review

The Water Diviner

Director: Russell Crowe (2015)

Oscar-winning actor Russell Crowe makes an ambitious directorial debut in this handsome and exciting period action adventure.

Set in Turkey in the aftermath of the First World War, it’s a sweeping and occasionally sentimental story filled with sacrifice, suffering, grief, duty, mysticism and romance.

Crowe casts himself as Joshua Connor, a farmer and the titular water diviner. We first encounter him and his loyal dog in the digging in the red dusty earth for water. Crowe the director cheekily demonstrates his confidence by riffing on Daniel Day-Lewis in 2007’s There Will Be Blood.

After the tragic death of his wife he swears on her grave he will return with the bodies of their three sons. Four years earlier they were all lost in the battle of Gallipoli on the Turkish peninsular. The money-grabbing church offers no solace to Connor, he’s even smacked with a cross at one point.

He travels from the Outback to Istanbul where he struggles against pickpockets, the Turkish resistance, invading Greeks and the belligerent British army bureaucracy.

Connor’s helped along the way by Turkish soldiers Major Hasan and Sergeant Jemal (Yilmaz Erdogan and Cem Yilmaz). He also finds plenty of time to form a gentle bond with a beautiful hotel receptionist.

Turkish culture is treated with respect and in some detail. We see inside the fabulous Blue Mosque and witness several political protests. There are markets, religious ceremonies, brothels, cigarettes and raki. As a cultural exchange Connor teaches the Turks to play cricket.

The Water Diviner is built with the director’s virtues; it’s solid, honest, macho and hard-working, it’s easy on the eye and and offers unexpected moments of charm and humour.

Crowe underplays his own performance but still allows himself a lot of derring-do. There’s plenty of riding, fighting, drinking and even a rooftop escape to keep him busy.

As director he delivers some terrific action moments – especially an excellent sandstorm sequence – and there’s a harrowing depiction of trench warfare. We see the retreat form Gallipoli from the Turkish point of view, proving their soldiers are as brave and foolhardy as the ANZACS.

The film is less steady when Crowe approaches the delicate subject of the opposite sex, demonstrating he’s more comfortable with animals and children than he is with women. Connor even confesses he’s no good at courtship – it could be the director speaking.

There’s a decent stab at providing the character of Ayshe (Olga Kurylenko) with more to do than just being the love interest. She’s intelligent and proud yet realistic about life. As well as beating carpets and fetching wood, she runs the hotel and cares for her invalid father. She faces choices about her future which will affect her son Orhan (Dylan Georgiades).

Kurylenko seems uncertain in her early scenes though she improves as the film progresses – however the candlelit romantic subplot with Connor slows down the story when it should be gathering pace.

Faring far less well as a rounded character is her friend Natalia the prostitute (Isabel Lucas). She’s ever so jolly and lives upstairs in the hotel.

Crowe has thrown himself into the deep-end with this film but it’s no surprise he swims not sinks under the pressure.

★★★☆☆

Fast & Furious 7

Director: James Wan (2015)

Despite the mid-shoot death of star Paul Walker, the latest high-octane vehicle to roll off the Furious production line demonstrates there’s no end of the road in sight for this glossy franchise juggernaut.

It’s a typical cacophony of tanked up car-nage powered by the winning performances of Walker and a billiard of bald action co-stars; Dwayne Johnson, Vin Diesel and Jason Statham.

Racing from London to Azerbaijan, Abu Dhabi and Los Angeles in a whirl of screaming tyres, knuckle-crunching fist-fights and shoot-outs, it picks up camels, military drones and helicopter gunships along the way.

What the series lacks is an easily identifiable theme for when the action kicks into gear, such as enjoyed by James Bond and the Mission Impossible films.

Following directly from the previous instalment, former British Special Forces Assassin Deckard Shaw (Statham) swears revenge for the injuries sustained by his brother.

Holding Dominic Toretto (Diesel) and his crew of drivers whom responsible, Shaw uses the office computer of Special Agent Luke Hobbs (Johnson) to discover their whereabouts – and then beats him up for good measure.

This allows Johnson to spend the greatest part of the film recuperating in bed. Despite being plastered prominently in the advertising posters, Johnson bookends the film rather than play a major part. His eventual reintroduction towards the end sees him striding about like Schwarzeneggar in Terminator 2.

When Toretto discovers his former comrade Kang has been murdered by Shaw, he sets out to find the assassin before Shaw can find him.

In walks supercool special operative Frank Petty (Kurt Russell) and puts Toretto’s team back together. Regular franchise watchers will recognise them as Brian, Letty, Roman and Tej (Paul Walker, Michelle Rodriguez, Tyrese Gibson and Chris Bridges).

It takes a while to adapt to seeing Russell – who earlier in his career played Snake Plissken, Jack Burton and Elvis – as a government suit.

Petty works in an extremely busy yet surprisingly quiet car factory. He offers the team the use of the God’s Eye, a super-powerful computer program that will trace the whereabouts of Shaw.

But there’s a catch; the hacker who created it – Megan Ramsey (Nathalie Emmanuel) – has been kidnapped and Toretto’s team have to rescue her before they can access the God’s Eye.

This results in a brilliant mountainside chase is the movie’s best sequence and seems partly inspired by Michael Caine’s classic car caper The Italian Job (1969).

Another nod to a major a movie occurs in Los Angeles when a line of mannequins is destroyed immediately before a chase down the 2nd Street Tunnel. I doubt many of 2015’s mega-plex fillers will have the confidence to casually throw in a Blade Runner reference.

Fast Furious 7 works because no matter how preposterous the excellently executed action, all the actors play their roles with cast-iron conviction without once mugging or winking to the camera.

However the film does run away with itself. Except for the brief scene where Shaw is cornered in an old factory, the entire middle section set in Abu Dhabi could be jettisoned.

Although it provides for yet more bikini opportunities, a decent high-rise stunt and some cultural damage involving Chinese Terracotta soldiers, the film would be tightened up and considerably improved without it.

Due to Walker’s accidental death, various techniques were used to complete his scenes in a mostly seamless way.

His brothers Cody and Caleb stood in for him in certain shots and the director added footage of the actor from the earlier films. Some digital manipulation was also used to complete certain scenes.

This enable the producers to deliver a coherent movie which doubles as a fitting and touching tribute to the much-missed action star.

★★★☆☆

Robot Overlords

Director: Jon Wright (2015)

In this determinedly old school sci-fi adventure, a British teenager rallies the resistance against giant alien robots.

It has an energetic and engaging cast and some nifty design but with a story which might just squeeze as a last minute filler into the pages of 2000AD – still the galaxy’s greatest comic – it feels and looks too much like an extended episode of Dr Who.

For three years alien invaders have locked up the Earth’s population in their own homes. They claim they will leave when they have finished studying the human race.

Incineration is the penalty for breaking the nightly curfew, it’s enforced by heavily-armoured robots who patrol the streets and the skies.

Electronic implants are used to identify the population and track their whereabouts.

When an accident leads to the discovery of how to disconnect his tagging device, teenager Sean (Callan McAuliffe) goes looking for his Dad who went missing in action fighting the initial invasion.

He’s accompanied more or less willingly by friends Nathan and Alexandra (James Tarpey and Ella Hunt).

Meanwhile his mother Kate (Gillian Anderson) is left to fight off the attentions of collaborator Robin Smythe (Ben Kingsley).

The robots are nicely designed in a Robocop Ed-209 kind of way which is definitely this year’s most popular model.

Nor can there be enough sci-fi films using WWII Spitfires in an airborne attack.

Anderson and Kingsley add a touch of acting gloss and there’s an undoubted effort to entertain – but charm and enthusiasm can only engage or interest for so long.

A couple of characters are pointedly seen reading an old copy of 2000AD.

Shotgun toting, bullet-headed cockney hard-man Wayne (Tamer Hassan) seems based on Invasion!’s Bill Savage. He even looks a little like Stanley Baker on whom the character was originally modelled.

I’ve read 2000AD since Prog 64 and would love to see more films adaptions of its characters but It’s possible the complexity and scale of the writing defeats Hollywood’s finest.

2012’s excellent Dredd was a vast improvement on Sylvester Stallone’s maligned 1995 effort.

Paul Verhoeven’s 1987 Robocop which comes closest to capturing the comic’s manic satirical spirit and this year’s Ex Machina shows how intelligent and entertaining sci-fi can be done.

Robot Overlords is as straightforward as it’s title, I just wished I enjoyed it more than I did.

★★☆☆☆

The SpongeBob Movie: Sponge Out Of Water

Director: Paul Tibbitt & Mike Mitchell (2015)

With a collision of competing animated styles and live action scenes, this animated sequel is a disposable trippy adventure.

Stuffed to the gills with daft innocent fun, not all the jokes work but so many are thrown at you some are bound to make you laugh.

Having never experienced the global phenomenon of the TV series or the first SpongeBob Squarepants movie added to my bewildered enjoyment.

The story pinballs around from a fast food spat to industrial espionage, the apocalypse, inter-planetary collision and an Hawaiian beach fight.

Someone has clearly paid attention to the success and appeal of Marvel superheroes  and The Pirates of the Caribbean franchises as the finale involves a battle between superheroes and a pirate.

There’s a magic book, dinosaurs, talking seagulls and rainbow vomit. By the time the laser-sporting space Dolphin arrived I was powerless to resist the good-natured chaos.

In SpongeBob’s underwater home town of Bikini Bottom, the theft of the Krusty Krab Krabby Patty secret formula leads to a shortage of the popular fast-food, Krabby Pattys.

This results in pitchfork waving townsfolk and a reign of terror. For a moment it’s all very reminiscent of 2007’s The Simpsons Movie which also had an apocalypse theme.

Annoying voiced SpongeBob (Tom Kenny) is nauseatingly optimistic and nice, very much in the mould of Roger Rabbit.

He sets out to forge a team out of his dim, cowardly and selfish friends to regain the secret formula and restore order.

This leads him and his friends Patrick, Squidward, Mr. Krabs and Sandy Cheeks (Bill Fagerbakke, Rodger Bumpass, Clancy Brown and Carolyn Lawrence) joining with their enemy Plankton (Mr. Lawrence) to build a photo booth time machine to search through time and space.

Eventually they confront the villainous Burger-Beard (Antonio Banderas) who is using the formula to sell his own pirate burgers and plans to conquer the fast food world.

Like it’s fast food plot, this sequel is best enjoyed while its hot and fresh and will probably lose it’s appeal after more than one serving.

★★★☆☆

Cinderella

Director: Kenneth Branagh (2015)

There are no surprises in this sweet, stately and straight-forward fairytale which Disney intends to be universally accepted the definitive version.

A non-revisionist extension of the Disney brand, it begins with once upon a time and ends happily ever after.

Unlike Disney’s earlier folklore forage this year Into The Woods or last year’s Maleficent which added a different perspective to European fairytales, Cinderella adds nothing new. Renaming Prince Charming as Kit is as far as reinvention goes.

Instead it’s determinedly old-fashioned, resolutely traditional telling of the tale; majestic, confident, warm and enchanting. At it’s centre is a message of how important it is to have courage and be kind.

With the magical assistance of her fairy godmother, the put-upon Cinderella is saved from an unjust life of drudgery by her handsome Prince Charming.

From cast to costumes to carriages, it is astonishingly beautiful, taking sumptuous pleasure in the smallest detail and director Brannagh keeps the pace steady enough to enjoy them.

Following the death of her wealthy father, Cinderella (Lily James) is left at the mercy of her icy stepmother Lady Tremaine (Cate Blanchett) and spoilt step-sisters Anastasia and Drizella (Holliday Grainger and Sophie McShera).

Tremaine is a black-hearted widow who is deeply disappointed with life, as wasp-tongued as Cinders is wasp-waisted,

Our heroine is forced to sleep in attic and performs all the household chores. Her only friends are four animated cute and charming mice.

While out riding she meets the dashing Prince Kit (Richard Madden) and both pretend to be other than they are. Both are smitten but called away to their duties.

The dying King (Derek Jacobi) orders Kit to find a wife to provide an heir and protect the future of the Kingdom. So Kit holds a fabulous ball and demands attendance of all the maidens in the land, noble or common.

Barred from attending by her step-mother, Cinder’s fairy godmother (Helena Bonham Carter) appears.

She turns a pumpkin into a carriage, mice into horses and lizards into footmen. Cinders dons a pair of glass slippers and is off to the ball – but of course only until midnight when the magic will wear off.

Meeting each other on the dance floor, Kit and Cinderella are a handsome pair, not wildly exciting but pleasant with graceful dance moves – expect copycat routines on the next series of Strictly Come Dancing.

Cinderella’s race to return home is the most fun part of the film. It’s an exciting, energetic and humorous race against time.

Bonham Carter has fun as the fairy godmother and Jacobi adds acting gravitas as the King.

Rob Brydon appears briefly and manages to be funny and outstay his welcome, neatly encapsulating his entire career in a cameo.

Production Designer Dante Ferretti provides an astonishing wealth of detail amid glorious sets, extravagant furnishings giving texture to the fairytale world.

Costume Designer Sandy Powell dresses the cast in fabulous clothes and uniforms. Their heightened colours offer a promise of magic.

With many gasps, groans, giggles and growls padding out the vocal performances, the dialogue is far less imaginative than the design. It’s regularly abandoned in favour of the music of composer Patrick Boyle.

While his orchestral score swells and falls like Cinderella’s corseted bosom, Branagh delivers a series of sweeping camera moves that reveal yet more opulent design.

Dubbing for international markets seem to at the forefront of the film’s construction which opens and begins with a voice over.

The actors finish their lines with open mouths and the editing and direction provide an unusual amount of speaking off-camera. It’s a wonder they didn’t go full Leone and put cigars in everyones mouths to disguise the lip movement.

Disney of course have their own 1950 animated version which the script acknowledges with a Bibbidi Bobbidi Boo as the Fairy Godmother casts her spells.

But this is not just a movie, it’s an irresistible cavalry charge of cultural colonisation. The House of Mouse have mobilised their creative heavy armaments to annex the world of Cinderella and indisputably incorporate it as part of the Disney Empire. Having claimed forever the rich, fertile and lucrative source material, they’ll sweat the asset in due course.

It’s no surprise Cinderella’s mice play a pivotal role in the finale.

Preceded by a short featuring the characters from Frozen which is either utterly amazing or annoyingly entertaining depending on your view of that massively successful film.

The end of Cinderella shows the newly wed royal couple being presented on a snowy balcony to an adoring public with snow-clad mountains in the background.

Unless I’ve missed a memo and this is old news, it seems as if Disney are tying the two films together in a continuous universe, not unlike Disney’s rmega-franchises; Marvel and Star Wars, with Kit and Cinderella the parents of Elsa and Anna.

This lends Frozen some of Cinderella’s folklore resonance and makes the more staid Cinderella more palatable to the little ones.

As strong and monumental as this film is, even in playful homage it’s always dangerous to reference your cinematic betters – as Cinderella does with a throwaway ‘As you wish.’

★★★★☆

Iron Man 3

Director: Shane Black (2013)

Fresh from super heroically saving the world in 2012’s mega successful Avengers Assemble, Robert Downey Jnr returned in 2013 as wayward genius Tony Stark and his Iron Man alter ego in this souped-up, buddy movie throwback to the ’80’s.

Downey Jnr’s usual accomplices Gwyneth Paltrow and Don Cheadle are joined by Guy Pearce, Rebecca Hall and Ben Kingsley.

Stark has been suffering from insomnia and nightmares. The result is more conflict in his personal life.

Meanwhile, the US is rocked by bombs planted by a terrorist called the Mandarin, played by Kingsley, who seems immune from capture.

After Stark challenges the Mandarin on TV his home is attacked and destroyed. His armoured suit is broken and his girlfriend Pepper Potts (Paltrow) is kidnapped.

In three films Potts’ demeanor has changed from mother to wife to cheerleader girlfriend.

The President’s life is threatened and Stark, lost in the middle of nowhere, sorry,Tennessee, and has to find a way back. He’s helped by a reasonably annoying schoolboy to whom he thankfully gives short-shrift.

Then another, more creepy, danger appears in the shape of blonde mullet-wearing biotech genius Aldrich Killian (Pearce). In Starks’ world, the bad guys have the worst haircuts. It’s why he doesn’t get along with Thor.

Any subtlety this film series might have aspired to is abandoned in favour of an explosive pace. There are super-enhanced bad guys with red eyes, a jaw-dropping mid-air rescue from Air Force One and a thunderous fight in a dockyard.

The plot rockets along to its explosive conclusion on the rickety roller coaster of a 1980’s action movie vibe, scooping up characters and jettisoning them overboard as soon as their ability to fuel the ride is extinguished.

Stark and Col. Rhodes (Cheadle) are cartoonly heroic under fire as they bat endless quick-fire banter between each other like a super-powered Murtaugh and Riggs from the Lethal Weapon franchise. No great surprise as the first of those films was written by one Shane Black.

But the women don’t fare so well. Paltrow has killer abs and is very cute when she’s angry. The hugely talented Hall is wasted in a small role. A bikini pageant takes place in winter – but it’s Christmas so that’s OK. Ho ho ho.

It is all very familiar but never dull; the comedy is broad, the girls are sexy and the special effects are state of the art.

I was thrilled by the first Iron Man movie, this is a return to form after the disappointing ‘difficult’ second film.

★★★★☆

Man Of Steel

Director: Zack Snyder (2013)

Brit actor Henry Cavill carries the weight of the world on his shoulders in this monumental rebooting of Superman.

The planet Krypton is in deadly peril so the baby Kal-El is jettisoned off to Earth for safety by his father Jor-El – Russell Crowe on top form.

An attempted coup by Krypton’s compellingly evil General Zod is defeated and he is banished to the Phantom Zone.

Zod, an elemental Michael Shannon, swears revenge on the son of Jor-El and when Krypton is destroyed he escapes into open space with his followers.

Kal-El is 33 and has developed super powers when Zod’s spaceship arrives to demand the US military hand him over – but only Lois Lane knows where he is.

The battles that follow are conducted in state-of-the-art CGI and there are some nifty flying sequences. All the costumes and space hardware are fabulously well designed, as is Krypton.

For all her no-nonsense journalist-on-a-mission attitude, Lois (Amy Adams) exists only to be rescued. The plot makes great leaps over logic to keep her involved.

Cavill is so ridiculously handsome and buff he could well be from another planet. But his Man of Steel character is somewhat flat here because of the absence of the traditional Clarke Kent alter ego.

It is not until the absolute end that the actor is allowed to demonstrate any humour, charm, or light-heartedness, which is a waste of his talent – and a lot of our time.

Superman saves more soldiers’ lives than civilian ones despite the military being stupidly belligerent and not trusting of him. Mind you, the civilian body count must be astronomical.

With the Man of Steel no longer wearing underpants outside his tights, everything is played with utter seriousness.

The tone stays in the narrow realm of the ominous and desperately solemn. Doom-laden declarations litter the dialogue, which is workaday, dull and occasionally silly with Adams’s Lois Lane having the worst of it.

A well acted and solid spectacle is bookended by two titanic battles. But taken as a whole, Man of Steel never escapes the heavy gravitational force of its own furrowed brow.

★★★☆☆

Wreck-It Ralph

Director: Rich Moore (2013)

Smashing its way through several levels of fun, this fun-filled blast of candy coloured, sugar flavoured confection from Disney is inspired by old video games.

Genial giant Wreck-It Ralph, voiced by John C. Reilly, is the unfairly maligned bad guy of an arcade game called Fix-It Felix Jr – a lot like the 80s gaming classic Donkey Kong.

At night after shut-down the other characters socialise in their penthouse. Ralph, left all alone, starts to ponder his lot in life and goes to a support group.

He confesses that after 30 years he doesn’t want to be the bad guy any more. Ralph decides to ‘turbo’ – arcade-speak for invading another game.

So he breaks into another machine – a violent and scary shoot-’em-up called Hero’s Duty, before landing in a racing adventure called Sugar Rush.

But Ralph going missing means Fix-It Felix Jr is considered broken – putting the lives of its other inhabitants under threat. What’s more, during his hopping around between games he inadvertently lets loose a computer virus which threatens the existence of every game in the arcade.

Teaming up with tiny, racing-obsessed Vanellope von Schweetz (Sarah Silverman), Ralph begins a digitised adventure with a quest.

Combining the insane world of arcade games with the upside-down logic of Alice in Wonderland, the film generates slapstick fun as it powers its way through its own levels.

The animation is mind-blowingly good, with tremendous amounts of invention, but it is all a bit too sickly sweet and garish.

Also, Vanellope’s rival King Candy (Alan Tudyk) is more fun than von Schweetz or Ralph. But Glee’s Jane Lynch is on great form as the tough-talking, space marine commander.

Oscar-nominated Wreck-it Ralph was made by people who obviously have a deep love of arcade games.

They have great fun dropping in cameos with Pac Man, Sonic, Q*bert, Frogger and old favourites from Street Fighter all turning up. But there’s more than enough to enjoy even if you don’t get the references.

Like the title character, this film is a digital hard-nut with a soft centre. Bright and cheerful, it will keep you entertained all the way through to Game Over.

★★★★☆

The Voices

Director: Marjane Satrapi (2015)

It’s claws versus paws in this macabre black comedy as the eternal conflict between good and evil is fought between cat and dog.

But as well as committing the cardinal sin of not being funny, there are clunking changes of tone, weak direction and too many scenes lack energy.

All of which is a shame as there are two great actresses, a decent idea and a laudable attempt to bring something different to the cinematic marketplace.

Pizza-loving Jerry (Ryan Reynolds) lives quietly with Bosco and Mr. Whiskers, his pet dog and cat. He works in a toilet factory, is in therapy and taking medication.

Based in the town of Milton, he is obsessed with angels and devils and happily points out Lucifer was both.

At home the foul-mouthed Mr Whiskers urges him to be bad, Bosco tells him to be good. Reynolds provides the animal voices, including a poorly advised Scottish accent for Mr Whiskers.

Discussions with his pets as to whether Jerry is a good person occupy far too much screen-time and deliver no laughs.

Jerry hangs out with the girls from accounts. He has a crush on Fiona (Gemma Arterton) and ignores the attentions of the clearly interested Lisa (Anna Kendrick). On a night out he kills a co-worker which leads to a spree.

The always engaging Arterton and Kendrick give proceedings an undeserving vitality, bringing glamour, charm and fine singing voices.

But Reynolds is such an unprepossessing leading man he barely registers. He plays sweet when dry would have been more effective. Anything would have been more effective. Maybe Adam Sandler and Paul Rudd were too expensive. Or busy.

The script can’t decide whether Gerry’s bad, mad or a victim. It absolves him of guilt by showing us his traumatic childhood.

There’s some nice production design by Udo Kramer, but the director loses control of her camera and the imagery becomes repetitive. The charitably minded will assume the choreographer was aiming for comic effect.

The film isn’t sufficiently trippy to be interesting, nor is it clever, fast or sharp enough to be funny. It’s a sad day when a Chinese Elvis impersonator can’t make me smile – but he’s just another glaring example of how The Voices mistakes wacky for funny.

★☆☆☆☆

Home

Director: Tim Johnson (2015)

A fugitive alien and a streetwise girl team up to save the world in this bright and busy animated adventure.

Based on Adam Rex’s 2007 children’s book The True Meaning of Smekday, it’s a technicolor blast of fun for the little ones that adults will be happy to doze through.

Proud of their cowardice, the many tentacled Boov are small, roundish and look as if moulded out of purple bubblegum.

They change colour depending on their mood; red when they’re angry, green when they lie, orange when scared and so on.

Although they seek safety in numbers, the Boov prefer to spend their time on their alien smartphones than talk to each other.

Engaged in a galactic game of cat and mouse with their angry armoured enemy, the Grog, the Boov conquer a new planet whenever they need a new home.

Lead by the blustering prevaricator Captain Smek (Steve Martin) – who’s not unlike the Wizard of Oz – they descend on Earth.

Using giant tubes attached to their flying saucers, the Boov suck up all the humans. This leaves the buildings intact to be their living spaces.

The people are deposited safely in a purpose-built, sunshine-soaked suburbia. It’s a fairground-filled, pastel coloured ghetto out of Tim Burton‘s worst nightmare – but is actually in Australia.

An optimistic but naive Boov called Oh (Jim Parsons) emails an invitation to his house-warming party but sends it to the entire galaxy by mistake – including to the Grog. As a result he becomes a fugitive.

Due to the vast galactic distance the it has to travel, the Boov have forty hours to hack Oh’s password, prevent the Grog from receiving the email and discovering where they are.

Meanwhile Oh encounters a human who accidently escaped relocation. She’s a curly haired poppet called Tip (Rihanna) and is desperate to find her mother Lucy (Jennifer Lopez). Instead of a pet dog named Toto, Tip has a cat called Pig.

Parsons riffs on his super-nerd persona of Sheldon in the TV series The Big Bang Theory. Rihanna is adequate playing a headstrong if whiny character.

In the credits I counted 6 songs by Rihanna, 1 by Jennifer Lopez and non by Parsons.

Reluctantly teaming up, Oh turns Tip’s family car into a flying mobile. Now powered by a slush drink dispenser, the car conveniently serves cinema snack food such as nachos, popcorn, hotdogs and the like.

Together they confront the Grog and discover not everything they have been told is true.

Their good-natured squabbling becomes annoying though the film achieves a reasonable emotional depth when they shut up.

With the animators allowed to work uninterrupted, they conjure up a dazzling image or two.

The script is keen on cramming in an exhausting list of life lessons; keep promises, tell the truth, appreciate art, take care of your family, be web safe, be brave, learn a foreign language, shushing people is bad..

There’s a lot of toilet jokes, a reasonably zippy pace and the movable skulls of the brainy Boov made me smile. Though not the least challenging, it is a genial good time.

★★★☆☆