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Grade: B+
Entire family: Yes
2019, 104 min., Color
Rated PG for adventure action and some mild rude humor
Aspect ratio: 2.35:1 widescreen
Featured audio: Dolby Atmos
Bonus features: B+
Includes: Blu-ray, DVD, Digital
Amazon link

How to Train Your Dragon is that rare animated trilogy that critics and audiences have pronounced consistently entertaining. The first installment, released in 2010, garnered a 99 percent “fresh” rating at Rotten Tomatoes with 91 percent of the general public applauding. But the second and third installments weren’t far off, with 92/91 percent critic ratings and 89/87 popular scores. The only surprise for fans, really, was that it took three years longer for the trilogy “capper” to be released.

But there’s a simple explanation for that: DreamWorks, an independent animation studio whose titles were first self-distributed, then released through Paramount Pictures and later 20th Century Fox, was acquired by Comcast/NBC Universal. How to Train Your Dragon: The Hidden World was the first Universal release of a DreamWorks title, and presumably that positions the How to Train Your Dragon franchise to become a “world” at Universal theme parks.

The action takes place a year after the end of the second film, when Hiccup (Jay Baruchel) was made leader of his people. Hiccup and his patched-up dragon, Toothless, have continued their dragon rescue operation, but by bringing them back to their dragon-friendly island of Berk they have also created an overpopulation problem. The solution? Hiccup recalls a “hidden world” for dragons that his deceased father had told him about, so when an all-out confrontation with the dragon-trapping Grimmel the Grisly and his warlords leaves their village in shambles, Hiccup and the rest set out to find that dragon utopia. More

Review of US (Blu-ray combo)

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Grade: B
Entire family: Heck no!
2019, 116 min., Color
Rated R for violence, terror and language
Aspect ratio: 2.39:1 anamorphic widescreen
Featured audio: Dolby Atmos
Bonus features: B+
Includes: Blu-ray, DVD, Digital
Amazon link

We need to talk. I’m not sure how I feel about Us.

I mean, a part of me feels that it’s another tense thriller from Jordan Peele, who first indulged his non-comedic side by writing and directing Get Out. But—and you might call this follow-up Just Try to Get Out—there’s a part of me, maybe my doppelganger, that thinks this latest “horror” film doesn’t make enough sense.

Then again, horror genre writers and directors have never excelled in logic. It was their worst subject in school. For them it’s all about putting the characters quickly in peril and keeping them there for 90 minutes. And Peele does that, right up until the big-twist ending that would have tied Chubby Checker into a pretzel, all the while leaning more in the direction of “thriller” than “horror” for much of the way.

We’re told in an epigraph that there are a bazillion tunnels under the continental U.S., suggesting that whatever horrors we’ll meet in this film will be subterranean denizens—hard to miss, especially since there are also images of rabbits, which evoke Alice’s plunge into Wonderland.

The action begins with a family’s 1986 trip to Santa Cruz beach and boardwalk, where a young girl named Adelaide wanders off from her dad and is drawn to a “Find Yourself” fun-house of mirrors on the beach. Before she enters she passes a guy who’s a cross between a creepy carney and a doomsayer with the sign that reads “Jeremiah 11:11”— which quickly became a popular Internet search. I’ll save you the trouble: “Behold, I will bring evil upon them, which they shall not be able to escape; and though they shall cry unto Me, I will not hearken unto them.” Yeah, well, she sees her double inside and whatever else happened when she’s recovered by her parents she’s so traumatized she can’t even tell them (or the audience) what happened.

Flash forward to the present and we see an adult Adelaide (Lupita Nyong’o) reluctantly agreeing to return to Santa Cruz for a family outing with her husband (Gabe Wilson) and their two children: Zora (Shahadi Wright Joseph), whom her father thinks could be an Olympic track star if she applied herself, and Jason (Evan Alex), an odd withdrawn kid who tends to wear a mask up on his head like flip-up sunglasses, ready to put it over his face whenever he wants anonymity. If you’re thinking of Friday the 13th’s Jason and his lake antics, that’s what Peele wants. Throughout the film there are numerous allusions to classic campy horror films, which, of course, means that the hope was for Us to be seen as equally classic and campy. More

Review of CAPTAIN MARVEL (Blu-ray)

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Grade: B/B+
Entire family: No
2019, 124 min., Color
Marvel / Disney
Rated PG-13 for sequences of sci-fi violence and action and brief suggestive language
Aspect ratio: 2.39:1 widesscreen
Featured audio: DTS-HDMA 7.1
Bonus features: B
Includes: Blu-ray, Digital Code
Amazon link

Two origin stories for the price of one?

That’s what Marvel Cinematic Universe fans get with Captain Marvel once S.H.I.E.L.D. agent Nick Fury (Samuel L. Jackson) joins Carol Danvers (Brie Larson) a third of the way into the film. What might have been a warm-up for Shaft also turns out to be Jackson’s most entertaining role since Pulp Fiction.

Swagger + Banter + Bad Ass + Latent Rule-breaker + Alien Handler = a lot of fun to watch, especially playing opposite Larson, who for the first third of the film doesn’t seem to have the same ease prancing about in a superhero suit as, say, TV’s Melissa Benoist does as Supergirl. But Larson comes to life in her “buddy” interactions with Fury, the film takes off after that.

Fans who tire of the same basic plot—a supervillain poses a threat to Earth, so one or more superheroes have to rise to the occasion—will appreciate that the 21st film in the Marvel Cinematic Universe offers a different kind of narrative problem.

Not to be confused with Fawcett Comics’ Captain Marvel, who was a little too close to Superman for DC Comics’ comfort, Captain Mar-Vell first appeared in the 1967 comic Marvel Super-Heroes #12, yet another creation of Stan Lee’s, drawn by Gene Colan. In that first comic, Mar-Vell is a Kree “he” sent to Earth to observe their development of weapons technology. In 1982 Mar-Vell was replaced by a woman named Monica Rambeau in The Amazing Spider-Man Annual #16, and the character changed again with Silver Surfer Annual #6 (1993), Captain Marvel #16 (2004), and Civil War: The Return (2007) before Carol Danvers, a.k.a. Ms. Marvel, got promoted to Captain for a role that (re)creator Kelly Sue DeConnick describes as “Carol Danvers as Chuck Yeager.”

So did they finally get it right? Considering the success of rival DC Universe’s Wonder Woman, one would hope so. BC (Before Carol) the Marvel Cinematic Universe hasn’t had a stand-alone female hero. Now they do, and her back story—a combination of elements from all of the Marvel comic renditions—isn’t as confusing or complicated as others have been. It’s just presented as flashback rather than in chronological time. More