Walt Disney’s Bolt fills the need for a fun family film over the Thanksgiving holiday perfectly, and manages to provide solid entertainment for young and old. Imagine a film that’s a mix of The Truman Show (1998), Underdog (2007), and a little bit of Cats & Dogs (2001), and you pretty much have the plot for this new pound of pixelated puppy pleasure.

Bolt, directed by the dual team of Byron Howard and Chris Williams, tells the story of the title pooch who lives in a world where he actually believes that he is a super-powered dog with a constantly endangered master named Penny (Miley Cyrus), a girl whose father is kidnapped by the deliciously evil Dr. Calico (love those evil kitty references, especially when they’re voiced by Malcolm McDowell).

In true Disney style, all of the animals can talk when they’re not around humans, so Bolt ( voiced by John Travolta) is able to share verbal jabs with his feline nemeses (who are in on the act — they love to taunt their co-star, even though it’s all a TV show).

Penny longs to share her real world with Bolt, but her agent (Diedrich Bader) won’t have any of it. He insists that Bolt lives in his imaginary world where he really has those wicked cool superpowers. No one, it seems, is willing to risk their hit show on the chance that Bolt will figure out that he is really just a regular ol’ dog.

When Penny is “kidnapped” on the show, leaving Bolt barking in frustration, the story begins a by-the-numbers, but effective journey where Bolt must discover not only the world around him, but the reality of his “powers” as well. He manages to have himself shipped to the corner of Broadway and 42nd street in New York City, which is a world as foreign as it is staggering to the naive star.

Along the way, he meets a few pigeons (a few of the brightest points of the film), who then lead him to their own nemesis, a lanky kitty terror named Mittens (Susie Essman). Bolt, convinced that she is in the evil gang run by Dr. Calico, strong-arms her into a U-Haul truck to begin the long trek across the states. Eventually, they’re joined by a big-mouthed, and even bigger-bellied hamster named Rhino (Mark Walton).

Bolt’s journey is not only to find his master, but also to find that he doesn’t really need superpowers to be a hero, culminating in a fiery climax where the danger is as real as his love for his favorite human.

While the story itself is a little simplistic and formulaic, Williams and co-writer Dan Fogelman have crafted a film that does reaches its target audience without talking down to them, and manages to keep adults entertained at the same time. Yes, it’s a good film, and even borders on “great,” just not quite.

One of the film’s strengths is that the 3D projection is stellar, and doesn’t treat the 3D as a gimmick, but allows it to enhance the storytelling. It’s one of the few times in recent years where the story does not rely on the 3D. If you have a chance to see the film in 3D, then don’t miss the opportunity.

Bolt does answer one telling question, though: What happens when Disney makes a film without Pixar? Well, here it is. Like Meet the Robinsons (2007), Bolt falls short of even Pixar’s worst films (but for the life of me, I can’t think of any of their movies that could be called average, let alone bad. It’s a little like saying that a round diamond is less glamorous than a faceted one). Suffice to say that it’s certainly no Pixar film, and lacks that magic touch that’s so often seen in films like Toy Story, Ratatouille, Wall-E and Monsters, Inc.

Suffice to say that Bolt is much better than Madagascar 2, and certainly provides a great time at the movies. Kids everywhere will enjoy it, and will rightfully find its place on DVD shelves all across the country in a few months. Until then, it’ll be a perfect excuse to make another trip to the megaplex this holiday season.

The tenderness and angst of a love forbidden is the central focus of William Shakespeare’s classic, Romeo and Juliet. The 2008 summer stock production staged at Tennessee State University was a brilliant jewel of a production. Directed by Barry Scott, a renowned stage performer in his own right, the staging gives the play a new flesh to fill. The young cast of newcomers and unknowns acquaints itself well in a production that keeps Shakespeare’s original language and feel alive and vibrant. The dynamics of the play flow evenly and smoothly through out the performance.

But this production did offer something different. This time, the locale was not the standard Elizabethan Italian village setting. Director Scott, in a daring move, chose to transpose the setting to one of Nashville’s older troubled public housing communities. Additionally, daggers and swords were replaced with stage versions of handguns and automatic rifles. Costuming reflected urban street fashion instead of flowing gowns and bustiers. Strumming minstrels were replaced with modern day music. These changes, however, do not distract from the central focus of the play. Quite to the contrary, they serve to enhance the performance.

Nonetheless, “the play’s the thing,” and here indeed it is! The young cast give their all and carry the audience into Shakespeare’s story will full authority. The cast’s displayed mastery of Shakespeare’s language and the demands he makes of actors to control their breathing to deliver these lengthy declarations is most admirable. The family conflicts are fully portrayed. The young lovers budding involvement is sweet and tender and totally engrossing. You are in their corner from the very outset. You cheer them on at every obstacle. And your heart tears itself apart at the shockingly dramatic conclusion. Knowing how it ends does not spare you the heartache of the final reality. Tears do come. Young love lost so early , and for naught, is made tragically, bitterly real.

At the conclusion of the performance, an additional new twist is introduced. Director Scott comes center stage and addresses the audience, declaring that, for him, his art, his craft, is no longer merely an instrument of entertainment. For him, he must use this skill as a tool for social change. Thus begins an intense dialogue with the audience about what can be done to change the urban landscape of Nashville’s communities, to reclaim lost assets in our youth. To prevent the loss any more to the cycle of lack of self-love and self esteem, gangs, violence, crime, incarceration and death. Testimonies and declarations flow from those who just had sorrowful memories newly awakened and some tears are shed anew. Ideas of engagement and involvement come forth. A new realm to the theatre experience has been born from a timeless English literature classic. William, himself, would be proud.

Patrons of live theatre would do themselves a great favor to include this entertainment venue in their schedule of events. A Barry Scott production is not to be missed. The young cast gave commendable performances on all levels. The staging of this production saw talents beyond merely speaking lines, the creation of sets, lighting, stunts, sound, props synchronization were accomplished by the players. Total utilization of all players helped make this production an enjoyable and unique event. Bravo!