christian movie review the inventor

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The inventor, common sense media reviewers.

Stop-motion da Vinci biopic has lots of information.

A Lot or a Little?

What you will—and won't—find in this movie.

Focuses on the imagination and inventions of Leona

Celebrates the power of ideas and imagination, as

Da Vinci uses his imagination and curiosity to cre

All characters are White Europeans. Da Vinci is in

Da Vinci's sketches of war machines move into acti

Parents need to know that The Inventor is an animated biopic that explores the final years of inventor/artist Leonardo da Vinci's life. The business-savvy genius (voiced by Stephen Fry) agrees to invent concepts for war machines for Pope Leo X (Matt Berry), and a sketch of a scythed chariot is imagined moving…

Educational Value

Focuses on the imagination and inventions of Leonardo da Vinci. Depicts the creativity of the Renaissance period and the circumstances leading into it from the Middle Ages. Introduces the Ideal City concept, tying together science and nature. Historical references that aren't over explained but might motivate curious kids to learn more include the Italian Wars, the Field of Cloth of Gold, and the influence of religion in the monarchy during the era.

Positive Messages

Celebrates the power of ideas and imagination, as well as curiosity. Da Vinci searches for the meaning of life and arrives at an answer.

Positive Role Models

Da Vinci uses his imagination and curiosity to create war machines, timeless works of art, an ideal city design that pairs science and nature, and a flying contraption. He's depicted as an artist, scientist, anatomist, philosopher, engineer, and architect. Princess Margureite is an intelligent, pragmatic woman who's ahead of her time, ushering in a movement of progressive ideas through diplomacy. The French king isn't always portrayed positively, but he's open-minded to innovation and has a strong eye for art.

Diverse Representations

All characters are White Europeans. Da Vinci is in his 60s here, so the movie is recognizing seniors' ability to make significant contributions, even in the face of obstacles. Princess Marguerite is a well-educated, independent thinker who's shown to have the skills to lead and might have been a better ruler than her brother, had the era's social norms been more supportive of women. At the same time, she's shown as a hands-on mother; her four daughters are always in tow, and she shares her knowledge with them.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Da Vinci's sketches of war machines move into action, including a tank with guns and a scythed chariot that slices and chops attacking soldiers. The Reaper is depicted as an enormous, looming, hooded scary figure. Dead bodies are carried and lay on tables, with references that they'll be used for medical research. Comical fighting/wrestling between kings, with laughing afterward.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Parents Need to Know

Parents need to know that The Inventor is an animated biopic that explores the final years of inventor/artist Leonardo da Vinci 's life. The business-savvy genius (voiced by Stephen Fry ) agrees to invent concepts for war machines for Pope Leo X ( Matt Berry ), and a sketch of a scythed chariot is imagined moving into action and chopping attackers in half (there's a tank with guns, too). But kids also see how da Vinci cleverly convinces the pope not to actually build the weapons. Death, illustrated as a somewhat scary, hooded executioner with an axe, looms over da Vinci on a few occasions. At one point, Death swings the weapon, leaving the artist collapsed on the floor to represent a stroke. And although no slicing or dicing is shown, quite a bit of attention is given to da Vinci's passion for stealing and dissecting cadavers in the interests of medical research. Historical figures and events have a presence, which may inspire some kids to learn more. One who's particularly highlighted as a hero is Princess Marguerite de Navarre ( Daisy Ridley ), who helps usher in the Renaissance by supporting da Vinci's creation of the Ideal City. The movie celebrates curiosity and the power of ideas and imagination, but the sheer amount of information in the movie (and the mix of different animation styles) may make it hard for younger viewers to fully engage. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Community Reviews

• Parents say (1)
• Kids say (1)

Based on 1 parent review

I like their music

What's the story.

In THE INVENTOR, artist Leonardo da Vinci (voiced by Stephen Fry ) is entrusted with creating weapons to keep Italy safe in times of war. But as his ideas begin to create friction with Pope Leo X ( Matt Berry ), da Vinci moves to the more welcoming French court, where he finds an intellectual ally in Princess Marguerite de Navarre ( Daisy Ridley ).

Is It Any Good?

This animated biopic tries hard to be simple but is really quite complex. With The Inventor , writer-director-animator Jim Capobianco offers a memorable animation style -- weaving together stop-motion puppets and hand-drawn animation -- but he jams in so much information that young viewers may be a bit overwhelmed. Da Vinci's genius is inspiring, and his contraptions and inventions are definitely the kind of stuff that's likely to spark kids' interest and imagination. But the geopolitical issues can be a bit hard to follow, such as why the pope is essentially a king.

And while kids often spark to "gross," "grisly" is a different matter -- so the film's emphasis on da Vinci stealing cadavers in the dead of night feels somewhat out of place. Tweens may understand that it's part of his pioneering work in identifying anatomical functions, but it could be too much for some kids. Da Vinci's goal of identifying "the whereabouts of the human soul" and the meaning of life is also quite lofty. As the screenwriter of Ratatouille , Capobianco succeeded in making an unbelievable scenario -- a rat becoming a master chef -- wondrous. But his take on the story of one of history's most impressive minds, told in a throwback mix of Rankin-Bass -like stop-motion animation and hand-drawn images, may ultimately appeal more to adults than kids. But The Inventor succeeds in showing how da Vinci's imagination fueled innovation on many fronts and in inspiring viewers to dream big.

Talk to Your Kids About ...

Families can talk about whether they consider The Inventor 's version of da Vinci a role model. How does he use curiosity and diplomacy to guide and fund his efforts? Why are these important life skills?

How is Princess Marguerite depicted? How does she demonstrate integrity and leadership from a position where she's expected to be subservient? Compare the attitudes toward women in the early 1600s versus now.

What is a polymath? What other current or historical figures demonstrate talents in a variety of areas? What are the pros and cons of putting your efforts into innovating in different areas versus focusing your energy in one field?

What do you know about the Renaissance? What makes it different from today? What does it mean when someone is called "a Renaissance man"?

If someone asked you what the meaning of life was, how would you answer?

Movie Details

• In theaters : August 25, 2023
• On DVD or streaming : January 30, 2024
• Cast : Stephen Fry , Marion Cotillard , Daisy Ridley
• Directors : Jim Capobianco , Pierre-Luc Granjon
• Inclusion Information : Female actors
• Studio : Blue Fox Entertainment
• Genre : Family and Kids
• Topics : Arts and Dance , Great Boy Role Models , Great Girl Role Models , History , Music and Sing-Along , Science and Nature
• Character Strengths : Curiosity
• Run time : 92 minutes
• MPAA rating : PG
• MPAA explanation : some thematic elements and nude art images
• Last updated : February 8, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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‘The Inventor’ Review: Leonardo da Vinci in the Limelight

This playful movie uses stop-motion and hand-drawn animation to pay homage to Leonardo as a thinker and tinkerer.

• Share full article

By Lisa Kennedy

More than once in “The Inventor,” an animated feature about Leonardo da Vinci, powerful patrons tell that Renaissance polymath to behave “like a good little artist.” This advice comes first from Pope Leo X (voiced by Matt Berry) and later from Louise of Savoy (Marion Cotillard), the devoted mother of King Francis I of France.

The notion of a great mind that is both beneficiary of and handmaid to the agendas of the powerful runs throughout this admirably artisanal appreciation of Leonardo’s intellect and innovative spirit, which follows him (Stephen Fry) as he leaves Rome to become King Francis’s maestro. The directors, Jim Capobianco (who also wrote the screenplay) and Pierre-Luc Granjon, keep the artist’s paintings secondary to his exploits as a thinker and tinkerer. Their engaging voice cast also includes Daisy Ridley as Leonardo’s royal champion, Marguerite de Navarre, and Gauthier Battoue as the king, who proves to be in dire need of an ego-stroking statue.

The filmmakers use stop-motion puppetry and hand-illustrated animation to capture Leonardo’s story. This brings to life his fears and fascinations, while drawing out both the wonder and the tribulations he experiences as he searches for the “answer to life itself,” while struggling to work under the command of the powerful. (Here, “The Inventor” shares a theme with a decidedly less child-friendly recent big-screen portrait, “Oppenheimer.” )

In honoring this beautiful mind, the plot’s forward motion lags at times. “The Inventor” is rife with somewhat didactic lessons — about power, innovation, curiosity — yet a presumably unintended one might be that lessons themselves, however insightful, are not always captivating.

The Inventor Rated PG. Running time: 1 hour 32 minutes. In theaters.

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The Inventor

By Alex Saveliev | September 15, 2023

NOW IN THEATERS! 2023 has been crammed with subpar animation efforts. Disney/Pixar’s fare may  look  fantastic, but the dearth of originality (read: desperate attempts at being woke) quickly becomes evident and increasingly annoying. Despite lacking the visual grandeur of its big-budget counterparts, Jim Capobianco’s stop-motion tale  The Inventor  proves superior in every other way, even down to its DIY little puppets. Perhaps we are as sick of pixels as we are of superheroes, slickness be damned. This tale, steeped in fascinating real history and boundless imagination, is sure to charm kids and adults – although it may also alienate those used to bombast and perpetual eye candy.

Based on events in the life of the great inventor and painter Leonardo da Vinci (Stephen Fry), the story starts off in Rome, Italy, at the dawn of the 16th Century. An aging, endlessly curious da Vinci, Mona Lisa in tow, is investigating, among a plethora of things, mysteries of the cosmos and the human body. He boldly claims that we are not the center of the universe and tries to define a “soul.” His desire to know everything “might be dangerous with the Pope” (Matt Berry), who has other concerns, like waging war with the French. When the Pope tells da Vinci to be “a good little artist,” he follows up with, “Even Michelangelo agrees, isn’t that right?” and Michelangelo sticks out his tongue at our hero. The Pope utilizes da Vinci to make war machines, but the genius demonstrates that peace may be the answer. A truce between the two countries is announced.

“… join the professor in his quest to build a new city and get to the root of some existential issues …”

Soon enough, our hero moves to France and meets the shallow and self-absorbed Francis I (Gauthier Battoue), as well as his sister, the lovely Marguerite (Daisy Ridley). Marguerite believes in da Vinci’s genius and, by extension, in progress and development. “It will be a new Rome,” she tells her skeptical royal sibling. She and her mom, Louise de Savoy (Marion Cotillard), join the professor in his quest to build a new city and get to the root of some existential issues: Why are we here? What is our purpose? What is the meaning of life? Of course, they also have to impress Francis I, who in turn has to impress his competitors, which leads to an entertaining final pseudo-showdown.

The Inventor  is many things: a musical, a slapstick comedy, a piece of history visualized, a look into the mind of arguably the most famous and influential man who’s ever lived, and a reminder to focus on progress and the wonder of our universe. It’s about thinking big and outside the box, challenging the established norm, and continuously pursuing knowledge. Legendary composer Alex Mandel creates musical interludes out of, say, raindrops, clock chimes, and guitar strumming. In one of these interludes, da Vinci encounters all five human senses, personified. The tangent of our hero falling ill is handled gracefully. The fact that writer-director Capobianco juggles all these balls in the air and makes it all work is a testament to his skill (he wrote one of Pixar’s best features,  Ratatouille ).

The stop-motion may be far from Pixar’s standards of animation. It’s charming in its own modest way (it ain’t Laika), but the simplistic character design is made up for with energy and creativity. Whether all the cadavers, complex inventions, existential musings, themes of progress and censorship, and politics will alienate the wee ones remains to be seen. But, again, at least the film is not pandering.  The Inventor  is charming and modest but also honest and true, a rarity these days. Hurry up and check it out before Gen Z cancels Leonardo da Vinci for being a misogynist.

The Inventor (2023)

Directed and Written: Jim Capobianco

Starring: Stephen Fry, Daisy Ridley, Matt Berry, Marion Cotillard, etc.

Movie score: 7/10

"…charming in its own modest way..."

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The Inventor Review: An Innovative But Flawed Search For The Artist's Soul

• Gorgeous animation
• Fascinating depiction of Leonardo da Vinci
• Vibrant voice actors
• Meandering second act
• Lacks appeal for younger audiences

Who better than Leonardo da Vinci to be the subject of a warm and inviting animated film about trying to find meaning in life? "The Inventor" explores the old age of the legendary artist and inventor as he becomes obsessed with his search for the human soul, blending traditional 2D animation with playful stop-motion reminiscent of 1960s holiday specials. It has an interesting concept but a very meandering narrative that makes it feel like it might have been better off as a tightly executed 30-minute short — even at just over 90 minutes long, "The Inventor" is creative but has a tendency to drag.

You don't need to be a genius to see it — Leonardo da Vinci's (Stephen Fry) talents are wasted in the papal court. With the despotic Pope Leo X (Matt Berry) effectively serving as his patron, his creative efforts are stymied. Rather than pursue inventions that might actually benefit humanity, he is prodded to create weapons for the Papal States to use against their enemies, his intellectual inclinations regarded with utmost suspicion by the pope. And all of this is to say nothing of his nighttime grave-robbing activities, when he secretly conducts autopsies to better understand how the human body works, a taboo and entirely forbidden practice in Renaissance Italy.

When da Vinci meets the young, energetic King Francis I of France (Gauthier Battoue) — a man delighted by his scientific experiments — he allows himself to dream of a life with Francis as his patron, where he would be encouraged to think and experiment and invent to his heart's desire. So naturally, when he is invited to journey to France, he delightedly accepts. But in doing so, has he merely traded one irrational and impulsive master for another?

The man, the artist, the inventor

"The Inventor" was clearly a labor of love for its creators, and its animation work is an immediate highlight of the film. The characters — especially the antagonistic ones, like Pope Leo X — are rendered with a delightful sense of humor that makes them engaging from their very first appearances. It blends two different animation styles perfectly, transitioning from crude stop-motion figures in the reality of da Vinci's day-to-day life to a more abstract 2D animation to reflect his imaginative musings as he contemplates the soul. Stephen Fry and Daisy Ridley (as King Francis' intelligent and imaginative sister Marguerite) are the most recognizable of the voice cast, but supporting characters steal the show. Gauthier Battoue imbues the character of King Francis with energy and good humor, winning over audiences immediately even as he infuriates da Vinci with his lack of vision and single-minded obsession with building a monument to himself.

The film does an excellent job of representing da Vinci's struggles as a man whose true genius isn't fully appreciated by the powerful figures of the day. At times, it feels as though he's singlehandedly dragging European civilization into the future. The film is at its best when it finds opportunities to showcase his uniquely forward-thinking worldview, like when he creates a cinematic argument (an unusual case of animation within animation) for why it's a bad idea to supply the pope with more technologically advanced weapons, illustrating the endless cycle of escalation that accompanies an arms race. But once da Vinci arrives in France — more specifically, once he realizes that this royal court may not be more receptive to his particular brand of scientific research — things slow to a crawl. Like Leonardo, the film is just killing time.

Searching for a soul

A bigger issue for "The Inventor" is that it doesn't seem to quite know who it's for. The character design seems aimed squarely at children, as do its musical numbers and its general aesthetic. But it also features some heady soul-searching that might go beyond what kids are looking for in their entertainment — it's easy to imagine them becoming bored of the political intrigue among da Vinci, the Pope, and King Francis, to say nothing of the artist's philosophical musings, which are at the heart of the film. Too intellectually complex and existential for children, yet too simplistic and unfocused for adults — it feels as though "The Inventor" doesn't quite meet the needs of either demographic.

Despite this, there is some magic held within it. "The Inventor" has a truly gorgeous animation style, one that is perfectly accompanied by its enchanting score from Alex Mandel. Although it suffers from a meandering and listless second act, it does justice to Leonardo da Vinci in all his endlessly inventive glory as he searches for meaning in the world around him. The voice talent in "The Inventor" helps elevate likable characters into genuinely memorable ones. The end result is a charming — and yes, inventive  – film, although not a flawless one.

"The Inventor" will hit theaters on September 15.

This piece was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, the film being covered here wouldn't exist.

Flickering Myth

Geek Culture | Movies, TV, Comic Books & Video Games

Movie Review – The Inventor (2023)

September 12, 2023 by Robert Kojder

The Inventor , 2023.

Directed by Jim Capobianco and Pierre-Luc Granjon. Featuring the voice talents of Stephen Fry, Daisy Ridley, Marion Cotillard, Matt Berry, Gauthier Battoue, Natalie Palamides, Ben Stranahan, Max Baumgarten, John Gilkey, Jane Osborn, Daniel Swan, Jim Capobianco, and Angelino Sandri.

Inventing flying contraptions, war machines, and studying cadavers, Leonardo da Vinci tackles the meaning of life itself with the help of French princess Marguerite de Nevarre.

This piece was written during the 2023 WGA and SAG-AFTRA strike. Without the labor of the writers and actors currently on strike, The Inventor wouldn’t exist.

A blending of stop-motion and 2D animation exploring the life, mind, and inventions of Leonardo da Vinci (voiced by Stephen Fry) shouldn’t feel this flat and overly educational. Unfortunately, that’s the kind of film director Jim Capobianco (with Pierre-Luc Granjon serving as co-director) has created with The Inventor . It’s an animated feature that is far too dry and slow-moving to hold the attention of younger viewers and far too didactic and simplistic to stimulate the minds of adults.

Some of this would be forgivable if the two animation styles elicited a sense of wonder and beauty, but it’s mostly uninteresting and static beyond featuring an admittedly pleasant color palette. Whether it’s using 2D animation to dive into the headspace of Leonardo da Vinci or songs to capture the themes present in the story, there’s nothing memorable or noteworthy here. As these animation styles are forgotten and deserve a comeback, The Inventor is also a reminder that good intentions and noble effort aren’t always enough to craft something special using those tools.

The narrative is primarily a crash course through some of Leonardo da Vinci’s most important days and discoveries, such as a scientific quest to unearth what exactly is a human soul, much to the chagrin of Pope Leo XI Voice (voiced by Matt Berry.) The Pope would rather have Leonardo da Vinci fostering peace between Italy and France, which he is successful doing while also coming into the services of The King of France (voiced by Gauthier Battoue), who initially offers creative freedom for his inventions, but really wants blueprints to a perfect city meant to honor his ego with oversized statues and more.

Disillusioned and feeling defeated that The King’s mother, Louise de Savoy (voiced by Marion Cotillard), supports this nonsense, Leonardo da Vinci does find a sliver of hope in Princess Marguerite (voiced by Daisy Ridley), who encourages his wishes to draft an ideal city first and foremost for the people. Meanwhile, asides offer insight into some of Leonardo da Vinci’s other inventions (such as mechanical animals and flying contraptions) and ponderings on the meaning of life and the purpose of a soul.

Far more intriguing is that the filmmakers are fairly comfortable punching down at the Pope while portraying leaders as greedy, power-hungry, bumbling fools with little to no intentions of doing what’s best for the people. Of course, this is done family-friendly, but it’s still there and shows that the filmmakers have their minds in the right place, even if they don’t necessarily know how to tell this story compellingly for any demographic.

This is all made worse by how wooden and disinterested the voice acting ensemble comes across, save for Stephen Fry, who makes a small emotional imprint during the film’s closing moments. The Inventor has endlessly fascinating material at its fingertips, destroying most of it rather than creating a magical animated feature. There is effort here in both animation styles, but the well-intentioned narrative lacks a soul, so Leonardo da Vinci should look for that elsewhere.

Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★

Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check  here  for new reviews, follow my  Twitter  or  Letterboxd , or email me at [email protected]

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Plugged In Movie Awards: 2021: Best Christian Movies

• February 25, 2021

Nominations for our final Plugged In Movie Awards category lands … well, right below these few introductory sentences. It was a pretty interesting year for Christian movies, and our slate of worthy nominees feels more diverse than in some past years: From comedies to dramas, from events that took place more than 100 years ago to events that could’ve taken place yesterday, Christian moviemakers gave us a little bit of everything.

Some of these movies could be pretty challenging, too, so so be sure to check out our full reviews before you decide to watch. But if you  have  watched, we invite you to participate, too! Vote on  Facebook  or  Instagram , or in the comments section right here. Let us know which of these movies struck a chord with you.

Then, while we’re counting your votes,  Plugged In  will be doing its own awards deliberations—right on our very own  Plugged In Show ! You can listen to us argue over the nominees, and announce our own winners, on March 19. (Movie blurbs were written by Paul Asay, Emily Clark, Adam Holz, Bob Hoose and Kristin Smith.)

Fatima (PG-13): In 1917, three children ran into a strange woman as they herded sheep—a woman who says she came from heaven. So begins the strange, miraculous story of Fatima, which faithfully chronicles the events of Our Lady of Fatima—events the Catholic Church have more or less legitimized. This deeply Catholic story isn’t just about those apparently miraculous events, though: It’s about holding firm to faith in the midst of doubt and persecution, and it’s about following God—even when it means that we, or those around us, might suffer because of it. While the film does include some violent moments, Fatima revolves around its deep sense of faith and invites us to believe in miracles.

I Still Believe (PG):  When Christian singer Jeremy Camp’s soon-to-be wife was diagnosed with ovarian cancer, everyone around her prayed for her to be healed— and that prayer was answered . Melissa was miraculously cured. They got married and were excited to share their story with the masses and bring glory to God. But God hadn’t finished revealing His plan for them. On their honeymoon, Melissa’s cancer returned. And sadly, there wasn’t a miraculous cure this time around. I Still Believe tells Melissa and Jeremy’s powerful and difficult story. It shows that even when we lay it all down at the feet of the Lord, we still might not get the answer we hope for. But I also shows us how this couple maintained their faith in God through all of it.

Selfie Dad (PG): Ben Marcus’ midlife crisis is coming at him from nearly every direction. Things aren’t great at home with his wife or kids. Work’s no picnic either. And he’s pretty much shelved his youthful dream of becoming a stand-up comedian. On top of that, Ben’s faith—he attends church with his family each week—is mostly a superficial show, too. That’s when his son introduces him to the video platform UToo. Suddenly, Ben has an idea: Maybe he can be a stand-up comic after all. Sure enough, Ben’s new video channel soon takes off. Now likes, sponsors and money are coming at him from nearly every direction. There’s just one problem: He’s sacrificing almost everything in his life that matters to make it happen. Soon, Ben (played by Christian comedian Michael Jr.) will have some choices to make about whether he cares more about fame and fortune, or faith and family in a dramedy designed to remind dads, especially, what matters most in life.  

Switched (Not Rated): Cassandra Evans is the target of repetitive bullying from the school’s most popular girl, Katie Sharp. But Cassandra is sick and tired of being made fun of. She’s ready for a change, especially after Katie posts an embarrassing video of her that goes viral. Cassandra tries to practice what her mom is always telling her: Lead with love. But that’s a  little  hard when the person you’re supposed to be loving is so horrible. So, Cassandra asks God to allow Katie to experience what it’s like to live even one day in her shoes. The next morning, she and Katie get a surprise: They’ve switched minds. Now, the girls will have to live their daily routines as the other person. And, perhaps along the way they will both learn what it’s like to love your most unlovely neighbor as yourself.

When We Last Spoke (Not Rated): In 1967, in the small town of Fireside, two young girls, Evangeline and Juliet, were left with their grandparents while their mother essentially ran away and their father was killed in the Vietnam war. Although their mother promised to return, she never did. And while Evangeline and Juliet thrived for some time with their loving grandparents, the pain of abandonment eventually crept in. As days turned to years, it became obvious that it would take more than good memories to heal deep wounds. This Christian flick features a bit of light, sexual content, some mild war scenes and the use of one profanity. But what comes across far more powerfully is its messages about love, family and the power of forgiveness.

Paul Asay has been part of the Plugged In staff since 2007, watching and reviewing roughly 15 quintillion movies and television shows. He’s written for a number of other publications, too, including Time, The Washington Post and Christianity Today. The author of several books, Paul loves to find spirituality in unexpected places, including popular entertainment, and he loves all things superhero. His vices include James Bond films, Mountain Dew and terrible B-grade movies. He’s married, has two children and a neurotic dog, runs marathons on occasion and hopes to someday own his own tuxedo. Feel free to follow him on Twitter @AsayPaul.

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34 Responses

-Definitely interested in seeing I still believe…

-Finally I can vote for something since the little I saw in 2020 I still believe definitely moved me the most. Even though Jeremy Camp’s music has never done much for me the movie about him is absolutely fantastic and I’m so glad my mom decided to buy it for the family on DVD. Going out to the movies as a family was never as much of a regular thing as it is for some who watch literally hundreds of movies in the theater, but in any given year we would see between 15 and 20 movies on the big screen, but unfortunately since the theaters in Bakersfield have been shut down since March the last movie we saw together in a theater was call of the wild on February 29th. We wanted to see I still believe but we were forced to buy it on DVD and watch it at home instead.

-Definitely Switched!

-“I Still Believe” for sure!!

-I’m gonna have to vote for I Still Believe.

-Switched all the way.

-SWITCHED all the way! Loved this film.

-Switched!!!!

-I Still Believe.

-Do you have names for the awards? If not here goes: The award you give is a Pluggy The people’s award is a Pluggit Clean. Clever. Fun. Memorable. !! [email protected]

-Switched!!!

-Switched has my vote!

-I have not seen any of these, but I know I was super excited for I Still Believe back when it came out. That being said, I think I’ll abstain this round.

-Switched!!

-Definitely I still believe!! So moving!!

-Switched – My daughter & I watched it today and loved it!

-100% Switched!!! Great message, especially for kids, teens and young adults!!

-I Still Believe

– I pick: Switched.

-I vote for Switched, I found it to entertaining, relative, and great message of how to lead with love!!

-I Still Believe all the way!

-My preference is for Switched for it’s great message and the unique way it used a common trope for the LORD.

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The Inventor Review: A Brilliantly Artistic Stop Motion Family Film

Leonardo da Vinci (Stephen Fry) travels to France in his final years and befriends Marguerite de Navarre (Daisy Ridley).

The Inventor is a brilliantly artistic stop-motion and 2D animated film about the final years of Italian Renaissance master Leonardo da Vinci. The legendary painter, sculptor, scientist, philosopher, architect, and astronomer found himself smack dab in the middle of heretical controversy. Leonardo argued that reason and the practical application of scientific methodology was the path to true enlightenment. His pursuit of forbidden knowledge, especially anatomical research and cadaver dissection, could have been a death sentence from the Catholic Church. In The Inventor , Leonardo leaves Italy for the court of King Francis I of France, but finds that royal vanity and arrogance continues to impede his research.

In 1516 Rome, Leonardo (Stephen Fry) marvels at the night sky as he stares through his new telescope. He shows loyal assistant Francesco Melzi (Angelino Sandri) incredible views of the lunar surface. Leonardo wonders if there could truly be a man in the Moon. He postulates that Galileo is probably right about the possibility of other Earth-like planets orbiting stars. Francesco warns him to be careful saying such things out loud. Pope Leo X (Matt Berry) has spies everywhere. Master and apprentice leave the roof to secretly explore Leonardo's favorite passion, performing autopsies to discover the source of man's undying soul.

Pope Leo's spies, depicted as snarling shadows, inform him of Leonardo's astronomical endeavors. He wants Leonardo to create weapons of war to stop King Francis (Gauthier Battoue) from conquering more cities in Italy. Leonardo, in a truly wonderful scene, shows the Pope how any weaponry he creates would eventually be copied by the enemy and used against them. He argues that a peace offering to King Francis will save lives and leads to a formidable alliance.

Leonardo's New Patron

Leonardo dazzles King Francis with a robotic lion. The gobsmacked monarch tells Leonardo that he's always welcome to serve in his court if Italy became undesirable. This invitation proves prophetic with the death of his patron, the Cardinal of Aragon (Jim Capobianco). Now Pope Leo was unfettered in middling with his affairs. Leonardo decides to accept King Francis' offer and travel to his castle the Château d'Amboise on the river Loire.

Related: Exclusive: The Inventor Filmmakers Talk da Vinci and the Importance of Curiosity

Leonardo quickly discovers that the narcissistic and pompous King Francis just wants to impress the other European royals. He's invited King Henry the VIII (Daniel Swan) of England and King Charles of Spain (Max Baumgarten) to a grand fête in his honor. It's a request that interrupts Leonardo's search for the soul, but he finds a valuable ally in the king's younger sister, the beautiful and intelligent Marguerite of Navarre (Daisy Ridley).

The Inventor looks amazing. Writer/co-director Jim Capobianco ( Ratatouille ) delivers eye-popping visual splendor by varying animated styles throughout the film. The primary action is stop-motion but Leonardo's imagination and theories are seen as exquisitely drawn cartoons. He also changes the size of certain characters to reflect their overbearing authority. For example, Pope Leo is gigantic in comparison to the smaller cardinals around him. They look like miniature puppets agreeing to his every whim. There's also a musical element where characters periodically break into song. This is thankfully limited and only done at certain points in the narrative.

The Inventor takes direct aim at religious oppression and classism. Capobianco paints the church and feudalism with a dirty brush. These institutions are portrayed as supremely selfish. They hold an iron grip of power through fear of death. People were literally being burned at the stake for harboring antithetical views. Leonardo is keenly aware of where his activities could lead. Scenes of the characters stealing dead bodies from gravediggers adds a true but macabre undercurrent. Marguerite, who uncovers Leonardo's secret, asks where they get the bodies. His honest reply is that the poor's corpses litter the streets. They have no problems finding unintended participants.

Related: The Inventor Cast and Character Guide

A Kindred Spirit

Capobianco does a great job of framing the characters station. Marguerite believes that nobility has a duty to enrich the lives of the common people. Leonardo has a grand dream of creating a city where humanity and nature exist in harmony. Marguerite ignores the wishes of her brother and formidable mother, Louise of Savoy (Marion Cotillard), to help Leonardo build his city. This contravenes King Francis who just wants a big statue of himself and to show off nifty gadgets. Marguerite is not respected for her intellect. Leonardo cautions her that "some people cannot see." She pays a price for having the audacity to be kind and thoughtful.

The Inventor does run out of steam in the third act. Capobianco wows you until the plot runs thin. The film builds toward King Francis' grand fête but sort of limps to the finish line. The climax isn't interesting, but that's not necessarily the script's fault. Capobianco doesn't want to stray too far away from historical accuracy . Leonardo, at the end of his life, had already achieved greatness and wasn't involved in anything too exciting. The lesson here is what he inspired for the ages, a tremendous contribution to art, science, and humanity's benevolence.

The Inventor is a production of Curiosity Studio, Foliascope, and Leo & King. It will be released theatrically on September 15th from Blue Fox Entertainment .

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The Inventor

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Rent The Inventor on Fandango at Home, Prime Video, or buy it on Fandango at Home, Prime Video.

What to Know

A beautifully animated history lesson, The Inventor seems somewhat uncertain as to which audience it's trying to reach, but it remains amusing and often engaging.

Critics Reviews

Audience reviews, cast & crew.

Jim Capobianco

Pierre-Luc Granjon

Stephen Fry

Leonardo da Vinci

Daisy Ridley

Marion Cotillard

Louise de Savoy

Pope Leo XI

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‘the inventor’ review: stephen fry, marion cotillard and daisy ridley help bring leonardo da vinci to charming animated life.

Jim Capobianco and Pierre-Luc Grandjon's playful animated feature concerns the later years of the artist.

By Frank Scheck

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It’s rare that animated films set out to be educational. But that is exactly the purpose of The Inventor , about the later years of Leonardo da Vinci, which also manages to be terrifically entertaining. The film is clearly a labor of love for co-director and screenwriter Jim Capobianco (a Pixar veteran, Oscar-nominated for the screenplay of Ratatouille ) who here expands upon his 2009 animated short Leonardo .

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Employing a combination of Rankin/Bass-style stop-motion and hand-drawn animation, the film is set in 1516, when the elderly Leonardo ( Stephen Fry , whose British accent doesn’t exactly cry “Italian”) has run afoul of the Catholic Church in the form of Pope Leo X (a very funny Matt Berry, of What We Do in the Shadows ), who accuses him of heresy because of his passion for studying the human body via the use of cadavers.

Instead, he would prefer that Leonardo prove himself useful by creating instruments of war to be used against the French. Leonardo dutifully complies, but cannily creates a scenario demonstrating the futility and self-destructiveness of armed conflict. Seeking a more encouraging creative environment, he flees to France and joins the court of Francis I (Gauthier Battoue), endearing himself to the monarch by pointing out that the new palace he plans on building will quickly collapse due to its too-soft foundation.

At first, Leonardo thrives in his new environment, free to explore the meaning of life and, encouraged by the king’s scientifically curious sister Princess Marguerite ( Daisy Ridley ), to fulfill his dream of creating an “Ideal City” where mankind could live in harmony with nature. But once again he finds himself having to deal with pressure to use his talents for military and nationalistic purposes, exerted by Francis and his ever-present adviser mother Louise de Savoy ( Marion Cotillard , providing some welcome Gallic flavor).

Despite its heavy-duty subject matter, the film co-directed by Capobianco and Pierre-Luc Granjon is filled with welcome humor of both the visual and verbal varieties. The animation features many amusing touches and there are some wonderfully sly jokes, such as the Mona Lisa being exhibited to crowds that immediately swell to the point where no one can see it. When a royal figure tells Leonardo his plan to inspire a renaissance, the elderly artist muses, “A Renaissance? Hum, I like the sound of that!” There are also several lively musical numbers (perhaps too many), composed by Alex Mandel, that provide diverting respites from the talky proceedings.

As a bonus, the end credits feature behind-the-scenes drawings, photos and videos illustrating the detailed process involved in the film’s making. After seeing The Inventor , younger viewers may have difficulty deciding among being budding scientists, artists or animators.

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Dune: Part Two (Christian Movie Review)

Dune : Part Two is a triumphant, sweeping sci-fi spectacle; a visually impressive and thematically complicated story about the interplay between faith, religion, and power.

About the Film  

Three years after Dune: Part One , audiences can finally be transported back to the spice-infused sands of Arrakis. As with the first entry, Dune: Part Two makes two facts clear: Dune is a difficult story to translate into film, and Denis Villeneuve is absolutely the right man for the job. Like a Fremen warrior riding a gigantic sandworm, Villeneuve somehow manages to harness the unwieldy story and turn it into something exciting and immersive. Dune: Part Two is a triumphant, sweeping sci-fi spectacle; a visually impressive and thematically complicated story about the interplay between faith, religion, and power. Although not without some elements for Christians to carefully consider, the film is sure to please audiences looking for exciting spectacle on an epic scale.     

In many ways, author Frank Herbert attempted to subvert the classic storytelling tropes that others like George Lucas would later embrace. What if the “Chosen One” resisted the call, not because he thought himself unworthy but because he believed himself to be too powerful? What if the rebellion to overthrow the Empire led to a bloody holy war rather than lasting peace? What if the wise, mystical guardians and mentors were the least trustworthy? Or, what might be of most interest to Christian viewers, what if the coming of a prophesized “messiah” was a moment to dread rather than celebrate? Thus, like a double-sided Crysknife, the aspects of the story that make it unique and interesting can also make it less accessible.         

Director Denis Villeneuve does a lot of heavy lifting in translating the complicated story into a crowd-pleasing cinematic event. The film looks superb. The scope and spectacle make it the epitome of a Hollywood blockbuster, a film that demands to be experienced on the biggest screen possible. During the climactic third act, which is filled with clashing armies, giant sandworms, and exploding nuclear warheads, I glanced around the theater to see several people literally sitting forward in their seat. I lost count of the number of epic slow-motion shots of Paul Atreides walking with his cape blowing in the wind as Hans Zimmer’s bombastic score plays in the background. Is it overkill? Maybe, but man…it’s just so cool. And I really need to buy myself a cape.  

The quality craftsmanship is evident in other areas as well. For example, in an inspired creative decision, the home planet of House Harkonnen (the pale, bald rivals of House Atreides) is rendered in black and white, effectively giving it an otherworldly aura. The film clocks in with a nearly three-hour runtime. But despite occasionally feeling disjointed (particularly in the first act), it never drags. Also, despite limited screentime, the new villain Feyd-Rautha Harkonnen (played by Austin Butler) is magnetic, a worthy addition to a cast brimming with talent.    

Despite the film’s successes, some difficulties from the novel carry over. One challenge is that the protagonist is increasingly unrelatable and almost inhuman. Paul Atreides is more of an idea than a person. Not every protagonist must be an “aw, shucks” farmer with a heart of gold, and Paul’s journey from human to a symbol is a central component of the story. But the film doesn’t always push beyond the conceptual to the personal. The audience views Paul’s struggles at a distance through the eyes of others rather than from Paul’s own perspective.    

Likewise, Lady Jessica (played by the always great Rebecca Ferguson) is a constant presence who is mysteriously pulling strings and maneuvering, but (thanks to drinking some blue juice from a sandworm) she is so mystical and detached from regular human emotion that she almost transcends character depth. Paul wants revenge and Jessica (presumably) wants power. Pursuing those objectives becomes their sole motivation, and their story arcs lack the internal conflict that would make their journeys more compelling. As with the book, the story ends abruptly, paving the way for an inevitable Dune: Part Three .  

Overall, I had similar feelings toward Dune: Part Two as I did to Herbert’s original novel. I was captivated by the immersive worldbuilding and concepts, but I was left a little cold by the characters. Despite these issues, this adaptation is as good as is feasible. Villeneuve infuses the narrative with incredible spectacle and thrilling action, while remaining true to the novel’s dense worldbuilding and philosophical ideas. As with the first film—and the source material—Christians will likely be divided regarding the religious themes and implications (see more below). But as entertainment, Dune: Part Two is a triumph. In an era of skepticism surrounding the long-term viability of the movie theater industry, this film is a testament to the power and potential of cinema. 

For Consideration

Language: There are scattered profanities throughout, including “s—” and “h—.”

Violence: Several of the villains are ruthless and sadistic, including multiple instances in which they murder their subordinates by slashing their throats or pounding their heads against a table. In one scene, pained screams come from behind a door, and two dead bodies are later shown on the floor. The Freman drain the corpses of their enemies for their water (only one face is briefly shown drained and shriveled). There are several battle scenes in which countless armored, helmeted figures are shot or slashed in mostly bloodless action.   

Sexuality: A man and woman lay together and kiss, presumably nude after sex, although they are shown only from the shoulders up. A woman seduces a man. The sexual encounter is not shown, but the woman becomes pregnant and refers to the man as being “sexually vulnerable.”

Other: Religion is prominently featured (see below). Members of the Bene Gesserit order are sometimes referred to as witches, although their powers are the result of genetics and a breeding program rather than of spiritual origin. Several religious rituals are depicted. There is mention of “demons” on the planet, although they are not shown or explained. Both the planet’s spice and mystical “Water of Life” grant heightened and transcendent abilities. 

Engage The Film

Religion, faith, & power            .

Even more so than the first film, Dune: Part Two is filled with enough talk of faith, prayer, and messiahs to make even today’s faith-based films blush. But the story is far from a cozy evangelical sermon. Religion is central to Dune and often cast in a negative light. Even so, I think it is too simplistic to decry it as “anti-Christian” or to attempt one-to-one correlations (Paul Atreides = Jesus; the Bene Gesserit missionaries = Christians; religion is bad in the story = Christianity is bad, etc.).   

In an interview, Herbert once stated, “What I’m saying in my books boils down to this: Mine religion for what is good and avoid what is deleterious. Don’t condemn people who need it. Be very careful when that need becomes fanatical.” In other words, the themes explored in Dune are less of an assault on religion than a cautionary tale underscoring the danger of exploiting religion for power.   

Dune is about power —who truly has the power, and what does it take to gain it? Does power come from armies and political titles or from faith and charismatic leaders? Do the Fremen have the power of numbers and arms, or do Paul and Jessica hold the true power due to their influence? The Bene Gesserit debate who to support as their puppet messiah based not on character but on ease of control.   

A quote from the book gets reworked in the film: “The power to destroy a thing is the absolute control over it.” Indeed, to demonstrate his ultimate control over the planet of Arrakis and its valuable spice, Paul threatens to destroy the spice fields with nuclear weapons. Yet, the relationship between power and control is circular; power may lead to control, but one must first gain control to wield power.   

Early in the film, a skeptical Chani says, “If you want to control people? Tell them a messiah will come.” In an interesting twist, the prophecies used to stir up allegiance from the Fremen are fabrications spread by Bene Gesserit missionaries over many years. “It’s not true,” Paul says, “It’s just a story you keep telling.” This invented gospel preys on people’s primal need to worship and believe. Regarding the southern region of the planet where the “fundamentalist” Fremen live, it is said, “Nothing can live there without faith.” One of these fundamentalists declares that he doesn’t even care if Paul believes himself to be the messiah, saying “ I believe it.”   

In the Bible, Paul declares that if Christ were not truly resurrected, then his faith was vain, and Christians were fools who should be pitied most of all people (1 Cor. 15). According to the Bible, a faith built on a false gospel is an empty and meaningless pursuit. Conversely, in Dune , faith built on a lie can be used as a tool to gain power. In perhaps the most tragic line in the film, Paul laments that the Fremen are no longer friends but merely “followers.” It is unclear what Paul ultimately comes to believe of himself, but the potential power to be wielded as the Messiah is intoxicating.  

At a fundamental level, a biblical worldview and Dune diverge in significant ways. Christianity is a true gospel, whereas the prophecies in Dune are false (both in-story and as the product of an imaginative sci-fi tale). Yet Christians can share in Dune ’s caution against abusing faith and fanaticism. We need look no further than the realm of politics to see how religion can be wielded as a pathway to influence and power, regardless of whether the underlying faith is sincere.   

Dune offers a mostly pessimistic view of religion and exposes the dangers of faith built on falsehoods. Christians can be more hopeful, knowing our faith is built on truth and that Jesus calls us to a life of submission rather than dominance. Dune reminds Christians that true power can be found only in a God who transcends this world.  

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by Dennis Gannon

Instead of other countries being good or bad, Sci Fi writers use other planets so as to not offend fellow countries on Earth. Jesus has a kingdom, but not forwarded by force like the Holy Roman Empire tried to do since Constantine. Still the movie touches a nerve on the need for cleansing of Universe in the movie (really meaning Earth). Today there is only lying by the media, politicians, doctors, most churches, that a hunger to get rid of them all is very tempting. Hence the movie is a hit, and the anticipated Holy War strikes a strong chord here on Earth.

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THE MAN WHO INVENTED CHRISTMAS

"a great christmas story well told".

What You Need To Know:

Miscellaneous Immorality:  Protagonist won’t confide in his wife, borrows too much money and is estranged from his father, who’s a dreamer.

More Detail:

THE MAN WHO INVENTED CHRISTMAS is a thoroughly delightful, brilliant, enthralling movie about how Charles Dickens crafted the beloved Christmas classic A CHRISTMAS CAROL and practically invented the way we celebrate Christmas today. THE MAN WHO INVENTED CHRISTMAS is an instant holiday classic, with a marvelous performance by Dan Stevens as Charles Dickens. It’s one of the best Christmas movies ever made.

The movie opens with Charles Dickens on tour in America in 1842. Dickens is basking in the successful glow of his early successes, especially OLIVER TWIST. A year later, however, his new novel, MARTIN CHUZZLEWIT, which is being released a chapter at a time, isn’t doing so well, and Dickens is suffering from writer’s block. Making matters worse, the expenses for his book tour and his extravagant lifestyle, which include supporting his wife, several children and servants, have piled up. As a result, Dickens is afraid he’s going to end up in debtors’ prison like his father did.

One night, he hears his children laughing and crying over a ghost story being told by the family’s new, young Irish maid. This, and his difficulties of securing an advance for a new book or a loan, inspire him to start writing A CHRISTMAS CAROL. As he writes the book, the characters he writes about come alive and speak back to him, especially old Ebenezer Scrooge, who’s anxious to tell Dickens “my side of the story.”

However, no one will give Dickens an advance for the book, despite help from his longtime friend and manager, John Forster. No one cares about Christmas these days, the publishers say. So, Dickens decides to finance the book himself, but the decision puts additional pressure on him to finish the book in time for Christmas.

Meanwhile, Dickens’ irresponsible father shows up on his doorstep with his mother. This only reminds Dickens of the time he was forced to work in a filthy, rat-infested factory among other child workers because his parents and younger siblings were sent to a debtors’ prison to work off the father’s debts. The father brings along a pet crow for their grandchildren, which only increases the distractions in the house while Dickens tries to write A CHRISTMAS CAROL.

Can Dickens finish the book in time for Christmas? Even more importantly, can Dickens’ father reconcile with his son?

THE MAN WHO INVENTED CHRISTMAS is full of laughter, tears and brilliance. Dan Stevens gives a magnificent, exuberant performance as Charles Dickens. The great Christopher Plummer (THE SOUND OF MUSIC, UP and MURDER BY DECREE) delivers a lively performance as the cantankerous Mr. Scrooge. It’s a perfect holiday movie for Thanksgiving and the Christmas season!

Recently, a reviewer said in a review about a movie based on author J.D. Salinger’s work that it’s hard to make a writer’s work seem interesting or exciting in a movie. That’s certainly not the case with THE MAN WHO INVENTED CHRISTMAS. The filmmakers have solved this alleged problem by having Dickens interact with the characters in his book. Not only does he have lively discussions with them, they also act as a kind of Greek chorus commenting on Dickens’ own personal story. At one point, Scrooge reminds Dickens that Dickens’ attitude toward his father is just as miserly as Scrooge’s own attitude toward accumulating wealth. The benefit of having the characters in A CHRITSMAS CAROL interact with Dickens while he’s writing not only illuminates life of Dickens, it also allows the movie to do a few powerful scenes from A CHRISTMAS CAROL.

Like the book on which it’s based, THE MAN WHO INVENTED CHRISTMAS is a celebration of Christmas and the biblical sentiment of the Birth of Christ, “Peace on Earth, good will toward men.” In the movie, Charles Dickens overcomes the ordeal of writing his book and dealing with his father by remembering something his father taught him, that anyone can lift the burden of another person. Also, although the movie isn’t an evangelical treatise on salvation by grace through faith in Jesus, the movie shows the father as well as Tiny Tim using the beloved blessing from A CHRISTMAS CAROL, “God bless us, everyone!” Ultimately, A CHRISTMAS CAROL is a classic story of redemption, and so is THE MAN WHO INVENTED CHRISTMAS.

THE MAN WHO INVENTED CHRISTMAS is free of foul language. However, there are some scary scenes requiring caution for younger children. For instance, in a flashback to Charles Dickens working in the factory, another boy puts a dead rat on the bench where Dickens works.

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'The Inventor' Review: A Lovingly Animated Leonardo da Vinci Without Much of a Story

A clever inventor like Leonardo da Vinci seems like the ideal subject for a clever artform like stop-motion animation. And in many ways he is: Da Vinci’s creations translate to the screen with whimsy and skill in The Inventor , written, produced, and directed by Jim Capobianco and co-directed by Pierre-Luc Granjon. But despite its protagonist, voiced by British actor Stephen Fry, the film feels oddly disjointed, as if there’s not enough story to sustain 90 minutes of beautifully-made stop-motion and hand-drawn animation. 

We meet Da Vinci towards the end of his life. He’s working studiously in Italy, but Pope Leo X (Matt Berry) isn’t a fan of his creations. This sort of work, the pope says, should be devout and pay homage to God, not be so fanciful. But Da Vinci is on a existential quest to understand the purpose of life. Capobianco, known as the screenwriter of Ratatouille , intercuts the stop-motion with sketchy, hand-drawn sequences where the inventor seeks meaning before he ascends into the great beyond. It’s deep, in a good way, although younger viewers will drop their attention frequently in these scenes. Da Vinci eventually leaves Italy for the French court, where the royal family tasks him with building a perfect city. 

It’s all ripe for compelling visuals. The animation is executed with genuine care and love for the medium, and the craft is impressive. But the story is often aimless and surprisingly flat. Da Vinci teams up a young woman named Marguerite (Daisy Ridley) as he explores his ideas in France, but there is little in the way of actual plot. There are some songs, but you won’t remember any of them. There is a conflict of sorts with Louise of Savoy, voiced by the only actual French person in the film Marion Cotillard, but the stakes here are low. 

Stop-motion requires an immense amount of time and skill, which is why it’s so rarely made. The Inventor evokes the old-school style of Rankin-Bass in a way that’s enjoyably nostalgic. You can almost feel and touch the characters. So it’s disappointing that the film doesn’t seem to know what it is or who it’s for. It doesn’t seem like it’s for kids, especially young ones, although older children and teens might be interested in Da Vinci’s life and work presented in a less erudite way. It asks big questions about life and meaning that might compel adults, but it’s ultimately hard to see this landing anywhere outside of a niche audience. If you appreciate stop-motion as an art, it’s a must. If you want a good story, maybe not. 

In the end, Da Vinci finds his meaning, although it’s not fully shared with the audience. That choice feels emblematic of the film itself. Capobianco and his filmmakers visually showcase something sincerely beautiful. It’s a reminder of why stop-motion is a genre worth preserving and perpetuating. But under the colorful façade the foundation is underbuilt. Like Da Vinci’s own work, though, maybe it’s enough to try something interesting and see if it works.

Observer Reviews are regular assessments of new and noteworthy cinema.

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If review – John Krasinski’s so-so, sentimental family fantasy

Ryan Reynolds leads an all-star cast in a sweet, if a little messy, tale of imaginary friends reconnecting with the grown-ups who once bid them goodbye

I f, the new kids comedy from John Krasinski, has all the elements of a family friendly hit: a healthy dose of sentimentality, a heavy emphasis on the power of a child’s imagination and a prerequisite of tragedy undergirding on a girl’s journey. Also, an expensive mix of live-action and animation and an all-star cast of voice actors – among them, George Clooney, Jon Stewart, Amy Schumer, Bradley Cooper, Maya Rudolph and Krasinski’s wife, Emily Blunt – playing a roster of Imaginary Friends (Ifs) forgotten by their grown-up creators and companions.

On paper, Krasinski’s first kids film as a writer-director checks the boxes, though in practice it’s not quite as cuddly as Blue, the giant purple bear hug of an If hammily voiced by Steve Carell, looks. There’s an underlying, perfunctory sweetness to this tale of a girl who, in the midst of family turmoil, can suddenly see everyone’s former imaginary friends. But If doesn’t fully conjure the magic that has elevated such family classics featuring sentient non-human companions as Toy Story 3 and Paddington 2 .

Still, there are plenty of wacky, cartoon-esque bits for the kids. And for adults prone to childhood nostalgia, there’s something winning and throat-achey to the premise of a retirement home of Ifs pining the loss of their grown human friends and waiting to find another child playmate. Or even just slightly older former friends, as 12-year-old Bea, capably played by Cailey Fleming, declares she’s no longer a kid and thus too old for games. The film opens with mock-camcorder footage of Bea’s earlier, happier days in a playhouse of a Brooklyn apartment – a fantasy of a happy family of three making believe, before and during her mom’s (Catharine Daddario) cancer.

In the present and back in New York after time away, her father (Krasinski, channeling a distilled, sillier version of Jim Halpert) has returned to the dreaded hospital room to await surgery for a “broken heart”, because this poor child has apparently not been through enough. Left to fend for herself with minimal supervision from her dad’s empathetic nurse (an underused Liza Colón-Zayas) and her sweet yet clueless grandmother (Fiona Shaw) – every character real or imaginary here is just doing their best – Bea encounters a strange man upstairs named Cal (Ryan Reynolds, acting very true to form, for better or for worse), who runs a struggling If placement agency out of an emporium of treasures with Blue and a Minnie Mouse-cum-Bee Movie creature named Blossom (Phoebe Waller-Bridge). Skeptical of the Ifs but moved by their sincere affection and plight – especially after a trip to their Memory Lane retirement home beneath Coney Island, a conceit aiming for the parents – Bea signs on for the agency’s new mission: to reconnect the forgotten Ifs with the inner children of stressed and pressed adults in New York.

Krasinski is, by this point, a proven film-maker, and the admittedly convoluted plot with some waving loose ends – the whole frantic character of Cal, for one – glides by on some confident style and echoes of beloved family movies – Steve Carell’s superior voice work in Despicable Me , the post-war magic of Roald Dahl stories (sans anything sharp or evil), the pitch-perfect childhood nostalgia of the Toy Story franchise. Though set in present-day Brooklyn Heights, the film has a decidedly retro feel, harkening back to a time when New Yorkers decorated their apartments with antique record players and ornate lamp shades, when kids were largely unsupervised and childhood memories were more tactile. (At 12 years old, Bea was presumably born in the 2010s, yet there’s nary an iPhone in sight; fair enough, as watching old footage on Y2K camcorders evokes much more nostalgia than scrolling through the camera roll.)

There’s a vague out-of-time feeling to If, nagging if you think about it but generally swept along with the tide of gesturing toward, if not always celebrating, imagination. A dance and CGI-laden sequence in which Bea redecorates the Memory Lane retirement home through sheer power of creativity invigorates a somewhat plodding first half, and also reminds how everything before it felt curiously staid by comparison. If is at its best when the cacophony of loyal Imaginary Friends – a unicorn, a green blob, a pink alligator, a talking ice cup, an invisible guy named Keith, to name a few – dial up the spectacle.

For a film that very much bills itself as a comedy, particularly through the lovable and literally bumbling character of Blue, If is fairly short on actual laughs. Instead, it settles by the end into misty-eyed, mostly earned sweetness, with the evergreen lesson of remembering love and playfulness as you grow up. Bells and whistles and imaginary friends aside, it’s that message of the inner child that’s ultimately essential – and If channels just enough of it for this viewer to, at least for a few moments, remember hers.

If is in US and UK cinemas on 17 May.

• Emily Blunt
• Ryan Reynolds
• Steve Carell
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Tv/streaming, collections, great movies, chaz's journal, contributors, ricky gervais finds a reason to hope in the face of despair.

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In its amiable, quiet, PG-13 way, "The Invention of Lying" is a remarkably radical comedy. It opens with a series of funny, relentlessly logical episodes in a world where everyone always tells the truth, and then slips in the implication that religion is possible only in a world that has the ability to lie. Then it wraps all of this into a sweet love story.

Ricky Gervais plays a pudgy everyman named Mark, who's a writer for a company that produces movies of stunning tedium. There's no comedy or drama in its productions, because of course fiction requires lies. Mark fails to turn the Black Plague into box office, and is fired, but not before his secretary ( Tina Fey ) tells him she has loathed every day she worked for him. Mark takes this agreeably enough; one is not easily insulted when everyone tells the truth all the time.

What would such a world be like? In "The Invention of Lying," a retirement home is called "A Sad Place Where Homeless Old People Come to Die." Pepsi ads say: "For when they don't have Coke." When Mark goes on a blind date with Anna ( Jennifer Garner ), she opens the door and starts right off with a hilarious line that Garner reportedly improvised on the spot. Then she says she finds him unattractive, there will never be any possibility of sex, and he is too short and fat to make a good genetic sperm source. At a restaurant, the waiter tells them he hates working there, and that Anna is out of Mark's league. Mark and Anna agree.

You see how it goes. Mark lives in a typical little city with bland people and no anger. Everyone always believes everyone else. I wonder if politics are even possible. We see this isn't an ideal situation. There are no consolations. Nothing eases the way.

Mark is a nice man, in that sneaky-smooth Gervais way, and would like to console his mother ( Fionnula Flanagan ), who is dying in a Sad Place Where Old People, etc. One day he undergoes an astonishing revelation. He knows his bank balance is $300. The camera zooms into his brain to show mental lightning bolts, and he tells the teller he has $800. She hands him the money and apologizes for the bank's computer.

He can lie! His world lacks even a word for this. Nor does it have the word truth. Something is either "so," or "not so." With his new power Mark is able to tell his mother that death does not lead to oblivion, but to a wonderful afterlife. Of course she, and everyone else, believes him. The word races around the world, and people beg for more details. Anna tells him how happy he could make everyone.

Then, in one of the funniest satirical scenes I can remember, Mark stands on his front steps and informs the world there is a Man in the Sky, and they will be happy up there with him after death. The world is ecstatic. This Man, Mark explains, is responsible for everything. "Even my cancer?" a woman asks. Yes, that too, but Mark asks his audience not to get bogged down in the details.

What we have here, in microcosm, is the paradox of a benevolent god creating a world of evil. Mark is hard-pressed to explain it, but greater men than he have tried. Think of the power you'd possess if everything you said was believed without question. Mark, under the circumstances, behaves reasonably well.

I saw the movie with a large audience, which laughed a lot. I have no idea what they thought of its implications. "The Invention of Lying" isn't strident, ideological or argumentative; it's simply the story of a guy trying to comfort his mother and perhaps win the woman he loves. Gervais, who co-directed and co-wrote with Matthew Robinson , walks a delicate tightrope above hazardous chasms.

He's helped greatly in his balancing act by Jennifer Garner's inspired, seemingly effortless, performance as a great beauty who isn't conceited or cruel but simply thinks Mark, with his pug nose, is the wrong genetic match for her children. She plans to marry Brad ( Rob Lowe ), who is as conventionally handsome (and boring) as Clark Kent. The film has one of those scenes at the altar ("Do you, Brad, agree to stay with Anna as long as you can?") that avoids obvious cliches by involving profound philosophical conclusions.

I saw the trailer for "The Invention of Lying" and expected to dislike it. It's a much better movie than the trailer dares to admit. Today's trailers would make " Sophie's Choice " into a feel-good story. Watching the movie, I thought -- oh, yeah, that's right: It's October. Good movies are allowed again.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film credits.

The Invention of Lying (2009)

Rated PG-13 for language, including some sexual material, and a drug reference

100 minutes

Ricky Gervais as Mark

Jennifer Garner as Anna

Jonah Hill as Frank

Jeffrey Tambor as Anthony

Fionnula Flanagan as Martha

Rob Lowe as Brad

Tina Fey as Shelley

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• Ricky Gervais
• Matthew Robinson

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Not Another Church Movie

God commands Taylor Pherry to write a movie inspired by his crazy, dysfunctional family, but the Devil has his own devious plans. God commands Taylor Pherry to write a movie inspired by his crazy, dysfunctional family, but the Devil has his own devious plans. God commands Taylor Pherry to write a movie inspired by his crazy, dysfunctional family, but the Devil has his own devious plans.

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• Monte Carlo

• Flora Black

• Taylor Pharry

• Ms. Flora Richardson

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• mangosteen55
• May 13, 2024
• When was Not Another Church Movie released? Powered by Alexa
• May 10, 2024 (United States)
• United States
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• Savannah, Georgia, USA
• Monty the Dog Productions
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• May 12, 2024

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• Runtime 1 hour 30 minutes

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