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JK Simmons

Chip ‘N Dale: Rescue Rangers – Dusting Off these Two Gumshoes

May 20, 2022 by Steve Norton Leave a Comment

When Chip ‘N Dale: Rescue Rangers was named as Disney’s next reboot for streaming, the decision simply made sense. 

After all, Disney+ has provided the House of Mouse with an entirely new way to bring their content to the next generation with very little risk. From DuckTales to Darkwing Duck, their investment in bringing back popular franchises for the kids of the modern era have been fairly successful thus far. (I’m still waiting for the return of The Adventures of the Gummi Bears but I digress…)

But things began to take a turn for the strange when it was announced that the franchise would be passed to director Akiva Schaffer, who intended on taking a more meta-approach to the material. Usually, that’s often a bad sign. After all, every reboot (especially a beloved one like Rescue Rangers) comes with certain expectations in tone, humour and style. When you mess with the formula entirely, it can alienate the audience. (See Ferrell and Kidman’s Bewitched)

Amazingly though, Schaffer has come through.

In Disney+’s Chip ‘N Dale: Rescue Rangers, Chip and Dale have seen better days. After the cancellation of their fame animated series over 30 years ago, the characters have both moved on. With Chip (John Mulaney) now living in obscurity as an insurance salesman, Dale (Andy Samberg) spends his days attending fan conventions with the hope of garnering enough interest to resurrect their franchise. However, when one of their beloved former co-stars is kidnapped, the two estranged rangers reluctantly come together to solve a real crime in the face of overwhelming odds. 

Using his signature sarcasm, Schaffer infuses Rescue Rangers with a winking eye and sardonic edge that still feels like a love letter to the property. By blending multiple animation styles ranging from claymation to puppeteering but still grounding the project in the human world, the film feels very much like a spiritual sequel to Disney’s Who Framed Roger Rabbit?. (In fact, any comparisons to the classic 80s animated classic are absolutely deliberate as Schaffer includes numerous references to it.) Sharply written and executed, Rescue Rangers is absolutely eye-candy across the (story)board that features a never-ending stream of pop culture references that should make the film enjoyable on rewatch. (The billboards and advertising that adorn the film’s streets are worth the watch alone.)

And no franchise is sacred. 

Somewhat surprisingly, Rescue Rangers is more than willing to break out of the Disney canon and satirize other studio properties as well. (Again, another key ingredient for Roger Rabbit.) Whether it’s poorly rebooted animation like ‘Ugly Sonic’, or beloved franchises like My Little Pony, Looney Tunes, Pokemon or even ET: The Extra Terrestrial, there’s a surprising amount of support from other studios to let Disney lampoon their products. 

As such, Rescue Rangers feels more like a meta-take on the challenges of rebooting old properties than it does trying to feed you the same Disney product again. In essence, rather than offering a strict reboot of Rangers, the film leans into the difficulties of doing so. Characters who were once beloved by fans have now been relegated to the convention circuit, with the hopes that enough interest will bring them back into pop culture relevance. 

At the same time though, there is no doubt that this film is made with love. Schaffer does not use the film to mock the franchise but rather to somehow reinvigorate it with the understanding of an adult. Jokes referencing CGI surgery, cheese addiction and even references to a strip club and [cartoon] trafficking are made with an adult audience in mind. 

In this way, while the film’s primary story may focus on the missing characters, the true antagonist of the film is getting older. From Lumiere to Tigra the forgotten Avenger, none of these animated characters are ready to settle into the dustbin just yet. (“It’s gotten tough out there for us old timers”, Monteray Jack groans.) Emotionally tied to their faded fame, each one wants to prove that they’re still worth something. This desire to hang onto the glory days is especially true of Chip who yearns to be remembered as more than a ‘2nd banana’. From begging for attention on social media to having CGI surgery, Chip is left scratching and clawing at the elusive celebrity status that he once enjoyed. Though the rest of the world has moved on, he simply wants them to know that he still has value. In a world where no one cares to know your name, how do you know you matter? What does hope look like when your best days seem behind you?

Middle-age is tough, even for animated chipmunks.

But that leads to the film’s biggest question: who is the target audience? Unlike other kids fare that includes the adults, Rangers does the opposite by targeting adults first. Ultimately, this approach works fine, except for the fact that Rangers comes with the baggage of a being known property. For example, in the case of Roger Rabbit, Disney had a blank canvas upon which to create their adult-targeted story. Not so for Rescue Rangers, a series which is known for targeting little ones. (It’s also worth mentioning that, as recently as last year, Disney rebooted Chip ‘N Dale as an animated series that targeted kids). So, with this in mind, parents of young ones may need to exercise caution before hitting play.

Nevertheless, there’s little doubt that Chip ‘N Dale: Rescue Rangers is a reboot win. Fast and furry-ous with its humour, Schaffer manages to walk the line between parody and preposterous in ways that revive an old property without feeling stale. So, even if it does seem odd to target the parents over the kids, it’s absolutely worth dusting off these two gumshoes for old time’s sake.

Chip ‘N Dale’s Rescue Rangers streams on Disney+ on Friday, May 20th, 2022.

Filed Under: Disney+, Featured, Film, Reviews Tagged With: 90s, Andy Samberg, Chip 'N Dale Rescue Rangers, Disney, Disney+, Eric Bana, JK Simmons, John Mulaney, Kiki Layne, reboot, Seth Rogan

Spider-Man: No Way Home – A Hero for Everyone

April 12, 2022 by Steve Norton Leave a Comment

When Marvel unleashed Spider-Man: No Way Home in 2021, I’m sure they knew it was going to be a hit… but could anyone have expected what came next?

More than fun and fury, No Way Home not only became a financial juggernaut, it almost single-handedly saved the 2021 theatrical box office. All of a sudden, this was not your average Marvel success. It became the #6 highest grossing hit of all time. (Seriously. Let that sink in for a moment.)

Who knew Spidey was the measure to which all MCU films would be held moving forward?

Taking place immediately after the final moments of Spider-Man: Far From Home, No Way Home leans into the fallout of having the Webcrawler’s identity revealed to the world. Under constant scrutiny by those who believe he murdered Mysterio, Peter Parker seeks out the help of fellow Avenger, Dr. Strange. After Peter asks him to cast a spell that will make people forget his identity, the good Doctor reluctantly helps. However, when the spell goes wrong, the effects on space/time are devastating. As other characters from the multiverse sneak into their own world, Parker must attempt to capture his mysterious foes before its too late.

There’s really no other way to say it. Despite building hype over the past few years, Spider-Man: No Way Home somehow manages to deliver the goods. Once again directed by Jon Watts, the conclusion to the ‘Home Trilogy’ balances epic scale Marvel action sequences and intimate character-driven moments that work on a number of levels. While Marvel sometimes has a tendency to sacrifice storytelling for the sake of action sequences (and vice versa), No Way Home finds a way to incorporate them into one another in such a way that they actually impact each other. (This is especially true in the film’s third act ‘mega-battle’, which actually furthers the emotional arc of the films characters.) After three films, Watts cares enough about this franchise to tell a story that means something to his team and the results are spectacular. Seamlessly blending genres and generations together, Watts creates an epic finale but never sacrifices the soul of his characters in the process.

Of course, No Way Home is an absolute nostalgia-fest for every fan of the Spidey-franchise over the last 20 years. For years, people of debated which iteration of the cinematic Spidey-verse is superior to the others. Here though, Marvel gets to celebrate them all in one big party. This is a festival of all things Spidey that should delight three eras of superhero filmgoers at the same time. 

Even if Peter Parker has No Way Home, this film is a welcome homecoming for many old friends.

However, while nostalgia may be fun for everyone, what makes the film work is that their appearances are relevant to the story through some sharp writing. By bringing back familiar faces in new situations, No Way Home could have simply devolved into a fanservice mess yet their appearances somehow further developing their original story arcs. (Returning villains like Willem Dafoe, Jamie Foxx and Alfred Molina are allowed the chance to develop their characters further without detracting from their original stories. In fact, Marvel arguably elevates their previous material in the process.)

At the same time, the film becomes a perfect finale for this chapter of the Spider-Man story. Throughout his three Spider-films, Watts has done a (mostly) impressive job spinning interesting stories for the Wallcrawler. Whereas Homecoming told a small and intimate tale of a young boy who simply dreams of becoming an Avenger and Far From Home showed that young man trying to balance his life, No Way Home takes that journey even further. Having almost literally grown up onscreen before our eyes, Holland has exemplified the youthful enthusiasm that we expect from the character. In No Way Home, further completes his coming-of-age into a true Spider-Man as opposed to Spider-Teen. Having moved through high school, Holland’s Spider-Man is now faced with understanding what it truly takes to be a hero. In No Way Home, Parker has to make decisions about his life and the safety of his friends that he would have been unable to make earlier on in the franchise. Without giving away any spoilers, this iteration of Spider-Man needed to learn what it means to sacrifice himself out of love for others. 

Why? Because that’s what heroes do.

However, No Way Home is also about second chances. Although most superhero films of the last two decades have featured heroes battling unsalvageable villains, No Way Home actually makes a point of arguing that everyone deserves a chance at redemption. Rather than writing off these villains as ‘bad guys’, Holland’s Spidey is challenged to view them as more. Here, iconic villains like Doc Ock, Green Goblin and Electro show their vulnerability and humanity more effectively than they have in other films. 

What if the ‘bad guys’ are actually the ‘lost guys’?

There’s a sensibility to this film that, maybe, anyone can change. Despite the ‘fate’ that they are dealt, No Way Home allows the opportunity for a crack in the villainous armor. Despite the negative tone of its title, No Way Home wants to believe that there is a new way for anyone who chooses it. Maybe, regardless of their past actions, there’s an opportunity for these villains to find hope. For Parker, maybe these villains are more than the sum of their darkness.

Admittedly, the special features are a little scant for a film that is–again–the #6 box office draw of all time. However, there are some fun things of note. Alternative Reality Easter Eggs looks to point the viewer in the direction of things they’ve missed and Spider-Men Unite and A Meeting of the Spiders help give the audience more of the Spidey trio that excited the world. Other than that, there’s not a tonne worth noting… but the film is so ridiculously fun, it’s almost not worth noting any disappointment in this area.

While the nostalgia is fun and action is well-executed, it’s the conversations about hope and heroism in Spider-Man: No Way Home that truly leave a mark. Wrapping up this chapter of the MCU’s Spidey-Verse, Watts completes the emotional arc that he began about a crew of high school kids learning how to grow up. But he also manages to tread new ground for characters that we already felt we knew. Leaning into hope for the ‘bad guys’, the film gives Spidey the chance to try to help everyone, not just his friends in his neighbourhood. 

Because that’s what heroes do.

Spider-Man: No Way Home is available on 4K, Blu-Ray, DVD and Digital on Tuesday, April 12th, 2022.

Filed Under: DVD, Featured, Film, Reviews, VOD Tagged With: Alfred Molina, Benedict Cumberbatch, Disney, Dr. Strange, Jamie Foxx, JK Simmons, Marvel, MCU, Peter Parker, spider-man, Spider-Man: No Way Home, Spider-Verse, tom holland, Willem Dafoe, Zendaya

National Champions: Lost at the Goal Line

March 1, 2022 by Shelley McVea Leave a Comment

Thunder Road Pictures was probably hoping to score a touchdown with National Champions. Although baseball is officially America’s national sport, football is its favourite. This movie should be a winner. It is based on an Adam Mervis play by the same name and directed by Ric Roman Waugh. It has a strong cast of seasoned actors, an intriguing story line, and a built in group of football fans to draw on. Even this reviewer who knows little about football was looking forward to a few great hours of entertainment, and maybe gaining a better understanding of the intricacies of the game. Where did it go wrong? 

The countdown is on for the big game. The movie begins with a large, ESPN-type sports screen. 72 hours until kickoff. The most important College Champion game of the year is about to begin. Fans are arriving from around the country. Careers will be made or lost. NFL contracts are awaiting the outcome of the day.  Everyone is pumped up and ready to go. So far so good. The coaches and business partners are working out strategies, and almost counting the money in their pockets.  The great A.K. Simmons is Coach Lazor and he needs this game to solidify his reputation as the best. He loves his young quarterback like a son. He knows that LeMarcus James (Stephan James) is the best and that victory is within sight. 

But now the plot gets even more interesting. LeMarcus and his friend Emmett Sunday (Alexander Ludwig) are planning to boycott the game. Why would the star quarterback do this? Glory will be his. A huge NFL contract will follow.  We’re now presented with a scenario that we would actually like to see play out in real life. James is going to sabotage the game for the most noble of reasons. He will become famous and a multi-millionaire. But his teammates will not be as fortunate. After sacrificing their bodies and talent for this one game they will be forgotten. Broken bodies and with few prospects after college, they will have reaped none of the benefits of their work. Meanwhile their coaches and managers and TV moguls have become multi-millionaires. He wants them to be fairly recompensed for their work and skill. 

But now the movie loses the pigskin. Are we playing football or hockey or lacrosse? James and Sunday are mostly filmed in dark bedrooms, plotting how to get their story out to the media without being found. Is this now a spy movie? The coach is sure he can find them and dissuade James of his foolishness. A detective movie now? Sometimes the young men are seen praying and asking for God’s help. But this thread is never followed up. Are they partly motivated by religious conviction? We never find out. 

Coach Lazor’s wife (Kristin Chenoweth) now decides to leave her husband for her longtime lover (Timothy Olyphant) who just happens to show up at the hotel where the the team is staying. Will the coach decide to win his wife back or keep his mind on the game? Now we’re watching a B-romance movie. The coach opts for the team and now gives them a “pep” talk speech that we’ve heard every coach give to every team in every sports movie ever.  We also find that the lover is really advising James and Sunday on their actions.  We’re now into fantasyland. 

The final act brings the fabulous Uzo Aduba into the picture. If we can’t persuade the disruptive boys to get onto the field, then we’ll blackmail them. When big dollars are in play this seems like a good strategy. We’re now in a legal beagle movie. And it works. Aduba finds out some devastating information and James gives in. I think.  Rather than ending the movie with him suited up on a football field, we are sent back to the dark bedroom to have more discussions.

It’s difficult to see such great plot potential fizzle out in the final frames. It’s difficult to see such great acting not be rewarded with a single vision and great dialogue. If you are a huge football fan, or a great fan of these particular actors, maybe check this movie out.

If not, kick the football into the stands. 

National Champions is now available on VOD.

Filed Under: Featured, Film, Reviews Tagged With: JK Simmons, Stephan James

3 Days with Dad: Finding Our Place

September 13, 2019 by Steve Norton Leave a Comment

3 Days with Dad tells the story of Eddie Mills (Larry Clarke), a middle-aged man who must go home to deal with his dying Dad. However, after returning to his crazy family, Eddie finds himself slipping back into old patterns as he reconnects with old friends. Then, as he is confronted with the revelation that he himself is a father, Eddie is forced to deal with the past he has always tried to avoid.

Written, starring and directed by Clarke, 3 Days with Dad is an honest and earnest look at dealing with losing a parent. Based on his own family experiences during the passing of his mother and father, Clarke’s characters feel authentic, balancing humour and grief (sometimes simultaneously). Featuring veteran actors such as Brian Dennehy, Lesley Ann Warren, Tom Arnold and JK Simmons, the cast is experienced and has solid chemistry with one another. However, it’s Clarke’s role as Eddie that holds the film together. Though most often featured as a character actor throughout his career, Clarke’s humility brings an everyman quality to Eddie that is both endearing and funny. 

Of course, 3 Days highlights the challenges of negotiating family relationships in the midst of trauma. While they work through their own grief, Eddie and his siblings must also navigate their own personal issues with one another as they plan their father’s funeral. Issues such as individual faith, life decisions and their own interpersonal issues bubble to the surface as the four Mills children attempt to move on in the middle of their pain.

At its heart, however, 3 Days with Dad also paints itself as [almost] a coming-of-age story. Brought together with his siblings due to the death of his father, Eddie finds himself at a crossroads within his own life as well. Having come home for the funeral, Eddie is also struggling to find purpose in his own life. Though Eddie has happily taken a job as a doorman at “a 5-star hotel”, Bob still barks at his son to take a civil service job or something else ‘reliable’. As often happens in parent-child relationships, Eddie is reminded that his life has somehow missed their proverbial mark of success. Having always been the child in his parent’s house, his return home has placed him firmly into the role of an adult within his family, causing him to re-examine his relationships and life goals. When he discovers that he’s a father, this role becomes even more important, as he must decide whether or not he wants to take on the role.

In the end, 3 Days with Dad’s greatest value stems from its honesty and heart. There’s an awkward humour that stems from Clarke’s life experiences that help create relatable characters in the middle of heightened circumstances.

To hear full audio of our interview with director Larry Clarke, click here.

3 Days with Dad is in theatres now. 

Filed Under: Film, Reviews Tagged With: 3 Days with Dad, Brian Dennehy, JK Simmons, Larry Clarke, Lesley Ann Warren, Tom Arnold

3.8 Dreaming in LA LA LAND

January 8, 2017 by Steve Norton Leave a Comment

http://screenfish.net/wp-content/uploads/2017/01/3.8-La-La-Land.mp3

For our 1st ep of 2017, Steve welcomes Kevin McLenithan (co-host, Seeing and Believing) to sing the praises of Damien Chazelle’s LA LA LAND! In a great conversation, they talk about the tension between nostalgia and reality as well as finding a balance between love and purpose. In addition, the guys also reveal their Top 3 Movie Moments of 2016!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

3.8 La La Land

A special thanks to Kevin McLenithan for coming on the show!  You can hear more from Kevin on the Seeing and Believing podcast with Wade Bearden and read his work at Christ and Pop Culture!

Filed Under: Film, Podcast, Reviews, TIFF Tagged With: Academy Awards, awards, Damien Chazelle, Emma Stone, Golden Globes, JK Simmons, La La Land, Love, movies, musicals, nostalgia, Oscars, Ryan Gosling

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