Missing

Posted on January 19, 2023 at 4:31 pm

B +

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for teen drinking, some strong violence, language, and thematic material
Profanity:	Strong language
Alcohol/ Drugs:	Teen drinking and drug use
Violence/ Scariness:	Intense peril and violence, domestic abuse, characters injured and killed
Diversity Issues:	Diverse characters
Date Released to Theaters:	January 20, 2023

I promise, the only spoiler in this review is an answer to the question: Was the very clever 2018 missing girl mystery “Searching,” almost entirely told on the computer screen of a father trying to find his teenage daughter, just a stunt, or does it open up a new kind of storytelling? We’re told that “Missing” is from the “minds behind ‘Searching,'” meaning that Aneesh Chaganty, who directed the original and co-wrote the screenplay with Sev Ohanian, provided the story for this one, and they share producer Timur Bekmambetov (“Night Watch”). “Missing” co-directors and screenwriter Nicholas D. Johnson and Will Merrick edited “Searching,” and the new film feels very much part of the same world but refreshingly up-to-date. It builds lightly on the original but is very much its own treat of a twisty thriller. If any part of it is less choice, it is the generic title itself, without the original’s double meaning linking the mystery in real life to the way we get information online.

Once again, a frantic family member is searching for someone who has gone out of contact, and the contrast between the omnipresent information available online and the unsolvable absence is immediately absorbing. And as in the first one, we are dealing with a single parent and a child who is still mourning the one who has died. June (an excellent Storm Reid) is 18, and perhaps a bit too eager to get her mother, Grace (Mia Long) out of town, though she is not a fan of Kevin (Ken Leung), the man who is taking Grace on a vacation trip to Colombia.

As she is getting ready to leave, we see Grace on FaceTime, trying to give her daughter some vital information — who will be checking in on her, where the emergency money is, when to pick them up on their return. We can see that June is feeling smothered via the avatar she has for her mother’s profile and via the nonsense, with a few OMGs, she types after Grace tells her to take notes.

And then, amusingly, we see June getting that emergency money and doing searches for things like cheap ways to get drunk, to put on a party for her friends. It is such a success that she almost misses that pick-up at the airport. But Grace and Kevin are not there. And June has to figure out how to search for her mother 3500 miles away.

As promised, I am not going to spoil the deliciously surprising twists and turns of the storyline. I’ll just say that they are very clever, and the filmmakers made the most of the technology’s ability to show us what June is thinking as she starts to type something and then backtracks and changes her mind, whether it is finding a Taskrabbit who fits her budget (a terrific Joaquim de Almeida), filling out a State Department missing person report, or hacking someone’s accounts. This film proves that the screen-told story is not just a gimmick but an intiguing new tool that opens up many new opportunities for imaginative story-telling.

Parents should know that this movie includes criminal activity, peril and violence with characters injured and killed, drug use, strong language, and teen drinking.

Family discussion: What clues did you pick up from June’s screen before she did? Who did you suspect? Will this movie make you think about online access differently?

If you like this, try: “Searching” and “Modern Family’s” “Connection Lost” episode, also all on computer screens.

Plane

Posted on January 11, 2023 at 3:21 pm

B-

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated R language and violence
Profanity:	Very strong language
Alcohol/ Drugs:	None
Violence/ Scariness:	Constant, intense peril and violence, knives, sledgehammer, military guns and bazookas, fistfights,

When an action movie is simply called “Plane,” you know they’re going to get right to it and keep going. Stepping into the spot usually reserved for Liam Neeson each January, with a tiny touch of Stephen Segal in “Under Siege” and Nicolas Cage in “Con Air.” Gerard Butler plays Brodie Torrance, a Scottish commercial pilot whose New Year’s Eve flight from Singapore to Tokyo runs into trouble when the plane is hit by lightning. He has to make an emergency landing on island of the Philippines that is ruled by murderous outlaws. One of the passengers (Mike Colter as Louis) is in handcuffs because he is being extradited to be tried for murder.

If this sounds a bit like a video game, where our hero(es) have to navigate one dire threat after another, you’ve got that right. There is a quick and efficient introduction to let us know that Brodie is a loving and devoted but not always present father of a beautiful college student daughter he hopes to be with to see in the new year. We see him courteous and professional as he meets his flight crew and talks to the airport official who assures him the storm ahead will not be a problem. We also get to see the prisoner, escorted by a law enforcement officer. It won’t take long (per “Con Air”) for Brodie and Louis, the two people on the island with military training, to team up. Colter is terrific as a guy who has nothing to prove to anyone but knows when it is time to deliver.

And then things start to go wrong. It gets very bumpy. The radar, the altimeter, and the navigation system go out. We know things are pretty bad when they pull out a paper map to try to figure out where they are. We’re vividly reminded that it’s just a tin can in the sky and let’s just say you will not be seeing this movie as an option when you scroll past the offerings on your next plane ride. Or if by some mistake you do, wait to see it until you are on solid ground again.

The relief of landing is short-lived. They have no way of letting anyone know where they are. And they are soon to discover that the occupants of the island are ruthless murderers who may keep them alive for ransom, but only briefly.

The film zips and occasionally lurches from one action scene to another, all capably staged if not especially memorable. The bad guys are one-dimensional, but no one really wants or expects them to be more than a believably threatening menace. Occasionally, per “Under Seige,” we see what is going on at the corporate headquarters, as the CEO (Joey Slotnick) and his whatever-it-takes “crises manager” (a savvy Tony Goldwyn) make whatever decisions they can.

Butler, who also produced, knows what we’re looking for in an action movie, not just the punches and explosions, but the ingenuity and the satisfaction of seeing how and by whom the bad guys get dispatched. This many not show us anything new, but it shows us that what isn’t new can still be reliably entertaining.

Parents should know that this movie has non-stop action, some with graphic visuals, with many characters injured and killed. There are knives, military-style weapons, and fistfights. There is also non-stop use of the f-word.

Family discussion: What made Brodie decide to trust Louis? If you were Sinclair, would you have hired Brodie? What will the airline do differently?

If you like this, try: “Olympus Has Fallen,” “Angel Has Fallen,” and the “Taken” movies, and, to see Butler in a non-action role in a lovely drama, “Dear Frankie” or as voice talent in the “How to Train Your Dragon” movies

Glass Onion: A Knives Out Mystery

Posted on December 23, 2022 at 5:41 pm

A-

Lowest Recommended Age:	Preschool
MPAA Rating:	Rated PG-13 for some disturbing images, strong language, and thematic content
Profanity:	Some strong language
Alcohol/ Drugs:	Drinking and drunkeness
Violence/ Scariness:	A murder mystery with peril, homicide, and fighting, some disturbing images
Diversity Issues:	Diverse characters
Date Released to Theaters:	December 23, 2022

I have very conflicting ideas about this review. Part of me wants to tell you all about “Glass Onion: A Knives Out Mystery” but a bigger part of me wants you to find out all of its secrets and surprises on your own. So bear with me if I lean too far in that direction. I’m doing it for your own good. “Glass Onion” is an enormously entertaining delight and I want you to enjoy it fully. In fact, go ahead and watch it and then come back here if you want to see what I think about it.

Like its predecessor, “Knives Out,” it is a deliciously twisty remix of the classic British-style murder mystery, with a fabulous location and a group of suspects who all have motive and opportunity. Also like its predecessor, it has an all-star cast clearly enjoying themselves enormously.

The very large cast is efficiently and wittily introduced as each of them receives an elaborate invitation to a party at a fabulous glass mansion on a remote island, the home of a billionaire named Miles Bron (Edward Norton). In a brilliantly edited sequence, we see each of the characters trying to open the box, telling us a lot about who they are and how they think. Jackie Hoffman, as one character’s mother, is hilariously bored and sharp at the same time.

Receiving the astonishingly crafted puzzle box with the invitation:

Kate Hudson as Birdie Jay, a flamboyant, selfish, famous-for-being-famous celebrity whose outspoken remarks are often offensive.

Kathryn Hahn as Claire Debella, the governor of Connecticut.

Dave Bautista as Duke, an obnoxious, gun-toting social media star. He brings his girlfriend, Whiskey (Madeline Cline).

Leslie Odem as Lionel, a scientist working with Miles on a secret project.

Janelle Monae as Andi, formerly Miles’ girlfriend and partner.

These people were all friends before Miles became wealthy and they get together once a year. This year, Miles has something special planned, a murder mystery game.

Also arriving on the island — the one carry-over character from the earlier film, the brilliant detective Benoit Blanc (Daniel Craig).

We learn about the connections that tie this group together, with some hilarious cameo appearances (two very touching from huge stars we recently lost) and celebrity references. Miles’ glass palace is filled with the kind of gauche art displays you would see in the home of an ultra-rich guy who wants bragging rights. (Genuine art lovers will notice that the “Rothko” is hanging upside down.) Amidst the twists and turns of the story are some clever digs at those we consider “influencers” and “disrupters.”

The performances are all spectacular. Hudson nails the selfish, superficial fading star desperate for attention, pretending that she does not know the difference between being outspoken and having something to say. Norton is just right with the false geniality of of a man who has given up everything to think of himself as a winner. Craig is a hoot (one of the movie’s best surprises is the reveal of his romantic partner). Monae masters a role that requires a lot of subtlety as the estranged member of the group and looks like a billion bucks as she does so.

What song will Johnson pick for the next one? Which superstars will appear? I can’t wait to find out.

Parents should know that this is a murder mystery with homicides and betrayal. There are some graphic images, characters use strong language and drink and get drunk. The movie also includes sexual references and a sexual situation.

Family discussion: What was the biggest surprise in the movie? How does the Beatles song “Glass Onion” relate to the film? Who should star in the next chapter?

If you like this, try: “Knives Out” and “See How They Run” as well as some of the stories that inspired them: “And Then There Were None,” “The Thin Man,” and the original “Murder on the Orient Express”

Puss in Boots: The Last Wish

Posted on December 21, 2022 at 12:40 pm

B +

Lowest Recommended Age:	Kindergarten - 3rd Grade
MPAA Rating:	Rated PG for action/violence, rude humor, language and some scary moments
Profanity:	Mild schoolyard language and almost-language
Alcohol/ Drugs:	None
Violence/ Scariness:	Extended fantasy peril and action, comic "deaths," some scary monsters, a character embodies death
Diversity Issues:	None
Date Released to Theaters:	December 23, 2022
Date Released to DVD:	February 27, 2023

The swashbuckling fairy tale cat Puss in Boots (Antonio Banderas) likes to remind everyone of his heroic, adventurous spirit, his skill with a sword, and his gift for singing. When pressed, as he is in “Puss in Boots: The Last Wish,” by a doctor, he will admit that he is not much at math. And this is relevant because, as we know, a cat has nine lives, and if Puss had been keeping score he would have realized that he has used up…eight of them. It does not require a lot of math skills to figure out that means he is on his last one and has to be careful.

And that is how, after an opening scene filled with swordplay, acrobatics, and valor, including the defeat of a superbly designed tree giant, Puss ends up living with a cat lady (Da’Vine Joy Randolph, warm-hearted with just a touch of dottiness). “I’m always on the lookout for a new lap cat!” she says. Puss sadly buries his feathered hat and boots and resigns himself to the indignities of blue booties, eating cat chow from a trough, and using a litter box.

But then he discovers there is one chance to reboot his lives. It involves a magical map to the location of a fallen star that can grant just one wish. He is not the only one who wants that wish, though. Goldilocks (a hilarious cockney-accented Florence Pugh) and her three bear crime family (Ray Winstone, Olivia Colman, and Samson Kayo) and Big (formerly Little) Jack Horner (John Mulaney in full sneer mode) want the wish. And so does Kitty Softpaws (Salma Hayek), whose fearlessness and swords(wo)manship are every bit a match for PiB, with a history together that makes them both wary and attracted to one another.

And so, Puss is off on a journey and in a race with the other groups trying to beat him to the wish. And as we expect from the SCU (Shrek Cinematic Universe), there will be humor ranging from sly references for the grown-ups to slapstick for the young and the young at heart. And there will be action, adventure, some heartwarming lessons about friendship and a little bit of romance. It is always fun to see or rather hear “Desperado” co-stars Hayek and Banderas together again.

The character design and movement is very well done, especially the tree giant, the wolf/bounty hunter who represents Death, and Goldilocks. And the animation style is wonderfully dynamic and expressive. I especially enjoyed the mix of animation styles. We are all used to the hyper-realism of CGI, with every hair in a cat’s fur rendered individually. So it was especially nice to see the contrast between that realism and a more impressionistic depiction of fur on the coats of the three bears or the bark on the tree giant. The combination works surprisingly well and a slight strobe effect on some of the action scenes gives them a joyfully dynamic comic-book pop.

This new chapter keeps the best of the series’ humor and heart and adds new touches to keep the story and characters vibrant. If they can keep this up, Puss should have many more lives.

Parents should know that this film has some mild schoolyard language and some almost-language, some potty humor, and extended fantasy action with some peril and violence that almost reaches the PG-13 level, including flashbacks of Puss in Boots’ first eight “deaths.”

Family discussion: If you had nine lives, what chances would you take? What was different about what Golidlocks and Jack Horner wanted to wish for?

If you like this, try: The other Shrek and Puss in Boots movies and the fairy tales and nursery rhymes that inspired them.

Living

Posted on December 13, 2022 at 10:39 am

A-

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for smoking and some suggestive material
Profanity:	Mild language
Alcohol/ Drugs:	Drinking and drunkenness, smoking
Violence/ Scariness:	Terminal illness
Diversity Issues:	None
Date Released to Theaters:	January 7, 2023
Date Released to DVD:	April 11, 2023

An 1886 novella by Leo Tolstoy inspired Japanese director Akira Kurosawa to create one of the most acclaimed films of all time, “Ikiru,” in 1952. And now those two core works have inspired an extraordinarily wise and touching British film starring Bill Nighy called “Living,” with a screenplay by Nobel Prize-winner Kazuo Ishiguro. What has drawn all of these artist together is that most profound of existential questions, literally the meaning of life. And like the two earlier works, “Living” is superb in every detail.

The story is set in post-WWII London. Mr. Williams (Nighy), a supervisor in a government office, overseeing a group of mostly white men (one woman, one Indian-British) who sit around tables piled high with file folders and documents. The production design by Helen Scott and cinematography by Jamie Ramsay are impeccable. We follower newcomer Peter Wakeling (Alex Sharp) as he begins to learn the way the office works. His colleagues board the commuter train together. “This time of morning, not too much fun and laughter. Rather like church,” he is cautioned by one of his new co-workers after he ventures some mild self-deprecating humor. All conversation is highly professional, quiet, understated, and exquisitely polite.

A group of local women trying to get a permit to turn a small area that was bombed in the Blitz turned into a playground keep coming to Mr. Williams’ department. And every other department in the building, because each one tells them it is someone else’s responsibility. For Mr. Williams, his job is about moving paper, not helping people.

After he gets the bad news from his doctor, Mr. Williams practices telling the son and daughter-in-law who live with him that he only has a few months to live. His emotional vocabulary is so shrunken, so limited, the only word he can think of to describe the situation is, “bore.”

He cannot bring himself to tell them, even or especially after he hears them talking about how they want to move out and live on their own. And then, Mr. Williams, the most methodical and reliable of men, does not go to his office. He finds his way to the seaside and strikes up a conversation in a bar with a bon vivant writer (Tom Burke), one of only two people he will tell about his diagnosis. The writer suggests spending his last months having fun, and they spend a raucous evening together, but that is not what Mr. Williams needs.

The second person he tells is a former co-worker, who spends some time with him, and it is her example that helps lead him to an understanding of what he needs to make the final time meaningful.

Nighy, always superb, has never been better. He is able to show us emotions that Mr. Williams does not even understand he is experiencing. Every moment of this film is exquisite, a poetic elegy to reveal not only Mr. Williams’ purpose but our own.

Parents should know that this movie deals with a terminal illness. There is some mild language, drinking, and drunkenness.

Family discussion: What do you and the people around you to do find meaning? Will the people in Mr. Williams’ office keep their pledge? Why didn’t he tell his son what was going on?

If you like this, try: “The Browning Version” (1951 version) and “Last Holiday” (1950 version), two British films from the era depicted in this film with related themes, and “Ikuru” and “The Death of Ivan Ilyich” as well.