Disney – Page 2 – We Are Movie Geeks

SOLO: A STAR WARS STORY – Review

As the Marvel Heroes “space-hop” to thwart the master plan of Thanos, another Disney acquisition beckons film fans to return to that “galaxy, far, far away’, you know the one that doesn’t have Guardians. Wow, ease up on those thrusters, this is Spring (though it feels like Summer). Aren’t those high-tech fantasies released near the start of Winter, usually a dozen or so days from Christmas? Those clever movie marketers have decided to launch this flick on another holiday. Yes it’s Memorial Day weekend, but it’s also a special day near and most dear to film geeks and nerds the world over. You see, this May 25th is the forty-first anniversary of the (then limited) theatrical release of STAR WARS, now tagged as EPISODE IV: A NEW HOPE. Movies would never really be the same after that Friday in 1977. This is apropos since the new release focuses in on the origins of a beloved character from that iconic flick. That’s because it’s not one of the canonical “episodes”, so no Rey, Finn, and Poe for another 18 months or so. No, it’s the second of the “Star Wars Anthology” films, the first being that critical and box office smash of 2016, ROGUE ONE: A STAR WARS STORY. It was a “one-off”, a prequel expanding on an incident mentioned in Episode IV. This year’s “spin-off” isn’t really a “one-shot’, but possibly the start of a new franchise all set in the past of that smuggling “scoundrel”, or “scruffy Nerf-herder”, our man Han in SOLO: A STAR WARS STORY.

After a brief introduction, we’re plunged into the action as teenage Han (Alden Ehrenreich) “hot wires” a “hover car” and tries to evades some crooks he’s just double-crossed. The young orphan, along with countless others, tries to survive under the thumb (or is it a tentacle) of crime syndicate boss Lady Proxima. After an altercation with her goons, Han escapes with his lady love Qi’ra (Emilia Clarke), while more thugs try to prevent them from getting to the massive transport ship about to leave the planet. Ah but now they must get past entrance gate that’s manned by the Empire (you know, the one that struck back). But fate can be cruel to young lovers, and the two are separated. As she’s dragged away, Qi’ra pleads with Han to keep going on. Our hero vows that he’ll return to her after amassing a fortune as the best pilot ever. But where will he get the training? He signs up with same Empire (say it ain’t so). But Han is no model stormtrooper. On the battlefield he realizes that a fearless soldier is actually the boss of a smuggling ring. After escaping certain death and dismemberment at the hands, er paws, of a hungry wookie named Chewbacca (Joonas Suotamo), Han and his new furry friend join that same bandit named Beckett (Woody Harrelson) and his cohorts on a train heist. They’re out to steal a car full of power fuel on a snowy mountain-filled planet, then deliver it to the head of the mob called the “Crimson Dawn” that’s run by the ruthless Dryden Vos (Paul Bettany). Beckett’s plans are thwarted by a group of pirates and the cargo car is destroyed. Dryden is furious, and as his men are about to shoot Beckett’s crew, Han comes up with a new plan. They’ll steal the unrefined fuel from a less fortified mining planet, process it at another factory, and deliver it to the angry gangster. It’s a deal. As he begins this new job, Han rekindles a romance as he meets the legendary space swashbuckler, Lando Calrissian (Donald Glover) and hops aboard his prized ship, the equally famous Millennium Falcon.

The big question for most fans has been, “How’s the new guy (or kid, depending on the fan’s age)?”. Followed by, “Can he fill Ford’s shoes?”. As if anyone could measure up to the coolest cat in the cosmos. Well, Ehrenreich’s really putting forth an effort. Yes, a near impossible task, and though he had charm to spare in 2016’s HAIL, CAESAR (his scene with Ralph Fiennes may be the highlight of that flick), Mr. E comes up short. I know this isn’t the same guy that was cracking wise with Luke and Leia in that golden trilogy, but there’s nothing compelling about this scrappy hustler. He works best in the film’s first act as the urchin yearning for greatness as the best “star pilot”. Unfortunately by the big finale’ his bluffing and bluster become tiresome. The lack of a real spark between Han and Qi’ra doesn’t help. Of course, it’s impossible to become really invested in this romance knowing that Han’s one true love is so many years in the future. Canon insists that it must end somehow. Clarke is convincing as the scared girl on the run that’s transformed by fate years later into a tough noirish femme fatale, but the script never really tells us what changed her. . Harrelson’s grizzled tough-talking mentor is a sober variation of his Hamish role from the HUNGER GAMES franchise, with a much better toupee, but he’s mired with conflicting motivations. At one point it looks as though he’ll make Han part of the family he’s creating with accomplice/lover Val (The terrific Thandie Newton in a far too brief appearance), but that’s tossed aside during the next big “score”. Bettany does his own take on the sophisticated gentleman kingpin who can turn on a dime into a brutal enforcer, his facial scratches giving us more of a hint of the ugliness within his heart. Phoebe Waller-Bridge provides some needed comic relief as pilot droid L3-37 who dishes out verbal put-downs as she tauts “robot equality” (though the similar K-2S0 voiced by Alan Tudyk had more of a brutal comic edge). So who’s good, no great, in this flick? Why that’s easy, almost “childish”. The casting of Glover as the smoothest dude in space was truly inspired. His drawling slow line delivery, with his eyes always at “half-mast”, Lando is the movie’s secret weapon, particularly when his curtain of cool is pulled back to reveal the devious con man beneath the colorful capes. Now here’s a character, and an actor, that truly deserves his own “spin-off” franchise.

This may be the Star Wars flick with the most turmoil behind the scenes. The media was put on high alert when original directors Chris Miller and Phil Lord (THE LEGO MOVIE) were shockingly ousted weeks into production and quickly replaced by Ron Howard. We’ll never know Miller and Lord’s spin on this space saga , but you can’t help but wonder. Howard has a had a rough last few years, but his work here is not in the same league as the dismal Dan Brown trilogy, nor the flops THE DILEMMA or IN THE HEART OF THE SEA. But it’s not close to the heights of RUSH or CINDERELLA MAN either. After an interesting opening half hour, the story chugs and sputters toward a big showdown full of annoying, aggravating triple and quadruple crosses. This is more the fault of the script from Lucasfilm vet Lawrence Kasdan and his son Jonathon, which tries to check off a list of Han’s future quirks and props much like the unending list of pop culture references in READY PLAYER ONE. Fans can revel in these (oh, that’s his blaster…and he speaks “wookie”) while the story bounces from one planet to the next, many in close to total darkness (can’t imagine how dull it’ll look upconverted to 3D). This is truly frustrating in the opening scenes. The credits are filled with loads of talented artists and craftspeople whose work can barely be seen! Despite the marvelous performance by Glover, this back story is nearly devoid of any real spark of life, though it’s an interesting break from the Jedi/Force subplot that nearly smothered the recent episode THE LAST JEDI (no Sith, though a couple of pseudo lightsabers flicker). Speaking of former entries, this is miles beyond that turgid trilogy, episodes one thru three, but nowhere close to the moving spectacle of ROGUE ONE. This title could be prophetic. SOLO: A STAR WARS STORY may be solitary indeed, “one and done”. Ah, but we’ll always have the fabulous Ford’s four flicks.

3 Out of 5

A WRINKLE IN TIME – Review

Less than a dozen weeks into the movie year of 2018, and a couple of flicks squarely aimed at the tots have scored some big box office bucks and surprisingly strong critical praise (that lil’ Paddington Bear, in his second feature adventure, is still at a whopping 100 percent at Rotten Tomatoes). So, the folks at the “mouse house” are eager to jump into the arena, though the smash BLACK PANTHER is from their Marvel Studios branch. Now, this new flick is from their Disney Pictures banner, not Pixar (recent Oscar winner COCO), or Disney Studios Animation (like the previous year’s winner ZOOTOPIA), or even Disney Nature with its “real life” animal extravaganzas. Now many of the Disney Pictures stamped films have been set in the world of sports like MCFARLAND USA (track and field) or QUEEN OF KATWE (chess) or have been big live-action versions of the classic animated features such as THE JUNGLE BOOK and last year’s megahit BEAUTY AND THE BEAST. And then there’s the Jack Sparrow PIRATES franchise (which may never sink). This time they’re adapting a much-beloved piece of children literature, hoping to repeat the box office bonanza from 2005’s first NARNIA outing. We’ll see if a new trilogy can be culled when Disney, along with a lauded film-maker and a true multi-media superstar, brings to life Madeleine L’Engle’s A WRINKLE IN TIME.

The tale’s main character is the brilliant teenager Meg Murry (Storm Reid), the daughter of equally brilliant parents Kate (Gugu Mbatha-Raw) and Alexander (Chris Pine). We first meet them as they prepare for the arrival of Meg’s kid brother Charles Wallace. Mr. and Mrs. Murry have been trying to convince the scientific community that long distance space travel can be accomplished, not with rockets and thrusters, but through the power of the mind to cause a jump, or wrinkle, in the vast distances. Years later, Alexander disappears without a trace, perhaps while proving his theory. Unfortunately this helps makes Meg and now six year-old Charles Wallace (Deric McCabe) outcasts at school, derided by fellow students and teachers alike. One evening, as Kate and Meg discuss the playground altercation that sent Meg to the principal’s office, Charles invites an eccentric adult into their home, a woman he calls Mrs. Whatsit (Reese Witherspoon). After making several odd statements she disappears. Soon afterward, Meg is befriended by a classmate, Calvin (Levi Miller), who finds her fascinating. Charles leads the two to another friend of his who lives in an old run-down house, the even stranger Mrs. Who (Mindy Kaling), a lady who only responds by reciting famous quotes. Soon the two women are joined by a third, the towering (she hasn’t adjusted her size), Mrs. Which (Oprah Winfrey), who tells the children that their father is alive. Their surroundings begin to simmer and quiver as if the fabric of their dimension is unraveling. The three kids, along with the magical trio, burst though their undulating world and arrive on the planet Uriel, a beautiful utopia. Mrs. Which explains that she used a device known as the “terreract” and “tesserd’ them to this place. But papa Murry is not here, rather he’s somewhere far from Uriel, a planet of darkness known as Camazotz. With the help of Mrs. Whatsit’s sometimes beau the Happy Medium (Zach Galifianakis). Meg, Calvin, and Charles Wallace will enter “the Darkness”, face down the “Red-Eyed Man” (Michael Pena), and try to locate their long-lost father.

This fantasy journey is firmly grounded by the compelling confident performance of Ms. Reid in her first (of many, no doubt) starring role. Particularly in the opening Earth sequences, she conveys the pain of being an outsider, yearning to fit in while knowing she may be destined for more than just popularity. The confusion at her new surroundings is all in her eyes and movements, along with her fear, then the hesitation giving way to determination. Later she experiences the first tugs of romance, stirred by Calvin played by Miller as a true “teen dream” right out of Tiger Beat Magazine (it’s still around, really). But all is not perfect, as we see his torments from his perfectionist pop. Plus he eagerly succumbs to the Darkness’s temptation, needing to be rescued by the level-headed Meg. McCabe, as the precocious “third wheel” kid brother has energy to spare, bouncing between obnoxious and endearing within seconds. The movie’s marketing department may be banking on the magical ladies played by some show biz heavy-hitters. Winfrey projects the right amount of gravitas, even as she hovers above at over thirty feet in her first scene (“The Amazing Colossal Oprah”, to borrow a “B” movie classic’s title). Later she provides much-needed plot points while being the stern mother (or the “Moe”) to her flighty sisters. Witherspoon is light, ethereal beauty as Whatsit, playful and odd, but never threatening (when she is lead into the Murry home). Kaling is dream-like, a delightfully dotty aunt as she runs along the fleeing flowers and uses bits of trivia for her dialogue. Galifianakis is a prickly, but endearing “drill sergeant”, putting Meg through her “paces” and trying to unleash her potential. Pena is an affable “genie-like” pixie, who reveals his true colors with frightening glee. Back at the homestead, Pine is a playful and passionate papa, who delights at his children as his peers reject his life’s work. And Mbatha-Raw is a nurturing matriarch, nearly overwhelmed at sole parental responsibilities while mourning the loss of her partner and soul mate. Solid support is provided by MOONLIGHT’s Andre Holland as Meg’s stern, but understanding principal and Rowan Blanchard as the school’s “queen B” who bullies others to hide her own insecurities.

Director Ava DuVernay leaps from the indie world of SELMA into this big budget film fable with a fairly steady hand after a somewhat rocky opening act. The Earth-bound sequences are marred by extended close-ups, making this widescreen epic feel like an old Perry Mason episode. Perhaps this is used to make the other planets seem more expansive, but the tightly framed scenes almost induce claustrophobia. We are given a visual “breather” once the quest begins, but the principle characters are posed and still, drinking in the CGI wonders along with the audience.The landscapes are lovely as are the bizarre creatures, the floating butterfly like flowers and a soaring dragon with leaf-like skin. The three “missuses” have looks that may work in book illustrations, but the intricate design make-up and billowy “tarp”-dresses become distracting and cumbersome (we wonder when one will get entangled and trip). The script becomes far too precious with the odd speech patterns of the mystical trio, and it often feels too preachy as Mrs. Which delivers many platitudes (ready-made for framing) and solemn life lessons (a bit of humor would be welcome). Some of the imagery is refreshingly dark (the demise of “Red” and the “Stepford” plastic suburbia are creepy), but there’s no great sense of danger (oh, for a cackling witch). Meg Murry’s is such a terrific role model for boys and girls, that it’s a shame that her first outing isn’t more exciting. The wee ones may enjoy seeing this “bedtime” tale come to life, but the sluggish pace may cause the older audience to wish they could “tesser” and make another crease to forward through A WRINKLE IN TIME.

2.5 Out of 5

Jon Favreau Signs On To Executive Produce, Write Live-Action Star Wars Series For Disney

(Photo by Jesse Grant/Getty Images for Disney)

Lucasfilm is excited to announce that Emmy-nominated producer and actor Jon Favreau has signed on to executive produce and write a live-action Star Wars series for Disney’s new direct-to-consumer platform. Favreau is no stranger to the Star Wars galaxy having played roles in both the Star Wars: The Clone Wars animated series and in the upcoming Solo: A Star Wars Story.

“I couldn’t be more excited about Jon coming on board to produce and write for the new direct-to-consumer platform,” says Lucasfilm President Kathleen Kennedy. “Jon brings the perfect mix of producing and writing talent, combined with a fluency in the Star Wars universe. This series will allow Jon the chance to work with a diverse group of writers and directors and give Lucasfilm the opportunity to build a robust talent base.”

Favreau is thrilled to be returning to the Star Wars galaxy: “If you told me at 11 years old that I would be getting to tell stories in the Star Wars universe, I wouldn’t have believed you. I can’t wait to embark upon this exciting adventure.”

Disney’s collaborations with Favreau extend back a decade, when he helped launch the Marvel Cinematic Universe as director of Iron Man and Iron Man 2 and as an executive producer of the Iron Man and Avengers films for Marvel Studios. For Disney, he directed and produced the massively successful The Jungle Book, which won an Academy Award for its groundbreaking visual effects. He is currently in production on Disney’s highly anticipated reimagining of The Lion King, set for release in 2019.

The untitled Star Wars live-action series does not yet have a release date.

STAR WARS: THE LAST JEDI – Review

Movie fans have yet another reason to be giddy near the end of the year ( besides the big serious Oscar films and those great special DVD sets that Santa brings). For the last two years around this time we’ve been transported to that “galaxy far, far away”. When the Disney company bought Lucasfilm they made a promise to continue the saga AND delve into the mythos with “stand -alone” spin-off films. The “mouse house” has more than kept their promise. 2015 saw the much-anticipated release of “Episode VII” in the saga, introducing a new set of heroes and villains along with returning characters from the original first trilogy. Last year, while another episode was in production, we got the first live-action spin-off, a prequel of sorts to the first film, ROGUE ONE: A STAR WARS STORY. Both films were box office smashes with VII becoming the biggest B.O. blockbuster of all time. Now the cast and crew have re-united, under the guidance of a new director/screenwriter for “Episode VIII” also known as STAR WARS: THE LAST JEDI. Really…the last?

Despite the decisive victory over the First Order in the last film (the Star Destroyer “blowed up real good”), the rebel forces are in hot water once more. They’re outgunned by the Order’s massive fleet, but one pilot takes his X-wing toward certain death. Poe Dameron (Oscar Isaac) can inflict some major damage if he can outwit the revenge-seeking General Hux (Dominhall Gleeson). The plan seems to work until Poe ignores orders from resistance leader General Organa (Carrie Fisher). When the Order’s fleet follows the rebels through hyper-space, all may be lost. Cut back to the final moments of the last installment as Rey (Daisy Ridley) meets the legendary last Jedi knight Luke Skywalker (Mark Hamill). Rey is eager to learn the ways of the “Force”, but Luke is still full of regret over past failures. Speaking of which, we catch up with former pupil gone bad Kylo Ren (Adam Driver), who is still straining under the watchful eyes of Supreme Leader Snoke (“mo-cap” by Andy Serkis). Back on the main rebel ship, reformed stormtrooper Finn (John Boyega) finally awakens from his wounds inflicted by Kylo. Finn tries to get away and find Rey, but is stopped by grieving mechanic Rose (Kelly Marie Tran). She believes she can disable the tracking devices on the Order’s ship. The duo enlist Poe’s help in finding a master “code breaker’ for the job, all while alluding new commander (Leia is injured), Vice Admiral Holdo (Laura Dern). As Rose, Finn, and droid BB-8 travel to a casino planet, Luke discovers that Rey is leaning toward the dark side, and is able to communicate with Kylo via the Force. Will the last of the knights be able to pull her back as he faces his former student. And will Poe’s secret mission succeed? If not, the rebellion may be finished.

As with the last installment fans get a chance to see several favorites from the first trilogy alongside those who’ll help the franchise “live long and prosper” (oops, wrong space series). The big draw here is Hamill returning to his iconic role. Skywalker, now 34 years older, is closer to that “crazy old hermit” Ben Kenobi that he encountered on Tatooine. He just wants to be left alone, still stinging from past failures which overshadow his triumphs. Yet he somehow gives us a hint that the vibrant warrior is not gone, but rather dormant, just waiting for his moment. Hard to believe, but it was nearly a year ago that Fisher unexpectantly passed away. Reports quickly surfaced that her work was complete for this and perhaps the next film. Happily, we see much more of her here than in last year’s AWAKENS. Leia’s keen strategy and leadership skills are on full display. She’s a stern taskmaster (as Poe finds out), but still a nurturing, warm maternal figure. As for the characters we first met two years ago, the actors are easing into the roles (maybe they feel less pressure after the success of their debut). Ridley’s Rey is full of fierce determination and a yearning to learn how to harness her skills. There’s a sadness in her also as she hopes to learn of the family that tossed her aside. Boyega as Finn embraces his new role as rebel agent, becoming confident as his life has a greater purpose. Isaac’s Poe still has lots of that familiar Han Solo-style swagger, though his vanity has truly taken its toll (too bad he never heard Han’s great advice to Luke:”Don’t get cocky!”). He’s a guy whose ego is as deadly as his piloting.

As for the “baddies”, Driver as Kylo Ren continues to have lots of issues: anger, family, authority. He’s a tightly coiled cobra, ready to lash out at friend or foe. Here he reaches out and tries to make an emotional connection exposing his inner lonely child. Gleeson as Hux has quite the temper also. He’s more of a self-serving, ambitious dilettante who believes he deserves much more respect. This time out Smoke is not a massive hologram projection, rather a lizard-like wraith give expressive life by Serkis. Also returning is Gwendoline Christie as the imposing Captain Phasma, who gets to showcase her considerable fighting talents.

Two familiar actors make their first saga appearances. Dern is a most intimidating leader as the no-nonsense Holdo, a boss with no tolerance for “hot-shots” like Poe. On their mission, Finn and Rose encounter an ally, DJ played by Benicio Del Toro, a con artist with conflicted loyalties whose pessimism comes right from this modern world. Speaking of Rose, Tran offers us a different type of rebel, one used to working in the shadows, who discovers that coming forward may be the best way to deal with her grief.

Speaking of saga newbies, Rian Johnson, who hasn’t made a feature since 2012’s LOOPER (he directed some episodes of the acclaimed TV series “Breaking Bad”), has directed a most engrossing entry, one that he also wrote. While AWAKENS took some critical heat for being a rehash of the original’s plot, Johnson takes some inspiration from the first sequel (1980’s THE EMPIRE STRIKES BACK or “Episode V”), with his training subplot (Luke and Yoda becomes Luke and Rey), but generates tension with some creative twists. Rose and Finn head to a “pleasure planet” that feels like the Monte Carlo version of the Mos Eisley Cantina (still a “hive of scum and villainy”, but with fancy attire) in a “caper” plot (think “Ocean’s 1138”). Luckily the script has plenty of humor (Poe talks to Hux), even taking a jab at sacred saga tropes (Rey thinks using the Force is “moving rocks”). And kudos for making the affable flying ace Poe a really flawed guy. Of course the film is visually stunning from Luke’s rocky emerald isle to the “whiz-whiz, zap-zap” space battles (maybe too tough to follow at times, like the episode VI finale). And the John Williams score is sweeping, lush, and full of emotional heft (the new themes for Rey and her pals are really growing on me). Johnson balances the big action set pieces (one of the greatest light saber fights) with several compelling intimate moments (how the rebellion inspires hope). And though work has started on the next film which will “wrap up” this third trilogy, Johnson’s last act almost seems like a conclusion (no “cliff-hanger” as with EMPIRE). Either way, STAR WARS: THE LAST JEDI is a superior, soaring sequel that’s full of the same kind of wonder that grabbed movie-goers 40 years ago in a theatre far, far away.

4.5 out of 5

COCO – Review

With 2017 nearing an end, the multiplex is ready to get you in the mood for the big holiday season. Those BAD MOMS and the DADDY’S HOME gang have gathered under the tree, and today we’ll find out how Charles Dickens became known in some circles as THE MAN THAT INVENTED CHRISTMAS. Now the talented team at Pixar are here to celebrate…Dia de Muertos. Hey that was almost three weeks ago, so you probably just boxed up all your Day of the Dead decorations. Just what are those jokers in Emeryville up to (well, Mexican movie goers did see it closer to the actual date)? Wasn’t that special day fully explored three years with THE BOOK OF LIFE? Not hardly, and really if Christmas can be the setting for a myriad of flicks (from ELF to DIE HARD), why can’t this day have more than one (hey James Bond danced with a skeleton senorita in the pre-title sequence of SPECTRE)? Hey, there’s cause enough for celebrating, since we’re being rewarded with a second Pixar flick this year (CARS 3 sped through last June), so settle in and savor the throughly delicious and delightful COCO.

After gliding through several colorful banners we meet one of the residents of the quaint Mexican village Santa Cecilia, twelve-year-old Miguel Riviera (voice of Anthony Gonzalez). It’s just hours before the Day of the Dead celebrations and Miguel plans on winning the big talent competition by wowing the town with his singing and guitar skills. But his family, who run a shoe-making business, is adamantly against any sort of melody. This is because Miguel’s great-grandmother Coco’s papa abandoned her and his wife to pursue fame. They even ripped his face off the family photo. But Miguel recognizes the guitar in the photo, the unique instrument of 30’s movie musical superstar, Ernesto de la Cruz (Benjamin Bratt). Unknown to his folks, Miguel has set up a makeshift shrine to Cruz in the attic, complete with a VCR which runs a tape of film highlights, and his own hand-made guitar. When it’s destroyed, Miguel decides to sneak into the opulent Cruz mausoleum and “borrow” his celebrated guitar. But when he touches it, he and his street-dog pooch pal Dante are sent to the afterlife dimension. He’s soon on the run from their police (no live folks allowed) and sees that is flesh is fading, reveling his bones. Unless he is given a blessing by a deceased relative, while holding an Aztec marigold, before dawn, Miguel will be trapped there. As Pepita, a spirit animal (looks like a winged eagle/lion with horns and a lizard tail), tries to track him down, Miguel enlists the aid of resident con-artist, ne’er-do-well Hector (Gael Garcia Bernal) to find Ernesto and learn the truth of his family history.

Once again Pixar, unlike most animation studios, opts not for celebrity “stunt” voice casting (with stars’ names above the title), but enlists the actors best suited for the roles. Case in point, screen newcomer Gonzalez who perfectly captures the excitement and anxious quality of a youngster wishing to spread his wings. We’ve seen other characters who want to break the mold and achieve goals that others believe are beyond them (Remy IN RATATOUILLE), but he infuses the “I want” role with a great youthful passion and panic (when he begins to dissolve ala Marty in the original BACK TO THE FUTURE). He’s teamed up with some great screen vets, particularly Bernal as the bouncy, put-upon Hector (a “street rat” much like ALADDIN), who rises from clown to hero while bringing a touch of real pathos to the story. Bratt is pure boasting bravado as Cruz, his smooth as silk exterior masking his darkness. Albanna Ulrich is a forceful queen leading those on the other side to find Miguel, while in the land of the living Renee Victor is an intimidating force of nature as the footwear flinging Abuelita.

While this voice cast is most impressive, above all the film is a dazzling visual feast, a fiesta of inspired character designs and colors that literally pop out from the screen (and this was from a standard viewing, as it is also in various 3D formats). In the earliest Pixar projects (shorts and first features) they strived to create humans as well as the toys, robots, and bugs. This time out Miguel’s family has unique textures and have real weight (some CG characters “hover” above their settings). Here’s two examples. Coco is an incredible achievement, looking every second of her ninety-some years with her wrinkles and skin spots. But her emotions aren’t buried under the details. There’s a sparkle that glimmers from her tired eyes as her great-grandson ‘s antics give her reason to keep living. And though’s he’s not a human, Dante with his constant hanging tongue and lop-sided run, like two golf balls encased in a tight skin covering, is another animation marvel. And their backdrops are gorgeous, with color schemes that set the dramatic tone of the story, The village is full of warm tones, making us feel the golden sun baking the streets and brick homes. In the after life, it’s all cool blues and purples, with twinkling white lights making the city into an indelible star field. Their skeletal denizens wobble about with unique carvings and color flourishes adorning each skull. There are several former celebs mixed in with the throngs, making delightful “Easter eggs” of pop cultural history. Oh, and the spirit animals, wacky combos (a frog bunny) in blazing flourescent colors, are another sweet bit of eye candy.

As lovely as it is to gaze upon, this film will engage the heart as much as the eyes. This may surpass the great INSIDE OUT in raw emotion, even invoking the silent opening flashback of UP. Plus it contains another “gut-puncher” in its big song, “Remember Me”, which should cause you to remember the tear-duct attack of “When Somebody Loved Me” from TOY STORY 2. In all departments, led by director Lee Unkrich and Adrian Molina, these artists have reached another level of movie-making. The warm, charming, colorful COCO is a new classic. See it with someone you’ll never forget.

5 Out of 5

D23 Expo Features A WRINKLE IN TIME, STAR WARS: THE LAST JEDI, Tim Burton’s DUMBO And AVENGERS: INFINITY WAR

ANAHEIM, CA – JULY 15: (L-R) Director Ava DuVernay, actors Mindy Kaling, Reese Witherspoon, Oprah Winfrey, Storm Reid, and Chris Pine of A WRINKLE IN TIME (Photo by Alberto E. Rodriguez/Getty Images for Disney)

Disney, Marvel Studios and Lucasfilm presented their live- action film slates this morning at the D23 Expo 2017 at the Anaheim Convention Center in Anaheim, Calif. Met with enthusiasm from the excited, fan-filled audience, the lively presentations revealed exclusive news and details about upcoming live-action films and showcased surprise live and video appearances from stars and filmmakers. Walt Disney Studios Chairman Alan Horn hosted the highly anticipated biennial event.

“At The Walt Disney Studios, we could not do what we do without the support of the many Disney, Marvel, and Star Wars fans around the world,” said Alan Horn, Chairman, The Walt Disney Studios. “We feel like our fans are a part of the family, and the D23 Expo is our chance to give a little something extra back to them.”

After welcoming the crowd to D23 Expo 2017, Horn introduced Sean Bailey, President of Walt Disney Studios Motion Picture Production, to present overviews of the Disney live-action slate. Later Horn returned to the stage to introduce writer/director Rian Johnson for a look at Lucasfilm’s upcoming film and ended by introducing Kevin Feige, President of Marvel Studios, for a rousing presentation to close the event.

ANAHEIM, CA – JULY 15: The Walt Disney Studios Chairman Alan Horn took part today in the Walt Disney Studios live action presentation at Disney’s D23 EXPO 2017 in Anaheim, Calif. (Photo by Jesse Grant/Getty Images for Disney)

A recap of the live-action presentation follows:

Sean Bailey welcomed “A Wrinkle in Time” cast members Oprah Winfrey, Reese Witherspoon, Mindy Kaling and Chris Pine along with newcomer Storm Reid and visionary director Ava DuVernay to the D23 stage, where they thrilled fans with a first look at the film’s teaser trailer and teaser poster. The film, which is an epic adventure based on Madeleine L’Engle’s timeless classic, takes audiences across dimensions of time and space, examining the nature of darkness versus light and ultimately, the triumph of love.

Director Ava DuVernay of A WRINKLE IN TIME

Directed by Ava DuVernay from a screenplay by Jennifer Lee based upon the beloved novel by Madeleine L’Engle, “A Wrinkle in Time” is produced by Jim Whitaker and Catherine Hand with Doug Merrifield serving as executive producer.

The film also stars: Gugu Mbatha-Raw, Michael Peña, Levi Miller, Deric McCabe, André Holland and Rowan Blanchard, with Zach Galifianakis.

Meg Murry (Storm Reid) is a typical middle school student struggling with issues of self-worth who is desperate to fit in. As the daughter of two world-renowned physicists, she is intelligent and uniquely gifted, as is Meg’s younger brother Charles Wallace (Deric McCabe), but she has yet to realize it for herself. Making matters even worse is the baffling disappearance of Mr. Murry (Chris Pine), which torments Meg and has left her mother (Gugu Mbatha-Raw) heartbroken. Charles Wallace introduces Meg and her fellow classmate Calvin (Levi Miller) to three celestial guides—Mrs. Which (Oprah Winfrey), Mrs. Whatsit (Reese Witherspoon) and Mrs. Who (Mindy Kaling)—who have journeyed to Earth to help search for their father, and together they set off on their formidable quest. Traveling via a wrinkling of time and space known as tessering, they are soon transported to worlds beyond their imagination where they must confront a powerful evil. To make it back home to Earth, Meg must look deep within herself and embrace her flaws to harness the strength necessary to defeat the darkness closing in on them. “A Wrinkle in Time” opens nationwide March 9, 2018.

Sean Bailey shared with D23 Expo 2017 fans Disney’s all-new take on a classic story in “The Nutcracker and the Four Realms.” Starring Keira Knightley as the Sugar Plum Fairy, newcomer Mackenzie Foy as Clara, Helen Mirren as Mother Ginger, Morgan Freeman as godfather Drosselmeyer, and featuring a special performance by Misty Copeland, the movie is inspired by E.T.A. Hoffmann’s classic tale.

The film largely takes place in a strange and mysterious parallel world—home to Land of Snowflakes, Land of Flowers and Land of Sweets. But it’s the ominous Fourth Realm where Clara must take on a tyrant called Mother Ginger as well as a gang of mice who’ve stolen a coveted key from Clara.

Said Bailey, “The Mouse King is made up of thousands of mice—a cutting-edge CG creation. But we wanted him to move in a way that would be wonderfully surprising and incredibly cool, so we called on Lil Buck to provide the style of dance that defines the character. He is so talented and the way he makes this character move is unbelievable.”

Los Angeles-based dancer Lil Buck hit the stage at D23 Expo 2017 to demonstrate the kind of street dancing—called jookin—that informed the way his character moves in the film. The performance earned a standing ovation.

Dancer Lil Buck of THE NUTCRACKER AND THE FOUR REALMS. (Photo by Jesse Grant/Getty Images for Disney)

“The Nutcracker and the Four Realms” is directed by Lasse Hallström and produced by Mark Gordon and Larry Franco. The film will open in U.S. theaters on Nov. 2, 2018.

To the delight of D23 fans, Emily Blunt, the star of Disney’s sequel “Mary Poppins Returns,” took to the stage with director/producer Rob Marshall to talk about the eagerly-anticipated return of the practically-perfect nanny. In this original musical sequel to the 1964 “Mary Poppins,” Mary and her friend Jack, an optimistic street lamplighter played by Lin-Manuel Miranda, embark on entirely new adventures with the next generation of the Banks family to help them find the joy and wonder missing in their lives.

Blunt and Marshall answered questions from Sean Bailey, with Blunt offering insight on how she made the character her own. “I needed to try to pay homage to Julie Andrews, but carve out a new space for myself,” said Blunt. “And we were very loyal to the books.” Rob Marshall shared, “I was incredibly honored to be approached by Disney about directing a sequel. This is a brand-new original film musical from top to bottom, which is very rare, and it is a wonderful opportunity to create something specifically for the screen.” D23 attendees were then treated to an exclusive first look at the film, which was accompanied by a live orchestra performing original new music from the film conducted by composer Marc Shaiman, eliciting thunderous applause.

P.L. Travers first introduced the world to the no-nonsense nanny in her 1934 children’s book “Mary Poppins.” However, the subsequent adventures of Mary Poppins remained only on the pages of the seven other P.L. Travers’ books…until now. “Mary Poppins Returns” is drawn from the wealth of material in these additional books. The film also stars Ben Whishaw as Michael Banks, Emily Mortimer as Jane Banks, Julie Walters as the Banks’ housekeeper Ellen, with Colin Firth as Fidelity Fiduciary’s William Weatherall Wilkins and Meryl Streep as Mary’s eccentric cousin Topsy. Angela Lansbury appears as the Balloon Lady and Dick Van Dyke as Mr. Dawes Jr., the retired chairman of the bank now run by Firth’s character. “Mary Poppins Returns” is directed by Rob Marshall. The screenplay is by David Magee and the screen story is by Magee & Marshall & John DeLuca based on The Mary Poppins Stories by P.L. Travers. The producers are Marshall, DeLuca and Marc Platt with Callum McDougall serving as executive producer, and the music is by Marc Shaiman with songs by Shaiman and Scott Wittman. “Mary Poppins Returns” will be released in U.S. theaters on Dec. 25, 2018.

ANAHEIM, CA – JULY 15: President of Walt Disney Studios Motion Picture Production Sean Bailey took part today in the Walt Disney Studios live action presentation at Disney’s D23 EXPO 2017 in Anaheim, Calif. (Photo by Jesse Grant/Getty Images for Disney)

Bailey confirmed and revealed new films underway at the studio:

- “Mulan,” a live-action take on Disney’s 1998 feature, which will be helmed by Niki Caro (“McFarland, USA,” “Whale Rider”).
- “Jungle Cruise,” a live-action nod to the popular theme park ride. The studio is working with Dwayne Johnson, recently heard as Maui in “Moana,” on the project.
- “Aladdin,” directed by Guy Ritchie, with Mena Massoud as Aladdin, Naomi Scott as Jasmine and Will Smith as the Genie.

D23 Expo 2017 fans were greeted from across the pond by visionary filmmaker Tim Burton, who is busy directing his next project—a live-action reimagining of Disney’s 1941 animated classic “Dumbo.” “’Dumbo’ was always one of my favorite Disney films,” said Burton. “We’re trying to give it the same heart, feeling and emotion that we all loved about the original.”

© 2017 Disney Enterprises, Inc. All Rights Reserved..

The film stars Colin Farrell as Holt Farrier, a former circus star and war-veteran charged with the care of a newborn elephant whose oversized ears make him a laughingstock of an already struggling circus. Nico Parker and Finley Hobbins were cast as Holt’s children, who discover that Dumbo can fly. Danny DeVito portrays circus owner Max Medici who tries to capitalize on the novelty. And Michael Keaton is persuasive entrepreneur V.A. Vandevere who swoops in with aerial artist Colette Marchant, portrayed by Eva Green, to make Dumbo a star.

“Dumbo” is slated for release on March 29, 2019. Katterli Frauenfelder, Derek Frey, Ehren Kruger and Justin Springer are producing from a screenplay by Kruger. Filmed entirely in England, “Dumbo” is utilizing state-of-the-art visual effects to portray the big-eared elephant and many of his animal counterparts.

Alan Horn joined Bailey to surprise the D23 Expo crowd with a special look at director Jon Favreau’s new live-action take on Disney’s 1994 classic animated film “The Lion King.” The technology team behind the movie are introducing all-new filmmaking techniques that promise striking visuals never before seen on the big screen—bringing celebrated characters to life in a whole new way.

Favreau, who was behind 2016’s blockbuster live-action remake of “The Jungle Book,” joined Bailey on stage. “This is a story that belongs to everyone who grew up with the original film,” said Favreau. “I wanted to demonstrate that we could be respectful of the source material while bringing it to life using new techniques and technologies. We wanted to do something special for the D23 Expo audience and give them a first look at what we’re up to.”

ANAHEIM, CA – JULY 15: Director Jon Favreau of THE LION KING took part today in the Walt Disney Studios live action presentation at Disney’s D23 EXPO 2017 in Anaheim, Calif. THE LION KING will be released in U.S. theaters on July 19, 2019. (Photo by Jesse Grant/Getty Images for Disney)

“The Lion King” is one of the biggest animated films of all time with a lifetime global box office gross of $968.8 million. It won Academy Awards® for the original song “Can You Feel the Love Tonight” (Elton John, Tim Rice) and original score (Hans Zimmer). In 1997, the stage production inspired by the film made its Broadway debut, subsequently winning six Tony® Awards; 19 years later, it remains one of Broadway’s biggest hits.

Starring Donald Glover as Simba, and James Earl Jones as—naturally—Mufasa, Favreau’s live-action version of “The Lion King” is slated for theaters on July 19, 2019. Favreau, Jeffrey Silver and Karen Gilchrist are producing.

Alan Horn welcomed Rian Johnson, the writer and director of the latest chapter in the Skywalker saga, “Star Wars: The Last Jedi.” Johnson thrilled the audience by introducing talent from the film, including Mark Hamill, Daisy Ridley, John Boyega, Gwendoline Christie, Kelly Marie Tran, Laura Dern and Benicio Del Toro. The audience was then treated to a special sneak peek of behind-the-scenes footage from the highly anticipated movie.

In Lucasfilm’s Star Wars: The Last Jedi, the Skywalker saga continues as the heroes of The Force Awakens join the galactic legends in an epic adventure that unlocks age-old mysteries of the Force and shocking revelations of the past.

The movie stars Mark Hamill, Carrie Fisher, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Lupita Nyong’o, Andy Serkis, Domhnall Gleeson, Anthony Daniels, Gwendoline Christie, Kelly Marie Tran, Laura Dern and Benicio Del Toro.

Star Wars: The Last Jedi is written and directed by Rian Johnson. Kathleen Kennedy and Ram Bergman are producing, with J.J. Abrams, Tom Karnowski and Jason McGatlin serving as executive producers. Star Wars: The Last Jedi opens in U.S. theaters on Dec. 15, 2017.

ANAHEIM, CA – JULY 15: (L-R) Actors Anthony Mackie of AVENGERS: INFINITY WAR, John Boyega of STAR WARS: THE LAST JEDI, Don Cheadle and Chadwick Boseman of AVENGERS: INFINITY WAR took part today in the Walt Disney Studios live action presentation at Disney’s D23 EXPO 2017 in Anaheim, Calif. STAR WARS: THE LAST JEDI will be released in U.S. theaters on December 15, 2017; AVENGERS: INFINITY WAR will be released in U.S. theaters on May 4, 2018. (Photo by Alberto E. Rodriguez/Getty Images for Disney) *** Local Caption *** Anthony Mackie; John Boyega; Don Cheadle; Chadwick Boseman

ANAHEIM, CA – JULY 15: (L-R) Actors Benedict Cumberbatch, Chadwick Boseman, Chris Hemsworth, and Josh Brolin, producer Kevin Feige and director Joe Russo, and actors Robert Downey Jr., Mark Ruffalo and Tom Holland of AVENGERS: INFINITY WAR took part today in the Walt Disney Studios live action presentation at Disney’s D23 EXPO 2017 in Anaheim, Calif. AVENGERS: INFINITY WAR will be released in U.S. theaters on May 4, 2018. (Photo by Jesse Grant/Getty Images for Disney)

For the finale, Horn brought Kevin Feige to the stage for Marvel Studios’“Avengers: Infinity War.” To start the ball rolling, Feige unveiled the Marvel Studios’ official 10^th anniversary logo to the excited audience. Marvel Studios’ 10th anniversary begins with the release of “Avengers: Infinity War” and covers an impressive decade of Marvel Studios’ blockbusters released from 2008 through the “Avengers” untitled film in 2019. In celebration of the anniversary, fans can expect exclusive consumer products and collectibles, along with in-theater events and much more in the coming months.

Then, in a surprise for all that brought the house down, talent from the film made a grand entrance, including Robert Downey Jr., Chris Hemsworth, Mark Ruffalo, Anthony Mackie, Elizabeth Olsen, Paul Bettany, Benedict Cumberbatch, Tom Holland, Chadwick Boseman, Josh Brolin, Don Cheadle, Sebastian Stan, Dave Bautista, Karen Gillan and Pom Klementieff. To top it all off, the thrilled fans got an exclusive early look at footage from the movie, introduced by Joe Russo, one of the directors.

An unprecedented cinematic journey ten years in the making and spanning the entire Marvel Cinematic Universe, Marvel Studios’ “Avengers: Infinity War” brings to the screen the ultimate, deadliest showdown of all time. The Avengers and their Super Hero allies must be willing to sacrifice all in an attempt to defeat the powerful Thanos before his blitz of devastation and ruin puts an end to the universe.

Anthony and Joe Russo direct the film, which is produced by Kevin Feige. Louis D’Esposito, Victoria Alonso, Michael Grillo and Stan Lee are the executive producers. Christopher Markus & Stephen McFeely wrote the screenplay. “Avengers: Infinity War” releases in U.S. theaters on May 4, 2018.

CARS 3 – Review

As we creep along to the midway point of Summer, this can only mean one thing at the multiplex (aside from added matinees): another installment of a big studio franchise (formerly a series) will be occupying several screens. We’ve already had a new Alien, and another Depp pirate pic as the Planet Apes and Transformers wait in the wings, along with that wall-crawling wonder. I suppose we’re due for an animated sequel, but this one’s from the most celebrated studio of the last couple of decades, Pixar. Aside from Toy Story, they avoided follow-ups to their other hit films until 2011 when the CARS gang refueled for CARS 2. Then one of the other hits got a prequel, MONSTER UNIVERSITY, and another spawned last year’s box office smash, FINDING DORY. Now here’s the automotive, track-burnin’ “hat trick” as good ole’ number 95, Lightning McQueen roars back onto the cinematic raceway to thrill lil’ speed demons everywhere with CARS 3.
Since we last saw McQueen (voice of Owen Wilson), he’s still collecting trophies at races all around the world. Though he heads back to Radiator Springs to rest up with pals Mater (Larry the Cable Guy) and Sally (Bonnie Hunt) between competitions, Lightning is feeling the heat from a new breed of young, streamlined vehicles, especially “up-and-comer” Jackson Storm (Armie Hammer). Unfortunately Storm and his pals “get into McQueen’s Head” prompting him to take risky chances, which leads to a devastating crash. While he heals up back home, McQueen’s managers over at Rusteze get bought out by the big mud-flap mogul, Mr. Sterling (Nathan Fillion). Sterling’s mainly interested in marketing the McQueen name, slapping his image on all manner of products, but insists that Lightning will return to the race circuits after training at his ultra-high tech, state of the art facilities. McQueen is eager to work out on the giant screen simulated track, but first he must endure the exercise program led by trainer Cruz Ramirez (Cristela Alonzo). Lightning has no patience for these “silly” warm-up and jumps onto the simulator before he’s ready, wrecking the machine. During its repair, McQueen takes Cruz along with him for his own training program, including racing along the beach. Later they zip through the forests and sneak into a backwoods race (which is really a demolition derby). Lightning fondly recalls the lessons taught to him by his mentor Doc Hudson (Paul Newman) and decides to locate Doc’s old trainer Smokey (Chris Cooper). He’s gotta’ hurry because the big championship race is coming. Can Lightning redeem himself or is it time to retire to Radiator Springs for good?

The veteran voices of the previous CARS flicks expertly recapture their characters, particularly Wilson as a more mellow and wiser version of the great #95. The old confidence seeps through, but he’s got a greater appreciation of the sport’s history, especially the “fabulous Hudson Hornet”. As for the newbies, Hammer is an excellent villain, all cocky and arrogant, a guy who seems to truly enjoy the “trash talk”. Storm’s sleek and speedy, but doesn’t come equipped with any empathy. The breakout is the energetic, enthusiastic Cruz voiced with great energy and excellent comic timing by Alonzo.

I’ve got to lay my cards on table and say that the original CARS is one of my least favorite films in the Pixar cannon (just slightly above A BUG’S LIFE). The fact that it would have two sequels before any follow-up to THE INCREDIBLES annoyed me to no end (they’re finally working on one, thank you Brad Bird). But when the teasers and trailers starting appearing for this installment, I was more than a bit intrigued. As opposed to the dimwitted spy hijinks from CARS 2 (putting Mater as the main focus was a huge mistake), this looked to be going dark, with images of McQueen hurling to his doom. Sure, they’re not gonna’ kill this merchandising “cash cow”, but they do follow through somewhat. That crash figures in, but the script (credited to seven writers) tackles more adult issues such as loss and the realities of aging. The new guys, the young racing Turks are just going to get faster and faster, and McQueen may have to accept it. What was hidden in those teasers was the emergence of Cruz has a new hero, a speedy four-wheeled sister to the current queen of the box office, Wonder Woman. She signals a new direction, much like teenage Andy giving his beloved playthings to shy, little Bonnie in TOY STORY 3. I was also pleasantly surprised at the big part the memory of Doc Hudson, voiced by the much-missed Paul Newman, figured into the tale. He was briefly referred to in CARS 2, but here he gets the proper tribute. As for the look of the movie, well those Pixar wizards still work their magic. Two great sequences truly stand out. McQueen watches old footage of Doc Hudson, that seems like real news clips till we see Doc’s big blinking eyes. But the best action set piece is when McQueen and Ramirez cover themselves with mud (and phony numbers) and enter the big Thunder Hollow (an homage to Robert Mitchum’s classic THUNDER ROAD) race which turns into a “crazy 8” demolition derby, dominated by a tricked-out school bus that seems right out of a Mad Max flick. It’s thrilling and very funny. And thankfully Mater stays in Radiator Springs and doesn’t take over this entry (a little of him goes a looong way). Oh, and be sure you get to the theatre on time, so you don’t miss a minute of the charming short that precedes the feature, a playground fairy tale called “Lou”. The main event still seems a tad long (maybe it would work better as a one hour TV special), but CARS 3 careens over the end of trilogy curse and sends everyone off to that great salvage yard in the sky. But…I wouldn’t count on that final lap just yet.

3.5 Out of 5

I’ll be talking about this and other currents films this Friday, 6/16, on the Paul Harris Show from 4:15 to 5 PM on KTRS 550 AM. Stream it or tune in live.

BORN IN CHINA – Review

Here’s something to remember next time you go to a big trivia fund-raising night. If there’s a movie or Oscar category, one of the questions may be: “What film maker (or producer) has won the most Academy Awards?”. The answer is (and will be for a long time to come) Walt Disney. Now, as you jot down that name, you may think that all that gold was netted by his animation work, the classic features and short subjects. Well, a lot of it, but not all. From 1948 to 1960 Disney dominated the Best Live-Action Short Subject category with his “True-Life Adventures” series. Lots of baby boomers may be familiar with them, not from theatrical showings (usually paired with the re-release of those animated features), but from that NBC Sunday night staple, “Walt Disney’s Wonderful World of Color”. Several shorts would be edited together for the hour-long shows. The gorgeous natural photography probably helped sell lots of big color TV’s back in the day. But shorts aren’t part of the theatrical experience (for the most part) now, so in 2008 Walt’s old company established a new division, Disneynature. Almost every year, usually close to Earth Day, the company has released a new full-length (close to 90 minutes) animal-themed documentary to theatres. Now, they’re expanding even further and showcasing that big new foreign market with an up-close, in-depth look at the wild life that is BORN IN CHINA.

The flight of the cranes usher in a new year for the animals of the uninhabited expanse of China, far from the bustling crowded cities. The film makers cut between several species during each season (Spring, Fall, etc.). Far above the ground, roaming the rocky terrain of the high country, we meet a mother snow leopard, Dauwa, along with her two female cubs. Dauwa easily leaps from precipice to cliff while hunting for her family’s food. She also defends her home from an unwanted interloper, standing her ground and intimidating another snow leopard. But what happens when she returns with back-up? Family turmoil is at the center of Tau-Tau’s tale. He’s a two year-old golden snub-nosed monkey who feels neglected by his family and friends after his mother gives birth to his sister. Tau-Tau falls in with a bad crowd, a group of outcast young “lost boys” lorded over by the hulking leader named Rooster. But when the temperatures drop, Tau-Tau tries to re-unite with his clan. But will they let him back in? Of course the most popular of Asian animals is represented in the story of a giant panda named Ya-Ya. Over the course of many months we witness her parental skills as she takes care of her infant My-My. The growing bear tries to assert her independence as Ya-Ya still yearns to treat her as a baby. Speaking of babies, we follow the migration of the antelope as the females make the long arduous trek to the river where they will give birth. Then it’s back on the trail with the children to return meet their daddies.

As with the other films in this series, it is narrated by a known actor. The last entry had Tina Fey guiding us through THE MONKEY KINGDOM. This time it’s John Krasinski (THE HOLLARS and NBC-TV’s “The Office”). He conveys all the technical info in a friendly, but serious tone while not resorting to jokey sentiment when the script tries to give emotional context to the footage. The soundtrack boasts a couple of original songs that aren’t heavy-handed or saccharine. But the main draw here is the photography which is spectacular. The use of time-lapse to convey the changing of the seasons is sparingly used, and heightens the drama. As for these stories, nothing is “sugar-coated” for the tots. Predators swoop in for the kill, and in one case they become the victim. To the producers’ credit they include the one segment that has no “happy ending”, defying the need for a “feel good” conclusion. There’s great suspense (the leopard stand-off) and tense action (the monkeys really go at it in one dust-up). And the pandas provide plenty of comedy in addition to “awww…so cute” moments. For those youngsters (and some “oldsters”) that are fascinated by zoology, BORN IN CHINA is an educational and entertaining trek to a land we in the west have barely explored.

3.5 Out of 5

ROGUE ONE: A STAR WARS STORY – Review

Well, those twelve months blasted past us at “light speed”! Film fans were all a flutter (and full of the “force”) when STAR WARS EPISODE VII: THE FORCE AWAKENS exploded onto multiplex screens at this time last December and proved that the power of this franchise had not weakened. Now that original trilogy (episodes IV through VI) that began in 1977, and its prequel flicks (episodes I through III) which resumed in 1999, were released in three-year spurts. All that changed when the Disney company bought the series’ home, Lucasfilm, a few years ago. It was announced that new “episode” installments would come out every other year. So just what is this new movie then. The “mouse house” game plan is to have a film “set in the Star Wars’ universe” in theatres every year. In between the episodes there will be “back story” and ‘spin-off” flicks, like the “currently in pre-production” young Han Solo adventure. The new film hitting theaters now is a bit of both, while Rey, Finn, and Kylo Ren are prepping for next year. This is a tale that occurs just days before the beginning of the 1977 A NEW HOPE, expanding on an incident mentioned briefly prior to the big final “dogfight” in the stars. Without these new (and old?) characters, the rebellion would have been obliterated. Now, we finally meet the heroes (and villains) of ROGUE ONE: A STAR WARS STORY.

The familiar old title card “Long ago, in a galaxy far, far away” beckons us back into this fantasy realm. We’re whisked to a faraway farming planet, a place suddenly under the watchful eye of the Empire. Spy drones hover about the fields tended by Galen Erso (Mads Mikkelsen), who quickly sends his wife and young daughter into hiding. A cruiser lands outside the Erso home, and a high-ranking empire official Orson Krennic (Ben Mendelsohn), along with several troopers, exit. Seems that Galen is a weapons designer for the Empire, an inventor who has gone into hiding, rather than create new implements of death. Krennic is quite insistent that he return to the fold. The encounter quickly turns ugly. Galen is brought forcibly on board while his young daughter Jyn retreats further into the caves. Luckily she is found and brought up by a caring neighbor. Flash ahead to “not quite so long ago” and the twenty-something Jyn (Felicity Jones) is now a prisoner of the empire, being transported to a detainment facility. But a determined rebel soldier, Captain Cassian Andor (Diego Luna) , along with a reprogrammed empire droid, K-2SO (voice of Alan Tudyk) are on a mission to rescue her. It seems that her father has smuggled out info about the empire’s ultimate weapon through a defector supply pilot, Bodhi Rook (Riz Ahmed) , who has been taken in by an extreme anti-empire radical, Saw Gerrera (Forest Whitaker), the man who raised young Jyn. It’s hoped that Jyn will convince them to hand over the pilot, and point them toward her father. Cassian enlists two rebel sympathizers, the blind, jedi-hopeful Chirrut Imwe (Donnie Yen) and his pal, the gruff Baze Malbus (Wen Jiang). Soon the motley crew are embarking on a perilous journey to thwart the empire’s greatest threat, a weapon known as the Death Star.

The superb cast continues the great tradition of a “motley crew” with little in common that joins forces for a noble cause, a trope dating back to THE SEVEN SAMURAI and its most recent remake THE MAGNIFICENT SEVEN along with the comic book flicks SUICIDE SQUAD and GUARDIANS OF THE GALAXY. The plot’s main driving force is the always compelling Felicity Jones as Jyn, an aimless woman suddenly given a new direction by the quest for the last of her family and a chance to strike back at the forces that separated them. Much like Rey in EPISODE VII, she is on a hero’s journey and Jones conveys grit and determination with every look and gesture. Her intensity is equalled by Luna as the conflicted rebel leader. In his early scenes he shows his ruthless side as a man who doesn’t “play by the rules”, not above deception in pursuit of his goals. There’s a dead quality to Luna’s eyes (he’s seen too many horrors), but his interaction with this group, particularly Jyn, ignites his humanity. He begins to truly care about others once again. They have a worthy adversary in the petulant Krennic, played by Mendelsohn as an effete, arrogant demagogue driven by ego, always jockeying for position. His foppish white uniform with flowing cape may give him a regal flair, but he’s a brutal, cold-hearted thug ready to snuff out anyone in his path. Galen is merely an advancement tool for Krennic, and Mikkelsen gives the beaten-down brilliant genius a haunted quality, an exploited man who decides that he must risk his life to stop the evil he created before it is fully unleashed. As for the rest of the rebels, Whitaker is terrific as the cyborg zealot Gerrera, who is a danger to even those sharing his beliefs. Martial arts star Yen brings a swashbuckling grace to his unstoppable holy man (love his chant/prayer before he goes into battle) and makes an endearing counterpart to the burly Jiang as the pal that is annoyed by all that “force talk”, but always has his back in a fight. Ahmed brings a twitchy, loopy charm as the pilot out of his element. The big scene stealer may be the lumbering, hulking robot K-2SO, whose lingering stare coupled with Tudyk’s droll sarcastic line delivery makes this a great counterpart to the cute “droids” from the previous flicks. Who knew this big batch o’ bolts would have such charisma?

Former effects wiz turned director Gareth Edwards (MONSTERS, GODZILLA) has brought a real sense of danger and desperation back to this film universe. The storm troopers gunning for Jyn and her pals are truly deadly assassins, unlike many in the other films who couldn’t seem to hit the broad side of a bantha. The cities are dark and dirty with death springing from every corner and alley. Edwards knows when to amp up the tension and when to slow things down for the characters to interact and develop. This is greatly helped by the clever screenplay credited to some impressive scribes, Chris Weitz, Tony Gilroy, John Knoll, and Gary Whitta. They’ve generously supplied several nods and tributes to elements from the other flicks. Fans should delight in spotting familiar props and “beasties”. I don’t wish to spoil the sweet surprises, but we get to revisit characters (some very unnerving) and locales not seen in a long time (the trailers have already shown the “lord of the sith” making a most welcome return). Although we know the fate of the mission, the suspense still grabs us, since they aren’t “safe” like Luke and his crew. Some parents may be concerned about this, but for the right age group (depending on the individual child’s maturity level) this story could lead to a discussion of sacrifice, of offering yourself in the cause of saving others (I’m flashing to that other space franchise with Spock’s “The needs of the many…” ). The fabulous sweeping score by Michael Giacchino (he’s a busy guy!) drops in just enough of the classic John Williams themes to give the action and drama an extra punch. The location work is great. We get the desert and jungles once more, but we also get a tropical beach. For the first time we see stormtoopers going from the sand to the ocean foam while AT-ATs trample palm trees. Best of all, this film bodes very well for the future of the franchise. Yes, we’ll get more installments of the “big story” , but these “single”, “done in one” tales give talented film makers a chance to add their unique visions to the mythos, a time way to “play in the sandbox” in a way. Let’s hope that ROGUE ONE: A STAR WARS STORY is the first of many great explorations of that “galaxy far, far away”.

4.5 Out of 5

MOANA – Review

2016 appears to be the year when animation truly ruled the box office, perhaps even more than it did 17 years ago. Of course, the still-reigning animated feature king is Pixar, who had the biggest grossing flick of the year with its sequel FINDING DORY. Hot on their heels are the upstarts at Illumination Entertainment and Universal (home of the MINIONS) who had a smash hit with THE SECRET LIFE OF PETS and will be back at the multiplex in just a couple of weeks with SING. We’ve seen films based on established properties ANGRY BIRDS and TROLLS along with another ICE AGE sequel and the fantasy STORKS. The talented folks at Laika (CORALINE) dazzled us with KUBO AND THE TWO STRINGS. Oh, there was even an R-rated (for very raunchy) CGI feature SAUSAGE PARTY Pixar’s sister company Walt Disney Animation (both studios films are released under the Disney banner) had their biggest success since FROZEN with last spring’s ZOOTOPIA. Now they’re returning for “round two” for 2016, and like that Elsa & Anna adventure, it’s a full-fledged all-out musical (with songs by the Broadway’s current “wunderkind”) centered on another fiesty young woman. She’s named MOANA.

The story begins with a primer on South Pacific mythology. Te Fiti is the deity that is part of the planet’s main island, whose heart (a small glowing jewel) is stolen by the shape-shifter Demi-God Maui, who loses the gem when he is lost at sea and stranded on an island. This tale is told by Tala (voice of Rachel House), the mother of Motunui island’s leader Chief Tui (Temuera Morrison), to a group of youngsters. The most attentive is the Chief’s little daughter Moana. As she enters her teenage years Moana (Auli’i Cravalho) is groomed by her folks to rule the island. But she yearns to explore the sea, which her papa forbids. Suddenly the fruit trees don’t produce and the fishing nets are empty. Has nature turned on their home? Tala knows why, and takes Moana to a hidden cave that houses old sea crafts, a remnant of when their people were ocean explorers. The spirits of her ancestors tell her that the way to save the island is to return Te Fiti’s heart (Moana keeps it in a necklace). But she will need the help of Maui. Defying her father, she takes one of the boats and sails away solo (her pet chicken Hei Hei stows away) and somehow finds the obnoxious, arrogant braggart Demi God (Dwayne Johnson). But he’ll only take her to TeFiti’s island if she helps him retrieve his magic fish-hook from the monster Tamatoa (Jemaine Clement). But can Maui be trusted to take Moana past the monsters (like the lava demon Te Ka) and help her save Motunui?

John Musker (THE LITTLE MERMAID, ALADDIN,THE PRINCESS AND THE FROG), with an assist from Don Hall and Chris Williams, prove themselves to be just as great in the 3D (CGI) world (oh, and do see this in 3D if possible). Each shot, each sequence is an exquisite visual delight, true eye candy. Every bit of jungle fauna, every drop of the sparking teal and turquoise ocean, every grain of silky sand seem to pop right off the screen. Speaking of the ocean, it becomes a character itself as it guides and communicates, reminding one of the morphing waters of THE ABYSS. They even sneak in a little classic 2D animation when the tattoos that cover Maui’s ample frame cavort’ thanks to master animator (ALADDIN’s Genie) Eric Goldberg. So, let’s talk about those characters’ designs. Moana is a believable teenage girl, often resembling a teenage version of the heroine of LILO & STITCH given the perfect pouty attitude by the vocal talents of Ms. Cravalho. The look of her grandmother is superbly subtle, never overdoing wrinkles or slower movements. Tamatoa is both frightening and funny with his bobbing, googly round eyes along with Clement’s impeccable comic timing. Moana’s pet baby piglet and the dimwitted Hei Hei are hilarious examples of how well the artists handle pure physical comedies (though they don’t speak we always know their feelings). Ditto for the very funny “coconut pirates”.

The movie’s main selling point (prominent in all the ads) is also the real scene stealer, the memorable Maui. His “block” head with always faring nostrils and bulging eyes are framed by a mass of curly hair parted in the middle (Shemp Howard with a wild perm) perfectly fits his barrel-chested, “tree trunk” torso and overstuffed legs. A great look, but the energetic voice from action star Johnson makes the character unforgettable. He expertly juggles boasts and insults and belts out the movie’s best tune, the infectious “You’re Welcome”, cowritten by the earlier-mentioned Broadway darling Lin-Manuel Miranda (aided by Opetaia Foa’i and Mark Mancina). All the songs are light and bouncy, even though there’s no big break-out tune like “Let it Go” (which may be a plus for some parents). And we get a bonus treat with the clever short “Inner Workings”. It may be a tad too long (we’re drifting at sea for a while before meeting Maui), but MOANA is a gorgeous feast for the eyes and ears. And it’s a delightful island getaway during these cold months.

4 Out of 5

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this: