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Movie Review: A Charming and Mushy Tale of ‘Goodbye Christopher Robin’

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The story behind the conception of Winnie the Pooh, one of the most beloved icons of childhood literature, runs the risk of coming off as a sappy Lifetime movie. Director Simon Curtis tackles the film almost as a dare, walking so close to the massive waves of melodrama and dipping his toes in it just when want him not to. There’s a great story here, but it comes with a hefty dose of honey to make its drama go down smoother. At least Curtis had the decency to sprinkle the artificialness rather than slather.

We start with author A. A. Milne (Domhnall Gleeson) right after the war. After a brief scene of being in the muddy trenches with dead bodies, cut to him trying to adjust to society and unable to accept the civilized world’s distance from the horrific events. Milne can’t stop thinking about the war, and it’s wearing down on his mental state. His wife, Daphne (Margot Robbie), believes this is only a brief phase that can be quickly solved with A. A. returning to his writing. When that doesn’t work, she has a child. When that doesn’t work, she entertains his idea to live in the country where he can write his anti-war book.goodbye

Their son, Christopher (Alex Lawther), proves to be a source of sweetness and innocence during a rocky time for the Milne family. A. A. wants quiet for his writing, and Daphne intends to live her life outside with parties and fame. But when A. A. finds himself taking care of Christopher on his own, he finds himself better able to write and cope with his son’s imagination and simplicity. It also helps that his kid is so adorable that if the movie tried to make him anymore cute, he’d have sugar in his veins.

The formation of Winnie-the-Pooh from this bonding comes with expected beats of discovery. What shall we call the donkey? How about Eeyore? What wonderful origins. Aside from the lacking backgrounds of the animals of The Hundred Acre Woods, the chemistry between Alex Lawther and Domhnall Gleeson balances out the stumblings of this story. Sure, their warmth is partially manufactured by the glowing cinematography of the countryside and the manipulative music of Carter Burwell, but at least the actors are giving their best, even if the director is placing this plot on drama autopilot.

The movie mostly proceeds down a somewhat predictable path of the success of the books. This includes the conception of the illustrations, the imagination of Christopher that forms the stories, the fame seen in montages of books flying off the shelf and the loss of identity poor Christopher feels for being a literary celebrity. There’s a struggle to prevent the melodrama, but this grip is lost by the third act, trying to wrap up the story with the most basic of dialogue. It’s clear as day that Christopher doesn’t care about the money and just wants to be with his dad. Does Christopher have to say this exact line to his father just before he goes off to war?

Despite some somber and dark depictions of A. A.’s war flashbacks and Christopher’s fears of being famously lonely, Goodbye Christopher Robin is a relatively light bit story that will bring more forced tears and smiles than genuine intrigue. Much like how Disney portrayed the real story in Saving Mr. Banks, the film does its best not to step on any controversial toes and go for the most easily digestible story for general audiences. If the string of real life story movies seems a little too tragic, here is one that is sure to warm hearts just a little bit if you’re willing to go for the ride. I didn’t mind its journey, though I can’t say I enjoyed it when the wheels started to come off towards the end.

[author title=”About the Author” image=”http://popstermedia.com/wp-content/uploads/2015/07/mark_mcpherson-300×221-150×150.jpg”]Movie Reviewer Mark McPherson has been all about movies since working at a video store in his youth. His talents range from video editing to animation to web development, but movies have always been his passion to write about.[/author]


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“Bumblebee” Swaps Insulting Action For Lighter Adventure

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As the first spin-off of Michael Bay’s Transformers saga, BumbleBee is a huge shift from the usual gears. It’s as though Travis Knight took a good, hard look at the clunky and sloppy nature of the series and decided to give it an overhaul. Gone are the mounting and confusing story arcs that seemed to needlessly double with each sequel. The cynical nature has been removed, replacing the human and robot heroes with more quirky and heartfelt ones, albeit within the cartoonish realm of a 1980s adventure fit for kids. All of these changes don’t exactly make the film a stellar Transformers movie but it at least earns the title of being the best of the lot for the rather low bar it had to cross.

It helps that the Transformers lore is kept to a simpler story. As a prequel, we learn how BumbleBee was the first of the heroic Autobots to land on Earth after losing the battle for Cybertron against the evil Decepticons. His mission is to ensure that Earth is safe and free of Decepticon interference until the other Autobots arrive. But during a scuffle with one following evil robot, BumbleBee has his memory wiped and his voice taken, just in case you were wondering why the transforming robot only speaks through the radio.

Helping him to communicate is Charlie (Hailee Steinfeld), a teenage mechanic prodigy with a life in need of a tune-up. And unlike previous Transformers human tagalongs, she deserves it. She’s a smart kid, great with a wrench, has good taste in music, and is naturally depressed by her dad passing. Charlie feels that nobody can understand her so, naturally, the confused BumbleBee takes a liking to her easily as she teaches him about human life and music, something that the robot from another planet has opinions about. Who knew that Cybertronians have an instant disliking for Rick Astley?

Of course, it wouldn’t be a Transformers movie without some evil Decepticons trying to take over the planet. Similar to everything else in the film, this plot has been pruned down to be less messy as only two Decepticons of Shatter (Angela Bassett) and Dropkick (Justin Theroux) come to Earth for the invasion. Their mission is less convoluted; kill BumbleBee and kill all the humans. And you better believe they kill the gullible American government stooges that place their trust in these robots that pretend to be working with them. Don’t worry, parents; the robots will only zap the humans into liquid goo as opposed to bloody slop, for whatever that tweak may be worth.

Much of the junk has been scraped off the Bay-formers saga to be a more thoughtful and sympathetic film but some of the lameness remains. I don’t know why the film bothered to mention that the story takes place in 1987; the setting goes out of its way to prove this point, from ALF on the television to a VHS copy of The Breakfast Club to posters of The Thing on room walls. John Cena plays a cocky military agent who never quite crosses over into Wahlberg craziness with his meatheaded nature but still occupies the tired trope of the series with the military blindly trusting robots from space. Charlie has a neighborhood friend Memo (Jorge Lendeborg Jr.) who wants to be her boyfriend but he thinks he’s too nerdy to ever have a girlfriend. I find it hard to believe a teenager with a rather trimmed body, which he does show off while shirtless, could have that much trouble finding a girl in a community of divers and beach lovers. But perhaps it’s a subversion of such a person, as the film blatantly tries to toss out the suggestion that Charlie and Memo will kiss by the end, as if nudging the audience to say, “See? We’re not THAT predictable.”

BumbleBee is Diet Transformers; all the robot action and adventure, none of the Michael Bay insanity, but loaded with artificial sweeteners. While I’d like to applaud the film for trying to take a sweeter and gentler route to its tale of giant robots that turn people into slime, it doesn’t feel like enough to carry the film past being a passive special effects adventure for the kids. Still, that may be the best part of the film with how it finally feels better targeted at its key demographic of kids, even inspiring for little girls that love the Transformers brand. Worth noting are the simplified designs of the robots that look more like the original cartoon than junkyard explosions. But if the spin-offs want to play more in the field of E.T. and The Iron Giant, they’ve got to tune up the heart to make me care more about a mute robot who can transform into a car. I was almost there but I need more character out of him than his innocent means of pranks and exploring a house he’s too big for. For a Transformers film, those scenes are cute moments. For stories of a kid and their alien pal, it’s par for the course.


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“Aquaman” Washes Out Christmas, “Bumblebee” and “Poppins” Close Behind

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Christmas weekend was a savage one. All manner of genre films came out to play, eager to be the biggest blockbuster of holidays. But there could only be one winner and it was the king of the oceans. Aquaman, the Jason Momoa starring superhero epic based on the DC Comics character, arrived at #1 for the weekend with a domestic gross of $67 million. Though it has a ways to go as such an epic to make its money back, the film is off to an enthusiastic start.

Following closely behind Disney’s Mary Poppins Returns, the sequel to the Disney musical classic now starring Emily Blunt, earning a weekend debut of $23.5 million. Despite opening early on Wednesday, the film still only made about $32 million which isn’t looking especially strong for Disney during the holidays. This is especially concerning given that the film is a close call for the #2 slot as Bumblebee, the Transformers spin-off of the titular heroic transforming robot, came up with a $21 million gross. That being said, Bumblebee’s opening is concerning given the big opening grosses of the previous Transformers film that were usually massive.

But that’s nothing compared to the low debuts of the films that were not intended as genre blockbusters. Second Act, a romantic comedy starring Jennifer Lopez, would debut at #7 with a domestic gross of $6.4 million. Even further down the list is Welcome to Marwen, the new Robert Zemeckis directed drama starring Steve Carell, came in at #9 with a box office of $2.3 million. Brutal.

View the full top 10 box office results below:
Aquaman ($67,400,000)
Mary Poppins Returns ($23,523,121)
Bumblebee ($21,610,000)
Spider-Man: Into the Spider-Verse ($16,635,000)
The Mule ($9,727,000)
Dr. Seuss’ The Grinch ($8,548,370)
Second Act ($6,480,000)
Ralph Breaks the Internet ($4,702,425)
Welcome to Marwen ($2,366,560)
Mary Queen of Scots ($2,277,820)

Next weekend may be a bit of quiet one as we shall see how the films released on Christmas Day will fair. Holmes and Watson, the new Sherlock Holmes comedy starring Will Ferrell and John C. Reilly, opens to 2,700 theaters. Vice, Adam McKay’s new biopic dramedy about Dick Cheney with Christian Bale playing the character, is opening to 2,300 theaters. Stan & Ollie, a biopic on Laurel & Hardy starring Steve Coogan and John C. Reilly, will be in a limited number of theaters on December 28th.


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First Box Office Weekend of 2019 Finds “Aquaman” King (Again)

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It’s a new year and so we enter into the chilly month of January, usually reserved for Oscar nominations to strut their stuff and mediocre-to-decent films to swoop in and make a mint. Similar to last year, the first big new film a lukewarm horror picture. Escape Room, the horror film based on the party activity craze of escape rooms, debuted at #2 with a decent January take of $18 million. Not a terrible opening at all for such a horror film but most of its bigger gross was eaten up by Aquaman, the DC superhero epic that continues to make waves. Even though the film took a 41% dip from last weekend, the movie has currently $259 domestic with a worldwide gross total of $940 million. It’s a big success for DC Comics trying to catch up with Marvel Comics at the box office and Aquaman is still looking good coming into a slow January.

With Escape Room being the only major release, there are no big surprises for the shifting of placement. Mary Poppins Returns holds firm as a family film for winter, the domestic total now sitting at $138 million. Spider-Man: Into the Spider-Verse, having recently won the Golden Globe for Best Animated Feature, is still just below with a domestic gross of $133 million. Still struggling to crack $100 million is Bumblebee, the Transformers spin-off. Despite being the highest-rated Transformers movie by miles, the film has only made $97 million after three weekends.

Miles Morales in Sony Pictures Animation’s SPIDER-MAN: INTO THE SPIDER-VERSE.

The longest holdout in the top 10 box office is Ralph Breaks The Internet, Disney’s cyberspace adventure sequel. Released during Thanksgiving, the Disney animated film has to date made $187 million domestic after seven weekends. Just below it, however, is a film that has been in theaters for two weekends but has already seen a massive drop, Holmes and Watson, making headlines for being one of the worst films of the year with a descending box office.

View the full top 10 box office for the weekend below:

Aquaman ($30,700,000)
Escape Room ($18,000,000)
Mary Poppins Returns ($15,773,000)
Spider-Man: Into the Spider-Verse ($13,010,000)
Bumblebee ($12,775,000)
The Mule ($9,040,000)
Vice ($5,803,490)
Second Act ($4,910,000)
Ralph Breaks the Internet ($4,685,000)
Holmes and Watson ($3,400,000)

Next weekend will feature some bigger competition of dogs, clones, and soft human drama. A Dog’s Way Home, a spiritual sequel to A Dog’s Purpose, will debut in 3,000 theaters. Replicas, a sci-fi thriller starring Keanu Reeves, will hit 2,500 theaters. The Upside, a dramedy where Bryan Cranston plays a paraplegic and Kevin Hart is an inept assistant, will premiere to 3,000 theaters. The battle is ultimately between A Dog’s Way Home and The Upside but I’m willing to bet a PG dog movie will take the top spot or about as high a spot it can muster with Aquaman still in play.


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