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where faith and film are intertwined

Disney+

Welcome to Earth -Our amazing home

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In Welcome to Earth, from National Geographic and streaming on Disney+, Will Smith tells us of some of the things he’s never done, then goes on to do some of them. Smith is our guide to experience our planet in new ways. The limited series has brought together various explorers (some who are differently-abled) who take us around the world to see, hear, and discover things we may never knew was happening around us.

There are six forty-minute episodes in the series, each with a different focus. There is one about sight, one about sound, and one about scent that focus on the sensory aspects of the world. But are also episodes that focus on the nature of swarm mentality, the things that are too fast or too slow for us to notice, and one about overcoming our fears to discover the world. The episodes are structured around Smith heading off with one of these explorers, then bringing in other examples of the theme from other explorers.

The series takes us under the sea, into a volcano, into deserts, deep into caves, to the Arctic, and the Serengeti. In each location we are encouraged to be amazed at the amazing planet we live on, and the other creatures we share it with.

Among the wonders we encounter are watching sea anemones marching across the seabed, bees shifting their bodies to frighten invaders, sharks and turtles seeking a particular island in the Great Barrier Reef, whales making the loudest noise made by animals, and (perhaps coolest of all) a moonbow.

The discoveries we make along the way may not be mind-blowing, but they are engaging. They are presented in easy-to-understand ways. But the real purpose isn’t really to surprise us; it is to help us shift our perspective to the world around us. It is to encourage us to do our own exploration of all things great and small. And at times, it asks us to explore ourselves and how we relate to this world we are in.

Religions often look at a creator of this world. Often times we may think that speaks to the great power of the creator. We may use the world and nature to tell us about God. We may discover that there is such diversity in the world around us that we will need to expand our notions of God and creation. That is always a good thing.

Photos courtesy of National Geographic and Disney+.

The Beatles: Get Back – Pulling Back the Celebrity Curtain

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There are few bands as adored as the Beatles.

With a mere 12 studio albums under their belts, John Lennon, Paul McCartney, George Harrison and Ringo Starr produced music so remarkable that it defined a generation of music lovers. Even now, after over 50 years and the passing of two original members, the fire for Liverpool’s mop-tops burns just as brightly as before.

Now, with the release of the new docuseries The Beatles: Get Back, audiences have the opportunity to travel back in time to the band’s 1969 recording sessions. With the goal of performing live for the first time in two years firmly in view, John, Paul, George and Ringo attempt to create an entirely new album in a mere 21 days. With such a daunting task putting incredible pressure on the Fab Four, tensions begin to mount, causing division and arguments between them. However, as a result of their commitment to both the creative process and one another, the ‘Get Back Sessions’ result in one of the music’s most iconic concerts: the live performance on the rooftop of Apple Studios.

Directed by Peter Jackson, The Beatles: Get Back is an extensive and expansive behind-the-scenes look at one of the greatest bands in music history. Although the series draws inspiration from Michael Lindsay-Hogg’s 1970 documentary of the project, Jackson manages to create something new by sitting more deeply within the moment. Having to choose from over 60 hours of footage and over 150 hours of unheard audio, Get Back massive length offers an intimate portrait of the creative process of the band like we’ve never seen before. 

While we’re familiar with their songs, there’s something special about watching them become the anthems that we know and love. Songs like ‘Get Back’, ‘Let It Be’ and ‘I’ve Got a Feeling’ didn’t simply drop out of the sky. (Well, there are some exceptions here, like Paul’s development of ‘Oh, Darling’ which seems to just… materialize.) Generally, there’s a push and pull that takes place within the creative process that Jackson highlights beautifully. By slowing down and allowing the footage to simmer, he reveals the comraderie that this group enjoyed when they were creating their best work. As the famed rooftop concert develops, the [rubber] soul of the group is exposed and we witness the magic they could make when working together.

Furthermore, even amidst the chaos of attempting to write 14 new songs in 3 weeks, there’s a playfulness that comes through in many of the practices. Yes, they had grown up and matured. Yes, they had changed. But still, Get Back provides glimpses of the boyish charm that defined them in their earliest years. Fully aware that their life as a band was beginning to come to an end, their desire seems to be to reclaim the fire that they once felt one more time. As a result, whether it’s non-sensical riffs and falsettos or simply relaxing by playing the hits of other musicians, there’s a joyfulness that shines through amidst the seriousness of the moment. 

Meanwhile, Jackson’s series also recognizes the tensions that were brewing behind the scenes. Moments such as Harrison’s brief attempt to leave the band, McCartney’s battle to have his own way and the struggle to accept the intensity of John and Yoko’s relationship during creative sessions offer a deeper picture of a band that has been studied for decades. (Incidentally, it’s worth noting that, while any edit of this type will skew the image in some ways, Get Back opens with text that insists that they’re doing their best to portray these icons in their truest forms.) 

In doing so, Jackson also exposes their shortcomings. Whereas pop culture has immortalized the names John, Paul, George and Ringo as examples of creative geniuses, so too were they simple boys from Liverpool who simply wanted to make music. Idolized by millions, they were also flawed and imperfect, squabbling amongst one another over who’s vision would become the final product. (This tension is particularly visible during the audio of a private conversation between McCartney and Lennon where they address Paul’s constant insistence on doing things his way.) As they work through their difficulties together, we begin to see past their celebrity status and focus increasingly on their desire to rediscover their passion for music (and each other). 

Now, having said this, it’s also worth noting that Get Back is likely not going to win over any new members to the Fab Four Fan Club. While the expanded footage is remarkable and revealing, so too does it move at its own pace. Repeated performances of half-finished songs and conversations about chord progressions may excite devotees but, without that prior passion for the group, it’s hard to imagine outsiders getting particularly excited about it. Throw in the fact that the series clocks in at an incredible 7 hours and 50 minutes and one could understand why the massive scope of this project with its slow tempo will make it a difficult ‘binge watch’ for the younger generation. (Yet, ironically, somehow the runtime seems appropriate considering Jackson’s repertoire for longer, more reflective pieces.)

Even so, there’s something truly special about Get Back. As a love letter to the Beatles, Jackson celebrates the originality and ingenuity of the team as they develop songs that will remain stalwarts for the next 50 years and more. However, at the same time, he also reveals their humanity, including the struggles and strains that can be felt as they work together under duress. By allowing their faults and failings to shine through, Jackson manages to pull back the curtain of celebrity and remind us that these were ultimately just boys who wanted to ‘get back to where they once belonged’.

The Beatles: Get Back is now playing on Disney+.

Hawkeye: Marvel hits a Holiday Bullseye

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Hawkeye isn’t funny. But Hawkeye definitely is.

Helmed by Rhys Thomas and Bert & Bertie, Hawkeye is an enthusiastic and energetic series that takes one of Marvel’s least charismatic heroes and lets them shine brighter than the Christmas tree in Rockefeller Square. Admittedly, a series about the ever-grumpy Clint Barton (aka Hawkeye) was not something that I expected to be excited about, especially considering the sheer number of Marvel projects we’ve unwrapped in our Disney+ packages this year. Nevertheless, Hawkeye manages to hit a holiday bullseye. Part I’ll Be Home for Christmas and part 80s buddy comedy, the series allows itself to honour Hawkeye’s serious soul while leaning into the silliness of the world around him.

Set two years after the events of Endgame, Clint Barton (Jeremy Renner) is attempting to make peace with his Avenging past. While taking his kids on a family trip to New York City to see the new Broadway smash musical, Rogers: The Musical, Barton simply wants to enjoy the holidays and take in the sights. However, when a threat from his past comes knocking, he must join forces with young Kate Bishop (Hailee Steinfeld) in order to take a bite out of New York’s criminal underworld. 

Known for his dramatic acting in his life pre-Hawkeye (remember, he was nominated for two Oscars), Jeremy Renner has never seemed to fully fit into the MCU’s quippy world of Tony Starks, Captain Americas and Thors. Marvel has done their best to find new ways to make him relatable (family man) or gritty and intense (Ronin’s revenge story). Fans of his have defended his commitment to fighting aliens when he has no superpowers while his detractors have mocked him for the same reason.

However, with Hawkeye, Marvel seems to have finally found the best way to make use of its star. By leaning into his grumpy exterior, Hawkeye let’s Renner play the straight man to the energetic youthfulness of Steinfeld’s Kate Bishop. As a result, Renner actually becomes funnier. Moments where he’s strapped to a unicorn or mistaken for Katniss Everdeen play well when Renner isn’t the one trying to make the joke work. 

We appreciate Hawkeye’s sincerity and focus. But his series reminds us that he could stand to lighten up.

Amidst the silliness and Christmas spirit, Hawkeye also fits in very neatly into Marvel’s 4th Phase. Now, three movies and five series deep (this year alone!), we can officially see the trends that have begun to take place through the MCU’s storytelling threads. Without giving any particular spoilers, Hawkeye taps into two of Phase 4’s key themes and gives it its own spin.

First and foremost, Marvel’s Phase 4 has shown its interest in passing the torch to the next generation of Avengers. By introducing multiple characters such as Yelena Belova, Shang Chi, and the upcoming Miss Marvel, She-Hulk, Ironheart and Echo series, the MCU has begun the process of introducing younger cast members who can take on the mantle of Earth’s Mightiest Heroes when the original cast decide to hang up their capes. In Hawkeye’s Kate Bishop, Marvel continues this trend by creating a character with genuine charisma and energy that’s instantly likeable. As Bishop, Steinfeld shines, portraying the character as a plucky young woman who’s determined to show the world what she’s capable of. What’s more, her adoration of Hawkeye highlights the fact that these heroes are so well known within this cinematic world that they are inspiring the next generation to take up the bow and arrow on their own. (In this way, there’s also a bit of life bleeding through the storytelling as well. While Bishop has always idolized Hawkeye and the Avengers in this world, so too are these young bloods also the ones who grew up watching these stories onscreen as well.)

At the same time, Phase 4 has also leaned heavily into the idea of ‘dealing with your trauma’. From grief to racial injustice to family pain, Marvel’s most recent stories have leaned heavily into its heroes’ abilities to focus on their personal issues while they battle world-shaking events. With Hawkeye, this trend continues as well as Barton is a man who simply wants his past to go away. Having lived his life as the vicious Ronin during the Blip, Barton wants to lean into his life as a husband and father. However, as these things tend to do, the past can only remain hidden for so long. As a result, in addition to Marvel’s trademark ‘battles with bad guys’, Barton’s greatest fight becomes having to deal with pieces of his painful past that stole parts of his soul. While the tone of the series remains fairly light, it is also willing to give Barton the chance to work through his own

With an (almost) surprising amount of fun and pop, Hawkeye is a welcome gift for the holiday season. Wildly different than the ‘time-and -space-threatening’ antics that we’re used to, Hawkeye is a light-hearted and joyful shot in the arm that is enjoyable for the whole family. 

Now, if they’d only focus their attention on bringing that Steve Rogers musical to Broadway, we could all have a Merry Christmas and Happy Holidays.

Hawkeye is now playing on Disney+.

Home Sweet Home Alone: It’s Hard to Go Home [Alone] Again

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It’s always hard to go Home [Alone] again.

It was over thirty years ago when John Hughe’s Home Alone became an instant Christmas classic. However, when the film became such an immense success, it also made sequels and reboots an inevitability as well. Now the fifth sequel to McCauley Culkin’s first adventure, Home Sweet Home Alone wants its audience to feel nostalgic for the past while still carving out its own place in the canon. Though the formula is essentially already set, this is an entirely new story with entirely new characters.

Home Sweet Home Alone introduces the world to Max Mercer (Archie Yates), a young boy who finds himself accidentally left alone when his family flies to Japan for the holidays. New to the neighbourhood, Max has no one to reach out to but decides to embrace his newfound independence. However, when a married couple attempts to break into the Mercer’s home to retrieve a priceless heirloom, Max is forced to defend himself—and protect his house—by any means necessary.

Directed by Dan Mazer (Dirty Grandpa), Home Sweet Home Alone is not so much a reboot of the original property but more of a distant cousin to it. Written by Mikey Day and Streeter Seidell, Sweet Home has the elements to make it a blast but still feels lacking. Taking place in the same world as the original films, Day and Seidell clearly have an affection for Hughe’s holiday classic that fuels their interest in the screenplay. In fact, the film directly references the McAllister stories from the early 90s without feeling burdened by them either. (Without giving away any spoilers, this reverence for the original also lends itself in the form of a surprise cameo—but no, it isn’t Kevin.) 

However, while the film is will definitely be seen as a fun holiday adventure for kids, there seems to be something missing for it to be memorable. Although it features a solid cast that includes Kenan Thompson, Rob Delaney, Aisling Bea, Chris Parnell and more, Sweet Home still feels like it could be something more. As the film’s brightest light, Ellie Kemper gives her all as the frazzled but financially strapped mother yet the material she’s given feels uneven and even she struggles to find a rhythm. 

With this in mind, it’s possible that the most confusing aspect of the film lies with its villains. While Kemper and Delaney give their all, the writing simply lets their characters down by trying to make them so relatable. Whereas the original film gave us two thieves who, while silly, are definitely cruel villains that need to be vanquished, Home Sweet Home takes a different approach. Instead, the film works hard to make the viewer empathize with the would-be criminals. By telling stories about their financial hardship and showing their deep love for their family, Home Sweet Home seems to want the viewer to love them as much as they do Max Mercer. These potential criminals are not monsters but people who have been broken by the pressures of society. That’s not to suggest that they should be demonized, yet the writing just makes it a tad confusing about who they want us to cheer for.

Now, having said this, most people are really here for the inevitable break-in and certainly the film does this very well. In fact, Mazer leans into it with enthusiasm. Featuring some fun and surprising ‘booby traps’, there are a number of sequences that definitely meet the expectations of the franchise. In his attempts to defend his home from invaders, Max Mercer goes full ‘McCallister’, creating some unique visuals ranging from dangerous Nerf darts and perilous pool balls to terrifying treadmills. Without question, this is the portion of the film that truly pops and should entertain fans of the original.

Ultimately though, this film wants to delve into what it means to feel safe at home. While Max (like Kevin before him) wishes to be apart from his family, he too is suffering from a deep loneliness in his soul. Having moved into a new area, his family hasn’t made the necessary connections to make this new house into a home. However, when he’s left alone for the holidays, he simply wants to feel safe and loved. At the same time, the McKenzie’s next door seem to find themselves with a similar problem, albeit for different reasons. Although their family relationships feel solid (for the most part), fiscal difficulties have put a tremendous strain on their home life. Pressured to keep up with their wealthy in-laws, the McKenzies yearn to feel safe and secure financially. In both instances, the challenges before both Max and the McKenzies force them to re-evaluate what’s important in their lives and what it means to truly have a home worth saving.

While it is not the best of the franchise, Home Sweet Home Alone is admittedly a fun addition to Disney+ for a night of at-home viewing [as opposed to a theatrical event]. Though the writing may be uneven, the performances and stuntwork are silly enough to bring some holiday cheer. However, even though it wants to honour the original, this entry does prove that it really is hard to go Home again.

Home Sweet Home Alone is now available on Disney+.

Olaf Presents: Retelling the Old Story

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Though the Frozen films may be on hiatus, Olaf is still more than willing to tell us some stories.

In Disney+’s new series of shorts Olaf Presents, the beloved snowman does his best to recreate the magic of some of Disney’s most well-known animated films. From The Little Mermaid to Tangled, Olaf (voiced once again by Josh Gad) takes a few moments to take on the roles of mermaid, genie, lion king and many, many more as he speedily recalls the tales that defined a generation using his unique voice and vision.

Directed by veteran Disney animator Hyrum Osmond, Olaf Presents is silly, (very) brief but ultimately fun addition to the Disney+ canon. Designed as additional content for ‘Disney+ Day’, Olaf continues in the vein of rapid storytelling that marked his role in Frozen 2. Recounting the events of the first Frozen adventure, Olaf’s interpretation of the story added a certain level of goofiness and self-awareness to the Frozen franchise and Osmond and Gad clearly want to do the same here. By poking fun at other major Disney franchises such as Moana, The Little Mermaid, Aladdin and more, Disney injects a little bit of meta-humour into their greatest hits and, frankly, it works well.

Although the shorts are extremely… well… short at only 2 minutes each, Gad definitely brings the energy and enthusiasm that one would hope for this sort of project. Having shown up in a number of projects as the lovable snowman (like the Lego Frozen project?), Gad is now synonymous with the character and clearly enjoys embellishing the role. (Seriously, whereas it can be easy to substitute voice actors, it’s actually hard to imagine anyone else as Olaf at this point.)

Admittedly, there’s very little to Olaf Presents by way of character arc or development of any kind. However, the project does serve as a gentle reminder of the fact that stories are shaped by perspective. Despite the fact that Olaf sticks closely to the original tales, his own unique brand of humour does shape the way that the events are presented. In Aladdin, he points out the silliness of the Sultan’s inability to change his own laws. In The Lion King, he points out the irony of Mufasa’s leadership over the animals while he still needs to eat. He even mocks Flynn’s overuse of the ‘smolder’ in his interpretation of Tangled. In this way, Disney does lean into the notion that the meaning of these stories can be affected by who tells the tale. Olaf’s innocence and unique take provide a different window into the stories that we have grown up with. Even if it’s done with silliness in view, that’s an interesting suggestion about the way we understand the world.

However, while the power of perspective is certainly an important aspect of these shorts, the ultimate goal of these tales is strictly entertainment. Olaf’s silliness and enthusiasm are infectious, even within these brief mini-tales. After all, who doesn’t love a good story, especially one that help us ‘see the light’ in a new way.

Olaf Presents is now playing on Disney+.

Lego Star Wars: Terrifying Tales – Scared Silly

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Hallowe’en has come early.

To kick off its ‘Hallowstream’ Event, Disney+ offers its latest gift in the form of Lego Star Wars: Terrifying Tales, it’s latest entry into the long-running animated franchise. Following last year’s Lego Star Wars Holiday Special, Tales continues to lean into the holiday-themed material with an episode devoted to the Dark Side and its minions.

Terrifying Tales takes place after the events of The Rise of Skywalker as Poe Dameron and BB-8 are forced to make a sudden landing on the volcanic planet of Mustafar. Standing at the base of Darth Vader’s iconic hideaway, they soon discover that Graballa the Hutt has bought the castle so that he can repurpose it into a luxury hotel. While they wait for their ship to be repaired, they are intrigued by the mysterious Vanee (Tony Hale). Once working as Vader’s loyal servant, Vanee spins three eerie tales that are linked to the past and leads them deep within the castle’s walls. As his sinister plan is revealed, Poe, BB-8 and young mechanic Dean must face their fears and defeat an ancient evil from taking hold once again.

Taking a page from Marvel’s What If…? series, Terrifying Tales spins its own web of Jedi stories that may (or may not) have happened amidst the Star Wars canon. True to other Lego Star Wars animated fare, the series pops with silliness and fun, even as the proverbial ‘terrifying tales’ themselves focus on the more villainous characters in the universe. Just like it’s Marvel cousin, the show frees up its storytellers to tell stories without the burden of overarching storylines and continuity. As a result, there’s a gleeful freedom within this particular episode that sets it apart from other entries into the Lego franchise. (I mean, how much fun is it to see the story of impetuous farmboy Luke joining the Empire so he can live his dream as a great pilot?)

Concerned parents may find it important to know that these ‘terrifying tales’ hardly live up to their name. Although there are a few minutes of shadows and spookiness, ‘terrifying’ is hardly the word to describe these lighthearted adventures. (Although, it’s worth noting that these particular animators clearly love The Shining as it influences some of the better jokes within the episode.)

Since it’s leaning into the Dark Side of its stories, the show puts a heavy emphasis on stories about fear and power. (Again, lightly and playfully, of course.) However, Disney does admittedly surprise here by taking the opportunity to talk about the nature of courage as well. As Dean is exposed to Vanee’s ‘terrifying tales’ of the past, so too is he tempted to fall into their fear. Even so, Poe uses the moment to speak into Dean’s life.  Acknowledging his own fear, the pilot let’s Dean know that everyone experiences it but what matters most is what you do with that fear. To him, fear can be overcome when you lean into it and believe that you are stronger than it says. (“Without fear, you can’t have courage,” Poe says.) In this way, Terrifying Tales does a good job of helping kids recognize that fear is a normal part of their experience and empowering them when it strikes.

Goofy and entertaining, Lego Star Wars: Terrifying Tales is a suitable addition to the Lego Star Wars universe. Featuring fun side stories about some of the franchises favourite villains (Kylo Ren origin!), the episode is lighthearted enough to kickstart a month of Hallowe’en specials and spooks. But the best part is the fact that Disney doesn’t leave its kids wallowing in fear but shows them the path to courage along the way.

Lego Star Wars: Terrifying Tales is available on Disney+ on Friday, October 1st, 2021.

Star Wars Visions: A Whole New World

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As a Star Wars fan, I’ve grown accustomed to a certain style of storytelling. Not necessarily because I wanted to… but because I knew that that was just how things were going to be.

Disney bought Star Wars and they had a formula that they wanted to maintain.

This was most evident when Disney first purchased Lucasfilm back in 2014. While the excitement was high for fans about the return of the franchise, the fallout was swift. With the House of Mouse’s desire to control its properties, any books, video games, and comics that were released under the Star Wars label (other than the six films) were no longer considered ‘canon’ and disappeared. (Sigh. Where did you go Dark Forces?) With a single blast from their proverbial Death Star, Disney vaporized such beloved characters as Mara Jade, Grand Admiral Thrawn and more from the Star Wars universe. While some of those characters have been reintroduced over the years, fans were left angered as their favourite tales were deemed unworthy of the next generation of stories. Admittedly, there’s certainly an argument for this decision (after all, Disney couldn’t possible may all these conflicting stories work within their continuity). However, it also limited the space for any real originality to the universe.

Then, along came Star Wars: Visions.

Now available on Disney+, Star Wars: Visions is a 9-episode series of shorts produced by six different Japanese animation studios. Directed in differing styles of anime by different directors, each episode feels like a completely new and exciting interpretation of the galaxy far, far away. 

What’s most impressive though is that, with the release of these shorts, Disney has injected a breath of fresh bacta into the Star Wars tank. Unhampered by the burden of ‘canon’, these visions rely on something much more important: creativity. Like a bolt of lightning, these simple stories have energized a world which had become a little stale. (Aside from Baby Yoda, of course.) For once, Disney allowed their storytellers to develop their own… well… vision for their closely guarded universe, create unique characters and styles that showcase the talents of their artists. Though it’s safe to say that there were certain boundaries given, every short differs wildly from one another and challenges our assumptions about the Star Wars universe. 

A samurai protects a small village from a Sith Lord.

A band of youth embark on a dangerous mission to rescue their friend from Jabba the Hutt.

Two twin siblings battle to redeem (or recruit) the other.

Each individual narrative is fully enclosed with no reliance on the other episodes. That gives each storyteller the freedom to simply dip their toe into the sands of Tatooine without being burdened by larger narratives or story arcs. Most importantly though, they allow the animators to tell their stories in their own voice in their own way. From Solo to Rogue One, there are multiple stories in recent years that site Disney’s penchant to control their IP and has resulted in the firing of numerous directors. However, with Visions, the House of Mouse has turned off the targeting computer and let their animators have the freedom that they need.

And the results are stunning. 

Featuring some truly eye-popping animation, it is refreshing to see the universe stretched with its interpretations. From their use of colour and style to their philosophical conversations, every individual episode feels like a masterclass in anime storytelling. (In addition, the voice cast features some impressive talent as well, including Shang Chi‘s Simu Liu, Henry Golding, George Takei, Alison Brie, Joseph Gordon-Levitt and, of course, Tamuera Morrison returning as Boba Fett.)

In this way, although not quite the restoration of what was lost, these new visions of the Star Wars universe feel like Disney has given a gift to the fans. 

And not just the animators either.

Star Wars: Visions feels like a long overdue gift to those who have been clamouring to hear their own voice represented in the Star Wars universe. Frankly, this begs the question of what could be next? Could there be Star Wars stories told from an African perspective? Indian? Middle-Eastern? The possibilities are endless… and every one of them has the potential to bridge the cultural gap in storytelling as well. No, Visions hasn’t changed the game—but it has provided an opportunity for the world to share in a property that had previously only been told from one perspective.

So, maybe something old really can be new again.

Star Wars: Visions is available on Disney+ on Wednesday, September 22nd, 2021

Only Murders in the Building: Killer Fun While Embracing the Mess

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From podcasts to true crime stories, the mystery genre has never been hotter and, thankfully, the sheer joy within Only Murders in the Building keeps that trend alive and well. Tightly written and executed, the series pops with fun amidst the murderous mayhem. As unlikely sleuths, Martin, Short and Gomez are simply delightful together onscreen. Backed by some wonderfully fun supporting cast like Tina Fey, Nathan Lane, Amy Ryan and a dog-hating Sting, the three sleuths bound around the hotel looking for clues to the murder of the mysterious Tim Kono with a youthful energy and enthusiasm in their performances that we haven’t seen in a very long time. 

Set in a restless condo in New York City, Only Murders in the Building follows three strangers whose lives are turned upside down after a young man they know as Tim Kono is suddenly killed. Labelled a suicide by the police, the ruling doesn’t sit well with wannabe sleuths Mable (Selina Gomez), Charles (Steve Martin) and Oliver (Martin Short) who immediately set out to uncover the truth about Tim Kono’s demise. Although they know nothing about each other, their love of true crime podcasts and mystery fuels their passion for the case. However, the greatest lies may in fact be the ones that they tell each other as they keep their own secrets hidden on their quest for the truth.

Despite the age gap between the leads, the team may be unlikely but never seems out of place together. Having found a bit of a career boost in recent years, Short and Martin have worked together for so long that their banter stems out of their very real friendship but even they seem rejuvenated here. In addition, while she may seem like an odd choice at first, Gomez is a suitable addition to the team and she bridges the generation gap, making the series more accessible to younger viewers. 

As with all stories of this nature, Only Murders deals with the impact that the secrets and lies we keep have upon our daily lives. What may set it apart however is its interest in ‘embracing our mess’, rather than simply hide from it. Without giving any spoilers, for Mable, Charles and Oliver the appearance of success and happiness have become just as much of a priority as actually experiencing it for themselves. In each case, these broken souls seem to have everything together on the outside, even as they waste away within. Oliver refuses to let go of his apartment, despite his own financial setbacks. Charles happily reminds people of his career long ago as television detective Brazzos. Mable lives in luxury but keeps her emotional traumas close to her vest. To them, anonymity is power and image is everything.

As they hide their stories from one another, they play a sort of emotional poker with one another (and themselves). However, as their shadows begin to emerge, they become forced to accept the dark corners of their lives that they despise most. (“Embrace the mess. That’s where the best stuff happens,” they’re told.) For Oliver, Mable and Charlie, embracing the mess means being willing to address their brokenness and acknowledge it as a part of who they are. While this is never an easy task, the three characters begin to experience a personal wholeness that has eluded them for some time as they open themselves up to the flaws in their journey. Their stories are as intricate as that of Tim Kono and just as important to reconcile.

Lively and hilarious, Only Murders in the Building has all the makings of a hit. Led by its eager cast and anchored by a solid script, the series is easily one of the most fun surprises of the summer and well worth investigating. Like the podcasts that the characters adore, these Murders are killer fun and should keep people tuning in. 

The first 3 episodes of Only Murders in the Building are available on Hulu and Disney+ on Tuesday, August 31st, 2021, with new episodes weekly.

What If…?: Hitting the Reset Button

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I try to stay away from spoilers, but just in case, SPOILERS ARE POSSIBLE for the first three episodes.

I have to admit it, but sometimes the MCU exhausts me. Now don’t get me wrong. I love it, especially over the past few years as I’ve gotten more involved in the screening and reviewing and podcasting side of things. 

But the analysis? As the young kids say, “sheeeeeesh.” Trying to keep up with all the hidden meanings, easter eggs, comic references, and above all, trying to predict everything that is and was and ever will happen is absolutely a full time job. And sometimes, I really just want to watch something new that I don’t have to try and analyze.

Enter What If…?, the newest Marvel series airing on Disney+. I went into the first three episodes feeling absolutely free because I figured “hey, who knows where this will go.” And personally, I was totally right. It did everything I hoped it would. It connected me with the characters I loved, it stayed true to the heart of the storylines while simultaneously flipping the script on old expectations. The animation kept it youthful and energetic and before I knew it, and it’s absolutely a great tie in to all the impact that Loki has made on all the timelines everywhere in the multiverse.

Episode one takes us back to the original Avenger – Captain America – and marks the moment of Peggy Carter’s (Hayley Atwell) choice to stay in the room. From there, the entire trajectory of both her and Steve Rogers’s stories changes. Forced to make a split-second decision to save the Super Soldier mission, Carter takes Steve’s place and receives the serum. Fighting the same battle but with a new role, Agent Carter faces an even greater uphill battle as she rebrands herself “Captain Carter.” Not only facing the typical gender stereotype of being a woman in a ‘man’s role’, she also finds herself facing a monster we have yet to truly see – and the result will reverberate across other timelines.

Episode two takes two of my favorite stories: Guardians of the Galaxy and Black Panther and gives us a galaxy in which the enigmatic T’Challa is able to persuade even the most deadly of villains (ahem, Thanos) to work towards a more peaceful universe. Oh how wonderful it was to see Chadwick Boseman’s iconic work as Black Panther on screen once more. He 100% embodies T’Challa, and there will never be another one like him. That compelling portrayal gives life throughout this episode as T’Challa wrestles with what it means to serve both his people and the universe. 

Episode three really pulls no punches when showing us what could happen if the Avengers were never the Avengers. Instead of joining together, they are targeted one by one, and Fury (Samuel L. Jackson) is left facing a vengeful Loki (Tom Hiddleston really is in his element these days) threatening to destroy the world. But he’s not out for domination… at least, not initially. Instead, they must work together to catch a far more elusive foe, but as we all know about Loki, he’s always got something up his sleeve. 

See? No analysis. No guessing games. No frantic fan theories. At least not from me. What If…? is the kind of series that is free to reset expectations and do something out of the box. In a word, it’s fun. Pure, good, fun. And I’m here for it. 

Catch it now on Disney+, and enjoy! We can all analyze later 🙂

Jungle Cruise: Watch Your Step

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“Over there are the remains of my last crew. You can tell they had a good time–look; they are still smiling!  Those smiles are just plastered right on their faces.”

One of the more unique rides at Disney World and Disneyland involves a boat cruise. No, I’m not talking about the Liberty Belle that circles Tom Sawyer Island. Instead, the Jungle Cruise is a fast-paced tour of a tropical river, complete with waterfalls, headhunters, hippos, and a wise-cracking tour guide with a penchant for perfectly horrible puns. The ride is fun, but is the newest film from Disney (of the same name) just as enjoyable?

Jungle Cruise certainly has its moments but leaves too much of the ride’s fun out at the expense of a journey that feels forced in the second half of the film. Nevertheless, there are some good reminders of heroism, trust, and sacrifice we all would be better off talking a look at.

Since I’ve already provided most of the film’s plot, it might be wise to introduce the main cadre of characters. MacGregor and Lily Houghton (Jack Whitehall and Emily Blunt) are a brother/sister pair who live in England during WWI and are trying to seek funding for an expedition to the Amazon. Their goal is to find the Tree of the Moon and recover some petals from it for healing. (Seriously, haven’t we seen and heard this plot device before?) He shares the proposal; she uses her expert cunning to acquire an arrowhead meant for Prince Joachim (Jesse Plemons) that may prove to be useful. She also knows how to pick locks, and it opens a lot of doors for her.

Upon their arrival at Porto Velho in Brazil, they meet Frank (Dwayne Johnson), a wisecracking tour guide who, well, cracks constant jokes and seems to have the entire jungle working to make his rapid-fire puns work to the delight (and disdain) of tourists. He needs funds to keep his boat going or Nilo (Paul Giamatti) will take it.

Enter Lily and MacGregor. She’s an adverturer; he’s like Princess Vespa in Spaceballs, complete with tons of luggage. Frank soon learns he’s met his match in Lily (other than the fact that she’s deathly afraid of water). The journey leads to numerous confrontations with said headhunters and Prince Joachim, who makes the journey to the Amazon in a submarine (too bad it went under).

Once Frank and crew nearly go over a waterfall, the story switches from fun-loving and joking to high-stakes adventure. To accomplish this Herculean task, Frank reveals some unique aspects about himself. Lily has to get over her fear of water (and receives a few kisses from Frank in an odd manner). The tree appears, but not before Prince Joachim shows up (along with various forms of Aguirre [Edgar Ramirez]–some of which are rather creepy). The tree blooms. You can probably guess what happens next.

Does the embellishment of a 20-minute ride into a 2-hour film work? I think that if the jokes were kept at a steady stream and the adventure was more unique, it would be quite good. Jungle Cruise is not a bad film, but certain things caused my mind to wander from the plot. For example, the Disney opening has a Metallica song playing underneath it. There’s a reason for it, but I’m not sure “Nothing Else Matters” quite fits. In addition, there’s a strange mishmash of films ranging from the Indiana Jones series, The Mummy, the Lord of the Rings trilogy, and even Beauty and the Beast (note the color of the tree petals and how the conflict is resolved in the end). It’s wacky and unrealistic, but there’s some fun—enough to justify the film’s run time of two hours.

Director Jaume Collet-Serra found two fantastic leads in Johnson and Blunt, and their chemistry is evident from the moment they lay eyes on each other. Whitehall is on the screen a good amount as well but comes off as wooden and uninspired. Prince Joachim is laughable for the wrong reasons. Outside of that, the main character of the film is the CGI. The river sequences are absolutely gorges in some places, a bit wonky in others (the waterfall sequence), and creepy when Aguirre shows up (hope you like snakes—they have a bit of a hissy fit).

I think it’s important to note that there are a number of specific themes that can be detected in Jungle Cruise—heroism, trust, and sacrifice being three of them. Another, more subtle, aspect to the film comes in the form of standing alongside those one cares about and loves. Although MacGregor and Lily are brother/sister, there’s a telling line about halfway through the movie. When Frank asks MacGregor why he is so close to Lily, he replies that she “stood by me, and for that, I would’ve followed her into a volcano.” It does have a Samwise Gamgee/Frodo feel to it, but that’s one aspect of true friendship.

The writer John Donne noted in Meditation 17 that “No man is an island, entire of itself.” (You can also translate that as “toucan do better than one can.”) It has been difficult for many people during the worldwide pandemic when physical distancing has been the norm. To that end, many have resorted to life in front of a computer, using programs like Zoom, Google Meet, or Microsoft Teams to create virtual community. Over time, however, the sense of unity has drifted further and further away from view, bringing some to a breaking point. My prayer is that we would take the time to communicate intentionally to those we love (even bringing back what worked a generation ago—a simple phone call) and growing those relationships. At some point in the near future, we will be able to stand by those people in real time, reminding them that friends are there in times of need (see Proverbs 18:24).

Until then, we can agree that puns are good things, the Rock and Emily Blunt need to be in more films together, and it’s okay to be there for those dear to us. If it takes Jungle Cruise to remind us, that’s perfectly fine.

Also remember that, if you feel your feet getting wet as you leave the boat, you’ve probably gone out the wrong side.

Jungle Cruise can be streamed on Disney+ or viewed at your local theater (depending on area).