Sony Pictures Animation’s “The Mitchells vs. The Machines” is an original animated comedy from director Mike Rianda (Gravity Falls) and producers Phil Lord and Christopher Miller (Spider-Man: Into the Spider-Verse, The Lego Movie). When Katie Mitchell (voiced by Abbi Jacobson), a creative outsider, is accepted into the film school of her dreams, her plans to meet “her people” at college are upended when her nature-loving dad Rick (voiced by Danny McBride) determines the whole family should drive Katie to school together and bond as a family one last time. Katie and Rick are joined by the rest of the family, including Katie’s wildly positive mom Linda (voiced by Maya Rudolph), her quirky little brother Aaron (voiced by Mike Rianda), and the family’s delightfully chubby pug Monchi for the ultimate family road trip. Suddenly, the Mitchells’ plans are interrupted by a tech uprising: all around the world, the electronic devices people love – from phones, to appliances, to an innovative new line of personal robots – decide it’s time to take over. With the help of two friendly malfunctioning robots, the Mitchells will have to get past their problems and work together to save each other and the world!
This article was sourced from a media release sent by Deb of Amalgamated Movies
Sequels are more often than not derivative stand-ins for the, usually, superior predecessor films; incapable of being surpassed much less properly followed up. “Ghostbusters” is a timeless classic; following a formula no continuing sequel or ill-fated all-female reboot could duplicate successfully. For years, people eagerly awaited the third entry to close out the trilogy but that day and film never came, and eventually; Harold Ramis passed and it seemed like all hope was lost for a proper cap off to such an iconic franchise. Things remained dead and dormant until low and behold; Jason Reitman, son of the original film’s director; Ivan Reitman, took it upon himself to craft the ultimate love letter and cinematic send-off to his father’s flawless work with “Ghostbusters: Afterlife.”
Set many years after the dissolvent of the original Ghostbusters team, a mother (Carrie Coon) and her children; Phoebe and Trevor (Mckenna Grace and Finn Wolfhard) lose their home and are forced to move to a dilapidated house; left to them by their deceased grandfather, in the middle of nowhere to try and make a fresh start. While discovering long-forgotten secrets about their family, Phoebe and Trevor inform their teacher (Paul Rudd) about strange goings-on at their house and in town. Soon, an ancient evil from the Ghostbusters’ past becomes unearthed and now a new generation of Ghostbusters must take on the proton streaming mantle and stop this threat before the world is engulfed by the dead rising from the graves once again.
After the awful, disastrous bomb that was Paul Feig’s “Ghostbusters,” the story and the legacy desperately needed a fresh start. “Afterlife” is, in many ways, not just a continuation of the original story but a genuine love letter to the actors, the fans, and to the reunion that we all hoped we could see but was sadly denied. This is very much a family story; right down to the lineage connecting the director’s love for his father’s work. There are so many callbacks from signature sounds, signs, dialog, and imagery that lovingly take us back to everything that came before while still crafting a new story with new characters that fit into the narrative without being carbon copies of Spengler or Venkman.
While the nostalgia factor plays high with the ghosts featured here, they’re given new takes and new approaches that keep them from being rehashed golden oldies so old and new fans will definitely appreciate them. I cannot begin to describe how pleased I was to see practical effects returning in this modern-day blockbuster. Watching Paul Rudd wrestling with a terror dog face to face while gawking at miniature Stay Puft Marshmallow men in a Walmart brought me more joy and satisfaction than I ever thought possible. Speaking of joy, kudos and much applause are deserved by Mckenna Grace; easily the best character in the film. She may be young but she carries the film with effortless grace (pun intended); nailing every intentionally bad joke and providing an adorable sense of weirdness that perfectly fits in this kind of framework.
Finn Wolfhard is always a welcomed presence though personally, I felt this film could have used more of him and a more developed role outside of “car guy,” same could be said for his would-be girlfriend who got even less but deserved more. Time management seems to be the biggest problem for Jason Reitman’s nostalgia wave to overcome. It takes a bit too long for the new crew to catch their first ghost (though when they do it’s definitely one of the biggest highlights of the film) and other elements including further exploring Ivo Shandor feel rushed for the sake of time. The film wants you to get a feel and sense of who these characters are and how their family is going to hit you in the feels and funny bones then mix in the ghostbusting and try to make it all work cohesively together. For the most part, it works but not quite all the way.
In a lot of ways, “Ghostbusters: Afterlife” relies too heavily on callbacks and fan service to feel like a complete film. This feels like an apologetic reunion to give the fans and Harold Ramis what they always wanted to see happen but spends a bit too much time doing that instead of paving the way for a proper passing of the torch generational send-off. However, while not every new character in the film gets proper in-depth examination, the ones that do excel in personality creativity and genuine comedic spontaneity. Grace and Rudd expand the universe brilliantly with their chemistry and comedy and the stellar ghost hunting sequences are a true spooktacular spectacle to behold when they do occur. There’s room to grow and room for more beyond a fond farewell to Harold Ramis’s legacy and I hope we won’t have to wait another decades-long wait for more.
I give “Ghostbusters: Afterlife” 3 stars out of 4 stars.
2021 has been a tough year for the movie industry. As the Covid-19 pandemic continues to drastically affect the world, the year’s biggest films were caught in the crossfire which resulted in a number of setbacks and cancellations brought upon by the pandemic. However, Walt Disney Australia has decided to put some of these skepticisms to rest, with the company revealing their Australian release schedule for all their films until 2023. Without further ado, check out Walt Disney Australia’s release schedule as of February 2022.
According to “Turning Red” director Domee Shi, if you set a 13-year-old girl’s coming-of-age story in the early 2000s, it’s pretty much mandatory to include a boy band. “We needed our character Mei to be obsessed with something that her mom would not approve of,” said Shi. “Boy bands were the first step into the world of boys for a lot of girls that age. The guys were all super pretty, polished, soft and loving, and they had of way of bringing girls and their besties together. Plus, I thought it’d be really cool to create an animated boy band.”
Enter Pixar’s first-ever boy band, 4*Town. Filmmakers called on GRAMMY®-winning singer-songwriters Billie Eilish and FINNEAS to write the fictional band’s songs—three in total, including the song “Nobody Like U” featured in the new trailer. “When we first started talking about Billie Eilish and FINNEAS—back before they’d won a billion GRAMMYS—we could see then how they had their finger on the pulse,” said producer Lindsey Collins. “We were big fans. We met with them and pitched this crazy idea of a boy band, asking if they’d be interested in writing and producing the songs. They were!”
Eilish, whose sophomore album, “Happier Than Ever,” debuted at No. 1 in the Billboard 200 in the U.S. and in 19 countries worldwide, made history as the youngest artist to win in all the major categories at the 62nd GRAMMY® Awards, receiving an award for best new artist, album of the year, record of the year, song of the year, and best pop vocal album.
FINNEAS, the youngest ever to win the GRAMMY® for producer of the year (non-classical), built a sterling discography penning and producing smashes for a cadre of superstars—not only for his sister, Billie Eilish, but also Justin Bieber, Demi Lovato, Selena Gomez, Camila Cabello, Tove Lo, Kid Cudi and Ben Platt, among others. His debut solo album “Optimist” is out now.
GRAMMY®-, Oscar®- and Emmy®-winning Swedish composer Ludwig Göransson (“Black Panther,” “The Mandalorian”) is composing the score for “Turning Red.” “I’ve been a fan of his for a while,” said Shi. “We were drawn to his versatility—he’s a composer, but he also produces pop music. We knew he would help us create a very unique sound.”
Joining previously announced Rosalie Chiang and Sandra Oh, who lend their voices to Mei and her mother Ming, are Orion Lee as the voice of Mei’s dad, Jin, and Wai Ching Ho as the voice of Grandma. Mei’s tightknit group of friends are voiced by Ava Morse as Miriam, Maitreyi Ramakrishnan as Priya, and Hyein Park as Abby. Tristan Allerick Chen voices classmate Tyler, and Addie Chandler lends his voice to Mei’s secret crush Devon. Providing the harmonious voices of the members of 4*Town are Jordan Fisher, Grayson Villanueva, Josh Levi, Topher Ngo and Finneas O’Connell. Rounding out the voice cast are James Hong, Lori Tan Chinn, Lillian Lim, Mia Tagano, Sherry Cola, Sasha Roiz and Lily Sanfelippo.
ABOUT THE MOVIE
Disney and Pixar’s “Turning Red” introduces Mei Lee (voice of Rosalie Chiang), a confident, dorky 13-year-old torn between staying her mother’s dutiful daughter and the chaos of adolescence. Her protective, if not slightly overbearing mother, Ming (voice of Sandra Oh), is never far from her daughter—an unfortunate reality for the teenager. And as if changes to her interests, relationships and body weren’t enough, whenever she gets too excited (which is practically ALWAYS), she “poofs” into a giant red panda! Directed by Academy Award® winner Domee Shi (Pixar short “Bao”) and produced by Lindsey Collins “Turning Red” releases March 31, 2022.
The concept art is now available for Walt Disney Animation Studios’ upcoming feature film “Strange World.” The original action-adventure journeys deep into an uncharted and treacherous land where fantastical creatures await the legendary Clades, a family of explorers whose differences threaten to topple their latest—and by far— most crucial mission. According to director Don Hall, “Strange World” is a nod to pulp magazines—popular fiction from the first half of the 20th century that was printed on inexpensive wood pulp paper. “I loved reading the old issues of pulps growing up,” he said. “They were big adventures in which a group of explorers might discover a hidden world or ancient creatures. They’ve been a huge inspiration for ‘Strange World.’”
20th Century Studios has released the trailer and still images for “The Bob’s Burgers Movie,” which will open in Australian cinemas on MAY 26, 2022.
“The Bob’s Burgers Movie” is an animated, big-screen, musical comedy-mystery-adventure based on the long-running Emmy®-winning series. The story begins when a ruptured water main creates an enormous sinkhole right in front of Bob’s Burgers, blocking the entrance indefinitely and ruining the Belchers’ plans for a successful summer. While Bob and Linda struggle to keep the business afloat, the kids try to solve a mystery that could save their family’s restaurant. As the dangers mount, these underdogs help each other find hope and fight to get back behind the counter, where they belong.
“The Bob’s Burger’s Movie” showcases voice talent which includes Kristen Schaal, H. Jon Benjamin, John Roberts, Dan Mintz, Eugene Mirman, Larry Murphy, Zach Galifianakis, Kevin Kline, and David Wain. The film’s director is Bernard Derriman and its co-director is Loren Bouchard. The screenplay is by Loren Bouchard & Nora Smith. The producers are Loren Bouchard, Nora Smith and Janelle Momary.
