Fill the Void

Posted on June 13, 2013 at 6:25 pm

B+

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG for mild thematic elements and brief smoking
Profanity:	None
Alcohol/ Drugs:	Drinking and drunkenness, smoking
Violence/ Scariness:	Sad offscreen death
Diversity Issues:	Role of women in traditional orthodox community
Date Released to Theaters:	June 14, 2013

A young woman about to choose the man she will marry is torn between her own desires and the wishes of her devout family, ultra-Orthodox Jews. We know where the American version of this story would go — the triumph of individual happiness over the antiquated strictures of the community. But Israel’s official entry for the foreign language Oscar is a sympathetic, layered portrayal, rich with detail, that earns its more complex and resonant conclusion.

Writer-director Rama Burshtein was born in the United States, grew up in Israel in a non-Orthodox home, studied film, and chose to become “baal teshuva” or one who “returns” to the the practice of traditionally observant Judaism. This movie reflects her deep understanding of both liberal and conservative notions of religious practice as a connection to the divine and the many variations in between. She is a gifted filmmaker who understands the way the tiniest details tell the story and evokes utterly natural, intimate performances from her actors. She shows us a world of very strict and demanding tradition, but it is the context for characters who are never caricatured. They are vividly drawn and portrayed with respect and affection.

Like a Jane Austen novel, the primary concern for Shira (a shimmeringly lovely Hadas Yaron) and her family is a propitious match, and the cultural structures for making this decision are clearly defined. In this community, young men and women have no opportunities for interaction until they are identified as potential partners by their parents. Then they have one heart-wrenchingly awkward meeting to decide whether they can spend a lifetime together. As the invariable small plate of cookies goes untouched, there is no shilly-shallying about what they majored in or their favorite music. A few simple questions about their aspirations for family life are all they get.

We first see Shira and her mother sneaking a look at a prospective groom in the aisles of a the grocery store. Shira believes he could be the one. She is excited and happy. But then a terrible tragedy strikes. Her sister, Esther (Renana Raz) dies in childbirth. And then the widower, Yochay (a smolderingly handsome Yiftach Klein) has an offer to marry a woman from Belgium, which would mean moving there and taking the baby with him. The only way to keep Esther’s child close to the family is for Yochay to marry Shira.

Suddenly, Shira has to cope with an entirely different set of pressures and an entirely new sense of power. She has to sort through her feelings without any real opportunity to learn how Yochay is responding. Could he want her? Or is he being forced? What would it be like to be married to someone who has not just been married before, but who was married to her sister?

American films have ranged from clumsy to dreadful in portraying the Orthodox community, with Renee Zellwegger in “A Price Above Rubies” and Melanie Griffith’s “A Stranger Among Us” as notorious failures. Burshtein’s perspective as someone who chose that life is refreshing in its focus on the lives, relationships, and choices of the characters. The details of their religious practice draw us in as illumination, not anthropology. The dynamics of Shira’s parents’ relationship play out in the celebration of Purim, a holiday less observant Jews may think of as a minor celebration for children to wear costumes and shake noisemakers. For these people, it is also a time to encourage those the community who needs help to ask for it and for those who can to give it. It is Shira’s father who receives the requests. But it is her mother who brings the money. And in the oblique discussions they have about Shira’s choice and the factors to be considered, we see the many layers of family, community, and religious observance twined together.

Parents should know that this film includes drinking and drunkenness and brief smoking. There is a sad off-screen death.

Family discussion: What does Shira decide and why? Do you agree? Will she be happy?

If you like this, try: “Ushpizin,” another film about the Orthodox community made by a baal teshuva

Epic

Posted on May 26, 2013 at 10:08 pm

B+

Lowest Recommended Age:	4th - 6th Grades
MPAA Rating:	Rated PG for mild action, some scary images and brief rude language
Profanity:	Brief language
Alcohol/ Drugs:	None
Violence/ Scariness:	Fantasy/action/cartoon violence and peril, mostly non-graphic, arrows, swords, poison, sad deaths (one onscreen, discussion of death of parents and death of child)
Diversity Issues:	Diverse characters and voices, all combatants white males
Date Released to Theaters:	May 24, 2013
Date Released to DVD:	August 19, 2013
Amazon.com ASIN:	B00CQFINCE

“Epic” means big — usually a big story filled with grand adventures. This is a grand adventure, but the story is very small, or at least its characters are. Like “Honey I Shrunk the Kids,” “A Bug’s Life,” and “The Ant Bully,” this is a story about the tiny creatures who live in the forest, riding on hummingbirds and swinging swords the size of toothpicks.

They are so little and move so quickly that most humans cannot even see them. But there is a scientist named Bomba (Jason Sukeikis) who knows they are there. He is so obsessed with tracking the little creatures that he lost his wife and daughter. Everyone thinks he is crazy.

As the movie begins, his ex-wife has died and his now teenaged daughter MK (Amanda Seyfried) is arriving. She has had almost no relationship with him and is not sure she wants one now especially when she learns that he still insists that there is a community of tiny beings in the forest. He has rigged up motion-sensitive cameras and he keeps detailed records of his sightings. MK decides to leave, but on her way out she has a close encounter of her own and suddenly finds herself shrunk down to the size of an insect and with the dying queen of the forest (Beyoncé Knowles) giving her custody of a magical bud. If the bud is not exposed to moonlight at exactly the right once-in-a-century moment, the forest will fall into the hands of the evil Boggens, led by Mandrake (two-time Oscar-winner Christoph Waltz).

In the forest, there is a constant struggle between the forces of life and decay. The queen is protected by an army of Leafmen, led by Ronin (Colin Farrell). Ronin is responsible for Nod (Josh Hutcherson), the impetuous and rebellious son of a close friend who died in battle. Nod quits the Leafmen in frustration, but when everyone is needed to make sure the magical bud gets to bloom in the moonlight, including Ronin, Nod, MK, and an adorable snail and slug duo (Chris O’Dowd and Aziz Ansari, the comic highlight of the film).

The co-producer, co-writer, and production designer is the brilliant writer/illustrator William Joyce, inspired by his book, The Leaf Men. The visuals are pure magic, from the grand sweep of the forest to the tiniest details of the saddle on a hummingbird. Every shot is filled with marvelously imaginative ideas, exquisitely rendered. MK’s absent-minded scientist father has a wonderfully messy office filled with charts and equipment and record books that have a slightly stem-punk, Victorian feel. Chase scenes through the trees are deliciously vertiginous in 3D. And the quiet moments are lovely, too, with MK and Nod sharing the experience of losing a parent and learning to appreciate the families they have.

Parents should know that this movie includes a discreet but sad death of the murdered queen and references to divorce and the death of parents. Mandrake’s son is killed, and characters are in frequent peril. There are some scary images and characters use brief strong (for PG) language. There is one sweet kiss.

Family discussion: “Who gives up everything for a world that’s not even theirs?” What does it mean to say “many leaves, one tree?”

If you like this, try: “Robots,” “Ferngully,” and “A Bug’s Life” and the books by William Joyce.

Peeples

Posted on May 9, 2013 at 6:04 pm

Sometimes I think that all the myths and fairy tales about scary monsters, dragons, and ogres are just metaphors for life’s most terrifying meeting — the introduction to the family of one’s beloved. Every family is its own country, with its own language and customs. The pressure of trying to make a good impression while navigating the dynamics and cultural imperatives of another family and supporting the significant other is terrifying. And when it happens to someone else, it is funny, which makes it a popular theme in movies going back to “Abie’s Irish Rose,” and up through “Meet the Parents.”

Tyler Perry loves raucous family conflicts, and here he produces the latest “meet the family” comedy, written and directed by Tina Gordon Chism (“Drumline”). Wade (funny man Craig Robinson in his first romantic and leading role) wants to propose to Grace (“Scandal’s” Kerry Washington). But she has never let him meet her family, an intimidating group of high-achievers he refers to as “the chocolate Kennedys.” “Peeples,” the homey family name that makes them sound a little bit like Weebles, is a sly contrast with a group so imposing and remote a better name for them could be “the chocolate Mt. Rushmores.”

Wade decides to surprise Grace by showing up at her family’s magnificent home on the beach. (“You probably have Oprah dollars.”) He’s the one who gets surprised when he finds out that his girlfriend has not even told her family that she is seeing someone. It turns out that her stern and demanding father Virgil (David Alan Grier) has such impossibly high standards that she does not even want to risk allowing him to apply. Virgil is a judge by profession and a judge by nature. Grace knows that the easy-going Wade, whose current job consists of singing a song about potty training to children, will not fit in with her highly competitive, uptight family.

But Wade sees immediately that Grace’s family is not as perfect as they want to pretend to themselves and everyone else. Grace’s mother Daphne (S. Epatha Merkerson) has a couple of secrets. So do Grace’s broadcast journalist sister (Kali Hawk) and teenage brother (Tyler James Williams). At first, Wade makes things much worse when he tries to fit in and begins to feel threatened and insecure. Things get more complicated when his own brother (Malcolm Barrett) shows up.

The humor is often crude and silly, but it is so good-hearted and the performers are so appealing that like Wade and the Peeples, it might win your heart.

Parents should know that this film as very crude and raunchy humor, explicit sexual references and situations, drinking, marijuana, and very strong language.

Family discussion: What is the scariest thing about meeting the family of your significant other? What did Grace’s family learn from Wade?

If you like this, try: “Jumping the Broom” and “Meet the Parents”

Related Tags:

Comedy Family Issues Romance

The Sapphires

Posted on March 28, 2013 at 6:00 pm

B+

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for sexuality, a scene of war violence, some language, thematic elements, and smoking
Profanity:	Strong language
Alcohol/ Drugs:	Drinking, smoking
Violence/ Scariness:	War violence
Diversity Issues:	A theme of the movie
Date Released to Theaters:	March 22, 2013
Date Released to DVD:	August 15, 2013
Amazon.com ASIN:	B00D2UMHQ0

A very conventional story of a 60’s Australian girl group gains extra power from its context and setting in this fact-based story set to the beat of Motown soul. Co-written by the son of one of the real-life singers and directed by Wayne Blair, who starred in the play based on their story, “The Sapphires” is clearly a labor of love for all involved and a touching tribute to four women for whom success as performers was just the beginning.

Before it begins, we learn two stark, devastating facts. Until 1967, the native Australians dubbed “Aborigines” by the British settlers were not classified as humans by the Australian government. They were considered “flora or fauna.” And the government had the authority to remove light-skinned native children from their families as part of the program depicted in “Rabbit-Proof Fence” to make them part of the white community.

We meet the future singers as children, three sisters and their cousin, performing at a family celebration in 1958. The light-skinned cousin is taken to become part of what is now known as the “Stolen Generation,” with no contact with her family.

A decade later, as young women, the sisters still sing together. Gail, the feisty oldest (Deborah Mailman of “Rabbit-Proof Fence”), the ambitious Julie (pop singer Jessica Mauboy), and the flirty Cynthia (Miranda Tapsell) enter a local competition singing American country and western. Braving the bigotry of the audience, they sing a Merle Haggard song.

The accompanist/master of ceremonies is Dave (“Bridesmaids'” Chris O’Dowd) is a broken-down mess who seems to have burned every possible bridge that once linked him to music, a job, his home in Ireland, or any semblance of self-respect. But he still knows the real deal when he hears it. As amateurish as they are, Dave sees what the sisters can become. They ask him to come with them to try out for a chance to perform for American GIs in Viet Nam for $30 a week. Soon they have reconnected with their cousin Kay (Shari Sebbens), switched from country to Motown, and passed the audition under their new name, inspired by a ring — The Sapphires. O’Dowd’s shambling charm plays well against Mailman’s protective ferocity and the wartime background and struggles against bigotry add some heft what might otherwise seem like a lightweight jukebox musical.

A girl group with four members under high-stress touring conditions far from home means many opportunities for romance, adventure, and power struggles, plus the inevitable rehearsal montages. “Can you make it sound blacker?” Dave asks. He switches lead singers, guides them on stage presence, and suggests some different songs. Both country and soul music are about loss, he tells them, but in country music the singer has given up. “With soul, they’re still struggling.” Dave’s passion for the music and his belief in the girls are scary but exhilarating. So is being away from home for the first time.

The girls learn that performing is about more than great songs and tight harmonies as they are touched by the valor of the American soldiers. It is not just that the GIs expect a show; they deserve one. So, The Sapphires add spangles, go-go boots, rump-shaking and a lot of attitude.

That gives them the freedom to open themselves up to new experiences and new ways of looking at themselves. And it means that we get to enjoy quite a show as well. When the storyline starts to feel too close to the familiar “VH1 Behind the Music” soapy sagas of backstage tensions and heartache, those fabulous classic soul songs of the 60’s ring out, thoughtfully matched to what is happening off-stage. “I Heard It Through the Grapevine,” “What a Man,” “I’ll Take You There,” “Hold On! I’m Coming,” and many more add tremendous energy and spirit. They are every bit as entertaining as they were nearly half a century ago. Equally entrancing is a touching moment when they sing a native song called “Ngarra Burra Ferra.”

The credit sequence updates us on what happened after The Sapphires came home, with an extraordinary record of achievement, photos of the beautiful women who inspired the film, and a concluding line of piercing sweetness. It would be great to have a sequel, but they deserve a documentary.

Parents should know that this movie includes strong language, sexual references, smoking, drinking, and wartime violence.

Family discussion: How do the racial conflicts portrayed in this film compare to those of the same era in the United States? What makes them different? Are you surprised by what the Sapphires did after their tour?

If you like this, try: “Rabbit-Proof Fence” and “Dreamgirls”

The Croods

Posted on March 21, 2013 at 6:00 pm

I think we can all agree that at least in some respects all children are Neanderthals. It is the grand challenge of parenthood to civilize these sometimes savage little creatures by teaching them language, manners, and keeping safe. And some of the most difficult choices parents must make come when we try to encourage children to be strong, brave, independent, and adventuresome when it comes to accomplishing goals in school, sports, and chores while protecting them from mistakes that could be hurtful or even devastating.

That’s the idea behind sweet new animated film about a prehistoric cave family. Familiar family dynamics are amusingly exaggerated in the Paleolithic setting, where the most basic necessities require everyone’s full-time attention. The heavy-boned characters designed by the brilliantly witty Carter Goodrich (“Despicable Me,” “Hotel Transylvania”) may argue with each other, but they demonstrate the strength of their bond on the hunting/gathering expedition. When this family goes out to get breakfast, they really go out to get breakfast. In a joyously-choreographed race to get food, parents Grug (Nicolas Cage) and Ugga (Catherine Keener), Ugga’s mother Gran (Cloris Leachman), and their three children work seamlessly together somewhere between extreme dodgeball, an obstacle course, and a rugby game. Even the happily feral baby joins in for a crucial maneuver.

Other than that, they stay inside the cold, dark, cave. None of the other families of their community have survived, and Grug is terrified of anything that he cannot control. So he tells his family that “curiosity is bad and anything that is new is bad” and insists that they all stay inside together. Keeping everyone alive is his full-time job. “Never not be afraid,” he warns them. “Fear keeps us alive.” “I will never do anything new or different,” promises his son Thunk (Clark Duke). But rebellious teenagers go back as far as protective fathers, and Eep wants to explore the world outside the cave. What Grug sees as safe and under control, Eep sees as boring and old-fashioned.

That bigger world Eep wants to see includes a stranger, a guy named Guy (Ryan Reynolds). He has a lot of new ideas like tools, shoes, a “belt” (a monkey with a theatrical flair for flourish), and “baby suns” — fire. Eep wants to learn more. And soon Grug has to make changes because the tectonic plates start to shift beneath him. Staying the same is no longer safe. The family must leave the cave to find a new place to live. Grug has to learn that sometimes new is not bad. And Eep has to learn the value of what she already has.

Kids will enjoy outsmarting the Neanderthals, whose experience of the world is so limited that they think fire can be extinguished by dry grass and they will marvel at the notion that there had to be a first-ever hug. They will get a kick out of Guy as a proto-MacGyver who shows his traveling companions how to use rocks, vines, leaves — and strategy — to trap food and protect themselves from predators. As Grug and his family leave their rocky home they find new environments that are increasingly dazzling, with spectacularly imagined vistas and gorgeous vegetation. Those images nicely parallel the opening minds and spirits of Grug and his family. Despite a few too many mother-in-law jokes, “The Croods” nicely makes it clear that even before they had fire, families understood how important it was to cherish and protect each other. And Eep reminds us that what may feel like teenage obstinacy and foolhardiness may just be the next step in our evolution.

Parents should know that this movie has some scary animals and children and adults in peril, with references to sad off-screen deaths. There is brief crude humor and there are repeated jokes about Grug wishing that his mother-in-law would die.

Family discussion: How can you tell when it is time to try new things and time to stick with what you know? What did Guy and Grug learn from each other?

If you like this, try: Visit a museum or do some research in books to look at prehistoric fossils and bones and watch “The Land Before Time,” the “Ice Age” series, and “The Flintstones”