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Colorful but flattened and flimsy, which really grates next to how abundantly, uniquely original the first two movies are. Suffers greatly from the lack of their deft whimsy. It’s, well, bearly there.
Unfunny action comedy can’t even pull off sloppy Yuletide kitsch. The anti-chemistry among its likable stars is “bested” only by the ugly CGI. Have some light festive violence — you know, for kids!
Picaresque childhood misadventures sketch vibrant WWII London. A movie of brutal randomness, feral intensity, and ferocious intimacy. Wildly human, artistically masterful, and completely magnificent.
Immerse yourself in pure unalloyed joy with a sweet, deceptively simple carbon-silicon platonic romance. Even the poignant bittersweetness of this emotional roller coaster is affirming and uplifting.
Writer-director John Krasinski’s absolute desperation to whip up magical whimsy utterly fails. No matter how he tries to force enchantment into existence, this is more fever dream than flight of fancy.
There is gentle nonstop chaos in the trippy candy-colored assault. Genuinely good-natured, sweet without being sappy, more strange (in a good way) than kids’ movies usually are, and hard to dislike.
Traditional folk music and beautifully animated mythic motifs may be rightfully validating for homegrown Ukrainian audiences, but there’s little else beyond that novelty to capture others’ imagination.
Cynical sequel — you know, for kids! — doubles down on the nihilistic money-grubbing of the original. Thinks that being clever and meta about its own disenchantment will win us over. It does not.
I don’t see how the astonishing “Opera,” by Erick Oh, doesn’t win the Oscar for Best Animated Short. This is a stupendous achievement, a cartoon clockwork depicting life, the universe, and everything.
The Disney paradigm is hard at play again here, its familiarity offset by its inspiration in Southeast Asian culture and mythology. Sweepingly told, gorgeously animated, and audaciously optimistic.
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