The Craft: Legacy

Posted on October 28, 2020 at 5:54 pm

B +

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for thematic elements, brief drug material, language, and crude and sexual content
Profanity:	Strong language
Alcohol/ Drugs:	Brief drug material
Violence/ Scariness:	Extended fantasy peril and violence, references to suicide, abuse, and murder, disturbing images
Diversity Issues:	Diverse characters
Date Released to Theaters:	October 30, 2020

I’m a big fan of the 1996 original “The Craft” with Neve Campbell as one of four teenage witches who get up to mischief and then get into trouble, and then turn on each other. With “The Craft: Legacy,” writer/director Zoe Lister-Jones (“Band Aid”) has given us a smart and witty update that pays tribute to the original but is very much its own take on the subject, with a couple of delicious twists along the way.

Lily (Cailee Spaeny) and her mother Helen (Michelle Monaghan) are driving with a sense of fun and adventure, singing along to Alanis Morrisette’s “One Hand in My Pocket.” But they are not entirely carefree. We can see right away that they are very close but more pals than mother and daughter. When they tear up over some melancholy thought, is is the mother who turns to the daughter for reassurance and a touch-up of her make-up. They are starting something new, a new house, a new town, a new school, and a new family. Helen has a new love, Adam (David Duchovney), and they are moving in with him and his three sons. He welcomes them warmly. Lily is doing her best to be supportive, but she is startled by a striped snake, or perhaps it is just her imagination.

As she gets ready for school, Lily’s mother asks if she is looking forward to making new friends, and Lily answers, “That would imply I had old friends.” Her mother assures her, as she clearly has many times, that “your difference is your power.”

Things do not get off to a good start at school. Lily’s period bleeds through her jeans in class and boys jeer and hoot at her. When she is crying in the restroom, three girls enter to provide some sympathy and support and a change of pants. They are Frankie (Gideon Adlon), Tabby (Lovie Simone), and Lourdes (Zoey Luna), three girls who have been experimenting with witchcraft. They need a fourth to call the corners, so they will represent all of the elements and directions, and they sense Lily may be the one they’ve been waiting for, especially after a boy named Timmy (Nicholas Galitzine) who taunts her with a vulgar whisper in her ear somehow gets slammed into the lockers.

Unlike the 20-something actresses in the original, these girls look like they are in high school and Lister-Jones skillfully and believably mixes their witchcraft with the other concerns of adolescence. They talk about telepathy, shape-shifting, and telekinesis and about boys and parties. When they get dressed up, they don’t need or resort to magic to look their best. But they aren’t above casting a spell on the boy who harassed Lily. In the original film, the girls used magic to make the boy who treated them badly fall in love, and to deceive him. In this one, they use their magic to make him…well, after the spell he talks about reading an interview with Janet Mock, loving singer/activist Princess Nokia, and identifying himself as cisgender male. He is nicknamed “woke Timmy.” His vulnerability makes him attractive to Lily and her acceptance attracts him as well.

But things go wrong and the girls blame Lily, believing she abandoned their rules by acting carelessly and selfishly. They abandon her and bind her powers just as she needs both the most.

It is not as intense or dramatic at the original and spends less time on the girls and their lives and motivations. But it has a strong grounding in the essential power of friendship and loyalty, some revelations that add suspense, a sly take on toxic masculinity, and strong performances by Spaney and Monaghan. It deftly borrows from haunted house films and from scary neighbor films as well. Most important, it gives the girls agency and a sense of responsibility and a much appreciated sweetness.

NOTE: My daughter worked briefly in the costume department on this film. Needless to say, the costumes are outstanding. I don’t always give her films good ratings, so it was an added pleasure to enjoy this one as much as I did.

Parents should know that this film includes bodily functions and sexual references, brief drug content, and extended fantasy peril and violence. There are references to abuse, suicide, and murder.

Family discussion: What rules should a group like this adopt and how should they be enforced? Should Helen have told Lily the truth? Why is Lily’s birth name Lilith?

If you like this, try: “The Craft”

Bill and Ted Face the Music

Posted on August 27, 2020 at 5:32 pm

B +

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for some language
Profanity:	Some mild language
Alcohol/ Drugs:	None
Violence/ Scariness:	Sci-fi/fantasy peril and violence, mostly played for comedy
Diversity Issues:	None
Date Released to Theaters:	August 28, 2020
Date Released to DVD:	November 9, 2020

I am pleased to report that Bill and Ted are still excellent. Bill and Ted Face the Music is the third in the series, 31 years after the original “Bill and Ted’s Excellent Adventure,” where the two dim but sweet-natured would-be rockers from San Dimas managed to pass their high school history class by traveling through time in a telephone booth. They also learned that their destiny was to create a song that would unite the world. Two years later, in “Bill and Ted’s Bogus Journey,” their adventures continued, including a visit to hell and a “Seventh Seal”-inspired encounter with Death. Much of the core cast of the original films returned, including Alex Winter (who also produced) as Bill, Keanu Reeves as Ted, William Sadler as Death, Hal London, Jr. as Ted’s stern father, and Amy Stoch as Missy, who was in high school with Bill and Ted but in the first film is married to Bill’s father.

In the present day, Bill and Ted are married to the medieval princesses who traveled through time with them in the earlier films, now played by Erinn Hayes and Jayma Mays. Things are not going well. Bill and Ted still perform as the Wyld Stallyns, but not in arenas. Their current gig is at Missy’s latest wedding, to Ted’s younger brother Deacon (“SNL’s” Beck Bennett). Their performance of a song named something like “That Which Binds Us Through Time, The Chemical, Physical and Biological Nature of Love,” combines some of the strangest sounds known to music, even stranger in combination guttural throat singing, bagpipes, and a theramin is, at best mystifying to the wedding guests. Basically, they hate it. Their wives insist on marriage counseling (with the always-great Jillian Bell) and we get a sense of the problem when the guys cannot understand why “couples counseling” might not mean both couples at the same time.

Each couple has a daughter. Ted’s daughter is Billie (Brigette Lundy-Paine) and Bill’s is Thea (Samara Weaving, the niece of Hugo Weaving who was Reeves’ nemesis in the “Matrix” films). The girls are 24, still living at home, and spend all day listening to music. In other words, they take after their dads.

Bill and Ted are beginning to question whether they should just give up their music. But then Kelly (Kristen Schall) shows up in a futuristic, egg-shaped time traveling capsule. That song that was going to unite the world — they would have to produce and perform it that night or it would be the end of everything. “The Great Turntable is Tipping. Reality will collapse and time and space will cease to exist.”

Everyone ends up getting involved. The guys go forward in time to see if they can get the song from various future selves. (Boy, the people in charge of hair had some fun with that.) The princesses/wives explore the multiverse to see if there’s a happier ending. And Billie and Thea do what Bill and Ted did in the first film; they go back in history and pick up some help.

Some viewers will need to be brought up to date on the earlier films, as there are references that will delight the fans. Some younger viewers will need a history lesson about phone booths. (Of course Bill and Ted do their time traveling old school.) And some fans of the original many need to check with a younger member of the family to learn who Kid Cudi is. I hope all ages know who Dave Grohl is.

It’s all sweet, silly fun, with a conclusion that is likely to bring some tearing up from the parents in the audience, and make all Bill and Ted fans feel that this has been a very excellent adventure for us all.

Parents should know there is some mild language and some mostly comic peril and violence, including characters who are temporarily “killed” and sent to Hell.

Family discussion: Would you want to meet the future versions of yourself? What would you want to know?

If you like this, try: the two earlier “Bill and Ted” movies and the San Diego Comic-Con panel about the movie.

Scoob!

Posted on May 15, 2020 at 3:15 am

B-

Lowest Recommended Age:	Kindergarten - 3rd Grade
MPAA Rating:	Rated PG for some action, language and rude/suggestive humor
Profanity:	Some schoolyard language, brief strong language
Alcohol/ Drugs:	None
Violence/ Scariness:	Cartoon-style peril and action, some scary monsters, no one hurt
Diversity Issues:	Diverse characters and issues of diversity
Date Released to Theaters:	May 15, 2020

Oh, jinkies, here they are again. You might think that the Scooby-Doo clan has exhausted every possible storyline for the members of Mystery, Inc. or, to put it another way, you might think that they have exhausted every possible variable on the theme of figuring out that what looks like some sort of paranormal phenomenon turns out to be some ordinary (but evil) person who would have gotten away with it except for those meddling kids.

If so, you’re pretty much right. But the gang’s first feature-length animated film sticks to the formula but winks at it a little bit, too. And those who have wondered how the gang first got together will get a chance to see them as kids on the fateful Halloween night when they met and solved their first mystery. You’ll even get to find out Shaggy’s real name.

We first see a lonely young Shaggy, maybe about 10 or 11 years old, walking to the beach and listening to songs about loneliness and a podcast from Ira Glass (as himself) about the importance of friends. The best Shaggy can manage is to start a conversation with two mounds of sand on the beach.

Hiding in one of the mounds with some gyro meat he stole is a puppy who can talk. Soon they are sharing an exotic sandwich that includes gummy bears and tater tots, Shaggy has named him after a packet of Scooby snacks, and they are the best of friends. They go trick or treating together as Shaggy’s favorite superhero, Blue Falcon and his sidekick Dyno-Mutt. When bullies steal his candy and throw it into the local spooky house, three kids come to the rescue: Fred (dressed as a knight), Daphne (Wonder Woman), and brainy Velma as Supreme Court (Justice Ruth Bader Ginsburg). The kids retrieve the candy and solve the mystery of the creepy house. “We’ll go into the haunted house this one time, but we’re not going to make a habit of it,” Shaggy inaccurately predicts. In just a few moment, they’ve solved the mystery and unmasked the culprit, who says, come on, say it with me, “I would have gotten away with it if it wasn’t for those meddling kids.” Cue the theme song.

And cut to present day, when the Mystery Inc. crew (Zac Efron as Fred, Will Forte as Shaggy, Amanda Seyfried as Daphne, and Gina Rodriguez as Velma) is seeking some investment funds to fix up the van and expand their operations. Simon Cowell (as himself) says he can see the value of Fred (muscle), Daphne (people person), and Velma (brains), but like many observers, he notes that Shaggy and Scooby don’t do much but eat sandwiches and get scared. And so, Shaggy and Scooby go off on their own adventure, which includes a new partnership with Blue Falcon (Mark Wahlberg), Dyno-Mutt (a delightfully dry Ken Jeong), and his pilot (the charming Kiersey Clemons of “Hearts Beat Loud” and the live action “Lady and the Tramp”). But this is the son of Blue Falcon, not quite the man his father was. Then there’s Dick Dastedly (Jason Isaacs, Lucious Malfoy in the Harry Potter films), who has all of the essentials for a supervillain, cool technology, an evil guy mustache, and a British accent. He’s after Shaggy and Scooby. Can the rest of the Mystery Inc. crew save them in time?

The CGI animation style is a departure from the traditional Scooby-Do Saturday morning aesthetic. But it is colorful, just the right mix of adventure and comedy, it benefits from top-notch voice talent (Tracy Morgan is a very funny caveman) and it is even witty at times, with some meta-commentary along with the usual silly wisecracks. A character describes Shaggy’s use of “like” all the time as “some middle-aged man’s idea pf how a teenage hippie talks.” There are the classic elements the fans will want like an abandoned amusement park and some un-masking, but also some new ideas, like the struggles of Blue Falcon 2.0 to be the hero his dad was. It is traditional enough to please the fans but contemporary enough to address (I’m not kidding) toxic masculinity and of course some nice reminders about the importance of friendship. And of the fun of movies for the whole family.

Parents should know that this film includes extended action-style peril and violence with some scary monsters. Characters use schoolyard language and make some threats and the movie has some potty and body part humor.

Family discussion: Why did Scooby leave when Shaggy asked him to stay? What kind of hero blames other people for his problems? Was there a time when you were scared or made a mistake but then learned to be braver or do better?

If you like this, try: The many, many other Scooby-Doo stories, especially “Scooby-Doo on Zombie Island” and “Scooby-Doo and the Ghoul School”

Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)

Posted on February 6, 2020 at 5:20 pm

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated R for strong violence and language throughout, and some sexual and drug material
Profanity:	Very strong and crude language
Alcohol/ Drugs:	Brief drug use
Violence/ Scariness:	Extended and very graphic peril and violence, characters injured and killed, disturbing images
Diversity Issues:	A theme of the movie
Date Released to Theaters:	February 7, 2020
Date Released to DVD:	May 11, 2020

At last, the sisters are doing it for themselves, on screen and off. “Birds of Prey (and The Fantabulous Emancipation of One Harley Quinn),” directed by Cathy Yan and written by Christina Hodson (“Bumblebee”), it has the ladies of the DC universe band together when the guys (Batman and Joker) are (literally) out of the picture.

We all know that when you’ve been dumped, you’ll need some recovery time, and if that involves Cheez-Whiz straight from the can, we won’t judge. You’ll need to adjust your social media settings, too. In the case of Harley Quinn (co-producer Margot Robbie), that can mean blowing up what used to be your special place. As an observer notes, that’s how “she just publicly updated her relationship status.”

Unfortunately, in the case of Harley Quinn, whose relationship with impulse control has been even more volatile than her relationship with the madman she calls Mr. J, has made many, many enemies, helpfully identified by name and grievance on screen so we can keep up. Without Mr. J as protector, it’s olly olly oxen free for anyone who wants revenge.

As Harley causes even more trouble and tries to hide or protect herself from those coming after her, she comes across the sole survivor of a mob family who is now an assassin dedicated to killing every man responsible for her family’s murders. She is still figuring out a name and a purpose once her targets have all been wiped out but one thing she has completely figured out is the crossbow. She will be known as The Huntress, and she is played by the always-terrific Mary Elizabeth Winstead. Dinah Lance (Jurnee Smollett-Bell) is a chanteuse in a club run by mobster Roman Sonasis (Ewan McGregor) with his henchman Victor Zsasz (Chris Messina). When Roman learns that she has some mad fighting skills, he makes her his driver.

There is the young girl thief Cassandra Cain (Ella Jay Basco), who picks the wrong pocket. Trying to get to the bottom of all of this is a tough cop named Renee Montoya (Rosie Perez) who is too honest to get promoted. Over the course of the film, the female characters will not always be on the same side. Some even betray each other. But when a girl needs a hair tie (in the middle of a big fight scene in a super-creepy abandoned amusement park beyond the wildest nightmares of Scooby-Doo, well, sisterhood is powerful.

Perhaps not as fun as it wants to be, but the movie has high spirits and a refreshing perspective that goes a bit deeper than just grrrl power. The carnage (with disturbing images and sounds) is intense and Harley does not always find the sweet spot between deranged creepy and deranged endearing. Deadpool may be nutty and naughty, but he is true-hearted, an anti-hero who is more hero than anti. As mesmerizing as Robbie is in the role, the storyline might have worked better with one of the other characters as the lead. It’s fantabulous that she is emancipated, but now she has to decide who she wants to be.

Parents should know that this film includes constant and very graphic peril and violence, with many characters injured and killed, disturbing sounds and images, knives, crossbow, guns, explosives, chases, very strong and crude language, nude images, brief drug humor, and some potty humor.

Family discussion: How did the early experiences of Harley and Huntress affect the way they made decisions? How is this like and different from other superhero movies?

If you like this, try: “Deadpool” and the “Birds of Prey” television series

Bad Boys for Life

Posted on January 15, 2020 at 2:01 pm

B-

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated R for strong bloody violence, language throughout, sexual references and brief drug use
Profanity:	Very strong language
Alcohol/ Drugs:	Brief drug use
Violence/ Scariness:	Extended and very graphic peril and violence, disturbing images, characters injured and killed, chases, explosions, guns, grenades, bazookas
Diversity Issues:	None
Date Released to Theaters:	January 16, 2020
Date Released to DVD:	April 20, 2020

There’s a lot that’s hard to believe in “Bad Boys for Life” (not that we’re expected to), but the one I want to bring to your attention is the repeated assertion that this is one last time. Will Smith and Martin Lawrence are back as the lovably bickering, impetuously rule-breaking buddy cops from the original Bad Boys movie 25 years ago and the sequel eight years later, and it is clear that they are not done yet.

Smith and Lawrence have the same immensely likable screen chemistry they did in the first film, though it is clear that Smith has much more range as an actor. We hardly have time to notice, however, as in the first five minutes of the movie we get to see a Porsche racing through the streets of Miami, some quippy brio (“We’re not just black. We’re cops, too. We’ll pull ourselves over later”), some skimpy bathing suits, a new baby, a prison break featuring a shootout and a witch’s curse.

That baby is the first grandchild for Marcus (Lawrence), the devoted family man, who is so moved by his becoming Pop-Pop that he decides to retire from the police force. Mike (Smith), the player with an upscale apartment no cop could afford (see above re believability) is furious. When Mike is shot by an assassin who is going after everyone involved in a criminal conviction from the past, Marcus stays by his side, and promises God that if Mike lives he will never be violent again. Once Mike recovers, however (with Marcus listed in his phone as Quitter), Mike persuades him to come back — say it with me — for one last time.

That will involve AMMO, a new high-tech police operation with the kind of high-tech surveillance and firepower that you might find in the Pentagon, run by Rita (Paola Nuñez), an officer with whom Mike has history. Mike wants to find the mysterious black-clad person on a black motorcycle who shot him. This is a challenge because, as a character says, “Who doesn’t want to kill him?” The Pepto-Bismal-chugging captain (Joe Pantoliano, also returning from the earlier films) tries to stop him, but the thing about Bad Boys is that they don’t follow the rules. Whatcha gonna do? Soon Mike is trading insults with the upstarts at AMMO, including Vanessa Hudgens and “The Sun is Also a Star’s” Charles Melton.

I’d estimate it is about one-third banter (we get some insults about getting older now) and two-thirds action, much of it very intense and very, very violent, with lots of blood, explosions, and heavy artillery. “I know ‘thou shalt not kill’ but these were bad guys” describes their view of law enforcement plus “We ride together. We die together. Bad boys for life.” (Someone does point out that they should think of themselves as bad men. Which may be why there’s also more crying than you normally see in this kind of movie. It’s dumb, and the action/comedy mix is not entirely successful given the carelessness about collateral damage and the outright carnage. But the charm is there and it is watchable, a summer movie in January. By the end, if you stay for that post-credit scene, you might just be ready to see what they do next.

Parents should know that this film includes intense and extended action, peril, and violence with very graphic and disturbing images, chases, explosions, fire, very strong and crude language, sexual references, and brief drug use.

Family discussion: What made Mike and Marcus good partners? How have the movies changed since the first one? If you and your friend had a go-to motto, what would it be?

If you like this, try: the earlier “Bad Boys” movies and the “Fast and Furious” series