The Fate of the Furious

The Fate of the Furious

Posted on April 14, 2017 at 11:52 pm

B
Lowest Recommended Age: Middle School
MPAA Rating: Rated PG-13 for prolonged sequences of violence and destruction, suggestive content, and language
Profanity: Some strong language
Violence/ Scariness: Extended action-style violence, guns, explosions, chases, crashes, characters injured and killed
Diversity Issues: Diverse characters
Date Released to Theaters: April 14, 2017
Date Released to DVD: July 10, 2017

Copyright Universal 2017
Copyright Universal 2017
Before we get into it, let’s take a moment to remember how we got here. The first “Fast and Furious” movie was comparatively modest in scope, the story of a cop (Paul Walker as Brian) going undercover to investigate illegal street racers, led by Dom (Vin Diesel). The cop falls for the sister of the racer and for the living-life-a-quarter-mile-at-a-time existential rush. Think “Point Break” with cars instead of surfboards. Somehow, now on the eighth movie since the 2001 original with two more in the planning stages, it has turned into an X-Games version of “Mission Impossible.” It’s 3/4 chases, crashes, shoot-outs and explosions, 1/8 bro-mance (“I don’t have friends; I have family”), and 1/8 quippy humor with a dash of fan service for anyone who has been paying enough attention to remember who all of the characters are. That leaves no room for plot or logic, but you can’t have everything, and this one goes with star power instead.

So over the course of eight films we’ve gone from living life a quarter mile at a time racing souped-up home brew stock cars to globe hopping save-the-planet adventures with the help of grateful no-name international law enforcement (literally, Kurt Russell as Mr. Nobody, now with an intern played by Scott Eastwood, known as Little Nobody), increasingly improbable settings and vehicles (a nuclear sub in this one, pretty much all that’s left for Chapter 9 is a “Moonraker”-style spaceship), and increasingly improbable co-stars. Helen Mirren is in this movie. Let me say this again. Helen Mirren is in this movie. And she’s not the only Oscar-winning actress in the eighth “Fast and Furious” film. It also stars Charlize Theron as the ice queen villain.

Our merry little gang of rascals has gotten so cozy that in order to have any dramatic tension at all we have to unscramble that egg a little, and what better way to do that than to have Dom go to work for the bad guy?

We begin with an opening scene in which we are reminded that Dom (a) adores his wife, Letty (Michelle Rodriguez), now recovered from her amnesia and honeymooning with Dom in Havana, and (b) is a man who exemplifies integrity, grace, courage, and determination, and who could probably win the Indy 500 in a golf cart. And so, perhaps we are expected to be surprised when shortly after that, when the team, with regulars Hobbs the cop (Dwayne Johnson), Roman the comic relief (Tyrese Gibson), and Tej the computer guy (Chris “”Ludacris” Bridges), is called in by Mr. Nobody to rescue some big scary bomb, Dom and Letty are on board and then all of a sudden Dom makes off with the big bad bomb and apparently is in cahoots with Ms. Big, Theron as uber-hacker Cipher.

There’s nothing quite as crazy as the car leaping between buildings in the last film, and nothing near as touching as the finale, with its tender tribute to the late Paul Walker (his character is lovingly addressed). There’s a wild bumper-cars-on-crack scene as Cipher takes control of all the automobiles, even the ones that are parked, in the middle of New York City. And some very fancy vehicles get trashed. And then there’s the sub. And a lot of thousand-yard stares and macho wisecracks and people who have a history as enemies having to work together and grudgingly develop some respect. In other words, it’s just what you expect from the eighth “Fast and Furious” movie.

Parents should know that this film has constant action-style violence, crashes, explosions, guns, fights, extended mayhem of all kinds, some sexual references and crude humor, and some strong language.

Family discussion: Which was the best stunt? What makes someone who is not related “family?”

If you like this try: the rest of the “Fast and Furious” films and “The Italian Job”

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Action/Adventure DVD/Blu-Ray Series/Sequel
Colossal

Colossal

Posted on April 13, 2017 at 5:22 pm

B +
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for language
Profanity: Very strong and crude language
Alcohol/ Drugs: Drinking, alcohol abuse, drunkenness, drugs
Violence/ Scariness: Sci-fi/action monster violence
Diversity Issues: None
Date Released to Theaters: April 7, 2017
Date Released to DVD: July 31, 2017

Copyright 2017 Neon
Copyright 2017 Neon
I’m less interested in whether a movie scares me than whether it surprises me, and “Colossal” is a little bit scary but deliciously surprising. You think you’re going to see a movie with the gorgeous Anne Hathaway and Dan Stevens in a lovely New York City apartment as characters who break up in the beginning of the story, and you think you know where it is going. You don’t.

Writer/director Nacho Vigalondo wants you to come to the movie with expectations. You think that when you see doe-eyed Anne Hathaway with her cute rom-com bangs and English-accented boyfriend and drinking problem serious enough for memory loss but not serious enough to give her unsightly bloat that you know not just where this is going but how many minutes it will take to get there. You see Gloria (Hathaway), having lost everything, move back into her empty childhood home in a small town and immediately run into Otto (Jason Sudeikis), a regular American guy who with whom she clearly has history and chemistry and who seems to exemplify wholesome hometown values. He offers her a job at the bar he inherited from his dad and you think you know where it’s going. You think that the scenes of an enormous dinosaur-ish sort of monster attacking Seoul mean some lead character will fight it and someone will have to be rescued. Not really. Writer/director Nacho Vigalondo (“Timecrimes”) is here to mess with your expectations the way the monster messes with South Korea, and the job you happily accept is to sit back and enjoy it.

What that means, though, is that there isn’t much more I can tell you about what actually happens in this movie, except to say that the connections between these characters and the monster evolve in very unexpected ways and there are surprises around every corner.

You want to understand how all what happens/happened happened? This is not your movie. You want to consider it a metaphor that explores American insularity and arrogance? Be my guest, as long as you don’t think about it too hard, because it will not withstand an extended deep analysis. You want to see monsters? Well, this isn’t “Pacific Rim,” but there are some pretty cool monsters and they do a lot of damage. But I cannot promise you anything except something you haven’t seen before, and that’s good enough for me.

Parents should know that this film includes very strong and crude language, monster violence with characters injured and killed, drinking and drunkenness, and sexual references and a non-explicit situation.

Family discussion: What are the best and worst things about controlling a monster? What connected these characters to the monsters? What monster would you like to control?

If you like this, try: “No Such Thing”

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DVD/Blu-Ray Pick of the Week Fantasy

Two New Movies About the Triumph of High School Underdogs — The Outcasts and Speech and Debate

Posted on April 13, 2017 at 2:52 pm

Two very entertaining new movies available in some theaters and on demand both tell stories of kids who are considered dorky outsiders in high school but find a way to triumph, learning some lessons and making some friends along the way. The great thing about being a smart dork in high school is that if you work hard and have a bit of luck, it will give you great material to tell the story some day. No one wants to see a movie from the perspective of the kids who are happy and popular in high school, at least not unless they started out as miserable loners.

“Speech & Debate” is a heartfelt love letter from theater kids to theater kids. Three outcasts, a would-be actress, a would-be investigative journalist, and a new kid who is gay band together when the school board caves in to a local man who objects to the school play, “Once Upon a Mattress,” because there is a mention of an unwed pregnancy in it. The popular play makes an uneasy transition to the screen, but the performances by Liam James (“The Way Way Back”), Sarah Steele (“The Good Wife”), and Austin P. MacKenzie (“When We Rise”) have a believable rapport and it is a treat to see Broadway luminaries like Roger Bart, Lin-Manuel Miranda, and Skylar Astin in supporting roles.

“The Outcasts” stars “The Middle’s” Eden Sher as Mindy, a nerdy girl whose best friend Jodi (Victoria Justice) is the victim of a mean prank orchestrated by mean girl Whitney (Claudia Lee). Jodi and Whitney unite all of the school’s various factions, even getting the sci/fi and fantasy groups to stop arguing with each other and join forces. But the girls learn that once you have power it is very tempting to abuse it. Performed with a lot of brio and filmed with humor and sensitivity to all involved, it is fun to watch and worth discussing afterward.

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School Stories about Teens
Interview on the New Character with Autism on Sesame Street

Interview on the New Character with Autism on Sesame Street

Posted on April 13, 2017 at 12:00 pm

Julia, “Sesame Street’s” first character with autism, helps children and their families understand people on the spectrum. Jennifer Thorn, Ph.D., Associate Professor in the English Department of Saint Anselm College answered my questions about Julia and what she can teach us.

The autism spectrum includes a wide range of behaviors and capabilities. Is there a definition that describes everyone described as autistic?

The 1990 Individuals with Disabilities Education Improvement Act (IDEA-1990) defines autism as a category of developmental disability that significantly affects verbal and nonverbal communication and social interaction. IDEA-1990 recognizes that autism typically, but not always, becomes evident in children before the age of 3.

By classifying autism as a developmental disability, IDEA-1900 makes clear that it is not a condition arising from emotional disturbance.

Behaviors associated with autism, but not strictly definitional of it, include
• resistance to environmental change;
• discomfort due to heightened sensitivity to sensory stimuli; and
• engagement in repetitive actions.

Copyright Sesame Street 2017
Copyright Sesame Street 2017

Why is it important for children and their families to see an autistic character on television?

Current research indicates that half of American children live in homes where the television is on half of the time that family members are home, whether or not anyone is watching it. Three-fourths of American children now have access to mobile devices; one-fifth of these children use mobile devices daily. Children are awash in media, which carries messages, directly and by implication that children are more likely than adults to absorb, because they lack adults’ cognitive abilities.

TV shows offer visions of normalcy. Sesame Street has long recognized that the absence of certain kinds of people in programming conveys powerful messages about what lives are, and aren’t, valuable. Television models values and behaviors that children absorb. The absence of characters with autism suggests that their lives are less worthwhile than the lives of neurotypical people.

I say “characters with autism” rather than “autistic characters” because no one can be reduced to any one quality he or she might possess.

Why have a puppet with autism rather than bringing on a real child with autism as they do with other disabilities?

Sesame Street is to be commended (as it has frequently been, by numerous awards) for its inclusion of content relating to disabilities both to teach content and to model a “normalcy” in which people with disabilities are included.

For example, the violinist Itzak Perlman, who was born with polio, was featured in a 1981 segment in which a little girl ran up a set of steps that he then climbed with his crutches—teaching children about the obstacles that everyday life poses for so many. That segment offered content. In another segment, “Katie and the Baby,” a soon-to-be-big sister anticipated the arrival of a new sibling; the focus was on this ordinary, everyday experience. She had Down Syndrome, but the point was that she was an excited little girl facing an exciting new experience.

So both approaches are valuable—teaching, and taking for grant the presence of a person with a disability. The fact that Julia is a puppet (and such a very appealing one) also puts children at ease and gives them permission to have fun and laugh as they would watching any other character.

What can children learn from Julia about reaching out to people with autism?

Children can learn—and perhaps the older siblings and adults who might watch with them—that people with autism are people, too. First and foremost, including Julia in the gang, matter-of-factly playing and learning with friends and neighbors, shows that people with autism live lives as rich and individual and valuable as any other person’s.

What does it mean to be “culturally and linguistically diverse?”

This phrase means – being mindful of the complexity of “normal” and the ways that “normal” might be seen or experienced differently by different kinds of people. It involves recognizing that programming that shows children only one kind of person implicitly suggests that that kind of person is more normal, more valuable, than other people.

What are Julia’s special concerns and issues? Can she discuss her autism and guide others on how best to communicate with her?

I can’t speak for the writers (I can only trust and applaud them); my sense is that Sesame Street wants Julia to be “not a big deal”—one child with other children, having good days and bad days, problems one minute and joy the next. That integration is the real, and very powerful, value of the addition of Julia to the cast.

What will children with autism think about Julia?

Here I think of the words of Emily Perl Kingsley, the mother of a child with Down syndrome who began appearing on Sesame Street in 1977. In that era, it was widely assumed that children with Down syndrome could not be taught. She has written, of the power of Jason’s inclusion on the show: “Children with disabilities are pleased and proud to see other children like themselves represented on television as fully participating members of the community.”

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Disabilities and Different Abilities Television
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