Pokemon 3: The Movie

Posted on December 13, 2002 at 5:17 am

C
Lowest Recommended Age: Preschool
Profanity: None
Alcohol/ Drugs: None
Violence/ Scariness: Characters in peril, combat, but no one hurt
Diversity Issues: Minority character, passive females
Date Released to Theaters: 2001

I suppose that it’s a sign that we’ve passed the peak of Pokemon frenzy that the word “Nintendo” got a bigger reaction from the kids in the audience than the word “Pokemon,” but this movie mustered enough of the old Pokemon spirit to keep the kids pretty happy.

Like the first two Pokemon features, this one includes both a short Pokemon-on-their-own adventure and then a longer feature story along the familiar lines of Pokemon Trainer Ash and his pals save the world. Interestingly, this time the threat comes not from a mad scientist, as in the second Pokemon movie, or from a rogue Pokemon, as in the first movie, but from a little girl named Molly who unwittingly causes havoc when she meets up with some Pokemons who grant her every wish.

Pokemons, of course, are those adorable little pocket monsters who love to be caught by their human trainers, who carry them around and deploy them against the pocket monsters of other trainers, to see who is the best. Most adults find them somewhere between annoying and painful, but children love them. They are always drawn to the idea of hidden sources of power accessed by seemingly powerless figures (think of Superman, Power Rangers, etc.). And they love the memorizing, sorting, and of course collecting opportunity that Pokemons afford. This can be an important part of their social development, and parents should respect their affection for Pokemons while maintaining control over the accumulation of clutter.

Parents should know that some children may be upset by characters in peril (though no one gets hurt). The opening segment includes a scary dog, though he later cooperates with the Pokemons. In the feature story, Molly has lost her mother and the magical Pokemon that she thinks is her father steals Ash’s mother for her. Her very loving father leaves her to pursue a scientific inquiry and disappears. This may be of concern to some children. The little girl’s mother returns only during the closing credits, with no explanation. There is a little bit of “I want to be your boyfriend” humor, but it is very brief and utterly G-rated.

Families who see this movie might want to talk about how having one’s wishes granted may not always be a good thing, and about the way the Pokemons take care of each other in the short segment and take care of their human trainers in the feature movie. Older kids may get a kick out of the way that the silly Team Rocket, always trying to get ahead of Ash and his friends, end up helping them out because “without them, we’d be out of show business!” They may also want to talk about the way Molly sees the shape of her Pokemon friend in a cloud, and how we can keep those we love inside us always.

Families who enjoy this movie will also enjoy the other Pokemon movies and “Kiki’s Delivery Service.”

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Serendipity

Posted on December 13, 2002 at 5:17 am

B+
Lowest Recommended Age: Mature High Schooler
Profanity: Mild language
Alcohol/ Drugs: Smoking and drinking, some heavy
Violence/ Scariness: None
Diversity Issues: All lead characters are white, gay character
Date Released to Theaters: 2001

This romantic confection has all the weight of a soap bubble, but it has all the sheen and charm of one, too.

Serendipity is (1) a “happy accident” and (2) a New York restaurant that serves sweet, frozen goodies. It is #1 that brings our couple together, as both try to buy a pair of black cashmere gloves at Bloomingdale’s, and #2 where romantic sparks fly when she (“Pearl Harbor’s” Kate Beckinsale as Sarah) takes him (“High Fidelity’s” John Cusack as Jonathan) there to thank him for letting her have the gloves.

There is a strong romantic connection, but both are involved with other people, so they part, with two romantic note-in-a-bottle opportunitites for fate to bring them back together. He writes his name and number on a five dollar bill, which she puts back into circulation. And she writes her name and number in a copy of “Love in the Time of Cholera,” which she sells to a used book store.

Years later, as both are about to get married, they are still drawn to each other. So we’re in “Sleepless in Seattle”/”When Harry Met Sally” land, watching them just miss each other a dozen times until the happily-ever-after ending.

Cusack and Beckinsale are just right, giving a small touch of bittersweet reality to the fairy tale. Sarah’s insistence on letting fate determine the outcome could make her seem arbitrary and foolish, but Beckinsale shows us that it is just the result of Sarah’s struggle to overcome a deep romanticism. Cusack, always superb in showing us that same struggle (if you haven’t seen “Say Anything,” rent it this weekend) makes Jonathan’s quest to find Sarah genuninely touching.

The script wobbles at times. The respective fiancés are neither interesting enough to merit their screen time or awful enough to make us feel comfortable about seeing them get dumped. And the near-misses get a little overdone. Adept performances by sidekicks Molly Shannon and Jeremy Piven and by Eugene Levy as a persnickety Bloomingdale’s salesman provide buoyancy. And New York City itself, photographed with twinkling lights and floating snowflakes by cinematographer John de Borman, who shows us the city as a dreamy wonderland. That’s an especially warming, if poignant vision these days.

Parents should know that the movie has smoking and drinking (including excessive drinking). A brief sexual situation is inexplicit and played for comedy. There is mild language. A gay character is portrayed sympathetically and without stereotypes. All lead characters are white and middle or upper class.

Families who see this movie should talk about how we decide to take emotional risks, including the risk of appearing like a “jackass,” and how we decide when to act and when to gamble on fate. They might also like to talk about whether there is such a thing as a soulmate, and how to recognize one.

Families who enjoy this movie should also see “And Now My Love” (some mature material, in French with subtitles), about a couple who do not meet until the movie’s last minutes. We see their entire lives, going back to the girl’s grandparents, so that we recognize how perfect they are for each other even before they do. Another charming movie along those lines is Next Stop Wonderland starring Hope Davis. And check out the movie’s website, which has a cute quiz to help you find a serendipitous match.

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Steal This Movie!

Posted on December 13, 2002 at 5:17 am

D
Lowest Recommended Age: Mature High Schooler
Profanity: Strong language
Alcohol/ Drugs: Drug use and references
Violence/ Scariness: Some violence at demonstrations
Diversity Issues: A theme of the movie
Date Released to Theaters: 2000

It might have worked if this movie had been frustrating in the way that the peace movement or the 60’s as a whole were frustrating. But this movie about the life of Hippie/Yippie leader Abbie Hoffman is unsatisfying for a far more mundane reason — a script with a wavering point of view.

Abbie Hoffman emerged from the demonstrations at the 1968 Chicago Democratic Convention as the spokesman for rebellious youth. He was genuinely committed to the causes of ending the war in Vietnam and economic justice. He was an inventive strategist and a leader who could inspire others. He was always good copy and gave great quotes. And he was a self-absorbed, angry man who suffered from bipolar disorder.

Back when Abbie Hoffman was engaging in guerilla theater antics like dumping dollar bills on the floor of the New York Stock Exchange and running a pig for President, there was a popular saying: “Just because you’re paranoid doesn’t mean that they aren’t really out to get you.” That is Hoffman’s story. This movie adopts a “Citizen Kane”-style structure, with a journalist interviewing Hoffman’s associates to determine whether he was crazy or a victim, and the conclusion of the movie seems to be that he was both.

We see Abbie (Vincent D’Onofrio) with civil rights workers in the South, then losing his short hair, suit, and tie to connect with college students protesting the war. He meets Anita (Janeane Garofolo), who describes him as “crazy and joyous and behind the fun were serious ideas about the redistribution of wealth” who dreamed of “a revolution of artists, poets, and wizards.” He knew that “satire is very effective against tyranny,” and said that “sacred cows make the best hamburgers.” Hoffman worked with others to embarrass the Nixon administration and show the possibilities for change to people who were unhappy with the way things were. He and seven others were arrested for their protest at the Democratic convention. They seized the opportunity of the trial to make their case about what they saw as fundamental injustice in American life with antics that landed them on the front page of every newspaper.

The government saw them as such a serious threat that they engaged in a campaign of disinformation and persecution. Hoffman was charged with selling cocaine and escaped underground, leaving Anita and their infant son, america. Although he and Anita stayed close, he fell in love with another woman, Johanna Lawrenson (Jeanne Tripplehorn). He cannot resist becoming involved, helping to organize an environmental protest. But the pressures of living underground and the increasing chemical imbalence of the bipolar disorder make him fearful and angry.

The movie is sympathetic to Hoffman’s efforts and balanced enough to show us the parallels between Hoffman and his enemies. Each side calls the other immoral. Each recognizes that, as J. Edgar Hoover said, “ridicule is one of the most potent weapons we can use.” Garofolo is strong and tender as Anita. Ultimately, though, the movie is as unsatisfying as the snippets of covers of classic rock songs. More than 30 years later, knowing how it all turned out, it is difficult to remember how truly revolutionary Hoffman’s ideas were, and this movie never really tries.

Parents should know that this movie may be very confusing for anyone who does not remember the 1960’s, and teens who want to see it may need some background. The movie has strong language, fairly mild sexual references and situations (including adultery), permissive drug use, and illegal activity by both protesters and the government.

Families who see this movie will want to talk about what their older members were doing during this period and how they felt about Hoffman’s actvities. The movie’s official website has commentary by Stew Albert, one of Hoffman’s closest associates. Families who enjoy this movie may enjoy “Flashback,” a fictional account of a federal agent with an unexpected secret who captures a former hippie or “Medium Cool,” a fictional story that takes place at the 1968 Democratic convention that features footage from the protests.

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The Diary of Anne Frank

Posted on December 13, 2002 at 5:17 am

C+
Lowest Recommended Age: Middle School
Profanity: None
Alcohol/ Drugs: None
Violence/ Scariness: Tension as they are almost discovered, tragic ending
Diversity Issues: A theme of the movie
Date Released to Theaters: 1959

Plot: In WWII Amsterdam, a young girl and her family must hide from the Nazis in “the hidden annex.” Unimaginable horrors go on outside their tiny sanctuary. Inside, she struggles to understand, coping with both the normal confusions of adolescence and the the most abnormal and terrifying circumstances.

The movie begins as Otto Frank (Joseph Schildkraut), Anne’s father, returns to the annex after the war, the only one who survived. He finds her diary and begins to read. Anne (Millie Perkins), her parents, her older sister Margot (Diane Baker), Mr. And Mrs. Van Daan (Shelley Winters and Lou Jacobi), and their teen-age son, Peter (Richard Beymer) are welcomed into the annex by two brave gentile friends. The door to the annex is hidden by a bookcase. The annex is in the attic of a spice factory, and during the day, when employees are working, the families must be absolutely silent. Their friends have only three forged ration cards, so the food will be very limited. The families settle in hopefully.

But the claustrophobic living conditions, fear of discovery, and lack of food create stress, and the families bicker. Anne teases Peter and quarrels with her mother. Later, they are joined by a dentist, Mr. Dussell (Ed Wynn), who tells them that things have become much worse, and that many of the people they know have been taken off to concentration camps. They are almost discovered twice, once by a burglar, who breaks in to the factory, and once by the police. A radio gives them a connection to what is going on; they hear Hitler speak, and listen to music. They celebrate Hannukah, and Anne gives everyone small gifts she has made for them. She and Peter become close, and despite the lack of privacy, are able to share their feelings. Just as they are rejoicing that the war is almost over, they are found by the Nazis and sent to concentration camps.

Discussion: This is a faithful and affecting (if long) rendition of Anne Frank’s diary, and of her family’s experiences. Director George Stevens used the actual location (now a museum in Amsterdam) as a model for his set, and recreated every detail for authenticity. In addition to discussions of the Holocaust, this movie raises issues about the way that families work together (or don’t) in times of stress. Anne’s famous statement that, “In spite of everything, I still believe that people are really good at heart” is also worth discussing.

Questions for Kids:

· The Van Daans each have something that is very important to them: the cat, the food, the coat. Why is that? What does it tell you about each of them? What does it tell you about the impact of hiding?

· In what ways to the people behave like anyone living under normal circumstances? In what ways do they behave differently?

· Why is Anne’s relationship with her father different from her relationship with her mother?

· What do Anne’s Hannukah gifts tell you about the people she gives them to? About her?

· Is Anne’s father like Pollyanna when he tells her that she should be glad there will be no more fights about wearing boots or practicing, and says “How very fortunate we are, when you think of what is happening outside?”

Connections: “Anne Frank Remembered,” an outstanding documentary about Anne and her family, won an Oscar in 1996. “The Attic: The Hiding of Anne Frank” is a made-for-television drama starring Mary Steenburgen as Miep Gies, the woman who hid Anne Frank and her family from the Nazis. It provides a worthwhile opportunity to see the famous story from another perspective, and to consider the character of those who risked their lives to save others.

Activities: The diary itself should be read by every teenager. There is a lot of information for people of all ages about the Holocaust. Younger children should read the award-winning book by Lois Lowrey, Number the Stars, based on a true story, in which a little girl from Amsterdam helps some Jews escape. Children and especially teenagers may like to confide in a diary; remember Anne’s saying that, “I can shake off everything when I write.”

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The Legend of Drunken Master

Posted on December 13, 2002 at 5:17 am

C+
Lowest Recommended Age: Middle School
Profanity: Several four-letter words
Alcohol/ Drugs: Comic drunkenness, character has hangover
Violence/ Scariness: Lots of acrobatic fights and cartoon-style violence--some bloody but not too scary
Diversity Issues: Heroes are Chinese, bad guys are English and Chinese, some sexism
Date Released to Theaters: 2000

One of Jackie Chan’s best Chinese films is being re-released in a dubbed version with a new score.

It is a sequel to the movie that made him an international star. Though it was made 15 years later than the first, it takes place immediately after the first, set in turn-of-the-century China. Wong Fei-Hong (Chan) is the son of a distinguished and wealthy doctor. As they board a crowded train following the purchase of herbs, Fei-Hong hides the container of ginseng in another man’s luggage, to avoid paying duty. Fei-Hong’s package is exchanged for one containing a valuable antique box. This leads to the discovery that many antiquities are being smuggled out of the country.

Fei-Hong is a specialist in “drunken boxing” (using liquor to “make the body looser and its pain threshhold higher”), and he uses his fighting skill to take on the bad guys.

The fight scenes are sensational. Chan is the most agile and acrobatic screen fighter ever. His split-second timing, imagination, utter fearlessness, and sense of humor produce mesmerizing action sequences. An early fight in a confined space beneath a train car is extraordinary, and the 20-minute final fight sequence is stunning. In this movie, even the housemaid and stepmother are kick-boxers, all the furniture seems made of balsa wood, and gangs of ax-wielding marauders can be vanquished by three or four heroes.

Fans of Chan’s American films may need to make some cultural adjustments to enjoy this movie. Although the new score and dubbed dialogue are attempts to make the movie more accessible to an American audience (one character even uses a Yiddishism to scoff at a plant: “Rootabega, shmootabega!”), some of the conventions and behavior may seem exaggerated and strange. The tone may also seem uneven, with slapstick one moment, a parent beating a child in the next, and a sad death later on. Parents may want to provide some political and cultural context to help kids understand the depiction of oppressed factory workers and the choice of the English ambassador and factory owner as the bad guy. (Interestingly, the Chinese actor portraying a bad guy is dubbed with an English accent as well!) The three stars are for those who care about what happens between fight scenes. For those who don’t care, it gets 4 1/2 stars.

Parents should know that the movie features non-stop fighting, mostly of the cartoon variety. One important character is killed, but most of the time the characters are unhurt or, if they are hurt, the wounds disappear before the next scene. There are are few uses of the s-word and other profanities. Some parents will be concerned about “drunken boxing,” in which liquor affects Fei-Hong the way spinach affects Popeye. As Fei-Hong’s father tells him, though, “A boat can float in water — and sink in it.” And when Fei-Hong overdoes the liquor, he is very sorry. Fei-Hong’s father beats him and disowns him, but later takes him back with love and pride. Fei-Hong has a warm relationship with his young and beautiful stepmother, but she is very manipulative, faking crying to get her way.

Part of the fun of a Jackie Chan movie, like a James Bond movie, is in seeing how he makes use of various props and gadgets. Kids should also note that he is as much a master of physics as of strategy in fighting. Watch how he makes use of his understanding of properties like weight, torque, and balance as he turns the enemies’ strengths against them. Watch, too, how he learns from his elders about going on from mistakes (“Tomorrow brings a whole new journey.”)

Fans of this movie will also enjoy Chan’s recent “Shanghai Noon.”

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