A Troll in Central Park (1994) – DVD

½*/**** Image D+ Sound B
screenplay by Stu Krieger
directed by Don Bluth, Gary Goldman

by Walter Chaw So Gnorga (voiced by Cloris Leachman), the queen of the trolls, hates flowers, outlawing them in her forsaken trolldom. Kindhearted simple-troll Stanley (Dom DeLuise) finds himself and his green thumb in quite the pickle: What’s a horticulturally inclined troll to do when everything his olive digit touches turns to a badly-animated flower? Get banished to Central Park in New York, of course–the only place in the universe more unpleasant (according to Gnorga) than Trolldom. Not content to be a worm in the Big Apple, fish-out-of-water intrigue, Don Bluth’s excrescent A Troll in Central Park also manages to shoehorn in a Mary Poppins, “parents too busy to fly a kite” bit of nonsense. It seems too much to wrap up in just under seventy-six minutes, but not only does it manage to do just that in its trundling, underdeveloped way, A Troll in Central Park also wastes what feels like hours on aimless and appalling musical numbers.

Thumbelina (1994) – DVD

*/**** Image D Sound B
screenplay by Don Bluth
directed by Don Bluth, Gary Goldman

by Walter Chaw A predictably disturbing take on Hans Christian Andersen’s cautionary tale of the importance of conformity and the dangers of female sexual awakening, the diminutive heroine of Don Bluth and Gary Goldman’s Thumbelina arrives in the slow blossoming of a rose. After brief stops in which a hyper-sexualized, Charo-voiced frog teaches Thumbelina to shake her tiny money-maker, a sleazy moustachioed junebug (Gilbert Gottfried) abducts her to be its wife, and Bluth presents phallic stems and pregnant bulbs to the point of indecency, the message of “there’s someone for everyone” (or, closer to the mark, an “Eye of the Beholder”-like “stick with your kind, freak”) comes ham-fisting home.

Newsies (1992) [Collector’s Edition] – DVD

Newsies (1992) [Collector’s Edition] – DVD

*½/**** Image A+ Sound A Extras B
starring Christian Bale, Bull Pullman, Ann-Margret, Robert Duvall
screenplay by Bob Tzudiker & Noni White
directed by Kenny Ortega

by Walter Chaw If the crick in my neck is any indication, I watched Kenny Ortega’s Newsies like a dog hears a new sound. Most probably, my eyebrow was also arched. I always marvel that a racist bit of juvenilia became The King and I, for instance, or when someone decides to turn a “Romeo and Juliet” into a West Side Story. So when I say that I am clueless as to how the newspaper-hawker strike of 1899 could make for a good musical, I might not be the best person to ask.

Atlantis: The Lost Empire (2001) [2-Disc Collector’s Edition] – DVD

**/**** Image A+ Sound A Extras A
screenplay by Tab Murphy
directed by Gary Trousdale & Kirk Wise

by Walter Chaw Clearly trying to gain some anime credibility by aping the mystical mumbo jumbo of Akira in an unfathomable third act, jettisoning the musical romantic comedy format, and inserting a few subtitles, Disney’s Atlantis: The Lost Empire (henceforth Atlantis) has moments of true grandeur, though it has a good many more of pure Disney. It gets hip genre credibility from the story contributions of “Hellboy” creator Mike Mignola and “Buffy” scribe Joss Whedon, but the best of intentions often lead to the worst of eventualities, and Atlantis is ultimately less “wow” than “oh, boy” and, eventually, “huh?”

The Testimony of Taliesin Jones (2002)

Small Miracles
Taliesin Jones
*½/****

starring Jonathan Pryce, Ian Bannen, Griff Rhys Jones, Geraldine James
screenplay by Maureen Tilyou, based on the book The Testimony of Taliesin Jones by Rhidian Brook
directed by Martin Duffy

Excessive sorrow gains nothing,
Nor will doubting God
‘s miracles.
Although I am small
, I am skilful”
6th century, Taliesin

by Walter Chaw Chief Bard of Britain and a Celtic shaman, the historical Taliesin lived in Wales in the sixth century, his poems the direct precursor to the Arthur legend as well as his own as a druidic shape-shifter and spiritual healer. (He’s thought to be the inspiration for the Merlin character.) Rhidian Brook’s well-regarded children’s tome The Testimony of Taliesin Jones concerns a quiet child who, stricken by the divorce of his parents, turns to faith-healing to deal with the arbitrary turmoil of his life. With its heart so clearly in the right place, it’s hard to come down too hard on Martin Duffy’s same-named cinematic adaptation of Brook’s text, but the film is so intent on capturing the spiritual aspects of its title character and its namesake that it gives short shrift to the tragedy of its familial disintegration, discarding subtlety, too, in its proselytizing wake.

My Bodyguard (1980) – DVD

**½/**** Image B Sound B
starring Chris Makepeace, Matt Dillon, John Houseman, Adam Baldwin
screenplay by Alan Ormsby
directed by Tony Bill

by Bill Chambers My Bodyguard, not to be confused with the sudsy Costner-Huston thriller The Bodyguard, has been described to me as “the ultimate bully movie.” I won’t even toy with the idea that this feature-length Afterschool Special is the best at anything, but the film does have some merit as a teen revenge fantasy. Making his low-key directorial debut, Academy Award-winning producer Tony Bill brings visual grace sans style to this tale of the new kid in school and how he masterminds one bully’s downfall through another’s redemption.

Snow Dogs (2002)

½*/****
starring Cuba Gooding Jr., James Coburn, Randy Birch, Joanna Bacalso
screenplay by Jim Kouf and Tommy Swerdlow & Michael Goldberg and Mark Gibson & Philip Halprin, based on the book Winterdance: the Fine Madness of Running the Iditarod by Gary Paulsen
directed by Brian Levant

Snowdogsby Walter Chaw Brian Levant’s Snow Dogs counts on adult audiences rationalizing that although it was terrible, at least their kids liked it. Why is it that the standards we hold for our children are substantially lower when it comes to the movies? (And if kids will probably like anything, why not expose them to something a little less offensive than Snow Dogs?) It isn’t so much that Snow Dogs finds its humour in a black man getting humiliated by a pack of dogs who are smarter than him, nor that it also mines for yuks by placing a black man in mortal peril because of his suicidal stupidity. No, the moment that Snow Dogs crossed a line for me was when Cuba Gooding Jr., an Oscar-winning African-American actor (one of, what, six?), gets comically treed by a ferocious dog.

Osmosis Jones (2001) – DVD

**½/**** Image A- Sound A Extras B
starring Bill Murray, Molly Shannon, Elena Franklin, Chris Elliott
screenplay by Marc Hyman
directed by Bobby Farrelly, Peter Farrelly, Piet Kroon and Tom Sito

by Walter Chaw If the devil is in the details, so, in Osmosis Jones, is most of the humour. It is one part Farrelly Brothers biological comedy and one part Piet Kroon and Tom Sito (late of The Iron Giant) animated genius; that the balance of the film is heavily in favour of the latter speaks to rare good thinkin’ from the Hollywood brain trust. The live-action part stars Bill Murray as the slovenly Frank–Murray out-repulses co-star Chris Elliot, which means that he is very possibly the most disgusting human ever captured on film. The animation side features the voice of Chris Rock as the titular Osmosis Jones, a white blood cell cop who, after a controversial stomach evacuation, is busted down to mouth duty. If you’re not sure what “mouth duty” entails–it’s bad. When Frank is invaded by an evil virus named Thrax (Laurence Fishburne), Osmosis gets one last chance to make good, paired with a blustering blunderbuss of a timed flu capsule named Drix (David Hyde Pierce).

Little Women (1933) – DVD

**/**** Image B Sound C-
starring Katharine Hepburn, Joan Bennett, Paul Lukas, Edna May Oliver
screenplay by Sarah Y. Mason & Victor Heerman, based on the novel by Louisa May Alcott
directed by George Cukor

by Walter Chaw A scant six years after The Jazz Singer introduced talking to the motion picture, George Cukor’s Little Women came to the screen with the awkwardness of a foundling art form (silent-picture burlesque and stage melodrama) in tow. It’s extremely difficult to view the film unjaundiced by a modern opinion of performance, script, and direction: Although the adapted screenplay by Sarah Y. Mason and Victor Heerman won an Oscar that year, Little Women is impossibly dated and difficult to swallow. Part of the problem is the casting of actresses (each one at least a decade too old for her role), whose performances are such sweeping caricatures that it takes some effort to remind oneself that they were once acceptable simulacrums of reality.

Harry Potter and the Sorcerer’s Stone (2001)

Harry Potter and the Philosopher’s Stone
**/****
starring Daniel Radcliffe, Rupert Grint, Emma Watson, John Cleese
screenplay by Steven Kloves, based on the novel by J.K. Rowling
directed by Chris Columbus

Harrypottersorcererby Walter Chaw There is such a dedicated lack of controversy and tension in Harry Potter and the Sorcerer’s Stone that all of its benefit as a children’s fiction is lost to the machinery of Hollywood spectacle. Gone is the dread uncertainty, the persecution of a child because of parents or class, and any true appreciation of consequences in the various action scenarios that lockstep unfold to the strict dictates of the plot; it’s Willy Wonka and the Chocolate Factory without the candy. At a bloated 152 minutes, the film depends to a peculiar degree on our familiarity with J.K. Rowling’s outrageously popular series of books: it does little to establish the characters and has such a feeling of clockwork inevitability that it’s shocking when the finale comes and goes with almost nothing resembling purpose, much less resolution. Though it’s arguably faithful to the major movements of the book (thus satisfying a large population of its tyke fans until they begin to develop discretion), Harry Potter and the Sorcerer’s Stone suffers from what I like to call the “Wizard of Oz” malady: no brain, no heart, no courage.

Monsters, Inc. (2001)

***/****
starring the voices of Billy Crystal, John Goodman, James Coburn, Jennifer Tilly
screenplay by Dan Gerson & Andrew Stanton
directed by Peter Docter and David Silverman & Lee Unkrich

Monstersincby Walter Chaw Ten feet tall and covered in blue and purple fur, James “Sully” Sullivan (voiced by John Goodman) is the leading scarer at Monsters, Inc. and best friend to his “handler/assistant,” a green nebbish of a cyclops named Mike Wazowski (Billy Crystal). Despite their occupation, they’re sweet fellas; less so is Randall Boggs (Steve Buscemi), a colour-changing, chameleonic thing who is jealous of Sully’s reputation. When a dreaded child escapes into the monster’s factory, Sully and Mike gradually unearth Randall’s nefarious plot to overtake Sully for “Most Bloodcurdling” while trying to hide the renegade kid from their tick-like boss Henry J. Waternoose (James Coburn) and Celia (Jennifer Tilly), Mike’s girlfriend.

Kingdom Come (2001) – DVD

*½/**** Image B+ Sound C+ Extras B-
starring LL Cool J, Jada Pinkett Smith, Vivica A. Fox, Loretta Devine
screenplay by David Dean Bottrell & Jessie Jones, based on the play “Dearly Departed” by David Dean Bottrell
directed by Doug McHenry

by Walter Chaw A second-helping of Soul Food but seasoned this time around with a preponderance of syrupy good intentions and a hulking mess of stock burlesque caricatures, Kingdom Come vacillates between ridiculous and irritating: a far cry from the intended “heartwarming” and “funny.” Though it’s always nice to see a film with an all-African-American cast that doesn’t rely on gangsters and gunplay (ignoring a gun that is drawn and forgotten early on), I’m not certain that the opposite of that genre is necessarily forced dramedy camaraderie, complete with a sitcom narrative’s rise and fall, made popular by Waiting to Exhale. Still, for as simple-minded and shamelessly overacted as it is, the film is somewhat redeemed by an overall genial goodwill.

Dr. Seuss’ How the Grinch Stole Christmas (2000) [Collector’s Edition (Widescreen) + DVD Interactive Playset] – DVDs

*/**** Image A Sound A Extras B- Playset A-
starring Jim Carrey, Jeffrey Tambor, Christine Baranski, Molly Shannon
screenplay by Jeffrey Price & Peter S. Seaman, based on the book by Dr. Seuss
directed by Ron Howard

by Bill Chambers Dr. Seuss’ How The Grinch Stole Christmas? More like Dr. Strangelove’s. The Ron Howard film version of the children’s perennial has horror-movie limbs that spring up independently of Seussian intent, the most extended of them going by the name of Jim Carrey, who wants to be the only Grinch remembered and marks his territory with piss and vinegar. Then there are the subversive asides, reckless stabs at hipping up a classic story that hadn’t fallen out of fashion in the first place. So miscast as a director, Howard is guilty of trying too hard; so well-cast in the lead role, Carrey is also guilty of trying too hard–or maybe not hard enough. Improvising ten topical jokes to every five that succeed while smothered by a fuzzy-wuzzy bodysuit, Carrey suggests a green Robin Williams in maximum sellout mode.

Dr. Dolittle 2 (2001) [Special Edition] – DVD

**/**** Image B+ Sound B+ Extras B-
starring Eddie Murphy, Kristen Wilson, Jeffrey Jones, Kevin Pollak
screenplay by Larry Levin
directed by Steve Carr

by Bill Chambers There comes a day when you can no longer revile a bad movie with any urgency, because another one’s going to come along regardless, sure as the sun sets. So it goes with Dr. Dolittle 2, a sequel to a movie I’ve never seen that is in and of itself a “reimagining” of another movie I’ve never seen, which in and of itself was based on a series of Hugh Lofting stories I’ve never read. And not a second of Dr. Dolittle 2 inspired me to retrace its steps (this is the story of Dolittle, not “do lots”), but to call Dr. Dolittle 2 uninspired because it does not inspire would be to tell a half-truth. Certainly the special effects, designed by the wizards at Rhythm and Hues, reach a new plateau of believability for talking-animal CGI, and, computer-animation aside, the 2001 film has a distinctive, endearing Eighties flavour that’s unique to this era. I mean, it’s about evil land developers!

The Goonies (1985) – DVD

*/**** Image A Sound A Extras B-
starring Sean Astin, Josh Brolin, Corey Feldman, Kerri Green
screenplay by Chris Columbus
directed by Richard Donner

by Walter Chaw I went to see The Goonies at the age of twelve because I was a Cyndi Lauper fan. As co-star Ke Huy-Quan (now “Jonathan Ke Quan”) hammed it up, I glimpsed the torments of my upcoming sixth-grade year. See, Quan in Indiana Jones and the Temple of Doom doomed me to being called “Short Round” for several months, accompanied by Pidgin English recreations of choice line readings (“You caw heem Meesta Jones, Doll!”)–which was admittedly better than the “Wassa happenin’ hot stuff?” jibes inspired by Gedde Watanabe’s legendary act of race betrayal as Long Duk Dong in John Hughes’s execrable Sixteen Candles.

The Trumpet of the Swan (2001) – DVD

½*/**** Image C Sound C Extras C
starring Jason Alexander, Mary Steenburgen, Reese Witherspoon, Seth Green
screenplay by Judy Rothman Rofe, based on the book by E.B. White
directed by Richard Rich, Terry L. Noss

by Walter Chaw Gracelessly-animated, unevenly voice-acted, and so carelessly told that it’s often unintentionally disturbing (our human hero fries eggs for breakfast when he meets our swan hero), Rich-Crest Animation’s The Trumpet of the Swan is an embarrassing cut-rate cartoon based on E.B. White’s melancholy 1970 novel. It strips White’s wonderful prose to its base essentials, inserts vulgar slapstick involving a skunk, a jive-turkey squirrel, and an aborted Graduate intrigue, and opens with an off-putting and borderline tasteless Lamaze egg-birthing prologue. Its catalogue of atrocity is so variegated and pungent that to list them all would be more effort than has in fact gone into the film’s production. Absolutely the only saving grace for this slack entertainment is its modest length–which, at a brisk 75 minutes, still plays like a film twice as long.

The Great Muppet Caper (1981) – DVD

***½/**** Image B Sound B-
starring Kermit the Frog, Miss Piggy, Fozzie Bear, Gonzo
screenplay by Tom Patchett & Jay Tarses and Jerry Juhl & Jack Rose
directed by Jim Henson

BUY @ AMAZON

by Bill Chambers Jim Henson said that The Great Muppet Caper was the Muppet movie nearest and dearest to his heart, and it’s little mystery why. For starters, it’s the only one of the original trilogy he officially directed. And it’s closer in execution to “The Muppet Show”, Henson’s surreal, Emmy-winning brainchild that ran on TV for five years, than either The Muppet Movie or The Muppets Take Manhattan in not only showcasing a wide variety of song styles and involving the human guest stars in the musical performances, but also framing itself as what it is: a movie. With tongue firmly in cheek, The Great Muppet Caper deconstructs itself all the while. The film taught me a lot about the cinema–conventions, techniques, genre–as a kid, for which I am grateful.

The Muppets Take Manhattan (1984) – DVD

**/**** Image A- Sound B
starring Kermit the Frog, Miss Piggy, Fozzie Bear, Gonzo
screenplay by Frank Oz and Tom Patchett & Jay Tarses
directed by Frank Oz

by Bill Chambers The third and final Muppet feature to which the dearly departed Jim Henson contributed, The Muppets Take Manhattan is a hodgepodge of terminally ’80s show tunes and ill-considered plotting that ransacks The Muppet Movie‘s basic premise–colourful nobodies seeking stardom–while gutting it of its thematic resonances, including the power of interracial harmony, i.e., “the Rainbow Connection.” What we’re left with is something that sparks but never ignites; The Muppets Take Manhattan is a Muppet film largely without Muppets save Kermit the Frog, and when you get right down to it, Kermit is only as interesting as his sparring partner. Like most leading men, he’s handsome but a bit of a blank slate.

Digimon: The Movie (2000) – DVD

***/**** Image A Sound A
screenplay by Jeff Nimoy & Bob Buchnolz
directed by Shigeyasu Yamauchi, Mamoru Hosoda

At 10 years old, Sam Jonasson is FILM FREAK CENTRAL‘s youngest contributor yet. (Unless we’re talking mental ages.) Knowing the lad is a cartoon junkie, I thought Digimon: The Movie would be right up his alley. Sam squeezed in this report on the disc between homework and architectural–Lego–pursuits.-Ed.

by Sam Jonasson Digimon: The Movie is actually two movies in one: the first movie is about the first season of Digidestines and the second movie is the second season of the TV show, which is on lots of kids channels. You would need good eyes and at least a vague idea of Digimon to understand it. A Digimon is an imaginary creature (animal or human) with one single type of attack (besides things like hitting and biting) who can Digivolve into a stronger and bigger Digimon who has one new attack type. Sometimes, the stronger has two attack types. Digimon are born out of an egg and live in the Digital world, which is parallel to ours. Some Digimon warp or Armor-Digivolve, which means they skip a level or two. Evil Digimon usually take a longer time to Digivolve.

Chicken Run (2000) [Special Edition] – DVD

***/**** Image A+ Sound A- Extras B+
screenplay by Karey Kirkpatrick
directed by Nick Park & Peter Lord

by Travis Mackenzie Hoover Chicken Run is slight but savoury. While it doesn't have the conceptual punch that, say, a Disney spectacular might have, it has a great deal less malice than most other films aimed at the same segment of the market. Instead of a highly manipulative, emotionally overwrought run through the wringer, we have a sweet and good-natured exercise in whimsy and friendliness. While this means that the film loses something in terms of dramatic impact, it also means that it relies more on wit than it does on action. What could have been garish and brazen is here sweet and mild-tempered, and it sweeps you up in its goodwill until the final frames.