Dolemite Is My Name (2019)

I did not know until last night that this was a biopic, nor was I familiar with the fictitious Dolemite or his actor/creator, Rudy Ray Moore. My prior knowledge of blaxploitation flicks was largely limited to the original Shaft and the genre parody Black Dynamite. If nothing else, I'd learn a few things herein.

In '70s L.A., Moore (Eddie Murphy) struggles to make a name for himself in show business, whether singing or standup. His first success comes from inspiration by street poets, telling naughty stories in rhyme over instrumental music. He develops his Dolemite persona and grows popular enough to launch the career of partner Lady Reed (Da'Vine Joy Randolph). Then he decides to star in an action comedy movie, Dolemite, which doesn't come together easily without major studio support.

Wendell & Wild (2022)

In my continuing quest for Halloween-type movies that I haven't seen before and might want to, I accepted Netflix's up-front suggestion, which they had pushed quite a bit last year. It has fared a bit better with critics than with general audiences, but hey, I've seen and reviewed less popular on this blog.

At 13, delinquent Kat (Lyric Ross) gets transferred to a Catholic girls' boarding school in her fading former hometown, Rust Bank. There she discovers a captive demon (Phoebe Lamont) who makes her a "hell maiden" able to summon Wendell (Keegan-Michael Key) and Wild (Jordan Peele), two disgraced sons of underworld lord Buffalo Belzer (Ving Rhames). She wants them to bring back her parents (Gary Gatewood and Gabrielle Dennis), whose deaths she had accidentally caused ages ago. The boys stumble on the revitalizing properties of their dad's hair cream. They also learn that two execs (Maxine Peak and David Harewood) could pay them enough money to start their own afterlife amusement park -- provided they use the cream only on the dead councillors who could sway the vote in favor of turning Rust Bank into a prison complex, a motion otherwise unanimously opposed. Let's just say demons aren't so good with promises. But despite Kat's efforts to avoid friendships lest she jinx more people, she can get a fair amount of support from certain students and faculty to save both the town and herself.

The Super Mario Bros. Movie (2023)

So this is how I break my Oscar nominee streak: with something the Academy would probably never honor. It is extraordinarily popular for a video game adaptation, even among adults in my circles, but professional critics aren't as thrilled. I went in with cautious optimism.

Brooklynite fraternal twins Mario (Chris Pratt) and Luigi (Charlie Day) have a failing plumbing business when they happen upon a long-hidden pipe that sucks them into another world, albeit in separate directions. In the Mushroom Kingdom, Mario meets friendly fungal fellow Toad (Keegan-Michael Key), who surmises from his details that Luigi wound up in the clutches of King Bowser (Jack Black), a sort of turtle-dragon hybrid bent on world conquest. Their best bet for saving Luigi is to team up with another displaced human, Princess Peach Toadstool (Anya Taylor-Joy), who's already planning to stop Bowser via an alliance with gorilla king Cranky Kong (Fred Armisen) and his son Donkey (Seth Rogen). Mario may be short, but he is dedicated, and his past unlucky antics have honed his athletic skills even before he's introduced to power-up items.

Toy Story 4 (2019)

To me, the Toy Story series has been almost the antithesis of the Cars series. TS1, while flawed, was destined for classic status. TS2, while not feeling necessary, outdid it in my book. TS3, which I had long assumed would never happen, became my all-time favorite animated feature (tho I may revise that assessment with further viewings). Could TS4 continue the pattern?

A mere two years after the events of TS3, old toy cowboy Sheriff Woody (Tom Hanks) has lost favor with owner Bonnie, who's starting kindergarten. He's taking this decline better than he did in TS1, but his way of coping is to support Bonnie clandestinely against the advice of others; like the emotions in Inside Out, he prioritizes nothing over the happiness of "his kid." With his guidance, she makes an ugly yet fairly impressive arts-and-crafts toy named Forky (Tony Hale), who initially doesn't have the mindset for a sapient toy at all. By the time Forky's getting cooperative, Woody's eyes stray to a familiar sight in an antiques shop window, giving him a riskier new priority and prompting buddy Buzz Lightyear (Tim Allen) to go on his own rescue mission....

Hotel Transylvania 2 (2015)

One of my most viewed posts on this blog compares Hotel Transylvania and its two rivals at the time. In the present review, I'm not inclined to compare HT2 to anything besides HT1, but feel free to skim the old post before continuing.

The sequel begins with the wedding of Dracula's daughter Mavis (Selena Gomez) to human Jonathan (Andy Samberg), in the formerly all-monster hotel that has grown friendly to humans. In a matter of minutes on screen, they have a son about to turn five (funny I should watch this right after Room) named Dennis, or "Dennisovich" as Dracula likes to call him. It turns out that "Papa Drac" (Adam Sandler) has not entirely gotten over his bias against humans: He won't entertain the likelihood that his progeny doesn't take after him in powers. As a result, the formerly overprotective father has become an underprotective grandfather, dangerously hoping to summon Dennis's latent potential. Dennis and Jonathan may be easygoing about this fixation, but Mavis will move them away from the hotel if it seems necessary.