The Lion King (2019)

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TMP Television Edition: Family

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The 'One' of My All-Time Favorite Cartoons Blogathon

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Big Hero 6

The Quick and Dirties: How to Train Your Dragon 2, The Book of Life, Maleficent, etc.

The Lego Movie

Saving Mr. Banks

Directed by John Lee Hancock. 

2013. Rated PG, 125 minutes. 

Cast: 

Emma Thompson 

Tom Hanks 

Paul Giamatti 

Colin Farrell 

B.J. Novak 

Jason Schwartzman 

Ruth Wilson 

Annie Rose Buckley 

Melanie Paxson 

Bradley Whitford

Even if you've never seen Mary Poppins, chances are you're familiar with the character. Based on a children's novel and released in 1964, it quickly became an iconic piece of cinema, raking in all sorts of money at the box office and an armful of Oscars for good measure. Our plot revolves around the struggles of the great Walt Disney (Hanks) to get the book's author P.L. Travers (Thompson) to let him bring it to the big screen. The problem is she's so attached to her creation she can't bear to see anyone embellish it any way and is willing to fight tooth and nail about it. We get to see how Disney and his team of merry makers charmed her enough to get her to loosen the reins. This is no small feat considering she starts adamantly against him making it one of his "silly cartoons" and absolutely does not want it to be a musical. A power struggle with a seismic shift ensues.

The film benefits from a wonderful performance by Emma Thompson in the lead role. She is a perfect blend of standoffish, defensive, and rude. At the same time, we know that she is fiercely protecting something she loves. We respect that immensely even if we disagree with her methods. Thompson commands the screen whenever she is on it which is most of the time. Her strong presence pulls us in. She makes us understand that she feels wronged by Disney and his people at every turn. We're also glad when she begins coming around.

From the other side of things, we feel the frustration of the people who are trying to give cinematic life to Travers' book. Despite what you've heard, Disney is not really key to conveying this life. He's just the muscle brought in when the rest of his team is at their wits end. They spend much more time with her, and with us. It's their pain we feel. Mostly, this is thanks to a pair of wonderful turns. One is B.J. Novak, the other by Jason Schwartzman. They play the two songwriters who compose the music for the movie. Their battles with her take on an epic quality that serves the movie well. As for Hanks as Disney, he gets two scenes where he goes for the gusto, but otherwise isn't given a whole lot to do. To his credit, he makes it work when he's called upon.

Where Saving Mr. Banks lacks most is in the tension department. Given that we all know Mary Poppins got made, the movie can't generate any whatsoever. P.L. Travers can rant, rave, stomp, and shout all she wants to, we're never going to think she's actually going to stop the production. It's like watching a sporting event when you already know the final score. Sure, seeing how it got that way can be fun, but it never generates the same excitement as not knowing how it ends. Even with lots of movies that we can predict the ending, that shred of doubt that says we might be wrong can keep us interested. This movie never affords us that.

The movie does do a decent job combating this problem by using flashbacks to Travers' life as a child. It's a history most viewers aren't familiar with. We don't know how her relationship with her dad (Farrell) plays out. We hope it works out for the best. Unfortunately, this is still only a subplot. The overriding focus is on whether or not a movie will be made, a question to which we already know the answer. That said, I have to give Colin Farrell credit, for turning in some very nice work as the author's dad. It is him and his character that provide the movie's most emotional moments.

As the movie comes to a close, we're left with the feeling we watched a nice movie that is very well made. We really enjoy the performances by Emma Thompson and Colin Farrell, as well as those of actors with smaller roles. This includes Tom Hanks, disarmingly charming when he needs to be. However, its iconic subject matter serves as an anchor. The movie can never pull it along enough to build up any serious momentum. It just moseys along, pluckily doing things we can appreciate, but aren't necessarily thrilled by. I hate to say it, but we have an enjoyable and pleasant watch that is bound to be forgotten.

Frozen

Directed by Chris Buck and Jennifer Lee.

2013. Rated PG, 108 minutes.

Cast:

Kristen Bell

Idina Menzel

Jonathan Groff

Josh Gad

Santino Fontana

Alan Tudyk

Ciaran Hinds

Chris Williams

Once upon a time in the magical land of Arendelle, there lived a princess named Elsa (Menzel). She possessed the power to create snow and ice at will. While using her powers during playtime she accidentally hurts her younger sister Anna (Bell). Knowing that she would be feared as an evil-doing witch, Elsa hid her powers by isolating herself from Anna and the outside world. However, during her coronation things get out of hand and Elsa's power is exposed. She transforms the bright, sunny day into a frigid winter night. She flees the castle in hopes of starting over all alone. Anna follows in hopes of bringing her back and ending the bitter cold her sister created. However, when Elsa's powers accidentally hurt Anna again only an act of true love can save the younger princess.

Sound familiar?

Of course, it does. It's a Disney movie about a princess, or a pair of princesses, in this case. The movie floats along the oh-so-familiar path of doing what fairy tales do. Along the way, it pauses to give us some heartwarming musical numbers that help the two young ladies explain their feelings to the audience. This includes the Oscar winning "Let it Go." Yawn. And I'm sorry, but Pharrell's "Happy" is the far better song. Screw you, Academy.

Does it sound like I'm hating on this movie?

Maybe I am. Call it a knee-jerk reaction to all the unwarranted love thrown this film's way. It's treated as if the movie's creators invented the wheel when they unleashed this thing on an unsuspecting world. This, it hardly does.

To be fair, Frozen does do something somewhat original. Though it does spend a fair amount of time dealing with a pair of Prince Charmings, it's real focus is on sisterhood. This is admirable, especially given the way most princesses are merely damsels in distress. This little bit of empowerment is welcome. Also welcome is this movie's subtle deconstruction of the notion that true love can be found instantly. Nice touch.

As far as some other things go, all the wintry landscapes make for a gorgeous movie to look at. The voice work is adequate, not spectacular. Kristen Bell fares best, being her usual plucky self. Idina Menzel is okay and shines during her one big moment, singing that song. As a whole, the music doesn't seem particularly inspired, but that could just be either the cynic or the contrarian in me talking. Our two Prince Charmings did exactly what I expected them to do and were completely bland about it. And the talking snowman generally annoyed me.

Despite all I've said, I don't think this is a terrible movie. I just don't believe that should've been gushed over by anyone over twelve. Even the bonding that occurs between females was better done just a year earlier in Brave, with a far more inventive story. Though, this one does open itself up a bit more to pro-lesbian interpretation, with Elsa hiding her true nature and later "coming out." That would be cool, to me at least, but not nearly enough to make me think this is some great cinematic achievement. Frozen is cute, even enjoyable, but not special.

MY SCORE: 6.5/10

Earth to Echo

Directed by Dave Green.

2014. Rated PG, 89 minutes.

Cast:

Brian "Astro" Bradley

Teo Halm

Reese C. Hartwig

Ella Wahlestedt

Jason Gray-Stanford

Alga Smith

Cassius Willis

In Mulberry, NV, the government has been buying up houses to build a new freeway. A trio of tweenage boys who are bestest buds and about to separated by their families' moving become suspicious when all of the cell phones in or near Alex's (Halm) house go haywire. At the urging of Tuck (Bradley), their de facto leader and camera holder, they do some investigating without their parents' knowledge or consent. By the way, the third member of this band of adventurers is Munch (Hartwig), their tech expert, of sorts. Together, they find out that something more sinister is going on and it all has to do with their even more amazing discovery. They find a tiny, wounded extra terrestrial who they believe is trying to rebuild his spaceship so he can phone fly home. Eventually, they decide to call him Echo. As you might suspect, the boys try to help him out which leads them all over the deserts of Nevada. Along the way, they inadvertently pick up Emma (Wahlestedt), their school's "it" girl before continuing their quest.

If you noticed, I mentioned that Tuck is always holding a camera. More accurately, he sometimes wears one. That basically renders this to be a found footage flick, except for kids. His is not the only camera through which we see things, either. We switch back and forth between whatever Tuck is using, what Echo sees, and a more traditional camera. It probably deserves to be noted that even with the traditional camera we're usually given a first person viewpoint. This lends the movie a sense of urgency that carries it as far as it can go. Most often, shots are pretty tight, adding to that "you are there" feel. When we're seeing things from Echo's vantage point, the picture often freezes, jumps, and distorts. It's a very cool feature that also works in the movie's favor. In fact, all three distinct shooting styles combine to aid the story telling and propels the movie forward at a brisk pace.

Also helping things is the suspense of the early scenes when Echo is leading our heroes all over creation and into some tough situations to gather needed things. Most memorably, they wind up in one of those bars where you have to be at least fifty and have a felony on your record to get in. All of these scenes get fairly tense and build nicely atop one another. It helps foster the same sense of wonder as such 80s kiddie classics as E.T., and Goonies. Up to this point, we might find ourselves being hooked at the mere possibility of having a truly magical experience. Unfortunately, the movie never gets anywhere near reaching this potential. At every turn, it apes the style of Steven Spielberg. However, that's precisely the issue. Earth to Echo has all of Spielberg's style, but none of his substance. It walks and talks like a Spielberg flick, but doesn't really have a heart of its own. More importantly, it fails to get at ours.

The kids we're hanging with are problematic. None of them have enough personality for us to care about. To be fair, none of them are allowed the breathing room needed to carve out their own niche. Tuck just incessantly narrates with no real insight into the situation at hand while the rest just jump in with their two cents. An even bigger problem is that the same fate befalls Echo. He's clearly meant to be a modern incarnation of E.T., but is a far less interesting character. It doesn't help that he's a metallic, robotic thing. This automatically makes it more difficult to convey feeling. As primitive as E.T. was, he was clearly an entity of flesh and bone with a full range of emotions. Echo is a miniature, less charming R2-D2. It all adds up to us never really being invested in the quest of the people we're watching.

Once you get beyond the blandness of everyone on screen, what worked wonders early on begins to grate on us. All of those tight shots and the constantly switching viewpoints become a big problem. Because of sticking to this technique, we hardly ever see anything besides the face of whoever is speaking. It's meant to preserve the mystery, not reveal too much. However, it comes across as a bunch of people invading each other's personal space, and ours. Honestly, the film takes more of its visual cues from The Blair Witch Project than Spielberg, right up to and including one of our heroes giving a teary, snotty good-bye directly into the camera when he thinks he is about to die. The one real treat for our eyes, the one truly great shot, is part of an anti-climactic ending. It's rather literally "Wow, look at that!" The End. What a waste.

Earth to Echo checks off all the boxes in its attempts to become a new kiddie classic. The problem is that these are all superficial accomplishments. There is no depth, no soul behind  the slickness of all we're seeing (or not seeing). It just takes what it thinks worked in other, better films and tries to apply them here. Predictably, lots is lost in translation. It fails to make the same connection with us as the movie's it's copying. That said, it's still something kids likely enjoy. I watched this with a theater full of them on an excursion with the summer camp I'm working for. They all seemed to be having a grand time. Maybe I'm just getting old. Anyhoo, if you want to see a better Spielberg knock-off, watch Super 8.

Cloudy with a Chance of Meatballs 2

Directed by Cody Cameron, Kris Pearn.

2013. Rated PG, 95 minutes.

Cast:

Bill Hader

Anna Faris

James Caan

Will Forte

Andy Samberg

Benjamin Bratt

Neil Patrick Harris

Terry Crews

Kristen Schaal

Al Roker

Khamani Griffin

Precisely eight minutes after the events of the first movie, we begin our next adventure with Flint Lockwood (Hader) and the rest of his island clan. In case you don't remember what happened in the original, we start things off with a recap to get you caught up. The bottom line is there is a lot of cleaning up to do. There is literally food just lying around everywhere. In swoops famed scientist Chester V (Forte). Chester dispatches his subordinates to clean up the mess and sweet talks our hero into coming to work for him. Flint agrees then he and all his friends and family are evacuated while the clean-up is going on. We know what Flint doesn't. We know that Chester is really the bad guy and has an evil plan involving the machine our hero invented in that first film. We also find out that the food on island is alive and very dangerous.

Narratively, the movie shoots itself in the foot almost immediately by revealing that Chester has ulterior motives. He basically announces he's dishonest and is tricking our hero. The unintended consequence of this is that the good guys look like idiots instead of heroes. Even young viewers might be wondering why Flint doesn't see what's going on when Chester's admission makes his intentions more than obvious. It doesn't help that Flint is presented as clueless about anything except his own inventions.

Another issue is that the surrounding cast is given much less to do this time around. There are a few nice scenes between Flint and his father Tim (Caan). For the most part, though, dad is relegated to hanging with a group of sardine loving pickles. Sardine loving pickles is a phrase I never thought I'd type in a million years, but that is precisely what I meant. Earl Devereaux was played wonderfully in the first movie by, of all people, Mr. T. This time around he's played by Terry Crews, and we hardly see him. I remember him in a dress in one scene and making a chest hair joke later on, but that's about it. Anna Faris gets roughly the same workload this time around as Sam Sparks, the girlfriend/voice of reason, and might be the most likable character in the film. In place of these diminished series vets, we get Chester channeling Steve Jobs during one of those Apple conventions when he was announcing the next big thing. There is also his sidekick Barb (Schaal). I'll just say she's an ape with conscience and leave it at that.

All that stuff is bad, but hardly deal-breakers. Kids repeatedly sit through many worse offenders. What tears it for me is how aggressively bizarre the whole thing is. And not in a good way, either. It's an off putting kind of strange that gets worse as it goes along. We start by meeting much of the food. It's all edible versions of things in the real animal kingdom. This is a bit weird, but creative so I'm fine with that. The things done with them following this just rub me the wrong way. Most upsetting was the whole scenario involving strawberry poop. Hmmm, another phrase I never thought I'd use. You just have to see it to understand. Or not, if you're smart. I will give the powers that be some credit for one thing that was done with this aspect of the movie. Every so often, we'd get a pretty clear homage to Jurassic Park. They seem to be trying to invoke the same sense of wonder viewers felt the first time they'd laid eyes on Spielberg's dinosaurs. At this it fails, but they're still nice little nods.

I'm sure you've already figured this out, but Cloudy with a Chance of Meatballs 2 is not my cup of tea. The original was warm, funny, and had tons of charm. This one is lazily written and oddly executed. Instead of rebuilding the empathy we felt the first time around, the sequel assumes it remains with us and proceeds right to all the zany situations. These situations are where most of the energy is spent, but needed to be reined in. It becomes one of those instances when creativity runs amok. No one realized that everything that pops into your head isn't a good idea. While watching the first movie, it was hard to stop smiling and harder not to be drawn in by the characters and their plight. This time, I spent a lot of time cringing and shaking my head.

MY SCORE: 3/10

Percy Jackson: Sea of Monsters

Directed by Thor Freudenthal.

2013. Rated PG, 106 minutes.

Cast:

Logan Lerman

Alexandra Daddario

Brandon T. Jackson

Stanley Tucci

Nathan Fillion

Douglas Smith

Leven Rambin

Jake Abel

Anthony Head

Paloma Kwiatkowski

Derek Mears

Things seem to be all hunky dory at Camp Half-Blood when there are a couple of odd occurrences. Our hero, Percy Jackson (Lermer) finds out he has a half-brother who is a cyclops. Next, the mystical barrier that keeps intruders out of the camp is broken, leading to an epic battle with an angry magical (and mechanical) bull that ends with the return of a certain bad guy. Lastly, the bumbling idiots who run the place inform Percy of the prophecy that says he will either save Mount Olympus or destroy it in the attempt. The Golden Fleece seems to be the cure for all their ails. This means going on a quest to find and retrieve it, and of course, saving or destroying...yeah, that.

Once again, Percy has his trusty cohorts Grover (Jackson) and Annabeth (Daddario) in tow. The three share an easy chemistry that serves the movie well. To that mix, Tyson (Smith) the half-brother is added. The four of them provide a pleasant enough quartet. there's a little more than a hint of sexual tension between Percy and Annabeth which drives their scenes together. She also has a raging hatred of Tyson that plays into the moral of the story. There is also Grover in full Magical Negro/comic relief mode, ever ready with some silliness to keep things from getting too heavy. None of this is exceptionally good or bad. It just sort of is and helps us roll along innocuously.

The rest of the cast is a slightly better. Not surprisingly, Stanley Tucci fares best in his role as the weary Dionysus (Mr. D), an instructor at the camp. All the man wants is a drink of wine. However, his verbal taunting of the gods has cost him this small pleasure. It's not uproariously funny, but his scenes are consistently humorous. another bright spot is Derek Mears as a big, evil cyclops. He's not going into the villain hall of fame or anything, but he provides a decent counterpoint to our heroes.

Similarly to the blandness of most of the characters, the plot unfolds in not-so-thrilling fashion. It just hits all the spots it's supposed to when it's supposed to. Nothing unexpected takes place. This makes tension the biggest casualty of all the story-telling devices. We just never feel like the good guys are in any real danger. True, going into a kid-friendly adventure like this we know the good guys are going to win. However, this movie fails to ever approach making us doubt the fact. Instead of hanging on to the edge of our seats, we're more likely to be comfortably slouched against the back of them and checking our watches.

Lots of movies of this caliber, narratively, manage to save themselves with plenty of action. This one tries, it just fails miserably. The main culprit is shoddy cgi. When the mayem breaks loose, things start looking cartoonish, but not like this was done on purpose. It further adds to the sense that we have nothing to worry about in regards to the hero's well being. We're snatched from being involved in the movie, to being reminded we're watching one. No matter how many I've seen, good films draw me into the world on the screen, regardless of how far-fetched it might be. I become invested in the events playing out before me. This is more like a stranger stooping in front of your window to tie his shoe. It might be sort of interesting, but not a compelling event. Whatever fascination it may hold passes when they stand up and continue on their way. Shortly, you may forget it ever happened. Percy Jackson stoops in front of your window to tie his shoe.

Despicable Me 2

Monsters University

Directed by San Scanlon.

2013. Rated PG, 104 minutes. 

Cast: 

Billy Crystal 

John Goodman 

Helen Mirren 

Steve Buscemi 

Alfred Molina 

Nathan Fillion 

John Krasinski 

Bill Hader 

AubreyPlaza 

Tyler Labine 

Julia Sweeney

Instead of continuing the story of Monsters, Inc., we take a trip back in time to the college days of our heroes. Most of our focus is on Mike (Crystal). He's wanted to be the greatest scarer of all-time since he was a very young monster. He is so obsessed with the idea, he has literally worked toward it his entire life. There is absolutely no question that he will major in Scaring when en enters Monsters University. There is one little bitty issue. Mike is not particularly scary. Soon, he meets Sully (Goodman), our other hero.

Sully is a natural, having descended from some of the industry's greats. He is much more of a jock while Mike is a bookworm. They do not get along. Their bickering even occurs in class and winds up getting them both kicked out of the Scaring program. As a last-ditch effort to get back in, they make a wager with Dean Hardscrabble (Mirren), who dislikes them both. If they, and the fraternity of misfits they're stuck with, win the campus Scare Games, they will be allowed back into the program. If they do not, they must leave school altogether.

Early on, the differences between Mike and Sully form a solid foundation for the movie. It's not just their arguing, but the choices each makes, and the people with whom they surround themselves. Best of all, Mike isn't a meek personality. He's a feisty little guy, not afraid to tell the big bad Sully what he thinks of him. Later on, their having to work together is the satisfactory development of a friendship. It is appropriately rocky, but undoubtedly on an upward swing. What's set up by all of this is a classic underdog story. When the movie launches into the Scare Games, it's fun watching the guys navigate the various events and figure out a way through them. We see them grow and bond as a team and have a good time doing it.

None of this would matter if the movie weren't funny. It is just that all the way through. Many of the jokes don't come from our heroes, though. The supporting players bring much more of the funny. The star of the show, in this regard, is Sherri Squibbles, the mother of one of the misfits. Julia Sweeney does a wonderful job with the voice and she is just a hilarious character. She lights up the screen every time she graces it. Another standout, in less screen time, is Steve Buscemi's reprisal of his role as Randy. As for Mike and Sully, they do have a number of funny moments, but they're more responsible for the drama. That drama is also well-handled. it is tense at the right times. The tension is cranked up the highest during a scene late in the movie when some horror elements are introduced. Also helping in the tension department is Helen Mirren as Dean Hardscrabble. She provides us with a solid villain with a commanding presence.

Though this is an underdog story, Monsters University is to be commended for not being satisfied with the easy finish. It seems to give us this and appears all set to ride off into the sunset. Instead, it throws us a bit of a curveball and the film continues. Rather than feeling like a false finish, it works in service of the developing relationship of our heroes and strengthens the movie for us. It directly leads to the finale which, as I mentioned, makes very nice use of horror movie tropes. When it actually does end, whether the kiddies watching realize this or not, the movie is better for going the extra mile.