Woodwalkers 2 (4 Stars)

This is a sequel to "Woodwalkers" that takes place shortly after the events of the first film. Thankfully the young cast hardly seems to have aged in the last 18 months. Makeup works wonders.

It's a German film with German dialogue, but it's about a school for special children based in Wyoming. The children are all able to change themselves into animals. Or is it the other way round? They're animals who can change themselves into humans. Despite being many different types of animals, some of them natural enemies, they all get on with one another.

The central character is Jay once more, a puma. He manages to make contact with his family. They're all human-puma hybrids, but unlike him they prefer to remain in their animal form. Jay's father, in particular, doesn't trust humans.

Overall, "Woodwalkers 2" is an engaging continuation that respects its fan base while broadening its emotional and visual scope. The cinema was packed today, mostly with younger children. Oliver enjoyed it.

Die Drei ??? - Toteninsel (4 Stars)

This is an adaptation of "Toteninsel" (engl. "Death Island"), the 100th book in the series of "Die Drei ???" ("The Three Detectives"). The three youngsters, Justus, Peter and Bob, pursue a team of smugglers to an island in the South Pacific. An unknown treasure has to be retrieved before the island is destroyed by an active volcano.

In the book the boys are aged 13. It would have been too difficult to find actors in this age, so older actors appear, aged 17 to 19. In the books the three detectives have never aged after carrying out over 100 adventures from 1968 to today. 

The books are popular in Germany, not just among children. The cinema was almost full today. Looking around, I saw a lot of older people without children in the audience. The film was very exciting, though not as scary as the previous two films. And most importantly, my grandson Oliver loved it.

Pearl Harbor (5 Stars)

Pearl Harbor (2001) frames Japan's attack on Hawaii with a melodramatic love triangle that drives much of the film's emotional weight.

The story centres on two lifelong friends, Rafe McCawley and Danny Walker, both pilots raised together in rural America and bound by loyalty and shared ambition. When they arrive at Pearl Harbor in 1941, Rafe quickly falls in love with Evelyn Johnson, a naval nurse. Their romance is intense and idealised, presented as a brief moment of happiness before the war intrudes. Rafe volunteers to fight with the RAF in England and is soon reported killed in action. Evelyn, devastated but trying to carry on with her life, gradually grows closer to Danny, who has remained at Pearl Harbor.

Danny and Evelyn's relationship develops slowly and uneasily, shaped by grief and guilt. Both feel they are betraying Rafe's memory, yet they also find comfort and genuine affection in one another. By the time they fully commit, Evelyn is pregnant, and the pair begin to imagine a future together, still shadowed by the absent third presence in their relationship.

The triangle is violently reopened when Rafe unexpectedly returns, having survived his mission. His reunion with Evelyn turns bitter when he realises she has moved on with Danny. The friendship between the two men fractures into anger and resentment, and Evelyn is caught between her past love and her present reality. Their personal conflict comes to a head just as the Japanese attack Pearl Harbor, forcing Rafe and Danny to put aside their rivalry in order to survive and fight back.

After the attack, the triangle briefly gives way to duty. Rafe and Danny volunteer for the Doolittle Raid, where Danny is killed, effectively resolving the triangle through tragedy rather than choice. In the aftermath, Evelyn mourns Danny while reconciling with Rafe, who accepts responsibility for the future, including Danny's child. The film ultimately treats the love triangle as a symbol of innocence lost, using romance and rivalry to personalise the larger catastrophe of Pearl Harbor and the emotional costs of war.

Success Rate:  + 1.2

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Red One (4 Stars)

Disney Wednesday #29

Red One is a glossy, overpowered Christmas blockbuster that feels less like a festive tale and more like a Marvel superhero film that happens to involve Santa Claus. Directed by Jake Kasdan, it throws Dwayne Johnson and Chris Evans into a hyperactive rescue mission when Santa is kidnapped, blending action, comedy and mythological lore with the confidence of a film that assumes scale alone will generate wonder.

Johnson plays Callum Drift, the stoic head of North Pole security, while Evans is a fast talking civilian reluctantly dragged into the operation. Their chemistry is serviceable rather than sparkling; Evans leans into his sarcastic charm, Johnson leans into his granite seriousness. The result is familiar buddy movie territory, albeit wrapped in snow, elves and CGI creatures that feel imported from half a dozen other franchises. Everything is big, loud and relentlessly busy, yet rarely magical.

J K Simmons' Santa Claus is the film's most interesting element. This is not the twinkly grandfather figure of tradition but a weary, muscular administrator of Christmas, closer to a CEO than a saint. That portrayal feeds neatly into the film's underlying question: is Santa Claus real, or just a story we collectively agree to believe?

Red One answers this in a very modern way: Santa is real within the film's universe, but his power depends entirely on belief. The more people believe in him, the stronger Christmas becomes; cynicism literally weakens the world. This allows the film to have it both ways. Children can take Santa at face value, adults can read him as a metaphor for generosity, kindness and communal faith. Santa exists because people need him to exist.

That idea is arguably the most Christmassy thing about the film, yet it is never explored with much depth. The script is far more interested in lore, chase scenes and setting up a potential franchise. Moments that might have slowed down to reflect on why belief matters are quickly buried under another explosion or wisecrack.

As a Christmas film, Red One feels oddly joyless. It acknowledges the concept of wonder without ever quite delivering it. Compared to classics that let sentimentality breathe, this one keeps moving as if afraid of sincerity. The result is entertaining enough in short bursts, but emotionally thin.

Ultimately, Red Onetreats Santa Claus as real in the way blockbuster cinema treats everything; real as long as it is profitable, expandable and endlessly rebootable. Whether that makes him any less real than the Santa of stories is up to the viewer. The film suggests that belief itself is the point, even if it forgets to make us feel why that belief once mattered so much.

Success Rate:  - 1.1

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Home Alone 2: Lost in New York (4 Stars)

Disney Wednesday #28

Home Alone 2: Lost in New York (1992) is both a confident escalation of the original film and a clear illustration of its limits. It doubles down on Kevin McCallister's intelligence, placing him in a larger, more complex environment, while also revealing where repetition starts to blunt the impact that made the first film a classic.

Kevin remains sharply intelligent, arguably more so than before. In the first film, his ingenuity is reactive; he adapts to being left alone. In the sequel, he is proactive. Lost in New York, he immediately exploits adult systems to his advantage, using his father's credit card, navigating hotels, toy shops and public transport with ease and manipulating social expectations to avoid suspicion. His intelligence here is social as much as tactical; he understands how adults see children and weaponises that perception. The Plaza Hotel sequence, in particular, shows Kevin thinking several moves ahead, confidently lying, redirecting attention and maintaining control under pressure.

The traps, once again, are the film's centrepiece. In technical terms, they're more elaborate and inventive than those in the first film. Kevin uses a wider range of tools, more vertical space and more environmental hazards, reflecting both his growth and the urban setting. His planning is still logical, with cause-and-effect thinking that makes the chaos feel earned rather than random. However, the escalation into outright cartoon physics weakens the sense that Kevin is simply a very smart child. Where the first film balanced plausibility with slapstick, the sequel leans harder into exaggeration, making Kevin's intelligence feel more like narrative convenience than hard-won skill.

This is where Home Alone 2 is both better and worse than its predecessor. It is better in scale and confidence. New York is used effectively as a playground for Kevin's independence, giving the film a sense of expansion rather than mere repetition. Kevin himself is more assured, less frightened and more self-aware, which fits his character arc. The emotional subplot with the Pigeon Lady mirrors the first film's neighbour storyline, reinforcing Kevin's growing empathy and maturity.

At the same time, the film is weaker in restraint. The villains are broader, the violence more extreme and the emotional beats more self-conscious. What felt fresh and surprising in the first film now follows a familiar rhythm. Kevin's intelligence, while still entertaining, no longer feels like a revelation; it's expected. The sequel relies on the audience's affection for the formula rather than reshaping it in a meaningful way.

Despite these flaws, Home Alone 2 has earned its own cult status. It's quoted, rewatched and defended with the same seasonal devotion as the original, especially by viewers who grew up with it. Its appeal lies in the fantasy of mastery; a child alone in the biggest city in the world, outthinking adults at every turn. While it may lack the tightness and surprise of the first film, it remains a spirited showcase of Kevin McCallister as one of cinema's most resourceful and intelligent child protagonists.

Success Rate:  + 10.8

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Home Alone (4 Stars)

Disney Wednesday #27

I've promised my grandson Oliver that I'll watch a film with him every day in his school holidays, preferably in English. I want to combine education with having fun. I laid a few good action films on the table that I thought would excite him, but he told me that he'd rather watch Home Alone, which he already watched with his parents last year. That's fine with me, but I couldn't persuade him to watch it in English. He insisted on the German dubbing. Oh well, why not? As expected, the dubbing was top quality; I could hardly recognise that it wasn't the original language. It's a popular Christmas film which is repeated on television every year in December in Germany and other countries, but I'd never watched it before today.

Home Alone endures not simply as a popular Christmas film but as a genuine cult classic, largely because of the way it centres a child who is not cute or precocious in the usual Hollywood sense, but genuinely intelligent. Kevin McCallister is not special because adults say he is special; he proves it through observation, planning and improvisation, turning his isolation into an exercise in self-reliance.

Kevin's intelligence is practical rather than academic. Left behind, he quickly assesses his situation, learns to navigate adult spaces like supermarkets and churches and adapts his behaviour to project confidence when it is needed. The famous home defence sequence is often dismissed as slapstick, but it is rooted in logic. Kevin studies his environment, identifies weaknesses in his opponents and designs layered traps that work together as a system rather than a series of random gags. The humour comes from exaggeration, but the strategy itself is coherent; Kevin thinks ahead, anticipates reactions and adjusts when plans go wrong.

What elevates this intelligence is that it is tied to character. Kevin is clever because he has had to be. As the youngest in a large, dismissive family, he has learned to assert himself through wit and independence. His ingenuity is not just about defeating burglars, but about proving his worth in a world that constantly underestimates him. This gives the film an emotional spine that balances the cartoon violence; Kevin wants safety and recognition as much as victory.

The film's cult status grows from this combination of empowerment and ritual. For many viewers, Home Alone is not merely watched but revisited annually, quoted endlessly and defended passionately. Kevin's triumph represents a fantasy of competence and control that resonates across generations. Children see a peer who outsmarts adults and criminals alike; adults recognise the nostalgia of a simpler moral universe where intelligence and preparation are rewarded.

Over time, Home Alone has transcended its era. Its traps have become pop-cultural shorthand, Kevin himself a symbol of youthful ingenuity. The film's cult appeal lies in how confidently it commits to its premise; it takes a child's intelligence seriously and invites the audience to do the same. That belief, more than the slapstick or the sentiment, is why Home Alone remains a fixture rather than a relic.

Success Rate:  + 24.5

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Captain Phillips (5 Stars)

"Captain Phillips" follows Tom Hanks as the most stressed man on the Indian Ocean. He is just trying to deliver some cargo, drink bad coffee and fill out paperwork when a group of Somali pirates shows up in a tiny skiff that looks like it should capsize if someone sneezes.

The pirates board the ship with enthusiasm that suggests they skipped every team-building seminar known to man. Their leader, Muse, announces “I am the captain now” which instantly becomes the world’s most quoted line. Phillips tries to reason with them using the universal language of middle-aged managerial concern.

Eventually the pirates kidnap him in a lifeboat that resembles a bright orange coffin. Tom Hanks spends the rest of the film sweating, negotiating and looking like he would give anything for a nap. The US Navy arrives with enough firepower to vaporise a small moon, which makes the pirates realise this was not the best career move.

The film ends with a famous scene in which Hanks delivers the most convincing performance of a man who has absolutely had enough. It is tense, gripping and unexpectedly funny if you enjoy watching sophisticated global shipping operations undone by four men in a boat that probably needs an oil change.

Success Rate:  + 2.0

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Die Schule der magischen Tiere 4 (4 Stars)

The fourth film in the "School of Magical Animals" has been released 12 months after the third film. The studio wants to keep the German fans happy, and so far there's no sign that the fans are losing interest in the films. Disney could learn a lesson from the Germans.

There are plans to close the school and sell the castle in which it's situated. It's a private school, and there aren't enough enrolments to finance the school. The children can only see one solution. There's a school challenge, in which four schools are competing against one another to carry out physical and intellectual tasks. They say that if their school wins the challenge the popularity will lead to new enrolments. They receive help from Miriam, a new girl who's transferred temporarily from one of the rival schools.

The main cast is the same as in the previous films, but in this film more emphasis is on Leonie. While everyone else is fighting to save the school, she's dealing with a crush she has on Max.

Like the previous three films, it's good action mixed with fantasy and comedy from start to finish. The films can carry on forever... as long as the teenage actors don't get any older.

Kangaroo (4 Stars)

"Kangaroo" is based on a true story, but the film is told as a comedy.

News anchor Chris Masterson is disgraced when he attempts to save a beached dolphin on live television, but unwittingly causes its death. He's fired from his job in Sydney, and he has to accept a lower paid job in western Australia. While driving to his new job his car hits and kills a kangaroo. He finds a baby kangaroo in the pouch and rescues it. The accident is witnessed by 10-year-old Charlie, who tells him that anyone who kills a kangaroo's mother is responsible for it, otherwise he'll suffer a curse.

Charlie is able to help Chris. Her grandfather is the only car mechanic in the nearby town Silver Gum, population 750. He also has a small cabin that Chris can stay in while his car is being repaired. It's derelict, but at least it's a roof over his head.

Charlie feels drawn to Chris, because her father has recently died. She's an outsider in school, spurned by the other children because of her love for kangaroos. It's soon apparent that she invented the curse to protect the kangaroo. Initially the town's residents reject Chris as a city man, but as the weeks go by waiting for his car to be repaired they begin to accept him. While Chris is waiting, Charlie brings more kangaroos to stay with him in the cabin

This is a touching story. I think I would have preferred it if it hadn't been a comedy, but I still enjoyed it. Due to my holidays, it was my first cinema visit for more than a month. It was a good return.

Today I watched the film dubbed into German. For some reason Charle's name was changed to Lily. That's strange.

The Little Witch (5 Stars)

Film Review: Die Kleine Hexe (2018) starring Karoline Herfurth

"Die Kleine Hexe" (The Little Witch), directed by Michael Schaerer and based on the children's book by Otfried Preußler, brings to life the enchanting tale of a young witch determined to prove herself as a "good" witch. With Karoline Herfurth in the title role, the film combines whimsy, warmth, and moral clarity in a way that both honours the original story and adapts it gracefully for a new generation.

Story & Themes

The plot follows the Little Witch, only 127 years old – too young by the standards of the elder witches – who dares to attend the Walpurgis Night celebration without an invitation. As punishment, she is told she must learn every spell in the big spell book within a year and prove herself to be a "good" witch. But as she studies magic and encounters injustice, especially among the other witches, she starts to understand what it means to be good. A good witch is a witch who does bad deeds, so the Little Witch becomes a bad witch by doing good deeds.

This is a story not just about magic, but about integrity, courage, and questioning authority. The film does a commendable job of weaving in moral lessons without being heavy-handed.

Karoline Herfurth’s Performance

Karoline Herfurth brings immense charm and nuance to the Little Witch. Her portrayal is energetic and endearing, capturing the character’s youthful defiance and innate kindness. Herfurth walks the fine line between innocence and rebelliousness with a grace that makes the character both accessible to children and engaging for adults.

Her chemistry with her loyal talking raven Abraxas (voiced by Axel Prahl) is another highlight, offering comic relief and emotional warmth.

Visuals & Production

The film boasts impressive production values. The forest settings and magical environments are richly detailed, creating an immersive fairy-tale atmosphere. The practical effects and restrained CGI maintain a storybook quality that aligns well with the original tone. Costume design, especially among the eccentric witches, adds flair and distinction.

Pacing & Tone

While generally well-paced for a family audience, the film does slow at times during the "study" segments. However, it quickly picks up with engaging scenes of magic and moral confrontation. The tone strikes a balance between light-hearted fantasy and the seriousness of standing up for what’s right, making it appropriate for children without talking down to them.

Conclusion

"Die Kleine Hexe" is a charming and thoughtful adaptation of a German classic, elevated by Karoline Herfurth’s delightful performance. It celebrates kindness, critical thinking, and bravery in a whimsical setting, making it a wonderful family film with substance.

Rating: a clear 5 stars

A magical tale with heart and conscience – ideal for children and nostalgic adults alike.

Super Mario Bros (4½ Stars)

What a beautiful princess! I wonder if she can fight like a girl.

But let's get to the film's main character, Mario himself. Mario and his brother Luigi are plumbers in Brooklyn, struggling to find work until there's a huge water main burst. They go to repair it and fall into pipes that lead to other worlds. Mario and Luigi are separated. Mario lands in the Mushroom Kingdom and meets the beautiful Princess Peach. Luigi lands in the Dark Lands and is imprisoned by the evil King Bowsa. Mario makes his way to the Dark Lands to rescue Luigi, but Bowsa is also travelling to the Mushroom Kingdom to meet Princess Peach. He wants to take her as his wife, with the emphasis on "take".

The action is chaotic, but it's a good film for what it is. It's a video game adaptation that manages to retain the look and feel of a video game. It was the second highest earning film in 2023, after "Barbie". Deservedly. It's a film that adults can enjoy as much as their children. My grandson Oliver's tastes are changing. He no longer likes children's films, but he still likes "Super Mario Bros".

Success Rate:  + 11.6

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Independence Day: Resurgence (3 Stars)

Disney Wednesday #26

This is a delayed sequel to "Independence Day", made 20 years after the original. I always have an aversion to delayed sequels. Sometimes they're good, mostly they aren't.

Actually, I'm no big fan of the original. I remember seeing it on television shortly after its release, but I had no inclination to buy it on DVD. I still remember the spectacular special effects created by Stuttgart's own Roland Emmerich, but I was annoyed by the concept of America saving the world and July 4th becoming the Independence Day for the whole world. For me as an Englishman that's an insult. I still think that American independence was a mistake. But it's all in the past. The Americans wanted independence, and now they have Donald Trump.

"Resurgence" is a far inferior film. The battle scenes are confused and difficult to follow. The first film was acceptable, but the sequel is unnecessary. At least it was a box office success.

I only watched it today because my grandson Oliver requested it. He watched it on television with his parents a few weeks ago, and he wanted to watch it again. I hope he'll have better taste as he gets older.

Success Rate:  + 0.4

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Moon the Panda (4½ Stars)

12-year-old Tian is torn between two cultures. His father is a millionaire Chinese businessman. His mother is French and dedicates herself to her family. Tian is an outsider at school, and his academic grades suffer as a result. His father is angry with Tian for doing badly at school, whereas his mother is caring and understanding.

In the school holidays Tian is sent to his grandmother, a deeply spiritual woman who lives in a secluded cabin in the Chinese mountains. While wandering in the woods Tian discovers a young panda that he calls Moon. At first the panda is afraid of him, but they become friends when Tian brings food.

It's a beautiful film, showing how a lonely young boy can make an unusual friend. It isn't just a children's film. It can move viewers of any age; anyone as sentimental as me.

Paddington in Peru (4 Stars)

This is the third film in the Paddington series. Can it be considered the final part in a trilogy? Yes and No. It doesn't round off any open threads from the previous films, which is a No. But it goes back to Paddington's origins, which is a Yes. So make your mind up.

Paddington has settled into his new home in London. He even has a British passport, although he has no reason to leave the country. One day he receives a letter from the Home For Retired Bears in Peru, telling him his Aunt Lucy wants to see him. I don't remember her being mentioned in the previous films, but a flashback tells him that she's the bear who rescued him when he fell into a stream as a child. He was separated from his parents, so she brought him up as her own child.

Paddington sets off to visit her with the Brown family. If you don't know who they are, go back and watch the first two films! On arriving in Peru, he's told that Lucy has gone on a journey. This is suspicious, because she's left her glasses behind. Foul play is suspected.

Together with the Reverend Mother who leads the Retirement Home, Paddington and his friends head into the jungle after hiring a boat from a devious sailor.

Olivia Colman looks like the role as Reverend Mother was written for her. I've tagged the film as a musical because she occasionally breaks into song, leading the other nuns to dance around her.

I had difficulty rating the film. The scenery is spectacular. It was filmed in Colombia, not Peru itself, but it looks realistic enough. I can't tell the difference. Can you? Despite frequent slapstick sequences, I didn't find it particularly funny. I glanced sideways and saw that Oliver also didn't laugh much, although he told me later that he'd enjoyed the film.

This was my first visit to the Metropol cinema since it changed owners. It used to belong to the Innenstadt cinemas, but it closed in December 2020 due to the Corona pandemic. It reopened in October 2024 as part of the Traumpalast group. When the cinema closed it wasn't expected to reopen as a cinema, so the building's owner demanded that the seats be removed. This was unfortunate, because it delayed the reopening while new seats were installed. The Traumpalast made the most of it by installing luxurious seats, better than the old seats.

Die Drei ??? und der Karpatenhund (4 Stars)

The film's title is pronounced "Die Drei Fragezeichen und der Karpatenhund", i.e. "The Three Question Marks and the Carpathanian Dog". It follows directly from last year's "The Legacy of the Dragon". In last year's review I wrote about the background of the series, so check it out to find out what's going on.

It's a German film, but the three young detectives live in America. They solve any problems, from murders to runaway cats. This time they're hired by Mr. Prentice, a man who's being haunted by a howling sound in his apartment. The film deliberately throws hints that it's a supernatural occurrence, but anyone who's read the last 238 books knows that the supernatural occurrences in the stories always have rational explanations. Nevertheless, the film's early scenes have the nature of a horror film, complete with jump scares. My grandson Oliver was terrified and had to cover his eyes several times.

The Carpathian dog in the title is a glass statue built by an artist before his death. He bequeathed it to his cousin, Mr. Prentice, but now it's been stolen. Is this connected to the haunting or just a coincidence? Watch the film to find out. Or read the book.

There was a long delay between the second film (2009) and the third (2023). Now there's a regular schedule. Exactly 12 months till the fourth film, and at the end of the credits the fifth film is announced for a release on 26th January 2025. That's good news.

Das Grüne Wunder: Unser Wald (5 Stars)

I intended to watch another David Lynch film this evening, but this DVD was pressed into my hand with the words that I really need to see it. Its title means "The Green Miracle: Our Forest". All I can say is that it's incredible. It's a nature film by Jan Haft, who also made "Die Wiese" ("The Meadow"). The real miracle is that the film was made at all. How is it possible to film events like these? For instance, we see male beetles fighting with one another to win the right to pair with a female. We see a female fox (a vixen) giving birth. How is it possible to set up a camera so close without scaring the animals away? We also see a caterpillar entering a cocoon and a butterfly emerging. Okay, that's a bit easier, because the caterpillar doesn't move. But it's still a brilliantly filmed scene.

I really need to see more films like this. They're wonderful.

And tomorrow I can return to David Lynch.

Mufasa: The Lion King (4 Stars)

This is the first time I've gone to the cinema with my grandson Oliver since October. That's a long time. Usually I try to go with him twice a month.

There are a lot of children's films being shown over the Christmas holidays, but he's been busy with other things. What my friends might not know is that the Christmas holidays last longer in Germany than in other countries. Most companies are closed from 23rd December to 6th January. The reason is that the 6th of January is also a national holiday, the Holy Three Kings day, usually called the Epihany in English. It's an important day in Germany, because the skeletons were buried in the Cologne Cathedral after being passed around for centuries.

The shrine is now on an elevated platform behind the altar, and it's become a place for pilgrims to visit. I find it strange. The three kings went to Bethlehem to worship Jesus. Today the kings themselves are worshipped by Catholics, at least in Germany. This isn't right. If the kings were alive today they'd tell us they don't want to be worshipped.

Now to the film. It serves as a prequel to the classic Disney film, "The Lion King". The story seems to repeat the plot. I found the film interesting, but what fascinated me the most was the beautiful imagery. I visit the zoo in Stuttgart frequently (in some months more than others), but the animals looked more beautiful in the film than anything I've seen in the zoo.

Oliver greatly enjoyed the film. That's the most important thing. I need to encourage him to watch the glorious 1994 animated film.

Die Wiese (5 Stars)

The film's title means "The Meadow". And that's what it's about. I don't know whether it's correct to call it a documentary. It's a nature film, and what a nature film! There must have been a lot of technical expertise put into making the film. Flowers are shown opening and closing. Animals are shown close up. 

The film takes place over a period of 12 months, from spring to spring. At the start of the film we see a female deer (a doe) having two babies. We see them again several times in the course of the film. Always in close up shots.

This is the cameraman/filmmaker, Jan Haft. We don't see him in the film itself, he's always behind the camera. He made the film in northern Germany, close to the Polish border.

The film makes statements about conserving the environment, but they're balanced. For instance, the narrator defends the yearly mowing of the meadow. He says that if the meadow weren't regularly trimmed the land would become a forest, destroying the unique wildlife in the meadow.

I don't have the exact figures, but the film was a financial success when it was released in 2019. It was a popular film for visits by school classes. It's overwhelmingly beautiful.

How the Grinch stole Christmas (4 Stars)

My grandson Oliver wanted to sit with me to watch "Rare Exports", but his mother dragged him out of my room because its age rating is 16. To be honest, I think she was wrong. In Germany the age ratings are recommendations, not legally binding. Even cinemas have the freedom to let younger people in, if they consider the rating to be incorrect, although they rarely do so. The only case I've experienced in my local cinema was the opposite direction. "Barbie" had an age rating of 6, but my cinema decided not to admit anyone under 12. That was the correct choice, in my opinion. "Barbie" is rated 12 in America, England and most other countries. Germany wasn't quite alone in its low rating. In France the film is rated 0.

When I watch a film with Oliver that I've seen before, I'm the person best qualified to decide if it's suitable for him. "Rare Exports" has very limited violence, so it wouldn't have harmed him at his current age of eight years old. He watches worse things on YouTube every day. His mother (my daughter) is incapable of making decisions like that. She just looks at the age rating on the disc and sticks to it. She should trust my judgement.

I suggested "How the Grinch stole Christmas" because I knew it wouldn't be a problem for her. The age rating is 6. It was the first film I watched in the cinema after returning to England in 2000. I don't remember why I wanted to see it. I wasn't a Christmas fan, even then. At the time I wasn't even a Jim Carrey fan, but in retrospect I enjoyed it. The film is naively moving. The Grinch is a more complicated character than Ebenezer Scrooge. He's not just opposed to Christmas, he rejects society in general. He was an outcast as a child because he was born with green skin. Does that remind you of "Wicked"? Now he lives as a recluse high on the mountain outside Whoville. Everyone hates him, except for six-year-old Cindy Lou. She believes that everyone should be loved at Christmas, even the Grinch. We need more people like that in the world.

It's a beautiful film. Maybe not a film that I'd watch every year for Christmas, but I'll probably watch it again with my younger grandchildren.

Since moving out of my parents' home I've never had a Christmas tree, but if Santa Claus looked like this I'd have a tree every year. I'd even sing "Jingle Bells" for her.

Success Rate:  + 0.8

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Checker Tobi und die Reise zu den fliegenden Flüssen (4 Stars)

Oliver is on holiday this week, so he has a lot of time on his hands to watch films. I'm proud of him. Today he decided to watch the second Checker Tobi film. The second and last, I hasten to add, because Tobias Krell died of cancer in 2023, less than six months after completing the film.

The film's title means "Checker Tobi and the journey to the flying rivers". That certainly sounds enigmatic. It follows the pattern of the previous film. It's just as far fetched, but who cares?

Tobi receives a parcel from a woman who was his neighbour as a child. It's a locked wooden box. Should he break it open? That would be cheating. There's also a photo of Tobi with a girl when they were both six, shortly before her family moved away. Her name was Marina, and she was wearing a necklace with a key on it. Could it be possible that she still has the key 30 years later?

Marina is currently living in Vietnam. Yes, after all these years she's still wearing the key round her neck, and it opens the box. There's a piece of paper with a task for Tobi. After visiting a cave in Vietnam which is the biggest cave in the world, they travel to Mongolia, first to the capital and then the desert. From there they travel to Brazil and the Amazon rain forests. Tobi witnesses how large areas in the forest are being cut down.

The climate preservation messages are laid on thick, but it's still a good film.