Shanghai Calling

Posted on February 20, 2013 at 2:07 pm

B+

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for some language including sexual references
Profanity:	Some strong language
Alcohol/ Drugs:	Drinking
Violence/ Scariness:	None
Diversity Issues:	A theme of the movie
Date Released to Theaters:	February 20, 2013
Amazon.com ASIN:	B00BESHGAE

“Shanghai Calling” is a fish out of water story filled with charm.

Korean-American actor Daniel Henney plays Sam, a Chinese-American lawyer who is sent to China to work on a big project. He does not speak Chinese and he knows very little about his heritage. He has never been further out of New York City than 79th Street. But he is ambitious and confident and is sure that he can make turn the project around quickly and make a triumphant return home.

Of course, he is wrong about, well, everything.

“Happy Endings'” Eliza Coupe plays Amanda, Sam’s “relocation specialist,” an American single mother who is fluent in Chinese. Bill Paxton (“Big Love”) plays the head of the “Americaville” expatriate community, mostly made up of business people who have come to China to take advantage of the enormous economic opportunities. And Alan Ruck (Cameron from “Ferris Buehler”) is the client, a cell phone manufacturer who wants to lock in an exclusive deal with a quirky inventor. Sam also has an assistant named Fang Fang (Zhu Zhu of “Cloud Atlas”).

The skills that made Sam successful in New York just get him into deeper trouble in China. He unwisely ignores the advice from Amanda and Fang Fang, and ultimate discovers that his biggest failings come from his own unrecognized prejudices.

The laughter comes more from character than displacement mishaps. Coupe is lovely in a more natural, understated character than her hilarious Jane in “Happy Endings,” and Henney’s lanky appeal as he tries to cope with an avalanche of language and cultural challenges is a pleasure to watch. You will root for him to learn his lessons, save the day, and get the girl — and you will recognize and question your own assumptions and prejudices as well.

“Shanghai Calling” is in limited theatrical release, now available on Amazon instant video, on iTunes, and on demand.

Beautiful Creatures

Posted on February 13, 2013 at 6:00 pm

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for violence, scary images, and some sexual material
Profanity:	Some strong language, crude insult
Alcohol/ Drugs:	Drinking
Violence/ Scariness:	Supernatural images, violence, peril, characters injured and killed, references to loss of parents
Diversity Issues:	Diverse characters
Date Released to Theaters:	February 14, 2013
Date Released to DVD:	May 20, 2013
Amazon.com ASIN:	B009AMAGXK

In a small Southern town that feels far from everything, where everyone is “too stupid to leave or too stuck to move,” a teenage boy named Ethan (Alden Ehrenreich) dreams every night of a girl he has never seen. Ethan has recently lost his mother. His father is never there. He is about to start his junior year in high school “so insanity’s inevitable.” But his mother’s best friend Amma (Viola Davis), the local librarian, looks out for him. There are books that he loves. And the dream feels very real and somehow comforting.

Suddenly it is real as Lena Duchannes (Alice Englart) comes to town to live with her uncle, Macon Ravenswood (Jeremy Irons) in a creepy old mansion. Ethan feels an immediate connection, but Lena seems reluctant to talk to him or to make any friends in her new school. Some of the other kids in the class feel the same way. There are rumors that the Ravenswoods have strange powers.

The rumors are true. “You know how some families are musical and some have money. We have powers,” Lena explains. She is a witch or, to use the term her people prefer, she is a “caster.” She is 15 and on her 16th birthday she will be chosen for the light side or the dark.

No one wants Ethan and Lena to be together. But the love they share is stronger than any caster powers from the dark or the light.

The storyline is fairly basic but touches of self-aware humor help to hold our interest. And it is fun to watch Irons swan around in ascots and smoking jackets, striding past the swooping banister-less staircase in his mansion. Thompson and Emmy Rossum clearly relish the chance to chew scenery with Spanish moss hanging all over it. They revel in the Southern gothic setting, tossing off Dixie-isms like “Slap my ass and call me Sally!” and “She looks like death eating a cracker.” Viola Davis does what she can stuck with an exposition role that includes a completely random Nancy Reagan reference. It is also buoyed by the lushy imaginative settings from production designer Richard Sherman and goth-glam costumes from Jeffrey Kurland and an entertaining assortment of literary and popular culture references, from Slaughterhouse Five and poet Charles Bukowski to the “Final Destination” series, Bob Dylan, To Kill a Mockingbird, and Jane Austen. Most important, writer/director Richard LaGravenes creates a world where strange things seem both wonderful and normal. The various transformations, expanding powers, and sense of alienation seem like a tangible reflection (and only mild exaggeration) of the experience of adolescence.

Parents should know that this film includes themes of good and bad magic, some disturbing images, characters in peril, and sad deaths.

Family discussion: Who makes the choice for the casters? What makes Lena different? What do you learn from the sacrifice in the movie?

If you like this, try: the series of books by Kami Garcia and Margaret Stohl, the books read by Ethan and Lena in the movie, and the “Twilight” films

Safe Haven

Posted on February 13, 2013 at 6:00 pm

Now that best-selling author Nicholas Sparks has rung every possible variation out of his core formula: damaged hearts, pretty people, syrupy pop-song montages, buttery, sunlit cinematography, the healing powers of a body of water (and rain), the healing powers of a small town community, a sad death, and a letter of great import, he has officially run out of new ideas and even thoughts about how to keep re-arranging the old ideas. An unnecessary twist at the end feels desperate and it feels like a cheat.

Damaged heart number one: Julianne Hough plays Katie, who is on the run from the Boston police for what looks like a violent assault. She has cut and dyed her hair (so efficiently that it never grows out or needs to be retouched), stops in small town on the North Carolina Coast (body of water is the Atlantic Ocean), takes a job as a waitress in a local cafe and somehow has the money to move into a dilapidated but picturesque little cabin out in a remote area of the woods.

Damaged heart number two: Josh Duhamel, as usual far better than his script, plays Alex, the extremely handsome widower with two children (one adorable and affectionate, one mini-me damaged heart who misses his mom) who owns the local store. At first, Katie just wants to keep to herself and resists making friends with Alex and with Jo (“How I Met Your Mother’s” Cobie Smulders), another single woman living alone in the woods. But soon Katie and Alex are out on the healing water and then, when it rains, getting drenched by the powerful healing effects of even more water. A not-very-surprising mystery about Katie’s past is revealed and pretty soon there will be a very significant letter.

Hough is not an actress of great range, but she looks very pretty and wears a bikini well. Duhamel has a natural ease on screen that makes it easy to overlook what a committed and subtle performer he is. Even when he is called upon to make Alex to have some improbable reactions, he manages to find a smidgen of honesty that elevates the material. Director Lasse Hallstrom (“Chocolat,” “The Cider House Rules,” “My Life as a Dog”) puts so much gloss on the images that it feels like a perfume commercial but never elevates the story above the Lifetime movie level.

Parents should know that this movie includes themes of domestic abuse with some graphic and disturbing images, fire with child and adults in peril, references to sad death of parent, sexual situation, some strong language, and alcohol abuse

Family discussion: What does Katie learn from Jo that she cannot learn any other way? What changed Alex’s mind?

If you like this, try: the book by Nicholas Sparks and some of his other movies like “The Notebook,” “The Lucky One,” and “Dear John”

Side Effects

Posted on February 7, 2013 at 6:00 pm

Those “ask your doctor about” commercials for medication always have a lawyer-imposed “side effects may include” section briskly recited by the narrator in the second half of the ad in the same bright but soothing tones used for the near-miraculous results described in the first half. It is a difficult choice to balance the risks and benefits of some of today’s pharmaceuticals, made more difficult by the conflicts of interest that doctors and drug companies face in balancing what is best for the patients with what is best for them.

Steven Soderbergh’s nicely nasty and genre-bendingly twisty thriller takes place at the heart of this conflict. Emily Taylor (Rooney Mara of “The Girl with the Dragon Tattoo”) takes mood-lifting medication to deal with the crushing stress she faces with her husband Martin (Channing Tatum) in prison for insider trading and the loss of all their money and their luxurious life in Connecticut. Martin gets out after four years and promises her that he will get it all back for her. But the stress is too much. After a suicide attempt, her new psychiatrist, Dr. Jonathan Banks (Jude Law), who earns a little extra money with a cushy “consulting” fee from a drug company pushing a new anti-depressant, prescribes medication, and then more medication to deal with the side effects of the pills she is already taking. We know from the very first scene that this is not going to turn out well.

The drug that “helps stop the brain from telling you you’re sad” and lets you “take back tomorrow” is something “everyone takes.” “It doesn’t make you anything you’re not,” the doctor explains. “It just makes it easier to be who you are.” But is his recommendation compromised by the $50,000 he gets just to “go to a few meetings, recruit some patients, track some data?” Law is excellent as the doctor who wants to do the right thing but may want to do right by too many people. And his judgment may be further compromised by a problem from his past.

Soderbergh and screenwriter Scott Z. Burns (“Contagion”) build some meta-surprises into the story. And just about anything more I can tell you after that would require a spoiler alert, so I’ll just say that the less you know about the movie before seeing it, the better you will be able to appreciate it. In fact, don’t watch the television commercials. They give too much away. But if you need to know more now, I’ll just say that the movie’s biggest surprise may be how conventional it turns out to be.

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Related Tags:

Drama Thriller

Stand Up Guys

Posted on January 31, 2013 at 6:23 pm

A little bit “Goodfellas” and a little bit “Ferris Bueller’s Day Off,” this is a life-in-a-day story about aging criminals. Unlike Ferris, these guys have had too many days off and are very happy to return to their old haunts and activities.

Val (Al Pacino) gets out of prison after 28 years. He has been a “stand up guy.” He never told on his friends. One of those friends is there to pick him up, still in the same car he had back when Val went away. They greet each other warmly. “You look like s***.” “You look worse.” A brief hug feels “weird.” But that’s just their way of saying how glad they are to see each other.

Val is eager to get back in the game, meaning food, alcohol, girls, and stirring up trouble. But he is not the only one whose life has been on hold. Doc has been waiting for Val to get out of prison because he he missed his friend but also because he has a job to do. A thuggish and brutal crime boss named Claphands (Mark Margolis) has a hit out on Val and he insists that Doc be the one to do it. Val wants to live it up because he just got out of prison. Doc wants to help him live it up because he will have just one more night before he is killed. Val gets the picture pretty quickly.

So, they round up their old friend Hirsch (Alan Arkin), who is in a nursing home breathing from an oxygen tank and steal a car that happens to belong to two other thugs known for their brutality (“These are the kind of guys who take your kidney and don’t even sell it”). They go out for an outrageous joyride that includes a couple of visits to a sympathetic madam (Lucy Punch), some big meals, a bit of breaking and entering and light robbery, a visit to the emergency room for a very intimate procedure assisted by a nurse they knew when she was a child (Julianna Margulies of “A Good Wife”), a game of pool, a poignant but courtly slow dance that seems directly lifted from Pacino’s own “Scent of a Woman,” an impromptu burial, some revenge beat-downs, some thoughts about life and aging and a friendly young waitress with beautiful eyes. “It’s like the old days,” says Hirsch. “No, it’s better. This time, we can appreciate it.”

The story is preposterous, but the coincidences and improbabilities (like the almost-complete absence of any other people) just add to the fairy tale or dreamlike quality. The story could almost exist as a fantasy created by the imprisoned Val. It is not just Val and Doc who want a chance to show their vitality and know-how in the face of their mortality. Pacino, Walken, and Arkin show all of that and the pure joy of performing in the knowledge that they are better than ever. “That’s got no flavor, no style,” one of them says dismissively. These guys have all the flavor and style in the world and it is always fun to see them show it. And this time, we can appreciate it.

Parents should know that this film has constant very strong and crude language, explicit sexual references and situations including nudity, Viagra use and prostitutes, criminal behavior, references to rape, drinking, smoking, drug use, and extensive violence with some disturbing images with characters injured and killed.

Family discussion: What is the difference between Val, Doc, Claphands, the Jargoniews and Wendy in the way they set and enforce rules? What makes someone a “stand up guy?”

If you like this, try: “Midnight Run,” “Gran Torino,” and “Going in Style”

Related Tags:

Comedy Crime Drama