When such movies are done well, you get, say, The Incredibles or John Favreau’s Chef. When they aren’t, you get Jim Carrey in Mr. Popper’s Penguins or Steven Spielberg’s Hook — possibly the closest analogy for Christopher Robin, though Hook, for all its flaws, was clearly a personal film for Spielberg, whereas Christopher Robin feels cobbled together from bits and pieces of other movies without a cogent vision of its own.
The Hunger Games’ Rue is now Ruby: Amandla Stenberg takes the spotlight in another YA dystopia that runs its race, but doesn’t diverge enough from its peers to leave anyone hungry for whatever comes next.
Dwayne Johnson and giant animals. How much more do you need? Well, since you asked … maybe a little?
The superhero movie to end all superhero movies? Or every superhero movie at once?
In some ways Ant-Man and the Wasp is the kind of movie I wanted Ant-Man to be: namely, a refreshing antidote to the rest of the Marvel Cinematic Universe.
I’m not thrilled about the lack of worthy romantic leading men in recent Hollywood animation, but I prefer the theme in Frozen, about needing to get to know someone before deciding to get married, to this series’ magical, inexorable “Zing” moment.
As The Incredibles in its day towered over the Hollywood animation landscape of the last decade, so in some measure does Incredibles 2 in this decade — but what a different and diminished landscape it is today.
Apparently velociraptor is the cowbell of dino design and the filmmakers are Christopher Walken.
Watching Disney’s Rogue One and Solo, the two stand-alone “Star Wars Story” movies that come without episode numbers and opening crawls, is a little like watching the legendary Dutch boy trying to plug the leaks in the dike with his fingers … as new leaks burst all around him.
For a few formative years of our lives, Mr. Rogers showed us the way. Why don’t we walk that way? Because of all the voices dominating the discussion ever since.
Copyright © 2000– Steven D. Greydanus. All rights reserved.