Green Book

Posted on November 15, 2018 at 5:50 pm

A-
Lowest Recommended Age: Middle School
MPAA Rating: Rated PG-13 for thematic content, language including racial epithets, smoking, some violence and suggestive material
Profanity: Strong language including racist epithets
Alcohol/ Drugs: Drinking, smoking
Violence/ Scariness: Some peril and violence
Diversity Issues: A theme of the movie
Date Released to Theaters: November 16, 2018

Copyright 2018 Universal
Before I tell you how good this movie is, let me tell you how many ways it could have gone wrong. First, it is based on the true story of a trip through the deep South in 1962, before the Civil Rights Act, taken by two men who were opposites in every way. One was Don Shirley, an elegant, sophisticated black musician with two PhDs who lived in an apartment filled with exquisite works of art above Carnegie Hall. The other was a crude, provincial Italian bouncer from Queens known as Tony Lips. It is almost impossible to make a story like that without falling into the White Savior trap or the Magical Negro trap.

Next, the movie is co-written by the real-life son of Tony Lips (real name, Tony Vallelonga), so there was a high risk of a lack of perspective, and probably a lack of experience. And the director, Peter Farrelly, is known for working with his brother, Bobby, on movies known for often-shockingly crude humor like “There’s Something About Mary,” “Dumb and Dumber,” and “Movie 43.”

And yet, they pulled it off. “Green Book” is wonderfully entertaining and guaranteed to warm even the hardest of hearts. The music is sublime, and the performances by Mahershala Ali as Don Shirley and Viggo Mortensen as Tony Lips are superb. Yes, lessons will be learned and racial harmony will be kumbaya-ed, but resistance is futile. This movie will win you over.

Tony needs a job, but not badly enough to accept an offer from some mob-connected friends. When he hears that a doctor needs a driver, he goes to the address for the interview and it is not a home but the legendary Carnegie Hall. It turns out that Don Shirley lives above the performance space, in an apartment filled with antiques and objects d’art. He is (twice) a doctor of music. He appears in a gold and white caftan and conducts the interview from an actual throne. He is sophisticated and a little effete. He is, as is usually the case in road and buddy movies and especially in buddy/road movies, the id to Tony’s unrestrained ego. He immediately knows that Tony is not the right guy and turns him down. But later, he offers him the job, even though when he tells Tony he is going South, Tony thinks he means Atlantic City.

It is 1962. The Civil Rights Act has not yet passed, meaning that the Jim Crow segregation laws are still in effect throughout the South, and there are very few hotels and restaurants that allow black customers. Don will be traveling with two other musicians (the group is called the Don Shirley Trio), and they are white and driving a separate car. The record label guy gives Tony a copy of the Green Book, a travel guide for black Americans who wish to “vacation without aggravation.” And he tells Tony that if Don does not make every single performance on the schedule, he will not get paid.

Tony, in an early scene put a glass in the garbage because a black plumber working in his kitchen drank some water from it, has lived a life as insular as Don’s has been urbane. Tony is expansive and chatty. Don is reserved and cerebral. Tony is devoted to his wife and family. Don is a loner. Tony loves food. Don loves music. Ahead are plenty of conflicts with each other and plenty of conflicts that will put them on the same side against pretty much everyone.

It teeters toward overly cutesy at times, as when Tony teaches Don the joys of fried chicken. But we see Tony’s spirit enlarge as he sees for the first time the beauty and brutality of America outside of New York, as he is touched by the music and Don’s artistry and horrified by the bigotry he faces. And we see Don open up a little to someone outside his world. Watching that opens our hearts a little, too.

Parents should know that this film includes depiction of Civil Rights Era racism with some peril and violence, strong and racist language, drinking, smoking, some sexual references and non-explicit situation.

Family discussion: Why did Don Shirley pick Tony? If you wrote a movie about your parents, what would it be?

If you like this, try: listen to the music of the Don Shirley Trio and watch “In the Heat of the Night”

Related Tags:

 

Based on a true story Drama movie review Movies Movies Race and Diversity

Fantastic Beasts: The Crimes of Grindelwald

Posted on November 15, 2018 at 5:08 pm

B
Lowest Recommended Age: Middle School
MPAA Rating: Rated PG-13 for some sequences of fantasy action
Profanity: None
Alcohol/ Drugs: None
Violence/ Scariness: Extended fantasy peril and violence, some disturbing images
Diversity Issues: A theme of the movie
Date Released to Theaters: November 16, 2018

Copyright 2018 Warner Brothers
“Fantastic Beasts: The Crimes of Grindelwald” is a little less fantastic than the first film in this new series set in the Harry Potter universe. It serves as something of a bridge between the first Potterverse film set in the past and outside of England and whatever chapter comes next. The first film introduced us to a new set of characters and settings, taking place mostly in New York in the 1920’s.

J.K. Rowling is still more of a novelist than a screenwriter, and the screenplay is unwieldy and cumbersome, with too little investment in the characters, too much focus on the secondary details, and too little attention to the stakes of the story.

As we glimpsed at the end of the last movie, our evil villain is Grindelwald, played by Johnny Depp with bleached out hair and one light blue contact lens. And he’s something of a wizarding world white nationalist. While magics and non-magics (muggles in the UK, no-majs in the US) have existed peacefully side by side for centuries, Grindelwald wants the “pure-blood” magic people to reign over the mixed-race magics and the humans.

Our hero is still Newt Scamander (Eddie Redmayne), who is much more comfortable with magical creatures, even the destructive and dangerous ones, than he is with people, magic or not. With people he looks away and mumbles. With creatures, he instinctively knows how to make them feel safe, maybe because he feels safe with them.

Really, that’s plenty for a movie. But Rowling piles on lots of characters and lots of storylines and lots of world capitals — so many we might forget we’re not in a Bond movie, except that they all have the same chilly, sepulchral, beige color scheme. The movie is cluttered with layers of references to the Potterverse, including a visit to Hogwarts (young Dumbledore!), boggarts, polyjuice potion, and an encounter with Nicolas Flamel. And it is cluttered with mini-plots that don’t go anywhere (as Chekov should have said, if you’re going to introduce a character who turns into a snake in the first act, that snake better save the day in the third) or mini-plots you wish didn’t go anywhere (a search for a lost brother, a romantic misunderstanding that would have seemed tired in a “Brady Bunch” episode). Plus, don’t put the wildly talented Ezra Miller in a movie and give him nothing to do but look glum.

Instead of a missing puzzle piece in a complex, thoroughly imagined world, it is more like fan service. There is much to look at and much to enjoy but I can’t say that it’s Fantastic.

Parents should know that this film includes extensive fantasy peril and violence, characters injured and killed, and some disturbing images.

Family discussion: What would your boggart be and how would you make it ridiculous? Why do Grindelwald’s followers believe he is right?

If you like this, try: the “Harry Potter” series and the first “Fantastic Beasts” film

Related Tags:

 

Based on a book Fantasy movie review Movies Movies Series/Sequel

Instant Family

Posted on November 15, 2018 at 5:04 pm

B +
Lowest Recommended Age: Middle School
MPAA Rating: Rated PG-13 for thematic elements, sexual material, language and some drug references
Profanity: Some strong language
Alcohol/ Drugs: References to drug abuse
Violence/ Scariness: Tension and some peril and accidents, brief disturbing images of injuries, family confrontations, issues of foster care
Diversity Issues: A theme of the movie
Date Released to Theaters: November 16, 2018

Copyright 2018 Paramount Pictures
An adoptive mom explained to me once that most couples who adopt have “a drag-er and a drag-ee.” That can be the essence of a good partnership; parenting in any form is one of life’s greatest leaps into the unknown and it makes sense to talk it out thoroughly while understanding that no one can ever understand the terror, the exhaustion, the way children “push buttons you didn’t know you had,” and of course the unparalleled joy of being a parent until you get there, by which time you are probably too terrified, exhausted, and, yes, filled with joy to understand it even then. That is why we gravitate to movies like “Instant Family.” They give us a chance to think about how much our families mean to us.

“Instant Family,” based in part on the real-life story of writer-director Sean Anders, tells us everything we need to know about Pete (Mark Wahlberg) and Ellie (Rose Byrne) in the first scene, as they race through a decrepit mess of a house thrilled at the possibilities only they can see. Their optimistic vision and instinctive teamwork will be needed when a half joking remark about adopting an older child to catch yup with their contemporaries leads Ellie to start looking at websites about foster parenting and then to being the drag-er to Pete’s drag-ee. “This is what we do! We see potential in things and fix them up!” But of course, as someone said, adults do not make children; children make adults. The parents get some fixing up, too.

After some foster parent training, they go to a “foster fair,” to meet some of the children who are available. They were not planning to foster a teen, but they are drawn to a remarkably self-possessed girl named Lizzy (Isabela Moner) (and a bit intimidated by her, too). The social workers (Tig Notaro and Octavia Spencer) tell them she has two younger siblings. They are daunted by the idea of going from zero kids to three all at once, but understand the importance of keeping them together and cannot resist their adorable photos. The next thing they know, they are calling out, “Kids! Dinner is ready!” and wondering whether it will be reassuring or intrusive to kiss them goodnight.

You can tell Anders (“Daddy’s Home”) has been through it and has spent time with other foster families. The film has well-chosen details of the two steps forward-one step back relationship with the children, especially Lizzie, who is used to taking care of her brother and sister herself and still hopes that their mother will come for them. It is frank about the issues of fostering children of different ethnicities, the ambivalent feelings about the possibility of the biological mother returning, and the moments when Pete and Ellie wonder if they’ve done the right thing, and if not loving the children immediately makes them horrible people. Ellie says at one point that she feels like she is babysitting someone else’s kids. And she’s right. They don’t become hers because a social worker says so or because a judge says so. They become hers because she does not give up. And because she fights for Lizzie. And because she brushes Lizzy’s hair so gently and lovingly.

Wahlberg and Byrne are perfectly cast and the tone and pacing are exactly right for depicting family life, where tears are mixed with laughter and laughter is mixed with tears. They are hilariously funny and also touching and moving. There’s great support from Notaro and Spencer and from Margo Martindale as a feisty grandmother, and Moner is excellent as Lizzy whether she’s being defiant, manipulative, protective, or vulnerable. This story could have been cloying or it could have been soap opera. But Anders and his cast make it into a genuinely heartwarming experience that makes us wish we could be part of their family, too.

Parents should know that this is a warm-hearted comedy that is frank about some of the issues presented in foster parenting and adoption including trauma and neglect, drug abuse, predatory behavior and sexting, with some strong language.

Family discussion: What were the biggest challenges Pete and Ellie faced and how well did they deal with them? What is the best way to help kids in the foster program?

If you like this movie, try: “Room for One More” with Cary Grant and his then-wife Betsy Drake

Related Tags:

 

Based on a true story Comedy Drama Family Issues movie review Movies Movies

Critics Choice Documentary Awards 2018

Posted on November 11, 2018 at 9:55 am

As a very proud member of the Broadcast Film Critics Association, I am delighted to announce this year’s documentary film awards. This was an extraordinary year for documentary films and I wish we could have given out a dozen more prizes. But it was a genuine honor to be able to pay tribute to these outstanding films.

Best Documentary: Won’t You Be My Neighbor?

Best Limited Documentary Series: The Zen Diaries of Garry Shandling

Best Ongoing Documentary Series: Anthony Bourdain: Parts Unknown

Best Director: Morgan Neville for Won’t You Be My Neighbor?

Best First Time Director: TIE: Bing Liu for Minding the Gap, and Cristina Costantini and Darren Foster for Science Fair

Best Political Documentary: RBG

Best Sports Documentary: Free Solo

Best Music Documentary: Quincy

Most Innovative Documentary: Free Solo

Best Cinematography: Free Solo

Best Editing: Won’t You Be My Neighbor?

Related Tags:

 

Awards Documentary

11/11/1918-11/11/2018 — Movies about WWI for Veterans Day

Posted on November 11, 2018 at 12:03 am

As we commemorate the 100th anniversary of the end of The Great War, later dubbed World War I, it is time to remember the heroes, the sacrifices, the world-changing geopolitics that resulted.

Some of the best movies about or set in WWI.

Copyright Warner Brothers 1941

Sergeant York Gary Cooper won an Oscar for his portrayal of WWI hero Alvin York, the pacifist from the hills of Tennessee who carried out one of the most extraordinary missions in military history using lessons from his life on a farm. He captured 132 men by himself, still a record for a single soldier. In addition to the exciting story of his heroism in war, this is also the thoughtful story of his spiritual journey. He is a pacifist, opposed to fighting of any kind. By thinking of what he is doing as saving lives, he is able to find the inspiration and resolve for this historic achievement.

Wonder Woman Gal Gadot and Chris Pine star in this DC superhero origin story set during WWI. Yes, it is fiction and fantasy, but the plot line about poison gas is based in reality.

War Horse A horse named Joey goes him back and forth between the British and the German forces and, for a short idyllic time, a respite with a frail but brave little French girl and her affectionate Grandfather. The horse can switch sides in a way that a human cannot, and the movie makes clear the difference between the soldiers who are taken prisoner and shot and the animals who are inherently neutral and thus commoditized. The brutality of war affects the human characters differently as we see in their responses to the animal.

Copyright 1951 United Artists

Paths of Glory Stanley Kubrick’s anti-war film is the story of a French general who orders his troops on a suicide mission. General Mireau (George MacReady) is willing to sacrifice his men to enhance his own reputation. Against his better judgment, Colonel Dax (Kirk Douglas) leads the charge. After the defeat, Mireau blames the men and demands that three soldiers be randomly selected to be executed as an example to rest of the troops. This powerful, fact-based absurdity-of-war film was banned outright in France for several years.

Oh What a Lovely War John Lennon stars in this WWI-set musical satire that was a commentary on all wars, especially the Vietnam conflict.

Flyboys Airplanes and movies were brand new technology and there have been more WWI air battles on film than there were in real life. This is the story of Americans who became the first American fighter pilots, volunteering in France before the US entered the war.

Related Tags:

 

For Your Netflix Queue Holidays War
THE MOVIE MOM® is a registered trademark of Nell Minow. Use of the mark without express consent from Nell Minow constitutes trademark infringement and unfair competition in violation of federal and state laws. All material © Nell Minow 1995-2018, all rights reserved, and no use or republication is permitted without explicit permission. This site hosts Nell Minow’s Movie Mom® archive, with material that originally appeared on Yahoo! Movies, Beliefnet, and other sources. Much of her new material can be found at Rogerebert.com, Huffington Post, and WheretoWatch. Her books include The Movie Mom’s Guide to Family Movies and 101 Must-See Movie Moments, and she can be heard each week on radio stations across the country.

Website Designed by Max LaZebnik