Writer/director Greta Gerwig cast her “Lady Bird” star Saoirse Ronan as Jo in this latest version of the beloved classic, Little Women, based on the real-life family of author Louisa May Alcott. The casting is exciting: Timothee Chalamet as Laurie, Laura Dern as Marmee, and Meryl Streep as Aunt March.
Extended fantasy/action peril and violence, attempted murder, near-drowning, discussion of sad deaths of parents
Issue of female autonomy and power
Date Released to Theaters:
May 24, 2019
Date Released to DVD:
September 16, 2019
It is a bit of a puzzle that a director known for dynamic action doing a live action remake of a musical animated film that was exceptionally lively has somehow produced a movie that seems bogged down, even static. The new “Aladdin” from co-writer/director Guy Ritchie (“Lock, Stock, and Two Smoking Barrels,” “Sherlock Holmes”) is colorful and tuneful, but for much of its just over two hours running time it lumbers along, despite its best efforts to entertain.
The original Disney animated version of “Aladdin” is one of the studio’s all-time best thanks to a wonderfully melodic score, with songs by Alan Mencken and Howard Ashman and possibly the all-time greatest animated movie voice performance in history, Robin Williams as the Genie. The mercurial Williams found his ultimate mode of presentation with the help of Disney’s top animators as the magical, infinitely malleable, cartoon character, instantly creating characters ranging from Ed Sullivan, William F. Buckley, and Jack Nicholson to Peter Lorre and a bunch of zombies, always retaining the essential heart and humor that made a fantasy come alive. (The closest Williams ever came to replicating avalanche of portrayals might be his innumerable improvisations with a shawl on “Inside the Actor’s Studio.”) No live action version, even with the help of the latest CGI technology and the powerhouse charisma of Will Smith, can match the kaleidoscopic imagination of the 1992 Genie.
This version does make some substantial improvements in the story of the “street rat” who loves a princess and then, with the help of the genie in a magical lamp, pretends to be a prince so he can court her. Disney says it has the most diverse cast in the studio’s history, and it is great to see all of the lead roles performed by people whose ethnicity matches their characters, with Egyptian-born Mena Massoud as Aladdin and Naomi Scott, of British and Indian heritage, as Jasmine. The locations are authentic as well. Filmed in Jordan, and with the always-outstanding work of the Disney production designers, the settings are splendid, and the classic songs still sound fresh and hummable, especially “Prince Ali” and “A Whole New World.” The film should really be called “Aladdin and Jasmine” because it gives the princess a full, meaningful role in the story, respecting her agency, ability, and dedication to her people. It gives her father, the Sultan (Navid Negahban) more agency, as well, unlike the animated character, who spends much of the story in an enchanted fog. And it’s nice to see Genie get a bit more of a story, too, thanks to the handmaiden to the princess, played by “SNL’s” Nasim Pedrad.
But the story-telling itself is foggy in this version. Jafar (Marwan Kenzari), the story’s villain, does not have the menace of the original. He seems young and angry, more petulant than ominous. There is a hint of an intriguing backstory for him that gets lost in the busy, “look at me”-ness of the film. A storyline about whether the Sultan should approve invasion of another country does not work well and a dance number with the Genie controlling Aladdin has too many cuts to deliver on the humor of the situation. The “Step Up” movies do these moments much better, and Jasmine’s new song from “La La Land’s” Benj Pasek and Justin Paul is outshone by the originals. A wink at the map of Disneyland as Jasmine does the ancient equivalent of Googling “Prince Ali” is out of place.
If there had been no animated version, this one would have served as an entertaining family movie. But as has happened too often with Disney’s live action remakes of its best animated films, it is just an unnecessary reminder of how much we loved the original.
Parents should know that this film includes fantasy peril and violence including near-drowning, attempted murder and references to killing and to sad death of parents, action, brief alcohol, and a kiss.
Family discussion: What would your three wishes be? Remember to be careful with your words! Why was Aladdin so awkward when he becomes Ali? Why was Jafar so angry? What does it mean to be a diamond in the rough, and what made Aladdin one?
If you like this, try: the original Disney animated version and the stories of the 1001 Nights
The final chapter of the “How to Train Your Dragon” saga is visually stunning and emotionally satisfying, with a conclusion that may leave the parents in the audience a little tearful….Sometimes the banter in the film can be too silly, and the reintroduction of the characters can be a bit awkward, especially when one of the teenagers tries to flirt with Hiccup’s mother Valka (Cate Blanchett). The script is also weakened by dumb insults between the twin characters, and an over-used storyline about whether a couple is ready to get married. But the opening scene of liberating caged dragons is excitingly staged and the film gets better quickly when it becomes more comfortable with its deeper themes. The characters have to rethink some of their ideas about tradition, change, what makes a home, and loss as “part of the deal that comes with love.”
The film’s breathtaking images provide a fitting accompaniment to the characters’ emotional struggles. Master cinematographer Roger Deakins served as a consultant on all three movies and I’m guessing he played a part in developing the exquisite quality of natural light, particularly in the flying scenes and a stunning phosphorescent-lit encounter. The visuals keep us inside a rich world of fantasy—the variations in dragon species continue to dazzle—one that is always grounded in human fears and feelings that are very real and very moving.
Rated PG for thematic content, some peril and rude humor
Some mild language
Drinking and drunkenness
Illness and sad deaths of humans and animals, automobile accident, stalker, family conflict
Date Released to Theaters:
May 17, 2019
Date Released to DVD:
August 19, 2019
In “A Dog’s Purpose,” based on the book by W. Bruce Cameron, the soul of a dog named Bailey (voice of “Frozen’s” Josh Gad) was reborn over and over as we saw him (and sometimes her) with different owners, from a boy named Ethan to a police officer, to a lonely single woman, and ultimately back to a middle-aged Ethan again, now played by Dennis Quaid. Through it all, Bailey wonders what his purpose is, and learns that, like the rest of us it is to love and be loved, and to be loyal to his “pack.”
Bailey’s story continues in “A Dog’s Journey,” also based on a Cameron book. This time the tender/sad/sweet series of rebirth stories are all in the same family, as Bailey’s purpose is to look after Ethan’s granddaughter, CJ.
At the end of the last movie, Bailey helped to reunite Ethan with the girl he loved in high school, Hannah (Marg Helgenberger). As this movie opens, both Ethan and Bailey are a bit creaky in their joints, but they are still devoted to one another. Hannah’s son was killed in an accident when his wife Gloria (“GLOW’s” Betty Gilpin) was pregnant. Now she and her toddler daughter live on Ethan’s idyllic farm, which is always bathed in golden light and looks like something out of a coffee commercial. Ethan and Hannah adore their granddaughter, and the little girl loves them and Bailey but Gloria is restless and insecure. She takes the girl and refuses any contact with Ethan and Hannah. As Bailey dies, Ethan whispers that he should find CJ and take care of her.
And so Bailey is born as Molly adopted by now 11-year-old CJ (“Ant-Man’s” Abby Ryder Fortson). She has to hide the dog from Gloria, who has become alcoholic and neglectful. Molly is a great comfort to CJ, her only source of stability other than her best friend Trent, who has adopted Molly’s brother.
As CJ grows up (now played by British actress/singer Kathryn Prescott), Bailey finds a way to keep coming back to her when she needs it most.
The gentle humor in the film comes from what Bailey does and does not understand. Does understand: “take care of CJ,” “go where the good smells are,” “when Ethan crouches and throws the deflated football, leap over his back and catch it.” Does not understand: “what does shhh mean?” “why is CJ spending time with someone who is not in our pack when I have just led her to her long-lost best friend Trent (Henry Lau)?” The sweet moments come from the connections, between humans and between humans and dogs. The cute moments come from — did I mention all the puppies? There are plenty of “awwww” moments to go around, with reconciliation, support, and reunion, and plenty of human and canine characters to care for. I’m glad Bailey keeps coming back.
Parents should know that this film includes sad deaths of humans and animals, potty humor, a car accident, serious illness, drinking and drunkenness, a neglectful parent and an abusive boyfriend.
Family discussion: What convinced C.J. that her grandfather was right about Bailey? Why was it hard for her to acknowledge her feelings about Trent? Is there an animal that has been special to you?
If you like this, try: “A Dog’s Purpose” and “A Dog’s Way Home”
Rated PG-13 for some suggestive content and language
Some strong language
Accident with pedestrian injuries, family scuffle
A theme of the movie
Date Released to Theaters:
May 17, 2019
Date Released to DVD:
August 19, 2019
A pair of teenagers who happen to meet on a day of great pressure for both of them are riding on a New York City subway train that gets stuck. The engineer comes on the speaker to tell them a story reminiscent of the Taoist parable about the farmer, the son, and the horse. Sometimes the very thing that you think is an insurmountable obstacle to what you are urgently trying to achieve turns out to lead you to something you could not have imagined, or even to save your life.
That is a theme in “The Sun is Also a Star,” along with the divide and sometimes conflict between poetry and science, the left brain and the right, what we feel and what we can prove, and the needs and dreams of the individual versus what is best for the family or the group — and who gets to decide what “best” means. And at the center of it is the thrum of issues of immigration and assimilation. It might be easy to lose sight of the love story under the weight of all of this, but the star power of lead actors Yara Shahidi (“Black-Ish” and “Grown-Ish”) and Charles Melton (“Riverdale,” “Glee”) and the deeply romantic direction of Ry Russo-Young, the romance is in every way the heart of the film.
Natasha (Shahidi) is the daughter of Jamaican immigrants who are being deported following an ICE raid of the restaurant where he father works. The family moved to New York when she and her brother were young children, meaning that they are not American citizens in the family on which to base an appeal. As her parents pack up, Natasha goes to ICE to see if she can appeal their decision.
A compassionate case officer says it is too late for him to re-open the case but he gives her the card of a lawyer who might be able to help. Because he cannot see her until noon, later postponed to 4:30, she is stuck downtown, not enough time to go home, but, perhaps enough time to fall in love?
Natasha does not believe in love, or so she says. She dismisses it as romantic hogwash, just a distractingly poetic way to describe hormones. She is interested in data and science. If love cannot be measured and studied according to the strictures of the scientific method, she says, it cannot be true.
The person she says it to is Daniel (Melton), the son of Korean immigrants, who glimpses Natasha at Grand Central Station when he is on his way to a very important alumni interview for Dartmouth. He grabs her away from a careening car that has already knocked down one pedestrian and she accepts his invitation to go for coffee. He is a poet, a romantic, a believer in signs and omens. Natasha’s jacket has the same ancient Greek phrase that he had jotted down in his notebook that morning: deus ex machina. Literally, it translates to “god from the machine,” referring to the mechanical device used in Greek theater to bring the deity characters on stage. But it is a literary term meaning some extraordinary, sometimes supernatural or god-like force that suddenly changes the trajectory of a story, usually resolving it for the better.
Their walk-and-talk courtship involves visits to each other’s families and some surprising, one might even say cosmic connections. Melton and Shahidi make a graceful transition from television to the big screen, with charisma and chemistry to spare. Their chemistry is almost tactile, with a deep sweetness. With all of their differences in outlook and situation, their shared bond as the children of immigrants, struggling with what they owe to the past and what they dream of for the future is so real to us that by the end we are holding our breath hoping for the magic to go on.
Parents should know that this film includes some strong language and crude sexual references, a car hitting a pedestrian, and a scuffle between brothers, as well as some issues of family conflict and the prospect of deportation.
Family discussion: Daniel’s father says that Daniel should do what is best for the community. What do you think is best for the community in that context? Can you fall in love by asking each other questions? Was there a time where what you thought was something going wrong turned out to be right? Can tragedy be funny?
If you like this, try: “Before Sunrise,” “Nick and Nora’s Infinite Playlist,” and “Everything Everything”