FANTASTIC BEASTS: THE SECRETS OF DUMBLEDORE

 Jude Law     Mads Mikkelsen     Eddie Redmayne    Dan Fogler

Ezra Miller     Alison Sudol     Callum Turner     Katherine Waterston

            This umpteenth version of the Fantastic Beasts series begins on a rather sinister note with Albus Dumbledore (Law) and Gellert Grindelwald (Mikkelsen) meeting for tea and revealing their significant history.  However, during the brief meeting they have major differences that will reverberate throughout the world of magic.  Dumbledore explains to Newt (Redmayne), Theseus (Turner), and Jacob Kowalski (Fogler) that they must exert their powers in thwarting Grindelwald’s plans for wizarding world domination.

            Mikkelsen is made up to bear a resemblance to Hitler and shows him rallying the people around him in ways reminiscent of the German Nazi of WWII.  Grindelwald has become power hungry and knows that Dumbledore will do everything he can to stand in his way, so he sends out resentful outcast Credence Dumbledore (Miller) to kill the older Dumbledore.  

            Most of the story is about these two factions trying to out-maneuver one another.  Unfortunately, there are few surprises (if any) in this production, and although there are a few pearls of wisdom cast (“Do what is right; not what is easy” and “Trying to make things right is more important than perfection”), real substance in terms of ethical and moral values is missing.

            The production is visually beautiful, and it is always fun to see magical powers rendered in CGI (the two major protagonists fight a brilliant battle with one another), but this plot is so thin and lacking any punch, the viewer is likely to question its 2+-hour length.

            Eddie Redmayne, Jude Law, Mads Mikkelsen, and the rest of the supporting cast are skilled actors who are consistent in their performances.  Music by James Newton Howard and cinematography by George Richmond contribute to the entertainment value.  It seems that the script (J.K. Rowling, Steve Kloves) is the main drawback, although it’s also likely that the filmmakers have simply extended the series too long.

 

This latest production in the Fantastic Beasts series adds nothing new, especially given the length.

 

Grade:  C                              By Donna R. Copeland

BETTER DAYS

 Dongyu Zhou     Jackson Yee     Zheng Yi

         Bullying is no joke, as so eloquently demonstrated in this fine production from China/Hong Kong, skillfully directed by Derek Tsang.  Chen Nian (Zhou) is a quiet, studious teenager.  She is from a humble background (her mother has to survive by selling illegal products), but she’s very smart, and has promise to score so well in the upcoming national tests she is likely to be able to attend the college of her choice.

         Ah, but life has its own agenda.  A group of girls at school pick a classmate to bully, with the result that one student kills herself.  Chen Nian is so moved, she shows sympathy and heartbreak, which makes her a candidate for the next target.  Sure enough, that’s what happens.

         On the way home one day, a dangerous route, she observes a gang beating and dials the police, which brings the wrath of the gang upon her.  The one who defends her is the one who was being beaten, Bei Xiao (Yee).

Bei is a street kid who has had to survive any way he can.  The two then form a surprising friendship, despite her reluctance to engage with anyone other than her mother.  (This is surprising at first, but makes perfect sense the more you know.)

         But Nian needs protection, so she takes Bei up on his offer to protect her from the school bullies.  The script writers (Wing-Sum Lam, Yuan Li, Yimeng Xu, Nan Chen) periodically insert tenderly humorous scenes in the movie that compensate for so many brutal ones.  For instance, Bei has Nian pull out her notebook and a pen from her backpack to sign a statement that she owes him [something, purposefully unspecified] for his protection, since she has told him she can’t pay him.  It should be noted that the script is based on Jiuyue Xi’s novel, translated as In His Youth, in Her Beauty.

         The plot becomes impressively complex, and to the filmmakers’ credit, it becomes not only a nail-biter, but makes substantive social commentary as well.  The events at school and on the way home dial up the tension, particularly viz a viz the main characters.  In the process, social class arises as an issue not acknowledged much by the characters, but clearly evident as a force.  I love the way the film so touchingly answers the question of how a bright college-bound student and a punk on the streets can bond together in a life-long commitment.  

         Zhou and Yee, the two main actors along with Fang Yin as the young policeman, give glowing performances which give the film so much soul, and bring out the deep humanness and commitment to honesty and wisdom each of their characters conveys.

         It’s unfortunate that the filmmakers go along with the current fad (at least that’s what I call it) of cutting back and forth between current and past scenes, which I think is meant to make the film more exciting, but simply annoys someone like me. 

         Better Days is nominated for an Academy Award in the International category, well deserved for such a perceptive film.

 

A surprising take on bullying among teenagers, showing with great sensitivity the complexities involved, but, unfortunately, likely to be missed in our rough and tumble world.

 

Grade:  A-                   By Donna R. Copeland

CHRISTMAS ON THE SQUARE

Dolly Parton     Christine Baranski     Josh Segarra     Mary Lane Haskell    Selah Kimbro Jones

Treat Williams     Jennifer Lewis     Jeanine Mason

     Maybe, partly, with all that is worrisome going on in our world today, I wasn’t quite in the spirit of Christmas when I viewed Christmas on the Square.  But as much as I’ve always loved Dolly Parton, there is just too much sweetness in this movie.  The music, choreography, sets, and acting are all first-rate, but the predictable script by Maria S. Schlatter pulls at the heartstrings so often, and the emphasis on angels and miracles is so fantastical, I found it a bit cloying. It is possible that more conventionally religious people than I could find it moving and inspiring.

     The main character Regina (Baranski) is shown to be a real witch, always disgruntled and dismissive of others with no nostalgia for her hometown or empathy for its residents.  She is even rude to her lifelong best friend Margeline (Lewis).  After her father’s death, Regina buys the town and looks to make a neat profit by selling it to the Chita Mall (cheat ‘em all?) to develop the biggest and the best shopping haven.  To add insult to injury the residents are all to be evicted on Christmas Eve.  “Life is not a fairy tale”, Regina sings with a new acquaintance who, unbeknownst to Regina, will be a major instrument in the alteration of her world view.

     Moreover, what she doesn’t realize is that there is an angel (Parton) and an angel-in-training (Mason) who are behind the scenes manipulating her to change—for the good, of course!  

     In that sense, the film makes some solid points in modeling encouragement and forgiveness toward others, and in telling a back-story that explains how Regina came to be the person she is.  Moreover, to its credit, the wide diversity of the cast expands on the principle of tolerance.  

Dolly sings often in the story, starting out as a humble figure on the square with a box labeled “Change” (a fitting theme of the film) and validating her vocal fame. Although not known as a singer, Baranski does a very credible, lyrical job in singing her role, and her acting skill for which she is known, is very apparent.  Duets of the pastor (Segarra) and his wife (Haskell) and their solos highlight their musical assets.  

     A highlight of the film for me is the conversation between Regina and Violet (Jones), a child bartender (don’t worry; it’s reasonably explained).  The child is shown to be unusually perceptive (as children are known to be) and wise beyond her years, as she notes in questions about her role as a bartender.  The biggest delight of the movie for me is the conversation the two have, in which the script is strong, and the rapport between the two actors so strong and touching, one is aware of two talented actors at their best.  Not surprising for Baranski, of course, but impressive where young Selah Kimbro Jones is concerned. I can hardly wait to see her in more films.

     So, my review is mixed, as the movie is likely to be a hit among families (at least those who are Christian) looking for an uplifting movie and others who maintain a wish/belief in miracles.  For those who are skeptical or take a dim view of the traditional “Christmas movie”, you probably won’t be attracted to it.  I’m not sure how people of very different religions will regard it.

 

A movie for those in the Christmas spirit who revel in the magic of the season.  It may not be apt for those of different faiths or those with a more nonsectarian bent.

 

Grade:  C                                    By Donna R. Copeland

WOLFWALKERS

Voices of:  Honor Kneafsey     Eva Whittaker     Sean Bean     Simon McBurney

     In the tradition of previous Irish animated films (Secret of the Kells, Song of the Sea), Wolfwalkers uses hand-crafted animation to bring a 17^thCentury folktale to life for the modern age in female empowerment and animal intelligence.  The artistic, hand-crafted animation of a compelling story make this a contender for the best animation of 2020.  

     As the story goes, Robyn (Kneafsey) has aspirations to be like/with her father, hunting wolves who are destroying the crops and frightening the farmers of Kilkenny.  The most cringing moments (for me), along with the threat of death, were the countless times Robyn’s father (Bean) would not listen to his daughter and the Lord Protector (McBurney) would not listen to him.  There are nail-biting scenes full of danger, so only older children able to tolerate life-threatening drama should see it.  The movie may not be for younger children.

     Robyn is a willful child, and despite her father’s admonition to stay at home and clean the house, she cannot help herself from venturing out with her trusty bird Merlin.  This presents a dilemma for him, as he has promised his deceased wife to protect Robyn at all costs.  He is befuddled by his daughter’s behavior of sneaking out of the house, because he has a moral imperative to obey authority.  When he runs into his daughter in the wild—where the wolves are—he can only state what he has learned.  “Go back home”, “Be a good girl” and “do what you are told.”  “I promised your mother I would keep you safe.”  (Her mother is no longer alive.)  

     The excitement and key to the story comes when on one of her forays Robyn encounters a wolfwalker’s child, Mebh (Whittaker) and they become fast friends.  When they have to help each other they do, but sometimes it is at great risk for both.  Keep in mind that humans can turn into wolves and back again, which requires a certain degree of abstraction on the part of the viewer.  For inspiration, writers/directors Tomm Moore and Ross Stewart took the wolf from mythology—a being that is regarded as wise as a person as well as a partner to humans.  

     Drawings and animations are half of the enjoyment of the movie including the music (Bruno Coulais and the Klia).   But the story is maximally engaging, enhanced by the animation and special effects.

 

For devotees of animation and folklore, this is a movie for you.  Lots of excitement and suspense, all with great depth.

 

Grade:  A                                    By Donna R. Copeland

THE WITCHES

Anne Hathaway     Octavia Spencer     Chris Rock     Jahzir Bruno     Stanley Tucci

     When the witches are away, the mice will play.  This is a fun piece narrated by Chris Rock and starring him and two excellent actors, Octavia Spencer and Anne Hathaway, in a fantasy based on a Roald Dahl novel.  Kid-friendly, of course, but with suspense that is likely to be enjoyed by adults as well as children.  

     It starts out tragically, but Spencer’s warm presence as a grandma is soothing, and she has her work cut out for her with her grandson’s (Bruno) grief and, later, his dilemma.  To help him with his grief, Grandma (Spencer) brings home a pet mouse for her grandson, which does indeed spur him to move on to the next step.

     After the boy encounters a witch in the store, Grandma decides they need to go stay in a fancy hotel where the wealthy white people stay.  (This is on the premise that Witches only seek out minorities—e.g., the blacks—and the disadvantaged.)  Grandma knows this from losing her childhood friend in just such circumstances, and she informs her grandson about witches.  They are demons made to look like humans. They have no toes, no hands, no hair—and must compensate for this with gloves, wigs, high-heeled shoes, etc. When they go out in public, they look like regular society women.  

     By coincidence, the International Society for the Prevention of Cruelty of Children is having a convention at this very hotel.  Crossing of paths between this group (which is a front for the Grand High Witch played by Hathaway and her coven) and Grandma and her grandson forms most of a plot filled with nail-biting suspense, along with some horror and comedy.  Mice-phobic people might want to stay away—but should see—this escapade.

Special effects (Adrian Bennett, Fernando da Silva et al.) take center stage in showing what happens when magic appears to spice up the action in the story. Here it is used to engage the audience as much as the plot and the actors.  And it is so satisfying!

     Co-writer and director Robert Zemeckis, with the help of Alphonso Cuaron and Guillermo del Toro (Mexican filmmakers we all know and love), has assembled a cast and crew that elevate this film from a run-of-the-mill children’s movie to one that is capturing and entertaining, but has important messages related to acceptance of others, regardless of their appearance, the importance of family, and simply enjoying life, whatever happens.  

The film can be seen on HBO MAX beginning 10/22/20.

 

A film for the times in terms of its message and as a vehicle to escape momentarily the concerns of the day.

 

Grade:  A                                    By Donna R. Copeland

THE WAR WITH GRANDPA

Robert De Niro     Uma Thurman     Rob Riggle     Oakes Fegley     Christopher Walken     Cheech Marin

 

     More than being funny, the movie’s to be admired more for the “arms” grandpa and grandson use to wage their war.  Peter (Fegley) is incensed when his mother (Thurman) decides that it’s too risky for her father to remain in his own home, and forces him to move in with her family.  For this to happen, Grandpa (De Niro) is going into Peter’s room, and he will be put up in the attic. After the boy pulls a few tricks on his grandfather to protest, Grandpa agrees they are at war, so based on his own experience in military service, he draws up rules of engagement that he and Peter agree to abide by.

     That’s when the “fun” begins as each side pulls in buddies who egg each of them on. Part of the pact is that it stays secret; no one in the family is to know about it—war secrets in other words. Grandpa has in mind that this will be an educational lesson for Peter, and is unaware of his own competitive streak—even toward a kid.

     Warfare involves what seemed to me to be fairly sophisticated electronics, mechanical knowledge (Grandpa is a former home builder), and, to them, hilarious booby traps involving a drone, manipulation of music LPs, remote control cars, rearranging snacks, spiking coffee, a snake, and on and on.  Sometimes by accident, the antics miss their target and affect other people.  But since Peter and his Grandpa haven’t revealed their war, no one knows they’re behind the tricks missing their mark.  In one satisfying sequence, the school bully who is consistently commandeering Peter’s backpack gets a trick blow-up in his face.

     Tim Hill of SpongeBob SquarePants fame directs this film written by Tom J. Astle and Matt Ember, based on a book of the same title by Robert Kimmel Smith.  It succeeds but, as I say, more for the fascination of the warfare tools than for comedy; unless you’re one of those people who invariably laughs at pratfalls, and if so, you will find comedy here.

     The film is not without some heartfelt scenes of family love, friendship, and honor. These are well done and are not too treacly, and often show the character learning something from experience.  

     Oakes Fegley (Wonderland, Pete’s Dragon) again proves his acting skills such that he was able to hold his own with the proven versatile skills of Robert De Niro.  The two together have a wonderful dynamic reflecting an emotional bond.  Uma Thurman chews up a role like this as easily as a practiced tennis shot.  She is convincing as a daughter, wife, and mother always steering a family sometimes going awry.  Not her fault but a flaw in the writing was one of the last scenes showing her tackling a teenager.  After her husband’s (Rob Riggle) multiple deferential statements about her, this was overkill.  

     I imagine this film will delight many families who like this kind of set-up and humor. I find it more in the realm of the kind of entertainment that appeals to many Americans more than more substantive fare.  For those liking movies like Meet the Parents, this will be a hit.

 

A war unlike any you’ve seen before.

 

Grade:  C+                                    By Donna R. Copeland

THE CALL OF THE WILD

Harrison Ford     Omar Sy     Cara Gee     Bradley Whitford

Karen Gillan     Dan Stevens     Colin Woodell

     In giving children a dose of nature without so much of the cruelty and violence to dogs that are in the novel, this movie succeeds.  The dogs and wolves are beautiful and the Alaskan scenery is gorgeous. (Kudos to cinematographer Janusz Kaminski for the photographic beauty as well as filming maneuvers.)  The dog Buck’s experiences are models of behavior that can be beneficial to kids, such as the kindness he shows even to strangers, and a logical separation towards the end of the story.  Adults may not take to the film as much as children because of the overly human-like appearance and behaviors of the animals, especially Buck, and the lack of suspense in figuring out what will happen.

     In the beginning, Buck is shown to be rambunctious, not suitable for the genteel life of his owner on plantation-sized property.  This is patient Judge Miller (Whitford) who gently chides him for charging through the house and town and knocking things over—including the mailman.  After one hectic day, the judge makes him sleep on the porch at night “to think over” what he has done.  This gives a local thief the opportunity to dog-nap Buck and sell him. 

     From there, Buck’s adventures are with various masters, the first one cruel and Buck manages to run away, then he is bought by a couple with a dog sled delivering mail, then by another couple with an outsized hunger for gold (this is during 19^thcentury gold rush times) the husband (Stevens) being not only selfish and cruel but stupid as well.  Harrison Ford as John Thornton narrates the story and appears from time to time in Buck’s life as someone with normal sympathies for the oppressed.  Thornton and Buck end up together and prove to be good pals, despite Thornton’s reluctance in the beginning, and each must rescue the other on critical occasions.

     Based on Jack London’s continuing successful novel of the same name, The Call of the Wild movie in 2020 is the seventh film rendition of the story, not including a TV series.  Complaints about it center mostly around the computer-generated dog Buck, which the viewer may find a little creepy, especially when he reacts and communicates so much like a human figure and very un-dog-like. Another criticism is about this being simply another repeat of the story on film.  How filmmakers can justify it is beyond me.  How much better it would be for them to use their resources to create something new.  After all, the film industry is replete with talented people.

A coming-of-age story for the dog Buck who travels from a genteel southern plantation to the snow covered Alaskan Yukon with life-changing events along the way.

Grade:  C                                    By Donna R. Copeland

PLAYING WITH FIRE

John Cena     Keegan-Michael Key     Judy Greer     John Leguizamo

Tyler Mane     Brianna Hildebrand    Dennis Haysbert

     

     I shake my head when I see productions like Playing with Fire presented to kids.  Clearly, the filmmakers don’t know kids very well (all the dialog for these kids sounds like an adult who still has childhood remnants in his psyche and/or has no idea what real children are like), and they portray adults behaving and sounding like children.  The movie misses the mark in so many ways in consideration of quality programming for children.  These children smart off to adults (you’re supposed to laugh when they do), and the adults have their feelings stuck out, making them vulnerable and looking foolish, and do unlawful things like revving up the fire engines and roaring down the street on a shopping trip.

     The star, Jake Carson (Cena), is aspiring to follow in the steps of his revered father, a smoke jumper, who followed the creed of being a first responder in wildland fires; these are highly trained firefighters parachuting into remote and rugged areas to contain the fire and rescue people.  His crew includes Mark (Key), Rodrigo (Leguizamo), and Axe (Mane).  They get fired up when they’re alerted to a fire that has reached some cabins in a forest.

     As a well-trained crew, they quickly investigate, only to find three children huddled together; the oldest, Brynn (Hildebrand), holding her little brother and sister.  Keep in mind that none of the crew has any experience at all in dealing with children, and they’re terrified.  Roads are closed off, so they have to transport them back to their station.  But the heroic men treat them in all the ways that are bad for children—not listening to them and not respecting them, but still expecting them to do everything they’re told.

     Once they arrive, filmmakers have them getting into all kinds of trouble with nail guns, fire extinguishers, paint strippers, and soap that becomes suds when it’s sprayed with a water hose.  All of this is supposed to be a barrel of laughs, but it’s completely off base in terms of reality, as these are clearly well brought up children, and Brynn has served as a sensible, mature mother figure for them.  All the antics are simply a way for the filmmakers to poke fun at the men.

     A romantic interest (don’t we always need one?) is introduced in the form of Dr. Amy Hicks (Greer), an environmentalist whom Jake dismisses, but is, of course, secretly (he thinks) attracted to.  Authority is presented in the form of Commander Richards (Haysbert), who has informed Jake he will conduct an inspection at a specific time.  So when the whole place is in a shambles, everyone must work together to get it in tiptop shape.

     The story ends with the creators’ still clueless as to what is good for children (a truckload of presents, for instance), and a shameless attempt to pull at the heartstrings, revealing significant parental loss.

If you know children and are mindful of them, you will not like this movie.

Grade:  F                                    By Donna R. Copeland

MALEFICENT: MISTRESS OF EVIL

Angelina Jolie     Elle Fanning     Michelle Pfeiffer     Harris Dickinson    Chiwetel Ejiofor

Lesley Manville     Imelda Staunton     Juno Temple     Sam Riley

     Fairy tale land—one never knows what to expect as to what will come up.  In this version following on the previous Maleficent (2014) (both starring by Angelina Jolie in the title role), her goddaughter Aurora (Fanning) is grown up and falling in love with Prince Philip (Dickinson).  As expected, he has fallen in love with the son of the King and Queen of Ulstead, a human tribe with a history of conflict with the Moors, Maleficent’s land of the fairies.  An awkward dinner takes place initiated by Philip’s mother, Queen Ingrith.

     Maleficent is reluctant to go, but for the sake of Aurora, she agrees, and they all come together; but tensions abound, as happens when two very different cultures eat together.  Major conflicts ensue, with misunderstandings and subterfuge aplenty, and suddenly Maleficent disappears.  Where she goes propels the story forward and gives us insight into her origins and an explanation for what is to appear in the rest of the film.

     As before, Jolie embodies her character in all its dimensions and power, and Fanning provides balance in her tenderness and rationality.  Although she is a good actress, Michelle Pfeiffer as Queen Ingrith seems miscast in that she simply doesn’t come across strongly enough with the qualities called for by her character.  I can’t say any more so as not to spoil the plot.  Harris Dickinson as Prince Philip didn’t wow me as someone heroic, but I assume that is a function of the script, and the same goes for Robert Lindsay as King John.  Ed Skrein as Borra (one of Maleficent’s newly discovered tribe) is the only male who is a counterpart to Jolie’s and Pfeiffer’s female characters in strength.

     To me, the problems arising during this tale are related primarily to the unsuccessful attempt to insert actions that are clearly contemporary into a fairy tale. One example is Aurora coaching her mother on social manners.  Now, sophisticated Maleficent has been around the whole world and is familiar with such things as social graces, so having it seem as if she is being coached on what to do at a dinner party seems laughable.  I had the same impression when Aurora’s simple “woodsy” dress at one point is magically changed by Maleficent to one that looks like a contemporary Neiman Marcus creation.  Just as in the earlier film, the viewer is yanked back and forth between the fairy world and our reality-based one.

     As before in the 2014 version, the opening scenes in this sequel are so dark it’s impossible to know what is going on.  There is a battle, but who is who cannot be distinguished.  I still don’t know who the warring parties are.

     Finally, there is a disconnect between the ending of the earlier film and the beginning of this one in which Maleficent seems to have reverted to her previous maliciousness.  No explanation is given for this, or perhaps the viewers are just being led down a garden path. (More jerking around.)

     This second Maleficent doesn’t measure up to the first one, which is too bad, since there was an opportunity here to tell a story like a fairy tale that speaks to contemporary concerns (e.g., war vs. peace). But the way war and peace are dealt with here is no different from…how many movies and actual events?

     In the end, it’s not clear whom this film was made for other than the pockets of those invested in it monetarily.  Much of the story as presented will go over the heads of most children; and it is likely to be simplistic (meaningless?) to many adults.

If you love a good fairy tale, stay away from this one.

Grade:  D                                    By Donna R. Copeland

THE KID WHO WOULD BE KING

Louis Ashbourne     Dean Chaumoo     Tom Taylor     Rhianna Dorris

Rebecca Ferguson     Patrick Stewart     Angus Imrie

     Written and directed by Joe Cornish (Attack the Block, Ant-Man, Hot Fuzz), the film is an entertaining mix of fantasy and reality, weaving together tales from King Arthur’s Court and contemporary life at Dungate Academy, where the main four young characters attend school.  It starts out with two fast friends, Alex (Ashbourne) and Bedders (Chaumoo) being bullied by two older students, Lance (Taylor) and Kay (Dorris). Alex and Bedders are nerdy kids who are interested in magic, and are derided by Lance and Kay.  Lance promotes himself as “king” of the school, and uses every opportunity to show it, backed up by his sidekick, Kay. 

     Alex is brave and fights back, especially in defense of his friend.  And one day, when he is running from Lance he ends up at a construction site, briefly assuming himself safe.  But in a confrontation with Lance, he falls over backwards off a fence onto a pile of dirt.  Lance and Kay leave him for dead, but when Alex comes to he sees a huge sword stuck in stone. Curious, he pulls it out with some effort, and runs home with it.

     This is where his and Bedders’ nerdiness comes in handy.  They notice an inscription on the sword written in Latin, and in an example of Cornish’s exquisite blending of history and modern technology, they look up the inscription on Google Translate and find that it says that the sword belongs to King Arthur, son of Tintagel (not a person, but an island).  Putting that together with a book Alex’s missing dad gave him with the message, “to the once and future king”, they begin to wonder mildly if it is Alex who is that “once and future king.”  

     This actually gets corroborated by a strange new student at school who does amazing things, simply with some kind of ritual he performs with his hands and arms.  Merton/Merlin (Imrie and Stewart) informs Alex that he is indeed “the king”, and that he is charged with preparing for a major battle with someone evil for ownership of the sword.  This is Morgana (Ferguson), King Arthur’s half-sister, who has been chained up in vines against a rock for centuries, struggling to get free. She is convinced she is the rightful heir to the throne, and knows that her success requires that she possess the sword (Excalibur).  

     Alex and his three friends/enemies (he needs the aggressive qualities of the bullies in his quest), whom he has knighted, set off to Tintagel Island to locate the entrance to the underworld and wage battle with Morgana.  Along the way, Merlin in his younger and older forms will guide and sometimes rescue them on their quest.  Their journey is engaging; it’s only at the very end the movie starts falling apart.  It would have been better if the last half-hour had been edited out.

     Production design (Marcus Rowland), cinematography (Bill Pope), and special and visual effects make this an enchanting journey that will keep children and adults raptly engaged.  The dragons that appear in the night-time with their brilliantly lit swords trying to catch up with and attack the seekers are truly terrifying, and the way old trees uproot themselves to train the king and knights in fighting is cleverly done and humorous at the same time.

         Alex(played by Director Serkis’ son)is a surprised but charming hero who wins you over with his wonder, valor, and smartness, which Ashbourne gracefully captures.  Chaumoo as Bedders portrays an interesting kid whose loyalty and whose interest and devotion to magic is admirable, as well as providing welcome levity at times.  Tom Taylor gives us a picture of an overly entitled, spoiled rich kid who needs to have his ears pinned back from time to time, but is one who finally learns from it.  Rhianna Dorris evinces the loyal follower who is not quite ready to stand on her own.  Imrie and Stewart playing the young and old Merlin grab your attention and keep you fascinated.  Finally, Rebecca Ferguson convincingly shows us a ferocious, hag-like figure whose greediness for power is unmatched. 

     With all its fantastical, other-world glamour, The Kid Who Would be King contains teaching moments for children (and adults in these modern times) about the necessity for cooperation in overcoming adversity, on the values in the chivalric code (honoring those we love, not being wanton, speaking truth at all times, and persevering to the end in any enterprise), overcoming disillusionment, and the value of diversity in any endeavor.  

If only the chivalric code would be applied in our troubled times!

Grade:  B+                                    By Donna R. Copeland

MARY POPPINS RETURNS

Emily Blunt     Dick Van Dyke     Meryl Streep     Angela Lansbury     Emily Mortimer

Colin Firth     Lin-Manuel Miranda     Ben Wishaw     Julia Walters

     Everything is coming apart at the seams in the Banks household; Mr. Michael Banks is grieving for his wife, and is having a hard time managing without her. Their three children are remarkably responsible, but they are just children, and the housekeeper/cook is losing her grip as well.  Michael’s sister Jane comes by from time to time and does what she can to bolster things up, but a major threat looms with the possibility that the house Michael and Jane grew up in will be repossessed by the bank after Michael missed three payments. 

     Yes, it seems like the perfect time for Mary Poppins to drift down on her umbrella and pop in (sorry—couldn’t resist the pun).  It happens magically—as do many things having to do with the nanny—when young Georgie chases after a kite and it keeps rising with him attached. Jack, the town lamplighter, is helping Georgie pull the string with all his might to bring the kite down, when who should appear down through the clouds but Mary herself.

     Now, the three children don’t know who she is, as she was the nanny for their father and Aunt Jane when they were kids.  And when they learn that she has come to be a nanny for them—humpf!—these responsible children, especially the two older ones, can’t see the need. Michael is troubled because he can’t see how they’ll be able to afford her, but Jane—often the voice of reason—advises him to welcome her.

     Of course, it doesn’t take long for Mary Poppins to exert her authority and magic (just what the family needs). She wows them with a few things, but wins them over with a thrilling and beautiful sequence where she prepares a wondrous bubble bath with all kinds of beach-type things thrown into the bubbles then shoves each child in for their bath.  She follows, and we are treated to some of what Disney does best: a colorful fantastical trip down into the ocean filled with exotic marine life.  This is the kind of nanny to have.

     All sorts of intrigues, emergencies, and close calls follow, and it’s touch-and-go until the very end.  Director/producer Rob Marshall’s follow-up to the 1964 production of Mary Poppins is largely successful in sustaining the Poppins and Disney brands, being entertaining for children and adults, and achieving a mixture of fancy, excitement, and human values.  

     Emily Blunt has received a lot of advance press about her Mary Poppins role, and she comes across splendidly.  Contrast her role here and of that in A Quiet Place, Edge of Tomorrow, and Sicario, for example, to appreciate the full range of this actress’s talent.  Her acting here is as praiseworthy as in other films; however, as good as her voice is, she is not up to Julie Andrews’ first Mary Poppins (1964), and that is a slight detraction.  In a similar, but different way, Lin Manuel Miranda’s voice, while very fine and engaging, doesn’t quite mesh; although I think this has more to do with the composers’ (Marc Shaiman, Scott Wittman) work than as a function of his voice and skill.  When he sings in rap—which he is known for, and which I presume he has contributed to the material—he is his usual fine performer.  (I dearly loved hearing his British accent.)  Overall, I think the score lacks the pizzazz of the 1964 version.  When Blunt and Miranda sing together, they almost rescue the whole score.

     A standout here is Meryl Streep as Topsy; she can immerse herself into a role so completely it’s hard to find Streep in it.  The sequence with her is one of the most entertaining in the film, and brings up important points for both children and adults about perspective. 

     Other instructive sequences for children include ways to think about and deal with the loss of a loved one, the message that even if one is a child he/she can be helpful to adults, and the optimistic idea that things that may seem impossible can actually be accomplished.

Cameo performances by Dick Van Dyke (reprised from the first rendition), Angela Lansbury, and Colin Firth are entertaining and engaging.  

An updated version of the Mary Poppins story that largely succeeds.

Grade:  B                                    By Donna R. Copeland

THE NUTCRACKER AND THE FOUR REALMS

Keira Knightley    Mackenzie Foy    Morgan Freeman    Helen Mirren

Misty Copeland     Matthew MacFadyen     Jayden Fowora-Knight

     The Nutcracker and the Four Realms is just as enchanting as it should be, and involves a twist.  In this case, the traditional hero’s journey is undertaken by a girl named Clara, the girl in Tchaikovsky’s popular “Nutcracker” ballet.  The script is based on E. T. A. Hoffman’s 1816 story (“The Nutcracker and the Mouse King”), in which the young girl Clara has a very special Christmas.

     The film opens with the Stahlbaum family preparing to go to the grandfather’s for their annual Christmas party.  The mother, Maria, has died, but has left presents for each of the three children.  Mr. Stahlbaum (MacFadyen) is clearly grieving, but is trying to make the best of it.  Louise and Fritz are thrilled with their gifts, but Clara (Foy) is puzzled by hers.  It’s some kind of egg, and as pretty as it is, Clara, a very smart inventive girl like her mother, sees that it requires a key, which she doesn’t have.  Enigmatically, there is a note from her mother, noting, “Everything you need is inside.”  Then Clara brightens; her grandfather very likely made it and gave it to her mother.  He should have the key.  Now, the socially shy girl is excited about going to the party.

     It’s after that the adventures start.  First, when Clara runs to her grandfather (Freeman) looking for the key, she solves a problem for him and presents him with hers.  He lets her know that she must search, saying, “Some locks are harder to pick than others.”  That will be an understatement!  As she is wont to do, Clara begins wandering around, and comes upon a whole new world, snowy and beautiful, and a certain tree that is lit up like no other.  She spies a key, but then…pesky mouse!

     As she continues her journey through this strange world, she comes upon Phillip (Fowora-Knight), a guard who warns her about going to the fourth world, which is very dangerous.  She’s still curious, and wants to forge on, and the guard is skeptical, but goes with her, more willingly when he discerns that she is a princess.  She knows nothing about that, but along the way, they meet the heads of the three realms:  Lands of Snowflakes, Flowers, and Sweets, and are entertained with a ballet that explains the realms, the fourth being one that belongs to Mother Ginger (Mirren) who has mice attending her and a reputation for being fearsome.
     A ballet is performed to tell the story of the four realms, with New York City American Ballet Theater's Misty Copeland making her debut in a movie as the lead dancer.  She was able to bring in the ABT choreographer, Liam Scarlett, and Director Lasse Hallstrom welcomed their input into which dances from the traditional Tchaikovsky Nutcracker Ballet to include and supplement them with more contemporary choreography.

     The bulk of the story is told by the Sugarplum Fairy (Knightley), from the Land of Sweets.  Whereupon, Clara—who is feeling more and more like a princess and even a queen—decides it is her duty to solve a mystery and do what she can to unite the four realms.  It’s exciting to see Clara come into her own, figuring out what is going on in the four realms, showing bravery in overcoming obstacles and betrayals, and achieving her goal and reuniting with her family as a changed person.

     Disney is often criticized for its shallowness in productions, but I think their story here should inspire young girls while it entertains with enough intrigue, captivating graphics and special effects to please its audience.

An inspiring story with a superb model for young girls.

Grade:  A                                        By Donna R. Copeland

ALPHA

Kodi Smit-McPhee    Johannes Hauken Johannesson     Leonor Varela     Natassia Malthe

Priya Rajaratnam     Jens Hulten     Mercedes de la Zerda     Spencer Bogaert

     Although they didn’t have “wilderness” experiences in the Ice Age, in this movie, Keda (Smit-McPhee) does go through one in spades back in that time. Keda is the son of a proud chief of a Cro-Magnon tribe, Tau  (Johannesson), who makes it clear what his expectations are of Keda.  The young man must be strong and prove his worth to the tribe.  Keda’s mother (Malthe) takes issue with this, worrying about him going on a trial hunt with his father.  “He might die; he leads with his heart, not his spear”, she says.  But, of course, it’s doubtful such concerns would be paid attention to in their culture.  And besides, Tau has faith in his son, telling his mother that Keda is stronger than she thinks—even stronger than Keda himself thinks. (In an interesting storytelling twist, both prophecies will come true.)

     In tests before and during the hunt, Keda has a poor showing—except maybe for sharpening his knife—but his fire-building skill is lacking, and he absolutely fails when called upon to use his knife on an animal.  To his credit, Tau is patient with him and continues to teach him things he needs to know.  Unfortunately, a tragedy occurs, and Keda is left for dead by his tribe, much to his father’s overwhelming regret and grief—not to mention what he will face when he gets home.

     What follows are Keda’s personal trials in the wilderness by himself.  He is injured, he has to face the elements and wild animals, and somehow get food and shelter.  The most charming part of the story is about how he makes friends with a wolf he names “Alpha.”  (This is where the “heart” his mother talked about comes in.)  It’s touch and go as to whether he will be able to survive, especially through the winter.  

     This film misses the mark in so many ways.  First of all, the script based on director Albert Hughes’ story and written for the screen by Daniele Sebastian Wiedenhaupt, is completely improbable. There is no way a young man could have survived what Keda does without any more personal resources than he has. He somehow manages to climb up/around/over a cliff after he has fallen to a place where his father and the tribe couldn’t reach him—this with an injured foot.  With this injured foot, he manages to outrun a pack of wolves.  Really?  It was good to see he made progress in learning how to start a fire, and somehow he caught a rabbit for food; but that he might survive the storms of winter with his now trusted wolf that he has saved and made friends with, strains credibility.

     The ultimate challenge in watching this film was a screwed-up 3-D picture that was so dark it was difficult to see what was going on.  Studios that want their films seen in the best possible light should make sure their pictures are seen in optimal conditions.

The intriguing set-up for this film about a boy in the Ice Age proving his worth is so improbable, it’s dis-engaging.

Grade:  D                                    by Donna R. Copeland

HOTEL TRANSYLVANIA 3: SUMMER VACATION

Voices of:  Mel Brooks     Adam Sandler     Selena Gomez     Andy Samberg     Kathryn Hahn
Fran Drescher     Steve Buscemi     David Spade     
Keegan-Michael Key     Chris Parnell     Molly Shannon

     For a little background information, Dracula (Sandler) is a widower with a grown-up daughter called Mavis (Gomez) who has decided they both need some R&R and more family time.  So for a surprise, she has arranged for all of them to go on a trip, without telling them it will be a cruise—which Drac would never agree to beforehand. Their party will consist of Mavis’ human husband Johnny (Samberg), and their child Dennis (Asher Blinkoff)—along with a trail of friends:  Wayne (Buscemi), Griffin (Spade), Frank (James), and others.  

     They go on a harrowing plane trip, and are dropped off in the Bermuda Triangle (a place where only the adults will sense the danger), where they board the ship, the Legacy.  (The name is something of a pun in that Drac and the Van Helsing families have been archenemies for generations, and both have an interest in continuing their legacy.)  Drac has had a lot of anxiety about the trip, and Mavis has wisely kept the cruise as a surprise. Now, it’s all she can do to convince him to board the ship for the sake of the family.

     Drac goes into a funk because he hates being on a boat.  In his despair, he has given up on having the “zing”, thinking one can only experience that once in a lifetime, and he had that with his wife. So, of course, much to his surprise, when the captain of the ship, Ericka (Gomez), appears, his heart goes thumpedy-thump, and he gets the zing.

     The thrills and chills of the story will stem from Erica’s heritage:  Her great grandfather is a Van Helsing, and he is on board the ship and counting on her to use the stowed away “instrument of destruction” to do away with Drac.  From what her ancestors have told her, Erika is already chomping away at the bit to do away with him, is delighted when she sees he is attracted to her, and begins to plot his demise.  But Van Helsing instructs her to wait until she can use the special instrument. She proceeds anyway to try to do him in, but neither she nor her great grandfather have anticipated the power of the zing.

     Sony Pictures has created an impressive production design and animation with special effects, and there is a lot of cartoon-like action throughout the film, which will please many viewers.  I thought it odd, though, that for a children’s movie, the thrust of the story would be about love, murder, and generational grudges—more adult-type of subjects.  It does end with a positive message about acceptance of differences and the unity that should exist among all living beings on earth—whether human, animal, monster, or whatever.  And this is done cleverly with music from three songs (“Good Vibrations”, Don’t Worry; Be Happy”, and “Hey Macarena”).  Everyone should have an opportunity to experience the zing.

Summer vacation can mean many things, including one with monsters aboard a cruise ship.

Grade:  C                                    By Donna R. Copeland

WONDERSTRUCK

Julianne Moore     Oakes Fegley     Millicent Simmonds     Jaden Michael

Cory Michael Smith     Tom Noonan     Michelle Williams

       Unless you’ve read Brian Selznick’s work on which Todd Haynes based this film, plan to spend a fair amount of time trying to make sense of the plot and learning who the characters are.  Screenwriter Selznick actually does capture the model in his book in telling two different stories, one about a girl in 1927 and one about a boy in 1977.  I might say from the beginning that I’m not a fan of this model of storytelling; it takes more work than simply listening and seeing the story unfold.  Nevertheless, the book’s reviews are very positive, and most readers do find the exposition charming.

     The film opens when Ben (Fegley) is having one of his nightmares, and his mother (Williams) comes in to comfort him.  The next thing we learn about Ben is that he has intense curiosity about his father, but his mother insists on withholding that information “until the right time.”  When she is never able to give it, Ben takes it upon himself to follow some clues he has about the father’s whereabouts, and proceeds to go find him.  Keep in mind that he is going to be traveling from Minnesota to New York City, and just recently became deaf, so he doesn’t know sign language or lip reading.

     Ben’s story and that of Rose’s (Simmonds) are interwoven, hers in wordless black and white pictures from the 20’s, and the other in full color taking place in the ‘70’s.   There are numerous coincidental experiences each has, but the mystery of their connection is revealed only in the very last part of the film.  Rose is growing up in Hoboken, N.J., the child of divorced parents.  Her mother is a famous stage actress (Moore) in New York, but Rose lives with her father, a very stern, unemotional doctor who scolds her frequently.  She runs away to try to find her mother, despite the fact that she, like Ben, is deaf, and is mute as well.  The absence of sound in her story reflects not only the silent movies of the time, but as well her being born deaf and, consequently, mute.

     The two young actors ably carry the bulk of the film, along with some fine help from Jaden Michael, who plays a friend Ben makes at the Museum of Natural History.  Fegley, proving his skills first in Pete’s Dragon and some other minor roles, is captivating here in his earnestness and persistence.  Millicent Simmonds is a worthy counterpart with her luminous, expressive face and eyes, playing a role about which she has had direct experience in her own deafness.  In Julianne Moore’s two roles, she expresses a sample of the range of her abilities.

     Although I do regard Todd Haynes as a highly skilled director, I found some drawbacks in this production.  In addition to the fractured story-telling, it was difficult to follow sometimes simply because the notes that characters were writing to one another were presented to the audience so rapidly one didn’t have time to read them, and/or the they were dark or obscured by another object.  To me, it was an omission not to have shown Rose’s parents or Ben’s family trying to find out where they were. 

     Wonderstruck requires a certain amount of patience to sit through it, but if the viewer is impressed with Haynes earlier pictures such as Far From Heaven and I’m Not There; and Brian Selznick’s books (Hugo and Wonderstruck), this film is likely to be entertaining. 

Two stories from the ‘20s and the ‘70s interweave to tell a story of remarkable coincidences.

Grade:  C                                    By Donna R. Copeland