“Beyond the Lights” is a welcome return to the grand traditions of movie romance, with sizzling chemistry between gorgeous, fabulously charismatic stars Gugu Mbatha-Raw and Nate Parker. And it also has some very astute insights about family, ambition, and the pressure put on young women, especially those in the performing arts, to present themselves as sexually provocative and available.
Minnie Driver plays Macy Jean, a ruthlessly ambitious stage mother who sees her talented young daughter, Noni, as her ticket out of poverty and powerlessness. We first see them at a singing competition when Noni is a little girl (India Jean-Jacques). Her performance of Nina Simone’s “Blackbird” gets her a trophy that her mother smashes to the ground because she did not come in first. Then Noni is grown up (Mbatha-Raw), singing and dancing in a steamy music video, featuring a successful rapper named Kid Culprit (Richard Colson Baker, aka Machine Gun Kelly). Macy Jean is pushing Noni hard to do whatever it takes to become a star, and she is on the brink of a breakthrough, with an upcoming television appearance that should launch her into superstardom.
But in the midst of all of this sound and fury, Noni feels lost. The image her mother has created for her is so overpowering that she does not know who she is anymore. She is a singer with a million-dollar voice, but she is also a person who feels that it belongs to someone else, that she is lost somewhere beneath the glitter and fakery. Alone in her hotel room, she goes out the window and sits on the ledge, contemplating allowing herself to just fall off.
She is rescued by a cop assigned to her security detail. His name is Kaz (Parker) and he grabs her hand and looks into her eyes. He says “I see you.” And she believes he does.
Of course, the incident is spun for the press. “We’re selling fantasy here, and suicide ain’t sexy.” Noni jokes about the risks of combining champagne and stilettos and poses with her handsome savior. But Kaz did see Noni. He saw her the way she wanted to be seen. And she saw him, too.
Kaz has a demanding parent, too, a father (Danny Glover) who wants him to run for office, and knows that Noni is not first lady material.
Writer-director Gina Prince-Bythewood (“Love and Basketball”) keeps the love story glamorous but never soapy, through the subtle, moving performances by Mbatha Raw and Parker, and a script that respects the characters, with thoughtful details and easy humor. In the very beginning, Macy Jean is frantic because she does not know how to handle her biracial child’s hair. Later, Noni is wearing a purple-streaked weave for her music video. And when she begins to be happy again, she frees her hair as she finds her true voice. Prince-Bythewood’s confidence in her own voice as much a pleasure of this film as the love story and the star power, which add up to the best date movie of the year.
Parents should know that this film includes very provocative sexual imagery and musical performances with very skimpy clothing, sexual references and situations, strong and crude language, attempted suicide, and tense family confrontations.
Family discussion: What does it mean to “do small things in a great way?” How did Noni and Kaz help each other? Why did being on the brink of great success was Noni in despair? What can we do to protect girls from the overwhelming focus on appearance?
If you like this, try: “The Rose,” “The Bodyguard,” “Lady Sings the Blues,” “Dreamgirls,” “Love Me or Leave Me,” “Gypsy,” and “Mahogany”
We have seen many film biographies of great individuals (mostly men). But we have seen almost no films, fact-based or fictional, about great marriages. And we have certainly never seen any films about great marriages that end up with the couple married to other people. But that is what this is. It is the story of a “marriage of true minds,” an equal partnership in every way, with two very intelligent and committed people working as hard as they can to be the best they can for one another.
And they are portrayed by two people of enormous talent, with both Felicity Jones and Eddie Redmayne giving performances of enormous depth and understanding. Of course Redmayne has the showier, awards-bait role, and he is meticulous in Hawking’s physical decline. In his previous films like “Les Miserables” and “My Week With Marilyn,” Redmayne has shown a gift for the sensitive, doe-eyed young hero. But as Hawking, he shows a shrewdness and wit we have not seen from him before, even at the end, when Hawking has just one cheek muscle he can control. There is never a hint of stunt-ishness. It is always about the character whose mind is perhaps even freer to roam the farthest reaches of the universe and of human comprehension as his body is failing and he is completely physically dependant.
The luminous Jones matches him every bit of the way as Jane Hawking ages and as she grapples with finding a way to continue to relate to her husband as an adult and an equal while caring for him. She is also a scholar in her own right who wants to do her own work, while somehow caring for her children and her husband, an intellectual supernova who is becoming an icon.
The screenplay is based on the book by Jane Hawking, the first wife of the scientist many people think of as the greatest mind of our generation, the physicist Stephen Hawking, best known for his appearances on “The Big Bang Theory” and his mega-best-selling book for the lay audience, A Brief History of Time. (The book’s purported status as the most-bought but least-read best-seller has inspired the “Hawking Index.”) And so we get a rare glimpse into what it was like from the point of view of the “wife of.”
Jane met Stephen when they were both students. They had very little in common. He was studying physics. She was studying Spanish poetry. He was an atheist. She was a churchgoer and believer. He was disorganized, not socially adept or at least not interested in fitting in. She was a natural rule-follower and very comfortable in social situations. There was never anything conventional about their encounters or conversations.
And yet, they felt the kind of pull that is better described by poetry than physics, the kind that seems to mean that only the similarities matter. She smiles, “I like to time travel. Like you.”
And then Hawking is given the devastating diagnosis of motor neuron disease (ALS), with a life expectancy of perhaps two years of calamitous decline of all muscles. “Your thoughts won’t change,” he is told, “but eventually no one will know what they are.”
Hawking’s father warns Jane away. “This will not be a fight. This will be a heavy defeat for all of us.” But Jane is resolute. She is determined that they will get married and they will fight. They get married, with him leaning heavily on a cane. They have two children. And he loses muscular control, more every day. Each downward ratchet is wrenching, but ultimately he has to give up walking and move to a wheelchair as eventually he will have to give up speech and learn to operate a computer with one muscle in his cheek to have it speak for him. Adding insult to injury, it will be with an American accent.
In the meantime, he is transforming our understanding of the universe and our place in it, and then turning those theories upside down and starting over as he attempts to synthesize the two areas of physics into one simple, elegant, beautiful formula that will explain how it all fits together.
Screenwriter Anthony McCarten and director James Marsh (“Project Nim”) show deep understanding and extraordinary sensitivity in conveying with small, intimate details what is going on in this marriage. Hands reach casually across a dinner table while two of the people at the table watch, just a slight tightening of the muscles around the eyes or mouth revealing what it is like to see it be so easy for other people. They can love each other despite his awful knowledge of being a burden while resenting the healthy. And despite her equally awful knowledge of his humiliation in being a burden. We see the combined beauty and soul-destroying relentlessness of being a caretaker.
They try to keep relating to each other as a couple, not as patient and nurse. They have another baby. That is joyous but it is more work and more of a reminder of how little he can do as a parent. He is in many respects more dependent than the children. And Jane is exhausted.
Jane’s mother (Emily Watson) has some advice. She tells Jane to sing in the church choir. “That is the most English thing anyone has ever said,” Jane replies, but she goes, and as soon as we see the handsome young choir leader, just widowed, (Charlie Cox of “Stardust” as Jonathan), we know there is going to be trouble. Jonathan, at a loss in his grief, offers to be of help to the family. He is kind and understanding but he is also healthy and in a beautifully poignant scene at the beach, he runs with the children while Hawking’s wheelchair sinks into the wet sand.
Jonathan and Jane develop feelings for each other. Hawking and his new nurse Elaine (Maxine Peake) develop feelings for each other. Perhaps it is because she never sees him as less than a version of himself that is long gone. Perhaps it is just that he wants Jane to have a chance to be with a healthy man. Perhaps he knows that there is some parallel universe where they are living happily ever after. I’d like to think so.
Parents should know that this is a sad movie about a family dealing with a very serious disease. There are some sexual references.
Family discussion: Why did Stephen chose that moment to talk about God to Jane? Why was it important to her?
Rated PG for mild action, rude humor, some thematic elements and brief scary images
Profanity:
Some mild language
Alcohol/ Drugs:
None
Violence/ Scariness:
Themes of death and afterlife with some scary images of skeletons and desolation, peril including bull fights and snake bite, violence including sword fights and outlaws
Diversity Issues:
Diverse characters
Date Released to Theaters:
October 17, 2014
Date Released to DVD:
January 26, 2015
Amazon.com ASIN:
B00Q599952
Copyright 2014 Twentieth Century Fox Animation
Jorge Gutierrez (Nickelodeon’s “El Tigre”) is co-writer and director of a dazzling new animated film that all but explodes off the screen in a kaleidoscope of color and energy and a love of life and storytelling and colorful characters and fantastic adventures. It is filled with the richness of love and passion and life and death and music and bullfighting and courage and family. It is a refreshing new aesthetic, inspired by Mexican folklore, with many of the characters looking as though they were carved from wood — not by trained experts and not recently. It has great songs and stunning images, covers of songs by artists from Elvis to Mumford and Sons, with a sweet new duet from Us the Duo. Plus, there is a sensational and wonderfully varied voice cast that includes Ice Cube (superbly funny and warm-hearted), Cheech Marin, Placido Domingo, and Anjelah Johnson-Reyes (“Bon Qui Qui”).
And it is very funny and a lot of fun.
Even the opening logo for 20th Century Fox has been transformed, letting us know right from the start that we are in another world, or maybe three of them.
A museum guide tells a school group the story, which begins with a wager. The afterlife has two parts: The Land of the Remembered, ruled by La Muerte (Kate del Castillo), where the newly dead are joyfully reunited with their families, and all is celebration, and The Land of the Forgotten, ruled by Xibalba (Ron Perlman of “Sons of Anarchy”), a bleak landscape where souls who are no longer cherished by the living are isolated and afraid. The two rulers make a bet over which of two boys will win the heart of the girl they both love. The winner will get to rule the Land of the Remembered.
The children grow up. Xibalba’s candidate is Joaquin (Channing Tatum), who has become a brave soldier with a chest full of medals. One he never lets anyone see was given to him by Xibalba, who is not above cheating to win the bet. It gives whoever carries it courage and invulnerability.
La Muerte is rooting for Manolo (Diego Luna), who is studying to be a bullfighter like his father and all the other men in their family, but whose real passion is for music. Both are still in love with Maria (Zoe Saldana), just returned from her studies in Spain. Maria’s father favors Joaquin, who can protect the town from the evil, predatory bandit Chacal (Dan Navarro). But Maria’s heart is touched by the romantic Manolo, even after his first attempt to serenade her turns into a disaster (hint: never let your companeros persuade you that the songs of either Biz Markie or Rod Stewart are romantic). When it looks like he will lose the bet, Xibalba cheats again, sending a poisonous snake to bite Maria and Manolo.
Manolo is killed, and finds himself in the Land of the Remembered, where he is happy to see his mother and many other relatives. But to get back to Maria, he will need to cross through the Land of the Forgotten. He meets the candle-maker (a warm and very funny Ice Cube) and a monstrous bull composed of all the bulls Manolo’s family has ever killed, makes a daring wager of his own before he gets back just in time for the arrival of Chacal.
It may seem thickly plotted at times, but that is all part of the Carnivale sensibility. And the cavalcade of incidents and characters, both living and dead, is reassuring in its matter-of-fact approach, reminding us that it is all a part of the book of life, and that we can never lose what or who we truly love.
Parents should know that this film includes Day of the Dead-inspired images with skeletons and afterlife settings, characters in peril and some violence, sad deaths of parents and grandparent (reunited in afterlife), some scary monsters and villains, brief potty humor and some mild language
Family discussion: How can you tell when you follow your parents’ advice and when to do what feels right to you? What is the best way to make sure we remember the people who are no longer with us?
If you like this, try: “The Princess and the Cobbler” and “Rio” and the documentary “Walt and El Groupo,” about the real-life trip Walt Disney and his animators took to South America and how it transformed the look of Disney animation.
Simon Pegg stars as Hector in this gentle fable based on the whimsical French novel by psychiatrist Francois Lelord. Like Lelord, Hector is a psychiatrist. He has a “tidy” life with a nice girlfriend named Clara (“Gone Girl’s” Rosamund Pike), nice patients, and a nice apartment. But he is missing something. He wonders if he is really helping people. And he is not sure what he is helping them toward. If he is not sure what happiness is, how can he guide his patients toward finding it?
Your level of happiness on viewing this film will vary depending on your tolerance for whimsy and your affection for last year’s The Secret Life of Walter Mitty, as it is almost exactly the same movie, though not as good.
Hector decides that what he needs to do is travel around the world to learn about happiness. Clara is troubled, and wonders what it might mean for their relationship — especially since he won’t say when he is coming back. She wonders if “researching happiness” is just a euphemism for “finding Agnes,” the mysterious woman whose photo she found in Hector’s sock drawer (labeled “Hector’s Socks” — he is very tidy). But she is supportive, and gives him a notebook for his discoveries, directing him to “fill these pages.” “If you’re going to do this, do it totally,” she says. “Make it worthwhile.”
And so he sets off on a series of adventures and encounters that will teach him something about happiness. He first meets a genial businessman named Edward (Stellan Skarsgård), who introduces him to one notion of happiness: the kind that can be bought. Hector enjoys wine, women, and club music. He enjoys is all so much that he conks out before he can accept the advances of a beautiful “student” (Ming Zhao). He wonders at first whether it is possible that happiness means the freedom to love two women at the same time, and then discovers to his distress that the interest and affections of the “student” were purchased for him by Edward. Being rich, being important, believing you are captivating to a “student” — that does not seem to be the answer. “Sometimes happiness is not knowing the whole story.”
This is the point at which you are either going to go with the premise and tone or you’re not. It’s either a fairy tale, in which the encounters are metaphors, or it is supposed to be grounded in some semblance of reality, in which case it’s solipsistic, kind of seedy and mired in stereotypes. For me, it was a fairy tale, and so I gave it some leeway.
Hector’s travels take him to visit an old friend who runs a clinic in Africa, where he runs into a cute sick kid and a vicious but also kind of cute drug lord (Jean Reno), both of whom he helps, and also learns that his friend is gay. He is captured by gangsters and almost killed until providentially, like a character in a fantasy game who just happened to have picked up a golden arrow and some magic beans, he has the token he needs to get out of jail if not free, at least relatively unscathed. He meets a dying woman who is philosophical and at peace. He meets up with Agnes (Toni Collette) and has his brain scanned by a scientist (Christopher Plummer) who is studying the biological basis for happiness. He takes notes. He has Skype-fights with Clara. He learns many important lessons, and, like Dorothy Gale of Kansas, learns that the answer was inside him all along and there’s no place like home.
It is a pleasant little trifle as long as you do not take it too seriously. If you understand that it is all inside Hector’s head, and that his adventures are more akin to The Little Prince’s planetary hops than to anything resembling reality, it has charm and even some reminders that we get more happiness from what we do for others than from what they do for us.
Parents should know that this movie includes very strong language, scenes of criminal activity including beatings, death threats, and imprisonment, drug dealing, scenes of injured and dying characters, prostitutes, sexual situations, and nudity.
Family discussion: Which of the observations Hector wrote in his notebook do you think were most important? Why did he have to get away from home to understand what he had? Why didn’t things work out with Agnes?
If you like this, try: “The Secret Life of Walter Mitty”
Cinderella — With Music by Rodgers and Hammerstein
Posted on September 10, 2014 at 8:00 am
Every family will enjoy the 50th anniversary edition of the glorious Rodgers & Hammerstein’s Cinderella, starring Lesley Ann Warren, with Celeste Holm as the fairy godmother, Jo Van Fleet as the evil stepmother, and Walter Pidgeon and Ginger Rogers as the King and Queen. One of the ugly stepsisters is played by Pat Carroll, who would go on to provide the voice for one of Disney’s most memorable villains, Ursula in “The Little Mermaid.” And the prince is played by “General Hospital’s” Stuart Damon. The performances are delightful but the star of the show is the wonderful music from Richard Rodgers and Oscar Hammerstein. It was later remade with Brandy, Whitney Houston, and Bernadette Peters, equally delightful. And the rare first version with Julie Andrews is available now as well. All three are perfect for families to watch together.
“Cinderella” was the only musical Rodgers and Hammerstein (“Carousel,” “The King and I,” “The Sound of Music”) ever wrote for television. But it ended up on the duo’s home turf anyway when “Cinderella” became a Broadway hit, with Tony Award-winning costumes.
. (The book’s purported status as the most-bought but least-read best-seller has inspired the “
. Like Lelord, Hector is a psychiatrist. He has a “tidy” life with a nice girlfriend named Clara (“Gone Girl’s” Rosamund Pike), nice patients, and a nice apartment. But he is missing something. He wonders if he is really helping people. And he is not sure what he is helping them toward. If he is not sure what happiness is, how can he guide his patients toward finding it?
, starring Lesley Ann Warren, with Celeste Holm as the fairy godmother, Jo Van Fleet as the evil stepmother, and Walter Pidgeon and Ginger Rogers as the King and Queen. One of the ugly stepsisters is played by Pat Carroll, who would go on to provide the voice for one of Disney’s most memorable villains, Ursula in “The Little Mermaid.” And the prince is played by “General Hospital’s” Stuart Damon. The performances are delightful but the star of the show is the wonderful music from Richard Rodgers and Oscar Hammerstein. It was later