Spider-Man: Far from Home

Alright, let's start at the beginning one last time.

Again...

Spider-Man: Far from Home sounds like the whimper to Endgame's bang. But it's not. 

Peter Parker (Tom Holland) has a lot to deal with. There's the fact he and half the universe were vaporized by Thanos, brought back five years later and his mentor/surrogate father figure Tony Stark died to put down the Mad Titan for good. But at least he gets to go on a class trip to Europe! But Nick Fury won't let him rest. Spidey's got a mission.

The Elementals, embodiments of Earth, Wind, Fire and Water, crossed the multiverse to this dimension. Quentin Beck (Jake Gyllenhaal), aka Mysterio, is the last survivor of The Elementals' dimension. He needs Spidey's help to finish off the last Elemental. Oh yeah, Beck defeated two Elementals and fought the third by the time he met Spidey. Sounds easy. But how will Spidey balance his normal and superhero lives? There's also more to Beck and the Elementals than meets the eye.

Jon Watts returns to direct, but not write. The latter job goes to Chris McKenna and Erik Sommers, who also return from Homecoming. We think it's all about Spidey's leisurely summer trip getting interrupted by The Elementals. And it is. But it also deals with the aftermath of Thanos's 50% universal massacre, "The Blip," and its reversal. At least the affected treat it as an inconvenience. Peter also deals with Tony's sacrifice. Any semblance of simplicity is thrown out the window when Beck reveals his true colors. The mid-credit scene gives us one massive cliffhanger.

What can I say about the characters? Tom Holland is still likable as Peter. His relationship with classmate Michelle (Zendaya) is endearing. You can't blame him for not wanting to be Spidey so soon after Endgame. It's awesome to see him take charge when he has to. Peter's fellow students were a fine bunch, especially Ned (Jacob Batalon), Flash (Tony Revolori) and new character Brad (Remy Hii). Jon Favreau as Happy Hogan makes a great mentor figure for Peter.

Here's where I talk about Beck. We first know Beck as an easygoing man with a troubled backstory. But then, the facade fades away to reveal a narcissistic sociopath. He'll threaten his colleagues as easy as he'll praise them. His pettiness alone makes him as dangerous as Thanos. His illusion powers lead to some nightmarish, though somewhat overlong, sequences. They're the visual highlights of the film, especially when Mysterio tops one trick with another.

Overall, Spider-Man Far from Home is a strong follow-up to not just Endgame, but Into the Spider-Verse. We get some great comedy and action for its 129 minutes. It has more tricks up its sleeve than its trailers let on. Anyone familiar with Mysterio might have suspected already. But how they explain Mysterio's methods and motivations is impressive. Even the end credits scene gives us one last surprise.

 Bring on the next movie.

Toy Story 4

Bo the Pig gets this summer's latest sequel.

Really? I thought Toy Story 3 was it. The last one. It ended so perfectly. I thought it was a silly joke when the Muppets mentioned it in Muppets Most Wanted. But we finally have Toy Story 4. And after all my misgivings ... it's actually pretty good. 

At least, I think that's what Jethro will say.

Yes.

Yay.

Woody (Tom Hanks) and Buzz (Tim Allen) and their plastic friends get plenty of playtime with their new owner, Bonnie. Or rather, everyone but Woody has. Bonnie prefers cowgirl Jessie (Joan Cusack) to be the sheriff of playtime. Woody still tags along with Bonnie to her kindergarten orientation day. He gives her the materials to make a friend - Forky the spork figure. Forky becomes her favorite toy.

Once Forky (Tony Hale) becomes sentient, he tries to trash himself. Every day, every minute. He finally makes a break for it when Bonnie and the folks go on a road trip. Woody pursues him, and they come to a small town antique store. An old doll named Gabby Gabby (Christina Hendricks) wants Woody for his voicebox to replace her broken one. They make a run for it but only Woody gets out.

Bo Peep (Annie Potts), who we saw given away at the start, comes to Woody's aid. A new bunch of toys, including Canada stuntdoll Duke Caboom (Keanu Reeves) and Ducky and Bunny (Key and Peele), tag along. But they better hurry, for Bonnie has noticed Forky's absence.

Jethro, go.

The film marks the directorial debut of Josh Cooley, who collaborated on Inside Out's screenplay. He and his seven co-writers find ways to top Toy Story 3's "concise ending." The existential crises the toys face are dramedic. Woody's feelings of obsolescence is relatable. Forky's runs for trash cans are subtly sad, but his over-persistence borders on hilarious. Bo, at least, has a purpose in life. And while Gabby Gabby starts off as a little creepy, she turns out to be sympathetic. The film's climax is about as emotional as Coco's, though we have the veteran toys messing with Bonnie's dad's RV.

The film's 100 minutes start off with a strong prologue. In it, Woody and the other toys team up to save RC the Car from going down a storm drain, while a man comes for Bo Peep. Editor Axel Geddes keeps us on edge for those first few minutes and beyond! The film's running gags, including Forky's trash runs and Ducky and Bunny's imagine spots, grab our attention. The climax, as previously mentioned, is an emotional rollercoaster.

And of course, we have a great soundtrack by Randy Newman. It's highlighted by a catchy, yet poignant song called I Can't Let You Throw Yourself Away. Another song, The Ballad of the Lonesome Cowboy, is the highlight of the ending credits. Speaking of the end credits, stay for the first half to see a nice epilogue.

Toy Story 4 is a welcome sequel which we never know we wanted. But for the sake of brevity, let's hope that this is the final, final Toy Story. We don't need a Toy Story where the toys really do get thrown into an incinerator. This Toy Story, meanwhile, is a strong human parable in toy form. Humans of all ages can relate to these plastic characters and their emotional struggles. See it now.

Late Night

Daisy Mae the Sheep gets to introduce the next film.

Thank you, Jethro, thank you kindly. Tonight's movie is Late Night, the first feature film written by Mindy Kaling and the second movie this month starring Emma Thompson. Or, first; depends on when you see it. 

Katherine Newbury (Thompson) is the pioneering host of her own late night talk show, Late Night with Katherine Newbury. After twenty-eight years, she's gone so out of touch with contemporary viewers that her ratings are falling. She's less receptive to her all-male writing staff. She even fires a writer because he asked for a raise to support his growing family! 

Katherine decides to fill the void with her first woman writer. Said first woman writer is Molly Patel (Kaling), a chemical plant worker from Pennsylvania. Katherine and the other writers aren't exactly welcoming. But Molly is determined to prove to them that she's not a "diversity hire."

Meanwhile, station boss Caroline (Amy Ryan) decides to replace Katherine with a younger, hipper man named Daniel Tennant (Ike Barinholtz). Katherine decides to listen to Molly and adjusts her show to the times. Things go great until Katherine is caught with writer Charlie (Hugh Dancy).

And why do I have to give it to you?

It's my blog.

Fine. 

Nisha Ganatra, who, among other works, previously directed episodes for shows such as Transparent and The Mindy Project, sits in the director's chair. Kaling's screenplay is lighthearted, but the humor has a deep point. We can understand how unfair societal double standards are with Kaling's skewering of the late night production process. Katherine's first attempts at contemporary humor are painfully stale. But she comes around when she spins a routine mocking her career opportunities as a woman of her age.

Let's continue with Molly herself. Her first scene has her recite Yeats, optimistic about her dream job, but gets a trash bag thrown at her by a careless garbageman. She may, by her own admission, have no experience in TV, but she's ready to work for the job and prove her naysayers wrong. It's a bumpy road, but it works out in the end.

Thompson is great as Katherine Newbury. She's not exactly a people person, as her dismissal of the unlucky writer makes clear. She nearly fires Molly for skipping a meeting until she sees it's for a stand-up fundraiser. Her ice queen persona melts soon after. We see her as a self-loathing wreck with an imperfect marriage to Walter (John Lithgow). It's easy to miss the signs of the affair between her and Charlie. But her reconciliation with Walter and her owning up to the affair is awesome.

What else can I say? Amy Ryan and Max Casella (as showrunner Burditt) are standouts of the supporting cast. But the biggest standout is Lithgow as Walter, a loving man with secrets of his own.

Let's wrap it up. Late Night stands out in the crowded summer movie season. It'll give you an idea of how stressful and rewarding television is. It also gives you much to think about societal double standards. Tune into Late Night if this summer's current sequels and re-dos won't do. To quote Katherine's sign-off phrase, I hope it earns the pleasure of your time.

Men in Black: International

This time, the co-hosting duties fall to Buck the Duck.

Will Smith and Tommy Lee Jones took charge as the Men in Black for three films. But it's time now for some new agents to protect the Earth from the scum of the universe. Tessa Thompson and Chris Hemsworth are those agents, and they are part of Men in Black: International. 

Molly Wright (Thompson) wants to join the Men in Black. One night in 1996, she saw them mindwipe her folks and met a fuzzy alien. So she hopes the MIB will give her the answers to life, the universe and everything. One day, she finally tracks down their headquarters. Agent O (Emma Thompson) gives Molly a chance and sends the newly minted Agent M to MIB's London Branch. M is introduced to the Branch's best agent, Agent H (Hemsworth) and the chief, High T (Liam Neeson).

This time, the MIB have to keep a potential solar-system destroyer cannon from evil hands. Twin cosmic energy assassins (Larry and Laurent Bourgeois) want it for their masters, the body-snatching Hive. Vungus the Ugly (Kayvan Novak), a royal party animal, had it for safe keeping, but the Twins killed him. M has it now. She and H have to keep it away from the Twins and other villains. One of them is a mole within the MIB.

And now, over to Jethro, to review it.

Yes.

New director F. Gary Gray works from a script by Art Marcum and Matt Holloway. It's a good script that could've been better. The film's 115 minutes are nicely paced as it moves from New York to London and more. It plays a great guessing game with the mole's identity. The revelation of their identity is executed wonderfully even if it should be obvious. It shines a new light on the film's opening battle on the Eiffel Tower. There was a plot point with Earth facing destruction should something happen to Vungus. Spoiler Alert: nothing comes out of it.

A lot comes out of Agents H and M. Agent H, in particular, starts out as an egotistical clown. But we find he's a competent clown with dark secrets, including one hidden from him. Meanwhile, Agent M is a smart character who sometimes gets in too deep (i.e. joining Vungus's security detail when she's not that fluent in his language). But she's a quick learner. Our leads' chemistry is entertaining and it gets better when the sarcastic Pawny (Kumail Nanjiani), an Alien Chess Pawn, joins them.

Now for the aliens. The film eschews the franchise's usual practical makeup and puppets for digital aliens. They mesh with the live-action actors pretty well. The one exception was a purple time-controlling alien, whose one scene, I'll admit, was amusing. The Twins don't have much personality and barely speak. But their true cosmic energy forms are scary. The Mole's true form is a creepy plant monster. Riza (Rebecca Ferguson), a three-armed arms dealer, made for a memorable one-scene antagonist. Her bodyguard, Luca (Spencer Wilding), was also memorable. The film also sees a cameo by Frank the Pug (Tim Blaney).

Another technical highlight is production designer Charles Wood for visualizing the MIB's London headquarters and the Eiffel Tower's secret room. The alien gadgets and weaponry were wonderfully unique. Danny Elfman and Chris Bacon's score made great use of the first film's theme. Cinematographer Stuart Drybaugh gives us some stunning imagery of the film's international settings. One establishing shot of New York was so pristine it was surreal. In other words, it's a visually and aurally appealing film.

Men in Black: International is an entertaining film for an afternoon matinee. Its lead Agents make up for any narrative shortcomings. Its expansion of the franchise makes for interesting worldbuilding. See it at least once. You might not need to get mind...

Get that thing out of my face...

The Secret Life of Pets 2

For the rest of June, I've decided to give a guest co-spot to characters from my debut poem, http://jethrotcat.blogspot.com/2019/03/the-original-jethro-cat.html. Vance was in the last review, and here is Baxter the Dog.

Howdy, fellas. Baxter here. My first collaborative review is on The Secret Life of Pets 2. It's a sequel to that animated movie from three years back. Let's get to describing it.

Max (Patton Oswalt, replacing Louis CK due to certain circumstances) and Duke (Eric Stonestreet) the dogs love their human, Katie. But then, she brings home another human, Chuck, and then, a littler human, Liam. The dogs love Chuck, but aren't certain about Liam. But they warm up to him. Max gets so overprotective of Liam that he starts itching. Then, the whole family goes upstate to a farm. Max meets Rooster the Sheepdog (Harrison Ford), a gruff old guy who teaches him courage.

Meanwhile, Gidget the Pomeranian (Jenny Slate) loses Max's favorite squeaky toy in a cat lady's apartment. Chloe the Cat (Lake Bell) teaches Gidget how to be a cat so she can infiltrate the place.

And also, meanwhile, Snowball the White Rabbit (Kevin Hart) decides he's a superhero. Daisy the Shih Tzu (Tiffany Haddish) asks "Captain Snowball" to help her save a white tiger, Hu, from an abusive circus ringmaster, Sergei (Nick Kroll). Liberating the big white cat's easy; hiding him is another issue. 

Do you want to review now?

Yes.

OK

It's only 86 minutes, but it feels longer than that. Its three storylines would make great shorts. But they slow the plot down when it switches between them. That's because there aren't that many looming stakes until the end. That's when Sergei shows up at the Pets' neighborhood to find Hu. Still, the resulting climax on Sergei's train is a fun romp. Any more positives?

Unlike the first film, there were a few surprises the trailers didn't spoil. Snowball and Daisy's rescue of Hu involves a silly battle with Sergei's guard wolves at the circus. Where Hu ends up was blackly hilarious. The Cat Lady is more proactive than we think. And finally, the "main storyline" with Max and Duke showed their bonding with Liam in a great montage. They're pretty stable when Liam goes to Pre-School for the first time - unlike his parents.

For the new characters. Daisy's assured and commanding presence made her the best new character. It's a shame we didn't get to see her normal life. Sergei is a vile villain, but the film doesn't let him go even further. At least he got humiliated in the end. Rooster was fine. Just fine. The Cat Lady's cats were a fun and eclectic bunch of kitties. The pets Max meets at the Vet's lobby - including the pyromaniac cats - were creepy and hilarious. 

Its narrative bark is still quieter than its bite; but it still tries to bite. You'd be surprised with the risque humor from returning character Pops the Basset Hound (Dana Carvey) and his obedience school pups. Still, if you're in the mood for The Secret Life of Pets 2, it's an OK matinee to start the actual summer with. Don't expect too much before you go in and you'll do fine.

Dark Phoenix

This is Vance. I haven't collaborated on a review in years. I don't know if the review aged well, but here. 

Anyway, I'm here now to talk about what may or may not be Fox's last X-Men film. That depends on if the absurdly long-delayed The New Mutants finally sees the light of day next April. Right now, we have Dark Phoenix (notice no X-Men in the title), which sees the directorial debut of the franchise's longtime producer and writer, Simon Kinberg. 

It's 1992. The X-Men have given mutants a good name with their superheroics. One day, they're called to save the Space Shuttle Endeavour from calamity. Nightcrawler (Kodi Smit-McPhee) plucks out the crew, but Jean Grey (Sophie Turner) has a close encounter with the space oddity that wrecked the shuttle. She returns with a major boost to her psychic powers and is subsequently nicknamed "Phoenix." But that's not the only thing that comes back.

It turns out Professor X (James MacAvoy) sealed some of Jean's traumatic childhood memories. Jean realizes what's up and she's mad. A melee at her childhood home leaves one of the X-Men dead. Thus, the cause of mutant rights is set back a good twenty-forty years, while the X-Men are split between saving her or killing her in revenge.

Meanwhile, alien body-snatchers called the D'Bari show up. Their leader, Vuk (Jessica Chastain), wants Jean's new power to rebuild their world. On Earth. She says she wants Jean to be her own free person. But that's not true. The X-Men and Magneto (Michael Fassbender) have to be on the same page to stop them and save Jean.

This is Jethro. And I'm here to review the film.

Kinberg's screenplay adapts a comic storyline previously done in X-Men: The Last Stand. Its overall plot is focused, even if it's a bit long winded. But some plot threads get less focus, perhaps due to its protracted production. A major offender is the the threat of mutants getting placed in internment camps after Jean goes wild. The internment camp idea almost never comes up again. Meanwhile, Jean's appeal to Magneto to help her control her violent urges goes nowhere. Magneto and Beast (Nicholas Hoult) get revenge-happy too fast. So where did it go right?

Well, it starts with the X-Men as public superheroes. It's great progress for mutant civil rights, which is something Professor X acknowledges. Too bad it's set back haphazardly. What else did it do right?

The visuals, of course. The opening shuttle mission is a great display of X-Men teamwork. From Nightcrawler's teleportation ability to Quicksilver's (Evan Peters) superspeed, the X-Men get to shine. Cinematographer Mauro Fiore's outer space imagery needs the largest screen possible. The final train battle between the X-Men and the D'Bari makes for a long, memorable battle. There were some signs of progress in aging characters like Professor X and Magneto; subtle, but still there. 

Dark Phoenix promises the end for the current cinematic X-Men. It's not perfect but it was hardly boring. Its opening shuttle scene made the 116 minutes worth it. Right now, I am hoping that The New Mutants is finally released, so that all the mystery leads to something. Let's see how Marvel can reinvent its mighty mutants for their Cinematic Universe.

Rocketman

Last fall, Dexter Fletcher stepped in for Bryan Singer to finish Bohemian Rhapsody. His newest film, Rocketman, is another biopic of a glamorous 70s British rock star, namely Sir Elton John. Let's see the end result.

As a child, Reggie Dwight (Kit Connor/Matthew Illesley) was a musical prodigy raised by his loving grandma Ivy (Gemma Jones) and cold mother Sheila (Bryce Dallas Howard). His father, Stanley (Steven Mackintosh), wasn't a real family man, to say the least. Ivy encourages him to study at the Royal Academy of Music. He soon goes from shy Reggie Dwight to showman Elton John (Taron Egerton).

Elton is teamed up with lyricist Bernie Taupin (Jamie Bell). He also meets manager and lover John Reid (Richard Madden), who introduces him to sex, drugs and too-much rock'n'roll. Elton's excessive lifestyle threatens to wreck his personal relationships. Sheila, in particular, warns him he'll never find true love. Can Elton rebound?

Spoiler warning: He's still standing.

Lee Hall's screenplay is a jukebox musical with Elton's greatest hits. It starts with Elton rushing to AA in full devil costume, then tells us how he got there. That's like a lot of biopics. But most of them don't have fantastical musical numbers like Rocketman. The highly-stylized numbers show off editor Chris Dickens and the visual effects' team's technical prowess. My personal favorite is the wild Pinball Wizard, which Elton performed in Tommy. The real-fantastical blend makes me think of what Nine could've been if it was styled on 8 1/2 instead of Chicago.

The film's other top selling point is Egerton as Elton John. He's seamlessly both a confidant showman and self-loathing mess. His wild costumes (designed by Bohemian Rhapsody's Julian Day) mask his personal issues. During the title number, we see him running on fumes on-stage after a drug-induced suicide attempt. His personal drama drags the fun factor down, but his return to glory is crowd-pleasing. Egerton's renditions of Elton's songs are as dynamic as the real man.

The rest of the cast perfectly fit their roles. For instance, Madden's Reid is a ruthless svengali, while Howard and Mackintosh are capably cold and distant parents. Another highlight of the supporting cast is Tate Donovan as Doug Weston, the owner of the Troubadour nightclub, where Elton got his big break. Weston's laidback and funny persona were most welcome.

Rocketman is not exactly a cheerful musical biopic. Its intense drama might turn off some viewers, young and old. But they'll soar when things get musical. It's sure to get people interested in Elton John and, by proxy, Tommy. It's gotten me interested in a possible stage version. It feels like a stage musical. It might be a great one.

Godzilla: King of the Monsters

Five years after his last Hollywood film, Godzilla is back in Godzilla: King of the Monsters. Director Michael Dougherty and his co-writers, Zach Shields and Max Borenstein, have created a certifiably colossal sequel. Let's see how it is.

Scientists Mark (Kyle Chandler) and Emma Russell (Vera Farmiga) lost their son, Andrew, during Godzilla's brawl with the MUTOs in San Francisco. Both work for Monarch, the organization which researches Godzilla and other Giant Monsters called Titans. They're also divorced. Their daughter, Madison (Millie Bobby Brown), lives with Emma at a Monarch research facility. Emma created a device called the Orca, which communicates with Titans with sonic frequencies. Emma tests it on a newborn Titan Caterpillar, Mothra, before she and Madison are nabbed by Eco-Terrorists.

The main bad guy, Alan Jonah (Charles Dance), wants Emma to help him release the ominous three-headed dragon Ghidorah, aka "Monster Zero," from ice. Emma is all too willing to help him. Mark is recruited to help Monarch stop them. Godzilla shows up to fight Ghidorah for Titan supremacy. A bunch of Titans awaken, including Rodan, the Pteranodon.

Emma thought the Titans could save the world from man-made destruction. But that has nothing on the monstrous weather Ghidorah causes with his presence. It's up to Godzilla to stop Ghidorah, but he needs an atomic boost to do so. Mothra is there to lend a wing for the fight.

The film delivers on its Titanic promises. Godzilla and his Titan co-stars appear early and often compared to the 2014 film. There's plenty of city destruction in their colossal brawls. Basically, a classic Godzilla movie for the 21st century. The human stories are often dwarfed by their Titan co-stars. Emma suffers the worse, for her allegiances change too quickly and unclearly.

Now for the technical aspects. Cinematographer Lawrence Sher gives the main Titans an individual theme color. It's a marvelous sight when these colors come front and center. Case in point is Mothra's emergence as a Moth, illuminated by green luminescence. Bear McCreary's stunning arrangement of her classic theme by Yuji Koseki helps a lot. The rest of McCreary's score suits the Titanic visuals. A highlight is the arrangement of Akira Ifukube's Godzilla Theme at the end credits.

The Titans' designs are great. Sure, the old man in a rubber suit routine is classic, but the CGI Titans are intimidating, towering beasts. Godzilla himself is as formidable as he was in 2014. Wait till you see the climactic fight. Ghidorah's visage and the "Category 6" hurricane he brings makes him a living nightmare. Special credit goes to the three motion capture actors who play his heads, each with its own personality. Rodan's emergence from a volcano is as formidable as his magma body. Mothra is great as a Caterpillar and a Moth. My favorite minor Titan is the Behemoth, a Mammoth/Ape hybrid.

Godzilla: King of the Monsters is a strong monster mash. Anyone looking for a sensible plot may have to look elsewhere. But come on down if you want plenty of giant monster fights. While it could've developed its human characters better, there were some moments that stood out. To elaborate would spoil. It's a good matinee as long as you're in the right mood.

Stay through the credits to see some hints into Godzilla's future. That includes his impending showdown with King Kong.

Booksmart

So I was looking for a movie this past Memorial Day. I thought the choice was between Brightburn and John Wick: Chapter 3. But I was curious and picked a third option, Booksmart. This marks the directorial debut of Olivia Wilde and the realization of a screenplay by Emily Halpern, Sarah Haskins, Susanna Fogel and Katie Silberman. Was it worth it? Read on to find out.

Amy (Kaitlyn Dever) and Molly (Beanie Feldstein) are overachievers and proud of it. Why shouldn't they be? They're going to Ivy League! But on their last day of high school, Molly finds out that her slacker classmates are also going to Ivy League. Molly realizes how little she and Amy had fun during high school. So Molly decides to bring Amy along to the cool kids' party. All they know is that Molly's crush Nick (Mason Gooding) is hosting it and Amy's crush Ryan (Victoria Ruesga) will be there.

But they don't know where "there" is. Much of the movie is their odyssey across Los Angeles to locate Nick's house. A series of rude awakenings await them once they get to Nick's. And it all plays out for 105 minutes.

It's certainly a crazy odyssey. But it does wonders to dispel the notion that first impressions are everything. I've already mentioned the inciting incident. But there's one of the best supporting players, Jared (Skylar Gisondo), a seemingly shallow rich kid. He turns out to be a good guy despite his shallowness. His best friend, Gigi (Billie Lourd), the comic highlight, is too loopy to be a snobbish rich kid. Molly and Amy even learn more about their teacher, Ms. Fine (Jessica Williams) and their principal, Mr. Brown (Jason Sudeikis).

Molly and Amy are a likable pair of co-leads. Their whole night is a collective coming-of-age story. While Molly learns not to be so domineering, Amy learns to be assertive. They make some fumbles and utterly stupid decisions, but they never lose their audience sympathy. Their second act fight is devastating even when the film mutes their harshest words. Their reconciliation leads to one last crazy escapade.

Editor Jamie Gross show us how crazy it is. Molly and Amy's classmates end their last school day with wild partying before their parties. The girls' first stop, Jared's party, ends with a frantic encounter with Gigi and a security guard. Their next stop finds them thrust into a murder mystery party and a bonkers drug trip. Nick's party has an impressive tracking shot, which begins with Amy swimming in the pool and ending with her quarrel with Molly. Jason McCormack's cinematography is also highlighted by an alluring color scheme. Dan the Automator, best known as a producer for the Gorillaz, sets the movie to an energetic score.

Booksmart's an insightful story of teenage confusion and frustration. It's also a wild and sometimes odd film. You'll have much to learn if you can withstand the craziness. See it if it's playing locally. It's worth it. Let's hope it's not ignored early next year like last year's Eighth Grade ultimately was.

Aladdin

I'll bet you know about Aladdin and His Wonderful Lamp. But did you know Aladdin had two genies in Arabian Nights? One in a lamp and the other in a ring. So when's the Genie of the Ring gonna get his time in the spotlight?

Answer: not this year.

Disney's Aladdin is its latest live-action remake. It has only one Genie, he of the magic lamp, and he is played by Will Smith. Director Guy Ritchie and his co-writer, John August, conjur up an entertaining spin on an old story. It has some issues, but they're easy to overlook.

Aladdin (Mena Massoud) is a "street rat" in Agrabah. He meets a disguised Princess Jasmine (Naomi Scott), who passes herself off as her own handmaiden. Aladdin sneaks into the palace to see her again. That's when he's arrested and brought before Grand Vizier Jafar (Marwan Kenzari). Jafar needs Aladdin to retrieve a magic lamp in the Cave of Wonders. He does, but Jafar traps him in the Cave.

But at least Aladdin has the lamp. The Genie inside gets him out. Aladdin wishes himself to be a prince to win Jasmine's heart. He succeeds despite a few fumbles. But he doesn't want Jasmine to know that he's not a prince. That drives a wedge between him and Genie. In steps Jafar, who wants Genie to help him conquer Agrabah, and then, the World! Aladdin has to stop him from winning.

It's hard to imagine anyone but Robin Williams as Genie. But Will Smith's Genie fills the void spectacularly. He's a fun character whether he's subdued or in manic mode. He's also a capable mentor for Aladdin. His CGI-induced Blue Form is surprisingly easy on the eyes. The screenplay gives him a love interest in Jasmine's actual handmaiden, Dalia (Nasim Pedrad). Dalia, herself, is a great new character and her chemistry with Genie is endearing. The film's framing device tries to hide the identity of its narrator and his family, but it's beyond obvious it's them once you see them.

What about the rest of the cast? Mena Massoud is a capable Aladdin; sly and honest, he gets the audience's favor right away. Not even his second-act selfishness diminishes the "diamond in the rough." He has great chemistry with Naomi Scott's strong-willed idealist Princess Jasmine. Marwen Kenzari's Jafar is a formidable and intimidating foe. Billy Magnussen plays another new character, Prince Anders, a suitor for Jasmine, a dunce who barely plays a part. Navid Negahban has a much bigger part as the Sultan, a sympathetic man despite his stern ways. Numan Acar and Robby Haynes also stand out as the Sultan's main guards, Hakim and Razoul.

Alan Menken's score mixes some new material with his original work. The songs' arrangements are more extravagant than the original film's. They sounded too much at first but I got used to them overtime. Benj Pasek and Justin Paul revise some of Howard Ashman and Tim Rice's original lyrics and add a new song for Jasmine, Speechless. It's a strong ballad for Jasmine, though its reprise stalled the film rather than support it.

And for some technical highlights. The editing is fast-paced but it's not as frantic as Legend of the Sword. At least it fits with the fast paced music. Production Designer Gemma Jackson and Costume Designer Michael Wilkinson create the bright, colorful Arabian world of Agrabah. Every color stands out spectacularly. The CGI and Practical sets complete the film's visually appealing setting.

What else can I say? Aladdin's plot points are familiar but their executions aren't. It was intriguing to see these new ideas play out. There's rarely a dull moment or a baffling one during its 128 minutes. You can thank the all-mighty Genie for much of that. Oh yeah, and the leads too. Now let's see how this theoretically live-action The Lion King will do.

Pokemon: Detective Pikachu

I haven't kept up with Nintendo's ever growing list of Pocket Monsters in their Pokemon series in years. I don't even have a Nintendo 3DS to play the latest games. But I still have some interest in the franchise. Pokemon: Detective Pikachu, based on a 3DS game, helps that interest.

So Tim Goodman (Justice Smith) is an ordinary insurance salesman in a world of superpowered Pokemon. His dad, Harry, a detective, is killed in a car crash. Tim leaves Leaventown for Ryme City to settle Harry's affairs. Tim meets his dad's Pikachu, whose perfect English (vocalized by Ryan Reynolds) only he understands. Everyone else hears him squeak his own name (courtesy of his longtime anime voice, Ikue Ohtani). Pikachu is certain that Harry's not dead, so he and Tim set out to solve the mystery.

Joining our heroes is news intern Lucy Stevens (Kathryn Newton) and her permanently-migrained Psyduck. Their investigation leads to "R," a substance which makes Pokemon stronger and feral. It leads to a conspiracy involving Ryme City's founder Howard Clifford (Bill Nighy) and the clone Pokemon Mewtwo (Kotaro Watanabe and Rina Hoshino). Meanwhile, Harry is a lot closer than our heroes realize.

The film's screen story/screenplay is credited to five writers: Nicole Perlman, Dan Hernandez, Benji Samit, Derek Connolly and director Rob Letterman. It's not a complex mystery but it tries. There's plenty of surprising twists and turns as our heroes investigate the conspiracy. There's also a bit of funny detective satire from Detective Pikachu and Lucy's mouths. The villain's endgame is equally silly and creepy. There are a few plot holes but they're easy to navigate around.

And how about the cast? Tim is a likable protagonist. Detective Pikachu is a fun electric mouse. Their chemistry together is entertaining and involving. Their "all is lost moment" in act 2 is somewhat cliche but it's also effective drama. Lucy and her Psyduck are endearing. Clifford is fine. But it's Mewtwo who's the best of the main cast. Of the overall cast? A Mr. Mime, who factors in a goofy interrogation scene.

Let's talk about the technicals. The CGI Pokemon look and feel real. Detective Pikachu, in particular, is as realistically furry as a dog-sized mouse might be. His expressive face bypasses the uncanny valley at lightspeed. Any too obvious effects actually works for the film's advantage. Want an example? The villain's shapeshifting Pokemon Ditto and its creepy eyes present in every form. Production Designer Nigel Phelps deserves praise for making Ryme City out of London. Cinematographer John Matthieson's use of color results in an alluring film noir. The sound designers' best work is fusing Watanabe and Hoshino's voices into the unearthly voice of Mewtwo. Henry Jackman's score fits the film's relatively dark and mysterious tone.

Pokemon: Detective Pikachu requires some familiarity with the franchise. But it won't punish you for unfamiliarity unlike some other video game movies. You'll leave with a basic understanding of the Pokemon world. The film's attention to detail will wow longtime fans. Its 104 minutes go by quickly, perhaps too quickly. I'm ready for a sequel, but I question how they'll handle the film's final twist. 

But until then, at least we have the model for future game movies to build upon. Perhaps the first, true great video game movie is on the horizon. Maybe not this year.

Avengers: Endgame

As Dr. Strange said last year in Infinity War, "We're in the Endgame now."

Actually, no. Avengers: Endgame may sound like the end, but it's not completely. Spidey comes back in a few months in Spider-Man: Far From Home. A few Marvel sequels and newcomers appear in the next few years. And who knows what else?

Let's give Strange some credit. These next Marvel movies will come with a new status quo. Let's read why ... and not give away too much.

Thanos the Mad Titan fulfilled his master plan to assemble the six Infinity Stones and dust off half the universe. The Avengers, and Captain Marvel, assemble to take down Thanos, get the Stones back and undo his mess. But Thanos already destroyed the Stones. Uhh...

Five Years Later, Ant-Man suddenly returns from the mysterious Quantum Realm. His time there gives The Avengers an idea to clean up the cosmic mess. They'll just go back in time, swipe the Infinity Stones, come back to the present and wish back the dead. Easy?

No. Among other issues, Black Widow and Hawkeye learn the price for obtaining one stone, while Ant-man, Captain America and Iron Man find their stone quests complicated by themselves, and evil follows them to the present.

The film's gargantuan length of 182 minutes sounds intimidating. But it's worth every minute. The first act lets The Avengers reflect on their lives as they cope with the mess. We're introduced to such sights as an overweight Thor and a smarter Hulk (long story). The second act splits up our heroes as they go back to The Avengers, Thor: The Dark World, and Guardians of the Galaxy to find the Infinity Stones. The third act is one last battle with the Mad Titan and his Army. It must be seen to be believed.

So what stands out? Directors Anthony and Joe Russo and their technical and story Marvels deserve praise for syncing the new story with the previous movies. The past characters don't look any older than they did then. The editing is just great. "The Avengers" part gives a nice expansion of the story post final battle. Iron Man, Captain America and Ant-Man's trip to the 70's gives us one last Stan Lee cameo. The new insights into Thanos almost makes me want to take back any benefit of the doubt I had last time. And, of course, the final battle gives everyone much to do.

Avengers: Endgame, more than any other Marvel movie, requires knowledge of the past 21 movies. Even if said knowledge is to know where certain characters come from. Those films all built up to its final battle and it's worth every minute. The resolutions to its long standing characters are sentimental and powerful. It provides some ideas on where to take the next films. But how will they top this galaxy-spanning adventure? Then again...

Oh, and go home once the credits start. There's nothing during or after the credits. You can stay if you want, though. You'll hear more of Alan Silvestri's score if you do.

Hellboy

Mike Mignola's demonic superhero Hellboy was first summoned to the big screen by Guillermo Del Toro's 2004 film and its 2008 sequel, Hellboy II: The Golden Army, both starring Ron Perlman as the titular jerk with a heart of gold. Unfortunately, a third film with Del Toro and Perlman never arose. The franchise starts again with Neil Marshall (The Descent) directing David Harbour as Hellboy. Let's read about it.

1944. An Allied Strike Team thwarts a Nazi ceremony, with assistance by Rasputin, to unleash Hell on Earth. A demonic infant appears and Professor Trevor "Broom" Bruttenholm (Ian McShane) raises the hell-spawn as his son, Hellboy. Of course, Hellboy doesn't learn this tidbit until...

Present Day. Hellboy works under Professor Broom in the Bureau of Paranormal Research and Defense. Guess what it does?

Anyway, Hellboy's latest assignment is to stop Nimue the Blood Queen (Mila Jovovich) from unleashing Hell on Earth. King Arthur ("Yes, that King Arthur." as Broom's narration bluntly states.) cut her up and scattered her still living body across the English countryside. But the pig monster Grugach (Body by Douglas Tait, voice by Stephen Graham) put her back together. Hellboy is assisted by the psychic Alice Monaghan (Sasha Lane) and the were-jaguar Ben Daimio (Daniel Dae-Kim). It gets complicated when Nimue goads Hellboy into fulfilling his prophesied role as Harbinger of the Apocalypse.

I did my best to sum up the story. It's a simple story jumbled in knots. A major subplot is that Hellboy doubts that fighting demons is right and that demons are victims. But it takes a trip to the infamous Baba Yaga's chicken-legged hut to find out that demons are evil. But Grugach's backstory as a Changeling makes him legitimately sympathetic. In short: demons aren't evil, then they are; OK, maybe some.

The film runs 121 minutes, but the plot is slower than that. Hellboy is summoned to England, not to deal with Nimue, but to help the snobbish Osiris Club hunt giants. It's actually a protracted trap. We only find out later they had the last of Nimue's pieces. But again, later. We do get other story points told here, though.

The worst offense to the story is Hellboy and Professor Broom's relationship. They spend most of the movie arguing like a rebellious teen and their parents. It's funny but not really endearing. When Nimue eventually kills Broom, a potentially tragic moment falls flat. Especially when it segues into more of the apocalyptic finale already in progress. Wish we saw more of Broom's Heart of Gold a little earlier than that.

Harbour as Hellboy, at least, tries to save the film. His first scene has him deal with a vampirized BPRD agent. We can understand his hesitation from here. If only the story was more understandable. Still, his sarcastic attitude is entertaining and his over-joyous reaction to meeting pulp hero Lobster Johnson (Thomas Hayden Church) in the mid-credits scene is infectious. Joel Harlow deserves whatever praise he gets for designing Hellboy's appearance and those of the other demons.

Lorenzo Senatore's cinematography is another technical highlight. Sure, the fight scenes frequently jump from cut to cut. But when the shots stay still, and especially when they're stitched into one singular shot, they're impressive. Grugach is a mix of a practical monster suit and a CGI head. The CGI is obvious but it helps make Grugach more pitiable. Benjamin Wallfisch's score admirably sets the film's edgy mood. But the numerous rock songs are more noticeable.

And how can we forget Hellboy's R-Rating? It shows it off like a badge of honor. Hellboy's visit to Baba Yaga is the film's most disturbing scene. And I don't just mean Baba Yaga's withered visage. The apocalyptic finale is the second most disturbing scene. We'll leave it at that. Some of the violence loses its luster, especially by the third or fourth beheading. At least we get a groan-worthy pun when Hellboy dispatches Nimue.

I said a lot, so I'll make the summary quick. Hellboy isn't for the faint of heart. It might satisfy those who felt the first films needed more blood. Its overemphasis of blood left me little to care about the characters. But the few positives I found made it tolerable. Let's not imagine how it could've gotten worse.

Missing Link

Are you Yeti for more Yeti movies? Well, Yeti or Not, here they come. Two, in fact.

One by Dreamworks, Abominable, debuts this fall. You'll likely see its trailer with the other, Missing Link, right now. Missing Link is another Laika spooktacular. See it before Avengers: Endgame is afoot.

Here's why:

Sir Lionel Frost (Hugh Jackman) travels the world investigating myths and legends. After his attempt to document the Loch Ness Monster goes awry, Frost finds a letter that seemingly validates the Sasquatch. He goes to Washington State and finds the letter was written by the creature himself. "Mr. Link" (Zach Galifianakis) is tired of living alone and asks Frost to help him find his cousins, the Yetis, of Shangri-La. Frost wanted to find Mr. Link to get into a snooty Gentlemen's Club. But he helps Link go to Shangri-La.

It's not an easy trip. The guys first steal a map belonging to a late pal of Frost's. Said pal's wife, Adelina (Zoe Saldana), joins them. The snooty Lord Piggot-Dunceby (Stephen Fry) doesn't want Frost to embarrass high society with his quests. So he sends an assassin, Willard Stenk (Timothy Olyphant), after Frost and Co. There's also the chilly reception our heroes get at Shangri-La.

Chris Butler directed, wrote and designed the characters for this tale. Frost's first scene sets him up as an insensitive jerk. His valet, Mr. Lint (David Walliams), understandably quits after he almost becomes Nessie food. But Frost isn't as unlikable as the snooty hypocrites of the Gentlemen's Club. His interactions with Mr. Link and Adelina show him as a Jerk with a Heart of Gold.

Meanwhile, Mr. Link's literal mindedness is a lot of fun. But we understand his loneliness and sadness. His interactions with Frost and Adelina help him find meaning. Adelina's desire for adventure is understandable. Her resolution with Frost is fulfilling and atypical. Overall, the leads have believable character development.  Their story is told over a slow and steady 95 minutes.

Amongst the supporting cast, the best has to be Shangri-La's Yeti Elder (Emma Thompson), who might have said the greatest oxymoron in film history: "The people we don't want here are trying to leave! Force them to stay!"

Missing Link's monsters and humans have equally exaggerated and appealing designs. The film's production design is brighter than the creepy look of Laika's other films. The CGI additions to the practical sets are perfectly blended. But the visual star of the film is cinematographer Chris Peterson. He gives the film astounding views of the scenery. It's his tracking shots that make the action scenes into incredible set pieces.

Missing Link is another marvelous work of stop-motion. Its slow and steady plot might make it feel longer than it is. But its set pieces are unforgettable. If you want to see it on the big screen, see it now. The Endgame is coming and it's coming quick.

Jethro the Cat Part 6 (Or, The Origin of the Name).

The Story of Jethro the Cat was written in November 2009. My Grandma requested a short story from me. I had some writer's block. But I was on to something. Let's read on.

I jotted down an idea for a screenplay for an animated film. Inspired by the troubled production of 1962's Mutiny on the Bounty, I thought of a story where one brave hero saved the day on a movie set when it went awry. That hero's name: Jethro the Cat. I liked the name. So when she asked me, via Skype, what story I'd write, I responded with the name.

I wrote it. I liked the mix of Dungeons and Dragons, Looney Tunes and The Dukes of Hazzard. Well, on the last title, I lived in Atlanta for almost half my life. So a southern inspired RPG cartoon story was a thing for me.

Sometime later, my Mom suggested I start a movie blog. When I did, I took the name of my poem's hero. The blog, Jethro Goes To The Movies, became Stuff About Movies in 2014. I liked my poem so much that I sat on it. I wanted my Cat to be an officially-published character. A video game. Cartoon. I thought having a blog with the name would be a conflict of interest.

I think I sat on the idea too long.

Why am I bringing this up now? Why publish now?

My Grandma, the one who I wrote the story for, passed away on March 31, 2019, at 97. She'd been ill for a while. I thought of releasing the story online for a while (Like Sword Art Online; it was on Livejournal before it became a Globally Polarizing Franchise). Her passing finally pushed me. I booted my computer up, shortly after I turned it off for the night, just to retrieve my poem and finally post it online. I still hope something comes out of my weird mixture.

In the meantime, I and my alter-ego, Jethro the Cat, will still go on, reviewing recent movies. But here's a conundrum. The next film I'm thinking of is Pet Sematary, but it's kinda depressing. Should I go or not? I'll have to decide.

Here's a link to my Livejournal, where The Story of Jethro the Cat is also published, and where I am working on revising it. There's other stuff too: See it here.

Shazam!

In 1940, Fawcett Comics debuted its answer to Superman, Captain Marvel. DC did not take it kindly and sued Fawcett out of existence in 1953. In 1972, DC bought Fawcett's assets, including Captain Marvel. Because of Marvel's Captain Marvel, they couldn't use the name on its comics. But they could use it in the comics. At least they had the right title substitute: Shazam!

Decades later, DC's Captain Marvel is now DC's Shazam. It's now the name of his first feature film. It's a simple story for a hero with a complicated history. And it's a great one.

Billy Batson (Asher Angel) is a Philadelphia foster kid looking for his real parents. He's adopted by the Vasquez's (Cooper Andrews and Marta Millans) and joins their five other foster kids. When Billy defends his new foster brother, Freddy Freeman (Jack Dylan Grazer), from bullies, he is summoned to meet the Ancient Wizard Shazam (Djimon Hounsou).

The Wizard wants someone to pass his powers to. Billy is it; when he now shouts the Wizard's name, he morphs into a super-powered adult (Zachary Levi), also named Shazam (long story). He plays around with his powers with Freddy's help. Until Freddy gets sick of his recklessness.

Dr. Sivana (Mark Strong) was rejected by the Wizard Shazam as a child. He now has the powers of the demonic personifications of the Seven Deadly Sins. But he also wants the Wizard's powers. He'll threaten Billy's new foster family to get them. Billy will have to mend his relationships to stop Sivana.

Director David F. Sandberg works from a script by Henry Gayden and Darren Lemke. It's a simple story with intricate emotions. Billy learning of, and playing with his powers, is comedy gold. So is the issue of his alias. Billy's story of him finding his place in the world is captivating. Billy only accepts his foster family once he learns the truth of his past. It leads to the final battle where Billy and his foster siblings take on Sivana. It's as awesome as it's heartwarming.

Asher Angel's Billy is a troubled, yet good kid. You wouldn't blame him that much with his family issues. Zachary Levi as Shazam is perfect as a kid with new-found privileges. You'll be amazed as he becomes a legitimate hero. Glazer as Freddy is a good pal for Billy. His chemistry with Angel/Levi is great. Billy's other foster siblings, Mary (Grace Fulton), Darla (Faithe Herman), Eugene (Ian Chen) and Pedro (Jovan Armand), are a nice bunch, too. Finally, we have Strong as Sivana, who's a perfectly legitimate threat for this sunny film.

It's amazing how a film like this cost no more than $100 million. The visual effects crew dazzles us with Shazam and Sivana's superpowers. The CGI enhancements to his costume are flawless. Billy's on-screen transformations are seamless. The Seven Deadly Sins are legitimately scary CGI creatures. The best shot from cinematographer Maxime Alexandre is the debut of Billy's superpowered foster family. The Wizard's realm, the Rock of Eternity, is incredible. The sound design and Benjamin Wallfisch's score also work wonders. It's another fine league of technical heroes on screen.

Shazam! is an excellent crowd-pleasing superhero film. It's a film that enjoys super-heroics as much as its young hero. Sure, he's irresponsible at first, but he gets over it. And you'll wow when he does. I've some issues with the plot but they're relatively minor. Overall, you must see it on the big screen at any price. It'll leave you ready for a sequel. The mid-credits scene promises an unusual foe for our hero. The end-credits scene has some fun with Aquaman.

Jethro the Cat Part 5

This poem is as long as I need it.
Here's part five, so don't have a fit.

The animals were released; they were pretty shocked.

They never expected how the Gamemaster was socked.

Even Vance congratulated Jethro, even if grudgingly.

So did Bo, Daisy Mae and Buck; yes, those three.

Even Baxter, not really a speaker, got out a few words.

“That’s the end of it all. I’ll go chase some birds.”

But that’s not the end of the story, not in a bit.

There’s more to the story that you need to get.

The six animals quickly got back to their dimension.

Their neighbors were there to give them a reception.

When they heard of Jethro’s deeds, their minds drew blanks.

They couldn’t decide if they ought to give him thanks.

But before they could decide, Jethro had gone away.

For the Cat just wanted to get back home right away.

So he returned to his house outside the metro zone,

And once again began to live his life on his own.

But this time, the neighbors did not really complain,

Whenever Jethro decided to go against the grain.

They had some new respect for their neighbor Jethro,

The Cat whom convention could ever really know.

And that was the story of Jethro the Cat,

And now you know that.

Jethro the Cat Part 4

One more part, I realize,
will make the poem easy on the eyes.

Elsewhere, Jethro was wandering all by his lonesome.

It was no surprise that he’d not succumb to boredom.

“Now that I’m not with a group, I can see action.”

He was then met with some of the Gamemaster’s faction.

“Attention, you cat. Yes, you there.” One of them said.

“It’s time that we put you down.” Another declared.

To their threats, it was known that Jethro did scoff.

He looked at them for seconds, and he gave a big cough.

“You insult our threats; we can’t forgive that.”

The enemy leader stated before he faced Jethro the Cat.

In no time at all, the battle was finally resolved.

It was Jethro who won; the threat he dissolved.

In the Gamemaster’s lair, they told him what occurred.

And as for a response, this is what they all heard.

“My way prevails! To have it defied is totally absurd.”

“But if it makes you better, I’ll verify your word.”

With this declaration, the Gamemaster went off to war.

To face the cat whose minions’ egos he’d made sore.

There was a great field that had never seen sunlight.

That was where Jethro and the Gamemaster met for a fight.

The Gamemaster was shocked when Jethro called him the Sire.

“You said you made the rules, or am I a big liar?”

“If you called the shots, then you do control it all.”

“Your thoughts are too fast,” the Gamemaster said.

“But somehow, you’ve hit the nail right on the head.”

“I’ll now shift the scene; I’ll change the location.”

And then, just like that, they were right in his dungeon.

The animals met each other again; it was not a great time.

Mainly when Jethro mocked Vance’s feet full o’ grime.

“Now, you animals listen up!” said the Gamemaster.

“I shall make his defeat all the more faster!”

The five could care less about Jethro’s big battle.

The feelings were mutual; but no one did prattle.

Instead, they watched as Jethro got his big showdown.

It was a fight that all thought Jethro would go down.

But all of a sudden, the fight came to an end.

That’s all because Jethro refused to contend.

No, it’s not that he didn’t think fighting was wrong.

It’s because he knew the Gamemaster’s weakness all along.

“You know what to expect because you call the shots.”

“Time for something different. I’ll tie you in a knot.”

“And if you wondered how I defeated your minions.”

“It just so happened that I made the same decisions.”

And with this sudden surprise, the Gamemaster did abate.

That’s when he collapsed like a forty ton weight.

Jethro the Cat Part 3

The Poem was still long even after I cut it into two. 
So now, it's three parts to view.

Meanwhile, the six animals travelled around the land,

And defeated those minions who had goodness banned.

But Jethro had enough; his impatience couldn’t wait.

He talked to Vance, and asked why he couldn’t participate.

“You want to know why we won’t let you fight?”

“Because it’s how the world works, this is just right.”

“We never liked you because you mock our traditions.”

“Learn to behave, and we’ll not regret your addition.”

It was right at this moment that Jethro did depart,

As Vance came to view it, his actions were the right start.

But the other animals who saw it; they didn’t agree.

The punishment, they felt, was not the right degree.

After Jethro’s departure, the group carried on.

They fought more with some brains and some brawn.

But soon, the battles grew tougher and longer.

A pack of Grimms was a chore since they were stronger.

Just when the group thought it couldn’t be worse,

Then came the ones who are never contrary in a hearse.

“Attention, you travelers,” the six of them said

“It’s time that we showed you true fear and dread.”

To the warning, the five animals refused to regard,

And they readied themselves on the villains’ backyard.

Unfortunately for them, the evil ones were victorious,

And they whisked them off to parts most inglorious.

Everything above was seen by Jethro’s study eyes.

He’d quickly go save them, or so one might surmise.

But actually, Jethro was happy that they were defeated.

And he went off to do what he liked and like what he did.

In the dungeon constructed by that Evil Sire,

The five animals were trapped, surrounded by fire.

“It’s not fair that they won,” Daisy Mae did mope,

“How could they beat us? Their brains are just soap.”

“Good always win, and bad ones lose,” Vance complained,

“But those lackeys beat us; I want that explained.”

“Because it’s my world; it does what I want done.”

They saw the Gamemaster; by his presence, they were stun.

He then changed shape; he was now the Evil Sire.

“To have you defeat me? No, that was not my desire.”

“But what’s this? I see that the cat’s not among you.”

“Well, I’ll have to find him. That’s not hard to do.”

And with those words, the Evil Gamemaster went away.

And left the five animals in complete disarray.

Jethro the Cat Part 2

The Poem was too long to fit in one post
So here's part two to keep you engrossed:

I slightly revised a line of my ten year old poem. To correct a continuity error. I accidentally mentioned a "Beavis" and "Cletus" after I changed them to "Buck" and "Baxter." It's corrected now.

This was the group that came to meet the Gamemaster.

There was Jethro and Vance, and a dog known as Baxter.

A swine known as Bo, and Daisy Mae and then there was Buck,

Which, by the way, was the name of a duck.

“You want to go there?” the Gamemaster did ask.

“Just follow my scenario; it’ll put you to task.”

Before he could say anymore, Jethro let out a big roar.

“Come on, fella,” he shouted, “don’t be a big bore.”

“I want to go there; I want to see it this second.”

“So, Mr. Gamemaster, some action I do reckon.”

To the above, the Gamemaster just said one thing:

“OK, you cat, if you wish; this is where you zing!”

And with these words, he sent them on their way.

They traveled dimensions and arrived in a day.

For Jethro, who’d never left home, there was amazing.

He felt home right away, his excitement took wing.

The Gamemaster himself, or at least a projection,

Visited the group for a routine inspection.

He decided to tell them the scenario he made,

For the group of those he managed to persuade.

“Your mission, my friends,” the Gamemaster began,

“Is to travel my world and find this man of evil.”

“His name is the Evil Sire, the master of upheaval.”

“He has minions on the prowl, who have one ambition.”

“To enforce the evil order, and slay the opposition.”

“But I‘m sure you‘ll win and beat them to submission.”

These were the last words before he ended transmission.

After the routine inspection, the group went exploring.

And saw sights that weren’t even boring.

Like the land made of sweets with chocolate not water,

The land of riches where no one needed a slaughter.

A green pasture was there that could never be polluted,

Which was so full of life that could never be uprooted.

It was in the green pasture did the group first see

A band of creatures that was exactly seven and three.

Three of them were trash piles that sprouted big limbs

And the rest were those that they called “Grimms.”

They were the monsters that went bump at night

Who were there before them all for a fight.

So, the group set forth for battle due to obligation,

But with a view of the rule book, they found a regulation.

Only four for a fight, no more and more less,

It seemed so unfair, Daisy Mae did confess.

But it wasn’t long before a group formation did advance.

They were Baxter and Bo, with Daisy Mae and Vance

It didn’t take long before the four animals did win,

And sent the lackeys to elsewhere, such as oblivion.

Going through the world, the animals were victorious.

With each battle won, their status was glorious.

But one grew impatient, for he’d been kept from the fight.

It was Jethro himself; to protest, he’d feel right.

“I don’t enjoy it here where the Gamemaster resides.”

“If this is how it is, then I’m not going in stride.”

Right in his lair, where volcanoes and smog laid about,

The Evil Sire was plotting; his evil knew no drought.

“I must maintain my world, the one of evil and fear,”

“These six that I see, their intentions so clear,”

“I must keep them from my lair, so dark and so scary.”

“So I’ll call for the ones who are never contrary.”

The ones that he summoned were his enforcers of order.

They viewed fairness and peace as simply disorder.

Their names were so feared that none dared speak them.

And that’s why they won’t be mentioned in this poem.

The Original Jethro the Cat

I mentioned once that Jethro the Cat was a character in a poem I wrote. If you're wondering when, it was in my infobox up until I lost my dog, Sandy.

No delays. No hesitation. After ten years, I give you The Story of Jethro the Cat. It's a mix of Dungeons and Dragons, Looney Tunes and The Dukes of Hazzard. It may not be a good mix, but, that's what I intended when I wrote it:

I edited the poem slightly as I posted it - I realized I forgot I renamed a few characters during the writing process. I also rewrote a few sentences just now for better flow. And formatting. But here's the poem I wrote, pretty much, nearly ten years ago. From here on in, what's in bold is the poem. Everything else is commentary.

4/5/19: I've decided to restore the poem to its original form. After I rewrote it a bit. I will explain why in a Part 6. And link to where I will post my revisions.

The Story of Jethro the Cat

This is the story of Jethro the Cat.

But I bet you knew that.

Jethro the Cat lived on his own.

Somewhere outside a large metro zone.

He did what he liked and liked what he did.

Even if it was what his neighbors did forbid.

If they told him to bathe, he did so in mud.

If he was told to dress nice, it was a dud.

Invite him to dinner, and he just couldn’t wait.

It was his behavior that drove his neighbors irate.

“He’s not a good cat,” said the Sheep Daisy Mae.

“He treats the rules with such bad disarray. “

“We need to teach him,” said her sister Jenny

“His rule breaking will get him four ‘n’ twenty.”

But then, one day, a stranger came strolling to town.

He was tall and lean and his coat was rusty brown.

His name was the Gamemaster, not Bob, John or Fred,

He assembled the townsfolk and this is what he said…

“I’m from another world; it’s one that I call there.”

“But I can send you to see it; that is, if you dare.”

“You must assemble a group, make it no more than six.”

“And I’ll send you all travelling; how’s that for a fix?”

“You‘ll travel my world, and see things big and small.”

“But beware of those ones who don’t like you at all.”

“If you meet one of those ones, you can fight back.”

“With your abilities, you’ll give them the sack.”

“My world is safe and fun, but don’t act like fools.”

“For I, the Gamemaster, make all the rules.”

After the meeting at noon, it later transpired,

A sneaky ambition the Gamemaster got inspired.

“A world full of order and a world full of rules,”

“There is the place that’ll placate all fools.”

These were the words of the bovine known as Vance,

A schemer and brute who liked Jethro out of his glance.

He and the neighbors travelled to Jethro’s location,

And gave him the idea to go “there” for vacation.

He accepted the idea; he gave it no thought,

Which meant that persuading him was a battle unfought.

Dumbo

Tim Burton ends the decade the same way he began it: with a live-action Disney remake. This time, he reinvents that flying elephant Dumbo with screenwriter Ehren Kruger. Let's see how high this elephant flies this time.

Dumbo the elephant is born to Mrs. Jumbo in 1919. Mrs. Jumbo was recently acquired by Max Medici (Danny DeVito) for his circus. But he sees no value in a baby elephant with huge ears. He sees less value in Mrs. Jumbo when she runs amok during a performance. Mama and baby are separated.

Siblings Milly (Nico Parker) and Joe (Finley Hobbins) find out Dumbo can fly when he sucks a feather in his trunk. Dumbo becomes a sensation. That's when millionaire V.A. Vandevere (Michael Keaton) comes calling. The Circus joins Vandevere's amusement park, Dreamland, where Dumbo is the star. But when Milly and Joe find Mrs. Jumbo there, Vandevere decides to get rid of her. So they and their father, horse-trainer Holt (Colin Farrell), and acrobat Collette (Eva Green), decide to free both elephants.

Let's examine the story. The barest bones of the original film are done in the first act. Of course, the most dated aspects are gone. But its most emotional key-points are still there. The new human characters, except for Max Medici, weren't as compelling as Dumbo. They weren't terrible either, save for a cruel circus hand who deservedly bit it in Mrs. Jumbo's rampage. The final realization concerning the "magic feather" is rushed. Mr. Vandevere's evil plot is as short-sighted as it's mean.

And the star of the show: the technicals. Dumbo and Mrs. Jumbo are realistically-textured CGI pachyderms. Dumbo's clown makeup early on is one of the film's saddest sights. It's another story when they start moving. They are obviously CGI most of the time they move around. It's distracting. The digital and practical sets from production designer Rick Heinrichs were better realized. Those infamous Pink Elephants on Parade, here, an act at Dreamland, was perfectly odd. Colleen Atwood's costume designs were splendorous as usual. Danny Elfman's score includes memorable renditions of the original film's soundtrack. I could go on, but I won't.

Dumbo's biggest problem is that it values style over substance. There's a few plot elements, like Milly's key, that other films did better. While there is some emotional substance, it won't stick with you as much as the scenery. I'll applaud the film for being slow-and-steady and not slow-and-frustrating. It's 112 minutes are good for an afternoon matinee.

I know this month's been slow. But I promise more, much more, next month....