Tag: remake

HOW TO MAKE A KILLING – Review

Charming Glen Powell goes after what should have been his, in the dark comedy crime tale HOW TO MAKE A KILLING, in which the son of a disowned daughter sets out to eliminate the seven other relatives standing between him and a 28 billion dollar fortune. Classic movie buffs will recognize this plot as a retelling of Alec Guinness dark comedy KIND HEARTS AND CORONETS, in which Guinness plays all the relatives. Glen Powell doesn’t try anything so ambitious in acting here – he just plays the lead character – but writer/director John Patton Ford (who also directed the top-notch EMILY THE CRIMINAL) adds a new layer that makes his murderous campaign more personal.

The central character of Alec Guinness’s original just accidentally discovers he was in line for a fortune, and sets out to kill relatives he doesn’t know and has nothing against, other than that they are in his way. HOW TO MAKE A KILLING is different. Even though he also has never met any of them, Glen Powell’s Becket Redfellow has a personal history, and potential proverbial ax to grind, on behalf of a mother who was disowned by her father, the patriarch of the family. Revenge, for himself but also his mother, as well as greed, drives this version. There weren’t any moral gray areas in the Alec Guinness film but the personal history of being wronged changes that for this one.

Glen Powell’s natural charm and charisma does much to sell this story, where the audience finds itself hoping a character gets away with murder. But that doesn’t look likely since the film starts with Glen Powell’s Becket Redfellow on Death Row telling his tale to a priest (Adrian Lukis).

In HOW TO MAKE A KILLING, writer-director John Patton Ford puts nepotism, the idle rich, unearned wealth and privilege, and income inequality on full display here. The Redfellows have money and largely have no intention to do anything good or constructive with it.

It isn’t just the injustice done to Becket’s mother, it is the character of those Redfellow relatives who are in line to inherit, a string of useless “trust fund baby” types – yacht owing party boy Taylor Redfellow (Raff Law), egotistical wannabee artist Noah Redfellow (Zach Woods), self-centered would-be philanthropist Cassandra Redfellow (Bianca Amato), showboating explorer and thrill seeker (think Howard Hughes crossed with Richard Branson) Mcarthur Redfellow (Alexander Hanson) and, weirdest of all, the shady rock star pastor of a mega-church Stephen Redfellow (Topher Grace). At the very top is the ruthless grandfather who disowned his daughter, Whitelaw Redfellow (Ed Harris). This family is knee-deep in entitlement, self-absorption and arrogance, with cold-hearted ruthlessness at the top.

Becket’s mother Mary Redfellow (Nell Williams) was stubborn and proud, and despite living in a humble home in New Jersey, worked to give him a proper, cultured education while raising him with a sense of upper-crust values and as much cultural refinement as she could. Becket has archery lessons, piano lessons, and learned how to dress properly and have aristocratic manners, and rubbed some elbows with his mother’s upper class.

Although the Redfellows are mostly stinkers, Becket does find decent people in the family tree, an uncle, Warren Redfellow (Bill Camp), who does something to right his father’s wrong, but that kind gesture of taking Becket under his wing also showcases the power of nepotism (he is literally a nephew) in corporate success.

Two love interests both complicate and sometimes drive the plot, The first is Julia (Margaret Qualley) whom Becket meets as a child and becomes enamored with immediately. She becomes enamored with him when he tells her about the fortune he’s in line to inherit – maybe. The other is Ruth (Jessica Henwick), the girlfriend of one of those relatives standing in Becket’s way. Sparks fly between them when they meet, as her relationship is fizzling.

HOW TO MAKE A KILLING’s greatest strength is Glen Powell, who makes his character sympathetic and likable despite what the character is doing. Powell’s Becket is complicated but Glen Powell makes him also so charming and such a sweet, decent guy that it is easy to forget his mission, which is partly driven by his mother’s last words, to “get what is his,” as well as his own ambitions. Even Becket at times wavers in his aim but the basic unpleasantness of his relatives often helps him along.

As Becket goes about his bloody business. HOW TO MAKE A KILLING offers some damning social commentary as it showcases a rogues’ gallery of individuals bent by unearned wealth and privilege. Still, this film story is comedy, satiric dark crime comedy, like the film that inspired it. Since it is comedy, this one doesn’t have the bite of the director’s crime drama EMILY THE CRIMINAL, where a conviction, for assaulting an abusive partner, is a black mark that hangs unfairly over an ambitious businesswoman. HOW TO MAKE A KILLING is lighter, more fun, despite the murderous plot and an ironic ending, but it does still have some punch with its look at entitled people with more inherited wealth than sense and little in the way of decency or humanity.

HOW TO MAKE A KILLING opens in theaters on Friday, Feb. 20, 2026.

RATING: 2.5 out of 4 stars

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

THE HAND THAT ROCKS THE CRADLE (2025) – Review

Did you think that the only movie remakes out this year were THE ROSES and THE TOXIC AVENGER (not counting the three live-action remakes of animated features)? Of course not, since the trailer for THE RUNNING MAN seems to be attached to nearly every movie at the multiplex. That one’s nearly three weeks away, so how about a “re-do” of a film that’s not quite as old as the Arnold classic? Now streaming is a new spin, truly earning the often noxious marketing phrase “re-imagining”, on a kinda’ campy thriller from 1992 (naw, it can’t be over 30 years away). So what has changed, and what remains for this take on THE HAND THAT ROCKS THE CRADLE?


For one thing, the 2025 “model” begins with a flashback, probably about 15 years ago, as a blonde pre-teen watches a two-story suburban home go up in flames (and we hear the screams of those trapped inside). Then we’re back in the present as very pregnant lawyer Caitlyn (Mary Elizabeth Winstead) is taking on a new pro bono client at a free legal advice center. Former child care worker Polly (Maika Monroe) is dealing with a shady landlord. Soon after their meeting, Caitlyn goes into labor, and gives birth to a baby girl, Josie. As the weeks progress, it becomes clear that Caitlyn has “too much on her plate” with the new addition, rebellious pre-teen daughter Emma (Mleiah Vega), and returning to her law firm. Hubby Miguel (Raul Castillo) implores her to hire some domestic help. Almost on cue, Caitlyn soon bumps into Polly. The two hit it off and the harried new mom gets the info and a solid reference for the ex-client (who lost her apartment). Polly is a welcome addition, attentive to Josie, and bonding with Emma. And then things go “sideways”. Everyone gets food poisoning (could Polly have spiked the main course). Then Polly breaks a big house role, giving Josie retail formula rather than Caitlyn’s breast milk. Eventually, Polly moves into the guest house next to the pool, but things don’t get back to normal. Are Caitlyn’s prescription meds (for a mental health condition) not working (another concern for Miguel), or did Polly tamper with them? Is it postpartum paranoia, or does the seemingly sweet Polly have a secret agenda?

Much like the original, this take really relies on of the power dynamic “tug-of-war” between the two main characters, and the film’s producers have cast two very interesting actors who have had great experience in the thriller genre (or genre films in general). The biggest emotional arc is given to Caitlyn, and Winstead expertly lets us see her growing mania after establishing the lawyer/mom as a “hands on” parent with a complex past. At just around the half-way point, Winstead takes her energy from stroll to trot to a furious, frantic gallop that pulls us along in her wake. This contrasts well with Monroe, perhaps best known for her lead in the indie horror gems IT FOLLOWS and LONGLEGS, who almost makes Polly a blank slate, her dead-eyed stare during confrontations with Winstead allow us to project all manner of sinister schemes onto her. However, we get to see a bit of her darkness at a dinner party when verbally chided by Caitlyn’s old best pal Stewart, played by the always engaging Martin Starr (forever Bill Haverchuck, class of 82′). He’s a sneering elite, who reveals a kind heart not only with Caitlyn (oops, don’t want to spoil). Castillo does his best with the underwritten role of the often thick hubby, who is either a witness or impediment to the long-awaited “throw-down”.

Taking the directorial reigns from the late, much-missed Curtis Hanson is Michelle Garza Cervera, in her second feature after many shorts and TV episodes. She keeps the pace steady, eschewing any flashy effects, save for the opening flashback. There’s a good use of LA locales, though Cervera is often a bit heavy-handed in contrasting the “haves and have-nots”. The often radical “re-imagining” is engineered by screenwriter Micah Bloomberg, who strips away many of the problematic elements (there’s no Solomon here in any form) of the 92′ story from Amanda Silver. And yes, many of the cheesy camp of the first is excised, but some interesting ideas are explored (Polly seems more into seducing Caitlyn than Miguel). Making first daughter Emma a few years older provides a chance to explore the often tumultuous clashes with mothers (another power struggle). Still, time hasn’t been kind to the subject manner since basic cable TV has been “strip-mining” the original film countless times over the years, with endless variations of the “wife/mother defending her happy home against the twisted interloper” (much as with the many clones of FATAL ATTRACTION). That’s a shame, since the two leads are such an interesting pairing, and are worthy of a more original tale than the still-familiar THE HAND THAT ROCKS THE CRADLE.

2 Out of 4

THE HAND THAT ROCKS THE CRADLE is now streaming exclusively on Hulu

HIDDEN FACE – Review

A scene from the Korean steamy suspense drama HIDDEN FACE. Courtesy of Well Go USA

The subtitled Korean export HIDDEN FACE is marketed as a suspense tale, but it’s a just-shy-of-soft-core drama about a romantic triangle that takes a few bizarre turns among a very attractive cast. Song Seung-heon plays the new conductor of a prestigious symphony orchestra, who landed his plum gig largely because he married the rich-bitch daughter (Cho Yeo-jeong) of a strutting soap opera star (Park Ji-young, looking alarmingly like Eddie Izzard in drag mode) who fancies herself the star of every scenario, on or off-camera… and convinces others to bend to her will. She provides the elegant apartment in which the newlyweds reside, as well as being the orchestra’s main benefactor. Mega-clout all around, wielded shamelessly by a mega-Karen.

The wife’s bestie and fellow cellist (Park Ji-hyun) have a chat in which the former pouts that she’s not getting enough attention from her stony-faced hubby and decides to disappear, leaving an unlikely suicide note behind. That opens up two spots for the bestie – a chair in the orchestra, and a horizontal one in the marital bed. With that almost Hitchcockian setup, we initially wonder how she vanished – is she dead, or just testing how much people will miss the preening Princess? Then the plot veers sharply into DePalma territory once we learn where she went and how she got there. The steamy bits come from several trysts with surprisingly generous displays of nudity for an East Asian production. Those scenes are beautifully staged and scored, both artistically and erotically.

The reveals are rather over-the-top, but the female performances and gorgeous sets are so compelling that one may not care about the logic or logistics of it all; or the fact that the male lead is a virtually blank slate, readily manipulated by the latest woman to pull his chain (or other appendage). The script is adapted from a 2011 Spanish film, THE HIDDEN FACE, which I haven’t seen. But some descriptions indicate it’s even more lurid. Time to start looking for that guilty pleasure, too.

Regular readers know how many Korean action flicks I’ve praised in the past few years. This tossed salad of psychological issues and titillation makes me think I should expand my genre repertoire.

HIDDEN FACE, in Korean with English subtitles, debuts on digital formats from Well Go USA as of Tuesday, Sept. 16, 2025.

RATING: 3 out of 4 stars

THE ROSES – Review

Benedict Cumberbatch and Olivia Colman in THE ROSES. Photo by Jaap Buitendijk, Courtesy of Searchlight Pictures. © 2025 Searchlight Pictures All Rights Reserved.

If you are going to remake a movie, the dark comedy THE ROSES is the way to do it. The dark comedy THE ROSES proves that there is a right way to do a remake, telling the same story but in a refreshingly different way. With biting British-style humor, Benedict Cumberbatch and Olivia Colman are the perfect couple, battling or not, in this love story gone wrong.

Based on the novel, “The War of the Roses,” the original 1989 comedy/thriller of the same name starred Michael Douglas and Kathlees Turner as a successful American couple whose marriage turns sour, and then some. In that version, the romance was pretty conventional but sparks flew and the dark comedy came to the fore once the battle was on. In this one, Benedict Cumberbatch and Olivia Colman play a quirky British couple relocated to the US early on, a pair of snarky, unique individuals with a biting sense of humor. We get more of a sense of their own weird, very British humor, and creative natures, with more humor and quirky romance before they head for divorce and a showdown over the house like the original.

Centered on a couple of creatives who share that same sense of stinging humor means comedy is at the forefront from the start, not just when the battle begins. Humor is a very personal thing, individual tastes vary, and styles of humor differ culture to culture. With this couple being British, it also means that one has to have an appreciation for British humor, if not an outright love of it. The humor style is very British, although it is fully accessible American audiences, and not loaded with unfamiliar British references. The fact that these two unique individuals are so creative and off-kilter means not everyone gets them, so meeting and falling for someone who truly does get them gives this marriage something extra, with a lot more romantic spark between them.

Although the film is set in the US, the style of humor is tongue-in-cheek, snarky British. The audience gets a quick preview of the couple’s style of humor (and the film’s) in an opening scene where they are getting couple’s counseling with an American therapist. The therapist has given them an assignment to write down ten things they like about the other but these snarky souls can’t help themselves, and the “ten things I like about you” go from back-handed to pure snark. After Ivy reads her list, Theo bursts out laughing, and they laughingly trade more insults, while the therapist looks on in horror. “It’s called repartee,” Theo says, rolling his eyes. The Brits think this verbal sparring is hilarious and normal, but the American therapist recoils and ends the session. If your reaction to that scene is more like the therapist’s, you might not find this film as hilarious as I did.

The humor is snarky but less dark that the original film, although these creative people know how to bring the crazy to the fight too. Because these two are so unfiltered and satiric, they (and we) know they are the kind of couple who are made for each other, and no one else will really do. That doesn’t mean that they don’t know how to fight. Strong-willed, neither wants to lose an argument, and with two such sharp-tongued people, there are bound to be sparks and spats, even if underneath they love each and know no one else will ever get them like the other does.

THE ROSES has one the best meet-cutes ever, when architect Theo (Benedict Cumberbatch) becomes frustrated during a company meeting in a restaurant and storms away from the group – and into the kitchen. There he comes face to face with chef Ivy (Olivia Colman). The two trade quips, then their dreams, lock eyes, and fall in love. Cumberbatch and Colman do this beautifully, fully believable, romantic and charmingly funny. It’s like watching classic screwball comedy, the kind that starred Cary Grant and Katherine Hepburn, but with the personalities reversed.

Like in the original comedy, Theo and Ivy are financially successful couple but we get to see a lot more up-and-down of how they got there, which makes for a more interesting story. From the London meet-cute, we flash forward to the married couple living in California, in a modest house near a beach. Now with two kids, Ivy stays home to care the the kids, making fabulous meals for the family, while Theo pursues his architectural career. Worried that Ivy is feeling a bit unfulfilled, as her culinary efforts for the kids are getting more and more elaborate, Theo encourages her to open a little seafood restaurant in an old building nearby. She does, naming it, in her own style, “We’ve Got Crabs.” The crab shack draws only a handful of customers on the three days a week it is open (“Is it the name?” Theo wonders aloud, tongue-in-cheek), but Ivy is fine with that.

Two things happen to upset the dynamic in the marriage: a traumatic fail for Theo as he unveils a grand new building and Ivy’s crab shack getting a glowing review from a big city food critic. Suddenly the economic situation flips, as Theo, suddenly unemployed, decides to stay home with the kids while regrouping while Ivy concentrates on her suddenly successful restaurant. It’s supposed to be temporary, while Theo rebuilds his reputation and Ivy seizes an opportunity.

That shift provides the spark that leads to other changes, then conflict and resentments. The more money they have, thanks to Ivy’s widening success, the more tensions the couple have, as they are pulled in different directions. With two creative, competitive, sharp-tongued characters, sooner or later things will blow up.

Colman and Cumberbatch are absolutely marvelous in this film, with spot-on perfect verbal sparring and charmingly quirky romance. The characters are so alike, which is part of their problem, so compromise is hard. Director Jay Roach paces this growing battle perfectly, with more back-and-forth, on-and-off romance than the original, making the battle of the Roses feels fresh rather than like a retread. The humor is distinctly British and sharp, delivered by two of the most skilled professionals alive, making it both hilarious and a joy to watch. Jay Roach backs all that comic gold up with a perfect supporting cast, including Kate McKinnon and Andy Samburg, who are wonderful as the couple’s American best friends.

Writer Tony McNamara takes full advantage of the Brits in America situation, with plenty of fish-out-of-water, culture-clash humor and a bit of social commentary, especially in a hilarious scene at a shooting range.

Visually, the film is a delight as well. The film is beautifully shot by Florian Hoffmeister, highlighting the lovely California scenery, and appropriately showcasing the architecture. THE ROSES has some of the most tempting food photography I’ve seen, with one gorgeous plate or sculpted dessert after another. Another wow are the costumes Olivia Colman sports throughout, emphasizing her creative and unconventional spirit, so that one looks forward to seeing what creative outfit her Ivy will don in the next scene.

With the caveat that British humor isn’t everyone’s cup of tea, for those who enjoy that style of comedy,

THE ROSES is that rarest thing, a romantic comedy that is just an excellent film, and which hearkens back to the classic Hollywood era when romantic comedies were the best comedies. THE ROSES is the whole package, a dark romantic comedy that has plenty of comedy and romance before the mayhem begins, with a brilliantly matched lead couple, Benedict Cumberbatch and Olivia Colman, a perfectly-paced script with nearly non-stop laughs but lots of heart, wonderful supporting cast, gorgeous visuals, delightful costumes, and a perfect finish. It’s a film worth seeing more than once to laugh again, and proves that sometimes it is worth remaking a film. It also leads one to hope for more pairings between Cumberbatch and Colman.

THE ROSES opens in theaters on Friday, Aug. 29, 2025.

RATING: 4 out of 4 stars

HIGHEST 2 LOWEST – Review

Even though the sweltering temps haven’t abated, it seems that the 2025 Summer movie season is nearing an end with the return of one of the most acclaimed filmmakers working today. Yes, this is an award contender premiering in August. Oh, and this director is “doubling down” with a “re-working” of a film from one of the true “masters of international cinema”. And did I tell you that this is the fifth collaboration between the filmmaker and a two-time Oscar-winning actor? It all appears to get all the “boxes checked” for the big nominations and the critics’ lists. So, with this elite “pedigree”, just how does HIGHEST 2 LOWEST really “stack up” (is it more the latter than the former)?

In the story’s opening moments, we’re whisked around and about the gleaming towers of Manhattan. On the balcony of one of them is a man barking into a cell phone. Speaking of “stack”, he is David King (Denzel Washington), chief executive and co-founder of the music label “Stackin’ Hits”, and he’s putting all his “ducks in a row” in this life-changing “deal”. But first, there are family obligations. His beautiful wife Pam (Iifenesh Hadera) needs this year’s contribution to a local charity. Her “radar” goes on as David suggests just half the usual “check”, for now. Then it’s on to their teenage son, Trey (Aubrey Joseph), who goes with dad to his elite basketball camp (one of the coaches is Rick Fox). There, Trey meets with his BFF Kyle (Elijah Wright), who happens to be the son of David’s personal chauffeur, Paul Christopher (Jeffrey Wright). He’s late because he’s gathering the proper papers for the big business “play”. After “touching base” with other company execs, David returns to his lush penthouse apartment to share the big news with Pam. He’s taken out loans, set up several accounts, and called in lots of favors in an attempt to acquire sole ownership of his recording empire. As she processes this news, David takes another call, thinking it’s a possible investor. He’s stunned when the unknown caller informs him that he’s grabbed Trey, and ransom instructions will soon follow. The police are called, while Paul realizes that his son Kyle hasn’t returned yet and isn’t picking up his calls. As the NYPD set up a command center in the dining room, another call occurs. The voice informs David to put together over 17 million dollars in Swiss currency, with drop-off details to come. David assures Pam that he will pay, while a new development has the police scurrying. A patrol car has picked up Trey and is bringing him home. He tells the stunned group that Kyle was grabbed instead. When David gets a new call from the criminal, he boasts that his son is safe, that he has Paul’s son. Nonetheless, the “voice” still insists on the ransom money; otherwise, he’ll murder Kyle. Paul doesn’t have the funds, while David balks at paying, since it would almost wipe out the needed capital for his company’s takeover. Will he make this huge sacrifice for his old friend’s boy? His decision plunges the affluent David into the seedy, crime-ridden underbelly of the Big Apple…

In case we all needed to be reminded of true movie star charisma, Mr. Washington easily delivers that quality from that slow tracking drone shot in the film’s opening minutes to the final fade-out. As King contemplates his “power move”, Washington displays a jovial swagger as he prepares for that day. When it takes that awful turn in the evening hours, we see the darkness consume him as he strains to keep control as his life crumbles. And as a deadly decision weighs on in shoulders, Washington allows us a glimpse of King’s vulnerability as the world seems to turn against him. He then taps into all those qualities in the rousing finale, when David dives into the abyss to demand justice. He’s got a great rapport with the stunning Hadera, who makes the perfect life partner for David. She’s his sounding board and fierce beacon of empathy. They’re a true power couple, though the more volatile pairing is with the always wonderful Wright as Paul. He’s been beaten down by life after losing his wife and spending too many years in the system. Wright gives him an inspiring dignity, pushing back at the police who suspect him (such “side-eye”), while struggling against despair as his beloved son is taken from him. Kudos are also due to the main law-enforcement trio of John Douglas Thompson, LaChanze, and the surly, snarky Dean Winter (“Mayhem” in a superb TV ad series). The biggest “find” may be the fiery performance of rapper A$AP Rocky as fledgling “wannabe” Yung Felon. He’s got an unpredictable energy that gives Washington a chance to reveal another facet to King.

The entire cast is stellar, guided by an elder cinema statesman who is still a “firebrand” after nearly 40 years of films, Spike Lee. He, along with screenwriter Evan Hunter, has put a remarkable spin on a classic crime film from 1963 by Akira Kurosawa, HIGH AND LOW, which he adapted from the novel by Ed McBain, “King’s Ransom”. They’ve taken most of that story’s structure and used it as a reflection on current society, from hip hop culture to the smothering, all-surrounding online community. Lee is in full command as he makes use of a few of his stylistic tropes (the “slow-rolling close-up” is here), an eclectic music soundtrack (the opening song is a strange stunner), and background images that reflect and comment on the characters. Plus, he and cinematographer Matthew Libatique give us a very vibrant NYC, more vivid than most recent flicks. What may surprise most filmgoers is the humor that finds its way into a dark tale of teen kidnapping, while not taking away the “high stakes” involved in the terrible crime. It’s tough stuff, for sure, but Lee sprinkles in lots of levity, even as we worry about the fate of the Kings and the Christophers. For fans of the “source” film, Lee takes a sharp “left” from that story’s third act, which gives the drama and social commentary an added heft. My only problem is the use of the musical score as a smothering “blanket” for many of the pivotal plot sequences, hammering in the emotional “stakes”. It’s a minor quibble with such a thought-provoking and entertaining film, proving that there’s still lots of juice and enjoyment in the fifth collaboration of Lee and Washington. Now they’re truly “stackin’ the hits” with the compelling HIGHEST 2 LOWEST.

3.5 Out of 4

HIGHEST 2 LOWEST is now playing in theatres everywhere

HOW TO TRAIN YOUR DRAGON (2025) – Review

Mason Thames (right) as Hiccup with his Night Fury dragon, Toothless, in Universal Pictures’ live-action How to Train Your Dragon, written and directed by Dean DeBlois.

Some may find it hard to believe, but most critics try to go into a film with no “pre-conceived” notions and expectations. Well, that noble goal is often tested. That was my feeling as I prepared to see yet another “live-action” adaptation of a beloved classic animated feature film. Yes, “another” as this is the third such project to be released this year. Ah, but this does set itself apart from the other 2025 films. The previous two, from March and May, were both from the “Mouse House”, as Disney returned to their “OG” animated icon SNOW WHITE and followed it with a more recent, but adored, property, LILO & STITCH. The latter is still packing the multiplex, while the other…just started streaming on Disney+. Now, this weekend’s release isn’t from them, it’s from a big rival of nearly thirty years, Dreamworks Animation, their very first “re-imagining”. Additionally, it’s helmed by one of the co-directors of the original film, who has brought back one of the voice actors. So do these “upstarts” concoct a “magic movie formula” when they take us back to the world of HOW TO TRAIN YOUR DRAGON? Let’s saddle up those scaly “beasties” once more…


In the opening moments. we’re taken back to that land of “long ago”, the island of Berk. Explaining their current “infestation” is the teenage son of the Viking warrior ruler, weapons apprentice Hiccup (Mason Thames). It’s nighttime and they’re under siege by a fierce flying squad of fire-breathing dragons who carry off the livestock. The adults, led by Hiccup’s burly papa Stoick (Gerard Butler), try to stop the swarm with little success. Hiccup is eager to join, but is held back by Stoick’s best pal, the “single-limbed”, having lost an arm and a leg, Gobber (Nick Frost). But Hiccup sneaks out with a device he has invented, a spring-loaded “bolas-launcher”, which he fires at what he thinks is the most savage and deadly dragon, the rarely-seen “Night Fury”. He’s not sure, but it appears something went down in the forest just over the hill. But Stoick will hear none of it as he whisks him back to their home. The next day, Hiccup ventures into the woods and finds the dragon, tied up in the bolas. Unable to strike a fatal blow with his knife, Hiccup frees him, dubbing him “Toothless”. However, he can’t fly away as part of his tail has broken off. Meanwhile, Gobber convinces Stoick to allow Hiccup to be part of his “dragon-fighting” classes. After much pleading, Hiccup agrees and joins a group of trainees., comprised of cocky, brash Snotlout (Gabrielle Howeell), excited “dragon expert/savant” Fishlegs (Julian Dennisen), bickering twins Ruffnut (Bronwyn James) and Tuffnut (Harry Trevaldwyn) and Hiccup’s “secert crush” the gifted fighter Astrid (Nico Parker), who wants to rule Berk someday. Hiccup flounders at class as he continues to visit Toothless, somehow forming a bond, and eventually fashioning a new “tail-piece” that allows the dragon to fly once more…with Hiccup as his rider/pilot. But can he keep his forbidden “friendship” a secret from his class and especially his father? Could this be the start of a new “era” or ignite a bigger war as Hiccup discovers the real agenda of the dragons?

I don’t wish to disparage the original voice cast, but these young, fairly unknown actors really help bring new energy to the familiar property, allowing it to soar to new heights. First, there are the two young, eventually, romantic leads. Thames, so good in BLACK PHONE, gives Hiccup an extra layer of vulnerability while still being a sweet klutz. With his superb body language and facial expressions, he conveys the hero’s journey of the lad, who somehow finds his humanity by helping his sworn enemy. Parker, who was in the disastrous DUMBO remake, strikes the right balance between tough and tender, as the determined and ambitious “no-nonsense” warrior princess (sans crown). She puts up a hard barrier to Hiccup, but Parker, through her gradually relaxed manner, slowly dissolves away. Perhaps the biggest surprise here is the spirited, bombastic work by the story’s “OG”, Butler, who has really grown into the role of bellowing and often clueless papa Stoick. He brings an electric charge to every scene, reminding us that his considerable gifts have been squandered on far too many mediocre action scripts. He’s great with Thames and hilarious with the very funny Frost as the mentor/coach, whose big heart almost makes up for the missing limbs. Also achingly amusing are the terrific young actors who are his “pupils”. Howell is a swaggering, obnoxious hoot, while Dennison is an endearing charmer as the sweet, zaftig motor-mouth vault of dragon trivia. And anyone with siblings can relate to the constant rivalry and insults (tinged with a tiny bit of affection) of the twins, played with furious zest by James and Trevaldwyn.

Guiding this exceptional cast is the co-director of the original film, Dean Delbois, in his live-action narrative feature debut (he made the doc feature TEN in 2022), and he does a superb job of revisiting his earlier triumph. As many lovers of that will attest, he doesn’t veer far from the script adaptation of Cressida Cowell’s beloved book that he co-wrote with co-director Chris Sanders and Will Davies, which some may find fault with, although fans of the other two live-action redos from 2025 have thrown fits over omitted and added characters and subplots. However this coming of age tale is so strong, that it’s not needed since enough time has passed (15 years) to make this fresh for the children who saw the orignal in theatres (some of you may recall that in those prehistoric “pre-home video” days, Disney would send his animated classics out of the vault and back on to big screens at seven-year-intervals). Well, Deblois did add an excellent subplot about Snotlout’s strained relationship with his blasé pop Spitelout, played with a disinterested scowl by Peter Serafinowicz. And yes, the dragons are still CGI creations, though they have more detailed textures, especially Toothless, and have a more realistic tone resembling the recent Godzilla reboots rather than the bulging eyes and rubbery limbs similar to Mad Magazine’s series of “Horrifying Cliches” drawn by the great Paul Coker, Jr. Another big plus is the use of several practical sets (with some CGI “tweaks”, no doubt) in the village along with the imaginative costuming (imagine the fur and horn budget). Happily, John Powell also returns with thrilling variations on his familiar themes. Yes, it’s like picking up a treasured childhood tome off of the bookshelf that’s given a fresh spin by the talented cast of young actors paired with an invigorated vet. Oh, if all the remakes and “re-workings” were as entrancing and endearing as HOW TO TRAIN YOUR DRAGON…

3.5 Out of 4

HOW TO TRAIN YOUR DRAGON (2025) is now playing in theatres everywhere

LILO & STITCH (2025) – review

And we’re finally back to the blockbusters, to be precise, the big Summer box office blockbusters, that will dominate the multiplex for this weekend (of many to arrive). Of the titanic duo for the three-day holiday, this one’s a remake, though it actually may be considered a “franchise” or even a “tent pole”. In the wake of the huge success of the Marvel Cinematic Universe, several other studios have wanted their own “unified, united film series”. In a few weeks, we’ll see DC Studios at Warner Bros. try once more with SUPERMAN, while Universal continues to “fiddle” with their “Dark Universe” returns of the classic movie monsters of the “golden age” (Dracula, Frankenstein, etc.). Well, that “home of Marvel”, Disney, has an ongoing universe comprised of “live-action” remakes of their iconic animated classics. They stumbled, to put it lightly, a couple of months ago with SNOW WHITE. That nixed a planned redo of TANGLED, but this new redo was already well “down the pipeline”. Maybe since this isn’t almost 90 years old like the March misfire, this “re-imagining” of a 23-year-old cartoon feature will work, since children continue to adore (I’m stunned by all the clothing “merch” over the last few years) the cartoon chaos of LILO & STITCH.

We return to deep, far, faraway outer space as the United Galactic Federation meets to pass judgement on “mad” scientist Jumba Jookiba (voice of Zach Galifianakis). The Councilwoman (VO: Hannnah Waddingham) announces that he’ll be imprisoned while his “creation”, the destructive, wild Project 626, will be banished to a barren, empty world. Well, the little critter breaks his bonds and hijacks a ship and is on his way to Earth. The Councilwoman is relieved since the planet appears to be comprised of water…until she sees that 626 has crashed on an island. She then sends “Earth expert” Agent Pleakley (VO: Billy Magnussen) off to retrieve it with the begrudging help of Jookiba, who hopes this will help to reduce his “sentence”. Meanwhile, on that Hawaiian island named Kaua’i, an orphaned six-year-old girl, Lilo (Maia Kealoha), struggles to make friends and stay out of trouble. Luckily she’s not completely alone, as she lives with her nineteen-year-old sister Nani (Sydney Elizebeth Agudong), who is her legal guardian after the death of their parents. But she’s having a tough time holding down a job while keeping their home tidy for the inspection from a kindly but firm social worker, Mrs. Kekoa (Tia Carrere). Luckily, Nani is helped by her neighbor Tutu (Amy Hill) and her smitten (with Nani) grandson David (Kalpo Dudoit). When 626 crash-lands, he disrupts a big wedding party, before being knocked out by a truck and taken to an animal shelter. That’s where he’s spotted by Lilo, who’s been begging for a puppy. 626 retracts the spikes on his back, along with his antennae and a pair of arms (he has four and two feet) in order to look more like a dog. It follows Lilo home, where she names it Stitch (VO: Chris Sanders). Oh, his pursuers are not far behind, as Jookiba and Pleakley assume human form and search for the escapee. Also on the hunt is CIA agent Cobra Bubbles (Courtney B. Vance), who suspects that an alien is on the loose. Can Stitch evade them while curbing his destructive instincts as Nani tries to convince Kekoa that she should retain custody of lil’ sis’ Lilo?

Heading up the cast, in the “co-title” role is the bubbly, effervescent screen newcomer (hey, she’s only nine now) Kealoha as Lilo. She’s got an infectious smile, bringing lots of good-natured energy to the role, getting us on her side when those “mean girls” zero in on her. She has a good rapport with the more-seasoned actress Augudong as her frazzled big sis Nani, who has a deft comic touch even in the manic slapstick sequences as she tries to keep the crazy chaos under control. Galifianakis tones down his weird, awkward comedy flick persona as the fussy and devious mad doc Jookiba. Most of the alien zaniness (aside from Stitch) is provided by Magnussen, who appears to be having a grand old time goofing on his leading man looks. Vance is somber and stoic as the determined fed who’s always a few steps behind his quarry. Carrere projects warmth and concern in a role that is usually villainess, but her social worker is truly trying to help things work out for the siblings. Hill is also a nurturing presence as the protector of those girls. while being a good “foil” for Dudoit as her clumsy, cute, and charming grandson who just can’t say the right things to his adored Nani.

So, this is a big leap from MARCEL THE SHELL WITH SHOES ON for director Dean Fleischer Camp as he tackles a sprawling family fantasy adventure. For most of it 108-minute runtime, he keeps the story afloat with the plot pretty much “on track’ in a variation of the classic cartoon chases (think the Roadrunner and the Coyote, Tom and Jerry, etc.). And, as with many of these remakes, it’s not really all “live-action” as Stitch and all the aliens have now gone from smooth, fluid, hand-drawn (2-D) animation to state-of-the-art, every hair rendered CGI animation (we don’t see the live actors in the first six or seven minutes of the “space trial”). And these beloved cartoons have lost little of their appeal in the transition, though I’m not keen on Pleakley’s mucus-like skin texture. So the effects animation is slick, but it doesn’t mesh completely with the often clunky live slapstick, with many of the action set pieces ending with “wacky” frozen still shots. It proves distracting, much like the overuse of vocal “looping” or ADR, which results in many quick cutaways while characters are speaking. And a few shots where bits of dialogue are delivered by actors with their backs to the viewer. Perhaps this may have been implemented due to the stilted line direction of some film acting novices. For a time, I was flashing back to one of the many irritations of MADAME WEB (they set the bar very low for audio editing). The whole film seems to be running (or swimming) in circles, going into its second hour, with the obligatory set destruction and the overused “death fake-out” of so many family-friendly flicks. Sure, the island locations are gorgeous, and kids will still love the gross-out antics of Stitch, but those not swept away by a wave of nostalgia for that 2002 original may prefer to dust off that DVD (or VHS tape) for a more consistently entertaining comic romp with LILO & STITCH. Aloha!

2.5 Out of 4

LILO & STITCH is now playing in theatres everywhere

THE WEDDING BANQUET (2025) – Review

Well, here comes another film to reflect the season of love, Spring. We’re in a short “window” in which romance rules the multiplex just as the big noisy Summer blockbusters start to trickle in (hopefully the MINECRAFT chaos and calamity don’t spill into the other screens). Now last week we saw a “first date movie that was also a “thriller-diller” (DROP). And what follows the initial meeting, perhaps much later? The big nuptuals, natch’. As with the former flick, this one is a mix as it can be considered a comedy-drama, or “dramedy’, while also tossing in another element: it’s a remake. And you’re beginning to feel your age when you can recall going to that original film almost 32 years ago. Oh, and some more plot twists are tossed in to add more flavor and a bit of spice to THE WEDDING BANQUET.


Now, the story actually focuses on two couples involved in the title event. We first meet millennial Lesbian couple Lee (Lily Gladstone) and Angela (Kelly Marie Tran) at an awards function honoring PFLAG mother-of-the-year, the latter’s mum, May Chen (Joan Chen). But the evening’s not over after she receives her plaque. The duo hastily retreats to an art show for textile creator Min (Han Gi-Chan), who is the domestic partner of Angela’s old college pal, stockbroker-in-training Chris (Bowen Yang). At the end of the night, the quartet heads back to the home they share, actually, the ladies live in the main house (which Lee inherited) while the men have made the garage their “space”. Things start to change for all of them in the coming days. Min is called into the Seattle branch of his family’s international company for an online chat with his Korean grandmother Ja-Young (Youn Yuh-jung), who, along with her hubby, raised him after the death of his parents. She belives that it’s time for him to return to his homeland to run the family business since his schooling is finished and he has no wife (Min hasn’t “come out’ to his conservative family). Meanwhile the IVF process for Lee and Angela to start a family has suffered another setback. The latest treatment didn’t “take” so Lee has only a couple more chances for motherhood.. Meanwhile Chris rejects Min’s proposal for marriage as he doesn’t want a “green card” wedding and cause Min’s family to disown him. Later, back at the house, Lee and Chris are stunned when Angela and Min hatch a plan. They will get married so that Min can stay in the country while helping to fund Lee’s next IVF try. Min sends word of his engagement to Korea and all seems well…until Ja-Young tells him that she’s boarding the family jet and will be there to meet his fiancée in just a few hours. Can the quartet pull off this ruse in mere hours? And what happens when Grandma insists on staying to attend and plan the big ceremony and celebration?

The many dramatic and comedic moments somehow work seamlessly thanks to the talented quartet at the story’s center. After several heavy tragic roles, Gladstone flexes her humor “chops” as the partner who is set on enduring any medical procedure in order to bring a child into her and her partner’s life. Her Lee is warm and caring, even as she must deceive a few folks in order to see her dream through…up to a point. Sparks fly when she must make a stand and attempt to get Angela to “open up”. In that role, Tran often “shuts down” rather than deal with her disappointments and frustrations, particularly with her flighty mother. Tran is also very funny as she awkwardly dons the disguise of subservient “wifey”, until she gets a chance to cut loose with her ole’ college pal. As Chris, the comic gifts of Yang, so good on SNL, is tempered with the character’s longing to be with his love, while knowing that his passion could cost Min everything, and forcing Chris to push him aside to avoid being a “family crusher”. Yang continues to be the master of reaction shots, from disgust to complete panic, especially when he must hide all the “gay decor, running about as if he were in a zany 1950s sitcom. He’s a terrific counterpoint to Chan as the sweet, somewhat naive artist Min, who doesn’t understand why Chris doesn’t believe that he’ll give up everything for him. There’s also wonderful supporting work from two veteran screen actresses. Welcome back, Ms. Chen (can THE LAST EMPORER really be 37 years ago) as Angela’s brassy, often clueless martiarch who now relishes and exploits her role as the proud “media mom”. And Yuh-jung proves her MINARI Oscar was no fluke as the stern but sweet grandmother who can’t be easily conned. Also of note is the raunchy, funny work of Bobo Lee as Chris’ wild, free-spirited cousin.

Director/screen-adaptor Andrew Ahn takes many of the basic plot points of Ang Lee’s 1993 classic and puts a fresh modern spin on the family dynamics and the alternative lifestyles, though these characters today are much closer to the urban “mainstream”. Ahn makes excellent use of the Vancouver locales that stand in for Seattle, and gives us a superb inside “peek” into the tradition of Asian unions, melding the cultures of Korea and China (those post-event feasts will have you drooling). Most importantly, Ahn’s riff on Ang hits all the right romantic notes as lovers squabble and reunite, while trying to navigate around those still rigid in the “old ways”. The pace is fluid, buoyed by a vibrant soundtrack. And, as mentioned, this exceptional cast never hits a flat or false”note”. Much like the meal itself, THE WEDDING BANQUET is warm, tasty, and very satisfying.


3 out of 4

THE WEDDING BANQUET is now playing in select theatres

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.