The Outside Story

Posted on May 4, 2021 at 2:17 pm

A-
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Not Rated
Profanity: Strong language
Alcohol/ Drugs: None
Violence/ Scariness: Mild, including arrest of a Black Man
Diversity Issues: Diverse characters
Date Released to Theaters: April 30, 2021

Copyright 2021 Samuel Goldwyn Company
It takes a long time to make a film, from concept to screenwriting to financing, casting, and shooting and distribution. Even the fastest, lowest-budget film takes months, if not years. You’re always creating something for an audience in a future you cannot predict. And yet the magic of the best films is that they arrive at exactly the right time. “The Outside Story,” a slim little gem under 90 minutes long, is about a man who leaves his apartment after a long time inside, and it comes just as many of us are venturing out of our homes post-vaccination, almost having forgotten what it feels like to be out in the world, blinking and disoriented like the returnees at the end of “Close Encounters of the Third Kind.” And here, gently encouraging us, is this love letter to its characters, its performers, its Brooklyn setting, and to going outside into the world.

Bryan Tyree Henry has been a standout in films like “If Beale Street Could Talk” and “Widows,” on television in “Atlanta” and other shows, and on Broadway, where he was nominated for a Tony for his performance in “The Book of Mormon.” In his first lead role, he is never less than outstanding as Charles, a man whose ambitions have shrunk as he has been more and more homebound. Once working on a documentary about artificial intelligence and being a friendly and outgoing attendee at parties (where he brought homemade desserts), he now works for Turner Classic Movies putting clips together for pre-obituary tributes to filmmakers and actors who seem like they might die soon. A (fictitious) big star named Gardner St. James is reportedly near death and Charles’s boss is sending him a series of urgent texts insisting he send the tribute in immediately, but Charles is still tinkering with it, trying to get one last clip to convey the star’s career.

Charles is also distracted and depressed. He has just broken up with his long-time girlfriend Isha (a radiant Sonequa Martin-Green), because she cheated on him. He is waiting for her to pick up her stuff, but, per the central imperative that rules the lives of New Yorkers, he has promised to move her car to comply with the alternate side-of-the-street rules and keep her from getting a ticket. When his take-out food order arrives, he doesn’t have enough money on hand for a tip, annoying his regular delivery guy. Back in his apartment, he discovers some extra cash in a pants pocket, and goes running after the delivery guy in his stocking feet to give him a tip. He grabbed his keys on the way out of the door, but it turned out they weren’t his keys; they were his ex’s car keys. And he is locked out.

The guy who would not leave the apartment cannot get back in. And the rest of the movie is just his encounters as the day goes on with neighbors who mostly had never seen him before. Each one is a little haiku of a scene, gorgeously acted, especially by Sunita Mani (“GLOW”) as the cop issuing parking tickets, Lynda Gravatt as a feisty widow, and the superb Olivia Edward as a young girl living with a mother who is somewhere on the continuum between high-strung and disturbingly unstable. The smart script by writer/director Casimir Nozkowski unfolds with distinctive, illuminating details (I love his job) and subtle shifts in Charles’s attitude, as he begins to open up to the world. Henry is a knock-out in the role, utterly present for everything the outside world throws at Charle, adjusting o each situation initially in whatever way he thinks will help him get back inside, though not always hiding his frustration, and then starting to listen, to find ways to help others, to connect. It is like watching a flower bloom in time-lapse photography. When he is unexpectedly given a chance to hear some music, it is powerfully moving to see him so moved. Flashbacks give us insight into his relationship with Isha, and how it relates to where Charles is now and what he is learning.

Increasingly, some of my favorite films can be described as “Nothing happens. And everything happens.” That’s this film, and it is a joy to watch.

Parents should know that this film includes sexual references, including infidelity and polyamory, and some strong language. A parent appears to be unstable and abusive.

Family discussion: What changes for Charles during the day and why? Why didn’t Charles want to go outside? Have you ever been locked out? What did you do?

If you like this, try: “Columbus,” “Pieces of April,” and “The Day-Trippers”

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Schmigadoon! Coming to AppleTV+

Posted on May 2, 2021 at 8:25 pm

Copyright AppleTV+ 2021
Apple TV+ today announced “Schmigadoon!,” the six-episode musical comedy series executive produced by Lorne Michaels (“Saturday Night Live”) and starring Emmy Award-nominee Cecily Strong and Emmy Award-winner Keegan-Michael Key (“Key and Peele,” “The Prom”), will debut on Friday, July 16. Two episodes will be available at launch followed by one episode weekly every Friday.

“Schmigadoon!” is a parody of iconic Golden Age musicals. Cecily Strong “Saturday Night Live”) and Keegan-Michael Key (“Key and Peele,” “The Prom”) play a couple on a backpacking trip designed to reinvigorate their relationship who discover a magical town living in a 1940s musical. They then learn that they can’t leave until they find “true love.” The first season also stars Alan Cumming, Kristin Chenoweth, Aaron Tveit, Dove Cameron, Ariana DeBose, Fred Armisen, Jaime Camil, Jane Krakowski and Ann Harada, with a guest appearance by Martin Short.

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The Mitchells vs. The Machines

Posted on April 29, 2021 at 5:23 pm

B +
Lowest Recommended Age: Kindergarten - 3rd Grade
MPAA Rating: Rated PG for action and some language
Profanity: Some schoolyard language
Alcohol/ Drugs: None
Violence/ Scariness: Extended cartoon/action-style peril and violence, no one seriously hurt
Diversity Issues: None
Date Released to Theaters: April 30, 2021

It’s refreshing to see a movie for families that is not only exciting and delightful but one that acknowledges a crucial truth we usually pretend to ignore. And that truth is: families are weird. All of them. Yes, even yours. And there’s more: family weirdness is awesome and wonderful and, it turns out, exactly what we need to defeat the robot apocalypse, as well as any other daunting but less drastic challenges like everyday life.

The Mitchell family is four people who love each other and drive each other crazy. The one telling us the story is Katie (Abbi Jacobson), a teenager getting ready to go to college at her dream school, where she will pursue her passion, filmmaking. She is very close to her dinosaur-loving little brother Aaron (voiced by very much not a little kid Michael Rianda, who also co-wrote and directed and provides some of the other voices). But her struggles with her dad, Rick (Danny McBride) go beyond the usual teenage separation because there seems to be no middle place between their interests. Hers is in making films, many featuring the family’s very goofy-looking wall-eyed dog Monchi, plus hand puppets and a lot of graffiti-like digital effects. His is in nature and more analog craftsmanship and fix-its. Katie’s mother, Linda (Maya Rudolph), tries to act as mediator between them, but the relationship is strained. Katie can’t wait to get to school, where she is sure she will be with people just like her.

And then Rick changes the plans without asking or even telling Katie. Instead of her flying across country to get to school in time for orientation, the family is going to drive her there. And family car trips are known stress-relievers, right? Yeah, I know, quite the contrary.

Meanwhile, at an Apple-like company run by Mark Bowman (Eric Andre) is introducing its latest line of gadgets, personal robot assistants who clean and bring you refreshments and do so many cool things that their predecessor, a SIRI or ALEXA-type voice assistant, gets tossed aside. Remember “Terminator?” And “Wargames?” and “I, Robot?” and lots of other movies where technology gets literally out of hand? Not to mention centuries of stories about hubris and what happens when humans go too far?

And that is how the Mitchells end up being the only ones who can save the world. If they can learn to work together and to try some skills outside their comfort zones.

The movie is fast and fun and funny and exciting. It does not take itself too seriously and it has a vivid, poppy energy with a hands-on look in contrast to the chilly perfection of some computer animated films. We get glimpses of Katie’s “sweded”-style films and I loved the way her aesthetic appeared in the large film we were watching as well, with some hand-lettered commentary and sticker/emoji-style effects. But most of all, it is a heartwarming tribute to families and to the unconquerable spirit that lurks within the weirdness.

Parents should know that this film has extended fantasy/cartoon-style peril but very little violence and no one gets seriously hurt. There is some schoolyard language and family stress.

Family discussion: How would your family fight the robot apocalypse? Can you try to make a movie like Katie or make something with your hands like Rick?

If you like this, try: “The LEGO Movie” and its sequel

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We Broke Up

Posted on April 15, 2021 at 5:40 pm

B-
Lowest Recommended Age: High School
MPAA Rating: Not rated
Profanity: Some strong language
Alcohol/ Drugs: Drinking and drunkenness, drugs
Violence/ Scariness: Emotional confrontations
Diversity Issues: None
Date Released to Theaters: April 16, 2021

Copyright Vertical Entertainment 2021
Relationships are complicated. That’s one reason we like movies, where they are generally less complicated, and give us the reassuring but inaccurate message that things work out the way we wish they would. The title of “We Broke Up” sets us a premise that looks like a romantic comedy but ends up as a bittersweet acknowledgment that relationships are, well, complicated, and sometimes it is hard to figure out what we want, much less figure out how to make what we want work with someone else’s wants.

Lori (Aya Cash) and Doug (William Jackson Harper of “The Good Place”) have been together for ten years. They have the affectionate verbal shortcuts of people who know each other well and trust each other without reservation. As far as Lori’s mother is concerned, Doug is part of the family.

And then, as they are waiting at a counter for a Chinese food take-out order, Doug impulsively proposes and Lori’s reaction shocks them both. She throws up. By the next morning, they have broken up. The timing is awkward, though, as Lori’s sister is getting married and they are expected at the destination wedding weekend. They are both in the wedding party and they decide to pretend that they are still together so Lori’s sister can have her perfect day free from any tensions or conflicts.

Of course, there has never been a wedding and very few family gatherings of any kind without tensions or conflicts. Lori’s sister is Bea (a radiant Sara Bolger), who, in stark contrast to Lori, is marrying Jayson (Tony Cavalero), a man she has known for just four month. While Lori and Doug seem stuck like bugs in amber, Bea and Jayson are impulsive, impetuous, and show no signs of stopping to think about what they are doing. The wedding is at a resort which was once the summer camp Lori and Bea went to as young teenagers, and there are elaborate plans that include a “Paul Bunyan Day” series of camp-style competitive events, except with lots of liquor. And like all weddings, there are chances to renew connections and meet new people. Doug and Lori, still pretending to be together, find themselves wondering about possible other partners.

The ambitions of the film, co-written by director Jeff Rosenberg with Laura Jacqmin (“Grace and Frankie”) are impressive, but the characters are too thinly written to support them, despite the best efforts of the actors. The contrast between the impulsive couple heading into marriage and the couple who have made no progress toward marriage or children or, in Lori’s case, a career, is intriguing but plays out awkwardly. There are moments that come across as genuine but they are surrounded by others that are uneven in tone and execution. Ultimately, like the couples in the film, we are not sure what we want for them.

Parents should know that this film has mature material including sexual references and situations, tense family confrontations, drinking, drunkenness, drugs, and references to underage drinking.

Family discussion: Are you more like Lori or Bea? What do you think will happen to them?

If you like this, try: “Plus One,” “The Five Year Engagement,” and “Table 19”

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Thunder Force

Posted on April 9, 2021 at 12:10 am

B
Lowest Recommended Age: Middle School
MPAA Rating: Rated PG-13 for language, some action/violence, and mild suggestive material
Profanity: Some strong language
Alcohol/ Drugs: Alcohol
Violence/ Scariness: Extended fantasy/superhero peril and violence, mostly comic but some mayhem and characters injured and killed
Diversity Issues: None
Date Released to Theaters: April 9, 2021

Copyright 2021 Netflix
Writer/director Ben Falcone likes to cast his wife, the endlessly talented Melissa McCarthy, as characters who are impulsive, not very bright, and not very good at reading the room, picking up social cues, or keeping thoughts unspoken. So, we know what we’re going to get from “Thunder Force,” with McCarthy as a forklift operator and Van Halen fan who unexpectedly becomes a superhero. I prefer their “Life of the Party,” with McCarthy in less of a slapstick role, but of course it is fun to watch. It takes too long to get going, with a not-very-interesting origin story, and three things are not as funny as they hope: references to 90s pop culture, questioning the sexual orientation of the heroines, and having the bad guys kill people.

There are two twists to the usual superhero backstory here. First, and most intriguingly, it is set in a world where the only people with superpowers are evil. Back in the 80s, a radioactive blah blah but it only affected those with a genetic predisposition to be receptive, and all of those people were sociopaths. So, ordinary humans are powerless against a bunch of selfish, conscienceless, supervillains who behave like the mean kids in middle school. Except instead of not letting you sit at their table in the cafeteria they throw electric fireballs that blow things up. They’re known as the Miscreants. (Great word!)

The Miscreants include Bobby Cannevale as a mayoral candidate who insists on being referred to as “The King” (not funny the first time or any of the subsequent times), running against an AOC-like rival named Rachel Gonzales (Melissa Ponzio), and “Guardians of the Galaxy 2” star Pom Klementieff as Laser, who has the power of throwing electrified fireballs and the hobby of killing people.

Second, the superheroes here are middle-aged, plus sized ladies. Lydia (McCarthy) and Emily (Octavia Spencer) met in a Chicago school, when Emily, a brainy transfer student, was being bullied and Lydia stood up for her. They became friendship bracelet-sharing BFFs, and spent a lot of time together, including dinner with Emily’s grandmother, who took Emily in after her scientist parents were killed by the Miscreants. Emily is determined to carry on the work of her parents and find a way to defeat the supervillains.

Lydia and Emily become estranged in high school, when Emily says she has no time for anything but her work. Years later, as their reunion approaches, Lydia is a forklift operator in a Slayer t-shirt and Emily is the founder of a hugely successful company with a new headquarters in Chicago. Lydia goes to the the office to bring Emily to the reunion, is told not to touch anything, but is incapable of obeying that or pretty much any other cautionary direction. Suddenly she’s in a dentist chair-type thing with needles going into her cheeks. She has accidentally injected herself with the serum Emily has been working on for years to create superpowers for good guys. Her colleagues are Allie (Melissa Leo), and Emily’s super-smart daughter Tracy (a warm and winning performance by Taylor Mosby), a college graduate at age 15.

Lydia continues to get the injections, building up her strength, speed, and fighting skills. For some reason, this involves eating a lot of raw chicken. Meanwhile, Emily is undergoing a far less strenuous regimen, to give her the superpower of invisibility. Finally, they are ready to go on a trial run, stopping the robbery of a convenience store. At this point, Lydia and Emily prevent the thugs from stealing money but even these two powerhouses cannot prevent Jason Bateman from stealing the movie. I won’t spoil who or what his character is, but he is far and away the movie’s highlight. He and McCarthy spark off each other in a delicious manner, both with exquisite comic timing and unexpected and offbeat rhythms. Now that is a superpower.

Parents should know that while this is a comedy, there is some scary action with explosions, murders, and potential domestic terrorism. There are repeated references to the deaths of Emily’s parents. The movie also includes some strong language, alcohol, suggestive content and brief potty humor.

Family discussion: What super powers would you like to have? Why did Lydia and Emily like each other? What did Emily learn about Lydia from Tracy?

If you like this, try: “Life of the Party” and “My Super Ex-Girlfriend”

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