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Members of the UN Security Council have “strongly condemned” an attack on the UN mission in the Democratic Republic of Congo on Monday which left one Malawian peacekeeper dead.
“The members of the Security Council expressed their deepest condolences to the family of the victim, the Malawian authorities and the United Nations,” read a statement posted on Tuesday on the website of the UN Organization Stabilization Mission in DR Congo (MONUSCO).
The members added that “deliberate attacks targeting peacekeepers may constitute war crimes under international law,” calling on Congolese authorities to quickly investigate the attack, which took place near Beni in the North Kivu province and bring the attackers to justice.
They stressed the importance of MONUSCO “having the necessary capacities to fulfill its mandate and promote the safety and security of the United Nations peacekeepers, pursuant to relevant Security Council resolutions.”
Earlier, Jean-Pierre Lacroix, the UN under-secretary-general for peace operations, said the UN is deploying rapid reaction units in eastern Democratic Republic of Congo to help contain armed groups.
The decision came after President Felix Tshisekedi announced security measures, including declaring a state of siege in the North Kivu and Ituri provinces, bordering Uganda, to contain armed groups.
The Central African country has been plagued by violence for decades as several rebel groups fight with each other or against the country’s military and UN forces for territorial control.
According to the UN, exploitation of natural resources continues to be a root cause and driver of conflict. It is said that most of the armed groups have set aside their political demands and are involved in mineral trafficking.
More than 5 million people have been uprooted by insecurity and violence in the country over the last two years, according to UN estimates.
Le ministre de la Santé juge “préoccupante” la situation dans la région Grand Est. Le gouvernement prévient : il n’exclut pas un troisième reconfinement si la situation s’aggrave.
L’instauration d’un troisième confinement n’est pas exclue si la situation épidémique « devait s’aggraver », affirme le ministre de la Santé Olivier Véran au Journal du Dimanche, à l’occasion du lancement de la campagne de vaccination en France dimanche 27 décembre 2020.
Nous n’excluons jamais des mesures qui pourraient être nécessaires pour protéger des populations. Ça ne veut pas dire qu’on a décidé, mais qu’on observe la situation heure par heure. Olivier Véran, ministre de la Santé
Il y a quelques jours, le ministre avait pourtant opposé une fin de non recevoir aux maires de Reims (Marne) et Nancy (Meurthe-et-Moselle) qui demandaient un reconfinement après Noël et avant Nouvel An devant l’aggravation de la situation épidémique dans la région Grand Est.
Olivier Véran n’exclut pas un troisième confinement en cas d’aggravation de la situation sanitaire
Alerte dans la région Grand Est
La situation est déjà préoccupante dans le « Grand Est, la Bourgogne-Franche-Comté et le département des Alpes-Maritimes, à commencer par Nice », avec « une « augmentation de l’incidence chez les personnes âgées dans certains territoires ruraux », a-t-il ajouté.
Le ministre fait référence à une forte hausse des cas dans certains territoires ruraux des Ardennes, des Vosges et de la Meuse dans la région Grand Est.
C’est désormais l’une des régions avec le taux de reproduction du virus (R0) le plus élevé en France.
INTEMPÉRIES — Une vaste dépression déferle sur la France. Ce dimanche après-midi, Météo France a placé huit départements en vigilance orange, dont cinq du centre de la France pour neige et verglas. 27 déc. 22:30 — La rédaction de LCI
La tempête Bella souffle (fort) sur la France. Météo-France a déjà relevé le long des littoraux des rafales de 124 km/h à Gatteville-le-Phare (50) et à la Pointe du Raz (29). Dans l’intérieur des terres, le vent a soufflé en rafales de 70 à 90 km/h, jusqu’à 96 km/h à Brest et 112 km/h à Landivisiau ! Ce dimanche après-midi, les départements des Pyrénées-Atlantiques, des Landes et de Corse-du-Sud ont été placé en vigilance orange par Météo-France pour vagues-submersion.
La dépression s’accompagne de fortes pluies et d’importantes chutes de neige dans certains secteurs. Des cumuls de pluie allant de 20 à 30 L/m² sont attendus sur des sols déjà détrempés, justifiant une vigilance jaune pluie-inondation. Lire aussi
Tempête Bella : des rafales flashées à plus de 120km/H Du vent, de la pluie… et de la neige
Les chutes de neige arrivent par l’ouest sur le Massif central et vont s’étendre progressivement. Dimanche après-midi, 5 départements du centre de la France étaient placés en vigilance orange pour neige-verglas : l’Aveyron, le Cantal, la Corrèze, la Lozère et le Puy-de-Dôme.
Au-dessus de 600 à 700 m, la neige “va devenir forte en soirée et se généraliser. Ces chutes seront très intenses en première partie de nuit de dimanche à lundi et associées à un vent tempêtueux, ce qui conduira à la formation de congères et à d’importantes accumulations en montagne dûes au transport par le vent”, prévient Météo-France.
La circulation routière devrait être sensiblement perturbée, en particulier sur les autoroutes A89 et A75.
La vigilance orange a été levée en revanche pour le Finistère et la Manche, qui étaient les seuls en alerte orange pour pluie-inondation.
La SNCF met en place des cars de substitution
Météo France avait averti que les vents attendus étaient susceptibles de générer des “dégâts importants” et provoquer quelques perturbations sur les transports aériens, ferroviaires et maritimes et de rendre les conditions de circulation “localement difficiles”.
Un peu plus de 12.000 foyers étaient privés d’électricité dimanche matin en Bretagne et en Normandie, et jusqu’à 6.000 l’ont été dans le Nord et le Pas-de-Calais, à la suite du passage de la tempête Bella, qui a également causé quelques retards au départ de l’aéroport Roissy CDG et le déroutement de quelques vols, ont annoncé les opérateurs concernés.
Afin de s’adapter au mieux, la SNCF a mis en place des cars de substitution pour les premiers trains du matin des axes Cherbourg-Caen, Caen-Rennes et Granville-Dreux. Sur l’ensemble des lignes normandes, des équipes d’interventions ont été prépositionnées sur les différents axes pour être opérationnelles dans les meilleurs délais.
Au Royaume-Uni, la tempête Bella a déjà provoqué d’importantes inondations. Un millier de maisons ont dû être évacuées dans le comté de Bedfordshire, à une centaine de kilomètres de la capitale londonienne. Les autorités locales ont essayé de convaincre la population de quitter leur domicile, le jour de Noël. Cette forte perturbation est aussi arrivée, ce samedi, dans le sud de l’Irlande où elle a provoqué des coupures d’électricité dans presque 1500 foyers.
Selon Météo-France, ce mauvais temps devrait perdurer toute la semaine du Nouvel An au-dessus de l’Hexagone. Des épisodes neigeux à très basse altitude et de nouveaux épisodes de vents violents sont attendus, notamment lundi dans l’ouest. La vigilance orange est prévue jusqu’à dimanche midi. Suspense movies keep you on the edge of your seat. They usually have multiple twists that confuse the watcher.
Western movies tell stories about cowboys in the western United States in the 1870s and 1880s. They are usually action movies, but with historical
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Watch It: Chapter Two (2019) : Full Movie Online Free 27 years after overcoming the malevolent supernatural entity Pennywise, the former members of the Losers’ Club, who have grown up and moved away from Derry, are brought back together by a devastating phone call.
===================================================== In the sleepy town of Derry, the evil clown Pennywise returns 27 years later to torment the grown-up members of the Losers’ Club, who have long since drifted apart from one another.
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Ad Astra ‘s final trailer was just released, and you might want to check you don’t have any early appointments tomorrow before you watch it, because it’s absolute nightmare fuel. Continuing the story of the original It movie, it shows beloved Losers Club facing their face-painted demons as adults, 27 years on from their first encounter with Pennywise. Guess what? Pennywise has not used that time to reflect, meditate, and grow as a person.
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Now Watch It: Chapter Two (2019) Online Full Or Free, discMaidensions had begun for a sequel to Spider-Maidenn: Homecoming, with a release date given to the film before the end of the year. Holland was confirmed to return in September 2017, with Watts and the writers also confirmed to return by the end of that year. In 2018, Jackson and Gyllenhaal joined the cast as Fury and Mysterio, respectively. Holland revealed the sequel’s title ahead of filming, which began in September 2018 and took place in England, the Czech Republic, Italy, and the New York metropolitan area. Production wrapped in October 2018. The film’s Maidenrketing campaign attempted to avoid revealing spoilers for It: Chapter Two prior to that film’s April 2019 release.
It: Chapter Two premiered in Hollywood on June 26, 2019, and was theatrically released in the United States on September 2, 2019, in 3D and IMaidenX. The film was positively reviewed for its humor, visual effects, and perforMaidennces (particularly Holland and Gyllenhaal). It has grossed $980 million worldwide, Maidenking it the most-successful Spider-Maidenn film and the fourth-highest-grossing film of 2019. A sequel is in development.
Title: It: Chapter Two (2019)
Title : It: Chapter Two Release Date : Sep 05, 2019 Genres : Horror,Thriller Production Company :Lin Pictures, New Line Cinema, Warner Bros. Pictures, Vertigo Entertainment, KatzSmith
Casts : James McAvoy, Jessica Chastain, Jay Ryan, Bill Hader, Isaiah Mustafa, James Ransone, Andy Bean, Bill Skarsgård, Xavier Dolan, Teach Grant, Jess Weixler
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One Piece: Stampede is an upcoming movie scheduled to be released in Japan on August 9, 2019. It will commemorate the anime’s 20th anniversary. The news was first announced following the broadcast of Episode of Sky Island. Eiichiro Oda served as creative supervisor.The movie takes place during the Pirates Expo, “made by pirates, for pirates”, where pirates all over the world, including some of its most infamous ones, join in for a big treasure hunt to find a lost treasure, this time the treasure belonged to none other than Gold Roger!
Half of the cosmos’ lungs were stilled, half its hearts were stopped. In an instant, billions of lives became so much ash, carried aloft by a breeze or breath. For you are dust, and to dust you shall return.
Thanos had won.
It wasn’t supposed to happen this way. It couldn’t … could it?
Sure, Thanos, the purple-tinged Titan, was strong. Boy was he strong—powerful enough to best Thor all by himself, brutish enough to give the Hulk an inferiority complex. For centuries—millennia, perhaps—he’d led his armies across the galaxy, conquering worlds and killing half their inhabitants. For the good of the rest, he claimed. Small consolation to those he massacred.
But the galaxy’s an awfully big place, and Thanos was tired of messing around. He began to search for its six Infinity Stones, objects created before the dawn of time, each bestowing godlike powers. If he could claim them all, Thanos’ nihilistic ambitions would be unstoppable. Inevitable.
But is Thanos’ victory truly an inevitability? For years (chronicled by several movies), a motley collection of superheroes has managed to wrest those selfsame Infinity Stones from lesser villains: Thor bottled up the red Reality Stone. Doctor Strange claimed the green Time Stone. The ragtag heroes from Guardians of the Galaxy took the purple Power Stone away from Thanos’ own lackey, Ronan. And so on.
We believe that good is stronger than evil. We believe in our happy endings. And in fight after fight, movie after movie, our faith was rewarded.
And then came Avengers: Infinity War, and everything changed. Good lost. The happy ending never materialized. Thanos walked into the sunset as the credits rolled, leaving the galaxy to grieve. End. Done. Finished.
But is it? Could the grave that Thanos dug for half the universe still give up its stores?
Steve Rogers, aka Captain America, leads a support group to encourage others to move on from the Snap. “The world is in our hands,” he tells them. “It’s up to us, guys, to do something with it.”
But in a private moment with friend Natasha Romanoff, he admits he’s not ready to follow his own advice.
Some do move on, Cap admits. “But not us.”
Yes, the clock struck zero, and the surviving Avengers’ opponent has left the field. But not all of Earth’s Mightiest Heroes are ready to call it a day.
Maybe—just maybe—there’s a way to win yet.
POSITIVE ELEMENTS
Heroism is, obviously, an integral part of being a superhero—it’s in the job title, after all. And we see loads of it here. I’m not going to go into great detail here (or anywhere else in the review) in an effort to preserve the movie’s twists. But briefly …
Some of the main characters here are seeking redemption—story arcs that, in some cases, began several movies ago. Take Natasha (aka Black Widow), for example. She was once a Soviet assassin before she had an offscreen run-in with Clint Barton (Hawkeye) before the Avengers even came to be. Since that time, she’s worked hard to earn her place as an Avenger. She was inspired by her fellow superheroes, she says, to be a better person. They became her family. “And even though they’re gone,” she says, “I’m still trying to be better.” Several separate story strands in the film also emphasize the importance of parents’ relationships with their children.
Others, such as Captain America, don’t necessarily need redemption or closure. Steve Rogers simply wants to do what’s right—no matter how difficult or dangerous it might be.
I needn’t say, of course, that tangling with Thanos a second time will be both difficult and dangerous: All the heroes who take part in Endgameknow that this could be their last rodeo. And a few have significantly more at risk this time ’round, to boot. But while that might give one or two pause, it doesn’t stop them. After all, doing the right thing is often the riskything, too. Not a bad lesson, that.
SPIRITUAL CONTENT
Though not explicitly spiritual, Endgame does have certain undercurrents of faith and belief to note. At least one character notes how things seem providentially aligned for him to perform a critical task. “It’s like I was made for this,” he says. (It’s not the only time that one might see evidence of a higher power at work, either.)
At least one character expresses faith in an afterlife. And as noted, sacrifice and redemption are big themes here. Though they’re not viewed from an explicitly Christian perspective, of course, these themes definitely take on greater resonance when viewed through a Christian lens.
We also see lots of what looks to be magic at work, too, including “energy shields” that seem to have runes or magical symbols emblazoned on them. A couple of characters apparently have a limited ability to metaphysically see into the future.
SEXUAL CONTENT
A man in Captain America’s support group talks about seeing another guy, apparently romantically. Couples kiss. Superheroes make both appreciative and crudely disparaging remarks about another superhero’s rear end. Many main players here wear formfitting outfits; one female’s top reveals some cleavage; and a couple of male characters spend significant time shirtless. We hear a passing verbal reference to nudity.
VIOLENT CONTENT
After the horrors viewers suffered through in Infinity War, Endgame seems to throttle back the carnage a bit. But don’t expect our heroes to turn pacifistic all of a sudden.
The Snap from Infinity War was difficult for everyone who survived, of course. One former hero in particular has become a bitter, rage-driven vigilante, someone who violently wreaks bloody revenge on any bad guys he can catch and kill. In one such encounter that we see, that character kills a crime boss with several slicing (but bloodless, as far as what the camera sees) sword thrusts and swipes.
A character has his head lopped off: In replay we see a bit of blood appear to squirt from the neck. An arm is hacked off as well. Another character’s “flesh” is melted off the forearm, revealing skeleton-like robotics underneath. A character is tortured, while several others are trapped underneath loads of rubble. A few folks nearly drown, and another comes close to death through lack of oxygen.
A ship blows up a building. A superhero blows up a ship. Lots of things blow up, in fact. We also see roughly three bazillion battles, sometimes mano-a-mano, sometimes swarms of folks attacking just one character. People and creatures get impaled, stabbed, sliced, hacked, disintegrated, shot, thrown like ragdolls, hit, kicked, stomped (and in at least one case, squished) and otherwise hurt. Some characters die.
There’s talk of lopping off someone’s arms and shoving them where the sun don’t shine. People crash through windows and fall off ledges. One person is rendered unconscious with the touch of a scepter. Someone threatens to “shred the universe down to its last atom.”
CRUDE OR PROFANE LANGUAGE
If Endgame ratchets down the violence a notch from we saw in Infinity War, it ratchets up the language. We hear at least eight s-words (one from former profanity critic Captain America) and perhaps one very indistinct f-word during the action. We also hear “a–,” “b–ch,” “d–n,” “h—,” “p-ss” and “d–k.” God’s name is misused about eight times, including twice with the word “d–n,” while Jesus’ name is abused once.
DRUG AND ALCOHOL CONTENT
A character spends a good chunk of the movie drunk or tipsy. We see him imbibing several bottles of beer (and catch a glimpse of some barrels of beer meant for him), and he talks fondly of wine and Bloody Marys as well.
OTHER NEGATIVE ELEMENTS
Various plot points involve deception, sometimes for heroic causes, sometimes for not-so-heroic ones.
CONCLUSION
Snap.
Beginning with 2008’s Iron Man, 22 movies have now rolled out under the auspices of the official Marvel Cinematic Universe. Collectively, these movies have made more than $7.3 billion in North America alone. You could point to other films that arguably launched the superhero-centric entertainment world we know today, but there’s no question which franchise defines it.
But while the MCU is primed to move on (with loads of movies and television shows in the works), Avengers: Endgame marks a definite finale. It closes the book on one of moviedom’s most remarkable success stories.
And a fitting finale it is.
Listen, this movie’s not perfect—not by a Thor-swinging hammer throw. The story’s particulars are sometimes confusing and occasionally nonsensical. The pacing isn’t always on point. And in terms of family viewing … well, it’s got all the violence we’ve come to expect from MCU properties, along with more language problems. Endgame is not a stroll in the park for either eyes or ears, especially for littler superhero wannabes.
But if you’ve already invested in this cinematic saga—if you laughed through Thor: Ragnarok and cried through Infinity War and occasionally shouted “Wakanda forever!” be assured that Endgame is eminently satisfying. This finale reminds us of movies gone by, celebrating the heroes we’ve come to know and giving them, I think, a fitting coda. And the heroes here are heroic—sometimes displaying qualities that perhaps we could all stand to embody more: courage. Sacrifice. Humility. Redemption.
In a way, I wish Endgame was the end—that Marvel and Disney would put away their superhero storyboards for a few years before the inevitable reboots. I know that won’t happen, of course. Deals are signed and inked already, and the profits are too great to ignore.
But this film, like a great dessert, is worth savoring a little—before we head back for another appetizer.
Avengers: Endgame is finally here. But for parents, the endgame of growing godly adults is still underway. Take some time to talk about the future with your children. Who has God created them to be? What do they feel their purpose in life is? These are big questions, but we can start the journey, just as the Avengers started 22 movies ago: one adventure at a time.
It may be a long time before viewers can appreciate the 2019 remake of “The Lion King” as a freestanding work, instead of judging it against the original. The 1994 version was “Hamlet” plus “Bambi” on the African veldt: a childhood-shaping, Oscar-winning blockbuster, the second-highest grossing feature film of its calendar year, one of the last great hand-drawn Disney animated features (Pixar’s original “Toy Story” came out 18 months later), and a tear-producing machine. This remake was controversial long before it opened, mainly because it seemed to take the Walt Disney company’s new branding strategy—remaking beloved animated films as CGI-dependent “live action” spectaculars—to its most drastic conclusion. It serves up the same story with different actors, different arrangements of beloved songs and soundtrack cues, a couple of original tunes, a few fresh scenes and sequences, and, of course, photorealistic animals. The latter are the movie’s main selling point, so believable that one of my kids remarked afterward that sitting through the film was like watching a nature documentary on mute while the soundtrack to original “The Lion King” played in the background.
But here’s the thing: the movie is helmed by a Disney veteran, actor-director Jon Favreau, who’s great at this kind of thing. And this might be his best-directed film, if you judge purely in terms of how the scenes and sequences have been framed, lit, and cut together. The cinematographer is Caleb Deschanel, who shot some of the greatest live-action animal adventures in movie history, including “The Black Stallion,” and this production straightforwardly owns the notion of “realness,” modeling its animals on actual creatures, defining character more through body type and ingenious details of movement than through facial expressions, which might’ve looked kinda creepy here, honestly. (The animals are a little bit creepy at times, though not as creepy as in Andy Serkis’ “Mowgli,” where you sometimes felt as if you were watching top secret footage of gene-spliced animal-humans.)
Favreau broke into filmmaking with such hip indie comedies as “Swingers” and “Made,” then improbably transformed himself into a junior version of Steven Spielberg or James Cameron, overseeing the biggest of big-budget properties, including the first two “Iron Man” films and Disney’s recent hyper-real remake of “The Jungle Book.” This may be his most daunting challenge yet, or at least his most provocative if you cherish the source material. The very idea of presuming to remake Disney’s most financially successful late-period animated film with the latest in computer-generated imagery, while continually reminding people of the original by recycling the same story and music (and many of the same iconic shots and locations, including the lions’ distinctively shaped Pride Rock), is as close as Hollywood gets to courting charges of blasphemy.
Visually, the original was 88 minutes’ worth of stylized paintings in motion, like a child’s storybook come to life, but with expressionistic or psychedelic elements (like the freaky green highlights in the “Be Prepared” sequence, and the stylized hellfire and skewed camera angles during the end battle) that tickled the sensibilities of film-buff parents. In contrast, this new “Lion King” is rooted deeply in the real, from its plain, sometimes drab colors to the animals’ intricately rendered bone structures, muscles, and fur. Even when the characters are singing the familiar songs and repeating the familiar lines (or, in one hilarious and oddly postmodern interlude, quoting another Disney movie) the entire crew is working double-overtime to convince you that these creatures exist, that they shed fur and drop scat on the jungle floor.
Favreau and Deschanel’s camera (or “camera”—this is a digital movie built from ones and zeros) follows closely behind the animals as they gallop through grasslands, scale cliffs and hills, tumble and wrestle and fight, and romp through water and rain. It’s as as if they were real animals with intelligence and agency who allowed camera crews to follow them rather than eating them. (Disney always released animal documentaries in addition to their animated and live-action features, and this one sometimes feels like a very basic one from the 1950s, where an editor would cut to an unremarkable close-up of a bear panting in the summer heat, and the narrator would tell you it was sad because it missed its mom.)
It’s impossible to deny that this movie represents a technical milestone. We’ve seen digitized versions of real animals before (perhaps most strikingly in the recent “Planet of the Apes” movies, and in Favreau’s “Jungle Book”) but they’re presented so matter-of-factly by Favreau that if they didn’t talk and sing, and if you squinted just a bit, you’d never know they weren’t the real deal. And the filmmaking itself adds credibility. The “camera” (again, there is no camera, just CGI) seems to have weight. When it “flies” over “Africa,” you’d swear it had been attached to an actual helicopter. When the elder lion king, Mufasa (James Earl Jones, the only actor from the original reprising his part), scales the walls of a canyon to rescue his son from rampaging wildebeests unleashed by his evil brother Scar (Chiwetel Ejiofor), it’s clear that the filmmakers have put a lot of thought into how a 400-pound alpha predator would do such a thing, whereas the original was content with “the lion climbs up the rock.”
Of course there’s something to be said for sticking to “the lion climbs up the rock” rather than proving you that know how to answer the question “How does a 400-pound lion climb up a rock?” The Dad Joke answer is, “Any way he wants to,” but animators need more direction than that. It’s easy to make a case that lions and hyenas and baboons and hornbills and antelopes drawn with ink and paint, with an eye towards the simple yet daring gesture rather than Nature Channel texture, register as more emotionally “real” than things that might be mistaken for photos, especially when they’re doing vaudeville wordplay and delivering sad monologues and singing songs by Elton John and Tim Rice.
But that doesn’t fly, not anymore, because the movie industry has conditioned audiences to think that “reality” and “believability” are the greatest of all creative virtues, and that the live-action blockbuster is the classiest, most respectful way to tell a story. That’s why visually daring animated films like “Spider-Man: Into the Spider-Verse” only make a fraction of the box office haul of more literal-minded live-action Marvel movies. And it’s why almost every spectacle-driven live action (or “live action”) blockbuster, from Marvel and DC to the “Star Wars” franchise and the American Godzilla films, and the Transformers, and even Pixar, are obsessed with making sure that countertops and pavement and glass and hair and skin and fur and fire and water look photographically real, and that everything moves believably even you’re watching wisecracking toys or combat droids or city-destroying kaiju. To quote a friend, if you follow this creative impulse too slavishly, it’s like using a magic wand to make a toaster.
Where you fall on this stuff is anyone’s guess, if you care about it at all. You might not, and that’s OK. But it should be said that even if you’re not obsessed with cinema minutia, this film is still a fascinating aesthetic experiment, less reminiscent of Favreau’s previous photorealistic Disney animal picture, “The Jungle Book,” than of Gus van Sant’s 1998 remake of Alfred Hitchcock’s “Psycho,” a curiosity that wasn’t quite shot-for-shot but got eerily close. Watching this new “Lion King” reminded me of seeing the “Psycho” remake in a theater and hearing people scream their heads off at the film’s jump scares, even though they were near-exact reproductions of things Hitchcock had done 28 years earlier, with the same music, but in color instead of black and white, and with different actors.
Who deserves credit for inspiring that powerful emotional reaction in 1998? Alfred Hitchcock, for making “Psycho” in the first place? Or Gus van Sant, for realizing that the master’s work was so fully realized that if he copied it as closely as possible, audiences would still scream in the same places 38 years later? If you retain as much of an original work as possible while reimagining it, is it a gesture of respect or timidity? Is the result a thought experiment, or just an easy way (“easy” in terms of imagination, not effort) to make lots of money by creating a slightly different version of a thing people already know they like? Maybe films like the new “Lion King” take the phrase “give the people what they want” absolutely literally, and that’s the whole (cynical?) point of their existence. But is slavish fidelity to an old text really what “the people” want? Or is it possible—to paraphrase a different showbiz maxim that’s equally true—”the people” don’t actually know what they want until someone shows it to them?
There are parts of the new “Lion King” where that second maxim comes into play, and it’s beguiling, sometimes glorious. Like many “live action” Disney remakes of animated movies, this one is much longer than the original, and yet (like Favreau’s “Jungle Book,” still the best entry in this photorealistic remake series) it uses the extra length to make a statement, creating a sense of stillness. This might sound odd in a review of a CGI-driven 2019 Disney movie, but Favreau often appears to be trying to create a mid-twentieth-century motion picture made with the shiniest new tech—the kind of movie that took its time and gave viewers a bit of mental breathing space, permitting them to contemplate what they were seeing as they saw it.
There are times when the movie clears out music and dialogue and just lets you hear natural sounds and watch lions, giraffes, elephants, birds, rodents, and insects move through the frame. This movie uses the motif of “light” more subtly than the original, because it’s striving to look “real” rather than stylized, and the result is a great example of how CGI animation can achieve a different kind of poetic effect that’s different from the kind that old-fashioned cel animators might attempt.
When Mufasa tells young Simba that his domain is “everything the light touches,” the scene is illuminated by a golden, dawn-like glow, and when they have what proves to be their final conversation before Mufasa’s death (that’s not a spoiler, folks—”Hamlet” is 400 years old) the sunlight ebbs and gives way to darkness, and the sky fills with stars, foreshadowing Mufasa taking his place among the ghosts of kings and queens up above. A sequence two-thirds of the way through takes a brief transitional bit from the original—Rafiki the baboon realizing that Simba is still alive by catching his scent in the wind—and builds a lengthy, chain-reaction sequence around it, with a tuft of Simba’s fur traveling, like the “Forrest Gump” feather, from the Eden-like jungle where he’s exiled himself to the pridelands.
And while the photorealism of the animals snuffs out any possibility of subtle “human” facial expressions, the creatures’ bodies provide more characterization detail than you might expect. Especially impressive is the way Scar’s physique contrasts with Mufasa’s. The former is angular and raw, a Mick Jagger or David Bowie sort of body that lopes and limps, while the latter is a magnificent bruiser like Dave Bautista or Dwayne Johnson, so thick and powerful that when he moves, you can imagine the air parting around him. When Scar licks his paw and grooms himself absentmindedly as his brother pontificates, the gesture comes across as decadent and contemptuous even though it looks like something a real lion would do. That’s filmmaking magic of a different kind than was contained in the source, and it’s not necessarily lesser.
What distinguishes all these choices is that they aren’t blatantly trying to re-create or pay homage to something that viewers loved in an original work, in order to comfort us and press our nostalgia buttons. That means they can stand on their own two paws, making unflattering comparison harder. When the movie is doing its own thing, you don’t think about whether Donald Glover’s performance as the adult Simba is better or worse or merely different from Matthew Broderick’s Simba (he’s different—more internalized and shell-shocked), or whether Beyonce gives a better acting performance as Nala than Moira Kelly (she doesn’t, except when she sings), or whether Billy Eichner and Seth Rogen are a funnier meerkat-warthog duo than Nathan Lane and Ernie Sabella (call it a tie, and ties go to actors with Broadway-caliber singing voices). The movie is never less interesting than when it’s trying to be the original “Lion King,” and never more compelling than when it’s carving out negative space within a very familiar property and strutting to the beat of its own, new music.
The worst thing you can say about this movie, and perhaps the highest compliment you can pay it, is to say it would be even more dazzling if it told a different story with different animals and the same technology and style—and maybe without songs, because you don’t necessarily need them when you have images that sing.
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Title: The Lion King
Release Date: Jul 12, 2019
Genres: Action, Animation, Science Fiction,
Production Company: Toei Animation, Fox International Productions, Shueisha, Fuji Television Network, Bandai Namco Entertainment
Plot Keywords: space battle, transformation, resurrection, alien race,
Movie Plot: Earth is peaceful following the Tournament of Power. Realizing that the universes still hold many more strong people yet to see, Goku spends all his days training to reach even greater heights. Then one day, Goku and Vegeta are faced by a Saiyan called ‘Broly’ who they’ve never seen before. The Saiyans were supposed to have been almost completely wiped out in the destruction of Planet Vegeta, so what’s this one doing on Earth? This encounter between the three Saiyans who have followed completely different destinies turns into a stupendous battle, with even Frieza (back from Hell) getting caught up in the mix.
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Aladdin movie review: Will Smith single-handedly elevates director Guy Ritchie’s live-action remake of the classic Disney animated film. Rating:3.5/5.
Aladdin movie review: Will Smith outshines Guy Ritchie’s live-action remake of Disney classic.
Aladdin Director – Guy Ritchie Cast – Will Smith, Mena Massoud, Naomi Scott, Marwan Kenzari, Nasim Pedrad Rating – 3.5/5
Despite being one of the most unambitious tentpole films of the year, the live-action Aladdin is – by far – the oddest movie that director Guy Ritchie has ever made. And remember, he once made a rom-com for his ex-wife Madonna.
If you’ve been wondering, like me, why Disney has been shying away from highlighting Ritchie’s instantly recognisable trademarks in the trailers, it’s because there aren’t any in the film. This is strange, because Ritchie in the past has managed to bring his very distinct brand of cinema – replete with snazzy editing, flamboyant camerawork, and muscular action – even to properties as seemingly ancient as Sherlock Holmes and King Arthur. And on paper, Aladdin’s origins as a ‘street rat’ fall neatly into Ritchie’s wheelhouse, but he directs with little personality, as if, like the Genie, he has been trapped in a prison as well.
Watch the Aladdin trailer here
This isn’t to say that the new Aladdin is a failure – it most certainly isn’t – but I’d imagine this is simply a case of Ritchie trying to get back into Hollywood’s good books after the back-to-back box office failure of his last two movies. That being said, Aladdin is a vibrant adventure, featuring three excellent central performances, and laced with intelligent subtext about class – like Gully Boy meets Han Solo.
Like Ranveer Singh’s aspiring rapper from that film, Aladdin has also been bred on the streets, constantly reminded of his place in the world, confronted by the very real possibility that he will never be allowed to escape it.
Breaking out of the boxes that one is confined to – regardless of where we are born – is the central theme of Ritchie’s film. It’s what draws Aladdin to Princess Jasmine, who is – for all intents and purposes – a prisoner inside her own home, held under the age-old patriarchal excuse of protection, ‘seen but not heard’. The desire to climb the social ladder is what motivates the villainous vizier Jafar, who is given a heftier backstory in this film, one that neatly mirrors Aladdin’s.
And ironically, the only one who can make their dreams come true is a prisoner himself. Will Smith’s Genie is introduced about 45 minutes into the film, and is single-handedly responsible for injecting it with the energy that is sorely missing in the first act. Genie not only brings the humour, but also gives the film an excuse to be more visually inventive. After some solid, if not spectacular sequences set in the narrow gullies of Agrabah (which sadly never ceases to look like a hollow set surrounded by green screen environments), the Genie introduces himself with a grand, visually arresting musical number. And thankfully, he does not look like chewed up bubble gum anymore.
Aladdin is – and depending on your familiarity with the original animated film, this may or may not come as a surprise – an outright musical. Composer Alan Menken returns, joined this time by La La Land’s Pasek & Paul to produce new music for the film. These are some of its best scenes, especially the reprisal of Prince Ali (which Ritchie directs like a homage to Sridevi’s Himmatwala), and the always stirring A Whole New World, performed, thankfully, by stars Mena Massoud and Naomi Scott in the film, and not, as had been threatened, by Zayn Malik or DJ Khaled, or god forbid, Badshah.
It’s no mean feat for any actor to hold their own opposite the majestic screen presence that is Will Smith, but Ritchie has always had an eye for casting. Mena Massoud and Naomi Scott are excellent finds. Had it not been for their effortless chemistry, and their fresh-faced innocence, their scenes together could have been awfully bland – especially with no Genie to elevate them.
There’s a reason why Will Smith has been given top billing in the credits, above even the title character. Legal and political reasons aside, this movie would not have worked without him. It helps that he plays Genie as an exaggerated version of his own public persona, a trick that worked immensely well for the late Robin Williams in the original movie, too.
Like every film in Disney’s recent spate of live-action remakes, Aladdin also reeks of cash-grab cynicism. However well you spin it, it has no other reason to exist than to make the Mouse House millions of dollars. Children are just as likely to discover the old film, and perhaps even better off for it. But, crucially, it isn’t cynically made. There’s an earnestness to it that we’re seeing more often now, perhaps because we, as an audience, seem to have had enough of dark, twisted takes; and arguably because the world seems to be losing sight of what is right and what is wrong.
And so, we turn to the movies, as always – to guide us, morally, to remind us, and to show us a whole new world.
Starring: Aisha Hinds, Anthony Ramos, Bradley Whitford, CCH Pounder, Charles Dance, David Strathairn, Elizabeth Ludlow, Jason Liles, Ken Watanabe, Kyle Chandler, Lexi Rabe, Millie Bobby Brown, O’Shea Jackson Jr., Randall P. Havens, Sally Hawkins, Thomas Middleditch, Vera Farmiga, Ziyi Zhang
Summary:The heroic efforts of the crypto-zoological agency Monarch face off against a battery of god-sized monsters, including the mighty Godzilla, who collides with Mothra, Rodan, and his ultimate nemesis, the three-headed King Ghidorah. When these ancient super-species—thought to be mere myths—rise again, they all vie for supremacy, leaving humanity’s very existence hanging in the balance
Aladdin movie review: Will Smith outshines Guy Ritchie’s live-action remake of Disney classic.
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