Monday, February 13, 2017

25th Annual Pan African Film Festival - Los Angeles - Part 1

Among the films that played recently at the 25th Annual Pan African Film Festival - Los Angeles, held at the Cinemark 15 Baldwin Hills Theater at the Baldwin Hills Crenshaw Plaza, I was able to view and review the following:


The Voice of the Kora [2015] (directed and produced by Claudine Pommier) proved to be a lovely / fascinating CANADIAN documentary about a traditional West African stringed instrument called the kora which is mostly commonly played, sitting down like a harp but nevertheless contains characteristics of the lute / guitar and drum. The traditional "acoustic" kora, _like_ the lute / guitar contains a resonating / amplifying sound box, but _unlike_ the lute / guitar and more like a drum said amplifying sound box is not made of wood but rather of stretched animal / cow skin).  The result is a versatile stringed instrument with a characteristic sound that would fascinate many music lovers as well as music technologists.

Indeed, one of the joys of attending Film Festivals such as this one has been the opportunity to attend screenings of various music themed documentaries where one can learn about some aspect of often beautiful regional music that one might not have known before.  In years past, I've attended excellent screenings of documentaries on traditional music from Cuba and the Andes.  This one is about traditional music from West Africa using this particular particular instrument, and then about many of the interesting fusions and developments that this instrument has undergone as musicians / music technologists from the world over have discovered its possibilities / sound.  Yes, there's a Colorado based hipster who builds "Electric Koras" now ;-) -- 3 1/2 Stars.



'76 (directed by Izu Ojukwu) is a fairly _gripping_ NIGERIAN HISTORICAL DRAMA / THRILLER about a group of relatively low-level Nigerian military officers and their families stationed at a fairly "random" (though "near to the action") Nigerian military base at the time of an aborted (failed) military coup in 1976.

If you've EVER wondered what it would be like to be (or find oneself to be) involved in something like this then this would be an excellent film to look up.  (Basically, being / finding oneself involved in such a high stakes endeavor is NOT for the fainthearted ;-).

To the filmmakers' credit, they make it clear that "the Coup" was BUT ONE of _many other things_ going on in the lives of the quite "small fish" officers involved:

Captain Joseph Dewa (played by Ramsey Nouah), the film's central protagonist, has a pregnant wife named Suzy (played by Rita Dominic).  Their marriage was a sort of "modern Nigerian" one, that is, they married across traditional tribal loyalties, so neither is particularly liked / trusted by each others' in-laws.  In particular, her "always asking for money brother" is, well, an annoyance that most Viewers would understand.  Then, next to the Dewa's on-base home, lives a fellow junior officer with a fairly loud recently "picked-up" "off-base" live-in girlfriend who clearly likes her newly achieved status -- she "bagged" a (junior) officer (and "who knows how far HE can rise ...") -- but also, as yet, doesn't know the first thing of "on-base residential etiquette," to say nothing of having compassion for the expecting couple in "all windows open" hot / steamy coastal Nigeria living next door.  Captain Dewa also has an old "from the OTS" army buddy who "just shows up" in these days (because he's involved, somehow, in the coming Coup).  And in the midst of all these competing forces and distractions, the still late 20-something / early 30-something Captain Joseph Dewa comes to realize that he has to choose sides in a coming conflict that he did not ask for, but carried the risk, no matter which way he chose, to end "with a bullet in his head."  Ay, one thinks, of course, "choose wisely" but ... -- 4 Stars.

 

Scent of Oak (orig. Roble de Olor) [2002 [IMDb] [FA.es]* (directed and cowritten by Rigoberto López [IMDb] [FA.es]* along with Eugenio Hernández [IMDb]) is a CUBAN HISTORICAL DRAMA of the class of the similarly quite excellent film Belle [2013], that is, though inspired by actual historical persons / events, nevertheless an imaginative (re)construction (due to the paucity of historical material.

The current film, set in the early 19th century about a great love between Cornelius Souchay (played by Jorge Perugorría [IMDb] [FA.es]*) a rich German born immigrant to Cuba and Ursula Lambert (played by Lia Chapman [IMDb] [FA.es]*) a quite well educated (dark skinned) immigrant / refugee from Haiti after the 1803 Revolution there who together setup a highly successful coffee plantation in Western Cuba, is based at least _in part_ on historical fact: The two really did exist, they really did operate a successful coffee plantation in Western Cuba and Cornelius Souchay really did put in his will the request that an all black chamber ensemble play at his funeral.  Hence, it is clear that Cornelius Souchay and Ursula Lambert did have a quite unique love for the time and they also understood their African descended compatriots (probably still at least nominally slaves) to have talents / capacities that other landed Cuban aristocrats of the time would probably have not believed them to have.  Yet as in the above mentioned film Belle [2013], much of the rest of the story was constructed around the quite meager historical points given above.  Yet such it often is when it comes to the personal histories of non-aristocratic women, let alone slaves / former slaves.  As in the case of Belle [2013] and the current film here, there are truly _tantalizing_ glimpses of _great stories_ present, but alas they remain glimpses.  What to do?  I do believe that the makers of Belle [2013] as well as the film here, did do their subjects justice.  The most likely alternative would be to not tell these stories at all and that would definitely not do these people justice either.

In any case, I did like this film, even if it came from (still) Communist Cuba.  I would note also that the Catholic Church plays a role in this film, and (IMHO) a surprisingly _positive one_.  For a film coming from a Communist country, I was honestly surprised by this.  The film's director Rigoberto López [IMDb] [FA.es]* was present at the end of the screening for Q&A and in said Q&A I did ask him about this (because it did surprised me).  He answered that Cuba is not necessarily what Westerners might think it to be.  And I would note that the film was made in the years following (Saint) John Paul II's historic visit to Cuba in 1998 after which there was a clear improvement in the Communist Regime's treatment of the Catholic Church / Christianity in general (For one, following Pope John Paul II's visit, Christmas (!) was reinstated as an official holiday in Cuba after its observance was officially "abolished" by the Communist Party in 1969 ...).  In any case the Catholic Church was presented quite fairly / surprisingly positively throughout the film.  All in all -- 3 1/2 Stars.



Rain the Color Blue with a Little Red in It (orig. Akounak Tedalat Taha Tazoughai) [2015] (written and directed by Christopher Kirkley) is a fascinating music themed film from NIGER what's been billed as a "West African tribute to the African American superstar Prince."  Set in the dusty streets / surroundings of the South Saharan Niger-ian town of Agadez, it's about the South Sahara's _youth oriented_ music scene (!).  Indeed, the film stars Mdou Moctar a young Taureg speaking Central African superstar from  Abalak in southern Niger.

Now honestly, one of the first things that came to my mind, as I watched this movie was "OMG ... 1/2 the guys in this film look like they're from AL QUEDA / ISIS (!)"  But the ever smiling (when he's not wearing his head scarf) sings not about Jihad but simply about life and love and loss, LIKE ANY SENSITIVE MUSICIAN OR POET from ANYWHERE and ANY TIME.  Honestly, this VERY LITTLE FILM could do MORE FOR PROMOTING PEACE AND MUTUAL UNDERSTANDING than just about any film that I've seen since I've begun my blog five years ago.  Outstanding, and honestly beautiful job! - 4+ Stars



Forward Ever: The Killing of a Revolution [2013] (written and directed by Bruce and Luke Paddington) is a SURPRISING and remarkably _well done_ documentary about what would for most people otherwise be a true footnote in Cold War / World History -- the rise and fall of the Revolutionary Government of Maurice Bishop in the tiny Caribbean island nation of Grenada.  

I went to the film in most part out of simple curiosity.  I certainly knew of the 1983 U.S. Invasion of Grenada, which I always understood to have been a perhaps inevitable / necessary Cold War chess move on the part of the Reagan Administration, but also one motivated in good part by cynicism / a perceived need "to change the story" (a few days earlier, two Shiite suicide bombers had breached the U.S. Marine Compound in Beirut Lebanon killing 241 U.S. Marines, 58 French Peacekeepers and six civilians.  Since there was no ready way to retaliate in Lebanon, the invasion of the tiny but annoying / Marxist aligned nation of Grenada offered a simpler "change the story" alternative).

HOWEVER, as this documentary pointed out, the _deteriorating situation_ in Grenada was far more chaotic than perhaps perceived in the U.S. at the time AND I HONESTLY LEFT THE THEATER WITH THE MORE-OR-LESS CERTAINTY THAT THE REAGAN ADMINISTRATION ACTUALLY DID THE RIGHT THING IN GRENADA.

What happened then in the lead-up the U.S. invasion?  That's then what the documentary is about, and to its credit, it seems to be REMARKABLY HONEST:

Basically, the always idealistic, if certainly Marxist government of Maurice Bishop simply COLLAPSED.  A more radically left-wing clique tried to oust him.   He and his supporters then stormed one of the 18th century forts on the island (the fort apparently contained a radio transmitter from which Bishop could declare to his supporters / the outside world that "he" / "all was okay" (he / they were not).  Grenada's armed forces, arguably _not aligned_ at this point, tried to send three armored personnel carriers to said fort to "restore order."  THE ARMORED PERSONNEL CARRIERS WERE FIRED UPON by Bishop's supporters, where upon the military unit, of course, fired back.  By the time the dust settled, the survivors of that military unit apparently just lined-up Bishop and six of his top aides against a wall and shot them dead (the soldiers had lost their own friends in the fighting ...).  Subsequently, the remainders of the Grenadan military (who was leading them?) declared "martial law."  There were 600 American students on the island, memories of the still recent 1978-1980 Iranian Hostage Crisis were fresh.  Given THAT LEVEL of CHOAS on that tiny island nation, it made TOTAL SENSE to for the Reagan Administration to send in the 82nd airborne / Marines to restore order.

Anyway, the documentary really could serve as a reminder to young idealists radicals that guns and politics are a REALLY VOLATILE MIX (and Marxism did / does advocate violent Revolution ...).  This island nation nearly descended into something resembling "The Lord of the Flies" [wikip] [GR] [WCat] [Amzn] ... Excellent documentary / cautionary tale - 3 1/2 Stars


* Reasonably good (sense) translations of non-English webpages can be found by viewing them through Google's Chrome browser. 

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Saturday, February 11, 2017

The Lego Batman Movie [2017]

MPAA (PG)  CNS/USCCB (A-II)  RogerEbert.com (2 1/2 Stars)  AVClub (B)  Fr. Dennis (3 1/2 Stars)

IMDb listing
CNS/USCCB (J. Mulderig) review
Los Angeles Times (J. Chang) review
RogerEbert.com (S. Wloszczyna) review
AVClub (J. Hessenger) review

The Lego Batman Movie [2017] (directed by Chris McKay, story by Seth Grahame-Smith, screenplay by Seth Grahame-Smith along with others, Batman created by Bob Kane and Bill Finger, Superman created by Jerry Siegel and Joe Shuster) is ONE FUNNY, FAMILY FRIENDLY / KID ORIENTED (and even MESSAGE DRIVEN) comic book superhero movie! 

It has the child-oriented quarkiness of the (then) surprise Marvel Comics out-of-the-ball-park hit Guardians of the Galaxy [2014] and the similarly surprisingly successful (but not as successful as Guardians) first Lego Movie [2014], BUT then (as in said first Lego Movie) the current movie adds a lovely family oriented message that, yes, even a five or six year old could understand.  In other words, this film offers not just "goofiness," but "goofiness with a purpose" ;-).

The ever-brooding (but here, over-the-top brooding) Batman [wikip] [IMDb] (voiced by Will Arnett) was the surprise "break-out star" of the first Lego Movie [2014] just begging for a Lego film of his own.  And voila' ... in this film we got our wish ;-).

In the current film, we're introduced to said brooding Batman [wikip] [IMDb] as a supremely efficient, if soulless, death-and-destruction dealing vigilante-guardian of Gotham City.  He keeps the _ever_ ready to go _completely unhinged_ city SAFE, but does so certainly _without_ any joy and even without any particular purpose.  It seems that chaos simply "annoyed" Batman, perhaps "annoyed him A LOT" ... but beyond causing him some apparent discomfort in his otherwise thoroughly "cartesian"  / gadget-filled life ... it's hard to say at the beginning of the story that he cared really FOR ANYTHING.  (LOL - "cartesian" ... the box-like Lego-medium of this film becomes an additional amusing metaphor for his apparent "outlook on life" ;-).

Indeed, Batman seemed to "crush" The Joker (voiced inspiringly in the film by Zach Galifianakis) in a way that no punch nor wildly exotic piece of "bat weaponry" could ever do by telling him after their first big encounter near the beginning of the film that even HE, "The Joker," meant NOTHING to him.  "What do you mean NOTHING?" asks a thoroughly aghast Joker, "I am your PRIMARY NEMESIS in this TOWN. (I KILL ... (arguably) for you. ;-)"  But NOTHING was right.  EVEN the Joker was but an "annoyance" to him. 

Batman neither needed nor wanted _any help_ from _anybody_ in keeping the city SAFE (!!) from "vermin" like The Joker.  But after liquidating one or another radically insane "Evil Doer,"  Batman would simply retreat to his "Bat Cave" where he'd eat his wildly luxurious food -- Lobster (lobster, mind you Dear Readers, made here out of legos ;-) and watch ... tear-jerking romcoms.  We watch Tom Cruise declare to Rene Zellwigger in Jerry Maguire [1996]: "You complete me."  And yet ... The Batman does not need ANYBODY to "complete" him ... And yet ... there we see him binge-watching teary RomComs ... "in the darkness" ... ALONE.

This, of course, can not stand ... and ... (of course) it does NOT ;-).

And the rest of the story ensues ;-)  I JUST LOVED THIS FILM ... ;-)  It's a reminder to all that you could even be a "super-hero."  But without friends, you can still be nothing.
 

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Friday, February 3, 2017

The Comedian [2017]

MPAA (R)  CNS/USCCB ()  RogerEbert.com (2 Stars)  AVClub (C-)  Fr. Dennis (3 Stars)

IMDb listing
CNS/USCCB () review
Los Angeles Times (J. Chang) review
RogerEbert.com (G. Kenny) review
AVClub (J. Hassenger) review


The Comedian [2017] directed by Taylor Hackford, story and screenplay by Art Linson along with Jeff Ross, Richard LaGravenese and Lewis Friedman) is, on its surface, a rather ugly movie about a rather ugly guy.  Robert De Niro plays "Jackie Burke" an aging comedian whose peak (playing a Jackie Gleason [wikip] [IMDb]-like character, a cop named "Eddie," in some wildly popular sitcom of yesteryear) had long since past.  Now he's grinding out a living doing the stand-up comedy circuit in decent enough "boutique comedy clubs," though not exactly "Ceasar's Palace" ... And he's reasonably funny, though mostly crude, and not particularly happy with even his realization that his best years are long behind him.

Striking in this film is that Robert De Niro (Italian American) plays in this film a character who is repeatedly, over-and-over, identified as "Jewish."   Danny DeVito (another Italian American icon) plays his brother "Ben," who runs a New York Jewish Deli.  Even De Niro's love interest played by Leslie Mann, who has a more or less obviously mobbed-up father (played by Harvey Keitel), has a GERMANIC last name -- Schiltz.

What's going on here?  There's _almost certainly_ "a story" there ... "revenge of the Italian American actors?" (and if it is, then GOOD ON THEM ;-) ... But whether or not the original intent of the film-makers was to make ALL THESE CHARACTERS "Italian American," it's an ugly film.

Jackie's a pig.  Thanks be to God,  De Niro's NOT playing an "Italian American pig" but he's still playing a pig. 

But then, that may indeed be the point ... If the film feels ugly with the characters identified as both Jewish and Aryan, why would it have felt somehow "better" if the characters were Italian or Latino?

So honestly, there's an interesting "joke" being played here ... and in a good part it's on the audience itself.

In this regard, it's not an altogether bad film after all ;-).


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Un Padre No Tan Padre [2016]

MPAA (PG-13)  CNS/USCCB ()  AZRepublic (4 Stars)  Fr. Dennis (3 1/2 Stars)

IMDb listing
FilmAffinity.es listing*

AZRepublic (R. Cordova) review
Excelsior.com.mx (A. Ruz) review*

Un Padre No Tan Padre [2017] [IMDb] [FA.es]*(directed by Raúl Martínez [IMDb] [FA.es]*, screenplay by Alberto Bremer [IMDb]) is a Mexican / Spanish language "fish out of water" comedy about Don Severando (played inspiringly by Héctor Bonilla [IMDB] [FA.es]*) an "older gentleman" SO "OLD SCHOOL" / SEVERE that the upscale Mexico City "senior retirement hotel" that he's lived in for the last 20 years has finally had enough and asks him to leave.

Okay, but where to?   Well, NONE of his five grown children want him.  Only the youngest, Francisco, going by "Fran" for short (played again magnificently by Benny Ibarra [IMDB] [FA.es]*) who lives with his long-time girl friend (played by Jacqueline Bracamontes [IMDB] [FA.es]*) and teenage son René (played by Sergio Mayer Mori [IMDB] [FA.es]*) by another relationship in a small comune at the edge of Anglo-American expat haven, notoriously "hippie / liberal" San Miguel de Allende (think Berkeley, Key West, "Big Sur" / Santa Cruz / Monterrey) is willing to take him in, if temporarily, to see if it would work...

Well, needless to say, "much ensues ..." ;-)

I just loved this movie and think that it'd be worth it for A LOT of Readers here (both Anglo and Hispanic) to see it because it reminds EVERYONE of the cultural diversity that, if one thinks about it _at all_, so clearly exists in both Mexico and across Latin America.

BOTH "Don Severando" and "Fran" / Alma and their "artist commune" exist.  Where would Diego Rivera or Frida, to say nothing of the characters populating Carlos Fuentes'  or (Colombian) Gabriel García Márquez' novels, come from?

Just a joy of a film ;-)


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The Space Between Us [2017]

MPAA ()  CNS/USCCB (A-III)  RogerEbert.com (1 1/2 Stars)  AVClub (D)  Fr. Dennis (2 1/2 Stars)

IMDb listing
CNS/USCCB (J. Mulderig) review
Los Angeles Times (J. Chang) review
RogerEbert.com (C. Lemire) review
AVClub (A.A. Dowd) review


The Space Between Us [2017] (directed by Peter Chelsom, screenplay by Allan Loeb, story by Stewart Schill, Richard Barton Lewis and Allan Loeb) is an at times _truly_ impossible teen-oriented "crush story" (seriously, there's NO WAY _in this universe_ that the story's two "star crossed lovers" could talk to each other (one on Mars, the other in Colorado) in an online chat, with even the speed of light at a mere 186,000 miles/sec, the distances involved, tens of millions to hundreds of millions of miles, are simply too great).  Nevertheless, putting aside this fairly elementary and yet (as of now) utterly insurmountable telecommunications problem -- our deep space probes operate using a mix of artificial intelligence / instructions sent to them ahead of time and report their findings back to earth minutes to hours after the fact -- it's _not_ an awful weepy teen-oriented "crush story." 

PARENTS SHOULD NOTE that there is a scene in which the two teens in question - the lankly Mars-born "Gardner" (played by Asa Butterfield) and the actually quite similarly rootless, shuttled from one-foster-home-to-another "Tulsa" (played by Britt Robertson) DO end up _sharing a sleeping bag_ together ... -- during a truly beautiful "starry night" out in the Arizona desert on their way to find "Gardner's" father (Gardner's mother, an astronaut only found out that she was pregnant 2 months into a mission to Mars ... and dies soon after giving birth to him on the red planet). 

Was that scene WISE or even NECESSARY? -- let's remember that Shakespeare settled his narrative problem of what to do with his two enamored "star crossed teens" in Romeo & Juliet by having them get married secretly by Friar Lawrence (and it would seem that Gardner's mother was married _secretly_ by an Arizona Shaman to Gardner's father before her departure to Mars ;-).  Still the film's wink to "Okay, teens it's okay to shack-up if only for one night, if the night is TRULY BEAUTIFUL / romantic" will irritate a fair number of parents ... and REQUIRE COMMENT (and condemnation) by a Church authority such as me (it's part of our job).

But okay, so the story's science is flawed and in the above point morally questionable.  Still, what a great teen romance: He from Mars, raised by astronauts who didn't necessarily expect that to be part of their job, she born and yet quite lonely here on Earth -- So what's a few hundred million miles distance when TRUE LOVE [TM] is involved ;-).

So all in all, it's NOT an awful sappy teen-age love story ;-) and with regard to _this film genre_ does one necessarily demand "more"?


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Monday, January 30, 2017

Gold [2016]

MPAA (R)  CNS/USCCB (L)  RogerEbert.com (2 Stars)  AVClub (C+)  Fr. Dennis (3 Stars)

IMDb listing
CNS/USCCB (J. Mulderig) review
Los Angeles Times (R. Abele) review
RogerEbert.com (M. Zoller-Seitz) review
AVClub (J. Hassenger) review


Gold [2016] (directed by Stephen Gaghan, screenplay by Patrick Massett, John Zinman) is a quite-engaging if thoroughly seemy "hard-boiled" / "gonzo-ish" story, loosely based on a 1990s mining scandal involving Bre-X a Calgary-based mining company founded by Canadian businessman David Walsh

Walsh's firm had a quite unimpressive track-record until ... he took a big gamble and on the advise of a geologist named John Felderhof set-out to develop a potential gold-strike in the jungles of Borneo, Indonesia.  The initial estimate of the potential of site, reported by the site's first project manager Michel de Guzman, a geologist from the Philippines, suggested that it could become one of the largest gold strikes in history.  That estimate, of course, proved to be a fraud and ... much, much intrigue (and litigation) ensued.  But with so many players -- optimistic and/or flat-out crooked geologists, a wannabee big-shot Canadian businessman arguably way out of his depth, all kinds of higher-flying investors from Toronto and beyond (read NYC), and then the requisite corrupt / corruptable wierdos that one would find the notoriously "crony-capitalist" state that was Indonesia under Suharto -- who (all) was scamming who?   Famed Rolling Stone journalist Hunter Thompson would have cut-off his right arm to tell _this tale_. 

And so a fictionalized version is told here.  David Walsh of Calgary, Canada becomes Kenny Wells of Reno, Nevada (played quite inspiringly by Matthew McConaughey).  Geologists John Felderhof and Michel de Guzman are conflated into the character of Michael Acosta (played by Edgar Ramírez).  Together Wells and Acosta set-out, up one of Borneo's Rivers and come to a seemingly random location (literally revealed to Wells in a dream) and there they start digging, and digging and ... finding nothing.  Finally, after a month-long bout with malaria that nearly killed him, Wells wakes-up only to informed by Acosta that ... OMG they found GOLD!  Lots of it, indeed POSSIBLY the largest gold strike of all time. Wells goes back home to Reno to line-up investors and as the reports get Bigger and BIGGER ... soon even Wall Street wants a piece of the pie (and arguably pretty-much THE WHOLE PIE).  In the midst of all this "gold fever" the ONLY ONE with any sense seemed to be Wells' long-time Reno-barmaid girlfriend Kay (played by Bryce Dallas Howard) who warns Wells to just get out while he can ...

Well, of course, he doesn't ... and ... well ... when the "... hits the fan ..." there are A LOT OF PEOPLE who are ... "VERY, VERY UNHAPPY" ;-/.

When one thinks about it, even the very idea of going into a place like Suharto's Indonesia IN SEARCH OF _GOLD_ would seem like A REALLY STUPID IDEA.  Even if the gold was there, could they possibly extract it, make money on it, and LIVE TO TELL ABOUT IT? 

Certainly though it makes for one heck of a story and (one would hope) cautionary tale.  This was ONE HECK OF A "TIGER" that Matthew McConaughey's character was "petting."  Don't do this at home ...


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Saturday, January 28, 2017

A Dog's Purpose [2017]

MPAA (PG)  CNS/USCCB (A-II)  RogerEbert.com (1 1/2 Stars)  AVClub (C)  Fr. Dennis (3 Stars)

IMDb listing
CNS/USCCB (J. Mulderig) review
Los Angeles Times (K. Walsh) review
RogerEbert.com (G. Kenny) review
AVClub (K. Rife) review


A Dog's Purpose [2017] (directed by Lasse Hallström, screenplay by W. Bruce Cameron, Cathryn Michon, Audrey Wells, Maya Forbes and Wally Wolodarsky based on the book [GR] [WCat] [Amzn] by W. Bruce Cameron [wikip] [GR] [WCat] [Amzn] [IMDb]) is a LOVELY, largely "can't miss" FEEL-GOOD FAMILY MOVIE unless one's some kind (perhaps any kind) of extremist -- the kind that would simultaneously be offended by the possibility that dogs would have souls AND that (to make dogs different from people) dogs would "reincarnate" rather than "go to heaven."  Anyone who's ever had a dog or loved a dog would know that "there's something in that dog" that's "a lot like us" and perhaps _better_ than us.  The other kind of extremist who'd get mad at this film would be of the PETA variety, who'd pretty much require that a dog write the screenplay and direct the film him/herself (and _that_ "would be hard" because they'd always get distracted by squirrels ;-).

So ... if you _just love dogs_ then this film will probably be for you ;-) -- and let the protesters (I was shocked when I heard that there were folks who have already verbally protested this film) be.

The film is about a dog, or the soul of a dog, (voiced throughout by Josh Gad) who's trying to figure out why he/she exists.  Being a dog is largely _fun_ but ... "there has to be more to it / life" than that.  And so we follow said dog cycle through various incarnations -- Bailey, Ellie, Tino, Buddy -- as he (and at least one time, she) tries to figure out "what it's all about."  The story goes full circle when he is incarnated as Buddy and ends-up incarnating in the environs of where Bailey used to stomp and becomes part of the lives of two humans, Ethan and Hannah (played as teenagers by K.J. Apa / Britt Robertson and as 50+ year olds and Dennis Quaid / Peggy Lipton respectively) again.  (Note that Bailey entered into Ethan's life when Ethan was 8 years old and is played by Bryce Gheisar as well).  Much QUITE PREDICTABLE but CUTE ensues ...

All told, I thoroughly enjoyed this film and would recommend it to most parents / families to watch happily together.


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Saturday, January 21, 2017

The Founder [2016]

MPAA (PG-13)  CNS/USCCB ()  RogerEbert.com (3 Stars)  AVClub (B)  Fr. Dennis (4 Stars)

IMDb listing
CNS/USCCB () review
Los Angeles Times (J. Chang) review
RogerEbert.com (M. Zoller-Seitz) review
AVClub (J. Hassenger) review


The Founder [2016] (directed by Jack Lee Hancock, screenplay by Robert Siegal) tells the compelling (!) if not necessarily pretty story of the origins of certainly the largest fast-food franchise company, McDonald's, in history.

While as yet hearing surprisingly _no buzz_ for this film, I'd certainly say that Michael Keaton simply DESERVES OSCAR CONSIDERATION for his role as Ray Kroc [wikip] [IMDb] the one-time traveling huckster / salesman from Oak Park, Arlington Heights, Des Plaines, Illinois (suburban Chicago) who turned the "one miracle stand" operation of the McDonald brothers - Richard ("Dick") and Maurice ("Mac") (played in the film by Nick Offerman and John Carroll Lynch respectively) - of San Bernardino, California into the multibillion dollar multinational McDonald's corporation.

How'd he do it?  He'd say ... persistence.  And one would have to say, a definite level of _meanness_, there were _definitely_ "some eggs" that were "cracked" to make _this_ "Egg McMuffin..."

But honestly, what a(n American) story!  Call it this year's rendition of The Master [2014] (a film inspired by the life of Scientology Founder L. Ron Hubbard) or Joy [2015] (a film about QVC / Home Shopping Network sensation Joy Mongano inventor of the "the self-wringing mop" ;-).  It's a story that's both trivial / _banal_ AND ... compelling / _worth telling_ ...

Excellent film!


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Split [2016]

MPAA (PG-13)  CNS/USCCB (A-III)  RogerEbert.com (3 Stars)  AVClub (B+)  Fr. Dennis (3 Stars)

IMDb listing
CNS/USCCB (K. Jensen) review
Los Angeles Times (J. Chang) review
RogerEbert.com (C. Lemire) review
AVClub (I. Vishnevetsky) review


Split [2016] (written and directed by M. Night Shyamalan) is a quite disconcerting film that I have a fair amount of mixed emotions about. 

ON ONE HAND, the film's probably WAY MORE LURID than it needs to be: Three teenage girls, Casey (played by Anya Taylor-Joy) Claire (played by Haley Lu Richardson) and Marcia (played Jessica Sula), are kidnapped and held in some underground compound by a crazed man in his 20s-30s (played by James McAvoy) with serious multiple personality disorder.  Since teenage girls are involved the film-maker, while never crossing into R-territory, certainly "plays at the boundary" between the PG-13 / R-ratings -- while never having the three actresses undressed completely, the director does have them show about as much skin as the PG-13 rating would allow.  SO there's DEFINITELY a CREEPY aspect to this film that will PROBABLY "ick-out" (!) a fair number of adults (including myself...) that would go to see it. 

ON THE OTHER HAND, if one imagines THE TARGET AUDIENCE to be _precisely_ TEENAGE GIRLS ... then WOW, does this film _speak the language_ of _wide-eyed_ teenage girls telling _a scary story_ to freak-out their friends!  And that's, I suppose, the film's genius.  It's a story that one would imagine a group of junior-high early-high-school teenage girls would tell each other about "some really messed-up / deeply creepy dude." 

Now maybe the next time a film like this hits the screen, it'd probably be better if it was written / made by women as well...


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Friday, January 6, 2017

20th Century Women [2016]

MPAA (R)  CNS/USCCB ()  RogerEbert.com (4 Stars)  AVClub (B+)  Fr. Dennis (3 1/2 Stars)

IMDb listing
CNS/USCCB () review
Los Angeles Times (J. Chang) review
RogerEbert.com (S. O'Malley) review
AVClub (A.A. Dowd) review

20th Century Women [2016] (written and directed by Mike Mills) is an excellent, well-written / well-acted indie piece that simply deserves wide recognition at the Oscars -- nominations for Best Picture, Best Original Screenplay (!), Annette Bening as Best Actress in a Leading Role (!), perhaps even Best Cinematography in a nice gentle indie sort of way.

Conceived as a tribute to writer/director Mills' mother (just like Beginners [2011], another simply _excellent film_, was a tribute to his father) the film is set in the California coastal city of Santa Barbara in 1979.  Both the time and place are perfect -- Santa Barbara is simultaneously beautiful, and 2 hours up the coast from Los Angeles toward the Bay Area, conceivably something of a "hippie-ish backwater."  Then the late 1970s were really at "the end of an era" (the "anything goes" lasciviousness of the 60s that with Disco / Punk extended into the mid-to-late 70s) and _just_ before the beginning of another (the 1980s / Reagan years).

So at this time, 1979 in Santa Barbara, "born during the Depression" Dorothea (played again marvelously by Annette Bening), now her mid-50s is faced the task of _finishing_ the raising of her teenage son Jamie (played by Lucas Jade Zumann) who she had "late" (at 40), because she "married late", because ... well ... she was never exactly "a cover girl."  Her husband, Jamie's father, was long out of the picture.  First, he had left and then he had died.

So how does one "raise a son" / "raise a man ... without a man"?  That's what this film is about AND TO ITS CREDIT the story _doesn't_ "look for a man" WHEN NO ONE REALISTICALLY IS AROUND TO STEP-UP.

So Dorothea decides to "make do" enlisting the help of two younger women -- Abbie (played by Greta Gerwig) a somewhat eccentric 20-something year-old boarder and Julie (played by Elle Fanning) a few-years-older than Jamie neighbor (on whom Jamie has a deep, deep crush).  She asks THEM to help her "make a man" out of her son.

And Readers understand here that she was NOT asking either of these young women to sleep with her son.  Instead, she was _asking_ THEM to _help_ HER to _make_ HIM into a GOOD GUY.

This is an _intelligent film_.  Indeed, if anything, this film is as subversive to the "values of the 1960s-70s" as it is to "traditional values."  (Discussion of) sex does come up, and the 17-18 year old Julie is "rather loose."  BUT she actually LIKED Jamie precisely because HE WAS THE ONE GUY that she could "keep at bay" and KEEP AS A FRIEND.  She confesses to him that with all her other sexual activity she'd _never_ had an "orgasm."  "So why do you have sex?" Jamie asks her.  She answers QUITE HONESTLY, because she liked "watching the guy," watching _his reactions_.  She might not get the orgasm but she liked seeing the other person happy.

Yes, there will be all kinds of Readers here who will have _any number_ of problems (or "problems") with that answer (and of course the Catholic Church teaches that any sexual activity outside of the context of marriage is _necessarily_, at least in part, A SIN) but ... HER ANSWER was NOT _selfish_ / _egotistical_.  Julie's answer was concerned about the Other (and yet, the ONE she did not want to satisfy was Jamie who she VALUED as a FRIEND).

This is one film that unambiguously declares FRIENDSHIP to be more important than SEX and expresses the opinion that it's possible to find HAPPINESS / FULFILLMENT in HELPING / SERVING OTHERS.  Remarkable.

So folks, this is not necessarily the film to take the teenager to -- I doubt they'd get it.  But it's a very intelligent film about the task of _raising someone_ to be a GOOD PERSON.

And remember Dorothea herself was not exactly "a beauty" ... but was of course trying to defend her own worth: If only "beautiful" and "popular" people had lives "worth living" where would the _vast majority_ of the rest of us be?

Certainly one of MY FAVORITE movies of the year!  Great job!


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Hidden Figures [2016]

MPAA (PG)  CNS/USCCB (A-III)  RogerEbert.com (3 1/2 Stars)  AVClub (C+)  Fr. Dennis (3 1/2 Stars)

IMDb listing
CNS/USCCB (J. Mulderig) review
Los Angeles Times (K. Turan) review
RogerEbert.com (O. Henderson) review
AVClub (J. Hessenger) review


Hidden Figures [2016] (directed and screenplay cowritten by Theodore Melfi along with Allison Schroader based on the book [GR] [WCat] [Amzn] by Margot Lee Shetterly [wikip] [GR] [WCat] [Amzn] [IMDb]) is a well-made, crowd-pleasing (if then _necessarily_ somewhat "dumbed down") story about three Mathematicians (!), AFRICAN-AMERICAN, WOMEN who helped the U.S. win the Space Race of the 1960s.

This is EXACTLY the kind of film that one wants kids (especially GIRLS and CHILDREN OF COLOR) to see.  This is EXACTLY the kind of film that inter-generational families (of all races) ought to see together. 

If this film does not get Oscar nominations for Best Picture, Best Adapted Screenplay (!) and at least one of the three stars get a nomination for either Best Actress in a Leading Role (Taraji P. Henson) or Best Actress in a Supporting Role (Octavia Spencer or Janelle Monáe) then it will have been robbed and the Academy will deserve the #oscarssowhite disdain that it's received in recent years.  (What about Moonlight [2016]?  IMHO, it's not even close. Moonlight [2016] is a decent-enough edgy/starter indie-piece.  But to honor _it_ IN PLACE OF _SERIOUS_ films like Fences [2016] and the current film would actually be an _insult_ to serious / dedicated African Americans in the film-industry rather than some kind of renewed recognition of them).

So what's the current film about?  Well, it's about three African American women who grew-up in the still pre-Civil Rights Era (Jim Crow) South, who, as it happened in ethnic or racial community, happened to be very gifted in mathematics.  Readers note here have been at least three other films about intellectually gifted people-of-color that came-out recently -- The Man Who Knew Infinity [2015], Queen of  Katwe [2016] and El Jeremías [2016] -- all about the challenges (often loneliness and certainly lack-of-comprehension) faced by such pioneers.

Now perhaps if not for the advent of the space program (AND the nuclear arms race ... more on that later) these three would have been relegated to teaching advanced mathematics in, then necessarily, All-black Colleges in the South.  But since the same missiles that carried satellites and human carrying space-capsules into space / orbit could ALSO carry nuclear warheads, the U.S. was in a "fight for its life" as Al Harrison (played excellently, BTW, by Kevin Costner) one of NASA's directors at (then still segregated) Virginia's Langley Research Center noted. 

As such, the country needed _all_ its "best brains" (even from people-of-color _and_ a fair number of _immigrants_...).  So the three heroines of the story -- Katherine J. Johnson (played by Taraji P. Henson), Dorothy Vaughan (played by Octavia Spencer) and Mary Jackson (played by Janelle Monáe) -- found themselves working in the (still segregated) COMPUTATIONAL (then literally called COMPUTER) pool, helping to calculate _still by hand_ possible trajectories for Space Flights.

Okay ... I promised _above_ to talk little bit about nuclear arms race here, something, that while not totally ignored, was largely _glossed-over_ in the film:  IN MY FIRST YEAR IN THE SEMINARY, when I did my first year of Theology with the Servites at the then Franciscan School of Theology in Berkeley, CA, I MET A FRANCISCAN SISTER / PROFESSOR THERE who IT TURNS OUT was ALSO ONE OF THOSE human "computers" in the early days of the space program.  She ALSO was recruited and believed initially that she was doing calculations "to help America get into space / the moon" ... and YET, _she_ came to realize that the vast majority of the calculations that she and her colleagues were doing were _not_ for calculating trajectories for spaceships or satellites BUT rather for ICBMS to be launched possibly against the Soviet Union.  SHE TOLD ME that THIS WAS THE REASON WHY SHE LEFT HER JOB IN THE SPACE PROGRAM and BECAME A NUN ... TO _ATONE_. 

The current film actually HINTS AT THIS DARK SECRET because it shows the main character Katherine being _repeatedly given_ HEAVILY REDACTED (BLACKENED OUT) work-sets from which she was supposed to do her calculations AND KATHERINE COMPLAINED telling her supervisors that she couldn't do her work effectively WITHOUT KNOWING everything that needed to be known about her calculations.

Still while in real life the three women in the story _almost certainly_ did calculations that were about _more_ than just "putting Americans in space," at least _some_ of their work was about space exploration -- putting John Glenn (played in the film by Glen Powell) into orbit, etc. 

Now dear Readers if this feels somewhat depressing -- the realization that much of what was done _under the cover of the Space Program_ was really preparing for (and hopefully detering...) Nuclear War -- remember that the Soviets were doing the EXACTLY THE SAME THING:

Indeed, the Russians arguably "lost" the Space Race NOT because they "couldn't go to the Moon," but because more financially strapped they _chose_ to not continue further with their manned program than near Earth space AS THERE WAS NO FURTHER MILITARY REASON TO GO BEYOND THAT:  The same Vostok missile that put Yuri Gagarin into orbit (and various _unmanned probes_ to the moon / the near earth planets) was the Soviet Union's first generation ICBM.  (Similarly, the Atlas missile that put John Glenn into orbit was the United States' first generation ICBM...) To put people on the moon required larger rockets that no longer served any direct military function.  The U.S. had the money to spend on the "prestige project" of putting astronauts on the moon, Russia simply did not.  What the Soviet Union _chose_ to do with its money was building (in Khrushchev's words "like sausages...") THOUSANDS of essentially "Gagarin-class" rockets capable of raining tens of thousands of nuclear warheads on us.  Larger rockets that could have sent Soviet cosmonauts to the Moon would have no longer had any further _direct_ military utility ...

But "that's the way it was" ... And the three African American women in this story (and others like them) like Jesse Owens at the 1936 Olympic Games and the Tuskegee Airmen during WW II did the United States a service even as it did not particularly appreciate them at the time.

It is good to remember, however, that there are good people ... and patriots ... who come in all colors / genders.

All in all, while a little "dumbed-down" (on multiple levels...) this is a quite excellent film that does make one's spirit soar.  So over-all a good job with some very good acting / a very good story...


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Friday, December 30, 2016

Silence [2016]

MPAA (R)  CNS/USCCB (L)  RogerEbert.com (4 Stars)  AVClub (B+)  Fr. Dennis (4+ Stars)

IMDb listing
CNS/USCCB (J. Mulderig) review
Los Angeles Times (J. Chang) review
RogerEbert.com (M. Zoller-Seitz) review
AVClub (I. Vishnevetsky) review


Silence [2016] (directed and screenplay cowritten by Martin Scorsese [wikip] [IMDb] along with Jay Cocks based on the book [GR] [WCat] [Amzn] by Shūsaku Endō [wikip] [GR] [WCat] [Amzn] [IMDb]) gives us a glimpse of the kind of film-making that COULD HAVE BEEN possible if not for the tragic and WILDLY COUNTER-PRODUCTIVE "protests" to Scorsese's screen-adaptation The Last Temptation of Christ [1988] [IMDb] [wikip].

Those protests nearly drove Scorsese to suicide, his abandonment of the current film (which he had already begun work on), and a _stunning_ near TWENTY-FIVE YEAR DROUGHT (an ENTIRE GENERATION...) of serious religious based films by Hollywood-- until the making / critical SUCCESS of Terrence Malick's Tree of Life [2011] breathed new life into the genre.  Talk about "Out of the stump of Jesse ..."

Fascinatingly, the current film is about ... the near expunging of Christianity from a culture -- 17th century Japan -- after a period of (probably to many Viewers and Readers here) surprising success.

The film notes the truth: St. Francis Xavier's mission in Nagasaki produced 300,000 Converts to Christianity in the decades that followed.  But by the time of the story, the Jesuits had been formally expelled from Japan and Christianity was being brutally suppressed.  What happened?

Well PART of what happened is portrayed in this film: The Japanese authorities of the time decided that Christianity was a threat to Japanese identity / the public order and moved, fanatically, to suppress it.

But PART of the reason was ALSO SELF AFFLICTED (by the Catholic Church on itself) ... something, interestingly, NOT SHOWN in the film.  The JESUITS had enormous success in Japan because they had TRIED to adapt themselves to Japanese customs (as had other missionaries in earlier times as well ... St. Augustine of Canterbury famously "blessed the greenery" brought into homes by the still Christianizing Anglo-Saxons of his time from hence we get our Christmas trees... ;-).

In the case of the Jesuits in Japan, they had chosen to dress as per the Japanese custom of the time.  The DOMINICANS (who also headed The Inquisition at the time...) came to INSIST that the JESUITS _in Japan_ dress in conventional ROMAN garb (collars and all...) instead.  The result was that the Jesuits CAUGHT THE ATTENTION / GRATED the famously _xenophobic_ Japanese authorities in a way that they had not before.  Eventually, the Japanese authorities came to see the Christianity brought by the Jesuits as a "foreign cultural invasion" and moved (brutally) to suppress it.  (What I write here, I was taught in Church History course at the Servite Seminary (Mariamum) in Rome in the 1990s as an example of the tragic effects of _choosing_ to disregard local cultural sensitivities while trying to Evangelize / Preach the Gospel even today).

Eventually ...

To SAVE the remnants of their flocks (from certain if excruciatingly slow death) the Jesuit priests THEMSELVES had to _publicly renounce_ their faith AND SOME WERE THEN EVEN PRESSED INTO SERVICE BY THE JAPANESE AUTHORITIES to CENSOR ANYTHING COMING INTO JAPAN FROM THE OUTSIDE for "Christian Messaging" -- so even a Dutch porcelain plate with a little cross motif in the background was "censored" by these captive Jesuit priests as being "too Christian" to be allowed entry into Japan.

For their part, the Japanese Authorities WERE NEVER QUITE SURE that they had succeeded in destroying the Christian Faith in Japan.  (That's what happens when _any_ authority tries to coerce others to behave in one way or other).  So they _repeatedly_ demanded that both the previously baptized Japanese Christians and the formerly Jesuit priests RENOUNCE THEIR FAITH.  And after a while, ALL OBLIGED -- as the alternatives were truly hideous.

Thus, Christianity in Japan was SILENCED ... sort of.
  
An excellent and deeply prophetic film ... by a director who's long deserved more credit for his faith than he's received.


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AFI FEST 2016 - 3 - Kati Kati [2016] / Julieta [2016] / Wùlu [2016]


Among the films that played recently at the  2016 AFI Fest here in Hollywood, I was able to see the following: 


Kati Kati [2016] [IMDb] [CEu] (directed and cowritten by Mbithi Masya [IMDb] [CEu] along with Mugambi Nthiga [IMDb] [CEu]) is an imaginative KENYAN FILM with a supernatural / metaphysical theme about the souls of people, recently deceased, spending time at a quite comfortable Kenyan style resort while the loose-ends of their previous lives are sorted-out ... Progressively, as said loose-ends get sorted out, they disappear / move-on to the next world.  Call it a contemporary Kenyan vision of Purgatory minus the purifying flames.  Still, the vision was not without its pain.  Past sins, both large and small, have to be acknowledged and somehow paid-for (mostly by serving time) before the soul could move-on.  The soul of a Preacher who had abandoned his flock facing a Rwanda-style massacre had to pay for his cowardice / misplaced priorities.  The film focused however mostly on a woman, who initially did not realize that she was dead, and then only slowly came to understand / appreciate the circumstances of her death.  The film reminds us that death comes as a surprise and that it may take a while to fully understand (and therefore be able do deal with the effects of) the why.  Quite good / thought provoking film from a contemporary African perspective.  What does "Kati Kati" mean?  -- It means "in between." -- 3 Stars


Julieta [2016] [IMDb] [CEu] (screenplay and directed by Pedro Almodóvar [IMDb] [CEu] based on the short stories of Alice Munro [wikip] [GR] [WCat] [Amzn] [IMDb]) is Spain's submission to the 2017 Oscars for Best Foreign Language Film.  The film is about Julieta (played here by Emma Suárez [IMDb] [CEu]), a seemingly quite normal contemporary woman with quite normal talents / gifts and failings, who as her daughter reaches adulthood finds her life turned utterly upside down for reasons that defy explanation and yet is then forced to live with the consequences and the shame.  The film is a reminder to _all of us_ NOT "to judge" because we can never really know what happens in other people's lives / families, much less why.  What happened to Julieta, honestly, NO ONE DESERVES -- 4 Stars.


Wùlu [2016] [IMDb] [CEu] (written and directed by Daouda Coulibaly [IMDb] [CEu]) is a WEST AFRICAN (SENEGALESE / FRENCH)  crime story about Lagji (played in the film by Ibrahim Koma [IMDb] [CEu]) who is introduced to us, the Viewers, at the beginning of the film as a bored and ambitious bus driver in his 20s from Bamako, Mali (Mali's "Second City" ...)   Tired of spending his days simply driving random, seemingly "inconsequential" people (_just like_ himself) from one random town at the southern edge of the Sahara Desert to another, HE TAKES THE INITIATIVE to LOOK-UP "THE MOB" and _offer_ his "services" to help run cocaine and heroin in his "God forsaken" part of the world.  And HE becomes _quite good_ at this, lifting _him_ and all around him -- his family, his girlfriend -- out of both squalor and utter anonymity to a life-style and notoriety that ought to make most Western / better educated Viewers (who'd take this for granted...) blush.  This is, in part, a "success story," but ... "paid for" with an _awful moral price_ and since it is based on CRIME, it can't possibly end well.

Western viewers, who'd be interested, are paid many times over for the investment of their time / ticket price ... because one is offered entry into a world that one would have difficulty even imagining.  A scene simply at a random (and armed) border crossing between Senegal and Mali is priceless (something straight out of Star Wars [1976] or Blade Runner [1982]), as are Laghi's eventual dealings with various Al Queda figures (portrayed in the film as basically an Islamic version of Colombia's FARC -- militarized drug dealers who've attached themselves and their "cause" to an UTTERLY RANDOM if "locally credible" ideology to justify otherwise psycho-sociopathic actions that they would be doing _anyway_ ...).  A credit at the end of the film notes that Al Queda's over-running of Mali's "First City" Timbuktu a number of years back was financed in good part by ... drug money ... 

All in all, an excellent West African "Scarface [1983]" of a film, well worth the time / ticket price for anyone lucky enough to find it. -- 4 Stars



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Thursday, December 29, 2016

Sing [2016]

MPAA (PG)  CNS/USCCB (A-III)  RogerEbert.com (3 Stars)  AVClub (C-)  Fr. Dennis (3 Stars)

IMDb listing
CNS/USCCB (J. Mulderig) review
Los Angeles Times (K. Walsh) review
RogerEbert.com (Susan Wloszczyna) review
AVClub (J. Hassenger) review


Sing [2016] (screenplay and codirected by Garth Jennings along with Christophe Lourdelet) is a generally fun and well-made if not overly original animated "barnyard fable" / "juke box musical" about ... what is it about? ... standing-up and letting oneself ... sing.

Set in a city populated entirely by animals of all kinds, the film's focus is on a diminutive Koala Bear / "theater owner with a heart of gold" named Buster Moon (voiced by Matthew McConaughey) whose pride and joy was a Theater left-to-him by his venerable dad, which ... well ... was "going under" because NOBODY it seemed wanted "to go to the show" anymore ;-/.

 Well, ever the optimist -- has ANYONE ever seen _a depressed_ Koala Bear? -- he and his aging secretary Miss Crawly (an Iguana with one glass eye, voiced by Garth Jennings) come-up with a sure fire way to fill the seats:  They sponsor a "singing competition."  Okay, a typo in Miss Crawly's initial poster advertising the event (remember she has a glass eye) generates MUCH MORE ENTHUSIASM than the event probably warranted ;-) ... but yes, the two soon get a theater full (and out into the street and around the block) of potential contestants.

What follows is something of an updated "Chorus Line" type story (but with animals).  What's NICE is that there REALLY ARE NOT ANY VILLAINS IN THIS STORY.  All the characters, voiced by the likes of John C. Riley, Seth MacFarlane, Jennifer Hudson, Reese Witherspoon and Scarlet Johannson, "have their stories" but NONE OF THEIR STORIES ARE "MEAN" (or DEMEANING).

As such, this is a lovely "Koala Bear of a smile" story. 

My favorite characters in the film are the members of an apparently Asian-style ("Siamese Cat") "girls band" who come late to their audition, are told kindly (and repeatedly) that, as such, they _won't_ be performing, but just keep cheerfully showing-up anyway.  Again, this is a film that _can not_ but put a smile on one's face.

So even if this is NOT a particularly "original story," it's a well-done one and one that will make for an enjoyable time for one and one's family.  Good job! ;-)


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