Tag: tony hale

INSIDE OUT 2- Review

Well, now we’re in “prime” Summer movie season mode as one of the big “crowd-pleasing” studios drops its 28th feature film into the multiplexes this weekend. Oh, and it is truly animated with eye-popping visuals and splendid imaginative designs. And after the animal stars dominating the cartoon landscape this year with Kung Fu Panda and Garfield, we’re focusing on a human being, Well, mostly what’s going on in this teenager’s head, so we’re revisiting a set of creatures based on emotions and meeting a bunch of new “feelings”. Of course, I’m speaking of Pixar, who have decided to produce a sequel to a much-admired Oscar-winning 2015 “dramedy/fantasy”, after several interesting original flicks like SOUL, TURNING RED, and ELEMENTAL (so don’t think they’re just exploiting their “IP”). Yes, it’s been nine years, but animation can “tweak” time, so it’s only been a couple of years since we’ve checked in with that young woman named Riley. And there’s a lot going on at her brain’s control center at the start of INSIDE OUT 2.

But there are lots of familiar faces and emotions pushing buttons at “the board”. Joy (voice of Amy Poehler) is still mainly in charge, aided by Sadness (Phyllis Smith), Anger (Lewis Black), Fear (Tony Hale), and Disgust (Liza Lapira). As for Riley( Kensington Tallman), she’s enjoying the last year of grade school playing alongside best pals Grace and Bree on the school’s championship-bound hockey team, the Foghorns. Joy believes a bit part of her success is Riley’s developing “Sense of Self”, a glowing sculpture that emits phrases like “I’m a good person”, which is proudly on display in the control room (Joy made room for it by creating a “launching device’ that hurls “bad” memories way to the back of the brain). The last Summer before high school looks to be even better when Coach Roberts (Yvette Nicole Brown) of the high school’s team the Firehawks, invites Riley and her pals to be part of a hockey camp. It’s quite a lot to dream about, but the emotions’ slumber is interrupted by a loud siren from a flashing red light on the board. Oh no, “puberty’ has “hit”! As Joy and her crew scramble, a construction team bursts through a wall. After the control board is”upgraded”, a new set of emotions arrive. There’s Envy (Ayo Edebiri), Ennui (Adele Exarchopoulos), Embarrassment (Paul Walter Hauser), and their leader, Anxiety (Maya Hawke). During the chaos, Riley learns that Bree and Grace will be going to different high schools. That bad news is offset by the fact that the star Firehawks player, the ultra-cool Valentina (Lilimar) will also be at the hockey camp. This “ramps up” the rivalry between Joy and Anxiety leading to the SOS being flung to the bad memory “dump” just before the hulking Embarrassment stuffs Joy’s team into a jar to be taken far away to a dark vault, and eventually forgotten. Can they escape, retrieve the SOS, and “take back” the control board before Anxiety guides Riley into some terrible decisions? Oh oh, it all rests on the slumped shoulders of Sadness!

Quite an impressive roster of performers has been assembled to give these emotions distinct voices. As for the returning “team”, Poehler just super-charges Joy with an infectious energy and an engaging lilt, though she gets to delve deeper into the frustration of always being the positive “guiding light”. And Black explodes as Anger, pummeling each hilarious retort, a great counterpoint to the halting sweet delivery of Smith as Sadness Oh, I’ve got to also mention the return of the wonderful Diane Lane and Kyle MacLachlan as Riley’s parents, who become more a part of the “framing plot” of the main “sports” story. Now, on to the “newbies”, which include a couple of replacements on Joy’s “squad”. Lapira is an excellent snarky Disgust, while Hale brings a Don Knotts-like jittery panic to Fear. Oh, and as the now teenage Riley, Tallman hits “all the right notes” from sweet to awkwardly desperate and even conniving. And now we get to the new crew, led by the wonderfully zany Ms. Hawke who literally bounces across the backgrounds with a frantic confidence, becoming, at times, the accidental villain of the tale. Her manic delivery is almost matched by the exuberant Edebiri as her “right hand” Envy. The big “scene stealer” might just be Exarchopoulos as the bored, detached Ennui who only awakensr from her sleepy state when her phone-like control device goes missing. And though he has only a couple of lines, aside from some sighs and groans, Hauser is quite effective as the conflicted Embarrassment. In smaller, but pivotal roles, Ron Fuches is achingly funny as the goofy 90s kids TV show icon Bloofy and June Squibb is endearing as the “we’re not really ready for you” emotion Nostalgia.

This is the feature directing debut of Kelsey Mann who truly “hits it out of the park” (maybe a hockey analogy would be more appropriate) with perhaps the best Pixar sequel since TOY STORY 2 (though 3 and 4 are also great). It’s a delicate “tightrope walk” as the familiar elements of the beloved first flick are melded with the new story and the older main character. While Riley had to deal with the big family move last time, now she must decide how to deal with her friends, both old and new. All comlicated by the “P” word in the sophisticated and very funny script by Mann, original scribe Meg LaFauve, and Dave Holstein. Unlike the recent IF, they didn’t hold back on the jokes in favor of the big “heart moments” (and there are plenty). Happily, the talented artisans at Pixar have given this story a dazzling life with vibrant colors and outstanding designs. like Anxiety’s frazzled vertical “water fountain” hair, Embarassment’s bulbous nose sticking out of his tight hoodie, and Ennui’s rubbery body (as though her spine was replaced by the classic toy “Slinky”) who’s always draped over the furniture. I still love that the emotions have no hard “outline” (color or black), but have a grainy edge with specks always moving (much like the leads in ELEMENTAL), unlike Riley and her pals in the “real world”. They’re nice subtle caricatures not too removed from us, unlike the often child-like cartoony looks of the emotions (Anxiety is almost a child’s enhanced “scribble”). And for the first time, the CGI figures are acting alongside 2D “drawn” characters (usually left for the end credits) such as Bloofy and his pal Pouchy who are joined by an “8-bit” video game icon named Lance Slashblade. This leads to some delicious satirical gags about cable kids TV and gaming (love the efforts of Lance to walk out a door). Speaking of gags, one sequence pokes fun at 90s animation “sweatshops”. Plus there are perfect puns a’ plenty, though a few are “groaners”. Yes, there are a couple of moments in the third act, when the pace begins to soften, but the “big game” (excellent action movement) finale brings all the plot threads together into a beautiful bow making us eager to see how Riley and her “brain buddies” handle the new challenges of high school after the touching, clever, witty, and inspiring INSIDE OUT 2.

3.5 Out of 4

INSIDE OUT 2 is now playing in theatres everywhere

Win A Family 4-Pack Of Passes To The St. Louis Advance Screening Of INSIDE OUT 2

Disney and Pixar’s “Inside Out 2” opens in theaters nationwide next week, inviting moviegoers inside the mind of newly minted teenager Riley just as Headquarters undergoes a sudden demolition to make room for something entirely unexpected: new Emotions

In the follow-up to 2015’s Oscar®-winning “Inside Out,” Joy, Sadness, Anger, Fear and Disgust—who’ve long been running a successful operation by all accounts—aren’t sure how to feel when Anxiety, Envy, Ennui and Embarrassment show up. The voice cast includes Amy Poehler, Maya Hawke, Kensington Tallman, Liza Lapira, Tony Hale, Lewis Black, Phyllis Smith, Ayo Edebiri, Lilimar, Grace Lu, Sumayyah Nuriddin-Green, Adèle Exarchopoulos, Diane Lane, Kyle MacLachlan, Paul Walter Hauser and Yvette Nicole Brown. “Inside Out 2” is directed by Kelsey Mann, produced by Mark Nielsen and executive produced by Pete Docter, Jonas Rivera and Dan Scanlon. The film features a screenplay by Meg LeFauve and Dave Holstein and story by Mann and LeFauve.

With music by Andrea Datzman, the all-new feature film releases only in theaters June 14, 2024.

Get your tickets now for Disney & Pixar’s #InsideOut2 https://fandango.com/InsideOut2

The special screening is Tuesday, June 11, 7pm at Marcus Ronnies Cine

Please arrive early as seating is not guaranteed.

FIVE winners will receive 4 passes to the screening.

GET YOUR PASSES HERE: http://gofobo.com/wamgIO2

INSIDE OUT 2 – SO EMBARRASSING — Disney and Pixar’s “Inside Out 2” returns to the mind of newly minted teenager Riley, where Emotions like Embarrassment (voice of Paul Walter Hauser) take turns driving—or throwing themselves upon—the console as Riley experiences all the feelings. Directed by Kelsey Mann and produced by Mark Nielsen, “Inside Out 2” releases only in theaters June 14, 2024. © 2024 Disney/Pixar. All Rights Reserved.

QUIZ LADY – Review

So, how accurate are some of those old sayings? Well, in the case of “You can pick your friends, but you can’t pick your family”, well…yes, 100 percent. That’s especially true with siblings, going all the way back to Cain and Abel. Sure brothers battle, but is that ditto for sisters? This weekend’s new comedy uses that as its “springboard”. These two ladies couldn’t be more different or argumentative, Fortunately, they’re both hilarious, and their characters are played by two talented actresses. You see, the elder is a party gal while the other is saddled with the title QUIZ LADY.


We first meet the aforementioned QZ as a timid eight-year-old indulging in her favorite weekday activity, watching the live TV show “Can’t Stop the Quiz” hosted by true hero Terry McTeer (Will Ferrell). And she pretty much aces all the questions despite her older sister indulging in lots of teenage drama (boys, friends, dresses, etc.). And just a few years later she storms out of the house, as lil’ sister focuses on that program. Cut to her today and her grown-up adult self, Anne Yum (Awkwafina). She’s now living in a duplex building next to her cranky older neighbor Francine (Holland Taylor), and still never misses CSQ, though she now shares it with her aging pooch, Mr. Linguine. The next morning, like clockward, she’s off to her nine-to-five cubicle job as an accountant. Her routine is disrupted one day as she gets a call at work. It seems that her Mom has “booked” from the nursing home. Anne dashes down there just in time for an unexpected (and very unwanted) reunion with big sis Jenny (Sandra Oh). After some bickering, they learn that Mom is actually in Macao with her new beau. Then things get really complicated when her “loan shark” Ken (Jon Park) dognaps Linguine to ensure the sisters clear her eighty grand debt. But Jenny’s got a plan: Anne has to win the dough on CSQ! But she’s painfully shy and wants to go unnoticed and blend into the background. Can the two stop their verbal sparring long enough to get to the TV studio and get the beloved doggie back home?

Now here’s a great new comedy team-up! Though she’d be considered the “straight” partner of the duo (much like Bud Abbott). Awkwafina elicits lots of laughs as she commits to a constant shoulder slump while trying to dash past anyone who might spot her. This makes her annoyance about unwanted fame work so well. And it’s a terrific “set-up” for her loopy, loose body language under the influence of “relaxers” given by the human wrecking ball that is Ms. Oh as the no-filter big sis Jenny. Unlike lil’ sis, she’s confident with little talent or smarts to back it up, even comparing herself to Oprah as she tosses off her hair extensions. In the supporting but certainly pivotal role as the master TV MC, Ferrell tones down his usually manic persona, giving McTeer an endearing dorky quality echoing his SNL work as the great Trebek in their “Celebrity Jeopardy” sketches and killing it with awkward attempts at humor (to a contestant: “I see you’re from Kentucky. Did you ride here on your horse?”). Plus he’s got a great comic rapport with Jason Schwartzman as the unctuous, smarmy long-time CSQ champ Ron Heacock, flashing his way too bright “pearly whites”. Taylor brings her decades-old sitcom skills to bear as the always irritated and noisy next-door neighbor. Kudos also to the fabulous Tony Hale as the owner of a motel in Philly who really tries to stick with his Ben Franklin cosplay (“Does thou have a major credit card?”).

This sprightly-paced, candy-colored farce is helmed by Jessica Yu, squeezing every ounce of yucks possible from the screenplay by Jen D’Angelo. There are terrific satiric jabs at celebrity culture, workplace politics, and even at society’s stereotypes of Asians (when a trucker yells, “Learn to drive”, Jenny calls him racist until he leans out of the driver’s side window and, well you can guess). Not only does Yu elicit wonderful work from the lead duo, but she peppers the whole film with funny folks including a loving cameo showcasing a recently “taken too soon” comedy icon. Sure it is a smart script, but the film’s not too sophisticated for some well-executed slapstick and plenty of subtle sight gags. Yes, the idea of a long-running TV game show being broadcast live feels far-fetched (though Regis did it for several weeks twenty years ago), but it just adds to the silly comedy chaos and family bonding at the happy heart of QUIZ LADY.

3 Out of 4.

QUIZ LADY is now streaming exclusively on Hulu

HOCUS POCUS 2 – Review

(L-R): Kathy Najimy as Mary Sanderson, Bette Midler as Winifred Sanderson, and Sarah Jessica Parker as Sarah Sanderson in Disney’s live-action HOCUS POCUS 2, exclusively on Disney+. Photo courtesy of Disney Enterprises, Inc. © 2022 Disney Enterprises, Inc. All Rights Reserved.

Many of us look forward to the end of the year because those Winter holidays are a time to reunite and reconnect with dear old friends. But what if you don’t want to wait out those eight weeks or so for the month between Thanksgiving Day and Christmas? I mean, Halloween is the big Fall holiday, the perfect one to visit with a few movie buddies we haven’t seen for (gasp) thirty years. That’s what the fine folks at Disney+ are thinking. So, make sure you’ve got an extra large punch bowl, light the jack o’ lanterns, and save the big sofa for those Sanderson sisters as they conjure up lots of new supernatural antics in HOCUS POCUS 2. Oh, and pick up a trio of new brooms, too.


In a big switcheroo from the first outing, this story begins in 1653, not 1693, in ole’ Salem, Mass. A big group of hostile citizens, led by the town leader Reverend Traske (Tony Hale) arrive at the Sanderson house to confront the pre-teen trio of sisters. Traske is planning an arranged marriage for young Winifriid, though she only has eyes for that handsome, hunky Billy Butcherson. Escaping the mob, she and her sisters Mary and Sarah, dash into a place where nobody will follow: the Forbidden Woods. While they rest in a clearing, a huge bird swoops down and transforms into the Mother Witch (Hannah Waddingham). She gives Winnie the Book of Spells (ya know, with that creepy eyeball) and warns them not to enact the incantation of “Magicae Maxima”. Then, poof, we’re in modern-day Salem as the high school prepares for the town’s Halloween celebration. BFFs Becca (Whitney Peak) and Izzy (Belissa Escobedo) have their usual plans despite the loss of their other, now ex-BFF, Cassie (Lilia Buckingham), who is attached at the hip to her jock beau Mike (Froy Gutierrez), and is planning a big party at her place, since her dad, Mayor Traske (Hale, natch’) will be at the town square festivities. Becca and Izzy go ahead to the old village recreation attraction and pick up some spooky stuff from Gilbert ( Sam Richardson) who runs a magic shop in the former Sanderson shack. In the dark woods, the duo lights a candle, which (uh oh) produces a black flame that brings back Winifred (Bette Midler), Mary (Kathy Najimy), and Sarah ( Sarah Jessica Parker). Ah, but this time they’ve got bigger plans than merely draining the town kids of their youth. No, Winnie wants to unleash the Magicae Maxima, so they can rule forever. They’ve just got to gather all the needed ingredients like the blood of their enemy (Traske), and the head of a lover (Billy, perhaps). Can Becca and Izzy thwart their scheme and send the trio back to the netherworld?

Speaking of the terribly terrific trio, how can they so effortlessly sashay into their roles as if the last film wrapped 29 days ago rather than 29 years? The grand dame is of course Midler, as she curls a sinister smile around those bunny-like phony fake “choppers”. Her Winifred is regal, menacing, and can belt out a tune that leaves everyone spellbound (oh, you bet we get a song). Just as funny is Najimy as Mary with her “nobody’s home” vacant stare and lop-sided grimace as she “sniffs out the young ones”. And rounding out (oh, those slinky curves) is Parker who still projects a kittenish wink while indulging her “appetites” as she croons the “enchantment” tune to lure the throngs. But there’s a new trio of young women who share an interest in the dark arts. It’s the old “are you a good witch or a bad witch?” conflict led by the compelling Peak as the determined foe of Winifred. Her main aide is the fluttery Escobedo who gives Izzy a frazzled, but endearing warmth. The “third wheel” Cassie doesn’t have quite as much screentime, as she’s off partying with her guy and the “cool kids”, though Buckingham jumps right back into the battle with energy and a renewed appreciation for her “kiddie pals” in the final act. Jones as Billy has a silent movie clown physicality while expertly tossing off great retorts (“Hey, I’m a good zombie!”). Hale is equally doltish in his dual roles, but with some major twists. The Reverend is pompous and devious, while the Mayor’s a jovial “glad-hander”, who only drops his “man of the people” persona when his candy apple mania is denied. Also bringing the laughs is Richardson, who tries to be a friendly magic mentor to Becca and Izzy, but hides his sinister agenda. A bonus treat, though her role is brief, is the dazzling Waddingham, majestic and gorgeous as the “supplier to the Sandersons”.

Taking the reigns (or would broom be more apropos) is director/choreographer Anne Fletcher who embraces the spirit of campy chaos from the initial flick. She deftly handles the slapstick visuals (the trio updates their transports), the musical set pieces (a still fun bit of late 70s pop this time), and the teen clashes on the “social ladder”. The script from Jen D’Angelo, Blake Harris, and original co-creator David Kirschner even have some fun with the “legacy” of the 1993 flick as the sisters have become “drag icons” of the Fall holiday. The only glaring fault of this entry is a bit of “retcon”, an irritation in many sequels. The best example of this is how being called a chicken became a “trigger word” for Marty McFly in BACK TO THE FUTURE PART II (no mention in the original). Here, the main goal of the trio is the “Magicae Maxima”, which is “news to us”. Plus it often feels as though this may be a “try-out” for a possible “spin-off” to continue the franchise with the three younger women, perhaps as more of a “nice teen riff on THE CRAFT or a junior “Charmed”. Of course, the massive fan base that can quote the now cult classic will devour this like a heavy bag of trick-or-treat candies (and no rocks inside, Charlie Brown). Plus the newest audiences (the kiddies) will really love the pre-teen sisters in the flashback opening. No doubt that Jack Skellington, Casper, and the first Sanderson sister romp will be joined as a Halloween staple with HOCUS POCUS 2. No boos from me.

Three Out of Four

HOCUS POCUS 2 streams exclusively on Disney+ beginning on September 30, 2022

BEING THE RICARDOS – Review

JAVIER BARDEM, J.K. SIMMONS, NINA ARIANDA, and NICOLE KIDMAN star in BEING THE RICARDOS Photo: GLEN WILSON © AMAZON CONTENT SERVICES LLC

As awards season is now in full swing, just what subject is the source of the newest work by an Oscar-winning screenwriter and three Oscar-winning directors? An acclaimed literary classic, perhaps? Maybe a pivotal moment in history, eh? No, they’ve decided to shine their talents, and considerable “star power”, on … a TV show. Really? Well, it’s not just any bit of “video escapism”. Oh no, this is a “biggie”, a true icon, one that still influences all matter of media to this day. And it’s still on the air, either being broadcast or streamed or replayed in all recorded formats, from Beta to Bluray. In any list of the “greatest TV shows of all time” it’s placed near the very top. And during its “hay day”, it was garnering “Soper Bowl-sized’ ratings…every week. It could be called the “mother of all situation comedies”. Its stars Lucille Ball and Desi Arnaz, who were fairly well-known as a film star and a singer/bandleader before the show premiered, but they achieved “pop culture immortality” by BEING THE RICARDOS.


But rather than giving us a full biography of the stars or a year-by-year history of that TV show, the filmmakers decide to spotlight one production week, Sunday through Friday (filming day) of a 1953 episode of “I Love Lucy”. To tie things together, some recreated 1970’s talking heads interviews with the former writers and executive producer “frame” the drama with a running narration/commentary. Those trying times commence with the interruption of some pre-work romance by the last minutes of newspaper gossip Walter Winchell’s radio broadcast as he drops some not-so-subtle hints that America’s favorite TV “funny lady” is a “red” AKA a “Commie”. Needless to say that this destroys the mood for Lucy (Nicole Kidman) and Desi (Javier Bardem). The resulting “discussion” leads to another recent scandal, as a photo of Desi sharing drinks with a woman, not Lucy. has made the cover of “Confidential” magazine (recall “QT” from LA CONFIDENTIAL). He reminds Lucy that this was an old pic of him entertaining the daughter of their show’s sponsor. Still, Lucy has her suspicions over Desi’s claim that he was “playing cards” with the boys on their boat the previous night. But it’s back to work the next morning for a “read through” of that week’s script. There’s open animosity between co-stars Vivian Vance (Nina Arianda) and Bill Frawley (J.K. Simmons) who play the Ricardos’ neighbors Ethel and Fred Mertz. Plus the rivalry between writers Madelyn Pugh ( Alia Shawkat) and Bob Carroll (Jake Lacy) is in full force. Keeping them on track while keeping the stars, the network, and the sponsors happy is over-worked executive producer Jess Oppenheimer (Tony Hale). But a new bombshell soon drops on him. The show’s star duo informs him, along with the CBS and the other “money men”, that Lucille is pregnant. What will they do? How will it affect the show? But if this whole Communist headline isn’t squelched, will there even be a show? Perhaps the couple will be drummed out of “show biz”. You’d think that getting a show on “its feet” within five days is stressful enough!

Amidst all the social media bashing over the casting of these beloved, almost worshipped TV icons, the ensemble does a terrific job of not nearly mimicking, but bringing real humanity to them. At the forefront of the frenzy is Ms. Kidman, who may be scrutinized most of all. The “Lucy legion” need not fret, as her performance captures the comic genius while giving us a woman truly ahead of her time. And in certain shots, at certain angles, you’d think Mrs. Aranz was recreated ala CGI (much like another comic star in a recent “re-boot”). Kidman shows us the hard-working “pro”, the exacting perfectionist who dares to question her “role”. Despite the outlandish slapstick, she won’t throw out “logic” for a laugh. At times she seems to go into a “trance’ as we almost see through her eyes how she plans to “sell” a gag. There’s even a glimpse of Ball’s playful sexy “vibe’ in some steamy flashbacks. But best of all, we get her vulnerability as her old studio home at RKO “evicts” her, as she begins to fight to keep her marriage together (she doesn’t budge on casting Desi as “Ricky”). Kidman makes her the unstoppable “hero” of the story. And Bardem’s Desi is a big part of that. He conveys the wild, untamed passion of his nightclub act (with tables of swooning admirers. But we also see his “taming”, if only temporary, by the glamorous starlet (Bardem has a great “gobsmacked’ expression during their very “lengthy” first date). But we see his frustration via Bardem’s expert body language, as Desi’postwar movie dreams are dashed. But on the set of his sitcom, his shoulders broaden, as his finely tailored suits barely contain his new “swagger”. And pity those who try to patronize him as the affable Cuban turns into a roaring lion. These talented actors show us how this “power couple” generated laughter, ratings, and heat.

From left to right, Vivian Vance, William Frawley, Desi Arnaz (1917 – 1986) and Lucille Ball (1911 – 1989) on the popular television series ‘I Love Lucy’, circa 1955. (Photo by Pictorial Parade/Archive Photos/Getty Images)

The “ice” is created in the interactions between the show’s supporting couple. Simmons gives Frawley a “seen-it-all” snark as he tries to stay away from his “cups” while staying above the chaos. He’s even a warm father-like mentor to his boss and co-star Lucy. But he just can’t “get” his other co-star, played with annoyed energy by Arianda (so good as Mrs. Laurel in STAN AND OLLIE). Her Vivian is dismayed that Ethel is the brunt of jokes about her appearance, while nothing is made of the big age difference with her sitcom spouse. She wants her light to shine, but it must be dimmed next to the title role. Hale breaks out of his nebbish former TV roles in “Arrested Development” and “Veep”, as the no-nonsense producer Jess. His intense glare tells us that he will do his job and won’t be intimidated by anyone, especially the “stars”. His “AD” castmate Shawkat is terrific as the lone female writer in a mostly male talent pool. She won’t be pushed aside even as she tells Lucy of her fight to keep her character from being “infantile”. And there’s a teasing rivalry/attraction with Lacy as her scheming co-writer/partner, who delights in claiming credit, even as he hesitates on presenting new ideas.

The Oscar-winner in charge is lauded screenwriter turned director (this is his third feature) Aaron Sorkin. Sure, he indulges in his “talky-walky” penchant that he used most famously in his own TV show “The West Wing”, as Desi and company argue through endless hallways behind studio sets. But here it feels somewhat natural to the frantic pace of doing a weekly show. In a wise move, he eschews the usual bio-format (“this happened which let to this…then this…”) to focus on a five-day period (similar to what Spielberg did with LINCOLN). The idea somewhat stumbles by pushing too many things in the time frame, as those scandals didn’t rally “pile-up’ over one episode. But it can be chalked up to the need for “dramatic conflict” (I’d hope the rest of their ‘season” was a “cake-walk”). Although a final confrontation between the main duo seems highly implausible. Plus the story is “fleshed-out” with those aforementioned “flashbacks” as we get a handle on the romance of Lucy and Desi. But there’s also a “flash-forward’ as Lucy imagines what will be a signature scene, though I’d have enjoined another “forward” of her buying RKO after they gave her the “boot”. Happily, the era is expertly recreated via the talented production artisans (nice to see the Ricardos tiny living room in color) and the lush cinematography from Jeff Cronenweth. Oh, and those fashions from Susan Lyall are stunning, too. I may quibble with what’s left out, but the cast really delivers, giving us an inside look into the very real people who kept us entertained for over 70 years by BEING THE RICARDOS. Babaloooo!!

3.5 Out of 4

BEING THE RICARDOS opens in select theatres on Friday, December 10, 2021

NINE DAYS – Review

Left to Right: Winston Duke as Will, Zazie Beetz as Emma in NINE DAYS.
Photo by Michael Coles. Courtesy of Sony Pictures Classics. © Sony Pictures Entertainment Inc.

In the Sundance hit NINE DAYS, a serious, melancholy man interviews candidates in a nine-day process to pick one to be born, in a supernatural drama. NINE DAYS takes a different, more existential approach to a concept that has long fascinated Hollywood, movies about reincarnation, rebirth and other worldly characters watching over people on earth. NINE DAYS leaves any theological or philosophical interpretation of who, what or where these characters are up to the audience, only providing some basic information, and focuses on questions of humanity and life itself, an exploration it grounds in a real-world, contemporary situation, as candidates are put though an extended job interview in which souls are put through a series of tests to determine who gets to be born.

Will’s (Winston Duke) job is to keep an eye on a group of people on Earth. He lives alone in a little house that is isolated in a desert-like expanse, and spends his days watching old-fashioned TVs with POV feeds of these people’s lives. Serious, reserved and slightly sad, Will meticulously takes notes on what he sees, makes VHS tapes of parts of their lives, and carefully files those tapes and notes in folders in steel filing cabinets. The buttoned-down Will has a frequent visitor, chatty Kyo (Benedict Wong), whose friendly demeanor contrasts starkly with Will’s quiet reserve. Kyo shows up with supplies and a request to watch Will’s TVs. They chat about the people on the TVs like they are characters in TV shows they enjoy, particularly anticipating upcoming highlights like one woman’s wedding and another’s concert, which they watch together.

When one of Will’s charges, a favorite named Amanda, suddenly dies in an auto accident, it hits him hard. It also creates an opening in Will’s charges, which he must fill with a new soul. Will gets to work quickly, selecting seven candidates, newly-born souls, to fill the slot.

This is writer/director Edson Oda’s first feature film and it is an impressive debut. The intriguing premise and the characters draw you in immediately, and Oda presents these diverse personalities in a kaleidoscope fashion framed by the interviews and Will’s discussions with Kyo. The Japanese Brazilian writer/director uses the extended job interview premise as a way for people to connect with the story and get to know the characters. The primary focus of the film is on the characters, especially Will, exploring human dreams and human differences, with gentle, indirect reflections on life and human nature in all its form.

Will selects seven candidates to interview and test over a maximum of nine days, new-born souls whose existence will end shortly if they are eliminated from consideration. Each is told he/she will be born into a loving family and a comfortable life, so these are prime life assignments. We later learn that others are doing work similar to Will’s, making their own selections from pool of souls, like picking from a group of job applicants.

The seven candidates, Emma (Zazie Beetz), Kane (Bill Skarsgård), Alexander (Tony Hale), Maria (Arianna Ortiz), Mike (David Rysdahl), Anne (Perry Smith) and Colleen (Geraldine Hughes), are a wide range of personalities, which director Oda uses as a kind of snap shot of humanity. The mix and their differing reactions are fascinating, as is how Will responses, while maintaining his poker-face demeanor.

Most of the invited candidates are on time but one, Emma (Zazie Beetz), shows up much later. Will does not even want to talk to her, but Kyo lets her in, forcing Will to consider her. She is so unique, always inquisitive and with an independent streak, that he adds her to his list anyway.

One of the few things we learn about Will is that he was once alive, a requirement for his job. Kyo, we learn, has never been alive but is Will’s supervisor, overseeing his work and advising occasionally but the decision is ultimately Will’s. The candidates, the souls, are a variety of types and most, but not all, present as younger adults.

The candidates are winnowed down over the nine days, though a series of tests and assignments. One big assignment is to watch the POV feeds of other lives and take notes, and share thoughts with Will. The candidates do not interact with each other, just Will and sometimes Kyo, until very late in the film. Will does not share with any of them what he is looking for, telling them only “there are no right or wrong answers” in the manner of psychologist, But his conversations with Kyo reveals he is looking for a certain resilience to face life and also perhaps uniqueness.

Will’s own existence is very circumscribed, limited to his house and the immediate surroundings. It is a comfortable little house with a sort-of 40s decor and a little white picket fenced yard, but it is isolated, with no other buildings in sight on the flat desert-like landscape. People walk to the house from unseen locations. The house seems to act like a protective shell for Will, as does his reserved demeanor and rigid routines, and there is a sense of mystery and melancholy around him. We learn little of Will’s previous life but the quizzical, curious Emma challenges and upends Will’s well-worn pattern, forcing him to reflect on his life and reveal a bit.

Oda draws on observations of life and humanity for his innovative, involving film, He edits it masterfully, cutting from candidate to candidate as Will goes through his interview questions and challenges, which gives us a glimpse of each person’s reaction to the problem. Some characters we get to know better than others, as the group is narrowed every day. As candidates are winnowed down, some just disappear but for others, we get to see a final experience drawn from what they have watched of life, a kindness provided by Will. These final thoughtful gestures reveal a deep sensitivity beneath Will’s reserved, formal manner.

Some are eliminated quickly, and we don’t really get to know them much. But Will offers each a chance to experience a little of the life they have observed on the POV feeds but will not have, a kindness that other interviewers don’t offer. We witness a few of those, some of the drama’s most poignant moments.

The acting is impressive to say the least, particularly Winston Duke as Will, but extending to all the cast. Duke slowly peels back layers of the closed-in Will, showing us hints of the reason for the pain and sadness we sense beneath his rigid veneer. Benedict Wong provides the perfect foil for Will’s reserve but it is the questioning Emma who really cracks his glassy surface.

While the whole story takes place in various rooms of Will’s house and the surrounding barren but bracing landscape, the film is opened up by beautiful, sweeping photography by cinematographer Wyatt Garfield which creates the perfect setting for Oda’s thoughtful, involving drama.

NINE DAYS offers an intriguing premise to explore human life, featuring impressive acting performance, skillful direction and striking photography, all woven into an affecting, thought provoking drama, in an impressive directorial debut. If you like good drama, good acting, and are intrigued by how differently people see the same thing, this excellent film should be on your list of ones to see.

NINE DAYS opens Friday, August 6, at Landmark’s Plaza Frontenac Cinema and other theaters.

RATING: 3.5 out of 4 stars

EAT WHEATIES – Review

By Mark Glass

Obviously, many people love Tony Hale, and the string of socially awkward characters he’s played in dozens of vehicles. Ever since TV’s “Arrested Development,” his shtick has started wearing out its welcome for me. That gave me trepidation about this comedy about a former college nerd appointed to co-chair a class reunion, depending heavily on his ability to contact the actual Elizabeth Banks, remind her of their blink of acquaintance back then, and convince her to attend the event. As required of such films, things go terribly awry, setting up the comedic plot course. As feared, they forgot most of the comedy component.

The shame of this is the broad, talented cast the writers wasted. Alan Tudyk, Elisha Cuthbert, Sarah Chalke, Robbie Amell, Emmanuelle Vaugier, Mimi Kennedy and other familiar names and faces have all entertained us in much better films and TV series. The script obviously appeared more attractive to them in print than in its execution.

Hale plays a social-networking virgin, forced to join Facebook to discharge his duties. His attempts to contact Ms. Banks are mostly on-line and through the screening of her highly-protective agents. He is wrongly branded a stalker and publicly humiliated, causing his life to fall apart before the cinematically-essential upswing in his fate.

One must suspend a lot more disbelief than is justified to stay amused by these proceedings. Hale’s downfall goes too far, and takes up too much of the film’s running time, for an effective comedy. Empathy degrades steadily, as compared to the connections viewers form with other lovable losers like a Napoleon Dynamite, or the eponymous Nerds who kept on seeking Revenge for four feature flicks.

Writer-director Scott Abramovitch is a relative novice, with only a handful of credits. Ideally, this will be a learning experience that leads to better productions. Da kid may have potential.

RATING: 1 out of 4 stars

Screen Media will release in theaters and on demand on April 30.

TOY STORY 4 – Review

So right now all the entertainment pages are filled reports of “franchise fatigue”, that audiences are just not plunking down their moola and getting in line for this year’s models of….X-Men and Men in Black, to name two of many. The case could certainly be made for animated features with the soft returns of the “trained dragons’, Lego, and the swiftly sinking “pets”. But then the original cartoons MISSING LINK, WONDER PARK, and those UGLY DOLLS barely made a ripple at the box office. Not to worry, those dull days are over! Cue the music of that Thin Lizzy dance classic (apologies for the title tweak) because “The Toys are Back in Town”. Yes, after a year since INCREDIBLES 2, the fine folks at Pixar are back with another addition to the “game changer” that began the CGI feature flicks. Yes, this is TOY STORY 4. Oh, but you cynics may be bemoaning “yet another blatant cash grab”. Well, kick that pessimistic attitude to the curb (along with those empty Pizza Planet boxes for the recyclers). That’s because after nearly a quarter century (including lots of shorts and a few TV specials) these endearing charmers made of molded plastic and felt are just as fresh as the day they burst through their “shrink wrap”. And, surprisingly, they’re funnier than ever! Take that “sequel doldrums”!

It all begins on a “dark and stormy night”. No kidding (sorry Snoopy)! It’s nine years ago and the gang is back at Andy’s house as they deal with a devastating loss (briefly mentioned in the last film). Slow fade to now, as they await “playtime”, along with some new pals, with their new owner, the sweet little five-year-old Bonnie. But somebody has been left out of the last few sessions. Woody (voice of Tom Hanks) is joining her old baby toys in the bedroom closet (listen for the roster of show biz legends as those now discarded). Bonnie even removes Woody’s Sheriff’s star and pins it on Jessie (Joan Cusack). The former kids’ TV show superstar is sad, despite the efforts to cheer him up by BFF Buzz (Tim Allen). Then comes news that Bonnie will soon start kindergarten, prompting Woody to jump into her backpack as she leaves for orientation. As the other kids begin a craft project, shy Bonnie is left with no supplies. Woody to the rescue as he locates a few bits from the waste can. After Bonnie gets home and drops off her backpack in her room, the gang is introduced to her creation: Forky (Tony Hale), a googly-eyed ‘spork’. Everyone’s friendly to the “newbie”, but he doesn’t want to be a toy, yearning to rejoin his “kind” in the garbage. This gives Woody a mission: keep Forky out of the trash. But things get complicated as Bonnie’s daddy decides to rent an RV and load up for a road trip. When Forky flees the vehicle, Woody follows, beginning an adventure that takes the toy gang to a quaint village (maybe somewhere between Bedford Falls and Mayberry USA) as they meet an old friend, make new ones, like Canadian motorcycle daredevil Duke Caboom (Keanu Reeves), plush animals Ducky and Bunny (Key and Peele), and the talking doll Gabby Gabby (Christina Hendricks), while navigating (escaping and breaking in) a traveling carnival and a dusty antique shop. It’s quite the odyssey for our crew, far from their kids’ room comfort zone.

This could be the most astounding roster of vocal talent (or just talent) assembled in an animated feature film (like a CGI IT’S A MAD, MAD, MAD, MAD WORLD), but it’s not the usual ‘stunt casting’ of other cartoon flicks. Hanks and Allen inhabit into their beloved duo as though sliding into a pair of comfy old slippers, though each brings something new this time out. Allen’s Buzz is a bit overwhelmed as the leadership is thrust upon him, even as he listens to his “inner voice”. And Hanks brings unexpected pathos to the usually sunny sheriff, Sure he’s missing “playtime”, but more poignantly he can see the “end of the trail’ looming just over the next couple of hills. The original cast still brings an infectious glee in their old roles (and in case you’re fretting, we still hear the late, very-missed Don Rickles via archive voice tracks). As for the newcomers, well they dive right into this fun-filled romp. Hale has a panicky quality to Forky (think of a plastic Don Knotts) which goes from warped to pure bliss as he bounces toward a receptacle like a lemming scamping toward a cliff’s edge. Key and Peele give a high voltage jolt to their always agitated game prizes, much like the Liam Neeson-loving valets from their TV show. Hendricks has the more challenging role as Gabby goes from friendly vintage doll to sinister “Dragon Lady”-like crazed (a plastic cross between Baby Jane Hudson and Norma Desmond) mastermind and then something completely shocking (all films should strive to have such a complex antagonist). The most inspired bit of casting may be Reeves as the cocky cyclist. He seems to be having a great deal of fun as he kids (maybe skewers) his screen persona. I was keeping her character a secret, but since she’s on the posters, praise is earned by Annie Potts as she transforms Bo Peep into a no-nonsense action heroine. And I must mention that some of the film’s biggest laughs come from Jeff Garlin as the rainbow-colored plush unicorn, Buttercup, who is hilariously obsessed with one “off the wall” idea. Again, those forgotten closet toys are a true comedy dream team.

Can you believe we’re getting this superb entertainment from a first-time feature director, the talented Josh Cooley? Oh, he was also one of the eight (8?!) story and screenplay contributors (along with actress Rashida Jones). “Too many cooks!”, some “haters” may say. Well, I say that this team packed an exceptional amount of comedy into this chaotic cartoon caper. Really, I can’t recall laughing so much at the multiplex in recent memory (may have to go back to BRIDESMAIDS or TRAINWRECK). But the series’ heart is not neglected in the gallons of guffaws’. It’s that unbreakable bond of friendship between Woody and Buzz, still brothers though separated by tech and many decades, that grips us and draws us in. The movie also breaks new ground in the conflict the two face. Yes, they’re cartoons, but they’re far from two-dimensional. Like real human beings, they can evolve and change, and even be redeemed through kindness (now that’s an idea in need of promoting in these times). And as with two of this summer’s superhero epics, a selfless sacrifice makes for a heart-tugging finale. That’s a lot for this year’s only major studio “G-rated” animated film. Though I should warn parents that some sensitive tots may be spooked by the ventriloquist dummies (with frozen wide-eyed smiles and zombie-like shambling walk) who menace our heroes, aided by a ferocious feline. Though we’ve gotten used to it with Pixar’s work, I can’t neglect the film’s striking visuals. Here we’re treated to a couple more astounding environments that are much more than mere backdrops. The details of the antique store interior and the carnival’s exteriors are high art to be savored (bring on the coffee table book). We could also include the jostling RV, of course. They’re worthy successors to Andy and Sid’s houses (TS1), Al’s retro 50’s high rise “crib” and his Toy Barn (TS2) and the Sunnyside Nursery in TS3. And the individual character work still amazes from Peep’s shiny porcelain flesh to fuffy stitching of Bunny and Ducky. And Duke’s “way too cool” 70s ‘stache. But it’s the humor that will stay with you as you leave the theatre (but be sure to stay for the very, very last few seconds for one last, very large laugh). With 2019 nearly half over, I can declare this the funniest film so far (and, unlike previous years, there have been several smart comedies). TOY STORY 4, well I’d add that if they can keep the quality up, the tile should be TOY STORY 4ever! That’s why it truly earns (I’d give it more if I could)…

4 Out of 4 Stars

TOY STORY 4 Super Bowl TV Spot Features Buzz Lightyear, Woody And Newcomers Ducky (Keegan-Michael Key) And Bunny (Jordan Peele)

HANGIN’ AROUND – In Disney·Pixar’s “Toy Story 4,” Buzz Lightyear finds himself among a host of carnival prizes—including Ducky and Bunny, who’ve been waiting a long time to be won. They aren’t exactly welcoming to the Space Ranger—the odds are already stacked against them, and who needs that kind of competition? Featuring Tim Allen as the voice of Buzz, Keegan-Michael Key as the voice of Ducky and Jordan Peele as the voice of Bunny, “Toy Story 4” opens in U.S. theaters on June 21, 2019. ©2019 Disney•Pixar. All Rights Reserved.

Football fans tuning into the big game just caught an all-new sneak peek at “Toy Story 4.” Check out the new spot below.

Woody (voice of Tom Hanks) has always been confident about his place in the world, and that his priority is taking care of his kid, whether that’s Andy or Bonnie. So when Bonnie’s beloved new craft-project-turned-toy, Forky (voice of Tony Hale), declares himself as “trash” and not a toy, Woody takes it upon himself to show Forky why he should embrace being a toy. But when Bonnie takes the whole gang on her family’s road trip excursion, Woody ends up on an unexpected detour that includes a reunion with his long-lost friend Bo Peep (voice of Annie Potts). After years of being on her own, Bo’s adventurous spirit and life on the road belie her delicate porcelain exterior. As Woody and Bo realize they’re worlds apart when it comes to life as a toy, they soon come to find that’s the least of their worries.

Directed by Josh Cooley (“Riley’s First Date?”), and produced by Jonas Rivera (“Inside Out,” “Up”) and Mark Nielsen (associate producer “Inside Out”), Disney·Pixar’s “Toy Story 4” ventures to U.S. theaters on June 21, 2019.

Some Fun Facts about the films –

  • “Toy Story,” originally released on Nov. 22, 1995, was the first fully computer animated feature film and the highest grossing movie of the year. It was nominated for three Oscars® and two Golden Globes®. 
  • “Toy Story 2” is the first film ever to be entirely created, mastered and exhibited digitally. It was also the first animated sequel to gross more than its original, breaking opening weekend box office records in the U.S., UK and Japan, becoming the highest grossing animated release of 1999. It won the Golden Globe for best motion picture – comedy or musical. It won a Grammy® for best song written for a motion picture, television or other visual media (Randy Newman, “When She Loved Me”).
  • Released in 2010, “Toy Story 3” won Oscars® for best animated feature film and best achievement in music written for motion pictures, original song (Randy Newman/“We Belong Together”). The film also won a Golden Globe® and BAFTA for best animated film. It was the second Pixar film to be nominated for the best picture Oscar. It’s also Pixar’s second highest-grossing film of all time behind “Incredibles 2.” 
  • The 2015 short “Riley’s First Date?” was helmed by director Josh Cooley and produced by Mark Nielsen.

©2018 Disney•Pixar. All Rights Reserved.

TOY STORY 4’s Bo Beep Gets Her Own Poster!

Bo Peep is back! This long-lost friend of Woody, Buzz and the gang always shared a special connection with Woody, but they have not seen each other in years, and Bo has become chipped and faded over time. Bo’s strength and sarcasm always belied her delicate porcelain exterior, and it turns out she’s an adventure-seeking free spirit who feels right at home on the road. When she and Woody are reunited under unlikely circumstances, they realize they’ve grown worlds apart when it comes to life as a toy.

“Bo’s taken control of her own destiny,” said “Toy Story 4” director Josh Cooley. “While Woody was watching Andy grow up, Bo gathered dust until she took it upon herself to head out into the world. And when Woody shows up, they can’t believe that they’ve found each other again.”

Annie Potts returns as the voice of Bo Peep. “She is modern, independent, capable and confident,” said Potts of her character. “Bo is written and conceived to be inspiring as she has weathered life’s ups and downs with grace. I aspire to that.”

Access the video here: https://www.facebook.com/10498014129/posts/10156463897209130/

Woody (voice of Tom Hanks) has always been confident about his place in the world, and that his priority is taking care of his kid, whether that’s Andy or Bonnie. So when Bonnie’s beloved new craft-project-turned-toy, Forky (voice of Tony Hale), declares himself as “trash” and not a toy, Woody takes it upon himself to show Forky why he should embrace being a toy. But when Bonnie takes the whole gang on her family’s road trip excursion, Woody ends up on an unexpected detour that includes a reunion with his long-lost friend Bo Peep (voice of Annie Potts). After years of being on her own, Bo’s adventurous spirit and life on the road belie her delicate porcelain exterior. As Woody and Bo realize they’re worlds apart when it comes to life as a toy, they soon come to find that’s the least of their worries.

Directed by Josh Cooley (“Riley’s First Date?”), and produced by Jonas Rivera (“Inside Out,” “Up”) and Mark Nielsen (associate producer “Inside Out”), Disney·Pixar’s “Toy Story 4” ventures to U.S. theaters on June 21, 2019.

Did you know:

  • “Toy Story,” originally released on Nov. 22, 1995, was the first fully computer animated feature film and the highest grossing movie of the year. It was nominated for three Oscars® and two Golden Globes®. 
  • “Toy Story 2” is the first film ever to be entirely created, mastered and exhibited digitally. It was also the first animated sequel to gross more than its original, breaking opening weekend box office records in the U.S., UK and Japan, becoming the highest grossing animated release of 1999. It won the Golden Globe for best motion picture – comedy or musical. It won a Grammy® for best song written for a motion picture, television or other visual media (Randy Newman, “When She Loved Me”).
  • Released in 2010, “Toy Story 3” won Oscars® for best animated feature film and best achievement in music written for motion pictures, original song (Randy Newman/“We Belong Together”). The film also won a Golden Globe® and BAFTA for best animated film. It was the second Pixar film to be nominated for the best picture Oscar. It’s also Pixar’s second highest-grossing film of all time behind “Incredibles 2.” 
  • The 2015 short “Riley’s First Date?” was helmed by director Josh Cooley and produced by Mark Nielsen.

©2018 Disney•Pixar. All Rights Reserved.