Greetings again from the darkness. Well we knew this day would come – an animated film that eclipses Pixar’s COCO (2017) in vibrant colors and stunning animation. The opening credits celebrate this as Disney’s official 60th animated feature film, and it’s truly prismatic and a glorious visual treat. The trio of directors include ZOOTOPIA (2016) collaborators Jared Bush and Byron Howard, as well as first time director Charise Castro Smith.
The story is set in Columbia, continuing the current trend of global trekking in animated films like LUCA, MOANA, RAYA AND THE LAST DRAGON, and the aforementioned COCO. It’s also in keeping with Disney’s feel-good approach to a kinder, gentler world where there are no real villains, and most of our protagonists discover their inner-strength. This story revolves around the Madrigal family, who live in a magical house that takes strength from a magical candle, and all of the family members possess their own special power. Well, all of them except for Mirabel (voiced exceptionally well by Stephanie Beatriz, “Brooklyn Nine-Nine”). Mirabel’s special night fell flat and she’s the only one in the family lacking a “gift” … and her judgmental Abuela Alma (voice by Maria Cecilia Botera, singing by Olga Merediz) never lets her forget. Of course what we notice, and no one else seems to, is that Mirabel is a caring, loving, soul, and we know a payoff is coming.
The songs are from the talented Lin-Manuel Miranda, and the bloodlines connected to his IN THEHEIGHTS movie are readily apparent. It’s likely a few of the songs will stick with kids, not the least of which is, “We Don’t Talk About Bruno”. What won’t be as popular with kids is a story over-crowded with characters and a backstory seemingly inserted to ensure the film slides into the modern day political climate. There are simply too many characters (and too many powers) for young kids to keep track of – not to mention the two factions within the family (Julieta’s side and Pepa’s side). There is a flashback to the family’s history and how they came to live in the magical house, and it’s a story that mirrors the journey of many immigrants.
The voice acting and singing are all superb, and mostly stay consistent to the Columbian story line. And Mirabel is certainly a character we expect kids to take a shine to. She’s kind and friendly and has a loving heart. Pixar tends to offer up stories that are perfectly structured, while Disney has always known how to tug on the heartstrings.
Greetings again from the darkness. When an animated movie for kids banks over $600 million at the box office, we wouldn’t expect 5 years to pass before the sequel appears. But that’s exactly what has occurred with writer-director Garth Jennings’ follow-up to his hugely popular 2016 original featuring a troupe of anthropomorphic animals singing and dancing. This franchise doesn’t belong to Pixar or Disney, but rather Illumination, the studio behind the DESPICABLE ME films.
As one would expect, the sequel includes a return of the favorite characters (and voices), including koala Buster Moon (Matthew McConaughey), mama pig Rosita (Reese Witherspoon), rockin’ porcupine Ash (Scarlett Johansson), shy elephant Meena (Tori Kelly), and sensitive gorilla Johnny (Taron Egerton). The stakes are higher for our warbling friends this time. The film opens with our furry friends performing an “Alice in Wonderland” production that features the Prince song, “Let’s Go Crazy”. Additionally, our retinas are scorched with every color known to mankind, reminding us of the land Oz … fitting because song #2 is Elton John’s “Goodbye, Yellow Brick Road”. The latter works because Buster has just been informed by talent scout Suki (Chelsea Peretti) that his team is ‘cute’, but “not good enough”. See, Buster’s dream is to introduce the act on a global scale.
Most of the rest of the movie involves: Buster dodging threats from evil tycoon Mr. Crystal (BobbyCannavale). Crystal is a wolf (of course) and is a powerful presence in a Las Vegas-style city built for entertainment. The other key element here is Buster’s promise to Crystal to deliver Clay Callaway (U2’s Bono) to the new production. Callaway, a lion, has been a reclusive rock star ever since a personal tragedy robbed him of his desire to participate in society. The bonding between Ash and Callaway is probably the best part of the story, and this occurs after Ash (Ms. Johansson) makes her point about equal pay (imitating real life) just after jamming to a Yeah, Yeah, Yeahs’ song.
In a move that makes little sense, Mr. Jennings has crafted a more complex story than what we saw in the first movie. This one will be difficult for many kids to follow, and involves the power and ego of Crystal, as well as nepotism with his entitled daughter (voiced beautifully by Halsey). But why complicate something that doesn’t need to be more complicated? Most kids just want to watch the animals on stage, singing and dancing and doing goofy things. The sci-fi stage production “Out of this World” finds Meena teamed with a preening partner voiced by Eric Andre, while she dreams of connecting with the ice cream elephant voiced by Pharell Williams. Ash and Callaway are at the climax of the show with a version of Bono’s “I Still Haven’t Found What I’m Looking For”. Also included are many familiar tunes by such artists as Taylor Swift, Shawn Mendes, Billie Eilish, and The Weeknd. Many life lessons are served up here, including the importance of following your dream, but at one hour and fifty-two minutes, it’s easily 20 to 25 minutes longer than most kids will likely sit. While we can admire Mr. Jennings’ desire to deliver a sequel with value, we do question the wisdom in revising the template.
Greetings again from the darkness. What would happen if human survival depended on the Griswolds (from the VACATION movies) battling the rogue robots programmed to take over the planet? Filmmakers Michael Rianda and Jeff Rowe answer to that scenario is hyper-active, frenetic, overly-busy visual chaos that attempts to blend apocalyptic science fiction, extreme action sequences, and dysfunctional family comedy-drama. It’s a lot to tackle, and for the most part, it works.
Katie Mitchell (voiced by Abbi Jacobson) is preparing to head to film school. Her nature-loving dad, Rick (Danny McBride) is concerned about how he and Katie have drifted apart over the years, and he’s also worried that her educational choice could lead to disappointment. Katie’s mom, Linda (Maya Rudolph) is mostly supportive and upbeat, and yet a bit saddened that the once close father-daughter duo no longer speak the same language. Youngest son Aaron (voiced by co-director Rianda) and family dog Monchi have their moments, and mostly this is a fairly typical dysfunctional family. In fact, dysfunctional family seems to be a misnomer since it describes most families, even the highly organized one that seemingly have their act together … represented here by the Poseys (Chrissy Teigen and John Legend).
Katie’s generation’s adoption and dependency on technology has widened the gap in connection with the previous generation … specifically the bond between father and daughter that was so strong when she was young, and now barely hangs on by thread. Dad is the generation of the supreme screwdriver, while Katie is all about creating memes and videos. He fixes things, while she creates things. Dad decides a family road trip to drop Katie at college is the solution to fixing the frayed relationship. This happens on the same day that mega-Tech guru Mark Bowman (Eric Andre) is introducing his next-gen PAL robot, which is smart technology on steroids. However, it turns out, software has feelings too, and the original PAL (Olivia Colman) seeks revenge for being replaced. An army of robots is sent to capture the entire human race.
A couple of quirky things leave the Mitchell family as our final hope against the robots, and as you might expect, saving the world can lead to reparations in the father-daughter relationship. Dad gains an appreciation for the creative skills of Katie, while she learns of his great personal sacrifice for family. It’s an unusual blend of two distinct stories, but mostly we are left exhausted after a nearly two hour run time. The screen is often cluttered and overloaded with distractions (including old school Furbys with a twist), and although there is a cool throwback look to some of the animation, it’s simply too much of a good thing. Younger kids may be mesmerized by the frantic action, but the story lines are not likely to be followed by most under 10 or so. This one has garnered a great deal of Oscar buzz, which makes sense as adults decide such things.
Greetings again from the darkness. Capturing a kid’s attention is difficult enough, but these days, it’s a real challenge to hold that attention for 90 minutes. You best offer something extremely entertaining, which is exactly what first time (co-) directors Harry Cripps and Clare Knight have done. Ms. Knight previously worked as the Editor on the MADIGASCAR and KUNG FU PANDA movies, and is married to actor Wayne Knight (Newman from “Seinfeld”). Mr. Cripps previously wrote the screenplay to THE DRY (2020) and here he co-wrote the script with producer Gregory Lessans. Of course making animals the center of a kids’ story is nothing new, and neither are the central topics of respect and family, yet this is quite an entertaining way to do so.
While watching the film with a four and five year old, I was able to witness first-hand the reactions and whether or not attention lapsed (theirs, not mine). The film opens at Australian Wildlife Park where Chaz Hunt (voiced by Eric Bana) is a Steve Irwin-type trainer who entertains the crowds and his son Jessie (Diesel La Torraca) with personal adventure stories that may or may not have a sprinkle of truth. But it’s the animals who are the main attractions here. The park features the world-famous cutest animal, Pretty Boy (Tim Minchin), a Koala who excels at posing for pictures. In contrast, the “ugly” ones, or the deadliest ones, include Nigel the neurotic scorpion (Angus Imrie), Zoe the wise-cracking thorny devil lizard (Miranda Tapsell), Frank the funnel web spider who breaks out in dance when attraction strikes (GuyPearce), and the newest addition, Maddie a taipan snake (Isla Fisher). Acting as a mother-figure to these creatures is Jackie the crocodile (Jackie Weaver).
After a dangerous event caused panic and misunderstanding, Jackie is shipped off away from the park. The other “ugly” animals decide to escape and head home (check the title). Pretty Boy accidentally gets caught up in the escape, and he ends up being quite obnoxious – in constant need of catering and compliments. This stands in stark contrast to the other animals who are quite likable and charming. That’s the gag here, as well as our lesson in ‘beauty is on the inside’. The road trip through the city and into the desert and mountains is quite an adventure and filled with things that don’t go quite right for this band of misfits. Along the way, they learn of the U.S.S. – the Ugly Secret Society, which is a rescue operation run by animals for other animals that aren’t lovable pets. They even have a funny catchphrase/password! Two of the most fun sequences involve Tasmanian Devils and a couple of toads named Doug and Dorene, who sing “When a Man Loves a Woman”.
The film is obviously aimed at kids who are fascinated with animals, and it’s charming and funny and entertaining for both kids and adults – exactly what you hope for with animated movies. The morals of the story about not judging a book by its cover, and the importance of family, are always good lessons to reinforce for kids. We should all be this ugly.
Greetings again from the darkness. Any kids that watched Dreamworks’ original SPIRIT: STALLION OF THE CIMARRON (2002) are now at least in their mid-20s and many likely have kids of their own. That original film featured old school animation, and provides a nice comparison for today’s computerized “drawing”. However, from a story and character perspective this is less a sequel to that film, and more a spinoff of the original Netflix series, of which there have been more than 50 episodes.
Lucky Prescott (voiced by Isabela Merced, Dora in DORA AND THE LOST CITY OF GOLD, 2019) is a rambunctious youngster being attended to by her Aunt Cora (Oscar winner Julianne Moore) at the home of Lucky’s wealthy and now candidate-for-Governor grandfather. With no time for her shenanigans, grandpa ships off Lucky and Cora to be reunited with Lucky’s father, Jim Prescott (Jake Gyllenhaal). The two haven’t seen each other since Lucky’s mother died tragically ten years ago. On the train ride to Miradero, Lucky has a connection with a beautiful wild stallion she names Spirit. The two share a bond of wildness and independence, though soon enough Spirit is being held captive by mean-spirited horse wranglers.
Lucky and her father have an awkward reunion as he tries to keep her safe, unwilling to admit the free-spirited nature she shares with her mother, who once rode with the Los Caballeros, a local trick-riding team. Her mother’s clothes, boots, and posters open Lucky’s eyes to a world that feels like home. She befriends not just Spirit, but also a couple of local girls, Pru (Marsai Martin) and Abigail (Mckenna Grace), who are drawn to Lucky’s energy, but also recognize the danger she’s in going up against the evil wrangler (Walton Goggins).
What follows is an adventure with terrific visuals and enough action to keep the three and five year olds that I watched the film with glued to the screen. Heck Mountain and the Ridge of Regret seemed to be especially exciting for them, and I personally got a kick out of the importance of math (a word problem) in keeping Lucky on track. The film clocks in under 90 minutes, which is just right for most kids. The songs (Taylor Swift sings the trailer song) didn’t seem to make much impression, but the kid characters did. From a grown-up perspective, it’s hard to miss the fact that the adult males aren’t the best role models, and even Abigail’s young brother Snips (Lucian Perez) spends most of his time wreaking mischievous trouble. However, the lack of other political messages was a relief, and female empowerment in youngsters is always a welcome story line.
The film is co-directed by Elaine Bogan and Ennio Torreson. Writing credits go to John Fusco (the original Spirit film), Aury Wallington (the TV series) and Kristin Hahn and Katherine Nolfi. The all-star voice cast is a nice complement to the visuals (especially the mountains and clouds), and the message about independence and finding one’s own way in life. It should also be noted that the film is rated PG, not G.
Greetings again from the darkness. With their first 22 feature films, Pixar excelled at balancing the eye candy and action kids favor with the second level intellect needed to simultaneously keep adults entertained. As proof, one need only think of such classics as TOY STORY, CARS, and THE INCREDIBLES. Surprisingly, film number 23 is the first Pixar film aimed directly at adults. It’s a marvelous companion piece to the brilliant INSIDE OUT (2015), but be forewarned, there is simply nothing, or at least very little, for kids to latch onto.
The film is co-directed by 2 time Oscar winner Pete Docter (INSIDE OUT 2015, UP 2009) and Kemp Powers (the screenplay and stage production of ONE NIGHT IN MIAMI, 2020), and they were joined on the screenplay by Mike Jones. And yes, it’s a brilliant script to go along with the always stunning Pixar visuals and effects. Brace yourself for a metaphysical exploration of the meaning of life and finding one’s purpose. As we’ve come to expect on Pixar projects, the voice cast is deep and filled with well-known folks such as Graham Norton, Rachel House, Alice Braga, Richard Ayoade, Phylicia Rashad, Angela Bassett, Questlove, Daveed Diggs, Wes Studi, and June Squibb. Leading the way is the dynamic duo of Jamie Foxx and Tina Fey.
Mr. Foxx plays Joe, a junior high band teacher still chasing his dream of performing jazz and experiencing the feeling that only music can provide … “the zone”. Instead, the school offers him a full-time teaching job, and his mother demands he seize the stability (and insurance) and give up his silly dream of jazz. As seen in the preview, shortly after an audition lands him his dream jazz gig, a freak accident occurs and Joe finds himself in “The Great Beyond”, where a conveyor belt takes those souls whose time has come to that giant bug zapper in the sky. Joe’s not willing to accept his plight and finagles his way into being a mentor for Soul 22 (Tina Fey) in “The Great Before” where unborn souls search for their “spark”. It’s all very existential.
After a look back at his life, Joe takes 22 to “The Hall of Everything”, which is the one segment in the film which felt underplayed … much could have been done with 22 looking for a reason to live. Instead, it’s a few great punchlines, including a Knicks gag that will surely play well among basketball fans. We learn of the fine line separating “lost souls” from those “in the zone”, and mostly we take in the banter between Joe and 22, as purpose and passion become the subjects of chatter.
As with most Pixar movies, multiple viewings are required to catch all the sight-gags, one-liners, and Easter eggs, however, the first viewing is like unwrapping a giant Christmas present. The opening Disney theme is hilariously played by a junior high school band, and the score is courtesy of Oscar winners Trent Reznor and Atticus Ross (THE SOCIAL NETWORK, 2010). Director Docter claims Pixar good-luck charm John Ratzenberger makes a vocal appearance, but I didn’t catch it. The film leaves us with the message that the meaning of life is simply living life … and keep on jazzing.
Greetings again from the darkness. No studio has ever had a 25 year run like Pixar. This is their 22nd feature film over that span and every single one lands somewhere in the range of brilliant/instant classic to watchable/re-watchable. Though this latest may not reach instant classic level, it does stick to the Pixar standard template of highly entertaining while delivering a life lesson. This is the first time in the Pixar director’s chair for Dan Scanlon since MONSTERS UNIVERSITY (2013). It’s also the first original Pixar since COCO (2017) … and note, it’s rated PG.
The film opens with a “history” lesson detailing how the world was once populated by enchanted creatures like elves, unicorns, wizards, mermaids, fairies and sprites. Science and technology created shortcuts and soon the world’s “magic” had disappeared, relegating these creatures to life in the suburbs. We pick up the story on Ian Lightfoot’s 16th birthday. Ian is part of an elf family that includes his older brother Barley and their widowed mother Laurel. While Barley is a loud and rambunctious type who is obsessed with the Quest of Yore game and mythology (think Dungeons & Dragons), Ian is a more pensive type who still mourns the late father he never met. Both brothers are surprised when their mother presents a “gift” from their dad – one he left instructions to be held until Ian turned 16. The gift is a magical wizard staff that, with the included precious stone, can bring dad back to life for 24 hours.
Barley’s knowledge of the magical spells combined with Ian’s lack of self-confidence ends up botching things to the point that only half of dad is brought back – the bottom half. Under a tight deadline and in need of a replacement gem to bring dad back for a much desired final conversation, the brothers take off on an adventure that turns pretty wild. Their quest leads them to cross paths with many of the previously enchanted creatures, including the fabulous Manticore, and mom’s boyfriend, Officer Colt Bronco.
We have come to expect ‘magic’ from Pixar with every movie, and this one doesn’t disappoint. It may not be quite as awe-inspiring as some of their best work, but it’s still a terrific suburban fantasy adventure filled with comedy and life lessons … the most crucial of which is: being happy with what you have is more crucial to your inner-peace than getting what you hope for.
As always, the voice acting is top notch. Tom Holland (SPIDER-MAN: HOMECOMING) delivers the goods as Ian, and Chris Pratt (GUARDIANS OF THE GALAXY) brings the necessary wonder and excitement to brother Barley. Julia Louis-Dreyfus never really gets to shine as their mother, but then this story is focused on the boys. Octavia Spencer has fun as Manticore (we needed more Manticore!), Mel Rodriguez is a hoot as Officer Colt Bronco, and yes of course, John Ratzenberger sneaks in – he’s now voiced a character in all 22 Pixar films.
This is the first Pixar film to be totally free of input from ousted President John Lasseter, and it’s one of the very few to be released outside of the summer or awards season. The likely reason is that the studio has a second original film being released this June. SOUL will be directed by Pete Docter and is viewed as a companion piece to the already classic INSIDE OUT (2015). Given the time of year, it could be easy to overlook ONWARD, but it nails the Pixar trademark emotional finale … delivering a sentimental scene likely to stick with you. I have praised Pixar many times over the years as their creative teams really seem to “get it”. Regardless of the month, ONWARD will cast a spell.
Greetings again from the darkness. Let it go. Forget the sisterly issues of the Oscar winning original from 6 years ago. Arendelle is now doing just fine under “Ice” Queen Elsa and Princess Anna. Well, at least until Elsa is beckoned to the foggy, off-limits Enchanted Forest by an ethereal voice that only she can hear. We know this probably isn’t good since the movie kicks off with a flashback to when the sisters were very young and their parents (voiced by Alfred Molina and Evan Rachel Wood) told them a historically significant story of the forest – a story with a vital missing piece.
Joining Elsa (voiced again by the wonderful Idina Menzel) and Anna (Kristen Bell) on this journey to the forest and a discovery of the past are more familiar faces from the first movie: woodsman Kristoff (Jonathan Groff, who also plays Holden Ford in the excellent TV series “Mindhunter”), Kristoff’s loyal reindeer Sven, and everybody’s favorite huggable, philosophizing snowman, Olaf (Josh Gad back for an expanded role that provides more laughs).
Co-directors and co-writers Chris Buck and Jennifer Lee return for the sequel and their script, co-written with Marc Smith, features the familiarity that we’d expect from such a successful original, but it adds pieces that will likely be too confusing for younger viewers. Trying to recapture the magic of their Oscar winning song “Let it Go”, songwriters Kristen Anderson-Lopez and Robert Lopez seem to have a singing interlude approximately every 8 minutes or so. Olaf gets a cute song, and this time, even Kristoff has his musical moment with “Lost in the Woods” (Jonathan Groff is a Broadway veteran). Of course, it’s Elsa/Idina Menzel who provides two impressive power vocals. It appears “Into the Unknown” is getting the PR push, but personally I preferred “Show Yourself”.
Don’t think it’s all about the songs. There is an odd storyline that seems a bit preachy about making amends to past sins (politically and personally), and just how devastating it can be to discover that one’s family tree has some rotten branches. Whether kids “get” that nature’s balance must be restored, they will surely appreciate the two sisters: Anna’s inner-strength and determination matching Elsa’s magical powers. And all ages will enjoy Olaf’s comical fast-talking recap of the first movie – a scene itself worthy of admission.
While the songs might fall short this time around, and the story might be a bit more convoluted, there is no arguing that this sequel looks fantastic. The enhanced animation is quite stunning at times. As opposed to the blue and white color scheme of the first movie, this sequel features a palette that draws from Martha Stewart’s Thanksgiving table setting – the autumn colors are vibrant and gorgeous.
FROZEN IIwill have a bit more Oscar competition in the animated category than what its predecessor faced, as it will be going up against instant classic TOY STORY 4. The filmmakers are to be commended for bringing attention to natural elements of air, water, fire, and earth; however, a couple of the extended sequences will likely prove too intense for younger viewers. “Do the next right thing” may be the new Disney Golden Rule, but it’s difficult to imagine a non-talking gecko or terrifying Earth Giants will emerge as a new favorite toy. Parents should know going in that by the end, Elsa sports a new dress and hairdo, conflicting with an early song “Some Things Never Change”. And when parents realize a third “Frozen” movie is in the works, they should know that warm hugs help. Let’s just hope the next one isn’t called “Ice Cubed”.
Greetings again from the darkness. If you have come here to read yet another take on how this next-gen remake of a beloved film doesn’t bring anything new to the story, you’ve come to the wrong place. I love cinema as an art form, and when analyzing a movie, I typically look for the good and enjoyable, rather than focusing on every element I might be able to criticize … never forgetting that the on screen presentation is the culmination of work performed by many dedicated people so that I might sit back in a comfy seat within the confines of an air-conditioned theatre and be entertained for a couple of hours. And entertained I was.
It only takes a few moments for the awe to set in. The look is at times so realistic that kids may actually believe animals can talk. More than once the fur of an animal or the splash of the river reminded of a National Geographic program with ultra-High Definition photography. So let’s clear up something right now. This has been labeled as a “live action” remake of the animated classic from 1994. You should know, even if your eyes tell you otherwise, that there is nothing “live” in the film. Instead, everything you see on screen is computer-animated/generated. No, the lions and elephants aren’t real and neither are the trees or distant mountains. The look of the film is as revolutionary as when the first TOY STORY stunned us in 1995. We had never seen animation like that then, and we’ve never before seen computer effects like this. What is familiar are two early songs, “The Circle of Life” and “I Just Can’t Wait to be King”.
Of course, neo-realism can be admired only as a technical achievement when we are discussing a movie in which lions talk and warthogs sing. So while we marvel at the technical achievement, let’s not lose sight of the story … what made the original so popular and beloved 25 years ago. Although it’s approximately a half-hour longer than the original, this one is exceedingly close to a scene-for-scene remake. Only minor tweaks will be noticed, mostly in the demeanor of Scar and the banter between Pumbaa and Timon – each actually improving on the first film. What remains is the coming-of-age story that will now touch many new hearts and minds.
Kids will be immediately entranced with the cubs, Simba and Nala, voiced by JD McCrary and Shahadi Wright Joseph (the daughter in Jordan Peele’s US), and with Zazu (voiced by John Oliver), the goofy and comical bird tasked with keeping an eye on the two adventurous youngsters as they get themselves into trouble. James Earl Jones (now 88 years old) reprises his iconic voice role as the wise Mufasa, and Alfre Woodard voices Sarabi, the pride’s leading female. Chiwetel Ejiofor is excellent as the bitter Shakespearian villain Scar, but I couldn’t help but wish Jeremy Irons had returned for this interpretation of the jealous and power-hungry brother of Mufasa.
The energy level jumps once Simba meets Pumbaa the warthog and Timba the meerkat. Seth Rogen and Billy Eichner take the comedy routine to a new place, and we can only assume much of their banter is off-script. Kids may not get every joke, but they are sure to respond to this odd couple. Donald Glover and Beyonce voice the grown Simba and Nala, and both are outstanding – especially with their singing (no surprise there). Nala’s role is expanded a bit … as expected when you cast Queen Bey. Her original song “Spirit” is included but it’s her duet with Glover on “Can You Feel the Love Tonight?” that is a real musical standout.
Director Jon Favreau has been in the chair for such hits as IRON MAN 2 (2010), IRON MAN (2008), and ELF (2003), and he was also behind Disney’s live-action remake of THE JUNGLE BOOK (2016). The writing credits belong to Jeff Nathansan (CATCH ME IF YOU CAN, 2002) for the screenplay, Oscar winner Brenda Chapman (BRAVE, 2012) for the story, and Irene Mecchi, Jonathan Roberts, and Linda Woolverton for the characters. The latter three were among the 28 writers credited for the 1994 version. Also back is composer Hans Zimmer, who won an Oscar for his 1994 score, and songwriters Elton John and Tim Rice, also Oscar winners for their 1994 song, “Can You Feel the Love Tonight?”.
The beloved 1994 version didn’t win the Oscar for Best Animated Feature film because the award didn’t exist until 2002; however, it did spawn the 1997 Broadway smash musical. This more realistic version is rightly rated PG rather than G, as some of the scenes are likely to be a bit intense for younger viewers. And it’s important to remember that this version is meant to bring Simba’s story to a whole new generation – it’s not meant to replace the 1994 version for those who were kids when it came out so many years ago. The story and characters, while familiar to those age 30 and up, will be a whole new viewing experience for today’s kids. So while we may prefer the 1994 animated version, kids today will likely be enthralled by this updated look. And we all better get used to it, because Disney has 18 more “live action” remakes in the works (some of which will actually be “live” action).
Greetings again from the darkness. Yes, it’s another instant classic from Pixar. No, we shouldn’t be surprised. Their track record is beyond compare. But I can’t help it. How the heck do they do it time after time, movie after movie? We have known (most of) the characters for 25 years now, and this fourth entry seems every bit as fresh and creative as the first one. We like these characters, and it doesn’t matter that they are animated. We laugh and cry and worry about them as if they are our friends.
Tom Hanks returns as our favorite cowboy Woody (yes, he still has a snake in his boot), and Tim Allen is back as Buzz Lightyear (still unable to grasp that he’s not a real space ranger). Also returning is Annie Potts as Bo Peep, now a strong, independent “lost” toy with excellent survival and scavenging skills. Some new toys and voices inject real pizazz to the adventures. Christina Hendricks charms as Gabby Gabby, a doll quite desperate for her own kid; Keanu Reeves shines as Duke Caboom, a showboating motorcycle stunt rider who may not be as daring as his big talk; and Tony Hale turns Forky into a lovable little cockeyed spork-toy. Also bringing fun and a new comedic element are the hilarious team of Jordan Peele and Keegan-Michael Key as Bunny and Ducky, respectively.
The opening sequence takes place 9 years ago, and we see how Bo Peep became separated from the others, and how the toys transitioned to Bonnie and how Bonnie transitioned to Kindergarten, and how Forky transitioned from trash to toy. And fear not, the old favorite toys are all here: Wallace Shawn as Rex, Joan Cusack as Jessie (I expected a bigger role for her), Timothy Dalton as Mr. Pricklepants, Pixar stalwart John Ratzenberger as Hamm, Blake Clark as Slinky Dog, and courtesy of archival recordings, two posthumous appearances by Don Rickles as Mr. Potato Head, and Bud Luckey as Chuckles the Clown.
With his first feature film as director, Josh Cooley follows up his screenplay for the brilliant INSIDE OUT with a touching and superbly funny film. The screenplay comes from Andrew Stanton (2 time Oscar winner, FINDING NEMO, WALL-E) and Stephany Folsom, while the original story credits are many, including John Lasseter in his last project with Pixar. Even though the film is Rated G, it should be noted that it’s a pretty complex story for youngsters, and the Charlie McCarthy dolls are kind of terrifying – at least to me and Forky. TOY STORY (1995), TOY STORY 2 (1998), TOY STORY 3 (2010) get the send-off they deserve, so “move your plush” and go see it! Randy Newman is back with a new song, as well as the familiar melody and lyrics from his Oscar nominated “You’ve Got a Friend in Me” … a friend indeed.
Greetings again from the darkness. Well we knew this day would come – an animated film that eclipses Pixar’s COCO (2017) in vibrant colors and stunning animation. The opening credits celebrate this as Disney’s official 60th animated feature film, and it’s truly prismatic and a glorious visual treat. The trio of directors include ZOOTOPIA (2016) collaborators Jared Bush and Byron Howard, as well as first time director Charise Castro Smith.
Posted by David Ferguson 
Greetings again from the darkness. When an animated movie for kids banks over $600 million at the box office, we wouldn’t expect 5 years to pass before the sequel appears. But that’s exactly what has occurred with writer-director Garth Jennings’ follow-up to his hugely popular 2016 original featuring a troupe of anthropomorphic animals singing and dancing. This franchise doesn’t belong to Pixar or Disney, but rather Illumination, the studio behind the DESPICABLE ME films.
Greetings again from the darkness. What would happen if human survival depended on the Griswolds (from the VACATION movies) battling the rogue robots programmed to take over the planet? Filmmakers Michael Rianda and Jeff Rowe answer to that scenario is hyper-active, frenetic, overly-busy visual chaos that attempts to blend apocalyptic science fiction, extreme action sequences, and dysfunctional family comedy-drama. It’s a lot to tackle, and for the most part, it works.
Greetings again from the darkness. Capturing a kid’s attention is difficult enough, but these days, it’s a real challenge to hold that attention for 90 minutes. You best offer something extremely entertaining, which is exactly what first time (co-) directors Harry Cripps and Clare Knight have done. Ms. Knight previously worked as the Editor on the MADIGASCAR and KUNG FU PANDA movies, and is married to actor Wayne Knight (Newman from “Seinfeld”). Mr. Cripps previously wrote the screenplay to THE DRY (2020) and here he co-wrote the script with producer Gregory Lessans. Of course making animals the center of a kids’ story is nothing new, and neither are the central topics of respect and family, yet this is quite an entertaining way to do so.
Greetings again from the darkness. Any kids that watched Dreamworks’ original 
Movie Reviews from the Dark 