Rifkin’s Festival

Posted on January 27, 2022 at 5:15 pm

B
Lowest Recommended Age: High School
MPAA Rating: Rated PG-13 for suggestive/sexual material and some drug use, language and thematic elements
Profanity: Some strong language
Alcohol/ Drugs: Alcohol and drugs
Violence/ Scariness: Tense confrontations
Diversity Issues: None
Date Released to Theaters: January 28, 2022

Copyright The Mediapro Studio 2021
“Stardust Memories,” released in 1980, is one of Woody Allen’s best films, a semi-autobiographical story of a writer/director who attends a film festival where he is being honored. He is surrounded by people who want something from him or try to impress him with fatuous faux-intellectual comments and struggles with his purpose as people keep telling him they prefer his earlier, funny films. He is also torn between two women, a wholesome, devoted single mother and a troubled musician. We see glimpses of some of his films and at one point he has an encounter with super-intelligent aliens who tell him that if he wants to help humanity he should write funnier jokes.

Forty-two years and almost as many films later, Woody Allen returns to the setting and some of the themes of that film with “Rifkin’s Festival,” about a man who attends a film festival and is torn between two women as he is having an existential crisis about his purpose.

That man is Mort Rifkin (Wallace Shawn), who once taught film classes about classic European cinema but is now mired in working on a novel. He is not happy about attending the festival in San Sebastián, but he is worried that his wife, Sue (Gina Gershon) has a crush on one of her PR clients, a director who is being honored at the festival. Woody Allen for decades has been more interested in churning out movies than in taking the time and care to give the characters or storylines any depth, so Mort does not respond to this concern by talking to her or trying to be more engaged and thoughtful. Instead he sulks and develops psychosomatic symptoms. The title is something of a wry joke as Mort never goes to any of the festival’s screenings or events. The only films he sees are the ones in his head.

At a superficial level, it is mildly entertaining, with some very clever lines and the fun for cinephiles of seeing Mort’s angst expressed through placing his situation in the context of his favorite films, from “Jules et Jim” to “Persona.” Mort barely qualifies as a character but thanks to Wallace Shawn he is able to get some sympathy from us. The other characters are barely sketched as concepts, Sue and her director client as antagonists created out of Mort’s deepest insecurities and Jo (Elena Anaya), the doctor he consults and starts to flirt with, just another Allen fantasy figure, though thankfully one who is an actual grown-up.

I have nothing but support for those who have concluded that they do not wish to watch any more of Woody Allen’s films because of his behavior or his alleged behavior. But for those who separate the art from the artist, I would say that this movie at least gestures at some of the criticisms he has faced (see actual grown-up point and some reconsideration of intellectual snobbery — as well as some endorsement of it. All of it is treated very lightly and so pretty to look at that for a moment it almost seems that there may have been a second draft before he said “Action.”

Parents should know that this movie has mature themes including adultery and some strong language and sexual references, drinking and drugs.

Family discussion: What should Rifkin have said to Sue about his worries? What will he do next?

If you like this, try: “Stardust Memories” and “Annie Hall”

Related Tags:

 

Comedy Drama movie review Movies -- format Movies -- Reviews

Sing 2

Posted on December 22, 2021 at 11:00 am

B +
Lowest Recommended Age: Kindergarten - 3rd Grade
MPAA Rating: Rated PG for some rude material, mild peril/violence
Profanity: Some schoolyard language
Alcohol/ Drugs: None
Violence/ Scariness: Some peril and threats of violence
Diversity Issues: Some humor about a disabled character
Date Released to Theaters: December 22, 2021
Date Released to DVD: March 28, 2022

Copyright 2021 Illumination
This sequel wisely jettisons the less interesting plot lines from the original, the backstories of the animals with dreams of singing before cheering audiences, in favor of what worked best the first time, the performances themselves. “Sing 2” is all about putting on a show, and it begins with a smashing version of Prince’s “Let’s go Crazy.” There’s a lot happening, but take a moment to notice the costumes worn by the performers. They were created by high fashion house Rodarte.

Koala impressario Buster Moon (Matthew McConaughey) has a bigger dream than ever. He wants to take his performers to the entertainment capital of the world, Redshore City, with its enormous and ultra-glamorous theater, the Crystal Tower. It is run by Mr. Crystal (Bobby Cannavale), a tough-talking wolf who only agrees to let them put on their show if they can promise to deliver the lion rock star-turned recluse Clay Calloway (Bono). Moon promises that he will, though he has no idea where Calloway is or how to persuade him to return to performing. There’s a bigger problem. He has the performers, including porcupine Ash (Scarlett Johansson), pig and mother of innumerable piglets Rosita (Reese Witherspoon), gorilla Johnny (Taron Egerton), and shy elephant Meena (Tori Kelly). But despite what they promised Mr. Crystal, they do not have a show, only a concept from Gunter (Nick Kroll) of a space opera titled “Out of this World.” They don’t have enough information to tell the crew what kind of sets to build except that it is set on four different planets and there is a spaceship.

All of which sets up various shenanigans as the little group tries to keep Mr. Crystal from finding out what is going on as they track down Clay Calloway and get the show ready. There are some additional complicating factors. Crystal’s spoiled daughter Porsha wants to be in the show even though her acting is terrible (she can sing, though; she is voiced by pop star Halsey), and her daddy thinks she should have whatever she wants. Johnny cannot learn the complicated moves from the choreographer. Meena’s new co-star is an arrogant Yak (Eric André), who intimidates her. The ice cream guy, though, has her bashful heart fluttering.

All of this is done with heart and humor that will delight young audiences while the parents will get a kick out of the eclectic mix of songs, from Grammy-winning favorites to esoteric Indies and even a little Prokofiev. The audition scene is like a lightning round of Name That Tune. Bono’s rumble makes a great vocal contribution as Clay, and the poignance of his grief gives the story greater heft. There’s even a new U2 song on the soundtrack to underscore in both senses of the word) the way that music can heal and connect. It adds to the ebullience of the film, and like all great music, inspires calls for an encore.

Parents should know that there is some cartoon-style peril and threats of violence and some mild humor about a character’s disability, in addition to some schoolyard language.

Family discussion: Which character is your favorite? What musical show would you like to create? What is Porsha good at?

If you like this, try: the first “Sing” and the Trolls movies.

Related Tags:

 

Animation Comedy DVD/Blu-Ray Fantasy For the Whole Family movie review Movies -- format Musical Series/Sequel Talking animals

C’mon C’mon

Posted on November 24, 2021 at 2:18 pm

A-
Lowest Recommended Age: Middle School
MPAA Rating: Rated R for language, graphic nudity, and some sexual references
Profanity: Strong language
Alcohol/ Drugs: None
Violence/ Scariness: Family stress, sad offscreen death, mental illness of a parent
Diversity Issues: None
Date Released to Theaters: November 19, 2021
Date Released to DVD: April 11, 2022

Copyright A24 2021
I can’t remember a movie that captured as well as Mike Mills’ “C’mon C’mon” the intense, constant feelings of terror, inadequacy, panic, exhaustion, plus the tsunami of love and gratitude and hope and hilarity that is parenthood. He even captures the heartbreaking sorrow in understanding that childhood is fleeting and no matter what you do you cannot protect them from the injustices of the world. This is one of the best films of the year.

Writer/director based his previous films on his parents. Christopher Plummer won an Oscar for his role in “Beginners,” based on Mills’ father, who came out as gay late in life. Annette Bening’s role in “20th Century Women” was based on Mills’ mother. In both films, there were son characters based on Mills himself. “C’mon C’mon,” filmed in gorgeous black and white and even more gorgeous, capacious humanity, was inspired by Mills’ experience of being a father.

Joaquin Phoenix plays Johnny, a “This American Life”-ish radio producer who is traveling around the country interviewing kids and teenagers about their thoughts on their lives, what superpower they’d like to have, and what the future holds (the interviews in the film are unscripted, real responses from students). His sister Viv (Gaby Hoffman), from whom he has been a bit estranged since the death of their mother, needs him to care for her nine-year-old son, Jesse (Woody Norman), as she deals with a family emergency. Her ex-husband Paul (Scoot McNairy) is bi-polar and is having a breakdown. And so Johnny, something of a loner who is most comfortable talking to others in the formalized — and one-sided — setting of an interview,” unexpectedly becomes the sole guardian of a nine-year-old for a period that keeps getting extended.

Johny and Viv are constantly on the phone as he needs advice or she needs reassurance that Jesse is okay. Johnny tells her, with mock mansplaining, “You know, as a mother, you’re not gonna understand this, but working all day and taking care of a kid is just a lot.”

There are so many movies that could be made about this set-up, and I think we’ve seen most of them, from cheesy slapstick to cheesy sentimental. Mills has something far more subtle, meaningful, and insightful in mind. Phoenix, known for showboaty roles like his Oscar-winning Joker, gives a career-best performance here as Johnny, and Norman is a wonder as Jesse, making it impossible to believe he can be acting because his performance is unaffected, pure, and in the moment. It is astonishing to learn that not only is he not Jesse from California; he is not even American. He is British and lives in London. His chemistry with Phoenix is so natural we do not just feel they’ve known each other forever; we feel we’ve known them both forever. They are our family; they are us.

Jesse, too, separates himself from the world by processing it through Johnny’s microphone. And, as children do, he processes the unthinkably sad and scary abandonments of his mentally ill father and devoted but conflicted mother through play and sometimes through acting out. Jesse pretends he is an orphan. Johnny looks away for a second and Jesse disappears. They laugh. They get angry. They make mistakes and they apologize. And Johnny begins to understand that you cannot be right all the time with a child and the best you can do is to be completely present, completely open. In its way, that is what the best movies do, and this is one of them.

Parents should know that this film includes very strong language, a sad offscreen death, and mental illness of a parent.

Family discussion: What mistakes did Johnny and Jesse make? What did they learn from them?

If you like this, try: “Beginners,” “Where the Wild Things Are,” and “20th Century Women”

Related Tags:

 

Comedy Drama DVD/Blu-Ray Family Issues movie review Movies -- format

Clifford the Big Red Dog

Posted on November 9, 2021 at 5:00 pm

B
Lowest Recommended Age: Kindergarten - 3rd Grade
MPAA Rating: Rated PG for thematic element, mild action, impolite humor
Profanity: Some schoolyard language
Alcohol/ Drugs: None
Violence/ Scariness: Mild fantasy peril
Diversity Issues: None
Date Released to Theaters: November 10, 2021

Copyright Paramount 2021
The title Clifford the Big Red Dog tells it all: this is a movie about a little girl who fills a red dog with so much love he becomes giant-sized overnight. He causes a lot of chaos. A bad guy tries to steal him. That’s the story.

It began with a 1963 book by Norman Bridwell, a very simple story designed for pre- and beginning readers, about a girl named Emily Elizabeth and her gigantic red dog. He isn’t perfect. He did not win a prize at the dog show. But she loves him the way he is. This led to 79 more books, with Clifford doing everything from going to the hospital and learning about opposites, numbers, school, and friendship to celebrating Hanukkah, Mother’s Day, Halloween, Christmas, and Valentine’s Day. Clifford also appeared on television in animated series, voiced originally by the late John Ritter, and in video games.

In this live-action feature, Clifford does not speak. And we learn a lot more about Emily Elizabeth, played by the very appealing Darby Camp. She lives with her loving but overstressed single mom, Maggie (Sienna Guillory). Emily Elizabeth is having some problems in school, because some mean girls make fun of her for being a scholarship student. When Maggie has to go out of town on a business trip, she reluctantly has her brother Casey (Jack Whitehall) move out of the van he has been sleeping in and into her apartment to take care of Emily Elizabeth. Casey is well-meaning but immature and about halfway between haphazard and criminal neglect. (Question to ponder: Why doesn’t Whitehall use his actual British accent since he is playing the brother of an English woman who does have an accent and it requires a useless explanation for why he has an American accent.)

At a pet fair, they meet a mysterious and possibly magical guy named Bridwell (a tribute to the author the books), played by John Cleese with a twinkle in his eye. Among the exotic animals is an adorable tiny little red puppy. “How big is he going to get?” “It depends on how much you love him,” Bridwell tells her. It’s a lot of love because the next morning he is the size of a one-story house. Oh, and there is a strictly-enforced no pets policy in the building, enforced by the super (David Alan Grier).

There are no surprises in the movie and it may drag for anyone over 8, but it is nicely diverse, with a sense of community and a strong supporting cast that includes “SNL’s” Kenan Thompson as an obliging veterinarian and Tony Hale as the tech CEO who is willing to do anything to find the source of Clifford’s growth. It is not necessary to make her one supportive classmate have a crush on her instead of just being a friend. But it is nice to see that friend’s father and some of the other adults so helpful and kind. It’s by no means a classic but kids will enjoy the comic mayhem and happy ending and parents will enjoy their enjoyment.

Parents should know that there is some mild fantasy peril and mayhem, some bullying, and some potty humor.

Family discussion: Why are the girls at school so mean to Emily Elizabeth? What makes them change? Would you like to have Clifford as a pet? How would you take care of him?

If you like this, try: the books and the animated feature film, “Clifford’s Really Big Movie

Related Tags:

 

Based on a book Comedy DVD/Blu-Ray Fantasy For the Whole Family movie review Movies -- format Stories About Kids

The French Dispatch

Posted on October 20, 2021 at 10:00 am

B
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for language, graphic nudity, and some sexual references
Profanity: Some strong language
Alcohol/ Drugs: Drinking, smoking
Violence/ Scariness: Peril and violence including kidnapping of a child and a shoot-out, student uprising
Diversity Issues: None
Date Released to Theaters: October 22, 2021

Copyright 2021 Searchlight
The dictionary has two conflicting definitions for the word “precious,” and both apply to writer/director Wes Anderson’s films as a group and to his latest, “The French Dispatch” especially. “Precious” can mean very valuable or important, deserving of being carefully preserved. And it can also mean excessively refined or affected. If you are an Anderson fan, you will be glad to hear this is the Wes Anderson-iest Wes Anderson film so far. If you are not, well, you’ve been warned.

Anderson’s exquisitely assembled films are more Cornell Box or M.C. Escher puzzle than narrative, the props and settings more important than the characters or storyline. I enjoy the attention to detail and the whimsy of his films, occasionally spiced with moments of, sorry, il faut parler français por un instant, “choquer le bourgeois.” I love his repertory cast of actors, who are always clearly having a blast and not quite winking at the audience. But I also find them claustrophobic, and overly precious in both senses of the word, speaking to those who feel smug about understanding them in a way they believe ordinary, less sophisticated people can not. Like that French I used just now, which by the way means: “it is necessary to speak French for a minute to ‘shock the ordinary people.'” See? It works just fine en englais. Anderson seems to aim for whimsy but one thing whimsy cannot be is heavy-handed.

Anderson has found the idea subject for “The French Dispatch,” a real-life publication almost as precious (still in both senses of the word) as his fantasized characters and environments, The New Yorker, and in particular the New Yorker of the romanticized era of the mid-20th century. There is a long list of New Yorker writers and editors who are listed in the end credits, including the two legendary editors, co-founder and editor from 1925-1951 Harold Ross and William Shawn, editor from 1952-1987 (and father of writer/actor Wallace Shawn).

The film is both an anthology and a retrospective, again Anderson’s preferred matryoshka Russian nesting doll narrative structure. Is with the death of the title publication’s founder and editor, Arthur Howitzer Jr. (Bill Murray), a “Citizen Kane” style set-up that continues with peeks inside some of the magazine’s classic stories, delivered as chapters. The setting is the fictional French town of “Ennui-sur-Blasé” (ennui and blasé both French words adopted by English speakers meaning world-weary and bored). The premise is a look inside an issue of the magazine, which, following the orders of its founder, will cease publication after his death. In another layer of matryoskha, The New Yorker reported that the parallels between its real-life articles and the film include: Herbsaint Sazerac (Owen Wilson), inspired by writer Joseph Mitchell. Julian Cadazio (Adrien Brody), inspired by Lord Duveen, the subject of a 1951 six-part New Yorker profile by S. N. Behrman. Roebuck Wright (Jeffrey Wright), inspired by James Baldwin and A.J. Liebling. Lucinda Krementz (Frances McDormand), inspired by Mavis Gallant, who wrote a two-part 1968 piece on the student uprisings in France.

There are stories within stories as we see the writers discuss what they have written. J. K. L. Berensen (Tilda Swinton, fabulously, of course) delivers a lecture to an audience with slides showing the work of an acclaimed artist (Benecio del Toro) who happens to be criminally insane and confined to prison, where his muse and nude model is one of the guards (Léa Seydoux). Lucinda Krementz (Frances McDormand) is a steely observer of student unrest who gets involved with one of the young leaders (Timothée Chalamet). The strongest of the stories has Jeffrey Wright as Roebuck Wright, who can perfectly recall every word he has written and is invited by a television interviewer (Liev Schreiber) to recite from memory his very convoluted story about the kidnapping of young boy. Wright’s melodious, slightly husky voice in Anderson’s near-monotone style set opposite a story of grotesque twists and turns tilts toward precious in the second sense of the word, but the sheer charisma of the design, with Anderson’s signature dollhouse-style cutaways, has some of the first meaning of the word as well.

Parents should know that this film has sexual references and non-explicit situations, some strong language, and some peril and violence, including a kidnapping, poison, and a shoot-out with many characters injured and killed.

Family discussion: Which of the stories did you like best?

If you like this, try: “The Life Acquatic with Steve Zissou,” “The Royal Tennenbaums,” and the books about the New Yorker by James Thurber and Brendan Gill

Related Tags:

 

Comedy Drama movie review Movies -- format Movies -- Reviews
THE MOVIE MOM® is a registered trademark of Nell Minow. Use of the mark without express consent from Nell Minow constitutes trademark infringement and unfair competition in violation of federal and state laws. All material © Nell Minow 1995-2022, all rights reserved, and no use or republication is permitted without explicit permission. This site hosts Nell Minow’s Movie Mom® archive, with material that originally appeared on Yahoo! Movies, Beliefnet, and other sources. Much of her new material can be found at Rogerebert.com, Huffington Post, and WheretoWatch. Her books include The Movie Mom’s Guide to Family Movies and 101 Must-See Movie Moments, and she can be heard each week on radio stations across the country.

Website Designed by Max LaZebnik