In 1995, “Jumanji” was the big blockbuster that managed to take America by storm for just a little while. Like everything in the nineties, that meant it deserved an animated series, prompting an unusual but pretty okay series in 1996. Originally premiering on the American channel UPN, I really don’t recall ever seeing this series. I never cared for “Jumanji” honestly (I prefer “Zathura,” personally), but the animated series does a good job capturing the spirit of the movie and even garners some unique animation style.
“Mune: Guardian of the Moon” draws obvious influences from the likes of Studio Ghibli and Laika, and it’s a rather entertaining gem of an animated fantasy that I couldn’t help but enjoy with a wide smile. After “The Emoji Movie,” it’s very calming to know that there are still studios out there trying to deliver quality family animated entertainment. Dubbed over from the original French track, “Mune” translates well for domestic audiences, and I didn’t have a very tough time following what is a pretty nifty premise based around mysticism, nature, and the like. It also sports the classic hero’s journey trope, which isn’t so bad when it’s handled subtly.
What I’m sure was going to set the platform for a Sony movie/ad universe following up with a The “Tic Tac Toe Movie,” The “Peek a Boo Movie,” and “The Jingle car keys in front our Faces Movie,” “The Emoji Movie” (aka “The Sony Press Kit”) is the height of laziness to the point where the script was probably written on a napkin at a some overpriced coffee shop in Beverly Hills. “The Emoji Movie” is not just bad, but it’s offensively boring, and tedious. It’s “Doogal” bad. It’s “A Shark Tale” bad. There are just so many bafflingly stupid and moronic moments in “The Emoji Movie,” that I can’t believe any actual writer put all of this down on page with sincerity or the goal of turning any of this in to a pop culture craze.
Written by Fanny Burdino, Joachim Lafosse, and Mazarine Pingeot, with collaboration by Thomas van Zuyken, After Love is directed by Joachim Lafosse who navigates through this divorce story with an unflinching look at how a couple that is no longer functioning as such try and make things work through their separation, divorce, and division of assets. The film created here is an honest look into the lives of two people who are a bit lost and definitely trying to have a better life. The way this is developed makes it into a realistic look into a divided family unit, a franc view of what it’s like to divorce with two kids in the situation, what it’s like to divorce with assets, and what it’s like to not want to give up on your principles while doing this.
Dean Israelite’s reboot of “Power Rangers” is meant to be a reboot for a new generation. It has diversity, and vision, and works well in making sense of a lot of the concepts presented in the original series. Fans didn’t need all of the ideas to make sense, hence the rabid popularity in the nineties, but “Power Rangers” offers a sincerity that undercuts the obvious need for the studio to refurbish the Power Rangers for a new generation of fans and potential toy customers. I, for one, really enjoy what Israelite does with his vision of the “Power Rangers” providing minute cosmetic alterations and some big changes in mythos that are hit or miss most times.
Released to coincide with “International Bath Day,” the Teletubbies release yet another edition of their episodes on DVD. Comprised of six episodes total, this new volume features the alien—monster—children things dancing and singing once again with the help of their special Tubby Custard Machine. Said Machine concocts all kinds of scenarios and fun activities including allowing them to play with bubbles, and dance the new “Tubby Phone Dance.”