They don't come any sweeter than "Marcel the Shell With Shoes On," a stop-motion, animated feature-film about a friendly shell, named Marcel, who is trying to be reunited with his family after becoming separated from them.
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Over the course of her career, British actress Lesley Manville has proven to be an invaluable actor in nearly everything she is a part of. In Paul Thomas Anderson's "Phantom Thread," Manville really got people to American audience's to notice her, and she scored her first Oscar nomination.
In the slight, breezy "Mrs. Harris Goes to Paris," Manville makes the mediocre worth watching, just barely, elevating the lesser material by pouring herself into it fully. If you don't already love Mel Brooks, first off, what the hell is wrong with you? I'm not sure we can even be friends. One of the few living legends of Hollywood, Mel Brooks is both featured and revered in the new absurd yet hilarious family animated offering, "Paws of Fury: The Legend of Hank." It's an absolute gas - especially for those that know and love Mel Brooks, specifically his iconic 1974 spoof, "Blazing Saddles," a movie that could never, ever be made today. Or if it was, it would end up looking a lot like "Paws of Fury."
The genius of "Paws of Fury: The Legend of Hank," is that the creators have managed to essentially remake what is now considered to be a "politically incorrect" classic, under the guise of a simple kiddie flick, and miraculously, it works for both children and adults alike. It's subversive, but comes with a positive message of inclusion. It's risky (trust me) but includes lots of laughs for young ones. It's a surprise, but "Paws of Fury: The Legend of Hank" is one of the funniest movies of the year, one of the best animated films of the year, and is one of the best new IPs (intellectual properties) that has come along in several years (considering the characters and the world that is created). And oh yeah, it also features Mel Brooks who lends his voice to one of the characters. Two new films are on Netflix as of July 8th, and both are recommended! Read on for quick takes on each of Netflix's "The Sea Beast" and "Persuasion."
The best entries in the Marvel Cinematic Universe (MCU) have been equal parts exciting as well as funny. The character of Thor (Chris Hemsworth) has always played it straight, but has had an underlying element of charm and humor laced within his Asgardian toughness. When director Taika Waititi took the reigns for the first time in the MCU with "Thor: Ragnarok," he leaned the character and the Thor film franchise into the comedy with mixed results.
Now directing the latest Thor film, "Thor: Love and Thunder," Waititi has apparently been given carte blanche by the higher-ups at Marvel to make Thor an all-out parody of itself...an absurd, campy comedy that definitely has some laughs, but does little justice to the character of Thor or to those inhabiting his universe. This is a ramshackle, choppy spoof that would work better if it existed in a vacuum, and not part of an over-arching cinematic universe. Musically-inclined director Baz Lurhmann cannot be criticized for his Elvis biopic containing "a little less conversation, a little more action."
"Elvis" is a sprawling, swirling, glitzy and glamorous remembrance of the King. It ends up being so fast-paced that it comes across as hollow, but that's not to say there isn't a lot to like about it. Carrying the lyrics to that aforementioned song like a motto for the film, Luhrmann infuses his story of Elvis Presley with "a little more bite and a little less bark, a little less fight and a little more spark." It's a bit of a spectacle, not quite life-changing but larger-than-life...a whirlwind of flashing lights, gaudy costumes and shaking hips. In other words, it's exactly what "Elvis" would have wanted it to be. "Lightyear" is now the 26 feature animated film to come out of Pixar Studios. The brand still represents the cream of the crop when it comes to animation, and while many of its titles have lived up to the reputation in both style and story, some have not...and when a Pixar movie doesn't land, it has quite often been a sequel or a spin-off (while Toy Story 2, 3 and 4 all delivered, many other sequels - like the Cars movies, "Finding Dory" or "Monsters University," have not).
"Lightyear" is the first feature-film to be spun-off of the original Pixar gem, "Toy Story." It's apparently the movie that inspired the Buzz Lightyear toy in the first place (which is why this Buzz is voiced by Captain America himself, Chris Evans, and not Tim Allen who has voiced every toy incarnation of the space-travelling hero). It's a beautifully-rendered piece of animation that once again pushes animation forward, which is a stellar feat considering that it feels at this point like we've seen it all. But unlike several of Pixar's best films that contain deeper meaning, or powerful messages for kids and grown-ups alike, "Lightyear" is a bit muddled and "light" on nuance. Still, as space adventures go, "Lightyear" is a crowd-pleaser, and probably lands somewhere in the upper-middle of the Pixar pack of films. "Cha Cha Real Smooth" was one of the breakout hits from this year's Sundance Film Festival, and it lands on Apple TV+ today (as well as a limited theatrical run). It's not hard to see why: There seems to be some real, polished talent at work here from star, writer and director - 24-year-old Cooper Raiff - but it's a hard movie to love due to the unlikability of one major character.
The story of a man creating life is a classic tale, and has been done hundreds of times...sometimes done as horror (think "Frankenstein") and sometimes done for laughs. "Brian and Charles" is a small British comedy about a lonely man who creates and then becomes best friends with his robot creation, and it's done with such sweetness, that it becomes hard to resist.
Director Joseph Kosinski is flying high in Hollywood right now, with the much-needed, record-breaking success of his film "Top Gun: Maverick" now on his resumé. His follow-up film, "Spiderhead" (streaming on Netflix on 6/17) will likely be overlooked, as it should, when studios consider him for future projects, as it seems there was no energy left to give to this mildly clever, but mostly banal, dud of a film following how much he was able to pack in to "Top Gun: Maverick."
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