Like its predecessor, this latest “Jumanji” movie combines fantasy action and adventure with some comedy, a touch of romance, and real-life lessons about courage, friendship, and empathy—all with the help of some low-key race and gender fluidity….Johnson was terrific as Spencer in the first film, a humorously exaggerated version of an adolescent discovering the power of adulthood. But as the outer version of Spencer’s cranky grandfather, he’s clearly having more fun. He barely notices the surreal concept of being trapped inside a video game (he does not appear to be entirely sure what a video game is), and is much too busy swiveling hips that for the first time in years have a full range of motion. Johnson/Bravestone as Spencer was something to aspire to, in a future that still seemed filled with infinite potential, but Johnson/Bravestone as Eddie is filled with the bucket list delight of someone who sees nothing but loss ahead. Hart is especially good at toning down his usual peppery energy as the avatar for the slow-talking Milo, whose avatar’s strength is languages but who retains his discursive style. Black and Awkwafina both have a chance to represent more than one of the human characters, making each one distinct and clever.
The fantasy of the avatars, with their assigned strengths and weaknesses, make it possible for the characters to become more honest with themselves and each other. As with the first film, the humor and excitement are nimbly balanced so it never gets too scary or silly, and the focus is more on friendship than romance. This time, there is a light touch of poignance as well that makes the message about friendship more meaningful. And like all good video games, there’s a hint of yet another level at the end for those, like me, who are not yet ready to say Game Over.
Parents should know that this film icludes video game-style peril, action, and adventure, some strong language, brief crude humor (references to eunuch character), and issues of aging and terminal illness.
Family discussion: If you were a game avatar, what would your strengths and weaknesses be? What did the characters learn from being different races and genders?
If you like this, try: “Jumanji: Welcome to the Jungle” and “Journey to the Center of the Earth”
Rated R for language including some sexual references, and brief bloody images
Profanity:
Very strong language
Alcohol/ Drugs:
Alcohol
Violence/ Scariness:
Bombing, explosions, characters injured and killed, brief disturbing images
Diversity Issues:
Portrayal of female professional using sex to manipulate men
Date Released to Theaters:
December 14, 2019
Date Released to DVD:
March 16, 2020
Copyright Warner Brothers 2019
Erik Erikson said that at each stage of life we have a choice between growth, learning, and compassion and fear, immaturity, and self-absorption. The final choice he posed was for old age, when people have to choose between ego integrity (satisfaction and completeness at the end of life, a sense of having made a difference) or despair (being lost, lacking a sense of purpose). (I highly recommend “Everybody Rides the Carousel,” an animated film from John and Faith Hubley, illustrating Erikson’s theories.) Two big end-of-the-year releases by two men, one in his 70’s, the other almost 90, seem to come down on different sides.
Martin Scorsese’s “The Irishman” is a movie by old men about what it is to be old, to be looking back on the choices you’ve made and the consequences they have had. The characters in the film, based on real people and their sometimes questionable stories, committed brutal crimes. The movie never excuses their behavior, but it portrays them in a complex, humane, elegiac manner.
89-year-old Clint Eastwood has made “Richard Jewell,” also based on a true story, this one about a man who was accused of a crime he did not commit. Richard Jewell (Paul Walter Hauser) was pudgy and his social skills were uneven. He was fascinated with order and authority and wanted very much to be a police officer. He lived with his mother and he had a lot of guns (“This is Georgia,” he shrugs.) He fit the profile and was an easy target in a city desperate to keep the international athletes, IOC officials, and media confident that everything was under control.
One of three films this month about real-life heroic lawyers who fought near-insurmountable odds to bring justice (the other two are “Dark Waters” and “Just Mercy”), this could have been a heartwarming story, but Eastwood’s cranky “get off my lawn” perspective cannot resist overdoing it as though he was talking to an empty chair. Instead of a movie about a guy who was the victim of the FBI under pressure to find a culprit and the media frantic to find a story. Eastwood is so sure we will not be able to figure out who the bad guys are that he all but has them wear signs.
It isn’t just this FBI agent who is wrong; it’s the government. And it isn’t this reporter or this newspaper that is wrong; it’s the media. It is not enough that the reporter’s first reaction on hearing that there has been a bombing is to hope that the bomber is story-worthy. Eastwood has to make her trade sex for information. (She is dead now, but her newspaper has demanded that the movie make clear it is not an accurate representation.) Our hero, meaning the lawyer, played by the always-great Sam Rockwell, has a bumper sticker in his office that says, “I fear government more than I fear terrorism.” JUST IN CASE WE DON’T GET THE POINT.
It’s a shame because the story has an even more important lesson in this era of social media, citizen “journalists” and milkshake ducks. But the shrill tone of the film gets in the way, especially in its portrayal of the reporter as not just irresponsible about the facts but willing to trade sex for a story. Pro tip: if you are going to make a movie about how terrible it is that the media exaggerates and lies, try not to do that in the movie itself.
Parents should know that this movie includes very strong language and a bombing with some brief disturbing images. Characters drink alcohol and a woman use sex to get information.
Family discussion: Why was Richard Jewell a suspect? Why did Watson believe him?
If you like this, try: “Sully” and “American Sniper” from the same director
Rated R for sexual material and language throughout
Profanity:
Very strong and crude language
Alcohol/ Drugs:
None
Violence/ Scariness:
Sexual pressure and harassment
Diversity Issues:
A theme of the movie
Date Released to Theaters:
December 13, 2019
Date Released to DVD:
March 9, 2020
Copyright 2019 LionsgateThe word “bombshell” works both ways as the title of this film based on the true story of the #metoo moment that rocked the powerful leadership of Fox News and brought down its visionary founder Roger Ailes. “Bombshell” means a very attractive woman (check out the Jean Harlow movie of the same name, about a gorgeous movie star, and the documentary of the same name, about Hedy Lamar). And “bombshell” also means a shocking piece of news. Both are equally apt.
Those who watched “The Loudest Voice in the Room” on Showtime know that Ailes transformed the news media by creating a network that had two important innovations: gorgeous women in revealing clothes delivering news stories slanted toward white people who think their victimhood has been overlooked. As an executive puts it in this film, “You have to adopt the mentality of an Irish street cop. The world is a bad place. People are lazy morons. Minorities are criminals. Sex is sick, but interesting. Ask yourself, ‘What would scare my grandmother, or p— off my grandfather?’ And that’s a Fox story.”
The story is almost operatic in scope and drama and director Jay Roach and screenwriter Charles Randolph (“The Big Short”) hit the tone just right, the heightened urgency of the newsroom, the millions of small and devastatingly large compromises at the top of the media food chain.
The performances are sizzling. Gretchen Carlson (Nicole Kidman) is a fading star at FOX, relegated to off-peak programs. (I could not help thinking of this performance as a bookend with Kidman’s “To Die For,” with Kidman as a woman who was willing to do anything, including sexual favors and murder, to get a job on TV news.) Megyn Kelly (Charlize Theron) is a rising star, and as this movie begins, she is horrified to find herself in the middle of a story as then-candidate Donald Trump makes ugly and crude accusations because she surprised him by asking him to comment on some of his insults to women (“You’ve called women you don’t like fat pigs, dogs, slobs and disgusting animals”) in an on-air interview. Margot Robbie plays Kayla, a fictional character based on the ambitious lower-level staff and what those who asked Ailes for on-camera opportunities were expected to do to show their “loyalty.”
Some early critics of the film object to the women being portrayed as feminist heroines. But they are not portrayed as feminist heroines; on the contrary. They’re not fighting courageously for justice like Norma Rae or Erin Brockovich. They are carefully calibrating how much abuse, how many humiliations, how much indignity they are willing to trade for the professional opportunities they want, even when it means ignoring abuse of other women. Answer: a lot. Ultimately, there is a limit, though, and watching each character locate that line is what makes this movie smart and engrossing. For Carlson, it is being fired. For Kayla, it is a painful realization after the fact, and after someone else has taken the almost unthinkably daunting step of going first. And the stakes are clear. “Once you go public, no one will hire you,” Carlson is told. Her post-lawsuit career has focused on sexual harassment issues either because she now recognizes the importance of the issue or because she cannot get any other job. The week of the film’s release she wrote an op-ed in The New York Times calling on Fox to withdraw the non-disclosure agreement she had to sign in order to settle her case. It’s unlikely, but if they do, maybe we’ll get another movie out of it.
The focus here is on Kelly. It is one thing to burn your bridges after you have been fired and have nothing to lose, but it is entirely another for a woman near the top of her profession who says, “I’m not a feminist; I’m a lawyer,” who does not want to be the story, who is in cutthroat competition with the other beautiful blondes and not one to raise a fist and proclaim that sisterhood is powerful. What will it take to get her to speak out and what price will she pay for saying something? Kelly is a complicated character and the way her dilemma is presented here is complicated and nuanced, more directed toward nods of recognition than standing ovations. Her career has been rocky (except for financially) since her decision to acknowledge the abuse, which makes this a cautionary tale that does not make the prospect of feminist heroine-ing look very appealing.
What is even more fascinating here is the setting. Is Fox a news organization as it has traditionally been understood? We get glimpses of other Fox personalities, including Bill O’Reilly, who left Fox following his own #metoo abuses. The way the organization responds to Carlson’s claims — handing out “Team Roger” t-shirts before any investigation even though it is generally known why there’s a lock on his door and a separate entrance to his office — says something about whether “loyalty” is more important than the truth, to them and to us.
Parents should know that this film is based on the real life #metoo upheavals at FOX News, with explicit discussions and some depiction of sexual harassment, abuse, and predation, and very strong language.
Family discussion: Why did the three women respond differently? How has coming forward affected their careers? What is the best way to prevent abuse by people in power?
If you like this, try: “The Loudest Voice” miniseries and “The Hunting Ground”
Really looking forward to “In the Heights,” the musical Lin-Manuel Miranda wrote before “Hamilton.” Director Jon M. Chu showed his mastery of musical numbers in the third and best of the “Step Up” movies, and his mastery of wit and romance in the context of cultural and economic issues in “Crazy Rich Asians.” This trailer looks like everything we hope for from this movie will be there and more.
Queen & Slim Leads 2019 Black Reel Awards Nominees
Posted on December 11, 2019 at 5:25 pm
Copyright 2019 Universal PicturesThe gripping story of a couple on the run from the law following a traffic stop gone wrong, Queen and Slim, received 14 nominations and in the process became the third film in Black Reel Awards history to be so honored.
Director Melina Matsoukas’ piercing examination of race and justice tied both Tyler Perry’s For Colored Girls and Barry Jenkins’ If Beale Street Could Talk, scoring multiple nominations. They included Outstanding Motion Picture, Outstanding Actor (Daniel Kaluuya), Outstanding Actress and Outstanding Breakthrough Performance, Female (Jodie Turner-Smith), Outstanding Screenplay (Original or Adapted) and Outstanding First Screenplay for Lena Waithe, as well as Outstanding Director and Outstanding Emerging Director for Matsoukas.
In addition, the film received multiple nominations in the Outstanding Song category, for Collide (Tiana Major9 & EARTH GANGO) and Guarding the Gates (Lauryn Hill), Outstanding Score and nods in every technical category, Outstanding Cinematography, Outstanding Costume Design and Outstanding Production Design.
Director Jordan Peele’s follow-up to his Black Reel Award winning film, Get Out, Us thrilled voters as well on the way to 12 nominations. Led by its visionary director, who garnered a record-tying four nominations including Outstanding Director, Outstanding Screenplay, Original or Adapted, and Outstanding Motion Picture. Peele also was recognized for Outstanding Voice Performer for Toy Story 4. Us also secured an Outstanding Motion Picture nomination as well as Outstanding Actress for Black Reel Award winner Lupita Nyong’o, Outstanding Supporting Actress and Outstanding Breakthrough Performance, Female for newcomer Shahadi Wright Joseph, Outstanding Ensemble, Outstanding Score, Outstanding Cinematography, Outstanding Costume Design, and Outstanding Production Design.
The story of underground cult comedian Rudy Ray Moore, Dolemite Is My Name also scored double-digit nominations with 11. Led by Outstanding Actor nominee Eddie Murphy, the film received multiple nominations for its talented cast including Outstanding Supporting Actress and Outstanding Breakthrough Performance, Female for newcomer Da’Vine Joy Randolph, Outstanding Supporting Actor for Black Reel Award winner Wesley Snipes, Outstanding Breakthrough Actor, Male for Titus Burgess. The film also garnered noms for Outstanding Ensemble, Outstanding Score, as well as Outstanding Costume Design for last year’s winner, Ruth E. Carter.
“I’m extremely thrilled with the choices that our Voting Academy made this year,” said Black Reel Awards founder and President, Tim Gordon. ”As we celebrate our 20th Anniversary, it is both humbling to reminisce about the journey, yet refreshing to see and experience so much new talent that graced the screen for the first time.”
Other highlights include Waves receiving nine nominations followed by the indie darling, The Last Black Man in San Francisco that scored eight nominations. Seven nominations went to the prison drama, Clemency, while both Harriet and Luce each took home six nods. In addition, three directors each received four nominations, Chinoye Chukwu, Julius Onah, and Peele.
The 20th Annual Black Reel Awards ceremony will take place on Thursday, February 6, 2020, live streamed on BlogTalkRadio.
20TH ANNUAL BLACK REEL AWARDS NOMINEES
(Digital Nomination Copy)
Outstanding Motion Picture
DOLEMITE IS MY NAME (Netflix)
Eddie Murphy, John Fox & John Davis
JUST MERCY (Warner Bros.)
Asher Goldstein & Gil Netter
QUEEN & SLIM (Universal Pictures)
Pamela Addy, Andrew Coles, James Frey, Michelle Knudsen, Melina Matsoukas, Lena Waithe & Brad Weston
US (Universal Pictures)
Jordan Peele, Jason Blum, Ian Cooper & Sean McKittrick
WAVES (A24)
Trey Edward Schultz, Kevin Turen & James Wilson
Copyright A24 2019
Outstanding Actor
JIMMIE FAILS
The Last Black Man in San Francisco (A24)
KELVIN HARRISON JR.
Luce (Neon)
KELVIN HARRISON JR.
Waves (A24)
DANIEL KALUUYA
Queen & Slim (Universal Pictures)
EDDIE MURPHY
Dolemite is My Name (Netflix)
Outstanding Actress
Cynthia Erivo stars as Harriet Tubman in HARRIET, a Focus Features release. Credit: Glen Wilson / Focus Features
“DON’T TURN BACK” (THE APOLLO)
Robert Glasper & Ledisi, performers
“GUARDING THE GATES” (QUEEN & SLIM)
Lauryn Hill, performer
“IT’S NOT OVER” (BRIAN BANKS)
Gizzle & Sam Fisher, performers
“SPIRIT” (THE LION KING)
Beyonce Knowles-Carter, performer
Outstanding Independent Feature – Awarded to the Director & Producers
BURNING CANE (ARRAY)
Phillip Youmans, director
Ojo Akinlana, Wendell Pierce, Mose Mayer, Isaac Webb, Cassandra Youmans Jakob Johnson & Karen Kaia Livers, producers
CLEMENCY (Neon)
Chinonye Chukwu, director
Timur Bekbosunov, Julian Cautherley, Bronwyn Cornelius & Peter Wong, producers
GUAVA ISLAND (Amazon Studios)
Hiro Murai, director
Donald Glover, Carmen Cuba, Jennifer Roth & Fam Udeorji, producers
THE LAST BLACK MAN IN SAN FRANCISCO (A24)
Joe Talbot, director/producer
Dede Gardner, Jeremy Kleiner, Christina Oh & Khaliah Neal, producers
LUCE (Neon)
Julius Onah, director/producer
John Baker & Andrew Yang, producers
Outstanding Short Film
AMERICA
Garrett Bradley, director
HAIR LOVE (Sony Pictures Releasing)
Matthew A. Cherry, director
IT’S NOT ABOUT JIMMY KEENE
Caleb Jaffe, director
SUICIDE BY SUNLIGHT
Nikyatu Jusu, director
ZAHRA AND THE OIL MAN
Yucef Mayes, director
Outstanding Independent Documentary
16 BARS
Sam Bathrick, director
NO LYE: AN AMERICAN BEAUTY STORY
Bayer Mack, director
THE REMIX: HIP HOP X FASHION
Lisa Cortes & Farah Khalid, director
Outstanding Emerging Director
CHINONYE CHUKWU
Clemency (Neon)
NIA DACOSTA
Little Woods (Neon)
MATI DIOP
Atlantics (Netflix)
MELINA MATSOUKAS
Queen & Slim (Universal)
JULIUS ONAH
Luce (Neon)
Outstanding Breakthrough Performance, Male
TITUSS BURGESS
Dolemite Is My Name (Netflix)
JIMMIE FAILS
The Last Black Man in San Francisco (A24)
KELVIN HARRISON JR.
Waves (A24)
ALDIS HODGE
Clemency (Neon)
JONATHAN MAJORS
The Last Black Man in San Francisco (A24)
Outstanding Breakthrough Performance, Female
MAME BINETA SANE
Atlantics (Netflix)
SHAHADI WRIGHT JOSEPH
Us (Universal Pictures)
DA’VINE JOY RANDOLPH
Dolemite is My Name (Netflix)
TAYLOR RUSSELL
Waves (A24)
JODIE TURNER-SMITH
Queen & Slim (Universal)
Outstanding First Screenplay
ATLANTICS (Netflix)
Mati Diop & Olivier Demangel
THE BOY WHO HARNESSED THE WIND (Netflix)
Chiwetel Ejiofor
BURNING CANE (ARRAY)
Phillip Youmans
CLEMENCY (Neon)
Chinoye Chukwu
QUEEN & SLIM (Universal Pictures)
Lena Waithe
Outstanding Cinematography
HARRIET (Focus Features)
John Toll
THE LAST BLACK MAN IN SAN FRANCISCO (A24)
Adam Newport-Berra
QUEEN & SLIM (Universal Pictures)
Tad Radcliffe
US (Universal Pictures)
Mike Gioulakis
WAVES (A24)
Drew Daniels
Outstanding Costume Design
DOLEMITE IS MY NAME (Netflix)
Ruth E. Carter
HARRIET (Focus Features)
Paul Tazewell
HUSTLERS (STX Entertainment)
Mitchell Travers
QUEEN & SLIM (Universal Pictures)
Shiona Turini
US (Universal Pictures)
Kym Barrett
Outstanding Production Design
DOLEMITE IS MY NAME (Netflix)
Clay A. Griffith
HARRIET (Focus Features)
Warren Alan Young
THE LION KING (Disney)
James Chinlund
QUEEN & SLIM (Universal Pictures)
Karen Murphy
US (Universal Pictures)
Ruth De Jong
Nominations Per Film
14 nominations
Queen & Slim
11 nominations
Us
10 nominations
Dolemite is My Name
9 nominations
Waves
8 nominations
The Last Black Man in San Francisco
7 nominations
Clemency
6 nominations
Harriet
Luce
5 nominations
Atlantics
The Lion King
3 nominations
Just Mercy
2 nominations
The Boy Who Harnessed the Wind
Burning Cane
Les Miserables
Toy Story 4
1 nomination
16 Bars
America
The Black Godfather
Brian Banks
Guava Island
Farming
Fast Color
Hair Love
Hustlers
In Fabric
It’s Not About Jimmy Keene
Knock Down the House
Little Woods
Miles Davis: Birth of the Cool
No Lye: An American Beauty Story
The Remix: Hip Hop X Fashion
Suicide by the Sunlight
Toni Morrison: The Pieces I Am
Zahra and the Oil Man
