Tenet

Posted on August 31, 2020 at 8:00 am

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for violence and intense action
Profanity:	Some strong language
Alcohol/ Drugs:	None
Violence/ Scariness:	Extended, intense peril and violence, characters injured and killed, guns, chases, explosions, weapons of mass and total destruction, torture
Diversity Issues:	None
Date Released to Theaters:	September 4, 2020

Christopher Nolan’s “Tenet” is like a three-dimensional chess game. The storyline is mind-bendingly intricate, with thought-provoking fantasy and juicy twists. But the characters are never more than one-dimensional, like the pawns, rooks, and bishops on the chess board, their sole defining characteristics are the way they look and move. The brilliantly-staged action sequences punctuate a muddled story-line with under-written characters and — its biggest failing, a boring bad guy.

The story’s leading man does not have a name. In the most eye-rolling cognomen since M. Night Shyamalan dubbed his muse-like character in “Lady in the Water” “Story,” our hero is known only as Protagonist. He even insists, “I am the protagonist!” a couple of times, so it seems to be more than a name. Fortunately for the movie and the audience, Protagonist is played by the infinitely engaging John David Washington (“BlackKklansman”) who brings so much grace and charm to the role we forget how under-written his character is. He conveys with a gleam in his eye and a shift of his shoulders more than any line of dialogue in the script.

The opening scene is a stunner. We are brought into the most civilized of environments, a concert hall, with an audience rustling in anticipation of a symphony orchestra performance. And then suddenly, it turns into the most uncivilized of situations, with terrorists breaking in to, well, we do not know exactly what, except that they are clearly combat-trained and equipped and ruthless. They carry an assortment of international law enforcement patches so they can select whichever one is right for the moment. Nolan expertly conveys the contrast between the control of the terrorists and the chaos they create.

Protagonist is one of the guys in combat gear, and he seems to be, maybe, a good guy? There to extract some dignitary? Anyway, he is soon put in a position where he must decide whether to allow himself to be tortured into giving up information or commit suicide with a cyanide capsule. He chooses the capsule, and wakes up in a hospital room. It was a test of whether he was all in. He passed.

And now he has a new assignment, the darkest of dark ops, and the direst of end-of-times consequences if he does not succeed. Even if I wanted to spoil it, I really couldn’t, as it is pretty murky, but basically someone has figured out how to make time go backward and that is very, very bad, especially if — say it with me — it gets into the wrong hands. He gets some help from Michael Caine, with one brief scene keeping his record of appearing in Christopher Nolan films going. And he gets some more from a charmingly raffish guy named Neil (Robert Pattinson), who always seems to be smiling about some delicious secret. (SPOILER ALERT: He is.) Note: compliments to costume designer Jeffrey Kurland for gorgeous suits, in the words of Dorothy L. Sayers, “tailored to the swooning point.”

Enter the bad guy, who seems to be a character from another movie, like a shlocky Bond rip-off. Kenneth Branagh plays Andrei Sator, an expat Russian oligarch, international arms dealer, and all-around sadist. His estranged wife is the elegant art dealer Kat (Elizabeth Debicki). And if that isn’t an overused enough character sketch, there’s this: he enjoys blackmailing and manipulating her by threatening to keep her away from their young son. Protagonist is just the kind of cowboy to want to save the day for her while he’s saving the world.

There’s a highway chase with some vehicles going forward in time and some backward that is a wow and a half. But it is a combination of too much (nearly 2 1/2 hours long, with so many McGuffins to retrieve I thought I was back with Harry Potter and the horcruxes), too little (I’m not sure the backwards time thing all fits together — maybe there will be some charts online from fans who are willing to sit through it four or five times to figure it out), and the complete mess that is the Sator character, who not only is an under-imagined cliche but on top of everything else not only suffers from explaining bad guy syndrome but actually is so committed to going into detail about what he is doing that he actually gets on the phone to make sure he provides even more. Murky as it all is, it gets even murkier because of some muffled sound when people are speaking, especially when part of the whole backwards time thing for some reason have to have oxygen masks over their faces.

“Don’t try to understand it,” one character tells another. The best way to enjoy this movie is to follow that advice.

Parents should know that this film includes extended and occasionally graphic peril and violence with international arms dealers, guns, bombs, explosions, chases, torture, and terrorism. There is some strong language.

Family discussion: Why does the main character insist that he is the protagonist? Which twist surprised you most? Were there clues you missed?

If you like this, try: “Edge of Tomorrow”

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The Personal History of David Copperfield

Posted on August 27, 2020 at 5:51 pm

A-

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG for thematic material and brief violence
Profanity:	None
Alcohol/ Drugs:	Alcohol and alcoholism, smoking
Violence/ Scariness:	Brief violence including a fight scene and some abuse, sad offscreen death of a parent
Diversity Issues:	Race-blind casting
Date Released to Theaters:	August 28, 2020

There is no higher praise than to say that Armando Iannucci (“In the Loop,” “Veep”) has adapted the book Charles Dickens said was his favorite of all the novels he had written, the book closest to his own history, in a manner as jubilant and shrewdly observed, as touching, as romantic, as exciting, as the novel itself.

For those who made not be familiar with the story: David Copperfield is a Bildungsroman that begins with the birth of the title character to Clara, a sweet but naive weak-natured young widow (played by Morfydd Clark, who also plays David’s first love, Dora). They have a blissful life together until she marries the stern and cruel Mr. Murdstone (Darren Boyd), who, with his equally formidable sister (Gwendolyn Christie), takes over the household.

Murdstone sends David to work in a bottle factory, where he lodges with the impecunious Mr. Micawber (Peter Capaldi). Years later, he runs away to his only relative, the formidable Miss Betsey Trotwood (Tilda Swinton), who lives with a kind-hearted but rather vague man named Mr. Dick, who struggles with intrusive thoughts about King Charles I.

Miss Betsey sends David to school, where he meets the indolent Steerforth (Aneurin Barnard of “Dunkirk”) and is befriended by Agnes (Rosalind Eleazar). After graduation he goes to work for Mr. Spenlow, and is immediately overwhelmed with love for his daughter, Dora. During all of these adventures and more David changes names and positions in society several times, and the concerns he and others have about their status in society is a recurring theme.

David Copperfield is one of my favorite books of all time, and I well understand it would take a trilogy as ambitious as “Lord of the Rings” to fully do justice to all of its characters and events. But even I had to admit that it has been judiciously pruned (the characters of Rosa Dartle and Mrs. Steerforth have been combined, no Barkis or Miss Mowcher, Tommy Traddles only mentioned, etc.). I strongly concur with dropping the “Little” from Emily’s name, and quickly got used to the idea that she was nearly an adult when David was a child. And I even applauded some happier resolutions for some of the characters. After 170 years, they deserve it.

And the cast! Not since the grand 1935 MGM version with Freddie Bartholomew as young David, Lionel Barrymore as Daniel Peggoty, Edna May Oliver as Aunt Betsey Trotwood, and Basil Rathbone as Mr. Murdstone (no one has ever been as good at naming characters as Charles Dickens), has there been such fitting richness of acting talent. Iannucci’s decision to use race-blind casting, without regard to the genetic realism of biological connections only adds to the universality and ample bounty that is fitting for Dickens, who populated his works with more vivid and varied characters per page than any other author in the English language.

Dev Patel is a superb choice for David, who is thoughtful, open-hearted, and innocent but with a strong core of honor and optimism. We first see David, like the real-life Dickens who went on very popular speaking tours, reading the book’s famous opening line on stage before an appreciative audience. “Whether I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must show.” That framing, that self-awareness is fitting for an authorial voice that opens a book by challenging us to make up our own minds about what is to come. Iannucci’s theatricality and gift for telling stories cinematically shimmers through the film, with occasional images projected onto a wall, a hand reaching down into a model of the set, Patel talking to his younger self, played by Ranveer Jaiswal.

Class as it is perceived and as it is in reality is a theme of the film, but so is story-telling itself. Mr. Dick struggles to tell his story without reference to Charles I, and David comes up with an ingenious way to help him. Even as a young child, David wrote down memorable turns of phrase he heard on scraps of paper. His realization that those pieces of paper and pieces of memories are the basis for understanding his past, his purpose, and his future is a deeply satisfying answer to the question he poses at the beginning.

Parents should know that this film includes some tense and sad moments including an abusive stepfather and the offscreen death of a parent. There are financial reversals, confrontations (one fistfight), and a character embezzles.

Family discussion: Is David the hero of the story? Why is it so important to him to be considered a gentleman?

If you like this, try: The MGM version and the book, as as well as other film adaptations of Dickens books including the David Lean “Great Expectations” and the many, many versions of “A Christmas Carol” and a film about the writing of “A Christmas Carol” with Dan Stevens as Dickens, “The Man Who Invented Christmas.”

Bill and Ted Face the Music

Posted on August 27, 2020 at 5:32 pm

B +

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for some language
Profanity:	Some mild language
Alcohol/ Drugs:	None
Violence/ Scariness:	Sci-fi/fantasy peril and violence, mostly played for comedy
Diversity Issues:	None
Date Released to Theaters:	August 28, 2020
Date Released to DVD:	November 9, 2020

I am pleased to report that Bill and Ted are still excellent. Bill and Ted Face the Music is the third in the series, 31 years after the original “Bill and Ted’s Excellent Adventure,” where the two dim but sweet-natured would-be rockers from San Dimas managed to pass their high school history class by traveling through time in a telephone booth. They also learned that their destiny was to create a song that would unite the world. Two years later, in “Bill and Ted’s Bogus Journey,” their adventures continued, including a visit to hell and a “Seventh Seal”-inspired encounter with Death. Much of the core cast of the original films returned, including Alex Winter (who also produced) as Bill, Keanu Reeves as Ted, William Sadler as Death, Hal London, Jr. as Ted’s stern father, and Amy Stoch as Missy, who was in high school with Bill and Ted but in the first film is married to Bill’s father.

In the present day, Bill and Ted are married to the medieval princesses who traveled through time with them in the earlier films, now played by Erinn Hayes and Jayma Mays. Things are not going well. Bill and Ted still perform as the Wyld Stallyns, but not in arenas. Their current gig is at Missy’s latest wedding, to Ted’s younger brother Deacon (“SNL’s” Beck Bennett). Their performance of a song named something like “That Which Binds Us Through Time, The Chemical, Physical and Biological Nature of Love,” combines some of the strangest sounds known to music, even stranger in combination guttural throat singing, bagpipes, and a theramin is, at best mystifying to the wedding guests. Basically, they hate it. Their wives insist on marriage counseling (with the always-great Jillian Bell) and we get a sense of the problem when the guys cannot understand why “couples counseling” might not mean both couples at the same time.

Each couple has a daughter. Ted’s daughter is Billie (Brigette Lundy-Paine) and Bill’s is Thea (Samara Weaving, the niece of Hugo Weaving who was Reeves’ nemesis in the “Matrix” films). The girls are 24, still living at home, and spend all day listening to music. In other words, they take after their dads.

Bill and Ted are beginning to question whether they should just give up their music. But then Kelly (Kristen Schall) shows up in a futuristic, egg-shaped time traveling capsule. That song that was going to unite the world — they would have to produce and perform it that night or it would be the end of everything. “The Great Turntable is Tipping. Reality will collapse and time and space will cease to exist.”

Everyone ends up getting involved. The guys go forward in time to see if they can get the song from various future selves. (Boy, the people in charge of hair had some fun with that.) The princesses/wives explore the multiverse to see if there’s a happier ending. And Billie and Thea do what Bill and Ted did in the first film; they go back in history and pick up some help.

Some viewers will need to be brought up to date on the earlier films, as there are references that will delight the fans. Some younger viewers will need a history lesson about phone booths. (Of course Bill and Ted do their time traveling old school.) And some fans of the original many need to check with a younger member of the family to learn who Kid Cudi is. I hope all ages know who Dave Grohl is.

It’s all sweet, silly fun, with a conclusion that is likely to bring some tearing up from the parents in the audience, and make all Bill and Ted fans feel that this has been a very excellent adventure for us all.

Parents should know there is some mild language and some mostly comic peril and violence, including characters who are temporarily “killed” and sent to Hell.

Family discussion: Would you want to meet the future versions of yourself? What would you want to know?

If you like this, try: the two earlier “Bill and Ted” movies and the San Diego Comic-Con panel about the movie.

The One and Only Ivan

Posted on August 20, 2020 at 10:12 pm

B-

Lowest Recommended Age:	Kindergarten - 3rd Grade
MPAA Rating:	PG
Profanity:	None
Alcohol/ Drugs:	None
Violence/ Scariness:	Offscreen--critically ill mother, parent of a character killed by poachers, sad death of a beloved character
Diversity Issues:	A metaphoric theme of the movie
Date Released to Theaters:	August 21, 2020

There was a real Ivan, and he was a silverback gorilla who was adopted by a family and then, at age 3 when he was too big to live in a home, he became an attraction at a shopping mall, kept indoors in a cage for 27 years. Community protests in 1997 led to his being transferred to a zoo, where he has acres to roam. His story inspired a children’s book by Katherine Applegate, and now a movie streaming on DisneyPlus, produced by Angelina Jolie.

In the film, Bryan Cranston plays Mack, the ringmaster, owner, and only human performer in a tiny circus located in a run-down shopping mall. Ivan, voiced with warmth and feeling by Sam Rockwell, is the star of the show, though his only “trick” is pretending to be fierce. The other animals include a high-strung seal, an elegant French poodle (Helen Mirren), a baseball-playing chicken (Chaka Khan), and the kind and wise elephant named Stella, voiced by Jolie. A stray dog (Danny DeVito) hangs out with them when he can escape the not-very-watchful eye of the watchman. He is dubbed Bob by Julia (Ariana Greenblatt), the daughter of the animal keeper/custodian/lighting guy and all-around handyman (Ramon Rodriguez as George). Julia’s mother is critically ill, so she spends much of her time sitting near Ivan’s cage and drawing pictures.

Ticket sales are poor and the circus is losing money. So Mack buys a baby elephant named Ruby (voiced by “The Florida Project’s” Brooklynn Prince) to generate some excitement. The other animals welcome her, especially Stella, though Ivan is a little jealous when she becomes the headliner.

Julia encourages Ivan to use her crayons and he begins to create some art. Mack makes that a part of the show. But it becomes clear that this is not a story about saving the circus. It is a story about saving the animals.

That transition is an awkward tonal shift with some very sad developments and memories and an abrupt conclusion. Cranston does as well as possible acting opposite CGI characters but there is not much he can do to make Mack into a three-dimensional person. We sympathize with him until…we don’t? Even the most photoreal CGI with supreme skill, create with an extraordinarily meticulous understanding of movement and weight leaves us more impressed than engaged. Just because you can do something does not mean you should. Rockwell’s voice was so compelling that I occasionally closed my eyes; his voice conjured Ivan more vividly than the technology did.

Parents should know that this film includes the critical illness of a child’s mother, the shooting of Ivan’s father (both off-camera) and the very sad death of one of the animals. There is some peril and brief potty humor.

Family discussion: What are things you can’t remember and things you don’t want to remember? Why does Ruby like stories and what does she learn from them?

If you like this, try: “Madagascar” and “Free Willy”

Made in Italy

Posted on August 13, 2020 at 5:14 pm

B-

Lowest Recommended Age:	High School
MPAA Rating:	Rated R for language
Profanity:	Some strong language
Alcohol/ Drugs:	Some alcohol
Violence/ Scariness:	References to sad offscreen death, divorce, family conflict
Diversity Issues:	None
Date Released to Theaters:	August 8, 2020
Date Released to DVD:	December 7, 2020

“Made in Italy” is a labor of love starring a real-life father and son playing a father and son. And it is about a labor of love in the most literal terms as the estranged father and son have to work together on the house in Tuscany they jointly own so that it can be sold.

Like the characters they play, Liam Neeson (Robert) and his son Micheál Richardson (Jack) experienced the devastating loss of a wife and mother, actress Natasha Richardson (Micheál uses her last name as a tribute). This adds an overlay of intimacy to the film would not be supported by the script alone, a first-time feature written and directed by actor James D’Arcy. It is perhaps for that reason that a climactic scene of grief is truncated and underplayed. Maybe it is because it was just too painful. Or the shifting and uncertain tone of the film, which wants to be warm-hearted, romantic, comic, and dramatically emotional at the same time.

Jack manages an art gallery owned by the family of the wife who is divorcing him. When she tells him they are going to sell the gallery, he insists he will buy it. “The gallery is my home,” he says. He cannot let it go. But to get the money he needs he will have to sell his late mother’s home in Tuscany, deserted for twenty years because it was too painful to return. And he will have to get his father to agree. They are barely on speaking terms. Jack has contempt for his father’s failure to produce any new artwork in years and for his irresponsible attitude. Jack arrives to take him on the trip and Robert has not packed (“I thought it was tomorrow”) and, in one of the movie’s most regrettable cliches, cannot remember the name of the woman who spent the night. Robert does not respect Jack. Again, regrettably, he puts it this way: “Those who can, do. Those who can’t run their wive’s galleries.”

The house is a beautiful mess. The landscape around it is breathtaking. Robert calls it “one of the most fabulous convergences of nature ever,” and dismisses Jack’s referring to it as “the view.” And they disagree about a mural Robert painted on one of the walls, which he calls his tribute to abstract expressionist Franz Kline, but looks more like a tribute to the blood-tsunami elevator in “The Shining.”

There is a brisk British real estate agent with a severe haircut (Lindsay Duncan), who brings a delightful mix of disdain and saleswomanship to every scene she’s in, at least until her character has to soften up when she is charmed by Robert. There’s a warmhearted local woman (Valeria Bilello) who is there to soften up Jack. These women and the experience of living in and working with the home of the woman they are still grieving makes it possible for them to do what they have never done before: talk about their loss in a scene that is not as emotionally resonant as the film sets us up to expect. Maybe it is just be British reticence.

But then we return to the real heart of the film, the spectacularly gorgeous Tuscan scenery and oh, that food. That setting, and the genuine affection between Neeson and Richardson, makes up for the predictability of the script. What do you think, with the potential buyers be kind, considerate people who deeply appreciate the house as it is or a poor copy of the self-centered boors Kristen Wiig and Jason Sudeikis used to play on “Saturday Night Live?” It’s the fabulous convergence of nature and the almost-fabulous convergence of the actors that makes it worth a watch.

Parents should know that this movie concerns a tragic death, survivor guilt, and family estrangement. Characters use strong language and there is a mild sexual situation.

Family discussion: Why wouldn’t Jack sign the divorce papers? Why was the gallery so important to him? Why couldn’t Jack and Robert be honest with one another?

If you like this, try: “Under the Tuscan Sun,” “Life as a House,” and “Enchanted April”