The Situation

Posted on January 28, 2007 at 11:00 am

B+

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated R for violence, language and a scene of sexuality.
Profanity:	Some strong language
Alcohol/ Drugs:	Drinking, smoking
Violence/ Scariness:	Wartime violence, many characters injured and killed
Diversity Issues:	A theme of the movie
Date Released to Theaters:	2007
Date Released to DVD:	2007
Amazon.com ASIN:	B003XTO330

Parents should know that this film contains disturbing wartime violence involving military and insurgent groups. Characters are injured and killed. There are some non-explicit sexual situations. Characters drink, smoke, and use some strong language. A strength of the movie is its portrayal of strong, loyal friendships between people of different races and cultures, even in the midst of war.

Families who see this movie should learn more about the war in Iraq. They may want to review the report of the Iraq study group and updates from the White House.

Families who appreciate this movie will also enjoy the documentaries Gunner Palace, Control Room, and The War Tapes and feature films Three Kings and Jarhead.

Related Tags:

Drama Movies -- format

Blood and Chocolate

Posted on January 25, 2007 at 11:33 am

C-

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for violence/terror, some sexuality and substance abuse.
Profanity:	Some strong language
Alcohol/ Drugs:	Drinking, drug dealer
Violence/ Scariness:	Intense and graphic peril and violence, characters injured and killed
Diversity Issues:	Strong female character
Date Released to Theaters:	2007
Date Released to DVD:	2007
Amazon.com ASIN:	B000OCY7TY

There was enthusiastic applause in the theater when the name of author Annette Curtis Klause appeared in the opening credits. The book, about a teenage girl in Maryland whose werewolf issues serve as a metaphor for the sometimes-disturbing forces in adolescence, has a devoted following. But by the time the movie ended, there were only a few half-hearted claps from that same part of the theater. And the book’s fans were not the only ones who were disappointed.

The movie version’s lead is a little older (she seems to be out of school, with a job in a chocolate shop) and the location has been moved to Romania, for no particular reason.

Vivian (“ER”‘s Agnes Bruckner is a lone wolf, so to speak, regarded with some suspicion by the rest of the pack, and some jealousy, too. There’s some yadda yadda about a prophecy and her being chosen and “these are the ways of our people,” but it boils down to the fact that the leader of the pack, so to speak (Olivier Martinez, oily as always) has picked her to be his new she-wolf. Apparently, they have solved the whole seven-year-itch thing by giving the Big Bad Wolf the chance to select a new mate every seven years. But Vivian is different. The wolf pack loves to find a human to chase and kill, but she just loves to run because it makes her feel free.

Vivian meets Aiden, a human (Hugh Dancy), a graphic novelist with his own backstory, and soon he has her feeling hungry like a wolf, but only metaphorically. A couple of montages later (trying on clothes for the big date, running through fountains, looking up at the sky, all to some faux-indie music),

But wolves have strong feelings about their territory. They don’t like Vivian’s relationship with Aiden. When a confrontation with Vivian’s cousin ends in his being killed (by Aiden’s silver pendant), the young couple has to find a way to trust each other and create their own destiny.

There are a few nice touches — a falling red ribbon, an abandoned historic church, Vivian’s exuberant race through the streets. But the dialogue is weighted with dull claptrap about prophecies and “these are the ways of our people” and howlers like, “If you cared a Goddamn thing about me, you’d have left me before we even met,” the transformation scenes have no special vibrance, and Vivian’s existential angst just seems petulant. This wolf story is toothless.

Parents should know that this movie has intense and explicit peril and violence for a PG-13, including close-up shots of cuts and wounds, and fights with guns, knives, and very sharp teeth. Many characters are injured and killed. Characters use some strong language and drink and one deals drugs. There are some sexual references and there is brief non-sexual nudity.

Families who see this movie should talk about why Vivian felt responsible for her parents’ death. How did Aidan’s family background help him to understand her situation? What will happen to them? Are the wolf people cursed or blessed? Why?

Families who enjoy this movie will also enjoy An American Werewolf in London, The Lost Boys, Sleepwalkers, and Wolf.

Related Tags:

Smokin’ Aces

Posted on January 23, 2007 at 11:37 am

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated R for strong bloody violence, pervasive language, some nudity and drug use.
Profanity:	Very strong language
Alcohol/ Drugs:	Drinking, smoking, drug use
Violence/ Scariness:	Extreme, graphic, and intense peril and violence, many characters injured and killed
Diversity Issues:	Diverse characters
Date Released to Theaters:	2007
Date Released to DVD:	2007
Amazon.com ASIN:	B002VEJKQI

This is a flashy, nasty, hyper-violent story about a lot of people who are very, very interested in a snitch, magician and five time entertainer-of-the-year Buddy “Aces” Israel (Jeremy Piven).

He’s about to turn state’s evidence against his long-time cronies in the mob. The FBI is particularly interested in mob boss Primo Sparazza (Joseph Ruskin), and Buddy is the only evidence they have.

So, that means a lot of people are very, very interested in Buddy, now holed up in a penthouse suite in Lake Tahoe after jumping bail, waiting to hear from his lawyer about an immunity deal. Interested parties include the FBI, the bail bondsman, who hires three former cops to get Buddy back, Buddy’s own entourage, who suspect he may be giving them up to protect himself, those mobsters mentioned earlier, and several different paid assassins, some in teams and some alone, who are competing for the very generous price the bad guys are offering.

The assorted hitmen (and women) include the trigger-happy punkish Tremor brothers, a master of disguise, a mysterious guy known only as “the Swede,” an emotionless assassin who once chewed off his own fingertips so he could not be identified by fingerprints, and a ambitious black lesbian couple very happy about the chance to show what they can do with their first big-time opportunity.

The interactions between each and all of these characters create the opportunity for some stylish set-pieces, dynamically shot (in both senses of the word) and energetically acted by big stars having fun in small roles. Ben Affleck (cop turned bounty hunter), Chris Pine (most coherent of the growling Tremors, especially when he’s speaking lines of forgiveness from someone he just killed), Jason Bateman (as a lawyer so scuzzy you’ll want to take a bath in antibiotics after watching him), rap star Common (Buddy’s straight-talking sidekick), Mathew Fox (unrecognizable as head of hotel security), and especially multi-Grammy-award winner Alicia Keyes and Hustle and Flow star Taraji P. Henson (the all-woman team) all have fun with their brief showy moments, shooting off colorful dialogue and very big guns.

But the twists of plot and piles of bodies go way over the top. People have just got to stop trying to be Tarantino. I know he makes it look easy, but being audacious and understated at the same time in the middle of balletic bloodbaths is not enough.

Parents should know that this is an exceptionally violent film, with extreme, intense, and especially graphic violence and injuries and many, many injuries and deaths. Characters use extremely strong language, drink, smoke, and use drugs. Most of the characters are criminals, including mobsters and hired killers. There are extremely explicit sexual references and non-explicit situations with some nudity and references to prostitutes, orgies, and homosexuality. The characters are a veritable Benneton ad of diversity, so to the extent that it is a positive sign that the killers include women, minorities, and gay characters, it is worth mentioning.

Families who see this film should talk about Messner’s final decision. Was he right? What were some of his alternatives? Who is this movie designed for? How can you tell?

Audiences who enjoy this movie will also enjoy Lock, Stock and Two Smoking Barrels, Layer Cake, Pulp Fiction, and Lucky Number Slevin (all very violent and explicit).

The Hitcher

Posted on January 19, 2007 at 12:35 pm

F+

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated R for strong bloody violence, terror and language.
Profanity:	Very strong language
Alcohol/ Drugs:	None
Violence/ Scariness:	Intense and graphic violence, brutal killings, disturbing images, torture
Diversity Issues:	None
Date Released to Theaters:	2007
Date Released to DVD:	2007
Amazon.com ASIN:	0783114893

John Ryder returns in this remake of the 1986 horror
film, and this time he has his eyes (and knives, and guns, and fleet
of constantly-changing automobiles-turned-weapons) on not the young
man driving but the young woman in the passenger’s seat. Those who
have seen the original will know the drill: Ryder (originally played
by Rutger Hauer and now by Sean Bean) is a deranged roadster who
follows his target down the long, winding roads of desert highways,
plowing through innocent people and framing his mark for the
resulting murders in an unexplained chase.

The premise sounds simple enough, and indeed it is:
“Don’t pick up strangers.” Unfortunately for this film, the
lesson is one that needs no further explanation, certainly not in the
form of gratuitously violent and frustratingly sub-par filmmaking.

Primarily a music video
director known for his long list of musical clients, Dave Meyers has
shown talent in previous work, but seems to have approached “The
Hitcher” as a formulaic hit for the MTV crowd, foregoing any
sophisticated terror techniques in favor of canned dialogue and
predictable hunt-escape maneuvers. While there are a number of
startling, jolt-inducing moments, by far the most shocking moments
are each time one of the two main characters has a choice to make and
without fail picks the only-in-a-movie worst possible option. There are a few
redeeming moments, most of which involve the skilled pairing of music
and action (especially notable in a car chase), but one
could get all of the benefit of similar skill in Meyers’ music videos, thus
avoiding the unnecessary carnage that litters this dead-end project.

Parents should know that this film is exceptionally
gory, with many deaths including profusely bleeding stab wounds, a
very graphic throat-splitting, and a scene in which a living person
is shown tied between two trucks and torn apart. Granted, they are in
a difficult situation from the beginning, but for purposes of keeping the thin plot going the two main characters,
Grace and Jim (Sophia Bush and Zachary Knighton), make disastrously
poor choices throughout the film, including being belligerent with
police officers instead of complying with protocol and then sharing
their story.

Families who see this film should talk about what might
have gone differently had Jim and Grace cooperated with the police
officers; although they were suspects, the two young students could
have appreciated that the officers were following protocol, and
instead of resisting could have talked calmly with the police to
clarify the situation. Parents should also discuss road safety with
teenagers and decide
on procedures to follow in specific situations (what to do, for
example, if they see someone standing on the road with a broken-down
car).

Families who enjoy this film might also enjoy the original and the very
similar film Joy Ride, in which three young people are pursued by a
blood-thirsty trucker (played by Steve Zahn). They should also see how a brilliant director handles a similar story in the made-for-television Duel, the first feature directed by Steven Spielberg.

Arthur and the Invisibles

Posted on January 8, 2007 at 12:43 pm

Lowest Recommended Age:	Kindergarten - 3rd Grade
MPAA Rating:	Rated PG for fantasy action and brief suggestive material.
Profanity:	Some colorful language
Alcohol/ Drugs:	Sleeping drops
Violence/ Scariness:	Action peril and violence
Diversity Issues:	Strong female characters
Date Released to Theaters:	2007
Date Released to DVD:	2007
Amazon.com ASIN:	B000N4SHNU

Director Luc Besson is known for his striking visuals and his mash-ups of sentimental, even corny moments with intense, graphic violence. At his best, in films like The Professional and The Fifth Element, these juxtapositions work well. But here, in his first film for a family audience, it feels more like a collision. The combination of themes and tones comes across as uncomfortably jarring.

It begins in live-action, beautifully designed to look like traditional children’s book illustrations, with golden tones and intricate details. The characters, language, and behavior also have a timeless feel. Though it is set in the 1950’s, it could easily be taking place in the Depression, especially given the musty colonialism of the set-up. Even the main character’s inexplicable English accent contributes to the feeling that perhaps this is a forgotten classic from the same shelf as The Secret Garden or Wee Willie Winkie.

Arthur (Freddy Highmore of Finding Neverland and Charlie and the Chocolate Factory) and his grandmother (Mia Farrow) will lose their home if they cannot find the treasure hidden by Arthur’s grandfather before he disappeared. The only chance is for Arthur to get help from the Minimoys, a community of very tiny creatures Arthur’s father brought from his travels, who live somewhere deep inside the back yard.

But as soon as Arthur finds the Minimoys, the live action turns into animation, the ungainly and distracting roster of star vocal talent steps in, the tone begins to go haywire, and the story begins to fall apart.

While the opening sequence is understated and reassuringly old-fashioned, the underground adventures are an unfortunate mixture of po-mo snark and potty humor (some just plain pot humor as well). There might be some way to put Robert DeNiro, David Bowie, Jimmy Fallon, Madonna, and Snoop Dogg into the same environment, but Besson hasn’t figure it out, and the voice talents all sound forced and unhappy.

The action sequences are sluggish. The quips are even more sluggish. There are jokes about the age of the character voiced by Madonna, which are weak. But then there is something of a love interest between Arthur and her character, which is downright creepy. The movie tries to appeal to children looking for fairy tales, teens looking for satire, and college kids looking for something trippy. The result is too snotty to be genuine, too sugary to be witty, too uneven to be worthwhile for any audience.

Parents should know that the film has a great deal of cartoon-style action violence. Characters use some schoolyard language. Arthur’s grandmother take sleeping drops and he increases her dose so she will not know what he is doing. Some audience members may be upset that Arthur’s parents do not make it home for his birthday. A strength of the movie is the portrayal of capable, courageous female characters.

Families who see this movie should talk about how children sometimes feel responsible for solving the problems of adults. What was the most important thing Arthur learned?

Families who enjoy this film will also enjoy Honey, I Shrunk the Kids, Secondhand Lions, Labyrinth, The Dark Crystal, and The Ant Bully.