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It's Christmas Eve in Whoville, and everyone is excited about what tomorrow will bring. Unfortunately, this did not stop the Grinch from hating the holiday, as he couldn't bear the sight of people being eager over it. By stealing all the presents and other goodies, he is determined to ruin Christmas for the people of Whoville.
Voice Cast
Boris Karloff - Narrator/Grinch
June Foray - Cindy Lou Who (Uncredited)
Dal McKennon - Max (Uncredited)
Crew
Producer/Storyboard Artist (Uncredited)/Director - Chuck Jones
Co-Director/Animator - Ben Washam
Based on the Book/
Producer/Songs: Lyrics - Dr. Seuss
Additional Story - Irv Spector
and Bob Ogle
Production Designer -
Maurice Noble
Animators - Ken Harris,
Lloyd Vaughan, Richard
Thompson, Don Towsley,
Tom Ray and Phil Roman
Layouts - Oscar Dufau and Don Morgan
Backgrounds - Philip DeGuard, Bob Inman and Hal Ashmead
Graphics - Don Foster
Production Manager - Earl Jones
Production Executive - Les Goldman
Editors - Lovell Norman and John Young
Songs: Music - Albert Hague
Performer: "You're a Mean One, Mr. Grinch" - Thurl Ravenscroft (Uncredited)
Additional Music and Orchestra - Eugene Poddany
Review
Happy holidays, everyone. During the season, I've been busy making significant edits to my reviews and one analysis (as you may not have noticed). Speaking of which, I watched a Christmas special, which, believe it or not, is the 1966 animation classic HOW THE GRINCH STOLE CHRISTMAS. It takes me back to my childhood when I first saw it on Cartoon Network. Yes, it's timeless and unforgettable. No one can deny that this rendition is much superior to the live-action adaptation with Jim Carrey or the CG version from Illumination. It was the first time I reviewed a holiday special, but I was still determining whether this was a movie because of its short running time of 26 minutes. I couldn't care less that it isn't full-length like the other versions that expanded its story. It is, however, one of the few good Dr Seuss adaptations that at least are incredibly loyal to the original book.
This piece of animation is sublime. It helps that former Looney Tunes director Chuck Jones brought this to life with the help of the author, who also wrote the songs. I like how he puts his devilish charm into the character animation, and it's a pity that none of the animators from today's generation could measure his talents. The late Boris Karloff did an excellent reading for the narration but also provided the voice for the Grinch. The songs and music are spot-on, particularly "You're a Mean One, Mr. Grinch", which is the best.
This special holds a meaning and a place among the other Christmas movies. I recommended this movie to Dr. Seuss fans. I look forward to seeing it next Christmas. But in the meantime, Merry Christmas to you all, and a Happy New Year.
The Harvey Entertainment Group (in association with)
Distribution
Universal Pictures Australia
Genre: Family/Fantasy
Rating: PG
Runtime: 101 minutes
Budget: $55,000,000
Box Office Gross: $287,928,194 (Worldwide)
Plot Summary
Carrigan Crittenden is angry that her late father left her his grim-looking mansion instead of his millions. She is about to burn it to the ground when
she discovers a map
showing the treasure
hidden in its interior. But
she is frightened away
by an evil wave of ghosts
when she enters to claim
her right. After trying
everything to get rid of
the apparitions, including
an exorcist and a
professional ghost catcher,
Carrigan decides that the
best way to get rid of these
ghosts is to hire the ghost
therapist, Dr James
Harvey, to exorcise them
from the manor. If the
plan succeeds, she and her
slimy partner, Dibs, will
claim the hidden fortune.
As James and his
daughter, Kat, arrive,
they soon meet Casper,
the ghost of a young boy
who is "the friendliest
ghost you know". But
Casper's uncles, Stretch,
Fatso and Stinkie, are
not so friendly. They are
determined to drive all
the "fleshies" away.
Helping the spirits cross
over to the other side is
ultimately up to James
and Kat.
Cast
Christina Ricci - Kathleen
'Kat' Harvey
Bill Pullman - Dr. James Harvey
Malachi Pearson - Casper (Voice)
Cathy Moriarty - Carrigan Crittenden
Eric Idle - Paul 'Dibbs' Plutzker
Joe Alaskey - Stinkie (Voice)
Joe Nipote - Stretch (Voice)
Brad Garrett - Fatso (Voice)
Ben Stein - Mr. Rugg
Amy Brenneman - Amelia Harvey
Jessica Wilson - Amber Whitmire
Chauncey Leopardi - Nicky
Garette Ratliff Henson - Vic DePhillipi
Wesley Thompson - Mr. Curtis
Spencer Vrooman - Andreas
Devon Sawa - Human Casper
Terry Murphy - Herself (Cameo)
Clint Eastwood - Himself (Cameo) (Uncredited)
Mel Gibson - Himself (Cameo) (Uncredited)
Rodney Dangerfield - Himself (Cameo)
John Kassir - The Crypt Keeper (Voice) (Cameo)
Don Novello - Father Guido Sarducci (Cameo)
Dan Aykroyd - Ray Stentz (Cameo) (Uncredited)
Jess Harnell - Arnold (Voice)
Crew
Director - Brad Silberling
Based on the Character "Casper the Friendly
Ghost"/Book - Joseph Oriolo
Based on the Book - Seymour Reit
Writers - Sherri Stoner and Deanna Oliver
Script Supervisors - Annette Haywood-Carter
and Ana Maria Quintana
Associate Producer/Unit Production Manager -
Paul Deason
Executive Producers - Steven Spielberg,
Gerald R. Molen and Jeffrey Montgomery
Producer - Colin Wilson
Co-Producers - Jeffrey Franklin
and Steve Waterman
Production Designer - Leslie Dilley
Art Directors - Daniel Maltese and
Ed Verreaux
Assistant Art Directors - Greg Papalia
and Brad Ricker
Illustrators - David Lowery,
Sherman Labby, Len Morganti, Peter Ramsey,
Jacques Rey and Dan Sweetman
Set Decorator - Rosemary Brandenberg
Property Master - Russell Bobbitt
Director of Photography - Dean Cundey
"B" Camera Operator - Casey Hotchkiss
First Assistant "A" Camera/VistaVision
Technician - Clyde E. Bryan
Production Supervisor - Steven R. Molen
First Assistant Director - Steve E. Andrews
Second Assistant Director - Michele Panelli-Venetis
Stunt Coordinator - Gary Hymes
Choreographer/Animation Ghost Reference -
Adam Shankman
Special Effects Supervisor - Michael Lantieri
Digital Character Supervisor - Dennis Muren
Digital Character Co-Supervisor - Stefen Fangmeier
Digital Effects Producer - Janet Healy
Animation Directors - Eric Armstrong
and Phil Nibblelink
Supervising Character Animators: ILM -
Mark Anthony Austin, Tom Bertino,
Miguel A. Fuertes, Jeffrey B. Light,
Doug Smith and James Tooley
Supervising Digital Effects Artists: ILM -
Kevin Rafferty, Tom L. Hutchinson,
John Andrew Berton, Jr., Henry LaBounta
and Joe Letteri
Digital Character Modeling Supervisors: ILM -
Kyle Odermatt and Wade Howie
Visual Effects Plate Supervisor: ILM - Scott Farrar
Visual Effects Art Director: ILM - TyRuben Ellingson
Editor - Michael Kahn
Supervising Sound Editor - Richard Hymns
Sound Design/Re-Recording Mixer - Gary Rydstrom
Assistant Sound Designer - Christopher Boyes
Sound Effects Editors - Teresa Eckston
and Frank E. Eulner
Re-Recording Mixer - Gary Summers
Re-Recording Mixer/Music Recordist
& Mixer - Shawn Murphy
Dialogue Editors - Sara Bolders
and Michael Silvers
Foley Artists - Tom Barwick
and Dennie Thorpe
Foley Recordist - Tony Eckert
Music - James Horner
Music Editor - Joe E. Rand
Review
Another childhood movie I grew up watching, it's hard to see why everyone forgot about CASPER when it was a hidden box office gem. Following the runaway success of The Flintstones, Universal Studios and Steven Spielberg's production company Amblin Entertainment took another classic cartoon character to the big screen, this time Casper the Friendly Ghost. Most things have stayed the same since I last saw the film. It's almost as harmless as it could get for young audiences when surprisingly morbid and raunchy for a children's flick. However, the movie is a family-friendly version of Beetlejuice, and it doesn't shy away from its faults that hinder its durability to entertain audiences.
For starters, the narrative has no direction with numerous plot holes (such as Casper not remembering his previous life before he became a ghost) and an unnecessarily dated subplot, occasional coarse language, such as the "B" word, which almost warranted the movie an M rating and the solemn themes about death often dampen the film's comic appeal. The main drawback is the villain, Carrigan, because she's unthreatening and not very menacing (as one reviewer describes her as "a poor woman's Cruella de Vil") when her greed overpowers her judgement that she plans to get the mansion's supposed treasure, which leads to her defeat.
However, the film certainly has its moments. I won't discuss any as there are spoilers ahead. Most of the visual effects hold up well, especially the CGI of the ghosts, even for the time it was released. What makes it better is that this version of Casper is the first main character to be computer-animated. Christina Ricci is headed for Hollywood stardom when looking as sharp and adorable as Kat. Bill Pullman is surprisingly decent in his performance as the father. The surprise cameos of Don Novello, Dan Aykroyd, Clint Eastwood, Rodney Dangerfield and Mel Gibson are amusing. The sets are dark and Gothic, and James Horner's score is beautiful.
While not a flop, per se, CASPER has its fans and gained a bit of a cult following after a successful release. It spawned two direct-to-video prequels, which are unrelated to the original movie. Then again, it's not my favourite film. I would have preferred if it focused more on the relationship between Kat and the titular ghost and cut out the needless subplot where the bullies try to ruin Kat's Halloween party. Overall, this is an okay film, but it is worth a look, as there was a lot more effort put into it than the other live-action films based on the cartoons.
In the face of an enigmatic, omnipotent foe, Ethan must consider that nothing may be more important than the mission - not even the lives of those most dear to him.
Cast
Tom Cruise - Ethan Hunt
Hayley Atwell - Grace
Vanessa Kirby - White Widow
Simon Pegg - Benji Dunn
Rebecca Ferguson - Ilsa Faust
Ving Rhames - Luther Stickell
Esai Morales - Gabriel
Pom Klementieff - Paris
Henry Czermy - Kittridge
Shea Whigham - Briggs
Greg Tarzan Davis - Degas
Frederick Schmidt - Zola
Mariela Garriga - Marie
Cary Elwes - Denlinger
Charles Parnell - NRO
Mark Gatiss - NSA
Indira Varma - DIA
Rob Delaney - JSOC
Crew
Writer/Producer/Director -
Christopher McQuarrie
Based on the Television
Series - Bruce Geller
Writer - Erik Jendresen
Executive Producer/Unit Production Manager - Chris Brock
Executive Producers - David Ellison, Dana Goldberg and Don Granger
Executive Producer/Post-Production Supervisor - Susan E. Novick
Executive Producer/First Assistant Director - Tommy Gormley
Producer - Tom Cruise
Casting Director - Mindy Marin
Production Designer - Gary Freeman
Supervising Art Director -
Phil Sims
Set Decorator - Raffaella
Giovannetti
Property Master - David
Cheesman
Costume Designer - Jill Taylor
Supervising Armorer - Joss Skottowe
Prosthetics Supervisor - Kristyan Mallett
Director of Photography - Fraser Taggart
Aerial Director of Photography - Phil Arntz
"A" Camera/Steadicam
Operator - Jonathan
'Chunky' Raymond
"C" Camera Operator: Splinter
Unit - David Worley
Camera/Steadicam Operator: Second Unit - Peter Wignall
Production Manager - Ben Piltz
Second Unit Director/Stunt Coordinator - Wade Eastwood
Skydiving/Base/Speedflying Coordinator - Jon Devore
Base Jump Instructor - Miles Dashier
Special Effects Supervisor - Neil Corbould
Visual Effects Supervisor - Alex Wuttke
Visual Effects Supervisors:
ILM - Simone Coco and Jeff Sutherland
Associate Visual Effects Supervisors: ILM -
Sam Bassett, Dave Dalley, Bill Georgiou
and Matt Middleton
Computer Graphics Supervisor: BLIND LTD -
Andrew Booth
Film Editor - Eddie Hamilton
Supervising Sound Editor - James Mather
Production Sound Mixer - Chris Munro
Re-Recording Mixers - Chris Burdon
and Mark Taylor
Music - Lorne Balfe
Review
Hello, everyone. I've been taking a two-month hiatus from my blog since I've struggled to balance writing my reviews, updating the old ones, etc. Fortunately, I returned to finish a critique, which took me five months before I could publish it and get back to completing the other reviews. Hollywood is in turmoil after the writers and actors went on strike over getting underpaid and their growing concerns about AI taking over their jobs. The latter, which proved that people are becoming less involved in the film industry, is a cautionary tale. Thankfully, the writers' strike in Hollywood ended when they agreed to a new deal, followed by the actors' strike a few months later. Ironically, the movie I'm reviewing contains an AI that went rogue, which is eerily prophetic in the storyline. Then again, many viewers didn't care for the AI subplot, regarding it as one of its weaknesses. Once again, actor Tom Cruise outdoes the impossible in the first part of his latest Mission: Impossible movie, DEAD RECKONING. At this point, he may very well be the last movie star on the planet.
With the James Bond series currently in the process of rebooting after culminating with No Time to Die and other film franchises like Fast & Furious, Transformers and Indiana Jones have gotten to the point where they reach franchise fatigue, which is an ongoing problem for Hollywood as they either begin to run out of ideas or finally being put to rest, the Mission: Impossible franchise is the only one to avoid it. Its latest entry had gone through many constant delays in production and release due to COVID-19 until it hit theatres. Audiences enjoyed DEAD RECKONING PART ONE, while critics gave it similar acclaim to its predecessor, Fallout, which many (or most) consider the best of the series and has a 97% higher rating on Rotten Tomatoes. However, it doesn't reach the same impact as Tom Cruise's last movie, Top Gun: Maverick, did to save Hollywood.
This film is a pulse-pounding spy-fi thriller with exhilarating stunt-driven action and marvellous set pieces, which it does deliver in terms of excellence. Christopher McQuarrie has been in the franchise since 2011 with the uncredited script revisions he did for Ghost Protocolbefore he got to direct the later instalments, beginning with Rogue Nation. Here, he returns to outdo himself in perfecting each action sequence, regardless of detail. One issue regarding DEAD RECKONING PART ONE is that it feels complete and doesn't end with an abrupt cliffhanger like in other films such as Fast X and Across the Spider-Verse.
Cruise is doing much better in the series, even though he was about 61 years of age when he's still doing his outrageous stunts like he did in its predecessors that occasionally require no digital effects or stunt doubles. For example, he drives his motorcycle, jumps it off the cliff and skydives onto a train, which is beyond anything ever accomplished. It harkens back to the pre-credits scene in The Spy Who Loved Me, where Roger Moore does the same thing, only by doing a ski jump and then opening his parachute. Hayley Atwell is a new addition to the cast, as she plays a pickpocket and is remarkably talented after being in the MCU (Marvel Cinematic Universe). Esai Morales is surprisingly capable of bringing chills to our spines in his performance as Gabriel, a villain who works for a benevolent AI and has a connection with Ethan's past.
Rebecca Ferguson returns as the elusive Ilsa Faust, which adds a level of conspiracy to the narrative, and her on-screen chemistry with Cruise is undeniable. Simon Pegg injects his trademark wit and charm while reprising the role of Benji Dunn, ensuring the necessary comic relief amid the thrilling action scenes. Fellow MCU veteran Pom Klementieff plays a henchwoman who is much deadlier than anyone else. A huge surprise in the film is when actor Henry Czerny returns as Kittridge from the first instalment. Fraser Taggart's cinematography is praise-worthy, encapsulating the spirit of the spy genre. Lorne Balfe's thumping score livens up the film, while the sound design is superb.
DEAD RECKONING PART ONE is a splendid film but is a close second to its predecessor, Fallout, which remainsthe best of the franchise. Moviegoers and fans will have to sit through its long-running time of 164 minutes to watch the movie and wait for Dead Reckoning Part Two to hit theatres in 2024, should they choose to accept it.
The British/Irish actor Michael Gambon has died peacefully in hospital after battling pneumonia on 27 September 2023. He was 82 years old. A truly gifted actor for six decades, he was best known for his portrayal as the wise headmaster of Hogwarts, Albus Dumbledore, in the last six Harry Potter films, which he took over from Richard Harris after his death. Admittedly, he had not read any of the books by J.K. Rowling, arguing that it was safer to follow the script rather than be too influenced by them. But that hasn't stopped him from channelling the spirit of Dumbledore, the powerful wizard who battled evil for the sake of his students. Although Gambon had previously established himself as one of Britain's leading actors, the Potter role raised his international profile and introduced him to a new generation of fans. We will remember him for the deep and penetrating tones of his voice and for that iconic role, which was synonymous with him.
He was born on 19 October 1940 in Ireland and grew up in London. He originally trained as an engineer, following in his father's footsteps. Before making his way onto the silver screen, Gambon was already a stage actor, having made his theatre debut in a production of "Othello" in Dublin and had his first big break with a minor role in "Hamlet". It was not until 1965 that he debuted on the screen in the film adaptation of "Othello" with Laurence Olivier, Derek Jacobi and Maggie Smith. Gambon became famous in Britain for his lead role in the 1986 BBC series "The Singing Detective", which received him a BAFTA award for Best Actor for his performance and was considered a classic in British television drama. The real turning point in his film career happened in 2004 when Gambon ended up accepting what was to be his most widely known role in the Harry Potter series as Albus Dumbledore after his predecessor Richard Harris died suddenly in October 2002, starting with "The Prisoner of Azkaban" and ending it with "Deathly Hallows: Part 2".
His other film roles include "The Cook, The Thief, His Wife and Her Lover", "Toys", "Sleepy Hollow", "Gosford Park", "The Life Aquatic with Steve Zissou", "Layer Cake", "Fantastic Mr. Fox", "Paddington", "Dad's Army", "Kingsman: The Golden Circle"and "Judy". He also played King George V in "The King's Speech" in 2010 and appeared in a Christmas special for "Doctor Who". Gambon received a knighthood for his services to the theatre in 1998.
Executive Producer/Unit Production Manager - Michael Sharp
Producers - Tom Ackerley,
Robbie Brenner, David Heyman
and Margot Robbie
Co-Producer - Christine Crais
Casting Directors - Lucy Bevan and Allison Jones
Production Designer - Sarah Greenwood
Supervising Art Director - Dean Clegg
Supervising Art Director: Los Angeles Unit -
Andrew Max Cahn
Set Decorator - Katie Spencer
Costume Designer - Jacqueline Durran
Director of Photography - Rodrigo Prieto
First Assistant Director: Second Unit,
Los Angeles - Tom Brewster
Second Unit Director: Los Angeles Unit -
George Cottle
Stunt Coordinator - Roy Taylor
Special Effects Supervisor - Mark Holt
Visual Effects Supervisor - Glen Pratt
Editor - Nick Houy
Re-Recording Mixer/Sound Designer/
Supervising Sound Editor - Ai-Ling Lee
Sound Designer/Supervising Sound Editor -
Dan Kenyon
Sound Designers - Nia Hansen and
Tobias Poppe
Re-Recording Mixer - Kevin O'Connell
Music - Mark Ronson and Andrew Wyatt
Music Supervisor - George Drakoulias
Conductor/Music Arranger/Orchestrator -
Matt Dunkley
Score Recordist & Mixer - Peter Cobbin
Review
As a kid, I never liked Barbie anyway, and if I remember correctly, my sister used to have that doll when she was young. However, I did see a few direct-to-video animated features and a parodic version in the Toy Story series. Recently, I watched the movie and sat stunned by the closure. At first, I wasn't thrilled about seeing it, but I never thought it'd be completely different. I would have wanted to see Oppenheimer instead of BARBIE but chose not to.
BARBIE is a fun, sparkling movie with an original concept and self-aware humour. You'd be surprised how it is a comedy for teens and adults, not for young children, as some might suggest it would be. Writer/director Greta Gerwig understands what was wrong with the Barbie franchise and spoofs the titular brand by turning it into a candy-coated satire full of feminism. Though the film can get a little preachy in its anti-patriarchy message, it has a witty script that has heart and pokes fun at the brand itself for its consumerism, gender stereotypes, attempts at reinvention, etc. But BARBIE wouldn't be complete with a star-studded cast.
Margot Robbie is an excellent choice to play the titular doll character. She nails the comical aspects and emotional beats in her role and humanises her, giving an extraordinary performance. She pairs well with Gosling, who does the same for Ken, and his perpetual confusion is instantly relatable. The extensive supporting cast is well-chosen, with Will Ferrell playing a CEO, similar to his previous role in The Lego Movie, Michael Cera as the forgotten and discontinued Allan and America Ferrara as a truthful mum, Gloria. The set design and costumes are gorgeous, especially in pastel pink, which creates a unique and colourful look at Barbie Land. The soundtrack is excellent, with artists like Dua Lupa, Nicki Minaj and Billie Eilish.
Overall, this film is enjoyable and worth watching. It's packed with hilarity, gives you a good laugh and makes you wonder if you want to live in a dream house (or, in this case, a dollhouse) with Ken and Barbie. Those familiar with Barbie shall experience the movie and be tickled pink (no pun intended).
Oscar-winning director William Friedkin, who was best known for directing famous movies like "The French Connection" and "The Exorcist", had passed away. He was 87 years old. Friedkin ascended to A-status in the seventies as part of a new generation of dynamic, risk-taking filmmakers alongside Peter Bogdanovich, Francis Ford Coppola and Hal Ashby during the "New Hollywood" movement. Throughout his career, he drew praise for bringing a gritty, haunting, more independent style of filmmaking to blockbuster films, helping films such as "The French Connection" and "The Exorcist" achieve both commercial and enduring critical success.
He was born in Chicago in 1935. At age 18, he began his directional career with live shows and documentaries, including "The People vs. Paul Crump", which caught the attention of other filmmakers and other agents, and this helped him land a job working on "The Alfred Hitchcock Hour" in one of its final episodes in 1965. That same year, he landed his big break in directing his first movie, "Good Times", with Sonny and Cher starring in the lead roles. He did "The Birthday Party", "The Night They Raided Minsky's", and the adaptation of "The Boys in the Band".
It was then in 1971 that Friedkin made his breakthrough with the now-classic neo-noir crime thriller "The French Connection", widely regarded as one of the most influential films ever. The film won five Oscars, including Best Picture and Best Director.His next big hit arrived two years after "The French Connection" was the occult horror film "The Exorcist". The film forever changed the genre and was nominated for 10 Oscars, including Best Picture. But "The Exorcist" would be his last major success at the box office.
Friedkin would not direct another film again until he made "Sorcerer" in 1977. It was way over budget and disappointing due to being mostly overshadowed by the success of "Star Wars", although it has since won acclaim. Throughout the 1980s and 90s, Friedkin continued to direct more films such as "Cruising", "Deal of the Century", "Rampage", "Guardian", "Jade", and "To Live and Die in L.A.", the latter of which remains a favourite with critics.
His last movie, "The Caine Mutiny Court-Martial", will be screened at this year's Venice Film Festival.
The actor AlanArkin has died. He was 89 years of age.His family announced it on July 1st. Arkin had a body of work spanning six decades and was known for his roles in "Catch-22", "Edward Scissorhands", "Grosse Point Blank", and "Argo".
Alan Arkin was born in New York in 1934 into a family of Jewish immigrants who came to the US. Beginning in 1957, Arkin made his film debut in a small part in the musical film "Calypso Heat Wave". He subsequently secured roles in movies, television and even as a Broadway actor, making his stage debut in "From the Second City" at the Royale Theatre in 1961. But his first significant role was that of a Russian sailor in Norman Jewison's 1966 Cold War comedy "The Russians Are Coming! The Russians Are Coming". Arkin's portrayal would receive him an Oscar nomination for Best Actor. In 1967, he appeared in the psychological thriller "Wait Until Dark" with Audrey Hepburn. The following year, he was in a lead role as a lonely deaf-mute in "The Heart Is a Lonely Hunter", for which he earned his second Oscar nomination for Best Actor.
The most notable role of Arkin's early career was Capt. John Yossarian in Mike Nichols's 1970 adaptation of "Catch-22". While his performance was strong, the movie got beaten by the similarly-themed "M*A*S*H", which came out in the same year. In 2006, Arkin would eventually play the heroin-snorting grandfather in the tragicomedy "Little Miss Sunshine". His performance earned him an Academy Award for Best Supporting Actor.
He also appeared in "Last of the Red Hot Lovers", "The Seven-Per-Cent Solution", "Fire Sale" (which he also directed), "The In-Laws", "Simon", "Edward Scissorhands", "The Rocketeer", "Glengarry Glen Ross", "Grosse Point Blank", "Get Smart", "Sunshine Cleaning", "Stand Up Guys", and "Going In Style". He also won acclaim for his performance as a fictional Hollywood producer in Ben Affleck's 2012 thriller "Argo", for which he received his Best Supporting Actor Oscar nomination. Later in his life, Arkin starred in the Netflix series, "The Kominsky Method", for which he earned back-to-back Emmy nominations.
Columbia Pictures (presents) Sony Pictures Animation
Marvel Entertainment (in association with) Pascal Pictures Lord Miller Arad Productions
Distribution
Sony Pictures Australia
Genre: Animation/Family/
Action
Rating: PG
Runtime: 140 minutes
Budget: $100,000,000
Box Office Gross: $690,824,738 (Worldwide)
Plot Summary
Reunited with Gwen Stacy, the friendly Brooklyn-based Spider-Man finds himself hurled across the universe, meeting a team of Spider-people tasked with
safeguarding its existence.
But Miles finds himself
at odds with the other
Spiders when the heroes clash over how to deal with a new threat. To protect the people he loves most, he must redefine what it means to be a hero.
Voice Cast
Shameik Moore - Miles Morales Hailee Steinfeld - Spider-Woman/Gwen Stacy
Oscar Isaac - Spider-Man
2099/Miguel O'Hara
Luna Lauren Velez - Rio
Morales
Jake Johnson - Spider-Man/
Peter B. Parker
Issa Rae - Spider-Woman/
Jessica Drew
Andy Samberg - Scarlet Spider/Ben Reilly
Daniel Kaluuya - Spider-Punk/Hobie Brown
Jason Schwartzman - Spot/
Jonathan Ohnn
Brian Tyree Henry -
Jefferson Davis
Karan Soni - India Spider-
Man/Pavitr Prabhakar
Shea Whigham - George Stacy
Greta Lee - LYLA
Mahershala Ali - Uncle Aaron
Amandla Stenberg - Margo Kess/Spider-Byte
Jharrel Jerome - Miles G. Morales
Jack Quaid - Peter Parker
Rachel Dratch - Ms. Veber Kimiko Glenn - Peni Parker
(Uncredited)
Ziggy Marley - Lenny
Jorma Taccone - Vulture/
Adriano Tumono/'67
Spider-Man
J.K. Simmons - J. Jonah
Jameson
Kathryn Hahn - Doctor Octopus/Olivia Octavius
Ayo Edebiri - Glory
Elizabeth Perkins - May/
Quippy Spider-Person
Nicole Delaney - MJ
Antonia Lentini - Betty
Atsuko Okatsuka - Yuri
Peter Sohn - Ganke
Melissa Sturm - Mary Jane
Lorraine Velez - Maria
Nic Novicki - Lego Spider-Man
Taran Killam - Web-Slinger
Metro - Metro Spider-Man
Josh Keaton - Spectacular Spider-Man
Sofia Barclay - Malala Windsor: Spider-UK
Danielle Perez - Charlotte Weber: Sun-Spider
Yuri Lowenthal - Insomniac Spider-Man
Live-Action Cast
Donald Glover - Aaron Davis (Cameo)
Peggy Lu - Mrs. Chen (Cameo) (Uncredited)
Crew
Directors - Joaquim Dos Santos,
Kemp Powers and Justin K. Thompson
Creator: Spider-Man - Stan Lee (Uncredited)
Writers/Producers - Phil Lord and
Christopher Miller
Writer - Dave Callaham
Executive Producers - Brian Michael Bendis,
Bob Persichetti, Peter Ramsey,
Rodney Rothman and Aditya Sood
Producers - Avi Arad, Amy Pascal
and Christina Steinberg
Co-Producers - Julie Groll,
Alonzo Ruvalcaba and Rebecca Karch Tomlinson
Production Designer - Patrick O'Keefe
Visual Consultant - Kevin Aymeric
Art Director - Dean Gordon
Character Designers - Kris Anka,
Brie Henderson, Mauro Belfiore,
Jesus Alonso Iglesias, Evan Monteiro,
Joseph C. Moshier, Omar Smith,
Ami Thompson and Christine Tseng
Heads of Story - Octavio E. Rodriguez
and Miguel Jiron
Head of Character Animation - Alan Hawkins
Senior Animation Supervisor - Humberto Rosa
Supervising Animators - Chad Ellis,
Emmanuel Gatera, Chelsea Gordon-Ratzlaff,
Rohini Kumar, Robert Lehman,
Nicholas Nostbaaken, Jeff Panko,
Daniel Pozo, Philip Rudolph, Adam Sarophim,
Samuel Arturo Rico Vazquez and Kelsey Wagner
Lego Animator - Preston Mutanga
CG Supervisors - Benjamin Aguillon,
James Carson, Patrick Cohen, Pablo Holcer,
James Park and Benjamin Hendricks
Heads of Layout - Tom Bruno Jr. and
Rich Turner
Visual Effects Supervisor - Mike Lasker
Editor - Mike Andrews
Supervising Sound Editor - Geoffrey G. Rubay
Sound Designers - John Pospisil,
Kip Smedley and Alec Rubay
Re-Recording Mixers - Michael Semanick
and Juan Peralta
Additional Re-Recording Mixers - Ryan Collins
and Gary Summers
Foley Artists - Gregg Barbanell,
Alex Ullrich and Jeff & Dylan Wilhoit
Music - Daniel Pemberton
Music Supervisor - Kier Lehman
Review
When it came out in 2018, Spider-Man: Into the Spider-Versewas a smash hit. It was an incredible animated film that introduced me to multiple versions of Spider-Men, each coming from a parallel universe. I had no idea they existed until I browsed the internet. Fans and critics took notice and dubbed it the best Spider-Man movie, which made it hard to top and is better than the previous live-action iterations by Sam Raimi, Marc Webb and the MCU. Though No Way Home comes close to succeeding it. However, when word got out that there was to be a sequel that was supposed to be bigger than its predecessor, I found myself speechless.
Despite my worries about ACROSS THE SPIDER-VERSE not living up to the expectations of the original film, it proved me wrong and was a worthy successor. The team at Sony Animation realised how successful the first instalment was and decided to expand the Spider-Verse and find new ways to invent the plot for this sequel. The movie is an immense effort for those involved in the first film, including Phil Lord and Chris Miller, who returned as its writers and producers. The animation still has the comic book style and is better than the original, but the film got overstuffed with visuals. However, each universe had its colour scheme and animation style, including Gwen Stacy's, which was in pink and blue.
There has been so much growth in the characters in this film since we first saw them. Gwen and Miles, in particular, are now older and are dealing with their teenage years while helping out in their cities. This film contains so many easter eggs that fans will not miss. As in the first movie, the voice acting was outstanding, particularly Oscar Isaac, who is a standout and nails the role of Miguel O'Hara.
ACROSS THE SPIDER-VERSE is the penultimate film of the soon-to-be Spider-Verse trilogy and is even better than the original. The ending reminds me of the cliffhanger of The Empire Strikes Backand is left open for a sequel,Beyond the Spider-Verse, which won't be out until next year. It takes everything that made the first film special and adds it. The great thing about animation is that it is an art form of cinema, not entertainment for young kids, which most people have said. Still, I give this movie ten out of ten.
I know what you're thinking. You thought this was another biopic about a legendary singer, as it happened before with Queen, Elvis, Elton John, Aretha Franklin and Whitney Houston. No, it is a full-length documentary that details the intimate and insightful look of one of the greatest artists that ever lived in Australia. It's neither Jimmy Barnes nor Daryl Braithwaite. It's a story of friendship and overcoming obstacles. Growing up, "You're the Voice" was the song of my childhood, but I did not discover John Farnham's name until I was in my late teens. Since then, I have become aware of the artist and enjoyed listening to his music. It's hard to imagine that John Farnham became a household name in Australia due to the fame he received from his music and the famous anthemic tune he was proud of.
It's incredibly moving that this film discusses the ups and downs of his career, his current health problems and things you didn't know about the singer, including his time with Little River Band, which lasted only three years. It contains a surprising amount of footage and photographs from the period of John Farnham's life, including his childhood and early years as TV Week's King of Pop, assembled by the filmmakers. This documentary shows the singer paying his respects to fellow singer/frequent collaborator Olivia Newton-John and his manager Glenn Wheatley, who both sadly passed shortly after lending their interviews.
JOHN FARNHAM: FINDING THE VOICE is a heartfelt look at the singer, which makes us try to understand who he is. It's a must-see documentary for any Farnham fan, who might catch a glimpse of his personal life as never seen before.
Still grieving the loss of Gamora, Peter Quill has to gather his team to defend the universe and protect one of their own. Failing to do so could potentially end the Guardians as we know them.
Cast
Chris Pratt - Peter Quill/ Star-Lord Zoe Saldana - Gamora Bradley Cooper - Rocket (Voice) Dave Bautista - Drax the
Destroyer Vin Diesel - Groot (Voice) Pom Klementieff - Mantis
Will Poulter - Adam Warlock Elizabeth Debicki - Ayesha
Karen Gillan - Nebula Sean Gunn - Kraglin/On Set Rocket
Chukwudi Iwuji - The High Evolutionary
Krystian Godlewski - On
Set Groot
Maria Bakalova - Cosmo (Voice) Sylvester Stallone - Stakar
Ogord
Michael Rosenbaum -
Martinex T'Naga
Tara Strong - Mainframe (Voice)
Stephen Blackehart - Steemie Blueliver
Terence Rosemore - Xlomo Smeth
Linda Cardellini - Lylla (Voice)
Asim Chaudry - Teefs (Voice)
Mikaela Hoover - Floor (Voice)
Noa Raskin - Baby Rocket (Voice)
Judy Greer - War Pig (Voice)
Miriam Shor - Recorder Vim
Daniela Melchior - Ura
Jennifer Holland - Administrator Kwol
Nico Santos - Recorder Theel
Kai Zen - Phyla
Sarah Alami - Ssssaralami
Jasmine Munoz - Hoobtoe
Giovannie Cruz - Orloni Peddler
Elan Gale - Beardy Ravager
Molly Quinn - Molly Ravager
Nathan Fillion - Master Karja
Benjamin Byron Davis - Bletelsnort
Tiffany Smith - Frinki-
Clorterborm-Zokko
Darla Delgado - Neelie
Randy Havens - Till
Sarah Anne - Latti
Lloyd Kaufman - Gridlemop (Cameo)
Christopher Fairbank - Broker
Rhett Miller - Bzermikitokolok
Murphy Weed - Murf
Michael Rooker - Yondu
(Cameo)
James Gunn - Lamb-Shank
(Cameo)
Karen Abercrombie - Grandma
Quill
Gregg Henry - Grandpa Quill
Slate - Cosmo
Dee Bradley Baker - Blurp (Voice)
Dane DiLiegro - Unsavory Octopus
Pete Davidson - Phlektik (Cameo)
Seth Green - Howard the Duck (Voice) (Cameo)
Crew
Writer/Director - James Gunn
Star-Lord/Mantis Creator -
Steve Englehart Star-Lord Creator - Steve Gan Gamora and Drax Creator -
Jim Starlin Groot Creators - Stan Lee,
Larry Lieber and Jack Kirby
Rocket Raccoon Creators - Bill Mantlo
and Keith Giffen Mantis Creator - Don Heck Howard the Duck Creators - Steve Gerber
Visual Effects Supervisor: Lola VFX - Edson Williams
Additional VFX Supervisor - Daryl Sawchuk
Visual Effects Producer - Susan Pickett
Visual Effects Sequence Supervisors: Weta FX -
Jason Galeon and Daniel Maccarin
Executive Producer: Framestore - Annette Wullems
Animation Supervisor: Weta FX - Michael Cozens
Creative Finishing Supervisor - Evan Jacobs
Film Editors - Greg D'Auria, Fred Raskin
and Tatiana S. Regiel
Sound Designer/Supervising Sound Editor -
David Acord
Supervising Sound Editor - Cheryl Nardi
Additional Sound Designer/Temp
Re-Recording Mixer - Chris Diebold
Production Sound Mixer - Lee Orloff
Re-Recording Mixers - Christopher Boyes
and Gary A. Rizzo
Music - John Murphy
Music Supervisor - Dave Nelson
Review
Ant-Man and the Wasp: Quantumania got Phase 5 of the Marvel Cinematic Universe (MCU) off to a rocky start. It leaves me concerned if another entry might potentially be as lacklustre (if not catastrophic) to the superhero movie franchise. Fortunately, audiences and fans rejoiced when the third GUARDIANS OF THE GALAXY movie came out in theatres recently with better reviews (though some are slightly less negative than others). I've heard that most critics considered itthe best MCU movie in years since Avengers: Endgame, which had me pounding with excitement.It is a gratifying send-off for the titular heroes, as James Gunn stated it would be his last for the MCU as he stopped directing the movies before moving on to DC to restart its movie universe.
While the familiar humour is still intact, GUARDIANS OF THE GALAXY VOL. 3 is the darkest instalment in the series. Even in its darkest moments, it maintains the franchise's status quo and has the same charm as the first two films. It focuses on Rocket Raccoon, who is one of the titular Guardians. His backstory is tragic and devastating, and I wish we got to see more of his origins, like how he first met Groot. The movie delves into its action without sacrificing its moments of seriousness, and incredibly, these sequences are well-coordinated. Throughout the film, there is a lot of animal cruelty. I know it is crucial to the story, but the film is dark, and the animals have changed, sometimes drastically.
There are a whole bunch of new characters in the movie. The High Evolutionary is a terrifying and despicable villain responsible for experimenting on Rocket. His goal was to try and create a perfect universe, but his experiments would sometimes end up being deformed or not what he expected, as he would end up destroying them and start all over. One of the best character arcs in the saga was for the character Nebula. Since we first met her, she has grown so much. The friends Rocket made during his time as an experiment were some of the best additions. Heartbreaking but essential to the narrative. Kraglin and Cosmo, seen in the Holiday Special, were also terrific additions to the cast. Adam Warlock didn't do a lot and felt underused. Still, he was a welcome addition to the team, and I hope we see more of him in the future. As usual, the acting was phenomenal.
While some may think that Marvel has lost its way, this film proves they haven't. In retrospect, the third instalment of GUARDIANSOF THE GALAXY lived up to its reputation and is the best of all three movies. It was a marvellous way to end an otherwise fantastic saga. It's tearfully bittersweet. It's the last time we might see some of these characters. I highly recommend it to those who have seen the previous two movies.
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