The In Between

Posted on February 11, 2022 at 12:30 am

B
Lowest Recommended Age: Middle School
MPAA Rating: Rated PG-13 for sexual content, brief strong language, and some thematic material
Profanity: Brief strong language
Alcohol/ Drugs: Reference to a drunk driver and alcohol abuse
Violence/ Scariness: Fatal car accident, sad death, scenes in hospital
Diversity Issues: None
Date Released to Theaters: February 11, 2022

Copyright 2021 Paramount
Should a movie have a happy ending? We may guess that the teenage couple who debate this critical question in their very first conversation are destined for each other. We may guess which category this film falls in from the opening scene, a fatal car accident. We will see the story unfold back and forth between that night and 102 days earlier, so we can see how they met and fell in love and the events that led up to and followed the crash.

They meet when Skylar (Kyle Allen of “A Map of Tiny Perfect Things”) and Tessa (Joey King of “The Kissing Booth” movies) are entire audience for a French film called “Betty Blue.” Tessa is about to leave when she realizes that there are no subtitles. But he takes the seat next to her and offers to translate as he has seen it before and he speaks French.

They debate the value of a happy ending. As we will learn, Skylar has two loving parents he admires and is close to. He is an outstanding student and athlete and has been accepted at Brown. He believes in happy endings because the world has treated him kindly. Tessa, who lives with people who are not her parents and would rather interact with the world behind a camera, has experienced loss and she is determined to make sure she never risks feeling pain again. She cannot help falling in love with him, but cannot bring herself to say the words that come more easily to him.

Like “Ghost” and “Truly Madly Deeply,” this is a story of love and loss. Tessa is just fine at a remove from other people, taking photos and not talking to the adults she lives with. But Skylar is irresistible. Impossibly so, like beyond perfect, handsome, humble, funny, smart, and one hundred percent devoted and supportive even when she is challenging. But that’s almost okay because Allen has a lot of charm and carries it lightly and because it is depicting the heightened emotions of teenage first love. We can accept that we are seeing him through Tessa’s eyes.

King is transitioning smoothly into more grown-up roles and she is very appealing here, especially as we see Tessa’s relationship with Skylar evolve. We can see how desperately she wants to find connection and allow herself to be loved, even as it terrifies her. The movie is about 20 minutes too long, but so sweet it is hard to hold that against it.

Parents should know that this movie includes discussion of family loss, abandonment, and dysfunction including a mentally unstable parent, foster care, and divorce, brief strong language, and a teen sexual situation.

Family discussion: How do you decide when to protect yourself and when to make yourself vulnerable? Why was it important for Tessa to hear her own words?

If you like this, try: “Every Day,” “Before I Fell,” and, also starring Kyle Allen, “A Map of Tiny Perfect Things”

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Cyrano

Posted on January 31, 2022 at 6:48 pm

A-
Lowest Recommended Age: Middle School
MPAA Rating: Rated PG for some strong violence, thematic and suggestive material, and brief language
Profanity: Brief strong language
Alcohol/ Drugs: Alcohol
Violence/ Scariness: Sword fights and battles, characters injured and killed
Diversity Issues: A theme of the movie, but transphobic humor
Date Released to Theaters: February 4, 2022
Date Released to DVD: April 18, 2022

Copyright 2021 MGM
Cyrano” is a gorgeous film, a true labor of love. The basis, of course, is one of the great classic plays of all time, Edmond Rostand’s 1897 Cyrano de Bergerac, inspired by a real soldier/writer. Jose Ferrar won an Oscar for his performance as the title character in a 1950 film. The story of the man who cannot tell the woman he loves how he feels because of the way he looks has been adapted and rebooted many times, with probably the best known Steve Martin’s Roxanne and most recently set in a high school in “The Half of It.” Everyone can identify with a character who is afraid to approach the object of their affection and everyone would like to identify with a character whose wit is as ready and sharp as his sword. In the original and the Steve Martin version, the main character’s rapier-like comebacks to a thoughtless bully are a highlight.

In the original and “Roxanne,” the impediment is a nose so big that the Cyrano character believes no one can see him as a romantic partner. In this swooningly romantic new version, set, like the original, in the 17th century, the physical obstacle is size. Writer Erica Schmidt adapted the play as a musical to be performed on stage by her husband, actor Peter Dinklage (“Game of Thrones”) as Cyrano, and ravishingly lovely Haley Bennett as Roxanne. They play those parts in this film, directed by Bennett’s significant other, Joe Wright (“Atonement,” “Pride and Prejudice”)

Roxanne is loved by three men: Cyrano, the handsome but better-with-a-sword-than-with-poetic-love-letters Christian (Kelvin Harrison, Jr. of “Waves”), and the selfish, predatory De Guiche (Ben Mendelsohn). Cyrano has been her closest friend and confidant since childhood. De Guiche is pressuring her to marry him. Her maid reminds her that she has no money and no other options for supporting herself. But one night at the theater, she glimpses Christian, a newcomer to the military unit where Cyrano serves, and she loses her heart to him. Cyrano agrees to ghost-write love letters from Christian to Roxanne. He pretends it is to help the new recruit but in reality it is to have his one chance to tell the woman he loves how he feels, even if the letters are signed by someone else.

In a way, Schmidt is giving her words to the man he she loves so that we can see him the way she does, gallant, mordantly witty, a brilliant actor, and a person of deep and generous humanity. A scene where he is almost about to dare to hope that Roxanne will say she loves him, the emotions that flicker across his face as he is almost successful maintaining his composure is one of the most touching moments on screen this year.

With Schmidt and Wright creating the words and images for the people they love, in spectacularly beautiful costumes (Massimo Cantini Parrini and Jacqueline Durran) and settings (Sicily filling in as 17th century France) with music and even some dance numbers, the unabashed romanticism almost bursts out of the screen. Bennett makes a lovely Roxanne, clever and spirited but allowing her own romanticism to blind her to the love that is already hers. Mendelsohnn seems to specialize in bad guys these days, and this is another strong performance, De Guiche’s brutality glimpsed under a very thin veneer of suavity. Harrison makes a gallant Christian. But it is Dinklage who is in every way the heart of the story. Just as we get to see Cyrano finally use his own words under cover of darkness to play the part of the man whose outside matches his inside, in this film we get to see Dinklage take center stage, with a performance of heart-stopping vulnerability. Rostand would be proud, and so would the man who inspired the play that continues to capture us more than a hundred years later.

Parents should know that this film includes brief strong language, sexual references, sword fights, and battle scenes, with characters injured and killed.

Family discussion: Should Cyrano have told Roxanne how he felt? If so, when? Is there a time when you misjudged someone based on looks or when you were misjudged?

If you like this, try: “Roxanne” and the Ferrar and PBS versions of “Cyrano de Bergerac”

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The Sun is Also a Star

Posted on May 15, 2019 at 6:15 am

B +
Lowest Recommended Age: High School
MPAA Rating: Rated PG-13 for some suggestive content and language
Profanity: Some strong language
Alcohol/ Drugs: None
Violence/ Scariness: Accident with pedestrian injuries, family scuffle
Diversity Issues: A theme of the movie
Date Released to Theaters: May 17, 2019
Date Released to DVD: August 19, 2019

Copyright 2019 Warner Brothers Studios
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.

Daniel tells Natasha he can make her believe in love. He begins with the famous 36 questions followed by a silent stare into each other’s eyes. She insists that it cannot possibly work, but as the day goes on, she cannot help but be drawn to him. As they watch a show at the Planetarium (perhaps a nod to “Rebel Without a Cause”), she reaches for his hand.

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”

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Isn’t It Romantic

Posted on February 13, 2019 at 8:28 pm

B
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated PG-13 for language, some sexual material, and a brief drug reference
Profanity: Strong language, some bleeped but still evident
Alcohol/ Drugs: Drug dealer, drinking to deal with stress, joke about getting drunk
Violence/ Scariness: Comic peril, mugging, injury
Diversity Issues: None
Date Released to Theaters: February 14, 2019

Copyright New Line 2019
As they say, it’s not a bug; it’s a feature. Yes, romantic comedies keep relying on the same elements. All the Jessicas and Jennifers who star, all the quippy best friends, all the cute apartments and makeover montages, all the strolls through the farmers markets, looking through the mounds of fruit, coming home with grocery bags filled with bottles of wine and baguettes, the kisses in the rain, the misunderstandings, the initial antagonism that turns to love, the race to the wedding (to stop it) or to the airport (to keep that special someone from flying away), and all those bouncy pop songs on the soundtrack to make up for the absence of actual lines of dialogue. Why should we hear what people say to each other when they are falling in love when we can imagine it as we bounce along to the music and watch them stroll on the beach and ride bicycles and playfully toss soap bubbles or autumn leaves or pillows at each other?

We don’t go to see romantic comedies in spite of this repetition; we go because of it. Just like we play the same songs over and over, it is the very predictability we find so satisfying. So “Isn’t it Romantic,” starring Rebel Wilson, is as much an affectionate tribute to the romantic comedy as it is a parody of it. In the first scene, the mother (“AbFab’s Jennifer Saunders) of a young Australian girl is telling her that the movie she is watching, “Pretty Woman,” is unrealistic, like all romantic comedies, and, in fact, she says that there is no such thing as love. “In real life, girls like us can’t get that.” (If this reminds you of the “monogamy isn’t realistic” flashback of the romantic comedy “Trainwreck,” buckle up, because the call-outs of other movies are non-stop.)

Twenty-five years later, that girl has grown up to be Natalie (Rebel Wilson) is an architect in New York, cynical about romance and shy about standing up for herself at work. She has an assistant (a terrific Betty Gilpin of “Glow”) who spends all day watching romantic comedies instead of doing her job and a friend zone buddy named Josh (Wilson’s “Pitch Perfect” love interest Adam Devine). When she bangs her head after a mugging in the subway station, she wakes up in the hospital — and the world has been transformed to a romantic comedy, wisecracking gay best friend, meet cute dreamboat, her apartment quintupled in size, her neighborhood all bright colors, flower shops, and cupcakes, “as though a beauty filter had been applied to all of New York.”

At first she resists, but then she decides the best way to get back to real life is to create a happy ending, at first with a handsome millionaire who finds her “beguiling” (fellow Aussie Liam Hemsworth), and then with Josh, who by this time is caught up in his own romantic comedy with swimsuit model/yoga ambassador Isabella (Priyanka Chopra). The film manages to pay tribute to/make gentle fun of films like “My Best Friend’s Wedding,” “Notting Hill,” and “13 Going on 30” while folding in some female empowerment, too. It mostly escapes the failures of the silly “Scary Movie” franchises by recognizing that it is not enough to refer to something; you have to have something to say about it. At a brisk 88 minutes, “Isn’t It Romantic” manages to have something to say, and by the time the happy ending and yet another musical number it will have achieved what all good romantic comedies do — it will leave you smiling, and maybe a little bit hopeful about romance.

Parents should know that this film includes strong and crude language, sexual references and non-explicit situations, crude humor, brief nudity, drinking, a drug dealer, comic mayhem and violence and a mugging.

Family discussion: What is your favorite romantic comedy and how does this movie compare to it and comment on it? Why are romantic comedies so popular?

If you like this, try: “Notting Hill,” “27 Dresses,” and “Pitch Perfect”

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How to Talk to Girls at Parties

Posted on May 31, 2018 at 4:02 pm

B +
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for language throughout, sexual content, some drug use and nudity
Profanity: Very strong language
Alcohol/ Drugs: Alcohol, drugs
Violence/ Scariness: Sci-fi peril and some violence
Diversity Issues: None
Date Released to Theaters: June 1, 2018
Date Released to DVD: August 13, 2018
Copyright 2018 A24

Three suburban British schoolboys in the 1990’s are big fans of punk because it seems thrilling to challenge authority and pretty much everything.  But they are not very knowledgeable about anything outside of their own experience, and so when they accidentally wander into a strange party that happens to be a bunch of aliens, they just assume that they must be American girls. In How to Talk to Girls at Parties, Americans, girls, and aliens — they’re all equally unknown, and so, for these boys anyway, easy to confuse.

Neil Gaiman’s sly short story has been lovingly adapted by John Cameron Mitchell (“Hedwig and the Angry Inch,” “Rabbit Hole”), with a breakout performance by Tony-winner Alex Sharp as Enn (short for Henry), a sweet-natured kid who, like his two best friends, loves punk and really, really, really wants to learn how to talk to girls.  Somehow, though, at parties he’s the one who ends up in the kitchen talking to someone’s mum. One night, after a punk concert, they go in search of a party they heard about but end up knocking on the wrong door.  Inside, each room has a different gathering or ritual or happening going on, all exceptionally attractive people (though one has made a mistake in manifesting and has a weird forked finger).

We know what it will take Enn the whole movie to figure out.  These are not American girls. They are aliens, on some sort of galactic tour.  And one of them, named Zan (Elle Fanning, looking far too perfect to be a human) is an alien version of punk, open-minded, curious, and inclined to break the rules. She and Enn go out exploring the world together, and they explore each other a bit, too.

The fun of all fish out of water films is seeing our world, in this case our former world, through fresh eyes. We may laugh as Zan discovers what happens when a human body processes food or speaks whatever comes into her head without understanding social norms like privacy or embarrassment. But we also appreciate her wonder at the gritty, harsh British suburb and the very things that punk is rebelling against. Her encounter with a punk queen (Nicole Kidman with gusto and evident enjoyment) is surprisingly endearing. And when Zan’s alien leaders want to interfere, well, let’s just say that it can be a real advantage to have punks on your side. A magical musical number brings everything together in quite literal terms.

Sharp is the real deal. I was struck by his performance on Broadway and really happy to see him in this film. He is able to convey innocence that comes from being true-hearted, not from a slapstick kind of awkwardness. Fanning continues to be one of the most appealing young performers in films today, always thoughtful and heartfelt. Their Romeo and Juliet romance is sweet and touching, with the adventures of Enn’s friends providing some counterpoint. Punk in this film is not angry so much as revolutionary, fueled by ideas and optimism. That may seem like an alien idea today, but Mitchell makes it seem right on time.

Parents should know that this film includes very strong language, sexual references and situations, teen partying, drinking, drugs, nudity, and some peril and violence.

Family discussion: What does punk mean to you? What is punk today? Why didn’t Zan want to follow the rules?

If you like this, try: “Stardust” and “Coraline,” also based on books by Neil Gaiman

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