Colin Farrell

Review of “The Batman”

Parents are the multi-headed beasts of all our lives.  When we are young, for most of us, they are our protectors and heroes.  Then for many, they become our antagonist when we enter our teenage and young adult years.  Then, when we are adults out of the house, some of us learn two things about the folks:  They were fallible humans doing the best they could, and they are pretty good people.  I know many grew up in awful, abusive environments with selfish, toxic parents who could not care less about raising their kids.  Fortunately, I was raised by two relatively normal people.  Each had their faults and shortcomings, but overall, they were good people.  My mom was a sweetheart and my security blanket growing up.  Dad could be gruff and didn’t understand having a son that preferred watching TV to helping him work on a car engine.  As they got older, their roles reversed, with my mom being more critical of my weight and career choices and dad being far more laid back about everything.  Neither deserved the way the end of their lives turned out.  Dad developed Alzheimer’s and slowly drifted away over seven years, becoming more and more of something that resembled a zombie than a man who could pull out, repair and install a car engine.  Mom was his primary caretaker all through that battle.  Then, shortly after he passed, her colon cancer returned in her liver.  She died less than a year after dad.  Neither were powerful figures in our community, and nothing has come out in the 20 years since their deaths to show there were anything buy a husband, wife and parents trying to keep a roof over their heads and their kids warm, fed and educated.  Things are a bit more complicated for a certain billionaire orphan in the gritty, crime-filled city of Gotham in “The Batman.”

Bruce Wayne (Robert Pattinson) in his disguise as the Batman has been patrolling the streets of Gotham City for two years.  Criminals and citizens alike know the bat symbol shining on the city’s ever-present clouds means the vigilante could be anywhere, prowling in the shadows looking for criminals to beat up.  Gotham City Police Detective Jim Gordon (Jeffrey Wright) involves Batman in some of his investigations, much to the chagrin of his superiors.  When Gotham City Mayor Don Mitchell, Jr. (Rupert Penry-Jones) is murdered by an enigmatic killer calling himself Riddler (Paul Dano), Gordon brings Batman to the crime scene, angering Police Commissioner Pete Savage (Alex Ferns), but the killer left Batman a card containing a riddle and an encoded answer.  Batman solves the riddle and knows the coded answer may be the key to a larger cypher of the killer.  More of Gotham City’s elite become victims of the Riddler and they all may be connected to the city’s crime gangs and the drug trade.  Selina Kyle (Zoe Kravitz), a waitress at the Iceberg Lounge, run by a criminal nicknamed Penguin (Colin Farrell), catches Batman’s eye as she works.  He follows her to her apartment and watches as she comforts a distraught young woman.  Batman recognizes her as a woman seen in photographs with Mayor Mitchell who appears to be beat up and bleeding.  Catching her during a break-in, Batman and Selina form an uneasy partnership, trying to get to the bottom of the connection of Riddler’s victims and how all of Gotham’s secrets could rip the city apart.

“The Batman” was almost a very different movie.  It was originally conceived as a part of the Zack Snyder DC Extended Universe (DCEU) that included “Man of Steel,” “Batman v. Superman: Dawn of Justice” and “Justice League.”  Ben Affleck would continue in his role as Batman.  He would also write and direct.  As the “Snyderverse” began to implode after the colossal failure of “Justice League” as redesigned by Joss Whedon, the whole idea of a connected DC movie universe began to fall apart.  The successes of “Wonder Woman,” “Shazam” and “Aquaman” as stand-alone films with sequel potential, and Affleck deciding to give up being Batman, meant Warner Bros. could create profitable franchise movies that didn’t need to follow the model set by Disney and Marvel with the Marvel Cinematic Universe (MCU).  Affleck left the film as both director and star, and director Matt Reeves was brought in to remold the story in a new image, focusing on a younger Batman trying to figure out how best he can protect the people of Gotham.  It was more focused on the detective side of the character with limited big action set pieces. 

The casting of Robert Pattinson was met with a great deal of internet skepticism, including from myself.  How could the sparkly vampire actor pull off a gritty, violent, broken creature like Batman.  The collective internet owes Mr. Pattinson an apology as his portrayal is everything we didn’t know we wanted from the Dark Knight.  The broken, gaunt appearance of Pattinson’s Bruce Wayne is something even the best comic book writer and artist would have difficulty creating on the page.  This Batman is a hollow shell, filled with rage and taking it out on the criminals of Gotham’s dark, rain-soaked streets. 

Pattinson’s first appearance in the suit is the oft-seen fight between Batman and some thugs in clown face paint.  He beats down the lead punk and says, “I’m vengeance.”  They then surround him and, while he eventually wins, he takes some punches that leave the final outcome in doubt.  This Batman isn’t the seasoned martial artist and fight tactician we normally see.  He’s also not in a close and loving relationship with Alfred, played by Andy Serkis.  They are frequently at odds, with Bruce saying, “You’re not my father” as one point.  This Bruce Wayne is angry, somewhat spoiled, and certain he can fight crime his way, without anyone’s guidance.

Much of Pattinson’s performance is in the script by Matt Reeves and Peter Craig, who approach this Batman as a work in progress.  He’s still dealing with the loss of his parents after 20 years and has ignored everything else in life except his need to punish villains.  This is the Batman hinted at in other portrayals by Michael Keaton and Christian Bale, but Pattinson, via Reeves and Craig’s script, puts the pain on his face in every frame.

The performances of the main and supporting cast are remarkable.  Colin Farrell, buried under prosthetics and a fat suit, is unrecognizable as Penguin.  Even his voice appears to have a costume as his Irish accent is nowhere to be found.  Zoe Kravitz also plays pain well as Selina Kyle/Catwoman.  Her sad backstory is its own subplot.  Pattinson and Kravitz have a sizzling chemistry that needs more exploration.  Jeffrey Wright is a fun Jim Gordon.  He knows he’s breaking all the rules letting Batman into crime scenes, but if it gets the job done, he doesn’t care.  His character will feature in a spinoff show about GCPD on HBOMax.  Paul Dano’s Riddler is a wonderous creation.  He’s clearly insane, brilliant and, like Batman, broken, but in a different, evil way.  Dano plays these off-kilter characters so well I wonder about his sanity.

“The Batman” is rated PG-13 for strong violent and disturbing content, drug content, strong language, and some suggestive material.  There are numerous fights, beatings and killings but most are bloodless.  Batman is shot several times with guns and a shotgun, but his suit is bulletproof.  There’s an R-rated film bubbling just under the surface.  A drug called “drops” that are dripped in the eyes is shown being used.  Alcohol is also shown being consumed.  The suggestive material features Batman watching Selina changing into her cat suit.  She is shown in her underwear.  Foul language is scattered and mostly mild, but there is one use of the “F-word.”

The story is a bit convoluted with the crimes all leading to a massive action scene that left me thinking about our current political situation and misinformation on the internet.  I promise, that will make more sense after you see it.  By the end, I was satisfied all the loose ends had been wrapped up with the film leaving a bread crumb or two about a possible villain for the sequel.  If this is the first of a trilogy of Batman films, I feel certain the Dark Knight is in good shape to continue as a flawed beacon of justice that drives a badass car.  He just needs a few more of those wonderful toys.

“The Batman” gets five bat-shaped stars out of five.

Follow, rate, review and download the podcast Comedy Tragedy Marriage. Each week my wife and I take turns picking a movie to watch, watch it together, then discuss why we love it, like it or loath it. Find it wherever you get podcasts.

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Review of “Dumbo”

Holt Farrier (Colin Farrell) comes home from fighting in World War I in 1919. While he was away, his wife died from influenza and he lost his left arm from a war injury. His children Milly and Joe (Nico Parker and Finley Hobbins) are cared for by other people in the circus for whom Holt was once the star performer, doing tricks on horseback. The Medici Brothers Circus travels the country entertaining small-town crowds. The owner, Max Medici (Danny DeVito), has sold off Holt’s horses as the flu epidemic and the war have cut into business. Max puts Holt in charge of the elephants, including his latest acquisition, an Asian elephant named Jumbo. Jumbo is pregnant and gives birth to Jumbo, Jr. The baby elephant has enormous ears and is thought of as a freak. When crowds see Jumbo, Jr., they laugh and throw trash at him, angering his mother, who storms the tent. This leads to Jumbo, Jr.’s name being changed to Dumbo. Dumbo’s mother gets sent off to another attraction, making Dumbo sad. Milly and Joe are playing with Dumbo, blowing a feather back and forth between them when Dumbo sucks the feather into his trunk. This make Dumbo sneeze, causing his ears to flap and lifting him off the ground. None of the adults believe Milly and Joe until an accident under the big top proves Dumbo’s giant ears allow him to fly. The publicity of Dumbo flying attracts the attention of Dreamland amusement park owner V. A. Vandermere (Michael Keaton). His park has a permanent circus and wants Dumbo to be his newest act to secure more financing from billionaire banker J. Griffin Remington (Alan Arkin). He wants his girlfriend and star trapeze artist Colette Marchand (Eva Green) to ride on Dumbo’s back as he flies around the big top. However, Vandermere proves he has dark motives and will do anything to make Dumbo fly.

Disney’s live-action remake of the classic animated 1941 “Dumbo” feels like a cynical cash grab. I know all movies released are meant to make significantly more money than it cost to produce them, however, “Dumbo” feels like everyone is working on the film just to make a paycheck and the lack of caring shows.

“Dumbo” never strikes any of the emotional high notes you would expect from the story. When Dumbo’s mother is comforting him after she gets locked up and is about to be sent away, you should be turned into a blubbering mess, but you’re not. When Dumbo flies around the big top for the first time, proving what the children said to be true, it should be a moment of wonder and joy, but it isn’t. Early on, when Holt steps off the train and sees his children for the first time, there should be some kind of heightened feeling, but there isn’t.

Nothing works emotionally in the story including some of the characters. Milly Farrier is a robot for most of the film. Whether she’s presented with disappointment or triumph, her reaction is the same: Indifference. I don’t believe this is a choice made by actress Nico Parker, but director Tim Burton. Burton seems to be making a film about outsiders and trying to give every character their own weakness or foible. Holt is missing an arm and is a widower. Milly is emotionally shut down. Her brother Joe seems clueless. Medici is a short, small-time con man. Dumbo has big ears and misses his mother. I believe the story Burton is trying to tell is how these outcasts fight to triumph in a world built to keep them down, however, by the end of the film (no spoilers), the only winner is the elephant.

Colin Farrell looks uncomfortable as Holt. He has no chemistry at all with the young actors playing his children. That becomes part of the story as it is referenced over and over again that Holt’s dead wife always knew how to talk to the children, however, even by the end of the film, there’s something off about how Holt, Milly and Joe interact. Perhaps Farrell doesn’t like working the children. Maybe director Tim Burton was trying to up the discomfort between the characters since Holt had been away at war, is perhaps dealing with what we now call PTSD, and has to adjust to being a single parent. Whatever the reason, Farrell looks like he doesn’t want to be there.

Then there is the villain. Keaton’s Vandermere can’t decide if he has a foreign accent or not. He mugs and preens, strutting as if dancing whenever he’s on screen. It’s an odd performance that is hampered by some contradictory choices the script has the character make. I’m not going to spoil it, but Vandermere seems to cut off his nose to spite his face late in the film.

Eva Green’s Colette starts out as a snobbish ice queen but quickly turns into Holt’s ally and a surrogate mother to his children. This transition is far too fast and isn’t precipitated by any major event. She goes from being a diva to a warm-hearted step mom in no time flat.

About the only thing that almost works in “Dumbo” is the elephant and even that has some issues that stick out. Dumbo seems to understand a great deal of English right out of the womb. His blue eyes are weirdly large (it’s rare, but there are blue-eyed elephants in the wild). We see several shots from Dumbo’s perspective, and he appears to have mildly warped eyesight. One would think this might hamper his ability to avoid objects in his flight path, but it doesn’t. Dumbo, and most of the animals shown in the film, is computer generated. There are moments when you don’t notice it as much, but frequently the CGI is obvious and that kills any wonder the film might have had for me.

“Dumbo” is rated PG for peril/action, some thematic elements, and brief mild language. There are a couple of scenes where fire threatens various characters. A person is killed by a falling big top pole. There is some minor violence that is mostly played for laughs. A person is dragged by a horse. There are threats made to kill various animals and implying some animals were killed to make a pair of boots. Foul language is mostly suggested and mild.

Tim Burton needs to step away from big budget projects. While he has made some entertaining movies for the Disney and others, Burton’s last couple of efforts have been lackluster. I had similar feelings about another Burton film: ‘“Miss Peregrine’s Home for Peculiar Children” isn’t a terrible movie. It just isn’t terribly memorable. It looks amazing and features some interesting ideas in regards to people with unique abilities. What it doesn’t do is really strike deep in the heart of the audience and make us care about what happens to the denizens of this peculiar world.’ I guess Burton tries too hard to make his movies about misfits and outsiders when, in this case, he should have concentrated on making a light and sweet family film. It isn’t offensive, but it isn’t entertaining either.

“Dumbo” gets two stars out of five.

A civil rights drama, a Stephen King adaptation and a superhero adventure are making their way to a screen near you. I’ll see and review at least one of the following:

The Best of Enemies—

Pet Sematary—

Shazam—

Listen to The Fractured Frame for movie, TV and streaming news wherever you get podcasts. Follow me on Twitter @moviemanstan and send emails to stanthemovieman123@gmail.com.

Review of “Widows”

A crew of armed robbers led by Harry Rawlings (Liam Neeson) conduct big money heists in and around Chicago. They are very good at what they do, but one night their luck runs out. A shootout in a garage with police causes an explosion of compressed gas canisters, killing Rawlings and his three accomplices. Rawlings wife Veronica (Viola Davis) is left to grieve her loss, but she also has a much bigger problem. The target of Rawlings last job was gangster turned aspiring politician Jamal Manning (Brian Tyree Henry). Rawlings and his crew stole $2-million and Manning wants it back to use in his campaign for a seat on the Chicago Board of Aldermen. Manning give Veronica one month to come up with the money or he’ll kill her. Manning’s opponent for the seat is Jack Mulligan (Colin Farrell), the son of long-time alderman Tom Mulligan (Robert Duvall). Jack is reluctantly following in his father’s footsteps but is just as corrupt and bigoted as him. Manning and Mulligan are in a tight race and that $2-million could be important in the final push to election day. Rawlings kept a notebook of all his jobs, including his next one that has a potential take of $5-million. Veronica recruits the widows of Harry’s crew: Linda Perelli (Michelle Rodriguez) and Alice Gunner (Elizabeth Debicki). The fourth widow Amanda Nunn (Carrie Coon) has a newborn baby and doesn’t want to be involved in the plan. Each woman has their strengths and weaknesses and Veronica is the leader despite rubbing her partners the wrong way. A fourth woman, Belle (Cynthia Erivo), who babysits for Linda and works at a hair salon that’s being shaken down by Jack Mulligan, joins the crew as a driver. The group of inexperienced robbers have just a few days left before the one-month deadline passes and must learn to work together as a team to pull off a complicated plan to save their lives.

“Widows” is a smart heist movie. It shows us almost all the parts of the plan but holds just enough back to allow for a few surprises. The film also drops personal nuggets about the main relationship in the story, between Harry and Veronica, that are mysteries at first. As the film moves along, we get explanations to these mysteries and reasons for moments of drama and sadness. Director Steve McQueen has taken what could have been a very average crime flick and turned it into a relationship drama between the four women and the ghosts of their husbands. The amazing thing is it works no matter what part of the story is the highlight at any given moment.

Viola Davis gives a masterpiece of a performance as Veronica. The grieving widow shows us flashbacks to better times with her and Harry. We also get a look at their darkest time during the loss of their son. It’s a tough and intense performance that was likely emotionally tiring for Davis. She is called upon to cry approximately a dozen times throughout the film. Veronica rarely smiles when she’s on screen. The one time she does, it looks like it takes all the strength she has. Davis is a warrior and a leader as Veronica. She isn’t always the most likable character, but her motivations are understandable. She is under the gun, literally, and has a plan in place to get Manning his money. She can’t waste time with weakness, mistakes and stupidity. Despite her own inexperience as a thief, Veronica must put on a brave face. In quiet times alone in her home, Veronica can barely get out of bed, but somehow finds the strength to lead her crew. While this may not be the kind of film that gets Oscar recognition, Davis deserves serious consideration for best actress.

The rest of the supporting cast is excellent. A standout is Daniel Kaluuya as Jatemme Manning, the brother and bloodthirsty enforcer for Jamal Manning. He has a crazy look in his eye all the time. He gets in people’s faces to intimidate them and is quick to pull the trigger. Kaluuya doesn’t have many lines in the film, but his character doesn’t need many to get his point across. A simple wave, smile and wink have the opposite of those gestures usual meanings when Kaluuya’s character uses them. He’s a bully but can also back up his threats by carrying them out. You may have loved his character in “Get Out,” but you won’t be a big fan of Jatemme Manning in “Widows.”

The story of “Widows” doesn’t stick to one topic. In the hands of a lesser filmmaker that might have been a problem; however, Steve McQueen handles the various topics in the film with an even hand and laser focus. While the heist planning and execution is the focus, the story veers into politics and the corruption Chicago is famous for. The family dynasty at risk, the kickbacks, the payoffs, the quid pro quo, all is on display in the film. Embedded in the corruption is racism and misogyny. Davis delivers a line about no one believing the women have the balls to pull off the job and she’s right. Mulligan uses a group of women business owners as a prop during a campaign appearance but doesn’t let them speak. Mulligan has a female assistant that is frequently referred to in derogatory terms or ogled like a piece of meat. A couple of the wives are used and abused by their husbands. One of the wives becomes an escort to make ends meet. While her client appears to be a decent guy that can afford to pay for her company, he winds up treating her more as an employee than a partner. It’s a movie with many messages and most of them are powerful men suck.

“Widows” is rated R for some sexual content/nudity, language throughout and violence. There is a brief sex scene that shows a man’s bare backside and a woman’s breasts. There are some bloody shootings and a scene where stabbing is used as torture. There is also a scene showing the aftermath of domestic abuse. A mother slaps her adult daughter. Foul language is common.

“Widows” doesn’t waste time trying to convince us anyone in the film is a good guy or a bad guy. The real villains wear suits and the women commit a crime to save their lives. There is no black and white in “Widows” only varying shades of grey. It’s a tense film with the looming dread of death hanging over all the characters. Who lives and dies is always in doubt. While you may question whether a group of inexperienced people could pull off such a complicated robbery, you will be thrilled by all the planning, details and the execution. It’s a fantastic film and you should see it.

“Widows” gets five stars.

The holiday weekend sees most releases opening on Wednesday. I’ll see at least one of the following:

Creed 2—

Green Book—

Ralph Breaks the Internet—

Robin Hood—

The Front Runner—

Listen to The Fractured Frame for the latest news in TV, movies and streaming available wherever you get podcasts. Follow me on Twitter @moviemanstan and send emails to stanthemovieman123@gmail.com.

Reviews of “Fantastic Beasts and Where to Find Them” and “Moana”

It was a magical weekend at the movies for me as I saw both “Moana” and “Fantastic Beasts and Where to Find Them.” While there is the shared notion of things beyond our understanding working in the background or shadows, the events of one film are far darker than the other.

Fantastic Beasts and Where to Find Them

Newt Scamander (Eddie Redmayne) has just arrived in America from his native England carrying a suitcase filled with magical creatures. When one of them escapes, he struggles to find it and, in the confusion, accidently swaps his suitcase with that of a cannery worker named Jacob Kowalski (Dan Fogler). Kowalski opens the case at his apartment and some of the creatures escape, threatening to expose the wizarding community in America. A magic cop named Tina Goldstein (Katherine Waterston) sees Scamander, realizes he’s a wizard, and brings him in to the offices of the Magical Congress of the United States of America (MACUSA) where she plans on charging him for being an unregistered wizard. When they open his case and see only pastries inside (Kowalski is a wannabe baker), Goldstein is dismissed as being incompetent. Meanwhile, a group called the New Salem Philanthropic Society led by Mary Lou Barebone (Samantha Morton) is trying to convince people witches and wizards are practicing in America and the group wants to establish witch trials with those convicted being executed. The group points to a recent rash of building destructions done by a dark amorphous force with no apparent explanation. To complicate matters more, there is Gellert Grindelwald, a dark wizard that believes non-magical people (No-Maj’s in America, Muggles in England) should be ruled over by the magical and has been eliminating those that oppose him.

While it may not have the joy and whimsy of “Harry Potter and the Sorcerer’s Stone,” “Fantastic Beasts and Where to Find Them” does provide a pleasant entry into the adult wizarding world. It contains more magical animals than probably all the “Harry Potter” films combined along with a complex story that teases darker times to come. The entry of a younger version of a beloved character is mentioned and will likely be the focus of future films. Potter fans are probably clutching their wands in glee (which sounds dirtier than I intended).

Another pleasing aspect of the story is the introduction of a non-magical main character. While he is often comic relief Jacob Kowalski, as played by Dan Fogler, provides a relatable human character that proves helpful to his new wizard buddies frequently by accident. Kowalski also gets the first love story in this new franchise and it plays like a high schoolers first crush. It is painfully cute to see Kowalski and Tina Goldstein’s sister Queenie, played by Alison Sudol, making doe eyes at each other. Assuming the next film in the series doesn’t focus on completely different characters, it will be fun to see how a no-maj and a magical person deal with their differences as their relationship grows and as they face whatever peril comes their way next as Grindelwald is likely to be the baddie through the entire series.

The visual effects are overall spectacular with a few minor glitches. There is one particularly large beast that is featured near the end of the film and with which Newt physically interacts where the CGI was flat and the contact between the two looked awkward. Otherwise, the creatures and their effect on the physical environment is believable. The destructive force that is tearing up and through the streets of New York rarely looks the same twice and that’s the way it is meant to be as it is chaos personified. It is a great boss (to borrow a gaming term) since it is sometimes invisible, seemingly unstoppable and totally unpredictable. I look forward to seeing more magical creatures.

“Fantastic Beasts and Where to Find Them” is rated PG-13 for some fantasy action violence. People are shown being thrown around by various magical events. One character is shown shooting electrical bolts from his wand and shocking another character. A couple of people are killed by the unknown violent force and their faces are shown turned grey and with various cuts. Kowalski is bitten by one of the creatures in the suitcase. There are other scattered acts of mayhem.

“Harry Potter” fans will find much to enjoy in “Fantastic Beasts and Where to Find Them” but those who are unfamiliar with wizards, muggles, Hogwarts and the like will probably be lost and refuse to invest the time to acquaint themselves with this magical realm. That’s ok as it means more popcorn at the theatre for the rest of us.

“Fantastic Beasts and Where to Find Them” gets five stars.

Moana

Ever since she was a small child, Moana (voiced by Auli’I Cravalho) has heard the story from her grandmother Tala (voiced by Rachel House) about how the demigod Maui (voiced by Dwayne Johnson) had stolen the Heart of Creation, a magical stone, from Te Fiti, the creator of all islands. Stealing the stone leads to a creeping blackness that spreads death wherever it touches. Moana’s father, Chief Tui (voiced by Temuera Morrison) dismisses the stories as legends and urges Moana to prepare herself to become the leader of her people on their beautiful Pacific island. Between the coconuts and other crops growing on the island and the plentiful fish in the reef-protected lagoon, there is no need for Moana’s people to travel past the reef into the dangerous open ocean. But soon the coconuts and crops are turning black and there are no more fish in the lagoon. With her dying breath, Tala gives Moana the Heart of Creation that she has carried in a seashell locket around her neck and tells her to find Maui and replace the Heart of Creation to save their people.

“Moana” is an uplifting tale of facing your fear, going from being a child to an adult and learning to live with others shortcomings as they have to live with yours. In short, it’s your basic Disney animated film. It also looks spectacular and has some very nice songs as well. It’s also another Disney animated film with a strong lead character that’s a female. It won’t go unnoticed by some that the male characters are largely stubborn, unyielding and far too proud to admit they are wrong until it is shoved in their faces and they are unable to deny it any longer. While films of this nature often deal in absolutes (and in life there are none save death) “Moana” manages to dish out its message in a pleasant way without sounding too preachy.

Visually, the film is beyond spectacular. From the island vistas to the vast ocean views, “Moana” is a feast for the eyes. The ocean, which is a character in itself, sparkles and shimmers in the sun in a hypnotic way. It will remind anyone that’s been to the beach of that one perfect day on vacation. I almost felt the need for sunscreen after seeing the film. There are undersea creatures and monsters that seem to jump off the screen even in the 2D version I saw. A giant lava monster may actually be too intense a visual for some younger members of the audience as it exudes an anger and dread that is transmitted directly into the nightmare region of your brain.

While your mind is dealing with what you are seeing, there are the songs that soar with anthems of hope and a dream for a brighter future. One song, sung by Dwayne Johnson’s Maui character, is a comic showstopper. There isn’t a super catchy tune like “Frozen’s” “Let it Go” (which I’m sure will come as a welcome bit of news for parents burned out on that ear worm) the songs are fun, uplifting and pleasant in a way that might not cause hours long repeats in the car.

The voice cast is amazing with a special kudos going to Rachel House who voice Moana’s grandmother Tala. I could listen to Tala tell stories and offer advice from now until the end of time. While I doubt it will happen, I wouldn’t mind seeing a spin-off film of the adventures of young Tala narrated by old Tala. House is able to wring every bit of joy, sadness and every emotion in between from each of her lines. It’s a great performance that needs to be experienced by anyone that’s a fan of good voice acting.

“Moana” is rated PG for peril, some scary images and brief thematic elements. The grief over the loss of a loved one is shown. Violent storms are shown throwing around Moana’s canoe. There are fights between Maui and a couple of mythical creatures, including the lava monster. That lava monster is shown crawling on all fours in an effort to attack one character. There are small coconut-looking creatures that are described as pirates and killers shown attacking Moana and Maui.

“Moana” is a nearly perfect animated film with plenty for both the kids and their parents. It’s the kind of movie adults won’t mind sitting through until it is released on DVD or on streaming platforms when your children will demand to watch it over and over again. Even then for the first several viewings you’ll find little nuances in Dwayne Johnson’s performance as Maui that may keep you entertained for a few seconds. There are certainly worse films you could be forced to watch again and again.

“Moana” also gets five stars.

There’s only one new film in theatres this week. Unless something very interesting shows up at me arthouse cinema, I suppose I’ll be seeing the new horror flick “Incarnate.”

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