Category: Reviews

“You’re wearing a dress and have a pet sidekick. You’re a princess.”

Truer words have never been spoken in a Disney film and possibly for the first time, we have a Disney Princess film that breaks the fourth wall and acknowledges that their characters pee. In so many ways, the delightful Moana is a refreshing take on the classic kids fare. It is funny, the CGI animation is charming, and the songs have a fresh sound to them.

Now out on disc and Digital streaming from Walt Disney Home Entertainment, the film plays well and will withstand repeated watching, a requirement given the target audience. What’s interesting to note is that this continues a trend, started in The Little Mermaid where the characters interact with one another in song, as opposed to the usual assortment of lullabies and I Want songs that fueled the original era of Princess tales.

It is certainly refreshing that the army of writers and directors behind Moana left European legends behind to base their culture on a mixture of Polynesian Islands with dollops of Hawaiian, Samoan, Maori, Tokelauan, Fijian, and Tahitian found within the societies depicted. The people are at peace and live in harmony with their lands until a supernatural blight threatens Moana’s people. The next-to-be-chief has been chosen by the ocean itself to set things to right and in a delightful prologue sequence, we see that this has been a decade or more in the making.

Essentially, Moana (Auli’i Cravalho) needs to seek the demigod Maui (Dwayne Johnson) convince him to restore a magic jewel he stole ages before in the heart of the goddess Te Fiti. He has been in self-imposed exile since being nearly defeated by the fiery Te Kā. As in the current era, Moana must defy her parents and cultural expectations – in this case, not paddling beyond the barrier reef – to do what must be done in order to save everyone.

Accompanied by her demented chicken Hey Hey, Moana goes on the Hero’s Quest, collects Maui, dodges some animated coconuts, and goes on to battle Te Kā. We discover how plucky she is and resourceful and talented, everything one wants in a Disney protagonist. In this regards, the film does too little original as it checks the boxes and adults and some older kids can predict what happens next. The worst such moment may be when a defeated Maui abandons Moana to her fate when we all know he will return. Audiences have been so conditioned since the Millennium Falcon returned to hold off the TIE Fighters so Luke Skywalker could blow up the Death Star. A little variation to the trope would be appreciated.

That said, I laughed and thought the animators superbly gave Moana some terrific body language and facial expressions, enhanced by Cravalho’s performance. Johnson’s Maui is also entertaining and they form a fine buddy team. They are surrounded by engaging supporting characters led by her grandmother Tala (Rachel House).

The 1080p high definition transfer is gorgeous, which is necessary given the rich, bright colors found throughout. It is accompanied by an only slightly wonderful DTS-HD Master Audio 7.1 lossless soundtrack.

The Blu-ray comes packed with the usual assortment of extras adults have come to enjoy with these releases. The combo pack comes with the Blu-ray, DVD, and Digital HD code.  We get the bonus short “Maui Mini-Movie: Gone Fishing” (2:29) which the kids will enjoy. They will also get a kick out of the Deleted Song: “Warrior Face” with Introduction by Songwriter Lin-Manuel Miranda (3:41), presented with the basic animation. They may also appreciate the Deleted Scenes (25:56) and the music video for “How Far I’ll Go”, performed by Alessia Cara (3:04) and “How Far I’ll Go” Around the World (2:44) as the song us seamlessly performed in multiple languages.

There is also Theatrical Short Film: Inner Workings (0:48): The filmmakers discuss the short film ((6:26) that life and daily routine; Voice of the Islands (31:13); Things You Didn’t Know About…: co-directors Ron Clements, John Musker, Auli’i & Dwayne (2:02) and Mark Mancina, Opetaia Foa’i , & Lin-Manuel Miranda (1:57); Island Fashion (1080p, 5:13): Neysa Bové discusses the challenges and specifics of costuming the characters; The Elements Of…: Mini-Maui (3:34), Water (4:38), Lava (2:56), Hair (3:05); They Know the Way: Making the Music of Moana (12:37); and Fishing for Easter Eggs (2:52).

Finally, there is some interesting Audio Commentary from Musker and Clements.

Everywhere you turn, there are odd mashups occurring throughout comics, especially at Warner Bros. and DC Comics where the wall separating properties has crumbled. The latest example is the confounding The Jetsons & WWE: Robo-WrestleMania direct-to-video film. Apparently they must have had a success with The Flintstones & WWE: Robo-WrestleMania because here’s a sequel.

Thankfully, WWE World Heavyweight Champion Big Show has been frozen in ice, like a certain star-spangled Avenger, and when George Jetson thaws him out, the wrestler wants title back. He does this by vanquishing that era’s wrestle-bots and once he takes the throne, decides he wants to take over the universe. Coming to the future’s rescue as Roman Reigns, Seth Rollins, Alicia Fox, the Uso Brothers, Sheamus and WWE impresario Vince McMahon.

George, his boy Elroy, daughter Judy, and Jane, his wife, have to save Orbit City when it’s invaded by a wrestle-bot army en route to the conquering all of space. Good thing Elroy has a handy time machine so Big Show’s greatest opponents are brought forward in time to save the world, the universe, and beyond.

For kids who thrive on mayhem and plot-light entertainment, there’s plenty of antics. For their parents and grandparents, there is a certain comfort in seeing the tried and true tics of the original animated Jetsons one more time: from George’s ineptness to Mr. Spacely’s temper. However, at nearly 80 minutes, this can quickly grow tedious because there is just not enough content for the vast majority of the viewers, especially those unfamiliar with the current generation of WWE superstars.

As a crossover, this is weak stuff, more along the lines of when the Harlem Globetrotters got (briefly) stranded on Gilligan’s Island rather than smarter fare such as Batman ’66 Meets the Man from U.N.C.L.E.

There are times its feels director Anthony Bell is going through the motions and the animation quality is so-so at best. Jeff Bergman’s George Jetson and Mr. Spacely works because he’s had 20 years to get them right. Grey Griffin’s Jane is acceptable but Danica McKellar’s Judy is spot on (goodbye Tiffany) and topping her work is Trevor Devall’s Elroy. And it’s always good to hear Frank Welker’s Astro. The WWE stars play themselves so they sound right and look silly and seriously out of place – although the script doesn’t play enough with that.

The Marvel Cinematic Universe has been very careful and deliberate as it introduces mass audiences to over 75 years of comic book continuity and conventions. Wisely, we had a handful of super-heroes before we had a team and after some hints about outer space, we had a specific look with Guardians of the Galaxy. Sooner or later, once “Stephen Strange” was name-checked in Captain America: Winter Solider, we knew a peek at the supernatural side was coming.

When Doctor Strange finally arrived last November, it was an amazing visual triumph that nicely walked us through some of how magic worked while offering up an origin story that showed a man’s hubris turned into something better. While the broad strokes make Strange and Tony Stark nearly identical, their journeys are vastly different with the former far slower to accept the consequences of his actions.

But the film, out now on disc from Disney Home Entertainment, is also the study of conflicting ideals as Strange (Benedict Cumberbatch) comes to accept his new role and responsibilities while an ally, Karl Mordo (Chiwetel Ejiofor), sees things vastly differently and sets up a future conflict.

The film, from writers Jon Spaihts and Scott Derrickson & C. Robert Cargill and director Scott Derrickson, leavens the heavy supernatural with doses of humor, usually offered up by Wong (Benedict Wong). We also get to see how much Strange has changed and how accepting denizens of Marvel Earth have come to accept the fantastic through Strange’s colleague and former lover Christine Palmer (Rachel McAdams).

While drawing much from the early Stan Lee-Steve Ditko issues of Strange Tales, there are pieces unique to the film, from Palmer to the silly sling rings needed to remain in another location. Disappointingly, the relationship between Strange and his teacher, the Ancient One (Tilda Swinton), is all-too-brief.

Strange’s search for healing is also one of redemption, counterpointed by Kaecilius’s (Mads Mikkelsen) fall from grace. He and his cypher disciples seek enlightenment and power from the Dark Dimension, exposing the connections the Ancient One has with its ruler, the Dread Dormammu (Cumberbatch). There are rich complexities in the story even if Kaecilius’ personality is two-dimension in comparison with so many of the other characters.

The visually sumptuous production fits in nicely with the rest of the MCU although it is let down by a rote Michael Giacchino score that doesn’t enhance the story nearly enough.

The post credits sequence with Thor (Chris Hemsworth) firmly connects this film to the greater MCU and apparently sets up his appearance in November’s Thor Ragnarok and next summer’s Avengers Infinity War. How supernatural, mythology, and super-science blend should be interesting.

The film has been released in a variety of formats but the Blu-ray has a fine high def 1080p transfer. Given how much goes on through visual effects, it’s good to be able to discern all the detail. The DTS-HD Master Audio 7.1 lossless soundtrack is a fine companion and makes for a good viewing experience.

The amount of bonus features is pleasantly surprising starting with the commentary. There’s a multipart look at the making of the film that is a little more surface than depth but has good information and BTS footage including A Strange Transformation (9:42), Strange Company (12:37), The Fabric of Reality (12:32), Across Time and Space (13:21), and The Score-Cerer Supreme (9:51).

There is also a brief Marvel Studios Phase 3 Exclusive Look (7:28) that tries to put things into perspective with a distinct lack of specificity.

For those who liked the Team Thor short, we now get Team Thor: Part 2 (4:38), the best being Thor explaining Civil War to an elementary school class.

There are some interesting Deleted & Extended Scenes (7:52) and a nicely edited Gag Reel (4:12).

The line between reality and fiction is often blurred by the author, who plumbs his or her life experiences to work through anger, grief, remorse, love, etc., pouring those experiences into thinly veiled versions of themselves. But, to use those characters as a blunt instrument in an act of revenge is something different.

Fashion designer cum part-time director Tom Ford explores those themes in his visually perfect, emotionally sterile Nocturnal Animals. He wrote, co-produced, and directed this adaptation of the 1993 novel Tony and Susan by Austin Wright. It opened to fairly positive reviews in November but given the heady subject matter, it didn’t find its audience and vanished quickly only to remind audiences of its worthiness when Michael Shannon received an Oscar nod as a Best Supporting Actor nominee.

Susan Morrow (Amy Adams) was once married to Edward Sheffield (Jake Gyllenhaal), a budding novelist. They became lovers during grad school, married, and then parted as she lost faith in his ability and chances for success. Instead, she had an affair with Hutton Morrow (Armie Hammer), eventually marrying him and becoming a wealthy art gallery owner in Los Angeles. However, now time has not been kind to the marriage and they are rapidly drifting apart leaving Morrow alone and lost in a world of opulence.

Then, a manuscript for a forthcoming novel arrives from Edward, dedicated to Susan. She begins reading it and loses herself in his beautifully written world and its’ tragic inhabitants. We then are taken into the novel and meet Tony Hastings (Gyllenhaal), his wife Laura (Isla Fisher), and their teen daughter India (Ellie Bamber). Driving along the Texas highways, they are set upon by a gang led by Ray Marcus (Aaron Taylor-Johnson). After terrorizing the three Hastings, the women are spirited off to be raped and murdered, leaving Tony thoroughly abandoned.

With the help of Detective Bobby Andes (Shannon), the hunt for justice and vengeance begins.

The film cuts between real world flashbacks and contemporary settings with the novel’s narrative taking up the largest portion of the film. It’s not hard to follow and it does nicely reveal Susan and Edward’s past, explaining why he wrote this story and then, in the film’s final minutes, we understand his act of revenge.

It’s chilling and terrifying at times, gorgeously shot at other times, and it’s telling that the most riveting performances come during the novel sections. Adams’ Susan is cold, frozen with uncertainty and regret, certain her second marriage is crashing.

With all that said, its remote tone keeps audiences from getting fully invested in the characters (we know the more interesting ones aren’t real) which may be why the movie failed to find its audience.

There’s a chance now with the film out on Blu-ray from Universal Home Entertainment. The 2.40:1 high def transfer is crisp so you see through the shadows and experience the gorgeous Texas settings. The DTS-HD Master Audio is a superb companion.

The disc’s scant extra is a three-part The Making of Nocturnal Animals: Building the Story, the Look of Nocturnal Animals, and The Filmmaker’s Eye: Tom Ford. These provide a thorough examination of the adaptation process and bringing the themes, if not the characters, to full life.