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An absurdist retelling of a surreal moment in American history

A man shows up at the White House and asks to see the president. The request gives pause to the secret service, as the man is Elvis Presley (Michael Shannon: Batman v Superman: Dawn of Justice).
    The whole situation is bizarre. One day in 1970, Elvis flew to Washington, D. C., to meet President Nixon and ask him for a badge making him an undercover federal officer at large. The King, apparently, had decided he was the best way to combat the threat of communism. His plan was to go to communist meetings and parties where drugs were sold, collect information on the key players and convince kids to forswear drugs while embracing patriotism.
    It sounds crazy, but friends are used to The King’s whims.
    The president, on the other hand, thinks this plan sounds as screwy as Elvis himself. Staunch conservative Richard Nixon (Kevin Spacey: House of Cards) sneers at popular culture. He has no interest in Elvis, despite his staff’s pleas that a meeting might win the youth vote. Only when his daughter demands an autograph does Nixon agree to the meeting.
    When The King meets The President, what happens?
    A funny fictionalization of the infamous meeting, Elvis & Nixon offers insight into both characters. Director Liza Johnson (Hateship Loveship) wisely chose to let the actors carry the movie. There’s little fancy camera work. Except for a few inspired montages of period-accurate footage, it’s all about Shannon and Spacey. Rather than mimic their famous counterparts with silly impressions, the actors offer genuine performances.
    As Richard Nixon, Spacey shines. He creates a grumbling president more interested in taking a nap than winning over American youth. Blustering through hackneyed dialog and ensemble scenes, Spacey continues his run of magnificent jerks.
    Shannon has the harder task of capturing the essence of Elvis. He succeeds by imbuing the King with the childlike simplicity of a man who can’t comprehend a world that does not bow to his whims.
    The two finally meet in a classic comedy of errors. Both believe they’re in charge, and both have a reason to assume so. Spacey and Shannon dance around each other in a delightful ballet of ticks and quirks as they goad each other to new and greater heights.
    It’s worth the ticket price to see this entertaining riff on an odd footnote in history on the big screen as two acting greats battle it out.

Good Comedy • R • 86 mins.

This comedy is a love letter and a plea to Chicago

Calvin (Ice Cube: Ride Along 2) is a second-generation barber on the south side of Chicago. The shop is now co-ed with a new business partner (Regina Hall: Black-ish).
    Calvin is proud of his neighborhood, but it’s changing. He barely recognizes the street where he’s spent his whole life. Robberies and shootings make the barbers fearful of working after dark. As son Jaylen (Michael Rainey Jr.: Power) considers joining a gang, Calvin makes the barbershop a safe space in hopes of encouraging his community to embrace non-violence.
    If the gambit fails, Calvin plans to move his family and business to Chicago’s safer north side.
    Barbershop: The Next Cut strikes a surprising balance between commentary and comedy. Past installments have been far broader comedies, featuring slapstick humor, silly jokes and good music.
    This film, the third in the series, seeks to provoke change as well as laughter.
    Director Malcolm D. Lee (The Best Man Holiday) balances humor with drama so that neither overwhelms. Best of all are the performances. Ice Cube is a charismatic performer skilled as both a dramatic actor and straight man to the shenanigans in the shop. Cedric the Entertainer (The Soul Man) remains the perfect clown, spouting ridiculous one-liners and riling up the rest of the cast.
    As for a solution to stop the violence in Chicago, you’ll find opinions on what shouldn’t be done but few realistic solutions beyond don’t give up.

Good Dramedy • PG-13 • 112 mins.

A man cub learns the laws of the jungle in this winning family film

Fierce tiger Shere Khan (voiced by Idris Elba: Zootopia), slaughters a man who sought shelter in a jungle cave. But escaping Khan’s deadly eye, a toddler survives. The panther Bagheera (Ben Kingsley: The Walk) takes pity on the pathetic man cub.
    Seven years later, Mowgli (Neel Sethi in his feature debut) lives among a wolf pack while training with Bagheera in the ways of the jungle. He loves his family, but he is a failure as a wolf. He can’t run as fast or bite as hard. He can compete only when he uses “tricks,” such as fashioning crude tools. The pack insists he abandon his tricks for life as a wolf.
    Mowgli may need all the tricks in his bag when Shere Khan finds a man cub on his return to the wolf grounds. Shere Khan is determined to kill the boy and anyone who stands in his way.
    Hunted by the most powerful beast in the jungle, Mowgli returns to the human world. Can people protect him? Will he reintegrate into human society?
    The Jungle Book is a colorful, beautiful retelling of the classic tale for all ages. This adaptation owes less to Rudyard Kipling than to the 1967 Disney cartoon, for it features all the Disney songs, characters and plot. But director Jon Favreau (Chef) adds fresh visual styling.
    Best of all is the exemplary work by the all-star voice cast. As the film’s villain, Elba growls his way through a menacing performance. Scarlett Johansson (Hail, Caesar!) fills out the baddie side with her creepy characterization of a humongous boa constrictor that may or may not want to swallow Mowgli.
    To balance the menacing animals, Favreau has stacked the deck with some outstanding comedic voice acting. Kingsley plays straight man (make that panther) to the characters, while offering deadpan zingers that should keep parents entertained. As lazy bear Baloo, Bill Murray (Rock the Kasbah) is beguiling and cuddly. Murray’s voice does a lot to bring warmth and charm to this laid-back take on a favorite Disney character.
    The standout in this talented field is Christopher Walken (Eddie the Eagle), who uses his unique voice and cadence to make King Louie both silly and intimidating.
    The only weak link is Sethi, who can sound a bit forced. It’s not a big problem, as no one in the audience pays much attention to Mowgli with all the talking animals abounding.
    A bigger problem may be the more realistic nature of its animals and sets. Favreau has created a painstakingly accurate environment, so tiger attacks, lunging snakes and rampaging apes are a little more frightening than their cartoon counterparts. My young seatmate was terrified of Shere Khan, and having the tiger leap at the audience in glorious 3D did nothing to quell her fears. If you have a child under the age of seven, consider whether this film will ruin future trips to the zoo.
    All in all, The Jungle Book is family entertainment that should please several generations of viewers.

Good Family Film • PG • 105 mins.

Catch the second weekend of fun and frivolity

Time-travel nearly 350 years from the court of King Louis XIV of France to Twin Beach Players’ version of Molière’s 1668 comedy of manners, L’Avare. The Miser, as English has it, completes performer/director Jeff Larson’s production of a Moliere trilogy, including Tartuffe and the Imaginary Invalid, spanning 14 years of theatrical performances by Twin Beach Players. Through all, he’s teamed with company president Sid Curl.
    Colorful and convincing characters embroiled in a twisting plot make up The Miser’s world. In two acts, we witness what happens when Harpagon, the miser, obsessed with adding to his sizeable fortune, secrets away his wealth. To add to these riches, he plans marriages for his two children. Those around him, however, are equally determined to carry out their own plans.
    These are familiar characters. Comedic archetypes we recognize had their roots in Moliere, including the bumbling Inspector Clouseau character of Pink Panther fame, first imagined as the Miser’s Inspector ­Sansclou. The characters use slapstick, physical humor and clever banter to keep us entertained.
    As in Moliere’s time, some characters break through the imaginary fourth wall that separates the audience from the performers onstage to engage with us directly. The technique is visually interesting and involving as well as revelatory of a character’s private thoughts.
    Larson’s blocking uses stage space wisely, helping to focus our attention toward or away from imposing character action or dialogue, especially when multiple characters share the stage simultaneously.
    Overall, acting is solid with some outstanding performances, including Luke Woods’ commendable physical and verbal character choices as Harpagon.
    Annie Gorenflo’s Elise balances youth and experience. Aidan Davis adds strength to Valere with a pleasing and resonant vocal tone. Tom Weaver’s Cleante is sincere and believably love-struck, while Jenny Liese’s Marianne is bright and affable. Jim Weeks shows commanding physical agility and range as La Fleche.
    Jeanne Louise as Mâitress Jacqueline Ze Chef is animated and excitable; her French accent is believable and her movements charmingly gazelle-like. Stage veteran Helenmary Ball is delightful as marriage broker Madame Frosine, offering impeccable comic timing, hilarious facial expressions and rich vocal variety. Kevin McAndrews masterfully performs his roles of Maitre Simon and Inspector Sansclou, shaping subtle nuances between them. Curl entertains in his cameo as Senor Anselme, drawing comparisons to the chameleon-like talent of actor Tim Conway in physical appearance, comic ability and vocal diversity.
    The production staff skillfully executes their technical responsibilities, giving legitimacy to time and place. Music designer Robert Snider’s selection of pre-show, intermission and post-show music is consistent with the Baroque era. An able stage crew professionally and discreetly transforms the sparse set in Act I to a more fully furnished set in Act II. Costume design and makeup include period wigs, curls and costumes accented with bolder hues to enhance characterizations.


Two and a half hours with a 15-minute intermission; light refreshments available for purchase.

Th-Sa 8pm, Su 3pm thru April 17 at the North Beach Boys and Girls Club, 9021 Dayton Ave. $15 w/discounts: 410-286-1890; www.twinbeachplayers.com.

Spread the word about this haunted place of miraculous possibilities where the crippled are made whole, body and soul

“I’m sure there is magic in everything,” says the invalid child Colin in The Secret Garden, “only we have not sense to get hold of it.”
    If you want to believe in magic again, see Colonial Players’ production of the children’s classic that has been delighting musical theater audiences for 25 years. With award-winning songs, clever staging and an animated cast, it delivers all the haunting magic of Frances Hodgson Burnett’s Edwardian original and then some. Like a dream in black and white, this show blurs the line between this world and the next in spinning the tale of headstrong Mary Lennox (Madi Heinemann), orphaned in India and shipped home to her miserable Uncle Archibald’s (Justin T. Ritchie) English estate. It’s a haunted place of miraculous possibilities where the crippled are made whole, body and soul.
    Colonial’s tiny theater-in-the-round is perfect for the show’s musical narratives enhanced by sharp choreography and an imaginative set. Dance takes center stage as a plot device in the seamless prologue when a scarlet silk handkerchief passed among dancers illustrates the cholera epidemic that orphans Mary. One by one the victims fall, starting with her parents, Captain and Mrs. Lennox (Heather McMunigal and Kory Twit).
    Accompanying the dance is a sterling chorus of neighbors who provide back story and commentary on life at Misselthwaite Manor: Major Holmes (Cory Jones), Alice (Kaelynn Miller), Betsy/Mrs. Winthrop (Erin Branigan), Lt. Shaw (Kyle Gonzalez), Claire Holmes (Kaitlin Fish) and Lt. Wright (Greg Anderson).
    The manor is crawling with ghosts, primary among them Archibald’s wife, Lily (Lindsay Espinosa), who worries over him and their invalid son Colin (Reid Murphy), despite the ministrations of Archie’s jealous physician-brother Neville (Kevin Cleaver). But Mary has the company of a sympathetic maid, Martha (Ella Green), her young brother Dickon (Samuel Edward Ellis) and the gardener, Ben (Danny Brooks). With their help, she discovers Lily’s secret garden and brings its healing power to all the sick and restless.
    With just one piece of furniture, some tissue clouds and myriad special effects, this show conveys a better sense of time, place and action than more opulent productions I have seen. Innovative lighting evokes a full moon, thunderstorms, a skyline of minarets suggesting Mary’s homeland and a robin flitting overhead, symbolized by migrating red chaser lights. Three projectors broadcast films around the theater to simulate actions from the mundane act of opening the curtains to a bucolic train ride and the inner sanctum of the garden beyond its imposing walls.
    The costumes range from drab English earth tones to the tropical whites and lacy gowns of India’s ruling class, where only the turbaned Fakir (Aubrey Baden) and sari-clad Ayah (Fish) dazzle in color. Attention to detail is evident from the housekeeper’s (Cristina Shunk) magnificent key belt to the red trim incorporated into Mary’ dress as she warms to her surroundings.
    Among a cast of talented singers, Ritchie and Espinosa thrill in A Bit of Earth and How Could I Ever Know, and Green delights with her fine Yorkshire accent in A Fine White Horse. Cleaver’s duet with Ritchie (Lily’s Eyes) is unforgettable, and Ellis delights in Wick with a presence that feels metaphysical. Heinemann’s signature song, The Girl I Mean to Be, is charming but difficult to hear over the taped accompaniment — a dilemma common to the other children’s soli and the sole technical problem of this production.
    See this chestnut with someone you love, young or old, and bring a hanky.


By Marsha Norman and Lucy Simon, based on the novel by Frances ­Hodgson Burnett. Director: Lois Evans. Musical Director: Wendy Baird. Choreographer: Carol Cohen. Stage Manager: Andy McLendon. Set: Laurie Nolan. Sound/Effects: Julien C. Jacques. Lights: Eric Lund. Costumes: Jean Carroll Christie. Dialect/Vocal Coach: Nancy Krebs. Musical Accompaniment by Right on Cue Services.

Runs two and a half hours: Thru May 8, Th-Sa at 8pm, Su at 2, Colonial Players, 108 East St. Annapolis. $20 with discounts, rsvp: 410-268-7373; www.thecolonialplayers.org.
 

What is the acceptable human cost for our security?

If you could kill a terrorist by drone strike, would you? If a child was in the kill zone, could you still launch the missile?
    Colonel Katherine Powell (Helen Mirren: Woman in Gold) has been obsessively tracking a terrorist. With his location finally pinpointed, she plans an elaborate capture, coordinating her British action with Kenyan and American forces.
    Complications force the capture mission to be abandoned. Powell wants to go for the kill with a drone strike. But it’s not her call.
    First, she must check with her general (Alan Rickman: A Little Chaos). He, in turn, must check with British ministers. They must check with the Americans. No one wants to be responsible for the strike, especially when a small girl enters the target area.
    As Powell argues for the strike, the British ministers, American drone pilots and Kenyan forces debate its morality.
    Is the possibility of saving many lives worth taking the life of an innocent? Can this group come to a consensus before the terrorists escape?
    An interesting morality puzzle holds together this suspenseful but hackneyed thriller. Director Gavin Hood (X-Men Origins: Wolverine) builds tension as politicians bandy about responsibility for the strike. You feel how infuriating the authorizing process can be. Every time an answer is seemingly arrived upon, someone else brings up another issue — and the debate resumes.
    For Powell and her cohorts, the frustration is agonizing. For the politicians, escaping responsibility is agonizing.
    Hood makes a powerful statement on the priorities of government, seemingly more concerned with appearance than reality. It is not a unique statement. Weathered military officers are cold, American politicians are cavalier and young officers are emotional. None of these types breaks a mold, though they work fairly well here to move the story along.
    With a plot offering nothing new, the acting raises the movie above hackneyed territory. Mirren is masterful as Powell, a dogged soldier who’s bitterly frustrated. In one of the last roles before his death, Rickman is entertaining as a world-weary general who must hold the hands of dithering politicians.
    Credit for the most suspenseful performance belongs to Barkhad Abdi (Captain Phillips), who plays a Kenyan operative sneaking into the terrorist compound. Far behind enemy lines, he’s operating a tiny drone in the midst of men with machine guns who would cut him down if they knew. Abdi’s struggle to survive an assignment tantamount to suicide is nerve-wracking.
    A fairly predictable film with some well-constructed tension, Eye in the Sky poses some interesting questions to viewers. What is the acceptable loss of life for a drone strike? Who has the right to choose who lives and who dies? If you’re looking for a film that challenges you to think and discuss, this movie is well worth the ticket.

Good Suspense • R • 102 mins.

A sequel without a lot to say

Paris Portokalos (Elena Kampouris: American Odyssey) longs to escape her family. Her mother, Toula (Nia Vardalos: Star vs. The Forces of Evil), is clingy and desperate, her grandfather pressures her to get married and make babies at 17 and the rest of them are loud and obnoxious. Paris hopes to flee to college far, far away. Her mother counters by pressuring her daughter to stay close to home.
    Toula smothers her daughter because that’s how she’s learned to act by the family she never escaped. Though she married an outsider, Ian (John Corbett: Sex & Drugs & Rock & Roll), Toula is deeply ensconced in Portokalos life. She is a caregiver for her aging father, a stalker of her daughter and the family fixer of problems. It’s a great arrangement for the family, but Toula is exhausted and neglectful of her husband.
    When grandparents Gus and Maria (Michael Constantine and Lainie Kazan) discover that, due to a technicality, they were never married, the family assumes the duo will head down the aisle to rectify the error. Gus is willing, but after 50 years of subservience to the domineering Portokalos patriarch, Maria isn’t so sure.
    The family tells Toula to fix it.
    A sequel to the family-friendly original, My Big Fat Greek Wedding 2 is a meander with sparse laughs and a thin plot. Vardalos, who wrote the original and the sequel, draws on her family experiences. For this installment, she brings back all the old jokes, from the patriarch’s obsession with Windex to the white neighbors who think the Greeks are creepy and weird.
    Disaster is averted by winning performances. Andrea Martin (Difficult People) and Kazan both know how to sell hokey humor. They make a running gag about neck pulling workable and manage to make their overbearing personalities endearing.
    Vardalos doesn’t fare so well. The point of the first film was Toula’s finding her voice and asserting herself. She hasn’t.
    And this sequel isn’t My Big Fat Greek Wedding.

Fair Comedy • PG-13 • 94 mins.

Life, love and inspiration from a humble hiding place

The miracle of Anne’s work is that no matter our background, it feels like she is talking directly to us. Indeed. Those are the words of Steve Tobin, the director of Compass Rose’s beautifully constructed production of The Diary of Anne Frank. In the playbill’s director’s note, he goes on to say, “The triumph of her story is that more than 70 years later we are still telling it, and still being inspired to be better members of the human race.” The wit and wisdom generated by a young teenager stuck for two years in the crowded upper rooms of her father’s workplace in Amsterdam as the Nazis surrounded city blocks to ferret out Jews still resonate today because Anne’s energy love for life and intelligence are timeless. But it was, of course, the extraordinary circumstances that make her diary, and its recovery, close to a miracle. At Compass Rose, Tobin and his cast and crew completely commit themselves to the universal truths of this story, and the result is an emotional, suspenseful and sometimes funny tale of life, love and inspiration. Mia Goodman is young, but her acting credentials are impressive even for an adult: Ford’s Theatre, Arena Stage and Signature Theater, to name a few. Goodman pours every ounce of that impressive pedigree into her portrayal of Anne. She’s a typical young teen, but with a depth of understanding of her situation that manifests itself not so much in fear as in optimism. When Hanukkah threatens to slip by uncelebrated but with a prayer, Anne comes to the rescue with a special homemade gift for each of her compatriots. In this scene and others, Goodman gives us an Anne whose buoyancy and love cannot be contained by her circumstances. When she writes in her diary she talks directly to the audience, and Goodman’s depth as an actress, combined with her youth, make us believe she is indeed talking directly to each of us. Goodman’s performance is, in a word, captivating. Her supporting cast achieves the same standard. As Mr. Frank, Steve Lebens is wise, understanding and brave in a very impressive performance. Alicia Sweeney gives us a Mrs. Frank who displays an inherent love and generosity that cracks when one of the other adults is caught stealing food. Jenny Donovan does a fine job as Anne’s sister Margot. As Mr. and Mrs. Van Daan, the guests whom the Franks generously offered hiding, Bryant Centofanti and Jill Kyle-Keith are suitably contentious. Their son Peter is very nicely played by Eli Pendry, who subtly allows Peter’s teenaged nervousness and awkwardness to wane as his friendship with Anne grows. Edd Miller is impressive as Mr. Dussel, the latecomer whose demanding crankiness melts into an acceptance of his situation and a love for the family who have taken him in. And Rachael Murray is effective as Miep, everyone’s connection to the outside world. Helping transport us into a cramped 1940s hiding place are the multi-level set by Tobin, appropriate costumes by Beth Terranova, props by Joann and Mike Gidos and lighting by Alex Brady that is so emotionally effective it almost acts as another character. Anne Frank’s words on the page are inspiring. In the hands of these outstanding performers, they, and we, are transformed. We understand how, despite her circumstances, she could write: “I still believe, in spite of everything, that people are truly good at heart.”


About two hours with one intermission.

Thru April 17. Th 7pm; F 8pm; Sa 8pm (and 2pm April 9 & 16); Su 2pm, Compass Rose Theater, Annapolis, $38 w/ discounts: www.compassrosetheater.org; 410-980-6662.

John Goodman proves a horror movie lives on the power of its monster

“I’m going to keep you alive.”    
    These words chill Michelle (Mary Elizabeth Winstead: Mercy Street) when she wakes up chained to the wall of an underground bunker. Her savior is Howard (John Goodman: Love the Coopers), an ex-Navy man who tells his captive that he saved her as a disaster ended most life on Earth.
    Michelle is skeptical, as one might be on awakening in underwear, injured and chained. But Howard swears his intentions are altruistic while the air outside is toxic. Eventually, he releases her from the chains.
    She meets Emmett (John Gallagher Jr.: The Newsroom), who fought to get inside this bunker. He offers Michelle vague reassurances of a light in the sky and bad things happening. She begins to believe.
    The problem is, the bunker isn’t safe either. Though it’s well stocked and comfortable enough, Howard is a malevolent benefactor. He watches Michelle constantly, creeps up behind her and flies into a violent rage when she doesn’t behave the way he wants.
    Should she brave the world? Or find a way to live with Howard?
    A claustrophobic thriller about three people hoping to survive each other’s company, 10 Cloverfield Lane is a sequel in name only to the frenetic monster movie Cloverfield. This restrained, tense thriller focuses most of its horror inward, creating dark and disturbing feelings without special effects.
    Goodman excels. His Howard ranks with the most deeply unsettling characters ever created on the silver screen. Goodman obliterates his loveable-dad stereotype with Howard, a monster who is so frightening because he’s so believable. Everything about him is eerie, from his mood swings to his calm, nonsensical monologues. Goodman never pushes the character too far, and as a result Howard becomes more menacing. His every move is insidious, whether he’s pounding a fist into the wall or dancing to music on an ancient jukebox.
    As Michelle, Winstead lets her expressive face to do most of the work. She makes it clear that Howard makes her skin crawl. But Michelle is not a victim; she is a survivor, and Winstead gives a determined set to her jaw that tells us she will fight to make it.
    Making his impressive debut, director Dan Trachtenberg wisely allows the actors to do most of the heavy lifting, keeping camera work minimal. He shoots most scenes in uncomfortable close-ups, emphasizing the forced proximity of the bunker. Though it’s a great debut, the film flags at the end, which feels tacked on from a different script. Still, it’s a small flaw.
    A tight thriller with brilliant performances, this movie will give you goose bumps for years to come.

Great Horror • PG-13 • 103 mins.

Disney gives kids a talk on racism that parents also need to hear

In the metropolis of Zootopia, predators and prey have evolved past biological impulses. Lions and lambs live together in harmony and work for the future of all mammal kind.
    Everyone lives in peace, but not all things are equal. Predators tend to jobs that require forceful personalities, such as police officers or poli­ticians. Prey cluster in service fields. So Judy Hopps (voiced by Ginnifer Goodwin: Once Upon a Time) is laughed at for dreaming of joining the Zootopia police force.
    A tiny bunny with a quick mind and bold spirit, Judy isn’t an obvious choice for a force full of powerful wolves, elephants and lions. But she doesn’t let her size or status stop her. Judy finds ways to outwit and outmaneuver other classmates until she’s tops at the Police Academy.
    But prejudice endures, and her police captain (voiced by Idris Elba: Beasts of No Nation) refuses to give her cases. To prove herself by cracking a case that’s stumped fellow officers, she teams up with Nick (voiced by Jason Bateman: The Gift), a con artist fox.
    Can a fox and a bunny work together? Or are they doomed by biology?
    In the era of Black Lives Matter protests, Zootopia is a timely story about the insidious nature of bigotry. The film explores the hurt wrought by harmless assumptions and teaches kids the dangers of judging on preconceptions.
    The most interesting part of the message is that everyone is guilty of stereotyping. Good people aren’t good because they’re without prejudice but because they can acknowledge poor behavior, apologize to those they’ve hurt and change. It’s a message that should help parents start a very tricky talk about discrimination.
    Zootopia also offers small viewers a great female role model. Judy is tiny and weak, and she fails a lot. But she doesn’t stop trying to achieve her dream. A fiercely independent bunny with a great work ethic, Judy remains kind and caring to all. It is wonderful for children to see that she can be both kind and tough without compromising who she is or what she believes.
    Bateman’s Nick is the sly foil to Goodwin’s perky bunny. Because he’s a fox, he’s assumed to be a liar and a thief. And that’s what he’s become, in a direct lesson on the consequences of stereotyping.
    Even little ones who are too small to understand Zootopia’s range of social commentary will enjoy the animal puns, silly humor and gorgeous animation. Zootopia doesn’t carry the same emotional impact as a Pixar film, but it more than makes up with meticulous animation, family-friendly humor and its timely, believable message. 
    If you’re looking for a way to open a conversation with your kids about racism and the harm it causes, Zootopia will help you get the ball rolling.

Great Animation • PG • 108 mins.