The Fate of the Furious

Posted on April 14, 2017 at 11:52 pm

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for prolonged sequences of violence and destruction, suggestive content, and language
Profanity:	Some strong language
Violence/ Scariness:	Extended action-style violence, guns, explosions, chases, crashes, characters injured and killed
Diversity Issues:	Diverse characters
Date Released to Theaters:	April 14, 2017
Date Released to DVD:	July 10, 2017

Before we get into it, let’s take a moment to remember how we got here. The first “Fast and Furious” movie was comparatively modest in scope, the story of a cop (Paul Walker as Brian) going undercover to investigate illegal street racers, led by Dom (Vin Diesel). The cop falls for the sister of the racer and for the living-life-a-quarter-mile-at-a-time existential rush. Think “Point Break” with cars instead of surfboards. Somehow, now on the eighth movie since the 2001 original with two more in the planning stages, it has turned into an X-Games version of “Mission Impossible.” It’s 3/4 chases, crashes, shoot-outs and explosions, 1/8 bro-mance (“I don’t have friends; I have family”), and 1/8 quippy humor with a dash of fan service for anyone who has been paying enough attention to remember who all of the characters are. That leaves no room for plot or logic, but you can’t have everything, and this one goes with star power instead.

So over the course of eight films we’ve gone from living life a quarter mile at a time racing souped-up home brew stock cars to globe hopping save-the-planet adventures with the help of grateful no-name international law enforcement (literally, Kurt Russell as Mr. Nobody, now with an intern played by Scott Eastwood, known as Little Nobody), increasingly improbable settings and vehicles (a nuclear sub in this one, pretty much all that’s left for Chapter 9 is a “Moonraker”-style spaceship), and increasingly improbable co-stars. Helen Mirren is in this movie. Let me say this again. Helen Mirren is in this movie. And she’s not the only Oscar-winning actress in the eighth “Fast and Furious” film. It also stars Charlize Theron as the ice queen villain.

Our merry little gang of rascals has gotten so cozy that in order to have any dramatic tension at all we have to unscramble that egg a little, and what better way to do that than to have Dom go to work for the bad guy?

We begin with an opening scene in which we are reminded that Dom (a) adores his wife, Letty (Michelle Rodriguez), now recovered from her amnesia and honeymooning with Dom in Havana, and (b) is a man who exemplifies integrity, grace, courage, and determination, and who could probably win the Indy 500 in a golf cart. And so, perhaps we are expected to be surprised when shortly after that, when the team, with regulars Hobbs the cop (Dwayne Johnson), Roman the comic relief (Tyrese Gibson), and Tej the computer guy (Chris “”Ludacris” Bridges), is called in by Mr. Nobody to rescue some big scary bomb, Dom and Letty are on board and then all of a sudden Dom makes off with the big bad bomb and apparently is in cahoots with Ms. Big, Theron as uber-hacker Cipher.

There’s nothing quite as crazy as the car leaping between buildings in the last film, and nothing near as touching as the finale, with its tender tribute to the late Paul Walker (his character is lovingly addressed). There’s a wild bumper-cars-on-crack scene as Cipher takes control of all the automobiles, even the ones that are parked, in the middle of New York City. And some very fancy vehicles get trashed. And then there’s the sub. And a lot of thousand-yard stares and macho wisecracks and people who have a history as enemies having to work together and grudgingly develop some respect. In other words, it’s just what you expect from the eighth “Fast and Furious” movie.

Parents should know that this film has constant action-style violence, crashes, explosions, guns, fights, extended mayhem of all kinds, some sexual references and crude humor, and some strong language.

Family discussion: Which was the best stunt? What makes someone who is not related “family?”

If you like this try: the rest of the “Fast and Furious” films and “The Italian Job”

Gifted

Posted on April 6, 2017 at 5:37 pm

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for thematic elements, language and some suggestive material
Profanity:	Some strong language
Alcohol/ Drugs:	Alcohol, scenes in bar, smoking
Violence/ Scariness:	References to sad death of parent, suicide
Diversity Issues:	Diverse characters
Date Released to Theaters:	April 7, 2017
Date Released to DVD:	July 25, 2017

Mckenna Grace as “Mary Adler” and Chris Evans as “Frank Adler” in the film GIFTED. Photo by Wilson Webb. © 2016 Twentieth Century Fox Film Corporation All Rights Reserved.

What does it mean to be “gifted?” Movies and television don’t do a very good job of portraying what it means to be cognitively advanced, and this one is not close to being realistic, with a first grader who reads up on the problems of the EU and can identify a missing minus sign in an equation several lines long. And she is adorably missing those top front teeth for a really long time when anyone who has ever been the family tooth fairy knows that the new ones come in pretty fast. What we learn from this is that the movie does not want to take any chance that you might need a reminder of how endearing it all is. Everything looks dipped in honey and the script is gooey, too, like a lesser Hallmark movie. But Chris Evans’ sensitive, deeply affecting performance and genuine chemistry with McKenna Grace as his brilliant niece are so honest that it captivates us anyway.

Evans is Frank, who repairs boats and lives with Mary (McKenna Grace) in a tiny apartment in Florida. They have an easy rapport and are completely at home with each other. Mary is also close to their neighbor Roberta (Octavia Spencer). Mary is cognitively advanced, very curious, sometimes impatient, and sometimes anxious due to her reading about the world economy. Frank has been teaching her at home, but she is about to start first grade at a public school because he wants her to be with other children and to be more of a child herself. “Try being a kid,” Frank tells her as she gets on the bus. He does not really think it is possible to “dumb her down into being a normal kid,” or that it would be the right thing to do if it was, but he would like her to have the chance to make friends with children her own age and learn how to play.

It does not take long for Mary’s new teacher, Bonnie (Jenny Slate) to figure out that Mary is truly gifted, after she has to take out her calculator to check Mary’s computations. Frank’s attempts to deflect her attention are unsuccessful, but Bonnie appreciates his commitment to trying to create some kind of normalcy around Mary. She also appreciates Frank. Though they both know it is not a good idea for Mary or for Bonnie’s job, they begin a relationship.

And then Evelyn (a nicely frosty Lindsay Duncan) shows up. She is Frank’s mother and Mary’s grandmother. She brings a laptop for Mary and a message for Frank: she wants Mary to get an education commensurate with her ability. “She’s not normal and treating her as such is negligence on a grand scale,” she says. We will learn more about why that matters so much to Evelyn and why Frank refuses when they take the custody fight to court.

Of course we know whose side we should root for and where it is all going. This movie has a lovable one-eyed cat, for goodness sake. But Evans and Grace have a little bit of magic that shines through.

Parents should know that there are some mature themes in this film including a custody battle, a sad parental death by suicide (off-screen) with some strong language, sexual references and a non-explicit situation, alcohol and cigarettes.

Family discussion: Would you like to be as smart as Mary? Why didn’t Mary’s mother want Evelyn to know what she had done?

If you like this, try: “Searching for Bobby Fischer” and “Little Man Tate” — and “Captain January” with Shirley Temple

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Drama DVD/Blu-Ray Family Issues

Going in Style

Posted on April 6, 2017 at 5:31 pm

B-

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for drug content, language and some suggestive material
Profanity:	Some strong language
Alcohol/ Drugs:	Alcohol
Violence/ Scariness:	Mostly comic peril and violence, issues of aging and illness
Diversity Issues:	Diverse characters
Date Released to Theaters:	April 7, 2017
Date Released to DVD:	July 31, 2017

Oscar winners Morgan Freeman, Michael Caine, and Alan Arkin are such a dream team that we almost forget how weak this remake of the 1979 George Burns “Going in Style” is. It is always a pleasure to see these old pros, and in this heist story the real theft is every scene they are in from anyone else in the cast.

As in the original, which co-starred Art Carney and Lee Strasberg, it is the story of three old guys who rob a bank. This time, the script by Theodore Melfi (“St. Vincent,” “Hidden Figures”) leverages the post-financial meltdown Trump era animosity toward banks and big multi-national corporations that consider the pensions they promised their long-term employees as just another stream of revenue to redirect to investment bankers and CEOs. Joe (Caine), Willie (Freeman), and Albert (Alan Arkin) are not just proving that experience and wiliness will triumph over youth and overconfidence; they are a new version of Robin Hood, seeking justice for the little guys.

The men are all retirees from the same manufacturing company, which is moving all of its operations out of the United States and cancelling all pension plans. Joe, whose daughter and granddaughter (Joey King) live with him, has had to stop making the mortgage payments that tripled after his rate went up, and his home is in foreclosure. Willie’s dialysis is not enough any more and he will die if he does not get a new kidney. When Joe’s meeting at the bank about his mortgage is interrupted by a bank robbery, it looks like a way for him to solve his money problems.

The three leads give it their best, and there is simply nothing better than that. Their enjoyment in each other and in the chance to have some fun as the movie’s heroes is palpable. And it is a joy to see the still-lovely and very game Ann-Margret as a grocery store clerk with a crush on Al. “SNL’s” Kenan Thompson and Siobhan Fallon Hogan are bright spots, but the gifted Matt Dillon, Christopher Lloyd, Josh Pais, and Peter Serafinowicz (“Spy”) are vastly under-used in one-dimensional roles. This especially disappointing from director Zach Braff (“Garden State”) and screenwriter Theodore Melfi, who seem to think that their only choice here is to make a thinly imagined, tiresomely formulaic, numbingly predictable story. Topical references notwithstanding, the movie is more outdated than the 1979 original.

Parents should know that this film includes armed robberies, guns, serious illness, marijuana, drinking and drunkenness, some strong language, sexual references and non-explicit situations.

Family discussion: What did each man find the most persuasive reason to rob the bank? What was the most important advice they got?

If you like this, try: the original version with George Burns, Art Carney, and Lee Strasberg, and “Tower Heist”

Smurfs: The Lost Village

Posted on April 6, 2017 at 5:21 pm

The Smurfs are back where they belong, in a fully-animated feature film that wisely gives up on the idea of trying to put them into the real live action world and even more wisely gives up on the brash and unfunny storylines that relied much too heavily on substituting “smurf” for various words. Better than that, “Smurfs: The Lost Village”creates a truly enchanted and enchanting world for the Smurfs, a candy-colored pastoral setting that is just right for the little blue creatures. And best of all, for the first time this is a Smurf story that engages with the ultimate existential dilemma of the Smurfs: why are all the male Smurfs given names that reflect their most salient attributes (Hefty, Clumsy, Brainy, Nosy, Painter, Table Eater, Therapist) while the lone female Smurf is only defined by her gender and called Smurfette? Does her lack of a more descriptive name mean that there is nothing special about her? And why aren’t there any other female Smurfs, anyway?

These questions will all be answered in a delightfully satisfying and beautifully designed film that will be enjoyed by long-time fans and newcomers. Those steeped in Smurfology know that Smurfette’s gender is not the most important difference that sets her apart from the other Smurfs in her village.

Smurfette (with the sweet, spunky voice of Demi Lovato) was not born a Smurf (if, indeed Smurfs are born). She was created out of clay by the Smurfs’ nemesis, the evil wizard Gargamel (delightfully voiced by Rainn Wilson), who wanted her to infiltrate the Smurfs so she could spy on them and create mistrust and jealousy. But she was turned into a real Smurf by the Smurf’s wise and benign leader, Papa Smurf (Mandy Patinkin). As this story begins, she is living happily in the Smurf community, though wistful at not having a (literally) defining characteristic. If her name does not tell her who she is, how will she and the boy Smurfs know?

As in most Smurf stories, the bad buy here is Gargamel, who as usual has an evil plan that involves capturing the Smurfs and extracting their magic to create a potion that will give him unlimited power. Smurfette discovers that there is another Smurf community, so she, Hefty (Joe Manganiello), Brainy (Danny Pudi), and Clumsy (Jack McBrayer) go on a journey to find it. The adventures along the way and the fun of getting acquainted with the Amazonian warriors of the lost village (including Julia Roberts as their leader) are whimsically imagined and a lot of fun, with bright, lively music and a sweet message of finding your own way and being a part of a community.

Parents should know that this film has some mild fantasy peril and violence, with no one badly injured. There is some mild language and brief potty humor.

Family discussion: If you were a Smurf, what would your name be? Which Smurf is your favorite and why?

If you like this, try: the Smurf cartoons and books and “Trolls”

Ghost in the Shell

Posted on March 30, 2017 at 11:11 pm

Oh, I don’t know. Maybe if you are a long-time fan of the “Ghost in the Shell” mange by Masamune Shirow and anime and are yet still not offended at the casting of a white actress in a Japanese story you might enjoy seeing a big-budget version of the story with very high-end design and special effects. I am new to the franchise and I was bored. Like a lot of video game movies, it loses the story and characters in a barrage of visual effects and shoot-outs.

Scarlett Johansson plays Major, who used to be a person but is now robot with a human brain or a human brain with a robot body. People do a lot of explaining in this movie, but never about the stuff we would like to have explained. So one character tells us that Major is not a machine but a weapon in the fight against cyber-terrorism. But we never find out why Major’s clothes keep disappearing when she goes into battle. Or why a robot breathes and cries.

In an early scene, we see businessmen at an expensive dinner, being served by elegant but not un-sexy robot geishas. I hope you have seen enough movies to know that when one of them arrogant insists that “There is nothing I can’t do, nothing I can’t know, nothing I can’t be,” he is not going to be around much longer. Some gunmen break in and start shooting, and Major arrives to fight them.

Major was once a human woman. When she was injured in the terrorist attack that killed her parents, her body could not be saved but in a pioneering experiment by Dr. Ouelet (Juliette Binoche), she is turned into a cyborg. At least that is the story she has been told. She has flashes of what could be memories but it seems to her as though there is thick fog over her memories “and I can’t see through it.” Dr. Ouelet is very proud of Major, almost maternal. And Major has a partner, Batou (Pilou Asbæk). Where she is a robot with a human brain, he is a human with mechanical parts.

The man/robot/operating system/entity behind the attack is cerebral hacking and killing more people as Major is experiencing what she calls “glitches,” especially after she does a risky “deep dive” into the network of the hacked geisha robot. But are they glitches or “Total Recall”/”Bourne”-style flashes of memory?

When the comic first appeared, some of these issues were cutting edge but they have been so thoroughly hashed out in so many movies (and in real life) that most of it is as outdated as a VHS video of “WarGames.” The issue of consent is more timely, as Major has to affirmatively accept various risks and procedures (like all of those “I agree” boxes you have to check every time you update your software), but the movie is too busy showing us zippy Pokemon Go-style virtual ads all over the city to spend any thought on it, or anything else, for that matter. It is a shame that a movie about the spark of human consciousness that remains inside a machine is itself a machine without any evidence of humanity at all.

Parents should know that this film has constant sci-fi/action style peril and violence, guns, explosions, fire, terrorism, a suicide, murder, with characters injured and killed, and some graphic and disturbing images, some nudity, prostitutes and sexual predator, smoking, and drinking. There has been some controversy over the casting of non-Asian actors. Scarlett Johansson responded “I certainly would never presume to play another race of a person. Diversity is important in Hollywood, and I would never want to feel like I was playing a character that was offensive. Also, having a franchise with a female protagonist driving it is such a rare opportunity. Certainly, I feel the enormous pressure of that—the weight of such a big property on my shoulders.” The director of the anime version also supports Johansson in the role: “What issue could there possibly be with casting her? The Major is a cyborg and her physical form is an entirely assumed one. The name ‘Motoko Kusanagi’ and her current body are not her original name and body, so there is no basis for saying that an Asian actress must portray her.” On Slate, Aisha Harris explains why a revelation late in the film is especially troubling in the movie’s portrayal of race.

Family discussion: Is Major a person, a machine, or a weapon? What enhancement would you like to have?

If you like this, try: the “Matrix” and “Bourne” series, “Lucy,” and the Ghost in the Shell comics and anime