Review of GOOD BOYS (Blu-ray combo)

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Grade: C-
Entire family: No (older teens only)
2019, 90 min., Color
Rated R for crude sexual content, drug and alcohol material, and language throughout—all involving tweens
Aspect ratio: 2.39:1
Featured audio: DTS-HDMA 5.1
Bonus features: C-
Amazon link

Good Boys was so heavily advertised on TV that I felt compelled to let Family Home Theater readers know whether it’s another Stand by Me classic that’s well worth the amount of R-rated material, or if it’s just an ironically titled companion to Bad Grandpa or Bad Teacher.

This much seems true: if you’re going to make a raunchy comedy about American boys, it had better be funny. Otherwise, the raunchiness feels like a cement overcoat that drags it down into the muck. If it doesn’t serve a purpose, if it doesn’t make the film funnier, why even include it? When the lines aren’t funny, it just gives viewers an uncomfortable feeling to be watching sixth graders talk the way these kids do about sex (they have no clue), drugs (even more clueless), and beer (don’t get me started).

There’s maybe a dozen laugh-out-loud moments when the R-rated material is funny. Otherwise, the f-bombs and confused sex talk coming out of tweens’ mouths isn’t as hilarious as writers Lee Eisenberg and Gene Stupnitsky seem to think it is. What’s worse, given the precociousness of kids these days, their naivete is hard to believe. Even a younger sister recognizes a sex toy and tells them about it, which all but draws attention to how difficult it is to believe the boys are that clueless.

The first half of this “adventure comedy” is flat, dull, and, for the most part, devoid of laughs. The three main characters are played by actors who seem stiff and self-conscious—though when the second half finds them working with better material, audiences can see that the problem lies mostly with the writing. Writer-director Stupnitsky also penned the screenplay for Bad Teacher, and if you know that in advance, you pretty much know what you’re going to get with Good Boys.

I had hoped to discover another Stand by Me, A Christmas Story, or The Sandlot, but this one simply doesn’t measure up. While it’s not impossible to make a ‘tweens version of SuperBad, it really does come down to the laughs. And Good Boys doesn’t have enough of them to compensate for the R-rated material that without the laughter simply makes you cringe.

The concept certainly had potential. Twelve-year-old Max has the hots for a girl at school, and when a “cool kid” who brags about taking sips of beer (“four is the record”) invites Max to a “kissing party,” Max’s hormones take over. He asks pals Lucas (Keith L. Williams) and Thor (Brady Noon) to help him prepare, but when they break Max’s father’s rule and take his expensive drone to spy on neighbor girls to maybe get a better idea of what’s involved in kissing, the drone crashes and the girls hold it hostage. Then they have to do what the girls say in order to get the drone back, and still, somehow, figure out how to survive or even thrive at that kissing party. It could have been a tweens version of Date Night—a domino chain of mishaps leading to that party—or it could have had the nostalgic humor of Wonder Years. There was something about both of those comedies that rang true, despite the exaggerations and gags, and you could say the same thing about Stand by Me, A Christmas Story, and The Sandlot.

But you can’t say it about this film. The characters develop a little more warmth and relatability in the second half, but hampered by bad lines it’s hard for them to be Good Boys and funny at the same time. Lucas’s screen father is very funny in announcing that nothing will change with the divorce (“You’ll have two Taco Tuesdays. Only one of them will be on Wednesday”) and the running gag about Thor’s parents’ sex toys (the boys think a sex doll is a “CPR doll” and think anal beads are jewelry) are funny—if you don’t think about it too much. I mean, what 12-year-old boy can’t recognize a penis-shaped dildo?

Language: These kids use the f-word more than college students, and there are plenty of lesser curse words as well, so many that I can’t recall a scene without swearing

Sex: Mostly the sex toys, a reference to masturbation, boys’ surfing the Internet looking for porn (we don’t see it, and they scream when they do)

Violence: One character goes postal with a paint ball gun, one of the boys gets punched in the face, another gets hit by a truck while riding his bike, and one character pukes when another’s arm is being put back into its socket

Adult situations: Aside from the beer sipping, there’s drug use and a drug theme throughout the film, and one Peeping Tom jump scare

Takeaway: As it turns out, they could have titled this Bad Boys and it still would have been ironic


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Grade: C-
Entire family: No
Action-Adventure Comedy
2003, 106 min., Color
Rated PG-13 for action violence, sensuality and language/innuendo
Aspect ratio: 2.40:1 widescreen
Featured audio: DTS-HDMA 5.1
Bonus features: B-
Amazon link

The original Charlie’s Angels TV series (1976-81) was a campy affair that gave viewers a little female eye candy every week and some tongue-in-cheek crime-show action. What made it work were the three stars—Kate Jackson, Farrah Fawcett, and Jaclyn Smith—and not the undercover situations the detectives found themselves in, which were only slightly more outlandish than other crime shows on the air.

In that original TV series, John Forsythe provided the voice of the head of the Charles Townsend Detective Agency, while David Doyle was the lovably uncool Bosley, the angels’ contact and often fourth wheel on their assignments. The never-seen Charlie gave the show a hint of mystery, while Doyle’s doddering Everyman provided comic relief and balanced the chic, ultra-hip vibe that the angels gave off. But the angels were portrayed realistically enough that fans could either identify with their favorite or wistfully lust after them. They came across as real people who managed to find themselves in unreal situations every week.

That winning formula was altered so completely in 2000 by music video director McG that the first Charlie’s Angels reboot seemed little more than an over-the-top extended music video. And McG did the same thing with Charlie’s Angels: Full Throttle (2003). The three stars—Cameron Diaz, Drew Barrymore, and Lucy Liu—are deliberately comic, but the comedy feels clumsily inserted instead of integrated into the narrative. That makes it hard for us to care about their assignment, which gets lost in an onslaught of road-runner-and-coyote action. More


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Grade:  C-
Entire family:  No
2018, 72 min., Color
Giant Interactive
Not rated (would be G)
Aspect ratio:  2.40:1 widescreen
Featured audio:  Dolby Digital 2.0 Stereo
Amazon link

After I watched this documentary about bridge (the card game, not London or any other feat of engineering), I was surprised to see that the runtime was only 72 minutes. It seemed much longer . . . and not just because I know nothing about bridge. It seemed longer because this documentary didn’t inspire me to care any more about bridge than I do now.

And there was certainly potential. When you get a group of four 20- and 30-somethings who are being coached by bridge trainers (who knew there was such a thing?), and those four people compete in tournaments where the opponent’s average age is 73, there’s potential here for interest.

But The Kids Table feels superficial because it doesn’t really answer any of the questions that arise along the way. Like, how do the old people really feel about them intruding in their private world of bridge? We get a few responses, but not nearly enough, and the responses we get aren’t personal enough.

What made each of these people want to learn bridge? Were they recruited? What do their friends or families or significant others think about them spending so much time on an old people’s card game? While we get some solo interviews with each of the young people, there’s not much in the way of answers or depth. Out of curiosity I Googled one of them and learned that Stefanie Woodburn (who admits she’s not super hot on bridge but, once involved, can be super competitive) is a member of Mensa and a summa cum laude graduate from NYU. She’s an actress who’s been featured in TV movies and starred as Mulan in Once Upon a Time: The Rock Opera. She also was one of the first graduates of Ron Howard and Brian Grazer’s IMAGINE IMPACT class, and she created the first short film funded through video streaming games. Fascinating, right?

But we don’t get much information about her or the others in this documentary, which limits the on-camera interviews to reality-show style questions about their feelings on what we just saw onscreen. Frankly, a documentary like this would have worked so much better if each of the principle young players had their own “Olympic moment” profiles that make us care about them as they play. Does it put a strain on their social lives or family life? Does it compete with their other ambitions? Has learning bridge been a struggle that they continue because of x, y, or z? Without strong back stories there aren’t strong characters, and that especially holds true for this film by Stephen Helstad and Edo Benda. We simply don’t get enough personal information about the four novice players and their two trainers for us to care about them. We’re just flies on the wall as we watch Woodburn, Paul Stanko, Monique Thomas, Edd Benda, Brian Reynolds, and Samantha MacDouglas go from match to match. More

Review of HESBURGH (DVD)

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Grade: B+
Entire family: No
2018, 106 min., B&W and Color
Not rated (would be PG for Kent State footage)
Music Box Films
Aspect ratio: 1.85:1
Featured audio: Dolby Digital 5.1
Amazon link

Pres. Dwight D. Eisenhower asked him to serve on the National Science Board and later the U.S. Civil Rights Commission, and he was the one who brought Democrats and Republicans together on the latter, then brokered the approval of 11 civil rights recommendations. Later “Ike” asked him to help bridge the gap between Russia and the U.S., and he became good friends with the Soviet Union’s delegate to the U.N. in order to relax tensions.

Dr. Martin Luther King, Jr. asked him to be by his side for a crucial civil rights rally at Chicago’s Soldier Field on June 21, 1964, and there he linked arms with Dr. King and sang “We Shall Overcome.” Eleven days later the Civil Rights Act was signed, and years later King’s widow, Coretta Scott King, would call him “One of the giants of the civil rights movement.”

Pres. Richard M. Nixon called on him to stop anti-war protesters at Notre Dame, and he cracked down on them . . . but after Kent State, had a change of heart and publicly attacked Nixon and the Vietnam War. He’s prominently mentioned on the Nixon tapes as a “problem.”

Who knew that the life of a college president could be so influential . . . and fascinating?

Rev. Theodore Hesburgh was president of the University of Notre Dame from 1952-87, and this 2018 biography begins with a voiceover recording of him saying “Since the age of six, I wanted to be a priest,” and ends with his funeral procession and thousands of Notre Dame students lining the route to the cemetery. But it’s as much a documentary about history as it is a man who devoted his life to the service of others, and there are some incredible stories here.

Who knew that the president of Notre Dame had such power?

One of the stories Hesburgh tells is about a Cardinalship that he turned down. “I came to know all of the popes throughout my life,” Hesburgh says, “but the only one I considered a true friend was Giovanni Montini, who would take on the name Pope Paul VI.” The Pope gave him the enormous emerald ring he wore as a cardinal, saying, “Now it’s yours,” but hoping he would accept his offer. “I said, ‘Thank you for the ring, Your Holiness,’ and I put it in my pocket. . . . [but] I can do a lot more as a university president.”

Who knew that a fishing trip was behind the success of civil rights reform in the U.S.? More

Review of TOY STORY 4 (Blu-ray combo)

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Grade: A-
Entire family: Yes
2019, 100 min., Color
Rated G
Aspect ratio: 2.39:1
Featured audio: DTS-HDMA 7.1
Bonus features: B
Includes: Blu-ray, DVD, Digital
Amazon link

The buzz (no Lightyear pun intended) on Toy Story 4 was that it’s the saddest (translation: most poignant) entry yet, and that Pixar really fumbled the ball by naming a new character Forky when it’s so clearly a spork.

But if that’s your biggest complaint, you know Pixar/Disney has created another hit. In fact, if there’s a more critically successful film franchise, it’s not coming to mind. The first two Toy Story animated features earned a remarkable 100 percent “fresh” rating at Rotten Tomatoes with audience ratings of 92 and 86 percent, respectively, while the third entry received a 98 from critics and 89 from the audience. Their latest exercise in animated wizardry merited a 97 from critics and a 94 from audiences. That’s amazingly consistent, given that there’s only so much you can do, plot-wise, with a family’s toys that come to life when no humans are looking.

This time western sheriff doll Woody (voiced by Tom Hanks) is having an existential crisis. He’s spent three play days in a row left in the closet, wondering what his purpose is if it’s no longer to be played with by his special human. And in case you’re thinking, “Wait a minute, his special human Andy went off to college,” in Toy Story 4 Woody’s a hand-me-down that’s now in the possession of Andy’s little sister, Bonnie.

When Woody stows away in Bonnie’s backpack to make sure she has the comfort of a toy her first day of kindergarten orientation, he watches her make a new toy doll out of a spork, pipe cleaners, and popsicle sticks. But Forky, as she calls him, is a kind of cheerful fatalist who keeps jumping into wastebaskets and trash receptacles and such because, well, that’s where plastic forks end up.

Pixar/Disney keeps the series fresh by rotating characters who get the spotlight, and this time Woody, Bo Peep (Annie Potts), Forky (Tony Hale), Buzz Lightyear (Tim Allen), and a fun new character, motorcycle stuntman Duke Caboom (Keanu Reeves), take center stage. The animators also moved up the ladder of progressive possibilities for toys that are no longer wanted. Having already explored the Goodwill option, the rabid collector option, and the donated-to-preschool option, they set this entry in an antique store where Bo ended up. More

Review of PAN’S LABYRINTH (4K UltraHD combo)

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Grade: A-
Entire family: No (16 and older)
2006, 119 min., Color
Rated R for graphic violence and some language
Warner Bros.
Aspect ratio: 1.85:1
Featured audio: Spanish DTS-HDMA 5.1
Bonus features: B+
Includes: 4K Ultra HD, Blu-ray, Digital Code
Amazon link

Strange. Dark. Sad. Beautiful. Haunting. Powerful.

That describes Guillermo del Toro’s Oscar-winning Best Picture The Shape of Water (2017), and it also aptly describes the Mexican director’s earlier wartime fantasy-drama, Pan’s Labyrinth (2006).

Del Toro introduces the new 4K HD release (in Spanish, with English subtitles) by saying simply, “This movie almost killed me.” That’s easy to believe, because Pan’s Labyrinth takes a lot out of audiences too. With del Toro’s fairy tales for adults, you know you’re going to find the film visually stunning, narratively compelling, and, ultimately, deeply moving.

The action takes during place during WWII (1944) in Franco’s fascist Spain. Ofelia (played confidently and sympathetically by Ivana Baquero) is riding in a military car with her pregnant mother to a country outpost run by the ruthless and sadistic Captain Vidal—who married the mother, Carmen (Ariadna Gil), after her husband died in the war. He had sent for them because he wanted his baby to be born near him. In the car, Ofelia reads a fairytale about a princess who fled her father’s underground kingdom to live in the world above, where she was subject to that world’s illnesses and death. But her father knew that one day her spirit would return to him in the form of another.  More

Review of ANNABELLE COMES HOME (Blu-ray combo)

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Grade: B-/C+
Entire family: No (way)
Horror, thriller
2019, 106 min., Color
Rated R for horror violence and terror
Warner Bros.
Aspect ratio: 2.40:1
Featured audio: Dolby Atmos TrueHD
Bonus features: C+/B-
Includes: Blu-ray, DVD, Digital Code
Amazon link

First there was The Conjuring (2013), then Annabelle (2014), The Conjuring 2 (2016), Annabelle: Creation (2017), The Nun (2018), The Curse of La Llorona (2019), and now Annabelle Comes Home (2019). The Conjuring Universe continues to expand, but this latest film isn’t as much of a big bang as it is a slow evolution from dark potentiality to a third act burst of relatively predictable action. That’s because it’s a Pandora’s box film, and even if you know nothing about Greek mythology you probably have heard that Pandora opened a box (well, jar, actually) and unwittingly unleashed sickness, plagues, death, and all manner of evils on humankind. With a Pandora’s box film, you know the plot will be about trying to re-contain those evils, and the protagonists either will succeed or not. You have a 50/50 chance of guessing the outcome.

That’s one thing that makes Annabelle Comes Home less energetic or surprising than some of the previous entries. Fans have been through this before and know what to expect. There aren’t as many scares as in previous films, but the ones that are here are high octane, and their intensity is boosted by the fact that much of the action takes place within the confines of the home. More

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