Movie Reviews
Movie Review: ‘Lyle, Lyle, Crocodile’ | Recent News
After a number of weeks of more and more ineffective horror motion pictures, “Lyle, Lyle, Crocodile” was a pleasant change of tempo. Truly, it was good to have something in any respect for the children, who haven’t had a film since “DC League of Tremendous-Pets” all the way in which again in July. In some ways, this innocent piece a few singing crocodile is precisely what the film panorama – possibly the American panorama – wants proper now. Sadly I’m rather more grateful for this film’s mere existence than for what it really brings to the desk.
We comply with Lyle (Shawn Mendes) as he bounces between two households. First up is magician Hector P. Valenti (Javier Bardem, placing in rather more effort than you’d anticipate for a film with this title). Valenti can’t catch a break in showbusiness, and his old style act isn’t precisely a success on actuality TV. He decides what he wants is an animal, and in a uncommon bit of fine luck, he occurs upon the singing croc. Lyle is shy and solely communicates by means of music, however singing alone is nice sufficient for the act. Valenti raises Lyle till he’s fully-grown, at which level he books them in a theater, providing up his household’s NYC brownstone as collateral. The act bombs when Lyle proves too scared to sing, and Valenti is ruined. In case you’ve ever seen the cartoon “One Froggy Night” with Michigan J. Frog, it’s mainly that. In case you’ve by no means seen “One Froggy Night,” I apologize in your childhood.
Trailer
Valenti is pressured to go on the street and go away Lyle behind within the brownstone, which is bought off. In come the Primm household: dad Mr. Primm (Scott McNairy), stepmom Mrs. Primm (Constance Wu), and son Josh (Winslow Fegley). Josh doesn’t slot in at college or in New York, however he makes quick associates with Lyle as soon as the latter is found. The mother and father are freaked out at first, however they too come round on Lyle as soon as they uncover that he can prepare dinner, wrestle, sing, and rock a shawl. The singing infuriates downstairs neighbor Mr. Grumps (Brett Gelman), who desires Lyle taken away by animal management. Valenti returns and needs Lyle for himself. Will Lyle be imprisoned, pressured into showbusiness, or get to stick with his new household. It is a children’ film, so it’s a reasonably protected wager it gained’t be jail.
One of the best factor in regards to the film is its overarching sweetness. Lyle is the nicest crocodile on this planet, even when he’s accident-prone. The Primms need nothing greater than to spend time with Josh, and it’s as a result of the teen likes the carnivore that they welcome him into the household. And the musical numbers are all nice as properly, with some covers and a few originals courtesy of the workforce from “The Biggest Showman,” and all that includes Mendes’ heavenly voice. I like that crowd-pleasing fashion, so these have been highlights of the film for me. As for covers, don’t fear, a sure Elton John music will get some inevitable love.
Sadly, the film is a large number in different elements, which prevents me from giving it an general suggestion. The “well-meaning animated/CGI animal stepping into hassle in New York Metropolis” troupe was overdone final yr in each “Tom and Jerry” and “Clifford, the Large Pink Canine,” although I’d say this can be a notch above each of these motion pictures. The Primm household could also be nicer than Valenti, however they’re not almost as attention-grabbing, and it drags the film out when Lyle has to win over one father or mother after which the opposite, when each without delay would have been enough. Maybe worst of all is the ending, with a rushed courtroom scene that depends on Valenti’s household historical past, which has by no means been mentioned earlier than. “Lyle, Lyle, Crocodile” is a film that the household must see provided that you’re low on different choices, however there aren’t too many different choices, so certain, go see it.
Grade: C
“Lyle, Lyle, Crocodile” is rated PG for delicate peril and thematic parts. Its working time is 106 minutes.
Robert R. Garver is a graduate of the Cinema Research program at New York College. His weekly film evaluations have been revealed since 2006.
Final Replace: Oct 12, 2022 6:22 am CDT
Movie Reviews
Game Changer Movie Review: Ram Charan and Shankar deliver a grand political drama
Game Changer Review: The highly anticipated film Game Changer, directed by Shankar and featuring Ram Charan, Kiara Advani, and Anjali alongside SJ Suryah and Srikanth in pivotal roles, is a political action drama that delves into the murky waters of corruption within the Indian political system. Shankar, renowned for his grand storytelling, makes his Telugu directorial debut with Game Changer. His signature style is evident in the film’s lavish production and narrative structure. The story, penned by Karthik Subbaraj, weaves together action, drama, and social commentary, though it occasionally leans heavily on familiar tropes.
Ram Charan delivers a compelling performance in dual roles, seamlessly transitioning between the principled Ram Nandan and the rustic Appanna. As the central figure of the story, he carries the narrative with remarkable ease. While his portrayal of Ram Nandan is high on style and swag, it is his heartfelt performance as Appanna that truly resonates with the audience.
Kiara Advani, as Deepika, plays Ram Nandan’s love interest. Her character moderates Ram’s anger and inspires him to take up the IAS. While Ram and Kiara light up the screen, their love track feels somewhat clichéd. Anjali, as Parvathy, gets a meaty role as Appanna’s wife, championing his principles and cause. The emotional depth she brings to the story bolsters the film’s core.
Srikanth, as Bobbili Satyamurthy, surprises with his antagonist role. His dynamic interactions with Appanna add layers to the narrative. SJ Suryah, known for his distinct style and mannerisms, delivers yet another solid performance as Bobbili Mopidevi.
The film opens with Ram transitioning from an IPS officer to an IAS officer, featuring a stylish action sequence where he settles old scores. The first half chronicles his journey from a fiery college student to a committed civil servant. Although it employs some usual tropes and forced humour, the first half ends with an interval twist, setting the stage for an engaging second half. The latter part of the film takes a different trajectory, transitioning into a politically driven narrative rooted in the soil. The screenplay, treatment, and even the colour palette shift to complement this transformation.
Thaman’s musical score elevates the film, with a soundtrack that complements its themes. Tirru’s cinematography captures both the grandeur and grit of the story, employing dynamic visuals that enhance the viewing experience. Editing by Shameer Muhammed and Ruben ensures a cohesive narrative flow. The production values reflect Shankar’s commitment to high-quality filmmaking, with grandiose visuals in the song sequences. “Jaragandi” stands out as the highlight track, while the popular “Naanaa Hyraanaa” is yet to make its way into the final cut. The team has announced its inclusion starting January 14.
While Game Changer impresses with its grand visuals and socially relevant themes, it falters in areas that detract from its overall impact. The narrative occasionally veers into predictability, relying on familiar tropes of love, political corruption, and systemic injustice. The screenplay’s didactic tone, though impactful at times, can feel heavy-handed, leaving little room for subtlety.
Overall, Game Changer is a well-executed commercial film. Shankar’s grand scale and Ram Charan’s brilliant performance, combined with strong supporting roles and technical excellence, make it a compelling watch for enthusiasts of the genre.
Movie Reviews
‘Better Man’ movie review: Robbie Williams is a chimp. (Just go with it.)
Robbie Williams talks Golden Globe-nominated film ‘Better Man’
Robbie Williams and wife Ayda Field tell USA TODAY’s Ralphie Aversa what it feels like to be at the Golden Globes.
Music biopics are too often predictable, formulaic and, let’s face it, dull. One way to liven them up, however, is to venture way outside the box and make the central subject an anthropomorphic animal. And while an alligator Freddie Mercury in “Bohemian Rhapsody” or a sloth Bob Dylan in “A Complete Unknown” might have been bridges too far, a chimpanzee Robbie Williams defies logic and somehow works in “Better Man.”
Director Michael Gracey’s admirably eccentric biopic/jukebox musical (★★★ out of four; rated R; in select theaters now, nationwide Friday) still boasts the signature tropes of its ilk and the career-tanking vices of many a “Behind the Music” episode. Yet the fact that the ultra-cheeky Williams is inexplicably presented as a bawdy CG ape man (given cool moves and voice via performance capture by Jonno Davies) matches the fantastical nature of the British pop star’s bananas rise-and-fall-and-rise-again tale.
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The movie also has a lot in common with Gracey’s most famous effort, “The Greatest Showman,” featuring well-crafted, effervescent musical numbers doing what they can to make up for oversentimentality and an unfocused narrative.
Narrated by Williams himself, “Better Man” chronicles his life starting as a little simian dude playing soccer in the streets with his mates – and failing to impress his peers. Like his father Peter (Steve Pemberton), Robbie wants to be somebody and slowly he begins to embrace a charismatic, wild-child personality that wins him a spot in the boy band Take That. His brazen and outrageous personality wins over some like pop-star girlfriend Nicole Appleton (Raechelle Banno) – and his many fans – but irks many others, from his bandmates and manager (Damon Herriman) to members of Oasis.
The middle of the movie is where “Better Man” finds its groove. Robbie sings “Rock DJ” and his group pogo-sticks through London’s busy Regent Street in the film’s most spectacular sequence. And as the insecure Robbie goes down a bad path, he’s forced to literally fight the conflicting parts of his pop-star persona. Drugs and being a selfish jerk threaten everything, of course, and seeing a chimp go through the out-of-control partying instead of a normal dude is a bit different. The family drama peppered through the film leans too earnest, leading to an ending that pours on the schmaltz way too hard. Brash simian Robbie is a lot more fun to watch than soppy simian Robbie.
No one’s ever going to play a primate like the brilliant Andy Serkis in his “Planet of the Apes” films. Davies does a good job at moving in such a way that’s human but also a little bit wild, which adds to the hyperrealism of a proudly oddball movie. It doesn’t completely explain why exactly Williams is a chimp in the biopic – he’s said he feels “less evolved” than others, and Nicole calls Robbie an “animal” during a fight – but it makes that bizarre choice a little less head-scratching.
Interestingly, the best part of “Better Man” is Williams. He sings the songs throughout the movie – including nifty new tune “Forbidden Road” – and his fabulous narration hilariously slings jabs and adds an emotional gravitas to his screen counterpart’s struggles. When the film goes most over the top, Williams’ commentary keeps it grounded.
“Better Man” isn’t perfect – as a straightforward effort, it doesn’t hold a candle to, say, “A Complete Unknown.” But it’s never boring, either. And the film is easily the most idiosyncratic of its kind, at least until that inevitable Barry Manilow biopic featuring a yeti.
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