Review: ‘A Writer’s Odyssey,’ starring Lei Jiayin, Yang Mi and Dong Zijiang

February 18, 2021

by Carla Hay

Lei Jiayin in “A Writer’s Odyssey” (Photo courtesy of CMC Pictures)

“A Writer’s Odyssey”

Directed by Lu Yang

Mandarin with subtitles

Culture Representation: Taking place in China, the fantasy/action film “A Writer’s Odyssey” features an all-Asian cast representing the middle-class, wealthy and criminal underground.

Culture Clash: A desperate man, who’s been searching for his missing daughter for the past six years, gets caught up in a murder plot and an alternate world that are connected to what a young novelist is writing for his latest book.

Culture Audience: “A Writer’s Odyssey” will appeal primarily to people who like immersive, eye-catching action films that have twist-filled plot developments.

Yang Mi in “A Writer’s Odyssey” (Photo courtesy of CMC Pictures)

It’s not just the graphic violence that makes the fantasy/action film “A Writer’s Odyssey” geared to adults. At the core of a movie is a time-traveling mystery that is wrapped up and eventually unraveled in layers, making it a somewhat convoluted story that very young children will have a hard time understanding. But the movie is worth a watch for anyone who’s up for a story that examines issues of grief and revenge, while taking viewers on a frenetic ride in this otherworldly enigma.

To fully understand “A Writer’s Odyssey” (directed by Yang Lu), it helps to know in advance that the movie switches back and forth between two different worlds. In the “real world,” a disillusioned and bitter man named Guan Ning has been on an unrelenting quest to find his daughter Tangerine, who disappeared six years earlier when she was 6 years old. Meanwhile, a young author named Kongwen Lu (played by Dong Zijian) has been writing the latest book in his fantasy novel series, which follows a heroic teenager who is also named Kongwen.

Kongwen Lu’s writing come to life in the movie, and it’s all presented as an “alternate world,” where monsters exist, there are armies of robot-looking mutants, and humans look and act like warriors—or at least potential warriors. In this “alternate world,” whatever Kongwen Lu writes happens on screen. But there comes a point in the movie where what happens in the “alternate world” has an effect on people in the “real world” and vice versa.

“A Writer’s Odyssey” opens up with a thrilling action scene that introduces Guan Ning as the protagonist who finds himself unexpectedly caught between these two worlds. He’s lying in wait in a mountainous area and throws a rock at the windowshield of a freight truck driving below on a winding road. The rock breaks the window, which causes the truck to crash. There are two men sitting in the front of the truck, and they suffer minor injuries.

While the driver is briefly unconscious, Guan Ning shouts to the other man about his missing daughter Tangerine: “Six years ago in Liaoyuan, you kidnapped her. Where is she?” Guan Ning and the thug end up fighting. The driver then regains his consciousness and hits Guan Ning with a pipe.

Guan Ning runs to the back of the truck, opens the door, and sees several children locked in cages, but Tangerine is not one of them. The kids in the cages all look to be about 6 to 8 years old, while Tangerine would be about 12. And the next thing you know, police arrive, the two thugs run off, and Guan Ning is arrested for suspected kidnapping and child trafficking. He protests and says he’s an innocent father who’s looking for his daughter.

In another big fight scene, Guan Ning manages to escape from the back of the police squad car. He runs to the nearest car on the street. It’s a black car that has a mysterious woman dressed in black leather in the driver’s seat. Even though Guan Ning has never met her before, she knows who he is. Her name is Tu Ling (played by Yang Mi), and she tells Guan Ning: “You’re our valued business partner.”

Tu Ling also tells Guan Ning that she knows that his life revolves around finding his missing daughter. She comments that she also knows that he used to be a banker, but after Tangerine disappeared, he quit his job, sold his house, and divorced his wife. Guan Ning is suspicious of Tu Ling, who offers to hide Guan Ning from the police if he will do some favors for her.

Guan Ning is reluctant, but then Guan Ning says that she has information that could lead to him finding his daughter. And so, Guan Ning goes with Tu Ling, who takes him further down a rabbit hole of secrets and lies. It’s enough to say that whenever a mysterious stranger makes an offer that’s too good to be true, it usually is.

Tu Ling has a ruthless boss named Li Mu who has a murderous agenda that’s eventually revealed. Meanwhile, the alternate world created by Kongwen Lu begins to collide more with the real world until it becomes obvious that there’s a power struggle going on that involves the supernatural. Meanwhile, Guan Ning is forced to make a decision that could mean the difference between sparing someone’s life and Guan Ning getting killed, or killing someone else and saving his own life.

All of the actors do moderately good jobs in their performances, but Lei Jiayin has to show the widest range of emotions. There are some predictable flashback scenes of Guan Ningin in happier times with Tangerine, with these scenes blatantly tugging at viewers’ heartstrings. The mystery behind her disappearance isn’t handled in a completely predictable way, which makes “A Writer’s Odyssey” more than a typical fantasy/action flick.

“A Writer’s Odyssey” is based on Xuetao Shuang’s book “Assassinate a Novelist.” There are seven people credited with writing the movie’s screenplay: Xuetao Shuang, director Yang Lu, Shu Chen, Xiaocao Liu, Haiyan Qin, Lu Yang and Yang Yu. With all these screenwriters for the movie, the plot sometimes seems overstuffed with ideas and bloated by “too many cooks in the kitchen” syndrome. And the total running time for the movie (130 minutes) is a little too long.

It’s obvious that a great deal of this movie’s budget was spent on visual effects, which are intricate and sometimes stunning but won’t be winning any awards. The violence is often bloody and cruel, while the choreography works very well in most of the action scenes. At times, “A Writer’s Odyssey” looks like a big-budget video game, but the movie has more humanity than a video game in handling the mystery at the center of the story. Underneath the brutal fight scenes and dazzling visual effects is a story of how a parent’s love for a child can lead someone to go to extreme and desperate actions.

CMC Pictures released “A Writer’s Odyssey” in select U.S. cinemas on February 12, 2021, the same day that it was also released in mainland China, Australia, New Zealand, Fiji and Singapore.

Review: ‘Roald Dahl’s The Witches,’ starring Anne Hathaway, Octavia Spencer and Stanley Tucci

October 22, 2020

by Carla Hay

Eugenia Caruso, Penny Lisle, Josette Simon, Anne Hathaway, Orla O’Rourke and Ana-Maria Maskell in “Roald Dahl’s The Witches” (Photo by Daniel Smith/HBO Max)

“Roald Dahl’s The Witches”

Directed by Robert Zemeckis

Culture Representation: Taking place primarily in Demopolis, Alabama, in 1978, the family-friendly horror/fantasy film “Roald Dahl’s The Witches” has a predominantly white cast of characters (with some African Americans) representing the middle-class and wealthy.

Culture Clash: A widowed grandmother and her orphaned grandson encounter evil witches who want to turn children into mice. 

Culture Audience: “Roald Dahl’s The Witches” will appeal primarily to people looking for lightweight, fantasy entertainment about good versus evil that has the same formula as many other family-oriented films about wicked witches who don’t like children.

Jahzir Bruno, Octavia Spencer and Stanley Tucci in “Roald Dahl’s The Witches” (Photo by Daniel Smith/HBO Max)

“Roald Dahl’s Witches” should’ve been named “Anne Hathaway Hamming It Up as a Witch,” because that’s really the main attraction for this duller-than-it-should-be movie. Hathaway’s Grand High Witch character—who is the leader of a coven that’s flocked to Demopolis, Alabama, in 1978—is the only one in the coven who has a distinct personality. The rest of the witches are essentially backdrops to Hathaway’s over-the-top performance in a very formulaic and unimaginative movie. Considering all of the Oscar winners who were involved in making this movie, “Roald Dahl’s Witches” isn’t horrible, but it’s a big disappointment from people who can do and have done much better work.

Directed and co-written by Oscar-winning “Forrest Gump” director Robert Zemeckis, “Roald Dahl’s Witches” (adapted from Dahl’s 1983 novel “The Witches”) is the second movie version of the book. The first movie version was 1990’s “The Witches,” directed by Nicolas Roeg and starring Anjelica Huston. The 2020 movie version changed the story’s location from Europe to the United States, and made the witch-hunting grandmother and grandson African American.

It’s a change that is significant only in that the movie briefly makes some subtle references to racism, and the grandmother listens to a lot of 1960s and 1970s R&B music. Other than that, the premise of the movie remains the same: The grandmother (played by Octavia Spencer) and her orphaned grandson (played by Jahzir Bruno), who do not have names in the movie, go on a mission to hunt down and stop a coven of witches who plan to turn children into mice, in the hopes that the mice will be killed as rodent pests.

Hathaway and Spencer are both Oscar winners. Zemeckis co-wrote the screenplay to this movie with “The Shape of Water” Oscar-winning filmmaker Guillermo del Toro and “Black-ish” creator Kenya Barris. The movie’s cast also includes Oscar nominee Stanley Tucci. On paper, it sounds like a winning combination to make a spectacular, award-worthy classic movie. The reality is that “Roald Dahl’s Witches” is frustratingly average and at times a boringly repetitive film.

We’ve seen many movies already with an over-the-top evil witch, animated animals that interact with live-action humans (in this movie’s case, the animated animals are mice and one obligatory witch’s black cat), and one big race against time to stop the chief villain from doing what the villain plans to do. Nothing in this movie is award-worthy.

That’s not to say “Roald Dahl’s Witches” doesn’t have entertaining moments. But they are arrive in between long stretches where not much happens except the grandmother and her hero son talk about and plan what they need to do to stop the witches. The boy, whose parents died in a car accident, has been living with his grandmother since becoming an orphan. (Chris Rock does voiceover narration as the hero boy as an adult.) His grandmother is slowly able to lift him out his depression over his parents’ death, and she buys him a pet female mouse that he names Daisy.

And it’s around this time that the hero boy encounters a witch with a snake coming out of her sleeve while he and his grandmother are in a hardware store. The witch’s name is Zelda (played by Josette Simon), and it turns out that she used to be the grandmother’s best friend when they were children. Zelda was turned into a witch by the Grand High Witch and has been in the coven ever since. The grandmother figures out that her grandson encountered Zelda, based on her grandson’s frightened description of the witch he saw in the hardware store.

The witches in this story have several distinctive features, which the grandmother tells her grandson about when she teaches him how to spot a witch: The witches, who are demons disguised as humans, always wear long gloves because they have claws, not hands. The witches always wear wigs, because they are actually bald. The witches have unusually long corners of their mouths, which they cover with heavy makeup. The witches have feet without toes and have oversized nostrils that become more pronounced when they can catch the scent of children.

The witches hate kids and want to get rid of all the children in the world. The witches offer candy (such as taffy) to children entice them. And witches are repulsed by clean children because these children smell like defecation to the witches. The cleaner the children are, the more they stink to the witches.

After the grandson’s scary encounter with Zelda, the grandmother and grandson check into a swanky hotel called the Grand Imperial Island Hotel, which they are able to do because of a favor from a hotel employee whom the grandmother knows. The grandmother says that she figures that her grandson will be safe to hide there because “ain’t nothin’ but rich white folks” at the hotel and “witches prey on the poor, the overlooked, the kids they think nobody’s going to make a fuss about if they go missing.”

The movie’s other reference to racism and social-class disparities in America is when the grandmother and the grandson check into the hotel and the hotel manager R. J. Stringer III (played by Tucci) looks surprised to see them there. R.J. makes a comment to the grandson that the hotel normally doesn’t get a kid like him as a guest. It’s a racially tinged, condescending remark that the grandmother picks up on right away, and she lets this stuck-up manager know that she and her grandson will be treated with the same amount of respect that the other hotel guests get.

And speaking of the other hotel guests, there’s a snobbish British couple named Mr. Jenkins (played by Charles Edwards) and Mrs. Jenkins (played by Morgana Robinson) who are at the hotel with their insecure son Bruno Jenkins (played by Codie-Lei Eastick). Bruno tries to make friends with the grandson, but Bruno’s domineering mother won’t let him. And there’s a convention going on at the hotel for a group calling itself the National Society for the Prevention of Cruelty to Children, whose members are all women who wear long gloves. It doesn’t take a genius to figure out who these women really are.

“Roald Dahl’s The Witches” is a by-the-numbers story that hits all the familiar beats of similar movies, and it culminates in a showdown that goes exactly how you would expect it to go. There’s nothing wrong with the acting from the cast, but it’s just so predictable and generic. (Spencer plays yet another matronly woman who gets sassy when she has to be.) Children under the age of 14 will probably enjoy this film the most. But for people who’ve got more life experience and have seen enough movies like this already, “Roald Dahl’s The Witches” is just too cookie-cutter to really have much substance and make a lasting impact on viewers.

HBO Max premiered “Roald Dahl’s The Witches” on October 22, 2020.

Review: ‘Four Kids and It,’ starring Paula Patton, Matthew Goode, Russell Brand and Michael Caine

July 12, 2020

by Carla Hay

Teddie Malleson-Allen and Ashley Aufderheide in “Four Kids and It” (Photo courtesy of Lionsgate)

“Four Kids and It”

Directed by Andy DeEmmony

Culture Representation: Taking place in England, the comedy/drama/fantasy film “Four Kids and It” features a predominantly white cast (with some black people) representing the middle-class and wealthy.

Culture Clash: A British man and his American girlfriend go on a blended family vacation together for the first time with their respective children, who secretly discover an ancient talking creature that can make wishes come true.

Culture Audience: “Four Kids and It” is a family film that children under the age of 10 might enjoy, but older kids and adults might be bored with the often-dull, awkward and predictable storyline.

Teddie Malleson-Allen, Ashley Aufderheide, Ellie-Mae Siame, Matthew Goode, Paula Patton and Billy Jenkins in “Four Kids and It” (Photo courtesy of Lionsgate)

In case you think the world still doesn’t have enough family films that are about non-human talking creatures, here comes another one that unfortunately will be relegated to the “forgettable” pile. “Four Kids and It” (directed by Andy DeEmmony) is an utterly predictable and frequently boring mush of mediocrity that won’t be the type of “addictive” viewing that can be described for so many beloved family-friendly films.

The screenplay for “Four Kids and It” (clumsily written by Simon Lewis) is adapted from Jacqueline Wilson’s 2012 children’s novel “Four Children and It,” which was inspired by E. Nesbit’s 1902 children’s novel “Five Children and It.” The movie version is a far inferior version of the book, since it adds an irritating new character that mucks up the story and actually makes it more confusing to the people unfamiliar with the novels.

“Four Kids and It” begins by showing two different divorced parents with their respective kids. David (played by Matthew Goode) is a British father of 13-year-old book enthusiast Rosalind, nicknamed Ros (played by Teddie Malleson-Allen) and adventurous 9-year-old Robbie (played by Billy Jenkins). Alice (played by Paula Patton) is an American mother of 13-year-old rebellious brat Samantha, nicknamed Smash (played by Ashley Aufderheide), and sweet-natured 5-year-old Maudie (played by Ellie-Mae Siame).

What do they all have in common? They’re all about to go on holiday together at an English countryside beach, where they’ll be staying at David’s vacation home. It’s at this beach that the kids will meet the aforementioned talking creature, which doesn’t show itself when the parents are around. And what the children also don’t know yet is the true intention for David and Alice to arrange this trip.

Alice and David have been secretly dating each other. The vacation will be the first time that this couple will tell their kids about the relationship and introduce the kids to each other. Can you say “awkward”? It’s a big departure from the “Four Children and It” book, where David and Alice are both British and already married to each other, after divorces from their first spouses, and Maudie is their biological child together. In the book, David is Smash’s stepfather, while Alice is Ros and Robbie’s stepmother.

Because the movie adds this new plot element of David’s and Alice’s kids not knowing each other before this fateful vacation, there’s quite a bit of screen time spent on all the conflicts that ensue because of this uncomfortable situation—so much so, that all of this manufactured drama for the movie unfolds long before the kids even see the talking creature that’s supposed to be the catalyst for the adventure part of the story. The opening scenes of the film make it clear that two of the kids are definitely going to clash with each other.

Ros is a studious, obedient bookworm who aspires to be a famous novelist. She’s shown at a library, where a librarian asks Ros if she’s started on her novel yet. Ros replies that whatever she’s written has ended up as crumpled paper in a trash bin—an indication that she’s a perfectionist who’s very hard on herself. And what book does Ros check out of the library?  “Five Children and It,” of course.

Meanwhile, Smash is hanging out with a group of boys outside a seedy-looking area. This group looks like it might be a bad influence on her. Alice arrives in her car to retrieve Smash, who reluctantly leaves with her mother, but not before mouthing off some choice words to Alice in a rude and insolent manner.

Smash is a very angry girl. Why? Smash’s father left the family to live with a woman who’s much younger than Alice. Smash blames Alice for the family breaking up, because she thinks that Alice drove Smash’s father away by being a nagging shrew. Of course, it’s shown later in the movie that Smash has  a very lofty and misguided opinion of her father (who’s only heard on the phone, but not seen in the story), because in reality he’s an irresponsible jerk who constantly breaks his promises to see Smash.

Smash also hates living in England. She complains about British food and calls the United Kingdom a “sucky little country.” Smash is the very epitome of the type of “ugly American” who disrespects other cultures. And she’s a nightmare to be around, since she likes to instigate fights and cause problems with other people.

The only person Smash doesn’t really get angry with in the story is her little sister Maudie. Everyone else at some point becomes a target of Smash’s rage. Alice is part of the problem, since she enables a lot of this brat’s awful behavior.

David and Alice arrive separately at the beach home with their respective kids. And then, the couple drops the big news to the four children. All of the kids (except for Maudie, who’s too young to know everything) react with shock and disappointment over finding out that their parents have moved on from their ex-spouses and found love with someone new.

It’s a lot for the kids to absorb, because Alice has never met David’s kids before, David has never met Alice’s kids before, and vice versa. And then the kids have now just found out that Alice and David have been secretly dating each other for a while. (The movie doesn’t say how long David and Alice have been in a romantic relationship with each other.) And now, they’re all supposed to be on this vacation like one big happy family. You don’t have to be in a poorly written family film to know this is a recipe for disaster.

Not surprisingly, Smash has the angriest reaction to the news, so there’s a lot of yelling and screaming from her. Smash and Ros despise each other from the beginning, because Smash has declared that one of the house’s bedrooms is hers, even though Ros has always stayed in that bedroom before. The two girls have a knock-down, drag-out fight, while David tries to break it up, and Alice barely does anything to stop Smash from being the terror that she is.

In fact, Alice is a horribly permissive parent who doesn’t discipline Smash when Smash (who’s obviously a loathsome bully) yells at her disrespectfully and says and does mean-spirited things to Ros and Robbie. More than once, Smash yells at Alice, “You’ve ruined my life!” when, by all indications, Smash is leading a pretty comfortable and spoiled life.

“Four Kids and It” screenwriter Lewis seems dead-set on making Smash the teenager from hell, because there’s a lot of emphasis on the fact that Smash is an unruly, uncouth American, while Ros and Robbie are polite British kids. If Ros or Robbie get angry in this story, it’s usually because Smash provoked them. In one scene in the movie, Smash utters another insult about British people by saying that they have flat rear ends, while Ros snaps back that American people’s rear ends are too big. This is what’s supposed to be “funny” in “Four Kids and It.”

When Smash sees that Ros has brought some books on this trip, Smash sneers at Ros, “Who brings books on a holiday?” Ros replies, “People who can read.” Smash snaps back, “People with no lives!”

The movie is updated from the book to show that Smash is someone whose idea of reading is whatever she reads on her phone. Smash is obsessed with her phone. She’s written as a negative cliché of a teenager who cares more about what strangers online think of her and increasing her social-media following rather than caring about treating people in her real life with respect. And even though Maudie is a kind-hearted little kid, being only 5 years old, she’s obviously portrayed as too young/too ignorant to know any better about what goes on with some of the more adult-themed situations in this story.

Alice and her family are African American, so there are some some racial undertones in how they’re portrayed as the least intelligent characters in the movie. It just fuels negative stereotypes that an African American family that’s headed by a single mother is somehow problematic. The movie makes it clear later on that Smash’s father is a deadbeat dad who’s abandoned the family, which is yet another negative cliché of African American men.

David’s ex-wife (Ros and Robbie’s mother) has also also left her family, is emotionally unavailable, and is unseen in the movie but heard in a phone call. (Ros has a delusional hope that her parents will get back together someday.) But David’s ex-wife is given a “noble” excuse for why she doesn’t visit her children as much as they’d like her to visit: She’s away at a university to “find herself” and get a better education. There’s no real excuse given for why Smash’s father is an absentee parent, because he’s simply portrayed as being selfish.

Alice is portrayed as a single mother who’s not very smart, not very competent, and more concerned about making out with David than paying attention to her kids. She’s also a terrible cook—and that doesn’t make her a bad person—but Alice’s lack of cooking skills is a running joke in the movie, which has this sexist idea that because Alice is the only woman in the house, she’s the only one who’s supposed to do the cooking.

“Four Kids and It” is so badly written that it doesn’t even mention what Alice and David do for a living, or why Alice has moved to England with her kids. There’s no context for how David and Alice met and why they’re together. And since the movie never mentions how long Alice and David have been dating each other, there’s no way to know why they chose to have such an abrupt and uncomfortable introduction to each other’s children. It’s poor judgment, regardless of how long Alice and David have been in a relationship with each other.

The movie has also added a new character that’s not in the book: Tristan Trent (played by Russell Brand), a rich recluse who lives in a nearby mansion. Tristan has stocked his cluttered mansion with enough taxidermy animals and ancient artifacts to make his home look like a museum. It’s a sign that he’s an obsessive collector who might stop at nothing to get his hands on priceless treasure. Cue the villain music.

Tristan introduces himself to David, Alice and the kids. He appears to be pleasant and is an obvious eccentric. Tristan invites them to his mansion. In yet another “polite Brit/rude American” contrast that this movie keeps making, David comments to Trent about Trent’s home: “It’s charming.” But Alice blurts out to Trent that his home décor is “old” and “kind of worn-looking. It must be a British thing.”

When the four kids encounter the creature on the beach for the first time, their parents are far away at another part of the beach. Smash has grabbed Robbie’s game device and cruelly thrown it on some dangerous cliff rocks that Robbie has to climb in order to get the device. The creature, which calls itself Psammead (pronounced “Sammy-add” and voiced by Michael Caine), has lived deep in the beach sand for millions of years. In the movie, the creature moves through the sand as if it’s a Jaws-like shark in the ocean.

The kids notice this unusual movement and manage to pull Psammead out of the sand by one of its legs. In the book, Psammead is supposed to be a sand fairy. In the movie, Psammead looks more like E.T.’s great-grandfather. The visual effects in this movie aren’t bad, but they’re not that great either.

It isn’t long before Psammead reveals to the children that he has magical powers to make wishes come true. The catch is that each person can get only one wish, and that wish expires by sunset on the day that the wish comes true. And as with a lot of movies that are aimed at kids, there’s a fart joke, because Psammead inflates himself and passes gas before he grants a wish.

The first wish that Psammead grants for the kids is Robbie’s wish to be able to be an expert climber. The next thing you know, Robbie is scaling the cliff rocks like he’s Spider-Man, and he retrieves his game device. The kids keep Psammead a secret from their parents and make other wishes over the next few days.

Smash’s wish is to become a world-famous pop star, so there’s an elaborate scene of Ros, Robbie and Maudie being whisked away to London in a hot-pink, custom helicopter that has Smash’s face painted on the side of the aircraft. In London, they’re VIP guests at Smash’s sold-out concert at the O2 Arena. Backstage before the show, Smash is catered to like a superstar. (Real-life British pop star Cheryl has a cameo in this scene as a pop singer named Coco Rayne.)

And then, Smash does a big song-and-dance routine for her concert before an ecstatic audience of thousands of people. It’s a performance that looks like something out of a TV talent show. And this scene has obvious CGI effects, since this movie obviously didn’t have the budget to rent out the O2 Arena and have thousands of extras to film this scene.

The kids lose track of time and encounter a major problem because Smash’s wish ends at sunset, thereby abruptly ending the concert. The helicopter and chauffeured transportation are gone, and the children have to scramble to find their way back to the beach house. Not surprisingly, their parents notice that the kids are missing, the police get involved, and the expected chaos and confusion ensue.

Maudie’s wish is pretty simple: the ability for all four of the kids to fly. And Ros’ wish involves going back in time and meeting the five children who were in the “Five Children and It” book: Cyril (played by Seán Treacy), Robert (played by Ely Sloan), Anthea (played by Emily Highams), Jane (played by Laura Kate Whyms) and baby boy Lamb (played by Leo and Jack Mulrooney-O’Brien).

There’s a subplot involving Tristan and a conflict that he has with the four kids. This part of the story makes the movie more of a convoluted mess, so this subplot won’t be described here, but it does lead to a very predictable conclusion.

Did the venerable, Oscar-winning actor Caine know when he signed on to this movie that it would turn out to be such a lackluster dud? Probably not. Fans of this actor will probably be a little disturbed that he ended up being the voice for such an odd-looking creature with a personality that isn’t very appealing. Psammead’s attitude with the children ranges from condescending to impatient to resigned, as in “Okay, I’ll do what you want. Just stop pestering me.”

British actor/comedian Brand is an acquired taste for a lot of people, so many viewers will either find him annoying or ineffective in his role as Tristan. Brand used to be known as an edgy and fairly controversial comedian who wouldn’t be caught dead in a children’s movie. Times have definitely changed.

As for the other actors in the cast, Malleson-Allen as Ros is best at making her character the most believable and relatable. As Ros’ nemesis Smash, Aufderheide is saddled with portraying an awful character—and unfortunately, Aufderheide over-acts in some scenes, which make Smash even more annoying to watch. The rest of the cast members do a serviceable but mostly unremarkable job with their roles.

“Four Children and It” author Wilson has a brief cameo during the film’s end credits, which might be overlooked if people experiencing this slow train-wreck of a movie don’t have the stomach to finish watching it. If you really won’t feel complete in life unless you see a movie with a decrepit E.T.-like creature voiced by a cranky-sounding Sir Michael Caine, as this creature makes wishes come true for quarreling children, then by all means watch “Four Kids and It.”

Lionsgate released “Four Kids and It” on DVD, Blu-ray, digital and VOD on June 30, 2020.

Review: ‘Artemis Fowl,’ starring Ferdia Shaw, Lara McDonnell, Josh Gad, Tamara Smart, Nonso Anozie, Colin Farrell and Judi Dench

June 12, 2020

by Carla Hay

Nonso Anozie, Lara McDonnell, Josh Gad and Ferdia Shaw in “Artemis Fowl” (Photo by Nicola Dove/Disney Enterprises Inc.)

“Artemis Fowl”

Directed by Kenneth Branagh

Culture Representation: Taking place in Ireland and a magical underground world, the fantasy adventure “Artemis Fowl” has a racially diverse cast of characters (white, black and Asian) who portray humans, fairies, dwarves and goblins.

Culture Clash: A 12-year-old boy named Artemis Fowl , who must save his kidnapped father from an evil fairy, kidnaps a good fairy as bait for the ransom, setting off a battle between fairies and humans.

Culture Audience: “Artemis Fowl” will appeal primarily to fans of the “Artemis Fowl” book series who won’t mind watching a movie adaptation that is inferior to the books’ storytelling.

Judi Dench in “Artemis Fowl” (Photo by courtesy of Disney Enterprises Inc.)

The “Harry Potter” books and films have set the bar pretty high for what can be achieved in making young-adult fantasy novels into movies. By comparison, “Artemis Fowl” is a mediocre mess of a film that clearly spent a lot of time on visual effects but not enough time in doing justice to the kind of storytelling that author Eoin Colfer has in his “Artemis Fowl” books. Almost everything that happens in the “Artemis Fowl” movie can be predicted by people in their sleep.

The long-delayed “Artemis Fowl” movie was supposed to be released in theaters, but instead was released directly to the Disney+ streaming service, due to the coronavirus pandemic. Directed by Kenneth Branagh (who’s hit-and-miss artistically when it comes to his big-budget films), “Artemis Fowl” isn’t the worst fantasy film that someone can ever see, but it’s a disappointing movie, considering the level of talent involved. Conor McPherson and Hamish McColl wrote the clunky “Artemis Fowl” screenplay, which is supposed to be an origin story, but the movie is highly unlikely to get a sequel.

The story takes place in Ireland, in an alternate modern reality where humans live above ground, while fairies and other creatures live in a below-ground place called Haven City. The movie begins with the news media in a frenzy because several priceless artifacts from around the world have been stolen. The chief suspect is a reclusive businessman/art dealer named Artemis Fowl Sr. (played by Colin Farrell), who lives in a mansion called Fowl Manor and who has mysteriously disappeared.

However, a suspected accomplice has been arrested: an oversized, thieving dwarf named Mulch Diggums (played by Josh Gad), who’s self-conscious over the fact that he’s much taller and bigger than the average dwarf. Mulch is taken to the MI6 Red Fort Interrogation Unit in Thames Estuary, London, where he begins to tell the story of Artemis Fowl Jr. (played by Ferdia Shaw), a precocious 12-year-old loner who’s frequently left to his own devices because his father goes away for long periods of time on secretive trips.

The Artemis Fowl father and son have a close relationship, but Artemis Jr. feels hurt and left out that his father won’t tell him where he’s going on these trips and exactly when he’ll be back. (Artemis Jr.’s mother is not seen or mentioned in the story.) Artemis Jr. has a friend/mentor/bodyguard named Domovoi Butler (played by Nonzo Anozie), who tells people that he hates to be called a butler. Domovoi has a relationship with Artemis Jr. that’s similar to the “Batman” story relationship between Alfred the butler and Bruce Wayne/Batman.

As Mulch tells it, Artemis Jr. doesn’t like school very much. He’s considered “different” and has found it difficult to make friends. There’s somewhat of an unnecessary scene where Artemis Jr. is talking to a school counselor, and then Artemis storms out because he thinks the counselor doesn’t understand him and the session is a waste of time.

Considering that Artemis Jr. spends the rest of the movie fighting battles like an adult, going to school isn’t a priority to him. It also didn’t make sense to show him at school in this movie because a kid like Artemis Fowl would probably be homeschooled, considering his father’s secretive and reclusive life. Why bother with nosy teachers and students?

At any rate, Artemis Jr. soon gets a phone call from the evil fairy who’s kidnapped his father. Let that sink in for a few seconds and try not to laugh at how dumb that plot sounds. We’ll have to assume they have caller ID blocking in Haven City.

The evil fairy tells Artemis Jr. that his father will be killed unless the fairy (an unnamed androgynous creature who’s in disguise with the creature’s face obscured) gets the ransom: a magical object called the Aculos, which has the power to open portals across the universe. The evil fairy tells Artemis Sr. that he’s been kidnapped as revenge for causing the deaths of some other fairies.

Artemis Jr. then comes up with a somewhat convoluted plan to get the good fairies of Haven City to help him find the Aculos. How? By kidnapping a fairy named Holly Short (played  by Lara McDonnell), an enforcement officer who’s supposed to be 84 years old in fairy years, but she looks close to the age of Artemis Jr. (All of the fairies are human-sized.)

The good fairies, led by gravel-voiced Commander Root (played by Judi Dench, in yet another no-nonsense, unsmiling role), then descend upon Fowl Manor to rescue Holly. The fairies have the magical power of creating a force field around a certain area, where everyone in the force field can be temporarily frozen and have their memories erased.

This power is demonstrated in a scene where a giant troll crashes a wedding reception in Italy and attempts to kidnap a child and the good fairies come to the rescue. It’s an example of how this unfocused movie literally jumps all over the place.

But apparently, having magical powers isn’t enough for the fairies, because they also have a massive technology center at Haven City, complete with huge video monitors and computers. How very Earth-like. Except it’s not, because their chief technology officer is a fairy centaur named Foaly (played by Nikesh Patel).

And who else has teamed up with Artemis Jr. and Domovoi to help them fight off this large army of fairies? Domovoi’s 12-year-old niece Juliet Butler (played by Tamara Smart), who’s got martial-arts combat skills. The three allies are outnumbered, but they have some tech gadgets and guns for their battles—although the guns don’t seem to actually kill anyone, because Disney can’t have a movie with 12-year-old kids on a murder spree.

Mulch’s narration comes and goes in the story, which includes a scene of Mulch in a prison cell full of goblins who are hostile to him. It’s an example of a poorly written scene that seems to have no purpose other than to show Mulch in an uncomfortable situation and the visual effects of when he uses his magical ability to over-expand his mouth.

All of the actors do a serviceable job in their roles, although McDonnell frequently outshines her co-stars in her scenes. There are a few lines that might give people a chuckle, such as when a gruff Commander Root barks to subordinates, “Get the four-leaf clover out of here!” The way she slightly pauses before she says “four-leaf clover” makes it clear she could have said another “f” word, and then it would definitely not be a Disney movie,

The visual effects and production design of “Artemis Fowl” are good-enough, but they won’t be nominated for any major awards. Because there is so little character development in the movie, the action scenes are really what bring the most appeal to the film. Kids under the age of 10 might enjoy “Artemis Fowl,” but people with more discerning taste in fantasy films won’t find “Artemis Fowl” very impressive. “Artemis Fowl” might just make people want to watch an old “Harry Potter” movie instead.

Disney+ premiered “Artemis Fowl” on June 12, 2020.