The Boss Baby: Family Business

Posted on July 1, 2021 at 5:59 pm

B +

Lowest Recommended Age:	Kindergarten - 3rd Grade
MPAA Rating:	Rated PG (Rude Humor\|Mild Language\|Some Action)
Profanity:	Some schoolyard language
Alcohol/ Drugs:	Potion
Violence/ Scariness:	Extended cartoon-style action, no one hurt
Diversity Issues:	None
Date Released to Theaters:	July 2, 2021
Date Released to DVD:	September 13, 2021

2017’s “Boss Baby” was a happy surprise. It took the classic theme of sibling rivalry to a hilarious extreme, revealing that the family’s new baby, Theodore (“Ted”), is literally a boss. He arrives complete with suit, tie, Rolex, briefcase, a job at Baby Corp, and the ultra-adult voice of Alec Baldwin. The older brother, Tim, is initially jealous and hostile, but ultimately joins forces with him to complete his mission.

In this sequel (following the interactive Netflix film, “Boss Baby: Back in Business”), Ted (Baldwin again) and Tim (James Marsden) are grown up. Tim is very happy as a devoted and imaginative stay-at-home Dad to Tabitha (Ariana Greenblatt), the brightest student at a fancy private school) and her baby sister Tina (Amy Sederis), but he misses Ted, who is now a very successful executive who works all the time and instead of spending time with the family just sends “inappropriately lavish gifts,” including a horse named Precious. Tabitha seems to be following in her uncle’s footsteps, telling her dad she is too old for bedtime stories and goodnight kisses.

It turns out that it is Tina who is really following in her uncle’s first tentative toddler footsteps. She is a boss baby in a pantsuit, and on behalf of BabyCorp, she is there to bring her father and uncle back together and, while they are sorting things out, to save the world.

In the first film, Baby Corp had to save the world from a villain who was trying to make puppies cuter than babies. This time it is Dr. Armstrong (Jeff Goldblum), the founder and principal of Tabitha’s school who is plotting a baby takeover by zombie-fying the adults, starting with the parents of his students when they are all together at the school recital. Ted and Tim drink a potion that will return them to babyhood (Ted) and childhood (Tim) so they can infiltrate the school and stop Armstrong’s evil plot.

Like the first film, this one has a delightful mix of understated humor (wait until you see the holiday pageant song about climate change), wild fantasy, cheeky needle-drop songs and pop culture references (from “Rocky Horror’s” “Time Warp” to Flock of Seagulls, “Norma Rae,” and a “comfort plant”). Plus some of the best-constructed action scenes in animated films, exciting, fun, and funny, and then exciting again. And there are some great moments with my favorite character, Wizzie the Wizard toy, magnificently voiced by James McGrath in tones usually heard only in Shakespeare’s plays or “Lord of the Rings” or supervillains. It’s fast, fun, and funny, but it is the heartfelt sense of joy in family, however different we may be, that keeps me hoping for another sequel.

Parents should know that this film has extended cartoon-style peril and action including chases, ninjas with swords and throwing stars, and vertiginous climbs. Characters use some schoolyard language and there is potty humor. A theme of the movie is sibling rivalry and family estrangement.

Family discussion: Is Tina a different kind of boss than Ted? Why are Ted and Tim so different? Why didn’t Armstrong like grown-ups? What name would you choose for your secret identity? What do you think is more important than money?

If you like this, try: the other “Boss Baby” movies and “The Mitchells vs. the Machines”

Luca

Posted on June 16, 2021 at 1:55 pm

A-

Lowest Recommended Age:	Kindergarten - 3rd Grade
MPAA Rating:	Rated PG for rude humor, language, some thematic elements and brief violence
Profanity:	Mild language
Alcohol/ Drugs:	None
Violence/ Scariness:	Some peril and violence
Diversity Issues:	Disability issues, diversity a theme of the film
Date Released to Theaters:	June 18, 2021

I’ll get to the details in a moment, the story, the characters, the music, the themes, and of course the inevitable Pixar movie question — Will it make you cry? But first, maybe because of the whole cooped up inside the house for more than a year thing, I have to tell you about the sunlight on the water in “Luca,” Pixar’s film set on the coast of Italy. As Carlos Saldanha did with Brazil in “Rio,” director Enrico Casarosa brings us his deep love for the place he grew up, and every moment brims with tender affection for the Mediterranean setting. This movie may not make you cry but for sure it will make you sigh in appreciation. And it has a spit take for the ages.

Luca, voiced by Jacob Tremblay of “Room” and “Wonder,” lives under the sea off the coast of a fishing village called Portorosso. This is not the underwater place of Nemo or Ariel, but its own very distinctive and fully-imagined world. Luca is not a merman or a fish, exactly. He is a young sea monster, the son of loving parents Daniela (Maya Rudolph) and Lorenzo (Jim Gaffigan). He is responsible and well-behaved, herding a school of fish. But like Ariel, he is curious about the world outside the water and wants to learn more about what his family calls “land monster town.” His mother cautions him that it is dangerous. But he meets Alberto (Jack Dylan Grazer of “Shazam”), who shows him that sea monsters turn human when they are out of the water and introduces him to some of the wonders of the human world: sunlight, gravity, music, gelato, and…Vespas. Alberto’s dream is to have a Vespa and explore the world.

The — I’m just going to call them boys — try to build a Vespa on their own. But when they meet a spirited human girl named Giulia (Emma Berman) who tells them about a three-part race with a Vespa as the prize, they join forces. This being Italy, the three parts are: swimming, biking, and eating pasta.

But the five-time previous champion, a bully named Ercole (Saverio Raimondo) will do whatever it takes to win again. A single drop of water turns the boys back into their sea monster form, so when the sky starts leaking, I mean when it rains….well, it’s a challenge. Luca’s parents have taken human form to find him, tossing water on every boy they see.

The voice talent is exceptional, with Tremblay, Grazer, and Berman creating distinctive, endearing characters. A brief betrayal is shocking and dismaying because we are invested in their friendship. The film manages to weave in a number of themes with subtlety and insight as the character navigate their differences, as parents learn to love and let go and friends discover that you can stay friends even if you take different directions. Now excuse me while I put on some Puccini and cook pasta for dinner.

NOTE: Watch the credits for some sketches that continue the story and an extra scene with a character voiced by Sasha Baron Cohen.

Parents should know that this film includes peril and some violence. A disabled character is presented as strong, confident, and capable. A character has divorced parents and divides her time between their homes and another child is abandoned by his parents. Differences and acceptance are a theme of he movie. And while underwater Luca is a protective guardian of fish, somehow on land he has no problem helping Giulia’s father catch a boatful so he can sell them.

Family discussion: When should you say, “Silencio, Bruno!” and when should you listen to “Bruno?” Who in your life is an underdog? What do you do when friends want different things? Why did Alberto tell Luca to leave?

If you like this, try: “Finding Nemo” and “Finding Dory”

Spirit: Untamed

Posted on June 3, 2021 at 5:04 pm

Lowest Recommended Age:	4th - 6th Grade
MPAA Rating:	Rated PG for some adventure action
Profanity:	None
Alcohol/ Drugs:	None
Violence/ Scariness:	Action-style peril, sad offscreen death of parent
Diversity Issues:	Diverse characters
Date Released to Theaters:	June 4, 2021

If there’s an aspiring grad student looking for a sociology paper topic, a compare and contrast approach to the original “Spirit: Stallion of the Cimarron,” released in 2002, and 2021’s “Spirit Untamed,” with references to the “Spirit Riding Free” series on Netflix. The original film was hand-drawn and the new version, like the series, is computer-animated. But the gap between the two feature films allows for distinctive evidence of changes in culture as well as technology.

The original film centered on the title character a wild horse captured by cowboys but searching for freedom. He was voiced by Matt Damon. This film, like the Netflix series, is more of a spin-off than a sequel, with another wild horse named Spirit, but the only talking characters are the humans.

In the mid-1800s, a little girl named Lucky (Fortuna to her Spanish-speaking mother, Milagro Navarro, lovingly voiced by Eiza González) is sent to live in the big city with her stern grandfather, a politician who insists that family comes first. Her mother has been killed in an accident performing on horseback, and her grief-stricken father is not able to care for her.

Ten years later, the animal-loving Lucky (voiced by Isabela Merced) manages to disrupt her grandfather’s important political appearance, and so she and her Aunt Cora (Julianne Moore) are packed off to the west, where Lucky’s father Jim (Jake Gyllenhaal) is helping to get the railroad built. Lucky and her father have not seen each other in a decade, but they awkwardly begin to get to know one another until he discovers she has been riding, and forbids her to go anywhere near a horse. The memories of the loss of Lucky’s mother are still too painful.

But Lucky has found Spirit, like the one in the original film a wild horse captured by cowboys and scheduled to be “broken.” Lucky patiently allows Spirit to feel comfortable with her. And nothing Jim says can keep her away from Spirit. She feels they understand each other.

When Lucky learns that Spirit’s family (his herd) is about to be captured and sold by wicked outlaws, she decides to rescue them, with the help of her new friends Pru (Marsai Martin of “Black-ish”) and Abigail (McKenna Grace). To get there in time will require riding their horses over a treacherous trail. But “Prescotts never give up” and Lucky is brave.

This is the best part of the film, as the girls navigate all kinds of danger with courage, loyalty, and good humor. “I rode a horse!” Lucky crows. “Around here we call that holding on for dear life,” one of her friends responds dryly. Co-writer/co-director Elaine Bogan has a perceptive understanding of the vital importance of the P-A-L (the girls’ initials) friendship. While parents will want to remind their children that no one should leave home without letting family know where they’re going and “never give up” does not mean taking unreasonable risks, this is a heartwarming story of human and equine courage and loyalty and a tribute to the wild spirit in both species that seeks adventure and rights wrongs.

Parents should know that this movie includes peril, cruel treatment of animals, very risky behavior by young girls, and the off-screen said death of a parent.

Family discussion: When is it brave to be careful? What adventures do you have with your friends?

If you like this, try: The earlier Spirit film and the Netflix series, and live action films like “The Black Stallion” and “National Velvet”

The Water Man

Posted on May 6, 2021 at 5:38 pm

B +

Lowest Recommended Age:	4th - 6th Grade
MPAA Rating:	Rated PG for thematic content, scary images, peril and some language
Profanity:	Some schoolyard language
Alcohol/ Drugs:	None
Violence/ Scariness:	Some peril, references to child abuse and neglect, critical illness of a parent
Diversity Issues:	Diverse characters
Date Released to Theaters:	May 8, 2021

“The Water Man” is a rare film that exquisitely captures the liminal moment at the end of childhood when we are old enough to begin to understand some of the complications and unsolvable problems of life but still young enough to believe in magic. Lonnie Chavis (“Magic Camp,” “This is Us”) plays 11-year-old Gunner, who is very close to his loving mother (Rosario Dawson) but not aware enough to realize that she is very sick. He is creating a graphic novel about a detective who must solve his own murder and he is fascinated with clues and deductions, but cannot recognize what is heartbreakingly clear to us as we see an IV stand in the bedroom and suspect that the colorful turbans hide a bald head.

Gunner is less close to his father Amos, played by director David Oyelowo, a military officer just returned from a long detail in Japan. His mother loves his art; his father wants him to toss a football.

When he realizes how sick his mother is, Gunner is determined to save her by tracking down a mythic creature known as The Water Man, said to have eternal life. A slightly older girl named Jo (Amiah Miller of “War for the Planet of the Apes”) tells stories of The Water Man, pointing to a scar on her neck as proof that she has not just seen him but been close enough for him to wound her. Gunner does not realize, as we do, that Jo, who lives in a tent by herself, is not as confident and independent as she seems. He agrees to pay her to take him to The Water Man, who is thought to live deep in the forest.

Like the Halloween scene in “Meet Me in St. Louis,” this film lives in the perspective of a young character, while allowing us to understand more than he does. Oyelowo and his Director of Cinematography, Matthew J. Lloyd, use color to tell what Oyelowo describes as an “elemental” story. Gunner’s mother is swathed in warm yellows and oranges, echoed in the backpack Gunner carries on his quest. The inside of Jo’s tent is a deep red. The forest is lush green, but the colors get less saturated and more muted as he gets further from home.

The young actors are both exceptional, very natural and believable, and their scenes together are some of the best in the film. But there is also strong support from an outstanding cast that includes Alfred Molina as an adult who has spent years looking for The Water Man and Maria Bello as the local sheriff who helps Amos try to find his son. Oyelowo is clearly inspired by “ET” (note Gunner’s ET lunchbox), and does a good job of creating a sense of wonder and showing us how all of us, at any age, can struggle to adapt to the unacceptable. Being present for those we love, the families we create, learning to love others for who they are instead of who we want them to be, all come together in a scene as warm as the sun-colors that surround Gunner’s mother.

Parents should know that this film concerns the critical illness of a parent. There is some peril and a creepy fantasy character along with some jump-out-at-you surprises, some schoolyard language, and shoplifting, and there are references to child abuse and neglect.

Family discussion: What are some of the myths or folklore of your community? Where do these stories come from?

If you like this, try: “Bridge to Terabithia,” “Time Bandits,” “Finding ‘Ohana,” and “The Odd Life of Timothy Green”

Over the Moon

Posted on October 22, 2020 at 5:11 pm

B +

Lowest Recommended Age:	4th - 6th Grade
MPAA Rating:	Rated PG for mild action and thematic elements
Profanity:	None
Alcohol/ Drugs:	None
Violence/ Scariness:	Fantasy peril, sad death of a parent, themes of dealing with grief
Diversity Issues:	None
Date Released to Theaters:	October 23, 2020

“Over the Moon” is a gorgeous, candy-colored fantasy adventure based on a Chinese myth, with an appealing heroine and some sensitive and child-accessible insights about grief and loss.

Fei Fei (sweet-voiced Cathy Ang) lives happily with her adored parents, who run a food cart specializing in mooncakes, a delicacy enjoyed each year at the Mid-Autumn Festival, inspired by the myths of Chang’e, the goddess of the moon. Fei Fei’s father (John Cho as Ba Ba) wants to explain her about the science of the moon but she would rather hear her mother’s stories of Chang’e, who consumed the elixir of immortality and mourns the loss of her mortal beloved, the archer Houyi.

But Fei Fei’s mother becomes ill, and dies (offscreen). Fei Fei and her father share their grief and take care of each other. Four years later, Ba Ba wants Fei Fei to meet a woman he is seeing, Mrs. Zhong (Sandra Oh), who has an energetic young son, Chin (Robert G. Chiu). Fei Fei is devastated. She feels that she cannot manage any more change and that bringing another woman into their home would be disloyal to her mother. And she decides that if she could just go to the moon and prove to Ba Ba that the legend of Chang’e’s enduring love is real, he will understand that he should, like Chang’e, be devoted forever to his lost love.

Fortunately, Fei Fei has become a STEM-science and engineering student. And so, she builds a rocket ship. Actually, she builds several model rocket ships which all fail. And then she figures out a way to use something that is going on in her town to power the ship enough to take her and her pet rabbit to the moon in search of Chang’e.

But Chin stows away with his pet frog, throwing off the navigation. Things look dire until two glowing magical lions rescue them and take them to the moon, where they do meet Chang’e, who will not help them until they bring her the “gift’ she needs to reunite with Houyi.

Long-time Disney artist (and son of the “Family Circus” comic panel Bil Keane) Glen Keane brings his experience on films like “The Little Mermaid,” “Aladdin,” and “Tangled” to his first film as a director, and we can see the Disney influence in the strong, big-eyed female leads and the Broadway musical-style “I Want” and other character-revealing songs. Chang’e is voiced by “Hamilton” star Phillipa Soo.

There may be a touch of Studio Ghibli inspiration as well, especially when the characters are floating in zero gravity amid a army (that is the collective noun) of giant frogs. The candy colors of the glowing space creatures are like jelly-beans illuminated by LED lights. A highlight of the visuals was the brief hand-drawn images of the Chang’e story.And the faces of the characters are exceptionally expressive, which grounds the story.

Gorgeous images and chases scenes, including one involving giant chickens on motorcycles, make this a visual treat. The Chang’e character is so imperious that it is not easy to appreciate her learning to be better, but a rare storyline for children about grief, and especially about how good feelings and new people in our lives are not disrespectful to those we have lost, gives the film warmth and depth.

Parents should know that this film includes sad (offscreen) deaths including the loss of a parent. There is some mild fantasy-style peril.

Family discussion: Why didn’t Fei Fei want her father to get married again? Why did she change her mind about Chin? What version of Chang’e’s story do you like?

If you like this, try: “Coco” and “Inside Out”