The Flash

Posted on June 15, 2023 at 5:16 pm

B +

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for sequences of violence and action, some strong language and partial nudity
Profanity:	Some strong language, several s-words, one f-word
Alcohol/ Drugs:	None
Violence/ Scariness:	Extended comic-book action peril and violence, injuries and sad deaths
Diversity Issues:	None
Date Released to Theaters:	June 15, 2023

“The Flash” is centered in the sweet spot between action, comedy, and heart because is is grounded in a deep affection for the source material but is not afraid to play with some of its absurdities. I’m going to tread very carefully to avoid spoilers (and alert you to what I hope will be just two of the jokes in this review), but if you want to go into the film knowing nothing, including what is in the trailer, come back and read this after you’ve seen it.

Ezra Miller shows no signs of the instability that has led to troubling behavior and disturbing headlines in his excellent performance as not one but two Barry Allens. The storyline allows for something of an origin story without the too-often superhero film mistake of making it all about the adjustment to the use and purpose of superpowers and attendant vulnerabilities. We first see Barry Allen (Flash’s secret identity) trying to get a high-protein sandwich at a cafe counter. He is, unsurprisingly, in a hurry because first, he is running late, and two, as a result of the energy he burns in his super-fastness requires a lot of food for fuel. It’s not quite like Popeye and spinach, but it’s not not like it, either.

Barry is awkward and shy. He works as a forensic scientist, looking at evidence from crime scenes. And he is hoping to exonerate his father, Henry (Ron Livingston), who is in prison for murdering his wife, Barry’s mother, when Barry was a child. Barry knows his father is innocent, and is hoping that his friend Bruce (Batman) Wayne (Ben Affleck) can help him with a crucial piece of evidence, security camera footage from a grocery store that would substantiate Henry’s alibi. But the enhanced clarity of the tape, shot from above, does not show Henry’s face, only his baseball cap. Barry, devastated, goes for such an intensive run that he passes the speed of light and goes back in time. If he can do that, he reasons, maybe he can go back further and prevent his mother’s murder. Bruce Wayne warns him it is a big mistake. Butterfly effect, etc. He, of course, knows very well what it is like to have your entire live defined by a devastating childhood loss.

Barry cannot resist. And that is when things start to scramble. First, one very small choice somehow had a lot of major repercussions, some strangely random. Somehow, instead of Michael J. Fox coming in to replace him, the original star of “Back to the Future,” Eric Stoltz, stayed in the role. The people he knows from his timeline are either not there or very different. And second, Barry misjudged and instead of returning to the present, he finds himself 10 years ago, which means, yes, that his teen-age self is there, too. The interaction between the two Barrys (both played by Miller), one formed by the murder of his mother and wrongful conviction of his father and one who grew up in a home with intact, loving parents, is at the heart of the film. In fact, the villain (Michael Shannon as Kryptonian bad guy General Zod) is almost an afterthought in this film, relying on our remembering him and his whole deal from previous encounters.

Instead, the movie is more about Barry, both Barrys, their interaction and their growing understanding of their situation and, if it can be put this way, each other. From a small, witty hiccup in the presentation of the movie’s title to the throwaway lines about other anomalies in the pile of spaghetti that is what happens when you splinter linear time, to some funny cameos (Wonder Woman’s lasso of truth provides one of the film’s best moments), the film is more interested in concept and character than mayhem.

That’s a good thing as the mayhem is more serviceable than memorable. This is a movie that is more about the people than the powers, and that is a superpower worth having.

Parents should know that this film includes brief non-sexual male nudity (bare tush), some strong language (s-words and one f-word), and extended comic book-style peril and action violence, with injuries and some sad deaths.

Family discussion: What one small decision have you made that had a surprisingly big impact on your life? If you could go back in time ten years, what advice would you give yourself?

If you like this, try; Other time-warp movies like “Back to the Future” with Michael J. Fox and “Frequency” as well as other DC Comics movies

The Little Mermaid

Posted on May 23, 2023 at 2:38 pm

B +

Lowest Recommended Age:	4th - 6th Grade
Profanity:	None
Alcohol/ Drugs:	None
Violence/ Scariness:	Scary monster, characters in peril, tense situations
Diversity Issues:	A metaphorical theme of the movie
Date Released to Theaters:	May 26, 2023

Disney’s live-action remake of the classic animated film that was a turning point marking the revitalization of Disney’s legendary animation division invites us to once again, be part of the world of mermaid Ariel (pop duet singer Halle Bailey) and Prince Eric (Jonah Hauer-King). As in the original film, the couple at the center are both a bit bland, and therefore perhaps the better question is whether we want to be part of the world of sea witch Ursula (Melissa McCarthy) and Ariel’s sidekicks, Scuttle (Awkwafina), Flounder (Jacob Trembley), and Sebastian (Daveed Diggs), the classic songs with some additions from “Hamilton’s” Lin-Manuel Miranda, and the visuals from cinematographer Dion Beebe, working with his “Chicago” collaborator, director Rob Marshall. The easy answer to that question is yes.

Again, it is a romanticized, happily-ever-after version of the fairy tale by Hans Christian Andersen, the one so central to the Danish identity that it inspired the iconic statue in Copenhagen. In both of the Disney versions, Ariel is a rebellious teenager, the daughter of King Triton (Javier Bardem), who tells her than humans are evil and orders her to stay under water.

Eric, the adopted son of the widowed queen (a wonderfully regal Noma Dumezweni) is also ordered to stay away from the “other” world. Even before they meet, we see that he and Ariel have an adventurous spirit and core values of optimism, inclusion, and progressive views about the need to adapt to change in common.

Eric is my favorite Disney prince because, especially in the animated version, he is a little more off-beat than the usual stalwart, swashbuckling heroes. In his first scene, at sea, he shows us that he is not a snob and that he not only brings his dog on board, he risks his life to run through fire to save him. And then Ariel, who has been watching, saves both dog and prince from drowning. After a glimpse at the rescue, Ariel and Eric long to be together again, and that is when Ariel makes her fateful bargain with the sea witch.

Parts of this movie are truly enchanting, especially the underwater scenes. The opening moments on Prince Eric’s ship are thrillingly filmed and the “Under the Sea” number is a glorious Busby Berkeley underwater fantasia. A new number for Awkwafina from Lin-Manuel Miranda is a total banger. Some of the gentle updates to give Ariel more agency and the cast more diverse work well, and Colleen Atwood’s costumes are gorgeous. Other parts do not work as well. The ending is clumsy and drags on too long. The movie would be better with a 15 or 20 minutes shorter run time. But its best moments make us want to be part of Ariel’s world.

Parents should know that this film has some peril and scary moments including a fire on a sinking ship and a monstrous character.

Family discussion: Why do the Queen and King Triton fear going outside of their own communities? What will Eric and Ariel find? Which song is your favorite?

If you like this, try: the animated version, and the music of Chloe x Halle (note: some has mature language)

Guardians of the Galaxy: Vol 3

Posted on May 3, 2023 at 11:56 am

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for intense sequences of sci-fi violence and action, and for some language.
Profanity:	Strong language
Alcohol/ Drugs:	Alcohol, drunkenness
Violence/ Scariness:	Extended sci-fi/action/comic book-style peril and violence
Diversity Issues:	None
Date Released to Theaters:	May 5, 2023
Date Released to DVD:	July 31, 2023

I guess it makes sense. Not the movie. Not even close. But the form = content notion that “Guardians of the Galaxy Vol. 3,” the third in the series, is, like its characters a mess but a lovable and entertaining mess. By now it feels like it’s our mess. So, even though I couldn’t help imagining what Honest Trailers and Pitch Meeting are going to have so say about the very convoluted to the point of you’ve-got-to-be-kidding last 40 minutes or so and it’s well over two hours run time, I enjoyed it.

We already know something about the history of some of the characters. Peter Quill/Star Lord (Chris Pratt) had an earth mother and an alien father and was taken from earth at age 8 by an intergalactic group of rogues and thieves called The Ravagers. Gamora (Zoe Saldana) and Nebula (Karen Gillan) were stolen from their families when their planets were annihilated by Thanos and then tortured and mutilated to turn them into assassins. But we don’t know much about Rocket (Bradley Cooper) and the tree-guy voiced by Vin Diesel.

In this chapter, we go back to Rocket’s origin story. Like Thanos’ adopted daughters and Wolverine and I’m sure lots of other fictional characters, he was operated on by a megalomaniacal villain trying to “perfect” the world. He is The High Evolutionary, played by Chukwudi Iwuji. He has already created worlds and destroyed them for not living up to his exacting standards of perfection. One of his worlds we saw briefly in the last GothG movie, with Elizabeth Debicki as Ayesha, leader of a world of spectacularly beautiful golden-hued creatures. In this film, he threatens to destroy that world unless Ayesha’s son, Warlock (Will Poulter), brings him Rocket. While the High Evolutionary is obsessed with the “improvements” he inflicts, somehow Rocket has gifts of intellect that the High Evolutionary did not create for him and he wants to understand and either copy that or destroy it.

The High Evolutionary’s experiments on Rocket and other animals were mechanical, replacing body parts with metal, so that they look Like the mutilated toys in Syd’s room in the first “Toy Story.” But it is in the adjoining cages that he finds his first family, led by the warm-hearted otter named Lylla. Rocket, using that exceptional capacity for engineering we have observed in the earlier films, manages to escape (including piloting a ship even though he has never even seen one before, much less been exposed to outer space or really anything outside of his prison).

This time, then, the Guardians are not saving the galaxy. At the beginning of the film they seem happily settled in Knowwhere with Cosmo the Soviet wonder dog, Mantis, the anntena-ed empath (Pom Klementieff), and former Ravager Kraglin (Sean Gunn). They have opened a bar. But the one doing all the drinking is Peter, who is still trying to drown his grief over the loss of Gamora. Nothing can get him to stop until Rocket is attacked. He is gravely injured and in order to save him the Guardians will need to retrieve a code to unlock a mechanism that prevents the necessary surgery and just 48 hours to do it. The Ravagers also get involved, and they now include a different version of Gamora brought back from the past who has no memory of her relationship with Peter.

There’s a hint of “Mission Impossible.” They’re even told that if they are caught, they will not be acknowledged as acting on behalf of the ruling body. And there’s a Zune vintage music player retrieved at the end of Vol 2 to follow the mix-tapes from the first two movies with some new songs for the soundtrack.

As noted, it does get messy. The group of misfit toys go off in different directions and it is hard to keep track of who is doing what where. A increasing problem with the Marvel movies is the way they keep using the stakes The High Evolutionary and Warlock have powers of near god-like magnitude. What can the Guardians do? It gets muddled. The High Evolutionary can do just about anything including creating and destroying worlds, but somehow cannot fight back from an attack with claws. There is a significant element to the story about the essential value of living beings who might not be considered “higher” life forms….until that is undermined later on. I said it was messy. As Peter said in the first one, “Something good, something bad? Bit of both.”

NOTE: Stay through the credits for two extra scenes

Parents should know that this film has extended peril and comic book/action-style violence with sometimes graphic and disturbing images. Characters are injured and killed. The film includes strong language, drinking and drunkenness.

Family discussion: Why is having a name so important? What does the name High Evolutionary mean and what does he think it means to be “perfect?” Why was the distinction about “higher forms” significant?

If you like this, try: the other “Guardians” movies

Renfield

Posted on April 13, 2023 at 8:05 pm

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated R for bloody violence, some gore, language throughout and some drug use
Profanity:	Very strong language
Alcohol/ Drugs:	Alcohol
Violence/ Scariness:	Extended fantasy peril and violence, vampires, some very grisly and disturbing images
Diversity Issues:	None
Date Released to Theaters:	April 13, 2023

If I told you to try to imagine a film from the creators of “Rick and Morty,” “The Walking Dead,” and “Robot Chicken” based on the IP (intellectual property) owned by the movie studio behind “Frankenstein,” “Dracula,” “The Mummy,” and “The Wolfman,” you would probably guess that it would be a a very gory but amusingly slanted take on a classic, filled with goofy contemporary references. And you’d be right.

No one every paid much attention to Renfield in the many previous versions of the Dracula story, but as the title informs us, here he is the main character. Renfield is the unfortunate soul who is stuck as Dracula’s “familiar,” somewhere between a sidekick and a servant. Dracula has endowed (or cursed) him with eternal life at a lesser level. While Dracula (Nicolas Cage, having a blast) feasts on human blood, fresh, pure blood from unsuspecting tourists, nuns, and busloads of cheerleaders preferred, giving him some superpowers of strength and flight, blood that can cure injuries, and the ability to transform into bats, Renfield (Nicholas Hoult) feasts on insects, giving him extremely good fighting skills. They both have some vulnerabilities as well. Dracula has his well-known problems with sunlight (it makes him burst into flames) and can be confined within a circle of protection. He also cannot enter unless invited in, giving rise to one of this film’s funniest sight gags.

What would happen if Renfield, utterly in thrall to his master, joined a support group for people in co-dependent relationships? That is where this movie starts, with the contrast between Renfield’s gothic persona (the faux archival footage putting Cage and Hoult into the settings of Universal’s classic Bela Lugosi film are a lot of fun) and the pastel colors, folding chairs, and perky affirmations. The leader of the group is the empathetic Mark (Brandon Scott Jones of “The Good Place” and “Ghosts”). And when others in the group describe the people in their lives as monsters, Renfield can identify. Dracula and Renfield always have to be on the move, with a cycle of Dracula’s being attacked by hunters, reduced in power, and needing to recuperate. Their latest home is in a dank (of course) abandoned building in New Orleans.

It occurs to him that he can change his life by helping others, starting with Mitch (Dave Davis), the toxic boyfriend of support group member Caitlin (Bess Rous). When Renfield goes to confront Mitch, though, he ends up in the middle of a shoot-out with the Wolf gang, the city’s most powerful crime family, led by ruthless Bellafrancesca Lobo (Shohreh Aghdashloo) and her hot-headed son Teddy (Ben Schwartz).

Rebecca (Awkwafina) is the honest cop who has been trying to bring down the Wolfs, but the rest of the police force is on the Wolf payroll. Rebecca’s sister is part of an FBI task force investigating the Wolfs, but they have not made much progress. This is personal for them; their father, also in the police force, was killed by the Wolfs. When she is attacked by the Wolfs, Renfield saves her life. She sees him as a hero and he begins to see himself that way. He wants to keep that feeling. And he likes Rebecca.

Dracula has other plans. He wants total world domination. “There is no more good and evil; only followers and food.” Mark tells Renfield the person co-dependent with a narcissist is the one with the real power in their relationship.

While the trailer suggests that this is a comedy with vampires it is more of a bloodbath with some funny moments. Cage has the role he was born for and he, I have to say it, forgive me, sinks his teeth into it all the way and then some. Hoult deftly conveys the slightly decayed English gentleman, suffused with longing and regret and hoping some inspirational posters will help. Awkwafina is, as always, delightful. It’s good to see Universal making use of its IP, I mean archive, in an innovative and affectionate way.

Parents should know that this movie is extremely gory with lots of carnage and many graphic and disturbing images and sounds. Characters use strong language. The includes drug dealing and drug use.

Family discussion: How do support groups help people who are in toxic relationships? What does Renfield’s apartment tell us about his feelings? How did Dracula get people agree to be his familiars?

If you like this, try: “What We Do in the Shadows,” the film and television series, and of course the many versions of the Dracula story starting with the Bela Lugosi 1931 version imitated in this film’s fake archival footage

Dungeons & Dragons: Honor Among Thieves

Posted on March 30, 2023 at 5:22 pm

B +

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for some language, fantasy action, and violence
Profanity:	Some strong language
Alcohol/ Drugs:	None
Violence/ Scariness:	Extended fantasy action and violence, characters injured and killed, sad death of a parent
Diversity Issues:	None
Date Released to Theaters:	March 31, 2023

Hey, if the game is as fun as this movie, get me some 20-sided dice. “Dungeons & Dragons: Honor Among Thieves” is an ebullient mix of fantasy, action, and comedy with a terrific cast, thrilling stunts and genuinely fantastic special effects.

We meet two of our heroes in prison (the dungeon part of the story). One is a talker and one is a fighter. The talker is Edgin (Chris Pine), a lute-player and a one-time spy for the good guys turned thief after his wife (Georgia Landers) was killed by the bad guys. He went on “one last” job to steal a magical tablet that could bring her back to life. But they were captured, and he had to leave his daughter Kira (Chloe Coleman) with the con man of the group, the con man Forge (Hugh Grant, all smarmy smiles, with teeth so white they almost glow).

The fighter is Holga (Michelle Rodriguez), “a fellow resident of rock bottom,” fearless and easily able to dispatch various threats, human and non, individual and horde of attackers. They escape from the prison. They find that Forge has somehow, with the aid of a powerful sorceress (Daisy Head as Sofina) become a ruler, living with Kira in a castle. And he will not let her go. Forge has told Kira that her father abandoned her and she believes it.

And so, as in all epic journeys and of course in the Dungeons and Dragons game, there is a quest involving many steps and some more characters with distinctive special abilities. Edgin wants to get Kira and retrieve that tablet, which is now secured by sorcery in a vault below Forge’s castle. And that requires some additional help. Simon (Justice Smith) is a sorcerer of limited abilities who was formerly part of the group led by Edgin. And he leads them to shape-shifter Doric (Sophia Lillis), an Elvin-looking creature who can transform into anything from an insect to a gigantic creature described as an owl-bear.

Directors and co-screenwriters John Francis Daley and Jonathan Goldstein deftly balance the action, emotion, and comedy. You think you’re in for some gruesome scares in a cemetery scene where corpses are dug up and re-animated, but it turns into one of the film’s funniest moments. And the most serious character, a classic handsome hero played by “Bridgerton’s” Regé-Jean Page deftly makes his serious and straightforward Arthurian honor and gallantry witty when seen through the eyes of the raffish band of thieves. Bradley Cooper shows up in a small role, funny and utterly charming. “Magic can’t fix everything,” a character warns more than once. But amovie with great characters, settings, special effects, excitement, heart, and humor can feel like magic and that’s good enough.

NOTE: Stay for a funny mid-credits extra scene.

Parents should know that this film has extensive fantasy-style peril and violence with many characters injured and killed, including a beloved wife and mother. Characters also use some strong language.

Family discussion: Which character would you most want with you on a quest and why? Try playing Dungeons and Dragons and create your own character.

If you like this, try: action comedies like “Guardians of the Galaxy” and the 1973 “Three Musketeers”