Charlotte Ross , EG Daily - The Human Rights Hero Awards 2015 presented by Marisol Nichols' Foundation for a Slavery Free World and Youth for Human Rights International at Beso at Beso - Los Angeles, California, United States - Monday 21st September 2015
While the Emperor penguins of Antarctica find their mate by singing their 'heartsong', Mumble is different. Instead of singing, he has a talent for tap-dancing and it was this that won the affections of his old friend Gloria. His unique gift also helped ban overfishing in Antarctica which saved the fish population from extinction.
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The Devil's Rejects diverges from its predecessor beginning with its opening frames, in which the depiction of the Firefly residence - no longer a remote, forest-shrouded funhouse of horrors but, rather, a dilapidated structure situated in a stretch of open land - speaks to the film's rejection of atmospheric claustrophobia in favor of wide-open anarchy. A fascination with rampant disorder certainly fuels the tour de force intro sequence, a bullet-strewn siege on the Firefly home by Sheriff Wydell (Forsythe) and an army of police officers heightened by Zombie's sly use of freeze frames, Sergio Leone-esque close-ups, and The Allman Brothers' "Midnight Rider." Exhibiting a directorial maturity devoid of his former MTV-ish gimmickry (no hyper-edited montages with varying film stocks or bludgeoning industrial heavy metal here), the director orchestrates the chaotic events with feverish abandon, his shaky handheld camera set-ups and scraggly, sun-bleached cinematography (courtesy of Phil Parmet) placing us directly inside the carnage. By the time murderous siblings Otis (Bill Moseley) and Baby (Sheri Moon) escape their now overrun home to seek shelter in the rotting, blindingly white desert, Zombie has demonstrated a newfound adeptness at lacing nasty action with a breakneck thrust and vicious wit.
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And that can be chalked up to the single element that differentiates the heavy-duty action in The Powerpuff Girls from, say, a Pokémon feature: humor. Just like the entertaining television series, the Powerpuff movie has laughs to spare, some aimed at the grade school set and many targeted at their parents.
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As if your kid will care, Rugrats Go Wild! is a cross between the shows Rugrats and The Wild Thornberrys, in which a Rugrats family vacation leads to being stranded on a deserted island. The only other inhabitants are the Thornberrys, a dysfunctional set of explorers with a souped-up RV that makes the new Lexus SUVs look like bumper cars. The adults get the idea to start going Lord of the Flies. The babies get the idea to start going exploring, and I get the idea to leave the theatre before dealing with an extra hour and a half of wasted time.
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The most intelligent cartoon since The Simpsons (which the same animation team behind Rugrats worked on) has come to the big screen. It's a look at the babies of the new all-American parents: both at work, both armed with cell phones and faxes. They're raised by their sleeping grandfather and are intelligent beyond their single year.
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To start with, Grandpa Lou has gotten remarried (leading into, by the way, an excellent parody of The Godfather in the first scene) and all Chuckie wants is a mommy. Meanwhile, Stu Pickles gets a call from Paris demanding that he come to fix a giant mechanical Reptar (a wonderful running Godzilla/Pokemon spoof gag from the series) which he designed.
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Sure, the humor is moderately intelligent and the narration includes things like a mention of the chaos theory, but when it boils down to it, Babe II was just like every other sequel: an attempt to carbon copy the original. But, friends, the great copy machine known as Hollywood is broken, and has never gotten a repairman, so we are doomed to watch screwed up attempts at copying, remakes gone wrong, and things screwed up.
Continue reading: Babe: Pig In The City Review
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