by Josh Sewell
Haunted Mansion
(Rated PG-13 for some thematic elements and scary action. Opens in theaters on July 28.)
This weekend marks the arrival of Disney’s new family-friendly horror movie Haunted Mansion, based on the beloved theme park ride of the same name. It’s not the first time the studio has attempted to bring the iconic 999 Happy Haunts to the big screen (that would be the 2003 effort starring Eddie Murphy, which was reviled by critics but fared pretty well at the box office), although the latest iteration stays much closer to the ride’s mythology. It also introduces some compelling new characters while telling a heartwarming story about grief and healing.
In this interpretation, written by the talented Kate Dippold (who also scripted 2013’s The Heat and 2016’s underrated Ghostbusters reboot), single mom Gabby (Rosario Dawson) and her young son Travis (Chase W. Dillon) move into the titular mansion, which they immediately discover is inhabited by ghosts ranging from harmless to deadly. To get rid of their supernatural guests, they enlist a crew of spiritual “experts,” including psychic Harriet (Tiffany Haddish); priest Father Kent (Owen Wilson); historian Bruce (Danny DeVito); and disgraced scientist Ben (LaKeith Stanfield).
The new incarnation of Haunted Mansion is a great introduction to the horror genre for younger viewers. It’s similar in tone (and jump scares) to the original Pirates of the Caribbean, meaning that, while it gets intense at times, it probably won’t cause nightmares. This is Disney after all, so it shouldn’t surprise you to learn director Justin Simien utilizes cool visuals for comedic effect throughout and wraps everything up with a dance party.
Stanfield, one of this generation’s greatest actors, refuses to phone it in just because he’s in a big-budget summer flick. His character goes through the wringer emotionally, beginning in a dark place and slowly learning to process his grief thanks to new friends.
In comparison, although the other actors aren’t bad by any stretch, their lighthearted characters (particularly those played by Haddish, Wilson and DeVito) feel like they teleported in from a different, sillier version of the movie. However, I have no idea why Jared Leto is here, let alone bestowed the primo “and” spot in the opening credits. His character is entirely CGI, and his voice is modified so drastically that literally any actor could’ve done it.
Like much of Disney’s modern era output, Haunted Mansion runs a bit too long at two hours. I think losing 10-15 minutes (perhaps by trimming some meandering subplots and/or getting rid of unnecessary celebrity cameos) would’ve helped the pacing considerably. Still, that’s a small complaint in an otherwise enjoyable flick. I just wonder how it’s going to fare at the box office. Last weekend’s “Barbenheimer” juggernaut shows no signs of slowing down, so this one could end up as collateral damage.
Grade: B
Barbie
(Rated PG-13 for suggestive references and brief language. Now playing in theaters.)
As a film critic, I admit I’m spoiled/blessed/privileged (or whatever else you want to call it) in terms of seeing movies early. By the time most people watch a new release, I’ve already moved on to what’s opening the following weekend. That wasn’t the case with writer-director Greta Gerwig’s smart, hilarious and delightfully bizarre Barbie. Because of scheduling conflicts, by the time I finally got the chance to purchase a ticket, the staggering box office results proved I was extremely late to the party.
To be honest, it’s astonishing we got to see Barbie at all. A biting satire about feminism and patriarchy, revolving around a beloved toy, endorsed by Mattel, that kicks off by restaging the iconic opening to Stanley Kubrick’s 2001: A Space Odyssey? I mean, go back and re-read that – it sounds like I’m on drugs. What’s more, this isn’t some arthouse flick that played in a handful of big city theaters. It’s a blockbuster adored by critics and audiences alike, on track to gross a billion dollars worldwide.
The premise is deceptively simple, considering the complex issues Gerwig addresses in the screenplay, which she co-wrote with partner Noah Baumbach. Barbie (the phenomenal Margot Robbie) has a perfect life in Barbie Land, along with her Barbie BFFs (played by Issa Rae, Emma Mackey, Hari Nef, Alexandra Shipp, and many others). She spends her time at the beach, having dance parties and occasionally giving a little attention to her admirer Ken (Ryan Gosling, in an Oscar-worthy performance – no, I’m not kidding).
However, when she begins having an existential crisis, the wise “Weird Barbie” (Kate McKinnon) tells her she must travel to our world and connect with the girl who plays with her. It’s a huge culture shock to say the least, but for Ken – who has spent his entire life in Barbie’s shadow – it’s a look at what a world run by men looks like. He brings this info back to the other Kens (played by Simu Liu, Kingsley Ben-Adir, Ncuti Gatwa, Scott Evans and others), which threatens the peaceful existence of Barbie Land.
If you’re one of the rare few who haven’t seen Barbie yet, know going in that it’s not a typical toy adaptation like Transformers. This is more along the lines of a weirder Lego Movie that isn’t afraid to go meta. There’s a hilarious, perfectly timed joke from the narrator, voiced by Helen Mirren, that shatters the fourth wall and Gosling mocks toxic masculinity with an incredible rendition of Matchbox Twenty’s “Push.”
As you might imagine, conservative commentators like Ben Shapiro have been traumatized. But, surprisingly enough, negative voices appear to be in the minority. As of this writing, Rotten Tomatoes has the critics’ score at 90 percent and the audience score at 87 percent. For such a potentially divisive movie, that’s borderline miraculous.
Granted, the film isn’t perfect. There are some pacing issues along the way and the messaging gets a tad heavy-handed at times. But those are minor quibbles for a story that takes so many creative risks. As far as I’m concerned, Gerwig (who also directed Lady Bird and Little Women, both masterpieces) is now 3-for-3. Barbie is easily one of the year’s best films.
Grade: A-
(Rated PG-13 for some thematic elements and scary action. Opens in theaters on July 28.)
This weekend marks the arrival of Disney’s new family-friendly horror movie Haunted Mansion, based on the beloved theme park ride of the same name. It’s not the first time the studio has attempted to bring the iconic 999 Happy Haunts to the big screen (that would be the 2003 effort starring Eddie Murphy, which was reviled by critics but fared pretty well at the box office), although the latest iteration stays much closer to the ride’s mythology. It also introduces some compelling new characters while telling a heartwarming story about grief and healing.
In this interpretation, written by the talented Kate Dippold (who also scripted 2013’s The Heat and 2016’s underrated Ghostbusters reboot), single mom Gabby (Rosario Dawson) and her young son Travis (Chase W. Dillon) move into the titular mansion, which they immediately discover is inhabited by ghosts ranging from harmless to deadly. To get rid of their supernatural guests, they enlist a crew of spiritual “experts,” including psychic Harriet (Tiffany Haddish); priest Father Kent (Owen Wilson); historian Bruce (Danny DeVito); and disgraced scientist Ben (LaKeith Stanfield).
The new incarnation of Haunted Mansion is a great introduction to the horror genre for younger viewers. It’s similar in tone (and jump scares) to the original Pirates of the Caribbean, meaning that, while it gets intense at times, it probably won’t cause nightmares. This is Disney after all, so it shouldn’t surprise you to learn director Justin Simien utilizes cool visuals for comedic effect throughout and wraps everything up with a dance party.
Stanfield, one of this generation’s greatest actors, refuses to phone it in just because he’s in a big-budget summer flick. His character goes through the wringer emotionally, beginning in a dark place and slowly learning to process his grief thanks to new friends.
In comparison, although the other actors aren’t bad by any stretch, their lighthearted characters (particularly those played by Haddish, Wilson and DeVito) feel like they teleported in from a different, sillier version of the movie. However, I have no idea why Jared Leto is here, let alone bestowed the primo “and” spot in the opening credits. His character is entirely CGI, and his voice is modified so drastically that literally any actor could’ve done it.
Like much of Disney’s modern era output, Haunted Mansion runs a bit too long at two hours. I think losing 10-15 minutes (perhaps by trimming some meandering subplots and/or getting rid of unnecessary celebrity cameos) would’ve helped the pacing considerably. Still, that’s a small complaint in an otherwise enjoyable flick. I just wonder how it’s going to fare at the box office. Last weekend’s “Barbenheimer” juggernaut shows no signs of slowing down, so this one could end up as collateral damage.
Grade: B
(Rated PG-13 for suggestive references and brief language. Now playing in theaters.)
As a film critic, I admit I’m spoiled/blessed/privileged (or whatever else you want to call it) in terms of seeing movies early. By the time most people watch a new release, I’ve already moved on to what’s opening the following weekend. That wasn’t the case with writer-director Greta Gerwig’s smart, hilarious and delightfully bizarre Barbie. Because of scheduling conflicts, by the time I finally got the chance to purchase a ticket, the staggering box office results proved I was extremely late to the party.
To be honest, it’s astonishing we got to see Barbie at all. A biting satire about feminism and patriarchy, revolving around a beloved toy, endorsed by Mattel, that kicks off by restaging the iconic opening to Stanley Kubrick’s 2001: A Space Odyssey? I mean, go back and re-read that – it sounds like I’m on drugs. What’s more, this isn’t some arthouse flick that played in a handful of big city theaters. It’s a blockbuster adored by critics and audiences alike, on track to gross a billion dollars worldwide.
The premise is deceptively simple, considering the complex issues Gerwig addresses in the screenplay, which she co-wrote with partner Noah Baumbach. Barbie (the phenomenal Margot Robbie) has a perfect life in Barbie Land, along with her Barbie BFFs (played by Issa Rae, Emma Mackey, Hari Nef, Alexandra Shipp, and many others). She spends her time at the beach, having dance parties and occasionally giving a little attention to her admirer Ken (Ryan Gosling, in an Oscar-worthy performance – no, I’m not kidding).
However, when she begins having an existential crisis, the wise “Weird Barbie” (Kate McKinnon) tells her she must travel to our world and connect with the girl who plays with her. It’s a huge culture shock to say the least, but for Ken – who has spent his entire life in Barbie’s shadow – it’s a look at what a world run by men looks like. He brings this info back to the other Kens (played by Simu Liu, Kingsley Ben-Adir, Ncuti Gatwa, Scott Evans and others), which threatens the peaceful existence of Barbie Land.
If you’re one of the rare few who haven’t seen Barbie yet, know going in that it’s not a typical toy adaptation like Transformers. This is more along the lines of a weirder Lego Movie that isn’t afraid to go meta. There’s a hilarious, perfectly timed joke from the narrator, voiced by Helen Mirren, that shatters the fourth wall and Gosling mocks toxic masculinity with an incredible rendition of Matchbox Twenty’s “Push.”
As you might imagine, conservative commentators like Ben Shapiro have been traumatized. But, surprisingly enough, negative voices appear to be in the minority. As of this writing, Rotten Tomatoes has the critics’ score at 90 percent and the audience score at 87 percent. For such a potentially divisive movie, that’s borderline miraculous.
Granted, the film isn’t perfect. There are some pacing issues along the way and the messaging gets a tad heavy-handed at times. But those are minor quibbles for a story that takes so many creative risks. As far as I’m concerned, Gerwig (who also directed Lady Bird and Little Women, both masterpieces) is now 3-for-3. Barbie is easily one of the year’s best films.
Grade: A-
Reach out to Josh Sewell on Twitter @IAmJoshSewell
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