I join “CTV News Toronto at Five” with anchor Michelle Dube to talk about new movies in theatres including the new “Scary Movie,” the live-action cartoon “Masters of the Universe” and the tuneful “Power Ballad.”
Watch the whole thing HERE! (Starts at 13:05)
I join CTV Atlantic’s Todd Battis to talk about the new “Scary Movie,” the live-action cartoon “Masters of the Universe” and the tuneful “Power Ballad.”
Watch the whole thing HERE! (Starts at 29:53)
I join CTV NewsChannel anchor Akshay Tandon to talk about the new releases in theatres, including the new “Scary Movie,” the live-action cartoon “Masters of the Universe” and the tuneful “Power Ballad.”
Watch the whole thing HERE!
Fast reviews for busy people! Watch as I review three movies in less time than it takes to brush your teeth. Have a look as I race against the clock to tell you wazzzzup with the new “Scary Movie,” the live-action cartoon “Masters of the Universe” and the tuneful “Power Ballad.”
Watch the whole thing HERE!
SYNOPSIS: In “Masters of the Universe,” a new live-action sword-and-sorcery adventure now playing in theatres, the Sword of Power leads Prince Adam back to Eternia and his alter-ego of He-Man, the most powerful man in the universe. “”Hang on,” says Teela (Camila Mendes), “it’s about to get weird.”
CAST: Nicholas Galitzine, Camila Mendes, Alison Brie, James Purefoy, Morena Baccarin, Jóhannes Haukur Jóhannesson, Kristen Wiig, Jared Leto, Idris Elba. Directed by Travis Knight.
REVIEW: “Masters of the Universe” doesn’t take itself seriously and neither should you. The irreverent tone harkens back to “Dungeons & Dragons: Honor Among Thieves” and “Thor: Ragnarok,” movies that captured the spirit of their source material.
Stranded on Earth at age ten after fleeing his home planet of Eternia, Adam Glenn’s (Nicholas Galitzine) fantasy world of “nerd stuff and sword things” stands in stark contrast to his soul crushing corporate HR gig.
“All that stuff that exists only in legends and bedtime stories,” he says, “talking tigers, spaceships and magic swords that can make a man as mighty as a god, where I come from, that stuff is real.”
His daydreams become real when he is reunited with The Sword of Power, an ancient weapon that grants its rightful owner the power of the gods. He’s transported back to Eternia to find his once peaceful planet transformed into a battlefield by the sadistic Skeletor (Jared Leto), an evil warlord who says things like, “The universe shall quake in my shadow.”
With the help of Captain of the Guards of Eternia, Teela (Camila Mendes) and Heroic Warrior Duncan/Man-At-Arms (Idris Elba), Adam reclaims his true legacy as He-Man, the most powerful man in the universe. “This is my home,” he says. “I’m gonna fight for it.”
Silly but sincere, “Masters of the Universe” is a mix of old and new.
It’s touched with 1980s fan service—1987’s He-Man, Dolph Lundgren even makes a cameo—and Adam’s feathered hair would not have looked out of place on Rick Springfeild, circa “Jesse’s Girl.” I don’t remember discussions on toxic masculinity or teamwork-makes-the-dream-work style speeches in the animated series or the 80s live action movie, but the new version wears those on its sleeve along with souped-up CGI and self-aware humor.
“He’s bad,” Teela says of Skeletor.
“There has to be more to him than that,” says the naïve Adam.
“He has a skull for a face,” Teela shoots back, stating the obvious.
The old and new come together to create a canvas for several giant action set pieces, and smaller moments of exposition, but it’s the characters that bring the fun.
An unrecognizable Jared Leto hands in a theatrical performance as Skeletor that mixes menace with immaturity. He’s an evil diva and the movie is way more fun when he’s on screen. “Hello insignificant wretches,” he says by way of introduction to the people of Eternia. “You are but buttworms under my feet.”
As Adam’s childhood friend turned warrior, Mendes plays Teela with heart, spirit and a great deal of charm.
At the film’s center is Galitzine. As Adam he’s the most powerful man in the universe, but he’s also kinda goofy and naïve. It could have been played strictly for laughs, but instead, he comes across as a sweet and silly himbo, who’s muscly enough to dropkick baddies through a brick wall. He provides something often missing from large scale blockbuster action movies like this, and that’s heart. “My whole life,” he says, “I dreamed of being something more.”
“Masters of the Universe” succeeds in what it sets out to do, update a nostalgic favorite with high stakes action and a modern sensibility. To paraphrase He-Man, “I HAVE THE POWER…. TO ENTERTAIN!”
The “Transformers” franchise revs up the engine for the sixth time in eleven years with a movie that feels fresh out of the body shop. Pimping the Ride this time out is director Travis Knight, founder of LAIKA studios and director of the wonderful animated fantasy “Kubo and the Two Strings.” Knight puts his own stamp on it, doing away with most of former franchise mastermind Michael Bay’s bombast in favour of a more humanistic approach.
That’s right, “Bumblebee” is a special effects driven story starring a talking robot car that emphasizes the story’s less mechanical aspects.
The action begins with a battle on Cybertron between the Autobots—the rebellious bots—and the evil Decepticons. To save themselves the Autobots, including scout B-127 (Dylan O’Brien), make a run for it, scattering across the galaxy. “We will fight on,” declares Optimus Prime (voice of Peter Cullen), “but we must find safety first.”
B-127 lands on earth, only to be found by a Decepticon operative who disables his vocal processors and damages his memory chip. Beat-up and alone, the robot car hides in open sight at a junkyard as a yellow 1967 Volkswagen Beetle. He’s destined for the car crusher until teenager Charlie Watson (Steinfeld) rescues him from rusting away in her uncle’s junkyard, nicknames him Bumblebee and applies some tender loving care to his dented metal and dusty interior. Charlie and her late father were car nuts who spent their time together refurbishing an old Camaro. Since his sudden death she has worn the sadness of her father’s passing like a shroud.
When she switches on the car for the first time she inadvertently sends a signal to the Decepticons setting into motion an invasion of earth. Enter the military who initially co-operate with the Decepticons, hoping to garner some space age technology tips from the alien beings. “He’s a machine,” snarls Agent Burns (John Cena). “He’s more human than you’ll ever be,” replies Charlie.
I wouldn’t call “Bumblebee” restrained by any stretch but it feels positively Bergmen-esque compared to Michael Bay’s five loud ‘n proud instalments. Bay’s “Transformers” left viewers with scorched eyes and ringing ears. “Bumblebee” does have giant action scenes but it doesn’t forget to spend time with Charlie and her family, mom (Pamela Adlon), bratty brother Otis (Jason Drucker), stepfather Roy (Lenny Jacobson) and neighbour Memo (Jorge Lendborg Jr.). The main relationship, however, is between Charlie and a big chunk of metal.
That relationship is the film’s beating heart. “Bumblebee” is not just a tale of good vs. evil; it’s a story of how friendship can mend a broken heart. Set in 1987, this is a throwback to 80s movies like “ET” that paired kids with fantastical creatures with heart warming results. Knight pulls it off, creating a believable relationship between the two. Bumblebee’s eyes—or at least in the blue bulbs that substitute for his eyes—radiate wonder and tenderness. That’s quite a trick to pull off in an action movie.
“Bumblebee” is a welcome change of pace for the “Transformers” series. Knight brings tenderness, humour—“They literally call themselves Decepticons,” says Agent Burns. “How is that NOT a red flag?”—and action that owes more to the style of the 80s era “Transformers” cartoons and Amblin films than Bay’s bombast.
“If you must blink, do it now!” So says Kubo (voice of Art Parkinson), a young street performer in his village. He doesn’t want anyone to miss a moment of his show, but he might have been talking to the theatre audience watching “Kubo and the Two Strings.” The fourth feature from stop motion animators Laika the others are is a marvellously engaging tale that sits comfortably on the shelf beside their other films “Coraline,” “ParaNorman” and “The Boxtrolls.”
An original fantasy masquerading as an ancient Japanese myth “Kubo and the Two Strings” centers on Kubo, a one-eyed boy who lives with his mother in a cave. By day he performs in the local fishing village, spinning fantastical musical stories about a samurai warrior, but, whether the tale is done or not, when night falls he must hurry home so as not to reveal his location to his grandfather, the mystic and evil Moon King (Ralph Fiennes, once again playing a supernatural baddie) who has pursued the boy from birth.
Running late one evening he gives away his position. To protect himself and friends he goes on a Joseph Campbell-esque mission to assemble a magical suit of armour. The suit has been dispersed because, as legend has it, “any man who finds the magic armour would be too powerful.” With the help of Monkey (Charlize Theron), a wooden toy come to life, and a goofy bug warrior named Beetle (Matthew McConaughey), he goes on a quest and discovers his true nature. “Do you ever say anything encouraging?” Kubo asks the irascible Monkey. “I encourage you not to die,” she says.
“Kubo and the Two Strings” is a mix of the sublime, the surreal and the silly. The beautiful stop motion animation (with some computer generated images) perfectly compliments the film’s fanciful elements—like a giant skeleton monster—while bringing with it a handmade, organic feel that compliments the film’s use of exotic, DIY origami creations as characters. It’s a wonderful blend of form and subject that allows director Travis Knight to indulge in wonderful visual artistry. It’ll make your eyeballs dance, but some scenes may be too intense for very young viewers.
Big lug Beetle is the film with comic relief, mainly providing the silly when things get intense.
This story of magic, monsters and memories works on two levels. Visually it will engage and impress, but it doesn’t skimp on the emotional content. Kubo’s journey is ripe with primal energy. Betrayal, melancholy, greed and evil are touched on in a new story that already feels like a classic.
