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MICHAEL (2026) – Review

Okay, many would say that the Summer season got off to a very early start with the still-playing PROJECT: HAIL MARY and the animation “one-two-punch” from Pixar and Illumination. That could be the case, since the big box office race had, until recent years, its “starting line” on the first of May, and the “finish line” just before Labor Day. Well, the “starting gun” has been fired with this big-budget musical “biopic”. While many of these have been relegated to the “prestige” months near the end of the year (to qualify for awards), this one is setting its sights on a big “wide” opening in many, many screens. This makes sense, since the subject held a “royal” moniker. We’re talking about the “king of pop”, the sparkly “gloved” one, MJ, though this potential blockbuster’s title simply uses his forename, MICHAEL.

This cinematic retelling doesn’t begin with his birth. Rather, it opens sixty years ago, as an eight-year-old Michael Jackson (Juliano Valdi) and his four brothers, now dubbed the “Jackson 5,” are coached and trained by their papa Joe (Colman Domingo) while mama Katherine (Nia Long) adoringly watches. But the road to fame includes long, grueling hours of rehearsal and the savage punishments from Joe. Eventually, they are discovered by Motown Records exec Suzanne de Passe (Laura Harrier), who brings them to her boss, the company founder Berry Gordy (Lorenz Tate). He’s a kind, nurturing mentor, the opposite of Joe, who patiently tells the lad not to “move around so much” in the studio. The team is a sensation, as the story springs ahead to 1978, with the family now living in an Encino, CA mansion. But now 20-year-old Michael (Jaafar Jackson) lives a sheltered life in a bedroom filled with toys, animals, and ideas for a solo album, which irritates Joe. Thinking this will “derail the gravy train,” he tells Michael’s agents that he can do a solo album in his “off time” (after the team’s 9-to-5 schedule). MJ’s a smash “single act, and soon yearns for more artistic freedom. Encouraged by his Mom, bodyguard/driver Bill Bray (Keilyn Durrel Jones), and new attorney John Branca (Miles Teller), Michael becomes a solo superstar, hitting new heights with the most successful record of all-time, “Thriller, produced by Quincy Jones (Kendrick Samson). As the years pass, MJ dominates MTV with lavish music videos, amasses a zoo on the grounds of his home, “steals the show” on the “Motown 25th” TV special, and indulges in cosmetic surgeries (he’s haunted by the childhood taunts of “big nose”). But Joe’s not finished with him, as he pressures his son to join his brothers on the “Victory” tour and be part of a “tie-in” commercial shoot for a soft drink company sponsor. This leads to a life-changing on-set accident that sets in motion a plan for Michael’s independence.

The ensemble cast works hard to recreate these pop culture icons, especially the title role, which is shared by a pair of talented screen newcomers. Getting the “lion’s share” of screentime is Jackson (yup, he’s the nephew of the “superstar”), who is a striking physical recreation, particularly in the musical numbers. Yes, he’s got the “moves” down so well that it’s a shame that he’s given such a limited dramatic arc. In most scenes, Jaafar flashes a frozen, immovable smile as he’s showered with praise or deals with family drama. Still, there are a few flashes, as he picks his lawyer, or during a “creation” sequence. Valdi is completely captivating as a ten-year-old (claiming to be eight) Michael, effortlessly earning empathy, whether serenading an adoring throng or enduring Joe’s “guidance”. As the story’s main “villain”, the superb Domingo deftly conveys Joe’s bullying swagger, though, again, we’re not given much insight into his motivations, other than greed. Teller also has little to work with, as Michael’s champion, who is often just a supportive ear and often verges on the old “white savior” cliche. Much could be said of Jones as the “dad surrogate” Bray. Long is solid as mom Katherine, who is finely given some strong scenes against Domingo in the third act. And kudos for casting a beloved comic treasure in a cameo role that harkens back to another musical biopic (no spoilers from me).

As I said, the musical recreations are exhilarating, reminding us of the exuberant sense of nostalgia, when the world seemed to float on a cloud of pop tunes (the 5 was perhaps the most fun act since the “Fab 4”). But for those hoping to get much more depth into this “pop royalty”, well, the film’s story is too light and fluffy. It’s a surprise since that comes from the man behind the “down and dirty” TRAINING DAY (can it be 25 years now), Antoine Fuqua. This is truly sanitized and pretty “toothless”. Since it’s authorized by the Jackson estate, Michael is so angelic, he often appears otherworldly (that’s why he’s an alien in the first MEN IN BLACK). It’s almost “The Adoration of Michael” as we see countless scenes of him doing visits to kids’ hospitals and bonding with youngsters in his happy place, “Tom’s Toys” (we know its real name). And then there are scenes so sweet your molars might ache, as Michael immediately bonds with pet chimp Bubbles, who seems to have been transported from the CGI ape world from that SF franchise, along with a whole pixel menagerie. Perhaps this “scrubbing” was needed in order to showcase and promote the music catalog and appease the family. But not everyone was on board, as sister Janet is not only absent, she’s never mentioned, leaving La Toya to be his fawning lil’ sis’.Still, there are a couple of sequences that offer us a glimmer of a more interesting biopic, including the aforementioned “creation” of one of his greatest hits, “Beat It’, and the hiring of Branca (“He’s my guy.”). Also in the film’s plus side is the superb production design by Barbara Ling, the costumes by Marci Rodgers, and the entire srt department and makeup team, though Joe looks a bit rough as he’s “de-aged” in the mid-60s opening. Those wanting to bathe in the musical memories will be blissfully taken back to their youth, but those of us who recall the later controversies and tablod “fodder” will find little “substance” in this “puff pastry”. At the final fade-ot we’re teased with a possibel sequel. If so, let’s hope it has a lot more dramatic heft than the sparkly simplicity and “canonizing” of MICHAEL.

2 Out of 4

MICHAEL is now playing in theatres everywhere

YOU, ME & TUSCANY – Review

With Spring in full bloom, are you hoping that love (at least on the big screen) is also blossoming? For those fans of romantic flicks with a healthy dose of comedy (maybe more swoony passion than yuks), 2026 hasn’t been much of a harvest. REMINDERS OF HIM really leans into melodramatic tragedy. And then there’s last week’s big release, THE DRAMA, which starts with the old reliable “meet cute” with lots of chemistry between the two leads, then takes a very sharp “turn” into the dark, almost “pitch black”, squirmy, sardonic. Where are the exotic locales, and the smouldering looks of desire between two likable, extremely photogenic actors? Well, right now. You can tag along, via the multiplex, to a far-off fantasy destination as the “seat mate” to YOU, ME & TUSCANY. Just be prepared for a “pasta-palooza”.

Ah, but the opening scene locale is right here in the States, the “Big Apple”. Lovely twenty-something Anna (Hallie Bailey) seems to “have it all” as she sashays through NYC. But we soon find out that all is not what it seems. She’s adrift, making a meager living as a housesitter. Her plans to be a chef were squelched when her mother passed, and she couldn’t graduate from a swank culinary college. Luckily, her BFF Claire (Aziza Scott) can score her a room at the high-end hotel where she works. At their bar, Anna strikes up a conversation with a charming Italian visitor named Matteo (Lorenzo de Moor). Over many drinks, he tells her that he travels the globe, while leaving his family’s opulent Tuscan villa empty. Anna mentions that she and Mom had planned an Italian trip and still has the unused airline ticket. Matteo tells her that she must make the trip soon. When jet lag gets the better of him, Anna does a “phone drop’ and gets the pics of his “crib”. Of course, she heads to Tuscany without a plan. And it’s the time of the big Summer festival, so every room is booked. Aha, since Matteo’s place is empty, why not “crash’ for a couple days. Anna finds the house keys and, after a night’s slumber, does some “exploring”. She finds a gorgeous ring…and it’s stuck on her finger. As she tries to remove it, she’s “caught” by Matteo’s Mama (Isabella Ferrari) and Nonna (Stefania Casini), who have dropped by to clean the place. As Anna sputters an explanation, they spot the ring. She must be his fiancée! Anna goes along with the “fib” in the hope she can sneak out of town soon and fly back home. But things get complicated when the family warmly embraces her (this means Matteo will finally return to them). And then things get “super-complicated” when Anna meets Matteo’s dashing, gorgeous wine-making brother/cousin Michael (Rege’-Jean Page). Should she risk sticking around and hope that she’s not exposed as a fraud? Oh, but there’s a real spark with that “grape-grower.”

I think I alluded to the charm and “pleasant presence” of the two leads earlier. Getting most of the screen time (well, it’s really her story) is the bubbly Bailey, who easily gets the audience on her side despite some questionable decisions as Anna. She’s adept as the “straight” to many of the often silly supporting players, while showing her budding attraction to the splendid Page, whose engaging smile often masks the hurt of loss and loneliness. Of course, he’s initially brash and caustic to Anna when they meet, but the “icy wall” slowly melts away. Much of the cast is there to “punch up” the comedy, and though often they “land” a few. The best “boxer” might be Scott, who’s the “sounding board” for Anna’s ideas while trying to “ground her” while playfully tossing the “B word” (y’know, the lady canine). Matteo is an engaging “cad” thanks to the character choices from de Boor. The first ‘local” in Anna’s “corner” is a most helpful taxi driver played with an endearing sense of fun by Marco Calvani. And then there’s the “familia”. Ferrari warmly embraces Anna, almost from the start, while Casini elicits laughs with her suspicious glances and feisty spirit. Stella Pecollo really “goes for it” as the bubbly free-spirited Francesca, quick with a slapstick leer. Grounding them all is the stern, stoic patriarch played by the intimidating Paolo Sassanelli.

Guiding this group is director Kat Corio, a TV vet who last scored in features with the J. Lo vehicle MARRY ME. This is a bit of a step up from the ludicrous premise of that one, but she often hits the comedy beats too hard with this, leaning in hard with mugging clos-ups and clumsy physical schtick. She does better in the quieter scenes of Anna falling for Michael, although Corio uses the tired cliche of the leads bonding during a long montage, their dialogue replaced by a forgettable pop tune. Ah, well, the target audience for this isn’t looking for realism, but fantasy fluff. And it’s got that to spare, along with the dazzling location and drool-inspiring cuisine (Matteo’s family runs the big restaurant). So, we’ve got both travel and food “porn” here. And lots of cute, colorful sitcom tropes. especially middle-aged lady tourists leering at a shirtless Page (as Slappy Squirrel used to say< “Now, that’s comedy”). Really, this is a pasta-fueled big -budget expansion of so many basic cable TV flicks (minus the holiday themes) that coast on the locales and the charm of the leads. Fans of this kind of “comfort food” will certainly feel full afterward, while anyone looking for anything more substantial will be famished by the “lighter than air” frivolity of YOU, ME & TUSCANY.

1.5 Out of 4

YOU, ME & TUSCANY is now playing in theatres everywhere

THE SUPER MARIO GALAXY MOVIE – Review

April brings those showers, which may bring May flowers, and bring big box office returns for the movie studios. That’s because one of Pixar’s biggest rivals, Illumination Animation, is joining them in getting a two-month head start on the race for the usual Summer cartoon feature crown. Before Ryan Gosling blasted into space, Pixar’s HOPPERS ruled the multiplex. Now this new flick isn’t another entry in Illumination’s almost unlimited franchise DESPICABLE ME, nor those MINIONS. The studio has acquired some notable IPs, mainly the literary library of Dr. Seuss. But its biggest “get” was the deal with Nintendo, which spawned a worldwide ticket-buying tsunami almost three years ago. And so it’s no huge surprise that those heroic pumbers and their pals have returned in THE SUPER MARIO GALAXY MOVIE. Game on…

This one begins in a different world as Princess Rosalina (voice of Brie Larson) is getting the glowing star-like creatures called Lumas ready for bed (after a story, of course). But the “quiet time” is shattered by the arrival of a hulking robot/tank outside the castle. After a valiant effort, Rosalina is captured by the operator of the “war machine”, Bowser, Jr. (Benny Safdie). But one of the frightened Lumas manages to escape. Meanwhile, in the Mushroom Kingdom, those Brooklyn-born brother plumbers, Mario (Chris Pratt) and Luigi (Charlie Day), are “on call”, along with a new assistant, the green baby-dinosaur-like creature Yoshi (Donald Glover), who can swallow almost anything and discharge it through his body in an egg. Mario’s a bit preoccupied since the big birthday celebration for Princess Peach (Anja Taylor-Joy) is later that day (he wants to give her a parasol and …his heart). The party is crashed by the escaped Luma, who tells them of the attack by Bowser’s son. Peach decides to mount a rescue of her “long lost” sister (they separated when Peach was a toddler), but they’ll need to bring along an unlikely ally, the now imprisoned and minaturized Bowser, Sr. (Jack Black). But can he really be trusted? And can this motley crew, including the mushroom Toad (Keegan Michael-Key), find Rosalina before Bowser, Jr. drains her of her magic energy, despite the addition of a new ally, the swashbuckling space pilot Fox McCloud (Glen Powell) and his flying squad?

Well, as is said with many sequels and franchise installments, if you enjoyed the first one, you’ll probably like this one (I suppose you could also say that about fast food spots, really). I wish I could work up more enthusiasm (mine is easy to “curb”), but I haven’t been part of Mario’s world since dropping many, many quarters in various arcade devices right after college (you can probably guess the year). And this flick feels as though you’re standing over somebody’s shoulder who is very…uh… proficient with the joystick (I’m stifling a “heh. heh.”) But then the youngsters love to watch countless streaming videos of folks racking up the big “scores’ on the games. So, this will easily satisfy the legions of fans, but there’s little to hook those “uninitiated”. Mind you, from an animation aficionado’s viewpoint, the look of the movie is pretty spectacular, packed to the brim with colors and bursting effects that seem to break out of the big screen. The script is just so-so, with most of the best lines going to Black and Safdie as the “Bowser bunch”. The returning voices are on the same level as the 2023 original. The new additions aren’t given much of a chance to shine, as Larson is in her MCU mode, while Powell is a more energetic “space jockey (think a younger “harrier” Han Solo). There are a couple of “name” cameos (Luis Guzman and Issa Rae), but I was pleased about a few cartoon voice vets who scored big roles, namely Kevin Michael Richardson as the wizard-like Kamek. The same trio of directors also returns, stuffing the film to the brim (and spilling over a bit) with settings and side characters, some extremely sweet (my teeth) and cute, from the popular game series, so the wee ones will be engaged, while the near-nonstop bouncing and frenetic stunts might pummel the “civilians” into slumber. I can respect the craft, though it all feels like an effort to re-energize the “brand” while not trying to expand its scope. But why am I kvetching, since it should swiftly zip past the billion-dollar box office mark, with another epic already being planned? Still, it would be nice if it grabbed us in the “feels” like those “returning soon” toys and those HOPPERS. While those die-hard players will give it unlimited stars, I can only muster up…

2 Out of 4

THE SUPER MARIO GALAXY MOVIE is now playing in theatres everywhere

REMINDERS OF HIM – Review

And now, borrowing from the sports world, here’s a fairly remarkable literary/cinematic “hat trick”. For the third year in a row, the multiplex becomes a “book club” with the new movie adaptation of a novel by Colleen Hoover. She’s the best-selling author of IT END WITH US (released in 2024, though the legal theatrics seem to drag on and on and…) and last year’s regrettable REGRETTING YOU. Perhaps Ms. Hoover wants to be as prolific in the 2020’s as Nicholas Sparks was for the first two decades of this century, though she got a lot of typing ahead of her. The results of these movie interpretations have been mixed (US) to downright scathing pans (YOU). So will she and the filmmakers hit that cinema “sweet spot” with REMINDERS OF HIM (Hoover has a thing with title pronouns)? Okay, here goes…chapter one…

Actually, the story’s opening is a return, or a homecoming. Keena Rowan (Maika Monroe) takes a taxi into the picturesque village of Paradise, Wyoming. Well, this is after the driver pauses for her to uproot one of those roadside memorials. She is able to rent a room at the somewhat squalid Paradise Hotel after putting up a big deposit, because the landlady tries to give everyone a “second chance” (and a kitten). Yes, Keena has just been released from prison. This makes her employment search even more difficult. Cut to our introduction to Ledger Ward (Tyriq Withers), a former pro-footballer (let go by the Broncos after his arm “blew out”) who also returned to Paradise to run a bar. He lives across the street from old friends Grace and Patrick Landry (Lauren Graham and Bradley Whitford), who are raising their late son’s adorable five-year-old daughter Diem (Zoe Kasovic), almost like an adored niece to him. After a day “pounding the dusty pavement”, Keena is stunned that the old bookstore/ coffee is now a “watering hole” owned by, yup, Ledger. The two exchange a bit of flirty banter while she exits through the back door. She’s stunned again by the sight of a battered orange pickup truck. It’s then that its owner, Ledger, discovers that Keena is the former girlfriend of his deceased BFF, Scottie Landry (Rudy Pankow). Ledger had loaned his truck to him during his short NFL stint. Naturally, the banter soon ends. The next morning, he’s gobsmacked when he sees her marching toward the Landry house to finally meet her daughter. Yes, she had been sent up the river after that fatal crash (the courts determined that she was driving under the influence) while only a few weeks pregnant. Soon after giving birth, the baby was taken away to Scotty’s folks. Ledger prevents her from making a scene, but is a bitter reunion inevitable (it’s a tiny town)? And what will become of the blossoming attraction between the duo connected by tragedy?

Can it really be a dozen years since Ms. Monroe appeared on my “radar” in the indie horror gem, IT FOLLOWS? Oh yes, and she’s been fairly busy in genre films, whether it’s more horror like last year’s LONGLEGS, or thrillers like (again, 2025) the remake of THE HAND THAT ROCKS THE CRADLE, or sci-fi with that silly INDEPENDENCE DAY sequel (whew). She can do wonders with very little in the way of a script, and here she proves more than up to the task of carrying a romantic drama. We see how life has battered Keena through Monroe’s down-turned gaze and her deliberate body language and slow gait. But when Keena begins her quest to reunite with her baby, Monroe is energized and dynamic, then gives way to a “softer side” as Keena cautiously lets love back into her heart. Here’s hoping for an even greater variety of lead roles for her. Withers weathers (see what I did) last year’s dreadful horror/sports mash-up mess HIM, to become a strong, complex lead as Ledger, a man trying to deal with his own past issues while being stretched in a dozen different directions at once by the people he cares so deeply about, but still full of charm and grit. Almost as much of it as Pankow as the doomed and endearing Scotty. As his folks, Whitford, as “Nono” Landry, is trying to leave his loss behind until Keena pops back. Ditto for Graham, as his still-healing wife, as she tries to protect her granddaughter, now the only physical part of her only child. Much has been made of the screen debut of country crooner Lainey Wilson, who does well in the small (only a few minutes) role of Keena’s boss/buddy. Amid the turmoil, Monika Meyers provides some comic relief as Keen’s special needs co-worker/ neighbor, Lady Diana.

With her second theatrical feature film, director Vanessa Caswill keeps the pace flowing, though she leans heavily into prolonged close-ups to convey the budding attraction (and they are attractive) of the principals. Plus, she makes great use of the stunning visuals with Canada (again) subbing for its southern neighbor. But then there’s the script, which hammers the dramatic conflicts, veering into melodrama, and gives way to cloying heart-tugging. frequently in the dialogues with Diem and the earlier-mentioned Diana, going to the “cute well” till it’s nearly dry. I did find it interesting that Hoover, adapting her novel with Lauren Levine, opted to leave the big city, lush settings of US and YOU to focus on those struggling to get by, though the under-constructed home of Ledger seems far too opulent. Still, fans of her work will probably be pleased while the rest of us ponder just how this “basic cable TV’ terajerker “escaped” into the multiplex (those literary roots, I suppose). But the potent chemistry between the engaging Monroe and Withers smooths out much of the potboiler tropes of REMINDERS OF HIM (sound of paperback closing).

1.5 Out of 4

REMINDERS OF HIM opens exclusively in theatres on Friday, March 13, 2026.

EPiC: ELVIS PRESLEY IN CONCERT – Review

You’d think that Aussie director Baz Luhrmann would’ve had his fill of “the King” after making his big-budget Oscar-nominated biopic of ELVIS nearly four years ago. And you would be so wrong. And Presley fans (and scores of fanatics), along with general movielovers are all the richer for it. Turns out that Baz wanted access to all the footage from the two Elvis concert films from the early 70s, and was probably gobsmacked by the 68 boxes of 35mm (and some 8mm) film delivered from deep within the vaults of Warner Brothers. We do get an overview of the man’s life and career, but the main focus is on the legendary performing tenure begun in 1969 at the International Hotel in Las Vegas. All the hi-tech cleaning and polishing only add to the legend, and truly earn the main title of EPiC: ELVIS PRESLEY IN CONCERT. Lace up those blue suede shoes…

The taut ninety-minute documentary/concert deftly combines both cinema elements. Baz assembles little “sidebars” that pop up almost like chapter bookends here. There’s a section devoted to his adored “Mama”, initial cultural impact (an explosion almost) with a TV preacher’s warning of the “beat” that summons Satan, his Army stint, the “Colonel”, his romances (yes, Priscella’s there), and many other milestones. Plus, there’s a montage of his often silly (“See Elvis karate chop a tiger!”) later movies that prompted the big 1968 “comeback” TV special. But the real “meat” is the preparations for the big Vegas concert with several unlikely tunes that were considered. It’s interesting to hear the King’s take on a couple of Beatles tunes, along with a Simon and Garfunkel classic. And yes, he’s in excellent “voice”, this being some of his most polished vocal stylings. The rehearsals and preparation scenes build to the big Vegas opening, in which Elvis almost “reinvented” himself and began his new era of live-performance spectacles.

For some viewers, this new reworking of long-thought lost footage will reinforce their perception of this icon, while for the unfamilar much of this may be a revelation or a discovery. We see long hours in minimal facilities to tweak the sound, in order to go beyond the “flash and glitter”. Oh, but there is plenty of that, though. His gaudy, often loud fashion ensembles are on full display, making us think of how it’s the male peacock who attempts to dazzle the ladies. Dazzle is a restrained turn for Elvis’ magnetic appeal to the hordes of enraptured women fans of every age. He is their idealized lover, even if there’s a hint of danger. One great bit has Elvis zeroing in on one of his most prominent female backup singers, which inspires both fear and quivering desire. That’s just one of the scenes of his “clownin””, as we witness him cracking up over his persona. There’s a darkness to one of the “jokes” as Elvis inserts some drug references to one of his tunes, strange since he’d get a “drug buster badge” from then President Nixon less that a decade before he was felled by his addiction. Ah, but that feels like the distant future as we see the celeb-packed audience at that first Vegas concert. Why, he’s visited in his dressing room after the show by Sammy Davis, Jr. and Cary Grant! Oh, to be a fly on the wall to hear what they discussed, or at least to have better microphones trained on them. This is also an incredible time capsule of that time when beehive hairdos (or don’ts) ruled the skies, probably blocking a lot of the audience, who “dressed to impress”, perhaps to garner a glance or a quick smooch from their idol (he does love to wander through the smothering crowds). Yes, these are fun, happy snippets of kitsch, but there’s still some tragedy as Elvis mentions his interest in touring the world, though he would never venture beyond North America. My only complaint about Baz’s passion project is that some songs are cut short in order to avoid a long running time for the IMAX venues. Yes, I wanted more, but what’s there is really great. Oh, and don’t leave when the end credits begin. There’s a brief shot of E flanked by his “Memphis Mafia” as he briskly strolls down the hotel staff corridor past their cafeteria. In his bright blue jumpsuit, he looks like he popped in from Mount Olympus, making us wonder how this rock and roll deity existed on this planet with us. Sure, the music is still wonderful, but the whole mystique is what makes this time-traveling trip so memorable in the truly EPiC: ELVIS PRESLEY IN CONCERT. And yes, sadly, Elvis has left the building…

3.5 Out of 4

EPiC: ELVIS PRESLEY IN CONCERT is now playing exclusively on IMAX screens. It expands to theatres everywhere on Friday, February 27, 2026

WICKED: FOR GOOD – Review

So, here’s a riddle that could flummox a few filmgoers. When is a sequel technically not a sequel? Now, we’re not referring to a number following a title (GODFATHER II comes to mind), or an entry in a series (as with James Bond or even Sherlock Holmes). That’s when a new film is a conclusion, ending a big story that’s split in two, usually shot at the same time. Pierre Spengler and the Salkind family famously produced two 70s adaptations this way, with the Three Musketeers (allegedly some of its stars weren’t told the movie was going to be split) and the big budget Superman (replacing the director for the concluding flick). That method was revived with Peter Jackson’s Lord of the Rings and Hobbit films. And when the last Harry Potter book was too epic, it was spread over two (as was the big Avengers/Thanos battle). Now, we come to the case of a big Broadway stage musical hit (it’s still running there), that the producers felt was just too complex for one cinema experience (plus, they could perhaps double the box office). The “first act” was a huge smash at the end-of-the-year holidays in 2024 at the multiplex, so now they’re hoping that much of that massive audience will want to “return to Oz” in 2025 for WICKED: FOR GOOD. Grab your brooms and wands…

The fantasy fable begins just a few miles from the Emerald City as the Wizard’s workers and official guards crack the whip on some harnessed lumbering beasts (looking like a hybrid of the buffalo or yak) in order to finish the long, winding Yellow Brick Road. But those abused animals have an unlikely rescuer. Soaring down through the clouds is not a caped superhero, but a wicked witch, Elphaba (Cynthisa Erivo). She frees the creatures after a brief battle, then heads skyward. Meanwhile, the Emerald City and Munchkinland are littered with banners, posters, and leaflets warning the populace of this “green-skinned menace”. There, her old Shiz College roommate Glinda (Ariana Grande-Butera) is the spokesperson (a bright, calming face) for the Wizard (Jeff Goldblum), while Madame Morrible (Michelle Yeoh) is his crafty consort in the shadows. The duo convince Glinda that it would help unify the citizens if she announced her engagement to the newly appointed Captain of the Wizard’s Guards, Fiyero (Jonathon Bailey) at that day’s big city ceremony. This comes as a surprise to him, since he still secretly harbors feelings for the “enemy of Oz”. Later, Elphaba encounters several animals trying to leave Oz through a tunnel under the YBR that would lead them to a desert land far away from oppression. She tries to rally them, but the animals reject her when a certain timid feline explains that “El” cast a spell that made the monkeys sprout wings. From there she visits her estranged sister Nessarose (Marissa Bode)who has been appointed governor of Munchkinland after the death of their father. In her office, her former beau Boq (Ethan Slater) is now her servant and is prohibited from traveling, along with all the Munchkins. After enchanting Nessa’s shoes (really slippers), Elphaba is stunned when her sister snatches her book of magic, the Grimmerie, and tries to put a love spell on Boq. When this threatens his life, El uses her powers to avert a fatal tragedy, changing him forever. It’s then that she decides to return to Emerald City to strike a truce with the Wizard to free the animals. This also results in a happy reunion with her “Shiz sister”, but El soon learns of the Wiz’s sinister future plans. As she speeds away on her broom, Morrible hatches a deadly plot. She’ll use her weather manipulation magic to endanger Nessa and lure El to her doom. But what happens when an innocent from another world is thrown (lands, really) into the conflict o Oz?

While the focus of part one was “up for grabs” (and wasn’t Universal a bit wicked for hiding that “listing’ in the 2024 marketing), here it’s clearly Erivo as the often distraught but determined Elphaba. Sure, she’s an avenging rebel in many sequences, streaking out of the sun with more speed than any action hero from Marvel or DC, but there’s a real sadness hovering just under that pointy hat. Erivo’s haunted gaze informs us of her sacrifices, as she must endure the vilest of hateful propaganda in order to help all of Oz. That’s in addition to her musical mastery that’s matched by her best screen partner, Grande-Butera as the now “less-flighty” Glinda. She’s also torn by her faith in the Wizard and her still-present affection for her Shiz sister. We get fewer funny moments with her this round (only a couple of “hair-flips”), as the character becomes more, dare why say, introspective, even examining her privileged younger years. This time out, Bailey is more of a swashbuckler than a flamboyant song-and-dance dude as the now military-minded Fiyero. Ditto for the much darker, dramatic turn as the tormented Boq. His former sweetheart has also taken a turn to tyranny, and Bode as Nessarose conveys her conflict as she yearns for the better times with her sister and old beau. And is there a better devious duo than the quirky but still charming Goldblum and the slinky, sinister Yeoh (love her sneering at Glinda) as the Wizard and Morrible? Happily, Bronwyn James and Bowen Yang return as Glinda’s old classmates, Shenshen and Pfannee, who are now Oz PR staff while bringing some much-needed levity.

Finishing the fantasy is director Jon M. Chu (unlike Richard Donner on the 78 Superman), who keeps the story rolling along and even inserts an action thriller aesthetic recalling his time in the GI Joe franchise. But he really shines in crafting the incredible production numbers, either the soulful ballads by Elphaba and Glinda or the big brassy bits with nearly of the Emerald City, which is just as gorgeous and green as before. Yes, like the first half, the production design, costumes, and backdrops (all the colorful flora and fauna) are delicious eye candy (what a great fodder for a “making of” coffee table tome). The expert effects work add to the visual wonders, with CGI making us believe in the Oz animals (especially those “winkeys”), even helping to put a new spin (no doubt to appease MGM/WB) on that iconic OG quartet. And in order to fill out the story’s second act (on stage, act two is usually shorter) musical wiz Stephen Schwartz has created a couple of new tunes. They’re hummable, but the real highlight is the title number “For Good”. But really, the most sensational songs are in the part. Nothing here has the infectious bounce of “Popular”and “What is This Feeling?” or the soulful yearning of “The Wizard and I” (the “I want” number) or the soaring majesty of “Defying Gravity”, but they’re going for the action and drama which isn’t quite as fun as the “big set” and character intros of last year’s flick. Still, this is a big splashy spectacle which should delight fans and families (though the tots may need some help through scarier violent bits) who want to continue the epic fantastical fable that concludes (maybe) with WICKED: FOR GOOD.

3 Out of 4

WICKED: FOR GOOD is now playing in theatres everywhere

BLACK PHONE 2 – Review

Hey, Halloween’s just a couple of weeks away, Hollywood studios! So where’s the new spooky, scary flicks? Well, we’ll have to wait another week or so for the new version of Mary Shelley’s classic, so how about a sequel to one of the surprise horror hits from four years ago? And it’s from the classic “monster-maker”, Universal by way of the “ghouls” that dwell in the Blumhouse. Concerned about the number in its title? Perhaps knowing that they got “the band back together”, namely the cast along with the directors and co-writer, should erase your worries. What’s that ringing noise? Do you dare to pick up the receiver and answer the call of BLACK PHONE 2?

It all actually starts with a flashback set in the late 1950s. A teenager trudges through the snow to a desolate telephone booth, somewhere in a frigid forest clearing. After a very odd, even cryptic conversation, the story springs forward to 1982 Colorado. Just outside the high school, a young man is viciously pummeled by Finn Blake (Mason Thames). Luckily, his sister Gwen (Madeleine McGraw) pulls him off the lad. Despite being the young hero who ended the murderous reign of “the Grabber”, Finn is still challenged by bullies. But that’s not their only problem. Though papa Terence (Jeremy Davies) is finally sober, Finn is now the substance abuser, numbing his damaged psyche with bags of weed. Yet somehow he’s alert enough to stop Gwen from her dangerous sleepwalking excursions. Yes, she’s having visions again, this time of three boys murdered in the cold white woods. Could this be the spirit of their nemesis? Gwen’s dreams lead the duo to look into getting jobs at the Christian church “winter camp” called Alpine Lake. Luckily Gwen’s “wannabe BF” Ernesto (Miguel Mora) agrees to drive them there during a blizzard. At the camp’s front gate, they’re met by the horse “wrangler” Mustang (Arianna Rivas) and her father, the supervisor Armando (Demian Bichir). He tells them that other new workers called ahead and cancelled due to the fierce storm. But the trio can stay in the cabins until the roads are cleared. Gwen’s nightmares start up as things get even more weird for Finn. He answers the “out-of-order” payphone and speaks to the Grabber (Ethan Hawke) before seeing the horned, masked demon himself. Soon, Gwen’s visions give her a portal into the fiend’s deadly origins at the camp. Can the Blakes guide the campers in their mission to stop the Grabber and send him back to Hell?

Though he’s prominently featured in the marketing, the participation of Mr.Hawke raised some questions. Since the Grabber is usually masked up, or seen in various stages of gnarly wounded decay, Hawke is really delivering more of a vocal performance. It doesn’t help that the glimpses of him as the magician/balloon twister at the wheel of that old black van are that of a different actor (but then they’re part of Gwen’s visions). Mind you, Hawke delivers a threatening growl, but I recalled the rumors about the 1940s Mummy movies “starring” Lon Chaney, Jr. As for the other “originals”, the very busy Thames (this is the middle of his three 2025 flicks) makes a steadfast horror “hero” as the young man who is paying the mental “price” for his victory over evil. The memories (and grass) have dulled his eyes, but a return match seems to “jump start” his fighting spirit. That, and in protecting his adored lil’ sis’ played with equal parts sass and snark, with a touch of trembling vulnerability, by McGraw. She somehow can make most of her clunkier put-downs (this from a 15 year-old) work. Davies is also strong as a man struggling to rectify his past behavior and reconnect with the kids that will soon drift away from the nest. Mora also provides a good connection to the first flick, while scoring some chuckles as he pines for Gwen. The most compelling new character may be the grizzled Armando, played with a gravitas and protective charm by the always watchable Bichir ((love when he scolds Finn over his “goodie bag”).

Returning to the director’s chair is Scott Derrickson who co-wrote the new script with C. Robert Cargill, based on Joe Hill’s 2004 short story. I will give them kudos for not returning to that dingy basement (it does make a cameo) for a new rash of abductions and escape attempts. Though the first entries had supernatural elements, this one truly goes “all in” allowing for lots of creative effects, some CGI and many practical make-ups (even a bit of puppetry, I’m guessing). But once the Blakes get to their new setting, the story becomes fairly repetitive as Gwen drifts off to sleep in order to be menaced by the Grabber before Finn arrives just in time. And many set pieces are also derivative, as though we’re watching a late 80s Freddy Krueger knock-off set near the Overlook from THE SHINING (the red-coiled space heaters do give the cabin interiors a Hellish glow). The need for new scares and gross-out clutter up the big finale showdown as the “camper’s quest’ finally limps to a frozen finish. The fans have the original will probably enjoy seeing the “OG” cast, but for few new fans will want to jump in that icy glass booth for BLACK PHONE 2.

1.5 Out of 4

BLACK PHONE 2 is now playing in theaters everywhere

JURASSIC WORLD: REBIRTH – Review

Hard to believe that the big Summer holiday, the Fourth of July, is almost here (and it’s on a weekend, too). Well, if you can’t hit the road or hop on a plane, the local multiplex is your best option for a tropical getaway on a secluded island. Now there’s a slight problem with this dot in the ocean. While flies and mosquitoes can dampen the fun, the pests here are much, much bigger. And very aggressive. And hungry (perhaps even “hangry”). Yes, we’re back in the movie franchise established way back in 1993’s JURASSIC PARK. After two “trilogies”, Universal’s ready for a bright, shiny “reboot” with an all-new cast trying to survive in this familiar foliage. Films are always a bit of a gamble, so is “seven” the “lucky number” for JURASSIC WORLD: REBIRTH?

This entry starts with a flashback from 17 years ago, as a research team in big, clunky haz-mat-like suits is scurrying about their lab. Looks like they’re tinkering with the dinos (always a big “no-no”), and as is usually the case in these stories, things go terribly wrong. After a few title cards explaining that the dinos we saw out in the world (Europe, the States, etc.) are succombing to unfamiliar climate and viruses, and that the general public has grown weary with the beasts (how fickle), we’re in the “present day” (really five years after the last JW flick). An exec for the pharmaceutical giant ParkerGenix, Martin Krebs (Rupert Friend), is stuck in NYC traffic as a dying Brontosaurus is lost near the Hudson. Ah, but he’s soon joined by the woman he was rushing to meet, “covert operative” Zora Bennett (Scarlett Johansson). Kreb makes his pitch: he wants to enlist her “team” to make a secret trek to the “forbidden” island home (travel is banned there) of the last thriving dinosaurs and collect blood and tissue samples (the dying nearby creatures are not “workable”). The “extracts” will be the basis of a heart disease “wonder drug”. He does insist on an addition to her team (aside from himself). They swing by the soon-to-be-shuttered dinosaur museum to collect expert paleontologist Dr. Henry Loomis (Jonathan Bailey). Soon the trio zip down to a port in Ecuador to meet Zora’s team leader, Duncan Kinkaid (Mahershala Ali), who will take them in his high-tech boat to the home of “big lizards”, Ile Saint-Hubert. Along the way, they rescue a family whose sailboat was capsized by a school of aquatic dinosaurs. After a harrowing encounter just off the island’s coast, the family is separated from the “covert” team. As Krebs tries to grab a set of three samples (beasts based on the land, sea, and “air”), the family tries to make their way to a long-deserted village. But, when the mutated (circle back to the pre-title scene) dinosaurs go on the attack, the quest for science (and big “pharma-bucks”) becomes a desperate struggle to survive until a possible rescue. This is no relaxing “va-cay”…

After four years away from the MCU (the home of “never say never”) and a brief detour into the “Wes Anderson-verse”, Ms. Johansson is back in full action heroine “mode” as the “gun for hire” who secretly has a “heart of gold” (no surprise). She’s quick with a snarky quip, but can leap right into the chaos, kicking lots of scaly tail. Somewhat regulated to the “in distress” role is Bailey, a grizzled glass-wearing geek (a fantasy breathtaking “brainiac”), who tries to keep out of the “line of fire” while taking the time to gaze lovingly at the gentler behemouths (he did study under Dr. Alan Grant, y’know). And there’s an Oscar-winner (twice) getting in on the monster mash-ups. Ali is given a bit of a tragic backstory (broken family), but mainly he’s a modern update on the rascally sea captain who loves his boat nearly as much as a hefty cash commission. He makes a fine comic partner with Bailey. Since every party needs a “p##per”, this trip has the wonderfully “weasely” Kreb played with an unseen “twirling mustache” by the glowering Friend. Oh, let’s not leave out the “rescued” (not really “stowaways,” I suppose). Manuel Garcia-Rulfo is the concerned, though confused patriarch Rueben, who just wants some quality time with his daughters, college-aged Teresa (Luna Blaise) and adorable pre-teen “snacker” (loves that licorice) Isabella (Audrina Miranda), who is adorable even as she’s in constant peril. The dinos are enough of a handful, but Rueben has to also contend with Teresa’s slacker, goofball “bae” Xavier (David Iacono), who does wonders with the abrasive role.

They’re all told where to run (and what the “green tennis ball” represents, “monster-wise”) by a director who is no stranger to big studio “IP”, Gareth Edwards. After all, he made GODZILLA work for mainstream US moviegoers, and was behind the brightest light in the post-George Lucas space flicks, the superb prequel ROGUE ONE: A STAR WARS STORY. He does bring some fresh energy to the scenes of the beasties in full-attack mode, while still taking a moment to give a “shout-out” to earlier entries (mainly the 1993 OG). Unfortunately, he’s somehow hampered by the disjointed screenplay by (speaking of OG), the adapter of the first two films in the series, David Koepp (he worked on the first Spidey, too). The time in between attack never really holds our interest, despite giving a sad backstory to both Zora (she just lost her partner during a “gig”) and Duncan (who takes a moment to gaze sadly at a faded photo of his son), while Henry tries to convince them to do the “right thing” with the samples (who doubts them). The biggest problem with the story’s structure may be the inclusion of the shipwrecked family. They never really “mesh” with the “mission crew”, which may account for why they’re quickly separated from them after they crash land on the island. Perhaps it was thought that these “average” Joes and Josephines, without firepower, would be easier to put in jeopardy and appeal to moviegoers. The cutting back and forth gets somewhat irritating, much as a TV show would flip from the “A story” to the “B story”. Now it does lead to the big nighttime finale that brings everyone together for another explosive showdown with a new dino “big bad”, the mutant “Distortus rex”, whose look owes a lot to another franchise, mainly the Xenomorphs from ALIEN. Certainly the effects on the critters continue to impress, it’s great to listen to strains of the classic John Williams score, and the carnage hasn’t been toned down to be more “kid friendly”, though I found the relentless “product placement” extremely distracting (make sure the logo is readable on that dangerous floating wrapper). Fans of these flicks will enjoy the usual mayhem and “narrow escapes”, but many may wish for something less formulaic (though this is a big improvement over JWD) than the jungle “jump-scares” of JURASSIC WORLD: REBIRTH. Now keep your hands inside the boat…

2.5 Out of 4

JURASSIC WORLD: REBIRTH is now playing in theatres everywhere

M3GAN 2.0 – Review

If there’s one thing we’ve learned after more than a hundred years of horror movies, it’s this: you just can’t keep a good “monster” down. That’s certainly true of the “Golden Age” icons, whether it was Frankenstein’s monster or Count Dracula (even in the “Silver Age,” it was a given that Christopher Lee would be back for blood). It may be more certain now in the age of “spin-offs”, prequels, and countless sequel. Plus it also extends to those fiends without flesh, like Chucky of CHILD’S PLAY. And now there’s a “gender flip” on that. Back in 2023 the January film “doldrems”, when often the thriller “dregs” would be dumped into the hungry multiplex, a chiller with a satiric “bite” brought us a new horror “heroine”. Well, she’s baaack! Finally, leaping off the toy shelf and into our nightmares comes M3GAN 2.0.

This one begins far away from the sunny California suburbs of the original. In the Middle East a super secret agent is on a rescue mission, which goes sideways. She’s ignoring all the orders from the US command center, as we learn that the agent is a robot. The story then shifts to an update on the main characters from the first flick. Gemma (Allison Williams) is part of media crusade warning parents about the dangers to their kids in the online world. But she has her own tech company with her loyal staff Tess (Jen Van Epps) and Cole (Brian Jordan Alvarez). Gemma’s still the legal guardian to her niece Cady (Violet McGraw), who channels her trauma into her Aikido lessons. Oh, and Gemma’s in a thriving relationship with a former cyber-security expert, Christian (Aristotle Athari). But what she’s focused on right now is the powerful exo-skeleton they’re trying to sell to the tech billionaire mogul, Alton Appleton (Jemaine Clement). That day doesn’t go well, but the night is even worse, when Gemma and Cady are awakened by home intruders. They’re not burglars, but rather, agents of the FBI. Their commander (Timm Sharp) tells Gemma that they want information about M3gan, whose designs were the basis for their now missing rogue spy assassin Amelia (Ivana Sakhno). After the “guests” leave empty-handed, Gemma is startled when the old M3gan program announces her return via the big screen TV (and other devices). Soon it becomes obvious that the only way to stop Amelia’s path of destruction that leads to a sentient “doomsday” device from the 1980s, is for Gemma and her gang to team up with M3gan. But can the devilish doll ever be trusted despite all the “fail-safe” software that Gemma installs? Will Cady be put in danger once more as they’re drawn into a vast conspiracy that could end the planet? These toys aren’t playin’ around!

Yes, the “old gang” is back together again. And their comic timing is just as sharp two years later. The leader of “the pack” is probably Williams, as the frazzled, but full of steely determination, Gemma. She’s still the protective “mama bear” even as she’s rattling off endless bits of “techno-jargon” while making us root for her as she is often needed to be the “voice of reason” or a real “wet blanket”. Her family “jewel’ is the nearly teenaged McGraw as the sassy and very “pro-active” ( a certain martial arts movie star is her “role model”) Cady. Epps and Jordan are quite the effective loyal but bumbling comedy team as “sidekicks” Tess and Cole. The big comedy MVP might just be Clement as the arrogant, abusive snob Alton, who could perhaps be a satiric riff on a real-life odd uber “tech-bro”. We’re just waiting and yearning for his sneer to be “deleted’ ASAP. Other comic standouts are Sharp as the gung-ho mucho macho spy chef and Athari as the too, too sensitive and empathetic nurturing BF Christian. As for the “big baddie”, Sakhno is the face of pure banal evil, with big expressive but vacant “peepers” as Amelia, the Terminator packaged as a waif-like supermodel. And though she’s a mix of stunt folks, puppetry, and CGi, special kudos should go to M3gan’s main body double Amie Donald and the supplier of her snarky quips, vocalist Jenna Davis.

And this veteran cast is guided by OG director Gerald Johnstone, who also collaborated on the script with Akela Cooper (who created the characters with James Wan). They’ve decided to opt for a completely different tone with this outing, skirting around much of the first one’s horror “vibe” and making a scathing parody of cyber “chaos” and firing lots of parody “salvos’ at the modern action “high concept” blockbusters. While some of the set pieces and sequences take on THE MATRIX, Johnstone and company have some fun with the worlds (and imitators) of JOHN WICK and James Bond (I’m surprised the big secret villain HQ wasn’t inside a dormant volcano). Like ALIENS, it takes on new targets, though the hardcore fans will enjoy a riff on the “meme-fodder” murder-dance of M3gan and her aggressive, snarky “attitude”, guaranteeing that she’ll be a popular costume for the next Halloween and beyond. The doll doesn’t get all the best gags as the evil ‘mastermind’ has a casual “sing song” delivery as he tries to be a “Michael Scott” style cool, friendly boss. Now, as with most of the “straight” action-thrillers it piles on the endings along with the henchmen bodies literally exhausting us with “overkill”. But it’s easy to forgive its over-indulgences when we get a truly uproarious song scene and a “bizarro” AI convention. Sure, the MISSION: IMPOSSIBLE epics need a good drubbing and this demonic doll can certainly dish out the “burns” and cyber “side eye”. If you can handle sharp satire and even sharper weaponry, then you may want to “click”on the upgrade that is M3GAN 2.0. Powering down…

3 out of 4

M3GAN 2.0 is now playing in theatres everywhere

HOW TO TRAIN YOUR DRAGON (2025) – Review

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

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