Killer Elite

Posted on September 22, 2011 at 6:11 pm

Like this year’s “The Devil’s Double,” this film would be much more satisfying and believable if it was not so self-serving in favor of the people telling the story. The oddest part is that the fight scenes are brutally, authentic while the non-fight scenes are laughably ridiculous. While it says it is “based on a true story,” the book that inspired it is labeled as a work of fiction and has been discredited by family members of those involved.

It opens in 1980, with the world in unrest and an oil crisis. Danny (Jason Statham), ex-special forces, works various dangerous jobs with his long-time ally Hunter (Robert De Niro) until he decides to leave it all behind and have a new, peaceful life in Australia. But he gets pulled back in when Hunter is kidnapped by a sheik who wants Danny to hunt down and kill the men from British forces who killed his three sons in an armed conflict in Oman. But Danny can’t just kill them. The sheik wants taped confessions from each and then Danny has to make each death look like an accident (which of course makes it impossible, 30 years later, to say that the accidental deaths were not really homicides). Danny gets the band back together, with, of course, one newbie just to act as a wild card, and goes after the sheik’s three targets.

But in this nasty, brutish world, everyone’s a bad guy; it’s just a question of degree. While Danny and his group are going after the guys who killed the sheik’s sons, the guys who think those guys were the good guys go after Danny. And while all of that is going on, the desiccated old men sitting around in expensively furnished board rooms are moving them all around like chess pieces, with even less regard for whether they get knocked off the board. These are the “feather men” (because of their light touch) who like some third-rate Batman villain actually leave their calling card to let the men who do the actual killing know that they’ve been there. Just to make sure we get the point, the old guys in suits actually say things like, “What we did there was questionable,” “We all know our people went too far,” and “We’re businessmen and bankers now. We can leave no trace of our activities.” Meanwhile, the guys who kill people (as opposed to ordering other people to do it) say things like, “Killing is easy. Living with it is the hard part.” So we know they have feelings, get it?

Statham is always a pleasure to watch and De Niro is superb as the man who has given his life to adrenaline and rough justice but is loyal to his friend and his family. The fight scenes are not the usual choreographed carnage but believably rough and exhausting. There are some nice shifts of allegiance back and forth and some good points to be made about how behind the killing is profits from oil. But the whole premise becomes increasingly ludicrous until it falls apart.

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Moneyball

Posted on September 22, 2011 at 6:02 pm

A-

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for some strong language
Profanity:	Some strong language (much less than the book)
Alcohol/ Drugs:	Chewing tobacco, alcohol
Violence/ Scariness:	Tense family situations, sad references to injuries and letting players go
Diversity Issues:	Diverse characters
Date Released to Theaters:	September 23, 2011
Date Released to DVD:	January 9, 2012
Amazon.com ASIN:	B0060ZJ7BC

Brad Pitt is underrated as an actor. But he is the best there is when it comes to calibrating the deployment of his onscreen star power, which he uses as expertly as Meryl Streep does accents. Pitt can dial it down to one when he wants to play character actor and make it work. But here he dials it back up to eleven, giving the role of Oakland A’s manager Billy Beane a shot of pure movie magic in this real-life story about the man who turned baseball upside down by using computer formulas to select “undervalued” players.

The Oakland A’s feel like “a farm team for the New York Yankees.” They make players great and then lose them to the teams with budgets more than three times as large. All that money makes the playing field anything but level. “We’re a small market team and you’re a small market GM. I’m asking you to be okay spending the money we have,” the owner tells Beane. “There are rich teams and there are poor teams and then 50 feet of crap, and then there’s us,” is Beane’s frank appraisal.

The A’s cultivate and train players who leave for the teams that can pay the most. A game that is supposed to be about skill and drive seems to be just about money. And then Beane, in the midst of a negotiation with another team that is not going well, notices a nerdy-looking guy in the corner who seems to have some influence. After the meeting, that nerdy guy becomes Beane’s first draft pick.

He is Peter Brand (Jonah Hill), a shy wonk who comes to work for Beane and together they pursue a different direction. Instead of the century-old system of watching players hit, catch, throw, and run and try to figure out if that means they will be able to perform in the big leagues — a system that failed badly when Beane himself was recruited right out of high school — they will look at computer algorithms about what produces wins. Brand and Beane develop a roster like Warren Buffett puts together a stock portfolio. They look at fundamentals to figure out unrecognized value. Sort of a grown-up Bad News Bears. Or, as Brand puts it, an Island of Misfit Toys.

The script from two of the best screenwriters in history, Aaron Sorkin (“The Social Network”) and Steven Zallain (“Schindler’s List”) is well-structured and filled with smart talk. The scenes of Beane’s own pro career are too long and too distracting. But scenes with Beane visiting his ex-wife (Robin Wright) and her new husband and especially those with Beane and his daughter add warmth and urgency to the story. But it is Pitt who is in every way the heart of the movie, his natural confidence and grace a lovely balance to the formulas with Greek letters and the endless statistics. It is nice to see baseball, that most number-centric game, get upended by numbers. And yet it succeeds because it is that most cherished of traditions, the come-from-behind underdog story.

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Dumbo

Posted on September 19, 2011 at 8:00 am

Lowest Recommended Age:	Kindergarten - 3rd Grade
MPAA Rating:	G
Profanity:	None
Alcohol/ Drugs:	Characters get drunk
Violence/ Scariness:	Sad and scary scenes, mother caged and separated from her child
Diversity Issues:	A theme of the movie, some racial material insensitive by today's standards
Date Released to Theaters:	1941
Date Released to DVD:	September 19, 2011
Amazon.com ASIN:	B003H9M1QM

A gorgeous new 70th anniversary “Dumbo” Blu-Ray DVD pack is the Pick of the Week.

The stork delivers babies to the circus animals, including Mrs. Jumbo’s baby, an elephant with enormous ears. The other elephants laugh at him and call him Dumbo, but Mrs. Jumbo loves him very much. When Dumbo is mistreated, she is furious and raises such a fuss that she is locked up. Dumbo is made part of the clown act, which embarasses him very much. He is a big hit and, celebrating his good fortune, accidentally drinks champagne and becomes tipsy. The next morning, he wakes up in a tree, with no idea how he got there. It turns out that he flew! His big ears are aerodynamic. He becomes the star of the circus, with his proud mother beside him.

The themes in this movie include tolerance of differences and the importance of believing in yourself. It also provides a good opportunity to encourage empathy by asking kids how they would feel if everyone laughed at them the way the animals laugh at Dumbo, and how important it is to Dumbo to have a friend like Timothy.

Parents should note that while respecting individual differences is a theme of the movie, the crows who sing “When I See an Elephant Fly” would be considered racist by today’s standards. One of them is named “Jim Crow” and they speak with “Amos ‘n Andy”-style accents, but clearly they are not intended to be insulting. Families who see this movie should talk about that depiction, as well as these questions: Why does Timothy tell Dumbo he needs the feather to fly? How does he learn that he does not need it? Why do the other elephants laugh at Dumbo’s ears? How does that make him feel?

Families who enjoy this movie will also enjoy some stories with related themes. The circus train, Casey, Jr., puffs “I think I can” as it goes up the hill, just like “The Little Engine That Could.” Compare this story to “How the Elephant Got Its Trunk,” by Rudyard Kipling (read by Jack Nicholson in the wonderful Rabbit Ears production), in which another elephant finds his larger-than expected feature first ridiculed and then envied by the other elephants. Kids may also enjoy comparing this to “Rudolph the Red-Nosed Reindeer,” “The Ugly Duckling,” and other stories about differences that make characters special.

Happy Birthday June Foray (Voice of Rocky)

Posted on September 18, 2011 at 11:58 am

http://www.youtube.com/watch?v=65t-OzhlmvE

Here’s a tribute to one of the all-time greatest voice actresses, June Foray, who celebrates her 94th birthday today. Best known as Rocky the flying squirrel, she also provided voices for Lucifer the cat in “Cinderella,” Grandmother Fa in “Mulan,” and Cindy Lou Who in “How the Grinch Stole Christmas.” On “Rocky and Bullwinkle,” she not only played Rocky but also Nell Fenwick and Natasha Fatale.

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Animation Television

I Don’t Know How She Does It

Posted on September 16, 2011 at 8:21 am

This film takes the most wrenching and universal dilemma of family life and turns it into a sitcom-y love letter to Sarah Jessica Parker. Not the character she plays, the whippet-thin, stiletto-wearing financial whiz with the adorably mussed hair, but the actress herself, whose appeal as a performer continues to diminish in direct proportion to her increasing need to make us love her and expectation that we must. Carrie has been very bad for SJP.

Parker plays Kate Reddy (the names are thuddingly on the nose here), a Boston mom of two, married to an architect (winningly played by Greg Kinnear), and trying hard to cope with both the intensely competitive professionals at the office (Olivia Munn and “SNL’s” Seth Meyers play work-obsessed underminers) and the even more intensely competitive stay-at-home moms (one asks plaintively whether a birthday cake is made with organic flour and another sighs sweetly and explains that she just couldn’t allow anyone else to raise her children as she spends all day at the gym). These are cheap shot caricatures with little wit and less heart. If the film had a smidgen of sympathy for anyone else in the story or any convincing moment with Kate and her children when they were awake it would not ring so hollow. It’s hard to connect to a character who is feeling judged when her point of view is itself so petty and judgmental. Even Kate’s one friend (a dishy Christina Hendricks) cannot be permitted to be at Kate’s level. She’s a single working mother, so points off for her.

Kate and her husband both get their professional opportunities of a lifetime and shift into higher gear, missing their son’s first haircut and neglecting his delayed speech and a dangerous hole in the carpet on the stairs. Up all night making lists that never end, Kate promises everything to everyone and discovers that sometimes jugglers drop all the balls at once. Sometimes you get a call to fly out of town for a big meeting in the middle of Thanksgiving. And sometimes you get the message that your child has lice just as you walk into the big meeting. Infestation turns out to be just an opportunity to dish at the delousing salon with a friend (compare that to the more realistic hazmat treatment of the same problem in last year’s “The Change-Up”), another example of the gap between the way this film makes everything about Parker, I mean Kate.

I understand that motherhood seems fresh and new and unfairly not communicated about properly for each new generation of women who wonder how they got from the snarky authenticity of their post-college years to searching for a presentable outfit that (1) has no spills or spit-up on it and (2) fits (this is a problem grey-hound thin and beginning to look stringy SJP does not have). It will feel a bit stale to anyone who has either lived through it or seen any sitcom or family comedy of the last decade. Even the derided “Motherhood” with Uma Thurman felt more authentic than this. A mis-sent email with a crude joke? That’s so 2008. And when Kate’s colleague (Pierce Brosnan) starts signing his emails “XO” and, despite her denials, Kate just manages to keep all those balls in the air to the breathless admiration of even those who once failed to appreciate her, we can’t help feeling that we do know that in fact she doesn’t do it very well.

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