Movie Reviews
A REAL BUG’S LIFE Review
The main purpose of A REAL BUG’S LIFE is educational. The whole point is to show that, despite the fact that many people find bugs to be a bit creepy, they are still important to their various ecosystems. The main concern in the series is depictions of insect violence. Various episodes showcase a predator-prey relationship between bugs as well as territory disputes. The other concern is that mating does occur, but the depictions of bugs mating aren’t graphic. Overall, A REAL BUG’S LIFE is entertaining, engaging, educational, and uplifting. It has a moral undertone. It stresses human stewardship of the planet and promotes hard work and perseverance.
Dominant Worldview and Other Worldview Content/Elements:
Strong moral worldview in documentary series about bugs where the bugs show an amazing amount of hard work, diligence and perseverance and the series encourages human beings, including children, to be good stewards of the planet (though the series has an ecological message, it doesn’t villainize human beings but sees them as an important harmonious part of bug life), plus the whole purpose of the documentary is to explain and educate the world of bugs to children and adults in a fun and engaging storytelling fashion where each episode drips with educational truth;
Foul Language:
No foul language, but there are a few instances where images of dung are shown, but mostly shown to be a part of nature, although it is still gross;
Violence:
The violence is animal kingdom violence which includes territory disputes and predator-prey interactions, such as a fight occurs between two jumping spiders over territory in the episode “In the Big City,” a huge amount of army ants rip apart multiple different small creatures in “Welcome to the Jungle,” antlions attack and slaughter unsuspecting ants in “Land of Giants,” a shrew slaughters many bugs in “The Busy Farm,” but the interactions are usually quick and never bloody.
Sex:
There are a few instances where insect mating is shown, the two most graphic examples are a couple of monarch butterflies in “Braving the Backyard” and a promiscuous doodlebug in “The Busy Farm”;
Nudity:
No nudity;
Alcohol Use:
No alcohol use;
Smoking and/or Drug Use and Abuse:
No smoking or drugs; and,
Miscellaneous Immorality:
In the episode “Land of Giants,” the narrator jokes that the female Dung Beetle isn’t ready to settle down.
If you don’t like bugs, then the documentary series A REAL BIG’S LIFE in Disney+ isn’t for you. If you love bugs, then this is a fun educational insight into the roles various critters play in our everyday lives.
Disney+ and National Geographic present A REAL BUG’S LIFE, in honor of Disney Pixar’s animated movie A BUG’S LIFE. The series has a total of five episodes. Each one is narrated by actress Awkwafina, who brings an upbeat, fun commentary of each of the main bugs for each individual episode. The actress’ playful and direct tone brings an upbeat new feel to the documentary series, which is great for a documentary meant for families with children. Each episode not only follows different hero bugs, but in fact shows the roles bugs actually play in the daily life of their particular environments.
The first episode is called “The Big City,” with it taking place in the concrete jungle of New York City. Here the story follows Pavement Ants, and a Jumping Spider as it tries to find new territory in the big city. In this episode, viewers learn how vital Pavement Ants are to the cleaning of New York’s streets and how far a jumping spider is willing to go to secure new territory.
The next episode takes viewers from the concrete jungle to the real jungle, a South American Rainforest in “Welcome to the Jungle.” This episode’s protagonists are a male orchid bee as he goes out of his way to make the perfect scent and a new leafcutter ant who’s new to her job and colony. The third episode is called “Braving the Backyard,” which has aa western style storytelling aspect which fits because it takes place in a Texas backyard. This story follows a Unicorn Mantis as she grows into adulthood, a group of Fire Ants trying to move, and some resting Monarch Butterflies. The fourth episode called “Land of the Giants,” takes place in the African Safari. This story follows a newly formed Dung Beetle and an elder nanny Acacia ant as they navigate the dangers of Africa. The last episode is called “The Busy Farm,” and follows the adventures of a young Queen Bumblebee starting a new hive, and an orb spider protecting the livestock.
Overall, the program’s primary purpose is an educational one, to educate folks on how not only bugs live among people but their importance to their various situations. For example, in the first episode the existence of pavement ants helps clean the streets of New York. In the second episode, the narrator contrasts the difference between the lifestyles of leafcutter ants and army ants. Leafcutter ants are actually incredible fungus farmers, and army ants are just insect orcs, the evil, warped creatures who serve the satanic villains in Tolkien’s Middle Earth stories. The third episode explains how Monarch Butterflies make generational migration between Canada and Mexico. The fourth episode introduces a bug called an antlion whose larvae make sandpit traps to devour ants. In the final episode, a human farmer uses ladybugs as a pesticide against aphids.
The stories in A REAL BUG’S LIFE have a moral undertone. They have two main messages. The first message is that human beings should take care of the planet. The second one is that hard work and perseverance always bring rewards. Unlike some other documentaries, A REAL BIG’S LIFE doesn’t turn human beings into the villain. Instead, it depicts people as an important harmonious part of the lives of the bugs.
That said, small children should take caution when watching this documentary because it does show bug territory struggles and animal kingdom interactions both of bug violence and bug mating. Overall, however, A REAL BUG’S LIFE is equally entertaining, engaging, educational, and uplifting and deserves a second season if possible.
There’s always something new to learn with each episode of A REAL BUG’S LIFE. Of course, the intricate lives of bugs and their incredible connections to the natural world around them shows how marvelous, wise and beneficial the design of God is to every being’s life here on Planet Earth.
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Movie Reviews
‘Avatar: Fire and Ash’ Movie Review and Release Live Updates: James Cameron directorial opens to mixed audience reviews – The Times of India
James Cameron clarifies Matt Damon’s viral claim that he turned down 10 per cent of ‘Avatar’ profits
Filmmaker James Cameron has addressed actor Matt Damon’s long-circulating claim that he turned down the lead role in Avatar along with a lucrative share of the film’s profits, saying the version widely believed online is “not exactly true.”
For years, Damon has spoken publicly about being offered the role of Jake Sully in the 2009 blockbuster in exchange for 10 per cent of the film’s gross, a deal that would have translated into hundreds of millions of dollars given Avatar’s global earnings of USD 2.9 billion. The role eventually went to Australian actor Sam Worthington, according to The Hollywood Reporter.
“Jim Cameron called me — he offered me 10 per cent of Avatar,” Damon says in the clips. “You will never meet an actor who turned down more money than me … I was in the middle of shooting the Bourne movie and I would have to leave the movie kind of early and leave them in the lurch a little bit and I didn’t want to do that … [Cameron] was really lovely, he said: ‘If you don’t do this, this movie doesn’t really need you. It doesn’t need a movie star at all. The movie is the star, the idea is the star, and it’s going to work. But if you do it, I’ll give you 10 per cent of the movie.’”
However, speaking to The Hollywood Reporter, Cameron said Damon was never formally offered the part. “I can’t remember if I sent him the script or not. I don’t think I did? Then we wound up on a call and he said, ‘I love to explore doing a movie with you. I have a lot of respect for you as a filmmaker. [Avatar] sounds intriguing. But I really have to do this Jason Bourne movie. I’ve agreed to it, it’s a direct conflict, and so, regretfully, I have to turn it down.’ But he was never offered. There was never a deal,” according to The Hollywood Reporter.
The director added that discussions never progressed to character details or negotiations. “We never talked about the character. We never got to that level. It was simply an availability issue,” he said.
Addressing the widely shared belief that Damon turned down a massive payday, Cameron said the actor may have unintentionally merged separate ideas over time. “What he’s done is extrapolate ‘I get 10 percent of the gross on all my films,’” Cameron said, adding that such a deal would not have happened in this case. “So he’s off the hook and doesn’t have to beat himself up anymore.”
Movie Reviews
Movie Review: Paul Feig’s ‘The Housemaid’ is a twisty horror-thriller with nudity and empowerment – Sentinel Colorado
Santa left us a present this holiday season and it is exactly what we didn’t know we needed: A twisty, psychological horror-thriller with nudity that’s all wrapped up in an empowerment message.
“The Housemaid” is Paul Feig’s delicious, satirical look at the secret depravity of the ultra-rich, but it’s so well constructed that’s it’s not clear who’s naughty or nice. Halfway through, the movie zigs and everything you expected zags.
It’s almost impossible to thread the line between self-winking campy — “That’s a lot of bacon. Are you trying to kill us?” — and carving someone’s stomach with a broken piece of fine china, yet Feig and screenwriter Rebecca Sonnenshine do.
Sydney Sweeney stars as a down-on-her luck Millie Calloway, a gal with a troubled past living out of her car who answers an ad for a live-in housekeeper in a tony suburb of New York City. Her resume is fraudulent, as are her references.
Somehow, the madam of the mansion, Nina Winchester played with frosty excellence by Amanda Seyfried in pearls and creamy knits, takes a shine to this young soul. “I have a really good feeling about this, Millie,” she says in that perky, slightly crazed clipped way that Seyfried always slays with. “This is going to be fun, Millie.”
Maybe not for Millie, but definitely for us. The young housekeeper gets her own room in the attic — weird that it closes with a deadbolt from the outside, but no matter — and we’re off. Mille gets a smartphone with the family’s credit card preloaded and a key for that deadbolt. “What kind of monsters are we?” asks Nina. Indeed.
The next day, the house is a mess when the housekeeper comes down and Seyfried is in a wide-eyed, crashing-plates, full-on psychotic rage. The sweet, supportive woman we met the day before is gone. But her hunky husband (Brandon Sklenar) is helpful and apologetic. And smoldering. Uh-oh. Did we mention he’s hunky?
If at first we understand that the housekeeper is being a little manipulative — lying to get the job, for instance, or wearing glasses to seem more serious — we soon realize that all kinds of gaslighting games are being played behind these gates, and they’re much more impactful.
Based on Freida McFadden’s novel, “The Housemaid” rides waves of manipulation and then turns the tables on what we think we’ve just seen, looking at male-female power structures and how privilege can trap people without it.
The film is as good looking as the actors, with nifty touches like having the main house spare, well-lit and bright, while the husband’s private screening room in the basement is done in a hellish red. There are little jokes throughout, like the husband and the housemaid bonding over old episodes of “Family Feud,” with the name saying it all.
Feig and his team also have fun with horror movie conventions, like having a silent, foreboding groundskeeper, adding a creepy dollhouse and placing lightning and thunder during a pivotal scene. They surround the mansion with fussy, aristocratic PTA moms who have tea parties and say things like “You know what yoga means to me.”
Feig’s fascinating combination of gore, torture and hot sex ends happily, capped off with Taylor Swift’s perfectly conjured “I Did Something Bad” playing over the end credits. Not at all: This naughty movie is definitely on the nice list.
“The Housemaid,” a Lionsgate release that’s in theaters Friday, is rated R by the Motion Picture Association for strong bloody violence, gore, language, sexuality/nudity and drug use. Running time: 131 minutes. Three and a half stars out of four.
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Movie Reviews
‘The Spongebob Movie: Search for Squarepants’ Review: Adventure Romp Soaks up a Good Time for SpongeBob Fans of All Ages
I’m convinced that each SpongeBob movie released on the big screen serves as a testament to the current state of the series. The 2004 film was a send-off for the early series run. Sponge Out of Water symbolized the Paul Tibbitt era, and Sponge on the Run served as a major transitional period between soft reboot and spin-off setup. The team responsible for Search for SquarePants, which consists of current showrunners Marc Ceccarelli and Vince Waller, as well as the seasoned Kaz, is showcasing their comedic and absurdist abilities. The sole purpose of the film is to elicit laughter with its distinctively silly and irreverent, whimsical humor. More so than its predecessor, it creates a mindless romp. Granted, there are far too many butt-related jokes, to a weird degree.
Truthfully, I am apprehensive about the insistence of each SpongeBob movie being CG-animated. However, Drymon, who directed the final Hotel Transylvania film, Transformania, brings the series’ quirky, outrageous 2D-influenced poses and expressive style into a 3D space. Its CG execution, done by Texas-based Reel FX (Book of Life, Rumble, Scoob), is far superior to Mikros Animation’s Sponge on the Run, which, despite its polish, has experimental frame rate issues with the comic timing and is influenced by The Spider-Verse. FX encapsulates the same fast, frenetic pace in its absurdist humor, which enables a significant number of the jokes to be effective and feel like classic SpongeBob.
With lovely touches like gorgeous 2D artwork in flashback scenes and mosaic backgrounds during multiple action shots, Drymon and co expand the cinematic scope, enhancing its theatrical space. Taking on a darker, if not more obscene, tone in the main underworld setting, the film’s purple- and green-infused visual palette adds a unique shine that sets it apart from other Sponge-features. Its strong visual aesthetic preserves the SpongeBob identity while capturing the spirit of swashbuckling and satisfying a Pirates of the Caribbean void in the heart.
The film’s slapstick energy is evident throughout, as it’s purposefully played as a romp. The animators’ hilarious antics, which make the most of each set piece to a comical degree, feel like the ideal old-fashioned love letter to the new adults who grew up with SpongeBob and are now introducing it to their kids. This is a perfect bridge. There’s a “Twelfth Street Rag” needle drop in a standout montage sequence that will have older viewers astral projecting with joy.
Search for SquarePants retreads water but with a charming swashbuckling freshness.
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