Tag Archives: Children

1968 Films, Anna Quayle, Benny Hill, British, Children, Desmond Llewelyn, Dick Van Dyke, Fantasy, Gert Fröbe, International Fantasy, International Musical, Ken Hughes, Lionel Jeffries, Musical, Robert Helpmann, Sally Ann Howes

Chitty Chitty Bang Bang-1968

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Chitty Chitty Bang Bang-1968

Director Ken Hughes

Starring Dick Van Dyke, Sally Ann Howes

Scott’s Review #1,490

Reviewed August 13, 2025

Grade: B

With a strong connection to James Bond, especially when looking beneath the most obvious details, Chitty Chitty Bang Bang (1968) offers pure escapist fun in the fantasy genre.

Albert R. Broccoli, who produced many of the 007 films, also serves as producer, a surprise given the differing genres. Furthermore, Ian Fleming, who wrote a series of James Bond books, also wrote the novel Chitty Chitty Bang Bang in 1964.

The screenplay was written by the famous British children’s author, Roald Dahl (James and the Giant Peach and Charlie and the Chocolate Factory), whose handprint can be noticed as well.

I missed some of the subtle and not-so-subtle trimmings upon my viewing until taking a deeper dive into research. I also did not know the James Bond connection before watching the film.

One day, in rural England, young siblings Jeremy and Jemima meet the striking Truly Scrumptious (Sally Ann Howes), who falls for their widowed father, Caractacus Potts (Dick Van Dyke), despite coming from different backgrounds.

Potts tinkers with various oddball inventions, including the family’s noisy rebuilt car, Chitty Chitty Bang Bang, which they name because of its unusual engine noises.

Caractacus tells Truly and the children a fantastical fable about the villainous Baron Bomburst (Gert Fröbe) and his evil designs on the Potts family car.

This becomes the central part of the film and the adventurous events that the family experiences.

For much of the film, events meander a bit more than I would have liked, and there seems not to be a clear direction. There were also too many over-the-top moments, mostly involving Caractacus’s wacky father (Lionel Jeffries) and various bumbling villain accomplices.

While enjoyable, the action felt silly and cartoonish.

After the intermission, the family ‘flies’ by car to a lavish castle owned by Bomburst in the childless nation of Vulgaria. There, they encounter frightened townspeople and the scary Child Catcher, wonderfully played by Robert Helpmann.

The colorful sets and art direction lend a helping hand to the secret of why there are no children in Vulgaria. We experience an odd yet witty toymaker played by Benny Hill and a splendid cat and mouse sequence involving human jack-in-the-boxes.

Later, a hidden grotto beneath the castle explains the mystery of where the town children are being kept and why.

While the Baron and Baroness (Anna Quayle) are unbelievably silly, the romance between Caractacus and Truly takes off and cements my investment in the pair.

Obviously and satisfyingly, they experience a happily ever after send-off after a couple of hiccups.

Van Dyke and Howes have dynamic chemistry despite Howes being a runner-up to Julie Andrews, who turned down the role, fearing it was too similar to Mary Poppins.

Fröbe (the diabolical title character from 1964’s Goldfinger) and the actor who played the familiar Bond character, Q (Desmond Llewelyn), make appearances. 

The Chitty Chitty Bang Bang car is practically a character in itself, boasting special powers and gadgets reminiscent of numerous unique Bond cars, and serves as a good comparison.

Finally, the name Truly Scrumptious is a similar character name, albeit much more family-friendly, to Pussy Galore from Goldfinger.

Of course, since Roald Dahl is involved, it’s no wonder children are in peril.

Other than the award-nominated title song, which is easy to hum and hard to forget, the other songs pale in comparison to this standout. I’d give second place to Trudy’s earnest ‘Lovely Lonely Man, a decent song.

For a family-ready affair with deeper particulars for eagle-eyed viewers to spot, Chitty Chitty Bang Bang (1968) is recommended around holiday time when other pleasant children’s musicals make their emergence.

The film would serve as a perfect warm-up act to the superior but companionable Oliver! (1968).

Oscar Nominations: Best Song- Original for the Picture, ‘Chitty Chitty Bang Bang’

#33 Favorite Film, 1939 Films, Bert Lahr, Billie Burke, Charley Grapewin, Children, Clara Blandick, Fantasy, Frank Morgan, Herman J. Mankiewicz, Jack Haley, Judy Garland, Margaret Hamilton, Mervyn LeRoy, Musical, Ray Bolger, Top 100 Films, Top 250 Films, Top 50 Films, Victor Fleming

The Wizard of Oz-1939

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The Wizard of Oz-1939

Director Victor Fleming

Starring Judy Garland, Ray Bolger, Frank Morgan

Top 250 Films #33

Scott’s Review #34

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Reviewed June 17, 2014

Grade: A

The Wizard of Oz is a magical film and one of my all-time favorites. Made in 1939, it still holds up amazingly well, and the nuances continue to be admired, especially given the period in which it was made. 1939 and Gone With the Wind belong to this film, as both were and are true classics.

This film is so deeply embedded in people’s minds that it can be challenging to examine it objectively. I fondly recall watching this gem annually as it aired on television each holiday season—traditionally around Thanksgiving if memory serves.

It’s a marvel from start to finish and masterfully artistic. How creative to show the first portion in black and white with dusty muted colors, not to mention the astounding twister sequence- done using a stocking.

Then, we are introduced to a magical world filled with luscious colors and the mind-blowing depth of art direction. Munchkin-land, Glinda the Good Witch, and Emerald City are beautiful, lavish, and treat.

Who does not become teary-eyed during Judy Garland’s rendition of “Somewhere Over the Rainbow”? The poignancy is given by the tragic (yet successful) life the star would lead.

Margaret Hamilton’s performance as the Wicked Witch/Elmira Gulch is deliciously nasty. She almost sneers at the camera as she mocks Dorothy, who whimpers in tears while missing Auntie Em. One can tell she thoroughly enjoyed this role.

And The Wizard of Oz is not simply a pop culture hit- it has merit and creativity. The special effects hold up tremendously well and were simplistic back then. There was no CGI in those days, but it was, in many ways, better than today’s CGI.

Audiences of all ages must see this film at least once, preferably on Blu-Ray. Judy Garland, later a tragic, troubled, and lost figure, captures an innocence that has been sadly lost through the years.

The characters (The Cowardly Lion, Scarecrow, and Tin Man) are perfectly cast and uniquely created without being too over-the-top.

Very few films are timeless, and this is one of them.

Oscar Nominations: 1 win-Outstanding Production, Best Song-“Over the Rainbow” (won), Best Art Direction, Best Special Effects

#35 Favorite Film, 1971 Films, Children, Fantasy, Gene Wilder, Jack Albertson, Musical, Roald Dahl, Top 100 Films, Top 250 Films, Top 50 Films

Willy Wonka and the Chocolate Factory-1971

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Willy Wonka and the Chocolate Factory-1971

Director Mel Stuart

Starring Gene Wilder, Jack Albertson

Top 250 Films #35

Scott’s Review #206

60020949

Reviewed December 18, 2014

Grade: A

More than just a children’s movie, Willy Wonka and the Chocolate Factory (1971) is a terrific, imaginative, fantasy film that is timeless and meant for all ages to enjoy.

The mastery and creativity of the sets and art direction are astounding, and the story is sweet, whimsical, and captivating. Often, with children’s movies, we are treated to stories that are either dumb or contrived, which will entertain five-year-olds but bore or cringe adults.

Willy Wonka and the Chocolate Factory is none of the above. It is intelligent, filled with magic, and has a heart.

Charlie Bucket is a poor child whose mother earns a living by washing clothes. Along with his four bedridden grandparents, they lives a meager existence in a small cottage somewhere in Europe.

Particularly close with his Grandpa Joe, the two of them become obsessed with a contest held by mysterious Willy Wonka, the owner of an enormous chocolate factory nearby.

The contest consists of five “Golden tickets” being hidden in Wonka bars. The five lucky winners will receive a lifetime supply of candy and a tour inside the long-since-closed chocolate factory.

After a series of circumstances, Charlie obtains one of the tickets and the adventure begins.

The build-up to the trip into Willy Wonka’s factory is gripping- mainly because the viewer knows that a magical treat is in store and is filled with curiosity- what will the chocolate factory look like? What is Mr. Wonka like?

The four other winners- Augustus Gloop, Veruca Salt, Violet Beauregarde, and Mike Teevee are all unique and creatively written characters- all spoiled brats in their way, so Charlie is the “normal” child and has a true rooting value to him.

As the five children, along with a designated parent- or in Charlie’s case, Grandparent, begin their journey throughout the chocolate factory the audience is treated to a psychedelic experience with fantastic sets- a river made of chocolate, an entirely edible garden, lickable wallpaper, a bubble room, and a frightening riverboat.

The film is bright and colorful within the walls of the factory which perfectly contrasts Charlie’s dreary existence in the outside world.

As the four bratty children meet their fates in joyfully imaginative ways- gum chewer Violet blows up like a blueberry after chewing experimental Wonka gum that she is warned not to, Veruca is deemed rotten after throwing a fit and topples down a garbage chute.

The film is breathtaking and imaginative, filled with wonderment.

Gene Wilder plays the role of Wonka as over-the-top and it works tremendously.

All of the child actors play their roles competently as each character is distinguished from the others.

I love the scary riverboat tunnel scene as it is frightening, psychedelic, and magnificent. I also love the contrast between the enchanting colorful second half to the bleakness of the first. The sets are some of my favorites in their lavishness.

Specifically, the relationship between Charlie and Grandpa Joe is wonderful. Grandpa Joe is a father figure to Charlie, but so is Willy Wonka in a completely different way.

The greed of the children is also interesting and one hurrahs as each one gets his or her comeuppance.

The songs from the film are remarkable and quite cutting edge- each time one of the lucky five golden ticket winners meets their doom, the Oompa Loompas sing a tune that visually has weird shapes and colors-psychedelic and very hippy, of the late 1960’s-early 1970s era.

Other numbers such as “I’ve Got a Golden Ticket”, “Cheer up Charlie”, and “The Candy Man” are memorable.

A film for the ages, Willy Wonka and the Chocolate Factory (1971) is a celebration of creative film and quite cerebral at times and is far superior to most children’s fantasy/musical films.

Skip the 2005 remake starring Johnny Depp and enjoy the original.

Oscar Nominations: Best Scoring: Adaptation and Original Song Score

#38 Favorite Films, 1968 Films, Best Picture Oscar Winners, Carol Reed, Children, Harry Secombe, Hugh Griffith, Jack Wild, Joseph O'Conor, Mark Lester, Megs Jenkins, Musical, Oliver Reed, Ron Moody, Shani Wallis, Top 100 Films, Top 250 Films, Top 50 Films

Oliver!-1968

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Oliver! -1968

Director Carol Reed

Starring Mark Lester, Oliver Reed, Jack Wild

Top 250 Films #38

Scott’s Review #203

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Reviewed December 10, 2014

Grade: A

Oliver! is a 1968 film based on Charles Dickens’ novel Oliver Twist, which was later adapted into a successful stage musical. The film surprisingly won the Academy Award for Best Picture that year.

Surprising, not because Oliver! is poor, it is magnificent, but it was not predicted to take home the honor.

Telling the tale of the woeful orphan Oliver, the film comes across as a dark musical with a wholesome, happy-ending feel, primarily because of its musical compositions, which inevitably lend a cheerier tone.

When the film begins, Oliver lives in a despicable orphanage outside of London. A drawing of straws forces meek Oliver to ask for more gruel.

After being deemed a problem child, he is sold for cheap to an undertaker, where he is bullied. Defeated, Oliver makes his way towards the big city in hopes of finding his fortune.

He then meets sinister characters such as Fagin, the Artful Dodger, and Bill Sikes, as well as the sympathetic Nancy and Mr. Brownlow.

I love the musical numbers in the film, and for me, they are the strongest aspect of Oliver. The film would have been much darker had it not been for the musical.

Numbers such as “Consider Yourself”, “Food, Glorious Food”, and “As Long As He Needs Me” stick with audiences for days.

The entertaining songs lighten the somber moments- as noted earlier, when meek Oliver dares to ask for more gruel, the enchanting “Food Glorious Food” cannot help but be hummed along to, which lightens the mood of the scene.

I also enjoy how the film contains the long-ago popular trend of containing two acts with an intermission in between- very grand and classy, and an aspect of the film I wish would return in today’s movies.

The London art direction is magnificent, revealing a cold, industrial feel, mixed in with a warm, sunny atmosphere when Oliver stays at the palatial estate of Mr. Brownlow.

The bright and enchanting musical number “Who Will Buy?” is the perfect backdrop for this setting and my favorite number.

Nancy (Wallis) is one of the most complex characters- a prostitute, she happily sings, in denial about her life, in “It’s a Fine Life”, secretly wishing her life was better than it is.

Later, conflicted over helping Oliver or standing by her man, she sings a melancholy number, “As Long As He Needs Me”, which cements her role as a tragic, sad character.

However, as she leads a drunken barroom in a dance of “Oom-Pah-Pah”, the drama is thick when she attempts to help Oliver at the risk of putting her own life in severe jeopardy.

Shani Wallis fills the character with heart and feeling.

Oliver! is a much darker film than one might imagine.

Curiously rated G, the film should have at least been rated PG. The film’s heart is that of a children’s movie- to me personally, a turn-off, but the film is much stronger than that.

Some subject matters (like pedophilia) are toned down from Dickens’ novel, but not completely toned down.

Examples- the novel made clear overtones of child abuse by the thieves by Fagin, yet there is none of that in the film. Contrasting this, the film blatantly shows the beating death of Nancy, albeit out of camera range, but the audience gets enough of a glimpse to ascertain what is happening.

The shooting and swinging death of Bill Sikes borders on brutality.

A glaring flaw of the film is that Oliver’s voice is dubbed by a female singer rather than actor Mark Lester. To me, it’s pretty apparent the voice is not male.

The character of Bill Sykes is convincingly played by Oliver Reed, nephew of director Carol Reed.

Perfect around holiday time, Oliver! (1968) is a terrific musical drama, to be enjoyed for eons to come.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Carol Reed (won), Best Actor-Ron Moody, Best Supporting Actor-Jack Wild, Best Screenplay Based on Material from Another Medium, Best Score of a Musical Picture-Original or Adaptation (won), Best Sound (won), Best Costume Design, Best Art Direction (won), Best Cinematography, Best Film Editing

#129 Favorite Film, 1942 Films, Animated, Children, Clyde Geronimi, David Hand, Disney, Drama, Eric Larson, Favorite Film of the Year, Top 250 Films

Bambi-1942

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Bambi-1942

Director David Hand

Starring Various voices

Top 250 Films #129

Scott’s Review #556

Reviewed December 22, 2016

Grade: A

Bambi (1942) is one of my favorite classic Disney animated features. It is simply a lovely, endearing, and heartbreaking tale.

Gorgeous and flawless, the film conveys a clear message about animals yearning for peace in a world where hunters seek to disturb and kill the graceful deer.

After all these years, this message still resonates loud and clear, sad, heartbreakingly. All deer hunters should watch this film and dare to take a shot.

Bambi was released during the Golden Age of Disney films, which was led by notable films such as Snow White, Dumbo, and Pinocchio, among others.

We first meet baby Bambi as his dear mother nurtures and nestles him, fawning over him with pride and teaching him the joys of the forest. Bambi’s father is the Great Prince of the Forest- protector of all the creatures of the land.

Bambi’s mother (unnamed) warns an exuberant Bambi to be cautious of the gorgeous yet dangerous meadows, where the deer are vulnerable and unprotected.

During the film’s famous gut-wrenching scene, tragedy occurs, and violence disrupts the peaceful forest, leaving Bambi alone, lost, and devastated, forced into a cruel world of tragedy, realism, and responsibility.

The scene gets to me every time, as we see the pain and harshness of life for the sweet deer, to say nothing of the other animals in the forest —namely, Thumper (a rabbit) and Flower (a young Skunk).

These characters are Bambi’s best friends. The dripping teardrop that oozes from Bambi’s eye can never be forgotten.

To counterbalance the film’s darkness, Disney successfully incorporates cheerful scenes of the animals dancing and interacting with each other as a unified community.

This is nice, as it shows the power and bond between the creatures – they are united as a family and take care of one another. I love this message, especially as young people will watch the film for the first time.

There is also a sweet romance offered between Bambi and Faline.

Watching the film and listening to the musical score is a way to experience sheer beauty. The music makes the film powerful- its classical and operatic elements are gorgeous and will elicit emotions.

Visually, each frame is a drawing set against a still, and it is magical to watch and marvel at the amount of work that undoubtedly went into this preparation.

In the end, the circle of life comes full circle. Bambi becomes the Great Prince of the Forest, replacing his father as the protector. Now, all grown up with two tiny babies of his own, he must protect his family and friends.

Life goes on. This is a sad yet realistic message. How brave Disney was in creating a masterpiece like Bambi.

Personal satisfaction is observing my beloved female feline friend, Thora, become mesmerized and attentive to the film each time I watch it.

Disney’s Bambi is a wonderful, cherished treasure that evokes emotions and conveys a valuable, poignant message. It is a timeless masterpiece to be enjoyed for generations to come.

One will not escape the film with dry eyes, a testament to the marvelous filmmaking involved.

Oscar Nominations: Best Scoring of a Dramatic or Comedy Picture, Best Original Song-“Love Is a Song”, Best Sound Recording

#138 Favorite Film, 1941 Films, Animated, Ben Sharpsteen, Children, Clyde Geronimi, Disney, Fantasy, James Baskett, Les Clark, Top 250 Films, Wilfred Jackson, Wolfgang Reitherman

Dumbo-1941

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Dumbo-1941

Director Ben Sharpsteen

Starring Various voices

Top 250 Films #138

Scott’s Review #559

Reviewed December 24, 2016

Grade: A

One of the best-produced (and at sixty-two minutes, one of the shortest) of the classic Walt Disney films of the golden age, Dumbo, in a similar fashion to another Disney classic, Bambi, is both heartbreaking and mixed with fun entertainment.

It should be heralded and viewed by everyone —children and adults alike —and teaches a valuable lesson in acceptance and tolerance, messages that never go out of fashion, despite the film being made in the grand old year of 1941.

To draw more comparisons to Bambi, we are introduced to the title character, Dumbo, who is nuzzled and cherished upon being brought into the world by storks by his warm and affectionate mother.

Dumbo is an elephant, and his mother is a circus elephant, where she spends her days as entertainment, along with a group of other female elephants —none of whom possess her grace, kindness, or dignity.

Sweet Dumbo is born with an imperfection- he has enormous ears. While others —namely the female elephants —ridicule and stare in horror at the lovable little elephant, his mother embraces and cuddles her little bundle of joy, eliciting a genuine, good-natured warmth rarely seen in cinematic history.

There is something innately good about this character (Mrs. Jumbo). She has a richness and way about her that is fantastic and consuming.

Sadly, one day, while entertaining the masses, a bratty human child taunts Dumbo, causing Mrs. Jumbo to go ballistic and immediately go into protection mode.

She was then deemed a “mad elephant”, shackled, chained, and worse yet- separated from her baby. How anyone can watch this portion of the film and not shed a tear or get a lump in their throat is beyond me.

Walt Disney was a master at eliciting raw emotion from his audience and writing heartbreaking yet charming stories.

The centerpiece of Dumbo is the extraordinary bond between mother and son —a sweet and powerful connection that almost everyone can relate to. The pride and joy in Mrs. Jumbo’s eyes when she is granted a visit from Dumbo while she is imprisoned is magical – it means the world to her.

The supporting characters are key to the richness of the film- Timothy Q. Mouse is an essential character in the story. Upon Dumbo and Mrs. Jumbo’s separation, he becomes Dumbo’s only friend, sympathizing with Dumbo, and is instrumental to Dumbo’s reunion with his mama as well as his future successes in the circus.

The bitchy female elephants are crucial, too- despite being one of their own, they still reject Dumbo and Mother. There are some light moments, such as when the ladies, (Catty, Giddy, and Prissy), gossip and act superior to others.

Another fun scene, to balance out the heavy drama, occurs when Timothy and Dumbo accidentally mistake champagne for water, causing them to hallucinate and imagine pink elephants.

Dumbo is essential in that it sends a powerful message about the way animals (especially circus animals) have historically been treated. Why animals should be used to amuse and entertain human beings is anyone’s guess, but this film serves as a powerful reminder of this.

Fortunately, the film has a happy and satisfying ending, which should please fans.

Dumbo (1941) is a timeless animated classic.

Oscar Nominations: 1 win-Best Scoring of a Musical Film (won), Best Original Song

#147 Favorite Film, 1937 Films, Animated, Ben Sharpsteen, Children, David Hand, Disney, Eric Larson, Fantasy, Favorite Film of the Year, Les Clark, Musical, Top 250 Films, Wilfred Jackson, Wolfgang Reitherman

Snow White and the Seven Dwarfs-1937

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Snow White and the Seven Dwarfs- 1937

Director David Hand

Starring Various Voices

Top 250 Films #147

Scott’s Review #625

Reviewed March 18, 2017

Grade: A-

Snow White and the Seven Dwarfs (1937) is Walt Disney’s debut feature-length production and the first animated feature.

Until their release, animated stories were not features at all, but rather shorts that were shown as gag-filled entertainment, not to be taken too seriously.

Snow White and the Seven Dwarfs made animated films something to be appreciated and respected. The 1937 film was re-released in theaters numerous times until the 1990s and serves as a blueprint for what animated features would become.

The film is based on the famous fairy tale of the Brothers Grimm, and it is a cherished treasure.

Beautiful inside and out, Snow White is a lonely princess who lives with her devious, wicked stepmother, the Queen. Making the most of her troubled life, Snow White hums and sings with her bird friends, who gather to keep her company as her stepmother forces her to work as a scullery maid.

The Queen is a vain woman, jealous of Snow White’s natural beauty. She constantly consults her mirror to ask, “Who is the fairest one of all?”

One day, the Queen decides to put an end to Snow White and orders a henchman to kill her in the forest and return her bloody heart to her in a box. When the henchman cannot do the deed, he pleads with Snow White to flee.

She winds up in a bit of cottage housing seven dwarf men, whom she befriends, as the Queen is determined to take drastic measures to find her.

In the late 1930s and for years to come, animated features were not created as they are today. Instead, they were simplistic —and excellent —in using storyboards and drawings in their creation.

This daunting task, along with the creativity involved, makes them just lovely to look at.

Since Snow White and the Seven Dwarfs was the debut animated feature, the drawings are fantastic to view, like pictures, and to appreciate the craftsmanship involved.

The characters are richly created, with bright, vivid colors that distinguish them from one another—Snow White’s bright red lips and the blue and gold colors of her dress contrast with the regal purples used on the Queen, to say nothing of the deep red color of the poison apple.

The color makes the apple appear delicious but also dangerously blood red. These nuances lend the characters depth and texture.

The friendships Snow White forms with the dwarfs and the animal life in the forest are whimsical and filled with love, and the animal element later becomes a staple of Disney’s works, as seen in Dumbo and Bambi.

The animals are naturally drawn to Snow White because she is joyful and kind. They, in turn, warn her of impending danger as the Queen turns herself into an old woman and lumbers towards Snow White, snug in the cottage.

Snow White and the Seven Dwarfs features an old-style romance. The handsome Prince takes a shine to Snow White, noticing her natural beauty as she sings, and is later determined to save her, which he does when he magically kisses her in the film’s finale.

The songs featured only enhance the love story—”Some Day My Prince Will Come” is a lovely ode to romance, tenderly sung by Snow White as she longs for the Prince’s touch, frustrated with her life.

The seven dwarfs are created magically, and seven little men living together seem quite natural in those innocent times.

Each is distinctive—Dopey is my personal favorite in his innocence and playfulness—and Happy, Doc, Grumpy, Sneezy, Sleepy, and Bashful are all written with great zest. We fall in love with each of them from the first moment we meet them as they belt out “Heigh-Ho” in unison.

Since Snow White and the Seven Dwarfs deserve merit for being Disney’s first, it is overlooked that the film omits any family members of Snow White’s besides the evil Queen. Where are Snow White’s father and mother? Any siblings? Indeed, they are presumed dead, but they are never mentioned.

Also, why does the Queen have a Magic Mirror and have special powers that nobody else has?

At one hour and twenty-three minutes, Snow White and the Seven Dwarfs is a relatively brief film, yet it does not feel underdeveloped. The story and the characters are rich with appeal and intrigue, making the film a classic that should be shared with all youngsters.

It is a classic tale of good versus evil and a great love story, setting the tone for other Disney masterpieces to follow.

Oscar Nominations: Best Scoring

#186 Favorite Film, 1970 Films, Albert Finney, Alec Guinness, Children, Christmas, James Cossins, Kay Walsh, Laurence Naismith, Musical, Top 250 Films

Scrooge-1970

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Scrooge-1970

Director Ronald Neame

Starring Albert Finney, Alec Guinness

Top 250 Films #186

Scott’s Review #561

Reviewed December 25, 2016

Grade: A

A classic that is perfect to watch around the holidays, accompanied perhaps by a roaring fire and a bit of brandy, Scrooge (1970) is a magical, musical experience; the entire family should adore it.

The film is a re-telling of the 1843 Charles Dickens story, A Christmas Carol.

Set in London with spectacular London-style art direction, it is perfect in its depiction of life around the holidays in the historic city, circa the nineteenth century.

To be clear, this is the musical version of the popular tale- not to be confused with the 1935 or the 1951 versions of the story.

The film is not as dark or scary as those films are. Rather, the 1970 Scrooge would be a fantastic companion piece to the 1968 classic, Oliver!, both based on Dickens stories, as both mix fantastic musical scores with dramatic elements.

Albert Finney takes center stage in flawless form as the old, cantankerous, miser, Ebenezer Scrooge. He plays the character as both an old man and, via flashbacks, as a young man (Finney was merely thirty-four years old at the time of filming).

Guinness, certainly a high-caliber actor, is effective as the ghost of Jacob Marley- Scrooge’s former business partner. Scrooge is a money-lender, mainly to the working class, and is unforgiving in his collection of debts.

Filled with hatred for all things good, especially the Christmas holiday, Scrooge refuses to attend a family Christmas dinner hosted by his nephew, Fred, or to give to any charities. He begrudgingly gives his minion and bookkeeper, Bob Cratchit, Christmas day off.

Finally left alone on Christmas Eve night, Scrooge is visited by the spirit of Jacob Marley, who tells Scrooge that he will be visited by three ghosts during the night.

In a chilling scene, Marley takes Scrooge on a journey through the sky where he is greeted by spirits doomed to traverse the Earth as Jacob is, with shackles acquired from their life as living beings.

Since they are greedy and wicked, they are doomed in the afterlife, just as Scrooge will be if he does not change his ways.

In a wonderful sub-plot, we get to know the Cratchits, led by father Bob, a poor, but earnest man. The family has little, but make the most of what they do have, and appreciate the glorious holiday. They prepare a meager Christmas bird and savor being together as a family.

Their youngest, Tiny Tim, is lame, and he lusts over a lavish train set in the local toy shop. Cratchit epitomizes goodness and richness of character and contrasts Ebenezer Scrooge.

As Scrooge is visited by the ghosts of Christmas past, present, and Christmas yet to come, he slowly realizes he needs to change his ways before it is too late, and the audience is treated to stories of Scrooge’s youth, as we realize what has made him the miserly old man that he is today.

The clear highlight of this film is its musical numbers that will leave even the most tone-deaf humming along in glee. Throughout each sequence, we are treated to various numbers.

My favorite is “Thank You Very Much”, as first appears during the Ghost of Christmas Yet To Come sequence.

By this time feeling more sympathetic and appreciative, Scrooge merrily dances and sings along with the townspeople, unaware of the fact that they are celebrating his death and are dancing on his coffin to celebrate the fact that their debts are now free and clear.

This catchy tune is a reprise at the end of the film.

Other cheery numbers are “Father Christmas” and “I Like Life”, which perfectly categorize the film as a merry, holiday one, despite the occasional dark nature of the overall film. This is necessary to avoid making Scrooge too bleak.

I also adore the vivid set designs as the gorgeous city of London is perfectly recreated to show the festive Christmas holiday. The film is not high budget but makes the most of it by using small, yet lavish sets.

Scrooge is a perfect holiday film that contains fantastic tunes, and a meaningful story, that comes across on film as a celebratory of life, never edging toward contrived or over-saturated.

A wonderful holiday feast.

Oscar Nominations: Best Original Song Score, Best Song Original for the Picture-“Thank You Very Much”, Best Costume Design, Best Art Direction

#208 Favorite Film, 1983 Films, Children, Christmas, Melinda Dillon, Peter Billingsley, Top 250 Films

A Christmas Story-1983

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A Christmas Story-1983

Director Bob Clark

Starring Peter Billingsley, Darren McGavin, Melinda Dillon

Top 250 Films #208

Scott’s Review #968

Reviewed December 16, 2019

Grade: B+

A festive holiday film sure to be watched during late December, A Christmas Story (1983) is a wholesome family treat with heart and a good slice of Americana. A clever gimmick of an adult narrating the story of his childhood holiday experience feels both fresh and nostalgic.

Some hairstyles, looks, and camera styles feel more like the 1980s than the 1940s and the subject matter of a gun becomes questionable with the passing years, but the film enchants and warms the soul with famous cult classic moments mixed in making the film memorable.

The central character is Ralphie Parker (played as a child by Peter Billingsley and voiced as an adult by Jean Shepard). Nine-years-old and clad in distinguished eye-glasses, he anticipates the approaching Christmas holiday with both excitement and trepidation.

He longs for his dream gift, a Red Ryder Carbine-Action 200-shot Range Model air rifle, which every adult he meets hazards “You’ll shoot your eye out.” Determined, he schemes to find a way to make his dreams come true and his parents to buy that gun, while avoiding the neighborhood bully.

The film has mass appeal in the casting department with each principal actor adding value, and the story just feels warm. With the lesser talent, the results may have been over-the-top, forced, or too melodramatic.

Accolades are especially deserved by Billingsley, who carries the film with his sincerity and giant blue eyes.

He is a natural and fantastic actor, especially during the more emotional scenes. Ralphie’s mother, father, and teacher are wonderful in their respective parts adding the right level of earnestness and pizzazz in support roles.

A Christmas Story gets props for avoiding any silly romantic story-line commonplace in “feel good” films of similar ilk. The plot is clearly defined and the antics of Ralphie make the film fun, but not too sentimental or corny.

Cringe-worthy is the thought of a little neighborhood girl that Ralphie might want to impress. The little boy’s somewhat infatuation with his teacher is innocent and whimsical and not to be taken too seriously.

The incorporation of now-legendary props and story points adds texture and comfort to the viewing experience, especially the lamp in the shape of a woman’s leg and a high-heeled shoe.

The garish prize Ralphie’s father wins after entering a contest becomes his pride and joy making his wife and the neighbors cringe. Assuming the piece is lavish art mistaking the word “fragile” for a fancy Italian word, the scene is humorous.

The final scene of the family being reduced to eating Christmas dinner in a Chinese restaurant after their turkey is ruined still provides a smile.

As the years pass the scene teeters on racist and has been changed during stage productions to avoid controversy. The Asian characters possess too many cliched stereotypes for my taste, but the intent is innocent and wraps the film nicely.

Peculiar and noticeable with each viewing experience, is the glaring locale of Hammond, Indiana when the film is shot in and around Cleveland, Ohio. The famous Higbee’s Department Store in downtown Cleveland is pivotal to the story and world-renowned, so the Indiana locale is perplexing and out of place.

Many may not realize the Cleveland surroundings, but eagle-eyed viewers will take notice. The exteriors look nothing like Indiana.

Known for having aired since 1997 on television stations TNT or TBS in a marathon titled “24 Hours of A Christmas Story”, the event has consisted of twelve consecutive airings of the film on both Christmas Eve and Christmas Day each year.

This has resulted in its being deemed one of the best Christmas movies ever made and exposed new generations to the work.

I’m not convinced it is “the best”, but nothing feels cozier on a cold holiday night snuggled by the fire than this cult classic. 

#224 Favorite Film, 1982 Films, Children, Dee Wallace, Drew Barrymore, Fantasy, Science Fiction, Steven Spielberg, Top 250 Films

E.T. The Extra-Terrestrial-1982

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E.T. The Extra-Terrestrial-1982

Director Steven Spielberg

Starring Henry Thomas, Dee Wallace

Top 250 Films #224

Scott’s Review #756

Reviewed May 10, 2018

Grade: A

E.T. The Extra-Terrestrial (1982) is a wonderful, magical film that will succeed in melting the hearts of anyone with even a tad of cynicism. The film is otherworldly (quite literally) and contains a message of acceptance and appreciation of other beings.

Mixing many humorous moments with tender drama and tears, the film becomes part of a fantasy, science-fiction, and humanistic story. The film still feels fresh and relevant today with a bevy of forever-remembered scenes and references- a wonderful story of friendship.

The audience is immediately introduced to a pack of alien botanists, arriving in a California forest from their faraway planet to study plants one night. When government agents interrupt the peaceful moment, the “extraterrestrials” are forced to depart leaving one creature behind.

When ten-year-old Elliott (Henry Thomas) discovers and begins to communicate with what will come to be known as “E.T.”, the duo forge a wonderful, lasting friendship as they attempt to return E.T. to his homeland.

E.T. The Extra-Terrestrial is crowd-pleasing in every way offering a bit of everything for all of its lucky viewers.

Director Steven Spielberg reportedly made this film as a result of his desire to share a childhood imaginary friend with the world so the charm shines through in this very personal story.

The film contains an overall innocence that is pure benevolence- E.T. teaches Elliott as much as Elliott teaches E.T.

Who can ever forget the pair’s initial interaction as the use of Reese’s Pieces candy became a huge cultural phenomenon? The lovely quote “E.T. phone home!” is still as poignant and teary-eyed as it was in 1982.

Enjoyable and recognizable is E.T. himself becoming a cult figure. Odd-looking, wide-eyed, and yet of a lovable nature, even cute, the filmmakers were careful not to make him too frightening.

Using real actors and distorted voices E.T. became famous, appearing on lunch boxes, tee-shirts, notebooks, and binders throughout the early 1980s.

The film, released in the “modern age” of 1982, provides a genuine portrayal of suburban life at that time.

From the sunny sub-division style neighborhood that Elliott and his family live in, the absent father figure (so common in many 1980s films), the single-mom/divorced parents phenomenon takes hold and makes families like this commonplace.

If made in 1960 Elliott would have had two happy parents and a white picket fence.

Dee Wallace as Elliott’s mother Mary, received several mom roles throughout the decade, portraying them with a wholesome middle-America quality.

Henry Thomas, like Elliott, is crucial to the success of E.T. The Extra-Terrestrial and sadly the actor never did much beyond this great film. While tough to create chemistry with a creature from outer space, the young actor does just that as we see the two as connected friends.

The duo especially shines during the emotional “death” scene and the farewell scene finale.

The other supporting characters rounding out Elliott’s family are well cast and appropriate at relaying what a typical suburban family looks like.

Michael (Robert MacNaughton) is slightly surly yet protective as the older brother and Gertie, played by a very young Drew Barrymore (soon to experience superstardom throughout the 1980s and 1990s) is cute, bubbly, and teeters on stealing the show as the precocious five-year-old.

At its core what makes E.T., The Extra-Terrestrial so appealing is its heart- a sympathetic creature’s desire to return home and be with his loved ones is the main focus.

Only slightly reversed is a comparison to the 1939 masterpiece The Wizard of Oz. As Dorothy yearns to return to her home amid an exotic, unknown, and sometimes scary world, the same can be said for E.T. and this makes both films similar and equally appealing.

Rich with elegance, intelligence, and creativity, Spielberg creates a tale that is both primed for mass consumption and rife for mainstream appeal. Rather than weave a contrived or cliched story, he spins a magical and long-lasting, good story that will appeal to the kid in all of us.

E.T. The Extra-Terrestrial (1982) reaped many Oscar nominations but lost out on the big prize to the epic Gandhi that year.

Oscar Nominations: 4 wins-Best Picture, Best Director-Steven Spielberg, Best Screenplay Written Directly for the Screen, Best Original Score (won), Best Sound Effects Editing (won), Best Sound (won), Best Cinematography, Best Film Editing, Best Visual Effects (won)

#241 Favorite Film, 1970 Films, Animated, Children, Disney, Eric Larson, Hermione Baddeley, Les Clark, Top 250 Films, Wolfgang Reitherman

The Aristocats-1970

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The Aristocats-1970

Director Wolfgang Reitherman

Starring Various voices

Top 250 Films #241

Scott’s Review #570

Reviewed December 29, 2016

Grade: B+

The golden age of Disney films mainly occurred before the release of this film, The Aristocats is a latter-day Disney film, released in 1970- the first release since Walt Disney’s death in 1966.

It is a darling story with a very cute subject matter- cats living in sophisticated Paris face peril from their butler.

Like many Disney works, the film’s message pertains to the treatment of animals. The Aristocats is much safer fare than the dark Bambi or even Dumbo, but it is a fantastic film worth watching.

Glamorous and elegant retired opera star, Madame Adelaide Bonfamille, lives peacefully with her gorgeous mother cat, Duchess, and her three kittens, Marie, Berlioz, and Toulouse in the heart of Paris, circa 1910.

They are sophisticated beyond measure and enjoy every luxury known to cats, and are accompanied in their estate by English butler, Edgar.

One day while Madame is discussing her will with her attorney, Edgar learns that she plans to leave her entire estate to her cats, until their death, then all goes to Edgar.

Filled with greed, Edgar plots to kill the cats. This leads to an adventure in the country as the accosted cats attempt to find their way back home to Madame, with the help of feral yet kindly cat friends.

Ever so sweet to the film is the burgeoning romance that erupts between Duchess and Thomas O’Malley, as he aids the cats in returning to Paris. It is the classic girl from high class, who meets the bad boy from the wrong side of the tracks- only cat style.

The chemistry is readily apparent between the pair and, on a personal note, my female cat Thora certainly seemed smitten with Thomas O’Malley as she sat smiling at Thomas while she watched the film.

During their adventure, Thomas and Duchess manage to dance and sing along with Thomas’s best friend Scat Cat, who leads a Jazz band of alley cats- this makes the film light and lively in tone. The group also shares adventures with English geese, Abigail and Amelia Gabble, who share a fondness for style and a prim and proper manner.

Throughout it all, the group continues to be pursued by Edgar, who is portrayed more as a bumbling villain than a sinister one, making The Aristocats a fun film rather than anything too heavy or sinister.

The sophistication of the film is really what makes me enjoy it so much. The high style of the Parisian city blocks, Madame’s gorgeous mansion, and the beautifully drawn French countryside are my favorite elements.

I love the contrasts in this film- the city and the country. The high-brow characters meet the more blue-collar ones, but in the end, everyone comes together to conquer the mischievous foe.

Whereas in Bambi man is the serious enemy, in The Aristocats, Edgar is more of a buffoon than a truly dangerous element. He is cartoon-like (no pun intended), and the film is more of a caper with hi-jinks than of true danger.

For the cat lovers in all of us, The Aristocats is a delightful film with a nice message and a wonderful cultural experience.

Who can forget the fantastic theme song, “Ev’rybody Wants to Be a Cat”?

1989 Films, Adventure, Aleks Darowska, British, Children, Emily Hudson, Fantasy, Mel Smith, Stephanie Beacham, Stuart Olme

The Wolves of Willoughby Chase-1989

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The Wolves of Willoughby Chase-1989

Director Stuart Olme

Starring Stephanie Beacham, Emily Hudson, Aleks Darowska

Scott’s Review #1,418

Reviewed January 20, 2024

Grade: B+

The Wolves of Willoughby Chase (1989) is a British dark fantasy film directed by Stuart Orme in his theatrical directorial debut. Most notably a rock video director, I am unsure if Orme ever directed another film.

The film is based on the 1962 novel of the same name, written by Joan Aiken which was quite popular with children during the 1960s and beyond.

Similar to the book, the film is set in an alternate history version of nineteenth-century England where wolves roam the countryside. The animals prance around the wintery landscapes causing fear for those humans who spot them.

The experience is playful and escapist with similarities to both Oliver! (1968) and The Witches (1990). Especially in regards to the former some of the action takes place in a bleak workhouse where children are mistreated by adults.

Predictably and satisfying, the evil adults get their comeuppance while the nice children and warm adults live happily ever after. This is a main part of the fun of watching the perilous situations.

The plot centers around two young girls. Bonnie (Emily Hudson) is the daughter of Lord and Lady Willoughby, who live at the grand yet cozy country estate named Willoughby Chase. Lady Willoughby (Eleanor David) is ill, and the couple plan to recuperate basking in the warm sun along the Mediterranean.

In urban London, Bonnie’s cousin, Sylvia (Aleks Darowska), is leaving her impoverished Aunt Jane (Lord Willoughby’s cousin) to keep Bonnie company while her parents are away.

While on the train, she meets a mysterious man, Mr. Grimshaw (Mel Smith) whom they decide to bring back to Willoughby Chase after falling unconscious when wolves attack the train.

Meanwhile, Bonnie and Sylvia’s cousin, Letitia (Stephanie Beacham) is their new governess. She is evil and determined to get rid of the children so that she inherits money and the estate.

Billed as a children’s film, as Oliver! was, some of the sequences may be too much for younger kids. The ferocious wolves may cause fright while a scene involving one of the girls being locked in a chest might cause nightmares.

There is a presumed drowning and another character catches on fire.

For adults, particularly those who enjoyed the book as youngsters the dangerous situations are light fare and merely make Bonnie and Sylvia more heroic and justified in escaping the adult’s clutches.

The art direction and set designs are also a big part of the fun. Numerous scenes of winter and snow-covered roads and pathways are what make The Wolves of Willoughby Chase a perfect watch for a frigid January evening.

I’m not sure if the film would feel as atmospheric in July or August.

The estate where much of the action takes place has a warm and cozy feel. It made me want to curl up by a raging fire with a good book.

There’s an undertone of class distinction when the servants are all dismissed to save money and I questioned why Sylvia and her aunt didn’t simply live on the estate. The poor living amongst the rich is a perfect setup for more meaningful storylines but the intent is more for The Wolves of Willoughby Chase to be fun.

Beacham is delightful while slightly over-the-top playing a fiendish character. Most known for appearing on television’s ‘Dynasty’ the actress has also made British horror films.

I assumed she planned to kill the parents and the girls but what about the aunt?

It doesn’t matter much because her plan is foiled and the girls are reunited with their loved ones.

The Wolves of Willoughby Chase (1989) contains a nice musical score that enhances the adventures. The film is a bit too scary for kids but perfect for young adults and older.

2023 Films, Calah Lane, Children, Colin O'Brien, Fantasy, Hugh Grant, Jim Carter, Keegan-Michael Key, Musical, Olivia Colman, Paul King, Roald Dahl, Sally Hawkins, Timothée Chalamet

Wonka-2023

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Wonka-2023

Director Paul King

Starring Timothée Chalamet, Calah Lane, Olivia Colman

Scott’s Review #1,414 

Reviewed January 3, 2024

Grade: B+

Wonka (2023) is only the third live-action film based on Roald Dahl’s iconic 1964 novel Charlie and the Chocolate Factory, following Willy Wonka & the Chocolate Factory (1971) and Charlie and the Chocolate Factory (2005).

The latter was an inadequate and unnecessarily dark film starring Johnny Depp that threatened to ruin the trademark fantasy of the original.

Fortunately, director Paul King mostly known for directing the Paddington films opts for a warm and even gooey experience that does perfect justice to the original starring Gene Wilder with many connections to that film, especially costumes, characters, and locale.

It’s saccharine sweet but not sickeningly sweet instead feeling both fresh and genuine.

The wonderful and familiar featured song ‘Pure Imagination’ appears instantly as the film begins which does wonders to capture and captivate the nostalgic audience—mixed with other new gems like ‘A World of Your Own’ hooks newer and younger viewers.

The effort works well as a kindly old friend dusted off the shelf for a new waltz across the dance floor and a dizzying chocolate delight crowd-pleaser is the result of Wonka.

Wonka is released in December amid the sugary Christmas holiday season. A marketing win what parents could refuse a delicious trip to the cinema?

The wondrous story of how the world’s greatest inventor, magician, and chocolate maker became the beloved Willy Wonka (Timothée Chalamet) we know today begins with the young actor brazenly wearing a similar garb as Wilder did in the 1971 effort.

I adore this feat and pointed display because it makes crystal clear the attempt to leverage history instead of upheaval.

Chalamet is perfectly cast as Willy in large part because he resembles Wilder with his wiry build and waifish face. There exists a kindness and trustworthiness that transfers well from the big screen to the audience member.

Throughout the film, there is light peril that Wonka faces like a crooked debt owed to the even more crooked Mrs. Scrubitt’s (Olivia Colman) boardinghouse or the vengeful competitor Arthur Slugworth (Paterson Joseph) but it’s nothing he can’t handle with a grin and shrug of the shoulders.

His feathers are not ruffled easily because he believes in the magic of chocolate. In a dear flashback scene featuring his mother, played by Sally Hawkins, she inspires him to always believe in himself and be a good person.

This is at the heart of the film.

Along for the ride are new friends orphan Noodle (Calah Lane), Abacus Crunch (Jim Carter), and others trapped within Scrubbit’s and henchman Bleacher, played by Tom Davis.

There’s even a connection with the fan favorite Oompa-Loompa’s led by Lofty (Hugh Grant) who becomes a close ally in the end. As historical viewers will know the pair reunites in business.

Despite all these terrific additions the main attraction is the chocolate naturally. Highlights are a lavish chocolate attempted drowning, a chocolate store, and more than enough chocolate colorful flowers to whet one’s appetite.

The film is weird and zany without being too far out there and retains its touchy-feely approach.

Wonka (2023) successfully builds a multi-generational bridge between audiences with a powerful human connection. Grandparents, parents, and children alike can all see the film together with a common love of chocolate and magic.

The dangers are light-hearted and the filmmakers keep age-appropriate sensibilities and the result is family-friendly material with a kindhearted approach.

We all need this sometimes.

1963 Films, Children, Disney, Don Chaffey, Fantasy, Patrick McGoohan, Susan Hampshire

The Three Lives of Thomasina-1963

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The Three Lives of Thomasina-1963

Director Don Chaffey

Starring Patrick McGoohan, Susan Hampshire

Scott’s Review #1,367

Reviewed June 7, 2023

Grade: B

The Three Lives of Thomasina (1963) is a film in which the animal, in this case, a sleek orange tabby cat, steals the show from the humans. It’s not as if the acting by the actors is terrible, but who doesn’t love a cute feline clad in a bonnet?

The film is a Disney production but not one of the top tier nor mainly well remembered and was unknown to me before I watched it.

It’s similar to Mary Poppins (1963) in its cheery tone, and the two child stars were signed to play the Banks children after The Three Lives of Thomasina.

There are enough tender and sentimental moments to satisfy fans who may crave a more profound or darker veneer, but there is some fluff and predictability to wrestle with.

With high hopes of entertaining our cats Zeus and Thora with this film, the furry felines essentially slept through the experience and rendered it uninteresting.

Schoolgirl Mary McDhui (Karen Dotrice) lives in a small village in Scotland with her stoic veterinarian father, Andrew (Patrick McGoohan), and her cherished cat, Thomasina.

When Thomasina is injured, Andrew has the animal euthanized, which infuriates Mary, who vows never to forgive her father. Unbeknownst to everyone, Thomasina’s still-living body is rescued by Lori (Susan Hampshire), a kind animal healer who nurses the cat back to health.

The romantic intention of uniting Andrew and Lori is evident from the start, and the pair have decent chemistry. Lori is a Snow White-type character, whistling, prancing through her grade, and befriending any animal who languishes near her.

Terrified by her healing power, neighborhood kids deem her a witch, but she doesn’t look the part. With golden hair and attractive features, she is more Rapunzel than the Wicked Witch of the West.

Andrew is a masculine character we’ve seen in stories. Widowed, he has lost faith in humanity and god alike, living a sad existence with his housekeeper and kids.

To nobody’s surprise, Andrew, Lori, the kids, Thomasina, and the housekeeper ride off into the sunset as happy as clams.

Though the story is generic, other aspects of The Three Lives of Thomasina spruce things up brighter than the Scottish flowers. The landscape is magical, with lush countryside sequences and cute side streets and cottages.

A fabulous sequence occurs at the midpoint when a ‘dead’ Thomasina soul goes to a feline afterlife and meets the Egyptian cat goddess Bastet. Since Thomasina still has eight lives left, Bastet returns her to her body.

The sparkling and twinkling lights and the myriad of other felines are beautiful and filled with emotion.

Hopefully, the real-life animals were treated kindly, but in 1963, I’m not sure how much could be faked. Still, fantastic work mimicking a wounded badger is impressive.

The thrilling finale involves a tribe of gypsies setting up camp in town and opening their traveling circus. Laden, with apparent stereotypes which seem clear in 2023 but were unnoticed in 1963, the gypsies abuse their animals, causing a stir among the townspeople.

A fight, fire, and justice prevail, and all animals are spared.

A 1960s Disney film with family-friendly themes and compassion, The Three Lives of Thomasina (1963) will satisfy cat lovers or anyone fond of animals. The real-life Thomasina is worth the price of admission for her gorgeous good looks alone.

2022 Films, Adventure, Animated, Antonio Banderas, Children, Comedy, Da'Vine Joy Randolph, Florence Pugh, Harvey Guillén, Joel Crawford, Olivia Colman, Salma Hayek

Puss in Boots: The Last Wish-2022

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Puss in Boots: The Last Wish-2022

Director Joel Crawford

Voices: Antonio Banderas, Salma Hayek Pinault

Scott’s Review #1,357

Reviewed April 14, 2023

Grade: B

There is a connection between the Shrek film series and Puss in Boots, which I didn’t realize until researching this review.

The title character appears in Shrek 2 (2004) and a film called Puss in Boots (2011), which I think I’ve seen but don’t remember well, precedes the 2022 film Puss in Boots: The Last Wish.

I’m not a big enough fan.

The film is an entertaining adventure, laden with bright, colorful animations and Skittles- or rainbow-type colors, marred by blacks and greys. This works well and provides energy.

There is also a cool incorporation of familiar fairy tale characters. The names are reintroduced mostly as scheming people intent on capturing Puss in Boots, which accelerates the fun and my interest.

The result is a good but not a great film. I’m not sure what would have made Puss in Boots: The Last Wish a masterpiece, but the target audience is firmly set on young viewers.

My two cats glanced at the screen once or twice before deciding on a cozy nap instead. They were not engaged.

Even the darker subject matters of death and dog abuse somehow fall by the wayside in favor of the other cute, adventurous, and fight sequences.

Surprisingly, they do not pack a deeper punch.

Puss in Boots (Antonio Banderas) returns as the daring outlaw who discovers that his passion for danger and disregard for his safety have taken their toll, and he is forced to consider retirement.

As a cat, he is on his ninth and last life!

He tries to get those lives back by returning to the Black Forest to find the mythical Wishing Star on his grandest quest yet. At the risk of death, Puss will have to ask for help from his former partner and nemesis, Kitty Softpaws (Salma Hayek Pinault).

They are joined in their journey by a chatty and cheerful mutt named Perro (Harvey Guillén). Together, they try to stay one step ahead of the fairy tale villains, including Goldilocks and the Three Bears, ‘Big’ Jack Horner, and the Big Bad Wolf.

I didn’t know the character histories of Shrek or Puss in Boots, despite having seen them, but I’m not sure that’s imperative to one’s enjoyment of the film. I quickly caught on that Puss in Boots and Kitty Softpaws were meant to be an ‘item’.

The story is a compelling enough adventure, but it becomes meandering a some point. I knew the troupe would ultimately emerge on the Wishing Star and all would end well. It did, and the characters rode swiftly off into the sunset.

That’s how a film like Puss in Boots: The Last Wish is supposed to end, and I respect that. Best not to tarnish youngsters too early, especially when reality can sometimes be quite dark.

The fun for me was the visuals and specific moments. Puss in Boots’s stunning, gleaming green eyes are astounding and balance nicely with Kitty’s blue ones.

‘Big’ Jack Horner is patterned after Donald Trump. Bullying, fat, and loud, he is a feared pastry chef and a crime lord who plans to use the Wishing Star to gain control of all magic. Snubbed as ‘Little’ Jack Horner as a kid, he vows revenge and exhibits a pouty, snotty vibe.

The writers must have fun with that character.

Finally, a darling sequence featuring Mama Luna, an elderly cat lady who initially takes Puss in, is excellent. Puss in Boots, more like a human being eating human food and using the toilet, is reduced to cat chow and a litter box, like all the other cats.

Director Joel Crawford and screenwriters Paul Fisher and Tommy Swerdlow carefully tone down the violence and darker themes in favor of a robust adventure and largely succeed.

Perfect for kids, it’s not bad for adults either.

Oscar Nominations: Best Animated Feature

2009 Films, Adrien Brody, Animated, Bill Murray, Brian Cox, Children, George Clooney, Jason Schwartzman, Meryl Streep, Noah Baumbach, Owen Wilson, Wes Anderson, Willem Dafoe

Fantastic Mr. Fox-2009

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Fantastic Mr. Fox-2009

Director Wes Anderson

Voices George Clooney, Meryl Streep, Bill Murray

Scott’s Review #1,329

Reviewed December 30, 2022

Grade: B+

I have fond memories of, either reading or being read, Roald Dahl’s famous 1970 children’s novel entitled Fantastic Mr. Fox. The story involves the clever and hungry Mr. Fox and how he outwits his farmer neighbors to steal food from under their noses.

In 2009, it was adapted into a stop-motion animated film by Wes Anderson and includes the voice of George Clooney and Meryl Streep as Mr. and Mrs. Fox.  Anyone familiar with Anderson’s work knows well that an added dose of eccentricity will inevitably be included as well as a unique narrative.

I confess to either being in the mood for an Anderson film or not but at least I know to know what I’m in store for.

Anderson co-wrote the screenplay with Noah Baumbach known for making witty and intellectual comedies like The Squid and the Whale (2005) and Greenberg (2010).

Fantastic Mr. Fox pairs well with 2018’s Isles of Dogs if we are talking about Anderson films. Both include the thoughts and peculiarities of animals, similar stop motion, and a story about trickery and revenge pitting man against animals.

There is an eerie and prominent comparison to Animal Farm, a 1950s George Orwell novel and film adaptation, that I noticed.

The farm, animals, class system, and desire for power and authority.

When Mr. Fox’s nightly raids on three nearby farms raise the tempers of three selfish farmers who are losing their chickens, he must outwit the outrageous plans to catch him.

After all, in his mind, he is merely trying to feed his hungry family and neighbors, and Mr. Fox must find a new way to get his paws on the bounty.

Billed as a children’s film probably because it’s based on a children’s novel, Fantastic Mr. Fox contains aspects that will go way over kids’ heads. This suits me well however because I have a fascination for animation that pushes the envelope or moves beyond the overdone ‘safe genre’.

Think of it as a kid’s film for adults.

It would appear difficult to side solely with Mr. Fox since he is a thief. We are all taught at a young age not to steal but it’s difficult not to root for Mr. Fox. He steals not to gorge himself but to feed his family and community.

Of course, he is addicted to being a cad and quickly returns to his thieving ways finding his calling and strong satisfaction.

A good lesson for kids and adults is the neighborly aspect of Fantastic Mr. Fox. There is a camaraderie amongst the animals that I find lovely and inspiring. They band together and cohabitate in an underground community and later the sewer always having each other’s backs.

The farmers are portrayed as the villains though we can certainly understand their hardships at having their animals stolen and eaten. But Anderson hits home that the farmers are greedy and obsessed with their wealth, happy to kill any animals they see fit.

It’s satisfying to see them get defeated.

The story is outshined by the visuals though. It’s difficult not to focus on the technique and stunning attention to detail, especially in the tunnel sequences. The character performances and shadowy framework make one realize just how far stop motion has come.

The autumnal colors of red, orange, and yellow, perfectly enhance the visual style and season that Anderson and team create. Even the cue card titles between scenes are meticulous art that harkens back to sophisticated cartoons of yesteryear.

Fantastic Mr. Fox (2009) is a creative, edgy, and intelligently written and scored production. Multi generations are featured with means young kids, parents, and grandparents with a hunger for a left-of-center and thought-provoking approach will be well satisfied.

Oscar Nominations: Best Animated Feature, Best Original Score

2021 Films, Animated, Best Animated Feature Oscar Winners, Byron Howard, Children, Chris Buck, Disney, Fantasy, Jared Bush, Jennifer Lee, John Leguizamo, Lin-Manuel Miranda, María Cecilia Botero, Musical, Stephanie Beatriz

Encanto-2021

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Encanto-2021

Director Jared Bush, Byron Howard

Voices Stephanie Beatriz, John Leguizamo

Scott’s Review #1,323

Reviewed December 16, 2022

Grade: B+

Encanto (2021) is a lovely film produced by Walt Disney Animation Studios. It’s part musical, part fantasy, and part comedy with plenty of bright, colorful, and culturally significant sequences that are quite pleasing to the eyes.

The musical numbers are wonderfully catchy and fun, especially the standouts ‘We Don’t Talk About Bruno’ and ‘Welcome to the Family Madrigal’. Since the musical numbers are primarily created by Lin-Manuel Miranda and composed by Germaine Franco, they are professional and memorable.

The film has a wholesome, upbeat, yet diverse quality that makes it challenging not to enjoy.

The representation provided is a significant win for the film.

The setting of Colombia helps with this, and the main character, Mirabel (Stephanie Beatriz), is darling. Her positive and forthright personality is cheerful and instantly likable, and I imagine inspiring young girls everywhere.

It’s nice to see Disney expand its reach internationally in today’s world of inclusion and diversity.

The Madrigals are an extraordinary family who live hidden in the mountains of Colombia in a charming residence called the Encanto.

The magic of Encanto is well known throughout the nearby town, and its magic has blessed every child in the family with a unique gift, except Mirabel, who mysteriously has no gift.

Or so it would appear.

When Mirabel discovers that the magic surrounding the Encanto is in danger of running out, she may be their last hope.

The success of Encanto lies in the character of Mirabel. She is imperfect and unique, yet firm and confident, defying the mold. This is what Disney does well to make her relatable. You could say that Mirabel feels left out and isolated, different from her more conventional siblings.

The primary objective is to craft a character that the audience can identify with and feel a connection to. Since the target demographic of Encanto is young females, the idea is successful.

The animation is also inspiring. Challenged with genuinely replicating the mountains of Colombia, the gorgeous, lush locales can frequently be seen in sequences. The way the family estate rests along the landscape made me want to be there with them.

The colorful pastels and psychedelic moments are dizzying in a good way. The costumes alone are evidence of this, including embroidered wool with astonishing patterns. With pinks, purples, blues, and yellows, it’s an orgy of spectacular images.

The Madrigals appear to be an affluent family revered by their community, but besides having magical powers, it’s unknown how they cultivate their wealth.

They serve the villagers with their gifts, but what does that mean exactly? Are they paid with cash?

Encanto (2021) won the Academy Award for Best Animated Feature, and this is no surprise. The Academy sometimes rewards creativity and diversity over mainstream fluff, and this film is an example of when the Academy gets it right.

The entire family can enjoy the film for multiple reasons, rather than just a product that appeals to kids whose parents are forced to tag along.

Oscar Nominations: 2 wins-Best Animated Feature (won), Best Original Score, Best Original Song-“Dos Oruguitas” (won)

2022 Films, Angus MacLane, Animated, Bill Hader, Children, Chris Evans, Dan Scanlon, Disney, James Brolin, Keke Palmer, Lee Unkrich, Pete Docter, Taika Waititi

Lightyear-2022

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Lightyear-2022

Director Angus Maclane

Voices Chris Evans, Keke Palmer

Scott’s Review #1,322

Reviewed December 13, 2022

Grade: B

The popular Toy Story (1995-2019) franchise spawns a new child with Lightyear (2022), a spin-off prequel film within the franchise. Box office receipts will determine if Lightyear has any children of its own.

It’s a pleasant and fairly conventional offering, as it focuses solely on one ‘toy’, the masculine Buzz Lightyear, and tells his story. The visuals are delightful and colorful, and there is enough adventure to keep the whole family engaged.

Unfortunately, there isn’t much in the way of legacy or connection to the Toy Story characters, and even the voice of Buzz is replaced by Tim Allen and Chris Evans.

One’s enjoyment of the film predominantly depends on one’s preference for the franchise in general or the hero in question. Better satisfied may now be adults who were kids in 1995, harkening back to a nostalgic film featuring a favorite childhood character.

As a semi-fan, but not a diehard fan, of the Toy Story films, I found the overall result pretty good, but not astounding.

It doesn’t explain why Lightyear went from a living and thriving action hero to becoming a suburban kid’s possession, but it also doesn’t matter much, at least to me.

For fans of the series, it’s a nice trip down memory lane, more than anything groundbreaking or breathtaking.

Sometimes familiarity breeds comfort.

The film follows Buzz Lightyear (Evans), a space ranger, as he is marooned on a hostile planet with his commander and crew. He attempts to find a way back home while confronting a threat to the universe’s safety.

His ambitious recruits, Izzy, Mo, Darby, and his robot companion, Sox, serve as new characters following Lightyear’s every move. As this motley crew tackles its most challenging mission yet, they must learn to work together as a team to escape the evil Zurg and his dutiful robot army, which is never far behind.

Possibly the most interesting, and I’ll confess the primary reason why I saw Lightyear, was the notorious same-sex kiss that unceremoniously got the film banned in some Middle Eastern countries.

It also pissed off conservatives who found the kiss too much for them and the potential damnation and ruination of young children everywhere.

In truth, the kiss is timid and a non-issue. The issue is more likely a prominent female lesbian character and her wife, and best friend, Buzz. It’s like, how dare the all-American Lightyear have a black lesbian for a best friend?

Alisha (Uzo Aduba) is strong, confident, and black. She is a commanding officer and arguably the most interesting character in the film.

What an inspiration for young girls everywhere to see such representation and potential. The kicker is that she is in a relationship with a woman who has a granddaughter named Izzy (played by Keke Palmer), one of Buzz’s recruits.

Despite the addition of inclusion and diversity, Lightyear is nonetheless a by-the-numbers offering. The message is one of a robust adventure, though I appreciate the social importance of such a good character.

Once Buzz is in flight and soaring for the stars, Lightyear turns into action/adventure in a hurry. The filmmakers intend to create a popcorn summer blockbuster, with our hero saving the day, and this intention is fulfilled.

The time travel and aging of characters are interesting because we see their life cycles and the generations that follow. For example, Buzz is close to Izzy.

He cares deeply for Alisha, whom he misses terribly, because he has been far away and hasn’t aged, while she has aged like a normal human.

Lightyear (2022) offers a safe flight plan, despite being brave enough to include diverse characters. It doesn’t connect to the origin of Toy Story as much as I’d like it to, and feels somewhat like a stand-alone.

Time will tell if a sequel is made, but it would be unnecessary.

2020 Films, Adventure, Alfonso Cuarón, Anne Hathaway, Brian Henson, Children, Chris Rock, Comedy, Fantasy, Guillermo del Toro, Horror, Horror-Comedy, Jahzir Bruno, Kristin Chenoweth, Octavia Spencer, Robert Zemeckis, Stanley Tucci

The Witches-2020

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The Witches-2020

Director Robert Zemeckis

Starring Anne Hathaway, Octavia Spencer

Scott’s Review #1,314

Reviewed November 16, 2022

Grade: B

A remake of the 1990 film starring Anjelica Huston, The Witches (2020) sometimes delivers the goods and occasionally derails off the tracks into campy, over-the-top, wackadoo.

Mostly, on the part of the star Anne Hathaway, who plays an evil and powerful witch.

But, regardless of what this adult thinks, it will please, surprise, and fascinate youngsters who see it. There’s a comforting and vital message of friendship and family roots ingrained in the story, which is a nice touch.

In 1968, seven-year-old orphan Charlie Hansen (Jahzir Bruno) travels from Chicago to Alabama to live with his grandmother, Agatha (Octavia Spencer), after his parents are killed in a car accident.

After a dastardly witch approaches him in a grocery store, they flee to a seaside resort to avoid the child-hating witches. Agatha has a troubled past with the witches who long ago turned her best friend into a chicken.

When the two arrive at their hotel, they find a coven with villainous plans. They are accompanied by a mouse named Daisy and an English boy named Bruno (Codie-Lei Eastick).

I much prefer the first half of The Witches to the last.

The wonderful and caring relationship between Agatha and Charlie is a beautiful dynamic. When she envelops him with love and southern cooking in her cozy home, understanding the trauma he has endured, it is heartwarming and genuine.

Spencer is terrific in any role she plays, of course, but her calm and stoic demeanor when paired against the witches is lovely. She is prepared for trouble and sneaks to a back room where she keeps crystals and other anti-witch weaponry.

But the relationship with the little boy is darling and top-notch. I wish they would have just stayed at home and nurtured their relationship with Daisy and Bruno.

The weakest section of the film involves the witches themselves. As they flock to the hotel for a convention to plot the destruction of children everywhere, they appear more silly than scary, especially when they remove their wigs and reveal bald, scabby heads.

Director Robert Zemeckis must have given Hathaway free rein to ham it up because she certainly does just that.

I’m a fan of hers, so it’s not a personal knock, but she teeters toward ridiculous pretty quickly. I understand the need to make a children’s film villain colorful, memorable, and loud, but there is no restraint, which causes the character to feel more silly than terrifying.

On the plus side, Hathaway must have had a ball letting loose and leaving all constraints on the sidelines.

Inevitably, the kids are changed into cute mice and must convince their loved ones that they are themselves while figuring out how to change back to human children.

Not much has changed from the 1990 version, except for a few tweaks here and there, and the story remains the same. However, I prefer the original by a hair.

Huston beats Hathaway in a comparison.

Some inconsistencies emerge, such as how Agatha can afford to stay in a grand hotel. She knows someone connected to the hotel, but the who’s and why’s aren’t clear.

It’s never explained what happened to Agatha’s friend who wound up as a chicken, and I wanted more from Stanley Tucci than an uninteresting hotel manager role with little to do.

However, the action sequences are adventurous and energetic, and it’s fun cheering as the Grand High Witch (Hathaway) is transformed into a rat.

I wanted more of the homespun love between Agatha and Charlie, as well as the simple Southern town that felt so lovely and welcoming. Still, The Witches (2020) provides family-friendly entertainment that many can enjoy.

2005 Films, Animated, Ben Stiller, Bob Saget, Cedric the Entertainer, Children, Chris Rock, Comedy, David Schwimmer, Jada Pinkett Smith, Sacha Baron Cohen, Tom McGrath

Madagascar-2005

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Madagascar-2005

Director Eric Darnell, Tom McGrath

Voices Ben Stiller, Chris Rock, David Schwimmer

Scott’s Review #1,247

Reviewed April 17, 2022

Grade: B-

Madagascar (2005) is a film that I found mildly entertaining but struggled to enjoy as much as others might. Films with a target audience of ages thirteen and under are a tough sell for me because I don’t see them very often.

Having no children I have few opportunities to join in on the children’s games or sit at the kiddie table and get in that mindset.

Nonetheless, this film somehow crossed my radar.

It’s lighthearted and juvenile but playfully fun sending a positive message of friendship and dedication. Not a fan of the zoo at all my curiosity was piqued at how this angle would be represented if at all.

Would the captivity of the zoo face off against the natural African wildlife?

The screenwriters tread safe waters keeping their audience in mind and don’t go for any deep message or environmental or animal issues, playing it quite safe.

Madagascar suffers from blandness and predictability knowing that the audience isn’t quite ready to think outside the box and their parents will obediently sit beside them watching the film.

The result is a film brimming with possibilities that it never realizes. It’s a ready-made family film and nothing more.

Alex the Lion (Ben Stiller) is the king of the urban jungle and the main draw at New York’s Central Park Zoo. He and his best friends Marty the zebra (Chris Rock), Melman the giraffe (David Schwimmer), and Gloria the hippo (Jada Pinkett Smith) have spent their lives at the zoo with admiring fans and tasty meals provided for them.

In their minds, they have it pretty good.

Yet Marty yearns for more and lets his curiosity get the better of him when he escapes the zoo to explore the world. He and his friends wind up on a ship back to Africa and are then shipwrecked on Madagascar and left to fend for themselves in the wild.

They face dangers and allies during their adventures and wrestle with either returning to the zoo or staying in their natural habitat.

There is plenty of humor to occupy the crowd but most of the jokes are tepid or fall flat altogether. They have very little substance to offer but rather are silly gags meant to keep the adventure going.

Big stars like Rock, Schwimmer, and Stiller are cast most likely to appeal to parents forced to go to the show with their kids. Recognizable voices always sell tickets in the animated world.

Secondary characters work better than the main cast. Sacha Baron Cohen as King Julien XIII is a standout.

Mildly entertaining and soft touch in its approach Madagascar (2005) left me feeling dull and yearning for something a bit more challenging and robust in the field of kid’s film.

Its intent is merely to entertain and not to challenge so the result is a middle-of-the-road experience for me.

I’ll take the Toy Story (1995-2019) films any day.

1984 Films, Children, Drama, Elisabeth Shue, Pat Morita, Ralph Macchio, Sports

The Karate Kid-1984

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The Karate Kid-1984

Director John G. Avildsen

Starring Ralph Macchio, Pat Morita

Scott’s Review #1,241

Reviewed April 2, 2022

Grade: B+

The Karate Kid (1984) is a wholesome and predictable film from the commercial entrails that were the 1980’s cinema.

With a clever marketing pitch about a bullied boy overcoming obstacles, the film is utterly predictable. But the warm message and chemistry between the two leads make the film work marvelously.

It’s a truthful film that showcases the power of friendship.

The film was a smash at the box office becoming one of Hollywood’s biggest sleeper summer hits of 1984, making the lead actor Ralph Macchio an enormous star and household name. It also successfully brought karate to American households spanning a  new trend and appreciation for Asian sport.

The film was followed by three tired sequels before the franchise finally ran out of steam. A re-launch emerged in 2010 with mixed results.

Daniel (Macchio) moves to Southern California with his mother, Lucille (Randee Heller), but quickly finds himself the target of a group of bullies who study karate at the Cobra Kai dojo.

This heightens in severity when he becomes smitten with the ex-girlfriend (Elisabeth Shue) of the lead bully, Zabka (Johnny Lawrence) who vows revenge on Daniel.

Fortunately, Daniel befriends Mr. Miyagi (Noriyuki “Pat” Morita), a kindly repairman who is a martial arts master himself. Miyagi takes Daniel under his wing, training him in a more compassionate form of karate, and prepares him to compete against the brutal Cobra Kai.

The Karate Kid is very sweet but never too saccharin-laced and is easy to compare to Rocky (1976).

In a clear example of manipulation and copycatting, Robert Mark Kamen, who wrote the screenplay, was instructed to write something similar to Rocky which won the Academy Award for Best Picture.

Avildsen also directed that critically acclaimed film.

The result is Rocky-lite. The Karate Kid would be a great warm-up film before the headliner Rocky takes the screen.

The mission is to tell a story about an underdog rising to glory while staying true to himself. The Karate Kid is a product but is extremely likable and a fist-pumping good time. It’s not the sort of film one necessarily needs to see repeatedly nor will it be studied in film school.

The main reason that The Karate Kid works is because of the chemistry and connection between Macchio and Morita. The latter is terrific casting since Morita was usually known for comedic roles but works against type in his memorable role.

His character is kind and humble and impossible not to fall in love with. As a mentor, he coaches Daniel with valuable and truthful life lessons.

Macchio surprisingly carries the film. Handsome and charismatic, he also represents to the audience anyone who has ever felt like an outsider or different from everyone else. He’s the boy next door but with an ethnic overtone. He is clearly different and therefore unliked by some.

The elements that don’t work as well are the traditional love triangle, hardly a triangle because one of the three is the villain and the stereotypical nature of the bully gang.

Shue plays her part well but the romance between Ali and Daniel is the supporting act to the fight scenes which inevitably show up mostly towards the end of the film.

The finale is one very familiar in sports-type films because it’s all too obvious how events will play out. Surprisingly though, it’s a satisfying payoff as every character wins out, even the villainous Johnny.

Though he is soundly defeated, he learns a lesson from Daniel and comes to respect him. So, he repents.

It’s a powerful message that stayed with me and made me appreciate the approach to valued storytelling.

Safe and sturdy for a PG audience, The Karate Kid (1984) may feel dated and flounder for modern audiences but the message remains poignant and fresh. Hard work, determination, and respect equal success and satisfaction.

This may be a point easy to ridicule and pick apart but the film works well.

Oscar Nominations: Best Supporting Actor-Pat Morita

2020 Films, Angela Bassett, Angus MacLane, Animated, Best Animated Feature Oscar Winners, Children, Comedy, Dan Scanlon, Dave Mullins, Disney, Drama, Fantasy, Jamie Foxx, June Squibb, Lee Unkrich, Pete Docter, Phylicia Rashad, Rosana Sullivan, Tina Fey, Trent Reznor, Trevor Jimenez

Soul-2020

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Soul-2020

Director Pete Docter

Voices: Jamie Foxx, Tina Fey

Scott’s Review #1,172

Reviewed August 18, 2021

Grade: B+

It’s pretty reassuring when a magical animated feature comes down the pike. Too often, the mainstream multiplex summer offerings are trite or too ‘kiddish’ for my tastes.

Soul (2020) is creative, colorful, and sentimental, with a terrific musical score composed by Trent Reznor (Nine Inch Nails).

The writing is fresh and inventive, with gorgeous animation that feels magical. I did not see the film on the big screen and bet it would have made the experience even more delightful.

Soul is not too dark, nor is it too trivial. It strikes a perfect balance between humanism, darkness, and hope. The title can be construed with a double meaning.

Based on the musical angle, the lead character is a piano player, the soul could mean rhythm, but I’m only half right. An out-of-body or celestial experience and the essence of a living being are also part of his soul.

While watching the film, I kept ruminating over how lovely and inspirational a film like Soul is during a crushing pandemic. It has heart and magic.

Unfulfilled music teacher Joe Gardner (Jamie Foxx) finally lands the gig of a lifetime at the best jazz club in town, supporting legendary Dorothea Williams (Angela Bassett). But his excitement gets the best of him, and he stumbles into a maintenance hole on a New York City street.

Lying in a coma, Joe enters a fantastical place: The Great Before. There, he teams up with Soul 22 (Tina Fey), and together they find the answers to some of life’s biggest questions while embarking on a journey in the switched bodies of Joe and a therapy cat.

Set in the massive Big Apple itself, the film offers a wealth of hustle, bustle, and life. I adored the setting. The smoky jazz club, with its sultry set design and creative music, made me feel immersed in the wonderful surroundings.

The story itself slightly confused me when Joe arrived in the “Great Beyond” as a soul. Assuming this meant death, I was relieved when he backtracked to the “Great Before” and met with counselors all named Jerry. The counselors, I realized, prepare unborn souls for life with the help of mentor souls.

This didn’t resonate with me as much as other aspects of the film.

Foxx and Fey are fine doing the voices for Joe and 22, respectively, but they are not the highlight either. I never really thought of either of them throughout the duration. There were better aspects to focus on.

Disney/Pixar’s feature film, which features a black central character, is worthy of mention, and it is about time. Joe’s family is black, adding an incredible mother figure and supporting characters of ethnicity to the fold.

The music, the music, the music! This makes Soul as good a film as it is.

Trent Reznor’s collaboration alone made me eager to see it. His creative use of keyboards and partnership with fellow Nine Inch Nails bandmate Atticus Ross provide proper ambiance to the metaphysical sequences.

A hallucinogenic, trance-like musical beat is unique and trippy.

Younger children may be perplexed or bewildered by much of the activity, so I’m not sure I’d recommend it for that demographic. However, music fans and admirers of rich stories with a subtext of life will likely enjoy the experience and the subsequent message that Soul (2020) provides.

Oscar Nominations: 2 wins-Best Animated Feature Film (won), Best Original Score (won), Best Sound

2020 Films, Adventure, Angus MacLane, Animated, Children, Chris Pratt, Dan Scanlon, Disney, Fantasy, John Ratzenberger, Julia Louis-Dreyfus, Lee Unkrich, Madeline Sharafian, Octavia Spencer, Pete Docter, Rosana Sullivan, Tom Holland, Tracey Ullman

Onward-2020

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Onward-2020

Director Dan Scanlon

Starring Tom Holland, Chris Pratt

Scott’s Review #1,164

Reviewed July 23, 2021

Grade: B+

An emotionally satisfying adventure film that the whole family can enjoy, Onward (2020) feels fresh and inventive while still employing some standard plot points.

Pixar/Disney sure knows how to churn out animated features with a nice message and a family sensibility.

There is also plenty of diversity that delivers an inclusive feeling, so hugely important in the modern age.

Kids are impressionable and learn so much from the films they watch, so this quality brought a smile to my face in an otherwise enjoyable experience.

The film also celebrates non-traditional families, showing that not having a traditional mother and father and a pet dog doesn’t make you strange or unworthy of love and understanding.

Onward is not entirely outside the box, however, and is careful to lure in the mainstream middle America audience. Still, some progressive treats mix well with a robust brotherly adventure tale.

Though the title, Onward, doesn’t stick in my mind very long, the film itself does.

I may have even shed a tear or two during the heartfelt finale.

Teenage elf brothers Ian and Barley (voiced by Tom Holland and Chris Pratt) embark on a magical quest to spend one more day with their deceased father, who loved magic. Their journey is filled with cryptic maps, overwhelming obstacles, and discoveries like any good adventure.

But when their Mom (voiced by Julia Louis-Dreyfus) finds out her sons are missing, she goes into mother lion mode and teams up with the legendary manticore (voiced by Octavia Spencer) to bring her beloved boys back home.

The lead character, Ian, is a sixteen-year-old boy with growing pains and vulnerabilities that immediately make him likable. He is eager to make friends but awkward about doing so.

It is suggested that he has no friends coming to his birthday party, but it’s unclear why not. Ian is also a nervous driver, terrified of traversing a busy freeway.

He is an ordinary kid whom the audience can see in themselves or a former self of years gone by.

His brother, Barley, is the opposite. He is fearless and doesn’t care who he befriends or what people think of him. His outrageous vehicle, named Guinevere, is a rebuilt van.

Think the mystery mobile from Scooby-Doo.

The crux of Onward is about relationships. At first, we assume that the big payoff will be between Ian/Barley and their father. While that happens, a surprise blossoms along the way, and instead of a standard father/son dynamic, we get a brother/brother one.

This is a treat and conveys a dual message. Never take for granted a loved one already in your life because one day they may be gone.

I enjoyed the adventures of Ian and Barley mostly because I just knew that some reunion would occur between the boys and their father. Their gift of a day spent with their father was marred by the fact that only his bottom half was visible, but I suspected we would eventually see the rest of him.

Avoiding complete predictability, only one of the boys gets to interact with his father as the other looks on longingly.

I enjoyed this element quite a bit as it avoided cliché and offered raw emotion.

Speaking of diversity, two gay female police officers appear in one scene, and a suggestion that some of a motorcycle gang of pixies might be gay is also noticed. Again, this is important for child viewers to be exposed to.

Another win is the animation itself- look at the cover art above for proof. With gorgeous purple and blue colors, the nighttime scenes work exceptionally well with a bright and luminous look that I adored.

A slight miss was that the boy’s mother never got to reunite with her dead husband, and their relationship was treated as merely an afterthought. The featured plot was that the brothers missed their Dad. A reunion between husband and wife would have been nice.

With a tender and emotionally satisfying conclusion, this cemented my appreciation for Onward (2020). There may be a tad too many car chase scenes and a couple of hokey plot ploys, but the film has a lot of heart that shines through.

Oscar Nominations: Best Animated Feature

2005 Films, Angela Lansbury, Children, Colin Firth, Comedy, Derek Jacobi, Emma Thompson, Fantasy, Imelda Staunton, Kelly Macdonald

Nanny McPhee-2005

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Nanny McPhee-2005

Director Kirk Jones

Starring Emma Thompson, Colin Firth

Scott’s Review #1,161

Reviewed July 15, 2021

Grade: B

Patterned after the classic family film Mary Poppins (1964), but with a slightly harder edge, Nanny McPhee (2005) attempts to recreate the iconic character with a similar storyline setup.

But a couple of other family films make their presence known.

The Sound of Music (1965) is quickly added to the mix with a well-meaning but absent daddy and a slew of siblings who terrorize former and present nannies.

A scullery maid with big dreams ala Cinderella (1950) solidifies the harkening back to 1960s cinematic family fun.

Great British actors like Emma Thompson and Colin Firth add much to the film which would be mediocre without their benefits. And the iconic Angela Lansbury hops aboard in a small yet important role. They make what would be a disposable kid’s movie into something respectable, romantic, and fairly cute.

The film tries a bit too hard with the comical moments, losing the magical moments that would have made it feel more alive. Instead, most scenarios come across as campy or family-oriented.

Of course, the conclusion can be seen from the very beginning.

The effort is admirable but the story experience never feels very compelling. Thinking demographically, Nanny McPhee has much to offer the younger set. The kids will love the candy-box sets and costumes like confectionery-shop windows, the whimsy and farcical grotesqueness of it all.

The adults might be won over by the creativity and the cast.

Thompson (who also wrote the screenplay) has fun playing ugly and getting her feet dirty, her snaggletooth almost a character itself, so prominent is it featured. She is even the anti-Mary Poppins, lacking an umbrella or the high-class pose that she had.

Each time the children learn a lesson, one of Nanny McPhee’s facial defects magically disappears.

But why not just dust off the original Mary Poppins? Nanny McPhee will inevitably be forgotten since an actual remake of the Mary Poppins film was released in 2015 all but confirming the Nanny McPhee franchise as the second tier.

And Nanny McPhee made me want to revisit Mary Poppins instead of watching Nanny McPhee again.

Set in Victorian-era England, lonely widower Cedric Brown (Firth) hires Nanny McPhee (Thompson) to care for his seven rambunctious children, who have terrified and chased away all previous nannies. But McPhee is different and will have no such nonsense. She slowly wins over the children with magic and a bit of discipline.

And when the children’s great-aunt and benefactor, Lady Adelaide Stitch (Lansbury), threatens to separate the kids, the family pulls together under the guidance of their new leader.

Lansbury nearly steals the show. Short-sighted and domineering, the family is financially supported by her and Cedric cowers to her every request until she demands custody over one of the children. She also viciously threatens to reduce the family to poverty unless Cedric remarries within the month, meaning the family would lose the house, and be forced to separate.

She is deliciously wicked in the role and plays it to the hilt.

The sweet romance between Cedric and scullery maid Evangeline, played by Kelly Macdonald, works well. They resist at first, but then realize their feelings for each other and agree to marry, satisfying Aunt Adelaide’s conditions for maintaining her financial support.

Nanny McPhee (who is now fully beautiful), magically makes it snow in August, transforming the wedding scene and changing Evangeline’s clothes into a beautiful wedding dress.

This is the fairy tale ending that ultimately makes the film work and wins me over.

Nanny McPhee (2005) is solid if not remarkable.

1997 Films, Amanda Plummer, Animated, Charlton Heston, Children, Comedy, Danny DeVito, Disney, Fantasy, Hal Holbrook, James Woods, Tate Donovan, Wayne Knight

Hercules-1997

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Hercules-1997

Director Ron Clements, John Musker

Starring Tate Donovan, James Woods, Danny DeVito

Scott’s Review #1,109

Reviewed February 7, 2021

Grade: B-

Hercules (1997) is a modern-day Walt Disney film that centers on the world of Ancient Greek mythology. The premise is one I find fascinating and the characters of Hercules, Zeus, Hades, and Pegasus are the focus.

The names alone hold intrigue and appeal but the film is only an adequate watch.

The product feels “produced” and lacks the authenticity and sincerity that is rich and seamless in beloved Disney classics like Snow White and the Seven Dwarfs (1937) or Bambi (1941).

Besides the initial story intrigue, the animations are nothing particularly special and it feels too kiddie-like.

It’s like comparing The Beatles Sgt. Pepper’s Lonely Hearts Club Band historical album to a latter-day solo effort by Paul McCartney and that’s being generous. It may be fine but can’t hold a candle to the former.

And “fine” is not what I wanted from a Disney film. That’s what I felt about Hercules. It’s okay and entertaining but not up to snuff as compared with finer films.

The film is equipped with a fantastic villain though, the best part of Hercules other than the mythological elements. James Woods, who voices the character of Hades, is wonderful and I’m hardly a James Woods fan but for other reasons, like his politics.

Anyway, the rivalry and competitive edge of Hercules and Hades are unique and compelling and will hold one’s attention.

It all begins in a perfect Disney way when Hercules (Tate Donovan), a son of gods, is snatched as a baby by Hades and forced to live among mortals as a half-man, half-god. When he grows to be an adolescent, Hercules needs to perform a rite of passage on Earth to prove himself worthy of living with the gods on Mount Olympus.

With his sidekick, Philoctetes (Danny DeVito), in tow, Hercules must learn to use his strength to defeat evil creatures.

The strong message is written in Hercules to appeal to a sense of good overthrowing evil. It’s a Disney film, trust me it will.

Though predictable the story feels good in a world where far too often the bad guys get away with bad things and the good guys don’t get enough credit.

Appealing and targeted mostly to kids, the film made a ton of money which means a lot of kids saw it. A great reminder is that with any luck truth and honest will win out. So will remaining true to one’s self.

Woods makes Hades a villain with an edge rather than a generic, cookie-cutter type. Hades speaks rapidly, like a used car salesman trying to sell a customer a good deal. We can tell we are trying to be swindled but there is fun in that.

Megara (Susan Egan), the intended love-interest for Hercules, is working for Hades, which adds a level of intrigue.

Unfortunately, the romance between Hercules and Meg never gets off the ground or works well. The main issue is that there is little chemistry or rooting value for the couple. Meg isn’t my favorite Disney character. She is a sarcastic damsel whom Hercules saves from the centaur Nessus.

After Hercules and the others leave, Meg is revealed to be Hades’ servant, having sold her soul to him to save a lover who then left her. She’s had a tough life and finally does the right thing but I never felt invested in the character.

The main song from the film is okay but rather forgettable. The title of “Go the Distance” is a song of determination but also generic and unmemorable. The look of the animations has a 1990s vibe with bright, vibrant colors that look “of the time” instead of feeling classic or alive.

A decent effort, Hercules (1997) hits its mark sometimes and other times misses completely. I was enraptured with the historical and mythological gods and the trimmings that go along with that mystique, but the modern spin doesn’t work and only made me yearn for the classics from the 1940s and 1950s.

Oscar Nominations: Best Original Song-“Go the Distance”