Tag: paramount pictures

BILLIE EILISH: HIT ME HARD AND SOFT- THE TOUR LIVE IN 3D – Review

Hey, is this a movie website or a music website? The confusion is understandable considering the many music-based films that have already opened in 2026 (and we’re not at the halfway mark). I’ve reviewed two of them in the last couple of weeks, with the box office dynamics of the biopic MICHAEL and last week’s “shaggy dog” documentary PRETTY UGLY: THE STORY OF THE LUNACHICKS (worth a stream). And going all the way back to February, there was “the King” in EPiC (thank ya’ very much). I suppose this new film is a bit more of the latter, as it’s a “fly-on-the-wall” portrait of a music superstar and her “arena sell-out” tour. Specifically, it’s one stop on said tour. Oh, and it’s crafted (credited as co-director) by a man better known for SF/fantasy epics in glorious, eye-popping 3D. And this is shot in the same format, which closely approximates the experience of BILLIE EILISH: HIT ME HARD AND HIT ME SOFT-THE TOUR LIVE IN 3D. Sure, you’ll have to wear those glasses, but the concession prices are a lot less “pricey”!


The last big worldwide tour for this twenty-something singing sensation (she’s half an “EGOT” already) occurred over the last two years or so. The opening number puts us right into the enthusiastic audience (well over 70, 000) in Manchester, England, during two nights in July 2025 at the Co-Op Live venue. After “wowing” them with “Chihiro”, the film “backtracks” a few minutes to show how she snuck onto the giant floating LED-sparkly cube. Well, that can be “retired”. After another number, the “doc-clock” takes us to the hotel room of Ms. Eilish around breakfast time for a brief interview with her collaborator/co-director, James Cameron (yes, Mr. TITANIC and AVATAR). The film goes back and forth between the concert performances (with only a four-member band and a pair of backup singers), and the preparation details (sound and tech “checks”, backstage meetings, and some “dog time” with several local “rescues”). For those “newbies” (guess I’m one), we’re treated to some archival clips of Eilish playing at smaller venues (hard to believe she’s been at it for ten years), often next to another collaborator, her talented brother Finneas. Making this tour extra special, and perhaps a bit more daunting, is that she’ll be “out there” without the support of her “big bro”. But there’s seemingly no anxiety as the “petite powerhouse” has the ecstatic and extremely vocal fans in the palm of her gloved hand.

Now, I can’t claim that Eilish was an “unknown” to me before this new film. Of course, I heard her Oscar-winning songs from the last James Bond flick and BARBIE. However, I also streamed two previous movies (perhaps more like extended music videos) a few years ago, BILLIE EILISH: THE WORLD’S A LITTLE BLURRY and HAPPIER THAN EVER: A LOVE LETTER TO LOS ANGELES (which features several delightful animated sequences, so it was natural fit for Disney+), because I find her vocal styling relaxing and I was impressed with her comedic skills on SNL (she “held her own” with the great Kate McKinnon). It turns out that I had never seen her as a superb entertainer who also puts on a heckuva’ show ( I was reminded of Elvis in EPiC, telling reporters that his fans could just listen to his albums at home, so he owed them a spectacle for going out). As much as I enjoyed the concert sequences, I was perhaps more riveted by the interviews with Cameron (he’s pushing back against his “raging despot dictator director” rep by his easy-going eagerness to be merely a “reporter”), as she explains her desires and inspirations. Eilish is also quite an athlete, as her legs are taped up backstage (I’ll bet she really gets her steps “in”), and later shows off the scratches (some truly “deep cuts”) from reaching out to the audience. And nothing escapes her attention as we watch her make detailed notes on all the stage effects, especially the choice of color for each tune. In many ways, this film may actually be a love story at heart, between the artist and her audience, with each giving and receiving intense connection, despite the massive stadium throngs. I did find it off-putting to hear the crowds singing along with her every word in every song, muttering, “I paid to hear Billie, not the kids around me,” but Eilish revels in the waves of concentrated connectivity. And though much of her work tells of heartbreak and thwarted longing, Eilish exudes joy as she dashes about the stage and below it (there’s a real labyrinth just out of sight). Hey, I almost forgot to mention that the 3D isn’t gimmicky with only a few “in your face” shots of microphones and the huge dangling spotlights, though I often thought that folks in the rows in front of me were standing up to block my view. Needless to say, this would be best seen on the biggest screen with a top-of-the-line sound system (when it streams, I’ll certainly put it on “cc” to help grasp her lyrics). An engaging and entertaining (and informative) time can now be had at the multiplex (with better parking options than a stadium), experiencing BILLIE EILISH: HIT ME HARD AND SOFT-THE TOUR LIVE IN 3D.

3 Out of 4

BILLIE EILISH: HIT ME HARD AND SOFT-THE TOUR LIVE IN 3D is in theatres everywhere on Friday, May 8, 2026

THE SPONGEBOB MOVIE; SEARCH FOR SQUAREPANTS – Review

Patrick Star (Bill Fagerbakke) and SpongeBob SquarePants (Tom Kenny) in The SpongeBob Movie: Search For SquarePants from Paramount Animation and Nickelodeon.

And just what type of feature film has been at the top of the box office for the last couple of weekends? Oh, and it just became the biggest grossing flick of 2025 (we’ll see if that holds with the Nav’i arriving from Pandora this Friday). I’m talking about ZOOTOPIA 2, an animated feature film. And a sequel that could be part of another ongoing big franchise. That’s not too unusual for movies from the “mouse house” (and their Pixar partners), but rare for others. Sure, there’s DreamWorks with SHREK and ICE AGE from Blue Sky (actually now part of Disney). Well, there’s now Paramount Animation whose lil’ yellow, smilin’ hero is headlining his fourth big screen adventure, all since debuting on the Nickelodeon cable TV network way back in 1999. So let’s travel to Bikini Bottom via the multiplex for THE SPONGEBOB MOVIE: SEARCH FOR SQUAREPANTS. Whew, to paraphrase another seafarer and the poster, “we’re gonna’ need a bigger marquee”.

To start this tale of deep sea exploit, we’re treated to a prologue from a live-action pirate who tells us of the legend of the Flying Dutchman. Not to worry kids, we’re quickly reunited with our guy, Spongebob Squarepants (voice of Tom Kenny), who’s very excited at his pineapple home. Turns out he’s gotten taller, actually tall enough to ride the roller coaster at a nearby amusement park, Glove World. Yes, he’s a “big guy”! His BFF Patrick Star (Bill Fagerbakke) join him on this momentous trek. Ah, but the very dangerous-looking ride causes Bob to have a “change of heart”. Yup, he’s the “chicken of the sea”. The duo head back to the Crabby Patty diner, where the owner, Mr. Krabs (Clancy Brown) teases him with tales of his past “daring do” showing off his own “swashbuckler certificate”. Hoping to earn one of his own, Bob and Patrick go through a secret trap door, to Krabs’ old artifacts and “knick-knacks”. Somehow, the duo pass into an “ultra secret” section that has a portal to the pirate ship of the Flying Dutchman (Mark Hamill). It turns out that he’s tired of being a green ghost who must sail the seven seas for eternity. He has a chance to be human once more via a magical device that can only be activated by “the purest innocent”. Sounds like our “big guy” Bob. As they sail away, Krabs and Squidward (Roger Bumpass), head downstairs and try to follow the ship to rescue Bob and Patrick. Can the squabbling pair catch up to the Dutchman before Bob somehow sends the old pirate into the real world? And would Bob replace him as the captain of his ghostly vessel?

It’s amazing that the veteran voice ensemble (past 25 years already) can still bring such sprightly energy to the “core” cast of characters, particularly the gifted vocal styling of Mr. Kenny (Bill, Clancy, and Roger aren’t “phoning it in”, though they could). Now, with this outing, they’ve brought in a few more actors into their “play pen”. Hamill is the perfect craggy, cranky green pirate ghost, while Regina Hall make for an excellent “first mate/assistant” Barb. As good as they are, the visuals really have to sell this story. While the original TV series and the first feature were produced in glorious “hand-drawn” 2D-style “classic” animation (though I’m guessing some “flash” was in use), the producers have completely-embraced fully-rendered, rounded, textured 3D CGI tech. Happily none of the rubbery expressions and exaggerations are lost, as the artists really make the cast very expressive in their physicality, often recalling the “loonier” art of Bob Clampett (a “touchstone” in zany poses). And we even get some live-action actors and settings in the big finale, though they can’t compare with the eye-popping splendor of the undersea backdrops (what they can do with the sand and sea greenery). The only problem with this is the exhaustion from the manic “in your face” pacing, which was meant to keep kids engaged, but is so draining for over 90 minutes (maybe this would’ve worked better in a multipart TV miniseries). You really need some time to catch your breath, since there aren’t big musical numbers or any quiet interludes. Yes the visuals are superb (some “gross-out” close-ups feel like the handiwork of Spumco, the Ren & Stimpy studio, stalwart Vincent Waller), but it really begins to blend together by the third act. But the overall quality is maintained after all this time in the “briny deep” so that longtime fans (the original TV viewers can bring their kids and maybe grandkids) will get a nostalgic charge out of THE SPONGEBOB MOVIE: SEARCH FOR SQUAREPANTS. Oh, and the TMNT short that proceeds it is pretty clever, too.

2.5 Out of 4

THE SPONGEBOB MOVIE: SEARCH FOR SQUAREPANTS opens in theaters everywhere on Friday, December 19, 2025

THE RUNNING MAN (2025) – Review

Glen Powell stars in Paramount Pictures’ “THE RUNNING MAN.”

Seems only a couple of weeks ago we saw a remake of a early 1990s classic thriller, THE HAND THAT ROCKS THE CRADLE. Oh yes, it was just a couple. Well, with only a few weeks left, Hollywood is unleashing another one. Ah, but this is going right to the multiplex, not “straight to streaming” like CRADLE. Oh, and this one’s original “take” (aside from the literary source material) was a few years earlier, 1987 to be precise. Plus, this new flick has a link to last week’s box-office champ. Arnold Schwarzenegger had a busy 1987, going from PREDATOR to this week’s new remake’s “inspiration”. This 2025 “edition” is getting a lot of “heat” since it’s helmed by a cult movie icon and stars an “up-and-coming” screen star. But can he somehow move faster than Arnold as a “2.0” spin on THE RUNNING MAN?


In the not too distant future, the gap between the “haves” and “have-not” seems to have lengthened considerably, especially now that a few corporations have their fingers in everything from the media to law-enforcement. One of the “have-nots” is hard-working stiff and struggling family man Ben Richards (Glen Powell). When we meet him, he’s begging that his former boss rehire him and take him off “the blacklist” for the unforgivable “crime” of meeting with a union rep over safety issues at the factory. But the answer is no, despite Ben bringing along his flu-stricken infant, Cathy. Ben returns to the Co-Op City slums where he shares a tiny broken-down apartment with his wife Shelia (Jayme Lawson) who’s working double shifts at a “gentleman’s club”. The frustrated papa clicks on the tube to catch some “Freevee”. Watching promos for the network’s slate of game shows, Ben believes that the only way to earn some quick medical funds for his daughter is to audition on a show. Promising Shelia that he won’t try out for the most dangerous of these programs, “The Running Man”, Ben heads downtown to the network studios, The staff there notices his fiery temper and sends him right up to the swank office of their big boss, Dan Killian (Josh Brolin) who wants him for that most violent show. Dangling a possible billion dollar prize jackpot, Ben reluctantly agrees. He’ll be one of the new trio of contestants on “The Running Man”. But with a heavily armed squad of “hunters” on his trail, along with a citizenry eager for a bit of the “bounty”, can Ben stay alive for thirty days (no one has yet) and return to his loving family?

So, this truly makes it official. Powell is the “real deal” as a movie star, going from the frothy rom-com ANYONE BUT YOU to action lead here, with a slight detour in between into front the disaster-thriller TWISTERS. He brings us into Ben’s heart, willing to do anything to save his struggling family. But there’s no halo over his head, as Powell conveys that bubbling angry frustration that suddenly boils over. There’s also a touch of a charming rascal during the quieter comic interludes, before Powell displays his physical prowess in the many action set pieces. He’s also a great “team player” as Powell shares the screen with an impressive supporting ensemble. Brolin’s a focused business baddie who keeps his evil impulses cloaked, using his “goon army” led by a surly Lee Pace at the ready. Colman Domingo appears to be having a blast as the cynical, flamboyant game show MC “Bobby T”, doing a flashy “peacock strut”. As for the folks in “Ben’s corner”, William H. Macy is the surly, but soft-hearted tech wiz who is something of a father figure to him in a pivotal early scene. Much later, we meet the very intense Michael Cera as an “underground rebel” who balances “old school” methods (dropping pamphlets) with some creative weaponry (a “super-squirter”…really). And in the finale, a somewhat indifferent “have” played by Emilia Jones (CODA) has her mind and heart opened up by Ben. Also of mention are the excellence comic performances of Katy O’Brian and Martin Herlihy (SNL’s “Do Not Destroy”) as Jenni and Tim, Ben’s “less lucky” game show competitors.

That cult icon filmmaker at the helm is Edgar Wright (BABY DRIVER), who co-wrote this adaptation of the Stephen King (as his alias Richard Bachman) novel with Michael Bacall. Wright seems to be having fun as he plays in this big, flashy, sometimes grimy futuristic toy box. It’s a slightly satirical take on current pop culture extremes, though it may be relevant today after the 21st century rise of the reality completion shows, from “Survivor” to “Squid Game”. And without directly calling out the tech terror, Wright also shows the dangers of “AI” as footage of Ben’s battles and video screeds (he has to record himself every day and drop it in a “drone/mailbox”) is manipulated to serve the game’s “narrative”. Yes, some of the parody is almost “shooting fish in a barrel”, especially with the cutaways to a Kardashian-like program, but Wright builds on the media-skewing that ROBOCOP also did so well in 1987 (what was in the “water” that year). Many of the action sequences are inspired, as Ben rigs up found objects in an almost Rube Goldberg fashion to harm the “hunters”. But unfortunately it gets a tad tiresome as the story limps along to a finale that’s way too convoluted with (another action flick problem) far too many endings. Those fans of the original should get a kick out of this spiffy more modern take (though it’s hard to match iconic game-show host Richard Dawson back in the day), but the casual film fans may just feel worn out as hints of “test market tinkering” try to hinder the brisk marathon-pace of THE RUNNING MAN.

2.5 Out of 4

THE RUNNING MAN is now playing in theatres everywhere

REGRETTING YOU – Review

Let’s see what happens when Hollywood “hits the books” for this new flick. We saw the adaptation of a work from the same author last year with IT ENDS WITH US (AKA the movie that spawned countless real-life legal “sequels”). So does this story from Colleen Hoover tread familiar territory? Well, it is a romance that has some pretty heavy dramatic elements, a rarity at the cinemas these days as the “rom-com” is more prevalent than the “rom-dram” (a phrase coined by a cast member promoting it on TV). And while the last Hoover work dealt with domestic abuse, this one has a big role for the “Grim Reaper”. So does he take his scythe to the young and not-that-young lovers coupling in REGRETTING YOU?


The first scene in the story is a seventeen-year flashback. Two high school aged couples (senior year) are on their way to a big beach blow-out. While stopping for snacks, Morgan (Allison Williams) tells Jonah (Dave Franco) that she’s pregnant by her beau Chris (Scott Eastwood). Jonah’s crushed as he’s had a secret crush on her, despite dating Morgan’s kid sister Jenny (Willa Fitzgerald). Flash forward to the present, as the now married Morgan and Chris host a birthday party at their home. Joining them are the also now married Jenny and Jonah, who have a little baby boy, Elijah. Missing from the festivities is now seventeen-year-old daughter Clara (Mckenna Grace), whose lateness is caused when she gives her classmate Miller (Mason Thames) a lift to the house he shares with his cranky but lovable ‘Gramps’ Hank (Clancy Brown). She finally arrives for the party and immediately begins discussing Miller with her adored Aunt Jenny (Miller’s already got a steady, so Jenny warns Clara about being “that girl”). All’s well until Morgan gets a call days later. Hubby Chris has been in a major auto accident. Heading into the hospital, she’s surprised to see Jonah already there. It turns out that Jenny was also in an accident. Then the double stunner: Chris and Jenny were in the same car and both perished. Clara is devastated and begins to rebel by sneaking out to meet the now girlfriend-free Miller. Morgan “shuts down” due to the death and betrayal bombshell. But she’s got to help Jonah with baby Elijah. Then he blurts out that the child has Chris’s smile. Do they tell Clara that her papa and Aunt Jenny were cheating, and, bigger yet, she has a half-brother? And will Morgan and Jonah finally act on their long-suppressed mutual attraction?


Okay, let’s start with the older (a bit) of the two romantic couples. After the two M3GAN flicks, Williams is in full maternal mode as the emotionally pummelled Morgan. We can see her wavering somewhat in her “laying down the law” rants to her Clara, hinting at her deep devotion to her child, which may undercut the big throw-downs. Williams real strength is in the halting exchanges with Jonah as she walks the delicate journey from widowhood. Franco takes on a more dramatic turn after being a comic MVP for the last decade or so. His furrowed brow under the big black framed eyeglasses (to age him a tad more) conveys his near collapse at the loss of his spouse and his need to step up as a single parent. As for those “twitter-pated” teens, Grace very gracefully tackles the role of a blossoming young adult about to dive into swoony passion. The youngest Ghostbuster balances Clara’s despair over her loss with simmering anger toward mom, which may jeopardize her new relationship with Miller, played by the very busy Thames (last week in BLACK PHONE 2 after being the live-action Hiccup this Summer). He’s easy going, affable, and strong-willed, particularly when he realizes that he may be a “pawn” in the Clara/Morgan “war”. Both of them are on the fast track to greater film stardom. Fitzgerald (so fantastic in STRANGE DARLING) and Eastwood put their considerable screen charisma to work as the doomed duo, Jenny and Chris. Happily some needed levity is provided by the always compelling Brown as ‘Gramps’ and the bubbly Sam Morelos as Clara’s BFF Lexi, who is “fixed- up” with the endearing nerdy Efren (Ethan Constanilla).

Trying to keep these convoluted plot threads untangled is director John Boone, best known for THE FAULT IN OUR STARS, though I’d say his THE NEW MUTANTS is a pretty good “B” superhero flick. He keeps the histrionics to a minium while all the story “plates” keep spinning, but there’s just so much he can do with the often turgid, soap-style structure. The old phrase “potboiler” comes to mind, though I often thought I was trapped in a basic cable TV-movie featuring a more polished ensemble (“star-wattage” can only brighten things a touch). Of the themes, the blossoming young love “plot line” works best, while the elders must flay about dealing with death and infidelity. One scene in which Morgan vents her anger at a car is most grating. The locales and fashions are lovely, though they were backdrops for blatant product placement (there’s always a “logo-fronted” soda can while Miller works for a multiplex where Nicole Kidman usually wanders about). At least it’s not as tone-deaf and thuddingly off-kilter as Hoover’s last big screen flick. There may be an audience for movies made from “beach-reads”, but rising stars like Grace and Thames deserve a much-better showcase for their talents than the regrettable REGRETTING YOU.


1.5 Out of 4

REGRETTING YOU is now playing in theaters everywhere

ROOFMAN – Review

Channing Tatum and Kirsten Dunst star in Paramount Pictures’ “ROOFMAN.”

This weekend sees the release of a most unusual true-crime story. Yes, it’s got the standard details of a lawbreaker’s plans and motives (yup, filthy loot), but it’s more than that ole DRAGNET cliché of “Just the facts”. No, it takes lots of twists and turns, even making a detour into comedy (often slapstick) and romance (thanks to the sprightly pairing of the two leads). But don’t let its title mislead you, because the fella’ here known as the ROOFMAN is certainly not a spandex-clad “superguy”, though he’s not a super villain either. Mostly…

The film opens with the title guy doing his “thing”. Former US Army Reservist Jeffrey Manchester (Channing Tatum) scopes out a busy suburban McDonald’s as it closes for the night. After the workers depart, he heads to the roof and bashes a big hole so that he can drop in. From there, it’s a waiting game until the morning crew arrives. Jeff springs out wearing all black (including a ski mask) and brandishes his rifle. After the manager gives him the cash from the safe, Jeff instructs them to grab their coats and head to the walk-in cooler. But the manager doesn’t have one, so Jeff gives him his black jacket (he’s also dubbed the “gentleman robber”), then dashes away (and calls 911 to get his victims rescued from the cold). From there, the story backtracks to Jeff struggling to make ends meet for his wife, pre-teen daughter, and twin toddler sons. Taking inspiration from his Army pal Steve’s (LaKeith Stanfield) illicit schemes (phony IDs and passports), Jeff begins his retail and restaurant robbery spree. But the law catches up to him. Due to the whole “locking folks in freezers” MO, Jeff is convicted of armed kidnapping and given a hefty sentence. He quickly learns that his spouse has cut out contact with him (Jeff is quite a “girl daddy”). Using his observation skills from the service, he slips out of prison, and contacts his pal Steve, who tells him that he’s too “hot” and to contact him in a month about setting Jeff up with a new identity. What to do over those thirty days? A nearby Toys ‘R’ Us shop may be the answer. Near closing time, Jeff hides via the bathroom ceiling tile. He emerges after the store is closed, disables the security video system, and uses the space behind the bicycle display as his daytime hideaway. He also sets up video baby monitors throughout the store. One day, Jeff is aware of a sweet single mother on the staff. He sees Leigh (Kirsten Dunst) plead with her prickly boss Mitch (Peter Dinkledge) to let her take some discarded, unsellable items for her church’s toy drive. Mitch refuses, so Jeff figures out a way to exit and re-enter the store during the day. He shows up at the church to drop off his bag of goodies, but a member insists that he join the service. He spots Leigh in the choir, and at the post-service spaghetti lunch, Jeff (calling himself John) strikes up a conversation. A romance quickly ensues. But can he dodge her questions and the police? And what will happen when Steve returns? Will Jeff flee or pursue a new life with Leigh?

Once again, Tatum proves that he’s much more than his superb dancing skills as he ramps up the charm (and “rizz”) as the “man on the lam”. Actually, his Jeff/John just entrances almost everyone he meets, and even some of those crime victims, as he deftly sidesteps inquiries and contemplates his next move. But Tatum also shows us this man’s inner conflict and heartbreak over losing contact with his kids. Fortunately, he enjoys a surrogate fam via his relationship with Leigh, given a bouncy sweetness by the still endearing Ms. Dunst. It’s nice to see her step away from her recent somber, dramatic roles, although Dunst can certainly bring the tears in the emotional third act. A big entertaining asset is the great Dinkledge, who makes Mitch a very funny “retail dictator” as he glowers at his “slacking underlings”. Stanfield brings a dangerous, tough energy to the no-nonsense Steve. It’s a shame that the bubble Juno Temple (so great in “Ted Lasso”) doesn’t have more to do as his ditzy beautician GF. On the other side of the law is the inspired pairing of Ben Mendelsohn and Uzo Aduba as the affable Pastor John (at Leigh’s church) and his nurturing wife Eileen (going against the notion of Hollywood deriding the ministry). And stand-up comic Jimmy O. Yang delivers some laughs as a frazzled used car salesman.

Like Dunst, this is much lighter fare for director Derek Cianfrance, perhaps best known for THE PLACE BEYOND THE PINES and BLUE VALENTINE. He displays a real flair for breezy comic set pieces, especially when Jeff becomes the nighttime ruler of “toyland” as he wastes the pre-dawn hours tossing teddy bears and scarfing peanut M&Ms (better than all the jars of baby food). Ditto for the initial dating of him and Leigh. But it eases into a few clichés, especially with her two daughters. The pre-teen is sweet and adorable, while the sixteen-year-old is the usual surly, snarky “demon spawn” overused in so many shows. I suppose this is there for conflict so that Jeff has to “work” to win them all over. This precludes a lull in the pacing, as the movie “spins its wheels” as Jeff gets a new set of wheels. Really, the film could have used a good fifteen or twenty-minute trim on the ole’ editing bay (well, probably all computers now). This leads up to the very sobering and sad finale, in which Jeff reverts to his criminal ways. The film doesn’t give him a “pass” since he’s really a good guy with Leigh and her kids. He “fesses up” that he’s a bad guy even after the filmmakers work diligently to make him the hangdog hero that we “root for”. No, he’s a criminal who takes the hard-earned money of others while waving a weapon. And if not for the high-caliber cast, this might have been another made-for-cable-TV bit of fluff. However, fans of Mr. Tatum and Ms. Dunst may enjoy and be moved by the true-life modern fable of the ROOFMAN. Oh, and be sure and stay for the end credits, which include lots of footage of the real folks.

2.5 Out of 4

ROOFMAN is now playing in theaters everywhere

THE NAKED GUN – Review

Pamela Anderson plays Beth and Liam Neeson plays Frank in The Naked Gun from Paramount Pictures.

So, is it too late to “jump start” a beloved comedy franchise if that last entry was released before many moviegoers were born, way back in 1994? Well, Paramount’s more than willing to “roll the dice”, since the original feature flick was a big gamble on bringing a TV show to the big screen. But since several successful films have had their start on the small screen (there have been 13 Star Treks and eight Impossible Missions), is it really a risk? Indeed, it was because that source material, a TV comedy classic, only ran for six (?!) episodes. Here’s a bit of personal trivia: “Police Squad” was the first series that I recorded off the air with a VCR (look it up, kids). Yes, it was broadcast over six glorious weeks on ABC in the Spring of 1982. But some serious movie muscle (AIRPLANE), often referred to as ZAZ (Zucker, Abrahams, Zucker), were behind it, so a feature film was released in 1988 and was a huge hit, spurring follow-ups in 1991 and 1994. And now it’s back, making a fourth film inspired by a failed TV show. So, is the comedy ammo still potent, and is the aim for laughs still right on target in THE NAKED GUN? Somewhere Leslie Nielsen is looking down and laughing as he works his portable “fart-noise machine”.


The film’s opening sequence is the main source of the popular trailer that’s been around since the Super Bowl. A bunch of heavily-armed thugs are interrupted during their bank robbery by the intrepid Lt. Det. Frank Drebin Jr. (Liam Neeson). But while all the gunplay occurs in the lobby, a trio led by Sig Gustafson (Kevin Durand) is grabbing a gizmo from a safe deposit box, and escapes from the building. Back at the police station, Drebin is chewed out for his ultra-violent methods by his exasperated superior, Chief Davis (CCH Pounder). In order to remove him from the heist investigation, she sends him out with Cpt. Ed Hocken Jr (Paul Walter Houser) to look into a bizarre highway accident fatality. It appears to be a “cut and dry” case of impaired driving until Drebin gets a visit at the station from the victim’s grieving sister, Beth Davenport (Pamela Anderson). She thinks it was no accident, but rather a murder that may be linked to her brother’s business partner, tech guru Richard Cane (Danny Huston). Drebin’s interested in her theories and in the gorgeous lady herself (he’s a lonely widower). Soon, Frank’s up to his neck in an evil scheme that involves that bank job and an effort to frame him. Can he honor his papa’s legacy by taking down the “perps’ while racking up thousands of dollars in property damage (and really, really bending the law)? Carnage, chaos, and comedy are all part of this big case.

Neeson’s performance here is a big dive into the world of comedy, a “hello” if you will, while also being a huge “goodbye” to the “I’m gonna’ kill all of ‘youse” roles that he looked to be trapped inside, though paid well, I’m sure, since 2008’s TAKEN. And he appears to be having a grand ole’ time. But there’s a big difference from the original beloved star Leslie Nielsen (though they do share the same initials). He had left the hunky leading man roles long before he boarded that AIRPLANE, often popping up as the “well-heeled” suspect in Quinn Martin-styled crime shows. However, Neeson is still a solid movie star, though they both seem to relish “tweaking” the cliches. Though Liam’s not the same silver-maned buffoon, he still barks out the quips with the proper seriousness. Much of that can apply to his leading lady. After bowling the naysayers over with her “deserving of an Oscar nomination” work as THE LAST SHOWGIRL. Ms. Anderson uses her high heels to puncture the femme fatale “bombshell” image built up over 30 years. And kudos for her character name, a nod to the adored legal counsel of a beloved P.I. on the TV classic “The Rockford Files” (brought a smile to my face). Just last week, he was scoring laughs as reformed super-villain the Moleman and now the always watchable Mr. Hauser is still siphoning giggles from the leads as Drebin’s loyal but equally bewildered partner Ed Jr. As for the wrongdoers, Huston is a compelling, smirking rich jerk as the wesally Cane, riffing on current tech despots while recalling his papa’s wealthy wastrals in classics like CHINATOWN. He’s also well served by Durand, spoofing his frequent work as the ruthless hired “muscle”. Plus Pounder is an excellent “straight-woman” as the “more irritated than happy” police chief trying to “clean up’ after Frank and his squad crew.

So, no member of the original ZAZ team, nor their own “juniors,” were behind the camera on this “restart”. Instead, the directing reins were handed off to a member of another acclaimed comedy troupe, the Lonely Island. Coming off the surprisingly clever streaming hit feature reboot of CHIP ‘N DALE: RESCUE RANGERS, Akiva Schaffer certainly has a good comedic eye for the slapstick sequences that mock the “over the top” pyrotechnic pandemonium of so many noisy Summer action blockbusters, particularly in that opening bank heist. And he paces the flick accordingly, coming in just a tad under 90 minutes like much of that original trilogy. But somehow it feels a bit too drawn out, perhaps due to a couple of sidetracks (the plot halts for a weird horror parody), some gratuitous bodily function bits, and a rather aimless final showdown (but then the originals had that problem). It seems that about 65% of the gags really land, with a handful of clever “howlers”, though with any comedy, “your mileage may vary”. Still, that’s a nice “score” over what passes for funny flicks today. Plus Schaffer’s team gets the look and sound “right” as a spoof of police thrillers of the last 40 or so years, while the Nielson trilogy (and his TV show) took on 1960s crime flick and stoic TV shows (I was stunned to recently discover Lee Marvin in “M Squad” a beat-for-beat blueprint for ZAZ). Sure the coffee cup and driving gags wear thin (perhasp they need a couple more to be funny again in the old comedy rule), and you may feel a tad exhausted by the final fade out since Schaffers and his co-writers Dan Gregor and Doug Mand pack in enough bits to fill out another six episode sitcom, but they’re to be commended for the effort to honor a beloved IP. And the enthusiastic cast certainly strives to polish THE NAKED GUN until it sparkles like Nielsen’s cropped-cop coif.

2.5 Out of 4

THE NAKED GUN is now playing in theatres everywhere

NOVOCAINE (2025) – Review

Last month, we got the first of the 2025 movie superheroes to arrive as the new Captain America threw his shield down the hallway of the multiplex (and hopefully “konked” the Red Hulk). Now we’ve got a few weeks until the second “wave” washes up with those THUNDERBOLTS, so what will tide the fans over till then, eh? How about a mild-mannered guy who doesn’t don spandex, fly, or even punch holes in concrete walls? Yes, he doesn’t have a real “super power,” but he’s got a lil’ “something special” that sets him apart from us. You may just figure out “his deal” by his nickname, which also happens to be the title of this new (not from a graphic novel or video game) action comedy thriller, so let’s give NOVOCAINE a shot (sorry, bad dental pun).

This dude’s actual name is Nathan “Nate” Caine (Jack Quaid), a “mild-mannered” thirty-something who is the assistant manager at a San Diego bank. We first meet him at the start of his work day at his modest apartment. Hmm, why do tennis ball covers adorn the door knobs and the edges of his tables (coffee and kitchen)? That’s something to ponder as he enjoys a banana and kale shake right out of the blender for breakfast. He’s at the bank early for a pre-Christmas “pep” talk from his boss. The only person who’s late is Nate’s unrequited “work crush,” a fetching new teller named Sherry (Amber Midthunder). Later, they encounter each other in the break room as she accidently bumps into him as he’s pouring very hot coffee into a mug filled with ice cubes (weird). Nate doesnt yell in agony as the liquid scalds his hands. Sherry feels so bad that she invites him to Lunch as an apology. At her favorite diner, she orders her usual cherry pie while Nate gets a vanilla milkshake. After many attempts to offer him a bite of her pie, Nate confesses to his “gift”. He has a medical condition that doesn’t allow him to feel pain. And now it’s only liquids, so he won’t somehow bite off his tongue (eww). And his watch alarm goes off every three hours to remind him to empty his bladder (again, eww). This doesn’t disgust Sherry; maybe it intrigues her, So they decide to meet later for drinks. Before that, Nate drops by his home for a quick online game while on the phone to his only pal, though they’ve never met in person, video game opponent Roscoe (Jacob Batalon). At the bar, Nate runs into an old school mate who reveals his middle school nickname, “Novocaine”. And yet Sherry goes home with Nate, and, well; let’s say he can feel pleasure. Things don’t get “weird” at work the next day until three heavily armed Santas waltz in and rob the place. They take Sherry hostage and force Nate to open the vault. The police arrive, but the trio has superior firepower and drives away in two vehicles. Nate is sure that they’ll murder Sherry unless he takes action by swiping the gun and car of the wounded cops. Can he get to her in time? And can his “power” somehow give him the advantage over the dangerous heist crew?


Let’s get this out of the way: the film has not one but two “nepo-babies” in its cast. One is the lead, Mr. Quaid, though he’s already made a name for himself in several films and TV shows before his big breakout role in Amazon Prime’s streaming hit “The Boys”, which happens to deal with enhanced folks (though he’s not one). Well, the role of Nate is the showcase that could propel him into “leading man” territory. And that’s great because Quaid is quite engaging here as a “nice guy” who is finally breaking free of the protective cocoon he’s wrapped around his body (and especially his heart). He conveys the soaring joy of new love and a chance for freedom, which fuels his surprising heroism. But Quaid also has a great knack for slapstick as he contorts himself to evade the thugs, much like the silent film “clowns”, before being propelled by the furious fists that do connect. In one sequence, he really shines as he feigns agony during torture to “buy some time”. His action “dancing” is superb, but he’s tenuous and tender with Ms. Midthunder (so great in the “should’ve-been-in-theatres” PREDATOR prequel PREY). She’s fun and flirty, as she interacts with this “odd duck” over pie and drinks even “special shots”). The two have a sweet chemistry in their “getting to know you” exchanges as Shirley finds Nate’s quirkyness attractive. But we’ve got to have the baddies, who are led by the other “NB”, Ray Nicholson, son of Jack, who flashes that demented grin as he unleashes all manner of mayhem on law enforcement and the determined Nate. Luckily, Nate gets some great back-up, just like Holland’s Spidey, from the funny Batalon, whose Roscoe “pumps us his persona” while being in a panic over his probable ties to Nate’s somewhat illegal pursuits. Which also raises the interest of two veteran cops, who are always a few steps behind, played by Betty Gabriel, who may be the “good cop” as she’s often sympathetic (while tracing a call from Nate), and Matt Walsh, not the “bad cop” but rather a really exhausted one, who only wants to wrap theings up and do Christmas with the “fam”.


This bit of high concept chaos was helmed by the “tag team” directing duo of Dan Berk and Robert Olsen, who add lots of visual flourish to Lars Jacobson’s script. It’s an interesting twist on superhero tropes, though we can often feel its legacy, with Nate as a kid brother to Stanley Ipkess of THE MASK (he’s shy and smitten, too), mixed with DARKMAN and KICK-ASS, both without pain receptors. Some have made comparisons to Marvel’s THE WOLVERINE, though he’s got that self-healing mutant ability. Nate must constantly “self-repair” with bandages, ointments, “superglue,” and even staples. And then the loss of blood drains him so much that he needs a “jolt” from an EpiPen (much like Spinach for the OG superhero POPEYE). And that’s a big problem with the film as Berk and Olsen, go overboard with the painful slashing and stabbing, sadistically zooming in on Nate’s oozing injuries until the viewer is almost numb to each new bit of practical effect gore. It’s not helped by several “leaps of logic” (a “deep-fried” pistol still works) that get to pile up during the film’s tring 110-minute length, which affords it the opportunity to keep piling on endings and final showdowns (he’s down and…he’s up). Mind you, there’s a lot of charm in that engaging tender romance of Shirley and Nate, but it’s tossed aside for double and triple-crosses and squirm-inducing scenes of “emergency room” nightmares. Action fans will get their “John Wick-lite” fixes, and Quaid’s stunned reaction shots are pretty amusing, but the mayhem tends to get monotonous, making most moviegoers feel as though their keisters somehow got an extra-strong dose of NOVOCAINE.

2 Out of 4

NOVOCAINE is now playing in theatres everywhere

SONIC THE HEDGEHOG 3 – Review

Oh my, it looks like the animated critters have taken over the multiplex during this pre-holiday weekend. While Mufusa’s growls and roars are echoing through the hallways, another CGI-rendered creature is threatening to dash right off the screens. Now, they do have a few other things in common as they are both sequels, with this flick actually the third in a franchise. And it’s not based on a beloved thirty-year-old animated classic, but rather a still-adored video game dynasty (which predates THE LION KING by three years). Oh, and this one includes “real live” actors alongside the “pixel pals”. So what new kicks (and spins and dashes) are in store after two previous outings in SONIC THE HEDGEHOG 3?

Well for one thing we’re introduced to a new character (to the film series that started four years ago). At a Tokyo Island G.U.N (Guardian Units of Nations) prison, a creature floating inside a liquid containment chamber is stirring after being dormant for fifty years. A heavily-armed squadron leaps into action but they don’t stand a chance when this black and red hedgehog named Shadow (voice of Keanu Reeves) breaks through the glass. Using his speed and teleporting powers (think Nightcrawler of the X-Men), he escapes into the night. GUN acting director Rockwell (Krysten Ritter) has to call in back-up, namely Sonic (vo: Ben Schwartz), Tails (vo: Colleen O’Shaughnessey), and Knuckles (vo: Idris Elba), a trio of small super-powered alien animals. The trio bids farewell to their adoptive parents Tom (James Marsden) and Maddie (Tika Sumpter) and are whsked to Japan…where they’re defeated by Shadow. Before pursuing him, Sonic and his pals stop to “refuel” at a local eatery and are attacked by floating egg-shaped drones. Luckily they’re helped by a mysterious man in black. It’s none other than an old nemesis, Agent Stone (Lee Mahdoub). He informs them that that drones aren’t sent by his boss, then leads them to the floating underwater home (the “Crab”) of Sonic’s arch-enemy, the now flabby and disheveled Dr. Ivo Robotnik (Jim Carrey). Hearing of the appropriation of his tech he springs into action, theorizing that Shadow is returning to the long-scrapped GUN facility in England. The trio becomes a quintet as they discover the man behind the release of Shadow and the egg drone assault, Ivo’s long-lost grandpa Gerald (also Carrey). It’s all part of his plan to rule the world with his ultimate invention, a space arsenal satellite, the Eclipse Cannon. Can the Sonic crew shut it down despite its defender, the formidable Shadow, before it levels the planet?

Most of the cast (both live and voice) are returning after at least one previous installment of the franchise (and even a streaming series). Schwartz has that rapid vocal delivery to match Sonic’s jet-like speed as he spews wisecracks and zany retorts. Elba has a hesitant humorless stoic line-reading as Knuckles seems to take everything literally and needs to spell things out (like another Marvel staple, Drax). Shaughnessey exudes youthful enthusiasm and sweetness as Tails. This is the exact opposite of the dour, somber Shadow given the proper icy tone by newbie Reeves. The most prominent of the “live-action” actors is Carrey, who’s so frenetic they don’t try to contain him in one character. As Ivo, he’s still the superlative comic villain, full of snarky zingers and rubbery bits of physical schtick. But he’s also Grandpa Gerald the gravel-voiced manipulator who only wants to bond with Ivo to fulfill his dreams of world domination. Sumpter and Marsden are still an engaging couple though they’re on the sidelines for most of the action, only getting a chance to “step up” in the prelude to the big action finale. They’re the warm, nurturing counterpart to newbie Ritter as the tough-as-nails Rockwell. Mahdoub as Stone is still the over-accommodating doormat of a sidekick. Happily, we get a terrific cameo by Adam Pally as goofball lawman Wadw Whipple.

Also returning to the director’s chair for the third time is Jeff Fowler, who strives to keep the slapstick and verbal asides coming at us with the speed of the title character. And that works well for most of the story although the film stumbles a bit during the “ET-like’ flashbacks about Shadow’s friendship in the 70s with a pre-teen girl. It’s to establish Shadow’s arc, but it’s a tad clunky. As are a few other bits of business including a riff on Telenovelas that loses its spicy salsa satire. Ditto for an Ivo and Gerald bonding montage that stops the story in its tracks (plus I kept getting a Jim Gaffigan vibe from elder Robotnik). Other detours are non-sensical as when Tom and Maddie must pass themselves off as her aggressive sister and vain hubby. After so many sideroads the plot concludes in an outer space showdown that piles on the climaxes to the point of exhaustion (lots of action involving those golden ring portals). The youngest fans of Sonic and his various games and off-shoots will probably be amused and engaged, but for the older folks, it may feel like a big party at an unfamiliar office (which happens this time of year). Of course, we get end-credit bonus scenes, so as to hype up their fanbase for continued IP merch long after most have forgotten the few pleasures (mostly from Carrey) in SONIC THE HEDGEHOG 3.

2 Out of 4

SONIC THE HEDGEHOG 3 is now playing in theatres everywhere

A QUIET PLACE: DAY ONE – Review

After a weekend with some original (though nostalgic) content at the multiplex, we’re back with a new installment of a very popular SF-thriller franchise that’s now six years old. It’s the third follow-up, though not a continuation of the last one from 2020. That’s because this is not a sequel, but rather a prequel, giving us the “backstory” to the event of the original. And since there are no characters from that flick, this could be considered a “spin-off”. Not to worry as this is no confusing “hybrid” unlike a similar action blockbuster (which didn’t “bust many blocks” at the box office) from a few weeks ago, FURIOSA: A MAD MAX SAGA. While that one certainly tested many theatre sound systems, the decibel level should be much lower when in use for A QUIET PLACE: DAY ONE. Shhhh…

The setting for this cinematic “flashback” shifts to the Big Apple, although the opening scenes take place a few miles away, in the NYC suburbs at a hospice facility. A senior nurse, Rueben (Alex Wolff) conducts a group therapy session for several of the terminal residents. But one of them is not “into it”. That’s Sam (Lupita Nyong’o) who has no filter (“This place is s*#t”) and would rather just wait for the end with her beloved cat Frodo. Rueben thinks he can get her out of her “funk”. He’s organized a field trip into Manhattan for a (short) theatrical presentation. Sam strikes a deal that she’ll come along if, and only if, they grab some pizza in the city. On the bus ride there she observes several fighter jets zooming overhead. Finally, they arrive for a (oh no) puppet show. When Sam and Frodo duck out to grab a snack at a nearby bodega, sirens are heard. They run into Rueben as he tries to hustle everyone back on the bus as per the loud warning messages from several rapid military vehicles (no pizza). The trip is cut short as objects from the sky (maybe bombs or meteors) explode onto the street. Sam’s knocked down during the chaos and awakens back inside the theatre. The city is under attack, overrun by huge spider-like sightless creatures that destroy anyone that makes a sound. Helicopters using loudspeakers (agitating the monsters) blare out a message that all survivors should make their way, silently, to the south dock area where boats will ferry them to safety since the aliens can’t swim. As the throngs march quietly through the streets, Sam goes against “the tide” to Harlem for her favorite pizza. On her journey, she and Frodo become part of a trio when a lost British law student named Eric (Joseph Quinn) joins them, much to Sam’s chagrin. Does she have the strength to evade the invaders? And can she and Erik make it to the boats in time?

The script brings a great challenge to the cast as they must communicate and express their emotions mainly through their eyes and body language, harkening back to the early days of silent cinema. And the compelling Ms. Nyong’o is more than up to the challenge, though she’s also terrific in the opening, pre-attack sequences as she verbally tosses snarky spears at nearly everyone around her (and then there are the eye-rolls as she discovers the type of show she’s agreed to see). Yes, she conveys the wide-eyed fear and panic, while never letting us forget that Sam is also pushing through agonizing pain as cancer ravages her body. Later, there’s her frustration as this “dufus in a suit” just won’t be on his way, which finally melts into admiration and real, and probably final, human connection. As her unlikely sidekick. Quinn also must temper the terror with his need to forge that connection and dissolve Sam’s “steel wall” of negativity. Plus he proves to be an unorthodox action hero as he ventures into the scary empty city in search of the meds that will ease Sam’s suffering (and discovers the monsters’ secret lair). Wolff is very good as the “by the book” official who secretly is amused by the defiant Sam. Kudos also to the impressive supporting work of Djimon Hounsou as the powerful father figure who’s the big “carryover” character in another part of the series. The scene where he must do the unthinkable to protect his son (while hoping that he’s not seeing it) is heartwrenching.

Aside from the new central characters in this entry, a big “player” behind the scenes has stepped away from the director’s chair. John Krasinski was busy with a more pleasant vision of the Big Apple full of friendly beasties in IF, so he’s handed over the helming reigns to Michael Sarnoski (PIG), though they teamed up on the script. Sarnoski captures that feeling of doom and dread, especially as we get several hints early on (jets in formation) that all Hell was soon “break loose”. When it does the city blocks are covered in white ash, almost as though a sudden blizzard has stopped everything (and reminding us of that fateful September morning in 2001). And while there are grand, epic “set pieces” of the aliens scurrying up buildings, Sarnoski really focuses on the folks at ground level. This is best highlighted in a mass exodus street scene in which the smallest noises alert the beasts who zip through the crowds, picking off the marchers with swift efficiency. It’s nightmare imagery, building on the hopelessness hinted at as the bridges to the city are taken out hinting that the feds think that our greatest metropolis is a “loss”. Yet amidst the carnage we’re really drawn into the dynamic of Sam and Erik as she finally finds something to live for just as everything seems to be over for humanity (and her rejoining it). Sure, it’s an “end of the globe” spectacle (with splendid CGI effects of the insect-like “rippers”) much like the variations of I AM LEGEND, but it’s the blossoming friendship that offers a glimmer of joy and hope in the truly original origin story at the center of A QUIET PLACE: DAY ONE.

3 Out of 4

A QUIET PLACE: DAY ONE is now playing in theatres everywhere

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