The first “Goosebumps” movie was a lot of fun, with Jack Black playing real-life author R.L. Stine, whose hundreds of spooky-fun books for tweens have sold hundred of millions of copies. This sequel, with only a brief appearance by Black, is blander, with lower-wattage talent on and behind the screen. But the special effects are still top-notch and it is a pleasant little scare-fest for the Halloween season.
Parents should know that this film includes extended spooky-scary content with scary monsters, ghosts, witches, boo-scares, peril, action/cartoon-style peril and violence, some potty humor and schoolyard language.
Family discussion: Which is the scariest monster in the movie? Why do people like scary movies?
If you like this, try: “Monster House” and “Paranorman” and the Goosebumps books and first film
Comic peril and mayhem, reference to sad death of a parent, brief wartime battle scenes
Date Released to Theaters:
August 3, 2018
You can’t become a child again. But you can reconnect to the child who still lives within you, and when you do, it means even more because you know how precious it is. That is not just the theme of “Christopher Robin.” It is the experience of watching it. Enchanting production design from Jennifer Williams and cinematography from Matthias Koenigswieser make the 100 Acre Wood the place anyone would love to do nothing in.
Last year year we had the very disappointing “Goodbye, Christopher Robin,” a sour and unfocused film about the Milne family, the traumatized father, the distant mother, and the unhappy child who inspired the classic Winnie the Pooh books. This fantasy is far truer to the spirit of those books, and a most welcome late-summer pleasure. Those who know and love the books will be happy with the fidelity to the stories and characters. Those who do not know them will enjoy the film and, I hope, be inspired to read the books as well, and check out the Disney animated stories.
For those new to A.A. Milne: there are four books, two chapter books and two of poetry, about the life of young Christopher Robin (Orton O’Brien), and his stuffed toys, especially his best friend, a “bear of little brain” and unquenchable thirst for honey, Winnie the (or ther) Pooh, known affectionately just as Pooh. With his friends, the anxious Piglet, the gloomy donkey Eeyore, the devoted kangaroo mother Kanga and the baby she carries in her pocket, Roo, the bossy Rabbit and the occasionally wise Owl, he lives in the Edenic Hundred Acre Wood, where there is always time to pleasantly do nothing at all.
But the sad fact is that children grow up. “The day finally comes as it does to all children, to say good-gye.” Christopher Robin is being sent to boarding school. He has one last tea in the woods with his friends, and then he’s gone.
We follow his story with Ernest Shepard-like illustrations that match those in the books, but it is idyllic no more. Christopher Robin’s father dies. He grows up (now played by Ewan McGregor) and falls in love with Evelyn (Hayley Atwell), but he is at war when their daughter Madeline is born.
And then he is home, working as an efficiency expert in a luggage company that is feeling a post-war pinch, and he is under enormous pressure to cut costs. He is affectionate but distracted and neglectful. When Madeline (Bronte Carmichael) asks for a bedtime story he picks up the nearest book and ends up reading to her about the industrial revolution. Then he lets Evelyn and Madeline down again by telling them he cannot join them on a weekend in the country because he has to work.
And then Pooh shows up in London (voiced by Jim Cummings, who also provided the endearing slightly husky voice for the Disney animated Pooh). He needs to be taken back home to find his friends. Christopher Robin (called Christopher by his wife and Robin at work) packs his paperwork in his briefcase (and his brolly, of course), and takes the train, shushing Pooh and trying to find a way to cut twenty percent out of the company’s expenses.
But then he cannot help being beguiled by the charms of his old friends and their enchanted world. Children will enjoy Pooh’s simple questions as a classic comic ploy of having a character whose innocence makes them feel superior. Adults will realize that Pooh’s questions and comments may sound ignorant of adult life, as a bear of very little brain whose only concern has been finding honey might be, but in fact the very simplicity of them is what makes them profound. Christopher Robin tells his daughter that “nothing comes from nothing.” But “Doing nothing,” Pooh says, “often leads to the very best kind of something.” He asks Christopher Robin, “Is a briefcase more important than a balloon?”
Christopher Robin is split in two, like his name. He has lost touch with himself. He tells his boss that nothing matters more to him than his work and he tells his daughter she means the world to him, but he does not act as though either is true. He has delivered the message of efficiency so thoroughly that when Evelyn tells Madeline to go play, she solemnly assures her mother “I’m going to play better and harder than any child has before.”
Christopher Robin has to rediscover the pleasures of, well, pleasure before he can share it with his daughter, and it is pure pleasure to see McGregor’s face shine with the joy of remembering how to play. For all of his worry about taking care of everyone at the office and at home, he was doing poorly at both. His stuffed friends teach him how to take care of those you love with patience, by listening to them to understand what they really need. If his solution at the office is half “Mary Poppins” and half slightly skewed Keynesian economics, by then we are so sweetly beguiled, that seems just right.
Parents should know that this film includes comic peril and mayhem, reference to death of a parent, and brief wartime battle scenes.
Family discussion: Which questions from Pooh made Christopher Robin change his mind? Ask everyone in the family to describe a toy that they loved. What comes from nothing? Try playing “Say What You See” and see how different people’s answers are.
Comic, cartoon-style peril and violence, weapons, fire, attempted murder
A metaphorical theme of the movie
Date Released to Theaters:
July 13, 2018
Date Released to DVD:
October 8, 2018
“You have to be carefully taught,” according to the Rodgers and Hammerstein song in “South Pacific.” Lt. Cable and Nelly Forbush sing ruefully about the prejudices drummed into them as children: “You’ve got to be taught before it’s too late/Before you are six or seven or eight/To hate all the people your relatives hate/You’ve got to be carefully taught.” That same sober theme is gently raised in the midst of the silliness and fun scares of this third in the animated “Hotel Transylvania” series about Drac, the doting-to-a-fault vampire dad voiced by Adam Sandler, his daughter Mavis (Selena Gomez), and her very mellow human husband, Johnny (Andy Samberg).
In just about every other respect, it’s pretty much the same movie as the first two, with slightly less clever monster jokes than the first one and a slightly more appealing storyline than the second one. Basically, Adam Sandler gets to do his two favorite things: speak in a “funny” accent voice and be lazy, preferably in an exotic location (IRS, check to see if he deducted a cruise as a business expense in developing this one).
Drac is still over-involved in his daughter’s life, worrying way too much when you consider that it is very difficult to harm a vampire. In case we were not clear on that, it is spelled out for us in the movie’s opening flashback, set in 1897, where vampire killer Van Helsing (Jim Gaffigan) is trying to destroy Drac. But he is no match for a vampire with nimbleness, courage, and imperviousness to any threat but garlic or a stake through the heart. The original story’s third weapon against vampires, a crucifix, is omitted in favor of cartoon secularism, as is the ickiness of subsisting on blood, the inconvenience of sleeping in sunlight, or the problem of marriage between someone with a human life span and someone who never ages. Any concerns about those issues are for Twihards.
These are cute and cuddly monsters, including the Invisible Man (David Spade), Frankenstein and his bride (Kevin James and Fran Drescher), Murray the Mummy (Keegan-Michael Key), and Mr. and Mrs. Wolfman (Steve Buscemi and Molly Shannon), with their dozens of wolf-babies. There’s nothing at all scary about them and they seem to spend all of their time hanging out with each other, first at the resort that gives the series its title and then at Mavis’ surprise vacation — a cruise ship with all the amenities. As Drac points out, that means it’s just his hotel except on a boat. There’s one other big difference, though. He’s not in charge, which is both worrying and a little bit relaxing as well. “You need a vacation from managing everyone else’s vacation,” Mavis tells him. And this will be a chance for them to have some quality time together as a family.
Drac insists that the cruise, headed for the Bermuda Triangle and the lost continent of Atlantis “is not the Love Boat.” But he is beginning to think he might be interesting in finding romance (the vampire term is “zing” for love at first sight), many years since the death of Mavis’ mother. He even tries to find someone he’d like to swipe right on on the monster version of Tinder, called Zinger. And then, he takes a look at the beautiful — and human — ship’s captain, Erika (Kathryn Hahn), and ZING.
There’s some “monsters gotta be monsters” stuff — “We’re here, we’re hairy, and it’s our right to be scary!” Though of course they’re not scary after all and as in the other films it is the humans and their unwillingness to look beyond the tentacles and fur to see that just like us, monsters love their families and don’t want to hurt anyone. There’s a lot of silly stuff, a cute dance number, some appealing if uninspired pop song selections (Bruno Mars, the Beach Boys, the ubiquitous Mr. Blue Sky), plus the one song no one can resist dancing to (I won’t spoil it, but the audience groans suggested no one was surprised). It turns out music does have charms to sooth the savage beast after all. And this movie has enough charm to soothe little savages on summer vacation for 90 minutes or so.
Parents should know that this movie has some schoolyard language, potty humor, peril and violence (including attempted murder of monsters and a character who is badly injured and ultimately almost entirely prosthetic).
Family discussion: Why did Van Helsing hate monsters? Which monster would you like to be and why?
Extended comic-book/action peril and violence, characters injured and killed
Date Released to Theaters:
July 6, 2018
Date Released to DVD:
October 15, 2018
I like Ant-Man. He’s literally down to earth — after the intergalactic super-villain Thanos plotting the wiping out of half the universe, it’s nice to see our hero up against an ordinary, non-super thug of a bad guy. And it’s also nice to see, 20 movies in, a female superhero in the title of the film. I like the slightly retro, slightly bookish look of the Ant-Man films (outstanding work from production designer Shepherd Frankel). And I like the fun they have with scale. Scott Lang (Paul Rudd) can do more than shrink himself to the size of an ant and call on his ant friends to help him out. He can make himself and objects around him get bigger or smaller almost instantly. And the Wasp (Evangeline Lilly) can do all of that AND fly and use her wrist blasters.
Scott has three more days to go under house arrest, wearing an ankle bracelet, with frequent check-ins by the local authorities, led by Jimmy Woo (Randall Park), who can’t seem to decide whether he wants to lock Scott up or become his BFF. He’s going a little stir-crazy, though he enjoys the elaborate games he creates for his daughter, Cassie (Abby Ryder Fortson). The terms of his parole forbid him from having contact with Hank Pym (Michael Douglas) or his daughter Hope (Lilly), but that has not been a problem. They are not speaking to him after they think he betrayed them by making their technology public in “Captain America: Civil War.”
But something else that happened in “Civil War” is the reason they have to find him again. Pym’s wife and Hope’s mother, the brilliant scientist Janet Pym (Michelle Pfeiffer), became too small and they thought she was lost forever in the “quantum entanglement.” Scott was able to return from the quantum entanglement, though, and they want to find out how and send him back there to see if Janet can be rescued. This is a job for two superheroes, and so it’s time for Hope to suit up.
An all-around crime boss named Sonny Burch (Walt Goggins) wants to stop them from getting the material they need to make that work. A character whose backstory I won’t spoil but who can vibrate through matter also wants it. And the cops are trying to capture the Pyms as well. So, lots of chases, lots of hand-offs and near misses. Director Peyton Reed and his writers (including Rudd) have a lot of fun with scale, sizing the vehicles up and down in an instant and Scott himself getting as big as the Statue of Liberty (which is exhausting for him) and as tiny as an atom. His suit does not always work correctly, though, and his judgment does not always work correctly, either.
The distinctive humor of the first film continues in this one, with Michael Pena returning as Scott’s loquacious fellow ex-con and business partner. His circuitous story-telling was funny in the first film, and it gets funnier here when he is questioned under the effects of what could be a truth serum (whether it is or not is a point of contention). Random topics that also come up for discussion include close-up magic, the Slavic folklore character Baba Yaga, loading the dishwasher, and playing the drums. There are some great action sequences, especially one in a kitchen and the chase scenes, and crisp pacing to balance the more laid-back comedy. Its biggest failing is the dumb nicknames for the daughters of the characters. Really, Peanut? Jellybean? Those girls deserve something as witty and distinctive as the rest of the film.
NOTE: Stay through the credits for a brief update on the “Infinity War” cliffhanger, and then all the way to the end for an even briefer and very silly little second extra that has an important clue.
Parents should know that this film includes extended comic book/action peril and violence, characters injured and killed, some scary images, mild language, and some parent-child issues.
Family discussion: What changes do you think the quantum experience has on people who travel there? How is Ant-Man different from the other Avengers?
If you like this, try: the first “Ant-Man” and the Avengers movies