Moving On

Posted on March 16, 2023 at 5:50 pm

B +

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated R for language

Jane Fonda and Lily Tomlin are back for the second time in two months, following “80 for Brady,” and if there is ever a Jane and Lily movie-of-the-month club I will be the first to sign up. The screenplay of “Moving On” is not up to their level, but hardly anything is. Despite the unevenness of tone and some sags in the narrative, the two of them are a delight and their way with a line is so irresistible.

Claire (Fonda, looking gorgeous in white hair) and Evelyn (Tomlin looking like an aging flower child) were close friends in college but have been estranged. They meet at the funeral of another college friend. Claire announces to the friend’s mourning widower, Howard (Malcolm McDowell) that, now that her friend is dead and cannot be hurt by it, she intends to kill him. That weekend. And her next step is to try to reconcile with Evelyn to bring her on as an accomplice. The rest of the film takes place over the next few days, as we learn something about the past that separated the friends, what they have been doing since, how their various plans to carry off this homicide develop, and spend time on another reunion. Claire’s ex-husband Ralph also attends the funeral, and he is played by Richard (“Shaft”) Roundtree, so you know there will be some romantic sparks.

Speaking of reunions, this film reunites Tomlin with Paul Weitz, the writer/director of her underseen film “Grandma.” That film did a better job of juggling a very serious theme, a teenager asking her grandmother for help getting money for an abortion, with drama (there is also a complicated reunion of a formerly married couple) and some dark humor. This one sets a tone at the beginning that, even with the threat of murder, is off-kilter with the trauma of what happens later.

But on the way there, we get the truly enjoyable performances of two veterans at the top of their game, who, after seven seasons of “Grace and Frankie” are exquisitely attuned at bringing out the best in each other. Evelyn, a retired cellist in an assisted living facility, has most of the best lines and Fonda has most of the character work, and both are never less than sublime.

Parents should know that this movie has very mature material including the plotting of a murder, with references to rape. There are sexual references and a non-explicit sexual situation. Characters use strong language and drink alcohol.

Family discussion: Why didn’t Claire tell Ralph what happened at the time? Why didn’t Evelyn tell Claire the truth? What advice would you give Claire?

If you like this, try: “9 to 5,” “Grace and Frankie,” and “80 for Brady”

Creed III

Posted on March 2, 2023 at 5:12 pm

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for intense sports action, violence, and some strong language
Profanity:	Some strong language
Alcohol/ Drugs:	Alcohol
Violence/ Scariness:	Very intense fight scenes
Diversity Issues:	A theme of the movie
Date Released to Theaters:	March 3, 2023

The challenge for a movie series is like the challenge for a prize-fighter. No matter how big the triumph last time, the next one is even tougher. Expectations are higher. The people are older. And, when it comes to the Rocky/Creed series, even after a reboot, you still have to take someone who had a happy ending in the last one and figure out how to give him a meaningful challenge that will get the audience invested again. Adonis Creed (Michael B. Jordan) ended chapter 2 rich, successful, married to the love of his life, Bianca (Tessa Thompson), father to an adorable little girl. As chapter 3 begins, he has all of that and is retired, with a gym of his own to support up and coming fighters, especially top-ranked Felix (played by real-life boxer Jose Benavidez). What could possibly make us think of him as an underdog?

The answer is: unfinished business. Adonis comes out of the gym to see a man lounging on his car. “You don’t remember me, do you?” It is someone from his past, someone who brings up conflicted feelings that he has spent years avoiding.

The man is Damian Anderson (Jonathan Majors), just out of prison. He and Adonis lived together in a group home. Back then, Damian was the fighter, and the younger Adonis was his cornerman. We find out later in the movie what the details were, but both them have wondered what would have happened if it had been Adonis who went to prison and Damian who had a shot at the title.

At first, Damian is humble and grateful, at least it seems so, and Adonis wants to help him. But soon Damian is in the Rocky slot, coming out of nowhere for a shot at the title. And if you think Adonis is going to stay retired then (1) you haven’t see the poster or (2) you haven’t ever seen a Rocky movie.

The script is not as strong as the previous two Creed movies but the fight scenes are exceptionally well-staged, as someone who spent two movies on the inside of those scenes might well understand. With the emotion behind it, the charged history. Damian is certain that he deserves this for all the time he lost, that he deserves to take from Adonis all he thinks Adonis took from him. Adonis has to face the guilt he feels over what happened to Damian and

Parents should know that this movie has very intense boxing scenes and other peril and violence involving young boys, some strong language, and sexual references.

Family discussion: What did Adonis owe Damian? Why didn’t Adonis tell Bianca the truth about his early life?

If you like this, try: the two previous “Creed” movies and the first three “Rocky” movies

Seriously Red

Posted on February 9, 2023 at 5:10 pm

B-

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated R for sexual content, nudity and some language
Profanity:	Strong language
Alcohol/ Drugs:	Drinking and drunkenness
Violence/ Scariness:	Scenes of surgery
Diversity Issues:	A theme of the movie

“Seriously Red” was written by Krew Boylan to take the greatest possible advantage of the talents of its star…Krew Boylan, with an assist from the infinite talents of the iconic superstar Krew Boylan cosplays as throughout the film: Dolly Parton. Dolly famously said, as quoted in the film, “Find out who you are and be that on purpose.” In “Seriously Red,” Boylan takes a while to follow that advice, as the first part is about becoming a better Dolly and it is only near the end that she begins to think about what it means to be a better Red. Significantly, “Red” like her curly hair, is her character’s nickname, but as Dolly, she hides it under a big, pouffy blonde wig.

Red’s job is valuing houses for sale and we can see in the first scene that she is sympathetic to the homeowner and also that she can’t wait to get to what she really loves, dressing as Dolly for an office party. The only other person in costume, though, is the Elvis impersonator hired to emcee the event (Rose Byrne, a close friend of Boylan’s and a co-producer on the film). Red braves it out and clearly enjoys the reaction from the crowd. But the next day, it turns out that her ebullience went too far. She is fired for inappropriate behavior, including grabbing the crotches of some of the attendees.

And so, she begins to explore the possibility of making a living as a full-time Dolly Parton impersonator. Channeling Dolly gives her courage and soon she is a success, especially when she teams up with a man so deeply into his Kenny Rogers impersonation that he will not give out his real name. He is Kenny offstage as well as on (Daniel Webber). He is drawn to Dolly; all he sees is Dolly, not Red. And that is fine with Red…for a while.

Boylan has the creamy skin and bright blue eyes to shine in the Dolly moments. The musical numbers, presented with sweetness and sincerity, are a lot of fun. The real life scenes are not as lively or effectively staged, including a detour to get breast augmentation surgery and encounters with Red’s disapproving mother, old friend who is growing impatient, and the people she deals with as she becomes more successful. Bobby Cannavale (also a co-producer) is so good as an impresario of impersonators (and former Neil Diamond performer) we wish we could see more of him, and learn more about the cosplayers on stage and in the audience. Like Red herself, the movie is more confident and appealing when it’s all dressed up in spangles and a high blonde wig. Dolly knows that it’s what is inside that counts. Boylen has not yet learned that lesson.

Parents should know that his film has nudity and sexual references and situations, cosmetic surgery, and strong language.

Family discussion: If you were going to be a celebrity impersonator, who would you be? Why was it hard for Red to be happy being herself?

If you like this, try: “Dumpling” and “Outrageous” and Dolly Parton films like “Steel Magnolias” and “9 to 5”

Related Tags:

Drama Movies -- format Musical

Avatar: The Way of Water

Posted on December 14, 2022 at 5:46 pm

B +

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for sequences of strong violence and intense action, partial nudity and some strong language
Profanity:	Some strong language
Alcohol/ Drugs:	None
Violence/ Scariness:	Extended, intense, sometimes graphic peril and violence, characters injured, sad death of a family member
Diversity Issues:	A metaphorical theme of the movie
Date Released to Theaters:	December 16, 2022
Date Released to DVD:	June 19, 2023

Although writer/director James Cameron has made some of the most innovative and financially successful movies of all time, including “Terminator,” “Titanic,” and the original “Avatar,” he has said that his real passion is oceans and joked that his movie career is to fund his explorations of the world under water. He brought those two passions together with his “Deepsea Challenge 3D” documentary about his expedition to the deepest part of the ocean. And in “Avatar: The Way of Water,” this sequel to 2009’s box-office champion “Avatar,” he brings them together again, with much of the story taking place under the clear, sparkling water of Pandora.

Time has passed since the end of the first film. Onetime human soldier Jake Sully (Sam Worthington) is living blissfully with Neytiri (Zoe Saldana), among the “forest people,” in an Edenic environment of gentle peace with their community and with the land. They have four children, two older boys, a little girl, and an adopted daughter, Kiri, daughter of Dr. Grace Augustine. voiced by Sigourney Weaver, who played Dr. Grace Augustine in the first film. Kiri is the late Dr. Augustine’s daughter. No one knows who her father was. A human boy nicknamed Spider (Jack Champion) is almost another family member, though he must wear a mask on Pandora in order to breathe. Spider’s father was Miles Quaritch, the first film’s human villain, played by Stephen Lang.

Miles is back, now as an avatar, too. The human “sky people” are no longer seeking just Pandora’s precious ore. They now represent the most popular category of movie bad guy in 2022: colonists. He is charged by his commanding officer (Edie Falco) to conquer the natives, and he vows to kill his former fellow soldier, Jake Sully.

As with the first film, the Pandora natives are portrayed as idyllic indigenous people and the humans, with the exception of the kindly lab staff, are mostly brutish and greedy. Their invaders have machine guns and explosives and no compunctions about using children as bait. The Pandorans have spears and arrows. And pure hearts. Cameron is not known for subtlety or depth of character. There’s a reason his most famous character is a cyborg whose breakthrough film had him utter just 17 lines of dialogue. This movie would have been better with less talking, too.

But Cameron is known for spectacular visuals, and “Avatar: The Way of Water” delivers that and then some. When the Sullys leave their home with the forest people and seek asylum with the teal-skinned water people (reminiscent of the recent “Black Panther: Wakanda Forever”), much of the story moves on and in the ocean and Cameron’s endless love for that environment is evident in every breathtakingly gorgeous detail, thrillingly immersive in IMAX 3D with Dolby sound. The undersea creatures are spectacularly beautiful and the underwater movements are graceful and balletic or intensely suspenseful as the story demands. Kiri, who loves her family but has always felt something of an outsider, finds her home in the water so believably we begin to feel that way, too. The building blocks of the storyline may be very basic, but the environments where they take place are glorious.

By the end of the movie, the Pandorans no longer seem like giant super-models, with their elongated, slender bodies. They seem like the normal ones and the humans seem tiny and awkward.

The story is just a scaffolding for the world-building. That may make it more of an experience than a movie, but the experience is a fun place to visit.

Parents should know that this film has extended and intense peril and violence. A young character is killed. There are graphic images including a severed arm, dead bodies, and impaled combatants. Characters use some strong language and the costumes are skimpy. There are mild sexual references including questions of paternity.

Family discussion: What circumstances today present the same issues that the Sullys and the water-based Metkayina clan have to consider — protecting their group or caring for those in need, wanting to be peaceful when faced with violence? Does your family have a motto? How are the two Sully brothers different and why?

If you like this, try: “Avatar,” and get ready for three more sequels!

Living

Posted on December 13, 2022 at 10:39 am

A-

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for smoking and some suggestive material
Profanity:	Mild language
Alcohol/ Drugs:	Drinking and drunkenness, smoking
Violence/ Scariness:	Terminal illness
Diversity Issues:	None
Date Released to Theaters:	January 7, 2023
Date Released to DVD:	April 11, 2023

An 1886 novella by Leo Tolstoy inspired Japanese director Akira Kurosawa to create one of the most acclaimed films of all time, “Ikiru,” in 1952. And now those two core works have inspired an extraordinarily wise and touching British film starring Bill Nighy called “Living,” with a screenplay by Nobel Prize-winner Kazuo Ishiguro. What has drawn all of these artist together is that most profound of existential questions, literally the meaning of life. And like the two earlier works, “Living” is superb in every detail.

The story is set in post-WWII London. Mr. Williams (Nighy), a supervisor in a government office, overseeing a group of mostly white men (one woman, one Indian-British) who sit around tables piled high with file folders and documents. The production design by Helen Scott and cinematography by Jamie Ramsay are impeccable. We follower newcomer Peter Wakeling (Alex Sharp) as he begins to learn the way the office works. His colleagues board the commuter train together. “This time of morning, not too much fun and laughter. Rather like church,” he is cautioned by one of his new co-workers after he ventures some mild self-deprecating humor. All conversation is highly professional, quiet, understated, and exquisitely polite.

A group of local women trying to get a permit to turn a small area that was bombed in the Blitz turned into a playground keep coming to Mr. Williams’ department. And every other department in the building, because each one tells them it is someone else’s responsibility. For Mr. Williams, his job is about moving paper, not helping people.

After he gets the bad news from his doctor, Mr. Williams practices telling the son and daughter-in-law who live with him that he only has a few months to live. His emotional vocabulary is so shrunken, so limited, the only word he can think of to describe the situation is, “bore.”

He cannot bring himself to tell them, even or especially after he hears them talking about how they want to move out and live on their own. And then, Mr. Williams, the most methodical and reliable of men, does not go to his office. He finds his way to the seaside and strikes up a conversation in a bar with a bon vivant writer (Tom Burke), one of only two people he will tell about his diagnosis. The writer suggests spending his last months having fun, and they spend a raucous evening together, but that is not what Mr. Williams needs.

The second person he tells is a former co-worker, who spends some time with him, and it is her example that helps lead him to an understanding of what he needs to make the final time meaningful.

Nighy, always superb, has never been better. He is able to show us emotions that Mr. Williams does not even understand he is experiencing. Every moment of this film is exquisite, a poetic elegy to reveal not only Mr. Williams’ purpose but our own.

Parents should know that this movie deals with a terminal illness. There is some mild language, drinking, and drunkenness.

Family discussion: What do you and the people around you to do find meaning? Will the people in Mr. Williams’ office keep their pledge? Why didn’t he tell his son what was going on?

If you like this, try: “The Browning Version” (1951 version) and “Last Holiday” (1950 version), two British films from the era depicted in this film with related themes, and “Ikuru” and “The Death of Ivan Ilyich” as well.