Razor Sharp - “Former guard of Atlantis. Sadly got exiled from his kingdom by his aggressive behavior, good thing Eon found him and gave him a second chance as a Skylander for good by showing the rights of a Royal Guard’s Honor.”
Headcannon voice: https://youtu.be/G3n4qp_LBAc
Power Punch - “Champion of the Ring Out areas. Always hungry for battles to those who dare to fight him one-on-one. That’s why he decided to join the Skylanders so he can give evil a big knockout for the win for good.”
Headcannon voice: https://youtu.be/RzToNo7A-94
Jingle Bones - “Former King’s jester of a dark and abused kingdom. Everywhere he sees in his kingdom was the poor people abused and enslaved for defying the evil rights from the king, it did not made him happy to see his innocent people slaughtered day by day. So he demanded Justice to save his people, in his own funny way to do it, and fled from the kingdom with the people he saved. Eon is surprisingly impressed of Jingle’s unique humble heroic act, and asks him to join the Skylanders for more justice. Jingle shrugged and said, “Sure, why not?”
Headcannon voice: https://youtu.be/xq7z_xMGPM8
Laser Vision - “A decedent of Eye Brawl and a laser scientist. Wanting to prove he can do something heroic just like his ancestor. He maybe blunt, but he’s really clever balancing his brains and brawn all together to defeat enemies in his way.”
Headcannon voice: https://youtu.be/SjtBmrco3yk
(I don’t own Skylanders or anything else except my OCs and my art)
I am writing this almost a week after watching so apologise in advance for a review which is light on insight and heavy on vague observations (when are they ever anything but?).
This widely acclaimed homage to the golden age of Hollywood musicals was a first watch for me. It’s somewhat simple plot concerns the rollercoaster romantic and professional trials of aspiring actress Emma Stone and struggling jazz pianist Ryan Gosling. While proudly declaring its love of classic Hollywood, this often low-key film feels much closer in spirit to Jacques Demy’s French language classic The Umbrellas of Cherbourg (1964) than any actual Hollywood musical.
Where La La Land most strongly recalls the Hollywood musical is in it’s lovely saturated colour palette which would befit a 1940’s MGM Technicolor extravaganza and in the staging of musical numbers, A Lovely Night in particular and in its climax, a clever ode to those extended modern ballet numbers popular in 1950’s musicals, most famously An American in Paris (Vincente Minnelli, 1951). For me it also strongly recalled the finale of The Muppet Movie (James Frawley, 1979), but that might just be me!
The score is strong, notably the beautifully melancholic recurring theme City of Dreams. The dancing skills of Ryan Gosling and Emma Stone was rightly acclaimed. Neither are singers, but their pleasant vocals recalls the non-singer casting of Jean Simmons and Marlon Brando in Guys and Dolls and works fine in context.
For all its vintage Hollywood flourish, La La Land has a slightly melancholy almost anti-Hollywood musical narrative and feels less like a traditional musical than its more pop music oriented contemporary The Greatest Showman (Michael Gracey, 2017). Whether it will be as fondly remembered in 65 years time as the musicals of 65+ years ago to which it pays homage, I am not sure but I did enjoy it. It’s a good movie, nicely performed and beautifully made.
Visit my blog JINGLE BONES MOVIE TIME for more movie reviews! Link below.
BEDKNOBS AND BROOMSTICKS (Dir: Robert Stevenson, 1971).
It was inevitable that, sooner or later, I would post a review of Walt Disney Productions’ Bedknobs and Broomsticks. I have watched this movie more times than any other, losing count when I hit three figures. I wouldn’t say it is the best film I have ever seen but I would say it has given me more pleasure over the years than any other.
Often compared unfavourably and, I feel, unfairly with Disney’s 1964 blockbuster Mary Poppins, it reunited most of the creative team and star David Tomlinson from the earlier film. It also shares with it a lengthy ‘Jolly Holiday’-esq animated sequence and a basic premise about a magical governess. Yet the plot, taken from yet having little in common with Mary Norton’s book, about an amateur witch’s attempts to repel a Nazi invasion in wartime Britain with the help of three cockney waifs is markedly different from Poppins and Tomlinson’s performance as a loveable charlatan magician is completely different from the repressed banker and estranged father he portrayed in Poppins.
To be honest, it isn’t as good a film as Mary Poppins. It has a messy, episodic narrative which zealous editing - there are at least five different official versions of the film - was not entirely successful at tidying up. The international and US re-release version, at roughly 100 minutes, has the most satisfying narrative but cuts virtually all of Richard and Robert Sherman’s excellent songs; those that do remain are butchered, the lavish Portobello Road suffering most noticeably. An attempt in 1996 to restore the film to its original, and sadly lost, premier length brings the runtime to 139 minutes but suffers from poor dubbing on scenes where the audio could not be found. In spite of narrative issues the standard, roughly two hour release print is the default and best version of Bedknobs...
Director Robert Stevenson is almost successful at recreating the ole Poppins magic; Ward Kimball’s inventive animated excursion to the Island of Naboombu is the undoubted highlight of Disney Animation’s 1970s output; the effects work, including some incredible puppetry of bodiless suits of armour in the epic climax, hold up well against modern CGI techniques and the performance from stars Angela Lansbury, David Tomlinson and company are exemplary. The Sherman Brother’s songs, including The Age of Not Believing, Beautiful Briny and the spectacular Portobello Road are among their best, perhaps a shade down from their work on Poppins, but there is no shame in coming second place to arguably the greatest musical score ever written for the cinema!
I reiterate, Bedknobs and Broomsticks is not as great a piece of filmmaking as Mary Poppins, but as a child I enjoyed it more. I certainly watched it more often. While perhaps it doesn’t quite add up to the sum of its parts, I think it is highly entertaining, is rightly regarded a classic and should probably be regarded a masterpiece, albeit a flawed masterpiece.
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Bedknobs and Broomsticks (Dir: Robert Stevenson, 1971). It was inevitable that, sooner or later, I would post a review of Walt Dis
Movie number 22: The Kid Who Would Be King (Joe Cornish, 2019). Writer/director Joe Cornish’s post-Harry Potter fantasy stars Louis Ashbourne Serkis as otherwise unremarkable schoolboy Alex who stumbles upon King Arthur’s legendary sword Excalibur, launching himself and his friends on a quest to save the world from Arthur’s ancient foe Morgana and a personal quest to find Alex’s absent father. As with other recent medieval themed movies King Arthur: Legend of the Sword (Guy Ritchie, 2017) and Robin Hood (Otto Bathurst, 2018) The Kid Who Would Be King is underperforming at the box office. Do not, however, let its underwhelming commercial impact deter you from experiencing this fun Goonies-esq romp. With pleasing performances from its mostly juvenile cast and some stunningly realised fantasy sequences, The Kid Who Would Be King features an arguably more satisfying narrative than the most recent entry into the Potter franchise, The Crimes of Grindelwald. It also features an outstanding performance from relative unknown Angus Imrie, striking the right balance of austere reverence and sheer oddity as young Merlin the magician. A mix of Arthurian mythology and housing estate humdrum, The Kid Who Would Be King feels distinctly and refreshingly British and carries a welcome anti-Brexit message. It is a good-natured, solidly entertaining family adventure, perfect for the school holidays.
A ripe slice of Southern Gothic with Jennifer Jones as gun toting, skinny jeans wearing, swamp wildcat Ruby; using her womanly wiles to ensnare local stud Charlton Heston and marrying wealthy, lonely chump Karl Malden.
Jones is literally wild in the part of Ruby and is undoubtedly the movie’s greatest asset. Heston is less effective in a role perhaps slightly underwritten and which does not particularly play to his strengths as an actor. Malden, by contrast, is fantastic in this sort of thing (see ‘A Streetcar Named Desire’ and ‘Baby Doll’) and demonstrates why he was one of Hollywood’s most in-demand character actors.
Admittedly, there is, probably, an unpleasant, deeply misogynistic subtext about powerful women in this movie as Ruby, with her new found wealth, wreaks revenge on the townsfolk who hold her in distain and upon the man she thought was in love with her. A better writer than I would go into this in greater depth (and if anyone wishes to, please do so in the comments below - polite, serious discussion is welcome and encouraged!)
In spite of this, I must confess, I love a 50s melodrama, where what was once torrid and sexy has become overblown and camp. Ruby Gentry is hopelessly dated, but that is not to suggest that it isn’t also wholly entertaining if you are in the right mood!
100+ movie reviews now available on my blog JINGLE BONES MOVIE TIME! Link below.
In 1979 director Don Bluth famously led an animators walk out at the Disney Studios to form his own company Don Bluth Productions. Their first feature length venture The Secret of NIMH (Bluth, 1982) while critically well received was a commercial disappointment and it wasn’t until after Bluth released the groundbreaking coin operated video game Dragon’s Lair that Hollywood once again came calling.
The Land Before Time was to be Bluth’s third feature and his second, following An American Tale (1986), for Steven Spielberg’s Amblin Entertainment, co-produced by Lucasfilm. This surprisingly downbeat dinosaur adventure is something of a prehistoric Bambi meets The Incredible Journey as longneck Littlefoot, after the death of his mother and separation from his grandparents, teams up with a band of similarly lost young dinos to find their families in the fabled Great Valley.
Just as An American Tail was pitted against Disney’s Great Mouse Detective on original release, The Land Before Time found itself competing against Disney’s Oliver and Company in late ‘88. Unlike the previous meeting, Disney’s movie was box office champ on this occasion. However, I would argue that, on this occasion, Bluth’s movie is superior. Unlike the numerous made for video sequels, the original Land Before Time features some beautiful animation, and while its plot is quite basic and occasionally saccharine, it is sophisticated enough to engage adults as well as children.
At little over an hour The Land Before Time is short and sweet. Stick around for the end titles for Diana Ross’ lovely ballad ‘If We Hold On Together’.
100+ movie reviews now available on my blog JINGLE BONES MOVIE TIME! Link below.
Movie number 29: The Nutcracker and the Four Realms (Lasse Hallström & Joe Johnston, 2018). I could easily fill this review with superlatives about the amazing production design of this movie. It is exquisite, as are the beautiful costumes. The effects work is also top quality. The estimated $120-130 million budget is right up on the screen for all to see. The entire film is a truly sumptuous feast for the eyes and is easily one of the best looking movies I have ever seen, if not the best. The Nutcracker and the Four Realms is loosely based upon E T A Hoffman’s ‘The Nutcracker and the Mouse’ and the Tchaikovsky ballet which also serves in part as the basis for the James Newton Howard score. It concerns a young girl (Mackenzie Foy) who travels Narnia-style from Victorian London to the otherworldly Four Realms in search of the key to an egg gifted to her by her late mother. Here she must re-unite the warring realms aided by the titular nutcracker and a fantastic cast including Helen Mirren, Richard E Grant and Keira Knightley hamming it up to great effect as the Sugar Plum Fairy. In spite of the excellent cast and stunning production Nutcracker is not entirely without its problems. Extensive re-shoots resulted in the duel director credit for Hallström and Johnston and at only 99 minutes it could easily withstand being a little longer. Indeed, the ballet itself is less prominent than expected and the Four Realms of the title are barely visited save for the Land of Amusements where most of the action takes place, possibly a sign of some hasty editing. Yet, this aside, I found much to enjoy in this extravagant fantasy and am baffled by the poor reception it received upon released. It isn’t perfect but it is beautiful to behold. With its Yuletide setting and general Christmassy vibe it may well find its audience through future festive television screenings. It is certainly a movie that deserves to be seen.
