Pup named Scooby Doo

IMDb
A pre-teen version of Scooby Doo, with a pint-sized version of the title character.


GoogdWatch
Scooby-Doo, the world's favorite chicken-hearted canine, as a puppy? That's right! And the old gang from the original Scooby-Doo shows is back with him. Shaggy, Daphne, Velma and Freddy are all here as gangly kids; goofing off, solving kid-size mysteries and having run-ins with ghouls, ghosts and goblins.


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Star Wars The Phantom Menace

IMDb
Two Jedi Knights escape a hostile blockade to find allies and come across a young boy who may bring balance to the Force, but the long dormant Sith resurface to reclaim their old glory.



RogerEbert
If it were the first "Star Wars" movie, "The Phantom Menace" would be hailed as a visionary breakthrough. But this is the fourth movie of the famous series, and we think we know the territory; many of the early reviews have been blase, paying lip service to the visuals and wondering why the characters aren't better developed. How quickly do we grow accustomed to wonders. I am reminded of the Isaac Asimov story "Nightfall," about the planet where the stars were visible only once in a thousand years. So awesome was the sight that it drove men mad. We who can see the stars every night glance up casually at the cosmos and then quickly down again, searching for a Dairy Queen.

"Star Wars: Episode I--The Phantom Menace," to cite its full title, is an astonishing achievement in imaginative filmmaking. If some of the characters are less than compelling, perhaps that's inevitable: This is the first story in the chronology and has to set up characters who (we already know) will become more interesting with the passage of time. Here we first see Obi-Wan Kenobi, Anakin Skywalker, Yoda and R2-D2 and C-3PO. Anakin is only a fresh-faced kid in Episode I; in IV, V and VI, he has become Darth Vader.

At the risk of offending devotees of the Force, I will say that the stories of the "Star Wars" movies have always been space operas, and that the importance of the movies comes from their energy, their sense of fun, their colorful inventions and their state-of-the-art special effects. I do not attend with the hope of gaining insights into human behavior. Unlike many movies, these are made to be looked at more than listened to, and George Lucas and his collaborators have filled "The Phantom Menace" with wonderful visuals.

There are new places here--new kinds of places. Consider the underwater cities, floating in their transparent membranes. The Senate chamber, a vast sphere with senators arrayed along the inside walls, and speakers floating on pods in the center. And other places: the cityscape with the waterfall that has a dizzying descent through space. And the other cities: one city Venetian, with canals, another looking like a hothouse version of imperial Rome, and a third that seems to have grown out of desert sands.

Set against awesome backdrops, the characters in "The Phantom Menace" inhabit a plot that is little more complex than the stories I grew up on in science-fiction magazines. The whole series sometimes feel like a cover from Thrilling Wonder Stories, come to life. The dialogue is pretty flat and straightforward, although seasoned with a little quasi-classical formality, as if the characters had read but not retained "Julius Caesar." I wish the "Star Wars" characters spoke with more elegance and wit (as Gore Vidal's Greeks and Romans do), but dialogue isn't the point, anyway: These movies are about new things to look at.

The plot details (of embargoes and blockades) tend to diminish the size of the movie's universe--to shrink it to the scale of a 19th century trade dispute. The stars themselves are little more than pinpoints on a black curtain, and "Star Wars" has not drawn inspiration from the color photographs being captured by the Hubble Telescope. The series is essentially human mythology, set in space, but not occupying it. If Stanley Kubrick gave us man humbled by the universe, Lucas gives us the universe domesticated by man. His aliens are really just humans in odd skins. For "The Phantom Menace," he introduces Jar Jar Binks, a fully realized computer-animated alien character whose physical movements seem based on afterthoughts. And Jabba the Hutt (who presides over the Podrace) has always seemed positively Dickensian to me.

Yet within the rules he has established, Lucas tells a good story. The key development in "Phantom" is the first meeting between the Jedi Knight Qui-Gon Jinn (Liam Neeson) and the young Anakin Skywalker (Jake Lloyd)--who is, the Jedi immediately senses, fated for great things. Qui-Gon meets Anakin in a store where he's seeking replacement parts for his crippled ship. Qui-Gon soon finds himself backing the young slave in a high-speed Podrace--betting his ship itself against the cost of the replacement parts. The race is one of the film's high points, as the entrants zoom between high cliff walls in a refinement of a similar race through metal canyons on a spaceship in "Star Wars." Why is Qui-Gon so confident that Anakin can win? Because he senses an unusual concentration of the Force--and perhaps because, like John the Baptist, he instinctively recognizes the one whose way he is destined to prepare. The film's shakiness on the psychological level is evident, however, in the scene where young Anakin is told he must leave his mother (Pernilla August) and follow this tall Jedi stranger. Their mutual resignation to the parting seems awfully restrained. I expected a tearful scene of parting between mother and child, but the best we get is when Anakin asks if his mother can come along, and she replies, "Son, my place is here." As a slave? The discovery and testing of Anakin supplies the film's most important action, but in a sense all the action is equally important, because it provides platforms for special-effects sequences. Sometimes our common sense undermines a sequence (for instance, when Jar Jar's people and the good guys fight a 'droid army, it becomes obvious that the droids are such bad fighters, they should be returned for a refund). But mostly I was happy to drink in the sights on the screen, in the same spirit that I might enjoy "Metropolis," "Forbidden Planet," "2001: A Space Odyssey," "Dark City" or "The Matrix." The difference is that Lucas' visuals are more fanciful and his film's energy level is more cheerful; he doesn't share the prevailing view that the future is a dark and lonely place.

What he does have, in abundance, is exhilaration. There is a sense of discovery in scene after scene of "The Phantom Menace," as he tries out new effects and ideas, and seamlessly integrates real characters and digital ones, real landscapes and imaginary places. We are standing at the threshold of a new age of epic cinema, I think, in which digital techniques mean that budgets will no longer limit the scope of scenes; filmmakers will be able to show us just about anything they can imagine.

As surely as Anakin Skywalker points the way into the future of "Star Wars," so does "The Phantom Menace" raise the curtain on this new freedom for filmmakers. And it's a lot of fun. The film has correctly been given the PG rating; it's suitable for younger viewers and doesn't depend on violence for its effects. As for the bad rap about the characters--hey, I've seen space operas that put their emphasis on human personalities and relationships. They're called "Star Trek" movies. Give me transparent underwater cities and vast hollow senatorial spheres any day.

Rotten Tomatoes

In 1977, George Lucas released Star Wars, the ultimate sci-fi popcorn flick-turned-pop-culture myth machine. It quickly became the biggest money-making film of all time and changed the shape of the film industry. After two successful sequels (1980's The Empire Strikes Back and 1983's Return of the Jedi) that extended the story of the first film, Lucas took some time off to produce movies for others, with mixed success. In 1999, Lucas returned to the Star Wars saga with a new approach -- instead of picking up where Return of the Jedi left off, Star Wars: Episode I -- The Phantom Menace would be the first of a trilogy of stories to trace what happened in the intergalactic saga before the first film began. Here, Obi-Wan Kenobi (Ewan McGregor) is a young apprentice Jedi knight under the tutelage of Qui-Gon Jinn (Liam Neeson); Anakin Skywalker (Jake Lloyd), who will later father Luke Skywalker and become known as Darth Vader, is just a nine-year-old boy. When the Trade Federation cuts off all routes to the planet Naboo, Qui-Gon and Obi-Wan are assigned to settle the matter, but when they arrive on Naboo they are brought to Amidala (Natalie Portman), the Naboo queen, by a friendly but opportunistic Gungan named Jar Jar. Qui-Gon and Obi-Wan plan to escort Amidala to a meeting of Republic leaders in Coruscant, but trouble with their spacecraft strands them on the planet Tatooine, where Qui-Gon meets Anakin, the slave of a scrap dealer. Qui-Gon is soon convinced that the boy could be the leader the Jedis have been searching for, and he begins bargaining for his freedom and teaching the boy the lessons of the Force. The supporting cast includes Pernilla August as Anakin's mother, Terence Stamp as Chancellor Valorum, and Samuel L. Jackson as Jedi master Mace Windu. Jackson told a reporter before The Phantom Menace's release that the best part about doing the film was that he got to say "May the Force be with you" onscreen. ~ Mark Deming, Rovi

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And HDmovie14

Holidays in Handcuffs

IMDb
A struggling artist working as waitress kidnaps one of her customers to bring home and meet her parents at Christmas.


Rotten Tomatoes
Unlucky in life and love, quirky waitress Trudie (Melissa Joan Hart) takes the holidays -- and the law -- into her own hands. Unable to brave Christmas with her family as a single woman, Trudie kidnaps restaurant customer David Martin (Mario Lopez) and introduces him to her family as her boyfriend. Unable to escape the family vacation house, David agrees to play along until the police arrive. In the meantime, however, David ponders his own romantic life, and questions if he is falling in love with Trudie despite the unlikely circumstances.


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Pan

Rotten Tomatoes
The story of an orphan who is spirited away to the magical Neverland. There, he finds both fun and dangers, and ultimately discovers his destiny -- to become the hero who will be forever known as Peter Pan.



IMDb
12-year-old orphan Peter is spirited away to the magical world of Neverland, where he finds both fun and danger, and ultimately discovers his destiny -- to become the hero who will be forever known as Peter Pan.



Full movie on Pubfilmno1

Nightmare Before Christmas

RogerEbert

The movies can create entirely new worlds for us, but that is one of their rarest gifts. More often, directors go for realism, for worlds we can recognize. One of the many pleasures of "Tim Burton's the Nightmare Before Christmas" is that there is not a single recognizable landscape within it. Everything looks strange and haunting. Even Santa Claus would be difficult to recognize without his red-and-white uniform.

The movie, which tells the story of an attempt by Halloween to annex Christmas, is shot in a process called stop-action animation.

In an ordinary animated film, the characters are drawn. Here they are constructed, and then moved a little, frame by frame, so that they appear to live. This allows a three-dimensional world to be presented, instead of the flatter universe of cel animation. And it is a godsend for the animators of "Nightmare," who seem to have built their world from scratch - every house, every stick and stone - before sending their skeletal and rather pathetic little characters in to inhabit it.

The movie begins with the information that each holiday has its own town. Halloweentown, for example, is in charge of all the preparations for Halloween, and its most prominent citizen is a bony skeleton named Jack Skellington, whose moves and wardrobe seem influenced by Fred Astaire.

One day Jack stumbles into the wrong entryway in Halloweentown, and finds himself smack dab in the middle of preparations for Christmas. Now this, he realizes, is more like it! Instead of ghosts and goblins and pumpkins, there are jolly little helpers assisting Santa in his annual duty of bringing peace on earth and goodwill to men.

Back in Halloweentown, Jack Skellington feels a gnawing desire to better himself. To move up to a more important holiday, one that people take more seriously and enjoy more than Halloween. And so he engineers a diabolical scheme in which Santa is kidnapped, and Jack himself plays the role of Jolly Old St. Nick, while his helpers manufacture presents. (Some of the presents, when finally distributed to little girls and boys, are so hilariously ill-advised that I will not spoil the fun by describing them here.) Tim Burton, the director of "Beetlejuice," "Edward Scissorhands" and the "Batman" movies, has been creating this world in his head for about 10 years, ever since his mind began to stray while he was employed as a traditional animator on an unremarkable Disney project.

The story is centered on his favorite kind of character, a misfit who wants to do well, but has been gifted by fate with a quirky personality that people don't know how to take. Jack Skellington is the soul brother of Batman, Edward and the demon in "Beetlejuice" - a man for whom normal human emotions are a conundrum.

"The Nightmare Before Christmas" is a Tim Burton film in the sense that the story, its world and its look first took shape in Burton's mind, and he supervised their filming. But the director of the film, a veteran stop-action master named Henry Selick, is the person who has made it all work. And his achievement is enormous.

Working with gifted artists and designers, he has made a world here that is as completely new as the worlds we saw for the first time in such films as "Metropolis" (1927), "The Cabinet of Dr. Caligari" or "Star Wars." What all of these films have in common is a visual richness, so abundant that they deserve more than one viewing. First, go for the story. Then go back just to look in the corners of the screen, and appreciate the little visual surprises and inspirations that are tucked into every nook and cranny.

The songs by Danny Elfman are fun, too, a couple of them using lyrics so clever they could be updated from Gilbert & Sullivan. And the choreography, liberated from gravity and reality, has an energy of its own, as when the furniture, the architecture and the very landscape itself gets into the act.

Rotten Tomatoes
Despite having recently presided over a very successful Halloween, Jack Skellington, aka the Pumpkin King, is bored with his job and feels that life in Halloweenland lacks meaning. Then he stumbles upon Christmastown and promptly decides to make the Yuletide his own.


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And Pubfilmno1

The next Karate Kid

IMDb
Mr. Miyagi is back and he takes a new pupil under his wing; a troubled adolescent girl.


Rotten Tomatoes
Karate Kid, Part 4 is better known by its release title, The Next Karate Kid. The sole holdover from the first three KK flicks is Noriyuki "Pat" Morita, once more cast as janitor/martial arts maven Miyagi Yakuga. This time, his pupil is orphaned 17-year-old Hilary Swank, the granddaughter of Miyagi's war buddy. Relentlessly bullied by her male classmates and feeling responsible for her parents' fatal accident, Swank is taught self-worth through the tough-but-gentle guidance of Miyagi. While The Next Karate Kid may come off as too "PC" for the tastes of some fans, it is heaps better than the appalling Karate Kid, Part 3. ~ Hal Erickson, Rovi


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And Zumvo

Karate Kid Part 3

IMDb
Ostracised villain John Kreese attempts to gain revenge on Daniel and Miyagi, with the help of a Vietman War comrade, the wealthy owner of a toxic waste disposal business.



Rotten Tomatoes
John G. Avildsen rehashes his shopworn formula for another go-round in The Karate Kid Part III. Going against the wishes of his mentor, Mr. Miyagi (Noriyuki "Pat" Morita), Daniel (Ralph Macchio) will defend his karate title in an All-Valley Championship match arranged by his nemesis Kreese (Martin Kove), whose karate studio folded after his star student lost the championship to Daniel. Kreese's friend, Vietnam veteran and toxic waste dumper Terry (Thomas Ian Griffith), agrees to help his old pal regain the championship trophy. Daniel's rival Mike Barnes (Sean Kanan) is known as "the bad boy of karate," and Daniel feels he requires more training to vanquish him. But Mr. Miyagi refuses to help Daniel train for the tournament: "Karate to defend life and honor means something. To defend a plastic trophy means nothing." As a result, Daniel naïvely falls into the clutches of Terry, who takes him on as a karate student. But after Daniel finds himself trapped at the bottom of a cliff and Daniel's girlfriend, Jessica (Robyn Lively), has her life threatened, Mr. Miyagi realizes the bad guys have gone too far and agrees to coach Daniel for the tournament. ~ Paul Brenner, Rovi


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Karate Kid 2

IMDb
Daniel accompanies his mentor to Okinawa who is off to see his dying father and confront his old rival, while Daniel inadvertently makes an enemy of his own.




Roten Tomatoes
This sequel to the 1984 surprise hit The Karate Kid reunites Ralph Macchio as high-schooler Danny and Noriyuki "Pat" Morita as Danny's martial-arts mentor, Miyagi. Picking up where the first film left off, The Karate Kid Part II finds Danny and Miyagi making an emergency trip to Okinawa, where Miyagi's father is dying. Here they revisit Miyagi's childhood sweetheart (Nobu McCarthy), who, Miyagi believes, had been wheedled into an arranged marriage with loose-cannon karate expert Sato (Danny Kamekona). Little does Miyagi realize that the woman is still single; Sato is still around as well, however, and intent on resuming the fight with his old nemesis. Morita agrees; meanwhile, Danny is challenged by Kamekona's pugnacious nephew (Yuji Okumoto). ~ Hal Erickson, 



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Karate Kid Original

IMDb
A handyman/martial arts master agrees to teach a bullied boy karate and shows him that there is more to the martial art than fighting.



Rotten Tomatoes
Newly arrived in California from New Jersey, teenager Daniel (Ralph Macchio) almost immediately runs afoul of karate-trained high school bullies. He is rescued by Japanese janitor Miyagi (Noriyuki "Pat" Morita), who agrees to teach Daniel how to harness karate for good instead of brutality. The film culminates in a championship karate bout, pitting Daniel against his sworn enemy Johnny (William Zabka) -- the cruel and thuggish boyfriend of Ali (Elisabeth Shue), with whom Daniel has fallen in love (and vice versa). Real-life karate champ Chuck Norris was offered the role of Kreese, the sadistic coach who goads Johnny into fighting dirty, but Norris turned down the role, refusing to be shown utilizing his skills negatively onscreen. Vastly popular, The Karate Kid spawned three sequels of rapidly descending merit, as well as a Saturday-morning cartoon series. ~ Hal Erickson, Rovi


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and Family-Flix

Frozen

IMDb

For the first time in forever a true Disney classic is realized

Author: CarrieJa from United States
25 November 2013

When people speak of their favorite Disney movies, the big four of the Renaissance and films of the Golden Age of animation are likely to be mentioned. The past decade has seen Disney movies that were hit or miss. Some considered classics, some forgotten and some close to being classics but not there yet. Frozen changes this dynamic and creates a full fledged classic. Frozen IS not just a classic, it is THE Disney classic of the decade. It could position itself up there with the best of them. Disney returns to its roots with a vengeance. The best animated film of the past few years in my opinion.

The story is heart melting, filled with the pure feeling and heart that has become a staple with the best Disney movies. It is a moving story that has family at its center. It is unpretentious in what it is trying to portray. The comedy hits right on the mark and the action packed adventure and thrilling journey make this a tale with a little bit of everything in the exact right amounts. It is a daring movie that is laugh out loud at the some moments and stunning and provoking at others. All achieved in balance. A true triumph in story telling that proves exactly what Disney does best and again proving that they are back to producing top quality films. This is an affecting human story, one that is significant.

Startling and stunning, beautifully envisioned, emotionally powerful and relevant. Gorgeous visuals, stunning backdrops and intricacies like you have never seen before. The environments, the costumes, the character movements among other things make this film a gigantic step forward. The brilliant voice talents that breath life into this project need to be applauded and then some. The cast consisting of Kristen bell (Veronica Mars) and Idina Menzel(Wicked!)among many others bring winning charm, superior voice acting and magnificent vocals as well as heart to this tale. The sensational wit and humor, the arrays of different personalities, their emotions, their triumphs and falls make them some of the most interesting characters that people can relate to and some of the best i have seen in animation. The cast fully become the characters.

The score and music is perfect. The score is grand. The sound, the texture, the harmony, the melody is in a class of its own. Above and beyond anything attempted by the animation studio in the past decade. I would place the songs up there with those of the 90's movies and 2000's Enchanted. A true all round musical triumph. Songs that will be stuck in your mind and you will be humming them and you won't even know it. And some you will be belting out at the top of your lungs because they are that good. Songs that progress the story and an essential part of it.

So you have meticulously crafted breath taking animation, an affecting tale of the bond of family, romance, hilarious wit and humor courtesy of the characters especially sweet Olaf and heart stopping adventure. A true fairy tale that i would say could very well be The Little Mermaid or The Beauty and The Beast of this generation.

FROZEN has that Disney MAGIC that has been missing for so long and it comes in full force here.

Rotten Tomatoes

Featuring the voices of Kristen Bell and Idina Menzel, "Frozen" is the coolest comedy-adventure ever to hit the big screen. When a prophecy traps a kingdom in eternal winter, Anna, a fearless optimist, teams up with extreme mountain man Kristoff and his sidekick reindeer Sven on an epic journey to find Anna's sister Elsa, the Snow Queen, and put an end to her icy spell. Encountering mystical trolls, a funny snowman named Olaf, Everest-like extremes and magic at every turn, Anna and Kristoff battle the elements in a race to save the kingdom from destruction. (c) Disney

RogerEbert

The animated, 3-D adventure wants to enliven and subvert the conventions of typical Disney princess movies while simultaneously remaining true to their aesthetic trappings for maximum merchandising potential. It encourages young women to support and stay loyal to each other—a crucial message when mean girls seem so prevalent—as long as some hunky potential suitors and adorable, wise-cracking creatures also are around to complete them.

It all seems so cynical, this attempt to shake things up without shaking them up too much. "Frozen" just happens to be reaching theaters as Thanksgiving and the holiday shopping season are arriving. The marketing possibilities are mind-boggling. And in the tradition of the superior "Beauty and the Beast" and "The Little Mermaid," surely "Frozen: The Musical" will be headed to the Broadway stage soon. The songs – which are lively and amusing if not quite instant hits—are already in place. 

Little girls will absolutely love it, though. That much is undeniable. And the film from co-directors Chris Buck ("Surf's Up") and Jennifer Lee is never less than gorgeous to watch. A majestic mountaintop ice castle is particularly exquisite—glittery and detailed and tactile, especially as rendered in 3-D.

But first we must witness the tortured backstory of the film's princesses – not one, but two of them. The script from "Wreck-It Ralph" co-writer Lee, inspired by the Hans Christian Andersenstory "The Snow Queen," has lots of cheeky, contemporary touches but is firmly and safely rooted in Scandinavian fairy tale traditions.

When they were young girls, sisters Anna and Elsa were joyous playmates and inseparable friends. But Elsa's special power—her ability to turn anything to ice and snow in a flash from her fingertips—comes back to haunt her when she accidentally zaps her sister. (Not unlike the telekinesis in "Carrie," Elsa inadvertently unleashes her power in moments of heightened emotion.) A magical troll king heals Anna and erases the event from her memory, but as for the sisters' relationship, the damage is done.

Elsa's parents lock her away and close down the castle, which devastates the younger Anna. (Of the many tunes from "Avenue Q" and "The Book of Mormon" songwriter Robert Lopez and his wife, Kristen Anderson-Lopez, the wistful "Do You Want to Build a Snowman?" is by far the most poignant.) But once they reach adolescence and it's Elsa's turn to take over the throne at age 18, the two experience an awkward reunion.

The perky, quirky Anna (now voiced by a likable Kristen Bell) is a little nervous but overjoyed to see her sister. The reserved and reluctant Elsa (Broadway veteran Idina Menzel) remains distant, and with gloved hands hopes not to freeze anything and reveal her true self on coronation day. But a run-in with an amorous, visiting prince (Santino Fontana) who sets his sights on Anna triggers Elsa's ire, and she inadvertently plunges the sunny, idyllic kingdom into perpetual winter.

Flustered and fearful, Elsa dashes away in a fit of self-imposed exile – which significantly weakens "Frozen," since she's the film's most complicated and compelling figure. On her way to the highest mountain she can find, Elsa belts out the power ballad "Let It Go," her version of "I Am Woman." This soaring declaration of independence is the reason you want a performer of Menzel's caliber in this role, and it's the film's musical highlight. (Her flashy physical transformation from prim princess to ice queen does make her resemble a real housewife of some sort, however.)

Afterward, though, the story settles in on Anna's efforts to retrieve her sister and restore order to the kingdom. Along the way she gets help from an underemployed ice salesman named Kristoff (Jonathan Groff) and his trusty reindeer sidekick, Sven. They all meet up with a singing snowman named Olaf (a lovably goofy Josh Gad, star of "The Book of Mormon" on Broadway) who dreams of basking in the warmth of the summer sun. This "Wizard of Oz"-style quartet makes the obstacle-filled trek to the imposing fortress that awaits. (At least "Frozen" has the decency to borrow from excellent source material.)

While the journey may seem overly familiar, the destination has some surprises in store. Some come out of nowhere and don't exactly work. But the biggie—the one that's a real game-changer in terms of the sorts of messages Disney animated classics have sent for decades—is the one that's important not just for the little girls in the audience, but for all viewers. It's so innovative, it makes you wish everything about the film met the same clever standard.

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And HollyWood movies

Hotel Translvania

IMDb
Dracula, who operates a high-end resort away from the human world, goes into overprotective mode when a boy discovers the resort and falls for the count's teen-aged daughter.




MetaCritic
Summary: Welcome to the Hotel Transylvania, Dracula's lavish five-stake resort, where monsters and their families can live it up, free from meddling from the human world. But here's a little known fact about Dracula: he is not only the Prince of Darkness; he is also a dad. Over-protective of his teenage daughter, Mavis, Dracula fabricates tales of elaborate dangers to dissuade her adventurous spirit. As a haven for Mavis, he opens the Hotel Transylvania, where his daughter and some of the world's most famous monsters – Frankenstein and his bride, the Mummy, the Invisible Man, a family of werewolves, and more – can kick back in safety and peace. For Drac, catering to all of these legendary monsters is no problem – but his world could come crashing down when one ordinary guy stumbles on the hotel and takes a shine to Mavis. (Sony Pictures 


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Hotel Transylvania 2

IMDb
Dracula and his friends try to bring out the monster in his half human, half vampire grandson in order to keep Mavis from leaving the hotel.


Rotten Tomatoes

MOVIE INFO

The hit CG-animated family comedy Hotel Transylvania gets a follow-up with this Sony Pictures Animation production.

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Hocus Pocus

IMDb
After three centuries, three witch sisters are resurrected in Salem Massachusetts on Halloween night, and it is up to two teen-agers, a young girl, and an immortal cat to put an end to the witches' reign of terror once and for all.


NYtime

Hocus Pocus (1993)

Review/Film; Bette Midler, Queen Witch in Heavy Makeup

By JANET MASLIN

Published: July 16, 1993

Apparently too much eye of newt got into the formula for "Hocus Pocus," transforming a potentially wicked Bette Midler vehicle into an unholy mess. That's too bad, since Ms. Midler's appearance in a role like the one she has here could have been pure witchcraft. As the foremost of three sisters from 17th-century Salem who are magically transported forward three centuries to bedevil modern trick or treaters, Ms. Midler flounces in high comic style. Not for her the cackling and hobbling of ordinary screen witches; Ms. Midler grandly plays this harpy as if she were Norma Desmond tackling the opening of "Macbeth."

Ms. Midler's performance is such a crazy amalgam of great-lady mannerisms and withering sneers that it deserves to have been shown off more clearly. Instead, the star is buried beneath a mountain of makeup, while the combined effects of prosthetic buck teeth and affected Britishisms make her hard to hear. More problematic, the movie that has been built around Ms. Midler's feisty Winifred is badly cluttered, as the witches mix with zombies, parents and teen-agers on Halloween. Entirely too diverting is the spectacle of an entire cast elaborately overdressed for a costume party.

"Hocus Pocus" is aimed squarely at the Nowheresville between juvenile and adult audiences, making its most blatant pitch for the young teen-age crowd. So despite the presence of sly Winifred, buffoonish Mary (Kathy Najimy) and cleavage-flashing Sarah (Sarah Jessica Parker), who have been programmed to walk and fly together in comical team maneuvers, the film gives equal time to its nice-kid characters.

The witches' young nemeses are Max (Omri Katz), a new high school boy in town, and his cute, wisecracking sister, Dani (played by the effervescent Thora Birch as if she were an honorary member of the Culkin family). Also in the cast is Vinessa Shaw as Max's pretty new classmate. She inadvertently brings down the house by trying to explain the witches vs. teen-agers battle with a straight face.

As directed by Kenny Ortega, "Hocus Pocus" has flashes of visual stylishness but virtually no grip on its story (from a screenplay by Mick Garris and Neil Cuthbert). It changes tone as casually as the actors don their masquerade costumes, and has no scruples about breaking its own mood altogether (as when the three witches suddenly perform "I Put a Spell on You" at a Halloween party).Perhaps the film's most trenchant remark comes from Penny Marshall, who has a brief cameo with her brother, Garry, as (it seems) Mr. and Mrs. Devil, and asks the witches, "Aren't you broads a little old to be out trick or treating?"

Of special note in "Hocus Pocus" are a computer-generated talking cat, whose laboriously achieved presence falls under the heading of stupid pet tricks, and a finale that drags out almost all the film's characters for a series of needless, sentimental goodbyes. When brave Max and a weepy Dani bid an emotional farewell to Billy, a zombie who has helped them out for the evening but now must return to the grave, it truly is time to say goodbye.

"Hocus Pocus" is rated PG (Parental guidance suggested). It includes very mild scares, occasional rude language and a few jokes about one young character's virginity. Hocus Pocus Directed by Kenny Ortega; written by Mick Garris and Neil Cuthbert, based on a story by David Kirschner and Mr. Garris; director of photography, Hiro Narita; edited by Peter E. Berger; music by John Debney; production designer, William Sandell; produced by Mr. Kirschner and Steven Haft; released by Walt Disney. Running time: 93 minutes. This film is rated PG. Winifred . . . Bette Midler Sarah . . . Sarah Jessica Parker Mary . . . Kathy Najimy Max . . . Omri Katz Dani . . . Thora Birch Allison . . . Vinessa Shaw Billy . . . Doug Jones Headless Billy . . . Karyn Malchus

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Minions

IMDb
Minions Stuart, Kevin and Bob are recruited by Scarlett Overkill, a super-villain who, alongside her inventor husband Herb, hatches a plot to take over the world.



Rotten Tomatoes

MOVIE INFO

The story of Universal Pictures and Illumination Entertainment's Minions begins at the dawn of time. Starting as single-celled yellow organisms, Minions evolve through the ages, perpetually serving the most despicable of masters. Continuously unsuccessful at keeping these masters-from T. rex to Napoleon-the Minions find themselves without someone to serve and fall into a deep depression. But one Minion named Kevin has a plan, and he-alongside teenage rebel Stuart and lovable little Bob-ventures out into the world to find a new evil boss for his brethren to follow. The trio embarks upon a thrilling journey that ultimately leads them to their next potential master, Scarlet Overkill (Academy Award (R) winner Sandra Bullock), the world's first-ever female super-villain. They travel from frigid Antarctica to 1960s New York City, ending in mod London, where they must face their biggest challenge to date: saving all of Minionkind...from annihilation. (c) Universal

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