The Lovebirds (2020)

The Lovebirds (2020)

5/10

Starring

Kumail Nanjiani

Issa Rae

Directed by Michael Showalter

The movie made me laugh a couple of times when some very unexpected things happened. I’ll give it one thing: it’s watchable. The sad part is—it’s not memorable. After seeing it once, I can’t imagine myself ever wanting to sit through it again. In fact, the main problem of the film is that it lacks something catchy that you can hold and say this is what this movie has to offer.

Issa Rae’s acting was disappointing. The best way to put it is—in this film, she acted like she was acting. Everything seemed forced, from the smiles to the frowns. I really tried to like Issa Rae in this movie because it’s the first thing of hers I’ve seen. I know she’s popular for her own show, but after the bad acting in the first 10 minutes, I kept hoping she’d warm up and really get into the character. Unfortunately, she never did. It made me wonder if her other movies and shows are similar, and honestly, it’s put me off wanting to see them.

The movie had a nice setup: here’s a couple (played by Rae and Kumail Nanjiani) going through what they believe is a rough patch in their relationship. Just as they decide to take a drastic step to fix things, an officer hijacks their car and turns their lives upside down. The officer drags them into his mess, and after one bad decision by him, the couple—being minorities—decide to do what they think is best: they run from the cop and what he’s done.

Without giving away spoilers, the movie follows them as they try to figure out what happened and get ahead of things before the police track them down and piece together their involvement.

Knowing that this movie was directed by Michael Showalter made watching it even worse for me. He worked with Nanjiani on The Big Sick (2017), which was an amazing rom-com. This follow-up movie is a big letdown in comparison.

The Lovebirds is an okay film you can catch on Netflix. There’s not much to expect, so I’d recommend lowering your expectations. If you haven’t read anything about the movie before watching it, like I didn’t, be prepared for some surprising twists and turns. Unfortunately, those twists don’t make up for the odd pairing of the leads or the lack of a good supporting cast. Kumail Nanjiani carried the movie on his own, but even his efforts couldn’t save it.

The Other Guys (2010)

The Other Guys (2010)

3/10

Starring

Mark Wahlberg

Will Ferrell’s

Directed by Adam McKay

I get why buddy cop movies usually have one character who’s goofy or messed up and the other who’s serious and well-put-together—it creates balance. But when both characters are equally jacked up in their silliness, the movie spirals out of control.

This movie didn’t do well at the box office, though critics seemed to like it—which I don’t understand. It lacked the kind of comedy that would make you want to re-watch it, which is probably why it flopped. On top of that, it ended in a way that screamed overconfidence, as if the producers thought they were launching a franchise. Thankfully, that didn’t happen.

The movie is supposed to be a spoof of buddy cop films, but it overdoes it with explosions and gunfire to the point of redundancy. The action scenes felt completely unnecessary.

The story revolves around two partners who should never have been paired together, on screen or otherwise. Whoever thought Will Ferrell and Mark Wahlberg would make a great duo on screen needs to answer one question: why?

The plot centers on two cops living in the shadow of another duo whose oversized egos literally got them killed. With that duo out of the picture, there’s room for a new top team in the police force. Allen (Ferrell) and Terry (Wahlberg) want to be that team—well, mostly Terry. Allen is content to stay at his desk, but Terry drags him along.

They investigate what seems to be a simple burglary at a jewelry shop, which leads to the arrest of a man who, as we saw earlier, owes $32 billion. Instead of focusing on the bigger crime, Allen arrests the man for building permit violations. Things go downhill fast when they’re ambushed, losing their prisoner, their guns, their car, and even their shoes.

This infuriates Terry. Despite orders from their boss to drop the case, he insists on dragging Allen deeper into the investigation. They dig too deep, causing chaos around them and landing themselves in the middle of a much bigger mess.

Some movies are just too long and incoherent to matter, and The Other Guys is one of them. It prioritizes action over sense and gets so caught up in its silliness that it loses any semblance of cohesion. At times, it feels like two separate stories: one about a mismatched pair of buddy cops trying to work together, and another about a bizarre financial crime. When the two stories finally converge, the film briefly starts to make sense—only for other cops who previously seemed indifferent to suddenly show up and end the movie.

The ending had me throwing my hands up, wondering what kind of nonsense I had just endured in the name of entertainment.

Ferrell’s character, Allen, is exactly what you’d expect: weird, overly absorbed in his own little world, and too clueless to understand how reality works. Strangely, hot women are drawn to him. Meanwhile, Wahlberg’s character, Terry, is supposed to be the "stable" one in the typical buddy cop formula, but he’s so dysfunctional in his own right that I’m sure entire books could be written about his issues. Where people found the humor to rate this movie positively is beyond me.

Date Night (2010)

Date Night (2010)

7/10

Starring

Steve Carell

Tina Fey

Taraji P. Henson

Common

Mark Wahlberg

Directed by Shawn Levy

The first thirty minutes of this film had me yawning as I watched the Fosters try to have a good date night. I was rooting for them to enjoy their evening, but once the excitement started, I found myself struggling to keep up with all the unexpected twists thrown their way.

Date Night is a fun movie I’ll always remember watching. What makes it stand out is how this ordinary couple handles increasingly extraordinary situations. They never quite get on top of things, and just when you think they have it under control, the rug gets pulled out from under them.

Aside from the dragging start, the plot isn’t perfect either, but the two leads—Steve Carell and Tina Fey, who play Phil and Claire Foster—are a great match. They make up for the script’s shortcomings and complement each other beautifully on screen. The comedy shines in the stickiest of situations. While the movie isn’t very long, there are a few scenes that felt unnecessarily stretched—like their first meeting with Mark Wahlberg or the car-coupling sequence.

With a solid supporting cast, the plot centers on a couple trying to reignite the spark in their marriage. After hearing about their friends splitting up, Phil decides to be spontaneous and take Claire out for an extraordinary evening. He drives her into the city and “steals” a table reserved for a couple named the Tripplehorns, who didn’t show up. Unfortunately, the Tripplehorns are wanted by some dangerous goons.

This mistaken identity leads to the Fosters being kidnapped and interrogated about the whereabouts of a flash drive. The more they try to explain that they’re not the Tripplehorns and that they just took the table, the guiltier they seem.

They eventually escape and start piecing together what’s really happening. A visit to the police station only makes things worse when they discover that the villain has cops on his payroll. Now, the Fosters not only have the goons after them but also the real cops, thanks to their failed attempt to get help. And all of this chaos stems from one stolen restaurant table.

Date Night was both a critical and commercial success. It’s a movie I can confidently recommend, as long as you’re prepared for a slow start during the first thirty minutes.

I think the pair of them make a good comedy couple that you can watch anytime and never miss a time to laugh.

Baby Mama (2008)

Baby Mama (2008)

3/10

Starring

Tina Fey

Amy Poehler

Greg Kinnear

Dax Shepard

Romany Malco

Directed by Michael McCullers

There’s a lot to unpack from this predictable, lightweight comedy, but diving too deep would turn this review into a spoiler. What I can say is that the story never seems interested in truly exciting its audience, for a movie of this calibre you would expect that at least. The performances—aside from the two leads—feel forced, as though the cast was reluctantly roped into the project. And the direction? It comes across like the studio handed it to the nearest available person, experience be damned.

I genuinely love Tina Fey, but even that admiration couldn’t save this movie. I adore her work on 30 Rock and have enjoyed some of her other films, but this is one role she probably should’ve passed on. Despite her and Amy Poehler’s attempts to bring some humor to the screen, their on-screen chemistry couldn’t overcome the predictable lines and tired plot.

The movie introduces us to Kate (Fey), a 37-year-old career-focused woman who has never married or had children. Now in the throes of baby fever, she’s desperate to have a child. After unsuccessful attempts at pregnancy, adoption, and other options, she learns that her chances of natural conception are virtually nonexistent. Determined, she turns to surrogacy. She signs up with an agency and is paired with Angie (Poehler), an irresponsible and chaotic first-time surrogate who is the total opposite of Kate.

Kate’s desperation and Angie’s financial needs lead them to an agreement. But when Angie breaks up with her boyfriend, she moves in with Kate, and things quickly spiral. Chaos ensues as the two clash over their stark differences, and it becomes apparent that Angie has some secrets of her own. Kate soon finds herself dealing with much more than she bargained for.

The film boasts a star-studded supporting cast, including Greg Kinnear, Dax Shepard, Holland Taylor, Steve Martin, and Sigourney Weaver, but even their presence couldn’t salvage this movie. The ending is as predictable as you’d expect, and throughout its runtime, I didn’t laugh or smile once.

Financially, the movie likely broke even, having earned double its production cost at the box office. But judging by the reception, it’s no surprise we never saw a sequel—not that many would’ve cared.

The unrealistic scenarios in this movie make it hard to recommend, even as a time-passer. If you’re considering watching it, I’d suggest taking a nap instead, at least that way you get to achieve something that will be worthwhile.

Anastasia (1997)

Anastasia (1997)

8/10

Starring

Meg Ryan

John Cusack

Kelsey Grammer

Christopher Lloyd

Hank Azaria

Directed by Don Bluth and Gary Goldman

Seen as one of the best animations of the 90s that Disney didn’t produce, Anastasia has ironically found its way into Disney’s archive now that the company owns Fox, which originally owned the film.

Anastasia features some of the best songs in animation, with tracks like "Once Upon a December" and "Journey to the Past" still lingering in my memory years later.

Forget the historical accuracy—this movie isn’t trying to be a documentary. Focus instead on the production. The animation is beautifully crafted and still holds up well, even in 2020. The story of a princess facing challenges and triumphing is similar to the classic Disney formula, and Anastasia does a decent job of matching the Disney standard of that era.

This time, though, the princess isn’t a toddler when she faces the curse.

The plot is set in Russia and begins at a royal ball, where a young Anastasia Romanov bonds with her grandmother before the older woman departs for a trip. Enter Grigori Rasputin, the villain, who crashes the ball and places a curse on the Romanov family. Once a royal adviser, Rasputin was exiled for treason and, in retaliation, sold his soul for power to fuel the Russian Revolution.

As the Romanov family flees their home under attack, a 10-year-old servant boy named Dimitri helps Anastasia escape. Unfortunately, in the chaos, Anastasia becomes separated from her family. She falls, and her grandmother is devastated, unable to save her granddaughter.

Years later, Anastasia, now grown and unable to remember her past, lives in an orphanage. Her grandmother, still searching for her, offers a financial reward to anyone who can reunite them. Dimitri, now older and working as a conman, sets out to find someone resembling Anastasia to claim the reward. He crosses paths with Anya, a young woman with a necklace inscribed with “Together in Paris.” Believing her family is in Paris, Anya is determined to make her way there.

What follows is a thrilling journey as Anya and Dimitri confront Rasputin and his sinister plans.

The movie was directed and produced by Don Bluth, a name worth highlighting. Bluth worked for Disney as an animator for many years before branching out on his own. He collaborated with Steven Spielberg to create classics like An American Tail and The Land Before Time and later produced All Dogs Go to Heaven in 1989. After a series of less successful projects, Bluth returned with this animated masterpiece.

Does Anastasia stand the test of time? For me, the incredible animation ensures it does. While it didn’t make a huge splash at the box office, it performed well enough to inspire a franchise, including direct-to-video sequels and stage musicals.

The Rescuers Down Under (1990)

The Rescuers Down Under (1990)

6/10

Starring

Bob Newhart

Eva Gabor

John Candy

Adam Ryen

Directed by Hendel Butoy and Mike Gabriel

The animation in this sequel is a big step up from the original The Rescuers (1977), but the story doesn’t quite measure up. It’s a solid addition to Disney’s lineup and a decent movie to check out, especially since it holds the distinction of being Disney’s first theatrical sequel. Considering how Disney has improved its approach to sequels over time, this was a commendable first effort.

What holds this story back compared to the original is the expansive world Disney created for the Rescue Aid Society. In the first movie, the world was smaller, and the adventure kicked off right away with a message in a bottle. Here, the message is relayed across the globe, traveling thousands of miles before Bernard and Bianca even begin their mission. By the time they set out to rescue the boy, nearly 25 minutes of the movie have already passed.

Another issue is that Bernard and Bianca feel more like supporting characters in this story. Instead of being at the center of the action, much of the plot focuses on rescuing the boy and foiling the poacher’s plans. There’s also less investigating compared to the first film, as the narrative is more about traveling to the destination than solving a mystery.

The plot this time takes us to Australia, where a young boy who rescues animals finds himself in trouble. He’s captured by a poacher after the man discovers a feather from a golden eagle in the boy’s knapsack. The poacher, who claims to have killed the male eagle, is determined to capture and kill the female eagle as well. To force the boy to reveal the eagle’s location, the poacher kidnaps him.

Animals who witness the kidnapping send a call for help to the Rescue Aid Society. Bernard and Bianca are dispatched to assist, and with the help of a kangaroo rat who becomes their ally, they track down the boy. Together, they work to save him and stop the poacher from carrying out his plans.

As always, Bianca shines as the confident and outspoken member of the duo, taking charge of many situations.

In the end, this sequel received a less positive reception compared to the original. Most of the praise was directed at its impressive animation, which was undeniably a step up. Bob Newhart (Bernard) and Eva Gabor (Bianca) return to reprise their roles, adding to the charm of the film. However, unlike the first movie, this one didn’t receive any award nominations and performed poorly at the box office.

While The Rescuers (1977) is a Disney classic, this sequel, though enjoyable, doesn’t quite reach the same heights. Still, it’s a fun watch, especially for fans of the original who want a bit of nostalgia.

The Rescuers (1977)

The Rescuers (1977)

7/10

Starring

Bob Newhart

Eva Gabor

Michelle Stacy

Geraldine Page

Joe Flynn

Directed by Wolfgang Reitherman, John Lounsbery and Art Stevens

Watching this movie again in 2020, I still consider it a Disney classic from the mouse factory. It’s a touching film that dives into a wide range of emotions while staying true to its plot and keeping the viewer engaged. The story moves at a steady pace, making it easy to follow and understand.

I love the strong female character Miss Bianca, who takes charge and decides who she wants as her partner for the adventure. When things get tough, she’s the one who keeps the morale high and motivates the team to keep going.

At the time of its release, The Rescuers was considered one of Disney’s best works. The movie made a name for itself through its innovative storytelling. The idea of two little mice working to rescue a child in a human world seems far-fetched, but the story pulls it off brilliantly. We watch these mice act as detectives, investigate leads, take risks, recruit help, and ultimately succeed—all while working together for the first time.

This was Disney’s 23rd animated feature film, adapted from Margery Sharp’s series of books, primarily The Rescuers and Miss Bianca.

The film introduces us to the Rescue Aid Society, an international mouse organization dedicated to rescuing victims worldwide. After receiving a message in a bottle from a little girl named Penny (voiced by Michelle Stacy) pleading for help, Miss Bianca (Eva Gabor) volunteers to take on the mission. She chooses Bernard (Bob Newhart), the society’s janitor, to be her partner.

The message provides clues about Penny’s last known location, so the duo sets off to save her. We soon learn that Penny, who ran away from her orphanage, is now in the clutches of the treasure-hunting Madame Medusa (Geraldine Page). Medusa is using Penny’s small stature to search for a diamond called the Devil’s Eye. Obsessed with finding the jewel, Medusa is willing to endanger Penny’s life, making the rescue mission urgent.

If you dig into the development of this animation, you’ll find it fascinating how many changes the project underwent before reaching its final form. The Rescuers was nominated for an Academy Award for the song "Someone’s Waiting for You." It was both a critical and commercial success at the box office.

The beautiful voice performances by Bob Newhart and Eva Gabor bring the characters to life. While this animation is primarily aimed at children, it’s still a joy to watch as an adult. The nostalgia adds to the excitement, and I can confidently call this a classic from Disney’s golden era.

The Rescuers was also the first Disney theatrical release to receive a sequel, The Rescuers Down Under, which came out 13 years later in 1990.

An American Tail: Fievel Goes West (1991)

An American Tail: Fievel Goes West (1991)

4/10

Starring the voices of

Phillip Glasser

James Stewart

Erica Yohn

Cathy Cavadini

Nehemiah Persoff

Dom DeLuise

Directed by Phil Nibbelink and Simon Wells

The second story of An American Tail doesn’t feel particularly unique, even though there’s a noticeable upgrade in the graphics. It seems like the mouse city falls for the same old trick—looking for places where they won’t have to deal with cats. As they soon discover in this movie, no such place exists.

This movie aims to entertain, and in some ways, it succeeds. However, it’s entertainment without much substance, like eating dry bread with no water.

Although the runtime is only a few minutes shorter than the first movie, this one feels much shorter. I’ve seen it more than once before now, but watching it again in 2020, I keep wondering if this version is missing a chunk—or perhaps it’s just the movie’s fast pace that gives this impression.

Like its predecessor, this movie is a musical. However, unlike An American Tail (1986), which had several memorable songs, this one only has one standout track. Tanya, Fievel’s sister, performs The Girl You Left Behind in the saloon, and it’s my second favorite song from the series. The best, of course, remains Somewhere Out There from the first movie.

The plot takes place a few years after the events of the first film. Life isn’t rosy for the Mousekewitz family or the townsfolk, as the cats are still causing trouble. An aristocratic cat named Cat R. Waul arrives and convinces the mice to head west, claiming it’s a place where cats and mice live in harmony. However, Waul has ulterior motives for the mice once they reach the west.

Before the journey begins, we learn that Tiger’s girlfriend, Miss Kitty, is also heading west. (Tiger is the vegetarian cat from the first movie.) When Tiger discovers that Fievel is also going west, he decides to follow.

As usual, Fievel’s curiosity gets the better of him during the train ride. He stumbles upon Waul’s sinister plans for the mice and is discovered. Fievel is knocked off the train, much to his parents’ dismay. Alone in the desert, Fievel must find his way back to his family while also working to stop Waul’s plans.

In the end, this movie wasn’t as commercially or critically successful as the first. It’s not a worthy sequel, but it still made enough money to inspire further direct-to-video sequels and even an animated children’s series.

It’s worth noting that Don Bluth wasn’t involved in this movie. He had parted ways with Steven Spielberg before production began. Instead, Spielberg’s animation production company took charge of this installment.

An American Tail (1986)

An American Tail (1986)

6/10

Starring the voices of

Cathianne Blore

Dom DeLuise

John Finnegan

Madeline Kahn

Christopher Plummer

Directed by Don Bluth

An American Tail is a delightful animation that holds up well. Its quality matches that of any other animation from the era, proving it could stand alongside Disney’s best from the 1980s. The movie was a collaboration between Don Bluth (All Dogs Go to Heaven) and Steven Spielberg, and their combined efforts paid off beautifully.

The movie is enjoyable, and the musical score is, for lack of a better word, sweet.

The story takes a darker turn compared to most children’s films. As you watch, you see a young mouse face a series of challenges: he gets lost, sold into a sweatshop, escapes, is swallowed, escapes again, and nearly perishes in a fire. These events, paired with memorable musical interludes, unfold at a fast pace, making it an unforgettable and fun experience for children.

Some reviews suggest that the darker themes might disturb or lose the interest of younger viewers. However, I don’t think the movie is so grim that children can’t enjoy it or learn from the determined young mouse, Fievel.

The movie touches on Jewish themes but avoids delving too deeply into them, likely to keep the story free of political overtones.

Set in 1885, the plot follows a Jewish mouse family living in Russia in the home of a human. Papa Mouse gives his children gifts for Hanukkah, and they sing and play together. He shares a hopeful belief that there are no cats in America. However, their home is soon raided, and the family decides to immigrate to America to escape the cats terrorizing them.

During the boat journey, Papa’s young son, Fievel, wanders off exploring and ends up lost at sea, presumed dead. Heartbroken, the family settles into their new home, mourning his loss. Meanwhile, the audience learns that cats indeed exist in America, even though Papa initially refused to believe it.

Fievel survives and washes ashore, where he is rescued by a pigeon who encourages him to "never say never" and search for his family. Taking the advice to heart, Fievel begins his journey, which quickly turns dangerous. He moves from one perilous situation to another, but his unwavering determination to reunite with his family keeps him going.

I enjoyed how his journey introduced him to new friends and strengthened his resolve to find his parents.

The movie was a huge box office success, despite the mixed reviews it received, and it remains a joy to watch even now in 2020.