Look, I'm just gonna say it. Rip that band-aid right off. Come right out with it. No holding back. You ready? I really mean it this time. I'm going to say it. For real, now. Okay? No fooling. No way around it. Ugh. Okay, here goes - I like Chris Pratt's Mario voice. There, you happy?! I'm as surprised as the rest of you, really. I still think it's weird to not use Charles Martinet when he's right there and clearly wants to be involved in the movie, and I'm not Pratt's biggest fan either as a movie star or as a person. But it's... fine, right? Better than fine. I think it's quite good. Mama mia, I think Chris Pratt's a good Mario.

No, he's not doing an Italian accent. He's doing a Brooklyn accent, just like the Mario television show and the last Mario movie. I think, more broadly, it's an odd cultural quirk of the USA for people to say "I'm Italian" when they mean "my great great grandfather was Italian, but I was born in the USA and have never left my home state", but that's just me. Mario is as Italian as about 50,000 guys in New Yawk who swear they're Italian, so this is what we get. And it's not Pratt's normal voice. It's clearly a Brooklyn accent, which Pratt does not have. You may not like the voice, or not like Pratt and have that be enough to put you off, but I feel like it's a deliberate attempt to gaslight me specifically for you to say he's not even doing a voice.

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None of this really matters for his Mario voice. It matters for how much you may wish to support him, or even see the movie at all, but I can't keep it bottled up any longer. Anya Taylor-Joy as Princess Peach gets me front row day one, or rather a few rows back because the front row hurts my neck. I thought Pratt was going to be something to endure in the movie, as he felt at times in the Jurassic trilogy. But he's a great Mario for the American-Italian direction the movie has gone in, is showing decent range in the few clips so far and is shaping up to be an excellent centrepiece of the movie while the rest of the cast shine around him. I like Chris Pratt's Mario. There, I said it.

The movie is a wonderful surprise, cleverly written and executed brick by brick with a visual panache. Filled with humor and action, the Warner Bros. movie pulls off an emotional finish that rivals some of Pixar's best work. You can argue - and not sound completely crazy - that this is a better film than a few recent Academy Awards best picture nominees.

But the first big-screen animated Lego movie has the feel of a passion project - where smart people were given a lot of resources and allowed to execute the craziest thoughts that came to their head. "The Lego Movie" is a PG film, but its closest comparison is the work of "South Park" creators Trey Parker and Matt Stone. The single musical number, "Everything Is Awesome," is so effective, you'll wonder why Lord and Miller didn't make more.

As the friends work to save the city from the schemes of conformist tyrant Lord Business, the movie settles into a nice blend of sly rapid-fire humor and over-the-top action sequences that all seem hatched from a 9-year-old's imagination. With plastic brick people instead of flesh and blood, the filmmakers and skilled animators at effects studio Animal Logic get a bit of a pass on the violent and racy content. If a real-life construction worker gets beheaded, it's unspeakably gory. A man photocopying his naked butt is lowbrow and obscene. When these things happen in the Lego world, it's kind of cute.

I felt a hint of worry about two-thirds of the way through the movie, realizing that the movie's high marks for style were not matched by its substance. For all its in-the-moment satire and entertainment, the lack of a human heart became harder and harder to ignore.

This charming French-Belgium animated film and Oscar contender is about a bear and a mouse whose artistic tendencies are forever getting them into trouble. Marked as outsiders by their respective societies, an unlikely friendship is forged, an ill-tempered uproar unleashed and a delightful movie is the result. Based on the lovely children's books by Gabrielle Vincent, this lively and larcenous tale is softened by its watercolor pastiche and minimalist animation. It proves a refreshing departure in an age of high-tech, hyper-kinetic animation, and should appeal to kids and adults alike. (Betsy Sharkey) Read more

A single song bookends "Inside Llewyn Davis," the new film from Joel and Ethan Coen about a week in the life of a struggling singer in the New York folk scene of the early 1960s. It's a gentle guitar ballad starring a dangling noose called "Hang Me, Oh Hang Me," and its best-known version is by the late Dave Van Ronk, a towering singer whose recollections of Greenwich Village during the folk boom informed the narrative. In its opening scene, the movie focuses on the song as performed by the titular Davis, played by actor and musician Oscar Isaac. Shot in intimate close-up as he sings and picks on an acoustic guitar in a Village coffeehouse, the rendition introduces the character through lyrics about a man staring across an abyss. (Randall Roberts) Read more be457b7860

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