Tag Archives: Kristen Bell

Ice Ice Baby

Frozen II

by George Wolf

Four year-old Ruby, bouncing in her seat and making friends while sporting a sparkly tiara, is here for it.

“The fun part is watching Elsa!”

From Ruby’s lips to Mickey’s ears, because the perfectly acceptable Frozen II seems overly calculated to be just that: perfectly acceptable to anyone and everyone who’s even vaguely aware of the original from 2013.

Directors/co-writers Jennifer Lee and Chris Buck are back for round two, along with songwriters Robert Lopez and Kristen Anderson-Lopez and the starring voices from the first adventure.

This new one is set in motion by a siren song that attracts Queen Elsa (Idina Menzel), calling her north to a magical forest that is holding captives – and secrets. With sister Anna (Kristen Bell), Anna’s beau Kristoff (Jonathan Groff) and goofy snowman Olaf (Josh Gad) close behind, Elsa sets off into the unknown to right wrongs and learn the origin of her magical powers.

“Into the Unknown,” get used to it. A soaring ballad delivered with customary power by Menzel, it’s served up not only as part 2’s “Let It Go,” but as just one of the many broadly-drawn themes the film leans on.

Don’t give up, take one step at a time and do the right thing. Nothing wrong with any of those messages, but largely thanks to Disney and Pixar, animated films of the last twenty odd years have shown us how many more layers of resonance are possible – for children and adults.

And while families – especially the younger members – will find a fine holiday time to be had, don’t expect the heights of Up, Inside Out, Zootopia, or even the original Frozen.

The songs are just a bit more bland this time, the laughs a little less frequent (although Gad does deliver some winners) and the animation not quite as rich or defined.

From start to finish, FII‘s journey seems interested only in the path of least resistance toward more of that Elsa/Anna feeling. And by that measure, it certainly succeeds.

“See you at the next Frozen! Are you gonna be here?”

Count on it, Ruby. Save me a seat.

Holding Out for a Hero

Teen Titans Go! to the Movies

by Hope Madden

Teen Titans was a beloved, fairly-serious, sometimes thematically challenging Cartoon Network program based on Glen Murakami’s comics.

Teen Titans Go! was Cartoon Network’s sillier spinoff show. Think Muppet Babies versus The Muppets: smaller, cuter, sillier and basically inferior in every way.

No, that’s too harsh. Teen Titans Go! to the Movies—the diminutive superheroes’ cinematic leap—is not without its share of charm. Directors Aaron Horvath and Peter Rida Michail (both from the TV series) bring the same zany, juvenile, self-aware sensibilities to the big screen that burst for years from the small one.

Robin, Cyborg, Raven, Beast Boy and Starfire aren’t being taken seriously by the superhero community. What they need is their own superhero movie! Everybody else has one! That’s how you know you’re really a hero, and not just a sidekick with a bunch of costumed goofball buddies.

What follows is a comment on the oversaturation of the superhero film punctuated by a lot of poop jokes.

The voice talent from the TV show (Scott Menville, Hynden Walch, Khary Payton, Greg Cipes and Tara Strong) is joined by big names (Kristen Bell, Nicolas Cage, Will Arnett, Patton Oswalt, Jimmy Kimmell) in fun cameos.

The best, most on-the-nose cameo belongs to Stan Lee, who sends up his own omnipresence as well as the Marvel/DC conflict and general nerdom with a spry little number.

There are laughs—some of them tossed with a surprisingly flippant sense of the morbid—and energy galore, but it’s all a kind of sugar rush. It’s fun for about 22 minutes, but by minute 23, you’ll be checking your watch.

By minute 50, you will be squirming restlessly in your seat.

By minute 80 you may have that fidgety kid next to you in a headlock, but who’s to blame him for kicking and wriggling and causing a ruckus? He’s as bored as you are!

By the 93-minute mark, you may be rushing for the door, and that’s too bad, in a way, because the bittersweet stinger you’ll miss with your hasty exit only brings home how slight and silly a spinoff Teen Titans Go! really is.

 





Those Aren’t Sugar Plums

A Bad Mom’s Christmas

by George Wolf

“Okay, fine, we’ll go caroling, but I’m not wearing that ridiculous costume.”

Man, what a setup. When we see her wearing that ridiculous costume two seconds later it’s really, really…not funny at all, much like the other 103 minutes of A Bad Mom’s Christmas.

The original Bad Moms might have been completely superficial and a champion of equal rights for cliched, underwritten male characters, but at least it managed some chuckles from three talented leading ladies.

And beyond all that, it was a box office smash, so the moms are back to do Christmas this year, mainly against their will.

Amy (Mila Kunis), Kiki (Kristen Bell) and Carla (Kathryn Hahn) are tired of being overworked and under appreciated every Holiday season, so they make an oath to “take Christmas back” and just chill this year.

But they’re barely done giving lap dances to a mall Santa when they all get visits from more easily identifiable cliches, gift-wrapped as their own mothers! What the?

Amy’s mom(Christine Baranski) is the demanding perfectionist, Kiki’s (Cheryl Hines) the stage five clinger and Carla’s (Susan Sarandon) is the party hound. All three are here to make their daughters feel overworked and under appreciated, at least until everybody learns something today.

Writers/directors Jon Lucas and Scott Moore (The Hangover trilogy) return from the first film to surround even more talented ladies with lazy, condescending attempts at comedy and female bonding.

The obvious gags rarely rise above the level of women talking dirty and little kids dropping F-bombs. Sure, that can be funny, but not when the women and kids are the only reasons it’s supposed to be funny.

Like the bedroom of Amy’s teen daughter that bears two-too-many “I love soccer” banners, Lucas and Moore are desperately trying to not only show they can write funny women but also that they are finely tuned to what makes women feel fulfilled as mothers and daughters.

A Bad Mom’s Christmas is contrived and forced at every turn, and by the time a mother/daughter heart to heart disrupts Midnight Mass while the congregation never takes one eyeball off the choir, a gift receipt is in order.





Mom Genes

Bad Moms

by Hope Madden

A raunchy comedy that peels away all the precious nonsense associated with motherhood and isn’t afraid to get a bit nasty – this feels like a film that’s been a long time coming. It could be a welcome change of pace if done well. Unfortunately, instead we got Bad Moms.

Mila Kunis stars as an overworked, underappreciated, harshly-judged parent. Her husband’s useless, her boss is a joke, and she’s so irredeemably responsible that her life is spiraling out of control. Either that or she is such an overtly clichéd image of every potential mom complaint that no actor could possibly make her a human.

Kunis has strong comic sensibilities, as do the performers playing her two new besties, Kristen Bell and Kathryn Hahn. Hahn’s the unrepentant man- and booze-hound of a single parent, while Bell’s Kiki is the socially awkward stay-at-home mother of 4. Together they have great fun doing all the things no one wants to see their mom do – and thank God for it, because the rest of the film is worthless.

This is a world where not one father contributes. OK, maybe one – but he’s a hot widower, so there’s no mother to help out. Awwww….

The film is co-written and co-directed by Hangover franchise creators Jon Lucas and Scott Moore, but they could have seriously used an assist from Bad Moms co-star Annie Mumolo. Mumolo co-wrote 2011’s Bridesmaids, a film that was capable of producing female-centric comedy with dimension. Even men.

I’m confident that there are times when every parent feels incompetent, where every well-planned family vacation turns into fodder for your child’s first adult conversation with a therapist. Bad Moms brings up loads of great, universal points that will pick those scabs. Unfortunately, the resolution to those issues is always convenient and one-sided to the point of being offensive.

Bad Moms is trying to offend your sensibilities, but it succeeds in the wrong spots. The lengthy sight gag concerning sex with an uncircumcised penis – not offensive, just funny. The problem is the rest of the movie.

At no point in the film Bad Moms is the word “parent” used. Every problem, every responsibility, every joy and obstacle is the sole property of the mom. I’m sure it can feel that way at times, but good comedy rarely comes from such a one-dimensional premise. It certainly doesn’t do so here.

Verdict-2-0-Stars





Like a Boss

The Boss

by Rachel Willis

The Boss is a comedic story of one woman’s fall from the top and her struggle to regain her position in the world.

Melissa McCarthy is Michelle Darnell, a high powered executive who writes a brand of self-help books. Her fall comes at the hands of former lover and business rival, Ronald (Peter Dinklage).

Kristen Bell is Michelle’s long suffering assistant, Claire, who is forced to find a new employer when Michelle is incarcerated for insider trading. The early setup foretells the redemption of Michelle, though the ways in which it happens are unpredictable and provide the bulk of the movie’s many jokes.

As a vehicle for Melissa McCarthy, The Boss has a number of laughs. Sharp wit, foul language, and bodily humor combine to offer an appealing repertoire of McCarthy’s talents. However, the movie itself falls flat. The supporting cast is underutilized. Kristen Bell, herself a witty and capable actress, is lackluster against McCarthy. The chemistry is non-existent, and the two characters never seem to foster a believable relationship.

The screenplay doesn’t know what to do with anyone other than McCarthy. Though a decent portion of the film revolves around Bell’s character, her scenes independent of McCarthy are mildly tedious.

Peter Dinklage, another actor with an incredible range of talent, has a woefully small amount of screen time, and though he plays Michelle’s former lover who both hates and still wants her, he has no sexual chemistry or tension with McCarthy. The interaction between the characters frequently feels forced.

The only actor who plays well of off McCarthy’s humor is Cedric Yarbrough, the “yes man” Tito, who appears briefly in the beginning of the film, but sadly, doesn’t return after Michelle’s release from prison.

On the whole, the film is disjointed. What could be a cohesive story of Michelle’s fall and attempted rise back to the top is unfortunately punctuated with scenes that don’t really fit the narrative: a comic book style slow motion fight scene between girls from two warring Girl Scout-like troops, a scene where Michelle has a bad reaction to puffer fish, and others.

Despite the movie’s flaws, it’s not without appeal. Ella Anderson who plays Claire’s daughter, Rachel, is a delightful foil to Michelle’s brash and sarcastic nature. Her emotions based on Michelle’s actions come across as genuine. Her joys and pains are felt by the audience. McCarthy’s humor and flair carries the film in places where in another’s hands it might suffer.

It’s a shame so many of the other characters are without appeal, as The Boss could have been a much stronger comedy.

Verdict-2-5-Stars

NOTE: NSFW trailer (but funny!)





TV Comes Full Circle For Your Queue

The big screen upgrade to fan favorite teen TV detective Veronica Mars is available today on DVD and Blu-Ray. Kristin Bell ably shoulders this self-aware, witty and fun retread. Fans of the show will be thrilled while the uninitiated are just as likely to enjoy the seedy antics of Neptune, California.

Another great fan favorite to make the leap to the silver screen is Strangers with Candy. Stephen Colbert’s stepping stone program follows the wildly hilarious high school mishaps of “reformed” drug addict/stripper/overbite victim Jerry Blank (the genius Amy Sedaris). It’s such a joy to see the cinematic version take that same twisted after school special approach, but Colbert, Sedaris and company are insanely funny no matter the size of the screen.





And Her Name Is Veronica

 

 

Veronica Mars

 

by George Wolf

Fans of Veronica Mars have been clamoring for a movie ever since the television series left the air in 2007. Their wish has finally been granted, and the result is a film that will not only preach to the choir, but also entertain those unfamiliar with the exploits of the teenage private eye.

Of course now, Veronica (Kristen Bell) is all grown up, and she’s left the P.I. business in California for a new life in New York. She’s done with law school and is up for a plum job at a big time law firm when…her old life comes calling.

Director/co-writer Rob Thomas shows great instincts for giving his baby a successful upgrade to the big screen, and for paying VM fans back for their devotion and kickstarter love. He gets everyone caught up in the first few minutes, then centers a murder mystery around Veronica’s 10 year high school reunion. Longtime viewers get to relish the return of all the familiar faces, while Thomas provides the snappy dialogue and brisk pace to keep everyone engaged.

Sure, the shenanigans here are presented with all the depth of adolescent TV, but Thomas offsets it all with a wonderful streak of self-awareness. There isn’t an ounce of pretense in Veronica Mars, which only increases its charm.

Back in the role that made her famous, Bell has never been more likable, carrying the film with a satisfying mix of confidence, intellect, sex appeal and wit.  Also, some nice cameos pepper the ensemble cast, only adding to the fun.

And that’s mainly what Veronica Mars ends up being: fun.

No crime in that.

 

Verdict-3-5-Stars

 

 

 





Calling Mr. Plow!

 

by George Wolf

 

Though the animated landscape has become more crowded since the days of Beauty and the Beast and The Lion King, musicals remain solid Disney turf. Their newest is Frozen, and while not quite on par with the classics, it still offers plenty to delight the entire family.

Based on story elements from Hans Christian Andersen’s The Snow Queen, Frozen tells the tale of young Queen Elsa (Idina Menzel) and her sister, Princess Anna (Kristen Bell). The Queen has mysterious powers she struggles to control, and they have caused her kingdom to suffer under the ice and snow of a permanent winter. In sad desperation, Elsa has isolated herself in a faraway ice castle, which leads Anna, along with her friend Kristoff (Jonathan Groff) and a goofy snowman named Olaf (Josh Gad) on a quest to find the Queen and save the kingdom.

With its big-eyed princesses in peril, dashing gentlemen, wise-cracking sidekicks, and soaring odes to empowerment, Frozen feels instantly familiar. Beyond those Disney benchmarks, though, there is some irony in the casting of Menzel, who won a Tony award for originating the role of Elphaba in the stage musical Wicked.

The similarity of the character names (Elsa, Elphaba), the unfair labeling of Elsa as “evil,” and the preeminence of a sisterly relationship over the search for Prince Charming all contribute toward a winning narrative assembled from some shrewdly familiar parts.

Of course, none of these elements are above rehashing, especially in the land of fairy tales. Disney veterans Jennifer Lee and Chris Buck, sharing story and directing duties, weave them all into a fast-paced, funny adventure that will, if the audience at a recent preview screening was any indication, totally captivate the young ones.

The 3D animation is often gorgeous, as the chilly setting gives the animators ample opportunity to impressively explore drifting show or glistening ice. Inside, Anna dances past framed paintings, a clever reminder of the added dimension these artists are deftly employing.

Musically, the husband and wife team of Robert Lopez and Kristen Anderson-Lopez fill Frozen with original songs that are pleasing, if a bit unremarkable. While there’s no “Be Our Guest” or “Circle of Life” here, Menzel’s voice remains a wonder to behold no matter the material, and Bell, an accomplished singer in her own right, shows impressive versatility.

Though he’s no match melodically, Gad steals the film as the daffy Olaf. Putting his unique voice to good use with some inspired delivery, he makes a funny character even more fun, and Frozen steps more lively whenever he’s near.

Now, the big question:  how are they going to recreate this frozen tundra for the theme park tie-in in Orlando?

I’m sure those wicked minds will think of something…

 

 

Verdict-3-5-Stars

 

 

http://www.youtube.com/watch?v=x1ieZ4f-DqM