This movie starts with a very simple premise. When a man tries to take his teenage son surfing, he is told to go home because this spot is for locals only. What happens from here is constantly shocking and unexpected. This is a rare thriller that constantly surprises (incredibly the trailer didn't give anything away). Yet most of the twists here make perfect sense when they happen. Some are even quite clever. The movie goes into some very dark places, yet it never becomes too hard to watch. This is because throughout the movie has dreamlike quality to it and there is a sense of humor throughout. The humor never makes fun of the dark storyline or distracts from it. Instead, the humor perfectly complements the dark story, while making it easier to digest. However, this movie may not have worked if it wasn't for Nicholas Cage in the lead. This role feels perfectly tailored for him and the way he plays this character as he slowly loses his mind is perfect.
Unfortunately, this movie is completely lacking in any form of subtlety. Its messaging about toxic masculinity is a bit too obvious and, on the nose. Meanwhile many of the support character come off as caricatures rather than real people.
While it may not perfect this a gripping and constantly surprising thriller.
An art film, whose ideas are more interesting than the movie itself.
The main character of this film finds himself obsessed with his dead wife's body. For his cemetery (that owns) he has invented a way to look in at the inside of the coffins and looks closely at his dead wife's body every day. This is creepy and disturbing but in a way that is fascinating. The movie is at its best when it truly digs into his twisted mind and what could possibly lead someone into being this obsessed with something so morbid. This creepy exploration of loss, voyeurism, grief, obsession, guilt and necrophilia is endlessly fascinating, and I wish that this could have been the main focus of David Cronenberg's (who is best known for his horror films (particularly of the body horror variety)). Though dark and twisted with this main character he digs into something deeply personal in a way that few filmmakers would feel comfortable with. However, all these fascinating and personal ideas are drowned in a bland and uninteresting mystery. It is simply hard to truly care about who destroyed the graves. This mystery is at the same time needlessly complicated and too simple. When you get past the wealth of twists and characters, there is little about this mystery to actually latch on to. This mystery can take what should be a fascinating character study and personal statement from the filmmaker and instead make it into something too conventional and unremarkable.
Though there is some brilliant ideas behind this film, it simply comes off as a missed opportunity.
This sequel to the popular action film, The Accountant leans heavily into the realm of buddy comedy. While the first film had comedy in it, this second movie often becomes a full-on comedy. Luckily the humor here is often flat out hilarious. I was very pleasantly surprised by just how much I laughed watching this movie. Much of the comedy comes from the shared screentime with Ben Affleck and Jon Bernthal. The two reunite as the brothers they played in the first movie, however now, Jon Berthal plays a much bigger role. These two have perfect chemistry together and simply watching the two play off each other is delightful. Many of the comedic moments would not have worked as well if it wasn't for the chemistry of these two stars. While there may be a bigger emphasis on comedy here, the action is still excellent. There may not be as much of them here, but the action scenes are quite excited and very well executed.
The basic storyline of this film is quite good. However, there are too many subplots, and the story can seem to ramble at times, lacking the tightness of the first movie.
While the storyline may be a bit messy, this movie is very entertaining.
Hello my friends and happy Saturday morning. Once again it is time for some classic cartoons.
Today's cartoon selection begins with a unique Mickey Mouse short, Minnie's Yoo-Hoo (1930). The title song was written by Carl Stalling (later of Looney Tunes fame) for an earlier Mickey cartoon entitled Mickey's Follies (1929). This was the first original song from the Disney studio and it would become the theme song for the series with an instrumental version beginning every Mickey cartoon. This short presents a sing-a-long version of the song. The version heard here includes a second verse, that was not heard in Mickey's Follies but did appear on the song sheet that was published later the same year that it first appeared inn that cartoon. This short was made for The Mickey Mouse Clubs that appeared around the country. These were created by theatre owners and were gatherings of movie loving kids who were fans of Mickey Mouse. Walt loved this idea and while he did not start it he did all he could to expand it across the country. He also made this short so that club members could sing along during their meetings. There is very little new animation here. There is reuse of animation of Mickey and friends performing the song at the beginning that comes from Mickey's Follies. The animation of the curtain opening and closing was lifted from Fiddling Around (1930).
Now we join Mighty Mouse for The Wicked Wolf (1946). This short film was directed by Mannie Davis, the big brother of Looney Tunes director Art Davis and a very prolific Terry Toons director.
Next comes the only Betty Boop cartoon in color, Poor Cinderella (1934). As you can see here despite much merchandise today picturing Betty as having black hair, this cartoon shows her to be a redhead instead. This movie is also the odd man out when it comes to Betty Boop films for another reason as well. This is because the cartoon is in many ways a more serious picture that is actually intent on telling a somewhat straightforward version of this classic fairytale (perhaps it is appropriate that this is part of the Color Classics series instead of the regular Betty Boop series). This cartoon also features an original song, and this song was published as sheet music as well as appearing in this cartoon. Film historian and critic Leonard Maltin states that Mae Questel (the usual voice of Betty) was not used here for the song, but another singer was used instead. I do not know who this other singer is so if any of you do, please let me know. The following are two exhibitor's reviews from the Motion Picture Herald. "POOR CINDERELLA: Betty Boop— Betty Boop in the best example of color cartoon work we have had. Running Time, 10 Minutes. - M.P. Foster, Granada Theatre, Monte Vista, Colo. General Patronage." "POOR CINDERELLA: Betty Boop Cartoon— First of Paramount's colored cartoons and it is a wonderful creation. Look for the third dimensional allusion [sic]. If the rest of Paramount's colored cartoons come up to this one everybody will be satisfied. - L.G. Tewksbury, Opera House, Stonington, Maine. Small Town Patronage."
When Paul Terry sold the Terry Toons studio to CBS in 1955, CBS sought for the studio to make more theatrical cartoons. Without Paul Terry, a new head of the cartoon studio was needed. Gene Deitch was an odd choice to take over the Terry Toons studio as he wasn't a fan of the Terry Toons shorts. In fact, he felt that they were some of the worst theatrical cartoon shorts. As such when he took over the studio, he retired popular Terry Toons characters such as Mighty Mouse and Heckle and Jeckle. The studio would now make films with brand new characters that were better suited for Deitch's sensibilities. The cartoons would also take a modern art inspired stylized look similar to what was being used at the UPA studio. This was certainly a major departure from previous Terry Toons cartoons. Because of this some of the old guard at the studio took immediate umbrage to Deitch's leadership and his vision for the studio. Here is a Terry Toon from the Deitch era, Old Mother Clobber (1958). Rare for a Terry Toon of this era, there is a reference to Mighty Mouse here, though the character himself doesn't appear.
Now it is time for a commercial break.
Now for the third film from the Looney Tunes series, Hold Anything (1930). This movie stars the first star of the Looney Tunes, Bosko. Notice some mice who look specifically like Mickey here. In fact, if this whole cartoon feels like a Disney film that is no coincidence, producers and directors Hugh Harman and Rudolf Ising had worked with Walt Disney during the silent era and when they moved on to other things the Disney influence was always clearly felt. Often times this went beyond being influenced by and into the realm of stealing, however. Animator Jack Zander would recall, "We were doing and Hugh Harman said, 'you remember that scene in the Disney picture where Mickey Mouse did so-and-so.' I said, 'You want me to do almost the same thing?' and he said, 'No I want you to do exactly the same thing.' He said that the picture was playing at some theater that night and he wanted me to go and study the scene, come back and make Bosko do exactly the same thing."
Now for some Quick Shticks.
Now it is silent movie time with a Walt Disney Alice Comedy, Alice the Piper (1924). While these silent shorts may not be as sophisticated as later Disney films, I have a huge fondness for them, due to the fact that they were directed by Walt Disney himself. These Alice Comedies featured a live action little girl who entered into an animated cartoon world. This idea was a reversal of the Fleischer Brothers Out of the Inkwell shorts which had an animated KoKo the Clown enter into our world. In this short Alice is played by Virginia Davis, the first child actress to play the character. Fans of pre-code cinema might know that Virginia Davis played Joan Blondell's character as a child in the pre-code favorite, Three on a Match (1932). The same film also featured Dawn O' Day (later Anne Shirley) as Ann Dovrak's character as a child. Dawn O' Day was another child actress to have played Alice in the Alice Comedies.
Now it is time for a Garfield Quickie.
Today's cartoon post ends with The Simpsons in Bart of the Jungle (1989). This short was made as a segment for The Tracey Ullman Show before The Simpsons got their own TV series.
Thanks for joining me. Come back next week for more animated treasures. Until then may all your tunes be looney and your melodies merry.
The Grocery Boy may not be the best remembered or most praised Mickey Mouse cartoon of its era. However, it is a perfect example of what the average Mickey Mouse film of the early 30's was like. It is a fast paced and unpretentious romp that still brings a smile to Disney fans today. One of the highlights is Mickey and Minnie's flirting, which proves that they are one of the most adorable couples in the history of the movies. I think all of us wish we could have a relationship just like theirs. The adorableness of their relationship helps give this film a real irresistible charm.
The director for this cartoon was Wilfred Jackson (born January 24, 1906; passed away August 7, 1988). Jackson was one of the finest Disney directors of the 1930's. After he saw his first cartoon, Jackson immediately decided that he somehow wanted to work in animation. He approached Walt Disney and told Walt that he would even work for free if he had to. Jackson started by doing odd jobs around the studio and over time moved into becoming an animator than a director. He directed a wide variety of the classic Mickey Mouse and Silly Symphonies shorts. His Silly Symphonies included three Oscar winners; The Tortoise and the Hare (1935), The Country Cousin (1936), and The Old Mill (1937). He would be a sequence director on such classic Disney features Snow White and the Seven Dwarfs (1937), Pinocchio (1940), Dumbo (1941) and Saludos Amigos (1943). He would also be co-director on the feature length movies Cinderella (1950), Alice in Wonderland (1951), Peter Pan (1953) and Lady and the Tramp (1955). As well as working on the Disney films, he also worked on the Disneyland TV series. Due to health issues, Jackson had to retire from the Disney studio in 1961. Biographer, Ross Care would state, "I think Disney recognized Jackson’s devotion to animation and, perhaps more importantly, his willingness to try his hardest to understand and work to achieve what Walt wanted to do in the developing medium. They were both detail oriented, which I think also helped. Though the animators may not always have appreciated that latter quality in Jackson, he was (and is) highly respected among them." Care went on to state, "Two overriding impressions I got of Wilfred over the years were how much he loved animation and how much he respected and was devoted to Walt. That never really changed. But in the 1950s when Disney’s interests expanded, you might say shifted, to live-action films, television, and, of course, Disneyland, I believe Jackson felt his first love, animation, was getting side-tracked."
Many of the animators on this cartoon would become directors. David Hand would direct the classic Disney shorts Building a Building (1933), The Flying Mouse (1934), Who Killed Cock Robin? (1935), Three Orphan Kittens (1935), and Thru the Mirror (1936). He was also the supervising director of the Disney features Snow White and the Seven Dwarfs and Bambi (1942). Tom Palmer would direct the Warner Brothers cartoons Buddy's Day Out (1933) and I've Got to Sing a Torch Song (1933) as well as the Van Beuren Felix the Cat shorts Felix the Cat and The Goose that Laid the Golden Egg (1936) and Neptune Nonsense (1936). Rudy Zamora would not direct any films for Disney but directed on quite a few of the Hanna-Barbera TV shows and TV movies of the 1980's and before that at the Jay Ward Studio on The Bullwinkle Show. Gerry Geronimi would direct multiple Disney shorts as well as being a co-director on the Disney features Cinderella, Alice in Wonderland, Peter Pan and Lady and the Tramp. Ben Sharpsteen would be the supervising director for the Disney features Pinocchio and Dumbo as well as directing quite a few of the Disney shorts of the 1930's. Jack King is best known for his work as a director, both on the 1930's Looney Tunes and at the Disney studio (directing many of the best Donald Duck cartoons). Dick Lundy would direct a few Disney shorts, but is best known for his work at Walter Lantz (where he directed some of the best Woody Woodpecker cartoons) and MGM (where he directed many of the Barney Bear cartoons).
The climax of this film would later be adapted into the Mickey Mouse newspaper comic strip, a common practice at the time.
Motion Picture Reviews called this film, "one of the best of these amusing cartoons. Delightful for the whole family." National Board of Review Magazine stated, "Mickey as a grocery boy - with his hilarious dog playing a prominent role."
Movie Makers, 1937
This short film would not have its TV debut until the 73rd episode of Mickey's Mouse Tracks. This series ran on the Disney channel from 1992 to 1995 and was comprised of various classic Disney shorts as well as clips from classic Disney features, all from the time when Walt was alive. The other cartoons in this episode were How to Play Football (1944) and Traffic Troubles (1931).
The cartoon was released to theaters on February 11, 1932. The production number was CM-23. This cartoon is also available on the DVD set, Walt Disney Treasures: Mickey Mouse in Black and White, Volume 2.
Animation
Note: As per usual Ben Sharpsteen supervised and worked with a group of junior animators. One of these junior animators is credited as "Hutch." According to A. Film L.A. (the ultimate resource for Disney animation), "Hutch" is Andrew Charles Hutchinson. Hutchinson had worked on some of the Ted Eshbaugh cartoons as well as the Disney films The Fox Hunt (1931), The Ugly Duckling (1931), The Duck Hunt (1932), The Mad Dog (1932).
Dave Hand (M.L.S. Mickey weighing spuds; M.C.U. Mickey spills spuds and phone rings; C.U. phone ringing; M.C.U. Mickey treads on spuds; M.L.S. Mickey climbs up on Pluto to answer phone)
Tom Palmer (C.U. Mickey answers phone; C.U. Minnie at phone -- tells Mickey to hurry with her groceries; C.U. Mickey says, "Ok honey" and kisses phone; C.U. Minnie hangs up, mad -- then kisses phone; Mickey and Pluto come in -- Mickey dumps groceries on table; Minnie stirring icing; Minnie says, "goodbye"; Pluto crawls under stove; Mickey backs over to door -- embarrassed; Mickey embarrassed -- Minnie looks at him and smiles; Mickey gets hit by flat iron; Minnie runs to Mickey; Minnie kisses bump on Mickey's head; Turkey skeleton)
Rudy Zamora (M.L.S. Outside grocery - Mickey and Pluto run to L. on pan; M.L.S. Minnie's backdoor - Mickey stops to slick up)
Ben Sharpsteen (Minnie powders nose & says "Come in"; Pluto running with Mickey on his back (with Johnny Cannon); Desk socks Mickey (with Harry Reeves); Pluto runs under table and stops (with "Hutch") Mickey runs at Pluto; Pluto runs; Mickey gets a hold of tablecloth (with Johnny Cannon); Go thru nest tables; Statue falls on Mickey; Minnie pulls leg off turkey; Cuckoo clock on Pluto (with Johnny Cannon); Pluto pulling table; Minnie sees cake in danger; turkey skeleton)
Les Clark (M.C.U. Minnie takes turkey out of oven; C.U. Mickey gets stuffing out of turkey; M.C.U Mickey starts chopping vegetables to rhythm)
Jack King (Minnie stirring; Mickey cuts celery and uses garter; C.U. Mickey shell peas; Rpt. Minnie stirring; Mickey pours mixture into garbage can)
Albert Hurter (M.C.U. Pots and pans boiling to rhythm; C.U. Mush boils to rhythm; Napoleon thru stove)
Johnny Cannon (Mickey and Minnie make cake; Pluto running with Mickey on his back (with Ben Sharpsteen); Mickey gets a hold of tablecloth (with Ben Sharpsteen); Cuckoo clock on Pluto (with Ben Sharpsteen))
Dick Lundy (Mickey puts flower on cake and dances out of room with it; Minnie sees Pluto and screams)
Gilles Armand "Frenchy" de Trémaudan (Pluto picks up Mickey and Minnie and catches cake)
Motion Picture Herald, 1932
Story: Mickey is a grocery boy and he and Pluto are preparing an order. He gets a call from Minnie who is upset about how late her order is. Mickey assures her that it will be there soon. Mickey and Pluto hurry on their way, while Minnie acts like a schoolgirl excited that her crush is coming over. Mickey and Pluto come over. Minnie and Mickey spend most of this time flirting while Pluto and Mickey's clumsiness ruins Minnie's order.
-Michael J. Ruhland
Resources Used
Disney A to Z: The Official Encyclopedia by Dave Smith.
Walt Disney's Mickey Mouse: The Ultimate History by J.B. Kaufman and David Gerstein
This film has a very simple storyline. A young girl is taught by her dad growing up to hate and fear a mysterious animal called the Ochi. However, when she meets one and discovers it is not as dangerous as she was taught, she decides to help return it home. However she is followed by her dad, who is leading a group of kids, planning to hunt down her new friend. What transpires from this simple story is pure movie magic. This is a film very much in the vein of family movies from the 1980's and 90's especially Spielberg's more family friendly fare. Much of this is due to how instead of focusing on action or humor, this movie's main focus is on whimsy. Whimsy is something that few family films even try for today. That whimsy is not only attempted here but is done very well makes this truly stand out. This is a lovely film that transports you instantly into its fantasy setting. This is done in equal parts from the story and the visuals. The story may be basic, but it is just the kind of fantasy that we all dream of as a child. Therefore, even the grownups in the audience will feel themselves becoming a child again as they watch. Meanwhile the children will find much wish fulfillment in every scene. Employing a mixture of matte paintings, puppetry, CGI and animatronics, the visuals in this movie have a timeless feel that also recalls our childhood imaginations. These are the environments that I childhood selves dream about, and this again provides wish fulfillment for kids and a sense of being a child again for grownups.
This is the first feature length film for director Isaiah Saxon, who has directed music videos for artists like Björk, Grizzly Bear and Panda Bear. He is also the co-founder of DIY.org, a platform that is dedicated to teaching children real life skills as well as an appreciation for the world around them.
I can picture this becoming some kid's new favorite movie, and I really hope it becomes just that. I hope that this movie inspires this kid to use his/her imagination in the way the see the world as well as giving this child a greater appreciation for the world around them.
Hello my friends and welcome to a special Easter service of Cowboy Church.
Today's musical selection begins with Roy Rogers and Dale Evans singing Easter Is A Loving Time. This recording comes from a 1955 Little Golden Record, that the husband-and-wife duo had made. Here they are backed by The Sandpipers and Mitchell (Mitch) Miller & his Orchestra.
This is followed by Gene Autry performing Peter Cottontail in a scene from the movie, Hills of Utah (1951). This song was written by Steve Nelson and Jack Rollins, the team that wrote the Christmas classic Frosty the Snowman. Because of Gene Autry's success with such Christmas songs as Here Comes Santa Claus and Rudolph the Red Nosed Reindeer, the songwriting duo decided that Gene Autry was the best singer to introduce a song about a holiday figure. When Gene recorded the song it went up to #3 on the Country Charts. Naturally the song would have to appear in a Gene Autry movie.
To remind us why we truly celebrate Easter, Johnny Cash will then sing He's Alive from his 1979 album, A Believer Sings the Truth. This song tells of the story of Peter and how the crucifixion and resurrection of Jesus affected him. This song brings us a message of hope in the most hopeless of times. When Jesus was crucified, things seemed as dark and hopeless as they get, yet he raised from the dead and brought great joy and forgiveness to all who accept him as their lord and savior. If he can overcome the grave, how much more can he overcoming anything we might be worrying about right now.
Now comes Henry Burr with his 1911 recording of Will the Roses Bloom in Heaven.
How can you have Christian music for Easter without having, The Old Rugged Cross? The answer is you can't. So here is Ricky Van Shelton singing it. The song itself dates back to 1913 and was written by evangelist, George Bennard. Actually, the first verse was written in 1912. It was written while Bennard was a part of a series of revival meetings in Albion, Michigan. He was worried about the complete disregard for the gospel around him and wrote this verse as a repose. Of writing it Bennard said, "I seemed to have a vision .... I saw the Christ and the cross inseparable." The song wouldn't be completed for several months, when he was leading meetings at a local church in Pokagan, Michigan. He played it for Rev. Leroy (the sponsoring pastor) and his wife, Ruby Bostwick, both of whom found themselves moved to tears. It was then incorporated into a service at that church on June 7, 1913. The song has the same effect today as it must have back then.
Next is George Strait with Three Nails and a Cross from his 2011 album, Here for a Good Time. As well as George Strait being the main singer, this song has a top-notch line up of background singers including Chris Stapleton, Thom Flora, Marty Slayton, Wes Hightower and Faith Hill.
Then is fiddle player and arranger Craig Duncan with a beautiful instrumental version of Because He Lives. Craig Duncun has worked with artists such as Randy Travis, Billy Dean, Kathy Mattea and Roy Clark over the years. Today he performs a wide variety of music from country to gospel to Motown to jazz standards with his group of talented musicians.
Today's musical selection ends with the Sons of the Pioneers with their 1935 recording of When I Leave This World Behind.
Now for a message from S.M. Lockridge.
And now one from Billy Graham.
Let's continue with an Easter episode of Jack Benny's radio program.
Now Jesus was going up to Jerusalem. On the way, he took the Twelve aside and said to them, “We are going up to Jerusalem, and the Son of Man will be delivered over to the chief priests and the teachers of the law. They will condemn him to death and will hand him over to the Gentiles to be mocked and flogged and crucified. On the third day he will be raised to life!” Matthew 20:17-19
He then began to teach them that the Son of Man must suffer many things and be rejected by the elders, the chief priests and the teachers of the law, and that he must be killed and after three days rise again. Mark 8:31
A jar of wine vinegar was there, so they soaked a sponge in it, put the sponge on a stalk of the hyssop plant, and lifted it to Jesus’ lips. When he had received the drink, Jesus said, “It is finished.” With that, he bowed his head and gave up his spirit. John 19:29-30
As they entered the tomb, they saw a young man dressed in a white robe sitting on the right side, and they were alarmed. “Don’t be alarmed,” he said. “You are looking for Jesus the Nazarene, who was crucified. He has risen! He is not here. See the place where they laid him. But go, tell his disciples and Peter, ‘He is going ahead of you into Galilee. There you will see him, just as he told you.’ ” Mark 16:5-7
For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life. John 3:16
And we know that in all things God works for the good of those who love him, who have been called according to his purpose. Romans 8:28
“Abba, Father,” he said, “everything is possible for you. Take this cup from me. Yet not what I will, but what you will.” Mark 14:36
Above his head they placed the written charge against him: this is Jesus, the king of the Jews. Matthew 27:37
The angel said to the women, “Do not be afraid, for I know that you are looking for Jesus, who was crucified. He is not here; he has risen, just as he said. Come and see the place where he lay.” Matthew 28:5-6
He is not here; he has risen! Remember how he told you, while he was still with you in Galilee: ‘The Son of Man must be delivered over to the hands of sinners, be crucified and on the third day be raised again.’ Luke 24:6-7
They found the stone rolled away from the tomb, but when they entered, they did not find the body of the Lord Jesus. Luke 24:2-3
With great power the apostles continued to testify to the resurrection of the Lord Jesus. And God's grace was so powerfully at work in them all. Acts 4:33
Who then is the one who condemns? No one. Christ Jesus who died—more than that, who was raised to life—is at the right hand of God and is also interceding for us. Romans 8:34
Thank you for joining me come back in a couple weeks for another service of Cowboy Church. Happy trails until we meet again.
This movie has a great comedic premise. Two homosexual couples (one of women and one of men) who live together are having relationship trouble. One couple is trying to have a baby with no success, while the other one of the members is having trouble with commitment. When one of the young men is afraid to lose his citizenship (he is Korean) and also afraid that his wealthy family might disown him if he comes out as gay, he suggests marrying one of the women and funding for the women to have a baby in return.
This premise is ripe with comedic possibilities. However, the film is not as consistently funny as it should have been. Don’t get me wrong this movie did make me laugh out loud at times. Some of these moments are just undeniably hilarious. The two actual wedding scenes are especially laugh out loud funny. However, there is also too much time in between the really funny moments. Most of the humor is not bad per say but it is not especially funny either. One can't help but wish the rest of the film was as funny as the best comedic moments.
As for the romance and the drama, it is very predictable. There is never a moment, when you can't tell which way this film is going to go. However, it kind of works because the main characters are all so likable and far from the two-dimensional characters that often populate these types of rom coms.
This is not a great film, but it does provide a fun trip to the movies.
Hello my friends and happy Saturday morning. Once again it is time for some classic cartoons.
Since Easter is tomorrow, what better way to start this post than with an Easter cartoon. Today's first film is a Silly Symphony called Funny Little Bunnies (1934). This cartoon does not feature much of an actual story beyond the idea of bunnies getting ready for Easter. However, people at the time did not seem to mind this at all. The following is a review from The Film Daily, "This is a likely entry for the best short of 1934. While it may appear that its vogue would be more or less limited to the Easter season because its purely imaginative substance deals with the manufacture and decoration of Easter eggs and bunnies by a colorful rabbit crew, the splendor and variety of coloring and the highly diverting action lift it far above any seasonal appeal. Musical accompaniment is pleasing." The following is a review from The Motion Picture Herald, "Unusually clever, highly entertaining, especially for the youngsters but potentially equally enjoyable for adults, this number of the Walt Disney Silly Symphonies pictures in the inimitable Disney cartoon fashion the manner in which the bunnies, in their woodland workshop, carve out Easter statues of themselves, paint the Easter eggs, with various colors obtained from the end of the rainbow. In this spring season despite the fact that Easter has passed, the subject is highly appropriate and cannot fail to meet with the favor of the entire audience, anytime, anywhere." The cartoon also won the gold medal for "Best Animated Film" at the Venice film festival in 1934. Still as is always the case not everyone was impressed. An exhibitor's review from The Motion Picture Herald was not very positive stating about Walt Disney, "He'll never make another 'Three Little Pigs.' In 1935 this movie was part of a four-week run of Disney cartoons. Here is The Film Daily talking about that, "Starting April 4, Walt Disney productions, released through United Artists, are being featured on the Trans-Lux Theater program for four consecutive weeks. Opening with 'The Tortoise and the Hare,' the next three programs feature the following Disney productions: 'Mickey's Man Friday,' 'Funny Little Bunnies,' and 'The Band Concert,' Disney's first Mickey Mouse subject in Technicolor." One thing I love about the color Symphonies is that they never take color for granted but instead always make sure it is used to full effect. That is definitely true of this cartoon. This movie was reissued to theaters on April 7, 1950.
Up next is a Columbia Color Rhapsody, Mother Hen's Holiday (1937).
Now we join Mighty Mouse in The Champion of Justice (1944)
Next comes an animated short film with an emphasis on the short. This is a cartoon, whose title should tell you exactly what to expect. This is Bambi Meets Godzilla (1969). No one can say it doesn't live up to that title. What simply is a one joke film has made people laugh for decades and will continue to do so. Film student Marv Newland made this film when he couldn't get the right shot of a sunrise for a live action short, he was making. This film was made in only the last two weeks of his school semester, but it is better remembered than any other film made in that class. This film would receive the 38th spot in Jerry Beck's The 50 Greatest Cartoons.
Now for a commercial break.
Now for one of the best post-Walt short films from Disney, It's Tough to be a Bird (1969). This short was the brainchild of Ward Kimball, one of the most brilliant and individualistic artists at the Disney studio. Some of the films he headed in his later years at the studio barely feel like Disney films at all. That is definitely true of this short, which rather than the typical Disney "illusion of life" embraces its own artifice, often employing various different art styles. Ward wanted the lead character to appear obviously hand drawn. Animator Burny Mattinson would remember Ward stating, "I don't want you guys cleaning this stuff up, just keep it rough. Just tie loose ends together and that's all but keep it very rough 'cause we're gonna Xerox it and I just want it as simple as possible." This film had an animal rights message to it and did not offer a very positive picture of humanity. Not everyone at the Disney studio was happy about this. Ward recalled that he felt "an unspoken air of resentment because you're attacking an institution, man, and his idealness and goodness. That's Disney. And you can't even in a subtle, subconscious way make fun of that." Ward did make one concession when it came to this though. He took out a sequence involving seagulls stuck in an oil spill (inspired by a real tragedy that happened near Santa Monica). Ward was told to take this out because the Gulf oil company was sponsoring the Disney TV show. However, when the film won an Academy Award, Ward stated in his acceptance speech, "I also want to extend my condolences to the unfortunate seagulls in Santa Barbara (when there had recently been the largest oil spill on record)" Though this short was originally intended as a segment on the Disney TV show, Card Walker (executive vice president of operations) liked the short so much that he decided to release it to movie theaters instead. It would first play with the live action Disney feature-length comedy, The Computer Wore Tennis Shoes (1969).
From 1976 to 1982 Warner Brothers made a series of 16 TV specials featuring the Looney Tunes characters. Some of these specials were brand new half hour stories, others featured clips for or whole classic cartoon shorts and still others featured a set of brand-new cartoons. Daffy Duck's Easter Special (1980) featured three brand new cartoons with bridging sequences inspired by Duck Amuck (1953). Here is one of the new cartoons from that special, The Chocolate Chase (1980). This short is very much in the mold of the mid to late 1960's cartoons which pitted Daffy Duck against Speedy Gonzales.
It is now silent movie time with Bobby Bumps Helps Out a Book Agent (1916). I apologize that the video pauses a few times.
Now it is time for a few Quick Shticks.
Let us close with a classic film from that cinema legend Señor Spielbergo. All I can say is boo-urns.
Thanks for joining me. Come back next week for more animated treasures. Until then may all your tunes be looney and your melodies merry.
Resources Used
The Life and Times of Ward Kimball: Maverick of Disney Animation Todd James Pierce.
Walt Disney's Silly Symphonies: A Companion to the Classic Cartoon Series by Russell Merritt and J.B. Kaufman
This tribute to cheesy 80's B-movies centers around four different stories that take place in Oakland in 1987. These four stories at first seem to have little to nothing to do with each other but over the course of the film they all intersect in very clever ways. For a movie that is full of silly dumb fun, these little clever touches become unexpected and therefore even more delightful. Being a tribute to cheesy 80's B-movies, this film is over the top in all the best ways. The action scenes are so over the top and silly that I simply a blast watching them. These scenes are incredibly gory, but the gore is so over the top and cartoonish that rather than being repulsive it just adds to the fun. The humor is also often quite funny. Not every gag works but the ones that do are hilarious. I especially loved Tom Hanks' cameo here, which made me laugh out loud through the whole scene. The movie also benefits from a strong sense of atmosphere. I was born in the 1990's and have never lived in Oakland, so I can't say how true this movie's depiction of 1980's Oakland is. I can however say that the portrait of this time and place here is very engaging and gives the film a delightful feel to it.
This movie does have its problems though. The second story was too conventional and familiar, often falling short of the other three stories. This movie also has quite a few tonal shifts from scenes with more serious subject matter to the silliest and most over-the-top humor. Sometimes these tonal shifts felt quite jarring, especially in the last story.
This movie was directed and written by the team of Anna Boden and Ryan Fleck, who have been working together since 2004 and have directed a wide variety of films ranging from sports dramas to comedies to superhero movies (Captain Marvel (2019)). This is definitely the duo's most unique feature film. However, the movie is a personal one, based off of Fleck's experiences growing up in Oakland in the 1980's. Perhaps this is why the atmosphere of 1980's Oakland is so vivid and one of the film's biggest strengths.
This movie may be far from perfect, but it is a lot of fun.
Looney Tunes: Rabbit's Run is a bit of an oddity in the Looney Tunes franchise. This direct to video movie is in some ways a feature length version of the TV series, The Looney Tunes Show (one of the best TV versions of the Looney Tunes characters). It uses the same characterizations and designs for these characters, as well as the same style of humor. However, while that was one of the few Looney Tunes series with a strong sense of continuity, this film does not take place within the same continuity with the characters meeting for the first time. Also, while The Looney Tunes Show put the characters in more grounded sitcom-esque enjoinments and stories, this movie has a very large-scale story with major stakes.
In this movie, Speedy Gonzales finds a flower and gives it to his friend Lola Bunny, a perfume sales lady who has long been dreaming of creating the world's greatest perfume. She uses this flower to create a new perfume. However unbeknownst to her, this flower has the ability to turn anyone invisible. A secret government agency (run by Foghorn Leghorn) is also after this flower and Lola is soon on the lam. Cab drivers Bugs Bunny and Daffy Duck soon find themselves roped into the same danger as Lola.
There is a lot to enjoy about this movie. At only 74 minutes this whole film flies by very quickly, never once becoming dull. The storyline is over the top and silly in the best way possible. It also avoids feeling like a TV episode expanded to feature length. The characters here are just as likable and delightful as they were in The Looney Tunes Show. While the characters are likable and fun on their own, they are even better together. The way Bugs, Lola and Daffy play off each other is delightful with all three bringing out the best in each other. The romance between Bugs and Lola is also surprisingly charming and sweet. There may be times when the humor falls flat but when it hits, it is very funny. There are quite a few moments here that made me laugh out loud. Every scene involving Daffy is especially laugh out loud hilarious (it is a shame he gets such little screen time). The moments that made me laugh easily made up for the weaker comedic moments (for instance the big chase in outer space fails to capture the same charm as the classic Looney Tunes chases). The movie is also full of tons of fun Easter Eggs that pay tribute to the classic Looney Tunes shorts.
What really doesn't work in this movie is the song numbers. These songs are not only unnecessary, but they are also completely bland and forgettable.
This film was directed by Jeff Siergey, who not surprisingly directed multiple episodes of The Looney Tunes Show. His other directing credits include the direct to video movie, Tom and Jerry Meet Sherlock Holmes (2010) and multiple episodes of Mike Tyson Mysteries. As storyboard artist he worked on such films as Osmosis Jones (2001), Jimmy Neutron: Boy Genius (2001), Looney Tunes Back in Action(2003), Horton Hears a Who (2008), Minions (2015) and Tom and Jerry (2021). The writers of this movie are Hugh Davidson, Larry Dorf and Rachel Ramras, all of whom worked on The Looney Tunes Show as well as the TV series Mike Tyson Mysteries. The trio of writers also were the creators of the live action TV series, Nobodies. Rachel Ramras also takes over voicing Lola Bunny here, who was voiced by Kristen Wig in The Looney Tunes Show.
All in all, this may be far from a perfect film, but it is a lot of fun.
This movie is a feature length version of a short film called The One and Only Herb McGwyer Plays Wallis Island (2007). This short film was directed by James Griffiths and starred Tim Key and Tom Basden. Key and Basden also wrote this storyline about a lottery winner living alone on a densely populated island, who pays his favorite folk singer a half a million pounds to perform for him. The feature is brought to us by the same director, and stars/writers. This feature length version has the folk singer reunite with his former singing partner and girlfriend (Carey Mulligan) on the island, though the lottery winner didn't tell him she'd be there as well. Despite being a feature length version of a short film, nothing added here feels unnecessary nor does the movie ever drag or feel too long.
This is very much an old school charmer. Though one of the main characters may be a bit jaded by time, there is nothing even remotely cynical about this film. Yet though it may be very sentimental it is never mawkishly so. Instead, every sweet and good-hearted moment feels genuinely earned and real. This is in a large part due to the characters and the cast. We can all see ourselves so easily in each of these characters and by the end of the film, they feel like old friends (in no small part due to how great the cast as well as the writing is). The island itself is just as much a character as any of the people. There is such a nice soothing and relaxing atmosphere to this island that helps give the whole film an easy-going charm. I almost hated to leave when I saw the credits rolling as I simply wanted to live in this world with these characters, a little longer.
For a movie about musicians, the music is of course very important. As a lover of acoustic folk music, the songs were already going to appeal to me. However, the songwriting is truly wonderful here and it is easy to see why the lottery winner is such a fan of this duo's music. Adding this great music and some truly funny humor to the delightful easy-going charm and you've got a real winner on your hands.
Those of us who love classic Disney know that there are many actors that appeared often throughout old Disney films and TV shows. One of these actors is Tim Considine. Tim is probably best known for appearing The Hardy Boys, Spin and Marty and Annette serial segments on TV's The Mickey Mouse Club. He also appeared in the Disney movie, The Shaggy Dog (1959) and The Swamp Fox episodes of the popular Disney anthology series. Considine's best known non-Disney roles include the popular sitcom May Three Sons and a shell-shocked solider in the movie Patton (1970).
The following is a 1957 article from Radio TV Mirror about Tim Considine. There is a certain "gee shucks golly" wholesomeness to this article and it is a bit on the long side. However, it also gives us a great behind the scenes peak at who this Disney star was as a person.
Tim Takes a Spin
By Bud Goode
There's a reason why youthful, appealing Tim Considine was immediately accepted into the hearts of teen-age America, from the first moment he appeared in "Spin and Marty" on Walt Disney's "Mickey Mouse Club", over ABC-TV. Two reasons to be exact - one for the boys and one for the girls. Boys find Tim a regular fellow, a down-to-earth guy who goes for football, baseball and sports cars. Girls swoon over his clean-cut, blue-eyed American-boy good looks - their fan mail most frequently describes Tim as 'a real dreamboat!'
Just sixteen - as of December 31, 1956 - Tim himself would be the first to disclaim that "dreamboat" tag. But there's no doubt in anyone's mind that Tim's a typical American boy. He's at home on a baseball field or a tennis court, in a swimming pool or the gridiron grandstands. And he is no slouch on the dance floor, either. However, these are perfectly normal teen-age accomplishments. It was Tim's ability to act that caught Walt Disney's astute eye. Though Tim had only a handful of motion-picture and TV appearances to his credit, Disney sensed his inherent talent - and signed him to the contract which brought Tim to the delighted attention of teenagers everywhere.
"Tim realizes that much of his present popularity stems from the fact that he really does live the life of a typical American boy. He's also aware that he is growing up in a period when the nation's teenagers are drawing more than their share of criticism because of the way a few of them have been handling their problems. He knows it has never been easy to be a teenager, and that today's fast tempo makes it even more difficult. But like so many of his contemporaries, Tim is making a good adjustment to growing up.
Right now, he's at the age where he insists on the vast difference between "going steady" and "going steadily." His explanation is emphatic: "Going steady! Why that's practically being married. I don't hold with this 'steady' routine at all. Gosh sixteen's too young. 'Going Steadily' on the other hand is a different story. That just means a guy likes a gal, maybe a little more than some of the others. That's natural, isn't it?" he asks with naive simplicity. "After all some girls are smarter than others, or there is something in their personality you like. Or any one of a thousand things."
At present Tim's partial to girls who participate in his interest in sports and cars. If a girl is willing to go to the Pomona time-trails with him and his driver, Gene Curtis of California Motors - and spend a Sunday afternoon discussing double overhead racing cams, direct injection carburation and straight pipes - then she's the girl for him. At least for that Sunday. On the other hand, Tim enjoys other activities, too, such as school dances, movies, hayrides and beach parties. He's the sort of fellow who makes parties come to life. His arrivals are generally greeted with shouts of "here's Tim!" - a sound the signifies that the party now officially has gotten underway.
Even before his sixteenth birthday, Tim's typical-American-boy personality had made him one of the most popular youngsters in Hollywood - and set his mother to hopping, for she was his ready source of transportation. A familiar phrase in the Considine apartment, during Tim's fifteenth year B.D.L. (Before Driver's License), was: "Mom we're having a party at Freddie the Freeloader's house Friday night. How about taking us?" Carmen Considine always obliged, and has laughingly admitted, "I wore out four sets of tires and two cars keeping up with Tim and his friends. I am sure I could have passed any test as a lady bus driver."
Tim's transportation problems were solved when he turned sixteen, since that's the age when California grants a driver's license. Up until then he could only drive with a learner's permit and when accompanied by licensed operator. Today's Tim's car, an Alfa Romeo sportster, in his pride and joy. If there is a lull in any conversation, he is sure to say, "Want to see the latest pictures of my car?"
Like every average Amercian boy, Tim is crazy over cars. But he has the engineer's and mechanic's interest in the overall performance of the automobile, not in top speed for speed's sake. His attitude is: "Sure, speed's alright but what can you do with it in the city? That's where performance counts." Tim proudly points out that his car purrs at thirty-five miles an hour, going forty miles on a gallon of gas.
Tim got his car when he was nearly sixteen, before he was old enough to drive it alone. "I've never met a boy who didn't want to drive," says Mrs. Considine. "Tim was no different. In fact, he had been building model airplanes and automobiles since he was ten.
"We looked upon the sports car as an investment in safety. His working on it with driver-mechanic Gene Curtis served a number of purposes. For one, Tim is natural mechanic, and it gave him something creative to do with his hands. Second, it's a constructive hobby, for he is learning automotive mechanics. Third- and most important - by talking in terms of safety factors and tolerances with Gene, he has been learning the limitations of the car.
"Having been exposed to this car for the past for the past year and having worked closely with his driver in the pits at the Pomona Fairgrounds," she explains, "Tim has learned what his car will do and what it won't do. It isn't as though he had suddenly had it thrust upon him, to learn about it for the first time."
In addition, pride of ownership has helped teach Tim a sense of responsibility. Two weeks before his driver, Gene, was to enter the car in its first competitive event at Pomona, Tim found that he was worried. "Gosh,' he says seriously, "things were piling up on me. I had a chemistry test at school to think about. Though chem is my favorite subject, its rough. And I also had a lot of things to do to the car, like putting in safety belts, putting on the wind screen, painting on my number - 89- and taping up the front end to protect it from So you see, I had a lot of things on my mind. Couldn't sleep maybe even have bitten a nail or two."
But realizing the responsibility was his - and with the help of his mother, who continued to supply transportation for a steeped-up schedule - he managed to cram everything in the last week ("though I was almost late for the starting line"), and he still got an A on his chemistry test.
Though Tim is the grandson of the eminent Pantages theatrical family (his mother is Carmen Pantages), the son of movie producer John Considine and the nephew of columnist Bob Considine, he became an actor quite by chance. For some time, agent Sam Armstrong, a friend of the family, had been insisting that Tim had natural talent. He wanted to suggest Tim's name to Hollywood casting directors, but no one took 'Uncle Sam' seriously. One day, he happily announced that - on his own - he had arranged for Tim to appear in a cereal commercial. Sam's purpose was to give Tim experience before the cameras and see how Tim came across on the screen.
The family good-naturedly went along with the idea. But now as Mrs. Considine admits, "We really shouldn't have been surprised at how well Tim came across on the screen. Though he never expressed a desire to act, he has always had the average child's interest in putting on penny-admission puppet shows or the like.
"The only acting experience I remember he had as a youngster, which might possibly have indicated a theatrical career, was the magic act he put on for us when he was eight. I'll never forget when I came home to find the kitchen covered in raw eggs. It was the only clue I had that my son was interested in performing. When I asked Tim about the broken shells, I learned that him and a young school chum by the name of Bill Gargaro were developing an act. Bill was the magician. Tim his helper. They had been practicing!
"The next day, Tim came to tell me that their magic show was ready, and he wondered if Uncle Rod would let him, and Bill put it on the stage of the Pantages Theater -which at the time was still in the family. I never dreamed Rod would say yes, so I told Tim to go ahead and ask.
"Tim asked. Uncle Rod replied, 'what do you do.'
"Said Tim, 'We're magicians - we'd saw a woman in half.
"Uncle Rod asked, 'what woman?'
"'Oh!' said Tim, 'any woman from the audience.'
"Hiding a smile Uncle Rod agreed. 'Sure, boys you can do your show, but you'd better plan on coming on before the regular audience gets in.'
"I was horrified at Uncle Rod's reaction," Mrs. Considine recalls, "because I had visions of having to round up the entire family in an attempt to fill the theater. Even then I knew it would look empty by contrast with the regular performances, and the poor boys' hearts would be broken. I finally convinced them that they would have a better show in the back yard. The neighbors made a wonderful audience."
Tim himself says, "That was just about the beginning and end of my acting career. We had one routine with steel tubes and empty bottles. You'd hold the tubes to the light, keeping the bottles inside tight with your thumb, and saying 'see the tube is empty.' That's when the bottle slipped off my thumb, breaking on the table. I turned blue." Then after a short pause, Tim says, with a touch of awe in his voice, "By golly - you know - I think Uncle Rod was really willing to let us go on at the Pantages."
It was several years later, of course, that Sam Armstrong approached Mrs. Considine with the prospect of Tim's becoming an actor. "If we'd remembered his earlier interests," she says, "We'd have known that Tim had the ability to act in front of a camera."
Following the cereal commercial, twelve-year-old Tim was taken by Armstrong to read the part for Red Skelton's son in MGM's "The Clown." Even at this date, Tim still hadn't decided to make a career of acting. "I didn't know if I liked acting or not," he recalls, "I was really too young to understand the importance of a featured role with Mr. Skeleton. It was the first big thing I ever had a chance at, and I just didn't know.
"But after the casting interview I began getting nervous. I remember the first day I went to M-G-M. I was sitting in the waiting room when Mr. Skeleton, big cigar in his mouth, walked by. He looked over at me and winked, flicking his cigar. I'd never before been greeted by anybody in show business as important as Mr. Skelton. I just flipped.
"That's when getting the part became important. Each week after that we had to go back to casting. They were slowly weeding out the boys for the job. Finally, it narrowed down to two of us. Then it was a question of size and, because I was bigger, I got the part. When Uncle Sam Told me I had it, I lost my head." Today, Tim still proudly wears the wristwatch given to him by Red Skeleton in 1952, in recognition of his youthful ability.
"The Clown" was Tim's first steppingstone to success. After completing the picture, he was also cast in "Her Twelve Men," starring Greer Garson and "Executive Suite," with William Holden. Even the studio officials at M-G-M had been impressed with his initial ability. But Tim says modestly, "Ah, I was just there so I got the parts."
He followed these pictures in quick succession with a few TV appearances, topping his short career with a role in Universal-International's "The Private War of Major Benson." Shortly after Walt Disney signed Tim for "Spin and Marty," followed by the leading role of Frank Hardy in "The Hardy Boys."
Today, Tim lives with his mother in a smart West Hollywood apartment overlooking the famous "Sunset Strip." Tim has an older married sister, Errin, and a brother, John Jr., a senior at U.C.L.A., who lives with his father in Westwood, since the Considine's are divorced. Tim and his father are great chums. In fact, he and his brother and Mr. Considine go to U.C.L.A. football games together. And Tim is very proud when he, in turn, can take them to his own Notre Dame High School games in San Fernando Valley. At home Tim doesn't need to be told twice that the dishes need wiping. He's one jump ahead of his mother and the Considine maid, Beatrice, in this case. After all, dinner dishes add to the allowance - and the allowance buys "juice" for the sportscar.
After dinner, Tim Daily devotes fifteen minutes to romping with his cocker spaniel, Inky. "Dogs need love and attention, just like people," he says sagely. Then he's off to the room to hit the books for the next day's classes at Notre Dame High.
"On weekends, Tim and his mother, who share many interests, go to the movies together. And after the latest sportscar race, Tim proudly shows Mrs. Considine the 35-mm. color slides of his car in action, projected on his bedroom wall.
Keeping his room neat and tidy falls under the heading of household chores for Tim. But it's only after Beatrice gives it her special attention that Mrs. Considine feels it's real fit for a formal inspection. That's understandable, because Tim's room is filled with tennis rackets, swim fins and snorkel tube, baseball bat and mitt, helter-skelter tennis balls, a record player (on which Tim's current favorite is "No Time for Lovin'," co-authored by his brother, who writes musical scores for U.C.L.A. productions), camera equipment (principally to take pictures of sports cars), a 35-mm. slide projector, a picture of his current best girl - in short all the paraphernalia that goes hand-in-baseball-glove with the picture of a typical American boy.
Tim's love of automobiles and sports would last long after this article. He would become a historian on both subjects. He would author such books as The Photographic Dictionary of Soccer (1979), The Language of Sport (1982), and American Grand Prix Racing: A Century of Drivers and Cars (1997). During his adult life he would also work in photography, most famously photographing the album cover for Joni Mitchell's 1971 album, Blue. In 1965, he married actress Charlotte Stewart, who is best known for playing the schoolteacher Charlotte Stewart on Little House on the Prairie and her role in the David Lynch film Eraserhead (1977). The two met when she appeared in the My Three Sons season one episode, Deadline (1961). The two divorced in 1969. He married Willett Hunt in 1971, and they would stay married until his death and have a son, Christopher. He passed away at the age of 81 on March 3, 2022, at his home in Mar Vista, California.
Here is an interview Leonard Maltin did with Tim Considine and Tommy Kirk for the Walt Disney Treasures DVD set of The Hardy Boys.
A problem with most modern dramedies is that often they do a better job at pulling on your heartstrings than making you laugh. That is definitely not the case here. While the storyline of two friends with opposite personalities going on a road trip is not a new comedic idea, this movie manages to get some real genuine laughs from it. The humor is not only funny but actually laugh out loud hilarious. Judging from the laughter of the audience in the theater, I was not the only person who felt this way. At the same time this comedy is matched perfectly with the drama. This is because both the comedy and the drama come from the characters. While they humor may get over the top and silly every comedic moment adds to us being able to understand these characters better. Because of this the tonal changes between a silly comedy and serious drama feel like the most natural thing in the world. Adding to this is the great chemistry between Michael Cera and Michael Angarano (who also directed, produced and co-wrote this film). The bromance between the two is completely believable and even in the scenes where they are fighting you can feel the love these two characters have underneath. As well as these two main characters Kristen Stewart and Maya Erskine shine in their smaller roles, dominating the screen whenever they are on.
As well being funny and touching, this movie is also quite insightful as it looks dealing with anxiety, accepting responsibilities and how friendships tend to drift apart as you get older. It approaches these subjects in a completely honest and intelligent way that will definitely speak to many going through similar thoughts and feelings. As someone who deals with anxiety myself, I thought the presentation of panic attacks here felt completely believable and real.
This film does have some pacing issues though. The last act felt particularly rushed, while the scenes with the two girls who owned a gym went on longer than they needed to.
Despite some pacing issues, this is in the words of Charlie Chaplin, "A picture with a smile - and perhaps, a tear." In other words, this is a laugh out funny movie with some very intelligent and moving dramatic moments as well.
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