11th Hour

Posted on August 20, 2007 at 12:22 pm

Leonardo DiCaprio has produced a thoughtful, important film about a vitally important subject, the devastating impact of industrial development on the fragile environment. He has assembled an impressive collection of scholars and world leaders to emphasize the precariousness of the situation and the urgency of action to reverse the effects of human opportunism and greed, to change our idea of “progress” from growth and acquisition to sustainability and respect for the fragility of the environment that sustains us.


He is so concerned about not being overly alarmist or controversial that it is all a bit too stately. DiCaprio and his experts are specific and vivid when talking about the “infected organism” our environment has become, where “every system is in decline and the rate of decline is increasing….There isn’t one living system that is stable or improving.” But when they talk about the failures of our institutions to consider the long-term effects, they get vague. They briefly point to corporations and government. This is where he needed Al Gore to come in with some Powerpoint, or better yet, Michael Moore to name names and show exactly who got how much money from lobbyists for which companies.


The movie’s greatest strength is its breadth of compelling participants. They do more than describe our failures and the damage we have done. They question our assumptions, our smug certainty that nature exists to serve humans and will be eternally replenished. They explain that the uniquely human ability to think about and affect the future has created this problem; but that it can also help us to recognize and solve it. And they provide assurances that all the technology we need is already available; all it takes is the will.


Each of them has an important lesson to teach. Perhaps the one that is by iteself the reason for every middle- and high-schooler to see the film is this quotation from Eric Hoffer: “We can never have enough of that which we really do not want.”

Parents should know that some of the images and themes of this movie may be disturbing to audience members. Scenes of environmental degradation and damage, including brief footage of an animal being killed, and descriptions of potential consequences that could include extinction are intended to be provocative. Even though they are presented as a call to action and there is reassuring material about choices that can make a difference, it may be very upsetting.


Families who see this movie should visit the movie’s website to learn more about the scientific data on climate change and the technologies that can make a difference.

Families who appreciate this movie will also appreciate An Inconvenient Truth, Who Killed the Electric Car?, Koyaanisqatsi – Life Out of Balance, and The Future of Food.

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Documentary Environment/Green

The Nanny Diaries

Posted on August 14, 2007 at 1:55 pm

C
Lowest Recommended Age: Middle School
MPAA Rating: Rated PG-13 for language.
Profanity: Some strong language
Alcohol/ Drugs: Drinking
Violence/ Scariness: Emotional turmoil and confrontations
Diversity Issues: Economic, racial, and cultural diversity
Date Released to Theaters: 2007

Oh, we all love to feel superior to rich people, don’t we? It makes us feel so nice and smug. They may have the fancy apartments and couture, but we have a lock on authenticity and unpretentiousness, right? That’s what “The Nanny Diaries” wants to tell us, anyway. Its talented cast and some inspired visuals cannot enliven a superficial story.


Annie (Scarlett Johansson) has just graduated from college with a degree in business. Her mother, a nurse, wants her to get a job on Wall Street. But she bungles the interview. Later, in Central Park, a wealthy woman referred to only as Mrs. X (Laura Linney) from Manhattan’s tony East Side offers her a job as a nanny. No one on Wall Street may be interested in her, but she learns she is “the Chanel bag of nannies,” the ultimate accessory, because she is white, single, and has a college education.


She tells her mother she took the Wall Street job, but moves into the luxurious East Side apartment to take care of Grayer (Nicholas Art). It turns out that Mrs. X expects Annie the nanny to do everything from preparing French food for Grayer to help him with his study of the language to photocopying his recommendations for the fancy school he is applying to, come to a 4th of July party dressed as Betsy Ross, pick up the dry cleaning, and pretty much be on duty 24/7. Mrs. X organizes galas to raise money to help children and goes to elegant functions to discuss child development issues, but she never has time for Grayer. When Grayer runs ahead of her in the park, she says, “Forgive my feral child.” Her favorite accessories are shopping bags from luxury retailers filled with lots of new accessories. She wears headbands. She all but purrs about the luxuries she will rain down on Annie if she becomes their nanny, making it sound as though Annie will become part of the family. But then she is imperious, neglectful, and remote and hides a security camera in a teddy bear to spy on her.

And then there is Mr. X (Paul Giamatti), whose job in the movie is to be much too busy to spend time with Grayer or Mrs. X. His only concern about Grayer is that he get into the most prestigious school. He barks “I’m just trying to earn a living!” when anyone asks him to pay attention to his family, and, of course, he is having an affair with some financial ace from the office and trying to exercise droit de seigneur on the poor righteous nanny.


Director/screenwriters Shari Springer Berman and Robert Pulcini of the brilliantly innovative American Splendor seem to believe that a studio movie has to play it safe and the result is predictable and dull. Though Linney portrays the desperation behind Mrs. X’s behavior, the Xes are stereotypes and caricatures, the plot developments are sitcom-ish, and despite her claims that she cannot leave because of her devotion to the child, there is no chemistry at all between Annie and Grayer. Chris Evans (“The Fantastic Four”) makes a good impression as the “Harvard Hottie” who lives downstairs, and singer Alicia Keys has a lovely, natural quality as the obligatory Best Friend (with the obligatory Gay Roommate). There are hints of worthwhile issues about race and class, the pressures of conformity, materialism, competitiveness, and snobbery, and conflicts between home and work. But all of that was far more deftly handled in one brief segment of Paris Je T’Aime than in all of this movie’s hang-wringing about the oppression of the working class by the Marie Anoinettes of the Upper East Side.

Parents should know that this movie deals with issues some audience members may find disturbing, including marital problems, adultery, and sexual harassment. Characters drink, smoke, and use some strong language. There are emotional confrontations and references to divorce and death of a parent.


Families who see this movie should talk about how different families and different cultures have different ideas about raising children. They may also want to talk about the pros and cons of the child care arrangements in their own families and the importance of treating everyone with kindness and respect.


Families who enjoy this movie will also enjoy The Devil Wears Prada and nanny classics like Mary Poppins and Mrs. Doubtfire. The red umbrella logo has been re-obtained by its original company, Traveler’s Insurance, and will be appearing in their new ads.

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Comedy Drama Movies -- format

Underdog

Posted on August 2, 2007 at 11:49 am

C
Lowest Recommended Age: Kindergarten - 3rd Grade
MPAA Rating: Rated PG for rude humor, mild language and action.
Profanity: Some schoolyard language
Alcohol/ Drugs: None
Violence/ Scariness: Comic/cartoon violence and peril, scary-looking scar, bad guys bashed but no one seriously hurt
Diversity Issues: None
Date Released to Theaters: 2007

There may be no need to fear now that Underdog is here, but there is no reason to feel very happy, either. This live-action adaptation of the 1960’s animated television show substitutes special effects for satire.


The animated series was a gentle parody of the superhero genre, with perennial milquetoast Wally Cox providing the very unheroic voice talent for the shoeshine dog who popped power pills and spoke in rhyme.


This version is a boy-and-his-dog story, alternating between crude humor and synthetic sentiment. Perennial slacker Jason Lee (“My Name is Earl”) provides the speaking voice for a sad-eyed beagle who is drummed out of the K-9 corps for making too many mistakes. Consigned to be the subject of experiments in the lab of mad scientist Simon Barsinister (Peter Dinklage of The Station Agent), the beagle creates chaos trying to escape. The lab is destroyed, but not before the dog is exposed to the doctor’s experimental fluid, which gives him superpowers, including the ability to speak and to fly.


Cop-turned-security guard Dan (Jim Belushi), takes him in, names him “Shoeshine,” and gives him to his estranged son Jack (Alex Neuberger). Jack is thrilled with what Shoeshine can do and helps him become the superhero known as Underdog.


The special effects are technically adept. The screenplay, however, is not. It relies heavily on doggy-doo humor and smart-alecky comments comparing humans and animals, adding in a clumsy reference to Lady and the Tramp and, even a sort of “Norma Rae” moment when Underdog pauses in the middle of a confrontations to invite the worker dogs of the world to unite. Dinklage has fun with Barsinister’s grandiosity and the ever-reliable Patrick Warburton gives what he can as the sidekick. But the he father-son reconciliation is listless and the rest of the movie is bland, tepid, and dull. If only Underdog’s superpowers included the ability to fetch a better script.

Parents should know that the movie has a lot of comic/cartoon violence. The bad guys are bashed, characters are in peril, one character has an ugly scar, and at one point it appears that a major character has been killed, but no one is seriously hurt. There is a reference to loss of a parent. A student forges a note to get out of school. Characters use some schoolyard language and there is a significant amount of potty humor. Shoeshine makes a joke about mistaking a boy dog for a girl dog and there is some boy-girl humor. There is a nod to the movie’s origins as a way to promote General Mills with some product placement of the company’s cereals.

Families who see this movie should talk about why it was hard for Jack and his father to talk to each other. What did Jack like most about Shoeshine? Why did Con want to be Dr. Barsinister’s partner? Who can you think of who could be called an underdog?

Families who enjoy this movie will also enjoy the cartoon series, Firehouse Dog, Good Boy!, and Cats & Dogs.

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Action/Adventure Comedy Family Issues Movies -- format

Hot Rod

Posted on July 31, 2007 at 12:09 pm

C
Lowest Recommended Age: High School
MPAA Rating: Rated PG-13 for crude humor, language, some comic drug-related and violent content.
Profanity: Strong and crude language
Alcohol/ Drugs: Drinking, smoking, hallucogenic drug use
Violence/ Scariness: Comic violence and peril, no one hurt
Diversity Issues: None
Date Released to Theaters: 2007

Even when this movie is at its dumbest, and that is very, very dumb indeed, even when it launches, or, I should say, lurches, into its umpeenth attempt to find humor in having its main character get beat up/crushed/knocked over or act like a 12-year-old around the girl he has a crush on, somehow, we still keep rooting for it because Andy Samberg is funny. Even his hair is funny.


Reportedly this was originally written for Will Ferrell and then someone realized that even the energetic Ferrell could not possibly make a silly movie about every loser who every tried any sport, so it was turned over to the latest “Saturday Night Live” breakthrough, Lazy Sunday‘s Samberg, who adapted it, with the friends he’s been working with since childhood, for his rather more surreal sensibilities.

This is the story of Rod Kimble, a would-be stuntman who does not seem to notice that he never successfully completes a stunt (the Ferrell part). He goes to the woods to “punch-dance out my rage,” has an extended exchange with his half-brother that consists entirely of their saying “cool beans” to each other and celebrate by popping bubble wrap. And Rod’s question for the girl of his dreams (Isla Fisher as Denise) is who would win a fight between a grilled cheese sandwich and a taco. This is the Samberg part.

Her well-reasoned response? “The grilled cheese, but only in a fair fight. If it’s prison rules, I’d pick the taco.” Clearly, they are destined to be together. And then there’s a cameo appearance by a character in a Dickens novel.

These dementedly random moments make up for some of the more sluggish, thuggish elements. When Rod falls down a mountain, he really falls down the mountain in a scene that is hilariously prolonged. But too much of the movie is just seeing Rod get beaten like a pinata (literally). If you think it is funny to see someone get beat up many, many times, to hear that crunch of bone on bone, to see a man beg for the respect of his stepfather (Ian McShane) only to be told it will not happen until he defeats him in a fight, to see Sissy Spacek wander around in a daze, probably because she cannot figure out what she is doing in this movie, to see adult males act like 12-year-olds around women and refer to the “boner police” — if you can understand the references in a Nickelback joke, AND if you think there is such a thing as a Nickelback joke, and only then, you might enjoy this film.

Parents should know that this movie has brief strong language (one f-word), many crude words and some sexual references, homophobic insults, vulgar humor, a brief scene of dogs having sex, constant comic cartoon-style violence (no one hurt) including domestic violence, drinking, including buying liquor to respond to disillusionment, smoking, hallucinogenic drug use, and potty humor.


Families who see this movie should talk about why Rod felt he had to prove himself? Why did Denise like Rod? What does it mean to sell out? This movie was made by three people who have been making funny movies together since they were kids -– would you and your friends like to try to make a movie?

Families who enjoy this movie will also enjoy Blades of Glory and Wayne’s World.

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Comedy Movies -- format

The Simpsons Movie

Posted on July 31, 2007 at 12:05 pm

B+
Lowest Recommended Age: Middle School
MPAA Rating: Rated PG-13 for irreverent humor throughout.
Profanity: Some vulgar language
Alcohol/ Drugs: Drinking, smoking, drug humor
Violence/ Scariness: Cartoon peril and violence
Diversity Issues: None
Date Released to Theaters: 2007

“I can’t believe we’re paying to see something we get to see on TV for free. Everyone in this theater is a giant sucker, especialy YOU.” And thus, Homer Simpson lets us know that he’s onto us, as he has been for 18 years. “The Simpsons,” television’s longest-running primetime animated series in history, and the longest running sitcom currently on primetime, has now become a movie and people are paying to see something they get to see on TV for free. And it’s worth it.


I am sure there are Simpsonologists out there who are already parsing and disescting every element of this film and scholars working on an annotated version in preparation for Cultural Studies dissertations.

Parents should know that this film includes some vulgar humor, including brief cartoon nudity, drug humor, cartoon violence, scenes in bar, a child drinking liquor, characters in peril, and some crude language.


Families who see this movie should talk about why Bart thought he might like to have Ned Flanders as his father. Why did Marge decide to leave Homer? Why did they change their minds? What can kids in your community do to help protect the environment?

Families who enjoy this movie will also enjoy the television series and Groening’s other series,
Futurama.

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Animation Comedy Movies -- format
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