Review: "The Thursday Murder Club"

Review: “The Thursday Murder Club”

The Thursday Murder Club is a fun ride full of twists, turns and senior citizen teamwork. Netflix has done a nice job with this new murder mystery, based on the novel of the same name by Richard Osman. Released just this weekend, I really liked it and here are my thoughts:

The Thursday Murder Club takes place at a fictional retirement home in County Kent, England. Instead of knitting or doing puzzles, four retirees there decide they would rather solve murder mysteries, turning to the “cold case” files. As they investigate one of the mysteries, they uncover a plot by a greedy real estate tycoon to destroy their retirement home for a new event center.

Just like in the recently released “Fantastic Four: The First Steps,” “The Thursday Murder Club,” also has a fantastic team of four: Oscar-winner Dame Helen Mirren, Pierce Brosnan, Oscar-winner Ben Kingsley, and Celia Imrie. Rather than rely on make-believe superpowers, this group relies on wisdom, a little humor, and even some MI-6 training.

Mirren portrays a clever former British spy, Elizabeth Best, who is stubborn in her pursuit of catching the killer. She reminds us a bit of Dame Angela Lansbury’s Jessica Fletcher in Murder, She Wrote (1984-1996). Elizabeth’s friends are: Ron Ritchie, a former Union Leader (played by Brosnan — comical because he plays the “muscle” and is cast way against type. Ibrahim Arif, a former psychologist (played by Kingsley), brings the “book smarts.”Joyce Meadowcroft, a former nurse (played by Imrie) takes care of everyone, mostly by baking them cake. 

The supporting cast includes Naomi Ackie, David Tennant, Tom Ellis, Oscar-nominee Jonathan Pryce, and Oscar-nominee Richard E. Grant (who co-starred with Dame Helen Mirren in the murder-mystery Gosford Park (2001)). The film is directed by the legendary Chris Columbus, director of: Home Alone (1990) and Harry Potter and the Sorcerer’s Stone (2001) (as well as the first sequels to both movies,) and Thomas Newman composed the music. (Newman currently holds the Oscar record as composer who was been nominated the most times but never won. He has nominated 15 times, including The Shawshank Redemption (1994) and 1917 (2020), and many others).

Overall, “The Thursday Murder Club,” is a surprisingly entertaining film. A little suspense, combined with clever humor, goes a long way. It could also leave audiences hoping for a sequel, which has yet to be confirmed. There are currently three sequels in the book series: The Man Who Died Twice, The Bullet That Missed, and The Last Devil to Die. Richard Osman has also announced that a fifth book is planned to be released in 2025.

A teamwork message is something that everyone can appreciate, and I also really appreciated how funny it was. Their scheming often leads to embarrassment, but as they work together — uncovering several unexpectedly guilty parties — the conclusion to their mystery is satisfying for the audience as well.

 

Review: "Fantastic Four: The First Steps"

Marvel’s Fantastic Four made their very first Comic Book appearance in The Fantastic Four published in November 1961. They were re-adapted for television in 1968 and radio in 1975, though neither series lasted particularly long. The television series lasted for just 20 episodes, though they aired on repeat for a year. (The TV series was produced by Hanna-Barbera productions, the company who also produced The Flintstones (1960-1966), The Jetsons (1962-1963) and Scooby-Doo Where Are You? (1969-1978)). 

The first official “Fantastic Four,” film was produced in 1994, but it was never released due to copyright infractions. Constantin Film, the studio who owned the film rights to the characters, later, sold the rights to 20th Century Fox, resulting in their own “Fantastic” movie in 2005, and a sequel Fantastic Four: Rise of the Silver Surfer in 2007. When Disney, acquired Fox, they produced a remake in 2015. The Disney folks said we hadn’t had enough, releasing The Fantastic Four: The First Steps this past weekend.

In Fox’s original remake of “Fantastic Four,” Mr. Fantastic and The Invisible Woman were portrayed by Ioan Gruffud and Jessica Alba, and their characters were love interests who had dated, but had broken up and weren’t on good terms. That plot focused on whether or not they would reconcile. In “Fantastic Four: First Steps,” Pedro Pascal and Vanessa Kirby play the respective roles as a married couple faced with the pressures of becoming first-time parents. Although the character development is slightly different, it’s equally enjoyable.

This film has a great message of what it means to work together as family and/or team—and to maintain integrity in the process. The four characters: Mr. Fantastic and The Invisible Woman (aka Dr. Reed Richards and his wife Sue Storm), Johnny Storm (The Human Torch) and Ben Grimm (The Thing) get on each other’s nerves at various times and hurt each other’s feelings in the process, but they learn to forgive each other and love each other, and never leave a single person behind.

Besides Pascal and Kirby, Joseph Quinn portrays The Human Torch and Ebon Moss-Bachrach portrays “The Thing.” Ralph Ineson plays the Four’s nemesis, Galactus. The film is directed by Matt Shakman who makes his feature film debut as director. He is no stranger to MCU, however, having previously directed the MCU/Disney+ streaming series WandaVision (2021). The film’s music is composed by Michael Giacchino, the Oscar-winning composer of Disney/Pixar’s Up (2009). The film also features cameos by the four actors who starred in the 1994 “Fantastic Four,”: Alex Hyde-White (the original Mr. Fantastic), Rebecca Staab (the original Invisible Woman), Jay Underwood (the original Human Torch), and Michael Bailey Smith (the original The Thing).

All in all, “The Fantastic Four: The First Steps,” is a solid offering, bringing “humanity” to the Marvel Universe—even with some “dry humor” moments. The story alone is the best part, making the journey with this iteration of the four main characters worth taking. I especially appreciated its focus on family and teamwork. 

Review: "Superman"

Superman made his very first Comic Book appearance in the series Action Comics in Issue #1 of the series, published on April 18th, 1938. Two years following, the character was adapted for radio, airing from 1940-1951 (2,088 episodes). Paramount Studios produced a cartoon series that aired in movie theaters from 1941-1943, and the character was incarnated again in a Broadway Musical: It’s a Bird…It’s a Plane…It’s Superman in 1966, featuring music and lyrics by Charles Strouse and Lee Adams, the team behind Bye Bye Birdie. (Strouse also wrote the music for Annie (1977).) The superhero was finally given the live-action treatment in Superman (1978), starring Christopher Reeve, and spawning three sequels. Nearly five decades after Christopher Reeve first wore the iconic red-and-blue suit, David Corenswet dons it in James Gunn’s new film Superman (2025). Here are my thoughts:

David Corenswet re-defines “Superman” in his performance. Instead of playing him as all-macho, he brings out the “human” side of Superman, playing him as more of “Average Joe,” a person who is not-at-all perfect, but always does the best he can. The Superman embraces success with failures, gives love, and hopes that he’ll be loved in return. Corenswet brought qualities more typical of a Tom Hanks and/or James Stewart character.

Unlike previous Superman movies, James Gunn’s “Superman,” has a surprisingly powerful message of what it means to be human: When we rely on technology too much and allow ourselves to becomes slaves to it, we can allow technology to convince us that we’re not good enough or that we’re never going to be good enough. But, when we pay attention to what’s real, and the friends and/or family that we love, it can inspire each of us to wake up every morning, always try to do the best we can, embrace joy with pain—and along the way, know that we are loved. In other words, in life all you have to be is yourself, and that’s good enough. 

“Superman,” features the tip-top cast of David Corenswet as Superman and his alter-ego, Clark Kent, and Emmy Winner Rachel Brosnahan as his love interest, Lois Lane. Additional cast includes Nicholas Hoult as Superman’s ruthless enemy Lex Luthor, and Bradley Cooper and Angela Sarafyan as Superman’s Kryptonian parents. The film was written and directed by James Gunn who also wrote and directed Marvel’s Guardians of the Galaxy (2014-2023) franchise. The film’s Cinematography was done by Henry Braham, who did the Cinematography on “Guardians 2 (2017) and 3 (2023)”, and the film’s music was composed by David Fleming and John Murphy. (Murphy also composed the music for “Guardians 3 (2023).”)

All in all James Gunn’s “Superman” is the best superhero movie we’ve had in a really long time. It has something for everyone to enjoy: great cast, breathtaking cinematography, stunning special effects, and an inspiring message. You don’t have to be a fan of the Superman character to enjoy this movie, though if you weren’t one to begin with, you likely will become one after you’ve seen it.  

Peter of Hollywood

With the the approaching of the 97th Annual Academy Awards Ceremony next Sunday, March 2nd, I thought it interesting to acknowledge an actor who has been nominated for Oscars many times, but sadly never won. Peter O’Toole enjoyed a 58-year career, scoring eight Oscar nominations, all in the category of Best Lead Actor. 

Peter O’Toole was born on August 2nd, 1932 in Leeds, a city in West Yorkshire England. Acting wasn’t initially in the cards as his father, Patrick, was an Irish metal plater, a bookmaker, and a football player. His mother, Constance, was a Scottish Nurse. He felt inspired to become an actor, however, after he saw Akira Kurosawa’s performances in the films Rashomon (1950) and The Seven Samurai (1954). 

After school, and service as a signaller in the Royal Navy, O’Toole attended RADA (Royal Academy of Dramatic Art) on scholarship from 1952 to 1955. Upon graduation, he almost instantly found work as a theatre actor appearing in Shakespearean and other various productions at Bristol Old Vic. He stayed at “The Vic” for two years, appearing in productions of Hamlet and King Lear, along with the role of Henry Higgins in Pygmalion (the play that later became the musical My Fair Lady.) He landed roles in episodes of British-produced television series’, Armchair Theatre (1956-1974) and BBC Sunday-Night Theatre (1950-1959).

Peter O’Toole made his feature film debut in Disney’s Kidnapped (1960), starring opposite James MacArthur, Peter Finch, and Bernard Lee. He was cast in the part of Robin McGregor because director Robert Stevenson was looking for an actor who could play the bagpipes and O’Toole had played the bagpipes in his youth. O’Toole’s “big break” as a leading man didn’t come until two years later, when he was chosen to star as T.E. Lawrence in the epic Lawrence of Arabia (1962). The film was a blockbuster smash, earning ten Oscar nods, including O’Toole’s first for Best Actor. Although Gregory Peck took home the Best Actor Oscar that year for To Kill a Mockingbird (1962), “Arabia” won seven Oscars, including Best Picture and Best Director for David Lean. (Sir Alec Guinness starred as Prince Faisal in “Arabia.” Guinness had previously worked with David Lean and “Arabia” producer Sam Spiegel The Bridge on the River Kwai (1957), which also won the Best Picture and Best Director Oscars, as well as Best Actor for Guinness.)

O’Toole was later re-hired by Sam Spiegel to star in The Night of the Generals (1967), in which he re-teamed with other “Arabia” co-star, Omar Sharif. Although “Generals” was a box-office disappointment, working together on the film led to a close friendship between O’Toole and Sharif, and they remained friends the rest of their lives. O’Toole next starred opposite Katharine Hepburn in The Lion in Winter (1968) earning another Best Actor Oscar Nomination, the same year that Sharif starred opposite Barbara Streisand in Funny Girl (1968). Both Hepburn and Streisand tied for the Best Actress Oscar that year, marking the second time in history two actors have tied for an acting Oscar. (The first being in the year 1932 when Wallace Beery and Frederic March both took home the Best Actor Oscar, Beery The Champ (1931) and Frederic March for Dr. Jekyll and Mr. Hyde (1931).)

In the ‘70s, he returned to the Bristol Old Vic starring in productions of Uncle Vanya, Plunder, The Apple Cart, and Judgment. In 1982, he scored his sixth Oscar Nomination, starring in The Stunt Man (1981), losing again to Robert DeNiro in Raging Bull (1981). He received his seventh nomination for starring in My Favorite Year (1983) and even reprised the role of Henry Higgins for a British-produced television adaptation of Pygmalion in 1984. The production was later re-adapted for Broadway in 1987 where it ran for 113 performances. His final theatrical appearance was in the play Our Song which he performed at New York’s Apollo Theater in 1992.

Peter O’Toole also had remarkable ventures into the field of voice acting. His first voice-acting roles was uncredited in the Oscar-Winning The Sandpiper (1965), which starred Elizabeth Taylor and Richard Burton, whom O’Toole was also good friends with. (He starred with Burton in the films Becket (1964) and Under the Milk Wood (1972).) O’Toole later voiced Sherlock Holmes in a series of four cartoon television movies of the “Sherlock Holmes,” series produced in Australia. His last feature film to use his voice was Disney/Pixar’s Ratatouille (2007), where he voiced the intimidating food critic Anton Ego, who rejects but ultimately believes in Chef Gusteau’s phrase that “anyone can cook.” (“Ratatouille” was written/directed by The Incredibles (2004) director Brad Bird, and just like “Incredibles” “Ratatouille” also took home the Oscar for Best Animated Feature Film.) 

It is extremely unfortunate that Peter O’Toole never won an Acting Oscar. He was, however, well-deservedly, awarded an Honorary Oscar in 2003. Nonetheless, he is a much admired, beloved actor whose fans have included movie-goers and actors alike. After nearly six-decades in show business, his work is worthy of every film lover’s respect.

 

 

Cinderella at 75

Walt Disney released his animated adaptation of Cinderella on February 15th, 1950. It was the studio’s biggest hit since Snow White and the Seven Dwarfs (1937) 13 years earlier, earning both critical and public success. Grossing $182 million dollars, Cinderella also nabbed scoring three Oscar Nominations: Best Sound, Best Original Song “Bibbidi-Bobbidi-Boo” and Best Music, Scoring of a Motion Picture. In commemoration of Cinderella’s 75th anniversary, I thought we could explore its history and contributions.

“Cinderella,” made history for Disney, thanks to its financial and critical success, but perhaps as more importantly, it film set the stage for other high-production animated films: Alice in Wonderland (1951), Peter Pan (1953), Lady and the Tramp (1955), and Sleeping Beauty (1959). The 50’s was also the decade when the Walt Disney Studios began construction on Disneyland (opening on July 17th, 1955). And furthermore, the success of Cinderella helped to fund live-action feature films, beginning with Treasure Island (1950), and continuing with Rob Roy: The Highland Rogue (1952) and 20,000 Leagues Under the Sea (1954).

“Cinderella” has a top-notch voice cast. Ilene Woods voiced the title character, and though her trademark role for the rest of her career would be voicing Cinderella, Woods voiced Snow White on a Disney-produced audiobook released in 1954. Eleanor Audley voiced the Evil Stepmother, also known as Lady Tremaine, and Verna Felton voiced the Fairy Godmother. Both Audley and Felton were legendary at Disney as they both went on to voice other iconic characters: Audley voiced Maleficent in “Sleeping Beauty,” and Madame Leota in Disney’s Haunted Mansion attraction and Felton voiced Aunt Sarah in “Lady and the Tramp,” Flora, the red/good fairy in “Sleeping Beauty,” and wide variety of other characters. Verna Felton was Disney’s most-often hired voice-over artist during Walt Disney’s lifetime, even lending her voice to Dumbo (1941), “Alice in Wonderland,” and The Jungle Book (1967). Interestingly, she passed away on the same day that he died, December 15th, 1966.

The music in “Cinderella” is gorgeous too, and is another reason to love the movie. Although “Bibbidi-Bobbidi-Boo” was the only song to score an Oscar Nomination, “A Dream Is A Wish Your Heat Makes,” and “The Work Song (We’ll Make A Dress for Cinderellie)” have gone on to be remixed by other artists. Take 6 recorded “The Work Song” for the album Walt Disney Records Presents The Music of Cinderella which was released on September 12th, 1995, which was when the film was re-released on home video. And of course, “A Dream Is A Wish Your Heart Makes,” is something of a theme song for Disney, heard throughout the parks. Demi Lovato and Michael Buble recorded it for the Disney Family Singalong Special which aired on the ABC Network in April 2020, and Lily James recorded her own version “Dream Is A Wish” when “Cinderella” was re-adapted for live-action in March 2015. (Helena Bonham Carter, who played the Fairy Godmother in that film, recorded “Bibbidi-Bobbidi-Boo,” too.)

Walt Disney was once asked by an interviewer if he had a favorite scene of animation that his studio produced, and as he thought about it carefully, he replied the scene in Cinderella where she got her ball gown from her Fairy Godmother. That scene was animated by Marc Davis, who was a member of Walt Disney’s “Nine Old Men,” who were the top nine animators at the studio during Walt Disney’s lifetime. As Walt Disney became focused on the construction of Disneyland, he left film production to the animators, and it clearly paid off.

It’s surreal to think that it’s been 75 years since Walt Disney Productions produced “Cinderella.” Walt Disney was once quoted as having said “All of our dreams can come true if we have the courage to pursue them” and “Cinderella” epitomizes that quote. That inspiration, combined with all the aforementioned reasons makes “Cinderella” one of Disney’s best movies.

A Tribute to the Best Animated Feature Oscars

In recognition of the 2025 Oscar nominees announced last Thursday, I would like to acknowledge one of my personal favorite categories: The Best Animated Feature. This first award of this kind was presented at the 74th Annual Academy Awards in 2002, with Dreamworks’ Animation’s Shrek (2001) beating Disney/Pixar’s Monsters, Inc. (2001) and DNA Productions’ Jimmy Neutron: Boy Genius (2001). In today’s blog, I thought I would acknowledge this year’s nominated films, who directed them, and their connections to the Oscars.

• Disney/Pixar’s Inside Out 2 (dir. Kelsey Mann): Kelsey Mann directed the “Monsters, Inc.,” short film Party Central (2013), though he made his feature film debut directing “Inside Out 2.” The first Inside Out (2015), was written and directed by Pete Docter, current CEO of Pixar Animation. He won the Best Animated Feature Oscar for the film and Executive Produced the sequel. (Docter also won Best Animated Feature Oscars for Up (2009) and Soul (2020), and was nominated for “Monsters, Inc.”). Kelsey Mann co-wrote the film with Dave Holstein and Meg LeFauve, who received a Best Original Screenplay Oscar Nomination for writing the first “Inside Out.” The film’s music was composed by Andrea Datzman who composed music for Disney+ “Up-themed” short films Dug Days (2021) and Carl’s Date (2023).
• Netflix’s Wallace and Gromit: Vengeance Most Fowl (dirs. Merlin Crossingham and Nick Park): Nick Park first created the British-produced “Wallace and Gromit” series, co-writing and directing the short film A Grand Day Out (1989), which received a Best Animated Short Film Oscar Nomination. Park later co-wrote and directed the Wallace and Gromit short films The Wrong Trousers (1993) and A Close Shave (1995), (both of which won the Best Animated Short Film Oscar). Park later brought Wallace and Gromit to the big screen in Wallace and Gromit: The Curse of the Were-Rabbit (2005), which won the Best Animated Feature Oscar, co-directing with Steve Box. Park received yet another Best Animated Short Film Nomination for the next Wallace and Gromit short film, A Matter of Loaf and Death, released in 2008.
• Dreamworks’ The Wild Robot (dir. Chris Sanders): In addition to Best Animated Feature, “Wild Robot” is also nominated for Best Sound and Best Original Score. “Wild Robot” is directed by Chris Sanders, who previously received Best Animated Feature Oscar Nominations for directing Disney’s Lilo & Stitch (2002), as well as Dreamworks’s How to Train Your Dragon (2002) and The Croods (2014). Sanders also co-wrote “Lilo & Stitch,” voiced Stitch in the movie, and is currently set to reprise the character in Disney’s live-action remake of Lilo & Stitch to be released May 23rd, 2025. That remake will be directed by Dean Fleischer Camp, who received a Best Animated Feature Oscar Nomination for directing the film Marcel the Shell with Shoes On (2023).
• Memoir of a Snail (dir. Adam Elliot): “Memoir of a Snail” is the second R-rated animated feature to be nominated for a Best Animated Feature Oscar. (The first was Anomalisa (2015), which was beaten by “Inside Out.”) It’s written and directed by Adam Elliot who previously wrote and directed the short film Harvie Krumpet (2004), which previously won the Best Animated Short Film Oscar. The film is produced by Madman Entertainment, which also produced this year’s The Substance, Sing Sing, The Apprentice, Black Box Diaries, Soundtrack to a Coup d’stat, and Flow, all of which are Oscar contenders. The film was produced in Australia, takes place in Melbourne, and consists of a voice cast of all Aussie actors including Eric Bana and Two-Time Oscar Nominee Jacki Weaver. If this film wins the Best Animated Feature Oscar, it will be the second time an Australia-produced feature film has won a Best Animated Feature Oscar. The first was Happy Feet (2006), directed by George Miller.
• Flow (dir. Gints Zibalodis): In addition to a nomination for Best Animated Feature, “Flow” is also an Oscar Nominee for Best International Feature Film, having been produced by the country of Latvia. “Flow” was this year’s recipient for the Best Animated Feature Golden Globe and was directed by Gints Zibalodis who previously directed the animated film Away (2019), which was also produced in Latvia. Neither movie had any talking and although “Flow,” consists of cartoon animals, their noises were recorded by real animals. If “Flow” receives the Oscar, it will be the first Oscar win for Zibalodis, as well as the very first Oscar given to Latvian-produced movie. 

2024: Disney Legends in Memoriam

As 2025 begins, it’s a good time to pay tribute to the legendary performers we lost in 2024. This blog post will acknowledge a few of those performers (as well as their contributions to the Walt Disney Company).

1. Glynis Johns (October 5th, 1923-January 4th, 2024). Johns’ most beloved role was the role of Mrs. Winifred Banks, mother of Jane and Michael Banks, in Mary Poppins (1964). Besides “Poppins” she also made The Sword and the Rose and Rob Roy for Disney in 1953. Outside Disney, Johns appeared in The Court Jester (1956) opposite Danny Kaye, and she received a Best Supporting Actress Oscar Nomination appearing in the film The Sundowners (1961) with Robert Mitchum and Deborah Kerr. Johns was also known for originating the role of Desiree Armfeldt, the character who sings “Send In The Clowns.” in Broadway’s Original Production of Stephen Sondheim’s A Little Night Music in 1973. She won the 1973 Tony Award for Best Actress in a Musical as a result.
2. Dabney Coleman (January 3rd, 1932-May 16th, 2024). Coleman was best known for playing “bad guys,” like the evil Franklin Hart Jr. in Nine to Five (1980). For Disney, Coleman voiced Principal Peter Prickly in Disney Channel’s Recess (1997-2001) and the movie Recess: School’s Out (2001). He appeared in the Disney Channel Original Movie My Date With The President’s Daughter (1998) as well as War Games (1983) and Disney’s Inspector Gadget (1998), both of which starred Matthew Broderick as the main protagonist. In addition, Coleman received an Emmy for his role in the television movie Sworn to Silence (1987), a Golden Globe for The Slap Maxwell Story (1987-1988), and two SAGs (Screen Actors Guilds) for Boardwalk Empire (2010-2014).
3. James Earl Jones (January 17th, 1931-September 9th, 2024). Jones will forever be remembered as the voice of Darth Vader in the Star Wars (1977-present) franchise and Mufasa in Disney’s original The Lion King (1994) and the 2019 remake. But, Jones received a Best Actor Oscar Nomination for The Great White Hope (1971) and acted in two beloved baseball flicks: Oscar-nomianted Field of Dreams (1989) and The Sandlot (1993). Jones also portrayed King Jaffe Joffer in Coming to America (1988) starring Eddie Murphy. He reprised the role of Joffer in the Amazon Prime Sequel Coming 2 America (2021), again starring Murphy, and the film was one of his last two acting credits. The other was voicing Darth Vader in the Disney+ original series Obi-Wan Kenobi (2022).
4. Joan Plowright (October 28th, 1929-January 16th, 2025). Dame Joan Plowright was an undisputed “lady of the theatre” in her British homeland. But her Disney roles included portraying Nanny in Disney’s live-action 101 Dalmatians (1996) and voicing the Brachiosaurus Baylene in Dinosaur (2000). She received a Best Supporting Actress Oscar Nomination for Enchanted April (1993), and that same year starred as Mrs. Wilson in Dennis the Menace (1993). (Both “Dennis the Menace” and “101 Dalmatians” were written and produced by John Hughes). She also won a Tony for Best Actress in a Play for “A Taste of Honey,” and she won the Laurence Olivier Award (equivalent of Tony Awards in London’s West End) for the play Filumena. (The Olivier awards are, of course, named for her husband, Sir Laurence Olivier, whom she married in 1961.)

There are sadly many more stars that passed away in 2024, but these four actors are nonetheless special—and very special to me personally given their Disney connections. Each lived long lives and built remarkable careers. It’s sad to see them go, but we will always have their excellent work!