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Movie Reviews From A Family Perspective
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titles released after July 2005.
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Philip Seymour Hoffman, Catherine Keener, Chris Cooper, Clifton Collins, Jr. United Artists. Drama. W-Dan Futterman. D-Bennett Miller.
“Capote” follows the celebrated writer on his odyssey to create the landmark bestseller “In Cold Blood.”
With his signature style and mordant wit, Capote attempts to charm the Kansas locals where the brutal murder of a family sent shockwaves through the nation. The writer meets with the incarcerated killers and forms a bond with one, Perry Smith. But is it a real friendship or is the author of “Breakfast At Tiffany’s” just using the inmate for his own purposes? As the book nears completion and execution day approaches, Truman Capote finds himself torn in directions he never anticipated and is forever changed by his experiences.
This is a fascinating account of the author’s process for writing a book that went on to influence the style of most novelists from then on. The film also illuminates Truman Capote. As pictured here, he was as self-centered and narcissistic as can be, a characteristic many who are gifted struggle with. The film leaves us with a perspective on human nature and makes clear that no life finds satisfaction when it only lifts up itself.
A brilliant performance from Philip Seymour Hoffman, nicely supported by Catherine Keener (as lifelong friend Harper Lee, author of “To Kill A Mockingbird”) and Chris Cooper as the Kansas cop who sought the capture of the brutal killers. But what impressed me most was the writing, direction and editing. The movie flows along, giving viewers a revealing and satisfying example of moviemaking that’s not just style but full of substance. No doubt, one of the best films of the year.
R (4 or 5 profanities and one obscenity; there are a couple of crude jokes made at a party, furthering character development of the main personality; Capote’s homosexuality is implied mainly by phone calls with another writer, the conversations implying a relationship, but the film is not about a gay lifestyle, nor is it exploitive or graphic when it comes to sexual matters; indeed, there is no sexual activity; the film gets its rating mainly for the subject matter – two murderers killed a family of four in rural Kansas 1959, shattering the secure feeling of those who never locked their doors; in flashback, we see the shotgun blasts that killed the family members as well as the father having his throat cut – a gruesome sight, but these visuals were not meant by the filmmaker to be exploitive, but are used to clarify the brutality of the two killers who otherwise seemed like ordinary people).
Note to readers: Positive comments on a film are not necessarily meant as an endorsement. I respect anyone who has taken a stand against R-rated movies or films that misuse Christ’s name, which this film does. I simply thought this film was well-made and sometimes seeing the foibles of people in a movie – in this case, self-centeredness – can cause the viewer to examine his own acquaintance with that struggle.
Voices: Owen Wilson, Paul Newman, Bonnie Hunt, ,Larry the Cable Guy. Pixar/ Buena Vista Pictures. Family animated action/comedy. Directed by John Lasseter. Opens 6/9/06.
After taking moviegoers magically into realm of toys, bugs, monsters, fish, and superheroes, ,the wizards at Pixar Animation Studios (The Incredibles, Finding Nemo, Monsters, Inc.) and Academy Award-Winning director John Lasseter (Toy Story, Toy Story 2, A Bug's Life), hit the road with a fast-paced comedy adventure set inside the world of cars. Lightning Mcqueen (voice of Owen Wilson), a hotshot rookie race car driven to succeed, discovers that life is about the journey, not the finish line, when he finds himself unexpectedly detoured in the sleepy Route 66 town of Radiator Springs.
With brilliant digital cartooning and masterfully voiced by its gifted cast, this skillfully retooled “Doc Hollywood” is a surefire winner for the whole family. Funny, yet poignant, his action/comedy teaches life lessons to kids while tickling the funny bone of each family member.
G (a running backfire gag sounds like, ,well, the relief of gas. The lead is referred to as “hot snot” at one point; the self-absorbed lead character refers to the local community as Hillbilly Hell; that reference is repeated once;the film begins with the fast moving NASCAR-like race, complete with in-your-face car wrecks; though the studio is careful not to abuse the youngest member of the audience, parents should attend them in order to reassure; there's also a dangerous race to beat an oncoming train; the story helps little ones understand the need to treat others well in order to attain fulfillment).
Anton Yelchin, Kat Dennings, Tyler Hilton, Robert Downey, Jr. MGM. Teen comedy. Written by Gustin Nash. Directed by Jon Poll.
FILM SYNOPSIS: Charlie becomes an underground, not
to mention underage, shrink who listens to the private confessions of his schoolmates,
and makes the imprudent decision to hand out the pills he's proffered from
his own psychiatric sessions. Meanwhile, at home, Charlie keeps charming his
way out of an inevitable confrontation with his adoring but utterly overwhelmed
mother, Marilyn. Then, Charlie Bartlett makes his big mistake--falling in love
with the beautiful and bold daughter of the school's increasingly disenchanted
principal, who is hot on his trail. As Charlie Bartlett's world and fledgling
psychiatric practice unravel, he begins to discover there's a whole lot more
to making a difference than handing out pills.
REVIEW: I suppose every film nowadays is the distillation
of several past movies. In this case, Charlie Bartlett is
part Ferris Bueller, part Rushmore and certainly part Harold
and Maude (the producers even use the Cat Stevens song If You Want
To Sing Out, Sing Out from that movie). But there’s no problem
with that, so long as the films being pilfered are of the excellence of the
aforementioned entries. This production takes the essence of those
films and molds them into a product designed to salute a new generation. It’s
smart – not profound, mind you (we seldom do profound in movies these
days), but Charlie Bartlett’s quirky illustration of teen
life, which avoids mockery or heavy-handed ruminations, coupled with its
iconoclastic lead character, gives the audience an entertaining movie-going
experience.
But the underlining theme of being an individual is handled with shallowness and the treatments of drug use and teen sex do anything but point out their pitfalls. The lead becomes a pusher of prescribed drugs in order to win over his fellow students. When a fellow student nearly overdoses, our young hero tosses the rest of the narcotics down the toilet. Lesson learned. Or is it? I’m not sure the film sends a strong enough message that doping yourself up merely deadens the pain of the problem, never kills it. And when Charlie “finally” loses his virginity at the ripe old age of seventeen, there’s no evidence that he uses protection. Nor does he use much discretion. Rather, he announces his deflowering to the entire student body. In real life, I suspect the girl might have problems with that announcement. Maybe not; when last I was in high school, the cheerleaders wore knee socks and saddle shoes. Footwear has changed almost as much as views on morality.
As for that individuality bit, I wouldn’t get your hopes up too much. Forming your own style and opinions only meets with the acceptance of your peers when they share the same desire. In other words, kids, don’t expect to be praised by your fellow schoolmates should you start listening to Sinatra and wearing a sport coat to class. Do it because it expresses the true you. Just don’t expect applause.
R (several crude sexual comments; around 30 obscenities; I caught one misuse of Jesus’ name, it coming from the lead; the expression “oh my God” is heard a couple of times; Charlie is beaten up; kicked and punched in the face; we see a tape later of other teens being beaten up by the school bully; there are several sexual conversations and the lead has sex with his girlfriend; the scene is more suggestive than graphic; he then announces the deed to the entire school; there is one shot of teen girls going topless; there are several sexual conversations and crude references to the female form; several teens are seen smoking; the lead sells prescription drugs to fellow students; two parental figures drink to excess; a student attempts suicide).
Running Time: 97 min.
Intended Audience: Though rated R, it will have a definite appeal for teens.
Dakota Fanning and the voices of Julia Roberts, Steve Buscemi, John Cleese, Oprah Winfrey, Cedric the Entertainer, André Benjamin, Thomas Haden Church, Robert Redford, Reba McEntire, Kathy Bates. Paramount Pictures and Walden Media. Based on the Book by E. B. White. W-Susannah Grant and Karey Kirkpatrick. D-Gary Winick. Opening 12/15/06.
FILM SYNOPSIS: A classic story of loyalty, trust, and sacrifice comes to life in this live-action adaptation. Fern (Dakota Fanning) is one of only two living beings who sees that Wilbur is a special animal as she raises him, the runt of the litter, into a terrific and radiant pig. As Wilbur moves into a new barn, he begins a second profound friendship with the most unlikely of creatures – a spider named Charlotte – and their bond inspires the animals around them to come together as a family. When the word gets out that Wilbur’s days are numbered, it seems that only a miracle will save his life. A determined Charlotte – who sees miracles in the ordinary – spins words into her web in an effort to convince the farmer that Wilbur is “some pig” and worth saving.
Note: Charlotte’s Web, written by E. B. White with illustrations by Garth Williams, is the best-selling children’s paperback of all time.
REVIEW: What an incredible story, completely involving, yet loaded with life lessons for children and reminders for adults. Not only have Walden Media and Paramount Pictures done justice to the book, they have given families a flawless, perfect film. I was completely charmed and that’s saying something because I am not a fan of films with talking animals. Perhaps my real objection to talking-animal movies rest in the fact that they usually have nothing worthwhile to say. Here, they do. What’s more, I defy you to find a poorly done sequence.
If you take your kid to another movie instead of this one – I don’t even want to hear about it. Well, I’m kidding a bit, but Hollywood so seldom presents us with a perfect movie. This is one of them. A classic – not just one of the best family films of 2006, but of ever.
G (There are a few comically perilous situations for the Rat, and there’s the threat that Wilber will be turned into bacon by summer’s end, but the filmmakers managed to tell an involving story without graphic or excessive violence). Running Time: 90-some. Intended Audience: The family.
Steve Martin, Bonnie Hunt, Eugene Levy.
The sequel to 2003’s revisioning of the 1950 film by the same name has the family of twelve kids, two parents and an aggressive doggy all vacationing by the lake before the elder children leave home. While there good old dad gets his offspring involved in a not-so-friendly competition with a high school nemesis and his brood.
I asked a colleague if he was attending this screening. He responded, “No, life’s too short.” Since most of my readership is looking for family entertainment, I didn’t feel I had the option of passing. And while I attempt to attend screenings with an open mind, the excruciating TV ads gave me a foreboding that I was in for the same charmless, adolescent buffoonery I had recently witnessed in the remake of Yours, Mind and Ours.
That film travesty managed to remove the charm, spirituality and the reasoning found in the 1968 Lucille Ball/Henry Fonda version as if by a rusty scalpel. Was I in for the same amount of Nickelodeon-styled slapstick (people – mostly grown-up people – slipping and sliding on green pulpous goo)? Well, the same sensibilities are there (no green pulpous goo, but there’s lots of slipping and sliding). But despite the familiarity of the plot (exacting Dad works too hard at keeping kin close to the hearth), and though the klutzy comedy seems re-treaded from dozens of other entries in this genre, still Steve Martin, Bonnie Hunt and Eugene Levy make it enjoyable. They’re just fun to watch. Parents and kids will each find themselves chuckling, there’s some positive life lessons learned, and it’s nice to see a family film where the siblings aren’t constantly bickering with one another.
PG (a couple of mild expletives, but I caught no harsh or profane language; slapstick pratfalls and lots of havoc; some social drinking by adults; an aggressive dog tackles a beautiful woman).
Adults, you may prefer this video alternative: Father of the Bride. Steve Martin stars in a truly sensitive, often hilarious look at a father dealing with his daughter’s impending marriage.
Disney animated family adventure.
This version
presents a new twist to the classic fable of a young chicken who causes widespread
panic when he mistakes a falling acorn for a piece of the sky. In this hilarious
adventure, Chicken Little is determined to restore his reputation. But just
as things are starting to go his way, a real piece of the sky lands on his
head! It turns out that a flying saucer is visiting our little planet. An
invisible shield allows for the spaceship to move about without being detected.
Questions is, how does Chicken Little get his father to believe him after
the first debacle?
Full of humor aimed mostly at the youngest members of the audience, as well
as several lively songs to beef up the action, most should find this Disney
effort to be satisfactory. Is it in the league with great animated stories
such as “The Incredibles”? No. But it is diverting with life lessons
about family communications and doing the right thing.
G (There are a few jokes that border on crudity, but mostly
the film’s dialogue is tame and nurturing; the lyrics to one of the
songs repeats a phrase having to do with “being my lover” but
the reference should go over the heads of little ones; beware, when it
appeared that the planet was being invaded by War of the Worlds-like aliens
and our little heroes found themselves on board the space ship trying to
avoid the weird-looking beings, some of the smallest members of the screening
audience got scared; there are some sad moments – Chicken Little’s
mother passed away before the story begins and chicken Little gets the
wrong impression that he has to earn his father’s love; but there’s
a happy ever after ending and a positive message about a parent’s
love).
CHRISTMAS BLESSING, THE
Neil Patrick Harris, Rob Lowe, Rebecca Gayheart, Angus T. Jones. GT Media.
Directed by Karen Arthus.
FILM SYNOPSIS: A sequel to the 2002 CBS TV movie The Christmas Shoes, The Christmas Blessing, also a highly rated TV movie from 2005, tells the story of a man's struggle with his own life choices. Neil Patrick Harris (How I Met Your Mother, Doogie Howser, M.D., Clara's Heart) is a young doctor who loses his patient on the operating table and begins to rethink his career. He moves back to his small hometown and in with his father as he tries to decide what to do with his life. There he meets a woman, whom he quickly falls in love with, and a young boy in need of a friend. He finds himself questioning God, fate and the fragility of life after he discovers that both these people are also searching for a Christmas miracle.
REVIEW: Giving it a warm, Hallmark Hall of Fame feel, GT Media (responsible for distributing many inspirational DVDs, including The Omega Code, Megiddo, Benji and the All About series), releases this CBS TV-made movie in time for the Yuletide season. Replete with themes concerning the loss of loved ones and looking out for others when you're hurting, it tells its story well, engaging viewers with fine performances and a savvy mixture of gentleness and sincerity, which helps make it enjoyable for the entire family. Though not designed to preach the gospel, it does show reverence for God as scenes play out in a church. And in a way, it celebrates Christ's loving nature, as several characters begin to place others before themselves. It becomes obvious that something spiritual is happening to these people.
Certainly not in the class of Christmas classics such as It's A Wonderful Life or Miracle on 34th Street, but nonetheless, highly enjoyable. I will be adding The Christmas Blessing to my Christmas film library.
Due out October 16, 2007. Not rated (there are several minor expletives, but no harsh language; men are seen drinking in a bar; two people have life-threatening ailments; the eventual death of a child may be disturbing to very little ones, but this death leads to an inspirational message that should be a positive for all other members of the family).
DVD suggested retail price: $14.98
THE CHRONICLES OF NARNIA: PRINCE CASPIAN
William Moseley, Georgie Henley, Anna Popplewell, Skandar Keynes, Ben Barnes
as Caspian, and Tilda Swinton as the evil witch. Disney/Waldon Media. Fantasy/adventure. Written
by Andrew Adamson, Christopher Markus, Stephen McFeely. Directed by Andrew
Adamson. Opens 5/16/08
FILM SYNOPSIS: One year after the incredible events of The Lion, The Witch and The Wardrobe, the kings and queens of Narnia find themselves back in that faraway wondrous realm, only to discover that more than 1300 years have passed in Narnian time. During their absence, the Golden Age of Narnia has become extinct, and Narnia has been conquered by the Telmarines and is now under the control of the evil King Miraz. Narnia's rightful heir to the throne, the young Prince Caspian, has been forced into hiding as his uncle Miraz plots to kill him in order to place his own newborn son on the throne.
REVIEW: I object when fantasy films such as the Harry Potter series require you to first study the novels in order to comprehend the movie. A film should stand on its own. So, I’m pleased to tell you that although reading the classic series by C. S. Lewis would add to the enjoyment of this cinematic adaptation, it is not required. And where the Harry Potter series is dark, muddled and stale, the Narnia tales are vibrant, clear and fresh. Wardrobe’s follow-up offers witty dialogue and doses of clever humor, swashbuckling derring-do, a magical spellbinding look, and lessons reminding of the spiritual and practical need for a Christ-centered life.
Co-writer/director Andrew Adamson (who helmed the first installment, as well as Shrek and Shrek 2) has constructed a well-told good-vs.-evil parable that is enhanced by computer-generated effects rather than overshadowed by them. The atmosphere and look of the production are reminiscent of the magic good old Walt himself brought to his best screen stories. Indeed, there’s an optimism hovering around every allusion the adolescent leads face.
Though this sequel is more action driven than the first episode, character development has by no means been abandoned. Between the many arm-chair-grabbing battle sequences, the intricate plot and the growth of the main characters will likely serve to open a rewarding dialogue between parent and child. The Christ-like symbolism found in the pivotal character Aslan and the meaning of God’s seeming silence at times in our lives are addressed with transparency.
Now, about those arm-chair-grabbing battles; this aspect of the feature does require a warning. The book tells of warfare, but it’s one thing reading about such tumult, while quite another viewing such combativeness in graphic and lengthy detail. The studio and director worked closely with the MPAA folks to ensure a PG rating, the filmmakers carefully avoiding too much blood, gore and guts. But there is a graphic visceral style that bombards the viewer with one video game-like fight scene after another. Though I’m no psychologist, it can’t be argued that moviegoers are ensnared in a cinematic culture today that assaults the human psyche. Though we seem capable of adjusting our nervous systems to the amount of aggression special effects departments can produce, is this metamorphosis an evolution God intended?
This is a four-star production, but I would hesitate to subject children under ten years of age to its seamless magical illusions. It can be difficult for little ones to tell what’s real and what isn’t. Seeing a huge bear nearly attack little Lucy may be too disturbing for little ones. That said, for older children and their parents, this is an action-packed, fun and spiritually rewarding addition to the film series.
PG (this good-vs.-evil tale does include violence – from a bear nearly attacking young Lucy before it’s shot to death by an arrow, to older sister Susan firing off arrows at approaching soldiers as if they were penny arcade plastic targets, to warring armies in all out Braveheart-like battle engagements; there are a few jolting scenes and several scary moments which may be unsuitable for smaller children; the kids learn life lessons, the film is pro-family and the spiritual insights are distinctly biblical; an innocent kiss between Susan and Caspian).
Running Time: 2 hr. 20 min.
Intended Audience: Family.
Michael Stahl-David, Mike Vogel, Odette Yustman, Lizzy Caplan. Paramount. Written
by Drew Goddard. Directed by Matt Reeves.
FILM SYNOPSIS: Five young New Yorkers throw their friend a going-away party the night that a monster the size of a skyscraper descends upon the city. Told from the point of view of their video camera, the film is a document of their attempt to survive the surreal, horrifying event as the gliding Gorgon smashes well-know edifices and mashes insignificant people.
REVIEW: One colleague described it as Godzilla meets You-Tube. I can’t beat that description of this apocalyptic monster movie. And this is one instance where a hand-held camera works to energize and center us within the action. That said, the constant motion of the shaky cam is used to dizzying effect and the cell-phone toting, self-absorbed characters refer to everyone as “Dude.” That term just won’t go away. It’s a horror movie for iPod people.
It’s an armrest-grabbing thrill ride, but with no one explaining how this flying prehistoric destroyer came about. We’re not to ask questions, just watch with “awesome” delight as the Statue of Liberty’s head bounces down a Manhattan thoroughfare. There are elements of Godzilla, The Day the Earth Stood Still, King Kong and The Blair Witch Project to be found in this movie. The difference is, Godzilla (Gojira) was an indictment of those who use atomic bombs; The Day the Earth Stood Still was a warning for mankind to make peace before it destroyed itself; King Kong was a love story; and The Blair Witch Project was an experiment in eeriness. Cloverfield has no such high-minded agendas (though maybe it’s supposed to be seen as a metaphor for 9/11).
It’s just meant to excite and sell popcorn to a generation unfamiliar with Blair Witch, let alone Godzilla.
Now, I certainly can’t wish this for those in real life, but for anyone who still says “Dude” in the movies, well, they deserve to be monster-mashed.
PG-13 (around 40 obscenities, mostly the s-word; several minor expletives; nearly 40 profanities, mostly variations of “oh my God,” but also a more objectionable irreverence toward God and Christ at least 10 times; a lot of mayhem and destructive imagery; a lot of dead people; many wounded victims of the main monster and spider-like offspring that viciously attack people; lots of blood, including one scene where it oozes out of a woman’s eyes; a couple of sexual conversations implying premarital sex; some footage of a young woman unclothed, lying on a bed; drinking at a party and a drug reference).
Running Time: 84 min.
Intended Audience: Teens and above
Russell Crowe, Renée Zellweger, Paul Giamatti, Craig Bierko, Bruce McGill, Paddy Considine. Universal. Drama. W- Cliff Hollingsworth and C. Gaby Mitchell and Akiva Goldsman. D-Ron Howard. Opens 6/13/05
Russell Crowe stars in this story inspired by the life of legendary athlete Jim Braddock, a once-promising light heavyweight boxer forced into retirement after a string of losses in the ring. As the nation enters the darkest years of the Great Depression, Braddock accepts a string of dead-end jobs to support his wife, Mae (Renée Zellweger), and their children, while never totally abandoning his dream of boxing again.
Thanks to a last-minute cancellation, Braddock finds himself back in the ring against the second-ranked world contender--and to everyone's amazement, Braddock wins in the third round. Despite being pounds lighter than his opponents and repeated injuries to his hands, Braddock continues to fight against challengers and win. Carrying on his shoulders the hopes and dreams of the disenfranchised masses, Braddock, dubbed the "Cinderella Man," faces his toughest challenger in Max Baer (Craig Bierko), the heavyweight champion of the world, renowned for having killed two men in the ring.
Braddock--not so much a great boxer as a great man who boxed--climbed into the ring seeking nothing more than to provide for his wife and children. His commitment to them inspired him to championship, elevating the family man with a simple cause to the level of legend.
It’s the best boxing movie I ever saw. And I’ve seen them all; from “Golden Boy” to “Raging Bull” to “Rocky” – and all the Golden Boy and Raging Rocky wannabes in between.
Certainly “Raging Bull” is considered a work of art. Starring Robert De Niro and directed by Martin Scorsese, it is considered the definitive boxing movie. But it is actually a brilliant if somewhat dispiriting character study of a rather seedy individual. The difference between these two films is that after “Raging Bull” you are overwhelmed by the artistic and technical achievements by its star, director and cinematographer, but leave the theater with your senses assaulted, feeling grimy and depressed. When you leave “Cinderella Man,” you are uplifted, filled with optimism. You’ve spent two hours looking at the life of a good man.
Besides solid performances by Crowe and Zellweger, director Ron Howard strengthens the film. Most moviemakers love movies. So does Howard. But he also loves the audience. He seeks to please, satisfy, and offer an optimistic future to moviegoers.
Alas, there are several misuses of God’s name and even more of Christ Jesus. But I did not catch the lead uttering any of these profanities. Rather, most of the objectionable language comes from Braddock’s boxing manager, played by Paul Giamatti (overlooked last year in the Best Actor category for “Sideways”). Also, at one point, a depressed and seemingly hopeless Braddock refuses to pray over dinner. However, later the family is seen in prayer.
Though it is a touching film, Ron Howard’s direction avoids a phony or maudlin execution. Rather, the involving and well-paced movement of the narrative evidences his skill. Along with Howard’s desire to tell a great sports movie that is an equal love story that spotlights a tender love for family, writers Cliff Hollingsworth, C. Gaby Mitchell and Akiva Goldsman give this generation an insightful look at the tribulations people faced during the Great Depression. They also point out what brought our nation through such a long-lasting ordeal – a steadfast resolve to not let the promise of hope die out. This touching look at that era saddens the heart at times, but it is revealing portrait of America’s ability to withstand overwhelming ordeals and ultimately leaves us inspired. “Cinderella Man” is a knockout.
PG-13 (profanity and obscenity spring up throughout, but I caught no misuse of God’s name by the lead; intense boxing violence; the subject material of trials faced by Americans during the Great Depression may not be suitable for little ones).
Martin Lawrence, Raven-Symone. Disney. Family comedy. Written by Cinco Paul, Ken Daurio, Emi Mochizuki. Directed by Roger Kumble. Opens March 7.
FILM SYNOPSIS: Melanie (Raven-Symone) is eagerly looking forward to her first big step towards independence when she plans a “girls only” road trip to check out prospective universities. But when her overprotective police chief father (Martin Lawrence) insists on escorting her instead, she soon finds her dream trip has turned into a frustrating nightmare adventure full of comical misfortune and turmoil.
REVIEW: This is one of those films that must be graded on a curve. Credit must be given to the filmmakers for their desire to make a clean comedy. Martin Lawrence in a G-rated movie? Points for that. But it’s also a comedy where mugging, eye-rolling and a whole lot of slapstick pass for wittiness.
It’s nice to see a gentle comedy, but the soul of comedy demands some bite. Alas, though everyone’s heart was it the right place, this one is toothless. There, that’s said for adults looking for satire or bawdiness. Now for the analysis most useful for little ones and accompanying parents.
What a pleasure to see a comedian such as Martin Lawrence, renown for his sharp-tongued, but often crude wit, aim an entire movie at the family. Though much of the film’s humor depends on excessive behavior, Mr. Lawrence manages to give his over-protective father a charm and warmth. And the story doesn’t just use the father-lets-his-daughter-go plotline as a source of humor, but also manages to poignantly examine how parents feel when their child leaves the nest. Fathers will relate to the film’s protective papa, nodding their head as Mr. Lawrence deals with his daughter’s obliviousness to her dad’s distress.
Raven-Symone is a competent co-star, letting Mr. Lawrence do all the heavy lifting, yet supporting the comedy structure. She plays the straight man, if you will, much like Dean Martin did for Jerry Lewis for ten years before audiences realized Dean was funnier.
Added to the main storyline, there’s the other child, a Poindexter type genius-in-training who plays chess with a pet pig and sends offers of assistance to the Secretary of Defense. And of course, Pops and the pig don’t get along. But, they are family, so even they stick together when problems arise.
It’s all silly. And to enjoy the silliness, it helps to be in a lighthearted mood, being open to silly antics. It also helps to have little ones in tow. Children in the screening audience quickly took to the movie’s characters. The parents next to me seemed to enjoy the film based on their little girl’s reactions. She loved the mugging, the eye-rolling and, yeah, the chess-playing pig.
Funny, family fun, it’s slapstick with a heart. Folks, we’re always complaining that Hollywood doesn’t provide family entertainment. Here’s one. I’m guessing Martin Lawrence makes more of them if this one does well.
G (Some slapstick humor, including two men getting zapped with a police taser).
Running Time: 86 min.
Intended Audience: Family
Voices of: Johnny Depp, Helena Bonham Carter, Emily Watson, Albert Finney, Richard E. Grant, Joanna Lumley, Christopher Lee. Warner Bros. Stop-motion animated fantasy. W-Caroline Thompson, Pamela Pettler. D-Michael Johnson, Tim Burton. Opens 9/23/05.
In the dark tradition of “The Nightmare Before Christmas,” “Corpse Bride” is set in a 19th century European village and tells the story of Victor (Depp), a young man who is whisked away to the underworld and wed to a mysterious Corpse Bride (Bonham-Carter), while his real bride, Victoria (Watson), waits bereft in the land of the living.
Though life in the Land of the Dead proves to be a lot more colorful than his strict Victorian upbringing, Victor learns that there is nothing in this world, or the next that can keep him away from his one true love.
The problem with the living dead is that they have a tendency to scare the Jujubes out of the youngest members of the movie audience. Tim Burton’s latest ode to bizarreness is no exception. While the sight of corpses carrying on as if they had never been buried may be amusing to mature viewers, the visuals of decaying bodies that come apart and eyeballs suddenly popping out can be a different story for little kids. At least two children had to be led out of the screening by concerned parents. Of course, those concerned parents then led them back in for another dose of Addams Family-like freakiness.
I admire parents who don’t take their children to films containing imagery that may abuse their nighttime dreams. These folks find out what the film is about and what the content contains before subjecting their offspring to it. Now, I’m not saying you’re a bad parent if you take your kid to a scary movie. But it wouldn’t hurt to rethink the casual habit of taking children to movies that that rely of shock value.
Can’t get a babysitter? Then don’t go. But they want to see the movie. Tough. You’re the parent. Just say no.
Well, I’m preaching to the choir. Forgive me for suggesting how you should raise your kids. It was cathartic. I’ve seen so many parents bring little ones into movies that even the adults were going to get the shivers over. Sure enough, moments later, they’d rush them out, this horrified look on those little faces. Then moments later, the grownups would bring them back for more. I just don’t get it. And I can’t say anything to them.
As for the movie itself, the technical and artistic elements are fine, and Burton injects humor and optimism, Burton style. But I found it without much substance. He mocks the mockable and salutes romance and character, but, again, it’s in a format that Burton feels most comfortable – edgy, surreal, unnerving. Burton (Beetlejuice, Edward Scissorhands, Batman Returns, The Nightmare Before Christmas, Ed Wood, Mars Attacks!, Sleepy Hollow) is very dark. Known for visual inventiveness, Burton is drawn to the absurd and delights in concocting weird symbolism out of childhood images and adult obsessions. Indeed, one of his first efforts was a little-known short called “Frankenweenie,” a too-scary-for-children parody of “Frankenstein.”
Like his earlier effort this year, “Charlie and the Chocolate Factory,” this film felt more creepy than fun.
PG (one or two expletives, but no harsh language; the film receives its rating for the thematic material and occasional spooky activity, including a villain poisoning himself and vengeful dead people pulling him into a future that suggests damnation).
Video Alternatives: (for adults) Beauty and the Beast (1946 French version with Jean Cocteau). In order to save her father, a beautiful girl agrees to live with a feared wolf-like beast. But after time passes, they learn to love one another. This moody, atmospheric B&W rendition of the classic tale is a masterpiece. In French, with subtitles, it is both beguiling and fanciful.
(for children) Charlotte’s Web. Based on E.B. White’s classic about a spider who befriends a shy piglet, this is most entertaining for little ones.
Anthony
Mackie, Wesley Jonathan, Wayne Brady, Kristen Wilson, Lit’ J.J., Eva
Pigford. Sony Pictures. Sports drama. Written & Directed by Preston A.
Whitmore II. Opens 9/1/06.
This urban drama is set against the world of streetball, where teams play for the pure love of the sport, with little regard for rules. The story follows two young hopefuls, one who wants to go to college and become a doctor, the other his streetwise friend bent on helping him achieve his goal.
The film has some clunky moments brought on by unsteady direction and clumsy acting (the female characters evidently cast due to how they fit in mini jean skirts, and for no other apparent reason). But despite the tiresome hip-hop-dog talk, and the MTV sensuality, this is about the most affirming movie I’ve seen this year, filled with positive messages aimed at urban youth.
While many struggling youths in dangerous communities seek a way out through lawbreaking and the soullessness of drug selling, the characters in this film want to better their lives. They realize that to do so, you can’t depend on the quick money-making of illegal sports or illegal anything. They are willing to sacrifice to achieve their goals. Never preachy, the film showcases black teens who show respect for others and ultimately for themselves.
PG-13 (some lewd comments aimed at young women; 5 obscenities, 2 minor expletives and 1 misuse of Jesus’ name; graphically depicted motorcycle accident; twice an angered man becomes forceful with women, pushing and shoving, but no hitting; a street thug threatens the leads; it is implied that one couple sleep together; the girl gets pregnant; several young ladies in brief, provocative attire; sensuous dancing at a night club; a couple of crude sexual comments; social drinking).
For more details visit: sonypictures.com/movies/crossover
George is a monkey, more lovable than Cheetah. And that's saying something considering the little guy doesn't seem to have any family. By day he's pals with everyone in the jungle as he learns how life works. But at night, he covers up all alone in his tree house build for one. Then suddenly, an adventurer shows up wearing a silly hat, looking for a lost treasure. He needs to find and bring back the sacred statue or the museum he works for will be turned into a parking lot. Sadly, the treasure is disappointing and all he returns to New York with is an adoring, inquisitive baby primate.
Even the best of kid films fails to hold little ones throughout, but Curious George hangs in there, delivering laughs and a gentle reminder to all that love is the essential element needed in every life. Aided by a gentle story, highlighted by kid-friendly slapstick and funny vocal assistance by Will Farrell and Dick Van Dyke, Curious George gives movie-going families a delightful, sweet-tempered outing.
G One character in frustration yells out, "sweet mother of science;" some cartoonish slapstick such as dodging New York traffic, but the filmmakers handle the perilous situations with restraint and affection for little viewers; the museum's proprietor has not shown his son much fatherly affection, causing the young man to be jealous and spiteful toward the adventurer, but by film's end, everyone learns life lessons about caring; there are positive statements about friendship, sacrifice and learning.
© 2008 Good News Tucson™