Forever My Girl

Posted on January 18, 2018 at 12:39 pm

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG for thematic elements including drinking, and for language
Profanity:	Some mild language
Alcohol/ Drugs:	Drinking and alcohol abuse, reference to drugs
Violence/ Scariness:	Sad death, scene in hospital, child in peril
Diversity Issues:	None
Date Released to Theaters:	January 19, 2018

Well, there is a brief song by Travis Tritt. And actor Alex Roe is personable and engaging even in the preposterously imagined role of Liam Page, a country singer whose every moment is obsessed over by zillions of fans and all of the magazines sold at grocery store checkout counters. But that can’t make up for the syrupy Nicholas Sparks wannabe storyline, clunky dialogue (we are told three times in the first seven minutes that hometown boy Liam is on the brink of stardom) and the excruciatingly chirpy child at its heart.

Liam Page runs out on his wedding, leaving Josie (Jessica Rothe) in their Louisiana hometown and going off to pursue a career in music. Eight years later, he is is a country superstar, performing in arenas and chased by fans as though he is a Beatle. A would-be groupie accidentally breaks his vintage cell phone, and he runs to the store barefoot offering $10,000 to get it repaired. Under the duct tape and the bent antenna there is a voicemail he just cannot lose (or, apparently, download to another phone). This is, of course, documented by fans on their (up to date) cell phones and a major news story.

Liam is a mess, drinking too much, behind on the songs he owes his record label. When he finds out that his hometown best friend has been killed in an accident, he returns, to stand outside the church during the funeral, unable to bring himself to go inside. He gets a grim greeting from the preacher, who is his father, and a punch in the stomach from Josie. But it turns out that Josie has a seven year old daughter, and it does not take a math whiz to figure out that Billy (Abby Ryder Fortson) unfortunately conceived as 90 percent precocious sass with gratingly quippy commentary about the “stats on surviving an accident in a convertible — they are low, staggeringly low.” “What happened to Mom’s rose garden?” Liam asks his father in case we are missing the metaphor. Don’t worry, no one possibly could.

The town (Georgia playing the part of Louisiana) is like the setting for a Hallmark channel Christmas movie starring Hannah Montana, with twinkly lights and bustling businesses on Main Street, and just filled with good neighbors who are endlessly supportive and kind and unanimous in their rejection of the hometown boy who jilted Josie. We know where this is all going, but it is still jarring when Josie goes from a Taylor Swiftian “we are never ever getting back together” to “I want to go on a magical superstar date!”

Listen, Nicholas Sparks is already Nicholas Sparks lite. You can’t really take it any further or, I should say, make it more shallow than that. Pretty people with pretty problems will always be playing on a screen somewhere, but this one is better suited for watching while folding laundry.

Parents should know that this film includes drinking and alcohol abuse, reference to drug use, sad parental death, offscreen fatal accident, mild references to groupies and pregancy, and some language.

Family discussion: Why did Liam leave Josie? Should she forgive him? Why?

If you like this, try: “The Resurrection of Gavin Stone,” “The Lucky One” and “Dear John”

The Shape of Water

Posted on December 7, 2017 at 3:37 pm

A-

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated R for sexual content, graphic nudity, violence and language
Profanity:	Strong language
Alcohol/ Drugs:	Alcohol, smoking
Violence/ Scariness:	Intense and graphic violence, peril, torture, murder
Diversity Issues:	A theme of the movie
Date Released to Theaters:	December 9, 2017
Date Released to DVD:	March 12, 2018

There is some reassuring symmetry in the cinematic bookends that gave us “Beauty and the Beast” in January (the highest-grossing film of the year), a “Beauty is the beast” film with the mid-year’s “Colossal,” and now, in December, another variation with Guillermo del Toro’s enthralling R-rated fairy tale, “The Shape of Water,” which was awarded the 2018 Oscars for Best Picture and Best Director.

Sally Hawkins is luminous as Elisa Esposito, a custodian in a secret government lab during the cold war era. Her closest friends are her chatty, unhappily married colleague Zelda (Octavia Spencer) and her neighbor Giles (Richard Jenkins), an anxious, cat-loving, old-movie-watching, out-of-work illustrator. They are the only two people who can communicate with Elisa. She can hear but is mute due to a childhood injury, and uses via American Sign Language.

The film is as gorgeous as any enchanted tale could wish, with a green-blue color palette that evokes the sea and old-school, analog equipment in cavernous rooms and huge, clanking equipment harking back to early horror classics like “Frankenstein” and “Creature from the Black Lagoon” (the later of which del Toro acknowledges as inspiration), with a nod to princess in the castle stories as well.

Elisa discovers one of the lab’s biggest secrets. Strickland (Michael Shannon) a harsh, brutal, “collector,” has captured and brought back to the lab a creature he discovered in the Amazon, a gilled, scaley human-shaped reptilian (played by del Toro regular Doug Jones) who has two separate breathing systems, one for air, one for water. He has some other unusual qualities, which Strickland is not learning much about because he mostly zaps the creature with a cattle prod to “tame” him. Elisa shares her hard-boiled eggs with the creature, and then some music, and then some words, as he begins to learn her language. As we will see, there are parallels between them that make them seem almost like star-crossed lovers kept apart only because they are of different species. Elisa is an orphan who was found not on a doorstep but in the water. The scars on her throat from the abuse that cost her her voice look like gills. Most important, she believes the creature is the only one who sees her as whole, complete, not missing anything.

There is a scientist at the lab named Hoffstetler (Michael Stuhlbarg), who has a secret of his own. There are other people who want to steal the creature and people who just want to kill him because it is more important to keep him away from the enemy than to learn more about who he is and what he can tell us about who we are. Of course, the way we treat him tells us a lot about who we are.

The story capaciously encompases a fairy tale romance with spies, the Cold War, the Civil Rights movement, a heist, and a musical number without, well, losing a step, thanks to del Toro’s ability to create cinematic magic. Hawkins is, as she was in “Maudie” earlier this year, exquisitely able to create a character of fierce intelligence and the kind of gentleness that is grounded in moral courage. Instead of subtitles in white at the bottom of the screen, her words are depicted in yellow letters floating around her, her face communicating as clearly as her hands. The movie is bracketed with images of Elisa floating. By the end, the audience will feel we are floating as well.

Parents should know that this movie includes some elements of horror with graphic and disturbing images, peril, and violence, including torture, sexual references and situations, strong language, smoking and drinking.

Family discussion: How are Elisa and the creature alike? How are Hoffstetler and Strickland different? Why does Giles change his mind?

If you like this, try: “Colossal” and “Pan’s Labyrinth”

Breathe

Posted on October 19, 2017 at 5:50 pm

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for mature thematic material including some bloody medical images
Profanity:	Some strong language
Alcohol/ Drugs:	Drinking and drunkenness, smoking
Violence/ Scariness:	Severe illness, medical situations with some graphic images, issue of assisted death
Diversity Issues:	A theme of the movie
Date Released to Theaters:	October 20, 2017
Date Released to DVD:	January 1, 2018

“Plucky or pitiful?” a man asks his wife as they drive toward a grand British estate to beg for funding to provide wheelchairs for the severely disabled. They meet with a crusty old aristocrat (Diana Rigg, always a treasure) who says that normally she has no trouble turning people down but she feels she must say yes to them. And, because they are so dashed plucky, so do we.

Robin Cavendish called himself a “responaut,” a jaunty, adventurous term for a man who was completely paralyzed by polio in his 20’s. And this jaunty, adventurous, paralyzed man’s story is told, perhaps a little too lovingly, by his filmmaker son in “Breathe,” about Cavendish, who revolutionized the mobility and accessibility of the severely disabled in mid-century Britain.

But this film is less about his activism than it is about his love story. Robin (Andrew Garfield) married Diana (“The Crown”), and their unswerving devotion and determined spirits are the heart of the film.

Like “The Theory of Everything,” which it resembles, the movie opens with our hero doing something active. He races along in a car and then swings a cricket bat, trying to catch the attention of the bored beauty sitting by the tea table. Soon they are married and off to Kenya, where he is a tea broker and she goes along with him for the fun of it. They are blissfully happy until, just after she tells him she is pregnant, he becomes very ill with polio, paralyzed from the neck down, and given just three months to live.

She manages to get him back to England, where he is put in a ward with other paralyzed men. He cannot speak. He cannot move. He cannot think of any reason to see Diana or the baby or to try to live. When a priest comes by with platitudes, he manages to spit at him.

But Diana’s devotion and his restored ability to speak inspire him to insist on going home. Nothing like that has ever been tried before and the doctor in charge forbids it. Another patient bets him a fiver that he won’t last. But he does. And he works with a friend to invent a wheelchair with a respirator that gives him mobility.

First-time director Andy Serkis (the motion capture actor from “Planet of the Apes” and “Lord of the Rings”) has a disarmingly light touch. The escape from the hospital is accompanied by the kind of musical score we might expect in a heist film with more humor than tension. Plus, if there’s anything better than one Tom Hollander in a movie, it is two Tom Hollanders, utterly charming playing Diana’s affectionate but eccentric twin brothers. Most of the dialog is delivered with an understated smile, the kind of “Hullo, darling,” we used to get in movies of the 1930’s. I found that endearing. This is very much a love story, not just between Diana and Robin but between a son and his parents.

Parents should know that this film includes severe illness and paralysis, some graphic and disturbing images, some sexual references and situation, and the issue of assisted death.

Family discussion: What made Robin different from the other patients? Do you agree with his decision about when to die?

If you like this, try: “The Theory of Everything” and “The Intouchables”

The Mountain Between Us

Posted on October 5, 2017 at 5:48 pm

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for a scene of sexuality, peril, injury images, and brief strong language
Profanity:	Brief strong language
Alcohol/ Drugs:	Social drinking
Violence/ Scariness:	Extended peril, plane crash, animal attack, characters injured and killed, disturbing scenes
Diversity Issues:	Diverse characters
Date Released to Theaters:	October 6, 2017
Date Released to DVD:	December 26, 2017

A surgeon named Ben (Idris Elba) and a photojournalist named Alex (Kate Winslet) have to find their way home after a charter plane crashes in the Colorado Rockies. Both of them were stuck at the airport after their flight to Denver was cancelled and both had an urgent need to get to their destinations as quickly as possible. He was scheduled to perform a critical brain operation on a child. She was on her way to her wedding after completing an assignment taking pictures of gang members. So Alex introduces herself to Ben and finds a pilot (Beau Bridges) who agrees to take them. When he tells them he didn’t have to file a flight plan because they were only going to be in the air during daylight, they might have shown some concern. But they were in a hurry. In fact, they were in so much of a hurry that neither one of them told anyone what they were doing either.

So when the pilot has a stroke and the plane crashes at the top of a mountain, no one knows where they are. They have almost no equipment and even less food. They do have the pilot’s dog. Kate is wounded, but Ben handily applies first aid, including a custom made splint fashioned from airplane shrapnel. As she is sleeping, he buries the pilot and assesses their situation.

The location footage is gorgeous and beautifully filmed. But the script, based on the book by Charles Martin, is so soapy you could wash a week’s laundry in it, with much more focus on the artificial differences (despite her injury, she wants to take action while he thinks it is safest to stay where they are) and under-imagined peril. What we want to see is the brave and clever ways they solve the problem of survival. What we get is bickering, hurt feelings, a non-surprising revelation, and a romantic encounter, with a coda that turns the whole adventure into a meet cute. Elba and Winslet don’t have much chemistry, in part because her character is immature and reckless, not nearly as charming as the movie thinks she is. Their conversations are not especially revealing or illuminating for them or for us. What should be an inspiring story becomes a weary slog.

Parents should know that this film includes constant peril, with a scary plane crash in the mountains, animals, ice, deprivation, a bear trap, characters injured and killed, some disturbing images, sexual references and situation, brief strong language

Family discussion: How did Ben and Alex rely on their professional skills in evaluating their options? What were their biggest differences?

If you like this, try: “Touching the Void,” “127 Hours,” and “K2”

Our Souls at Night

Posted on September 21, 2017 at 1:29 am

B +

Lowest Recommended Age:	High School
MPAA Rating:	Not rated
Profanity:	Mild language
Alcohol/ Drugs:	Alcohol, drunknenness
Violence/ Scariness:	Sad death, family troubles
Diversity Issues:	None
Date Released to Theaters:	September 29, 2017

Our Souls at Night was the last novel written by best-selling author Kent Haruf, published after his death, and it has an elegiac quality. The film, the fourth pairing of Robert Redford and Jane Fonda and the first in 38 years, has a rare quality in film, quiet grace. Movies love to tell us the story of young love, impetuous, volatile, and thrilling. But there is something even more moving about last love, the love that happens when you are old enough to understand how precious it is and old enough to know how foolish it would be to waste any more time.

Addie (Fonda) and Louis (Redford) are longtime neighbors. They know each other a little in the way people in small communities do. He was her daughter’s teacher. Both widowed, they have been living alone. And then, one night, she knocks on his door to ask him a question: would he like to come over to her house and sleep with her? Not sex, she assures him quickly. It’s just lonely in bed, and it would be nice to have someone to talk to at the end of the day.

He asks for time to think about it, and then says yes, coming over to her house with his pajamas in a paper bag and going to the back door to keep the neighbors from gossiping. They get to know one another, in simple, spare, but profoundly honest conversations about their most painful experiences, told without rancor and told with a simple generosity of spirit.

When Addie’s young grandson comes for an unexpected visit, she and Louis become even closer as they give the boy a chance to open up. They have an idyllic moment, almost as though it is a second chance for them to correct the mistakes they made in their first families, and learning more about each other through him. Then other ties and complications return.

It is a joy to see these two marvelous actors with their chemistry undimmed, performers with a deep understanding of craft and a deep trust in each other, take on these roles. Like the characters they are playing, they are beyond pretense, with the sureness of experience and the joy of cherishing each moment that only comes with age.

Parents should know that the film has references to sad and difficult family situations including the death of a child. Characters drink and one drinks too much. There are sexual references and a non-explicit sexual situation and characters use some mild language.

Family discussion: Why does Addie pick Louis? Why does Louis say yes?

If you like this, try: “On Golden Pond” and “Barefoot in the Park”