Category: Alan Tudyk

SUPERMAN (2025)

By Marc S. Sanders

Once again the man in blue, red and yellow has returned to the big screen by means of director James Gunn who is intent on starting a whole new universe of DC comics characters.  The 2025 interpretation of Superman is zippy and fun even if it is a little too shallow of character development and dimension.  That’s regrettably ironic actually.  A man who dons two different personalities, Superman and mild-mannered reporter Clark Kent. Yet, neither has much to say or stand for in this two hour picture.

Gunn’s film is defiant to avoid any heavy exposition as this film begins.  There’s a slim foreword as the picture begins to describe this new universe that contains metahumans who arrived on Earth centuries ago, along with a little bit of Kal-el’s origin that many of us are familiar with.  Then we see the Man Of Steel crater into the Antarctic wounded from battle and aided by his feisty canine friend, Krypto, who drags him to his ice palace, the Fortress of Solitude.

Action commences thereafter back in Metropolis.  Lex Luthor (Nicholas Hoult) is pulling the puppet strings.  Lois Lane (Rachel Brosnahan) and the rest of the Daily Planet staff witness the mayhem over the city.

Then we get a bit of Clark looking a little goofy as he rushes into work, followed by some romantic interlude between Clark and Lois back at her apartment.  The two toe the line of their relationship when finally, the Superman persona allows his girlfriend to test his purpose for serving planet Earth along with his limits of authority and decisive action.  They go back and forth but none of the dialogue lands and the argument has no impact.  A missed opportunity to set up the Lois and Clark relationship.

The rest of the picture focuses on comic book episodes of endangering Superman while other metahumans make appearances – an obnoxious Green Lantern (Nathan Fillion), Hawkgirl, the shape shifting Metamorpho, and the surprisingly entertaining Mr. Terrific (Edi Gathegi) who seems to operate like Mr. Spock from Star Trek.  Of the four, the guy with the dumbest name actually serves the picture the best.

James Gunn’s film takes a huge departure from the recent films of Zach Snyder’s universe.  Nothing is dark and hardly anything is morose.  Some subplots seem to be ripped from the headlines of current events that’ll have you thinking about the Russian-Ukraine war.  None of it is overly heavy though because this picture is designed for families to watch together. 

Superman is pure escape with a red cape.

What I miss though is what both the Snyder and the Christopher Reeve pictures offered.  What does Superman mean to himself and the planet Earth?  The one conversation between Lois and Clark/Superman goes on long and while it feels like there is a purpose in that exchange, I cannot recall one kind of conclusion that stemmed from it.  For the rest of the film, Lois flies a spaceship and helps a weakened Superman find aid. When the two share any more scenes together it is for the action of the piece followed by a kissing scene.  I just didn’t respond to the puppy love or risks of their relationship that other iterations offered.  Their connection is just written a little too thin.  That’s a problem, because the Superman mythos always hinged on their relationship in the face of danger or true love or even journalistic integrity.

Am I being too serious and hardheaded?  Yes.  Nevertheless, even with a comic book/Saturday morning cartoon gloss, I wanted to see more weight to the relationship between the two characters.

The best attraction is Nicholas Hoult as a connivingly evil Lex Luthor.  He’s a raging madman bent on destroying Superman like everyone knows and the actor chews the scenery while primarily hiding in his glass headquartered command center for most of the film.  Anytime the movie diverts to Luthor, the picture just felt more alive.  This is a great Lex Luthor!!!!!!

Like he did with a smart aleck racoon in his other films, James Gunn introduces a toy line merchandise with the flying white terrier dog known as Krypto.  His intent is for audiences to cheer for him like other precocious creatures from past films such as any Disney movie or E.T. or Baby Yoda or Rocket Raccoon.  He’s cute and spirited.  When he’s in danger, the kids will be worried.  When he flies into the center of the screen with a bark or a yelp, everyone will applaud. 

David Corenswet is Superman.  He’s fine.  He definitely looks like the part.  He’s a happy go lucky Kryptonian.  He’ll never be as memorable as Christopher Reeve.  I also have more to appreciate in Henry Cavill’s performance.  I just didn’t see Corenswet do enough with this role.  I’ve yet to really see the dramatic chops he could offer.  Simply lying on the floor of a cell while falling ill to Krytonite is not urgent or frightening enough.  I hardly got to know this guy to care enough if he lives or dies.  I hope he’ll blossom some more within future installments of Gunn’s superhero universe.  That’s up to the writers though.  David Corenswet is pleasingly relaxed in a role that demands almost a hundred years of acceptance for a modern age.  I’m confident he can do it and that Gunn cast the right guy for the part.  While he’s acceptable, both Corenswet and Brosnahan would best be served better material for them to work together. 

As for Rachel Brosnahan, I guess she’s okay.  I don’t see her do much beside fly a spaceship.  Lois Lane is such an immense character of brains and gusto striving to always be the number one reporter.  Her only weakness is her love for Superman.  There’s not much I remember about her from this film.  I did notice that she primarily wears purple like the character did in 1990’s animated series.  Nice salute.  Come on James Gunn.  Rachel Brosnahan is good actress.  Give her something more to do.  Let her act a little.  (Let David Corenswet act a little too.)

It’s wonderful that an optimistic interpretation of Superman has arrived.  We need it.  It’s colorful and fun.  It could be more exciting, though, with higher stakes that just didn’t arrive quite right.  This film is not my ideal picture of the hero, but the universe to come, especially with a quick appearance from another character at the conclusion, offers promise. 

Despite my reservations, the new DC Cinematic Universe seems to be in the right hands once again, and James Gunn’s team will deliver something entertaining for the next few years to come.

WISH

By Marc S. Sanders

Disney’s Wish seems to stand out from many other films within the studio’s vault because the lack of filmmaking confidence appears so obvious.  What does it tell you when a newly original story is continuously guided by winks and nods from past successes?  We see this thing can’t stand on its own two feet.  So, let’s dress a character up like Peter Pan and literally name a random deer Bambi.

A sorcerer trained in the arts of magic oversees his newfound Mediterranean island kingdom known as Rosas.  He is King Magnifico (Chris Pine) and he has attracted people from all over the world to reside under his rule on the condition that he collects their wishes to be held by him in glittering, floating blue bubbles.  The people of Rosas lose all memory of their respective wishes and now live month to month with anticipation that Magnifico will award them the wishes he holds as a kind of equity or collateral.   

Asha (Ariana DeBose) is a seventeen-year-old who is eager to finally witness her grandfather Sabino’s (Victor Garber) wish come true as his 100th birthday finally approaches.  She also aspires to meet the great sorcerer and hopefully become his apprentice.  As soon as she meets the King though, Asha realizes Magnifico is a greedy, selfish individual who thrives off the admiration of the people of Rosas while savoring the wealth of everyone’s longings.  In other words, Magnifico is a cult leader.

Chris Pine does good voice work here.  He’s gleeful and manipulative and uncaring and evil all at the same time.  Disney’s colorful animation lends to his vocal performance of course with Maleficent inspired glows of green spells which the character conducts.  Yet, my adult mindset could not get past the fact that I’m looking at an animated inspiration of David Miscavage, long time head of the Church Of Scientology.  Magnifico’s wife Amaya (Angelique Cabral) is the quietly naïve representation of David’s wife, Shelly (who has not been accounted for in years).  The poor people of Rosas are the brainwashed disciples believing in this false prophet.  I guess it’s not a terrible concept to apply to a fantasy, but once I see the allegorical connection, Wish makes me feel uneasy.  My fault I guess for watching too many HBO documentaries and listening to former Scientologist Leah Remini too much.

Asha is the hero of this story who makes a wish upon a star.  Actually, a literal character named Star enters the picture.  Star squeaks like a precious darling, ready to be your children’s next plush toy acquisition.  He shoots sparkling trails of gold out of his pointed appendages.  With Star’s help, Asha will reach the standard showdown with the villain by the film’s end and the awakening of the people below.  It’s all trite material that’s been done before.

Wish relies on the vast history of fantastical stories, believing you can fly and be heroic or simply a sidekick tagging along with the protagonist.  Asha has seven friends.  One is referred to as grumpy.  Huh!  How do you like that? Must it be so apparent so often though?  Thanks to Star, forest animals talk and one even makes an inside gag to Zootopia.  You’re practically asked “Get it?  See what I did there?” Magnifico bears a striking resemblance to Jafar and even resides in a similar castle to the Aladdin villain with stone spiral staircases to explore.

The colors and animation are just as engaging as nearly any other Disney film.  A few songs work, but there’s nothing on the level on what was accomplished during the days of Rice and Menken, or even more updated fare like Frozen.  I can’t recall the title of a single number from Wish.  Magnifico sings.  Asha sings multiple times.  The two duet together and it’s not terrible. Ariana DeBose could sing the phone book and I’ll feel swooned.  The supporting people of Rosa sing in choral support as well.

Still, what tainted my experience was turning a very real epidemic of cultish culture into a fantasy catered for all ages to enjoy.  The wishes the people offer up are the endless “donations” that a cult mentality always requests.  While I appreciate being accepted into a fraternity of Disney loving storytelling, I did not need to be banged over the head with so much saluting either.  The end credits contain one classic Disney character after another appearing next to the ongoing scroll.  Hi Dumbo.  Hi Genie.  Hi Peter.  Hi Belle. 

Disney always reminds us to believe our wishes will come true and yet with Wish the studio chose to go with what is blatantly familiar.  It’s time for some fresh ideas again that especially do not source themselves from the reality of harmful sects spreading false doctrines. 

NOTE: I still have a fresh idea from a very popular legendary story that Disney, nor Universal or Warner Bros has yet to touch.  Maybe it’s time I get it down on paper.  Hmm.

ROGUE ONE: A STAR WARS STORY

By Marc S. Sanders

On my 4th viewing of this film, I second guessed myself over and over. I know I’m a Star Wars junkie, but can I truly give an objective opinion about Rogue One? I think I can.

Rogue One: A Star Wars Story is of one of the best films of the last ten years. Now there are conditions that accompany that observation. It’s difficult to follow its trajectory if you haven’t seen A New Hope (the intended follow up story; the original Star Wars film). Frankly, reader if you are watching this film without ever watching A New Hope, I’d imagine you’ve been on a deserted island with a volleyball for a friend, unaware of this pop culture geek-oriented phenomenon from a galaxy far, far away, and upon your return to civilization you were just randomly flipping the channels. So, let’s just go ahead and dismiss that parameter right now.

Disney is the only studio with enough resources and scrutiny to ensure a good product is developed in the franchise. Rogue One proves that theory. From the Rebel uniforms to the Stormtroopers, to the Yavin 4 set recreation, and even a harkening back to Darth Vader’s original 1977 appearance (red eyes in the helmet), director Gareth Edwards, Lucasfilm and Disney ensure consistency in its side chapter apart from the 9-part saga. You relish the familiarity of it all, and what’s new you welcome with appreciated enthusiasm. It all works within the long-established universe.

The cast is superb with major highlights from Felicity Jones as Jyn Erso (great name) as a brash no nonsense rogue in and of herself. Jones comes off with tough bravado reminiscent of Susan Sarandon and Geena Davis, as well as Jodie Foster. Nothing will intimidate her, though she will show her heart and soul for her father, the reluctant architect of the Empire’s Death Star played by Mads Mikkelson, an important character to the story but not much material for him to capitalize on.

Alan Tudyk is a marvelous voice actor here as the tall droid K2SO, with a personality combination of Chewbacca & C3PO. He’s honest, maybe a little to honest, but he’s also physically strong and a smart aleck. His tone is Anthony Daniels, but his delivery is snide and arrogant. He’s just so entertaining.

Ben Mendohlson plays Imperial Director Krennic as a frightening antagonist who embraces the terror of this super weapon he oversees. “Oh it’s beautiful,” he sighs and really believes he sees beauty as a planet gradually combusts under the laser blast emanating from the Death Star. He expects greatness from his accomplishments and Mendohlson is also good at surrendering to what he’s not permitted to celebrate thanks to a strong Darth Vader and welcome return of Grand Moff Tarkin, a beautifully recreated CGI of deceased actor Peter Cushing. Tarkin is important to the Krennic storyline and his insertion in the film is flawless.

The cast also boasts Donnie Yen. He’s a real crowd pleasing blind martial artist. Not a Jedi, yet arguably even more fun.

The planets are crowded and different. Scarif where the final battle takes place is draped in palm trees and ocean blue. Great because it’s daylight setting allows all the action to be seen. Nothing is blurred.

The story structure is phenomenal as it centers on a race to make contact with an Imperial pilot who has just defected and then on to Jyn’s father in order to prevent this new Death Star from going into operation. I especially salute its honest, uncompromising, but still necessary ending. You’ll get a lump in your throat, followed by an adrenaline shot of excitement in the last five minutes. The end is pure genius. One of the great cinematic endings. Absolutely absorbing.

I really appreciate the various demographics in the film as well. For a story about an unending and lived in galaxy everyone should look and sound different. So, we are treated to Caucasian, African American, Hispanic, Asian, and English, and then you have the droids and fictional alien species.

If anything is shortchanged, it might stem from some of the actors’ dialects. Forrest Whitaker, Diego Luna and Riz Amed play primarily roles that at times are hard to comprehend, even in a fourth viewing. This is forgivable though. The story lends value to all of the players on screen.

So yes. Rogue One: A Star Wars Story is sensational; the best of the 4 Disney produced films thus far. There’s weight to its story, and its characters on both sides. It moves at a fast pace of action, dialogue and runaway suspense. It will go down as one of the best installments in the vast franchise that’s thrived for over 40 years so far.

WRECK-IT RALPH

By Marc S. Sanders

Walt Disney Studios is the granddaddy of animation. No one questions that. Yet when I watch a film like Wreck-It Ralph, I am enthralled at not just the imagination of story or the eye-popping visuals, but most importantly the made-up science the film’s video game characters interact with.

There are rules in play. All arcade game personalities can schmooze with each other after hours. Cross each other’s paths at “Cross Central Station” where a Pac Man cherry is offered up to a homeless Q-Bert, and even attend a Bad Guys Anonymous Group, moderated by the orange ghost Clyde (infamous rival of Pac Man). That last bit is one of my favorite parts of the movie. So inspired to have a Satan character console a dejected hulking, overalls wearing Ralph, aka Wreck-It Ralph. He’s the villain in the arcade game known as Fix-It Felix.

One rule to watch out for though, if you die in an arcade game you normally don’t inhabit, you can die permanently. When our title character gets overanxious, that’s a threat to not only himself but other important characters like Fix It Felix Jr (Ralph’s adversary), Calhoun (a first person shoot ’em up military woman) and Ralph’s inadvertent best pal Vanelloppe (the unfortunate glitch of a candy land racing game called Sugar Rush).

The jokes are great. The vocal cast of John C Reilly, Sarah Silverman, Jack McBryer, Jane Lynch and Alan Tudyk is perfectly assorted, as if the script was written specifically with these performers in mind.

There’s a lesson to be learned, because this is a Disney movie after all. It’s a pretty good lesson in knowing to love everything about yourself, glitches and all. Thankfully, the film does not patronize and melodramatically bash it over your head.

I love the arcade 80s relatability of the games and the settings of games like Fix It Felix, Heroes Duty, and especially Sugar Rush, looking as if ideas from Willy Wonka were swiped and polished to bring chocolate mud puddles, peppermint stick trees, Nesquik quicksand, and stalactites made of Mentos that drop into a lava like pit of diet cola that molten upon impact.

Soon after Ralph almost broke the arcade, he breaks the internet in a subsequent adventure, and that’s as endlessly hilarious and fun as his feature film debut.

RALPH BREAKS THE INTERNET

By Marc S. Sanders

You and your family are likely to be entertained with Disney’s Ralph Breaks The Internet featuring John C Reilly voicing the title character and reunited with Sarah Silverman as his trusty, spunky video game racer companion Vanellope.

Reilly and Silverman have perfect timing. Their voice work plays so well, it wouldn’t be too outrageous to see them do a live action comedy together one day.

Disney has made another winning animated film but this Ralph plays superbly as a comedy. As the title suggests, Ralph and Vanellope end up in the world wide internet and beginning with an out of control bid on an item in eBay, they cause a mess of trouble for themselves. Along the way their friendship is tested as they realize things never can stay the same forever. Honestly, Disney’s films have offered up more fleshed out life lessons in other films. Never mind though. It doesn’t weigh down the film in kitschiness.

There’s much to offer in high speed car chases with Gal Gadot as a stunning tough, leather clad roadster in a game called Slaughter Race; a far cry from the innocence of Sugar Rush but still a reminder of the violent fare offered up today. No worries, parents, it’s all shown in a G rated fashion nonetheless. As well, Ralph comes face to face with user commentary that isn’t always the most flattering and the trends of You Tube videos.

Everything is familiar to a 2018 viewer and we are seeing new things as we actually get an imagination as to how the internal workings of the internet engage with one another. It’s an invented engineering of science as we see how viruses might interact and an “Ask Jeeves” encyclopedic character voiced by Alan Tudyk rapidly presumes your question as you offer up a word at a time.

The all time highlights of the film come from the Disney Princesses and how they socialize outside of their films. It’s so hysterical. Maybe the funniest moments on screen of the entire year. Even more impressive is that the original voice actors were recruited to reprise their respective parts like Jodi Benson as Ariel, Ming Na Wen as Mulan and Idina Menzel as Elsa. You read it here first. Disney will be offering a comedy featuring all of their princesses in one film. I’m telling you. It’s coming. I know it.

Ralph Breaks The Internet is an hysterically inventive comedy. It only falters slightly in its overly long final act featuring a gigantic Ralph made up of millions of little Ralphs (just see the movie to understand what I mean), and the lessons are kinda throwaway, but the gags are fast. The animation is sharp and colorful and the voice cast is second to none.

This is a film that’s worth multiple viewings. You’ll have great fun each time you watch it.

NOTE: Stay to the end for an exceptional end credits scene. I mean its truly exceptional. TRUST ME!!