Next Goal Wins

Posted on November 9, 2023 at 5:44 pm

B +

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for some strong language and crude material
Profanity:	Some strong language
Alcohol/ Drugs:	Drinking and drunkenness
Violence/ Scariness:	Reference to very sad death of a child, comic vehicular injury
Diversity Issues:	A theme of the movie
Date Released to Theaters:	November 10, 2023

Two coaches are fired for dismal performance at the beginning of “Next Goal Wins,” the fact-based story of the worst professional soccer team in the world, based on the 2014 documentary of the same name. The team that not only never won a game but never scored a goal is on the tiny US territory of American Samoa. Still smarting after the worst defeat in the history of international soccer, 31-nil against Australia, Tavita (Oscar Knightley) reluctantly fires the team’s gentle coach, and announces he is bringing in someone from the outside world.

Meanwhile, in one of the funniest scenes of the year, Thomas Rongen (Michael Fassbender) is also being fired. To make it even more painful, the message is coming from the sport’s supervising panel, which includes his soon-to-be-ex-wife (Elisabeth Moss as Gail) and her new boyfriend (Will Arnett as Alex). They are not unsympathetic, but Tom’s performance and that of the team he coaches have deteriorated badly and they think he needs a chance of scene. There’s hardly a bigger change than a team in a tiny island on the other side of the world. Without any alternative, he goes, bringing a suitcase full of alcohol with him.

Taika Waititi, who co-wrote and directed the film and appears briefly as a minister, benefits from one of the most enduringly popular of all genres, the fact-based underdog team combined with the redemption arc for the coach story — think of “The Bad News Bears” or “A League of Our Own.” He is very aware of the minefield that is impossible to avoid in a story of people of color whose job in these stories is usually to be cute and a little bit simple and to be both enlightened by the more sophisticated, if troubled, white coach and to enlighten him as well with their folk wisdom. Waititi, who grew up in New Zealand with a white, Jewish mother and a Maori father, has a delicate touch, and calls out the issue explicitly a couple of times to let us know that these characters and this film may be whimsical, almost a fairy tale, but these are real people who are very aware of these tropes not just in stories, but in their lives. They even joke about not wanting Tom to be a white savior and about pretending to share mystical native wisdom to inspire him. There is gentle humor about the Samoans, but not at their expense. We do not get to know too many of the players, but Tavita and his wife Ruth, played by the wonderful Rachel House, have significant roles.

Waititi’s character almost winks at us as he introduces the film, telling us it is a true story “with a couple of embellishments.” But the parts you might guess are made up really did happen. One of the team’s star players was Jaiyah Saelua, a trans woman in our terms, but in Samoan culture a part of a third gender called fa’afafine that is not only accepted but cherished. In real life, Tom was supportive of Jaiyah without any hesitation, but the film adds some tension by giving Tom some trouble accepting Jaiyah (a heartfelt performance by non-binary actor Kaimana). And the basics of the story really happened, including the ignominious Australia game and how meaningful the experience was for Tom and the Team.

It is warm-hearted and endearing. It has the same appealingly modest tone that the team does; it just wants to have fun and score one goal.

Parents should know that this film includes some strong language, drinking, a very sad off-screen death, a vehicular injury played for comedy, and some discussion of being uncomfortable around non-binary and trans people (note, in real life, as you can see in the documentary, Rongen was unhesitating and unequivocal in his support for the trans player).

Family discussion: Have you ever had a coach who made a difference in your life? What would you do if you were asked to coach this team?

If you like this, try; “A League of Their Own,” “The Damned United,” and “Ted Lasso”

The Marvels

Posted on November 9, 2023 at 5:24 pm

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for action violence and brief language
Profanity:	Brief strong language
Alcohol/ Drugs:	None
Violence/ Scariness:	Extended comic book/action-style violence, references to genocide
Diversity Issues:	Diverse characters
Date Released to Theaters:	November 10, 2023

“The Marvels” is not your father’s superhero movie. If you don’t want to see superheroes cry or apologize, skip this one. If you’re looking for grand-scale, innovative action sequences with wow-inspiring special effects, maybe wait for “Dead Reckoning; Part 2.’ In other words, “The Marvels” is not what many ticket-buyers and comic book fans look for in an Avengers movie. But for those who are looking for something other than the usual CGI superpowers, it has some satisfying pleasures.

Captain Marvel (Brie Larson) can be a problematic character because even in the world of superheroes, she is the first among equals. She can pretty much do anything and has very little in the way of a kryptonite-style vulnerability. That is why she is the Marvel version of the Lone Ranger, used only sparingly in the Avengers movie, with the explanation that she is so powerful her highest and best use is somewhere out in the galaxy. There is such a thing sa being too super; it means the stakes are not dire enough to be interesting. So her vulnerabilities are one internal — some memory loss — and one external — she has made mistakes with tragic consequences. What made the first Captain Marvel movie its superpower was the realization that what she had been taught about who were the good and bad guys was not true.

As “The Marvels” begins, Captain Marvel/Carol Danvers is using a memory band to try to restore the blank spots. Meanwhile, Monica Rambeau (Teyhonah Harris of “Chi-Raq” and “They Cloned Tyrone”), the daughter of Carol’s best friend, has grown up and is an astronaut. She also has some superpowers involving electrical energy. Also meanwhile, Kamala Kahn (the adorable Iman Vellani from the Disney+ series) is a high school student with powers that are also elextricity-based, thanks to a cuff bracelet she was given by her grandmother. When she is not doing her homework, spending time with her close-knit Pakistani-American family, or saving the day, she creates fan-fiction about joining forces with her idol, Captain Marvel.Her comic strips are amusingly animated for us to enjoy.

and *also* meanwhile, we have Dar-Benn, played by Zawe Ashton. She has Kintsugi’d teeth and the indispensable quality of a supervillain, an imperious British accent (though very far from “Mr. Malcolm’s List”). Ashton is really underused here, stuck with a one-note villain role that has her more petulant than evil. Also, even by comic book standards, that is an unimpressive name. After what appears to be a long and arduous search, she has found one super-power-granting cuff bracelet, and now must locate the other one of the pair, the one currently on the wrist of a Pakistani-American teenager. Dar-Benn wants to use the power of the bracelets to save her people, and if that means wiping out another group of refugees, no problem, perhaps a side benefit.

Somehow, whatever tear Dar-Benn has made in the fabric of the universe or time or reality or all three leads to a very entertaining glitch. Captain Marvel, Monica, and Kamala discover that when they use their powers at the same time, they switch places. So Captain Marvel finds herself in a teenager’s suburban bedroom and Monica (who, like Captain Marvel, can fly) and Kamala (who cannot, though she can create presumed energy blocks that can help protect her from a fall) find themselves in Captain Marvel’s spaceship or outside of Nick Fury’s outpost.

Finally the three Marvels get together, with Goose, the cat-appearing Flerken, and go after those “surges in the jump point systems” that lead to Dar-Benn.

So, be aware: this movie is more about relationships than bam-pow-chase-explosion. There is crying and there are apologies and even some praying. There’s one scene that is so over-the-top it involves the word “princess” and singing. Goose gets into some Tribble-ific territory with a song from “Cats” on the soundtrack. I was into it; many people will not be.

NOTE: Watch the credits for one extra scene.

Parents should know that this film includes some strong language and extended comic book-style action and peril with characters injured and killed (or killed-ish). There is a situation where not everyone can be saved, and it is handled clumsily.

Family discussion: Should Carol have gone home as she promised? Why didn’t she? What do you think the legal issue was on the ocean planet?

If you like this, try: the other “Captain Marvel” movies, the “Ms. Marvel” series, and the comic books

Quiz Lady

Posted on November 2, 2023 at 5:26 pm

B +

Lowest Recommended Age:	Mature High Schooler
Profanity:	Very strong language
Alcohol/ Drugs:	Alcohol and drugs
Violence/ Scariness:	Comic peril and violence, some injuries
Diversity Issues:	None
Date Released to Theaters:	November 3, 2023

Sandra Oh and Awkwafina playing sisters in a comedy? Sign me up! They’re two of my favorites. There’s one wild sister with blue hair extensions, big earrings, and no impulse control and one shy, serious sister who dresses in drab monotone and watches her favorite game show with her 20-year-old dog every night? Sounds like fun! And Oh, the dramatic actress from “Killing Eve” is playing the wild one and Awkwafina, the comic who first came to public attention with a song about her private parts is the shy, serious one? Wait, what?

Yep. And it is clear that both of them had a blast making this outrageous comedy, which makes it all the more fun for us. Oh plays Jenny Yum, ten years older than her younger sister, Anne (Awkwafina), the responsible one who works in a CPA office, where she stays in her cubicle as her co-workers celebrate a birthday because no one thought to invite her and she would not join them even if they had.

Jenny and Anne had a chaotic childhood. Their single mother was off partying and gambling. Jenny responded by getting as far away as soon as possible. She has failed after half-hearted attempts at several careers but has developed some survival skills, small-time scams, asking her sister for money, and suing a restaurant for a fish bone found in her filet. Anne takes care of their mother, now in assisted living. She devotes herself to Linguine, the dog Jenny left behind, and to her favorite television show, a “Jeopardy”-like competition called “Can’t Stop the Quiz.” The kindly, bow-tied host, Terry McTeer (Will Ferrell) is a stable force in her life, almost a father figure. She finds his nightly sign-off, “Don’t go anywhere; I know I won’t,” reassuring.

Their mother runs away from assisted living, leaving behind an $80,000 gambling debt. The sisters are given two weeks to pay it back, with the loan shark holding Linguine as hostage. Jenny thinks the only way to get the money is for Anne to win it on “Can’t Stop the Quiz.” Anne, who cannot bear to have anyone look at her, is horrified by the idea of being on television. But she is desperate to get Linguine back.

All of this is just an excuse for extended farce as the sisters interact with a powerhouse cast of supporting actors, including Holland Taylor as a grumpy neighbor who loves Alan Cumming, Tony Hale as the owner of a Ben Franklin-themed inn, and Jason Schwartzman as the quiz show’s smarmy current champion, with ultra-white teeth veneers that practically glow in the dark. Plus there’s a display of hundreds of bow ties that is the background for a very sweet conversation. Wild physical comedy and surreal interactions are grounded by the way the sisters begin to resolve their differences. It is funny, it is outrageous, and it is surprisingly tender-hearted.

Parents should know that this film has mature material including drinking and drug use (an extended humorous drug trip sequence), comic peril and violence and very strong language.

Family discussion: Why did Jenny and Anne respond so differently to the way they grew up? If you were trying to play charades with a member of your family, what could you do that no one else would understand?

If you like this, try: “Lucky Grandma” and “Rat Race”

The Holdovers

Posted on November 2, 2023 at 5:25 pm

A-

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated R for language, some drug use and brief sexual material
Profanity:	Very strong language
Alcohol/ Drugs:	Drinking, smoking, marijuana
Violence/ Scariness:	Some peril, teen scuffles, references to wartime death, grief, and loss
Diversity Issues:	Economic and racial diversity a theme of the movie, mental illness
Date Released to Theaters:	November 3, 2023

Barton is one of those posh boarding schools weighted with the history of generations of highly privileged, casually arrogant, hormonally charged teenager boys. “The Holdovers” takes place there over the Christmas holidays of 1969-70. Barton has buildings with just the slightest touch of casusually arrogant shabbiness found only where there are multiple generations of wealth and status who understand it’s much snobbier not to rush to fix and replace everything. And of course the buildings are surrounded by snowy expanses.

The faculty members have the crucial pedigree of having gone to Barton. This, of course, inspires respect and courtesy from the students. No it doesn’t! The students barely respect their prestigious and wealthy parents, but even they rank higher than someone who is still at Barton, decades after graduation. Perhaps the faculty member held most in contempt is Paul Hunham (Paul Giamatti), who has three strikes against him. He looks and smells weird. He teaches a class on Ancient Greece, which the students find useless and monumentally boring. And he is incorruptible and brutally strict. Even his former student, now the school’s headmaster, is furious with him for refusing to give the son of a powerful and wealthy donor a better grade, costing him his college admission.

That is how Hunham gets stuck with staying at the school over winter break, overseeing the students whose parents cannot or will not let them come home. They’re called the holdovers. The students are miserable, especially when they learn that they all have to bunk together in the infirmary because the heat to the dorms has been shut off, and that Hunham has a rigorous schedule of study and exercise planned for them. Everyone else has gone home for the holidays except for Mary Lamb, the head chef, who will be cooking for them. She is in mourning for her son, recently killed in Vietnam. He was a Barton graduate who could not get a draft deferment like his classmates because they could not afford college tuition. And she is played by an exceptionally moving Da’Vine Joy Randolph, so good in “Dolomite Is My Name” and briefly glimpsed this month in “Rustin” as Mahaliah Jackson.

We’ve all heard about the best-laid plans going awry. And I’m sure we’ve all experienced that terrible plans tend to go awry, too. So before too long, the other holdovers have been whisked away, all that are left are Hunham, Mary, and one smart, rebellious, deeply grieving, and extremely angry student who would have been graduating if he had not been kicked out of three other schools. That is Angus Tully, played with exactly that mix of qualities by newcomer Dominic Sessa.

Director Alexander Payne likes to make movies about people who are extremely passionate about issues others do not take too seriously. In “Election,” it’s a high school election. Who can forget one of the great moments in movie history, when one student calls out the ones who care about it. And we all remember this film’s star, Paul Giamatti, getting way too passionate about his disdain for merlot. In “Nebraska,” a senior citizen is over-committed to the idea he has won a sweepstakes.

Here, the always-brilliant Giamatti gives one of the best performances of the year as a kind of tribute to the bitter boarding school classics teacher in “The Browning Version,” and something of a classics version of a Miniver Cheevy, the only way he can make any sense of his lonely, disappointed, unappreciated life is to wrap himself up in a notion of antiquity that is vastly more honorable or at least understandable than what he has. In his mind, every failed student his his “no, in thunder!” to the weak ambiguities and moral compromises and overall unfairness of the modern world. The students — and the other faculty — may be younger, more handsome, richer, more confident, more popular, and more privileged than he is, but Hunham can still feel superior about what he has decided matters more, like his fondness for the the Meditation of Marcus Aurelius.

Mary, Hunham, and Angus each in their own way stuck, have experiences, adventures, mistakes, confidences, and expanded understandings over the course of the holidays. Each scene is a small gem, the ensemble work is as good as it gets, the screenplay by David Hemingson is smart, funny, and touching, and the superb cinematography by Eigil Bryld captures the chilly landscape of the almost-deserted school and the warmth of some of the other locations. This is one of the best films of the year, with career best work by all involved.

Parents should know that this film has very strong language, some peril and injury, family conflicts, mental illness, loss and grief, drinking and drunkenness, smoking, and some drug use.

Family discussion: What should the teachers in charge of students left behind over the holidays do? What are the differences between the time period of the movie and today?

If you like this, try: “The Browning Version” and its remake — both good, but I prefer the original with Michael Redgrave

Killers of the Flower Moon

Posted on October 19, 2023 at 5:34 pm

A-

Lowest Recommended Age:	High School
MPAA Rating:	Rated R for violence, some grisly images, and language
Profanity:	Strong and racist language
Alcohol/ Drugs:	Drinking and drunkenness
Violence/ Scariness:	Extended peril and violence including murder, guns, explosions
Diversity Issues:	A theme of the movie
Date Released to Theaters:	October 20, 2023

Martin Scorsese brings everything he knows to the fact-based epic “Killers of the Flower Moon,” everything he knows about filmmaking and everything he knows about the conflicts and betrayals in American history, despite all efforts to remove them from curricula and libraries, continue to pulsate through our culture.

The film is based on the prize-winning book of the same name by David Grann, set about a century ago in Oklahoma. America forcibly relocated the Osage tribal members to a part of the country they thought was valueless. Times change. Technology changes. And it turned out that what was under that land was suddenly accessible and valuable: oil. The bounty the Osage never sought brought them riches they never dreamed of. The money brought the kind of people who will do anything to get it. That includes bending the law to the breaking point, with the government placing severe restrictions on Osage access to the money, appointing white “guardians” to oversee every expenditure and getting paid to do so, exploitation and con artists, price gouging, getting access to the money by marrying Osage women, and murder.

As the film begins, the approximately 2000 Osage are among the most prosperous communities in the world. They live in gracious, beautifully appointed homes. They have white servants. The women wear the latest fashions and expensive jewelry. Their towns are vibrant and modern. They go to a white church but retain many of their tribal traditions.

The most prominent white member of the community is William King Hale (Robert De Niro). “Call me King,” he says genially but meaningfully to his nephew, Ernest Burkhart (Leonardo DiCaprio), a WWI veteran who has just arrived in town. Ernest swiftly moves from driver to husband to Mollie, one of the Osage sisters who are prominent holders of “headrights” to the revenues from the oil, yet still needing permission to spend the money. Those rights cannot be sold or given away, but they can be inherited. So, many white men, like Ernest who candidly admits that he loves money and liquor and hates to work, marry Osage women, putting them in line to inherit. Even better if they can accelerate that transfer by accelerating their deaths.

Spectacular production design by Jack Fisk and cinematography by Rodrigo Prieto (who also did “Barbie,” so he’s having quite a year), editing by Scorsese favorite Thelma Schoonmaker, and music from The Band’s Robbie Robertson (who grew up on a native reservation) create a world that is vivid and specific but also a metaphor that resonates with America’s founding themes and failures to live up to the promise of the Declaration of Independence. Mollie and her sisters are doubly restricted as Indians and women and Mollie is additionally vulnerable because she has diabetes. At the sometimes poisonous heart of the film is the Ernest/Mollie relationship. From their first magnetic conversation when Mollie accurately but somehow also fondly calls Ernest a coyote who wants money, the themes of love and betrayal intertwine. Ernest’s increasing corruption shows on DiCaprio’s face, disintegrating like Dorian Gray’s portrait. De Niro shows us Hale’s smooth veneer, as he pretends to be devoted to the Osage, especially Mollie and her sisters, and as he speaks of murder as though he is making plans for a picnic. A white man is asked to kill someone and instantly refuses until he is told the target is an Indian. That alters the transaction. And it makes clear the othering that expands as the envy of the white Oklahomans distorts their thinking.

The book focuses on the pre-FBI investigator (Jesse Plemons, genial, implacable, incorruptible, and determined) working under J. Edgar Hoover, the movie, with a script by Scorsese and Eric Roth, wisely makes Mollie the center. Gladstone is a wonder, showing us her mingled love for her husband and her people, her devastating grief over the loss of her family, and her growing recognition that she has been betrayed. The film calls on us to keep watching her face, calm to the point of stoicism as she sits with her grief and her shrinking options.

The film takes its time, over 3 1/2 hours, but every minute is earned. This is a rare film that is not just excellent, but important.

Parents should know this is a fact-based story of racism, plunder, murder and exploitation. Characters are in peril and are murdered by guns and an explosion and fire. There is an attempted murder by poison and references to suicide. There are intense and graphic images. Characters use strong language, drink, and smoke.

Family discussion: Is there a way to find justice for these abuses? Who should be responsible? What does the relationship between Mollie and Ernest symbolize about the relationship between the US and its people?

If you like this, try: the book and the documentary, and read this piece by Sarah Knight Adamson