Grown Ups

Posted on November 9, 2010 at 8:00 am

Adam Sandler fans would do well to re-watch “The Wedding Singer” or “Happy Gilmore” rather than suffer through this excruciating mess of gross-out humor, eww-inspiring vulgarity, and soppy sentimentality. My mother always likes me to say something nice, so I’ll mention that Salma Hayek Pinault looks beautiful and the setting is lovely. Chris Rock gets off a few good lines. Adam Sandler doesn’t use his doofy “funny” voice. And eventually, it is all over. But that’s about it. Sandler has always been lazy and his films have devolved from slacker to inert. The increased efforts at injecting “heart” into the storyline just makes the rest of the movie look even more cynical, crass, and condescending to its audience. And that’s not including the misogyny and overall sour attitude toward just about everyone.
Here, he plays Lenny Feder, a successful Hollywood agent married to Roxanne (Hayek Pinault), a clothing designer. He returns to his home town for the funeral of the coach who guided his grade school basketball team to a championship. At the funeral, he catches up with his teammates, and they go off together with their families for a few days at a home on the lake. Of course each of them has a situation that is intended to be funny (not) and poignant (really not). Co-stars David Spade, Chris Rock, Rob Schneider, and Kevin James all look embarrassed to be there, the only flicker of authenticity on screen. Spade, looking hung over even when his character is not, plays the good time guy who never settled down. James is a family man whose biggest problem seems to be that his wife (a slumming Maria Bello) is still breast-feeding their four-year-old. Rock is a stay-at-home father whose pregnant wife (a slumming Maya Rudolph) and mother-in-law think his being a full-time dad is not manly. And Schneider, as always in Sandler films, plays a guy who the designated ewwwww-inducer, with personal and sexual habits designed to gross everyone out. He plays a man whose third wife is an aging hippie (Joyce Van Patten) and whose three daughters show up halfway through, two smokin’ and one funny-looking with a semi-Snooki puff, just like dear old dad. He also has the thankless responsibility of undertaking one of Sandler’s favorite gags — an impaled foot. And a disgusting bunion in loving close-up. What is it with him and feet! At least Tarantino’s foot obsession is on the beautiful toes of Uma Thurman and Diane Kruger.
Lenny, compared to his struggling friends, has little to worry him other than concerns that his children are getting spoiled (they text the nanny to bring them hot cocoa and then reject it when it isn’t Godiva) and being too embarrassed to tell his friends that his kids have a nanny, so he keeps insisting she is just an exchange student and thrusting books at her.
Sandler may have stopped playing boy-men who won’t grow up (hence the title), but as producer and co-screenwriter he is still a film-maker who won’t grow up. The comedy in the movie centers around pubescent sniggering stuck at about the level of a game of “Doctor.” Both adults and young teens are reduced to quivering, slobbering, hysteria by the presence of an attractive member of the opposite sex (conveniently giving us a chance to ogle them, too). But the only one who seems to have a committed relationship that includes a sex life is the one who grosses everyone out with his PDA because his wife is three decades older than he is.
The phony sentiment is no better than the phony comedy. Yeah, yeah, the importance of family and friends and board games over video games. And we are further afflicted with a rematch between our intrepid one-time champions and the guys they beat. Thirty-two years ago. About the last time any of these jokes were fresh.
Then there is the insult humor. Admittedly, there are some funny lines, but further evidence of the movie’s sloppiness is its lack of interest in making some distinction between the affectionate insults that bond people and the hurtful ones that spark anger and truth-telling. Further laughs are expected for the aforementioned impaled foot, injuries requiring a full body cast, and various falls and crotch hits, plus an older lady with an ugly bunion and intestinal distress she blames on the dog. If only we could do the same with the movie.

(more…)

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The Sound of Music

Posted on November 8, 2010 at 8:00 am

A+

Lowest Recommended Age:	Kindergarten - 3rd Grade
MPAA Rating:	G
Profanity:	None
Alcohol/ Drugs:	None
Violence/ Scariness:	Tension as the family escapes, Nazi threat
Diversity Issues:	A theme of the movie
Date Released to Theaters:	1965
Date Released to DVD:	November 9, 2010
Amazon.com ASIN:	B003VS0CX8

The Sound of Music is out in a gorgeous new 45th anniversary edition Blu-Ray/DVD combo. The beloved family musical is the fictionalized story of Maria von Trapp (Julie Andrews). It is an outstanding family film, filled with glorious music (“Do Re Me,” “My Favorite Things,” “Eidelweiss,” So Long, Farewell”), a real-life love story right out of Jane Eyre, a courageous moral choice, and a heart-stopping escape.

As a postulant, Maria is “not a credit to the Abbey.” While she means well, she is constantly in trouble. The wise Mother Abbess sends her away to be the governess for the seven children of a stern widower, Captain von Trapp. Obedient to their disciplinarian father, the children are uncooperative with Maria until she wins them over with her own high spirits, as well as her kindness. She also shares her love of music, and her joy in the beauty around them, and they become devoted to each other.

The Captain’s friend Max (Richard Hadyn) hears the children sing, and wants them to perform at the local festival. But the Captain refuses, thinking it is foolish and inappropriate. Meanwhile, the Captain is considering marriage to a titled and wealthy woman, and his oldest daughter, Leisel, is beginning a romance with Rolfe. And as the Nazis threaten control of Austria, the Captain knows that his military skill and experience will lead them to him. He knows that they will ask him to join them, and that they will not accept a negative answer.

Maria, realizing that she has fallen in love with the Captain, runs back to the Abbey. But the Mother Abbess counsels her to follow her heart, and she returns to the children. The Captain realizes that he loves Maria, and they are married in the Abbey. They return from their honeymoon to find that an invitation to join the Nazi navy is waiting.

Max has put the children on the festival program, hoping the Captain would relent. He forbids them to participate and makes plans to escape. But when the Nazis arrive to stop him, he explains that they are just on their way to perform at the festival. The Nazis escort them to the festival, where they win first prize, and use their encore number to camouflage their escape. On their way out of Austria, they are betrayed by Rolfe, now a Nazi, but protected by the nuns in the Abbey, and they leave for Switzerland, over Maria’s beloved mountains.

Discussion: A number of people in this movie must make important choices when they face challenges that are completely unexpected. Maria and the Captain both thought they had established what their lives would be like. Maria planned to be a nun, and to live in the Abbey all her life. The Captain expected to continue with the life he had, a loving but stern father to his children and a respected aristocrat and military leader. His family had always lived in Austria, and he expected his children and grandchildren would live there, too. Maria’s unexpected challenge comes from within herself. She is lucky to have the wise Mother Abbess to help her examine her heart to learn that she is better suited for a life outside the Abbey.

The Captain is used to being in control. It may be that his regimental approach to the children is as much prompted by a need to feel in greater control following the loss of his wife as it is by his military training. His original inclination to marry the Baroness seems to be led by his head rather than his heart; it feels more like an alliance than a romance. But he finds that he cannot resist Maria’s warm and loving heart.

Just as all of this is happening, every aspect of the life they had known in Austria is challenged by the Nazis. Unlike his friends, the Captain does not have the option of making a slight accommodation to the Nazis. He must fight for them, if he wants to keep his home. He gives up every material possession he has to get away, preserving freedom for himself and his family.

Everyone in Austria has to make a choice when the Nazis arrive. Rolfe becomes so committed to the Nazis that he is willing to betray the young woman he cared for. Even the nuns in the Abbey must make a choice. They decide to protect the Von Trapps and impede the Nazis, risking their own freedom. Children, especially young children, will need some background to understand what these choices involved and what the risks were. It is also worthwhile to discuss with them the sweet song that the Captain sings to Maria, telling her that he must have done something good in his past to deserve her love and the happiness she has given him.

Questions for Kids:

· Why does Maria have a problem fitting in at the Abbey?

· What does the Captain learn from Maria?

· The same people wrote the song about “My Favorite Things” and “Whistle a Happy Tune” in “The King and I.” How are they alike? (Think about when it is that Maria sings the song.) If you were going to write the song, what would be on your list of favorite things?

· What is the difference between the way the Captain, Max, and Rolfe react to the Nazis?

· What does the song, “Climb Every Mountain” mean?

Connections: Sister Sophia is played by Marni Nixon, a rare onscreen appearance by the off-screen singing voice from “My Fair Lady,” “West Side Story” and “The King and I.”

Activities: Kids who enjoy this movie can read more about the real-life family in one of the books written by Maria von Trapp, and can visit the Trapp family’s lodge in Stowe, Vermont. Find Austria, Germany, and Switzerland on a map but do not try to trace the family’s escape route. If they had climbed over the mountains they took in the movie, they would have ended up in Germany.

Scott Pilgrim vs. The World

Posted on November 2, 2010 at 10:00 am

Director Edgar Wright’s latest movie is based on the popular series of graphic novels about Scott Pilgrim, an often-clueless, out of work musician who falls for a girl named Ramona and has to fight her seven evil exes in a mode that is half superhero, half computer game. In other words, it’s a Comic-Con Quadrella.

Those who were born before 1980, don’t recognize gamer terms, and are easily confused by a cuddle puddle of comics, Bollywood, indie music, and the omni-connectedness of the 2010’s, will either find this an imaginative anthropological journey or an unintelligibly precious mish-mash of smug self-awareness. Those who are in the right age group will either find it uniquely speaking to their own sense of alienation mixed with a boundary-less
hive-mind ultimate oversharing — or an unintelligibly precious mish-mash of smug self-awareness.

I thought it was cute and funny and surprisingly sweet. Director Edgar Wright (“Shawn of the Dead” and “Hot Fuzz”) tells the story with great energy and imagination, incorporating an pan-media range of story-telling techniques. When Scott has a realization, Wright has a quick cut to a parking meter with a needle that swings from the red “no clue” to the green “gets it.” Another character’s feelings are expressed when the pink, fluffy word L-O-V-E wafts in Scott’s direction.

Scott Pilgrim (Michael Cera, of course) is a nice if somewhat clueless guy whose cluelessness is tolerated and sometimes enabled by his roommate Wallace (Kieran Culkin, employing a terrific, seen-it-all-and-finds-it-amusing deadpan), his fellow band mates (Sex Bob Omb, and his high school girlfriend Knives (Ellen Wong). Yes, her name is Knives and she is his high school girlfriend not because he met her in high school but because she is in high school. What do they do together? “She tells me about how yearbook club went and once we almost held hands on the bus.”

And then Scott sees Ramona (Mary Elizabeth Winstead) and in a time-honored tradition that goes back even before Hot Pockets and Nintendo, love will make him braver, stronger, and able to consider the feelings of others for pretty much the first time in his slackery life.

But first he has to fight her seven evil ex-boyfriends, I mean exes. Each one is a physical manifestation of anyone’s insecurities in a new relationship. Will he be strong and brave enough for her? Pure enough? Successful enough? What have they got that he hasn’t got? On the way to understanding, I felt big, pink, fluffy L-O-V-E wafting from me toward the screen.

Charlie St. Cloud

Posted on November 2, 2010 at 8:00 am

Zac Efron makes an affecting and credible dramatic lead in “Charlie St. Cloud,” the movie Nicholas Sparks wishes he could write, based on the book by Ben Sherwood. Like Sparks’ stories, this has loss, and love, and a setting at the shore. But it has more depth, more bite, more humor, than the popular Sparks stories, and is more touching as well.

Efron has shown himself as an agreeable teen idol in the “High School Musical” series, and he demonstrated comic skills in “17 Again” and an an ability to work well in a dramatic ensemble period piece in the under-seen “Me and Orson Welles.” He has chosen wisely, reportedly walking away from a remake of “Footloose” for this film, which makes the most of his natural charm and gives him an opportunity to show off some acting skill as well.

Efron plays the title character, a good kid, just graduating from high school with a world opening up to him. He has a sailing scholarship at Stanford and a chance to leave behind his responsibilities to his overworked mother (Kim Basinger) and kid brother Sam (likable Charlie Tahan). He is devoted to both of them, but as he swings his sailboat around in the first scene to win a race, we can see that even he is not aware of how impatient he is to get on with his life.

But then he and Sam are in a car accident. Charlie almost dies but is brought back by a devoted EMT (Ray Liotta). Sam is killed. Charlie is devastated, shredded with guilt. Five years later, he still hasn’t left town. He is a full-time care-taker at the cemetery where Sam is buried. He keeps to himself. Except that every day at sunset, for an hour, he goes off into a clearing in the woods, where he throws a baseball with Sam.

Charlie can still see Sam. And he can’t let go of him, and of the promise he made to coach him for an hour every day. He is all but ruined by survivor guilt he cannot begin to acknowledge. He feels alive only when he is with Sam.

And then a girl comes back to town. Her name is Tess (Amanda Crew) and she represents everything that is most threatening to Charlie’s cocoon of grief — adventure, travel, life, and romantic love. She is a sailor preparing to go solo around the world.

Screenwriters Craig Pearce and Lewis Colick have adapted Sherwood’s book with a light touch for visual metaphor, nicely handled by director Burr Steers (“Igby Goes Down”) and the exquisite images from director of photography Enrique Chediak. The vigorous dynamism of the sailing scenes contrast with the quiet, static cemetery (even when invaded by geese). The characters represent a range from the vital engagement of the young woman embarking on a solo voyage to the character preparing for his own death by sharing what he has learned.

Efron is genuinely splendid in the early scenes. Charlie has not had an easy life, but he has a natural ease that makes him seem on top of the world. He is a good kid who wants to do the right thing, but he has the impetuousness and carelessness of someone who thinks his time has come. After Sam’s death, Efron’s perfomance becomes more subtle as he shows us Charlie’s uncertainty and isolation. That natural ease has become a shield to keep everyone away. He is comfortable doing his job and living half in the world of the living, half in the world of the dead. When Tess arrives, we see him struggle with longing and the possibility of hope.

And then, just as on that first sailboat race, he takes a turn we did not expect to cross the finish line, leaving us a little breathless at the way it comes together, moved by both Charlie and by Efron and wanting good things for both of them.

Toy Story 3

Posted on November 1, 2010 at 8:00 am

Lowest Recommended Age:	Kindergarten - 3rd Grade
MPAA Rating:	G
Profanity:	Some brief schoolyard language
Alcohol/ Drugs:	None
Violence/ Scariness:	Characters in frequent peril, tense confrontations, bully, dealing with loss
Diversity Issues:	None
Date Released to Theaters:	June 18, 2010
Date Released to DVD:	November 2, 2010
Amazon.com ASIN:	B00275EHJG

You won’t just forget you are watching an animated movie; you will forget you are watching a movie. That is how completely we enter this wonderful world, and how reluctantly we leave it.

“Toy Story 3” has more honest, acutely observed, and engaging characters, a more authentic understanding of the poignant complexities of the human condition, bigger laughs, and better action than most live-action films and is close to being as authentic and involving as real life. You have to remind yourself, a little sadly, that these are not toys you’ve played with and people you know. It is by any standard and in any category a masterpiece.

It was just 15 years ago that Pixar released the first “Toy Story” and changed the course of movies forever. They made it about toys because the limited motion and smooth, shiny surfaces of plastic made it possible to hide the limitations of the technology of the time. And as they have with every film they produced, they made the story and the characters come first. It was the writing — and the voice performances by Tim Allen and Tom Hanks and the rest of the cast — that made the movie come to life. Ten record-breaking, genre-shattering films later, Pixar returns to the story of Buzz and Woody with all of the humor and action and even more heart. The early works were kids’ movies adults could enjoy but as they showed with “Up,” they are now making films for grown-ups that kids will appreciate.

As with “Up,” “Toy Story 3” begins with a brief flashback sequence filled with a breathtaking mastery of telling, evocative detail. Once there was a time when children played with toys powered by imagination rather than batteries. We go back in time to see Andy playing out a fabulously inventive adventure and the buoyant energy of his vision, acting rather than re-enacting, is jubilant with the pure pleasure of making things up. (This must be what it is like to work at Pixar.)

But time has gone by. Andy is packing for college and the only way the toys who love him can get his attention is to hide his cell phone in the toy box. He has to clear out his room. Where will the toys go?

Through a mix-up, they find themselves at a day care center where they are at first warmly welcomed by the toys who live there, led by Lots-o’-Huggin’ Bear (voice of Ned Beatty). It seems perfect; with new children coming every year they will never be outgrown or neglected. “No owners means no heartbreak.” They have a chance to do what they love — making kids happy.

But things begin to go very badly. They are placed with children who are too young to make up stories for them or care for them. When Buzz Lightyear protests, he is rebooted, restored to his original programming. Once again, Woody must come to the rescue, and once again, they must decide what their purpose is and where their loyalties are.

The first movie came out in 1995, but the toys were intentionally retro, more familiar to the parents in the audience than the children. The little green soldiers, the barrel of monkeys, the Potatoheads, the slinky dog, and the cowboy were old school. Part of the poignancy of the first film was the arrival of the first battery-powered, space-age toy, Buzz Lightyear. And part of the charm of the second film was its theme about what value means — is it better to be in mint condition forever and sold on eBay as a collectible or to be played with and loved, knowing that childhood is brief and the person you are devoted to will leave?

The new characters in this film are perfectly rendered replicas of toybox classics (bet you grown-ups can’t get through the movie without saying to the person next to you, “I had that!”) and originals that fit in so perfectly you can almost remember seeing the ads and humming the jingle. Barbie (voice of “The Little Mermaid’s” Jodi Benson) and Ken (voice of Michael Keaton) show some unsuspected depth (her political views are surprisingly well-founded) and he has some unanticipated growth opportunities. His wardrobe provides some of the movie’s most delicious moments, especially when he reverses the usual movie convention to put on a montage try-on session. I also loved Mr. Pricklepants (voice of Timothy Dalton), a Vincent Crummles-style thespian (a stuffed and stuffy hedgehog) who reminds Woody about the pleasures of play, a theme that gently deepens and expands, so entertainingly you don’t realize how stirring it becomes.

All of this is done with wit and style and action-packed chase scenes, and then it is brilliantly, perfectly resolved, showing us that the time the toys spent with Andy helped to make him who he is. I dare you not to cry. It’s a happy ending that like all great movies makes us think more wisely about our own sense of purpose and connection. And it reminds us, too, of the pleasures of imagination by showing us what it can achieve.