Hotel Transylvania 3: Summer Vacation

Hotel Transylvania 3: Summer Vacation

Posted on July 12, 2018 at 5:40 pm

B
Lowest Recommended Age: Kindergarten - 3rd Grade
MPAA Rating: Rated PG for some action and rude humor
Profanity: Some schoolyard language
Alcohol/ Drugs: None
Violence/ Scariness: Comic, cartoon-style peril and violence, weapons, fire, attempted murder
Diversity Issues: A metaphorical theme of the movie
Date Released to Theaters: July 13, 2018
Date Released to DVD: October 8, 2018
Copyright 2018 Sony Pictures Animation

“You have to be carefully taught,” according to the Rodgers and Hammerstein song in “South Pacific.” Lt. Cable and Nelly Forbush sing ruefully about the prejudices drummed into them as children: “You’ve got to be taught before it’s too late/Before you are six or seven or eight/To hate all the people your relatives hate/You’ve got to be carefully taught.” That same sober theme is gently raised in the midst of the silliness and fun scares of this third in the animated “Hotel Transylvania” series about Drac, the doting-to-a-fault vampire dad voiced by Adam Sandler, his daughter Mavis (Selena Gomez), and her very mellow human husband, Johnny (Andy Samberg).

In just about every other respect, it’s pretty much the same movie as the first two, with slightly less clever monster jokes than the first one and a slightly more appealing storyline than the second one. Basically, Adam Sandler gets to do his two favorite things: speak in a “funny” accent voice and be lazy, preferably in an exotic location (IRS, check to see if he deducted a cruise as a business expense in developing this one).

Drac is still over-involved in his daughter’s life, worrying way too much when you consider that it is very difficult to harm a vampire. In case we were not clear on that, it is spelled out for us in the movie’s opening flashback, set in 1897, where vampire killer Van Helsing (Jim Gaffigan) is trying to destroy Drac. But he is no match for a vampire with nimbleness, courage, and imperviousness to any threat but garlic or a stake through the heart. The original story’s third weapon against vampires, a crucifix, is omitted in favor of cartoon secularism, as is the ickiness of subsisting on blood, the inconvenience of sleeping in sunlight, or the problem of marriage between someone with a human life span and someone who never ages. Any concerns about those issues are for Twihards.

These are cute and cuddly monsters, including the Invisible Man (David Spade), Frankenstein and his bride (Kevin James and Fran Drescher), Murray the Mummy (Keegan-Michael Key), and Mr. and Mrs. Wolfman (Steve Buscemi and Molly Shannon), with their dozens of wolf-babies. There’s nothing at all scary about them and they seem to spend all of their time hanging out with each other, first at the resort that gives the series its title and then at Mavis’ surprise vacation — a cruise ship with all the amenities. As Drac points out, that means it’s just his hotel except on a boat. There’s one other big difference, though. He’s not in charge, which is both worrying and a little bit relaxing as well. “You need a vacation from managing everyone else’s vacation,” Mavis tells him. And this will be a chance for them to have some quality time together as a family.

Drac insists that the cruise, headed for the Bermuda Triangle and the lost continent of Atlantis “is not the Love Boat.” But he is beginning to think he might be interesting in finding romance (the vampire term is “zing” for love at first sight), many years since the death of Mavis’ mother. He even tries to find someone he’d like to swipe right on on the monster version of Tinder, called Zinger. And then, he takes a look at the beautiful — and human — ship’s captain, Erika (Kathryn Hahn), and ZING.

There’s some “monsters gotta be monsters” stuff — “We’re here, we’re hairy, and it’s our right to be scary!” Though of course they’re not scary after all and as in the other films it is the humans and their unwillingness to look beyond the tentacles and fur to see that just like us, monsters love their families and don’t want to hurt anyone. There’s a lot of silly stuff, a cute dance number, some appealing if uninspired pop song selections (Bruno Mars, the Beach Boys, the ubiquitous Mr. Blue Sky), plus the one song no one can resist dancing to (I won’t spoil it, but the audience groans suggested no one was surprised). It turns out music does have charms to sooth the savage beast after all. And this movie has enough charm to soothe little savages on summer vacation for 90 minutes or so.

Parents should know that this movie has some schoolyard language, potty humor, peril and violence (including attempted murder of monsters and a character who is badly injured and ultimately almost entirely prosthetic).

Family discussion: Why did Van Helsing hate monsters? Which monster would you like to be and why?

If you like this, try: the first two films, Monster House, “Igor

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Incredibles 2

Incredibles 2

Posted on June 14, 2018 at 5:49 pm

A-
Lowest Recommended Age: Kindergarten - 3rd Grade
MPAA Rating: Rated PG for action sequences and some brief mild language
Profanity: Schoolyard language
Alcohol/ Drugs: None
Violence/ Scariness: Extended action/superhero peril and violence, gun, sad (offscreen) murder of parent
Diversity Issues: None
Date Released to Theaters: June 15, 2018
Date Released to DVD: November 5, 2018
Copyright Disney Pixar 2018

Brad Bird knows that all families are pretty incredible, and his movies about the family of superheroes reminds us that we know it, too. The writer/director of “The Incredibles” and this sequel, “Incredibles 2” (there’s a lot going on, so this title is streamlined and has no room for an extraneous “the”) took 14 years and it was worth the wait. We are glad to be back in the world of the super-family, though for many of us, our favorite character is still super-suit designer Edna Mode (voiced by Bird himself). Edna’s comment is really the theme of the film: “Parenting done right is really a heroic act.”

One of the best ideas in the original was giving each family member a heightened version of the real-life superpowers we see in all families. The dad is Bob, otherwise known as super-strong Mr. Incredible (Craig T. Nelson). Mom is Helen, who is always stretched in a million different directions, Elastigirl (Holly Hunter). The middle school daughter, Violet (Sarah Vowell) is invisible, because middle school is such a fraught time that many kids either think they are invisible or wish they were. And her younger brother is super-fast Dash (Huck Milner). There’s also a baby named Jack-Jack, who in the last film had not developed any superpowers yet, but in this sequel makes up for lost time with at least 17 of them.

We begin right where the first film left off. Even though they just saved the day, superheroes are still outlawed by a government that considers them too much of a risk. Violet has finally been noticed by the boy she likes. And a new super-villain, The Underminer, has attacked the town.

The Incredibles save the day, but it does not change the law. “Politicians don’t understand people who do good only because they think it right.” Even the secret government program to keep the superheroes saving the day is shut down.  The Incredible family has no place to go…until a pair of siblings who head up a huge corporation make them an offer.  They think they can persuade the government to change the law, but first Elastigirl — and only Elastigirl — will have to come with them.

The movie’s funniest moments come when Bob is left behind with the kids.  He may be able to lift a locomotive, but new math is an entirely different problem.  And Jack Jack’s new powers start popping out like jumping beans.  The concept of baby-proofing a house takes on a whole new meaning when it isn’t the baby you’re trying to protect. It’s the house that needs protection when a baby has laser beam eyes, invisibility, and a mode that can only be described as fire-breathing gorgon.  He may not be able to walk or talk yet, but a raccoon who won’t leave the yard will be very sorry about making that mistake.

Meanwhile, Elastigirl is happy to be using her powers again, but she misses her family, even when she gets a call about Dash’s missing shoes in the middle of a mission.  Of course a new villain is going to challenge the whole family, their old friend Frozone (Samuel L. Jackson) and a delightful new group of oddball superheroes. The action scenes are as thrillingly staged as all of the “Fast/Furious” films put together, the mid-century-inspired production design is sensationally sleek and space age, especially the house the Incredibles borrow. Some serious and timely issues are touched on lightly but meaningfully, including immigration, how to respond to laws you consider unfair, opting for “ease over quality” in consumer goods, and spending too much time on screens with not enough connection to people. The villain, once revealed, seems a bit patched together, however, as though there was some re-writing done over the 14-year gestation period that never got fully resolved. But there is plenty of comedy and lots of heart in a story that truly is incredible.  Please don’t make us wait until 14 years for the next one.

DVD Extras include concept art and a new feature about Edna Mode.

NOTE: Pixar continues its track record for making parents in the audience cry, this time even before the feature begins. The short cartoon before “Incredibles 2” is the story of a mom who just is not ready for her son to grow up and, I’m sorry, I must have something in my eye.

Parents should know that this movie includes an offscreen murder of a parent with a gun, extended action/superhero peril and violence, characters mesmerized and forced to obey, and brief mild language.

Family discussion:  Which is more important, selling or designing? When should you be a cynic and when should you be a believer?  What are your core beliefs?

If you like this, try: “The Incredibles,” “Monsters vs. Aliens,” “Inside Out,” and “Sky High”

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Isle of Dogs

Isle of Dogs

Posted on March 22, 2018 at 5:33 pm

B +
Lowest Recommended Age: High School
MPAA Rating: Rated PG-13 for thematic elements and some violent images
Profanity: Some strong language
Alcohol/ Drugs: None
Violence/ Scariness: Dog and human peril and violence, murder, sad death of parents, child injured badly, medical procedures, starvation and disease, skeletons, some disturbing images
Diversity Issues: Issue of white American as the only one who takes on the villain
Date Released to Theaters: March 23, 2018
Date Released to DVD: July 16, 2018
Copyright 20th Century Fox 2018

Say the title out loud. “Isle of Dogs” = “I love dogs,” get it? Even a three-word title of a Wes Anderson movie is a bit of a puzzle box. Anderson is the Joseph Cornell of filmmakers, with every item on screen and even those tucked away and not seen by the audience, every note on the soundtrack, meticulously assembled. It makes sense that this film is set in a fictional version of Japan because his movies are cinematic Bento boxes. Anderson’s most ardent fans love the understated drama and endless unpacking of detail and think there is a deeper meaning in the weirdness. I am less persuaded that there is always a deeper meaning, but I enjoy the singular peculiarity of his storytelling.

Like my favorite Anderson movie, “Fantastic Mr. Fox,” “Isle of Dogs” is a story of talking animals told via stop-motion animation. This is a vastly more ambitious undertaking, based on an original story by Anderson with frequent collaborators Roman Coppola, Jason Schwartzman, and Kunichi Nomura, who appeared in Anderson’s “Grand Budapest Hotel” and also served as a casting director for this film and provided the voice for the movie’s bad guy.

Anderson’s intricate vision makes for exceptional world-building, and in this film he imagines a Japan 20 years from now, when political and environmental decay has progressed significantly but is seen as normal by the population. Mayor Kobayashi (Nomura) is the mayor of the (fictional) coastal metropolis called Megasaki City. He persuades the population that dogs are a pestilential force, bringing disease (“snout fever” and “dog flu”) to the city, and decrees that all dogs, even the beloved guard dog of his adopted son Atari (Koyu Rankin), must be deported to a nearby “island” made up of trash. The starving, diseased, homesick dogs have a bleak existence on the island. And then Atari arrives, in an airplane, in search of his beloved Spots. And a teenage American exchange student (Greta Gerwig) starts to investigate, with one of those old-school evidence walls covered with clues linked together by red yarn. Anderson’s worst and most tone-deaf choice here is to make the one white, American human character the only one with any integrity and ability to resolve the crimes against the dogs and community.

As in all Anderson films, the human characters deliver their lines in deadpan even while experiencing cataclysmic loss, urgent action, or ardent emotion. What some audiences experience as whimsical, charming, and witty, others see as cloying, twee, or claustrophobic. But he is a marvel at world-building and here, as in “Fantastic Mr. Fox,” where the entire film is essentially a set of dollhouses over which he has complete control, he is at his best. The settings in this film are an astonishing achievement of imagination and skill, from the tears welling up in the eyes of a dog to the intricacy of the machinery. If he ever devotes as much attention to the humanity of his characters as he does to the brilliance of his props, he will no longer be admired primarily for his singular aesthetic vision but for his characters and stories.

Parents should know that this film includes diseased and starving animals, children and adults in peril, murder, death of parents, child injured badly, dog fights with animals injured and killed, skeletons, some disturbing images including surgery, brief strong language, and references to dogs mating.

Family discussion: Why were the dogs banned? Why was it important for them to vote on big decisions?

If you like this, try: “Fantastic Mr. Fox” and “Kubo and the Two Strings”

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Animation DVD/Blu-Ray movie review Talking animals
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