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Comic Con 2011: Friday 7/22/11 Review

Well, it’s been three exhausting but exciting days, and Comic-Con 2011 is officially behind us. While we weren’t able to get into every presentation we would have liked, we still saw a lot of terrific panels and got a lot of great information. We’ve already covered our first day at the con, so without further ado, here’s day two.

The Adventures of Tin-Tin: I think everyone in that room would agree that this was the highlight of the convention. It was well publicized that Steven Spielberg would be making his Comic-Con debut with this panel. I knew it would be an amazing experience to hear the film-making legend in person, but I didn’t realize the actual panel itself would be so entertaining. Before getting into Tin-Tin, Spielberg was presented with an Inkpot Award, a Comic-Con staple given to those who have made great contributions to the pop-culture landscape in some way. It goes without saying that Spielberg is more than entitled to this distinction. However, they reminded everybody in that room just how significant his contributions to film have been by playing a spectacular montage of moments from most of his films. I’ve seen these movies multiple times, and I still got chills as I was reminded how much of an impact this one man has had on the pop-culture landscape.

When the clips ended, they brought Steven out to the longest and most-deserved standing ovation I’ve ever seen in Hall H. It was a thrilling moment, and one that I’ll never forget. After he gave a brief, but sincerely grateful acceptance speech, it was time to get into Tin-Tin. For those that don’t know, Tin-Tin is a very popular comic around the world, that never caught on in America for some reason. He explained how Tin-Tin was first brought to his attention in a review of Raiders of the Lost Ark, which compared Indy to Tin-Tin. Now knowing who that was, Spielberg did some research, discovering that Tin-Tin is a child reporter who always ends up becoming part of the story he’s investigating, much like Indy is an archeologist who finds hiimself part of the mythology of the relics he’s sent to unearth.

Spielberg quickly became fascinated with the character, and eventually decided he wanted to direct a film version. However, the comics have a very distinct visual style. After struggling with the dilemma of how to adapt this look, he recruited WETA to do a test. The comics feature a dog named Snowy, and he had them do an animation test of this character against a live-action actor who played a character named Captain Haddock. He informed us that this presentation was made many, many years ago. He then told the very excited audience that he brought that test to show us.

The test was surprisingly fantastic, and would have actually worked just find as a film. The real surprise of the footage however, was the “actor” who played Captain Haddock. WETA had director Peter Jackson play the character, and he was very funny in the part. In the test, he was talking to the audience about his desire to play the character while Snowy was trying to get his attention behind him. Eventually, Jackson/Haddock spills some wine which Snowy promptly drinks, getting so inebriated that he stumbles off the dock in a drunken stupor. At this point, Jackson/Haddock dives in to save him, and the clip ends.

As the lights came back up, the audience was thrilled to discover that Jackson himself had joined Spielberg on stage. As Jackson is in the thick of filming the Hobbit, I don’t think anybody in that room was expecting this surprise. Through the rest of the panel, the two just talked about their history with the character, with each other, and eventually took questions from the audience. They also showed a pretty long clip in 3D, and I’ve got to say, the movie looks terrific. It was all done in motion-capture, with Spielberg himself operating the camera. Because of this, there were some truly exciting visuals in the presentation. The story also looks like a lot of fun, and the voice-talent sounds terrific.

The Q&A portion of the panel was surprisingly good as well. I have to hand it to this crowd, they handled themselves really well for the most part. I’ve been to a lot of panels where the questions were simply people gushing, asking for hugs, and stumbling over their own words. There was a little of that, but the questions were mostly questions that I genuinely was curious about the answers. As an aside, while most of the questions were either conceptual or about their careers, I was thrilled to hear one person ask for an update on Jurassic Park 4. As Jurassic Park is one of my favorite movies, I loved getting to hear Spielberg himself reveal that we will have JP4 in 2 or 3 years.

When the panel was over, I knew I had seen what would be the best presentation of the day. While I love going to these panels every year, very few leave a lasting impression. However, I’m sure I’ll always remember this fantastic presentation.

Screen Gems: Having unsuccessfully tried to get into a couple of different panels that took place at the same time, I was late actually getting into this presentation. Because of this, I only saw the very end of the Underworld 4 presentation. The director and cast were there, and they were taking questions from the audience by the time I arrived. Unfortunately, I didn’t learn anything of substance in this brief amount of time. However, I was there for the entire presentation regarding the other film Screen Gems brought to the Con, Attack the Block. I’d heard the name before, knowing that it was pretty popular in the UK where it was already released, and knowing that it’s played at some festivals to high acclaim. However, nothing they showed about this film appealed to me. It tells the story of rival gangs in London, and how they have to band together when their block is invaded by aliens.

First of all, the film looked a lot cheaper than I expected. The aliens, while practicaly effects, looked really cheesy complete with glow-in-the-dark teeth. Maybe I need more context, but in the brief amounts shown, I thought the characters seemed annoying, the look of the film ugly, and the story completely uninteresting. This wasn’t a great panel to follow-up the Tin-Tin panel with.

DreamWorks: For the DreamWorks panel, they only showcased one film, Fright Night. This was a very typical panel, where they showed some clips, and brought out some of the cast and crew. Like the presentation for Rise of the Planet of the Apes on Thursday, I just couldn’t bring myself to get that excited about advance footage for a movie opening next month. The movie looks fine, if not a little generic, but nothing about it really wowed me. To be fair, I’ve never seen the original, so this might have had more of an impact if I was already a fan of the property. It was fun seeing Anton Yelchin, Colin Farrel, Christopher Mintz-Plasse, etc. talk about the film, but there was nothing here that made the film seem like a “must-see.”

Sony: The longest panel we saw of the entire convention, Sony went all out for this one, bringing four films to showcase. They started with the sequel to Ghost Rider, followed it up with 30 Minutes or Less, then did a presentation for the remake of Total Recall, and ended with the one everybody was there for, The Amazing Spider-Man.

I pride myself on being pretty knowledgable about what films are in production at what times, and this is why I was so surprised to find out that there was a panel for the Ghost Rider sequel. I knew there was at least plans for this film, but I had no idea it had already been shot. While I did enjoy the original more than most people I know, I can’t say that I’m a huge fan. I thought Ghostrider himself was an interesting character, at least on a conceptual level; however, the story didn’t really do anything for me. With the sequel, it looks like the story is going to be even more inconsequential. However, what was shot looks absolutely insane, and unlike anything seen before in a superhero film. Directors Mark Neveldine and Brian Taylor (Crank) shoot the film themselves, and put themselves right in the middle of the sequences in whatever way possible. For example, they would shoot a car chase by wearing rollerblades, holding on to the back of a speeding motorcycle and being pulled right into the middle of the scene. Or for a sequence where a character goes over the edge of a cliff, they would attach themselves to a harness facing the stuntman, and throw themselves over the edge in order to film from that usually unseen perspective.

I wish I could say that the movie looks worth all the effort, but it really doesn’t. All the crazy camerawork seems to be mildly distracting, and their visual style just seems too frenetic for my tastes. Thanks to developments in motion-capture technology, Nicolas Cage gets to actually play Ghost Rider this time, so I’m looking forward to his performance. Other than that, I can’t say I’m all that excited for this one.

After this was 30 Minutes Or Less, a comedy starring Jesse Eisenberg and Aziz Ansari. Other than the fact that the director of this film also directed Zombieland, I’m not entirely sure why this film wsa being presented at Comic-Con. Usually, the films that get these presentations are more genre-based, and this seemed like a more straight-forward comedy. However, the movie looks funny, and the cast (especially Ansari) was very entertaining on stage. There was nothing entirely notable about this segment, but it was still fun.

I still can’t believe they’re remaking Total Recall. I love Philip K. Dick’s original story, and think that the original film starring Arnold Schwarzenegger is an action classic. Unless they have something truly unique to bring to the table, I don’t see what there is to gain by filming the same story a second time. Unlike Schwarzenegger’s version, this one isn’t set on Mars, which seems to make the whole thing less interesting, at least to me. The director and cast were there, and they showed some clips, but nothing they showed convinced me that this is a film worth making. We saw the scene where Quaid (Colin Farrell) first goes to Rekall, and realizes that he may actually be a secret agent after all. It’s a fun little action sequence, but nothing that wasn’t done better in the original.

Finally, the Amazing Spider-Man. The panel opened with “somebody” in a cheap looking Spider-Man costume approaching the microphone. As the moderator started telling this person that they weren’t taking questions yet, the Spider-Man at the microphone started talking about what a huge fan of the character he is, and how he just had to say what was on his mind, etc. To the surprise of nobody, he ended up ripping off the mask to reveal that it was none other than Andrew Garfield, star of this new Spider-Man reboot.

At this point, he started reading a prepared speech about how much the opportunity to play the character means to him, and how thrilled he is for the entire experience. It was a great speech, and a great moment for the panel. No matter how good the finished film ends up being, I will never doubt the sincerity of Garfield’s commitment to this role. He is a fan through and through, and really is living his dream.

(Watch the Comic-Con Panel from Hall H!)

As for the panel itself, they showed the preview which had already leaked, some extended footage, and most surprisingly a very detailed look at the villain of the film, Dr. Curt Connors, aka The Lizard. If you’ve seen the preview, you know this is yet another origin story, and again, I’m not sure, this is something we necessarily needed to see again. As an audience, we all know that story, and we’re ready to just watch Spider Man have more adventures, not recap the events we already know. Hopefully, it’ll be different enough so as not to seem too repetitive. Instead of Mary Jane, this time we get Gwen Stacy (Emma Stone), and as mentioned above, instead of the Green Goblin, we get The Lizard.

I’m not all that familiar with the Spider-Man comics, so I don’t know a whole lot about the lizard. Having said that, I don’t know how accurate their portrayal of the character is, but he looks pretty formidable. When I heard the antagonist was going to be The Lizard, I wasn’t sure exactly what that meant. Turns out, that means the Dr. Connors literally becomes a giant lizard. Like the Hulk, it’s a human who turns into a giant green creature. This one just appears to be evil for some reason. The CGI isn’t photoreal by any means, but it still looks good.

They didn’t show a whole lot of the web-slinging, but the little they did show appears to be a mixture of practical and CGI. I’m sure the film will be entertaining, but like Total Recall, I really hope this film gives us a reason for existing. I would understand furthering the adventures of Spider-Man, but I just don’t understand why we need to reboot it.

And that wraps up Day 2 of Comic-Con. As I mentioned above, the Tin-Tin panel was amazing, but nothing else came close to wowing the audience on that level. Still, it was a really fun day, and overall, this has been a really fun year for the Con.

Comic Con 2011: Thursday 7/21/11 Review

Well, the first day of Comic-Con 2011 is behind us, and SoCalThrills was there, having spent the entire day in the cavernous Hall H. For those who aren’t familiar with Hall H, this is the 6,500 seat room where the studios roll out their biggest and highest-profile projects for the masses to immediately dissect and judge. The Con got off to a pretty decent start today, and while not every panel was a homerun, there were enough great moments to classify the day as a success.

Twilight: Breaking Dawn (Part 1): First things first, I am not the target audience for this film. I get that, and this is why my thoughts on this panel should be taken with a grain of salt. Having said that, this panel did absolutley nothing for me. A few years ago, I was at the panel for the second Twilight film, New Moon. I remember going in to that presentation just as cynical and uninterested, and yet, by the time it was over, I found myself surprisingly curious. That year, they actually showed some relatively interesting clips, really showcasing the scope of the film. This year, director Bill Condon gave the fans what they wanted, but did nothing to entice the uninitiated. We got two new scenes, one featuring Jacob (Taylor Lautner) upset about something I didn’t understand involving rival wolf packs. The problem with choosing this sequence is that it had nothing to entice those who weren’t already familiar. It was a conversation out of context, and a poorly acted one at that. The next clip was of Edward and Bella’s honeymoon, and her preperation for their “first time.” It was tonally awkward, and felt completely out of place with everything that came before, but the audience ate it up, laughing and applauding with every ridiculous moment. There’s no doubt that this movie is going to make a fortune, but I just can’t wait for the whole thing to be over.

After this panel, Morgan Spurlock (Supersize Me) came out to introduce a preview for his upcoming documentary on Comic-Con itself. It was quick and entertaining, but he barely set up the clip and then just left. It wasn’t so much a panel as a transition between panels.

Animation Showcase: This was a panel by Sony Animation to showcase two upcoming animated films from Aardman Studios, Arthur Christmas and The Pirates! Band of Misfits. The panel, moderated by popular KROQ radio personality Ralph Garman, was entertaining but forgettable. While both look fun, Arthur Christmas looks to be the more interesting of the two, with a computer animated look at just how Santa does deliver all those presents every year. It’s a tired setup, but the execution looks like a lot of fun, with entertaining voicework from James McAvoy, Hugh Laurie, and Bill Nighy. The film looks to have a pretty large scope, and while I’m sure it won’t be anything all that memorable, I’m looking forward to the finished product. As for The Pirates! Band of Misfits, this is a stop-motion animated film featuring a who’s who of British actors, most notably led by Hugh Grant. The plot revolves around a pirate and his misadventures as he fights to become “Pirate of the Year.” This looks a little too silly for me, but I love the stop-motion animation, and am still looking forward to eventually checking it out next year.

Up next was a panel featuring Pee-Wee Herman, where he discussed both his recent stage work, as well as the possibility of a new Pee-Wee film to be produced by Judd Apatow. He announced that the studios were actually making a final decision today as to whether or not to give the film a green-light, and I really hope they do. Pee-Wee proved today that he still has a firm grasp on this character, and by the end, he had the audience eating out of the palm of his hand. He came across very intelligent and extremely funny, especially considering how visibly uncomfortable his moderator was (Quint from Aint-It-Cool-News). The audience Q&A session was fascinating as he occasionally mocked those asking the questions without ever talking down to them. He revealed that the film would be a road movie in the vein of his original “adventure,” and it was clear that Pee-Wee can still be relevant even after all of these years.

Film District Studios: Following Pee-Wee came this presentation with a simultaneous look at two upcoming films, Don’t Be Afraid of the Dark and Drive. Quint moderated this panel as well, and he was again visibly out of his element. Various cast members, directors, etc. from these two films were on hand, and they dominated the proceedings. This was a very conversational panel between some very large personalities, including Guillermo Del Toro and Ron Perlman. The films look great, with Don’t Be Afraid of the Dark looking to have some very real scares from it’s very tiny monsters. Drive tells the story of a getaway stunt driver who gets mixed up with some very bad people. Both look like great movies, and while the panel didn’t have any real flash to it, the films made an impression.

20th Century Fox: This was my last panel of the day, and definitely the best. The presentation began with a look at one of my most anticipated films from 2012, Prometheus. Alien is one of my all-time favorite movies, and this (sort-of) prequel has been on my radar since the day it was announced. Damon Lindelof, one of the geniuses behind Lost, helped write Prometheus and he served as moderator for the entire panel. While the film is still pretty early in development, they were able to show us enough footage to get everyone excited. Ridley Scott returns to the director’s chair for this sci-fi epic, and it’s very obvious in the brief footage shown that he really understands this material. The film looked like it belongs in the same universe as Alien, and that is more exciting that anything else regarding the project. I love the world of the original film, and the highlight of my day was getting a new glimpse at this world I’ve seen countless times before. After the footage, Charlize Theron came out for a quick back-and-forth with Damon, and finally, a satellite interview with Ridley Scott and actress Noomi Rapace. Scott and Rapace are currently in Iceland filming the opening scene of the film, and just looking at the backdrop for this interview gives me a lot of hope. It’s a gorgeous location, and I can’t wait to find out the context of the sequence.

Fox followed up Prometheus with a look at In Time, starring Justin Timberlake and Amanda Seyfried. They showed an extended preview and then came out to discuss the film. Andrew Niccol (Truman Show, Gattaca) wrote and directed the film, which in typical Niccol style is about as high-concept as they come. In the world of this film, time has replaced cash as a means of currency. Everybody lives to 25 and is given one more year to live. That year is used as currency, so the poor die young, and the rich are essentially immortal. Because of the premise, the actors all had to physically look 25, even if there character is in their hundreds. The film looks very fast-paced and clever, and I can’t wait to see it later this year.

The last presentation was for the upcoming Rise of the Planet of the Apes. As the film opens next month, it didn’t feel quite as special seeing as much footage as we did. However, the movie still looks great, and motion-capture extraordinaire Andy Serkis (Gollum, King Kong, etc.) came out to discuss his work on the film. As I mentioned, they showed quite a bit of footage, and although I’d already seen a lot of it in the previews, it was still a really fun panel.

That wraps up our coverage for the first day of Comic-Con 2011. If all goes according to plan, tomorrow should have some great material to cover tomorrow, including Steven Spielberg’s first appearance at the Con as well as a look at some of the new and returning television series this Fall. Be sure to check back throughout the weekend for updates as we go.

Mary Poppins: Broadway's Perfectly Magical Musical

Having grown up watching Walt Disney’s Mary Poppins on a seemingly constant loop, I found myself entering the Segrestrom Center for the Arts Center on Friday night pretty certain that I knew exactly what I was about to see. I assumed the touring production of Mary Poppins would be similar to the touring production of The Lion King, a faithful recreation of a beloved film but adapted into a theatrical style. What a thrill it was to discover that I couldn’t have been more wrong.

This production of Mary Poppins ends up a fascinating mix of the classic Disney film with some of the darker elements and storylines stemming from author P.L. Travers original text. While almost all of the elements that we know and love are still there, there is decidely more edge and thematic depth to the story on stage. The kids are brattier, Mary is slighty more intense in her vanity and the strained relationship between George and Winifred Banks is more pronounced. Of course, this doesn’t come up at the expense of any of the expected magical whimsy that the story is known for.

Characters still fly, people still dance on the ceiling, and magic seems to fill the stage. Whether it’s a visit to a park filled with dancing statues or a trip to the Heavens themselves, this is a production like no other. Like the film, this is a story epic in scope but still about a single family. If you’re reading this, I’m sure you know the characters. George Banks is a banker with no time for his wife, Winifred, or his children, Jane and Michael. He has no sense of what it is to be a child, and is determined to have a nanny raise his household with “precision and order.” As revealed in this production, he grew up with a nanny named Miss Andrew, a vile woman who is essentially the anti-Mary Poppins.

While there is a lot of thematic material in this production, it seems as if Mr. Banks’ development as a character is the real focus. Of course, it appears that Poppins is there for the children, but she seems to do more for him than for anybody, and in a way that will change the family forever. This happens in the film as well, but it seems much more pronounced in this version. Part of this journey involves the inclusion of Miss Andrew as a character in the second act. The dichotomy between these two influential forces is at once hilarious and devestating.

Of course, what is Mary Poppins without the timeless soundtrack? Almost all of the original numbers are here (although I really missed “I Love to Laugh”), and several fantastic new numbers as well. And since this is a stage production, and not a film, most of the musical numbers have been expanded. This show contains a fantastic group of performers, doing some of the most complicated choreography I’ve ever seen on stage. In particular, Supercalifragilisticexpialidocious (just typing that made my fingers hurt) and Step in Time are show-stopping spectacles that will bring the house down. It’s a stunning accomplishment that they were able to translate and even improve upon such perfect musical moments.

And while the new numbers might not be quite as timeless as the originals, there is still a lot of great material. Whether it’s Miss Andrew’s ode to punishment, Brimstone and Treacle, or Mary Poppins’ ode to herself, “Practically Perfect,” the new numbers are not only cathy, but relevant. They don’t feel shoehorned in, but seem to belong with all of the familiar songs we’ve already heard.

In bringing the world of Mary Poppins to life on stage, the production designers have employed an unusual and extremely appropriate technique. The Banks’ house is actually a set within the set, opening and closing like a full-size dollhouse. The whole thing feels like it came from the pages of a storybook, with the sets appearing to have a hand-drawn quality while still feeling real. It’s extremely clever, and keeps that balance between being an adaption of the film and the original books.

As for the performances, they are reminiscent of the originals, without simply copying what came before. These are unique perspectives on classic characters. Steffanie Leigh is fantastic as Mary, and I was particularly impressed that she didn’t simply mirror Julie Andrews performance. She kept the essence of the character, yet made it her own. The whole cast worked like this, and I found myself completely surprised at how new the whole thing felt, despite being so familiar.

I really wasn’t expecting this. I was prepared to be overcome with nostalgia, and want to run home to watch the original again. However, instead of focusing on what came before, I found myself focusing on what I was seeing now.

Playing at the Segrestrom Center for the Arts Center through August 7, this is a treat for the entire family, and just as “practically perfect” as the original.

Movie Review "Winnie the Pooh"

Thus far in the year of 2011, movie theaters have been awash in their share of prequels, sequels, and even the occasional fourquel.  A mere few have delivered, while most  by now have come and gone as embarrassments to their respective franchises.  So when seeing the seemingly nonchalant trailer for a new “Winnie the Pooh,” it would be easy to dismiss it as just another reboot.  The story of a stuffed bear and his cotton-filled companions has been told and retold for nearly a century.  In a day and age when children’s attentions are glued to films populated by life-like CGI characters and environments, one has to wonder what has prompted the creators at Disney to go back to the basics.  It is indeed the basics, and beautiful they are, that are the very reason for this delightful return to the Hundred Acre Wood.

“Winnie the Pooh” is a success on almost every level due to its perfect balance between both the new and the familiar. From the very first frame, the film ushers the audience in with a great rush of nostalgia, as we get our first glimpse of Christopher Robin’s room.  For anyone who has ever read a Pooh adventure or seen one of the films, it is as if you are coming back home.  Everything is there just as we left it. The stuffed bear, the donkey, the rabbit, kangaroos, owl, and of course, that peculiar tiger. In no time, we find ourselves caught within the pages of A.A. Milne’s book, with a calming narrator as our guide. 

This adventure is not unlike previous ones.  Pooh is looking for honey, Piglet is afraid, and Eeyore is gloomier than ever.  The story takes place in the timespan of one day, but that one day is all these characters need to experience a multitude of new sights and a few frights.  Early on in his search for honey, Pooh notices that Eeyore’s tail has gone missing, and must soon choose whether his growling tummy or his friend is a higher priority.  Good ‘ol Owl in all his misinformed wisdom quickly creates a contest in which the entire gang try to help find a new tail for poor Eeyore. As with all good Pooh adventures, things soon grow out of proportion, and he and his friends must overcome more than just their own collective silliness. 

Halfway through the film when Christopher Robin disappears for a time, Owl claims that their beloved human has been captured by a terrible monster known as the “Backson.”  The drama that follows is full of original humor, but even more impressive is the manner by which the animals’ fears come to the surface and teach more than one valuable lesson.  This underlying tone of classic morality is the backbone of the entire story. The writers of the film highlight the characters’ vulnerabilities rather than their strengths, thus giving the adventure a surprising measure of maturity that even adults will find hard not to appreciate.

The true brilliance of “Winnie the Pooh” is due in fact to how quietly unassuming it is.  The story refuses to follow any type of well-exhausted formula.  Instead, it devotes time to focus on the individual journeys of the characters.  Owl, Eeyore, and Pooh are highlighted extensively – one eccentric, one depressed, and the other a little bit selfish.  Each new turn in the adventure comes as a breath of fresh air, usually unexpected, and never tying to push the envelope or over-impress the audience.  In keeping with the minimalism of the story, the run time of “Winnie the Pooh” clocks in at a mere 70 minutes, but this is the perfect kind of movie that doesn’t require any more or any less. 

The movie’s expert storytelling is mirrored in every way by the visual elements. It has been thirty-five years since the last Pooh film was animated within the walls of Walt Disney Studios, and this is surely one of their finest works to date. It is impossible to ignore the unfaltering commitment to hand-drawn animation that is evident in each and every frame. The swatches of color, pencil lines, and brush strokes inhabiting both the backgrounds and foregrounds are all individually unique.  It is truly the artistic imperfections that give the faces and places of the Hundred Acre Wood such depth and character.  There is also the delightful use of the physical book as the characters jump and interact frequently with the letters and paragraphs of the narrator. It’s as if the animators have melded literature to film, and the results are joyously wonderful.

While the imperfections in the art tend to enhance, imperfections in the voice acting only causes the movie to suffer.  “Winnie the Pooh” features mostly new actors taking on the challenge of interpreting the voices of extremely familiar characters.  Craig Ferguson (“Late Late Show”) is unmistakable as Owl, reinventing the character from the voice up.  Newcomer Jack Boulter is another welcome addition as Christopher Robin, creating a voice that is as silky smooth as it is fatherly. But as for the rest of the vocal talent, there is an obvious disconnect between the voices and characters.  It is as if they belong in a standard 3d animation, not such a classic as “Winnie the Pooh.”  But this is a minor qualm, and is easily  compensated by the dreamy addition of multi-talented actor and musician Zooey Deschanel. Her singing practically floats along in the re-imagining of the theme song and continues to set a dreamlike tone in the music for the entire film.

This “Winnie the Pooh” is another memorable chapter in a timeless tale, as it succeeds in doing something that few other children’s films these days are capable of: capturing the joy that is  found in the innocence of imagination.  These characters were never designed just for children, but for, as the great Walt Disney once put it, “the child in all of us.”  The film takes the peculiarities and enduring traits of the characters that have always been, and molds them into something newer and much better.  Just like a great legend, the tales of “Winnie the Pooh” have never stopped growing, while retaining the simplistic life truths that makes them unique.  Revived for another generation of any and every age, this adventure is sweeter than ever – just how Pooh would like it.

Celebrate Bastille Day at Mimi’s Cafe® with Free Muffins on July 14

Come enjoy a taste of France on Bastille Day, and every day, at Mimi’s Cafe. The culinary adventure kicks off July 14, in honor of French Independence Day. Mimi’s® is offering new French-inspired menus and a chance to win a trip to Provence. Mimi’s will also debut its luscious new Chocolate Mousse Muffin with a tasty offer: two free muffins with valid coupon and any purchase.*
 
“Bastille Day is a perfect time for guests to declare their independence from ordinary cuisine and try something that is both extraordinary and uniquely Mimi’s,” said Mark Mears, President and Chief Concept Officer. “Mimi’s Cafe offers the charm, flavors and simple joys of a neighborhood bistro where food and wine are celebrated and memorable moments are shared.”
 
For more than 30 years, Mimi’s has delighted guests with fresh, seasonal entrées and signature breads and muffins. Mimi’s new Taste of France seasonal menus feature entrées inspired by France’s legendary food and wine regions. From sunlit fields and vineyards to Parisian open-air markets, the fresh flavors, authentic ingredients and simple preparation are the basis for Mimi’s new seasonal menu series.
 
The Tour de Provence is the first destination on Mimi’s Taste of France culinary journey, offering unique, flavorful entrées in attractive value priced meals. Among the enticing new dishes: Cinnamon Brioche French Toast, Le Grand Bleu Burger, Chicken Provence, and Provençal Glazed Shrimp & Asparagus Ravioli. The Tour de Provence Seasonal Breakfast Entrées range from $3.99 to $8.99, the Two-Course Seasonal Lunch Menu is $10.99 and includes a beverage, and the Three-Course Seasonal Dinner Menu is $13.99.
 
The French art of cooking with chocolate is the inspiration for Mimi’s new Chocolate Mousse Muffin and Chocolate Mousse Muffin Sundae. Guests can enjoy a free two-pack of Mimi’s muffins including the new Chocolate Mousse Muffin with valid coupon and any purchase, while they last, on Bastille Day. The printable coupon is available at www.mimiscafe.com or through Mimi’s Facebook page at http://www.facebook.com/mimiscafe.
 
From July 5 through Aug. 15, guests can simply “like” Mimi’s on Facebook to participate in the Chance for France Giveaway and enter for a chance to win more than 100 prizes. The grand prize is a five-day, four-night trip for two to Provence, including round-trip air transportation and accommodations. The giveaway will also include a one-year supply of Mimi’s famous muffins for five lucky winners and $25 Mimi’s Cafe gift cards will be awarded to 96 participants. The grand prize winner will be announced in September.

  

  


 
Mimi’s Cafe serves breakfast, lunch and dinner. Mimi’s offers private dining rooms for special gatherings, catering and to-go menus, and online ordering. Many restaurants have a full bar featuring specialty cocktails, and all restaurants serve wine and beer. For information, please visit MimisCafe.com, or find Mimi’s at Facebook.com/MimisCafe and at Twitter.com/mimis_cafe. Sign up for Mimi’s® eClub to receive a free breakfast coupon and exciting deals throughout the year.

*Valid for one (1) offer per table with printable coupon available at www.mimiscafe.com or through Mimi’s Facebook page at http://www.facebook.com/mimiscafe. Purchase required. Not valid with any other offers, no cash value, excludes alcohol, tax, and gratuity. Must print coupon and present to server to receive discount.

Download some of the Receipes here.

Disney California Adventure Welcomes Goofy's Sky School to Paradise Pier

Along with the debut of The Little Mermaid ~ Ariel’s Undersea Adventure, these new experiences will complete the transformation of Paradise Pier, a section of the park reminiscent of a seaside amusement park of the 1930s.

The fun at Paradise Pier adds to the excitement of Disney Soundsational Summer, June 3 through Sept 5, offering guests even more ways to make special memories at the Disneyland Resort,

New dining locations also make their debut July 1, offering a variety of options for lunch, dinner and snacks at Paradise Pier — Boardwalk Pizza & Pasta, Paradise Garden Grill and Bayside Brews, a beer and pretzel kiosk. This spring, the popular Corn Dog Castle made its return and Seaside Souvenirs opened as a restyled merchandise location.

During the past two years, Walt Disney Imagineers have added new attractions, enhanced the entertainment offerings and updated the architecture in Paradise Pier, the boardwalk area surrounding Paradise Bay. The water spectacular “World of Color” opened in 2010, along with Silly Symphony Swings, and guests first enjoyed the high-scoring fun of Toy Story Mania! in 2008.

Ariel and Goofy are now part of the cast of Disney characters along Paradise Bay, inviting guests to stay and play all summer long.
 
Goofy’s Sky School – Joining the fun along Paradise Pier July 1, this coaster attraction invites guests to enroll in Goofy’s Sky School, a hilarious adventure filled with zany dips, twists and family thrills. Inspired by the classic Goofy “How-to” shorts of the 1940s and 1950s as well as the cartoon short, “Goofy’s Glider,” the attraction takes “novice pilots” on a flying lesson through the wild, blue yonder. Zipping over and through the clouds, the flight path rises three stories high with plenty of wacky antics and instruction from Goofy via whimsically animated billboards.



 
Boardwalk Pizza & Pasta – The sights and sounds of the boardwalk are part of the flavor at this quick-service Italian eatery, which offers something for everyone. The menu includes delicious pasta dishes and salads, and guests will be able to watch their flatbread pizza being pulled piping hot from the ovens. Flatbreads run the gamut from a traditional cheese or pepperoni to a Portobello mushroom and spinach flatbread with pesto, artichokes, mozzarella, ricotta-salata and Pecorino Romano cheese. Pasta fans can dig into classic spaghetti and meatballs, pasta tossed with chicken in a sun-dried tomato cream sauce, or five-cheese ravioli with pesto and toasted pine nuts.
 
Hearty salads include a chicken Caesar; Mediterranean chef salad with provolone, salami, capocollo, fresh mozzarella, cured ham, roasted peppers, olives and greens in a red wine vinaigrette; and a field greens salad with Craisins® dried cranberries, raisins, caramelized pecans and a basil vinaigrette. Vegetarian options are also available.
 
Paradise Garden Grill – Guests will find a Mediterranean spin on the food at this location with a variety of skewers and kabobs. Signature items include chicken, beef, vegetable, and tofu skewers served with rice pilaf, cucumber salad and grilled pita bread, with a selection of sauces, including Moroccan chili tomato and tandoori-spiced yogurt. Refreshing Greek salads and a kid’s menu are also available
 
Bayside Brews – Warm, salted pretzels are an ideal treat to pair with a cold beer, available at this new kiosk beginning July 1 at Paradise Pier in Disney California Adventure park. Bayside Brews will offer beverages and six types of beers on tap, for guests 21 years of age and older. The beers include domestic and specialty brews.
 
Corn Dog Castle – This boardwalk favorite returns to serve one of California’s favorite beach snacks. The quick-serve eatery offers two choices for corn dog fans, original and hot link. A meatless option is also available, as a delicious, deep-fried cheddar cheese stick.
 
Seaside Souvenirs – This quaint boardwalk mercantile recalls the nautical-themed curio shops of seaside towns across the land. Formerly known as Souvenir 66, the mementos here are themed to the nearby The Little Mermaid ~ Ariel’s Undersea Adventure attraction, and it also carries general merchandise and sundries.
 
Fun Facts About Goofy’s Sky School:
The attraction is inspired by the classic Goofy “how-to” short films of the 1940s and 1950s as well as the cartoon short, “Goofy’s Glider.”
The flight instructor’s motto is on the entrance sign: “Fly the Goofy Way.”
The attraction tells the story of Goofy’s decision to launch a flight academy following a failed attempt as an egg farmer on his California farmland.
Residents of the egg farm-turned-flight school still linger on the premises, making this wacky flight school even more thrilling.
Guests will enjoy unexpected turns on this “flight,” which features several “switchback” sections over 1,200 feet of track.
Attraction vehicles will hold four guests per car.
Guests must be 42 inches tall to ride, and FastPass is available for Goofy’s Sky School.

Blu-Ray Review: Sucker Punch

A visual masterpiece in service of a terrible story, Sucker Punch is Zack Snyder’s first wholly original film, and by far his worst. Coming off of two very successful adaptions of graphic novels (300 and Watchmen), Snyder had a lot to prove when he set out to do his own material. Unfortunately, all it proved is that his style is better suited to adapting other people’s words. I’m not trying to downplay just how stunning the film really is, as practically every sequence contains perfectly conceived imagery. It’s beautiful, stylish, and artistic in a way seldom seen. Which makes the film all the more disappointing.

The film starts out promising enough, with a series of circumstances putting the character of Babydoll (Emily Browning) in an insane asylum. As with the rest of the film, Snyder demonstrates an eye for atmosphere and staging in these sequences. Eventually, Babydoll finds herself about to be lobotomized, and before she knows it, she appears in a burlesque house. It’s in this first sequence that I realized this film wasn’t going to have much of a focus. The same characters from the asylum show up in this world as well, and it becomes quickly apparent that Snyder is just playing with the audience.

As the film progresses, Babydoll finds herself teamed up with four other prisoners, navigating various landscapes that seem designed to capture the interest of 13-year old boys. This is probably the only movie I’ve ever seen that features dragons, robots and samurai warriors in locations ranging from a medieval castle to another planet entirely. It’s easy to picture Snyder giggling to himself as he wrote the film, giddy with the thought of getting to create these worlds without having to figure out a reason why. The film is a gimmick that lets him literally create whatever he can think of.

The worlds are hyper-stylized in such a way that every shot draws attention to itself. However, it’s next to impossible to “lose yourself” in the scene as you can’t help but fixate on the technical artistry he brings to the screen. The film looks like a comic brought to life, and if this had a more compelling story, that could be a good thing. As is, the film is very episodic, and each sequence, ultimately pointless. Without getting too specific, Snyder does attempt to create a link between the worlds, but it’s very forced, and not that compelling. At times it seems as if Snyder is attempting to make some grander statement, but I really believe the film exists because he thought it would “look cool.”

This is the type of film that is perfect for Blu-Ray. As the story doesn’t have much of a focus, this is the type of film worth skipping around just to really soak in the gorgeous imagery. As this is such a visual film, you’d expect Warner Brothers to pull out all the stops to make the Blu-Ray look as good as possible. And they did. Presented in 1080P High Definition, this is a gorgeous movie. The sound mix is sensational as well. One of the few Blu-Rays I’ve seen recently that I would call technically flawless, this is the type of disc worth throwing in to wow your friends.

Warner Brothers didn’t hold back with the extras either. To start with, they have included the PG-13 theatrical cut, along with an R-Rated Extended Edition. The extended edition runs about 18 minutes longer than the original, and features more action, violence, a little more sensuality, and the full musical number only glimpsed in the original’s closing credits. Running 127 minutes, the extended edition does feel longer, but it’s worth checking out.

Also included is a fantastic feature called Maximum Movie Mode. I’ve discussed this concept in prior reviews, and as always, I love when the studio does this. Basically, you watch the extras while watching the film. Snyder “hosts” this feature, and will periodically interrupt the movie to discuss that moment of the film. Sometimes, he’ll just talk about it, and other times, they give you the option to cut away and watch a feature, check out storyboards, photos, etc. This technique is really a showcase for a film’s director, one in which they can really explore anything and everything about the film. This feature provides a great deal of insight into the production of the film, and in my opinion, is probably more entertaining than the film itself.

Other features include a documentary about the soundtrack of the film, along with four animated shorts exploring the different fantasy realms of the film. These are basically comics in motion, and not as exciting as I was hoping. But regardless of these features, the standout is the Maximum Movie Mode. It’s a fascinating guide to the film, and one I’d highly recommend even to those who don’t like the movie.

Despite the impressive artistry, I was really disappointed in this movie. I have loved every one of Snyder’s films so far, and was really shocked how simplistic and choppy this one felt. I loved seeing the movie, but unfortunately, I couldn’t bring myself to really enjoy it.

Create your own Sucker Punch custom videos by combining clips, audio, effects and transitions. Then save your creations to the Gallery and share with friends! http://bit.ly/iOgcTT

Avocado week kicks-off at Downtown Disney!

Celebrate the first-ever California Avocado Week at Downtown Disney by sampling delicious dishes featuring California avocados prepared by some of the top Downtown Disney executive chefs.

The fruit, in season now, will be at the center of the daily guacamole contests where guests will have the chance to receive a $100 Downtown Disney gift card and $85 California Avocado gift pack.

There will be chef special menu items featuring California avocados at the Downtown Disney restaurants and avocado mini facials at Sephora.

FOOD DEMO CALENDAR:

•    Monday, June 27 – Chef Nick Weber (Catal) California Avocado Crab Roll
•    Tuesday, June 28 – Chef Thomas Keaveny (ESPN Zone) Avocado Tequila Soup
•    Wednesday, June 29 – Chef Dermot Driscoll (House of Blues) Spicy Avocado Tuna Salad
•    Thursday, June 30 – Chef Darrin Finkel (Ralph Brennan’s) Crab Ravigote & Avocado Napolean
•    Friday, July 1- Chef Torr Kelso (Tortilla Jo’s) Avocado Ceviche
•    Saturday, July 2 – Chef Dore Sommer (Rainforest Café) Rainforest Chimi-Cha-Cha w/Guac

Blu Ray Review: Red Riding Hood

After the success of Twilight, it seems almost impossible to escape the avalanche of movies going for that lucrative teenage girl audience. That’s all well and good when the source material is suited for that demographic, but with something like Red Riding Hood, a classic piece of folklore, I would expect more from the studio adapting it. Unfortunately, they took the classic story and “Twilighted” it, adding in a ridiculous love triangle, and oh so much teenage angst.

It might seem like I’m harping a little too much on Twilight in a review for a film based on Little Red Riding Hood. But when the studio elected to have Catherine Hardwicke, director of the first (and arguably worst) of the Twilight franchise, direct this film as well, one can’t help but compare. This may be the only literal connection between the films (other than some Twilight actors playing a role or two), but when watching the film, I just couldn’t get the similarities out of my mind.

Amanda Seyfried plays Valerie, or Red Riding Hood, as a young woman caught between the “bad boy” she loves and the man she’s assigned to marry. Complicating matters is the presence of the “big bad wolf,” which in this version of the story is, of course, a werewolf. Beyond the impossible decision of which guy she’ll pick, the main drama of the film is the mystery regarding the identity of the wolf. There are a lot of red herrings thrown at the audience, but I have to admit that I did kind of enjoy the way that story played out.

Daggerhorn, the village where the film takes place, has had a truce with the wolf for several years. They offer a sacrifice in exchange for the safety of the village. For some reason, however, Valerie’s older sister is killed by the wolf, violating the truce, and instigating a wolfhunt that ends up costing several villagers their lives. Some of the action is actually quite well staged in these sequences, and considering how poorly Hardwicke did on Twilight, I was pretty impressed with the look of the film overall.

Daggerhorn looks like a village out of a storybook. The production design is beautiful, and while I wish the film had a larger scale to it, what we get is purely fairytale. Nestled in the woods, near the river that leads to Grandmother’s house, the village looks magical. Unfortunately, the wolf doesn’t look nearly as good as the village. A CGI creation that I’d be hard pressed to call mediocre, I never believed there was an actual creature anywhere on set.

While the studio was obviously desperate for a Twilight-style hit, the film never reached the commercial success they were going for. Despite that, they have released a pretty fantastic Blu-Ray that is probably the best a film like this could have to offer. Recently, I’ve been watching a lot of Blu-Rays that seem to have phoned in the extras, and it was nice seeing a release that really embraced the features that Blu-Ray can provide.

For starters, the theatrical version of the film can be watched in a feature called “Secrets Behind the Red Cloak.” This is a picture-in-picture commentary track that runs the entire length of the film. Featuring the actors and filmmakers, this provides a lot of insight into the entire process and even includes a lot of storyboards, concept art, etc. Despite my thoughts on the film itself, I love seeing the filmmakers get to analyze their own work, and this is something any fan of the film will enjoy.

As far as bonus features outside of the film, there is plenty of material there as well. There is a feature called “Reinvention of Red Riding Hood,” that explores the history of the original story. They refer to their own film as a “bold new landmark of storytelling” in regards to the werewolves, which I find a little ridiculous, but it’s still an interesting feature. There’s also a terrible feature on “Red’s Men” that exists simply to talk about how “hot” the two guys in her love triangle are. After that came my favorite feature, “Making the Score,” which is an 11 minute segment on creating the unique soundtrack to the film. Utilizing all sorts of unusual and creative devices, the composers have crafted a musical backdrop that feels historical and modern all at the same time. This segment provides a fascinating look at how they developed this sound, and how it resonates thematically in the world of the film. Next up was a forty second montage of the effects used for the wolf attack. Then rthere are some casting tapes, really interesting rehearsal footage of three key scenes, and a silly feature that recaps the entire movie in 73 seconds.

Rounding out the set are four deleted scenes, a lame gag reel and a couple of music videos. As for the film itself, it’s presented in 1080p High Def, and it looks even better than you’d expect. The colors are gorgeous in this world, and the actual red cloak that Valerie wears looks amazing in contrast with the whiteness of the snow. The sound is also great, especially with the incredible soundtrack. There is a party sequence where the music is actually a part of the scene, and it’s amazing. I loved listening to the different layers of interesting sound, and the sound mix comes through fantastically.

There is potential for greatness whenever a filmmaker is adapting a great story. This film never reaches that level, and unfortunately, it never had a chance with the approach the filmmakers took to the story. I suppose the film is worth seeing for the beautiful cinematography and interesting soundtrack. On top of that, I didn’t even mention the over-the-top performance by Gary Oldman as a wolf hunter, which is something to see in and of itself. But overall, if you don’t love Twilight, this probably isn’t a film for you. A classic story ruined by corporate thinking, I just can’t bring myself to recommend this one.

Movie Review "CARS 2"

Following a pinnacle year with the critical darling Toy Story 3, the creators at Pixar Animation Studios return in their 25th year with a sequel, a rare thing for them, and probably for good reason. The original “Cars” is widely considered as one of Pixar’s weakest, so the very fact that director John Lasseter chose to pursue a “Cars 2”  is a strange move indeed.  Possibly the team at Pixar were looking to make right their original misstep or simply capitalize on the Car’s immense merchandising success.  The franchise started with a shaky foundation, and attempting to build upon it can only result in limited success.

This time around, the film doesn’t begin at the racetrack, but in a much darker locale where British Intelligence agent Flinn McMissile (Michael Cane) is involved in a top secret mission. What follows is the most outrageous chase scene produced with flawless animation. Only a few moments later, are we transported to the abundantly more reserved backdrop of cozy Radiator Springs to be reunited with the endearing rusty tow truck Mater (Larry the Cable Guy).  It quickly becomes evident that this is to be Mater’s story, and his best friend race car Lightning McQueen (Owen Wilson) will be taking a backseat for this international journey. When McQueen returns to Radiator Springs to take a break from racing, Mater wastes no time finding a reason for him to join the globe-trotting World Grand Prix. Upon their arrival in Japan, good ‘ol Mater accidentally runs into the aforementioned Flinn McMissile and fellow agent Holley Shiftwell (Emily Mortimer).  Before he knows it, the entire fate of the World Grand Prix and Lightning McQeen’s safety rests squarely on Mater’s ability to overcome his own shortcomings.

To be honest, the movie’s storyline is not overwhelmingly weak. Instead, it is the individual elements that lessen its overall potency.  Mater as the leading character tends a whole lot of fun, sometimes touching, but begins to feel like a worn out idea by the film’s third act. The constant flow of car puns and slapstick humor will certainly make children howl with laughter, but may test their older counterparts’ patience after the first 45 minutes. Although I found myself amused, I couldn’t shake the feeling that a lot of what I was hearing would be much more fitting in any other non-Pixar animation. The dialogue accomplished the task, but lacked sincerity and tact. All the supporting characters felt pushed to the side to focus uninterrupted attention squarely on Mater’s journey. Sadly, Lightning McQueen suffered the greatest shunning as he was only there to fill in the friend character and provide a visual feast with his racetrack antics.  Surprisingly, the most interesting addition to the story is the ultra suave daredevil Flinn McMissile and his female equivalent Holley Shiftwell. Their presence gives the story nearly enough balance to diffuse some of the Mater centrism.

No matter how short Pixar sold themselves in many areas of “Cars 2,” there is no chance they would skimp in the technical categories. “Toy Story 3” was their greatest accomplishment to date, and the beauty of “Cars 2” rivals or even exceeds that film. It is hard to imagine any two things made more perfectly for one another than cars and animation. In this sequel, the Cars universe is expanded so far beyond the boundaries of automobiles.  Every living organism that is present is somehow, and usually comedically, interpreted and brought to life.  There were moments when I found myself entirely in awe of the grandeur of the animation. Every subtle reflection, rush of color, the rays of light refracting off the cars’ surfaces, and even the rhythm objects captivated me.  So immersive, the line between animation and reality became nearly indistinguishable.

The depth that graces other Pixar films appears to be an afterthought in this tale, which is a disappointment considering how many opportunities the story offered for genuine growth. With previous Pixar films, one has come to expect a certain emotional journey that is applicable even more so to adults than it is to children. In “Cars 2,” the lessons of friendship and self-worth that Mater discovers seem, well, uncharacteristically simplistic and childish for a film carrying the Pixar name.  The only time the movie arrives anywhere close to an authentic revelation comes when Mater explains to Holley that he never repairs the dents he gets on his body, because each represents a specific time when he and Lightning McQueen shared a memorable experience together.  But unfortunately, this tiny gem is lost somewhere among the film’s more meaningless action sequences and uncontrolled bursts of humor.

“Cars 2” does not fall completely into the realm of disappointment, but comes dangerously close. Pixar has rightly set a precedent for themselves that no other studio can touch.  Improvement is good, but it can never replace excellence. In the case of the Cars franchise, the team at Pixar fail to meet their own standards. Prior to the movie, a trailer for Pixar’s next big project played to the wild delight of the audience.  By the end of “Cars 2,” I couldn’t help but wish it was already 2012, and I was watching “Brave,” not a film that felt more like a placeholder than a well-oiled machine.

Blu Ray Review: Unknown

A cinematic “page turner,” Unknown is a riveting action mystery that will keep you guessing from beginning to end. Set against the backdrop of a bioengineering conference in Berlin, the film stars Liam Neeson as Dr. Martin Harris, a lecturer at the ceremony. Leaving his wife at the hotel to retrieve a briefcase accidentally left at the airport, he ends up in a car accident that leaves him in a coma for four days. When he awakes, not only does nobody seem to know who he is, but another man (Aidan Quinn) has literally taken over his life.

What’s fascinating about this setup are the potential directions the story can take. Most films are fairly straightforward, but in this case, I really didn’t know where everything was going. I wouldn’t dream of giving any of the twists away, but for the longest time, I couldn’t even be sure what genre this film was. It seemed to alternate between an episode of the Twilight Zone and another Neeson blockbuster, Taken (also a fantastic film).

Like Taken, Neeson plays a man on a mission, in this case, to find out what happened to his identity. Rest assured, everything makes perfect sense by the end, and it’s a fascinating journey to get there. I love playing armchair detective, and this was a really fun story to piece together. Now, this isn’t an intellectual film by any means, but it’s always gripping. Filled with thrilling car chases and riveting fight sequences, director Jaume Collet-Serra and his director of photography Flavio Labiano have made a film that is always visually interesting. Set mostly at night in the wintertime, they capture a beauty in Berlin that really sells this as a perfect location for the film.

Unfortunately, the film does have one major weakness, and that is January Jones’ performance as Dr. Harris’ wife. Every other performance in the film is great, including supporting roles from Frank Langella and Diane Kruger, but there’s just something about Jones’ work here that isn’t up to par. I’ve always been a defender of her work as Betty Draper on Mad Men, where her flat delivery and icy demeanor seem perfectly suited for the character. However, after seeing her work in this and the new X-Men film, I’m starting to think that she might not be capable of anything else. She plays the role exactly as she plays Betty, and not only is that a distraction for those familiar with Mad Men, but the performance doesn’t suit the character. At all.

However, this is a minor quibble with what is otherwise a great film. Now on Blu-Ray, the film looks and sounds amazing. I just loved the look of the film, and it’s captured perfectly on this release. Even though the film is mostly set in the evening, the images of the film just pop off the screen. The 1080P High Definition does wonders for Berlin, and this would be a great demo disc for somebody showing off their television. The film sounds great as well, with English 5.1 and Dolby Digital. There is a lot of action in this film, and every punch, crash and explosion is perfectly mixed together, really enabling the viewer to get lost in the world.

Unforunately, there are only two extra features, and they’re both pretty much a waste of time. The first one, “Liam Neeson: Known Action Hero,” is a brief featurette, running just over four minutes, that spends it’s running time talking about how great Liam Neeson is. There are several interviews with everyone ranging from producer extraordinaire Joel Silver to Neeson himself. There is no real insight into the film, or even Neeson’s performance. It’s a very “produced” segment that doesn’t really serve much of a purpose.

The other feature is called “Unkown: What is Known?,” that again, doesn’t really serve much of a purpose. Also running just over four minutes, this is basically an extended commercial for the film. I wish there was some more insight into the craft that went into making the film, but unfortunately, this is all we get. However, the movie itself is so much fun, I have to let the lack of extras slide. This was a really clever script, with some great characters, and fantastic performances (with the exception of Jones). A great mystery enhanced by the great action, I can’t recommend the film enough.

The Global Smash Hit 'Mamma Mia!' Returns for One Week Only

Three generations sit in front, behind and beside me as the house light darken, the announcer comes on and says the usual jargon and exclaims or warns “white platform shoes and spandex are used in this production”, and the sounds of ABBA begin to play, this is ‘Mamma Mia!’ in the OC.

Director Phyllida Lloyd brings verve to the songs of Benny Anderson and Björn Ulvaeus of ABBA, with a story weaving the songs together written by Catherine Johnson.

Donna is a free independent spirit who’s daughter, Sophia, is about to get married. Sophia has a problem; she wants a white wedding which would include her dad walking her down the aisle. Okay two problems. One she doesn’t know who her dad is and two, it is one of three men she found in her mom’s diary. Answer? Invite them all and sort it out the day before the wedding. Enter the three suitors, Sam, Bill and Harry all from various walks of life. Add to the fun Donnas friends from the old days, Tanya and Rosie and you have a story of past affairs, adventures and new life to still explore.

Having grown up during the time ABBA songs were at its height of popularity, I can relate to their messages of both young at heart and eventual maturity of life. Johnson has woven masterfully the works of ABBA around these two generations of women trying to find out what to do next in life.

The true talents of the performance are those of the actors. Chloe Tucker as Sophia was jubilant and lovely voice to hear. Kaye Tuckerman playing Donna, is an exceptional vocalist. Her range is only humbled by the emotion she puts behind the words. The three dads-to-be Harry, Bill and Sam are played by Paul Deboy, Brian Ray Norris and Tony Clements respectively. All three are enjoyable to watch as the unsuspecting dads. Though Deboy and Clements singing is a little less to be desired, almost forced and out of range. Norris is the only one who looks and sounds comfortable in his vocal presentation. Allison Ewing is a joy to watch and hear as the longtime friend and upscale meticulous friend Tanya. Her physical humor and antics compliment her singing and cohort Mary Callanan playing Rosie. Another of Donna’s longtime friends who’s let the world grow on her in the more voluptuous manner. Callanan doesn’t let it show in her vibrant energy on stage. Much applause to you all and your fellow cast mates.

As for the direction of the show I have to wonder if the troupe is getting bored with the show in general or the direction of Lloyd is just bland. The lead characters are giving their best and yet the direction on stage sometimes looks stagnant. Especially with the choreography, this during the show is more reminiscent of a college production. I will give exception to the finale numbers which were more of what I would expect from a Broadway show that has been going strong for 12 years now.

This leads me into what needed some help in the show. The sound crew needs to figure out what was going on as several of the actors had feedback issues throughout the show. Lighting at times was too dark and you couldn’t see anything. The tree pieces they had flown during the show had a large hole in the middle of them and became annoying to keep seeing in the corner of your eye.

Overall you have to appreciate the joy and thought provoking the music of ABBA has been over the years. Having them interwoven into a story that can be shared by any generation is just an additional benefit of a creative writer and imaginative team. It is a joyous evening for all to come out and connect with each other through the universal medium of music.

It is a story of wanting to grow up and have what our parents may have never had. Of finding things some people just want to forget about. It is a story that plays out day in and day out in our lives. As youth we think those older than us don’t know what we are going through and the adults think the youth are growing up too fast. Unfortunately in some cases our youth are growing up to fast because our world is so unpredictable. To be able to connect on an even level is something we all should do. We are all living our lives one day at a time, dealing with issues that plague us all. To be able to connect through music and enjoy each other’s company and relate on and even higher plane should be done often. We are all teachers and we are all learning every day of our life. Get out there and live.

See ‘Mamma Mia!’ at the Segerstrom Center for the Arts June 21-June 26, 2011.

Follow my adventures in entertainment in Southern California on Twitter @SCThrillsMarc or follow our site @socalthrills.

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