Phineas and Ferb: Candace Against the Universe

“Phineas and Ferb” might be the last traditionally animated cartoon to be released from Disney before everything permanently became CGI and 3D. The story of two brothers who, over their three month summer vacation, went to the moon and back, created so many obscure devices, and tortured their older sister, Candace, like no tomorrow.

Now Candace is the main attraction in Disney+’s “Phineas and Ferb: Candace Against the Universe,” released back in August, the first we’ve seen of the cartoon since the show ended in 2012. For those who don’t know, this aggravated sister was always ready to snitch on her younger brother’s crazy inventions, which would permanently end their summer enjoyment. However, lady luck would never be on her side, and she never succeeded. Nate Adams compared in his review, “Like Wile E. Coyote’s countless attempts to catch Road Runner, Candace never comes close to busting her brothers.”

This is where the movie begins, as Phineas (Vincent Martella) and Ferb (David Errigo Jr) are with their friends, causing trouble while having a great summer. However, Candace, voiced by Ashley Tisdale, is not, and seeing how that it’s been this way throughout the five seasons, making her feel really down. However, everything changes for her in this film as she finally is the protagonist and tries to steal the show.

Why does she always want to get her brothers in trouble? Adams said, “Is a big gambit the show’s creators never really tackled, and in the new film we found out she’s dealt with massive insecurities because of her brother’s sensational ideas.” In her opinion, she’s not special, and when she, and her best friend Vanessa (Olivia Olson), are abducted by aliens, Phineas, Ferb, and all of their friends: Baljeet (Maulik Pancholy), Isabella (Alyson Stoner), and Buford (Bobby Gaylor) seek help from Dr. Doofenshmirtz (Dan Povenmire, series co-creater) to find them.

The question then is: does she want to be rescued?

When she arrives on the alien mothership, Candace is welcomed with open arms as “The Chosen One” by Super Super Big Doctor, voiced by Ali Wong, and suddenly she feels like she is somebody. She’s special, but not everything looks that way and Big Doctor has a hidden plan that threatens to overturn Earth, and time as we know it!

“Candance Against the Universe” is a welcome return after a five year break, even if it’s just to see Perry the Platypus sneak around like the secret agent. Adams said, “Some of the musical jingles don’t really land as “Girl’s Day Out” and “Unsung Hero” aren’t the toe-tapping anthems one would expect, and there’s a few too many subplots happening in the background that take away from the films core missions and objectives, signaling why “P&F” worked so well as a 21 minute saturday morning cartoon. But creators Dan Povernmire and Jeff “Swampy” Marsh infuse the film with meta commentary and some fun bits, sure to give fans of all ages plenty to giggle over.”

Most importantly, the film strengthens the relationship between Candace and her brothers. You start to feel that, for every time she tried to get them in trouble, she actually loved her little brothers. Adams ended his review by saying, “Whether we get to see these ragtag groups of characters back in action remains to be seen, but if “Candace Against The Universe” is the culmination of the series, well that wouldn't be a terrible way to go out. I know what you should be doing today.”

I feel as though a lot of films that were released this year all revolved around the theme of family. This one is no exception as I feel this was a movie that kids can watch, as they need to know that message. Anyone can watch this, whether they have seen the show or not. I have never seen the show, and I got into this. Will I actually see the show? Maybe, but I don’t know yet. Still, this is a really good movie and I think you can all see this if you’re a subscriber to Disney+.

Now we have come to the end of “Disney Month 2020.” I hope everyone enjoyed this and I think this will be the theme of Disney Month from now on. It will just be one huge grab bag of different movies with no connecting themes.

I hope everyone enjoyed all of my reviews this year, as this year is the year that I did the least number of reviews. Next year might be the same way with the current pandemic that we’re all going through until we get the vaccine. I hope everyone closes out the year with some hope and positivity. Stay safe my online readers. Tomorrow I will start back up with my regular Friday reviews.

Hamilton

You know there is a bad situation when a planned theatrical release, one that was guaranteed to get so much money from the box office, not only gets the date delayed to an entire year, but instead gets put on a streaming service instead of a theatrical release. However, that’s the situation we are in currently. If there’s a good thing about living in a pandemic, it’s that you got to watch Lin-Manuel Miranda’s Tony Award-winning play “Hamilton” (with the original cast) on Independence Day weekend instead of next year.

Pete Vonder Haar said in his review, “That said, the act of reviewing Hamilton is almost entirely superfluous, not just because it's one of the most anticipated movies of the last few years (even before it was moved) but because of the scarcity of other marquee options (not to take anything away from that upcoming Suzi Quatro documentary). Not only are we starved for something — anything — to distract us, but when that something is a film of a celebrated musical most of us never got to see, this is as close to a slam dunk as it gets.”

During this pandemic, the one movie with one “I” in the title is king, or something.

Haar noted, “Wisely eschewing a cinematic reimagining (a la My Fair Lady), Miranda and director Thomas Kail also avoid a minimalist presentation that would do little more than ape the full theatrical experience.” The method helps bring supporting actors like Daveed Diggs (Lafayette/Thomas Jefferson), Renée Elise Goldsberry (Angelica Schuyler), and Anthony Ramos (John Laurens/Philip Hamilton) to the front.

Haar noted, “Hamilton the movie was filmed over three nights back in 2016, and while it's nice to hear the audiences's reactions to King George's (Jonathan Groff) bon mots or Okieriete Onaodowanit's bawdy Hercules Mulligan, it's hard not to feel a kind of sorrowful frisson at their (and the cast's) enthusiasm, viewing it in the present day.”

Sure, on one hand it’s about “immigrants getting the job done,” but it’s more than that. “Hamilton” overall is about a look of the combination of firmness, weakness, and kindness we see as being uniquely American, or used to be, in any way.

Releasing this on Independence Day weekend was good for two reasons. First, it got so many more Disney+ subscribers. Second, it gave everyone the chance to feel about the U.S.A. when that feeling is in an extremely short way.

I don’t think I really need to add anything new that everyone who has seen the production hasn’t already said. I watched this over the course of two days and we watched it with the closed captions on because the raps were so fast that it was hard to understand what everyone was saying. However, I got the soundtrack on my iPhone and it is a song that you could workout or run a marathon while listening since it’s so upbeat and energizing. I like all of the actors on how they played these roles. If you haven’t seen it and you’re a Disney+ subscriber, see it because it is one production that you must see.

Alright everyone tomorrow is it. We’re going to finish up “Disney Month 2020” with the other film that was released on Disney+ this year.

Teacher's Pet

Eric D. Snider started his review by saying, “Though it comes to us from Disney, “Teacher’s Pet” bears more resemblance to the frenetic, loose-limbed anarchy of the old Warner Bros. cartoons than to the slick, genteel productions usually associated with the Mouse House. The protagonist is a brash Bugs Bunny figure, while his sidekick is a good-natured Porky Pig type. The villain has the bombastic ravings of Yosemite Sam, mixed with the far-out ideas of Marvin the Martian. The plot is absolute screwball — and when I say that, I’m holding up a drawing of a screw and a ball.”

Snider continued, “This is a thoroughly delightful, giggle-inducing movie that will amuse kids with its quirky drawing style and outlandish action, while entertaining their parents with fast-paced dialogue and clever songs. It lacks the weight and overall polish to become a “Disney classic,” but it certainly deserves a spot on the list of family cult classics.”

Based on the ABC cartoon show and casting a lot of the same people, “Teacher’s Pet,” released in 2004, is about a dog and his boy. The dog, Spot, voiced by Nathan Lane, wants to be a human boy so bad that he dresses up in human clothes and disguises himself as a student, attending the same school as his owner, fourth-grader Leonard Halperman, voiced by Shaun Fleming.

Leonard’s mom, voiced by Debra Jo Rupp, is the teacher, which is great, and in the movie, she is nominated for a Teacher of the Year award and sent to southern Florida to compete. Principal Strickler, voiced by Wallace Shawn, lets her borrow his RV for the trip, but says to her that no dogs are allowed in his RV.

However, Spot feels like he needs to go with them, because he wants to find a South Florida scientist he saw on TV, Dr. Ivan Krank, voiced by Kelsey Grammer, who claims he can turn animals into people. A scam is made, and Spot joins, and there is a lot of trouble that goes with the journey.

Snider commented, “Nathan Lane is an inspired choice to play Spot, a resourceful, wise-cracking character whose streetwise optimism makes him a true descendant of the aforementioned wabbit. He dons costumes as often as necessary to fool the gullible, does pratfalls to make a point, and occasionally bursts into song. He’s a funny, dynamic character, and great fun to watch.”

The supporting cast is full of eccentric characters, like Megan Mullally and Paul Reubens as a malformed mosquito and alligator, respectively, failed animal-to-human subjects in Dr. Krank’s laboratory. Jerry Stiller and David Ogden Stiers are hilarious as Leonard’s other pets, a bird and a cat, and Estelle Harris plays an unconscious petsitter.

Snider ended his review by saying, “The theme of conflicting dreams (Spot wants to be a boy, Leonard wants a faithful dog) is dealt with just seriously enough to warrant making a feature-length film. The main priority is jokes, and lots of ’em, flying at you visually and aurally, in the landscapes, the one-liners and the whacked-out drawings. Maybe the best compliment I can pay the movie is that it makes me want to seek out the TV show it’s based on.”

I have to admit, seeing a movie based on a show that I never saw and maybe never heard of, I actually was thoroughly entertained by. See this because you will also have a laughing time watching this and if you want to check out the show after watching this, go right ahead. I think I will do the same, but I don’t know as of right now.

Tomorrow I will start looking at some Disney movies that were released this year in “Disney Month 2020.”

Recess: School’s Out

The highest school test scores in the world are seen in Canada, Iceland and Norway, says the brilliant but evil Dr. Benedict, antagonist of the 2001 spinoff “Recess: School’s Out.” How are all of those countries similar? “It’s snowing all the time.” Benedict wants to be president, and one of the ways he’s trying to raise U.S. test scores by using a green ray to move the moon into a different orbit, ending summer – thus ending summer vacation.

This is left to T.J. Detweiler, courageous Elementary school student, to save summer vacation in this spinoff of the animated children’s show. He takes on this task because he’s the only kid who is left in town while the rest of his friends enlist in different summer camps. He sees that Benedict and his henchmen take their moon-moving equipment into the Third Street School, “back where it all began.” Roger Ebert said in his review, “In the 1960s, we learn, both Benedict and Principal Prickly were idealistic flower children. But then it rained on Benedict's dream, and he turned into the monster he is today. Prickly on the other hand simply grew old and lost his youthful enthusiasm in the day-to-day grind. As for Miss Finster, the draconian teacher, it's doubtful she was a child of the 1960s, although she retains some of the lingo (when she gets stuck trying to crawl through a basement window of the school, she cries out, "I'm stuck! Curse these bodacious hips of mine!").”

We find out that Dr. Benedict began at Third Street School, his career grew, and he was U.S. Education Secretary before he was fired because he tried to ban recess. Ebert noted, “In exile and isolation, his scheme escalated into an attack on the whole summer vacation, and there is a computer simulation of his dream, in which the earth enters a new ice age and the kids presumably all stay inside and study.”

Ebert continued, “"Recess" is a Disney attempt to reach the same market that Nickelodeon taps with "Rugrats," and although it lacks the zany exuberance of the recent "Rugrats in Paris," it's fast-footed and fun. "Rugrats in Paris" had charms for grownups, however, while "Recess: School's Out" seems aimed more directly at grade-schoolers. That makes the 1960s material problematical; do 9-year-olds really care about ancient history? Even if Myra, the 14-year-old "singing sensation," performs "Dancin' in the Streets" over the end titles?” The animation report has made a lot of voice-over work in Hollywood, and in the voices on “Recess” are Dabney Coleman as Principal Prickly, Andy Lawrence as T.J., April Winchell as Ms. Finster, James Woods as Dr. Benedict, and Jason Davis as the regular voice as Mikey while Robert Goulet provides the singing voice (Ebert said, “the song is "Green Tambourine," performed in a sequence made by animators who have obviously studied "Yellow Submarine" and the works of Peter Max”).

The movie was directed by Chuck Sheetz, who worked on “King of the Hill” and “The Simpsons.” One of the good things is defending recess, which is, we see, when all the real benefits of Elementary school education happen. Ebert ended his review by saying, “I recommend it for kids up to 10 or 11. Parents may find it amusing, but it doesn't have the two-track versatility of "Rugrats in Paris," which worked for kids on one level and adults on another.”

I would agree with him because I grew up watching the animated show. The movie did not have the same level of humor that the show had. I don’t know why the same people who worked on the show could not put in the same level of effort on a spinoff movie. What went wrong? I’m not trying to say that this is a bad movie, it’s not. It’s just not that good. If you want to see this, you can, but if you watched the show, you won’t like it as much as the show. Those who you have not seen the show probably may not get into it either. However, like I already have said, it’s not a bad movie, just not as good as the show.

Tomorrow I will look at another spinoff of an animated show in “Disney Month 2020.”

Flight of the Navigator

Meant more for kids than their parents, “Flight of the Navigator,” released in 1986, has everything a summer hit includes: a kid on a huge journey, adults who ask too many questions, and an enjoyable ride on a spaceship. It’s also really well done if you look closely at some of the special effects and broaden your horizon to its story.

Candice Russell said in her review, “Naturally, we've seen this kind of movie before, inspired as it is by E.T., Explorers and The Last Starfighter. Walt Disney Pictures is banking on the fact that kids have short memories. For a wide-eyed child whose imagination knows no bounds, this film's similarity to other ones probably won't matter.”

After nicely setting up 12-year-old David’s (Joey Cramer) normal life with a younger brother (Albie Whitaker) and caring parents (Veronica Cartwright and Cliff DeYoung), the movie changes to a mood of danger. Everything is going well until David falls in a ditch in 1978. When he wakes up it’s 1986, and he hasn’t aged a day. Strangers (Richard Liberty and Iris Acker) live in his house. The police (Raymond Forchion and Cynthia Caquelin) help him to find his parents, who are shocked and excited to find him alive. David isn’t convinced until he sees his “little” brother has grown to the age of 16, played by Matt Adler.

“Flight of the Navigator” spends an inconsistent time setting up David’s journey. Russell said, “The story is top-heavy with well-meaning villains -- curious doctors from the National Aeronautics and Space Administration who hold him captive for study. Maybe David has had a close encounter with beings from another planet. NASA's discovery of an impenetrable silver pod that crash- landed at a power plant is somehow connected to his thought patterns, as recorded on a computer.”

He does hear voices that he doesn’t understand, which does take him to the pod. The foreshadowing occurs once David is inside this alien spaceship because it’s where he belongs. This is where the fun starts. Russell said, “Michael Burton and Matt MacManus wisely include all manner of outer space beasties to accompany him on a cross-country, undersea trip faster than the speed of light.” One talking friend, a silver part of the ship called Max, voiced by Paul Reubens, takes on the personality of a teenager, who sings the song for Rice-a-Roni when they fly over San Francisco. This is really funny.

Russell noted, “Made in South Florida last winter, the film will be a hoot for locals who recognize sites such as Miami's Watson Island and a park on Fort Lauderdale's New River. The region looks clean, bright, water-surrounded and beautiful. Tourist councils should be cheering.”

However, that’s a side note. The main point is that “Flight of the Navigator,” despite a rough start, does get better, taking a child on the adventure of a lifetime.

I cannot believe I never saw this movie growing up. This is a classic that I cannot believe I never heard of. Then again, Nostalgia Critic did put this on his “Top 11 Underrated Classics” list, and I had forgotten about it until I decided to check it out this year. Now that I have seen it, I can safely say that I recommend this to everyone. This is on Disney+ and you should see it because you will love it, I promise.

Check in tomorrow for a movie that is based off of a Disney animated series in “Disney Month 2020.”

Wonder Woman 1984

Like the countless movies and TV shows before, “Wonder Woman” knows exactly what it needs for everyone to enjoy it: Taking place in the 80s.

Johnny Oleksinski mentioned in his review, “The clothes! The hair! The personalities! Wham! Compared to our bland, monochromic decade, the ’80s were the Land of Oz. And a wallop of flair is just what this DC hero franchise desperately needed.”

The first film took place during a time in human history that isn’t really looked at: World War I. A plagued Wonder Woman went to the trenches and dealt with a straight hour of smoke and soot. Squint and you possibly can see the protagonist.

Oleksinski said, ““Wonder Woman 1984,” by contrast, is visually dazzling with kaleidoscopic color and buoyant action sequences. The plot, thank Ares, is no longer so self-serious, even if it is a bit knotty.”

Oleksinski continued, “Amazonian Princess Diana (Gal Gadot), who does not age, still looks catwalk-ready in her new life as a Smithsonian scientist in 1984 Washington, DC.” She looks at rare artifacts there, and is surprised to see an ancient wishing stone with Latin words arriving at the museum.

Not realizing how powerful the object can be, she wishes that her late boyfriend Steven Trevor, reprised by Chris Pine, would come back to life. He does! Her shy colleague Barbara, played by Kristen Wiig, asks the stone if she can be more like Diana. Oleksinski noted, “Considering Gadot is a former dancer turned Miss Israel turned combat trainer turned Hollywood A-lister, I can hardly see why.”

Then a loser named Max Lord, played by Pedro Pascal, steals the rock. Oleksinski mentioned, “He’s a failed businessman and TV personality who’s attempting to make a buck by hawking “oil-rich” plots of land that actually contain no oil. He wishes to become the wishing stone itself, thus turning him into a sinister genie crazy on world domination. Pascal makes Lord into an unhinged psycho who could’ve been a bad guy on “Dallas.””

Oleksinski noted, “By the way, it’s nice to see the talented Pascal take off his “Mandalorian” helmet for a couple of hours. That thing must be getting stinky.”

After Barbara makes her wish, she changes into Cheetah, a friend of Diana’s who later becomes her enemy. Oleksinski noted, “It’s some of Wiig’s best film acting since “Bridesmaids,” and she’s finally found a major project she easily fits into. The actress brings just enough comedy style to her bookish nobody, and finds real ferocity as a feline femme fatale.”

Oleksinski continued, “In the last film, Wiig probably would’ve stuck out like a tux in Florida, but director Patty Jenkins has embraced humor this go-around.” When Steve tries on a pair of parachute pants, he doubtfully yells, “Does everybody parachute now?!” Pine also is funny when he tries out his first escalator.

Sadly, the one problem I think will bother a lot of people is the length. Patty Jenkins doesn’t include a lot of enjoyment in the two and a half hour runtime, and the final fight is not even the best one the movie shows. Oleksinski credited, “There is a far more gripping car chase through Cairo midway through, and a Cirque du Soleil-like flashback to Diana’s Amazon training at the start of the film.”

However, Jenkins is way better than most of the men directing at the Marvel Studios currently. The best part of “Wonder Woman 1984,” released on HBO MAX yesterday, is when Diana finds out her new superpower. Gadot’s helpless look and the charming movement of the camera all over her as Hans Zimmer’s powerful score increases is amazing.

Despite the good action scenes, great acting, emotional moments, Gal Gadot killing it in the role, Chris Pine back, Wiig doing good as Cheetah, I do have some problems. For one, Gadot is not Wonder Woman for a lot of film but for a few parts, which is a surprise, considering this is a Wonder Woman sequel. Another is that Pascal is just like how Jim Carrey was in “Bruce Almighty.” I feel that maybe Jenkins could have reworked this film a little bit, but overall, this is a good sequel, even though the first one is better. Do give this a watch because this is one of the better DC movies. Since people are avoiding going to the theaters, and this was theatrically released, if you have an HBO MAX account, see it on there.

There is a surprise mid-credits scene that you need to see, since they are planning an Amazons film and a third Wonder Woman movie.

Thank you for joining in on tonight’s review. Stay tuned tomorrow to see what film I will review next in “Disney Month 2020.”

D3: The Mighty Ducks

Roger Ebert started his review of “D3: The Mighty Ducks,” released in 1996, as “the first movie title I've seen that correctly predicts its grade on Entertainment Weekly's movie report card: a D.” The Mighty Ducks, Minnesota’s underdog children’s hockey team, are back again, in the third movie of basically the same story: Evil, minor, cruel, mean-spirited, cheating, lying jerks try to stop them, but the Ducks, after first dealing with over-confidence, bickering, pride, anger and a new coach, redeem themselves in the final match.

“You’ve never heard of the Anaheim Mighty Ducks?” asks Charlie, the team’s top player. “They named a pro team after us!” Ebert said, “He uses this as a pick-up line with a cute brunet. Maybe it would have worked even better if he'd added, “And the same company that owns the team produced all three Mighty Duck movies, in a transparent exercise of cross-promotion!” As the movie opens, the state champion Ducks have all been given scholarships to snobby Eden Hall, a private academy with a hockey program so good that they have more flags hanging from the ceiling of their arena than a used-car lot on Washington's Birthday.” Not everyone is happy about the new students, who bring blacks, Asians, Jews, obese kids and even a girl into the famous hockey program, which looks if not like they mostly consist of rich white jerks.

Leading the hypocrites is the negative labeler Dean Buckley, played by David Selby, who tries everything he can think of to rid the scholarships. Then there’s the varsity coach, played by Jack White, who really lays it into his team by saying: “They don’t belong in our school. Now show them why!” The Ducks are sad as the movie starts to find out that beloved Coach Bombay won’t be coaching them anymore. Bombay, the great lawyer who began them because of court-ordered community service, has moved on to the Junior Goodwill Games. Their new coach is a former professional player named Coach Orion, played by Jeffrey Nordling, who lectures on defense.

“I’m a scorer,” says star player, Charlie, played by Joshua Jackson. Ebert said, “We've seen more than one movie, and can guess where *that* kind of talk will lead, although we are not prepared for the way the script delivers with a bludgeon rather than a scalpel: The Ducks go out to a 9-0 lead, but don't play defense, and so their opponents then score 9 straight goals to tie the match.”

Ebert continued, “The movie's desperation can be seen in several totally contrived scenes, of which the most obvious shows the fat kid losing control while on in-line skates, rolling away while Charlie speeds to rescue him. The kid, screaming piteously for help, rolls down a flight of stairs, into city traffic, past snarling dogs, etc., while sometimes skating on one leg, knocking over garbage cans, etc., and finally flying through the air and somehow landing just as Charlie is able to save him.” The problem here is that only one of the best skaters ever could really perform well enough to do every one of those stunts. We think who the movie is trying to fool.

Ebert said, “Most of the dramatic scenes involve a feud between the freshman Ducks and the snob varsity, who stick them with the bill at an expensive private club, leading to the first movie scene since the 1930s in which we are asked to believe that the penniless diners could work off their bill by washing dishes.” Other added parts include a scenic trip to the Mall of America, and a curious side story with old Hans, played by Joss Ackland, who has been with the team since the beginning, always believed in them and listen to their games on the radio while shaking his head sadly at their insanities.

Hans is a familiar type of movie piece: a character who we can predict is going to die before the end of the film. Ebert noted, “I've gotten to where I can spot them in their first shots, and I whisper “He's gonna die!” to my wife, who tells me to be quiet and watch the movie.”

Ebert continued, “At the end of the film, there is skullduggery involving the Ducks' free scholarships, which of course can be settled if they win a big match and if Coach Bombay comes back to practice his formidable legal skills. Everyone in the movie seems to agree that athletic skill is the only criterion for scholarships at Eden Hall, a school where I cannot remember anyone ever taking any classes, although my attention may have wandered.”

As you can predict, this is the worst of the trilogy. Sure, I understand that kids don’t adapt to change for some time, but not this long. Are you saying that all kids don’t like change and want things to stay the same? These are some of the stupidest kids I have ever seen on a Disney movie. Just do yourself a favor and never see this movie. You will regret ever seeing it and I don’t see how anyone can like this garbage.

Now that we have “thankfully” ended off this terrible sports trilogy, stay tuned later tonight for when I review the other movie that was released yesterday.

Soul

Pixar has a new film. That’s got to be the only thing to attract audiences. For others, the fact that “Soul,” released tonight on Disney+, is Pixar’s first animated film with a black lead is a huge factor especially in 2020. “Soul” has the style, rhythm and overall perfection Pixar style to result in another great movie for the studio.

Joe, voiced by Jamie Foxx, is a part-time middle school music teacher who hasn’t let go of his dream of becoming part of a jazz ensemble. However, when he gets his big break of performing with saxophonist Dorothea, voiced by Angela Bassett, is on the edge of being accomplished, Joe falls in a life-threatening situation that cost him his life.

When he’s on a hospital bed, his soul travels to the beyond where souls get their personalities implanted under the leadership of summary characters that are all named Jerry, voiced by Alice Braga and Richard Ayoade.

Thinking this chance is better than going to the next step into the great unknown; Joe agrees to mentor 22, voiced by Tina Fey, a soul that has little interest in going to Earth to find her passion. A mistake sends them back to Earth in roles they didn’t want and Joe beings a serious try to make his dream real no matter the boundaries.

Director/co-writers Pete Docter and Kemp Powers have a smart idea. Jeffrey Lyles said in his review, “They approach Soul with some unique real world moments mixed with metaphysical and spiritual questions of purpose and self.”

Lyles continued, “The waiting area is a slow moving conveyor while the staging area feels like something workshopped for an app complete with a somewhat sterile, matter of fact feel to it.”

As always, the animation is top notch with some beautiful effects. Docter and Powers don’t stay on the traditional modern animation styles and great creative with intangible designs.

Lyles noted, “It’s not hard to envision the think pieces dissecting the script, co-written by Mike Jones, from deep thinkers. There’s some unintended connections to Get Out that could ring out for some viewers and there’s the continuing trend with black lead characters in animated films.”

“Soul” looks like it was following the typical hooking people in cliché of animated films with black leads like “Spies in Disguise” and “The Princess and The Frog.”

Everyone knows how the marketing goes. Lyles said, “The black lead is heavily promoted only to get turned into an animal early on.” “Soul’s” blue energy orb looking like Joe really shocked people, and the patterns shows up in a more obvious way later on.

Lyles admitted, “I felt more lenient in this instance as Joe, the black main character, didn’t disappear from the screen for lengthy potions of the film.” This is important in the second act as Joe takes 22 on a tour of the city where she is amazed by all of the sights, sounds and feelings with city life.

Lyles credited, “To the filmmakers’ credit, Soul isn’t a color blind animated film. The film captures the flavor of New York while nailing specific tones of black experiences like the communal feel of a barbershop and family pressures. These scenes are easily some of Soul’s richest and most rewarding scenes.”

The score by John Baptiste, Trent Reznor and Atticus Ross is also excellent and is the type you’d play in the background just to listen to the score.

“Soul” might not be playing every formula piece of “Inside Out,” but it is working off a similar formula. Instead of emotions, “Soul” looks at passion and purpose. Pixar films always hit the right areas of entertaining children and adults in different ways and “Soul” might hit a little differently for adults this time.

The children audience will love the slapstick physical comedy and body switches, but adults may find the questions of purpose way more significant.

A lot of Pixar films give adults an unusual look at life they’ve already gone through. “Soul” shows the future is still ahead for those who still want to go through it.

This is a movie that was needed for this year. This is a good lesson for everyone watching to be fearless, dream big, hold on to those dreams and massage them because dreams do come true. Follow your passions and harness them. Don’t ever think that you don’t have a purpose in this world, you have a purpose and you need to find out what that purpose is. This is great for those who have doubts and think negative thinking they are worthless when no one is. The animation is great, the CGI looks like you’re looking at real people at certain areas, and the voice acting is top notch. Seeing how this was released on Disney+ today, if you have an account, check this out because I give it a recommendation. I would even say this is one of my favorite Pixar movies. Give it a watch, and brighten up your holiday cheers.

Once again, Happy Holidays to everyone. I hope all of you have been playing it safe. Stay tuned tomorrow for when we finally wrap up “The Mighty Ducks trilogy” in “Disney Month 2020.”

D2: The Mighty Ducks

Malcolm Johnson started his review by saying, “"D2: The Mighty Ducks," among the more winning entries in the first attack of new kids sports movies, mixed nostalgia for a lost future with rousing underdog hockey games in its tale of a hotshot lawyer assigned to coach a team of losers.” Its sequel, released in 1994, even though it was by the same writer, includes an absolute loser. This time, the Ducks really suck.

Johnson noted, “Catchily tabbed "D2: The Mighty Ducks," the return of Emilio Estevez's Gordon Bombay and his quacking pucksters begins with the most preposterous of set - ups, then settles into an obvious set of matches pitting the Bombay bombers against a gang of Iceland Aryans with a nasty neo - fascist coach.” “The Mighty Ducks” reworked a familiar story with some feeling, but the sequel has next to nothing on its story other than making money off of the success of the first movie.

As promised at the end of the first movie, directed by the proficient Stephen Herek from a screenplay by Steven Brill, Bombay has continued his hockey career at the start of “D2.” Playing like pro, he is even looking at a chance to play in the National Hockey League. Sadly, no one is really interested in seeing Estevez in the NHL, so he is suddenly injured, sending him back to Minneapolis where everything started.

Johnson mentioned, “The law no longer interests Bombay so he takes to sharpening skates at the establishment run by his Scandinavian - American surrogate dad, endowed with surpassing wisdom by Jan Rubes. And what should the old codger come up with but a coaching job for Bombay with junior Team U.S.A., complete with backing from a schmo of a sporting goods dealer, drippily played by grinny little Michael Tucker.”

This doesn’t make sense that Team USA should include mostly Ducks. However, after a pointless look of roller blading, there they are, becoming a powerful team with some non-Minnesotans, a cowboy from Texas (Ty O’Neal), a girl from Maine (Columbe Jacobson), etc. Johnson noted, “It's kind of like one of those old World War II melting pot pictures.” No kid from Brooklyn, but they do get a street player from Los Angeles (Kenan Thompson) to enlist in the team.

To give Bombay a problem, Brill now has him submitting to the urge of endorsement celebrity, even as the director, Sam Weisman, shamelessly plugs in product placement. The coach even dates a Nordic girl connected with the Icelanders, despite the kids having a sweet American teacher, played by Kathryn Erbe. Johnson ended his review by saying, “And, of course, the Icelanders play dirty - thanks to their fiendish mentor Wolf, endowed with storm trooper savagery by sneering, snarling Carsten Norgaard. But Wolf at least injects an air of lively nastiness into a picture that deserves every bit of bile it can find to offset its duck - brained fun and games and phony lessons in life and sport.”

This is a shameful sequel just trying to show everyone what happens when you get the celebrity craze injected in you and all you care about is money. If you didn’t like the first one, like I did, or if you did like the first one, then don’t see this sequel. This will have you scratching your head thinking, “What are you doing Bombay?” Avoid this one and don’t make the mistake of watching it.

Stay tuned later today when I review one of the two new films that got released today.

Scrooged

Charles Dickens is one of the most celebrated of authors and A Christmas Carol has got to be his most famous novels. Bill Murray is one of modern Hollywood’s most famous actors, even back in the 1980s when he barely was in a bad movie. Dickens and Murray joined forces in “Scrooged,” a 1988 remake of the Dickens novel and one of the best holiday films made in the last century.

Murray stars as Frank Cross, an upper television executive who believes in the Church of Better Ratings. He has excluded everyone out of his personality and personal life for his work, spending so many hours at the office and wanting everyone around him to do the same. This Christmas Eve, his station IBS is televising a high-budget, live version of A Christmas Carol starring Olympic gymnast Mary Lou Retton as Tiny Tim, the kid with a limp. Because of its large budget and the stress of it going on live, Cross is feeling all this pressure and takes it out on all of his colleagues.

Ryan Cracknell said in his review, “When the humanity in Cross is all but gone, he is visited by the ghost of his old boss.” He (John Forsythe) tells him that three ghosts (David Johansen, singer Carol Kane and Robert Hammond) will visit Cross over the course of the night that will hopefully change is corrupt ways. Staying true to the Dickens novel, Cross is shown the different Christmas past, present and future to show how his bad attitude has hurt him and people he’s close to.

Cracknell said, “The standard interpretation of A Christmas Carol is that it must be taken very seriously. Scrooged takes the comedic path, updating it for a more modern crowd who might not relate to a man getting angry for his workers using too much coal to stay warm or why it might be a big deal for someone to steal a dead person’s sheets. Instead Scrooged is an update done right. It reflects and expands on the themes that are still applicable today instead of those that are irrelevant. The main one is devoting too much time to one’s work. It’s no secret that the corporate ladder is not normally a fast-moving place.” Chances are long working hours will be required. For a lot of people today the chances of it climbing the ladder and staying there is motivation enough to become a workaholic, spending all your time at your desk than having a great home life. Cracknell said, “In A Christmas Carol, Ebeneezer Scrooge was the poster child for workaholics. That’s all he did other than sleeping and eating.” Cross is very similar and it has been many years since he had a ‘normal’ lifestyle that he thinks everyone should be working nonstop like him. Even though Cross can be greedy, the most criticizing part of his personality is the way he treats others and how his wanting for higher ratings will quickly start his downfall.

Murray is great playing Cross. Cracknell noted, “He has a natural scowl that makes his deep seeded anger seem natural. He also has a knack for making the perfect reaction to whatever comments are sent his way. Sometimes they’re big, other times more nuanced, but chances are they’re going to be funny.”

Directed by Richard Donner and adapted by Mitch Glazer and Michael O’Donoghue, “Scrooged” brings Dickens in a current look for a modern audience. Cracknell ended his review by saying, “Although it’s a smidge cruder and more crass, Scrooged nevertheless maintains the heart of the story and proves that remakes and new visions of old material need not be redundant.”

I have wanted to review this comedy for a long time, so now having the chance to review it is a privilege. I have to admit that this is a great, modern, comedy look on A Christmas Carol. For those who have seen other adaptations on the famous Dickens novel should check this one out because they will have a great time laughing at the film, especially those who are fans of Bill Murray.

Happy Holidays my online readers. Enjoy your holidays and stay tuned tomorrow for the continuation of “Disney Month 2020.”

The Mighty Ducks

Roger Ebert started his review of “The Mighty Ducks,” released in 1992, as “the kind of movie that might have been written by a computer program.” This is a story that has been told countless times about the rebel coach who is assigned a team of kids who lose every game, and changes them around to win while changing himself. Even the usual supporting characters are including: The fighting coach who harassed the protagonist when he was a kid, the kid (Joshua Jackson) who has a divorced mother (Heidi Kling) that the protagonist falls in love with, and the tough rebel kid (Elden Henson) who only needs to channel his anger.

The movie takes place in Minneapolis, and focuses on Pee Wee ice hockey leagues. Ebert said, “I have earlier seen this same plot applied to baseball ("The Bad News Bears"), football ("Wildcats"), basketball ("Hoosiers"), and even hockey ("Youngblood"). The evidence is clear: Hollywood likes this plot. If you are a would-be screenwriter desperate for a sale, rent the videos of all of these movies, and then simply apply the formula to a sport that hasn't been covered yet. The lacrosse team, maybe. Pay special attention to "Hoosiers," since it's the good one.”

The film stars Martin Sheen’s son, Emilio Estevez as the coach, Gordon Bombay. He’s a lawyer who gets arrested on a DUI, and his boss, the hard Mr. Ducksworth, played by Josef Sommer, thinks it will help him slow down if he goes on a leave of absence from the firm, and coaches a Pee Wee hockey team. Ebert said, “Estevez arrives at the first practice session in a limousine, inexplicable in plot terms but good for some inane scenes in which the little hockey stars flatten their noses against the glass.” That’s where the season starts.

The screenplay by Steven Brill leaves nothing to fate.

There is nothing that will surprise you in the film. Not even one small one, to show he’s a good person. Ebert said, “We march in lockstep past the obligatory flashbacks to Estevez's own childhood, when an evil coach (Lane Smith) made him feel worthless after he missed an important shot.” That same coach is now coaching the opponents of the Ducks.

There are more necessary road blocks on the way to the game.

We see how bad the Ducks hockey team is in the first games. We suffer the name change, to the “Ducks,” which is named because then Mr. Ducksworth will get new uniforms, and we hear the team’s new warm-up, “Quack.” Everything brings us to the playoff games. You can predict which team wins, or whether everything depends on the final goal, or which coach makes a moving speech about how it doesn’t matter at all on who wins or lose, but on how you play the game. I know that this movie is nice and innocent, and that at some area it could be liked by younger kids. Ebert ended his review by saying, “I doubt if its ambitions reach much beyond that.”

I checked this movie out because my sister had seen the trilogy and I thought of seeing it to see if I would like it. I’m sorry to say everyone, I didn’t. It just wasn’t appealing to me like it would have been to everyone else. Maybe if I saw it as a kid, I would have liked it, but it might have been one of those movies that I liked as a kid, but when I rewatched it as an adult, I would have not liked it, so either way, it would have been a lose/lose. This hits every cliché in a sports movie, but we just hadn’t seen it with ice hockey at the time. I’m sure there are other good ice hockey movies; I just need to find them. Just don’t see this one.

Sorry to say that this movie did get successful to put out two sequels. We will look at the first one tomorrow in “Disney Month 2020.”

Feast!

When Disney’s superhero animated film, “Big Hero 6,” was released in 2014, it was one of two animated films from Disney’s studio.

As is normal in Disney films, a short animated film called “Feast” was played in theaters before “Big Hero 6,” which was another good short.

“Feast” is about Winston, an adorable animated Boston terrier. The short starts when Winston is a puppy, looking for food in discarded trash of humans he’s surrounded by. Emily Donn said in her review, “Suddenly, a hand lowers a French fry to puppy level, and Winston has found his "furever home," as pet enthusiasts call it.”

No longer looking for cheese in burger wrappers, Winston is treated to a large range of delicious, unhealthy, and highly processed foods his owner eats, with an occasional bowl of kibble in his bowl. However, when his owner meets a woman who is studying to be a chef, and is evidently a healthy food person, Winston’s food diet is drastically changed. Because how can a dog choose between the foods he loves, and the happiness he has with his owner?

Donn noted, “Most films aimed at children throw in a smattering of jokes for the adults who will end up watching as well, be they a dated pop culture reference, or a suggestive innuendo that (hopefully) sales right over the heads of the children.” “Feast” accomplishes the task of a really rare and hard way. The same parts of “Feast” that children will love adults will also love. Seeing how the Internet has really shown continuously that a cute animal video is something that everyone really loves. Winston may be a cartoon dog, but he is as cute and friendly as a real dog. When he tries to gorge everything from pizza to pasta to nachos, it’s adorable and funny. (For those who own/owned a dog, or a sly cat, really relatable.) Despite the short not having any dialogue and everything is seen from the dog’s point of view, there is never a time that is difficult to follow, not even the relationship between the couple.

Donn ended her review by saying, “Feast is a charming lead-in to Big Hero 6, with a strong and simple message about love, family, and those we share our meals with.”

As the final short for “Walt Disney’s Short Film Collection,” I think this is really relatable for those who own a house pet. You will fall in love with this short and you will laugh when you see how Winston behaves with his owner. This is another short that I think everyone should watch because you will fall in love with it and enjoy it from first minute to last.

The other two shorts on this DVD, “Tangled Ever After” and “Frozen Fever,” I have already reviewed a few years back, and I was surprised that they were in this collection. Since those two shorts have already been looked at, I reviewed the other shorts and I think everyone will like all of the shorts here.

Now that we are done with the shorts, look out tomorrow when I review a trilogy of sports films that I am not a fan of in “Disney Month 2020.”

Get a Horse!

Playing before “Frozen” was the 2013 animated short from Disney that was unlike any other short they have done. Especially since director Lauren MacMullan gets the title for being the first female director to direct a film for Walt Disney’s Animated Shorts solo, “Get a Horse!”

Debbie Lynn Elias said in her review, “A perfect hybrid of hand-drawn 2D animation and CG, set to a 3D format, this is the stuff for which 3D (and Disney dreams) was made. Working off original 1928 black & white renderings of Mickey Mouse and company, MacMullan and her artisans treat us to a seamless blend of mediums (more often than not within the same frame) that celebrates the best of the past (all 2D images are here actually drawn on paper) with the technology of the future, set to an uproarious, laugh-out-loud funny tale that is oh-so-Mickey!”

This time, Mickey, Minnie and their friends Horace Horsecollar and Clarabelle Cow are enjoy a musical hayride sing-a-long when their day of enjoyment is sadly interrupted by the evil Peg-Leg Pete who tries to run them off the road. While Horace fights to keep the wagon on the road, Mickey is thrown off the wagon and through the movie screen, landing in 2013, standing on a full color stage (which looks really good for the effect) in amazing color-filled 3D. Can Mickey get back into the 2D frame or is he going to be stuck on that empty stage? Combining the ease of 1928 with hayrides, Milk Duds and popcorn with 2013 innovations like a Smartphone and Captain America shirt, the story is great for today’s time.

As amazing as the visuals are, the grand champion in “Get a Horse” is the voicing. Elias noted, “Thanks to technology, and patience, Mickey Mouse is voiced by Walt Disney himself who, as we all know, was/is the voice behind Mickey.  Combing through thousands of hours of audio, MacMullen and company “cut and pasted” every word together, often requiring the melding of individual letter or syllable pronunciations to get a complete word or sentence of Disney’s voice.” Amongst the cast is Marcellite Garner as the voice of Minnie and Billy Bletcher as Peg-Leg Pete.

I was absolutely amazed at this short. The way it combined the classic animation with modern animation looked like a lot of work went into it, and it was laborious. I wouldn’t be surprised if this short ended being nominated or won Oscar awards. You should see this short because you will be amazed at how great they put this together.

Tomorrow will be the final short that I will look at for “Disney Month 2020.”

Paperman

The next short will be the 2012 short that played before “Wreck-It Ralph,” “Paperman.” Felix Vasquez started his review out by saying, “I think anyone could connect with the characters in “Paperman.” Particularly the mal protagonist of the short animated film who may very well have met the girl of his dreams at a train stop, and can do nothing but hope they will meet again. When he sees her in an office parallel to his work high rise, he does everything he can to garner her attention.”

Desperately, he makes so many paper airplanes to throw at her window and get her attention, but it looks like lady luck isn’t on his side, or his strict boss. Director John Kahrs produces a perfect and beautiful piece of romantic fantasy where fate plays a big hand in the love lives of two normal people. Even though the film attempts to shock realism, it also plays to the music of Disney fantasy where some higher power comes from a man’s desperation to find a family spirit in an isolate world. Vasquez noted, “Filled with top notch two dimensional and subtle computer animation, “Paperman” is a downbeat and beautiful little love tale that lends a sense of wonder to simplicity.”

Vasquez continued, ““Paperman” evokes the classic silent films of the bygone era with a hint of modern themes on isolation and the belief in love at first sight. The animation is meticulous and expressive, but never gaudy, while the writing team allows us to connect with both characters without a single word of dialogue between them. “Paperman” has a great premise with an incredible take on love, and I look forward to watching it again.” With excellent animation, wonderful writing, and a great finale, “Paperman” is a nice and lovable look at the search for love, and the desperate tries to stick with it when it’s found.

This is a nice little short that I think everyone will love. Seeing how it’s a typical tale of man trying to get to the woman of his dreams, it’s told in a nice way that you will enjoy. Check it out and have a good time.

See what the next short will be tomorrow in “Disney Month 2020.”

The Ballad of Nessie

The next short film I will review is the 2011 short, “The Ballad of Nessie,” which was shown before the “Winnie the Pooh” movie, which I don’t think I saw when I took my niece and nephews to see it. Maybe because we came in late, but that’s ok.

Suzannah Otis started her review by saying, “In discussing the short with friends after the show, we all seemed to have different opinions of it, but I loved it. It reminded me in style and design of the classic Disney shorts from the Tall Tales – Paul Bunyan, Johnny Appleseed, even Pecos Bill and Slue-foot Sue from Melody Time.” Narrated by Billy Connolly, Nessie does not speak throughout the short. Otis admitted, “The theme of the short also reminded me of the Pixar short Boundin’, my favorite of the Pixar shorts.”

Nessie’s happy home is stolen when a greedy golfer decides to turn it into a course for her his own personal use. However, the antagonist is not the real one. Actually, it’s Nessie’s endless trouble to find a home and her being told every time to keep her chin up and not to cry, which is difficult for Nessie as she deals with no one wanting her near them. After days of fighting not to cry, Nessie finally just lets out all of her emotions and continues to cry until she creates the entire Loch Ness – her new home. The lesson the narrator tells everyone is that it’s ok to cry and sometimes tears lets the best of us come out. Otis ended her review by saying, “And yes, I *did* tear up at that!”

Personally, I enjoyed this short and really think that everyone should check this one out too. If you can find this short online somewhere, then check it out. Otherwise, if you have a Disney+ account, find the Disney Short Film Collection and enjoy watching every short that is included on there.

Check in tomorrow for more exciting shorts in “Disney Month 2020.”

Prep & Landing: Operation: Secret Santa

The next short I will be looking at is “Prep & Landing: Operation: Secret Santa,” released in 2010.

This short was written and directed by Stevie Wermers-Skelton & Kevin Deters, produced by Dorothy McKim, and executive produced by John Lasseter. Empress Eve mentioned in their review, “This “Prep & Landing” “stocking stuffer” short film follows the comic adventures of Santa’s stealthiest elves, Lanny and Wayne.” With Christmas only a few days away, Mrs. Claus (Betty White) and Magee (Sarah Chalke) assign Wayne (Dave Foley) and Lanny (Derek Richardson) on a secret mission to get a mysterious item hidden inside Santa Claus’ office. You will have to watch and see if they will get the item in time, or if they will be discovered by the Big Guy, voiced by Morgan Sheppard, and be placed on the Naughty List.

Another short that I think really fits with the holiday season. You should check it out because I think that every single one of the shorts that I have looked at have all been good. However, this one is a blessed one that is perfectly fits for this time of the year.

Sorry that this review is so short, but tomorrow we will be looking at a really good short in “Disney Month 2020.”