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Pixar's new family film "Red" lets a cute panda teach children about puberty and at the same time calm anxious parents. Fun and charming when embarrassments take turns, but the change of tone towards the end prevents the film from becoming panda-stick.
What if Pixar made a movie of a 13-year-old diary?
 
I actually think that's exactly what happened when director Domee Shi (who won an Oscar with the short film "Bao") is told about growing up as an Asian girl in Toronto. The cultural clashes between a strict, overprotective family and all the exciting things that the outside world has to offer are mixed with puberty pain and a great dose of humor.

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Mix in a little fantasy and the cuteness meter hits the ceiling - because when Mei Lee turns 13, she magically transforms into a big, red, fluffy panda! The transformation comes in time and untimely so she may become sad, angry or upset. A curse or maybe a superpower? Together with the tight group of girls, Mei Lee finds a way to capitalize on the sweet factor of her involuntary alter ego to raise money for the gig with the hot boy band.
 
"Red" is a very charming story about growing up and taking the scary but exciting steps from childhood into adulthood. The time when the body changes, a look from a good-looking classmate makes one kneel weak, and one has no damn idea what's going on - playfully designed so that even the smallest children can be enchanted while we adult viewers laugh and are ashamed in recognition of all the embarrassment.

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With their latest three films "The Soul", "Luca" and now "Red", Pixar has left the world of fish and toys. It is a nice trio of more mature, human stories, of course with a touch of supernatural magic, but also more personal projects for the filmmakers. It's fun to see new abilities take the lead and that the studio is investing in more original stories.
 
That the film takes place in 2002, the same year when the director himself was 13, is hardly a coincidence. We who remember that time can smile at details such as tamagotchi and portable CD players - you almost wish it was even more driven with the era. But "Red" is a timeless story that everyone who has once been a teenager can recognize themselves in and laugh at while hiding behind the pillow of shame. For families with children, it also leaves open for conversations about menstruation and puberty in a de-dramatized way.
 
And as in Disney's musical "Encanto", questions are raised here about the family, where unconditional love and great pressure sometimes go hand in hand. Do everything to fit in or dare to break free? How do you handle being disappointed in your own mother's eyes? I can imagine that Mirabel and Mei Lee could have been good pen pals in a parallel Disney universe, they would have a lot to talk about.
 
I see "Red" with a big smile on my face. It offers wonderful middle school humor with one foot in Asian culture and the other in a fantasy world, with playful and often anime-inspired animation.
 
That being said, the film is not spotless. It loses a bit of its charm and humor towards the end, to derail in some kind of bombastic Marvel finale we could have been without. That Pixar emotional storm is also missing - you know how their best films can grab your heart and turn the tear ducts? Although I suspect that "Red" will appeal to the female audience more, both mothers and daughters, who can relate to the characters on another level.
 
But the red panda is kind of the cutest thing seen in an animated film in a long time. Beware, parents - it is probably already mass-produced for toy stores.
 
And by the way, I love that Billie Eilish and his brother Finneas have teamed up with Swedish music genius Ludwig Göransson to create quirky, troll-friendly pop hits for the film's fictional boy band 4-Town. This year's most unpredictable music collaboration?
 
"Red" will be released on Disney + on March 11.

Superheroes have increased strength is common in comics, serving as ways to put characters to face more powerful enemies. Robbie Reyes, the Ghost Rider, is one of the most recent examples of this situation at Marvel, as shown in Avengers Forever #3 during a showdown against a villain using a Venom-like symbiote.

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Warning: spoilers!

Reyes has recently become an entity known as the All-Rider, a title that allows him to transform any vehicle into a demonic version of himself, unlike other spirits of vengeance who can normally only transform a single one — especially motorcycles.

And Reyes utilizes that power in spectacular fashion in Avengers Forever #3, right after the room in which he was being tortured by a variant of the Red Skull that utilizes a Venom symbiote.

As the villain tortured Reyes, Earth-818's Ant-Man Tony Stark arrives at the scene, and distracts the antagonist long enough for the Spirit of Vengeance to regain its strength.

The Venom car. (Image: Reproduction/Marvel Comics)

With his energies recovered, Reyes begins his assault, revealing to the villain that the symbiote can also be a vehicle, depending on the user, which causes the hero to convert it into a demonic car - and thus escape captivity.

We don't know if in the next editions the Ghost Rider will continue to use the symbiote as a car, but without a doubt this ends up showing a great use of the character's power - and also that, considering the prominence and strength of these aliens in Marvel, currently, it ends up being making something very impressive.

With his energies recovered, Reyes begins his assault, revealing to the villain that the symbiote can also be a vehicle, depending on the user, which causes the hero to convert it into a demonic car - and thus escape captivity.

We don't know if in the next editions the Ghost Rider will continue to use the symbiote as a car, but without a doubt this ends up showing a great use of the character's power - and also that, considering the prominence and strength of these aliens in Marvel, currently, it ends up being making something very impressive.

At the same time, it is common knowledge that the hosts of the symbiotes are obstinate in retrieving the alien - which may indicate a scenario for the next confrontation between the characters, which may occur in the next editions of Avengers Forever.

Netflix stops broadcasting its content on Russian territory due to the invasion launched by Vladimir Putin in Ukraine. A decision that follows the freezing of local productions.

A new sanction has fallen. Netflix has suspended its service in Russia in protest against Vladimir Putin's full-scale invasion of Ukraine. Earlier this week, the streaming service announced it would pause all future projects and acquisitions from Russia, joining a growing list of companies that have severed ties with the country.

Netflix had four Russian original projects in the works, including a detective series in the works that has since been put on hold. Netflix also recently refused to air 20 free Russian propaganda channels that the platform was required to host under Russian law.

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Now the company is taking it a step further by shutting down its service completely. "Given the circumstances on the ground, we have decided to suspend our service in Russia," a Netflix spokesperson said, as reported by Variety.

The economic backlash that Russia has faced following its decision to go to war with Ukraine has been intense. Not only is the country struggling with heavy sanctions, but many companies and organizations have withdrawn from Russia.

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Companies including Microsoft, Apple and Dell announced they had suspended sales in the country, while Ikea closed stores and Nike said it would no longer process online orders. On the entertainment side, all major studios have announced that they will stop releasing their films in Russia.

Netflix launched its service in Russia in 2016 and has a relatively small presence in the territory, with around one million subscribers. The streamer has 222 million subscribers worldwide. It operates the service in a joint venture with the Russian company National Media Group.

Netflix also recently announced that it would make its 2015 documentary Winter on Fire: Ukraine's Fight for Freedom available for free. The film centers on the Euromaidan protests in Ukraine, which were sparked by former President Viktor Yanukovych's decision not to sign an agreement with the European Union and instead choose to strengthen ties with Russia.

These protests ultimately led to the ousting of Viktor Yanukovych. It has also heightened tensions with Russia, with Vladimir Putin using the overthrow as a pretext to invade and annex Ukraine's Crimean peninsula. Russia's invasion of Ukraine on February 24, 2022 has caused a humanitarian and refugee crisis, as well as growing fears that it could trigger a nuclear conflict.

Warner Bros.'s grim remake of "Batman" topped the US and Canadian box office, becoming the first film of the year to reach $100 million in its opening weekend, according to analysts at sector.

The latest film in the growing collection of "Batman" versions - starring English actor Robert Pattinson - took in nearly $128.5 million between Friday and Sunday, according to data from Exhibitor Relations.

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The film had an estimated production cost of $200 million.

Sony's "Spider-Man: No Homecoming" was the only film during the pandemic to surpass $100 million at the box office in its opening weekend, racking up $260 million in its December release month, according to analysts.

The current version of "Batman" has the Batman trailing the villain 'The Riddler' (Paul Dano), while the hero fights crime, corruption and his own demons. The cast includes Zoe Kravitz, John Turturro, Peter Sarsgaard, Andy Serkis and Colin Farrell.

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Sony's adventure movie "Uncharted," starring Tom Holland in the Indiana Jones style of treasure hunter, dropped to second place with $11 million while grossing over $100 million since its release.

Metro Goldwyn Mayer's comedy "Dog" took third place with $6 million.

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ATTENTION: This article contains details of the plot of 'Death on the Nile'.

The COVID-19 pandemic forced massive movie delays to escape theater closures and restrictions brought on by the coronavirus. One of those affected was Death on the Nile, the adaptation of the Agatha Christie novel by filmmaker and actor Kenneth Branagh, who after premiering Murder on the Orient Express in 2018 returned to the universe of the British writer leading Gal Gadot, Armie Hammer, Letitia Wright or Annette Bening to Egyptian lands with a new crime.

Its original premiere was scheduled for December 20, 2020, but finally its arrival in theaters has been this February 18, 2022, more than a year later. Throughout this long period there has been time for many events, including many controversies that have affected several members of its cast. It may be the case of Letitia Wright, the Black Panther actress whose anti-vaccine position has raised a lot of controversy.

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Also that of Gal Gadot, who in mid-2021 once again made a splash for his position in the conflict between Israel and Palestine. But the most serious is that of Armie Hammer, who was involved in accusations of harassment and even cannibalistic tendencies.

It all started when in early 2021 an Instagram account called House of Effie published alleged messages sent by the actor to women with risque words, descriptions of sexual situations and even confessions where the Call Me By Your Name actor declared himself a cannibal. At first it sounded surreal, but when Hammer began to abandon important projects and entered a rehabilitation center, the case began to be seen as true and terrifying.

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With the delay of Death on the Nile, this problem hit Disney squarely. The House of Mouse has always been very careful with his image, and having a controversial figure like Hammer in his production was not a dish of good taste. As The Hollywood Reporter reported, the company even considered re-recording its movie scenes with a new actor, and even removing it with digital techniques. But these options were not feasible.

With such a large cast, with so many top-tier actors with high salaries and with the pandemic making filming difficult and increasing production costs, it was mission impossible to carry out this task. In addition, Hammer plays Simon Doyle, who, as those who have read Agatha Christie's novel or seen the adaptation directed by John Guillermin in the 1970s will know, is one of the most important characters in the plot. Therefore, the elimination of him by digital techniques was unfeasible and the option of re-recording his scenes would have involved reshooting almost half the film.

Therefore, Disney jumped into the pool and decided to release Death on the Nile with the controversial actor. Of course, trying to hide his presence. There is more to see that, despite playing one of the most relevant roles, in trailers and other promotional materials he has been relegated to the background. And in the film they have tried to do the same, although instead of hiding it, they have made the controversy continue to be present in the viewer's mind.

And it is that after the presentation of the plot, the role of Armie Hammer, who during the first section of Death on the Nile already stands as one of the most important figures in the mystery, disappears completely during the middle of the footage. This part is where we see inspector Hercule Poirot interviewing all the travelers on the Nile ship where the murder took place. The characters expose their version of the facts in order to raise our suspicions or increase our doubts, assuming one of the most intriguing, emotional and interesting moments of the film. But Simon Doyle, Hammer's character, never becomes part of this dynamic. He doesn't even make a small appearance on screen, since he remains absent until the moment the mystery is solved.

At that key moment of the plot, where along with other characters Armie Hammer acquires an essential role in solving the mystery, it is when the absence of him in the previous part shocks you the most. And it is inevitable to assume that his presence has been reduced to a minimum by all the controversy that has surrounded the actor. The logical thing is to think that, having in mind the possible re-recording of his scenes with another actor, Disney wanted to reduce his presence as much as possible from the editing to save time and budget in supposed re-recordings. But this works against him and automatically leads you to think about the whole controversy. Even those who are unaware of the problems that have surrounded the actor will make them wonder about his absence at key moments, which when leaving the cinema can lead them to look for a reason.

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