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Reappearing Act

Do-gooder magicians return for more hocus-pocus hijinks

Online Poster - Caplan, Franco, Eisenberg, Harrelson_small

Now You See Me 2

Starring Woody Harrelson, Jesse Eisenberg, Dave Franco, Lizzy Caplan, Mark Ruffalo, Morgan Freeman & Daniel Radcliffe

Directed by Jon M. Chu

PG-13

The magic of the movies sometimes makes for some nifty tricks, and this “reappearing” act is a good one—a sequel to the 2013 hit about a foursome of infamous crusading magician tricksters whose large-scale, steal-from-the-rich stunts have made them worldwide rock-star Robin Hoods.

Woody Harrelson, Jesse Eisenberg and Dave Franco return as three of the so-called Four Horsemen, with Lizzy Caplan (Virginia Johnson on TV’s Masters of Sex) coming aboard to replace Isla Fisher from the original. Mark Ruffalo is back as FBI agent Dylan Rhodes, whose “reveal” as the Horsemen’s hidden-in-plain-sight mastermind was the first movie’s final bit of hocus-pocus.

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Morgan Freeman

Morgan Freeman again rounds out the ensemble as Thaddeus Bradley, a former master magician-turned-trick-debunker who was framed and sent to prison for the group’s last big caper.

Joining the cast is former Harry Potter star Daniel Radcliffe as a megalomaniacal tech billionaire who hijacks the Horsemen to coerce them into heisting a new super-high-tech computer chip that, if delivered into the wrong hands, would compromise the privacy of every computer—and every computer user—in the world.

The only problem is, which hands are the wrong hands, and which are the right ones? In a movie about magic and misdirection, it’s awfully hard to tell.

Director Jon M. Chu, whose resume includes two of the Step Up dance flicks, keeps things moving along briskly with a sense of fun, fizz and sizzle as the do-gooder scamps zip from New York to China to London, trying to stay one step ahead of the law. The plot gets bogged down a bit as it tries to layer on detail and backstory, but when the Horsemen get down to business, things really come alive—like in an absolutely stunning sequence in which the purloined computer chip, attached to the front of a playing card, is masterfully flipped, flung and flicked from Horseman to Horseman to avoid detection while they’re each being searched. It’s the movie’s centerpiece trick, a sexy, super-slick bit of slight of hand, and a showpiece of computer-assisted “card-istry.”

Woody Harrelson

Woody Harrelson

In one of the movie’s best running gags, Harrelson has a ball in a new, “surprise” role—in addition to the smooth-talking hypnotist Merritt McKinney, he also plays his sibling-rival twin brother, Chase, who sports a head of curly hair and a mouth full gleaming white chompers.

One of the coolest things about Now You See Me 2, like its predecessor, is how it shows the audience how its trickery is done—after the razzle-dazzle, it pulls back the curtain to reveal the nuts-and-bolts explanation behind each jaw-dropping effect, the trap doors, the trickery, the switcheroo, the behind-the-scene hustle-bustle that made the illusion possible.

Magic, it lets us know, requires practice, hard work, concentration, planning, patience and super skills. That doesn’t make it any less amazing, or any less wondrous. “The best tricks,” says Morgan Freeman’s character, “work on many levels.” Now You See Me 2 is a multi-leveled magic show, heist caper, comedy, drama and globetrotting action-adventure romp with characters whose company you’ll find most enjoyable.

Now you see them, now you don’t. And you’ll all but certainly see them again—in Now You See Me 3.

—Neil Pond, Parade Magazine

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Go Ask Alice

Magic mirror returns plucky lass to Wonderland—or Underland

ALICE THROUGH THE LOOKING GLASS

Alice Through the Looking Glass

Starring Mia Wasikowska, Sacha Baron Cohen & Johnny Depp

Directed by James Bobbin

PG

British author Lewis Carroll’s tales of a Victorian lass and her escapades in an enchanted place of talking animals, odd humans and other curious creatures have been made into numerous movies, TV shows and stage adaptations—dozens since Alice’s Adventures in Wonderland was originally published in 1865. In the early 1970s, the rock band Jefferson Starship made Alice the hook of its hippy-dippy song “White Rabbit,” which used her journey down a rabbit hole as a metaphor for another kind of “trip.” The ABC-TV modern-day fairytale anthology Once Upon a Time spun off a standalone series, Once Upon a Time in Wonderland, based on Carroll’s novels, in 2013.

Clearly, something about the plucky, curious young Alice never falls out of fashion.

“Go ask Alice,” sang Jefferson Starship’s Grace Slick.

Go ask Alice, indeed, for she is a most resourceful gal in this Disney follow-up to the House of Mouse’s Alice in Wonderland, which reunites most of the cast of the 2010 film. When we meet her in the opening scene, Alice Kingsleigh (Mia Wasikowska) is the cool-headed captain of her late father’s sailing ship, The Wonder, excitedly exploring the globe, narrowly escaping from pirates and clearly making her own way in a “man’s world” that wants to put her—and keep her—in her place.

ALICE THROUGH THE LOOKING GLASS

Johnny Depp as the Mad Hatter

When the Mad Hatter (Johnny Depp) gets in a bit of a bind, his friends in Wonderland—now called “Underland”—know just what to do: Go ask Alice!

That sets the stage for Alice’s return—this time through a magic mirror—to the enchanted realm, where she again meets up with the Red Queen (Helena Bonham Carter), the White Queen (Anne Hathaway), Tweedles Dee and Dum (Matt Lucas), the Cheshire Cat, the March Hare, the Dormouse and the Bloodhound.

In order to help the Hatter, Alice must make a dangerous, daring trip back in time. That’s always tricky in any movie, and here it involves stealing a device called the Chronosphere from Time himself (Sacha Baron Cohen). The film’s weirdly wacky new character is a clockwork despot who speaks like German actor Christoph Waltz and is served by a staff of comical, robotic minions he refers to as his “seconds”—a time pun, get it?

Once again, Johnny Depp is all tics, weird hair and crazy quirks—three shades of eye shadow, eyebrows that look like florescent orange caterpillars attacking his forehead, ghoulish white makeup and yellow teeth. When the Hatter speaks, he sounds like he’s got marbles in his mouth and a lisp. It’s just too much.

Sacha Baron Cohen

Sacha Baron Cohen

So it’s practically an invitation for Sacha Baron Cohen to glide right in and steal the show with a perfectly calibrated performance of comedic timing, camp and cleverness, which he does.

British director James Bobbin (who also steered two Disney Muppets movies plus the brilliant Flight of the Conchords and Cohen’s satirical Da Ali G Show) replaces Tim Burton, who directed the 2010 Alice in Wonderland. Burton’s influence remains as one of the producers, however, and the whimsy and imagination of his original are still very much evident.

So: How long before we get our next trip to Wonderland/Underland? Go ask Alice!

—Neil Pond, Parade Magazine

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Naughty & ‘Nice’

Crowe and Gosling mix action and laughs in ‘The Nice Guys’

Ryan Gosling, Maddie Compton, Angourie Rice and Russell Crowe in 'The Nice Guys'

Ryan Gosling, Maddie Compton, Angourie Rice and Russell Crowe in ‘The Nice Guys’

The Nice Guys

Starring Russell Crowe & Ryan Gosling

Directed by Shane Black

R

The opening shot of The Nice Guys pans across the back of the iconic Hollywood sign, grimy and tagged with graffiti, as the lights of the city below glitter in the night like a gigantic box of jewels.

After the Temptations set a ’70s groove to “Papa Was a Rollin’ Stone,” we’re off and rolling ourselves on a raucous, retro-rollicking comedy-adventure romp as a pair of mismatched investigators-for-hire (Russell Crowe and Ryan Gosling) team up to look for a missing girl (Margaret Qualley of TV’s The Leftovers). But soon they find themselves in a much deeper drama involving porn stars, pinkie promises, menacing thugs, Kim Basinger in full L.A. Confidential mode, and a shocking conspiracy of catalytic converters and high-ranking collusion.

Writer-director Shane Black made his mark back in the late 1980s with the screenplay for Lethal Weapon, starring Mel Gibson and Danny Glover. He went on to refine his format—a high-octane mix of cheeky quips and pulpy, explosive action—behind the camera with Kiss Kiss Bang Bang (2005) and Iron Man 3 (2013).

TNG_Day#48_02022015-325.dngThe movie takes place in 1977, and it revels in the details of its smoggy, sometimes smutty setting. The background hums with tunes from Kiss, America, Rupert Holmes, the Band, Herb Alpert and Earth, Wind and Fire. Chevy Camaros, Caprice Classics and Dodge Coronets line up for 69-cent-a-gallon gas. Billboards trumpet the hottest movies: Jaws 2, Airport 77. Newspaper headlines spread the dread about killer bees from Brazil.

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Matt Bomer

You’ll recognize versatile character actor Keith David as a villain. Matt Bomer from TV’s American Horror Story plays John Boy, an assassin sharing a certain facial feature with the Waltons TV character of the same name. And young Angourie Rice, 14 at the time of filming, almost steals the show as Holly, the daughter of Gosling’s character. She’s the soft heart of this rough-and-tumble story, the tender conscience in the midst of its outbursts of casual violence.

But the real treat throughout is the pair-up of two actors not known for baring their funny bones. Crowe’s Jackson Healey is a rumpled, jaded tough guy who leads with his fists—often sporting brass knuckles. Gosling plays Holland March as a mopey, bottom-feeding P.I. with a drinking problem and a tattoo that reminds him, “You will never be happy.” Their oil-and-water styles initially clash, of course, but eventually smooth into some major movie mojo. (Pay attention and you’ll even catch their nod to classic Abbott and Costello.)

It all builds into a spectacular shoot-out showdown at a gleaming auto expo, where everyone is scrambling to get their hands on a canister containing a reel of film as it rolls, bounces and spins across the floor, out a window, down a street and into the flames of a burning car. That’s one hot movie, as it turns out, in more ways than one.

And so is The Nice Guys, a juicy, slam-bang action-comedy cocktail punched up, pimped out and powered down with rowdy, new-fangled film-noir fun. Hot stuff—catch it.

—Neil Pond, Parade Magazine

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Captain Crunch

The Marvel gang’s all here in superhero-packed mega-movie

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Captain America: Civil War

Starring Chris Evans, Robert Downey Jr., Sebastian Stan & Scarlett Johansson

Directed by Anthony Russo & Joe Russo

PG-13

What do superheroes do when they’re not saving the planet? A lot of the same things everyone else does—they prattle around the house, do their best to get along and sometimes get on each other’s nerves.

“Who’s putting coffee grounds in the disposal?” Iron Man (Robert Downey Jr.) asks his houseguests, which include Captain America (Chris Evans), Black Widow (Scarlett Johansson), Scarlet Witch (Elizabeth Olsen), War Machine (Don Cheadle) and Vision (Paul Bettany). “Am I running a bed and breakfast for a biker gang?”

Crammed into a back of a tiny VW Beetle, the hulking Winter Soldier (Sebastian Stan) has a request of Falcon (Anthony Mackie). “Could you move your seat up?” Like a grumpy sibling on a family road trip that’s already over-stretched his patience, Falcon isn’t exactly in an agreeable mood. “No!” he snaps.

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Spider-Man (Tom Holland) gets in on the action.

Captain America: Civil War is a big, sprawling superhero mega-movie, with more spandex to the gallon than any flick that’s come down the pike in a long time. The latest in the multi-billion-dollar Marvel cinematic canon, it’s officially the third of the Captain America franchise, but it’s also a continuation of the Avengers movie arc, and it ropes in characters from other Marvel movie properties as well, including Iron Man, Ant-Man (Paul Rudd) and even the new Spider-Man (Tom Holland), whose movie won’t be in theaters until next summer.

The “Civil War” in the title refers to the major rift that occurs within the Avengers when a United Nations panel wants to rein them in. The global community is concerned about the civilian deaths and wakes of destruction that accompany the superheroes’ bad-guy smackdowns—a theme that also cropped up a few weeks ago in another comics-character slugfest, Batman v Superman.

The Avengers divide into two camps about the issue—those who feel that some international oversight and cooperation is the way to go (led by Iron Man), and the rebels who refuse to sign the accord (team Captain America). That sets the stage for several spats, a couple of subplots, more than two hours of squabbles and one stupendous battle royale in an abandoned airport.

Marvel's Captain America: Civil War..L to R: Sharon Carter/Agent 13 (Emily VanCamp), Sam Wilson/Falcon (Anthony Mackie), Natasha Romanoff/Black Widow (Scarlett Johansson), and Steve Rogers/Captain America (Chris Evans)..Photo Credit: Zade Rosenthal..? Marvel 2016

Sharon Carter (Emily VanCamp), Falcon (Anthony Mackie), Black Widow (Scarlett Johansson) and Captain America (Chris Evans) have a serious huddle.

Directors Anthony and Joe Russo keep things moving along with style, substance and significant flair, and they give all their characters time to shine—no easy task when they are so many, including newcomers Chadwick Boseman as an African prince who becomes the Black Panther; Marissa Tomei as Peter Parker’s Aunt May; and Daniel Brühl as the Eastern European über-villain Zemo. There’s also Jeremy Renner as Hawkeye, Martin Freeman as a CIA official, Emily Van Camp (from TV’s Revenge) as Sharon Carter, and William Hurt as the U.S. Secretary of State. Oscar-nominated Alfre Woodard pops in as an aggrieved mom.

But through it all are the Avengers, the world’s coolest, most powerful cadre of superfriends—family, actually—being ripped apart, fractured from within, pulverizing each other as the divide between them, widened by treachery, becomes filled with distrust, dark secrets and deep wounds from the past.

There’s a whole army of frozen Winter Soldiers, a funeral and a sweet kiss between two characters that may point to future romance.

How does this wham-bam, jam-packed road trip on the superhero highway end? I won’t spoil it. But you shouldn’t be surprised to know that even when it does, it doesn’t, and that the Marvel movie map is still being drawn for Captain America, Iron Man, Spider-Man and other characters for years to come!

—Neil Pond, Parade Magazine

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Oh Mama

All-star cast sinks in overly sweetened, sentimental sap

Mother’s Day

Starring Jennifer Aniston, Julia Roberts, Kate Hudson, Timothy Olyphant, Jason Sudeikis, Britt Robertson & Shay Mitchell

Directed by Garry Marshall

PG-13

 

Mother’s Day the holiday is all about moms, and so is Mother’s Day the movie, which has them of every shape, style, size, temperament and hue.

And life sure looks beautiful, bountiful, wacky and whimsical when it’s played out against a picture-perfect backdrop of suburban affluence by Jennifer Aniston, Julia Roberts, Kate Hudson, Timothy Olyphant, Jason Sudeikis, Shay Mitchell (from TV’s Pretty Little Liars), Britt Robertson, Jennifer Garner, Jon Lovitz and comedian Loni Love.

This is the third holiday-themed ensemble comedy from Garry Marshall, the veteran TV writer/producer (Happy Days, The Odd Couple, Mork and Mindy) and movie director (Pretty Woman, Runaway Bride) who also previously brought us Valentine’s Day and New Year’s Eve. In both of those films, as in this one, an all-star cast of unrelated characters manages to somehow intersect with each other, as improbable as it might seem.

MOTHER'S DAY, l-r: Sarah Chalke, Jon Lovitz, Kate Hudson, Margo Martindale, Aasif Mandvi, 2016.Marshall is a maestro of this kind of comedic mixology, plied and played over the decades. But it seems to have run out of a lot of its steam, at least for contemporary times. Most of his movie gags feel like they’re waiting for a sitcom’s laugh track to back them up, and his bawdy, brusque, broad brushstrokes of humor aren’t what anyone would exactly call enlightened.

“I don’t get that joke, but I think it sounds racist,” says one character when another makes a crack about her ethnicity.

Young boys shock their mom (Aniston) by talking about their genitals; a teenage girl embarrasses her widower dad (Sudeikis) by asking him to buy tampons; a lesbian couple (Sarah Chalke and Cameron Esposito) makes a pink “womb” float for a Mother’s Day event—which another character refers to as a “parade of vaginas.”

Are you laughing yet?

Then maybe you’ll titter when a good-ol’-boy grandpa (Robert Pine) addresses his Indian son-in-law (Aasif Mandvi) as a “towelhead,” or when grandma (Margo Martindale) sizes up a situation by asking herself, “I put on a bra for this?”

MD-01174.CR2The large, talented cast is largely wasted with little do but go with the flow of the overly sweetened, sentimental twists and turns, the not-so-surprising surprises and the eventual resolutions and wrap-ups. But the sap eventually sucks all of them under.

Coincidence is one thing, but here, worlds collide like particles in some kind of bizarre cinematic quantum theory, where strands not only cross and overlap, they magically weave into a crazy Mother’s Day movie smock of American flags, a careening RV, a Tao-dispensing clown, soccer, Skype, llamas, teenagers, toddlers, babies, a cute guy in a comedy club, Aniston with her arm stuck in a vending machine and Sudeikis singing “The Humpty Dance.”

And Hector Elizondo, an actor you should recognize if only because he’s been in every movie Garry Marshall has ever made, all the way back to 1982.

I’d love to see what Garry and Hector—and who knows who else—could do with Election Day. Now that could really be fun.

—Neil Pond, Parade Magazine

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Punk Rock Shocker

Backwoods gig becomes bloody living nightmare

Green Room

Starring Patrick Stewart, Anton Yelchin and Imogen Poots

Directed by Jeremy Saulnier

R

In show business, a “green room” is the spot backstage where performers go to relax, hang out and kick back before or after a show. It’s usually a secluded place of high spirits and hospitality.

But not in this wickedly sharp thriller-chiller horror show about a band of young punk rockers whose gig turns into a ghastly fight for their lives. Barricaded in the club’s grungy green room, they square off against the owner and his army of neo-Nazis when a shocking episode of violence becomes a raging nightmare.

GREEN ROOMAnton Yelchin (Chekov in the Star Trek movies), Alia Shawkat (from TV’s Arrested Development), Callum Turner and Joe Cole play the members of the Ain’t Rights, whose unlikely booking at a backwoods roadhouse full of white supremacists turns into a bloody standoff when they stumble onto the aftermath of a “crime of passion” and can’t get away before the owner (Patrick Stewart) tries to frame them for it—and eliminate them along with all the evidence.

British actress Imogen Poots has a key role as a club patron who inadvertently becomes part of the mayhem as the young rockers—who play music steeped in destruction, doom and death—find out how they fare when suddenly faced with the real thing.

In his debut mainstream theatrical feature, director Jeremy Saulnier, 36, shows an incredible amount of promise. He takes his time setting up the story and establishing the characters, patiently drawing the audience into the subculture of their musical world and their low-rent camaraderie—a slog of constant touring to crappy gigs in their old van, living on food scraps, siphoning stolen gas and playing loud, anarchic songs to indifferent or sometimes hostile listeners.

Saulnier gets the details just right: life on the road, the band’s dedication to their music, their banter and their interactions—and how actual people might react, think and speak when they find themselves in the middle of a situation that suddenly, unexpectedly becomes gruesome and deadly. As another band rumbles through their songs onstage, the dark, ominous tones reverberate through the walls of the club, into the bowels of the green room, like the howls of a great, angry beast.

GREEN ROOMThe movie has the gritty, grubby feel of a film-festival, midnight-madness indie, especially when it gets down to the bloody business of slashing, hacking, shooting, stabbing, ripping and tearing. Who will escape, who will survive? It’s not for the queasy or the faint of heart, but Saulier makes inventive use of his set and props, including the squeal of PA feedback as a weapon, a fire extinguisher and a permanent marker first seen in a band prank.

But the real treat is watching the classically trained Stewart, best known as Star Trek’s wise Capt. Picard and as Professor Xavier, the benevolent leader of the X-Men, in a role that stretches him so far in the other direction. In Green Room, he’s one seriously scary dude mixing evil and eloquence, refinement and malevolence, and hell-bent on maintaining order anywhere things get messy. His harrowing performance gives this raw, edgy, awesomely impressive, little hard-hitting punk-rock movie even more of a visceral kick.

—Neil Pond, Parade Magazine

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S’no Go

Muddled ‘Snow White’ prequel-sequel mash-up can’t find its way

The Huntsman: Winter’s War

Starring Chris Hemsworth, Jessica Chastain, Emily Blunt and Charlize Theron

Directed by Cedric Nicolas-Troyan

PG-13

Hey Snow, where’d you go?

In 2012, Snow White and the Huntsman gave the age-old fairy tale a sassy new action-y feminist twist, with Kristin Stewart as the feisty, fair-skinned maiden—foretold by the Magic Mirror to be the loveliest in the land—and Chris Hemsworth as the evil queen’s “huntsman” ordered to take her into the woods and kill her.

Of course, things didn’t quite work out that way—and now we have The Huntsman: Winter’s War, a sequel. Actually it’s a prequel. Well, I think it’s a little of both, and a mash-up of several other things, too, and quite a bit of an all-around muddled mess.

Jessica Chastain

And Snow White seems to have wisely decided to steer clear from it all. So there’s no Snow in this Huntsman, unless you count the times she’s mentioned by name. But the movie certainly isn’t hurting for other talent. Hemsworth is back, and so is Charlize Theron as the wicked monarch Ravenna. Emily Blunt is newly aboard as Ravenna’s sister Freya, turned into a cruel “ice queen” by an act of heartless treachery. Jessica Chastain is Sara, who like Hemsworth’s rebellious Huntsman, grew up as an abducted child soldier forced to serve in Freya’s army of marauders.

British comedic actors Nick Frost and Rob Brydon, shrunk to wee size by the modern magic of digital effects, play a pair of dwarf brothers who provide most of the chuckles in this otherwise dull and dreary trek through a disjointed plot that feels like someone threw bits of Game of Thrones, Disney’s Frozen, Lord of the Rings and The Wizard of Oz into a blender with some crushed ice, black goo and gold flecks, then set it to puree.

Emily Blunt and Charlize Theron

If you’re into ornate costumes, you might dig the over-the-top duds in which Blunt and Theron get to vamp. In the couple of scenes they’re together, I kept wishing Cher would suddenly appear—maybe descending from the ceiling—for a full-on Las Vegas revue.

The storybook decor is lush and quite lovely, especially when the Huntsman, Sara, the two dwarves and their special-effect dwarf dates (Alexandra Roach and Sheridan Smith) take a day trip to Goblin Land, or something like that, to retrieve the purloined Magic Mirror, which looks like a huge polished cymbal from a music store. Some of the location filming was done in England’s Windsor Great Park, although I’m pretty sure you won’t find any big, blue ape-men, giant moss-covered snakes or tiny florescent flying fairies there.

Not campy and gonzo enough to be real fun, nor dark and dangerous enough to qualify as truly grim, this is instead a drab, disjointed stab by a first-time feature director who, bless his heart, can’t seem to find his target in all the icy, FX-laden glop. The best—and most amazing—thing about it by far is its all-star, A-list cast, all of whom who gamely give it their best in the service of something clearly less than “the fairest of them all.”

—Neil Pond, Parade Magazine

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Jungle Love

Disney scores again with spectacular retool of Rudyard Kipling classic

THE JUNGLE BOOK

The Jungle Book

Starring Neel Sethi

Directed by Jon Favreau

PG

British author Rudyard Kipling wrote the stories that came to be know collectively as The Jungle Book more than a century ago, setting the best-known of the tales in India, where he’d spent his early childhood. It entered the pop-cultural mainstream in 1967 when Walt Disney turned The Jungle Book into a full-length animated musical children’s comedy.

Things have certainly changed in the world—and in the world of filmmaking—since then. Director Jon Favreau has steered steely summer blockbusters (the Iron Man franchise) as well as fluffier family fare (Elf), so he was a wise choice—by Disney, again, 40 years down the road—to retool Kipling’s ripping, roaring allegorical fable for a new generation of moviegoers weaned on spectacle as well as sentiment.

THE JUNGLE BOOKThe Jungle Book is the tale of a young boy, Mowgli, raised by a pack of wolves. All is well until a fearsome tiger—bearing horrific scars that remind him of what humans can do—catches the scent of the “man cub.” With his life in danger, and knowing that his very presence is a threat to the other creatures, Mowgli begins a journey to rejoin human civilization.

But the trip isn’t an easy one, as Mowgli learns more about himself and the meaning of friends, family and the “law of the jungle.”

The biggest spectacle the new Jungle Book is the sight of Mowgli (newcomer Neel Sethi, the only human, flesh-and-blood actor onscreen for the entire film, except for a fleeting flashback) in a jungle teeming with wild animals. But none of them are real—they’re all digital effects, down to the last bit of fur, fang and feather.

THE JUNGLE BOOKAnd not only do they look, move and “behave” like real animals, they also talk—constantly. Remember the computer-generated tiger in Life of Pi? Well, imagine it conversing with Pi, and with every other living thing it encounters. Around The Jungle Book’s watering hole, the DirectTV horse, Smokey Bear, the GEICO gecko and Tony the Tiger would feel right at home.

The effects in The Jungle Book are so casually spectacular, you even forget they’re effects. You become so completely, convincingly immersed in the realistic, storybook world, just like Mowgli, it doesn’t seem unnatural that a menagerie of creatures can speak—or sing—just as easily as they can growl, prowl, crawl or climb.

THE JUNGLE BOOKThe all-star animal voices belong to Bill Murray (the slothful bear Baloo), Scarlett Johannson (the seductive snake Kaa), Lupita Nynog’o (the nurturing wolf Rakasa), Idris Elba (the vengeful tiger Shere Khan), Christopher Walken (the monstrous ape King Louie) Ben Kingsley (the protective panther Bagherra) and the late Gary Shandling (a comically possessive porcupine). Giancarlo Esposito, who plays Sidney Glass in TV’s Once Upon a Time, provides the voice of alpha wolf Akela.

It’s rated PG, but there are periods of action, peril and intensity that might be a bit much for very young viewers—especially if their parents, or grandparents, bring them into this Jungle with sugarplum visions of the candy-coated, song-and-dance Disney version. This isn’t that movie; it’s darker, more dangerous—and far superior, in almost every way.

It’s the same jungle Rudyard Kipling described 120 years ago, and it’s even got a trio of familiar soundtrack tunes (“Trust in Me,” “The Bare Necessities” and a reworked “I Wanna Be Like You”) from 1967. But it’s come to life in remarkable, resounding new technological, 21st century leaps and bounds. With this outstanding upgrade to yet another childhood classic, Kipling still gets a writing credit, but Disney—as it usually does—again gets the final word.

—Neil Pond, Parade Magazine

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Laughing All the Way to the Bank

Melissa McCarthy stars in raunchy rags-to-riches tale

The Boss

Starring Melissa McCarthy & Kristen Bell

Directed by Ben Falcone

Rated R

Steeled and shaped by a childhood of rejection in an orphanage, Michelle Darnell grew up to become a she-wolf of self-made business savvy. Now she’s a superstar investment titan and motivational-mojo guru who descends to the stage of frenzied fan events atop a giant golden phoenix in a spray of dollar bills, celebrating her brazen, competition-crushing excess like a carrot-topped combination of Donald Trump, Suze Orman and Richie Rich.

But the bigger they come, the harder they fall. And Michelle (Melissa McCarthy) tumbles with a titanic thud when she’s arrested for insider trading, loses her company and her home and has to serve a stint of white-collar jail time. When she’s released, with no friends and no family to call on, she bullies her way back to her former assistant, Claire (Kristen Bell), and her young daughter, Rachel (Ella Anderson).

Since making her film breakthrough as part of the ensemble in Bridesmaids (2011), McCarthy moved confidently into the lead for Identity Thief, Tammy, The Heat and Spy, proving her comedic bravura and her raucous adaptability for broad physical humor. She’s a cherub-faced spark plug who’ll go to just about any lengths for a laugh. The Boss is the second of her movies directed by her husband, actor-comedian Ben Falcone, who also makes a brief appearance (as he’s done in several of her films).

Film Title: The Boss

Claire (Kristen Bell) gets some unwanted fashion advice from Michelle (Melissa McCarthy).

Hollywood has always loved a good rags-to-riches tale, and McCarthy and Falcone (who also collaborated on the screenplay, along with Steve Mallory) wring this one for raunchy, R-rated guffaws and give it some crisp contemporary pops that seem deliberately, satirically timed and tuned for the Age of Trump. But it’s also a bit of a flopping mess, a hammy hodgepodge of crude jokes, awkward slapstick gags and sometimes mean-spirited, vulgar humor that just isn’t funny.

As Michelle plots her comeback, she poaches Rachel’s Dandelions scout troop to spin off her own group, Darwin’s Darlings, and creates a bustling new enterprise—built on Claire’s homemade brownies—to compete with the Dandelions’ cookie sales.

Forget Batman v Superman. When it’s Dandelions v Darlings, things get really ugly. If you ever wondered what a Quentin Tarantino-inspired, Kill Bill-esque tween cookie-brownie street brawl might look like, well, The Boss has it.

Film Title: The Boss

Peter Dinklage (from TV’s Game of Thrones) gets chuckles as Michelle’s spurned lover, now himself a preen-y mini-mogul obsessed with samurais. Saturday Night Live’s Cecily Strong plays Claire’s quirky supervisor at her depressing new office job. Kathy Bates has a scene as a wealthy mentor from Michelle’s past.

There are underlying themes about family and belonging, about rebuilding and reconnecting, about trust and ethics. But mostly The Boss is about laughing—all the way to the bank.

—Neil Pond, Parade Magazine

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Superhero Smackdown

Batman and Superman duke it out in jam-packed double-bill epic

Batman v Superman: Dawn of Justice

Starring Ben Affleck & Henry Cavill

Directed by Zack Snyder

PG-13

In this corner, Gotham’s grim reaper—the Dark Knight! Opposite him, in blue tights and red shorts—the Kryptonion clobberer!

Two of pop culture’s most iconic superheroes face off in the year’s first comic-book-inspired double bill, director Zack Snder’s meaty, muscular epic in which Henry Cavill reprises his Superman role from Man of Steel (2013) and Ben Affleck capably becomes the latest actor to answer the big-screen Bat-Signal.

But why are two “good guys” fighting each other? What has brought them to this?

In this worlds-collide combo platter, people have mostly learned to put up with Batman’s fly-by-night vigilante crime fighting, even though he seems to care even less about “due process” than ever (especially when dealing with scumbags like human traffickers). With Superman, on the other hand, the honeymoon is over. People know he swoops in and saves people—but they’ve begun to question the heavy toll of his heroics, the death and destruction that often follow in his sonic-boom wake. And they’re worried about his true motives, his “alien” status (he did come from another planet, after all) and what he could do with all that power if he ever decided to use it against them.

Even Batman—and his billionaire/socialite/playboy alter ego, Bruce Wayne—thinks we’d be better off without Superman. Spurred by a dastardly plot twist, an even bigger crisis and a rising global tide of public opinion, the fight, as they say, is on.

BATMAN V SUPERMAN

Lex Luthor (Jesse Eisenberg) menaces Lois Lane (Amy Adams)

Jesse Eisenburg has a fidgety ball as Lex Luthor, a refreshingly younger version of the iconic DC über-villain and perennial pot-stirrer. Amy Adams returns as Daily Planet star reporter Lois Lane, Superman/Clark Kent’s love interest (their bathtub scene is surely one of the sexiest rub-a-dub moments in any superhero flick). Holly Hunter is a U.S. senator who supports the Man of Steel. Jeremy Irons is the “new” Alfred, Bruce Wayne’s hi-tech butler.

Gal Godot—from the Fast & Furious franchise—debuts as Wonder Woman in a blatant plug for future D.C. movies, including her own spinoff (next summer) and two Justice League flicks stretching into 2019. (You’ll also see quick cameos by a couple of other new, upcoming DC characters.) Anderson Cooper, Soledad O’Brien, Nancy Grace, Charlie Rose and Neil deGrasse Tyson play themselves, as talking heads talking about Superman.

It’s long (two and a half hours), jam-packed, sometimes overly so, mostly humorless and generally a bit grim. But at least it’s not all crash-boom-bam. The solid script by Chris Terrio and David S. Goyer often steers into think-tank territory—about gods and demons, politics and paranoia—and Synder (who directed Man of Steel and also steered Sucker Punch, 300 and Watchmen) pumps up the religious allegory and symbolism that have always been part of the Superman mythos.

And of course, there’s the Big Event itself, the “greatest gladiator match in the history of the world,” as Lex Luthor calls it, the sprawling slugfest when the Bat and the Son of Krypton actually come to blows—before their superhero smackdown is eclipsed by an even bigger call to arms. It’s big, all right, epic and operatic. Who wins? I certainly won’t spoil it.

Except to say the real winners will be viewers who keep eyes totally glued to the screen for the split second just before the screen goes dark and the credits roll.

—Neil Pond, Parade Magazine

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