On the Rocks

Posted on October 22, 2020 at 5:49 pm

B +

Lowest Recommended Age:	High School
MPAA Rating:	Rated R for some language and some sexual references
Profanity:	Strong language
Alcohol/ Drugs:	Social drinking
Violence/ Scariness:	None
Diversity Issues:	None
Date Released to Theaters:	October 24, 2020

I admit that I was about to give up on Sofia Coppola. I admired her early films, “The Virgin Suicides” and “Lost in Translation,” in part because of her exquisite framing and intriguing silences. But her later films made the framing seem precious and the silences seem empty. They were like precisely arranged bento boxes created for display only, beautiful to look at but not very nourishing or flavorful.

But now we have “On the Rocks,” a slight film but with more warmth and a more relaxed tone than her previous work. It’s bittersweet, but it is beguiling. Rashida Jones plays Laura, a writer in New York living with her husband Dean (Marlon Wayans) and two young children, one still a toddler. Dean has been working hard at his job, which requires a lot of travel, and Laura has been feeling neglected, struggling with her writing, and she begins to worry that Dean might be having an affair with the beautiful and a bit intimidating colleague who travels with him (Jessica Henwick and Fiona). While he is traveling the world and making big deals, she says, “I’m just the buzzkill waiting to schedule things.” And then, for her birthday, he gives her a kitchen appliance.

One reason Laura might be suspicious is her father, a charming and utterly unrepentant man about town, who has never been faithful to a partner, including Laura’s mother. But he loves Laura, and thinks the best way for him to help her is to help her follow Dean to find out for sure. She isn’t sure whether it’s better to find out that he is having an affair or finding out he is not having an affair but she has just become boring. “Ehst if we find out he is just busy and I’m in a rut?”

Laura’s father, Felix, is played by Coppola favorite Bill Murray, who worked with her in “Lost in Translation” and “A Very Murray Christmas.” The fun of the movie is seeing Jones and Murray together as they take us to one fabulous Manhattan location after another, to the sounds of the lush score from Phoenix. They adore each other, but there is strain between them. He betrayed her mother — and the woman who came after her, and many others. “Why do women get plastic surgery?” Felix asks Laura. “Because of men like you,” she says. He tells her he prefers women who have not had work done and she says he prefers all kinds of women. When he is stopped for speeding as they are following Dean, he utterly disarms the policeman by telling him he knew the cop’s father and grandfather. “It must be very nice to be you,” she says. He smiles, “I wouldn’t have it any other way.”

The plot barely exists, but like Laura and Felix, it is more about spending time together than answering the question about Dean. “On the Rocks” is like a lighter, sweeter Woody Allen film, a love letter to Manhattan, to music, to fathers and daughters, and to love itself.

Parents should know that the theme of this movie is adultery, including strong language and sexual references.

Family discussion: Why was Laura worried about Dean? Why didn’t she talk to him about her concerns?

If you like this, try; “Midnight in Paris” and “Celeste and Jesse Forever,” written by and starring Rasida Jones

Over the Moon

Posted on October 22, 2020 at 5:11 pm

B +

Lowest Recommended Age:	4th - 6th Grade
MPAA Rating:	Rated PG for mild action and thematic elements
Profanity:	None
Alcohol/ Drugs:	None
Violence/ Scariness:	Fantasy peril, sad death of a parent, themes of dealing with grief
Diversity Issues:	None
Date Released to Theaters:	October 23, 2020

“Over the Moon” is a gorgeous, candy-colored fantasy adventure based on a Chinese myth, with an appealing heroine and some sensitive and child-accessible insights about grief and loss.

Fei Fei (sweet-voiced Cathy Ang) lives happily with her adored parents, who run a food cart specializing in mooncakes, a delicacy enjoyed each year at the Mid-Autumn Festival, inspired by the myths of Chang’e, the goddess of the moon. Fei Fei’s father (John Cho as Ba Ba) wants to explain her about the science of the moon but she would rather hear her mother’s stories of Chang’e, who consumed the elixir of immortality and mourns the loss of her mortal beloved, the archer Houyi.

But Fei Fei’s mother becomes ill, and dies (offscreen). Fei Fei and her father share their grief and take care of each other. Four years later, Ba Ba wants Fei Fei to meet a woman he is seeing, Mrs. Zhong (Sandra Oh), who has an energetic young son, Chin (Robert G. Chiu). Fei Fei is devastated. She feels that she cannot manage any more change and that bringing another woman into their home would be disloyal to her mother. And she decides that if she could just go to the moon and prove to Ba Ba that the legend of Chang’e’s enduring love is real, he will understand that he should, like Chang’e, be devoted forever to his lost love.

Fortunately, Fei Fei has become a STEM-science and engineering student. And so, she builds a rocket ship. Actually, she builds several model rocket ships which all fail. And then she figures out a way to use something that is going on in her town to power the ship enough to take her and her pet rabbit to the moon in search of Chang’e.

But Chin stows away with his pet frog, throwing off the navigation. Things look dire until two glowing magical lions rescue them and take them to the moon, where they do meet Chang’e, who will not help them until they bring her the “gift’ she needs to reunite with Houyi.

Long-time Disney artist (and son of the “Family Circus” comic panel Bil Keane) Glen Keane brings his experience on films like “The Little Mermaid,” “Aladdin,” and “Tangled” to his first film as a director, and we can see the Disney influence in the strong, big-eyed female leads and the Broadway musical-style “I Want” and other character-revealing songs. Chang’e is voiced by “Hamilton” star Phillipa Soo.

There may be a touch of Studio Ghibli inspiration as well, especially when the characters are floating in zero gravity amid a army (that is the collective noun) of giant frogs. The candy colors of the glowing space creatures are like jelly-beans illuminated by LED lights. A highlight of the visuals was the brief hand-drawn images of the Chang’e story.And the faces of the characters are exceptionally expressive, which grounds the story.

Gorgeous images and chases scenes, including one involving giant chickens on motorcycles, make this a visual treat. The Chang’e character is so imperious that it is not easy to appreciate her learning to be better, but a rare storyline for children about grief, and especially about how good feelings and new people in our lives are not disrespectful to those we have lost, gives the film warmth and depth.

Parents should know that this film includes sad (offscreen) deaths including the loss of a parent. There is some mild fantasy-style peril.

Family discussion: Why didn’t Fei Fei want her father to get married again? Why did she change her mind about Chin? What version of Chang’e’s story do you like?

If you like this, try: “Coco” and “Inside Out”

Trailer: The Three Wise Men — Coming for Christmas

Posted on October 22, 2020 at 2:00 pm

This Christmas, an animated family film about the three wise men will be widely available for the first time. With narration from the late Andy Griffith, this film (originally titled “The Very First Noel”) is directed by Yarrow Cheney (“The Secret Life of Pets,” “The Grinch”). The story is told through rhymed narration alongside a soundtrack of holiday carols performed by The Brothers Cazimero from Hawaii. The digital release features a new original song by Jonas Myrin, a Grammy Award-winning songwriter.

“Making the film was such a personal experience for so many of us,” said the Cheneys. “And now fourteen years later it’s thrilling to know our three wise men are about to reach Bethlehem and a new audience. We hope it will bring joy to the world!”

The Witches (2020)

Posted on October 22, 2020 at 12:00 pm

Lowest Recommended Age:	4th - 6th Grade
Profanity:	Some schoolyard language
Alcohol/ Drugs:	Magical potions
Violence/ Scariness:	Extended comedy/fantasy peril, children and witches transformed into animals, sad death of parents in auto accident
Diversity Issues:	Diversity issues of the era briefly referred to
Date Released to Theaters:	October 22, 2020

The witches are back. First there was the the 1963 book by Roald Dahl (author of Charlie and the Chocolate Factory, James and the Giant Peach, the BFG, Matilda, and some creepy stories for grown-ups, too). Then there was the 1990 movie, starring Angelica Huston (and making a significant change to the ending). And now, CGI fantasy-master Robert Zemeckis (“Forrest Gump,” “Back to the Future”) gives us his version, starring two Oscar-winners and co-written with Kenya Barris of “Black-ish” and “Girls Trip.”

“Witches are as real as a rock in your shoe…They’re here and they live amongst us,” the narrator immediately identifiable as Chris Rock tells us. And “witches hate children. They get the same pleasure from squishing a child as you get from ice cream with butterscotch sauce and a cherry on top.”

Then we go back in time to 1968. The setting of the book and the first movie has been moved from Norway and England to a Black community in Alabama. Jahzir Bruno plays the unnamed boy whose parents are killed in an automobile accident in the first few minutes. His grandmother (Octavia Spencer) comes to get him. He’ll be living with her, in the house where his mother grew up. He describes her as “quick to give you a spanking if you deserved it or a hug if you need it.” She comforts him. And when he has a scary encounter with a gloved woman in a hat who offers him candy, she starts to tell him what she knows about witches.

She had her own encounter with a witch as a child, when one turned her best friend into a chicken. And so, to keep him safe, she takes him to a grand hotel. Unfortunately, it turns out the hotel is also hosting a convention of witches, led by the Grand High Witch (Anne Hathaway, relishing the opportunity to vamp up a storm).

One element of the story that has not aged well is the way it dwells on the physical deformities of the witches, bald, with scabby scalps, huge, gaping mouths, claw hands, and no toes. Even though the witches are not human, the association of disabilities with evil is less palatable than it once was. (Anne Hathaway has apologized for the insensitivity of this portrayal.)

Zemeckis sometimes gets so caught up in the visual effects that he overlooks the story, but here the visuals are almost entirely in service of the story, especially after the boy is turned into a mouse (which, adorably, he quite likes) and we get to see things from his angle. Dahl’s story provides a strong foundation, and Spencer, who could easily have phoned in a role like this, gives it her substantial all. I’d still give the 1990 version the edge, but it is good to see the original ending restored and this is a worthy Halloween treat.

Parents should know that this film has fantasy peril and violence and some disturbing images. A child’s parents are killed in a car accident. Children are turned into mice. Witches have physical deformities including huge, scary, gaping mouths. There is some schoolyard language and there are understated references to racism of the era.

Family discussion: Why did the boy like being a mouse? What was the scariest moment in the movie? Why do the witches do what the Grand High Witch tells them?

If you like this, try: the 1990 film with Angelica Huston and the book by Roald Dahl, as well as the movies based on his other books, including “Matilda,” “Willy Wonka and the Chocolate Factory,” “James and the Giant Peach,” and “The BFG”

The Trial of the Chicago 7

Posted on October 15, 2020 at 3:40 pm

A-

Lowest Recommended Age:	High School
MPAA Rating:	Rated R for drug use, bloody images, language throughout, and some violence
Profanity:	Constant very strong language
Alcohol/ Drugs:	Drugs, alcohol
Violence/ Scariness:	Historical violence including riots, references to Vietnam War
Diversity Issues:	A theme of the movie
Date Released to Theaters:	October 16, 2020

They say that history doesn’t repeat itself, but it rhymes. And that is how “The Trial of the Chicago 7,” based on events that occurred in 1968-69 and in development as a film more more than a decade, seems to have been made for exactly this moment of the fall of 2020. In an interview, Aaron Sorkin, first brought it to write the script by Steven Spielberg in 2006, said that he did not change a word. But he acknowledged that the world moved much closer to the issues in the film, based on the anti-Vietnam War demonstrations at the 1968 Democratic convention in Chicago that led to riots, with then-mayor Richard J. Daley telling the police to “shoot to kill” and calling in the National Guard.

A year later, eight of the leaders of the protest were indicted for conspiracy and incitement to riot. The seven white defendants were represented by the activist lawyer William Kuntsler and Constitutional law expert Leonard Weinglass. The sole Black defendant, Bobby Seale, who was only in Chicago for four hours during the convention, was represented by civil rights attorney Charles Garry, who was in the hospital. Seale asked for a delay until his lawyer could be there, and the autocratic judge, Julius Hoffman (Frank Langella), clearly and vocally affronted by the protesters and their disrespect for authority, refused. Kunstler and Weinglass offered to represent him until Garry recovered, but he refused. Later, his case was separated from the others, which is why it is still known as the Chicago 7 trial.

The opening of the film is a master class on how to introduce a large group of central characters. The leaders of each group talk about their hopes and plans for the convention. Lyndon Johnson, whose decision not to run for re-election was in part due to increasing national opposition led to the nomination of his Vice President, Hubert Humphrey, as the Democratic candidate. Many people thought there was no real difference between Humphrey and Johnson and between Humphrey and the Republican candidate, Richard Nixon. This was the era of the “generation gap” as the baby boomers came of age wanting to see major changes in the treatment of what were still referred to as minorities, poor people, and women. But the different groups had very different ideas about how to be effective. Sorkin very effectively showcases the arguments for incremental vs. drastic change, for working within the system to replacing it with a better system.

Langella captures the frustration of a man who believes in the rules that got him where he is and fears that they all collapsing, with him all that stands between order and anarchy. Redmayne is perfect as the thoughtful, studious, thoroughly decent Hayden, and Cohen accomplishes the difficult balancing act of not turning the other Hoffman (the judge seems to take it very personally that they share a name) into the cartoon he sometimes seems to wish to be. Yahya Abdul-Mateen II gives Seale enormous courage and dignity and rising star Kelvin Harrison, Junior continues to impress with his performance as Chicago Black Panther leader Fred Hampton (whose murder is the subject of another rhymes with history 2020 movie, Judas and the Black Messiah). Also exceptional are Mark Rylance as Kuntsler (perhaps more thoughtful and even subdued than the real-life attorney) and Michael Keaton in two scenes as former Attorney General Ramsey Clark.

Sorkin continues to be the best there is with elevating the dialogue just enough that we can almost imagine real people might be that intelligent and articulate and, well, decent. In any year, this film would be outstanding. But as it arrives on what Sorkin called “a collision course with history,” it is both a cautionary tale and a guiding light out of the darkness.

Parents should know that this film includes constant very strong language, some drug use and alcohol, and historical peril and violence, including riots and references to the Vietnam War.

Family discussion: Which of the defendants best represents your view of tactics and communication strategies? What parallels do you see between this trial and the issues people are concerned about today? What are the most significant achievements from the 1968 protests?

If you like this, try: the animated documentary about the trial, “Chicago 10: Speak Your Peace,” Haskell Wexler’s “Medium Cool,” a fictional story filmed at the 1968 Democratic convention, with real scenes of the protest.