Warm Bodies

Posted on February 3, 2013 at 9:48 pm

B+
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated PG-13 for zombie violence and some language
Profanity: Brief strong language (b-word, s-word, f-word)
Alcohol/ Drugs: Beer
Violence/ Scariness: Zombie violence with some graphic and disturbing images
Diversity Issues: A theme of the movie
Date Released to Theaters: February 1, 2013
Date Released to DVD: June 3, 2013
Amazon.com ASIN: B008220BLG

You don’t often hear the word “adorable” used to describe a zombie movie, but that is probably because you don’t often have a story about a zombie in love.

Oh, it’s still a zombie movie.  Brains get eaten.  In fact, that’s how our undead anti-hero, known only as R (Nicholas Hoult) falls in love.  We meet him as a zombie who has a semblance of an inner life, already an arresting notion.  The whole deal about zombies is that they are undead, soulless creatures who have just one remaining motive or compulsion — they need to eat, preferably brains.  This gives them an important advantage over the rest of us, with our ambivalences, consciences, and that pesky ability to reason that requires us to consider a range of competing considerations.  They also have an even more important advantage — being undead, they cannot really be killed.

R introduces himself via an internal narration that provides a comic contrast with his very limited mode of oral expression and compromised memory.  R is all he can recall of his name.  As he explains when he introduces his “best friend,” M (Rob Corddry), “by best friend I mean we occasionally grunt and stare awkwardly at each other.”  He spends his days trudging stiffly through the airport, now the home base for the zombies, until he gets the urge to feed.  A part of him longs to be human and a bigger part of him fears turning into one of the “bonies,” a further devolution from zombie, skeletal figures who are much more aggressive, eating their own skin.  “They’ll eat anything with a heartbeat.  I will, too, but at least I’m conflicted about it.”

There is one thing he likes about eating brains, “the part that makes me feel human again, a little less dead.”  R eats the brains of a young man named Perry (Dave Franco of “21 Jump Street”), which give him access to Perry’s memories and to his feelings, especially his feelings of love for his girlfriend, Julie (the warmly appealing Teresa Palmer of “Take Me Home Tonight”).  R and Julie — yes, there is a balcony scene, too.  Julie lives in a walled, post-apocalyptic city ruled by her father (John Malkovich).  The surviving humans are at war with the zombies.  But R rescues Julie and as they are hiding out, his love for her begins to make him more human.

Hoult easily makes us understand why Julie is drawn to R, and his small, gradual awakening to the pleasures and pains of being human are beautifully chosen.  Based on the book by Isaac Marion and with able script and direction from Jonathan Levine, this works as a zombie movie and as a romance.  The massive losses have caused the humans to jettison some of their humanity for survival.  Julie’s friend Nora (Analeigh Tipton of “Crazy, Stupid, Love”) to abandon her dream of being a nurse to be an armed forager.  She has held on to a small store of make-up in hopes of a return to a more civilized life and tells Julie ruefully, “I wish the internet was working so I could look up what is wrong with you.”  The movie’s nicest moments are when Julie must pretend to be a zombie and R must pretend to be a human.  We see how superficial the differences have become and  M and some of the other zombies find their hearts re-animated through the power of longing for love and Julie’s father has to open his heart despite his grief at losing his wife.  R’s concerns about how he appears to Julie (“Don’t be creepy!  Don’t be creepy!”) are only a slightly amplified version of what we all go through when we meet someone who inspires us to enlarge our spirits and be on our best behavior.  And a simple “hi” turns out to be a poignant reminder of what being human really means.

Parents should know that this movie has fantasy/sci-fi violence, some graphic, with disturbing images, guns, brain-eating, knife, and weed-wacker attacks, some strong language (b-word, one f-word), a beer, and some lingerie.

Family discussion:  What is the significance of the names R and Julie?  What makes R more human?

If you like this, try: “Shaun of the Dead” and “Zombieland”

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Based on a book DVD/Blu-Ray Pick of the Week Fantasy Horror Romance Science-Fiction

Downton Abbey 3rd Season DVD!

Posted on January 27, 2013 at 8:00 am

A
Lowest Recommended Age: Middle School
MPAA Rating: NA
Profanity: Mild language
Alcohol/ Drugs: Drinking, smoking
Violence/ Scariness: Illness and death
Diversity Issues: A theme of the movie
Date Released to DVD: January 28, 2013
Amazon.com ASIN: B0099Y2MYK

The most popular television show in the world has a gorgeous new DVD/Blu-Ray release this week, Season 3 and some marvelous extras:

–    Downton Abbey Behind the Drama
–    Shirley MacLaine at Downton
–    The Men of Downton
–    Downton in 1920
–    Season 3 Christmas Special bonus episode “A Journey to the Highlands”
–    and much more!

The returning cast includes Hugh Bonneville, Dame Maggie Smith, Elizabeth McGovern, Dan Stevens, Michelle Dockery, Jim Carter, Penelope Wilton, Joanne Froggatt, Brendan Coyle and a host of others, joined by Shirley MacLaine, who plays Martha Levinson, the very American mother of Cora, Countess of Grantham. Written and created by Julian Fellowes, Downton Abbey, Season 3 is a Carnival Films and Masterpiece co-production, in association with NBCUniversal.  I have one Blu-Ray to give away!  Send me an email at moviemom@moviemom.com with “Downton” in the subject line and tell me your favorite character in the series.  Don’t forget your address!  (US addresses only)  I will pick a winner at random on February 2.  Good luck!
Photo caption: The Great War is over and a long-awaited engagement is on, but all is not tranquil at Downton Abbey as wrenching social changes, romantic intrigues, and personal crises grip the majestic English country estate for a third thrilling season. With the return of its all-star cast plus guest star Academy Award®-winner Shirley MacLaine, Downton Abbey, Season 3 airs over seven Sundays on PBS beginning on January 6, 2013. Shown in the photo from left to right: Maggie Smith as Violet, Dowager Countess of Grantham and Shirley MacLaine as Martha Levinson

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Contests and Giveaways Drama DVD/Blu-Ray Pick of the Week Television

The Abolitionists

Posted on January 21, 2013 at 3:59 pm

B+
Lowest Recommended Age: Middle School
MPAA Rating: Not rated
Profanity: None
Alcohol/ Drugs: None
Violence/ Scariness: Lynching, abuse
Diversity Issues: A theme of the series
Date Released to DVD: January 21, 2013
Amazon.com ASIN: B00A3THVGE

The new release from the PBS series “The American Experience” is a three-part story called “The Abolitionists,” the story of the fight to end slavery in the United States.  They were called radicals, agitators, and troublemakers. They thought of themselves as liberators. Men and women, black and white, Northerners and Southerners, poor and wealthy, these passionate anti-slavery activists fought body and soul in the most important civil rights crusade in American history. What began as a pacifist movement fueled by persuasion and prayer became a fiery and furious struggle that forever changed the nation. Bringing to life the intertwined stories of Frederick Douglass, William Lloyd Garrison, Angelina Grimké, Harriet Beecher Stowe, and John Brown, “The Abolitionists” takes place during some of the most violent and contentious decades in American history. It reveals how the movement shaped history by exposing the fatal flaw of a republic founded on liberty for some and bondage for others. Despite opposition and abuse, beatings, imprisonment, even murder, abolitionists held fast to their cause, laying the civil rights groundwork for the future and raising weighty constitutional and moral questions that are still with us today.  “The Abolitionists” interweaves drama with traditional documentary storytelling, and stars Richard Brooks, Neal Huff, Jeanine Serralles, Kate Lyn Sheil, and T. Ryder Smith, vividly bringing to life the epic struggles of the men and women who ended slavery.

http://www.youtube.com/watch?v=xU3RSqT76ic

I spoke to one of the historians who worked on the series, Dr. Manisha Sinha, Professor of Afro-American Studies and History at the University of Massachusetts, Amherst.

How did you get involved with this program?

I’m in the process of finishing a big book on the history of abolition from the revolution to the civil war. I was tapped for this series to be consulted on the script and be a sort of talking head for it.

One thing that I think is very hard for contemporary people to understand is that even among those who wanted to end slavery, there were many different kinds of views on the reasons for abolition.

Right at the outset it is important to distinguish between people who are sort of anti-slavery, who did not like the system of slavery for a variety of reasons, but who choose not to do much about it, versus the abolitionists, who devoted their lives to fighting against slavery.  If you want to look at the roots of the movement, you could go back to the Revolutionary era.  There were some outstanding Quaker individuals and African-Americans who fought for abolition and founded some early abolition societies, which resulted in emancipation in the North.

The people who we call abolitionists, they are the ones who came on in the antebellum period, which was 20 or 30 years before the Civil War, when you had people like William Lloyd Garrison, whose publication of The Liberator in 1831 is seen as the starting point of the formal abolition movement in the United States. Garrison of course, owed his inspiration to many of these early Quaker abolitionists, one of whom he served under as an apprentice.

Most importantly, he was very influenced by the black tradition of protest against against slavery and racism. That’s really important to remember. Garrison rejects the idea of Jefferson and later on even Lincoln, which was anti-slavery but wanted to colonize black people outside the United States.  What’s unique about Garrisonian abolitionists is that they adopt the African-American program of anti-colonization and black citizenship. If you looked at the roots of Garrisonian abolition, it very much lies in a long tradition of black activism of rejecting colonization and citizenship in this country. To that he adds what is known as Immediatism, which is the immediate abolition of slavery.

That’s when the movement starts taking off in the 1830’s that’s inspired by British abolitionists, who first came up with the idea of Immediatism. It’s inspired by these early outstanding Quakers who fought against the African slave trade and slavery supplemented by this long standing black tradition of protest that had its roots during the Revolutionary era.

I’ve always been very interested in the Grimké sisters. They were pioneering feminists as well as promoters of the abolition of slavery. To me that speaks to a very modern view of equality.

It does. In fact, you could say the abolitionists were well ahead of their time, because they’re fighting not just against slavery, but also racism. They fight against racial discrimination in the North and then they fight for women’s rights. Now of course, that becomes one of the issues that fractured the abolition movement.  There were many varieties of abolitionists. You had the Garrisonians, who were fairly radical in their rejections of all kinds of hierarchy, gender and race. You had Evangelical abolitionists, who really didn’t want to mix the question of women’s right with abolition. They thought they had one unpopular cause. They didn’t want to advocate another. Many of these abolitionists were also clergymen.

There were evangelical clergymen, who opposed having women stand up and speak in public like the Grimké sisters, most famously.  Of course, before that, an African-American women, Maria Stewart, had done that.  And before her, Fanny Wright who was an abolitionist and a workingman’s and women’s rights advocate had spoken out in public to what ware known as “promiscuous” audiences that included both men and women. These are the issues that started dividing the abolitionists.

By the end of the 1830s, we have different varieties of abolitionism. Some of these abolitionists became political abolitionists. Unlike Garrison, they felt that they could work through the political system to abolish slavery. Garrison saw the system that was very dominated by slave holders and by the Northern allies and realized that the fight for abolition would be a long and difficult one. He sort of said that the way for abolitionists to go politically was to agitate in the streets rather than to become part of political system that was corrupt.

The series emphasizes the economic basis of the pro-slavery advocates.  It was less a matter of philosophy than it was of money.

Exactly. There were a whole bunch of revisionist historians of the Civil War, who said, “The Civil War was not really a war about slavery. It was about the industrial North against the agrarian South. It was really economic interests that were divergent.” That is true that, that slavery gave rise to a distinct society in the South. In fact, the economic interests of Southern slave holders were quite complementary and in fact linked with that of Northern economic elite.

The people who started attacking abolitionists first were what we call “gentleman of property and standing.” Prominent leaders and the Democratic party were that time leading heavily toward the south. Also, economically others, including the lawyers and politicians, these are the people who led mob violence against abolitionists because they saw abolitionists as threatening these unions, these alliances between Northern capitalists and Southern slave holders.

A lot of work needs to be done on this, but we know that slavery was sort of a national economic interest. Slave-grown cotton was the largest item of export from United States before the Civil War, and its values exceeded the value of all other items of exports from this country, so this was a huge national economic interest that involved Northern banking, insurance, shipping.

It also involved Northern manufacturers.  The textile mills at Lowell were dependent on slave-grown cotton from the South. Northern manufacturers of clothes, tools, shoes, found a market in the South.  Economically, the North and South had complementary economies, not economies that were in conflict. These are the odds the abolitionist faced.  Slavery was entrenched in the nation’s political institutions, it was an enormous part of the nation’s economy.  To fight against that made the abolitionists seem like radical fanatics who are advocated women’s equality which was unheard of. They were really taking on big causes and they were fighting against the enormous odds.

Was the abolitionist movement really the first big American political initiative coming from the people?  Did it inspire later movements like the civil rights, the women’s movement, the labor movement, anti-war protests, and other reforms? 

That’s a great question. Abolition was the first truly radical social movement in this country. It was one of the first to be successful. It became a model for radical activists in later ages. Civil rights activists many times called themselves The New Abolitionists and called for a second reconstruction of American democracy referring back to Reconstruction after the Civil War. Women’s Rights, Second Way Feminism clearly had most of their heroines in this 19th century movement for women’s rights.

It is true that there are a lot of divisions within abolition and within women’s rights during the Civil War over issues of black suffrage and female suffrage.  But the fact remains ideologically, the abolitionists remain a source of inspiration. Even Eugene Debs, the head of the American Socialist Party, often pointed to the abolitionists as his inspiration. There were some populists in the Midwest, who looked up to the abolitionists, too. The abolitionists became a kind of a touchstone, because they are one of the few radical movements in this country that was actually successful at the end.

My husband and I stood in line for two hours on New Year’s Day, the 150th anniversary of the Emancipation Proclamation, to get a rare glimpse of it at the National Archives.  We have to remember it did not free all the slaves, though it was a very  important step.

The Emancipation Proclamation was an official document, a legal document, a military document, born in the midst of war. Its scope was modest, mainly because Lincoln wanted to issue a proclamation that could not be challenged Constitutionally.  He invoked his war powers to free the slaves only in the states that were in rebellion, because that’s what he could Constitutionally do as President.

Everyone knew that if the Union won the war, slavery would be dead in Mississippi and in Louisiana and South Carolina. If slavery was dead in those regions, there was very little chance that it could survive in the border slave states that were still in the Union and were not included in the purview of the Emancipation Proclamation. They had far fewer slaves and Lincoln had been pushing them on compensated emancipation since the start of the war.

The idea that it was not momentous, I think is false. Yes, its purview was demarcated for specific reasons, but the Emancipation Proclamation was a turning point in the war. It clearly linked black freedom with the powers of the federal government and the fortunes of the Union army.  In many respects, it was actually quite a revolutionary doctrine. No less a person than Karl Marx said that it made the Civil War into a revolutionary war for freedom.

 

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Documentary DVD/Blu-Ray Pick of the Week Epic/Historical Interview Politics Television

Zero Dark Thirty

Posted on January 10, 2013 at 6:00 pm

A-
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for strong violence including brutal disturbing images, and for language
Profanity: Constant very strong language
Alcohol/ Drugs: Drinking, smoking
Violence/ Scariness: Intense and disturbing wartime images including torture and terrorism
Diversity Issues: Diverse characters
Date Released to Theaters: January 11, 2013
Date Released to DVD: March 18, 2013
Amazon.com ASIN: B00B1E6FF8

It begins with heart-breaking audio of 911 calls from the World Trade Center on September 11, 2001.  A frantic woman who asks if she is going to die is soothed by the operator until she is suddenly gone and we hear the operator’s dawning understanding of the magnitude of the disaster.

And then it is two years later and we are watching the torture-aided interrogation of a detainee in Pakistan.  Dan (Jason Clarke) is forthright and almost clinical as he tells Ammar (Reda Kateb) that he will hurt him for every lie.  The interrogation is witnessed by a new arrival who we will know only as Maya (Jessica Chastain).  She turns down the chance to stay outside the room.  “There’s no shame if you want to watch from the monitor.”  Maybe she is proving something to Dan, maybe she is proving something to herself, maybe she is so intent on finding Osama Bin Laden that she wants to make sure she does not miss a detail.  Probably all three.

Director Kathryn Bigelow brings that same intensity of focus to telling the story that Maya brings to the search.  After “The Hurt Locker,” Bigelow, the first woman to win the Best Director Oscar, re-teamed with screenwriter Mark Boal to make a movie about what they thought would be the unsuccessful search for Bin Laden.  Their project was overtaken by events as Bigelow and Boal were all but embedded with the military and CIA to do their research in real time, giving the movie an intimate, gritty, documentary feel.

Maya goes to work.  “You don’t think she’s a little young for the hard stuff?” one of her new colleagues asks.  “Washington says she’s a killer.”  This is not a movie where we go home with the heroes and see them hug their children.  It is not a movie where we see them struggle with their demons or sit down over drinks to give us endearing details about their lives or explain why they do what they do.  At one point, Maya is asked about her background and she says she has done nothing since she got out of school but look for Bin Laden.  She acknowledges that there is a reason she was particularly suited for this task, but she never reveals it.  This is the story of hard-working, even driven professionals who have to make life or death decisions all the time, about what it takes and about the price they pay.

People come and go in the story.  A new President is elected and the policy on torture changes.*  The policy on the level of certainty required as a basis for action changes, too.  Dan goes back home.  “I need to do something normal for a while.  I’ve seen too many guys naked.” And, he says, “You don’t want to be the last one holding a dog collar when the oversight committee comes.”  Some of the CIA and military investigators are killed and she is attacked.  But then there is a breakthrough and she has another challenge — persuading the military and the politicians that she is right about where Bin Laden is hiding.  James Gandolfini, Mark Strong, Jennifer Ehele, and Kyle Chandler are all outstanding as Maya’s colleagues.

And then it is time to bring in Seal Team 6.  The attack is brilliantly staged, much of it through night goggles that let us see the compound and the shoot-out through their eyes.

It is also a gripping, masterfully assembled story.  Even though we know how it ends, it will leave you breathless.

 

Parents should know that this film includes terrorism, war, and torture scenes with some very graphic images, characters injured and killed, some sexual references, very strong language, and drinking and smoking.

Family discussion: What does this movie stay about torture?  Was Mya right to be so confident?  What made her good at her job?

If you like this, try:  the documentaries “Restrepo,” “Gunner Palace,” and “Standard Operating Procedure”

*Those who claim that this movie is pro-torture are not paying attention.  While some people in the movie may be pro-torture, that is not the same thing as having the movie promote torture.  The movie makes clear that establishing a high probability of Bin Laden’s location depended on years of intensive research and was based on correlating many, many sources of information.  Mya gets critical data other ways.  And the movie’s unblinking portrayal of torture is there to remind of what happened, and, perhaps, of Golda Meier’s famous comment about the true tragedy of war: “When peace comes we will perhaps in time be able to forgive the Arabs for killing our sons, but it will be harder for us to forgive them for having forced us to kill their sons.”

 

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Action/Adventure Based on a true story Drama DVD/Blu-Ray Pick of the Week

The Hobbit: An Unexpected Journey

Posted on December 13, 2012 at 6:00 pm

B
Lowest Recommended Age: Middle School
MPAA Rating: Rated PG-13 for extended sequences of intense fantasy action violence, and frightening images
Profanity: Some strong language
Alcohol/ Drugs: Drinking, smoking
Violence/ Scariness: Extended fantasy violence and peril with swords and arrows, characters injured and killed, scary monsters
Diversity Issues: Diverse characters
Date Released to Theaters: December 14, 2012
Date Released to DVD: November 4, 2013
Amazon.com ASIN: B00E8S2JZ4

As the second in the Hobbit trilogy is about to be released, The Hobbit: An Unexpected Journey (Extended Edition).  Director Peter Jackson returns to J.R.R. Tolkien’s Middle Earth for this “Lord of the Rings” prequel, the adventure of young Bilbo Baggins, the hobbit we meet in the LoTR trilogy as the middle-aged uncle of the heroic Frodo.  We see many familiar faces, especially Ian McKellan as the wizard Gandalf, the sepulchral Christopher Lee as Saruman, Cate Blanchett as the ethereal Galandriel, Hugo Weaving as the regally gracious Elrond, and Andy Serkis plus CGI as Gollum, and the now-familiar but still marvelously eye-filling New Zealand locations.What is most different here is that Jackson has doubled the frames-per-second for a new hyper-clarity.  The 24 frames per second standard that has been in effect since the beginning of the sound era has been upped to 48, giving the film a depth of detail that is so fresh it can be a little unsettling.  We subconsciously associate the quality of light and focus with the video used for news programs and lower-budget sitcoms (think of the difference between the indoor and outdoor scenes in the old “Monty Python” episodes), so it can take a while to get used to it in a richly imagined fantasy, especially when close-ups reveal the pores of a character’s skin like a magnifying mirror at a department store makeup counter and the quality of light seems chillier and more sterile.  We get so much visual information that it takes a while to re-calibrate our ability to separate the meaningful from the superfluous.

It does not help that Jackson himself seems to miss the forest of the story for the literal trees.  Blowing out the shortest and most accessible of the books to a projected trilogy of nearly nine hours suggests that Jackson has fallen so in love with the project that he has lost touch with what it feels like not to be completely obsessed with it.  Of course, he is enabled by the intensity of the fans, who are famously dedicated to every leaf, twig, and Elvish declension.  But he seems to have lost track of the thread of the story and dulled his sense of how to communicate with those who are not as deeply involved with the story as he is. He glosses over the important discussion of Bilbo’s two competing heritages, one open to adventure, one devoted to home and hearth, which makes it hard to understand why he changes his mind about accepting Gandalf’s challenge.  Since it is a prequel, we are all familiar with the destructive power of the One Ring to Rule Them All, which makes it confusing when we see it 60 years earlier as a simple and benign invisibility ring.  Meanwhile, it takes all of 40 minutes before Bilbo leaves his house as what should have been a 10-minute scene about the unexpected arrival of a bunch of rowdy dwarves is expanded to include two different musical numbers.  And yet, it still does not give us enough of a sense of who the individual dwarves are.

The action scenes are filled with vitality and dynamically staged, but the film assumes a commitment and understanding on our part that it has not earned.  In a story about a quest of honor, that is an unexpected disappointment.

Parents should know that this film includes many battle sequences and scenes of peril, scary monsters, characters injured and killed, some disturbing images, smoking, drinking, and some potty humor.

Family discussion:  Why did Bilbo decide to join the adventure?  Why did Gandalf pick him?  Why didn’t Gandalf use his powers to help the dwarves sooner?

If you like this, try:  The book by J.R.R. Tolkien and the “Lord of the Rings” films

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3D Action/Adventure Based on a book DVD/Blu-Ray Pick of the Week Epic/Historical Fantasy Remake Series/Sequel
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