Reviews

THE IRRATIONAL (NBC) For one to follow a show week after week, it's of vital importance that the lead characters be likable, affable and have an interesting and appealing backstory and Jesse L. Martin, is immediately likable in this procedural crime drama as psych professor Alec Mercer, who is often called upon by the FBI and DC police to help them solve crimes. Here's a show for the logistical minded individuals, who take delight in solving riddles. Mercer often works with FBI agent Marisa Mercer who is Alec's ex who's 'seeing' a fellow agent. His face is badly scarred from burns received in some explosion that so far, remains a mystery. How's that for backstory? Mercer has a couple grad students who assist him while being mentored by him. Both actors in these roles are likable as well. Score: 8.5. Watch it.

1917: A different kind of war movie: Up close and personal. Opening shot: a bucolic field of wild flowers, a lovely, calm day, blue cloudless sky, quite, serine, slowly pulls back to reveal a bivouac of British troops, sleeping, smoking, eating, refreshing, resting, waiting. It's WWI. The phone lines have been cut and two British soldiers are called to the Commanding General's bunker and are given the mission to deliver a message to the commander of another regiment a few miles away, that they must call off a planned attack scheduled for dawn the following morning because the German army has set a trap that will ensure the massacre of 1600 men, one of whom is the brother of one of the soldiers. We go along with them through enemy territory, through the mud and over the bodies of the dead, determined to complete their harrowing mission. The entire film looks like it was shot in real time in one continuous take with a hand-held steady cam. The cuts are nearly imperceptible. Birdman employed this technique wonderfully, but this endeavor far surpasses that in artistry, complexity, scope and length. This is a technical achievement without comparison. But technical achievement means nothing if there is no compelling story and investment in the characters and 1917 delivers. We are drawn in to the action so closely that we almost duck when bullets start flying. We care deeply about these two young men. It's edge-of-your-seat tension. The score by Thomas Newman enhances every moment and is profoundly moving. We're aware of it, but it doesn't call attention to itself as our pulses race along with the action. The production design is brilliant. Roger Deakins is probably the greatest cinematographer of all time. He was also the A camera operator and I can only imagine how he and director Sam Mendes managed to pull this off. I read they were in rehearsal for six months planning every shot. Score: 10. GO! Well deserving of every Oscar nomination it's gotten. 1/22/20

THE HEALING POWERS OF DUDE: NETFLIX 8 Episodes: Middle school is tough enough as it is and having a social anxiety disorder further complicates 11 year old Noah Ferris' life who's been home schooled up till now. Dude, who failed to make the grade at service dog school is now Noah's support dog and as such, is allowed to accompany Noah to school, much to the dissatisfaction of the school principal, who besides being somewhat of a dick to begin with, is also a cat person who has it out for Dude and he becomes Noah's nemesis, sort of like the Jane Lynch character from Glee. Dude is a bit of a scamp and we're given privy to his thoughts via voice over and the little fella is really trying his best, he just isn't very good at it. Giving all their support to Noah is Mom, Dad, kid sister, and a couple of 'outsider' kids he meets on the first day of school. Even tho the kids have short resumes, you'd never know it because they turn in very credible and funny performances with great comic timing. Through some very clever special effects, we get to see and hear what's really going on in Noah's mind, allowing us to experience what he's feeling in stressful moments. I have inside info that the show is based on real characters. It reminds me of The Wonder Years and is a show for the whole family. It's heartwarming, with smart dialogue and delightful characters. Score: 9. Watch it! ... even if you don't have kids. In the spirit of transparency, I may be only a little biased, because Noah's sister, Embry is played by my granddaughter, Laurel Emory. 1/18/20

JOJO RABBIT: I can only imagine the conversation: 'Here's an idea. Let's make a movie about the Hitler Youth in Germany during the latter stages of WWII, and put it all on the shoulders of an unknown 11 year old kid and put up 14 million dollars to do it.' Ya gotta be kidding, right? Well guess what folks. They did it and it's a delight. If you think 'Springtime for Hitler' from The Producers was funny, you'll love Jojo. Jojo is a 10 year old boy in the Hitler Youth who's imaginary friend is The Führer himself, played with delicious buffoonery by writer/director Taika Waititi. Scarlett Johanson is just wonderful as Jojo's mom and Thomasin McKenzie as the little Jewish girl who is hidden away in a secret room in their home is just delightful. Sam Rockwell is ridiculously funny as the H.Y. commander and is backed up beautifully by Rebel Wilson (whom I generally don't care for). Jojo's friend, Yorki is played by Archie Yates and is also outstanding. The dialogue is original and funny, the physical comedy hits the mark every time while the background story is poignant and sometimes sweet in a very honest and real way. The training scenes are hysterical. The direction, the dialogue, the sight gags are perfectly edited and the period production values are first rate. The kid who plays Jojo (Roman Griffin) is absolutely phenomenal: Has incredible range, cute as a button, spot on reactions, brilliant comic timing, so honest and believable, endearing and handles the pathos in a genuine way. I'd love to see the cast get the Ensemble SAG Award just so this kid could win. Not only that, he should get an Oscar nom for his performance because the kid carries the movie. Score: 9.5. GO! You'll hiel this one. 1/10/20

THE IRISHMAN: (On Netflix and in limited release) Scorsese directs, with a cast of DiNero, Pacino, Pesci, Cannavale, Keitel and a bunch of other guys who's names end with a vowel, one would think this has got to be one hell of a fantastic movie. Guess again, movie fans. With the possible exception of Pacino, who, at least, tries to embody a character, everyone else is doing that thing that they do. DiNero does his same frowny face thing, Pesci does .... Pesci. All the other stock hoodlums, crime bosses, hitmen, gangsters are right out of Central Casting's 'Thug Book'. (Can't believe they couldn't find a role for Ray Liotta.) Scorsese's direction was sure handed but nothing to write home about. Not only that, it's nearly 3:40 minutes long, to the point of boredom. The plot supposes what could have happened to Teamsters boss Jimmy Hoffa, whose real life disappearance remains unsolved. What's presented here is certainly a plausible scenario of what could have happened and demonstrates how easy it was to commit murder in those days. Just walk up to a guy, two quick pops to the head, walk away and throw the gun in the river. Done. The standout is the period costumes, outstanding production design and cars, all of which appeared to be accurate in every detail, but that doesn't make up for the lethargic pace and the phoned-in acting by the principals. The narration devise from the survivor's point of view is right out of the Good Fellas playbook. I just don't see what all the fuss is about. Score: 7. Don't knock yourselves out to see it. 1/10/20

UNCUT GEMS: Adam Sandler (likely to get a best actor Oscar nom) dons fake teeth, glasses, a goatee and channels an earlier version of Al Pacino (in a very good way) in creating the character of Howard Ratner, a Jewish NY jeweler and diamond merchant with a huge gambling habit who's ass is owned by his bookie and loan sharks. Here is a classic 'rob Peter to pay Paul' story with it's constant wheeling and dealing by the lead character. There is an immediacy and ever escalating drive which comes not only from the performances, but from the fast paced direction, with in-your-face, dazzling camera work mostly shot in close ups, where the performance has got to be be truthful and nuanced because there is no place for the actor to hide. To use words such as edge-of-your-seat, taut, tight with ever increasing tension would be an understatement. Idina Menzel, nails it as the suffering wife. Julia Fox (remember that name folks) (channeling Marisa Tomei) plays Howard's employee and girlfriend in a stunning, breakout performance. The supporting cast, with the likes of Judd Hirsch and Eric Bogosian, do what they do best. I was emotionally and physically exhausted when it was over and shocked by the ending. Score: 9.5. GO! 50 to 1, you're gonna like it. 1/4/20

STAR WARS IX: THE RISE OF SKYWALKER: Aside from John Williams rousing score, IX is a resounding bore and I mean put-you-to-sleep, boring. There is nothing new here except for a cute little WALL-E wanna-be robot who ads nothing to the story, as paper thin as that is. Except for Daisy Ridley who's just passible and who's asked to do little more than lightsaber fight (again we've seen this a thousand times) and physical action (which she does in wonderful fashion), the acting across the board (direction) left me cold, especially Oscar Isaac who just doesn't cut it. There's just something about that guy that doesn't register with me. He's simply miscast. Adam Driver does a good job of looking threatening/mean and little else. Carrie Fisher is the best thing in the movie probably because her scenes were from another movie. Mark Hamill phoned in his one scene and looks like he just woke from a nap and could barely be bothered. The biggest disappointment of the film is the lack of relationships between the characters. Whatever their previous history was, it's just not evident here, so we just don't care. I will admit there was a two minute scene very near the end that got me. The action sequences are redundant and if you've seen one, you've seen them all. This franchise has run it's course for sure and if I never see another one, I won't regret it. Score: 6. Don't go. A lot of empty space. 12/24/19

MIDWAY: A history lesson for those who don't know. The Japanese attack on Pearl Harbor, December 7, 1941, brought the US into WWII. It's very apparent that the budget for this film was huge. But it wasn't spent on the biggest A-list cast, but rather on the battle sequences. Too bad they spent so much for so little: Ships and planes shooting at each other with the occasional torpedo launch; planes going down; battleships and aircraft carriers exploding; grimacing pilots trying to evade shells while still trying to remain on target; planes and pilots getting hit; bombs dropping. Except for the epilogue which summarized the lives of some of the major figures involved, this one doesn't touch us. The acting across the board is serviceable (no pun intended). The wives of the pilots are clones of each other. Something is missing from the depiction of the events, even though it's told from the perspective of the individuals involved on both sides. The direction is much more concerned with the action while slighting character and humanity and the sheer heroism of the pilots who flew those missions and the crews who supported them. We're not given the chance to connect with the characters. It's factual. The movie tells the story, but we're not involved, we're not moved, because the telling lacks heart. It's cold. Score: 6. Not worth it. The heroism is deserving of our upmost respect and honor. 12/16/19

GEMINI MAN: I heard this one got some terrible reviews, so this will be a test of my credibility because I thoroughly enjoyed it and heartily recommend it. I almost didn't see it, but one must learn to judge for one's self and I'm here to tell you, it's well worth your time and money. After all, its star is Will Smith and it's directed by Ang Lee. That's all you really need to know right there. Smith plays Henry, a government assassin/sniper who can make a head shot on a man in a train moving at 200 miles an hour from a half mile away. This guy is really good. The government also wants him dead and sends a clone of his younger self to do the job, thinking this guy is even better. I had to force myself to stop thinking, "How the hell did they do that?", when Henry is fighting himself. A wonderful Mary Elizabeth Winstead plays an agent sent to keep an eye on Henry and they share great chemistry. The action sequences are masterfully shot and the hand-to-hand stuff of Smith fighting himself is a marvel. Interesting locales add to the adventure. A strong supporting cast and a very formidable villain round out a very good, fun movie. Score: 8.5. Go. Who you gonna trust? 11/9/19

BLACK & BLUE: She's an Army vet. She's black. She's a New Orleans cop. She's witness to a double homicide carried out by white cops and she has the evidence recorded on her body cam. She's wounded and on the run until she can get the body cam footage downloaded and she only has twelve hours to do it in. She becomes the hunted and she has no one to turn to because all the cops want her dead and no one in her community trusts her enough to help her. The action is tense and taut and nicely directed. The movie draws us in and we're really rooting for her. Naomi Harris does a great job in his formulaic plot with the inevitable showdown between the heroine and the the bad cop. It would make a very good MOW but I don't think it's worth the price you'd have to pay to see it in the theater. Score: 8.5. WAIT - until it comes out on TV. 11/11/19

A STAR IS BORN: This was a case of either tears or chills. After the final credits rolled, I just sat there and wept. When I got to the car, I just sat there and wept. I can't remember the last time I was so blown away by a film. I predict Golden Globe and Oscar nominations for Best Picture, Best performances for Lady Gaga and Bradley Cooper, Best Direction, Best Screenplay (Cooper), Best Score, Best Original Song (Cooper and or Gaga), Costume, Makeup. Gaga is absolutely electrifying in her musical numbers. She's a phenomenon without peer. She earns the the term incomparable. There is simply no one like her, not now, not ever. (Sorry, Barbra) Her vocal range and her ability to change the quality of her voice from opera to country is something to behold. She's no Streep, at least not yet, but her presence is pure honesty which must be there because most of her performance was shot in extreme closeup where there is no margin for fakery. Cooper's direction is brilliant: the camera placement practically puts us in the scene; moves only with purpose and holds still to capture pure performance. How he managed to direct himself is beyond my ken. He was brilliant. Gaga and Cooper wrote most of the songs, individually and collaborated on many. This is also a love story which examines the price we're willing to pay to stay. She and Cooper share and explosive screen chemistry which is palpable. If you like movies at all, this one is not to be missed. Score: 10. It's that good

CALL ME BY YOUR NAME: I appreciate a good love story as much as the next guy, but I can't remember when I've been so absolutely out of my mind, shoot me now, blow my brains out, when-will-this-ever-end, mind-numbing, b-o-r-e-d shitless, instantly forgettable, piece of crap. Root canals are more interesting and a much better use of your time and money. The acting is not even worth mentioning and whoever nominated Timothee Chalamet for anything with this movie needs to get out more. Even the music was coma inducing. I took one for the team with this pretentious total waste of time. Score: 3. DON'T GO. Really, DON'T GO. Spare yourself the agony of this ecstasy. You all owe me one.

THE DARKEST HOUR: France has fallen, the Nazi invasion of Britain is eminent, the bulk of the British forces is stranded on the beaches of Dunkirk with no way out, current PM, Chamberlain, is considered too weak to lead and rather than entering a war members of Parliament feel they cannot win, they vote to negotiate a peace settlement with Germany, with Italy acting as a mediator. After Chamberlain's ouster, Winston Churchill is appointed the new PM, and backed by the voice of the people, vows to never surrender. He firmly believes negotiation equals capitulation. I don't know how historically accurate the rest of the movie is (except for some of his speeches, I imagine), or if some of the conversations depicted ever took place, but they reveal a stunning picture of the temperament, power, character, oratory skill and will of Churchill to never accept defeat. Gary Oldman, as Churchill, brings all of that and more to his riveting portrayal - the voice, the mannerisms, the walk, the tilt of his head. His months of research and preparation have paid off. Oldman just may be the greatest, and most under appreciated actor of his generation. (The male equivalent of Streep, to my mind.) This is his movie and any superlative you can think of applies to his performance. There is no question as to his Oscar nomination for best actor, just as there is no question of Joe Wright's nom for direction. Wright has chosen some unusual, innovative and interesting camera placements - in particular, the shot of James as she types, taken from underneath the typewriter shooting through the keyboard up to her face. I mean how creative is that? Wright maintains the tension and immediacy of the situation, yet manages to throw in some moments of tenderness and humor - a really masterful job. Also no question as to the noms for best picture, the brilliant screenplay, cinematography, costume and makeup design. I would pay to see the process of transforming Oldman into Churchill. Kristin Scott Thomas has been getting the accolades for her performance as Churchill's wife, Clementine, but the real supporting nom should go to Lily James' beautifully sublime performance, as Winston's secretary. Score: 9.5. GO!

WONDER: This is the time of year when the Oscar contenders hit the theaters and Wonder is going to be one of them. It's a weeper that's for sure and for me, a good portion of the movie was a little blurry because I was watching it through a constant tear in the corner of my eye. Here's a warm film with outstanding performances across the board. The biggest surprise: Owen Wilson, as I've never seen him before (and haven't always been that much of a fan to begin with), turns in a dead straight performance as the dad who tries to bring a sense of humor to the party, but without the Owen Wilson schtick. Although Julia Roberts, as the mom, gets top billing, Jacob Trembly (the kid from The Room) is the star, as Auggie, the young boy with Treacher Collins syndrome which, even after 27 surgeries, has left him with facial deformities. Trembly's performance is Oscar worthy. His emotional and character arc have a maturity far exceeding his age. The performances by the kids who play his classmates are the kind that would want to make the kids who see it want to become actors. In order to protect him, Auggie's been home-schooled by his devoted mom who is one not to be crossed. Roberts' performance is pure perfection filled with brilliant subtleties and is sure to get her an Oscar nom. She maintains a beautiful balance of fierce protection, strength, tenderness, love, care and support. Isabela Vidovic deserves mention as the often overlooked, but understanding older sister who has always taken a back seat to Auggie's needs and her parents' attention. We get to see her touching story as she discovers her own identity and self worth. Mandy Patinkin as the school principal and Daveed Diggs as one of Auggie's teachers, also do excellent jobs. It's a movie about facing obstacles and how we choose to overcome them. It's about courage, the true meaning of friendship, loyalty and the fact that kindness costs the giver nothing, while it is beyond value to the recipient. It's a must see for young kids to learn tolerance for those who may be a little different. Score: 9.5. GO! It's Wonder-ful.

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI: I have mixed feelings about this one. Mildred Hayes' (Frances McDormand) daughter was brutally murdered seven months ago with no suspect in custody, so she rents three abandoned billboards with a message directed at the town's sheriff for failing to solve the crime. Woody Harrelson has been doing some wonderful work lately and he can add Three Billboards to the 'Excellent' column. He shines as the sheriff giving an in depth performance and stealing the picture from McDormand who's performance is pretty limited and comes off as the poster child for looking stoic. There are a lot of shots of her looking stoic. A lot. Her emotions run the gambit from A to C. The town's police department is a few pieces short of a full set. The premise is interesting - up to a point, and starts to drag and feels pretty long for the story it's telling. It tries to be humorous in places, but it's mildly amusing at best. I found the ending to be somewhat less than satisfying. I can't wholeheartedly recommend it. Score: 6. Don't go. Meh

IT: It's a horror story, but not the kind where things go bump in the night. It's not the cat knocking over the garbage can, or the bird descending on our heroes as they explore some dark passageway. It's a horror story about fear. Children in a small New England town have gone missing for centuries. A small band of pre-teens, one of whom had a brother go missing a year ago, realizes that each of them is being terrorized by an unknown entity. That entity appears as the evil, shape-shifting clown, Pennywise. Our group is composed of the usual types: the fat kid, the smart kid, the asthmatic kid, the new kid, the leader and 'the girl' who's living her own private horror story at home. Collectively, they're all being bullied by the typical group of adolescent assholes. More than that, I shouldn't say. The less you know, the better. The kids, all of them, are excellent and each has a story which adds depth to their character thanks to the outstanding writing. It's a long movie but not because there's a lack of pace. The direction is tight and taut. Camera placement is as good as it gets and is accompanied by artful cinematography which adds to the terror factor and enhances every scene. Score: 9. GO. What are you afraid of? Hmmm?

THE BRAVE (NBC), SEAL TEAM (CBS): I group these together because it's the same show - different casts but the same predictable plot lines, same characters - each with some kind of specialty, same trite dialogue ('You can run, but you can't hide.' They actually paid someone to write that?), same mediocre acting, same over-edited action sequences, and same female commander just like every other procedural show on TV with the possible exception of NCIS. (Before you get all bent out of shape over this, I get it. I understand the necessity for equality, but com' on! Really? I think we've reached the saturation point.) Their job is to stand in front of a slew of monitors, supposedly watching events in real time so they can spot problems and advise their teams on counter measures, all the while emoting expressions of concern during and relief after the operation is completed so they can deliver the 'Well done team. Return to base.' line, while the other members of the team in the situation room clap and congratulate each other on another successful mission. The pity is, there are some good people wasted in these: Anne Heche and Mike Vogel in The Brave, and David Boreanaz stars in Seal Team. The deserve better material than this and so do we. Neither is worth your time. Score: The Brave: 6, Seal Team: 5. I'd be very surprised it either lasts a full season.

THE BRAVE (NBC), SEAL TEAM (CBS): I group these together because it's the same show - different casts but the same predictable plot lines, same characters - each with some kind of specialty, same trite dialogue ('You can run, but you can't hide.' They actually paid someone to write that?), same mediocre acting, same over-edited action sequences, and same female commander just like every other procedural show on TV with the possible exception of NCIS. (Before you get all bent out of shape over this, I get it. I understand the necessity for equality, but com' on! Really? I think we've reached the saturation point.) Their job is to stand in front of a slew of monitors, supposedly watching events in real time so they can spot problems and advise their teams on counter measures, all the while emoting expressions of concern during and relief after the operation is completed so they can deliver the 'Well done team. Return to base.' line, while the other members of the team in the situation room clap and congratulate each other on another successful mission. The pity is, there are some good people wasted in these: Anne Heche and Mike Vogel in The Brave, and David Boreanaz stars in Seal Team. The deserve better material than this and so do we. Neither is worth your time. Score: The Brave: 6, Seal Team: 5. I'd be very surprised it either lasts a full season.

DEEPWATER HORIZON: Real events - real people. We know what's going to happen, but the exciting thing in the telling is how and why it happened. The events leading up to one of the worst man made disasters in history are suspense-fully told in brilliant fashion by director Peter Berg and his film editor and that's what keeps us on the edge of seats throughout. I learned more about blow out preventers and the fascinating workings of an off shore oil rig than I ever thought I would. The all star cast gives their all which allows us to buy in to every moment. We even get to know these folks on a personal level and the hazards they face daily. The movie also makes a compelling statement about corporate greed. More importantly, eleven people were killed and the closing credits pay a fitting tribute to them. Had it not been for the heroic actions of a few, that number surely would have been much higher. It's probably too much of an ensemble piece for actor noms, but I wouldn't be surprised if Berg gets a directing nom for his work. Score: 8.5. GO.

FLORENCE FOSTER JENKINS: It's just a given that every Meryl Streep performance is Oscar worthy, and FFJ is no exception. But the surprise here is the remarkable and equally brilliant performance turned in by Hugh Grant, in easily the best performance of his career, who plays Florence's loving and devoted second husband, who, while not being faithful, is never the less true to her and is her most loyal, ardent supporter and protector. Florence sees herself as an accomplished opera singer, which she is not. Above all, it's a love story and will appeal to us more mature individuals. I doubt anyone under 30 (and I'm being generous here) can or will appreciate the relationship between Florence and husband St Clair which comes across as profoundly deep and genuine. Their screen moments are poignant and tender guided by the sensitive hand of director Stephen Fears who never allows things to get soapy or schmaltzy. Another surprise is the performance of Simon Helberg as Florence's accompanist. The lengths to which those around her go to fulfill her fantasy, demonstrate their love and devotion to her. I'd be remiss if I didn't mention the outstanding 1944 era production design, hair and costumes. This is easily the best movie I've seen so far this Oscar season and it couldn't have come at a better time as a much need change from the summer blockbuster tent pole schlock that is currently playing. Prediction: Oscar nominations across the board. Score: 10. GO!

CENTRAL INTELLIGENCE: Dwayne Johnson, Kevin Hart and the rest of the cast are having a great time in this buddy, espionage, action, comedy and so will you. A high school classmate (Johnson) shows up 20 years later seeking 'accounting' help from the most popular kid in school (Hart) and the latter becomes involved, with great reluctance in a plot to secure secret US satellite codes. Johnson may or may not be the Black Badger who may or may not be a rouge CIA operative who is after the codes. The direction keeps the story moving at a crisp pace, the comic timing is spot on, the sight gags are sharp, the action sequences are entertaining and it's laugh out loud funny. There is a cameo performance at the end that will delight. Score: 8.5. Go. Stay for the out takes.

KEANU: Key and Peele may be the best comedy team since Martin and Lewis only with much more versatility in the characters they can create. Individually, they are very fine actors. Even though it's parody, they fully inhabit their characters in a very realistic and believable way, which makes them all the funnier. The premise is absurd, but that's what often makes comedy. Keanu is a kitten belonging to a drug lord who escapes after a raid by a rival drug cartel and is found by Peele's character (Rell). Rell's house is mistakenly taken for his next door neighbor's and raided by another drug gang who have also kidnapped Keanu. Rell talks his cousin, Clarence (Key) into infiltrating the drug gang in order to get Keanu back. Talk about fish out of water, these two suburbanites pretending to be bad asses are in way over their heads, or are they? If you liked them on Mad TV and their show on Comedy Central, you'll get exactly what you'd expect. Score: 7.5. Go. It's a 90 minute Key and Peele show.

CAPTAIN America: CIVIL WAR: This is Marvel Comics' answer to DC Comics' Batman V Superman, and just like the latter, the conflict between the Avengers, with Caption America and his team vs Iron Man and his team is rather contrived. And just like Batman V Superman, when indestructible forces collide there is considerable collateral damage to the surrounding environment as well as huge civilian casualties. When an accident causes a building to be destroyed and lives lost, the UN plans to form a panel to oversee and control the Avengers, who, while defeating threats, apparently have no regard for the ensuing damage that occurs as the result of their battles. Tony Stark thinks this may not be a bad idea, while Steve Rogers feels he alone is fully capable of deciding what actions need to be taken. Thus, the lines are drawn and all hell breaks loose. There are the requisite action scenes; the car chases, air assaults with our flying heroes, etc., etc., nothing we haven't seen a hundred times before, but exciting never-the-less. The many hand-to-hand sequences are especially effective despite the usual over editing typical of the genre. The production design is fantastic as always. There are some lighter moments and scene work which are well done. Stay for all the credits. A little better than B v S. Score: 8. Go. Mayhem galore, but nothing new.

ZOOTOPIA: In a world of animals where predators and prey happily co-exist and the DMV is run by sloths, there lives a tiny bunny who believes she can be whoever she wants to be and can do whatever she wants to do despite being told told her whole life, she can't. Her life-long dream is to be a real police officer and to serve with the big bull and bear cops as an equal. She gets assigned to meter maid duty but soon finds herself in the middle of a big case and agrees to solve the crime in 48 hours or resign if she fails. Spoiler alert: ……… Never mind. She overcomes her lack of size through sheer determination, smarts, wit, humor, agility, an indomitable spirit and a belief in herself. A lesson for all children and even some adults. Laugh out loud fun for the whole family and valuable life lessons for the the little ones. Score. 8. Go. Hop to it.