Tag: fantasy adventure

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

IN YOUR DREAMS (2025) – Review

While we’re awaiting the big year’s-end animated sequel from the “Mouse House”, here’s quite a tasty CGI (mostly) appetizer you can stream at home. Fledgling Kuku Studios , with assists from Netflix and Sony Animation Studios (yes, the Spider-Verse folks) have produced quite a charming bit of lyrical whimsy that focuses on family dynamics via the imaginary world dotting the “dream-state”. Sure, it sometimes veers into nightmare territory, but more often several rousing fantasy adventures occurs IN YOUR DREAMS.

We’re first introduced to the story’s main character, a pre-teen girl named Stevie (voice of Jolie Hoang-Rappaport) during a pleasant daydream set in the not-too-distant past. She’s having lots of fun making a French toast breakfast in the kitchen, along with her lovably goofy musician Dad (Simu Liu). Soon after Mom (Cristin Milioti) joins them, the dream shifts into chaos with the sudden arrival of a baby brother. Stevie awakens in the present day as she is distracted while making breakfast by the antics of her now eight-year-old wannabe magician kid brother Elliot (Elias Janssen). Mom and Dad are nearby having a pretty serious discussion (the thin walls allow Stevie to get the gist). Mom is heading to Duluth (several hours away) to interview for a higher-paying job, since Dad’s music career has somewhat stalled. Could this prompt a big move. Unfortunately, Dad wants to remain in the old house, so could this lead to them breaking up? Fortunately, Stevie is given a task to take her mind off her worries. She’s going shopping with Elliott to find a book he can write a report on for his class. At a second-hand shop, Elliot innocently brings home a tome from the “off-limits” back room (that dreamy clerk did say it’s priceless). The dusty ole’ storybook is all about “the Sandman”. As if prompted by its subject, Stevie has a weird dream that Elliot’s bed behaves like a flying horse. Or is it a dream? Before she can figure things out, the duo are whisked to a land of living breakfast foods where Elliot is reunited with his thought-to-be-lost favorite childhood toy, a stuffed giraffe named Baloney Tony (Craig Robinson). Somehow he leads them to the land of the Sandman (Omid Djalili) who gives Stevie a chance to make all her dreams come true. Can this be the only way to keep her family together?

This film is truly an entrancing tale with splendid dollops of “eye candy’ that will dazzle animation lovers of all ages (there’s even a few seconds of 2D-style classic “line art”). Big congrats to Erik Benson and Alexander Woo on their feature film directing debut and on the heart-tugging, witty script they co-wrote with Stanley Moore. In that aspect they’ve crafted a most sensitive approach to a great fear of family fragmentation with empathy and maturity. But they haven’t been stingy with the laughs. Baloney Tony may be the big breakout comedy star due to his bouncy, “floppy” physicality and the infectious energy in the vocal work from Robinson. Ah, but those visuals…particularly in the dream settings, with the Sandman’s desert-like domain highlighted by a grainy castle inspired by M.C. Escher (stairs in every possible direction). I was also impressed by the land of breakfast treats, from their sprightly intro to the later “dark turn” with “zombie donuts”. Much of the film’s strength comes from the steady pacing, allowing us to drink in the themes without manic “in-your-face” extreme reactions. But when things kick into action mode, the movie soars, much like the amazing over-the-city and above the clouds flight of Elliot’s bucking-bronco-bed. Also worth savoring (hit that rewind) is the hilarious montage of nightmare trope (“naked in public”, “unprepared for a test”, “teeth falling out”, etc.). All the excellent animation acting (the natural gestures and bouncy double and triple-takes) are given extra “oomph” by the subtle music score by John Debney. Sure, it’s not a big epic blockbuster, but family audiences will savor the wonders and everyday warmth (lots of laughs and heart) of Stevie’s journey throughout IN YOUR DREAMS.

3 out of 4

IN YOUR DREAMS is now streaming exclusively on Netflix

IF – Review

After taking us into A QUIET PLACE in two box office hits (with a prequel arriving very soon), actor/director/writer John Krasinski now guides us into a fairy noisy place, namely the inner life and fantasies of children. And going from sci-fi thrills to whimsey is quite the “lane change”, one that could end in disaster if not properly planned. Luckily he’s crafted a story and has enlisted a talented cast in front of the camera and the microphone. Yes, this is perhaps the most ambitious cartoon/live-action feature since the pairing of private eye Eddie Valiant and Roger Rabbit. And since it uses computer-generated “beasties” (rather than the 2-D classic style), Krasinski is touting it as a “live-action Pixar flick” (quite a goal). And he’s really putting those tech wizards to work in showing us the often unseen children’s side-kick, the invisible friend, here shortened to IF.

After a “finger-paint” riff on a familiar studio logo, we’re plunged into the early years (via lots of grainy jittery home video) of Bea. She cavorts and plays with her doting parents until…the scenes shift to a hospital room where mom sports a head scarf. And then it’s her and Dad walking in the park. The scene shifts to the present day as twelve-year-old Bea (Cailey Fleming) lugs her suitcase up the steps of the gothic Brooklyn brownstone where her grandmother (Fiona Shaw) lives. It’s not a fun “overnight”, as Bea heads out the next morning to visit her papa (Krasinski) in what appears to be that same hospital, awaiting a “heart procedure” (perhaps a transplant). From there it’s back to Granny, who is really trying to connect. Bea’s restlessness leads to some exploration, and she spots a follows a neighbor from upstairs who seems to be breaking into a house across the street. But it’s no burglary, he’s retrieving a huge furry purple creature named “Blue” (voice of Steve Carell). Observing silently, Bea waits until they’re back home before pounding on an upstairs door. The occupant finally relents and welcomes her to the odd home he shares with Blue and a “bug lady” right out of an old cartoon, Blossom (VO: Phoebe Waller-Bridge). The “human” Cal (Ryan Reynolds) explains that he is charged with matching the IFs (Imaginary Friends) to new kids after their original matches have “grown up” and are unable to see them. Well, since she can see them, Bea offers herself as Cal’s partner. The next day, Cal reluctantly takes her to Coney Island where a secret IF retirement center exists beneath the old carousel. Bea is dazzled by the array of fantastical creatures, from a cloud to a unicorn to a life-size gummy bear. She has a new purpose, but will this adventure ease the anxiety about the possible fate of her only parent? And just why does Bea have this gift?

Ms. Fleming deftly handles a very complex role as the story’s main focus, Bea. Her biggest strength may be the fact that she isn’t afraid to make this heroine a touch abrasive at times, as she tries to push away any “talking down” to her, as Bea almost bypasses tween going straight to sometimes surly teenager. This is especially true when her pop tries to “soft pedal” his health issues and Grandma attempts to comfort her. Happily, her bonding with Cal and the IFs gives her a new zeal for life and brings out her compassion. Reynolds channels his charming persona and gives Cal an infectious adult “pixie” quality with a graceful body language reminiscent of the screen’s dancemen and clowns, combining bits of Gene Kelly and Buster Keaton. Almost as endearing is Krasinski as he tries to put Bea at ease with his infectious grin and wisecracks, shielding her from the situation much like Benigni in LIFE IS BEAUTIFUL. Shaw is also warm even as she’s frazzled and bewildered as she tries to find a way to bond while yearning for the tot that reached out for “Gammaw”. But Bea does bond with another hospital resident, the delightful Alan Kim as the battered (he seems to have at least three plaster casts), but somehow cheerful Benjamin. As for the vocal crew, Carell conveys a spirit of sweet joy as Blue. Ditto for Waller-Bridge who adds a bit of snark. The standouts of the “all-star” IFs would be the very funny Sebastian Maniscalco as Magician Mouse and the late great Louis Gossett, Jr. As Lewis the wise elder bear who becomes Bea’s trusted advisor and a true creature comfort.

To elaborate on an earlier comment, kudos to Krasinski for diving into the “deep end” of family flicks (he says he wants to make a story for his kids), and still tackling some often somber and somewhat dark subject manner (so despite that “PG” rating the hospital scenes might be too much for the more sensitive tots). Plus he’s gathered together some wonderful artisans to create these fascinating critters, embracing many types of styles. As I mentioned, Blossom could’ve been buzzing around Betty Boop, while Blue is Olaf the Snowman’s bubbly persona melted into the Grimace after he’s been zapped by gamma rays. A few have the look of a child’s scribbling like the bubble or the ice cube. I just wish that they generated more laughs. It’s not the fault of the cast, though this is Awkwafina’s third cartoon role in less than a year, as the script seems to be content for them to just bounce about and get involved in an indulgent dance number that stops the plot in its tracks. Krasinski is trying to celebrate the joy of pretending before the awful “real world” blinds them to the IFs, but he often pummels the heartstrings too much, especially in the maudlin third act that has a twist that’s telegraphed early and grasped by any fan of a late 90s cinema classic. Yet, it’s an interesting premise brought to life by some expert animation and art direction, but another pass at the script to tighten the pace and punch up the humor wouldn’t leave moviegoers wondering what IF.

3 out of 4

IF is now playing in theatres everywhere

GHOSTBUSTERS: FROZEN EMPIRE – Review

Janine (Annie Potts), Peter (Bill Murray), Ray (Dan Aykroyd) and Winston (Ernie Hudson) in Columbia Pictures GHOSTBUSTERS: FROZEN EMPIRE.

Suit up! Even though spring has finally sprung it doesn’t mean that all the spooks and specters are hiding out or in hibernation until the Fall and their holiday Halloween. And you know who you’re “gonna’ call”. Yes, it’s the return of a much-beloved film franchise, opting for an “earlier than Summer” release. Well, they are celebrating a rather big anniversary. Mind you, it’s just a few months short of three years since the last installment/revival/spin-off. No, I’m talking about the original, still-revered comedy/horror hybrid classic which will soon be forty years “young” (well, compared to the evil entities that cross their paths…and “streams”). So, let’s fire up Ecto-1 and see what the new teams and the OGs are up to in GHOSTBUSTERS: FROZEN EMPIRE.


After a wild prologue involving a certain NYC fire station answering the call to the ritzy Adventures’ Club way back in 1904, the “legacy team” is charging out of that same locale in the 21st century. By legacy, I mean the off-spring of Egon Spengler, daughter Callie (Carrie Coon), and grandkids Trevor (Finn Wolfhard) and Phoebe (Mckenna Grace), joined by Callie’s Beau and Phoeb’s former teacher back in Oklahoma, Gary Grooberson (Paul Rudd). They’re all back in the Big Apple and out to contain a long slithery sewer serpent ghost. The ensuing damage earns the ire of Mayor Peck (William Atherton) whose threats of litigation cause Phoebe to be “benched” since she a minor of fifteen. Back at HQ, Gary is concerned with the structural damage around the original spectral containment unit. This prompts the kids to visit “Uncle” Ray Stantz (Dan Ackroyd) who operates a supernatural curio shop with another OK transplant, Podcast (Logan Kim). That same day, Ray gets a client, an anxious cash-hungry guy Nadeem (Kumail Nanjiani) who wants to sell his late granny’s spooky metal orb. Ray then takes the piece to the new ghostbuster research facility in one of the Burroughs (hidden in an old public aquarium) run by Winston Zedemore (Ernie Hudson) and his “right hand” Janine Melnitz (Annie Potts) with an assist from another OK pal Lucky (Celeste O’Connor). Turns out that the orb is a mini-prison for a centuries-old demonic entity that uses fear and ice to try to enslave the globe. When it gets loose, can the combined ghostbusting crews including Peter Venkman (Bill Murray) save the citizens of Manhatten from becoming frozen encased “people-cicles”?

Sure, it’s great that the 84′ team is more integrated into the story than in AFTERLIFE, but it makes all the characters input severely reduced in order to avoid going over the two-hour mark, Still, most of the roster makes an effort to build on the earlier entry. Although Phoebe is put on the sidelines for the second act, Ms. Grace brings more depth to the standard “teen brainiac” as she hurries into adulthood. This lets us in on a secret friendship she’s forged with a (sorry Casper) friendly ghost, more than a century-old teen Melody (Emily Alyn Lind), a chess partner in the pre-dawn Central Park. Their bond is strong though Phoebe knows that will end soon. Rudd exudes lots of his energetic charm as Gary, though the romance with Coon’s Claire doesn’t have the sparks that flew in Oklahoma. Wolfhard is the surly teen who just wants the keys to Ecto-1 and finds a nemesis in a familiar green glutenous ghost. Ackroyd appears to be having a grand time rattling off paranormal trivia and finds a great new screen partner in the always entertaining Patton Oswalt as a translator of ancient languages. The most laughs in the surprisingly somber flick are generated by Nanjiani as the on-the-make slacker who finds that embracing his heroic heritage is more rewarding than cashing in on his heirlooms. He even holds the comedic focus sharing a scene with Murray, who doesn’t seem to be that invested in his two extended cameos (maybe he’s there in tribute to his late co-star and directing pal…and a chunk o’ change). And Atherton remains a perfect patsy and an irritating “wet blanket” as Peck (now that’s a long trek from the EPA to the mayor’s office). Hudson is still an MVP along with (and welcome back) Ms. Potts.


Taking over the director’s chair is a screenwriter from the last film, Gil Kenan who also co-writes this time with Jason Reitman. Wisely he takes the action out of the “dustbowl” and returns to the zany playground of NYC, making it look as though it’s not that different from the ’80s. Plus that nifty prologue and the first “bust” remind us of the pleasures of the whole franchise. Unfortunately, the flick hits a long lull as the “pieces” are put into place for the big effects finale. The idea of an unlikely friendship between “buster” and ghost is intriguing, but it merely becomes a “plot device” to hasten disaster. Back to those effects, the producers do a fairly decent job of replicating the practical effects of the first two flicks with the new CGI tech and manage to make many of the spirits very scary and gruesome. And it’s all put to use in a finale “throwdown” that feels a touch cramped as it’s all within one building rather the bustling streets or the towering skyline, with one character doing the whole superhero shooting power from the fingertips thingee. Speaking of, comic book films have been accused of indulging in too much “fan service”. This film says, “Hold my beer..er..Ecto Hi-C”. We get a phony news report that not only uses footage from those previous flicks but includes the music video and clips from the merchandising commercials (toys, cereals, etc.). Then throughout the film, the Elmer Bernstein music cues are hit hard and often (the piano, then the the therimen, then both with the horns). And like most current franchises, there’s a mid-credits bonus scene that’s just “meh”. But the hardcore fans will be delighted, though any “newbies” seeing this somewhat lackluster outing won’t be shopping for their own jumpsuits and proton packs after taking in GHOSTBUSTERS: FROZEN EMPIRE. On your way out, don’t slip on the “slime”…

2.5 out of 4

GHOSTBUSTERS: FROZEN EMPIRE is now playing in theatres everywhere

POOR THINGS – Review

Emma Stone and Mark Ruffalo in POOR THINGS. Photo by Atsushi Nishijima. Courtesy of Searchlight Pictures. © 2023 Searchlight Pictures All Rights Reserved.

Smart, clever and inventive, POOR THINGS is described by the filmmakers as “the fantastical evolution of Bella Baxter (Emma Stone), a young woman brought back to life from the brink of death by the brilliant, daring scientist Dr. Godwin Baxter (Willem Dafoe).” Based on the novel by the late Scottish author Alasdair Gray, director Lanthimos and scriptwriter Tony McNamara also reference Mary Shelley’s “Frankenstein,” making this off-beat coming-of-age fantasy a kind of “feminist Frankenstein” that is part dark comedy, part adventure thriller and pure smart entertaining fantasy with an uplifting message.

POOR THINGS is a wild science fiction coming-of-age tale set in an alternate Victorian world that is part steam punk and part anachronistic fantasy from the writer/director who gave us THE FAVORITE and THE LOBSTER, Yorgos Lanthimos. It is also a whole lot of fun and an eye-popping visual treat, in which a young innocent meets a villain but it upends melodrama rules by essentially rescuing herself. The film is somewhat in the vein of a coming-of-age sexual romp like “Tom Jones” but flips the script on that male-centric sexual adventure by putting a young woman on that rule-breaking journey, making it a rollicking feminist adventure tale. Some of those adventures are bawdy, as they would be if the lead character were a young man, and the whole tale relishes breaking the rescue-the-maiden rules of melodrama.

Lanthimos and McNamara also collaborated on THE FAVOURITE, and audiences familiar with that fantasy retelling of Queen Anne’s real relationship with her closest friend, and with Lanthimos’s darker THE LOBSTER, know that this director can skillfully balance dark humor with thriller and even horror themes, turning from one to the other on the proverbial dime but without audience whiplash.

Set in a Victorian fantasy world that is part steam punk and part Merchant-Ivory film, Bella Baxter (Emma Stone ) is the creation of brilliant, eccentric scientist Dr. Godwin Baxter (Willem Dafoe). Curious, energetic Bella has the body of a beautiful young woman but the brain of a baby, the result of Dr. Baxter’s experiment to save two lives by reviving a recently-dead body. We watch as Bella quickly grows from precocious as a curious child to an intellectually questing, sexually curious as a young woman eager to learn about the wider world.

Bella longs to explore the world beyond her sheltered home with her protective father-creator Dr. Godwin Baxter, whom she calls “God.” When the inquisitive woman-child also shows sexual curiosity, the doctor arranges for his medical student protege Max McCandless (Ramy Youssef) to become engaged to her. While Bella likes her new fiance, she is tempted by tales of the wider world told by crafty, unethical cad Duncan Wedderburn (Mark Ruffalo), and runs off with the villain.

While Dr. Baxter and Bella’s fiance are in frantic pursuit of the runaways, Ruffalo’s serial exploiter plans to seduce the innocent Bella and then discard her, of course. But Bella herself turns the tables on this familiar plot,” rescuing” her herself in her own way, while embarking on a grand tour combined with intellectual, philosophical and feminist coming-of-age journey.

This old-fashioned melodrama set-up is played for both drama and tongue-in-cheek comedy, with scenes sometimes mixing both serious and humorous. Bella embarks on an adventure that has a strong elements of “Tom Jones,” a continent-spanning journey that is a sexual adventure and intellectual/philosophical exploration, with a definite feminist twist. Who is exploiting who becomes the question.

Emma Stone gives an outstanding performance as the brilliant, irrepressible Bella, perhaps Stone’s career best so far, creating a character who is constantly surprising yet irresistible. Mark Ruffalo is also excellent as the villainous abductor, who more than gets his just desserts. Willem Dafoe’s doctor looks like an experiment gone wrong but turns out to have a heart of gold and Ramy Youssef makes his sweet, loyal assistant more than we expect too. The film is peppered with other memorable characters, with striking performances by Christopher Abbot , Suzy Bemba, Jerrod Carmichael, Kathryn Hunter, Vicki Pepperdine, and Margaret Qualley particularly.

POOR THINGS is a visual banquet, thanks to cinematography by Director of Photography Robbie Ryan, and production designers James Price and Shona Heath, and costume designer Holly Waddington. The colorful, creative costumes signal that we are in a very different world. From the waist up, Bella looks the picture of Victorian modesty, with high collars, ruffles, and puffy shoulders, but below the waist, she is dressed in mini-skirts, shorts, or skirts of gauzy fabric. Everyone else is dressed in proper Victorian attire, yet no one notices Bella’s wild, revealing outfits. The gorgeous sets are all lush Belle Epoque, Beaux-Arts architecture and plush velvet furniture, but with unexpected little visual twists to remind us we are in the realm of the fantastic.

This mix of dark humor, sexual adventure and feminist empowerment means POOR THINGS adds up to a very entertaining, smart movie, with both a brain and a heart, and topped by an uplifting message that will leave you bouncing out of the theater.

POOR THINGS opens Friday, Dec. 22, in theaters.

RATING: 4 out of 4 stars