Posted on May 25, 2013 at 8:00 am
For Memorial Day, take a look at these documentaries about our military:
War of 1812
The History Channel Presents The War of 1812
Civil War
The Civil War
WWI
The Last Voices of WWI – A Generation Lost
WWII
The World at War
Korean War
Korea, The Forgotten War
Vietnam War
Vietnam War: America’s Conflict
Desert Storm
Hidden Wars of Desert Storm
Afganistan/Iraq
Restrepo
The War Tapes
Posted on May 24, 2013 at 3:50 pm
Behind the Candelabra premieres this weekend on HBO. It is based on the hard to believe but true story of one of the most popular and flamboyant stars of the 1950’s and 60’s, who went by just one name: Liberace.
Wladziu Valentino Liberace was an American of Polish/Italian heritage, a gifted classical pianist, a masterful showman, and a pioneer in the art of celebrity branding and marketing. He was multi-platform before the term was invented For decades he was the highest-paid entertainer in the world. He had record albums, endorsements, and movie and television appearances and his own series, but it was his live stage show that was what people loved most. He never tried for a career as a serious classical musician, performing with orchestras in concert halls. He liked to play what he called “classical music with the boring parts left out.” And the show was as important as the music, from the flashy pianos to costumes Lady Gaga would envy. Ermine capes. Crystal-encrusted tuxes. Feather boas. Chandeliers and of course candelabras. Excess was not enough.
It was a different era. Liberace was not openly gay. On the contrary, when a British newspaper called him “a deadly, winking, sniggering, snuggling, chromium-plated, scent-impregnated, luminous, quivering, giggling, fruit-flavoured, mincing, ice-covered heap of mother love,” he sued under their notoriously strict libel laws. testified under oath that he was not a homosexual, and won.
In the late 70’s, Liberace met a handsome teenager named Scott Thorson. They were together for five years, and after they broke up (and Thorson was “fired” as Liberace’s chauffeur), Thorson sued him for “palimony.” It was settled out of court. Thorson is now in jail, charged with identity theft. He has had removed the plastic surgery prosthetic Liberace paid for so that Thorson would look more like an idealized version of himself when young. Thorson’s book, Behind the Candelabra: My Life With Liberace
Steven Soderbergh (“Oceans 11,” “Traffic,” “Erin Brockovich”) directed and it stars Michael Douglas as Liberace, Matt Damon as Thorson, and Debbie Reynolds, who knew Liberace, as his mother.
Posted on May 23, 2013 at 6:01 pm
The storylines of the “Fast and Furious” franchise may be preposterous, but what’s even harder to believe is that, contrary to the history of just about every other multi-sequel series and what I thought were the laws of nature, these keep getting better. There’s something of a pattern at this point. Our happy gang of outlaw car racers gets into mischief of one kind and another in one movie, and then in the next the government asks them to take on some big bad guy in exchange for expunging their records. This being an even-numbered entry, it’s expunging time again as the gang, a Benneton ad of gorgeous and racially diverse people with a love for fast cars and a habitual narrow-eyed facial expression that either says, “Don’t even think of trying to mess with me” or maybe “I’m trying to remember which episode we’re on, but it probably doesn’t matter.” The talking part (I can’t bring myself to elevate it to the term “dialog”) is basic and repetitive. Anyone who’d like to liven it up with a drinking game will do very well going for either the word “family” or some variation of “that’s who we are.”
In the classic mode of motley crew of outsider stories from “The X-Men” and “The Avengers” to “The A-Team” and “The Bad News Bears,” the “Fast and Furious” movies are about a self-made family comprising people with a range of very special skills, including martial arts, weapons, tactics, interpersonal communications, technology, and banter. At the center are Dom (Vin Diesel) and his sister Mia (Jordana Brewster), now blissfully married to Dom’s one-time nemesis-turned BFF, one-time cop-turned-outlaw Brian (Paul Walker). These guys are very, very good at making law enforcement go bad.
In the last episode, our gang took a lot of money from a very bad man. Now they’re enjoying their money in highly photogenic and conveniently extradition-free locations. But then another very bad guy (with an English accent, so we know he’s both smart and evil) is stealing the component parts to some very important something or other and must be stopped. He’s far to smart for Interpol, so it’s time to get the band back together.
But it’s really all about the stunts, and there are some lulus, expertly staged by returning director Justin Lin. There is so much going on at the same time that it gets a little confusing, but you can’t miss the wow moments . There are even a couple of OMGs and a did-I-just-see-that or two. The one thing about which there will be no suspense is who they’ll be facing in #7 — just stick around for the credits.
Parents should know that this film features non-stop action with chases, explosions, shooting and fights, characters in peril, injured and killed, some strong language including one crude epithet, and drinking.
Family discussion: Do you have a code? What is it? How do we decide who counts as family?
If you like this, try: The first five “Fast and Furious” movies and – to prepare for #7 – the “Transporter” series
Posted on May 23, 2013 at 5:41 pm
A-| Lowest Recommended Age: | High School |
| MPAA Rating: | Rated R for some language |
| Profanity: | Some strong language |
| Alcohol/ Drugs: | Drinking |
| Violence/ Scariness: | Emotional confrontations |
| Diversity Issues: | None |
| Date Released to Theaters: | May 24, 2013 |
| Date Released to DVD: | August 12, 2013 |
| Amazon.com ASIN: | B00D5XC8MC |
She has the face of a flower and she still believes that the world is an enchanted place that cannot hurt her. She does not understand what is going on around her, but we do.
Her name is Maisie (the exquisite Onata Aprile). She is seven and she lives in New York with her parents, a fading rock star named Susanna (Julianne Moore) and a British art dealer named Beale (Steve Coogan). They are self-centered and feckless, and she does not yet realize that their hugs are more about themselves than about her. They split up, and then, incapable of being alone and primarily to reassure themselves and spite each other, immediately take on new, very unwise partners. Beale begins a romance with Maisie’s nanny, Margo (Joanna Vanderham). And Susanna, feeling doubly betrayed, one-ups him by impetuously marrying a bartender named Lincoln (Alexander Skarsgård). This comes out when Lincoln, who Maisie has never really met, appears at her school to pick her up. “I’m sort of like Maisie’s…stepfather,” he sheepishly tells the teacher.
https://www.youtube.com/watch?v=jtoYBL-mJL4Maisie’s clothes often have fantasy elements, like a tiara, showing the gloss of fantasy she brings to her world — and the casual indulgence of the adults in her life. Moore’s neediness, as a woman who is losing her career, her romantic partner, and her child, is raw and affecting. Coogan gets a rare chance to show what a fine serious actor he can be. In one scene, he impetuously invites Maisie to go to England with him, and then immediately changes his mind. We see every thought on his face, including his chagrin at recognizing that he is betraying the daughter still young enough to believe in him.
This movie feels very much of this moment and has a very specific sense of place in its shabby chic New York settings. But it is based on a book by Henry James written more than a century ago. Directors Scott McGehee and David Siegel have a delicacy and sensitivity that gives their superb cast the chance to create complicated characters. They are not afraid to mix moments of humor with selfishness, heart-wrenching loss, and tragic choices.
Parents should know that this movie deals with themes of parental neglect and family dysfunction. It includes sexual references and non-explicit situations, drinking, strong language, and many poor choices.
Family discussion: What will happen to Maisie? What will she think of her parents when she gets to be a teenager? A grown-up? What has changed since Henry James wrote the book?
If you like this, try: “Careful, He Might Hear You”
Posted on May 23, 2013 at 11:02 am
Let’s hope that this movie is the much-needed stake in the heart to the triligization of popular movies (okay, with an exception for Richard Linklater’s “Before” series and “Toy Story”). I began to think of the three films as a shell game, with the pea of novelty and humor under just one shell, and shrinking retrospectively as I was dragged through this far distant last in the series, so entirely disappointing that it diminishes any fond memories of the original.
And that is the key word. The first chapter was original. We got to enjoy the speculation and schadenfreude as we lived a night of mostly unintentional debauchery and mayhem backwards. Feral man-child Alan (Zach Galifianakis), cynical Phil (Bradley Cooper), and mild-mannered Stu (Ed Helms), a hapless trio, in Las Vegas for a bachelor party, wake up in the mother of all mornings after and spend most of the movie piecing together the events of the evening before. They have to discover how they ended up with a tiger, a baby, a missing tooth, and a hospital bracelet. And the prospective groom is missing.
In #2, there’s another wedding to make in time, and another morning after. Some people found the second one a garish and cynical retread. I thought it was pretty funny and even managed to find some meta-commentary in the way it rang changes on the first one. And I liked Paul Giamatti.
In #3, director Todd Phillips and Craig Mazin (the execrable “Identity Thief”) take over script duties from the original’s writers, who were off plagiarizing themselves with a college-age version of the very same movie. This one jettisons the backwards-style structure, which is fine, but it plays as though they pulled it out of a slush pile and did a global search and replace to insert the first movie’s characters, who, in one of many increasingly less funny repetitions of almost-jokes we’ve increasingly tired of, are referred to by one character as The Wolf Pack.
Once again, they are separated from Doug (Justin Bartha), who is held hostage by a thug (John Goodman) while they are sent to track down their old frenemy, Leslie Chow (Ken Jeong). We also meet up with the first episode’s characters drug dealer Black Doug and former stripper Jade (the criminally misused Mike Epps and Heather Graham). And here is what we learn:
1. These are really unpleasant people. They are selfish, childish, and uninteresting.
2. A little of Leslie Chow is better than a lot.
3. It is impossible to make the same joke funny three times in a row. The second time may provide a pleasant sensation of remembered humor. The third time is just irritating.
4. It is possible to criminally underuse even John Goodman, completely wasted here.
5. Melissa McCarthy, on the other hand, while also underused, manages to make her five minutes the highlight of the film.
6. It is possible to miss Mike Tyson.
This movie is the bad hangover from the now-tarnished original.
Parents should know that this film includes comic and more serious violence including murder, guns, chases, characters and animals in peril, injured, and killed, extensive drug content, constant very strong language, sexual references (some crude) and situations (male and female nudity), pervasive very bad behavior
Family discussion: Which of the friends makes the best choices? Do you think that the different structure of the story-telling works as well as the original?
If you like this, try: the first “Hangover” movie and “Cedar Rapids”
