sorceress tale

Mickey's Magical World is a concept that brings together the beloved Disney character, Mickey Mouse, and the enchanting world that he inhabits. Filled with imagination, wonder, and adventures, Mickey's Magical World offers a plethora of experiences for fans of all ages. At the heart of Mickey's Magical World is the Mickey Mouse character himself. Known for his cheerful personality and trademark ear-to-ear grin, Mickey has become an iconic figure in the world of entertainment. He has captivated the hearts of millions since his creation in 1928, and continues to be a beloved symbol of joy and happiness. In Mickey's Magical World, fans can immerse themselves in the various tales and adventures that Mickey and his friends embark upon.

They're two parts of the same, complementing mechanisms that depend on their differences to work together. Hopkins thus portrays the creative finding, in his art, a means of self-expression and auto-exorcism, insult comedy as the parameter through which his interiority can be molded into something others wish to consume. Perhaps more crucially, the actor delineates Corky's vulnerabilities against the backdrop of Fats' incivility. It first manifests in a post-show backstage scene after great news makes Fats rejoice with the certainty of success. The grotesque wooden mouth opens wide with an unsettling smile, his blue eyes a mean mockery of Hopkins' azure peepers.

Hopkins thus portrays the creative finding, in his art, a means of self-expression and auto-exorcism, insult comedy as the parameter through which his interiority can be molded into something others wish to consume. I feel like ventriloquist dolls killer dolls are their own subgenre of horror flicks at this point, and while I m a fan of Chucky s Child s Play movies admittedly they aren t all that good, but I still like them , I honestly don t think killer doll movies are all that scary.

In Mickey's Magical World, fans can immerse themselves in the various tales and adventures that Mickey and his friends embark upon. From classic animated shorts such as "Steamboat Willie" to more recent sagas like "Mickey and the Roadster Racers," there is no shortage of captivating stories to enjoy. These tales often revolve around friendship, courage, and the triumph of good over evil, instilling important values in the minds of viewers.

Magic (1978)

A ventriloquist’s peculiar relationship with his dummy begins to affect his personal life.

My Thoughts:

In between his epics “A Bridge Too Far” and “Gandhi”, Richard Attenborough made this grounded little horror flick. “Magic” revolves around a ventriloquist Corky (Anthony Hopkins, “The Two Popes”) and his dummy Fats. I feel like ventriloquist dolls/killer dolls are their own subgenre of horror flicks at this point, and while I’m a fan of Chucky’s “Child’s Play” movies (admittedly they aren’t all that good, but I still like them), I honestly don’t think killer doll movies are all that scary. The best ones, the most entertaining ones, are the slightly tongue-in-cheek films, the movies that acknowledge the ridiculousness of the plot. When you take a ridiculous premise like a living doll and try to make it realistic, you end up with movies like “Dead Silence”, which is a schmaltzy film filled with stupid and cheap jump scares. “Magic” is sort of on the fringe of the living dolls subgenre because we’re never really sure if Fats is actually alive or if Corky is just a crazy kook.

In a lot of ways this movie works: it’s far classier than most killer doll movies, that’s for sure. The directing in a few scenes is quite remarkable, the writing is pretty good, and Anthony Hopkins delivers a very solid a memorable performance. The problem is that this movie is just so serious, and it tries to be more of a slow-burn psychological thriller than anything else, and it never really won me over with it’s pacing and atmosphere. It’s just too slow and not at all scary for the first two thirds of the film, and then by the time something scary actually does happen, I was growing weary of waiting for something to happen.

The best parts of this film come at the beginning and the end; the middle part is a bit of a slog. The opening scene is a great introduction to both Corky and Fat’s characters. When we first meet Corky, he’s trying to be a magician on stage and failing horribly at it, the film then immediately flashes forward a year, and we see Corky performing a similar act, but this time he’s doing much better. The viewer is left to wonder how Corky has suddenly become so good at what he does, and it’s a rather intriguing way to start the film. The end of the film is, of course, where the bloodshed starts, so I wont go into too many details.

I had a hard time deciding whether to give this film 2.5/5 or a 3/5 simply because I think Attenborough’s directing is incredibly competent. Though I’ve complained about the middle portion of this movie being slow and slightly boring, there were a few scenes where Fats and Corky talk to one another, and those scenes are directed in a way that makes it so we’re not sure if Fats is actually alive or not; that veiled mystery sort of helps the film’s premise overall, but it doesn’t necessarily make the movie move faster or add a ton to the atmosphere. Anthony Hopkins was great in this film. He plays Corky with just the right amount of social awkwardness so that he’s simultaneously off-putting and sympathetic, for a while. My sympathy for Corky started to wear off by the middle of the second act, when he seduces his married high school sweetheart, and tries to convince her to leave her husband and run away with him. I think that was when I really started to loose interest in Corky’s character and doubt the plotting; are we supposed to believe a successful woman is going to run away from her established life to marry a guy that does magic tricks and makes dolls talk for a living? That’s a little silly.

Verdict:

In the end, I decided I’d give this film a 2.5/5 because it honestly just feels dated and slow and not at all scary. It’s competently acted, directed, and written, its just sort of boring at times, and that’s not what I want when I’m looking for a horror flick. Chucky still reigns king of the killer dolls in this critic’s humble opinion.

This fall will be a lovely time for Anthony Hopkins fans. The actor co-stars in both Armageddon Time (Oct 28th) and The Son (Nov 25th), playing important grandfather figures in both films. While he's said to be a warm presence in James Gray's movie memoir, the actor's second collaboration with Florian Zeller (The Father) seems better positioned to showcase the bitter and biting side of Hopkins' screen persona. After a few decades in less than stellar projects, it's a great joy to see the thespian return to form in such interesting endeavors, regardless of the mixed reactions both films have garnered. Though another Oscar nomination feels unlikely at this point in the season, watching Hopkins thrive in his 80s is its own reward.

Furthermore, Mickey's Magical World extends beyond the screen and into real-life experiences. Disneyland parks around the world offer visitors the opportunity to step into Mickey's world firsthand. From meeting Mickey in person to embarking on thrilling rides inspired by his adventures, fans can truly feel like they are a part of Mickey's Magical World. In addition to theme parks, merchandise and memorabilia contribute to the magic. From plush toys and collectible figures to clothing and accessories, fans can surround themselves with reminders of Mickey and his magical world. These items serve as tangible connections to the enchanting universe that Mickey inhabits. Overall, Mickey's Magical World is a testament to the enduring power of imagination and storytelling. It allows fans to escape the realities of everyday life and enter a world where anything is possible. Whether through animated shorts, theme park experiences, or merchandise, Mickey's Magical World continues to inspire joy and wonder in the hearts of fans young and old..

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sorceress tale