Arco: Insufferably weird and unstructured

Arco (2025) • View trailer

Two stars (out of five); rated PG, and much too generously, for bleak dramatic intensity

Available via: Amazon Prime and other VOD options

By Derrick Bang 

Every year, it seems obligatory that one of the Oscar-nominated animated feature films is preposterously bizarre and unsatisfying, having attracted attention solely because of the way it looks.

 

When Arco attempts to fly without benefit of his crucial time-traveling gemstone, Iris
supplies the necessary weather conditions by blending the day's bright sunlight with
water spray from sprinklers and her hose nozzle. The result ... leaves much to be desired.

If imagination and visual razzle-dazzle were all that mattered, then this one would indeed deserve some of its many accolades.

But there’s the not-inconsequential matter of story, in which department this feature from French co-directors Ugo Bienvenu and Gilles Cazaux comes up seriously short.

 

In interviews, Bienvenu has admitted constructing Arco from a series of hand-drawn sketches, rather than a script.

 

That’s blindingly obvious, because — in terms of narrative — this film often is an incomprehensible and impenetrable mess. Additionally, its tone veers wildly from serious ecological cautionary tale, to bumbling slapstick farce. Those two don’t play well together.

 

Bienvenu shares scripting credit — such as it is — with Félix de Givry.

 

In the distant future — sources differ on 2932 or 3000, but neither is mentioned during the film — people live on circular, open-air platforms that jut out, like branches, from immense towers. Those are anchored on Earth somewhere far below, beneath an all-encompassing blanket of concealing clouds. 

 

Mention is made that this is “the great fallow,” intended to “let the Earth rest.” We assume some sort of ecological disaster, never specified.

 

Each family’s adult members periodically travel back in time, returning with single examples of a fruit, vegetable or spice, which are gene-sequenced and replicated, so that everybody can have lush gardens. Individuals traveling in this manner — which can take place only during a combination of rain and sunlight — leave a rainbow in their wake.

 

Animals never are mentioned, and (apparently) nobody has pets. But birds are in abundance, and people can talk to them (!).

 

The colorful animation style at times evokes Hayao Miyazaki, but his films always contain a cheerful warmth that’s utterly lacking in this cold, clinical, brooding story.

 

People sleep suspended in mid-air, under an anti-gravity light, in uniform-style pajamas and no blankets (which, frankly looks neither comfortable nor cozy).

Zootopia 2: Another sure-fire hit!

Zootopia 2 (2025) • View trailer

4.5 stars (out of five). Rated PG, for action violence and mild rude humor

Available via: Movie theaters

By Derrick Bang • Published in The Davis Enterprise, 11.30.25

This was a brave gamble.

 

2016’s Zootopia was a perfect film, and (as I wrote, at the time), a work of subversive genius: an enormously clever project that functioned both as a charming, suspenseful and exciting adventure, and also as a compelling parable of tolerance and inclusion.

 

While doggedly pursuing a fleeing suspect through waterlogged Marsh Market, Nick and
Judy accept transport from a rather unusual source.

Making a sequel, and risking the possibility of tarnishing the original film’s reputation, seemed foolhardy.

But they pulled it off.

 

Trust the talent involved: Co-directors Jared Bush and Byron Howard have returned, along with all the key voice actors. Bush also has the sole writing credit, and his cunning script is another impressive blend of cheeky character interaction, suspenseful action set-pieces and sly references to real-world issues, once again set in an alternate animals-only universe that hilariously sends up human behavior.

 

This film’s overall look and settings are just as visually rich and detail-laden as its predecessor, once again stuffed with far more sight gags and little bits of sidebar business than can possibly be absorbed in one viewing. 

 

The core plot also involves a cheeky nod to 1974’s Chinatown, which is rather audacious on Bush’s part.

 

Events resume where they left off. Plucky bunny Judy Hopps (voiced by Ginnifer Goodwin) and street-smart con artist-turned-good-guy fox Nick Wilde (Jason Bateman) have become the newest partner team in Zootopia’s police force. This naturally annoys the much larger, more ferocious teams of Hoggbottom and Truffler (razorback hogs), Bloats and Higgins (hippos) and Zebro Zebraxton and Zebro Zebrowski (zebras, of course … and the coolest cops in the station).

 

Mindful of the high expectations under which she and her new partner are operating, and desperate to prove that their first success wasn’t a fluke, Judy naturally disobeys orders, much to Nick’s exasperated consternation. She recklessly follows another of her shrewd hunches, nearly ruins an ongoing investigation, and wrecks untold city property during the first of this film’s madcap chase sequences.

 

This naturally confirms the dismissive opinions of her razorback, hippo and zebra colleagues, and also earns a stern public scolding by exasperated Chief Bogo (Idris Elba).

 

Privately, though, Bogo tells Judy that he likes and respects her, but warns that her unchecked behavior could jeopardize the dreams of other rabbits hoping to follow in her footsteps. Elba’s softened tone, during this gentle caution, is note-perfect.

Hotel Transylvania: Transformania — An enjoyable change of scenery

Hotel Transylvania: Transformania (2022) • View trailer

3.5 stars (out of five). Rated PG-13, and rather harshly, for cartoon nudity and mild rude humor

Available via: Amazon Prime

By Derrick Bang

Goodness.

 

Bear with me, while I catch my breath.

 

If this isn’t the most frantically paced animated feature ever made, it’ll certainly do until I can recall a wilder one.

 

Nobody else shares Johnny's excitement at becoming a monster; sweetie-pie Mavis,
at his immediate left, is particularly horrified.

The Hotel Transylvania series has enjoyed an entertaining run during the past decade, with various writers successfully concocting fresh plots that cleverly riff these classic Hollywood monsters. This fourth entry is no different; scripters Amos Vernon, Nunzio Randazzo and Genndy Tartakovsky — the latter directed the previous three films — once again put Dracula and his cohorts in hilariously wacky peril.

That said, first-time feature directors Derek Drymon and Jennifer Kluska could have slowed things down a skosh; the sight gags and one-liners erupt with a fury reminiscent of Drymon’s work on Nickelodeon’s CatDog shorts. And it isn’t merely the gags; the characters here seem to be in a constant state of pell-mell anxiety.

 

It’s almost overwhelming. 

 

But, happily, not to the point of hampering our enjoyment.

 

We’ve moved beyond the first film’s crisis of Drac’s 118-year-old daughter Mavis (voiced by Selena Gomez) falling in love with (gasp! shock!) the very human Johnny (Andy Samberg). In the third film, Drac became an item with the similarly human cruise ship captain Ericka (Katherine Hahn), despite the fact that she’s the great-granddaughter of his mortal enemy, Abraham Van Helsing (Jim Gaffigan).

 

Each of these core plotlines has included a warm subtext that focuses on families, and family dynamics … including highly unusual ones.

 

This fourth entry is no different. Events kick off as Drac (Brian Hull), weary of hotel management, contemplates retirement. Although far from a fait accompli, Mavis excitedly realizes that she and her human hubby Johnny will wind up in charge … which sends Drac into a tizzy.

 

Although he has learned to accept Johnny’s presence — recognizing that the excitable young fellow makes Mavis happy — Drac has never fully accepted him as family … or, more crucially, as a son. Ergo, Drac doesn’t want Johnny co-managing the hotel. Desperate for a way out, Drac invents a “rule” stating that all hotel personnel must be monsters.

 

Is Johnny majorly bummed? Absolutely. Does he give up? Absolutely not.

Palm Springs: A cheeky nightmare

Palm Springs (2020) • View trailer 
Four stars. Rated R, for sexual content, brief violence, drug use and relentless profanity
By Derrick Bang • Originally published in The Davis Enterprise, 7.31.20

Some films shouldn’t be discussed ahead of time, because so much of the joy comes from being caught off-guard by the unexpected twists, turns and sidebar surprises orchestrated by an audaciously clever writer and director.

With nothing to do until the wedding ceremony begins in a few hours, Sarah (Cristin Milioti)
and Nyles (Andy Samberg) enjoy some quality time ... in a pool belonging to folks who
are out of town.

That’s definitely the case with this snarky rom-com, available via Hulu. Director Max Barbakow and writer Andy Siara play us like a fiddle. Considering this is the feature debut for both, that result is even more impressive.

So I’m inclined to simply say, Check it out; you’ll have a lot of fun — allowing for a tad too many F-bombs — and leave it at that. Because I can’t really say anything else, without giving too much away.

Still with me?

Okay then: On your head be it.

Barbakow and Siara open on a goat. Somewhere in the desert. 

It’ll be an important goat.

Elsewhere, Nyles (Andy Samberg) wakens to the petulant whine of Misty (Meredith Hagner), his self-centered Girlfriend From Hell. They’re in Palm Springs for the destination wedding of friends Tala and Abe (Camila Mendes and Tyler Hoechlin), taking place later this day at a fancy desert resort.

Nyles seems to subsist on beer and burritos; he has the scruffy, apathetic attitude of a failure-to-launch. Even so, his casual indifference — as the day proceeds — seems unnecessarily boorish. Couple this behavior with considerable vulgarity and profanity, and it feels like we’ve wandered into an aggressively crude Seth Rogen comedy.

Not so; just be patient.

Evening falls; the ceremony concludes; the microphone is passed around. Misty’s toast is absolutely ghastly and tone-deaf. The bride’s parents — Howard and Pia (Peter Gallagher and Jacquiline Obradors) — pass the baton to Tala’s older sister Sarah (Cristin Milioti), maid of honor and, one would expect, next to speak. But Sarah, tongue-tied and terrified — having consumed perhaps a few too many glasses of wine — stands silently, like a deer in headlights.

Enter Nyles, who snatches the microphone and saves the moment with a truly terrific speech. (Who’d have thought?)

Hotel Transylvania 3: Summer Vacation — A monstrous good time

Hotel Transylvania 3: Summer Vacation (2018) • View trailer 
Four stars. Rated PG, for mild rude humor
By Derrick Bang • Originally published in The Davis Enterprise, 7.13.18

The jokes never get old.

Many of the sight gags and laugh lines in this new outing are recycled from the two previous films, but we can’t complain when the result remains so entertaining. It has long been fun to exploit the absurdity of classic monsters, going all the way back to 1948’s Abbott and Costello Meet Frankenstein. 

To his surprise, Dracula falls head-over-heels in love with cruise ship captain Ericka,
little realizing that he needs to know a lot more about her heritage.

This is director Genndy Tartakovsky’s third crack at this series’ fast-paced humor in a jugular vein, and he has the formula down pat: He and co-writer Michael McCullers divide this new adventure into distinct chapters, each of which presents unique opportunities for hilarity.

While, at the same time, each enhances the (mild) suspense of the story’s core plot.

A brief prologue mines Bram Stoker territory, by depicting the long-running battle between the resourceful Dracula (voiced by Adam Sandler) and various members of the Van Helsing clan, all of whom have devoted their lives to eradicating monsters. But as we move past the 19th and 20th centuries, and into modern times, all monsters have become sheltered beneath Dracula’s protective cape — as the two previous films have established — where they can safely enjoy themselves in his Hotel Transylvania.

On top of which, Dracula always has been able to make short work of the various Van Helsings, including the most recent, and most persistent: Abraham Van Helsing (Jim Gaffigan).

Happily ensconced in his hotel, Dracula’s busy schedule has compromised his ability to spend time with vampire daughter Mavis (Selena Gomez), her gonzo-mellow human husband Johnny (Andy Samberg), and their precocious 5-year-old son Dennis (Asher Blinkoff). The latter, in turn, can’t stand to be parted from his elephant-sized puppy, Tinkles (who, fortunately, doesn’t live down to his name).

Worried that her father is wearing himself thin, and is unable to spend quality time with friends and family, Mavis secretly books a vacation for the entire gang — Drac’s Pack — on a luxury monster cruise ship. Although initially unimpressed by the notion of spending time on a massive “hotel on the water,” Dracula comes around when he unexpectedly “zings” — the monster equivalent of love at first sight — with the ship’s captain, the dimple-chinned Ericka (Kathryn Hahn).

Little do Dracula and his friends know, however, that Ericka is a Van Helsing, and the cruise actually is an elaborate trap designed to destroy all monsters. Finally. Forever.

Hotel Transylvania: Monster Mash

Hotel Transylvania (2012) • View trailer
Four stars. Rating: PG, for mild rude humor and some scary images
By Derrick Bang • Originally published in The Davis Enterprise, 9.28.12

Funniest sight-gag I’ve seen in years: The Invisible Man attempting to convey a clue during a spirited round of charades.

Hotel interloper Jonathon, left, concealing his human-ness behind pale makeup and
an orange hairstyle, can't help falling in love with Mavis, Dracula's adorable daughter ...
and the attraction definitely is mutual. But this can't be a good idea, and Dracula
himself would much rather see his little girl stick to (ahem) her own kind.

Hotel Transylvania is generously laden with similar knee-slappers, many piling one atop the next in the rat-a-tat-tat manner of a classic Road Runner cartoon. But this is no seven-minute short; director Genndy Tartakovsky and editor Catherine Apple successfully maintain an exhilarating pace without sacrificing the character elements necessary to hold our interest.

It’s an impressive feat, no less so when considering the involvement of five credited writers: Peter Baynham, Robert Smigel, Todd Durham, Dan Hageman and Kevin Hageman. That many cooks generally spoil the magic potion, but in this case everybody’s sensibilities mesh nicely. The result is a light-hearted spoof of familiar movie monster traditions, blended with wry takes on young love and an unusually extreme generation gap.

Long, long ago, in a haunted forest far, far away, Dracula (voiced by Adam Sandler) constructed a lavish “five-stake resort” that he dubbed Hotel Transylvania: a posh refuge for monsters and their families to vacation, far from curious — and potentially dangerous — eyes. As has become typical of our 21st century re-evaluations of fantasy creatures, these poor monsters are the world’s maligned and misunderstood, hunted and killed by the humans who fear and hate them.

Bearing that last thought in mind, Dracula’s massive sanctuary also has been designed as a place where his daughter, Mavis (Selena Gomez), can grow up safely. Dracula has particular reason for this parental concern; a century and change ago, his beloved wife — Mavis’ mother — was killed by just such a human mob.

But Mavis is celebrating her 118th birthday, and — just like the tower-bound Rapunzel, in 2010’s Tangled — she yearns to explore and experience the outside world. Until now, Dracula has managed to delay her desire, in part through the distraction of ever more elaborate birthday parties.

This one is destined to be no exception, with a guest list that includes Frankenstein (Kevin James) and his brassy wife, Eunice (Fran Drescher); Wayne (Steve Buscemi) and Wanda (Molly Shannon), a couple of loving werewolves who have produced litter after litter of pups; Griffin, the Invisible Man (David Spade); Murray (CeeLo Green), a boisterous, jive-talking mummy; and Quasimodo (Jon Lovitz), the hotel’s temperamental head chef, never seen without his loyal rat assistant, Esmeralda.

Celeste and Jesse Forever: Love lies bleeding

Celeste and Jesse Forever (2012) • View trailer
3.5 stars. Rating: R, for profanity, drug use and sexual candor
By Derrick Bang • Originally published in The Davis Enterprise, 8.31.12

If art truly imitates life, then — based on the evidence of recent films such as this one, Lola Versus and Ruby Sparks — today’s self-absorbed thirtysomethings haven’t the faintest idea how to embrace and sustain a relationship.

Celeste (Rashida Jones) insists — to anybody willing to listen — that
she wants only the best for ex-hubbie Jesse (Andy Samberg). The
truth, though, is that their separation is strictly on her terms ... and
that little detail is about to get them both in trouble.

At first blush, however, the opposite seems true of the title characters in Celeste and Jesse Forever ... and that’s the clever twist in this arch and perceptive script from Rashida Jones and Will McCormack.

Celeste (Jones) and Jesse (Andy Samberg) are introduced on what seems an average day. They’re bubbly, effervescent and completely at ease with each other. They enjoy many of the same artful pursuits, while cheerfully tolerating each other’s varying tastes. They finish sentences together, dissect restaurant menus in mock German accents, and share little physical rituals, from air-hugs to hilariously vulgar acts with tubes of lip gloss.

In a word, they’re cute enough to be cloying.

Unfortunately, they aren’t a couple. At least ... not really.

Indeed, they’re long separated and in the final stages of divorce. But an inability to stay married hasn’t damaged their friendship, although this dichotomy falls outside the bounds of comfort for their respective best friends, Beth (Ari Graynor) and Tucker (Eric Christian Olsen), coincidentally engaged and soon to be wed.

We deduce that Celeste and Jesse once were perfectly matched, during the younger days that led to their own wedded bliss. But Celeste has matured beyond the giddy rush of carefree twentysomethingness; she has become the ambitious, workaholic co-owner of her own media consulting firm. She’s also a frequently quoted “trend analyzer” and the author of a book on same, provocatively titled Shitegeist.

The passive Jesse, alternatively, prefers the lackadaisical existence of an artist. He’ll blow off deadlines — even on projects for Celeste — in order to watch TV or get stoned with good buddy Skillz (McCormack), a casual pot dealer who is quite vexed by the medical marijuana clinics that are interfering with his business model.

When Beth confronts her best friend and wonders aloud, for the umpteenth time, why she and Jesse don’t get back together, Celeste rather waspishly replies that she can’t spend her life with a guy who won’t even get a checking account.

“The father of my child,” she insists, “will own a car.”

It’s a droll line, one of many in this frequently witty script. But Celeste’s facility for disdainful zingers is a defense mechanism: one that eventually fails to conceal the arrogance of a condescending control freak.