Pokémon Detective Pikachu

Posted on May 9, 2019 at 5:51 pm

B-

Lowest Recommended Age:	Kindergarten - 3rd Grade
MPAA Rating:	Rated PG for action/peril, some rude and suggestive humor, and thematic elements
Profanity:	Some schoolyard language, potty references, mild words (jeez, hell, etc.)
Alcohol/ Drugs:	Fantasy "drug," caffeine, brief drug humor
Violence/ Scariness:	Extended fantasy/cartoon-style violence, parental loss
Diversity Issues:	Stereotype of disabled villain
Date Released to Theaters:	May 10, 2019
Date Released to DVD:	August 5, 2019

People around me were gasping, hooting, and laughing at various details that passed right by me during “Pokémon Detective Pikachu,” so if you are already a fan of the Pokémon franchise, the cards, the series, the games, you will be better off reading a review from someone as deeply enmeshed as you are. If you are only vaguely aware of the characters and premises of the international merchandising monster that began as “pocket monsters” and now has an entire universe of things to buy (more than 300 million copies sold of just one of there many, many games alone), then stick with me and we will try to assess this new movie on its own merits.

That would make merit number one for non- or not-yet fans the non-stop commentary of Ryan Reynolds, who provides the voice of the title character, a kind of PG version of his iconic Deadpool performance. After that, we have an appealing human lead character, Tim Goodman, played by Justice Smith of “Paper Towns” and “The Getdown.” He interacts believably with the CGI characters and even manages a genuine character arc as we see him become less isolated and more vulnerable and authentic.

We first see Tim as a quiet loner working as an insurance appraiser. He lives in a world where people often catch or partner with Pokémon characters, something like pets or sidekicks or Phillip Pullman-style daemons. He once dreamed of being a Pokémon trainer (we learn more about that as we see the unchanged childhood bedroom in his dad’s apartment. But when he is out with a friend and has the chance to “catch” a Pokémon, it does not go well, probably because his heart is not in it.

Tim receives a phone call informing him that his estranged father, a detective who lives in Ryme City, has been killed in an accident. He travels to Ryme City, where a wheelchair-bound billionaire and philanthropist named Howard Clifford (Bill Nighy) has established a utopian community for humans and Pokémon to live in harmony. In a welcome video on the train, Clifford explains that since he became disabled, the connection to the Pokémon has helped him to become “a better version of myself.” He wants Ryme City to make it possible for all humans to have that experience.

The police chief (Ken Watanabe) gives Tim the keys to his father’s apartment and tries to comfort him. But Tim shrugs off any condolences, insisting he has no real sense of loss for the father he has hardly ever seen. At the apartment, Tim meets a mysterious fuzzy yellow Pokémon Pikachu who has amnesia but who, unlike the other Pokémon creatures, speaks fluent English (voiced by Ryan Reynolds) that only Tim can understand. Pikachu wears a Sherlock Holmes-style deerstalker hat with Tim’s father’s contact information inside. He believes Tim’s father is still alive. Tim is at first reluctant to work with him, but some clues, some escapes, and an attractive young journalist (Kathryn Newton as Lucy) who tells him, “You just walked into quite a story,” persuade him to try to find out what really happened.

Their investigations take them to a mysterious lab in a remote valley, to Clifford’s office, where he shows them a detailed VR depiction of the accident, an encounter with Mr. Mime, who may be a witness but won’t say (hah!), and Ryme City’s most famous annual event, a pride parade and carnival celebrating Pokémon.

Tim’s increased confidence and connection to others is a sharp contrast to Clifford’s notion of what makes someone a better version of himself. But it may be hard to notice that in the midst of non-stop special effects and elaborate, video-game style action sequences. For fans, this may be a B+, but for outsiders without a gaming controller, it’s a couple of grades lower.

Parents should know that this film includes extended fantasy/cartoon-style peril and violence (no one badly hurt) with some scary monsters, themes of absent or neglectful fathers, some fantasy drug material and brief drug humor, and some potty jokes and mild bad language (hell, jeez, etc.) SPOILER ALERT: The movie also perpetuates some tired and obsolete cliches about disabled villains whose evil acts are inspired by an effort to be “cured.”

Family discussion: What would the better version of you look like? Would you like to be a detective?
Which Pokémon would you like to have as a partner and why?

If you like this, try: “Monster Trucks” and the Detective Pikachu video game

Tolkien

Posted on May 9, 2019 at 5:30 pm

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for some sequences of war violence
Profanity:	Some mild language
Alcohol/ Drugs:	Some drinking and drunkenness
Violence/ Scariness:	Scenes of WWI battles with disturbing images, characters injured and killed, sad death of a parent
Diversity Issues:	None
Date Released to Theaters:	May 10, 2019

If I had a time machine and an invisibility cloak, I would love to listen in on the conversations between two members of Oxford’s Inklings literary society, J.R.R. Tolkien and C.S. Lewis, as they discussed the importance of myth and fantasy and shared the beginnings of their great tales of adventure, darling, and the fight against evil, set in enchanted worlds: the Lord of the Rings and the Narnia stories. These stories, which prompted a revival of fantasy in literature and other media, are so timeless it seems as if we have always known them. And yet, they are very much 20th century books, written by authors whose own lives are fascinating stories as well. We have already had two very good feature films about Lewis and his wife, Joy Gresham, both called “Shadowlands.” And now we have “Tolkien,” the story of the early life of the man who would create not just the characters and settings of Middle Earth but also the languages and even the poetry of the world of hobbits, elves, dwarves, and dragons.

The film mostly evades the usual “how I wrote” biopic boobytraps. We only briefly see the author in the midst of creation, his pen just starting the first line on a blank page. And it does not try to excite the devoted fans by throwing in a lot of clues to various details in the books. The focus of this story is on Tolkien’s life, which is a worthy story itself, especially in the way it explores how even the greatest losses are made sense of through love, through friendship, through service, and through stories that provide context and meaning.

The film moves back and forth in time between Tolkien’s youth, adolescence, college years, and wartime, with one brief “many years later” section of him married and a father, as a member of the faculty at Oxford.

John Ronald Reuel Tolkien (called Ronald by those close to him) is played sensitively as a teenager and adult by Nicholas Hoult. Orphaned very young, Tolkien and his brother are sent to live in a boarding house by their guardian, a priest (Colm Meany). The cold, institutional setting of their British private school is very far from the lessons they had with their devoted, imaginative mother (Laura Donnelly). But Tolkien is a gifted student and a natural at studies and rugby, and he is soon befriended by three boys who form a club with him, devoted to having tea, to, yes, fellowship, and to dreams of changing the world through art, in spite of parental efforts toward more conventional careers. One loves poetry, one loves painting, one loves music. And Tolkien loved languages. He began creating whole languages, complete with verb forms and adjectives, when he was still a child.

The other orphan at the boarding house is Edith Bratt (Lily Collins), a gifted pianist who works as a companion to the lady who runs the boarding house to earn her keep. She and Tolkien are friends, then confidantes, and then, as they are becoming romantically involved, the priest tells Tolkien he must stop seeing her and go to Oxford. He agrees.

Hoult and Collins made the Ronald/Edith relationship vital and romantic, as they spar over the sound and meaning of words or come up with a makeshift way to enjoy a performance of Wagner. They bring life to what might otherwise might be a stodgy costume drama and to the idea of stories as a source of healing, meaning, and connection.

Parents should know that this film includes WWI battle scenes with disturbing images, including piles of bodies, sad deaths of a parent and friends, drinking and drunkenness.

Family discussion: If your friend formed a club, what would you call it? How can art change the world? Why was it so important to Tolkien to publish his friend’s poems? How did Tolkien’s experiences inspire his books?

If you like this, try: the “Lord of the Rings” and “Hobbit” films and books

58 Years Ago Today: Newton Minow and the Vast Wasteland Speech

Posted on May 9, 2019 at 12:01 am

On May 9, 1961, my father, Newton Minow, delivered a speech that continues to inspire the conversation about media. He was President Kennedy’s new Chairman of the FCC, just 35 years old, and in his first major address he told the National Association of Broadcasters that while there was much to admire on television, too much of it was a “vast wasteland.” Last Friday, our family had the privilege of watching him receive the Chicago Television Academy’s Silver Emmy Award for his contributions to broadcasting, including the launching of the first telecommunications satellite, the creation of PBS, and helping to start the Presidential debates. He continues to serve as Vice Chair of the Commission on Presidential Debates, which he helped to form.

He told the audience about the day before the speech, when President Kennedy brought Commander Alan Shepherd, who had just become the first American in space, and his wife, to the National Association of Broadcasters event Dad would be speaking to the following day. President Kennedy invited Dad to come upstairs while he changed his shirt, to give him some ideas about what to tell the broadcasters. Dad suggested that he talk about the difference between the way Americans and the Soviet Union conducted their space program. In the US, we had all the television cameras there to show the American people, good or bad, what was happening. The authors of the forthcoming book and documentary Chasing the Moon tweeted about it today:

At the time Dad called on the broadcasters to do better, there were just three national television networks. There was no PBS, just a National Educational Television which was not even available in most of the country, including Washington DC itself. My father told the broadcasters that as long as the airwaves were a scarce resource, they would have to do better to live up to their statutory obligation to serve the public interest, convenience, and necessity, especially with regard to coverage of news and programming for children. He worked over the next half-century to make more choices available, including cable and satellite as well as the creation of a robust public television station. He helped get the original funding for “Sesame Street,” served as chairman of PBS and of the Chicago affiliate WTTW, served on the board of CBS, is vice-chair of the Presidential Debates Commission, pushed for closed captioning to make television programming available to hearing-impaired viewers, and argued one of the only cases in history to have a broadcast license rescinded — a station that spewed hatred across the airwaves. And in protest of his critique of television, the sinking ship on “Gilligan’s Island” was named after him, the S.S. Minnow!

He is also the world’s best dad and we are all so proud of him.

Related Tags:

Understanding Media and Pop Culture

Free This Week for 2019 Mother’s Day — 50 Must-See Movies: Mothers

Posted on May 6, 2019 at 7:00 am

In honor of Mother’s Day, my ebook 50 Must-See Movies: Mothers will be free on Amazon from Monday, May 6 to Friday, May 10, 2019.

No relationship is more primal, more fraught, more influential, more worried over, more nourishing when good and more devastating when bad that our connection to our mothers. Mom inspires a lot of movies in every possible category, from comedy to romance to drama to crime to animation to horror, from the lowest-budget indie to the biggest-budget prestige film. A lot of women have been nominated for Oscars for playing mothers and just about every actress over age 20 has appeared as a mother in at least one movie. From beloved Marmee in “Little Women” (three great movie versions, a modern-day adaptation, and a PBS miniseries, and a forthcoming film directed by Greta Gerwig) and Mrs. Brown in “National Velvet” to mean moms in “Now Voyager” and “Mommie Dearest.” Oscar winning classics and neglected gems, based on real-life like Sally Fields in “Places in the Heart” or fantasy like Dumbo’s lullaby-singing elephant mom, these are all must-see movies.

Long Shot

Posted on May 2, 2019 at 5:50 pm

B +

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated R for strong sexual content, language throughout and some drug use
Profanity:	Constant very strong and vulgar langauge
Alcohol/ Drugs:	Drinking, including drinking to deal with stress, drunkenness, drug use
Violence/ Scariness:	Comic peril and violence, some wartime violence
Diversity Issues:	A theme of the movie
Date Released to Theaters:	May 3, 2019
Date Released to DVD:	July 22, 2019

Remember in “Say Anything” when high school valedictorian who had done everything right and won every prize Diane Cort was described as a brain “trapped in the body of a game show hostess?” Well, imagine her character grown up and in Washington.

In “Long Shot,” Charlotte Field (Charlize Theron) is Secretary of State for a dimwit TV-star-turned President (Bob Odenkirk). She is still head of the class, doing extra credit homework while she’s on the treadmill, taking brief eyes-open standing power naps, and reading summaries of popular television shows so she can make smooth, diplomatic chit chat about media she has no time to actually watch. Needless to say, she is single. And, because she is played by Theron, she looks like a supermodel, very much appreciated by the American public which, her pollster tells her, gives her their highest ranking for “elegance.” This is the American public that elected an actor who played the President on television to the actual White House, so elegance — and a possible romance with the swooningly handsome Prime Minister of Canada (Alexander Skarsgård) are real plusses with the voters, who probably think that if they get married the two countries will merge, as though they are Sleeping Beauty and Prince Charming.

But the fairy tale here is more like Beauty and the Beast, if it was an extremely raunchy romantic comedy. Charlotte used to babysit for Fred Flarsky (Seth Rogen), who is now a shlubby but passionate Brooklyn journalist who has just quit on principle because his lefty alternative paper has been bought by media mogul and all-around bully Parker Wembley (Andy Serkis, so unrecognizable that he might as well be CGI). Charlotte sees Fred at a reception (featuring Boyz II Men, for whom they both stan). She impulsively offers him a job polishing her speeches to make them less Cabinet-officer-formal and careful and more “I’d actually like to run for President and I’m both super-competent and relatable!”

And so the out of work but highly principled Fred joins the team. Charlotte feels safe with him because they literally come from the same place, and he is able to remind her of a time when she was not as careful and not as isolated. He makes her speeches warmer and more personal. And they…like each other.

It’s funny and occasionally even sharp, but most of all it is really quite sweet. Theron is captivating as the good girl who longs to be a little less elegant and there is actually some genuine chemistry with Rogen, whose shambling demeanor she sees as refreshingly authentic. The film touches more lightly on subjects like political compromises and media pressure that we might think from an early scene of the idiot President watching himself on television in the good old days, when he only had to pretend to be the Chief Executive. The supporting cast includes O’Shea Jackson Jr. (“Straight Outta Compton”) as Fred’s loyal best friend, and their scenes together are some of the movie’s best.

There is enough sharp interplay on both current affairs and relationships to keep things moving briskly. Improbable as the pairing may be as characters and performers, Theron and Rogen have a nice easy rhythm, and it is heartwarming to see Charlotte and Fred each learn to relax a bit, her being less careful, more vulnerable, and more true to her less-than-perfect self and him being less sure of his opinions and more sure of his value.

Parents should know that this movie has very explicit and gross-out sexual humor, references and situations, very strong language, drinking and drunkenness, and some slapstick and military-style peril and violence.

Family discussion: Could a candidate like Charlotte get elected? What does she like about Fred? Would you want to read a journalist like Fred?

If you like this, try: “50/50,” also with Rogen, from the same director