Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)

Posted on February 6, 2020 at 5:20 pm

B
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for strong violence and language throughout, and some sexual and drug material
Profanity: Very strong and crude language
Alcohol/ Drugs: Brief drug use
Violence/ Scariness: Extended and very graphic peril and violence, characters injured and killed, disturbing images
Diversity Issues: A theme of the movie
Date Released to Theaters: February 7, 2020
Date Released to DVD: May 11, 2020
Copyright Warner Brothers 2020

At last, the sisters are doing it for themselves, on screen and off. “Birds of Prey (and The Fantabulous Emancipation of One Harley Quinn),” directed by Cathy Yan and written by Christina Hodson (“Bumblebee”), it has the ladies of the DC universe band together when the guys (Batman and Joker) are (literally) out of the picture.

We all know that when you’ve been dumped, you’ll need some recovery time, and if that involves Cheez-Whiz straight from the can, we won’t judge. You’ll need to adjust your social media settings, too. In the case of Harley Quinn (co-producer Margot Robbie), that can mean blowing up what used to be your special place. As an observer notes, that’s how “she just publicly updated her relationship status.”

Unfortunately, in the case of Harley Quinn, whose relationship with impulse control has been even more volatile than her relationship with the madman she calls Mr. J, has made many, many enemies, helpfully identified by name and grievance on screen so we can keep up. Without Mr. J as protector, it’s olly olly oxen free for anyone who wants revenge.

As Harley causes even more trouble and tries to hide or protect herself from those coming after her, she comes across the sole survivor of a mob family who is now an assassin dedicated to killing every man responsible for her family’s murders. She is still figuring out a name and a purpose once her targets have all been wiped out but one thing she has completely figured out is the crossbow. She will be known as The Huntress, and she is played by the always-terrific Mary Elizabeth Winstead. Dinah Lance (Jurnee Smollett-Bell) is a chanteuse in a club run by mobster Roman Sonasis (Ewan McGregor) with his henchman Victor Zsasz (Chris Messina). When Roman learns that she has some mad fighting skills, he makes her his driver.

There is the young girl thief Cassandra Cain (Ella Jay Basco), who picks the wrong pocket. Trying to get to the bottom of all of this is a tough cop named Renee Montoya (Rosie Perez) who is too honest to get promoted. Over the course of the film, the female characters will not always be on the same side. Some even betray each other. But when a girl needs a hair tie (in the middle of a big fight scene in a super-creepy abandoned amusement park beyond the wildest nightmares of Scooby-Doo, well, sisterhood is powerful.

Perhaps not as fun as it wants to be, but the movie has high spirits and a refreshing perspective that goes a bit deeper than just grrrl power. The carnage (with disturbing images and sounds) is intense and Harley does not always find the sweet spot between deranged creepy and deranged endearing. Deadpool may be nutty and naughty, but he is true-hearted, an anti-hero who is more hero than anti. As mesmerizing as Robbie is in the role, the storyline might have worked better with one of the other characters as the lead. It’s fantabulous that she is emancipated, but now she has to decide who she wants to be.

Parents should know that this film includes constant and very graphic peril and violence, with many characters injured and killed, disturbing sounds and images, knives, crossbow, guns, explosives, chases, very strong and crude language, nude images, brief drug humor, and some potty humor.

Family discussion: How did the early experiences of Harley and Huntress affect the way they made decisions? How is this like and different from other superhero movies?

If you like this, try: “Deadpool” and the “Birds of Prey” television series

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The Rhythm Section

Posted on January 30, 2020 at 5:39 pm

C
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for violence, sexual content, language throughout, and some drug use
Profanity: Very strong language
Alcohol/ Drugs: Drug use
Violence/ Scariness: Extended very graphic and intense peril and violence, characters injured and killed, terrorism, suicide bomber, guns, knives, chases, explosions, disturbing images
Diversity Issues: None
Date Released to Theaters: January 31, 2020
Date Released to DVD: April 27, 2020
Copyright 2020 Paramount

What is this weird fascination with stories of men taking lost, pathetic, but lissome young women and turning them into spies and assassins? A century ago, we had Henry Higgins teaching a flower girl to speak like a duchess. Now, we have “La Femme Nikita” and its American remake “Point of No Return,” its Hong Kong version, “Black Cat,” its Italian version, “Sexy Killer,” its two television series, the Jennifer Lawrence film “Red Sparrow,” the Jennifer Garner series “Alias,” Luc Besson’s 2019 flop “Anna,” and the father/daughter version — movie and television series — “Hanna.” When that training includes masquerading as a prostitute so we can see her in her skivvies, it becomes clear how outdated this set-up has become.

And now we have The Rhythm Section, with Stephanie Patrick, played by Blake Lively in a series of bad wigs, as the brilliant Oxford student turned narcotic drug abuser and prostitute after the death of her family in a plane crash three years before this movie begins. I should say played by a series of bad wigs with Blake Lively in a supporting role, because this very talented actress is given little to do but look sullen, sullen and a little afraid, and sullen and a little determined. Please add “A Simple Favor” to your Netflix queue if you have not seen it yet to get a look at how good she can be.

The people behind this film are the producers of the Bond films, and they are clearly trying to create a distaff franchise, based on the books by Mark Burnell, who also wrote the screenplay. Unfortunately, it is weak on character and plot and fails to have any of the ingredients that make the Bond movies work. While there are stops in many cities, identified on screen but otherwise mostly interchangeable, it does not have the glamor, the urgency, or the fun of seeing all the gizmos and how they get deployed. Revenge is so reliable and relatable a motive that it is almost impossible to get wrong in a movie, but even that cannot bring this story to life. It’s supposed to be all you go girl! with a badass female lead. But, sigh, it’s more male gaze again, with one of her disguises being high-end call girl in skimpy skivvies and somehow a shocking tragedy inexplicably inspires her to jump into bed with someone she barely knows.

A journalist named Proctor (Raza Jaffrey) finds Stephanie, a drugged-out prostitute constantly replaying images of the last time she saw her parents and brother and sister, and the voicemail message her mother left her before getting on the doomed plane. He says he has information showing that it was not an accident; it was a terrorist bomb, and he knows how to find the man who built the bomb. She initially refuses to have anything to do with him, but then goes to his apartment, where he has one of those movie-friendly rooms with walls covered with clippings and photos. He unwisely leaves her there, giving her money and keys, and she unwisely tips off the bomber, and soon Proctor is dead, on the floor in a pool of blood.

Stephanie follows a clue she got from the photos on the wall to track down the Proctor’s source, a former spy turned rogue played by Jude Law. No cold turkey montage (“I’m a user, not an addict,” she explains), so straight into the training montage, turning Stephanie into a lean, mean, fighting machine in a matter of months, while we flashback to Jude Law doing the same thing for Captain Marvel, only better.

The action and characters would have to be so much better to persuade us to miss the howling plot holes and tinge of misogyny — really, she has to be a prostitute? Luckily for the movie, we never invest enough in it to care.

Parents should know that this movie includes extended and very graphic peril and violence, murders, chases, explosions, terrorism, knives, guns, bombs, poison, characters injured and killed, disturbing images, very strong language, prostitution, and drugs.

Family discussion: What were Stephanie’s most significant assets in accomplishing her goals? Why did the reporter want to contact her? What will she do next?

If you like this, try: “La Femme Nikita” and “Hanna” (movie and television series)

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The Gentlemen

Posted on January 23, 2020 at 5:47 pm

B
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for violence, language throughout, sexual references and drug content
Profanity: Constant very strong and crude language
Alcohol/ Drugs: Drugs and drug dealing, overdose
Violence/ Scariness: Constant very intense and graphic violence, guns, poison, arson, many characters injured and killed including young adults
Diversity Issues: None
Date Released to Theaters: January 24, 2020
Date Released to DVD: April 20, 2020
Copyright 2019 STX

Writer-director Guy Ritchie is back where he belongs. “The Gentlemen” is, like his early films “Lock, Stock, and Two Smoking Barrels” and “Snatch,” a nasty, twisty, stylish, and darkly comic crime thriller set in England and featuring low-life characters with impenetrable accents. This is a relief after his plodding mis-matches like “Aladdin” and “King Arthur: Legend Of The Sword,” though I got a kick out of seeing the poster for his underrated “Man from UNCLE” in this film.

It starts with a bang (a blood-spattered shooting in a pub) and then goes back in time, a story within a story, with Hugh Grant, as someone Ritchie considers even less worthy of respect than murderous, drug-dealing criminals — a sleazy tabloid reporter named Fletcher with a long-lens camera, a friend who can lip-read, and a story he wants to sell for 20 million pounds. Grant himself has had his problems with sleazy tabloid reporters and is clearly enjoying himself tremendously and getting some revenge in the role. His performance is deliciously devastating.

The person he wants to blackmail is Michael Pearson (Matthew McConaughey), an American expat with a highly successful marijuana growing and distribution business. Pearson is trying to sell the business so he can retire, and is about to close on an offer from another American expat drug dealer, the effete Matthew (“Succession’s” Jeremy Strong). They’re in the stage that business types call due diligence, confirming the valuation of 400 million pounds. Michael has another offer, from a thuggish upstart known as Dry Eye (“Crazy Rich Asians'” Henry Golding). His bid is much lower in cash, but he plans to make up the difference with threats.

All of this is well known by Michael’s closest associate, Ray (Charlie Hunnam). But Fletcher, who has shown up unexpected and uninvited in Ray’s home, is relishing the chance to tell the story, even setting it up as though he is pitching a movie, even providing details of film stock and lenses, which the movie we are watching obediently demonstrates, reminding us of the air quotes that keep the bloodiest parts of the story from getting too bleak.

Michelle Dockery, a long way from Lady Mary on “Downton Abbey,” is also having a lot of fun playing Michael’s wife, as tough as he is or tougher, with a Cockney accent and as sharp as her Louboutin stilettos. You could almost see the Lady Mary of 2020 having the same cooperative arrangement with Michael that the other estate-poor gentry do in the film. Some of the twists are not as twisty as they intend and some of the characters are not as colorful as the movie thinks they are, but it is still a welcome return to what Ritchie does best.

Parents should know that this is a crime drama with extended and very graphic violence, many characters injured and killed including young adults with devastated parents, disturbing images, guns, poison, arson, murder, kidnapping, sexual references, drug dealing and overdose, and constant very strong and crude language.

Family discussion: Would you say that there are any good guys in this movie, or at least better guys? Who, and why? What will happen to Michael next?

If you like this, try: “Lock, Stock, and Two Smoking Barrels,” “Get Shorty,” and “Layer Cake”

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Dolittle

Posted on January 16, 2020 at 5:30 pm

B-
Lowest Recommended Age: 4th - 6th Grade
MPAA Rating: Rated PG for some action, rude humor and brief language
Profanity: Some schoolyard langage
Alcohol/ Drugs: None
Violence/ Scariness: Attempted murder by poison, action/animal related peril, sad offscreen death
Diversity Issues: None
Date Released to Theaters: January 18, 2020
Copyright Universal 2019

Dolittle” is mildly entertaining, silly and more than a little strange. It is loosely based on the original books, which also inspired the musical with Rex Harrison, featuring a two-headed llama-like creature called a pushmi-pullyu and an Oscar-winning song, and the modern-day-set remakes with Eddie Murphy. But mostly it’s a “we can do anything with CGI now, so let’s make a movie about a man who can understand animal language.” And that’s where the entertaining part comes in. It’s also where the odd and silly parts come in. For example, Robert Downey, Jr., who produced and plays the title character, speaks in a husky, oddly accented (Welsh?) voice for no particular reason. A significant extended scene involves giving an enema to a gigantic animal.

This version, set once again in the Victorian era, begins with Dolittle a recluse in the animal sanctuary given to him by the young queen in appreciation for his special gifts. Devastated by the death of his wife, a fearless explorer lost at sea, Dolittle is a mess, almost more of an animal than the creatures living with him, until the arrival of two young people. A boy named Tommy (Harry Collett) who refuses to hunt with his father accidentally wounds a squirrel and brings it to Dr. Dolittle for treatment. And Lady Rose (Carmel Laniado) arrives with an urgent request. The queen is critically ill and wants to see him.

Dolittle operates on the squirrel but refuses Lady Rose’s request until he learns that if the queen dies he will lose his home, an unnecessarily sour and distracting detail. And so the animals shave his beard, trim his hair, make him bathe, and accompany him to the palace. There, after consulting a small squid in the queen’s aquarium, he learns that she has been poisoned by one of her courtiers (Jim Broadbent), with the help of the court physician, Dr. Blair Müdfly (Michael Sheen). The only antidote is on a legendary — and uncharted — island, the very same one Lily Dolittle was seeking.

Dolittle, Tommy, and the animals take off to find it. So does Müdfly, who is determined to stop them and to get the antidote for himself. They have various adventures along the way, including a stop at an island ruled by the semi-barbaric King Rassouli (Antonio Banderas), who immediately throws Dolittle in prison because they have a history.

The movie never finds the right balance between comedy, adventure, and heart, probably reflecting the reported extensive reshoots following disappointing early screenings. But it is still watchable due to the sumptuous and imaginative production design by Dominic Watkins and the stellar voice talent for the CGI animal characters, especially Emma Thompson as Poly the wise and sympathetic parrot. Also fine are the bickering polar bear (John Cena) and ostrich (Kumail Nanjiani), who find a way to become friends. Frances de la Tour provides the suitably imperious voice for a dragon and Ralph Feinnes is a surprisingly vulnerable lion. But my favorite was Jason Mantzoukas as the dragonfly.

Too much of the animals’ dialog is just silly (“You answer the door because you’re the only one with arms.” “That’s coming from the guy (dog) who loves the smell of butts”). Hugh Lofting, who created the character knew that it would always be fun to have a story about a person who could talk to the animals. But the various versions of the story sometimes forget that it is important to give them something worth saying.

Parents should know that this film includes action/animal-related peril, attempted murder by poison, chases, crotch hits, a sad offscreen death, schoolyard language, and potty humor.

Family discussion: What did we learn about the characters when they talked about their parents? How did listening to the dragon make a difference? What should people do when they cannot stop feeling sad or being afraid of being hurt?

If you like this, try; “Journey to the Center of the Earth” and the musical “Doctor Dolittle”

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Bad Boys for Life

Posted on January 15, 2020 at 2:01 pm

B-
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for strong bloody violence, language throughout, sexual references and brief drug use
Profanity: Very strong language
Alcohol/ Drugs: Brief drug use
Violence/ Scariness: Extended and very graphic peril and violence, disturbing images, characters injured and killed, chases, explosions, guns, grenades, bazookas
Diversity Issues: None
Date Released to Theaters: January 16, 2020
Date Released to DVD: April 20, 2020
Copyright Columbia 2019

There’s a lot that’s hard to believe in “Bad Boys for Life” (not that we’re expected to), but the one I want to bring to your attention is the repeated assertion that this is one last time. Will Smith and Martin Lawrence are back as the lovably bickering, impetuously rule-breaking buddy cops from the original Bad Boys movie 25 years ago and the sequel eight years later, and it is clear that they are not done yet.

Smith and Lawrence have the same immensely likable screen chemistry they did in the first film, though it is clear that Smith has much more range as an actor. We hardly have time to notice, however, as in the first five minutes of the movie we get to see a Porsche racing through the streets of Miami, some quippy brio (“We’re not just black. We’re cops, too. We’ll pull ourselves over later”), some skimpy bathing suits, a new baby, a prison break featuring a shootout and a witch’s curse.

That baby is the first grandchild for Marcus (Lawrence), the devoted family man, who is so moved by his becoming Pop-Pop that he decides to retire from the police force. Mike (Smith), the player with an upscale apartment no cop could afford (see above re believability) is furious. When Mike is shot by an assassin who is going after everyone involved in a criminal conviction from the past, Marcus stays by his side, and promises God that if Mike lives he will never be violent again. Once Mike recovers, however (with Marcus listed in his phone as Quitter), Mike persuades him to come back — say it with me — for one last time.

That will involve AMMO, a new high-tech police operation with the kind of high-tech surveillance and firepower that you might find in the Pentagon, run by Rita (Paola Nuñez), an officer with whom Mike has history. Mike wants to find the mysterious black-clad person on a black motorcycle who shot him. This is a challenge because, as a character says, “Who doesn’t want to kill him?” The Pepto-Bismal-chugging captain (Joe Pantoliano, also returning from the earlier films) tries to stop him, but the thing about Bad Boys is that they don’t follow the rules. Whatcha gonna do? Soon Mike is trading insults with the upstarts at AMMO, including Vanessa Hudgens and “The Sun is Also a Star’s” Charles Melton.

I’d estimate it is about one-third banter (we get some insults about getting older now) and two-thirds action, much of it very intense and very, very violent, with lots of blood, explosions, and heavy artillery. “I know ‘thou shalt not kill’ but these were bad guys” describes their view of law enforcement plus “We ride together. We die together. Bad boys for life.” (Someone does point out that they should think of themselves as bad men. Which may be why there’s also more crying than you normally see in this kind of movie. It’s dumb, and the action/comedy mix is not entirely successful given the carelessness about collateral damage and the outright carnage. But the charm is there and it is watchable, a summer movie in January. By the end, if you stay for that post-credit scene, you might just be ready to see what they do next.

Parents should know that this film includes intense and extended action, peril, and violence with very graphic and disturbing images, chases, explosions, fire, very strong and crude language, sexual references, and brief drug use.

Family discussion: What made Mike and Marcus good partners? How have the movies changed since the first one? If you and your friend had a go-to motto, what would it be?

If you like this, try: the earlier “Bad Boys” movies and the “Fast and Furious” series

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