Tracks

Posted on September 25, 2014 at 6:00 pm

B+

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for thematic elements, some partial nudity, disturbing images and brief strong language
Profanity:	Some strong language, one F-word
Alcohol/ Drugs:	Drinking
Violence/ Scariness:	Animals and humans in peril, sad animal death, references to suicide
Diversity Issues:	Diverse characters
Date Released to Theaters:	September 26, 2014

In 1977, a 27-year-old woman named Robyn Davidson took a dog and four camels and walked 1700 miles across the Australian desert. A National Geographic photographer met up with her four times to cover it for the magazine. That led to a book, the international best-seller Tracks. And now it is a film, starring Mia Wasikowska, with Adam Driver as photographer Rick Smolan, and directed by John Curran, whose previous films (“The Painted Veil,” “We Don’t Live Here Anymore”) show a gift for letting the environment be an essential part of the story-telling. The result is a journey set in surroundings of punishing conditions but spectacular beauty that manages to be meditative and internal, and all the more illuminating for it.

This is the first of two movies based on soul-restoring real-life hikes taken by real-life women that we will be seeing this fall, both based on best-selling books, with Reese Witherspoon’s more high-profile “Wild” coming out December 5, 2014. While there are flashbacks to suggest that Davidson took on the trip to deal with some family losses, in real life Davidson has not just refused to give a reason; she has insisted that it is a foolish question to ask. She walked across Australia for the same reason that Mallory climbed Mount Everest. “Because it’s there.” Her version of a response: “Why not?” It’s pretty clear why not. It is very dangerous. The terrain is blisteringly hot and with very little water. If she is injured or lost, no one will be there to help her. But she is determined to go, indenturing herself with camel dealers to learn how to train camels and earn some to take with her. When the first one cheats her out of what is due to her, she reluctantly agrees to allow National Geographic to sponsor the trip, though it means she will have to allow Smolan to meet up with her four times to take photos.

This is not the usual travelogue, with adventures that include quirky characters, daunting dangers, and lessons learned, though all are there. Along the way, she meets up with Aboriginal people, including one who serves as a guide for a part of the journey because it includes sacred land which she is not permitted to travel on without him. She comes across a farmhouse, and the couple who live there welcome her in a beautifully understated manner.

You’d also expect spectacularly gorgeous and exotic scenery, and that is there, too. And, with just one person on screen much of the time, a lot of voiceover narration, though that’s not too bad. Most of all, this is a spiritual saga, a pilgrimage. Davidson wanted to be alone — she admits that she is much more comfortable with animals than with people. And she wanted to accomplish something difficult by herself. It almost seems at moments as though we are intruding in her beautiful solitude. But mostly, we are sharing it, and feel grateful for the privilege.

Parents should know that this film includes sad and disturbing material including suicide of a parent (off-screen) and putting down animals, dangerous activities, peril, animals shot and poisoned, some disturbing images of dead animals, some strong language (one f-word), and non-sexual nudity (female rear).

Family discussion: Why was Robyn happiest away from people? What was the hardest moment of her trip and why?

If you like this, try: other movies set in the Australian desert, including “Walkabout” and “Priscilla, Queen of the Desert”

Hector and the Search for Happiness

Posted on September 25, 2014 at 5:00 pm

Simon Pegg stars as Hector in this gentle fable based on the whimsical French novel by psychiatrist Francois Lelord. Like Lelord, Hector is a psychiatrist. He has a “tidy” life with a nice girlfriend named Clara (“Gone Girl’s” Rosamund Pike), nice patients, and a nice apartment. But he is missing something. He wonders if he is really helping people. And he is not sure what he is helping them toward. If he is not sure what happiness is, how can he guide his patients toward finding it?

Your level of happiness on viewing this film will vary depending on your tolerance for whimsy and your affection for last year’s The Secret Life of Walter Mitty, as it is almost exactly the same movie, though not as good.

Hector decides that what he needs to do is travel around the world to learn about happiness. Clara is troubled, and wonders what it might mean for their relationship — especially since he won’t say when he is coming back. She wonders if “researching happiness” is just a euphemism for “finding Agnes,” the mysterious woman whose photo she found in Hector’s sock drawer (labeled “Hector’s Socks” — he is very tidy). But she is supportive, and gives him a notebook for his discoveries, directing him to “fill these pages.” “If you’re going to do this, do it totally,” she says. “Make it worthwhile.”

And so he sets off on a series of adventures and encounters that will teach him something about happiness. He first meets a genial businessman named Edward (Stellan Skarsgård), who introduces him to one notion of happiness: the kind that can be bought. Hector enjoys wine, women, and club music. He enjoys is all so much that he conks out before he can accept the advances of a beautiful “student” (Ming Zhao). He wonders at first whether it is possible that happiness means the freedom to love two women at the same time, and then discovers to his distress that the interest and affections of the “student” were purchased for him by Edward. Being rich, being important, believing you are captivating to a “student” — that does not seem to be the answer. “Sometimes happiness is not knowing the whole story.”

This is the point at which you are either going to go with the premise and tone or you’re not. It’s either a fairy tale, in which the encounters are metaphors, or it is supposed to be grounded in some semblance of reality, in which case it’s solipsistic, kind of seedy and mired in stereotypes. For me, it was a fairy tale, and so I gave it some leeway.

Hector’s travels take him to visit an old friend who runs a clinic in Africa, where he runs into a cute sick kid and a vicious but also kind of cute drug lord (Jean Reno), both of whom he helps, and also learns that his friend is gay. He is captured by gangsters and almost killed until providentially, like a character in a fantasy game who just happened to have picked up a golden arrow and some magic beans, he has the token he needs to get out of jail if not free, at least relatively unscathed. He meets a dying woman who is philosophical and at peace. He meets up with Agnes (Toni Collette) and has his brain scanned by a scientist (Christopher Plummer) who is studying the biological basis for happiness. He takes notes. He has Skype-fights with Clara. He learns many important lessons, and, like Dorothy Gale of Kansas, learns that the answer was inside him all along and there’s no place like home.

It is a pleasant little trifle as long as you do not take it too seriously. If you understand that it is all inside Hector’s head, and that his adventures are more akin to The Little Prince’s planetary hops than to anything resembling reality, it has charm and even some reminders that we get more happiness from what we do for others than from what they do for us.

Parents should know that this movie includes very strong language, scenes of criminal activity including beatings, death threats, and imprisonment, drug dealing, scenes of injured and dying characters, prostitutes, sexual situations, and nudity.

Family discussion: Which of the observations Hector wrote in his notebook do you think were most important? Why did he have to get away from home to understand what he had? Why didn’t things work out with Agnes?

If you like this, try: “The Secret Life of Walter Mitty”

Related Tags:

Based on a book Comedy Drama Romance

This is Where I Leave You

Posted on September 18, 2014 at 5:59 pm

B-

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated R for language, sexual content and some drug use
Profanity:	Very strong and crude language
Alcohol/ Drugs:	Drinking, smoking, drugs, references to pharmaceuticals
Violence/ Scariness:	Scuffles, sad death
Diversity Issues:	None
Date Released to Theaters:	September 19, 2014
Date Released to DVD:	December 15, 2014
Amazon.com ASIN:	B00K2CI008

A toddler carries his little potty out in front of the house so he can try out his new-found skill in public. Twice. Plus another time when the contents of the potty are first displayed for the family and then kind of accidentally tossed onto one of the relatives. This is pretty much the theme of “This is Where I Leave You,” one of those estranged relatives gathering under pressure movies that tries to put the “fun” in dysfunctional.” It’s pretty much great actors trying to make sense of characters who are continuously inappropriate, unpleasant, and miserable, with boundary issues that make Russia/Ukraine seem manageable. And they almost succeed.

Jonathan Tropper wrote the screenplay based on his novel about four siblings returning home for their father’s funeral. Their mother Hillary (Jane Fonda) is a family therapist and the author of a best-selling book on child development that (boundary issue alert) revealed many embarrassing details about the siblings and is now celebrating the 25th anniversary of its initial publication with a re-release. She is given to wildly inappropriate revelations about her sex life with their father (another boundary alert), and showing off her newly enhanced breasts.

She tells her four children that their father’s last wish was for them to observe the Jewish tradition of sitting “shiva,” a seven-day period of mourning where the family stays at home together and receives visits from those who wish to pay condolences. They understand that “it’s going to be hard and it’s going to be uncomfortable, and we’re going to get on each other’s nerves.” But, Hillary says, they have no choice. “You’re grounded.”

They try to protest, but reluctantly agree. Paul (Corey Stoll) is the only one who has stayed in their hometown, the responsible brother who took over the family business, and married Annie (Kathryn Hahn), who is struggling with fertility issues. Wendy (Tina Fey) is married to one of those guys who is always on his cell phone talking about some big financial deal. She has two children, the aforesaid toddler and a baby. Judd (Jason Bateman) is in freefall, having just learned that his wife has been having an affair with his skeezy boss (Dax Shepard), the host of a shock jock radio show called “Man Up.” And then there is Philip (Adam Driver), the irresponsible baby of the family, who arrives in a Porsche convertible, with a new girlfriend named Tracy (Connie Britton), who is much older and a therapist. You don’t need to be a therapist to figure out that there are some mommy issues there. Everyone but Phillip is aware that Tracy is way out of his league and he does not deserve her.

The three out of town siblings all encounter past loves. Wendy’s is Horry (Timothy Olyphant), who was brain-damaged in an accident and still lives with his mother Linda (Debra Monk), Hillary’s neighbor and close friend. Phillip sees Chelsea (Carly Brooke Pearlstein), who looks, as Tracy notes, like a Victoria’s Secret model. And Judd sees Penny (a terrific Rose Byrne), living back in their home town and teaching figure skating. Each presents temptations as the siblings struggle to make sense of their choices, and struggle even more to communicate. “Deflecting emotion with logistics. Nice.” “It’s what we do.” Some secrets will be revealed (though not always intentionally) while others are protected.

Tropper’s screenplay is better than the book because we are not limited to Judd’s depressed narration and because it corrects what I thought was a mistake in the final resolution of Judd’s relationship with his wife. And it is helped a great deal by performances that give the characters more believability and complexity than the book did. But director Shawn Levy (“The Internship,” “Night at the Museum”) has always been stronger with broad comedy than with narrative, romance, and sentiment, and this storyline plays into his tendency to meander. Are we supposed to laugh at the Altmans because they are so awful or sympathize with them because all families are crazy at times? The bad choices, lack of respect, and wild swings of character keep us distant from the characters, despite the best efforts of the terrific cast.

Parents should know that this film includes very strong and crude language, sexual references (some vulgar) and explicit situations, nudity, adultery, drinking, smoking, marijuana and pharmaceuticals

Family discussion: How are the Altman siblings alike? How are they different? How do you feel about “complicated?”

If you like this, try: “This Christmas” and “Flirting With Disaster”

The Drop

Posted on September 11, 2014 at 6:00 pm

Author Dennis Lehane writes about a world of desperation, fear, and damaged people inflicting further damage. His novels have been filmed as “Mystic River” and “Gone Baby Gone.” And now his short story, “Animal Rescue,” has been turned into “The Drop,” about a “drop bar,” a dingy place with dingy regulars, a bitter former owner still resentful of the thugs who took it over, a soft-hearted bartender and the dog he rescues from a garbage can, and lots of cash, dropped at the bar by racketeers to be picked up by bigger, tougher, racketeers. You know what that means: colorful, highly euphemistic dialog said by top-notch actors doing their best to play hard, hard men. Very little is said in this world but a lot is understood.

Fortunately, here that means we get James Gandolfini in a beautifully nuanced performance that makes us miss him even more sharply. He plays “Cousin Marv,” whose name is still on the bar, but no longer on the deed. Now he’s just the manager, and he quietly but meaningfully tells Bob (Tom Hardy), the bartender, to take down the Christmas decorations (“It’s December 27th!”) and stop running a tab for the flowsy barfly at the end of the counter. Oh, and no more rounds for the boys at the bar, even though they are observing the 10th anniversary of a friend’s death. We will learn later that there is more significance to the last two items than losing the revenue on a few drinks.

On his way home, Bob hears a noise in a neighbor’s garbage can. It is a badly injured puppy. The wary neighbor is Nadia (Noomi Rapace), who insists on taking a picture of Bob’s driver’s license on her cell phone and sending it to four friends before she will even talk to him about the puppy. She helps him clean it up and reluctantly agrees to care for it for a couple of days so he can decide what to do. He adopts the puppy and names it Rocco. And she offers to care for the puppy while he is at work to make some extra money.

For a moment, things are looking up for the lonely Bob. But not for Cousin Marv’s or for Cousin Marv. Marv and Bob are held up at gunpoint by two guys in masks who may not be entirely unknown to them. The owners are tough Chechen gangsters who expect them to get the money back and who give them a glimpse of some guys they are in the middle of torturing just to make sure the message is received. And Cousin Marv’s is set to be the drop bar for the biggest betting night of the year, the Super Bowl. A cop (John Ortiz of “Silver Linings Playbook”) is nosing around. And there is pressure on Bob as well. A very unstable guy in the neighborhood, reputed to have killed a guy, says he is Rocco’s owner and he may have some feelings of ownership toward Nadia as well. Also, there is a body part formerly belonging to someone who was formerly alive, and it will need to be disposed of.

The storyline is all right, but what matters here is the mood, and that is excellent, with Gandolfini, as always, a master class in acting. There are so many layers to his performance, whether he is answering his sister’s question about dinner or refusing to look inside a bag that clearly cannot contain any good news. His expression in his very last scene of the film is particularly compelling.

Hardy’s quiet power is beautifully restrained. Ann Dowd as Marv’s wistful sister and Matthias Schoenaerts as Eric, Rocco’s volatile former owner are also very good. In some ways, Eric is the most revealing character in the story. Asked what he wants, he isn’t sure, except that he doesn’t want Bob to think he has anything over on him. People want money, of course, and power, and to be left alone. But what drives them really nuts is the fear that someone has more than they do and there’s nothing they can do about it.

Parents should know that this plot concerns various crimes and attempted crimes including extortion, robbery, torture, and murder, with many characters injured and killed, as well as some graphic and disturbing images, drinking, smoking, and constant strong language.

Family discussion: The original title of the story this film was based on is “Animal Rescue.” Would that have been more appropriate for the film? Why did Bob stay at the bar?

If you like this, try: “Killing Them Softly” and “Get Shorty,” both featuring James Gandolfini

Related Tags:

Based on a book Crime Drama Thriller

The Identical

Posted on September 4, 2014 at 5:51 pm

C-

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG for thematic material and smoking
Profanity:	Mild language
Alcohol/ Drugs:	Drinking, smoking
Violence/ Scariness:	Some scuffles
Diversity Issues:	None
Date Released to Theaters:	September 5, 2014

“The Identical” is an incompetent mishmash of mawkish sentimentality larded with a few pleasant musical numbers and some random asides about Israel. I’m not making this up.

It is inspired by an intriguing fact. Elvis Presley was a twin. His brother was stillborn. Screenwriter Howard Klausner (“The Grace Card”) changes the names and imagines what would have happened if the twin had lived but been raised in a different family. The focus of this story is on Ryan Wade (Elvis impersonator Blake Rayne), the boy who was given up, adopted by a kindhearted Baptist preacher and his wife, played by Ray Liotta and Ashley Judd. We don’t know much about the child who stayed with his biological parents except that he grew up to be a rock and roll superstar known as “The Dream.” Ryan is a good kid who loves music. After a stint in the army, he tells his father that he won’t be following him into the clergy. He works as a mechanic until he wins a Dream impersonation competition and gets hired to perform at state fairs and other venues. We get glimpses of The Dream (also played by Rayne), performing, riding in a limo through a cornfield, flying in a private plane, looking haunted, but we never find out anything about what his life was like, or what music means to him.

The dramatic possibilities in this story surely have to be in the nature/nurture saga that explains the enduring popularity of real-life stories of identical twins separated at birth as well as fictional tales from “The Man in the Iron Mask” to “Big Business.” And there is some potential for pointed satire along the lines of “Walk Hard” or a thoughtful exploration of the racial and cultural divides that melded into the early years of rock and roll. But “The Identical” bypasses all of this for a story that is both lightweight and dreary and a hero who is too good to be true, played by performer who is much more comfortable with the musical numbers than he is with the dialog. I do give him credit for holding his own despite a series of some of the most appalling wigs ever put on screen.

Even supremely talented actors like Liotta and Judd can’t make much of this movie’s dialog, which is stilted and pedestrian. Among the missed opportunities here is the chance to see what Liotta could do delivering a stem-winding sermon to his Baptist congregation. He does deliver some nice thoughts about kindness and tolerance. But all we get from his appearances in church is a watered down commentary on the importance of supporting Israel (with candles burning on a menorah behind him!) during the 6-Day War of 1967. While the film is being marketed as faith-based, there is very little content relating to the role of faith in the lives of any of the Christian or Jewish characters. It is awkwardly written and uncertain in tone, failing as commentary and as story.

Parents should know that this film includes drinking, smoking, difficult family issues, sad deaths, and family conflicts.

Family discussion: Should Reece have told Ryan the truth? Why do audiences like tribute groups that imitate star performers?

If you like this, try: “August Rush” and “The Buddy Holly Story”