He’s got the number one show on television (starring Cynthia Rothrock, An Eye For An Eye; and Paul Logan (Sniper: Special Ops) and millions of adoring fans think he doesn’t have a care in the world. But the truth is, poor Murphy (YouTube’s “Just Jesse the Jack”) doesn’t have a friend in the world! True, he gets top billing on his weekly TV series ‘Doggie 911,’ but the old Hollywood adage – ‘It’s lonely at the top’ – certainly applies to this canine super-star. Then one day, fate steps in and some young fans (Sydney Thackray, Walker Mintz) accidentally let the little guy loose. The grateful pooch follows the kids home and they agree to hide him.
Meanwhile, the studio boss (Shadoe Stevens, The Late Late Show) has offered a big reward for his safe return, so the local sheriff (Michael Paré, (The Infiltrator) and some unscrupulous ‘agency men’ (Jaret Sacrey, Freddy James) are determined to track the dog down at all costs. So now, with dark forces closing in from all sides, can the kids save the dog, and can a lesson be taught the studio to be good to the hand that feeds them? Wagging his little tail with confidence, Murphy firmly believes he’s up to the task.
Cartoon-style action peril and violence, no one hurt
Date Released to Theaters:
March 31, 2017
Date Released to DVD:
July 25, 2017
Yes, sure, babies are adorable and it is wonderful fun to nibble their toes and kiss the backs of their necks. But let’s be honest. They are also tiny tyrants. Who decides when it is time to eat and sleep? It is not the adults in the household. And who is no longer the top priority in the home anymore? The older child! (Let me state for the record that my two younger sisters are lovely people and I couldn’t be luckier to have them as siblings, but those first few months are tough.)
“The Boss Baby,” inspired by the Marla Frazee book, takes these ideas hilariously to the extreme with a baby who is literally the boss. He arrives complete with suit, tie, Rolex, briefcase, and the ultra-adult voice of Alec Baldwin. This is deeply disturbing for Tim (Miles Bakshi, grandson of animation pioneer Ralph Bakshi), whose previously blissful life of undiluted devotion from his mom (Lisa Kudrow) and dad (Jimmy Kimmel) is destroyed by this demanding creature and it seems that only Tim really understands what a monster he is.
Somehow, Mom and Dad, a sweet couple who both work for a pet food company, can only see the baby’s cute little face and have no idea that the baby is really a spy, even though “if things weren’t to his immediate satisfaction, he had a fit.” They are so numb from sleep deprivation and so captivated by what looks to them like an infant that they never suspect there is anything unusual going on. But Tim overhears the Boss Baby talking to his office — and then the Boss Baby blandly tosses some money his way and asks for some sushi: “I’d kill for a spicy tuna roll.”
Once Tim learns that the baby will return to his office after his mission is complete, he and the baby join forces to take on the real villain of the story — I will not spoil his very funny nefarious plan.
Director Tom McGrath says that this film is a tribute and apology to his older brother, because like all younger siblings, he was for a time the “boss baby.” He gives the story a pleasantly retro look, setting, and soundtrack, evocative of old-school cartoons and an era before everyone was mesmerized by devices. It is surprisingly funny and even more surprisingly sweet. Tim is a great kid, brave, smart, and wonderfully imaginative, and it is nice to see a movie for children that is about something other than following your dreams or learning to be confident. It’s about visceral feelings everyone will recognize — worrying that there is not enough love to go around, jealousy, competitiveness. And it is also about feelings we should recognize but too often overlook: the importance of imagination and the pleasures of being a kid.
NOTE: Stay all the way through the credits for an extra scene!
Parents should know that there is cartoon-style peril and violence along with some potty humor and schoolyard language. The theme of the movie centers on issues of sibling rivalry.
Family discussion: Why wasn’t the Boss Baby sent to earth as a regular baby? What are the best and worst parts of having a sibling?
If you like this, try: the “Madagascar” films, from the same director
It takes place in the Irish countryside. “We begin,” the movie tells us, “like so many stories, with a boy too old to be a kid and too young to be a man and a nightmare.” The boy is Conor (Lewis MacDougall), whose adored single mother (Felicity Jones) is struggling with cancer and the ravages of its treatment. While other boys are gently awakened by their parents and sent off to school with a good breakfast and a lovingly packed lunch, it is Conor who makes breakfast for his mother (there are rows of medicine bottles in the kitchen cupboard). He also does the laundry before he goes to school, where a bully threatens him. He has a frosty grandmother (Sigourney Weaver) and an affectionate but useless father (Toby Kebbell). So, he is alone with his grief, his fear, his anger, and his paints, which he must learn to use to express them all.
Let’s think for a moment about the title: “A Monster Calls.” Is that “calls” as in “pays a call,” or comes to visit? Is it “calls” as in “calls out to?” Is it “calls” as in “calls out from?”
A teacher says sympathetically, “If you ever want to talk…” Conor’s dad arrives from America, where he lives with his new wife and new baby, and he takes Conor to an amusement park. But Conor does not want to talk and he is not amused. A glimpse of the old “King Kong,” Fear and Fury bookends, and a shiver-inducing creaking noise give us a hint that a terrifying, destructive monster may be coming.
And then, yes, Conor is visited by a monster, an enormous walking yew tree with the rumbling voice of Liam Neeson. Conor may think the monster is there to protect him, but that is not exactly true. He says he is there to tell Conor three stories, and then, he says, Conor must tell him one and it must be true. The monster’s stories have a yew tree connection, as does a possible new treatment for Conor’s mother. They begin like traditional fairy tales but do not pretend that the resolutions are fair or straightforward. The fury within the stories seems to take over Conor and he finds himself becoming violent before telling his story forces him to admit what terrifies him even more than the prospect of losing his mother.
This is a complex, richly imagined film with a deep understanding, clear-eyed but compassionate. The stories it contains help us to be honest about our own.
Parents should know that this film is about a boy whose mother is dying of cancer. There are some other disturbing images and situations, including a bully and a monster.
Family discussion: Which story surprised you the most and why? Why was it important for Conor to tell his story? What monsters live inside us?
If you like this, try: the book by Patrick Ness and “Secondhand Lions”
Rated PG for rude humor throughout, language and thematic elements
Some schoolyard language
Social drinking (adult)
Some peril, sad off-screen death of a child, parental abandonment and marital break-up, cartoonishly exaggerated adult villains, some misbehavior including vandalism and mayhem
Date Released to Theaters:
October 7, 2016
Date Released to DVD:
January 2, 2017
This just might be the most accurate movie title of all time. Middle school is pretty much the worst years of everyone’s life. Terrible stress and tragedy happens at all ages, but it is the years from 12 to 14 where the internal turmoil and agonizing uncertainty are so acute that we still wince remembering them decades later. This film, based on the series of books by mega-bestselling author James Patterson (with Chris Tebbetts and illustrations by Laura Park) has some delightfully satisfying moments of fantasy revenge against a tyrannical, rules-obssessed principal and a borderline-abusive potential stepfather. But it sneaks in some quietly touching and surprisingly wise insights about loss and working with a “new normal.” Bright direction and an exceptionally engaging cast of kids make this film a genuine fall family treat.
Rafe Khatchadorian (Griffin Gluck) has been expelled from two schools (we never find out why) and has just one more chance. He would rather stay home all day and draw pictures in his notebook, where he has created a whole world of monsters and aliens, charmingly animated. “There’s a big world out there,” Rafe’s mother (Lauren Graham) tells him. “There’s a big world in there, too,” he says. And it is clear that is the world he prefers.
He does not even make it inside the building, though, when he meets the new school’s Principal Dwight (Andy Daly), who cares about just two things: his rules, and the school’s test score ranking. Dwight’s rules basically outlaw anything that is fun, friendly, expressive of individuality, or likely to keep the school from the #1 test score ranking Dwight cherishes so deeply that he has cultivated a number 1 bush by topiary in front of the school. Dwight’s consigliere/enforcer is Ida Stricker (“Parks and Recreation’s” Retta). So, bright, patterned shirts, talking in the hallways, even drawing in a notebook — all banned. There’s also a school bully who threatens to give Rafe “a wedgie so bad you’ll be able to taste your underwear.”
But there are three bright spots. Rafe’s best friend, Leo (Thomas Barbusca), is always there to make him laugh and spur him on. There’s a friendly girl named Jeannie (Isabela Moner), and a kind, sympathetic teacher (“Happy Endings'” Adam Pally) who uses the Drake and the Wu-Tang Clan to teach the class about macroeconomic trends. Rafe decides to take on Dwight by breaking every rule, with Leo’s help. Meanwhile, Rafe’s mom is getting serious with the boyfriend Rafe and his sister call “Bear” (Rob Riggle in his usual role of a walking Axe body spray).
The revenge fantasy is funny and satisfying, mostly about making the pompous Principal Dwight look silly. And it gives Rafe a way to begin to make new friends, to resolve issues with the school bully, and to think through the other problems in his life.
The film is bright and fun, like its sparkling soundtrack of pop songs. The young actors are refreshingly natural and Barbusca has great comic timing. Rafe’s sister Georgia (Alexa Nisenson) and love interest Jeanne (Isabela Moner) are real characters, smart and capable. When the more serious issues arise, it is organic and sensitively handled. The pranks are signed RAFE, which stands for “rules aren’t for everyone.” But this movie is.
Parents should know that this film includes schoolyard epithets, potty humor, references to death of a child, parental abandonment, and marital breakup, comically exaggerated adult villains, cartoon-style peril, and tween misbehavior including driving and mild vandalism.
Family discussion: What is the best way to challenge unfair rules? What school rules would you like to change?
If you like this, try: “Harriet the Spy,” “How to Eat Fried Worms,” and the book series that inspired the film