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.
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.
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.”
It’s surprising how well Disney adapts their own version of the shockingly beloved fairy tale “Beauty and the Beast.” While their Oscar winning animated version reigns supreme, Bill Condon manages to deliver his own interpretation that tweaks the tale here and there for new audiences with a great effect. I was quite stunned at how enjoyable “Beauty and the Beast” ended up being. While it has the familiarity of the 1991 movie, it’s also a unique experience that allows for a new angle on songs that are now deemed legendary. Condon approaches the live action remake/adaptation with a well balanced tone of whimsy and dread, allowing for a very subtle romance between Belle and the Beast.
George and Harold have been best friends since kindergarten, pulling pranks left and right and having creative imaginations that lead them to create Captain Underpants. One thing leads to the other and their creation lives to save lives and cause chaos.
“Bambi” is less a narrative with a lot of characters and morals and more about the hazards of life and the loss of innocence. “Bambi” somewhat celebrates the tradition of “Dumbo” to where we watch the beginning of a young life and his journey to grow up in a very dangerous and unforgiving world. Despite the time it was made, “Bambi” is still a technically impressive drama that paints the wildlife landscape so vividly with a dream like aura that can be inviting and harrowing. The film itself is based on highs and lows centered on the music and turn of events that unfold for young Bambi.
“Sing” is a lot like many of the other movies from Illumination Studios. It’s basically a moving greeting card. It’s cute for a few minutes, and then you’ll eventually find yourself tucking it away and looking for something more stimulating. As per most of the films from Illumination, “Sing” is just a middle of the road film that barely gets by because of the neat animation. “Sing” is cute. And that’s about it. It’s cute. And it packs a humongous soundtrack filled with pop songs both old and new that are meant to basically distract from the fact that it’s a very barebones animated movie with a paper thin narrative, that does little to convey to its audience something more meaningful.