Tag: family fantasy

WICKED: FOR GOOD – Review

So, here’s a riddle that could flummox a few filmgoers. When is a sequel technically not a sequel? Now, we’re not referring to a number following a title (GODFATHER II comes to mind), or an entry in a series (as with James Bond or even Sherlock Holmes). That’s when a new film is a conclusion, ending a big story that’s split in two, usually shot at the same time. Pierre Spengler and the Salkind family famously produced two 70s adaptations this way, with the Three Musketeers (allegedly some of its stars weren’t told the movie was going to be split) and the big budget Superman (replacing the director for the concluding flick). That method was revived with Peter Jackson’s Lord of the Rings and Hobbit films. And when the last Harry Potter book was too epic, it was spread over two (as was the big Avengers/Thanos battle). Now, we come to the case of a big Broadway stage musical hit (it’s still running there), that the producers felt was just too complex for one cinema experience (plus, they could perhaps double the box office). The “first act” was a huge smash at the end-of-the-year holidays in 2024 at the multiplex, so now they’re hoping that much of that massive audience will want to “return to Oz” in 2025 for WICKED: FOR GOOD. Grab your brooms and wands…


The fantasy fable begins just a few miles from the Emerald City as the Wizard’s workers and official guards crack the whip on some harnessed lumbering beasts (looking like a hybrid of the buffalo or yak) in order to finish the long, winding Yellow Brick Road. But those abused animals have an unlikely rescuer. Soaring down through the clouds is not a caped superhero, but a wicked witch, Elphaba (Cynthisa Erivo). She frees the creatures after a brief battle, then heads skyward. Meanwhile, the Emerald City and Munchkinland are littered with banners, posters, and leaflets warning the populace of this “green-skinned menace”. There, her old Shiz College roommate Glinda (Ariana Grande-Butera) is the spokesperson (a bright, calming face) for the Wizard (Jeff Goldblum), while Madame Morrible (Michelle Yeoh) is his crafty consort in the shadows. The duo convince Glinda that it would help unify the citizens if she announced her engagement to the newly appointed Captain of the Wizard’s Guards, Fiyero (Jonathon Bailey) at that day’s big city ceremony. This comes as a surprise to him, since he still secretly harbors feelings for the “enemy of Oz”. Later, Elphaba encounters several animals trying to leave Oz through a tunnel under the YBR that would lead them to a desert land far away from oppression. She tries to rally them, but the animals reject her when a certain timid feline explains that “El” cast a spell that made the monkeys sprout wings. From there she visits her estranged sister Nessarose (Marissa Bode)who has been appointed governor of Munchkinland after the death of their father. In her office, her former beau Boq (Ethan Slater) is now her servant and is prohibited from traveling, along with all the Munchkins. After enchanting Nessa’s shoes (really slippers), Elphaba is stunned when her sister snatches her book of magic, the Grimmerie, and tries to put a love spell on Boq. When this threatens his life, El uses her powers to avert a fatal tragedy, changing him forever. It’s then that she decides to return to Emerald City to strike a truce with the Wizard to free the animals. This also results in a happy reunion with her “Shiz sister”, but El soon learns of the Wiz’s sinister future plans. As she speeds away on her broom, Morrible hatches a deadly plot. She’ll use her weather manipulation magic to endanger Nessa and lure El to her doom. But what happens when an innocent from another world is thrown (lands, really) into the conflict o Oz?

While the focus of part one was “up for grabs” (and wasn’t Universal a bit wicked for hiding that “listing’ in the 2024 marketing), here it’s clearly Erivo as the often distraught but determined Elphaba. Sure, she’s an avenging rebel in many sequences, streaking out of the sun with more speed than any action hero from Marvel or DC, but there’s a real sadness hovering just under that pointy hat. Erivo’s haunted gaze informs us of her sacrifices, as she must endure the vilest of hateful propaganda in order to help all of Oz. That’s in addition to her musical mastery that’s matched by her best screen partner, Grande-Butera as the now “less-flighty” Glinda. She’s also torn by her faith in the Wizard and her still-present affection for her Shiz sister. We get fewer funny moments with her this round (only a couple of “hair-flips”), as the character becomes more, dare why say, introspective, even examining her privileged younger years. This time out, Bailey is more of a swashbuckler than a flamboyant song-and-dance dude as the now military-minded Fiyero. Ditto for the much darker, dramatic turn as the tormented Boq. His former sweetheart has also taken a turn to tyranny, and Bode as Nessarose conveys her conflict as she yearns for the better times with her sister and old beau. And is there a better devious duo than the quirky but still charming Goldblum and the slinky, sinister Yeoh (love her sneering at Glinda) as the Wizard and Morrible? Happily, Bronwyn James and Bowen Yang return as Glinda’s old classmates, Shenshen and Pfannee, who are now Oz PR staff while bringing some much-needed levity.

Finishing the fantasy is director Jon M. Chu (unlike Richard Donner on the 78 Superman), who keeps the story rolling along and even inserts an action thriller aesthetic recalling his time in the GI Joe franchise. But he really shines in crafting the incredible production numbers, either the soulful ballads by Elphaba and Glinda or the big brassy bits with nearly of the Emerald City, which is just as gorgeous and green as before. Yes, like the first half, the production design, costumes, and backdrops (all the colorful flora and fauna) are delicious eye candy (what a great fodder for a “making of” coffee table tome). The expert effects work add to the visual wonders, with CGI making us believe in the Oz animals (especially those “winkeys”), even helping to put a new spin (no doubt to appease MGM/WB) on that iconic OG quartet. And in order to fill out the story’s second act (on stage, act two is usually shorter) musical wiz Stephen Schwartz has created a couple of new tunes. They’re hummable, but the real highlight is the title number “For Good”. But really, the most sensational songs are in the part. Nothing here has the infectious bounce of “Popular”and “What is This Feeling?” or the soulful yearning of “The Wizard and I” (the “I want” number) or the soaring majesty of “Defying Gravity”, but they’re going for the action and drama which isn’t quite as fun as the “big set” and character intros of last year’s flick. Still, this is a big splashy spectacle which should delight fans and families (though the tots may need some help through scarier violent bits) who want to continue the epic fantastical fable that concludes (maybe) with WICKED: FOR GOOD.


3 Out of 4


WICKED: FOR GOOD 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

LUCA- Review

So, travel venues are finally opening up just in time to escape those sweltering Summer temps. Someplace with a beach sounds ideal, though you may want to get some sand between your toes virtually while waiting for the world to get a tad more stable. Last week Israel was our getaway in SUBLET. This weekend we’re headed to sunny Italy for a “va-cay” put together by some incredible travel agents (yup there are some left) out of Emeryville, CA. Yes, those titanic talents at Pixar are whisking us away to the Italian Riviera for a magical adventure. But how does it stack up against their excursions to Ireland (BRAVE), France (RATATOUILLE), and Mexico (COCO)? Well, to find out you’ll be introduced to a young lad. To borrow from the Nat King Cole classic “Nature Boy” (rather than the obvious Suzanne Vega ode to a second-floor dweller), “There was a boy. A strange enchanted boy”. And his name is LUCA.

Oh, I forgot to mention that the time period is maybe the mid-1950s or so. That’s when a fishing boat, ignoring the local tales of scary sea beasts, lowers its net into the waters near the Isola De Mare. Of course, ‘something” is out there, and several objects are lost to the deep during the “interaction”. And just what is going on beneath the surface? It’s then that we meet Luca (voice of Jacob Tremblay), a pre-teen sea “monster”. But he’s a good kid, closer to a “merboy”, but without the fleshy top half, his body’s covered in bright florescent scales and fins. And he’s helping, starting his daily chores as a sort of “fish-shepherd” to a herd, or is it a school, of small fish. His routine is disrupted by the discovery of some of those “lost” items from above. But his discoveries are soon scooped up by something (is it one of those murderous humans) in a diving suit. Luca follows and is stunned when he finds that the “thing’ is another boy like him, but when he leaves the water he becomes an air-breathing flesh-covered human (kinda’ like how Madison dried off in SPLASH). Later at his sea cave home. Luca tells of his adventure which prompts harsh warnings from mother Daniela (Maya Rudolph) and father Lorenzo (Jim Gaffigan), though Grandma (Sandy Martin) is not as concerned about it. But curiosity gets the better of him and Luca climbs out of the water (and a green leafy swim shorts form during his transformation) and meets the “collector”, a slightly older boy named Alberto (Jack Dylan Grazer). The two become fast friends, exploring his decaying lighthouse, and daydreaming about cruising the globe on their very own Vespa scooter. But when Mom spies the “scarecrow”, Luca has erected to “guard the flock” she threatens to send him off to live on the ocean’s floor with his creepy Uncle Ugo (Sacha Baron Cohen). This scares Luca so badly that he agrees to join Alberto in his plan to get a real Vespa in the nearby seaside fishing village of Portorosso. There they become targets of the town bully Ercole (Saverio Raimondo) while befriending a girl around their own age, Giulia (Emma Berman), and eventually working for her fisherman father Massimo (Marco Barricelli). Soon the trio team up to enter the annual race (sponsored by a food company) in order to use the cash prize to buy one of those adored scooters. But can they keep their true origins a secret before they’re discovered, perhaps by the mysterious older couple that keeps tossing water balloons at kids?

In their vocal casting, Pixar continues their knack for tapping just the right talents, rather than going after the big media “flavors of the month”, which too many of their competitors rely on (big name>best fit). Case in point, Tremblay, six years after his ROOM breakthrough, hits just the right notes as the boy whose world is so quickly expanding. Unlike many family fantasy heroes, he seems perfectly content in his “part of the pond”, not wanting to burst into an “I Want” song. Tremblay balances the curiosity and yearning for adventure with healthy bits of fear and worry. Maybe his folks, which he really misses, are right about these pasty savages. He’s a great counterpoint to the always-confident Alberto, who’s given the correct mix of bravado and swagger by Grazer, who knows when to “dial it down” for the complex and emotional final act. Completing the pre-teen trio is the energetic, feisty Giulia voiced with vigor by the talented Berman. Another terrific trio, real comedy vets, also get their chance to shine in the major adult roles. Rudolph is the passionate “mama grizzly’, well maybe “mama shark’ as the forceful but very caring matriarch Daniela, while Gaffigan exudes his “laid back” charm as the bumbling papa Lorenzo, who’s often the “softie” to his “lay down the law’ spouse. And Cohen gives Uncle Ugo, a weird off-kilter tone that matches his nightmarish appearance (you can see through his chest and observe his heart pumping). Relative screen newcomers Raimondo and Barricelli are superb as the arrogant. preening, pompous Ercole (“You can have the pleasure of watching me eat a sandwich”) and the intimidating, gruff, but warm-hearted Massimo, respectively.

Speaking of newcomers, how about this fabulous feature film directing debut by Enrico Casarosa. Talk about hitting one out of the park your debut turn at bat (perhaps scoring a goal would be more in the film’s spirit). The tone, the emotional shift, the pacing, well everything lands (and swims). Of course, a great deal of credit for that must go to screenwriters Jesse Andrews and Mike Jones who deliver a tale that comes close to the emotional wallop of an UP, with a dash of COCO and INSIDE OUT. This literal “fish out of water” fable tackles prejudice and acceptance, as the villagers’ fears really match the “monsters”. More prominent in the film’s climax are the themes of friendship, going from selfish to selfless as BFFs realize they must let go to allow others to “spread their wings”, or fins, despite the pain of losing them. Somehow these deep emotional concepts never get in the way of the inspired slapstick and frenetic action sequences. Perhaps the biggest inspirations are found in the phenomenal visuals, the gorgeous worlds these endearing characters inhabit. We know that Pixar can do the deep blue sea (you almost expect to see Nemo and Dory zipping past), but the dazzling look of the sea folks are delicious “eye candy” with vibrant cool blues and shimmering yellows. Equally stupifying is the village of Portorosso, a dusty sun-baked town right out of post-war Italian classics. Around one corner you may nearly get run down by THE BICYCLE THIEF, around another your eyes could drink in a sultry young Sophie Loren (if you’re lucky). It’s really a love letter to that era (weathered LA STRADA posters adorn many walls). There are even local variants of Disney staples. This brings me to my only negative. Aside from LA’s El Capitan Theater, this film isn’t playing on any big screen venues. This happened last year with SOUL, but most screens were shuttered. Last March RAYA AND THE LAST DRAGON from Disney Animation Studios was given a theatrical release along with Premiere Access (a big one-time upcharge) on the Disney Plus+ streaming service. This film should be available in multiplexes everywhere to bask in its beauty and to appreciate the gifted artists that worked (often at home) to craft this work. Any rumblings out of Emeryville are truly justified. Off the soapbox, and back to the positives. The lead kids have a nice exaggerated facial structure (those teeth-filled mouths), but the most interesting designs may be the adults (Massimo and Lorenzo sport impressive facial hair), and the silent, scowling kittycat Machiavelli (look forward to the stuffed toys). The music score from Dan Romer never overwhelms or dominates. This is primo Pixar, a glorious feast for the eyes and heart, as satisfying as a family pasta Sunday supper. Bravo and brava to all involved in creating one of the year’s best films, the triumph that is LUCA. So dig in, mangiare! And stick around for the end credits for a dessert as tasty as tiramisu!

4 Out of 4

LUCA streams exclusively on Disney+ beginning on Friday, June 18, 2021

RAYA AND THE LAST DRAGON – Review

We’re still a few weeks away from the big Spring break (even with the past year’s at-home learning it’s still a big deal), but the major film studios aren’t holding back their big “family-friendly” flicks for virtual and in-theatres (welcome back NYC and LA) viewing. The last couple of them were live-action/animation hybrids with rendered (CGI and some classic hand-drawn) characters interacting with flesh-and-blood actors. First was the pixel-powered furball at the center of FLORA & ULYSSES, streaming on Disney+. And last weekend saw the big-screen return of the chaos-causing cat and mouse TOM AND JERRY careening through the canyons of the Big Apple, and filling up movie theatres while streaming for a few weeks on HBO Max. Speaking of mice, the “mouse house” strikes back today with a feature that harkens back to those iconic full-length fairy tales and fables from their golden age. Of course, this one uses the latest tech to give us its fully rounded heroes, villains, and magical critters. Now to be clear, this is from the Disney Animation division, a separate entity from the Pixar people, though they’re all “under the same tent” (and with the acquisition of Fox they’re joined by Blue Sky). While the Pixar products of last year were wowing critics and audiences (ONWARD and SOUL should both get Oscar noms, with the latter being the front runner for Animated Feature and Music Score), the Disney Animation artisans were crafting this fantasy fable from a far-off land all about RAYA AND THE LAST DRAGON.

And just what is that far-off place? Why the Asia-inspired land known as Kumandra, or really formally “known as”. The story actually begins 500 years before, when some demonic creatures known as the Drunn (whirling magenta-colored storm clouds) attacked the villagers, absorbing souls and turning the people to stone. Luckily their dragon protectors came to the rescue by pooling their magic auras into a small round blue-glowing orb. Ultimately the Drunn turned all but one of the dragons to stone. Their lone survivor Sisu used the orb to banish them and return the statutes of the villagers to life. But there was not enough magic to save her dragon family and Sisu went into hiding. In tribute to their rescuers, the land was divided into five countries, each named after a part of the dragons: Tail, Talon, Spine, Fang, and Heart, where the orb is hidden and guarded. Its main guard and Heart’s leader is General Benja (voice of Daniel Dae Kim) who is training his young daughter Raya as a protector. But Benja has a dream to unite the five lands into Kumandra, once more, and so invites people from the other four lands for a discussion. Unfortunately many believe that the orb has gifted Heart with prosperity (rich crops, good soil, etc.) which inspires an act of deception that reveals the orb’s location. The resulting struggle shatters the orb into several pieces, each scooped up by different countries. It also brings back the Drunn who turn Benja into stone. Several years later, the now-teenage Raya (Kelly Marie Tran) roams the land on her pet Tuk Tuk (a weird armadillo, pill bug, bear mix), searching for the pieces and hoping to find Sisu. But even with the help of the last dragon, and a motley crew recruited from each land, can she defeat the Drunn and be reunited with her beloved papa?

Once again the formidable talents at the Disney Animation Division “step up their game” in a spirited competition with their sister studios in which the winner, or winners, are the lucky lovers of superb, superior cinematic storytelling. Viewers will be initially stunned by the eye-popping visual delights on display, from the cool blues of Benja’s palace (loved the water running up the stairs) to the warm deserts of Fang, each of the background designs is worthy of a gallery display (or a lush “coffee-table hardcover collection). Luckily these mesh seamlessly with the inventive character designs. Though at first, she may seem to be the simplest of characters, Raya may be the most complex in the visual representation of her emotional states. In a nod to a favorite cinema hero, her shape prior to engaging in battle, with her wide-brimmed hat and cape/robe, is a near match to “The Man with No Name”, Clint Eastwood’s Italian Western icon of the 1960s. My favorite human design of Raya’s crew would be the bulky Tong, a gentle one-eyed giant whose noggin resembles a battered football though is still capable of tenderness. And then there is the fantastical menagerie of creatures. We see the Tuk Tuk go from cuddly “kid critter” to an affectionate armored speedster. There’s the simian-inspired trio of ‘kleptos” called the Ongis. Then there are, of course, the dragons, well dragon. Sisu, with her blue and violet-tinted fur, moves with the grace of a swimming eel with a touch of a boa (the snake and the feathery costume accessory), while her feline face accents her wide quizzical eyes. These wonders were given animated life by a legion of skilled artists led by the inspired direction of the filmmaking foursome of Don Hall, Carlos Lopez Estrada, Paul Briggs, and John Ripa.

In addition to those talents, a gifted acting ensemble gives voice to these colorful characters and creations. Tran conveys the heartache and determination of Raya, while Gemma Chan is her rival Namaari, who reveals a touch of empathy and becomes the rare villain with a chance at redemption. Kim is warm and nurturing as father Benja, and Benedict Wong is full of bluster and pathos as Tong. And what of that “last dragon”? Sisu is giving voice, and lots of sassy attitude, by Awkwafina. Her rapid-fire, “street-smart’ line delivery infuses the film with unexpected energy. Plus her magic and allow Sisu to take a human form that closely resembles…Awkwafina herself, though with an unruly mop of white hair (with that same blue/violet tinge). She adds lots of infectious humor, but also creates a jarring shift in the narrative. Up until her intro, the story is set on a fairly straight heroic saga, a classic fable or quest. The zany antics, and modern slang, and vernacular of Sisu don’t quite mesh with the drama of the previous sequences. Luckily the pacing gets back “on track” as Raya’s own version of the “magnificent seven” jells. Perhaps the writer wanted to evoke the antics of Robin Williams’ Genie or even Eddie Murphy’s tiny dragon Mushu, but the story’s flow is disrupted to the point of near derailment. However, everything does come together again, leading to a most exciting and emotional finale, full of heart and action (did I neglect to mention the nifty weaponry Raya wields). Thanks to all these terrific talents RAYA AND THE LAST DRAGON is a most delightful allegory about reaching out to unite for the common good. Especially now, that’s a most welcome notion truly for “all ages”.


3 out of 4


RAYA AND THE LAST DRAGON opens in select theatres and streams exclusively via Premier Access on Disney+.

FLORA & ULYSSES – Review

So with all the holidays this month, not to mention “snow days” (with the “at home learning” is that really still a thing), when will those movies be released (to quote that Coen Brothers classic) “you know… for the kids”? Well move aside all you somber “indie” dramas and feature docs, here comes a new live-action feature adaptation of an award-winning (the 2014 Newbery Medal) childrens’ book. And it’s a human/animal team-up, much like the live-action features that the Disney Studio would “pair up” with their re-issues of their animated classics in the 60s and 70s (or at least with a “long-form” short like their Winnie the Pooh “featurettes”). Yes, the “mouse house” is behind this flick, also. But there’s no need to brave the elements as it premieres on their streaming service, perfect for pausing during the snack refills. Oh, almost forgot to reveal the identity of the “team”. Much in the “vein” of Christopher Robin and “that silly old bear”, make way for the exploits of FLORA & ULYSSES (who may be a tad closer to Batman & Robin).


Speaking of that “dynamic duo”, the human half of the team is obsessed with superheroes. That would be Flora Buckman (Matilda Lawler), the story’s eight-year-old narrator. After her “takes” on the Silver Surfer and Wolverine, she delves into the origins of her favorite hero, “Incandesto”. Not heard of him? No wonder, since he’s the unsold (to any comics company) creation of her father, George (Ben Schwartz). Actually, his frustration over the rejection of all his characters may have been a big reason behind his separation from his wife (and Flora’s mom), Phyllis (Alyson Hannigan). She’s a semi-successful author of romance novels (winner of the coveted “Jack & Rose” award), and Flora’s living with her in the old family house (but still visits her pop every weekend). One afternoon, Flora’s routine is disrupted by the next-door neighbor. Her automated vacuum cleaner has run amok and scarfed up a squirrel. Flora frees him, but the critter bonds with her. Then she realizes that he has “super powers’ (he follows her directions and can write poetry on her laptop. Now named Ulysses, Flora takes him to visit the only superhero expert she knows, good ole’ daddy. He takes her to brunch at a local diner, unaware she has Ulysses stuffed in a schoolbag. The delicious smells drive the squirrel wild and soon he’s bouncing around the eatery. The trio escapes, but the authorities have been alerted, namely the over-zealous head of the city’s animal control department, officer Miller (Danny Pudi). Can Flora keep him away from her new best furry friend? And what other powers does Ulysses have up his sleeve…er…paw?

A cast of seasoned veteran comedy performers (mostly from TV) pool their considerable talents to “juice-up” this thin familiar fable that’s stretched to feature-length. However, the human character in the title is played by relative newcomer Lawler, who proves to be a pleasant screen presence. She carefully avoids the pitfalls of many pre-teen thespians with her ability to give the right push for a punchline while never “over-selling” or “mugging” (the bane of most basic cable TV kids). Her adorable energy also helps as she goes for the heartstrings when her furry pal’s in peril. Though he’s most entertaining as the self-involved doofus Jean-Ralphio of TV’s “Parks and Recreations”, Schwartz is quite good as the father who always has a smile for his angel even as the world smacks him down (he’s got the proper “soul-drained” eyes when we see him at his 9 to 5 gig at a big box office supply store). Hannigan has a tougher challenge as the “straight man” for many of the exchanges with Flora, while also trying to be nurturing but strict (gotta’ balance those comic books with real lit). But she gets to deliver some laughs (though none of the “band camp” variety) as a frustrated writer who may not have any more “bodice-rippers” bouncing in her brain (the antique typewriter magnifies that blank sheet of paper). Plus Phyllis and George yearn to re-unite, though neither knows the way to patch the leaks in their relationship. Oh, Lawler’s not the only grade-schooler on board. Benjamin Evan Ainsworth plays William, the visiting nephew of their next-door neighbor, who is dealing with a rare case of hysterical blindness. We’re told that it’s caused by stress, perhaps to make some of the crude gags more palatable (he thinks he’s a junior Daredevil). Maybe they thought that Flora should have a cohort closer to her own age, but the teaming rarely works. Still, they fare better than Pudi, forever Abed of “Community”, who’s saddled with the kids’ movie cliche of the thwarted abused adult, a guy always on the losing end of some painful pratfalls (Pesci and Stern set the standard in the HOME ALONE flicks) as Miller the menace. Luckily he’s only armed with a tranquilizer pistol, though he gleefully fires with little regard for innocents, and somehow can never aim it when constantly attacked by a CGI cat that seems to be the spawn of the Tazmanian Devil and Church from PET SEMATARY. Pudi deserves better than this dim-witted dweeb of a villain. Anna Deavere Smith is a kindly, calming influence as the sympathetic doc that acts as a helpful (to the extreme) guardian “angel”. Two extremely funny ladies are wasted in underwritten roles. Kate Micucci (of the team Garfunkle and Oates) screeches and stumbles as the diner waitress, while Janeane Garofolo verbally prods Hannigan as the agent/manager of Phyllis. However, SNL vet Bobby Moynihan has a nice low-key but warm spin on The Simpsons’ “Comic Book Guy” as a store owner credited as “Stanlee” (nice nod).

Director Lena Kahn may have been aiming for a warm family-friendly fantasy fable, but the chaotic screenplay by Brad Copeland (whose credits include the abysmal YOGI BEAR) thwarts her with too many clunky slapstick sequences (I’m guessing that the original book by Kate DiCamillo is more mellow). At least they steered clear of the constant genitalia injuries of last year’s putrid THE WAR WITH GRANDPA. Perhaps the film’s biggest problems start with the crude computer-animated co-star. His manic movement conveys a sense of weightlessness, especially as Ulysses curls around Flora’s neck. As he bounced from one calamity to the next, I recalled the Christmas TCM staple THE GREAT RUPERT from 1950. That performing squirrel was brought to magical life via George Pal’s team of stop-motion animator artisans (much like Rudolf or the 33′ King Kong). Sure that’s often clunky (watching the fur ruffle) tech, but the fellar’ has miles more charm than this pixel effect (he does a good mimic of the superhero landing “stance” though). And though this is set in modern times (the Roomba-style menace), some plot devices felt years out of touch. Would Phyllis really use an old typewriter (with a stuck “J” pad) to put her mind into an early 20th-century heroine? And could the local newspaper (probably not a daily) wreck her career (perhaps an online video interview that goes viral would be more now)? It seems only designed to put her in the mood to go after Ulysses. And just what are his powers? They’re whatever the story requires him to do, I’d guess. This forgettable flick might keep the wee ones quiet for a bit (the “figgits” will arrive soon), but there are so many better entertainments, even on this service (that don’t squander terrific comic talents) than the tepid tumults of FLORA & ULYSSES. I’ll stick with the team from Frostbite Falls, MN anyday.

1.5 Out of 4

FLORA & ULYSSES streams exclusively on Disney+ beginning Friday, February 19, 2021