The Twilight Saga: Breaking Dawn, Part 2

Posted on November 15, 2012 at 6:00 pm

The “Twilight” series comes to a close with the fifth film based on the four-book supernatural love story from Stephenie Meyer. This one is for the fans, with a loving farewell that includes a romantic recap series of flashbacks and final credits bringing back all the stars of the series.  It will be less satisfying for non Twi-hards, who will have a hard time ignoring the ludicrousness of the storyline.

In the last chapter, Bella (Kristen Stewart) at long last (well, not too long, she just finished high school), married her one true love, Edward (Robert Pattinson), a vampire.  They had a wonderfully romantic but bed-breaking wedding night, and she got pregnant, a surprise to everyone because it was thought to be biologically impossible.  The pregnancy left Bella so frail that childbirth would have killed her if Edward had not kept her alive by turning her into a vampire.  “Breaking Dawn, Part 1” ended with her eyes opening, vampire-ified to electrified amber with a kind of permanent mascara.  “I didn’t expect you to seem so..you,” Jacob says. “Except for the creepy eyes.”

In the past, we saw the “other” world of vampires and wolf-people like Jacob (Taylor Lautner) through Bella’s brown human eyes.  Now we see everything through the hyper-charged senses of the ultimate predator.  Ironically, it is only as a vampire that Bella feels most purely herself — strong, confident, capable.  This is the fork in the road where the fans will stay with it but everyone else may take a detour.  One reason for the sensational popularity of the books is the way they so perfectly capture a young teenager’s fantasy.  That works better when the characters are themselves teenagers.  Trying to project them into the adult world, even one as skewed as the vampire world, is a tougher stretch.

Bella and Edward have an idyllic existence of eternal adolescence, with a life free from work, struggle, and parents.  They do not have to eat or sleep.  They do not have to do anything but have wildly energetic sex and conversations about who loves who more, with banter like “We’re the same temperature now.”  You may ask, “Wait, isn’t there a baby with some kind of nutty name?”  Yes there is, and her name is Renesmee (after the two grandmothers, Renée and Esmé).  When Jacob calls her “Nessie,” Bella gets angry because that’s the Loch Ness monster’s nickname, though it seems likely that it is just another of Jacob’s protective instincts, her birth name being something of a burden.

Bella and Edward-style parenting is not very demanding.  The baby has a full-time staff of loving vampire relatives and an imprinted wolf-guy.  And it turns out that vampire/human children grow in dog years.  The movie, unfortunately, moves rather slowly, with a lot of time bringing in 18 new vampire characters from all over the world to help persuade the vampiric governing body, the Volturi, that they have not broken the law and produced an “immortal child” who could put the community at risk.  All of this leads up to a grand battle across a snowy field, the motley crew of good guy vampires and the robed Volturi.

The endless procession of new characters gets tedious except for a Revolutionary war veteran played by Lee Pace (“Lincoln,” “Pushing Daisies”), who talks about his time with General Custer and has far more electricity on screen than the vampiress who catches his attention with her super-tasing power to jolt anyone.  I also liked Rami Melek (“Night at the Museum,” “Larry Crowne”) as a vampire who can control the elements.  But the sheer volume of new characters made having to remember each one’s special talent like trying to keep track of the Smurfs.

We’ve spent a lot of time with these characters and it is good to see a satisfying resolution to their story.  But I couldn’t help feeling that Meyer had run out of ideas and just tossed in everything she could think of.  My primary reaction at the end was relief that this was the end.

Parents should know that this movie includes vampire violence with battles that include graphic decapitations and other disturbing images, characters injured and killed, sexual references and situations with some nudity, and some language.

Family discussion: What are the biggest changes in Bella’s outlook and abilities from the first installment to the last? How much should she tell Charlie? If you could have one of the special gifts of the characters in the film, which would it be and why?

If you like this, try: the other “Twilight” movies and the books by Stephenie Meyer

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Action/Adventure Based on a book Drama Fantasy Romance Series/Sequel

Anna Karenina

Posted on November 15, 2012 at 6:00 pm

Director Joe Wright and his favorite star, Kiera Knightley (“Pride and Prejudice,” “Atonement”) have produced a ravishing, highly theatrical version of Leo Tolstoy’s classic “Anna Karenina.”  It is deeply romantic but has more focus on the social and political context than many of the previous versions of the story.  It literally opens with the rise of a curtain over a grand proscenium stage, and throughout the film the story flickers from movie-style reality — not documentary but an integrated dramatic narrative — to something resembling a live production of a play or ballet.  At one intensely dramatic moment, the story literally and metaphorically spills over the edge of the stage for a shocking denouement.

Anna (Knightley) is a young mother married to the stiff but not unfeeling husband Karanin (Jude Law).  He cares for her but is very caught up in legislative and governance issues.  When we first see her, Anna is preparing to leave her home in St. Petersburg to go to the aid of her brother, Stiva (Knightley’s “Pride and Prejudice” co-star Matthew MacFadyen) and his pregnant wife, Dolly (“Boardwalk Empire’s” Kelly Macdonald), who is devastated when she learns he has been having an affair with the governess.  Anna hopes she can help the couple reconcile.  And she is not unhappy about spending time in Moscow, going to parties and concerts and mingling with members of society.

There she meets the dashing officer Count Vronsky  (Aaron Taylor-Johnson of “Kick-Ass” and “Savages”).  Vronsky is a bit spoiled by a life in which everything has come easily to him — good looks, money, women.  He is flirting with Dolly’s sister, an innocent young princess named Kitty (an excellent Alicia Vikander).  Stiva’s close friend Levin (Domhnall Gleeson), a shy but true-hearted landowner, loves Kitty.  He proposes, but, believing Vronsky will ask her to marry him, Kitty turns down Levin’s proposal.  Vronsky has just been flirting with Kitty.  He is drawn to Anna.  She is drawn to him, and returns home to put some distance between them.  He pursues her, and finally, she is overcome.  Besotted by him, she is overcome in every way, breaking every rule, ignoring every convention, the freedom as heady as the romance.

Like too many lovers before her, she believes that love is enough, that the world will support her, that nothing else matters.  She once counseled Dolly to rise above Stiva’s infidelity.  But she does not have any sympathy for Karanin’s humiliation or any gratitude for his willingness to stand by her, even when she is pregnant with Vronsky’s child.  Vronsky genuinely cares for her and does his best but he is out of his league.  When Anna realizes that society has no place for her anymore, she is devastated.  Tolstoy’s focus on the reunited Levin and Kitty, far from the glittering parties and gossip, contrasts the hypocrisy, artificiality, and sterility of the upper class with the authenticity and humanity of the people who work the earth and care for the sick.

Wright has a magnificent gift for images and a remarkable fluidity of camera movement (remember that bravura sustained shot on the beach in “Atonement”), all used in service of the story and characters.  The camera circles as the story does, with rings of parallel but contrasting stories.  Watch Anna’s costumes, elaborate, constricting at first and then simpler.  In the midst of her passion for Vronsky, they both wear white, as though they are removed from the rest of the world.  Later, she’s swathed in black.  Watch for images of omens, and images that compare or contrast the human world and the animal world, the fake and the real.  By embracing the artificiality of the form, Wright illuminates not just Anna’s anguish but Tolstoy’s vision.

Parents should know that this film includes sexual references and situations with some explicit images and suicide and a brief shot of a mutilated body.  Characters drink and abuse alcohol and drugs and there are tense and unhappy confrontations.

Recommendation: Mature teens-Adults

Family discussion: Tolstoy famously begins this book by saying that all happy families are alike but each unhappy family is different in its own way. Do you agree? How does the theatricality of the setting affect the story?

If you like this, try: the other versions of the story, especially the movies with Greta Garbo and Jacqueline Bisset, and the book by Tolstoy

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Based on a book Date movie Drama Remake Romance

A Liar’s Autobiography

Posted on November 10, 2012 at 10:50 pm

C
Lowest Recommended Age: Adult
MPAA Rating: Rated R for strong and crude sexual content including graphic animated sequences, strong language and some violent images
Profanity: Strong language
Alcohol/ Drugs: Drinking and alcoholism
Violence/ Scariness: Violent images including severed limbs, sad death
Diversity Issues: Diverse characters
Date Released to Theaters: November 9, 2012
Amazon.com ASIN: B00A3A3SRE

Graham Chapman was the Monty Python troupe member most often referred to by the others as “the dead one.”  This affectionate tribute, narrated by Chapman himself in excerpts from the audio version of the memoir he wrote before he died of throat cancer in 1989.  Like the Python movies, it is is made up of skit-like segments, but it only briefly reaches anywhere near their level of sublime comic anarchy.  Even with a quick moment of lunacy with Cameron Diaz providing the voice of Sigmund Freud.

The segments are animated by a widely varied group of  artists, occasionally recalling Terry Gilliam’s inspired paper cut-out interstitials but more often just needlessly crude and sometimes downright dull.   But the real problem is that Chapman may have been an interesting person and certainly led an interesting live but he clearly had neither the interest nor the ability to share very much with anyone.  Instead we get a tedious litany of too much sex, too much alcohol, and the emptiness of the life of a celebrity.  He comes across as superficial, bitter, selfish, and dull.

Chapman tells us he was born during a German bombing attack and we see a possibly fictitious incident where he was traumatized by the severed limbs of the people who were injured and killed.  Then he goes to school and his parents don’t understand or fully appreciate him and he has sex with women but really wants to have sex with men, and then he has sex with men, and then some sex with women again but mostly with men.  In one of the segments we get to see from his perspective as he continues to smoke his pipe through some joyless sexual encounters.  He has contempt for just about everyone, especially those who are overly impressed with celebrities (including himself).

The movie comes to life only at the very end, when we see footage from Chapman’s funeral, with the eulogy from John Cleese.  As the other Pythonites look on, Cleese says, “I guess that we’re all thinking how sad it is that a man of such talent, of such capability for kindness, of such unusual intelligence, should now so suddenly be spirited away at the age of only 48, before he’d achieved many of the things of which he was capable, and before he’d had enough fun. Well, I feel that I should say: nonsense. Good riddance to him, the freeloading bastard, I hope he fries. And the reason I feel I should say this is he would never forgive me if I didn’t, if I threw away this glorious opportunity to shock you all on his behalf. Anything for him, but mindless good taste.”  I’d add, anything for him but this dull and sour tribute.  Much better to watch the parrot sketch again.

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Animation Biography Movies -- format

Lincoln

Posted on November 8, 2012 at 6:00 pm

B+
Lowest Recommended Age: High School
MPAA Rating: Rated PG-13 for an intense scene of war violence, some images of carnage, and brief strong language
Profanity: Some strong language, one f-word
Alcohol/ Drugs: Drinking, smoking
Violence/ Scariness: Battle violence with some graphic images, sad deaths, assassination
Diversity Issues: A theme of the movie
Date Released to Theaters: November 9, 2012
Date Released to DVD: March 25, 2013
Amazon.com ASIN: B009AMANH4

The first question about big, prestige films like “Lincoln” is always where it falls on what I call the spinach scale.  Will I tell people to see it because it is entertaining or because it is good for them.  For all its meticulous attention to historical verisimilitude and its extended depiction of people in rooms talking about a Constitutional amendment, “Lincoln” is not an eat-your-spinach-because-it’s-good-for-you movie.  It is a robust, engrossing story that illuminates our own time as well as the era of the 16th and arguably greatest President.

Task number one for director Steven Spielberg, screenwriter Tony Kushner (Angels in America), and star Daniel Day-Lewis is to make the icon into a human being, to show us his greatness but also his humanity.  In our hearts, this almost-literally larger than life man sounds like James Earl Jones — we can almost hear that deep voice reciting the Gettysburg address.  But those who actually heard Lincoln speak described his voice as high, thin, and reedy-sounding.  It may be jarring at first, but in an exceptionally well-designed introductory scene Day-Lewis deploys that timbre with such gentleness and modesty that it quickly becomes an asset not just to his performance but to our understanding of this man.

Lincoln is sitting quietly, talking to a small group of Union soldiers, two black and two white.  We see immediately that the soldiers respect him greatly — they can recite the Gettysburg address from memory — but that they feel completely comfortable being honest with him about their experiences and their recommendations.  What we feel immediately is that he is both respected and trusted, and that he has a rare ability to listen.  He may not be a modest man — at one point he thunders, “I am the President of the United States and clothed in immense power!”  But he is a humble man, who understands that he can best lead by allowing others to move forward with him.  He loves to share stories, more than others love to hear them.  But like a great preacher, he knows that it is the stories that persuade people.  Everyone softens a little for a story, especially one with a punchline.  And a story helps the listener toward the conclusion without feeling pushed.

A century and a half later, audiences may be surprised to see how little has changed.  Indeed, even the vilest insults of the Twitterverse and the shrillest complaints of Super-PAC ads do not touch the comments made by Members of Congress, who do not hesitate to question each other’s integrity or sanity.  “Fatuous nincompoop,” for example.

Audiences may be more surprised to find that “Democrat” and “Republican” seem to have switched places.  What has not changed is the way that politics attracts people of great cowardice and even greater courage, of people who hold on and people who reach forward, of people who want to help themselves and people who want to help others at great cost to themselves, including those who can never thank them.

When Lincoln decides that his most important priority is eradicating slavery through approval of the 13th Amendment to the Constitution, his team brings in a trio of lobbyists (John Hawkes, Tim Blake Nelson, and a wonderfully puckish James Spader) who are as cheerfully cynical as anyone on K Street today.  Through a combination of bribes and threats, they work to get the votes they need.  It is clear the Civil War is about to end, and if the South is readmitted to the Union, it will never pass.  Lincoln understood that the only way to keep the country together was to take its most divisive issue off the table.  He also understood that doing so would have its own terrible costs.  Even those who supported the Amendment had to make compromises, including its most ardent defender (a scene-stealing performance by Tommy Lee Jones as Pennsylvania’s Thaddeus Stevens).

Kushner and Spielberg, like their main character, recognize the power of story-telling, and this illuminating tale would make its subject proud and perhaps to inspire all of us to aspire to that as well.

Parents should know that this film has some battle scenes, graphic images in hospital including amputated limbs, some strong language including one f-word, sad losses, drinking, and smoking.

Family discussion: There are a lot of compromises in this movie and a lot of shading of the truth – which were the most difficult?  Why was the passage of the 13th amendment so important?  What moments in the film reminded you of today’s political debates and strategies?

If you like this, try: some of the other portrayals of Lincoln on film, including “Young Mr. Lincoln” and “Abe Lincoln of Illinois” and the musical about the Declaration of Independence, “1776”

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Based on a true story Biography Drama DVD/Blu-Ray Pick of the Week Epic/Historical Politics War

Skyfall

Posted on November 8, 2012 at 8:00 am

A-
Lowest Recommended Age: High School
MPAA Rating: Rated PG-13 for intense violent sequences throughout, some sexuality, language, and smoking
Profanity: Strong language
Alcohol/ Drugs: Drinking, smoking
Violence/ Scariness: Extended spy-style peril and violence with many characters injured or killed and some graphic images
Diversity Issues: Diverse characters, strong women
Date Released to Theaters: November 9, 2012
Date Released to DVD: February 11, 2013
Amazon.com ASIN: B007REV4YI

James Bond goes home in every sense in this ravishingly entertaining entry in the series.  Five decades later, it all of a sudden feels fresh, fun, and utterly engaging.  This is the best Bond in decades.We are in the middle of the action almost before the lights go down in the theater.  Two quick but unmistakable notes on the soundtrack as Bond (Daniel Craig in his third outing) enters a room with dead and dying agents.  He looks like a million bucks.  Or, I should say, a million pounds.  Sterling.

A quick communication and then a chase, and what a chase. Not since “Raiders of the Lost Ark” has a movie begun with such a knowing shot of adrenaline. It’s action as ontology recapitulating phylogeny.  On one level, it’s a world-class heart-thumper, brilliantly staged and paced. But it’s also a witty meta-take on chase scenes in general and Bond in particular, with everything from an exotic open market to a shootout and a motorcycle and hopping on a train.  And by that I mean hopping ON a train.  And a pretty girl.  With a gun.  And a missing hard drive.  He also stops to adjust his cuffs.

So, we’re good to go, and it just keeps getting better.

Things are not going so well back at MI-6, where M (Dame Judi Dench) is in a meeting with a rather stiff government official (Ralph Feinnes)  who is displeased about the way things are going.  “Are we to call this civilian oversight?” she asks with asperity.  “No, we’re calling this retirement planning,” he responds.  MI-6 itself is attacked and this time, as they say, it’s personal.

Bond has had a tough time of it lately.  The heightened stylization of the “Austin Powers” parodies made it more difficult to take Bond’s glossiness and the over-the-top total world domination-style bad guys seriously and the grittiness of the “Bourne” movies made the sophistication and brio of the series and its lead character seem superficial.  The series was in danger of becoming a parody of itself, with its over-the-top plot twists and villains.  And it was choking on product placement.  “Skyfall” is forthright in confronting the challenges of our time, with both spies and bureaucrats well aware that our enemies are harder to identify than they were in the Cold War era, and more damage can be done with a laptop than a bomb.

“Skyfall” kicks it old school, with more heart, meaning, and character — and a more deliciously twisted villain (Javier Bardem) than the last dozen in the series combined.  This is much more than the usual girl and a gun and a villain and only seconds to save the world from various exotic locations.  The locations are fabulously chosen, however, from MI-6’s transplanted underground lair to a deserted island city with a toppled Ozymandias-style statue, a motorcycle chase along Istanbul rooftops, and an estate in Scotland.  And Ben Wishaw (“Cloud Atlas”) makes a lovely young Q with mad computer skillz and madder hair.

Adele provides the best Bond theme song since the 60’s, her husky voice reminiscent of the Shirley Bassey era.  Director Sam Mendes is not known for action or genre but he has a great eye and he is totally up to the task here, delivering a story that gives depth to the characters and moral complexity to the storyline.  Mendes deftly explores variations on the themes of compromise, consequences, context, and choice, while never letting up on the action and glamour.  It wouldn’t be a Bond movie without some reason for our hero to don black tie for a visit to a swanky gambling den that happens to have a pit with Komodo dragons, any more than it would without some doomed beauty with time for one last romantic encounter.  “Skyfall” has tremendous understanding and affection for the legacy of Bond, but, more important, it makes us excited about the next 50 years.

Parents should know that this film has spy-type action and peril with chases, explosions, and guns, many characters injured and killed, sexual references and situations,some strong language,drinking, and smoking.

Family discussion: Characters in this film have to make some very tough choices that risk or sacrifice the lives of their colleagues. What factors do they consider? What are the consequences? How does what we learn about Bond and M change the way you think about them?  Why does MI-6 like orphans?

If you like this, try: the 23 other Bond films, especially “Goldfinger,” “You Only Live Twice,” and “Goldeneye”

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Action/Adventure Based on a book DVD/Blu-Ray Pick of the Week Series/Sequel Spies
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