Lucy in the Sky

Posted on October 3, 2019 at 12:34 pm

Lowest Recommended Age:	High School
MPAA Rating:	Rated R for language and some sexual content
Profanity:	Strong language
Alcohol/ Drugs:	Drinking and drunkenness
Violence/ Scariness:	Some peril and threats of violence, gun
Diversity Issues:	None
Date Released to Theaters:	October 4, 2019

In 2007 a female astronaut furiously jealous because the male astronaut she was sleeping with was also sleeping with someone else, drove from Texas to Florida with the intention of attacking the other woman. “Lucy in the Sky” tells us it is inspired by a true story, and while it draws some of its details from what really happened, there is very little inspiration evident on screen.

Natalie Portman plays Lucy Cola, who has made up for the chaos and dysfunction of her family by being competitive and ultra-capable. Her mother drank, her father was a deadbeat, her brother is an irresponsible single dad who disappears now and then, leaving his teenage daughter with Lucy and her husband (Dan Stevens). Lucy is intensely competitive, always keeping her eye on triumphing over whatever challenge is next. “You’ll just have to work harder,” the grandmother who raised her (Ellen Burstyn) advises, and we can tell that is her standard advice. She has succeeded at everything because she refuses to stop until she does.

We first see her floating in space. Ordered to return to the ship, she insists on a little more time to absorb the vastness of the universe. (With “Ad Astra,” this is the second film in a month to show us a personal and existential crisis in outer space.)

On her return, Lucy is in that most mundane of ordinary tasks, waiting in the carpool lane to pick up her niece at school. She has a routine debriefing with a counselor (Nick Offerman) who gently asks her whether the experience was disturbing. He quotes Apollo 11’s Michael Collins, who wept as he piloted the rocket behind the moon while Neil Armstrong and Buzz Aldrin made their historic landing. He was “consumed by darkness” and said he was profoundly alone. “It’s hard to put into words,” Lucy says. But she liked it and wants to go back.

He urges her to take a break. “Can you stop?” But she only knows how to achieve mission objectives. Without a fixed mission, her mind starts spinning.

And then, another astronaut invites her to go bowling with others in “the club” — those who have looked at Earth from outer space and have had their perspective permanently changed. He is Mark Goodwin (Jon Hamm), recently separated and a bit of a mess, unlike Lucy’s stable, sweet, hand-holding-grace-before-meals husband (Dan Stevens). They have an affair. And then things spin out of control. And so does the movie.

There might be an intriguing story here about how seeing things from a — literally — broader perspective could make someone rethink choices and priorities or how the pressure of being perfect can stem from deep insecurities which can cause distortion and collapse. This film touches on all of that but we keep being distracted by Portman’s efforts at a cornpone accent, some camera tricks with the aspect ratio of the frame, and shifts in tone. The actors do their considerable best, but at times they seem to be acting in different movies. The overly cutesy idea of naming the character Lucy so that The Beatles song can play on the soundtrack is jarring and out of place.

The story could have made a pretty good Lifetime television film, a soapy melodrama starring some third-tier actors. Instead, it is an awkward, wildly uneven film that shoots for the stars — quite literally — and falls far short.

Parents should know that this film include very strong language, some peril and threats of violence, sexual references and a brief explicit situation.

Family discussion: Why was Lucy so different from her parents and brother? How did being in space affect her? What did it mean to be “in the club?”

If you like this, try: “Ad Astra” and “The Martian”

Judy

Posted on September 26, 2019 at 5:52 pm

B +

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for substance abuse, thematic content, some strong language, and smoking
Profanity:	Some strong language, one f-word
Alcohol/ Drugs:	Substance abuse including pills and alcohol
Violence/ Scariness:	Medical/addiction issues
Diversity Issues:	None
Date Released to Theaters:	September 27, 2019

On YouTube you can find a clip from Judy Garland’s 1963 variety television series where she sings “The Christmas Song” (the one that begins with the chestnuts roasting on an open fire) with its co-writer, Mel Torme. It is a very festive scene, and you can glimpse Garland’s three children, Liza Minnelli and Lorna and Joey Luft. It has an intimate, natural feeling and we can see that Garland is genuinely fond of Torme, who was creating all of the specialty musical material for her show. You can also see Garland’s impressive musicianship as she joins the duet, every note, beat, impeccable. And then comes a small mistake. We all know the lyrics by heart: “And every mother’s child is gonna spy /To see if reindeer really know how to fly.” But instead of “reindeer,” Judy Garland cannot help singing a word she has been singing since she was a teenager. She sings, “if rainbows really know how to fly.”

Everything covered in “Judy,” about the last months of Garland’s life, is evident in that brief clip, her mesmerizing, once-to-a-planet talent, even after the years of drinking and drug use, her fierce love for her children and dedication to keeping them near her, and the haunting memories of her early years of stardom and abuse. And there is one more thing, which is what takes Renee Zellweger from an impersonation to a performance and is the film’s most significant insight. We see how Garland, who tells us she first sang in public at age 2, is always, always, always treating the people around her as an audience. She is always wooing, pleasing, flirting, even pleading. In one charming scene, as she entertains Joey and Lorna to cheer them up that she has to leave them with their father while she takes a job in London, singing at a club called Talk of the Town.

Her appearance there is still legendary. Some nights she was everything her fans adored her for — the ultimate in talent, showmanship, and pure star power. Some nights were catastrophic, the portrait of total decompensating collapse. Some nights she never made it on stage.

In this retelling, the story is simplified to this: Garland was exploited, isolated, and abused as a child performer, constantly nagged about her weight, fed pills to keep her from eating and then, when those kept her awake, given more pills to put her to sleep. The money disappeared, so she had to keep working when all she wanted to do was stay with her children. As it begins, with a flashback, we see Louis B. Mayer present the teenaged Garland with the eternal choice faced by Achilles. Does she want a happy but quiet life or does she want to be important and known by millions? Standing on the yellow brick road in the set for “The Wizard of Oz,” she chooses the only option she has ever known: stardom. And, this movie suggests, the chaos that resulted was inevitable.

There are too many flashbacks, perhaps included for the current generation, who may not know the details of Garland’s story. Certainly, though, they are familiar with the idea that celebrities often have traumatic and unstable lives, and the flashbacks add very little. The present day (in the world of the film) scenes of Garland’s last romance and last performances are not especially dramatic or insightful, though there are some clever lines (a doctor asks if she takes anything for depression and Garland answers: “Four husbands”) and some touching scenes, including one where she impulsively spends the evening with a pair of fans, eating eggs and singing at their piano. That scene suggests the conflict between the unquenchable need for an audience and the hope of home and peace and family.

What there is here is Zellweger’s total immersion in the performance, as with Garland too often herself, so vital and impossible to look away from that it transcends the limits of the material she outshines.

Parents should know that this film includes substance abuse — liquor and pills — and pills being given to a teenager, child custody issues, and some strong language.

Family discussion: How did Judy Garland’s childhood experiences determine her adult choices? Could anyone have helped her?

If you like this, try: the films of Judy Garland, especially “The Wizard of Oz,” “Easter Parade,” and “A Star is Born” and a story similar to this one, “Film Stars Don’t Die in Liverpool”

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Abominable

Posted on September 26, 2019 at 5:03 pm

Lowest Recommended Age:	Kindergarten - 3rd Grade
MPAA Rating:	Rated PG for some action and mild rude humor
Profanity:	Schoolyard language
Alcohol/ Drugs:	None
Diversity Issues:	None
Date Released to Theaters:	September 27, 2019
Date Released to DVD:	December 16, 2019

I’m not sure what the fascination is with animated films for kids about mythical big furry primates, but “Abominable” is the third animated film in a year about the animal we call the Yeti or Sasquatch or Bigfoot. If you’re only going to see one, I’d suggest “Smallfoot” or “Missing Link,” but “Abominable” is good, too. It is not as imaginative visually or narratively as the others, but it is a nice family film with some lovely visuals and appealing characters.

Yi (Chloe Bennet) lives with her mother and grandmother, who worry about her because she has become distant and uncommunicative since the death of her father. She leaves the apartment most of the day, won’t eat dinner with her family, and refuses to play the violin for her mother. They do not know that she spends time in a makeshift tent she has set up on the roof of her building and plays her father’s violin.

At the same time a yeti has escaped from a facility owned by the very wealthy Mr. Burnish (Eddie Izzard), an elderly rare animal collector who has been looking for a yeti since he glimpsed them as a young man. No one believed him then and he has never gotten over the humiliation of being laughed at. He wants to be able to prove that he was telling the truth. He has a small army of SWAT-team-like security guards and he has hired an animal specialist named Dr. Zara (Sarah Paulson) to assist him.

When the Yeti lands on Yi’s rooftop retreat, she realizes quickly that he (apparently a he) is not scary; he just wants to go home, which he identifies by pointing to a billboard image of Mount Everest. So, Yi dubs him Everest, and soon she is on her way to take him there, accompanied by her neighbors, the selfie-taking, keep-my-kicks-immaculate Jin (Tenzing Norgay Trainor) and his neglected young basketball-loving cousin Peng (Albert Tsai). On the way to Everest with Everest, as they try to evade Burnish and Zara and overcome the obstacles of the terrain, they will learn a lot about themselves and each other, and appreciate what they left behind.

The Chinese settings, both urban and rural, add a lot of visual interest and it is satisfying to watch Yi find something outside herself to care for, and see how that helps her process her grief and start to reach out to others. Jin’s realization of his superficiality and selfishness is more formulaic and Peng, Everest, and Burnish are one-dimensional, well, maybe one and a half. The action scenes are dynamic, especially the use of drones, and nicely balance the tension with the humor, as the group is chased by giant blueberries and wafting on a giant dandelion. But the storyline, soundtrack songs, and lessons learned are predictable — Yi watches koi fish swimming upstream and is inspired to be persistent, and, like Dorothy, Yi learns that there’s no place like home. These are unquestionably good lessons, but they have been and will be taught with more imagination and less formula in the future.

Parents should know that this film includes cartoon-style action and peril, grief over death of a parent, and brief potty/bodily function humor.

Family discussion: Why didn’t Yi want to be home with her family? Why did Burnish change his mind? What does the word “abominable” mean? What would you do if you met Everest?

If you like this, try: the “Madagascar” movies and “Smallfoot”

Ad Astra

Posted on September 19, 2019 at 5:31 pm

B +

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG-13 for some violence and bloody images, and for brief strong language
Profanity:	Brief strong language
Alcohol/ Drugs:	None
Violence/ Scariness:	Peril and violence, characters injured and killed, some startling and disturbing images
Diversity Issues:	None
Date Released to Theaters:	September 20, 2019
Date Released to DVD:	December 16, 2019

James Gray, the writer/director of Lost City of Z. has given us another story of a father and son who leave women behind to explore unknown territory. “Lost City of Z” was based on the true story of Percy Fawcett, who traveled through South America in search of the legendary city of gold, inspiring a generation of adventurers. In “Ad Astra” (“to the stars”) an astronaut goes to the farthest reaches of the solar system in search of answers that range from the most cosmic and existential to the most deeply wrenching and personal.

In both films, Gray is better with the settings than the characters and better with the characters than the storyline. And Brad Pitt’s acting is better than every other part of the film.

The look and sound of “Ad Astra” is spectacular. It creates a completely believable, fully-imagined near-future look and feel of an era of space travel and planetary colonization. It is difficult in a sci-fi movie not to want to show off the coolness of the technology, and make the most of the extrapolations of our time into the worst (or occasionally best) possible outcomes, for example, Earth destroyed by human failings or hubris. But this film makes its imagined future all the more believable by making it fit seamlessly into a world that seems just minutes from where we are now. So of course there will be bomb-sniffing dogs in the rocket hanger; just because we develop the technology for routine travel to outer space does not mean we will develop a safer world at home. And of course there will be a Subway (the sandwich place, not the mode of transportation) in a space outpost because why wouldn’t fast food corporations line up whatever territory they can.

I will not spoil the adventures along the journey; I will just say that the characters acceptance of them as ordinary and expected also underscores the vastness of the imagined world and deepens the impact of the dangers Roy faces.

The score by Max Richter, cinematography by Hoyte van Hoytema (“Intersteller”), and the sound design by Grant Elder shape the story-telling, making the exploration seem so completely realistic that we can believe it is already an ordinary part of our daily lives, but keeping things exciting and suspenseful when the time comes.

And then there is the story. Roy McBride (Brad Pitt) is an astronaut, like his father Clifford (Tommy Lee Jones), who disappeared on a voyage to Neptune when Roy was a child. Now someone needs to go to Neptune to investigate a mysterious electrical surge that is creating great damage on earth. And it seems possible that Clifford is involved somehow, that he has survived all this time.

The astronauts are required to do regular self-assessment check-ins on their mental and psychological states to determine whether they are stable enough for space travel. But it is not at all clear as Roy goes through the list of questions whether he is saying what he really feels or what he knows they want to hear. “I am focused only on the essentials,” he says, “I do not allow my mind to linger on that which is not important.” Can anyone believe that is possible? Or that it should be possible? What Roy’s superiors know is the data that they have received, showing that his pulse never goes above 80, even when the situation is very dire. So, should he have one of those “Houston, we have a problem” complications, they believe they can count on him to be level-headed and focus on practical solutions instead of getting emotional, frightened, or angry.

And so he seems to be the right choice for “a crisis of unknown magnitude,” unprecedented electrical surges that put all human life at risk and that seem to be connected to Clifford’s long-ago mission. Roy agrees to go to Neptune, requiring stops on the moon and Mars, to see if he can find and stop the surges. But there’s a warning. “We have to hold out the possibility that your father may be hiding from us.” “I remain mission ready,” Roy assures them.

But we learn that Roy understands rage. He has seen it in his father and he feels it in himself. There will be sacrifices along the way, and decisions with tragic consequences. I found the ultimate encounter less than satisfying, not up to the ambitions of the premise and the settings. But Pitt’s performance and the world of the film provide more than enough reason to watch and wonder.

Parents should know that this film includes sci-fi style violence with peril and some disturbing and graphic images, themes of parental abandonment, characters who are injured and killed, and some strong language.

Family discussion: Was Roy honest in his answers about his emotional state? How was he like his father and how was he different? Would you like to explore space?

If you like this, try: “2001,” “Gravity,” “The Martian,” and “Silent Running”

Downton Abbey

Posted on September 19, 2019 at 5:11 pm

B +

Lowest Recommended Age:	Middle School
MPAA Rating:	Rated PG for thematic elements, some suggestive material, and language
Profanity:	Brief strong language
Alcohol/ Drugs:	Social drinking
Violence/ Scariness:	Assassination attempt, scuffle
Diversity Issues:	Class issues
Date Released to Theaters:	September 20, 2019
Date Released to DVD:	December 16, 2019

There’s a reason the hugely popular “Downton Abbey” television series and this first theatrical release are named for the property, not the characters. The part of Downton Abbey the building, or, I should say, the estate, is played by real-life historic Highclere Castle. It is over a thousand acres and has 200 rooms. And (which you can stay in via Airbnb). The story began in 2010 (1912 in Downton years) with the vital question of the future of the estate, which like most British great homes, was entailed. That means that it would always be inherited by the eldest male of each generation. (For more on this issue, see Sense and Sensibility and Moving Midway and let me just have a brief aside here to say that one completely revolutionary decision of our founding fathers that does not get enough credit for deciding that in the United States people could leave their property and land as they wished.).

The noble family occupying Downton Abbey are the Crawleys, headed by Lord Grantham (Hugh Bonneville of “Paddington”), who with his American wife Cora (Elizabeth McGovern) has three beautiful daughters and no sons. The property will thus go to to a cousin, who conveniently has become engaged to the oldest daughter, Lady Mary (Michelle Dockery). Unfortunately, as the first episode begins, he had been traveling to the United States on the Titanic, and he has been killed. Lady Mary is very sorry to lose her fiancé, but the family is in a complete upheaval because the next male relative is someone they don’t even know. Meanwhile, one of the great strengths and points of interest in the show is that it devotes equal attention and respect to the extensive staff below stairs, the servants, who all have complicated characters and conflicts and lives. They include Mrs. Patmore, the cook (Lesley Nicol), Carson, the head butler (Jim Carter), Tom Branson, and the chauffeur (Allen Leech), who crosses the uncrossable line by marrying one of the Crawley daughters. And there’s everyone’s favorite character, the acid-tongued Dowager Duchess exquisitely played by Dame Maggie Smith.

There is a ton of drama and romance over the run of the series, plus World War I and other seismic historical events.

And so now, here we are with the first Downton Abbey feature film, picking up the story in 1927, and once again the issue of property and inheritance is at issue. Writer Julian Fellowes had a daunting challenge. He had to take two dozen characters the fans were deeply invested in and were used to being able to watch through long-form storylines over the course of months. It’s kind of like “The Avengers” for the PBS/Anglophile crowd (I consider myself happily and proudly in both camps).

And, you know what? He pulls it off, with a brilliant mechanism for bringing everyone together in a high-pressure situation that gives even the most devoted fan many sigh-worthy and highly satisfying developments. As the movie begins, we follow a very important letter from its creation to its receipt. They are to receive a visit from the King and Queen of England (that would be King George and Queen Mary, the parents of future abdicator Edward VIII and “The King’s Speech” younger brother who became George VI, father of the present Queen Elizabeth II, the longest-reigning monarch in British history). This is an honor that no one can turn down. And so Downton is made ready, every tiara and silver serving piece polished, every piece of furniture in every one of the 200 rooms shined, and every arcane protocol meticulously followed.

There are ups and downs, none of the downs too terrible, all of the ups reassuring and satisfying. If we think about it for a moment, we will remember why we do not want to return to that world. It will take less than a moment if we consider the possibility we would be returning as the servants, not the nobility; the Crawleys may worry about money, but they get to worry in some beautiful clothes and settings while they are nicely cared for. We are aware that both the upstairs and downstairs characters struggle with the restrictions of their positions but somehow it all seems like a fairy tale to escape to in this lush and beautiful version, where we can all imagine ourselves dressing for dinner and receiving a visit from the royal family.

Parents should know that this film includes references to terminal illness, family conflicts, assassination attempt, scuffle, an out of wedlock child, and some mild language.

Family discussion: Why did the servants rebel? Why did Violet change her mind about the property? Do you agree with what Thomas told the princess?

If you like this, try: “Gosford Park” and the “Downton Abbey’ television series