Rated PG-13 for intense sports action, violence, and some strong language
Profanity:
Some strong language
Alcohol/ Drugs:
Alcohol
Violence/ Scariness:
Very intense fight scenes
Diversity Issues:
A theme of the movie
Date Released to Theaters:
March 3, 2023
Copyright 2023 Warner BrothersThe challenge for a movie series is like the challenge for a prize-fighter. No matter how big the triumph last time, the next one is even tougher. Expectations are higher. The people are older. And, when it comes to the Rocky/Creed series, even after a reboot, you still have to take someone who had a happy ending in the last one and figure out how to give him a meaningful challenge that will get the audience invested again. Adonis Creed (Michael B. Jordan) ended chapter 2 rich, successful, married to the love of his life, Bianca (Tessa Thompson), father to an adorable little girl. As chapter 3 begins, he has all of that and is retired, with a gym of his own to support up and coming fighters, especially top-ranked Felix (played by real-life boxer Jose Benavidez). What could possibly make us think of him as an underdog?
The answer is: unfinished business. Adonis comes out of the gym to see a man lounging on his car. “You don’t remember me, do you?” It is someone from his past, someone who brings up conflicted feelings that he has spent years avoiding.
The man is Damian Anderson (Jonathan Majors), just out of prison. He and Adonis lived together in a group home. Back then, Damian was the fighter, and the younger Adonis was his cornerman. We find out later in the movie what the details were, but both them have wondered what would have happened if it had been Adonis who went to prison and Damian who had a shot at the title.
At first, Damian is humble and grateful, at least it seems so, and Adonis wants to help him. But soon Damian is in the Rocky slot, coming out of nowhere for a shot at the title. And if you think Adonis is going to stay retired then (1) you haven’t see the poster or (2) you haven’t ever seen a Rocky movie.
The script is not as strong as the previous two Creed movies but the fight scenes are exceptionally well-staged, as someone who spent two movies on the inside of those scenes might well understand. With the emotion behind it, the charged history. Damian is certain that he deserves this for all the time he lost, that he deserves to take from Adonis all he thinks Adonis took from him. Adonis has to face the guilt he feels over what happened to Damian and
Parents should know that this movie has very intense boxing scenes and other peril and violence involving young boys, some strong language, and sexual references.
Family discussion: What did Adonis owe Damian? Why didn’t Adonis tell Bianca the truth about his early life?
If you like this, try: the two previous “Creed” movies and the first three “Rocky” movies
What I’ve always loved about the “Ant-Man” movies, aside from the ever-lovable Paul Rudd in the title role, is the slightly hand-made quality, in contrast to the high-tech, hight-gloss, high-CGI aesthetic of the rest of the MCU. The opening of the second film in the series sets the tone. Scott Lang (Paul Rudd), under house arrest following the parole violation of saving the world with the Avengers, has created a cardboard thrill ride for his daughter, Cassie. The Ant-Man series had some goofy humor with Scott’s relationship with his ex-wife (Judy Greer) and her new husband (Bobby Cannavale), the cop who can’t decide whether to arrest him or befriend him (Randall Park), and with the discursive stories from his friend and colleague Luis (Michael Peña). The production design truly set the stage with more lived-in spaces than in the other Marvel movies.
Not so much this time. Of course, this is a Marvel movie and there are imaginative and exciting action sequences, especially as Scott develops his use of his powers. It has a nice mix of comedy and action, with characters we are invested in, not just as individuals but in the way they are connected to each other.
As the title tells us, this movie takes place in the least hand-made setting imaginable, the quantum realm. As wonderfully imaginative as it is, suggesting a mash-up of Alice in Wonderland, the Pastoral Symphony section of Disney’s “Fantasia,” the wildest anime creatures of Hayao Miyazaki, and video games like Minecraft and No Man’s Sky, plus last year’s “Strange World,” there is a pristine quality that removes much of the distinctive charm we expect from Ant-Man. Plus, talk about the forest and the trees. There is just so much detail here, with the endless settings and characters so overwhelming that they make it hard to keep track of what is going on. It’s not enough that a character’s head looks like a stalk of broccoli. Someone has to say, “His head looks like broccoli.” And then we don’t have much to do with him again. There’s a lot to see and much of it is enticing, but not enough of it relates to anything that relates to the stakes, the abilities or vulnerabilities of the good guys or characteristics that would help us understand who they are and how they behave. The issue of understanding each others’ language is handled briskly but other properties are not developed or explored.
The title says it all because the story is more about the place than about what happens there. After a brief prologue, with John Sebastian’s theme from “Welcome Back, Kotter” on the soundtrack, we hear from Scott about how lucky he feels. He is an Avenger, universally loved for saving the world, even if that means people always ask him for photos (with their dogs!) and they don’t always remember which insect superhero he is. His daughter is doing well, he and Hope van Dyne (Evangeline Lilly) are happily in love and she is out saving the world with wonderful programs to help people who need housing or other kinds of support. Scott has written a new book about his life, and enjoys appearing at book-readings.
But it turns out Cassie (Kathryn Newton of “Freaky,” excellent in the role) has been stirring up trouble by appearing at protests and experimenting with a probe into the quantum realm. Before Janet (Michele Pfeiffer), who spent 30 years there and has refused to give any details, can stop her, Scott, Casssie, Hope, Janet, and Dr. Hank Pym (Michael Douglas) are all sucked into the quantum realm, and that is where they stay for almost all of the rest of the film.
There is a long stretch where we meet an assortment of colorful characters. Some of them are fun, including a goofy return from one of the earlier films. It is always good to see William Jackson Harper (“The Good Place”) as a frustrated telepath who is way over hearing all of the disgusting thoughts of everyone around him and a jell-o-like character very interested in how many “holes” humanoids have in their bodies and what goes into and out of them. A major star appears for a few minutes for no real purpose.
There’s a very “Star Wars”-ish vibe with the diverse good guys wearing rough cloth and carrying spears and the homogenous and faceless bad guys with the high tech weapons that somehow are not very accurate as the armor-less good guys seem to have no problem dodging the bullets.
As I have often said, superhero movies rise and fall on the quality of the bad guy, who has to be evil enough to be a serious threat but not omni-powerful enough to make it impossible to defeat him. With Thanos gone, the Marvel character Kang the Conqueror has been refashioned in his image. Free of the reality-based limits of time and space, Kang’s calculus about wiping out whole universes is for him just straightening the pictures on the wall — except that it turns out there is a strong element of revenge behind his decisions about who and what needs to be wiped out.
Jonathan Majors, who we’ll be seeing as the antagonist in another huge franchise series in a few weeks, “Creed III,” makes Kang intriguing as he shifts from vulnerable and companionable to canny negotiations to imperious orders to white-hot fury. But it also makes him so all over the place that it is hard to invest in the battles. It does not help that the other side is so complicated that we do not attach to most of the new characters, and characters we love, including Woo and Luis and, worst of all, Hope, are pushed to the side.
“There’s always room to grow,” Scott tells his readers, and those reassuring words come back to inspire the good guys later on. But in this case, taking Ant-Man out of the smaller world of the first two films shows that all that room may not be what this story needs.
NOTE: Stay through the end credits for two extra scenes, one tying the next chapter to some favorite Marvel characters.
Parents should know that this movie has extended peril and violence with some disturbing images. Characters use some strong language.
Family discussion: How should Scott have responded to Kang’s threat? Why didn’t Janet tell anyone about her experience?
If you like this, try: the other “Ant-Man” and MCU movies
Copyright 2023 Warner BrothersLike the first “Magic Mike” movie, inspired by star Channing Tatum’s experiences as a male stripper (his term), this third in the trilogy begins with his character in financial straits. Mike’s dream in the original was to have a furniture store. With the help of his fellow stripper friends, he achieved that dream. But, we’re told by a narrator who will not be identified until later, the pandemic and economic setbacks have forced him to close down and he is working as a catering bartender. The narrator also provides some history and science about the importance of dance.
But after that, it’s basically a “Step Up”-style fairy tale (the ones after Tatum’s break-through in the grittier, more grounded original). That is probably a more appropriate response to the pandemic and the economic setbacks. None of it makes any sense, but there’s a 15-minute dance number at the end, and guys with their shirts off making a lot of ladies very happy, and there’s nothing wrong with that.
At a fancy fund-raiser, a guest recognizes Mike. “Weren’t you a cop?” she asks, and they both smile remembering that ten years before, he danced at her bachelorette party. She mentions his entertaining “silly dance” to the gala’s host, the about-to-be-divorced and fabulously wealthy Maxandra Medoza (Salma Hayek Pinault), who asks him to stay after the party and give her a dance. “Why are you moving my flowers?” she asks as he moves things around and tests the furniture for its capacity to support what he has in mind. He tests her as well; this movie is very clear about consent, about how important it is and also how erotic.
That “unexpected magical moment” inspires her to bring him to London, where she cancels the successful but old-fashioned play in her theater and tells Mike he is now choreographer of a new strip show. As befits a Cinderella story where she plays both fairy godmother and romantic interest, there is a makeover moment at Liberty of London, arriving in a pumpkin coach, I mean a Rolls. Thankfully, when she brings him to meet her friends, there is no silliness about his not knowing which fork to use or recognize their cultural references. This is not that kind of fairy tale. This is about a realizing a bigger dream than he ever dared to imagine. And that’s a pretty magical moment to enjoy.
Fans of the previous films will enjoy Mike’s Zoom call with some of most beloved characters and a throwback to Mike’s signature song, “Pony.” But you do not need any familiarity with the story to, like the female characters in the film, just sit back and enjoy the show.
Parents should know that this movie is about male strippers and there is a lot of suggestive dancing and some strong language, sexual references and non-explicit situations.
Family discussion: Why was having someone believe in him so important to Mike? What decision would you have made if you were Max?
If you like this, try: the other “Magic Mike” movies and “Mrs. Henderson Presents,” with Dame Judi Dench, based on the true story of a nude show in London.
Rated R for sexual content, nudity and some language
Profanity:
Strong language
Alcohol/ Drugs:
Drinking and drunkenness
Violence/ Scariness:
Scenes of surgery
Diversity Issues:
A theme of the movie
Copyright 2023 Dollhouse Pictures“Seriously Red” was written by Krew Boylan to take the greatest possible advantage of the talents of its star…Krew Boylan, with an assist from the infinite talents of the iconic superstar Krew Boylan cosplays as throughout the film: Dolly Parton. Dolly famously said, as quoted in the film, “Find out who you are and be that on purpose.” In “Seriously Red,” Boylan takes a while to follow that advice, as the first part is about becoming a better Dolly and it is only near the end that she begins to think about what it means to be a better Red. Significantly, “Red” like her curly hair, is her character’s nickname, but as Dolly, she hides it under a big, pouffy blonde wig.
Red’s job is valuing houses for sale and we can see in the first scene that she is sympathetic to the homeowner and also that she can’t wait to get to what she really loves, dressing as Dolly for an office party. The only other person in costume, though, is the Elvis impersonator hired to emcee the event (Rose Byrne, a close friend of Boylan’s and a co-producer on the film). Red braves it out and clearly enjoys the reaction from the crowd. But the next day, it turns out that her ebullience went too far. She is fired for inappropriate behavior, including grabbing the crotches of some of the attendees.
And so, she begins to explore the possibility of making a living as a full-time Dolly Parton impersonator. Channeling Dolly gives her courage and soon she is a success, especially when she teams up with a man so deeply into his Kenny Rogers impersonation that he will not give out his real name. He is Kenny offstage as well as on (Daniel Webber). He is drawn to Dolly; all he sees is Dolly, not Red. And that is fine with Red…for a while.
Boylan has the creamy skin and bright blue eyes to shine in the Dolly moments. The musical numbers, presented with sweetness and sincerity, are a lot of fun. The real life scenes are not as lively or effectively staged, including a detour to get breast augmentation surgery and encounters with Red’s disapproving mother, old friend who is growing impatient, and the people she deals with as she becomes more successful. Bobby Cannavale (also a co-producer) is so good as an impresario of impersonators (and former Neil Diamond performer) we wish we could see more of him, and learn more about the cosplayers on stage and in the audience. Like Red herself, the movie is more confident and appealing when it’s all dressed up in spangles and a high blonde wig. Dolly knows that it’s what is inside that counts. Boylen has not yet learned that lesson.
Parents should know that his film has nudity and sexual references and situations, cosmetic surgery, and strong language.
Family discussion: If you were going to be a celebrity impersonator, who would you be? Why was it hard for Red to be happy being herself?
If you like this, try: “Dumpling” and “Outrageous” and Dolly Parton films like “Steel Magnolias” and “9 to 5”
Rated R for language throughout, some sexual material and drug content.
Profanity:
Very strong and crude language
Alcohol/ Drugs:
Drinking and drugs including cocaine
Violence/ Scariness:
Comic peril, no one hurt
Diversity Issues:
A theme of the movie
Date Released to Theaters:
January 27, 2023
Copyright 2023 NetflixAmira, a Muslim Black stylist and costume designer (Lauren London) and Ezra, a Jewish white guy with a boring job in finance who would rather be a podcaster (Jonah Hill) fall in love in “You People,” a comic contest between two equally offensive sets of parents. Her parents (Nia Long and Eddie Murphy as Fatima and Akbar) disapprove and try to undermine the relationship. His parents (Julia Louis-Dreyfuss and David Duchovny ask Shelly and Arnold) are clueless about the cringe-inducing, reductionist racism of their attempts to welcome Amira. Falling somewhere down the spectrum from the tragedy of “Romeo and Juliet” and the sincere if stilted drama of “Guess Who’s Coming to Dinner,” this film, co-written by star Hill and director Kenya Barrios (“Black-ish”) plays it for comedy, with an exceptionally strong supporting cast. And it is not afraid to include some stinging commentary amid the romance and the laughs.
It gets off to a strong start with Ezra and his podcast co-host Mo (Sam Jay) laughing about their fantasy versions of Barack Obama, clearly improvised. The jokes are more outrageous than funny, but it is a delight to hear the two riff off of each other with witty affection. We then see Ezra at Yom Kippur services with his parents, who gently disapprove of what he is wearing (casual kicks) and not wearing (a kipper head covering). The meet-cute is when he gets into what he thinks is his Uber, but what turns out to be Amira, who has gotten lost. After a moment of panic, they hit it off and soon they are dating. They share the same shoe game and commitment to supporting one another. And they just enjoy spending time together. And then it becomes time to to meet the parents.
The surprise in the film is Eddie Murphy, who plays it absolutely straight as Amira’s dignified father and makes Akbar into one of the movie’s highlights. There’s no winking at the audience, no wild exaggeration, and the more serious he is, the funnier he is, especially when one of his ploys backfires. He leaves the goofiness in the more than capable hands of Mike Epps (as Akbar’s brother), “Black-ish” star Anthony Anderson, the always terrific Sam Jay, and more. Murphy, the real-life father of 10 children, knows all too well what it is to measure a suitor against his expectations, and this is one of his best roles.
Julia Louis-Dreyfus has a lot of fun with the role of Ezra’s mother, who tries so hard to show she is an ally that she over-corrects, while her husband tries to show how hip he is by talking about how much he likes rapper Xzibit. Instead of getting to know Amira by, for example, asking her about her work, she chatters about looking forward to brown grandchildren and goes woke Karen on a spa attendant she mistakenly thinks was racist. The white side of the cast also has an exceptionally strong group in supporting and cameo roles, from legends Hal Linden, Richard Benjamin, Rhea Perlman, and Elliott Gould to younger familiar faces Rob Huebel and Bryan Greenburg. Look for Romy Reiner (daughter of Rob, granddaughter of Carl) on a date with Ezra, director Barris as an airplane passenger, and a sign advertising London’s late activist/rapper romantic partner, Nipsey Hustle, who also has a song on the soundtrack.
The script is uneven at times. The bachelor party in Las Vegas and bachelorette party at a spa do not work as well as the sections at home. But as the characters discover, good will and a sharp sense of humor can overcome a lot of obstacles.
Parents should know that this film includes very strong and crude language, sexual references and non-explicit situations, drinking and drugs, and a visit to a strip club in Las Vegas.
Family discussion: How would your family react to a new boyfriend or girlfriend? How would you have handled the meeting of the parents? What made them change their minds?
If you like this, try: “This Christmas” with Lauren London and “Superbad” with Jonah Hill
