Tag: disney plus

STAN LEE – Review

Face front, true believers! Here’s an interesting lil’ tidbit about the current cinema landscape. Just who has been the major part of several huge box office hits over the last fifteen years? Well, we’re not talking about an actor, or a filmmaker, or a studio exec. Oh, and he left the planet almost five years ago. Okay, you got it, I’m talking about the comic book writing superstar who co-created almost the entire staple of Marvel superheroes. And he became a fun bit of business in the screen adaptations of those characters by popping up in brief cameo roles (I made it a game with my nephews to nudge me when he flashed that big grin). He’s been profiled by several TV newsmagazine shows and mini-bios, but now he’s getting the full feature-length documentary treatment with the simply titled STAN LEE. Excelsior!

After a brief montage of those film bits and a stream of “through the years” photos, we hear from the man himself. Stanley Lieber (his birth name) relates a rags-to-riches tale, as he was born in 1922 to immigrant parents in NYC near the end of 1922. A voracious reading appetite led to an urge to write his own fiction, augmented by a love for the movies (“I wanted to be Errol Flynn”). Through a relative, he landed a gig while in high school at a publishing company whose output included Timely Comics. He went from office boy?” gofer” to occasional writer to editor (his boss said it was temporary but Stan was never replaced). Stan served in WWII as a writer stationed near the Big Apple where he met the love of his life, his future wife Joan, a British model.. Timely seemed to “squeak by” following the trends of the other big comics companies, which frustrated Stan. As he was thinking about resigning, his boss, publisher Martin Goodman, told him to come up with a superhero team as the Justice League of America was a big seller in 1961. Joan told Stan he should write what he liked since he was going to quit anyway and the Fantastic Four was born (co-created by frequent collaborator artist Jack Kirby). It was a smash, perhaps because Stan gave them real-life quirks and problems (that quartet could bicker). As it gained a rabid following, Stan came up with Iron Man, the Hulk, the X-Men, and many more. But his biggest success might be the scrawny teenager known as Spider-Man. The company was redubbed Marvel and the books became the talk of college kids where Stan was in demand as a speaker. It took several decades, but Hollywood caught up to the Marvel misfits, and the movies of the MCU, Marvel Cinematic Universe, have been ruling the box office since 2008.

Filmmaker David Gelb wisely combines Stan’s own words with a treasure trove of home movies (Stan and Joan loved getting a tan), archival interviews (Stan on TV talk shows and at comics conventions), and audio snippets from some of his contemporaries (Kirby, Joe Simon, and “gal Friday”, Flo Steinberg). And naturally, there are lots of comic book panels and covers. That’s great, but Gelb adds to the whimsy with story recreations utilizing miniature figures and settings (little Stanley on his adored bicycle, teen Stan atop a desk in the Timely bullpen). It’s irresistible and quite charming. Sure many of the stories are familiar as Stan retold the creation of Spidey countless times, along with the clash with the Comics Code Authority. But Gelb also includes some of the controversies, particularly in a heated exchange between Lee and Kirby on a radio talk show in the mid-1970s. Plus we hear of Kirby’s jump to rival DC in the 70s and Steve Ditko (Spidey and Dr. Strange co-creator) in the 60s. But Gelb chooses not to tell us that both men returned in the late 70s. And that’s a big part of the doc’s problems as many major bits of history aren’t covered (no mention of the hit CBS-TV show “The Incredible Hulk” which lasted several years). Also, the exit of Ditko would have been a great intro to John Romita who saved the book and became the art director (and sadly passed away just days ago). Different sections spotlight certain years with news footage (“1961”, “1963”), but later there’s a massive jump as it goes from “1980” (Stan becomes Marvel publisher) to “2010” (Stan films a cameo for THOR). Really? A lot happened in those 30 years, big company takeovers and the formation of the film studio (leading to its purchase by Disney). Of course, this also zips past family financial squabbles, rumors of senior exploitation, and Stan’s own litigation against his old company (and failed solo enterprises). I suppose this was due to the film being co-produced by Marvel and shown on Disney+. This leads to a triumphant finale scene of Stan as a college commencement speaker in 2017, with no mention of his passing the next year, Perhpas this was an attempt to make the project more “kid friendly” much like a book biography aimed for the pre-teen set. In that regard, the film works, but longtime comics fans and historians may need to satisfy their curiosity with several recent tomes that go beyond the legend of the charming comic book huckster (maybe cheerleader is more apropos) the world adored as STAN LEE.

3 Out of 4

STAN LEE is now streaming exclusively on Disney+

CRATER (2023) – Review

With schools finishing up for their big Summer break many of those kids are dreaming of getting away for a while. How about the ultimate “getaway” from …the planet? It’s not that wild of a fantasy, as this new Disney+ adventure flick offers a look at a colony, almost a small city, on the moon, our big destination for over 50 years now. But how do the kids living up there take a break from the indoors (with plenty of oxygen)? Well, for the five kids in this story, they’re itching to sneak away for a fun frolic at a nearby (it’s not really a walk) CRATER.


When the film begins, those kids are sneaking around the transport bay under the dome of an underground lunar colony in the not-too-distant future. The loudspeakers are blaring out an alert that a meteor shower is imminent so everyone needs to seek shelter on the lowest levels. So, why aren’t they taking that express elevator? It all starts with a recent event in the life of one of them, Caleb (Isiah Russell-Bailey). After his widowed father perished in a recent mining accident, Caleb met with one of the colony’s supervisors. Because his pop had amassed enough work hours, Caleb can now be on the next relocation flight to the distant outpost of Omega. It’s a seventy-five-year journey, so he’ll be in suspended animation (think Captain America), and he’s got no choice in the matter. Caleb’s BFF Dylan (Billy Barratt) is crushed by the news but decides he needs to give his pal a great send-off. Along with their buddies, the twitchy, nervous Borney (Orson Hong) and the (literal) big-hearted Marcus (Brady Noon), they’ll “borrow” a land rover and head to the special crater Caleb’s pop had planned to visit with him (he even has the map). That Omega flight is just days away, so they’ll need to go during an upcoming meteor shower alert (which never affects them). But they need the special door access codes, so they’ll have to befriend a new arrival from Earth named Addison (McKenna Grace) whose dad is the new security chief. She agrees only if she can be part of the “expedition”. With scant seconds left, they leave the colony right before total lock down. Now if they can just make it to the crater and back before being caught, or running out of fuel or air. And just what has Caleb’s papa hidden there?

The engaging chemistry of this quintet carries this otherworldly concept. The anchor, and instigator of the action, is Russell-Bailey as Caleb who tries to shield his sadness and put on a brave happy face for his buds who’ll soon be a hazy memory. But it creeps through his eyes especially when the “adult in charge’ delivers the gut punch on top of his loss that he’s out of there much sooner than he thought. Grace continues to impress with her assured line delivery as the “voice of reason” Addison, who secretly aches for connection while not letting the guys think that she’s easily manipulated, so she’s not a “tool for the caper”. Plus she’s a terrific verbal 9and maybe romantic) sparring partner for future “bad boy” Riley played with great charm by Barrett projecting a “super cool” attitude to diffuse his inner heartache. Hong is the group’s comic relief as the easily-spooked jittery whose mind has been filled with wacky lunar legends thanks to a sneaky older brother. Luckily he’s distracted by his concern for Marcus who is given a warm persona by Boyce as he balks against the concerns over a chronic health condition (“I took my pill, okay!”). Plus Scott Mescudi is quite effective as Caleb’s caring dad in the flashbacks.

Director Kyle Patrick Alverez has crafted an engaging pre-teen space opera from John Griffin’s script that evokes memories of the Little Rascals (I can imagine the hand-painted label on their rickety wood-barrel rover) mixed with the mildly tense action of THE GOONIES mixed with the “back story” pathos of THE BREAKFAST CLUB. These are great kids, who are doing something a bit naughty and very dangerous. This idea is best illustrated by an action set piece involving an extra oxygen tank, a long “tie line” and the low, low surface gravity (we know that the fun will soon cease). Plus some of the travel sequences had a nice retro feel, foregoing a lot of CGI for some miniature work that feels like a nice nod to the Gerry Anderson “Supermarionation” ala THUNDERBIRDS ARE GO. After a nice side trek, the final stop makes for a sweet third act which leads to a heartwarming though melancholy yet hopeful epilogue. Some of the scenes might be too scary for the lil’ tykes, but older kids should enjoy sharing a ride with these explorers to discover the wonders of the CRATER.

2.5 Out of 4

CRATER is now streaming exclusively on Disney+

PETER PAN & WENDY – Review

It looks like kids’ movies are dominating the box office right now. Mind you, what looks to be the first billion-dollar blockbuster is based on a decades-old video game. But what about the classic fairy tales, you may ask? Not to worry, although it’s fairly young at a spry 121 years, as opposed to the centuries-old Grimm Brothers stories and assorted myths and legends. And it’s also the 70th anniversary of the definitive animated adaptation from the master artists at the “mouse house”. Ugh, you may be thinking, not another live-action retread of a superb cartoon ala the recent PINOCCHIO (not the Oscar-winner) or the dreary DUMBO. Well, you’re not really correct as this tale began (after its literary roots) on the stage and has been played by flesh-and-blood actors in versions going back to the silent movie days. And so, here’s another version, this time sharing the title with the other main character as we take flight with PETER PAN & WENDY.

It all begins like most versions in Edwardian London, around bedtime in the Darling House. Pre-teen Wendy (Ever Anderson) is a bit anxious as she packs for her trip to boarding school in a few hours. As usual per younger brothers, John (Joshua Pickering) and Michael (Jacobi Jupe) are literally bouncing off their beds as they play “pirate”, Father (Alan Tudyk) rushes in to calm them down and to put their canine nanny out for the night. Ah, but Wendy regales them with one last story of their hero Peter Pan before Mother (Molly Parker) tucks them in with a lullaby. It’s an interrupted sleep as they discover the fairy Tinkerbell (Yari Shahdid) has led Peter himself (Alexander Molony) to the bedroom in search of his missing shadow. After a sprinkling of pixie dust, they’re soaring over the city and en route to that enchanted isle of Neverland. Oh oh, the troupe is spotted by Captain Hook (Jude Law) at his pirate ship offshore. With the help of his first mate, Mr. Smee (Jim Gaffigan), the crew fires cannonballs into the sky. John and Michael are captured leading to a rescue by Peter, Tink, and Wendy, who are soon helped by the Lost Boys (and girls) led by Princess Tiger Lily (Alyssa Wapanatahk). As the frustrated Hook plots his revenge, the Darlings settle in with Peter and the Lost Boys. But will they be content to stay there or will Wendy and her brothers find a way to return to their home so far away?

Despite the second billing, it’s Wendy who is really at the front and center of this retelling. Relative screen newcomer Anderson brings a modern sensibility to the role along with (oh, I’ll just blurt it) spunk as she has little time for macho foolishness. She’s not merely the “teller of tales” substitute Mum for her sibs and all the Lost Kids, but a formidable force against the villains. Molony seems to have the right mixture of ego and vulnerability as the often aggressive green-clad swordsboy. He’s not adept at dealing with Wendy’s challenges, though he learns to welcome them and to actually reflect on his own past behavior. Law has the grimacing threats of Hook honed to sneering perfection, but he offers a glimpse into Hook’s haunted inner life. This time the hungry croc isn’t the main star of his nightmares. Shahidi as Tink shows a real talent for pantomime as the expressive but very soft-spoken (Peter insists that you’ve got to learn to listen) fairy/sidekick. Gaffigan hits all the comedy beats as Smee, though he’s less of a comic foil and more of a parental figure and calming influence on his former charge, Hook. Wapanatahk turns Tiger Lily into an impressive warrior queen, And in their brief “bookend” roles, Tudyk is a charming and blustery papa and Parker is a sweet, gentle melodic matriarch.

This “re-imagining” is guided by director David Lowery who co-wrote the adaptation of J.M. Barrie’s novel (and the ’53 Disney feature) with Toby Halbrooks, and it’s not his first crack at a Disney “reboot” as he took on PETE’S DRAGON seven years ago. And much like that effort, this is a much darker, moodier “spin” (lots of shadows even as the sunlight shimmers on the sea). But that also reflects the script’s tone as it must give us details about the heritage of the characters that never seemed needed. I was reminded of the flashback to the demise of Belle’s mother when the action stops dead to have Pan or Hook explain their haunted history. This all works toward a real lull in the movie’s midpoint which almost sinks it. As for its ties to the 70-year-old cartoon, the old songs are out, though we hear a bit of “You Can Fly” as the pixie dust works its magic, in favor of the new lullaby from Mama Darling. And they’ve completely reworked the Tiger Lily character so that she is the rescuer who now sometimes speaks in the Cree language (and none of the “heap big” cliches in her family’s village). Another nod to the new century is the casting “inclusion” in the major roles and supporting cast. We see pirates of every color, and even a lady or two. And the Lost Boys include some girls, along with a special needs swashbuckler. These are nice new touches, but it doesn’t make up for the downbeat mood or the dimly lit backdrops. And yes, the croc is there, though only for one scene where he appears to have wandered in from a LAKE PLACID sequel (no comedy in this CGO critter). This is far from the nadir of these live-action retellings, but there’s nothing here that elevates the classic tale in the languid new visit with PETER PAN & WENDY. Maybe it’ll all go down a bit better at home while dipping into a jar of his peanut butter…

1.5 Out of 4

PETER PAN & WENDY is now streaming exclusively on Disney+

Marvel Studios’ SECRET INVASION Feels Like A Movie In New Trailer

SECRET INVASION, exclusively on Disney+. © 2023 MARVEL.

Feeling more like an MCU film, watch the trailer for Marvel Studios’ espionage thriller “Secret Invasion”. The live-action, original series premieres June 21, exclusively on Disney+.

In Marvel Studios’ new series “Secret Invasion,” set in the present day MCU, Nick Fury learns of a clandestine invasion of Earth by a faction of shapeshifting Skrulls. Fury joins his allies, including Everett Ross, Maria Hill and the Skrull Talos, who has made a life for himself on Earth. Together they race against time to thwart an imminent Skrull invasion and save humanity.

Marvel Studios’ “Secret Invasion” stars Samuel L. Jackson, Ben Mendelsohn, Cobie Smulders, Martin Freeman, Kingsley Ben-Adir, Charlayne Woodard, Killian Scott, Samuel Adewunmi, Dermot Mulroney, Christopher McDonald, Katie Finneran, with Emilia Clarke and Olivia Colman, and Don Cheadle.

Ali Selim directs the series and executive-produces, along with fellow executive producers Kevin Feige, Jonathan Schwartz, Louis D’Esposito, Victoria Alonso, Brad Winderbaum, Samuel L. Jackson, Ali Selim, Kyle Bradstreet and Brian Tucker. Kyle Bradstreet is also the head writer, and Jennifer L. Booth, Allana Williams and Brant Englestein serve as co-executive producers.

(L-R): Samuel L. Jackson as Nick Fury and Cobie Smulders as Maria Hill in Marvel Studios’ Secret Invasion, exclusively on Disney+. Photo courtesy of Marvel Studios. © 2022 MARVEL.

Don Cheadle as James ‘Rhodey’ Rhodes in Marvel Studios’ Secret Invasion, exclusively on Disney+. Photo courtesy of Marvel Studios. © 2022 MARVEL.

Kingsley Ben-Adir as Rebel Skrull leader Gravik in Marvel Studios’ Secret Invasion, exclusively on Disney+. Photo courtesy of Marvel Studios. © 2022 MARVEL.

(L-R): Samuel L. Jackson as Nick Fury and Ben Mendelsohn as Talos in Marvel Studios’ SECRET INVASION, exclusively on Disney+. Photo by Des Willie. © 2023 MARVEL.

Emilia Clarke as G’iah in Marvel Studios’ SECRET INVASION, exclusively on Disney+. Photo by Gareth Gatrell. © 2023 MARVEL.

(L-R): Emilia Clarke as G’iah and Ben Mendelsohn as Talos in Marvel Studios’ SECRET INVASION, exclusively on Disney+. Photo by Des Willie. © 2023 MARVEL.
Samuel L. Jackson as Nick Fury in Marvel Studios’ SECRET INVASION, exclusively on Disney+. Photo by Des Willie. © 2023 MARVEL.
Martin Freeman as Agent Everett Ross in Marvel Studios’ SECRET INVASION, exclusively on Disney+. Photo by Gareth Gatrell. © 2023 MARVEL.
Olivia Colman as Special Agent Sonya Falsworth in Marvel Studios’ Secret Invasion, exclusively on Disney+. Photo courtesy of Marvel Studios. © 2022 MARVEL.

THE GUARDIANS OF THE GALAXY HOLIDAY SPECIAL – Review

Since the feast is finished and the shopping (in person and online) has begun, the fine folks at Marvel Studios hope that you’ll take a break for a tasty little seasonal treat. And it’s the most unusual of setting for such an offering as much of it takes place in the most distant reaches of the MCU. Another universe, really. You see, the Earth-born leader of our favorite group of planet-hopping (I’m using a line from the first flick) “A-holes” is not quite feeling the yuletide spirit. Oh, as mentioned earlier, little is the operative word as this is yet another Marvel Studios Special Presentation, following October’s WEREWOLF BY NIGHT (for Halloween, ‘natch, so this new one makes sense). It’s not really feature-length and it’s too long to be considered a short subject (maybe a “super deluxe” home video extra). So fire up the egg nog and join the ragtag space crew for THE GUARDIANS OF THE GALAXY HOLIDAY SPECIAL.


After bidding farewell to their Asgardian “temp” teammate in THOR: LOVE AND THUNDER, and an animated flashback with a grinch-like Yondu (voice of Michael Rooker) prologue, the Guardians have settled in on Knowhere, after Peter Quill AKA Starlord (Chris Pratt) bought it from the Collector. Mantis (Pom Kiementieff) notices that her pal seems a bit off. Discussing this with Drax (Dave Bautista), she believes that he’s down due to the approaching time of “Earth Christmas” coupled with his ongoing search for his lost love, Gamora. Maybe a gift would cheer him up. But what? It’s then that Drax has a great idea (in the comics, a light bulb would appear above his bald noggin). THE perfect gift is a person. The duo then sneaks away to “borrow” the smaller sized (maybe “fun-size”) cruiser, the Bowie (the Milano’s too big), and zip through the space grids to arrive on planet Earth, right above Hollywood. Their search then commences for Peter’s hero, Kevin Bacon (as himself). But there are detours in front of the Chinese theatres, where tourists “make it rain” thinking that the two are part of the usual costumed “buskers” and in a rowdy dance club. before acquiring his unknown info through the wondrous “map of the stars’ homes”. It’ll be a breeze for the aliens to scoop him up and zoom back home, right?

Okay, Marvel maniacs, let’s put your minds at ease right now. They may have taken a bit of inspiration from it, but this bares almost no resemblance to the much-derided and often reviled ” The Star Wars Holiday Special” of 1978 (though it has some fans who like laughing at its campier moments). So don’t expect comic TV actors and out-of-place music acts. I’d say it’s more of a nice little “catch-up” with the gang before next year’s final entry in the trilogy (Volume Three, really). Sure there’s an animated sequence (the late 70s TV event introduced us to Boba Fett), but it feels like a nod and a wink to the Ralph Bakshi rotoscoped (traced drawings over live footage) from forty years ago. And in ways, the rest’s a comic caper headlined by a comedy team, with Mantis and Drax acting as a new twist on Laurel and Hardy or Abbott and Costello. As with the former, both score big laughs with Bautista a sweet, but dim deadpanning lug, and Kiementieff the over-excitable flighty ringleader. Actually, they may be a comic trio (like the Stooges or the Brothers Marx) with Bacon as their straight man although his too-cool, hipster star riff on his persona is lotsa’ fun. Most of the other Guardians are supporting them in bookends to the Tinsel Town hijinks. Pratt still projects a goofy charm while a new husky Groot somewhat resembles his vocal source, Vin Diesel. Writer/director James Gunn has delivered a bouncy, irreverent seasonal surprise full of frothy flourishes from the off-kilter carols by the Old 97’s (Santa’s a super-powered burglar) to Bacon’s choice of Christmas viewing (and yes, it’s an earlier SF/fantasy camp hybrid) that compares most favorably to the previous MCU Special “spook-show”. Hey Rudolph, Frosty, and Mr. Grinch make room under the tree for THE GUARDIANS OF THE GALAXY HOLIDAY SPECIAL. So, Excelsior to all, and to all a Marvel-ous night!


3.5 out of 4


THE GUARDIANS OF THE GALAXY HOLIDAY SPECIAL streams exclusively on Disney+ beginning on Friday, November 25, 2022

DISENCHANTED – Review

With a few more weeks in the holiday season, you just know that this weekend’s new take on Pinocchio wouldn’t be the only family-aimed musical family feature based on a fairy tale. Well, “kind of” as this new film is a sequel to an unexpected hit from fifteen years ago that was “inspired” by those lush film fables with hummable tunes that Disney specialized in. In many ways, it was a parody of them, which is ironic since the “mouse house” produced it. Now many fans of that flick may wonder about those 2007 characters. Could they possibly change and become DISENCHANTED?


This follow-up actually begins in the fully-animated magical world of Andalasia, where the chipmunk Pip (voice of Griffin Newman) reads his twin boys a bedtime story, which, conveniently for “newbies” is a recap of the original film. But the lads implore their pop to tell them just what happens after “happily ever after”. Jump ahead ten years. Of course, human Giselle (Amy Adams) has wed her “prince”, lawyer Robert (Patrick Dempsey). After she gives birth to their daughter Sophia, the NYC apartment feels a bit cramped with them along with their now-teenaged daughter Morgan (Gabriella Baldacchino). The best plan is a new home out of the city and into the new suburban community of Monroeville, much to the annoyance of Morgan. They arrive at the still-in-progress two-story house and soon see a golden glow emanating from the backyard “wishing well”. Suddenly the glow fades to reveal old friends Prince Edward (James Marsden) and his bride Nancy (Idina Menzel). And they brought a fabulous housewarming present, a small chest containing a “wishing wand”. After they depart, Giselle accompanies Morgan to her first day of high school. There they meet the town’s unofficial “queen”, the imposing Malvina (Maya Rudolph), and her two helpers, Rosaleen (Yvette Nicole Brown) and Ruby (Jayma May). Giselle’s efforts to help Morgan be popular at school prove disastrous, prompting her to take the train back to the city, and call her a “wicked stepmother”. The upset former princess decides to use that wand, wishing for a “fairy tale life”. Then Monroeville magically transforms into the medieval kingdom of Morolasia under the rule of its actual queen Malvina. Robert’s a dashing knight in search of challenges, while Morgan is a sweet Cinderella-type bubbly lass. All’s well it seems until Giselle begins acting on sudden nasty awful impulses. Could she be turning into a real wicked stepmother? Can this spell be broken, even after Malvina and her pals snatch the wand?

Despite the passing of fifteen years (kinda’ confusing that it’s just ten in the story), Adams’ cheery smile lights up the screen, projecting a sunny optimism that’s oblivious to those around her. But here we get the flip side of Giselle as Adams relishes going “dark” and tossing off insults with a mischievous grin. Oh, and she can still belt out a show-stoppin’ song. Dempsy also plays with his role as Robert as he indulges his slapstick side as a klutzy swashbuckler, though he can kick up his heels, er..boots, during a big number. Baldacchino is a new addition (Rachel Duff from the first flick has “aged out”, though she still scores a brief cameo) believable as the sullen surly teen and bouncy and bubbly when “happied-up” by the wand. Also enjoying a walk on the wild, wicked side is Rudolph (though we never see the “nice” side) who’s a “lifestyle” diva in the real world, and a conniving demoness as a true fantasy villainess, even dancing about as she conjures and plots, and treats us to her song stylings. Of course, there’s no match vocally for the superb Menzel whose role is much smaller this time but gets to treat us to her perfect “pipes’ with a couple of melodies. Plus she makes a great duo with the energetic and goofy Marsden as the sweet but daft prince. Speaking of pairs, Brown and Mays are terrific as the toading, bickering hench…women. Oh, and there are a couple of wonderful comic actors in brief roles. Oscar Nunez is a simpering, fawning barista and a magic mirror, while Alan Tudyk is a loopy delight as a talking magic scroll.

All those actors, new and old, seem to be relishing their roles, the sets are eye-popping along with the costumes, and the songs from Stephen Schwartz and Alan Menkin are hummable and pleasant. But something feels just off. Perhaps it’s missing some of that 2007 magic. Maybe the concept feels a bit..worn. Aha, maybe it’s the loss of a major character, the Big Apple itself. Giselle’s “fish out of water” bumping up against New Yorkers that have no patience for fantasy created a great backdrop for romance and comedy. The “wickining” of her this time out gives this film a nice twist, but we’re waiting for her to “snap out of it”. And Monroeville or Monrolasia is no match for NYC, as its modern version feels out of any teen high school story. New director Adam Shankman (taking over from Kevin Lima) really excels with the big musical numbers and the slapstick sequences, but the mother/daughter clashes just feel flat. And the lack of real interplay between reality and the classic 2-D style animation is very missed here. Hardcore fans of the first flick may enjoy an update on the characters, but those looking for some of the former’s fun and frolics, may (after multiple endings) feel more than a bit DISENCHANTED.


2 Out of 4

DISENCHANTED is now streaming exclusively on Disney+

MICKEY: THE STORY OF A MOUSE – Review

So there have been some great documentary feature biographies of show biz superstars. This year alone we’ve been given in-depth profiles of Sidney Poitier, Tanya Tucker, and Louis Armstrong. Oh but this one, well he just may be the biggest star in the whole wide world, and for the longest time. So, did I mention that he’s an animated character? Oh, but he’s THE cartoon icon, who’s been entertaining the globe for 95 years. It’s been said that the test of a cartoon design is whether the figure can be identified by its silhouette. He’s got that beat as the shape of his head is immediately recognized, perhaps it’s because of its simplicity. After all, it’s really three connected circles that outline the face of MICKEY: THE STORY OF A MOUSE.


This overview/history/appreciation begins with the mouse meeting his many fans at different venues on the planet. Many of the older ones tell us of their personal connections to him. The film shifts into his creation and his creator Walt Disney and how he came up with the star when he lost his other toon series, We’ve taken to Marceline, MO for a spin around his old family farm and the “Dreaming Tree” that captivated young Walt. Then it’s back to today for the feature’s real “framing device”, ironically the making of a brand-new Mickey short to commemorate his big birthday. It’s spearheaded by animation artist supreme, Eric Goldberg, who actually handles (with white gloves and supervision) the original animation drawings and guides from the 1930s, Mickey’s golden years as the number cartoon short star (until a certain spinach-lovin’ sailor arrived). Naturally, the merchandising would follow (the watch) and we see how the mouse changed over the years from his black dot eyes to full pupils to his personality as he had to be a “nice” role model for the kiddos. Soon he was the studio mascot who became the greeter at the theme parks. We also meet his many voices and witness his entries into different media (his TV club dominated) and new tech (he’s got several streaming CGI programs). There’s even a glimpse of his controversies, from an unauthorized short “Mickey Goes to Vietnam”, to his name as a derogatory adjective (a clip from the GODFATHER films has Pacino barking about a “Mickey Mouse outfit”). And yet the mouse endures and becomes the first cartoon pal for each new generation with no end in sight.

Director Jeff Maimberg has crafted an affectionate look at everybody’s favorite movie mouse without steering clear of his often controversial history. Aside from the aforementioned anti-war short, we get several scenes of Mickey being way too aggressive with Minnie (a bit past Pepe le Pew’s lust) and taking several jabs at minorities. But as many have said (in the video collection disclaimers) it was a different time. It’s amazing to see how theatres devoted so much of their entrances and marquees to the mouse, reminding us of a popular filmgoer’s complaint, “What, no Mickey Mouse”? But much time is spent showing the “taming of the rodent” which helped the career of his cohort, Donald Duck (who could be nasty and mean-spirited). Eventually Mick became a “straight man” in the Pluto shorts until TV revived his “rep”. Aside from the wealth of archival footage, the best moments come from the artists who crafted the magical moments. Goldberg is quite eloquent as he draws a classic pose. Plus, in addition to his collaborators, we’re treated to a visit from the great Floyd Norman (star of his own superb doc feature) who worked with Walt back in the day. But really, how can you not melt a bit as the kids dash to the big mouse for a warm hug (one older fan calls him “pure joy”). Is there a better way to celebrate a superstar who’s quickly approaching the century mark than MICKEY: THE STORY OF A MOUSE? I mean other than a big hunk o’ cheese? And this is far from “cheesy”!

3.5 Out of 4

MICKEY: THE STORY OF A MOUSE is now streaming on Disney+

WEREWOLF BY NIGHT – Review

Gael García Bernal as Jack Russell in Marvel Studios’ WEREWOLF BY NIGHT, exclusively on Disney+. Photo courtesy of Marvel Studios. © 2022 MARVEL.

Okay, who’s ready to take another trip into the Marvel Cinematic Universe (like I have to ask)? Whoa there true believer, hold up, this isn’t a review of BLACK PANTHER: WAKANDA FOREVER. That’s still four or five weeks away. No, consider this an appetizer, a tasty ‘nosh if you will since it’s not quite a feature and it’s too long to really be considered a “short subject’ at a brisk 52 minutes. Oh, and it’s not coming to your multiplex as it will be streaming into your home. This is being called a “Marvel Studios Special Presentation”. I’ll agree with the second word as it explores an “outer region” of the MCU, though it’s not set on one of the alternate dimensions that we saw bits of in Doctor’s Strange’s last adventure. You see this harkens back to a time at Marvel Comics when the self-censoring group the Comic Code Authority loosened some of its rules and allowed monsters (in the classic style, the CCC insisted) to roam once more. And close to the start of this era, now fifty years ago, we met the tragic hero who became a WEREWOLF BY NIGHT.

Hey Marvel monsters, here’s Jack Russell’s first appearance as drawn by the late very great Neal Adams


And it is a dark and stormy (well, windy) night as a group gathers at the country estate of the famed monster hunter the late Ulysses Bloodstone. His widow Verusa (Harriet Sansom Harris) has assembled a group of notorious monster hunters including an unarmed (the rest have their devices) Jack Russell (Gael Garcia Bernal). Oh, and Verusa’s stepdaughter Elsa Bloodstone (Laura Donnelly) has reluctantly returned. But this is no ordinary wake or memorial. Verusa tells them that the glowing red gem that aided Ulysses, the “Bloodstone” will be awarded, per his will, to the victor of a contest. The coveted jewel will be attached to a captured monster and whoever slays the beast will own it. And if the hunters start hunting each other, well… it’s allowed. A roar from the creature sends the group into a maze-like structure outside the dining hall. As if the evening wasn’t already fraught with deadly danger, one of the hunters has a deadly secret that may be more horrific than anything that blood-red ruby harbors. Who will win and possibly survive this night of fright?

Bernal utilizes the full force of his brooding stare as the haunted (those dark eyes) Jack, Although many of the hunters tower over him, he projects an inner strength and ferocity that commands our attention. And surprisingly, he lets his guard down and shares his affable humor when dealing with an old pal (I’m not saying). Donnelly is another smoldering beauty who will not hide her contempt for the family legacy but will risk it all to gain what she believes is rightfully hers (that gem). And most entertaining is the always compelling (really, she should’ve gotten a Supporting Actress Oscar nom for LICORICE PIZZA) Harris who is a raging, venom-spitting queen of this castle (and she’ll make sure you won’t forget it) as the most wicked widow with a most deadly sting.

And the big surprise Oscar-winning talent behind the camera is none other than master film score composer Michael Giacchino (he took the gold guy for UP). He has directed a couple of shorts ( I highly recommend the animated jewel from “Star Trek: Short Treks”, “Ephraim and Dot”), but here he has a real flair for telling a longer story, so let’s hope a full-fledged feature (over an hour) is in the works. Of course, he also offers a superb score with a thriller riff on the Marvel Studios theme, which dissolves into a nifty woodcut illo of Earth’s mightiest heroes. Actually, the whole film looks fabulous in beautiful black and white, eliciting comparisons to those classic Universal monsters of the Golden Age, although the tone may be closer to Britain’s Hammer color horror romps, with even a nod to one of their rivals Amicus Studios. They did a “who’s the lycanthrope” chiller in 1974 called THE BEAST MUST DIE, which in turn was a riff on all those “reading of the will in a spooky house” late show staples. Now although the “black cat’s been out of the bag”, I will only mention that I was delighted by the appearance of another comics icon of that era. So, how about a follow-up “monster buddies” theatrical? Or another entry from the scary side streets of the MCU (I’ll “scream” for “The Tomb of Dracula” or “The Monster of Frankenstein”. We’ll be very lucky if they’re as creepy and as much fun as a visit from the WEREWOLF BY NIGHT. It’s a real howl!

3.5 Out of 4

WEREWOLF BY NIGHT screams…er…streams exclusively on Disney+ beginning on October 7, 2022

WEREWOLF BY NIGHT, exclusively on Disney+. © 2022 MARVEL.

HOCUS POCUS 2 – Review

(L-R): Kathy Najimy as Mary Sanderson, Bette Midler as Winifred Sanderson, and Sarah Jessica Parker as Sarah Sanderson in Disney’s live-action HOCUS POCUS 2, exclusively on Disney+. Photo courtesy of Disney Enterprises, Inc. © 2022 Disney Enterprises, Inc. All Rights Reserved.

Many of us look forward to the end of the year because those Winter holidays are a time to reunite and reconnect with dear old friends. But what if you don’t want to wait out those eight weeks or so for the month between Thanksgiving Day and Christmas? I mean, Halloween is the big Fall holiday, the perfect one to visit with a few movie buddies we haven’t seen for (gasp) thirty years. That’s what the fine folks at Disney+ are thinking. So, make sure you’ve got an extra large punch bowl, light the jack o’ lanterns, and save the big sofa for those Sanderson sisters as they conjure up lots of new supernatural antics in HOCUS POCUS 2. Oh, and pick up a trio of new brooms, too.


In a big switcheroo from the first outing, this story begins in 1653, not 1693, in ole’ Salem, Mass. A big group of hostile citizens, led by the town leader Reverend Traske (Tony Hale) arrive at the Sanderson house to confront the pre-teen trio of sisters. Traske is planning an arranged marriage for young Winifriid, though she only has eyes for that handsome, hunky Billy Butcherson. Escaping the mob, she and her sisters Mary and Sarah, dash into a place where nobody will follow: the Forbidden Woods. While they rest in a clearing, a huge bird swoops down and transforms into the Mother Witch (Hannah Waddingham). She gives Winnie the Book of Spells (ya know, with that creepy eyeball) and warns them not to enact the incantation of “Magicae Maxima”. Then, poof, we’re in modern-day Salem as the high school prepares for the town’s Halloween celebration. BFFs Becca (Whitney Peak) and Izzy (Belissa Escobedo) have their usual plans despite the loss of their other, now ex-BFF, Cassie (Lilia Buckingham), who is attached at the hip to her jock beau Mike (Froy Gutierrez), and is planning a big party at her place, since her dad, Mayor Traske (Hale, natch’) will be at the town square festivities. Becca and Izzy go ahead to the old village recreation attraction and pick up some spooky stuff from Gilbert ( Sam Richardson) who runs a magic shop in the former Sanderson shack. In the dark woods, the duo lights a candle, which (uh oh) produces a black flame that brings back Winifred (Bette Midler), Mary (Kathy Najimy), and Sarah ( Sarah Jessica Parker). Ah, but this time they’ve got bigger plans than merely draining the town kids of their youth. No, Winnie wants to unleash the Magicae Maxima, so they can rule forever. They’ve just got to gather all the needed ingredients like the blood of their enemy (Traske), and the head of a lover (Billy, perhaps). Can Becca and Izzy thwart their scheme and send the trio back to the netherworld?

Speaking of the terribly terrific trio, how can they so effortlessly sashay into their roles as if the last film wrapped 29 days ago rather than 29 years? The grand dame is of course Midler, as she curls a sinister smile around those bunny-like phony fake “choppers”. Her Winifred is regal, menacing, and can belt out a tune that leaves everyone spellbound (oh, you bet we get a song). Just as funny is Najimy as Mary with her “nobody’s home” vacant stare and lop-sided grimace as she “sniffs out the young ones”. And rounding out (oh, those slinky curves) is Parker who still projects a kittenish wink while indulging her “appetites” as she croons the “enchantment” tune to lure the throngs. But there’s a new trio of young women who share an interest in the dark arts. It’s the old “are you a good witch or a bad witch?” conflict led by the compelling Peak as the determined foe of Winifred. Her main aide is the fluttery Escobedo who gives Izzy a frazzled, but endearing warmth. The “third wheel” Cassie doesn’t have quite as much screentime, as she’s off partying with her guy and the “cool kids”, though Buckingham jumps right back into the battle with energy and a renewed appreciation for her “kiddie pals” in the final act. Jones as Billy has a silent movie clown physicality while expertly tossing off great retorts (“Hey, I’m a good zombie!”). Hale is equally doltish in his dual roles, but with some major twists. The Reverend is pompous and devious, while the Mayor’s a jovial “glad-hander”, who only drops his “man of the people” persona when his candy apple mania is denied. Also bringing the laughs is Richardson, who tries to be a friendly magic mentor to Becca and Izzy, but hides his sinister agenda. A bonus treat, though her role is brief, is the dazzling Waddingham, majestic and gorgeous as the “supplier to the Sandersons”.

Taking the reigns (or would broom be more apropos) is director/choreographer Anne Fletcher who embraces the spirit of campy chaos from the initial flick. She deftly handles the slapstick visuals (the trio updates their transports), the musical set pieces (a still fun bit of late 70s pop this time), and the teen clashes on the “social ladder”. The script from Jen D’Angelo, Blake Harris, and original co-creator David Kirschner even have some fun with the “legacy” of the 1993 flick as the sisters have become “drag icons” of the Fall holiday. The only glaring fault of this entry is a bit of “retcon”, an irritation in many sequels. The best example of this is how being called a chicken became a “trigger word” for Marty McFly in BACK TO THE FUTURE PART II (no mention in the original). Here, the main goal of the trio is the “Magicae Maxima”, which is “news to us”. Plus it often feels as though this may be a “try-out” for a possible “spin-off” to continue the franchise with the three younger women, perhaps as more of a “nice teen riff on THE CRAFT or a junior “Charmed”. Of course, the massive fan base that can quote the now cult classic will devour this like a heavy bag of trick-or-treat candies (and no rocks inside, Charlie Brown). Plus the newest audiences (the kiddies) will really love the pre-teen sisters in the flashback opening. No doubt that Jack Skellington, Casper, and the first Sanderson sister romp will be joined as a Halloween staple with HOCUS POCUS 2. No boos from me.

Three Out of Four

HOCUS POCUS 2 streams exclusively on Disney+ beginning on September 30, 2022

Special Look: Star Wars Series “Andor” – Debuts On Disney+ September 21 With 3-Episode Premiere 

Cassian Andor (Diego Luna) in Lucasfilm’s ANDOR, exclusively on Disney+. ©2022 Lucasfilm Ltd. & TM. All Rights Reserved.

Disney+ has released the thrilling, final “Andor” trailer as well as a Special Look at the upcoming series.

“The series is a prequel to ‘Rogue One: A Star Wars Story,’” explains creator and showrunner Tony Gilroy. “It rewinds back five years from the events of ‘Rogue One’ to follow Cassian Andor on his journey to get to the movie. We’ve done twelve episodes for the first season. The twelve episodes that we’ve done cover one year in time. We’re going to do another twelve that are going to take us over the next four years into ‘Rogue One.’”

The series is from Academy Award® and BAFTA-nominated writer/director/producer Tony Gilroy, who also wrote Episodes 1, 2, 3, 11 and 12. Gilroy, who cowrote “Rogue One: A Star Wars Story,” is known for writing and directing the critically acclaimed feature films “Michael Clayton” and “The Bourne Legacy” and wrote the first three Bourne Films: “The Bourne Identity,” The Bourne Supremacy,” and “The Bourne Ultimatum.”

The music for “Andor” is by Emmy®-winning composer Nicholas Britell (“Succession,” “Moonlight”).

“Andor,” a spy thriller from Lucasfilm filmed over two 12-episode seasons, takes place five years before the events of “Rogue One: A Star Wars Story.” The era featured in “Andor” is filled with danger, deception and intrigue where Cassian will embark on the path that is destined to turn him into a rebel hero. “Andor” presents Star Wars from a different perspective, focusing on everyday people whose lives are affected by the Empire. The decisions they make have real consequences, and the stakes for them—and the galaxy—couldn’t be higher. 

The series stars Diego Luna, Genevieve O’Reilly, Stellan Skarsgård, Forest Whitaker, Adria Arjona, Denise Gough, Kyle Soller, Fiona Shaw and Faye Marsay.

(L-R): Luthen Rael (Stellan Skarsgard) and Cassian Andor (Diego Luna) in Lucasfilm’s ANDOR, exclusively on Disney+. ©2022 Lucasfilm Ltd. & TM. All Rights Reserved.

Toby Haynes, Susanna White and Benjamin Caron direct specific episodes, and Kathleen Kennedy, Tony Gilroy, Sanne Wohlenberg, Diego Luna and Michelle Rejwan executive produce. Tony Gilroy is also the creator and showrunner. 

With action, adventure and suspense filmed against a cinematic landscape, the first three episodes of season one premiere exclusively on Disney+ on September 21.