Rated R for sexual content, graphic nudity, violence, some grisly images, and language
Profanity:
Very strong language
Alcohol/ Drugs:
Drinking
Violence/ Scariness:
Violence and peril with guns, fire, chases, car accident, taser, choking, and torture, some very disturbing images, characters injured and killed, graphic wounds, dead bodies
Diversity Issues:
Diverse characters
Date Released to Theaters:
April 12, 2013
Date Released to DVD:
July 22, 2013
Amazon.com ASIN:
B00D3DJI3Q
Before he was the establishment figure who won Oscars for prestige projects (“Slumdog Millionaire”) and masterminded the fabulous opening ceremonies for the London Olympics that had the Queen and James Bond jumping out of a plane, Danny Boyle was a skillful director of highly styled and deliciously nasty films about not-so-deliciously nasty people doing dreadful things (“Trainspotting” and “Shallow Grave”). His latest is “Trance,” a deliciously nasty heist film about the theft of a 27 million dollar masterpiece by Goya, tellingly titled Witches in the Air, and about the mistrust and betrayal that comes next.
Part of the fun comes from having our assumptions turned upside down — and then inside out. So I don’t want to give too much away. The title comes from a hypno-therapist named Elizabeth (the stunningly beautiful Rosario Dawson), brought into the den of thieves because one of them has misplaced the painting and, thanks to a head injury, cannot remember where he stashed it. The problem faced by alpha-thief Franck (ferret-like Vincent Cassel) is how to arrange it so that Elizabeth can get inside the amnesiac’s head to find the missing painting but not let her find that that by doing so she is abetting a rather notorious crime. Dawson, too often underused, gets a chance to show what she is capable of in a performance of intelligence and subtlety. As she explained in an interview, “I wanted to be specific on who she was and make her disappear at the same time.”
The film itself becomes a sort of trance, with deeply saturated colors that shimmer like a dream, and Dawson’s magnetic voice. We, like the characters, must begin to mistrust what we see and what we think we know as the story turns upside down, inside out, and then, as soon as we think we’ve figured it out, Rubik cubes our minds again. This is a movie you’ll be talking about on the way home, and probably shivering about in your own nightmare.
Parents should know that this film includes sexual references and explicit situations, very explicit nudity, violence including guns, taser, car accident, torture, fire, characters injured and killed, disturbing and graphic images, very strong language
Family discussion: What do the title and subject of the stolen painting have to do with the story? What do you think will happen next?
If you like this, try: “Inside Man” and “Side Effects”
Rated PG-13 for thematic elements including language
Profanity:
Racist epithets, crude and ugly insults, some additional strong language (s-words)
Alcohol/ Drugs:
Drinking, smoking
Violence/ Scariness:
Threats of violence, some scuffles, some injuries
Diversity Issues:
A theme of the movie, brief homophobic humor
Date Released to Theaters:
April 12, 2013
Date Released to DVD:
July 15, 2013
Amazon.com ASIN:
B009NNM9OA
Jackie Robinson was the first black man to play major league baseball. His number, 42, is worn by every player once a year to commemorate his achievements as a baseball player and as a man. This version of the story of the year the Brooklyn Dodgers broke the color barrier in baseball from writer/director Brian Helgeland is a little superficial, it still packs a lot of power, thanks to an evocative sense of its period and star-making performances by Chadwick Boseman as Robinson and Nichole Beharie as his wife. If what we see is a small part of the courage and integrity of this extraordinary man in taking on the virulent racism of his era, it is still enough to make this movie deeply moving.
It is just after the end of WWII. Black soliders returned home from fighting for freedom on behalf of a country that was still segregated, from the separate fighting divisions in the military to the “Whites Only” laws of the Jim Crow South. Brooklyn Dodgers manager Branch Rickey (a cigar-chomping Harrison Ford, in full growl) decides it is time to integrate baseball. He needs to find a player who is not only an athlete of unquestionable ability but someone who has the temperament to stay cool despite the constant attacks he will face from his own team, opposing teams, and the fans. Rickey decides that Roy Campanella was too sweet and Satchel Paige was too old (both would follow Robinson into the major leagues).
Rickey picked Robinson. He had the skill, he has played with white teammates in college, and he is tough. He was courtmartialed for refusing to go to the back of a military bus — and won. Rickey asks Robinson, “Can you control your temper?” “You want a player that doesn’t have the guts to fight back.” “I want a player who has the guts not to fight back.” Rickey knows that no matter what the provocation, any show of temper from Robinson will only give ammunition to the bigots. What would be called “spirit” in a white player will be called something different coming from him.
It is solidly entertaining, delivering all of the expected notes, and if it seems heavy-handed to anyone old enough to remember a time before the Montgomery bus boycott and the passage of the Civil Rights Act, it is perhaps understandable that Hollywood does not take for granted that younger audience members remember there was once a time when segregation was not only legal; it was the law. It harks back to the Sidney Poitier era of saintly black characters, which is understandable. But it is a movie about tolerance that cannot resist a homophobic joke about teammates showering together, which is not.
Parents should know that this movie features frank portrayals of bigoted behavior including a stream of racist invective, with crude insults. There are some sexual references, including adultery. Characters drink and smoke, and there are some scuffles and injuries.
Family discussion: Why was Jackie the best choice to be the first? How did he challenge the beliefs of his teammates? Read more about Jackie Robinson.
If you like this, try: “The Bingo Long Traveling All-Stars & Motor Kings,” Ken Burns’ “Baseball” series, “Brian’s Song,” and “A League of Their Own”
Josh Duhamel narrates this extraordinary documentary about one of our planet’s most precious resources, our oceans. Filmed by directors Yann Arthus-Bertrand and Michael Pitiot, along with an outstanding team of international underwater cinematographers in partnership with OMEGA and with the scientific support of Tara Expeditions, the film aims to explain some of the planets greatest natural mysteries, while reinforcing how essential it is that mankind learns to live in harmony with our oceans. Planet Ocean serves as a reminder of the bond between humans and nature, and the duty that exists to protect and respect our planet. Yann Arthus-Bertrand, Goodwill Ambassador for the United Nations Environment Program, presented this film to the leaders of Rio+20 conference in June 2012.
Spectacular aerial and underwater imagery captured in extreme geographical conditions worldwide, Planet Ocean brings into into the least known regions of our planet. I have one Blu-Ray copy to give away. Send me an email at moviemom@moviemom.com with Ocean in the subject line and tell me your favorite ocean view. Don’t forget your address! (US addresses only). I’ll pick a winner at random on April 21. Good luck!
BONUS FEATURES (BLU-RAY™ and DVD):
· THE MAKING OF PLANET OCEAN
· IN THE SKIES ABOVE RIO: Breathtaking images of Rio de Janeiro’s magnificent shores
· UNDERWATER: Uncover the natural mysteries of marine life with Planet Ocean’s team of underwater cinematographers.
· SHANGHAI: Extraordinary aerial photography of Shanghai’s busy harbor underscores the significance of ocean commerce.
Intense and sometimes graphic peril and violence featuring children and adults, adult characters injured and killed
Diversity Issues:
Diverse characters
Date Released to Theaters:
April 5, 2013
Date Released to DVD:
April 22, 2013
Amazon.com ASIN:
B00B4804KS
Back in 1993, what was astonishing in “Jurassic Park” was the special effects that seemed to bring dinosaurs back to life. Two decades later, rediscovering Steven Spielberg’s mastery of cinematic storytelling is the best reason to go see it again.
It is back in theaters with the best 3D conversion I’ve seen, avoiding the cheesy Viewmaster effect too often the result of adding 3D effects after a movie has already been filmed. Other than a couple of shots where the foreground is distractingly blurred, the effects are immersive and organic, and the dinosaurs-jumping-toward-you moments are sparing and effective.
My favorite moment in the film has always been when the characters are trying to outrace the charging T-Rex in a jeep. All of a sudden, we see a toothy dinosaur coming at them fast and angry in the side rear-view mirror. It takes a moment for the words on the mirror to register: “Objects in mirror are closer than they appear.” Spielberg has found a way to make us laugh and ramp up the tension at the same time. And it is even more compelling in 3D.
The movie holds up remarkably well, other than the computers and walkie-talkies used by the characters, which will seem to today’s audiences almost as prehistoric as the dinosaurs. On the other hand, its then-state-of-the-art special effects, a combination of mechanical creations and computer images, are still as immediately believable as the high-techiest creatures on screen today.
Spielberg has gone on to weightier and more prestigious projects, but this thrill ride of a popcorn pleasure is one of his best and a masterpiece of the genre. It shows his unparalleled gifts for pacing and for the visual language of movies, and his ability to make us invest in the characters. That is what makes all the special effects pack an emotional wallop. He conveys more with ripples in a glass of water — or a sneeze — than most filmmakers can with 15 pages of dialogue.
The story, based on a book by the late Michael Crichton, begins with hubris, the sin of pride so great that a man places himself with the gods and thus sets the stage for his downfall. John Hammond (Richard Attenborough) is a vastly wealthy man who dreams of extracting dinosaur and plant DNA that has been trapped for millions of years in amber and using it to reboot species of flora and fauna that have not been seen on earth. Spielberg grounds the story with a strong moral core that lets us enjoy the catastrophic destruction ahead without any inconvenient pangs of conscience.
Spielberg also makes sure we have someone to root for, lining up our loyalties with a quick introduction to characters we can both identify with and admire. Laura Dern and Sam Neill play experts in paleolithic animals and plants. They are (1) interested in science, not money (except to pursue more science), and (2) in love. That’s all we need to know. But just to make sure, he adds in a couple of children (Hammond is their grandfather), who not only get our automatic protective instincts going but give Neill’s character a chance to grow. At the beginning, he does not like children. At the end — spoiler alert — he does.
Go to see “Jurassic Park” in 3D. Go to take your kids who were not born when it was released. Go to see it the way it should be seen, on a big screen in a theater filled with happily terrified fans. Go to see Samuel L. Jackson before he was SAMUEL L. JACKSON. And for a young female computer whiz who could grow up to be Sheryl Sandberg. But most of all, go for the resoundingly satisfying delight of watching pure Spielberg movie magic.
Parents should know that this movie has non-stop peril, with characters injured and killed and some graphic scenes of injury, including a severed limb, brief strong language (s-word, SOB), drinking and smoking
Family discussion: How many different controls were in place to prevent the dinosaurs from hurting anyone and how did each one fail? What have been the biggest changes in science and technology since this movie was made? Learn about current experiments with gene splicing of animals by reading Frankenstein’s Cat by Emily Anthes
If you like this, try: your local museum to see dinosaur fossils and Spielberg’s “Jaws” and “Duel”
Divers characters, some older films reflect the prejudices of their eras
Date Released to DVD:
April 1, 2013
Amazon.com ASIN:
B00AIQKG2S
This is a must-have for every family’s library — the latest in Warner Bros series of collections is its Romance series, with 20 of the all-time greatest movie love stories: timeless love, unforgettable affairs, and modern romance, filled with passion, heartbreak, triumph, joyous reunions and tragic partings, comedy, drama, and tragedy. The legendary studio celebrates its 90th birthday this week. Coming soon: 20 Comedy and 20 Thrillers series
The collection includes:
Jezebel (1938): Bette Davis is a Southern belle in Antebellum Louisiana who puts her pride above her love for Preston (Henry Fonda). When he will not do her bidding she humiliates him by wearing a bright red dress to a ball (unmarried ladies are supposed to wear only pure white). When he leaves her, she learns that love is about sacrifice and generosity.
Gone with the Wind (1939): One of the biggest books of its time became one of the biggest movies of all time. Scarlett O’Hara (Oscar winner Vivian Leigh) is a tempestuous Civil War-era beauty who breaks the hearts of all the men in Georgia, except for her match, handsome heart-breaker Rhett Butler (Clark Gable) — until they leave to join the Confederate Army and she becomes an indomitable survivor in the midst of loss and chaos.
The Philadelphia Story (1940) My all-time favorite movie has Katharine Hepburn and Cary Grant as battling exes from high society Philadelphia families and Oscar winner James Stewart as the reporter who comes to write the story of her new marriage to the stolid but ambitious George (John Howard). It doesn’t come any wittier, smarter, or more romantic than this.
Casablanca (1942): One of the screen’s greatest love triangles is the Best Picture Oscar winner about former lovers Rick (Humphrey Bogart) and Ilsa (Ingrid Bergman), married to Victor (Paul Henried) who meet in the title city while it is occupied by Nazi forces. The all-star supporting cast includes Peter Lorre, Claude Rains, and Sidney Greenstreet, and there are too many classic lines to count, plus the unforgettable “As Time Goes By” theme song. A perfect film in every category.
Mrs. Miniver (1942): Greer Garson, Teresa Wright, and Walter Pidgeon star in this WWII classic about a brave British family trying to stay strong in the early days of the war.
Now Voyager (1942): Bette Davis plays Charlotte, the ugly ducking of a wealthy Boston family ruled by a domineering mother (Gladys Cooper). She has a breakdown, and with the patient kindness of therapist Dr. Jaquith (Claude Rains), she begins to bloom. On a cruise, she meets married architect Jerry Durrance (Paul Henreid) and they fall deeply in love. But he cannot leave his unstable wife. Charlotte finds a deeply fulfilling a way to be of service to him, memorably telling him, “Don’t ask for the moon. We have the stars.”
Annie Get Your Gun (1950): One of Irving Berlin’s most rollicking scores includes standards like “There’s No Business Like Show Business” and “Anything You Can Do I Can Do Better,” in this fictionalized story of sharpshooter Annie Oakley and her life as a performer. In real life, her co-star and husband Frank Butler (Howard Keel) was completely supportive of her, but in Berlin’s version they are both very competitive. “The Girl That I Marry” and “I’m an Indian” reflect the stereotypes of their era, but it is still a lot of fun.
A Streetcar Named Desire (1951): Tennessee Williams’ classic is about about a fragile, disturbed woman (another Oscar-winner for Vivian Leigh) who disrupts the life of her gentle sister (Oscar-winner Kim Hunter) and her passionate, dominating husband (Marlon Brando). Karl Malden also won an Oscar for his role as a kind-hearted would-be suitor. This is the “director’s cut” version, restoring some scenes that were cut by the censors.
Rebel Without a Cause (1955): The ultimate classic of teenage angst features a galvanizing performance from James Dean, who is still the teenage icon, partly because he died a few months after this film was released, and so remains frozen in time, but partly because his performance in this film had – and has – such resonance for teenagers and for everyone else who feels unsure and angry, and unsure of why they feel angry. The title says it all: Jim is a rebel without the ability to put into words what he is rebelling against. It co-stars Sal Mineo, Natalie Wood, and Dennis Hopper.
Cat on a Hot Tin Roof (1958): Elizabeth Taylor spends most of this movie wearing nothing but a slip trying to seduce Paul Newman as her husband as a party for her domineering father-in-law (Burl Ives) storms around his birthday party. Taylor gives one of her best performances as Maggie, a determined survivor in a house filled with liars and cheaters.
Splendor in the Grass (1961): Warren Beatty became a star in this story of a doomed teenage romance in an era of repression and anguish written by William Inge, co-starring Natalie Wood.
Doctor Zhivago (1965): Omar Sharif plays the sensitive, idealistic title character in a love story in the midst of the Russian revolution. Zhivago marries the daughter of the people who took him in after his parents died, but he loves Lara (Julie Christie). The haunting theme music is by Maurice Jarre.
A Touch of Class (1973): A couple who planned to have an uncomplicated affair find themselves unexpectedly falling in love in this very 70’s bittersweet comedy starring George Segal and Glenda Jackson, featuring the new frankness permitted by the ratings system that allowed for more explicit material.
A Star Is Born (1976): This third version of the classic story of the young performer on the rise who marries a fading star has Barbra Streisand, Kris Kristoferson, with an Oscar-winning song, “Evergreen,” by Streisand and Paul Williams.
The Goodbye Girl (1977): Richard Dreyfuss won an Oscar as an aspiring actor working in a doomed production of “Richard III” who sublets an apartment only to find that it is already occupied. Marsha Mason (then married to screenwriter Neil Simon) has the title role as a single mother who is vulnerable because she has been dumped by so many men.
The Bodyguard (1992): Whitney Houston plays a pop star who has been threatened and Kevin Costner is her bodyguard. They fall in love and Whitney sings the Dolly Parton song, “I Will Always Love You,” one of the biggest hits of the 90’s.
You’ve Got Mail (1998): Nora Ephron cleverly updated “The Shop Around the Corner,” about battling co-workers who don’t realize they are falling in love through an anonymous correspondence, to the era of email, and adds another timely note: Tom Hanks plays the chief executive of a chain of super-sized bookstores and Meg Ryan plays the owner of a neighborhood bookstore. (In the next remake, the superstore will be closed down by Amazon.) A witty script and the natural chemistry of the three-time co-stars makes this an ideal romantic comedy.
Two Weeks Notice (2002): Hugh Grant is a feckless zillionaire and Sandra Bullock is the idealistic lawyer who goes to work for him. Guess what happens?
The Lake House (2006): Sandra Bullock re-teams with her “Speed” co-star Keanu Reeves in this fantasy romance about a doctor and an architect who occupy the same beautiful glass lake house — two years apart. Somehow, they are able to communicate with each other by leaving letters in the mailbox. They begin to fall in love, but can they ever meet in the same moment?
Nights in Rodanthe (2008): Richard Gere and Diane Lane, who co-starred in “Unfaithful” and “The Cotton Club,” play a lonely pair who unexpectedly find love in this Nicholas Sparks story.
Before he was the establishment figure who won Oscars for prestige projects (“Slumdog Millionaire”) and masterminded the fabulous opening ceremonies for the London Olympics that had the Queen and James Bond jumping out of a plane, Danny Boyle was a skillful director of highly styled and deliciously nasty films about not-so-deliciously nasty people doing dreadful things (“Trainspotting” and “Shallow Grave”). His latest is “Trance,” a deliciously nasty heist film about the theft of a 27 million dollar masterpiece by Goya, tellingly titled Witches in the Air, and about the mistrust and betrayal that comes next.
. But most of all, go for the resoundingly satisfying delight of watching pure Spielberg movie magic.
