Tag: Musical

SNOW WHITE (2025) – Review

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

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


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

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

1.5 Out of 4

SNOW WHITE is now playing in theatres everywhere.

MUFASA: THE LION KING – Review

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

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

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

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

2.5 Out of 4

MUFASA: THE LION KING is now playing in theatres everywhere

THE END (2024) – Review

As people gather from different corners of the globe to reunite with their families during this holiday season, here comes a film about a family that’s never apart. That’s because they’re all, or nearly, the people left on the planet. For many that may sound like a horror movie, but this can’t be completely categorized as that (so no, it’s not another zombie takeover). As may be expected it is a fairly heavy drama, but it’s also…a musical. This year has seen many tune-filled tales of different styles. We’ll soon see a couple of “jukebox” biographies with BETTER MAN and A COMPLETE UNKNOWN. And the multiplex is still packed with fans of the Broadway-based WICKED. But this new film is closer in spirit to last month’s EMILIA PEREZ as it tackles an unusual subject to be set to music. After all, would you be bursting into song, let alone dance, as you face the very real prospect that this could be THE END?

The story begins deep underground in caves that seem to be part of a massive salt mine. Old cars and pieces of furniture are covered in white dust. Just past a pair of massive steel doors, we meet the family. Somehow they’ve made a cozy, mansion-style habitat, run by Mother (Tilda Swinton). She spends much of her time making sure the rooms are tidy and finding just the right spot for the paintings that would be in the collections of famed museums. Putting around nearby is Father (Michael Shannon), former CEO of an energy conglomerate. They’re also focused on their only sibling, the twenty-something Son (George MacKay). Aiding them is a small staff that has become members of the extended family. Mother’s longtime Friend (Bronagh Gallagher) is the housekeeper/chef. Butler AKA “Butterball” (Tim McInnerny) also helps with the cleaning while tending to Father. And making sure everyone is healthy is the Doctor (Lennie James). Aside from moving the art, most of the day is spent in preparedness. After some brisk lap swimming in their modest pool, Son must be tested in fire safety drills. That’s when he’s not in target practice, in case any of the survivors on the surface try to break in. We learn that a disastrous climate catastrophe set the globe afire a few decades ago. The monotony is finally broken as they patrol about the entrance and discover a young woman has broached the cave. The unconscious Girl (Moses Ingram) is cleaned and nursed back to health before she is to be returned to the surface. But after they hear her desperate pleas, the family has a change of heart. Maybe they can share their resources from their well-stocked greenhouse and aquariums. Plus the Girl is nearly the same age as the Son. Could they save the world by repopulating the planet? It all depends on whether the family can survive after her recent trauma reopens painful emotional wounds from their past.

The big draw for this quirky film might be its always quirky lead actress. Swinton dives into her considerable bag of acting skills to give us another dithering yet tragic eccentric. Mother desperately wants to hang on to the manners of society by being fixated on tidiness and the ongoing display patterns of the painting in a gallery no one else will ever see. It’s interesting that she’s paired with the often scary Shannon who makes Father a shambling, affable fellow (I see a bit of sitcom icon Ozzie Nelson, but due to his unique hairstyle and glasses I kept seeing my favorite cranky former late-night host). It’s not until Father is emotionally “poked” do we get a sense of his inner rage. Doing that poking is his Son who is editing his memoirs (for …someday), and MacKay displays great affection for both parents, though his wide-eyed expression hint at his surprise at being with the “ghosts of the past”. His joy alternates with his anxiety over being the person to “carry on’. But that exhuburance is re-ignited by the arrival of the Girl, who is given a skittish “lost soul” vibe by Ingram, as she treads lightly to fit in, while trying to process the guilt over leaving her own family. Of the “staff”, Gallagher as Friend gives us another haunted survivor who feels a devotion to Mother while also trying to “right the past” with her maternal bond with Son. McInnerny is a sad-faced subservient who’s also full of regret while trying to amuse the others at the expense of his dignity. And James is a nasty “hard case” who lives to “lash out” as a Doctor with the worst “bedside manner”.


In his first narrative feature film, director and co-writer (with Rasmus Heisterberg) Joshua Oppenheimer strives to give the story a dream-like quality, resembling a modern, really futuristic, fairy tale using tiles rather than names (Mother, Father, etc.). Ultimately this becomes repetitive after the Girl begins to settle and a courtship starts with her and Son. This is also when the musical “novelty’ begins to wear thin. Mind you, I was “gobsmacked” when the Son began warbling in the first five minutes of the film. And aside from sharing a very somber adult subject matter, this film suffers from the same malady as EMILIA PEREZ, namely the melodies. The songs are increasingly forgettable, many sound too similar, and the vocal styling of some of the actors is inconsistent, even grating. But unlike PEREZ, the cherography is mainly the actors jumping around the salt piles though Shannon and McInnerny share a simple soft shoe routine. After much melodramatic “hand-wring”, truths are revealed, and a new tragedy occurs which leads to an abrupt “fast forward” that doesn’t address any of the third-act bombasts. It’s an unusual and creative way to tell a survival story, but its turgid pacing and tepid tunes may have you anxious to see that title card indicating THE END.

2 Out of 4

THE END is now playing in select theatres

MOANA 2 – Review

For most of the country it feels as though Winter is finally settling in (though it’s officially a few weeks away), so why not indulge in a cinematic virtual island getaway for a couple of hours? To make it a tad more enticing it’s also a reunion with some dear movie friends you first met eight years ago. Since that first animated romp, the popularity of the characters and setting seems to be growing, with several reports saying that it was the most streamed feature film during the pandemic “lockdown” way back in 2020. Now, according to some other articles, this movie’s plot was originally developed as a Disney+ series, but can any home entertainment system ever match the big multiplex screens? That’s the only way to cruise the waves and bask in the sun with that plucky princess (in the film she denies that, but her bud and many others disagree) of the seas in MOANA 2.

When we catch up with that “Wayfinder” Moana (voice of Auli’i Cravalho) is exploring a tiny island of Oceania, looking for clues to other island natives. Surprisingly her pet rooster Heihei (Alan Tudyk) stumbles into a bit of pottery with an image etched on its surface. They rush back to Motunui Island where Moana’s papa chief Tui (Temera Morrison) explains that this is a relic of the lost island of Motufetu, which their ancestor Tautai Vasa tried to locate in order to unite all the people of the far-flung islands of Oceania. Moana decides to take on this quest, but she’s not going alone, though her pig and rooster will be at her side. She’ll need a bigger vessel and a crew: brainy designer Loto (Rose Matafeo), brawny demi-god “fanboy” Moni (Hualalai Chung), and grumpy elderly farmer Kele (David Fane). Moana’s confident, though she hopes that they’ll get a hand from her old pal, the shape-shifting demigod Maui (Dwayne Johnson). Ah, but he’s been captured by the angry god Nalo along with his prisoner/aide the “bat lady” Matangi (Awhimai Fraser). After a raucous encounter with the small but fierce “coconut warriors” of a floating island/ship, Moana and her friends are swallowed by a giant clam, which also holds Maui. He joins their mission since he must raise the sunken island of Motufetu from the sea floor in order for the human crew to embark and facilitate the uniting of the many different island natives. But can they thwart the efforts of the angry Nalo, who hates people and wants to destroy another such gathering?

You’d never think that eight years have passed since the talented vocal ensemble jumps right back into their roles as if only a day or two has passed. And Cravalho is still a powerhouse singer bringing an energetic optimistic spirit to the title character. Sure, Moana can feel down but she’s soon back at the ship’s helm. Of course, she’s still an excellent teammate with the bombastic Johnson who imbues Maui with a charming swagger as we can hear his growing affection for the “humans”, though he’s a tad “creeped” by “super-fan” Moni, who is given an endearing goofy sweetness by Chung. But nobody is as sweet, or just darned adorable, as the film’s new addition, Khaleesi Lambert-Tsuda as Moana’s precious kid sister Simea, who just makes your heart ache as she tries to get sis’ to stay home. On the other end of the spectrum, Fane is also compelling, and very funny, as the often sour, but semi-sweet Kele. Another “newbie” is Fraser who gives Matangi a sultry slinky vocal “vamp”. It’s a nice counterpart to the warm, nurturing tone of Rachel House as Tula, Moan’s ghostly (really a manta ray spirit) grandmother.

As I hinted earlier, this sequel is, like its predecessor, a feast for the eyes with its perfect ocean waves and smooth sand buffeted by lush green foliage. It is dazzling, much like the character designs, I’m still a fan of the stocky Maui who somehow has a real graceful lilt to his movements. The real “kicker” for him is the terrific line animation that brings his tattoos to life, thanks to Disney drawing titan Eric Goldberg and his “mini-Maui” crew. But the animation “acting” and body language of all the principals is “top-notch” particularly as Moana and her team are flung around the ship’s bow via the sail and ropes. Most impressive as this is the first feature for the Vancouver branch of Walt Disney Animation, which made the slick transition from the TV series. Surprisingly, the movie doesn’t feel like it was “stitched” from several episodes, although I could imagine a half-hour focused on those tough lil’ coconut critters (tailor-made for shelves and work cubicles). So, it looks great, but there’s little of the emotional “heft” of that first flick, though it suffers like many follow-ups as there’s no “discovery’ as we meet these new characters and backdrops. Plus, none of the new tunes are “grabbers’ with Maui’s solo (as forgettable as the other songs) here falling short of the bouncy “You’re Welcome”. Fans of the 2016 original will enjoy diving back into that world, but those looking for a story just as engaging may have their expectations become “water-logged” after the drawn-out climax of MOANA 2.

3 Out of 4

MOANA 2 is now playing in theatres everywhere

EMILIA PEREZ – Review

All through cinema’s history we’ve seen countless stories of characters who want to “start over” and “reinvent themselves”. Often they’re wanting to atone for past behaviors (as in the recent GOODRICH or WILD HEART), while others make a radical change in appearance (way back to NOW VOYAGER). This weekend’s “buzzy” new Netflix release encompasses both in an unorthodox way, since it’s a “full out” musical, and proves to be quite a showcase for the superb talents involved. It’s also a “message” movie, a domestic drama, and a nail-biting crime thriller. The latter is the starting point as this tune-filled fable focuses on a ruthless drug kingpin (accent on the king) who yearns to become the “queen” named EMILIA PEREZ.


But first we encounter another woman. Rita Moro Castro (Zoe Saldana) is a frustrated lawyer in Mexico City where the bigoted hierarchy of her firm have put her “on the bench”, writing speeches to the jury delivered by an ill-prepared, male co-worker trying to get acquittals for guilty lowlife clients. Then things radically change when she gets a phone call from someone powerful who wishes to pay her very well for her services. A clandestine “meet on the street” takes a scary turn when somebody covers her head with a hood and pushes her into a dark SVU. She meets her employer, the notorious head of the big national drug cartel, Juan “Manitas” Del Monte, who doesn’t want Rita’s legal skills, but rather needs her to do the “legwork’ to find the best doctors (not in Mexico or the US) that can transition him into a woman. After the search concludes (and secret overseas accounts for Rita are in place). Castro joins the Del Monte clan for a secret “farewell party”. There she meets Mrs. Del Monte, Jessi (Selena Gomez), who doesn’t know of her husband’s wishes. Rather, Rita tells her that she and her two young sons must relocate to Switzerland as Manitas stays behind to broker a deadly cartel war. While the family and Rita head to the Alps, the surgeries begin in Israel for Manitas. Several years pass, and Rita is now living and working in London. A statuesque Spanish-speaking woman approaches her at a dinner party. She introduces herself as Emilia Perez (Karla Sofia Gascon), then whispers to Rita that she has a new job for her. It is the former Manitas. She wants Rita to bring Jessi and her sons back from Europe to live in her Mexico City mansion where Emilia will pose as the aunt of Manitas. The “reunion” happens, and all seems to go well as Jessi buys into the “family connection” (including the faked demise of Manitas). But then she reaches out to a former flame, the dangerous Gustavo (Edgar Ramirez), while Emilia starts a charity which leads to a romance with an abused widow named Epifania (Adriana Paz). Can Emilia maintain her new life and leave her old brutal criminal past behind her? And can Rita avoid being caught up in the impending “clash”?

Although she’s not in the title role, Ms. Saldana absolutely steals the film as the “by the book” lawyer who is swayed (by loads a’ cash) into the underworld. She expertly conveys the full range of Rita’s emotions, whether ethically conflicted, frustrated (as a cloddish male co-worker mangles her words), or terrified . I’m referring to her first “meeting” of Emilia as she believes that she’s a “loose end” to be severed. Ah, but we get the full range of her talents as Saldana displays a rubbery, fierce grace in the musical numbers, especially with one set at a charity ball, using the rich patrons as props. Truly an performance worthy of many awards. I was not aware of the career of Ms. Gascon, so I was delightfully surprised at her work, starting as the sinister Manitas growling threats while pleading for help, but then showing a tender side with his two sons. Much of that quality is there as the maternal Perez, who wants to heal her homeland while exploring a new type of romance with the sympathetic Paz as Epifania. More recently honing her comedic chops as part of the trio in “Only Murders in the Building”, Gomez returns to her musical roots and delves into some heavy dramatics as the often bewildered Jessi. She gets a couple of engaging dance numbers, but she’s at her best as she rebels against the smothering Perez to pursue a steamy romance with Ramirez as the macho manipulative Gustavo.

This unique cinema experience comes from veteran director Jacques Audiard whose screenplay adapts his opera libretto, which sprung from the novel Ecoute by Boris Razon. Audiard works in a dark gritty color palette, particularly on the mean dangerous streets of Mexico City (Rita is engulfed by the darkness). There’s a lighter look in the blissful confines of the Perez home, which switches with the desert hellscape of the missing murdered. The background dissolves away for the musical numbers, though these aren’t glossy MGM-inspired Technicolor fantasies. Especially powerful is a haunting ballad about the “lost souls” sung by floating heads of the families and friends against a dismal black limbo. But he does indulge in a bit of movie “camp” as Rita gets a tour of a sparkling “surgery spa” in Thailand. Big kudos to the musical talents of songwriter Camile, the score of Clement Ducol, and the choreography by Damien Jalet. This word be a compelling story if it just focused on the gender “transition”, but the powerful look at the real-life kidnapping epidemic, and the parental conflicts make this an outstanding and important artistic statement. There are lots of secrets and compassion in the the life and legend of EMILIA PEREZ.

3.5 Out of 4

EMILIA PEREZ is now playing in select theatres

WISH – Review

So most of the big animation studios have sent us their big 2023 features already. Last weekend Dreamworks sent out those music-lovin’ TROLLS into the multiplex, while Sony “kicked off” the flood of flicks early this Summer with another trek across the Spider-Verse, followed quickly by the fine folks at Pixar with their ELEMENTAL. Yes, they’re still a Disney “brand”, but what about the big “kahuna, the “Mouse House” themselves? Though they suffered from a major stumble with STRANGE WORLD last Winter, they’re bouncing back in a big way. After all, it’s the official 100th anniversary, so this is a return and in many ways a tribute to, the fantasy themes that were such a big part of those original full-length films. Thinking about it that way, the title makes a whole lotta’ sense because the plot of many of them centered around a WISH.

In a knowing nod to those classics, this film begins with a massive book of fairy tales. It opens up to tell us the history of the Mediterranean island named Rosas founded by Queen Amaya (voice of Angelique Cabral) and King Magnifico (Chris Pine). He uses his knowledge of magic and sorcery to collect the wishes of his citizens on their 18th birthday, with the promise that he’ll make one of them come true at an annual ceremony. A year away from her special day, young Asha (Ariana DeBose) is excited to audition to become Magnifico’s apprentice. Her widowed mother Sakina (Natasha Rockwell) is excited as are her friends who work at the royal bakery center. But the most thrilled may be Asha’s now 100-year-old grandfather Sabino (Victor Garber) who hopes that his wish will be granted. But things don’t do well at the interview with Magnifico, as Asha learns Magnifico’s sinister secret. He doesn’t return ungranted wishes so that they are not remembered by his subjects, who can now be in his complete control. Naturally, Asha isn’t picked and tries to tell her family about the plot (they don’t think their king is capable of that). And so, Asha proclaims her wish to the sparkling night sky…and gets an answer. An apple-sized glowing star-shaped orb glides down to her. Asha is unbelieving until it sprinkles stardust on her pet goat Valentino (Alan Tudyk) giving him the “gift of gab”. Aha, can this “star” aid Asha in retrieving Sabino’s wish from the castle? But what happens when Magnifico learns of this rival and decides to unleash his dark magic? If so, can there be a “happily ever after” for Rosas?

This newest animated musical fable soars due to the expert vocal talents behind the original characters. Aside from the occasional televised awards show, talented Oscar-winner DeBose hasn’t gotten a chance to truly showcase her impressive singing “chops” until her work here as the story’s plucky-spirited heroine, Asha. She has a warm rapport with the supporting players, especially Garber as sweet Sabino, then really “blows the roof off” with her powerful rendition of the “power ballads” (combining an intro song with the “I want” anthem is very inspiring). She’s nearly matched by an actor we’ve known mostly for essaying action heroes and heartthrobs. Eschewing any sense of nobility, Pine sounds like he’s having a blast as the vain, arrogant, power-hungry Magnifico with his sneer echoing through his terrific crooning (he’s not let his pipes “rust” so long after INTO THE WOODS) of “evil scheme declarations”, making “This is the Thanks I Get” a real showstopper. Much of the laughs are provided by Disney Animation regular (much like John Ratzenberger at Pixar, he’s a “good luck charm”) Tudyk as the new very verbose Valentino, the baby goat whose voice is not cutesy, but a great satire of the theatre classical “overacting” (okay, the goat’s more of a ham). the rest of the supporting players are top-notch with the standout being Harvey Guillen as the most dour of the seven castle bakers (hmm, why that number).

Aside from the vocal cast, the biggest ‘star” (aside from the mute glowing pixie) is the nostalgic look of the whole film. The art evokes classic illustrations from adored children’s literature, especially with the pastel hues of the settings of Rosas, mainly the castle of the royales. This seamlessly extends to the looks of the characters, with the pixels (this is CGI rather than the classic 2D pencil-drawn) having the feel of gauche, dyes, and specifically watercolor, with outlines that appear to be crisp thin brushstrokes or colored pencil (even to Asha’s many freckles). Kudos to the directing team of veteran Chris Buck and feature “newbie” Fawn Veerasunthorn for curating this look for the dozens of artisans and for pacing the story briskly with splendid ‘staging” of the songs. They’re quite pleasant and “hummable”, though there are no “breakouts” like “Let it Go” or “We Don’t Talk About Bruno”. Of course, they couldn’t “sell” the tunes without the deft animation “acting” crafted from the main humans to the engaging forest critters. This is a return to “form” that benefits from the many “callbacks” to the classic “vault treasures”, from the opening title’s use of the original decorative font to the “winks” throughout, to the lovely ”starlight-outline”roster over the end credits. For those in need of a bit of that Disney “stardust magic”, this new feature may have you feeling as though they granted your WISH.

3.5 Out of 4

WISH is now playing in theatres everywhere

BARBIE – Review

And now the topper to one of this movie year’s biggest trends. Sure, we’ve had comic book superheroes, action tentpoles, and even a couple of flicks based on TV shows. But who knew that 2023’s box office would be “turbo-charged” by “toy stories”. No, I’m not speaking of Woody and Buzz. No, we started the year with a horror hit based on a phony toy that’s not named Chuckie, M3GAN. Then came the true story “spy-like” thriller about the creation of the video game TETRIS (I consider it a toy, so nyah). the stakes were raised considerably by another pixel powerhouse, THE SUPER MARIO BROTHERS MOVIE, followed by a new Transformers entry (also in that “action tentpole” category). And now, at last, “the queen” has arrived. Yes, the perennial princess of the toy department shelves comes to the big screen (after a slew of “straight-to-video” releases and a few TV shows), and she looks fabulous at age 64 (cue the Beatles ditty). Of course, she’s “pretty in pink”. (Imagine Ed McMahon or Nicholson in THE SHINING) Herrre’s BARBIE!

After a terrific nod to a cinema classic via a prologue narrated by Helen Mirren (you may have caught it in an early teaser), we’re whisked away to the wondrous realm of “Barbieland”. In the prettiest of the pink houses lives “stereotypical” Barbie (Margot Robbie), who is just beginning her day. After floating into her convertible, she cruises through the town to wave good morning to the other Barbies, even President Barbie (Issa Rae). Oh, and she’s greeted by the “spin-off” toys, Skipper, Midge, and the awkward Allan (Michael Cera). Finally, we’re at the beach for a visit from the adoring but dim Ken (Ryan Gosling), who’s thrilled to see Barbie but furious at his rival, another Ken (Simu Lui), along with assorted other Kens. But he still gets an invite to Barbie’s big nighttime “rager”. But the singing and dancing are nearly derailed when Barbie warbles a lyric questioning her mortality. This “glitch” continues into the next day, when Barbie endures several odd occurrences like “morning bad breathe” and, to everyone’s disgust, “flat feet” when she steps out of her stylish high heels. Confiding in her Barbie BFFs, they implore her to seek help from “weird” Barbie (Kate McKinnon). Her prognosis: Barbie’s “human” handler isn’t “playing” with her “correctly”. And so Barbie must venture into the “real world” and find her. The trip gets ‘trippier” when Ken “stows away” in her car. The duo is in for a wild journey as they deal with a woman named Gloria (America Ferrera) who works at the doll HQ Mattel. She’s a dream compared to her snarky pre-teen daughter Sasha (Ariana Greenblatt) and the excitable CEO (Will Ferrell). But all this pales to the radical “rewiring” of Ken himself, a personality change that threatens all the denizen dolls of Barbieland.

Could there be a more perfect casting choice than Robbie in the title role? Ten years ago she almost set movie screens afire as the “trophy wife” in THE WOLF OF WALL STREET, but she was intent on being more than “eye candy”. Robbie has forged an impressive movie resume, carefully juggling dramatic and comedic roles. In this story, she really gets to showcase those skills. Sure Barbie is bubbly and perky, but we see her confusion as the dark thoughts seem to engulf her. Robbie expresses that panic as she is overwhelmed by the chaos of the “real world”. She’s more than up to the challenge, bouncing from zany comedy to getting her first pangs of heartache. Perfectly balancing her pathos is the inspired comic performance of Gosling. He’s grabbed laughs before in CRAZY STUPID LOVE and LA LA LAND, but here he totally gives himself over to the buffoonish antics of the ultimate “himbo”, Ken. Yet, for all his goofy behavior, there’s a child-like charm to him. Gosling somehow holds on to that even after Ken has a much different reaction to “reality”.Speaking of that “setting”, Ferrera as Gloria is the story’s real dramatic “anchor” as the adult “human” who still has a sense of wonder about Barbie, but is hardened to the ways of society, highlighted in her rousing monologue about what the world expects of her gender (a riveting “throw down the gauntlet” moment). Greenblatt as her daughter Sasha makes her more than a cliched surly movie teen. Sure she’s wanting to “spread her wings”, but we see how Sasha still yearns to be on an adventure with Mom, even beginning to admire and respect her. The film also benefits from the supporting work of several comic vets. Ferrell is still a manic “man-child” as the exec, but he never “takes over” the tale with shrill slapstick and makes his character more than the “suit villain”. McKinnon makes great use of her loopy, off-kilter persona as the Barbie “who’s been played too much”, giving her a zany “sing-song” line delivery and using a near-marionette ‘floppy” body language and movement (almost like a certain scarecrow). Cera also has lots of fun with his nerdy screen image earning chuckles every time he’s awkwardly waving at the “first string toys”. I won’t spoil the identity of her role, but it’s terrific to see Rhea Perlman as a warm, nurturing mystery woman.

Huzzaah to director Greta Gerwig for delivering an impressive solo directing hat trick, building on her terrific work on LADY BIRD and LITTLE WOMEN to give us this intelligent fantasy farce that’s also a keen social satire. I must mention that she also co-wrote this with Noah Baumbach (a fabulous filmmaker himself and her spouse). Bravo for addressing the many criticisms and controversies swirling around the iconic toy over the last few decades, using them to lay out a clear message of female empowerment, while never lecturing. Rather than having Barbie and her pals dashing around and evading the “people” ala the TOY STORY flicks, they venture among with almost no secrecy, making the story a “switcheroo” on THE WIZARD OF OZ with a pinch of SPLASH. Plus it really has fun with the history of the toy franchise as we meet characters who never really “caught on” while making playful jabs at the “product powerhouse”. Oh, did I mention the eye-popping visual treats, some that come close to the spider-verses? Barbie’s “suburban subdivision” recalls so many of the “big box” playsets with her closet resembling a full-scale “fashion accessory” flat box. Yes, the fashions are great ‘call-backs” to the classic looks, especially that black and white striped one-piece swimsuit in the opening prologue. The pace is breezy and bouncy thanks to a wonderful soundtrack of pop standards and hilarious original tunes. Now some of the themes and subplots may go over the heads of the youngest viewers, but those with memories of lazy afternoons creating adventures for the characters will really get a real nostalgic euphoria along with subtle societal parody. Really this is a great time at the movies, perfect for the Summer. And to paraphrase the old ad line from Mattel, BARBIE…it’s swell!!

3.5 Out of 4

BARBIE is playing in theatres everywhere

THE LITTLE MERMAID (2023) – Review

As I mentioned last week, nostalgia appears to be playing a big role in this just-started cinema Summer season. The remake of that 1990s buddy comedy may just be the tip of the iceberg (a fixture of the, umm, sea). For this holiday weekend’s big, really big as Ed Sullivan would say, movie release, go back just two or three more years to 1989. That year may be best known for the BATMAN box office blockbuster, but it’s also a watershed (oops, sorry) moment for feature Animation, particularly at the “Mouse House”. Disney feature animation was just beginning to snap out of a creative stupor as the modest successes of THE GREAT MOUSE DETECTIVE and OLIVER & COMPANY began to offset the losses of the fantasy debacle THE BLACK CAULDRON. This is all covered in the superb documentary feature WAKING SLEEPING BEAUTY. And then two Broadway “whiz-kids,” thought that the company should return to classic fairy tales with a Tony-worthy musical score. To say it made a big (sorry, again) splash would be an understatement. And since Disney began remaking their classic cartoon epics, it was just a matter of time before we dove under the waves for a new spin on THE LITTLE MERMAID. Grab your noseplugs and jump in…

The first image we see is of the ocean along with a quote from the tale’s creator, Hans Christian Anderson. From there the camera pans up to the trading vessel captained by the dashing Prince Eric (Jonah Hauer-King). While he deals with rough waves we are sent far below the commotion to witness a meeting of “merpeople”, the royal daughters and their father King Triton (Javier Bardem). They’re preparing for the Coral Moon” celebration, but one member of the family is missing. Ariel (Halie Bailey) and her fish friend Flounder (voice of Jacob Tremblay) are exploring a sunken ship and evading a hungry shark. Meanwhile, Triton sends his royal aide, a crab named Sebastian (voice of Daveed Diggs) to retrieve her. Naturally, their reunion erupts into a familiar squabble about the “surface people”. Afterward, during a rousing musical number, Flounder tells her of Eric’s ship, which encounters a storm. The prince is knocked out and falls into the depths only to be rescued by Ariel. She brings him to the shore and swims away just as he starts to awaken (her image is fuzzy to him). Later Sebsatian accidentally spills the beans and a furious Triton lambasts Ariels and destroys her cove full of “gadgets and gizmos a’ plenty”, those prized “found” human trinkets. The heartbroken Ariel is accosted by two moray eels, Flotsam and Jetsom, who take her to their mistress, the sea witch, and Triton’s envious sister, Ursula (Melissa McCarthy). She hatches a scheme to exact revenge on big brother by offering Ariel a chance to be human for three days in order to be with Eric and receive “true love’s kiss”. Ah, but she must be mute. Can this earn her a fairy tale happy ending or does the tentacled sorceress have a few tricks (new and old) to torpedo the burgeoning romance?

After the whirlpool (sorry again) surrounding her casting and the first released in-character images, I’m happy to agree that Bailey is a delightfully engaging Ariel. She literally hits all the right notes, aside from her superb vocal renditions of the beloved score, as she balances a child-like innocence and curiosity with a yearning, a true longing to expand her horizons and to act on her first sparks of romance. Under the sea or on the shore, she’s splendid. Bailey even Holds the screen alongside the powerhouse work of McCarthy, funny, ferocious, and, well, Divine (wink, nudge) as the slithering enchantress. Somehow she’s snooty, sneering, and vain, particularly in the “laugh-out-loud” moment when she’s called a witch…to her face! As her brother, Bardem is brusk and imposing, though we see that Ariel is his “special spawn”, who can make him regret his intimating bluster and bellowing. The object of Ariel’s feverish desires, Hauer-King as Prince Eric is a swashbuckling “dream guy”, who is slowly charmed by his mute mystery woman. On the vocal front, Diggs delivers the tunes with a bouncing, subtle island lilt, Tremblay conveys all the anxieties and humor of a pre-teen fish, and Awkwafina is a hoarse-throated hoot as the confidently clueless Scuttle. Back in live-action roles, Noma Dumezweni is regally warm and nurturing as the Queen, Art Malik is stuffy and befuddled, though understanding as her advisor Grimsby, and Jessica Alexander is the sultry and sinister Vanessa, who’s a big “roadblock” in the road to “happily ever after”.

Back in the director’s chair, after a five-year-hiatus (rather than a remake he made the follow-up to another Disney classic, MARY POPPINS RETURNS) is the man from CHICAGO, Rob Marshall. He keeps the pace zipping along, though the runtime is nearly an hour longer than the 1989 original. And there’s the big controversy about this as with the glut of recent “live revamps’ of the Disney “treasures”. It’s pointless to go on a tirade against these “marketing masterplans”. Yes, they’re all unneeded and the effort would be better spent on original ideas and concepts, but the titles have “name recognition’ and execs hope this could lead to another “cinematic universe”, like Marvel. So, case closed, they exist and the discussion should be about their quality and merits. Going from the excellent retelling of CINDERELLA and THE JUNGLE BOOK (though Favreau fumbled with THE LION KING) to the tepid DUMBO (there’s a true miss-match with Tim Burton) and PETER PAN AND WENDY, this would rest comfortably in the upper third. The locales and backdrops (that ocean is dazzling blue) are eye-catching, the CGI is seamless, though the more realistic renditions of Sebastian and Flounder take away some of the tales’s charm, and the songs are still superb (the other doc to watch is HOWARD all about the original much-missed lyricist). I was dismayed that two tunes were cut in order to bring a couple of songs (so they can nab a Best Song Oscar nom) that teamed Allan Menken with Lin-Manuel Miranda, as the prince gets his own “I want” ballad and Scuttle gets a riskay rap, really. Dave Magee’s new script adaptation tries to address some of the “concerns” of the original (Ariel now can’t remember that she needs a kiss from Eric), but some of the plot shufflings seem awkward. So though the tinkering can be frustrating for the long-time admirers, little ones new to the fable should be engaged (but that attacking shark may be a bit much for some), since those marvelous melodies and compelling performances prove that with this take on THE LITTLE MERMAID, “what more is you lookin’ for”?


3 Out of 4


THE LITTLE MERMAID is now playing in theatres everywhere

WHITNEY HOUSTON: I WANNA DANCE WITH SOMEBODY – Review

Naomi Ackie in TRISTAR pictures I WANNA DANCE WITH SOMEBODY

With a little over a week left in 2022, it looks like the cinematic musical “biopic” of the year will be ELVIS, so who’s next…oh, wait, we’ve got another one sneaking in just under the wire. And it turns out that this singer (according to many music charts and lists) had more hits than the King or the “Fab Four”. And all after “E” had “left the building”, er…planet. Aside from success, she certainly had enough drama in her short life for a feature film (actually she was the focus of a cable TV flick and a supporting player in three others). So after the gifts are unwrapped you may want to head to the multiplex for an eye and ear-full of WHITNEY HOUSTON: I WANNA DANCE WITH SOMEBODY.


Naturally, the story begins on the concert stage, as the musicians and backup singers await the “main attraction”. Ah, but then we’re taken back almost thirty years to a Newark church where the congregation is wowed by the singing teen dynamo, Whitney Houston (Naomi Acki). Everyone’s stunned, except her mom, professional songbird Cissy (Tamara Tunie). After the church empties she tries to get her daughter to learn the music before doing all the “flourishes”. Oh, but little “Nippy” (the family nickname) has her own inner tutor. It seems that performing is a release from the heated arguments between mom and daddy John (Clarke Peters) at home. Another distraction is her friendship with college basketball star Robyn Armstrong (Nafessa Williams), which develops into a secret romance. Word of the young singer gets out, and when Arista Records mogul Clive Davis (Stanley Tucci) drops by the club where Cissy performs, she feigns laryngitis, so that Whitney (who was her backup singer) takes the stage and “blows the roof off the joint” with “The Greatest Love”. He signs her to his label, with John acting as her manager, who squelches the romance between Nippy and Robyn (“You will be seen dating boys!”), though Robyn stays on as an “assistant”. The hits keep coming, along with awards, sold-out concerts, and some controversy over whether she’s not “black enough”. As fame takes its toil, the booze and drugs enter into Whitney’s life, as does R&B “bad boy” singer Bobby Brown (Ashton Sanders). Financial problems coming from John’s indulgencies also take their toll on Whitney coupled with Bobby’s infidelities put the “pop princess” on a dark path, yet somehow “the voice of her generation” struggles to survive.

Although she bears little resemblance to the title role, Acki does a terrific job of capturing the spirit of the superstar. Her bright beaming smile conveys the joy of performance, along with the giddy delight in going for “the brass ring”. But Ackie goes beyond the gold records to show us Whitney’s “rough edges”. She’s prickly and confrontational as a reporter harps on the “blackness” question which is reflected later as friends try to curb her new appetites, while she insists that her addiction is under control and needs the boost to get through her hectic days. And Ackie not only can “lipsync” superbly but her gestures and movement really “sell” her transformation. The warm rapport with Tucci as the mellow Yiddish “fairy godfather” Davis really works, giving us a look into the nurturing mentor/student friendship that goes beyond show biz. Plus Tucci is very funny, with his casual asides and observations which makes his pleas to her to “get clean” even more heartbreaking. Sanders is all sinister swagger as the aloof, controlling Bobby. Williams is powerful as the ex-lover pushed aside for fame, yet still watching from the sidelines. Peters is brittle and domineering as the tight-fisted papa John, while Tunie is also tough, but still tender as the concerned coach who will step aside to let her talented offspring shine for the world to see, and hear.

Director Kasi Lemmons delivers a more honest look at Houston’s turbulent life than the adoring marketing campaign is selling to moviegoers. The tabloid “gay” stories from Whitney’s early days are addressed early in the first act, with a look into the rumored affair with Armstrong that may surprise and shock some fans, though it is tastefully handled. Yes, there are too many scenes of people, from Clive to a hotel bartender, lavishing praise on Whitney, but the film’s not a gushing “fan letter”. There are just as many sequences of her making questionable choices, from putting dad in charge, pursuing Bobby, and retreating into denial over her health. So, it’s the often repeated show-biz bio of a sweet talent becoming hardened as she goes from “rags to riches” then back to rags (this is brought home as Whitney preps for her first film role by watching LOVE ME OR LEAVE ME). And Lemmons finds a clever way to use real folks by only showing them in monitors, from Merv Griffin to Kevin Costner to Oprah *with lookalikes whose faces are blocked in long shots). Also, she ends the film with Whitney’s last big stage triumph, much as was done with ELVIS, BOHEMIAN RHAPSODY, and further back to THE BUDDY HOLLY STORY. Still, it seems to shortchange the “rough times” and doesn’t go into Whitney’s mindset, opting for several quick montages of magazine covers and tabloid headlines. But these will be a minor quibble for her still growing legion of followers that will gladly dive into the nostalgic tributr that is WHITNEY HOUSTON: I WANNA DANCE WITH SOMEBODY.

2.5 Out of 4

WHITNEY HOUSTON: I WANNA DANCE WITH SOMEBODY is now playing in theatres everywhere

DISENCHANTED – Review

With a few more weeks in the holiday season, you just know that this weekend’s new take on Pinocchio wouldn’t be the only family-aimed musical family feature based on a fairy tale. Well, “kind of” as this new film is a sequel to an unexpected hit from fifteen years ago that was “inspired” by those lush film fables with hummable tunes that Disney specialized in. In many ways, it was a parody of them, which is ironic since the “mouse house” produced it. Now many fans of that flick may wonder about those 2007 characters. Could they possibly change and become DISENCHANTED?


This follow-up actually begins in the fully-animated magical world of Andalasia, where the chipmunk Pip (voice of Griffin Newman) reads his twin boys a bedtime story, which, conveniently for “newbies” is a recap of the original film. But the lads implore their pop to tell them just what happens after “happily ever after”. Jump ahead ten years. Of course, human Giselle (Amy Adams) has wed her “prince”, lawyer Robert (Patrick Dempsey). After she gives birth to their daughter Sophia, the NYC apartment feels a bit cramped with them along with their now-teenaged daughter Morgan (Gabriella Baldacchino). The best plan is a new home out of the city and into the new suburban community of Monroeville, much to the annoyance of Morgan. They arrive at the still-in-progress two-story house and soon see a golden glow emanating from the backyard “wishing well”. Suddenly the glow fades to reveal old friends Prince Edward (James Marsden) and his bride Nancy (Idina Menzel). And they brought a fabulous housewarming present, a small chest containing a “wishing wand”. After they depart, Giselle accompanies Morgan to her first day of high school. There they meet the town’s unofficial “queen”, the imposing Malvina (Maya Rudolph), and her two helpers, Rosaleen (Yvette Nicole Brown) and Ruby (Jayma May). Giselle’s efforts to help Morgan be popular at school prove disastrous, prompting her to take the train back to the city, and call her a “wicked stepmother”. The upset former princess decides to use that wand, wishing for a “fairy tale life”. Then Monroeville magically transforms into the medieval kingdom of Morolasia under the rule of its actual queen Malvina. Robert’s a dashing knight in search of challenges, while Morgan is a sweet Cinderella-type bubbly lass. All’s well it seems until Giselle begins acting on sudden nasty awful impulses. Could she be turning into a real wicked stepmother? Can this spell be broken, even after Malvina and her pals snatch the wand?

Despite the passing of fifteen years (kinda’ confusing that it’s just ten in the story), Adams’ cheery smile lights up the screen, projecting a sunny optimism that’s oblivious to those around her. But here we get the flip side of Giselle as Adams relishes going “dark” and tossing off insults with a mischievous grin. Oh, and she can still belt out a show-stoppin’ song. Dempsy also plays with his role as Robert as he indulges his slapstick side as a klutzy swashbuckler, though he can kick up his heels, er..boots, during a big number. Baldacchino is a new addition (Rachel Duff from the first flick has “aged out”, though she still scores a brief cameo) believable as the sullen surly teen and bouncy and bubbly when “happied-up” by the wand. Also enjoying a walk on the wild, wicked side is Rudolph (though we never see the “nice” side) who’s a “lifestyle” diva in the real world, and a conniving demoness as a true fantasy villainess, even dancing about as she conjures and plots, and treats us to her song stylings. Of course, there’s no match vocally for the superb Menzel whose role is much smaller this time but gets to treat us to her perfect “pipes’ with a couple of melodies. Plus she makes a great duo with the energetic and goofy Marsden as the sweet but daft prince. Speaking of pairs, Brown and Mays are terrific as the toading, bickering hench…women. Oh, and there are a couple of wonderful comic actors in brief roles. Oscar Nunez is a simpering, fawning barista and a magic mirror, while Alan Tudyk is a loopy delight as a talking magic scroll.

All those actors, new and old, seem to be relishing their roles, the sets are eye-popping along with the costumes, and the songs from Stephen Schwartz and Alan Menkin are hummable and pleasant. But something feels just off. Perhaps it’s missing some of that 2007 magic. Maybe the concept feels a bit..worn. Aha, maybe it’s the loss of a major character, the Big Apple itself. Giselle’s “fish out of water” bumping up against New Yorkers that have no patience for fantasy created a great backdrop for romance and comedy. The “wickining” of her this time out gives this film a nice twist, but we’re waiting for her to “snap out of it”. And Monroeville or Monrolasia is no match for NYC, as its modern version feels out of any teen high school story. New director Adam Shankman (taking over from Kevin Lima) really excels with the big musical numbers and the slapstick sequences, but the mother/daughter clashes just feel flat. And the lack of real interplay between reality and the classic 2-D style animation is very missed here. Hardcore fans of the first flick may enjoy an update on the characters, but those looking for some of the former’s fun and frolics, may (after multiple endings) feel more than a bit DISENCHANTED.


2 Out of 4

DISENCHANTED is now streaming exclusively on Disney+