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.