Movie reviews: 'DC League of Super-Pets' is a goofy take that sticks to the superhero movie formula

This image released by Warner Bros Pictures shows characters, from left, Merton, a turtle voiced by Natasha Lyonne, PB, potbellied pig voiced by Vanessa Bayer, Krypto, voiced by Dwayne Johnson, Chip, a squirrel voiced by Diego Luna, and Ace, voiced by Kevin Hart, in a scene from "DC League of Super-Pets." (Warner Bros. Pictures via AP)

DC LEAGUE OF SUPER-PETS: 3 STARS

We all know that Jor-El and Lara sent their infant son Kal-El to Earth minutes before their planet Krypton self-destructed. Less known is the story of Kal-El’s Kryptonian Labrador Retriever, the boy’s faithful best friend, who leapt into the Earth-bound spaceship to start a new life on the little blue planet third from the sun. “Look after our son,” Jor-El says as the ship careens out of sight in “DC League of Super-Pets,” a new animated movie now playing in theatres.

When we meet them on Earth, they are now settled in Metropolis and are known as Clark Kent a.k.a. Superman (John Krasinski) and Bark Kent a.k.a. Krypto (Dwayne Johnson). “I’m his ride or die,” Krypto brags. They live the lives of best friends, sharing an apartment, watching their favourite cooking shows on the Food Network and fighting crime. “My only friend is Superman,” Krypto sings to John Williams’ “Superman” theme. They are inseparable, except for the time Superman spends with his girlfriend and Daily Planet reporter, Lois Lane (Olivia Wilde).

Sensing that Krypto needs a friend, Superman visits the local animal rescue, just as Ace (Kevin Hart) is making a run for it. In the cage above him is Lulu (Kate McKinnon), a hairless guinea pig who was once a test subject for Superman's archenemy Lex Luthor (Marc Maron). The supervillain is experimenting with orange kryptonite, a variation of the green kryptonite that saps Superman’s powers.

In a battle of the superheroes and supervillains, Superman and Krypto are hobbled by green kryptonite while the orange kryptonite empowers Ace, Lulu and the other rescue animals. “I figured out something Lex didn’t know,” Lulu gloats. “Orange doesn’t work on people. It only works on pets!”

It is revealed that Lulu is an evil genius who, with the help of her newly recruited injustice squad, plans on reuniting with Luthor and putting an end to the work of the Justice Squad, Wonder Woman (Jameela Jamil), Aquaman (Jemaine Clement), The Flash (John Early), Cyborg (Daveed Diggs), Batman (Keanu Reeves) and Green Lantern (Dascha Polanco).

Now, it’s up to Krypto, with the help of Ace and the other super-pets, to rescue Superman and the world savers.

“DC League of Super-Pets” tries hard to mold the superhero movie formula into a kid-friendly shape. For much of the movie, director Jared Stern succeeds. Supes and Krypto have a good and goofy relationship, punctuated by funny banter and antics. Everyday chores, like dog walking are given a superhero spin as Superman and Krypto’s daily constitutional becomes a supersonic flight around the world, powered by their extraordinary abilities.

Kids should also get a kick out of fun characters like McKinnon’s sarcastically sinister Lulu, the Natasha Lyonne-voiced Merton McSnurtle, the turtle with superspeed, and a cat who coughs up hand grenade furballs. Parents should appreciate the good life lessons about team work, sharing, learning by listening and being true to yourself to unlock your true powers, while getting a laugh out of the film’s more self-aware moments. “Every superhero struggles to learn their powers," says PB (Vanessa Bayer), a pot-bellied pig who can change size at will. "Until they have their training montage.”

But -- and there is a but -- the movie eventually goes the way of all superhero movies and devolves into a loud, messy climax that feels as though it doesn’t line up with the kid friendly action that came before it.

“DC League of Super-Pets” doesn’t have the same sense of fun as “The Lego Batman Movie,” and sticks too closely to the adult style of storytelling we’ve come to expect from superhero movies—there are even two after credit scenes—but it does deliver some cute characters and a handful of super laughs.

VENGEANCE: 3 STARS

“Vengeance,” a new satire playing in theatres, and written, directed and starring “The Office” actor B.J. Novak, mixes-and-matches social commentary, the opioid epidemic and social divides, in a story that plays like a murder mystery wrapped around a journey of self-discovery.

Novak plays New York City writer Ben Manalowitz, a shallow, self-absorbed, know-it-all who wants to host an important podcast that will make sense of America and its current state of divide. “I don’t just want to write,” he says pompously. “I want to have a voice.”

When an unknown number pops up on his phone in the middle of the night, it sets him on the path to finding his voice as a weepy caller gives him the “bad news” that his girlfriend has died.

Girlfriend? Which one?

Turns out it was Abilene (Lio Tipton), one of several women he dated at the same time. The family believes they were in love, but Ben has to look up her photo to put a face to the name.

Abbey’s good-old-boy brother Ty (Boyd Holbrook) insists Ben come to the funeral in West Texas. “I can’t do this,” Ben says. “None of us can do this and face the future alone," says the grief-stricken Ty.

Ben reluctantly agrees to travel to West Texas and even gets roped into speaking at the funeral. “I wish I had known her better,” he says, looking at a picture of her and a guitar. “I wish I had spent more time with her. She loved music and will always be a song in our hearts.”

On the drive back from the funeral, Ty drops a bomb. “Abbey didn’t just die,” he says. “She was murdered, and we’re going to avenge her death.”

Why not just call the police? “In Texas we don’t call 911.”

Ben says, “As a personal boundary, I don’t avenge deaths. I don’t live in a Liam Neeson movie,” but a lightbulb goes off. This is the story he has been looking for.

He agrees to investigate Abilene’s death in the form of a true crime podcast. “This isn’t a story for everyone,” he says. “It’s a story about the need for vengeance.”

Working with his New York based editor (Issa Rae) to shape the story, his investigation leads him into murky territory, both personally and professionally.

The film’s title suggests a blood-speckled search for retribution, but “Vengeance” is more interested in provocation than payback. Abilene’s death is the engine that drives the story, but it’s also a McGuffin, an ultimately not important detail in the overall scheme of things. Novak is more interested in our preconceptions about each other in the great red-state/blue-state divide, and how those biases colour the way we behave.

It’s a heady backdrop for a neo-Western noir, and it starts strong as fish-out-of-water Ben slowly realizes there is life outside his tiny bubble. Ben is a satire of East Coast arrogance, looking down on anyone who dares to live outside the borders of New York City. As he digs into Abilene’s passing, investigating if she was murdered or took an accidental overdose, he begins to place old prejudices aside and actually becomes less insufferable. He is pointed in a new direction as his moral compass leads him to wonder if his own caddish behaviour may have played a role in Abilene’s fate and, with the podcast, if he is exploiting her family.

Unfortunately, it is also at this point that the film begins to crumble under the weight of broad MAGA characterizations and juicy droplets of pop psychology doublespeak like “everything is everything so everything is nothing.”

As the story splinters off into a satire of true crime podcasts and social media in general, it gets mired in its own philosophies and the fleet-footed pacing of the early sections slows, dragged to a stop by a muddle of ideas.

“Vengeance” is an ambitious movie that bites off a bit more than it can easily chew and digest, but provides enough laughs and intrigue to be worth a look.

ALI & AVA: 3 ½ STARS

“Ali & Ava,” a lovely and warm character piece starring Adeel Akhtar and Claire Rushbrook, and now playing in theatres, is a study of opposites, of happiness and struggle, of love and loneliness.

Living in the West Yorkshire, England city of Bradford, Ali (Akhtar) is a music-obsessed Pakistani-British man, with a taste for punk rock and hip-hop, who manages several properties. He lives with his wife Runa (Ellora Torchia), but it is a marriage in name only. They’re separated, but are staying “together” to appease their traditional families.

Ava (Rushbrook) is a recently widowed teacher’s assistant and mother to four kids, including the hot-headed Callum (Shaun Thomas), as well as a grandmother to five. Her taste in music includes country music and folk.

The thing that brings them together is Sofia (Ariana Bodorova), a young girl who lives in one of Ali’s apartments and goes to Ava’s school. She is new to the country and is having trouble fitting in. One day, after school, during a rainstorm, the kindly Ali offers Sofia a lift home. Ava comes along for the ride and sparks fly as he joshes her about her taste in music.

Over time, their natural rapport gives way to romance, despite the disapproval of Callum, who still reveres his late, abusive father. Ali and Ava’s differences melt away as their romance blooms. Ali even admits respect for Bob Dylan’s folk song “Mama, You Been on My Mind.”

British writer-director Clio Barnard brings an almost documentary style intimacy to “Ali & Ava.”

This isn’t a rom-com with finely appointed homes, exotic locations and snappily tailored clothes. It’s a social realist look at two people and their opposites-attract love story. Barnard’s camera is a fly on the wall, observing the highs and lows of Ali and Ava’s courtship without judgment. It’s an emotionally raw treatment, that allows the story’s empathy and warmth to shine. Never saccharine, it’s a British kitchen sink drama, without the disillusionment.

“Ali & Ava” is a slow burn romance. There are no huge moments or grand gestures, just a series of personal obstacles to be overcome in service of their relationship. The authentic chemistry shared by Akhtar and Rushbrook illuminates their character’s vulnerabilities and strengths but, most importantly, their joy.