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Wendell and Wild movie review: Jordan Peele and Keegan-Michael Key reunite for Netflix’s visually dazzling horror-comedy

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The mere existence of Wendell & Wild is miraculous — they don’t really make animated films like this anymore. But chuck in a couple of complex subplots, some mature themes, and director Henry Selick’s punk-rock sensibilities, and what you get is a movie that isn’t exactly made for kids who’d rather watch Encanto again for the 400th time, nor is it something that their parents can throw on as a distraction. Like any real movie — not the sort of stuff Disney has dedicated itself to making these days — Wendell & Wild requires attention and patience.

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Whether or not it succeeds is another matter. But even if it doesn’t, at least it fails on its own terms. Netflix isn’t the easiest company to praise — the streamer would rather promote some nonsense Dubai-based reality show on its homepage than this — but the streamer deserves credit for quietly putting its weight behind a series of recent movies that truly nobody else would’ve dared to make. Although having Jordan Peele as a writer, producer, and co-star might have moved the needle in their favour.

Certainly, Selick has had a difficult time getting projects green-lit. After breaking out with the classic The Nightmare Before Christmas, he spent years in director jail after delivering two back-to-back bombs. Selick returned to his roots in 2009, with the eerie Coraline, produced by Laika, one of probably two animation houses — the other being Cartoon Saloon — that still seem to respect the medium. It has taken him a James Cameron-level of time to mount his follow-up.

Although Wendell & Wild are, as Lady Bird would say, the titular characters — they’re voiced by none other than Peele and his longtime creative cohort Keegan-Michael Key — the film’s protagonist is a young woman named Kat. She has the traits of a Disney princess; we watch as her parents perish in the film’s opening scene, leaving her orphaned and in an austere boarding school. She also happens to have magical abilities, which she learns to control and harness over the course of the film.

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Kat is tempted by the demon slave brothers Wendell and Wild to magically summon them to the real world, where they claim that they can help bring her parents back from the dead. Wendell and Wild have their own trauma to contend with; they’ve been sentenced to a life of hard labour by their own father. Their job is to rub hair cream on his body, but they want nothing more than to own and operate their own fun-fair. Bonkers as the premise might seem, Selick pushes the film further into the realm of the absurd with his signature visual flair. A sequence in which the brothers reanimate the corpse of a cleric, which immediately cuts to “You Sexy Thing” by The Hot Chocolates as the newly revived padre begins performing a jig, could put a gleeful smile on a severed face.

If that sounds like a wild time at the movies, you ain’t heard the half of it yet. In addition to world-building that is both unnecessarily elaborate and oddly disengaging, the film also throws in a bunch of shockingly mature ideas for no reason other than to mess with children, I suppose. Would you believe it if I told you that a large-ish subplot in the movie involves a corporate real-estate scam, while Selick and Peele’s screenplay takes separate jabs at the prison-industrial complex and corrupt education system?

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Kat’s principal, for at least half of the film, is deliberately made to look like the Pope. The principal, by the way, is the movie’s primary antagonist. Make of that what you will.

All of this is to say that there’s too much going on here, and it’s slightly sad that a filmmaker of Selick’s skills and experience — Wendell & Wild, despite its faults, is never dull to watch — feels that he must throw everything he’s got at the wall, perhaps because he’s afraid he might never get another shot again. This doesn’t seem like the work of someone who made their feature debut three decades ago; Wendell & Wild resembles something that a first-time director would make. Every second of it is brimming with the kind of inventiveness that the folks over at Pixar and Dreamworks seem to have forgotten. But the story certainly becomes collateral damage because of Selick’s go-for-broke style.

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Wendell & Wild
Director – Henry Selick
Cast – Lyric Ross, Jordan Peele, Keegan-Michael Key, James Hong, Angela Bassett
Rating – 3/5



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Gwyneth Paltrow not liable in Utah ski collision, jury says – National | Globalnews.ca

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Gwyneth Paltrow won her court battle over a 2016 ski collision at a posh Utah ski resort after a jury decided Thursday that the movie star wasn’t at fault for the crash.


A jury dismissed the complaint of a retired optometrist who sued Paltrow over injuries he sustained when the two crashed on a beginner run at Deer Valley ski resort, siding with Paltrow after eight days of live-streamed courtroom testimony that made the case a pop culture fixation.

Paltrow, an actor who in recent years has refashioned herself into a celebrity wellness entrepreneur, looked to her attorneys with a pursed lips smile when the judge read the eight-member jury’s verdict in the Park City courtroom. She sat intently through two weeks of testimony in what became the biggest celebrity court case since actors Johnny Depp and Amber Heard faced off last year.

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The dismissal concludes two weeks of courtroom proceedings that hinged largely on reputation rather than the monetary damages at stake in the case. Paltrow’s attorneys described the complaint against her as “utter B.S.” and painted the Goop founder-CEO as uniquely vulnerable to unfair, frivolous lawsuits due to her celebrity.

Paltrow took the witness stand during the trial to insist the collision wasn’t her fault, and to describe how she was stunned when she felt “a body pressing against me and a very strange grunting noise.”

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Throughout the trial, the word “uphill” became synonymous with “guilty, ” as attorneys focused on a largely unknown skiing code of conduct that stipulates that the skier who is downhill or ahead on the slope has the right of way.

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Worldwide audiences followed the celebrity trial as if it were episodic television. Viewers scrutinized both Paltrow and Sanderson’s motives while attorneys directed questions to witnesses that often had less to do with the collision and more to do with their client’s reputations.

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The trial took place in Park City, a resort town known for hosting the annual Sundance Film Festival, where early in her career Paltrow would appear for the premieres of her movies including 1998’s “Sliding Doors,” at a time when she was known primarily as an actor, not a lifestyle influencer. Paltrow is also known for her roles in “Shakespeare in Love,” which won her an Academy Award, and the “Iron Man” movies.


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Gwyneth Paltrow ski crash trial: Terry Sanderson testifies he was hit in the back by skier, went ‘flying’


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The jury’s decision marks a painful court defeat for Terry Sanderson, the man who sued Paltrow for more than $300,000 over injuries he sustained when they crashed on a beginner run. Both parties blamed the other for the collision. Sanderson, 76, broke four ribs and sustained a concussion after the two tumbled down the slope, with Paltrow landing on top of him.

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He filed an amended complaint after an earlier $3.1 million lawsuit was dismissed. Paltrow in response countersued for $1 and attorney fees, a symbolic action that mirrors Taylor Swift’s response to a radio host’s defamation lawsuit. Swift was awarded $1 in 2017.

Paltrow’s defense team tried to paint Sanderson as an angry, aging and unsympathetic man who had over the years become “obsessed” with his lawsuit against Paltrow. They argued that Paltrow wasn’t at fault in the crash and also said, regardless of blame, that Sanderson was overstating the extent of his injuries.

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AP writer Anna Furman contributed from Los Angeles.

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Jennifer Aniston says ‘Friends’ offensive to ‘a whole generation of kids’ – National | Globalnews.ca

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It’s The One With the Brutally Honest Actor: Friends star Jennifer Aniston is the latest celebrity to discuss the difficulties of working in comedy and making modern, apparently more sensitive audiences laugh.


Aniston, who has been working in film and comedy for nearly three decades, told the French news agency AFP that it’s become “a little tricky” to produce comedies because you have to be “very careful.” She said this is especially troubling because “the beauty of comedy is that we make fun of ourselves, make fun of life.”

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Aniston, 54, lamented the past when she said: “You could joke about a bigot and have a laugh — that was hysterical. And it was about educating people on how ridiculous people were.”

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She used her role as Rachel Green in the 1990s sitcom Friends as an example of how audiences have evolved over the years.

“There’s a whole generation of people, kids, who are now going back to episodes of Friends and find them offensive,” she said.

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Aniston blamed the offensiveness on a combination of “things that were never intentional” and elements of the program that just lacked thought.

Friends, a comedy about six young people in New York, has long since been criticized for a lack of diversity. All of the show’s main characters are white. While actors of colour appeared sparsely in short cameo roles, the most prominent, non-white actor on the show, Aisha Tyler (who played Charlie Wheeler), appeared in only nine episodes.

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Some of the jokes in friends have also been labelled transphobic or homophobic.

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Co-creator of the sitcom, Marta Kauffman, said last year she was “embarrassed” and felt “guilt” over the lack of diversity in Friends.

“It’s painful looking at yourself in the mirror. I’m embarrassed that I didn’t know better 25 years ago,” Kauffman told the Los Angeles Times.

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Friends ran from 1994 to 2004. It is one of the most profitable sitcoms ever created, bringing in reportedly US$1.4 billion since its initial debut.

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As a result of increased sensitivity, Aniston said less comedies are being made today than in decades prior. Not having comedies, she said, is a tragedy.

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“Everybody needs funny! The world needs humour!” she said. “We can’t take ourselves too seriously. Especially in the United States. Everyone is far too divided.”

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Numerous popular comedians have already complained about producing comedy in the post-woke age. In particular, Dave Chappelle and Chris Rock have been especially outspoken about cancel culture and comedy.


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Still, Aniston charges on. In her latest comedy, Murder Mystery 2, Aniston plays Audrey Spitz, a detective solving the case of a kidnapped billionaire alongside her partner Nick (played by Adam Sandler). Murder Mystery 2 is available to stream on Netflix on Friday.

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‘Ducks,’ Kate Beaton’s graphic memoir about Alberta’s oilsands, wins Canada Reads | Globalnews.ca

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Kate Beaton’s “Ducks” has won this year’s edition of Canada Reads.


The graphic memoir published last year by Drawn & Quarterly traces Beaton’s two years working in Alberta’s oilsands.

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Jeopardy! super-champion Mattea Roach defended the book during the four-day competition that aired live on CBC Radio.

“Ducks” won the competition Thursday, beating out Emily St. John Mandel’s novel “Station Eleven,” which was championed by actor-director Michael Greyeyes.

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“Hotline” by Dimitri Nasrallah, championed by bhangra dancer Gurdeep Pandher, was voted off Wednesday; “Greenwood” by Michael Christie, championed by actress Keegan Connor Tracy, was eliminated Tuesday; and “Mexican Gothic” by Silvia Moreno-Garcia, championed by TikToker Tasnim Geedi, didn’t make it past the first day, Monday.

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This year’s competition sought to find “one book to shift your perspective.”


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