Despicable Me 3

Posted on June 29, 2017 at 5:33 pm

B
Lowest Recommended Age: Kindergarten - 3rd Grade
MPAA Rating: Rated PG for action and rude humor
Profanity: Some schoolyard language
Alcohol/ Drugs: None
Violence/ Scariness: Extended cartoon-style peril and violence
Diversity Issues: None
Date Released to Theaters: June 30, 2017
Date Released to DVD: December 4, 2017

Copyright 2017 Universal Pictures
It does not achieve the delirious delight of the first in the series, but it is better than the second. “Despicable Me 3” is meandering and uneven.

The problem with making the title character into a happily married good guy who loooves his three girls is that he is not despicable any more. He is therefore much less interesting than the actually despicable villain of the movie, Balthazar Bratt (Trey Parker, co-creator of “South Park”), an 80’s child star embittered because he has been forgotten. Whenever Bratt is not on screen, the film deflates. It is a cute, fun, and sweet-natured family treat, but overstuffed at just 90 minutes with too many distracting detours.

Formerly despicable Gru (Steve Carell) is now working with Lucy (Kristen Wiig) at the AVL (Anti-Villain League), and Lucy is also trying to learn how to be a mother to the three girls, serious middle-schooler Margo (Miranda Cosgrove), mischievous Edith (Dana Gaier), and sweet, unicorn-loving Agnes (Nev Scharrel).

Gru and Lucy stop Bratt from stealing the world’s largest diamond, but he gets away, and the new, very ambitious, head of the AVL (Jenny Slate) fires Gru. Lucy quits in protest. As they begin to think about finding new jobs and Agnes sells off her beloved fluffy stuffed unicorn to help out, Gru finds out for the first time that he has an identical twin brother. “Parent Trap” style, when their parents split up, they split the babies up, too. An emissary from Gru’s brother, Dru (also Carell) invites them for a visit to Freedonia, presumably the country responsible for their accents and certainly the country where the Marx Brothers created memorable mayhem in “Duck Soup.”

Dru is identical to Gru except for luxuriant blond hair. And it turns out he wants to be despicable, like their late dear old dad. The brothers go for a wild joyride in Dad’s crookmobile. Bratt has now successfully stolen the world’s biggest diamond, and so Gru tells Dru they will steal it from him. Dru thinks they will keep it, but Gru plans to return it so he and Lucy can get their jobs back.

Meanwhile, the minions are performing Gilbert & Sullivan on a TV reality show and being thrown in prison. Lucy is still not sure how to connect to the girls. Agnes thinks she can find a unicorn. And Bratt is getting ready for the ultimate revenge on the Hollywood that rejected him.

The film flags whenever Bratt is off-screen. He is an inspired creation, with lots of 80’s references for the parents and just the right touch of whiny entitlement to seem quite timely. He just about makes up for the slow patches. The snatches of the terrific Pharrell Williams score from the first film serve as a reminder that this, too, is mostly just an inferior copy, we hope, the last.

Parents should know that this film includes cartoon-style peril and violence, mostly comic, crotch hit, some potty humor, and brief minion nudity.

Family discussion: Why didn’t Lucy know when to say no? What made Margo trust her? Why did Gru’s parents tell their sons they were disappointments?

If you like this, try: the other “Despicable Me” movies and “Megamind”

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Interview: Pharrell Williams on the Music of “Hidden Figures”

Posted on December 21, 2016 at 3:37 pm

“Hidden Figures,” the true story of African-American women mathematicians at NASA during the 1960’s is one of the most uplifting films of the year. Its score is composed by by Hollywood legend Hans Zimmer with Benjamin Wallfisch and the best pop producer in the business and one of the most popular performers as well, Pharrell Williams, who told me “I’m lucky to be a part of this film.” Even before he got involved, Williams had begun to experiment with some 60’s-inspired compositions. “I grew up around that kind of music because I was born 11 years later. So I used to hear it around the house, my parents played it and at my grandmother’s house too, I used to hear the music. That’s a very crazy time, but it felt good and it was all music that evoked, music that came from the soul and that’s why they call it soul music. It was like you could just feel the core of where someone was coming from.” He used a mix of old and new instruments to create the sound.

Copyright 2016 Nell Minow
Copyright 2016 Nell Minow

Williams has worked with a wide range of musicians and performers. “Collaborating allows me to channel and learn new ways of working, new ways of thinking, new directions. This is all an education. Life is an education, so every time I collaborate with somebody it’s like a crash course into the way that they work, into this new moment that we are sharing and into uncharted territories.”

He told me what he learned from Zimmer and Wallfisch about writing music to complement a story. “Hans always likes to find the poetry in a script and then he likes to parallel it with the score. And Ben is like a seeker of tenderness.  I like to stoke the fires and try and stimulate something. So it was like this really interesting trio in the way that we worked. It was a whole lot of fun. And ultimately we came to the conclusion that when you think about scores there’s always like the default go to, Euro/Anglo angle when composing a score so we thought well, these women were not Euro and they were not Anglo. They were African-American, they were women and it was the 1960s, so those were our coordinates. That’s what we locked in on and that’s what we tried to chase.” He said this might be the music they listened to as they were cooking and driving to work.  “This music was meant to be the backdrop to the most important dialogue and the most important stories in its universe, in its world and so the music was never supposed to shine brighter than what was going on in the film because that was the most important part.” He said that does not mean creating the melodies differently but “you’ll know when it’s doing too much. I tried to pull the fire out of something first. Like in other words if you ask me do that then I have to go to that dial I have to dive deep on the four dimensional level and try to well up as much fire as I can and then I dial it down once I’ve got it.”

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Composers Interview
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