SYNOPSIS: This live-action animated remake of Disney’s 2002 animated film, “Lilo & Stitch” tells the story of Lilo, a lonely girl who befriends a mischievous, koala-like alien named Stitch. Despite Stitch’s genetic disposition to causing chaos, Lilo’s belief in ohana, the Hawaiian concept of family, helps Stitch com e to believe in love.
CAST: Maia Kealoha, Chris Sanders, Sydney Elizebeth Agudong, Hannah Waddingham, Billy Magnussen, Zach Galifianakis, and Courtney B. Vance, Tia Carrere, Amy Hill, Jason Scott Lee. Directed by Dean Fleischer Camp.
REVIEW: The latest live-action remake from Disney is an entertaining family film that may give fans of the 2002 movie déjà vu, but there’s just enough new stuff here to please older, nostalgic fans and win over new converts.
The new version, directed by “Marcel the Shell with Shoes On” helmer Dean Fleischer Camp, follows the template set by the 2002 animated movie.
When we first meet Stitch he is known as Experiment 626. He’s the brilliant, but destructive creation of mad scientist Dr. Jumba Jookiba (Zach Galifianakis). Born in a lab to be an agent of chaos, he is deemed too dangerous to stay on his home planet. As he is about to be exiled, 626 makes a run for it, hijacking a space craft and ultimately crash landing in Hawaii, where he is adopted by a lonely six-year-old named Lilo (Maia Kealoha) who thinks he is a dog.
In reality, he’s more of a cross between Keith Moon and Wile E. Coyote.
Since the death of her parents Lilo has been taken care of by her older sister Nani (Sydney Elizebeth Agudong) who struggles to make ends meet and is now under the watchful eye of a social worker played by Tia Carrere.
With agents from his home planet and a determined CIA agent with the unlikely name of Cobra Bubbles (Courtney B. Vance) on the search for him, Stitch remains a troublemaker but soon learns the importance of feeling safe with Lilo and Nani, his new, adopted family.
The heightened family relationships give this otherwise run-of-the-mill alien tale a great deal of heart. It unapologetically slips into sentimentality, but the bond between Lilo and Nani, and later with Stitch, is the stuff of good kid’s cinema. The story doesn’t have the depth that Camp was able to infuse into every frame of “Marcel the Shell with Shoes On,” but he does a good job with the simple message of finding family in whatever form they appear.
Add to that Stitch’s hijinks, which are gently chaotic and likely to appeal to kids more than adults, and you get an entertaining kid’s flick that doesn’t improve on the 2002 film—it lacks the visual beauty of the original’s mix of hand drawn and watercolor animation and adds about twenty minutes of story that feels like padding—but reshapes the original with high-spirited humour and heart.
“Road House,” the 2024 Prime Video riff on the much-loved 1989 cult classic of the same name, isn’t so much a remake of the Patrick Swayze flick, but a modern tribute to the cartoon violence of 1980s movies.
Jake Gyllenhaal is Elwood Dalton, a disgraced UFC fighter with a troubled past and an even more troubling left hook. A one-man army, he is a soft-spoken bruiser who usually gives his victims the chance to turn tail and run before he pummels the hell out of them. “Before we start,” he asks, “do you have insurance? Is your coverage good? Like, you have dental?”
After a self-inflicted near-death experience, he finds himself working as a bouncer at the Road House in the picturesque Glass Key, Florida. Brought in by second generation owner Frankie (Jessica Williams), it’s his job to bring order back to the place, even if that means busting a few heads.
As the fists fly, Dalton finds himself caught up in a turf war between Frankie and a rich, mobbed up local family who want to turn the Road House into a resort. When the family brings in a walking, talking wrecking crew (Conor McGregor) to seal the deal, Dalton becomes afraid… “Afraid of what happens when someone pushes me too far.”
Other than bars, bouncers and brawls, “Road House” doesn’t have much in common with the original. The previous film wasn’t exactly nuanced, but at least they took the time to give the bar, the Double Deuce, a name. Here it’s just called Road House. It’s a small detail, and they joke about it in a self-aware way in the film, but it signals a simplicity that permeates the entire, bloody affair.
Not that we can reasonably expect much depth in a movie about a bare-knuckle brawler. What you can expect is the dichotomy of Dalton as aa violent man who hates violence. Gyllenhaal plays him as an affable guy who’ll break your arm, but take the time to drive you to the hospital after the fight is done. The Tai Chi, philosophy and Ph.D. that defined Swayze’s take on the character are gone, replaced by Gyllenhaal’s wide smile and fists of fury.
His Dalton is interesting when the fists are flying—director Doug Liman has a way with staging big, fun fight scenes that mix MMA with slapstick and Russian car rash videos—but less so when he’s not in action. That is emphasized with the introduction of McGregor. With a maniacal grin, a skip to his step and an unstoppable Terminator approach to fisticuffs, his ridiculous performance is the blast of energy the movie needs after a saggy middle section.
“Road House” may disregard the original movie, but it doesn’t disregard its audience. The fight scenes, and let’s face it, that’s why we’re here, are high-octane, old-school battles that punch above their weight.
Will James Bond (Daniel Craig) ever be happy? The dour superspy looks great in a tux, has saved the planet a dozen or more times and piloted invisible planes but despite his list of achievements, true happiness always seems to have eluded him.
In “No Time to Die,” however, it looks like Bond may have found a sweet spot in his life with his pretty love interest, Dr. Madeleine Swann (Léa Seydoux). But Craig’s fifth and final time as 007 isn’t all sunshine and roses as much as it is a requiem for a character who was shaped by trauma.
“No Time to Die,” now only playing in theatres, kicks off with a cold open unlike any other Bond beginning. Two decades ago, against a remote, icy Norwegian backdrop, the young daughter of a Spectre agent is orphaned when a masked murderer invades her home. “Your father killed my entire family,” he says between bullets. She survives, and twenty or so years later grows up to be Dr. Swann, psychotherapist and the only woman who can make James Bond smile.
On holiday in Materna, Italy, she encourages him to visit the grave of heartbreaker Vesper Lynd, and put her memory to rest. He does, and soon the idyll with his new girlfriend ends, literally blowing up in his face.
Convinced Swann has betrayed him, the superspy cuts her loose, vowing to never lay eyes on her again.
Cut to five years later. Bond is retired from MI6, but lured back into the game of international espionage when his friend and CIA field officer Felix Leiter (Jeffrey Wright) and associate Logan Ash (Billy Magnussen) ask him to help locate Valdo Obruche (David Dencik), a missing scientist working on a deadly DNA Nanobots weapon.
The job sees Bond square off with one of his greatest foes, Ernst Stavro Blofeld (Christoph Waltz) and revenge-thirsty terrorist Lyutsifer Safin (Rami Malek), a master in the art of asymmetric warfare.
“No Time to Die” shakes up the Bond formula while still offering most of what fans pay to see. There are exotic locations, some high-flying action and the odd 007 one-liner. They are embedded into the DNA of the franchise; character traits that have not been genetically edited out of the movie.
The womanizing, which was so much a part of the Bond folklore, is still there, but trimmed, and played for comic effect. In one instance Ana de Armas, whose appearance as CIA agent Paloma amounts to an extended cameo, charmingly closes the door on that aspect of the Bond legend. In a short but eventful scene, she almost steals the show, and leaves the audience wanting more.
What director Cary Joji Fukunaga, who co-wrote the script alongside Neal Purvis, Robert Wade, Phoebe Waller-Bridge and Scott Z. Burns, has done is add in a ponderous reevaluation of Craig’s years as Bond. Call backs abound to “Casino Royale,” “Quantum of Solace,” “Skyfall,” and “Spectre” and loose ends are tied into bows in in the film’s many Easter eggs. Much of that material is fan service as the fifteen-year Craig reign comes to a close. A shot of M’s (Judi Dench) portrait nods to Bond’s connection to her and Fukunaga reaches back to “Casino Royale” for a tribute to Felix “Brother from Langley” Leiter (Jeffrey Wright). It feels like a nice, respectful way to usher out one era and bring in the next, in whatever form that may take.
But “No Time to Die” is not simply a tip of the hat to the past. With an eye to the future, Fukunaga and Craig have fundamentally changed what a Bond movie is. As the only Bond actor to have an arc for his character, Craig didn’t simply put on Pierce Brosnan’s tux and carry on as so many of the previous actors have done. He took Bond to places he’s never been before, amping up the emotionality of the character as a person born out of trauma. He talks about having everything taken from him as a child, “before I was even in the fight.” For the first time in Bond history, 007 is feeling the ticking of the clock, and not the timer on a bomb he’s trying to diffuse, but the metaphorical hands of time tightening around him.
This approach effectively changes “No Time to Die’s” dynamic, from action film to soul-searching character drama. The 163-minute running time allows the characters to explore why and how they landed where they did in life, but it also sucks much of the urgency from the storytelling. Add to that Malek’s Safin, a clichéd villain who really should make a larger impact, and the drama necessary to shake that martini is lessened.
There is #NoTimeForSpoilers in this review but suffice to say, “No Time to Die” is a Bond film unlike any other. Craig leaves the franchise having made the biggest impact on the character since Sean Connery set the rules more than half a century ago. His finale is drawn out and may rely too heavily on pop psychologically but it’s an important film in the Bond canon. It may even be the most important and exciting since “Dr. No.” Why? Because, as an on-screen card promises, “James Bond will return,” but the movie gives us no hint as to what that re-invented future will entail and that, after almost sixty years of a steady diet of 007isms, is “No Time to Die’s” most exciting achievement.
“The Many Saints of Newark,” the sprawling big-screen prequel to the iconic television series “The Sopranos,” feels more like a pilot for a new show than the origin story of one of television’s most famous families.
Broken into three parts, “The Many Saints of Newark,” uses narration, courtesy of Tony Soprano’s late associate Christopher Moltisanti (Michael Imperioli), to break down the movie’s interconnected story shards.
Firstly, there is Dickie Moltisanti (Alessandro Nivola), Soprano Family soldier, father of Christopher, cousin to Carmela Soprano, uncle to Tony. He’s hooked up, wily and impulsive but also treacherous. When his father, the slick sociopath ‘Hollywood Dick’ (Ray Liotta), returns from Italy with a new bride (Michela De Rossi), it triggers chaos in the Moltisanti family.
In Dickie’s orbit is Harold McBrayer (Leslie Odom Jr.), an African-American numbers runner for the Mob, galvanized by the 1967 Newark race riots to go out on his own and, finally, Tony Soprano, played by William Ludwig as a youngster, Michael Gandolfini, the late James Gandolfini’s son, as a teenager. As Dickie’s thirst for power spins out of control, he becomes a surrogate father to Tony, hoping to pass along something good to the impressionable younger man as a way to atone for his sins.
“The Many Saints of Newark” is vivid in its portrayal of the period. Covering roughly four years, from 1967 to 1971, it uses the turmoil of that time in American life as a backdrop for the explosive nature of Dickie’s world. That atmosphere of uncertainty makes up for a story that, despite some glorious moments, often feels rushed as it careens toward an ending that doesn’t mine the rich psychological landscape of these characters, which is what we expect from David Chase and “The Sopranos.”
The actors are game.
Nivola brings equal parts charisma, danger and depth to a flawed character who is the ringmaster to the action. Unlike many of the other characters, like the conniving Junior Soprano (Corey Stoll), henchman Paulie Walnuts (Blly Magnussen) or consigliere Silvio Dante (John Magaro), who come with eighty-six episodes of baggage, Dickie is new and can be viewed through fresh eyes.
Michael Gandolfini takes on the Herculean task of revisiting a character his father made one of the most famous in television history and brings it home by showcasing the character’s volatility and, more importantly, his vulnerability. He’s a troubled kid, on the edge of turning one way or the other, and even though we know how the story goes, Gandolfini’s performance suggests there is more to know about Tony Soprano.
If there is a complaint, it’s that both Tony and McBrayer, two of the main cogs that keep this engine running, get lost in “The Many Saints of Newark’s” elaborate plotting. Ditto for the female characters. Despite tremendous work from Vera Farmiga as Tony’s poisonous mother Livia and De Rossi as Dickie’s step-mom, the women often feel peripheral to the tale, in service only to the men’s stories.
“The Many Saints of Newark” brings with it high expectations but falls short of coming close to the greatness of its source material. “The Sopranos” broke new ground, changing the way gangster stories (and all sorts of other stories) were told on television. “The Many Saints of Newark” settles for less as an exercise in nostalgia.
Richard Crouse interviews Mena Massoud, the Canadian star of the Disney live action remake of “Aladdin.” They talk about working with Will Smith, why he switched from neuroscience to theatre school and supporting ethnically diverse Canadian artists.
Coming hot on the heels of Disney live action reboots of classics like “Cinderella,” “Beauty and The Beast” and “The Jungle Book” comes “Aladdin,” Guy Ritchie’s reimagining of the all singing, all dancing, all powerful Genie made famous by the late, great Robin Williams.
The story begins when “street rat” and thief Aladdin (Mena Massoud) helps a beautiful woman (Naomi Scott) he believes is a handmaiden to the daughter of the Sultan of Agrabah (Navid Negahban), escape from the police after a misunderstanding in the market. After a wild chase—part musical theatre, part parkour—they spark, bonding over the vagaries of their own circumstances. She’s trapped by palace life, he by a life of poverty. “It’s kind of sad having a monkey as the only parental authority in my life,” he says of Abu, his kleptomaniac pet monkey and constant companion.
She is, of course not the handmaiden, but the Princess Jasmine, a woman who longs to take over for her father but is stymied in her ambition by tradition. The law says she cannot take the throne and must marry a prince. When one royal suitor compliments her on her beauty she says, “We have the same titles but are never described the same way,” before dismissing him.
Meanwhile back at the palace, the Sultan’s power-hungry advisor Jafar (Marwan Kenzari) also has his eye on the throne. Using hypnotism he controls the ruler, but wants more. More, in the form of a magic lamp hidden deep in the Cave of Wonders. “Once that lamp sits in my hand I will sit on the throne,” he cackles. Trouble is, everyone who ventures into the cave dies. Jafar needs someone with serious skills to get in, grab the lamp and get out. When he meets Aladdin, he uses his access to the princess to strike a deal. “Retrieve the lamp from the cave and I will make you rich enough to impress a princess.”
The perilous journey to the lamp reveals the star of the show, a magical blue Genie with the power to grant three wishes to the keeper of the lamp. There are some catches though; he can’t make anyone fall in love with him or raise the dead. He also cautions against wishing for wealth and power the very two things Jafar and Aladdin covet.
Despite all its pomp and circumstance the live action remake of the beloved animated “Aladdin” does not exactly transport us to a whole new world. Ritchie fills the screen with colour and pageantry, staging large scale Bollywood-style dance numbers and, in the case of the Genie’s signature tune “Friend Like Me,” a maximalist CGI orgy that gives Flo Ziegfeld a run for his money. Even when he is more restrained, he isn’t that restrained. The rendering of Princess Jasmine’s big solo “Speechless,” one of the new songs by the “Dear Evan Hansen” composers Benj Pasek and Justin Paul, plays like a Bonnie Tyler power pop video from the 1980s.
Style has never been Ritchie’s problem. His camera is always in motion, caressing the screen with acrobatic shots and tricky editing. His movies make your eyeballs dance but often at the expense of the characters who get lost in the theatricality of the presentation.
He’s in fine form in “Aladdin” although overcooked CGI overwhelms the finale in a rush of animated imagery. The characters work hard to sparkle but get lost amid the ruckus and with them gores much of the film’s heart. The ending is loud and large but fails to make an emotional impression. Sometimes less is more.
As Princess Jasmine, Scott has more to do than in the original and does so in much more modest clothing. No animated bellybuttons here. Massoud gives the social climbing Aladdin a certain impish charm in an energetic performance. More baffling is Kenzari as the monotone villain Jafar. All scowls and surly attitude, he’s the least interesting villain on Ritchie’s resume.
The screen is filled with people but, let’s face it, the character everyone is most interested in is the big blue Genie. He’s the star of the show but in many ways it’s the film’s most thankless role. Robin Williams made the Genie his own in a performance that still sparkles with life more than twenty-five years later. Smith battles against some unfortunate CGI and the memory of Williams to make the character his own. He’s part match-maker, part magic-maker and part mirth-maker. Fortunately for Ritchie Smith’s charisma elevates the performance from merely mimicking his predecessor.
“Aladdin” is not so much a remake but an up-dating for a new generation. Some of the revisions are welcome. Jasmine is a now fully rounded character and some unfortunate lyrics, like “It’s barbaric but hey, it’s home,” have been removed. Other changes don’t work as well. Can someone explain why Iago (voiced by Alan Tudyk), a comedic highlight from the 1992 film, has been reduced to a few squawks and repeated phrases?
Despite the updates and the pomp “Aladdin” feels underwhelming by the time the end credits roll. The songs frequently interrupt the flow of the story, creating a stop-and-go feel that sucks some of the film’s momentum away.
The actor Ike Barinholtz is best known for playing the dim-witted Morgan Tookers on “The Mindy Project.” What’s less known is that in real life Barinholtz is a news junkie who was inspired to write his new film, “The Oath,” during the first Thanksgiving Dinner following Donald Trump’s 2016 electoral victory.
This Thanksgiving is set against a backdrop of sweeping new legislation that will affect every American. Called the Patriot’s Oath, it’s a document the government expects every red-blooded American to sign as a declaration of their loyalty. One couple, the hot-headed ideologue Chris (Barinholtz) and his unflappable wife Kai (Tiffany Haddish), refuse to sign. As their extended family, including Chris’s sister Alice (Carrie Brownstein), conservative brother Pat (Jon Barinholtz) and his Tomi-Lahren-Lite girlfriend Abbie (Meredith Hagner), convene just days before the Loyalty Pledge signing deadline, the situation spirals out of control. Two officers from the Citizen’s Protection Unit (John Cho and Billy Magnussen) show up at Chris and Kai’s front door, armed with questions, toxic masculinity and a disregard for the law.
“The Oath” is part political satire, part home invasion movie. Pitched just a hair under hysterical, it’s a timely dark comedy that seeks to shine a light on the political chasm that divides the left and right wings. Under some well-crafted jokes bubbles a righteous rage worthy of Alex Jones if he leaned left rather than alt-right. Barinholtz uses a sledgehammer to explore the basis of belief, the very thing that can either bring us together or, more often than not, tear us apart. Subtle it is not.
“The Oath” doesn’t dig much deeper than that, however. It skims the surface of how divisive politics drives wedges between friends and family but tends to lean toward broad comedy to make its point rather than insight.
“Game Night” is a new thriller comedy with Jason Bateman that is more comedy than actual thriller.
Bateman and Rachel McAdams are Max and Annie, two competitive people who meet at a trivia night, bond over obscure “Teletubbies” facts, fall in love and get married. They’re so into games they even play Just Dance at the wedding reception.
Cut to a couple of years later. They are comfortably tucked away in the suburbs and hosting weekly game nights with friends, the dimwitted Ryan (Billy Magnussen) and long time couple Kevin and Sarah (Lamorne Morris and Hamilton, Ontario-born Kylie Bunbury). They used to invite neighbours Debbie and Gary (Jesse Plemons), but since Debbie moved out they take great pains to ensure that Gary, a creepy cop, doesn’t find out about their get-togethers.
On a personal level they’re trying to have a baby, but it isn’t going well. Their doctor (Camille Chen) thinks stress is making it impossible for them to conceive. The source? Max’s brother Brooks (Kyle Chandler), a good looking, venture capitalist who loves to flaunt his wealth. “He’s like the Mark Wahlberg to Max’s Donnie,” says Ryan.
When Brooks rolls into town, driving Max’s dream car, a vintage Stingray, he throws a special game night at his new, rented mansion. With no Risk, Scrabble or Monopoly in sight, the regular gamers gather for a murder mystery party. The winner gets the Stingray. “This will be a game night to remember,” Brooks says.
When the murder mystery turns into a real kidnapping the game players are sucked into a world of intrigue as they have to solve the “game.“ Seems there’s more to Brooks than meets the eye. “I can’t believe your brother has been lying to us this whole time,” guffaws Ryan. “He’s even cooler than I thought.”
This isn’t a Hitchcock movie. There’s no real mystery in “Game Night,” just some twists and turns and engaging performances from a cast game to have fun. It’s more about spending time with the characters on their wild night out.
Much of the humour comes from the casual back-and-forth between Bateman and McAdams. They interact like an old married couple, not people in a bad situation. Bateman is a natural at this kind of deadpan comedy and McAdams, who generally features in dramas, keeps pace. Their chemistry is one of the reasons this slight comedy works as well as it does.
Magnussen, who plays a likable dim bulb, and Morris and Bunbury who work their way through a mystery of their own making aid the above-the-title stars. The biggest surprise and certainly the film’s oddest performance belongs to Plemons. Best known for his work on “Breaking Bad” and “Fargo,” he mixes deadpan delivery with a thousand-yard-stare that is as unnerving as it is funny.
“Game Night” isn’t slap your knee funny but it is an amiable enough comedy that makes up in charm what it lacks in procedural thrills.
I wonder if, in 200 years, aliens will study all our dead Instagram accounts to gain insight into our way of life. If so, you could forgive them if they surmised that everyone in 2017 lived perfect, #blessed lives filled with the wonders of avocado toast and gorgeous sunsets.
The perfectly curated worldview of Instagram is at the heart of Aubrey Plaza’s dark new film Ingrid Goes West. The former Parks and Recreation star plays the title character, a lonely New Yorker who befriends people on Instagram only to get upset when they don’t let her into their lives. Fixated on a Californian social media star with a seemingly perfect life played by Elizabeth Olsen, Ingrid uses her inheritance money and, as the title tells us, goes west in search of the perfect life she sees on her phone everyday.
“Ingrid is in every scene of the movie,” Plaza says, “and I’ve never been in a movie where I’m in every single scene. It was exciting to me, the idea that I would have so much time to take that character on a journey and dig really deep and peel back all those layers. I really related to the idea of feeling like you want to connect and you want someone to like you.”
Plaza is on Twitter (@evilhag) and Instagram (plazadeaubrey) but says the movie reinforced the idea that everything on social media is not real life.
“It really reminded me of how all of the perfect, beautiful things you see are not real,” she says. “They’re purposeful. The film is a great reminder that we are all flawed and we have to be careful about the stories we tell about ourselves. I think it is important to build awareness about how it makes us feel at the end of the day.
“For me, personally, I always try to be authentic in every way that I can, but it really hard on social media because you have so much control over what you can show. As a consumer of it I think the movie has taught me that it is not always what it seems.”
Ingrid Goes West has the makings of either a comedy or psychological thriller but mostly plays like a cautionary tale. As a portrait of a woman who buys into the InstaMyth of an effortlessly curated life, it’s a withering comment on the real stories behind social media’s hashtagged pictures. Unlike her onscreen alter ego Plaza understands ‘likes” do not equal love.
“I’m really interested in talking about social media and encouraging other people to talk about it and how it is affecting them and how much time they spend on it,” she says, before adding, “Personally I hope it goes away. I hope it doesn’t stick around forever. I’m sure it will change. It will morph into something else.”
The thirty-three year old actress admits social media has positive aspects but remains sceptical of its effects.
“There are people who get support there and it is a global connector so I don’t want to dismiss those parts of it,” she says, “but I think there is something so isolating about it. That is what I really don’t like. There is more value in being present and living in the world that you are in.”
