Mortal Kombat

Posted on April 22, 2021 at 7:00 pm

B-

Lowest Recommended Age:	High School
MPAA Rating:	Rated R for some crude references, language throughout, and strong bloody violence
Profanity:	Very strong and crude language
Alcohol/ Drugs:	None
Violence/ Scariness:	Pervasive peril and violence, very gory and disturbing images, characters injured and killed including a child
Diversity Issues:	Diverse characters
Date Released to Theaters:	April 23, 2021
Date Released to DVD:	July 5, 2021

“Mortal Kombat” is a movie based on a video game. So, let’s be real here. We’re not looking for or even expecting complex characters or surprising plot twists. We’re here for the martial arts carnage and a few middle-school-level wisecracks, and that we get.

Character development? I’ve seen more complex backstories on Cabbage Patch Dolls. All you need to know is there are good guys and bad guys and the stakes are the very future of the planet, which, it turns out, turns on, you got it, mortal combat, trial by combat — to the death. Oh, and don’t expect it to make a ton of sense, either. Just sit back and watch the fights.

It begins with a pre-credit sequence set in an edenic 17th century Japan, with a devoted farming couple, their gallant young son, and infant daughter. As the father (Hiroyuki Sanada as Hanzou) is out getting water, bad guys arrive, led by B-Han (Joe Taslim), whose awesome fighting skills are enhanced by his ability to manifest ice. He will later be known as Sub-Zero. He says he is there to avenge, but we do not get any details. Only the baby survives, and she is taken away by a glow-eyed guy who travels via lightning named Lord Raiden (Tadanobu Asano).

Skip ahead to present day, where Cole Young (Lewis Tan) is fighting for $200 a bout and not doing very well. He is devoted to his wife and daughter. And he has a mysterious dragon-shaped birthmark, which identifies him to those in the know as a champion. one of those designated to fight for the good guys. Not much time for narrative here. Or anywhere else in the movie. It’s battle, battle, training, battle all the way.

Which is a good thing, because the martial arts are great and, for those who are fans of the game, let me quote Wikipedia:

The basic Fatalities are finishing moves that allow the victorious characters to end a match in a special way by murdering their defeated, defenseless opponents in a gruesome manner.

The finishing moves/fatalities are suitably gruesome. Like guts falling out of ripped-open torsos and being sliced open by a buzzsaw like a side of beef. And gallons of spurting blood. As for the script, well, it has exactly what you’d expect, a lot of “the prophecy is upon us” and “winning Mortal Kombat cannot be left to chance,” portentousness, “if you fail to discover your inner power you will never defeat your opponent” pep talks, plus some middle-school-level “humor.”

So, fans of the game will enjoy the call-outs to their favorite characters and inside information and those who are not familiar to the game but like to see martial arts fights with lots of gore will be suitably entertained and even look forward to the sequel.

Parents should know that this film has extended and very gory and graphic peril and violence, along with strong and crude language and references.

Family discussion: Which power do you think you could manifest? How do you fight people who do not follow the rules?

If you like this, try: The game and the “Mythic Quest” and “The Guild” television series.

The Little Things

Posted on January 27, 2021 at 7:00 am

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated R for violent/disturbing images, language and full nudity.
Profanity:	Very strong language
Alcohol/ Drugs:	Alcohol
Violence/ Scariness:	Serial killer crime drama
Diversity Issues:	None
Date Released to Theaters:	January 29, 2021
Date Released to DVD:	May 4, 2021

Three Oscar winners cannot save “The Little Things,” a crime thriller that starts out promisingly and about halfway through completely loses its way. It’s almost like the screenplay was created by two different people, or undermined by the director. But John Lee Hancock (“The Blind Side,” “Saving Mr. Banks,” “The Highwaymen”), both wrote and directed, so he is responsible when the story veers into Gothika Rule territory.

It takes place in 1990, and we begin with a pretty young woman driving on the highway and singing along to the Go-Gos as a sinister motorist behind her makes her uncomfortable and then terrified. The first half sets up two mysteries. The first is the realization that the young woman who has been murdered is the victim of a serial killer, expanding and making more urgent the search to find the one responsible. The detective in charge is Jim Baxter (Rami Malek), who takes the job very seriously, even personally. “We work for her,” he says about the dead woman.

A lower-level officer named Deke Deacon (Denzel Washington) has been sent to Baxter’s police station to pick up some evidence. The second mystery is why the people there are (mostly) so hostile to him and why a clearly experienced, capable, and dedicated has not risen in rank. “And they say Black guys never return to the scene of the crime,” another detective says with acid in his voice. But the forensic pathologist seems more sympathetic, agreeing to spend some time with him when a delay in making the evidence available keeps him there overnight.

There’s “something like it up north,” Deke says, and soon he and Baxter are beginning to work together to find the killer. “Things probably changed a lot since you left,” says Baxter. “Still gotta catch ’em? Then nothing has really changed that much,” Deke says.

So far, so good. As long as Deke and Baxter are behaving like intelligent, dedicated professionals, the movie holds our interest as a police procedural with intriguing characters. But then Jared Leto enters the picture as suspect Albert Sparma and it all begins to fall apart. Baxter seems to have an inexplicable change of personality with a decision so monumentally stupid and contrary to day one of any kind of law enforcement training not to mention basic common sense that it takes us out of the story.

Meanwhile, what we learn about Deke’s past is not as meaningful as the movie clearly thinks it is, making the story’s primary mystery secondary to the point of almost inconsequential. Washington’s is the only performance that continues to hold our attention as Leto hits one creepy note and stays there and Malek is unable to overcome his character’s inconsistency. More important, the swerve in tone undermines the film’s aspirations for moral complexity. The title of the film refers to the little things that are important to get right, whether you are a killer trying to evade justice or law enforcement trying to achieve it. In the case of this movie, the little things are all right but the big thing, the screenplay, is a mess.

Parents should know that this movie is about a serial killer and it has some grisly and graphic images and strong language.

Family discussion: Why did Deke send the package to Baxter? How was that decision tied to his own experience? Why did Flo keep the memento on her keychain?

If you like this, try: “Inside Man” and “Silence of the Lambs”

Our Friend

Posted on January 21, 2021 at 5:35 pm

B +

Lowest Recommended Age:	High School
MPAA Rating:	Rated R for language
Profanity:	Very strong language
Alcohol/ Drugs:	Social drinking, medication
Violence/ Scariness:	Illness and very sad death
Diversity Issues:	None
Date Released to Theaters:	January 22, 2021
Date Released to DVD:	March 29, 2021

“Friend” is a category that is near-endless in scope. We use it to describe a work colleague we have lunch with sometimes, someone we’ve seen at parties whose middle name we don’t know, someone we met playing tennis who never heard the story of how our two-year-old locked herself in the bathroom with the cat. We use that word for the people we deliver casseroles to when things get tough, and those who deliver them to us, never crossing the doorway into the house. And yet we use the same word to encompass a person who gave up his job, his home, and his relationship to help people he cares about through as excruciatingly painful and physically, mentally, and emotionally exhausting experience as there is, the terminal illness of a young mother. That is the real-life story of Our Friend.

Dakota Johnson plays Nicole Teague, wife of journalist Matthew Teague (Casey Affleck), devoted and endlessly patient mother to Molly and Evangeline, and best friend of Dane (Jason Segel), a shy and sometimes awkward guy who has struggled with depression and with direction. But when Nicole’s diagnosis is dire, he leaves New Orleans to move in with the family, saying simply, “I just feel like I’m supposed to be here right now.”

He tells his girlfriend it will probably be just for a few weeks. But he stays as his vacation days get used up and he loses his job and as her patience gets used up and he loses her. He just stays, never asking how he can help, just quietly providing a sense of stability in the home.

“Our Friend” is based on Matthew Teague’s award-winning story in Esquire. In an interview, I asked Teague about Dane, who, as characters in the movie point out, is not successful in conventional terms but whose quiet and extraordinarily sensitive support defines the term “no greater love.” He said simply, “He is my hero. And it’s pretty great to have a best friend who is also your hero.”

Teague also spoke candidly about the two kinds of health care professionals families encounter in critical illness. The first are only about doing anything medically possible to prolong life. The second come in for hospice care, and will do anything they can to keep the patient comfortable and support the family.

We see both in this film, the second portrayed by the great Cherry Jones as the well-named Faith. Pointedly, as really happened, Dane arrives just as both Nicole and the family dog are diagnosed with cancer, and it is Dane who has to take the dog to the vet and be there for what we euphemistically call being put to sleep. Matthew exhaustedly says he wants to make sure the girls do not associate the two cancers.

We see the impact of the illness on Nicole. As the doctor warns at the beginning, the family will see her unlike anything in their past understanding of who she is. There will be confusion, anger, lashing out, and not just from Nicole. But the focus of the film, as the title indicates, is on the friend, who just shows up and says, “Would it help if I stayed with you for a while?”

The script by Brad Ingelsby (“The Way Back,” “Run All Night”) jumps back and forth in time, as though it is all from Matthew’s memory as he writes the story. It opens with Dane sitting on the porch with the girls as Matthew and Nicole rehearse what they will say to let their daughters know that their mother is dying. Though typed titles tell us where we are in time vis a vis the diagnosis, it is sometimes distracting. But director Gabriela Cowperthwaite, who showed great compassion for damaged characters in “Meagan Leavy,” imbues the film with enormous compassion for its characters and the lead actors, especially Segel, bring endless warmth and humanity to their roles, which always feel fully inhabited. We feel their loss. And we feel the sustaining connections that help them through.

Parents should know that this movie is the story of the illness and death of a young mother, and it is very sad. Characters use strong language and there are references to adultery.

Family discussion: What made Dane different from the other friends? Who has been a Dane in your life? Who would you be a Dane for?

If you like this, try: “50/50,” with Seth Rogen playing a character based on himself in the true story of a someone who helps a young friend with cancer, and “My Life” with Michael Keaton and Nicole Kidman

The Marksman

Posted on January 13, 2021 at 8:00 am

B-

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for brief strong language, violence, and some bloody images
Profanity:	Some strong language
Alcohol/ Drugs:	Alcohol, scene in bar
Violence/ Scariness:	Extensive peril and violence, brutal murders, disturbing images
Diversity Issues:	A theme of the movie
Date Released to Theaters:	January 15, 2021
Date Released to DVD:	May 17, 2021

I can’t help saying that “The Marksman,” the 2021 entry in the annual Liam Neeson action film we usually get to start the year, is no bullseye. Neeson is always watchable and the Mark Patten cinematography makes the most of the southwestern landscape. The shoot-outs are well-staged. But the screenplay by
Chris Charles, Danny Kravitz, and director Robert Lorenz is underwritten and predictable.

This is less the “Taken” or “Cold Pursuit”-style action thriller where we get to enjoy Neeson showing off his special skills than it is a Clint Eastwood-style cranky old guy movie, perhaps because Lorenz is Eastwood’s longtime producer. There’s even a pause where the two main characters watch “Hang ’em High,” a 1968 Eastwood film that was the first from Eastwood’s own production company. In “The Marksman,” Neeson plays an Eastwood-like character who rails against his fate: “I’m trying to understand how you can work your whole life, serve your country, pay your taxes” and end up with nothing.”

Neeson plays Jim a Marine vet turned rancher on the Arizona border. He sometimes finds Mexicans who have been injured illegally crossed the border, and he always calls the immigration authorities, where his stepdaughter Sarah (Katheryn Winnick) is an official.

Wiped out by medical expenses, he is notified by a banker that his ranch is about to be auctioned in 90 days, but can be sold sooner if they get a good offer. The loan officer Jim knew — and who knew Jim — is no longer at the bank. The fact that Jim’s late wife’s ashes are spread on the hill and that he is “no deadbeat,” does not mean he gets extra time. “You have yourself a good evening,” the banker says as he gets into his car.

Jim finds a Mexican mother and son who have sneaked through a hole in the border fence. He calls the authorities, but then cartel thugs led by Mauricio (Juan Pablo Raba) come after them and start shooting. Jim shoots back. “Sorry, Pancho, these illegals are mine.”

The boy’s uncle stole some money from the cartel. They killed him and now they want to send a message by killing his family. The boy’s mother is shot. As she is dying, she gives the boy a rosary and hands Jim a blood-soaked scrap of paper with an address in Chicago, where the boy’s relatives are. She asks Jim to promise to bring her son to them.

And so, Jim and Miguel (Jacob Perez) get on the road. Jim does not have a phone or GPS, so he needs a paper map, which an amused sales clerk lets him have at no charge. But the very high tech cartel thugs are able to trace him through his credit card. And so it is a cat-and-mouse road trip with the interactions, escapes, and confrontations you would expect. Which is the problem. This movie is so bereft of ideas that it telegraphs everything that is coming (I mean, the title makes sure we know what Neeson’s special skills are this time) and repeating too much of it.

I respect Neeson’s special skills. I just hope next time they include picking a better script.

Parents should know that this film is about a former Marine who tries to protect a young boy after his mother and uncle are murdered by members of a Mexican drug cartel. The film includes shoot-outs and fighting, with many injuries and deaths, including a parent and a dog, all witnessed by the boy. There is also some strong language and some drinking.

Family discussion: Why does Jim help Miguel? Why does he change his mind about helping Miguel? Why does he end things with Mauricio the way he does? Do you agree?

If you like this, try: “Let Him Go” with Kevin Costner and Diane Lane and “Taken” with Neeson

Wonder Woman 1984

Posted on December 21, 2020 at 8:00 am

B-

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for violence and sequences of action
Profanity:	None
Alcohol/ Drugs:	Social drinking
Violence/ Scariness:	Extended comic book/action-style peril and violence, sad death
Diversity Issues:	None
Date Released to Theaters:	December 25, 2020
Date Released to DVD:	March 30, 2021

You may wonder why Wonder Woman is not as wonder-ful this time around. Part of that is attributable to shrinking it from big-screen theatrical release to home screens. We feel that right away in the bravura opening sequence, a flashback with Diana Prince as a young girl competing with adult Amazonian women in an athletic event like the American Ninja Warrior obstacle course if it was also a triathlon. But the bigger problem is in the fundamentals, the storyline and characters.

The first Wonder Woman was exceptionally well-conceived and executed, a triumph for director Patty Jenkins after some lackluster films from DC Comics. The WWI setting added interest, especially seeing Diana’s response to learning about the world outside of her idyllic woman-only community of Amazonian warriors. The stakes were clear and compelling and the villain was genuinely scary.

This sequel, set in 1984 for no particularly compelling reason, has entertaining moments and fun action sequences but the stakes are not as visceral and the villains are not as interesting.

As a resident of the Washington DC area, I got a special kick out of the re-creation of the 1980’s look of Georgetown and some of the other locations and tried not to pay too much attention to the details they got wrong. I can promise you, no one who works at the Smithsonian would think of touching any of their artifacts without gloves and other protective equipment, much less letting anyone, even a major contributor who knows how to flirt, take one home. But that is what happens when an item with crystals ends up at the Smithsonian Museum of Natural History, where Diana (Gal Gadot) is now working as an expert.

Now, I’m not asking for realism in a genre that includes radioactive spider bites and infinity stones, but ideally the McGuffin (Hitchcock’s term for whatever it is the story is about — the formula, the gold, the nuclear codes, whatever) has to be simple enough not to interfere with the plot but specific enough to make the threat interesting, and that means we have to understand a little bit about how it works, why it is important, and what it takes to defeat it. It’s more fairy tale than comic book, a wishing stone crystal thingy more like “be careful what you wish for” stories like The Monkey’s Paw (which gets a shout-out in the film) or King Midas’ power to turn all he touched to gold.

That’s not a very good McGuffin and the villains are disappointing, too. There is a guy who has informercials about how to be rich on television, Maxwell Lord played by guy-behind-the-Mandelorian-helmet Pedro Pascal, who wants, well, pretty much everything. Making him in the oil business is a nice 80’s touch. And there’s the mousy museum curator Barbara Minerva (Kristin Wiig), who wants to be just like Diana. The muddled elements of their storylines are reflected in an absurd flashback that is supposed to make us, what, feel sorry for him? Understand his “Cat’s in the Cradle” problem? And the Capra-esque conclusion is not the “we are the world” moment they hope for.

Then there’s Chris Pine as Steve Trevor. As you may remember, he died heroically in the first movie. So there’s a real “Bobby Ewing in the shower” moment (another 80’s reference?) to bring him back. I’m all for putting Chris Pine in every movie ever, but again, the way this happens is not thought all the way through and it is impossible not to feel uneasy about the way the characters overlook the real-world consequences of his return for so much of the storyline. I did get a kick out of having the guy do the trying on clothes montage, though, for once. And the post-credit appearance from a most-welcome addition to the cast.

Gadot is an enormously appealing screen presence but this storyline is not a good fit with her abilities as an actress or a movie star. This is a sadder, wiser Diana, more than 60 years after the first film, but at times she just seems emptier.

Maybe it’s just been too long since I’ve seen a comic book movie, but I found it entertaining despite all of the narrative shortcomings. Just hoping the next chapter is more wonder-ful.

Parents should know that this movie has extended comic book/action-style peril and violence and a sad death.

Family discussion: Why didn’t Max spend more time with his son? Did Diana envy Barbara?

If you like this, try: “Wonder Woman” and the DC Comics. Adult fans will enjoy Jill Lepore’s The Secret History of Wonder Woman, about the remarkable story of the man who created the character.