Mrs. Harris Goes to Paris

Posted on July 14, 2022 at 3:20 pm

B +

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG
Profanity:	Mild language
Alcohol/ Drugs:	Some alcohol and tipsiness
Violence/ Scariness:	References to wartime deaths and injuries
Diversity Issues:	Class issues
Date Released to Theaters:	July 14, 2022

“To be possessed is an admirable reason for possessing,” wrote Dorothy L. Sayers. Blaise Pascal said, “the heart has its reasons which reason does not know.” Those who are lucky enough to want some special object not for prestige but purely for love and a deep connection to the item’s artistry or history will understand the story of a shy Cockney woman who develops a passion for an haute couture dress.

“Mrs. Harris Goes to Paris” is a sweet Cinderella story about a cleaning lady who dreams of a Dior gown. It is based on the book by Paul Gallico, an author who was determined to work in a variety of genres, and so films based on his work include the classic disaster film “The Poseidon Adventure,” the charming fantasy musical “Lili,” and an earlier version of this story starring Angela Lansbury, Omar Sharif, and Diana Rigg. (NOTE: the original book and the first movie are called “Mrs. ‘Arris Goes to Paris,” to reflect the dropped h’s of the Cockney accent.)

It is set in post-WWII London. Mrs. Harris (exquisitely played by Lesley Manville) and her best friend Vi (Ellen Thomas) are close friends who spend their days cleaning up the careless messes of people who have enough money to be careless. Through them, Mrs. Harris glimpses lives bigger and more colorful than her own. One of her clients is Lady Dent, who somehow never seems to have the cash on hand to pay her (Anna Chancellor, “Duckface” from “Four Weddings and a Funeral”). There is also is a high-strung aspiring actress, and a rakish, derby-hatted bachelor (played with a cheeky wink by Christian McKay) who has an endless stream of “nieces” leaving in the morning wearing their dresses from the evening before.

Mrs. Harris still has a small unopened package sent to her by her husband when he was in the military in WWII, the last communication she received from him. It is now more than 10 years later and she has not been able to bring herself to open it. Finally, she does and sees what she did not want to see before. He was killed in action. It is not a coincidence that this happens just as she becomes mesmerized by an haute couture gown Lady Dent has bought for 500 pounds (about $15,000 in today’s dollars). It is the most beautiful thing she has ever seen and she decides she must get one for herself.

She assembles 500 pounds through scrimping, doing extra work, including “invisible repairs” sewing, and an assortment of unexpected windfalls. She has just enough for a one-day trip to Paris to get the gown. But once she gets there she learns first that their haughty director (Isabelle Huppert) does not want a shabby little Englishwoman anywhere near their brand and their other customers, and second, even if she is able to purchase a gown it will be made to order for her and require two weeks of fittings. And so, her adventures in Paris begin. (NOTE: Dior participated in helping to re-create some of their stunning fashions.)

It is not just her mending that is invisible. Mrs. Harris herself begins to learn that she has felt invisible, not worthy of being seen. Like the contents of the package, Mrs. Harris has been hidden and enclosed for a long time. Acknowledging her yearning and insisting that she deserves to own an item of beauty and artistry helps her locate a new openness to others and determination on other issues. At first, she relates to her new acquaintances with what she knows, cleaning and cooking. But she discovers through their responses to her that she has more to contribute.

Manville is a perfect choice for this role (and for pretty much any other, too — see her Mike Leigh performances and her appearance in a very different haute couture film, “The Phantom Thread”). While Mrs. Harris may not always see herself that way, Manville shows us in every moment that the character’s discovery of her courage and value is as much a work of art as the meticulously constructed gowns of Dior.

Parents should know that this film has mild rude humor and references to wartime injuries and death.

Family discussion: Have you ever wanted something the way Mrs. Harris wants the gown? Why was it so important to her? How did her experiences in Paris change the way she saw herself? How to the references to Sartre‘s existentialism relate to her story? Did you notice the “zoom dolly” shots made famous by Stephen Spielberg in “Jaws?” What do they tell us?

If you like this, try: the earlier version with Angela Lansbury and Gallico’s books, including The Snow Goose, and look up some of Dior’s classic designs

The Sea Beast

Posted on July 7, 2022 at 4:24 pm

B +

Lowest Recommended Age:	4th - 6th Grade
MPAA Rating:	Rated PG for action
Profanity:	None
Alcohol/ Drugs:	Scenes in pub, alcohol
Violence/ Scariness:	Extended peril and action, references to sad deaths and injuries
Diversity Issues:	Diverse characters
Date Released to Theaters:	July 8, 2022

“The Sea Beast” is a rollicking yarn, stunningly designed and dynamically animated, with superbly cinematic editing, pacing, and framing, appealing characters, and a thoughtful conclusion. Watch it on the biggest screen you have.

It takes place in a fantasy world somewhere between “Pirates of the Caribbean” and “Moby Dick.” The King and Queen have placed a bounty on sea monsters, enormous creatures that seem to be part whale, part octopus, part shark, and all scary. The kingdom’s most admired heroes are the hunters who kill the beasts and bring back proof to present to the royals.

Their adventures are legends. They and their fans believe that “Every hunter dies a great death because every hunter lives a great life!” A feisty young girl named Maisie Bramble (Zaris-Angel Hator) regales the other children at the orphanage by reading them exciting stories from old books (with engraving-style images evoking the classic era of illustration). She is determined to follow in the tradition of her parents, who died heroically on a ship called The Monarch. It is called The Inevitable, led by Captain Crow (Jared Harris), with his fearless second-in-command, Jacob (Karl Urban)

When Crow presents their latest trophy to the King and Queen, they are told their services are no longer required. The Navy will be taking over hunting duties. But Jacob persuades the King and Queen to give them one last chance. If they cannot kill the most feared beast of all, the Red Bluster, their ship will be decommissioned and they will no longer be able to pursue the sea beast, the central focus of their identity.

Maisie stows away on the Inevitable. She is not welcome. Jacob says, “The monsters I can handle. But that one will be the death of me.” Characters who are initially antagonistic will learn to understand and appreciate each other.

I liked “The Sea Beast” a lot and was never less than enthralled by the world it created. The animation and design are stunning, though there are a few disconnects in style. The ultra-reality of the water the ships are sailing on is so tactile you almost reach for a towel. The intricacy of the literally hundreds of ropes in the boat riggings are almost unfathomably complicated as they swing independently and get pulled, yanked, and unraveled. The kingdom and castle are brilliantly designed, both real and enchanting, with nautical touches emphasizing the connection to the water. The sense of space is exceptional, especially in the very dynamic action scenes. Jacob and the other hunters climb the masts as the boat is rocked by the waves and the monsters and every bit of it feels completely real. The movement of the human characters is not always as authentic and there is a character Maisie befriends who could be from a different, more stylized world.

“The Sea Beast,” like “Encanto” and “Frozen 2,” admirably grapples with themes of generational trauma and the stories we tell ourselves. When Jacob reads the book that has meant everything to Maisie, he is surprised to find the narrative inconsistent with his own experiences, amped up and one-sided and with characters saying “yar” much more often than happened in real life. It’s an ambitious film that almost completely lives up to its ambitions.

Parents should know that this movie has extended peril and action-style fantasy violence with characters injured and references to sad deaths. Characters drink alcohol.

Family discussion: How do you know whether to believe what you read or hear? Do you agree with the code? How did the characters decide who to trust? What do we learn from the name of the ship?

If you like this, try: “Pirates of the Caribbean” and “How to Train Your Dragon”

Thor: Love and Thunder

Posted on July 7, 2022 at 8:10 am

B +

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for intense sci-fi violence, action, language, partial nudity and some suggestive material
Profanity:	S-words, mild language
Alcohol/ Drugs:	Some alcohol
Violence/ Scariness:	Extended comic book/action-style peril and violence, characters injured, sad death
Diversity Issues:	None
Date Released to Theaters:	July 8, 2022
Date Released to DVD:	September 26, 2022

Taika Watiti’s sly, understated. offbeat humor is a great match for Thor, a superhero who is literally a god with a post British accent. Thor could come across as stiff and stuffy if not for the combination of Watiti and Chris Hemsworth, who has the rare ability to be effortlessly hilarious while still being a completely believable superhero god. I’ve often said that superhero movies are made or lost based on the villains, not the heroes. On that basis, “Thor: Love and Thunder” is less successful. But it is so much fun along the way, and often genially goofy, two words that don’t usually apply to superhero movies, that it is satisfyingly entertaining.

The last time we saw Thor he was looking more like The Big Lebowski than a god of Asgard and his planet had been destroyed. He pulled himself together for “Avengers: Endgame” and New Asgard is now up and running under the rule of King Valkyrie (Tessa Thompson). Thor spends his days in quiet contemplation until he is called upon to save the world again, which he does with brio and then returns to his solitude. Asgard is a quaint little town by the water and has become a favorite tourist destination. One popular attraction is the re-enactment of some of the highlights of Asgardian history, with performers played by Matt Damon and Luke Hemsworth plus two I won’t spoil).

Meanwhile, Thor’s ex, Jane Foster (Natalie Portman), has Stage 4 cancer. And somehow she is called to or by the legendary Mjolnir, the once-shattered hammer that has re-assembled itself like the silvery guy in “Terminator 2.” This makes her into Thor, apparently in addition to, not instead of the Thor who was named by his father, Odin. One of the most endearingly goofy elements of the film is the way original Thor’s new weapon, the axe called Stormbreaker, is sensitive and a bit worried about its predecessor returning. Original Thor is better at sharing his feelings with his weapons than he is with human beings. I predict that Brene Brown will be using clips from this movie to illustrate future lectures about the importance of vulnerability.

And then, the bad guy. Christian Bale plays Gorr, who we first see as a devoted acolyte in a destroyed world. He has lost everything, including his daughter, but believes in the salvation and afterlife his religion has promised. When he learns that his god cares nothing for humans and there is no eternal life he grabs the Necrosword and the combination of grief, anger, betrayal, and the sword’s magic turns him into something of a Terminator of his own (though looking more like zombie Voldemort), with just one imperative — killing all the gods.

The action scenes are great fun and there are a lot of delightful small details you might miss the first time through, but is it the humor, the characters, and the warmth of their connection that stand out. Watiti returns as Thor’s sidekick Korg, his quiet, tentative voice an amusing counterpart to his enormous rock body. In the vast assemblage of gods, Russell Crowe appears as a lightning bolt-throwing Zeus. Thompson and Portman have great chemistry and Hemsworth is as good at comedy as he is at looking like a Norse god, which is as good as it gets. Korg tells us that coming out of his depression, Thor went from dad bod to god bod. It is good to see him here going from sad guy to, well, you’ll see.

NOTE: Stay through the end of the credits to see two extra scenes.

Parents should know that this movie has many s-words and extended peril and comic-book style action violence with many characters injured, cancer treatment, and a sad death. There is also a brief flash of rear nudity.

Family questions: What would you choose for your catch phrase? How do you make sure you don’t wall off your feelings after being hurt?

If you like this, try: the other “Thor” movies and Watiti’s “What We Do in the Shadows” film and television series

Elvis

Posted on June 20, 2022 at 9:00 am

B +

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for substance abuse, strong language, suggestive material and smoking
Date Released to Theaters:	June 24, 2022
Date Released to DVD:	September 12, 2022

Director Baz Luhrmann is a natural choice for the story of Elvis Presley, both known for the ultimate in showmanship, making excess into an asset. Right off the bat, the nearly-three-hour movie opens with a bedazzled version of the Warner Brothers logo, as though it was designed by the tailor who did Elvis’ late-career wardrobe. Unabashedly theatrical, even more unabashedly on the side of its title subject, “Elvis” is a love letter, not a history lesson. It celebrates excess; it almost wallows in it. But it does so joyfully.

It begins with Colonel or rather “Colonel” Parker (Tom Hanks in a fat suit, with a weird accent and fake nose. “Citizen Kane” style, on what could be his deathbed, reminiscing about what he has loved and lost. As we hear his narration, we see him, in his hospital gown, wandering through a deserted Las Vegas casino, telling us about his connection to the young singer from Tupelo.

Elvis (played as a boy by Chaydon Jay) lives with his parents Vernon (Richard Roxburgh) and Gladys (Helen Thomson) in a Black neighborhood, where he is thrilled by the music around him, the sacred (gospel) and the profane (down and dirty blues). He is also immersed in country music, and somehow he (played as a teen and adult by a terrific Austin Butler) finds a way to synthesize all three into proto-rock and roll. Colonel Parker, a carny promoter, hears his music and realizes that he has the opportunity of the century, a white singer who sounds Black. Elvis is on the bill with a country star. He’s nervous at first on stage in his flamboyant pink suit, but then, like the revival meeting attendees struck by the spirit, he is, well, all shook up. And so is the audience. It’s almost like the Conrad Birdie “Sincere” scene in “Bye Bye Birdie.” Luhrmann brings a palpable, kinetic energy to the scene that is cheekily over the top.

The musical numbers (all but the very early ones with Elvis’ own voice) are dynamic, and an extended section where Colonel Parker sells the television network and the sponsor on an Elvis Christmas special featuring Elvis in a Christmas sweater singing carols and “Here Comes Santa Claus.” Elvis, still true to his muse, insists on wearing a black leather suit (now iconic, as is that entire 1968 special. The world changed around him but Elvis was never less than a thrilling performer, as we see at the end of film, with a short clip of his last performance, clearly ill and impaired, but nailing one of the most difficult songs of all, “Unchained Melody.”

The musical numbers: great. The romance with teenage Priscilla: not given much attention. The relationship with Colonel Parker: the central focus of the movie and the weakest part of the movie. We get no real insight into the internal lives of either characters; there’s an emptiness to the film when Elvis is not on stage. That could be the point of the movie, but it never acknowledges it. Tom Hanks never disappears into Colonel Parker. Compare him to Paul Giamatti in the similarly themed “Love and Mercy,” where the individuals and the manipulative, enticing, and abusive elements of the relationship were much more clearly defined.

I enjoyed the film. But then I came home and watched a half hour of clips of Elvis, and I enjoyed that a lot more.
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Parents should know that this movie includes sex (non-explicit), drugs, and of course rock and roll, along with some bad behavior, relationship conflicts, and sad deaths.

Family discussion: Why was it so hard for Elvis to break off his relationship with Colonel Parker? How did Colonel Parker manipulate him? How is celebrity different today and how is it the same?

If you like this, try: Some of Elvis’ best movies like “Jailhouse Rock” and “Viva Las Vegas”

Lightyear

Posted on June 16, 2022 at 5:54 pm

B +

Lowest Recommended Age:	4th - 6th Grade
Profanity:	None
Alcohol/ Drugs:	None
Violence/ Scariness:	Extended sci-fi peril and cartoon-style violence, sad death
Diversity Issues:	Diverse characters
Date Released to Theaters:	June 17, 2022
Date Released to DVD:	September 12, 2022

Watch carefully in Lightyear for a moment just for those kids born in in the 80s who were the first digital natives. A cartridge inserted into a computer deck is not working correctly, and Buzz Lightyear (Chris Evans taking over from Tim Allen) has to fix it. What does he do? Say it with me, people in their 30s: He blows on the exposed tape side and re-inserts it. Now, that may not have worked in real life, but thankfully, it works for Buzz.

This kind of detail is what we expect from Pixar, along with superbly crafted films that make us laugh, gasp, and cry. We’re reminded at the beginning of “Lightyear” that in 1995 Andy was given a Buzz Lightyear toy from his favorite movie. And then we’re told that this, what we ae about to see, is that movie. It doesn’t need to overdo the 90s references, but once in a while, like the blowing on the cartridge, we get a reminder that the lovable nerds at Pixar know us all too well.

This is not the toy Buzz Lightyear who has some existential confusion and thinks he is the actual character. This is the actual character, a lantern-jawed space ranger, the All-American boy next door type, brave, loyal, extremely good at his job, and stubbornly independent. His closest friend is fellow Ranger Alisha Hawthorne (Uzo Aduba). But he does not work well with others, especially rookies.

Buzz and Alisha are on a long-term space journey. They stop to investigate an uncharted planet and, as anyone who has ever clocked a red shit on “Star Trek” knows, it turns out to be much more treacherous than they expected (though, thankfully, to have breathable air). As they are on their way back to “the turnip,” which is what they call their rocket due to its shape, the rocket is so badly damaged they are stuck. All of the 1200 passengers who have been in suspended animation will have to be awakened to find that they are marooned, with no way to return to the mission or go home.

Buzz is determined to save the day. He undertakes a very dangerous test flight. For him, it is four minutes. But, due to the difference between time on a planet and time in space, he returns to find that four years have passed for Alicia and everyone else. Things have changed. The space travelers have built a community. Alicia is engaged to a scientist. People have adapted. Buzz feels responsible for getting them stuck and he is determined to keep trying until he gets the necessary mix of elements to give the rocket the fuel it needs. But each test run means another four years. He comes back and Alecia and her wife are expecting a child. He comes back again and the child is four years old. His life is passing in minutes and his friend’s is passing in years, in decades.

Other than Alicia, Buzz’s only companion is a robot cat. Think a combination of R2D2, C-3Po, and Captain Marvel’s Flerken. Ultimately he will find a group of people who do not have the training, discipline, or skills Buzz has always relied on in his missions. All of the difficulty he has had in relying on others is multiplied just as it has become necessary to trust them.

The reveal near the end did not work as well for me, but I especially liked the way it deals with two issues we don’t often see in movies for children, how to move on after making a mistake, learning to see the best in people, and learning to rely on others. As always with Pixar, the movie is filled with endearing characters and witty and telling details, brilliantly designed settings, sublime silliness, and exciting action scenes and yes, you will cry. It is easy to understand why this was Andy’s favorite movie.

Parents should know that this film has extended sci-fi peril and violence with scary robots and sci-fi weapons. There is a very sad death. A devoted gay couple is portrayed in an admirably matter-of-fact, low-key manner with grace and dignity.

Family discussion: Why was it hard for Buzz to accept help? What is the best way to make up for mistakes?

If you like this, try: The “Toy Story” movies, “Galaxy Quest,” and the old Flash Gordon serials.