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CAPTAIN MARVEL – Review

Who’s needing an escape from this seemingly never-ending Winter? Though it’s still a few weeks away, many schools are already “out” for “Spring break”. If you’re not getting that respite for a while, how about a short getaway? A weekend or perhaps just a couple of hours or so revisiting someplace fun? It’s been a long, long eight months away, but I’m not alone in looking forward to another trek into the more-than-a-decade-old “MCU” (Marvel Comics Universe, though I prefer “Marvel movie-verse”). Things were looking pretty dire for our fave “super-folks” last July when Ant-Man appeared to lose many of his friends to the body-dissolving “snap’ of the mad Titan, Thanos (from the Avengers flick of late April). Is there no hero to challenge that fiend? Buy your ticket, strap yourself into a seat (in front of the biggest screen possible), and look for that red, blue, and gold comet streaking past the stars. She’s finally here, CAPTAIN MARVEL to the (box office, hopefully) rescue!

This fantastic fable begins as something of a mystery. A recurring nightmare awakens a blonde young woman (resembling an Earthling) who peers out at a sparkling city (the subtitles informs us that we’re in the alien home of the Kree). The woman called Vers (Brie Larson) is soon at the front entrance of “living unit” of Yon-Rogg (Jude Law), her commander/trainer. After a brief combat “work out”, he sends her to a meeting of the Kree Supreme Intelligence, which assumes the image of someone important to the visitor. Verse recognizes the mature woman (Annette Bening), though she doesn’t know her name (Vers’s memories are scrambled, flashing by in unexpected images). The SI gets her ready for a new mission. Along with other members of an elite military unit, Vers will rescue a Kree undercover operative with information about a deadly alien race of shapeshifters (they can assume the form of anyone they observe), the Skrulls under the command of the ruthless Talos (Ben Mendelsohn). When things go badly, Vers is captured and brought aboard a Skrull ship. Luckily she steals an escape pod and crash lands on planet C-53 AKA Earth in the year 1995. Her arrival attracts the attention of two rookie government men, agents of S.H.I.E.L.D., Phil Coulson (Clark Gregg) and Nick Fury (Samuel L. Jackson). When a squad of Skrulls attacks, Fury is convinced of the otherworldly exploits of Vers. Eventually, the two hit the road, but their mission to stop the Skrulls takes a backseat to the revelation of the true origins of the powerful Vers. Is she more than Kree?

The talented Larson (can it be just over three years ago she earned the Oscar for ROOM) is a most formidable and complex addition to the MCU’s roster. Though she glides through a mental fog in the opening sequences, she projects a confident, powerful physical presence in the frenetic action set pieces (and that spiked mohawk helmet that pops on while is space looks fierce). It’s when she’s back on terra firma that Larson shows us the warrior (um, warrior-hero) has a vulnerable side, as that fog peels away she’s more human and open. On all worlds, she’s got a sassy spirit, with a quick wit rivaling that ole’ web-spinner. Plus she “plays” well with others, particularly with Jackson as a very different Fury. Along with his youth (another great MCU digital ‘lift’), Nick ‘s more upbeat with that surly glare a dozen or so years to come. We see Nick thinking quickly, on the run, showing us the reason he was put on the ‘fast track’ by the agency. Plus he has a wonderful “buddy cop movie” rapport with Larson, with the “fish out of water” roles reversed over the course of the story. Vers is perplexed by 1995 LA while later Fury feels way over his head, perhaps thinking that this alien…stuff…is way above his pay grade. Their on-the-road banter just crackles with energy (much like somebody’s super-charged fists).

The duo’s supporting players are superb. Law exudes great gravitas as a Kree riff on Mr. Miyagi (with a touch of Obi-Wan) who’s impervious to Vers’s humor. Mendelsohn has this “effete sneering baddie” thing down after the hat trick of ROGUE ONE: A STAR WARS STORY, READY PLAYER ONE, and, ugh, ROBIN HOOD, but this gifted actor has some real surprises “up his sleeve” making the demon-looking Talos more human than his Earth-disguise of Agent Keller (played with the right awkwardness). Benning ‘s having a lot of fun switching personas as the Kree SI, and later in that image’s source, always with an intelligent focused demeanor. Making a great impression is Lashana Lynch as the warm, gregarious Maria Rambeau, a young mother who may be able to sort out Vers’s visual flashes (Akira Akbar, as her daughter Monica, has a natural charm). Gemma (CRAZY RICH ASIANS) Chan has a great snarky sense of contempt as Kree cohort Minn-Erva. Oh, and there’s some more MCU vets. Gregg (after toiling away on TV for several seasons) is back on the big screen as a younger, but still button-down, Agent Coulson. And from the first GUARDIANS OF THE GALAXY, there’s future sullen, somber temple guard Korath (Djimon Hounsou) and the not quite crazy (well on his way though) Kree Accuser Ronan (Lee Pace).

Following in the footsteps of the skilled Russo (Anthony and Joe), another duo shares directing credits, wife, and husband Anna Boden and Ryan Fleck. Oh, they also worked on the screenplay with Geneva Robertson-Dworet, Meg LeFauve, and Nicole Perlman. Much as with the Russo and several other MCU filmmakers, this is the first big effects “blockbuster” from Boden and Fleck after a string of impressive smaller character films (HALF NELSON, SUGAR, and a little gem MISSISSIPPI GRIND), and the two also impress here. The pacing never flags, and they find the right tone for the action showdowns and comedic interludes. Unfortunately, many of the those action scenes are set aboard dimly-lit spaceship interiors and one is on a dark, foggy planet surface. Unlike the weird worlds of the last Avengers epic and the Guardians flicks, it’s hard to tell what’s going on (it made SOLO: A STAR WARS STORY a real visual ordeal), even with the weaponry that temporarily lit things up (swords, gloves, and rayguns). I can only imagine how tough the 3D “upconvert” would look. Then there’s the feeling that the story seems “lite”, as in MCU-lite, after the grand adventures of last year’s AVENGERS: INFINITY WAR and BLACK PANTHER (even the size-changing hijinks heist that was ANT-MAN AND THE WASP). There was a true dramatic scope to those, while it’s difficult to get truly emotionally invested in a galactic conflict (though it is a nice metaphor for some long-running conflicts on this planet). Then there’s the time frame. Like many “prequels” it’s nearly impossible to whip up real concern over characters that must survive for the previously seen flicks. In that way, much as in the above-mentioned SOLO, we get some “origin-style” back stories that are mostly fun but come close to being contrived (what happened to Fury’s left eye). Still, that mid-90s era is good for some chuckles, from a defunct retail chain to the frustrations of new tech. And those tunes which aren’t as inspired as the Guardian’s soundtrack and in one case hammers home the themes of female empowerment. Still, those brief flashes are powerful, as we see Vers growing up and having to contend with a roster of awful (as opposed to alpha) males (from big brother to papa to a leering co-worker). This film’s not just a “place-holder” or a break between acts of the Thanos saga, but it never rises to that dramatic level. Even at that, this is miles above most action film franchises, so for a breezy bit of fantasy fun (and a long overdue female-driven Marvel movie…really Black Widow should’ve had two solo flicks by now) take a star-filled ride with the movies’ new super-charged superhero (guess heroine is out of step), CAPTAIN MARVEL.

4 Out of 5

Star Wars: Galaxy’s Edge Set to Open At Disneyland Resort on May 31

In anticipation of high guest interest, Disney Parks, Experiences and Products announced today it will open Star Wars: Galaxy’s Edge ahead of schedule at Disneyland Park in California on May 31 and at Disney’s Hollywood Studios at Walt Disney World Resort in Florida on Aug. 29.

On opening day for phase one, guests will be transported to the remote planet of Batuu, full of unique sights, sounds, smells and tastes. Guests can become part of the story as they sample galactic food and beverages, explore an intriguing collection of merchant shops and take the controls of the most famous ship in the galaxy aboard Millennium Falcon: Smugglers Run.

Phase two, opening later this year, will be Star Wars: Rise of the Resistance, the most ambitious, immersive and advanced attraction ever imagined, which will place guests in the middle of a climactic battle between the First Order and the Resistance and will blur the lines between fantasy and reality. In light of tremendous demand, Disney made the decision to open the land in phases to allow guests to sooner enjoy the one-of-a-kind experiences that make Star Wars: Galaxy’s Edge so spectacular.

Guests planning to visit Star Wars: Galaxy’s Edge at Disneyland Park between May 31 and June 23, 2019, will need valid theme park admission and will be required to make a no-cost reservation, subject to availability, to access the land. Information on how to make a reservation will be available at a later date on Disneyland.com and the Disney Parks Blog. Guests staying at one of the three Disneyland Resort hotels during these dates will receive a designated reservation to access Star Wars: Galaxy’s Edge during their stay (one reservation per registered guest); valid theme park admission is required.

Once guests step foot on Batuu, they will be part of the action as it unfolds around them, and their interactions with the Play Disney Parks mobile app* will deepen their engagement with the land. They may choose to aid a smuggler, join the Resistance or pledge their loyalty to the First Order. In this all-new environment, guests can make choices about their experience that could impact their adventures as they travel throughout the land by using the Play Disney Parks mobile app in a whole new way. This depth of storytelling is part of the total immersion that will distinguish the two, 14-acre lands – the largest and most technologically advanced single-themed land expansions ever in a Disney park – from any other themed land in history.

The new lands build off decades of collaboration between Walt Disney Imagineering and Lucasfilm Ltd., a global leader in film, television and digital entertainment production, including the Star Wars franchise. The work on Star Wars between these two creative powerhouses dates back to 1987, when the groundbreaking Star Tours attraction opened at Disneyland Park in California.

Welcome to the Edge of Wild Space: Black Spire Outpost on Batuu
Batuu is a far-flung destination along the galaxy’s Outer Rim, on the frontier of Wild Space – the uncharted region beyond all known star systems. Batuu is home to Black Spire Outpost, an infamous port for smugglers, traders and adventurers wishing to avoid any unnecessary … entanglements with the First Order. Along the way, guests may encounter some familiar faces, from Rey, Finn, and Poe to BB-8 and Chewie.

Star Wars Adventures Come to Life in Two Thrilling Attractions

For more than four decades, Star Wars fans have imagined what it would be like to blast across the stars inside the Millennium Falcon or race through the halls of a Star Destroyer. Star Wars: Galaxy’s Edge will feature two signature attractions that turn those dreams into reality.

Set to open at Disneyland Resort on May 31 and at Walt Disney World Resort on Aug. 29, Millennium Falcon : Smugglers Run, will take guests into the cockpit of “the fastest hunk of junk in the galaxy.” They will take the controls of the Falcon in one of three unique and critical roles as the ship hurtles through space. Some will be pilots, some gunners and some flight engineers, creating multiple ways for guests to experience the attraction.

Set to open later this year, Star Wars: Rise of the Resistance places guests right in the middle of the Rebellion and gives them an active role in the fight against the First Order, including a faceoff with Kylo Ren. Their journey takes them inside a full-size starship and aboard a nearby Star Destroyer.

A Diverse Menu of Food and Beverages Await
What does Blue Milk actually taste like? That question and more will be answered when guests visit Star Wars : Galaxy’s Edge and experience the new land’s expansive array of food and beverages. Guests will walk through a bustling street market, where vendors offer various local delicacies, including an Outpost Mix of uniquely flavored popped grains from Kat Saka’s Kettle, a unique popcorn snack with a combination of sweet, savory and spicy flavors.

At Oga’s Cantina, even the blaster-bolt scorches on the walls tell a story. Here, guests will gather to share their tales from around the galaxy as they enjoy exotic beverages served in unique vessels and listen to spirited musical entertainment provided by DJ R-3X, otherwise known as Rex, the former Starspeeder 3000 pilot droid from the original Star Tours. Rex re-invents himself as the cantina’s DJ, and he’s as quirky and talkative as ever.

A multi-purpose transport shuttle docked on top of a large hangar will beckon guests into Docking Bay 7 Food and Cargo, a designated location for traveling food shuttles. Chef Strono “Cookie” Tuggs is in much demand for his culinary skills, so he moves from site to site in a modified Sienar-Chall Utilipede-Transport that becomes a mobile kitchen and restaurant. His travels across the galaxy allow him to fill his pantry with exotic ingredients he uses to make new and unusual dishes. He is proud to present Tuggs’ Grub, a “traveling diner for diners traveling,” inspired by dishes he created during his time working for Maz Kanata on Takodana.

In the Black Spire Outpost market, Ronto Roasters will draw attention from passersby with its large podracing engine firing up a barbecue pit for mouth-watering Ronto Wraps. When hungry customers queue up to order, they will encounter a former smelter droid, carefully turning the spit of meats. Guests will also be able to choose from a variety of exotic non-alcoholic drinks like the Sour Sarlacc or Tatooine Sunset. Elsewhere in the market, the Milk Stand will offer two local favorites – Blue Milk and Green Milk. Blue Milk was first seen in “Star Wars: Episode IV – A New Hope” when Luke Skywalker sat down for a family meal. Green Milk was introduced in “Star Wars: Episode VIII – The Last Jedi.”

Take a Piece of the Star Wars Galaxy Home from a Vibrant Market
Food is one of many discoveries just waiting to be made while wandering the lively market of Black Spire Outpost, where guests will encounter a robust collection of merchant shops and stalls filled with authentic Star Wars creations.

The Droid Depot will invite guests to construct their own astromech droids. Patrons will pick pieces and parts off a conveyor belt to build one of two core models (R-series or BB-series) and they can customize their droids with various parts and colors. These droids will be capable of interacting with elements in the land. Additional programming chips and accessories can be added to further customize these new friends. In addition, the Droid Depot will offer pre-built droids, droid-inspired products and more. At Savi’s Workshop – Handbuilt Lightsabers, guests will have the opportunity to customize and craft their very own lightsabers. In this mystical experience, guests will feel the Force as they build these elegant weapons from a more civilized age.

Inside Dok-Ondar’s Den of Antiquities, guests will find a selection of rare and mysterious items for sale representing different eras of the Star Wars galaxy, including holocrons, ancient Jedi and Sith artifacts, lightsabers and more. As they explore the nooks and crannies of the shop, guests will also see Dok at his desk as the large Ithorian checks his inventory, takes incoming calls and barks the occasional order at his assistants.

In addition to these special experiences, the Black Spire Outpost market will feature the Creature Stall dedicated to the plethora of rare and fascinating creatures that populate the galaxy, as well as Black Spire Outfitters, showcasing the latest in accessories. Guests will also find the Toydarian Toymaker, a stall full of toys crafted by a Toydarian (the flying alien species first seen in “Star Wars: Episode I – The Phantom Menace”).

Guests can also demonstrate where their loyalties lie with the gear and accessories they purchase within the land. Resistance Supply is a “makeshift” supply location at the Resistance’s hidden command area. The stall sells Resistance pins, badges, hats, and other accessories to help guests feel like part of the cause. First Order Cargo, meanwhile, is a temporary First Order storage dock near the market. Easily identified by a never-before-seen First Order TIE echelon, the cargo location will offer guests a chance to pledge their loyalty by purchasing pins, caps, gear, model ships and more.

Play Disney Parks Mobile App Deepens Guest Engagement with the Land
Star Wars: Galaxy’s Edge is the first land within a Disney park designed to integrate with the Play Disney Parks mobile app, which debuted last year and offers interactive adventures and experiences that bring surrounding environments to life at Disneyland Resort and Walt Disney World Resort. When guests use the app, it will provide new opportunities for them to engage with the land, such as translating a galactic language, learning what’s hidden inside crates and containers, or accomplishing certain tasks by participating in missions.

Guests also can use the Play Disney Parks app to interact with a variety of elements in Star Wars: Galaxy’s Edge, such as droids, ships, media screens, door panels and antenna arrays.

Iconic Musical Score for Star Wars: Galaxy’s Edge

Music has been an integral part of Star Wars from the moment the iconic themes of Academy Award winning® composer John Williams first introduced us to this galaxy. The music for Star Wars: Galaxy’s Edge continues that tradition with a suite of all-new Williams-composed themes written especially for the land and its attractions. Along with a collection of original cantina songs created by composers and songwriters from around the globe, this new music will deepen guests’ connection to the land as Williams complements and builds upon the iconic fanfares he created for the Star Wars films.

More details about Star Wars: Galaxy’s Edge will be released in the coming months. Visit DisneylandNews.com, WDWNews.com, DisneyParksBlog.com and StarWars.com for the most up-to-date information.

Capacity is limited. Access to the theme park, Star Wars: Galaxy’s Edge and its experiences may be restricted or unavailable depending on guest demand and other factors.

* Message, data and roaming rates may apply. Availability subject to handset limitations and device settings and features may vary by handset, service provider or otherwise. Coverage and app stores not available everywhere. If you’re under 18, get your parents’ permission first. Some features require separate theme park admission. Some experiences require in-app purchases.

MARY POPPINS RETURNS – Review

With the big year-end holidays just days away, many are rushing out of town to be with loved ones, which makes it a perfect time for the movies to ponder that age-old question, “Can you really go home again?”. In other words, can you recapture the wonder and general magic of our childhood years? The Disney Studios certainly hope that’s possible, for they’ve got a lot riding (financially and artistically) on a sequel to their founder’s last great box office triumph (certainly “Uncle” Walt’s biggest “mainly” live action hit). But wait, you may ask, didn’t that celebrated “man from Marceline Missouri” pass away in 1966? Exactly, and this classic hit theatres two years before that, even inspiring a “making of” docudrama five years ago, SAVING MR. BANKS. So, can this icon, a different sort of soaring super-heroine, save filmgoers from the holiday flick doldrums (so many of the end of the year films are “downers”)? Well, as fans across the globe will learn when MARY POPPINS RETURNS, she’s still practically perfect in every way.

The first person greeting us at the start of this tale is not Bert the chimney sweep, but Jack the lamp-lighter (Lin-Manuel Miranda) who rides his bike around dawn in the still darkened streets of London, though part of the darkness might be the fact that the city is in the throes of “The Great Slump” (in the states we called it a “Depression”). Yes, a lot has changed in the 25 years since we last visited Cherry Tree Lane. The Banks family still occupies a lovely home there, not far from the punctual Admiral Boom (David Warner), but it’s Michael (Ben Whitshaw) that’s the head of the household. He has three children of his own, ten-year-old Anabel (Pixie Davies), eight-year-old John (Nathanael Saleh), and six-year-old little Georgie (Joel Dawson), but no wife since she passed away fairly recently. Luckily Michael’s sister Jane (Emily Mortimer) helps out whenever possible, between protesting corruption and serving at the soup kitchen (some call her a “union organizer”, but she’sd no doubt prefer “defender of the downtrodden). Plus there’s long-time cook/housekeeper Ellen (Julie Walters) who seems more like part of the family. Unfortunately, Michael’s artistic aspirations have not been fruitful, so he has taken out a loan from the bank where his father worked, the old Fidelity Fiduciary (he’s a part-time clerk there). And now the loan is almost due and the bank will take the house in just a few days unless it’s paid in full. The sympathetic (seemingly) new bank manager, Mr. Wilkins (Colin Firth) insists that he’ll give them until midnight on that Friday. Oh, but didn’t Grandpa’ George buy bank stock notes? As they frantically look through the attic, Michael tosses out an old kite. The wind picks it up and takes it to the park where the children are playing. Lil’ Georgie grabs the string and is almost pulled into the sky until Jack rescues him and pulls at the kite. Suddenly the line goes slack, the clouds part to reveal that a woman floating by means of an umbrella is now holding the kite. It is the Banks’ former nanny Mary Poppins (Emily Blunt). She takes the trio home to a very surprised Michael and Jane (“You’ve not aged a day!”). Though they cannot pay her, Mary insists on taking charge of the three children. They then embark on a series of magical, musical adventures as the elder Bankses struggle to save the old house from foreclosure, something Mary’s magic cannot forestall. Or can it?

The main question in the minds of most fans of the character is how Ms. Blunt stacks up to the Oscar-winning performance of Julie Andrews in the original. The short answer is very well, with Blunt putting a similar but different spin on her. Yes, Mary’s still a tough taskmaster and stickler for order, but Blunt delights as she shows us her mischevious, fun-loving side, such as when she joins the kids for a “dive” into the bathtub, and later as she demures before going into a big musical number before a very appreciative animal audience. For that sprightly song, Mary drops the prim and proper to be a bit, well, bawdy as she doffs a derby and twirls a cane. Mere moments later she’s the ultimate caregiver, so soothing and warm as she helps the children cope with their recent loss (the ballad “The Place Where Lost Things Go”). And as we heard in her role recently in INTO THE WOODS, Blunt has a most lovely singing voice. The same can be said of her frequent dance partner here, Miranda, who has taken over the Bert functions (it’s explained that Jack was an apprentice to Bert, and waved to little Jane from the rooftops). Best known for rapping in the Broadway smash “Hamilton”, Miranda even gets to indulge in a bit of the same during that earlier mentioned number with Blunt. Later he keeps up expertly as the leader of the “Leeries” (lamplighters) in the energetic (exhausting really) “Trip a Little Light Fantastic”. Unfortunately, the Jack character can be a little cloying to the point of preciousness as he seems to condescend to the kids (always on the verge of a wink), and he appears to grab screen time away from Mary. And who in the make-up department thought the “five o’clock shadow” effect didn’t look like a child’s “hobo” Halloween outfit (either grow some stubble or be clean-shaven, really)?

Yes, it’s basically the Mary and Jack show, but the supporting cast gets many chances to shine. From a dramatic standpoint, Whishaw is the story’s bruised, almost broken heart. Life has truly pummeled him, and like his papa, Mary needs to “save” him and remind him of life’s joys. We see all this through Whishaw’s sad, sunken eyes which show a spark as Mary enters his lofe once more. Though not as tragic as her brother, Mortimer is excellent as the grown empathetic sis who seems to have never forgotten those sweet moments of generosity. Plus she has some lovely moments with Jack, as the hint of romance makes Jane’s bubbly attitude return. Firth oozes silky menace as the duplicitous money-lender, going from sweet (around Michael) to sour on a dime (if his mustache weren’t pencil-thin he’s be twirling it as he thinks of taking the house). Warner’s a loveable old crank as the time-obsessed neighbor. Blunt’s frequent film co-star Meryl Streep shows up for a song and dance as Mary’s wacky, repair-shop owner Cousin Topsy. Sporting a bright red flapper wig and doing a Fanny Brice-style Old World accent, her “Turning Turtle” number is a bit of forced whimsy that grinds the plot to a halt, though Streep, as usual, gives her utmost effort. Another screen veteran, Angela Landsbury, works much better as the Balloon Lady as she sings a spirited rendition of the very catchy final tune “Nowhere to Go But Up”. Oh, the new trio of Banks kids are pretty great, very natural and endearing. But they’re not nearly as adorable as the film’s scene-stealer Navckid Keyd, whose number at the bank office is a real “show stopper”. This fella’s going places, even with that tongue-twisting moniker.

Movie musical vet Rob Marshall (CHICAGO, INTO THE WOODS) keeps the story moving along at a fairly brisk pace, making its over two-hour running time almost breeze by (despite the “Turtle” number and the endless stunt cyclers). And there’s plenty of good-natured humor in the script he co-wrote with David Magee and John DeLuca (based on the characters and stories created by P.L. Travers) which recalls many of the “story beats” of the original without being an exact “carbon copy”. The same could be said somewhat with the original songs and score by Marc Shaiman (with a lyric assist from Scott Wittman) which evoke bits of the iconic score by “The Boys”, as Disney called the Sherman Brothers (try and watch the superb documentary THE BOYS for some great insight into the 1964 film) while having a distinct sprightly, hummable energy and offering a familiar formula (“Step in Time”=”Trip a Little Light Fantastic”,”I Love to Laugh”=”Turning Turtle”, and so on). Time will tell if they’ll have the staying power of Robert and Richard’s melodies (my bet is on the infectious “A Cover is Not the Book” and “Can You Imagine That?”). And big big kudos to Mr. Marshall on insisting that the animated sequence (the highpoint of the original for me) be produced in “hand-drawn” 2D rather than computer-aided 3D (though tech helped with shadows and mixing in the live actors). The line work on the pastel-attired menagerie is delicate, almost “whispy” as though lightly brushed on ceramic as opposed to heavier scratchy lines of the first film. The audience of “The Royal Doughton Music Hall” is a delight that suddenly turns dark and full of danger as a cartoon wolf behaves more like one of the human predators. The whole film greatly benefits from the very talented craftspeople led by production designer John Myhre and photographed with dazzling skill by Dion Beebe with great use of real UK locales (the first film was shot entirely on Hollywood sound stages). So, did the filmmakers “go home again”. For the most part, they’ve produced a most happy “homecoming”. Remembering that 2013 “behind the scenes” film, I’d surmise that “Uncle” Walt would have a grand ole’ time with this while Mrs. Travers would be fairly irritated (too much use of the red color for one thing). With so much discord and darkness filling the news these days, audiences should find a much welcome escape by revisiting the magic when MARY POPPINS RETURNS.

4 Out of 5

STAR WARS Live Action Series The Mandalorian Cast Includes Gina Carano, Pedro Pascal, Giancarlo Esposito And Carl Weathers

Lucasfilm is pleased to announce the cast of the first-ever Star Wars live-action series –The Mandalorian.

Pedro Pascal (Narcos) has been cast in the title role as a lone Mandalorian gunfighter in the outer reaches of the galaxy. He is joined by Gina Carano (Deadpool), Giancarlo Esposito (Breaking Bad), Emily Swallow (Supernatural), Carl Weathers (Predator), Omid Abtahi (American Gods), Werner Herzog (Grizzly Man) and Nick Nolte (Affliction).

“We’re having a great time working with this incredibly talented group and excited for everyone to see what we’re up to,” says Executive Producer Jon Favreau.

Currently in production, The Mandalorian is written and executive produced by Jon Favreau, with Dave Filoni (Star Wars: The Clone Wars, Star Wars Rebels) directing the first episode and serving as executive producer alongside Kathleen Kennedy and Colin Wilson. Additional episodic directors include Deborah Chow (Jessica Jones), Rick Famuyiwa (Dope), Bryce Dallas Howard (Solemates), and Taika Waititi (Thor: Ragnarok).

The highly anticipated series will be exclusive to Disney+, The Walt Disney Company’s upcoming direct-to-consumer streaming service, which is set to launch in the U.S. in late 2019.

Stay tuned to StarWars.com for updates.

RALPH BREAKS THE INTERNET – Review

Well, feature animation fans it’s time to empty out that big change jar and head down to the video arcade. You know, right next to the multiplex. What to do you mean it’s gone? Why the next thing you’ll tell me is that the Blockbuster Video is…uh, oh. That sums up the challenge for the folks at the Walt Disney Animation Studios. In 2010 they finally had a hit that almost rivaled their friendly (same company by then) neighbor at Pixar, a modern attitude take on the Rapunzel fairy tale called TANGLED. And two years later WDAS had an even bigger hit with WRECK-IT RALPH a zany look at what goes on after hours at a video arcade, a clever mix of TOY STORY and WHO FRAMED ROGER RABBIT (lots of cameos from game superstars from several companies). Six years later WDAS decides to finally produce a theatrical sequel (most follow-ups to their features go right to home video or TV), but video arcades are on the outs, unless they’re part of those big family fun places that include food (pizza primarily) and interactive activities (bumper cars, mini-coasters, etc.). Where are folks playing video games now? At home mostly, with gaming systems and online with other folks across town or the globe. There’s now only one option for that brick smashing game icon, as we try to maintain our WiFi connection when RALPH BREAKS THE INTERNET.

Yes, the setting of this new flick is today, and somehow Litwak’s Arcade is still open. Ralph (voice of John C. Reilly) and Vanellope (Sarah Silverman) spend their days entertaining the kid clientele via their respective games, “Fix-It Felix Jr.” and “Sugar Rush”. At night, the two meet down at the electrical outlet power strip and spend the wee hours at different games before heading to Tappers for a frosty root beer before heading back to their respective home games. Vanellope enjoys their time together but ponders to Ralph whether there’s more to do. One day their routine is disrupted when one of the other games is unplugged and replaced with a WiFi router. The two are curious but are warned away by Surge Protector (Phil Johnston). Hours later, the ultimate disaster occurs, the steering wheel on the Sugar Rush game is broken. Ralph and Vanellope overhear Mr. Litwak (Ed O’Neill) say that he’ll have to order a new one from the internet. Now the duo has a mission, as they sneak into the world wide web via the router cord. The helpful guide/search engine KnowsMore (Alan Tudyk), gets them to the eBay site which has a wheel up for auction. The two bid way too much, thinking the point is to top each other’s number, and so they need to make some quick cash. In their travels the two stumble into the gritty game, Slaughter Race, where Vanellope becomes fast friends with its racing star Shank (Gal Gadot). While they bond, Ralph visits the BuzzTube offices of Yesss (Taraji P. Henson) who plans to make him a viral video superstar (lots of hits=lotsa’ dough). Then the unthinkable happens. Vanellope thinks that she may want to stay online in Shanks’ game. Will these inseparable best buds be …separated? And can Ralph prevent that from happening without, well, breaking the internet?

The returning voice actors easily slip back into their gaming personas, like, um, a comfortable old pair of slippers. Reilly is that same big, friendly affable lunkhead with a soft heart to match his head, at times. He always has the best intentions, though never truly thinks out the consequences. But he’s a devoted pal to Vanellope who still has the right mix of innocence and sass thanks to the spirited vocal stylings of Silverman. This time out, though there’s a touch of pathos to the mischievous imp. Like some many Disney heroines before her, she’s yearning for something and eager to explore the world, newly expanded thanks to the “interweb”. Jack McBrayer and Jane Lynch also return as the oddest of arcade couple, eternal lovebirds perky, peppy Felix and tough somewhat surly Calhoun. As for the new additions, Gadot is smooth and sultry as the street-smart Shank making her the ideal big sis to Ms. V. While Henson brings an infectious energy to the also cool, though much flashier Yesss who nearly flings herself across her opulent digs when formulating a plan. Tudyk, who may be WDAS’s good luck charm as much as John Ratzenberger is over at Pixar, makes KnowsMore a very funny and endearing “know-it-all”. SNL vet Bill Hader pops in and out as a motor-mouthed pop-up ad pitchman, similar to a cyber member of Nathan Detroit’s crew from GUYS AND DOLLS. But not everybody’s helpful and pleasant. Alfred Molina represents the “dark side” of the web as the growling, gruesome underworld…er web kingpin known as Double Dan (if you’re reminded of a 1990 sci-fi misfit, then you have TOTAL RECALL). Plus there are loads of familiar voices showing up as the online incarnation of their famous media roles.

Rich Moore, who snagged a well-deserved Oscar for ZOOTOPIA a couple of years ago, returns for this sequel sharing the director reigns with first-time feature filmmaker Phil Johnson. Oh, and the two share story and screenplay credits with Jim Reardon, Pamela Ribon, and Josie Trinidad. Big kudos to them all for bringing us a follow-up that just as funny, and perhaps, emotionally richer than the first flick. Happily, the look of the new supporting players is just as interesting as the “Mutt and Jeff” dynamic of Ralph and Vanellope, while bringing us a variety of design and styles. And somehow they all work well together. There are the “cartoony” short and squat looks (inspired by the UPA shorts of the 1950’s) of KnowMore and the “pop-up” pitchmen. But they’re distinct from the icons representing internet viewers with cubed heads and spindly-thin bodies (look for one that recalls a very recently departed, much-beloved superstar). Then we’ve got the fairly realistic, almost out of an adventure comic strip, denizens of the Slaughter Race site, with the fine details of Shank’s streetwear and chopped frayed hair. Somewhere in-between is the slick, curved rendering of Yesss, who has a neo-futuristic fashion sense, sort of hip-hop meets Hirschfield (the caricature genius that inspired the Genie in ALADDIN). Speaking of character design, as the ads and trailers heavily tout, the Disney Princesses appear all together here. The artists have made the icons from different eras look pleasing in CGI 3D (many were originally drawn in 2D cell animation), and they interact without any jarring visual gaffes. So, Snow White can hang with Moana, and it seems natural. Happily, not all the best jokes and gags are in the ads. There’s a winking sense of affectionate satire in the interactions that will delight Disney fans of all ages. But that’s just a few scenes in this smart script that mingles cyber jokes about that annoying buffering spinning colored circle to the dangers of reading the comments section with a sweet, touching story of relationships. It extolls the joys of friendship while having much to say about a “selfish love” and the destructive results of trying to hold a friend back, for fear of losing them. Heady stuff in a family flick, eh? Oh, about the look of the internet, well it’s a glistening blue-tinged mix of Oz and METROPOLIS (the silent classic, not Superman’s home turf), that is often too jampacked with widgets and “gee-gaws” (maybe I should spring for the 3D upgrade on the next viewing). Yes, it’s a visual feast loaded with heart and humor. When RALPH BREAKS THE INTERNET, he and his old and new friends will delight movie audiences of any age.

4.5 Out of 5

THE NUTCRACKER AND THE FOUR REALMS – Review

*Mackenzie Foy is Clara and Jayden Fowara Knight is Phillip in Disney’s THE NUTCRACKER AND THE FOUR REALMS.*

Tchaikovsky’s classic The Nutcracker Ballet is a perennial holiday favorite, particularly for little girls for whom visions of sugarplum fairy ballerinas dance in their heads. With Tchaikovsky’s beautiful music, Hoffman’s magical Christmas fantasy story, The Nutcracker seems a natural for Disney.

Best of all, THE NUTCRACKER AND THE FOUR REALMS features dancing by prima ballerina star Misty Copeland, the first African American principle dancer with the American Ballet Theater, With Copeland in the cast, Nutcracker fans can’t be blamed for expecting something like a lush big screen version of the holiday-favorite ballet. But THE NUTCRACKER AND THE FOUR REALMS is a far different story, with much less of Misty Copeland’s thrilling dancing and much less of Tchaikovsky’s famous music than one would expect or hope.

The result is pretty but disappointing. The film had a lot of promise, with Copeland dancing and a cast that includes Morgan Freeman, Helen Mirren and Keira Knightley.

Indeed, the best parts of THE NUTCRACKER AND THE FOUR REALMS are the sequences that feature Copeland’s dancing, which are simply thrilling and shot in a heart-pounding energetic style. Sadly, we only see Copeland dance in one part of the story and then over the end credits. Likewise, while The Nutcracker Ballet has a number of famous, beloved Tchaikovsky pieces, we only hear snippets of a few of them, and mostly one theme repeated.

Of course, it is not too surprising that Disney would make some changes to a story where the Mouse King is the villain, in order to create a new adversary. The famous ballet abbreviates the ETA Hoffman story and Disney’s wish to keep a PG rating which might had made using more of Hoffman difficult. Still, surely the Disney writers could have come up with a more interesting story that also preserved more of the delights of the beloved ballet.

Like the ballet, THE NUTCRACKER AND THE FOUR REALMS is about the adventures of a girl named Clara (Mackenzie Foy), which begin with a Christmas party and a gift from her Uncle Drosselmeyer (Morgan Freeman). There is a nutcracker shaped like a soldier but that is a gift for Clara’s little brother while Clara receives a key that leads her into the magical Four Realms. There she meets The Nutcracker (played by Jayden Fowora-Knight) as well as Sugar Plum (Keira Knightley), Mother Ginger (Helen Mirren), and others of this magical land called the Four Realms.

Changing the fantasy from a dream to an Alice In Wonderland-like magical realm seemed like a reasonable change but then story from there feels uninspired and routine. Drawing on elements from Lewis Carroll, the Wizard of Oz and other classics, the story never really picks up much steam. This is despite the dazzling visual world and the best efforts of the cast, particularly Helen Mirren as the spooky-looking Mother Ginger. Keira Knightley does more scenery-chewing than one usually sees and other character seem flat. Matthew MacFadyen struggles to breathe some life into the role of Clara’s father, who is still mourning Clara’s mother Marie (Anna Madeley) but the part seems under written.

The story is changed substantially in the quest to create a new villain, and in this version the mice are more comic relief, as befits the House that Mickey built. That would be fine except the story Disney comes up with is rather dull, lacking much energy or excitement. The film looks fabulous of course but will it has the appearance of an epic adventure tale, it certainly does not have an epic film. A few scenes try for excitement but much of the film is rather static, like a pretty picture of an adventure tale.

THE NUTCRACKER AND THE FOUR REALMS is mostly worth seeing for Copeland’s dancing but it is too small a part of this rather dull if pretty tale. Better yet, take the kids to a live performance of The Nutcracker Ballet.

RATING: 2 1/2 out of 5 stars

CHRISTOPHER ROBIN – Review

*Christopher Robin (Ewan McGregor) with his longtime friend Winnie the Pooh in Disney’s CHRISTOPHER ROBIN.*

The Winnie the Pooh stories are among the great treasures of childhood but this seeming re-write of the sad life of the real Christopher Robin might unsettle adults who learned the true story of A. A. Milne’s son in last year’s GOODBYE CHRISTOPHER ROBIN. Ordinarily, a chance to revisit A. A. Milne’s delightful world of the Hundred Acre Wood through film would be most welcome but in light of the sad story revealed in that film, there is something off about the way Disney’s new live-action CHRISTOPHER ROBIN goes about that, with a tale in which a grown Christopher Robin reconnects with happy childhood memories of Winnie the Pooh, Tigger, Piglet, Eeyore and the rest. GOODBYE CHRISTOPHER ROBIN revealed the much sadder true story of Milne’s son Christopher Robin, the real boy who was the inspiration for the stories’ fictional one, and the way the publication of the books had a devastating effect on his childhood. The Disney film seems to cut out the unpleasant parts of the real person’s story to create a happier one, which just feels wrong, or at least it will likely seem that way to anyone who saw last year’s powerful drama.

Still, kids certainly will be unaware of all that, as will adults who didn’t see the earlier film and, of course, parents can chose to ignore it too. Actually, in this story, it is the fictional Christopher Robin who has grown up, with a life parallel life to Milne’s real son but with the trauma just cut out. Purely as a family film, CHRISTOPHER ROBIN is a crowd-pleaser, with period charm, lovely locations, nice performances, and a likable fantasy tale that will entertain both children and parents. The live-action combination of actors and CGI-animated stuffed animals is very well done, and the characters are a much better, more faithful depiction of A.A. Milne’s delightful creations than in the earlier Disney animated versions.

The film is directed by Marc Forster, who has successfully mixed children’s literature and the real people behind the stories before in FINDING NEVERLAND, about the creation of Peter Pan. But while children will delight in the Disney live-action/CGI animated stuffed animal characters in this appealing Winnie the Pooh fantasy, there remains something unsettling about the way the film simply erases out all the unpleasant parts. A.A. Milne’s Pooh stories are wonderful but the success of the books and readers’ interest in the real boy who shared the books’ fictional character’s name turned his parents into greedy stage parents exploiting their son, an experience that haunted him throughout life.

The story is set in a post-World War II London, and Ewan McGregor plays a grown-up Christopher Robin, with Robin being his last name. The film gives us a scene of young Christopher Robin saying farewell to his friends in the Hundred Acre Wood, as in “The House At Pooh Corner,” and then a quick recap of growing up and into adulthood that roughly resembles part of young Milne’s life. After service in the war, the adult Christopher Robin has a wife, Evelyn (Hayley Atwell) and a nine-year-old daughter, Madeline (Bronte Carmichael), but all his time seems to be taken up by his job as an efficiency manager at a luggage manufacturer. He likes his job and his department of oddball co-workers (played by a wonderful assortment of British character actors) but works too-long hours and is a bit too serious and stern with his young daughter.

Unfortunately, the luggage company is not doing well, and Christopher’s boss Giles Winslow (a delightfully obnoxious Mark Gatiss) insists that he has to work the weekend so they can cut 20 percent from company costs, cuts that may involved layoffs among Christopher’s staff. Working the weekend will spoil his plans for a long-awaited family weekend at the Sussex cottage where the child Christopher Robin played with his toys in the Hundred Acre Wood. Fortunately, Christopher Robin’s childhood friend Pooh and the rest return to save the day and help the grown man reconnect with his childhood and his daughter in a magical adventure.

The real appeal of this film are A.A. Milne’s characters, brought to life in well-done CGI stuffed animal animation and fine voice acting performances. Visually, the film is wonderful. The mix of live actors and stuffed animal characters is seamless and wholly-convincing, as one expects from Disney, and scenes were shot on location in London and Sussex. There is plenty of action, silly humor and exciting chases to please young viewers. Early on, there are a few tense, dark moments which may upset some younger children (not as harsh as BAMBI) but the story quickly switches tone and eventually delivers the kid-pleasing happy ending and a message about family that will please parents.

On the plus side, the film offers an appealing versions of Milne’s characters, much more true to their charm and clever humor than the earlier simplified animated versions. Parents who have not read the originals to their kids should remedy that immediately, as adults will delight to find the stories entertaining and smarter than you expect based on the Disney versions.

While the plot is pretty familiar, mostly a standard tale of a man re-discovering what really is important in his life, director Marc Forester, who also directed FINDING NEVERLAND, has a few surprises in mind. Ewan McGregor turns in a nice performance as Christopher and gets strong backing from the rest of the cast. The voice acting hits all the right comic notes, particularly Brad Garrett as Eeyore and Jim Cummings as Pooh. Others lending their voices include Toby Jones as Owl, Peter Capaldi as Rabbit and Sophie Okonedo as Kanga.

However, the biggest appeal, not surprisingly, are Milne’s beloved characters. Of course, Winnie the Pooh is front and center in this fantasy of a man getting back in touch with his childhood but the surprise and delight is the prominent role given to Eeyore, a character much funnier in the books than in the cartoon version. We still get the hyperactive Tigger and all the other characters to varying degrees. As said earlier, these version are more true to the smarter, funnier books.

Kiddies won’t notice this but adults who saw GOODBYE CHRISTOPHER ROBIN will notice the striking visual parallels between this film and the drama, which will keep that other darker tale of bad parenting in the front of mind, perhaps Foresters’ subtle unspoken cautionary commentary. Parents who have not seen GOODBYE CHRISTOPHER ROBIN might want to consider seeing it before taking their kids to this happy fantasy, although that earlier drama is not suitable for some kids, as director Marc Forster may intend some of the subtext as a cautionary tale for parents. The underlying message, buried under all the kid-friendly entertainment, is to let kids be kids, whether one is aware of the true story behind this or not. Other grown-ups who fondly remember Winnie the Pooh should be aware of the sad true story depicted in the drama before embracing this white-washed version of the grown-up Christopher Robin.

For kids, CHRISTOPHER ROBIN is an enjoyable family film, the kind that can entertain both them and their parents, and particularly delightful if they have read the real A.A. Milne stories. For parents who saw the earlier drama, it has a cautionary message. Other grown-up Pooh fans should check out the sad true story depicted in the drama before embracing this fictional tale of Christopher Robin.

RATING: 3 1/2 out of 5 stars

Disney’s CHRISTOPHER ROBIN Gets Huge Billboard In Hollywood

At the corner of Sunset and La Cienega in Hollywood is the poster for Disney’s CHRISTOPHER ROBIN… on the side of a building. One of the cool things about Tinseltown is that they go big when promoting the films.

Just last week it was Disney/Marvel Studios’ ANT-MAN AND THE WASP. Both were an awesome sight to see for this movie geek!

Advance tickets for Disney’s “Christopher Robin” are now available for purchase (HERE), and to celebrate, Disney has released a featurette on the legacy of the beloved A.A. Milne characters. The piece features new footage from the upcoming film and interviews with Ewan McGregor, Hayley Atwell and director Marc Forster. And don’t forget to see “Christopher Robin” when it hits theaters August 3, 2018!

In Disney’s heartwarming live action adventure, the young boy who shared countless adventures with his stuffed animal friends in the Hundred Acre Wood has grown up and lost sight of what’s important in life. Now it is up to his childhood friends to venture into our world and help Christopher Robin rediscover the joys of family life, the value of friendship and to appreciate the simple pleasure in life once again. (trailer)

Christopher Robin (Ewan McGregor) and his longtime friend Winnie the Pooh in Disney’s CHRISTOPHER ROBIN.

Winnie the Pooh, Piglet, Eeyore and Tigger relax at the beach in Disney’s CHRISTOPHER ROBIN.

“Christopher Robin” is directed by Marc Forster from a screenplay by Alex Ross Perry and Allison Schroeder and a story by Perry based on characters created by A.A. Milne and E.H. Shepard. The producers are Brigham Taylor and Kristin Burr, with Renée Wolfe and Jeremy Johns serving as executive producers. The film stars Ewan McGregor as Christopher Robin; Hayley Atwell as his wife Evelyn; Bronte Carmichael as his daughter Madeline; and Mark Gatiss as Keith Winslow, Robin’s boss. The film also features the voices of: Jim Cummings as Winnie the Pooh and Tigger; Brad Garrett as Eeyore; Toby Jones as Owl; Nick Mohammed as Piglet; Peter Capaldi as Rabbit; and Sophie Okonedo as Kanga.

ANT-MAN AND THE WASP – Review

What better way is there to celebrate the big Fourth of July holiday weekend than taking a trip? Instead of schlepping your luggage to the airport or train station, just head on over to your favorite multiplex and grab your ticket for one last trip to the “Marvel Movie-verse”. Well the last one for 2018. The year’s barely halfway spent, and the third film’s release will have to tide fans over for eight months when CAPTAIN MARVEL makes her (that’s right) feature debut. Now in February we witnessed the wonders of Wakanda in BLACK PANTHER and in late April we were dazzled by the epic galactic fight to stop Thanos in AVENGERS: INFINITY WAR (really part one). After that massive movie event, perhaps it might be the time to go smaller. A whole lot smaller, in fact. Three years ago many film buffs (including myself, to be honest) were poised for Marvel Studios’ first box office dud. This flick showcased one of the earliest Marvel comic book heroes (a founding member of the Avengers), but over the years he had become a punchline (particularly in a famous SNL superhero party sketch from 1979). Plus there was turmoil behind the camera as the director who developed the film was ousted and replaced. And the lead was best known for “rom-coms” and as a lovable goofball in several “indie” flicks. Yet somehow ANT-MAN was a embraced by critics and film goers. He even returned a year later for the big airport battle in CAPTAIN AMERICA: CIVIL WAR. Now finally he’s back, and as teased in the first film’s mid-credits scene, he’s got a petite partner, as part of the titanic tiny team of ANT-MAN AND THE WASP.

First thing to know is that this adventure takes place before the evens of the big Infinity War. Now, as mentioned in that film, Scott Lang AKA Ant-Man and Clint Barton AKA Hawkeye both took plea deals for breaking the Sokovia Accords by helping Captain America (the guys are both fathers and didn’t want to be fugitives from the law and their families). So Scott (Paul Rudd) is back in San Francisco and under house arrest at the place he shares with old prison pal Luis (Michael Pena). There just a couple days left in his sentence, but nerdy FBI agent Jimmy Woo (Randall Park) continues to hover, even as Scott is visited by his adorable daughter Cassie (Abby Ryder Fortson) and his supportive ex-wife Maggie (Judy Greer) and her even more supportive new hubby (he loves Scott) Paxton (Bobby Cannavale). Scott keeps busy, mainly by being a consultant to the private security business he started with Luis and partners Dave (T.I.) and Kurt (David Dastmalchian). Still, he’s haunted by dreams and memories from his first outing as Ant-Man, especially his descent into the sub-atomic micro-universe known as the “Quantum Realm”. After one nightmare, in which he seems to be looking through the eyes of a mystery woman, Scott makes a risky call via “burner phone” to Henry “Hank” Pym (Michael Douglas) and Hope Van Dyne (Evangeline Lilly), who are on the run for providing Scott with the tech and suit. Shortly after leaving a message, Scott blacks out after an insect bite and wakes up in the secret lab of Henry and Hope (they figured out a way to trick the FBI). Hank believes that Scott has a connection to his wife (and Hope’s mom) Janet (Michelle Pfeiffer), who was lost in the Realm decades ago. He’s convinced that she’s still alive and that they can track her down and bring her back . But the rescue window will soon close, so they must finish his new invention. They need equipment that can only be purchased from shady underground tech merchant Sonny Burch (Walton Goggins). But things go bad when Burch insists that he partner with the Pyms before he hands over the gizmo. Luckily Hope brought her tricked out Wasp suit complete with wings and blaster ‘stings”. Ah, but then things go from bad to much, much worse when Ava, AKA the mysterious Ghost (Hannah John-Kamen) materializes (literally) to snatch that tech. Thus begins a wild three-way battle and chase between the Ghost, Burch, and “Team Pym” to acquire the device before time runs out on Janet, and the FBI pounces on Scott as his “home/prison” sentence expires.

Of course, the film’s worth rests on whether audiences will root for Scott to triumph. With Rudd’s seemingly effortless charm, that’s not a concern. Once again, he’s the ultimate ‘every-guy”, a conman/clown with a heart of gold, dealing with science concepts “way above his pay grade”. Not cool like Tony Stark or stern and stoic like the “dark knight”, just a fella wanting to make up for lost time with his kid. His partner Hope (the Wasp) as played by Lilly is closer to the standard no-nonsense action hero. She puts up a sturdy emotional wall between herself and Scott (their budding romance from the first flick has long since “played out”), but she softens a touch as Lilly then shows us Hope’s “inner tot” as she nears the “mother and child reunion” she’s desired for decades. As for her papa, Douglas is still the gruff curmudgeon, but now he’s more of the hero (donning his own tech suit), a man on mission trying to save the love of his life. But Scott still gets under his skin, thinking that his union with Captain America to be a betrayal (“Ask me first, before running off with my stuff”). Their main adversary is more complex that most super-villains. John-Kamen is deadly and determined, but also tragic as her powers leave her in agony as they shorten her life, reminding us of Spider-Man’s sometimes sympathetic baddies like Dr. Octopus and the Sandman. And surprisingly she’s a bit sultry and seductive particularly in a scene in which she questions a captured Scott. Oh, and she’s got a past association with Pym, as does another new addition to the franchise, Laurence Fishburne as Dr. Bill Foster. He’s an academic who worked with (more like butted heads with) Pym in his old S.H.I.E.L.D. days. The two screen vets are terrific sparring partners as Fishburne exudes a smooth, icy, smart demeanor. Then there’s the third wheel of the “tech triangle” with Goggins as a pompous high-class fence who’s not nearly as suave as he believes he is (he aspires to be a Bond foe, but wouldn’t even stand a chance against Maxwell Smart).

It’s a G-G-Ghost!! The comic book version is on the right of the film’s villain

As for the returning supporting players and comic co-stars, Pena is still a scene-stealer as Scott’s motor-mouthed BFF. Pena wrings countless laughs by mangling old adages and, reprising a crowd-pleaser, as he recounts past events in his own distinctive vocal pattern. And T.I. is “too cool for the room” once more as the enigmatic hustler Dave. But Dastmalchian, with his Lugosi-like accent, has one of the funniest gags when he encounters the Ghost. After Scott describes her abilities, Kurt tells him that she is the living embodiment of the “boogyman” stories his Eastern European “grandmater” spooked him with as a boy. The moment when he sees Ava, his eyes widen as he says in a quiet gasp, “Baba-Jaga”, well it just had me rolling. Also hysterical is the talented Park as the socially awkward, “by the book” Woo, who thinks Scott is cool and struggles to hide it. He clashes with team Scott several times, as when Greer’s Maggie insists, “This is harrassment, you can’t do this”, as her police detective hubby Paxton, played with energy by Cannavale, meekly shakes his head, as if to say, “Yes honey, he can”. Fortson is endearing and cute, without being cloying or precious. The best addition to the growing franchise is the luminous, dynamic Ms. Pfeiffer as the nurturing Earth (or “micro-Earth”) mother. In recent years her screen appearances have been sporatic, so it’s great news that she’s now a part of the Marvel movies as Wasp 1.0.

Returning director Peyton Reed proves that his action storytelling skills in the first film were not a fluke. He’s had a knack for comedy, but he truly keeps “all the plates spinning” as the guide to this script penned by Rudd himself along with an expert quartet of writers. While the original outing balanced the basic superhero origin story with a sprightly OCEANS 11-style heist, they set their sights a bit higher aiming for a comic caper chase farce mixing elements of the first PINK PANTHER, HEAT, BULLITT (yes, they careen down that twisty SF street while constantly changing size), and (dare I say it) IT’S A MAD, MAD, MAD, MAD WORLD with its scrambling comic cast.. Plus Douglas’s Hank is inching more toward those wacky scientists from the classic 60’s Disney comedies (could Flubber be part of the formula for those perplexing Pym Particles) with his whimsical creations. And it’s refreshing that the planet, or the whole universe, isn’t hanging in the balance though the emotional stakes (we’re comin’ fer’ ya’, ma) are still pretty high (Pym’s gizmos could wreck havoc in the wrong hands). This flick’s often lighthearted tone may be the perfect antidote to what some media folks are calling “superhero fatigue”. Though often tiny in stature, ANT-MAN AND THE WASP tower above most of the big, noisy blockbusters crowding the multiplex. I guess charming entertainment can come in the smallest of packages.

4.5 Out of 5

INCREDIBLES 2 – Review

Finally!! Hallelujah!! It’s about time!! And some other assorted exclamations, etcetera. You animation/comic book fans know what I’m saying. The year was 2004, nine years after Pixar had turned the world of feature animation on its ear with the ground-breaking (first) TOY STORY. After breathing life into the toys, along with bugs, fish, and “bump-in-the-night” monsters, they were tackling a story that mainly consisted of human beings, No, better than “puny” humans, superheroes (to avoid copyrights on that phrase they were “supers”). THE INCREDIBLES was a box office smash, but the sequel “go ahead” was never given, it seemed. Pixar continued to bring out the hits and collect lots of Oscar gold. And several of those flicks got their follow-ups. There was a third TOY STORY (a fourth’s in the works), which may be the best of those “returns”. But fans wanted to get another romp with the Parr family. They didn’t care how Nike meet Sully in college, or how Dory got lost. Plus there were three, the original and two entries, in the CARS franchise (and it’s ‘sorta’ spin-off PLANES). There was a lot happening with the non-animated “supers”, too. Fourteen years ago, the X-Men had arrived and Tobey Maguire had webbed up the Green Goblin and Dr. Octopus as Spider-Man. Soon we’d go through the Nolan/Bale Batman trilogy, get two more Spideys, and see the rise of the Marvel Movie Universe (and a stumbling one with the DC characters, Wonder Woman excepted). The subject matter has gotten much deeper, so Pixar has gone back to that “first family of justice” with the long-awaited INCREDIBLES 2. Was it worth the wait? Well…

It begins with a quiet scene between two of the supporting characters from the original. Fade out and we’re in the thick of it, right when the first flick ended, so many years ago. Time hasn’t passed for the Incredibles as they face off against the mole-like Underminer (John Ratzenberger) right as the big school track meet has ended. Bob Parr AKA Mr. Incredible (Craig T. Nelson) and his wife Helen AKA Elastigirl (Holly Hunter) instruct their kids, teenager Violet ( Sarah Vowell) and pre-teen Dash (Huck Milner) to watch their infant sibling Jack-Jack while they stop the villain’s massive drilling tank from destroying the bank district of Municiburg. Luckily Bob’s best pal Lucius AKA Frozone (Samuel L. Jackson) lends an icy hand. Though the Underminer’s plan is thwarted, the battle has caused lots of damage. As the Parrs are arrested (“supers” are still outlawed), Frozone escapes, but is given a card by a friendly limo driver (who can the passenger be). Government “supers” liason Rick Dicker springs the Parrs and takes them to temporary digs at a local motel. But this is the last time he can help them. His division’s been cut and early retirement’s looming. .The Parr family’s spirits are lifted by a surprise visit from Lucius. Seems that the guy on that mysterious business card has a possible job for the adult trio. Donning their original uniforms, they travel to a massive estate. There they meet “super-fan of the supers”, Winston Deavor (Bob Odenkirk), who has a plan to make the public love them once more, and repeal those laws that ban the heroes. They’re joined by his tech-savy sister Evelyn (Catherine Keener), who provides a “tricked-out” motorcycle to…Helen. Winston thinks that Elastigirl is the best person to lay the groundwork for his plan. While she goes to the crime-ridden city of New Urbem, Bob will hold down the new household (a mansion courtesy of Deavor). But Mr. Incredible faces his greatest challenge as he assists Dash with his math homework, deals with Violet’s budding romance with Tony Rydinger, and discovers that baby Jack-Jack has powers. Lots of them. Meanwhile their mom has her hands full when a new super-villain, the Screenslaver, begins a campaign of crime and destruction that may lead to the end of the “supers” for all time.

The original actors slip into their roles as easily as the supers slip into their masks (those tights on the other hand….). Hunter’s Helen has most of the action/detective beats this time out, but she’s still the nurturing force that holds the family together, even as she’s tracking down Screenslaver miles away. In the original we got a taste of her hero skills, but this time she’s really propelling the story with her “flexibility”. Nelson’s Bob may be the more emotional of the two this time as he struggles to keep the kids on track, a task his tremendous strength proves of little use. At one point he comes close to a breakdown as fatigue and worry become his personal “kryptonite”. Vowell still expertly voices Violet’s conflicting emotions and desire to become her own person while “crushing hard’ on schoolmate Tony. Jackson’s still the king of cool as Lucius expands on his role as Bob’s BFF to become a surrogate uncle to the Parr brood. Though Frozone not officially an Incredible, he’s an invaluable asset to the franchise. As for the “newbies”, Milner practically pops with energy as he takes over as the impulsive, eager, and a bit bratty Dash. And then there’s the Deavors voiced by two terrific actors (kudos again to Pixar for not going for high profile pop culture “flavors” as other studios might do). Odenkirk’s a delight as the ultimate ultra-rich “fanboy” who just might be the Incredibles’ twist on the ole’ “fairy godfather” (the look of joy as he sings the heroes’ theme songs is priceless). Equally superb is the fabulous Keener who brings exactly the right touch of snark and smirk as the Deavor who quickly bonds with Helen. Oh, and where would the Incredibles be, and what would they wear, without the design diva Edna Mode, whose sneers and “dahlinks” are provided once again by the film’s multi-talented writer/director Brad Bird.

So is talented an adequate term for the impressive triple threat that is Mr. Bird? After a foray into the world of live action ( MISSION IMPOSSIBLE-GHOST PROTOCOL was one of the best entries in that series. TOMORROWLAND was…a misfire), he’s returned to deliver another exciting romp, both a satire and a satisfying ode to the “long-underwear” genre. His script is not merely a retread of the first flick, but a further exploration of family and the pros and cons of having enhanced abilities. Bird even gets in a few digs at the newer “subset” of pitting heroes against each other (as in BATMAN V SUPERMAN: DAWN OF JUSTICE and CAPTAIN AMERICA: CIVIL WAR). He’s also given us a villain, who despite his terrible actions and method, has a valid critique of society. First and foremost, Bird is an expert animation craftsman and gives us some of the best acting in a film this year. I’m not talking about the vocal work, but the expressions on the characters’ faces, and how they gesture and move. In a most memorable scene, Bob goes through the gamut of emotions as he explains his sleep-deprived near-collapse and remorse over his parenting skills. Though it was computer created, it is an honest, riveting performance. Needless to say, Bird has an army of talented artists executing his vision. The design work on the new characters is dazzling, especially with a new group of international supers. There’s even a senior citizen hero whose names and powers are one of the film’s best gags (literally). Once more, the settings, cars, fashions, and props have a “retro-futuristic’ feel, much like the first Tim Burton BATMAN flicks. Yes, there are cell phones and computers, but the furniture and autos are cool 50’s and 60’s streamlined. And is anything cooler than Michael Giacchino’s big brassy score? As with the original it’s love letter to the 60’s work of the great John Barry, particularly in the thrilling finale’ that echos THUNDERBALL. The music never overwhelms, rather it enhances the film by amping up the tension and sweetening the gags. Yes, it’s very funny, especially as Jack-Jack faces his first adversary. Unlike Pixar’s last triumph COCO this flick doesn’t pummel the heartstrings, but there are scenes of great tenderness (even with Edna) between the battles and bomb blasts.

So, to answer that earlier question: Yes it’s well worth the wait! Certainly, but I hope it’s not another 14 years before we catch up with the Parr family. Here’s to another super (and superb) entertainment to follow INCREDIBLES 2 (maybe Dash could intern at Pixar)!

5 Out of 5

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