Dick is an outrageous political satire that’s charming and fun. When President Nixon makes two high school girls (who accidentally stumbled across the Watergate break-in) the official White House Dog Walkers, they end up bringing down his administration. Kirsten Dunst and Michelle Williams are excellent, and have real talent for this style of farcical comedy. And, the script is quite clever in how it’s able to keep the comedy light without becoming overly cartoonish. With sass and spunk, Dick is an entertaining and hilarious film.
What a snoozefest. That was boring af.
Futurama: Bender’s Game is a hilarious and fun adventure into the strange and bizarre. In this third feature the Planet Express crew takes on Mom in order to free the universe from its reliance on dark matter fuel, but when things go wrong they end up caught in an alternative fantasy universe. The film is mainly a spoof on Lord of the Rings and Dungeons & Dragons, and it works pretty well. Most of the humor and satire is fairly smart and clever, making for an entertaining romp. And as nonsensical as the plot is, it’s a fun story with a lot of laughs. There are a few missteps, but overall Futurama: Bender’s Game is a return to the outlandish, wacky hijinks that made the television series so good.
I really enjoyed the other Futurama movies but it felt like they ran out of steam by this one. Very meh
I went old school on this episode, and watched it while I was falling asleep, so this isn't necessarily the most cogent or well-founded review. But it's interesting revisiting this one all these years later, as something close to "just another episode" rather than the momentous return of Futurama to episodic television after a long absence and unexpected revival. It's got a crazy Sci-Fi premise with the revivified versions of everyone and the dual Leelas, a crazy twist at the end, and a side-plot that ensures plenty of Bender hijinks. It's not necessarily a triumph, but it's a fun and wild episode that feels true to the show's spirit, which is a tall order after how long it was off the air.
Finally I've come across the origin for the "Shut up and take my money!" meme and my life is complete. LOL
I thought the movie really underdeveloped the world, and didn't take advantage of all of the cool possibilities. Other than The Shining none of the references had any impact. Mark Rylance was the only actor to make an impression. I didn't even like the narrative of the book that much but I thought Stephen Spielberg would improve it not make it worse. The plot holes were huge especially in the third act ( How did Art3mis just walk into his office, walk out without anyone seeing or hearing her, and just walk out of the IOI headquarters ). It felt like a lot was cut for time, or they spent so much time on CGI sequences they forgot to make anything real, but what they cut were the parts that made the book interesting. You could ignore Ernest Cline's narrative and plot struggles because he made the characters slightly interesting, the challenge seemed difficult and all encompassing, and a lot of the references were actually relevant to the story. Every time they got a key it was a huge deal in the book, here I totally forgot it even mattered because it was so glossed over even from the beginning ( Really a race? ) and the real world consequences also didn't matter, so the whole thing felt like it was hitting the classic sentimental Spielberg movie moments with nothing to back it up.
Vote for the Pūteketeke @ https://www.votethisbird.com :joy:
The people making this show just get it. Another touching and pure episode.
So wholesome. Probably the best thing I've ever seen about autism. Love this show.
This episode made me cry in a good way. You Rock Millie!
Another stunningly moving episode. Bless the film makers for continuing to pull over to tell every story worth telling.
Don’t always need rob or Ryan in there as part of the story. Some/most of the best moments of this show they are nowhere to be seen. Such a nice episode with a very powerful ending.
This movie is unbelievable. I could write a whole book explaining how insanely amazing the animation, the plot, the details, literally everything is. I think you already know it all.
I truly believe we are witnessing a literal revolution of movie animation.
This is automatic Oscar material, don't even bother having other candidates because it would just be embarrassing to put them against this.
I rarely assign the highest possible rating here, but "Spider-Man: Across the Spider-Verse" simply blew me away. The first movie was almost perfect, with an incredibly varied animation style, good characters, and an exciting and humorous story. The sequel is now a flawless expansion of these elements. This time, for example, even more different animation styles are blended, and the result is simply stunning.
The voice actors are also strong again. I was especially pleased to see Spider-Gwen's (Hailee Steinfeld) role expanded significantly, as her story perfectly complements Miles' (Shameik Moore). And the return of Peter B. Parker (Jake Johnson) provides a good laugh or two. Oscar Isaac as Spider-Man 2099, the Indian Spider-Man (Karan Soni), and the villain The Spot (Jason Schwartzman) are also clear highlights. There are also numerous Easter eggs that can't all be discovered during a single viewing. For fans of the comics, "Across the Spider-Verse" is one hell of a treat.
This is not least due to the fact that the story is once again very strong. While the first part was perhaps held back a bit by the fact that it was also an origin story, there's no holding back this time. The focus is on the multiverse, and it has never been done so well and creatively in any Marvel movie. Amidst all the spectacle, there is also time for smaller moments and character development. Scenes with Miles and his family, as well as Gwen and her father, stand out in particular.
Overall, "Across the Spider-Verse" is a perfect Spider-Man film. Looking ahead to the sequel, which will fortunately already be released in March 2024, my expectations couldn't be higher.
on a time machine
Just slow it down. I'll shoot Hitler out the window.
I don’t want to live on this planet anymore.
06:02
A nice pick for the 100th episode of the show. Fry's mutant transformation bit was a little quick, but it was a neat idea that the show executed well enough, especially Mrs. Astor's disdain for mutants and her change of heart at Leela's grandmother's story. Some good bits of humor sprinkled in as well. Not as funny as classic Futurama, but still good.
Like a hot librarian: intellectual, good looking, and doesn't speak to me.
This thinking man's sci-fi takes too much time leading us along for a payoff that is both satisfying and insufficient.
I don't get why it was necessary to have these many guest stars (I mean, outside of the original guest stars). (James Corden was so unfunny.) The highlight of this reunion was truly when the producers/creators talked about the casting process, behind-the-scenes things. But that's it.
HIGHLY enjoyable and the standard by which all future TV show reunions should be measured. A great mix of now/then, reminiscing, reappearances and behind-the-scenes video and stories. I originally wanted to see a scripted reunion, but I found this to be far more satisfying. Well done!
James Corden: Matthew, who doesn't pick up?
Matthew Perry: I don't hear from anyone.
As a fan of the show, I wanted to love this so much, but I couldn't help but get sad. Why was this the first time they have set foot in the same room after all this time? I think Matthew Perry has gone through some hard times because he did not seem to be enjoying himself. The Fresh Prince of Bel Air Reunion had me feeling nostalgic and happy, where as this one had me feeling nostalgic and sad. Also where is Paul Rudd??
Best show I have watched in 2022.
Best show of 2022. Period.
Zoidberg made this episode.
Fucking 5 words...
Loved this. It’s so slick and brimming with style, and a wonderful modern day homage to blaxploitation, levying it’s satirical strengths instead of only parodying the genre. Boyega is deeply magnetic, doing so much even when saying little. Foxx shows off why he’s one of the most enduring and electric movie stars, dazzling the screen with every second. And Parris is a rising star, more than holding her own with boundless charm and a vibrant heart. The trio just sizzle together, the chemistry so rich I’d happily take more movies with them. The script is tightly written as well, with a mystery that unsettles, engrosses, and entertains all at once while having some smart things to say about assimilation, governmental control, and community and our place in it. Forget Barbenheimer, this was a real highlight.
This movie is dumb.
Something else needs to be pointed out as well. They never show her getting off the dam tower. Lame ending.
Why didn't she just stuff the phone in the bird
[7.4/10] It can be tricky to approach movies and television shows aimed at children but from before your time. Revisiting something from your own childhood comes with an easier ability to slip in that kid sensibility once again, appreciating what your past self felt for those well-loved stories, even if it’s tougher to feel the same thing as a crusty old grown-up. Even unseen family films from the time period of your childhood can be easier to connect with, since they’re built around a style and vision that will be more familiar. But the further back you go, the harder it is to forge those connections for movies targeted at another age group and another time.
Then a movie like Caravan of Courage: An Ewok Adventure comes along. (Read: debuted almost forty years ago.) And it’s not for me exactly, but it’s surprisingly easy to understand how a ten-year-old watching in 1984 could fall completely in love with it.
The reasons this might not be especially accessible to adults are myriad. The story is basic to the point of being stock. Mace, a young boy, and his sister, Cindel, are separated from their parents after crash-landing on the forest moon of Endor. They must band together with the Ewoks from a local village to rescue their mom and dad from the evil Gorax, a gnarly monster holding Mace’s parents captive in a faraway land from which no Ewok has ever returned.
It’s the closest Star Wars has come to Lord of the Rings. The story dispenses with all but the barest trappings of science fiction and goes full high fantasy. An eclectic group of brave moppets, wizards, and warriors goes on a grand journey to save the day, fending off feral beasts, traversing great gaps, tangling with evil spiders, and pushing fearsome monsters in large chasms. There’s a raft of magic at play, with visions of faraway lands and enchanted objects, and even a Tinkerbelle-esque fairy to aid our heroes at a choice moment. Experienced viewers will recognize the familiar tropes at play, deployed without much in the way of twists.
But there’s a charm in the simplicity. The story is accessible, easy for young men and women to place themselves into. The stakes are clear, with the lives of Mace and Cindel’s parents on the line. And a tale of a young boy showing bravery, banding together with a group of people who don’t know him or his family, but risk everything to help save them anyway, amounts to the right mix of adventure and aspiration to fuel imaginations at home.
Granted, some of this could only work through the eyes of the child. The young performers who play Mace and Cindel are, god bless them, pretty terrible, and a script full of repetitive dialogue and extreme reactions to seemingly every development does them no favors. The vast majority of the cast is made up of Ewoks who don’t speak English, relying on mascot gestures and tone to communicate to the audience. (Though a narrator -- none other than Burl Ives! -- helps avoid the nonstop Wookie growl problem from The Star Wars Holiday Special.) And the movie’s middle is flabby, filled with random interludes of Mace getting trapped in an enchanted pond, Cindel getting caught on a runaway horse, and an extended interlude where they have a giggle-fest with a fairy. It plays like fluff at best and filler at worst.
But some of the material here is transcendent. The production design work of Joe Johnston (one of the first people to play Boba Fett) and his team is remarkable. Part of why it’s easy to understand the appeal of a film like Caravan of Courage for youngsters is how inviting and detailed this world is. The homey yet rustic nature of the Ewok’s homes, the imposing architecture of the Gorax’s lair, the bucolic settings our heroes traipse through all have a lived-in quality that makes them feel real at the same time they seem utterly fantastical.
The character and creature design work is also stellar. In truth, most of the Ewoks are kind of ugly. Something about teddy bears with human-like eyes and big teeth detracts from the alleged cuteness. But performers like Warwick Davis inject such life into them in a way that makes the little fluffballs endearing. Without the benefit of dialogue, the performers have to rely on gestures and tone to convey meaning, and it’s a tribute to their talent and professionalism that each feels like full-fledged characters, connected and bonding with the humans in the story, instead of furry appendages.
In the same vein, there’s a real menace to the larger fauna our heroes encounter. A giant rat-dog chasing the titular caravan inspires a fearsomeness in his gait and snapping jaws. A large spider is a little more evident as a puppet, but has an appropriately grotquese look. The Gorax is an achievement in and of itself, sharing an ugly-yet-terrifying aesthetic with some superb movement and effects work to create the impression of a lumbering giant threatening the despite their best-laid plans. Much of Caravan of Courage shares a vibe with Jim Henson’s fantasy productions like Labyrinth and The Dark Crystal, and the sharp use of puppetry only helps add to that.
At the same time, the film’s score helps make a fairly simple tale feel like an epic adventure. Peter Bernstein’s theme is oddly reminiscent of the theme song to the 1960s Star Trek series, but also hits the right swells and sweetness whether the kids are palling around with teddy bears and sprites or going toe-to-toe with some burly beast. Alongside the sonic beauty of the piece, sweeping shots of the countryside or intimately lit, misty scenes at an Ewok home capture the eye as well as the ear. Caravan of Courage looks and sounds remarkably good for a 1980s made-for-T.V. movie. The exquisite texture is something all ages can appreciate.
All of that excellence in craft aids a resonant theme -- that for however different humans and Ewoks may seem in the world of Star Wars, there is a familial loyalty and love that unites them. Boundaries of language and culture fade away when lost children search for their parents, whether they’re fluffy or furless. Leaning into the universality of ideas like caring for children, wanting to be a good kid despite mistakes, and a central curiosity. values that cut across different cultures, are an appropriate set of ideas to build this kid-friendly adventure around.
Those ideas are admittedly basic. So is the plot. So are the emotions. But in that simplicity rests something welcoming to kids, goosed with the fun of this elegantly-constructed world filled with warm and charming figures to help children like them through unimaginable dangers. Such elementary tales may not appeal to grumpy adults in the same way. Yet there’s a beauty here, an appeal to the universal amid furry sages and whiny tots, that makes it easier for grown-ups to understand why all of this would tantalize a young mind, and feel their own inner child drawn to it too, if only for a moment.
Rarely do family films this nuanced and essential grace my eyes.
Jonze's vision and Burwell's score effortlessly immerse us into the vibrant childhood psyche, letting us savor its innocent joy and imaginative wonders, but quickly warning us of the emotional collateral damage it can bear. Loneliness is a beautiful recurring theme here, with each creature given a distinct struggle from which Max learns to better himself (in an Oscar-robbed performance!), but his bond w/ Carol proves to be the most heartwrenching, creating a perfect microcosm of the film's messages with conflicts both subtle and frantic.
Like Spirited Away this year, this film both reminded me of my euphoric, seemingly boundless childhood, and yet instructed me to take that scary, crucial next step to this thing called "adult". Thank you, Spike.
This movie is one of the few movies that I think is an excellent adaptation of a book, even if it's based on a children's book. I find the message behind this movie very nice for kids and adults, and this movie can be watched and enjoyed by any age.
