I’ll See You in My Dreams

Posted on May 21, 2015 at 5:55 pm

B+

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated PG-13 for sexual material, drug use and brief strong language
Profanity:	Strong language
Alcohol/ Drugs:	Drinking, marijuana
Violence/ Scariness:	Some mild peril, sad death
Diversity Issues:	None
Date Released to Theaters:	May 22, 2015

Blythe Danner gives a performance of exquisite sensitivity in “I’ll See You in My Dreams,” the story of a lonely widow. She plays Carol, a singer-turned teacher who retired 20 years ago after her husband died. Her friends in a nearby retirement community urge her to join them but she prefers to stay in her home, her primary companions her dog and her glass of white wine.

The movie begins by taking us through a day we surmise is just like hundreds of others. She plays cards with friends, she plays golf, she feeds the dog, she sips wine and watches television. She keeps busy and she is not unhappy. She has plans, and she has fun, but she does not have much of a sense of purpose. When a rat invades her home, it is unsettling. She asks her new pool cleaner for help.

His name is Lloyd (Martin Starr), and he is lost in a way that makes her feel able to talk to him. Her feelings toward him are not maternal or romantic. But he is smart, and funny and self-deprecating and he was willing to help her with the rat. And he is newly back in town and living with his parents, so he can use a friend, too. When he tells her about going to do karaoke, she agrees to go with him.

A speed dating event with her friends is a hilarious disaster, but that may make an overture from a handsome stranger named Bill (Sam Elliott) seem more appealing. Writer/director Brett Haley has a good sense for the way people who have no time for trivialities get to the point with each other, wasting little time on getting-to-know-you trivialities. Carol’s conversations with Lloyd and Bill are direct without being intrusive, and especially without being judgmental. When she is with her friends, there are easy exchanges that reflect the kind of connection based on the shared experience of being an older woman. A scene where they all get high on one friend’s medical marijuana is completely charming.

It is almost beyond belief that this is Danner’s first romantic lead in a film. She is breathtaking. Haley wisely just leaves the camera on her beautiful face as she sits with her beloved dog while he slowly stops breathing in the vet’s office. Her grief is devastating. Her devotion is deeply moving. Her performance of “Cry Me a River” in karaoke is also magnificent. The incandescence she brings to the story of a woman who is still struggling for connection makes this one of the most touching performances of the year.

Parents should know that this movie has strong language, drinking and drugs, sexual references and situations, and a sad death.

Family discussion: What do we learn about Carol from the karaoke scenes? Why did she become friends with Lloyd? How is dating different for older people than for younger people?

If you like this, try: “The Best Exotic Marigold Hotel” and its sequel

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Ride

Posted on May 7, 2015 at 5:05 pm

B+

Lowest Recommended Age:	High School
MPAA Rating:	Rated R for language and some drug use
Profanity:	Some strong language
Alcohol/ Drugs:	Drinking, drugs
Violence/ Scariness:	Peril
Diversity Issues:	None
Date Released to Theaters:	May 8, 2015
Date Released to DVD:	August 17, 2015
Amazon.com ASIN:	B00Y250GE4

A surf bum named Ian (Luke Wilson) is explaining the physics of the interaction between surfboard and wave: it’s an inanimate object in an ever-changing environment. One doesn’t move. One never stops moving in powerful and highly unpredictable ways. And that is also the story of the woman who is not quite listening to Ian’s explanation.

Oscar-winner Helen Hunt writes, directs, and stars in “Ride,” the story of Jackie, an overprotective Manhattan mother whose son, Angelo (Brenton Thwaites) flees for California to surf. Her plan was for him to start college just 85 steps away from the apartment that they share, constantly calling back and forth to each other rapid-fire as they work on their laptops. He feels claustrophobic and over-managed, so when he visits his father in California he decides to stay. Jackie finds out when she visits his dorm to make his room more homey.

She follows him out to California and when he does not want to talk to her, the only way she can think of to stay close to him is to learn to surf. And so we will see her lose or relinquish everything she thought was essential to who she was: her black Manhattan editor wardrobe, her constantly buzzing phone, her willingness to be perpetually available to handle crises at the office, her reluctance to meet her ex-husband’s new family, the intensity of her connection to her son, and the equal intensity of her refusal to rely on anyone but herself. She has been an inanimate object in an ever-changing environment. Can she adapt?

Hunt’s script is clever and warm-hearted. As with her previous film, Then She Found Me, loosely adapted from novel by Elinor Lipman, the film explores the challenge of being a loving and supportive mother to an adult or almost-adult child while being a person at the same time — and letting the child be a person, too.

After a short introduction, where we see her sitting on the other side of her then-preschool son’s bedroom door all night, tiptoeing out of the way so he won’t see her when he gets up to go to the bathroom, we see them just before he is supposed to start college. He repeatedly asks her for help with his story, but she is an experienced editor who has worked with nervous authors for many years and she knows better than to do the work for him. “It just has to be surprising and inevitable,” she tells him. And clearly, that is advice that Hunt the screenwriter has taken to heart as well.

She has a great sense for writing say-able dialog that sounds smart and believably witty while letting us know who the characters are through what they say and how they say it.

Parents should know that this film includes strong language, sexual references and situations, drinking, and drug use.

Family discussion: Did the end of this story feel both inevitable and surprising? What will happen next?

If you like this, try: “Then She Found Me”

Far from the Madding Crowd

Posted on April 30, 2015 at 5:45 pm

B+

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for some sexuality and violence
Profanity:	Mild language
Alcohol/ Drugs:	Drinking and drunkenness
Violence/ Scariness:	Some violence including gun, character killed
Diversity Issues:	Class issues
Date Released to Theaters:	May 1, 2015
Date Released to DVD:	August 3, 2015
Amazon.com ASIN:	B00ZRBQTXO

Copyright 2015 Fox Searchlight — Copyright 2015 DNA Films

It may be a British costume drama based on a classic novel, but Thomas Hardy’s saga of a headstrong woman and the three marriage proposals from very different men is not the usual corsets and teacups. Far from the Madding Crowd is the story of Bathsheba Everdene (a radiant Carey Mulligan), an orphan who inherits a farm and announces to the staff, “It is my intention to astonish you all.”

What gives the story a vital, even modern tone is the independence of its heroine, who is often wrong, but who has good instincts and accepts the consequences of her mistakes and learns from them. There is romance and drama in the story, tragedy and betrayal, but it engages in a bracing fashion with issues of class, honor, and values. It is not much of a spoiler alert to say that Hardy favored those who were most connected to the land and nature.

It begins in 1870, when Everdene is at first a poor relative living on her aunt’s small farm. She had intended to take on the favorite profession of literary heroines: governess. But “she was far too wild,” nothing like the meek Jane Eyre. She rides straddling her horse, no sidesaddle. The very handsome farmer next door is Gabriel Oak (Matthias Schoenaerts, radiating quiet integrity) who presents her with a lamb and asks her to marry him. She likes him very much but turns him down. “I shouldn’t mind being a bride and having a wedding if I didn’t have to have a husband.”

Their positions are suddenly and dramatically changed. She inherits a farm, rising to the lower levels of the landed gentry. He loses his flock in a calamitous accident and is unable to keep the farm. As he is looking for work, he stops to put out a fire in what turns out to be Everdene’s new farm. She offers to hire him if the change in their positions will not be too awkward for him, and he agrees. Her next proposal is from her neighbor, a reserved and lonely older man named William Boldwood (Michael Sheen), who is not bold at all, but who was encouraged by a valentine Everdene sent him impulsively, not thinking he would take it seriously. Her third proposal is from an officer named Frank Troy (Tom Sturridge), who tells her she is beautiful, shows off his swordsmanship, and introduces her to sensual pleasures. He does not tell her he was supposed to marry someone else.

David Nicholls, who wrote the excellent miniseries adaptation of Hardy’s Tess of the d’Urbervilles, would have benefited from miniseries length for a story of this scope. It is rushed and abrupt at times. But Nicholls and director Thomas Vinterberg never let the story get musty or dated. It is firmly grounded in the most literal sense, always returning to the land as the source of what is good and true, and to the people who understand that as the real heroes and the ones who know what love can be.

Parents should know that this film includes sexual references and a non-explicit situation, violence, and sad deaths including a murder.

Family discussion: What was Bathsheba looking for? Why did it take her so long to figure that out? What appealed to her about each of her suitors? Why do you think this heroine inspired the name of “Hunger Games” heroine Katniss Everdeen?

If you like this, try: the earlier version with Julie Christie and the book by Thomas Hardy, and “My Brilliant Career”

Welcome to Me

Posted on April 30, 2015 at 5:15 pm

Lowest Recommended Age:	Adult
MPAA Rating:	Rated R for sexual content, some graphic nudity, language and brief drug use
Profanity:	Very strong and crude language
Alcohol/ Drugs:	Drinking, drug use
Violence/ Scariness:	Tense confrontations, brief violence
Diversity Issues:	Treatment of people with mental illness
Date Released to Theaters:	May 1, 2015

In “Welcome to Me,” Kristen Wiig plays Alice, a depressed woman diagnosed with borderline personality disorder who wins $86 million in the lottery. She uses much of it to create a one-woman television series that feature monologues about her life and re-enactments of some of her most traumatic moments. This is the most recent in a series of Wiig’s depressed/repressed roles in mostly indie films like “Girl Most Likely,” “The Skeleton Twins,” “Hateship Loveship,” and “Bridesmaids.” Even as the romantic interest in “The Secret Life of Walter Mitty” she played a character so low-key she came across as diffident. No one is asking her to do a perky rom-com, but it would be nice to see her try something different.

Alice is off her meds. She makes inappropriate comments that make the people around her feel uncomfortable, although she has the support of her parents, her ex-husband and his new boyfriend, and her best friend Gina (Linda Cardellini). And she gets a lot of support from Oprah, via VHS tapes of her talk show, which Alice plays so often she knows them by heart. Oprah’s exhortation to find “something you were born to give,” to “figure out your calling and then begin to honor it” fascinates and inspires her, though probably not in the way Oprah had in mind. When she wins the lottery, she goes to a tiny television station that has been barely surviving on infomercials, run by two brothers, the three-times married on-air talent Gabe (Wes Bentley) and the behind-the scenes guy Rich (James Marsden). “I’m Rich,” he says. “No, I’m rich,” she replies.

Alice gives them $15 million to create a daily two-hour series for her to talk about herself. Oh, and she wants to enter on a swan boat. Soon there is a string of applicants for roles in her re-enactments of difficult and traumatic moments like the time someone took her make-up or the time Gina thought she did not look good in a bikini. Her comments are bizarre snippets of what she has absorbed from television mixed with more bizarre assertions and confessions, all delivered in near-monotone. “I have a prepared statement,” she says as though everything is a press conference, even to her family.

Is this one of those “crazy people are less crazy than normal people” movies? Or a comic but sympathetic portrayal of the challenges of mental illness? Or a satire of our media-saturated age? Despite excellent performances all around, especially Tim Robbins as Alice’s therapist, it does not succeed in any of those categories. The movie opens with a quote from Montaigne: “I study myself more than any other subject. That is my physics. That is my metaphysics.” But Montaigne drew insights about the human condition from that study, which neither Alice nor this film is able to manage.

Parents should know that this movie includes very strong language and explicit and crude sexual references and an explicit sexual situation.

Family discussion: If you could re-enact a moment from your life, what would you pick? If you had $86 million, what would you do with the money?

If you like this, try: “The Skeleton Twins” and “Girl Most Likely”

Related Tags:

Drama Independent Movies -- format

The Age of Adaline

Posted on April 23, 2015 at 5:59 pm

Be careful what you wish for. You think it would be great to stay 29 forever? Adaline (Blake Lively) finds out that it is not great to become unstuck from time, to watch everyone you love grow old and die, to hurt those you care about because you cannot be honest about who you are. It is as though the whole world is on a conveyer belt moving everyone inexorably forward, and just one person has stepped off, rooted in one spot and left all alone. Life becomes a series of goodbyes.

Adaline made headlines as the first baby born in 1908 San Francisco. She lived a normal life, with an engineer husband and a baby girl. But her husband was killed in an accident when he was working on the Golden Gate Bridge. And then, when a very rare snowfall came to San Francisco, her car went off the road and into a pond. She was at the same time frozen and shocked by lightning. And, we are told by the narrator, as scientists will discover in 2015, the effect of these two forces on her DNA somehow stops the aging process. At first, she is able to get away with explaining that she eats right and uses a very good face cream. But as more than a decade goes by and she does not change, she begins to unsettle people and attract the attention of government investigators. So, she has to say goodbye to her now-teenage daughter and come up with a plan where she changes identities and locations every ten years, and never gets close to anyone.

Adaline is living in San Francisco as Jenny and working at a library, but is about to switch identities again and move to Oregon. She has just bought a new fake passport and drivers license and arranged for her new identity to have access to her bank account (one thing perpetual youth is very good for is accumulating capital) when she meets Ellis (Dutch “Game of Thrones” dreamboat Michiel Huisman). He is handsome, wealthy, philanthropic, nuts about her, and knows how to give swooningly romantic gifts and cook charming and delicious dinners in his aw-shucks-I’m-just-living-in-a-zillion-dollar-fixer-upper. Doesn’t Adaline have the right to take a chance on love?

She agrees to spend the weekend with Ellis’ parents for their 40th anniversary party. But as soon as they arrive, Ellis’ father, William (Harrison Ford) says “Adaline!” They were “very close” in the 1960’s. “Jenny” explains that Adaline was her mother. But William remembers Adaline too well to be fooled for long.

The script and story were both co-written by first-time screenwriter Salvador Paskowitz, whose own unconventional life was documented in Surfwise.

It has a conceptual delicacy that translates unevenly on screen, with an overly ponderous omniscient narrator and underwritten romantic scenes. But Lively gives a thoughtful, complex performance, with undertones of melancholy and a yearning for connection that struggles with her determination to stay isolated. And she looks sensational in the costumes from Angus Strathie, which show a consistency of style throughout the century that shows us how strong and determined Adaline’s well-defined persona is, despite the various aliases and disguises and changes in fashion.

The romanticism of the storyline was thrown off course for me by the idea that Adaline was involved with both father and son, even decades apart. But if that does not create too much of an ick factor, the bittersweet fantasy of eternal youth and the just-sweet fantasy of the perfect boyfriend make it work.

Parents should know that this film includes sexual references and non-explicit situations, some mature themes of loss and disappointment, and drinking.

Family discussion: What did the comet signify? If you could stay the same age forever, what age would you pick? Is there a “just-miss” in your life?

If you like this, try: “The Curious Case of Benjamin Button,” “Passion of Mind,” and “Tuck Everlasting”

Related Tags:

Drama Fantasy Romance