SYNOPSIS: In “Lee,” a new biopic now playing in theatres, Kate Winslet plays celebrated war correspondent and photographer Lee Miller. The fiercely independent former fashion model became a World War II correspondent for British Vogue, covering the London Blitz, the liberation of Paris, and the concentration camps at Buchenwald and Dachau.
CAST: Kate Winslet, Marion Cotillard, Andrea Riseborough, Andy Samberg, Noémie Merlant, Josh O’Connor, Alexander Skarsgård. Directed by Ellen Kuras.
REVIEW: As a reminder of the importance of journalism and photography, “Lee” contains several unforgettable moments. Recreations of her famous photographs dot the film.
Memorable images of an “unexploded bomb” sign stuck to a tree or a nurse’s underwear hung in a window to dry, mirror her innate visual style, one that combined artful composition with stark matter-of-fact journalism. “Even when I wanted to look away,” she says. “I knew I couldn’t.”
Perhaps Miller’s most famous photograph captured her in front of the camera.
In the iconic image, set up by Miller and taken by Life Magazine photographer David Scherman (Andy Samberg), she is topless, bathing in Adolph Hitler’s bathtub on April 30, 1945, the day Hitler killed himself. New Yorker writer Chris Wiley called it an “apt visual metaphor for the end of the war” and it remains a potent symbol of triumph against evil.
When the film focusses on Miller’s trailblazing work, as in the above examples, “Lee” shines.
Winslet is terrific as the fiercely committed photographer, but she is let down by a conventional set-up—an older Miller looking back on her life—and a tendency to drift from the character’s inner life to the story’s more mundane aspects.
“Lee” is a serviceable film, but it is nowhere near as remarkable as the woman whose story it tells.
A kid’s movie about Hollywood as a boulevard of broken dreams doesn’t exactly scream Disney, but “Chip ‘n Dale: Rescue Rangers,” a new live action, cartoon hybrid starring John Mulaney and Andy Samberg in the title roles, and now streaming on Dinsey+, is exactly that.
Except it’s WAY funnier than I just made it sound.
Set in Los Angeles, this is the tale of anthropomorphic chipmunks Chip (Mulaney) and Dale (Samberg). Once tight pals and big television stars, relative to their tiny size, they are now has-beens, relegated to the delete bin of popular culture. “We were living the dream,” says Dale. “Dancing the Roger Rabbit, with Roger Rabbit.”
Dale sticks it out in show biz and with some CGI surgery—i.e. plastic surgery in toon world—is now a photorealistic computer-animation version of himself chasing glory on the oldies convention circuit, while Chip gave up his Hollywood dream and makes ends meet by selling insurance.
Worst of all, they’re estranged and haven’t spoken in years. It takes a wild story from their old “Rescue Rangers” co-star Monterey Jack (Eric Bana) about missing animated characters, possibly kidnapped by Sweet Pete (Will Arnett), a middle-aged, paunchy version of Peter Pan, to bring them back together.
When Monterey disappears, Chip ‘n Dale use the sleuthing lessons they learned on “Rescue Rangers” and are drawn into the seedy underworld of Uncanny Valley where the baddies come in all styles—hand drawn, computer generated, claymation, puppets—Muppet fights are a daily occurrence and bootleggers threatens the toons’ lives and careers.
“Chip ‘n Dale: Rescue Rangers” is a multiverse of toontastic fun. In a wild mix n’ match, characters from movies like “The Little Mermaid” and “My Little Pony” to “South Park” and “The Jungle Book” clash and collide. There’s even Ugly Sonic, the original Sonic the Hedgehog design with human teeth.
The array of characters aside, there are loads of in-jokes for animaniacs to enjoy. A computer-generated Viking (Seth Rogen) is described as having, “those Polar Express eyes,” and director Akiva Schaffer crams the screen with various styles of animation that irreverently pays tribute to, and pokes fun at, these beloved characters who have fallen on hard times.
A riff on “The Happytime Murders,” which brought the Muppets into a crime-ridden, R-rated world, and the Toontown antics of “Who Framed Roger Rabbit?”, “Chip ‘n Dale: Rescue Rangers” is ripe with sight gags and deep laughs that will likely be appreciated more by parents than kids. Once again, my semi-annual reminder that simply because a movie is on Disney+, doesn’t mean it is for the entire family. There are good messages for kids about the importance of friendship but they are tempered by some adult humour and mild language.
The fourth and final instalment of the “Hotel Transylvania” franchise, which began in 2012, comes to Amazon Prime minus Adam Sandler, but with the addition of some monstrously heartwarming messages for kids.
When the animated action begins, Count Dracula (once voiced by Sandler, now played by Brian Hull) is on the brink of retirement. His daughter Mavis (Selena Gomez) and her husband Johnny (Andy Samberg) are poised to inherit the hotel, but Johnny senses that Dracula doesn’t want him, a human, running things. Professor Abraham Van Helsing (Jim Gaffigan) and his Monsterfication Ray offers an answer. It turns Johnny into a winged monster, but when things go sideways, the ray also transforms Dracula and his monster friends into humans. “Being a human is the worst,” Drac complains of the movie’s “Freaky Friday” twist.
“You don’t recognize me?” asks Griffin (David Spade), the invisible man, after his human reveal.
“I have literally never seen you before,” says Mavis.
Mavis, Johnny and the Drac Pack head to a place deep in the Amazon, the only place where the transformations can be reversed, in search of a cure for their situation. “If we don’t fix you guys soon,” says Mavis. “You’ll be like this forever.”
Like the other, big screen entries in the “Hotel Transylvania” series this movie is loud and frenetic. The goofy, colorful action feels like it could be from almost any other animated movie but the characters and the fun voice work (from actors like Steve Buscemi, Kathryn Hahn, Jim Gaffigan, Molly Shannon, Keegan-Michael Key and Fran Drescher) cut through the noise.
They are all unusual characters, but they’ve found their community. They accept one another, like family does. “Transformania” highlights the family feel by allowing the Drac Pack and Johnny, characters we’ve been watching for three other films, to learn what it is like to see the world through one another’s eyes. It’s a lesson in tolerance and acceptance that feels earned, no matter how outlandish the story may be.
The life lessons are wedged between a monster mash of laughs and action, some of which parents may find headache inducing, but, like Dracula, kids should be able to sink their teeth into it.
“Palm Springs,” the existential new Andy Samberg comedy now streaming on Amazon Prime Video, is a riff on “Groundhog Day.” But if the premise is familiar, the treatment isn’t.
When we first met Nyles (Samberg), he’s a nihilist. “This is one of those infinite time-loop situations you might have heard about,” says Nyles. “It could be purgatory, a glitch in the system, whatever. The important thing is, the only way to live in it, is to embrace that nothing matters.” His girlfriend Misty (Meredith Hagner) is a bridesmaid at the Palm Springs wedding of her childhood friend Tala’s (Camilia Mendes) and her beau Abe (Tyler Hoechlin).
It’s a stuffy affair, livened up only by Sarah (Cristin Milioti), the unlucky-in-love sister-of-the-bride. When Misty runs off with oner of the groomsmen, Nyles sets his eyes on Sarah. They decamp to a private spot in the desert and just as they’re getting down to business, Nyles is impaled by an arrow shot by Roy (J. K. Simmons). Running to escape a second shot, Nyles ducks into a nearby cave but urges Sarah not to follow. Of course, she does and… cut to the next scene, she’s back in her hotel room getting ready for the wedding, caught in the same time loop as Nyles.
Confused, she confronts Nyles. As he explains the screwball situation, she immediately starts looking for a way out. It’s impossible, he tells her, describing how he once tried to escape, and made it to Equatorial Guinea but “still woke up back here.” He lives in the moment, spicing things up a bit from time to time, by hiding a bomb inside the wedding cake to amuse Sarah, knowing that that every day will reset.
As romance blossoms between they wonder, “How can their relationship possibly move forward if time is at a standstill?”
“Palm Springs” is a rom com, but it isn’t so much about finding love as it is finding purpose. “I thought I knew how to live,” Nyles says, “but I didn’t and I don’t.” Nyles and Sarah react to their situations very differently. He uses the endless repeat of his life as an excuse to do whatever strikes his fancy. “I have felt everything I’ll ever feel,” he says, “so I’ll never feel anything again.” He’s not malicious, he simply realizes that there are no consequences to his actions. She wants out, or, at the very least, to get something out of her life after years of being the black sheep of the family. Ultimately, the time loop makes both understand that a life lived without purpose is no life at all.
A great deal of the movie’s success comes from the casting. Samberg and Milioti have tremendous chemistry and bring out the best in one another. She blunts his jerky tendencies; he accentuates her vulnerability and steeliness. Without this sparkling combination the movie wouldn’t work nearly as well.
The time loop rom com is a slim genre, but “Palm Springs” is a worthy addition.
The Invisible Man, Frankenstein, the Mummy and let’s not forget Dracula all make appearances in “Hotel Transylvania 3: Summer Vacation” but the new, animated Adam Sandler movie isn’t about the monsters, it’s about the importance of kindness and family.
At the beginning of the film Dracula (voice of Sandler) is feeling down, stressed out from the pressure of running his luxury hotel. On top of that, seems even the Prince of Darkness has trouble meeting women. He’s forlorn, hasn’t had a date in 100 years and his voice-activated dating app is no help. “I’m lonely,” he says. “You want bologna?” it replies.
Noticing her dad is depressed daughter Mavis (Selena Gomez) arranges for a special treat; some time away with family and friends. “I figured you need a vacation from running everyone else’s vacations,” she says. She books passage on the monster cruise of a lifetime, a journey into the heart of the Bermuda Triangle.
Once onboard Drac immediately falls for Captain Ericka (Kathryn Hahn). The heart knows what it wants, even if it is a cold, un-beating heart. They hit it off, but it turns out Ericka might have an ulterior motive for returning Drac’s advances.
“Hotel Transylvania 3: Summer Vacation” is filled with the easy sentimentality that mars Sandler’s live action films. Good messages about acceptance—“We’re here, we’re hairy and it’s our right to be scary!”—tradition and finding your own way in the world—“ You have to honour the past but we have to make our own future,” says Drac.—are hammered home like a stake through the heart.
Surrounding the family friendly clichés are an untraditional cast of cute monsters and that’s the movie’s strength. The fun of “Hotel Transylvania 3” is in the details not the story. The kid friendly creepy crawlies, deadpan fish cruise ship staff, Grandpa Dracula’s (Mel Brooks) skimpy withered green body and Captain Ericka’s underwater craft that looks like it just floated in from “Yellow Submarine” are all a hoot. Come for the creatures, stay for the silly fun.
“Hotel Transylvania 3: Summer Vacation” doesn’t add up to much story-wise—music and dance numbers, though inventively staged, pad out the running time to feature length—but the messages of tolerance and kindness are important themes in today’s increasingly serious world. “Gotta be great-a than the hatas,” says one monster. That’s advice you can take to the (blood) bank.
Against all odds “Brigsby Bear,” a new film starring “Saturday Night Live’s” Kyle Mooney, manages to be an inspirational story about child abduction.
Mooney is James, a man-child with a head of curly hair and 173 episodes of his favourite show, “The Adventures of Brigsby Bear” on VHS. Sort of like Paddington in outer space, the adventure series stars a man in a bear mascot suit saving the universe for the evil SunSnatcher and doling out advice like, “Prophecy is meaningless, only trust your familial units.”
“Brigsby” super fan James lives with his parents Ted and April Mitchum (Mark Hamill and Jane Adams) in an underground bunker, shut off from the rest of the world save for a weekly delivery of a new “Brigsby” tape and a dodgy internet connection. His parents have kept him separated from the world, a world, he was told, where the air was toxic. He’s never been off the property or outside without a gas mask.
One night the FBI raids the bunker arresting Ted and April for abducting James when he was a baby before returning James to his real parents Louise and Greg (Michaela Watkins and Matt Walsh) and sister Aubrey (Ryan Simpkins). Leaving Ted, April and Brigsby behind is a tough adjustment for the naïve man. “Everybody says they’re trying to help me,” he says, “but nobody can get me the new episode of Brigsby Bear.”
Turns out Ted had been making Brigsby episodes like, “Making Friends with the Wizzels,” for an audience of one, James. Filled with good life lessons the shows taught James about loyalty, fairness and perseverance. With no new episodes to study and learn from James, and his new acquaintances Aubrey, Meredith (Alexa Demie, Spencer (Jorge Lendeborg Jr.) and Detective Vogel (Greg Kinnear)—comes up with a plan to share his favourite character with the world. “Brigsby never gives up and I won’t either,” he says.
James is a Chance the Gardener type character. Like the famous “Being There” he is sweetly unsophisticated with knowledge derived mostly from television. Mooney could have played James as an alien, a fish out of water for whom everything is new—first party, first time with a girl, first bad drug trip—but, Like Peter Sellers’ Chance, he keeps it real, imbuing the odd character with real humanity. “It’s a different reality than I thought,” he says of world outside the bunker and he has trouble fitting into it but he never falls into caricature.
I kept waiting for “Brigsby Bear” to develop an edge or to get ugly or to collapse under the weight of its quirkiness, but it doesn’t. It’s a sweetheart of a film about loyalty, the power of art as a coping device and a source of inspiration, the line between passion and obsession, but most importantly, it’s about accepting people for who they are.
Being an only child has its benefits. You don’t have to share clothes or wait in line for the bathroom, but Nate Gardner (voice of Anton Starkman) is lonely and one day announces to his busy parents, “I’ve decided I want a baby brother.”
To speed the process along the youngster writes a letter to the folks at Stork Mountain. “Dear Stork Delivery Service,” he writes, “Our son really deserves a baby brother. P.S. He has to have ninja skills. Signed adult parents Perry and Sarah Gardner… adults, not Nate.”
What Nate doesn’t know is that Stork Mountain head honcho Hunter (voice of Kelsey Grammer), a white stork and the executive CEO of Cornerstore.com, dropped babies years ago in favour of picking up packages. Why did they stop? Because there are other ways to get babies.
With huge profits rolling in the CEO offers the company’s top job to Junior (Andy Samberg). With over 1 million deliveries under his beak, he’s their best stork, but the new job it comes with a caveat. Junior must fire the company’s lone human employee, Orphan Tulip (Katie Crown), but the brash-but-kindhearted bird can’t bring himself to let her go. Instead he assigns her to the least used department in the company, the Letter Sorting Department.
Tulip intercepts Nate’s letter and accidentally feeds it into the Rube Goldberg-esque Baby Making Machine—literally a machine that makes babies, and not… well, you know what you were thinking—and through the science of baby making transforms the note from pen and ink to an adorable baby girl
Trouble is, Junior has never delivered a baby and doesn’t know what to do with the unauthorized child. He knows he must do something before Hunter gets wind of the kid. With a wounded wing Junior has no choice but to take Tulip along as they begin a wild adventure to unite the child with Nate and his parents. “If I can deliver this by Monday I can still be made boss,” says Junior.
“Storks” never quite takes flight. A manic mix of action-adventure and kid’s humour, it often feels padded by cut-a-ways and musical numbers and never met a gag it can’t run into the ground with repetition. There are several stand-out moments, like a silent battle between storks and penguins, kept quiet so as not to wake the baby and the ever-morphing Wolf Pack, who can change Transformers style into anything from bridges to submarines, but everything else is over-amped and loud with a side of sentimentality thrown in.
Samberg is perfectly cast as the brash but not-so-bright lead character and Keegan-Michael Key and Jordan Peele provide funny and interesting voices to the Wolf Pack leaders but most of the voices are as undistinguished as the story.
“Storks” has promise but never really delivers the goods.
Justin Bieber is a teen ream for many teen girls. He gets a decidedly more adult treatment in “Pop star: Never Stop Never Stopping,” the new parody from Andy Samberg, Kiva Schaffer and Norma Tacoma a.k.a. the Lonely Island. Rated 14A for coarse language, nudity and substance abuse it may be a nightmare for hard-core Bielbers.
Samberg stars as Conner4Real, a Bieber-esque performer and former singer for boy band Style Boyz (Schaffer and Tacoma, who also co-direct). Despite the title of his big hit, “I’m So Humble,” (“I’m number one on the humble list!”) he’s a pampered pop star with an entourage—including a turtle wrangler, a weed roller, a short guy who hangs around to make Connor look taller and a movie star girlfriend (Imogen Poots)—that makes Elvis’s Memphis Mafia look restrained. When we first meet him, he’s at the top of the pops but when his sophomore album—hilariously titled Connquest—stiffs he learns who his real friends are as he struggles to stay popular.
A loving, and sublimely silly look at concert films like “Katy Perry: Part of Me” and “Justin Bieber: Never Say Never,” “Popstar” features real-life musicians, Nas, Akon, 50 Cent, Seal, Pink, Snoop Dogg, Usher, Questlove, DJ Khaled as talking-heads as it skewers the more ridiculous aspects of its (mostly) fictional lead character. It’s a millennial “Spinal Tap” that takes aim at the excesses of pop life—clueless social commentary, absurd catchphrases, gratuitous nudity to cultural appropriation, it’s all here—but at its poppy heart its really about friendship and family.
The scenes of satire are often ripped from the TMZ’s headlines—there’s an incident at the Anne Frank House and a costume malfunction that derails Connor’s public reputation—which feel familiar while still drawing a laugh. Better than those are the sly comments on how fame works in the Age of Kardashian. “There is no such thing as selling out,” Connor coos. “These days if you don’t sell out people think nobody’s interested.” Much of the film is as deep as one of Bieber’s teen love laments, but occasionally it hits a little harder and the laughs get a little deeper. But make no mistake this is R-rated stuff that revels in its idiotically smart humour.
The targets in “Popstar: Never Stop Never Stopping’s” crosshairs are obvious and, frankly, easy pickings, but the film’s combination of catchy-if-ridiculous songs, appealing performances and fast-paced parody make it a chart topper.
“We don’t have time for zingers!” says Count Dracula (Adam Sandler) midway through “Hotel Transylvania 2.” No time for zingers, indeed. The sequel to the 2012 kid friendly animated horror comedy is short on laughs but long on sentiment.
Like all of Sandler’s movies—no matter how outrageous the characters—the new one is all about family. It picks up after Drac’s daughter, vampiress Mavis (voice of Selena Gomez) married human Jonathan (Andy Samberg). In a twist on “Twilight,” the vampire mother and human father soon have a child, Dennis (Asher Blinkoff). The question is, which side of the family will it take after, the monster or human?
“Human. Monster. Unicorn. As long as you’re happy,” Drac says to his daughter, while secretly hoping the child will inherit the vampire genes. On the eve of the child’s fifth birthday the boy still hasn’t shoed any signs of vampiric behaviour—“He’s not human,” says the Prince of Darkness, “he’s just a late fanger!”—so Drac and friends—Frankenstein (Kevin James), Wayne the Werewolf (Steve Buscemi), the Invisible Man (David Spade) and Murray the Mummy (Keegan-Michael Key)—take Dennis to their old haunts to teach him their scary skills.
“Hotel Transylvania 2” features great kid friendly monsters designs (that will make equally cool toys) like zombie bellhops and Blobby, a gelatine creature that looks like Grandma’s Gazpacho Aspic come to life but the creativity that went into the creatures didn’t extend to the script.
It’s a sweet enough, amiable story about acceptance and family, but the jokes barely rise to the level of the “101 Halloween Jokes for Kids” book I had when I was ten-years-old. If calling Murray the Mummy “talking toilet paper” makes you giggle, then perhaps this is for you, but by the time they have explained why Drac is called “Vampa” for the second time, you get the idea that Sandler and co-writer Robert Smigel know they should have driven a stake through the heart of this script.
The appearance of Mel Brooks as Great Vampa Vlad simply brings to mind “Young Frankenstein,” one of the funniest horror comedies of all time.
The biggest laughs come from the background, the sight gags that keep things visually frenetic in the first hour.
“Hotel Transylvania 2’s” family friendly scares won’t give kids any nightmares, but it won’t make them laugh either.
SYNOPSIS: In “Lee,” a new biopic now playing in theatres, Kate Winslet plays celebrated war correspondent and photographer Lee Miller. The fiercely independent former fashion model became a World War II correspondent for British Vogue, covering the London Blitz, the liberation of Paris, and the concentration camps at Buchenwald and Dachau.
