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Dumbo Review: Tim Burton remake lands with elephantine thud

Charmaine Blake

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All the charm and heartbreak of Disneys classic animation is missing in this retro-futurist, live-action clunker

“Tim Burtons new Dumbo lands in the multiplex big top with a dull thud. It is a flightless pachyderm of a film that saddles itself with 21st-century shame at the idea of circus animals, overcomplicating the first movie, losing the directness, abandoning the lethal pathos, mislaying the songs and finally getting marooned in some sort of steampunk Jurassic Park, jam-packed with retro-futurist boredom that had the kids at the performance I attended talking among themselves.

Screenwriter Ehren Krugers new version is taken from the 1941 Disney classic and the original 1939 illustrated tale by Helen Aberson and Harold Pearl, about a baby circus elephant named Jumbo Junior whose outsized ears cause him to be cruelly nicknamed Dumbo but which allow him to fly: the ugly duckling that becomes a swan in flight. But this film live-action, with a CGI Dumbo winds up burdening the whole thing with a dismayingly pointless, over-long, under-interesting third act about Dumbo getting sold on to a heartless, glitzy amusement centre. The performances from Colin Farrell, Eva Green and Michael Keaton are stuck on the autopilot factory setting of grinning, mugging, frowning and smirking………………………………………………………………..”

Read more: https://www.theguardian.com/film/2019/mar/26/dumbo-review-tim-burton-elephant-disney-thud

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Stranger Things Season 3 receives Rave Reviews from Critics

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Midsommar Review – 5 Stars!

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Florence Pugh is plunged into a terrifying pagan bacchanal in a magnificent folk-horror tale from Hereditary director Ari Aster

“There’s nothing cosy about these midsummer murders, and Midsommar could turn out to be folk-horror for the Fyre festival age. Ari Aster is the film-maker who made his feature debut just last year with the chiller Hereditary, and now presents us with this fantastically sinister and self-aware Euro-bacchanal, clearly inspired by the 1973 classic The Wicker Man. And that is not the only riff. When Hereditary came out, I guessed (correctly, as it turned out) that the director was thinking about Bergman’s Cries and Whispers. I’m now going to bet 20p that before shooting Midsommar, Aster took another look at Tarkovsky’s The Sacrifice.

Midsommar is an outrageous black-comic carnival of agony, starring charismatic Florence Pugh in a comely robe and floral headdress. It features funny-tasting pies and chorally assisted ritual sex, with pagan celebrants gazing into the middle distance and warbling as solemnly as the young dudes in the Coca-Cola TV ad about teaching the world to sing. It’s all set in an eerily beautiful sunlit plain, bounded by forests and lakes. This is supposed to be somewhere in northern Sweden, but was filmed in Hungary, and Aster, cinematographer Pawel Pogorzelski and production designer Henrik Svensson have collaborated on what are surely digitally assisted images: the sky and fields becoming a bouquet of vivid and beautiful blues and greens. The music from British composer Bobby Krlic (AKA the Haxan Cloak) is sensually creepy………………………”

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What’s My Name: Muhammad Ali review – from prodigy to legend

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Part one of Antoine Fuqua’s film shows the transformation within a decade from 12-year-old boxing novice Cassius Clay into the heavyweight champion of the world

“I asked my mother when I went to church on Sunday: ‘Why is everything white? What happened to all the black angels?’”

So Muhammad Ali told an interviewer, before giving a knowing look and – boom! – the punchline. “Black angels are in the kitchen preparing milk and honey.”

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