The LEGO Batman Movie

Posted on February 6, 2017 at 5:26 pm

“The LEGO Batman” movie is not just sure to be one of the funniest movies of the year, with laugh lines that come so fast it is impossible to catch your breath before the next one. It is also the most astute mash-up of love letter and take down of a popular culture icon since the brilliant “Galaxy Quest.”

“The LEGO Movie” was an unexpected blockbuster, sweet and very funny, surprisingly ambitious in scope. This spin-off is more focused, its basic structure very much in the tradition of the DC Comics character as created by Bob Kane and Bob Finger and as interpreted through the Adam West television series of the 1960’s, the Dark Knight comics and movies, and the Tim Burton movies, all of which get quick, understated, very clever nods so deeply enmeshed in the history and culture of Bruce Wayne/Batman and his world as to satisfy the heart of the most devoted fanboy. There’s even a plane from McGuffin Airlines.

The movie opens on a black screen. In case we don’t understand why, LEGO Batman explains that “all important movies begin with a black screen” and edgy music and logos. Just in case that isn’t pretentious enough, there’s also a quote on the screen…from that great philosopher Michael Jackson.

The Joker (Zach Galifianakis) has a great big bomb and is getting ready to blow up Gotham. This is very serious as it turns out Gotham is held up only by, well, pretty much a table. Batman comes in to take the bomb and save the day — also to break the Joker’s heart because he won’t acknowledge that the Joker is the most special and important of all of the villains. Pro tip: when you confiscate the Joker’s big “unnecessarily complicated” bomb, disable it before you stow it in the Batcave museum.

Gotham saved, Batman goes home to a lonely lobster thermidor dinner and a solo screening in his home theater, where he has a collection of mostly-cheesy romantic comedies. When he’s not responding to the Bat Signal and saving the day, he roams around Wayne Manor gazing pensively at old family pictures (note that on that last shot of his parents outside the theater, the nearby street sign says “Crime Alley”). But of course it would not be a Batman movie without some fancy society gala, so he dons his tux and goes to Commissioner Gordon’s retirement party. Barbara Gordon (Rosario Dawson) is taking over and to Batman’s dismay she tells the crowd that she plans to stop relying on Batman for all of Gotham’s crime-fighting needs. (After all, even with all his skill, Gotham is still constantly being attacked by deranged and very colorful bad guys.) She wants to involve more people in law enforcement. Batman is not at all happy about this. Furthermore, he is so distracted he sort of accidentally agrees to adopt an enthusiastic orphan with big anime-style eyes (Michael Cera as Dick Grayson).

Joker has come to a similar conclusion and he decides to team up, too — with the inhabitants of Superman’s Phantom Zone, including just about every literary bad guy anyone 12 and under might know, from Harry Potter’s Voldemort to King Kong and Oz’s Wicked Witch of the West.

The jokes come very fast, usually understated and references to pop culture, which adds to the feeling of being in on something. And the visuals are delightful, perfectly evoking the adorable clunkiness of the LEGO universe. The flames are made of plastic and the guns go “pew pew pew” instead of “bang bang bang.” But the cleverest idea of all was understanding that the very same qualities that make Batman, especially in his Dark Knight persona, so compelling work even better if he acts petulant and childish instead of a brooding and mysterious. The playground-style taunts are funny because they are real and relatable, no matter how old you are.

Parents should know that this movie has cartoon-style action and peril, with no one hurt, some schoolyard language and potty humor.

Family discussion: Why is it hard for Batman to rely on other people? Why does he like to watch romantic comedies? How does he feel when he sees all the other Justice League superheroes at the Fortress of Solitude? Why does the Joker care how Batman feels about him?

If you like this, try: “The LEGO Movie”

xXx: The Return of Xander Cage

Posted on January 19, 2017 at 5:28 pm

This ridiculous but ridiculously entertaining third chapter in the “XXX” action series is basically script by Mad Libs: Let’s have Vin Diesel in a . Which is how we get a motorcycle race over water and a ski jump into jungle. Plus a shoot-out in zero gravity. And why not. Sick of winter? Tired of the news? Here is a summer movie in January, with chases and explosions for days, badassery of all kinds, and many thousand yard stares, all presented for your delectation in gorgeous IMAX 3D.

So, to recap. In the first XXX movie, released in 2002, extreme sports and extreme tattoo anti-hero and adrenaline junkie Xander Cage (Vin Diesel) was recruited by federal agent Augustus Gibbons (Samuel L. Jackson) to do some tasks that normal military and government operatives were not cool and crazy enough to do. Chapter 2, “XXX: State of the Union” (2005) had Ice Cube stepping in for the reportedly deceased Cage. Twelve years later, it turns out that Xander Cage was just too cool to kill. He’s been enjoying life with crazy stunts and beautiful ladies. But tracks him down because has to be taken away from , and so once again his special skills are needed.

That special ops boss is Marke, played by Toni Collette as though she is doing a bad drag queen impression of herself, as opposed to the good drag queen impression she did in “Connie and Carla.” She helpfully provides X with a team of military tough guys. He dispatches them quickly by throwing them off a plane and rounds up his own Benneton ad of a team, a motley crew of wisecracking with and no fear: “the bad, the extreme, the completely insane,” we are reminded, as though that isn’t the very reason we are there. The movie helpfully skips over exposition that might get in the way of chases, explosions, shoot-outs, fight scenes, and quippy threats and bragging by providing helpful title cards for each character outlining, like Power Point on crack, their most significant achievements, characteristics, and useful other information like their go-to karaoke song or the fact that one of them, meeting with Samuel L. Jackson, thinks he is being recruited for the Avengers.

Everyone loves to run, jump, shoot, and fight except for Nina Dobrev as the Velma of this Scooby-Doo crowd, with oversize glasses, super-duper tech ability, and an inability to stop talking around X. She babbles anything that comes into her mind, explaining so thoroughly (in the world of this movie, more than six words in a row is a monologue) that she is not a field agent that we know eventually she will have to shoot a gun at someone, and adding, as she swoons over X’s muscles, “It’s not that I have a safe word or anything; it’s kumquat.”

X-Men style, this Island of Lost Toys bunch of misfits keeps shifting loyalties, so, gets to fight and fight alongside , too. It’s all delightfully preposterous but crazy fun and .

Parents should know that this film includes constant action-style peril and violence, chases, explosions, assault weapons, knives, terrorism, sexual innuendo and non-explicit situation, and some strong language.

Family discussion: Do you agree with Xander’s comment about rebels and tyrants? How do the characters decide when to be loyal and who to be loyal to?

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

Rogue One: A Star Wars Story

Posted on December 13, 2016 at 12:00 pm

I know, I know, you want me to tell you how it ranks against the other “Star Wars” movies. I’m going to say somewhere between “A New Hope” and “The Force Awakens.” It is a worthy addition to the canon, gorgeously imagined, with striking images, intriguing and richly diverse characters, a suspenseful plot, a worthy adversary, an amusing sidekick, some romantic sparks, and a very satisfying answer to one of the most persistent questions from the very first film in 1977. And without getting heavy-handed or preachy, it touches on some complicated and timely issues.

Once again, we are reminded that this takes place a long time ago, in a galaxy far far away, and thankfully the text ends there and we are immediately in the middle of the action. A little girl with pigtails is breathlessly racing home to tell her parents that the threat they have been preparing for has arrived. “It’s happened. He’s come for us.” “You know what to do.”

The girl is Jyn Erso. Her father Galen (Mads Mikkelsen) was a scientist who once designed weapons for the Empire. He got away and has been living on an isolated farm, but the Empire’s Orson Krennic (Ben Mendelsohn) has found him. He is there to bring Galen back to finish work on the planet-killing weapon we know well from “A New Hope.” Galen explains why he left. “You’re confusing peace with terror.” Krennic responds crisply, and creepily, “You have to start somewhere.”

Jyn’s escape has been well-rehearsed. She knows where to hide. Her mother was supposed to go with her, but could not resist trying to protect her husband. She is killed, Galen is captured, and Jyn is rescued, kind of, by outlaw Saw Gerrera (a dashing Forest Whitaker).

The grown-up Jyn (Felicity Jones of “The Theory of Everything”) has clearly been taking care of herself — and not trusting anyone else — for a long time. But she is captured by the rebel forces, who have received a message smuggled out by a pilot named Bodhi Rook (a terrific Raz Ahmed). The Rebel Alliance wants Jyn to get to her father and find out how to stop the terrifying new weapon, the planet-killing Death Star. Jyn, who did not know whether her father was dead or alive, and hoped he was dead because it would mean that he was not helping the Empire and not abandoning her, must re-think her view of the world (in her case, I guess, the galaxy) and of herself.

Led/accompanied by Rebel Alliance hero Cassian (Diego Luna), his pilot/sidekick droid K-2SO (winningly voiced and motion-captured by Alan Tudyk in one of the film’s most memorable highlights), a blind monk with mad martial arts skills (Donnie Yen) with his firepower-packing friend Baze Malbus (Wen Jiang), and the renegade pilot, Jyn crosses the galaxy to try to rescue her father and stop the Death Star.

So, to recap: good characters, good action, great scope, and just the right amount of fan service. I’m not sure that the digital re-animation of “A New Hope” characters are worth the distraction. And I am not entirely on board with the ending.

No more for risk of spoilers. But there is so much going on, it is worth pointing out some details that might be overlooked in the middle of all the action. Note young Jyn’s stormtrooper doll, an Ozymandias-like massive statue, prone on the sand, the issue of factions within the rebel community, the bigger issue of moral responsibility for actions committed for the larger good, echoes of familiar wartime images from the D-Day landing to hooded prisoners and IEDs in civilian areas.

K-2S0, like Rook and “Force Awakens'” Finn, was formerly with the Empire. It/he has been reprogrammed but a sort of data pentimento has it/him a bit loopy and the result is a dry, even sarcastic wit that adds a bit of a twist to the seriousness of the storyline. This film, more canon-adjacent than linear, has some of that same sense of independence and even improvisation, a welcome waystation before the next chapter of the saga.

Parents should know that this film includes extended sci-fi action-style violence, with many characters injured and killed. There are sad deaths including death of parents, and some disturbing images, including monsters. The script by Chris Weitz and Tony Gilroy is wise enough not to try to answer questions about the complex quandaries of oppression and rebellion, but wise enough not to overlook them.

Family discussion: How did the governance of the Empire and the Rebel Alliance help or hinder their decision-making? How did the hologram message change Jyn’s mind? What does it mean to carry a prison with you?

If you like this, try: “Star Wars” IV, V, VI, and “Force Awakens”

Related Tags:

Fantasy Science-Fiction Series/Sequel

Fantastic Beasts and Where to Find Them

Posted on November 17, 2016 at 5:56 pm

A-

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for some fantasy action violence
Profanity:	Some mild language
Alcohol/ Drugs:	None
Violence/ Scariness:	Extended fantasy peril and violence, some disturbing images and scary creatures
Diversity Issues:	None
Date Released to Theaters:	November 18, 2016
Date Released to DVD:	March 27, 2017
Amazon.com ASIN:	B01LTHOAGM

It is so good to be back in the Potterverse again.

This first of an expected five film series is true to the spirit of the world of Harry Potter; indeed, it is the first film with a screenplay from J.K. Rowling herself. But it departs from the Potter films in significant ways: it is the first story to be set in the past and the first to be set outside the UK. It takes place in 1920’s New York City.

It is also the first to center on adult characters, though a teenager and a child have featured roles. It has the best of both the familiar and the new, thanks to the experienced eye of director David Yates, who also directed the last four Potter films) and the score from James Newton Howard, echoing the Potter film’s theme.

Eddie Redmayne (“The Theory of Everything” and “The Danish Girl”) plays Newt Scamander, a shy wizard who arrives on Ellis Island with a briefcase that has some thrilling magical attributes. There’s a handy switch to make its contents muggle-worthy (though, as he will learn, in the US muggles are referred to as “no-majs,” pronounced no-maszh). It can contain many different kinds of fantastic beasts. And it is a portal to a sort of animal sanctuary Newt maintains for his beloved creatures, all of which will escape at least once to create chaos or save the day, sometimes both at once.

He arrives just as a group called Second Salem vows to eliminate anyone performing magic. The leader is a fervently fanatic woman named Mary Lou (Samantha Morton), who abuses her adopted children, especially her teenage son Credence (Ezra Miller, soon to be DC’s Flash on the big screen).

So MCUSA (pronounced mc-kusa), the Magical Congress of the United States of America, led by Seraphina Pickery (Carmen Ejogo) is especially concerned about doing anything that would bring them to the attention of the no-majs in any way, much less make them think that the wizards and witches are dangerous. And a rogue wizard named Grindelwald has been creating mayhem in both the wizard and muggle worlds.

Newt meets a no-maj, an amiable would-be baker named Jake Kowalski (a warm-hearted performance from Tony winner Dan Fogler) carrying a very similar-looking briefcase just as one of the fantastic beasts escapes from his own. The creature, who looks a bit like a duck-billed platypus, has an inconvenient habit of grabbing anything shiny or sparkly. By the time Newt has retrieved him, Jake has seen too much and is about to have his memory wiped when a variety of other mix-ups and adventures take him deeper into the world of magic. Soon, Jake and Newt team up, aided by a disgraced MCUSA investigator named Tina Goldstein (Katherine Waterston of “Inherent Vice”) and her mind-reading sister, Queenie (charmingly magnetic Alison Sudol, channeling Carole Lombard).

Newt is an utterly engaging character, a bit shy and tentative, but somehow we are not surprised to learn that he was expelled from Hogwarts — or that it was over the objection of a young faculty member named Dumbledore. As with all of the Potterverse films, the production design is enchanting, even the no-mag areas. The old-time New York settings, including a variation on a speakeasy, are gorgeously realized, with a depth of imaginative detail that makes us want to hit a pause button. The creatures range from grotesque to magnificent, and Newt’s constant affection for them all (like Hagrid) is endearing. The big confrontation has some real emotional heft, and Rowling keeps one of her best surprises to the end.

When is the next chapter coming? I’m ready! At least, after I watch this one a few more times.

Parents should know that this film includes extended fantasy peril, action, and violence, characters injured and killed, some disturbing images and scary creatures, and brief bodily function humor.

Family discussion: Which is your favorite creature? Why does Newt think that people find him annoying?

If you like this, try: the Harry Potter books and movies and “Labyrinth”

Inferno

Posted on October 27, 2016 at 5:10 pm

Dashing, globe-trotting symbology professor Robert Langdon (Tom Hanks) doesn’t work any harder at trying to prevent a global pandemic than Hanks and director Ron Howard work at trying to make the Dan Brown book into a movie. You can guess how Langdon’s effort works out. I’m here to tell you that the movie does not. Not even close.

Langdon wakes up, disoriented and with a gash on his head. As far as he remembers, he is still at Harvard but somehow he sees Florence out the window. He has no recollection of the past few days and the doctor (Felicity Jones) explains that he has temporary retrograde amnesia. Her name is Sienna. Conveniently, she speaks English — she is English — and several other languages, and even more conveniently she is a fan of his work because she “likes puzzles.” She attended one of his lectures when she was nine years old and has read all of his books with such devotion that she even mentions there is one she didn’t like much.

When an assassin dressed as a police officer starts shooting at them, Sienna grabs Robert and brings him, still in his hospital gown, to her apartment. Pretty soon, they are both on the trail of a puzzle that leads to an impending release of a virus that while wipe out 80 percent of humanity, put in place by a crazed zillionaire who had some very strong feelings about the problems of over-population, and who fell to his death in the prologue, but not before warning darkly that “Humanity is the disease; Inferno is the cure.”

Robert, still groggy, has to figure out how to stop release of the virus. But the clues are simply that that puzzling or interesting. Unlike The Da Vinci Code, where Brown put together a clever and intricate series of clues based on authentic history and art, this one is little more than chase scenes in iconic locations, alternating with yawn-inducing scenes people barking kill orders into headsets and staring intently into monitors.

We also get drearily Delphic pronouncements like “the truth can be glimpsed only through the eyes of death” and somber almost-adages like “the greatest sins in human history have been committed in the name of love,” squinting at Renaissance frescos, a mysterious group with the PAC-like name The Command Risk Consortium (“We are not the government; we get things done”), a stolen death mask of “Inferno” poet Dante Alighieri, and an absurd pause for a chat about missed chances and regret. Irrfan Khan provides an all-too-brief bright spot, and I would happily see an entire movie about his crisp and unflappable character. As for the rest, one action scene is underwater, but the rest of it drags so much it feels like it might be, too.

Parents should know that this film includes fantasy/action style violence with grotesque and disturbing images, theme of global pandemic, chases and extended peril with characters injured and killed, suicide, betrayal, some strong and crude language, and a sexual situation.

Family discussion: Who is doing the most to address the problems of over-population? Why is Dante especially appropriate for this story?

If you like this, try: “The Da Vinci Code”