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THE BAT (Blu-ray)

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BatcoverGrade: B
Entire family: No
1959, 80 min., Black-and-white
Not rated (would be PG for some violence)
The Film Detective
Aspect ratio: 1.85:1
Featured audio: Dolby Digital 2.0
Bonus features: n/a
Trailer
Amazon link

The Bat (1959) is billed as horror-thriller-mystery, but the way those genres have evolved over time it’s now mostly a straight-up mystery, noir style.

Vincent Price stars as a doctor doing bat research and Agnes Moorehead (Bewitched) as a mystery writer looking for new material. She finds plenty at an old country estate she’s rented—a quintessential dark-and-stormy-night Victorian mansion that comes with servants . . . at least until they’ve abandoned her because they’re convinced a murderer called The Bat might be returning to the scene of his crimes. A local detective (Gavin Gordon) plods around and a complicating factor is that bank securities were recently stolen and may be stashed somewhere inside that same creepy old house. A lot happens, but the spotlight is on Price and Moorehead, two iconic actors.

The Bat won’t be for everyone, but if your children aren’t averse to old black-and-white movies, this one is family-friendly. The violence is mostly bloodless or mostly off-screen, and the focus is on the mystery.

BatscreenMy son is a teen who appreciates good plotting, and he and I both marveled how a relatively simple concept could be complicated by believable twists and enhanced by cinematography that showcases all the shadows and angles we’ve come to associate with film noir. There are only a few melodramatic moments, with otherwise straight dramatic acting—decent acting, too. Director Crane Wilbur had written the script for the Price horror classic House of Wax, so it’s not surprising that with Price in the starring role he’d slip in a few Gothic elements here too.

Old films like this are often campy, but while The Bat has its unintentionally funny or tongue-in-cheek moments, it really is a mystery that unapologetically goes about it’s business of planting clues and red herrings. There are a few slasher moments, and The Bat’s hat and distorted face and claws will suggest to horror-slasher fans that this film may have had a direct influence on the Freddy Krueger character design from the popular A Nightmare on Elm Street series. That’s kind of cool for film buffs, who might also find it fun that Darla from the original Our Gang/Little Rascals short films turns up as one of the adult female characters. And it’s certainly enjoyable seeing Moorehead in a serious role before she turned into one of TV’s most famous witches.

The Bat is now in the public domain, and while The Film Detective’s restored version looks good, for the most part, there are vertical white lines in spots and other flaws that are obviously a part of whatever print was used for the master. I haven’t seen the DVD version so I can’t offer a comparison, but I have no complaints other than what I just mentioned.

I asked my son what grade he’d give this, and he said a B+ or A-, since he really liked it. That’s almost ironic, because Price went on record as saying he thought the script wasn’t very good. I lean toward a B for this B-movie because mystery fans will recognize a formula and certain other conventions. That’s part of the genre, but the bottom line is always how well were those conventions and plot points integrated and developed? With The Bat, I’d have to say it does a fairly decent job on both counts, and still holds up today. If you grab a copy for a family home movie night, you might as well go all out and for the warm-up also show a “Thriller” video featuring iconic horror actor Price—maybe even dance a bit. Those are the kind of things your kids will remember years from now!

Language: Not much
Sex: n/a
Violence: Several murders, not very bloody or graphic (see trailer)
Adult situations: Nothing besides the murders
Takeaway: Vincent Price was always fun to watch onscreen

SANTA’S LITTLE HELPER (DVD)

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SantasLittleHelpercoverGrade: B-/C+
Entire family: Yes
2015, 91 min., Color
Rated PG for a comic fight scene and some suggestive humor
Fox
Aspect ratio: 1.78:1
Featured audio: English Dolby Digital 5.1
Bonus features: C
Includes: DVD, Digital HD Copy
Trailer
Amazon link

There have been so many mediocre or downright bad Christmas movies that my family approaches every new one with as much suspicion and guarded anticipation as a child shaking presents under the tree. But the thing about low expectations is that it leaves the door open for occasional surprises . . . like Santa’s Little Helper.

This 2015 film from WWE Studios, distributed by Fox, won’t make it onto anyone’s best Christmas movies list no matter how many times you check it. Santa’s Little Helper looks and feels like a made-for-TV movie, but it’s surprisingly entertaining. The biggest surprise is that the film’s star—World Wrestling Entertainment dynamo Mike “The Miz” Mizanin—turns out to be as good of an actor as the most famous wrestler-turned-actor, Dwayne “The Rock” Johnson. This guy has a future in comedy and displays way more expression and range than body-builder-turned-actor Arnold Schwarzenegger. Plus, because he comes across as a regular guy except when the script calls for him to look as if he’s posing for a GQ cover, he’s actually pretty likable.

Good thing, because everyone who wants to step up and ring the Christmas bell tries to do so with the same old recycled plots. In Santa’s Little Helper, a youth center is going to close because they can’t keep up with the mortgage payments. Add music and change “youth center” to “church” and you’ve got The Preacher’s Wife. Mizanin plays the Scrooge that gleefully hands them their notice. He’s a corporate hatchet man who delights in serving those kinds of papers, and naturally he’s also an alum of that youth center. Like the real estate developer in The Preacher’s Wife he’ll have his turnaround, but Santa’s Little Helper throws in a lot more fantasy . . . and a little more cheesiness.

SantasLittleHelperscreenThe wholesomeness meter dips a bit when we go to the North Pole and see one of Santa’s helpers looking more like a hot calendar model than an elf. Given her skimpy short-shorts, it’s hard not to think of another context when she and Santa talk about filling the job of “Ho Ho Ho”—Santa’s #1 elf. But former model AnnaLynne McCord gets to be a lot nicer and more wholesome than the characters she’s played on Nip/Tuck or 90210. Like the angel Clarence in It’s a Wonderful Life, she’s given the task of interacting with a mortal and trying to convince him of something. In this case, Santa wants her to put Dax (Mizanin) through a series of challenges to test his temper and gauge his mettle to see if he’d be a contender for the Ho Ho Ho position, as Santa suspects. Her job is to convince him that this dream job with its unspecified brand and CEO are worth jumping through all the hoops.

The filmmakers try to address the inconsistency of having a human as top elf, and the explanation they offer won’t satisfy some viewers—adults especially. But hey, it’s fantasy, and that means anything goes . . . or almost anything. WWE wrestler Paige, a two-time Divas Championship winner, plays the daughter of an elf who last held the Ho Ho Ho position. Unfortunately, she’s seems an afterthought: hey, we need an antagonist, don’t we? She tries, but she really doesn’t have the acting chops of the other two and really doesn’t have much to do until the third act, when the plot shifts from Dax’s tests and trials to a full-out competition for the Ho Ho Ho job.

As I said, there’s nothing new here and no great set design or special effects. But unlike many crank-em-out Christmas movies that are sappy or just plain dull, this one is fun to watch. And that’s mainly because Mizanin and McCord are enjoyable to watch—despite a script that calls for him to go shirtless and flex, and for her to dress to showcase her own physique. Still, the sexuality is muted compared to most films these days, and there is no (repeat, NO) sexual tension between the two main characters. That keeps it wholesome, and good thing. Kids will like this one more than adults, but that pretty much goes for all things Christmas, doesn’t it?

Language: Pretty squeaky clean
Sex: n/a
Violence: One fight, with comic overtones
Adult situations: Other than a skimpy outfit? No
Takeaway: I suspect we’ll be hearing more from Mizanin.

MINIONS (3D Blu-ray combo)

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MinionscoverGrade: B+/B
Entire family: Yes
2015, 91 min., Color
Rated PG for action and rude humor
Universal
Aspect ratio: 1.85:1
Featured audio: English Atmos Dolby TrueHD
Bonus features: B+
Includes: 3D Blu-ray, Blu-ray, DVD, Digital HD
Trailer
Amazon link

I can’t tell you how resistant my family was to seeing this film. From the previews it looked like nothing more than a cutesy money-driven sequel aimed at children young enough to want to run to the store to buy a plush Minion doll or grab a Minion onesie off the rack to wear to bed.

Turns out it is a cute film, sure to please the little ones. But Minions is also surprisingly clever, with enough allusions and smart one-liners to keep older children and adults amused as well. Instead of a sequel we get a creative and funny origin story that explains where the Minions came from and how they came to serve Gru (voiced by Steve Carell)—the villain from Despicable Me (2010) and Despicable Me 2 (2013).

Would you believe they’re prehistoric? That they evolved (barely)? And that their entire purpose for living is to serve the most despicable master they can find?

Minionsscreen1Good, because that’s the premise. After a series of hilarious historical background scenes, we get to the present day and see how the little yellow guys with limited language skills manage to tap into a secret TV channel announcing a villainous version of Comic-Con. Since the Minions seek a new villainous master, this comes as a revelation, and they head for the convention in Orlando, Fla., hoping to find just the right one.

Once there, like baby birds imprinting, they glom onto the deadly Scarlet Overkill (Sandra Bullock) and her partner Herb (Jon Hamm). The last name will bring a smile to gamers’ faces, as it alludes to Overlord: Minions, a 2009 Nintendo DS game.

The voice actors really have a lot of fun with this film, and while Minions may not be as original or creative as Pixar’s Inside Out, it’s nearly as entertaining. Set in 1968, it features a lot of period gags. And while there comes a time toward the end of the second act where you begin to wonder whether the Minions are strong enough characters to carry a film, the third act pulls it all together.

Minionsscreen2Scarlet gives the Minions a test they need to pass, a Herculean task: to steal St. Edward’s Crown from the Tower of London. If they succeed, she will accept them as her very own minions. If they fail? It’s off with their heads. The stakes are high but it’s hard to take anything seriously when three Minions—Kevin, Bob, and Stuart—bumble their way across London. And when Bob pulls the Excalibur from the stone? Suddenly he is crowned ruler of England instead of Scarlet . . . and you didn’t want to make HER angry. Gru eventually makes an appearance, but for the most part it’s all about Kevin, Bob, and Stuart (voiced by co-director Pierre Coffin) and their encounter with would-be masters Scarlet and Herb.

Sight gags abound, so even children too young to get the verbal jokes will have plenty to laugh about. Movie fans will have flashbacks to any number of films as the three hitchhiking Minions are picked up by a family (Michael Keaton, Allison Janney) that turns out to be headed to Villain-Con themselves . . . as villains. It’s a fun origin film, and our family enjoyed it only a little less than the original and a lot more than the sequel.

This is the 3D combo pack, and the 3D version is a mixed bag. Children will love how often objects break the plane of the television monitor or how things like lava guns seem to be poking right at you. But the depth of field isn’t as good as Disney-Pixar’s recent release of Inside Out, and the lighting could be better. It’s fun to watch with the glasses on, but if you don’t already have 3D capability and are wondering whether to buy the 3D to prepare for the future or go with the standard Blu-ray, I’d have to say that I enjoyed the Blu-ray at least as much—maybe even more, because of the brightness factor.

As it turns out, Minions did better at the box office than either of the first two films—more than $1.1 billion worldwide, making it the second highest animated feature ever (behind Frozen). And for a bunch of little yellow guys, that’s a pretty big deal—whether in 3D or 2D.

INSIDE OUT (Blu-ray combo)

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InsideOutcoverGrade: B+
Entire family: Yes
2015, 94 min., Color
Rated PG for mild thematic elements and some action
Disney-Pixar
Aspect ratio: 1.78:1
Featured audio: English DTS-HDMA 7.1
Bonus features: B
Includes: Blu-ray, DVD, Digital HD
Trailer
Amazon link

How do you jazz up an otherwise common story about a young girl who has a hard time adjusting to her family’s move from Minnesota to San Francisco? If you’re Pixar, you personify her emotions and show them inside a control room interacting with each other as young Riley experiences a range of different and sometimes complex and conflicted feelings. And you give those cartoon-character emotions a save-the-day mission that turns the focus of this film Inside Out.

First-time animated feature director Ronnie Del Carmen is paired with Minnesotan and seasoned director Pete Docter (Up, Monsters, Inc.) for this CGI animated comedy-drama-adventure—the 15th full-length from Pixar and the studio’s first since 2013’s Monsters University.

InsideOutscreenInside Out is a clever film about the inner self, but “clever” is the operative word. As creative as the concept is, for some reason it’s not as easy to become as emotionally involved with the characters as it has been with previous Pixar movies—which is ironic, since the main characters ARE emotions. People familiar with the old Sunday night Disney TV shows may be reminded of the Ludwig von Drake episodes in which Professor Von Drake explained various scientific phenomena and mechanical functions through the use of illustrated cartoons. That’s how Inside Out feels: Here ist how za emotions verk inside za body!

The concept is introduced when Riley is born and we see emotions in a control room looking up at the parents from Riley’s point of view, so we understand instantly that the baby’s first expression of delight is linked to the anthropomorphic character in the control room. Joy (voiced by Amy Poehler) is behind all of Riley’s joyful reactions, the one responsible for her smiles and laughter. Score a goal later in life, as this young hockey player does, and it’s pure Joy! Sit in a new classroom feeling suddenly alienated, and that’s where Sadness (Phyllis Smith) steps in. Other core emotions are Fear (Bill Hader), Anger (Lewis Black), and Disgust (Mindy Kaling).

InsideOutscreen1Memories are represented by different colored balls, some of which are defined as core memories, ones that have a lasting impact. Older children will appreciate Pixar’s attempt to make sense of emotions and the human psyche, creating visuals to explain a complicated terrain that includes various “islands” representing collective memories of family on one and aspects of personality on others. Then there’s a memory dump where memories go to fade and die, a long-term memory repository, and a punning “train of thought.” Younger children may find such details may be too complicated to understand, but they’ll still likely get caught up in the action and the interaction between the emotions and the ways in which they are reflected in the life of Riley (Kaitlyn Dias).

Joy is the one who coordinates things, cheerleads, and generally tries to keep everything together. But when she and Sadness are accidentally vacuumed up by a pneumatic tube that deposits memories in long-term storage, it’s up to Anger, Disgust and Fear to try to “control” Riley’s emotional state until Joy and Sadness return. Along the way we’re introduced to Bing Bong (Richard Kind), Riley’s version of Puff the Magic Dragon—her imaginary childhood friend—and a “recall tube.”

InsideOutscreen2There’s a message here among the memories, and it’s simple: while Joy may be the most desirable, other emotions have their place—especially sadness, whose primary function is to alert Joy when someone needs to be comforted or lifted up out of their funk. Inside Out is an ambitious attempt to make sense of children’s feelings and to help them understand those feelings. How successful is it? That depends on whom you ask. My wife and I enjoyed the film but didn’t think it ranked among the best that Pixar has made. We gave it a B. Our teens—maybe because teens are so aware of their emotions—thought it was an A- because “it was different, it was creative.” And yeah, it’s hard to argue with that.

3D option:  If you have 3D capability, get this title in the 3D combo pack, which includes a Blu-ray, DVD, and Digital HD. It’s by far one of the best 3D presentations I’ve seen. Things may not fly out at you the way they do at Disney’s 3D theme park shows, but the spatial depth created and the superior edge delineation really adds a lot to the viewing experience. In fact, Inside Out seems the kind of movie that was made for 3D. As of November 23, it’s on sale at Amazon for $25.19, and that’s only three dollars and change more than the standard Blu-ray combo pack. If you want to hedge your bets in case you might decide to get 3D in the future, it’s well worth the upgrade.

Screen Shot 2015-11-23 at 9.25.39 PM

 

CPO SHARKEY: SEASON 2 (DVD)

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CPOSharkey2coverGrade: C+/B-
Entire family: No
1977-78, 548 min. (22 episodes), Color
Not rated (would be PG for rude humor and adult situations)
Time Life
Aspect ratio: 1.33:1
Featured audio: Dolby Digital Mono
Bonus features: C-
Amazon link

Stand-up comedian Don Rickles made a career out of insult humor and politically incorrect jokes aimed at all races. So what better sitcom for him to star in than one that has him playing a Chief Petty Officer at a U.S. Naval training facility in San Diego, where he gets to go off on recruits—especially when those recruits include a Polish American, a Jewish American, an Italian American, and a Puerto Rican?

Call it Sgt. Bilko revisited, because Rickles is surprisingly good at playing a tough, acerbic CPO with a warm heart. The show lasted only two seasons, but it’s not because the sitcom isn’t funny or because the cast isn’t likeable. My guess is that it was another case of bad timing. The public already had one sitcom with politically incorrect humor, and did America really want or need another Archie Bunker?

CPOSharkey2screenThat’s not fair, though, because Bunker was racist without knowing or admitting it. He tolerated black neighbors but wasn’t really friends with them. Sharkey is best buddies with fellow CPO Dave Robinson (Harrison Page), an African American with whom he feels comfortable enough to make racial jokes. Notice I said “racial,” not “racist.” There’s a difference, and in today’s hyper-politically correct world that difference isn’t acknowledged—hence the warning on the back of this DVD: “Some of the jokes and ethnic references heard in these episodes would most likely not be allowed on network TV today and reflect the tenor of the times.” Because of that racial humor, CPO Sharkey: Season 2 will only be for families with children old enough to realize that such jokes can’t be made today, no matter how fond you are of a person.

Still, CPO Sharkey is a refreshing change from the steady diet of family sitcoms that TV serves up. This second season begins as the first did, with a new commander taking over and rubbing Sharkey the wrong way. As with the first season, some of the humor is topical and has lost its comic edge, but the bulk of the jokes are of the insult variety—what Rickles was known for—and that never goes out of style. Just ask your junior high or high school family members.

This season is a little more uneven than the first. In some of the best episodes, Sharkey butts heads with “The New Captain” and can’t have fun on leave in San Francisco because he’s crammed into tight submarine quarters with Captain Buckner (Richard X. Slattery) in “Operation Frisco.” Sharkey’s barrack is selected for a coed pilot program in “Don’t Make Waves,” Sharkey’s girlfriend tells him he’s insensitive in “Close Encounters of the Worst Kind,” Sharkey breaks up a fight in a punk-rock nightclub (“Punk Rock Sharkey”) and has to deal with a runaway teen, Sharkey is afraid of flying and has to face the aerial music in “Fear of Flying,” and when Sharkey moves into an off-base apartment his life turns quickly off-base. Of the 22 episodes, nine are B or better, and the rest are C or C+ quality.

Language: Tame, but the insult humor and rude humor can seem abrasive
Sex: All talk, with adult situations
Violence: N/A
Adult situations: Some drinking, male-female situations
Takeaways: It’s hard to believe what TV got away with in the ‘70s, but while C.P.O. Sharkey is entertaining you have to be okay with insult humor to really like the show.

TOMORROWLAND (Blu-ray combo)

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TomorrowlandcoverGrade: B-
Entire family: Yes, but…
2015, 130 min., Color
Disney
Rated PG for sequences of sci-fi action violence and peril, thematic elements and language
Aspect ratio: 2.20:1
Featured audio: English DTS-HDMA 7.1
Bonus features: B+
Includes: Blu-ray, DVD, Digital HD
Promo clip
Amazon link

I’m just going to blurt it out: Tomorrowland is entertaining, but underwhelming—at least in the beginning.

Even under the capable direction of Brad Bird (Ratatouille, Mission Impossible: Ghost Protocol) Disney’s latest onscreen theme-park ride feels uneven and unnecessarily complicated, especially in the early going. It takes 22 minutes before the film seems to find its footing. Until then, you’ll have family members asking what’s going on and whether the action is taking place in the past, present, future, or distant future. Later, it can be emotionally confusing, as persons we thought were human are struck by a car or beheaded in an explosion (Uh, Disney?)—after which we learn that they’re really highly refined futuristic robots.

Until the plot kicks in, at least the art direction and set decoration and CGI world that the filmmakers create are all bright and shiny and impeccably rendered. Along with the action, it’s enough to hold your attention until everything starts to make more sense. Tomorrowland clocks in at 130 minutes, and if Bird had compressed and simplified that beginning it would have been a B+ film. Then again, that opening was obviously intended as a theme park tie-in. Instead of Disney World it’s the New York World’s Fair in 1964 that we enter, with a voiceover singing the theme song from the Carousel of Progress and one of the main characters urged to hop aboard a ride that just happens to be a modified version of It’s a Small World.

Tomorrowlandscreen1Two very different characters are targeted to receive a “T” button under mysterious circumstances: a boy genius who brings his Electrolux-converted jet pack to a World’s Fair Tomorrowland attraction, and a rebellious teen girl who sneaks onto a decommissioned NASA launch pad and is arrested for her trouble. But it’s only when that teen girl meets the grown-up boy genius that things really start to roll in this fantasy-adventure.

I don’t know about hidden Mickeys, but you can spot Space Mountain in the midst of the futuristic world in Tomorrowland, and the special and visual effects are the film’s chief strength. Not far behind, though, are performances by Thomas Robinson as young Frank, George Clooney as old Frank, and Britt Robertson as Casey Newton. Even Raffey Cassidy as the mysterious Athena, a young girl who spans generations, adds to the mix so that collectively they make us care about the action, however confused it may be at times.

Tomorrowlandscreen2Disney is known for its strong villains, but surprisingly Hugh Laurie as David Nix, the leader of Tomorrowland, isn’t played over-the-top. He’s more of a misguided misanthrope who could be anyone’s dad fed up with society and resigned to its doom. But the stakes are predictably high: the world will end in the near future unless Casey and Frank can do their thing, despite Nix’s attempts to, uh, nix that.

It’s really pretty amazing what can be done with CGI these days, and Disney spared no expense. The film cost anywhere from $190 million to $330 million to produce and market, depending upon whose figures you buy. Meanwhile, the worldwide gross was $208 million, so financially it’s another big-budget Disney disappointment. But both of my teens said they’d definitely watch Tomorrowland again, and that says a lot. Once you get past a muddled beginning the action and story and characters make for an entertaining family movie night.

Language: Mostly “hells” and “damns”
Sex: n/a
Violence: Plenty of sci-fi violence, including a charred and decapitated head that turns out to be robotic, humans are killed by ray guns, a robotic girl is run over by a car, and the female lead bashes the heck out of a robot with a baseball bat
Adult situations: A father asks if his daughter’s on drugs, but that’s about it
Takeaway: Effects are great, but story still matters. And once this story kicks in, Tomorrowland is worth the visit.

MODERN FAMILY: SEASON 6 (DVD)

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ModernFamily6coverGrade: A
Entire family: Yes
2014-15, 556 min. (24 episodes), Color
20th Century Fox
Not Rated (would be PG for some adult situations)
Aspect ratio: 1.78:1
Featured audio: English Dolby Digital 5.1
Bonus features: B
Amazon link

The streak is over. After winning Primetime Emmys for Outstanding Comedy Series its first five seasons, which tied Frasier for top honors in that category, Modern Family: Season 6 fell short. But it had nothing to do with the quality of episodes. This series remains one of the funniest sitcoms on television, and Season 6 has no shortage of laugh-out-loud moments. It’s every bit as strong as the other seasons.

The success formula for Modern Family is pretty simple: Clever writing, rapid-fire jokes, likable characters, a talented ensemble cast, reality-show cutaway remarks, and comedy that’s truly situation-based, rooted in emotions and scenarios that audiences can often identify with.

What makes this family “modern” is that it includes non-traditional models that are common today. The gruff businessman patriarch of the Pritchett clan (Ed O’Neill) has remarried a Colombian “hottie” (Sofía Vergara) 20 years his junior who has a son named Manny (Rico Rodriguez), whom Jay tries to toughen up. Jay’s two children are Claire, an OCD who married a doofus (Ty Burrell as Phil Dunphy, the self-proclaimed “fun dad”) that Jay couldn’t stand, and Mitchell (Jesse Tyler Ferguson), his gay son now married to the flamboyant Cam (Eric Stonestreet). Mitchell and Cam have adopted a Vietnamese orphan named Lily (Aubrey Anderson-Emmons), while Claire and Phil have three biological children: the flirtatious and carefree Haley (Sarah Hyland), the studious Alex (Ariel Winter), and not-too-bright Luke (Nolan Gould).

That core group collectively has 27 Outstanding Supporting Actor/Actress nominations and six Primetime Emmy wins. There isn’t a weak link among them. In all cases, the actors and writers manage to create characters that are totally believable, both individually and in relation to the others. You accept them as couples, in-laws, steps, fathers and sons, brothers and sisters. There are also degrees of exaggeration that help to create the comedy, but without ever edging too close to the kind of over-the-top humor that too many sitcoms depend upon. And there’s no annoying laugh track to prod viewers.

This season new neighbors feud with Claire and Phil, Cam and Mitchell think about adding another child to their family, and Jay seems to be growing more sensitive about his age. He’s also worried his young son Joe is playing with too many “girlie” ModernFamily6screenthings, and it doesn’t exactly help his psyche to pretend to be gay in order to fill in for one of the bowlers on Cam’s team. Haley tries to get Alex to loosen up a bit this season, and the writers attempt a clever (some might say “gimmicky”) episode that’s told entirely from Claire’s laptop as she’s stranded at the airport. Despite the non-standard narrative format, they still manage laughs, and that’s saying something. Apart from an episode in which little Joe might be allergic to Jay’s beloved dog (shades of a Brady Bunch episode), what elevates this show is the originality of the plots from week to week . . . and the way those plots still incorporate ways to connect with viewers. In one Season 6 episode Jay takes a pottery class in order to make a clay bunny for his “Bunny” for their anniversary, but Gloria treats it like a piñata, wondering what he put inside. Anyone who’s ever made or received a personally crafted gift can identify with Jay, and common elements pop up in just about every episode.

Like most good sitcoms, Modern Family is addictive. Buy this season and you’ll probably feel the impulse to pick up the earlier ones. It’s that funny. Twenty-four episodes are included on three single-sided discs and housed in a standard-size keep case, with plastic “pages” to keep the discs from getting scratched.

Language: None, really
Sex: Same here—just some innuendo
Violence: Again, nothing here
Adult situations: A gay man tries to flirt with Jay, and that’s pretty much typical of how tame the adult situations are in this series. It’s all about comedy of character, and viewers are focused so much on the characters that everything else seems secondary.
Takeaway: A well-written sitcom is a thing of beauty.

CINDERELLA (2015) (Blu-ray combo)

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CinderellacoverGrade: A-/B+
Entire family: Yes
2015, 105 min., Color
Disney
Rated PG for mild thematic elements
Aspect ratio: 2.39:1
Featured audio: English DTS-HDMA 7.1
Bonus features: B+
Included: Blu-ray, DVD, Digital HD
Trailer
Amazon link

Only Disney would have the audacity to attempt a live-action remake of an animated classic, and to play it fairly straight as a romantic drama—with even less comic relief than the original. And only Disney could pull it off.

Everyone knows the story of Cinderella, so it’s really a matter of how the story is told. I think the studio made the right call. They decided to craft an origin story: to fill in the information gaps, to flesh out the characters, and to focus on the romance. The devil is in the details, but details—and devilish characters, for that matter—have always been Disney’s strong suit. Cate Blanchet plays the stepmother with the same complexity as Angelina Jolie’s Maleficent, the backgrounds are as striking as anything you’ve seen in The Lord of the Rings trilogy, and the interiors of this live-action feature rival what we saw in Disney’s animated Beauty and the Beast. I wouldn’t say the CGI elements are seamless—you can certainly tell that the lizards and mice are computer-generated—but they’re cute as the Dickens.

Scottish actor Richard Madden (Klondike, Game of Thrones) plays the Prince, but Lily James (Downton Abbey) is even more charming as Ella, nicknamed “Cinderella” by her stepmother after she’s found lying next Cinderellascreen1to the hearth to keep warm. It’s easy to become as captivated by Ella as the Prince is, enthralled by her fresh optimism and live-by mantra: to have courage and to be kind. In other words, Cinderella has an inner strength and beauty to complement her physical good looks, and Disney drives home the point that what’s inside matters more. The screenwriters also are mindful of the Disney princess “brand” as they suggest that while little Ella wasn’t royalty, she was a princess to her mother and father, who loved her very much. And Disney being Disney, death is handled matter-of-factly. “Way of all flesh, boy,” a dying father tells his offspring.

If there’s a surprise, it’s that the live-action stepsisters (Sophie McShera, Holliday Grainger) aren’t as broadly comic as they’re often played, and that the fairy godmother is played a little more comically by the incomparable Helena Bonham Carter, who has as much fun with this role as she did playing Disney’s Red Queen in the live-action Alice and Wonderland.

Cinderellascreen2In this version of Cinderella there’s much more development of the Prince and his relationships. We see him interacting with a captain of the guard (Nonso Anozie), a manipulative Grand Duke (Stellan Skarsgard), and his father, the King (Derek Jacobi). Collectively those interactions make the pair’s coming together more satisfying, and more than anything else the live-action Cinderella is a grand romance that does for this fairy tale what Neuschwanstein Castle—the inspiration for Disney’s theme-park castles—did for all of them: it celebrates the magic, the majesty, and the happily-ever-after ending that everyone, deep down inside, still craves.

The characters, the story, and the wonderful details will make this a repeat play, no matter how familiar it is. Don’t hesitate to add it to your collections. You may know the story, but, like Hoosiers, it’s somehow rousing every time you watch. Get it in Blu-ray combo pack to enjoy a flawless and room-filling DTS-HDMA 7.1 soundtrack (which, surprisingly, is song-free except for one number that Ella and her mother sing) and a gorgeous-looking 2.39:1 widescreen presentation that really pops in HD.

Language: n/a
Sex: n/a
Violence: None, really
Adult situations: Characters die off-screen
Takeaway: Disney is still king when it comes to bringing grand romances and fairy tales to life on the big screen.

BARK RANGER (DVD)

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BarkRangercoverGrade: B-/C+
Entire family: No (ages 10 and under)
2014, 82 min., Color
Lionsgate
Rated PG for rude humor
Aspect ratio: 2.35:1 widescreen
Featured audio: Dolby Digital 5.1 Stereo
Bonus features: B+/A-
Includes: DVD, Digital Copy
Trailer
Amazon link

I’m no fan of talking dog movies, but then I’m not the target audience. This family film is aimed at children ages 10 and under. By the time kids get to 6th grade, they’ll feel the 10 to 11-year-old boy and girl leads are too young for them to tag along with on their little adventure—especially since Bark Ranger is a mash-up of so many familiar plot devices. It’s a treasure hunt, a bumbling crooks caper, a we’re-gonna-lose-our-home-unless-someone-can-raise-big-money story, a divorced parent relocating the kid venture, a dealing with bullies tale, and a boy-meets-girl over summer vacation saga. Oh, and a dog saves the day story.

BarkRangerscreen1Jon Lovitz provides the sarcastic voice for Ranger, the canine narrator whose commentary is actually funny at times. He’s not just a talking dog, either. He’s semi-omniscient as well, narrating the story of what happened in the recent past with precise knowledge, even when it involves two bumbling brothers who steal a safe full of gold bullion from a small town sheriff’s office when the dog is nowhere to be seen.

There’s no massive manhunt for these guys, even though they have a safe full of gold bars, and it’s not clear why those gold bars were just sitting around in a tiny resort-town safe or how these guys knew the gold was there. Then again, Marty Adams and Jason Blicker aren’t there for logic. As the Festrunk brothers they’re the main source of comedy, and director exaggerates it for all it’s worth—as if they were auditioning for an over-the-top Disney Channel series. Some of the gags go on too long, but this mixture of potty jokes, physical comedy, and “I know you are but what am I” verbal jousting will amuse a target age group that’s gotten used to seeing bumbling crooks. If they weren’t bumbling, of course, then the eventual confrontation with the kids might be too intense. But it’s not. In fact, there really aren’t any intense moments in this film, because the mash-up of plot devices IS so recognizable and everything is played with a light touch.

BarkRangerscreen2Lucius Hoyos and Zoe Fraser are cute and compatible as the park ranger’s son, Jack, and the dippy Tai Chi/Chi Tea divorced mom’s daughter, Chloe. You don’t mind spending time with them because, frankly, their acting is more natural than the adults who play their parents (Ari Cohen, Alexandra Castillo, Trenna Keating). Then again, that’s clearly the way director Duncan Christie wanted it.

Once you get used to the dog narration and the artificial-looking lower jaw that’s an unfortunate by-product of live-action talking dogs, it’s pretty easy to just lie back and roll with this unoriginal but still entertaining feature. Parents may enjoy it right along with their little ones, though, as I said, older children will probably wander off or toss off sarcastic comments.

If that happens, tell them to hold their tongues and they’ll be rewarded with four French-made animated shorts (5 min. each) that remind you of Disney-Pixar productions. These bonus features are clever, well animated, and (if truth be told) a notch or two above the main feature. In one, dragonflies go after a single ladybug in scenes that incorporate natural backgrounds and the same laws of attrition that we saw in the Ewok/Speeder Bike sequence. The twist is that more ladybugs show up, and then more dragonflies. In another sweet short, two worms in adjacent apples on a tree hit it off, but when one of the apples is harvested and sent to market, the other inches all the way to the market to be reunited. The remaining two concern a black beetle who sees his/her reflection in a mirror. They’re all clever and entertaining for a wider age range than the main feature. But the feature ought to be a winner with parents who have younger children.

INNERSPACE (Blu-ray)

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InnerspacecoverGrade: B+
Entire family: Yes
1987, 120 min., Color
Rated PG for briefly exposed male buttocks, some comic violence, some mild profanity, and drinking
20th Century Fox
Aspect ratio: 1.85:1
Featured audio: English DTS-HD MA 5.1
Bonus features: B+
Trailer
Amazon link

Like Fantastic Voyage, which preceded it by twenty years, Innerspace won an Academy Award for special effects that simulated the interior of a human body—great effects, actually, considering they were accomplished before the advent of computer-generated images. In Voyage, a team of doctors was miniaturized and injected into a human being in a dramatic attempt to save an important political life. But Innerspace director Joe Dante (Small Soldiers) opts for low comedy, not high drama, with Batmanesque villains, pre-Mask morphing, and more than one Austin Powers-style “mini-me.”

A young looking Dennis Quaid stars as Lt. Tuck Pendleton, a bad-boy Navy pilot with a weakness for alcohol and Lydia, the reporter-girlfriend (Meg Ryan) who walked out on him. Tuck resigns his commission to pilot a submersible pod for an independent lab working on miniaturization. But instead of being Innerspacescreeninjected into a rabbit, as planned, when an industrial terrorist raid interrupts the procedure and a lab technician flees with the syringe containing the tiny Tuck, the pilot is injected instead into the bloodstream of Jack Putter, a frazzled milquetoast supermarket clerk (Martin Short). In a relationship that becomes symbiotic out of sheer necessity, Tuck and Jack party in order to “bond,” then work together to battle personal defects, the bad guys, and (tick, tick) time. Tuck’s oxygen supply is limited, you see, and he needs a microchip the villains have in order to coordinate his reentry into peopledom. But it’s a double search, because the evil Victor Scrimshaw (Kevin McCarthy)–a comic cross between Mr. Freeze and The Penguin–has one microchip and needs Tuck’s in order to complete the technology theft, and he and his henchmen, his oversexed lead doctor (Fiona Lewis), and industrial spy/hit man “The Cowboy” (Robert Picardo) will do anything to get it.

Since Quaid spends most of the movie sitting inside the pod, it’s a tall order for Short to provide all of the visual action and handle most of the proxy interaction with Ryan. But like Paul Blart, Mall Cop, Short’s character rises to the challenge and the trio has a project chemistry that really makes this otherwise lightweight film an engaging adventure—especially on widescreen and in high def. Together, they really sell the situation. Even when Jack begins to fall for Lydia and compete for her attentions, it’s totally credible—which balances the tonally cartoonish villains.

“For a while, we thought we should call it Fantastic Voyage 2,” Dante quips, adding that they chose Innerspace instead because no one could come up with a better title. Dante teams with producer Michael Finnell and co-stars McCarthy and Picardo on a commentary track that’s almost as entertaining as the film. Warner Brothers’ marketing people get roasted, as does Martin Short for bowing out of the commentary, and Quaid for refusing. As the camera pans across the laboratory, one of them tells how the extras were all real scientists from a nearby jet-propulsion laboratory. As the memorable bonding scene between Tuck and Jack runs, another remarks, “I can’t believe that we were gonna cut that scene.” And as the camera pulls closer to the heart valve opening and closing like the beak of the giant squid in 20,000 Leagues under the Sea, threatening to swallow up Tuck’s pod and kill them both, one of them laughs, “The heart valve opening and closing? Two guys with sticks pulling as fast as they can!”

Dante and Finnell said that early on they realized that Innerspace was “a good audience movie,” and self-deprecating humor aside, Innerspace holds up better than Fantastic Voyage precisely because they don’t take themselves or what they’re doing too seriously. Yes, the hair is dated and some of the special effects now seem rudimentary, but the laughs are still here, and the action is pure fun. And it’s rated PG. Innerspace is one of the better, older comedy-adventures and a great candidate for family movie night. Unlike Fantastic Voyage, this one seems to get better with age. Right now at Amazon Innerspace is selling for under $10 on Blu-ray, and the price seems “righter” if you consider the repeat play this one is going to get.

Language: No f-bombs, but a few milder d, s, and h words
Sex: Just a “swapping spit” kiss that’s a plot device
Violence: Fighting, some shooting, a body dissolving to skeleton
Adult situations: Drunkenness, assassin stripped to his shorts
Takeaway: Parodies can actually have a life of their own.

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