MPAA (R) Fr. Dennis (3 Stars)
IMDb listing -
http://www.imdb.com/title/tt1313139/
The Oranges (director Julian Farino, screenplay by Ian Helfer and Jay Reiss) is a film that's both funny and one that (if one's thinking at all) take one "aback."
Set in respectable West Orange, New Jersey, it's about two middle upper middle class families, the Ostroffs and Wallings, who have been neighbors for years. Indeed, the parents if no longer necessarily the kids have been best of friends. David Walling (played by Hugh Laurie) and Terry Ostroff (played by Oliver Pratt) jog, religiously, three times a week together. Together with their spouses Paige (played by Catherine Keener) and Carol (played by Allison Janney) respectively along with their grown kids Vanessa (played by Alia Shawkat) and Toby (played by Adam Brody) on the Walling side and Nina (played by Leighton Meester) on the Ostroff side (in as much as they are around, more on that below...), they share pretty much every holiday together. What could possibly get between them?
Well ... in actuality, things are not necessarily as rosy as they may seem, if Vanessa's voice-over introducing us to the story is to be believed. Yes, the parents are best of friends and Vanessa and Nina may have been best friends up until the middle of high school, but that quite some time ago. Vanessa may have had talent. She went on after high school to study interior design in college has harbored hopes of "moving to New York City someday..." to pursue that career. Nina, on the other hand had looks and moxy. By midway through high school, she had parted company with Vanessa, joined to "popular group" in school and indeed "stole" (or stole) Vanessa's only true heartthrob in high school. Then as soon as high school was over, Nina split town going off to study, briefly, at a university about as away from home as possible. Indeed, she hadn't been "home for the holidays" in something like 5 years.
We first meet Nina as she's calling her parents from San Francisco to tell them that she's getting engaged to her photographer boyfriend Ethan (played by Sam Rosen) someone who the parents had apparently never met and one gets the sense that mom, especially, never ever would have approved of. "Are you coming home for Thanksgiving?" dad asks, "You haven't been back for the holidays in years." "The whole gang will be there," adds mom. "I just told you that I got engaged..." The phone call, to which the Wallings were present, because dad had put it on speaker phone ... ends with the sense that Nina's not coming back. However, seconds after the call, Nina who had been calling from a party, finds Ethan in a compromising position with someone else ...
So ... a few weeks later, Nina's come home rolling her smart, light, quite fashionable travel bag in tow. And ma' couldn't be more pleased because the Walling's son Toby, was going to be home as well. Toby was an accountant apparently, who'd gotten some kind of a job with the Federal Trade Commission in Washington DC. He seemed "to mom" to be a good sensible catch, unlike that photog boyfriend that Nina had before, and, if Nina / Tobi hit it off, well, that would bring the two families "even closer than ever."
Nina, no doubt counting the minutes before she would be able to leave again, does give it a try. And Toby is _not_ hopeless. But it's clear that he's not for Nina. Who would be? She doesn't really know but it's clear that "unconventional" is her preference.
Sigh, it turns out that the elders, David and Paige Walling, are having some marital difficulties. Paige is really involved in the community, and as a result of constantly inviting her projects home, has been pushing her husband, just a regular guy further and further to the edges of "life at home" until he just sets up a "man cave" in the garage, wide screen and cable sports package and all. And though he doesn't really have a "big plan" for the rest of his life, he knows that at least for the time being, he'd just prefer sit back and watch some sports. He's worked hard for most of his life, he's earned it, he just wants to relax.
So into this comes Nina, who's over at the Wallings largely to please her mom and to entertain her mom's dream that _perhaps "a spark" could be made with Toby. But Toby, who's working hard for the FTC in Washington and beyond, falls asleep while Nina's getting him something from the fridge. Nina sees David somewhat sadly going off into his "man cave" to watch "Korean Basketball" ... alone. It seems somewhat clear that Nina "kinda liked/respected" David when she was a kid. She feels sorry for him now. So she comes over to his "man cave" with the glass of water meant initially for Toby, and ...
Yup. Actually they don't anything more on screen than kiss. And one gets the sense that they didn't necessarily do much more off-screen (both then or later...) either. HOWEVER... a kiss is a kiss is a kiss and an adulterous (at least in spirit) connection is made. What the heck now?
Well the sky falls. It does. The first to find out is Nina's snooping mom. And almost immediately afterwards, life as these two quaint, small, suburban families knew it ... was over. What now? That's what the rest of the movie is about ...
How could one make sense of this? Viewers, remember here that this story is being told by David's daughter Vanessa who initially still feels kinda pissed off at Nina for having blown her off in high school and even "stealing" her boyfriend back then. It turns out that Vanessa has a coworker at the dead-end job at a suburban furniture store where she's been working since graduating _with a college degree_ (in interior design!). The coworker's name is Henry (played by Hoon Lee) even though he is clearly of Chinese decent. Hearing her complain about how her life _completely sucks_ now, that her former best friend had not only stolen her boyfriend back in high school but now was in the process of stealing her dad, "out of the blue" he tells her a Chinese proverb: "Sometimes an old cow just needs some new grass." "What the heck are you talking about! Why _this grass_, why now, and for how long?" "I don't know. But is he happier?"
And there it is ... despite having done _everything wrong_, David was happier. And indeed, others look at David -- Nina's dad (David's best friend), Vanessa (David's daughter), even David's wife (Vanessa's mom) -- And they all can see that. Nina, fill-in the blank ______, may have been, fill in a nother blank ___________ but she had shaken things up.
Now, for _me too_, a Catholic priest after all, this movie is not the easiest to watch. AND YET, with a smile I do note that ... while the two did kiss, twice, it's never absolutely clear or even particularly close to being clear that the two, Nina and David, actually slept with each other.
What was clear though that neither David nor Paige were particularly happy in their marriage and this "interlude" gave both the opportunity (an excuse) to go "their own way."
Without SPOILING THINGS too much (but I give the warning anyway), Paige, already community minded, finds the opportunity to take her interest in reaching out several steps further, while David, who was finding himself at the beginning of the movie so marginalized that he was sleeping in the garage, finds that he actually kinda likes the house that he had worked for (and had largely paid for) and he also finds that not being relegated to the garage any more that he likes being involved in the life of his kids. And Nina's ma learns to finally leave her daughter alone and even that "If Nina doesn't come home, maybe that makes for an invitation to go out and visit Nina..."
Here I would like to note that during the (Christian) Middle Ages in Europe it was not unheard of for married couples "after the kids were grown" (or otherwise taken care of) to "part ways" NOT TO REMARRY but honestly to enter into a new vocation. Indeed, several of the Seven Holy Founders of my own religious order apparently did just that -- made provisions for their spouses and kids and then joined the rest of the seven to found the Order. It could be said that Paige (certainly) and David (possibly) chose to do that.
Something to think about, huh? ;-)
Anyway, what I liked about this movie was that it didn't simply end "with the Apocalypse" (with the destruction of a family) or even with portraying someone (anyone) as being simply "the villain" of the story. In the language of Vanessa's Chinese friend Henry: "Sometimes you have to burn down the house to see the moon." And honestly, in our Christian/Catholic language: "With Death comes the opportunity for Resurrection/Rebirth."
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Reviews of current films written by Fr. Dennis Zdenek Kriz, OSM of St. Philip Benizi Parish, Fullerton, CA
Tuesday, October 9, 2012
Saturday, October 6, 2012
Pitch Perfect [2012]
MPAA (PG-13) CNS/USCCB (A-III) Roger Ebert (2 Stars) Fr. Dennis (2 1/2 Stars)
IMDb listing -
http://www.imdb.com/title/tt1981677/
CNS/USCCB review -
http://www.catholicnews.com/data/movies/12mv120.htm
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20120926/REVIEWS/120929989
Pitch Perfect (directed by Jason Moore, screenplay by Kay Cannon based on the book by GQ magazine contributor Mickey Rapkin) is, of course, a "song and dance movie" to a good extent influenced by the wild success of the television series Glee [2009-]. So looking for a particularly nuanced "plot" in this film is largely missing the point here. The story line exists in as much as it has to, to give us viewers the excuse to watch some very good singing on the part of the young people, in this case, "college students," in the film.
I'd also add that the film has also obvious influences coming from last year's hit movie Bridesmaids [2011] (so the film is certainly cruder than it needed to be) and Dodgeball [2004] where the inspiration for some of the "play by play antics" of the "television announcers" for the various competitions in this film certainly comes from.
Still as a "song and dance movie" it's not a bad one -- the showing at which I saw this film was filled with groups, big and small, of teenage / pre-teenage girls (Glee fans no doubt ...) who clearly enjoyed the film.
However, I certainly could have done without was the rather tiresome Bridesmaids overlay. At the end of the day, the film was beaten down into a PG-13 acceptable format anyway. However, in this regard, honestly call me "old fashioned" but in my own life I've _never_ found crudity to be particularly "liberating" ... Often enough, crudity just causes us needless grief, if not immediately then certainly down the road, by gaining purposefully crude people the reputation that they are just a bunch of three-toothed morons...
And given that life carries with it enough troubles as it is, it's generally rather _stupid_ to needlessly choose to add to our griefs as well. It's not to say that we have to needlessly stiff either, but honestly, we don't have to choose to be _stupid_ either. People may _laugh with us_ when we choose to act stupid, but WITHOUT A DOUBT, they will _laugh at us_ after we leave ... So honestly folks acting needlessly stupid is rarely if ever a winning approach to life ...
Ok, "end of Sermon" ... ;-) What's the film about? The film largely takes place at a "small liberal arts college somewhere out East," a college that has been swept-up in a craze of collegiate acapella singing competitions. At the school in question there are four acapella groups: The first is an all-girls group called the "Aca-Bellas" led by seniors, perfectionist Aubrey (played by Anna Camp) still traumatized by a vomiting episode in the national finals of last year's competition, and her happier, more pragmatic, less traumatized BFF Chloe (played Brittany Snow) who just wants to recruit a good team to win this time around. Their chief rival at the school and the one that in the story ended up winning the national championship after the "Aca-Bellas" vomiting episode are the all mens "Trebble Makers" led by a-hole but proud of it (hey they don't call themselves the "bad boys of acapella music" for nothing) Bumper (played by Adam Devine). In addition to these two "Class-A" groups, there are also two others, a group of stoners with a name loosely linked somehow to "medical marijuana" and then a group of somewhat basket case nerds, who we quickly see "don't stand a chance..."
The film begins with "Student Activity Day" at the college with the four groups busily scouting for the best talent. Among the possibilities is freshman Beca (played by Anna Kendrick) who sees her future in digital sound mixing, hates being at college at all and would prefer to just head out to Los Angeles to find a job in a studio there. The other is fellow freshman Jesse (played by Skylar Austin) who's far less negative about the college experience and dreams of working also in sound mixing but specifically on the mixing of sound tracks of popular films. His favorite, of course, is the sound track of the teen-film of the ages, The Breakfast Club [1985].
Beca initially finds the whole acapella craze an eye-rolling "boring waste of time," while Jesse finds it kinda cool. Eventually with Chloe's recruiting persistence and (Beca's dad's insistence) Beca's convinced to, "arrghh...", join the "Aca-Bellas" while Jesse gets happily recruited onto the "Trebble Makers." Much ensues ...
It's all fun, there's some good singing. Again, I just kinda wish that the film makers would have not tried so hard to needlessly make the film "Bridesmaids-like." Most of the kids in the theater where I saw the film were Glee fans anyway ...
So parents, the film's certainly okay for teens. Just bear with some of the film's needless crudity/stupidity ...
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you ;-) >>
IMDb listing -
http://www.imdb.com/title/tt1981677/
CNS/USCCB review -
http://www.catholicnews.com/data/movies/12mv120.htm
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20120926/REVIEWS/120929989
Pitch Perfect (directed by Jason Moore, screenplay by Kay Cannon based on the book by GQ magazine contributor Mickey Rapkin) is, of course, a "song and dance movie" to a good extent influenced by the wild success of the television series Glee [2009-]. So looking for a particularly nuanced "plot" in this film is largely missing the point here. The story line exists in as much as it has to, to give us viewers the excuse to watch some very good singing on the part of the young people, in this case, "college students," in the film.
I'd also add that the film has also obvious influences coming from last year's hit movie Bridesmaids [2011] (so the film is certainly cruder than it needed to be) and Dodgeball [2004] where the inspiration for some of the "play by play antics" of the "television announcers" for the various competitions in this film certainly comes from.
Still as a "song and dance movie" it's not a bad one -- the showing at which I saw this film was filled with groups, big and small, of teenage / pre-teenage girls (Glee fans no doubt ...) who clearly enjoyed the film.
However, I certainly could have done without was the rather tiresome Bridesmaids overlay. At the end of the day, the film was beaten down into a PG-13 acceptable format anyway. However, in this regard, honestly call me "old fashioned" but in my own life I've _never_ found crudity to be particularly "liberating" ... Often enough, crudity just causes us needless grief, if not immediately then certainly down the road, by gaining purposefully crude people the reputation that they are just a bunch of three-toothed morons...
And given that life carries with it enough troubles as it is, it's generally rather _stupid_ to needlessly choose to add to our griefs as well. It's not to say that we have to needlessly stiff either, but honestly, we don't have to choose to be _stupid_ either. People may _laugh with us_ when we choose to act stupid, but WITHOUT A DOUBT, they will _laugh at us_ after we leave ... So honestly folks acting needlessly stupid is rarely if ever a winning approach to life ...
Ok, "end of Sermon" ... ;-) What's the film about? The film largely takes place at a "small liberal arts college somewhere out East," a college that has been swept-up in a craze of collegiate acapella singing competitions. At the school in question there are four acapella groups: The first is an all-girls group called the "Aca-Bellas" led by seniors, perfectionist Aubrey (played by Anna Camp) still traumatized by a vomiting episode in the national finals of last year's competition, and her happier, more pragmatic, less traumatized BFF Chloe (played Brittany Snow) who just wants to recruit a good team to win this time around. Their chief rival at the school and the one that in the story ended up winning the national championship after the "Aca-Bellas" vomiting episode are the all mens "Trebble Makers" led by a-hole but proud of it (hey they don't call themselves the "bad boys of acapella music" for nothing) Bumper (played by Adam Devine). In addition to these two "Class-A" groups, there are also two others, a group of stoners with a name loosely linked somehow to "medical marijuana" and then a group of somewhat basket case nerds, who we quickly see "don't stand a chance..."
The film begins with "Student Activity Day" at the college with the four groups busily scouting for the best talent. Among the possibilities is freshman Beca (played by Anna Kendrick) who sees her future in digital sound mixing, hates being at college at all and would prefer to just head out to Los Angeles to find a job in a studio there. The other is fellow freshman Jesse (played by Skylar Austin) who's far less negative about the college experience and dreams of working also in sound mixing but specifically on the mixing of sound tracks of popular films. His favorite, of course, is the sound track of the teen-film of the ages, The Breakfast Club [1985].
Beca initially finds the whole acapella craze an eye-rolling "boring waste of time," while Jesse finds it kinda cool. Eventually with Chloe's recruiting persistence and (Beca's dad's insistence) Beca's convinced to, "arrghh...", join the "Aca-Bellas" while Jesse gets happily recruited onto the "Trebble Makers." Much ensues ...
It's all fun, there's some good singing. Again, I just kinda wish that the film makers would have not tried so hard to needlessly make the film "Bridesmaids-like." Most of the kids in the theater where I saw the film were Glee fans anyway ...
So parents, the film's certainly okay for teens. Just bear with some of the film's needless crudity/stupidity ...
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you ;-) >>
Frankenweenie [2012]
MPAA (PG) CNS/USCCB (A-I) Roger Ebert (3 Stars) Fr. Dennis (3 1/2 Stars)
IMDb listing -
http://www.imdb.com/title/tt1142977/
CNS/USCCB review -
http://www.catholicnews.com/data/movies/12mv119.htm
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20121003/REVIEWS/121009987
Frankenweenie (directed by Tim Burton, screenplay by John August, help with the story by Leonard Ripps based on Tim Burton's very first stop motion animated short film which carried the same name) is a stop motion animated film, marvelously filmed "for effect" in black and white (honestly, who;d think of making an animated film in black and white anymore? ;-) which tells the story of Victor Frankenstein (voiced by Charlie Tahan) a somewhat nerdy kid living in a small town/subdivision somewhere in the United States today.
Victor prefers to tool around with gadgets in the attic of his family's house and playing with their dog, Sparky, to anything else while lovely parents, Mr and Mrs Frankenstein (voiced by Martin Short and Catherine O'Hara) and here especially dad, Mr. Frankenstein, would prefer that he go outside and play some sports.
So Victor goes out for baseball. At his first game he shows potential, hitting a ball for a very, very long home run. Tragically however, Sparky, who's used to "playing catch" with Victor runs out to get the ball. He gets to it before any of the opposing team's players can reach it, but as he trots back to return the ball to Victor, he gets hit by a car. So Victor, who actually could have become a pretty good baseball player, tragically finds that the game/sport killed his favorite friend in the world, his pet dog Sparky.
The next scene shows a very sad Victor along with his almost as sad and certainly guilt ridden parents burying Sparky in the town's pet cemetery. What now? Victor's best friend is dead and Victor will probably not play baseball for a very long, long time...
Well Victor being something "somewhat nerdy," is enrolled in his school's "advanced science class," a class that is filled with some _really nerdy_ and, honestly, _very creepy-looking_ kids, especially hunch-backed Edgar"E" Gore (voiced by Atticus Schaffer). The teacher is a wild-eyed/crazed mad-scientist-looking _immigrant_ with a Polish name, Mr. Rzykruski (voiced by Martin Landau). He keeps telling the kids that "this country does not produce enough scientists so it has to _import_ them" (which actually is true, but seriously, Mr Rzykruski is one scary looking dude ...
It turns out that one of the demonstrations that Mr. Rzykruski shows the kids is that he could make a dead frog's limbs move by running electricity through it. Well, Victor, seeing dead frogs limbs stretch and contract as Mr. Rzykruski sends and then stops an electrical current through its body, gets an idea...
That afternoon, he collects all kinds of random electrical gadgets from around the house and takes them to the attic. Then at night he goes out to the pet cemetery and digs up sparky's casket. He connects the dead body of Sparky to all the gadgets that he collected from around the house. Then for good measure, and with a thunderstorm arriving, he sends up several balloons and kites into the sky each tethered with electrical wires which connects to ... Sparky. Finally a lightning strikes the kites and sends a frightening surge of electricity through the the wires into Sparky's body, and ... the rest of the movie follows ;-)
I did think the film was a very cute retelling of the Frankenstein story. I'm not sure that I particularly liked Mr. Rzykruski being so obviously portrayed as first "a foreigner" and then as "a Slav" (Polish at that). But then the Frankenstein legend written in WASPish England always played-up Frankenstein's German accent/ "foreign mannerisms" in the past. So this could be a more current adaptation of the same idea. Similarly, the "ignorant/fearful villagers" of the original Frankenstein story became the _small thinking_ "Hey, don't have your dog run through my petunias," anti-science "neighbors" of Victor (Frankenstein)'s subdivision ;-). And then there's the portrayal of the really creepy looking "nerds" of Mr. Rzykruski's sceince class ...
Anyway, the film's both cute and somewhat disturbing. But then it was intended to be a kinda scary story for little kids. So IMHO, I'm giving it a pass and I do think it works, and works well! Good job Mr. Burton!
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
IMDb listing -
http://www.imdb.com/title/tt1142977/
CNS/USCCB review -
http://www.catholicnews.com/data/movies/12mv119.htm
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20121003/REVIEWS/121009987
Frankenweenie (directed by Tim Burton, screenplay by John August, help with the story by Leonard Ripps based on Tim Burton's very first stop motion animated short film which carried the same name) is a stop motion animated film, marvelously filmed "for effect" in black and white (honestly, who;d think of making an animated film in black and white anymore? ;-) which tells the story of Victor Frankenstein (voiced by Charlie Tahan) a somewhat nerdy kid living in a small town/subdivision somewhere in the United States today.
Victor prefers to tool around with gadgets in the attic of his family's house and playing with their dog, Sparky, to anything else while lovely parents, Mr and Mrs Frankenstein (voiced by Martin Short and Catherine O'Hara) and here especially dad, Mr. Frankenstein, would prefer that he go outside and play some sports.
So Victor goes out for baseball. At his first game he shows potential, hitting a ball for a very, very long home run. Tragically however, Sparky, who's used to "playing catch" with Victor runs out to get the ball. He gets to it before any of the opposing team's players can reach it, but as he trots back to return the ball to Victor, he gets hit by a car. So Victor, who actually could have become a pretty good baseball player, tragically finds that the game/sport killed his favorite friend in the world, his pet dog Sparky.
The next scene shows a very sad Victor along with his almost as sad and certainly guilt ridden parents burying Sparky in the town's pet cemetery. What now? Victor's best friend is dead and Victor will probably not play baseball for a very long, long time...
Well Victor being something "somewhat nerdy," is enrolled in his school's "advanced science class," a class that is filled with some _really nerdy_ and, honestly, _very creepy-looking_ kids, especially hunch-backed Edgar"E" Gore (voiced by Atticus Schaffer). The teacher is a wild-eyed/crazed mad-scientist-looking _immigrant_ with a Polish name, Mr. Rzykruski (voiced by Martin Landau). He keeps telling the kids that "this country does not produce enough scientists so it has to _import_ them" (which actually is true, but seriously, Mr Rzykruski is one scary looking dude ...
It turns out that one of the demonstrations that Mr. Rzykruski shows the kids is that he could make a dead frog's limbs move by running electricity through it. Well, Victor, seeing dead frogs limbs stretch and contract as Mr. Rzykruski sends and then stops an electrical current through its body, gets an idea...
That afternoon, he collects all kinds of random electrical gadgets from around the house and takes them to the attic. Then at night he goes out to the pet cemetery and digs up sparky's casket. He connects the dead body of Sparky to all the gadgets that he collected from around the house. Then for good measure, and with a thunderstorm arriving, he sends up several balloons and kites into the sky each tethered with electrical wires which connects to ... Sparky. Finally a lightning strikes the kites and sends a frightening surge of electricity through the the wires into Sparky's body, and ... the rest of the movie follows ;-)
I did think the film was a very cute retelling of the Frankenstein story. I'm not sure that I particularly liked Mr. Rzykruski being so obviously portrayed as first "a foreigner" and then as "a Slav" (Polish at that). But then the Frankenstein legend written in WASPish England always played-up Frankenstein's German accent/ "foreign mannerisms" in the past. So this could be a more current adaptation of the same idea. Similarly, the "ignorant/fearful villagers" of the original Frankenstein story became the _small thinking_ "Hey, don't have your dog run through my petunias," anti-science "neighbors" of Victor (Frankenstein)'s subdivision ;-). And then there's the portrayal of the really creepy looking "nerds" of Mr. Rzykruski's sceince class ...
Anyway, the film's both cute and somewhat disturbing. But then it was intended to be a kinda scary story for little kids. So IMHO, I'm giving it a pass and I do think it works, and works well! Good job Mr. Burton!
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
Friday, October 5, 2012
Taken 2 [2012]
MPAA (PG-13) CNS/USCCB (A-III) Roger Ebert (3 Stars) Fr. Dennis (3 Stars)
IMDb listing -
http://www.imdb.com/title/tt1397280/
CNS/USCCB review -
http://www.catholicnews.com/data/movies/12mv118.htm
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20121003/REVIEWS/121009988
Taken 2 (directed by Olivier Megaton, screenplay by Luc Besson and Robert Mark Kamen) as a PG-13 action flick is, IMHO, about the best as they come. Indeed, while I know that there'd be many who'd disagree with me, I'd say that this film is _better_ than the original.
As in the first film, Taken [2008], retired presumed former CIA assassin Bryan Mills (played by Liam Neeson) is having difficulty coping with normal life. The beginning of the film has him coming over to the home of his ex wife Lenore (played by Famke Jannsen) and their daughter Kim (played by Maggie Grace). Kim had failed her driving test twice and they had an appointment to help her work on her parallel parking. But Kim's not home. "Why?" "Well she has a boyfriend." "A boyfriend?" "She didn't want to tell you. Promise me that you're not going to interfere." "How could I? I don't know she is." "Well you flew to a city of 12 million and two days were able to find her." Hmm... the next scene has Bryan knocking on the door of Kim's new boyfriend Jamie (played by Luke Grimes). "Promise you're not going to kill this one" Kim asks in front of him ;-). The daughters of overprotective fathers in law enforcement all over the world probably could relate ;-).
Anyway the movie really starts rolling afterwards. Lenore who had been remarried confesses to Bryan a few days later that her second marriage is at its end. Apparently husband #2 proved to have his own issues. The immediate problem, however, was that soon to be ex-husband #2 in a pique of anger had cancelled the reservations for the vacation that she, hubby #2 and Kim were to take and she didn't know what to do. As sensitively as a former CIA assassin, who's marriage to Lenore had collapsed no doubt to his previous lack of sensitivity, could offer ... Bryan suggests "Well, I'm going actually to Istambul for a couple of days next week to do 'a job.' I could stay there for a week or two afterwards with you two if you'd like. No pressure. Just call me before the job is finished and I'll stay on. If not, I'll just come home again." In the next scene, we see an Arab sheik thanking Bryan for his security detail work for him in Istambul. Brian checks his phone, there are no messages. So he shrugs and appears to be ready to get his specialized suitcase with all his "gear" to head home to the States when his ex-wife and daughter surprise him. They came out to Istambul afterall!
Now all would go like a nice family vacation (if on a rather blank credit card ...) if ... it had not turned out that the Godfather of the Albanian clan that had run that sex trafficking ring in Paris that had abducted Kim in the first movie and which Bryan had so thoroughly "dismantled" / rampaged through in the first movie did not take the deaths of so many of his clansmen, family members and even his own son so "personally." Never mind that the son had run an evil sex trafficking ring, a son is a son, and Bryan had killed him. So the father of this Albanian quasi-mafia clan (played exquisitely by character actor Rade Serbedija) wants revenge. When he finds out from his sources that Bryan is in Istambul, well ... the rest of the movie follows ...
Parents do note here that the movie is, appropriately in my opinion, PG-13. So there's a lot of shooting, a lot of glass breaking, a _great_ car chase scene where Kim (who, remember, had failed her driving test _twice_) had to drive. "Dad, I don't want to drive." "Well, do you know how to shoot?" "No." "Then drive!" ;-) ;-), and some quasi-torture scenes (when Brian and his wife do fall into the hands of the Albanian quasi-mafia clan). However, the camera never lingers and much is (thankfully) left for the imagination.
All in all, as I wrote above as far as an action flick goes, this is honestly an excellent one. It's all the better when one realizes that underneath it all is basically the story of a father trying really hard to return back to his family, while his family is slowly coming to appreciate what their largely "absent father/husband" had to do "for a living" to "put food on the table." The first movie really, really clicked with a lot of viewers. I have a feeling that this one will too. ;-)
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IMDb listing -
http://www.imdb.com/title/tt1397280/
CNS/USCCB review -
http://www.catholicnews.com/data/movies/12mv118.htm
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20121003/REVIEWS/121009988
Taken 2 (directed by Olivier Megaton, screenplay by Luc Besson and Robert Mark Kamen) as a PG-13 action flick is, IMHO, about the best as they come. Indeed, while I know that there'd be many who'd disagree with me, I'd say that this film is _better_ than the original.
As in the first film, Taken [2008], retired presumed former CIA assassin Bryan Mills (played by Liam Neeson) is having difficulty coping with normal life. The beginning of the film has him coming over to the home of his ex wife Lenore (played by Famke Jannsen) and their daughter Kim (played by Maggie Grace). Kim had failed her driving test twice and they had an appointment to help her work on her parallel parking. But Kim's not home. "Why?" "Well she has a boyfriend." "A boyfriend?" "She didn't want to tell you. Promise me that you're not going to interfere." "How could I? I don't know she is." "Well you flew to a city of 12 million and two days were able to find her." Hmm... the next scene has Bryan knocking on the door of Kim's new boyfriend Jamie (played by Luke Grimes). "Promise you're not going to kill this one" Kim asks in front of him ;-). The daughters of overprotective fathers in law enforcement all over the world probably could relate ;-).
Anyway the movie really starts rolling afterwards. Lenore who had been remarried confesses to Bryan a few days later that her second marriage is at its end. Apparently husband #2 proved to have his own issues. The immediate problem, however, was that soon to be ex-husband #2 in a pique of anger had cancelled the reservations for the vacation that she, hubby #2 and Kim were to take and she didn't know what to do. As sensitively as a former CIA assassin, who's marriage to Lenore had collapsed no doubt to his previous lack of sensitivity, could offer ... Bryan suggests "Well, I'm going actually to Istambul for a couple of days next week to do 'a job.' I could stay there for a week or two afterwards with you two if you'd like. No pressure. Just call me before the job is finished and I'll stay on. If not, I'll just come home again." In the next scene, we see an Arab sheik thanking Bryan for his security detail work for him in Istambul. Brian checks his phone, there are no messages. So he shrugs and appears to be ready to get his specialized suitcase with all his "gear" to head home to the States when his ex-wife and daughter surprise him. They came out to Istambul afterall!
Now all would go like a nice family vacation (if on a rather blank credit card ...) if ... it had not turned out that the Godfather of the Albanian clan that had run that sex trafficking ring in Paris that had abducted Kim in the first movie and which Bryan had so thoroughly "dismantled" / rampaged through in the first movie did not take the deaths of so many of his clansmen, family members and even his own son so "personally." Never mind that the son had run an evil sex trafficking ring, a son is a son, and Bryan had killed him. So the father of this Albanian quasi-mafia clan (played exquisitely by character actor Rade Serbedija) wants revenge. When he finds out from his sources that Bryan is in Istambul, well ... the rest of the movie follows ...
Parents do note here that the movie is, appropriately in my opinion, PG-13. So there's a lot of shooting, a lot of glass breaking, a _great_ car chase scene where Kim (who, remember, had failed her driving test _twice_) had to drive. "Dad, I don't want to drive." "Well, do you know how to shoot?" "No." "Then drive!" ;-) ;-), and some quasi-torture scenes (when Brian and his wife do fall into the hands of the Albanian quasi-mafia clan). However, the camera never lingers and much is (thankfully) left for the imagination.
All in all, as I wrote above as far as an action flick goes, this is honestly an excellent one. It's all the better when one realizes that underneath it all is basically the story of a father trying really hard to return back to his family, while his family is slowly coming to appreciate what their largely "absent father/husband" had to do "for a living" to "put food on the table." The first movie really, really clicked with a lot of viewers. I have a feeling that this one will too. ;-)
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
Wednesday, October 3, 2012
The Perks of Being A Wallflower [2012]
MPAA (PG-13) Roger Ebert (3 1/2 Stars) Fr. Dennis (4 Stars)
IMDb listing
Roger Ebert's review
The Perks of Being a Wallflower (written and directed by Stephen Chbosky [IMDb] based on his acclaimed 1999 novel by the same name) is worthy of the book about a quiet high school kid with some "back-burning issues" named Charlie. And IMHO it will almost certainly receive Academy Award nominations in at least a one or another of the following categories: best adapted screenplay (!), best actress in a supporting role (Emma Watson for playing "Sam," Charlie's friend, who he has a terrible and largely unattainable crush on), best actor in a supporting role (Ezra Miller for playing "Sam's" gay step-brother Patrick) and _possibly_ though it'd be more of a longshot, best actor in a leading role (Logan Lehrman for playing Charlie).
By mentioning that one of the key characters in both the book and the film is portrayed as gay, I'm positive that I will have immediately "caused concern" to a fair number of readers who will have found my blog. On the other hand: (1) that's been part of my point of creating it - to give readers and often especially parents a clear idea of what a film is about so that they can approach it (and their teenage charges) in an informed way and (2) having immediately noted that one of the central characters in the story is portrayed as being gay and further noting now that both the film and the book portray Charlie testing the waters of both sex and drugs, I'd honestly ask parents to reflect back to their teenage years and then seek to assure parents that the descriptions of these escapades given in both the film and the book are IMHO completely believable.
For complete disclosure there's a sequence in the book that was apparently filmed but deleted from the "final theatrical cut" of the film involving Charlie's couple years older but still in high school sister Candace (played by Nina Dobrev) getting pregnant and her asking Charlie to take her to the abortion clinic to have an abortion. (Parents be _more or less certain_ that this sequence will probably be present in the film's eventual release on DVD/BluRay...)
Yet about 80% of what is described in both the book and the film I lived myself when I was a teenager and I'd give the author/director the benefit of the doubt on the other 20% because I was a somewhat more sheltered kid than than Charlie (though not much more) and more to the point, I was _not_ omnipresent. So what I did not experience directly, I certainly heard/discussed/debated/argued/whispered about during lunch time conversations in school, on the track during practice after school or in pizza parlors on Friday/Saturday nights.
Now this film [2012] was made some 12-13 years after the book [1999] was written and the book itself was set in suburban Pittsburgh, PA in 1992 (The film continues to be set in suburban Pittsburgh but basically today). I know from my own experience that one's perspectives do change with time. One fairly significant difference between the book [1999] and the film [2012] is in its portrayal of the family's faith practices. In the book [1999], there is only fleeting mention of Charlie's family's Catholicism. Charlie's family's Catholicism plays a significantly larger (and IMHO ultimately _positive_) role in the film.
To be sure, there is a scene about 1/2 into the film where the director directly compares Charlie's reception of Communion at Christmas (Midnight) Mass to taking LSD. And I admit that as I watched this scene, my heart sank as I thought angrily to myself "WHY(!) did you have to do this to your film?" But that was only the first reference (an introduction) to the family's religion and further references became increasingly positive. There's a scene in which Charlie comes to school after having obviously received ashes on his forehead on Ash Wednesday and his more "worldly" vegan/Buddhist girlfriend of the time (as only a high school Caucasian kid from "suburban Pittsburgh" could be a "vegan/Buddhist") Mary Elizabeth (played by Mae Whitman) who was increasingly coming to annoy him, tries to wipe the ashes off (to his even greater irritation). Reference is made later to Easter (and therefore Resurrection...) and the family is shown several times as praying at dinner. (Indeed, the increase in focus on the family's Catholicism _may_ have played a role in cutting the original book's above mentioned "abortion scene" from at least the theatrical release of the film).
I found the increased reference to Charlie's family's Catholicism both admirable and sensible. After all, even though the film was in its most general sense a "log" of a somewhat nerdy kid's (a "wallflower's") freshman year in high school, there were definitely "issues" going on. We're told at the beginning of the film by Charlie that he had "been away" (at some sort of an institution) for the good part of the previous (8th grade) year after his best friend had committed suicide. Then it was obvious that Charlie had been grieving for the loss of his favorite Aunt Helen (played by Melanie Lynskey) who had died just before Christmas when he was 7 years old. The last person in the family that she had talked to was Charlie ... So there were _definite issues_ going on in Charlie's family and therefore it is _not_ surprising to me at all that Charlie's family's religion would come into play in its coping with (1) the tragic loss of a beloved Aunt (though as the reader here would suspect, there was certainly more to the story than I'm letting on here ...) and (2) dealing with specifically Charlie's coping with loss of his aunt at 7 and then his best friend (to suicide) some 6-7 years later. Further, it wouldn't surprise me that the author/director would see this religious aspect playing out a little more clearly in one's early 40s when making the film as opposed to in one's late 20s when he was writing the book. We grow...
So all in all folks, this is a very good movie. Parents, I do think that the PG-13 rating, though perhaps somewhat borderline (to R), is appropriate. I say this because while I do think that parents should be aware of what their kids are watching, this _may_ be one of those films that would be best to leave both teens (and parents) to watch separately / by themselves. (There's a great scene in the book but not in the movie) about Charlie's father's "big talk" to Charlie as Charlie heads off on his first date (with above mentioned Mary Elizabeth). Charlie's dad does all the talking, says little but canned if doubtlessly _sincere_ "good advice," and then pats Charlie on the back and says "Good talking to you son..." :-) But teens just wait, you'll be parents or of your parents' age one day! ;-) I find the whole film to be like that. It makes for a wonderful story, but it's one that I'd probably _die_ if I had to see it together with my folks when I was still in high school ;-) ;-). I had many more reservations with last year's film The Girl with the Dragon Tattoo [2011] which I described then as a hard-R and didn't see any particularly compelling reason for a teen under-17 would "need" to see it. In contrast folks, this film may honestly become the current generation's The Breakfast Club [1985] / Dead Poet's Society [1989]. Yes, it's that good.
So good job Stephen Chbosky and good job rest of the cast!
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
IMDb listing
Roger Ebert's review
The Perks of Being a Wallflower (written and directed by Stephen Chbosky [IMDb] based on his acclaimed 1999 novel by the same name) is worthy of the book about a quiet high school kid with some "back-burning issues" named Charlie. And IMHO it will almost certainly receive Academy Award nominations in at least a one or another of the following categories: best adapted screenplay (!), best actress in a supporting role (Emma Watson for playing "Sam," Charlie's friend, who he has a terrible and largely unattainable crush on), best actor in a supporting role (Ezra Miller for playing "Sam's" gay step-brother Patrick) and _possibly_ though it'd be more of a longshot, best actor in a leading role (Logan Lehrman for playing Charlie).
By mentioning that one of the key characters in both the book and the film is portrayed as gay, I'm positive that I will have immediately "caused concern" to a fair number of readers who will have found my blog. On the other hand: (1) that's been part of my point of creating it - to give readers and often especially parents a clear idea of what a film is about so that they can approach it (and their teenage charges) in an informed way and (2) having immediately noted that one of the central characters in the story is portrayed as being gay and further noting now that both the film and the book portray Charlie testing the waters of both sex and drugs, I'd honestly ask parents to reflect back to their teenage years and then seek to assure parents that the descriptions of these escapades given in both the film and the book are IMHO completely believable.
For complete disclosure there's a sequence in the book that was apparently filmed but deleted from the "final theatrical cut" of the film involving Charlie's couple years older but still in high school sister Candace (played by Nina Dobrev) getting pregnant and her asking Charlie to take her to the abortion clinic to have an abortion. (Parents be _more or less certain_ that this sequence will probably be present in the film's eventual release on DVD/BluRay...)
Yet about 80% of what is described in both the book and the film I lived myself when I was a teenager and I'd give the author/director the benefit of the doubt on the other 20% because I was a somewhat more sheltered kid than than Charlie (though not much more) and more to the point, I was _not_ omnipresent. So what I did not experience directly, I certainly heard/discussed/debated/argued/whispered about during lunch time conversations in school, on the track during practice after school or in pizza parlors on Friday/Saturday nights.
Now this film [2012] was made some 12-13 years after the book [1999] was written and the book itself was set in suburban Pittsburgh, PA in 1992 (The film continues to be set in suburban Pittsburgh but basically today). I know from my own experience that one's perspectives do change with time. One fairly significant difference between the book [1999] and the film [2012] is in its portrayal of the family's faith practices. In the book [1999], there is only fleeting mention of Charlie's family's Catholicism. Charlie's family's Catholicism plays a significantly larger (and IMHO ultimately _positive_) role in the film.
To be sure, there is a scene about 1/2 into the film where the director directly compares Charlie's reception of Communion at Christmas (Midnight) Mass to taking LSD. And I admit that as I watched this scene, my heart sank as I thought angrily to myself "WHY(!) did you have to do this to your film?" But that was only the first reference (an introduction) to the family's religion and further references became increasingly positive. There's a scene in which Charlie comes to school after having obviously received ashes on his forehead on Ash Wednesday and his more "worldly" vegan/Buddhist girlfriend of the time (as only a high school Caucasian kid from "suburban Pittsburgh" could be a "vegan/Buddhist") Mary Elizabeth (played by Mae Whitman) who was increasingly coming to annoy him, tries to wipe the ashes off (to his even greater irritation). Reference is made later to Easter (and therefore Resurrection...) and the family is shown several times as praying at dinner. (Indeed, the increase in focus on the family's Catholicism _may_ have played a role in cutting the original book's above mentioned "abortion scene" from at least the theatrical release of the film).
I found the increased reference to Charlie's family's Catholicism both admirable and sensible. After all, even though the film was in its most general sense a "log" of a somewhat nerdy kid's (a "wallflower's") freshman year in high school, there were definitely "issues" going on. We're told at the beginning of the film by Charlie that he had "been away" (at some sort of an institution) for the good part of the previous (8th grade) year after his best friend had committed suicide. Then it was obvious that Charlie had been grieving for the loss of his favorite Aunt Helen (played by Melanie Lynskey) who had died just before Christmas when he was 7 years old. The last person in the family that she had talked to was Charlie ... So there were _definite issues_ going on in Charlie's family and therefore it is _not_ surprising to me at all that Charlie's family's religion would come into play in its coping with (1) the tragic loss of a beloved Aunt (though as the reader here would suspect, there was certainly more to the story than I'm letting on here ...) and (2) dealing with specifically Charlie's coping with loss of his aunt at 7 and then his best friend (to suicide) some 6-7 years later. Further, it wouldn't surprise me that the author/director would see this religious aspect playing out a little more clearly in one's early 40s when making the film as opposed to in one's late 20s when he was writing the book. We grow...
So all in all folks, this is a very good movie. Parents, I do think that the PG-13 rating, though perhaps somewhat borderline (to R), is appropriate. I say this because while I do think that parents should be aware of what their kids are watching, this _may_ be one of those films that would be best to leave both teens (and parents) to watch separately / by themselves. (There's a great scene in the book but not in the movie) about Charlie's father's "big talk" to Charlie as Charlie heads off on his first date (with above mentioned Mary Elizabeth). Charlie's dad does all the talking, says little but canned if doubtlessly _sincere_ "good advice," and then pats Charlie on the back and says "Good talking to you son..." :-) But teens just wait, you'll be parents or of your parents' age one day! ;-) I find the whole film to be like that. It makes for a wonderful story, but it's one that I'd probably _die_ if I had to see it together with my folks when I was still in high school ;-) ;-). I had many more reservations with last year's film The Girl with the Dragon Tattoo [2011] which I described then as a hard-R and didn't see any particularly compelling reason for a teen under-17 would "need" to see it. In contrast folks, this film may honestly become the current generation's The Breakfast Club [1985] / Dead Poet's Society [1989]. Yes, it's that good.
So good job Stephen Chbosky and good job rest of the cast!
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
Tuesday, October 2, 2012
House at the End of the Street [2012]
MPAA (R) CNS/USCCB (A-III) Fr. Dennis (3 Stars)
IMDb listing
CNS/USCCB review
House at the End of the Street (directed by Mark Donderai, screenplay by David Loucka, story by Jonathan Mostow) is a rather good "horror story" of the Hitchcockian mold.
Recently divorced Sarah (played by Elizabeth Shue), a nurse, and her teenage daughter Elissa (played by Jennifer Lawrence) move to a very nice spacious rental at the "edge of the woods," indeed at the edge of a State Park, near the "end of the street" in some suburban or upstate New York town. The geography is important. Bad things tend to happen "at the edge of town/civilization." Perhaps even a somewhat "political" statement is being made here because we're told that "the edge of the woods" is actually "the edge of a State Park," hence "government owned" and in some American circles today, "government," _any_ "government" is equated with chaos, evil, sinister intent, etc. So Sarah and Elissa are moving "to the edge of all that is good in this world."
Now the house is rather large for what a nurse could normally afford. However, this particular house is something of a bargain because of what happened at the neighboring house, the true "house at the end of the street." A couple of years ago, the very troubled teenage daughter of the family that lived there had brutally murdered her parents and then ran off into those woods at the edge of the street and never came back. It was assumed that she somehow drowned in a nearby (again, presumably public) "reservoir." In any case, her body had never been recovered.
We're told that the townspeople, especially those who lived near the house where this awful event took place were, above all, upset because it "drove down their property values." So here, presumably stereotypical "yuppie Republicans" were upset not so much that something deeply tragic had happened nearby, but rather that it hurt their pocketbooks. (I find analyzing the "subtext" in horror films to always be "quite fun" ;-). In any case, the sordid tragedy that happened in that "house at the end of the street" is presumably the main reason why Sarah and her teenage daughter could afford to rent the place next door...
To their surprise and to Sarah's horror soon after moving-in, the two discover that "the house at the end of the street" is _not_ abandoned. Instead, the son of the murdered parents lived there now. The son, named Ryan (played by Max Theriot) himself had something of a troubled past. We're told that he had been sent to live with his aunt a number of years prior to the daughter's (his sister's) subsequent murder of the parents. Now an adult, he chose to quietly live there in the house following the deaths of his parents and presumed death of his sister even if the townspeople and especially its young people really hated Ryan on account of his/his family's sordid past.
Into this local drama, of course, enter the recently divorced Sarah and her daughter Elissa, who are completely from out of town and who moved there only because Sarah got a job at a nearby hospital. Elissa in particular enters the story nursing anger/resentment over the failed relationship of her parents. Sarah on the other hand is working through the anger over having been more or less obviously betrayed and/or mistreated (in any number of ways) by her former husband.
These two, perhaps inevitable, stews of resentments come to clash over their perceptions of their new neighbor, Ryan. Elissa sees a victim, who was arguably mistreated by his parents in some unspecified way even before their murder, and now is being horribly mistreated by the townspeople including many of her classmates in her new school. Sarah who had been "burned" (mistreated/betrayed/both?) by her former husband sees Ryan as simply an unexpected and certainly unwanted danger to her and especially to her still "young/naive" daughter.
Who turns out to be right? Well see the movie ;-)
I found the movie to be surprisingly good, and (as is often the case) even better after sitting down to write about it. It certainly won't win any Oscars, and I didn't (and wouldn't necessarily want to) pay full price for it. But I would imagine that it would make for a pretty good older teen / young adult date movie, or something to definitely bring home and watch at home when it becomes a rental.
I don't think that the film is suited for the very young (you pretty much would have to be at least a teenager to understand its dynamics) but I do think that the PG-13 rating is appropriate.
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
IMDb listing
CNS/USCCB review
House at the End of the Street (directed by Mark Donderai, screenplay by David Loucka, story by Jonathan Mostow) is a rather good "horror story" of the Hitchcockian mold.
Recently divorced Sarah (played by Elizabeth Shue), a nurse, and her teenage daughter Elissa (played by Jennifer Lawrence) move to a very nice spacious rental at the "edge of the woods," indeed at the edge of a State Park, near the "end of the street" in some suburban or upstate New York town. The geography is important. Bad things tend to happen "at the edge of town/civilization." Perhaps even a somewhat "political" statement is being made here because we're told that "the edge of the woods" is actually "the edge of a State Park," hence "government owned" and in some American circles today, "government," _any_ "government" is equated with chaos, evil, sinister intent, etc. So Sarah and Elissa are moving "to the edge of all that is good in this world."
Now the house is rather large for what a nurse could normally afford. However, this particular house is something of a bargain because of what happened at the neighboring house, the true "house at the end of the street." A couple of years ago, the very troubled teenage daughter of the family that lived there had brutally murdered her parents and then ran off into those woods at the edge of the street and never came back. It was assumed that she somehow drowned in a nearby (again, presumably public) "reservoir." In any case, her body had never been recovered.
We're told that the townspeople, especially those who lived near the house where this awful event took place were, above all, upset because it "drove down their property values." So here, presumably stereotypical "yuppie Republicans" were upset not so much that something deeply tragic had happened nearby, but rather that it hurt their pocketbooks. (I find analyzing the "subtext" in horror films to always be "quite fun" ;-). In any case, the sordid tragedy that happened in that "house at the end of the street" is presumably the main reason why Sarah and her teenage daughter could afford to rent the place next door...
To their surprise and to Sarah's horror soon after moving-in, the two discover that "the house at the end of the street" is _not_ abandoned. Instead, the son of the murdered parents lived there now. The son, named Ryan (played by Max Theriot) himself had something of a troubled past. We're told that he had been sent to live with his aunt a number of years prior to the daughter's (his sister's) subsequent murder of the parents. Now an adult, he chose to quietly live there in the house following the deaths of his parents and presumed death of his sister even if the townspeople and especially its young people really hated Ryan on account of his/his family's sordid past.
Into this local drama, of course, enter the recently divorced Sarah and her daughter Elissa, who are completely from out of town and who moved there only because Sarah got a job at a nearby hospital. Elissa in particular enters the story nursing anger/resentment over the failed relationship of her parents. Sarah on the other hand is working through the anger over having been more or less obviously betrayed and/or mistreated (in any number of ways) by her former husband.
These two, perhaps inevitable, stews of resentments come to clash over their perceptions of their new neighbor, Ryan. Elissa sees a victim, who was arguably mistreated by his parents in some unspecified way even before their murder, and now is being horribly mistreated by the townspeople including many of her classmates in her new school. Sarah who had been "burned" (mistreated/betrayed/both?) by her former husband sees Ryan as simply an unexpected and certainly unwanted danger to her and especially to her still "young/naive" daughter.
Who turns out to be right? Well see the movie ;-)
I found the movie to be surprisingly good, and (as is often the case) even better after sitting down to write about it. It certainly won't win any Oscars, and I didn't (and wouldn't necessarily want to) pay full price for it. But I would imagine that it would make for a pretty good older teen / young adult date movie, or something to definitely bring home and watch at home when it becomes a rental.
I don't think that the film is suited for the very young (you pretty much would have to be at least a teenager to understand its dynamics) but I do think that the PG-13 rating is appropriate.
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
Monday, October 1, 2012
Looper [2012]
MPAA (R) CNS/USCCB (L) Roger Ebert (3 1/2 Stars) Fr. Dennis (2 1/2 Stars)
IMDb listing -
http://www.imdb.com/title/tt1276104/
CNS/USCCB review -
http://www.catholicnews.com/data/movies/12mv116.htm
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20120926/REVIEWS/120929993
Looper (written and directed by Rian Johnson) is a characteristically dark but rather compelling science fiction movie that uses the concept of time travel to invite viewers to reflect on the consequences of actions (and of our actions). As a Catholic reviewer, I do have warn readers here that the resolution of the story is legitimately unsettling and a fair question could be asked: "shouldn't there have been another way?" To say more than this would result in giving too much away, but Catholic readers who do see the movie (especially of my age and older) would immediately understand why the film's resolution would pose some problems.
But let's to the story ... Sometime around 2044 time-travel was invented. However, it was immediately declared illegal presumably because of its sinister possibilities. But as is often the case, outlawing something only puts that something into the hands of outlaws. So, the mafia of the future (circa 2074) finds a way to use this technology to dispose of people to get rid of.
The mafia does so by sending the people it wants eliminated thirty years into the past to a specific location at a specific time, where a hit man (called a "Looper") is waiting for the victim and quickly dispatches him. Indeed so efficient is the process that the well prepared Looper comes to the site with a a time piece, a gun and a fairly large sheet of canvas laid out at exactly the location (in a cornfield) where the victim would materialize. After shooting and killing the victim, the Looper would simply wrap the victim up in the canvas sheet throw the wrapped-up body into his truck and take them to an incinerator for complete disposal.
Occasionally, the mafia would send the Looper back 30 years in time to be eliminated by his younger self. This was called "closing the loop." The young Loopers would then realize that they have exactly 30 years to live. What happens if the younger self does not kill the older self? Well that's what the movie is about.
Joe (played by Joseph Gordon-Lewitt) is a Looper living in 2044. How does he feel about his job? We don't really know. In a voice-over near the beginning of the film we hear from Joe that "Loopers don't generally think things through." On the other hand, Joe does seem to have plans. After going out to his appointed cornfield at the appointed time, immediately shooting the victim who materializes before him, wrapping him up in the tarp which he had meticulously placed over the exact site where the victim materializes, and throwing the body wrapped in the tarp into the back of his pickup truck, he goes to a diner, where he orders a meal and practices his French. Apparently shooting people materializing in his present from the future is not all that he aspires for...
After getting a sense of Joe's routine, we the viewers are informed that apparently a new mafia boss in the future, known simply as "The Rain Maker," is apparently on a vendetta against the Loopers. So suddenly a lot of them are finding their older selves being sent back to Joe's present to be expired. Now some of the Loopers don't seem to care (because they feel assured of 30 years of more life). A friend of Joe's, also a Looper, named Seth (played by Paul Dano) gets freaked out by the implication of killing his own older self and finds he can't do it. However, the mafia won't tolerate "loose ends" and so Seth and his older self (played by Frank Brennan) end really, really badly that only reconciliation of time travel paradoxes could adequately portray (Yes, Parents take note ... Seth's and his older self's ends are quite gruesome...).
Still shaken by the death of his friend, Joe finds his own self materialize at the appointed place and time before him, and is unable to shoot him either. It's not so much that he wasn't willing to do so it, but that the Older Joe (played by Bruce Willis) materializes ready to quickly defend himself. (Remember that Joe "thought things through" a bit more than the other Loopers....) And the Old Joe came back to 2044 with a mission. He was going to find and kill that mafia "Rain Maker" as a boy so that he doesn't grow-up to harm either him or Joe's wife in the future, named Summer Qing (played by Qing Xu).
Old Joe comes back knowing that "The Rainmaker" was born in a specific hospital on a certain day. It had been 10 years since the birth of the child in question and three boys had been born in that hospital on that day. However with help of his wife Joe had done his research. He came back to 2044 knowing where each of those three 10 year old boys were living. And he came back to kill them all believing that this would change both his destiny and that of his wife. But to save himself and his wife, the Older Joe would have to kill three little boys. And of course those three boys have mothers who love them.
This then is the paradox that the younger Joe faces, does he help his older self save himself and his wife (who the younger Joe had not yet even met) or does he help a single mother named Sara (played by Emily Blunt) protect her son?
He finds a solution. Again, I did find it problematic and I suspect that many people would find it problematic as well. Still it does make you think. What would you do?
Parents, this film is an appropriately R-rated movie for its violence and occasional nudity / hooker sexuality. One can also wonder why the future is so often portrayed in such adark way where the men are generally assassins and the women generally hookers. In any case, though the film does "make you think" it's definitely not "for the little ones."
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IMDb listing -
http://www.imdb.com/title/tt1276104/
CNS/USCCB review -
http://www.catholicnews.com/data/movies/12mv116.htm
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20120926/REVIEWS/120929993
Looper (written and directed by Rian Johnson) is a characteristically dark but rather compelling science fiction movie that uses the concept of time travel to invite viewers to reflect on the consequences of actions (and of our actions). As a Catholic reviewer, I do have warn readers here that the resolution of the story is legitimately unsettling and a fair question could be asked: "shouldn't there have been another way?" To say more than this would result in giving too much away, but Catholic readers who do see the movie (especially of my age and older) would immediately understand why the film's resolution would pose some problems.
But let's to the story ... Sometime around 2044 time-travel was invented. However, it was immediately declared illegal presumably because of its sinister possibilities. But as is often the case, outlawing something only puts that something into the hands of outlaws. So, the mafia of the future (circa 2074) finds a way to use this technology to dispose of people to get rid of.
The mafia does so by sending the people it wants eliminated thirty years into the past to a specific location at a specific time, where a hit man (called a "Looper") is waiting for the victim and quickly dispatches him. Indeed so efficient is the process that the well prepared Looper comes to the site with a a time piece, a gun and a fairly large sheet of canvas laid out at exactly the location (in a cornfield) where the victim would materialize. After shooting and killing the victim, the Looper would simply wrap the victim up in the canvas sheet throw the wrapped-up body into his truck and take them to an incinerator for complete disposal.
Occasionally, the mafia would send the Looper back 30 years in time to be eliminated by his younger self. This was called "closing the loop." The young Loopers would then realize that they have exactly 30 years to live. What happens if the younger self does not kill the older self? Well that's what the movie is about.
Joe (played by Joseph Gordon-Lewitt) is a Looper living in 2044. How does he feel about his job? We don't really know. In a voice-over near the beginning of the film we hear from Joe that "Loopers don't generally think things through." On the other hand, Joe does seem to have plans. After going out to his appointed cornfield at the appointed time, immediately shooting the victim who materializes before him, wrapping him up in the tarp which he had meticulously placed over the exact site where the victim materializes, and throwing the body wrapped in the tarp into the back of his pickup truck, he goes to a diner, where he orders a meal and practices his French. Apparently shooting people materializing in his present from the future is not all that he aspires for...
After getting a sense of Joe's routine, we the viewers are informed that apparently a new mafia boss in the future, known simply as "The Rain Maker," is apparently on a vendetta against the Loopers. So suddenly a lot of them are finding their older selves being sent back to Joe's present to be expired. Now some of the Loopers don't seem to care (because they feel assured of 30 years of more life). A friend of Joe's, also a Looper, named Seth (played by Paul Dano) gets freaked out by the implication of killing his own older self and finds he can't do it. However, the mafia won't tolerate "loose ends" and so Seth and his older self (played by Frank Brennan) end really, really badly that only reconciliation of time travel paradoxes could adequately portray (Yes, Parents take note ... Seth's and his older self's ends are quite gruesome...).
Still shaken by the death of his friend, Joe finds his own self materialize at the appointed place and time before him, and is unable to shoot him either. It's not so much that he wasn't willing to do so it, but that the Older Joe (played by Bruce Willis) materializes ready to quickly defend himself. (Remember that Joe "thought things through" a bit more than the other Loopers....) And the Old Joe came back to 2044 with a mission. He was going to find and kill that mafia "Rain Maker" as a boy so that he doesn't grow-up to harm either him or Joe's wife in the future, named Summer Qing (played by Qing Xu).
Old Joe comes back knowing that "The Rainmaker" was born in a specific hospital on a certain day. It had been 10 years since the birth of the child in question and three boys had been born in that hospital on that day. However with help of his wife Joe had done his research. He came back to 2044 knowing where each of those three 10 year old boys were living. And he came back to kill them all believing that this would change both his destiny and that of his wife. But to save himself and his wife, the Older Joe would have to kill three little boys. And of course those three boys have mothers who love them.
This then is the paradox that the younger Joe faces, does he help his older self save himself and his wife (who the younger Joe had not yet even met) or does he help a single mother named Sara (played by Emily Blunt) protect her son?
He finds a solution. Again, I did find it problematic and I suspect that many people would find it problematic as well. Still it does make you think. What would you do?
Parents, this film is an appropriately R-rated movie for its violence and occasional nudity / hooker sexuality. One can also wonder why the future is so often portrayed in such adark way where the men are generally assassins and the women generally hookers. In any case, though the film does "make you think" it's definitely not "for the little ones."
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
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