The Walt Disney Studios’ photo-realistic CGI remake of their 1992 animated smash hit Aladdin has me a bit nervous. One of my wishes (which I have off repeated on this blog) is that Disney would use their tremendous creative and financial resources in ways other than just remaking their entire animated catalog. Still, when one of these remakes gets released, my sincere hope is that the new film is going to be good.
Here’s a new poster for the 2019 remake of Aladdin.
And in case you missed it, here is the teaser poster for the 2019 film which is an homage to the teaser poster for the 1992 film (also pictured below).
Check out these posters for IMAX, Real D, and Dolby Cinema.
Also, here’s the latest trailer.
Aladdin (2019) is coming to U.S. theaters on May 24.
Tim Burton takes Disney’s beloved flying pachyderm on a new and somewhat dark journey in Walt Disney Studios’ latest live action+photo-realistic CGI remake Dumbo (2019).
This film merges the familiar narrative of the 1941 animated classic with a newly created circus-themed story. As in the original animated feature, the plot is set within a traveling troupe of circus and side show performers along with a menagerie of animals that travel from town to town by train (Casey Jr., of course). In this film, the year is 1919, the circus is the Medici Bros. Circus, and the ringleader is Max Medici (expertly played by Danny DeVito).
In addition to Max, we meet a slew of characters that are new to this story—most importantly the World War I veteran Holt Farrier (played by Colin Farrell) and his two children Milly (played by Nico Parker) and Joe (played by Finley Hobbins). Before the war, Holt and his wife had a successful circus act with horses. But when Holt goes away to fight in the war, he loses a lot—his wife dies, the horses get sold, and he loses one of his arms.
Although the circus is one big happy family, it is in financial straits; so much so, that Max bets the farm (or circus) on an exotic new elephant named Mrs. Jumbo. It also turns out that Mrs. Jumbo is pregnant. Since the horses are gone, Max puts Holt and his kids in charge of the precious elephants.
The first act of the film is basically the original Dumbo movie but with these additional characters. Once the original story is out of the way, it takes a wild turn into a brand new direction over the next two-thirds of the film. “Dumbo” (as the baby elephant gets nicknamed) the flying elephant is an instant hit and brings a much needed financial boost to the Medici Bros. Circus. The newfound success piques the interest of circus magnate V.A. Vandevere (played by Michael Keaton) who owns a destination circus attraction and amusement park called Dreamland. Vandevere offers to purchase Medici Bros. Circus and makes Max an offer too good to pass up. But once everyone arrives at Dreamland, things just might be a bit too good to be true.
Tim Burton is able to put his distinctive stylistic stamp on the film, which I mostly liked. His early 20th century circus aesthetic has just the right combination of nostalgia and charm along with his trademark quirkiness.
Other than Danny DeVito (and possibly Colin Farrell), I just didn’t feel like the acting was particularly strong from much of the cast. Also as previously mentioned, the two-thirds of the film that delve into this original new story take Dumbo the character into an unexpected and rather unpleasant place for my tastes. While a newly added animal rights subplot is a timely and important theme, and Dumbo himself still has the same motivations (he just wants to be with his mom), it just didn’t come together in a harmonious and cohesive fashion.
Ultimately, the film is less of a remake and more of a new story and adventure that Dumbo gets plopped into. I kept thinking during the film that it should have had a different title (maybe “Dumbo’s Adventure in Dreamland” or, jokingly, “Free Dumbo: A Dumbo Story”). I respect Tim Burton’s talent and creativity and you all know how much I love the Disney, but this latest “remake” is definitely one that makes you want to run away from the circus rather than to join it.
So we already know that I’m not thrilled that the Walt Disney Studios is using their immense resources and creativity into just remaking their entire animated catalog. Still, these remakes have all been very high quality thus far and overall quite entertaining (still, I’d wish they’d stop it and apply their money and creativity elsewhere).
Next up in the remake queue is Dumbo, which is being reimagined by director Tim Burton. I’m curious and hopeful that it will be good.
Poster Posse has released some new poster collaborations for the film and they are really nice.
Dumbo opens in theaters March 29. I’m seeing it opening weekend and will post a full review on the blog soon thereafter.
Christopher Robin grows up but still has some important lessons to learn in the charming Christopher Robin (Disney; 2018).
Disney has reinvented its venerable Winnie the Pooh franchise once again, this time turning the stuffed animals from the A.A. Milne’s Hundred Acre Wood into 3D computer generated characters that (somehow) co-exist in the human world. The film answers a couple of interesting questions in the process—what happens to Winnie the Pooh, Piglet, Eeyore, et al, when Christopher Robin grows up, and what if Christopher Robin loses his way as an adult?
Set in England, Christopher Robin is now a hardworking war veteran employed by a luggage company in London. His job is demanding and stressful and it pulls him away from spending more time with his wife and daughter. Adhering to narrative rules that would be home in any Narnia book, Winnie the Pooh is able to find his way to London and quietly and gently begins to set things straight.
Ewan McGregor does a great job playing the war-torn and world-weary adult Christopher Robin. The lovely and talented (and underused in this film) Hayley Atwell plays his wife Evelyn, and Bronte Carmichael plays their daughter Madeline, who is the character suffering the most in the film with her dad lost in the business world and emotionally MIA at home. Voice actor Jim Cummings is back in the role as both Winnie the Pooh and Tigger. Brad Garrett expertly steps into the role of Eeyore. The rest of the cast is excellent, too.
This gentle, deliberate film never takes itself too seriously or delivers its message with a heavy hand or a zany punch. Instead, director Marc Forester uses a more old fashioned tone which some might view as slow, but I found it be refreshing and endearing. So much so, that this film will probably appeal more to adults than children. Basically, it just made me want to hug all of these photo-realistic CG stuffed animals and return to the innocence of childhood—a place full of clarity, goodness, and wonder.
Disney fans should also be happy with the new songs written by Richard Sherman, the surviving member of the great Sherman Brothers songwriting duo who wrote the classic songs for Disney’s original Winnie the Pooh shorts. Make sure to stay through the end credits.
Christopher Robin has been rated PG by the Motion Picture Association of America (MPAA) for “some action.”
My score: 4 out of 5 stars
As an added bonus, here’s the cute one-sheet poster from the U.S. release of the film.
Disney’s most recent adaptation of A Wrinkle in Time is an artistic, purposeful, and meaningful one (along with a few wrinkles here and there).
Based on the 1962 Newberry Award-winning fantasy young adult novel by American author Madeleine L’Engle, the film tells the story of Meg Murry (played by Storm Reid), a high-school aged girl who is unsure of her place in the world and who is still grieving the loss of her scientist father (played by Chris Pine) who has been missing for many years.
When Meg’s little brother Charles Wallace (played by Deric McCabe) introduces her to strange supernatural friends named Mrs. Whatsit (played by Reese Witherspoon) and Mrs. Who (played by Mindy Kaling), and, later, Mrs. Which (played by Oprah Winfrey), Meg, Charles Wallace, and Meg’s school friend Calvin (played by Levi Miller) embark on a journey through time and space to rescue Meg’s father who is being held against his will on another planet by a nefarious, dark force.
This is the Walt Disney Studios’ second attempt at filming A Wrinkle in Time. A made-for-TV version was completed in 2003 and was pretty much DOA, showing once on ABC in 2004 and then being relegated to home video. When asked about what she thought about the adaptation, Madeline L’Engle said “I’ve glimpsed it…I expected it to be bad, and it is.”
Director Ava DuVernay (Selma) and screenwriter Jennifer Lee (writer and co-director of Walt Disney Animation Studios’ Frozen) took on an ambitious and challenging task in adapting again this beloved yet complicated book into a feature film. The results are mixed–the pacing is uneven, some of the characters’ motives don’t seem quite right (or at least not in line with logic and/or the source material), and the characters’ interactions with the excessive and sometimes sloppy CGI occasionally tipped the scales into confusing and/or ridiculous territory.
However, Ava DuVernay and her team have crafted overall a wonderful work of art. Each scene in the film had a very noticeable sense of intimacy, of artistry, and of care. Each costume, from Meg’s simple flannel shirt to Mrs. Which’s architecturally inspired hair styles, provided visual interest, uniqueness, and wonder. Each set and setting were created carefully and with skill and expertise. And the timeless themes of familial love, fighting darkness with light, being courageous, and being yourself are presented with honesty and with a deft touch.
While the filmmakers and others are calling this interpretation of A Wrinkle in Time a black girl-power movie, I think of it more as a kid-power movie–a film where all children can start thinking about the importance of using their brains to solve problems and of using their hearts to fight the darkness both within and without themselves.
My rating: 3.5 out of 5 stars
As an added bonus, check out this cool poster made for the film’s exclusive IMAX screenings.