Trailer–Transformers: Age of Extinction with Mark Wahlberg
Posted on March 5, 2014 at 11:05 pm
300: Rise of an Empire
Posted on March 5, 2014 at 10:52 pm
B-| Lowest Recommended Age: | Mature High Schooler |
| MPAA Rating: | Rated R for strong sustained sequences of stylized bloody violence throughout, a sex scene, nudity and some language |
| Profanity: | Some strong language |
| Alcohol/ Drugs: | Wine |
| Violence/ Scariness: | Constant very graphic peril and war-time violence with many graphic and disturbing images and sad deaths |
| Diversity Issues: | Diverse characters |
| Date Released to Theaters: | March 7, 2014 |
| Amazon.com ASIN: | B00BEJL6Q8 |
Here’s a new term: this movie is neither a sequel nor a prequel to 300, the story of the 300 Spartans who died battling the vastly greater army of the Persians. This is a “side-quel,” a “meanwhile” story about what was going on in a sea battle led by Spartan’s rivals, the Athenians. While “300” was based on a graphic novel by Frank Miller, itself based on historic events in ancient Greece, this side-quel was written at the same time as Miller’s still-uncompleted follow-up, to be called “Xerxes.”
We get a bit more backstory this time, too. In a previous battle, Athens’ great warrior Themistokles (hunky Sullivan Stapleton) killed the Persian king. His furious son, Xerxes (returning Rodrigo Santoro) traded his humanity for godlike powers to get his revenge by invading Greece. The leader of the Persian forces is the even-more-furious Artemisia (Eva Green), who can kiss the lips on the head she has just severed, enjoying the kiss just slightly less than the kill. She is tougher than any of her generals, more lethal than any of her soldiers, and even hungrier for inflicting desolation on Greece than her king. And she has the kind of fearlessness only found in those who have nothing left to lose and who will never win enough to feel that they have succeeded.
Themistokles needs to get the support of the resolutely independent city-states if they are to hold off the far greater Persian forces. He knows that his men have heart and dedication, but they are not trained warriors like the Spartans. I could say more about the story, but let’s face it — like the first film, this is about abs, swords, and lots of blood spurting in artistic slo-mo, drenching the screen.
The primary differences are the absence of Gerard Butler and the shift from battles on land to battles on water. We feel Butler’s loss, as he brought a bit more to the original in terms of acting and managed to give his character some depth and personality in the midst of the carnage. But that works for the story, as the death of his character Leonidas is felt deeply in Sparta. The only thing that stands out from the carnage, though, is Green, whose Artemisia cranks up the cray-cray as one of the most evil-relishing villainesses since Cruella De Vil. There’s a sizzling sex-and-fight scene (hmmm, Green did something very similar in “Dark Shadows“) that is way over the top of whatever point over the top used to be. Green has a blast striding around casting laser beams of hatred at everyone, and wipes everyone else in the cast off the screen more thoroughly than her character does to to the “farmers, sculptors, and poets”-turned soldiers of Athens.
Parents should know that this film has constant very intense, graphic, and bloody violence with many battles, swords, fire, drowning, executions, rapes, disturbing images, nudity, sexual references and situations, and some strong language.
Family discussion: What are the biggest differences between the Greeks and the Persians? Do we think about war differently today?
If you like this, try: “300” and “Gladiator”
Pompeii
Posted on February 20, 2014 at 6:00 pm
In 79 AD Mount Vesuvius erupted, wiping out the city of Pompeii. Director Paul W.S. Anderson, who gave us movie versions of “Resident Evil” and “Mortal Kombat,” presents the story as a video game. If what you are looking for is special effects and well-staged action, or even buff bodies, you’re all set. But those who are looking for history, meaningful drama, character development, or good dialog — well, they weren’t paying attention a moment ago when I mentioned the director of game console-to-movie theater movies and Paul W.S. Anderson. It is basically “The Legend of Hercules” with a volcano.
“Game of Thrones'” Kit Harington plays Milo, who as a child saw his entire community brutally slaughtered by the vicious and corrupt Roman soldier Corvus (an imperious Kiefer Sutherland). Milo escaped by hiding in a pile of dead bodies. He is later captured and sold into slavery, where his outstanding fighting skills bring him to the attention of a purveyor of gladiator battle-to-the-death entertainment. He travels to the big city of Pompeii to compete in the arena there. Along the way, he sees a beautiful young woman named Cassia (Emily Browning) and he impresses her by putting her injured horse out of its misery. Cassia is returning to her parents (Jared Harris and Carrie-Ann Moss) after a visit to Rome, where she attracted the attention of Corvus, now a high-ranking Senator. But Milo has attracted her attention. In an example of dialog that could have come out of a middle school slam book, a character says, “I never saw you look at any man the way you looked at that slave.”
Milo is set to fight the enormous and powerful Atticus (“Thor’s” Adewale Akinnuoye-Agbaje), who can earn not just his life but his freedom with one more win in the arena. They end up forming an alliance like that of Kirk Douglas and Woody Strode in the classic “Spartacus.” Meanwhile Corvus is attempting to extort Cassia’s hand in marriage from her father, who needs the support of Rome for his building project.
And all of this is about to be trumped by a nearby mountain and some seismic movement of the earth. There are huge sinkholes and then there is an ocean of burning lava and chokingly thick ash. Every element of the lives of the Pompeiians is turned upside down as all societal restrictions are removed and all anyone wants to do is stay alive. Well, you’d think that, but unfortunately the storylines that have already more than overstayed their welcome drag on, interfering with what we really want to see — the special effects — and jettisoning any possible remaining legitimacy of the plot.
Harington is very good as Milo and he and the excellent Akinnuoye-Agbaje make the fight scenes exciting and compelling. Sutherland has a nice sneer (I could not help remembering his bully in “Stand By Me.”) The special effects, especially in 3D, are impressive. But the movie is dragged down by its cheesy storyline.
This is not the first movie version of the story of Pompeii and it will not be the last. Pliny the Younger’s eyewitness description of what happened when the volcano erupted excerpted in the opening moments of the film, is still more vivid and powerful than any version yet put on screen.
You might hear the Shrieks of Women, the Cries of Children, the Noise of Men: Some called aloud for their Parents, some for their Husbands, and knew them only by their Voices; some bewailed their own Share in the Calamity; and others that of their Neighbours; some wished for Death from the Fear of Dying; many lifted up their Hands to Heaven; a Multitude disbelieved all the Gods, and looked upon the Time to be the last eternal Night, that has been prophesied. Some improved the real Dangers by feigned and imaginary Fears; others gave it out, that this House at Misenum was fallen, that was burnt; both falsely, but they met with Believers. A Glimpse of Light appeared, that did not show us the Return of Day, but the Approach of the Fire that threatened us: The Fire indeed, stood at a Distance; then the Darkness revived, and after that, a plentiful Shower of Ashes and Cinders: We rose up now and then and shook them off, otherwise we should have been covered and oppressed with the Weight of them. I could boast, that neither a Sigh, nor a complaining Expression dropped from me in the midst of these Alarms; but I was supported by this Consolation, not very Reasonable indeed, but natural enough, to think that all the World perished with me.
Parents should know that this film has extensive sword and sandal-era violence including the slaughter of a village, a child seeing his parents get killed, a horse put down, and many gladiator fighting scenes with many characters injured and killed. Also, natural disaster violence destroys an entire city with some disturbing images and there is a brief sexual situation (slaves as prostitutes) and reference to a brothel.
Family discussion: Why didn’t Milo want to say his name? What kind of culture finds gladiator fighting entertaining?
If you like this, try: read up on the real history of Pompeii and watch classics like “Gladiator,” “Ben Hur” and “Spartacus”
The LEGO Movie
Posted on February 6, 2014 at 6:00 pm
A-| Lowest Recommended Age: | Kindergarten - 3rd Grade |
| MPAA Rating: | Rated PG for action and crude humor |
| Profanity: | Some schoolyard language ("butt") |
| Alcohol/ Drugs: | None |
| Violence/ Scariness: | Cartoon-style peril and violence, no one hurt |
| Diversity Issues: | Diverse characters |
| Date Released to Theaters: | February 7, 2014 |
| Date Released to DVD: | June 18, 2014 |
| Amazon.com ASIN: | B00HEQOC2A |
Everything is awesome in this fast, fresh, funny, and utterly adorable movie set in the vast world of LEGOs.
Last year at Comic-Con the filmmakers said that there are two great things to do with LEGOs — you can follow the instructions and make something awesome. Or, you can ignore the instructions and make something awesome. Here, they pay tribute to both in the storyline and in their own meta-approach to the material, deconstructing classic movie narratives over here, re-constructing them over there, and adding in some delicious humor and sublime guest stars of both the LEGO and human variety. So when a Gandalf-y looking guy with the deep, familiar voice of Morgan Freeman intones a prophecy about a chosen one, we file it away as the underlying frame for the story — for a couple of seconds until he advises the confused crowd that it has to be true because it rhymes. Big-time Lugnuts and Brick-heads will find plenty of in-jokes and wonky charm and those who don’t know their minifigures from their master builders will enjoy the wit, the silliness, and the surprisingly touching conclusion.
The movie winsomely begins with LEGO logos, immediately welcoming us into a playful, tactile world. And then we meet our unassuming hero, the cheerful Emmet (a terrific Chris Pratt), who greets each day with joyful energy and loves everything about his life. At least, that’s what he tells us as he follows the instructions for getting ready for work on a construction site. The song “Everything is Awesome” (from Tegan and Sara) plays brightly everywhere. Instructions are clear and faces are painted in a smile. But Emmett is lonely. Everyone seems to have friends to hang out with but no one invites him to come along. He loves being part of a team but kind of misses having something special and different.
And then, the brave and glamorous Wyldstyle (Elizabeth Banks), with her fetching streaked ponytail, shows up and he follows her down the LEGO equivalent of a rabbit hole to discover that everything he thought he understood about his world of following instructions and being part of a team is at risk. President Business (Will Ferrell) is about to unleash a terrible weapon, and apparently Emmet is the only one who can stop him. There are worlds beside and under worlds and within other worlds here — you could make an “Inception”-style map that takes you from the wild west and Middle Zealand to Cloud Cuckoo-land. The film makes clever use of the properties of LEGOs, their endless variety of characters and projects and their comforting sameness of structure and inflexibility. It avoids becoming an infomercial by keeping the focus on the story and the goal of creativity. Emmet and Wildfire are joined by Batman (Will Arnett’s dry baritone nails it), Vitruvious (Freeman), a pirate cyborg (Charlie Day), and a rainbow unicorn-kitty (Alison Brie). Their foes include President Business’ two-faced henchman whose head swivels to allow him to be both good and bad cop (a very funny Liam Neeson). It would be criminal to give away any of the movie’s many surprises and the mind-bendingly cool guest appearances, but I will mention that a couple of them arrive from a galaxy far, far away.
There are some unexpectedly heartwarming moments about family and the importance of imagination. The bad guy is not called President Business for the usual reasons. And there’s an unusually astute resolution to the final confrontation. I especially enjoyed some very clever satire about the kind of entertainment we too often settle for. If only they had known about Facebook’s 10th anniversary gift to each of its subscribers of “look back” mini-movies of their own lives — but not even “The LEGO Movie” could have come up with anything that solipsistically deranged. But this movie is itself the best possible antidote to the tendency to settle for lowest-common-denominator formula story-telling. It won’t just inspire you to see better movies; it will inspire you to make your own.
Parents should know that this film has cartoon-style peril and violence with many threatened injuries but no one hurt, a parent-child confrontation, some potty humor, and schoolyard language.
Family discussion: How do you decide whether you are special? Is it more fun to follow directions or make something up? What parts of the LEGO world do you recognize?
If you like this, try: the “Toy Story” movies and “Robots” — and build something with LEGOs!
The Nut Job
Posted on January 16, 2014 at 6:00 pm
I miss the days when the economics of animation were so daunting that we were assured a certain level of quality. Yes, there were some low points that don’t even qualify for a Disney re-issue (I could find some affection for “Chicken Little” and “Treasure Planet,” but even I can’t find much to like in “The Black Cauldron” or “The Hunchback of Notre Dame”). Unfortunately, now that computer modeling makes animation more affordable, movies are getting made that don’t meet the minimum standards for a feature film.
“The Nut Job” is not an awful movie, nowhere near as bad as last year’s “Free Birds” or “Escape from Planet Earth.” It is just not very good, with sluggish pacing and a weak script that is both over- and under-written. One telling detail is the movie’s reliance on the 2012 Psy hit song “Gangnam Style.” When a two-year-old song is a movie’s high point, it’s in trouble. The thanks to the tourism bureau of South Korea in the credits is also an indication that entertainment and story-telling were not the sole purpose of the film.
The voice talent is fine, especially Maya Rudolph as a bulldog, but the visuals are not especially imaginative. As we see so often in sub-par animation, the focus (literally) seems to be on making every hair distinct rather than in finding a visual way to move the story. Very simple, basic fundamentals like a sense of place and the relationships of the various locations to each other are poorly handled and the 3D is entirely unnecessary.
If you want to see an entertaining and funny movie about backyard creatures trying to steal nuts, take a look at an old Disney “Chip ‘n’ Dale” cartoon. This has essentially the same idea, but weighed down with complications that, like the hyper-realism of each hair in the animals’ fur, overtakes the big picture.
A squirrel named Surly (Will Arnett) is a cynical loner with just one friend, a rat. They live in a city park. Surly has no interest in cooperating with the rest of the animals, who work together to gather food. Their leader is Raccoon (Liam Neeson), and when he warns that they do not have enough food, the responsible, loyal, and dedicated Andie (Katherine Heigl) and dim, overconfident Grayson (Brendan Fraser), regarded by all the animals as their hero, go off in search of food and find the same target already identified by Surly, a nut cart. When their competition over the cart results in disaster that destroys the animals’ entire store of food, Surly is banished. He is lost at first as he explores the city for the first time, but then he finds the nut shop behind the cart, which turns out to be a front for a group of bank robbers.
So there’s conflict between Surly and Andie, the animals and the humans, the squirrels and some scary-looking rats, the squirrels and the bulldog, the squirrels and various perilous spots, the robbers and each other, the robbers and the bank, and the only thing the kids enjoyed at the screening I attended was the bodily function humor and some slapstick. Then there’s the issue of looking out for oneself only versus being part of a group, which feels like it was thrown in at the last minute. Most of the movie is about two elaborate robberies but the one I minded was the loss of the time I spent watching it.
Parents should know that there is a good deal of cartoon-style peril and violence, including guns and scary rats, but no one gets badly hurt (stay through the credits to be reassured). There is some mild language and some crude potty humor. Human and animal characters spend most of the movie plotting thefts with little recognition that this could be wrong or hurting anyone.
Family discussion: Why did Surly and Andie have different ideas about being part of the community? Which characters trusted the wrong people or animals?
If you like this, try: “Over the Hedge”