Eight Below

Posted on February 3, 2006 at 4:00 pm

B+
Lowest Recommended Age: 4th - 6th Grades
MPAA Rating: Rated PG for some peril and brief mild language.
Profanity: None
Alcohol/ Drugs: Brief social drinking
Violence/ Scariness: Intense peril, characters injured
Diversity Issues: Diverse characters
Date Released to Theaters: 2006
Date Released to DVD: 2006
Amazon.com ASIN: B000F4PDF8

The dogs rescue the humans, but will the humans rescue the dogs? Can they?


A scientist (Bruce Greenwood) arrives at a National Science Foundation base in Antarctica, in search of a rare meteor. Vehicles are too heavy to take over the thin ice, so Gerry (Paul Walker) takes him on a sled pulled by eight dogs. They are called back early due to major storms, and one of them is injured on the return. The need for immediate medical attention and the severity of the storm means that all of the people on the base have to be evacuated. There is no space for the dogs on the plane. Katy (Moon Bloodgood), the pilot, assures Gerry that she will fly right back to get them. But because of the storm it will be months before they can return. The dogs have been left behind, tightly chained together, with no food or shelter. How can they survive?


The dogs manage to break free, and the best part of the film is seeing them explore the icy environs and learn how to care for themselves and each other. There is a nice counterpoint with the efforts of the humans, also learning and growing and ultimately working as a team to get back to Antartica and the dogs.


The story is exciting and inspiring, the dogs and scenery are breathtakingly gorgeous, and director Frank Marshall expertly balances thrills, laughs, and tender moments that are genuinely moving. Marshall handles the sad and scary material gently and gracefully.

Parents should know that the movie has very intense peril for a PG movie, including a very scary jump-out-at-you surprise, falls, animal fights, injuries to human and animal characters and (spoiler alert) the sad deaths of two of the dogs and of some birds killed by the dogs for food. There are shots of an animal carcass. Characters drink beer and Scotch (and Fresca).


Families who see this movie should talk about how we decide what risks are worth taking. What changed the way Jerry and Katy felt about each other? They might want to learn more about Antarctica, sled dogs, and the beautiful Aurora Australis or “Southern Lights” enjoyed by the dogs in this film.


Families who enjoy this movie will also enjoy Balto, an animated film about the heroic dog whose statue is in New York’s Central Park, and March of the Penguins. They will also enjoy this interview with the director.

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Nanny McPhee

Posted on January 22, 2006 at 12:09 pm

B
Lowest Recommended Age: Kindergarten - 3rd Grade
MPAA Rating: Rated PG for mild thematic elements, some rude humor and brief language.
Profanity: None
Alcohol/ Drugs: Sherry
Violence/ Scariness: Comic violence and peril, no one hurt, but there are shots of dead bodies in a mortuary
Diversity Issues: None
Date Released to Theaters: 2006
Date Released to DVD: 2006
Amazon.com ASIN: B000F1IQNM

There are seven children in the Brown family, and they are all very clever and exceedingly naughty. The 16th nanny has just quit because she thought she saw the six older children eating the baby. The nanny agency refuses to send over another candidate. Mr. Brown (Colin Firth) does not know what to do. And rich Aunt Adelaide (Angela Lansbury) says that if he doesn’t get married by the end of the month, she will stop sending the money they need to pay for their house.


Enter Nanny McPhee (Emma Thompson). She has two huge warts, a nose like a potato, and a snagletooth. She also has a big, gnarled staff, and when she hits the ground with it, surprising things happen. She tells the children that when she is needed but not wanted, she will stay, but when she is wanted but not needed, she will go.


Thompson, who also wrote the screenplay, clearly enjoys her outlandish get-up and her crisp but understated and dryly humorous delivery is perfectly suited to the part of the un-ruffleable nanny. Firth’s addled but affectionate father and Kelly Macdonald as a sympathetic housemaid add some substance and sweetness. Thomas Sangster (Love Actually with Thompson and Firth) as the oldest of the Brown children, has a light comic touch.

The movie is a little too self-consciously charming, set in a village so twee it would not be out of place in a Christmas display, with owlish children making adorably precocious quips. And some of the humor seems forced or even creepy, as when we see Mr. Brown working in a mortuary. But it is highly entertaining to see the children misbehave — and to see them get their comeuppance, and the happy ending, if unsurprising, is welcome and satisfying.

Parents should know that there is some gruesome humor and comic peril (no one hurt). There is a comic situation involving some accidental but graphic groping and a woman who takes this as evidence of her sexual attractiveness and a brief crude joke with the implication of incest. Some audience members may be disturbed by the (offscreen) death of the children’s mother or the potential wicked stepmother or loss of the family’s home. Mr. Brown works in a mortuary and the film includes shots of dead bodies.


Families who see this movie should talk about why the children were so naughty. What was the most important thing they learned from Nanny McPhee? What do you think about her rules? Why do her looks change? If you were nanny to the Brown children, what would you do? What does it mean to be needed but not wanted or wanted but not needed?

Families who enjoy this movie will also enjoy Mary Poppins, the Mrs. Piggle-Wiggle books, and The Storyteller, the classic story of a man who finds a very clever way to quiet some annoying children. Like the author of the books that inspired this movie, he knows that kids love stories about naughty children.

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Hoodwinked!

Posted on January 10, 2006 at 12:26 pm

Adorable Little Red Riding Hood opens the door to Granny’s charming cottage in the woods and walks into the bedroom with her basket of goodies. But Granny looks a little different. It is the wolf, in disguise. He lunges toward Red, who, instead of screaming and running away, says, “You again? What do I have to do, get a restraining order?” and goes into her judo stance.


So it’s pretty clear right from the beginning that this computer-animated retelling is not your grandmother’s fairy tale. The characters are the same: Red, the wolf, the sweet grandmother (tied up in the closet), and an enormous woodsman who crashes into the cabin, ax in hand. But then things get a little twisted and a little po-mo — all of a sudden there is yellow crime scene tape surrounding the place and the police — a stork, a bear, and a frog — are there to interrogate the witnesses.


It seems that this may be tied to a crime wave — the theft of the best recipes from everyone in the community.


Still, we think we know what’s coming. RRH was on her way to bring her sweet, gentle, grandmother a basket of treats, the wolf is there to eat Red and Granny, and the woodsman was coming to the rescue, right?


Well, not so much.


As each of the witnesses takes a turn, we find out that nothing was what we thought. Each one has secrets and surprises.


The script is fast, fresh, and witty, with great characters, some clever satire, a couple of surprising plot twists, and a lot of good old-fashioned silly fun.

It has outstanding voice talent as well. As Red, Anne Hathaway (The Princess Diaries) has a nicely dry delivery that really gets a chance to shine when it is not connected to her princessy prettiness. Glenn Close gives Granny a lot of spirit, and Patrick Warburton (“Seinfeld’s” Puddy) is a master of understated wit. They get able support from Anthony Anderson as the stork, rapper Xzibit as the bear, and David Ogden Stiers (television’s “M*A*S*H” and Beauty and the Beast) as the detective frog.


What’s best, though, about the film is the way it keeps tweaking your expectations. As each story unfolds, we have to confront our assumptions and prejudices in a way that not only keeps us guessing about the real culprit but gives us some real insight into the importance of keeping an open mind.


The animation is just serviceable — the film was made with a limited budget that would barely cover one of Chicken Little’s feathers. That means the textures are superb, but the movements and facial expressions are static and sometimes distracting. The action sequences work pretty well, but when characters are just standing and talking to each other or making smaller movements, the film slows down. But thanks to the clever script and witty performances, this is as filled with goodies as Little Red’s basket.


Parents should know that the movie has some cartoon-ish action sequences and peril that may be too intense for younger children, even though no one gets hurt. Characters use some fresh and sassy language.


Families who see this movie should talk about why we are surprised when the characters do not conform to our expectations. This is a terrific opportunity to talk about point of view and about how different people can draw different conclusions from the same set of facts. They can have some fun taking some other well-known stories and seeing if they can re-engineer them. What would “Goldilocks” be like if the story was told by the bears?

Families who enjoy this movie will also enjoy the brilliantly hilarious books A Barrel of Laughs, a Vale of Tears by Jules Feiffer, 10 in a Bed by Allan Ahlberg, and The Phantom Tollbooth by Norton Juster.

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Cheaper by the Dozen 2

Posted on December 12, 2005 at 12:49 pm

C+
Lowest Recommended Age: Kindergarten - 3rd Grade
MPAA Rating: Rated PG for some crude humor and mild language.
Profanity: Brief crude language
Alcohol/ Drugs: Social drinking
Violence/ Scariness: Comic, cartoon-style peril and violence, including fire, no one hurt
Diversity Issues: Brief anti-gay humor
Date Released to Theaters: 2005
Date Released to DVD: 2006
Amazon.com ASIN: B000EHSVFU

As synthetically generic as a “Happy Holidays” card from your realtor, this by-the-numbers pratfall-fest is, at least, a teensy bit better than the 2004 original. I’ll explain why in a moment. But first, I want to say something about montages.


Montages are the music-video-style interludes in movies. One you see quite often is the falling-in-love montage, with some sweet pop song in the background as our lovebirds ride a bicycle built for two, squirt water pistols at each other and squeal with laughter, walk hand-in-hand through an outdoor market, and smooch in the moonlight. Once in a while they genuinely help to tell the story, but most of the time they are just a lazy way to keep the audience feeling good without doing any actual work by writing, you know, dialogue to show us why these two people really like each other.


Then there are the trying on clothes montages (Julia Roberts in Pretty Woman) and the getting yourself or your team or your house in shape montages (Rocky running up the steps) and the passage of time montages. Again, it’s usually just laziness.


When I tell you that this movie features not one but three montages, you get the idea. On the other hand, it’s kind of a relief to be spared the sitcom-style dialogue.


Steve Martin and Bonnie Hunt return as Tom and Kate Baker, parents of 12 children. As their children are growing up, with the two oldest girls moving out of town, they plan one last family vacation at a house on a lake they used to go to when the children were younger. At the lake, they run unto Tom’s old nemesis, the ultra-competitive Jimmy Murtaugh (Eugene Levy), with his beautiful trophy wife Serina (Carmen Electra) and eight high-achieving children.


Tom feels diminished by Jimmy, though their children get along very well, especially two budding romances between the 8th graders and the college-age children. Various fracases and pratfalls later (not once, but twice a guy in a wheelchair who has no other connection to the story falls into the water), the two families square off in a pentathelon of camp contests, a battle of egg-toss, three-legged race, volleyball. Everyone learns again the importance of family. Martin even gets a chance to shed a tear about how wonderful it all is to love your family so very, very much.


I’m still angry that these films appropriate the title of two of the best books for children ever written and then give us something that has no relationship whatsoever to the books or the astonishing, hilarious, and touching real-life story they portrayed about “motion study” pioneers Frank and Lillian Gilbreth and their twelve children.

Put that to one side, and it’s just a super-sized “Brady Bunch” episode with a lot of dumb-daddy pratfalls and some crude humor (including two completely inappropriate anti-gay jokes). Hillary Duff, now that she’s lost the babyfat that gave her face some sweetness, just looks horsey in a thankless part.

What it does have going for it is a trophy wife (Electra) who is not a stereotype. She is generous and tells her husband when he is behaving badly. Martin and Hunt have an easy chemistry, and one of the kids, Alyson Stoner, is a stand-out who makes a real impression, a genuine achievement amid all the crowd and noise. But the movie’s fundamental superficiality is clear in the absence of any notion of what family really is. There’s some sloppy sentimentality, but not a single moment of genuine parenting — no instruction, guidance (even when a child shoplifts, which is treated as evidence of insecurity not as theft), support, generosity, or even listening. The movie’s idea of what it means to be a parent is not much more than affectionate proximity. What’s cheap here is the sentiment.


Parents should know that the movie has some crude language and jokes, including potty humor, a hit in the crotch, and homophobic references. One girl calls her young sister “butch” because she doesn’t like make-up and it is supposed to be funny that when a man puts his arm around another man’s shoulders, people think they are gay. Character drink (including drinking to make themselves feel better). Misbehavior is endorsed (even encouraged) or overlooked, including shoplifting and destructive pranks.

Families who see this movie should talk about what the best — and worst — parts of having such a large family would be. Why did Tom care so much about what Jimmy thought of him? Why did Jimmy want Tom to care so much? Families should also talk about how they feel as the children grow up and what families do to stay close to each other.


Families who enjoy this movie should read the book and its sequel, and see the original movies.

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The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe

Posted on December 7, 2005 at 3:25 pm

A-
Lowest Recommended Age: 4th - 6th Grades
MPAA Rating: Rated PG for battle sequences and frightening moments.
Profanity: None
Alcohol/ Drugs: None
Violence/ Scariness: Very intense battle violence with graphic injuries and sad deaths
Diversity Issues: A metaphorical theme of the movie
Date Released to Theaters: 2005
Date Released to DVD: 2006
Amazon.com ASIN: B000E8M0VA

The perennial children’s classic by C. S. Lewis has been lovingly, thrillingly, enchantingly, brilliantly brought to screen in this flawless adaptation of the first of the “Narnia” series. (Note for purists — yes, it is chronologically the second in the order of the story, but it was the first Lewis wrote.) It is one of the best films of the year for any and all ages.


Four children, oldest brother Peter (William Moseley), sister Susan (Anna Popplewell), brother Edmund (Skandar Keynes), and youngest Lucy (Georgie Henley) are sent to a huge old house in the country for safety during the bombing of London in World War II.

Told to stay out of the way of its owner, “The Professor” (James Broadbent), and stuck inside on a rainy summer day, they play hide and seek. Lucy sneaks into a huge “wardrobe” (a piece of furniture that is something like a closet). Behind all the fur coats, she finds pine branches and suddenly under her heel, there is a crunching of snow.


She meets a faun named Mr. Tumnus (James McAvoy) who at first thinks she must be some kind of beardless dwarf and then realizes she is a “daughter of Eve” — a human. He tells her she is in Narnia and invites her to tea. Enticed by his offer of friendship and the promised sardines, she goes with him to his little house. But it turns out he did not have friendship in mind. The evil witch who calls herself a queen has kept Narnia in a perpetual winter without Christmas for a hundred years has issued an order that any humans must be brought to her because of a prophecy that four humans will reclaim the kingdom.


Tumnus cannot go through with it, so he tells Lucy to leave before the witch finds her. Lucy goes back through the wardrobe where only a moment has passed in the professor’s house, though she had been gone for hours. No one believes her story.

Edmund goes to Narnia with her and meets the witch (Tilda Swinton), who promises him treats and a throne, but when he comes back, he says she made it all up. Soon all four children are in Narnia. While Peter, Susan, and Lucy join with Aslan the lion and those who want to melt the hundred-years winter and bring freedom back to Narnia, Edmund’s vanity and loneliness cause him to side with the witch. Dire battles lie ahead — a battle of armies and a battle of the spirit.


The design and effects are stunning, with completely believeable centaurs, fauns, cyclops, wolves, and foxes. Narnia feels truly magical.

The performances of the four leads, especially Henley’s Lucy, are unaffected and sincere. Swinton’s flat face and almost-invisible brows and lashes float above stiff, even sculptural gowns and there is never a hint of a wink or a holding back because this is a kids’ story. She brings the absolute focus and conviction to the part of the witch she might bring to a performance as Lady Macbeth and it is shiveringly evil. Liam Neeson provides the voice of Aslan, the wise and generous leader of the rebellion, and Ray Winstone and Dawn French are the endearing beavers. The script, co-written by director Andrew Adamson — hmmm, son of Adam — (Shrek) is wise and genuinely witty. It delicately but thoughtfully manages to achieve a balance between fairy tale and religious allegory so that audiences in search of either will find what they are looking for and be satisfied. And that is a very deep magic indeed.

Parents should know that this movie has very intense and explicit battle violence for a PG movie, close to the edge of a PG-13. Characters are injured and (apparently) killed. Children are in peril and one is smacked, imprisoned, and treated cruelly. Parents of younger children and those not familiar with the story will want to make sure that children who see the movie know what to expect. We first see the children hiding as London is attacked by bombs during WWII, and then they are sent away by their mother to live with someone they do not know. Some children may need some historical context (and some reassurance) to understand this part of the story.


Families who see this movie should talk about the tradition of “enchanted place” stories and why they are so enduringly popular. How is this story like — and not like — other stories about children who wander into magic lands? One reason this story has been popular for so many years is that it works on many levels. Some families will want to discuss the Christian symbolism in the story, which was written by a distinguished theologian. Others will want to focus on other themes, like trust, loyalty, and courage. What was Edmund so ready to believe what the Queen said? Why did he try to make a joke out of everything? What did Aslan mean by understanding sacrifice? Why was Aslan so willing to forgive Edmund? If you could create a magic land, what would it be like?


Families who enjoy this movie will also enjoy the books and the BBC miniseries. They will also enjoy other “enchanted places” stories in books and movies, from classics like Alice in Wonderland, The Secret Garden, and The Wizard of Oz to newcomers like Time Bandits, the books of Edward Eager and E. Nesbitt, and the His Dark Materials trilogy. Older viewers who would like to know something more about the author of these books will enjoy Shadowlands (or the equally good British version), about the very unexpected (especially by Lewis) love of Lewis’s life, Joy Gresham (whose son Douglas was co-producer of this film, and who provides the voice of the radio announcer at the beginning).

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