The Underdoggs

The Underdoggs

Posted on January 25, 2024 at 8:50 pm

B-
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for pervasive language, sexual references, drug use, and some underage drinking
Profanity: Constant very strong and vulgar language
Alcohol/ Drugs: Marijuana and alcohol, including children getting drunk
Violence/ Scariness: Some peril
Diversity Issues: A theme of the movie

Normally, seeing kids use bad language does not make me laugh, not because I am offended but because it is just lazy. So I’m not proud of it, but I admit that “The Underdogs” made me laugh, not because kids use four-letter words or because star and producer Snoop Dogg does, but because it was about more than the shock value. No one will ever call Snoop an actor –he can barely focus on playing a character designed to be as much like his off-camera persona as possible — but he is an able performer and this basic underdog story benefits from being so evidently dear to his heart. We learn from end credits sequence that Snoop created a real-life football program for kids. And we learn from the pre-movie warning that the movie has strong language “that may not be suitable for children” and then goes on to say, in very colorful terms, to disregard that because kids who are not supposed to be watching this….stuff… curse more than the rest of us…..explitives. Those two bookends set the scene.

Snoop plays Jaycen, known as Two Js, a selfish and arrogant former star football player who now spends his days rattling around his gigantic mansion, smoking weed, and getting into trouble. A judge (Kandi Burruss) offers him community service coaching a kids’ football team and he refuses. He does not want anything to do with kid or, really anyone else. So he is given clean-up duty instead, with an orange vest and a pole for picking up dog poop.

And who should be at that location but a scrappy little team of, say it with me, underdogs. And, what a coincidence, who should be the mother of one of those kids but Jaycen’s high school girlfriend, Cherise (the always-appealing Tika Sumpter). She gives Jaycen something the judge did not, a reason to at least pretend to be someone who cares about something other than himself. It is still pretending, of course, but we all know where this is going, as do the characters, who have all seen “The Mighty Ducks” and probably countless other movies about scrappy underdog sports teams with reluctant coaches who grudgingly realize they want to to be the person the team needs them to be.

Trailer for The UnderDoggs

It’s no one’s idea of a classic, or even of being what you might call “good,” but it is an easy watch that stays out of its own way. Mike Epps shows up as Jaycen’s old friend, Kareem, a hustler and sometime carjacker, who moves in and talks his way into a spot as assistant coach. The kids on the team are the basic Smurf-types, each one getting one attribute — quiet, mouthy, butterfingers, etc. Snoop has good chemistry with the kids, though, and they are tougher than he is, which helps keep things moving. George Lopez shows up as Jaycen’s high school coach, reminding us of the difference it can make in a child’s life to have an adult who cares.

The film meanders back and forth between the kids’ underdog team formula and occasional meta-commentary on the classic tropes of the genre, but either way it is enjoying itself so much it is impossible not to go with it.

Parents should know that this movie is raunchy and vulgar. Characters, including children, use constant strong and graphic language with many insults. A child character’s nickname is a coarse word for a female body part. Characters smoke weed and drink and children get drunk and throw up. There is some potty humor. A character is careless with a gun but no one gets hurt.

Family discussion: What made Double J decide to take coaching seriously? What makes a good coach? Is it true that we want to see successful people fail?

If you like this, try: “The Mighty Ducks” and “The Bad News Bears”

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The Color Purple

The Color Purple

Posted on December 24, 2023 at 5:04 pm

A-
Lowest Recommended Age: High School
MPAA Rating: Rated PG-13 for mature thematic content, sexual content, violence and language
Profanity: Strong and racist language
Alcohol/ Drugs: Drinking and drunkenness
Violence/ Scariness: Domestic violence, attack, character beaten by police
Diversity Issues: A theme of the movie
Date Released to Theaters: December 25, 2023

Copyright Warner Brothers 2023
Alice Walker’s novel, The Color Purple is the acclaimed, Pulitzer Prize-winning story of Celie, a young Black woman in the rural Georgia of the early 1900s. Through her letters, written to her sister Nettie, we learned the story of her horrific abuse, told in the simple language of someone who had no education and little sense that she deserved better.

The book was made into a dramatic film directed by Stephen Spielberg, with Whoopi Goldberg as Celie and Oprah Winfrey as Sofia, who becomes Celie’s step-daughter-in-law. It then became a successful Broadway musical with music and lyrics by Brenda Russell, Allee Willis, and Stephen Bray, and a book by Marsha Norman. “American Idol” favorite Fantasia Barrino was a replacement Celie and Danielle Brooks played Sofia.

And now it is a movie again, with Barrino and Books repeating their Broadway roles. This version is unexpectedly joyous and heartwarming. That is in large part thanks to director Blitz Bazawule, who shows us the characters’ strengths with the musical numbers before the storyline does. It is also thanks to the raise-the-roof, powerhouse performances from Barrino, Brooks, and Henspn, any one of which would blow the doors of of a theater, and all three together lift our spirits like a gospel choir. Every note is pure and thrilling. Every one is a revelation. Henson has the showiest part and she brings her endless movie star charisma to Shug the performer. But she also brings infinite compassion and gentleness to the intimate moments. Any lesser performer might make us question why someone as flamboyant and apparently hedonistic as Shug would find what no one else in Georgia seems to see in Celie. But Henson makes us understand why she gives Celie two things she has never had before, respect and a sense that she is worthy of love. She makes Shug another character who has made choices for her own survival but maintains a core of warmth.

Brooks is bursting with life force as Sofia, until her insistence on respect from others brings her devastating repercussions from the only white characters we see in the film. We learn from her story about abuse from outside that creates ripple effects in their community. We also see with Mister’s relationship with his father, how abuse is passed on through generations. And, with his son (Corey Hawkins), how healing through generations is also possible.

Phylicia Pearl Mpasi as young Celie and Halle Bailey (“The Little Mermaid”) as the her sister Nettie show us that having one person care is enough to make a difference. Mister throws Nettie out and she leaves with a missionary family for Africa and their separation is more devastating to Celie than her abuse by Mister, again underscoring the critical importance of a sustaining relationship.

The movie is frank about Celie’s abuse, including repeated rape by the man she believes is her father and then by the man her father sells her to, known to her only as Mister. But this version is more about Celie’s growing understanding of her own power, including the power of forgiveness. We also see other characters show resilience, generosity, and remorse. If the conclusion, as in the book and the previous movie, seems to tie things up a little too quickly, by that time we are so happy for Celie and so moved by the music we are fine with it.

Parents should know that this movie includes extreme abuse of a very young woman including rape and battery and having her children taken away. The film also includes misogynistic and racist attacks, a character beat up by police, betrayal, drinking and drunkenness, and strong language.

Family discussion: What are the events that make Celie understand that she could say no and that she deserved better? Why did Shug see more in Celie than anyone else? What made Mister change his mind?

If you like this, try: the book and the Spielberg movie

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Aquaman and the Lost Kingdom

Aquaman and the Lost Kingdom

Posted on December 21, 2023 at 2:12 pm

B-
Lowest Recommended Age: Middle School
MPAA Rating: Rated PG-13 for language and sci-fi violence
Profanity: Some strong language
Alcohol/ Drugs: Beer
Violence/ Scariness: Extended comic-book style fantasy action, some disturbing images of characters getting burned and stabbed, zombie-like characters, monsters
Diversity Issues: Diverse characters
Date Released to Theaters: December 22, 2023

Copyright WB 2023
I get the feeling everyone was just calling it in on this one. The DCCU is getting a makeover under James Gunn and Peter Safran and who knows what will happen given the prospect of the catastrophic leadership of David Zaslav burying his bad decisions and collecting a huge paycheck with a possible sale of Warner-Discovery to Paramount. And Jason Mamoa already made it clear this was his last Aquaman movie. Whether the behind-the-scenes is the reason for this lackluster, derivative entry in the DC Cinematic Universe or not, the movie is a wait-for-streaming for all but the most devoted fans.

In our last episode, Aquaman (Momoa) killed a pirate named Jesse Kane, and his son, David (Yahya Abdul-Mateen II) vows to kill Aquaman in revenge. And Aquaman seizes control of the underwater kingdom from his half-brother Orm (Patrick Wilson). An extra scene in the credits has David Kane joining forces with marine scientist Stephen Shin (Randall Park), who promises to help David get his revenge if David will help him find the lost kingdom under the sea.

We pick up a few years later, where, in the first of a series of clangingly obvious foreshadowing signals, Arthur/Aquaman is now married to Mera (Amber Heard) and he tells us the most important thing in the world to him is their baby son, Junior. Aquaman divides his time between his home at the shore, with his human father, Tom (Temuera Morrison) helping to care for Junior, and his undersea kingdom. He is often frustrated with the bureaucracy of the kingdom’s council. And he is very concerned about the land countries destroying the environment, but, with his kingdom’s long history of secrecy, he cannot reach out to the upper world.

David has found the lost kingdom and the source of immense evil power in the black trident. A frozen spirit who looks like a cross between Groot and the Green Goblin says he will give that power to David if he will bring him the descendent of his enemy, which turns out to be guess who.

Actually, it’s guess whos, but that comes later. In order to fight David, Aquaman will have to team up with Orm, the half-brother who tried to kill him, and who is now in prison. The council will never approve, knowing that breaking Orm out of prison will start a war with his captors, but no matter, Aquaman does it anyway.

Much of the storyline is similar to “The Black Panther,” a kingdom with superior technology trying to decide whether to let the rest of the world know who they are and a villain seeking revenge with a conclusion for one character very reminiscent of Killmonger. And the mechanical octopus-like machine seems an awful lot like the one from “The Incredibles.” Topo, the real (CGI) octopus, is, fun, though, and I wish we’d seen more of him. The special effects range from okay to pretty good. Martin Short makes the best of a character who seems like a cross between Jabba the Hutt and a champion from RuPaul’s drag race.

It swings back and forth between meaningless nods to the issue of climate change (the most damaging technology is imaginary), action scenes with lots of monsters and machines, cliche dialog (“It’s time for me to reclaim my destiny!”), and corny winks at the audience. Here’s hoping the Gunn/Safran regime can do better.

NOTE: Stay for one mid-credits scene

Parents should know that this film has some strong language and constant comic book-style action with some grisly images of monsters. Characters are in peril and there are graphic wounds.

Family discussion: What influenced the relationship between Arthur and Orm? How would we think of environmental threats differently if we thought humanoid creatures lived there? Why did Aquaman try to save David?

If you like this, try: the other DC comics films and the comic books, especially the Neal Adams versions

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Maestro

Maestro

Posted on December 17, 2023 at 4:30 pm

B +
Lowest Recommended Age: High School
MPAA Rating: Rated R for some language and drug use
Profanity: Strong language
Alcohol/ Drugs: Alcohol and drugs, cigarettes
Violence/ Scariness: Tense emotional confrontations, serious medical problems, sad death
Diversity Issues: Some references to antisemitism and prejudice against LGBTQIA people
Date Released to Theaters: December 15, 2023

Copyright 2023 Netflix
There are moments in “Maestro” that are as stunning and bravura as the works of the brilliant man who is the subject of the film. It is the story of one of the formative figures of 20th century music, composer/conductor/musician/educator Leonard Bernstein. Bradley Cooper co-wrote, directed and stars as Bernstein, whose music provides every note of the score and sometimes commentary on the narrative. Some of his choices work better than others, but every frame of the film reflects his profound immersion in Bernstein’s life and his growing mastery of cinematic storytelling.

It begins with a brilliant introduction to Bernstein as a character and to his story at an early turning point. Bernstein answers the phone. His voice is measured. Someone is ill. He expresses concern. But that means a once-in-a-lifetime opportunity and the second he gets off the call his ecstatic jubilation bursts from him as he kisses the man in his bed and races down to the theater, still in his robe. Conductor Bruno Walter is ill and Bernstein will conduct that night’s concert. To call it a triumph is an understatement. It was a sensation. And Cooper the director makes us not just see but feel it.

One of Bernstein’s early compositions was the music for what would become the musical and later Gene Kelly film “On the Town.” Cooper makes a very daring choice by having Bernstein and his date and future wife Felicia Montealegre (Carey Mulligan) attend a rehearsal that becomes something of a dream ballet. The characters interact with the dancers to show us the developing dynamic of their relationship.

In another extraordinary scene, Bernstein and Felicia, now married and middle-aged, are having an argument in their Manhattan apartment. It is staged with a deep understanding of the characters, their deep but sometimes toxic connection, and of how we as the audience take in the setting. Felicia sits by the window, still but furious. Leonard hunches over in a chair, talking quickly, deflecting rather than engaging. Surreally, outside the window, the Macy’s Thanksgiving Day parade is passing by and in the next room the Bernstein children are calling out to their parents to come see Snoopy. Every detail of pacing, composition, and emotion is superb.

And one more unforgettable scene — Cooper re-enacts Bernstein conducting Mahler’s 2nd that does more than copy the physicality of Bernstein’s version as it was filmed; he inhabits it, showing us the passion, the depth of understanding, and the way Bernstein was able to communicate the most delicate nuance to a huge number of musicians and singers.

This movie is not about Bernstein as the musician and composer. There are documentaries and scholarly analyses and archival clips for that. This is about Felicia and how their relationship reflected his conflicts but made possible his achievements.
This is the story of the marriage of two people who loved each other deeply and loved their children. Felicia knew that Leonard was gay or bi-sexual (as indicated by the “On the Town” scene) before they were married and she was confident that her acceptance would make their connected impenetrable in any meaningful way. But it is much harder than she expected. It is not just about who he is physically attracted to. It is that seduction is as core to him as music. Cooper at times, especially in scenes that re-create archival material like the Edward R. Murrow television interview, seems to be replicating Bernstein. But in much of the film, especially those moments when he is thrilled by someone new, we see it is all of one piece with his furious engagement with music, with creative partners, with romantic partners, with his children and his environment — to him, with all of life.

Parents should know that this film has extended mature material including sexual references and situations, very strong language, drinking, constant smoking, tense emotional confrontations, serious illness, and a sad death.

Family discussion: What should Leonard have said to his daughter? What held Leonard and Felicia together? Do you have a favorite of his compositions?

If you like this, try: Bernstein’s music in “Candide,” “On the Town,” and “West Side Story” and his wonderful Young People’s Concerts. And learn more about the years of study that went into this performance.

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American Fiction

American Fiction

Posted on December 17, 2023 at 4:25 pm

A-
Lowest Recommended Age: High School
MPAA Rating: Rated R for language throughout, some drug use, sexual references and brief violence
Profanity: Very strong language
Alcohol/ Drugs: Drinking and drugs, references to drug dealers
Violence/ Scariness: Brief graphic violence, reference to suicide
Diversity Issues: A theme of the movie
Date Released to Theaters: December 22, 2023

Copyright Amazon 2023
“American Fiction,” from first-time writer/director Cord Jefferson and based on the 2001 novel Erasure, by Percival Everett, is a biting satire of just about every aspect of American life, especially academia, publishing, and racism. It is also a heartfelt story about family connections and the conflicts that strain them. It is provocative, funny, and searingly smart. In my opinion, it is the best film of the year.

What’s remarkable is that Everett’s story is even more timely now than it was 22 years ago. Indeed, life imitates art, as Jefferson has spoken about how this story about a frustrated Black academic writes a satiric take-down of the kinds of Black representation that pander to white audiences had the same kind of difficulty getting this film made that the fictional professor had in finding a publisher for his book about classical Greek literature.

That professor, like the man who created him, has a literary name. He is Thelonious Ellison, nicknamed “Monk” after the musician Thelonius Monk. He likes to think of himself as living in a non-racial or post-racial world. He feigns ignorance when his class objects to his writing the title of a Flannery O’Connor story that includes the n-word on the blackboard, and frustrated when he gets in trouble for it. It infuriates Monk that his books about classical literature are shelved with Black books. It infuriates him even more when his agent, Arthur (a terrific John Ortiz of “Silver Linings Playbook” and “Ad Astra”) tells him publishers want him to write a “Black book.” “It is a Black book! I’m Black and it’s a book!” Monk says.

Monk’s relationship with his family is strained. His sister Lisa (Tracee Ellis Ross) is a doctor, exhausted from the stress of her job and caring for their mother, Agnes (Leslie Uggams), who is experiencing cognitive decline. His brother Clifford (Sterling K. Brown), also a doctor, is dealing with his own domestic upheaval as he wife left him after she found him having sex with a man. After a shocking loss, Monk has to take responsibility for Agnes, and he needs money.

Impetuously, Monk quickly bangs out a book he titles My Pathology. No, he corrects it, or un-corrects it, My Pafology, presumably a first-person narrative by a gang member and drug dealer known as Stagg R. Leigh (the name inspired y the 19th century pimp described in the classic song). The book is immediately snapped up by thrilled white editors at a top publishing house who chirp at him that they hope to get it out by Juneteenth. And then a white Hollywood director is interested.

Monk, his mother, and the family’s long-time housekeeper Lorraine (Myra Lucretia Taylor) visit the family’s vacation home on the water, and Monk meets the woman who owns the house across the street, a lawyer named Coraline (Erika Alexander). The film, like Monk’s book, has a heightened tone, but Alexander’s Coraline brings a grounding reality to the story as both the heart and the moral center. A scene with Coraline, Monk, and Clifford is one of the highlights of a consistently outstanding film.

Indeed, every performance is superb and Jefferson’s exceptional control of tone somehow makes the heightened portions and the more realistic elements work seamlessly together. Another outstanding scene has Monk talking to Sintara Golden (Issa Rae) as a sophisticated author whose “poverty porn” book, We’s Lives In Da Ghetto is a critical and commercial success. Taylor makes the loyal family retainer role fully complex, and we are grateful to see that the screenplay gives her a chance to have her own life and dreams.

This is a movie that cares about all of its characters and about the pernicious effects of racism, including the unacknowledged racism of people who consider themselves free from bigotry. Jefferson knows the hardest truths reach us through humor, and this movie is filled with wonderfully funny moments. It is only later that we realize just how compelling its messages are.

Parents should know that this film has constant strong language, sexual references, drinking and drugs and a fictional drug dealer, and a brief scene of graphic violence.

Family discussion: Which book of Monk’s would you want to read? Do you agree with Coraline about not judging people on their worst day?

If you like this, try: “Dear White People” and Percival Everett’s books. And for a real-life conversation about these issues, see the Jay-Z documentary, “Fade to Black.” As I wrote about it in my book 101 Must-See Movie Moments:

Backstage, aspiring young performers talk about the conflict they feel knowing that in order to be successful they must pander to stereotypes about “gangstas” instead of addressing a wider range of issues or exploring their own experiences and feelings.
Jay-Z begins by saying that he thinks the violence and drug problems of the inner city are not as bad as they were when he was younger and that it takes people speaking out against it to make a difference. But, he says, it is not his style to do so. “You’re not that type of rapper,” one of his friends agrees. “For two lines out of a 60-minute tape,” he says, “for 30 seconds, I felt like saying something, to speak on what’s going on in the hood, should I not do that? Should I ignore those feelings?”

Young hip-hop artists who want to be as successful as Jay-Z then talk about their conflicts. “You rapping on shooting and killing people,” Jay-Z says to one of them. “They the one who buy it. That’s what people want to hear,” the other responds. “Truthfully, it’s whack. I’ve been feeling that way, too. I don’t be wanting to do that. It seems that sometimes that’s all the n*** want to hear.” Another one advises him to “be you,” asking “Why would you write a rhyme that you don’t want to write?” But he does not think his music will sell if he tries something different, even if it is more honest.

Jay-Z tells the documentary cameraman to focus on him so he can speak directly to us in the audience. “See what you, the public, did to rappers? They scared to be theyselves. N*** don’t think that people gonna accept them as theyself.”

It is as powerful and telling a moment about art, mortality, culture, and identity as has ever been filmed.

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