It turns out that the preview goosing us with the promise of Incredibles-esque fun isn't at all necessary, because TMvtM proves so clever, so exciting, and so consistently riotous that it already feels like a computer-animated comedy classic. It's literally been years since I've laughed so hard at a movie, and I didn't even need a crowd of equally delighted cineplex patrons to keep me roaring – though I sure wouldn't have minded one.

Returning to Davenport's Figge Art Museum for a unique live performance held in conjunction with a hugely popular exhibit, the professional talents of Ballet Quad Cities deliver original choreography with wide-ranging themes in For America, a May 6 celebration of dance and art specifically inspired by works in the museum's For America: 200 Years of Painting from the National Academy of Design.

Oh, Oscars. You just keep finding new and creative ways to screw things up, don't you?

Honestly, I didn't mean to eavesdrop. But while heading toward the cineplex auditorium housing the non-rom-com Together Together, I found myself walking about 15 feet behind a couple whose conversation practically brought me to (happy) tears.

A Lewis Carroll storybook classic will soon be given stage treatment by the professional talents of Ballet Quad Cities, with the Rock Island company delivering four performances of Alice in Wonderland from April 30 through May 2. But unlike so many live entertainments of late, the decision to bring the ballet to Davenport's Outing Club, as Artistic Director and Alice choreographer Courtney Lyon states, had little to do with the current pandemic. It had more to do with a three-year-old snowstorm.

By all means, enjoy the big trademarked ape laying into the big trademarked lizard, or all nine-and-a-half hours of the reconstructed Justice League. Crummy movie or not, I'd rather spend my time watching Thunder Force's Jason Bateman attempt to hold a wine glass with enormous crab claws, or Melissa McCarthy imitate Jodie Foster in Nell a quarter-century past that gag's expiration date.

While Voyagers' PG-13 rating is already a hint that Neil Burger's futuristic thriller won't emerge as the daring, nasty good time it keeps threatening to be, the problem isn't so much the movie's rating as it is its blandness. Thanks to Alien, we know the deal with screams. But as it turns out, in space, no one can hear you yawn, either.

What better way to conclude one of the strangest movie seasons in history – hell, one of the strangest years in history – than with a free-for-all ceremony that will, I venture, see 18 different movies awarded over 23 categories, and the night's only mortal lock a female Chinese-American director winning a category that men, most of them white men, have won 90 times out of 91?

Near as I can recall, the last cineplex release that caused me to accidentally fall asleep was 2019's Godzilla: King of the Monsters, and I'm on-record as having nodded off not once, but twice, during 2014's Godzilla. I wish I could say those were the only two mutant-lizard flicks over the years to make me conk out, but alas, we're now confronted with Godzilla vs. Kong both on the big screen and via HBO Max. At least this time, my snoring was confined to my apartment.

In a nutshell, Nobody is more brutal than you expect it to be, and, in its dementedly over-the-top way, a lot wittier than it has any right to be.

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