In one month’s time, expect visitors from every universe. The brand new trailer has dropped for Columbia Pictures’ SPIDER-MAN: NO WAY HOME.
For the first time in the cinematic history of Spider-Man, our friendly neighborhood hero is unmasked and no longer able to separate his normal life from the high-stakes of being a Super Hero. When he asks for help from Doctor Strange the stakes become even more dangerous, forcing him to discover what it truly means to be Spider-Man.
Tickets on sale C̶y̶b̶e̶r̶ Spider-Monday, November 29.
Spider-man hanging on in Columbia Pictures’ SPIDER-MAN: NO WAY HOME.Spider-Man perched atop a light in Columbia Pictures’ SPIDER-MAN: NO WAY HOME.
The film is helmed by Jon Watts and produced by Amy Pascal and Kevin Feige. Watts directed and co-wrote Spiderman “Homecoming” (review) and “Far From Home.” (review)
It was announced in December 2020 that Watts would direct an upcoming Fantastic Four film.
Jon Watts will direct the new feature film for Marvel's First Family, Fantastic Four! pic.twitter.com/Eu26ghxbGT
Tom Holland stars as Peter Parker/Spider-Man and Benedict Cumberbatch stars as Doctor Strange in Columbia Pictures’ SPIDER-MAN: NO WAY HOME.Doctor Strange (Benedict Cumberbatch) looks on at Spider-Man in Columbia Pictures’ SPIDER-MAN: NO WAY HOME.
Based on the MARVEL Comic Book by Stan Lee and Steve Ditko, SPIDER-MAN™: NO WAY HOME exclusively in movie theaters on December 17, 2021.
Spider-Man from Columbia Pictures’ SPIDER-MAN: NO WAY HOME.
For the first time in the cinematic history of Spider-Man, our friendly neighborhood hero is unmasked and no longer able to separate his normal life from the high-stakes of being a Super Hero. When he asks for help from Doctor Strange the stakes become even more dangerous, forcing him to discover what it truly means to be Spider-Man.
From director Jon Watts, watch the first trailer for SPIDER-MAN: NO WAY HOME, in theaters only on December 17.
Based on the MARVEL Comic Book by Stan Lee and Steve Ditko, it looks like Spidey will be dealing with Alfred Molina’s Doctor Octopus, Jamie Foxx’s Electro, and Willem Dafoe’s Green Goblin.
See what the director had to say over on his Instagram page:
Check out the fan theories in this Easter Egg filled video from Heavy Spoilers and his take on the possible Sinister Six Line-up, Doctor Strange, Mephisto, Wanda, Loki, Scorpion, Doc Ock, Green Goblin. The best theory is “The way Doc Ock said “hello Peter” could possibly mean that he is talking to Tobey Maguire and not Tom Holland?” The two were last seen on screen together in Sam Raimi’s 2004 sequel Spider-Man 2. And could Matt Murdock/Daredevil also make an appearanae?
Tom Holland stars as Peter Parker/Spider-Man and Benedict Cumberbatch stars as Doctor Strange in Columbia Pictures’ SPIDER-MAN: NO WAY HOME.Benedict Cumberbatch stars as Doctor Strange and Tom Holland stars as Spider-Man/Peter Parker in Columbia Pictures’ SPIDER-MAN: NO WAY HOME.
From the director of The Bourne Identity and Edge of Tomorrow and based on the best-selling novel The Knife of Never Letting Go, comes Chaos Walking, starring Daisy Ridley and Tom Holland, with Mads Mikkelsen, Nick Jonas, Cynthia Erivo, and David Oyelowo. In theaters Friday, March 5th!
#ChaosWalking
#ChaosWalkingTheMovie
In the not too distant future, Todd Hewitt (Tom Holland) discovers Viola (Daisy Ridley), a mysterious girl who crash lands on his planet, where all the women have disappeared and the men are afflicted by “the Noise” – a force that puts all their thoughts on display. In this dangerous landscape, Viola’s life is threatened – and as Todd vows to protect her, he will have to discover his own inner power and unlock the planet’s dark secrets.
WAMG is giving away ATOM tickets to see the film in theaters. Each winner will also get a prize pack with movie swag!!
For a chance to win,enter you name and email address in our comments section below for a chance to win to see the film in theatres.
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Here’s a film whose behind-the-scenes (and one in “in front”) story may be just as, if not more, interesting as the plot. It addresses the ages-old battle between art and commerce, but it’s not to say that the two are always mutually exclusive. To put it a bit more clearly, this highlights the cinematic clashes between big-budget blockbusters and small gritty “indie” dramas. Also it offers a test for the “career trajectory” of filmmakers. And it’s not a new thing. After the box office explosion of STAR WARS in 1977, George Lucas told the press that after producing the two follow-ups, his new directorial efforts would be personal “artistic” experiments. But when he got back in the director’s chair 22 years later he returned to that “galaxy far, far away” for the “prequel trilogy”. Similar thing happened a few years later with Peter Jackson, who talked up intimate dramas after the Lord of the Rings trio, then remade KING KONG before he was back in Middle Earth for the HOBBIT flicks. Now here’s the directing duo behind, literally, the biggest money-making spectacular ever, who are really going ahead with those old intentions as they get their “down and dirty” with the drug-fueled crime thriller CHERRY.
Well, perhaps this is more a fable ala’ Gump or Garp, though more brutal and cautionary. As we meet our twenty-something hero, merely called “Cheery” (Tom Holland), he’s cruising the “mean streets” of Cleveland prior to his latest bit of lawlessness. Ah but he wasn’t always a criminal. His story jumps back nearly a decade, when he was drifting between his college classes, partying with his old neighborhood “buds” Forrest Goodluck (James Lightfoot) and “Cousin” Joe (Michael Gandolfini), and bouncing from one eatery gig (busboy, bartender) to the next. Then he was “gobsmacked” by his “fantasy girl made real” Emily (Ciara Bravo). Though she’s from “the right side of the track” , the two begin a romance. All seems well until Emily tells him that once the semester is over, she plans to continue her studies elsewhere, perhaps overseas. Cherry decides his best option for the future would be as an Army medic and enlists. Ah, but she’s changed her mind about leaving, so the pair impulsively tie the knot prior to his basic training. The near constant abuse from the drill sergeants can’t prepare him for the horrors of early 21st century Afghanistan. Cherry returns to the states a broken man whose “night terrors” are treated by government prescriptions, including Oxycotin. From there it’s a quick trip to heroin addcition. After several tries to get her hubby “clean”, Emily joins him. Soon the “junkie” couple rack-up a massive debt to the local supplier known as “Pills and Coke” (Jack Reynor). His threats of violence seemingly leave Cheery no choice but to begin his crime career by knocking off local banks.Which circles right around to our initial introduction to him. Can Cherry end this vicious circle before both he and Emily end up in the grave or in prison?
Taking a break from the red and blue bodysuit, Holland reminds us of his formidable range, showing us that he’s much more than the nice young lad next door (though, making the web-slinger so relatable is no mean feat itself). Can it really be nine years since he astounded audiences with his stunning work in the tsunami tear-jerker THE IMPOSSIBLE (I recall thinking that audiences should keep an eye out for him)? In this lead role, Holland convincingly morphs from casual college kid to hardened war survivor to burnt-out scavenger forced into felonies. Through it all, we see Cherry’s adoration for Emily even through his often stoned eyes, which gives the often irresponsible drifter a real beating heart beneath the needles and the stick-ups. Cherry is truly a multi-layered character and Holland makes his every struggle vibrant and real. It helps that he’s got crackling chemistry with screen newcomer Bravo who strives to remove Emily from her unattainable “goddess” pedestal, as she shows us the “cracks’ in her seemingly perfect image. At first we believe that she’s merely toying with Cherry who’s her “walk on the wild side”, but Bravo shows us Emily’s sensitive side as she truly lets him into her heart. This makes her descent into Hell, tangled up as she tries to saves her soulmate, so devastating, especially as she shoots up during her school day. And though he doesn’t appear until the story’s tense third act, Reynor is pure banal evil as the dealer exploiting the couple. “P and C’ is full of blustery threats, but revealing his true nature when “aiding” Cherry’s “cash grabs”. A sequence in which he taunts an innocent with his deadly wares is truly chilling.
And the director duo collaborated with Holland three times before. Of course, we’re talking about the Russo brothers, Anthony and Joe, who put together the biggest hit of the Marvel Cinematic Universe, and of all time, AVENGERS: ENDGAME. Here’s they’re returning to their 2002 roots (WELCOME TO COLLINWOOD) with the low-rent crime caper adding maybe a touch of their character comedy YOU, ME, AND DEPREE (though not many laughs on this one). The men are able to “go with the flow” of this fable of one man’s folly and fortunes, going from first love in the first chapter (and the film does have chapter headings) to exhausting battle drama (the basic training scenes have a true FULL METAL JACKET vibe, while the desert shoot-outs are as harrowing as last year’s THE OUTPOST) before settling into an addiction crime spree right out of DRUGSTORE COWBOY. Giving the film much of its dramatic heft is the screenplay by Angela Russo-Otstot and Jessica Goldberg adapting the Nico Walker novel, but there’s still touches of keen satire as they dole out funny spoof names of Cherry’s “targets” ( “Capitol None” and “Sh*#ty Bank”). The epilogue may feel a tad rushed, but by the end, you feel like you’ve truly shared a seat in a rollercoaster of a life. The Russos haven’t lost their touch with the “reglar’ Joes” after bringing life to our modern mythology (though the pace doesn’t zip as with that previous epic). Like its namesake, CHERRY is often sweet, but its look at the “have-nots” can be bitter and very biting. It’s a vivid “vacay” from the MCU.
3 Out of 4
CHERRY opens in select theaters on Friday, February 26, 2021.
CHERRY also streams exclusively on Apple TV+ beginning March 12, 2021
Today Apple TV+ unveiled the trailer for the new film, “Cherry”.
“Cherry” will premiere in select theatres on February 26 and globally on Apple TV+ March 12, 2021.
“Cherry” follows the wild journey of a disenfranchised young man from Ohio who meets the love of his life, only to risk losing her through a series of bad decisions and challenging life circumstances. Inspired by the best-selling novel of the same name, “Cherry” features Tom Holland in the title role as an unhinged character who drifts from dropping out of college to serving in Iraq as an Army medic and is only anchored by his one true love, Emily (Ciara Bravo).
When Cherry returns home a war hero, he battles the demons of undiagnosed PTSD and spirals into drug addiction, surrounding himself with a menagerie of depraved misfits. Draining his finances, Cherry turns to bank robbing to fund his addiction, shattering his relationship with Emily along the way. Brought to the screen in bold, gritty fashion by visionary directors Anthony and Joe Russo, “Cherry” is a darkly humorous, unflinching coming-of-age story of a man on a universal quest for purpose and human connection.
Cherry, an Apple Original Films, Hideaway Entertainment, and AGBO production in association with Endeavor Content, stars Tom Holland and Ciara Bravo. Screenplay by Angela Russo-Otstot and Jessica Goldberg.
From the director of The Bourne Identity and Edge of Tomorrow and based on the best-selling novel The Knife of Never Letting Go, Daisy Ridley and Tom Holland star with Mads Mikkelsen, Demián Bichir, Cynthia Erivo, Nick Jonas, Kurt Sutter, and David Oyelowo in Chaos Walking.
Look at this exciting trailer:
In the not too distant future, Todd Hewitt (Tom Holland) discovers Viola (Daisy Ridley), a mysterious girl who crash lands on his planet, where all the women have disappeared and the men are afflicted by “the Noise” – a force that puts all their thoughts on display. In this dangerous landscape, Viola’s life is threatened – and as Todd vows to protect her, he will have to discover his own inner power and unlock the planet’s dark secrets.
CHAOS WALKING stars Daisy Ridley, Tom Holland, Mads Mikkelsen, Demián Bichir, Cynthia Erivo, Nick Jonas, Kurt Sutter, and David Oyelowo
In the explosive Midwestern Gothic tale THE DEVIL ALL THE TIME, spanning two decades, sinister characters converge around young Arvin Russell as he fights the evil forces that threaten him and everything he loves. Based on Donald Ray Pollock’s award-winning novel.
In Knockemstiff, Ohio and its neighboring backwoods, sinister characters — an unholy preacher (Robert Pattinson), twisted couple (Jason Clarke and Riley Keough), and crooked sheriff (Sebastian Stan) — converge around young Arvin Russell (Tom Holland) as he fights the evil forces that threaten him and his family. Spanning the time between World War II and the Vietnam war, director Antonio Campos’ THE DEVIL ALL THE TIME renders a seductive and horrific landscape that pits the just against the corrupted. Co-starring Bill Skarsgård, Mia Wasikowska, Harry Melling, Haley Bennett, and Pokey Lafarge, this suspenseful, finely-woven tale is adapted from Donald Ray Pollock’s award-winning novel.
THE DEVIL ALL THE TIME stars Tom Holland, Bill Skarsgård, Riley Keough, Jason Clarke, Sebastian Stan, Haley Bennett, Harry Melling, Eliza Scanlen with Mia Wasikowska and Robert Pattinson
Join Will Smith and Tom Holland on the mission of a lifetime. Bring home the adventure on Digital, Blu-ray, and 4K Ultra HD on March 10.
In this high-flying animated comedy, super spy Lance Sterling (Will Smith) and scientist Walter Beckett (Tom Holland) are almost exact opposites. Lance is smooth, suave and debonair. Walter is none of the above. But this unlikely duo must team up for the ultimate mission to save the world when a “biodynamic concealment” experiment transforms Lance into a brave, fierce, majestic…pigeon!
Experience the hilarious thrills of SPIES IN DISGUISE, which is Certified-Fresh on Rotten Tomatoes™, from the comfort of your own home, along with Blu-rayTMbonus features including multiple making-of featurettes and two awesome music videos. Additionally, the Blu-rayTMeditionofSPIES IN DISGUISEincludes “Super Secret Spy Mode,” an immersive, in-movie experience that takes you deeper into the story with Easter eggs, fun facts, and behind-the-scenes insights into the making of the film.
Add SPIES IN DISGUISEto your digital collection on Movies Anywhere, or own iton 4K Ultra HDTM, Blu-rayTMand DVD on March 10.
SPIES IN DISGUISE Digital & Blu-ray Bonus Features:
For animation feature fans it’s been a long cold couple of months since the Christmas Day release of SPIES IN DISGUISE (not the clump of coal many thought, but not a big award-grabber). Well, the drought is finally over. This weekend sees the first big studio feature animated flick of 2020, and we’re not counting SONIC THE HEDGEHOG or CALL OF THE WILD which had CGI stars (or co-stars) working with humans against mostly real backdrops. And it’s the “jackpot” for fans because it’s from the talented folks from Emeryville, CA: Pixar. Though it’s a tad early (they generally release their works in Summer or close to the end of the year), it’s because it’s the first time in five years that they’ve got two flicks in the same year (SOUL arrives in June). Oh, and another reason to be interested: this is the first original, non-sequel in over two years (it was franchise time in 2018 for INCREDIBLE 2 and last year’s Oscar-winning TOY STORY 4). Yes, new territory for Pixar, but the setting is familiar from a couple of live-action box office blockbuster trilogies from the last couple of decades. But enough of this teasing and pondering, to quote one of this story’s characters. “Let’s shift into ONWARD!”.
As the film opens, we’re given some backstory on this world fairly close to our own. Ah, but this is a realm of fantasy, at least back in it’s “olden days”. Warriors and adventurers teamed with wizards and sorcerers to battle (now considered) mythical beasts on epic quests. Well, until magic went out of the public’s favor. They instead turned to the much-easier science-based technology. Light bulbs led to automobiles, and so forth. Fantasy creatures still exist, but within an urban/suburban setting much like ours. The plot focuses on one such family, of point-eared bluish elves, the Lightfoots. Ian (Tom Holland) lives a happy life in New Mushroom Town with his older brother Barley (Chris Pratt), who’s in a long “gap year” before starting college, and single mom Laurel (Julia Louis-Dreyfus), who’s dating a straight-laced centaur cop named Colt Bronco (Mel Rodriguez). He’s a socially awkward high-schooler, while his boisterous big “bro’ yearns for the magic of the past, trying to save old relics like the stone fountain. On Ian’s sixteenth birthday he recieves a most unexpected gift from his father who died before he was born. Before passing he told Laurel to present it to him on this special days. What’s the long thin item wrapped in a blanket? It’s a wizard’s staff along with a super rare Phoenix jewel as its top piece. Plus handy instructions including a phrase that will bring back Pop for a limited time (the next sunset). Naturally, Barley wants to cast the spell, but after multiple failed attempts, Laurel leaves to pick up the birthday cake. Then Ian decides to give it a go. And it works…halfway. From the Hush Puppy-style shoes to the belt on his polyester slacks. Half a Dad. And the jewel is toast. Of course, Barley has a plan. He and Ian (and partial Pop) will embark on a quest to locate another Phoenix Stone. But first, they must get its location from the ferocious beast-warrior of legend, the Manticore (Octavia Spencer). Simple eh? Except for a lil’ curse on said gem.
In their first pairing outside the Marvel Movie-verse, Holland and Pratt (Spidey and Starlord) make a most endearing “Odd Couple” of siblings. As the shy Ian, Holland amps up the Peter Parker anxiety, while giving him a most compelling desire, that yearning for just a few minutes with his patriarch. Plus he hits all the right comedic notes as he tries to cover for his impulsive big Bro. And Pratt adds lots of bluster and energy to the enthusiastic, ultra-caffeinated Barley. He seems to have enough confidence for the both of them (with tons to spare). But there’s a softer side, as he speaks of his own fading memories of dad, and later when he’s unintentionally hurt by Ian, one that nearly saps his spirit. Louis-Dreyfus makes for a most sympathetic mother, she helps her boys despite her own sorrow over her loss so many years ago. Laurel’s frustrated with her guys but calls on a bottomless wellspring of courage to protect them when needed. Almost matching the manic Pratt is Spencer, who’s so busy juggling her modern responsibilities (maybe plate spinning is more apt) that she almost forgets her true nature, buried away until Barley reminds her of it. And kudos to Rodriguez for his inspired comic turn as the very “un-cool” cop named Colt. He cares greatly for the Lightfoot family but just can’t connect with those kids (maybe that nervous whinny-chuckle is to blame).
Dan Scanlon, veteran director of MONSTERS UNIVERSITY, keeps the action rolling along while never losing the focus of the relationship between the two very different Lightfoot brothers. Of course, this is greatly aided by the witty script he co-wrote with Jason Headley and Keith Bunin. The only real problem with the project is its somewhat dated feel. Aside from nods to the Rings and Hobbit trilogy, the winks at the D&D role-playing games make the flick seem about 40 years late to the party. Fortunately the look of the film is lush with dazzling backgrounds, ranging from the sprawling vistas to the often grungy urban streets (a constantly packed highway with zooming cars is almost as scary as a similar sequence in GOOD BOYS). Then there are the details on the characters themselves. I thought Barley’s denim vest festooned with “heavy metal” patches accented with a plastic wrist cast truly defined his personality. This extends to the terrific supporting players, from a biker gang called the Pixie Dusters to the Gollum-like sleezy pawn shop owner. But the eye candy can’t make up for “wheel-spinning” retreads of Indiana Jones booby traps, which delay the slam-bang climax involving a very unique take on the dragon-staple of the dice-rolling role games, a big change from the Lightfoot family pet dragon, a serpent-spin on Dino from the classic TV cartoons. The film’s strong point is the brothers’ bond, perhaps just as fierce as the FROZEN sisters, and that longing for just one more day with a departed dad. That story thread elevates this above most of the lackluster manic forgetttable noisy nonsense that’s passed off as family entertainment. So proceed ONWARD to the multiplex, already and let it cast its spell on you.
The morning of the big day has finally arrived. The toys are opened and the house is “knee-deep” in glossy wrapping paper. After a big breakfast or brunch, what are you going to do when the tots start to bounce off the walls? Well, you pile them in the car and head out to the movies, at least that’s what the studios are hoping. So after playing with the toys from Santa, how about a new animated kid flick that’s about toys? We’re not talking about Woody and Buzz (so last Summer), but high tech spy gadgets and gizmos aplenty. Bond won’t be back for a few more months, and he’s a bit too “randy” for the wee ones, so who’s more family-friendly (especially in ‘toon form’ than Will Smith? He has had a busy year, going from Genie to Gemini Man and now he’s one of the SPIES IN DISGUISE.
But we don’t meet “big Willie” when the story starts. It’s a flashback, fifteen years ago, with a little guy who amuses his policewoman mom with his cardboard and paste devices that explode in glitter. He seems to be a grade school spy guy. Flash forward cut to now, as the real deal, super-secret agent Lance Sterling (voice of Smith) infiltrates a snow covered fortress. His mission: stop Killian (Ben Mendelsohn) from acquiring a list of all active undercover agents from data kingpin Kimura (Masi Oka). After evading the horde of assassins and hitmen, Lance almost succeeds until he’s tripped up by a bit of tech. But the pursuit of Killian has to be put on hold as he’s called back to HQ in D.C. (under the pool at the Lincoln Memorial). On the way in he dresses down and fires newbie gadget inventor Walter Beckett (Tom Holland), the now-adult kid from earlier. But the routine meeting with Lance’s boss Joy Jenkins (Reba McEntire) goes off the rails when she shows him a video of the data thief, who now has Lance’s face (though with Killian’s robotic hand). Suddenly the doors burst open to reveal the head of the agency security, Marcy Kappel (Rashida Jones) with her aides Eyes (Karen Gillan) and Ears (DJ Khaled), who are there to detain and question Lance. But he escapes, hoping to clear his name. He’ll need some more gizmos so he goes to the home of the guy he just fired. Luckily Walter’s working on the ultimate disguise formula and shows the agent some of his new projects. Thinking it’s a glass of water, Lance gulps down that formula and changes into a…pigeon. It’ll take Walter 18 hours to make a possible antidote, but Marcy has tracked them down. They’ve got to avoid her and her crew while following Killian’s trail from a swanky Mexican ocean resort to the streets and canals of Venice. But how can Lance accomplish this when he’s (in his own words) a “feathered street rat”?
The voice cast brings a great deal of energy and expert timing to the often meandering script. Particularly entertaining is the chemistry between the film’s “action buddy” pairing of the lead duo. Each of them brings a lot of their previous feature film personas into these roles. Smith’s Lance has much of the cool swagger of his MEN IN BLACK’s Agent J mixed with the bravado of his last real secret agent roles in the box office fizzles GEMINI MAN and WILD WILD WEST (whew that one still smells after 20 years). And he’s just got a way with the wisecracks as he’s walloping a nearly endless stream of thugs. He’s an engaging counterpart to Holland’s brainy but timid Walter who’s a not so distant cousin to Peter Parker (minus the arachnid abilities and Stark upgrades). Luckily he’s got an infectious enthusiasm and appears to enjoy getting away from the lab, despite his trembling qualms. These two truly “play” well together. And they work splendidly against Mendelsohn who seems to be doing a whimsical comic “riff’ on his many sneering baddies as Killian. Jones makes Marcy most endearing as Marcy, who’s a more quick-witted take on the old “good guy who figures out she’s trying to nab another good guy” ala Tommy Lee Jones in THE FUGITIVE. And McEntire is a terrific “boss Lady” as Joy, though I really thought it was Holly Hunter when she first ordered Lance about.
Hard to believe, but this is the 13th feature film from Fox’s animation branch Blue Sky Studios (the first ICE AGE was in 2002), but the film certainly deserves a place at the “table’ along with the Disney/Pixar folks and Illumination. The movement is fluid and the colors, especially in the exotic locales, really pop off the screen (hopefully 3D doesn’t dull their luster). Particularly impressive is the character design work with Lance and Walter really resembling their human actors, but with some fun “tweaks”. Lance really captures Smith’s head shape, with subtle shading to denote a chiseled cheek, which flows right into the puffed upper body (perhaps the legs could be a bit thicker to support that torso). Walter’s got a clown-like bulbous nose which is well framed by his frizzy-mopped hair, all atop a gangly body that recalls many a silent movie clown. Really, the visual performances of the two are terrific. Unfortunately, lance spends a bit too much time in pigeon form, with a bowling pin design that’s weighted at the bottom, making him move like a billiard ball in a wet sack. The other birds they encounter aren’t much more visually interesting, despite the weird thing (a stick candy “drop”) on the head of one (guess he’s “zany”). The first time feature-directing duo of Nick Bruno and Troy Quane handle the big action set piece with vigor, but the film falters a bit in the quieter moments. That may be the main fault in the script which too often goes for easy “gross-out” gags (massive Kimura is without his robe while losing control of his “functions”). And Lance is much more interesting in his human form (the lil’ ones may be impatient for more funny spy action minus the feathers). But it’s a relief that the moral of learning to ask for help and not getting too “cocky’ isn’t “hammered” home as in too many family-friendly flicks. SPIES IN DISGUISE has enough eye candy, wit, and vocal talent to be a pretty painless post-holiday trek to the multiplex. It doesn’t soar, but the flick never crashes, as Lance does at his first flight attempt. Maybe for the follow-up they’ll lose the avian angle.
