A Reel Review: BUMBLEBEE

An often-overlooked fact about the ongoing TRANSORMERS franchise is that it stands as the rare, if not the only occasion, where the merchandising came before any big and small-screen adaptations. The toys that transformed into robots reached peak popularity in the 1980’s with an animated series; a series that was and is so popular that fans immediately rebelled against the live-action films of the mid 2000’s due to their updating and departures from the cartoons. Perhaps finally aware of the rage of the 40-year-old men who are still demanding to see those cartoons on the big screen, the filmmakers behind BUMBLEBEE, the sixth live-action film in the franchise, take everything back to the 1980’s. 

Charlie (Hailee Steinfeld), is an 18-year-old girl who is a wizard mechanic while mourning the loss of her father and adjusting to life at home with her stepfather…when she encounters Bumblebee; a soldier of the Autobots who has taken refuge on Earth after the fall of his planet Cybertron. With his ability to speak damaged and his memory wiped clean from combat, Bumblebee and Charlie form a bond and look to thwart the efforts of two evil Decepticons to bring their army to Earth, while avoiding a secret government organization after their alien technology…led by Agent Jack Burns (John Cena). 

The plot of BUMBLEBEE is simple; avoid capture and stop the efforts of the bad robots to bring more bad robots to Earth. To beef things up, the bulk of the film focuses on the bond between Charlie and Bumblebee, with both characters sharing similarities. Both Charlie and her new friend are outcasts and very much feel alone, and their adventures in avoiding peril in human and robot form bring them closer together and they both make strides in natural ways. There’s a lot of heart going on here, and for the most part it works as a lost puppy tale. 

The simplicity definitely harks back to episodes of the old cartoon (fans wanted it, they got it), and the two main characters drive this car forward. Steinfeld is great as usual, and Bumblebee comes to life with some clever body language and well-timed physical comedy. Perhaps for the first time in the TRANSFORMERS stint on the big-screen in live-action form, we actually care about what happens to the humans and the robots. 

Setting the film in 1987 works to its advantage, as director Travis Knight saturates the film in the pop culture of the time, making it a fun nostalgic trip to the past. The robots for the most part are back to their old designs from the cartoon (a major sticking point of the previous films), with popular characters such as Optimus Prime, Soundwave, Starscream, and Shockwave returning in their old animated skins…although they all amount to cameos. The visual effects are fantastic although the rock-em, sock-em robot battle scenes are still tough to follow with way too much goddamn shaky camera crap, and the film also gets bogged down here and there with one to many annoying characters who don’t contribute much. There are also a few instances of stupid things happening…but it’s far from a dealbreaker. 

Hailee Steinfeld, in her first film loaded with visual effects, does an excellent job in acting against things that were not there on set…and she sells it perfectly. She also does great work in selling us as a troubled teen girl. John Cena is one-note and gruff in his role as the commander in pursuit of the robots, but for the character it works. 

The odd part about BUMBLEBEE is that even though it breaks continuity with the 2007 film, it also borrows a lot from it and it’s hard to tell if this is supposed to be a hard reboot/reset or a true prequel. But on its own it functions just fine and has a lot in common with movies of the 1980’s which had a lot of children meeting strange visitors and having fantastic adventures. This is a throwback in many ways and should keep the cartoon fans happy for a while. 

BOTTOM LINE: See it  

A Reel Review: MARY POPPINS RETURNS

Mary Poppins. For over 50 years her name has meant a lot to the world; conjuring up memories and feelings of childhood whimsy, joyful songs, and the importance of family. Her first film in 1964 was made in simpler times, and to return her back to the big screen in 2018 meant giving her an update; to make her relevant while maintaining that magic. Such was the challenge for Disney and director Rob Marshall with MARY POPPINS RETURNS. 

Three decades after the events of the first film, Michael Banks (Ben Whishaw), is mourning the death of his wife and caring for his three children (Pixie Davies, Nathanael Saleh, Joel Dawson), with help from his sister Jane (Emily Mortimer). Michael has lost control of the family’s finances and is in danger of losing his family home to the ruthless bank he works for, when Mary Poppins (Emily Blunt) arrives just in the nick of time to look after everyone. 

The original MARY POPPINS did not have much by way of plot and went from musical number to musical number with brief story in-between. It functioned beautifully because of its charm, earnestness, and performances, but such simplicity may be not be enough for modern audiences. Seemingly aware of this, director Rob Marshall and screenwriter David Magee beefs up this MARY POPPINS tale with real-world problems, with the very house that Michael and Jane grew up in about to be seized by the bank. Toss on Michael struggling with the loss of his wife, and a sudden disconnect from his children, and despite being set in the 1930’s, RETURNS feels very much like a modern tale. 

There’s a lot more meat to the plot this time around, and in a way that’s an improvement on the original. But staying true to its roots in film and in her literary origins, MARY POPPINS RETURNS is packed full of the whimsy and charm that we would expect. There is magic aplenty, thrilling song and dance numbers, and more than enough joy to give it the feel of classic Walt Disney. Marshall also finds time to work in important themes of lost childhood memories and what it really means to be an adult, and the script gives every character an important role to fill. 

Music is an important part of any MARY POPPINS on film, and the songs and dances are beautiful in every way. From the quiet moments of The Place Where Lost Things Go to the sonic blast of The Royal Doulton Music Hall, everything is a toe-tapper and easy to sing along to. As good as the musical numbers are, there doesn’t seem to be an iconic tune in the ballpark ofLet’s Go Fly a Kite or Supercalifragilisticexpialidocous, but time will tell on that one. There are no direct reprisals of the original songs, although the soundtrack does reuse a motif or two .  The film also hangs its hat on the lore and nostalgia of MARY POPPINS, with oodles of callbacks to the original film and the novels. 

Performances are fantastic. Emily Blunt steps into the shoes of Julie Andrews, the original Mary Poppins, with ease. Blunt plays her with that cheeky prim-and-proper with a heart perfectly, and her singing and dancing abilities are incredible. Blunt is matched with Broadway actor Lin-Manuel Miranda, who plays a lamplighter and former chimney sweep who recalls Mary’s first visit to London. Miranda is equally fantastic and has important duties to perform within the plot. The new Banks children are quite good, and Ben Whishaw and Emily Mortimer are both excellent. Smaller roles held down by Colin Firth and Meryl Streep are very good and keep an eye out for a few surprise cameos. 

The solution to the Banks’ problems ties right back to the original film, and the importance of one single object that we’re all familiar with is executed in a brilliant fashion. MARY POPPINS has indeed returned, coming back with an explosion of color, joy, and lessons to be learned as adults and children. Kids will love the animated sequences and the fun, and adults will be touched over the grown-up situations. Anyone who has lost someone dear, or had to say goodbye to a family home will certainly relate to this, and that sort of wide-reach makes this return practically perfect…in every way. 

BOTTOM LINE: See it 

Reel Anniversaries: SAVING PRIVATE RYAN and SCHINDLER'S LIST

This month marks significant anniversaries for two of Steven Spielberg’s best films; both set in the Second World War.  

Celebrating its 25^th anniversary is SCHINDLER’S LIST. 

Based on the novel Schindler’s Ark, the film followed a German businessman who saved the lives of more than a thousand Jewish refugees from the Holocaust by offering them employment. Filmed in glorious black-and-white with the approach of a documentary, it is today considered to be one of the best films ever made, and was the recipient of seven Academy Awards (out of 12 nominations); including Best Picture and Best Director for Spielberg. It was a turning point for Spielberg, as it was a major departure from the whimsy and childhood dreams that had populated most of his works up until this point. It was also the capstone of a very successful year for Spielberg, who earlier in 1993 wowed audiences with his dinosaur adventure JURASSIC PARK. 

And celebrating its 20^thanniversary is SAVING PRIVATE RYAN. 

Loosely based on the real-life WWII stories of the Niland brothers, SAVING PRIVATE RYAN was set during the Normandy Invasion, and followed a U.S. Army squad tasked with the impossible mission of finding one soldier to send him home after all three of his brothers were killed in action. Also hailed as one of the best films ever made, RYAN had startling battle sequences which hung its helmet on realism; literally dropping audiences right into the thick madness of battle. It was nominated for 11 Oscars and won five, including Spielberg’s second win for Best Director. Today it is considered a landmark in the war film genre, and credited with a resurgence in America’s interest in WWII. 

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This Blogger has often written that WWII will never run out of stories to tell; it was just too big of an event that affected too many people. The scale of the war was massive,and the challenge for Spielberg for both SCHINDLER’S LIST and SAVING PRIVATE RYAN was to maintain that sense of scale while finding the humans underneath it all. Both films stick close to the ground and their characters, making sure that the humans come first and the largeness of the events second. Time is the best test of all things, especially films, and both of these masterworks feel timeless after 20 or 25 years. If lessons are to be learned from war, then these two works from Spielberg are the perfect starting point for all of us. 

Penny Marshall - 1943-2018

Penny Marshall; actress, director, and film producer, has passed away at 75. 

Widely known for her role as Laverne DeFazio in the TV sitcom LAVERNE & SHIRLEY, Marshall made the move behind the camera at the encouragement of her brother. She directed episodes of LAVERNE & SHIRLEY and several episodes of the short-lives sitcom WORKING STIFFS, which starred Michael Keaton and  John Belushi. 

In 1986 she entered the cinema world as a director and helmed JUMPIN’ JACK FLASH with Whoopi Goldberg to the big screen. It was a modest hit, and she followed that up with BIG in 1988 with rising star Tom Hanks, which became the first film directed by a woman to gross over $100 million. In 1990 she would direct the critical darling AWAKENINGS with Robin Williams and Robert DeNiro, which would earn three Oscar nominations...including Best Picture. She would follow that up with her most well-known film, A LEAGUE OF THEIR OWN in 1992. 

Her other directing credits included RENAISSANCE MAN (1994), THE PREACHER’S WIFE (1996), and RIDING IN CARS WITH BOYS (2001). 

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There is a lot of talk these days about women behind the camera; how few of them there are and how fewer get the recognition of their male counterparts. Through all the talk the fact is often forgotten that Penny Marshall made quality films that earned box office dollars, were well liked, and have survived the test of time. She had a touch that brought out the human side in her characters, and that spoke to everyone. Penny Marshall’s career is a fine example for the industry of what women can do behind the lens. 

A Reel Review: ROMA

In the last decade, writer and director Alfonso Cuaròn has established himself as one of the premier filmmakers working today; his outer-space adventure GRAVITY (2013) was an Oscar darling, his CHILDREN OF MEN (2006) is widely considered to be one of the best films of the millennium, and his entry into the HARRY POTTER series, THE PRISONER OF AZKABAN (2004), is one of the best in the wizarding franchise. With his newest film ROMA, he steps away from the wide scope he’s been working with and goes smaller and personal. 

In the Roma neighborhood of Mexico City in the early 1970’s, Cleo (Yalitza Aparicio), is a housekeeper for a middle-class family, consisting of four children, parents, and their grandmother. Life is good, until unexpected events turn her world upside-down. 

ROMA does not have much by way of plot, and even by the time the closing credits sneak in, it’s hard to pinpoint exactly what the plot may have been. The bulk of the film has us spending a lot of time with Cleo during her mundane, everyday tasks of cleaning, cooking, and taking care of the children. For the first hour, not much happens, and ROMA unfolds as if a bunch of hidden cameras were placed in a house to keep an eye on the housekeeper. 

Once we get past that first hour, things change dramatically as Cleo finds herself with an unexpected pregnancy, and an upset household when the father leaves the family for a mistress. These events spider-web into more happenings, including the radical father of Cleo’s baby, the children misbehaving, the mother going into a spiral, and Cleo finding herself in the middle of the 1971 riots known in the history books as the Corpus Christi Massacre. These events have a heavy impact on Cleo and the audience, as the time we spent with her in the early goings now have a payoff. 

Filmed in glorious black-and-white, ROMA looks amazing on the big screen; scenes ranging from the beach and ocean and simple tilework in the house is presented beautifully. This is Cuaròn’s first credit as a cinematographer and he does stunning work. The film is presented simply with very few cuts; there are some incredible long unbroken takes with very specific camera movement and panning. The film moves at a snail’s pace deliberately, as Cuaròn is no hurry to shove information or action in our faces; it takes a lot of patience to take in.  

With the exception of Yalitza Aparicio, the cast is mostly made of non-pro’s who have never acted before, and this adds to a very authentic feel. Aparicio in the meantime is excellent as she goes through many emotions caused by her pregnancy and other dire situations. 

ROMA is a semi-autobiographical take on Cuaròn’s own upbringing in Mexico City, and upon first viewing it’s not hard to say that the director probably gets more out of this film than general audiences would. But it’s a film that tends to sink in, and the way it is presented offers a lot of food for thought. Even though it is light on action, Spanish-speaking and sub-titled, with a hefty 135 minute run-time, those hearty enough to stick with it will definitely be rewarded. ROMA is a departure for Cuaròn as it doesn’t have the grand scale or adventure of his previous films, but by going smaller he also goes deeper, and further cements his status as one of our best directors. 

BOTTOM LINE: See it

A Reel 40: SUPERMAN

"A friend."

This month marks the 40^thanniversary of Richard Donner’s SUPERMAN. 

Here in 2018, superhero movies dominate the box office and take over every movie theatre, while having a new life in pop culture outside of their comic book origins. But before December of 1978, there were none to be found, and the notion of a comic book movie was an idea as far away as the planet Krypton. 

The journey to bring DC Comic’s most popular and heralded character began way back in 1973, when producer Ilya Salkind began the long process of acquiring the rights to the red and blue-caped strongman who was faster than a speeding bullet.  The idea was to film SUPERMAN and a sequel back-to-back, but the first film had to be put together first. By 1974 the red tape was cleared, and the first order of business was to find a leading man. Names such as Muhammad Ali, Al Pacino, James Caan, Steve McQueen, Clint Eastwood, and Dustin Hoffman were considered. The task of writing the screenplay would to go Mario Puzo, who was fresh off his success for writing THE GODFATHER and its sequel. 

For the director, Steven Spielberg was considered, but the producers wanted to see how his “fish movie” would succeed first. That fish movie was JAWS, and despite being a massive hit, Spielberg would not helm the man of steel into flight as he immediately committed to different film about aliens, CLOSE ENCOUNTERS OF THE THIRD KIND. By 1975, famed actor Marlon Brando had signed on to play the father of Superman, Jor-El. Shortly after, Gene Hackman took on the role of Lex Luthor, Superman’s arch-enemy. By 1977 sets were being constructed, and the directing job went to Richard Donner, who was coming off his success with the horror film THE OMEN (1976). 

The role of Superman and his alter-ego Clark Kent would finally go to Christopher Reeve, who beat out big names from 1970’s cinema such as Sylvester Stallone, Paul Newman, and Burt Reynolds. The rest of the cast was rounded out by Ned Beatty, Jackie Cooper, Glenn Ford, Valerie Perrine, Marc McClure, Terence Stamp, and Margot Kidder as Lois Lane…Superman’s lifelong love interest. Filming began in 1977 at the famed Pinewood Studios, with location shooting in New York City, Alberta Canada, and New Mexico. The score would be composed by John Williams, who had just won another Oscar for his work on STAR WARS. 

The results were spectacular. With landbreaking special effects which truly made us believe that a man could fly, SUPERMAN wowed audiences and would finish as the second-highest grossing film of 1978 (behind GREASE), and would finish its theatrical run as the sixth-highest earner all-time. It would be nominated for three Oscars, and would win a Special Achievement Academy Award for its special effects. Reeve would win Best Newcomer at the BAFTA’s that year. In 2017 it would be added to the Library of Congress National Film Registry. 

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The success of SUPERMAN can be attributed to many things; Donner’s workman-like direction, the perfect casting, the soaring score by Williams, and the great physical performance by Reeve…who transformed before our eyes from dorky Clark Kent to the mighty Superman with no special effects needed. Reeve made the wire-work to make Superman fly function perfectly, and thanks to the pitch-perfect script, embodied Superman’s ideals of truth and justice. Richard Donner’s direction was a great balance of humor, drama, with a whole lot of human heart, and super-sequences such as Superman’s rescuing of Lois from a helicopter crash and saving an airliner, are thrilling. And on top of that, Donner found room to make it a father-son story. John Williams’ score soars as high as the man of steel himself ever did, and today tugs on the heartstrings like no other piece of music can. Forty years after its release, SUPERMAN stands as the grand-daddy of all superhero films. Despite its time-period setting, it still holds up, and still towers over many of the superhero films we get today. It is fun, majestic, true to its character, and most importantly…super. 

“They can be a great people, Kal-El; they wish to be. They only lack the light to show them the way…”

A Reel Review: The AVENGERS - ENDGAME Trailer

The universe stopped today, as Disney and Marvel studios finally unleashed the first look at the grand finale to their ten-year opus. The fourth AVENGERS film, sub-titled ENDGAME, was given a short teaser which recapped the events of the preceding film, INFINITY WAR, while offering a glimpse of hope for victory. Here’s how it landed…

HERE BE SPOILERS! 

When we last left our heroes in AVENGERS: INFINITY WAR, the mighty Thanos had acquired all of the powerful Infinity Stones, which enabled him to wipe out exactly one-half of the population in the universe with a single snap of the finger. This action left only a few heroes standing, including Captain America (Chris Evans), Black Widow (Scarlett Johannson), Bruce Banner/the Hulk (Mark Ruffalo), and Thor (Chris Hemsworth). The Ant-Man was left in the vastness of the quantum realm, while Iron Man /Tony Stark was left stranded on the other side of the galaxy. 

This new teaser does a lot of catch-up for us. Stark is drifting in the big blackness of space, starving and nearly dead, while Cap and Black Widow seem shell-shocked over the happenings of the previous film. Scenes of a defeated Thor and a perplexed Banner are shown, and in an image right out of its comic origins, the mighty Thanos in semi-retirement with his armor used as a scarecrow. 

The trailer has a ton of heart, with Stark and Cap remembering their true loves, and a glimpse of a returning Hawkeye (Jeremy Renner), who looks like he has been through hell. The trailer is dark and ominous, letting us know that this is the biggest challenge Earth’s mightiest heroes has ever faced. As dark as it is, the very end gives us a chuckle when the Ant-Man pops up, letting us know that no matter what, Marvel still knows how to have fun. 

This was a fine trailer and the perfect way to tease Marvel’s grand finale. It doesn’t give away much, acts as a recap, and the emotion of a dying Stark and a weeping Captain America hits home right away. This was also the reveal of the title of this AVENGERS film; ENDGAME was the chosen title…and it is appropriate as this is a term that was coined by Stark many times over the last ten years. And speaking of Stark/Iron Man, it was quite perfect for this trailer to start off with him, for this run of Marvel movies started off with IRON MAN in the first place. Perfect in every way. You can watch it HERE

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AVENGERS: ENDGAME arrives on Earth on April 26, 2019. 

A Reel Preview: The Year in Film 2018 - Episode XII

This December is shaping up to be the most unique month of 2018 and looks to send out the year on a high note. The final month of the year usually brings us an avalanche of awards hopefuls and contenders, and while we do have that coming…this time we’re also treated to fan-favorites and blockbuster-designed action films. This month also brings special returns to the big screen; Steven Spielberg’s SCHINDLER’S LIST for its 25^thanniversary, and SUPERMAN for its 40^th. 

Here now is the final preview for 2018…

ROMA – Oscar winning director Alfonso Cuaron (GRAVITY), returns with this drama based on his own upbringing in Mexico City. 

MARY QUEEN OF SCOTS – Margot Robbie (I, TONYA), plays Queen Elizabeth I, and Saoirse Ronan (LADY BIRD), plays the title character in this historical drama centered around the 1569 English conflict. David Tennant and Guy Pearce (THE KING’S SPEECH), co-star. 

VOX LUX – In this drama, a pop-star (Natalie Portman), struggles to maintain her career through scandals and violence while raising her daughter. Jude Law co-stars. 

ONCE UPON A DEADPOOL – A re-edit of this year’s DEADPOOL 2, which brings it from an R rating to PG-13 and reset during Christmastime. 

SPIDER-MAN: INTO THE SPIDER-VERSE – This animated Marvel film brings the legacy of Spider-man to the big screen. 

MORTAL ENGINES – Peter Jackson (THE LORD OF THE RINGS), produces this adaptation of the book, in which entire cities have been mounted on wheels and prey on each other. 

THE HOUSE THAT JACK BUILT – Controversial director Lars von Trier (NYMPHOMANIAC, ANTICHRIST), directs this psychological horror film following a serial killer, played by Matt Dillon. 

THE MULE – Clint Eastwood directs and stars in this true-story drama about a WWII veteran in his 80’s who becomes a drug-runner. It co-stars Bradley Cooper, Laurence Fishburne, Michael Pena, Dianne Wiest, and Andy Garcia. 

MARY POPPINS RETURNS – In a casting move that is practically perfect, Emily Blunt takes on the role of the beloved Mary Poppins in this direct sequel to the 1964 Disney classic. It co-stars Lin-Manuel Miranda, Ben Whishaw, Emily Mortimer, Julie Walters, Dick Van Dyke, Angela Lansbury, Meryl Streep, and Colin Firth. It is directed by Oscar winning director Rob Marshall (CHICAGO). 

AQUAMAN – The big-screen solo-debut of one of DC Comics’ legacy characters, which has had a supporting role in JUSTICE LEAGUE (2017), and a cameo in DAWN OF JUSTICE (2016). Jason Momoa reprises the role, and he is joined by Amber Heard, Willem Dafoe, Patrick Wilson, Dolph Lundgren, and Nicole Kidman. It is directed by James Wan (SAW, THE CONJURING). 

BUMBLEBEE – In this loose prequel to the TRANSFORMERS series, the popular transforming alien-robot Bumblebee arrives to Earth and is taken in by a teenage girl. It stars Hailee Steinfeld (TRUE GRIT). 

WELCOME TO MARWEN – Steve Carell plays the victim of a violent assault who constructs a miniature WWII-era village to help himself cope. It is directed by Robert Zemeckis (BACK TO THE FUTURE, FORREST GUMP). 

IF BEALE STREET COULD TALK – Barry Jenkins (MOONLIGHT), directs this romantic drama about a woman who seeks to clear the name of her wrongly accused husband. 

HOLMES & WATSON – Will Ferrell is Sherlock Holmes and John C. Reilly is Dr. Watson in this parody of the classic detective duo. 

ON THE BASIS OF SEX – Felicity Jones (ROGUE ONE), plays Supreme Court Justice Ruth Bader Ginsburg in this story about her early life. It co-stars Armie Hammer, Sam Waterston, and Kathy Bates. 

VICE – Christian Bale (THE DARK KNIGHT), plays Vice-President Don Cheney, and Sam Rockwell plays President George W. Bush in this comedy-drama. Adam McKay (THE BIG SHORT), directs. 

STAN & OLLIE – Based on the lives of the classic comedy act Laurel and Hardy, with John C. Reilly (STEP BROTHERS), and Steve Coogan (NIGHT AT THE MUSEUM) in the title roles. 

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Next month, the first movie preview for 2019. 

A Reel Review: GREEN BOOK

In the last 20 years, the directing and writing duo of the Farrelly brothers (Peter and Bobby), have brought us some of the most well-received films in the comedy genre, such as DUMB AND DUMBER (1994), KINGPIN (1996), and FEVER PITCH (2005). This year, Peter ventures out on his own in new territory; directing and co-writing a true story drama centered around two unlikely companions. 

In the 1960’s, famed African-American jazz pianist Don Shirley (Mahershala Ali), hires Italian-American bouncer Tony Vallelonga (Viggo Mortensen), to be his driver and bodyguard on a musical tour of the deep south.

Co-written by Nick Vallelonga, the real-life son of Tony, GREEN BOOK embraces the old road-trip and odd-couple genre and sends it down the highway with two well-developed characters who could not be further apart. Tony is a blue-collar guy who is rough around the edges and solves conflicts with his fists, while sporting an enormous appetite and is surrounded by family. Don in the meantime is a lean gentleman, who has no family and uses his intellect and education to solve problems. The contrast between these two men is wide, but as they drive through the Jim Crow-era of the South and encounter racism at its worst, they find common ground. 

The bulk of GREEN BOOK unspools with Tony and Don in the car, interrupted by Don’s wonderful performances and encounters with segregation laws, with the latter storylines acting as an eye-opener. Don is embraced as a wonderful performer among rich white people, but still isn’t allowed to eat with them or use their toilets. Tony in the meantime has his own prejudices to put aside, and his turn to see humanity over all else is long, but natural. 

Peter Farrelly keeps the pacing tight and humor well-timed. The laughs are huge but never ridiculous, and the dramatic scenes are very well directed. The music of the time really gives the film a kick, and it is a joy to watch from head to tail. 

Performances are wonderful. Viggo Mortensen and Mahershala Ali are electric together, and each get major moments to shine. Linda Cardellini plays Tony’s wife and turns in one of her best roles. 

If GREEN BOOK has any flaw, there is one character trait/problem that Don has which is not given any reason for existing, and it doesn’t seem to have a solution by movie’s end. But it’s a minor gripe in what is a charming, fun, and eye-opening film. Peter Farrelly has proven that he has some serious chops away from the comedy genre. 

BOTTOM LINE: See it

A Reel Review: RALPH BREAKS THE INTERNET

WRECK-IT RALPH, the computer-animated surprise hit of 2012, was a film that fed a lot of quarters into our sense of nostalgia. Based on original and classic video game characters, the film took us through the inner workings of video games and the arcades that house them and brought back many memories of cabinet-sized games in simple, 16-bit glory. The sequel, RALPH BREAKS THE INTERNET, doesn’t bother with nostalgia at all, and instead plows head-first into the future. 

Six years after the events of the first film, video game characters Ralph (John C. Reilly), and his best friend Vanellope (Sarah Silverman), leave the friendly confines of their games and arcade for the world wide web…in search of a replacement part for Vanellope’s broken game which is now on the verge of being scrapped. 

Where the first RALPH film was a story about clinging to the past, the sequel literally leaves that behind and focuses on the here and now. Ralph is now very happy and content with his life, while his best buddy in the whole wide world Vanellope is now bored with her game and is ready for a new challenge. The friendship between the two is developed strongly and drives the film. Ralph, who is still the lovable dumbass, will do anything for his friend even to disastrous consequences, and the two different goals for the characters becomes a challenge to their friendship. 

Directors Rich Moore and Phil Johnston see that friendship as the center of the film, and they are right to do so. The challenges Ralph and Vanellope face threaten their relationship and very existence, and they have to overcome obstacles that any one of us have faced out here in the real world. It gives this animated fantasy a lot of heart and it really works. 

Where the film really shines is the creative power in showing us the inner workings of the internet. Familiar terms and places such as email, pop-ups, pop-up blockers, trolls, eBay, Instagram, Twitter, and social media are all given physical representations. Even the human users on the other side are given a presence, and the results are mind-boggling. There are also several fan-favorite cameos scattered throughout the film, including a visual assault when the duo visits the Disney website. 

John C. Reilly and Sarah Silverman seem to be having a blast with their parts, and both fit their characters so very well. Other parts filled in by Taraji P. Henson, Jane Lynch, Jack McBrayer, Alan Tudyk, and a few other surprises are handled very well. The show is stolen by Gal Gadot, who appears as a tough racer in a high-stakes bloodbath of a racing game. 

The last half-hour goes a little off the rails, even to the point of being ridiculous, but by movie’s end all can be forgiven as it goes for a fitting and bittersweet wrap-up. The first WRECK-IT RALPH had lessons for us all to learn in a familiar setting, and the sequel takes us to new places with even more to learn. It’s fun, heartwarming, and worth every quarter. 

BOTTOM LINE: See it