Silver Linings Playbook

Posted on November 15, 2012 at 6:01 pm

B+
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for language and some sexual content/nudity
Profanity: Constant very strong language
Alcohol/ Drugs: Drinking
Violence/ Scariness: Assaults and fighting
Diversity Issues: Respectful treatment of mental illness
Date Released to Theaters: November 16, 2012
Date Released to DVD: April 29, 2013
Amazon.com ASIN: B00A81NFAS

When Bradley Cooper appeared on “Inside the Actors Studio,” the first graduate of the program to be featured, they showed a clip from Robert DeNiro’s appearance on the show, with then-student Cooper asking him a question about his performance in “Awakenings.”  DeNiro was clearly impressed with the perception and sincerity of his young questioner.  It was only a few years later that Cooper was acting opposite DeNiro in “Limitless.” Now they are together again as father and son, Pat Sr. and Pat Jr., in “Silver Linings Playbook,” based on the novel by Matthew Quick.

Pat Jr. has been in a mental hospital being treated for bipolar disorder, the result of a plea bargain following “the incident,” we will only learn the details of later.  His mother brings him home though it is not at all clear that he is or will ever be ready.  Pat has impulse control problems, especially when he hears a particular Stevie Wonder song or does not like the ending of a Hemingway novel.  But he is absolutely determined to get his life back.  And his wife back.  This involves a lot of physical conditioning and finding away around the restraining order that forbids him from contacting her.

He meets a troubled young widow named Tiffany (Jennifer Lawrence of “Hunger Games”), the sister-in-law of his best friend.  Pat is fighting so hard to be “normal” again that he is disturbed, annoyed, and a little scared by her outspoken, socially inappropriate behavior.  But she offers the same directness and shared experience he had with his fellow patients.  He struggles with the competing impulses to reject and accept her overtures of friendship.  Their exchange about the effects of various mood and anti-psychotic meds is a gem, the mental illness equivalent of Romeo and Juliet speaking to each other in alternate lines of a sonnet on their first meeting.  And Lawrence is sublime in her summation-to-the-court-style argument with Pat Sr. about the factors that go into an Eagles win.

They agree to help each other, and this gives Pat purpose, discipline, and direction.  And we learn more about “the incident” and about Pat’s relationship with Pat Sr., a professional gambler and bookie whose passion for the Eagles provides some context for his influence on his son.

Director David O. Russell, who adapted the novel, and his cast fill the story with engaging, believable characters, especially Jackie Weaver as Pat’s mother, John Ortiz as his stressed-out best friend, and Anupam Kuhr as his therapist.  It is a great pleasure to see Chris Tucker, who is outstanding as a mental patient, though I wish they had found him more to do than the usual “black it up” (that’s a direct quote) pep talk.  Pat is so upset by the end of Farewell to Arms (on his wife’s assigned reading list for the high school class she teaches) that he has to wake his parents in the middle of the night to tell them why stories need happy endings.  The ending here is abrupt and a bit cheesy.  But these damaged and vulnerable and anxious characters love and want to be loved and we want it for them.

Parents should know that this film includes a lot of very strong and profane language, sexual references (some explicit), family dysfunction and mental illness, drinking

Family discussion: How are Pat and his father alike? How do Tiffany, Ronnie, and Cliff help him? What makes Pat change his mind?

If you like this, try: “Inside Moves” and “Garden State”

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Based on a book Drama DVD/Blu-Ray Pick of the Week Family Issues Romance

Lincoln

Posted on November 8, 2012 at 6:00 pm

B+
Lowest Recommended Age: High School
MPAA Rating: Rated PG-13 for an intense scene of war violence, some images of carnage, and brief strong language
Profanity: Some strong language, one f-word
Alcohol/ Drugs: Drinking, smoking
Violence/ Scariness: Battle violence with some graphic images, sad deaths, assassination
Diversity Issues: A theme of the movie
Date Released to Theaters: November 9, 2012
Date Released to DVD: March 25, 2013
Amazon.com ASIN: B009AMANH4

The first question about big, prestige films like “Lincoln” is always where it falls on what I call the spinach scale.  Will I tell people to see it because it is entertaining or because it is good for them.  For all its meticulous attention to historical verisimilitude and its extended depiction of people in rooms talking about a Constitutional amendment, “Lincoln” is not an eat-your-spinach-because-it’s-good-for-you movie.  It is a robust, engrossing story that illuminates our own time as well as the era of the 16th and arguably greatest President.

Task number one for director Steven Spielberg, screenwriter Tony Kushner (Angels in America), and star Daniel Day-Lewis is to make the icon into a human being, to show us his greatness but also his humanity.  In our hearts, this almost-literally larger than life man sounds like James Earl Jones — we can almost hear that deep voice reciting the Gettysburg address.  But those who actually heard Lincoln speak described his voice as high, thin, and reedy-sounding.  It may be jarring at first, but in an exceptionally well-designed introductory scene Day-Lewis deploys that timbre with such gentleness and modesty that it quickly becomes an asset not just to his performance but to our understanding of this man.

Lincoln is sitting quietly, talking to a small group of Union soldiers, two black and two white.  We see immediately that the soldiers respect him greatly — they can recite the Gettysburg address from memory — but that they feel completely comfortable being honest with him about their experiences and their recommendations.  What we feel immediately is that he is both respected and trusted, and that he has a rare ability to listen.  He may not be a modest man — at one point he thunders, “I am the President of the United States and clothed in immense power!”  But he is a humble man, who understands that he can best lead by allowing others to move forward with him.  He loves to share stories, more than others love to hear them.  But like a great preacher, he knows that it is the stories that persuade people.  Everyone softens a little for a story, especially one with a punchline.  And a story helps the listener toward the conclusion without feeling pushed.

A century and a half later, audiences may be surprised to see how little has changed.  Indeed, even the vilest insults of the Twitterverse and the shrillest complaints of Super-PAC ads do not touch the comments made by Members of Congress, who do not hesitate to question each other’s integrity or sanity.  “Fatuous nincompoop,” for example.

Audiences may be more surprised to find that “Democrat” and “Republican” seem to have switched places.  What has not changed is the way that politics attracts people of great cowardice and even greater courage, of people who hold on and people who reach forward, of people who want to help themselves and people who want to help others at great cost to themselves, including those who can never thank them.

When Lincoln decides that his most important priority is eradicating slavery through approval of the 13th Amendment to the Constitution, his team brings in a trio of lobbyists (John Hawkes, Tim Blake Nelson, and a wonderfully puckish James Spader) who are as cheerfully cynical as anyone on K Street today.  Through a combination of bribes and threats, they work to get the votes they need.  It is clear the Civil War is about to end, and if the South is readmitted to the Union, it will never pass.  Lincoln understood that the only way to keep the country together was to take its most divisive issue off the table.  He also understood that doing so would have its own terrible costs.  Even those who supported the Amendment had to make compromises, including its most ardent defender (a scene-stealing performance by Tommy Lee Jones as Pennsylvania’s Thaddeus Stevens).

Kushner and Spielberg, like their main character, recognize the power of story-telling, and this illuminating tale would make its subject proud and perhaps to inspire all of us to aspire to that as well.

Parents should know that this film has some battle scenes, graphic images in hospital including amputated limbs, some strong language including one f-word, sad losses, drinking, and smoking.

Family discussion: There are a lot of compromises in this movie and a lot of shading of the truth – which were the most difficult?  Why was the passage of the 13th amendment so important?  What moments in the film reminded you of today’s political debates and strategies?

If you like this, try: some of the other portrayals of Lincoln on film, including “Young Mr. Lincoln” and “Abe Lincoln of Illinois” and the musical about the Declaration of Independence, “1776”

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Based on a true story Biography Drama DVD/Blu-Ray Pick of the Week Epic/Historical Politics War

Skyfall

Posted on November 8, 2012 at 8:00 am

A-
Lowest Recommended Age: High School
MPAA Rating: Rated PG-13 for intense violent sequences throughout, some sexuality, language, and smoking
Profanity: Strong language
Alcohol/ Drugs: Drinking, smoking
Violence/ Scariness: Extended spy-style peril and violence with many characters injured or killed and some graphic images
Diversity Issues: Diverse characters, strong women
Date Released to Theaters: November 9, 2012
Date Released to DVD: February 11, 2013
Amazon.com ASIN: B007REV4YI

James Bond goes home in every sense in this ravishingly entertaining entry in the series.  Five decades later, it all of a sudden feels fresh, fun, and utterly engaging.  This is the best Bond in decades.We are in the middle of the action almost before the lights go down in the theater.  Two quick but unmistakable notes on the soundtrack as Bond (Daniel Craig in his third outing) enters a room with dead and dying agents.  He looks like a million bucks.  Or, I should say, a million pounds.  Sterling.

A quick communication and then a chase, and what a chase. Not since “Raiders of the Lost Ark” has a movie begun with such a knowing shot of adrenaline. It’s action as ontology recapitulating phylogeny.  On one level, it’s a world-class heart-thumper, brilliantly staged and paced. But it’s also a witty meta-take on chase scenes in general and Bond in particular, with everything from an exotic open market to a shootout and a motorcycle and hopping on a train.  And by that I mean hopping ON a train.  And a pretty girl.  With a gun.  And a missing hard drive.  He also stops to adjust his cuffs.

So, we’re good to go, and it just keeps getting better.

Things are not going so well back at MI-6, where M (Dame Judi Dench) is in a meeting with a rather stiff government official (Ralph Feinnes)  who is displeased about the way things are going.  “Are we to call this civilian oversight?” she asks with asperity.  “No, we’re calling this retirement planning,” he responds.  MI-6 itself is attacked and this time, as they say, it’s personal.

Bond has had a tough time of it lately.  The heightened stylization of the “Austin Powers” parodies made it more difficult to take Bond’s glossiness and the over-the-top total world domination-style bad guys seriously and the grittiness of the “Bourne” movies made the sophistication and brio of the series and its lead character seem superficial.  The series was in danger of becoming a parody of itself, with its over-the-top plot twists and villains.  And it was choking on product placement.  “Skyfall” is forthright in confronting the challenges of our time, with both spies and bureaucrats well aware that our enemies are harder to identify than they were in the Cold War era, and more damage can be done with a laptop than a bomb.

“Skyfall” kicks it old school, with more heart, meaning, and character — and a more deliciously twisted villain (Javier Bardem) than the last dozen in the series combined.  This is much more than the usual girl and a gun and a villain and only seconds to save the world from various exotic locations.  The locations are fabulously chosen, however, from MI-6’s transplanted underground lair to a deserted island city with a toppled Ozymandias-style statue, a motorcycle chase along Istanbul rooftops, and an estate in Scotland.  And Ben Wishaw (“Cloud Atlas”) makes a lovely young Q with mad computer skillz and madder hair.

Adele provides the best Bond theme song since the 60’s, her husky voice reminiscent of the Shirley Bassey era.  Director Sam Mendes is not known for action or genre but he has a great eye and he is totally up to the task here, delivering a story that gives depth to the characters and moral complexity to the storyline.  Mendes deftly explores variations on the themes of compromise, consequences, context, and choice, while never letting up on the action and glamour.  It wouldn’t be a Bond movie without some reason for our hero to don black tie for a visit to a swanky gambling den that happens to have a pit with Komodo dragons, any more than it would without some doomed beauty with time for one last romantic encounter.  “Skyfall” has tremendous understanding and affection for the legacy of Bond, but, more important, it makes us excited about the next 50 years.

Parents should know that this film has spy-type action and peril with chases, explosions, and guns, many characters injured and killed, sexual references and situations,some strong language,drinking, and smoking.

Family discussion: Characters in this film have to make some very tough choices that risk or sacrifice the lives of their colleagues. What factors do they consider? What are the consequences? How does what we learn about Bond and M change the way you think about them?  Why does MI-6 like orphans?

If you like this, try: the 23 other Bond films, especially “Goldfinger,” “You Only Live Twice,” and “Goldeneye”

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Action/Adventure Based on a book DVD/Blu-Ray Pick of the Week Series/Sequel Spies

Wreck-It Ralph

Posted on November 1, 2012 at 6:00 pm

B+
Lowest Recommended Age: Kindergarten - 3rd Grade
MPAA Rating: Rated PG for some rude humor and mild action/violence
Profanity: Some schoolyard language
Alcohol/ Drugs: None
Violence/ Scariness: Cartoon-style action violence and peril, guns, explosions
Diversity Issues: Strong female and disabled character
Date Released to Theaters: November 2, 2012
Date Released to DVD: March 4, 2013
Amazon.com ASIN: B00A7OIXW6

No one wants to be the bad guy anymore.  In “Despicable Me,” Gru’s delightfully dastardly plans were no match for the overpowering adorableness of three little girls.  “Megamind” found that being the bad guy was no fun after he vanquished the hero.  Even the sharks in “Finding Nemo” became vegetarians, with support group meetings to chant, “Fish are friends, not food.”

And now there’s Ralph (John C. Reilly), having something of an existential crisis.  Back in the 80’s era of arcade video games, before people had home computers and game stations and televisions that were part computer and part game station to play on, if you wanted to play a game you had to go to an arcade and get a roll of quarters.  The primitive 8-bit games had a charm of their own, in part from the novelty of games on a screen instead of being based on mechanical balls and levers, and in part because their very simplicity left a lot of room for the player to fill in the details from his or her own imagination. The brilliant documentary The King of Kong: A Fistful of Quarters explains that in some ways these older games still provide more of a challenge — they continue to fascinate competitive players.

This is a marvelous environment for a story, whether you grew up with these games and recognize the in-jokes or haven’t played a game since Pong and Tetris, even those who do not know a Wii from a Playstation.  Wreck-It Ralph is so persuasively authentic it seems to be entirely at home with what has been referred to as “the Roger Rabbit of video games.”  Ralph keeps knocking down the building inhabited by the Webelo-like residents of Niceville, and the relentlessly cheerful Fixit Felix, Jr. (“30 Rock’s” Jack McBrayer), with the help of the quarter-loading player, rebuilds so fast that Ralph gets thrown off the roof of the building and everyone in Niceville has a party.  Ralph doesn’t break things to be mean.  It’s just his job.  It’s in his code.  He feels that he is as much a part of the game as Frank and the building inhabitants.  Ralph shares his conflicts with an adorable villain support group (love the zombie with axes attached to his hands).  But he wants more.

Ralph is just lonely.  He wants to go to the party.  He wants to make friends.  He wants people to like him.  But just as he is coded to break things, the Niceville residents are coded to be scared of him.  Just to get rid of him, one of them tells him that if he can win a hero’s medal, he can be their friend.  So Ralph leaves his game to find a place where he can be a hero.

Ralph visits an intense and violent military game called Hero’s Duty with a tough female commanding officer named Calhoun (Jane Lynch).  She is “programmed with the most tragic backstory ever” and probably inspired by video game voice star Jennifer Hale, the combination Meryl Streep and Angelina Jolie of the video game world.  Everything seems to go according to plan until he somehow ends up in Sugar Rush, a game for children that looks like NASCAR if it was designed by Katy Perry.  Adorable little children race cars made out of candy and cookies.

Maybe not so adorable.  Just as Ralph is not so bad, the cute little kids of Sugar Rush are not so sweet.  He is annoyed by Vanellope (Sara Silverman), a bratty little girl, but then joins forces with her to help her build a race car.  And then he meets the “heroes” of Sugar Rush and finds that the line between good guy and bad guy is not what he thought it was.

The witty and vibrant worlds are gorgeously imagined (and of course now available in game form themselves), with a satisfying balance of heart and humor.  The story nimbly mixes existential questions of identity, purpose, and destiny with a sweet friendship and knowing humor about the world of games and gamers and even some Joseph Schumpeter-style creative destruction.  I loved the Mentos jokes and the detour to the car-building site.  And I loved the constant playing with almost Pirandello-esque notions of the way we create our worlds and the assumptions that underly them.

Parents should know that this movie includes video game violence with guns and explosions, some mildly disturbing images, characters in peril, and some potty humor.

Family discussion:  How do you know what is “in your code” and what you can change?  Can a bad guy become a hero?  What did Ralph learn from Vanellope?  Why did Vanellope love her car?

If you like this, try: Two more movies with bad guy-good guys, “Despicable Me” and “Megamind,” as well as “King of Kong,” the brilliant documentary about a video game competition.

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3D Action/Adventure Animation Comedy DVD/Blu-Ray Pick of the Week For the Whole Family

Argo

Posted on October 11, 2012 at 6:00 pm

A-
Lowest Recommended Age: High School
MPAA Rating: Rated R for language and some violent images
Profanity: Very strong language
Alcohol/ Drugs: Drinking, smoking
Violence/ Scariness: Scenes of mob violence, hostages, references to terrorism
Diversity Issues: Ethnic, political, and cultural differences a theme of the movie
Date Released to Theaters: October 12, 2012
Date Released to DVD: February 18, 2013
Amazon.com ASIN: B00AHTYGRW

The movie within the movie, an outlandish space fantasy possibly named “Argo” for Jason’s vessel in the ancient Greek myth, may be more believable than the true and recently declassified story that surrounds it.  In 1979, when American State Department employees were taken hostage in Iran, six escaped and were hidden by the Canadian ambassador.  A CIA “exfiltration” expert who specializes in getting people out of difficult situations, rescued them by disguising them as members of a Canadian film crew, scouting locations for a fictitious Hollywood movie called “Argo.”

It is like an episode of the television series “Mission: Impossible” except that (1) it really happened and (2) it was much, much harder.  Unlike “Mission: Impossible,” the people creating an elaborate false reality in order to fool the other side had to work with civilians.  And they had to navigate a lot of bureaucratic, diplomatic, and national-security-related internal conflicts in a volatile environment with limited sharing of information.  James Bond has something more valuable than a license to kill.  He has a license to pretty much do whatever he wants with M ready to stand behind him.  But Tony Mendez (played by director Ben Affleck) has to make a lot of literally life-or-death decisions very quickly and yet is still subject to oversight by layers of people with different priorities and points of view.

Affleck, following “The Town” and “Gone Baby Gone” (and a screenwriting Oscar for “Good Will Hunting”) is no longer one of Hollywood’s most promising new directors — he has arrived.  This film works on every level.  Even though we know the Americans were rescued (Canada’s embassy was given a prominent location near the White House in gratitude for their efforts), the tension is ferocious.  The scenes in Hollywood, with John Goodman and a sure-to-be-nominated for a third Oscar Alan Arkin are as sharp and witty, recalling “The Producers” and “Get Shorty.”  But rather than an easy way to provide contrast or comic relief, Affleck and first-time screenwriter Chris Terrio (based on an article in Wired Magazine) use those scenes to provide context, along with some tang and bite.  One masterful section of the film intercuts the two stories as the Hollywood group set up shop, secure the rights to the screenplay, and put together a staged reading to get publicity to demonstrate their bona fides while the six Americans are trapped and the exfiltration mission gets underway.  There are a lot of similarities — both sides deal in illusion, and not just the illusion of the sci-fi fantasy film they are pretending to make.  The constant lying about the project comes naturally to Arkin’s character, an old-time Hollywood guy who has seen it all and who himself has no illusions about the integrity and loyalty of those around him.  He says, “You’re worried about the Ayatollah.  Try the WGA.”

Affleck locates the film in its era with hair and clothes that evoke the time period without exaggeration or ridicule, not easy to do with 70’s styles.  He even used 70’s era film stock and borrowed some of the staging from movies of the era like “All the President’s Men,” and the opening titles are in a 70’s font.  But the film also has some important insights about what happened and about our own time, reflected in the conflicts of three decades ago.  It begins with a brief description of the events leading to the hostage crisis, emphasizing America’s support (to benefit the oil companies) of the Shah’s brutal regime, told somewhat differently than it would have been in 1979.

“You don’t have a better bad idea than this?” a State Department official asks the CIA.  “This is the best bad idea we have,” is the reply from Jack O’Donnell (Bryan Cranston).  They can’t fake any of the usual identities for the Americans because they are too easy to disprove.  The normal reasons for foreigners to be abroad — teaching, studying, aid — are not plausible.  Only something completely outrageous could be true.  And it turns out that Iranians are as in love with Hollywood movies as everyone else.  This one is a good reminder of why we all feel that way.

Parents should know that this film includes scenes of mob violence, hostages, references to terrorism, characters in peril, tense confrontations, alcohol, a lot of smoking, and very strong language.

Family discussion: Why did the Canadians take in the Americans?  Why did Mendez defy his orders?  What would you do if someone approached you the way Mendez approached the Hollywood insiders?

If you like this, try: “Charlie Wilson’s War”

 

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Based on a true story Drama DVD/Blu-Ray Pick of the Week Politics Spies
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