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Grade: B-
Rated PG-13
Sci-fi Fantasy

George Lucas and The Rise of Skywalker director J.J. Abrams had to be dreading the day when the last of the nine-film Star Wars franchise finally went into production—less so because a beloved series was ending, and more because fans have been notoriously hard on final installments. Just ask the Game of Thrones people. They know a little something about expectations being so high they can seldom be met.

But if you’re going to market all things Star Wars over four decades, including books about the various creatures, weapons, uniforms, and vehicles, you’ve got to expect that diehard fans are going to downgrade the film if they see inconsistencies, as überfans did. You also could have predicted that critics, who expect originality in every episode of a storied franchise like this, would also complain that there were too many scenes that seemed little more than variations on iconic scenes from previous Star Wars films.

But if you’re just a casual Star Wars fan who’s looking to be entertained, The Rise of Skywalker is a decent enough popcorn movie.

Yes, the original Star Wars trilogy— A New Hope (1977), The Empire Strikes Back (1980), and Return of the Jedi (1983)—remains the best trio of the franchise because the films stayed true to what Lucas wanted to do in the first place: make a contemporary version of the Flash Gordon, Buck Rogers and Commando Cody serials he grew up watching. That meant creating a slam-bang cliff-hanging adventure that was as fun as those old-time black-and-white serials. In the original trilogy, Lucas managed to perfectly capture the blend of action and tongue-in-cheek campiness that made those old-time serials fun. He created a fantasy adventure that didn’t take itself too seriously, with the actors bantering at times like those you saw in another old-time genre: the screwball comedy.

Then came the “prequel trilogy,” with Lucas going to a darker place and losing some of the light adventure in the process. And when he did try to incorporate humor, it wasn’t the tongue-in-cheek variety. It was the insertion of creatures like the unpopular (and surprisingly racist) Jar Jar Binks, whose appearance in The Phantom Menace (1999) caused an uproar. Though there were times when a young Obi-wan Kenobi and master Qui-Gon Jinn managed to recapture the light adventure tone that drove the first three installments, the origin story and angst-ridden love story with Queen Amidala took it light years away from the fun feel of the original trilogy. Attack of the Clones (2002) and Revenge of the Sith (2005) took it even further down a dark path, and, frankly, Darth Maul didn’t have the villainous charisma of Darth Vader.

The Rise of Starwalker completes a “sequel trilogy” that’s superior to the “prequel trilogy” and began with The Force Awakens (2015). Disney had just acquired the rights to the franchise and fans were relieved that the first film in the new trilogy recaptured the lighter tone and energy of the original trio. The Last Jedi (2017) backslid a bit, but hopes were high that the series would give fans the closure and final rush of adrenalin that they craved. But if we’re being truthful, The Rise of Skywalker is more on a par with The Last Jedi than it is The Force Awakens.

Rey (Daisy Ridley) was the most instantly charismatic of the three new main characters in this sequel trilogy, and she really comes into her own in The Rise of Skywalker. Though his mask can’t compare with Grandpa Darth’s, Kylo Ren (Adam Driver) has the right balance of sniveling whiner and downright treacherous villain—traits that made him a perfect candidate for those Undercover Boss spoofs on SNL. Former storm trooper Finn (Boyega) grows on you, but while Oscar Isaac’s portrayal of resistance pilot Poe Dameron is solid enough, it’s tough to shake the notion that he comes across like a less charismatic version of Nick on New Girl—especially when we see those new characters interacting with old ones like Luke (Mark Hamill), Han Solo (Harrison Ford), Lando (Billy Dee Williams), and Leia (Carrie Fisher, appearing posthumously). Overall, though, they’re engaging enough—and the same can be said of the plot and scenic construction. It’s just that you get the feeling you’ve seen it before.

Instead of a hologram beamed by a droid, we get a strange voice from space that sets the plot in motion. Instead of Luke training with Yoda, we get Rey learning the ways of the Jedi from Leia. Instead of Luke conversing with his dead mentor we get Kylo Ren confronting his own. Instead of a light saber battle near a pool of fiery bubbling lava we get a dramatic duel aboard a shipwrecked death star surrounded by unbelievably threatening waves. And as always, the emperor, like that uncle at family gatherings who seems obsessed with finding someone willing to pull his thumb, still seeks a good person to give in to anger and embrace the dark side.

So yeah, the finale covers familiar ground. But it’s Star Wars, and there’s nothing average about Star Wars movies—not even this déjà vu finale. In truth, what makes this disc a must-add to your family home theater libraries is a full-length documentary, The Skywalker Legacy, which is rich with details and behind-the-scenes segments. Seeing what Lucas’s puppeteers do to make it all happen is a treat in itself. And what better time to pull back the curtain on the Wizard than after Oz seems to have shut down for good?

Entire family: Yes (parental discretion)
Run time: 142 min., Color
Studio/Distributor: LucasFilm, Disney
Aspect ratio: 2.39:1 widescreen
Featured audio: DTS-HDMA 7.1
Bonus features: B+
Includes: Blu-ray, Digital Code
Amazon link
Rated PG-13 for sci-fi violence and action

Language: 2/10—Only a handful of minor swearwords

Sex: 0/10—Squeaky clean

Violence: 5/10—People are shot with blasters, people are stabbed or run through with light sabers, there are big explosions with ships blasted out of the sky, but what might stick with young ones are some of the creatures that are slicked or sounded

Adult situations: 1/10—Just looking at the Emperor can be scary, but apart from that and a brief cantina scene where dancing commands your attention it’s all pretty free of anything specifically “adult”

Takeaway: Even if this finale wasn’t the gift some fans were looking for, I’m betting they’ll be more than satisfied with the feature documentary included with this Blu-ray

Review of JUMANJI: THE NEXT LEVEL (Blu-ray combo)

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Grade: B-
Rated PG-13
Fantasy Action-Adventure

Before I offer my family’s take on Jumanji: The Next Level, I’d like to point out that the Internet Movie Database readers thought it was almost as good as Jumanji: Welcome to the Jungle (6.8 vs. 6.9/10) and 87 percent of the audience at Rotten Tomatoes rated them dead even.

Our family’s reaction came closer to the Tomatometer Critics, who gave it a 71 percent “fresh” rating compared to the 76 percent rating they had given Welcome to the Jungle. We didn’t think it was as good.

Welcome to the Jungle effectively used the Breakfast Club formula of grouping different teen personalities together so that we knew, by the time they entered the game, what they were afraid of, what they most wanted, and how they acted normally, so we could appreciate their every movement as an avatar within the game that had sucked them inside. The writing was crisp and it all made sense.

This time, though, the beginning is slow and which characters are which avatars is a bit muddled. When we watch Spencer (Alex Wolff) drag through some pre-game scenes that are supposed to explain why he goes back into the game, those scenes seem unnecessary because they don’t really offer much in the way of an explanation. They just slow the narrative. Same with the introduction of Spencer’s Grandpa Eddie (Danny DeVito) and his estranged business partner Milo (Danny Glover). The camera time they get feels wasted, given DeVito’s and Glover’s talents. You find yourself thinking, “Come on, get on with it.” More

Review of DRAGONHEART: VENGEANCE (Blu-ray combo)

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Grade: C+/B-
Entire family: No
2020, 97 min., Color
Rated PG-13 for sequences of violence and action, and some bloody images
Aspect ratio: 1.78:1 widescreen
Featured audio: DTS-HDMA 5.1
Bonus features: C
Includes: Blu-ray, DVD, Digital Code
Amazon link

Dragonheart: Vengeance is the third direct-to-video “prequel” to the cult-favorite 1996 fantasy adventure starring Dennis Quaid and the voice of Sean Connery, and the good news is that it doesn’t look like the typical slap-it-together direct-to-video release.

Aside from some noticeable green screen work in less than a handful of spots, the CGI effects and animation are strong enough to make you forget that this spawn of Dragonheart never saw the dim light of theaters. But apart from those strong production values, Dragonheart: Vengeance is a mixed bag.

On the plus side, the two main characters are instantly likeable. The more screen time they get, the more you like watching farm boy Lukas (Jack Kane) and mercenary swordsman Darius (Joseph Millson) as they set about to avenge the murder of the boy’s family and eventually take on the evil king. On the minus side, haven’t we already seen a family-less Luke hooking up with a profit-minded rogue adventurer who then take on the Emperor—albeit with a galactic rebel army? And haven’t we seen Darius’s “look” before in Aragorn?

Instead of Sean Connery’s voice, the dragon in this film is powered by Helena Bonham Carter (“You’re a girl dragon?”). Carter is always the consummate professional, and it’s a nice touch having the dragon breathe ice and not fire. But some of the lines that are written seem way too contemporary, and the script doesn’t allow for the same playful interaction as in the original film. Instead of a con game where the mercenary and dragon worked together to extort money from frightened villagers (and banter like buddy cops in the process), this dragon is a reluctant dragon—as much of a pacifist as those old-time Western heroes who need to have someone close to them threatened or die before they’ll take action. More

Review of THE WAR LORD (Blu-ray)

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Grade: B
Entire family: No
Action-Adventure, Drama
1965, 123 min., Color
Kino Lorber
Not rated (would be PG-13 for adult situations, brief nudity and action violence)
Aspect ratio: 2.35:1
Featured audio: DTS-HDMA 2.0
Bonus features: C-
Amazon link

Of the dozen or so films set in medieval times that Hollywood made in the ‘50s and ‘60s, The War Lord stands out. It wasn’t another romanticized tale of knighthood like El Cid, Ivanhoe, The Black Knight, or Knights of the Round Table, and it wasn’t a dreamed-up biopic of a famous figure like Lady Godiva, Prince Valiant, Saint Joan, or Francis of Assissi. If a comparison had to be made, you’d have to say that it comes closest to The Vikings in its tone, spirit, and subject matter.

Like The Vikings, this 1965 Technicolor and Panavision feature from director Franklin Schaffner (Planet of the Apes, 1968) is based on the conflicts between Normans and Frisian (Viking) raiders. But like The Vikings a good portion of the drama comes from internal conflicts unrelated to the main bouts. Unlike The Vikings or any of the films about knights, the life of a warrior is not romanticized, nor is medieval life. The castle in The War Lord is but a single tower, and it’s cold and drafty and in disrepair from previous sieges. There are no lute players or jesters, no feasts, and no life of leisure inside that small castle.

A typically wooden Charlton Heston stars not as a glamorous knight but as knight given a swampy place in the middle of Nowhere, Normandy to hold for his king. Chrysagon (Charlton Heston) relishes the appointment of Lord over all who live in this place, while the brother that accompanies him, Draco (Guy Stockwell) thinks it a mudhole fit only for pigs and heathens. Also accompanying Chrysagon is Bors (Richard Boone), a sidekick who’s fought by his side in the Crusades. More

Review of THE KNIGHT OF SHADOWS (Blu-ray)

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Grade: C-/?
Entire family: No
2019, 109 min., Color
Well Go USA Entertainment
Not rated (would be PG for crude humor and action violence)
Aspect ratio: 16×9 widescreen
Featured audio: DTS-HDMA 5.1 Mandarin (and English dubbed) with English subtitles
Bonus features: C+ (better than the film!)
Amazon link

If you look at the cover of The Knight of Shadows with its tagline “Martial Arts Fantasy Adventure” and see Jackie Chan and a serious-looking co-star in period garb, you’d think you’re in store for a serious adventure. You get a similar impression if you read the Imdb.com or Amazon.com description that the studio provided: “A legendary demon hunter (Jackie Chan), tracking down beasts that enter the human dimension, assisted by a lawman protégé and a motley group of friendly monsters.” Still promising, right? Even if you watch the official trailer, with its strange H.R. Pufnstuf-style characters, you never get the sense that silliness ever tries to hijack the film.

Then you watch the film and go, seriously?

Director Jia Yan tries to juggle the comedy and martial arts adventure, and if they were knives he’d still be in the emergency room getting stitched up. This is a film that lurches clumsily between Three Stooges silliness (three law enforcement officers in The Knight of Shadows do their best to ruin Moe, Larry, and Curly for future generations) and cartoonish creatures that are just poorly designed and clumsily integrated into the plot—as if Jia Yan looked at the first print and thought, “We have to do more with this film to attract small children.” Let’s put in a pig character, and a cross between a fairy and Groot, and a character whose only function is to talk about “farts” and throwing his own special brand of f-bombs here and there.

The influential Chinese website Douban gave The Knight of Shadows a 4.3 out of 10, and I’d have to say that my family and I had nearly the same reaction. I’d go ever-so-slightly higher because there are some wonderful serious action sequences that seem to come out of nowhere, but make you wish that the director had chosen to go this route instead of trying to straddle the fantasy fanboy and Saturday morning cartoon audiences. More


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Grade: C-
Entire family: No
Action-Adventure Comedy
2003, 106 min., Color
Rated PG-13 for action violence, sensuality and language/innuendo
Aspect ratio: 2.40:1 widescreen
Featured audio: DTS-HDMA 5.1
Bonus features: B-
Amazon link

The original Charlie’s Angels TV series (1976-81) was a campy affair that gave viewers a little female eye candy every week and some tongue-in-cheek crime-show action. What made it work were the three stars—Kate Jackson, Farrah Fawcett, and Jaclyn Smith—and not the undercover situations the detectives found themselves in, which were only slightly more outlandish than other crime shows on the air.

In that original TV series, John Forsythe provided the voice of the head of the Charles Townsend Detective Agency, while David Doyle was the lovably uncool Bosley, the angels’ contact and often fourth wheel on their assignments. The never-seen Charlie gave the show a hint of mystery, while Doyle’s doddering Everyman provided comic relief and balanced the chic, ultra-hip vibe that the angels gave off. But the angels were portrayed realistically enough that fans could either identify with their favorite or wistfully lust after them. They came across as real people who managed to find themselves in unreal situations every week.

That winning formula was altered so completely in 2000 by music video director McG that the first Charlie’s Angels reboot seemed little more than an over-the-top extended music video. And McG did the same thing with Charlie’s Angels: Full Throttle (2003). The three stars—Cameron Diaz, Drew Barrymore, and Lucy Liu—are deliberately comic, but the comedy feels clumsily inserted instead of integrated into the narrative. That makes it hard for us to care about their assignment, which gets lost in an onslaught of road-runner-and-coyote action. More

Review of SPIDER-MAN: FAR FROM HOME (Blu-ray combo)

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Grade: A-/B+
Entire family: No
Sci-Fi Action-Adventure
2019, 129 min., Color
Rated PG-13 for sci-fi action violence, some language and brief suggestive comments
Columbia Pictures / Marvel Studios
Aspect ratio: 2.39:1
Featured audio: DTS-HDMA 7.1
Bonus features: B+
Includes: Blu-ray, DVD, Digital
Amazon link

Some franchises age better than others. Spider-Man, in fact, keeps getting younger as the studio aims for a youthful, social media savvy audience. In fact, 22-year-old British actor Tom Holland learned he got the role of Spider-Man three years ago via an Instagram post.

In some respects, Holland has come a long way since he played the lead in Billy Elliott: The Musical, but in other respects he’s still playing that awkward youth who struggles as much with his own self-image as any other adolescent or teen. In Spider-Man: Far from Home—his fifth film wearing the Friendly Neighborhood Spider-Man costume (counting appearances in Captain America: Civil War, Avengers: Infinity War, and Avengers: Endgame in addition to the 2017 film Spider-Man: Homecoming)—Holland as Peter Parker is awkward around girls, unsure of himself, and as reluctant a hero as ever there was.

Director Jon Watts said that audiences responded well to the high school student excursion to Washington D.C. monuments in Homecoming, so it was a no-brainer to take those students abroad. But some parents might wish that the kids traveled with a teacher who wasn’t cut from the Disney Channel template of clueless adults, more cardboard comic relief than flesh-and-blood character. Still, I suppose if Mr. Harrington (Martin Starr) wasn’t so clueless, there’d be no way to quickly and easily move the group from one part of Europe to allow Peter Parker to do his “Peter tingle” job, as his Aunt May (Marisa Tomei) likes to call it. More

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