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Review of THE LEGO BATMAN MOVIE (Blu-ray combo)

June 8, 2017

Family Home Theater Action-Adventure, Animation, Comedy , Leave a comment

Grade: A-
Entire family: Yes
2017, 104 min., Color
Animated action-comedy
Warner Bros.
Aspect ratio: 2.41:1
Featured audio: Dolby Atmos True HD
Bonus features: B- (four shorts, 6 short features, 4 deleted scenes)
Includes: Blu-ray, DVD, Digital HD
Trailer
Amazon link

I’m curious: Is there a kid in America who hasn’t played with Legos? Since 1949 the Danish company has cranked out those distinctive, colorful plastic building blocks that really took off as a kid craze when the company began producing theme sets tied to history (knights, pirates, robots, Vikings, cowboys, dinosaurs, etc.) and movies (Batman, Star Wars, Harry Potter, etc.). Lego stores are everywhere. At Downtown Disney in Orlando a giant Lego dragon rises up out of a manmade lake, while in a downtown Chicago Lego store an elaborate model of a downtown city block is on display. And some airports and trains have dedicated Lego sections where children can play. With Legos so culturally huge, the stage was set for The Lego Movie (2014) to do for Lego lovers what Wreck-It Ralph did for video-game lovers—and it didn’t disappoint.

In that first film, Batman (voiced by Will Arnett) was surrounded by a bevy of characters from other theme sets, though another figure was the unlikely hero. In The Lego Batman Movie the focus is totally on the Batman-Superman DC world, with guest villains popping up from other pockets of pop culture (say that three times fast). The result is dazzling, and the second film is easily as good as the first—possibly better.

The most striking thing about The Lego Batman Movie, which was computer animated in 3D, is its wide appeal.

—Young children who are just learning to stack the blocks will respond to the colors, the action, and yes, the talking characters who say things like “shoot shoot shoot” when they’re firing their toy guns, mimicking the kind of pretend play that children engage in.

—Older children who watch superhero movies and still have a box of Legos stored somewhere in their closets will love the stellar set design, the driving musical score, and the special effects that somehow manage to keep up with the breakneck pacing. It’s a pretty impressive assault on the senses.

—Teens and adults who are familiar enough with superhero movies to know all the tropes will love the wry and often egotistical and cynical running commentary by Batman (Arnett again) and the postmodernist self-consciousness that The Lego Batman Movie displays in simultaneously delivering the formula and making fun of it. There are, for example, dozens of “bat” vehicles, including a Batkayak. Chris McKay, who directed Robot Chicken (2005) and Robot Chicken: Star Wars Episode III (2010) knows how to have it both ways and absolutely crams this film full of pop cultural references and gags. The more you know, the more you’ll laugh—even as your wee ones are getting caught up in the action.

—Parents will love that different ages will see and appreciate different things. Like Toy Story the core message is one of family—and friends becoming a family. The Lego Batman Movie is rated PG, but the pacing is so brisk that anything close to objectionable will fly right over the heads of little ones, like this hilarious exchange:

Robin (Michael Cera): “My name’s Richard Grayson, but all the kids at the orphanage call me Dick.”

Batman: “Well, children can be cruel.”

Then again, you knew from the opening dark screen and voiceover that this was going to be a clever parody, as Batman says, “Black. All important movies start with a black screen. And music. Edgy, scary music that would make a parent or studio executive nervous.” Batman is a fast-talker, as they’d say in the Seinfeld world, and you’ve got to keep up or you’ll miss half the jokes. The plot? That’s easy:

Even as Batman hurts the Joker’s feelings by telling him he’s not as important as he thinks he is, Commissioner Gordon retires and his daughter, Barbara (Rosario Dawson), tells Batman essentially the same thing. And when the Joker (Zach Galifianakis) and his fellow villains turn themselves in, Batman decides to raid Superman’s Fortress of Solitude and grab the Phantom Zone Projector to send the Joker to another dimension. Briefly Batman and Robin are jailed for their mischief, but when the Joker returns from the Phantom Zone with every single exiled villain Barbara realizes the city needs Batman after all. That’s pretty much the message, even as bad guys reconcile with good guys: that people need each other, even if it’s only being the yang to another’s yin. And as Alfred (Ralph Fiennes) tells Batman, if you lose a family, don’t brood . . . find another.

The Lego Batman Movie is funny, clever, action-packed, and rocking with music and kaleidoscopic graphics, but it’s those underlying messages that make it a great family film—especially on sparkling Blu-ray and with Dolby Atmos True-HD sound. And that’s not even counting the free kid’s ticket to Legoland that’s included with purchase.

Language: Just mild terms like “butt” or “sucks”
Sex: n/a, unless you count Robin tearing off his pants like a stripper in order to get down to the uniform we see
Violence: Lots of fighting, but it’s hard to take any of it too seriously when these are plastic figures with claw hands and clunky, Lego movements
Adult situations: Nothing here either, unless you count that running commentary
Takeaway: Pay attention, people. Warner Bros. Animation has arrived

Review of ROGUE ONE: A STAR WARS STORY (Blu-ray combo)

April 7, 2017

Family Home Theater Action-Adventure, PG-13 rated, Sci-Fi/Fantasy Leave a comment

Grade: A/A-
Entire family: No
2016, 133 min., Color
Sci-Fi Action-Adventure
Rated PG-13 for extended sequences of sci-fi violence and action
Lucasfilm/Disney
Aspect ratio: 2.39:1
Featured audio: DTS-HDMA 7.1
Bonus features: B-/C+
Includes: Blu-ray, DVD, Digital HD
Trailer
Amazon link

Can I just say that I liked Rogue One: A Star Wars Story better than the last four Star Wars stories—even The Force Awakens, which was the top-grossing film of 2015? In fact, I think it’s borderline absurd that Rogue One is marketed as a tangential story rather than part of the saga, especially since it hooks up to the original Star Wars film (rechristened Episode IV: A New Hope) as neatly as a mid-air refueling.

With lesser villains like Darth Maul in the second trilogy and even Kylo Ren in The Force Awakens, it almost seemed as if George Lucas was searching for a hero to match the charismatic power of Darth Vader. In Rogue One he finally finds that perfect villain . . . in Vader himself.

Although the main “good guys” are indeed marginal to the overall saga, Rogue One is a fascinating prequel to A New Hope that connects far better than any of the second trilogy films (The Phantom Menace, Attack of the Clones, or Revenge of the Sith). Like The Force Awakens, it recaptures the slam-bang Saturday matinee feel of the very first trilogy (A New Hope, The Empire Strikes Back, Return of the Jedi). But the tone is a little darker, given the fact that people die and they don’t just evaporate into spirits as in the saga films. Still, the production design is similar, and so is the spirit. Gone is the moodiness of brooding villains or brooding Force fence-sitters.

As with The Force Awakens, audiences are treated to another male-female team in which the female is a bad-ass who holds her own. In Episode VII: The Force Awakens, Lucas went back to that original galaxy far, far away in order to present readers with another intergalactic trio of a good guy (Finn, who’s actually a stormtrooper defector), a rogue pilot (Poe), and a feisty woman (Rey). In Rogue One, Lucas gives us an even stronger and more dominant female character. In fact, even the robot is feistier this time around. K-2SO (Alan Tudyk) is both hilarious and inching closer to human than any of the robots we’ve previously seen.

The Flash Gordon serials that Lucas so admired featured a doctor who was conscripted and forced to work in the laboratories of Emperor Ming. Here, it’s the father of Jyn Erso (Felicity Jones) who’s put to work on the Death Star against his will, leaving virtual orphan Jyn to grow up alone on the galaxy’s mean streets. Rogue One is really all about Jyn, with other characters filling in the gaps—and that’s new territory for Lucas and his filmmakers. Yet, because of Vader and the Death Star, it also feels comfortably familiar. You get a similar sensation watching Imperial Walkers (AT-ATs) plodding along menacingly in a tropical setting instead of a frozen wasteland. One note: because of the palm trees and soldiers wearing camou it almost feels like a throwback WWII Pacific Theater film during some of the battle scenes, and that adds a touch of realism to what had previously been fantasy, sci-fi battles. The father-daughter angle is also heavily realistic, and that’s at the center of the plot.

Jones does a terrific job of making Jyn a character we care about, but she’s also surrounded by a talented ensemble who play equally interesting characters, ranging from the wounded rebel extremist Saw Gerrera (Forest Whitaker), a former Imperial cargo pilot who defected named Bodhi Rook (Riz Ahmed), or rebel leader Mon Mothma. But the character who is perhaps the most interesting is Chirrut Imwe (played by the scene-stealing Donnie Yen), a blind man who may or may not be a Jedi. He’s at least a Jedi wannabe, and in tune enough with the Force to walk through hell and somehow perform an important task. His sidekick, a rogue named Baze Malbus (Jiang Wen) who reminds you of characters Danny Trejo usually plays, is also a fun addition to the Star Wars universe.

Rogue One’s narrative is made more interesting because of the characters’ cross purposes. Jyn is recruited by rebel leader Mon Mothma (Genevieve O’Reilly) to rescue her father (Mads Mikkelsen) so the Alliance can learn more about the project he’s been working on, but Cassian Andor (Diego Luna), the intelligence officer assigned to accompany her, has another agenda. Though the mere presence of Lord Vader elevates the film, Jones’ character holds her own. And it’s been a while since that galaxy far, far away had real balance like this.

Language: n/a
Sex: n/a
Violence: More realistic violence (including an assassin with a scope) can make this feel darker and bleaker than the other films, though optimism is certainly more prevalent than pessimism
Adult situations: Implied drinking at one point, but mostly just the violence and loss that characters experience
Takeaway: Old-school seems to work best with the Lucas-fueled Star Wars franchise. The past two films are more on a par with the original three in terms of looks and spirit, and that all but guarantees it will be the course Lucas takes moving forward

Review of MOANA (Blu-ray combo)

March 18, 2017

Family Home Theater Action-Adventure, Animation, Entire Family, PG rated Leave a comment

Grade: A/A-
Entire family: Yes
2016, 107 min., Color
Animated adventure
Rated PG for peril, some scary images and brief thematic elements
Disney
Aspect ratio: 2.39:1
Featured audio: DTS-HDMA 7.1
Bonus features: B+/A-
Includes:  Blu-ray, DVD, Digital HD
Trailer
Amazon link

Moana was an Academy Award nominee (Best Animated Feature, Best Song) that also made waves because of Disney’s depiction of tattoos that some said were culturally insensitive. I won’t wade into those waters, because, typical of Disney, this full-length animated feature reflects the studio’s good intentions through otherwise careful research and, with the exception of Dwayne Johnson, the casting of Pacific islanders in lead roles. Ultimately, Moana is more celebratory of a culture and its people than it is exploitive. But let me say right away, lest the boys in your family think this is another cookie-cutter princess movie, far from it: Moana is an adventure film, and for the first time in forever there’s no inkling the princess actually cares that the opposite sex exists.

The culture is Ancient Polynesia, and the treatment recalls a number of Disney films. When Moana’s father, Chief Tui (Temuera Morrison), keeps her from going out into the water that surrounds their island, it’s hard not to think of Ariel and the strict father who forbade her to leave her watery world to explore the land of humans. When Gramma Tala (Rachel House) coaxes her to follow her destiny to find the demigod Maui (Johnson) and sail with him to return a mystical relic, it’s hard not to think of the grandmother in Mulan or Grandmother Willow in Pocahontas. Given that Maui’s tattoos come alive and help with the narration, it’s also hard not to think of that other Disneyfied demigod, Hercules, and the artwork on the classical vase that functioned the same way. Then too, Disney just acquired the rights to the Star Wars franchise, and there’s a little Yoda in Gramma Tala and a lot of Empire Strikes Back in a scene when Moana is advised to go deep inside a cave to discover who she really is.

Disney animators have a history of making subtle references to other House of Mouse films, but they do so more conspicuously in Moana. At one point, shape-shifting Maui goes through a series of animal transformations, and darned if one of them isn’t the reindeer Sven from Frozen. In another sequence, when Moana protests, “I am not a princess,” Maui deadpans, “If you wear a dress and have an animal sidekick, you’re a princess.” If you watch the end credits you’ll also see the giant scavenger crab Tamatoa saying, “If my name was Sebastian and I had a cool Jamaican accent, you’d totally help me.”

When you can allude to yourself you know you’re part of America’s cultural fabric. But the plot of this adventure will also remind indie film lovers of Whale Rider, the 2002 live-action story of a young Maori girl who takes to the sea to fulfill her destiny to become her people’s leader. Though being called by the Ocean to return a sacred relic isn’t exactly commonplace, young viewers—heck, all viewers—can certainly identify with a sense of purpose and the determination to accomplish a goal. Moana doesn’t leave home because she’s spiteful or rebellious. She does it for the greater good, and that kind of altruism is getting harder and harder to find.

Clements and Musker are Baby Boomers who grew up watching classic mythical adventures like Jason and the Argonauts, and Moana has that kind of feel. When Maui and Moana have to sail past the lava demon Te Kä they were obviously inspired by the scene in which Jason had to navigate past the Colossus of Rhodes—only they kicked it up about a hundred notches to make it much more exciting. But like Huck and Jim rafting down the Mississippi in Twain’s classic adventure, it’s what Moana and Maui learn interacting with each other during the journey that’s also a big part of the story.

Though the Mark Mancina, Lin-Manuel Miranda, and Opetaia Foa’i music helps elevate the film, the songs aren’t as singable and music takes a backseat to the visuals. It’s the first time that directors Ron Clements and John Musker (The Little Mermaid) went with all-CGI animation, and the results are spectacular, with water taken to new heights and CGI animated figures looking less like 3D claymation models and more like 2D figures with incredible depth. I didn’t think it possible, but in terms of looks, Moana finds a comfortable middle ground between traditional animation and 3D CGI animation. It’s a style of animation that’s really engaging, with a story that features Disney’s strongest female hero to date.

Language: Nothing objectionable
Sex: n/a
Violence: One battle with coconut warriors and the big battle with the lava monster, who is so frightening your little ones may need to be hugged throughout the sequence–but no more frightening than the Maleficent dragon scene in the animated Sleeping Beauty
Adult situations: There is peril throughout in this journey, but comic relief courtesy of a stowaway chicken that provides plenty of LOL moments
Takeaway: Moana is a film that even boys will like, and a hero that proves, once and hopefully for all, that girls can succeed on their own.

DOCTOR STRANGE (3D Blu-ray combo)

February 21, 2017

Family Home Theater 3D, Action-Adventure, PG-13 rated Leave a comment

doctorstrangecover

Grade:  A-/B+
Entire family: No
2016, 115 min., Color
Marvel Studios/Disney
Action-Adventure
Rated PG-13 for sci-fi violence and action throughout, and an intense crash sequence
Aspect ratio: 2.39:1
Featured audio: DTS-HDMA 7.1
Bonus features: B+
Includes: 3D Blu-ray, Blu-ray, DVD, Digital HD
Trailer
Best Buy link

Who knew that Earth had a Sorcerer Supreme protecting it from outside magical and supernatural threats? Or that Marvel still remembered how to produce a straight-up origin story without feeling the need to overpopulate it with Marvel Universe heroes and villains? Some fans accustomed to crossover confusion may wish for a more complex plot than we get in Doctor Strange, but I find it refreshing to be able to focus on a single character’s journey from supreme jerk to Sorcerer Supreme.

doctorstrangescreen1Benedict Cumberbatch might not fit the leading man profile, but he wears the Doctor Strange uniform well. In the early going he’s especially perfect as an arrogant neurosurgeon who has a career-ending accident and, embittered, travels to Nepal to seek a mind-over-matter healer that would help him get his career back. As is often the case in life, when one door closes, another one opens . . . only this portal opens into the astral dimension and time-space continuum.

Doctor Strange looks great in standard Blu-ray, but if ever a film was made for 3D, it’s this one. Unlike some 3D movies that look as if the filmmakers occasionally threw in some effect so it looks like it’s flying at you, Doctor Strange features mostly remarkable depths of field in plot-grounded scenes that are so mind-bending it’s hard to describe. As the sorcerers do battle they rearrange buildings, roads, and whole cities as if they were Tetris blocks, turning them sideways, upside down, and creating fields of battle that keep shifting. Amazingly, it only seems to shift for those in attuned to the supernatural. Streets and cars and people seem to carry on even as their world is turned sideways or upside down. In 3D it’s especially “marvel”ous, though it’s still pretty awesome on 2D Blu-ray.

doctorstrangescreen2By contrast, Stephen Strange’s journey is surprisingly straightforward: he arrives at the door of Kamar-Taj and, refused, sits there until the Ancient One (Tilda Swinton) decides to take him under her wing and teach him mystical powers and the secrets of being able to access and manipulate other dimensions, like the Mirror Dimension or the Astral Plane. Strange is no stranger to hard work and studying. After all, he made it through med school. A quick study, he always wants more than he’s allowed—especially when it comes to the sorcery books in the Ancient One’s library. Along the way he learns that the only thing keeping Earth safe from other dimensions is a spell involving three buildings in New York, London, and Hong Kong. When a former pupil (it’s always a former pupil, isn’t it?) named Kaecilius steals pages from the book detailing the most powerful secrets of time and immortality and returns with a force of underlings, the sorcerers must stop them—whether Doctor Strange feels ready or not. Much of it—even the idea of turning back time, which we saw in GalaxyQuest and other films—is old news. But it works.

doctorstrangescreen3Strange is an interesting hero because he’s a fence-straddler. He’s much too selfish to be a true superhero—at least at first—and he has an arrogant streak in him that drives him to do what he wants to do, thinking that rules don’t apply to him. So when he secretly studies the book that Kaecilius read and learns the language that would reveal its secrets, and when he takes the Eye of Agamotto and uses it to bend time, he’s actually going rogue rather than following the Sorcerer Supreme’s—the Ancient One’s—instructions. Yet he also understands the stakes and seems ready to take up the Cloak of Levitation and protect Earth.

Swinton and Cumberbatch are both “large” characters, but Kaecilius doesn’t really stand out as a villain. That’s less the fault of Mads Mikkelsen’s acting than it is the limitations of the role. Despite the inevitable battle, the character frankly seems like part of an ensemble, no more or no less significant than Strange’s surgical colleague Christine (Rachel McAdams), mystic librarian Wong (Benedict Wong), or mystic arts master Mordo (Chiwetel Ejiofor). Regardless, Doctor Strange is a successful film and a worthy addition to the Marvel cinematic universe. Look for Thor to pair up with him the next time around, as the ending and credits sequence reveals. And in the spirit of that pairing, Disney has released a fun Thor YouTube video and a clip that reveals how they came up with the end tag for Doctor Strange.

Language: There’s so much action that foul language takes a back seat. Only once does a swearword (a-hole) stand out; otherwise it’s the cursing version of fecal matter
Sex: Nothing at all
Violence: Not as violent as some Marvel Universe films; surgeries can seem gruesome, and there are several shots of a beating and the aftermath of an impaling; otherwise, it’s all grand-scale sci-fi battling, with more buildings crashing than blood
Adult situations: The depiction of the surgeries and car accident are the “real” situations in a fantastic world; some children may find it disturbing when Strange encounters the ultimate evil in a different dimension
Takeaway: Doctor Strange may not be as well known as other Marvel characters, but this excellent cinematic adaptation should help raise his profile considerably

PANTHER GIRL OF THE KONGO (Blu-ray)

February 19, 2017

Family Home Theater Action-Adventure, Entire Family, PG rated Leave a comment

panthergirlcover

Grade:  C+/C
Entire family:  Yes (with caveat)
1954, 168 min. (12 episodes), Black-and-White
Olive Films
Adventure
Not rated (would be PG for fighting and “monsters”)
Aspect ratio: 1.37:1
Featured audio:  Mono
Bonus features: n/a
Trailer
Amazon link

Old-time serials were shown in theaters in weekly installments as a way of getting people to return to the movies frequently, and the 13-20 minute episodes were especially popular with children. Serials were all about the plot, and the premise behind Panther Girl of the Kongo—a 1955 12-episode black-and-white serial from Republic Pictures—was a doozy:

A mad scientist (albeit a rather understated and sedate one) has set up a lab in the Kongo and is using all his test tubes and beakers to distill jugs of super growth hormones that he’s feeding to crayfish. He’s breeding giant “claw monsters” in an attempt to scare everyone out of the area so he and his two garden-variety henchmen can access secret diamond mines. That means getting rid of Jean Evans, whose work for an international wildlife foundation is less clear than the title the “natives” have bestowed upon her: Panther Girl. She shoots, she swings through the trees on vines like Tarzan, and she rides atop an elephant, all while wearing a mini-skirt outfit that looks straight out of Robin Hood.

The Panther Girl also faints a lot, as women in old-time serials were expected to do, even as the medium was drying up in the mid-fifties. Or she’s knocked silly by such things as hitting her head on a couch cushion, leaving the real fighting to her big-game hunting friend, Larry Sanders (Myron Healey).

panthergirlscreen1Phyllis Coates plays the Panther Girl, and if she looks familiar, Coates played opposite George Reeves in the first 26 episodes of the popular TV series The Adventures of Superman. Before that, she appeared in a string of western movies and TV shows (including four episodes of The Cisco Kid) before first stepping onto a jungle set in 1953 when she co-starred with Clayton Moore (who would go on to play TV’s Lone Ranger) in Jungle Drums of Africa, a 12-episode black-and-white serial from Republic Pictures.

Those connections may delight Grandma and Grandpa, but the rest of the family will smile mostly because of the B-movie conventions that are unintentionally funny by today’s standards. An African tribesman carries a quiver of arrows that have the same look as North American Indians, and one African “native” speaks like the Lone Ranger’s sidekick Tonto (“Me get Bwana”) while the chief sounds as if he attended Oxford and says things like “Don’t mention it,” when thanked. This is a low-budget, man-in-a-gorilla-suit, plot-driven series, and studios just weren’t that concerned about verisimilitude. The attack of a panther is a particularly amusing reflection of low-budget filmmaking. All 12 episodes cost under $175,000 to make, and as was customary the studio reused stock footage (from Jungle Girl, an earlier serial), and the action itself never seems to match the hyperbole of the posters or chapter titles:

  • “The Claw Monster”
  • “Jungle Ambush”
  • “The Killer Beast”
  • “Sands of Doom”
  • “Test of Terror”
  • “High Peril”
  • “Double Trap”
  • “Crater of Flame”
  • “River of Death”
  • “Blasted Evidence”
  • “Double Danger”
  • “House of Doom”

panthergirlscreen2Even if children in the ‘50s didn’t know that Africa doesn’t have any crayfish, they probably realized that the giant claw coming out of a wooden crate would have to belong to a creature much larger than could fit inside. After all, it did look fake, and more importantly, it didn’t matter. Serials were just for fun, and the hokiness was all part of it. Even now, with the hokiness multiplied because of the sophistication of today’s audiences, the serials are still fun if family members turn it into a participatory event and crack jokes during playback.

That’s what our family did, and it’s fun for about three episodes . . . then it starts to get old because you’re joking about some of the same things. Panther Girl of the Kongo is best watched the way it was originally intended: as a weekly teaser before the main feature. It can be a fun idea for today’s families to start a serial tradition and tack on 15 minutes to the movie of the week. Panther Girl may not be as solid as Flash Gordon or even Commando Cody, but it’s laugh-out-loud funny in spots and a good one for savoring serial hokiness and Hollywood’s love of monsters and exotica.

Bottom line:  It’s silly, it’s fake-looking, and it’s unintentionally funny. But Panther Girl is a fun serial to watch, and a representative one at that. One caveat:  every jungle film coming out of Hollywood in the ’30s, ’40s, and ’50s was racist, and this one is no exception. “Native” warriors run spooked and wide-eyed from danger, they are talked down to by the whites, and their depiction feeds into all the negative stereotypes. At least, unlike some of the Tarzan movies, they used African American actors for most of the parts.

SUICIDE SQUAD (Blu-ray combo)

December 9, 2016

Family Home Theater Action-Adventure, PG-13 rated, Sci-Fi/Fantasy Leave a comment

suicidesquadcoverGrade: B
Entire family: No
2016, 123 min., Color
Warner Bros.
Rated PG-13 for sequences of violence and action throughout, disturbing behavior, suggestive content and language
Aspect ratio: 2.40:1
Featured audio: Dolby Atmos
Bonus features: B+
Includes: Blu-ray, DVD, Digital HD
Trailer
Amazon link

 Suicide Squad is a high-concept film that asks, What if you plug characters from the DC Universe into the old Dirty Dozen plot? Instead of having a bunch of badasses tackle a war mission, have these imprisoned supervillains agree to work together to foil what is presumably a super-supervillian named the Enchantress in exchange for reduced sentences.

suicidesquadscreen1Sounds fun, right? But while it’s imminently watchable, Suicide Squad isn’t as fun of a ride as Guardians of the Galaxy. It could have been, with more performances like Jared Leto’s and Margot Robbie’s as The Joker and his henchwoman/partner-in-crime, Harley Quinn. Those two really go over-the-top with their roles and push their characters from celluloid right back onto the pages of a comic book, while the rest of the supervillains are played a little straighter . . . perhaps because they weren’t given as meaty (and savory) roles. But I suspect that these two just found inspired ways to play their characters.

As superhero movies go, Suicide Squad is entertaining enough to add to the family video library, but it has one big flaw. The PG-13 rated film takes a full 40 minutes to introduce the characters and basic set-up, and after that, as if making up for lost time, zips along at breakneck speed through the mission itself. What that means, of course, is that family members might squirm a bit in the early going and then sit there with raised eyebrows for the remainder of the film. It can get a little confusing. Then again, so can the set-up. You’ll want to rewatch it just to get a better handle on what’s going on, and to look for things you missed the first time around.

The action takes place after Superman’s death, when Col. Rick Flag suicidesquadscreen2(Joel Kinnaman) takes charge of a team of supervillains assembled by an intelligence officer named Amanda Waller (Viola Davis). What’s to keep them from bolting after they’re released? A micro-bomb injected into their necks that can be detonated if they even think about going rogue. But here’s where it gets confusing: one potential recruit is an archaeologist (a girlfriend of Flag) who is possessed by the witch-goddess the Enchantress, and faster than you can drag race a car she turns into a destroy-the-world threat. Meanwhile, The Joker finds a way to disable Harley’s bomb and springs her loose. In a confusing turn of events she ends up joining the original group as they battle the Enchantress . . . though this is no simple good vs. evil confrontation.

Honestly, though the Task Force X team of supervillains includes the pyrokinetic El Diablo (Jay Hernandez), the mutated Killer Croc (Adewale Akinnuoye-Agbaje), the hitman Deadshot (Will Smith), assassin Slipknot (Adam Beach), and superthief Captain Boomerang, Suicide Squad is the Batman and Harley show. Some will say it’s hard to top Heath Ledger’s Joker, while others will be suicidesquadscreen3fans of Jack Nicholson or even TV’s Caesar Romero. That’s the way it is when you have multiple actors playing iconic roles. To be able to add something new and still believable to the character is a real feat, and that’s what Leto does here—same with Robbie. You are mesmerized whenever they’re onscreen, and because of them and the action and special effects you don’t mind as much that the plot can seem muddled. In fact, that’s all the more reason to watch it again—though this one is definitely only for teens and older. The Blu-ray comes with an extended cut that adds 11 minutes of mayhem.

Language: One f-bomb and frequent uses of other swearwords and a mention of that term President-Elect Trump used that no one seemed to mind; additional sex talk
Sex: A strip club features dancers in the slightly blurred distance, while Harley gives a tame lap dance to someone and kisses another woman; Deadshot is shown butt-naked in a darkly lit room only briefly
Violence: Shootings and mass destruction, mostly, along with prison torture and plenty of hand-to-hand fighting; the most extreme are a character whose head is blown off and others who are shot in the head point-blank, but with no blood to speak of
Adult situations: Drinking and implied smoking
Takeaway: Letto and Robbie make this film fun to watch, and a little more of that from the other characters and a few more lighter lines would have been a welcome balance to some of the more violent and serious scenes

PETE’S DRAGON (2016) (Blu-ray combo)

November 23, 2016

Family Home Theater Action-Adventure, PG rated Leave a comment

petesdragon2016coverGrade: B/B+
Entire family: No (age 8 and older)
2016, 103 min., Color
Disney
Rated PG for action, peril and brief language
Aspect ratio: 2.39:1
Featured audio: DTS-HDMA 7.1
Bonus features: B
Includes: Blu-ray, DVD, Digital HD
Trailer
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My family was never a fan of the 1977 animated/live-action Pete’s Dragon. They thought the dragon was too goofy, the songs were too cheesy, and the hillbilly sideplot featuring an abrasive Shelley Winters and her “sons” was downright annoying. In other words, if any Disney catalog title was ripe for a remake, it was this one.

Surprisingly, the 2016 Pete’s Dragon isn’t just a retelling of the same old story upgraded with a furry CGI dragon that looks as realistic as the deer and bear we see in the film. It’s a mash-up of the original film, E.T., Tarzan, The Jungle Book, How to Train Your Dragon, King Kong, Escape to Witch Mountain, The Emerald Forest, and the song “Puff, the Magic Dragon.” And while the film is rated PG, it’s our opinion that this version isn’t recommended for children under age eight.

petesdragon2016screen1For starters, the opening sequence, which I’ve nicknamed “Bambi’s revenge,” could traumatize a whole new generation of Disney children. This time it’s not a hunter who kills a deer and orphans a fawn; it’s a deer that causes a car to flip, killing Pete’s parents and leaving the youngster an orphan alone in the woods at night, surrounded by ravenous wolves. But, ta-da, it’s a dragon to the rescue! Fast-forward six years and Pete (Oakes Fegley) is a wild child who gets his own Jane moment when a little girl named Natalie (Oona Laurence) surveys the forest with her father. Jack (Wes Bentley) owns a lumber mill and employs people like his brother, Gavin (Karl Urban), who pay no attention to his instructions to log responsibly. They’re cutting deeper into the forest than they were authorized and getting dangerously close to the cave/tree that Pete and Elliot call home.

Disney includes a few wink-wink moments, among them the detail that the car crash occurred in 1977 (the year the first Pete’s Dragon was made), and an escape scene later in the film depicting a formation that looks amazingly like Witch Mountain from that Disney film series—and it’s easy to make that association when petesdragon2016screen2Robert Redford takes on the Eddie Albert role of helping the children (and in this case the dragon, too) escape the exploiters and authorities who are hot on their trail. Bryce Dallas Howard stars as his daughter, a park ranger who, like the others, doesn’t exactly believe that her father had a magical encounter with the legendary Millhaven Dragon many years ago—a detail that will remind people of Disney’s Darby O’Gill and the Little People as well. As with other mash-up moments, you smile in recognition, but if you know all the allusions and recycled plot elements it also takes away from the newness of the narrative.

What Pete’s Dragon lacks in originality it makes up for in visual and special effects. Elliot looks amazing—real enough to pet—and as good as the flight sequences are, it’s the scenes where Elliot turns invisible or camouflaged that merit the most applause. Capture and revenge scenes are rendered flawlessly and contribute to the tension, making this an action-adventure rather than the comedy-musical we got back in 1977. But tonally there are sad and serious scenes and more than a few anxious moments of peril—too many, perhaps, for children under eight—despite an ending that’s the equivalent of a cinematic smiley face. It’s powerfully sad, for example, when Elliot is captured, and that tone of sadness and urgency prevails, rather than something lighter. That said, Pete’s Dragon is a vast improvement over the 1977 animated/live-action version, especially for a generation geared toward impressive CGI effects and high-stakes action that all but demands the kind of wonderful visual clarity we get on this Blu-ray presentation.  Right now Pete’s Dragon version 2016 is second-tier Disney, but I suspect it will be viewed as an underrated film as time goes by.

Language: “Hell” is about it; pretty squeaky clean, otherwise
Sex: n/a
Violence: An opening car crash, wolf attack, fire-breathing dragon attack against pursuing cars, and Elliot’s capture by armed men
Adult situations: Nothing characteristically adult, but moments of loss and peril are traumatic
Takeaway: Disney live-action remakes have come a long way since 101 Dalmatians

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