Tag Archive: Roald Dahl


Merry Christmas!

It’s that time of year again, time to take a look forward at what movies should be on your radar for 2020.  Are you going to see them all?  Heck no.  These are the genre films we think borg readers will want to know about to make their own checklists for the coming year–and they are only the films we know about so far.  We pulled 85 of the hundreds of films that have been finalized or are in varying stages of final production, slated for next year’s movie calendar.

What looks to top the list for most fanboys and fangirls?  Ghostbusters: Afterlife Scarlett Johannson solo in Black WidowA new James Bond movie, No Time to DieVin Diesel in Bloodshot and a new Fast & FuriousThe original Tom Clancy novel series is finally continuing with an adaptation of Without Remorse Comic book adaptations are in less supply in 2020, but look for Venom 2, Wonder Woman 1984, Eternals, The New Mutants, Morbius, Birds of Prey, The Old Guard, and did we mention Black WidowCompare the below list to our 2019 list and even the 2018 list, 2017 list, 2016 list, 2015 list, or 2014 list, and your takeaway may be seeing the studios moving genre content from the big screen to the small screen via streaming services.

Do you like sequels?  There are far less coming to theaters in 2020 than in 2019, but many more remakes of movies, books, and TV shows are on the way.  In fact, with all the blockbusters in 2019, 2020 looks pretty tame as the cinema marquee is concerned.  Some films don’t have locked in release dates yet: Amazon Studios and Netflix haven’t revealed dates for the following 2020 releases (those we know you’ll find on the calendar below):

  • 7500, a film about a highjacked airplane, starring Joseph Gordon-Levitt (Amazon Studios)
  • The Dig, a film about a woman finding archaeological treasures on her land, starring Ralph Fiennes, Lily James, and Carey Mulligan (Netflix)
  • Horse Girl, Alison Brie stars and directs this story about an awkward girl who fuses her dreams with reality (Netflix)
  • Jingle Jangle, an animated Christmas story with the voices of Forest Whitaker, Keegan-Michael Key, and Hugh Bonneville (Netflix)
  • Louis Wain, biopic of the 19th century artist starring Benedict Cumberbatch, Claire Foy, and Andrea Riseborough (Amazon Studios)
  • The Old Guard, adaptation of comic book story, starring Charlize Theron and Chiwetel Ejiofor (Netflix)
  • Radioactive, a film about Marie Curie, starring Rosamund Pike and Anya Taylor-Joy (Amazon)
  • Rebecca, adaptation and remake of the Daphne Du Maurier classic novel, starring Lily James, Keely Hawes, Kristin Scott Thomas, and Armie Hammer (Netflix)
  • Welcome to Sudden Death, sequel to Jean-Claude van Damme 1995 movie starring Michael Jai White (Netflix)
  • The Willoughbys, animated adaptation of the Lois Lowry book, with voices of Maya Rudolph, Martin Short, and Jane Krakowski (Netflix)
  • Wonderland, murder conspiracy mystery starring Mark Wahlberg, Allan Arkin, and Colleen Camp (Netflix)

Some of these films will have revised release dates, or get pushed to 2021.

So grab your calendar and start making your plans–here are the movies you’ll want to see in 2020 (and some you might not!):

January

The Informer – Thriller, starring Joel Kinnaman, Rosamund Pike, Ana de Armas, Common, and Clive Owen – January 10.

Underwater – Thriller, stars Kristin Stewart in underwater horror story – January 10.

Dolittle – Family/Comedy, stars Robert Downey, Jr. in remake of the classic, with voices of Tom Holland, Rami Malek, Octavia Spencer, Emma Thompson, Antonio Banderas, Ralph Fiennes, and Michael Sheen – January 17.

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Review by C.J. Bunce

In that niche area of dystopian dog movies (that’s the adaptation of Harlan Ellison’s A Boy and his Dog and… ?), Wes Anderson’s Isle of Dogs not only soars to the top of the list, it’s a great film in all sorts of categories: it’s new, yet a classic children’s story, it’s a timely political allegory, and it’s a solid movie about dogs.  We knew Anderson had a grasp on animals in his surprisingly good Fantastic Mr. Fox, but audiences will soon learn he also understands dogs and dog behavior.  The trailers don’t really prepare moviegoers for what lies ahead.  Sure, it’s about an island of exiled dogs so of course audiences are in for a bleak ride, complete with at least one dead canine, lots of dogs in peril as well as many mutilated and diseased.  Yet Isle of Dogs is surprisingly grand in scope, thought-provoking, and even heartwarming.  And epic–don’t be surprised if you start thinking about the closest Martin Scorsese or Stanley Kubrick movie while you’re glued to the screen.  Despite some witty dialogue in places from Anderson’s smart script, this is less comedy and more drama than his past efforts.

The dystopian world is better realized, bigger in scope, and yet more personal than typical futurist visions, beyond that dismal hopeless doom of Mad Max, The Postman, Escape From New York, Twelve Monkeys, Snowpiercer, Looper, Logan’s Run, and District 9.  Isle of Dogs is probably closer to WALL-E and Planet of the Apes in feel.  Isle of Dogs is gloomy and dark and bleak, but it offers a ray of hope for the future from a 12-year-old Japanese boy named Atari Kobayashi (Koyu Rankin) and a freckle-faced, high school exchange student named Tracy from Ohio (Greta Gerwig), both out to defy an autocratic government’s ban on dogs.  That’s thanks in major part to the vivid, eye-popping world of future Japan filmed by celebrated Aardman Animations stop-motion cinematographer Tristan Oliver (A Close Shave, The Wrong Trousers, Chicken Run), and the encompassing sounds from this year’s Oscar-winning composer for The Shape of Water, Alexandre Desplat (Harry Potter series, Valerian and the City of a Thousand Planets, The Golden Compass).  As to the stop-motion, audiences can marvel at how far Hollywood has come since the Ray Harryhausen era.  The film follows Anderson’s design choices first seen in his Fantastic Mr. Fox and only continues to add to the unbelievable magical movements carried forward by Aardman’s achievements.  And instead of a typical Romantic, programmatic score, Desplat’s best choices can be found in his use of loud, almost frightening Japanese taiko drums, Fumio Hayasaka’s haunting theme from Seven Samurai, the more celebratory bits from Prokofiev’s Lieutenant Kije, and a simple recurring dog whistle.

Anderson offers up admirable tributes to Japanese culture and film, everywhere from costume design to modern TV reporting stylings, to Hayao Miyazaki themes and Akira Kurosawa landscapes, to traditional imagery like beautiful ukiyo-e on walls and cherry blossoms floating by at the right time.  Isle of Dogs finds a firm footing on the children’s classics shelf of your film library, alongside Roald Dahl’s Mr. Fox but also his Willy Wonka.  It also has much in common in tone with Ian Fleming’s Chitty Chitty Bang Bang, and Jim Henson’s The Dark Crystal.  The political allegory is thick and layered, a mix of the nuanced and the obvious, a mirror reflection of society that you’d have found years ago in a Frank Capra movie.  Science is mocked, scorned, and worse.  Experts are traitorous and immigrants are exiled.  It’s also graphic in parts at a baser level, showing an animated meal from a dumpster with creepy crawlies that may make your stomach turn, plus an open chest surgery, bloody, torn body parts, and dogs with missing eyes and open wounds.

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