Getaway

Posted on August 29, 2013 at 6:48 pm

There’s dumb fun and then there’s just dumb. “Gateway” is closer to that second category, and worse, so forgettable that better title would be “Throwaway.” This one has 99 cent DVD bin all over it.

Ethan Hawke, believably seedy, plays a former race car driver awfully named Brent Magna. He was known for being both reckless and fearful and “wrecking expensive cars.” He and his wife now live in Bulgaria. He comes home on Christmas Eve to find that his wife has been kidnapped. If he wants to see her alive again, he must do exactly as he is told, starting with stealing a very fancy car and then driving it very fast. On the other end of the phone is a mysterious man with an unidentifiable but clearly villainous accent and a disturbingly genial tone that darkens when he becomes insistent and threatening.

We see only his mouth and stubble-covered chin as he sips a cocktail. Magna hears only his voice, directing him to undertake a series of seemingly random and very reckless tasks in the car, which has been equipped with every possible kind of monitoring device, including microphones, cameras, and a sort of high-end Lojack. The man listed in the credits only as The Voice tells him to speed through a park crowded with Christmas celebrants and crash into the dias. He tells Magna that if he tries to get help or is stopped by the police, he will kill Magna’s wife, who we see getting roughed up and tossed into a cell equipped with the obligatory stained mattress.

A teenage girl with a gun (Selena Gomez) tries to steal the car. Voice orders Magna to kill her. Magna cannot do it. Voice changes his mind and tells Magna to keep her in the car. Not that it made any sense before this point, but now is when it really goes off the rails. The girl is supposed to be something between the Dragon Tattoo hacker (with the hacker skills and bad manners but without the tattoos, piercings, and omni-sexuality) and Mackenzie Phillips in “American Graffiti” (with the attitude but without the shaving cream and Paul LeMat). Even if her crazy list of character traits made sense — did I mention she also happens to be the owner of the super-duper stolen vehicle? — Gomez would not be the actress to pull this off. Whenever she is called upon to show rage or toughness, she looks like she’s ordering a soda at the malt shop. Magna has principles about killing people. Until he doesn’t. And don’t get me started on the conveniently irrational and incompetent behavior of the police and the fact that everyone speaks English. Each subsequent twist piles on another layer of preposterousness. When Voice said there was only more more task, I was more relieved than Magna was.

“Getaway” wants to be “Die Hard” in a car. But it stalls in first gear.

Parents should know that this film has constant peril and violence including chases, explosions, crashes, and guns, characters in peril and minor characters injured and killed, frequent s-words and other bad language, criminal activity including extortion, kidnapping, and theft, drinking and scenes in bar

Family discussion: What evidence did you see of Magna’s recklessness and fear? What did he and the girl have in common?

If you like this, try: “Nick of Time,” “Cellular,” and “Phone Booth”

Related Tags:

Action/Adventure Thriller

One Direction: This is Us

Posted on August 29, 2013 at 6:00 pm

“They don’t know me, but they love me,” says one dewy-eyed One Direction fan, and that says it all.

This 3D documentary and concert film gives us a peek at the moment in time when One Direction, a group of five British teenagers, reigned as the number one musical act in the world. As inevitable a part of early adolescence as cliques and braces is the transitional object known as the teen idol. Almost a hundred years ago, it was Rudolph Valentino. Then there was Frank Sinatra, the Beatles, the Monkees, Bobby Sherman, David Cassidy, Shaun Cassidy, the Backstreet Boys. The girls move on, but those ties are strong. Take a look at last Sunday’s Twitter feed when Justin Timberlake’s Video Vanguard performance included a reunion with N’Sync. While there have been notable individual teen idols, the boy band has the advantage of giving fans a range of options. All of them are always safely, well, let’s just say they don’t have to shave very often. There’s usually a cute one and a smart one and a (comparatively) rebellious one. So whole slumber parties can debate the merits of individual members but unite in their shared passion, and each girl can feel that she is expressing her sense of independence and still-evolving personal taste in her selection of a favorite. (I’m a Paul girl, myself.) Teen idols are a mostly harmless transition object for young girls as they rehearse some of their experience of attachment with someone who is safely far away.

After an “aw”-inducing introduction with some home movie footage of the five members of One Direction, as they tell us in voice overs about their early childhood (we’re talking seven to ten years ago in most cases) dreams of stardom. And then we see the Cinderella story of how they got started. They never met before they were contestants on the British talent competition show, “The X Factor.” They all lost competing as individuals. (Does anyone remember who beat them?) But then star-maker Simon Cowell saw something in the long line of runners-up. He pointed: you, you, you, you, you. He told them to get together and come back as a group. They laugh in recollecting that their first conversation was not about the music or the performance but about what they should wear.

What they had, in addition to nice, tuneful voices, was good attitudes and great chemistry. Over and over, they tell us how much fun they have with each other and how what keeps them going through all the work and pressure of the tour is that they’re in it with their best mates. They insist that they’re not like other boy bands because they’re “cooler.” Also, they are not good dancers and they don’t dress alike.

Morgan Spurlock (“Super Size Me,” “Pom Presents the Greatest Movie Ever Sold”) directed, so you might expect some exploration of the merchandising behind this “pre-fab five,” who seem like nice, talented kids, but who are the avatars of a marketing machine. When a fan says, “They say what we want to hear and no one says to us,” those of us outside of the fangirl demographic would like to know something about the genius who thought One Direction should sing about how it is not knowing she is beautiful is what makes a girl beautiful. We’d like to know more about how the age of social media make these boys stars before they had put out a single record. But this is not that movie. And it is certainly not Alun Owen’s/Richard Lester’s “Hard Day’s Night,” a masterpiece completely separate from the charm and hooky tunes of the Beatles in its innovative structure and documentary-like intimacy. This is just a love letter to the fans from five boys who know how lucky they are and like to show off for the camera.

Parents should know that the movie includes some strong language, some underwear shots, and brief potty humor, but is about as squeaky clean as any documentary about teenaged boys could be.

Family discussion: Which one do you like best and why? What makes them get along so well?

If you like this, try: “Bye Bye Birdie,” an affectionate satire of the teen idol phenomenon

Related Tags:

3D Documentary Music

Closed Circuit

Posted on August 27, 2013 at 8:00 am

Terrorism has killed thousands of people, destroyed buildings and property, and caused seismic rifts in our notions of who constitutes “us” and “them.” What is even more terrifying is the damage it has inflicted on our most fundamental notions of privacy and justice. “Closed Circuit” is an up-to-the-minute thriller in which the chases and explosions are less scary than what it reveals about how ineffective our legal system is for responding to terrorism. The damage to democracy may be more devastating than the damage to life and property.

The story begins with a shocking terrorist attack at a London market. Two suspects died in the bombing and one died “resisting arrest.” Farroukh Erdogan (Denis Moschitto), described as “the last man standing,” is quickly captured and accused. The traditional judicial system cannot provide him with the rights that are accorded all defendants under UK law, including the right to examine and respond to all evidence against him and to be given any evidence the government has that might cast doubt on his guilt. So he is given two different trial attorneys (called barristers in Great Britain), one for an open hearing, one for a separate closed hearing. The judge soberly advises them that “you must not meet or communicate or share information in any way.”

Martin (Eric Bana) will represent Erdogan in the open hearing to the best of his ability without any access to information deemed sensitive by the government. Claudia (Rebecca Hall) is appointed to have access to those files the government has selected as confidential. In a complicated set of procedures, if she discovers something in those files that is relevant to the case, she can show it to the judge but not to Martin or the defendant. This procedure is intended to provide some some fairness in an inherently unfair process we continue to refer to as the justice system. “There is no right way out of this,” a character will say.

Claudia initially tries to withdraw. She does not explain much but we learn that she and Martin have a history. Even though the process prohibits them from having any contact, that past relationship makes things more complicated.

Separately, Martin and Claudia begin to believe that they are being manipulated, even threatened. But by which side? Is it possible to sustain a democracy, or any kind of accountability, when an official explains, “You want the freedom to attack me, but without me you wouldn’t have much freedom at all?” It is eerily reminiscent of Jack Nicholson’s famous speech in “A Few Good Men” and Jose Ferrar’s in “The Caine Mutiny.” Both accuse us of feeling superior to the decisions we delegate to those who guard our freedom, and our willingness to overlook the infringements of freedom that result.

As an audience, we can distance ourselves from the chases and explosions. Our most terrifying realization is the same one Pogo made famous: “We have met the enemy and he is us.”

Parents should know that this film has very strong language, references to adultery a terrorist attack, chases and fights, suicide, some disturbing images of murder victims, drinking, and smoking.

Family discussion: Read up on the US FISA court and the controversy about NSA access to personal information. How do we balance the need for national security with the fundamental guarantees of individual justice like the presumption of innocence, the right to examine evidence, and the protection against self-incrimination?

If you like this, try: “Four Lions” and “The Ghostwriter”

Related Tags:

Courtroom Drama Politics Thriller

The World’s End

Posted on August 25, 2013 at 2:14 pm

B+

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated R for pervasive language including sexual references
Profanity:	Constant very strong and crude language
Alcohol/ Drugs:	The theme of the film is a pub crawl intended to make the characters very drunk, drinking and drunkenness, drugs, drug dealer
Violence/ Scariness:	Comic peril and violence with some graphic images
Diversity Issues:	Homophobic insult
Date Released to Theaters:	August 23, 2013
Date Released to DVD:	November 18, 2013
Amazon.com ASIN:	B00BPEJX12

Simon Pegg, Nick Frost, and co-writer/director Edgar Wright have re-united for the third in the genre-bending “Cornetto” series, which I refuse to call a “trilogy” because I want them to keep going. In case you’re listening, guys: Please.

“Shaun of the Dead” was a romantic comedy with zombies and strawberry Cornetto ice cream. “Hot Fuzz” was a sort of deranged meta-buddy cop film with blue Cornetto ice cream. And now we have “The World’s End,” a comedy about a group of high school friends who get together to re-create a legendary pub crawl in their suburban home town. Twenty years after their high school graduation, they go back home to have a pint in each of the twelve pubs that constitute the “golden mile,” concluding at one called The World’s End. And yes, that is foreshadowing.

Things go badly. Things are not as they remembered. When the group arrive at the first pub on the list, it is depressingly generic. In the decades since they left, everything has been homogenized into sterile, interchangeably dull corporate decor. The second one is indistinguishable from the first. Gary has always cherished the notion that they were legends in the town. But no one seems to remember them, not even the high school bully.

Then the robot aliens show up and things get worse.

Co-write Pegg plays Gary King, who is now only dimly realizing that the qualities that lead to popularity in high school do not equip one for success thereafter. This is particularly the case when those qualities are essentially limited to creating the kind of experiences that result in watching the sun come up with bloody knuckles, a hangover, and vomit on your shoes. You can still do that after high school, as Gary’s current status as an inpatient in a substance abuse clinic attest. It’s just that it no longer makes him a hero to his friends. Now all respectable men with jobs and, for most of them, families, they have moved on and have no interest in going back.

But Gary, who thinks he lost his way when they failed to make it to all twelve pubs in “the golden mile,” manages to persuade the other four to come with him and try it again. For no other reason except for pity, survivor guilt, and perhaps some wish to revisit a carefree past, they decide to come along. It is possible, though, that they envy Gary’s freedom as they are constantly checking with their watches, their phones, and their wives. There’s car dealer Peter Page (Eddie Marsan — all of the characters have royal court-related names), realtor with a permanently embedded bluetooth earpiece Oliver Chamberlain (Martin Freeman of “The Hobbit”), recently divorced Steven Prince (Paddy Considine), and Gary’s former best friend Andy Knightly (Nick Frost), whose hostility indicates that a revelation about some horrible misdeed lies ahead. Also in town is Sam Chamberlain (Rosamund Pike), Oliver’s sister, who was there for an important part of the legendary pub crawl in 1990.

Gary is darker than the previous roles Pegg wrote for himself, which mostly had him as an amiable, if immature and socially inept doofus (although in “Hot Fuzz” he was a very buff and straight arrow variation). He clearly relishes playing a completely dissolute character who cannot seem to figure out why a system of doing or saying whatever will get him what he wants at that moment without any regard to the consequences for himself or others is not working for him anymore. It is also good to see Frost playing something different as well. His Andy is responsible, dignified, and quietly competent and confident. He also turns out to be very good at fighting the robot aliens.

It’s a delicious mix of understated British humor and over-the-top craziness, with witty lines, some knowing digs at Hollywood, and razor-sharp satire. It also has the only credible explanation for hideous public sculpture I’ve ever seen. I hope they end up with at least as many in the series as there are flavors of Cornetto ice cream treats.

Parents should know that this film has constant bad language, including crude sexual references and a homophobic insult, a lot of drinking and drunkenness, drugs, and mostly comic peril and violence with some disturbing images.

Family discussion: Why did Gary’s friends agree to come back? Why was the pub crawl important to Gary?

If you like this, try: “Shaun of the Dead,” “Hot Fuzz,” “Paul,” and the television series “Spaced”

Short Term 12

Posted on August 23, 2013 at 9:37 pm

B+

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated R for language and brief sexuality
Profanity:	Very strong language
Alcohol/ Drugs:	Drinking, drug references
Violence/ Scariness:	Tense confrontations, references to abuse, suicide attempt
Diversity Issues:	Diverse characters
Date Released to Theaters:	August 23, 2013
Date Released to DVD:	January 17, 2014
Amazon.com ASIN:	B00EOAHDT8

There is a look in the eyes of those who have seen the very worst that can happen. Those who no longer have the blessing of living in denial. Those who know, not just in their heads but in their souls, that the innocent can be hurt by those they trust, that their bodies, their hearts, and even their minds can be damaged in ways that leave them shattered, convinced that they will always be alone and outside the magic circle everyone else seems to know how to stay inside. Then there are those rare souls who have traveled all the way to the end of the road of no expectations but hold on to their sense of humanity by using what they have experienced to help others. The look in their eyes is tired, but not entirely closed off from the world. As T.S. Eliot said in “Ash Wednesday,” the goal must be “to care and not to care.”

The gifted actor Brie Larson captures that look in “Short Term 12,” a wise and heartfelt new film about the staff at a facility for abused, neglected, and damaged teenagers. It has the intimacy of a documentary so that the solid, assured narrative structure sneaks up on you. This assured feature from writer/director Destin Cretton shows that kind of understanding behind the camera as well.

Larson plays the aptly named Grace. She is not a therapist or a doctor. She has a more important credential, as we will learn. Her job is to help create a space that makes the kids who have no reason to trust anyone can feel safe, despite the drab institutional setting, the almost non-existent budget, the overworked professionals, and the rules that restrict them. How can you make someone feel safe when the state will throw them out with no support after 12 months or when they turn 18? How do you not give up when you see this kind of damage every day? Can you find yourself in helping others? Can you hide from yourself there?

Grace lives with her co-worker, Mason (“Newsroom’s” John Gallagher Jr., authentically disheveled), who loves her deeply but is troubled that she cannot truly open up to him. Remi Malek has the thankless role of the newbie who gives the other characters the chance to provide some exposition and show us that good intentions are not enough. But Cretton handles even this character with sympathy and humanity. Then there are the residents, including Marcus (Keith Stanfield), who is about to turn 18 and leave the only home he knows, and a new arrival, Jayden (Kaitlyn Dever), who is furious and hostile.

Beautifully observed scenes open these characters up to us, with moments of small-g grace that are more heart-wrenching than the traumatic revelations. They seem to bloom on screen thanks to sensitive writing and gorgeously heartfelt performances. Birthday cards. An anniversary tribute. A look of resignation, recognition, and exhilaration as an emergency, but a relatively and reassuringly solvable one, comes up. A broken teenager begins to heal. And a broken adult begins to acknowledge that helping others cannot be enough unless she does what she asks from them, and what Cretton does before our eyes: to tell the truth.

Parents should know that this film includes very strong language, sexual references and situations, discussion of very severe parental abuse including sexual molestation, and frank discussion of family dysfunction and abuse

Family discussion: What do you learn about Mason from his family party? Why is the character named Grace?

If you like this, try: “Manic” and “The United States of Leland”