The Girl in the Spider’s Web

Posted on November 8, 2018 at 5:48 pm

B-
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for violence, language and some sexual content/nudity
Profanity: Strong language
Alcohol/ Drugs: Drinking, smoking, drugs
Violence/ Scariness: Extended peril and violence, explosions, guns, fights, torture, parent killed in front of child, domestic and child abuse, incest, very graphic and disturbing images, characters injured and killed, suicide
Diversity Issues: None
Date Released to Theaters: November 9, 2018

Copyright 2018 Columbia Pictures
Remember in “League of Their Own” when Tom Hanks said, “There’s no crying in baseball?” Well, there’s no crying in Lisbeth Salander movies, or there should not be. As imagined by the late Swedish journalist and author Steig Larsson, Lisbeth Salander is a pierced, tattooed, bisexual, motorcycle-riding, 21st century Sherlock Holmes, cerebral, relentless, on the side of justice, and with a mastery of logic, observation, and detail that borders on a superpower. And good in a fight.

“The Girl in the Spider’s Web” is the first film based on the authorized continuation of the series by Larsson’s family, and here she is played by “The Crown’s” Claire Foy, following Noomi Rapace (in the Swedish movie trilogy) and Rooney Mara (in the David Fincher English-language film based on the first book in the series). There’s a subtle difference in the title of the book that reflects a shift in tone. The first book’s title is descriptive: The Girl With the Dragon Tattoo, followed by The Girl Who Played with Fire, and The Girl Who Kicked the Hornet’s Nest, both references to risks taken by Salander, with the implication that it was intentional. The Girl in the Spider’s Web is not about a choice she made or a dare she braved. There’s no action verb here. There’s no choice to adorn her body with a symbol of strength and fire. This title suggests a girl who has been placed in danger. Salenger as a damsel in distress? I don’t think so.

And then, like those last seasons of “Bewitched,” when they had really run out of ideas, the movie presents us with a sister we knew nothing about who apparently has been just waiting through three books to show up. We get a flashback of the two girls playing chess with, yes, a spider crawling on one of the pieces, before some very, very nasty stuff begins to happen with the girls’ father, who we already know from the earlier books was a very, very, very evil guy.

We go to these movies to see Lisbeth Salander hack, be invincibly tough, and right wrongs. She hacks into the US National Security Agency mainframe and downloads their most dangerous file. In a brief prelude she goes after a domestic abuser and we learn that she has been avenging other abused women. And she repeatedly takes a licking and keeps on ticking. But here the McGuffin is a computer program that can access and activate any nuclear weapons in the world, created for NSA (Stephen Merchant) who now regrets it and wants it destroyed. So he asks Salander for her help, bringing his young son along (Christopher Convery), just to ramp up the threat element. Salander gets the file, to the considerable consternation of NSA’s Edwin Needham (Lakeith Stanfield), who goes uses his considerable computing power to track down Salander, in a race with some very, very bad guys who want the file, too.

So, it’s your basic run with a gun stuff, ably staged if nothing particularly gripping, until the crying. Salander’s friend (and Larsson stand-in) Mikael Blomkvist (Sverrir Gudnason) appears briefly for no particular reason. Foy does fine with Salanger’s thousand yard stare but the script lets her down by trying to have her be vulnerable and tough at the same time. Tbey’ve taken one of the most arresting characters in recent fiction and made her into just another sad girl. And they’ve taken what began as a superior series of action films and turned it into just another night-at-the-multiplex, sequel-heavy formula movie. If Salanger is caught in a spider’s web, it’s not the blah blah about the secret computer file, it’s the blah blah of the filmmakers.

Parents should know that this film has very intense and graphic peril and violence, disturbing images, characters injured and killed, death of a parent, torture, guns, explosions, severe spouse and child abuse, sexual abuse, very strong language, drinking, smoking and drugs.

Family discussion: What should Lisbeth have done for her sister? Why did they make different choices?

If you like this, try: the Swedish “Girl With a Dragon Tattoo” trilogy

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Based on a book movie review Movies Movies Thriller

Annihilation

Posted on February 22, 2018 at 5:12 pm

B +
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for violence, bloody images, language and some sexuality
Profanity: Some strong language
Alcohol/ Drugs: None
Violence/ Scariness: Extended peril and violence with many characters injured and killed, many grisly and disturbing images, animal attacks, guns, explosives, suicide
Diversity Issues: None
Date Released to Theaters: February 23, 2018
Date Released to DVD: May 28, 2018
Copyright Paramount 2018

Annihilation” is based on the Nebula Award-winning first volume of Jeff VanderMeer’s Southern Reach Trilogy, adapted by director Alex Garland (“Ex Machina”). Natalie Portman plays Lena, a biologist and Army veteran, who joins a group of woman investigating an ominous anomaly the government is calling the shimmer. It looks like an rainbow prismed oil spill in the air. An area around a lighthouse is glowing and oscillating. Is it aliens? Is it God? Is it dangerous? Well, take a look at the title of the movie.

Whatever it is, it is expanding rapidly, posing a threat to pretty much everywhere. “The silence around it is louder than usual,” one observer notes. All missions, manned and unmanned, to investigate have produced no information and no human or drone sent inside has come back. Until one, an Army sergeant named Kane (Oscar Isaac), Lena’s husband. A year after he left, he shows up at their home, dazed and critically ill.

And so Lena joins the next group going inside, along with Dr. Ventress (Jennifer Jason Leigh), a psychologist leading the team, Anya (Gina Rodriguez), a paramedic, Sheppard (Tuva Novotny), an anthropologist, and Josie (Tessa Thompson), a shy physicist. The film is told in flashback, as Lena is being interrogated by a man in a hazmat suit, so we know that she will be the only one of the group to survive. We know what happened. We will see how.

The New Yorker calls VanderMeer “the King of Weird Fiction” and the Southern Reach trilogy “arresting, unsettling, and unforgettable” and “meditations on the theme of epistemic pessimism, in the tradition of Kafka.” I think what that means is that many science fiction and fantasy writers, even the most imaginative and compelling, base their stories on extrapolating what is already here, whether apocalyptic destruction of the planet due to environmental neglect or aliens who are a reflection of whatever geopolitical issues we are struggling with.

Generally, though, the fundamental rules, the ones we take for granted so much we are not even aware we are taking them for granted, apply, including the rules of dramatic fiction that go back thousands of years. Hubris invites catastrophe. Bad guys want to control everything. Courage and honor triumph. VanderMeer, let’s just say, goes another way. Instead of taking what we have and know and projecting it in a more extreme form, he takes what we have and know and bends reality — and our minds — to make us think about how much we do not know. Inter-species mutations are occuring, suggesting that the shimmer somehow dissolves what we think of as immutable barriers, the ones that define our sense of the world and our sense of ourselves. “It’s literally not possible,” a team member says. “It’s literally what’s happening,” another responds.

One of the first questions we hear at the beginning of the film, as Lena is being something between interrogated and debriefed, is “What did you eat?” Her group had rations for two weeks but survived for months. “I don’t remember eating,” she says. Later we will see the group, dazed, trying to remember what has happened and trying to figure out how much time has gone by based on how much food is gone. They do not know where they are or how long they have been there. Their communications technology does not work. Even the most basic technology, a compass directed only by the magnetism of the North Pole, does not work. They are literally disoriented. The women are there because of their expertise in science, but they cannot even manage some of the most fundamental cognitive tasks. They are not sure whether they cn trust each other. They are there to observe and report but they cannot trust their perceptions or analysis.

And we may not be able to trust our own. This movie puts its cards on the table with an opening that reveals the end. This will be an escape room/haunted house set in the wilds of the Florida swamp story with Lena as the “final girl,” the last woman standing. “It all goes back to the first cell,” we hear Lena tell her class of biology students. Cells do not die; they reproduce. Everything alive is a piece of the first cell. As the women on this mission have to decide whether they want to understand or fight the shimmer, another option presents itself.

Garland uses luscious, even seductive visuals in the verdant Florida swamp setting to beguile and horrify us, sometimes both at once. This is more than mind-bending; it is mind-expanding, something of an intellectual shimmer creating a cognitive distortion of its own.

Parents should know that this film includes extended peril and violence with many characters injured and killed and some very grisly and disturbing images, guns, grenade, fire, suicide, animal attacks, some strong language, and explicit sexual situations.

Family discussion: Why did Lena say she owed it to Kane to go on the mission? Why didn’t she tell the other women about her relationship to Kane? What would you do if you were in charge of containing the Shimmer? What is the relationship of this story to Lena’s lecture about cells?

If you like this, try: “Arrival,” “Invasion of the Body Snatchers,” “Solaris,” “2001: A Space Odyssey,” “Midnight Special,” and “Coherence”

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Action/Adventure Based on a book DVD/Blu-Ray movie review Science-Fiction Thriller

Suburbicon

Posted on October 26, 2017 at 5:30 pm

C
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for violence, language and some sexuality
Profanity: Strong language including racist epithets
Alcohol/ Drugs: Drinking, smoking
Violence/ Scariness: Intense and graphic violence including multiple murders, many grisly and disturbing images
Diversity Issues: A theme of the movie
Date Released to Theaters: October 27, 2017
Date Released to DVD: February 5, 2018

Copyright 2017 Paramount
“Suburbicon” is like a beautifully gift-wrapped box that turns out to be empty or a shaggy-dog story that entices you with promising details and then it is supposed to be funny that there’s no ending. A script by the Coen brothers that plays like a correctly discarded early draft of “Fargo” has been tweaked by George Clooney and Grant Heslov, a long way from their brilliant “Good Night and Good Luck,” and directed by Clooney. Even full-on stars Matt Damon and Julianne Moore (in a dual role!) cannot outshine the real star of the movie, the ironic air-quoting production design. The only member of the cast who makes any real impression is Oscar Isaac as an insurance investigator who calls himself a “professional skeptic” and provides a too-brief jolt of energy and interest in a movie that is otherwise way to amused by itself.

“Suburbicon” begins with a cute commercial for a idealized 1950’s planned community that ends with a cheery, “The only thing missing is YOU!” It looks like Walt Disney, Norman Rockwell, Dick and Jane readers, and all those sitcoms with cheery moms who vacuum in pearls and full makeup got together in all of their mid-century, postwar, consumerist, idealized, sanitized, and claustrophobically conformist and Everyone is welcome, it tells us, whether you’re from New York, Ohio, or Mississippi. But all of the people in the ad are white and all of the people in Suburbicon are white….until the Myers family moves in. They are black. This is a pointed reference to the real-life experience of the real-life black Myers family who moved to the conformist, consumerist planned community of Levittown in in 1957, resulting in constant harassment, threats, and a three-week-long riot, which the family endured with grace and patience.

That goes on here, as we see Mrs. Myers (Karimah Westbrook) told by the manager at the grocery that for her the price of a gallon of milk is $20, neighbors build a fence around their yard, and a crowd gathers outside their house, taunting them and setting their car on fire.

But that is not what the movie is about. The movie is mostly about what is going on next door, where armed intruders tie up and chloroform a family, Gardner Lodge (Matt Damon), his wife Rose, who is confined to a wheelchair (Julianne Moore), her sister Maggie (more Moore), and his young son, Nick (an excellent Noah Jupe). Rose dies in the attack and Maggie moves into the house to help take care of Nick and Gardner.

And then things get really tangled. They just don’t get interesting. The production design and camera work are excellent, but what actually happens on screen is just a pointless escalation of deranged violence with cutaways to the poor Myers family to show how dumb it is that the neighbors are terrified of the black family while the white family is what should terrify them. But just making that point as people run around doing terrible things to each other and to a child is neither insightful nor effective.

Parents should know that this film is filled with horrifying violence, some of it very explicit and bloody. There are many murders and other bad behavior. A child is in peril, and he witnesses violence, sex, and bad behavior by the adults in his life. Virulent racism is a theme in the movie and characters use strong language including racist epithets.

Family discussion: Ask members of your family for their memories of the 1950’s. Why did the Myers family stay?

If you like this, try: “Fargo,” “Blood Simple,” “Confessions of a Dangerous Mind,” and “Serial Mom”

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Comedy Crime DVD/Blu-Ray movie review Movies Thriller

When Did You See Your First Horror Movie?

Posted on October 25, 2017 at 9:30 pm

A new survey from Cable TV has some surprising (and scary) results.

The average age at which our survey respondents said they watched their first horror film was 7.2 years old. If that average held true when expanded to the full population, that would mean that the average American kid has seen a horror movie before they finish third grade. In an article full of scary movies, that fact terrifies us more than all of them.

I enjoyed this chart showing the most searched for scary movies by state:

Copyright Cable TV 2017
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Horror Thriller

The Foreigner

Posted on October 12, 2017 at 5:21 pm

C
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for violence, language and some sexual material
Profanity: Some strong language
Alcohol/ Drugs: Alcohol
Violence/ Scariness: Extended, graphic, intense violence including terrorist bombings, guns, fighting, disturbing images
Diversity Issues: Diverse characters
Date Released to Theaters: October 13, 2017
Date Released to DVD: January 8, 2018
Copyright 2017 Sparkle Role Media

“The Foreigner” is in a genre I refer to as “Who is that chef?” movies. An actor with martial arts skills plays a role that has everyone else in the film saying, “Wait, how come that seemingly ordinary and unprepossessing guy has such mad special ops abilities?” It’s a bit like superhero movies, where mild-mannered Clark Kent turns out to have superpowers. And it gives all of us in the audience a chance to dream that someday those around us just might have that same highly vindicating realization that we are far cooler and more powerful than they think.

This film stars Jackie Chan, who also produced, so he was able to craft it around his persona and his priorities. This is not one of his light-hearted fun action films like the wildly popular “Rush Hour” movies and the early Chinese films like “Wheels on Meals,” where his poker face and split-second athleticism showed the inspiration of his idol, Buster Keaton. This is a “serious” (meaning pretentious) saga, based on the thriller by Stephen Leather about the owner of a Chinese restaurant in London who is devastated by the murder of his daughter in a terrorist attack and — say it with me — turns out to have special ops training that makes him the wrong guy to pick on.

As the movie opens, Chan’s character, Quan, picks up his teenage daughter at school and lets us know how protective he is just in time for her to get blown up. He visits the man he thinks knows who is responsible, an Irish politician and former IRA member named Hennessy (Pierce Brosnan, working with the man who cast him in “Goldeneye”). The plot here relates to The Troubles and some renegades who want to start them up again, so get ready for lots of whiskey in cut glass highball glasses. He patiently and politely refuses to leave until he can see Hennessy, so, once he’s been patted down (“He’s just carrying his groceries,” the security guys assure their boss), he is ushered into Hennessy’s office and given the brush off. It turns out the groceries are the ingredients for a bomb, which Quan installs safely in a place that is conveniently empty. “One old man running circles around us,” says Hennessy. “I won’t underestimate him again.” Oh, yes he will.

There’s not enough substance here to make its overall dreariness worth it. And too much “how to” to watch without feeling very uncomfortable that the ones we are underestimating in real life are the bad guys.

Parents should know that this film includes extremely violent peril and action with many characters injured and killed, terrorist bombings, torture, murder, assault weapons, traps, fights, graphic and disturbing images, sad deaths, sexual references and situations including using sex to get information or access, and some strong language.

Family discussion: Should the police torture witnesses to prevent terrorist attacks? How were Quan’s actions different from the people he was fighting?

If you like this, try: The “John Wick” films

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Action/Adventure DVD/Blu-Ray movie review Movies Thriller
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