Archive for the Family Category

Coco

Posted in Adventure, Animation, Comedy, Family with tags on November 27, 2017 by Mark Hobin

coco_ver7STARS4.5Pixar has a knack for extracting emotion. Do you recall the first 10 minutes in Up that depicted the married life of Carl and Ellie? Yeah, it had me bawling like a baby too. Ditto when WALL-E doesn’t recognize Eve or when Andy gives his toys away in Toy Story 3. So perhaps it should come as no surprise that Coco strums the heartstrings as well as any Pixar film has ever done.

In fact, Coco is one of the most touching odes to family that I have ever seen. I don’t bestow such high praise lightly. There’s an undeniable joy in discovering the sentimental depth of this drama. I’ll describe the chronicle at its most basic so as not to ruin the joyous revelation of what happens. Our saga concerns Miguel Rivera (Anthony Gonzalez), a 12-year-old aspiring musician. He plays the guitar and serenades like his hero Ernesto de la Cruz (Benjamin Bratt), a famous Mexican star of 1930s/40s cinema. Ernesto is somewhat reminiscent of actual stars like Pedro Infante and Jorge Negrete. Unfortunately, Miguel’s late great-great-grandmother and matriarch of the Rivera family, Mamá Imelda (Alanna Ubach) had long ago banned music for future generations. You see her husband left her to pursue a music career. That also included their daughter Coco (Ana Ofelia Murguía). His face has been removed from the family photo that is displayed during the Mexican holiday Day of the Dead also known as Día de Muertos. When living grandmother Elena (Renée Victor) destroys Miguel’s guitar, he journeys off to find another instrument so he can enter a talent show.

The voice cast includes stars Benjamin Bratt and Gael García Bernal. Bratt’s voicing of Ernesto de la Cruz makes the singing idol a commanding presence. Even more affecting is a comical trickster named Héctor (Bernal) that little Miguel meets on his pilgrimage. He is a poor soul that is in danger of being forgotten — a personality full of humor and charm. I really enjoyed him. I didn’t realize that both Bratt and Bernal could sing, like really well in fact. They’re equally good at voicing their characters. Newcomer Anthony Gonzalez is suitably moving as the star, Miguel Rivera.  Melodies are an essential part of this feature. As such, this is the closest Pixar has ever come to making a full-on musical. Song selections infuse the narrative. “Un Poco Loco” and “Proud Corazón” are two highlights but the likely Oscar nominee is “Remember Me” which shows up in several renditions. The one sung as a lullaby near the end is the version that made me cry.

The importance of honoring your loved ones that have passed on encompasses The Day of the Dead, a celebration that forms the central focus of Coco. The idea that we are connected to our family members of the past and how present generations commemorate their memory is an integral component of the plot. Veteran Pixar director Lee Unkrich (Finding Nemo, Toy Story 3) upholds an emotionally complex chronicle while still keeping things refreshingly simple in the way the account unfolds. That’s not easy to do. The screenplay by Adrian Molina and Matthew Aldrich elevates feeling over plot details. There is a supernatural element when Miguel penetrates the “other side.” This would be a bit bewildering for me to explain how it occurs and what actually happens in this odyssey, but it’s simple as it plays out.  If I had a criticism, it would be that Pixar has an issue with extended final acts where the narrative contains elements that aren’t quite as magical as the stuff before it. We see it in great movies like Wall-E and Up. The concluding act in Coco is somewhat weakened by multiple endings. I started to think I was watching Return of the King. Don’t get me wrong, I still enjoyed this segment. It’s a minor quibble in an overall stunning achievement.

On the surface, Coco is a simple tale of a little boy that wants to play the guitar. This is a return to the greatness of Pixar. Inside Out was pretty remarkable too, but Coco tops it for emotional intensity. Not since Toy Story 3 has a Pixar flick touched my heart so profoundly. I know we’re always praising the visuals in a Pixar movie, but this just might be one of their most beautifully animated films. The Land of the Dead is an underworld in which the spirits of the deceased meet their final destination. The manifestation of this realm is stunningly gorgeous as a multi-tiered city of buildings, bright lights, and colors. Bridges extend from out of the city onto which the deceased can travel. In this way, souls may return to the Land of the Living to see their relatives once again. The Day of the Dead is a vivid holiday. The animators have deftly celebrated its tradition in the best possible way for this movie. A non-stop party of lively (not frightening) skeletons dancing to music is a glorious sight to behold. The animators magnificently give life to lovable skeletons —  characters that are inherently scary. I liked seeing the comparison between their current existence as a silhouette of bones and their past life as a human being. I was astonished at how this stirred me so deeply. There was one plot twist that in retrospect I probably should have been able to predict but I was so hypnotized by what I saw, that I didn’t see it coming. Coco made me lose myself in the celebration of a young boy’s odyssey. The humanity completely overwhelmed me. Coco is full of heart and when I left the theater my heart was full.

11-23-17

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Despicable Me 3

Posted in Action, Adventure, Animation, Family on July 1, 2017 by Mark Hobin

 photo despicable_me_three_ver3_zpsq185xh6v.jpg photo starrating-1andahalfstars.jpgWell, It took seven years, but Illumination Entertainment finally delivered The Despicable Me movie its detractors have accused them of making all along. Tedious, frantic, disjointed, shallow, dull, dumb. Despicable Me 3 is an insufferable mess of a film. It doesn’t have a focus so much as disparate interludes that have been randomly thrown together with no regard for the components needed to create an intelligible story. It’s up for discussion, but I think I counted at least four different story threads. These have then been haphazardly assembled to justify a 90 minute runtime. I’m not even sure I can even coherently outline the action, but I’ll try.

The alpha plotline begins when Gru (Steve Carell), former evildoer now an agent for the Anti-Villain League, is fired from the group because of his inability to apprehend criminal Balthazar Bratt (Trey Parker). He’s the worst excuse for a villain, but I’ll get back to him. Plot B details when Gru discovers he has a twin brother named Dru. The whole family – which includes wife Lucy and adopted daughters Margo (Miranda Cosgrove), Edith (Dana Gaier) and Agnes (Nev Scharrel) – are invited to go hang out at his estate in Freedonia. The Duck Soup reference is cute. Then more developments: Mother Lucy (Kristen Wiig) is worried about being a good step-mom to the little girls, Edith and Agnes try to find a real unicorn, and Margo is almost married off to a little boy in a cheese ceremony. Meanwhile in Plot C, Gru is still preoccupied with retrieving the world’s biggest diamond from Balthazar Bratt. By accomplishing this, he hopes to get his old job back at the AVL. Oh and I almost forgot the Minions who are treated like an afterthought here. Plot D has the little yellow creatures upset that Gru is no longer interested in villainy. They leave but are promptly arrested and thrown in jail after trespassing at a talent show. Seriously if you’ve always hated the Minions, then this is the picture for you.

The narrative couldn’t even offer compelling supporting personalities this time around. Steve Carell also voices Dru, Gru’s long-lost twin brother. He’s a billionaire, has a higher pitched voice, and is flamboyantly carefree but he’s essentially the exact same person – just with a mane of blonde hair. We’re supposed to care about this familial reunion but their relationship is given short shrift. There’s simply too much going on to even care.

Now about that villain. A chronicle fixated on an antagonist is only as good as that personality. Balthazar Bratt is a lackadaisical suggestion of a individual. A former child star of a tacky 80s TV series called “Evil Bratt”, he found his popularity wane after entering puberty. Now an adult, he’s bent on world domination. Why? Good question. The writers aren’t concerned with such exposition, but I’m thinking it’s a case of “Waaaaah! You better notice me!” We’re never given an explanation as to why he is doing what he is doing.  Dressed in a purple jumpsuit with outrageous shoulder pads and parachute pants. He sports a droopy mustache and a black mullet with an extreme hi-top fade. He plays the keytar which gives the soundtrack an excuse to flood our senses with lots of late 80s hits (“Bad”, “Sussudio”, “Money For Nothing”, “99 Luftballons”, etc.) at every juncture. Their ostensible purpose? To elicit the reaction “Hey I recognize that song!” He’s merely a visual/auditory joke and nothing more. He’s easily the most lazily created villain of this franchise.

I’ve enjoyed the wacky playful antics of this series. Despicable Me and Despicable Me 2 were well-crafted exercises that combined fun with feeling. Even the underappreciated Minions had enough laughs to support its existence. They had the zany joy of those classic Warner Bros. Cartoons. They were goofy, sure, but they had a sense of purpose in the pursuit of an actual story. This time the scattershot atmosphere yields boredom. It’s a sloppy, commercially focused, Hollywood product that inspires nothing but pure unadulterated apathy. It lacks everything – wit, heart, joy – that made the first two installments great. It’s so empty that the experience was soul crushing for this self-avowed fan. As expected, Despicable Me 3 ends with a set-up to yet another one of these films. No thanks, I’ve had sufficient. I’ve stood by this franchise long after my peers abandoned it but here’s where I’m jumping ship too.

06-29-17

The Book of Henry

Posted in Crime, Drama, Family, Thriller on June 29, 2017 by Mark Hobin

 photo book_of_henry_zpsgw3gibvv.jpg photo starrating-3andahalfstars.jpgIt’s a poignant melodrama about a terminal illness. Well to clarify, it’s more of a heart-rending tearjerker. No wait, it’s actually crime thriller. I know, it’s an inspirational family drama. Scratch that, it’s really a light comedy. In truth, The Book of Henry is all of these things – a cinematic yo-yo spinning wildly between a plethora of genres. Granted, the screenplay by crime author Gregg Hurwitz (Orphan X) may not follow the rules of how to gradually lead an audience through a saga, but I was absolutely fascinated by where it would take me next.

Henry Carpenter is an 11-year-old genius. He has used his gift to smartly invest in the stock market to build up a stable financial future for his household. In fact, he’s smarter than all of the adults in his life. Number one on that list would have to be his single mother Susan (Naomi Watts). Susan is a waitress, a working mom who writes picture books in her spare time. She’s also a parent to Peter (Jacob Tremblay), Henry’s younger brother. Enter Christina, their next door neighbor. She is Henry’s classmate and a girl with whom Henry has a crush. She’s predictably beautiful, but also very sad. The reveal of her predicament and how Henry tries to help her sets one major plot thread into motion. Henry is also beset with a dilemma of his own. Yes, two major problems that each could be the focus of their own film. I’m being purposefully vague because a big part of the allure is how each contrivance piles on top of another. That sounds like a slam, and it is, but it’s also kind of mesmerizing the way it plays out. Try to look away. You can’t. I was captivated and that counts for something.

The Book of Henry is a fantasy that could only exist in the mind of a writer. It’s a fable that concerns the real world but one invaded by outlandish developments that can feel too implausible to accept. It’s a tale of fabulism.  Lead Jaeden Lieberher has already starred in the acclaimed Midnight Special. Jacob Tremblay was featured in one of the best films of 2015, Room. The opportunity to see these two burgeoning talents in the same production had me sold. They do not disappoint. Add twice Oscar-nominated actress Naomi Watts and you have an unconventional family that had me enrapt. As mother and son, Watts and Lieberher have genuine chemistry. They both starred together in the wonderful St. Vincent. As a character, Susan is a bit intellectually stunted. Ok, that’s putting it mildly but then her son Henry is emotionally deficient. Younger son Peter is simply all around playful sweetness, Together these three form a sensitive triad, a sort of us-against-the-world dynamic that enticed my heart. They’ve got a soul. Buy into their relationship and you’ll buy into the movie.

I usually disregard the critical consensus when reviewing a movie. I’m here to detail my own thoughts. Yet this picture has received some of the most vitriolic reviews of anything this year. Why has this little family film (PG-13 rated for the dark subject matter) received so much hostility from critics? Director Colin Trevorrow burst onto the indie scene with a little gem called Safety Not Guaranteed in 2012. Then followed that indie achievement with the 4th biggest (as of this writing) U.S. blockbuster of all time, 2015’s Jurassic World. Perhaps when someone has a success another feel is unearned, the claws really come out when they stumble. No The Book of Henry isn’t for everyone. The script has got chutzpah for attempting something rather unique. I get that the genre-defying narrative is a bit bananas, but the hate is disproportionate to the movie’s shortcomings. The plot is simply too audacious to dismiss and the drama has too much heart. I was entertained for the entire duration of this chronicle.

06-18-17

Cars 3

Posted in Adventure, Animation, Comedy, Family, Fantasy on June 21, 2017 by Mark Hobin

 photo cars_three_ver3_zpscemphvxy.jpg photo starrating-3stars.jpgCars is officially a trilogy so we must now discuss it as we would the original Star Wars, Godfather and Lord of the Rings sagas.  All joking aside, there’s something almost comforting about the Cars movies.  They sort of offer proof that even the almighty Pixar is imperfect.  None of these films are terrible, mind you.   However, they aren’t particularly meaningful either.  Especially when you compare it to the high standard at which Pixar has always operated.  Given the setting, an automotive analogy is appropriate.  For Pixar, this what shifting into neutral and just coasting looks like.  These pictures are solid entertainment in the moment but don’t expect a timeless classic.

Cars 3 is a return to form, but let me reiterate.  I’m talking about a return to the quality of Cars, not the best Pixar movies. After Cars 2 shook things up by fixating on tow truck Mater over racecar Lightning McQueen, the franchise gets back to the basics of the original.  Here we revisit the focus on the joys of racing and not on an action-packed spy movie.  Cars 3 feels more like a sequel to the first Cars. Even Doc Hudson (Paul Newman, in previously recorded snippets) pops up in flashback offering wisdom from beyond the grave. It’s almost as if Cars 2 never happened.

The drama concerns the current season of racing at the Piston Cup competition. Older racers Lightning McQueen (Owen Wilson), Bobby Swift (Angel Oquendo) and Cal Weathers (Kyle Petty) find themselves surpassed by a much more technologically advanced upstart named Jackson Storm (Armie Hammer). It’s clear the senior guys can no longer compete at the same level.  A fresh generation is taking over.  One by one the seasoned racers throw in the towel and retire, but Lightning refuses to quit.  That’s a good thing, right?  Not so fast.  A desperate attempt to push himself to the same speed as Jackson Storm leads to a disastrous accident for Lightning.  He decides to regroup.  Lightning heads off to the Rust-eze Racing Center where he meets the new owner named Sterling (Nathan Fillion).  Sterling is a big fan of Lightning McQueen and wants to see him succeed.  Sterling introduces him to his young trainer, Cruz Ramirez (comedian Cristela Alonzo). As the narrative progresses, Cruz becomes a notable addition to the cast.

Now you might think that this is all leading to a feel-good tale where Lighting learns how to retrain, be the best again and triumph over adversity.  Nope.  Sorry. Not even close.  The events are actually rather subversive and it’s that unpredictability that beckons the viewer to keep following.  There’s a lot of entertainment value in the capricious developments of the story.  It’s never boring.  However every time the drama seems to be pushing toward a particular moral, certain plot contrivances flip the script in a different direction.  We’re misled a few times and the results can be a bit unfulfilling.  It’s like we’re noshing on several appetizers instead of feasting on one entree.  Ultimately the climax can best be described as poignant.  Hint: We do age and there will always be a younger generation to take our place.  That can be seen as both depressing and uplifting.  In the end, Cars 3 is a pleasant diversion. Perhaps more importantly for the studio, it will sell a ton of new toys. Now the real question is, will your kids want to play with Cruz Ramirez or Jackson Storm?

06-15-17

Beauty and the Beast

Posted in Drama, Family, Fantasy, Musical with tags on March 18, 2017 by Mark Hobin

 photo beauty_and_the_beast_ver3_zpstl3cqj0c.jpg photo starrating-3andahalfstars.jpgDisney’s current trend of turning its animated classics into live-action movies has been a pretty lucrative business. Maleficent, Cinderella, The Jungle Book have all done big business. The recipe is simple. Take an existing fictional work that is beloved by millions and reproduce with real people. This satisfies a thirst for nostalgia which ensures there will already be a built-in audience ready to watch. The formula works so well it seems almost too easy. It’s not difficult to dismiss the practice as a quick cash grab. Yet, anyone who has ever looked upon any of these films can distinguish that these aren’t slapdash efforts. These meticulously created works, while lacking an original story, still present something magical at the cinema.

The 2017 version of Beauty and the Beast is a noble addition to the Disney treasury. We all know the “tale as old as time”. It’s the chronicle of Belle played by a no-nonsense Emma Watson. Belle is a smart, independent young woman at odds with the bourgeois habits of her provincial townsfolk. Luke Evans is Gaston, an arrogant suitor. LeFou (Josh Gad) is his bumbling sidekick. However, Belle has no use for Gaston or anyone else in the town for that matter. Personally, I’ve always found her opening song decrying the unsophisticated townsfolk as insufferably elitist, but hey that’s just me. Nevertheless, she gains our sympathy when she is taken prisoner by a beast in his fortress. Dan Stevens portrays the part in a motion capture performance, rather than relying on prosthetics. Her initial fears dissipate as she is befriended by the enchanted denizens of the castle staff. Slowly she grows to see beyond the Beast’s hideous exterior and see the true heart of the man within.

This isn’t director Bill Condon’s foray into the movie musical. His production of Dreamgirls in 2006 was a lavish adaptation of the 1981 Broadway hit. His reworking here evokes the traditional theater pieces of a bygone era. It’s lavish, grand and cheerfully old fashioned. That the achievement seems rooted in the musical tradition of a bygone era is a colossal feat of misdirection given all the modern CGI employed here. It’s seamlessly utilized to bring the inanimate objects of the castle to life: the candelabra (Ewan McGregor), the mantel clock (Ian McKellen), the harpsichord (Stanley Tucci), , the wardrobe (Audra McDonald), the feather duster (Gugu Mbatha-Raw) and last but certainly not least, the teapot (Emma Thompson) and teacup (Nathan Mack). It’s not easy to embody characters we already know and love, but the actors, mostly only heard, lend their voices with sincerity and warmth.

Emma Watson makes a self-assured Belle. The actress is recognizable to audiences as Hermione Granger in the Harry Potter series and that familiarity, along with her personality, fulfills this role. Dan Stevens is a suitably charismatic beast. Together they have chemistry. Their discussion in the library over the merits of Shakespeare is the proof we need that these characters have souls. She falls in love with his goodness, but he is also her intellectual equal. It’s not merely his appearance that makes him different. It’s his mind as well. Also amongst the humans is Gaston, a fittingly cast Luke Evans as Belle’s narcissistic wannabe suitor and his fawning pal LeFou, in a bit of comic relief by Josh Gad.

Screenwriters Stephen Chbosky (The Perks of Being a Wallflower) and Evan Spiliotopoulos (The Huntsman: Winter’s War) gently tweak the story to give added depth to the fable with which we are already acquainted. Don’t worry. This isn’t meant to replace your fond memories of the animated 1991 classic. It’s simply there to offer something more. And more is what you’ll get. More songs! Three new numbers are added by Alan Menken and lyricist Tim Rice. More script! It’s 45 minutes longer than the cartoon. More costumes! More flair! More! More! More!   The songs are supported by the spectacle.  The famous number “Be Our Guest” is a veritable Busby Berkeley extravaganza inside the magnificent home. My mouth stood agape as the dazzling routine unfolded before my eyes in a specular vision of color and music.

Beauty and the Beast is a production designer’s dream. The sets, locations, graphics, props, lighting, and costumes are beyond compare. In particular, there’s a physicality to these locales that make you believe that these places do indeed exist. The town is a quaint fairy tale community and the majestic castle has an impressive gothic air. The overall look is so fully realized, you’ll forgive that the plot holds no surprises. Yes for all its charm, this merely remains a beautifully realized imitation of its predecessor. The accomplishment is undeniably gorgeous but not visionary. If the very idea of a live-action reimagining of Beauty and the Beast offends you, then this picture will not change your perceptions. On the other hand, if you’re intrigued by the idea, then the movie will be a delight. I’m pleased to say I was thoroughly entertained.

03-16-17

The Red Turtle

Posted in Adventure, Animation, Family with tags on February 18, 2017 by Mark Hobin

 photo the-red-turtle-2016-01_zpsacawydlr.jpg photo starrating-3andahalfstars.jpgThe story, such as it is, begins when a man adrift in a storm washes ashore on an uninhabited island. At first, he forages for food, but after awhile he endeavors to escape. He builds a raft.  However, at sea, a large red sea turtle swims below and smashes the boat from underneath. The man swims back to the island. He tries, again and again with an increasingly bigger raft and each time the animal foils his attempts. Then one evening, the man spies the creature on the beach attempting to crawl inland. In a fit of rage, he hits the turtle over the head with a bamboo stick and then turns it upside down, setting in motion a fantasy that will blend elements of Hans Christian Andersen with an already Robinson Crusoe influenced tale.

The Red Turtle is a partnership between Japanese Studio Ghibli and French distributor Wild Bunch. Dutch-British animator Michaël Dudok de Wit is doing the artwork. He received international recognition after winning the Oscar for his 2000 short film Father and Daughter. This is his debut feature. His style is reminiscent of Belgian cartoonist Hergé and his comic The Adventures of Tintin. It’s nice to see there’s still a place for the hand-drawn animation that has been widely rejected in recent years by major animation houses like Disney and Pixar. This production is above all an exquisitely animated gem.

The Red Turtle is an artistic work that is virtually wordless. Except for a few shouts of “Hey!” or cries of “Aargh!” there is no dialogue at all. The illustrations draw explicit attention to naturalistic detail. Beauty lies in the meditation on the flora and fauna – the whisper of the wind through the trees, an approaching rain, the buzz of cicadas in the forest, the rhythmic splash of waves against the sand, seeing the stars and moonlight reflected on the water. Whether it be a flock of birds flying overhead or a cast of crabs acting like cartoon sidekicks, this concentrated reflection on nature never ceases to be calm and comforting.

The Red Turtle coasts on ambient noise and wildlife sounds. Assisting the atmosphere is the sumptuous score of composer Laurent Perez Del Mar. By itself, the music is lushly atmospheric, but when paired with the gorgeous spectacle it occasionally veers to excess as it overly emphasizes the emotional cues.  When a tsunami hits, the music swells.  The visual splendor is enough. There’s no need to gild the lily.  Nevertheless, the exhibition is certainly a delight for aesthetes who prefer mood to plot and a languid pace over action.  While The Red Turtle feels like a short expanded to feature length, it’s undeniably pleasant and serene. Its simple joys are pure.

02-16-17

Hidden Figures

Posted in Drama, Family with tags on January 9, 2017 by Mark Hobin

 photo hidden_figures_zpsshrcpaew.jpg photo starrating-3stars.jpgThe contributions of three African American women to the U.S. space program in the 1950s is the subject of Hidden Figures. The central protagonist of this biography is Katherine G. Johnson, the mathematician who calculated flight trajectories for Project Mercury when John Glenn made three orbits around the Earth in 1962. She worked in the West Area Computers division of Langley Research Center. Her efforts supported the National Advisory Committee for Aeronautics (NACA), the predecessor agency to NASA. Assisting are her fellow mathematicians Dorothy Vaughan (Octavia Spencer) and Mary Jackson (Janelle Monáe). Hidden Figures is based on the nonfiction book of the same name by Margot Lee Shetterly. In actuality, this was adapted from a 55-page proposal which would explain why the movie contains a lot of things that were created for dramatic effect. (http://www.historyvshollywood.com/reelfaces/hidden-figures/)

The institutionalized racism that Katherine and her colleagues had to face while working in the segregated environment is a significant part of Hidden Figures. The many indignities they suffered are in the details. The production offers a proven amalgamation of drama with light touches of comedy for a mass audience. The movie uses humor to gently push its agenda. We see a black woman in a colorful dress against a sea of conformity: lots of white men in white shirts and uniform ties. Thanks to the costume designer for color coding it for us.  These are her oppressors, particularly in the fictional character of Paul Stafford as portrayed by Jim Parsons. He’s a hissable villain and someone designed for moviegoers to jeer. But white women can be just as racist too. Kirsten Dunst’s Vivian Mitchell, another fictional character, is a condescending supervisor that suppresses Dorothy’s chances for advancement.  Al Harrison (Kevin Costner), director of the Space Task Group, is a bit more enlightened. He’s actually based on a real person, well three anyway. Incidentally, Costner is slowly becoming this generation’s Henry Fonda always seeming to be the right side of history in racial dramas (Black or White, McFarland, USA).

For example, the fact that black women had separate bathrooms from white women is shown. For a modern observer of the past, this must seem pretty bizarre. Why this was the case is never explained. “That’s just how things are” is the point of view. Instead, we’re given little montages set to Pharrell Williams’ song “Runnin” while she has to make her dashes to a bathroom seemingly on the other side of town and then sprint all the way back to her desk. When nature calls it might take someone 5-10 minutes, for her it was a brutal part of her day. This all comes to the fore when Kevin Costner as her oblivious white boss, questions her on her absences. She explains. Cut to a scene of him taking a crowbar to the “colored ladies room” sign. “Here at NASA, we all pee the same color,” He says. That he’s the one to right this wrong never actually happened, but the movie chooses to portray it this way. His quick transformation into the noble white savior is a bit exasperating, to say the least.

In other areas, the narrative portrays the contributions of these women as important because the Americans must better the Russians. Their satellite Sputnik is the first to orbit the earth in 1957. Curses, the Reds won again! The script practically shouts this sentiment while a somber room of people watches the event on a TV.  Apparently, some people are worried that the Soviets can now spy on America. If you’re unclear as to how this is supposed to happen, don’t look to this movie for specifics.  Just know that the space race is a competition where we must “beat” the Russians like an Olympic event. Topping other countries with our space program is just supposed to be understood as an inherent desire.

Hidden Figures follows the narrative formula of many sports movies. We get the injustice, the teasing, the dirty looks, the undervalued appreciation for their ability and then that come from behind moment where everyone is proven wrong. It’s all served in a pleasing, well-photographed family friendly creation. The overlooked advances from individuals forgotten by history can provide a cutting edge perspective into a historical event. As a piece of entertainment, Hidden Figures is entertaining enough. However, the sentimental uplift of this Hallmark greeting card of a movie doesn’t scratch beneath the surface to plumb the depths of their experience. I can imagine that these women faced egregious behavior that undermined their human dignity. One would think Langley Research Center would be a place where analysis and intellectual ability was focused on much more than skin color. Apparently not. The screenplay doesn’t examine harder. I wish it had delved deeper and examined why. This cursory study is content to present predictable tropes that are de rigueur for any tale of an underdog. These brave women deserve a powerful story, but Hidden Figures never expands beyond a shallow exploration to get to the heart of their struggle. The screenplay by Allison Schroeder and director Theodore Melfi is an inspirational saga of intellect triumphing over racism in a PG-rated tale. Hidden Figures is a feel-good diversion that will hopefully inspire people to study further.

12-19-16

Sing

Posted in Animation, Comedy, Drama, Family, Music, Musical with tags on December 26, 2016 by Mark Hobin

 photo sing_zpskxzncfte.jpg photo starrating-3andahalfstars.jpgBuster Moon (Matthew McConaughey) is a plucky koala who owns a music theater. Lately, his productions have bombed and now he is in financial trouble. He loves the concert hall for it has a rich history. In an effort to save his failing business he decides to hold a singing contest, not unlike American Idol. He starts by holding auditions and we’re introduced to an interesting assortment of animal critters. Sing is the latest offering from Illumination Entertainment, the animation company owned by Universal Studios. They scored big this Summer with The Secret Life of Pets and it looks as though they’ve got another major hit on their hands.

Sing gets a lot right, starting with juggling a colorful cast with ease. The screenplay wisely takes the time to thoughtfully delve into the backstories of various individuals. We become emotionally invested in these critters. Five leads emerge: Rosita (Reese Witherspoon) is a pig who is a devoted wife and loving mother. She longs to return to the entertainment spotlight of her teenage years. Mike the mouse croons like Frank Sinatra and has got the confidence to match. Ash is a porcupine who comprises one-half of a punk rock duo with her arrogant boyfriend Lance. She can belt it out, but hasn’t been given the chance. Meena is a shy teen elephant with an incredible voice. Unfortunately her crippling stage fright holds her back. Lastly, there’s Johnny (Taron Egerton), a British mountain gorilla. He longs to perform, but his father wants him to take part in the family’s criminal escapades. These characters occasionally touch on ambitions that can be a bit clichéd. They may follow conventional tropes but they manage to engage. These are reasonably well-developed personalities with some unexpected depth. The narrative could have easily worked as a live action movie with human actors.

“Sing, sing a song / Sing out loud / Sing out strong…” sang Karen Carpenter in a 1973 hit song penned by Joe Raposo. Oddly enough, that similarly titled ditty is NOT included in Sing. This jukebox musical contains over 85 tunes ranging from 1940s standards by Frank Sinatra to current pop singles. These are heard throughout both in the background of scenes or sung in competition by the contestants. The compositions work and many actually feel as though they were written for the drama. Katy Perry’s “Firework” as sung by Rosita (Witherspoon), and Elton John’s “I’m Still Standing” sung by Johnny (Egerton) as his climatic number at the end, are galvanizing pop hits that pluck your heartstrings. Johnny’s incarcerated father discovers his son’s vocal talent from the TV in his jail cell. I can’t explain why I got choked up, but I did gosh-darn it! There’s a lot here that feels familiar. I mean did we really need yet another version of Leonard Cohen’s “Hallelujah”? Please retire that ballad immediately. Nevertheless, I freely admit that it’s beautifully sung here by Tori Kelly. 2016 has been a stellar year for animated films. The bar has been raised incredibly high. Sing doesn’t reach the heights of the year’s very best (Zootopia), but I still left the cinema with a smile.

12-22-16

Fantastic Beasts and Where to Find Them

Posted in Action, Adventure, Family, Fantasy with tags on November 21, 2016 by Mark Hobin

 photo fantastic_beasts_and_where_to_find_them_ver4_zpsqgp7sexh.jpg photo starrating-3stars.jpgIt’s been 5 years since the Harry Potter series ended in 2011. That saga may be over and done, but it doesn’t mean we can’t revisit the world. In 2001, J.K. Rowling published what was purportedly one of Harry Potter’s textbooks from Hogwarts, the school of witchcraft and wizardry. The plotless tome was attributed to one Newt Scamander. He’s a wizard with special knowledge in magical creatures. From that slender 128-page volume comes Fantastic Beasts and Where to Find Them. Four additional sequels are in the works as well. Harry Potter addicts, come get your fix!

Fantastic Beasts is actually set in a time well before a lad named Harry Potter ever even existed in a land far removed from the UK – New York city in the 1920s to be exact. Newt Scamander (Eddie Redmayne) arrives there to drop off an animal that rightfully belongs in the U.S. His mysterious briefcase is actually filled with a coterie of enchanted critters. A mix-up at the bank switches his suitcase with a hapless man seeking a loan there named Jacob Kowalski (Dan Fogler). As a result, some of the creatures are released into the world and it’s up to our timid hero to try and round them up. Assisting him are Porpentina Goldstein (Katherine Waterston), a former Auror and current member of the wizard police. There’s also her big-hearted sister Queenie Goldstein (Alison Sudol).

Fantastic Beasts wastes no time in laying the groundwork for a new cast of wizards and witches. But what can you say about a film where the side characters are more interesting than the leads?  Newt is certainly a peculiar little man. He arrives with disheveled hair cascading down his forehead and a sheepish grin. Eccentric, shy, no wait, make that painfully introverted. The wizard is so soft spoken he tends to mumble his words. It’s an idiosyncratic performance and one that’s a bit hard to warm up to. I honestly couldn’t understand about half of what he said. That’s pretty frustrating when he’s the star of your picture. I wasn’t particularly taken with the businesslike personality of Porpentina either. She’s ho-hum. Her younger sister Queenie, on the contrary, is another story.  Actress Alison Sudol’s wide-eyed, Betty Boop style floozy is a joy. She is a free-spirited woman who can read minds. The singer-turned-actress is such a pleasure. Ditto her romantic rapport with wannabe baker Jacob Kowalski played by Dan Fogler. An ordinary man with no magical ability – he’s what the Brits call a “muggle”. Ah but we’re in America now so we’re told the term here is a “No-Maj”. Ok, whatever. He’s great regardless of what vocabulary you use define him. The two have palpable charisma together. Whenever they were on screen I was captivated. Can these two get a spin-off?

The leisurely paced narrative is not in a hurry to get anywhere. That’s fine because it’s the creation of a fictional world that is this production’s strong point. The meandering account is introduced when Jacob Kowalski and Newt Scamander accidentally switch luggage. The event is more of a conduit through which to introduce a menagerie of various living things that escape from his bag. I loved the Niffler. A mischievous critter that looked like a platypus but roughly the size of a mole. He’s a tiny scamp. There’s also a Bowtruckle named Pickett. He’s a pocket creature that resembled a twig-like man. Think mini-Groot from Guardian of the Galaxy. There are other animals and they’re all rendered beautifully. I don’t know if CGI is just getting better or I’ve been beaten down by such a reliance on these special effects in modern movies that I’ve just come to accept them. The phantasmagorical displays are easy on the eyes.

At best, the unfocused production is a visual delight. At worst, the dark developments are tonally odd . There’s a tiresome subplot about repressive fascists. Crusader Mary Lou (Samantha Morton) is head of an extremist group against wizards and magic. She thinks children should muzzle their magical gifts. It’s like X-Men but for toddlers. This makes them quietly go crazy. Ezra Miller is Credence Barebone, her troubled adopted son. Miller is normally a dynamic presence. I’ve enjoyed his work since the very beginning of his career. Yet here he is given little to do other than sleepwalk through the chronicle as a catatonic creep. Colin Farrell as Percival Graves is better but not by much. His poorly defined character is tasked with tracking down Newt. He changes in a way that is both confusing and dispiriting. I could say more, but I consider spoilers to be verboten.

There’s a lot to recommend. This should satisfy both Harry Potter fans and fantasy enthusiasts as well. Director David Yates is back. He brings his quirky aesthetic to this new film and the touch is welcome. He directed the last four installments of the Harry Potter series and he will direct all 5 of these films as well. On the other hand, Steve Kloves, who adapted every Potter movies except Order of the Phoenix, is only a producer here. This time the script is penned by none other than author Dame J. K. Rowling herself. This is her first screenplay. She pretty much had free reign to adapt her work any way she saw fit. We get a wandering two-hour plus movie from a meager story thread. Fantastic Beasts is a suitably accomplished escapist adventure. However the attempts to mix upbeat fantasy with something more sinister, fall flat. At best, the tale is a fanciful stroll through a dreamlike world. Nicely photographed, with a lush score and special effects galore; these all unite to create an occasionally bewitching imaginary universe.

11-18-16

Kubo and the Two Strings

Posted in Adventure, Animation, Family, Fantasy with tags on August 24, 2016 by Mark Hobin

 photo kubo_and_the_two_strings_ver13_zpstii1y4fz.jpg photo starrating-4stars.jpgA new production from Laika Entertainment is something to celebrate. They’re the creators behind the Oscar-nominated features Coraline and ParaNorman, animated films I adored. Unlike rivals Pixar or Walt Disney, the studio specializes in stop-motion animation in which an actual object is physically manipulated one frame at a time to create a moving image. The advent of computer animation has currently replaced the once ubiquitous traditional hand-drawn approach. Their technique is a unique and specialized art. Characters have the look of moving puppets. When it’s done well, it’s transcendent. Their latest, Kubo and the Two Strings, is a welcome addition to Laika’s growing oeveure.

The animated tale takes place in ancient Japan. Kubo (Art Parkinson) is a young boy who lives with his single mother. She has taken ill. At night, when she becomes active, Kubo attends to and cares for her. By day, he journeys to the local village square where he plays his beloved shamisen, a Japanese three string guitar. His performances magically summon origami creatures to life as they act out the legend of his father, Hanzo, a great warrior who died while protecting him. Unfortunately shadowy figures from his past, Kubo’s witch-like aunts (both Rooney Mara), discover his whereabouts and he is separated from his mother (Charlize Theron). He is offered help from Monkey (also Charlize Theron) and Beetle (Matthew McConaughey), a samurai with the appearance of a beetle-like man. Together they must find the three components of his father’s armor to use as protection from his evil grandfather, the Moon King (Ralph Fiennes).

“If you must blink, do it now,” warns Kubo in the very first line of spoken dialogue. And indeed there is so much to appreciate visually. The spectacle positively dazzles the eye. Each acquisition in their quest is a marvel to witness. The extraction of The Sword Unbreakable from a humongous skeleton, The Armor Impenetrable, a breastplate, hidden below the sea in the Garden of Eyes, and the of the location of The Helmet Invulnerable revealed in a dream. That last revelation leads to the climatic showdown.

Kubo and the Two Strings has all the attributes of classic folklore – an account that has been passed down from one generation to the next. But don’t go looking for this fantasy in some sacred text. The original screenplay was written by Marc Haimes and Chris Butler, with a “Story By” credit for Shannon Tindle. Given the contemporary origins of the saga, I suppose I can forgive the Hollywood movie star voices in the place of actors that could have better conveyed the authenticity of feudal Japan. Despite the somewhat generic “hero’s journey” trappings of the adventure, the drama touches upon some weighty themes. You have to admire a cartoon that challenges younger viewers to consider the nature of humanity. Is death really the end of someone’s life when one is still held in the hearts of those that loved them?  Along the way, the chronicle never ceases to be anything less than captivating. The style is so crisp, colorful and vibrant, that it’s easy to get lost in the beauty of the craft. This picture is simply a joy to behold.

08-23-16