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Dumbo, Do We Have Liftoff?

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This review will be two reviews in one. First off, will the kids like this movie? Boy, I am hard pressed to say one way or another. The audience I saw it with included a fair share of children and I didn’t hear much laughing, giggling, or gasps of glee. Maybe they were delighted within.

However, unlike the 1941 animated version, this Dumbo, nor Mrs. Jumbo his mother, speaks, so that needed connection between a kid and a character is solely dependent on the digital animators’ abilities to make the little elephant come alive through his big blue eyes. It didn’t work for me, but it may for your child.

As for the adults in the audience, particularly for all of us Tim Burton fans …. well, let me start at the beginning.

The first scene of the film, the tracking shots of the Casey Jones Junior train pulling into the circus grounds, all the animals and acrobats, the old and worn train cars painted with period advertisements, the Maxfield Parrish turquoise skies, were absolutely beautiful. Rick Heinrichs, the production designer that has been with Burton since his youthful days at Disney, from their first film together, Vincent, creates a world that hums with charm and the possibility of magic.

Danny Elfman’s music, as always, hits just the right note, a perfect alchemy of artful boldness, wry humor, and earnest pathos.

At this point, it’s looking good.

Then the actors enter the scene. Danny DeVito plays the nice Danny DeVito, as opposed to the creepy Danny DeVito. Colin Farrell as Holt Ferrier returns from the first World War minus an arm, but hoping to restart his life as a lasso-tossing trick rider. In his sad-eyed, laconic performance, underplayed as much as his touch of Texas accent, he steps out of the steam at the train station to meet his motherless children, his wife having died while he was away fighting in France.

Nice set-up, but the trouble begins with his children, particularly his daughter Millie, played by Nico Parker, in her first film role. A striking looking child, her acting is as wooden as the weathered boards on the side of the train cars. Playing a smart and scientific child, the young actress interprets that as speaking in a robotic, unemotional and unengaging  monotone, every line a concluding sentence. Her brother is a little more natural, but not enough for the two of them to be the empathic anchors of the film. Without being able to feel for and with the kids, it’s bumpy skies ahead.

Along for the ride is a group of low-rent circus performers, all pleasant as can be, and all representing the classic Burtonesque troop of outsiders … an African-American strongman and accountant, a plus size, sweet-singing mermaid, an Indian snake charmer, a married pair of Hispanic magicians … but they’re markedly bland, making me long for the earlier menageries of characters in Beetlejuice, A Nightmare Before Christmas, and Ed Wood.

And then there is Dumbo.

The first time he flew under the big top it was one of the film’s rare moments of magic, largely due to Elfman’s swooping score.

Other than that, again, pretty bland. For me, he was never a real character but rather a product of digital wizardry. Intriguing in the trailers, but incapable of carrying the emotional heart of  the film as he soared and flopped his oversized ears.

As for Michael Keaton’s big business man and promoter, V. A. Vandervere, this was a performance aimed at Johnny Depp freakishness (think Burton”s Willie Wonka) but missing the target by the width of this fair land. It was frankly an awful performance by a fine actor. It’s too bad, too, because Burton used to be so good at handling campy performances. Johnny Depp in Ed Wood Christoph Waltz in Big Eyes, or Alan Arkin in Edward Scissorhands come to mind. Alan Arkin actually plays a small role in this film, and to be honest, it was one of the few believable performances.

As for the story, it was written by Ehren Kruger, who also penned several of The Ring and Transformer movies. Here, too, he goes for high concept at the cost of an engaging connection to the characters and a plot that matters.

Did I mention the production design? I know I did, but I want to say again how great it is. The latter part of the film is set in an elaborate, Art Deco theme park, Dreamland, that in all its glitz, glory and consumerism is both a tribute to Disneyland and a (purposeful?) critique.
And it’s not the only critique in the film, for, in the end, Dumbo is a message film against animal cruelty and for animal rights, against corporate life and for diversity. It just isn’t very good, and for this Tim Burton fan, a real disappointment.

I would love to know if Tim Burton has any more original work in him. Who can forget Winona Ryder dancing in the ice storm of shavings as Johnny Depp craves an angel in Edward Scissorhands? (One of my favorite moments in all film historyOr Jack Skelton delivering creepy Christmas gifts in The Nightmare Before Christmas (shared salute to director Henry Selick)? Or Johnny Depp facing down the Headless Horseman in Sleepy Hollow? Or the dark and bloody world of Sweeny Todd, for my money one of the finest screen musicals of last few decades. God, I miss that Tim Burton. How I miss Burton’s world. Please come back to it, Tim.

 

 

 

 

 

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VidaayMuyarchi

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“Vidaamuyarchi,” now streaming on Netflix, is a 2025 Indian Tamil-language action thriller directed and written by Magizh Thirumeni. Produced by Subaskaran Allirajah under Lyca Productions, the film boasts a runtime of 150 minutes. The narrative follows Arjun (Ajith Kumar) on a relentless quest to rescue his wife Kayal (Trisha Krishnan) after she is abducted by a mysterious group in Azerbaijan. The ensemble cast includes Arjun Sarja, Regina Cassandra, and Arav in pivotal roles.

Drawing inspiration from the 1997 American film “Breakdown,” “Vidaamuyarchi” offers a familiar storyline but is elevated by compelling performances. Ajith Kumar delivers a commendable portrayal of a husband battling against time and adversities, while Trisha Krishnan effectively captures the emotional depth of her character. The film’s cinematography by Om Prakash enhances the tension and atmosphere, and Anirudh Ravichander’s music complements the narrative’s intensity.

However, the film’s predictability and pacing issues may deter some viewers. Despite these shortcomings, “Vidaamuyarchi” provides an engaging experience for fans of the action thriller genre.

Rating: 6.5/10

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Justice has a new Daddy. Watch the new trailer for NakedGun,

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Only one man has the particular set of skills… to lead Police Squad and save the world! Lt. Frank Drebin Jr. (Liam Neeson) follows in his father’s footsteps in THE NAKED GUN, directed by Akiva Schaffer (Saturday Night Live, Popstar: Never Stop Never Stopping) and from producer Seth MacFarlane (Ted, Family Guy). Joining the cast are Pamela Anderson, Paul Walter Hauser, CCH Pounder, Kevin Durand, Cody Rhodes, Liza Koshy, Eddie Yu, with Danny Huston.
only in theatres August 1st.

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Fifteen years after the original animated film took flight, this live-action adaptation proves that its story is as powerful and relevant as ever.

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As an unabashed fan of the original 2010 animated masterpiece How to Train Your Dragon, I approached the new live-action adaptation with cautious excitement. And let me say this upfront: it blew me away. This isn’t just a remake—it’s a heartfelt reimagining that understands exactly what made the original special, while carving out a new legacy all its own.

The decision to bring back Dean DeBlois, the creative force behind the animated trilogy, was nothing short of inspired. His return doesn’t just lend authenticity—it infuses the film with the same emotional richness, visual wonder, and narrative soul that made the original soar. DeBlois clearly understands that this story isn’t just about dragons—it’s about identity, empathy, and the quiet courage it takes to be different.

This film is a masterclass, in my opinion, on how to adapt animation to live action. Instead of chasing spectacle for spectacle’s sake, it stays grounded in character and emotion. The filmmakers preserve the heart of the story—Hiccup and Toothless’s bond, the tension between father and son, the forging of peace between enemies—while adding just enough new layers and textures to make it feel fresh. Small changes enhance the world rather than distract from it, proving that you don’t need to reinvent the wheel when you’re already working with gold.

The performances, across the board, are extraordinary. Mason Thames is a revelation as Hiccup. He captures the awkwardness, intelligence, and inner strength of the character with stunning nuance. Gerard Butler reprises his role as Stoick with even greater emotional depth—his presence is towering, both literally and figuratively, anchoring the film with gravitas. Nick Frost brings warmth and perfectly timed humor to Gobber, effortlessly making the character his own. And Nico Parker’s Astrid is fierce, grounded, and utterly magnetic—her chemistry with Thames sparks with authenticity.

Fifteen years after the original animated film took flight, this live-action adaptation proves that its story is as powerful and relevant as ever. It’s rare to see a remake that feels both lovingly faithful and genuinely new, but How to Train Your Dragon accomplishes just that. With breathtaking visuals, deeply human performances, and an unwavering emotional core, this film isn’t just a retelling—it’s a reminder of why we fell in love with this world of dragons in the first place.

Heartfelt, heroic, and unforgettable—How to Train Your Dragon (2025) is a 10 out of 10

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