Disney and Pixar have re-issued a trio of movies that audiences have come to love over the years.
Toy Story, Coco, and Cars were all re-issued Tuesday on 4K UHD/Blu-ray combo pack steel books. The releases are only being made available through Best Buy and its online site, bestbuy.com, according to details in a news release announcing their release.
The news release did not specify details on bonus content and pricing for the new re-issues. All three titles are listed at $29.99 through bestbuy.com.
The releases are not the only movies from Disney and/or Pixar to get the 4K UHD steelboook re-issue treatment. Steelbook 4K re-issues of movies, such as Toy Story 2, Toy Story 3, The Lion King, and Moana are all planned for release later this year. Finding Dory and Encanto are among the Disney movies to already get steelbook 4K UHD re-issues this year.
Courtesy: Disney/Pixar
Courtesy: Disney/Pixar
Courtesy: Disney/Pixar
More information on these and other titles from Walt Disney Studios is available at:
Sea monsters are the stuff of Hollywood lore. From the monster in Universal’s The Creature from the Black Lagoon (1954) to the giant, radioactive octopus in It Came From Beneath The Sea (1955), to the one and only giant, radioactive lizard itself, Godzilla (1954) the giant radioactive lizard in Godzilla’s inspiration, The Beast From 20,000Fathoms, they have been great fodder for Hollywood and audiences alike. Yet for all of the success that sea monster movies have had over the course of Hollywood’s history, not every movie of that ilk succeeds or has succeeded. The latest to come up short is Disney/Pixar’s Luca. The 95-minute movie takes on the classic plot element to tell a story that while entertaining, falls short of expectation. That is the case even with its welcome deeper social message. This will be discussed shortly. While the movie’s story is both positive and negative, its bonus content serves to make up for those problems at least to a point. It will be discussed a little later. The movie’s animation rounds out its most important elements and will also be discussed later. Each item noted is important in its own way to the whole of the movie’s new home presentation. All things considered, Luca proves to be one of Disney/Pixar’s less memorable offerings.
Disney/Pixar’s Luca is not the best nor the worst of the cinematic offerings that the companies have released over their more than 25 years together. It is neither a failure, nor is it a total success. That is proven in part through its story. The story centers on two young friends, Luca and Alberto, who happen to be “mer-boys”/sea monsters The boys meet completely by chance one day while Luca is out herding (yes, herding) fish. The boys’ chance meeting leads to an immediate friendship, when then leads to what is really the center of the story, Luca’s desire to grow up, and discover what else is out there beyond his own home. It is a timeless story element that has been used in so many movies from Disney, Pixar, and other studios. Finding Nemo (another Disney/Pixar movie) even uses this plot device as its basis. Along with all of that is the deeper message (that some might call “woke”) about taking pride in who and what one is rather than hiding that reality. Now all of this seems all good and fine on the surface (no pun intended). The problem with it all is how the story begins and progresses. The whole thing opens so abruptly with Alberto stealing stuff from a fisherman’s boat one night and getting partially caught in the process. From there, the focus shifts to Luca in the real opening. Audiences are introduced to Luca as he is herding the noted fish. He discovers the things that Alberto had tried to steal from the fisher but lost in getting away from that secondary character. As the boys’ friendship grows, they make their way to a nearby town that is known for its fishing and sea monster hunting.
Over time, the boys learn that the townspeople have only hatred for sea monsters. This is where one needs to back up a bit. There is zero set-up in the story’s opening about this divide between humans and sea monsters. Not even that brief nighttime preface to the story really sets it up. Why is the hatred there? That is never answered. Though, ultimately at the story’s end, the humans and sea monsters do end up peacefully co-existing. That’s not giving away too much, as no Disey/Pixar movie is going to have a sad ending. Audiences are just expected to accept that the humans hate sea monsters. Eventually, the story does somehow manage to right itself, even though the whole thing of the bicycle race and winning the Vespa just seems like a desperate attempt to justify the boys staying in the town. For anyone who is confused at this point, good. That is how the movie’s story will ultimately leave viewers feeling. Simply put, the story overall just feels so contrived and lacking any real structure. Add in the unbelievable aspect of Luca and Alberto’s friendship just happening so fast and audiences see even more, the problems posed by this story. There is no denying here that Luca’s story is problematic but ultimately not a total failure. The bonus content on the other hand proves well worth watching.
The bonus content that comes with the home release of Luca is important to discuss because of its role in understanding the movie’s final story. Among the most important of the movie’s bonus features is its collection of deleted scenes. It is understandable why many of the scenes featured here were cut from the final product. That includes one of the movie’s original opening sequences. The second opening on the other hand, is a different matter. That opening in question really should have been examined and worked out more rather than omitted. The sequence in question opens with Luca narrating the opening, a la Diego in Coco. Luca’s voice is heard talking about the island as the camera closes in on an aged map showing the island’s location. Luca talks about the island and its residents. This is where things start to get iffy. Rather than showing the island’s residents actually being the sea monsters, it would have made more sense if Luca had pulled a twist and said the island in question was beneath the waves. The writers could have then had him talk about why the surface island’s residents hated sea monsters so much. That brief setup would have done so much to make the rest of the movie so much more enjoyable. Sadly, the movie’s writers and creative heads opted not to go that route, ultimately making the story that much less engaging and entertaining. To the positive though, this and the other deleted scenes show in their own right, the importance of the movie’s bonus content. They in themselves make for plenty of discussion among audiences.
Touching on another of the bonus features, the feature titled, “Our Italian Inspiration” makes for its own appeal (and to more appeal for the movie) because every local studied in this feature shows up in the movie. Even the subtlety of the railroad tunnel going through the mountain is there, as well as the “marina” for the boats. If there is one thing that Disney and Pixar have always done right, it is making every one of its movies as believable as possible in their look. That has always been done by doing the fullest research into the subjects for the movies’ stories. This story is no exception to that rule. To that end, audiences will gain even more appreciation for the movie’s bonus content and at least a little more appreciation for the movie if only in terms of its aesthetic elements.
One more item that shows the importance of the movie’s bonus content comes in the form of “Secretly A Sea Monster.” This roughly 30-minute feature delves into the movie’s animation and the painstaking efforts that went in to making that item believable. Audiences, especially those with any interest and education in art, will find this discussion engaging and entertaining. The mention of the animation styles used in Coco being carried over to this movie to a point is interesting, too. When this feature and the others examined here are considered together, they make fully clear, the importance of the movie’s bonus content. They work together to make the movie at least a little bit more worth watching at least once. Keeping that in mind, the bonus content is just one more of the movie’s most notable elements. Speaking of animation, that aspect rounds out the most important of the movie’s elements.
The animation featured in Luca because it marks a change in direction for Disney and Pixar. It is more comparable to Aardman Animation’s movies (E.g. Shaun The Sheep, Timmy Time, Wallace & Gromit) than the more overly defined CG presents exhibited in every one of Pixar’s existing works. The irony is that (again reaching back to that feature about the movie’s animation) where Aardman Animation’s movies are all stop motion/claymation, this movie was done fully through computers. It shows that despite what so many studios would like to think, it is possible to give these modern animated movies some identity in this aspect. To that end, Pixar, Dreamworks, and other studios need to take this to heart and see if they can create something more original if only in terms of its look. It is just nice to have that change of pace from Pixar. Keeping that in mind, this element is, next to the movie’s bonus content, Luca’s only other fully positive element. The two elements join with the problematic but still somewhat engaging story to make Luca worth watching at least occasionally.
Disney/Pixar’s Luca is a presentation that is anything but perfect. It is not a failure, though. The movie’s story is problematic in terms of its general construction and its pacing. However, the familiar plot element of the main character wanting to explore and find out more from the world is reason enough to give the movie a chance. The welcome message about self acceptance also plays into the story’s appeal, making for at least a little more reason to watch. For all of the problems posed through the movie’s story, its bonus content makes up for those issues at least to a point. That is because they give more insight into the movie’s creation, including insight into what Luca could have been. The movie’s animation style rounds out the most important of the movie’s elements. It stands out because it shows that it is possible for studios to give their cookie cutter CG flicks actual identities separate from themselves since they refuse to use hand drawn animation, which gives even more identity to presentations. All three noted items are important in their own way to the whole of the movie. All things considered, they leave Luca a movie that while not a failure, is also one of the less memorable sea monster based movies that Hollywood has ever turned out. More information on this and other movies from Pixar is available at:
When Disney and Pixar released their movie Wall–E back in 2008, it was lauded by audiences and critics alike, even receiving a score of 95 from Rotten Tomatoes. All of the accolades that the movie received are prime examples of how easily audiences really do forget the past. The movie is a clear lifting of MGM’s 2001: A Space Odyssey as well as ruminations by the late great scientist Isaac Asimov. On another level, it is also a lifting from another well-known sci-fi flick by the name of Silent Running. As a matter of fact, one could argue that Wall–E pulls more from that movie than from 2001: A Space Odyssey with its overly preachy content. That would go to show the influence of the latter, decidedly nihilistic flick, which in fact received the Blu-ray re-issue treatment last month thanks to Arrow Video. Re-issued Nov. 17, the 1972 cult favorite sci-fi flick will appeal equally to its longtime fans and sci-fi fans who might be less familiar with the movie. That is due in part to the movie’s central story, which will be discussed shortly. While the story is certain to keep viewers engaged throughout the movie’s roughly 90-minute run time, the re-issue’s presentation does suffer from at least one concern, its production. Most notably, the audio production proves somewhat problematic and will be addressed a little later. The bonus content that accompanies the re-issue adds to the presentation’s appeal and together with the story, makes for even more appeal. The two items together make up for the concerns raised by the audio production and make the movie’s re-issue worth watching at least occasionally by the most devoted science fiction fans and of Silent Running.
Arrow Video’s recent Blu-ray re-issue of Universal Pictures’ 1972 sci-fi statement flick Silent Running is a presentation that will appeal to the most devoted of the movie’s fans. It will also appeal to the most devoted science fiction fans. That is due in part to the movie’s story. The story in question centers on Freeman Lowell (Bruce Dern – The Burbs, Nebraska, The Hateful Eight) as he makes his way into space to (he thinks) protect a forest that he oversees in a bio-dome structure attached to his ship, the Valley Forge. The flight happens after an order from Earth for all ships orbiting Earth to destroy their biodomes, which contain the last plant and animal life from Earth. While no reason is ever given for the order, the script does manage to explain that by having one of Freeman’s soon-to-be deceased crewmates note that he did not understand the order either. In a way, that lack of explanation is a sort of commentary about the oftentimes mind boggling actions of any government body. Lowell’s development as the story progresses is really what makes the story engaging. His focus on protecting the forest gradually declines as he increasingly falls victim to the psychological effect of isolation. He eventually comes to the realization that being alone, there is no reason to keep trying to save the forest, leading to the story’s disturbing finale. This critic will not reveal that finale here for those who have yet to see the story. What can be said is that it will leave audiences unsettled, to say the very least.
On another note, there is one notable plot hole to this story that almost completely negates the whole thing. That plot hole comes early on as one of Lowell’s crewmates makes mention that the Earth at the time was 75-degrees. The companion booklet that comes with the movie’s recent re-issue points out that the degrees measure in question is Celsius, not Fahrenheit. That Celsius measure equals to 167-degrees in Fahrenheit. So it leaves one scratching one’s head that Lowell’s crew mates talk about returning to Earth when no human, let alone plant and animal, could survive such temperatures. Humans even now struggle when summer temperatures in the real world get to the 100s, so there is no way humans could even begin to survive at a temperature of nearly 200-degrees year-round. Audiences who can overlook this massive Earth-size plot hole will find themselves able to stay engaged. However in hindsight, that noted realization detracts from the story’s enjoyment quite a bit. The plot hole pointed out in the re-issue’s companion booklet is just one aspect of the bonus content that will be pointed out later. It is also just one of the problems from which the movie itself suffers. The audio production presented in the movie is another concern.
Throughout the course of Silent Running’s 90-minute run time, its audio levels are problematic. The dialogue plays out at a low volume while the music, crafted and performed by folk singer Joan Baez and composer Peter Schickele, is far too loud whenever it is used. Whether that was the result of work done on the movie’s re-mastering or if it was originally like that is anyone’s guess. It was not discussed in any of the movie’s bonus content. Again, the bonus content will be discussed later. Regardless, the constant volume adjustments that audiences will find themselves having to make as they take in the movie will become bothersome to say the least. At least the video quality is worth its share of applause. It makes up at least to a point for the problems posed by the problematic audio production.
For all of the problems posed by Silent Running’s story and its audio production, its re-issue does come with at least one undeniable positive, its bonus content. As has already been noted, the movie’s bonus content makes for plenty of engagement and entertainment. The companion booklet that comes with the re-issue is just one of the noted extras worth addressing. Journalist Peter Tonguette points out on page 21 of the booklet, “In the screenplay by Deric Washburn, Michael Cimino, and Steven Bocho, the temperature of the Earth has eached 75-degrees Celsius, apparently rendering it inhospitable to a wide assortment of plants and animals.” A check of those credits on IMDB.com certifies they crafted the movie’s script. Again referencing this, 75-degrees Celsius is equal to 165-degrees Fahrenheit. How that would even be hospitable to any life is confusing. Humans in reality can barely handle temperatures in excess of 100-degrees. So for Lowell’s crew mate to be excited that the planet’s year-round temperature is 75-degrees leaves one wondering how humans have adapted to such high temperature. It creates a massive plot hole about the size of the ships that orbit Earth. It is just one of the interesting aspects pointed out in the movie’s companion booklet. Audiences also learn from journalist Barry Forshaw, that director Douglas Trumbull’s turn helming Silent Running was not his first jaunt into space so to speak. Forshaw points out in his essay, that Trumbull worked on 2001: A Space Odyssey prior to taking on Silent Running, and that it was his stint on the prior that led to the latter. On an equally interesting note, Wall–E – as already noted – lifts liberally from both movies for its story. Additionally, Forshaw points out in page 11 of the booklet, that famed Star Wars director George Lucas was so impressed by Trumbull’s use of sound in the open space scenes, that he was moved to incorporate the use of sound for space scenes, rather than just leave the outer space scenes outside the ships quiet. That is quite the statement for Trumbull to have had such impact. Between all of this and so much more noted in the booklet, it alone more than proves the importance of the movie’s bonus content. It is just one part of the bonus content that is worth addressing.
The bonus content that is presented on disc ensures viewers’ engagement and entertainment in that it does not just rehash the bonus content featured in the movie’s 2015 re-issue, its then most recent re-issue. That content is featured here, but is joined by even more new content, such as a discussion on the movie’s soundtrack. As is revealed in that discussion, Schickele’s turn on Silent Running was in fact his first time scoring a big screen feature. Music historian Jeff Bond, who narrates the feature, points out that Schickele’s work with Baez stemmed oddly enough from Baez’s intent to work on a holiday music compilation of all things. Additionally, Bond discusses the attention that Schickele paid to each scene, to ensure every note of every scene made for the utmost emotional impact on audiences.
“First Run,” another of the new bonuses featured in this re-issue, takes audiences through a look at the initial first scenes of Silent Running. The comparison of those early scenes to the final product makes for more appreciation for that final product.
The archived “Making of” featurette joins with the newer content to make for even more engagement and entertainment. Audiences learn firsthand from Dern in the vintage extra, that he ran “200 miles” on the flight deck of the aircraft carrier U.S.S. Valley Forge (which was used for most of the movie’s principal shooting) during down time as a means to stay healthy. That is a lot of running. Audiences also learn in this extra that Trumbull did not even initially want to direct the movie, but do other things on the film. Audiences will be left to learn that whole story for themselves. Between this story, the other items noted here and the rest of the features extensive information, it and the rest of the equally extensive list of bonus content does much to entertain and engage audiences. If for no other reason than the bonus content, audiences will find the movie worth watching at least once. Audiences who can overlook the aforementioned plot hole involving the planet’s temperature in the story will find the rest of the movie’s ecologically-minded story worth watching, too. The two items together give audiences reason to watch this movie at least occasionally.
Arrow Video’s recent Blu-ray re-issue of Universal Pictures’ 1972 sci-fi eco/space drama Silent Running is a presentation that will find enjoyment among the most devoted sci-fi fans and those of the movie. That is due in part to the movie’s story. The story, which does suffer from one massive plot hole, follows a botanist – Lowell — who goes rogue after being told that the forest for which he cared was going to be destroyed. As a result of his actions, Lowell falls into a slow spiral of depression and despair, leading to the movie’s rather depressing finale. That the movie’s script never addresses its one major plot hole greatly detracts from its presentation. Audiences who can overlook that problem will find the movie engaging at least to a point. The video quality of the movie’s re-issue is a positive in its own right, but the audio production proves problematic in its own right, as audiences will find themselves having to raise and lower the volume throughout the movie. The extensive bonus content featured with the movie’s re-issue is its primary saving grace. If for no other reason than that content, audiences will find the re-issue worth watching. Even with that in mind, that content is more worth watching than the movie itself. To that end, the movie in whole is going to find the most appeal among the movie’s most devoted audiences and sci-fi fans than general sci-fi fans and other audiences. Silent Running is available now.
More information on Arrow Video’s Silent Runnning re-issue is available along with all of the company’s latest news at:
This critic, for those who might not know, is a parent and is married. It makes finding time to go through everything needed difficult at times. It also means trying to find ways to keep a child entertained quite often. Keeping a child entertained includes finding DVDs and Blu-rays that will entertain and educate at the same time.
Thankfully, that part of doing this job is not too difficult, as companies, such as Public Media Distribution, Film Movement and Shout! Factory Kids have offered again this year, plenty of options. Those options include, and are not limited to two new (and seemingly the last) Transformers Rescue Bots DVDs, two more fun-filled collections of episodes from Nature Cat and more new material from Wild Kratts and Dinosaur Train.
Of course that new material is just some of the fun new fare offered for families this year. Film Movement’s release of The Railway Children live is a welcome new take on a stage presentation that also honors its literary source material, and Nickelodeon’s long-awaited Hey Arnold: The Jungle Movie is a bit of a disappointment, but still worth at least one watch thanks to some major writing problems.
The top spot in this year’s Top 10 new Family DVDs/BDs list goes to the noted stage adaptation of The Railway Children. This adaptation honors its source material while also presenting a one-of-its kind stage presentation that is unlike almost anything that American audiences have ever seen from stage plays.
The number two and three spots on this year’s list go to Public Media Distribution’s two new Nature Cat DVDs, Onward & Pondward and Winter Dance Party. Each DVD’s episodes follow a specific theme while also teaching lessons that are directly linked with the themes.
Also included in this year’s list, as noted already are the new Wild Kratts DVDs and those from Transformers Rescue Bots along with the new Hey Arnold! movie, just to name a handful of titles. As always, the top 10 pics are the best while the five that follow are honorable mention titles. Without any further ado, here is Phil’s Picks 2018 Top 10 New Family DVDs & BDs list.
PHIL’S PICKS 2018 TOP 10 NEW FAMILY DVDs & BLU-RAYs
The Railway Children
Nature Cat: Onward & Pondward
Nature Cat: Winter Dance Party
Transformers Rescue Bots: Outdoor Adventures
Transformers Rescue Bots; Team Rescue Bots
Dinosaur Train: Making New Friends
Wild Kratts: Adventures on the African Savannah
Wild Kratts: Mdagascar Madness
Littlest Pet Shop: Best Pet Friends
Ready Jet Go!: Jet’s First Halloween
Super Why: The Adventures of Little Bo Peep & Her Sheep
Arthur:D.W. and the Beastly Birthday
Hotel Transylvania 3
Disney Pixar Short Films: Volume 3
Hey Arnold!: The Jungle Movie
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Disney/Pixar’s new animated movie Incredibles II is one of the studios’ most anticipated movies since the studio released its debut animated movie Toy Story way back in 1995. Fourteen years in the making, this sequel has been demanded by fans every year since the The Incredibles premiered, and hyped up quite a bit in the past year or so by Disney/Pixar in response to that demand. That being the case, expectations were quite high for this latest offering from what is one of Hollywood’s leading studios in Pixar. While this highly anticipated sequel largely lives up to those expectations – thanks to its story — it is not without at least one con – its pacing. That will be covered later along with another of the movie’s positives, the work of the movie’s voice cast. Keeping its pros and con in consideration, Incredibles II definitely lives up to the hype and is worth the watch, but is also more proof that the sequel is rarely if ever, as good as the original.
Incredibles II is an interesting new offering from Disney/Pixar. While maybe not Disney/Pixar’s best effort, it is also not the studios’ worst offering either as is evidenced partly through its story. The story at the center of Incredibles II picks up right where its predecessor left off, with the Parr family facing off against The Underminer. The outcome of that instance sets up the remainder of the story, which sees the roles established in The Incredibles reversed. This time, Bob stays at home and has to tend to the Violet and Dash while Helen goes out and gets to live the dream that she talked about all those years ago. That continuity is, in itself a strong piece of the story. The deeper evaluation of the family dynamic here, seeing Bob struggle (and eventually settle into a rhythm) as he tries to be “super” dad while Helen gets to live her dream this time is interestingly enough something to which so many couples can relate. That’s because every husband and wife/mom and dad has gone through Bob and Helen’s situation at one point or another in life children aside. From Bob trying to make sense of the “new math” with Dash to him chasing around little Jack Jack to Helen feeling like she has to run home at the drop of a hat, despite living her dream, every couple with kids has been there, trying to balance their lives. This is just one part of what makes the story work as well as it does. Writer/Director Brad Bird is to be commended for his use of a red herring to mislead audiences. This is despite the fact that there is still a certain predictability to the story in regards to the villain’s true identity. One has to appreciate how Bird managed to make even grown up viewers second guess themselves even just to a point in this aspect. The only downside to the whole story is the revelation of how the villain’s plan was executed. That revelation won’t be revealed here, but when audiences see for themselves, they will agree it is anything but original. Rather it’s something that’s been done so many times. Of course, in Bird’s defense, this movie is a super hero movie, so there are of course going to be some limitations in how the evil plot is executed as well as other elements. Keeping all of this in mind, even with its pros and cons in itself, the story at the center of Incredibles II proves to form a relatively solid foundation for the movie’s overall presentation. In turn, it alone makes for enough reason to watch this movie at least once. While the story clearly does plenty to make Incredibles II at least somewhat watchable, it does suffer from one major problem. That problem is its pacing.
The pacing of the movie’s story doesn’t make it unwatchable, but there is no denying that it does detract from the overall viewing experience at the same time. The pacing really becomes most prominent as an issue around the final act of the roughly 2-hour story. The final act takes place onboard Devtech’s ship, but is set up just beforehand. That entire act could have been shortened without the story losing any of its depth. It was as if Bird was trying too hard to appeal to hardcore viewers who had waited with baited breath for so many years for this story, and the end result was so much material going into the story that honestly could have been left out. It leaves one wondering how many scenes, if any, ended up on the proverbial cutting room floor before it was all said and done. Truth be told, the amount of material thrown into the final act (and even somewhat into the second act) makes the movie’s 1-hour, 58-minute run time feel every bit that long. While it feels every bit that long, at least the pacing doesn’t make the movie feel any longer than that set time limit. To that end, while the movie’s pacing is problematic in the grand scheme of things, it is not enough to leave the movie unwatchable. It just means that when the movie eventually is released on DVD, BD and digital outlets, people will definitely find themselves thankful to be able to watch it at their speed. Luckily for the movie’s sake, this is its only major con. Given, there’s also the issue of trying to figure out why no one saw Jack Jack’s powers in action at the end of The Incredibles in examining that pacing. Were Bob and Helen not looking up when Jack Jack was fighting Syndrome? Honestly, that is something else that deserves note. That’s because of how much of the story is taken up by Bob dealing with Jack Jack’s growing powers. They had to have seen what he was doing before Bob launched Helen up to catch Jack Jack after Syndrome’s plane was destroyed. To that end, it makes the movie’s story and related pacing even more problematic. Adding that issue to the overall presentation that is Incredibles II, it detracts from the movie’s presentation even more, and honestly does make one question the movie overall that much more. Of course maybe Bob and Helen didn’t see Jack Jack or maybe they forgot. It is conceivable. Keeping that in mind, it still keeps the movie off of life support. To that end, the movie does have at least one more positive. That positive is the work of the movie’s voice cast.
Audiences will note that save for maybe one character – Dash – the original voice cast from The Incredibles returned for this installment of the Parr family’s adventures. This is important to note because it meant a certain level of familiarity and friendship among the cast. That familiarity made for performances that were just as believable as those in The Incredibles. Huck Milner is the only new addition to the cast this time out, as he took over from Spencer Fox as the voice of Dash, and even being the “new kid on the block,” Milner still held his own as the voice of the precocious young lad. In fact, he makes Dash just as believable here as the rest of his family. Audiences will laugh with joy as he tries to steal back Bob’s car (and eventually does, but for a good reason, not to give away too much) because of his enthusiasm and naivety. In the same breath, Sarah Vowell’s presentation of the adolescent now teenager Violet is such that her character is just as believable. Craig T. Nelson is spot on once again as the voice of Bob, who this time has found himself the stay at home dad, trying to control the kids. His take on Bob as Bob struggles to settle into his new matrimonial role of sorts will have men and women alike laughing. One of his best moments comes as Bob is falling asleep reading a story to Jack Jack, and Jack Jack ends up trying to wake up daddy. Every dad out there knows that struggle. The same applies as he is trying to make sense of the “new math” in order to help Dash with his homework. When those performances are considered along with that of Holly Hunter (and even Brad Bird once again as Edna Mode), the collective performances of the voice cast gives audiences plenty in themselves to appreciate here, too. Considering this along with the bigger story of the movie, which really could have used some more work (sadly) before being released, Incredibles II proves to be a movie that after 14 years of waiting maybe should have waited another year as it comes up short, at least in this critic’s view.
Disney/Pixar’s new animated feature Incredibles II took 14 years to finally see the light of day. It was a movie that for so many, had been 14 years too long in the making. The reality though, is that because of an issue with pacing and one major plot hole that could so easily negate most of this story, Incredibles II probably should have waited at least one more year, if not more. Simply put, it’s a work that proves once again that the sequel is rarely if ever, as good as the original.
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Cars 3, the latest entry in Disney/Pixar’s high-octane Cars franchise, was one of the most hotly anticipated movies of this year ahead of its nationwide theatrical debut this past June. That is because of just how disappointing the franchise’s second installment — released in 2011 — proved to be. That movie, which was essentially just an acting vehicle for Larry The Cable Guy, was little more than a cash grab for Disney and Pixar. While Cars 3 did make up for the wreck that was Cars 2, it didn’t do so without some issues. That is not to say that Cars 3 is unwatchable. As a matter of fact, one of the elements that makes it worth at least one watch is its story. At the same time, the story is also the movie’s primary negative. It will be discussed shortly. While the movie’s story makes up two of its most important elements, divided into two sides, it is only one of the movie’s most important elements. The work of the movie’s cast rounds out its most important elements. Both elements are critical to the movie’s overall presentation in their own fashion. All things considered, Cars 3 still manages to make it to the checkered flag, albeit on seven cylinders. Yes, that awful pun was intended. That aside, Cars 3 does go the mile and in turn proves itself worth at least one watch.
Cars 3 is a fitting finale for Disney/Pixar’s Cars franchise. It is not a perfect period to the franchise, but is still an enjoyable presentation that is worth at least one watch. That is due in part to the movie’s central story, which brings the franchise full circle. Eleven years after Lightning McQueen first debuted, he has become a beloved veteran of the Piston Cup Series in this movie — beloved both by fans and by his fellow race cars. However, he also finds that his heyday has passed and must come to terms with moving on and moving forward. If this sounds familiar, it should. A very similar story was presented approximately seven years ago in Toy Story 3, another Disney/Pixar flick. The movies’ writing teams are not the same, but the story is quite similar, just presented in a different scenario. It is also a story that, much like that of the franchise’s freshman entry, reminds audiences of racing’s roots. While Thomasville Speedway does not exist in the real world, it instantly conjures thoughts of North Wilkesboro and so many of the tracks that formed NASCAR’s foundation. It was nice to see the movie’s writing staff bring back this focus on the sport’s past (including its moonshining connection) once again, especially considering the direction that NASCAR has gone since the early 2000s under its current leadership regime.
Paying tribute once more to NASCAR’s roots while also presenting a message of letting go and moving forward are both key to making the story Cars 3‘s central story entertaining. They are only a portion of what makes it watchable. Not to give away too much for those who perhaps haven’t yet seen this movie, but there is also a surprise twist in the movie’s final scene that is just as certain to entertain audiences while still tying directly into that theme of progress. It makes the story that much stronger. Keeping all of this in mind, the movie’s central story forms a strong foundation for its presentation. While that foundation is strong though, it is not entirely solid. There are some noticeable cracks in that foundation thanks to the writing team’s apparent struggle to decide if they wanted to throw back to Cars or make this movie more a tribute to the voice of Doc Hudson, the late great Paul Newman.
Throughout the course of Cars 3‘s one-hour, 42-minute run time, the story references Doc Hudson so many times that it becomes easy to lose count of said references, even going so far as to use what must have been some material that never made it to Cars’ final cut in this case to try to advance the story. The problem here is that rather than advance the story, it leads the story to get sidetracked, ultimately slowing the story’s pacing. That pacing problem is in the end, the second of the movie’s most important elements to discuss. It almost makes one want to fast forward the movie at times as Lightning McQueen progresses on his journey of re-discovery just to make it through the movie’s traffic. Yes, that bad pun was intentional, too. Getting back on the subject at hand, the diversions created through the references to Hudson include extra scenes, such as Lightning’s discussion with Smokey about Doc and his recollections of his own conversations with Doc among others. Those extra scenes probably should have hit the cutting room floor as they do not do much to advance the movie’s central story. Considering all of this, it becomes clear why Cars 3‘s central story is both a positive and a negative. That duality is so important that it in itself gives audiences plenty of reason to watch this sequel at least once. Also making Cars 3 worth at least one watch is the work of its voice cast.
Owen Wilson returns once more as the voice of Lightning McQueen for this ride as do the original voice actors who brought life to Radiator Springs’ residents and even Dinoco owner Tex’s voice (Humpy Wheeler), that of Chick Hicks — Bob Peterson (Cars, Up, Finding Nemo) — and Lightning’s hauler Mack — John Ratzenberger (Cars, Cars 2, Toy Story 1 – 3). Both the seasoned cast and the new additions — Armie Hammer as the voice of Jackson Storm, Chris Cooper as the voice of Smokey, Cristela Alonzo as the voice of Cruz Ramirez and Kerry Washington as the voice of Natalie Certain — do their utmost to make the movie enjoyable for audiences of all ages. While Jackson Storm is the movie’s main villain, he is not really on camera very much. Keeping that in mind, Hammer (The Lone Ranger, The Social Network, The Man From U.N.C.L.E.) easily could have hammed it up as the self-centered, high-performance race car. He didn’t allow that to happen, though. Instead he showed his understanding and respect for his part in the story’s bigger picture each time, making Storm a villain that audiences will love to hate. To that end, Hammer is deserving of his share of applause for his work. Alonzo (Mind of Mencia, Cristela) is just as entertaining as Cruz. This includes both Cruz’s funnier moments — such as when she accidentally digs herself into the sand and when she is acting as the racers’ trainer — and her more emotional moments –such as her confrontation with McQueen following the demolition derby and the equally moving climax in the story’s final act (not to give away too much). Considering the situations into which the movie’s writers put Cruz, it would have been easy for Alonzo to go over the top, too. But She shows time and again so much talent, ensuring even more audiences entertainment and engagement. When her work and that of Wilson couples with work of the movie’s supporting cast (the Radiator Springs cast, announcers, etc.) the whole of their work strengthens the foundation formed by the movie’s story, and makes the movie that much more worth the watch. That is even considering the issues raised in the story’s balance. When this is considered along with the movie’s standout CGI, which has clearly been stepped up since the franchise first debuted 11 years ago, the whole of Cars 3 proves to be a surprisingly enjoyable watch. It doesn’t live up to the legacy left by Cars, but definitely does make up for Cars 2 while potentially even leaving the door open for a whole new series of Cars movies, leaving it a fitting finale for the Cars franchise.
The third and likely last entry in Disney/Pixar’s Cars franchise is a fitting final lap for the series. It proves in the long run that it really should have been Cars 2 instead of the movie that turned out to be Cars 2. That movie never should have even existed. Even with that movie having been made, Cars 3 will likely be considered the real rightful Cars 2 by most viewers. That is due in part to a story that despite struggling to balance its tribute to Paul Newman with an actual continuation of Cars, still proves to have some heart — enough heart to make it worth at least the occasional watch. The work of the movie’s voice cast — both main and support — strengthens the movie’s presentation even more. Add in some impressive CGI work that that clearly is another step up from the franchise’s freshman film, and audiences get a movie that definitely makes it to the checkered flag. It is available now in stores and online. More information on Cars 3 and other Disney/Pixar movies is available online now at:
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Lionsgate has officially released the latest installment in its long-running Alpha & Omega series, Alpha & Omega: Dino Digs. The series’ sixth installment, it is another enjoyable addition to the family friendly animated franchise. The movie’s writing is the most important of its elements. This applies to the movie’s main story and to its underlying eco-friendly message. The work of the movie’s cast is just as important to note as its writing. Last but hardly last of note in this movie is its collective run time and pacing. Each element is important in its own right to the movie’s presentation. Altogether they make this movie another enjoyable installment in Lionsgate’s Alpha & Omega franchise and worth at least one watch.
The latest addition to Lionsgate’s Alpha & Omega franchise, Alpha & Omega Dino Digs is another enjoyable installment in the studio’s ongoing series of adventures from the wolfpack. Its ranking from the series best to worst is up to each given viewer. But it can be said in watching this forty-seven minute movie that it is worth at least one watch regardless of where viewers feel it fits into the franchise’s overall picture. The main reason for this is the movie’s writing, courtesy of Tom Kane. This applies both to the movie’s story and its underlying eco-friendly message. Kate and Humphrey’s pups –Stinky, Claudette, and Runt—are once again at the fore of the franchise in this story. This time the trio discovers a prehistoric pal named Amy (voiced by Erin Fitzgerald – Ed, Edd, and Eddy, Sabrina: The Animated Series, Bleach) who has magically come to life when the site of her burial is dug up by an unscrupulous Native American and his henchman. The group aims to turn sacred Native lands into a golf resort. It’s up to the pups to get Amy back to the site of her burial so that her spirit can be returned to its rightful place. It’s a pretty simplistic story. Kane even goes so far at one point to poke fun at himself for its seemingly contrived nature, beating the critics to the punch instead of allowing them to throw their verbal and written punches. It plays right into another element of the story’s writing that should be noted. The element in question is the story’s underlying eco-friendly message.
The story at the heart of Alpha & Omega: Dino Digs is a very simple piece to follow. It received quite a bit of criticism when the movie was accidentally streamed online in whole via Splash Entertainment’s website. But the reality is that far more outrageous and unbelievable stories have been turned out by much bigger studios throughout Hollywood’s history. To that extent, the story at the heart of this Alpha & Omega flick is actually worth at least one watch. It is just one important part of what makes the movie’s writing so important to its presentation in whole. The eco-friendly message that is embedded within the movie’s story is just as important to the movie’s presentation as the story itself. The message in question is presented as the sacred land in which Kate and Humphrey plan to settle is being plundered by the previously noted (and unnamed) businessman. His brother notes that what is happening should not be happening as nature will react in the same way that it is treated. This sentiment is echoed at random points throughout the movie. But luckily it isn’t inserted so much as to be considered preachy. Keeping that in mind, the eco-friendly message that essentially serves as the movie’s foundation proves to be just as important in the movie’s overall writing and presentation as its story. As important as both elements are collectively to the movie, the writing in whole is not the only important part of the movie’s presentation. The work of the movie’s cast is just as important to note in the movie’s presentation as its overall writing.
Tom Kane’s work behind Alpha & Omega: Dino Digs is unquestionably important to the movie’s presentation. The plot might seem somewhat outrageous on the surface. But in reality it is no more outrageous than the plot of so many other movies (both for kids and adults). The eco-friendly message that serves as the movie’s foundation strengthens the writing even more. That is because it doesn’t come across as being preachy (again unlike so many other movies). As important as the movie’s writing proves to be to its presentation it is just one part of the movie’s presentation that should be noted. The work of the movie’s cast is just as important to note as the movie’s writing. Once again, Kate and Humphrey’s pups Stinky, Claudette, and Runt are at the center of the story as with so many of the franchise’s recent installments. Those behind the pups are to b commended for their work, too. They are Kate Higgins, Hunter Swan, and Lindsay Torrance. Higgins is the voice of not only Stinky but also the pups’ mom Kate. Hunter Swan handles voice duties for Runt. And Lindsay Torrance brings voice to Claudette. The trio’s initial reaction in discovering Amy is one example of what makes their work notable. They do a good job of capturing the pups’ innocence in their curiosity. Their reaction to discovering Amy is just as fun for the whole family as is their initial reaction to the new “cave” home. Between these moments and others throughout the movie, it can be said of the trio’s work that it stands out in this otherwise standard offering from Lionsgate and Splash Entertainment. Chris Smith is notable in his own right as the voice of the pups’ godfathers Marcel and Paddy. Viewers will be entertained by the snooty, comical personality that Smith gives the pair. Even with Smith being a supporting actor he still adds his own touch to the movie as the pair’s voice. His work and that of his cast mates, when set against the work of the movie’s cast, to show even more why this movie is another Alpha & Omega story that the whole family will *ahem* dig. The cast’s work is still not the only element that makes this movie worth at least one watch. The story’s pacing is just as important to its presentation as its writing and the work of its voice cast.
The work of both writer Tom Kane and the voice cast behind Lionsgate’s latest Alpha & Omega installment are clearly important in their own way to the movie’s overall presentation. Collectively they are even more important to the movie’s presentation as they are alone. As important as they are to the movie’s presentation they are not the movie’s only important elements. The movie’s collective run time and pacing is just as important to note in its overall presentation as the work of its writers and cast. The movie clocks in at only forty-seven minutes. That is about average for each of this franchise’s installments. Thanks to the work, again, of the movie’s writer that time passes right by before audiences even realize it has ended. It never lags or moves too fast at any one point throughout the movie. Thanks to Kane’s concerted efforts, it keeps the action moving just enough from the movie’s opening setup to the pups’ first meeting with Amy all the way up to their bittersweet final farewell to the friendly female dino. Thanks to that balance of energy audiences will never feel left behind or lost to any extent. It is because of this that the story’s pacing is deserving of being noted as one of its positives. When it is set alongside the work of the movie’s cast and its writer, the movie proves to be a work that that the whole family will “dig.”
Alpha & Omega: Dino Digs has been received to quite the mixed reception by audiences and critics ever since its release in stores earlier this month. It is not a perfect production. That is clear through its computer-based animation. The problems posed by the animation in question are not enough to overpower the positives presented by the movie. Its eco-friendly story is simple enough for audiences of any age to follow. And in all honesty it is no more outrageous than the fare presented by the likes of Disney, Pixar, Dreamworks or Lionsgate’s other counterparts. What’s more the eco-friendly message that serves as the story’s foundation avoids becoming preachy at any point. The work of the movie’s cast adds its own interest to the movie. The story’s pacing never wavers from beginning to end. Each of its three acts maintains receives the same energy and attention. The end result is a story that will certainly keep audiences entertained and engaged if for that reason alone. The acting and writing add to that mix to make the movie a whole that audiences of all ages will “dig” with just on watch or more. Alpha & Omega: Dino Digs is available now in stores and online. It can be ordered online direct via Lionsgate’s online store at http://www.lionsgateshop.com/search_results.asp?Search=dino%20digs. More information on this and other titles from Lionsgate is available online now at:
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On Tuesday, March 29th Cinedigm will release its new family friendly CG feature Hero Quest in stores and online. The movie, which clocks in at just under the ninety-minute mark (and is Dove-approved) will be available exclusively on DVD. The movie’s fantasy/coming-of-age story is hardly anything new to the literary or cinematic world. But it does not detract from the story. Co-writers Max Fadeev, Gegory Poirier (The Lion King II: Simba’s Pride), and Alexander Krisyakov crafted a story—which is based on Fadeev’s book Savva: Heart of a Warrior—that will entertain the whole family. The story contained within the movie’s script is the central reason for its success. It gives its own take on the fantasy/coming-of-age plot used in a number of other similar movies. The work of the movie’s all-star voice cast is to be noted, too. While the cast is known for working much bigger pictures, its collective work here is just as professional as in those movies. Last but hardly least of note is the movie’s CG-based animation. It rounds out the movie’s presentation. Each element is important in its own right to Hero Quest’s overall presentation. Altogether they make Hero Quest a family friendly movie that is worth at least one watch.
Cinedigm’s new family friendly CG-based movie Hero Quest is hardly the first movie of its kind. Its fantasy/coming-of-age story is one that has been churned out by any number of studios. This includes Hollywood ’s “Big Six” studios (Disney, Warner Brothers, 20th Century Fox, Paramount , and Universal) and the many independent studios out there. Even with the general plot having been presented in previous movies from said studios, it does not detract (at least too much) from the story presented here. The story in question involves ten-year old Savva’s journey to find a magician who he is told will introduce him to a warrior that will help him free his village from a group of evil coyote-looking creatures. Interestingly enough one of the coyotes looks somewhat like Dennis Hopper in Waterworld. That is just this critic’s own take on its look. Getting back on the topic, the story comes across in an almost Wizard of Oz style format. That can be argued as Savva doesn’t face his journey alone. Along the way, he meets a shape-shifting white wolf, a Baron who has been cursed by a witch and his mosquito “companion”, a cowardly monkey/rabbit looking creature named Puffy—Savva even tries to figure out what exactly Puffy is at one point—and a Creole-speaking native princess that resembles one of the ancient indigenous people of Latin America. It’s quite the interesting group of misfits. And each member of the group is headed to see the magician for its own reason. Again, this is very much like The Wizard of Oz. And where that movie had Dorothy and company face off against an evil witch in route to meeting the wizard, Fadeev and Poirier’s story sees Savva and his friends facing off against a three-headed (yes, three-headed) monkey queen voiced by Whoopi Goldberg that doesn’t want the group to reach its goal. So again, the similarities are there. However, even with the similarities so clear, Hero Quest still stands on its own merits. Those merits include the story’s pacing and its ability to seamlessly tie its secondary story lines into its primary story among others. All things considered the general writing behind Hero Quest’s script proves in its own right to be an important part of the movie’s presentation. This is the case even with the movie’s similarities to The Wizard of Oz and other hybrid fantasy/coming-of-age stories. It’s not even covering the whole of the movie’s writing. There are other aspects such as the subtle Christian message presented in one single scene and the references to other movies within its genre. It is collectively just one part of what makes this indie family flick worth the watch. The work of the movie’s all-star cast is just as worth noting as the movie’s writing.
The writing behind Hero Quest is in itself an important part of the movie’s overall presentation. Even with the similarities to The Wizard of Oz and certain other family friendly flicks past and present, the script still stands on its own merits, making it worth at least one watch. As important as the script and its writing is to the movie’s presentation it is just one part of what makes the movie worth at least one watch. The work of the movie’s all-star cast is just as notable to its presentation as its writing. It should be known that the cast, which includes the likes of Sharon Stone (Casino, Total Recall, Basic Instinct), Joe Pesci (Home Alone, Home Alone 2, Goodfellas), Whoopi Goldberg (Star Trek: The Next Generation, The View, Captain Planet and the Planeteers), Jim Cummings (Darkwing Duck, Goof Troop, Curious George), Milla Jovavich (The Fifth Element, Resident Evil 1 – 6, Ultraviolet), and a number of others is just as important to the movie as its writing. It should be noted here that the cast is not the movie’s original voice cast. That is because the movie originally premiered overseas. This is just the movie’s American voice cast. That aside, the American voice cast deserves its due credit. For starters, Goldberg is spot on as the three-headed Mama Zho Zi. Her portrayal of the maniacal monkey is so entertaining because of just how she handled each head’s personality. Between one head’s airheaded personality, another’s vain personality, and the third’s more level-headed yet diabolical personality, Goldberg handled each one with the fullest expertise. Her ability to balance all three polar opposites is impressive to say the least. Never once does she go over the top in her portrayal. What’s more, the fact that she took over the role from another actor and did so as well as she did says even more of her work. She’s just one of the voice actors whose work should be noted here. Lead star Milla Jovavich is just as notable as the voice of Savva. Considering that Savva is only ten years old, it would have been easy to overplay his determination to reach the magician and his reactions to various situations presented to him throughout his journey. But Jovavich is just as impressive in how she handled the role. One example of her ability to handle the role comes as Angee’s (voiced by Will Chase—Nashville, Rescue Me, One Life To Live) real identity is revealed. It would have been so easy to overact in the moment, tears and all flowing as Savva finds out Angee’s secret. But Jovavich handled the moment quite well. She caught Savva’s shock and feeling of betrayal in the moment very well. In the same vein Savva’s eventual feeling toward Angee at the story’s end is just as impressive. Once again she doesn’t ham it up where she easily could have done so. But she gets the moment just right, thus making audiences feel for Savva and feel even happier for him at the outcome. It’s just another way in which the voice cast’s work proves to be so integral to the movie in its presentation to American audiences. Sharon Stone’s take on Puffy the monkey/rabbit hybrid is just as entertaining. Some might even dispute this but hers is a portrayal that stands out among her cast mates. Maybe it’s just because Puffy is for all intents and purposes the story’s comic relief. But even as that comic character, Stone generates her own share of laughs. One of her brightest moments comes as Puffy is mistaken for a god by Shaman Shi-Sha’s people. The rain dance that Puffy does to try to prove his/her (Puffys’ gender is never really revealed in the story) status will put a smile on any viewer’s face and more than just one laugh from every viewer’s lips. Puffy’s constant fainting spells at the first sign of danger are just as funny for viewers. That is because it doesn’t take long for them to become a running gag. The way in which Stone handled those moments is just as entertaining. Yet again it’s one more way in which the work of the movie’s American voice cast proves integral to the movie’s presentation. The rest of the cast can be cited just as easily for its work, too. Regardless of which cast member(s) is/are cited the result proves the same. Each member of the case proves equally entertaining in his or her own fashion. Their work and that of the script’s scribes strengthens the movie even more making for even more reason for families to see the movie at least once. Even with this in mind there is still one more important element to note of this movie. That final element is the movie’s CG-based “animation.”
The work of Hero Quest’s writers and that of its American voice cast collectively give the movie plenty of reason to watch the indie family flick at least once. That is because of the attention paid to each role by the actors and to the script on both a micro and macro scale. While both elements exhibit their own importance to Hero Quest’s overall presentation, they are not the movie’s only notable elements. The movie’s CG-based “animation” is just as important in its own right to the movie’s presentation. The “animation” in question gives the movie in whole the look of something lifted right from a video game. The catch is that it looks like something taken from a modern video game on the PS4, X-box or other system more so than an older PC-style game. In other words even as much as it looks more like a video game than anything churned out by say Pixar, Dreamworks, or other studios, looking like a modern video game could actually be considered a good thing. That is because to a certain extent it could be argued that thanks to having that look it establishes its own stylistic identity separate from the movies turned out by those other, more well-known studios. It also doesn’t look like something that was just tossed together in slapdash fashion. Believe it or not there are CG-based features out there that look that bad. And they don’t come just from indie studios, either. Keeping this in mind Hero Quest’s look may not stand out entirely. But in comparison to other CG-based features it plays its own part in the whole of the movie. Together with the work of the movie’s American voice cast and that of the movie’s writers all three elements come together to make Hero Quest an animated indie family flick that is worth at least one watch.
Indie movie studio Cinedigm’s new CG-based family flick Hero Quest is not the first movie of its kind to be turned out by movie studios at any level. Its fantasy/coming-of-age plot line has been used before in other movies at every level. And there is no denying its similarity to The Wizard of Oz when one closely examines its story line. Even considering all of this it still does not detract from the movie’s script. That is because of the changes made to the script to make it stand out at least somewhat from those movies. The work of the movie’s American voice cast serves as its anchor. Between the expertise of stars Milla Jovavich, Jim Cummings, and Sharon Stone (among others), the movie’s American voice cast will keep audiences of all ages entertained. The movie’s video game style animation plays into its presentation, too. It stands out from the CG-based stories turned out by Pixar and Dreamworks just as much as it stands out from the slapdash pieces released by other studios both big and small. It rounds out the ways in which Hero Quest stands out in this year’s field of family friendly fare. Together with the previously noted elements all three make this presentation one that is worth at least one watch. It will be available next Tuesday, March 29th. More information on this and other titles from Cinedigm is available online now at:
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My Uncle Rafael is the best new independent movie of 2014. And it is arguably one of the best new movies of the year, too. Originally released in 2012, its release this week on DVD marks the first time that it has seen the light of day in home release format. And while it obviously owes a certain amount of its success to Robin Williams’ 1993 hit movie Mrs. Doubtfire, it still manages to stand strong on its own merits as a movie that is at least somewhat original in its presentation. That is the central point of the movie’s success. It has all the heart and wit of Mrs. Doubtfire without Robin Williams’ cross-dressing and manic character portrayal. And while it does maintain at least some similarity in its approach to the family-fixing plotline, it approaches the issue through a multi-cultural avenue rather than that of a desperate father. Sign of the times, it would seem. Just as important to the movie’s enjoyment is the acting on the part of the movie’s cast. It would have been so simple for the cast, which is relatively well-known and experienced to treat the movie like the independent movie that it is. But each member of the cast approached this work with the same seriousness used in its other performances. The professional approach taken by the cast of My Uncle Rafael adds so much enjoyment to the movie. It adds so much especially considering the quality of the movie’s production values. While released via an independent studio—TNP Films—the movie’s production values are just as quality as anything released by any of Hollywood’s “Power 5” studios. That actor, along with the work of the cast and of the movie’s writers, makes My Uncle Rafael a complete joy for audiences of almost any age. Again, it isn’t the first time that the story presented here has been utilized for a movie. But its execution makes it a move well worth the watch.
The story that is presented in My Uncle Rafael is not the first of its kind. It is the story of an outsider coming into a family’s home and fixing said family. It has been used numerous times in the past. In 1993, it was presented in the hit movie Mrs. Doubtfire. Two years prior, it was used in pro-wrestling legend Terry “Hulk” Hogan’s family comedy Suburban Commando. And to a lesser extent it was also used in Vin Diesel’s 2005 flash-in-the-pan flick The Pacifier. It could even be argued that a similar formula was used way back in the 1989 John Candy dramedy Uncle Buck. Considering all of this, it leaves one wondering how many other ways in which the “family fix” formula could be used without it being stale and unoriginal. Enter My Uncle Rafael. My Uncle Rafael (not to be confused with Joe Pesci’s 1992 dramedy My Cousin Vinny—yes that bad pun was intended) takes the classic “family fix” formula and updates it by incorporating a multi-cultural theme into the story. Most interesting here is the fact that the duo used an elderly Middle Eastern man as the movie’s central figure. This was really interesting especially considering the tensions between Americans and those of Middle Eastern descent currently living in the United States. It’s an angle that few if any writers would even begin to attempt. For that alone, Pirhamzei and Yagemann are deserving of a certain amount of credit. That the duo didn’t try to make a direct light of Rafael’s nationality as a soap box makes the script even more worthy of applause. Omitting that from the script makes the rest of the story far more enjoyable and in turn more memorable.
The script behind My Uncle Rafael is not the first of its kind. That goes without saying. But there are aspects of the script that make it surprisingly enjoyable. As enjoyable as the movie’s script proves to be in the long run, it would be nothing without the abilities of the movie’s cast. John Michael Higgins (Yes Man, Happily Divorced, Bad Teacher) brings plenty of experience to the movie as do Missi Pyle (The Artist, Charlie and the Chocolate Factory, Gone Girl), Anthony Clark (Yes, Dear, Boston Common, Soul Man), Joe Lo Truglio (Role Models, Wreck-It-Ralph, Pineapple Express), Carly Chaikin (Suburgatory, The Last Song, In A World…), and Rachel Blanchard (Clueless—TV Series, 7th Heaven, Are You Afraid of the Dark). The competition between Higgins’ Damon and Clark’s Jack makes for plenty of laughs. It is a competition much like that seen in Mrs. Doubtfire. Missi Pyle is just as entertaining as she becomes caught up in the movie’s central love triangle all while trying to maintain her place as mother to her children. But it is really Vahik Pirhamzei’s portrayal of the loveable Uncle Rafael that really shines. Pirhamzei’s portrayal gives Uncle Rafael so much heart and warmth. He makes Rafael loveable not only to his fellow characters but to audiences, too. One can’t help but agree in watching Rafael that maybe the uncle really is at the center of everything. Only audiences that watch the movie or have watched it will get that reference. In hindsight, Rafael’s portrayal makes that line make perfect sense. That isn’t to take away from Pirhamzei’s cast mates by any means. Both the more well-known actors and the lesser known cast members add their own enjoyment to the story in whole, too. But it is his portrayal that holds everything together and makes each of his cast mates’ portrayals all the more entertaining with the end result of the cast in general doing its own part to show once again why My Uncle Rafael is this year’s best new independent movie and one of the year’s best movies overall.
The writing that went into My Uncle Rafael and the acting on the part of the movie’s cast both play their own important part in the overall success of this surprisingly entertaining story. Rounding out the presentation is its production values. Being that this movie is independent, one would think that it would not have the production values of its bigger name family friendly counterparts that have come before. But the reality is that its production values are quite high. That includes the movie’s cinematography, its backdrops, costumes, and all other elements that went into bringing the movie to life. Having such quality production values, it makes sense that the largely veteran cast would want its portrayals to be just as high quality. The combination of that high quality acting and equally high quality production values adds to the ability of audiences to suspend their disbelief and in turn allow themselves to be immersed into the story and thus offer it the chance that it quite well deserves. In giving it the chance that it deserves, audiences will agree that this movie is just as enjoyable as its more well-known predecessors and that it is one of this year’s best new movies as well as the year’s best new independent movie.
Lionsgate’s latest CG animated feature Jungle Master is one of the year’s more welcome family features to come along so far in 2014. Unlike so many of the movies released in recent years by Dreamworks and Disney/Pixar, Jungle Master actually takes the road less travelled. The movie’s animation is the most obvious way in which it takes that road less travelled. Despite being a CG presentation, it doesn’t bare that cookie cutter appearance of the movies released by Dreamworks and Disney/Pixar. Another reason that it stands out is its run time. The movie’s run time comes in at just under the ninety-minute mark. That’s a very good thing and will be discussed later. Last but not least of all that makes this movie stand out is its script. The story lifts lightly from The Wizard of Oz believe it or not and adds in a touch of Avatar for good measure as well as other sci-fi flicks. The end result is a story that the while it may never be as big as anything from Dreamworks or Disney/Pixar, is still enjoyable in its own right. It proves to be a movie that the whole family should watch together and will enjoy together when they do watch it together.
Jungle Master is not one of the most well-known family flicks to be released by any of Hollywood’s major studios this year. That aside, it still proves in the long run to be one of the year’s more welcome family friendly flicks. One reason for that is the movie’s “animation.” Lionsgate’s CG features are completely unlike those of Dreamworks and Disney/Pixar in the realm of animation. It’s almost impossible to tell Dreamworks’ CG movies from Disney/Pixar’s because they all look alike. The only way to really differentiate the two studios’ works is by the studio names. That speaks volumes. Lionsgate on the other hand has strived to keep itself separate from the mold used by those studios in terms of its animation. The look of Lionsgate’s CG movies is rawer for lack of better wording. But it isn’t raw to the point of looking like some pieces from perhaps independent studio Engine 15 Media Group and others. There is actually some attention paid to detail with Lionsgate’s CG movies, including this one. That attention to detail helps Jungle Master maintain its own identity separate from its bigger name counterparts from Dreamworks and Disney/Pixar. It even helps the movie to maintain its own identity from Lionsgate’s previously released CG features. That mostly original look is just one of a number of positives that surround Jungle Master and make it stand out among this year’s crop of CG movies.
The largely original look of Jungle Master plays a key role in the movie’s ability to keep audiences engaged through its entire eighty-two minute run time. That run time is another reason that families will enjoy this movie. It doesn’t even reach the ninety-minute mark. That relatively short run time drastically increases the chances of keeping audiences engaged from start to finish. This is especially the case with the movie’s target younger audiences. Most of the CG movies released since 1995—which is when Pixar broke the mold and released Toy Story—have averaged about ninety minutes. There have been a small number of movies that have come in just under that time. But most either reach the ninety-minute mark or go well over it as was the case with Toy Story 3. That movie came in at almost forty-five minutes. Luckily its story worked well enough that it still succeeded and quite well at that. Speaking of story Jungle Master’s story works wonderfully with its run time. Its story combines elements of a number of other movies to make a story that somehow actually works. It’s one more way in which Jungle Master works and makes itself one of this year’s more welcome family films.
Both the look of Jungle Master and its run time are important to the movie’s overall success. They each play their own important role to the overall presentation as they both have an impact on whether or not audiences are kept engaged. Luckily, both factors succeed by themselves and together. As much as they succeeded, the look of Jungle Master and its run time are not all that made this direct-to-DVD feature work. One would be remiss to ignore the movie’s script as an equally important part of the whole. The movie’s script centers on a twelve year-old girl named Rainie (pronounced rainy) who runs away from home ater her mother forgot about her birthday. It is assumed by the fact that Rainie was upset enough to run away that her mother (who remains nameless throughout the movie) has probably left Rainie alone more than once. Her decision to run away ends up taking her to al alien planet and a much biger adventure that is directly linked to the company for which her mother works. It’s thanks to her adventure that Rainie realizes her mom hasn’t intentionally ignored her, obviously leading to an eventual reconciliation between mother and daughter. The central story of the parent/child relationship is obviously anything but new. It’s been done more times than a person can count on his or her own two hands. However, the story’s execution is what makes this plot work. Screen writer Steve Kramer lifted liberally from the likes of The Wizard of Oz and Avatar to make this story. While he obviously lifted from the noted movies, Kramer didn’t try to just remake them and mix them together. He used them more as influences for his story about family. What’s more he balanced said elements quite well; well enough in fact that audiences will be moved to overlook the references to said movies and enjoy the presented story.
Kramer’s re-telling of original writer/director Xu Kerr’s story is one of the most important of this movie’s aspects in considering its level of success. He obviously used at least a couple of rather well-known movies that have come before as both influences and elements of this movie. But he also didn’t try to just rip off either work. He balanced them together to make a largely original story that centers on family. That creativity and homage still is not all that makes this movie work. One should also take into account the movie’s cast and even its bonus shorts. Victoria Justice (Victorious, Victoria Justice, iCarly), Jane Lynch (Glee, Hollywood Game Night, Wreck–It–Ralph), David Spade (Just Shoot Me, The Benchwarmers, Tommy Boy), Josh Peck (Drake & Josh, Ultimate Spiderman, Ice Age: Continental Drift), Christopher Lloyd (Cyberchase, Back to the Future 1 – 3), and John Lovitz (Saturday Night Live, The Critic, Gorwn-Ups 1 & 2) make up the movie’s cast. Lovitz proves to be the real star of the story with his comical antics voicing Mulla. The fact that so many well-known names overall would feel confident enough about such a movie makes it even more worth the watch. And the bonus shorts included with the movie will entertain children for a little while after the movie ends. These extra positives combined with the positivews already noted make Jungle Master a movie well worth at least one watch together by any family. It is available now in stores and online. More information on this and other releases from Lionsgate is available online at:
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