The Magic Schoolbus: All About Earth

Posted on April 15, 2013 at 6:59 am

A-

Lowest Recommended Age:	All Ages
MPAA Rating:	NR
Profanity:	None
Alcohol/ Drugs:	None
Violence/ Scariness:	Mild peril
Diversity Issues:	None
Date Released to DVD:	April 16, 2013
Amazon.com ASIN:	B009O07NKW

Just in time for Earth Day, Ms. Frizzles and the class go on three never-before-released episodes and a bonus from the popular series of animated adventures with science, with English and Spanish language options.

The episodes are:

“The Magic School Bus Goes to Seed” The class garden is going to be featured on the cover of Plant It! Magazine, but Phoebe’s garden plot is mysteriously empty.

“The Magic School Bus Blows Its Top” Ms. Frizzles explains volcanos and island creation.

“The Magic School Bus Goes on Air” The mysteries and miracles of air pressure.

Bonus: “The Magic School Bus All Dried Up” The story of deserts.

I have one copy to give away! Send me an email with “Schoolbus” in the subject line and tell me where you’d like Ms. Frizzle to take you. Don’t forget your address! (US addresses only.) I’ll pick a winner at random on April 20. Good luck!

Reminder: My policy on conflicts

Jurassic Park 3D

Posted on April 4, 2013 at 6:00 pm

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for intense science fiction terror
Profanity:	Brief strong language (s-word, SOB)
Alcohol/ Drugs:	Smoking, drinking
Violence/ Scariness:	Intense and sometimes graphic peril and violence featuring children and adults, adult characters injured and killed
Diversity Issues:	Diverse characters
Date Released to Theaters:	April 5, 2013
Date Released to DVD:	April 22, 2013
Amazon.com ASIN:	B00B4804KS

Back in 1993, what was astonishing in “Jurassic Park” was the special effects that seemed to bring dinosaurs back to life. Two decades later, rediscovering Steven Spielberg’s mastery of cinematic storytelling is the best reason to go see it again.

It is back in theaters with the best 3D conversion I’ve seen, avoiding the cheesy Viewmaster effect too often the result of adding 3D effects after a movie has already been filmed. Other than a couple of shots where the foreground is distractingly blurred, the effects are immersive and organic, and the dinosaurs-jumping-toward-you moments are sparing and effective.

My favorite moment in the film has always been when the characters are trying to outrace the charging T-Rex in a jeep. All of a sudden, we see a toothy dinosaur coming at them fast and angry in the side rear-view mirror. It takes a moment for the words on the mirror to register: “Objects in mirror are closer than they appear.” Spielberg has found a way to make us laugh and ramp up the tension at the same time. And it is even more compelling in 3D.

The movie holds up remarkably well, other than the computers and walkie-talkies used by the characters, which will seem to today’s audiences almost as prehistoric as the dinosaurs. On the other hand, its then-state-of-the-art special effects, a combination of mechanical creations and computer images, are still as immediately believable as the high-techiest creatures on screen today.

Spielberg has gone on to weightier and more prestigious projects, but this thrill ride of a popcorn pleasure is one of his best and a masterpiece of the genre. It shows his unparalleled gifts for pacing and for the visual language of movies, and his ability to make us invest in the characters. That is what makes all the special effects pack an emotional wallop. He conveys more with ripples in a glass of water — or a sneeze — than most filmmakers can with 15 pages of dialogue.

The story, based on a book by the late Michael Crichton, begins with hubris, the sin of pride so great that a man places himself with the gods and thus sets the stage for his downfall. John Hammond (Richard Attenborough) is a vastly wealthy man who dreams of extracting dinosaur and plant DNA that has been trapped for millions of years in amber and using it to reboot species of flora and fauna that have not been seen on earth. Spielberg grounds the story with a strong moral core that lets us enjoy the catastrophic destruction ahead without any inconvenient pangs of conscience.

Spielberg also makes sure we have someone to root for, lining up our loyalties with a quick introduction to characters we can both identify with and admire. Laura Dern and Sam Neill play experts in paleolithic animals and plants. They are (1) interested in science, not money (except to pursue more science), and (2) in love. That’s all we need to know. But just to make sure, he adds in a couple of children (Hammond is their grandfather), who not only get our automatic protective instincts going but give Neill’s character a chance to grow. At the beginning, he does not like children. At the end — spoiler alert — he does.

Go to see “Jurassic Park” in 3D. Go to take your kids who were not born when it was released. Go to see it the way it should be seen, on a big screen in a theater filled with happily terrified fans. Go to see Samuel L. Jackson before he was SAMUEL L. JACKSON. And for a young female computer whiz who could grow up to be Sheryl Sandberg. But most of all, go for the resoundingly satisfying delight of watching pure Spielberg movie magic.

Parents should know that this movie has non-stop peril, with characters injured and killed and some graphic scenes of injury, including a severed limb, brief strong language (s-word, SOB), drinking and smoking

Family discussion: How many different controls were in place to prevent the dinosaurs from hurting anyone and how did each one fail? What have been the biggest changes in science and technology since this movie was made? Learn about current experiments with gene splicing of animals by reading Frankenstein’s Cat by Emily Anthes

If you like this, try: your local museum to see dinosaur fossils and Spielberg’s “Jaws” and “Duel”

The Bible: Now on DVD

Posted on April 1, 2013 at 10:29 pm

The hit television series is now available on DVD.

“Audiences embraced The Bible in numbers and with passion we never could have anticipated,” producers Roma Downey and Mark Burnett said the morning after the finale aired on Easter. “What a great statement for American television viewers to make for the last five weeks: More than 100 million of them chose stories of God’s deep and sacrificial love for all of us over anything else on cable or broadcast networks. It proves once again why the Bible is called the greatest story ever told.”

Featuring hours of never before seen behind-the-scenes footage and making-of featurettes in a stunning high bit rate HD transfer and immersive 5.1 audio, the Blu-ray and DVD exclusively feature an all-new cut of the miniseries.

Narrated by Emmy winning actor Keith David, The Bible features an international cast including Portuguese actor, Diogo Morgado as Jesus Christ and producr Roma Downey as Mother Mary. And for the first time since their award winning collaboration on Gladiator, Oscar and Grammy-winning composer Hans Zimmer reunites with acclaimed vocalist Lisa Gerrard to create the musical backdrop for this epic production.

The four-disc Blu-ray and DVD set dives deeper into the making of the series and features a behind-the-scenes look at how the groundbreaking docudrama came together. Interviews with producers, directors, and cast illustrate creative collaboration on-set and off and show how the remarkable Moroccan scenery was transformed into the world of the Bible.

Special features include:

· The Bible: Genesis – With Mark Burnett and Roma Downey as guides, we discover how the team approached the daunting task of filming the stories of the Bible

· The Cast of The Bible

· The Bible: Creation – A three-part journey through the making of the miniseries

o Creation I: The Vision, The Look – Discover the vision of producers Roma Downey and Mark Burnett in this behind-the-scenes look at how it was created.

o Creation II: Production Stories – An exclusive behind-the-scenes look at the challenges faced by the production – including the supernatural experiences with snakes on set – plus Diogo’s approach to portraying who he has called the most complex figure in human history

o Creation III: Crucified & Resurrected – A deeper look into the emotional filming of the crucifixion, resurrection and the last days in Morocco

· Scoring The Bible – A rare look into the recording session for the soundtrack

· Believing in Miracles – The cast and crew tell their stories

· The Bible: Visual Effects

The Host

Posted on March 28, 2013 at 6:00 pm

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Lowest Recommended Age:	Middle School
MPAA Rating:	PG-13 for some sensuality and violence
Profanity:	Some mild language
Alcohol/ Drugs:	Drinking
Violence/ Scariness:	Extended sci-fi peril and violence, characters injured and killed, attempted suicide, character shot with gun, some disturbing images
Diversity Issues:	A theme of the movie
Date Released to Theaters:	March 29, 2013
Amazon.com ASIN:	B0090SI4OC

The author of the Twilight series was showing signs of running out of ideas around the middle of the second volume, and this latest story shows more evidence of the pressure of producing a new series than anything approaching inspiration. Howlers that can slide by in print are impossible to ignore in a thuddingly dumb story of an alien takeover and the girl who is able to hold onto her own consciousness as the “host” of glowing millipede from outer space.

Problem #1: If you’re going to make a movie about aliens taking over human bodies, the indicator of possession should not be glowing blue eyes that eliminate a critical element of the actors’ ability to communicate.

Melanie Stryder (Saoirse Ronan) is one of the few remaining humans who have not been overtaken by alien invaders who have inhabited almost every person on earth and eliminated suffering, illness, and conflict — also passion, independence, innovation, and any notion of the individual. Everything is smooth and civil and orderly. It is like the whole planet moves to Muzak. But they have excellent healthcare.

Melanie is captured by the aliens, led by Seeker, who heal her injuries and implant one of their aliens inside her. But instead of taking over her consciousness, the invader, known as Wanderer, exists side by side, leading to a series of back-and-forth conversations intended to be touching but are more often mundane. She’s like a bad ventriloquist with two invisible dummies. It is clunky and dull when she talks to herself but not much better when the characters talk to one another. “What’s it like in there?” a character asks Melanie/Wanda. “It’s crowded.” “Kiss me like you want to get slapped.”

Ronan is a superb actress, but even she cannot make real the idea of these two equally drippy characters as distinctive individuals, especially after she hides out with a secret rebel group led by Jeb (William Hurt), and in “Twilight” love triangle fashion becomes involved with two different cute guys, one who loves Melanie and one who loves the Wanderer, now known as Wanda. “If you could hold me — me — in your hand, you’d be disgusted,” Wanda explains to the guy who wants to kiss her. When he finally does see what the alien looks like and tries to gaze tenderly at a glowing bug is just silly.

And then things really go nuts as the Seeker (Diane Kruger) goes after the human rebels, insisting, “I am not weak. I am in control.” Kruger is more believable as an alien than she usually is as a human, at least until a ridiculous twist near the end. Melanie had two voices in her head. I only had one, but it was clearly telling me that this movie is a mess.

This rebel group seems weirdly retro, with almost no women, and a social structure that resembles the 18th century.

Parents should know that this film includes extended sci-fi style peril and violence with some disturbing images, a car crash, aliens, possession, characters injured, some teen kissing and sensual embraces.

Family discussion: Why could Melanie and Wanda exist together? How do Ian and Jared see her differently? Why are the aliens able to achieve societal benefits humans have failed to? How does she earn the trust of the humans? What do you think will happen next?

If you like this, try: “Invasion of the Body Snatchers” and “I Am Number Four” and the book by Stephenie Meyer

Admission

Posted on March 21, 2013 at 6:01 pm

Tina Fey and Paul Rudd seem perfect for each other. The characters they play in this movie are not as persuasive. Fey is so much better than the adorkable rom-com role assigned to her here and Rudd is capable of so much more than the earnest do-gooder relegated to him. But what really hurts this film is the senseless complications the characters have to try to navigate and the uncertain hold on developments that are are disorientingly off-key. You can see the studio’s lack of confidence in the movie in the bait-and-switch ad campaign. The commercials make it look like a standard romantic comedy (and it may have been re-edited to try to fit those rhythms), but the plot line about reuniting with a child put up for adoption feels awkward, cluttered, and intrusive.

Fey is Portia, a tightly-wrapped admissions officer at Princeton, always buried in orange file folders brimming with the hopes and dreams of 17-year-olds and their parents. They all have excellent grades, community service credentials, positions in student government, athletic achievements, and some sort of artistic streak. Portia knows how to maintain her composure even when confronted with prospects who are certain that asking just the right penetrating question of the student tour guide will somehow cause the (for the purposes of this film) toughest school in the country to get into to see them as the shining star of perfection their parents always told them they were. She is less composed when it comes to her own ambitions. The head of the office (Wallace Shawn) is retiring and Portia is competing with a colleague (“Lincoln’s” Gloria Reuben) who is much smoother at ingratiating herself at Portia’s expense.

Portia is constantly under assault from applicants, parents, and high school college counselors. Despite the avalanche of applications Princeton receives every year, she has to go out to high schools to encourage seniors to apply. Princeton is competitive, too. It wants to make sure that it gets to choose from the the most promising applicants. And it wants to keep its rejection ratio high so it will top the annual US News rankings. She gets a call from John Pressman (Rudd) the head of an alternative school. Like all the other high school administrators, he has a student he wants her to accept. Like many of them, he wants to make the case that the kid’s file does not reflect his true potential. But there is one more thing. John is sure, on the flimsiest of evidence, that an autodidactic polymath named Jeremiah (a likable Nat Wolff of “The Naked Brothers”) is the son Portia gave up for adoption. The one she never told anyone about. Jeremiah wants to go to Princeton and Portia’s vestigial maternal instinct jumps to life. All of a sudden, she finds herself on the other side of the admissions process.

And there’s a lot of other stuff happening with Portia’s professor boyfriend (Michael Sheen), her free-spirited mother (a mis-used Lily Tomlin), and John’s adopted son (Travaris Spears), and John’s parents. And most of these people at some point in the last third of the film do something so inexplicably inconsistent with what we know about them and what we want for them that it almost seems that we’ve wandered into a different movie.

It would be impossible for Fey and Rudd to be anything other than entertaining and highly watchable. But I hope their next time on screen does not test that proposition so insistently.

Parents should know that this movie includes references to infidelity and putting an out-of-wedlock infant up for adoption, drinking, and a non-explicit sexual situation.

Family discussion: How did Portia’s mother influence her ideas about parenting? How would you decide who to admit?

If you like this, try: “Clueless” and “Date Night”