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Here the story begins so promisingly that I hoped, or assumed, it would continue on the same track: Childhood friends, united in a form of telepathy by a mentally retarded kid they protect, grow up to share psychic gifts and to deal with the consequences. The problem of really being telepathic is a favorite science-fiction theme; if you could read minds, would you be undone by the despair and anguish being broadcast all around you? This is unfortunately not the problem explored by "Dreamcatcher." The movie does have a visualization of the memory process that is brilliant filmmaking; after the character Gary "Jonesy" Jones (Damian Lewis) has his mind occupied by an alien intelligence, he is able to survive hidden within it by concealing his presence inside a vast Memory Warehouse, visualized by Kasdan as an infinitely unfolding series of rooms containing Jonesy's memories. This idea is like a smaller, personal version of Jorge Luis Borges' "Library of Babel," the imaginary library which contains all possible editions of all possible books. I can imagine many scenes set in the Warehouse--it's such a good idea it could support an entire movie--but the film proceeds relentlessly to abandon this earlier inspirations in its quest for the barfable.

For these aliens, space travel is a prologue for trips taking them where few have gone before; they explode from the business end of the intestinal track, through that orifice we would be least willing to lend them for their activities. The movie, perhaps as a result, has as many farts as the worst teenage comedy--which is to say, too many farts for a movie that keeps insisting, with mounting implausibility, that it is intended to be good. These creatures are given a name by the characters that translates into a family newspaper as Crap Weasels.

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A sleepy, but pleasantly surprising action-adventure, "Ragnarok" is the rare Spielberg clone that feels like it was made by people that not only know what they like about Spielberg's films, but are capable of evoking them. Sigurd (Pal Sverre Hagen), a head-in-the-clouds archaeologist that gets terrorized by a giant snake monster while looking for Viking artifacts, is a cross between Indiana Jones and Dr. Alan Grant. Which is to say: he's a benignly egocentric single dad that realizes by the film's end that knowledge should be shared, not monetized, and women and children aren't accessories. Sigurd's quest grants him genuine perspective, and makes him realize that he's not that different from his miserly boss, head-strong subjects, or serpentine tormentor. These revelations modestly unfold at their own leisurely pace, and are supplemented by some modestly impressive brick-and-mortar action filmmaking, particularly good use of slow-motion photography, and an exciting zipline set piece. "Ragnarok" could stand to be a little less timid, but it also handily proves that you don't need to be bombastic to be exciting.

"Ragnarok" begins with a weary, perfunctory preface: in the 9th century, a bunch of fool-hardy Vikings set out to test their mettle. They wind up getting attacked by a giant snake. The snake doesn't really get to mess anybody up, and the Vikings are only shown skulking around for a bit. Which sucks, since this placeholder intro is supposed to hold viewers over for an hour, when we get the film's first major action scene. Then again, that shortcoming isn't such a bad thing when you consider how effectively the film's characters and concerns are established an hour in. It's easy to forgive "Ragnarok"'s creators for what they overlooked given the little, personal touches thrown in.

When we first meet Sigurd, a widower with two kids, he only has eyes for his job. He's obsessed with some recently uncovered runes, but the money-men that pay for his research aren't impressed with his passion and theoretical knowledge. So Sigurd teams up with fellow archaeologist Allan (Nicolai Cleve Broch) and research assistant Elisabeth (Sofia Helin), and drags his kids to Finmark, the Northern-most part of Denmark, in search of grant-worthy booty.

It also goes a long way towards revealing the film's unsentimental priorities, particularly the film's adoration for Sigurd, and his habit of figuring out his priorities as he messes them up. Sigurd's usually too enamored with his research to see beyond himself, but viewers can tell where his heart is in a slow-motion sequence where he pulls son Brage (Julian Podolski) away from danger. Svendsen's stare shows that he's both angry and terrified. His bulging eyes are blocked just right, drawing attention away from his mouth. It's a really good, finely observed moment that could have easily been forgettable, and by-the-numbers. You can also see why "Ragnarok" roots for Sigurd in the scene where Svendsen emerges from a dark tunnel armed only with a snake egg and a torch. Svendsen's too wiry and unkempt to be a Scandinavian Indiana Jones, but he looks almost as heroic. It's a beautiful, front-lit shot that draws out the shimmering inky darkness at the actor's back. The camera doesn't linger on Svendsen, but that image stays with you.

By now, even I'm convinced I'm talking "Ragnarok" up too much. It is a fun genre film with subtle power that really captures the imagination, though you've seen this story many times before, and have heard it told in far better ways. It's rote in some ways, and takes too damn long to get to some really good stuff, but when I set out to write this review, I found myself immediately drawn to its best bits. The film's highs really do make the lows seem insignificant. I hope more people check out "Ragnarok" for that reason alone.

However, the few survivors are left in a cave full of hatching young, yet huge snakes, which proves to be fairly unsettling. Vicious killer plant vines and the flying piranhas from the first film soon follow en masse. Despite a frenetic score that attempts to amp up the tension, the latter CGI creatures are as poorly presented as previously and how they manage to attack so far into the jungle is a mystery.

Cartoon snakes use their tails as arms and legs to slap, punch, choke, and kick. One character repeatedly hits another with a rock. Characters in peril from drowning, being chased by the villain, and kidnapping. Bullies strafe their victims with hard, sharp projectiles. Border patrols verbally harass, kick, and threaten to kill. Some bugs crushed by a falling boulder. Slightly gory, very brief glimpse of a cartoon snake's skin tearing as the start of shedding. One scare as a security guard jumps out of hiding. Eva's held captive by a snake charmer, where she's forced to join the troop of performers.

Sidekick Gary is a stereotypical stoner, constantly seeking and once inhaling "pollen." He frequently asks people if they have pollen and begs the border patrol not to tell his father he's had some. Other characters are matter-of-fact and don't talk about it at all. Played for comedy, his desperation drives him to snort sand once. Pollen glows enticingly from flowers, and after he inhales some he acts more normal. In the end he's tempted again but is able to resist, without any explanation or discussion.

Parents need to know that Sahara is a computer-animated 2017 Netflix original adventure story about two snakes from different tribes who fall for each other despite their different backgrounds. Sidekick Gary is a stereotypical stoner who always wants "pollen," accidentally snorts sand, and inhales "pollen" once. Cartoon violence includes kicking, slapping, punching, and choking. A few brief kisses and some sexual innuendo are likely to go over little kids' heads. Ajar is bullied by others of his tribe, and there's some verbal aggression and hostility from the bullies and the border patrol. Expect some name-calling and an iffy body-image message when Eva, the main love interest, is told several times that she's fat and should try Pilates. Weak positive messages are lost in the end. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails.

In SAHARA, Ajar (Robert Naylor) is a desert snake and Eva (Angela Galuppo) is a jungle snake, each living with their own kind close enough to the border between the two. They're both fed up with the confines of their own world and want to escape to explore the larger world. After an accidental meeting being chased by the border patrol, they decide to head off together in search of adventure. Eva's promptly kidnapped and held captive by a snake charmer and forced to join the troop of performers. Ajar, his friend Pitt (Daniel Brochu), and Eva's brother Gary set out to find and rescue Eva. But the Sahara is vast and full of dangers. How will they ever find her?

The abrupt ending doesn't reveal what becomes of the characters or provide any resolution or reinforcement of weak messages about friendship or perseverance, and using a funny character to acknowledge that doesn't help. Gary, the drug-seeking "stoner" character, makes this inappropriate for little kids, but it's also too juvenile and shallow to hold the interest of kids who can handle the no-big-deal attitude toward his "pollen" fixation.

Lions are truly majestic animals to observe in the wild, inspiring many famous documentaries, TV series, animations and movies over the years. With our camps situated within the territories of famous prides of lion and their prey, Asilia has played a part in the making of several well-known big cat documentaries and films, including some mentioned below. We asked our Asilia Facebook followers to pick their all-time best lion movies and documentaries; count down with us to see which one occupies the number one spot.

The Chronicles of Narnia are a series of famous and beloved books written by C. S. Lewis in the 1950s. They have been adapted for radio, plays, television and film. Set in the realm of Narnia, home to magic and talking animals, including a lion named Aslan. The Lion, the Witch and the Wardrobe fantasy film was released in 2005 and starred Liam Neeson (as the voice of Aslan) and Tilda Swinton as the White Witch. The movie was followed by Prince Caspian (2008) and The Chronicles of Narnia: The Voyage of the Dawn Treader (2010), making over $1.5 billion globally. e24fc04721