The Good Lie

Posted on October 2, 2014 at 5:55 pm

B+

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for thematic elements, some violence, brief strong language and drug use
Profanity:	Brief strong language and some mild language
Alcohol/ Drugs:	Drinking, drug use
Violence/ Scariness:	Very disturbing violence including mass killings, guns, machetes, many characters injured and killed, some graphic images
Diversity Issues:	A theme of the movie

“The Good Lie” wisely casts Reese Witherspoon and Corey Stoll, who are outstanding as always, as sympathetic employment agency representatives helping refugees from Sudan find work in Kansas. And then it even more wisely keeps those characters in the background to allow the heroes of the story to be the refugees themselves and the real-life survivors of genocide in Africa who play the roles. Thankfully, this is one movie that is not about white people being spiritually enriched by saving people of color. And it is not about white people being spiritually enriched by learning important lessons from people of color. It is about people who have survived unimaginable loss who find a way to live with honor, strong connections, and resilience. Reese Witherspoon may be in it to reassure us that it is not a spinach movie, but even without her undeniably appealing role, the film would succeed because it is true-hearted, warm, wise, inspiring, and funny.

When their village is wiped out by genocidal marauders in the Sudanese Civil War of 1983-2005. More than two million were slaughtered and more than 20,000 surviving children, mostly boys, walked for hundreds of miles, many more dying along the way. Those who lived made it to refugee camps that were barely able to take care of them, and where they stayed for a decade or more. A small percentage immigrated to the United States. This story focuses on four survivors, the gentle Manerre (Arnold Oceng), the faithful Jeremiah (Ger Duany), and the angry Paul (Emmanuel Jal), who were sent to Kansas, and their efforts to be reunited with Manerre’s sister Abital (Kuoth Wiel), who was separated from the only family she had ever known because no home in Kansas would take her in.

Witherspoon plays the harried employment agency aide assigned to help them find jobs and has no interest in any further involvement with their lives. Cory Stoll plays her boss, who lives on a small farm, with cattle who give the Africans their first familiar sight since arriving in the United States.

Screenwriter Margaret Nagle and director Philippe Falardeau (who showed great sensitivity to cross-cultural issues faced by immigrants in “Monsieur Lazhar”) deftly avoid the too-easy feel-good conventions like romantic happy endings and the too-easy laughs of cultural differences. When a well-meaning but not very well-informed greeter welcomes them with a lime green jello mold, the refugees’ bewilderment is a reflection on America’s warmhearted intentions but cultural myopia. The same with Witherspoon’s character — her failure to learn the most fundamental basics about the skills and knowledge of the people she is trying to place is based on ignorance and lack of empathy in part, but also in a kind of imperishable optimism about the ability of all people to adapt. There is never a suggestion of making fun of the Africans for being provincial, even when one of them asks tentatively if he needs to be looking out for lions. They are never reduced to being cute or cuddly. And while they have strong cultural and familial ties, each is given the respect and dignity of his own temperament and priorities.

In the refugee camp, one of the men wears a donated “Just do it” t-shirt. When he finds out he is going to America, he says, “We can finally find out what this means.” It is always going to be fun to see outsiders respond to elements of American life we take for granted, from escalators to airplane food, from shelves with twelve kinds of Cheerios to dumpsters full of edible goods. The Africans give us a fresh look at our own lives, but what matters here is the way they hold onto what is most precious to them, their heritage, each other, while pursuing the opportunities this great, if imperfect country offers them so imperfectly.

Parents should know that this film includes genocidal violence with guns and knives, entire villages wiped out, many characters killed including parents, some disturbing images, some strong language, drinking, drug use, sexual references and a non-explicit situation.

Family discussion: How did the responses of each of the refugees to living in the US differ and why? What could the Americans have done to be more helpful and understanding? Why was it important for them to name their grandfathers? Why was courtesy so important?

If you like this, try: the documentaries “The Devil Came on Horseback” and “God Grew Tired of Us” and read more about the Lost Boys both in Africa and in the United States.

Dolphin Tale 2

Posted on September 11, 2014 at 5:59 pm

The warmest, wisest, most pleasurable live-action family film of the year is “Dolphin Tale 2,” even better than the 2011 original. This really is that rare movie for the whole family.

The first film was inspired by the true story of Winter, a rescued dolphin who was able to thrive in Florida’s Clearwater Marine Aquarium after an innovative new prosthetic tail helped to protect her spine and allow her to swim. She has been an inspiration to millions of visitors in person and via webcam, especially to wounded veterans and other adults and children with disabilities. In the original, directed by Charles Martin Smith (Terry the Toad in “American Graffiti” and Farley Mowat in Never Cry Wolf, a sensitive loner named Sawyer (Nathan Gamble) bonds first with the wounded dolphin and then with the staff who care for the marine animals, especially aquarium head Clay (Harry Connick, Jr.) and his pretty daughter Hazel (Cozi Zuehlsdorff). Ashley Judd played Sawyer’s mother, Kris Kristofferson played Clay’s houseboat-dwelling dad, and Morgan Freeman played crusty Dr. McCarthy, who figures out how to make the prosthetic comfortable and stable.

Everyone returns for this follow-up, and this time Charles Martin Smith does triple duty as writer, director, and actor, appearing as a strict but not unsympathetic USDA official responsible for making sure the facility meets federal standards in caring for the animals. He may refer to Winter at CMA1108, but he is trying to do what is best for her.

The kids have gone from middle school to high school. They are now experienced marine animal specialists, and spend most of their time at the aquarium, much of that in the water. We see how capable and knowledgeable they are when they assist in the rescue of an injured dolphin they name Mandy and a sea turtle ensnared in fishing line they dub Mavis. And we see how deeply they care for the animals when the veteran of their dolphin population, a 40-year-old deaf dolphin who is “paired” with Winter, dies suddenly. This is more than a sad loss. Dolphins are deeply social creatures. If Winter cannot or is not willing to be be paired with another dolphin, she will die. The USDA inspector says that if they cannot find a friend for Winter in 30 days, she will have to be moved.

Mandy’s arrival seems providential. But then the best thing happens, which is also the worst thing. They are able to restore Mandy to health. But that means that she can no longer remain in captivity, which is just for animals who can no longer take care of themselves. The motto of the facility is three words: rescue, rehabilitate, release. “You didn’t build this place to keep animals,” Clay’s father reminds him. “You built it to heal them and let them go.” The wrenching task of weighing those competing considerations is sensitively presented as a moral issue, an economic issue, and as a part of growing up that Hazel and Sawyer must understand. It is an issue of more complexity than we normally get to see in family films, and it is presented with exceptional insight. A scene where Hazel follows Sawyer’s mother’s advice to speak to Clay the way she would like to be spoken to is a small gem that got some appreciative laughs of recognition from the audience. Smith knows his audience, though, and expertly seasons the storyline with cute animals, especially Rufus the pelican, who is back for more comic relief. Even with Rufus, though, the slapstick moments are just part of the story. His protective concern for Mavis is genuinely touching.

A storyline about whether Sawyer will accept an opportunity to take a special semester at sea is less intriguing. But Gamble’s quietly sincere and thoughtful performance grounds the film, with Zuehlsdorff (who provides a sweet song over the closing credits) more ebullient, but never less than completely real and in the moment. The completely natural performances of the two leads perfectly matches the sun-drenched naturalism of the setting, utterly at home in the water, interacting with the dolphins, or struggling to grow up. When Dr. McCarthy sits down next to the conflicted Sawyer to hand him a family heirloom, Sawyer says knowingly, “I’m about to get a lesson here, aren’t I?” He is, and we are, too, but it is a good lesson and it goes down easy. So does the film, ambitious in scope but light in presentation. And it is no disrespect to the movie to say that the best part is the closing credits, where we see Wounded Warriors and other people with disabilities coming to visit Winter and Hope for inspiration and, somehow, a sense that they are being understood and cared for.

Parents should know that this film includes mild peril, some scenes of animal and human injuries and a sad animal death.

Family discussion: What was the lesson of the watch? What were the best reasons for releasing Mandy? For keeping her? Did they make the right decision?

If you like this, try: The original film — and watch Hope and Winter online

Walking With the Enemy

Posted on April 24, 2014 at 6:00 pm

Why do we keep making movies about the Holocaust?

Because we are still trying to understand one of the most shocking, inhumane tragedies in history. Because it is the essence of heightened, dramatic storylines, with the most depraved real-life villains, the bravest heroes, and the direst moral dilemmas, the most devastating sacrifices. Because we have to ask ourselves, “What would I do?”

And because there are still stories left to tell. “Walking With the Enemy” is inspired by the true story of Pinchas Tibor Rosenbaum, a Hungarian student who escaped from a labor camp to help the “Glass House” workers forging Swiss citizenship papers to get Jews out of the country. He impersonated an SS officer to rescue Jews they were about to execute.

This first movie from the brand new Liberty Studios and first-time director Mark Schmidt is a tense and exciting story of a part of the Holocaust not widely known. Because Hungary’s Regent (played by Sir Ben Kingsley) made an alliance with Germany, the Nazis did not interfere with the country or its Jewish citizens for the first years of World War II. “I aligned Hungary with what I thought was the lesser of two evils.”

But then, as Germany started to be hemmed in by the Allied forces, it took over Hungary and began to send Jews to labor camps and concentration camps. A heroic Swiss diplomat named Carl Lutz (played by William Hope) was given permission to issue 8000 passes to Hungarian Jews with family in Switzerland. He managed to get those passes to tens of thousands, who were able to escape the Nazis.

Handsome and likeable Jonas Armstrong (television’s “Robin Hood”) plays Elek Cohen, a character based on Rosenbaum. While his uncle worked with Lutz in the “Glass House” (called that because it had been a glass factory), helping to hide Jews, Elek wore a Nazi uniform to infiltrate Nazi offices and operations to free Jews about to be sent away or killed. Over and over, he takes terrible risks, knowing that even if he survives, he will fail more than he succeeds. “Why does it have to be you?” someone asks. “Because I have one thing left.”

The first-time director wisely worked with experienced filmmakers, especially cinematographer Dean Cundey (“Apollo 13,” “Jurassic Park”) and a capable cast of top British actors. The film is ably scripted, shot, and edited. The sound effects are exceptional; I don’t remember ever hearing gunshot sounds so sharp and directed. The story is very affecting. One oddly sterile note is that for a story about Jews, there is very little Jewish activity other than a blessing over a family dinner. Reminiscences of the Holocaust include many stories of Jews praying together and doing their best to observe rituals and worship, reciting the Shema as they were led to the gas chambers. Here, even those about to be shot by a firing squad do not say a prayer, an odd oversight in a story that is about those who were trying to preserve their right to maintain their religion and their community.

Parents should know that this is a WWII movie depicting events of the Holocaust. There are many scenes of wartime and anti-Semitic violence and many characters are injured and killed.

Family discussion: What was Elek’s toughest decision? Is it hard to help, knowing how much more cannot be fixed? What can we learn from Elek and Lutz? Who is most like them today?

If you like this, try: “Schindler’s List” and “Conspiracy”

Pompeii

Posted on February 20, 2014 at 6:00 pm

In 79 AD Mount Vesuvius erupted, wiping out the city of Pompeii. Director Paul W.S. Anderson, who gave us movie versions of “Resident Evil” and “Mortal Kombat,” presents the story as a video game. If what you are looking for is special effects and well-staged action, or even buff bodies, you’re all set. But those who are looking for history, meaningful drama, character development, or good dialog — well, they weren’t paying attention a moment ago when I mentioned the director of game console-to-movie theater movies and Paul W.S. Anderson. It is basically “The Legend of Hercules” with a volcano.

“Game of Thrones'” Kit Harington plays Milo, who as a child saw his entire community brutally slaughtered by the vicious and corrupt Roman soldier Corvus (an imperious Kiefer Sutherland). Milo escaped by hiding in a pile of dead bodies. He is later captured and sold into slavery, where his outstanding fighting skills bring him to the attention of a purveyor of gladiator battle-to-the-death entertainment. He travels to the big city of Pompeii to compete in the arena there. Along the way, he sees a beautiful young woman named Cassia (Emily Browning) and he impresses her by putting her injured horse out of its misery. Cassia is returning to her parents (Jared Harris and Carrie-Ann Moss) after a visit to Rome, where she attracted the attention of Corvus, now a high-ranking Senator. But Milo has attracted her attention. In an example of dialog that could have come out of a middle school slam book, a character says, “I never saw you look at any man the way you looked at that slave.”

Milo is set to fight the enormous and powerful Atticus (“Thor’s” Adewale Akinnuoye-Agbaje), who can earn not just his life but his freedom with one more win in the arena. They end up forming an alliance like that of Kirk Douglas and Woody Strode in the classic “Spartacus.” Meanwhile Corvus is attempting to extort Cassia’s hand in marriage from her father, who needs the support of Rome for his building project.

And all of this is about to be trumped by a nearby mountain and some seismic movement of the earth. There are huge sinkholes and then there is an ocean of burning lava and chokingly thick ash. Every element of the lives of the Pompeiians is turned upside down as all societal restrictions are removed and all anyone wants to do is stay alive. Well, you’d think that, but unfortunately the storylines that have already more than overstayed their welcome drag on, interfering with what we really want to see — the special effects — and jettisoning any possible remaining legitimacy of the plot.

Harington is very good as Milo and he and the excellent Akinnuoye-Agbaje make the fight scenes exciting and compelling. Sutherland has a nice sneer (I could not help remembering his bully in “Stand By Me.”) The special effects, especially in 3D, are impressive. But the movie is dragged down by its cheesy storyline.

This is not the first movie version of the story of Pompeii and it will not be the last. Pliny the Younger’s eyewitness description of what happened when the volcano erupted excerpted in the opening moments of the film, is still more vivid and powerful than any version yet put on screen.

You might hear the Shrieks of Women, the Cries of Children, the Noise of Men: Some called aloud for their Parents, some for their Husbands, and knew them only by their Voices; some bewailed their own Share in the Calamity; and others that of their Neighbours; some wished for Death from the Fear of Dying; many lifted up their Hands to Heaven; a Multitude disbelieved all the Gods, and looked upon the Time to be the last eternal Night, that has been prophesied. Some improved the real Dangers by feigned and imaginary Fears; others gave it out, that this House at Misenum was fallen, that was burnt; both falsely, but they met with Believers. A Glimpse of Light appeared, that did not show us the Return of Day, but the Approach of the Fire that threatened us: The Fire indeed, stood at a Distance; then the Darkness revived, and after that, a plentiful Shower of Ashes and Cinders: We rose up now and then and shook them off, otherwise we should have been covered and oppressed with the Weight of them. I could boast, that neither a Sigh, nor a complaining Expression dropped from me in the midst of these Alarms; but I was supported by this Consolation, not very Reasonable indeed, but natural enough, to think that all the World perished with me.

Parents should know that this film has extensive sword and sandal-era violence including the slaughter of a village, a child seeing his parents get killed, a horse put down, and many gladiator fighting scenes with many characters injured and killed. Also, natural disaster violence destroys an entire city with some disturbing images and there is a brief sexual situation (slaves as prostitutes) and reference to a brothel.

Family discussion: Why didn’t Milo want to say his name? What kind of culture finds gladiator fighting entertaining?

If you like this, try: read up on the real history of Pompeii and watch classics like “Gladiator,” “Ben Hur” and “Spartacus”

Trailer: Million Dollar Arm

Posted on January 4, 2014 at 8:00 am

A sports agent goes to India to recruit cricket players for major league baseball in “Million Dollar Arm,” starring Jon Hamm, Lake Bell, Aasif Mandvi, and Alan Arkin.