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Review of BLACK WIDOW (Blu-ray)

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Grade:  B+
Action-Superhero
Rated PG-13

There are two kinds of Marvel movies: the puzzler that requires a vast knowledge of the Marvel Cinematic Universe to make sense of the plot, and the stand-alone that’s more closed form and self-contained. Black Widowwill satisfy people who take comfort in the latter.

In this 24th film in the Marvel Universe, we get the information that Thanos has killed off most of the Avengers and that Rogers (Captain America) and Natasha (Black Widow) are on the run. Though it takes place after the action in Captain America: Civil War (2016), you really don’t have to have seen or remember that film to make sense of this one.

Black Widow features a lot of blockbuster special effects action, but there’s enough back story to give an emotional backbone to those sequences and make them matter. There are fewer characters to keep straight, and just enough comic lines and moments to change the pace from time to time.

Scarlet Johansson stars as Natasha Romanoff, aka Black Widow. The film was partially shot at Pinewood Studios and features location shots of Norway, Budapest, and Morocco. If the film has a Bond feel to it—and I think it does—maybe it’s because of those locations, the Cold War Russian vs. American high stakes covert operations, and a villain with a grand scheme to control the world.

Just as Black Panther featured a cast that was mostly Black, this 2021 film, by design, has a sisterhood feel to it. Directed by Cate Shortland (The Secret Life of Us), Black Widow pairs Johansson with Florence Pugh and shows them in an early flashback as sisters raised in a Russian sleeper cell in Ohio. Ripped from their lives, they are turned into Red assassins. Throughout the film the two have great chemistry, which gives Black Widow a quirky buddy-cop feel to it as well. But it turns out that they’re not alone. The villain (Ray Winstone as Dreykov, one of only two prominent male characters) is trying to build a network of trained female assassins.

Viewers might also find themselves thinking of Disney’s The Incredibles, because the four main characters are the ones we meet in that opening flashback:  that Russian sleeper cell “family” consisting of father Alexei (David Harbour), mother Melina (Rachel Weisz), and the two girls. As the plot twists and turns, they split, reunite, work together, turn against each other, and always keep viewers guessing as to what they’re real intentions are. That level of character development adds a lot to the film, and Harbour is hilarious in the second half as he tries to get back into character as a male Red scourge before the villain decided female scourges would be better. But Pugh’s and Johansson’s banter can also be quite funny.

It must be hard for filmmakers to conceive of original and shocking action sequences for every film, but here too Black Widow doesn’t disappoint. There are a few stand-out special effects moments to add occasional peaks to what at times feels like non-stop action.

Black Widow may not be among very best Marvel movies, but it’s a solid B+, marred only by a few jarring edits and the usual smattering of hard-to-believe sequences that seems to come with the action-film territory. Johansson acquits herself well as the star, but if she were Michael Jordan, then Pugh is her Scottie Pippen. The two of them together make this movie work. Sister power!

Entire family:  No (Junior high and older)
Run time:  134 min. (Color)
Aspect ratio: 2.39:1
Featured audio: DTS-HDMA 7.1
Studio/Distributor:  Marvel/Disney
Bonus features: B (several short features, gag reel, deleted scenes)
Includes: Blu-ray, Digital Code
Trailer
Amazon link
Rated PG-13 for intense sequences of violence/action, some language and thematic material

Language:  4/10—Mostly in Russian with subtitles, and all lesser curse words

Sex:  0/10—Nothing here aside from a bra in one shot and a bare back

Violence:  7/10—Aside from the usual crashes, explosions, and weaponry there’s a considerable amount of stabbing, head-slamming, punching, and no-holds-barred fighting; one man’s wrist is broken in a shocking scene played for laughs

Adult situations:  3/10—Drinking but no real drunkenness

Takeaway:  If Marvel wasn’t so hell-bent on killing off everyone, I think people would welcome many more single-character films

Review of BRINGING UP BABY (Criterion) (Blu-ray)

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Grade:  A-/B+
Comedy
Would be PG

The dictionary says the noun “screwball” is a baseball pitch or “a crazy or eccentric person.” Baseball may be listed first, but when it comes to the adjective it’s all about film:  “crazy, absurd—relating to or denoting a style of fast-moving comedy film involving eccentric characters or ridiculous situations.”

The dictionary probably should have added, “See Bringing Up Baby,” because Howard Hawks’ 1938 comedy starring Katharine Hepburn, Cary Grant, a leopard and a dog is widely considered the quintessential screwball comedy.

Screwball comedies became popular as people could see the light at the end of the tunnel that had been the Great Depression. Often the films involved a romantic couple from different social classes, with one of them a screwball. Plots revolved around an unconventional “courtship” that began as annoyance and ended with attraction. In that respect they’re the quintessential “opposites attract” movies as well.

Screwball comedies are characterized by a flipped social script that featured women as the pursuer and men as passive or befuddled objects of desire. Basically, it was a comic twist on the femme fatale moviegoers saw in the film noir crime movies of the ‘20s and ‘30s. Fast talk and overlapping dialogue were also characteristics of the screwball comedy, as were farcical situations, mistaken identities and misunderstandings, physical comedy, witty and fast-paced plots, and “out-of-uniform” comic situations. What’s more, the “meet cute” that’s become a standard convention in romantic comedies was pioneered by screwball comedies.

This one stars Katharine Hepburn, for whom the screenplay was written. Cary Grant was cast at the suggestion of director Hawks’ friend, the reclusive billionaire Howard Hughes. Bringing Up Baby took four months to shoot, as production was frequently delayed because Grant and Hepburn kept cracking each other up. It was Hepburn’s first comedy, and when she struggled with the fast talk it made Grant laugh, and that made her laugh. They generate an off-the-rail runaway train energy that the best screwball comedies have, and their energy is contagious.

Highly regarded now—it’s #97 on the American Film Institute’s 100 Greatest American Movies of All Time list—Bringing Up Baby bombed at the box office and ran for only a week after its Radio City Music Hall premier. Moviegoers just weren’t ready to accept dramatic actress Hepburn as a ditzy screwball. And she can be a lot to take.

As the elegant-but-oblivious heiress, Hepburn is the snowball rolling down the hill that gathers mass and speed and knocks poor nerdy paleontologist David Huxley on his rear end—numerous times. An absurd series of events drives the first act as we witness stranger Susan play David’s golf ball, then ruin his car while insisting it too was hers. All David wants is to influence an attorney representing a rich donor so his museum can get a million dollars (the stakes are high), but there seems to be no escaping Susan, as she seemingly turns up to thwart his every attempt. If she’s not tossing an olive on the floor for him to slip on, she’s swerving into a poultry truck and he’s covered with feathers. At one point, in typical farce fashion, David ends up wearing a woman’s nightgown and that lead’s to an improvised line that’s one of the film’s most famous.

Then there’s the matter of the leopard—played in this film by Nissa, who had been working in Hollywood for eight years. Trainer Olga Celeste was always just off-camera with a whip, and while Hepburn had to wear a special perfume to keep the leopard calm she was unafraid to work with the animal. Grant was another story. Most of the scenes showing him interacting with the leopard were shot with doubles. He was scared to death, and at one point Hepburn teased him about it by tossing a toy stuffed leopard through the roof of his dressing-room trailer. Antics involving a precious dinosaur bone, a leopard who responds to the song “I can’t Give You Anything But Love (Baby),” and George the Dog, who romps and plays with Baby, the leopard sent to Susan’s rich aunt (May Robson), become central to a plot that also features a not-so-tame escaped circus leopard.   

Will the animals and the silliness make up for the fact that Bringing Up Baby is a black-and-white film presented in 1.37:1 aspect ratio? One would hope so. It’s all a matter of adjustment. The more you watch it, the more you adjust to it. When our kids were little we had a 10-minute rule. They had to give a movie a fair chance by watching the first 10 minutes without complaint or distraction. More often than not, they managed to get into the film. And once kids get into this comedy of character and situation, they should find it entertaining.  

Bringing Up Baby remains a likable farce that showcases the talents of two huge stars from the Golden Age of Hollywood. It’s great to finally have it available on high-definition Blu-ray—especially in a Criterion Collection edition that preserves some of the original film’s grain and also includes a nice bundle of bonus features.

Entire family:  Yes
Run time:  102 min. (Black-and-white)
Aspect ratio:  1.37:1
Featured audio:  Digital Mono
Studio/Distributor:  Criterion
Bonus features:  B+
Trailer
Amazon link
Rated “Passed” (would be rated PG for adult situations and brief drinking, smoking)

Language:  1/10—“Jesus” and “crap” are about as raw as it gets

Sex:  1/10—The back of a woman’s dress is torn and her undergarments are partially exposed; Grant delivers his famous ad lib about turning gay “all of a sudden” while asked what he’s doing in a woman’s nightgown

Violence:  0/10—The closest thing we get to violence is a leopard-dog tussle where you can’t tell if they’re playing or fighting

Adult situations:  2/10—There is brief drinking and smoking

Takeaway:  Though Howard Hawks was known for his Westerns, he made two of the three most famous screwball comedies:  this one and His Girl Friday (1940); the man knew what he was doing

Review of MINARI (Blu-ray)

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Grade:  A-/B+
Drama
Rated PG-13

Minari, a film in Korean and English, earned a Best Supporting Actress Oscar for Youn Yuh-Jung and nominations for Best Picture, Best Actor, Best Director, and Best Original Score. Youn, a legendary actress in the Korean film industry, plays a grandma who travels from Korea to Arkansas at the request of her daughter, who is having a hard time adjusting to her family’s move from California.

In California, Monica (Han Ye-ri) and husband Jacob (Steven Yeun) were on track to pay off debt by “sexing chicks” and separating males from females. But Jacob wanted more for her and their children Anne (Noel Cho) and fragile young David (Alan S. Kim), so he moved the family to Arkansas to sex chicks for an outfit that also gave Jacob an opportunity to start his own farm specializing in Korean vegetables. 

Leisurely paced, lyrical, and stylistic kin to Terrence Malick’s The Tree of Life, this film hit close to home for the director. Lee Isaac Chung grew up as the young son of Korean immigrants who settled on a small farm in rural Arkansas, and there’s a truthfulness that quietly percolates beneath the surface of Minari—the name of a plant also known as Korean watercress or parsley that the grandma decides to plant on the banks of a nearby creek.

“Minari is truly the best. It grows anywhere, like weeds, so anyone can pick and eat it. Rich or poor, anyone can enjoy it and be healthy. Minari can be put in kimchi, put in stew, put in soup. It can be medicine if you are sick. Minari is wonderful, wonderful!” the grandma Soonja tells David.

Director Chung had said he initially wanted to make a film adaptation of My Antonia but found that avenue closed. He then decided to make a film about his own upbringing in rural Arkansas.

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Review of FINDING FORRESTER (Blu-ray)

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Grade: B+/A-
Drama/Comedy
Rated PG-13

J.D. Salinger wrote three books, then disappeared into Howard Hughes-style oblivion and inspired at least two films.

In Field of Dreams, Kevin Costner’s character shakes a Salinger type (James Earl Jones) recluse out of his inertia, paranoia, and humanity-avoidance in order to satisfy the voices in his head that also told him to build a baseball field.

In Finding Forrester, aspiring 16-year-old writer Jamal Wallace ends up finding the all-time greatest mentor when on a dare he climbs through the window of a “ghost” who had been watching him and his friends play basketball and, scared off, leaves behind a backpack containing his writer’s notebook.

In a case of life imitating art, Rob Brown showed up for tryouts as an extra on this picture by Gus Van Sant (Good Will Hunting) hoping to earn enough money to pay his cell phone bill. But Van Sant liked what he saw and cast him as Jamal, who soon after that break-in finds his backpack tossed out on the street and his writer’s notebook marked up and critiqued by the older writer. On one page he sees a handwritten scrawl, “I want to support this writer.” And so begins a mentorship between Jamal and famed writer William Forrester that will benefit both parties.

It’s kind of refreshing to see African American youths in their lower-income neighborhoods playing basketball and going to school and hanging out without there being any hint of violence or gang activities—the kind of cinematic clichés that have befallen films having to do with residents of “the hood.” The only f-bomb in this PG-13 film comes from an old white man (Sean Connery as Forrester), and the worst behavior comes from uppity adults associated with the private school that recruits Jamal after his test scores expose him as a bit of a genius. It’s refreshing, too, that none of Jamal’s neighborhood friends resent him for transferring to a private school and, ultimately, playing for a championship that’s televised.

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Review of WILDCATS (1986) (Blu-ray)

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Grade:  B/B-
Comedy
Rated R

One of my guilty pleasures recently came out on Blu-ray:  Wildcats, starring Goldie Hawn. You know, Kate Hudson’s mom?

Back in the day, Hawn was a huge star, and it didn’t take her long to get there. After a failed TV series (Good Morning World) and two minor roles in films, she landed a plum role opposite Walter Matthau in Cactus Flower and won an Oscar for Best Supporting Actress. Piece of cake, right? Except that after that she was cast in a succession of make-a-buck films that tried to capitalize on her popularity and personality in the ‘70s and ‘80s.

Along with Private Benjamin (1980), Seems Like Old Times  (1980), and Overboard (1987), Wildcats is one of the better formulaic light comedies that Hawn made. In it, she plays the daughter of high school football coach who finally gets the chance to realize her own dream of coaching football . . . at an inner city school.

Right . . . to use the catch-phrase of comedian Nipsey Russell, who plays the principal at that school.

Wildcats would be fun viewing for the entire family if it wasn’t rated R for language (F-bombs included), teen drinking and drunkenness, and brief nudity, because the whole high-school setting and fish-out-of-water, win-them-over storyline is meant to be as upbeat and warm-hearted as it is humorous. It’s hard not to root for Molly as she endures sexism in the workplace, resentment and disrespect from her players, and meddling/bullying from an ex-husband en route to trying to coach a bunch of losers into lovable winners.

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Review of RAYA AND THE LAST DRAGON (Blu-ray combo)

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Grade:  A-/B+
Animation
Rated PG

Some twelve weeks after its theatrical debut, Raya and the Last Dragon is the third highest grossing film in the U.S., behind Spiral and Wrath of Man. With a domestic box office of $49.3 million and another $60.6 million international box office revenue, it’s exceeding expectations, and I’d like to suggest one reason why:  Disney animators always seem to up their game, and they did so again with Raya.

The martial arts swordfights in this 59th full-length feature from Disney are the most accomplished I’ve seen so far in the world of animation—presented at a speed you’d normally encounter in the best Ip Man, Bruce Lee, and Jackie Chan movies. Combine that with gorgeous backgrounds and character animations, and Raya and the Last Dragon is another solid effort from the House of Mouse—though the plot itself can seem a bit familiar.

Set in a dystopian fantasy world, Raya and the Last Dragon begins with the backstory of a fictional land (Kumandra) where dragons and people once thrived together until evil spirits (that look a bit like the smoke monster on Lost)terrorized the land and turned dragons and people to stone—except for some people and one dragon, who focused the magic she and other dragons had on a single gem. But you do the math: one gem and five tribes? Of course they fight over it, and the pieces are eventually scattered among those tribes. Hundreds of years later, the Druun return and wreak havoc on the now-separate sections of what was once Kumandra. Raya is the daughter of Chief Benja of the Heart tribe, while her once friend and now rival, Namaari, is the princess of the Fang tribe. But like any fantasy, the story itself seems more complicated than the visual action. Relax and enjoy this simple quest story, as Raya tries to find the last dragon, recover the jewel pieces, and defeat the Druun once and for all. Unless Namaari beats her to it.

Give Disney credit, though, for creating strong female characters without drawing attention to it, without adding a Prince or love interest, and for not making a big deal out of adding two more princesses to the merchandising Pantheon. Give them credit, too, for giving Asians and Asian Americans feisty princesses that look like them—even if Disney took a little flak (what else is new?) for not featuring enough South Asian actors among the voice talents.

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Review of THE MARKSMAN (Blu-ray)

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Grade:  B-/C+
Action thriller
Rated PG-13

From the first scene where an aging Arizona rancher (Liam Neeson) stumbles onto a cartel “situation” and ends up with a bag full of money, to a scene that’s the equivalent of the Coen Brothers’ “coin toss scene,” The Marksman feels like a cheap knockoff of No Country for Old Men.  And with a little Hunt for the Wilderpeople added for good measure.

What cheapens it isn’t Neeson’s performance, but rather a formulaic approach to ticking off the boxes rather than concentrating on creating characters and relationships with any individuality or depth.

For one thing, first-time director Robert Lorenz spends too much time in the early going just establishing a few facts that could have been hinted at more subtly: 

—Jim Hanson was a Vietnam War veteran who earned a medal for marksmanship

—Jim Hanson is lost and lonely because his wife died of cancer

—Jim Hanson is going to lose his ranch unless he can come up with a lot of money to pay for back mortgage payments

The film is also marred by characters that push past stereotypes into caricature country.

Javier Bardem has nothing to fear from the cartel bad ass that Lorenz gives us here. Mauricio—called “Heffe” and played by Juan Pablo Raba—is too cartoonish to be chilling. He’s just a bad guy who sneers a lot and stares a lot in lingering close-ups. Oh we believe him when he says he’s going to kill the old rancher who drove away with the son of a Mexican woman he already killed at the border. And we believe he’s determined to recover the drug money that the boy’s (now deceased) uncle had taken from him and given to his (now deceased) mother. But Bardem as Anton Chigurh was a one-and-done, just as Heath Ledger’s lizard-tongued Joker was a one-time affair. Try to duplicate it and you’re doomed to fall short.  

The film’s most chilling scene is actually understated. After a brief shoot-out at an isolated stretch of border fence, Jim takes off with the boy Miguel (Jacob Perez), whom he was asked to take to relatives in Chicago in exchange for the contents of the bag. Later in the film, Jim (and the audience) think they might be in the clear when the bad guys try to follow them into the U.S. and pull up at a customs station. Heffe’s driver rolls his arm so the border agent can see his tattoo. When the officer asks to see a passport and is handed a stolen passport of a Anglo-American woman whose likeness is about as far removed from a Mexican male as it gets, we expect such arrogance to be rewarded with detainment or containment . . . especially when the officer calls for the back of the vehicle to be searched. Yet after a token search of the cargo area and an “All clear,” the officer waves them into the country. Welcome to the U.S.

Yikes. Of course the cartel drug trade is so lucrative and large that they would have U.S. law officers on their payroll. But you don’t think about it until you see a scene like this.

Though The Marksman is billed as an action thriller, it’s almost a head-snapper when a vehicle explodes and dramatically flips, because you find yourself thinking that aside from frequent shooting there isn’t as much action as you’d expect. There also isn’t as much growth or depth to the relationship between the crusty old man and the boy as we saw in Taika Waititi’s Hunt for the Wilderpeople, or even the relationship between Clint Eastwood’s grumpy old white guy and the Hmong teenager he befriended in Gran Torino. It’s almost as if the screenwriters didn’t know what to do with the old man and boy once they got them in the car together. Same with a subplot involving Jim’s stepdaughter Sarah (Katheryn Winnick), a border agent that really doesn’t seem to do much.

But what Lorenz and co-writers Chris Charles and Danny Kravitz get right is the third act. It’s not just Jim who finds redemption in the end . . . it’s the filmmakers as well. And no, you’ll get no spoilers from me. Is the ending enough to make up for that plodding and excessively (and redundantly) informational first act or the sense of missed opportunities that dominate the second? Probably not. Fans of Neeson will embrace this as another go-it-alone high-stakes maverick venture along the lines of the Taken trilogy or Cold Pursuit, but if they’re honest with themselves The Marksman doesn’t quite hit the mark.

Entire family:  No
Run time: 108 min. (Color)
Aspect ratio:  2.39:1
Featured audio:  DTS-HDMA 5.1
Studio/Distributor:  Universal
Bonus features:  C-
Includes:  Blu-ray, Digital Code
Trailer
Amazon link
Rated PG-13 for violence, some bloody images, and brief strong language

Language:  5/10—One f-bomb and a dozen or so lesser swearwords

Sex:  0/10—No sex, no nudity

Violence:  7/10—Shooting, shooting, and more shooting; people get shot, several at close range, and blood is shown often; some violence happens off-screen

Adult situations:  6/10—Jim drinks often and carries a flask, but it’s not clear whether he’s passing out from the alcohol or tiring because of his age

Takeaway:  Qui-Gon Jinn once said, “Feel, don’t think. Trust your instincts,” and you can’t help but wonder how much better this film might have been had it veered more sharply away from Hollywood formulas

Review of MAMBO MAN (DVD)

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Grade: B/B-
Drama
Not rated (would be PG)

Good art of any kind expands your world or your mind—often both. And films that show us a way of life, a way of perceiving life in another region or country can be more than fascinating. They can be instructional on a subliminal level. If you’re the kind of person who drives through a small town and looks in the windows of houses and shops wondering what it would be like to live there, the fictional Mambo Man is your kind of movie. And if you loved Buena Vista Social Club because it was awash with Cuban music, well, Mambo Man is your kind of movie too.

This 2020 Cuban film is full of fantastic images of life as it’s lived in in mostly rural Cuba, and the wonderful cinematography by Luis Alberto and Gonzalez Garcia is further enhanced by near-constant non-diegetic Cuban music that, along with several performances written into the screenplay, really capture the essence of life on this Caribbean island just 105 miles from Key West.

Edesio Alejandro and Mo Fini co-directed this film, which was shot mostly in the southeastern cities of Bayamo and Santiago de Cuba. Fini is the founding director of Tumi Music, which has produced more than 300 Latin CDs and videos, so it’s no wonder that music plays as much of a role in Mambo Man as the scenery and cinematography. Some scenes include live music performed by such legendary Cuban musicians as Candido Fabre, Maria Ochoa, Alma Latina, David Alvarez, and Arturo Jorge. The soundtrack features members of the Buena Vista Social Club—among them Grammy winner Eliades Ochoa, Juan de Marcos Gonzalez of the Afro-Cuban All Stars, Omara Portuondo, and many others that fill the screen with a rich tapestry of songs. More

Review of MY FAVORITE BLONDE (Blu-ray)

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Grade: B/B-
Comedy
Not rated (would be PG)

Comedian Bob Hope received a record five honorary Oscars and also has a record four stars on the Hollywood Walk of Fame. But those awards are dimmed by the Congressional Gold Medal he received, the Presidential Medal of Freedom that Pres. Lyndon B. Johnson awarded him, the Medal of Liberty he got from Pres. Ronald Reagan, the National Medal of Arts he received from Pres. Bill Clinton, the knighthoods he received from two Popes, and the honorary knighthood that Great Britain bestowed upon him. In fact, Hope has almost as many high honors as he does films—and he starred in 54 of them during a career that spanned nearly 80 years.

Yeah, you’re probably thinking, but are his films any good? For the most part, Hope’s films fall in the three-star category (out of four). And speaking of stars, five-star Gen. Dwight D. Eisenhower presented Hope with the Medal of Merit “in recognition of his wartime contributions to morale on the homefront as well as on virtually every war front.” Which is to say, besides entertaining the troops, as he did his entire life starting in 1941, Hope also starred in a number of wartime films that both entertained audiences and reinforced patriotic themes.

My Favorite Blonde is one of those WWII-era films. This 1942 black-and-white comedy features Hope in a familiar role: a vaudevillian who unwittingly finds himself in the middle of an adventure or intrigue. This time Larry Haines (Hope) and his trained roller-skating penguin Percy are headed for Los Angeles, where the movies want to sign the penguin—not his trainer. But that was before he ran into British secret agent Karen Bentley, or rather she planted a scorpion brooch on him containing the flight plans for 100 American bombers. Back then Americans weren’t as paranoid as they are now, but there was still a sense that a “fifth column” might be operating as underground spies in the U.S.A. German agents (led by screen veteran Gale Sondergaard) are in pursuit, and as irrational as it seems for plans for a European war to start out in New York City, move to Albany, then Chicago, and finally L.A., what entertains about Bob Hope movies is less the plotting than it is Hope’s character, antics, and interaction with a woman that he eventually gets—if Road picture crooner-crony Bing Crosby isn’t co-starring. More

Review of THE CROODS: A NEW AGE (Blu-ray combo)

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Grade: B-/C+
Animation
Rated PG

They say you’re only tall or short compared to who’s standing alongside you, and the Croods seem a little cruder in The Croods: A New Age.

When this prehistoric family meets the Bettermans, who live a better existence that feels like a cross between the Garden of Eden and The Flintstones’ Bedrock, the Croods’ lack of couth really stands out. Kind of like the Clampetts in swanky Beverly Hills. In fact, what could have been a clever commentary on evolution instead becomes more of a familiar poor/rich, rural/urban comedy.

DreamWorks animators have produced another visual feast, with typically stellar animation. But, as is often the case with full-length features that come from big studios who don’t have a mouse and a history of animation evolution that traces back to the beginning of cartoon time, there’s something just slightly off.

It’s not a bad movie, mind you, and the kids actually will love this one because of the bright colors, the crazy characters, and the manic antics that tend to dominate. There are some fun creatures and thrill-ride sequences. But adults may find themselves trying to put their finger on what’s missing—what keeps this okay-to-good movie from being a truly good one.

Endearing characters? Maybe. I don’t know if it’s the way they’re drawn, the dialogue, or the way the actors were directed, but everyone seems to be overwrought this outing and there’s as much constant jabbering and conflict as there is in a typical Real Housewives episode.

Heart? Possibly. There’s a touching family-first love-who-you-are message embedded here, but sometimes the decision to DO EVERYTHING BIG AND LOUD AND MANIC short circuits the feelings that those messages are intended to create. The warm-and-fuzzy moment feels tacked on when everything else is 50 Shades of Crazy. More

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