Magic Mike’s Last Dance

Magic Mike’s Last Dance

Posted on February 10, 2023 at 10:03 am

B
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for sexual material and language
Profanity: Strong language
Alcohol/ Drugs: Alcohol
Violence/ Scariness: None
Diversity Issues: None
Date Released to Theaters: February 10, 2023
Date Released to DVD: April 24, 2023

Copyright 2023 Warner Brothers
Like the first “Magic Mike” movie, inspired by star Channing Tatum’s experiences as a male stripper (his term), this third in the trilogy begins with his character in financial straits. Mike’s dream in the original was to have a furniture store. With the help of his fellow stripper friends, he achieved that dream. But, we’re told by a narrator who will not be identified until later, the pandemic and economic setbacks have forced him to close down and he is working as a catering bartender. The narrator also provides some history and science about the importance of dance.

But after that, it’s basically a “Step Up”-style fairy tale (the ones after Tatum’s break-through in the grittier, more grounded original). That is probably a more appropriate response to the pandemic and the economic setbacks. None of it makes any sense, but there’s a 15-minute dance number at the end, and guys with their shirts off making a lot of ladies very happy, and there’s nothing wrong with that.

At a fancy fund-raiser, a guest recognizes Mike. “Weren’t you a cop?” she asks, and they both smile remembering that ten years before, he danced at her bachelorette party. She mentions his entertaining “silly dance” to the gala’s host, the about-to-be-divorced and fabulously wealthy Maxandra Medoza (Salma Hayek Pinault), who asks him to stay after the party and give her a dance. “Why are you moving my flowers?” she asks as he moves things around and tests the furniture for its capacity to support what he has in mind. He tests her as well; this movie is very clear about consent, about how important it is and also how erotic.

That “unexpected magical moment” inspires her to bring him to London, where she cancels the successful but old-fashioned play in her theater and tells Mike he is now choreographer of a new strip show. As befits a Cinderella story where she plays both fairy godmother and romantic interest, there is a makeover moment at Liberty of London, arriving in a pumpkin coach, I mean a Rolls. Thankfully, when she brings him to meet her friends, there is no silliness about his not knowing which fork to use or recognize their cultural references. This is not that kind of fairy tale. This is about a realizing a bigger dream than he ever dared to imagine. And that’s a pretty magical moment to enjoy.

Fans of the previous films will enjoy Mike’s Zoom call with some of most beloved characters and a throwback to Mike’s signature song, “Pony.” But you do not need any familiarity with the story to, like the female characters in the film, just sit back and enjoy the show.

Parents should know that this movie is about male strippers and there is a lot of suggestive dancing and some strong language, sexual references and non-explicit situations.

Family discussion: Why was having someone believe in him so important to Mike? What decision would you have made if you were Max?

If you like this, try: the other “Magic Mike” movies and “Mrs. Henderson Presents,” with Dame Judi Dench, based on the true story of a nude show in London.

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Seriously Red

Seriously Red

Posted on February 9, 2023 at 5:10 pm

B-
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for sexual content, nudity and some language
Profanity: Strong language
Alcohol/ Drugs: Drinking and drunkenness
Violence/ Scariness: Scenes of surgery
Diversity Issues: A theme of the movie

Copyright 2023 Dollhouse Pictures
“Seriously Red” was written by Krew Boylan to take the greatest possible advantage of the talents of its star…Krew Boylan, with an assist from the infinite talents of the iconic superstar Krew Boylan cosplays as throughout the film: Dolly Parton. Dolly famously said, as quoted in the film, “Find out who you are and be that on purpose.” In “Seriously Red,” Boylan takes a while to follow that advice, as the first part is about becoming a better Dolly and it is only near the end that she begins to think about what it means to be a better Red. Significantly, “Red” like her curly hair, is her character’s nickname, but as Dolly, she hides it under a big, pouffy blonde wig.

Red’s job is valuing houses for sale and we can see in the first scene that she is sympathetic to the homeowner and also that she can’t wait to get to what she really loves, dressing as Dolly for an office party. The only other person in costume, though, is the Elvis impersonator hired to emcee the event (Rose Byrne, a close friend of Boylan’s and a co-producer on the film). Red braves it out and clearly enjoys the reaction from the crowd. But the next day, it turns out that her ebullience went too far. She is fired for inappropriate behavior, including grabbing the crotches of some of the attendees.

And so, she begins to explore the possibility of making a living as a full-time Dolly Parton impersonator. Channeling Dolly gives her courage and soon she is a success, especially when she teams up with a man so deeply into his Kenny Rogers impersonation that he will not give out his real name. He is Kenny offstage as well as on (Daniel Webber). He is drawn to Dolly; all he sees is Dolly, not Red. And that is fine with Red…for a while.

Boylan has the creamy skin and bright blue eyes to shine in the Dolly moments. The musical numbers, presented with sweetness and sincerity, are a lot of fun. The real life scenes are not as lively or effectively staged, including a detour to get breast augmentation surgery and encounters with Red’s disapproving mother, old friend who is growing impatient, and the people she deals with as she becomes more successful. Bobby Cannavale (also a co-producer) is so good as an impresario of impersonators (and former Neil Diamond performer) we wish we could see more of him, and learn more about the cosplayers on stage and in the audience. Like Red herself, the movie is more confident and appealing when it’s all dressed up in spangles and a high blonde wig. Dolly knows that it’s what is inside that counts. Boylen has not yet learned that lesson.

Parents should know that his film has nudity and sexual references and situations, cosmetic surgery, and strong language.

Family discussion: If you were going to be a celebrity impersonator, who would you be? Why was it hard for Red to be happy being herself?

If you like this, try: “Dumpling” and “Outrageous” and Dolly Parton films like “Steel Magnolias” and “9 to 5”

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Drama Movies -- format Musical
13 the Musical

13 the Musical

Posted on August 12, 2022 at 12:01 am

B +
Lowest Recommended Age: Middle School
MPAA Rating: Rated PG for some thematic elements and rude humor
Profanity: Some schoolyard language
Alcohol/ Drugs: None
Violence/ Scariness: None
Diversity Issues: Diverse characters
Date Released to Theaters: August 12, 2022

Copyright 2022 Netflix
There’s lyric in a song in the lively and tuneful “13 the Musical” that the main character and his mother sing together that pretty much sums up the most stressful parts of life. And there’s nothing more stressful in life than middle school. The mother and son sing ruefully, “It would be funny if it didn’t suck.”

Evan Goldman (a terrific Eli Golden) is studying for his upcoming bar mitzvah, or, as he says, “the Super Bowl of Judaism.” Like many b’nai mitzvot, he is more focused on the party than the significance of being called to read from the Torah and being recognized as an adult. He believes the party will establish his status, either cool or not.

Evan’s parents have just split up, and he and his mother (Debra Messing) are leaving New York to move in with his grandmother (Rhea Perlman) in a very small town in Indiana. There is no synagogue; his New York rabbi (a warm, wise, and witty Josh Peck) will fly in to conduct the service in a church. Evan faces all the pressure of starting a new school in 8th grade multiplied by the pressure of figuring out who the cool kids are and how to make sure they come to his party. This leads him to make a lot of mistakes, hurting the feelings of the not-cool but loyal friends he abandons for the popular crowd, and then digging himself in deeper when he betrays the new friends, too.

In other words, it’s middle school. Actually, it’s middle school with terrific musical numbers. The 2012 Broadway show was entirely performed by kids, even the musicians. Ariana Grande was in the cast. This version smooths out some of the storyline, making it more family-friendly and a bit sweeter. Messing and Perlman are welcome additions, but the focus is still very much on the 8th graders and their efforts to begin to navigate relationships, friend and romantic. Given the heightened emotion of that age, this film is reassuringly low stakes. A couple wants to have a first kiss. A jealous third party wants to make sure it does not happen. Evan is in the middle because either way he will not be able to have the party he wants. Kids make some poor choices but they learn to do better, starting with an apology.

A lot of the film is the energetic, witty musical numbers from writer/composer Jason Robert Brown (“The Last Five Years”), energetically choreographed by Jamal Sims. Every one of the young performers is a triple threat, acting, singing, and dancing, with songs set at cheerleader practice and on the football field bleachers. The storyline lightly but sincerely and authentically addresses the real issues of adolescence but it is seeing real-life kids singing and dancing with such jubilant energy and showing the skill and hard work they have devoted to the performance that are the greatest reassurance that adolescence can be survived and triumphed over.

Parents should know that this movie includes a painful divorce and parent-child estrangement and discussion of kissing.

Family discussion: How does Evan help his friends solve their problems? Why was it hard for Brett to tell Lucy he did not like the way she was treating him? Why did Archie go along with Evan’s plan?

If you like this, try: “Hey, Hey, It’s Esther Blueburger,” “You Are So Not Invited to My Bat Mitzvah,” and “Better Nate Than Ever”

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Sing 2

Sing 2

Posted on December 22, 2021 at 11:00 am

B +
Lowest Recommended Age: Kindergarten - 3rd Grade
MPAA Rating: Rated PG for some rude material, mild peril/violence
Profanity: Some schoolyard language
Alcohol/ Drugs: None
Violence/ Scariness: Some peril and threats of violence
Diversity Issues: Some humor about a disabled character
Date Released to Theaters: December 22, 2021
Date Released to DVD: March 28, 2022

Copyright 2021 Illumination
This sequel wisely jettisons the less interesting plot lines from the original, the backstories of the animals with dreams of singing before cheering audiences, in favor of what worked best the first time, the performances themselves. “Sing 2” is all about putting on a show, and it begins with a smashing version of Prince’s “Let’s go Crazy.” There’s a lot happening, but take a moment to notice the costumes worn by the performers. They were created by high fashion house Rodarte.

Koala impressario Buster Moon (Matthew McConaughey) has a bigger dream than ever. He wants to take his performers to the entertainment capital of the world, Redshore City, with its enormous and ultra-glamorous theater, the Crystal Tower. It is run by Mr. Crystal (Bobby Cannavale), a tough-talking wolf who only agrees to let them put on their show if they can promise to deliver the lion rock star-turned recluse Clay Calloway (Bono). Moon promises that he will, though he has no idea where Calloway is or how to persuade him to return to performing. There’s a bigger problem. He has the performers, including porcupine Ash (Scarlett Johansson), pig and mother of innumerable piglets Rosita (Reese Witherspoon), gorilla Johnny (Taron Egerton), and shy elephant Meena (Tori Kelly). But despite what they promised Mr. Crystal, they do not have a show, only a concept from Gunter (Nick Kroll) of a space opera titled “Out of this World.” They don’t have enough information to tell the crew what kind of sets to build except that it is set on four different planets and there is a spaceship.

All of which sets up various shenanigans as the little group tries to keep Mr. Crystal from finding out what is going on as they track down Clay Calloway and get the show ready. There are some additional complicating factors. Crystal’s spoiled daughter Porsha wants to be in the show even though her acting is terrible (she can sing, though; she is voiced by pop star Halsey), and her daddy thinks she should have whatever she wants. Johnny cannot learn the complicated moves from the choreographer. Meena’s new co-star is an arrogant Yak (Eric André), who intimidates her. The ice cream guy, though, has her bashful heart fluttering.

All of this is done with heart and humor that will delight young audiences while the parents will get a kick out of the eclectic mix of songs, from Grammy-winning favorites to esoteric Indies and even a little Prokofiev. The audition scene is like a lightning round of Name That Tune. Bono’s rumble makes a great vocal contribution as Clay, and the poignance of his grief gives the story greater heft. There’s even a new U2 song on the soundtrack to underscore in both senses of the word) the way that music can heal and connect. It adds to the ebullience of the film, and like all great music, inspires calls for an encore.

Parents should know that there is some cartoon-style peril and threats of violence and some mild humor about a character’s disability, in addition to some schoolyard language.

Family discussion: Which character is your favorite? What musical show would you like to create? What is Porsha good at?

If you like this, try: the first “Sing” and the Trolls movies.

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West Side Story (2021)

West Side Story (2021)

Posted on December 9, 2021 at 5:33 pm

A-
Lowest Recommended Age: Middle School
MPAA Rating: Rated PG-13 for some strong violence, strong language, thematic content, suggestive material and brief smoking
Profanity: Strong and racist language
Alcohol/ Drugs: Drinking, smoking, references to drugs
Violence/ Scariness: Gang violence, knives, gun, characters injured and killed
Diversity Issues: A theme of the movie
Date Released to Theaters: December 10, 2021
Date Released to DVD: March 21, 2022

Why remake a 60-year-old movie that won ten Oscars and is still beloved, even while admitting its shortcomings and its being quaintly out of date on some of the issues it raises? Because Steven Spielberg and screenwriter Tony Kushner have taken the best from the original and made the essence of the story even more powerful and meaningful. “West Side Story,” the original itself a remake of Shakespeare’s “Romeo and Juliet,” itself a reworking of an Italian story that had at least three different versions before Romeo compared Juliet to the sun and Juliet asked what there was in a name. The themes of love, loss, fear, and anger will always inspire our stories, and the incomparable music by Leonard Bernstein, with lyrics by then then-25-year-old Stephen Sondheim, are as thrilling as ever in this new version.

Maybe there will be another remake 60 years from now, but it is hard to imagine it being better than this one. Spielberg’s gift for visual story-telling, with brilliant cinematography from Janusz Kaminski, production design from Adam Stockhausen, and editing by Sarah Broshar and Michael Kahn match and enhance the muscular electricity of the Bernstein score. There are star-making performances from the entire cast, especially Ariana DeBose as Anita, Mike Faist as Riff, and Rachel Zegler as Maria. Rita Moreno, who won an Oscar for her performance as Anita 60 years ago, all but steals the movie as Valentina, a new role, replacing Doc, the owner of the convenience store. In this version, she is his widow, their own marriage a symbol of what Tony and Maria aspire to.

Copyright 20th Century 2021

Kushner’s changes are subtle and judicious, making the story deeper and more urgent. The opening shots show us that the turf battle has already been lost. The wrecking ball is knocking everything down. The only home the Jets have ever known is being torn down “for slum clearance” to make way for a gentrification project that will include a high-end high-rise and the high-culture Lincoln Center for performing arts. When Anita sings in “America” about some day living in an apartment with a terrace, she is standing near a sign showing the glamorous building that will replace the town-down tenements.

The setting looks like a bombed-out war zone. This makes the the emotion more vivid and the stakes more concrete (in both senses of the word). When “West Side Story” was first written, juvenile delinquents were listed by a majority of Americans as one of their most important concerns, next to atomic weapons. In order to make the concerns of the gangs as visceral today, Kushner shows us why Riff and the Jets feel that everything is being taken from them. The detective tells them that all the white people in the community who were smart enough to get out are gone. They are, he says, “the last of the can’t make it out Caucasians.”

Everything that gave them a sense of power, belonging, and control (“little boy, you’re a man, little man, you’re a king”) is being reduced to rubble and replaced with spaces that would be alien to them even if they could afford them. There is dust everywhere, and everything is washed out, knocked down, and covered with grit. The Jets cannot fight City Hall. All they have left is their fury and what they use to assuage it — the feeling of brotherhood. They sing of the Jets as a family (“you’ve got brothers around; you’re a family man”) while Tony says he envies the Puerto Ricans’ strong, committed biological families. There is no one to take it out on but the newcomers who are even lower on the social hierarchy than they are, the Puerto Ricans. Riff says, “I wake up to everything I knew being sold or wrecked or being taken away by someone I don’t like.”

Their gang, the Sharks, is fueled by resentment at being treated like second-class Americans in their own country. And they, too, are worried about losing their sense of family. They want the opportunities available to white, native English-speaking Americans but they want to remain intact, insular, restricting their associations to those they can trust. Their internal conflict is shown in “America,” where the girls sing of what they can do and buy and the boys jeer at them for ignoring the bigotry they will face — while not being willing to go back to Puerto Rico.

Some changes reflect our more sensitive understanding of the very issues the original depicted. In this version, the Latinx characters are played by Latinx performers of different skin tones and no one wears brownface make-up. All of the performers do their own singing. In addition, the Spanish dialogue is not subtitled. Some gender/sexuality insults remain in the script but the character once derisively called “Anybody’s,” who we might now call non-binary, is portrayed with more depth. The dance numbers are less balletic, more a reflection of the energy of emotions the characters are feeling.

Kushner’s changes to the script are sometimes subtle but every one adds to the emotion and revelation of character. In this version, Tony has even more reason to be reconsidering his commitment to the Jets, and he has an example in Valentina, his employer and friend, of what is possible. The “Cool” song has much more of an impact here, sung by Tony to Riff when he discovers that Riff has bought a gun. “I Feel Pretty,” instead of a bridal shop, is sung in a department store, where Maria is an after-hours cleaner. The dance through the aspirational scenes of mannequins “enjoying” middle class life parallels the reference to the apartment with a terrace. And Tony takes Maria to see The Cloisters, a beautiful cathedral-like setting for “One Hand, One Heart” that evokes the timelessness of Romeo and Juliet.

This story is very much of its time but its themes, too, are timeless, and with this new version we can experience it with the deeper understanding of its themes, a new generation of performers making it as new to us as it is to them, and one nod to the past with Moreno reminding us that like the late Bernstein and Sondheim, brilliance is always forever renewing itself.

Parents should know that this movie includes strong language with some racist terms, sexual references and a non-explicit situation, drinking, smoking, references to drugs, and gang violence, with knives and a gun. Characters are injured and killed.

Family discussion: If the story took place today, who would be in the gangs and how would it be different? What do we learn from the “Office Krupke” song? Why do Riff and Tony see things differently? What advice would you give to Tony and Maria?

If you like this, try: the original 1961 film, “In the Heights,” the wonderful documentary about Rita Moreno, and “Romeo and Juliet”

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