Panic Room

Posted on December 13, 2002 at 5:17 am

This thriller, in the claustrophobic mode of “Rear Window”, finds Meg (Jodie Foster), a recent divorcee, and her combative daughter Sarah (Kristen Stewart), trapped in the secret vault/bomb shelter/safe room set up by their apartment’s previous owner, a paranoid millionaire with a squabbling family. The least favorite cousin, Junior (Jared Leto), has broken into the apartment with the help of security expert Burnham (Forest Whitaker) and tag-along psycho Raoul (Dwight Yoakam). The bad guys want in to the vault, where the old millionaire hid his millions. The girls just want to get out, but the protected phone line inside the room hasn’t been activated yet (they just moved in).

This is not a movie about insight into the human condition or subtle, complex characters. This is just a movie about scaring the heck out of you, and it does that very expertly.

Jodie Foster’s inner mama tiger takes over and escalates as the burglars take more and more drastic steps to try and enter the impregnable vault, and Kristen Stewart moves from being a tough, sullen teen to a tough, sullen, wily teen. On the outside, Forest Whitaker gets to play the good bad guy, while Mr. Leto and Mr. Yoakam act progressively more evil.

For a story which should have been a claustrophobic battle of wits, too often it’s simply a battle of violence, although there are some riveting action sequences. And while the family dynamics are underdeveloped, the film does show how divorced parents and their children can remain a family even after separation.

Parents should know that the movie has extreme suspense and some graphic violence. A child is in peril. Characters use strong language.

Families who see this movie should discuss what the characters do to escalate the level of violence, and how acting from emotions as opposed to reason can aggravate problems, no matter how satisfying it may seem at the time. Divorced families will be especially interested in Sarah’s father, who has in no way abandoned his daughter.

Families who enjoy this movie will also enjoy the director’s other movies (very mature material), “Seven” and “Fight Club.”

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Action/Adventure Drama Family Issues Thriller

The Gunfighter

Posted on December 13, 2002 at 5:17 am

Plot: Jimmy Ringo (Gregory Peck) is the fastest gun who ever lived, which makes him a target for every young man who wants to prove himself. On his way to Cayenne, Ringo stops in a bar. A “young squirt” taunts him, and Ringo makes every possible effort to placate him, finally asking the young man’s friends to make him stop, but finally he pulls his gun on Ringo, who kills him. Even though everyone saw that it was in self- defense, the witnesses tell him to move on. The dead man had three brothers, and “they won’t care who drew first.”

The three brothers come after Ringo, but he is waiting for them, and he takes their guns and sends their horses back to town, telling them to go back on foot. But he knows that they will probably follow him instead, and that once he gets to Cayenne, he will only have a brief time to do what he has in mind.

He gets to Cayenne, and is surprised and pleased to find his old friend Mark Strett (Millard Mitchell) as the sheriff. Mark tells him he will have to leave; even though Ringo does not want any trouble, and has not committed any crimes, trouble will come looking for him, as there are too many young men who will risk everything to be able to claim the credit for killing Ringo. Ringo wants to see his wife Peggy and their child. Mark knows where they are but won’t say. He does agree to ask Peggy if she will see Ringo, and tells Ringo to stay put, under the care of the sympathetic bartender (Karl Malden).

Ringo stays quietly in the corner. But every one of the boys in town plays hookey to peer in at him through the saloon window. And the local “squirt,” hot-headed Hunt Bromley (Skip Homier), comes after him. Ringo scares him off with a bluff. But Jerry is across the street with a rifle pointed out the window, sure that Ringo must be the one who killed his son. And the three brothers have found horses and guns and are approaching fast.

Peggy at first refuses to see him. She finally agrees, and when he says he wants to settle down in a place where no one knows him, she says if he can do that for a year, she will join him. He spends some time with his son, and prepares to leave, happy at the thought of his new life. But Hunt is waiting for him, and shoots him in the back.

As Ringo dies, he says that he drew first. He doesn’t want Hunt hanged. He wants him to suffer as he has suffered, knowing that wherever he goes, there will be someone who wants to be known as the man who shot the man who shot Ringo.

Discussion: This is really a Western version of the story of King Midas. Ringo’s wish came true, but at a terrible price. There was a time when he could think of nothing finer, nothing manlier, than being known as the fastest gun in the West. We see a glimmer of that again, when he asks what Jimmy (who does not know that Ringo is his father) thinks of him. When he hears that Jimmy admires Wyatt Earp, he can’t help telling the boy that he is far tougher than Earp. Yet now Ringo is tired. He knows that every moment he will have to watch for someone trying to kill him (as happens throughout this movie), and that someday someone will be a little less tired (or, as happens, a little less honorable) than he is.

It provides a good opportunity for a discussion of notions of manhood and courage, along the lines of the moving speech by Charles Bronson in “The Magnificent Seven.” Ringo would trade all of his fame for the chance to live with his family, as shown most poignantly when he shares a drink with a young rancher. Ringo is more successful with his intelligence than his speed — he is able to avoid shoot-outs with the brothers, with Jerry, and in the first encounter with Hunt. He arranges to have money paid to Peggy without giving away their connection, and thinks of a plausible reason to tell Jimmy why he wanted to see him so that he doesn’t have to tell him the truth. His innate decency and sense of justice are shown in his dealings with Jerry, his dreams for a life with Peggy, and especially in the scene in which he talks to the ladies of the town, when they do not know who he is. His pleasure in being able to have a moment’s interaction with people who are not either terrified, angry, or trying to shoot him is very moving.

This is also a good movie about the consequences of our choices. There are so many movies about redemption and triumph that it is automatically branded an “adult western” when a gunfighter doesn’t shoot the bad guy and ride off into the sunset. Unlike Alan in “The Petrified Forest,” who dies to help someone else, or Butch Cassidy and the Sundance Kid , whose death at the end of the movie only brightens their legend, Ringo chooses to tarnish his legend as he dies, to curse Hunt to the same fate that he suffered, and possibly also to give little boys and young squirts less reason to try to be like him.

Questions for Kids:

· Why does every town have a “young squirt” who wants to prove he is faster than Ringo?

· Why doesn’t Mark carry a gun?

· Why does Ringo insist that he drew on Hunt?

· Why was Mark able to get away and start over, when Ringo and Buck were not?

· Why does Peggy call herself Mrs. Ringo at the end?

Connections: One of the three brothers who come after Ringo was played by Alan Hale, Jr., who went on to play the Captain in the television show “Gilligan’s Island,” and was the son of Alan Hale, Little John in “The Adventures of Robin Hood.”

Compare Ringo’s final decision to the one made by Jimmy Cagney in “Angels with Dirty Faces.” A tough criminal on death row, he is asked by his lifelong friend, a priest, to go to his death a coward, so that the boys who look up to him will not want to follow his example.

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Not specified

A Hard Day’s Night

Posted on December 13, 2002 at 5:17 am

One of the greatest musicals of all time has a gorgeous new Criterion edition in honor of its 50th anniversary.

The documentary style of this movie masks its tight construction, clever script, and sublime anarchy second only to the Marx brothers. A surrealistic day in the life of the most overwhelmingly popular rock group of all time, it portrays the Beatles sympathetically — like the heroine of “It Happened One Night,” they are constantly told what to do and smothered by all they have. Part of the humor is that it is not the members of the Beatles but Paul’s “clean” grandfather who causes most of the trouble. Musical numbers include “Can’t Buy Me Love” and “Should Have Known Better” as well as the title song, inspired by Ringo’s warped syntax after a long recording session.

http://www.youtube.com/watch?v=wiW003U4iA8

The deluxe anniversary edition includes lots of extras:

  • New 4K digital film restoration, approved by director Richard Lester, with two audio options—a monaural soundtrack and a new 5.1 surround soundtrack made by Apple Records—presented in uncompressed monaural and DTS-HD Master Audio on the Blu-ray
  • Audio commentary featuring various members of the film’s cast and crew
  • In Their Own Voices, a new piece combining interviews with the Beatles from 1964 with behind-the-scenes footage and photos
  • You Can’t Do That: The Making of “A Hard Day’s Night,” a 1994 documentary program by producer Walter Shenson
  • Things They Said Today, a 2002 documentary about the film featuring Lester, music producer George Martin, writer Alun Owen, cinematographer Gilbert Taylor, and others
  • New piece about Lester’s early work, featuring a new audio interview with the director
  • The Running Jumping and Standing Still Film (1959), Lester’s Oscar-nominated short featuring Peter Sellers and Spike Milligan
  • Anatomy of a Style, a new piece on Lester’s approach to editing
  • New interview with Mark Lewisohn, author of Tune In: The Beatles: All These Years—Volume One
  • Deleted scene
  • Trailers
  • One Blu-ray and two DVDs, with all content available in both formats
  • PLUS: A booklet featuring an essay by critic Howard Hampton

 

Families who see this movie should talk about the nature of fads and the problems created by success.

Families who enjoy this movie together will also enjoy the Beatles in “Help!” and “Yellow Submarine,” but skip the movie “Magical Mystery Tour” and just listen to the music instead. Kids 12 and up might enjoy “I Wanna Hold Your Hand,” about teens overcome by Beatlemania or “That Thing You Do,” written and directed by Tom Hanks, the story of a 1960s Erie, Pennsylvania, rock group that has an unexpected hit song.

 

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Classic Comedy For the Whole Family Musical

I Know Where I’m Going

Posted on December 13, 2002 at 5:17 am

Plot: As a baby, as a five year old, as a school girl, and as a young woman, Joan Webster (Wendy Hiller) always knows exactly what she wants. And whether it is “real silk stockings” instead of synthetic or dinner in an elegant restaurant instead of an evening at the movies, she insists on getting it. As the movie begins, she tells her father she is about to marry one of the richest men in England, and that she is leaving that night for his island off the coast of Scotland. At each step of the trip, one of her fiancé’s employees is there to make sure things go smoothly, but once she gets to Scotland the fog is so thick she cannot take the boat to the island. That night she wishes for a wind to blow away the fog, and the next morning she finds that she has been too successful — the wind is so strong that no boats can get to the island. Stuck where she is, she meets some of the people from the community, including Torquil MacNeil (Roger Livesey), a Naval officer home on leave.

“People are very poor around here,” she comments to Catriona, a local woman who is a close friend of Torquil’s. “Not poor, they just haven’t got any money.” “Same thing.” “No, it isn’t.” While waiting for the wind to die down, Joan has a chance to see something of the life she would have as the wife of Sir Robert Bellinger. She meets his bridge- playing friends and hears of his plans to install a swimming pool on the Kiloran estate he is renting. (It turns out that he is renting it from Torquil, who is the Laird of Kiloran.) She visits a castle where Torquil’s ancestors lived, and where it is said that any Laird of Kiloran who goes inside will be cursed. She goes to the 60th wedding anniversary party of a local couple, still very much in love.

Even though it is still not safe to take the boats out, she is desperate to leave, telling Torquil, “I’m not safe here…I’m on the brink of losing everything I’ve ever wanted since I could want anything.” She pays a young man to take her out in the boat, and Torquil goes along. The boat almost sinks, and she loses the bridal gown she had planned to be married in. When it is finally safe to go, Joan and Torquil say goodbye. He asks her to have the bagpipes play for him some day, and she asks him for a kiss. They part, but she returns with three bagpipe players and joins him in the castle, where it turns out the curse provides that any Laird of Kiloran who enters will never leave it a free man. “He shall be chained to a woman until the end of his days and he shall die in his chains.”

Discussion: Like “I Love You Again,” this movie falls into the category of “the life I didn’t know I wanted.” Joan thinks she knows what she wants and where she is going, but she is given the gift of a chance to see the alternatives. She learns that, while the people from the community miss having money, there are other things they care about more. And she learns that she can fall in love with someone who is is going in a very different direction from her ideas of “where I’m going.”

This movie provides a good starting point for a discussion of how we make decisions about what we want out of life, how we pursue those goals, and what we do when we are presented either with obstacles or with new information. And it is a good starting point for a discussion of what is important, and how we determine what is important to us.

Questions for Kids:

· The title of this movie is taken from a famous old folk song. Why did the filmmakers choose it? Why did they insist on an exclamation point at the end?

· Does Joan know where she is going? When does she know? Where is she going?

· What makes Joan change her mind? What do you think her life will be like?

· What is the meaning of the “terrible curse”?

Connections: The little girl who seems so much more mature than her parents is played by then-child actress Petula Clark, who became a pop star in the 1960s (“Downtown”) and appeared in the musical version of “Goodbye Mr. Chips.”

Activities: The bagpipe plays an important role in this movie. Children might enjoy hearing more bagpipe music, especially if they can see it performed live. Look up the Hebrides, where this movie takes place, in an atlas or encyclopedia. Find out if your area has any legends like the ones described in the movie.

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Drama Romance

Passion of Mind

Posted on December 13, 2002 at 5:17 am

This is the movie equivalent of a juicy beach book, an old-fashioned guilty pleasure chick flick.

The plot is “Sliding Doors” crossed with the fairy tale of the dancing princesses with a touch of “Truly Madly Deeply.” Demi Moore plays a woman with two lives: Marty, a successful New York career woman and Marie, an American widow living in the French countryside with her two daughters. Every night, when Marty goes to sleep, she dreams of Maria’s life in France, and when Marie goes to sleep, she becomes Marty in New York. Both wonder which is real, and each is afraid to find out.

The two lives echo each other, and each seems to provide something missing in the other. But one thing is missing in both – love. Marty meets Aaron (William Fitchner) and Marie meets William (Stellan Skarsgård).

Both relationships begin with conflict. Marty confronts Aaron for capitulating to a client’s request to settle a lot of money on an unfaithful spouse and Marie has given a bad review to William’s book. Both men are completely captivated by the elusive woman/women. And both courtships are rapturously romantic – this movie has two of the all-time great movie boyfriends.

At first, the two storylines provide counterpoint. One relationship becomes physically intimate. The other becomes emotionally intimate because she tells him of her double life. Then both relationships deepen and the two lives begin to provide some resolution for one another. Items from one life begin turning up in the other. She begins to understand that she can take what she needs from her dreams and make it work in real life.

It is very schmaltzy. But I found myself beguiled by its unabashed romanticism. There are some nice subtle touches – the clusters of hats, Marty’s relationship with her therapist, Marie’s relationships with her daughters and her confidant – and the resolution has some psychological validity, at least in movie terms.

Parents should know that the movie has sexual references and situations (frank but not graphic), some strong language, and smoking and drinking.

Families who see the movie will want to talk about the way that people consciously and subconsciously work through unresolved issues, and the way that opening oneself up to being known by someone else can seem scary. If your real-life self had a dream life, what would it be?

Families who enjoy this movie will like “Truly Madly Deeply” and a Bette Davis oldie, “A Stolen Life.”

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Drama Fantasy Romance
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