Jack the Giant Slayer

Posted on February 28, 2013 at 6:00 pm

B+

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for intense scenes of fantasy action violence, some frightening images, and brief language
Profanity:	Brief strong language
Alcohol/ Drugs:	None
Violence/ Scariness:	Extended fantasy and action violence, characters in peril, injured, and killed, some graphic and disturbing images, monsters
Diversity Issues:	Class issues, strong female character
Date Released to Theaters:	March 1, 2013
Date Released to DVD:	June 17, 2013
Amazon.com ASIN:	B00CFA222M

More action, more romance, more spectacle, a brave princess who wears armor and does not wait to be rescued, and lots more giants — this is a grand bedtime story 21st century-style. As a boy, Jack (“Warm Bodies” Nicholas Hoult) loved to hear the stories about the time that giants ruled the earth and the magical crown that keeps them confined to their home above the clouds. It turns out they were more than stories.

As a young man, Jack lives with his uncle, who sends him to town to sell their horse. The movie Jack is a bit less credulous than the one in the story. He does end up with magic beans, but not because he believes a story about them. He is given them by a man desperate to keep them from being used to bring the giants back to earth.

Jack is warned not to let the beans anywhere near water, but you know what happens. Pretty soon a beanstalk grows five miles up into the sky, taking Jack’s house with it. And, since Princess Isabelle (Eleanor Tomlinson) happened to stop by Jack’s house to get out of the rain, she is up the beanstalk, too. The king sends a rescue squad after her led by Roderick, his highest-ranking courtier and — despite her objections — Isabelle’s fiancé. Also making the climb are a group of soldiers led by Elmont (a gallant but under-used Ewan McGregor), and a volunteer — Jack.

And they find a big community of giants — all male, which may explain some of their anger issues as well as a disturbing lack of attention to personal hygiene. Production designer Gavin Bocquet and costume designer Joanna Johnston have created an eye-filling world that feels fairy tale fantastic but not musty or old-fashioned. Aside from a few clunkers in the dialog (in no fairy tale is it ever appropriate for a character to say “okay” or “pissed off”), it remains inventive and entertaining. The giants are imaginatively designed, with the leader a motion capture performance by Bill Nighy (as at least one of the two heads). Tucci clearly enjoys himself as the ruthlessly ambitious courtier and it is a nice twist to have the real bad guy be someone more close to home than the giants. Jack and Isabelle have a sweet and almost immediate connection, wasting little time on the usual back-and-forth of learning to trust themselves and each other. And that makes the idea of a happily ever after ending even more satisfying.

Parents should know that this movie includes a great deal of fantasy/action violence, with characters injured and killed and some scary monsters and disturbing images like skeletons and skulls and an eye that pops out — plus some giant nose-picking. There is also some gross/crude humor and brief strong language.

Family discussion: What is Roderick’s plan? How does he show that he cannot be trusted? What does Jack to to earn the respect of Elmont and Isabelle? What does Roderick mean by saying that they all think of themselves as the hero of the story?

If you like this, try: Disney’s “Mickey and the Beanstalk” and “A Knight’s Tale”

Snitch

Posted on February 21, 2013 at 6:00 pm

“Snitch” tries to be three things at once, but it doesn’t do any of them very well.

First, it wants to be a drama about fathers and sons. John Matthews (Dwayne “The Rock” Johnson) is a good man who who risks everything, even his own life and the lives of his family, to save his teenaged son from a ten-year prison sentence. John owns a construction company that is solid but struggling a bit because of the economy. His son is Jason (Rafi Gavron), who lives with his mother, John’s first wife (Melina Kanakaredes), and uses her last name because he is angry at his father for leaving them. Jason makes a foolish mistake and agrees to accept a shipment of some pills from a friend. It is a trap.

Three of the key characters in the story make big sacrifices to help their sons, but the theme is heavy-handed and the dialog so clunky it feels like an after-school special.

Second, it wants to be an action film, because John finds that the only way to get Jason out of prison in less than ten years is to deliver an important arrest to the federal prosecutor. Jason refuses to entrap any of his friends (as he was entrapped by the friend who sent him the drugs), even to reduce his sentence. So, John decides to go undercover in a very high risk sting operation involving criminals at the top of an international drug cartel. He gets badly beat up the first time he tries to make a connection to a drug dealer. But with the help of an employee who is now determined to go straight after two prison terms for narcotics distribution, he is introduced to Malik (Michael Williamson), a typical movie drug dealer — black, gangsta, and living in a house with almost no furniture and loud rap music. John has no street cred whatsoever. But he does have big semis and a legitimate business to give him good cover for transporting big, heavy bags in them. And even the suspicious Malik understands that the economy is lousy, and is persuaded that a law-abiding citizen like John could be desperate enough to fill some of those cement bags with cocaine.

So there are some shoot-outs and chases, but they are poorly staged and uninvolving. So as much as the movie tries to make us believe he is just a good guy from the suburbs who does not know anything about guns and criminals, this is The Rock. We never feel the sense of peril that would create some tension, and we miss the expected sense of satisfaction when no cans of whup-ass are opened.

Third, the movie tries to be an issue film, taking on the unintended consequences of the mandatory minimum sentences legislation that was supposed to reduce the unfairness in assigning penalties for drug-related offenses and get tough on drugs but instead created a whole new level of unfairness and got tough only on low-level users. When judges no longer have discretion to assign prison terms based on individual circumstances, the only mitigating factors are the defendants’ ability and willingness to turn over bigger fish. Susan Sarandon, once again stuck in a role far beneath her, plays the ambitious US Attorney and political candidate who is so over-the-top that it undermines the institutional pervasiveness of the problem the filmmakers are trying to convey. They do more to make their point with a credit-sequence note about the impact of mandatory minimums than they accomplish through the film. And the recent documentary “The House I Live In” addresses the issue far more compellingly.

It’s a triple disappointment. But most of all, it is just dull.

Parents should know that this film includes characters are drug dealers, drinking, smoking, drug use, violence including knives, fights, shoot-outs, and chases with characters injured and killed, and some strong language.

Family discussion: How did being a father of a son change the decisions made by three characters in the movie? Why did John say his son taught him about character and integrity? Do mandatory minimum sentencing laws do what they were intended to do?

If you like this, try: “The House I Live in” and “Narc”

Escape from Planet Earth

Posted on February 15, 2013 at 11:15 pm

A new animation studio called Rainmaker has produced its first film, “Escape from Planet Earth,” a story of sibling rivalry and aliens. It almost works as an amiable, if derivative time-waster for kids with a few jokes for the grown-ups, but too much is unsettlingly off-base.

On the planet Baab, where the inhabitants are blue and nearly bald, Scorch Supernova (Brendan Fraser) is a big, brash, brave, impulsive hero. His Buzz-Lightyear knock-off spacesuit is festooned with NASCAR-style sponsor patches. In between missions, he promotes his cereal brand, Scorchies.

His brother Gary Supernova (Rob Corddry) is the brilliant but careful, brilliant mission control specialist who makes sure Scorch knows what he has to do, where he has to be, and how to get back home. His coffee mug says, “I (HEART) Safety.” Gary tells Scorch to proceed with extreme caution and Scorch responds that he will proceed with style.

Scorch always calls Gary his “little brother” and Gary irritably reminds Scorch that he may be smaller but he is actually older. Each feels unappreciated by the other. And each secretly thinks his contribution is the more important one.

They complete a successful mission rescuing kidnapped Baab-ian babies from a planet inhabited by creatures with big teeth who thought of the babies as a delicacy. But it put such a strain on their working relationship that they split up, just as Scorch is about to undertake his most dangerous mission of all — a trip to “the dark planet” of earth, “the only world in which evolution goes in reverse.” More than 100 aliens have landed there and none has made it home. Scorch, insisting he can do it on his own, arrives on earth and is immediately captured. Gary goes after him, and he gets captured, too. And of course they are taken to Area 51.

They are held there by General Shanker (William Shatner), where they are forced to give up their inventions — like social networking, cell phones, computer animation, and search engines — so that the general can finance some big contraption he says is to help preserve peace. The brothers will have to learn to work together and to appreciate each other if they are to get back home. And they will need the help of Gary’s wife Kira (Sarah Jessica Parker) and son.

There are a couple of good jokes and some of the characters are well-designed and voiced, especially Jane Lynch as a one-eyed alien who appears to be made out of lobster shells. The prison-like setting where Scorch, Gary, and the other aliens are kept and much of the humor is reminiscent of films like “Paul,” “Monsters, Inc.” and “Monsters vs. Aliens.” But the movie slides from the unimaginative to the weirdly creepy when the aliens are told that if they work they will be set free in a chillingly insensitive echo of the infamous Auschwitz gate. When Gary’s boss (Jessica Alba) repeatedly insults Kira for being a stay-at-home mother, it falls flat. So do the jokes about Gary’s being a nerd, making fun of him for being smart. It’s one thing to have all the aliens breathe air and speak English, but having them travel back and forth between planets in less time than it takes to fly from New York to Chicago and have characters show up on Baab when they were left behind on earth three days earlier feels less like sci-fi than laziness.

Parents should know that this movie includes extended peril and action and some scary-looking aliens, some potty humor, and a parent getting crushed by a UFO. There are some oddly insensitive jokes about nerds not having any friends and stay-at-home mothers not being capable.

Family discussion: Why was it so hard for Gary And Scorch to be nice to each other?

If you like this, try: “Monsters vs. Aliens” and “Monsters, Inc.”

A Good Day to Die Hard

Posted on February 13, 2013 at 6:00 pm

Chases. Explosions. Guns. Crashes. Wisecracks. Punches. Repeat. Repeat again. Yes, it’s the fifth “Die Hard” movie.

Bruce Willis returns as cop John McClane and this time the setting is Moscow. Though he repeatedly says throughout the film’s zippy 90 minutes that he is on vacation, McClane is in Russia to help his estranged son Jack (Australian actor Jai Courtney of “Spartacus”), who has been arrested for attempted murder. It turns out that Jack, who uses his mother’s last name and has not spoken to John in years, is actually under cover for the CIA. Both the Russians and the Americans want a “file” that has been hidden away by a man named Komorov (Sebastian Koch), who is about to go on trial. It contains incriminating information about a high-ranking Russian official. He wants it destroyed. The Americans want to use it to discredit him. The stakes are very high. The chases are very fast. The explosions are very big. The repartee is….not great, but thankfully minimal.

Unlike his “Expendables” colleagues Arnold Schwarzenegger and Sylvester Stallone, whose 2013 action film releases managed to be both lackluster and overheated, with so much work done on their faces they looked like bad copies of Madame Tussaud’s replicas of themselves, Willis is every bit as good and better than he was in the first “Die Hard” film a quarter century ago. Regrettably, we get only a glimpse of the fabulous Mary Elizabeth Winstead, briefly returning as John’s daughter, Lucy, to drop him at the airport and admonish him to behave (as if!). But Courtney is well-matched to Willis, with their bullet heads, truculent glares, and cocky pleasure in their own outrageous badassery. John may pause for a brief “Cat’s in the Cradle” reverie with Komorov in between dodging bullets, as they ruefully reflect on their failures as fathers, but shortly afterward, as John and Jack awkwardly observe a tender parent-child reunion, they agree that nothing like that would work for them. “We’re not a hugging family,” Jack says. “Damn straight,” agrees his father.

The locations are exotic, and the chase scene through the streets of Moscow is wilder than any since the last “Die Hard.” The titles may be getting increasingly labored but Willis and the stunts make it work.

Parents should know that this film has constant peril and violence. Many characters are injured and killed, and there is a lot of shooting, punching, chases and explosions, some graphic and disturbing images, and strong language.

Family discussion: How are John and Jack alike? Why was Jack so angry with John? What changed his mind?

If you like this, try: the other “Die Hard” movies, especially the first and third

Hansel & Gretel: Witch Hunters

Posted on January 24, 2013 at 11:52 pm

Once upon a time, a brother and sister were left in the woods by their father. They came upon a house made of candy that turned out to be owned by a witch, who used it to lure children and then fatten them up so she could eat them. But the children outwitted the witch by shoving her in the oven. The classic Grimm story is quickly dispatched in the first few moments of this fanboy fantasy so that we can get to the good stuff. Hansel and Gretel, it seems, developed a taste for killing witches. They grow up to be Jeremy Renner and Gemma Arterton, who haul their arsenal from town to town as something between bounty hunters, exorcists, and hitmen. And “Ghostbusters.” It’s got special effects and some rocking fight scenes, and its cheeky anachronisms and brief running time (under 90 minutes) mean that it is over before the audience gets a chance to get tired of it.

There’s a lot of winking at each other and the audience. A local fan of the duo (he has a 14th century scrapbook filled with their pre-Gutenberg news clippings) offers Gretel some porridge and assures her that it is not too hot or too cold but just right. The local milkman delivers milk in bottles with drawings of missing children tied to them. And the siblings have some Batman-worthy gear, including a device that draws electricity from a hand-crank, useful for zapping witches or, in a pinch, a bit of defibrillation.

Hansel and Gretel are hired by the mayor of a town where nearly a dozen children are missing. The local sheriff (“Fargo’s” Peter Stormare) does not trust them and, more important, wants to stay in charge. It does not help when Hansel tells the sheriff that the woman he is about to burn as a witch is not, and when Gretel head-butts him and breaks his nose. He sends his own search party into the forest, but they are killed by a witch (Famke Janessen). So, it is up to Hansel and Gretel after all, and it turns out that they have just three days before a “blood moon” will rise that gives the witches a rare chance to make themselves more powerful and much harder to kill.

The production design by Stephen Scott is imaginative and nicely varied, avoiding the trap of looking too Disney-fied. The witches are eerily insect-like in their motions and sounds; there are moments when it feels like they are slightly more human-looking Predators. Arterton and Renner look sensational in their tight, laced-up leather and handle the action scenes with a lot of verve. It is silly, but it is entertaining.

Parents should know that the movie has intense and extensive fantasy violence with some graphic and disturbing images, including a medieval version of assault weapons, crossbows, knives, and a lot of throwing people around. Human and witch characters are injured and killed. Characters drink and use strong language and there is brief female rear nudity and a non-explicit sexual situation.

Family discussion: Why didn’t Hansel want to talk about his parents? Why did Gretel want to talk about them? Why didn’t the sheriff trust them?

If you like this, try: “Stardust” and “Dragonslayer”