Table 19

Table 19

Posted on March 2, 2017 at 5:59 pm

B +
Lowest Recommended Age: High School
MPAA Rating: Rated PG-13 for thematic elements, sexual content, drug use, language and some brief nudity
Profanity: Some strong and crude language
Alcohol/ Drugs: Drinking and marijuana
Violence/ Scariness: Comic peril, no one hurt, medical issues
Diversity Issues: Diverse characters
Date Released to Theaters: March 3, 2017
Date Released to DVD: June 13, 2017
Amazon.com ASIN: B06XYSX6KQ
Copyright Fox Searchlight 2017
Copyright Fox Searchlight 2017

I know. They hate the term. But it is impossible to talk about Mark and Jay Duplass (as writers, anyway, aside from their work as actors, directors, and producers) without the dreaded term “mumblecore,” which was applied to their early microbudget work because of the improvisational, shaggy-dog, millennial-ness of their work. Traces of that remain in “Table 19,” cross-bred with a more conventional romantic comedy, and it turns out to be a welcome blend of sweet and sour. This is not the usual Jennifer/Jessica with a quippy best friend, a meet cute, and a makeover.

We’ve all seen that placecard and most of us have been seated by it: the table for leftover wedding guests who aren’t the family or close friends of either bride or groom but somehow had to be included. Eloise (Anna Kendrick) provides the fellow denizens of the dreaded Table 19 with the inside scoop. Back just a few months earlier, when she and the bride, her oldest friend, were planning everything together, Table 19 was for the people who did not fit in anywhere else, the people who had to be invited but who the hosts were hoping would not make it, still sending a gift from the registry.

The characters may be third-tier in the minds of their hosts, but they are played by top tier comic talent. Lisa Kudrow and Craig Robinson play a married couple who have fallen into a marital death spiral of bickering that makes them miserable and humiliated, but they cannot seem to find their way out of it. Stephen Merchant is a cousin of the groom who seems unfamiliar with social interactions of any kind. “The Grand Budapest Hotel’s” Tony Revolori is a teenager with raging hormones but no idea of how to talk to girls. June Squibb plays the bride’s first nanny.

And then there is Eloise, once a maid of honor and dating the bride’s brother/best man (Wyatt Russell), but, since they broke up two months earlier, stuck at Table 19, on the other side of the ballroom, near the restrooms.  We know she almost didn’t come; she even started to burn the invitation. But for some reason, she was determined to be there, and there she is, on the wedding table island of misfit toys. A mysterious and handsome man appears and he has an English accent and a way with an aphorism. Could he be her Prince Charming?

Very able performers make up for some story shortcomings, including a too-neat resolution that I’m guessing was recut after test screenings. Kendrick is as always a marvel of precision, heart, and comic timing, so every time things start to go off kilter, we know she will get us safely home.

Parents should know that this film includes some strong language and comic mayhem, brief comic nudity, drinking and tipsiness, marijuana, and sexual references including adultery and pregnancy.

Family discussion: Why did Eloise go to the wedding? How did sitting at Table 19 make it possible for her to acknowledge her feelings? What’s your funniest family gathering experience?

If you like this, try: “Rocket Science” with the same director and star

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Comedy DVD/Blu-Ray Romance
Rock Dog

Rock Dog

Posted on February 23, 2017 at 5:50 pm

B
Lowest Recommended Age: Preschool
MPAA Rating: Rated PG for action and language
Profanity: Some schoolyard language
Alcohol/ Drugs: None
Violence/ Scariness: Action-style cartoon peril, chases, predators, no one hurt
Diversity Issues: A metaphorical theme of the movie
Date Released to Theaters: February 24, 2017
Copyright Lionsgate 2016

The second movie in three months featuring cartoon animals singing pop songs is “Rock Dog,” based on a Chinese graphic novel.

Luke Wilson provides the voice for Bodi, a sheepdog in Tibet, raised by his martinet father Khampa (J.K. Simmons). Bodi is never able to muster the “Kung Fu Panda” style mystic power his father tries to teach him as a part of the elaborate defense system he has put in place to protect the sheep from the Mafia-type wolves (led by Lewis Black as Linnux). At one time the community had two passions, making music and making wool. But after an attack by wolves, the instruments have all been locked away so that there will be no distractions from civil defense.

When a radio literally drops from the sky (an airplane loses some of its cargo), Bodi realizes his true purpose. He is not a watchdog — he is a musician.

Inspired by the music of rock star Angus Scattergood (Eddie Izzard), he decides to leave the mountain to follow in his footsteps: he will find a band in the legendary Rock ‘n’ Roll Park and play music no matter who tries to stop him. “Play your guts out and never stop, even when your dad tells you to stop, don’t stop.” He realizes that this is “the answer to my life,” and soon he is making music for delighted new fans.

Khampa reluctantly agrees to let Bodi go, but makes him promise he will return if he does not succeed. In the big city, he finds the Rock ‘n’ Roll Park, where he encounters a bully (Matt Dillon) who sends him to Scattergood’s booby-trapped fortress of a house as a prank.

Scattergood is desperately trying to come up with the new song his record label is demanding, but he is so isolated that he has run out of ideas, like Dana Carvey playing “Choppin’ Broccoli.”

There are some charming details (the sheep’s pub is called the Warp and Weft and serves shots of wheatgrass), and its international production team is reflected in its settings, like the Japan-inspired Rock ‘n’ Roll park, where Bodi and the bully have a shred-off. Bodi is a likeable hero and it is fun to see his cheery optimism paired with the burned-out, cynical Angus. Like the music they create, it is pleasantly entertaining.

Parents should know that this movie has cartoon action-style peril and violence, including predators, chases, fire, and some pratfalls, although no one is hurt. There is also some schoolyard language.

Family discussion: Why was it so hard for Angus to write a song? Why did he think he did not want to see anyone? How did Bodi know that music was his destiny?

If you like this, try: “Surf’s Up”

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Animation Movies -- format Musical Talking animals
Get Out

Get Out

Posted on February 23, 2017 at 5:44 pm

Copyright Universal 2017

Two caveats before I begin the review: First, I am not very knowledgeable about horror films and therefore do not have the context I normally bring to evaluating a film. Second and more important, this movie has complex themes about race and privilege that I do not pretend to have authority to speak to. I strongly recommend that people who are interested in understanding this film read the perspectives of critics who are African-American or people of color, and I will post links to some of the ones I especially admire at the end of this review. With those limitations in mind, here are my thoughts on “Get Out,” in my opinion a superb film on many levels.

Writer/director Jordan Peele, like his “Key and Peele” partner Keegan-Michael Key, is biracial, which gives them both a lifelong experience with being both part of and observer of black and white culture and a lifelong fascination with code-switching, as we saw in their film “Keanu,” written by Peele. Moving from comedy to horror, Peele continues to explore the themes, giving depth and emotional power to a genre film. Unlike Quentin Tarantino, who carelessly purloins historic settings as a shortcut to the audience’s emotional investment so he can get right to the gore, Peele cannily plays the conventions of the genre and the discomfort and hostility about race off of each other.

It is one of the most terrifying prospects of ordinary life: meeting the family of the significant other. This familiarly excruciating prospect can be played for comedy (“Meet the Parents”) or drama (“Guess Who’s Coming to Dinner?”), but horror is perhaps its best fit, with room for some comedy and drama as well. The fact that Rose (“Girls” star Allison Williams) has not told her parents that her boyfriend of five months, Chris (Daniel Kaluuya), is black, adds another layer of tension. She assures him it does not matter. “They would have voted for Obama for a third time if they could!”

Kaluuya gives a star-making performance with help from cinematographer Toby Oliver, who makes this that rarest of movies, one that knows how to light African-Americans, especially those with darker skin, so that we can really see what they bring to the role. Watch his face in the early scenes as Chris navigates the fatuous pleasantries of Rose’s parents (Bradley Whitford and Catherine Keener, both excellent), and then the bro-ish thuggery of Rose’s brother, and then the condescending appraisals of the friends who all seem like they are on their way to the yacht club. We see him calibrate each of these interactions, trying to be a good sport, trying to go along, trying to make his girlfriend’s family feel comfortable with him, but starting to lose his patience. One of the film’s many shrewd understandings is the way that a lifetime of having to reassure white people that he is not going to hurt them or make them uncomfortable makes him slow to pick up on or slow to doubt himself about the creepiness of Rose’s family. An early scene, where Chris and Rose get questioned by a highway patrolman after hitting a deer is subtle but sharply drawn. And before you can say “foreshadowing,” Chris is getting a tour of the house and Rose’s dad is explaining that the basement had to be sealed off because of black mold. Hmm. And did I mention the prologue when a black guy walking down a peaceful suburban street is followed and then captured? And that the only person of color beside Chris at the party (the always-great LaKeith Stanfield) is strangely subdued and doesn’t know about fist bumps?

It would be a disservice to say any more about the plot. I won’t spoil the twists. I’ll just say that Peele knows what scares us and how to scare us and make us enjoy it, and gives us a lot to think about about some comedy as well. And that it may be that the scariest thing about the movie is the reminder that it has taken far too long to shine the correct light — literally and figuratively — on stories that should be told because they are just that good.

I recommend these reviews: Travis Hopson, Aisha Harris, Jeffrey Lyles, Kevin Sampson, Stephen Thrasher, Kareem Abdul-Jabbar, and Odie Henderson and Stephen Boone. Also, this piece on conversations with interracial couples who have seen the film.

Parents should know that this is a horror film with theme of racism and exploitation, extended peril and violence including gun, choking, and bloody, graphic, and explicit medical images and sounds, characters injured and killed, suicide, references to sad loss of a parent, some strong language including racist epithets, sexual references and a non-explicit situation, and smoking.

Family discussion: When does the story turn from insensitive to offensive to sinister? What makes Chris decide that he has to leave?

If you like this, try: “Rosemary’s Baby,” “The Wicker Man” (original version) and “The Stepford Wives”

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Horror Race and Diversity Thriller
A Cure for Wellness

A Cure for Wellness

Posted on February 16, 2017 at 5:54 pm

B-
Lowest Recommended Age: Preschool
MPAA Rating: Rate R for disturbing violent content and images, sexual content including an assault, graphic nudity, and language
Profanity: Very strong and crude language
Alcohol/ Drugs: Alcohol
Violence/ Scariness: Intense, graphic, and extensive peril and violence with many disturbing and graphic images, sexual assault, torture
Copyright 2016 Twentieth Century Fox

There’s jump out at you scary. And there’s something’s coming at me scary. And then there’s the slow, inexorable dread that builds inside you, and that is what director/co-writer Gore Verbinski is going for with “A Cure for Wellness.”

The unsettling through-the-looking-glass idea starts with the title itself. Isn’t wellness what a cure is supposed to achieve? Would a cure for wellness mean making a healthy person sick? Uh…yes. Prepare to feel your stomach drop like a bowling ball.

The best part of the movie is in exploring the world Verbinski creates, with production designer Eve Stewart, a health sanitarium where time seems to have stopped a century ago. A brief opening section establishes that it takes place now. An ambitious Wall Street trader named Lockhart (fast-rising star Dane DeHaan) has done something improper, and the bosses at his firm tell him that if he does not want to go to jail he has to retrieve Mr. Pembroke, the firm’s CEO, from a remote sanitarium so he can sign off on a big deal. Lockhart, confident of his ability to get deals done, and determined to stay out of trouble, takes the long, long drive up to the top of a mountain, to a facility somewhere between the Overlook Hotel in “The Shining,” the tuberculosis sanitorium in The Magic Mountain, and the Grand Budapest Hotel.

He briskly asks to see Pembroke and is informed that visiting hours are over. He does not pay enough attention to notice that things seem a bit…off. And when he is offered a glass of water, he does not hesitate to drink it. This, needless to say, is a mistake. He thinks he can leave and come back to see Pembroke later. This, also needless to say, is also a mistake.

Lockhart tries to find out what is going on. One might say that this is a mistake, too.

He starts to leave, but the car hits a deer and he wakes up in a hospital bed, his leg in a cast. Everyone is pleasant and rather vague, both staff and guests. But everything gets creepier and creepier, and it’s all atmosphere anyway. Don’t try to think about the story too much because it does not make a ton of sense and basically boils down to: creepy scene here, creepy scene there, REALLY creepy scene downstairs, excruciatingly creepy scene in the dentist’s chair, a not very surprising reveal.

Parents should know that this is a horror movie with extremely graphic and disturbing material and with many grisly and upsetting images including dead bodies, snakes, torture, sexual references and situations, nudity, sexual assault, incest, and very strong language.

Family discussion: What does Lockhart’s name tell us about the character? What does Hannah learn from him?

If you like this, try; “The Shining” and “Suspira”

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Movies -- format
Fist Fight

Fist Fight

Posted on February 16, 2017 at 5:40 pm

C
Lowest Recommended Age: Preschool
MPAA Rating: Rated R for language throughout, sexual content/nudity and drug material
Profanity: Extremely strong and crude language used by adults, teens, and a child
Alcohol/ Drugs: Drugs and drug dealing by teenager
Violence/ Scariness: Extended comic peril and violence
Diversity Issues: Diverse characters
Date Released to Theaters: February 17, 2017
Copyright 2017 Warner Brothers

Maybe it’s just here in Washington D.C., but when I saw “Fist Fight,” the biggest laugh from the audience was seeing the name of the executive producer, Steve Mnuchin, who had just been sworn in as the Trump administration’s Secretary of the Treasury. The timing of the movie, with its comic portrayal of an underfunded and wildly dysfunctional public school is uneasily, if inadvertently resonant with the times.

But mostly it is just not very funny. Five writers, including “New Girl” actor Max Greenfield, and a roster of more than a dozen producers, including the two stars, Ice Cube and Charlie Day, could not come up with anything more original than anatomical graffiti, a teacher who takes drugs and want to have sex with students, and a child performing a song with f- and b-words in her school talent show.

The producer/stars play Ron Strickland and Andy Campbell, teachers in a chaotic high school that is even more chaotic than usual because it is the last day before summer vacation. The senior pranks include obscene graffiti in the classroom and on the field, a drugged-up stolen race horse in the halls, the principal’s car covered with paint and left in the school foyer, and (I admit it, this was surreal and funny) a mariachi band trailing the principal for the day.

The students are openly contemptuous of the teachers. So is the administration, which is insisting on re-interviewing each of them to decide whether they will be kept on in their jobs. And poor Campbell, who just want to get along with everyone and impart to his students some of his love for words, has a wife who is about to go into a labor and a daughter who is appearing in the school talent show that afternoon. For some reason, he is performing with her, though she wants to make some last minute changes to the song. Do you think maybe the one she is springing on him has some bad language in it? Yes! Is that something that is inherently hilarious? Not in my opinion.

So, this is about two things: First is Campbell’s constant frustration at trying to do the right thing and the emasculating humiliation heaped on him by everyone when his nice-guy efforts are met with universal contempt. Second is the concept that nice-guy efforts should be met with universal contempt because what matters is the willingness and ability to beat someone up. Even the 911 operator (Kym Whitley) can only laugh when he calls for help.

The movie is filled with funny people. Unfortunately, it is bereft of funny ideas.

Parents should know that this film includes very strong language used by adults, teenagers and a child, drug humor and drug dealing by a teenager, jokes about a sexual predator, graphic sexual graffiti/humor, outrageous pranks, comic violence and peril.

Family discussion: Are Strickland and Campbell good teachers? What do they like about teaching?

If you like this, try: “Three O’Clock High” and “Ride Along”

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Movies -- format
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