Tag: based on the book

PADDINGTON IN PERU – Review

Paddington in PADDINGTON IN PERU.

Although there are still a few weeks before most kids get their much anticipated Spring breaks, another “family-friendly” franchise flick arrives which hopes to give a bit of warmth to the chilly last weeks of Winter. Now December, and 2024, finished up with two such films, MUFASA: THE LION KING which is a rare sequel/prequel in Disney’s series, and another adventure of the video game superstar, SONIC THE HEDGEHOG 3. Like the latter, this new release is the third outing, and it also mixes a CGI-animated character in a live-action world. However, it also shares its origins with the current (for the last two weeks) box office champ DOG Man, which is based on a beloved series of children’s books. Now can the filmmakers score a rare “hat trick’ as the first sequel is so admired that it was ‘name-checked” at the end of the Nicholas Cage comedy THE UNBEARABLE WEIGHT OF MASSIVE TALENT? Perhaps that’s why they’re “shaking things up” with a change in locale as we join PADDINGTON IN PERU.


The film actually starts off in that exotic land with a short flashback as our hero Paddington the bear (voice of Ben Whishaw) has a last visit with his adored Aunt Lucy (voice of Imelda Staunton). Then it’s back to the present day as Paddington returns to his train station to obtain a photo, in a coin-automated booth, for a passport, which will confirm that he’s now a legal British citizen. Back at his home with the Browns, matriarch Mary (Emily Mortimer) is concerned that the family is drifting apart. Son Johnathan (Samuel Joslin) barely leaves his room as he invents gadgets to aid in his video game mania, while daughter Judy (Madeleine Harris) is (sigh) deciding on a college, Even papa Henry (Hugh Bonneville) is busy trying to impress his new American boss (who thinks he “plays it safe”) at the insurance company. A postal letter changes everything as Paddington gets news from the Reverend Mother (Olivia Colman) who runs the Home for Retired Bears in Peru. It seems that Aunt Lucy deeply misses him as her behavior has become increasingly odd. Paddington must return to his homeland, and the Browns will join him on the trip (that’ll show Henry’s new boss). But when they arrive the Reverend Mother informs them that Lucy wandered away, into the dense jungle. Later, Paddington visits her room and discovers a note with a map that leads to Rumi Rock. Grandmother Bird (Julie Walters) stays behind with the RM (she fears the outside world), as the Browns venture out to the village in hopes of hiring a guide and a boat. Luckily both appear as they meet Captain Hunter Cabot (Antonio Banderas) and his “first mate”, daughter Gina (Carla Tous). Ah, but things take a turn as he discovers that the map will take him to the fabled lost land of gold, El Dorado, which was sought by his greedy ancestors. Gina suspects her papa has “gold fever”, but can she ‘snap him out of it” before his zeal causes disaster for the Browns and prevents a reunion between Paddington and Lucy?


Although it’s been nearly eight years since our last cinema “visit”, the cast of regulars nimbly slip into their roles as though they were comfy slightly worn slippers. Whishaw still gives a mellow melodic gentle tone to the little bear’s “pipes”. Bonneville also brings lots of warmth to the bumbling, often befuddled, but caring patriarch. Harris and Joslin ease into the “young adult” stage of the Brown siblings. Walters is a grey-haired energetic dynamo as the plucky Granny Bird. Plus we get a nice cameo from Jim Broadbent as sage shopkeeper Mr. Gruber. As for the new “additions”, Mortimer takes over from Sally Hawkins as the sometimes melancholy (feeling the empty nest blues) matriarch, who provides a gentle “nudge” to point everyone in the correct direction. That’s when she’s not stifling a “swoon” over the dashing seafarer Cabot given the full swashbuckler swagger from the wry Banderas. He’s having a blast, especially when he’s donning wigs and period costumes to play the branches of the Cabot family tree. Tous is a terrific “level head” as she sees her papa “going for the gold”. Matching Banderas in the “embracing the silly” is the zany Colman, spicing up her lines with a sweet “sing-song” cheerfulness deftly parodying cinema’s “cute clergy” (crooning like a crazed maria from THE SOUND OF MUSIC), or evading inquiries with a vapid vagueness. These screen vets are happily enjoying a romp in the Paddington playground.

Oh, that playground has a new supervisor in director Dougal Wilson who takes the reigns from Paul King (who contributes to the whimsical screenplay). Thankfully he keeps the tone light and breezy presenting a magical timeless version of London while expanding the focus to present a very adventurous, slightly dangerous (the fishes nibble too much) classic pulp-novel version of Peru. Unfortunately, the pace lags a bit once the Browns are separated in the lush leafy jungle, and Cabot’s pursuit resembles a mix of the Looney Tunes Coyote and Indiana Jones (a boulder that seems to have a mind of its own) which may get the tykes a bit squirmy (a six or seven minute trim would’ve been a help). That and the lack of a great campy villain (miss you Phoenix B.) contributes to this being the weakest of the trilogy. But the standards set by the previous two are so high, especially among so much dreary family fare, that this is still an engaging watch. And really, we’d follow the Browns anywhere, especially when they join PADDINGTON IN PERU.


3 out of 4


PADDINGTON IN PERU opens in theatres everywhere on Friday, February 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

THE SUPREMES AT EARL’S ALL-YOU-CAN-EAT – Review

Okay all you music biopic fans, just keep reading the title past the first two words. This should give you a hint that it’s not the “rags to riches” tale of the 60s talented titanic trio from Motown. Actually, this story is set quite a distance from Detroit. way down in North Carolina. And yes, much of the flashback sequences are set in the 1960s, but the title refers to a nickname given to three childhood friends. And if you’d guess that the ploy revolves around their “ups and downs”, romances and challenges, well you’re perhaps familiar with the novel this film is based upon…or you picked up the gist of it from the poster. So, get those tissues ready to wipe away the tears inspired by THE SUPREMES AT EARL’S ALL-YOU-CAN-EAT.

After a brief flash-forward, the film focused on three middle-aged women strolling toward the aforementioned eatery. Then it’s a whiplash-inducing flashback to the birth of the three. We then zoom ahead to 1968 as the free-spirited Odette (Kyanna Simone) cheers on best pal Clarice (Abigail Achiri) at her piano recital. Afterward, at Odette’s house, the duo discuss Clarice’s plans to become a big recording artist in NYC, post-high school graduation. But first, they’ll meet their beaus at the town gathering spot, Earl’s. Not so fast as Odette’s mama insists that they drop off a cooked chicken at the home of classmate Barbara Jean (Tati Gabrielle), whose mother has just passed away. The girls protest, but agree to a quick “side trip”. At Barbara Jean’s squalid shack, the girls are alarmed by her “handsy” stepdad and they whisk her away. Seeing the trio at his diner’s entrance, the owner, “Big Earl”, dubs them “The Supremes”. After telling him of BJ’s dire situation, Earl offers up his absent daughter’s (she’s in college) bedroom. All this occurs after Clarice meets up with her fella’ Richmond (Xavier Mills), who has a “roving eye”, and his pal, and prospective beau for Odette, the stoic, almost silent, James (Dijon Means). In the next few years, Odette and Clarice settle down with Richmond and James, while Barbara Jean is courted by the older Lester (Cleveland Berto) as she engages in a secret romance with the white busboy at Earl’s, Ray AKA “Chick” (Ryan Paynter). The film breaks up the flashbacks to the present day of 1998 as Clarise (Uzo Aduba) deals with the affairs of hubby Richmond (Russell Hornsby), Barbara Jean (Sanaa Lathan) drifts back into alcoholism due to the tragic loss of hubby Lester (Vondie Curtis-Hall), and the usually strong Odette (Aunjanue Ellis-Taylor) tries to keep a major health crisis secret from her pals and policeman hubby James (Mekhi Phifer). Can this lifelong friendship survive this very difficult time or will they disband like their musical namesake?

The film benefits greatly from its strong ensemble cast. Or should I say dual casts, as we have strong performances from both teenage and middle-aged versions of the characters? It’s established early on, that the main focus of the story (she is the narrator) is Odette played by the compelling Ellis-Taylor (so amazing in KING RICHARD and the underseen ORIGIN). This matriarch is truly a force of nature, not to be crossed, as Ellis-Taylor owns the role, showing both her grit and compassion, and allowing her vulnerability in the final act as she deals with a scary diagnosis. And those traits are echoed by Simone, whether she’s ranting over potential BF James (and his silence) or standing up to BJ’s abusive stepdad (a very tense moment). Aduba also nails the most complex character “arc” as she goes from denial (over her hubby’s infidelity) to finding the strength to face her fears head-on. Much of that is set up very well by the buttoned-up Achirir. Lathan as Barbara Jean also must save herself from that Egyptian river as she plunges into the bottle, but fights to admit her addiction. She’s almost in a constant daze, more of a numb hangover until her pals deliver a much-needed “wake-up call”. Equally forceful is the work by Gabrielle who goes from a mousy “doormat” to a confident woman facing so many difficult choices and skirting danger in a romance that could prove fatal. It helps that she has sizzling chemistry with the smoldering Paynter as that “forbidden fruit”. And though they don’t get as much screen time the other men are also splendid though Curtis-Hall’s time is very brief, and Hornsby doesn’t get the chance to expose the inner motivations of his “serial cheating”. Plus it’s great to see Julian McMahon as another 1998 version of a pivotal character.


Director Tina Mabry keeps the pace rolling along despite the many “bumps in the road” via the screenplay adaption of the Edward Kelsey Moore book she co-wrote with Gina Prince-Bythewood. The different calamities and upheavals come so fast and furious that the film feels like a mini-series shoehorned into its close to two-hour runtime. It strives to be a mix of FRIED GREEN TOMATOES, WAITING TO EXHALE, and any number of senior girl group “sisterhood is power” features (just as THE FABULOUS FOUR is leaving the multiplex). The subplots need a bit of breathing room. There’s an attempt to “lighten the mood” by stopping the plot for clunky comedy bits involving snobby classmate Veronica (just like the one from Riverdale) and the self-absorbed cartoonish second wife (and widow) of Earl, Minnie, who even snares the mid-credits scene. The eras are well recreated in fashion and settings (furniture and autos), though racial tensions of 68’s are reduced to a cliche truck-drivin’ redneck who avoids any brutal epitaphs. This is a shame because, as I mentioned earlier, the cast is so good, but they can’t work miracles with several overwrought and mawkish sequences. Perhaps the streaming option works best for the sometimes soap-opera “basic cable TV” histrionics that permeate throughout THE SUPREMES AT EARL’S ALL-YOU-CAN-EAT.

2.5 Out of 4

THE SUPREMES AT EARL’S ALL-YOU-CAN-EAT streams exclusively on Hulu beginning on Friday, August 23, 2024

THE BIKERIDERS – Review

This weekend sees the release of a brand new film from an acclaimed director with an all-star cast that’s a cinematic “call-back” to a genre that’s gone AWOL from the multiplexes and even the drive-ins (still enjoying a pandemic “bump) for the last few decades. And no, I’m not talking about the Western, which gallops back with Kevin Costner in the saddle next week. Well, there are a few comparisons, though these flicks began in the fifties and were an exploitation staple (a fave of the “passion pit”) into the swingin’ 70s. Going for more speed than the “oaters” were the “motorcycle gang” action epics, which have played a big role in the futuristic world of Mad Max and Furioisa. Now, this flick has those elements, but it’s more of a historical overview following some guys, and a few gals, who really thought of themselves as a “club” rather than a “gang” which accounts for their more genteel designation as THE BIKERIDERS.

It all begins quietly in mid-70s suburbia as photojournalist Danny Lyon (Mike Faist) catches up with a past “subject”. Kathy (Jodie Comer) tells him of a fateful night at a Chicago bar in the late 50s where she encountered the Vandals Motorcycle Club and became smitten with one of its senior members, the silent smoldering Benny (Austin Butler). When he offers her a lift on his cycle, he remains outside her apartment driving away her current beau. Of course, she had to marry him a couple of weeks later. Kathy then also becomes a part of CVMC and meets its leader/founder Johnny (Tom Hardy) who was inspired by watching THE WILD ONE on TV. His group is more of a family with several of his “surrogate sons”. There’s the lumbering, spacey Zipco (Michael Shannon), and their devious mechanic Cal (Boyd Holbrook) whose past membership with a West Coast club catches up to him when Funny Sonny (Norman Reedus) tracks him down, who then also “changes colors” Through the years the club clashes with rival crews and the local police while slowly expanding. But their growth isn’t fast enough for a much younger “upstart” called “the Kid” (Toby Wallace). Over the miles traveled and wild antics, Danny is recording it all on reel-to-reel tapes and snapping lots of pics. But the good times are threatened by the influx of drug-dealing (and using) returning vets, violent crime, and the Kid’s less “civil’ cohorts which may put an end to Johnny’s dream of leading his pals on an endless cruise down the highways and byways in pursuit of “new kicks”.

As two of the main leads a pair of lauded Brits do a splendid job of delivering accents from the upper Midwest. Comer mixes the Windy City vocal styling with a good chunk of Minnesota (thinking of Marge from the film FARGO) as the no-nonsense devoted biker spouse Kathy. She’s tender and fiercely protective of her Benny while not taking any “guff’ from him as he makes several questionable choices. Hardy’s Johnny is an affable everyman who often opts for the “hard way” in guiding the group and keeping his “alpha dog” rep, though Benny brings out his warm patriarchal instincts. Though he’s often staring intently and saying little, Butler as Benny is a compelling “hair trigger” nearly always settling “beefs” with his fists rather than his words. Shannon only has a few scenes to shine, but he makes the most of this character role giving Zipco a dense clueless sweetness. Ditto for Holbrook when Cal boasts and brags about his garage “magic” to rescue the banged-up bikes from the scrap heap. Faist is the fascinated outsider, drawn to danger even as his “models” are perplexed by his probing and constant documentation. Reedus seems to be having a blast as the “Cali-transplant” as he whips his tangled mane and flashes a set of truly gnarly “chopper” (teeth, not bikes). And hovering at the edge, Wallace simmers with anger and just oozes dread and doom.


Writer/director Jeff Nichols concocts a sprawling multi-decade saga from the real-life Danny Lyon’s same-titled book of photo-essays (many of those great silver images are seen in the end credits). He recreates the eras quite well, but we never really get into the heads of the principals to explore their need for this “fellowship” and their urge to act on any impulse. The near-constant parties (many are almost orgies) harken back to the Roger Corman (miss you, sir) seminal speed thriller WILD ANGELS more than the Brando classic. But Nichols really heightens the tension before the first punch, and doesn’t shy away from the resulting agony (Benny really pays a big price for his stubbornness). As the story progresses Nichols’ vision steers the story into the gangster genre (he’s said that GOODFELLAS was a big influence) with the anti-drug stance of the GODFATHER trilogy. But there’s a bit of a nod to ONCE UPON A TIME IN HOLLYWOOD.. with the darkness of the late 60s souring the “good vibes” of the early part of the decade. Soon the film bounces back and forth through the timeline making it merely a cool nostalgic stitching of various setpieces with this great cast “cosplaying” as the brawlers and “gear-heads”. It all finishes abruptly in the 1970s leaving us wondering just how some of the principals “settled down” and why they chose ths path. THE BIKERIDERS looks and sounds great, but the last stop isn’t worthy of the meandering trek, sputtering when it should soar through the years.

2 out of 4

THE BIKERIDERS is now playing in select theatres

THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES – Review

So what’s one of the biggest complaints about modern movies (aside from pricey concession snacks)? Much of the grumbling concerns the many sequels to successful films, often leading to a franchise. Last week we had THE MARVELS and there’s another TROLLS romp bouncing into the multiplex this weekend. In a bit of convoluted logic, many studio execs may think, “If you’re sick of sequels, how about a prequel, instead?”. Yes, it’s semantics but it’s a way of bringing in fans of the original while not having to pay the big salaries of those older pricier casts. Now, we’ve got that “master candy maker” waiting in the wings to spruce his chocolate factory right before Christmas, and for Thanksgiving, we’re going back to that dreary dystopian future of a quartet of flicks we thought had concluded eight years ago. But since the author of its source books took a look back at its history, we’ll now get to see if “the odds” are still in their favor (Lionsgate Films) with THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES.

As the story begins we’re back on the mean streets of the Capitol of Panem as two children search for food. Dodging dangerous wild dogs they make it back to the squalid apartment they share with their Grandma’am (Fionnula Flanagan). Flash ahead seven or so years and the young boy, Coriolanus Snow (Tom Blyth) gets ready for his high school graduation. He’s hoping he’ll be awarded the Plynth award which would take care of the expenses for Grandma’am and his older cousin Tigris (Hunter Schafer). But he’s in for a shock at the ceremony when Dean Highbottom (Peter Dinklage) announces that to get this cash prize, he and his classmates will have to be “mentors” to the winning “tributes” competing for survival in the televised tenth-annual Hunger Games. Oh, and the mentors can increase their chances by coming up with new ideas (the ratings are slipping) to head game maker Dr. Gaul (Viola Davis). Soon Snow meets his assigned pair of tributes, one of whom is the beautiful, but defiant songbird from impoverished District 12, Lucy Gray Baird (Rachael Zeglar). She expresses her rebellious nature by crooning ballads that may earn her viewer support, but does she have the killer drive to eliminate her violent rivals? And what happens when the venue arena is nearly destroyed by undercover rebels? Will the crafty Snow find a way to give Gray the needed “edge”, especially as their emotional bond becomes more intense?

Handling the most pivotal role in the film, the character with the strongest connection to that original trilogy of books (stretched to four movies) is relative big-screen newcomer Blyth. We know “Corie’s” future, so Blyth must subtly give us a bit of behavioral foreshadowing. He appears noble, and we’re rooting for his budding romance, but there’s that “ultimate fate” that Blyth conveys well. It helps that he has chemistry with the Gray character, given spunk and song by Zeglar in a big switch from the sweet Maria in the recent WEST SIDE STORY remake. Early on she shows us that Lucy doesn’t have that murderous instinct, and must rely on rallying the masses with her music. Zeglar displays that panic in combat, but is in complete control as she becomes a country crooning crusader, reminding us of many “Nashville belles” like Patsy Cline. As for the “game bosses”, Davis channels a bit of her Amanda Waller persona from the DC “movie verse” (supposedly she’ll survive the recent “purge”) as the cruel devious, mad-scientist Gaul, sporting a single blue eye to make her more “alien”. Dinklage is a sneering sod as the equally cruel and deceitful academic, chugging tiny tubes of booze as he weaves his web of evil. The story’s only real comic relief role is deftly handled by Jason Schwartzman as the smarmy unctuous host of the televised global death match, weatherman/magician “Lucky Flickerman”, an obnoxiously flamboyant phony. The superb character actor Burn Gorman shows up in the film’s last half as a strict military man, but he’s given little to do other than to hover ominously over Snow and Gray.

To offer another connection to the previous quartet of films, their original director Frances Lawrence returns to helm the screenplay adaptation by Michaels Lesslie and Arndt of the Suzanne Collins novel. Once again he creates the look and feel of a grim, soul-crushing future world with desaturated colors as clouds drift over the double sword-wielding statue at the center of Panem. And that may be part of the many problems in that we’ve seen it already, four times over. While the original “opened up the story” by having the skirmishes occur in the more pleasant countryside, this one’s “game” is played in an empty concrete arena filled with slabs of stone and dark hallways. Then, when we believe a “conclusion” has happened, the film jumps ahaead to a new setting for a “B” plot that feels more like an entirely new tale. And it’s not nearly as interesting making it seem as though it will never really finish. The final “epilogue” has so many “future jumps” and foreshadowing (and a subplot that’s left unresolved) that the casual viewer will feel hopelessly lost and unsatisfied after such a long investment of time. Perhaps it would’ve worked more coherently as a streaming app miniseries. This certainly won’t gain any new followers of the franchise as only the hardcore fans will embrace the rambling, uninvolving THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES.

One Out of Four

THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES is now playing in theaters everywhere

PRISCILLA – Review

Woo boy, here’s a new flick that’ll make the multiplex shake, rattle, and roll (well, the screens that aren’t still running the Taylor Swift concert juggernaut). Yes, it’s a brand-spankin’ new biopic centered around the king of rock and roll, the ruler of Graceland, the ….whoa, wait a minute! This is 2023, not 2022, Last Christmas we got a big-budget musical docudrama all about the man who was always “takin’ care of business” from Baz Luhrmann. Yes, and this is quite a different spin. For one thing, it’s from an indie studio with a more modest budget. There is a highly regarded director behind this, but rather than focusing on “E” or “the Colonel” it follows the path of the “Queen of the King”. As the title implies, this is the story of PRISCILLA.

This look at her life with EP begins after he’s gone into the Army and is stationed over in Germany. In the military diner, we first encounter the 14-year-old “Army brat” Priscilla Beaulieu (Cailee Spaeny) as she enjoys a milkshake at the counter, She’s approached by another high-ranking soldier, the entertainment co-ordinator of the base, who invites her to a party being held for their most famous recruit. After much pleading with her parents and a visit from that officer, she’s allowed to attend. There she is naturally dazzled by the charismatic Private Presley (Jacob Elordi). Soon he escorts her away from the other partygoers for a private “chitchat”. He’s smitten as Priscilla seems to be more of a regular “downhome” gal, briefly kissing her before she is driven back home. Soon, they begin a secret courtship, always with escorts, causing her to daydream of a future with him while distracted at school. Priscilla is heartbroken when Elvis finishes his “stint” and flies back home to restart his career in music and the movies. The two continue to communicate via letters and phone calls, as he insists that all the fan magazine romance stories with his co-stars are lies. Ann Elvis does come back to her and asks her parents to sign an agreement making her the ward of his Papa Vernon and promising that she will finish her education in Memphis while living in her own room at his estate Graceland. There it’s all-day parties with EP and his “Memphis mafia” and long lonely days when he’s off at a movie set. The romance has its ups and downs as Elvis molds her (makeup and fashions) into his “ideal woman” before marrying her. Years pass, they have a daughter Lisa Marie, and their mutual dependence on pills and booze begins to take its toll. Priscilla’s fantasy of her perfect life with her dream man starts to crash and crumble.

Anchoring the love story at the film center is the title role performance by a most compelling young actress. Though she’s had several supporting roles in TV and the movies. Ms. Spaeny gives Priscilla a real arc as she begins to mature from a pre-teen to a strong-willed young mother. In the beginning of the relationship, Spaeny conveys the all-consuming awakening of first love, drifting as though on a cloud, apart from the mere mortal teenagers in her school hallway. Soon we see her deal with the pangs of jealousy, working up the courage to confront her famous beau. Spaeny makes it seem as though Priscilla is passive as her look is formed, but her eyes tell us that she knows that something is very “off”. Over time she shows us how Mrs. P strived to break out of her hubby’s long shadow. Elordi plays him with loads of genteel Southern charm (perhaps it was the sound system, but I lost lots of words due to that strong drawl), especially as the chaste, respectful suitor. Later he reveals his manipulative darker side with the dress shop scene invoking Scotty’s “makeover mania” from VERTIGO. Then the fame and the drugs seem to seal him off emotionally, as Elordi makes E more distracted and secretive, exploding in quick scary outbursts followed by pleading apologies. In much smaller roles (mainly in the first act) Dagma Dominczyk and Art Cohen are effective as the wary parents of Ms. P, while Tim Post is a grumpy Vernon, always looking out for his “boy”.

Directing this new look at the music icon through the eyes of his first true love is Sofia Coppola who also wrote the adaptation of Priscilla’s memoir “Elvis and Me” that she penned with Sandra Harmon. And though it may have followed that tome very closely, the pacing is dragged down by the near-endless scenes of Presley playing with his posse while his wife sulks, then dealing with her loneliness as he leaves for a concert or a film, then starting the cycle again (yes, I’m sure that’s much like her life then but it becomes so tiring). The sets evoke the locales and the costumes and hairstyles give the film a real nostalgic authenticity. But after the stylish splash and “eye candy’ of last winter’s spectacle, it all feels somber and “scaled down” with the feel of a TV movie. However, the biggest absence is the King’s music itself. There are a few fleeting chords of classics, but the estate wouldn’t okay their use. Yes, there are a few songs, but on the first “date”, Elvis regales the partygoers with a hit from another 50s icon. That may turn off his ardent fans along with eschewing the sweetness of Baz’s take to this “groomer” of a child ten years his junior (accentuated by the height difference between the two leads). Also, the film ends too abruptly with no postscript to the lead’s life post-Memphis. Ms. Spaeny and Mr. Elordi are very good, but they can’t quite inject a spark into the whirlwind romance of Elvis and PRISCILLA.

2.5 Out of 4

PRISCILLA is now playing in select theatres

THE LAST VOYAGE OF THE DEMETER – Review

Time to put away the toys, the comics, and even the big WWII history book at the old multiplex for this week’s new (but a tad old) release. I say “old” since it springs from a literary classic, one that has inspired so many cinematic adaptations (actually it has left its “mark” on all manner of media). I seem to recall its main character as a possible game show trivia answer as to which fictitious creation has been played by the greatest number of actors (he’s close behind Sherlock Holmes, I believe). So, what’s the “hook” with this? It’s not just a “straight” retelling. No, the filmmakers have taken one chapter of the original novel and have expanded it into a feature film since it’s often just a minute or two in most versions. And so now we’ll get the full “scoop” of how that “king of the vampires”, Dracula. insured that this was THE LAST VOYAGE OF THE DEMETER.


This terror tale takes us back almost to the beginning of the last century, 1897. as we follow a speeding caravan through a twisty mountain pass on their way to a nearby seaport. That’s where the good ship Demeter is preparing to depart. Captain Eliot (Liam Cunningham) is there with his eight-year-old grandson Toby (Woody Norman) to assign the First Mate Wojchek (David Dastmalchian) the task of acquiring more crew members for the journey to London. Several old salts line up for the chance, but none are more eager than Cambridge grad, Dr. Clemens (Corey Hawkins). Wojchek rejects him (“those smooth hands…he’s not been working on the seas”). Then the wagons arrive via that caravan with massive wooden crates that “spook” some recruits. That and a near accident with Toby. prompts Eliot to hire Clemens. The young lad bonds with the doc as they meet the truly “motley” crew, who have dreams of a big bonus if they arrive in England earlier than agreed upon. Ah, but don’t spend that money yet. As the sun sets, strange things occur. The livestock perish, not from rabies but from something that has ripped them apart. When Clements explores the nearby cargo hold, he finds that the crates are filled mostly with dirt. But that’s not as surprising as the discovery of a near-comatose young woman, Ann (Ainsling Franciosi). Clemons attempts to cleanse her diseased blood through several transfusions. But will this weaken him and his shipmates as they discover that the animals were merely appetizers for the night creature that walks the deck under the moonlight? Can they possibly destroy him before his evil overtakes all of London?

For a vampire flick to truly soar (on bat-wings,’ natch) it requires a formidable force for the light, and here, rather than the ship’s captain, it’s the charismatic Hawkins as Clemens. From his first scenes, gambling near the dock, he projects a fierce, steely intelligence as the doctor fighting ignorance on all fronts. But he also has a real charm and warmth, whether bonding with young Toby (almost like a little brother) to his concern for the tragic Anna. Once she’s regaining her strength, Franciosi proves to be a great ally to Clemens as she pushes past her fears and channels her anger over being her village’s “sacrifice offering” to a monster. Cunningham exudes the proper gravitas as Captain Eliot while giving us a glimpse of his desire to be done with sea life. His weary eyes only brighten when he views his beloved offspring. But his other “ship son” is the surly Dastmalchian as the tough, cagey, and ever-alert Wojchek. Perhaps the most colorful of the crew is the entertaining Jon Jon Briones as the ship’s cook whose zealotry and fanaticism are almost as much a danger as the shadowy predator played with sneering animal savagery by Javier Botet.

As I mentioned earlier, screenwriters Bragi F. Schut and Zak Olkewicz have expanded on the “Captian’s Log” chapter of Bram Stoker’s novel. And they “flesh it out” with great imagination, making their crew more than just a transport for the book’s title character. They also do well with tough tasks as they create suspense even though we’re aware of the outcome, much like prequels in an ongoing movie franchise. Along the way they make the usual vampire story tropes fresh, especially in the sequences involving exposure to the sun. Best of all may be their take on the count himself. He has no need to be “wrapped in human skin”, no seducing or deceiving as he appears as a hellish “bat demon” (with perhaps a hint of the classic NOSFERATU vibe), who blends into the shadows before striking like the speed of a cobra. And be warned, no one is safe from his insatiable thirst. Kudos must also go to the costumers and art directors for transporting us back to the turn of that century and making us feel as though we’re on that grimy “working boat”. Director Andre Overdal gives the story a real sense of urgency in the opening port scenes while creating a heavy tone of impending doom. The mood on deck combines the beauty of the pounding waves with eerie foreboding, especially in the cargo hold as the crates become objects of menace. Unfortunately, after we’ve seen several “meals”, the pace slackens and the film’s focus softens (perhaps tighter editing would help). Still, the final showdown is impressive, though the epilogue seems out of sync with the rest of Stoker’s epic. But fans of the horror classics will enjoy this expansion, though the flood of gore isn’t washed away by the sea foam splashed up by THE LAST VOYAGE OF THE DEMETER.

3 out of 4

THE LAST VOYAGE OF THE DEMETER is now playing in theatres everywhere

THE LITTLE MERMAID (2023) – Review

As I mentioned last week, nostalgia appears to be playing a big role in this just-started cinema Summer season. The remake of that 1990s buddy comedy may just be the tip of the iceberg (a fixture of the, umm, sea). For this holiday weekend’s big, really big as Ed Sullivan would say, movie release, go back just two or three more years to 1989. That year may be best known for the BATMAN box office blockbuster, but it’s also a watershed (oops, sorry) moment for feature Animation, particularly at the “Mouse House”. Disney feature animation was just beginning to snap out of a creative stupor as the modest successes of THE GREAT MOUSE DETECTIVE and OLIVER & COMPANY began to offset the losses of the fantasy debacle THE BLACK CAULDRON. This is all covered in the superb documentary feature WAKING SLEEPING BEAUTY. And then two Broadway “whiz-kids,” thought that the company should return to classic fairy tales with a Tony-worthy musical score. To say it made a big (sorry, again) splash would be an understatement. And since Disney began remaking their classic cartoon epics, it was just a matter of time before we dove under the waves for a new spin on THE LITTLE MERMAID. Grab your noseplugs and jump in…

The first image we see is of the ocean along with a quote from the tale’s creator, Hans Christian Anderson. From there the camera pans up to the trading vessel captained by the dashing Prince Eric (Jonah Hauer-King). While he deals with rough waves we are sent far below the commotion to witness a meeting of “merpeople”, the royal daughters and their father King Triton (Javier Bardem). They’re preparing for the Coral Moon” celebration, but one member of the family is missing. Ariel (Halie Bailey) and her fish friend Flounder (voice of Jacob Tremblay) are exploring a sunken ship and evading a hungry shark. Meanwhile, Triton sends his royal aide, a crab named Sebastian (voice of Daveed Diggs) to retrieve her. Naturally, their reunion erupts into a familiar squabble about the “surface people”. Afterward, during a rousing musical number, Flounder tells her of Eric’s ship, which encounters a storm. The prince is knocked out and falls into the depths only to be rescued by Ariel. She brings him to the shore and swims away just as he starts to awaken (her image is fuzzy to him). Later Sebsatian accidentally spills the beans and a furious Triton lambasts Ariels and destroys her cove full of “gadgets and gizmos a’ plenty”, those prized “found” human trinkets. The heartbroken Ariel is accosted by two moray eels, Flotsam and Jetsom, who take her to their mistress, the sea witch, and Triton’s envious sister, Ursula (Melissa McCarthy). She hatches a scheme to exact revenge on big brother by offering Ariel a chance to be human for three days in order to be with Eric and receive “true love’s kiss”. Ah, but she must be mute. Can this earn her a fairy tale happy ending or does the tentacled sorceress have a few tricks (new and old) to torpedo the burgeoning romance?

After the whirlpool (sorry again) surrounding her casting and the first released in-character images, I’m happy to agree that Bailey is a delightfully engaging Ariel. She literally hits all the right notes, aside from her superb vocal renditions of the beloved score, as she balances a child-like innocence and curiosity with a yearning, a true longing to expand her horizons and to act on her first sparks of romance. Under the sea or on the shore, she’s splendid. Bailey even Holds the screen alongside the powerhouse work of McCarthy, funny, ferocious, and, well, Divine (wink, nudge) as the slithering enchantress. Somehow she’s snooty, sneering, and vain, particularly in the “laugh-out-loud” moment when she’s called a witch…to her face! As her brother, Bardem is brusk and imposing, though we see that Ariel is his “special spawn”, who can make him regret his intimating bluster and bellowing. The object of Ariel’s feverish desires, Hauer-King as Prince Eric is a swashbuckling “dream guy”, who is slowly charmed by his mute mystery woman. On the vocal front, Diggs delivers the tunes with a bouncing, subtle island lilt, Tremblay conveys all the anxieties and humor of a pre-teen fish, and Awkwafina is a hoarse-throated hoot as the confidently clueless Scuttle. Back in live-action roles, Noma Dumezweni is regally warm and nurturing as the Queen, Art Malik is stuffy and befuddled, though understanding as her advisor Grimsby, and Jessica Alexander is the sultry and sinister Vanessa, who’s a big “roadblock” in the road to “happily ever after”.

Back in the director’s chair, after a five-year-hiatus (rather than a remake he made the follow-up to another Disney classic, MARY POPPINS RETURNS) is the man from CHICAGO, Rob Marshall. He keeps the pace zipping along, though the runtime is nearly an hour longer than the 1989 original. And there’s the big controversy about this as with the glut of recent “live revamps’ of the Disney “treasures”. It’s pointless to go on a tirade against these “marketing masterplans”. Yes, they’re all unneeded and the effort would be better spent on original ideas and concepts, but the titles have “name recognition’ and execs hope this could lead to another “cinematic universe”, like Marvel. So, case closed, they exist and the discussion should be about their quality and merits. Going from the excellent retelling of CINDERELLA and THE JUNGLE BOOK (though Favreau fumbled with THE LION KING) to the tepid DUMBO (there’s a true miss-match with Tim Burton) and PETER PAN AND WENDY, this would rest comfortably in the upper third. The locales and backdrops (that ocean is dazzling blue) are eye-catching, the CGI is seamless, though the more realistic renditions of Sebastian and Flounder take away some of the tales’s charm, and the songs are still superb (the other doc to watch is HOWARD all about the original much-missed lyricist). I was dismayed that two tunes were cut in order to bring a couple of songs (so they can nab a Best Song Oscar nom) that teamed Allan Menken with Lin-Manuel Miranda, as the prince gets his own “I want” ballad and Scuttle gets a riskay rap, really. Dave Magee’s new script adaptation tries to address some of the “concerns” of the original (Ariel now can’t remember that she needs a kiss from Eric), but some of the plot shufflings seem awkward. So though the tinkering can be frustrating for the long-time admirers, little ones new to the fable should be engaged (but that attacking shark may be a bit much for some), since those marvelous melodies and compelling performances prove that with this take on THE LITTLE MERMAID, “what more is you lookin’ for”?


3 Out of 4


THE LITTLE MERMAID is now playing in theatres everywhere

LYLE, LYLE, CROCODILE – Review

(l to r) Mrs. Primm (Constance Wu), Josh Primm (Winslow Fegley), Lyle (Lyle the Crocodile) and Hector (Javier Bardem) slurp up an ice cream sundae in Columbia Pictures LYLE, LYLE, CROCODILE. Photo by: Courtesy of Sony Pictures

So, are you looking for a “family-friendly” flick to perhaps introduce your “pre-K’ tots to the wonders of moviegoing? Well, many parents may be leery of much of the fare, since the “kid aimed” movies are often part of an ongoing franchise or based on a line of toys, video/computer games, or TV shows, perhaps resembling a feature-length commercial to provide “product synergy”. So where are the big-screen adaptations of classic children’s books, one that may inspire the wee ones” to (gasp) read? Well, we’ve got one opening “wide” this weekend based on a beloved tale that’s almost sixty years old. Oh, and it’s filled with music often sung by an adorable animal. A reptile, actually, with a rhyming moniker. Straight from the swamp and into your heart comes LYLE, LYLE, CROCODILE. And he’s at the multiplex now, not “after while”.


Now the kiddos will have to have a bit of patience as the opening sequence introduces us to the hustling, but largely unsuccessful magician Hector P. Valenti (Javier Bardem) as he finagles his way into another failed attempt to win a spot on the TV showcase “Show Us What You Got” (you can figure out its real-life talent show inspiration). A dejected Hector ambles into a run-down NYC pet supply store to replenish his live props (pigeons, bunnies, etc.). As the store manager searches his inventory, Hector hears an angelic singing voice. He follows it to the back room and meets Lyle, a young crocodile (his pipes are provided by Shawn Mendes). Hector now has an idea for a new act. The duo heads back to his East 88th Street duplex and begin rehearsing some song-and-dance duets. Hector contacts a theatre owner about renting his venue. But he needs cash “up front”, so Hector offers his home. Opening night, the place is packed and …Lyle is silenced by “stage fright”. Not a peep. Back home, Hector tells Lyle that he’ll have to seek new funding. He insists he’ll return, but in the meantime, Lyle should stay in the attic and act “stuffed”. Cut to many months later as a high-end prep school has taken over the house and has made it availible to the newest faculty member Joseph Prim (Scoot McNairy), his wife Katie (Constance Wu), and timid, nervous pre-teen son Josh (Winslow Fegley). The Prims settle in after meeting their abrasive downstairs neighbor Mr. Grumps (Brett Gelman) and his pampered Persian kitty Loretta. Late that night Josh hears a noise from above and heads to the attic where he meets the now full-grown adult Lyle. Somehow the two become friends and eventually the croc helps the family become closer through their fun antics. But what happens when Hector does return? Can they keep the critter a secret from the sour old Grumps? But more importantly, will Lyle finally get the courage to sing for the whole world?

Well, I suppose I should start with the title character and say that Mr. Mendes is quite the spectacular crooner, belting out the new tunes and the standards with equal aplomb. However, I was stunned that the movie’s true MVP is the energetic Bardem who hurls himself into the Hector role with enormous energy and charm to spare. We knew he could sing after his turn as Desi a few months ago, but who knew that this robust athletic frame was so graceful? He commits to every glide, every sidestep with the confidence of a veteran “hoofer”. Hector’s a rascal and a bit of a reprobate, but Bardem turns him into the ultimate “cool uncle” to the Prims. Speaking of, Wu also gets a musical number with Lyle and shows us that her vocal chops are as polished as her…moves in HUSTLERS. Plus she brings in a bit of drama as Katie frets over being a perfect stepmom to Josh. He’s given an endearing twitchy vulnerability by the effusive Fegley. In a chance of pace from his often dark supporting roles, McNairy does very well as a bumbling but warm papa Prim. Of course, we need a “baddie” and Gelman is pure prissy poison as the unctuous, conniving Grumps (if he didn’t have a full beard he could twirl his mustache with devilish glee).

Overseeing this mix of live-action and mo-cap (Lyle and Loretta) are the directing team of Will Speck and Josh Gordon, who made their mark in several adult comedies. They’re comfortable in “kid-mode”, crafting a tale that the small ones will enjoy and inspiring some to perform along) and the adults will find amusing (again, Bardem), Their take on the “big apple” covers it in a bright candy coating, one that’s a tiny bit scary, but full of pretty nice reg’lar folks, save for the cartoonishly cruel Grumps. The tech wizardry is pretty good on the story’s star, though he often (in his younger version) seems like a smooth molded-plastic cuddle toy (how many more weeks till that holiday), but he seamlessly interacts with the human and his CGI feline sidekick, The new songs by the award-winning team of Benj Pasek and Justin Paul aren’t quite on the level of their showstoppers from LA LA LAND or THE GREATEST SHOWMAN, but they’ve hummable and enter the ear easily. It’s all a cozy spirited romp that makes for a pleasant matinee (or later). Though he doesn’t bite, this green guy can belt out the melodies while being light on his feet…um, claws…in LYLE, LYLE, CROCODILE.

3 out of 4

LYLE, LYLE, CROCODILE is now playing in theatres everywhere