Admission

Posted on March 21, 2013 at 6:01 pm

Tina Fey and Paul Rudd seem perfect for each other. The characters they play in this movie are not as persuasive. Fey is so much better than the adorkable rom-com role assigned to her here and Rudd is capable of so much more than the earnest do-gooder relegated to him. But what really hurts this film is the senseless complications the characters have to try to navigate and the uncertain hold on developments that are are disorientingly off-key. You can see the studio’s lack of confidence in the movie in the bait-and-switch ad campaign. The commercials make it look like a standard romantic comedy (and it may have been re-edited to try to fit those rhythms), but the plot line about reuniting with a child put up for adoption feels awkward, cluttered, and intrusive.

Fey is Portia, a tightly-wrapped admissions officer at Princeton, always buried in orange file folders brimming with the hopes and dreams of 17-year-olds and their parents. They all have excellent grades, community service credentials, positions in student government, athletic achievements, and some sort of artistic streak. Portia knows how to maintain her composure even when confronted with prospects who are certain that asking just the right penetrating question of the student tour guide will somehow cause the (for the purposes of this film) toughest school in the country to get into to see them as the shining star of perfection their parents always told them they were. She is less composed when it comes to her own ambitions. The head of the office (Wallace Shawn) is retiring and Portia is competing with a colleague (“Lincoln’s” Gloria Reuben) who is much smoother at ingratiating herself at Portia’s expense.

Portia is constantly under assault from applicants, parents, and high school college counselors. Despite the avalanche of applications Princeton receives every year, she has to go out to high schools to encourage seniors to apply. Princeton is competitive, too. It wants to make sure that it gets to choose from the the most promising applicants. And it wants to keep its rejection ratio high so it will top the annual US News rankings. She gets a call from John Pressman (Rudd) the head of an alternative school. Like all the other high school administrators, he has a student he wants her to accept. Like many of them, he wants to make the case that the kid’s file does not reflect his true potential. But there is one more thing. John is sure, on the flimsiest of evidence, that an autodidactic polymath named Jeremiah (a likable Nat Wolff of “The Naked Brothers”) is the son Portia gave up for adoption. The one she never told anyone about. Jeremiah wants to go to Princeton and Portia’s vestigial maternal instinct jumps to life. All of a sudden, she finds herself on the other side of the admissions process.

And there’s a lot of other stuff happening with Portia’s professor boyfriend (Michael Sheen), her free-spirited mother (a mis-used Lily Tomlin), and John’s adopted son (Travaris Spears), and John’s parents. And most of these people at some point in the last third of the film do something so inexplicably inconsistent with what we know about them and what we want for them that it almost seems that we’ve wandered into a different movie.

It would be impossible for Fey and Rudd to be anything other than entertaining and highly watchable. But I hope their next time on screen does not test that proposition so insistently.

Parents should know that this movie includes references to infidelity and putting an out-of-wedlock infant up for adoption, drinking, and a non-explicit sexual situation.

Family discussion: How did Portia’s mother influence her ideas about parenting? How would you decide who to admit?

If you like this, try: “Clueless” and “Date Night”

The Croods

Posted on March 21, 2013 at 6:00 pm

I think we can all agree that at least in some respects all children are Neanderthals. It is the grand challenge of parenthood to civilize these sometimes savage little creatures by teaching them language, manners, and keeping safe. And some of the most difficult choices parents must make come when we try to encourage children to be strong, brave, independent, and adventuresome when it comes to accomplishing goals in school, sports, and chores while protecting them from mistakes that could be hurtful or even devastating.

That’s the idea behind sweet new animated film about a prehistoric cave family. Familiar family dynamics are amusingly exaggerated in the Paleolithic setting, where the most basic necessities require everyone’s full-time attention. The heavy-boned characters designed by the brilliantly witty Carter Goodrich (“Despicable Me,” “Hotel Transylvania”) may argue with each other, but they demonstrate the strength of their bond on the hunting/gathering expedition. When this family goes out to get breakfast, they really go out to get breakfast. In a joyously-choreographed race to get food, parents Grug (Nicolas Cage) and Ugga (Catherine Keener), Ugga’s mother Gran (Cloris Leachman), and their three children work seamlessly together somewhere between extreme dodgeball, an obstacle course, and a rugby game. Even the happily feral baby joins in for a crucial maneuver.

Other than that, they stay inside the cold, dark, cave. None of the other families of their community have survived, and Grug is terrified of anything that he cannot control. So he tells his family that “curiosity is bad and anything that is new is bad” and insists that they all stay inside together. Keeping everyone alive is his full-time job. “Never not be afraid,” he warns them. “Fear keeps us alive.” “I will never do anything new or different,” promises his son Thunk (Clark Duke). But rebellious teenagers go back as far as protective fathers, and Eep wants to explore the world outside the cave. What Grug sees as safe and under control, Eep sees as boring and old-fashioned.

That bigger world Eep wants to see includes a stranger, a guy named Guy (Ryan Reynolds). He has a lot of new ideas like tools, shoes, a “belt” (a monkey with a theatrical flair for flourish), and “baby suns” — fire. Eep wants to learn more. And soon Grug has to make changes because the tectonic plates start to shift beneath him. Staying the same is no longer safe. The family must leave the cave to find a new place to live. Grug has to learn that sometimes new is not bad. And Eep has to learn the value of what she already has.

Kids will enjoy outsmarting the Neanderthals, whose experience of the world is so limited that they think fire can be extinguished by dry grass and they will marvel at the notion that there had to be a first-ever hug. They will get a kick out of Guy as a proto-MacGyver who shows his traveling companions how to use rocks, vines, leaves — and strategy — to trap food and protect themselves from predators. As Grug and his family leave their rocky home they find new environments that are increasingly dazzling, with spectacularly imagined vistas and gorgeous vegetation. Those images nicely parallel the opening minds and spirits of Grug and his family. Despite a few too many mother-in-law jokes, “The Croods” nicely makes it clear that even before they had fire, families understood how important it was to cherish and protect each other. And Eep reminds us that what may feel like teenage obstinacy and foolhardiness may just be the next step in our evolution.

Parents should know that this movie has some scary animals and children and adults in peril, with references to sad off-screen deaths. There is brief crude humor and there are repeated jokes about Grug wishing that his mother-in-law would die.

Family discussion: How can you tell when it is time to try new things and time to stick with what you know? What did Guy and Grug learn from each other?

If you like this, try: Visit a museum or do some research in books to look at prehistoric fossils and bones and watch “The Land Before Time,” the “Ice Age” series, and “The Flintstones”

Upside Down

Posted on March 14, 2013 at 10:48 pm

Argentinean writer-director Juan Solanas has created a work of bracingly singular imagination that is sheer visual pleasure, with some mind-bending ideas and a deeply romantic sensibility.

We are told by Adam (Jim Sturgess) that throughout the universe, there is only one solar system with “dual gravity.” He lives in the “down” side of mirror-image parallel worlds. Interaction between the two worlds is strictly forbidden, with the exception of a tightly controlled transfer of energy by a vast, soulless, and predatory corporation. The laws of physics in this world also impose a barrier. Matter from one side quickly heats up and burns when it is placed in the other. People carry their gravitational pull with them, so that anyone who visits the other side will give themselves away by floating back toward their home turf.

Adam was orphaned following an industrial accident. His only family is his Aunt Becky, who sends him into the mountains to gather a very rare pink bee pollen that stands out in the wintry gray and blue of the bleached-out color scheme. On the highest peak, he glimpses a girl named Eden Moore (Kirsten Dunst) in the mountains of the up world. They are close enough to talk to each other. Within a few years, they are in love. He pulls her down on a rope and with her back up against a protruding crag to keep her from floating back up, they kiss.

But they are tracked down and she is badly hurt trying to escape. Ten years later, Adam learns that Eden has survived the accident and works for the corporation. He has to find her again. But it turns out the totalitarian regime and gravitational barriers are not their biggest obstacles.

Solanas has created two worlds of vast and stunningly intricate detail. Identical desks extend endlessly across both floor and ceiling in cavernous offices. Eden likes to drink upside-down cocktails, blue liquid served in a stem-up glass and slurped from below. And the consequences of reverse gravity are imaginatively (if not always consistently) explored. Adam remembers to use hairspray to help him pass as a top world resident, to make sure that his hair won’t hang the wrong way (up instead of down) when he goes to see Eden. But when he hides out in the men’s room, he does not think about the fact that his pee will hit the ceiling, not the urinal. His early experiments to help him pass for an “up” have a limited time span that adds a Cinderella quality to the story.

Timothy Spall provides zesty comic relief as Adam’s “up” world colleague and Dunst and Sturgess have a swoon-worthy chemistry that makes the story feel, well, grounded. The daring originality of Solanas’ vision more than makes up for some narrative lags and makes this one of the most promising debuts in recent memory.

Parents should know that this film includes peril, chases, and some violence, including shooting, with some characters injured. There is a fire and there are references to sad deaths and a brief image of hanging. A character smokes cigars and some drink cocktails and there is brief potty humor.

Family discussion: What kind of government is in place in this movie? Why is there income disparity between the two worlds?

If you like this, try: “Looper” and “Solaris”

The Incredible Burt Wonderstone

Posted on March 14, 2013 at 6:00 pm

Everyone on screen seems to be having a blast, but this story of rival magicians in Las Vegas is not as much fun for the audience. It wants to pull a rabbit out of a hat, but there’s really nothing there.

Steve Carell plays Burt Wonderstone, who fell in love with doing magic tricks when he was a bullied kid. His only friend was Anton (Steve Buscemi) who also loved magic, and they developed an act together that led to a very successful run at a Las Vegas hotel owned by Doug Munny (James Gandolfini, nicely showing the thuggishness under the veneer of geniality). They were headliners. They had their own theater. And they had a series of beautiful assistants. All were given the same blonde wig and all were called Nicole. The most recent Nicole is Jane (Olivia Wilde).

But the act has gotten stale. Burt has 70’s hair and is so slick with spray tan it may require slight of hand to keep from sliding out of his clothes. As for the act, Burt is just phoning it in, waiting for his next empty sexual encounter. He seems more excited by having the biggest bed in Vegas than by what goes on in it. And audiences are excited by a new street performer named Steve Gray (Jim Carrey) known as “The Brain Rapist.” What he does is not magic. He does a series of dangerous stunts, most of which involves some form of mortification of the flesh. That card an audience member selected from the deck? He will slice his cheek open to pull it out, covered in blood but still bearing the name scrawled on it with a Sharpie. He doesn’t just walk across hot coals; he spends the night on them, barbecuing himself. “They’re calling him the future of magic,” Munny says.

Burt ends up alone and broke, with no place to live and “in need of rabbit food and birdseed.” Finding the magic again will require him to break through the years of numbness and self-involvement.

There are a skit’s worth of good moments, mostly about Burt’s arrogance and cluelessness. When Jane makes dinner for him in her apartment, he offers to clean up, but thinks that means putting the dishes outside her front door. And Carell has a funny cry. Carrey captures the faux mysticism of “endurance artists” like David Blaine, but there’s no pay-off in seeing him suffer. Wilde is underused in the usual endlessly-patient-until-the-time-to-grow-up speech, especially frustrating given the film’s superficial claim to countering the marginalization of female characters. Even Alan Arkin cannot make interesting the old-time magician who first inspired the young Burt to learn to make things disappear. What this movie is missing is — magic.

Parents should know that this film includes sexual references and non-explicit situations, crude humor, drinking and drunkenness, scenes in a bar, a bully, comic drug use including drugs surreptitiously given to adults and children, strong language (many s-words, one f-word), and comic but dangerous stunts with graphic injuries.

Family discussion: What went wrong with the act and how did that relate to what went wrong with their friendship? What made Burt change his mind? To audiences really enjoy acts involving physical danger and mutilation? Which trick did you like the best and why?

If you like this, try: a terrific documentary about young magicians called “Make Believe”

Related Tags:

Not specified

Oz the Great and Powerful

Posted on March 7, 2013 at 6:00 pm

B+

Lowest Recommended Age:	4th - 6th Grades
MPAA Rating:	Rated PG for sequences of action and scary images and brief mild language
Profanity:	Brief mild language
Alcohol/ Drugs:	None
Violence/ Scariness:	Fantasy action/peril/violence, scenes of desolation and loss, scary monsters and jump out at you surprises, some disturbing images
Diversity Issues:	Diverse characters
Date Released to Theaters:	March 8, 2013
Date Released to DVD:	June 10, 2013
Amazon.com ASIN:	B00C7JG0KG

A prequel to one of the most beloved films of all time is a daunting challenge, but Disney’s prequel to “The Wizard of Oz” manages to balance respect for the original with some fresh and appealing insights into the story. But the real star of the story is the enchanting, rapturously imagined setting, brilliantly designed by Bob Murawski and directed by Sam Raimi. From the captivating opening credit puppet theater, we are immediately in the world of magic and mystery — and hokum.

Like the 1939 Judy Garland classic, the movie opens in black-and-white. The screen is shrunken to the proportions of the 1930’s. And, like the Garland version (but not the books), the characters and themes of Oz are echoed in the scenes set back home. Oscar Zoroaster Phadrig Isaac Norman Henkel Emmannuel Ambroise Diggs, known as Oz for his first two initials, is a showman and a con man, a magician in a small traveling circus. Personally and professionally, his life is about fooling as many people as possible. He is constantly either trying to impress a pretty girl or trying to avoid any personal entanglements, romantic or friendship.

It is telling that his big trick is to select a pre-arranged “country girl” from the audience apparently at random, making her seem to float in the air, and then wait for the viewers to think they’ve figured out the trick by noticing the wires that appear to keep her suspended. This makes possible the dramatic flourish — he cuts the wires to reveal that he has not just made her float — he has made her disappear. Oz is eternally poised on the brink between reality and illusion, between connection and distance, between appearing (no one is more visible than those whose profession is to perform in public) and disappearing (he always seems to have a means of escape handy). At the same time, the “country girl” is discovering that he lied to her, the circus strong man is coming after him for flirting with his wife, and he receives a visit from the only woman we sense he has ever really cared for (Michelle Williams), who asks him if there is any reason she should turn down a proposal from another man. He tells her to accept, though it is clear that he has some regrets. And then, he does what he does best — he escapes, jumping into the circus hot air balloon, which is whipped into a twister, and which deposits him in a strange and wondrous land of lush and vivid color — Oz.

The first creatures he meets are nasty little water fairies with big teeth and a stunningly beautiful woman with a splendid brimmed hat named Theodora (Mila Kunis). She seems to think that he is the wizard from a prophecy — a man with the same name as their enchanted land, who would arrive to rule as king and free their people. Freeing the people does not have much appeal for Oz, but he is definitely intrigued by the notion of a palace, a throne, and a scepter. “Is the scepter made of gold?” he asks, to make sure that this deal is as sweet as it sounds.

We know that Oz will be come the wizard and live in the palace. We know he will become “a good man but a bad wizard,” hiding behind the curtain as he works the controls of a huge face with a booming voice. We know he will bestow gifts that show people the greatness that is already within them. And we know he will have to take a journey to get there. Writers Mitchell Kapner and Pulitzer Prize awardee David Lindsay-Abaire (“Rabbit Hole“) weave in characters and themes inspired by some of the other Oz books as well, including a girl made out of porcelain, rescued from her shattered “China Town.” Oz meets up with two other witches as well, including one who has a very bad reaction to moisture. And he is not the only one who has to decide which side he will be on.

The visuals are fabulously imaginative, consistently surprising and new and yet consistent with our ideas about Oz from the books and the 1939 film. That’s consistent but not identical — Disney had to be careful not to get too close to MGM’s copyrighted designs. So there are flying monkeys, but very different (and even scarier), a poppy field, and an Emerald City gatekeeper (who will be familiar to fans of Sam Raimi’s less family-friendly films). The 3d effects are effective, especially during the twister. Franco’s characterization wavers at times and he never quite persuades us that he is at heart a showman. The big reveal about what prompts a witch to turn evil is disappointingly under-imagined. Indeed, for a movie with three significant female characters played by three of Hollywood’s most talented women and the China Girl (voiced by Joey King), the film’s conception of women is unfortunately superficial, simplistic, and male-oriented. It is an enchanting journey — but at the end you may wish to click your heels three times to return to the peerless Garland version and the books. There’s no place like home.

Parents should know that this film includes extended fantasy peril, action, and violence, with scenes of devastation and loss, jump out at you surprises, and scary monsters, some disturbing images, brief mild language, a character who makes advances at many women, and scenes of jealousy, anger, and sadness.

Family discussion: What is the difference between being a great and a good person? Why did Glinda believe in Oz? How did the characters in the prologue relate to their counterparts in Oz? What elements of the classic Oz story are explained in this film?

If you like this, try: the Oz books by L. Frank Baum, and the classic film with Judy Garland