Despicable Me 3

Posted on June 29, 2017 at 5:33 pm

Lowest Recommended Age:	Kindergarten - 3rd Grade
MPAA Rating:	Rated PG for action and rude humor
Profanity:	Some schoolyard language
Alcohol/ Drugs:	None
Violence/ Scariness:	Extended cartoon-style peril and violence
Diversity Issues:	None
Date Released to Theaters:	June 30, 2017
Date Released to DVD:	December 4, 2017

It does not achieve the delirious delight of the first in the series, but it is better than the second. “Despicable Me 3” is meandering and uneven.

The problem with making the title character into a happily married good guy who loooves his three girls is that he is not despicable any more. He is therefore much less interesting than the actually despicable villain of the movie, Balthazar Bratt (Trey Parker, co-creator of “South Park”), an 80’s child star embittered because he has been forgotten. Whenever Bratt is not on screen, the film deflates. It is a cute, fun, and sweet-natured family treat, but overstuffed at just 90 minutes with too many distracting detours.

Formerly despicable Gru (Steve Carell) is now working with Lucy (Kristen Wiig) at the AVL (Anti-Villain League), and Lucy is also trying to learn how to be a mother to the three girls, serious middle-schooler Margo (Miranda Cosgrove), mischievous Edith (Dana Gaier), and sweet, unicorn-loving Agnes (Nev Scharrel).

Gru and Lucy stop Bratt from stealing the world’s largest diamond, but he gets away, and the new, very ambitious, head of the AVL (Jenny Slate) fires Gru. Lucy quits in protest. As they begin to think about finding new jobs and Agnes sells off her beloved fluffy stuffed unicorn to help out, Gru finds out for the first time that he has an identical twin brother. “Parent Trap” style, when their parents split up, they split the babies up, too. An emissary from Gru’s brother, Dru (also Carell) invites them for a visit to Freedonia, presumably the country responsible for their accents and certainly the country where the Marx Brothers created memorable mayhem in “Duck Soup.”

Dru is identical to Gru except for luxuriant blond hair. And it turns out he wants to be despicable, like their late dear old dad. The brothers go for a wild joyride in Dad’s crookmobile. Bratt has now successfully stolen the world’s biggest diamond, and so Gru tells Dru they will steal it from him. Dru thinks they will keep it, but Gru plans to return it so he and Lucy can get their jobs back.

Meanwhile, the minions are performing Gilbert & Sullivan on a TV reality show and being thrown in prison. Lucy is still not sure how to connect to the girls. Agnes thinks she can find a unicorn. And Bratt is getting ready for the ultimate revenge on the Hollywood that rejected him.

The film flags whenever Bratt is off-screen. He is an inspired creation, with lots of 80’s references for the parents and just the right touch of whiny entitlement to seem quite timely. He just about makes up for the slow patches. The snatches of the terrific Pharrell Williams score from the first film serve as a reminder that this, too, is mostly just an inferior copy, we hope, the last.

Parents should know that this film includes cartoon-style peril and violence, mostly comic, crotch hit, some potty humor, and brief minion nudity.

Family discussion: Why didn’t Lucy know when to say no? What made Margo trust her? Why did Gru’s parents tell their sons they were disappointments?

If you like this, try: the other “Despicable Me” movies and “Megamind”

Baby Driver

Posted on June 27, 2017 at 9:43 pm

A-

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated R for violence and language throughout
Profanity:	Very strong language
Alcohol/ Drugs:	Smoking, drugs
Violence/ Scariness:	Extended scenes of peril and violence with many characters injured and killed, guns, chases, explosions, many disturbing and graphic images
Diversity Issues:	None
Date Released to Theaters:	June 28, 2017
Date Released to DVD:	September 18, 2017

Fasten your seatbelts. This one is pedal to the metal all the way home. “Baby Driver,” written and directed by Edgar Wright, hits you like a jolt of nitrous oxide shot with adrenaline concentrate, Red Bull, electrical current, and rock music. The first time you see it, it will leave your eyes spinning like pinwheels. The second time you will begin to appreciate that it is more than a joyride.

Ansel Elgort (“The Fault in Our Stars”) plays Baby, who works for a crime boss named Doc (Kevin Spacey). Orphaned at age seven when his parents were killed in a car crash that left him with tinnitus, a persistent ringing in his ears, Baby is constantly listening to music via earbuds plugged into an endless collection of mp3 players. The brilliantly curated playlist we hear is only what he is listening to, and it ranges from the The Jon Spencer Blues Explosion to T Rex, the Beach Boys, Dave Brubeck, David McCallum (that’s either Ilya Kuryakin of “The Man from UNCLE” or Ducky from “NCIS” depending on how old you are), and Beck, to the Simon and Garfunkel song that gives the film its title.

Baby began stealing cars when he was still a child and became beholden to Doc. Now, he drives the getaway car for the teams Doc brings together for robbery and mayhem. Doc calls him “Mozart in a Go-Kart.” And Baby is counting down the jobs and the dollars until he and Doc are square and he can go. But he is just too good for Doc to give up, and once the debt is paid, Doc finds other ways to apply pressure.

Baby seldom speaks to anyone, except for one person who cannot hear, his foster father, Joe (CJ Jones), who is deaf and in a wheelchair. Their exchanges in sign language are warm and familiar in sharp contrast to his subdued presence with Doc and the criminals.

And then Baby meets Debora (Lily James of “Cinderella”), a waitress at the diner. And then Doc tells him that their relationship is not over.

Each action sequence is meticulously matched to the songs Baby plays — at one point, when there is a setback he literally stops to rewind because he times the chases to the music. But each action sequence is also a part of a narrative arc. With the first, Baby is literally outside the crime, waiting in the car (and bopping along to “Bellbottoms”) as the gang robs a bank. They come running out and he drives the getaway car so fast that they, well, get away. The next one gets more intense as he cannot pretend he is not a part of something lethal. Each time, he gets more involved. The sunglasses he wears all the time get broken and he cannot pretend not to see. He can drive others to escape the consequences of their actions, but can he do that for himself?

The sizzling all-star cast includes Jon Hamm and Eiza González as a seedy but fearless couple with matching “hers” and “his” tattoos on their necks, Jamie Foxx as the trigger-happy and appropriately named Bats, along with Flea and Jon Bernthal as other members of Doc’s crew.

Wright has the flair of Quentin Tarantino in balancing comedy, romance, action filmed to be both balletic and terrible, and increasingly visceral threats. But he has more sincerity, more heart. “Baby Driver” is cool as in appearing effortlessly accomplished, but not as in remote or removed. His moral and unabashedly romantic center is in the driver’s seat.

Parents should know that this is a very violent film with many chases and shoot-outs. Characters are injured and killed and there are disturbing and graphic images. It also includes very strong language and drug references.

Family discussion: Why was Baby called Baby? Why did Doc change his mind? Is the ending real or imaginary?

If you like this, try: “Scott Pilgrim vs. the World” and “The Transporter”

The Big Sick

Posted on June 22, 2017 at 5:53 pm

B +

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated R for language including some sexual references
Profanity:	Strong and explicit language
Alcohol/ Drugs:	Alcohol
Violence/ Scariness:	Very serious illness
Diversity Issues:	A theme of the movie
Date Released to Theaters:	June 24, 2017
Date Released to DVD:	September 25, 2017

The more specific the story, the more universal. This is a very specific story. Indeed, you are unlikely ever again to see a romantic comedy with one of the pair spending half of the film in a coma. And that is not the couple’s biggest obstacle. Kumail Nanjiani (“Silicon Valley”), plays a character named Kumail Nanjiani in a story based on his relationship to Emily V. Gordon (played by Zoe Kazan and called Emily Gardiner in the film), who is now his wife and the co-screenwriter of the smart, touching, heartfelt and very funny film. It is beautifully directed by Michael Showalter, as always unsurpassed in meticulous casting of even the smallest roles.

Real-life Nanjiani and his movie alter ego are Pakistani immigrants from traditional families. Every time he visits his parents for dinner, an unmarried Pakistani woman “happens to drop in.” They have made it very clear that they expect him to marry a woman who is Pakistani and Muslim. Gordon is neither; she is white and from North Carolina. Just after they break up because he could not say that they could have a future together, she suddenly becomes critically ill and is placed in a medically induced coma. He gets the call when she is hospitalized and has to be the one to call her parents. He meets them for the first time in the hospital waiting room, where they are understandably frosty (he broke their daughter’s heart) and preoccupied (she’s in a coma).

They would rather that he not be there. And his parents find out that he has not been honest with them and they tell him they cannot accept his feelings for Emily. So, in the second half of the movie there is another kind of love story, about the love between parents and their children and the partners their children choose.

It is also a story about a man learning to be honest with himself about who he is and what he wants. What lifts this out of the recent glut of arrested development movies is its compassion for all parties (the film nicely acknowledges that Nanjiani’s brother has a very successful and satisfying marriage arranged the traditional way and presents as one of the candidates a woman so seemingly perfect for him that we almost root for her) and Nanjiani’s thoughtful, self-deprecating but confident performance. The best stand-up comics mine their own lives for material, with observations that make us see our own lives, and especially our follies and irrationalities, in sharper relief — that’s relief in both senses of the word.

Best of all, the movie itself is proof that they lived happily ever after.

Parents should know that this movie includes strong language, sexual references and non-explicit situations, family conflict, and very serious illness.

Family discussion: Why didn’t Kumail tell Emily about his family’s concerns? How should you decide what traditions to keep and which ones to leave behind?

If you like this, try: “Ruby Sparks” (also with Kazan, who wrote the screenplay) and “50-50” with Joseph Gordon-Levitt and Seth Rogen, also based on a true story

Maudie

Posted on June 22, 2017 at 5:29 pm

B +

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for some thematic content and brief sexuality
Profanity:	Mild language
Alcohol/ Drugs:	Alcohol, smoking
Violence/ Scariness:	Tense family confrontations, domestic abuse, illness, sad death
Date Released to Theaters:	June 24, 2017
Date Released to DVD:	October 10, 2017

Maudie Lewis was severely disabled and abused. She lived in a tiny house with no electricity or running water in the unforgiving climate of Nova Scotia. And she decorated her tiny world with vibrant, joyful images that captivated the people who came to her door to buy them, usually for as little as $5. Her home, the walls covered with bright flowers and birds and cats painted over 35 years, is now seen by art lovers in the museum where it has been lovingly preserved, and she is recognized as one of the foremost “outsider” (untrained) artists of the mid-20th century.

In “Maudie,” the infinitely gifted Sally Hawkins gives an incandescent performance as the woman whose indomitable spirit shines through her art.

After her parents died, Maudie lived with an aunt who treated her with contempt. She left to take a job as a live-in housekeeper for Everett Lewis (Ethan Hawke), a fisherman taciturn to the point of being a recluse. “You walk funny. Are you a cripple?” he asks bluntly. And he tells her that she comes after the dogs and the chickens in importance. And that he expects her to sleep in his bed as a part of the job. When he wants more, she tells him that he must marry her, and he does.

With some leftover house paint, holding the brush in her arthritic fingers, she paints a flower on the wall. And surprisingly, Everett does not disapprove; he only tells her to leave one section of the wall alone. A summer visitor from the US spots one of her paintings and brings it back to New York. Vice President Richard Nixon buys one, too. Everett is glad for the income and worried that Maudie will become independent and leave him.

Director Aisling Walsh insisted on filming on location and created a meticulous replica of the tiny Lewis home, and the setting itself, bleak and beautiful, with minimal musical score becomes a character in the film. So do Maudie’s pure, simple paintings, expressing her unquenchable joy in observing the world around her and in expressing what she sees. Hawkins is a marvel in every scene; like Maudie herself, she commits herself completely to the creative spirit.

Parents should know that this film includes sexual references and situations, references to out of wedlock child, mistreatment of disabled character, and a sad death. Characters drink and smoke.

Family discussion: Why did Everett tell Maudie not to paint one part of the wall? Why did he change his mind about selling the painting she said was not finished? What was happiness to Maudie?

If you like this, try: “The Straight Story”

Cars 3

Posted on June 15, 2017 at 5:23 pm

Lowest Recommended Age:	Kindergarten - 3rd Grade
MPAA Rating:	G
Profanity:	None
Alcohol/ Drugs:	None
Violence/ Scariness:	Peril and some violence including fiery car crashes, references to sad death
Diversity Issues:	Diverse characters
Date Released to Theaters:	June 17, 2017
Date Released to DVD:	November 6, 2017

It’s better than “Cars 2,” but not as good as the first “Cars,” so it continues the saga of the second tier of Pixar movies. Second-tier Pixar is pretty good. But this time the storyline is unlikely to be of much interest to children. They’ll enjoy the race scenes (except for the ones that are too scary) and the silly humor. But the theme of this film is the existential dilemma of an aging athlete. While “Inside Out” and “Toy Story 3” addressed issues of growing older/up with infinite tenderness and sensitivity, “Cars 3,” with the help of generous samples of Paul Newman’s Doc Hudson character from the first film, has appropriated the plots of many of the “Rocky” movies, with now-champion Lightning McQueen (Owen Wilson) confronted with his own mortality. I know; they’re machines, but apparently they have parents and childhoods and lifespans.

Lightning is beaten by a super-slick competitor dashingly named Jackson Storm (Armie Hammer), who looks like he is visiting from another Disney movie, “Tron.” And there’s another blow. Lightning has loved being sponsored by his friends at Rust-Eze, but the company has been sold and his new sponsor is the smooth, corporate Sinclair (Nathan Fillion), who tells him that if he does not win his next race, he has to stop racing all together.

But racing is all Lightning knows or cares about. If he can’t race, who is he?

Sinclair has a very high-tech training facility that’s all about cybermetrics. Lighting is assigned a new trainer, Cruz (Cristela Alonzo), who is essentially a stopwatch on wheels. Everything is about readouts and algorithms. Lightning takes her out on the beach to show her what real racing is. And he decides that his mentor, Obi-Wan Kenobi, I mean Doc Hudson, may be gone, but perhaps he can find Doc’s mentor, and gain some wisdom.

Lighting and Cruz end up competing in what they think is a race but what turns out to be a demolition derby (pretty scary for G). They squabble and make up and Cruz confides that she once dreamed of racing. They do find Doc’s old friends, led by Smokey (Chris Cooper) and his adorable sidekicks.

It has talking cars, and kids will like that. And it doesn’t have the bombast and over-complexity of “Cars 2.” But it also does not have the heart we have come to rely on from Pixar, and if we feel disappointed, it is only because they have set the bar so high.

Parents should know that despite the G rating, this film has characters in peril including scary 3D car crashes and fire, many references to a sad death and to the challenges of aging, and a reference to unsupportive parents.

Family discussion: Why did Lou take other children’s toys? Who is your mentor and who can you help as Doc Hudson helped Lightning?

If you like this, try: the other “Cars” movies and “A Bug’s Life”