Bros

Posted on September 29, 2022 at 5:53 pm

B +

Lowest Recommended Age:	Adult
Profanity:	Very strong language
Alcohol/ Drugs:	Alcohol, drugs
Violence/ Scariness:	None
Diversity Issues:	A theme of the movie
Date Released to Theaters:	September 30, 2022

Two very different people claim that they have no interest in love and relationships but love will outsmart you and — at least in movies — love loves a challenge. “Bros” is the first Hollywood studio romantic comedy about a gay couple, and it arrives with solid credentials: produced by Judd Apatow (“The 40 Year Old Virgin,” “Knocked Up”) and co-written and directed by Nicholas Stoller (“Forgetting Sarah Marshall,” “Get Him to the Greek”).

The other screenwriter and star is Billy Eichner, playing a heightened version of his real-life persona: cynical and often abrasive. He has said in interviews that he was determined not to make this story comfortable for “normies” by simply replicating cis-het rom-com tropes. This is not a script that could be easily retrofitted for some pretty Jennifer or Jessica to sparkle through some misunderstandings and end with an apology and a proposal. “Love is not love!” he says, explaining that expecting gay couples to replicate the dynamics of straight couples just to make them more acceptable is refusing to recognize that their differences are who they are. This is more of a “We’re here! We’re queer! Get used to it” attitude. Everyone in the film, including the actors playing straight characters, is gay, except for a few celebrity cameos.

Eichner plays Bobby Leiber, a popular podcaster who has just accepted a new job as the head of the country’s first museum of LGBTQIA history. Some of the movie’s best scenes are in the museum’s conference room, as Bobby and the staff argue about the best way to represent their community. They want to be honest but they also want to get the funding they need to open the museum. So, does that mean an exhibit about Abraham Lincoln, because some people think he was gay? Or does it mean an exhibit with a car that travels through a hall of gay trauma proposed by a wealthy donor? That potential donor, by the way, is played by “SNL’s” Bowen Yang, and he is hilarious.

Bobby insists that he likes being alone and independent. When two friends excitedly announced that they have invited a third man into their relationship to become a thruple, he says he does not even want to be part of a couple. He insists that he is doing fine with brief encounters with strangers found via apps, and tells us that walking home afterwards he feels warm and connected. And then he sees Aaron (Luke Macfarlane). While he won’t admit it to himself, he likes Aaron and he like likes Aaron. And that means he has to think about something he has spent his whole life not thinking about: whether anyone will like like him.

There’s a bushel basket of witticisms and pop culture references. The film also captures the way “S’up?” both stands for and impedes communication. Without getting too heteronormative, there is also a lot of heart. Everyone in the film is clearly very happy to be there and to tell this story, and I was happy to be able to watch it.

Parents should know that this movie includes sexual references and very explicit sexual situations and nudity, strong language, alcohol and drug use.

Family discussion: What was Bobby wrong about? Would you like to visit that museum? What should be in it?

If you like this, try: “Fire Island,” also featuring Bowen Yang.

The Good House

Posted on September 29, 2022 at 5:40 pm

B +

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	NA
Profanity:	Strong language
Alcohol/ Drugs:	Drinking and alcoholism, marijuana
Violence/ Scariness:	Reference to two suicides (off-screen), some scuffles, lost child
Diversity Issues:	Neurodivergent child
Date Released to Theaters:	September 30, 2022

Hildy Good (Sigourney Weaver) tells us she was “born three drinks short of comfortable.” She tells us a lot in “The Good House,” based on the 2013 novel by Ann Leary. Hildy and her ancestors going back to one Sarah Good, hung for being a witch back in the late 1600s, have always lived in a Massachusetts town on the shore of the Atlantic ocean. By nature, culture, and profession she is utterly attuned to the emotions and the stories around her. As a realtor, she has to be able to assess immediately the needs and dynamics of the prospective buyers and sellers. Divorce may be a personal catastrophe for the people splitting up, but for her it is a business opportunity. Hildy has to balance the necessity of being pleasant and supportive to everyone with the necessity of boundaries that keep her from getting too emotionally involved. But they also keep her from being as perceptive about herself as she is about others. Hildy narrates a lot and she is always charming, often a little wry, but as we go on we see what she is leaving out of the story.

The good news about a small town is that everyone knows everything about everyone. That can be a source of comfort and help people feel grounded. The bad thing about a small town is that everyone knows everything about everyone. That can be a source of claustrophobia and make people feel trapped. The local psychiatrist, for example, is Peter (Rob Delaney). Hildy will always see him in part as the little boy she used to babysit for. Even if she does not, he will always think she does.

There is an increasing gulf between the way Hildy wants to be seen in the community, the way she is seen, and the way she is. We learn that her daughters and ex-husband organized an intervention because of her drinking, and she has been to rehab. And she is still drinking. A lot. She believes it is important for her to appear successful, so she drives a car she cannot afford. She is struggling and feeling the pressure from a former assistant who has become a competitor.

The trailer may suggest that the focus of the movie is the romance as Hildy connects with Frankie (Kevin Kline), a contractor she loved when they were teenagers. But it is really the story of Hildy coming to terms with the loss and fear she has pushed away and refused to acknowledge since she was a child. Often it was alcohol that she used to make reality less painful. This is a gorgeous role for the endlessly talented Weaver, who gives a layered, deeply lived-in performance, one of the best of the year. She shows us Hildy’s cool, pulled together, ABC (Always Be Closing), performative self, the one she shows to clients, potential clients (that means everyone), even her two daughters. Her wry humor at first looks like some self-awareness, but as it goes on, we see it is just another way to avoid seeing the truth. The same with the details she confides in us. At first they seem disarming and candid. But we learn more about what she is leaving out. And her chemistry with her “Dave” and “The Ice Storm” co-star Kline is genuine and touching.

There’s an engaging shagginess to the story that reveals its origins as a novel. Directors and co-screenwriters (with Thomas Bezucha) Maya Forbes and Wallace Wolodarsky leave in some of the messy details of the novel that most writers would smooth over in a movie adaptation, where there is a limited time so that every aspect has to push the story forward. This gives the film a sense of atmosphere and community that we can believe goes beyond the edges of the frame.

Parents should know that this film deals with alcoholism, depression, and suicide. A child is in peril. Characters use some strong language.

Family discussion: Why did Hildy tell Rebecca she could not get involved? Do you believe Hildy had special powers of perception?

If you like this, try: “Dave” and “Our Souls at Night” and, by these same screenwriters, the excellent autobiographical “Infinitely Polar Bear”

Catherine Called Birdy

Posted on September 22, 2022 at 5:27 pm

B +

Lowest Recommended Age:	Middle School
Profanity:	Some strong language
Alcohol/ Drugs:	Drinking and drunkenness
Violence/ Scariness:	Some violence, discussions of forced marriage, references to battles, stillbirth, offscreen death
Diversity Issues:	A theme of the movie
Date Released to Theaters:	September 30, 2022

Lena Dunham is a remarkably talented writer and director and this loving, joyous adaptation of YA favorite novel Catherine Called Birdy is a passion project for her, as we can seen from her affectionate portrayal of a rebellious girl in the Middle Ages. Before I get to the details of the story, I want to take a moment to note Dunham’s exceptional talent in casting. One of the palpable pleasures of this film worth noting is the superb selection of performers. Even the smallest role is cast with care and beautifully performed. High marks to Dunham and to her casting directors Catriona Dickie and Nina Gold.

“Games of Thrones” actress Bella Ramsey is ideal as the title character, the 14-year-old daughter of a feckless nobleman (Andrew. Scott as Lord Rollo) and his kind-hearted wife (Billie Piper as Lady Aislinn). We are introduced to the family and household with brief written descriptions, video game style. They include Birdy’s nurse and confidant, Morwenna (Lesley Sharp), her brothers, one a monk she likes and one living in the castle with her she mostly ignores. Her friends are Perkin (Michael Woolfitt), who cares for the pigs, and another noble teenager, the beautiful Alis (Isis Hainsworth), who comes to visit once a month with her parents. She also adores her Uncle George (Joe Alwyn), who comes for a visit after fighting in the Crusades.

Birdy (nickname from the pigeons she keeps) is a fierce, independent young woman who describes her “lady lessons” as my two least favorite words in one terrible phrase.” She feels unfairly constricted by the norms of her time, and has a long lost of activities unfairly forbidden to women. She is mostly ignored by her father, until he is informed that (1) he is in need of money and (2) the primary asset he can use to get money is his marriageable daughter. In the calculations of the time. a young woman who carries a title is equivalent to a wealthy man without one. As soon as her father finds out that she has begun to menstruate and is therefore ready to bear children, he sends out word that she is ready to be sold into matrimony. She has a series of amusing encounters as she scares off would-be suitors. Finally, though, after Alis is “married” to a nine-year-old, Birdy is promised to the worst of them all.

Dunham gives us a Middle Ages compound that is suitably grimy, with evocative production design by Kave Quinn and costumes from Julian Day and a score from Carter Burwell. But the modern sensibility is evident through contemporary songs on the soundtrack and Birdy’s commentary. She may be ignorant about some of the basic facts of life, but the more interesting knowledge she gains over the course of the film concerns her increased understanding of people and their motivations.

Dunham, like the book’s author Karen Cushman, effectively uses the Middle Ages setting to raise not just contemporary but eternal issues of conflicts between independence and connections of our friends and family, between challenging traditions and allowing them to provide continuity. The humor and pop songs keep the more dire aspects of the story from distracting us when what she wants us to see is Birdy’s resilience and open-heartedness.

Parents should know that this film is frank about puberty and has sexual references and childbirth scenes, including a sad stillbirth. There is off-screen violence, with references to the Crusades and the death of a child, and a sword fight with one participant wounded.

Family discussion: Why did Birdy and Alis have different ideas about how to behave? Why didn’t she agree to go with Ethelfritha? The screenwriter changed the ending from the book. Which ending do you prefer?

If you like this, try: the book and the book series by Tamora Pierce

Meet Cute

Posted on September 21, 2022 at 7:59 pm

B +

Lowest Recommended Age:	High School
MPAA Rating:	NR
Profanity:	Very strong language
Alcohol/ Drugs:	Drinking, scenes in bar, drugs
Violence/ Scariness:	Comic violence, attempted suicide and suicidal ideation
Diversity Issues:	BIPOC characters used solely as guides for white characters
Date Released to Theaters:	September 21, 2022

As anyone who has seen “The Holiday” knows, movies love the “meet cute.” In “The Holiday,” Eli Wallach plays a screenwriter from the 1940s who tells Kate Winslet that a “meet cute” is where there is something awwww-some about the way the couple we’ll be rooting for first see each other. The example he gives is a man and woman meeting at a store when he is trying to buy just the bottom half of a pair of pajamas and she is trying to buy just the top half. That’s a real movie, by the way. It has a cute title, too: “Bluebeard’s Eighth Wife.”

The term takes on extra dimension in this new rom-com, a time-traveling dimension. We may think that Sheila (Kaley Cuoco) and Gary (Pete Davidson) are meeting for the first time at a sports bar and that it is a charming coincidence or maybe a hint that they were meant to be together when they order the same cocktail, an old fashioned. But there are hints about what Shiela will reveal. It is the first time for Gary, but not for Sheila. She has been using a time machine in the back of a nail salon that looks like tanning bed to repeat the same night for months so she can make it perfect.

She has also been going back in time to tweak some of Gary’s earlier experiences to make him a little more perfect, too. Both Gary and Sheila had painful childhoods. She thinks if she can eliminate some of the trauma he experienced, he will be happier and..better. Apparently no one ever explained the Butterfly Effect to her. You can’t just tweak experiences and expect people to be the same. Pain is part of what makes us who we are.

This is a high-concept movie that delivers a satisfying level of insight beyond the will they/won’t they of the romance. It is likely that anyone who has ever been in a close relationship, romantic, familial, or friendship, has wondered if the other party might not be easier or wished to be able to fix something that hurt a loved one long ago.

Cuoco has already shown herself to be an actress of range far beyond her excellent work in sit-coms. Davidson was a less likely choice as he pretty much always plays himself, quite literally in his only previous lead role. They are both quite good here, as Cuoco becomes more and more honest about what is going on and about her own struggles and Davidson shows us how small changes in his past would have produced a more confident, less empathetic version.

There are some odd choices here, including Sheila’s murderous disposal of her alternate timeline versions and the only two characters of color being relegated to wise counselor roles to prop up the white couple. But the parts that work have great charm and Cuoco and Davidson are a pleasure to root for.

Parents should know that this movie has very strong language, sexual references, a light-hearted portrayal of murder and attempted murder, a less lighthearted portrayal of suicide attempt and suicidal ideation, and alcohol and drugs.

Family discussion: If you could travel through time, what would you change? Is it okay for things to be messy?

If you like this, try: “Groundhog Day,” “Palm Springs,” “About Time,” “Happy Accidents,” and “Map of a Thousand Perfect Things”

Confess, Fletch

Posted on September 15, 2022 at 5:23 pm

B-

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated R for language, some sexual content and drug use
Profanity:	Strong language
Alcohol/ Drugs:	Alcohol and drugs
Violence/ Scariness:	Violence, murder, scufffles
Diversity Issues:	None
Date Released to Theaters:	September 9, 2022

“Confess, Fletch” is a reboot of the affectionately remembered Chevy Chase films based on the series of books by Gregory MacDonald. The post for the new film, with Jon Hamm as the title character, is charmingly retro, evoking the style and font of the 70s. The film, from writer/director Greg Motolla, is not as effective as updating the character and settings. Motolla, the gifted director of films including “Superbad,” “The Daytrippers,” “Adventureland,” and “Paul,” has an exceptional gift for combining action, comedy, and heart, often episodic with a collection of engaging characters and always with a terrific score. But the character of I.M. Fletcher, smart-mouthed, twice-divorced investigative reporter, is never effectively updated in this intermittently enjoyable film, and the episodic screenplay drags, especially when it assumes the characters are more appealing than they are.

Hamm, who co-produced, is well cast, with great comic timing and all the charm his character needs to get away with behavior which ranges from smart-aleck to obnoxious. There are a couple of tough balancing acts in bringing this movie together, and both work only intermittently.

The first is balancing the expectations of the fans of the original films with the very different environment of the present day. The earlier films are very much of their era and not familiar or translatable to the world of 2022. Fans of the original will want to see their favorite parts on screen. People new to the character will need learn who he is and find him appealing. The poster leans toward the former, with a 70s-retro drawing that looks like a book cover.

And then there is the balance between the comedy, mostly based on Fletch’s smart-aleck quips and romantic escapades, and the mystery, which has to do with some stolen paintings worth many millions of dollars that happen to have been the property of the father of the woman Fletch was seeing and thinking of proposing to.

I’m not sure if it says something about our time or if it just says something about the lack of ideas, but we’ve seen a number of “whoops, my rental is double-booked” storyline in movies lately (see “Alone Together” and “Barbarian” for example). Fletch returns to the US after his time in Italy, planning to work on a book. His beautiful girlfriend has arranged the rental. Small problem: someone else is already there. Big problem: she’s dead. And so in true movie fashion, Fletch has to get out of trouble by solving the mystery himself.

There’s a shaggy dog quality to the storyline, as Fletch drifts from one encounter to another. Some are fun to watch, especially his interactions with a grumpy editor played by Slattery. Some are less fun, like the wonderful Marcia Gay Hard, stuck in an impossible role as the vampish stepmother of Fletch’s girlfriend. Their scenes together are among those with actors who appear to be acting in different movies when it comes to the tone and pacing. And the ending could so easily have been more satisfying instead of ridiculous and borderline nihilistic. As entertaining as it is to see Hamm in the role, the conclusion leaves a sour aftertaste.

Parents should know that this film has some mature material including alcohol and drugs, very strong language, and sexual references and situations.

Family discussion: In what ways is Fletch trustworthy and in what ways is he not? Was what he did at the end fair?

If you like this, try: the Fletch books and the earlier movies