Being Flynn

Posted on March 8, 2012 at 6:05 pm

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated R for adult situations, language, nudity, and sex
Profanity:	Constant very strong and explicit language
Alcohol/ Drugs:	Drinking, smoking, drugs, substance abuse
Diversity Issues:	A theme of the movie, character makes bigoted remarks
Date Released to Theaters:	March 9, 2012
Amazon.com ASIN:	B00772HR6O

Nick Flynn was working at a Boston homeless shelter when his father, Jonathan Flynn, came in looking for a place to stay. Nick was raised by his mother and had little contact with his father except for some letters explaining that he would soon be recognized as one of the three greatest writers in American history. Nick Flynn’s memoir, Another Bullshit Night in Suck City, has been adapted for the screen by director Paul Weitz, whose films often explore the relationships between fathers and sons (“About a Boy,” “In Good Company,” “American Pie”).

Paul Dano plays Nick, a young man who has some good instincts and some talent. He is worse than directionless — he is stuck. His mother (Julianne Moore) has died and he has no place to go. He moves into a strip club-turned apartment that is barely more than a squat, selected over the other candidates because he has no family who might come in for an extended stay. He takes the job at the homeless shelter because it is the first opportunity he hears of. He is not unsympathetic but he is distant and untrained. When a resident needs a new pair of pants Nick turns to one of the more experienced aides to ask what size. The aide says simply, “Ask him.” Nick begins to see — as we do — the artificiality of the denial-based distance we maintain from people we think might ask more from us than we can give or might make us think about how fragile our support system can be. When his father (Robert De Niro) shows up in the line of people needing a bed, Nick has so many conflicting feelings he has to go numb — on his own and with some chemical assistance. He wants to love his father and he wants his father to love him. He wants to care for him but is afraid of not being able to — we learn more about why later in the story. He is not prepared to acknowledge how much he wants to be like his father (in following his dream of being a writer) and does not want to be like him (unable to finish his story). We hear their competing versions of the story but we know, as Nick does, that both are coming from him.

De Niro has one of his best roles as a man wavering between fierce pride and grandiosity. Jonathan is a man of large gestures and unspeakably selfish behavior. De Niro keeps him human without compromising by trying to make him more sympathetic. Ultimately, it is Jonathan’s lack of empathy that allows him to finally if briefly provide fatherly support and guidance in telling Nick an important truth that frees him from the past and provides direction for the future.

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Journey 2: The Mysterious Island

Posted on February 9, 2012 at 6:00 pm

B+

Lowest Recommended Age:	4th - 6th Grades
MPAA Rating:	Rated PG for some mild adventure action and brief mild language
Profanity:	Some brief schoolyard language
Alcohol/ Drugs:	None
Violence/ Scariness:	Action-style peril, minor injuries, some large insects, scary animals with big teeth, and some gross and disturbing images
Diversity Issues:	Diverse characters, mild sexist humor
Date Released to Theaters:	February 10, 2012
Date Released to DVD:	June 4, 2012
Amazon.com ASIN:	B007R6D74G

Like its predecessor, Journey to the Center of the Earth, this is a well-paced and highly entertaining family film made with good humor, panache, and imagination. Josh Hutcherson returns as Sean Anderson, a teenager whose last expedition was in search of his father. Refreshingly, it does not take itself seriously. Even more refreshingly, it takes the idea of adventure seriously, with a welcome reminder that the actual thrill of exploring beats even the most entertaining movie or game.

Sean receives an encrypted radio signal and suspects it may be from his grandfather, Alexander, an explorer. Sean’s stepfather Hank (Duane “The Rock” Johnson) is a Navy veteran who once one a prize for code-breaking. Sean does not want to have anything to do with Hank, but cannot resist letting him help solve the code. When it appears to be coming from Sean’s grandfather, with a clue that leads them to more clues in classic stories of island adventure by Jules Verne, Robert Louis Stevenson, and Jonathan Swift, Sean is determined to find it. Hank persuades Sean’s mother (Kristen Davis), to let them try because it is the first real opportunity he has had to get close to his stepson.

They fly to Palau, where the only person crazy and desperate enough to try to take them to an uncharted and possibly imaginary island in the middle of the most dangerous storms on the ocean is Gabato (Luis Guzman, providing awkward comic relief). Sean and Hank get into Gabato’s rattletrap of a plane with Gabato’s beautiful daughter Kailani (“High School Musical’s” Vanessa Hudgens) as a navigator. Like the Millennium Falcon being sucked into the Death Star by the tractor beam, Gabato’s plane is pulled onto the island by the swirl of the storm for a crash landing that shatters it to shards.

Sean is thrilled to find his grandfather (a game and very dapper Michael Caine) and the group is enchanted by the lush beauty of the tropical island and by its big/small reversals. Animals that are big in the rest of the world are small, and animals that are small are big. So the elephants are the size of border collies and the lizards are the size of dinosaurs. Alexander has created a “Swiss Family Robinson”-style treehouse and has discovered the ruins of an ancient city. But when Hank discovers that the island is sinking and will be submerged in a few days, they have to find a way to get back home. They set off for the coast. Alexander at first is hostile to Hank but, like Sean, learns to appreciate him after he shows how skillful and dependable he is — and after he pulls out a uke and sings a very respectable and funny version of “Wonderful World.”

Director Brad Peyton keeps the characters and the plot moving briskly and manages to bring in some nice moments as Alexander, Hank, and Gabato demonstrate different styles of fatherhood. Kailani reminds Sean that it may be bad when parents embarrass you but it is worse when they don’t even try to provide support and guidance. The humor is silly, but reassuring, not condescending to the young audience. It balances the scenes of peril as the group tries to find an escape. However, Gabato is so over-the-top he is likely to grate on anyone over age 10. It palpably conveys the fun of exploration and discovery and the pleasures of being part of a team. The production design by Bill Boes is spectacular, especially Alexander’s wittily imagined house, the ancient city, and the 140-year-old submarine that starts up like Woody Allen’s VW Bug in “Sleeper” after a unique jump start. It perfectly matches the fantasy-adventure-comedy tone of the story, where you can hold a a baby elephant in your arms and fly on the back of a giant bee. “Are you ready for an adventure?” characters ask more than once. This movie will have you ready to say, “Yes.”

As an added treat, there’s an “What’s Opera, Doc”-ish 3D Daffy Duck cartoon before the film, with audio from the original Daffy and Elmer voice talent, Mel Blanc.

Parents should know that this film has characters in peril, minor injuries, some icky and scary-looking animals with big teeth, some jump-out-at-you surprises, some potty and briefly crude humor, and brief schoolyard language.

Family discussion: How many different styles of parenting were portrayed in this movie? Which do you think is best? What adventure would you like to go on?

If you like this, try: “Journey to the Center of the Earth,” “20,000 Leagues Under the Sea” and books by Jules Verne

Extremely Loud and Incredibly Close

Posted on January 19, 2012 at 5:59 pm

Jonathan Safran Foer’s acclaimed novel about a boy whose father was killed in the World Trade Center on 9/11 has been brought to the screen with great sensitivity and heart. Newcomer Thomas Horn plays Oskar, whose ferocious intellect overwhelms his social skills and may be on the autism spectrum. His father (Tom Hanks) understands him best and it is in their time together that Oskar feels most alive and most at home. Oskar’s happiest moments are solving the puzzles set by his father, whether oxymoron contests or treasure hunts. After his father’s death, Oskar searches for the final challenge he is sure his father must have left behind for him, some way to make sense his loss. He finds a blue vase in his father’s closet and when he breaks it, he finds a key in an envelope that says “Black.” He decides to visit everyone in the phone book named Black to see if he can solve at least one mystery in the midst of the senseless tragedy that has devastated his family, his city, and the world.

Oskar’s mother (Sandra Bullock) is withdrawn, scared, and angry. She never had her husband’s gift for reaching Oskar and making him feel safe. As Oskar goes off in search of his father, in a way he seems to be searching for his mother, too. The different people named Black that he tracks down feel like pieces of a puzzle, each unidentifiable and indistinct but somehow, put together, a picture of a piece of something whole begins to emerge. One of the people who opens the door to Oskar is played by Viola Davis in a performance of exquisite beauty. In her brief moments on screen she creates a character of such depth and complexity and humanity that she illuminates the entire film.

Oskar’s grandmother lives across the street and he can see her apartment from his window and communicate with her by walkie-talkie. She takes in a new, mysterious tenant known only as “the renter” (Max von Sydow) and Oskar goes to investigate. The renter is mute. He has “yes” and “no” tattooed on his palms and writes what he wants to say in a notebook. He agrees to accompany Oskar on his visits to Blacks.

Oskar finds an answer that is not what he was looking for or hoping for. But looking for something so far from home makes it possible for him to see what was in front of him all along that he could not face. He is able to tell his own story, finally. He is able to hear the stories of the renter and his mother. And it is only then that he can find the real message his father left behind.

Without speaking a word, Sydow conveys a sense of gravity and compassion, more eloquent than all of Oskar’s words. “The renter” balances Oskar — old and young, silence and constant talking, hiding and seeking. Both are damaged by the trauma of world events with the most personal impact and each expands the other’s spirit with a sense of possibility. The final revelation from Oskar’s mother proves the old saying that only a broken heart can hold the world.

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Based on a book Drama Family Issues

Courageous

Posted on January 16, 2012 at 8:00 am

B+

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for some violence and drug content
Profanity:	None
Alcohol/ Drugs:	Drinking, drugs, drug dealing
Violence/ Scariness:	Some violence, teen killed in an accident, shoot-out
Diversity Issues:	Diverse characters
Date Released to Theaters:	September 30, 2011
Date Released to DVD:	January 16, 2012
Amazon.com ASIN:	B0062NAVXA

Courageous is the story of men who confront danger every day as law officers but who discover that it is a bigger challenge to be good fathers and family men.

Sherwood Pictures, the faith-based film production company behind “Facing the Giants” and “Fireproof,” gets closer with each film to matching its skill to its vision. “Courageous,” written by brothers Stephen (co-producer) and Alex (co-star and director) Kendrick. It is the story of four cops in Albany, Georgia. At work, they work to stop a drug smuggling ring. But the sheriff reminds them that drugs can appear appealing to people who are vulnerable because they do not have the support and attention of their fathers. It is their task as crime-fighters and as men, he explains, to be involved as fathers.

http://www.youtube.com/watch?v=i9qd1xw7uvg

Adam Mitchell (Alex Kendrick) adores his daughter but has a hard time connecting to his son. And he is too often “too busy” to be there for both of them. Nathan Heyes (Ken Bevel) loves his children and moved them away from the city to keep them away from bad influences. But his son is intrigued by a new friend with a flashy car and his strict rules have made his teenage daughter pull away from him. He is adopted and never knew his own biological father. Shane Fuller (Kevin Downes) is divorced and shares custody of his son with his ex-wife. He makes up for their limited time and his own hurt about his parents divorce by acting more like a pal than a dad. And David Thomson (Ben Davies) has never acknowledged or supported his daughter by an ex-girlfriend. He left when she refused to have an abortion. The men befriend Javier Martinez (Robert Amaya), an immigrant who is having a difficult time providing for his family.

When Mitchell’s family suffers a devastating loss, Heyes’ adoptive father brings the men together for a formal ceremony to commit to a “Resolution” to honor God in every aspect of their family lives and then they bring it to their church, calling on other fathers to join them. When one of them makes a terrible mistake that separates him from his son, the fellowship of his brother officers helps him accept responsibility and seek forgiveness. The men also take on father duties for teenage boys who need their guidance.

The sincerity of this series of films and their willingness to present flawed characters in a spirit of understanding, compassion, and forgiveness make up for some predictability and inconsistency in experience in acting and filmmaking. It is a tribute to their vision and dedication that their movies have found such enthusiastic support and I look forward to seeing what they do next.

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Joyful Noise

Posted on January 12, 2012 at 7:00 pm

B+

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for language including a sexual reference
Profanity:	Some strong language
Alcohol/ Drugs:	Drinking
Violence/ Scariness:	Tense family confrontations, bullies, brief fight, gun, sad deaths
Diversity Issues:	Diverse characters including disabled character
Date Released to Theaters:	January 13, 2012
Date Released to DVD:	April 30, 2012
Amazon.com ASIN:	B007HHWJSA

Joyful indeed — this movie is pure cinematic sunshine, guaranteed to brighten the heart and gladden the spirit. Super-divas Dolly Parton and Queen Latifah play rival gospel choir leaders in an inspiring and heart-warming story filled with love, laughter, music, and praise.

G.G. (Parton) is still mourning the loss of her husband Bernard (Kris Kristofferson) when she receives another blow. She expected to take over his duties as choir leader but the church council picks Vi Rose (Queen Latifah) and her more traditional approach instead. Vi Rose’s husband is in the military and out of contact. She has to take on extra work to support Olivia and her son Walter (Dexter Darden), who has Asperger’s syndrome that makes social interaction difficult. She is devoted to the choir, a source of stability and connection for her. She wants it to be competitive but it is more important to her that it be clear that the focus is on the music as worship, not performance. When they get a chance at the national title — and a budding romance between G.G.’s grandson Randy (Broadway star Jeremy Jordan) and Vi Rose’s daughter Olivia (Keke Palmer of Akeelah and the Bee) — G.G. and Vi Rose will have to find a way to work together harmoniously. And that, after all, is what a choir is about.

Writer/director Todd Graff demonstrated in the underrated Camp and Bandslam that he understands teenagers as characters and works well with them as performers. His sincere and sympathetic appreciation for their stage of life is a pleasure to experience. Graff also understands the passion of those who love to perform before a live audience and the challenges they face. As an experienced theater nerd himself he knows how to stage musical numbers. And he is remarkably adept at managing a lot of characters and story lines gracefully, giving each element of the story its own dignity and spirit and sensitively evoking a touching sense of a small-town Georgia community hit hard by the economic upheavals of the past five years. I would have excised a not-very-comic sub-plot about one choir member’s difficulty finding a date after a man dies following their first night together. But the rest is skillfully blended with some sharp dialog. “You’re so country you’ve been married three times and have the same in-laws,” one character teases another. “Your train of thought makes all local stops,” says another.

Queen Latifah gives her best performance to date because Vi Rose is the most complex character she has played to date, giving her a chance to show her confidence, her humor, and her warmth. She shines in a terrific speech about what incandescent beauty really means and sings a moving “Fix Me, Jesus.”

Parton makes a welcome return to feature films after nearly two decades in a role as tailor-made for her as her fitted choir robes. G.G. is flashy and outspoken. But she, too, is trying to hold on in difficult times. She is estranged from her daughter and trying to care for her grandson. In a scene of piercing sweetness, she remembers her life with her husband in a tender duet that gently evolves into a trio.

Jordan and Palmer are enormously appealing, with a quiet chemistry that lights up the screen.

Parton’s three tuneful new songs are mixed with raise-the-roof adaptations of gospelized classics Paul McCartney’s “Maybe I’m Amazed” and Michael Jackson’s “The Man in the Mirror.” On stage and off, Graff shows us the characters’ kindness and sense of connection even when they frustrate each other and it feels very genuine. There is a lot of heart in the musical numbers that deepens our pleasure in seeing the characters find what the harmony they are looking for.

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