Kraven the Hunter

Kraven the Hunter

Posted on December 12, 2024 at 5:41 pm

B-
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for strong bloody violence and language
Profanity: Some strong language, f-words
Alcohol/ Drugs: Alcohol, potions
Violence/ Scariness: Extended and graphic action and comic book style violence with disturbing and bloody images, knives, poison darts, bombs, fire, guns, bear traps, spears
Diversity Issues: None
Date Released to Theaters: December 13, 2024
Copyright 2024 Sony

Another day, another second or third-level Marvel character “from the Spider-Man universe” given main character energy as Sony makes sure it takes every possible advantage of the contractual carve-out that gives it a small piece of the Marvel universe that isn’t run by Kevin Feige and Disney. The best I can say is that “Kraven the Hunter” is a bit better than the dismal “Madame Web” and less goofy than Tom Hardy’s “Venom: The Last Dance.”

This is the sixth of the Sony films about ancillary Spider-Man characters, the longest (2 hours, 7 minutes), and the first to be rated R.

The rating is primarily for extended bloody violence, as indicated by the poster showing Kraven’s face with specks of blood (not his) and the sobriquet “Hunter.” In the comics, he hunts Spidey because he wants to test himself against the most challenging prey. That character is inspired by Richard Connell’s short story about hunting humans, “The Most Dangerous Game.” But this movie is an origin story, and Kraven hunts bad guys.

It opens in present day, where a bus is taking men in chains to a remote Russian prison. We see the man we will come to know as Kraven (Aaron Taylor-Johnson) holding his meager bedding as he enters his cell. An extremely tough-looking guy watches him enter, then says, “I do not like roommates.” Kraven tells him that he will be gone within three days; if not, his cellmate can hit him. Kraven stays long enough to kill another prisoner, one of those still-running-the-crime-syndicate-from-prison kingpins. And then he escapes, automatic weapon bullets all around him as he races to catch the plane that was sent for him.

Flashback to 16 years earlier. Teenage Sergei Kravinoff (Levi Miller) and his half-brother Dimitri (Billy Barrett) are attending a posh boarding school in upstate New York when they are told their father has come to pick them up. He is Nikolai Kravinoff (Russell Crowe), a powerful crime boss and the embodiment of toxic masculinity. He abruptly tells the boys that Sergei’s mother has committed suicide because she was “weak” and disturbed. There will be no funeral; instead he is taking his sons on a safari, so they can prove their manhood by killing dangerous animals.

Nikolai teaches his sons that the only things that matter are strength and power; they must never show weakness or fear. Sergei, who is brave and thoughtful, tries to protect his sensitive and vulnerable younger brother. When a legendary lion many hunters have failed to kill approaches them, Sergei puts himself in danger and is fatally mauled. But he is found by Calypso, a young girl on a photo safari with her parents. Her grandmother, a tarot card reader with some mystical power, had just given Calypso a vial with a potion that can “heal someone in undreamed ways.” She pours it into Sergei’s mouth and later, at the hospital, after he is pronounced dead he suddenly recovers. Between the potion and the lion’s blood that dripped into his wound, Sergei now has the powers of the world’s apex predators.

Yes, this is a superhero story about daddy issues. Nickolai is a narcissist who belittles everyone around him, including his sons and also some random guy named Aleksei Sytsevich (Alessandro Nivola) who tagged along on the safari in hopes of persuading Nickolai to allow him to be a part of all the criming. We will see him again later. When Nickolai tells Sergei he is taking him into the family business, Sergei runs away, leaving his brother behind.

Sergei becomes Kraven, living in a remote Russian forest on property once owned by his mother’s family. And he becomes a hunter, trying to balance his father’s ruthless brutality by taking out bad guys. He tracks down Calypso (Ariana DeBose), now an American lawyer working in London to thank her for saving his life and ask for her help in locating some bad guys. And then Dimitri is kidnapped, and Nickolai refuses to pay the ransom, because it will make him look weak.

All of this is just a light framework for a lot of impressive stunts. Kraven is old-school, so while people are shooting at him, he is using spears, knives, poison darts, and bear traps. At least the action scenes relieve us from the clunky dialogue and bad accents.

Parents should know that this is a very violent movie with constant action and comic-book-style chases and fight scenes and many graphic and disturbing images. A teenager gets mauled by a lion. There is a very unsympathetic discussion of suicide. Weapons include machine guns and rifles, spears, knives, poison darts, bear traps, and bombs. Characters drink alcohol and use some strong language.

Family discussion: Why did Sergei and Dimitri respond so differently to their father? What were Kraven’s strengths as a hunter? What mistakes did he make?

If you like this, try; “The Most Dangerous Game” and Taylor-Johnson’s “Bullet Train” and “Kick-Ass”

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Moana 2

Moana 2

Posted on November 26, 2024 at 6:37 pm

B
Lowest Recommended Age: Kindergarten - 3rd Grade
MPAA Rating: Rated PG for action/peril
Profanity: None
Alcohol/ Drugs: Toxic darts
Violence/ Scariness: Extended fantasy peril and violence, scary monsters
Diversity Issues: A theme of the movie
Date Released to Theaters: November 27, 2024
MOANA 2 – © 2024 Disney Enterprises, Inc. All Rights Reserved.

“Moana 2” is colorful and exciting, often beautiful to watch, with some catchy songs. But the storyline is overcomplicated and it does not have the heart (or the Lin-Manuel Miranda bangers) of the first film. It is episodic, with a complicated array of different places, characters, and stakes, evidence of its original version as a series for Disney+. The mid-credit scene is a cliffhanger that makes the entire film seem like a teaser for what comes next, most likely a series that keeps the story going.

At the end of the first film, Moana (Auli’i Cravalho) came home in triumph having — with the help of demigod Maui (Dwayne Johnson) — restored the balance of the universe by returning the heart of Te Fiti and removing the curse that was blighting her island. You don’t need to worry about whether you’ve seen the first one or not; there’s a recap.

Three years later, Moana has grown up a lot. She has the same adventuresome spirit and is proud of being a “way finder,” but has more confidence and skill, as we see her maneuver her boat, handling the ropes and sails like a seasoned salt. She adores her little sister, Simea (Khaleesi Lambert-Tsuda) and her loving parents are very proud of her vision and leadership.

As in the first film, Moana sets off on a journey. The first journey was to reconnect with the history of her people and remove the curse on her people. This time, she is in search of other people from other places and cultures. She assembles a crew. Moni (Hualalai Chung) is a Maui fanboy, a storyteller tied to the legends of the community, and very enthusiastic. Loto (Rose Matafeo) is the gear-head everyone needs on a voyage, filled with ideas about how to make everything work more smoothly. But her most valuable assets are her unquenchable enthusiasm, quick problem-solving, and her ability to turn disastrous damage into something that will still get the group where they need to go. The most unexpected addition to the crew is Kele (David Fane), a grumpy elder whose speciality — farming — and lack of enthusiasm seem like impediments, at least at first.

Of course no Moana journey would be complete without her animal sidekicks, the scrawny rooster Heihei (Alan Tudyk) and the little pig Pua (left behind in the first film but along for the ride this time).

Moana and the crew land on an island of the Kakamora, cute but fierce coconut creatures (think the Ewoks except they are either wearing or made of coconuts). They have paralyzing darts (children will enjoy where the toxic gel comes from) but they also have the antidote, a large, green, jello-like creature. One of them joins the voyage.

They also have an encounter with a mysterious woman whose song has an unusual message for a wayfarer. Her name is Matangi (Awhimai Fraser) and her advice is to “get lost, cut loose, and lose your way.” She is friends with bats. She captured Maui. And she seems to be a captive herself, all of which should make Moana (and us) a suspicious. Is Matangi trying to help Moana and her crew or is she trying to help herself? Moana takes it as permission to worry less about finding the right way and allow herself to enjoy the freedom of not knowing exactly where she is going. And once Maui is on board (literally), giving him a chance to spit some rhymes in the lickity-split fast “Can I Get A Chee Hoo” you can expect to hear children rapping non-stop.

The visuals are as Disney-sublime. Water wishes it could be as water-ish as the water in this movie. Songwriters Abigail Barlow and Emily Bear created good, singable songs that help tell the story. The mechanics and rigging are superbly imagined in the musical numbers and the action sequences with characters and pieces of the boat flying in every direction. The new characters are welcome additions, especially Loto, but they are thinly imagined and we do not get enough time with them to form a connection. So much was happening and the mythology underlying it was so complicated, I kept wishing for a better balance between story and action. Also, it takes much too long to reunite Maui and Moana. Johnson, who also produced, should have made sure his energy was boosting the first third of the film.

So, this is not top-level Disney, but Moana remains an appealing character and if she gets a bit lost in this chapter, we will wait for her to find her way.

Note: stay for a mid-credit sequence that sets the stage for the next chapter

Parents should know that this movie has some scary monsters and some gross-out humor. Characters are in peril. Moana has contact with her ancestors, including her late grandmother.

Family discussion: How do you learn who you’re meant to be? What do you think Matangi will do next? What would you like to ask your ancestors?

If you like this, try: “Moana” and “Lilo and Stitch”

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Wicked Part 1

Wicked Part 1

Posted on November 21, 2024 at 12:35 pm

B +
Lowest Recommended Age: Middle School
MPAA Rating: Rated PG for some scary action, brief suggestive material, and thematic material
Profanity: None
Alcohol/ Drugs: None
Violence/ Scariness: Fantasy peril and violence
Diversity Issues: A theme of the movie
Date Released to Theaters: November 22, 2024

I feel confident that “Wicked,” this movie musical set in Oz is going to be POP-ular. It is, of course, adapted from the long-running, award-winning Broadway play, which was adapted from the book by Gregory Maguire, which was itself inspired by The Wizard of Oz by L. Frank Baum and the family classic MGM movie it inspired, starring Judy Garland, plus the funkified The Wiz, another musical play and movie. But this is not just some IP brand extension; it is as much an exploration of the nature of good and evil as it is a backstory about some of the world’s most iconic characters. It is also a lot–part one is nearly three hours long, with every minute a cornucopia of visuals, music, dancing, and ideas. Some will be overwhelmed, but many will find it dazzling and worth many repeat viewings.

Copyright 2024 Universal

The movie begins with the report that the Wicked Witch of the West has melted due to “a bucket of water thrown by a child.” Glinda the Good Witch arrives via bubble in Munchkin Country to confirm the news. This parallels Judy Garland’s arrival in the MGM film, her tornado-tossed house landing on the Wicked Witch of the East, and then Glinda arrives by bubble to ask Dorothy if she is a good witch or a bad witch. We will glimpse a few other references to the classic film, including a cute animal peeking out of a basket on the back of a bicycle, a shot of the four classic characters, plus Toto, walking through the poppy fields, and the first stop in the Emerald City a makeover musical number in a fantasy beauty salon. We also see the origins of some familiar elements, including the witch’s broom and Glinda’s name. As in the Baum book, the magical slippers are silver, not ruby.

One of the Munchkins asks a questions humans have been pondering since pondering began: Are people born wicked or do they become wicked, and if so, why? That is the theme of this version of the story.

Ariana Grande, appearing under the name on her birth certificate, Ariana Grande-Butera, plays Galinda (yes, that’s her name), a pampered princess who arrives at Oz’s most prestigious institute of higher learning, Shiz University. Think Hogwarts, because though the students are adults, it feels more like a boarding school. It is set in a fabulous compound that feels like a dream project (in both senses of the word) for brilliant production designer Nathan Crowley that is part Victorian, part Edmund Dulac fairy tale, with curves and curlicues everywhere inspired by Art Nouveau, and a sprinkle here and there of steampunk.

Also arriving are two sisters, Elphaba (Cynthia Erivo), with bright green skin, and her sister, Nessarose (played by Marissa Bode, who, like her character, does not have green skin and uses a wheelchair. Galinda is so confident she expects everyone to adore her and is so careless about mistakes that she often uses malapropisms that sort of sound like real words but are not. Elphaba is tentative and shy, but has internal strength of character and a sense of responsibility. She was the result of her late mother’s affair. The only father she has ever known, her mother’s husband, barely acknowledges her, except to order her to take care of Nessarose.

Madame Morrible (Michelle Yeoh) immediately recognizes that Elphaba is gifted with extraordinary magical powers and takes her on for special tutoring. She also decides that the two young women should share a room. At first they dislike and mostly ignore one another, and Galinda pranks Elphaba by giving her an ugly hat to wear to a party. But when the other students laugh at Elphaba, who responds defiantly by dancing by herself, Galinda experiences her first spark of genuine empathy. Instead of claiming to be kind, she shows real kindness by joining Elphaba on the dance floor, and her unquestioned role as the arbiter of status soon has the rest of the crowd joining them in the dance.

Also at the party are Nessarose with Boq (Ethan Slater), who has a crush on Galinda but invited Nessarose because Galinda told him to, and the extremely handsome and charming Prince Fiyero (“Bridgerton’s” Jonathan Bailey). He was a late arrival at Shiz, after being kick out of other schools. At first he seems to be a perfect match for Galinda (she certainly thinks so). They are both gorgeous but superficial and incurious. Then, in the movie’s most significant scene, Fiyero is the only one who helps Elphaba rescue a caged lion cub, and she is the only one who realizes that his constant pursuit of pleasure is not making him happy.

Jonathan Bailey as Flyero Copyright 2024 Universal

Director Jon M. Chu (“Crazy Rich Asians,”) brings a lot of energy to the movie. Though he does not have the luxury of his “Step Up” and “In the Heights” acting leads’ extensive dance training and skill, the musical numbers, especially the big dance numbers, are creatively and dynamically staged. I especially liked “One Short Day,” as Glinda (she’s changed her name by then) and Elphaba first arrive in the Emerald City. Keep an eye out for the original Broadway Glinda and Elphaba, Kristen Chenoweth and Idina Menzel, in a stage show about Oz history, or rather the Wizard’s preferred version of it.

Bailey has a sinuous charm that conveys Fiyero’s charisma but hints at his feeling lost and struggling with aimlessness beneath the surface. Goldblum’s quirky energy is just right as the Wizard who began as a carny from the midwest. Erivo is the heart of the film, always magnetic and compelling as Elphaba. The bright green makeup does not mask the extraordinary expressiveness of her face, always thoughtful, present, authentic, and grounded, despite the distracting details of the ultra-fantasy world around her. And like Grande, she has a once-to-a generation voice.

The splendor and imagination of the setting and costumes and even the huge musical numbers surround and mostly support real and meaningful questions about bad people doing good things, good people doing bad things, and everyone struggling to find a place somewhere on the continuum between being good and being wicked. Galinda (we learn how she became Glinda) is considered good because she is pretty and smiles a lot. But she is arrogant and selfish. Elphaba is considered if not bad at least weird because she does not smile or conform (note that neither wears the school uniform) but she is devoted to her sister. She is looking for the love she has never received but has no interest in changing anything about herself to try to get it. She knows that would not be real. Other characters surprise us by not being what we expect on the good/wicked scale.

This is a sumptuous and unsubtle treat grounded in Erivo’s graceful and subtle performance. When she defies gravity, she lifts us with her, and we lean forward to the next chapter.

Parents should know that like the MGM movie version, this story features fantasy action and peril with some scary and disturbing images, along with issues of bigotry and cruel treatment. A child is the result of an affair, causing grief and shame.

Family discussion: Why did Elphaba tell Flyero he was not happy? Why did the Wizard want to cage the animals? Are these characters good or wicked or both: Elphaba, Galinda, Madame Morrible? Are any of the characters like someone you know?

If you like this, try: the original Wizard of Oz book and its sequels (great for reading aloud) and the many other versions of the story

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Red One

Red One

Posted on November 14, 2024 at 12:29 pm

B-
Lowest Recommended Age: Middle School
MPAA Rating: Rated PG-13 for ction, some violence, and language
Profanity: Some strong and crude language
Alcohol/ Drugs: Alcohol
Violence/ Scariness: Extended action-style peril and violence, scary monsters
Diversity Issues: None
Date Released to Theaters: November 15, 2024
Copyright MGM/Amazon 2024

The “Jumanji” team has not managed to match the same mixture of fantasy and heart, but Christmas spirit boosts their latest production to the level of solid family entertainment. Director Jake Kasden and star Dwayne Johnson have managed to turn the saga of the North Pole’s most beloved character into an action film, with Santa (code name: Red One) kidnapped on Christmas Eve. Who can save him? The Rock, of course, with some help from Captain America’s Chris Evans and Charlie’s Angel Lucy Liu.

Oscar-winner J.K. Simmons is in the title role, not fat, not jolly, but kind, wise, generous (emotionally, not to mention all those gifts). He truly loves all children, and as for adults, even the least lovable are dear to him because he sees the child they once were.

Johnson plays Callum Drift (was that intended to be a parody of an action hero name?), head of security and Santa’s most trusted colleague. But Drift insists this will be his last Christmas sleigh ride. After literally hundreds of years in the job, he has become cynical, not about the children but about the adults, who seem increasingly selfish and corrupt. For the first time, the naughty list is longer than the nice list, and he’s lost that Christmas spirit.

This is one of the film’s worst decisions. Johnson is an endlessly charismatic and charming screen presence, but here he is playing a character who is depressed and grim. It’s like he turned down the pilot light of his personality, and not in a fun way. And did he steal toys from the toy store? We don’t see him paying for them as he goes out through the supply room.

When Santa is kidnapped, Callum is on the job, reporting to Zoe (Liu), who oversees all magical characters. She assigns him to work with a Level 4 on the Naughty List named Jack (Evans), a Dark Web specialist and hacker with a gambling problem. He provided the geographic coordinates to the kidnapper without knowing what they would be used for.

Poor decision number two is the choice of bad guy. No spoilers, but both the casting and the reason for the kidnapping are not as compelling as they should be. And Liu has an underwritten part that is mostly striding purposively and monotone orders. That does not matter much because we are there for the action, and there is plenty, especially if you see the movie in a theater equipped with an immersive 4KD experience, so your seat will rumble in the car scenes and shake when the characters are in Santa’s sleigh. And I mean SHAKE. Plus some spritzing in your face. At a couple of points I thought the guy behind me was kicking my seat, but it was the 4KD.

Here’s a good decision: Chris Evans. He understands the assignment. He is playing Jack, a guy who literally steals candy from a baby — while he is orchestrating a sophisticated hacking job that involves setting a fire as a distraction so he can grab an employee ID. He is a terrible father to his son, Dylan (Wesley Kimmel), both neglecting him and encouraging him to take revenge on a friend and follow his dad’s example into a life of crime. Sounds like someone needs to learn the true meaning of Christmas! Evans handles the action scenes and is a master of the rhythms of comedy. He draws our eyes his way in every scene.

The fight scenes and special effects hit the sweet spot between fun and scary. There are attacking snowmen and a visit to Krampus (Kristofer Hivju), who used to punish naughty children on Christmas as Santa was leaving gifts for the good ones, according to German legend. Nick Kroll plays the intermediary who connected the villain to Jack and is now hanging out on a tropical island.

It wants us to feel the warmth of the season, but it takes it for granted that Christmas is universally celebrated and that it is mostly about the presents. Some of the jokes are pretty lightweight (Cullum asks Jack, “Do I look human?” and there are two jokes about Jack’s wanting a life-size Wonder Woman action figure and two about essential oils). Some are outright groaners (don’t bother to pay attention to what ELF stands for or notice the license plate on the snowmen’s van). There is a nice lesson about how every choice is an opportunity to decide who you are and which list will have your name on it. With a few better choices, this could have been a holiday classic.

Parents should know that this film has extended peril and action with some scary monsters. Characters use strong and crude language and drink alcohol.

Family discussion: Can you remember a decision that helped you decide who you are? Why was Jack a bad father?

If you like this, try: “Jumanji: Welcome to the Jungle”

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The Wild Robot

The Wild Robot

Posted on September 25, 2024 at 5:31 pm

B +
Lowest Recommended Age: Kindergarten - 3rd Grade
MPAA Rating: Rated PG for thematic elements, action, and peril
Profanity: Some schoolyard language
Alcohol/ Drugs: None
Violence/ Scariness: Sci-ff/cartoon style violence, shooting, off-screen deaths including death of a parent and a mentor
Diversity Issues: A theme of the movie
Date Released to Theaters: September 26, 2024
Copyright 2024 Dreamworks

A plane delivering high-tech equipment flies into a storm and a crate falls out, landing on an island inhabited only by animals. Inside the crate is a super-intelligent, ultra-capable robot programmed to complete any task a human might require. The contrast between the natural world of the plants and animals and the metal and programming of the robot is the premise for this story, based on the book series by Peter Brown, told with humor and heart by specialist in “opposites attract” stories director Chris Sanders (“How to Train Your Dragon,” “Lilo & Stitch.”

On one side, fur, feathers, and scales. On the other side, metal and code. The robot, identified by the corporation that created it, is called ROZZUM unit 7134, is a kind of souped-up Swiss Army knife. One of the movie’s greatest pleasures is the way its infinitely adaptable parts and appendages are deployed. Nothing in the robot’s programming has prepared it for the island. But it is capable of learning and adjusting to its environment, so after failure to get a satisfying answer to questions like, “Are you my client?” and “Do you need assistance?” she (we will use that pronoun because the robot has the sweet voice of Oscar-winner Lupita Nyong’o, takes the local next step. She sits down and observes her new environment to learn how to communicate with her fellow inhabitants, which enables us to hear what they have to say, thanks to the brilliant voice work of Pedro Pascal as a fox named Fink, Bill Nighy as a goose named Longneck, Ving Rhames as a falcon named Thunderbolt, Mark Hamill as a bear named Thorn, and Catherine O’Hara, hilarious as always, as Pinktail, a mother opossum covered with her babies.

Roz (as she will ultimately be called) could hardly be more poorly fashioned for this environment. It is funny to see her expect the animals to feel rewarded when she follows her programing by giving them stickers, promotional material for the company that made her, followed by a burst of confetti, even more out of place in the lush natural world than she does. The animals at first consider her a monster.

The early scenes about their unfitness for each other leads organically to interest, understanding, respect, and ultimately a very heartwarming sense of family. A turning point is Roz’s rescue of an orphaned goose egg, left alone after an accident and stolen by Fink for a meal. Roz does not understand what it means to care for the egg, and then, when it hatches and the little gosling imprints on Roz as its mother, she has a task at last: to teach the bird to eat, swim, and fly, so that it can be ready to migrate before it gets too cold. “I do not have the programming to be a mother,” Roz says. “No one does,” Pinktail correctly observes.

Roz develops what can only be described as feelings for the little goose, named Brightbill (Kit Connor). She loses some components and breaks down a bit, from pristine and shiny to scuffed and mossy, with a prosthetic calf made from a log.Is she mirroring what she sees around her? Is she creating the programming necessary to give a child a sense of security and the knowledge he is special to someone? Or is there some way for a machine to develop a soul? Or is it just a reflection of all of the damage to her mechanics? Possibly all of the above. But it is a smaller reach than one might think from being programmed to be of service to placing meaning and purpose on that imperative.

A lot more happens, including some parent-child estrangement (adolescents!) and a lot for Brightbill to learn from his fellow geese, as well as Fink becoming less “fox-y” and all of the animals learning to help each other. The action scenes are dynamic and involving but it is the gentleness of the lessons the characters learn about kindness that will make this film an endearing family favorite.

Parents should know that there is some sci-fi-style shooting. A character is killed off-screen sacrificing himself to save others and a character’s family is discreetly killed in an accident. Another character appears to have been eaten but is not. Characters use some schoolyard language.

Family discussion: What was the most important thing Roz learned and how did she learn it? If you had a Roz, what would you ask her to do? Do you think we will have machines like that?

If you like this, try: the books, and “The Iron Giant” and “Wall-E

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