime. Papa of the Mallards, Mack (voice of Kumail Nanjiani) relates a cautionary fable of ducks leaving the safety of the nest and flying to their doom to his kids, free-spirited pre-teen Dax (Casper Jennings) and sweet adorable baby sister Gwen (Tresi Gazal), all while mom Pam (Elizabeth Banks) rolls her eyes. She thinks that they should “expand their horizons” well past the comfy confines of the bucolic pond near Moose Lake in New England. Then, almost on cue, a flock of migrating ducks drops in for a brief respite. Of course, Dax falls for a cute duckling gal. After they leave, the family puts pressure on Mack, and…he gives in. They’ll catch up with the flock and join them on their journey to sunny Jamaica. And thanks to the pleading of Gwen, grumpy, sloppy old Uncle Dan (Danny DeVito) will also make the trip. The quintet takes to the skies and …heads in the wrong direction. After a detour to a dank swamp that’s home to a spooky but friendly heron named Erin (Carol Kane), the Mallards nearly fly right into the skyscrapers of NYC. There they encounter the boss of some hungry pigeons, Chump (Awkwafina), who, after a near rumble, takes them to a bird that can guide them to the Caribbean. Unfortunately, the exotic Delroy (Keegan-Michael Key) is locked up in a cage in the office above a trendy restaurant. Can they evade the knife-wielding chief and get back en route to paradise? Or will their final stop be inside a hot oven, covered not in suntan lotion, but in orange sauce?

Unfortunately, as with many major animated releases, the celebrity voice cast seems to be a big marketing point. Luckily there are several assured comic voices in use here. Nanjiani excels when Mac is in full over-protective panic mode. DeVito is perhaps our most endearing screen (big and small) grouch. Key is a bombastic delight as the ecstatic bird so far from home. There’s also some funny vocal work from David Mitchell as the yoga instructor/ rec-director of a place that seems like a spa retreat for ducks. Kane brings her zany quirk to the long-limbed Erin. Now, I’m a big fan of Awkwafina (she’s great in the underrated QUIZ LADY), but I’m wondering if she may want to take a voice-over “time out” as this is her eighth feature film (unless she’s hoping to follow in the legacy of the late great June Foray). Ah, but the look of the film is its real “selling point”. The backdrops are full of dazzling primary colors (those rich greens of the forest) in nature which make a terrific contrast with the looming dark canyons of the city and the stunning neons of its trendiest eatery. The character designs are also superb, making each duck unique, and giving some other fowl (Erin, Deroy) a nice “spindly” look as though their limb are bendable plastic tubing. But my favorite design may be the mute villain, the too-cool, muscle-bound, “fully-tatted” chief (love the diamond-shaped shades and the long platinum ponytail with gold hoops). Extra kudos for working in some terrific 2D-style animation in the movie’s “bedtime story” opening prologue. It’s just a shame that the story is not as unique. It’s an air-and-land riff on FINDING NEMO, as the Mallards encounter a new danger and learn lessons in teamwork and understanding others. The tiniest of moviegoers may be enthralled by the bouncy birds, manic action, and eye-popping backdrops, but this family’s not quite a “duck dynasty” in this occasionally amusing MIGRATION.


2.5 Out of 4


MIGRATION is now playing in theatres everywhere

TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM – Review

All right, perhaps this unifying theme for the 2023 Summer movie season is nostalgia. Sure, the multiplex is usually filled with sequels and reboots this time of year, but at this moment the studios appear to be trying to exploit the treasured properties of our youth, over several different generations. Last weekend it was a beloved ride/attraction which has been a staple at the happiest place(s) on Earth for over fifty years. However the box office (and WB record-breaker) for the last couple of weeks stretches back another ten years to engulf theatre lobbies in a title wave of pink (“This BARBIE’s gonna’ bust a billion bucks at the box office”). Now, this Wednesday’s (gettin’ a jump on the weekend) new release also has a toy connection, but that merch arrived well after the characters’ comic book debut in 1984 (which spawned a TV cartoon a couple of years later). Oh, and it’s their seventh theatrical feature film (quite a few straight-to-home video and streaming flicks), and like the 2007 entry, it’s fully animated (no “mo-cap CGI” or big rubber suits). Time to return to those NYC sewers with TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM. Cowabunga!

For this retelling, the film is indeed back in the Big Apple for a flashback in the secret lab of scientist Baxter Stockman (voice of Giancarlo Esposito) who is testing his weird glowing ooze on several animals. Well, until his grungy “crib” is invaded by the forces of TCRI, under orders from Cynthia Utrom (Maya Rudolph). Ah, surprisingly some of the enhanced creatures fight back. Flash forward to now as the TMNT quartet, Donatello (Micah Abbey), Raphael (Brady Noon), Michaelangelo (Shamon Brown Jr.), and the leader, Leonardo (Nicolas Cantu) go on a nighttime grocery run for their “papa”/mentor Splinter (Jackie Chan). Of course, things go awry when Leonardo is outvoted and the guys try to join the crowd at an outdoor movie screening in the park. Naturally, Splinter is furious at their late return and retells the story of how he found them as infants, raised them, trained them in martial arts, and how the humans above nearly destroyed them. Promising to be more careful, they go for another supply run and are spotted by the high school student and aspiring reporter April O’Neil (Ayo Edebiri). She is looking into a series of daring high-tech robberies that have spawned a curfew that may cancel the school prom. A smitten Leonardo decides that they should help out by thwarting the next big heist. Oh, but this puts the quartet in conflict with a nastier group of mutated critters, led by the powerful Superfly (Ice Cube). Can the teen turtles stop them and keep “under the radar”? More importantly, can they spring into action without angering Master Splinter?

Well, this witty retelling is certainly one of this year’s pleasant surprises. That may be due in large part to the new producers/handlers of this feature franchise, none other than the SUPERBAD duo of Evan Goldberg and Seth Rogan, along with James Weaver. And Evan and Seth were also part of the writing team adapting the creations of Peter Laird and Kevin Eastman (who get a couple of nice background visual “nods”). It’s obvious that the team has a great deal of affection for the source material, though they indulge in a few playful “tweaks” at the “mythology”. A big part of the “re-energizing” is the decision to have the teen turtles actually voiced by teenage actors (a couple of them have since aged past 18), giving the film a distinct sound as if we’re listening in on kids at a party “cracking wise” and “goofing” on each other. But Rogan also joins in on the fun as the voice of one of the “meanie mutants” along with screen vets Rose Byrne, Paul Rudd, and Hannibal Buress. The biggest “standouts” and scene stealers may be the two opposing “leaders”. We can imagine Ice Cube’s sneer (and see a bit in the rendering) as the swaggering Superfly. And could anyone be more “spot on” than Chan as the worrying, stern but sweet Master Splinter? Of course, all of that talent at the “mike” would be a really swell audiobook without the superb look and movement of the animation. Director Jeff Rowe (fresh off THE MITCHELLS VS. THE MACHINES, which isn’t as polished as this) with co-director Kyler Spears have taken a bit of inspiration from the first SPIDER-VERSE movie, to give the computer animation a real loose “sketchy” look. The outlines are constantly moving, often ‘sliding off” the mass of the figures as though they were scribbled by a pre-teen in the margins of his spiral notebook with colored markers or ballpoint pens. And inside those wriggling lines, the characters, mainly the turtles, have the look of clay models, especially when the light saturates them. It’s not as gorgeous as Miles and his pals, but it feels right for this urban adventure. As for that character design, the turtles don’t have the same standard body proportions even though they retain the identifying mask and belt colors. The same unique design works for O’Neil, though I wish they had eased up on the scenes of her panic “hurling” (c’mon we’re not back in BABYLON). I was tickled by the “free-standing” silver eyebrows of Splinter, while the Superfly crew looked equally fearsome and funny (loved SF’s torso claws). The pace is smooth, even as it gives in to the popular trend of having too many “endings” in the third act. It’s a minor quibble as this 2023 edition is a splendid revisit/restart that reminds us of the wacky exploits from nearly 40 years ago. Hopefully, the concession stand will be well stocked with pizza when the fans return to revel in TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM. Welcome back you “heroes on a half-shell”.


3 Out of 4


TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM begins playing in theatres everywhere on Wednesday, August 2, 2023