Tag: Disney

STAR WARS: THE MANDALORIAN AND GROGU – Review

So now it’s truly beginning to feel like the Summer movie season has really started in earnest. That’s because we’re finally returning to that galaxy “far, far away”. Now, I know that the last few Disney/Lucasfilm entries have been released in the Winter (always too late to be considered for any awards from the critics’ groups). But that wasn’t the case back in the glory days of the original trilogy (or episodes four through six, for the “hardcores”), when they’d be in theatres at the start, or near the Memorial Day holiday weekend every three years (77′,80′,83′), respectively. And can you believe that it’s been seven years since the last Star Wars theatrical release? Oh, this one’s not another “episode”, nor is it a sequel or prequel in the movie series. Rather, it’s the continuation of an incredibly successful streaming series that debuted seven years ago on Disney+, which is “SW-adjacent.” So let’s put our “X-Wing” in reverse to arrive only a few years after the events of RETURN OF THE JEDI for the big screen debut adventure of STAR WARS: THE MANDALORIAN AND GROGU. Hurry along now, for “this is the way”…


Indeed, the Imperials were soundly defeated in the finale of JEDI, but a few of those “bad apples” are still slithering about, trying to “shake down” planet systems in order to rebuild the Empire. That’s what is happening in this story’s opening sequence. Lucky for the good guys of the New Republic, they have hired former bounty hunter Din Djarin (Pedro Pascal), a member of the Mandalorian order, to track down and hopefully capture (for intel) these baddies. Oh, and he’s not a “lone wolf”. Din is aided by his trusty co-pilot Garazeb “Zeb” Orrelios (voice of Steve Blum) and his ever-present “ward”, the toddler Grogu, part of the race that spawned the legendary Jedi master Yoda. At the mission’s end, the trio travels back to the new “rebel base”. There, Din meets with his “liaison”, Colonel Ward (Sigourney Weaver), who tells him that this last gig got “messy”. And yet, she has a new mission for him: find a mysterious missing Imperial “high honcho”. Unfortunately, the only “lead” rests with members of the Hutt crime syndicate. Their price for the info: the rescue of the “kidnapped” son of the late Jabba the Hutt, Rotta (voice of Jeremy Allen White). After meeting with the Hutts, Din and company travel to the planet Shakari, where Rotta is far from being a prisoner. He’s a celebrated, adored gladiator in a high-stakes fighting pit. Yes, he doesn’t want to be rescued. This lands Din in that pit, and he eventually fights for his life back on the planet Nal Hutta, due to a big double-cross by the Hutt twins. Now, he needs a rescue, and his only hope is tiny Grogu and his band of even tinier Anzellan mechanics. So, will the Force be with them?

It’s a bit challenging to talk about the cast since the lead characters in the title are a man whose face is hidden under a helmet (for most of the runtime) and a…puppet (with a few CG enhancements). Still, Pascal projects a great physicality to the story’s main hero. especially in the intense combat sequences (he can move in that armour). Plus, he has an interesting “laid-back” cadence as Din barely raises his sometimes snarky tone, making his urgent commands and threats more dramatic. But, not to fret, we do see his “mug” for a few minutes. And big kudos to the team of “trainers” that guide Grogu in his often (too many for some) adorable escapades. White is also quite compelling as the conflicted Rotta, who quickly forms a bond with Grogu while resisting the efforts to return him to his “loving family”. The role of Ward should certainly “cement” Weaver is the “queen of science fiction fantasy,” though she is again relegated to being a “boss lady” until the big finale has her back in action, satisfying her many fans. Another human-like character is given an effete, menacing snarl by Jonny Coyne as the scheming Lord Janu. As far as the other alien “beastie”, the big “scene stealer” may be filmmaking icon, Martin Scorsese, as a very nervous, streetwise food vendor named Hugo, whose four arms really help him to “multi-task” in his cramped cooking space.


Putting this all together is series co-creator and director Jon Favreau, who also worked on the screenplay with producer/co-creator Dave Filoni, along with Noah Kloor. They crafted a largely effective expansion of the streaming show’s themes while giving these new exploits a much larger “canvas”. It’s visually stunning, from the exotic alien worlds to the often deadly and dangerous new alien creatures. In the big action arena, multiple beasties attack Din and Rotta, but many had a familiar look as I realized that this was an “homage” to that 3D holographic chess board from the original STAR WARS (y’know, “Let the Wookie win”). There’s also a massive, scary, and somehow beautiful snake/sea serpent that is perhaps the most formidable challenge to the heroes, though it will gobble up anyone. And, oh, those action set pieces that combine “super-heroics” with lots of John Wick-style brutality (Din blasts again for “good measure”). SO, fans get lots of “zap” for their time and money, especially in the pricier IMAX format, for which it was “forged”. And yet it somehow feels too long, with a lengthy lull as Din heals, which derails the pacing’s momentum and diminishes what should be a rousing final act. I hate to be a “party-pooper”, but the cutaways to the ‘so adorable” antics of Grogu and his mechanic buddies feel lifted from a frothy kiddie flick from decades ago. Plus, we really need to see more of Pascal, which Favreau avoided in his two IRON MAN movies (Tony has much more “face time” than his armored avenger). And this could very well have been a multi-episode arc in a new season of the streaming show. Technically, it’s top-notch, but Summer movie blockbuster fans may feel adrift in the cosmos by the sci-fi fantasy frivolity of the dynamic duo in STAR WARS: THE MANDALRIAN AND GROGU. Now somebody remove that lil’ green guy from the concession counter…

3 Out of 4

STAR WARS: THE MANDALORIAN AND GROGU is now playing in theatres everywhere

THE FANTASTIC FOUR: FIRST STEPS – Review

(L-R): Ebon Moss-Bachrach as Ben Grimm/The Thing, Vanessa Kirby as Sue Storm/Invisible Woman, Pedro Pascal as Reed Richards/Mister Fantastic and Joseph Quinn as Johnny Storm/Human Torch in 20th Century Studios/Marvel Studios’ FANTASTIC FOUR: FIRST STEPS. Photo courtesy of 20th Century Studios/Marvel Studios. © 2025 20th Century Studios / © and ™ 2025 MARVEL.

After “Big blue”, the “man of steel” made a successful return flight into the multiplex almost two weeks ago, have you been waiting for the “other shoe” (in this case a boot made of “unstable molecules”) to drop? Yes, the “DCU” is back in a big box office triumph, but what about those “guys down the street”, a nod from DEADPOOL & WOLVERINE? Are they resting on the good reviews (and so-so ticket sales) of THUNDERBOLTS*? Oh no, my Marvel-maniacs, the MCU is also back and as “big” as ever with a spin on the “IP” that really began Marvel Comics way, way back in 1961 (they could retire, already). According to a legend (which may be something Stan Lee came up with on the TV talk show circuit), Martin Goodman, publisher of then-Atlas comics, spoke with his DC rival at a golf course. He boasted of the brisk sales of his superhero team book, “The Justice League of America”. Goodman got his writer/editor Lee on the “horn” and ordered him to create a “super group”. He brought in artist extraordinaire Jack Kirby, and Marvel was soon born. However, the road to the big screen for the team has been a treacherous one (though there have been several animated TV shows). In 1994, a low-budget feature was pulled days before the premiere (I recommend the documentary DOOMED, which is probably streaming). Then Fox snagged the screened rights and had two medium-sized successes in 2005 and 20027. A relaunch in 2015 was a true disaster, so comic fans rejoiced when Disney acquired FOX in 2019, allowing Marvel Studios a “crack” at their “legacy property”. So will the “fifth” time be the “charm” with THE FANTASTIC FOUR: FIRST STEPS? “Nuff said”, for the history lesson…

So here’s some rare FF merch: from the 60’s, a Lancer paperback and a Whitman Big Little Book. From 1977, here’s a reprint from Kangaroo Pocket Books…

On to the “main event”, the flick itself. This sets itself apart from the nearly 30 MCU entries in that it is set on Earth 828, rather than “good ole’ 616”, established in SPIDER-MAN: FAR FROM HOME. For four years, this Earth (which looks to be a 1960s “retro future”) has been protected by the FF. It’s all explained by the host of a popular TV talk show, Ted Gilbert (Mark Gatiss), whose latest episode is a celebration/history of the quartet. Using archival footage, we’re introduced to the brave astronauts who went into space on the star-cruiser the Excelsior, and came back “changed”. After mysterious “cosmic rays” (which forced an abrupt landing) penetrated the ship’s hull and their suits, the leader, brilliant scientist Reed Richards (Pedro Pascal), became the flexible, stretching, rubber-like Mr. Fantastic. His blushing bride, Sue Storm (Vanessa Kirby), became the Invisible Woman, who can vanish from sight while creating and manipulating “force fields”. Her brother Johnny (Joseph Quinn) could control flames, flying through the skies as the Human Torch. Their pilot, Reed’s old buddy Ben Grimm (Ebon Moss-Bachrach) underwent the most radical transformation. His body doubled in size, his skin morphing into a rock-like shell as the unblievably strong being known as the Thing. They all share living quarters atop the Baxter Building, which is also home to the United Nations-inspired Freedom Foundation. Over the big Sunday Dinner, Ben figures out why the now-married Sue and Reed are acting so “off”; She’s pregnant. Reed’s happy, but concerned over how those cosmicly-altered genes may affect their “bundle of joy”. They go about their heroic duties until Reed detects a strange being entering Earth’s atmosphere. The four meet a floating lady, an alien seemingly made of metal, the Silver Surfer (Julia Garner). She proclaims her role as the “herald” of her “master”, the giant, planet-devouring creature called Galactus (Ralph Ineson). The Surfer warns that he’s on his way to make a “meal” of them, so they’d best use the next few months to say their goodbyes. Will the FF go into action against them? C’mon, now! They take off in the Exceslior and track down the Surfer and her “big boss-man”. Reed wants to negotiate, but the price to be paid for erasing the Earth from his menu is monumentally steep. Even with his “ginormous” brain and the team’s combined might, can they possibly thwart the Surfer and her very hungry controller, Galactus?


So, do the four leads “play well together”? Well, the film really insists on that, as we’re pretty much a “fly on the wall” through the whole story. The answer is a resounding “Yes, indeed”, with a crackling chemistry that’s “off the charts”. Since she was usually the “damsel in distress” for many of the early comics issues, it’s surprising that the plot really hinges on Sue, who is played with a fierce, steely determination by the dazzling Ms. Kirby (no relation to the co-creator). She’s the gentle beacon of decency that nudges the team in the proper direction, in terms of combat and ethics. She’s also the protector of “her guys”, though she’s the ultimate cosmic “mama bear”. Plus, she sweetly coaxes humanity from the often socially awkward Reed, played with an endearing “absent-minded professor” demeanor by the compelling Pascal. Bringing lots of good humor into the mix is the energetic Quinn, whose Johnny is the “teen dream” who really wants to be taken seriously as he yearns to contribute more to the group than tossing some fireballs as he scorches the baddies. And then there’s the remarkable rendering of the most complex and visually interesting member, Ben, whose plight is given the proper tragedy and pathos by the gifted Moss-Bachrach. The Thing is a lovable “gentle giant”, rock-hard but still cuddly to the kids that adore him. He still yearns to become that dashing “space ace” once more, as he wistfully looks at TV news film of his past visage. Even through the layer of CGI granite, Moss-Bachrach never loses Ben’s humanity.

As for the supporting players, it’s probably best to start with the big, destructive duo. Garner is sleek, sinister, and sympathetic as the woman who was once Shalla-Bal, but is now required to issue mass death sentences to entire worlds. Even through her silver coating, Garner conveys Bal’s inner torment. But when your “master” dwarfs the city, intimidation’s a big concern, especially with Galactus, who is given a growling, terrifying deep, deep bass delivery by Ineson, his real horror is displayed as he smiles and “plays with his food”. Sarah Niles is very good as Sue’s very human aide Lynne, while Paul Walter Hauser is a real hoot as a former FF foe now turned reluctant friend. And I really hoped to see more of the always enchanting Natasha Lyonne, as a gal from the “old neighborhood (hopefully not Yancy Street)” who responds to Ben Grimm, he man beneath the walking rubble. And be on the lookout for some delightful cameos that pop in, plus one of this Summer’s robot scene stealers, along with SUPERMAN’s pal, Gary, H.E.R.B.I.E.!

Yes, it’s a compelling space opera, though one that also dazzles in its look with a team of truly talented “world builders” reminding us of a hoped-for. promised but not quite delivered sparkly future. I’m sure I’m one of many filmgoers who wished they could be beamed into this wonderful “playground” supervised by director Matt Shakman, a former child actor who has graduated to the MCU after stellar work on my favorite of the Marvel Disney+ streaming shows, “WandaVision”. He has great control of the big action stunt scenes, while always showing us their emotional impact on the characters. He conveys how Reed is literally stretched to his limits, along with the simmering attraction between the Surfer and the Torch (fire clashes with cool metal). As I said, the actors are incredible as their performances blend with the eye-popping visuals. This Earth’s “take” on 60s Times Square is dizzying visual “candy”, a contrast to the oppressive atmosphere of the Galactus vessel, as cold and cruel as this creature. The period costumes, namely the “off duty” wardrobe of the quartet, wonderfully harken to the “Mad Men” era’s “vibe”. Then there’s the TV graphics, along with the splendid crowds of stunned “onlookers,” set us right inside this dreamland right out of those classic 60s comics. About those, longtime fans will be giddy about the many “nods” to those “collector’s item classics”, but those casual filmgoers shouldn’t feel lost. The “homework” plot points have been a major complaint for many in MCU movies, so they’ll be happy to know that with this “other Earth” not tied to the MCU need not be recalled. That’s a credit to the five (almost four) screenwriters credited, who deftly peppered the story with lighthearted comedy and truly earth-shattering drama. And as with most Marvel movies, there’s a mid-end credits and post-credits scenes that are actually worthy of your time. And I must also toss some accolades at the producers for the many nods and acknowledgments of the talents of the “king of comics” (he never liked that nickname, but oh, how that crown fits), Jack Kirby. Mind you, Stan Lee was a big part of those characters (he even slapped a banner at the top of the book proclaiming it was “the world’s greatest comic magazine”), and he got to be a cameo star in the MCU, while sadly Kirby put away his pens and pencils forever in 1994. So I’ll consider this cinematic “love letter” his “screentime” as the movies have finally “cracked the code” for the “cornerstone” of Marvel with the fabulous THE FANTASTIC FOUR: FIRST STEPS, which, true believers, naturally earns..

4 Out of 4

THE FANTASTIC FOUR: FIRST STEPS is now playing in theatres across the cosmos

ELIO – Review

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

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


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

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

3 out of 4

ELIO is now playing in theatres everywhere

LILO & STITCH (2025) – review

And we’re finally back to the blockbusters, to be precise, the big Summer box office blockbusters, that will dominate the multiplex for this weekend (of many to arrive). Of the titanic duo for the three-day holiday, this one’s a remake, though it actually may be considered a “franchise” or even a “tent pole”. In the wake of the huge success of the Marvel Cinematic Universe, several other studios have wanted their own “unified, united film series”. In a few weeks, we’ll see DC Studios at Warner Bros. try once more with SUPERMAN, while Universal continues to “fiddle” with their “Dark Universe” returns of the classic movie monsters of the “golden age” (Dracula, Frankenstein, etc.). Well, that “home of Marvel”, Disney, has an ongoing universe comprised of “live-action” remakes of their iconic animated classics. They stumbled, to put it lightly, a couple of months ago with SNOW WHITE. That nixed a planned redo of TANGLED, but this new redo was already well “down the pipeline”. Maybe since this isn’t almost 90 years old like the March misfire, this “re-imagining” of a 23-year-old cartoon feature will work, since children continue to adore (I’m stunned by all the clothing “merch” over the last few years) the cartoon chaos of LILO & STITCH.

We return to deep, far, faraway outer space as the United Galactic Federation meets to pass judgement on “mad” scientist Jumba Jookiba (voice of Zach Galifianakis). The Councilwoman (VO: Hannnah Waddingham) announces that he’ll be imprisoned while his “creation”, the destructive, wild Project 626, will be banished to a barren, empty world. Well, the little critter breaks his bonds and hijacks a ship and is on his way to Earth. The Councilwoman is relieved since the planet appears to be comprised of water…until she sees that 626 has crashed on an island. She then sends “Earth expert” Agent Pleakley (VO: Billy Magnussen) off to retrieve it with the begrudging help of Jookiba, who hopes this will help to reduce his “sentence”. Meanwhile, on that Hawaiian island named Kaua’i, an orphaned six-year-old girl, Lilo (Maia Kealoha), struggles to make friends and stay out of trouble. Luckily she’s not completely alone, as she lives with her nineteen-year-old sister Nani (Sydney Elizebeth Agudong), who is her legal guardian after the death of their parents. But she’s having a tough time holding down a job while keeping their home tidy for the inspection from a kindly but firm social worker, Mrs. Kekoa (Tia Carrere). Luckily, Nani is helped by her neighbor Tutu (Amy Hill) and her smitten (with Nani) grandson David (Kalpo Dudoit). When 626 crash-lands, he disrupts a big wedding party, before being knocked out by a truck and taken to an animal shelter. That’s where he’s spotted by Lilo, who’s been begging for a puppy. 626 retracts the spikes on his back, along with his antennae and a pair of arms (he has four and two feet) in order to look more like a dog. It follows Lilo home, where she names it Stitch (VO: Chris Sanders). Oh, his pursuers are not far behind, as Jookiba and Pleakley assume human form and search for the escapee. Also on the hunt is CIA agent Cobra Bubbles (Courtney B. Vance), who suspects that an alien is on the loose. Can Stitch evade them while curbing his destructive instincts as Nani tries to convince Kekoa that she should retain custody of lil’ sis’ Lilo?

Heading up the cast, in the “co-title” role is the bubbly, effervescent screen newcomer (hey, she’s only nine now) Kealoha as Lilo. She’s got an infectious smile, bringing lots of good-natured energy to the role, getting us on her side when those “mean girls” zero in on her. She has a good rapport with the more-seasoned actress Augudong as her frazzled big sis Nani, who has a deft comic touch even in the manic slapstick sequences as she tries to keep the crazy chaos under control. Galifianakis tones down his weird, awkward comedy flick persona as the fussy and devious mad doc Jookiba. Most of the alien zaniness (aside from Stitch) is provided by Magnussen, who appears to be having a grand old time goofing on his leading man looks. Vance is somber and stoic as the determined fed who’s always a few steps behind his quarry. Carrere projects warmth and concern in a role that is usually villainess, but her social worker is truly trying to help things work out for the siblings. Hill is also a nurturing presence as the protector of those girls. while being a good “foil” for Dudoit as her clumsy, cute, and charming grandson who just can’t say the right things to his adored Nani.

So, this is a big leap from MARCEL THE SHELL WITH SHOES ON for director Dean Fleischer Camp as he tackles a sprawling family fantasy adventure. For most of it 108-minute runtime, he keeps the story afloat with the plot pretty much “on track’ in a variation of the classic cartoon chases (think the Roadrunner and the Coyote, Tom and Jerry, etc.). And, as with many of these remakes, it’s not really all “live-action” as Stitch and all the aliens have now gone from smooth, fluid, hand-drawn (2-D) animation to state-of-the-art, every hair rendered CGI animation (we don’t see the live actors in the first six or seven minutes of the “space trial”). And these beloved cartoons have lost little of their appeal in the transition, though I’m not keen on Pleakley’s mucus-like skin texture. So the effects animation is slick, but it doesn’t mesh completely with the often clunky live slapstick, with many of the action set pieces ending with “wacky” frozen still shots. It proves distracting, much like the overuse of vocal “looping” or ADR, which results in many quick cutaways while characters are speaking. And a few shots where bits of dialogue are delivered by actors with their backs to the viewer. Perhaps this may have been implemented due to the stilted line direction of some film acting novices. For a time, I was flashing back to one of the many irritations of MADAME WEB (they set the bar very low for audio editing). The whole film seems to be running (or swimming) in circles, going into its second hour, with the obligatory set destruction and the overused “death fake-out” of so many family-friendly flicks. Sure, the island locations are gorgeous, and kids will still love the gross-out antics of Stitch, but those not swept away by a wave of nostalgia for that 2002 original may prefer to dust off that DVD (or VHS tape) for a more consistently entertaining comic romp with LILO & STITCH. Aloha!

2.5 Out of 4

LILO & STITCH is now playing in theatres everywhere

SNOW WHITE (2025) – Review

Well, they’re at it again (much like the old President Reagan “go to” for impressionists, “There he goes, again”). I’m speaking of the “brain trust” at the “Mouse House” who are diving into the Disney Classics vault once more to remake another one of their animated features. And this is their “deepest dive” yet in this “sub-genre” of “re-imagining” those “2-D”, hand-drawn animated masterpieces into “live-action” films that will hopefully attract a new audience (and enhance the ole’ “I.P.”). It perhaps started nearly thirty years ago with 101 DALMATIANS, and had its biggest success with 2019’s THE LION KING, with spin-offs like the “backstories” of villains MALEFICENT and CRUELLA and the recent prequel/sequel MUFASA: THE LION KING. Now it’s “back to the beginning” with a live “re-do” of what was then jeeringly referred to (by the “Tinseltown” gossips) as “Walt’s Folly” in 1937, as animation formally (there had been a few silent-era experiments) burst out of the six or seven-minute shorts and went well past an hour in length with the timeless tale from the Brothers Grimm all about seven dwarfs and a princess named SNOW WHITE.

And like the original “fairy tale” flicks, this begins with opening up a fancy, gold-gilded story book. The unseen narrator tells us of the kindly king and queen of an unnamed (resembling Eastern Europe) who were inspired by the wintery weather to name their daughter Snow White. All was wonderful and prosperous until a sudden illness took the queen from her adoring family and populace. Soon the grieving king caught the eye of a fetching maiden (Gal Gadot) and remarried. But her beauty masked a greedy, envious spirit, and the new queen built up an army to be led by her new husband. When the King ventures with them to face the forces of a “Southern state”, he is lost and presumed dead. As the years pass, the Queen lets her subjects believe that the princess has also perished, though the now teenaged Snow (Rachel Zegler) wears “rags” while cleaning the castle. One day she sees a handsome young man stealing food from the royal kitchen. Jonathan (Andrew Burnap) is a loyalist to her father who resides in the forests with other “rebels” hoping for the good king’s return. When the guards arrest him, the Queen has him tied to the front gate as punishment…until Snow sets him free. This act, along with the Magic Mirror’s proclamation that she is “the fairest in the land”. prompts the Queen to order the Huntsman (Ansu Kabia) to take Snow into the woods to pick apples, and then murder her. it’s pretty much the classic plot from there, as he shows mercy, and tells Snow to hide in the forest where she eventually happens upon the cottage of the seven dwarfs, who are working their gem-filled mine. When the Queen learns that her death order is not carried out, she sends her guards into the woods, where Snow, the dwarfs, and Jonathan’s rebel crew unite to send them back to the castle. That’s when “her royal majesty, decides to use her “dark magics” to destroy her “rival” once and for all.


Zegler is a dainty darling as she croons several tunes and dances up a storm with the dwarfs, though she brings more compassion to the role along with a healthy amount of spunk (we know, Mr. Grant). This princess isn’t easily swayed by a “dashing rogue” which allows Zegler to also put a “rom-com” spin on the iconic heroine. Burnap proves to be an endearing screen partner, as he tries to convince Snow of the dire conditions in the country, while also engaging in some flirty teasing as the wall between the royal and the commoner begins to crumble. Plus Mr. Burnap is quite the swashbuckler as he dives into battle and taunts the vengeful Quenn. Ms. Gadot appears to be having a grand old time as she leaves that Amazon warrior behind to flare her nostrils, shoot “daggers” from her wide eyes, twirl an “invisible mustache” as she barks out orders, and plans to eliminate that pesky princess. She even gets her own big musical solo.

After guiding Andrew Garfield through two flicks as Spidey, director Marc Webb goes from classic superheroes to classic fairy tales in this remake. He keeps the action moving at a fairly brisk pace, and has some fun with the action sequences, especially the big forest “free-for-all”. Webb excels as he follows the story structure of the 1937 original, but a radical third act detour really derails the momentum, with a finale that lacks the dramatic heft of the “OG”. The script perhaps needed a few more tweaks as it struggles to make the icons more relatable (I won’t say “PC”). with a radical spin of switching out the Prince for a rowdy rascal who’s almost a sibling to Ryder from TANGLED. And some other choices are …odd. Snow’s escape through the woods has always been scary, but here she seems to have wandered into the woods surrounding the EVIL DEAD cabin. This is the film’s first use of some jarring CGI effects leading to the pixel critters (still cute) and the Dwarfs themselves (not so much), who are “mo-cap” CGI creations that recall nightmarish skin-stretched” garden gnomes. The strangest may be Dopey who looks as though he leaped right from the cover of a classic Mad Magazine (or, as another viewer mentioned, an older spin on THE POLAR EXPRESS tyke). And I won’t spoil his radical “shift” in the third act. But this is long after a mine car theme-park-like ride through the underground tunnels (is it near the Temple of Doom). That’s part of a big musical number “Heigh-Ho”, one of two tunes retained from the original, though the new song scribes have added some wonky new refrains (Grumpy tells a dwarf to insert a tool “where the sun don’t shine”…really). So there are new songs from the LA LA LAND team of Benji Pasek and Justin Paul (along with lyricist Jack Feldman), which are fairly forgettable with a grating show tune bounce that pales before the Churchill and Morey standards. That’s especially the case with the Queen’s “All is Fair” which will probably be part of several future drag acts (lots of “vamping and camping” displayed). As I mentioned earlier, there’s a tepid finale that goes well past the near-perfect animated one to offer a big happy musical reprise (smiling and waving). The tiny tots should enjoy it (save for the spooky trees) since it’s not the “train wreck” that the first trailers seemed to promise. It’s not the worst of the remakes (you’re safe DUMBO), but like most, it’s a “cash grab”, though it’s a moot point to criticize its existence. It’s here and Disney will keep doing them until audiences reject them. Happily, we’ll always have that nearly ninety-year-old jewel whose SNOW WHITE is still the fairest in “filmland”.

1.5 Out of 4

SNOW WHITE is now playing in theatres everywhere.

MUFASA: THE LION KING – Review

With Christmas less than a week away, the “Mouse House” has decided to send another family-friendly flick into the multiplexes to share space with its recent “box-office behemoth” MOANA 2 (which is still in the number one spot). Oh, and this is somewhat of a sequel, too. When the Marvel Cinematic Universe made a huge cinematic splash, many studios wanted to create their own versions of a “brand”. Naturally Warner Brothers had their DC Comics line (which is getting a big “re-do”) and Universal keeps attempting a “Dark Universe’ based on those classic monsters (THE WOLF MAN is on the way next year). And though Marvel is a partner, Disney itself is “getting into the act” with their legacy of classic animated tales, the twist being that they’re being remade in “live-action”. This new film is unique in that it is “technically” an animated film with pixels replacing the pencils involved with 2-D “hand drawn” films. And, as I mentioned earlier, this is the first sequel. to one of these remakes. Ah, but it’s actually more of a prequel, since its main focus is the “origin” story of MUFASA: THE LION KING.

This film begins a few years after the finale of THE LION KING, as we return to the denizens of Pride Rock. Nala (voice of Beyonce Knowles-Carter) has embarked on a “sabbatical” in the deep woods leaving her daughter Kiara (Blue Ivy Carter) with Papa Simba (Donald Glover). But now it’s time for him to join her so he enlists three “babysitters”: Pumbaa the warthog (Seth Rogan), Timon the meerkat (Billy Eichner), and the shamen-mandrill Rafika (John Kani). Kiara is frightened by the approaching thunderstorm, so Rafika decides to calm her by telling the story of her grandfather, Mufasa. His blissful life as a royal cub is shattered by a flood that separates him from his adored parents. Mufasa is swept far away by a swift stream until another cub, Taka, pulls him onto the shore. The two return to Taka’s pride, where their king, Obasi (Lennie James) shuns him and pushes him toward the females, led by his mate Eshe (Thandiwe Newton). Luckily she is a nurturer and encourages Mufasa’s “gifts”. The years pass, and teenaged Mufusa (Aaron Pierre) and Taka (Kelvin Harrison Jr.) practice their hunting skills and encounter a pride of white lions known as “The Outsiders” ruled by the cruel and avaricious King Kiros (Mads Mikkelsen). When they attack Obasi’s pride, the two teens begin a desperate journey to find the bountiful land known as M’Leilei. Along the way, Mufasa and Taka are joined by a young lioness named Sarabi (Tiffany Boone) and her scout/servant, the hornbill Zasu (Preston Nyman). And they luckily run into their guide, the younger Rafiki (Kagiso Lediga), but can his mystical skills protect them as Kiros and his pack trails them in order to enact his vengeance? Friendships are tested and changed for good during the long hard trek.

Though it’s been five years since the remake (the original just turned thirty), those returning voice actors slip right back into their roles as though they were in the recording studio yesterday. Especially potent is the comic chemistry between Eichner and Rogan who riff like a classic vaudeville comedy team, with Pumbaa a bit more of a lunkhead who beams with pride about his “fragrance” while Timon is the motor-mouthed wiseguy who delights in breaking (not the wind like his BFF) the “fourth wall”. Spin-off, please. In her acting debut, Miss Carter projects a sweet energetic innocence as the future queen. Both Kani and Lediga give Rafiki the proper gravitas and magical mentoring. Pierre is an engaging lead who goes from confusion to confidence as the king-to-be, while Harrison relates the pressure of his lineage while slowly succumbing to very human emotional faults. Boone is a spunky heroine who can dive into the action right alongside the fellas. James is a great blustering and conniving king as Obasi. The film’s best asset might be the compelling Mikkelsen who accentuates each threat with a sneering snarl making Kiro a fearsome villain. He’s pure silky menace.

Aside from the film’s unique structure as a sequel/prequel, it’s got another unusual filmmaker for an animated film in the director’s chair. It’s helmed by the acclaimed crafter of live-action dramas (MOONLIGHT, IF BEALE STREET COULD TALK), Barry Jenkins, who is working from the screenplay by Jeff Nathanson (based on the 1994 film). He gives the story an added emotional heft, slowly zooming in during essential conversations and confrontations. Of the latter, he brings lots of excitement to the deadly encounters, from hungry crocs to the revenge-obsessed Outsiders. The African environments are stunning, going from arid plains to snowy mountains and particularly the utopia of M’Leilei with its lush vegetation. But despite the advancements in CGI, the animals (though expertly rendered) just can’t convey the bravada acting and emoting of those hand-drawn icons of that 90s classic. Though they’re caricatures the gestures and expressions tell us so much more than these computer creations. It helps that the coloring and voices make the main characters here more distinct, along with the voices, but I can still mix up the principals. Wisely, the narrative cuts back to the present, to provide some welcome comic asides from T & P, but the pace seems to drag before the big reveals of the third act (key settings and props are introduced). Perhaps another “pass” at the script was needed to trim a few minutes. Still, it’s a well-crafted extension of the story rather than a quick “cash grab” like the straight-to-home video follow-ups back in the VHS “glory days”. A few more memorable songs might have helped since none of the new tunes comes close to the stellar work of Elton John and Tim Rice. But kids that are “crazy about critters” will be happy to return to the exotic “pride lands” as they explore the legend of MUFASA: THE LION KING.

2.5 Out of 4

MUFASA: THE LION KING is now playing in theatres everywhere

Disney And DISNEY•PIXAR Favorites Poised To Return To Theaters In 3D

“Beauty and the Beast,” “Finding Nemo,” “Monsters, Inc.”
and “The Little Mermaid” Will Make 3D
Theatrical Debut in 2012 and 2013

BURBANK, Calif. – October 4, 2011 – On the heels of the phenomenal success of The Lion King 3D – which will cross the $80 million mark at the domestic box office today – The Walt Disney Studios has announced limited theatrical engagements for four of its classic films for the first time in 3D. The following titles from Walt Disney and Pixar Animation Studios will be released in 2012 and 2013:

* Beauty and the Beast – January 13, 2012
* Disney•Pixar’s Finding Nemo – September 14, 2012
* Disney•Pixar’s Monsters, Inc. – January 18, 2013 (Monsters University, a prequel to the original film, arrives in theaters in Disney Digital 3D on June 21, 2013)
* The Little Mermaid – September 13, 2013

“Great stories and great characters are timeless, and at Disney we’re fortunate to have a treasure trove of both,” said Alan Bergman, President, The Walt Disney Studios. “We’re thrilled to give audiences of all ages the chance to experience these beloved tales in an exciting new way with 3D – and in the case of younger generations, for the first time on the big screen.”

Originally released in 1991, Beauty and the Beast is a classic “tale as old as time” that follows the adventures of Belle, a bright young woman imprisoned in the castle of a mysterious beast and his enchanted staff, who must learn the most important lesson of all – that true beauty comes from within. Beauty and the Beast was the first animated film ever nominated for an Academy Award® for Best Picture, earning an additional five Oscar® nominations and winning two. It has grossed $380.4 million worldwide.

First released in 2003, Disney•Pixar’s Finding Nemo takes audiences into a whole new world in this undersea adventure about family, courage and challenges. When Marlin, an overly cautious clownfish living in the Great Barrier Reef, helplessly watches his son get scooped up by a diver, he must put aside his fears of the ocean and leave the safety of his coral enclave to find Nemo. Buoyed by the companionship of Dory, a forgetful but relentlessly optimistic fish, Marlin finds himself the unlikely hero in a seemingly impossible land-and-sea rescue. Finding Nemo won an Academy Award® for Best Animated Feature and was nominated for three others. With a total of $867.6 million worldwide, it was the second highest-grossing film of 2003.

In 2001, Disney•Pixar released Monsters, Inc. Lovable Sulley and his wisecracking sidekick Mike Wazowski are the top scare team at Monsters, Inc., the scream-processing factory in Monstropolis. But when a little girl named Boo wanders into their world, it’s up to Sulley and Mike to keep her out of sight and get her back home. Monsters, Inc. shattered every DVD-era home entertainment sales record when 11 million DVD/VHS copies were sold during its first week of release. It won an Academy Award® for Best Song and has grossed $526.9 million worldwide.

Released in 1989, The Little Mermaid, stars Ariel, a fun-loving and mischievous mermaid, off on the adventure of a lifetime with her best friend, the adorable Flounder, and the reggae-singing Caribbean crab Sebastian. But it will take all of her courage and determination to make her dreams come true and save her father’s beloved kingdom from the sneaky sea witch Ursula. One of the most celebrated animated films of all time, The Little Mermaid was nominated for three Academy Awards®, winning two. It has grossed $228.9 million worldwide.

ABOUT THE WALT DISNEY STUDIOS
For more than 85 years, The Walt Disney Studios has been the foundation on which The Walt Disney Company (NYSE: DIS) was built. Today, the Studio brings quality movies, music and stage plays to consumers throughout the world. Feature films are released under four banners: Walt Disney Pictures, which includes Walt Disney Animation Studios and Pixar Animation Studios; Disneynature; Marvel; and Touchstone Pictures, which includes the distribution of live-action films from DreamWorks Studios. Original music and motion picture soundtracks are produced under Walt Disney Records and Hollywood Records, while Disney Theatrical Group produces and licenses live events, including Broadway theatrical productions, Disney on Ice and Disney LIVE!. For more information, visit www.waltdisneystudios.com.