Tag: sequel

MUFASA: THE LION KING – Review

With Christmas less than a week away, the “Mouse House” has decided to send another family-friendly flick into the multiplexes to share space with its recent “box-office behemoth” MOANA 2 (which is still in the number one spot). Oh, and this is somewhat of a sequel, too. When the Marvel Cinematic Universe made a huge cinematic splash, many studios wanted to create their own versions of a “brand”. Naturally Warner Brothers had their DC Comics line (which is getting a big “re-do”) and Universal keeps attempting a “Dark Universe’ based on those classic monsters (THE WOLF MAN is on the way next year). And though Marvel is a partner, Disney itself is “getting into the act” with their legacy of classic animated tales, the twist being that they’re being remade in “live-action”. This new film is unique in that it is “technically” an animated film with pixels replacing the pencils involved with 2-D “hand drawn” films. And, as I mentioned earlier, this is the first sequel. to one of these remakes. Ah, but it’s actually more of a prequel, since its main focus is the “origin” story of MUFASA: THE LION KING.

This film begins a few years after the finale of THE LION KING, as we return to the denizens of Pride Rock. Nala (voice of Beyonce Knowles-Carter) has embarked on a “sabbatical” in the deep woods leaving her daughter Kiara (Blue Ivy Carter) with Papa Simba (Donald Glover). But now it’s time for him to join her so he enlists three “babysitters”: Pumbaa the warthog (Seth Rogan), Timon the meerkat (Billy Eichner), and the shamen-mandrill Rafika (John Kani). Kiara is frightened by the approaching thunderstorm, so Rafika decides to calm her by telling the story of her grandfather, Mufasa. His blissful life as a royal cub is shattered by a flood that separates him from his adored parents. Mufasa is swept far away by a swift stream until another cub, Taka, pulls him onto the shore. The two return to Taka’s pride, where their king, Obasi (Lennie James) shuns him and pushes him toward the females, led by his mate Eshe (Thandiwe Newton). Luckily she is a nurturer and encourages Mufasa’s “gifts”. The years pass, and teenaged Mufusa (Aaron Pierre) and Taka (Kelvin Harrison Jr.) practice their hunting skills and encounter a pride of white lions known as “The Outsiders” ruled by the cruel and avaricious King Kiros (Mads Mikkelsen). When they attack Obasi’s pride, the two teens begin a desperate journey to find the bountiful land known as M’Leilei. Along the way, Mufasa and Taka are joined by a young lioness named Sarabi (Tiffany Boone) and her scout/servant, the hornbill Zasu (Preston Nyman). And they luckily run into their guide, the younger Rafiki (Kagiso Lediga), but can his mystical skills protect them as Kiros and his pack trails them in order to enact his vengeance? Friendships are tested and changed for good during the long hard trek.

Though it’s been five years since the remake (the original just turned thirty), those returning voice actors slip right back into their roles as though they were in the recording studio yesterday. Especially potent is the comic chemistry between Eichner and Rogan who riff like a classic vaudeville comedy team, with Pumbaa a bit more of a lunkhead who beams with pride about his “fragrance” while Timon is the motor-mouthed wiseguy who delights in breaking (not the wind like his BFF) the “fourth wall”. Spin-off, please. In her acting debut, Miss Carter projects a sweet energetic innocence as the future queen. Both Kani and Lediga give Rafiki the proper gravitas and magical mentoring. Pierre is an engaging lead who goes from confusion to confidence as the king-to-be, while Harrison relates the pressure of his lineage while slowly succumbing to very human emotional faults. Boone is a spunky heroine who can dive into the action right alongside the fellas. James is a great blustering and conniving king as Obasi. The film’s best asset might be the compelling Mikkelsen who accentuates each threat with a sneering snarl making Kiro a fearsome villain. He’s pure silky menace.

Aside from the film’s unique structure as a sequel/prequel, it’s got another unusual filmmaker for an animated film in the director’s chair. It’s helmed by the acclaimed crafter of live-action dramas (MOONLIGHT, IF BEALE STREET COULD TALK), Barry Jenkins, who is working from the screenplay by Jeff Nathanson (based on the 1994 film). He gives the story an added emotional heft, slowly zooming in during essential conversations and confrontations. Of the latter, he brings lots of excitement to the deadly encounters, from hungry crocs to the revenge-obsessed Outsiders. The African environments are stunning, going from arid plains to snowy mountains and particularly the utopia of M’Leilei with its lush vegetation. But despite the advancements in CGI, the animals (though expertly rendered) just can’t convey the bravada acting and emoting of those hand-drawn icons of that 90s classic. Though they’re caricatures the gestures and expressions tell us so much more than these computer creations. It helps that the coloring and voices make the main characters here more distinct, along with the voices, but I can still mix up the principals. Wisely, the narrative cuts back to the present, to provide some welcome comic asides from T & P, but the pace seems to drag before the big reveals of the third act (key settings and props are introduced). Perhaps another “pass” at the script was needed to trim a few minutes. Still, it’s a well-crafted extension of the story rather than a quick “cash grab” like the straight-to-home video follow-ups back in the VHS “glory days”. A few more memorable songs might have helped since none of the new tunes comes close to the stellar work of Elton John and Tim Rice. But kids that are “crazy about critters” will be happy to return to the exotic “pride lands” as they explore the legend of MUFASA: THE LION KING.

2.5 Out of 4

MUFASA: THE LION KING is now playing in theatres everywhere

MOANA 2 – Review

For most of the country it feels as though Winter is finally settling in (though it’s officially a few weeks away), so why not indulge in a cinematic virtual island getaway for a couple of hours? To make it a tad more enticing it’s also a reunion with some dear movie friends you first met eight years ago. Since that first animated romp, the popularity of the characters and setting seems to be growing, with several reports saying that it was the most streamed feature film during the pandemic “lockdown” way back in 2020. Now, according to some other articles, this movie’s plot was originally developed as a Disney+ series, but can any home entertainment system ever match the big multiplex screens? That’s the only way to cruise the waves and bask in the sun with that plucky princess (in the film she denies that, but her bud and many others disagree) of the seas in MOANA 2.

When we catch up with that “Wayfinder” Moana (voice of Auli’i Cravalho) is exploring a tiny island of Oceania, looking for clues to other island natives. Surprisingly her pet rooster Heihei (Alan Tudyk) stumbles into a bit of pottery with an image etched on its surface. They rush back to Motunui Island where Moana’s papa chief Tui (Temera Morrison) explains that this is a relic of the lost island of Motufetu, which their ancestor Tautai Vasa tried to locate in order to unite all the people of the far-flung islands of Oceania. Moana decides to take on this quest, but she’s not going alone, though her pig and rooster will be at her side. She’ll need a bigger vessel and a crew: brainy designer Loto (Rose Matafeo), brawny demi-god “fanboy” Moni (Hualalai Chung), and grumpy elderly farmer Kele (David Fane). Moana’s confident, though she hopes that they’ll get a hand from her old pal, the shape-shifting demigod Maui (Dwayne Johnson). Ah, but he’s been captured by the angry god Nalo along with his prisoner/aide the “bat lady” Matangi (Awhimai Fraser). After a raucous encounter with the small but fierce “coconut warriors” of a floating island/ship, Moana and her friends are swallowed by a giant clam, which also holds Maui. He joins their mission since he must raise the sunken island of Motufetu from the sea floor in order for the human crew to embark and facilitate the uniting of the many different island natives. But can they thwart the efforts of the angry Nalo, who hates people and wants to destroy another such gathering?

You’d never think that eight years have passed since the talented vocal ensemble jumps right back into their roles as if only a day or two has passed. And Cravalho is still a powerhouse singer bringing an energetic optimistic spirit to the title character. Sure, Moana can feel down but she’s soon back at the ship’s helm. Of course, she’s still an excellent teammate with the bombastic Johnson who imbues Maui with a charming swagger as we can hear his growing affection for the “humans”, though he’s a tad “creeped” by “super-fan” Moni, who is given an endearing goofy sweetness by Chung. But nobody is as sweet, or just darned adorable, as the film’s new addition, Khaleesi Lambert-Tsuda as Moana’s precious kid sister Simea, who just makes your heart ache as she tries to get sis’ to stay home. On the other end of the spectrum, Fane is also compelling, and very funny, as the often sour, but semi-sweet Kele. Another “newbie” is Fraser who gives Matangi a sultry slinky vocal “vamp”. It’s a nice counterpart to the warm, nurturing tone of Rachel House as Tula, Moan’s ghostly (really a manta ray spirit) grandmother.

As I hinted earlier, this sequel is, like its predecessor, a feast for the eyes with its perfect ocean waves and smooth sand buffeted by lush green foliage. It is dazzling, much like the character designs, I’m still a fan of the stocky Maui who somehow has a real graceful lilt to his movements. The real “kicker” for him is the terrific line animation that brings his tattoos to life, thanks to Disney drawing titan Eric Goldberg and his “mini-Maui” crew. But the animation “acting” and body language of all the principals is “top-notch” particularly as Moana and her team are flung around the ship’s bow via the sail and ropes. Most impressive as this is the first feature for the Vancouver branch of Walt Disney Animation, which made the slick transition from the TV series. Surprisingly, the movie doesn’t feel like it was “stitched” from several episodes, although I could imagine a half-hour focused on those tough lil’ coconut critters (tailor-made for shelves and work cubicles). So, it looks great, but there’s little of the emotional “heft” of that first flick, though it suffers like many follow-ups as there’s no “discovery’ as we meet these new characters and backdrops. Plus, none of the new tunes are “grabbers’ with Maui’s solo (as forgettable as the other songs) here falling short of the bouncy “You’re Welcome”. Fans of the 2016 original will enjoy diving back into that world, but those looking for a story just as engaging may have their expectations become “water-logged” after the drawn-out climax of MOANA 2.

3 Out of 4

MOANA 2 is now playing in theatres everywhere

GLADIATOR II – Review

Paul Mescal plays Lucius and Pedro Pascal plays Marcus Acacius in Gladiator II from Paramount Pictures.

Director Ridley Scott returns to the world of ancient Rome with GLADIATOR II. GLADIATOR is an iconic film which made Joaquin Phoenix a star and starred Russell Crowe in this greatest role but this enduringly popular epic didn’t particularly feel like it needed a sequel as it felt pretty complete. Yet here we are. Actually, GLADIATOR II is a combination of sequel and remake, and has an excellent cast including Paul Mescal, Pedro Pascal, and Denzel Washington. Paul Mescal star as Lucius, whose story both reflects and connects to Russell Crowe’s Maximus’ tale. Two members of the original cast return, Connie Nielsen as Lucilla and Derek Jacobi as Gracchus, and while Jacobi’s screen time is brief, Nielsen plays a major role. Yet despite a fiery, Oscar-worthy performance by Denzel Washington and good work by the rest of the cast, plentiful gladiator fight scenes, and impressive sets, costumes and visual effects, the sequel/remake does not have the same energy and narrative drive as the original.

Taking place some years after the original, we return to a Roman empire ruled by a pair of red-headed, debauched brother Caesars, Emperor Geta (Joseph Quinn) and his more blood-thirsty but less rational brother Emperor Caracalla (Fred Hechinger). Meanwhile, in a distant land Lucius (Paul Mescal) and his warrior wife are preparing to defend their city from a Roman army led by General Marcus Acacius (Pedro Pascal). Things don’t go well, and the wife ends up dead and Lucius ends up as a galley slave and then a gladiator, owned by wealthy former gladiator Macrinus (Denzel Washington). But when Macrinus brings his prize gladiator to Rome, we learn this Lucius is the grown-up son of the daughter of Marcus Aurelius, Lucilla (Connie Nielsen) who, as it happens, is married to Pedro Pascal’s honorable General Acacius, whom Lucius has sworn to kill to avenge his wife.

That is no spoiler as it the film’s synopsis and not hard to guess anyway. The film embarks on a tale of intrigue, ambition, revenge and plentiful of bloody spectacle set in ancient Rome which parallels the original in many ways. Paul Mescal is a gifted actor but doesn’t have the big screen charisma of Russell Crowe. The twin emperors are appropriately awful, and Joseph Quinn and Fred Hechinger are entertainingly crazy, together and separately, but they are not the brainy plotters that Joaquin Phoenix’s emperor was. The true source of evil intriguing is more diffuse and concealed until well into the story. Not everyone is as good or bad as they seem at the film’s start, making this epic more twisty than a straightforward heroic tale like the original.

The most striking performances are Connie Nielsen’s, as the older Lucilla, harkening back to her earlier character and moving this new tale forward, and the flashy, fabulous one by Denzel Washington, in a part that starts out echoing Oliver Reed’s memorable turn as the gladiator-turned-entrepreneur, but taking his character much further. Washington is irresistible every time he’s on screen, with a knowing, sly humor, and exuding style and sophistication. It is Denzel Washington’s best performance in years in a rich role he can really mine for all its complexities. Watching him work is perhaps the major delight of this film.

The problem is that the original story was pretty complete, and although writers Peter Craig and David Scarpa did come up with a clever way to continue that tale, while also recapping it, it never feels like a necessary story. The director may have recognized that as the film has several clips of the original, often as Paul Mescal repeats scenes Russell Crowe did first. While it reminds the audience of the beloved original, it also takes out of this story. It is this choice, plus the weaker, less straight-forward story, that limits the film, despite the best efforts of the cast and the spectacular effects and lush visual world it created.

But if you are just here for the spectacle, GLADIATOR delivers on that, in a big way. The recreation of Rome is eye-popping, with a mix of physical sets and visual effects, and there is plenty of bloody battle and gladiator fights to please action fans and lavish costume drama gorgeousness to delight those fans. Stunt work is great and the CGI creatures are impressive.

On the downside, the film plays very fast and loose with real history, even more so than the original, with an ending so far from the facts that is rivals INGLORIOUS BASTERDS’ Nazi alt-history fantasy. I fear for any poorly-educated young person who might take fantastical yarn this for history.

Still, while revisiting the world of Ridley Scott’s GLADIATOR is enjoyable, there is little in GLADIATOR II that adds much to that, beyond the visual delights and Denzel Washington’s crazy good performance.

GLADIATOR opens Friday, Nov. 22, in theaters.

RATING: 2.5 out of 4 stars

VENOM: THE LAST DANCE – Review

Okay “Marvel maniacs”, are you ready for a deep deep dive into another franchise? After all, it’s been nearly three months since the blockbuster “mash-up” DEADPOOL AND WOLVERINE. Of course you are, but hold up, true believer. This isn’t the beloved MCU (Marvel Cinematic Universe). Rather, we’re back in the “Sony Spider-verse”. So Tom Holland is off polishing his web-shooters (not a metaphor), as we get another “spin-off” from Spidey’s long-running comics series. And, unfortunately, this isn’t another romp in the surprisingly fun animated epics. No, this is the second live-action flick this year, after the “so bad it may be good” MADAME WEB, and while Kraven sharpens his claws for his December attack. And, sorry that vapid vamp MORBIUS is not returning, although this film’s focus has had better luck with two previous outings in 2018 and 2021. Now, with this third entry, Sony promises that this is the “finale of the trilogy”. Hence the full title VENOM: THE LAST DANCE. But that all depends on those all-mighty box office returns, so…

This time the story begins on the symbiote home world (or universe, perhaps) as its ruler/king Knull sends out several reptile/spider-like “hunters” to locate the “codex”, an energy portal that grants him access to all worlds, which Knull will conquer. So, who has the codex? None other than Eddie Brock (Tom Hardy) and his own BFF symbiote entity. When we last saw him (them) during the end credits of SPIDER-MAN: NO WAY HOME, he was getting blotto in a bar on our Earth (#616). Brock and V then pop back to his homebase, where his black-ooze buddy dispatches some baddies. Ah, but it turns out that morphing into Venom sends out a homing beacon to Knull’s hunters. Also, an elite group of special ops soldiers led by Rex Strickland (Chiwetel Ejiofor) is also trying to capture Eddie. He and his “inner voice” escape and set their sights on the “Big Apple”. We soon learn that Strickland is working with a team of scientists headed by Dr. Teddy Payne (Juno Temple) who operate out of a secret symbiote research lab deep below the soon-to-be demolished Area 51. In order to evade their “radar”, Eddie hitches a ride with the groovy Moon family in a van driven by daddy Martin (Rhys Ifans) and mom Nova (Alanna Ubach), who want their kids (Hala Finley and Dash McCloud) to take in 51 before it’s gone. They drop Eddie off in Vegas where a reunion with an old friend leads to a battle atop the casino canyons which spills into the desert and that iconic military locale, as Venom must make its “last stand”…with some unexpected support.

As with the previous two flicks, everything’s resting on Eddie B, the “host with the most” who is given a world-weary gravitas by Hardy. Again, he’s a bit baffled by his fate, and has a “push/pull” relationship with the toothy ebony puddle. He’s convincingly hungover in the opening sequence, but his hangdog grousing becomes a tad tiresome, even as he’s a “symbiote straight-man”. It’s odd that Brock is so often “one-note” since Hardy worked on the script (as he did with the last one), and too often sounds like his “cycle-poppa” from BIKERIDERS. Most of the supporting cast get little to do, perhaps to leave more time for the CGI chaos. The very talented Ms. Temple (so good in the streaming shows “Ted Lasso” and “The Offer”) does her best to bring nuance to the standard “don’t destroy my discovery” scientist from countless 50’s sci-fi flicks, but too often she’s shouting while doing a “deer in headlights” expression. Much of the same can be said for the equally gifted Ejiofor, who’s another “late show” cliched “kill this thing!” soldier, who is there to bark orders while spouting exposition. The biggest misuse of talent may be Ifans as the “Earth papa” who offers support to Eddie while having to deal with a corny “moonbeam” stereotype (ditto for Ubach). There is a nice “Lasso” reunion with Cristo Fernandez as a really patient “booze-slinger”.

This film marks the feature directing debut of actress/writer Kelly Marcel, who wrote the last two Venom flicks and teamed up with Hardy on the script for this one. She is adept at keeping the plot moving at a brisk pace for the first act or so, but the requirements of an action/effects “tentpole”, sends any character development and humor far into the background. There’s also some irritating “fan service” as a supporting character from the first films is clumsily “shoe-horned” into the big finale in Nevada. This one’s an improvement over CARNAGE as they make great use of the dusty locales. And we’re not stuck in those near-pitch black alleyways as the tenements crumble. Plus there’s a few nifty visual tricks as the symbiote bonds with various wildlife (be warned, his equine form is fleeting). But, by the time we get back to 51, the script desperation kicks in as we get an “Avengers-team” of “Venom-lites” to dash up and fill the screen with fire and pixels. As the smoke clears, we’re feeling as tired as Eddie Brock appears. This is one alien that should “phone home” since it has truly worn out its welcome (along with the moviegoers patience). But since the Spidey series is so strong. it’s a given that he’ll be back to bare his teeth and wiggle that serpent-like tongue despite the promise in the title of VENOM: THE LAST DANCE. I can almost hear that growling gravelly voice (I could only “get” two thirds of its quips) chuckling…

1.5 Out of 4

VENOM: THE LAST DANCE is now playing in theatres everywhere

SMILE 2 – Review

Naomi Scott stars in Paramount Pictures presents A Temple Hill Production A Parker Finn Film “SMILE 2.” Courtesy of Paramount Pictures

Usually an infectious smile is a good thing but not if you are in a SMILE horror movie, where a creepy smile is the last thing you see before a contagious form of deadly of madness infects you. The first SMILE scared audiences, with an actress sporting one creepy smile in the poster and trailer, even before they saw the movie. In the original hit horror movie SMILE, that creepy smile was the signal that this infection about to jump from one person, as the smiling victim commits suicide in front of a hapless soul who becomes the next victim. In SMILE, we followed the path of the horrific infection as it jumped from victim to victim, but in SMILE 2 we concentrate more on one person.

Writer/director Parker Finn never really explains what causes this infectious madness as we follow the trail of carnage, although the film suggests some possibilities – a demon, a contagious madness, an evil being from another dimension. It really doesn’t matter anyway, as it’s a kind of horror MacGuffin. If you see that creepy smile, you’re next, and then you’re dead.

In SMILE 2, the smiling, um, thing, continues to spread, but the sequel switches to mostly following one person. After an opening sequence tied to the last film, which seems to end things with a twist, the film takes a turn, towards an international pop star, Skye Riley (Naomi Scott), who is trying to restart her career after recovering from addiction and a horrific car accident that left her scarred inside and out, and killed the other person in the car, her pop star boyfriend Paul Hudson (Ray Nicholson). Skye is off drugs but still struggling in many ways, under the pressures of fame, of preparing for a world tour and doing rounds of publicity, while haunted by her experiences and still in pain from her injuries. Skye seems both fragile and driven, supported by her manager mother Elizabeth (Rosemarie DeWitt), and eager-to-please assistant (Miles Gutierrez-Riley).

After lingering pain from her injuries is aggregated by rigorous training for acrobatic dance sequences for her upcoming tour, Skye reaches out to a friend from high school, Lewis (Lukas Gage), looking for some pain killers. That visit goes all kinds of wrong, sending Skye running back to her posh apartment with more trauma.

Meanwhile, Mom has encouraged Skye to reach out to her childhood best friend Gemma (Dylan Gelula), to ask if she’d be willing to join her on the tour, as emotional support. But Mom seems unaware that Skye had alienated her friend during her addiction crisis, and now Skye is unsure Gemma will even want to hear from her now.

When Skye starts having nightmares and shows signs of extreme stress and possible breakdown, it is hard to tell if what is happening is the result of all the pressures she is under or if something else is in play. No matter the cause, a series of increasingly bizarre and frightening events ensue. What’s real and what’s not gets pretty blurry.

First, full disclosure: this reviewer is not really a fan of gore-fest horror like this film and its predecessor. Although I have a fondness for classic horror, in the Vincent Price and Frankenstein vein, and I do like a good head-twisting psychological or science fiction thriller – think “Under the Skin” – but generally, suspense, mystery and psychological thrillers are more to my taste.

On the other hand, for those with a higher tolerance for gore who do like this kind of film, SMILE 2 does a pretty good job of scaring audiences throughout and delivering regular doses of gross-out effects. SMILE 2 does deliver on plentiful jump scares, shocker twists and nightmarish sequences to scare the bejesus out of you.

The pop star theme lets the film showcase British singer and actor Naomi Scott, who performs several songs and gets plenty of chances to go through a wide range of emotions. Scott does well in the film, as does the rest of the cast, and the whole production is well-crafted and effectively terrifying.

While we never learn what is causing this fatal infectious madness, it really doesn’t matter anyway. In this sequel, writer/director Parker Finn seems to hint at a link between the pop star’s own inner demons and the “demon” or whatever inhabiting her. Or maybe it’s just an excuse for a lot of fairly effective jump scares and abundant buckets-o-blood gore.

Using a pop star as the lead character, especially one in recovery from addiction, survivor guilt and more, allows another level of tension that makes the scares a bit easier to conceal as they creep up on us, and also opens the door to some commentary on the price and pressures of stardom, although it says nothing new.

If you liked the first SMILE film, or like that kind of horror generally, SMILE 2 seems to tick all the boxes for a gory good nightmare ride.

SMILE 2 opens Friday, Oct. 18, in theaters.

RATING: 2 out of 4 stars

BEETLEJUICE BEETLEJUICE – Review

“It’s showtime!”…well more like HBO and Max eventually after this brand spankin’ (careful) new sequel to a much-beloved iconic 1980s cinema classic enjoys a healthy stint at the ole’ multiplex. Yup, it’s now been 36 years since that original comedy/fantasy firmly announced the quirky storytelling style of a former animator (though he’d keep a hand in the medium) after hinting at what to come with that “big adventure” with a much-missed movie hero. But can he, along with a new movie generation and fans of the “first”, really “go home” again (and the “great beyond”)? Now all it’ll take is a theatre ticket, along with proclaiming the main character’s name three times, though to be safe the formal title only repeats it twice with BEETLJUICE BEETLEJUICE. Now what’s that “sniff” sulfur smell…?l


After an airborne trek over scenic Winter River, meshed with that bouncy Danny Elfman circus-style march, we meet up with the all-grown heroine of the first flick, Lydia Dietz (Winona Ryder). She’s “tapping” into her past by hosting a reality TV show called “Ghost House” complete with that night-time spooky green photography. The crew has to stop the tape when she’s distracted by an audience member clad in familiar white and black stripes. Nah, it couldn’t be him. Luckily her producer/ beau Rory (Justin Theroux) is there to help and hand her her phone which is blowing up with calls from her stepmom. The duo rushes off to an art gallery hosting her latest “installation”. Delia (Catherine O’Hara) delivers the news of the big family tragedy. They’ll have to return to their old home, but first, they’ve got to convince Lydia’s estranged daughter from a previous marriage Astrid (Jenna Ortega) to join them. The “double-team” of mom and grandmom get her to head away from her boarding school, but not before Lydia sees those stripes again. Down below (way down), that ole’ demonic “fashionista”, Beetlejuice (Michael Keaton) is a bored “pencil-pusher” managing a team of “shrunken-head” office drones. Ah, but something shakes things up. In the aftermath of a “janitorial accident” his first wife Delores (Monica Bellucci), a “soul-sucker”, has been “re-assembled” and is on her way for a deadly reunion. This also attracts the attention of the head of “afterlife security”, former movie cop Wolf Jackson (Willem Dafoe). Meanwhile, up above, things are also getting wild as Rory proposes to Lydia at the memorial, insisting that they be married in two days, on Halloween at midnight. The announcement prompts Astrid to dash away into town where she runs into Jeremy (Arthur Conti) a brooding hunky heartthrob. But all is not what it seems as the Dietz family will have to call on that “bio-exorcist” to survive the holiday and put the spirits and “ghosties” back in their place.

After so many years of terrific dramatic roles, I had almost forgotten about Keaton’s formidable comedy “chops”. Well, here’s a big reminder as he truly delivers, not losing a bit of the gravelly delivery nor the superb mugging beneath the makeup. Here he scores by delving into a seminal character from the “first phase” of his career, much as he did by donning the cowl and cape in last year’s ill-fated THE FLASH. Part of that could apply to Ms. Ryder who turns her adored Lydia into a woman of wit and action, returning to the site and source of her teen nightmares, building on her recent resurgence in “Stranger Things”. Speaking of Netflix, kudos for casting the delightfully deadpan “Wednesday” herself, Ortega, as the youngest of the Dietz line. I was getting a bit of a flashback in her early school scenes, but Astrid is more openly passionate over her skepticism of her family’s “gift”. And then there’s the comedic force of nature that is Ms. O’Hara as Delia who mixes her daffy artist spirit with caustic unfiltered wit, verbally giving the others a swift “kick in the past”. Most deserving of such treatment is the movie’s real comedy “find”, the droll devious pompous twit Rory given a snarky sneer (and “man-bun”) by the hilarious Theroux who regurgitates trendy psycho-babble in order to seem hip (you can almost hear Astrid’s eye-rolling). Dafoe appears to be having a blast as the campy action movie star who thinks that he’s the star of another noisy crime thriller while boasting about doing his own stunts (which got him his new gig). Bellucci is sinister and sultry as the seductive stitched-together (a Burton mix of his animated Sally and Corpse Bride with a touch of his Catwoman) siren, while Conti is the teen dream hiding a secret behind his soulful eyes. Another member of the Burton troupe has a nice cameo while newcomer Burn Gorman makes the most of his scant screen time as the verbose and slightly buzzed Father Daman.

Oops, I left the screeching black cat “out of the bag” by revealing that Tim Burton is back behind the camera for his first feature flick in five years. And it could be his most “Burton-y” ever. Perhaps it’s because he’s not adapting a classic kid flick, or a stage musical, or a “loose” biography. I’d go so far as to say this is his best feature film since ED WOOD (which is now 30 years old). He keeps the action zipping along at a brisk pace, but still allows us to savor some striking visuals. At times he seems as giddy as a kid in a candy store since he eschews CGI (used for a bit of touch-up, smoothing, and enhancement) in favor of practical effects (prosthetics, puppetry, and actual shape-shifting sets). It all adds to the lived-in, grungy quality of the afterlife and the wonky world of Winter River. It’s truly a sweet dessert for the eyes, though it veers on gluttony since the story is overstuffed with homage (yes, there’s music but not another Calypso classic) and subplots. There may be enough story for two or more flicks, so you can almost feel as though you’re getting more “bang” (and “boo”) for that ticket price. After a Broadway stage show and a Saturday morning cartoon series (when the TV broadcast networks did that on weekends), the world of the “Juice still feels like the coolest undead underworld place to hang out, even though the surprise of the 88′ original isn’t quite there. Speaking of ‘toons, we even get a nifty flashback told with stop motion figures. So, the off-kilter quirks of Burton, the practical “on-set” VFX, and the comic wizardry of Keaton (not to mention again that Elfman score) add up to a most welcome, though too many years in the making, nostalgic sequel romp, so nice they named him twice, BEETLEJUICE BEETLEJUICE. Now everybody board the Sooouulll Train…

3.5 Out of 4

BEETLEJUICE BEETLEJUICE is now playing in theatres everywhere

DEADPOOL & WOLVERINE – Review

Wow, can you believe, true believers, that it’s been over eight months since our last multiplex trek into the Marvel Cinematic Universe (MCU)? Really! Sure, there have been a few Disney+ shows, and a Sony “Spidey spin-off” (the infamous MADAME WEB, inspiring so many memes), but it’s nothing like sitting down with your popcorn for a real MCU journey. Aside from the long “lead time” this one is pretty unique as it takes a “side road’ to include the “Fox Marvel movie-verse”. You see before there was a Marvel Studios, the comics giant licensed several of their characters to the established movie studios. After years of legal entanglements, Sony got Spidey (and partnered with Marvel for the Tom Holland trilogy). But the main home for many Marvel stars was 20th Century Fox. They produced three FANTASTIC FOUR features, DAREDEVIL and its spin-off ELEKTRA, and the X-MEN franchise including THE WOLVERINE solo flicks, and the NEW MUTANTS. Oh, I almost forgot the “Merc with a Mouth” DEADPOOL. Well, thanks to a big corporate acquisition five years ago, Disney got Fox and all its various properties. So now the “mutant misfits” are joining the MCU, with brief cameos in the second DR. STRANGE adventure and THE MARVELS. And now comes the ultimate “plunge”, a titanic team-up (and the first “R-rated” MCU movie) of DEADPOOL & WOLVERINE. Are film fans ready for the “snikt” (the sound effect of Logan’s claws) and the snark (from you-know-who)?

After that familiar logo, we plunge back into the madness of the “multiverse” as Wade Wilson AKA Deadpool (Ryan Reynolds) visits the scene of a recent franchise finale. After a brutal battle (set to a breezy pop tune), the story jumps back in time (and to another reality) as Wade deals with a disastrous job interview. From there we pop over to an alternate Wade over on Earth-10005, where he’s a burned-out used car salesman with his old superheroing buddy Peter (Rob Delaney). When they head back to Wade’s pad, his friends are gathered there for a big surprise birthday party. The group includes his ex Vanessa (Morena Baccarin)…awkward. Wade’s relieved when he answers a knock at the door. But it’s a squad of enforcers from the TVA (Time Variance Authority from the “Loki” Disney+ miniseries). After a brief scuffle he’s whisked via a portal to a TVA branch run by Mr. Paradox (Matthew Macfadyen), who scolds Wade for traveling the timeline, but offers him a new “home” as his new device (almost completed), the “Time Ripper” will prune (obliterate) 10005 since they’ve lost the “anchor”, Logan Howlett AKA Wolverine (Hugh Jackman). Wade springs into action, grabbing his TemPad ( a “controller’ that opens “portals”) and traveling through various universes to find a suitable Wolverine. Finally, he finds one ( a pretty surly, violent one, ‘natch) and takes him back to the TVA. Paradox regains the upper hand and informs Wade that this “variant” failed his heroic duties and destroyed his Earth. He then dispatches the duo to the barren hellscape known as the Void, a “dumping ground” for failed “multiverse variations”. Oh, its “ruler” is the powerful cruel Cassandra Nova (Emma Corrin), the twin sister of Charles Xavier, who leads an army of super-beings. Can Wade and Logan defeat her and find a way back to his Earth and thwart Paradox’s plans in order to save Deadpool’s crew?

In his third solo outing in the (co-) title role, Reynolds brings that manic motor-mouthed energy while also giving us a good bit of pathos. Deadpool’s mission is to save his pals and also himself, to prove that he matters and has real value. Plus there’s that unrequited affection for Vanessa to deal with as always. This proves to be a great counterpoint to the greatest “wiseguy” super fella around, who decimates the baddies and the “fourth wall”. And though they’re often at odds (to say the least), Reynolds is a great comedy/action partner to Jackman’s morose mutant. It’s amazing that he’s been with this “berzeker” fr nearly a quarter of a century, and still brings new aspects to the role. Though he gave one variant an emotional send-off this version is weighed down by enormous guilt, and like Wade, he sees this new “quest’ as a redemption. And while Reynolds delivers swift verbal ‘stings”, Jackman growls and pummels with his insults that slice deeper than those shiny claws. it’s interesting that this duo faces off against a villainous twosome. Macfayden is prickly and pompous as an “office overseer” with god-like aspirations. And like many bad guys, his “power play” blasts the doors open for an even greater threat in Corrin as the sadistic desert queen who desires new worlds to subjugate and demolish. With her gleaming pate and wide expressive eyes, she seems to thrive on sliding her slender fingers inside her victim’s skulls. She might be the best MCU menace since Thanos. Kudos must also go out to the comic support work from the devilishly dweeby Delaney as Wade’s fellow “wage slave’ who really misses the “spandex life’ and to the “force of funny nature’ that is the superb Leslie Uggams (hey I recall her CBS variety show that was replaced by the Smothers Brothers) as Wade’s forever cranky and foul-mouthed roommate “Blind” Al. I’d single out some more cast members, but we’d be diving into “spoiler-land”.

(L-R): Ryan Reynolds as Deadpool/Wade Wilson and Hugh Jackman as Wolverine/Logan in 20th Century Studios/Marvel Studios’ DEADPOOL & WOLVERINE. Photo by Jay Maidment. © 2024 20th Century Studios / © and ™ 2024 MARVEL.

And that’s the problem with trying to urge your friends to see this (although most have had their advance tickets for some time). You don’t want to accidentally reveal the movie’s many surprises and delights. As I mentioned earlier, that “fourth wall” is torn down early on, to make way for a virtual skyscraper of witty riffs on the movie biz in general and the MCU in particular (not just biting the “hand” but making a full meal of it). The pace is nearly unrelenting thanks to the expert comic/action direction by Shawn Levy (who also made the great FREE GUY with Reynolds) and the silly-smart script he co-wrote with Reynolds, Rhett Reese, Paul Wernick, and Zeb Welles (this “stew” needed these cooks). Unlike many superhero epics (especially those from the “guys down the street” as Wade says) this mixes its comic book origins with classic slapstick animation. Because of their healing powers, the title duo are almost beefy, “long-underwear” spins on Tom and Jerry, and all those Looney Tunes adversaries. They are dazed for a few seconds, the wounds close and the fight resumes. The laughs are so rapid and plentiful that the audience is nearly exhausted, but Levy then knows when to “shift down’ and get into the emotional core of the heroes and villains. As said earlier, the dramatics is unexpected, but the big stunner is the finale which is a somewhat sweet “s’long” to that whole “Fox-verse” that began with the new century. And aside from saving their friends, this dynamic duo is also defeating the cliche of “superhero fatigue” as they show us that there’s lots of life left in the recently maligned genre. Perhaps a big part of that is that there’s real affection between the two men, since there’s no “versus” in the title ( or “v” or “vs”, as with many monsters along with the two DC titans), but rather a simple (though pretty smart at times) DEADPOOL & WOLVERINE.

3.5 Out of 4

DEADPOOL & WOLVERINE is now playing in theatres everywhere

DEADPOOL & WOLVERINE. © 2024 20th Century Studios / © and ™ 2024 MARVEL.

TWISTERS – Review

(From left) Lily (Sasha Lane) and Tyler (Glen Powell) in TWISTERS, directed by Lee Isaac Chung. Courtesy of Universal Pictures

It’s summer, and tornadoes might be on the news and on your mind, so if a studio is releasing a disaster film with blockbuster hopes, tornadoes and storm-chasing are a good bet. There was just such a blockbuster hit back in the ’90s, TWISTER, starring Helen Hunt and Bill Paxton. TWISTERS, starring the rising star of the moment, Glen Powell, and the cute Daisy Edgar-Jones, is a kind of decedent of that action thrill ride, although not exactly a remake nor a sequel but a hybrid of both. Of course, the real star is the visual effects, many generations advanced from the original, with flying objects and terrifying, unpredictable power of tornadoes. In sequel and remake mad Hollywood, you have to wonder what took them so long

The original action thriller had Helen Hunt as a research meteorological scientist chasing storms and grant-funding and Bill Paxton as her estranged husband, a researcher turned weatherman who is done with storm-chasing, plus competition from a corporate weather research company headed by a former colleague. Directed, surprisingly, by Lee Isaac Chung, the Oscar-nominated writer-director of MINARI, TWISTERS has some echoes of that original film but no academic researchers this time and a very different romance in the story. Instead, we have a professional meteorologist, Kate Carter (Daisy Edgar-Jones) working with a private company and a tornado chaser Tyler Owens (from Texas, no less – Glen Powell), who meet on the windswept plains of Oklahoma. She isn’t there for academic research but to aid an old friend, Javi (Anthony Ramos) whose private weather research company is testing some new equipment and needs her expertise. The two have different reasons for being there, different style, different methods, different equipment, but both are there to chase tornadoes.

Glen Powell plays a showboat YouTube channel sensation, who along with his motley crew, chases tornadoes for their daredevil social media show, selling tee-shirts and trinkets along the way. Daisy Edgar-Jones is a professional in meteorology, now a respected figure working out of a high-tech office in New York, but once a storm-chasing Oklahoma graduate student, until a field test of her theory on how to “kill” a tornado goes tragically wrong, a traumatic experience that we see at the opening of the film.

But she is lured back to into the field, and her native Oklahoma, by an old friend who was part of the team helping her test her theory that day. The two have not seen each other for years but he reaches out to her for her expert help testing some new equipment for his weather-data collection business, providing precise, local data on tornadoes to his paying customers. We also get the sense that he has hope to reconnect with her in hopes of kindling romance.

The meteorologists gather in a field with other storm-chasers, some serious and others not, to watch the skies for a developing front with storm potential. YouTube star … and his wild crew pull in a red pickup truck and assorted dinged up vans with music blazing and hoots, drawing a crack from one in the crowd about rednecks from Arkansas.

Personally, I prefer more science in my science fiction (which this kind of is, since it deals in the science of weather and tornadoes), but there is little actual science in this remake/sequel. Kate’s old idea for stopping a tornado is pure fiction and there is a scene with an “eye” in a tornado (that’s hurricanes, not tornadoes, folks). But for most audiences, that won’t matter because they are just there for the FX, with are present in abundance – dazzling visual effects of the power of one of the most terrifying, dangerous forces in nature, the unpredictable tornado.

And you do get those visual jaw-droppers and a visceral thrill ride, although it takes awhile for the story to get started after the early terrifying sequence that shows why Kate is afraid to go back into the field of storm-chasing. After that flashback sequence, the film flashes forward to introduce characters in the present. We get some meet-cute scenes showing the differences between the free-wheeling Tyler and the more professional Kate, and to establish some of the differences between those chasing storms for data-collection and those chasing for thrills and social media likes.

Things really get underway as both sets of storm chasers are taking a break, with Tyler and Kate taking in a local rodeo. Things pick up quickly for the excitement and the storm effects, when a surprise night-time storm hits, sending everyone scrambling.

The effects in TWISTERS are truly thrilling, and massive things fly through the air (although no cows this time). The above sequence, and another awesome one with a movie screen, echo scenes in the original but everything is much bigger, and more impressive. However, audiences should note not to take advice from this film on what to do in a real tornado – heading for a movie auditorium is not the safe choice.

There is little science or accurate information about tornadoes in this one, and Kate’s theory on how to kill a tornado is pure fiction, but the tornado scenes do supply summer escapist thrills, if no practical advice. Also, the romance between the two leads never really takes off, unlike a number of truck and buildings, as there is little to no romantic chemistry between stars Daisy and Glen.

TWISTERS can provide some popcorn fun and summer thrills in the only safe way to encounter a tornado but movie fans hoping for a repeat of the emotional appeal of the original TWISTER likely will be disappointed, as this story is less involving. If you are just there for big visual effects, TWISTERS has thrill delights for you, particularly in a sequence in a movie theater.

TWISTERS opens Friday, July 19, in theaters.

RATING: 2 out of 4 stars

MAXXXINE – Review

(L-R) Mia Goth as Maxine and Halsey as Tabby, in MAXXXINE. Photo Credit: Justin Lubin. Courtesy of A24

Director Ti West and actor Mia Goth are back with a third film in the X horror series. MAXXXINE is a sequel to 2022’s X, while the second in the series, PEARL (also 2022), was a prequel. The first film, X, was a surprise hit at SXSW with audiences and critics, a kind of fun, tongue-in-cheek homage to both horror and porno films of the late 1970s and early 1980s, where the owner of a strip joint and his pals set out in make a porno film titled “The Farmers’ Daughters” at a rural house they have rented from an elderly couple, but without telling the old folks what kind of film they are making. Mia Goth plays in dual roles as one of the actresses in the porno, Maxine, and the elderly farm wife, Pearl. Following the traditions of horror films of that earlier era, their sexual misbehavior is punished by murder and mayhem.

MAXXINE is set in 1985 Hollywood, when the Night Stalker serial killer was roaming the streets. Mia Goth again plays Maxine, the sole survivor of the Texas massacre in the first movie, who is now working in the Hollywood adult film industry under the name Maxine Minx, while concealing her violent past. Maxine is ambitious to make the leap to mainstream movies via horror films, and gets her chance in an audition for “The Puritan II,” a sequel to a horror hit directed by Elizabeth Bender (Elizabeth Debicki).

The film opens with black-and-white home movie footage of Maxine as a child performing on stage while hear her unseen preacher daddy (Simon Prast), who encourages her ambitions to be the “star” of the church, which sets up a backstory for ambitious Maxine. Maxine’s ambitions to step up to stardom via horror is backed by her agent/lawyer Teddy Knight (Giancarlo Esposito). But her closest friend and confidant is Leon (musician Moses Sumney), a clerk at the X-rated video store under her upstairs apartment. Ambitious and hardworking Maxine has a second job, as a live performer at a peep show, and declines two co-workers’ separate invitations to join them at a party at a fancy house near the Hollywood sign. As the Nightstalker takes more victims and police detectives (Bobby Cannavale and Michelle Monaghan) investigate the murders, a mysterious man, wearing black leather gloves, pays to see Maxine at the peep show but reacts with anger at what he sees. Shortly after, a sleazy Southern private detective, Labat (Kevin Bacon), contacts Maxine with a threat to reveal her past if she doesn’t accept his mysterious employer’s invitation to the house under the Hollywood sign.

MAXXXINE is absolutely packed with movie references and shots of icon Hollywood locations, including famous backlot sets, which is actually the biggest thrill in this horror-homage thriller.

As you can guess from the cast, the third film in the series has a bigger budget and hence a more star-studded cast, including Kevin Bacon, Bobby Cannavale, Michelle Monaghan and Giancarlo Esposito.

Like the first film, MAXXXINE is less an actual scary horror movie than an homage to horror movies, and to soft porn videos and drive-in fare of the early 1980s era. The Hollywood setting means the filmmakers could include wonderful location shots, such as the set for PSYCHO, and both visual and dialog references to a host of classic thrillers, including CHINATOWN, often with a dark humor twist, such as one with a Buster Keaton impersonator.

Mia Goth again does the good job she did the the first two films, and adding the stars to the cast are a bonus. A particular standout is Kevin Bacon, as the oily New Orleans private detective bedeviling Maxine, in a sleazy version of Jack Nicholson’s character in CHINTOWN (complete with bandaged nose) crossed with a number of gangster film baddies, until he gets his comeuppance via Giancarlo Esposito’s “Better Call Saul”-ish agent/lawyer.

In fact, the too-few moments like that and the many other movie references, along with the chance to see behind to facades of some famous film sets, such as going inside through the doors of the mansion on the hill behind the Bates Motel, are the major thrills in MAXXXINE. Otherwise, the movie is not very suspenseful or scary, and it has less tongue-in-cheek humor or Hammer Film fake bloodiness than the first one (although cheesy Hammer Film effects do get a mention). Of course, there is some gore and violence, but much less than you might expect, and the tension and thrills are sparse, as are the dark humor moments. It’s not the first time an indie film has been diminished by a bigger budget, of course, but audiences expecting the same horror-homage entertainment as the first one are likely to feel let down. However, fans of Old Hollywood and classic thrillers will get some treats in the movie’s tour of backlots and back streets circa 1985.

MAXXXINE opens Friday, July 5, in theaters.

RATING: 2 out of 4 stars

DESPICABLE ME 4 – Review

As we approach the big extended (four days) holiday weekend the big Summer movie season dashes past its halfway point with a new entry in a fourteen-year-old film franchise. No big surprise, but this one is hoping to “ride the wave” generated by a sequel that caused an unexpected near-seismic tsunami at the box office, only a few weeks ago. Oh, did I mention that both flicks are animated? Yes, INSIDE OUT 2 exceeded all the financial forecasters to be the first billion-dollar movie of 2024. So, will “lightning strike” again, as this is the first installment of the series in seven years, not counting a couple of prequel spin-offs. Perhaps Gru and his gang, including lotsa’ manic Minions, can lure some families at the multiplex away from another visit in Riley’s noggin with DESPICABLE ME 4.

The story does start with the “DM’ himself, Gru (voice of Steve Carell) as he attends, with a trio of Minions, a class reunion at his old “alma mater”, Lycee Pas Bon. But he’s not there to “catch up’, rather he’s on a mission for the Anti-Villain League (ATL) to capture an old classmate and rival, Maxime Le Mal (Will Ferrell). When he receives a special award, Maxime reveals that he has harnessed the power of cockroaches, even fusing parts of them into his body, to make himself an unstoppable mastermind. This nearly derails Gru’s plans to arrest him until his backup ATL team arrives. Soon Gru is back home with his loving family: wife Lucy (Kristen Wiig), daughters Margo (Miranda Cosgrove), Edith (Dana Gaier), Agnes (Madison Skyy Polan), and baby son Gru Junior. But just as things are getting back to normal they get a surprise visit from the ATL director Silas Ramsbottom (Steve Coogan) who tells them that Maxime, with the help of his GF Valentina (Sofia Vergara) has busted out and is on his way for revenge. The family Gru is quickly whisked away to a new locale with new identities as part of a protection “program”. While all but three of the Minions are taken to the secret ATL lab, the family is sent to cozy suburban Mayflower. Gru tries to become friends with snooty neighbor Perry Prescott (Steven Colbert), which leads to his association with his pre-teen daughter Poppy (Joey King). She recognizes him as a former super-villain and threatens blackmail unless he aids her in a high-risk “heist”. Meanwhile, at the lab, five of the Minions are chosen for a special experiment to give them super powers (flying, strength, laser-ray eye, etc.) creating the Mega-Minions. All this as Maxime and Valentina track down their prey. Can Gru and his family triumph over their bug abilities and weapons or will Gru Jr. become Maxime’s new son?

The veteran voice cast reunites to bring plenty of star power to their now-familiar roles. Carell brings a lot of energy and his expert comic timing to Gru’s endearing accent (perhaps near Boris Badenov’s hometown). Wiig is the most prominent of the SNL vets as the perky affable Lucy with a “sing-song” TV sitcom housewife delivery. The other big “get” has a connection to her and to Carell with the introduction of the new “big baddie” Maxime voiced by SNL icon and that ANCHORMAN himself, Ferrell, who seems to be enjoying his over-the-top French accent. Vergara is a good bored, petulant vamp as Valentina. And Coogan has the right tone of cultured stuffiness as Silas. Oh, there are two more TV vets involved. Lariane Newman, an OG SNL founder, is the angry matron Melora while current SNL “mimic marvel” Chloe Fineman is the bubbly Southern belle next door, Patsy. Colbert is pure waspy privilege as her hubby Perry. King affects a nice snarky “mean girls” riff as their daughter Poppy. And kudos to the mix of new and veteran voices as the daughters.

The director’s chair is shared by Chris Renaud (the man behind so many Illumination flicks) and Patrick Delage (in his feature debut). Perhaps this team-up happened to somehow shoehorn the three (maybe more) plot elements into a coherent and cohesive film. And they don’t really get there as the plot will suddenly stop any momentum to “switch over” to “story B” (hey, we need some Minion slapstick) dividing our focus. Maybe another “pass” was needed on the script from Mike White ( a lauded live-action scribe) and one of the original DM writers, Ken Daurio. Another stumble is the lack of a really interesting villain in Maxime, whose “reason for revenge’ via a cutesy flashback, isn’t that engaging. Plus the script “falls back” on too many pop culture riffs and “shout outs” topped by a “burn” on the live-action superhero “tentpoles”. Yes, over-powered heroes causing havoc trying to help is as old as the concept (“Snafuperman” and “Stuporduck” shorts from the 40s and 50s). The scenic backdrops are very colorful and dynamic, but the character design is often derivative with almond-shaped heads, big “floopy” hair, and spindly legs that shouldn’t support the bulky torsos (and what’s with Maxime’s puffy “hotel carpet” coat). By the time the film lumbers along to its “city demolition” climax, we’re exhausted despite its 95-minute runtime. Hardcore fans of the series will be happy to have the old gang back complete with lots of Minions schtick as they spew gibberish while bouncing about, but after seeing the superb sequel from Pixar last month maybe the Gru family and friends (and fiends) should retire into cinema “witless protection” after squandering the comic talent ‘at the mike” in DESPICABLE ME 4.

2 Out of 4

DESPICABLE ME 4 is now playing in theatres everywhere