Posted on April 4, 2021 at 11:41 am
The idea of mixing basketball and cartoons was impossible to resist, so here we are with a sequel to the 1996 pair-up of Michael Jordan and Bugs Bunny. Here’s the trailer for “Space Jam: A New Legacy.”
Posted on March 29, 2021 at 11:35 am
B| Lowest Recommended Age: | High School |
| MPAA Rating: | Rated PG-13 for intense sequences of creature violence/destruction and brief language |
| Profanity: | Brief strong language |
| Alcohol/ Drugs: | None |
| Violence/ Scariness: | Extended, intense fantasy monster violence |
| Diversity Issues: | Diverse characters |
| Date Released to Theaters: | March 31, 2021 |
| Date Released to DVD: | June 14, 2021 |
Ladies and gentlemen! In this corner, we have Godzilla, the atomic-era, skyscraper-sized reptile, destroyer of cities. And in the other corner, it’s King Kong, the skyscraper-sized mammoth gorilla. And no one needs to hear about anything else in this movie beyond the one question about Godzilla vs. Kong: Does King Kong throw a roundhouse punch that lands on Godzilla’s jaw like a guided missile? And the answer I am happy to say, is YES.
Also in the movie: a Titan gets sliced in two by a laser beam, another one rips a towering tree out of the ground and throws it like a javelin, a little girl communicates abstract concepts to a monster via telepathy and sign language, and some humans who say things like, “This is our only chance. We have to take it,” and “the gravitational inversion should be quite intense” and “That is the discovery of the millennium!”
As a refresher, “Titan” is the term for all of the gigantic monsters who have been living in massive underground locations that somehow have sunlight, air, and lots of lush vegetation and rivers. They have been “provoked” into coming into human world, as we’ve seen in the earlier Warner Brothers films, leading up to this Avengers/Justice League-style opportunity to see them all together.
In the earlier films, both Godzilla and Kong found humans who understood them. And they had “happy” endings, with Godzilla going back home after helping save the surface world for humans, and Kong at an isolated island-size sanctuary.
But happy endings don’t stay happy when there are audiences waiting for the next chapter. Godzilla returns and is not happy. Kong, it turns out, has been under observation in a “Truman Show”-style setting, except that unlike Truman he knew all about it, and has decided it’s time to do something different. He shatters the fake blue sky above the island. Scientist Ilene Andrews (Rebecca Hall) is afraid to have him leave the island because the Titan world does not have room for two alphas; if he and Godzilla meet, there will be a battle, to which we say, duh, it’s the title of the movie and the reason we are sitting through the thin layer of exposition gives us a chance to catch our breath between special effects fights.
As happens more often than not, the real bad guy here is neither monster but the big, bad, corporation, headed by personification of greed and hubris Walter Simmons (Demián Bichir). What he cares about is power, in both senses of the word. AS has an idea he admits is crazy. “I love crazy ideas,” Simmons says. “They’ve made me rich.” AS says that if they can get Kong to lead them to the hollow tunnels where the Titans live, they can take him home and get access to the power source which I think will somehow restore the balance between humans and the Titans but to be honest, the details did not really matter to me or, I suspect to anyone else, including the people who wrote it.
Simmon’s daughter goes along to brag about the capacities of the flying machines her rich father paid for and to play the imperious spoiled girl/Veruca Salt role. You can all but hear her say, “I want it NOW!”
Meanwhile, Godzilla fan Millie Bobbie Brown and a friend join up with Bernie (Brian Tyree Henry) a podcaster who is both paranoid and right in his suspicions about the Big Bad Corporation.
But, as I said, we’re here for the fight scenes, and there are some lulus, including a whole new monster I won’t spoil except to say it gives us the best of both worlds, “Captain America: Civil War” style, allowing for shifting loyalties and therefore different match-ups. Do we care that the “fringe physics” and veterinary science in the film are iffy at best? We do not. The only technology we care about is the CGI that makes that roundhouse punch land with a satisfying pow, and that is just right.
Parents should know that this film has extended fantasy/monster peril and violence with some gory and graphic images. Characters are injured and killed. There is brief strong language and a bathroom joke.
Family discussion: Why was it so difficult for the humans to agree on the best way to treat the Titans? Would you go along with Madison? Why did Simmons believe Lind? Why did Madison believe Bernie? What makes you decide to believe someone?
If you like this, try: “King Kong: Skull Island,” “Godzilla: King of the Monsters,” and some of the more than two dozen earlier films, as well as the “Pacific Rim” films
Posted on March 25, 2021 at 5:39 pm
B| Lowest Recommended Age: | 4th - 6th Grade |
| MPAA Rating: | Not rated |
| Profanity: | None |
| Alcohol/ Drugs: | None |
| Violence/ Scariness: | References to offscreen deaths of parents |
| Diversity Issues: | Christian themes, diverse cast |
| Date Released to Theaters: | March 26, 2021 |
An unhappy teenager gets into trouble and is given a choice: juvie or a week at a Christian summer camp. He takes the second option, planning to run away. But, and I am pretty sure this is not a spoiler, he finds acceptance and hope there and a bit of romance, too. Plus a ton of music. Some of the people behind “High School Musical” (which I unabashedly love, don’t @ me) are behind this one, too, and the musical numbers are filled with “I could do that” accessibility and enthusiasm that makes them especially inviting.
Will (Kevin Quinn) was devastated when his parents were killed in a car accident that he survived. He has no one in his life looking out for him and no direction. The openheartedness and good spirits at the camp connect to him in a way he did not expect, and he is drawn to Avery (Bailee Madison), the daughter of the camp’s director (David Koechner).
The campers are divided into teams that will be competing throughout the week. And there is a campfire, an eating hall where campers are selected to answer questions about who their heroes and crushes are, and is “The Blob,” a huge inflated raft to jump on. I mean, the kids do about three months worth of activities and interactions in one week, but then people don’t randomly break into Broadway-style music numbers, either, so let’s not get picky.
What we do have here is something there just isn’t enough of: genuine kindness. The faith themes are presented very lightly and the primary messages are universal: acceptance, honesty, and connection. Avery, whose mother died some years earlier, talks to Will about “choosing to believe” and the help she gets from her father, making clear that faith and earthly support go together. Insiders and church camp veterans will recognize some of the songs and rhetoric and the Biblical references of the names of the four teams, but newcomers, those of other faiths, and non-believers will either miss them or ignore them. They will catch some movie references, including “Ferris Bueller’s Day Off.” And they will enjoy the exuberance and old-fashioned fun of the cast, clearly having as much fun as the teens they are portraying.
Parents should know that the story includes two teens who discuss the loss of their parents.
Family discussion: Why did Will and Avery respond to loss differently? How did each of the characters learn something about acceptance? What advice would you give George?
If you like this, try: “High School Musical,” “Camp Rock,” and “Ferris Bueller’s Day Off”
Posted on March 18, 2021 at 5:23 pm
B +| Lowest Recommended Age: | High School |
| MPAA Rating: | Rated PG-13 for violence, partial nudity, brief strong language, and smoking throughout. |
| Profanity: | Brief strong language |
| Alcohol/ Drugs: | Drinking and alcoholism, smoking |
| Violence/ Scariness: | Peril and some violence, murder, torture |
| Diversity Issues: | None |
| Date Released to Theaters: | March 19, 2021 |
Oleg Penkovsky (Merab Ninidze) is one of the highest-ranking Soviet officials, a multiply-decorated WWII veteran, with access to the most sensitive secrets of the Soviet military and a growing uneasiness with the volatile, aggressive leadership of Nikita Khrushchev. Greville Wynne (Benedict Cumberbatch) is a smooth-talking British salesman, in every way an ordinary citizen, with no background or interest in espionage. But what he does have is a relatively unsuspicious reason for an Englishman to visit Moscow. Representatives from the CIA (Rachel Brosnahan as Emily Donovan) and MI6 ask Wynne to try to set up some sales meetings in Moscow as cover for bringing back files from Penovsky. “Nothing dodgy, nothing illegal,” they assure him. Not true. “We want you to act like the ordinary businessman you are…If this mission were the least bit dangerous, frankly you’re the last man we’d send.” Also not true. They do warn him that everyone he meets will be spying on him, even some who may be too far to hear what he is saying but who can see him well enough to read lips.
He agrees. Maybe he is patriotic. Maybe he is looking for something more exciting than missing an easy putt to accommodate potential customers. But his business is a good cover. “No matter what the politicians are doing, factories still need machines and machines still need parts.” Penkovsky tells Wynne that there is one important question for anyone wanting to do business in the Soviet Union. “Can you hold your alcohol?” Wynne smiles and we see why he is a good salesman. “It’s my one true gift.”
The Soviets do not intend to do business. They hope to learn enough about British products from Wynne to copy them. And MI6 gives him some hard to get but not classified information to leak to them to bolster his credibility.
“You’re — I think the word is — amateur,” Penkovsky says. But the two men form a kind of friendship. They are both devoted fathers, each with just one child. And they realize that the future for those children may depend on what they are doing.
The script is smart but it is also wise, balancing intimate personal details with the tension of tradecraft. We see the strains on Wynne’s marriage from keeping the secrets, with Jessie Buckley excellent as his wife, especially their meeting after things go badly. Wynne’s last meeting with Penkovsky is heart-rending. Cumberbatch, who also co-produced, gives one of his best performances, as we see Wynne go from almost looking at what he is doing as a bit of a lark to having to call on unimaginable stores of courage and integrity.
Parents should know that this movie includes tension, peril, and some violence, including a man executed in front of his colleagues and torture of prisoners. There is some brief strong language and non-sexual nudity.
Family discussion: Would you accept a mission like Wynne’s? What was his biggest challenge? Who was right about how he should be treated by the British government?
If you like this, try: “Bridge of Spies” and “13 Days”
Posted on March 9, 2021 at 9:13 am
B +| Lowest Recommended Age: | High School |
| MPAA Rating: | Rated PG-13 for some strong language, and thematic material |
| Profanity: | Some strong and crude language |
| Alcohol/ Drugs: | Alcohol and medication |
| Violence/ Scariness: | Tense confrontations |
| Diversity Issues: | Disability issues |
| Date Released to Theaters: | March 10, 2021 |
The beginning of any story — a movie, a play, a book — is like a puzzle. We are hardly aware of all the information we are processing, all the clues we are parsing to let us know who the characters are, where they are, when they are, and what is going on between them. And so, in “The Father,” we quickly come to some conclusions about Anthony (pronounced “An-tony”), played by Sir Anthony Hopkins. His daughter Anne (Olivia Colman) visits him in his apartment to chide him about firing his latest caregiver, as he has her several predecessors, and tells him that he must find a way to get along with his next caregiver because she is leaving London to live with her new boyfriend in Paris.
And then the movie proceeds to undermine almost everything we think we have seen and we gradually realize that we are seeing the world subjectively, through Anthony’s eyes and ears and he is the most unreliable of story-tellers because he is struggling with dementia. Just as last year’s “The Sound of Metal” told us the story of a musician’s hearing loss by letting us hear what he heard, and not hear what he didn’t, “The Father” tells us the story of Anthony’s fading memory by filtering what we are seeing through his ability to process it, so we are as unsure and unsettled as he is.
Everything we bring to the film about forming judgments and drawing conclusions is constantly undermined. Anne is sometimes played by Colman, sometimes by Olivia Williams. Sometimes she is married, sometimes divorced. Sometimes it’s his apartment, sometimes he has moved in with Anne. Sometimes he stands in the hallway, disoriented and lost. Sometimes Anne’s husband barks angrily at him.
A new caregiver (Imogen Poots) comes for an interview and we see Anthony putting everything he has into being charming and capable. He tells her he was once a tap dancer. (He was not.) He offers her a drink and has one himself. He tells her she looks like his other daughter, the one he thinks is still alive (she is not).
Hopkins is made for this role. Only a man of his decades of experience and dedication to meticulously observed and fearlessly vulnerable performances could show us Anthony’s valiant efforts to stay himself, to stay in charge. That makes the final moments, when we are finally returned to our own safe space as objective observers, even more shattering.
Parents should know that this movie concerns dementia and he strain it puts on family as well as the person struggling with memory loss. It includes some strong language, alcohol, and medication.
Family discussion: Does this film make you think differently about what it is like to have memory loss? How are the people in your life helping those who are facing this issue and those who are caring for them?
If you like this, try: “Away from Her,” “Still Alice,” “Still Mine,” “Dick Johnson is Dead,” “The Roads Not Taken,” and “Supernova”
