There are about half a dozen bright spots in the new animated feature “The Addams Family,” but in between them is the unbright and unoriginal storyline about how the real monsters are the ordinary people, not the weird people.
Parents should know that this film includes monsters and peril. It is more funny-scary than scary-scary but there are some images that might disturb sensitive viewers, as well as comic/action-style peril with no one hurt, bullies, a neglectful parent, potty humor. Some may be disturbed by a casual portrayal of child who decides to live with a different family
Family discussion: Which characters are really scary? What does “assimilation” mean? What does your family do to recognize adulthood?
If you like this, try: “Hotel Translyvania,” “Igor,” and the “Addams Family” television books, series and films
Rated R for language throughout, sexuality and some drug material
Strong and crude language
Drinking and drunkenness, drugs, references to addiction
Injury, references to
Date Released to Theaters:
August 30, 2019
The title of this film, “Brittany Runs a Marathon,” is not really a spoiler. Yes, it is an inspiring story of a young woman named Brittany (Jillian Bell, outstanding in her first lead role) who has a sobering visit with a doctor, an equally sobering visit with an expensive gym. She decides that since running is free, she will start with just one block and see — literally — where that takes her. But the real story of the film is about what she discovers along the way about herself and the people around her. Her real problem was not being overweight. Her real problem was what being overweight helped her hide from.
Brittany feels that she is both stuck and drifting. As she approaches 30, her friends all seem to be settling into jobs and relationships while she is still living in college slacker mode, sharing an apartment with her BFF Gretchen (Alice Lee), and barely managing her internship-level job with a small theater group. Brittany is in debt, goes out partying nearly every night, goofs off at work, and makes fun of a neighbor they call “Moneybags Martha,” scrolls through social media to look at everyone else’s seemingly perfect lives, and tries very hard not to notice how awful she feels.
Brittany goes to a doctor because she says she cannot focus and asks him for Adderall. He tells her, as sympathetically as he can, that what she has to do is lose 50 pounds. She cannot afford a gym. The longest journey begins with a single step. And so, she begins with a run for just one block.
First-time writer/director Paul Downs Colaizzo was inspired by the real-life story of his friend Brittany (glimpsed over the closing credits). It would have been easy and probably very popular for him to make a feel-good Cinderella story, with losing weight playing the role of the fairy godmother; makeover stories are hard to resist. But Colaizzo tells a smarter, subtler, more meaningful story here, with structural, symbolic, and character-based moments that illuminate Brittany’s growing understanding of herself and her world. Repeated incidents of Brittany racing for a subway as the door is closing are as important in marking the story’s development as the more conventional shots of the number on the scale as she weighs herself. The diverse cast is especially welcome, and Calaizzo balances the Lil Rel Howery character’s near-saintly level of advice and support with more flawed characters like her frenemy Gretchen, her new running buddy Seth (Micah Stock), and someone as lost as Brittany and almost as defensive, Jern (Utkarsh Ambudkar).
We see that Brittany was not just heavy; she was numb. Any time she felt vulnerable or uncomfortable she made a silly joke or put on a silly accent. And that was most of the time. There were so many things she didn’t want to think about: being sad and scared as a child, feeling lost and unloved now. The reason she feels unfocused is not because she needs Adderall; it is because all of her emotional energy is put into not focusing on why she feels hopeless. Learning to be honest with herself is more painful and much more terrifying than running a little longer every day. And there is something even more terrifying: allowing herself to get close to other people, to allow other people to get close to her.
Bell has acknowledged that this story hit close to home for her. For us, as audience, we have known her as a comic performer with a gift for delightfully offbeat quips. Her fight scene with Jonah Hill in “22 Jump Street” is a loopy delight. Here, like Brittany, she has to let go of her natural reflex for comedy to allow us to see her character’s pain. Seeing Bell open up to show us how Brittany opens up as she learns to judge other people — and herself — less harshly is what makes this movie one of the summer’s sweetest surprises.
Parents should know that this movie includes some strong and vulgar language, sexual references, some crude, and sexual situations, drinking and drug use, reference to addiction, and references to family dysfunction and stress.
Family discussion: What upset Brittany about the couple at her brother-in-law’s party? Why was it so hard for her to accept help? What did she learn about Gretchen and why didn’t she see it before?
If you like this, try: “Wild,” “Tracks” and the recent “Sword of Truth,” also featuring Bell and Watkins
Rated R for strong crude sexual content, drug and alcohol material, and language throughout - all involving tweens
Very explicit, profane, and crude language used by young adults and 6th graders
Drugs and alcohol use by young adults and 6th graders, drug dealing
Extended peril with one gross injury, no one badly hurt
Date Released to Theaters:
August 16, 2019
Date Released to DVD:
November 11, 2019
If I could, I’d give “Good Boys” three different grades. I’d give it a B+ for the sweet, smart depiction of that stage of life — equally exhilarating and excruciating — when we make the thrilling, terrifying, transition from child to adult. I’d give it a B for the fun of the adventure the boys go on when they are trying to replace an expensive drone they broke trying to spy on a girl and her boyfriend. But I would give it a D for the cheapness of its humor, relying so heavily on 6th graders using the F word, trying beer and porn, buying drugs, and not understanding the cache of sex toys they find. I don’t find that funny. So, overall, I am not recommending this film. But I will give it credit for the parts that work, and recommend it only for anyone who finds it hilarious to see a child with a ball gag in his mouth — because two other children are trying to re-set his dislocated shoulder on their way to buying molly from some dealer in a fraternity.
The most significant conversation in the film is when a 6th grader is listening to two teenage girls who are close friends and realizes that they have only known each other a few years. He learns for the first time that the friends you make in grade school may not be the friends you have forever, and like so many revelations at that stage of life, this discovery is deeply disconcerting but also intriguing, opening up a whole new world of possibilities — and risks.
Max (Jacob Tremblay), Lucas (Keith L. Williams), and Thor (Brady Noon) are best, best friends who call themselves the Bean Bag Boys. They do everything together and believe they always will. But one element of this stage of life is that any given 6th grader will go back and forth across the line between sophistication and abstract reasoning and a growing awareness of how much they don’t know (and how much even the adults around them don’t know) back to the more childish perspective. These are kids who have been lectured at school about the importance of consent but are not entirely clear on what it is that is being consented to. At this age, the people you feel close to are at a million different points along that continuum as well, so maybe you don’t feel as close to them anymore. As one of them acknowledges, hormones are making them crazy. The movie opens with him using a video game to expand the boobs of an avatar so he can masturbate — until then his father (Will Forte) comes in, sees what is happening, and congratulates his son for growing up.
Dad goes out of town warning his son not to touch the valuable drone he has for his work. But when Max desperately needs to learn how to kiss because he is invited to his first kissing party and the girl he loves and plans to marry but has not yet spoken to will be there and if he does not go and kiss her then life will have no meaning, he decides using the drone to spy on the teenage girl and her college age boyfriend is the answer to his problem. This is after he and the other Bean Bag Boys try doing a Google search for porn and discover it does not have much kissing. The girl is Hannah (Molly Gordon) and she and her best friend (Midori Francis as Lily) refuse to give it back. The boys take Hannah’s purse, which has some molly in a children’s vitamin bottle. (One of the movie’s funniest running jokes is the inability of the boys to open a child guard cap.)
And so the adventure begins, with the boys needing to get or replace the drone and the girls needing to get back or replace the drugs.
There are many sweet and funny moments, and the kids are great. There are wonderfully telling details, like the school anti-bullying squad. But the film cannot overcome the unpleasantness of the cheap humor and the sinking feeling that the filmmaking experience itself merits a visit from Child Protective Services.
Parents should know that this is a story about 6th graders that includes extremely raunchy, explicit material involving very crude and graphic sexual content, drugs and alcohol, some mild peril and violence, and very strong and crude language.
Family discussion: Who are your beanbag boys? What made them friends? Why did Thor decide not to audition?
If you like this, try: “Superbad” and “Pineapple Express”
Rated PG-13 for some strong language and drug material
Some strong language
Family stress and loss, reference to serious illness of a child and miscarriages
Date Released to Theaters:
August 16, 2019
Date Released to DVD:
December 2, 2019
The screen adaptation of Maria Semple’s charming book, Where’d You Go Bernadette is…less charming, though perfectly pleasant in a late summer comfort food kind of way. Semple, a sharp and witty writer for television (“Mad About You,” “90210,””Arrested Development”) moved from LA to Seattle and her sense of dislocation inspired the book, with a sharp take on the crunchy, self-consciously wholesome culture of the Pacific Northwest in contrast to the glossier, smugger world of Los Angeles. Note the title, a question without a question mark. And in this version, the question mark-less question is for no discernible reason, answered at the very beginning, followed by most of the film as a flashback.
Missing the epistolary format of the book, which allows us to follow much of the storyline through the characters’ voices, the sharpness is softened in Richard Linklater’s film. Cate Blanchett plays Bernadette, a devoted mother of Bee (newcomer Emma Nelson). Clinically, she might be classified as struggling with depression or anxiety or agoraphobia, but as we will learn, the behavior that is un-social and non-productive is her way of responding to devastating personal and professional loss. She does not want to talk to anyone, except maybe Bee, with whom she has an easy, natural connection. Bernadette loves her husband, Elgy (Billy Crudup), but he has a demanding job at Microsoft, the reason for their move to Seattle, and is not around much. Bernadette ran from personal and professional loss by devoting herself to Bee. But now Bee will be going away to boarding school and she has nowhere to run.
Bernadette is an architect, but her house is a mess of unfinished repairs. When she spots a bump under the carpet that turns out to be a blackberry bush sprout from beneath the house, instead of pulling it up by the roots she neatly scores the carpet to bend the corners back and staple them to the floor so the bush can keep growing. She has contempt for the moms at Bee’s school who go on about their compost heaps. She refers to them as “gnats” and she is not above some passive aggression, including allowing one to create a lot of damage.
Elgy’s new assistant there is Soo-Lin (Zoe Chao), one of the gnats, who loves to gossip about how weird Bernadette is with Audrey (Kristen Wiig), one of those “Big Little Lies”-type school moms who likes to run everything, talks about her perfect life a lot, and has very strong views on how everyone should behave.
Bee reminds her parents that they rashly promised her a wish if she got perfect grades all through middle school. Her wish is a trip to Antarctica. Bernadette wants to give Bee her dream, but for someone who can barely leave the house, it is an insurmountable challenge — until other challenges of staying home become even more insurmountable.
This is disappointingly one-dimensional work from one of the world’s most talented and versatile directors, Richard Linklater. Instead of the innovative, perceptive work we saw in “Boyhood,” the “Before” series, “School of Rock,” “Waking Life,” “Bernie,” and “Everybody Wants Some!!” “Where’d You Go Bernadette” has all the depth of the Charlene song “I’ve Never Been to Me.”
Parents should know that this film has some strong language, some mayhem, some mild peril, and some discussion of miscarriages and serious medical conditions.
Family discussion: Why didn’t Bernadette tell her family where she was going? What problems are you good at solving?
If you like this, try: “The Secret Life of Walter Mitty,” also starring Wiig.
Rated PG-13 for thematic content, language throughout, some violence and smoking
Some peril and violence, character injured
A theme of the movie
Date Released to Theaters:
August 9, 2019
Date Released to DVD:
November 11, 2019
The story behind the making of “The Peanut Butter Falcon” is as sweet and inspiring as the one on the screen. Tyler Nilson and Michael Schwartz met ZacK Gottsagen when they were working at an arts program for people with disabilities. Gottsagen, who has has Down syndrome, told them he wanted to be an actor, and asked them to write a movie for him. So they checked some books about screenwriting out of the library and came up with this script, which is not just about a character based on Gottsagen, but about their community of the Outer Banks of North Carolina. The sense of place (though it was filmed in Georgia) is as important to the film as the characters on an unexpected journey.
It is remarkably assured for a first film, with an excellent supporting cast of talented pros and superb cinematography and music choices. The genuine affection and — especially — the respect Nilson and Schwartz have for the real-life Zack and the character he plays keep this story from being condescending or sugary.
Gottsagen plays a character also named Zack, a young man with no family and no resources who has been placed by Virginia authorities in the only facility they could find for him, a nursing home for the elderly. His roommate there is a retired engineer named Carl (Bruce Dern), who helps him escape, after watching Zack’s VHS tape of his favorite wrestler, the Salt Water Redneck for the zillionth time. Zack wants to be a wrestler, and his dream is to get to the Salt Water Redneck’s training facility in Florida. This is not one of those “there is none so cognitively impaired as those who will not think” movies.
Importantly, Zack is not a narrative convenience for the other characters to learn lessons and feel better about themselves. Zack (the character) is a real person with some limitations but a cheerful disposition and a true heart. His view of the world is as constrained by the restricted environment he was put in as by his cognitive ability. “The state has to put you somewhere and this happens to be that place,” he is told. You do not have to have a PhD to know that does not make much sense. And you don’t have to do higher math or be able to explain the metaphors in Moby Dick to know that people want to be with friends and follow their dreams. This movie is very much his story and he is very much at the heart of it.
The nursing home administrator does not want to report Zack’s escape to the police, so he sends a sympathetic aide (Dakota Johnson as Eleanor) to find him. Zack’s lack of planning (he escapes wearing nothing but underpants and has no money) helps in a way because he is seen as vulnerable and non-threatening. Tyler (Shia LeBoeuf) is a tidewater fisherman who has fallen on hard times, in part due to his bitterness and grief and guilt over the death of his brother (Jon Bernthal, glimpsed in wordless flashbacks). His own poor judgment escalates a fight with another fisherman (John Hawkes), who comes after him. Tyler does his best to avoid taking responsibility for Zack, but gives in when he sees how much Zack needs help. On the road, they have adventures, encounter interesting people, and begin to first trust and then like one another.
One of the highlights of the film is when they meet a blind man who insists on baptizing Zach. Tyler refuses, saying he prefers baptism by fire. It is presented with sincerity and a delicate lyricism that helps elevate the folkloric tone, as does the exceptional soundtrack and the exquisite cinematography, all of which set the tone for the satisfying conclusion.
Parents should know that this movie has some peril and violence, including arson, shooting, and an attack with a tire iron and an off-screen fatal car accident. There is some strong language, a character runs around in underwear, drinking and drunkenness, and a kiss.
Family discussion: What made Tyler change his mind about helping Zack? Why did the Saltwater Redneck encourage Zack to fight? What will happen next?
If you like this, try: “Little Miss Sunshine” (rated R) from the same producers, “Where Hope Grows,” and “Up Syndrome”