The weird and wonderful Addams Family, Gomez (Oscar Isaac), Morticia (Charlize Theron), Wednesday (Chloë Grace Moretz), Pugsley (Javon ‘Wanna’ Walton) and their chrome domed Uncle Fester (Nick Kroll), are just like any other family. Sure, they live in a house of horrors and are “mysterious and spooky and all together ooky,” but underneath it all, they are a regular, loving family.
The latest instalment in their lengthy documentation of family life, the animated “The Addams Family 2,” now playing in theatres and premium VOD, sees Gomez and Morticia, like so many parents, concerned that their kids are growing up too fast.
The action begins at Wednesday’s high school science fair. When she only earns a participation award for her project—transferring octopus intelligence into her Uncle Fester—she becomes more withdrawn than usual. To bring the family back together, Gomez and Morticia plan a family road trip to—where else?—Death Valley.
Along the way complications arise, including Cyrus Strange (Wallace Shawn, son of editor William Shawn who ran the Addams Family cartoons for decades in the pages of the New Yorker), an evil scientist who convinces Wednesday she is not really part of the Addams Family.
“The Addams Family 2” has top flight voice work from Isaac, Theron and especially Moretz, who nails the detached but spirited tone of her death-obsessed character. Her empowerment—”I’m not a freak,” she says, “I’m a force of nature.”—will also likely strike a chord with anyone who has felt like an outsider.
What the film doesn’t nail, however, is that Addams Family X-factor, the sense of gleeful dread. This is mainstream family animation, padded with songs and dance numbers, that smooths out the offbeat, macabre heart and soul of the source material. It’s goofy, not ooky, with none of the eccentric charm of the 1960s TV show.
Directors Greg Tiernan and Conrad Vernon bring a light touch to the story, where none was needed.
The first instalment of “It,” Stephen King’s scary clown epic, was about overcoming fears. Specifically, the shape-shifting Pennywise the Dancing Clown a.k.a. It (Bill Skarsgård), the manifestation of all the character’s fears. The new film, inventively titled “It: Chapter Two,” is about resilience, about sticking your neck out for your friends.
The new one is set in 2016, twenty-seven years after the preteen Loser’s Club battled Pennywise in his sewers lair and kept the town of Derry, Maine safe from the child gobbling monster. Now, the childhood friends have gone their separate ways. Loser’s leader Bill (James McAvoy) is now a successful mystery novelist. Sexual abuse survivor Beverly (Jessica Chastain) went on to become a fashion designer, while Ben (Jay Ryan), the overweight, bullied kid is now an architect living in Nebraska and loud-mouth Richie (Bill Hader) is a DJ in Los Angeles. Other members fled town as well. Hypochondriac Eddie (James Ransone) runs a NYC limousine company and Stanley (Andy Bean) is now an Atlanta-based accountant.
Only Mike (Isaiah Mustafa) stayed in Derry. Traumatized by the events of his youth he battles a substance abuse problem but stays on top of Pennyworth’s existence by sleeping next to a police scanner. “Something happens when you leave this town,” says Mike. “The farther away, the hazier it all gets. But me, I never left. I remember all of it.” When trouble in the form of a clown comes back to town Mike summons the others Losers to come back home to conquer their fears, bond together and do battle with their old foe. “Did you miss me?” taunts Pennywise. “No one wants to play with me anymore.”
At almost three hours “It: Chapter Two” is an overindulgent mish mash, part horror, a splash of comedy and heaping helping of pop psychology. Oh, and a clown. To say the movie takes it’s time is an understatement along the lines of suggesting Pennnywise floss more often. It almost feels like you’re binging several episodes of a serialized version of the story without the benefit of being able to switch channels when the going gets repetitive.
And it gets repetitive. We are endlessly reminded of the character’s childhood traumas, told of Pennywise’s evil and if someone said to me, “We’ve got to stick together,” as many times Bill says it here, I would make a run for it and never look back. The movie says it best when Ritchie exasperatedly says, “We’re caught up, OK!” over an hour in, and yet the exposition and repetition continues.
There are several striking nightmarish images and Hader provides some much-needed comic relief but it feels as though director Andy Muschietti and screenwriter Gary Dauberman regarded King’s novel as some sort of sacred text and where unable to stray from the written word. One of the enjoyable things about King’s novels are there world building, his attention to detail and skill for weaving mythology into real(ish) world situations. The best adaptations of his work carefully parse these elements to boil down the essence of the story. “It: Chapter Two” does not make the effort. Instead it laboriously recreates the novel, frills and all. It may have worked in print but here it feels the running gag about Bill’s inability to properly end his stories has come to life, manifesting itself in the CGI heavy climax and the extended coda.
In this sequel Pennywise’s red balloon has finally popped.
Richard interviews “Ralph Breaks the Internet” producer Clark Spencer on why it took six years to make the sequel, the design of the animation and much more.
Given the movie’s subtext “Ralph Breaks the Internet” could have been called “Ralph Wants You to Think About the Ramifications of Internet Usage.” Not as catchy, I’ll admit, but amid the fun and games the sequel to “Wreck-It Ralph” is a strong message about the dangers of Internet culture.
It’s been six years since we met Wreck-It Ralph (voice of John C. Reilly), a disgruntled video game character who demanded respect. This time around the action begins when the steering wheel controller on the Sugar Rush game console breaks. “It might be time to sell Sugar Rush for parts,” says Stan Litwak (Ed O’Neill), owner of Litwak’s Family Fun Center & Arcade.
Before Litwak unplugs the machine Ralph and the game’s racer Vanellope von Schweetz (Sarah Silverman) rescue Sugar Rush’s characters by moving them to other games.
To get the game up and running Ralph and Vanellope hit the Internet, using the Arcade’s wifi to explore the net in search of a replacement steering wheel. They find the wheel at eBay, trouble is, they don’t have any money. “I left my wallet at home,” Ralph tells the eBay cashier. “In the wallet room and the door is locked!”
When they befriend Shank (Gal Gadot), a racer in Slaughter Race, their problems seem to be over. The violent racing game overs a source of money but as Shank’s influence on Vanellope grows Ralph worries that his friend is drifting away.
“Ralph Breaks the Internet” is at its best when it’s subversive. The colourful animation, coupled with an imaginative take on what it would be like to be inside the internet—eBay is an actual auction house, and “likes” are sucked up by a vacuum cleaner—will make eyeballs dance but it’s the messaging that is memorable. Woven into the story are clever lessons on toxic friendship, how insecurity can infect a relationship like a virus on the computer and the dangers of obsessing about getting likes on social media posts.
Even better is a scene where Vanellope, while visiting OhMyDisney.com, stumbles into the Disney Princess break room. Here the film makes fun of Disney’s bread-and-butter, the stereotype of the princess. “Do people assume all your problems get solved because a strong man came along?” Fans of the first film know that Vanellope is a reluctant princess, preferring the title president. Her, among her spiritual sisters, she helps them shed some of their stuffy weays and they help her along the way to figuring out her path in life. “I stare at the important water and all of a sudden I start singing about my problems? I don’t think so,” Vanellope says, bursting one of Disney’s most familiar princess tropes.
The princess scene is a highlight in a film that has laughs but isn’t exactly a comedy. It’s more a heartfelt examination of friendship—“It’s not right to hold a friend back from her dreams.”—with some wild cartoon action and satire.
“Ralph Breaks the Internet” is a very specific story about two animated characters that illuminates universal themes from the real world.
What do Point Break, Independence Day and Beauty and the Beast have in common? All are movies released in the 1990s and all have been remade, re-imagined or rebooted in recent years.
Brand happy Hollywood is in overdrive repurposing Saturday morning superhero cartoons, big screen hits and other touchstones of 90s pop culture and audiences have mostly lapped up the nostalgia from the Clinton years. Independence Day: Resurgence and Point Break tanked but Beauty and the Beast, to use a 90s term, was all that and a bag of chips box office wise.
Soon we’ll see a live action Lion King, a new Jumanji and even more Bad Boys. This weekend it’s morphin time once again as the Power Rangers are resurrected for the big screen.
Featuring familiar characters but an all new cast, Power Rangers sees the helmeted heroes rescue the world from a powerful witch, an army of stone golems called Putties and Goldar, a giant golden monster born on Titan, one of Saturn’s moons.
It’s a blast from the past designed to draw in new fans while appealing to grown ups who came of age in the 1990s but is it possible to feel nostalgia for four actors in plastic helmets?
The dictionary tells us nostalgia is “a sentimental longing or wistful affection for the past, typically for a period or place with happy personal associations.”
Science tells us more.
As a recent study showed when we get bad news or are feeling down nostalgic, misty memories of a simpler time almost automatically kick in. Call it protection. Call it wistfulness. Call it whatever you like; Hollywood calls it money and exploits it ruthlessly because movies are a natural nostalgic go to. It’s their very essence, that dreamlike quality that takes root in our subconscious, swirling around our brains to create happy memories. They are the stuff from which dreams are woven and the feelings associated with them can give us comfort when the going gets rough.
We now live in unsettled times so perhaps the neo Power Rangers will bring back recollections of carefree Saturday mornings spent watching the TV show. Or mom and dad buying candy at a Mighty Morphin Power Rangers: The Movie matinee in 1995. Or a long ago Halloween costume inspired by Amy Jo Johnson (the popular Pink Ranger) but at the rate Hollywood is recycling ideas we’ll soon run out of things to get nostalgic about. Can you be nostalgic for nostalgia? We’ll find out in the years to come when another generation gets sentimental about the remake of the reboot of Power Rangers.
As I see it nostalgia is bad for the movies. It encourages lazy re-treads and reimaginings, not innovation and originality. If we demand new films to make memories with, to fall in love with, then Hollywood’s raiding of pop culture brands must stop. Romanian-American poet and novelist Andrei Codrescu says that in the grand collage that is art the “past and future are equally usable.” I’m just wishing Hollywood would look to the future more often.
To a degree all art is a combination of everything that came before, but interesting, original films like Moonlight, Manchester by the Sea and Get Out give me hope that some filmmakers have their eyes facing forward and aren’t simply wallowing in nostalgia.
What do you expect from a movie called “Power Rangers”? Multi-coloured, helmeted heroes, that’s what. Instead we’re treated to an hour-and-a-half of troubled teens before it finally becomes morphin time.
The new brood of Power Rangers are the most diverse group yet. After meeting at a Saturday afternoon detention filled with “Misfits, weirdos and criminals”—sort of like “The Breakfast Club” for aspiring superheroes—former football star Jason (Dacre Montgomery), Kimberly (Naomi Scott), Billy (RJ Cyler), Zack (Ludi Lin) and Trini (Becky G.)—are turned into mystical earth-saving warriors after discovering ancient glowing coins at a mining site.
Trained by wise cracking robot Alpha 5 (Bill Hader) and ancient great big head Zordon (Bryan Cranston), the Rangers learn to battle armies of stone golems called Putties and perform some tricky martial arts, but will they be able to come together as a group and learn the most important Power Ranger trick, the mighty morph from teens to besuited heroes? If not the five Morph-a-teers and the world will fall prey to 65-million-year-old former Green Ranger Rita Repulsa (Elizabeth Banks) and her giant golden monster sidekick’s plan to spread fear and destruction.
There will be a certain portion of the audience made misty by mentions of the Zeo Crystal, Goldar and Megazord but those not so inclined may find the origin story rough going. “Go Go Away Power Rangers!” From an alien life form called Rita to the “milking” of a bull (don’t ask) “Power Rangers” is a strange mix of grounded character work with out and out bonkers story elements. Banks has fun chewing the scenery as Repulsa but the movie never fully embraces its cheeseball roots, so we’re left with a movie that is simultaneously sincere and silly.
When the main cast aren’t training in Zordon’s underground lair they have regular teen problems. In fact “Power Rangers” may be the first superhero movie to feature LGBTQ and autistic heroes. That’s good stuff but good intentions don’t make for good movies.
Painful dialogue—“The door is open,” says Billy. “That’s because it’s open, Billy,” replies Jason.—and a habit of repeating everything just to make sure we get it—i.e.: We see Kimberly cut her hair before a disembodied voice says, “Kimberly did you cut your hair?”—makes this a bit of a slog.
Add to that Krispy Kreme product placement that’s more annoying than the sugar rush that follows chowing down four Glazed Kreme Filled donuts at lunch and an orgy of cut rate special effects and you’re left with a movie that will leave you pining for the relative pleasures of the original 90s television show.
It takes an hour-and-a-half to get to the Power Rangers’ signature look, the red, pink, blue, yellow and black costumes and get to the good stuff—fights with people in rubber suits. The final thirty minutes delivers most of what you expect from “Power Rangers.” It’s a few minutes of good, retro fun that should provide an adrenalin blast of nostalgia but doesn’t make up for the ninety minutes of drudgery that preceded it.
Hot on the heels of family-friendly cartoons like Zootopia, The Secret Life of Pets and Finding Dory comes an animated movie that definitely isn’t for the whole family… unless it’s the Manson Family.
The high concept of Seth Rogen’s NSFW Sausage Party was, I think, best summed up by twitter user @ByChrisSmith who wrote, “So that Sausage Party trailer… Toy Story for food with swears?”
It’s the kind of food porn you won’t see on the Food Network. “We started to think ‘What if food had feelings?’ said Rogen after a sneak preview at the South By Southwest Film Festival. “That really is what inspired the whole idea: What if food thought one thing happened and discovered another thing happened?”
The story begins at a supermarket called Shopwell’s. Frank the Sausage (voice of Rogen), his hot dog bun girlfriend Brenda (Kristen Wiig) and all the other foods—including Mr. Grits (Craig Robinson), a tomato (Paul Rudd) and Teresa the Taco (Salma Hayek)—live in hope that one day a customer will choose them. When they find out what happens after the customer takes them home, however, they fight to avoid their fate.
R-rated and raunchy, Rogen says he showed an early cut of the film to Borat star Sacha Baron Cohen. “Sausage Party appalled him in some ways,” adding that Cohen, cinema’s reigning Prince of Provocation, called the movie “the craziest thing I’ve ever seen in my life.”
Someone who might not have been surprised by Sausage Party is Ralph Bakshi, a legendary animator who once said, “None of my pictures were anything I could ever take my mother to see. You know it’s working if you’re making movies you don’t want to your mother to see.”
Bakshi began his career his career in traditional animation, working for Terrytoons, home to cartoon characters like Heckle and Jeckle and Mighty Mouse but left television to make first animated film to receive an X-rating from the MPAA. Loosely based on a character created by cartoonist Robert Crumb, who later disavowed the film, 1972s Fritz the Cat is a trippy counterculture flick about a streetwise feline who smokes dope and has run ins with the Hell’s Angels and the Black Panthers. Extremely controversial—New York Times critic Vincent Canby wrote, “[there’s] something to offend just about everyone”—it became the first independent animated film to gross more than $100 million at the box office.
More adult animation came with the R-rated Heavy Metal. An anthology made up of eight stories bound together by an intergalactic traveller described as the sum of all evil, the movie’s tagline promises to take audiences “beyond the future into a universe you’ve never seen before. A universe of mystery. A universe of magic. A universe of sexual fantasies. A universe of awesome good. A universe of terrifying evil.” Rotten Tomatoes calls the movie “sexist, juvenile, and dated,” but says it “makes up for its flaws with eye-popping animation and a classic, smartly-used soundtrack.”
Both Fritz the Cat and Heavy Metal were successful enough to spawn sequels. The Nine Lives of Fritz the Cat and Heavy Metal 2000 both tried and failed to recapture the success of the originals. When asked if there might be a sequel to Sausage Part Rogen said, “What’s better than one sausage? That would be dope. All we do are franchises now.”
“Sausage Party,” the new animated film for adults from Seth Rogen, is the kind of food porn you won’t see on the Food Network. The high concept of this NSFW cartoon is, I think, best summed up by twitter user @ByChrisSmith who wrote, “So that Sausage Party trailer… ‘Toy Story’ for food with swears?” It’s that for sure—don’t take the kids—but it’s more than just a one-joke double entendre about wieners and buns.
The story begins at a supermarket called Shopwell’s. While on the store’s shelves Frank the Sausage (voice of Rogen) and his hot dog bun girlfriend Brenda (Kristen Wiig) live in hope that one day they will ascend to the “Great Beyond” and finally consummate their relationship. “When a bun this fresh is into you,” says Frank, “all you say is when.”
After a jar of Honey Mustard (Danny McBride) is returned to the store he relays horrifying stories about what actually happens to food on the outside. When they are finally chosen, ie: thrown into a shopping cart by the “gods,” Honey Mustard sets them off on an existential journey when he leaps out of the cart. “There ain’t no way I’m going back,” he screams as he splats on the floor. Left in the grocery aisle, Frank and Brenda, along side Sammy Bagel Jr. (Edward Norton doing his best Woody Allen impression) and a Middle Eastern pastry named Lavash (David Krumholtz), try to find out if the gods really are the bloodthirsty animals Honey Mustard described in grim detail. Outside Shopwell’s Frank’s friends—like the hapless Barry Sausage (Michael Cera)—try and make their way back to safety on the store’s shelves.
Is “Sausage Party” OK for kids? Let’s get this out of the way first. It looks like a children’s flick. The wieners are adorable and the other characters—including Mr. Grits (Craig Robinson) and Teresa del Taco (Salma Hayek)—look like they wouldn’t be out of place in a movie like “Cloudy With a Chance of Meatballs,” but make no mistake, this is not for the little ones. Why? I can sum it up in three words: used talking condom. And that is the least of the adult material. This is über-NSFW and will likely blister the ears of anyone not accustomed to Rogen’s liberal use of the seven words you can never say on television.
So, no children, but will adults like this? It depends on how adult you want to be. The film isn’t as funny as you might expect, given its pedigree. Written by the team behind the very amusing “The Night before” and “This is the End,” it is intermittently hilarious but as often as not it relies on juvenile outrageousness rather than actual wit. The idea of cursing bagels and sexualized tacos quickly wears thin but it is the film’s sheer audaciousness that keeps it interesting. A treatise on everything from cultural relations to gen pop’s tendency to take the easy way out, it’s a timely look at Trump Time, the unique moment in our history when belief outdoes facts. The food items are so pliable that the words to their national anthem, a wild psalm to celebrate the “gods” written by Disney stalwart Alan Menken, change as political affiliations change. “Today was there a verse about exterminating juice?” asks Firewater (Bill Hader).
“Sausage Party,” with all its unhinged humour may be the most subversive movie of the Trump candidacy. There are no walls here, just the barrier of a somewhat self-indulgent, silly story that values cussing as much as the jokes. On the plus side, however, it relishes its ideas and there is no expiration date on its message of unity over division.
Are you among the 200 million people that play Angry Birds on your smartphone? If so you’re in good company.
Angelina Jolie, Jack Black and Jon Hamm are fans and British Prime Minister David Cameron has admitted to being “mildly addicted” to the game. Since December 2009, folks have been flinging flocks of birds at pig’s fortresses, downloading more than 3 billion versions of the app.
This weekend the Angry Birds game takes the next logical step, catapulting onto the big screen with their very own movie.
Jason Sudeikis, Josh Gad and Maya Rudolph star in The Angry Birds Movie, a story that tells us why the annoyed avians — like flock leader Red Bird, Bomb the Black Bird and Slingshot Stella the Cockatoo — are so angry. Turns out they feel betrayed by the tittering piggies that pretend to be their friends but are really only interested in stealing their eggs. Cue the catapults and mountains of TNT.
It’s a brand with a built-in audience, a combination Hollywood finds irresistible, and while it has colourful, easily marketed characters, the game itself doesn’t offer much in the way of story. But that has never stopped producers before.
Remember Super Mario Bros? Siskel & Ebert gave that one two thumbs down and star Bob Hoskins, who played Mario, called it “the worst thing I ever did.”
Despite brutal reviews and box office failure, Nintendo Power magazine praised the film, calling it a trailblazer in the genre of videogame movies.
Which leads us, 23 years after Mario and his brother Luigi stunk up movie theatres, to The Angry Birds Movie. Why is a game from a developer in Espoo, just outside Helsinki, Finland, popular enough to take flight as its own movie?
The success of Angry Birds has to do with something called schema formation, a five-dollar term for mentally grasping and embedding how the game’s interface works the first time you play it.
The addictive part comes in as the action of the game changes. In Play at Work, engineer Charles L. Mauro explains the appeal: “These little birds are packed with clever behaviours that expand the user’s mental model at just the point when game-level complexity is increased.”
The game’s genius is in adding playing details at just the right moment to increase user engagement. In other words, it’s fun. I guess that’s why gamers spend 200 million minutes a day flinging Angry Birds at various targets.
According to marketers AYTM, that’s “equal to 16 years of gameplay every hour of every day.” They also note that players have flung over 100 billion angry birds, a number equal to the amount of real birds on the planet. Those are the kind of statistics Hollywood can’t ignore.
One person unlikely to pass the time with Angry Birds is U.S. communications surveillance whistleblower Edward Snowden. In 2014 he claimed the app was “leaky,” and was vulnerable to the harvesting of information by outside groups.
Mikael Hed, CEO of Rovio Entertainment, the makers of Angry Birds, denied Snowden’s claims.
“We do not collaborate, collude, or share data with spy agencies anywhere in the world,” he said, which must have come as a relief to another of the game’s biggest fans, former Vice President of the United States Dick Cheney, who, apparently, also enjoys hurling a bird or two in his spare time.
