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
Rated PG-13 for mature thematic elements, some violent content, drug material and language
Some strong language
Teen drinking, drug and drug dealing references
Intense peril and violence, teenager killed by a police officer
A theme of the movie
Date Released to Theaters:
October 5, 2018
“The Hate U Give” is one of the best and most important films of the year. Angie Thomas’ best-selling novel about a girl named Starr has become a profound and profoundly moving film. It is an of-this-moment, vitally urgent story about race, culture, and America in 2018, but it is also a deeply human, deeply moving exploration of the most universal themes: family, identity, growing up, forgiveness, and finding your voice.
The incandescent young actor/activist Amandla Stenberg (Rue in “The Hunger Games”) plays Starr, the middle child and only daughter in a loving family. She is completely at home in their neighborhood of Garden Heights. But you can get “jumped, high, pregnant, or killed” at the local high school, and so she and her older brother attend a private school called Williamson, where most of the students are white and wealthy. She calls the version of herself they see “Starr version 2.” When the white kids sing along to hip hop or use black slang, she smiles politely but knows that if she does the same thing she will appear too “ghetto.” But she has a nice (white) boyfriend named Chris (K.J. Apa), and some nice white girl friends she can complain to when Chris tried to push her into having sex.
At a party in Garden Heights, she feels more at home, but some of the people there are suspicious of her for possibly “acting white.” She runs into an old friend, Khalil (Algee Smith) and he offers to drive her home. As children, they played Harry Potter together with a third friend, but they have fallen out of touch. Starr can tell from his very expensive, mint-condition shoes that he may be in trouble. Khalil has begun to deal drugs because it is the only way he can support his ailing grandmother.
They are stopped by a white policeman who thinks that Khalil is reaching for a weapon and shoots him. Starr sees it all. Starr is devastated. And she begins to see herself and her world differently. The Williamson students walk out of school to protest in support of Black Lives Matter — or to get out of school. Starr’s friend stops following her on Instagram because Starr connects the killing of her friend to tragic injustices like the murder of Emmett Till.
As we see in the opening scene, Starr has been told since she was a child how to respond to law enforcement. As we will learn later, this is not the first time she has lost someone close to her to violence. As she has to decide whether she will tell the truth about what she saw, putting her Williamson persona at risk and, because of Khalil’s involvement with a powerful neighborhood drug dealer, putting her family and her community at risk as well.
Every performance in the film is a gem, especially Regina Hall (“Support the Girls”) and Russell Hornsby (“Fences”) as Starr’s parents and Stenberg herself, who has extraordinary screen charisma and a remarkable control of detail to show us how Starr begins to integrate the separate versions of herself. The film brings in a remarkably nuanced range of perspectives, especially in two standout scenes: Starr talking to her police officer uncle (Common) about the ways he sees black and white suspects, and Starr talking to her mother about forgiveness. Every element of the story is handled with sensitivity, respect, and a deem humanity, from the specifics of Starr’s relationships to the big themes of how we interact with the world and how we work for change. This is a rare film that does justice to the characters and the themes as it reminds us that we can all do more to bring justice to the world.
Translation: Unarmed character shot by a police officer, peril and violence, protests, guns, vandalism, arson, some teen partying, drug dealing, some strong language
Family discussion: Should Starr speak out? What are the risks and how can she best make a difference? How can you?
If you like this, try: “Boyz n the Hood,” “Do the Right Thing,” “Fruitvale Station,” “Blindspotting,” and the book by Angie Thomas
“Pray the gay away.” That is the idea behind “gay conversion” facilities, now thankfully outlawed in fourteen states as contrary to both science and human dignity. But “The Miseducation of Cameron Post,” based on the novel by Emily M. Danforth, is set in 1993. It might as well have been 1793 for the Puritanical attitude of the God’s Promise facility the title character is sent to when her date discovers her making out with a girl on prom night.
Cameron (a performance of exceptional sensitivity by Chloe Grace Moretz) is packed up immediately by her aunt and uncle (her parents are dead) to become a “Disciple” at God’s Promise, run by the guitar-strumming, upbeat Reverend Rick, played by John Gallagher, Jr., showing us flickers of anxiety as he tries to reassure the teens at the facility that if he could be “cured” of being gay, so can anyone. The resident bad cop to Reverend Rick’s relentless cheer is Dr. Lydia Marsh (Jennifer Ehle), who runs a tight ship, whether she is telling Cameron that she will not allow her to be called “Cam” (“Cameron is already a masculine name. To abbreviate it only exacerbates your gender confusion.”) or directing the “Disciples” to reveal their most private conflicts in publicly posted iceberg diagrams. What is important lies beneath the surface, and that is dangerous enough to sink the Titanic, she explains. There is a pretense of choice, as Cameron is given a contract to sign, though she is underage and has no alternative.
Marsh tells the teenagers that “There’s no such thing as homosexuality. There’s only the sin we all face.” She compares being gay to dangerous, self-destructive behavior: “Would you let drug addicts throw parades for themselves?” And she posits the cause of what they term SSA (same-sex attraction): “too much bonding with a father over sports,” for example.
A quiet tone keeps the outrageous setting from turning into parody, even when they watch the (real) Christian workout video, “Blessercize,” and the teenagers are asked leading questions like, “When did you let same sex attraction get in the way of your goals?” While a non-conversion facility might impose some restrictions on interactions between the boys and girls, there are few here. Presumably, despite professed very strict rules about sexual behavior, Marsh and Reverend Rick are hoping the opposite genders will tempt each other.
The film won the top award at Sundance, a tribute to the understated mood and to an outstanding performance from Moretz, who allows us to observe her as she observes those around her. Neither she nor we are miseducated by the end.
Parents should know that this film includes explicit sexual references and situations, homophobia, some language, and marijuana.
Family discussion: What does it mean to say, “when I am weak, I am strong?” What ideas have changed since 1993?
If you like this, try: “But I’m a Teenager” and the upcoming “Boy Erased”
Not another superhero movie, you say? And how far down the list of comic book characters do we have to go? The Teen Titans are way ahead of you. Silly, surreal, super-snarky, self-aware to a fault and smashing the fourth wall into smithereens, the “Teen Titans Go! to the Movies” movie is a superhero movie about a third-tier superhero who only wants to fight the bad guy because that’s how he’ll get to be in a superhero movie. Got it?
It’s got plenty of inside humor for the fanboys who will know why it’s especially apt to have Nicolas Cage providing the voice for Superman, why it’s funny to have a Stan Lee cameo in a DC movie, who the Challengers of the Unknown are, and why the arch-villain Slade (producer Will Arnett) keeps being mistaken for Deadpool. And it has action, heartwarming friendships, and plenty of potty jokes for those who have no idea who the Teen Titans are, and, believe me, will not know much more about them when the movie is over.
The Teen Titans as they are currently portrayed are Robin (Batman’s sidekick, voiced by Scott Menville), Beast Boy (Greg Cipes), who can turn himself into any animal, alien princess Starfire (Hynden Walch), who signifies her other-worldliness by inserting “the” randomly in front of other words, the gothy Ravan (Tyra Strong), who can create portals from anywhere to anywhere, and Cyborg (Khary Payton), who can adapt his metal shell to create any machine. Insulted that they are not even invited to the premiere of the new Batman movie, Robin is even more horrified to see that upcoming sequels include movies about Batman’s butler, Alfred, and even one about his utility belt, but nothing about Robin. He appeals to the director, Jade Wilson (Kristen Bell), but she says she cannot make a movie about him unless he has an arch-nemesis.
Enter Slade, “an archenemy whose name is fun to say in a dramatic way.”
There are songs. There are action scenes. There are many, many jokes about the world of comics, from the ultra-obscure (stay all the way to the end) to the widely accessible (yes, there are a lot of superhero movies and Green Lantern is still embarrassed about his). It makes fun of itself and then it makes fun of itself for making fun of itself, and then it makes fun of us for watching so many superhero movies. It is unpretentious, the look harking back to low-budget Saturday morning cartoon shows. And that makes it refreshing and delightful.
NOTE: The movie is preceded by a very cute DC superhero girls short called “The Late Batsby,” with Batgirl racing to catch up with her super-friends to fight Mr. Freeze.
Parents should know that this film includes extended cartoon-style action/superhero peril and violence, explosions, chases, fire, some characters briefly injured, potty humor, and schoolyard language.
Family discussion: If you made a movie about one of your friends, what would you include? Why did Robin want a movie so badly?
If you like this, try: the Teen Titans television series, “Incredibles 2″ and “The LEGO Movie” and “LEGO Batman”
Maybe “Eighth Grade” should come with a trigger warning. It is so viscerally authentic to the experience of being in middle school that for a moment I felt like I was standing in the lunchroom clutching my tray, desperately hoping that I would (a) be invited to sit with anyone and (b) become invisible, swallowed up by the ground, magically either five years older or younger, or all of those at once.
There’s a reason that even people well into their fifth and sixth and seventh decades still wake up at night after an anxiety nightmare about middle school. Those moments of hormonal, emotional, and cognitive upheavals that cruelly hit us just after we master childhood and make us certain that the adults around us are lame, that we are less lame but somehow lamer than we would like people to think of us as — for most of us, there is nothing as humiliating in any aspect of adult life that is as excruciatingly anxious as any given day in middle school.
Bo Burnham, who starting posting funny videos on YouTube when he was a teenager and became a very successful stand-up comic, is still in his 20’s, so his memories of the teen years are very accessible. Furthermore, he has been very frank about his struggles with anxiety including devastating stage fright. So he naturally turned to watching online videos of young teenagers, and realized that they may not be very sophisticated or articulate, but they are aspirational and brave.
And so we meet the movie’s main character, Kayla (Elsie Fisher) as she is recording a very aspirational and very brave video about “being yourself.” She is not exactly herself in this video, but she is both the person she would like to be and the person she would like to listen to for guidance.
It is the last week of eighth grade, and there is agony after agony. She tries to talk to the alpha girls. She tries to talk to the boy she likes. She sits through a hilariously painful video about puberty, with a woman who assures them that this experience “is going to be lit!” She is invited to a pool party the hostess does not want her at by the girl’s mother, and she goes to it. Her loving but hapless single dad impinges on her life just by existing and even worse, he wants to TALK to her! And LOOK at her! And tell her she’s cool!!
Kayla gets a glimpse of her past when the “time capsule” she created on the first day of middle school, addressed confidently “to the coolest girl in the world” contains a video she made with her hopes and predictions for where she’d be at graduation. And she gets a glimpse of her future when she “shadows” Olivia, a friendly high school girl (Emily Robinson). We can see that Olivia is not nearly as confident as she would like to appear, but she makes Kayla feel accepted and as though there is a path for her.
SPOILER ALERT: Normally I would not do this, because I try hard to avoid spoilers, but I feel in this case I can mention that while Kayla teeters on the edge of some very bad decisions, she comes out of this okay.
Parents should know that this movie has very strong and crude language and sexual references and a boy tries to pressure Kayla for sex.
Family discussion: If you made a video message to be opened in four years, what would you say? Has social media made middle school easier or harder?