This Is a Movie Review: ‘Black Panther’ Absolutely Resides Within the Marvel Cinematic Universe, Just a Hitherto Barely Explored Corner

February 14, 2018

jmunney Cinema, Movie Reviews , , , , , , , , , , , , , , 3 Comments

CREDIT: Disney/Marvel Studios

This post was originally published on News Cult in February 2018.

Starring: Chadwick Boseman, Michael B. Jordan, Lupita Nyong’o, Danai Gurira, Martin Freeman, Daniel Kaluuya, Letitia Wright, Winston Duke, Angela Bassett, Forest Whitaker, Andy Serkis, Sterling K. Brown

Director: Ryan Coogler

Running Time: 134 Minutes

Rating: PG-13 for Prolonged Fighting with a Variety of Weapons, Some of It Fairly Brutal and Bloody

Release Date: February 16, 2018

Black Panther culminates with the lesson, “The wise build bridges, while the foolish build barriers.” This appeal would seem to apply most directly to the United States at this particular cultural moment, but instead it is an exhortation to the fictional African nation of Wakanda now that its new king T’Challa (Chadwick Boseman) has ascended. Wakanda is filled with vast riches and incredibly advanced technology thanks to the stockpile of the alien metal vibranium long ago delivered by a meteorite crash. But it is also supposedly one of the poorest nations on the planet, likely due to a generations-long isolationist policy. Much of Black Panther feels like buildup to this point of opening up to the rest of the world, and in that way it is a prelude to the sequels that are sure to come. But what it reveals over the course of that prelude is thrilling.

Black Panther is not the first black superhero movie, but with a majority-black cast, black director, and African setting, it is unabashedly black in so many ways that are unprecedented for a blockbuster of this magnitude. It is unsurprising then that its initial villain is reminiscent of blaxploitation heroes fighting against The Man. Ulysses Klaue (an agreeably gonzo Andy Serkis) is a white South African arms dealer who is looking to get his hands on vibranium and make a pretty penny in the black market.  But after Klaue is dispatched, the conflict ultimately comes down to that between T’Challa and Eric “Killmonger” Stevens (Michael B. Jordan), who was born in America but has Wakandan roots and just as legitimate a claim to the throne as T’Challa. While Killmonger’s methods are overly destructive, his complaints, both personal and regarding how Wakanda does its public business, are legitimate. That Black Panther focuses on an intranational conflict should not be viewed as evidence of African and black cultures refusing to engage with the rest of the world, but rather an illustration that they already have plenty to keep themselves occupied.

While filled with several action set pieces and a fast-moving plot, Black Panther is most successful in its design and production elements. This is the sort of movie that brings a fully realized vision of a fictional world to life. The costumes are based on traditional African garb, but they are their own uniquely lavish style. Diverse tattoos and piercings add to the mix, including a few elements (such as one very stretched-out lower lip) that could be presented comically but are instead signs of dignity.

Culturally, this is a people that honors its elders, going so far as to have another dimension of sorts that exists at the nexus of technology and magic. Dubbed “the Ancestral Plane,” its purpose is for new kings to visit their deceased forebears for the sake of imparting necessary wisdom. Wakanda also treats its women in high regard, as they no big deal serve essential roles in government, science, and diplomacy. It may be true that the throne may not appear to be an option for woman (at least in this outing), but the monarchy is not as unilateral a position as it could possibly be. Considering all that progressiveness, it is disheartening that so much of Wakanda honor is bound up in a code of fighting and a culture of combat. That is not a complaint against the movie; in fact, what we have here is an appreciably complicated look at the difficulty to be a paragon of a nation.

The Black Panther is not just T’Challa, but rather a mantle that he holds currently. Accordingly, Black Panther the film is very much an ensemble piece, with attitude- and passion-driven performances from all the Wakandan tribes. The particular breakthrough is Letitia Wright (probably best known for the “Black Museum” episode of Black Mirror) as T’Challa’s spitfire younger sister Shuri, who manages to be both the comic relief and the Q to his James Bond.

Black Panther fits squarely within the overarching narrative of the Marvel Cinematic Universe, even though it can stand firmly on its own. Furthermore, it is nice to see it sidestep the easy template of the typical origin story that most solo superhero cinematic debuts tend towards. It has the standard two post-credits scenes, and weirdly enough they fit in the the MCU’s next chapter more squarely than other recent post-credits stingers. The last one is also more satisfying than those recent examples, perhaps because Black Panther takes care of its own, and we are ready when it stretches out.

Black Panther is Recommended If You Like: Shaft, Captain America: Civil War, Fruitvale Station

Grade: 3.75 out of 5 Headwraps

This Is a Movie Review: Russian Oscar Nominee ‘Loveless’ Manages to Engross by Being More Ominous Than Depressing

February 14, 2018

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CREDIT: Sony Pictures Classics

This review was originally posted on News Cult in February 2018.

Starring: Maryana Spivak, Aleksey Rozin, Marina Vasilyeva, Andris Keišs, Artyom Zhigulin, Sergey Dvoinikov, Matvey Novikov

Director: Andrey Zvyagintsev

Running Time: 128 Minutes

Rating: R for Tender and Vigorous Sex and a Glimpse at a Bloody Corpse

Release Date: February 16, 2018 (Limited)

If you think of Russia as a depressing wasteland of permanent winter, the premise – and title – of Loveless will not disabuse you of that notion. An Oscar nominee for Foreign Language Film, it tracks the saga of Moscow residents Zhenya (Maryana Spivak) and Boris (Aleksey Rozin), who are in the midst of a nasty divorce when their 12-year-old son Alexey (Matvey Novikov) runs away to escape the emotional turmoil. The rest of the film is focused on the search for Alexey, and there is little clue where he could have gone off to. He does not appear to be a target for kidnapping, he hardly has any friends to hide out with, and his grandmother would be a nightmare as a potential refuge. Zhenya and Boris seek comfort amidst their struggle with their new beaux (do note that there are multiple explicit sex scenes), but their lives remain cold and numb, and those relationships do not look like they would be all that fulfilling even if Alexey were still around.

The clues, or lack thereof, about Alexey’s whereabouts remain inscrutable and discouraging throughout. There is no omniscient viewpoint to even confirm the worst possibility. Despite that thorough lack of hope, Loveless is not as depressing as one might expect (or it least it wasn’t for me). It plays more like a mystery, and in that sense it is reminiscent of Prisoners, another recent ominous thriller about missing children. It is not quite as white knuckle as that nail-biter; it is more of a mood piece, weirdly akin to the snowbound wanderlust of the child-vampire film Let Me In (though not as much the more sunless Swedish original Let the Right One In).

There are a few inexplicable aspects to Loveless that suggest big implications but ultimately seem to serve no other purpose than setting the film in 2012. Whenever a TV or radio is playing, it is set to a news channel discussing either the American presidential election, the Mayan apocalypse, or both. Perhaps the politics angle means to say that the world is obsessed with America to the detriment of places like Russia. But I have no idea what that is doing in a film that is otherwise about domesticity. The possible apocalyptic symbolism is easier to parse, as the loss of a child can easily feel like the end of the world. But that obviousness seems out of place in a story that is mostly ambiguous. Overall, Loveless is an engaging portrait of emotionally deadness that leaves an impression, but seasoned with bits of absurdity that leave just as strong an impression.

Loveless is Recommended If You Like: Let Me In, Prisoners, This weird joke about a Volkswagen Passat and “Volkswagen Credit” (the humor might be lost in translation)

Grade: 3.5 out of 5 Screaming Matches

Billboard Hot Rock Songs – Week of February 17, 2018

February 13, 2018

jmunney Billboard Charts, Billboard Hot Rock Songs, Music , , , Leave a comment

Each week, I check out the Billboard Hot Rock Songs chart, and then I rearrange the top 25 based on my estimation of their quality. I used to rank all 25, now I just rank the cream of the crop.

Original Version
1. Imagine Dragons – “Thunder”
2. Portugal. The Man – “Feel It Still”
3. Imagine Dragons – “Believer”
4. Walk the Moon – “One Foot”
5. Imagine Dragons – “Whatever It Takes”
6. Alice Merton – “No Root”
7. Foster the People – “Sit Next to Me”
8. 30 Seconds to Mars – “Walk on Water”
9. Theory of a Deadman – “(Rx) Medicate”
10. Fall Out Boy – “Hold Me Tight or Don’t”
11. Aerosmith – “Dream On”
12. Portugal. The Man – “Live in the Moment”
13. Queen – “We Will Rock You”
14. Beck – “Up All Night
15. Five Finger Death Punch – “Gone Away”
16. Def Leppard – “Pour Some Sugar on Me”
17. CHVRCHES – “Get Out”
18. The Cranberries – “Zombie”
19. Bad Wolves – “Zombie”
20. lovelytheband – “Broken”
21. Bishop Briggs – “Never Tear Us Apart”
22. Bastille – “World Gone Mad”
23. Breaking Benjamin – “Red Cold River”
24. Papa Roach – “Born for Greatness”
25. The Killers – “Run for Cover”

Jmunney’s Revision
1. Zombie (The Cranberries)
2. We Will Rock You
3. Dream On
4. No Roots
5. Up All Night
6. Feel It Still
7. Never Tear Us Apart
8. Get Out
9. Pour Some Sugar on Me
10. Live in the Moment
11. World Gone Mad

Billboard Hot 20 – Week of February 17, 2018

February 13, 2018

jmunney Billboard Charts, Billboard Hot 100, Music , , , Leave a comment

Each week, I check out the Billboard Hot 100, and then I rearrange the top 20 based on my estimation of their quality. I used to rank all 20, now I just rank the cream of the crop.

Original Version
1. Drake – “God’s Plan”
2. Ed Sheeran – “Perfect”
3. Bruno Mars and Cardi B – “Finesse”
4. Camila Cabello ft. Young Thug – “Havana”
5. Post Malone ft. 21 Savage – “Rockstar”
6. Dua Lipa – “New Rules”
7. The Weeknd and Kendrick Lamar – “Pray for Me”
8. Migos – “Stir Fry”
9. Bebe Rexha and Florida Georgia Line – “Meant to Be”
10. Halsey – “Bad at Love”
11. Imagine Dragons – “Thunder”
12. NF – “Let You Down”
13. Kendrick Lamar ft. Zacari – “Love.”
14. Migos, Nicki Minaj, and Cardi B – “MotorSport”
15. G-Eazy and Halsey – “Him & I”
16. G-Eazy ft. A$AP Rocky and Cardi B – “No Limit”
17. Justin Timberlake ft. Chris Stapleton – “Say Something”
18. Post Malone – “I Fall Apart”
19. Cardi B – “Bodak Yellow (Money Moves)”
20. Cardi B ft. 21 Savage – “Bartier Cardi”

Jmunney’s Revision
1. New Rules
2. Pray for Me
3. Havana
4. Love.
5. Say Something

This Is A Movie Review: Aardman Kicks It Stone Age-Style with ‘Early Man’

February 13, 2018

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CREDIT: Lionsgate

This review was originally posted on News Cult in February 2018.

Starring: Eddie Redmayne, Tom Hiddleston, Maisie Williams, Timothy Spall, Richard Ayoade, Selina Griffiths, Johnny Vegas, Mark Williams, Gina Yashere, Simon Greenall, Rob Brydon, Kayvan Novak, Miriam Margoyles, Nick Park

Director: Nick Park

Running Time: 89 Minutes

Rating: PG for Stone/Rock/Boulder-Based Cartoon Physical Humor

Release Date: February 16, 2018

Early Man is the sort of film that delivers exactly what you expect and hope it would deliver. It is the latest stop-motion animated effort from Aardman, and it is just as understated, British, and charming as Wallace and Gromit, Chicken Run, and Shaun the Sheep. There might be a bit more physical humor this time around, though. It does take place in the Stone Age, after all, so it makes sense that it would feature a significant number of conks on the head.

This is one of those movies that presupposes that subsequent historical periods existed side by side against each other as opposing tribes. It may be true that the Bronze Age followed the Stone Age, but I’m pretty sure it didn’t go down with bronze-toting brutes declaring to a tribe of cavemen, “The Stone Age is SO OVER! Bronze is where it’s at now!” Of course, historical accuracy is not the point here, so these are not complaints, just descriptions of goofiness. It is worth noting, though, that ahistorical larks like Early Man like to pretend that they are historically accurate, thus why we get very precise setting-establishing subtitles like “neo-Pleistocene Age, near Manchester, around lunchtime.” It’s all in good fun!

Early Man is essentially an underdog sports movie, as the fight between the Stonies and the Bronzers comes down to a soccer match (or football, since we’re in England). After a Bronze Age army overruns the Stone Age village, caveman Dug (Eddie Redmayne) bumbles his way into the Bronze city and then brokers a deal with Lord Nooth (Tom Hiddleston) in which the two societies will face off on the pitch to determine who gets to retain residence of the village. As the caveman are totally unfamiliar with the sport, this leads to a predictably silly training montage. Also fitting in with the tropes of the genre is Goona (Maisie Williams), a Bronze Age vendor who defects to help the caveman, since she is not a fan of the big bad team winning all the time without emphasizing teamwork or allowing women into its ranks.

The character design would be grotesque if it were live action, but the Aardman style renders it cute, though still weird, but adorably so. The cavemen are all buck teeth and porcine snouts, while the Bronzers sport skinny heads and exaggerated midsections. The biggest fun comes from the puns based in hindsight and the retrofitted modern technology. Noting that their tribe are early risers, Dug reminds his chief (Timothy Spall) “we’re early men,” and for all you hooligans out there, there is indeed a team named “Early Man United.” But bringing me the most joy has got to be the “instant replay,” in which plays are reenacted with crude figures on a board along the sideline. Obviously this is not the actual origin of replay, but it is fun to spend an hour and a half within a world in which it is.

Early Man is Recommended If You Like: Wallace and Gromit, Chicken Run, Shaun the Sheep Movie

Grade: 3.5 out of 5 Buck Teeth

This Is a Movie Review: Affairs Are Revealed and Philosophical Rejoinders Are Dispatched at ‘The Party’

February 12, 2018

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CREDIT: Roadside Attractions

This review was originally posted on News Cult in February 2018.

Starring: Patricia Clarkson, Bruno Ganz, Cherry Jones, Emily Mortimer, Cillian Murphy, Timothy Spall, Kristin Scott Thomas

Director: Sally Potter

Running Time: 71 Minutes

Rating: R for Pretentious Strong Language and Furtive Cocaine Bumps

Release Date: February 16, 2018

If you want to make the case that The Party is a worthwhile viewing experience, you must remember that Patricia Clarkson is playing a cynical realist and that Bruno Ganz, as her estranged significant other, is playing a spiritualist. (There is another couple made up of an idealist and a materialist, but their philosophies don’t make as much of an impression.) Now you may be thinking, what is a fight between academic theories doing in a movie that is ostensibly about people? And initially, as I realized that wow, this is really going directly after that lecture hall crowd, I was just as disturbed as you may be. But it soon becomes clear enough that I do not especially care what is going on with these people and therefore pompous piffle like commenting about behaving in a “20th-century postmodern post-post-feminist sort of way” actually serves to lend this whole affair some personality.

The occasion for the titular get-together is Janet’s (Kristin Scott Thomas) appointment to shadow minister of health as a member of the British opposition party. As she is getting ready in the kitchen and chatting with April (Clarkson), her husband Bill (Timothy Spall) is in the living room, staring vacantly into the distance of the backyard, while Gottfried (Ganz) observes him with curiosity. Some more guests arrive: Martha (Cherry Jones) and Jinny (Emily Mortimer), who announce that their in vitro fertilization efforts have finally taken; and topping it all off is Tom (Cillian Murphy), with promises that arriving later for dessert will be his s.o. Marianne, who remains a topic of tension-spiked discussion throughout.

Then, as cinematic soirees tend to go, secrets are revealed and grievances are aired, much of it having to do with affairs. Ultimately, it appears that everyone has slept with the same person or slept with someone who has slept with that someone. Confined to the location of Janet and Bill’s home, The Party often feels like a play, and a one-act one at that, clocking in at just over 70 minutes. There are not many stylistic touches that require this drama to be on film instead of on a stage, save for the black-and-white photography (which does not serve much thematic purpose anyway). At least the short runtime is appreciated. The tone is too caustic for my tastes to be bearable for too long, and since there are no genuine characters, just a bunch of types, it helps that it makes its point quickly and then makes a hard exit.

The Party seems to be commenting on its own shallowness in the banter between April and Gottfried, as she constantly upbraids him for his frequent use of aphorisms, while she continues to make smug, pretentious remarks that are not helpful in any practical way. But Gottfried wins me over right away, because he is just happy-go-lucky while spouting clichés even as his partner constantly insults him. April, however, is too cold to embrace at first. But once it is clear that the film does not exactly agree with what she is saying, you can enjoy her for her ridiculousness and for the relish with which Clarkson spits such venom.

The Party is Recommended If You Like: Who’s Afraid of Virginia Woolf?, Attending university philosophy lectures

Grade: 2.5 out of 5 Burnt Pastries

This Is a Movie Review: ‘Fifty Shades Freed’ is Just as Boring as Its Predecessors, But More Histrionic and Pointless

February 8, 2018

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CREDIT: Universal Pictures

This review was originally posted on News Cult in February 2018.

Starring: Dakota Johnson, Jamie Dornan, Eric Johnson, Max Martini, Brant Daugherty, Arielle Kebbel, Fay Masterson, Luke Grimes, Eloise Mumford, Rita Ora, Marcia Gay Harden, Tyler Hoechlin, Hiro Kanagawa

Director: James Foley

Running Time: 105 Minutes

Rating: R for The Usual T&A, Sometimes Involving Ice Cream, Plus a Climactic Gunshot

Release Date: February 9, 2018

Fifty Shades Freed is just as boring as the rest of the Grey/Steele saga, and the whole S&M hook has ceased to be a big deal ever since the first entry was released. It’s not like it was ever that big a deal in the first place, though enough people were titillated by the promise of transgression to result in a phenomenon. But now that the aftershocks are nowhere near as explosive, what is the point? With Christian (Jamie Dornan) and Ana (Dakota Johnson) comfortably married, the whole frisson of inappropriateness is eliminated, and all Fifty Shades Freed has to fall back on is a fairly boilerplate tale of revenge and kidnapping.

The troubles that apparently drive the action involve Ana’s former boss Jack (Eric Johnson), who blames her for his firing, so he resorts to stalking to exact his revenge. There is never any tension that suggests that Jack will not be dispatched by the end or that it makes it thrilling at all in the moment. From a narrative standpoint, it exists, I guess, so that Christian can save Ana, thus solving any and all current and future marital troubles. Because the thing is, the struggles between the two of them have little to do with the parameters of their kinkiness and everything to do with emotional maturity or lack thereof. Christian is overly controlling and protective, and hilariously unprepared for the prospect of being a father. I worry about the long-term viability of this union, not because a possibility for abuse, but rather because any fundamental compatibility is just not there, and the shallow picture-perfect ending cannot convince me otherwise.

While the sex scenes are essentially window-dressing at this point, they are still the main attraction (along with the luxury travel porn). There is certainly some excitement to being in a crowded theater as the camera almost zooms in on a hardcore reveal. But if you are going to venture out to see this sort of action instead of pulling it up on your computer, there ought to be some romance leading up to it. But the two leads have just never managed to summon any significant chemistry.  Johnson is perpetually unsure what kind of movie she is in, alternating playing it straight with occasionally venturing a mildly subversive line reading that would fit a version of this movie that makes fun of itself. Dornan, meanwhile, sleepwalks through the whole thing. Arielle Kebbel, as an architect who gets a little too flirty with Christian, is the only one to zero in on a satisfyingly campy tone, but she is barely utilized. All this confusion is inherent to a traditional center attempting to be transgressive.

Fifty Shades Freed is Recommended If You Like: Porn Minus the Romance, Melodramatic Revenge Plots

Grade: 1.5 out of 5 Boobs in Boobland

Billboard Hot Rock Songs – Week of February 10, 2018

February 6, 2018

jmunney Billboard Charts, Billboard Hot Rock Songs, Music , , , Leave a comment

Each week, I check out the Billboard Hot Rock Songs chart, and then I rearrange the top 25 based on my estimation of their quality. I used to rank all 25, now I just rank the cream of the crop.

Original Version
1. Imagine Dragons – “Thunder”
2. Portugal. The Man – “Feel It Still”
3. Imagine Dragons – “Believer”
4. Walk the Moon – “One Foot”
5. Imagine Dragons – “Whatever It Takes”
6. Alice Merton – “No Roots”
7. Thirty Seconds to Mars – “Walk on Water”
8. Thirty Seconds to Mars – “Dangerous Night”
9. Theory of a Deadman – “(Rx) Medicate”
10. Foster the People – “Sit Next to Me”
11. Fall Out Boy – “Hold Me Tight or Don’t”
12. Breaking Benjamin – “Feed the Wolf”
13. The Cranberries – “Zombie”
14. Beck – “Up All Night”
15. Def Leppard – “Pour Some Sugar on Me”
16. Portugal. The Man – “Live in the Moment”
17. Five Finger Death Punch – “Gone Away”
18. Breaking Benjamin – “Red Cold River”
19. Bastille – “World Gone Mad”
20. The Cranberries – “Dreams”
21. lovelytheband – “Broken”
22. Bad Wolves – “Zombie”
23. Imagine Dragons – “Thunder”/”Young Dumb & Broke” (Medley)
24. The Cranberries – “Linger”
25. Fall Out Boy – “The Last of the Real Ones”

Jmunney’s Revision
1. Zombie (The Cranberries)
2. Dreams
3. No Roots
4. Up All Night
5. Feel It Still
6. Linger
7. Pour Some Sugar on Me
8. Live in the Moment
9. World Gone Mad

Billboard Hot 20 – Week of February 10, 2018

February 6, 2018

jmunney Billboard Charts, Billboard Hot 100, Music , , , Leave a comment

Each week, I check out the Billboard Hot 100, and then I rearrange the top 20 based on my estimation of their quality. I used to rank all 20, now I just rank the cream of the crop.

Original Version
1. Drake – “God’s Plan”
2. Ed Sheeran – “Perfect”
3. Bruno Mars and Cardi B – “Finesse”
4. Camila Cabello ft. Young Thug – “Havana”
5. Post Malone ft. 21 Savage – “Rockstar”
6. Halsey – “Bad at Love”
7. Dua Lipa – “New Rules”
8. Migos, Nicki Minaj, and Cardi B – “MotorSport”
9. Justin Timberlake ft. Chris Stapleton – “Say Something”
10. Imagine Dragons – “Thunder”
11. Bebe Rexha and Florida Georgia Line – “Meant to Be”
12. Migos – “Stir Fry”
13. G-Eazy ft. A$AP Rocky and Cardi B – “No Limit”
14. NF – “Let You Down”
15. Kendrick Lamar ft. Zacari – “Love.”
16. G-Eazy and Halsey – “Him & I”
17. Post Malone – “I Fall Apart”
18. Migos ft. Drake – “Walk It Talk It”
19. Cardi B ft. 21 Savage – “Bartier Cardi”
20. Sam Smith – “Too Good at Goodbyes”

Jmunney’s Revision
1. New Rules
2. Havana
3. Love.
4. Say Something

This Is a Movie Review: ‘Peter Rabbit’ is Fun Enough for the Kiddos, But It’s Also Kind of Insane

February 6, 2018

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CREDIT: Sony Pictures

This review was originally posted on News Cult in February 2018.

Starring: James Corden, Domhnall Gleeson, Rose Byrne, Daisy Ridley, Margot Robbie, Elizabeth Debicki, Matt Lucas, Sia, Sam Neill

Director: Will Gluck

Running Time: 93 Minutes

Rating: PG for Cartoonish, But Quite Dangerous, Violence

Release Date: February 9, 2018

For the most part, Peter Rabbit is just another trifling kids movie with CG-animated animals. It is not the worst of the menagerie, though it is far from the best. But like many movies of this ilk, it also raises some weird metaphysical conundrums that I do not think it ever planned on grappling with but that it cannot avoid entirely. When you have anthropomorphic animals interacting with humans, especially when those humans are played by live-action actors, you have to decide how much the humans can recognize the critters’ extraordinary abilities. When the beasts talk to each other, does it just sound like animal noises to people? Or can they hear it perfectly, thus forcing the animals to be discreet? Or maybe there is only Dr. Dolittle-type, going mad over the loneliness of his interspecies communication powers.

In this case, Peter (James Corden), his triplet sisters Mopsy (Elizabeth Debicki), Flopsy (Margot Robbie), and Cottontail (Daisy Ridley), and their cousin Benjamin Bunny (Matt Lucas) are quite sneaky, and as their schemes become more and more elaborate, there is no reason to pretend that they are not fully intelligent creatures. The confirmation that they can in fact talk to humans is a rather sloppy reveal, as it begs the question: how have they hidden this secret for so long? Regardless of what mysterious machinations they have pulled off, the narrative requires that they spill the truth, considering that Peter is responsible for extensive property damage, and furthermore, he wants to apologize to Bea (Rose Byrne), the human that he loves, and make peace with Thomas McGregor (Domhnall Gleeson), the human that he has been torturing. This all makes for a resolution that is sweet but with disturbing subtext.

But beyond that, this is a fairly typical entry for this genre, as typified by its soundtrack of the pop hits of the past twenty years. Len’s “Steal My Sunshine,” Basement Jaxx’s “Do Your Thing,” and Portugal. The Man’s “Feel It Still” will keep the kids bouncing in their chairs without challenging their soundscapes. Lady Bird can take note that Peter’s use of Dave Matthews Band’s “Crash Into Me” is not similarly profound. Elsewhere, the film’s raison d’être is excessively painful physical gags, including a truly worrying number of electrocutions (this is nowhere near as gentle as Beatrix Potter’s source material). There is a rake gag that I must admit I chuckled at, though I am concerned that the target audience will not realize how heavily indebted it is to The Simpsons. And that is indicative of the whole: a satisfying diversion, but with some worrisome implications.

Peter Rabbit is Recommended If You Like: MouseHunt, Dr. Dolittle, the Pop Dance Hits of Today!

Grade: 3 out of 5 Winking Rabbits

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