Tag: dreamworks animation

DOG MAN – Review

So, new year (well, a month old now), new slate of cinematic superheroes invading the multiplex. This weekend sees the premiere feature film adaptation of a beloved crimefighter (Captain America will be throwing his shield when he flies in on Valentine’s Day) who’s rather unique in this realm. First off, he’s not a member of the Marvel Cinematic Universe (MCU). nor does he originate at Warner’s DC Studios. And, thankfully, it’s not another Sony “Spider-Verse” spin-off. No, this is from Scholastic, who have published fourteen graphic novels in this series, which sprung from another successful series. I’m certain they and his millions of fans are hoping that this is this will begin a new film franchise for the canine crusader known as DOG MAN.


The action takes place in a big bustling metropolis known as OK City, which seems to be constantly under attack by the supervillain Petey the Cat (voice of Pete Davidson). Luckily the Chief of Police (Lil Rel Howery) enlists the aid of his top cop Officer Knight (Pete Hastings) and his trusty sidekick Greg the dog to thwart the feline fiend. Unfortunately, they’re unable to defuse a bomb planted by Pete, and the duo is caught in its explosion. After being rushed to the hospital, the doctors make a fateful decision to combine their still functioning parts (Greg’s head on Knight’s body) to create Dog Man, champion of law enforcement. This heroic hybrid successfully stops the new schemes from Petey, sending him to prison which seems to have a revolving door. After yet another escape, Petey thinks he can keep ahead of his nemesis, by copying, really cloning, himself. But he’s stunned when the result is a kitten version he names Li’l Petey (Lucas Hopkins). When he’s rejected, Dog Man adopts the innocent fuzzy tyke. Pete continues with a new plan to revive a deceased fish called Flippy (Ricky Gervais), a true super-powered villain with the ability of telekinesis. Can OK City survive the terrible teaming of Petey and Flippy, even with Dog Man and Li’l Petey on the case?

This funny fantasy romp benefits from the expert comedic vocal casting. Davidson proves to be a superb comic villain, giving his lines a bombastic energy while still retaining a snarky spin on his threats and retorts. He’s not the only former SNL castmate enlisted as Cheri Oteri pipes in as the Mayor, Melissa Villasenor is a hard-selling realtor, and even Laraine Newman voices a brilliant scientist. Howery is a frantic hoot as the befuddled, overworked Chief who not-so-secretly pines for roving video reporter Sarah Hatoff, given a crisp energetic delivery by Isla Fisher. Hopkins is adorable as the cute bit never cloying kitty, while Luenell makes the Chief’s main assistant Milly a low-key sarcastic delight. And Gervais is gleefully snide making Flippy a twisted snicking super-menace.

In this his animated feature debut, Pete Hastings (yes, the voice of Knight and all the growls and howls of the title hero), directs his screenplay adaptation of the Dav Pilkey series, giving it a jovial, bouncy pace expanding from an origin story to introduce us to the many players and elements of Dog Man’s world. The animators have taken Pilkey’s line drawings into the CGI universe, making the characters resemble fuzzy, rubbery toys and retaining the child-like simplicity of the settings (we can imagine a kid constructing buildings of folded cardboard with funky hand-lettered signage). I was a tad surprised that much of the story’s first act echoed themes of the original ROBOCOP as Dog Man finds he can’t return to his old life (GF has split and put his home up for sale). Then the jokes swiftly connect until the tempo loses a bit of momentum by the one-hour mark, but Flippy’s fantastic feats involving some nifty walking skyscrapers invigorate the finale. Sure, there are a couple of crude gags mocking canine habits and a scathing “burn’ from Li’l Petey that may get repeated on the schoolyard, but this is really an all-ages romp that the whole family can enjoy (again, thanks to a talented cast), making a howling, tail-waggin’ triumph for the first screen adventure of DOG MAN.

3 Out of 4

DOG MAN opens in theatres everywhere on Friday, January 31, 2025

THE WILD ROBOT – Review

Summer may be over, but 2024 isn’t finished with feature animation by a long shot. The “mouse house” has a big one lined up for Thanksgiving weekend in fact. Plus its sister company, Pixar, had a most surprising blockbuster a couple of months ago with INSIDE OUT 2. Now, one of the other big cartoon studios, Dreamworks, is releasing a real rarity: an original animated feature. Yes, it’s based on a beloved children’s book series, but it’s not been brought to “big screen life” before, as with this year’s new installments of franchise faves like Despicable Me, the Transformers, and Garfield. And its subject matter is also unique as it combines cute and cuddly critters with a futuristic mechanical being. But there are no humans to get it, hence its interaction with wildlife inspires its moniker, THE WILD ROBOT.

That title character is a service device from a big high-tech company named Universal (like its studio distributor) Dynamics. The product’s formal designation is ROZZUM unit 7184, or “Roz” for short (voice of Lupita Nyong’o). In the opening moments of the story we see Roz climbing out of its packaging crate, which has washed ashore after the cargo ship has run aground on an island full of animals. After trying to connect with a pack of frisky curious otters (“What is the task I can complete?”), Roz is seemingly under attack from all the different species of the nearby forest. Finally, Roz shuts down so that its computer system can take in all the different squeaks and growls and translate the many “languages”. When Roz reboots, the onslaught resumes until it must deal with the biggest aggressor, a surly brown bear named Thorn (Mark Hamill). The big chase ends as Roz crashes into a nest, leaving only one survivor, an unhatched egg…which is promptly scooped up by a hungry fox called Fink (Pedro Pascal). After Roz retrieves the egg, it cracks open revealing a wide-eyed baby goose. Fink explains that it has “imprinted” on Roz since it was the first thing the gosling saw when it opened its eyes. He thinks Roz is his “mommy”. The fox also shares that to survive, the mini-mallard will need to learn to feed itself, swim, and fly. Roz has a task at last, though time is running out. With Winter on the way “Brightbill” (Kit Connor) must join the flock on the southbound migration to survive. Can Fink and Roz get him “up to speed”? And what will happen when Roz’s “creators” track it down to the island?

Happily, the filmmakers have opted to recruit several excellent character actors rather than the usual “stunt” vocal casting of hot stand-ups and pop stars. Nyong’o imbues Roz with a plucky, overly pleasant accommodating tone (“Are you pleased with ny completion of the task?”), often giving the readings a “sing-songy” tone of artificial friendliness. Pascal brings a sly (natch’) rascal spirit to Fink the fox, making him endearing but never totally trustworthy. Connor makes Brightbill a teen straining to be a grown-up while still yearning for a connection to his mechanical mom. Speaking of moms, the movie’s biggest ‘scene-stealer” may be the snarky possum matriarch Pinktail given a sweet but surly spin by comedy icon Catherine O’Hara, bouncing right back from the Beetlejuice smash sequel. She scores big laughs and has us wanting much more, just like a great party guest who has to dash away early. The other major ‘bot role, Vontra, is acted by recent Oscar nominee Stephanie Hsu, who issues the sweetest syrupy threats. Bill Nighy flies in for the role of elder mallard Longneck, the mentor who literally takes Brightbill under his wing. Another comic kingpin is the always entertaining Matt Berry, so great on the TV version of “What We Do in the Shadows”, as the haughty, determined Beaver Paddler who will not be deterred from his mission, though he’s got time for some great caustic insults. Oh, there is one true vocal vet in Hamill (the superb animated Joker on several shows and games), who gives Thorn an intimidating but often warm guttural growl.

The driving force behind this film is animation wizard Chris Sanders, the man who gave us LILO & STITCH, HOW TO TRAIN YOUR DRAGON, and many other gems (he even did a recent live-action, with CGI, take on CALL OF THE WILD) Adapting the book series by Peter Brown, he utilizes all of his impressive art and storytelling skills to deliver a compelling modern fable full of insight into parenting while extolling kindness. And the world certainly needs a lot more of that. Sanders has guided an army of skilled craftspeople to give the film a bright, bouncy look, turning this island forest into a magical wonderland that often explodes with color (butterflies rest on the side of a tree before filling the screen in flight). The grass, the tree, and the caves all enhance the action and never detract from the terrific character design of the critters (who give entrancing physical performances). The most imaginative design may be that of Roz whose look invokes THE IRON GIANT (can it really be 25 years old), BB-88 of the last Star Wars trilogy, and Baymax from BIG HERO 6, while sporting some nifty new bits of wondrous gadgets. Its hands can detach are retrieve, while its arms and legs are extended elastic coils. It’s astounding how much emotion they can get from Roz’s volleyball-like noggin. Yes, we get a glimpse of a futuristic city along with some silent humans running from their computer screens, but the heart of the story is with Roz and her new pals, though the slapstick-filled chaos of the opening act may make it feel like any recent action-packed blockbuster. But then the pace slows a tad and begins to draw us in with its emotion and pathos. Now, here’s a film that is unabashedly made for the entire family, so be sure to travel via your local multiplex to the island home of Brightbill, Fink, Pinktail, and their guardian, THE WILD ROBOT. “Task completed”.

3.5 Out of 4

THE WILD ROBOT is now playing in theatres everywhere.

KUNG FU PANDA 4 – Review

Since we’re nearly into Spring Break season for students, the studios are gearing up to release some sequels (usually a Summer staple). I suppose you could consider last weekend’s DUNE: PART TWO a sequel, though it’s really the conclusion of the original story. Ah, but this weekend’s big studio release is the latest entry in a “tentpole”, a franchise that’s now a teenager (sweet sixteen). Plus it’s an “all-ages” series with a”PG” rating that parents are always searching for (he’s been MIA at the multiplex for eight years now). It’s not from the “Mouse House”, but rather their biggest animation rival for a time. And this was the character they created that truly worked for me (I’m not a fan of the look of the big green ogre’s exploits). Watch out, and hold on to your snacks, as Master Po is back, and hungry as always, in KUNG FU PANDA 4. Skadoosh!!

This new adventure begins with a “call back” of sorts when some hard-working mineral minors are menaced by an old foe who should be chilling in the afterlife. Cut from the prologue to the happy patrons of the noodle shop run by Mr. Ping (voice of James Hong) and Li Shan (Bryan Cranston) who are thrilled to meet the Dragon Warrior himself, Po (Jack Black). But the festivities are cut short by a surprise visit from Master Shifu (Dustin Hoffman). It seems that it’s time for Po to step up into the role of the spiritual leader of the valley creating the need for a new DW. Auditions are held, but Po isn’t quite ready to decide. Things get more complicated when he stops a skilled “sneak thief, a fox named Zhen (Awkwafina) from looting the Jade Museum. After she’s handed over to the jailer, those miners, from the opening scene, arrive to beg for help. Po is baffled that an old foe is back until Zhen mentions that this is the work of the shape-shifting master criminal The Chameleon (Viola Davis). Naturally, Zhen can lead Po right to her. The fox is put into his custody and soon the duo are on the way to her hometown, the bustling Juniper City. Along the way, they must hire a boat to take them across the vast sea. Unfortunately, the captain of such a vessel, is at a truly dangerous “dive bar”, the “Happy Rabbit”. But the danger really kicks (get it) in J.C. as they earn the wrath of the local police while trying to enlist the aid of Zhen’s old cohorts in the “Den of Thieves”. And with Ping and Li only a few hours behind him, can Po keep them all out of danger and defeat the devious, cunning Chameleon, or will his new temporary partner (the “Furious Five” are all battling evil elsewhere) pull a “fast one” on the lovable ursine?

So how can an actor be so energetic in a role he’s been “voicing” since 2008? Answer me that, Mr. Black! Perhaps that’s a big part of the near-universal appeal of the panda named Po. But it’s not all “hollerin’ and whoopin’ it up”, as Black shows us the sweet side of the bear, even giving us a touch of the caring teacher. That’s especially the case in his scenes with Zhen, whose streetwise, fast-talkin’ delivery comes from the very busy Awkwafina (this is her second Dreamworks character). Her wisecracks and “burns” keep pace with the fox’s manic slapstick, although we get some dramatic shading in the big finale. And the two are a terrific team, almost matched by Hong and Cranston as the two bickering but united “daddies”, an animalized “odd couple”. Well, there’s a third papa if you consider Hoffman’s Shifu who is still a perfect peeved straight man, er…red panda, to the exasperating Po. The story also benefits from a couple of inspired new voice actors. Ke Huy Quan is quite engaging as Zhen’s former “father figure” Han, the armadillo-like (a Sunda pangolin to be precise) who rolls about the underground lair of the underworld. It’s been said that a great villain reflects on the hero, and Davis is a treat as the regal, silky, sneering Chameleon who imbues venom into every command and taunt.

Making this sprawling action/fantasy yarn proved to be a task for two terrific directors, Stephanie Stine and Mike Mitchell, who deliver the comedy and the pathos with equal aplomb. The staging of the stunt setpieces is truly amazing, defying gravity and using it as another threat, as in the big brawl in the pub teetering on the edge of a cliff overlooking the sea (one character even asks, “Who thought this was a good location?”). The directing duo also guided an army of tremendous artisans in the look of the environments (Juniper City dazzles above and below ground) and the design of the new characters from shifty alligators to snarling wolves and even a trio of sadistic bunnies (shades of that white rabbit that bedeviled those Holy grail seekers). I was especially impressed by the constant flow of Juniper City foot (well paw and claw) traffic. The artistry is enhanced by a clever script that sports a few wild twists and a big finale that salutes the previous big-screen epics. Sure, some will be missing the “Furious Five”, but those returning characters and the new friends and enemies more than “take up the slack”. If desired this is a great send-off for the series, even as the end credits hint at a possible new direction(s). If we return to the Valley of Peace, audiences will be “pleased as Po” if they’re as well done (ala Ping’s noodles) as KUNG FU PANDA 4.

3 Out of 4

KUNG FU PANDA 4 is now playing in theatres everywhere

TROLLS BAND TOGETHER- Review

Though the end of the year is mainly the mainstay of serious and somber award-seeking films, there’s almost always room for family-friendly flicks. After all, there has to be a break from all the hectic holiday preparations, and what better way to relax than getting off your feet in one of those swell reclining plush multiplex chairs? So, the “mouse house” will arrive shortly with a slick fantasy fable, but how about their “major ‘toon rival”? Well, the fine folks at Dreamworks are completing a trilogy begun seven years ago when they put a new spin on a beloved baby boomer toy. Much of that spin involves music, as the lil’ critters interpreted classic (and some brand new) pop tunes. This makes their third outing feel a bit foreshadowed as those TROLLS BAND TOGETHER.

This new outing begins with a flashback to the final performance of the huge Troll boy band BroZone. After an attempt at the “perfect harmony”, the quintet went their separate ways. And now we’re back in that Troll kingdom nestled deep in the forest. Things are more hectic than usual as Queen Poppy (voice of Anna Kendrick) and “maybe” BF Branch (Justin Timberlake) are helping with the big wedding of Bridget (Zooey Deschanel) to the Bergen King Gristle (Christopher Mintz-Plasse). Just after the “I do’s” a stranger disrupts the proceedings. It’s none other than John Dory (Eric Andre), singer and manager of BroZone who’s also Branch’s big bro! What? Branch was part of that supergroup and was then known as “Baby Branch”! And what has prompted this reunion? It seems that brother Floyd has been kidnapped by the current “red hot” singing duo, sibs Velvet (Amy Schumer) and Veneer (Andrew Rannells). They’re keeping Floyd inside a near-unbreakable glass cage to “drink in” his musical talent. Ah, but his prison can only be shattered by that ole’ perfect harmony. Yup, it’s time to get the band back together, so the trio hit the road, along with Tiny Diamond (Kenan Thompson) to find brothers Spruce and Clay to save Floyd before his singin skills are completely drained.

The returning voice actors slip back into their established roles as though nary a day has gone by since the previous flick three years ago. Timberlake has a bit of renewed energy as he appears to be having loads of fun by satirizing his own boy band past while trying to deny his attraction to Poppy. As usual, Kendrick brings lots of energetic show-tune spirit to her and gets a chance to shine after meeting her new surprise BFF (and perhaps a tad extra) Viva who is given equally frenetic vocal life by pop singing sensation Camila Cabello (and they’re another terrific song duo). Much of the flick’s laughs are provided by SNL vet Thompson who peppered the story with snarky asides as TD (who still looks like Will Ferrell’s Harry Carey to me). His comic delivery is matched by the story’s villainous twosome with Schumer delivering her insults with a hissing sneer while Rannels conveys a sweaty desperate need to serve her as her bumbling bro. The movie also has a major role for the comic ‘force of nature” Andre but aside from being the “big boss” (and very bossy), he’s given little to do as Dory.

The directing duo of Walt Dohrn and Tim Heitz keeps the pace at a fever pitch while tossing in a near-endless stream of music standards and original melodies. And like the previous films, you could almost get a visual sugar rush from the candy-coated color spectrum paired with the shimmering “sparklies”. The CGI is top of the line, though they don’t take as many stylistic chances as Dreamworks’ Puss In Boots flick from a year ago. Happily, some classic 2D animation from Titmouse Studios sneaks in with some knowing psychedelic nods to Peter Max and that YELLOW SUBMARINE. Sure, the trolls are still “homely/cute” as they bounce into the camera for tight close-ups, but the filmmakers do a deep dive into some classic animation icons of the last century. With their rubbery limbs and big eyes, Velvet and Veneer could’ve sung with Betty Boop or Flip the Frog in the 1930s. And then there are the natives of Vacay Land who recall a Muppet spin on Dr. Seuss. Much of this is merely a bonus bit of fun for the adults as the kids are mesmerized by the catchy songs and bombastically energetic lil’ critters. It’s a haphazard plot structure (the Bergens have little to do), but adults can zone out (but try not to snooze) as those TROLLS BAND TOGETHER.

1.5 Out of 4

TROLLS BAND TOGETHER is now playing in theaters everywhere

RUBY GILLMAN, TEENAGE KRAKEN – Review

Things have certainly gotten interesting recently with the Summer box office. Usually, we’d be talking about the records being broken by the superhero franchises or the big action-adventure “tentpoles”. Then a big switch happened last weekend when the first two spots in the weekly BO “Top Tens” were animated features. Studio wisdom was the notion that animated flicks would “cancel each other out” hurting the ticket sales on both. Nope, not this time, though the rapid downhill trajectory of a certain scarlet speedster aided their performance. Could this brand-new animated feature snag a spot in the top five with the other two holdovers? Mind you, that globetrotting archeologist will crack his bullwhip into the upper slots on the roster. However, families may want to return to the sea after that recent Disney live-action remake and dive into the adventures of another mythical nautical being, RUBY GILLMAN, TEENAGE KRAKEN.

Wait a sec, isn’t the Kraken a monstrous destructive demon from the ocean’s depths, from CLASH OF THE TITANS, as in “Release the…”? Well, the savvy narrator at the start of this story sets us straight. It seems that the Krakens are really the protectors of the sea, battling other “beasties’ including those savage mermaids (so they’re “baddies”). Plus it turns out that a family of Krakens lives on the land in the port city of Oceanside as the Gillmans (figures). They can “pass” as long as they stay out of the water, and cover their gills with high collars and turtleneck sweaters. The title character, Ruby (voice of Lana Condor) is a high schooler sharing a home with her bratty kid brother Sam (Blue Chapman), crafting wizard and shop owner dad Arthur (Coleman Domingo), and successful real estate agent mom Agatha (Toni Colette). Ruby really wants to go to the upcoming prom with her crush Connor, but Agatha nixes the notion since the dance is on the deck of a big tourist touring ship. But then Ruby’s rebellious pals decide to attend the party “ironically”, so Ruby sets her sights on her dream guy. Oh, but she botches the “prom-posal” and knocks Connor into the “drink”. Ruby saves him, but the seawater transforms her into a multi-tentacled, Godzilla-sized monster. After she dries off and shrinks back to normal (away from the hundreds of digital devices that captured her “rampage”), Ruby confides to her visiting Uncle Brill (Sam Richardson). To answer her questions he guides her deep beneath the surface to get the answers from his mother and her “Grandmamah” (Jane Fonda), the Kraken Quenn. It seems that Agatha gave up her title to live on the land. Ruby returns home hoping to confront her mother. But a new girl shows up at school to complicate things. Perhaps Chelsea (Annie Murphy) has a similar secret. Could she derail Rby’s big night with Connor? More importantly, will Ruby embrace her royal nautical heritage before she’s “discovered”?

The diverse vocal cast, composed of big-screen newcomers and veterans, enhance this whimsical tale. Connor is quite impressive as the teen hero, full of emotion with her pals and in her budding romance, while also showing us her anger over the family history denied to her. Collette as her mum Agatha revels in her hectic balance of sales and family dynamics, loving her new “land” life, but finally realizing that she must embrace her “warrior princess” past. A big part of the latter is Grandmamah, who is given a feisty and haughty tone by Fonda, is thrilled by her newly discovered grandkids, and revels in a bit of mischief with Ruby. Richardson brings an endearing goofball charm to the flaky and fun Uncle Brill. Another comedy pro, Will Forte, is aboard as an old local “salt” who seems to be somewhat related to the Simpsons’ sea captain (“Argh, matey”) and the talking “seadog” picture in the attic of Seth Myers during his “late night lockdown” a couple of years ago. However, Gordon (as in Gordon Lighthouse…clever) has an over-caffeinated mania to his guttural rants.

As with many animated features, this is overseen by a directing “tag team” duo, Kirk Demicco and Faryn Pearl. They’ve created a dazzling colorful world on land and underwater, offsetting soft pastels with bouncy bursts of near-fluorescent hues of violet and deep blue. The Gillman family has a “loosey-gooey” way of movement, a rubbery lurch as though their inner frames were a variation of a classic toy of my youth, the Slinky (“fun for a girl and a boy”), so I’m officially ancient. As with other recent CG flicks (LUCA for one), the artists have done variations of anime facial designs and expressions, which work well to convey the ultra-dramatic teenagers. Unfortunately, the script loses focus around the midpoint to set up a big fantasy action-packed showdown finale. Plus it explores many of the themes of maturity (really puberty) that were better discussed in Pixar’s TURNING RED a few years ago (from giant red panda to towering tentacled “beastie”). And much like the overrated THE MITCHELLS VS. THE MACHINES, too many slapstick sequences are slowed down (like “bullet-time” in THE MATRIX) in order for the characters to “get in your face” with distorted bits of “mugging”. The preteen set may find this engaging, but after the marvels of the Spider-Verse, animation aficionados may be “treading water’ in the familiar “depths’ and “shallow” interludes at the “surface” of RUBY GILLMAN, TEENAGE KRAKEN. “Glub, glub”.


2 Out of 4


RUBY GILLMAN, TEENAGE KRAKEN is now playing in theatres everywhere

PUSS IN BOOTS: THE LAST WISH – Review

Now, what would make this most “magical time of the year” more magical? How about a return visit from several of our favorite fairy tale friends? Oh, but hold up, this new release isn’t another animated romp with those two green lovebirds and their donkey BFF. But you’re close as its focus is another pal of theirs. It’s not his first solo outing, rather it’s a long-awaited (eleven years) follow-up. And talk about magic, it’s the big goal of him and all the other characters in PUSS IN BOOTS: THE LAST WISH. En Garde, kitty-cat…


After a brief prologue telling us about the legendary “wishing star” we’re tossed into the midst of a raucous party thrown by everybody’s “favorite fearless hero”, Puss in Boots (voice of Antonio Banderas), And wouldn’t you know it, the owner of the “locale estate” makes an unexpected return. The ensuing “throw-down” with his security team awakens the sleeping nearby “mountain giant”. Naturally, only Puss can take it on, but the battle to save the village lands him in a doctor’s office. That doc (or is he a vet) informs Puss that he just died. Ah, but he’s gifted with nine lives and that was only…number eight. The “prescription” is to high-tail to the quiet confines of Mama Luna’s Cat Rescue Haven. Ah, but that’s not for Puss, so it’s off to the cantina for lots of “dairy shots” and an encounter with a sinister bounty hunter, the Big Bad Wolf (Wagner Moura). Puss barely escapes with his last life and heads to Mama Luna’s (Da’Vine Joy Randolph) where he’s “domesticated” and buries his swashbuckling attire. He also befriends a feisty pup posing as a cat, Perro (Harvey Guillen). It’s not long before adventure finds him as the place is invaded by the “crimin’ family” of Goldilocks (Florence Pugh) and the Three Bears (Olivia Colman, Ray Winstone, and Samson Kayo), who think that Puss has the secret map to the aforementioned “wishing star’. After the quartet leaves (they don’t recognize the tamed Puss), he, along with Perro, tracks them to the lair of evil collector “Big” Jack Horner (John Mulaney), just as his “trackers” bring him that mystical map. But before Puss or Goldie’s team can swipe it, the map’s nabbed by Puss’s former “flame”, Kitty Softpaws (Salma Hayek). After an awkward reunion, Pussy, Kitty, and Perro dash away to the star’s location, the “Dark Forest”. Of course Goldie, the Bears, and Jack (with his “Bakers’ Dozen) are hot on their furry tails. Can the heroic trio reach the star before the others? And will Puss use its power to restore his eight lives?

After more than a decade away from the role, Banderas still charms us with his over-confident swagger, though it’s tinged with fear over the cat’s looming mortality. Oh, he belts out the opening tune nicely. Hayek goes toe (er…) paw to paw with him with her fierce determination and supreme ‘smarts”. Guillen is a sweet, endearing sidekick to the bickering exes. Mulaney’s a terrific pompous kingpin with no moral compass, always ignoring a tiny cricket creature who implores him to “do right”. Pugh, Colman, Winstone, and Kayo are a great mix of the classic fable tinged with a Guy Ritchie-still cockney hoodlum squad out for a “pinch”.

Luckily the film looks as great as it sounds thanks to the sprightly directing duo of Joel Crawford and Januel Mercado. They’ve smartly moved away from the “close to reality” designs of the SHREK series and gone for more caricatured humans, especially Horner, Mama Luna, and the Doc. Ditto for the new supporting critters with an expressive trio of bears and a really scary wolf who’s doubly deadly with a pair of sharp “mini-scythes”. The backgrounds are lush and the colors truly pop (particularly as Horner uses his “unicorn horn” arrows). Making the story seem to burst out of the screen is the filmmakers’ approach to the big action set-pieces, as the characters become jagged-edged projectiles and their settings give way to a deluge of speed lines and flares of color bursts, perhaps inspired by anime and the “Spider-Verse”. The tiniest of tots make get spooked by the bounty wolf, but they’ll giggle at the antics of the new “PIB Team player” (he dubs them “Team Friendship”), Perro. Though he’s down to his final one, there’s still lots of life, and laughs, left in PUSS IN BOOTS: THE LAST WISH. Go, go gato!


3 Out of 4


PUSS IN BOOTS: THE LAST WISH opens in theatres everywhere on Wednesday, December 21, 2022

THE BAD GUYS (2022) – Review

THE BAD GUYS

As Spring slowly arrives (really, April snow), the multiplex makes way for a new family-friendly animated feature film (and contrary to what the Academy said, that medium can tackle the more mature subject matter, like FLEE). Now, this one’s got an interesting twist, a “spin” on a firmly established trope of the “cartoon conflict’. Well, it’s not a “skewed’ satiric fairy tale or fable but rather goes further back, before the features, to those “much-missed” theatrical shorts. Very often they dealt with a chase, usually a pursuit with a predator animal trying to capture its (not so defenseless) prey. In the world of Looney Tunes, Sylvester is after Tweety while the Coyote was always several steps behind that Roadrunner. But what about shifting the focus from the “heroes” to the “villains”, to a team of “nogoodniks” who somehow want to change? Or do they? Can they really “flip” their “nature” or must they remain THE BAD GUYS?


This “cartoon caper” begins with a casual diner conversation between the gang’s leader, Wolf (voice of Sam Rockwell), and his “second in command” and BFF Snake (Marc Maron). After exiting the “greasy spoon”, the duo begins a “bank heist’ with the help of the rest of the “crew”: computer-hacking whiz Tarantula (Awkwafina), master of disguise Shark (Craig Robinson), and the tiny but powerful Piranha (Anthony Ramos). After barely escaping capture by their arch-nemesis, Police Chief Luggins (Alex Borstein), the gang return to their secret lair and begin to plan their next “job”. A TV news report informs them that the valuable Golden Dolphin award for Samaritan of the Year will be presented to Professor Marmalade (Richard Ayoade) at a “fancy-schmancy” museum event. For Wolf, the “icing on the cake” is that the award will be given by newly elected Governor Foxington (Zazie Beetz). The gang complains that many criminals have failed to nab the Dolphin, but Wolf insists that this will be their greatest “score”. Of course, the plan doesn’t quite go smoothly, as Wolf helps a much-older matron who nearly trips down a staircase. He has an odd sensation, a twinge of euphoria inside sparked by doing good and causing his tail to wag. This helps lead to the gang’s capture, but security footage of Wolf’s selfless act inspires the Prof to plead for the gang, insisting that he can change their ways and do a better job of reforming them than any prison. Can the “bad guys” go good or is this just part of a bigger scheme? And what about that spark between Wolf and the Guv?

Dreamworks Animation theatrical features have been “hit and miss” of late, often releasing uninspired sequels (the last SPIRIT horse-flick was true horse…y’know) and tepid original ideas, but put this effort in the plus category. This may be due to the source material, a popular series of children’s books by Aaron Blabey, adapted with playful glee by screenwriters Etan Cohen and Yonni Brenner who have included several nods to the old “let’s steal something in the most intricate way possible” movies. The familiar setting of the first scene gives us a “head’s up’ as they recreate the eatery from the “bookends” of PULP FICTION. The other plus is the inspired direction of first-time feature director Pierre Perifel who balances the engaging character interchanges with action sequences that take a welcome satiric swing at the excesses of many blockbusters (consider this a “palette cleanser” to the insufferable AMBULANCE). Cameras swoop above and around the speeding vehicles before slowing down for us to appreciate a subtle visual “nugget”, then “revving up’ for some bit of F&F gravity-defying nonsense. Happily the flick also employs some really inspired, funny character designs, “filling-out” Blabey’s comic-strip imagery, while not going overboard on the “too busy” detailing of many CGI renderings, though I did enjoy the darkened lines about the eyes and lips which bring out the expressions. Now, this is a bit of a human/animal mix, unlike say ZOOTOPIA or the KUNG FU PANDA series, humans interact with the critters on the same level, much like Elmer Fudd and Bugs Bunny, so there’s the “fur-less folk” who are every bit as exaggerated but seem to owe much to the “anime” wide-eyed and “open-mouth” tropes we’re seeing more frequently, from LUCA to TURNING RED. Perhaps this is done to make the animals “stand out” a bit more, though I wish the Police Chief and her crew looked as appealing. What does work is the use of this terrific vocal cast led by Rockwell who is pure laid-back “Clooney cool” as Wolf while Maron conveys a different side to his wiseguy stand-up comic (and podcaster) persona as the irritable, curmudgeonly Snake (thinking his “bucket hat” is a nod to Carl Reiner in the OCEANS trilogy) . Oh,, and extra kudos to the artisans who have recreated the sun-drenched LA streets that are a backdrop to the frenetic mayhem. With so much to offer in the way of animated entertainment, audiences of any age should have fun spending a good 100 minutes with THE BAD GUYS.

3 out of 4

THE BAD GUYS opens in theaters everywhere on April 22, 2022

SPIRIT UNTAMED – Review

With the kiddos finally out of school (unless they were still “splitting the time” online and in-person), the studios are actually releasing some “child-friendly” fare right into the gradually re-opening multiplexes. Not a big superhero blockbuster, but an animated adventure arrives this post-holiday weekend. Is it something new from the “mouse house”, or its sister company, the recent Oscar-winner Pixar? Well, this is from one of their biggest rivals, the “studio that SHREK built”, Dreamworks Animation. And it’s not exactly new, but more of an “inspired by” than a sequel or franchise entry. It all goes back to a “2D’ (or “classic cell/drawn”) feature from nearly twenty years ago. That feature spawned a “3D’, or “CGI/computer”, streaming series on Netflix. But things have come full circle (much like a corral) as the property returns to theatres, though still “computer-rendered”, with (cue the whinny) SPIRIT UNTAMED. Giddyup!


Now, jes’ you hold yer’ hosses’! This tale starts with a flashback, sometime in the late 1800s. In the frontier town of Miradero, everyone gathers for the big annual rodeo celebration. The highlight is a performance by the amazing rider/acrobat Milagro Novarro-Prescott. Her biggest fans in the adoring audience are her husband Jim and their toddler daughter that everyone calls “Lucky”.Oh, but luck is not with her that fateful day, as a stunt while perched atop a beautiful showhorse goes horribly wrong. Fortunately Lucky is too little to understand the tragedy, while her papa is consumed with sadness. So sad, that Lucky is sent off to live with his older sister Cora (Julianne Moore) in the Eastern US mansion of her grandpa’. But as Lucky grows into a pre-teen, her mother’s rebellious nature comes to the fore (she wrecks a big political banquet). It’s then decided that Lucky should reunite with her Daddy, so Aunt Cora accompanies her on a west-bound train. It’s there that Lucky first sees the beautiful Spirit, leading a group of wild horses running alongside the locomotive. Unfortunately, the leader of a group of no-good varmits’, the brutal Hendricks (Walton Goggins), also sees the stallion and hatches a plan to capture the herd and sell them to finance their next big “job”.. The father and child reunion is strained when Lucky tells Jim (Jake Gyllenhaal) that she wants to find Spirit. Fearing that she will suffer the same fate as her mama, he forbids it. But when Hendricks snares Spirit and holds him at a local stable, Lucky, with her new pals Pru (Marsai Martin) and Abigal (McKenna Grace), tries to free him and eventually protect all the wild horses from the evil outlaws.


This simple story is elevated by the vocal casting of several screen (big and small) veterans. And there’s even an Oscar winner, though Ms. Moore’s Cora is mainly there for comic relief, an uptight starched shirt that will take a tumble into the water trough (among many indignities). But Moore gives it her best, though she deserves something more interesting than slapstick peacemaker in the household. Gyllenhaal voices the head of the household and brings haunted compassion to the morose man in need of some fun. And that comes in the form of Lucky, played by relative newcomer Isabella Merced who projects a bouncy can-do attitude, adding to her character’s empathy and fearlessness, a young lady who’s much more than a “damsel in distress”. The cause of much of that drama and disaster is the sinister Goggins, who makes Hendricks an often charming rattlesnake (you never turn your back on him) who oozes civility when cozying up to Cora, but shows her true colors to his cronies. Another great vet, though sadly underused here is Andre Braugher as the stable owner, and Pru’s dad, who offers a friendly shoulder, and good advice, to Jim.

Directors Elaine Bogan and Ennio Torresan give this childhood wild west fantasy a nice glossy, candy-colored sheen, ready-made for the retail toy shelves. I can see the rows of Spirits, his caramel coat perfectly balanced with patches of white. And nearby the kid characters with slightly oversized noggins illuminated by wide eyes (the three young girls and annoying, wanna-be comic relief kid brother Snips with tiny donkey). But unlike rival Disney/Pixar, and even the other Dreamworks franchises, there’s just not enough emotional depth or conflict to engage audiences apart from the “pre-K’ set (guessing this may be the first theatre experience for many wee ones). Sure, there are disagreements, but nearly everyone is “nice”, which helps us appreciate the Hendricks gang, their character design filled with sharp angles and beady eyes, a contrast to the smooth, soft Prescotts and company. This is really a “mild” rather than wild west with the town of Miradero more of a pristine theme park (exit through that gift shop, natch’). The story hits all the correct “girl power” buttons, but there’s little for that coveted “all-ages crowd”. At least Spirit doesn’t quickly submit to Lucky, forsaking his “wild side” to hasten the plot. My mind drifted often, thinking about Lisa Simpson sitting in the front row of the Springfield Aztec for multiple showings. Now if she made the trio a quartet, well, then you’d have something. I’m certainly not the target audience, but beginning filmgoers deserve something more engaging than the cotton-candy fluff of SPIRIT UNTAMED. Whoa, dismount!

1.5 Out of 4

SPIRIT UNTAMED is now playing in select theatres everywhere

THE CROODS: A NEW AGE – Review

In a time when many families are opting to forgo the big, big get-together and reunion, perhaps they may want to try instead a big cinematic reunion. It’s one that’s seven years in the making, though this particular family goes back several thousands of years. One of 2013’s surprise box office hits was THE CROODS from the hard-working folks at Dreamworks Animation which was indeed a worthy addition to their SHREK, DRAGON, and KUNG FU PANDA franchises. So is this adventure worth a return to the caves, let alone the theatres (no streaming-on-demand for this one…yet) ? Well, let’s dust off the old “loin-cloth” and visit that “family down the street” (oops, wrong animated ancestors) for THE CROODS: A NEW AGE.

It all starts with a fairly somber flashback as we witness young Guy’s last moments with his parents. Not to worry kids, we’re soon right in the thick of the action as the Croods, along with now teenage Guy (voice of Ryan Reynolds), cling tightly to the fur of their charging faithful “macawnivore” Chunky as they evade all manner of predators (those “kangadillos” are really pesky) as they seek out the new homeland they call “Tomorrow”. The main concern of papa Grug (Nicolas Cage) is finding food, but he’s distracted and extremely annoyed by the blossoming romance between Guy and his eldest daughter Eep (Emma Stone). Suddenly he’s stopped in his tracks by something Grug has never encountered: a wall, made of tied-together trees. Using his noggin (literally) he plows through to a wild, multi-colored utopia, a land-of-plenty with all manner of over-sized fruit and veggies. As they recover from their glutinous stupor, two odd shapes slowly come into focus as they get nearer. People! Humans! The duo is husband Phil (Peter Dinklage) and wife Hope (Leslie Mann) Betterman, who wear clothing that’s not fur (a softer thing called cloth), sandals, and tie their hair in buns and ponytails. Plus they know Guy, as they were friends of his folks. When the Croods are brought back to their tree-house domicile (!), they meet the third Betterman, teenage daughter Dawn (Kelly Marie Tran). While Phil and Hope seem welcoming, they’re secretly devising a plot to hook-up Guy with Dawn. But will Eep thwart their plans? And what is the dark secret that makes Phil forbid Grug and his clan from feasting on those luscious bananas that pile up everywhere? Can this really be “Tomorrow”?

The returning voice cast slips back into their roles like easing into a well-worn tiger-skin “one-piece”. Cage is affectionately dim-witted and surprisingly warm as the patriarch Grug, a great counterpoint to Catherine Keener as his calmer, understanding, and nurturing spouse Ugga. Reynolds eases up on his motor-mouth wiseacre screen persona as the energetic, often frustrated Guy, who is a delightful romantic comedy partner to Stone as the spunky, tough, and tender Eep. Cloris Leachman is a feisty force-of-nature as the gravelly-voiced Gran, while Clark Duke gives pre-teen Thunk an endearing distracted vibe. All of them contrast superbly with the talented trio introduced here. Tran makes Dawn a beacon of joyous delight as she encounters the delights of having an adventurous BFF in Eep (she’s okay with Guy, though). Mann is a devilish passive-aggressive diva as Hope, perhaps a prehistoric take on today’s social media “Karens”. But the biggest laughs are generated by the hysterical Dinklage who imbues Phil was so much smarmy snark making him a devious “hipster” prototype oozing with condescension. If he weren’t such a hoot, we’d be impatient for Grug to throttle him (although there is a nice comeuppance).

First-time feature director Joel Crawford brings a wonderful visual style to the story (credited to six writers…uh uh) filling every backdrop with dazzling eye-popping colors (you almost need shades at times) and imaginative animal-creature hybrids (I’d fancy a “wolfspider” stuffed toy, thank you). Its main strength may be in the characters, both familiar and new. Even when some scenes become “dialogue-heavy” we’re engaged due to the superior physical acting with each family member engaging in their specific “body language’ (essential with the feral, sound-effects spewing baby sister Sandy). The lil’ ones will be entranced by the “eye candy” and slapstick even as the plot enters the one-hour mark “lull” (a problem with live-action comedies too). A five or ten minute “trim” might have helped the now 95-minute flick. A few of the more “heavy-handed” gags come to mine. TV addiction is hammered home with Thunk’s obsession with the Betterman’s tree-house widow. He just wants to sit and stare (“Not now, Mom! The birds are on!”). Then there are the big female-empowerment sequences (the whole Eep/Dawn bonding is fun at first) leading to the huge battle/rescue finale as Gran gives her “sistas” tough code names (“You are ‘Bog-Water’!”) before leading the charge, complete with lots of MATRIX-inspired “bullet-time” bits). The score by Mark Mothersbaugh is quite rousing without being too bombastic. But, as with most Dreamworks films, the classic pop tunes are over-utilized, especially one nearing 50 made popular by a singing TV sitcom family. Despite its fumbles and flubs, the great vocal crew and them “purdy pitchers” make THE CROODS: A NEW AGE a worthy sequel sure to be a tasty cinematic dessert after you finish the big (well, not as usual) “boid”.

3 Out of 4

THE CROODS: A NEW AGE opens in selected theatres on November 25

KUNG FU PANDA 3 St. Louis Premiere Saturday Jan. 16; Win A Family 4-Pack To The Special Advance Screening!

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Ready for the return of Jack Black as Po and his fun-loving band of friends, voiced by Bryan Cranston, Dustin Hoffman, Angelina Jolie, J.K. Simmons, Jackie Chan, Seth Rogen, Lucy Liu, David Cross, Kate Hudson?

In 2016, one of the most successful animated franchises in the world returns with its biggest comedy adventure yet, KUNG FU PANDA 3.

When Po’s long-lost panda father suddenly reappears, the reunited duo travels to a secret panda paradise to meet scores of hilarious new panda characters. But when the supernatural villain Kai begins to sweep across China defeating all the kung fu masters, Po must do the impossible—learn to train a village full of his fun-loving, clumsy brethren to become the ultimate band of Kung Fu Pandas.

The film is directed by Jennifer Yuh Nelson and Alessandro Carloni and produced by Melissa Cobb.

KUNG FU PANDA 3 hits theaters everywhere on January 29, 2016.

DreamWorks Animation and 20th Century Fox are hosting 70 mini premieres of KUNG FU PANDA 3 on Saturday, January 16th throughout the U.S.

St. Louis is hosting one of the red carpet premieres at the AMC Chesterfield 14 at 2PM.

The local red carpet along with activities starts at NOON. Video from the Hollywood premiere begins at 2PM with the screening following immediately after.

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We’re giving away a family pack of passes to ONE lucky winner to see the movie early.

WAMG invites you to enter for a chance to win FOUR (4) passes to the advance screening!

Answer the following from the original KUNG FU PANDA:

  • What business is Po’s father in?
  • What famous martial artist voiced Master Monkey?
  • Which  group of renowned Kung Fu Masters are the protectors of the metropolis of Gongmen City?

TO ENTER, ADD YOUR NAME, ANSWERS AND EMAIL IN OUR COMMENTS SECTION BELOW.

OFFICIAL RULES:

1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.

2. No purchase necessary. A pass does not guarantee a seat at a screening. Seating is on a first-come, first served basis. The theater is overbooked to assure a full house. The theater is not responsible for overbooking.

Rated PG.

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