The Guardians of the Galaxy Holiday Special

“The Guardians of the Galaxy Holiday Special,” released last month on Disney+, is specifically about Christmas. No Hanukkah or Life Day celebrations are discussed in the forty-five-minute special. Jen Maravegias said in her review, “It would have been an entirely different sort of story if the special was about Peter Quill explaining how there are so many religious observances of light bringers and the sustaining of light during the darkest part of the Earth’s year. There would be less slapstick but more interesting than what is streaming on Disney+.”

It's a great special. Most of it is Dave Bautista and Pom Klementieff going around downtown Los Angeles as Drax and Mantis interacting with fans while they find Kevin Bacon in a misguided effort to give Peter the perfect Christmas gift. All of this is fine. However, the whole thing feels put together without the same thought process that went into “Werewolf by Night.”

Maravegias noted, “The story is bookended by a couple of Ralph Bakshi-esque animated flashbacks to a Christmas that Peter Quill, Kraglin (Sean Gunn), and Mary Poppins Yondu spent on the Ravenger’s ship and is framed by Kraglin trying to explain to the rest of the Guardians crew what Christmas is and how Yondu ruined it for young Peter.”

Maravegias continued, “Chris Pratt’s Peter Quill/Star-Lord is in it for maybe 10 minutes (which suits me just fine.) He’s rocking more of a dad-bod and shaggier hair than we’re used to seeing on the character, which is what made me think this was a situation where James Gunn rang up some buddies and said “Hey guys, let’s do a Christmas show!” And then Disney threw a bunch of money at him.”

Kevin Bacon brings a lot of manic energy into to the show, matching Drax and Mantis’ level of insanity as they navigate Christmas-themed Earthling culture. However, the standout in this special is the soundtrack. It starts with The Pogues’ Fairytale of New York, and features Christmas songs by Hanoi Rocks, The Smashing Pumpkins, Low, The Waitresses (naturally), Fountains of Wayne, The Wombats, Julian Casablancas, and Little Jackie. The Old 97’s shows up as a space alien band and perform two numbers, I Don’t Know What Christmas Is (But Christmas Is Here) and the finale, Here It Is Christmastime, with Kevin Bacon on guitar.

Maravegias said, “I’m not sure how many more generations of kids are going to enjoy the Christmas specials of our youth — or their grandparents’ youths. Kids these days are harder to impress. Rudolph is getting faded and Frosty doesn’t sell the magic like he used to. I’m glad that someone is making new specials that we can fold into the rotation around the holidays. The Guardians Of The Galaxy Holiday Special is a simple, silly story that didn’t leave much of an impression on either my twelve-year-old or me. But we did get to spend some time with adolescent Groot and watch the gift exchange between Nebula and Rocket.” They even made sure to include Cosmo the Spacedog.

If you didn’t get a chance to see this special yet, see it on Disney+. This is one of the nicest holiday specials ever, and to have it done by the MCU was really good. You should definitely see it, especially if you loved “Guardians of the Galaxy.” It was great to see these characters talk about a holiday that no one is familiar with except Quill. This really left people off with a good feeling after watching it.

Alright everyone, we have no reached the end of “Disney Month 2022.” I had included all of the MCU and Star Wars shows because they are a part of Disney now, so I hope everyone liked it. Next year will have the same theme, so I will start preparing for that starting next year. I hope I made some good recommendations for everyone and you have seen the ones that I said were good to see.

Have a good end to the year. I will see everyone back again next year when I start back up on my Friday reviews. In the meantime, I will go on a week break before starting back up again. See you guys in 2023.

Puss in Boots: The Last Wish

Tonight, I went and saw “Puss in Boots: The Last Wish,” which came out nine days ago. If you remember, I reviewed the first one at the beginning of last year. What I didn't mention is that the sequel was in talks for years. How did it turn out after much discussion?

The sword-fighting cat spun off from the Shrek franchise makes a very successful comeback in this epic fantasy adventure from DreamWorks Animation (the fifth film featuring this character). It looks like this animated film has a chance at an Oscar this year.

Puss in Boots is a fearless fighter, and the film starts with him defeating a giant opponent. Part of the reason he is fearless is that he has nine lives. A series of reckless accidents and misadventures over the years, leaves him with just one life remaining, and this shows his primary fear, a fear he never had to face before.

Death comes to him in the form of the Big Bad Wolf (Wagner Moura), and Puss runs away, looking for hiding to a cat lady (Da’Vine Joy Randolph) who takes in numerous stray cats. There, proud Puss suffers the shame of wearing little cat mittens on his paws and eating cat food from a sort of feeding trough. However, he makes friends with a small, persistently upbeat dog, Perrito, voiced by Harvey Guilén, who is pretending to be a cat in order to eat.

Robert Roten said in his review, “It appears that Puss in Boot's adventurous personality is slipping away as he settles in to a safe, monotonous life.” Suddenly, three bears (Olivia Colman, Ray Winstone, and Samson Kayo) and Goldilocks (Florence Pugh) break into the house, looking for him. They don’t recognize him, but when he overhears what they are after, he gets back into gear, ready for a new adventure.

What they are looking for is a magic map which leads to a place in a dangerous dark forest where a magical Wishing Star can grant a single wish. Puss wants to use this wish to get his nine lives back. He and Perrito go to search for the map. Along the way, they meet up with an old friend, master thief Kitty Softpaws, who is also after the map.

Puss and Kitty Soft Paws steal the map from Big Jack Horner, voiced by John Mulaney, a collector who hired Goldilocks and the Bears to get the map. Puss, Kitty, and Perrito go with the map, with Goldilocks, the bears and Jack Horner close behind. Jack Horner brings along a whole bag of magical objects from such stories like Pinocchio and Alice in Wonderland that he has collected to help him with his quest. Jack raises one of the spells, causing Jiminy Cricket, voiced by Kevin McCann (sounding like he is doing a Jimmy Stewart impression), to appear. Jiminy’s moral advice is ignored by Jack, but Jiminy eventually gets the last word.

When they enter the magic forest, Pussy and Kitty each see a different, dark and dangerous path rejoiced to them by the magic map. However, Perrito, having a gentle nature, sees an easier way to the Wishing Star. Goldilocks and the bears, along with Jack Horner all end up in a huge fight for the Wishing Star. In the end, the quest and fight reveal the true nature of each of these characters, for good or evil, generosity, or selfishness. Therein lies the moral of the story.

This year, there have not been many top notch animated film, unlike 2021, when there were more excellent animated films. Roten said, “It looks to me like this movie is one the top five best animated films I've seen this year (along with “Turning Red,” “Pinocchio,” “Marcel the Shell with Shoes On” and “The Bad Guys”).” It should get an Academy Award nomination.

As a spinoff to the Shrek franchise, these are very good movies. The first one was really enjoyable and I know that the sequel was in talks for years. Finally, when they had announced the sequel, the pandemic delayed everything. Now we finally got it in time before the holidays, and it is actually better. The animation is on the same level as the Spider-Verse movie. If you saw the first one and loved it, see the sequel. You will enjoy it. However, I would highly recommend everyone to see the first movie before going to the theater to see the sequel. See it if you like the Shrek franchise.

Thank you for joining in on my review tonight. Stay tuned tomorrow for the finale of “Disney Month 2022.”

Werewolf by Night

Marvel Studios is really trying to make the secret part of their comics famous in the MCU. We have a glimpse of it with the Black Knight in “Eternals,” we’ve had Doctor Strange and Wong, we’ve seen “Moon Knight” already, and we know Blade is returning. Julian Lyle said in his review, “Along with the Midnight Sons game coming out later this year, the push is clearly in effect.” Now we have “Werewolf by Night,” a television special released in October about the main character.

Lyle said, “I honestly don’t know what a TV special means in a world of streaming versus the older era of linear network programming.” This almost hour-long short is a light a very focused story. This feels like watching two episodes of a show back-to-back. “Werewolf by Night” begins with monster hunters meeting at Bloodstone Manor to honor the life of Ulysses Bloodstone, their leader who recently passed. They all must compete for the leadership role and for control of a mystical item called the Bloodstone. This is how we meet Jack (Gael Garcia Bernal) and Ulysses’ estranged daughter Elsa (Laura Donnelly). Jack isn’t here for the Blood stone but to investigate a missing friend, while Elsa is here to earn her birthright.

Lyle noted, “The look of Werewolf by Night will remind you of the double feature project Grindhouse by Robert Rodriguez and Quentin Tarantino—it purposely tries to look like a worn, old film reel.” It uses the look of Universal horror films along with shots, angles, and other stylistic choices of Hammer horror films. It also captures some of the charms of 70s Marvel horror. “Werewolf by Night” is original and a little violent – the violence should be ok for families as this is in Black & White.

The story moves nice and fast and doesn’t add in a lot of jokes. The effects are very well done. There are cameos that are a nice surprise. Elsa Bloodstone is a nice addition to the MCU with a certainty and confidence to her character, she is very good in action/fighting scenes too. Lyle said, “I feel Werewolf by Night will be a nice bridge for whatever else they have planned for the future.”

“Werewolf by Night” tells a focused story that doesn’t overstay its welcome and has fun experimenting with the visual look of an MCU entry.

When I saw this, I was really surprised at how this film goes back to the Universal horror movie tropes. I think it was a nice short and it pays rightful homage to the movies from way back and I think everyone will enjoy it. If you didn’t see this when it came out, make sure to see it if you have a Disney+. I think everyone will love this.

Alright everyone, tomorrow is the finale to “Disney Month 2022,” where I will be looking at another short that I think everyone should see.

Matilda

Tonight, I saw “Matilda: The Musical,” which came out on Netflix. However, before I talk about that one, I feel as though I should talk about the 1996 original, “Matilda,” even though it is in no way a sequel to the new one.

Roger Ebert started his review by saying, “Roald Dahl was by all accounts a singularly unpleasant person, which may explain why he wrote stories that are so fascinating to children. He nursed the grudges of childhood, he distrusted adults, and he was unmoved by false sentimentality. Kids may not feel cuddled by his books, but they sense Dahl is the real thing: He's writing out of strong emotion, and not just to be cute.” Consider the character of Trunchbull, in the darkly comic film “Matilda.” Trunchbull must be a woman, because she is someone’s aunt, but she is never called “Miss” – and we see at once that “Mrs.” would be out of the question. She was a champion shot-putter and hammer-thrower in the 1972 Olympics, we find out, before moving on to her current career as the school principal and dominatrix at Crunchem Hall, a scary grade school with the motto: “When you are having fun, you are not learning.” To this school comes the protagonist of the story, Matilda Wormwood, a very, very smart little girl whose parents neglect her when they are not insulting her. Matilda, (played by at the age of four by Sara Madgalin), has taught herself to read and walked to the library, where by the time she is six (now played by Mara Wilson) she has read not only Heidi and Ivanhoe but also For Whom the Bell Tolls and Moby Dick. When she tells her parents, played by Danny DeVito and separated wife Rhea Perlman, she’s old enough to go to school, her dad replies: “Nonsense! Who would sign for the packages?” However, when he meets the redoubtable Trunchbull he announces that he has at least found the right school for Matilda. Trunchbull, played by Pam Ferris with great enthusiasm and well-hidden but real humor, is not a nice person. “Sit down, you squirming worm of vomit!” she says to the unlucky Matilda at one point, and later calls her “You villainous sack of dog slime!” when a cute little blond girls dares to wear her hair in pigtails, played by Jacqueline Steiger, Trunchbull picks the child up by the pigtails, swings her around and throws her through the air like a hammer in the Olympics – and of course the movie does not neglect to show the girl almost missing a spike fence before landing safely in a flower bed. Ebert credited, “Trunchbull is the kind of villainess children can enjoy, because she is too ridiculous to be taken seriously and yet really is mean and evil, like the witch in “Snow White.”” Since most children have at one point or another felt that their parents are not nice enough to them, they may also enjoy the portrayal of Matilda’s parents, Mr. and Mrs. Wormwood and their older son, played by Nicholas Cox at six and Brian Levinson later, spend all of their time eating food and watching television, and when Matilda says she would rather read, her doubtful father yells, “Read? What do you want to read for when you got a perfectly good TV set right here?” Ebert described, “Crunchem Hall is a school that would have appalled Dickens. Children are punished by solitary confinement in a steamy closet with nails sticking through the walls.” However, recovery comes in the form of a saintly teacher, Miss Honey, played by Embeth Davidtz, who is surprised when Matilda does difficult math problems in her head, and eventually becomes her guardian and best friend. “Matilda” is not in any way a “children’s movie,” although older children will probably like it a lot. It is a dark family comedy about stupid parents, cruel teachers and a brave little girl, and it is no surprise to see that Danny DeVito not only stars but directed it. Look at his previous films he directed, which include “Throw Momma From the Train” and “The War of the Roses,” and you sense that he has some type of deep caustic fascination for dysfunctional families (the family life in “Hoffa” was not exactly functional, either).

There is never a moment (except toward the happy ending) that we see DeVito is anything other than quite serious about this material. He goes with Dahl’s chilling vision. Whatever it was that hurt Dahl so deeply, he never forgave it, and his children’s stories (like “James and the Giant Peach” and “Charlie and the Chocolate Factory”) are driven by it. Ebert said, “DeVito seems to vibrate on the same wavelength. “Matilda” doesn't condescend to children, it doesn’t sentimentalize, and as a result it feels heartfelt and sincere.” This is also funny.

I know that some people do not like this movie, which I can understand. They might find this to be very cruel towards children, and I can see that, but I actually find it to be a movie where a little girl uses her intelligence and abilities to stand up to the villains, being a precursor to Harry Potter. I actually saw this at a second cousin’s house a long time ago and I liked it. If you can find this, I recommend you watching this because I think you will love it.

Now what can we say about “Matilda: The Musical,” which came out on Netflix almost three weeks ago?

Bringing lively energy to the adaptation from book to musical to screen, “Roald Dahl’s Matilda the Musical” come to Netflix as a satisfying example of the dangerous practice of making such efforts around children. Obviously, it helps that the child star, Alisha Weir, is terrific, helped by wonderful changes from Emma Thompson and Lashana Lynch, extending what have already been good years for both.

Dahl’s story about a little girl with absentee parents (Stephen Graham and Andrea Riseborough) and unusual powers, sent to a boarding school run by the abusive, kid-hating Miss Trunchbull, played by Emma Thompson, under a version of super-villain makeup, is definitely dark, even by the author’s standards. Brian Lowry said in his review, “But as adapted for the stage by Tim Minchin, who wrote the songs, and directed here by Matthew Warchus, who has nicely opened up the staging in cinematic fashion, it’s a polished and fun alternative to less attractive holiday activities, like dealing with your family.”

Lowry continued, “Perhaps the silliest controversy involved questions about Thompson donning a “fat suit,” when her Trunchbull makeover is as much about making her fearsome and imposing – befitting the character’s glory days as an Olympic athlete – as her girth.”

If anyone forgot, Thompson also previously went under unattractive prosthetics in “Nanny McPhee” and lustily played a villain in Disney’s “Cruella.” Lowrey said, “In a year when she’s already delivered a standout performance in the low-key Hulu movie “Good Luck to You, Leo Grande,” her scene-stealing exploits offer a reminder of just how delicious she can be when cutting loose in this fashion.”

“This isn’t a school. It’s a prison,” Matilda is told when she arrives at Cunchem Hall, a threatening establishment where the evil headmistress sees her order as punishing kids, not educating them. Fortunately, Matilda gets friends with her rebellious behavior and finds an adult friend in Miss Money, played by Lashana Lynch, who immediately sees that Matilda is special.

Lowry noted, “The song and dance numbers take full advantage of the wider template that movies allow, with kids leaping in every direction on the centerpieces “Revolting Children” and “Miracle,” as well as the more soulful “When I Grow Up.””

To call “Matilda” “miraculous” would be taking things too far, but the movie joins a long tradition of kid-focused musicals (always turned into feed for school plays), from “Oliver!” to “Annie,” in a way that nicely connects the gap between the 1996 movie and this musical take.

“Mom says I’m a good case for population control,” the mistreated Matilda sings early on.

While the ranks of musicals brought to the screen probably does value some family planning, “Matilda the Musical” gives an energetic demonstration that there’s always room for another good one.

I might say that this musical is better than the previous film. It is definitely darker, but I don’t see it as nearly in the same amount of torture that the previous film did, or it may be the same. This is definitely not a film for the whole family to watch. You should just wait until they are older to see this. I have never read the book, so I can’t say how closely this follows the book. Check it out if you would like and enjoy.

Thank you for joining in on my review tonight. Stay tuned tomorrow for the continuation of “Disney Month 2022.”

Andor (Season 1)

In 2016, “Rouge One: A Star Wars Story” gave a new chapter in the sci-fi franchise that longtime fans were not expecting. The story did not revolve around the Skywalker saga as the film was about a rag-tag group of Rebels who sacrificed themselves in exchange for offering hope to the rebellion.

Despite being different from the familiar franchise, the film was known as one of the best in the “Star Wars” franchise thanks to its cast, an amazing script, and the final amazing 20 minutes with Darth Vader in all his powerful, lightsaber fighting Sith glory.

Six years later, “Rouge One” co-writer Tony Gilroy returns to that area with “Andor” for Disney+, released in September. Set five years before the events of that film, Cassian Andor, played by Diego Luna, is the main focus of the series as we follow his development from villain to hero.

When we first meet Andor in “Rouge One,” he is already a leader, but here, he is just one level above a ruined. A thief who is impulsive, he acts without thinking and suffers the consequences, joined by Stellan Skarsgard, Forest Whitaker, Adria Arjona, Kyle Soller, Fiona Shaw, and Denise Gough, Luna embodies Andor. He’s a man whose people and planet have been destroyed by the Empire, yet his spirit stays whole. Erin Maxwell said in his review, “In early episodes, it is difficult to see the self-sacrificing leader he will eventually become, but that is the journey promised by Andor.”

“Andor” keeps the story grounded by keeping the action mostly on the ground, thereby making it the most relatable of the “Star Wars” franchise. Maxwell said, “A smart move for a franchise that was quickly approaching fatigue as Disney continues to milk it for movies, series, and animated efforts. Though still rich with culture and the politics that drive the Star Wars universe, Andor is a more nuanced story that pulls from the characters and their actions, rather than the fanbase.” However, those looking for another “Mandalorian” might be disappointed by the darker look of the show.

Maxwell noted, “In the end, Andor is less of a spin-off and more of a spy drama that makes use of its pedigree to tell a engrossing story. At its heart, it is a character study told on the backdrop of a revolution.” We know the outcome for everyone in here, so audience interest must rely mainly on Andor himself. Thanks to Luna, we care, as both the actor and Gilroy have created a compelling character. Good news for those who have hit “Star Wars” boredom.

I really liked this show. It does switch around a lot from a few stories, but I think that is a normal part of the Star Wars stories. Still, it is something you should see. You will really love this a lot, especially Luna’s portrayal of Andor. You will be rooting for him from the beginning.

Tomorrow I will be looking at some MCU specials in “Disney Month 2022.”

Strange World

Tonight, on Disney+, I saw “Strange World,” which came out in theaters last month but was released on Disney+ a few days ago. How is this new Disney film?

Julian Lytle started his review by saying, “Strange World is yet another fantastic Walt Disney Animation Studios feature release that is being thrown to the wolves. Although the studio is faring better than its sister studio Pixar, whose films are mostly exiled to the Disney+ app. For example, Encanto didn’t get the love it should’ve at first but the movie’s soundtrack bangers ensured it had a long life and could live in the theaters after its first run.”

Back to “Strange World” – this holiday season, this amazing film was released between “Black Panther: Wakanda Forever” and “Avatar: The Way of the Water,” which feels like it is being sent to fall in theaters before going to Disney+. Lytle noted, “Maybe Disney’s executives have a lot of data and are doing the right thing with programming for the Thanksgiving holiday because they’re smarter than me (naw, I doubt it these days—although things are changing there). But I’m getting away from the point.”

“Strange World” is about a few things but the easiest them to understand is fathers and sons. The movie follows three generations of the Clade family, starting with world-famous adventurer and explorer Jaeger Clade, voiced by Dennis Quaid. He has a damaged relationship with his son Searcher Clade (yes, that is his name), voiced by jake Gyllenhaal, who is smarter than his muscle-bound of a man father. While out on an expedition, Searcher and Jaeger have a really bad argument, which leads to Jaeger getting lost. Searcher returns home and begins to lead the town of Avalonia toward new growth and technology – using a discovery made on that last fateful expedition.

As the years pass, Searcher is now a father himself and lives on a farm with his wife Meridian (Gabrielle Union) and their son Ethan (former “The Daily Show” correspondent Jaboukie Young-White). Ethan dreams of being more than a farmer, which causes Searcher to worry that he could become like his grandfather Jaeger. Those fears are impaired when Callisto, voiced by Lucy Liu, the president of Avalonia, asks Searcher to help save their power source. From there, the Clade family finds themselves on a huge quest in a new place within their own realm.

Lytle admitted, “The first thing that stood out to me is just how amazing the textures are.” It’s really amazing to see how far computer animation has come. The animators are now able to insert existing Disney design character visuals but with improved textures – like the pores on the characters’ faces or their facial hair with little strands of gray. Lytle also admitted, “The seats in the vehicles and the different types of materials that make up the clothing had me drooling. The film even does a great job of showing people cooking, leaving me amazed.”

“Strange World” balances family drama, action-adventure, and even an environmental story with nothing lost or not fleshed out. The story is tight and paced nicely and keeps its themes clear. Lytle said, “The character design, worldbuilding, and color design are some of the best I’ve seen this year.”

Lytle went on to say, “Strange World is a fantastic film but, like I said before, I worry about the timing of its release and if it will do well as a Disney animated feature with no musical numbers.” This film is more in the area as “Big Hero 6” or even “Atlantis” and “Treasure Planet” than the more musical-style films Disney is famous for. Lytle ended his review by saying, “I hope this different style will help bring in others who may skip the usual Disney fare while it’s in theaters.”

“Strange World” is a fun and perfect film using flesh and golden age visuals to tell a very modern story that works on different levels for many different audiences.

I don’t understand why this bombed at the box office. This is a very good film and it is about a story that, despite it not being new, I thought was needed for today’s children. You should see this if you have a Disney+. Watch it with the entire family and have a great time watching it.

Look out tomorrow for the next installment in “Disney Month 2022.”

She-Hulk: Attorney at Law

Disney+’s “She-Hulk: Attorney At Law,” released in August, is a hilarious new attempt for streaming services that stands out from the other MCU shows. Its confused nature, self-reflexive humor, and high energy (thanks to the attractive Tatiana Maslany) makes it an enjoyable alternative to super serious superheroes who sometimes get side-tracked in their own story.

After an accident causes her blood to mix with her cousin Bruce Banner’s (Mark Ruffalo), attorney Jennifer Walters (Maslany) finds herself in superhero realm as she is now able to “Hulk out.” However, becoming a “liability” and losing her job at the DA’s office, the smart lawyer becomes the head of a new “superhero law division” of GLK$H Law Firm where she has to defend meta-humans of different types…good and bad.

Unlike previous Marvel shows, “She-Hulk” isn’t doing a lot of the carrying. Erin Maxwell said in her review, “Neither she nor the show attempts to carry over a previous storyline, or to help develop a complicated concept to prep an audience for an upcoming story arc.” However, she’s just out to have a good time (for now).

This is hands down the most ridiculous and amusing of the Marvel shows. Maxwell said, “Though different incarnations of the comic book have developed Walters’ dark side, the Disney+ version has opted for the lighter shade of green, keeping the premise and the tone fluffy and fun. Fans of the long-running comic (though not recent versions of the superhero) will find that this version is more on par with her original incarnation: silly, sexy, confident and friggin’ savage with the clapbacks. And because She-Hulk lacks history and character familiarity with most of the audience, the show can make good use of the original comic’s fourth wall breaks, appealing to the audience directly.”

The meta humor is a nice break for Marvel fans who love to be in on the joke. Maxwell noted, “Its self-referential tone helps it stand out from the other Disney+ spandex efforts that sometimes take themselves too seriously. She-Hulk’s ability to call out the absurdity of the MCU and the rules it abides by, as well as a few of its previous plot lines, is what makes it a fun watch.” Despite being far from perfect (that CGI takes a little getting used to), for the most it’s an enjoyable success.

I understand this show is not for everyone, and I can say that this isn’t as funny as other shows, but it was still enjoyable. I liked the character, the emotions, the drama, the slow moments really made us take a look inside the character’s personal thoughts. My thoughts are that you should watch the show and give it a chance because it is not as bad as everyone says it is. Just see it and judge for yourself.

Look out tomorrow when I review the next Star Wars show in “Disney Month 2022.”

The Ice Age Adventures of Buck Wild

Tonight, on Disney+, I saw “The Ice Age Adventures of Buck Wild,” which came out in January. How is this spin-off of a franchise that I think went downhill after a while?

Well, to start off, the film continues the adventures of the possum brothers Crash and Eddie who leave to find a place of their own. Together with the one-eyed weasel, Buck Wild, they face the dinosaurs who are in the Lost World.

There’s already not much of a point to continuing the “Ice Age” franchise if you’re not going to bring back the voice talents for the protagonists, but that hasn’t stopped Disney from going one step further with the former 20^th Century Fox franchise. Robert Kojder said in his review, “The Ice Age Adventures of Buck Wild is centered on possums Crash and Eddie learning how to think, seeking independence by going off on their own and mustering up a little bit of bravery among all the dead playing shenanigans. And while not everyone deserves their movie, it’s also hard to give the film a chance beyond the first 10 minutes, considering it looks like it was animated to be released on the PS2 instead of a streaming service like Disney+.”

Kojder continued, “For full disclosure, I did finish The Ice Age Adventures of Buck Wild, not coming with much to say about it is barely any effort has put into telling a story, let alone writing sharp dimwitted humor (this entry was written by a team of three and directed by John C. Donkin, who was making his debut although has served as a producer on several other installments of the franchise).” It begins with animated murals of woolly mammoth Ellie, voiced by Dominque Jennings, catching audiences up to speed on the franchise so far and the main protagonists before handing things over to the unfunny possums dreaming of a new life. They happen to destroy a glacier that runs the new family habitat, which causes Ellie and Manny (Sean Kenin Elias-Reyes) to have a little argument, further pushing Crash and Eddie (Vincent Tong and Aaron Harris) to go off on their own.

For whatever reason, Simon Pegg does return as eyepatch-wearing possum Buck, encountering Crash and Eddie discovering that a dinosaur with an oversized brain and superior intelligence, voiced by Utkarsh Ambudkar, is planning to take over the Lost World. Evidently, Buck wants to do it alone and use the other possums as an interference until zorilla Zee, voiced by Justina Machado, for some lessons in the benefits of teamwork. There are running jokes about becoming superheroes without special abilities to give you an idea of what the humor is going for here.

Again, “The Ice Age Adventures of Buck Wild” is just a poorly made movie with lazy voice actor replacements (they either sound bored or fail at something like their previous equals), no real interest in the adventure part (most of the traveling is done by animating a map watching the characters move from location to location until reaching the final fight location). Most of the jokes are poor attempts at making the characters ingenuously vacuous or referring to urinating (they even make one during the climactic fight). What little action there is nothing memorable with different weapons ranging from bamboo sticks to gas grenades. It’s a lot of effort that’s somehow really boring.

Kojder said, “The story can’t even be bothered to try and teach children not to let intelligence cloud one’s humanity and judgment (which appears to be the original intent considering the villain), let alone the usual be yourself and bravery checkmarks. Worst of all, it’s an eyesore to look at that people are going to assume came out in 2005 and not 2022.” There are plenty of reasons to be a Disney+ subscriber. “The Ice Age Adventures of Buck Wild” is not one of them. It should have gone the way of the dinosaur way back during its main production.

As you might have guessed, I didn’t like this film. I was just completely bored and annoyed by this film. I didn’t like it at all, and if you have not been a fan of the “Ice Age” franchise after the first one, then chances are you will loathe this spin-off. Don’t see it if you have a Disney+, but put on something else instead. I seriously think they need to stop with this franchise now because they have really driven this into the ground. Everybody can walk the dinosaur away from this franchise.

Look out tomorrow for the continuation of “Disney Month 2022.”

Ms. Marvel

Markham, Ontario’s local Iman Vellani is someone to recognize because she brings her youthful enthusiasm and charm to make an amazing debut as Kamala Khan in the Disney+ series, “Ms. Marvel,” released in June. The series genuinely celebrates South Asian heritage without stereotypes, adding layers of the family dynamics and culture that makes Kamala Khan, aka Ms. Marvel, who she is.

She is also the MCU’s first Muslim superhero, so expectations are really high on how the show depicts tis on screen. Marriska Fernandes said in her review, “From the first two episodes critics were given, I can safely say that the show flips the script on stereotypes and celebrates South Asian culture respectfully.”

Her cultural lineage is not added just because, or forced into the storyline, but is rather a part of the show’s minor moments – like when she bonds with her crush, Kamran, played by Rish Shah, over Bollywood movies and overrated Indian actor Shah Rukh Khan.

The first episode really introduces the character, giving everyone an inside look into the teen’s personal life. Kamala is a 16-year-old Pakistani-American teenager from New Jersey who is obsessed with the MCU, and mainly with Captain Marvel. She lives with her father Yusuf (Mohan Kapur), mother Muneeba (Zenobia Shroff) and older brother Aamir (Saagar Shaikh). She goes to Coles Academic High School with her friends Bruno (Matt Lintz) and Nakia (Yasmeen Fletcher).

She tried to convince her parents to let her attend the first ever AvengerCon, where she plans to dress up as Captain Marvel and win the contest. When Kamala discovers an ancient family heirloom and puts it on at AvengerCon to complete her costume, it gives her superpowers.

Fernandes admitted, “There's a line from Kamala that stuck with me after watching: "It's not really the brown girls from Jersey City who save the world."” “Ms. Marvel” gives room for brown girls to exist in the superhero realm, and while Disney has just started to see brown princesses in their films, it’s about time we see one in the Marvel universe. Vellani is the second South Asian protagonist in the MCU (after Kumail Nanjiani’s Kingo in “Eternals”), and the first female one. The series was directed by creator and head writer Bisha K. Ali and directors Adil El Arbi and Bilall Fallah. Having accurate representation in the writers’ room and with the creatives is always key, and their influences are really evident as the story arc continues.

In “Ms. Marvel,” it’s hard to tell where Kamala ends and where Vellani begins – they feel one and the same, especially since the actress has said that she’s basically Kamala Khan. She brings warmth, humor, fun and awkwardness as a clumsy, light-headed teen, which makes her completely relatable.

Fernandes ended her review by saying, “Vellani's charming energy is infectious as the charismatic Ms. Marvel, and I can't wait to see how the series progresses — especially as she'll soon star in 2023's The Marvels alongside Brie Larson's Captain Marvel.”

If you have not seen this yet, I give this a high recommendation. I’m not saying that because I am from the same faith as Kamala and her family, but this is a really good show that shows an accurate representation of people from the same faith that I am in. You will absolutely love this, and the way they bring the family background into this superhero story, it is just great. This is enjoyable, funny, engaging, everything that you have seen from the MCU. Check it out and have an enjoyable time.

Tomorrow I will look at the final MCU “Phase Four” show in “Disney Month 2022.”

Black Panther: Wakanda Forever

Tonight, I went out with my friend to see “Black Panther: Wakanda Forever,” which came out last month, and I will let everyone know what I thought about it.

This could have been two films, mainly because the runtime clocks in at 180 minutes.

The first might have paid tribute to the late T’Challa and how Wakanda recovered. The second could have narrated a fight the country has with an underwater realm that also has so much vibranium.

Instead, director Ryan Coogler puts all of this in one movie, making moments with other Avengers seem superfluous.

The tribute to T’Challa (and Chadwick Boseman) is beautiful. The torch is passed to his mother, Queen Ramonda (Angela Bassett), and his sister, Shuri (Letitia Wright), who have to keep the home fires burning, despite that they’re grieving.

Bassett is very good, bringing her worries to the United Nations and standing up to the outsiders who want to threaten Wakanda. Bruce Miller said in his review, “If Academy voters want to honor someone from a superhero film, now’s the time. She’s exceptional.”

Wright is also trying to put together medical thoughts that could explain what happened to her brother and how the underwater people and their leader, Namor, played by Tenoch Huerta, manage to survive.

Namor wants Wakanda to create peace with Talokan, the underwater kingdom that seems to have made interest from the United States and its vibranium-detecting machines. There’s a lot to collect from Shuri’s visit underwater, but there’s also a big question that is asked: Could this be a little too close to “Avatar” for Disney’s comfort? The underwater population is blue, able to make things shine and blessed with knowledge simple mortals couldn’t even think of.

To settle her own worries, Queen Ramonda tries to find Nakia, reprised by Lupita Nyong’o, who has been gone since the blip. Living in Haiti, she didn’t want to be caught up in the conflict that could have joined T’Challa’s death. However, she still has skills and comes to Shuri’s rescue when the underwater realms become an enemy.

Coogler accepts ceremony and, in many ways, makes us feel like we understand what Wakandans are like. Even better, he gives us a look at the Talokan that makes this relationship interesting, even though it may not be.

To make things better, Everett Ross (Martin Freeman) and Valentina Allegra de Fontaine (Julia Louis-Dreyfus) are here, trying to make the CIA an important part of Wakandan decisions.

Miller credited, “Ruth Carter’s spectacular costumes score again (extending to the underwater folk who, in Namor’s case, have winged feet to worry about) and Ludwig Goransson’s music is both reverent and hopeful. When Rihanna sings “Lift Me Up,” you can tell this isn’t just another superhero film.”

In fact, “Black Panther” is higher than most. It makes a world, resides it and gives reasons for its people’s actions. It’s a huge mission statement that’s mainly due to Coogler. He makes the 180 minutes worthwhile, even though it’s missing its important parts.

When the Marvel Studios logo was showing, they had pictures of Chadwick Boseman as T’Challa and I applauded at that. After the mid-credits scene when they paid tribute to Boseman, I applauded and had the entire theater join. Speaking of which, the mid-credit scene (spoiler): Shuri is introduced to Nakia and T’Challa’s son.

This movie does have a lot of emotional moments, great character moments, important dialogue, nice evolving of the characters, and, as always, amazing action scenes that keep you engaging. However, I didn’t like the underwater people in here. They felt like something out of “Pirates of the Caribbean” or Greek Mythology. If they had changed that around, maybe it would have better. Even though this isn’t as good as the first movie, I still liked it and it was a good finale to Phase Four, and another one of my favorite comic book films.

Tomorrow I will look at the next MCU show in “Disney Month 2022.”

Obi-Wan Kenobi

Ten years after “Revenge of the Sith,” Obi-Wan Kenobi (Ewan McGregor) is hiding in the Tatooine desert when Bail Organa (Jimmy Smits) calls him to rescue young Leia (Vivien Lyra Blair). Can the former Jedi master help him without revealing his appearance to the Empire?

Helen O’Hara stated in her review, “One of the disappointments of the Star Wars prequel trilogy was how little stylistic connective tissue it shared with the original films, given all those shiny surfaces and CG creatures.” This show connects the two trilogies in style and substance, giving us a great halfway point between “Revenge of the Sith” and Luke Skywalker’s rise to fame, and a look into the missing decades of Obi-Wan Kenobi’s life.

Obi-Wan (McGregor) is now cleverly disguised as “Ben” Kenobi, a desert fish seller who keeps his head down and watches from afar on Luke Skywalker (Grant Feely), without the approval of his uncle Owen (Joel Edgerton). Then Imperial Investigators show up on Tatooine, looking for escaped Jedi.

O’Hara noted, “There’s an effectively nasty premise in the cat-and-mouse game between Inquisitors and Jedi here: Jedi can’t help but help, so all the Inquisitors need do is threaten literally anyone, and nearby Jedi will feel compelled to intervene. It’s a grubby, real-world totalitarian tactic designed to divide and intimidate, because if a Jedi like Obi-Wan looks away from such evil to keep himself safe, is he still a Jedi? Or has his very nature been corrupted?” Such powerful evilness is strengthened by joyful arrogant, in Rupert Friend’s Grant Inquisitor, and single-minded obsession, in Moses Ingram’s driven Reva. These are new villains to be dealt with, and their story arcs manage some welcome shocks.

O’Hara said, “Against this backdrop, Obi-Wan receives a call for help from an old friend, and risks his hiding place to answer it.” The job will bring him into contact with brave people still fighting the Empire, and introduce him to the powerful strength that is Princess Leia, played by Vivien Lyra Blair, intimidating even as a tween. However, it also puts him under the radar of Darth Vader, reprised by Hayden Christensen, once more.

O’Hara noted, “Showrunner Joby Harold and director Deborah Chow for the most part make a strong inter-quel chapter here, with a despairing, wary McGregor as the missing link between the two trilogies. They also create a world with both the dusty, used feel of the original trilogy and traces of the flat glitz of the prequels, and only a few niggling discontinuities with the canon. These adventures help to redeem not only McGregor’s character but his entire under-loved era, cherry-picking the best bits and leaving aside the embarrassing Gungans and terrible screenwriting.”

Despite the show not making Anakin/Darth Vader’s emotional life speak, there are some killer moments for Christensen to play here, and fights on alien worlds shined only by lightsabers. More importantly, it’s an honor to see an older, wiser McGregor back to face him. McGregor became more comfortable with his character with each film in the prequels, and now those old robes seem completely familiar – despite, or maybe because, Obi-Wan himself has never been more at stake. Still, over the franchise he recovers himself a little, and earns a new path for his life as a Jedi. He finds out, you would think, a new hope.

Other than a few continuity issues and over-familiar parts, this has a solid understanding of its protagonist and a fun new adventure. It’s a very welcome return to basics after the issues in “The Book of Boba Fett.”

This is a great show. If you haven’t seen “Obi-Wan Kenobi,” which came out in May, yet, and you have enjoyed the past Star Wars show, what are you waiting for? It is available on Disney+. Go on there right now and watch the entire series. I give it a high recommendation. If you were not impressed with “The Book of Boba Fett,” this show will redeem itself for you. You will go back to loving the Star Wars franchise again.

Stay tuned later for another review on a film that I got to see today.

Night at the Museum: Kahmunrah Rises Again

Tonight, on Disney+, I saw “Night at the Museum: Kahmunrah Rises Again,” which came out on the 9^th, the first animated sequel in the franchise. How is it compared to the past three movies?

Sixteen years ago, “Night at the Museum” was released like Rexy and subsequently gave a near-perfect trilogy filled to the max with unforgettable humor, museum disaster, and emotional storytelling. Matt Danner’s new animated film manages to copy the life-bringing magic of the tablet, while paying tribute to the aspects of the live-action films that made them very quotable and memorable experiences.

Set a few years after the end of “Night at the Museum: Secret of the Tomb,” Larry Daley, voiced by Zachary Levi, has switched careers as a school teacher to become the director of a museum in Tokyo (which is a huge career path!) and the Museum of Natural History in New York is once again needs a night guard who is up to the task of fighting a lively group of re-animated museum exhibits. Naturally, that job falls on to 18-year-old Nick Daley, voiced by Joshua Bassett, who is hesitant to follow in his father’s footsteps.

Nick is actually hesitant about a lot of things, which is exactly why Larry thinks working the night shift at the museum is the perfect place for him to find his confidence and purpose. Because that’s exactly where Larry found change after his divorce. Nick’s situation is pretty usual teenage ordeals: he’s too nervous to ask the girls he likes out, and he’s too nervous to actually pursue his passion for music. Maggie Lovitt admitted in her review, “I guess all those midnight ragers at the museum rubbed off on him because he’s all about DJing and making music for people to dance to.”

Lovitt continued, “Nick’s subplots in tandem with the animation style really harken back to the golden age of the Disney Channel, where series like Kim Possible and American Dragon: Jake Long reigned supreme, which makes sense when you consider that Danner worked on beloved animated series from that same era of television. Similarly, Ray DeLaurentis, one of the films’ two scribes worked as a writer on American Dragon and still very clearly retains that unique essence that is threaded through into Kahmunrah Rises Again.” He’s joined on this film by Will Schifrin who brings live-action writing experience to the film, which helps make up some of the tonal styles of the original trilogy.

“Kahmunrah Rises Again” has Joan of Arc (Alice Isaaz) join the museum display cast of Teddy Roosevelt (Thomas Lennon), Attila the Hun (Alexander Salamat), Sacajawea (Kieran Sequoia), Laa (Levi), Octavius (Jack Whitehall), Jedediah (Steven Zahn), and Dexter (Dee Bradley Baker, famous for voicing Dad on “Cow and Chicken” and Numbuh 4/Wallabee Beetles on “Codename: Kids Next Door) as they join forces with the younger Mr. Daley to stop the world from ending when Kahmunrah (Joseph Kamal) resurrects himself – again – and try to, you guessed it, take over the world over the course of one night. The story is similar to “The Battle for the Smithsonian,” redoing some familiar elements, particularly with jumping through paintings, and the obviously Kahmunrah connection, but it never feels repetitive. Nick might be as geeky and can cause chaos like his father, but he does feel like his own character and a continuation of the that Jake Cherry created (and later Skyler Gisondo).

During their dangerous race against time, the Museum of Natural History’s lively exhibit pieces travel across the city to a kind of fictionalized version of the Metropolitan Museum’s Temple of Dendur, where they come in front with the tiny god of chaos, Seth, voiced by Akmal Saleh, who gives new and hilarious difficulties for the team. Lovitt noted, “Seth is a slightly more competent combination of the Hercules duo Pain and Panic, and “slightly” is doing a lot of lifting there.” Kahmunrah trying the whole time for world domination is an amazing journey into failure and silliness – and it gives the push Nick desperately needs to find himself.

Lovitt admitted, “The Night at the Museum franchise holds a very special place in my heart as someone who worked in the museum industry for a decade (and unfortunately, only a few museum exhibits came to life under my watch), and it’s a joy to see Disney reinvesting in the franchise and finding a new way to continue the adventure following the devastating loss of the live-action’s Teddy Roosevelt, Robin Williams. Night at the Museum: Kahmunrah Rises Again rekindles the magic of the trilogy, while carefully blending nostalgia with a wide-open door into new world potential for these characters.” The beautiful part is that the film doesn’t change the nostalgic ending of the final film – which still is sad just thinking about it. With Nick Daley at the night desk, the museum lives on to entertain a new generation, while giving a safe place to retreat for fans unwilling to part ways with this franchise.

You never know, maybe one day the tablet will travel all the way to Tokyo and force Larry to revisit the trouble of working the night shift with a brand-new cast of characters coming to life. Plus, it would mean hearing more of Zachary Levi bringing his own twist to Ben Stiller’s Larry.

Out of the entire franchise, this has the highest rating from critics on Rotten Tomatoes, but a below average rating from audiences. I will admit that during the final sequence, I did feel like I was going to nod off thinking it was taking too long, but it is still a good movie. Seeing how this has the shortest runtime in the franchise, check it out on Disney+. You will love it, especially if you loved the previous three films in the franchise. See it for yourself and enjoy.

Thank you for joining in on the review tonight. Stay tuned tomorrow when I continue “Disney Month 2022.”

Home Sweet Home Alone

There’s a part in “Home Sweet Home Alone,” released on Disney+ in 2021, where two characters are watching a remake of the fictional “Angels With Filthy Souls” (if you remember that quotable film within a film that Macaulay Culkin used to scare the pizza delivery boy (“Merry Christmas ya filthy animal”)) and question why studios bother remaking the classics: “They’ll never be as good as the original.”

You can be asking the same thing about this film that seems to indicate Disney is completely self-aware and in on the guilt. Peter Gray noted in is review, “It also showcases how much the House of Mouse doesn’t remotely care about their clout, seemingly satisfied to remake their classic IP titles – well Fox’s titles, if we’re getting technical – with very little regard for the original’s standing.” “Classics were meant to be broken,” as the film’s tagline says, and strangely enough, this poor excuse of streaming only strengthens how classic the 1990 original really is.

This isn’t a remake, but more a legacy sequel where the original characters exist in this made realm – Buzz McCallister, played by Devin Ratray, the cruel older brother to Culkin’s original troublemaker, has a small cameo as a police officer who disregards his civic duties because of his experience on the wrong side of pranks – “Home Sweet Home Alone” is unable to copy any of the humor or charm that John Hughes made, with young Archie Yates a nuisance substitute as this film’s home alone rascal, Max Mercer. Gray said, “Yates has proven himself adept at comedy – see Jojo Rabbit for proof of his ability to land a joke beyond his years – but here he’s saddled with a painfully comedy-free script that strips him of any likeability; to say that we kind of hope the home intruders he faces off against would take him down is an understatement.”

Speaking of which, the apparent burglars are way off from the bumbling, violently-minded Daniel Stern and Joe Pesci, here played by Rob Delaney and Ellie Kember, two more comedically capable performers who also embarrass themselves as Jeff and Pam McKenzie, unwilling criminals whose main reason on breaking into the Mercer’s home is the most unlikely of MacGuffins. Parents who are supposed to feel sorry for due to their money loss, Jeff and Pam think that Max stole their priceless heirloom from their home during an open house, and instead of simply knocking on the door and asking for it back, they break and enter – though that’s used loosely here – when they realize Max is home along. His family “forgot” him when they were hurrying to the airport to fly to Tokyo for an extended family vacation.

In the original when Kevin was left behind, even though that may have been a stretch, it worked in this heightened plot. Gray admitted, “Here, Max being excluded hardly seems plausible – though he’s such a little pest  I’d want to leave him behind too – and any of the genuine care and frazzled mentality that extended to original mother Catherine O’Hara as she sought out ways to get home is hardly emulated here through Aisling Bea (another damn comedienne drowning in pathetic material) who, more or less, overdoes the reactive responses as if she’s playing to not just the back of the room, but the whole darn suburb.”

Max’s enjoyment of being home alone is short-lived and barely innovative – he enjoys a desk dumped with candy, dresses in his mother’s clothes, and skates down the staircase (how fun!) – and the tricks he pulls on Jeff and Pam have none of the chilling flair Kevin did. An extra slippery driveway? You little rascal! Gray said, “And I’m sure you’re wondering why Max doesn’t just call the police or ask for help – it’s OK if you aren’t that invested – and the Mikey Day/Streeter Seidell-written script addresses this in the most throwaway fashion, further cementing the fact that so much of Home Sweet Home Alone is designed-by-numbers to merely earn those streaming miles from children who are easily amused and unbothered with consuming quality.”

Gray continued, “Whilst I could be called out for my lack of enjoyment due to the fact that I am clearly not the target audience, I can still appreciate a family-minded affair when I see one, with the original Home Alone and its boisterous sequel Lost In New York still remaining immensely watchable due to their genuine wit and desire to aim above their familial temperament.  Here, Dan Mazer (director of the useless Dirty Grandpa and writer of the Borat films, indicating he’s better at creating comedy than staging it) doesn’t just aim for the bottom of the barrel, he buries himself and his usually capable cast underneath it.”

Instead of punishing bad children with coal at Christmas time, instead make them watch “Home Sweet Home Alone.”

This is the absolute worst in the franchise, if you can believe that. You would think that they would learn after how bad the last three were received by people that they would not make another one. However, they sadly tried again, and again, they epically fail. DO NOT make the mistake of watching this on Disney+ today. Instead, put on other Christmas classics, like the original or other ones that are way better than this garbage that has the Home Alone name on it.

Happy Holidays everyone. Sorry that I had to ruin today with this review, but there’s still plenty of the day that you can still enjoy it. Tomorrow I will be looking at the next Star Wars show in “Disney Month 2022.”

Moon Knight

Released back in May, “Moon Knight” arrives as the latest show in an apparently non-stop franchise that’s near dominated popular culture over the past decade and a half. The newest miniseries to join the MCU, it adds yet another story to the saga’s ever-growing array of superhero stories – this time focusing on a character first seen on the page back in the 70s. Barely as well-known on the same level as Iron Man, the Hulk, Captain America, Thor, and Captain Marvel. Otherwise solely unseen in the MCU so far.

“Moon Knight” starts expanding as the latest instalment in another trend. For the second time in less than a year, Oscar Isaac stars in a must-see steaming series. Sarah Ward said in her review, “In cinemas in-between, he's also added Dune and The Card Counter to his resume, too, because the compulsively watchable actor pinballs between projects vast and intimate — and between blockbusters and character-driven pieces. His two most recent small-screen projects couldn't demonstrate that chasm better, although Moon Knight has more in common with 2021's Scenes From a Marriage than it might initially seem.” Or, to be accurate, it claims one very specific and important shared trait: it wouldn’t be what it is without Isacc’s amazing performance.

Make that “performances.” The story: in this six-episode miniseries, Isaac plays Steven Grant and Marc Spector. They’re one and the same because of a case of dissociative identity disorder, although this is news to mild-mannered British gift-shop employee Steven. Usually, he wishes that he could guide tours at work, obsesses over studying Egyptian history and, thanks to a sleeping disorder, chains himself to his bed at night. However, in breaks in his days make him to learn, he is also American mercenary Marc Spector – or, to be exact, vice versa. To complicate things more, he’s the on-earth channel for the Egyptian moon good Khonshu, voiced by F. Murray Abraham, as well.

Ward said, “Already struggling with being able to tell the difference between being awake and asleep, Steven's role as the moon god's offsider is a source of stress, unsurprisingly — especially with shadowy cult-like figure Arthur Harrow (Ethan Hawke, The Good Lord Bird) hanging around. Character-wise, the Steven/Marc combo swiftly proves as complex as the MCU has delivered so far in Moon Knight's first four episodes, as deepened even further during a continent-hopping mystery-adventure that has him doing Khonshu's bidding.” That’s where Harrow comes in, complete with unfinished business with the moon god and big plans of his own. Archaeologist Layla El-Faouly, played by May Calamawry, also adds another layer, linking ties to Marc’s past that Steven is mainly unaware of, and lighting an amount of romantic rivalry.

Ward noted, “Even within franchise confines, Isaac is mesmerising playing duelling dual personalities in Moon Knight, turning in the kind of portrayal that the MCU has been lacking. It isn't known as an actor's showcase, which is why even this far in — 27 movies and now six Disney+ series — the sprawling saga's standout performances make a splash bigger than throwing mjölnir into an ocean.” It’s what made Tom Hiddleston a hit in his theater releases, and also in previous streaming show “Loki.” Also on television, the greater texture gave everyone by Elizabeth Olsen and Paul Bettany, and the scene-stealing perfection of Kathryn Hahn also, ensured that “WandaVision” left a mark also. Isaac surpasses all of them. While Marvel’s ability for casting has long been one of its strengths – even with simply entertaining rather than necessarily great performances resulting – it stretches those talents amazingly in “Moon Knight.” Indeed, it’s as smart a casting move as has been made currently in this pop-culture giant.

Ward said, “The fact that Moon Knight also tasks Isaac with playing someone that film and TV fans aren't already acquainted with is also pivotal. Welcomely, the Marvel formula feels fresher here. The series still spins an origin story, and will undoubtedly tie into the broader narrative to come. It also often falls back on a template between daring to be stranger and weirder. And yet, by branching off with a previously unseen protagonist, this is the first MCU Disney+ series that doesn't feel like homework. That isn't a slight upon WandaVision, The Falcon and the Winter Soldier, Loki and Hawkeye, but recognition that reaching in new directions reaps considerable rewards.” “Moon Knight” doesn’t lack in casting, obviously – there’s a reason that Isaac is rarely seen in costume incognito, Hawke is also fantastic, and they bounce off of each other interestingly – but it hasn’t enlisted its large-name MCU newcomers to simply go through the by-the-numbers motions.

Similarly leaving an impact: having Egyptian filmmaker Mohamed Diab direct four episodes, and getting American sci-fi/horror geniuses Justin Benson and Aaron Moorhead to direct the other two. Both help ensure that “Moon Knight’s” excitements come from its best asset, especially given that he’s doing a similar “Dir. Jekyll and Mr. Hyde”-type story – and the scenes where Steven and Marc fight with each other about who gets to control their shared body (which happens through places like mirrors and puddles, and are shot with not just talent but confidence), are the show’s evident highlights.

Ward noted, “The Indiana Jones nods, and the swings in The Mummy's direction, are clunkier, but the end product is still easily the most intriguing small-screen Marvel effort so far.” Actually, when “Moon Knight” does actually end up clearly connecting into the MCU in its final two episodes – and if it flattens itself down in the process- that’ll feel like a downside.

This is another exciting show and action-packed that you’ll be engaged throughout. See this if you haven’t because this is a really good show. There are talks of including this character in a future film since I don’t think there will be a second season to the show. Check it out if you have a Disney+ because you will enjoy it.

Tomorrow I will be doing my yearly Christmas movie review for “Disney Month 2022.”