Harry Potter and the Sorcerer’s Stone

Posted on December 13, 2002 at 5:17 am

A+

Lowest Recommended Age:	Kindergarten - 3rd Grade
MPAA Rating:	Rated PG for some scary moments and mild language
Profanity:	Some mild language ("bloody")
Alcohol/ Drugs:	None
Violence/ Scariness:	Characters in peril, minor injuries, tense scenes, some graphic and disturbing images
Diversity Issues:	Diverse cast, strong female characters, all major characters white
Date Released to Theaters:	2001
Date Released to DVD:	July 11, 2011
Amazon.com ASIN:	B000W74EQC

Prepare for the final movie in the Harry Potter series by watching the first one again:

I loved it. And I can’t wait to see it again.

Based of course on the international sensation, the book by J. K. Rowling, “Harry Potter and the Sorcerer’s Stone” is filled with visual splendor, valiant heroes, spectacular special effects, and irresistible characters. It is only fair to say that it is truly magical.

Fanatical fans of the books (in other words, just about everyone who has read them) should take a deep breath and prepare themselves to be thrilled. But first they have to remember that no movie could possibly fit in all of the endlessly inventive details author J.K. Rowling includes or match the imagination of readers who have their own ideas about what Harry’s famous lightning-bolt scar looks like or how Professor McGonagall turns into a cat. Move all of that over into a safe storage part of your brain and settle back with those who are brand new to the story to enjoy the way that screenwriter Steven Kloves, production designer Stuart Craig, and director Chris Columbus have brought their vision of the story to the screen. Even these days, when a six year old can tell the difference between stop-motion and computer graphics, there are movies like this one to remind us of our sense of wonder and show us how purely entertaining a movie can be.

Harry (Daniel Radcliffe), of course, is the orphan who lives with the odious Dursleys, his aunt, uncle, and cousin. They make him sleep in a closet under the stairs and never show him any attention or affection. On his 11th birthday, he receives a mysterious letter, but his uncle destroys it before he can read it. Letters keep coming, and the Dursleys take Harry to a remote lighthouse to keep him from getting them. Finally one is delivered to the lighthouse in the very large person of Hagrid, a huge, bearded man with a weakness for scary-looking creatures. It turns out that the letters were coming from Hogwarts, a boarding school for young witches and wizards, and Harry is expected for the fall term.

Hagrid takes Harry to buy his school supplies in Diagon Alley, a small corner of London that like so much of the magic world exists near but apart from the world of the muggles (humans). We are thus treated to one of the most imaginative and engaging settings ever committed to film, mixing the London of Dickens and Peter Pan with sheer, bewitching fantasy. A winding street that looks like it is hundreds of years old holds a bank run by gnomes, a store where the wand picks the wizard, and a pub filled with an assortment of curious characters.

Then it’s off to the train station, where the Hogwarts Express leaves from Track 9 ¾. On the train, Harry meets his future best friends, Ron (Rupert Grint) and Hermione (Emma Watson) and gets to try delicacies like chocolate frogs (they really hop) and Bertie Bott’s Everyflavor Beans (and they do mean EVERY FLAVOR).

And then things really get exciting, with classes in potions and “defense against the dark arts,” a sport called Quidditch (a sort of flying soccer/basketball), a mysterious trap door guarded by a three-headed dog named Fluffy, a baby dragon named Norbert, some information about Harry’s family and history, and some important lessons in loyalty and courage.

The settings manage to be sensationally imaginative and yet at the same time so clearly believable and lived-in and just plain right that you’ll think you could find them yourself, if you could get to Track 9 ¾. The adult actors are simply and completely perfect. Richard Harris turns in his all-time best performance as headmaster Albus Dumbledore, Maggie Smith (whose on-screen teaching roles extend from “The Prime of Miss Jean Brodie” to “Sister Act”) brings just the right tone of dry asperity to Professor McGonagall, and Robbie Coltrane is a giant with a heart to match as Hagrid (for me, the most astounding special effect of all was the understated way the movie made him look as though he was 10 feet tall). Alan Rickman provides shivers as potions master Professor Snape, and the brief glimpse of Julie Walters (an Oscar nominee for last year’s “Billy Elliott”) as Ron’s mother made me wish for much more. The kids are all just fine, though mostly just called upon to look either astonished or resolute.

A terrific book is now a terrific movie. Every family should enjoy them both.

Parents should know that the movie is very intense and has some scary moments, including children in peril. Children are hurt, but not seriously. There are some tense moments and some gross moments. A ghost character shows how he got the name “Nearly Headless Nick.” There are characters of many races, but all major characters are white. Female characters are strong and capable.

Families who see this movie should talk about what made the books so popular with children all over the world. Why did Dumbledore leave Harry with the Dursleys? Why did Harry decide not to be friends with Draco? Harry showed both good and bad judgment – when? How can you tell? What do you think are some of the other flavors in Everyflavor Beans?

Families who enjoy this movie will also enjoy The Wizard of Oz, Willy Wonka & the Chocolate Factory, and How The Grinch Stole Christmas.

DVD notes — this is one of the most splendid DVDs ever issued, with an entire second disk of marvelous extras including deleted scenes, a tour of Hogwarts, and CD-ROM treats.

Hercules

Posted on December 13, 2002 at 5:17 am

According to Disney, Hercules was the adored son of gods Zeus and Hera, stolen by Hades, ruler of the underworld, and made mortal. He must become a true hero to become a god again, so he can live with his parents on Mount Olympus. To do this, he seeks out a grouchy satyr (voice of Danny DeVito), who trains him in fighting techniques and strategy. When he saves some children (so he thinks) and defeats the hydra (its many heads masterfully provided by computer animation), he becomes an instant celebrity, with action figures and “Air Hercules” sandals. He goes on to his other labors, but finds that is not enough to be a real hero — that comes from the heart, not the muscles.

Kids will need some preparation for this movie. What little exposition there is is provided by Spice Girl-style “muses” as a sort of gospel Greek chorus, fun to watch, but hard to follow. The role of the three fates, who share one eye between them and cut a thread when a human’s life is ended, is particularly confusing.

The love interest in this movie is Meg, who sold her soul to Hades to save the life of her boyfriend, and must now try to find Hercules’ weakness, so that Hades can take over Olympus. She is tougher and braver than the traditional DID (as damsels in distress are referred to in the movie), but still very much on the sidelines in the big moments. Parents may want to talk to both boys and girls about her choices. They may also want to talk about the absence of people of color (other than the muses).

The movie’s other weakness is its lackluster score. As in “Aladdin,” this movie’s white-bread, “aw, shucks” teen-age protagonist is utterly outshone by a star turn of astonishing verve — this time, James Woods as bad guy Hades, who will join Cruella DeVille in the pantheon of unforgetable villains. Sidekicks Pain and Panic (Bobcat Goldthwait and Matt “Max Headroom” Frewer) are wickedly funny as well.

Families who watch this movie should talk about who the real heroes are, and how society treats its heroes. Why do we buy products endorsed by athletes (or movie tie-ins)? It is also worth talking with them about Hercules’ motivation — is wanting to be a god a good reason to want to be a hero? Do we see any evidence that he (or anyone else in the movie) has much concern for the well-being of the community?

NOTE: While the tone of the movie is light-hearted, parts of it may be too scary and intense for smaller children. Some may also be confused or even upset about the underworld and what happens when people die.

Related Tags:

Animation Based on a book Fantasy

Passion of Mind

Posted on December 13, 2002 at 5:17 am

This is the movie equivalent of a juicy beach book, an old-fashioned guilty pleasure chick flick.

The plot is “Sliding Doors” crossed with the fairy tale of the dancing princesses with a touch of “Truly Madly Deeply.” Demi Moore plays a woman with two lives: Marty, a successful New York career woman and Marie, an American widow living in the French countryside with her two daughters. Every night, when Marty goes to sleep, she dreams of Maria’s life in France, and when Marie goes to sleep, she becomes Marty in New York. Both wonder which is real, and each is afraid to find out.

The two lives echo each other, and each seems to provide something missing in the other. But one thing is missing in both – love. Marty meets Aaron (William Fitchner) and Marie meets William (Stellan Skarsgård).

Both relationships begin with conflict. Marty confronts Aaron for capitulating to a client’s request to settle a lot of money on an unfaithful spouse and Marie has given a bad review to William’s book. Both men are completely captivated by the elusive woman/women. And both courtships are rapturously romantic – this movie has two of the all-time great movie boyfriends.

At first, the two storylines provide counterpoint. One relationship becomes physically intimate. The other becomes emotionally intimate because she tells him of her double life. Then both relationships deepen and the two lives begin to provide some resolution for one another. Items from one life begin turning up in the other. She begins to understand that she can take what she needs from her dreams and make it work in real life.

It is very schmaltzy. But I found myself beguiled by its unabashed romanticism. There are some nice subtle touches – the clusters of hats, Marty’s relationship with her therapist, Marie’s relationships with her daughters and her confidant – and the resolution has some psychological validity, at least in movie terms.

Parents should know that the movie has sexual references and situations (frank but not graphic), some strong language, and smoking and drinking.

Families who see the movie will want to talk about the way that people consciously and subconsciously work through unresolved issues, and the way that opening oneself up to being known by someone else can seem scary. If your real-life self had a dream life, what would it be?

Families who enjoy this movie will like “Truly Madly Deeply” and a Bette Davis oldie, “A Stolen Life.”

Related Tags:

Drama Fantasy Romance

Peter Pan

Posted on December 13, 2002 at 5:17 am

B+

Lowest Recommended Age:	Kindergarten - 3rd Grade
Profanity:	None
Alcohol/ Drugs:	None
Violence/ Scariness:	Characters in peril; a swordfight
Diversity Issues:	Sexist comments about girls, insensitive comments about Indians
Date Released to Theaters:	1953
Date Released to DVD:	February 4, 2013
Amazon.com ASIN:	B00A0MJ9ZA

Disney’s latest release is a beautiful Blu-Ray of one of its animated classics, the Disney version of the Victorian classic about the boy who would never grow up. Wendy, Michael, and John Darling, three London children, meet Peter Pan, a boy who can fly. He has been drawn to their warm, comfortable home, and to Wendy’s stories. He sprinkles them with fairy dust and they fly off past the “second star to the right,” where he lives in a magical place called Neverland. There they rescue an Indian princess, and fight pirates led by Captain Hook, before returning home to wave goodbye as Peter returns to Neverland without them.

The animation in this movie is as lively as its energetic hero. The scenes set in Victorian London are beautiful, and the shift in perspective as the children round Big Ben and fly off to Neverland is sublimely vertiginous.

Most children see Peter as that wonderful ideal, a child with the power to do whatever he pleases for as long as he pleases. The story does have moments that are whimsical but also very odd — the nanny is a dog, the crocodile that ate Captain Hook’s hand keeps following him for another taste, Peter loses his shadow, the Lost Boys have no parents, and unlike Peter, no special powers, fairy guardian, or unquenchable brio. Some children find this engaging, but a few find it troublesome, or worry about what happened to Peter’s parents and whether he will be all right without them. They may also be sad that the story ends with Peter bringing the Darling children home and then going back to Neverland without them.

Parents should know that the “What Makes the Red Man Red” song is embarrassingly racist and sexist. There is also a sexist overlay to the entire story, with Peter rapturously adored by all the females and at best indifferent in return. A best-selling pop psychology book of some years ago played off of this notion, theorizing that some men suffer from “The Peter Pan Syndrome” (fear of commitment), dividing women into two categories, mother-figure “Wendys” and playmate “Tinkerbells.” Tinkerbell, who is, of course, a fairy, is the only female in the story who is capable of much action other than nurturing, and she is petty and spiteful (though ultimately loyal). When he first meets Wendy, Peter says “Girls talk too much,” which one boy who watched with me thought was rapturously funny.

Families who watch this movie should talk about these questions: Have you ever thought that you didn’t want to grow up? Have you ever thought that you’d like to be a grown up right now? What would you do? Would you like to visit Neverland?

Families who enjoy this movie will also enjoy the many other versions of this popular story. Interestingly, this animated version was the first to feature a real boy (instead of a woman) in the title role. The Mary Martin version for television that parents of today’s kids may remember from their own childhoods is available on video, with Cyril Ritchard impeccable as Mr. Darling/Captain Hook, and a terrific score that includes “I’m Flying” and “Tender Shepherd.” A remake with Cathy Rigby as a very athletic Peter is also very good. Don’t waste your time on Steven Spielberg’s 1991 sequel, “Hook,” with Robin Williams as a grown- up Peter Pan who must go back to rescue his children from Dustin Hoffman as Captain Hook with the help of Julia Roberts as Tinkerbell. The stars, the production design, and some spectacular special effects cannot make up for the incoherent joylessness of the script and genuinely disturbing moments like the death of one of the lost boys.

Ever After

Posted on December 13, 2002 at 5:16 am

Drew Barrymore plays Danielle, according to her great-great-great grand- daughter the real inspiration for the story of Cinderella. Just as in the classic fairy tale, Danielle lives with her mean step-mother and step- sisters, after the death of her beloved father. They force her to do all the work. She meets the prince, goes to the ball wearing glass slippers, and runs away before midnight. But there are some big differences. No pumpkin coach, no fairy godmother, and no bibbity-bobbity-boo. This heroine is not meekly obedient. She stays on because she wants to take care of her home and the people who work there, because it makes her feel close to her father, and because she still hopes that somehow she will find approval from the only mother she has ever known.

The step-mother, played by Anjelica Houston in her most evil “The Witches” mode, is not going to give it to her. She tells Danielle that she sees her as a pebble in her shoe. All she cares about is making sure that the prince chooses her elder daughter, Marguerite (Megan Dodd), as his bride. She is willing to lie, cheat, and steal to make it happen.

Meanwhile, the Prince (Dougray Scott) is not quite Charming. He appears arrogant, but is really just lonely and aimless. His parents want him to marry the princess of Spain, to cement a strategic alliance, but he wants to fall in love. He meets Danielle when she is in disguise as a courtier, to rescue a family servant sold by her step-mother to pay her debts, and he is very taken by Danielle’s passion and intellect.

The stepmother finds out about their relationship, and does her best to thwart it. When the prince finds out that Danielle is not really of noble birth, he is furious, at first. But it all ends happily ever after, even without a fairy godmother (though with a little help from Leonardo da Vinci).

Sumptuously filmed at medieval castles and chateaux, with gorgeous costumes, this is is a pleasure for the eye as well as the spirit. Danielle is a very modern heroine, smart, brave, honest, and able to save her prince as well as herself, if necessary. The script is clever (though wildly anachronistic in places), and while the accents come and go (and why do French characters speak with English accents, anyway?), the performances are excellent, with particularly engaging turns by Melanie Lynskey as the sympathetic younger step-sister and Judy Parfitt as the queen. It is one of the most delightful family movies of the year, maybe of all time.

Parents should note that some profanity in the theatrical release has been removed to secure a PG rating for the video, but there is still one expletive. There is some action violence, and a sad onscreen death. The plot may be a challenge to younger children, especially those expecting the story they know, so it is a good idea to prepare them, which can lead to a good discussion of different versions and points of view. Older children will enjoy Ella, Enchanted, by Gail Carson Levine, a different modern retelling of the Cinderella story. And everyone should see the more traditional versions, especially the wonderful Disney cartoon and the Rogers and Hammerstein musical starring Lesley Anne Warren in the original and Brandy and Whitney Houston in the remake.