The Lucky One

Posted on April 19, 2012 at 6:31 pm

Director Scott Hicks pours enough syrup over this film to supply an IHOP. Every shot of the golden sunlight on the Louisiana bayou or the perfectly tousled angelic curls of the perfectly precocious angelic boy or the perfect smile of the beautiful kennel owner and substitute teacher played by Taylor Schilling or the perfect muscles of the beautiful former Marine who seems to be channeling “as you wish” Westley from “The Princess Bride” all but drips with syrupy sweetness. Then there is the aural candy of the many pop songs on the soundtrack. This is outdone by the storyline, which matches the sugar content of the visuals with a synthetic and coincidence-heavy plot. But that doesn’t mean it it not a pleasant movie-watching experience in a greeting card commercial sort of way.

It helps that Zac Efron and Schilling are talented and attractive performers with good chemistry. Efron plays Logan, a Marine on his third tour who finds a picture of a beautiful girl half-buried in the sand. It becomes his lucky talisman. When he finds himself back at home, not sure who he is or where he belongs without his team and traumatized by loss, he decides to find the girl in the picture and thank her. He walks from Colorado to Louisiana with his dog, Zeus. Instead of telling her why he is there, he ends up working for her, helping to care for the dogs and also looking very handsome as he lifts things and fixes things. Schilling is Beth, who lives with her grandmother (Blythe Danner) and her 7-year-old son Ben (Riley Thomas Stewart), a violinist and chess whiz. Beth’s ex-husband Keith (Jay R. Ferguson) is a bully of a cop who is volatile, possessive, and jealous. As Logan and Beth are more drawn to one another, Keith threatens to sue for custody of Ben to keep him away from them.

“The questions are complicated but the answers are simple,” Logan says when Beth challenges him to quote his favorite philosopher. “Voltaire?” she asks. “Dr. Seuss,” he answers. Logan, who has accepted a job cleaning up after dogs because it is “peaceful” may understand that simple does not mean superficial better than Nicholas Sparks, author of the book and director Hicks, who seem determined to keep things safely formulaic.

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Think Like a Man

Posted on April 19, 2012 at 6:17 pm

A gimmicky best-selling book about love, sex, and marriage has been made into a high-concept romantic comedy with an all-star cast. “He’s Just Not That Into You”? No, that was so 2009. This time the inspiration is the book by stand-up comic and talk show star Steve Harvey, Act Like a Lady, Think Like a Man: What Men Really Think About Love, Relationships, Intimacy, and Commitment. The advice is the same — the stunningly obvious and yet too often ignored principle that people will treat you the way you insist on being treated. If you expect a man to open the car door for you, he will — and he will recognize that you are a woman who deserves respect and courtesy. If you give it up within an hour of meeting him or continue to live with him without any prospect of building a real home and family together, he will think you do not honor yourself and he will not honor you. And some women need to learn to choose their men by their hearts, not their resumés. Both men and women need to learn that lesson in this ensemble story about a group of friends and what happens when the ladies take Harvey’s advice — and then when the men find out what is going on and try to turn the tables.

At the most superficial level, the movie is suitably entertaining, with beautiful and talented performers coping with a range of romantic challenges. There’s a player named Zeke (Romany Malco) and Mya (Meagan Good) who wants commitment. There’s Lauren (Taraji P. Henson), a very successful female executive who wants a “suitable” consort. An aspiring chef (Michael Ealy as Dominic) does not fit her PowerPoint-worthy strategic plan.

A “mama’s boy” who brings his mother along on a Valentine’s Day dinner (Terrence J) has to decide if he can allow another woman (Regina Hall as single mom Candace) to come first in his life. And Kristen (Gabrielle Union), who feels as though the place she shares with her boyfriend (Kevin Ferrara as Jeremy) is a frat house, wants a home that looks like grown-ups live there — starting with getting rid of the disgusting old sofa. The group is rounded out with a happily married guy and pepper pot Cedric (Kevin Hart) who is in the midst of a miserable divorce and self-medicating his hurt feelings with visits to strip clubs.

The cast gives the usual rom-com banter as much sizzle as they can, and there is a whole second level of pleasure just in seeing these stars get a chance to play romantic leads. Malco, terrific as a doorman in “Baby Mama” and a sidekick in “The 40 Year Old Virgin” makes an assured transition to leading man and Ealy has an enormously appealing screen presence. King, Union, and Hall should all be doing the roles that get sent to Katherine Heigel. It is good to see an almost all-black cast get a chance to make a glossy romantic comedy but it would be great to see them do something more than the usual multiplex formula. A few Tyler Perry jokes (however welcome) are not enough to make this feel anything other than disappointingly generic.

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Based on a book Comedy Romance

Blue Like Jazz

Posted on April 19, 2012 at 6:05 pm

B+

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated PG-13 for mature thematic material, sexuality, drug and alcohol content, and some language
Profanity:	Some strong language
Alcohol/ Drugs:	Drinking and drugs
Violence/ Scariness:	References to tragic world situations, family stress
Diversity Issues:	A theme of the movie
Date Released to Theaters:	April 20, 2012
Date Released to DVD:	August 6, 2012
Amazon.com ASIN:	0785263705

Donald Miller’s best-selling collection of essays, Blue Like Jazz: Nonreligious Thoughts on Christian Spirituality has become a crowd-financed and lightly fictionalized film about a Texas teenager from a sheltered Baptist community who goes to the famously free-thinking Reed College in Portland, Oregon.

Marshall Allman of “True Blood” plays Miller, whose Alice in Wonderland-style immersion in a world where everything is questioned and debated is disturbing the way jazz music is disturbing — it never resolves. In Texas, the answers were always laid out in nice straight lines. Everything resolves. Miller’s estranged father, an intellectual who listens to jazz and lives in a trailer, tells him it is time to improvise, to challenge his ideas. His father has arranged for him to be admitted to Reed. When Miller begins to suspect for the first time that not everyone practices what they preach, even at church, he decides to give it a try.

“Forget everything you think you know,” he is told when he arrives. “Sexual identity is social construct,” explains a girl who is using the urinal next to him in the men’s room. One student is handing out free bottles of water and another is handing out literature explaining why bottled water is a scourge and a fraud. Students get credit for civil disobedience. Even his most mundane beliefs are challenged: no one in Oregon carries an umbrella when it rains. Why separate yourself from the elements?

The script by Miller, director Steve Taylor, and co-producer Ben Pearson, smooths out the story (the real Miller did not arrive at Reed until he was 30 and he audited some classes but did not enroll). They wisely avoid the easy and obvious “fish out of water” confrontations. Refreshingly, Miller and his classmate heretics are from the beginning almost always very tolerant of each other’s ways of approaching the world. Indeed, while Miller is warned that the other students may not accept his faith, the most intolerant behavior comes from Miller when he feels betrayed in a very personal way by his church (the film’s only disappointing departure from the real story for the sake of narrative tidiness).

This is a very strong movie in its own terms, a thoughtful, smart, sensitive coming-of-age story. Reedies will enjoy familiar sights from Powell’s bookstore (the site of a debate about the existence of God) to the scroungers’ table in the cafeteria. Most important is that just as Miller’s book explores an expansive, golden-rule-based version of Christianity, the film itself takes sincere, faith-based story-telling out of the narrow confines of what is currently classified as “Christian entertainment.” The real divide is not between believers and non-believers but between those who believe that questioning and tolerance bring them closer to God and those who prefer constant reinforcement of what they think they already know. The vocabulary of faith should not be the exclusive property of one small subset of believers, and it is heartening to watch a movie that makes that point with such grace.

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Titanic 3D

Posted on April 3, 2012 at 6:05 pm

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for disaster-related peril and violence, nudity, sensuality, and brief language
Profanity:	Some strong language
Alcohol/ Drugs:	Drinking, drunkenness, smoking
Violence/ Scariness:	Scenes of historic disaster with many deaths, chase with gun, scuffles
Diversity Issues:	A theme of the movie
Date Released to Theaters:	April 4, 2012
Amazon.com ASIN:	B000ANVQ0K

Classic Greek tragedies explored the theme of hubris as human characters dared to take on the attributes of the gods only to find their hopes crushed. This is a real-life story of hubris, as the ship declared to be “unsinkable” (and therefore not equipped with lifeboats for the majority of the passengers) sank on its maiden voyage from England to the United States. In recognition of the 100th anniversary of the sinking of the Titanic, the Oscar-winning blockbuster film is being re-released in 3D.

In this blockbuster movie, winner of ten Oscars including Best Picture and Best Director and on its way to becoming the highest-grossing movie of all time, the disaster serves as the backdrop to a tragic love story between Rose (Kate Winslet), an upper class (though impoverished) girl and Jack (Leonardo DiCaprio), a lower class (though artistic) boy who won the ticket in a poker game.

http://www.youtube.com/watch?v=mzgtthLqIJE

The movie raises important questions about choices faced by the characters, as we see a wide range of behavior from the most honorable to the most despicable. The captain (whose decision to try to break a speed record contributed to the disaster) and the ship’s designer (whose plan for additional lifeboats was abandoned because it made the decks look too cluttered) go down with the ship, but the owner and Rose’s greedy and snobbish fiance survive. Molly Brown (dubbed “Unsinkable” for her bravery that night) tries to persuade the other passengers in the lifeboats to go back for the rest. But they refuse, knowing that there is no way to rescue them without losing their own lives. They wait to be picked up by another ship, listening to the shrieks of the others until they all gone.

Many parents have asked me about the appeal of this movie to young teens, especially teen-age girls. The answer is that in addition to the appeal of its young stars, director James Cameron has written an almost perfect adolescent fantasy for girls. Rose is an ideal heroine, rebelling against her mother’s snobbishness and insistence that she marry for money. And Jack is an ideal romantic hero — sensitive, brave, honorable, completely devoted, and (very important for young girls) not aggressive (she makes the decision to pursue the relationship, and he is struck all but dumb when she insists on posing nude). If he is not quite androgynous, he is not exactly bursting with testosterone either, and, ultimately, he is not around. As with so many other fantasies of the perfect romance, from Heathcliff and Cathy in “Wuthering Heights” to Rick and Ilse in “Casablanca” the characters have all the pleasures of the romantic dream with no risk of having to actually build a life with anyone. It is interesting that the glimpses we get of Rose’s life after the Titanic show her alone, though we meet her granddaughter and hear her refer to her husband. Parents can have some very good discussions with teens about this movie by listening carefully and respectfully when they explain why it is important to them, as this is a crucial stage in their development.

Parents should know that this film includes nudity, a non-explicit sexual situation, a chase with a gun, and the depiction of a real-life tragedy that includes hundreds of deaths.

Family discussion: What is the most important thing Rose learns from Jack? What do we learn about her life after Titanic? Do you agree with her decision about the necklace?

If you like this, try: An earlier version of the story, “A Night to Remember” and documentaries like Titanic: The 100th Anniversary Collection and National Geographic – Secrets of the Titanic

Mirror Mirror

Posted on March 29, 2012 at 6:00 pm

Director Tarsem Singh Dhandwar has found a story worthy of his ravishing visuals and the result is an enchanting update of the classic fairy tale of Snow White.

Julia Roberts is clearly having a blast as the evil queen whose hostile takeover impulse is so strong she tells us from the beginning that we are hearing her version of the story. But we know from the first moment that our heroine will be the “pretentiously named” Snow White. She does commune with a songbird as the movie opens, but this is not the Snow White warbling by the wishing well about waiting for her prince or sleeping until she is rescued with a magical kiss. Sister is doing it for herself — sword fighting, leading a brave, if diminutive, gang of marauders, and doing some rescuing of her own.

Once upon a time there was a happy kingdom filled with music and dance. But after the king remarried, he disappeared, leaving the Queen to impose higher and higher taxes on the burdened populace and lock princess Snow White (Lily Collins of “The Blind Side”) in her room. When she timidly ventures out on her 18th birthday because there is to be a party in the castle, the Queen sneers, “Is there a fire in your bedroom? Because that would be the only reason for you to leave.”

The Queen is broke and desperately need to marry a wealthy royal, and for that she needs to use all of her magical powers to continue to appear young and beautiful. Prince Alcott (“Social Network” Winklevii-portrayer Armie Hammer) looks like the answer, despite his showing up without his clothes, having been robbed in the woods by seven mysterious accordion-legged marauders. But at the costume ball, he sees Snow White in a magnificent swan dress (don’t think Bjork, think faaabulous) and instantly knows that she is the fairest of them all.

But Snow has other issues on her mind, after her first venture outside the castle shows her what a cruel and selfish ruler her stepmother has been. She becomes an outlaw, joining forces with seven men short of stature but big of heart. And the Queen, aided by her sniveling courtier (who better for that role than Nathan Lane) tries to use every bit of magic and old fashioned evil to ensnare the Prince before the magic mirror — with help from a very tight corset, a disgusting beauty ritual, and a love potion — are no longer enough.

As Tarsem and sometimes Tarsem Singh, the director has made ads, music videos (REM’s “Losing My Religion”) and films like “The Fall” and “The Cell,” all filled with richly imagined images of striking beauty. Working with production designer Tom Foden and the late costume designer Eiko Ishioka, he has created a setting that is part Maxfield Parrish, part Richard Avedon, with gorgeous elegance and panache and with insight and meaning. The mirror is wonderfully constructed out of liquid that leads to a room where the Queen consults another version of herself. The costumes are not just splendid; they are witty and character-revealing, with the Queen a peacock and Snow White a swan. Hammer is handsome and unexpectedly funny. And Collins is luminous, genuinely magical as Snow White, sweet and brave, and it is a pleasure to watch her growing understanding of the world and her ability and responsibility to make it better. He keeps the tone irreverent, but never snarky. There are some funny lines (and one unnecessary and un-funny crude joke) and some modern twists, but the heart of the story in every way goes back to the original folk tales, especially a welcome new twist near the end. The Grimm brothers might not recognize some of the details of their classic fairy tale and Disney might be surprised by a princess who does not wait for her prince to come to get things done. But the themes of honor, justice, romance, and the search for a happily ever after ending are every bit as satisfying as the original.

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