Toy Story 3

Posted on November 1, 2010 at 8:00 am

Lowest Recommended Age:	Kindergarten - 3rd Grade
MPAA Rating:	G
Profanity:	Some brief schoolyard language
Alcohol/ Drugs:	None
Violence/ Scariness:	Characters in frequent peril, tense confrontations, bully, dealing with loss
Diversity Issues:	None
Date Released to Theaters:	June 18, 2010
Date Released to DVD:	November 2, 2010
Amazon.com ASIN:	B00275EHJG

You won’t just forget you are watching an animated movie; you will forget you are watching a movie. That is how completely we enter this wonderful world, and how reluctantly we leave it.

“Toy Story 3” has more honest, acutely observed, and engaging characters, a more authentic understanding of the poignant complexities of the human condition, bigger laughs, and better action than most live-action films and is close to being as authentic and involving as real life. You have to remind yourself, a little sadly, that these are not toys you’ve played with and people you know. It is by any standard and in any category a masterpiece.

It was just 15 years ago that Pixar released the first “Toy Story” and changed the course of movies forever. They made it about toys because the limited motion and smooth, shiny surfaces of plastic made it possible to hide the limitations of the technology of the time. And as they have with every film they produced, they made the story and the characters come first. It was the writing — and the voice performances by Tim Allen and Tom Hanks and the rest of the cast — that made the movie come to life. Ten record-breaking, genre-shattering films later, Pixar returns to the story of Buzz and Woody with all of the humor and action and even more heart. The early works were kids’ movies adults could enjoy but as they showed with “Up,” they are now making films for grown-ups that kids will appreciate.

As with “Up,” “Toy Story 3” begins with a brief flashback sequence filled with a breathtaking mastery of telling, evocative detail. Once there was a time when children played with toys powered by imagination rather than batteries. We go back in time to see Andy playing out a fabulously inventive adventure and the buoyant energy of his vision, acting rather than re-enacting, is jubilant with the pure pleasure of making things up. (This must be what it is like to work at Pixar.)

But time has gone by. Andy is packing for college and the only way the toys who love him can get his attention is to hide his cell phone in the toy box. He has to clear out his room. Where will the toys go?

Through a mix-up, they find themselves at a day care center where they are at first warmly welcomed by the toys who live there, led by Lots-o’-Huggin’ Bear (voice of Ned Beatty). It seems perfect; with new children coming every year they will never be outgrown or neglected. “No owners means no heartbreak.” They have a chance to do what they love — making kids happy.

But things begin to go very badly. They are placed with children who are too young to make up stories for them or care for them. When Buzz Lightyear protests, he is rebooted, restored to his original programming. Once again, Woody must come to the rescue, and once again, they must decide what their purpose is and where their loyalties are.

The first movie came out in 1995, but the toys were intentionally retro, more familiar to the parents in the audience than the children. The little green soldiers, the barrel of monkeys, the Potatoheads, the slinky dog, and the cowboy were old school. Part of the poignancy of the first film was the arrival of the first battery-powered, space-age toy, Buzz Lightyear. And part of the charm of the second film was its theme about what value means — is it better to be in mint condition forever and sold on eBay as a collectible or to be played with and loved, knowing that childhood is brief and the person you are devoted to will leave?

The new characters in this film are perfectly rendered replicas of toybox classics (bet you grown-ups can’t get through the movie without saying to the person next to you, “I had that!”) and originals that fit in so perfectly you can almost remember seeing the ads and humming the jingle. Barbie (voice of “The Little Mermaid’s” Jodi Benson) and Ken (voice of Michael Keaton) show some unsuspected depth (her political views are surprisingly well-founded) and he has some unanticipated growth opportunities. His wardrobe provides some of the movie’s most delicious moments, especially when he reverses the usual movie convention to put on a montage try-on session. I also loved Mr. Pricklepants (voice of Timothy Dalton), a Vincent Crummles-style thespian (a stuffed and stuffy hedgehog) who reminds Woody about the pleasures of play, a theme that gently deepens and expands, so entertainingly you don’t realize how stirring it becomes.

All of this is done with wit and style and action-packed chase scenes, and then it is brilliantly, perfectly resolved, showing us that the time the toys spent with Andy helped to make him who he is. I dare you not to cry. It’s a happy ending that like all great movies makes us think more wisely about our own sense of purpose and connection. And it reminds us, too, of the pleasures of imagination by showing us what it can achieve.

Jonah Hex

Posted on October 12, 2010 at 8:00 am

Josh Brolin plays Jonah Hex, a man transformed by loss in a fantasy western set just after the Civil War, based on the series of comics and graphic novels. The war is over in the United States, but it continues to haunt Hex, who rides the West as a gun for hire still wearing his Confederate Uniform.

Hex has no friends, at least not any who are alive. He has one enemy, Quentin Turnbull (John Malkovich), who made Hex watch as he ordered his men to make Hex suffer as he had, to watch as he loses everything he loves and has to live on, scarred inside and out. After Turnbull burns down Hex’s home with his wife and child inside, he orders his men to apply a fiery brand to Hex’s face, burning through the skin to the jawbone. “Every day that mark will remind you of the man who took everything you had.”

But that physically and psychologically searing experience gave Hex something, too. “It left me with the curse of talking to the other side,” he tells us. And so he rides, feeling nothing but vengeance, a gunman for hire, haunted by the dead and answerable to no one but himself.

Turnbull steals the most powerful weapon ever made, a sort of pre-industrial age H-bomb, And President Grant (Aidan Quinn) orders Lieutenant Grass (Will Arnett) to get Hex to find Turnbull and stop his plan to bring down the United States government as it reaches its 100th birthday.

It has a trim just-over-80 minutes running time, so I’m guessing there will be a future DVD release with a lot of deleted scenes. But the lean story-telling works well for its taciturn characters and spare settings, beautifully presented by cinematographer Mitchell Amundsen, and well scored by Marco Beltrami and John Powell with assistance from Mastodon. The blend of history and fantasy, both tweaking and saluting the conventions of both genres, works better than the clumsy references to current concerns like terrorism and tea party anti-government sentiment. Brolin is as at home in the role as he is in the saddle. As (of course) a prostitute with a mean right hook and, at least for Hex, a heart of gold, Megan Fox has to learn that a husky voice and a smoldering look are not enough to create a character. On the other hand, in that wasp-waisted corset (reportedly a Scarlett O’Hara-size 18 inches in diameter) she should get an award for staying upright.

How to Train Your Dragon

Posted on October 11, 2010 at 8:03 am

A-

Lowest Recommended Age:	4th - 6th Grades
MPAA Rating:	Rated PG for sequences of intense action and some scary images, and brief mild language
Profanity:	Brief schoolyard language, reference to "breastplates"
Alcohol/ Drugs:	None
Violence/ Scariness:	Fantasy action and violence, characters in peril, scary monsters with lots of teeth, fire-breathing dragons
Diversity Issues:	Diverse characters and a strength of the film is the portrayal of three strong, capable, brave, disabled characters
Date Released to Theaters:	March 26, 2010
Date Released to DVD:	October 12, 2010
Amazon.com ASIN:	B002ZG97YM

The sheer exhilaration of flying along with our hero on the back of his new best friend, a dragon, is exceeded only by the exhilaration of top-notch film-making with a witty and heartwarming script, endearing characters, dazzling visuals, and a story worth cheering for. The movie is in stunning 3D but it is the 4th dimension — heart — where it truly excels.

Hiccup (voice of Jay Baruschel) is a puny misfit in his Viking village of Burke located “north of freezing to death,” where burly warriors battle dragons. His father, Stoick (voice of Gerard Butler), a mountain of a man and the leader of the village, is confused and embarrassed by his son. Because he thinks Hiccup is not strong and brave enough to battle with fire-breathing dragons, Stoick has asked his closest friend Gobber (voice of Craig Ferguson) to take him as an apprentice. Gobber, who lost a hand and a leg to dragons in battle, is now in charge of forging weapons and training the next generation of dragon-fighters.

Hiccup is something of an inventor and when a catapult he designs hits the fiercest and most terrifying breed of dragon, the Night Fury, he cautiously tracks it down. He discovers that it has been wounded and cannot fly. And he discovers that it is not fierce or violent but as scared of him as he is of it. He names the dragon “Toothless” and creates a prosthetic flap for its tail. As they get to know one another, they learn that Toothless can only fly with Hiccup’s help. Meanwhile, Hiccup is accepted into Gobber’s training program. So his days are spent learning to fight many different dragons and his nights are spent learning to tame — and be tamed — by one.

The screenplay by directors Dean DeBlois and Chris Sanders and others is exceptionally literate and witty (Night Furies are described as “the unholy offspring of lightning and death”) and the visuals are intricate and imaginative. The stirring score by John Powell and first-rate voice work by an outstanding cast bring energy and spirit to the story. DeBlois and Sanders make excellent use of the 3D, not just in the soaring and vertiginous flying scenes and the battles but in the use of space and ability to make us feel included in the quietest moments. Those moments have a delicacy, a tenderness, even a grace that gives this film a power that resonates as only the best movies can.

The Karate Kid

Posted on October 4, 2010 at 8:00 am

B+

Lowest Recommended Age:	4th - 6th Grades
MPAA Rating:	Rated PG for bullying, martial arts action violence, and some mild language
Profanity:	Brief mild language
Alcohol/ Drugs:	Character gets drunk
Violence/ Scariness:	Martial arts action and violence, some graphic
Diversity Issues:	A theme of the movie
Date Released to Theaters:	June 11, 2010
Date Released to DVD:	October 5, 2010
Amazon.com ASIN:	B002ZG99CC

“Play the pauses,” the stern, English-accented music teacher tells his violin student (Wenwen Han as Meiying). Watching, and clearly paying close attention, is Dre (Jaden Smith, son of Will Smith and Jada Pinkett Smith), just arrived in China from Detroit, where he has left behind everything he knows and cares about. Young Smith himself was paying attention, too. Watch him hold the screen even when his character is not doing anything special. Smith knows better than many adult actors how to play the pauses. In his first starring role, his deft and engaging work is the heart of the film.

The first “Karate Kid,” released in 1984, starred Ralph Macchio as a teenager who gets martial arts lessons from a handyman (Pat Morita) and takes on the guys who have been bullying him at a big climactic karate match. There were two sequels with Macchio and then “The Next Karate Kid” starring future Oscar-winner Hilary Swank. In this version, Smith plays a 12-year-old who moves to China when his mother (Taraji P. Henson) is transferred to Beijing. At first he feels lost. Bullies attack him, leaving him humiliated and angry. When the maintenance man, Mr. Han (Jackie Chan) comes to his rescue, Dre asks for lessons. And when Mr. Han commits to have Dre compete in the kung fu championship in just three months, it’s time to cue up the training montage and zoom in on the Great Wall.

Even if they had not already made this movie four times, there would not be any surprises in the story. But the movie can still surprise us with its specificity of choices and the connections of its characters. Chan, who has too often been ill-served in his American movies, is well-suited to the role of the taciturn mentor. His one fight scene is as electrifying as ever and should bring a new generation of viewers to his Chinese classics. Smith has his father’s confidence and charm on screen. And it is a pleasure to see the match of the dedicated, courageous young man and the wise teacher work as well for the performers as it does for the characters.

Iron Man 2

Posted on September 28, 2010 at 8:00 am

Let’s begin with a recap of Iron Man 1, not so much the plot (a man puts on an iron suit and beats the bad guys) as what it was that made it so successful, widely considered one of the best comic book adaptations ever.

First was Robert Downey, Jr. It’s almost impossible to remember now that at one time it was almost impossible to imagine that he would overcome his demons to become a star as big as his talent. “Iron Man” was the movie that established him as a major movie star in part because the role was perfectly designed for his slightly strung-out, self-deprecating surface and ferociously intelligent core. He was a surprise. And so was his character — Iron Man was not an established icon like Superman, Spider-Man, or Batman. The freshness added a lot to the movie’s appeal.

So did the mechanical special effects. Director Jon Favreau, previously best known as a director for “Swingers” and “Elf,” turned out to have the heart of a fan-boy. He minimized the computer effects. He got the details right and hit the sweet spot between dedication and irreverence.

In part 2, as often happens with sequels, pressure to repeat and the pressure make everything bigger can throw things off balance. We can’t be surprised the same way; this time we come in with expectations so high they’re almost impossible to clear. And so what we have is an entertaining summer movie that feels more like a bridge to Part 3 than a repeat of what was best about Part 1 with some organic additions. It’s missing the exuberance of the original. There was the audience’s in the pure fun of the film, based on Tony Stark’s in the physical exhilaration of flying, the mental exhilaration of finding a task to engage his mind and spirit so entirely, and the spiritual exhilaration of meaningful and sustaining engagement with the world.

A strong beginning shows Tony Stark (Downey) as something between an evangelist and a rock star, bragging that he has “privatized peace” and refusing to turn over to the US government the secret of his “weapon.” His suit may be made of metal, but his body is not and the same substance which is keeping him alive is poisoning his blood. Stark’s recklessness and impetuousness is escalating and his assurance that he can keep the world’s dangers under control increasingly sounds more than arrogant — it seems delusional. So this is not a good time for him to get some competition. Mickey Rourke shows up as a Russian with a grudge — and his own metal suit which comes with a deadly accessory. Shooting out from the wrists are electrified whips that can slice a car like a loaf of bread. Nick Fury (Samuel L. Jackson) shows up as the leader of SHIELD, a collection of highly talented and trained operatives, to invite Stark to join. Justin Hammer (Sam Rockwell) shows up as Stark’s weapons manufacturer rival. Don Cheadle takes over the role of Stark’s friend Lt. Col. James ‘Rhodey’ Rhodes. Garry Shandling shows up as a Senator who wants Stark to turn over his technology to the US government. Scarlett Johansson shows up as a very beautiful and capable new employee who turns out to have some additional talents and loyalties. Like Hit-Girl, she mows down a hallway-full of bad guys single-handedly. Her curls bounce enticingly and her catsuit fit is even moreseo.

That’s enough for about four movies, and so the movie sags under the weight of all of these characters and exposition before picking up for one last big action scene. Those who wait through all of the credits will get a glimpse of what is in store for the next film. I hope between now and then they remember that less is more.