ALERT – ASK YOUR LOCAL THEATERS TO NOT SHOW HAPPYTIME MURDERS WHEN IT IS RELEASED

A quick alert here to watch out and avoid Happytime Murders. Slated for release August 17, 2018 the trailers show more than enough to warn away anyone with even a passing semblance of respect for themselves or their community. Created by Jim Henson's Muppets heir Brian Henson, I can't help but want to ask Mr. Henson: "WHAT IS WRONG WITH YOU??!!" Happytime Murders is a vulgar, crude farce of a movie with explicit sexual scenes, activities and sight "gags" which would be more expected at a raunchy frat house party than a Muppet movie.

The premise is two cops – one human and one Muppet – are partnered to solve the execution style murders of Muppets who were cast in a previous movie. If their intent was a Muppet movie ala Who Framed Roger Rabbit, they got about as close as a drunk monkey might get to passing a driving exam on the interstate – with about as delicate results.

Happytime Murders is offensive in pretty much every way possible. And this is why Deadpool was a bad idea. There are certain genres – super heroes and Muppets being two of them – which were created for a demographic audience looking for a wholesome alternative to the avalanche of crude excuses for humor, sexual alternatives to genuine relationships, and the lazy writing of profanities and vulgar slop which often passes for films today. Knowing a movie like this is coming out based in a world which used to be exclusively targeted towards children is a bit like coming home to find a diseased and incontinent hobo asleep in your baby's crib – that a safe space has been violated in the most profoundly disgusting of casual ways.

I think it would be appropriate to suggest to your local theaters that this kind of dreck is not welcome in your community. I try to be fair and judge a movie based upon its genre. Happytime Murders, judged on the world in which they place themselves, is nothing but a defilement and a breach of trust with the public.

DEADPOOL – A MOVIE I WISH I COULD RECOMMEND

SHORT TAKE:

Airplane  meets Marvel.

WHO SHOULD SEE IT:

Unfortunately, in all good conscience, I can not recommend this movie to anyone.

LONG TAKE:

I once heard that the definition of mixed emotions was seeing your mother-in-law go over a cliff in your new car. As I happen to be a mother-in-law I’m not especially fond of that definition though I can understand the intent of demonstrating intense conflicting emotions. I think a better one for me, as an avid fan of superhero movies, is watching Deadpool and its sequel back to back.

First off, Deadpool is not for children. Do NOT take children to see Deadpool. Fritz the Cat was an obscene animated short shown at "art" houses back in the ‘70s. Deadpool is no more for children than Fritz the Cat was. Do not take children to see Deadpool. Do not take teenagers to see Deadpool. Do I make myself clear?

Airplane, which came out in 1980 took every cliche of the disasters happening in a man made construction genre (yes, that was a thing in the ‘70's and ‘80's – Poseidon Adventure, Airport, Airport ‘75, Airport-Concorde, Towering Inferno), and played them for all they were worth – singing nuns, relationship conflicts which were resolved by the disaster, sick children being transported to a hospital, bad weather, hero with traumatic backstory. It was hilarious because it was true – all the movies capitalized on these themes and variations with predictable continuity. (FYI – The ‘90's and 2000's went after natural phenomena – Twister, Dante’s Inferno, Volcano, The Core, Armaggedon).

By the same token, Deadpool does the same thing with the superhero genre: reluctant hero, tragic love story, kids in danger, time travelers, opponents joining up to fight a common enemy, strange super powers and fighting – lots and lots of fighting. Only instead of the sanitized variety, it is quite graphic. So is the language. And the sexuality. And the nudity. And the blasphemy..

Deadpool started in the comics about a mercenary who gets cancer and is given a kind of Captain America super serum which makes him unkillable. Deadpool was never meant to take itself seriously but is the Monty Python of superhero movies. Ryan Reynolds plays the title character to the hilt.

This super… person who by his own admission is no one's idea of a hero… and by his own description is a bad guy who gets paid to kill worst guys than he is, is also very funny. He’s snarky and opinionated and comments constantly TO the audience breaking the fourth wall more than Groucho Marx did. Deadpool has much to commend it. It is well-acted, cleverly written, and has many admirable themes.

On the other hand – and here I’m beginning to feel like the conflicted Jewish patriarch, Tevye, from Fiddler on the Roof – it is gratuitously gory with humans "splating" onto billboards and heads being chopped off. It is extremely sexual with but a paper thin line between some of the scenes and what used to be considered an "X" rating. It is profane in the worst way, sporting every way to insult God and the human body that the imagination can provide.

BUT…… while I was genuinely shocked at the level of sexual activity, profanity, and graphic violence in both the first Deadpool origin story and this sequel it is hard to hate a movie which is so very self-aware that even the credits include such titles as Moody Teenager, CGI Character, and Overpaid Tool. Ergo my dilemma.

Deadpool makes fun of everything, including itself, from Basic Instinct to the most recent Avengers movie of which it is almost in the same universe, both franchises being Marvel.

I always try to judge movies based upon their genre and intent so want to be fair to Deadpool, especially keeping in mind that Deadpool has never advertised itself as anything except an adult parody of superhero movies.

I cannot help but think of the Biblical parable of the two sons, one of whom is disobedient despite his initial verbal assurances and the other who says he will not do his father's will but then goes and does it anyway. Deadpool is the latter.

For example, although the sexuality in the Deadpool origin story is fairly graphic, it is between two people who are monogamous and fully intend to be married, have children, and start a family. This, frankly, is far healthier then your average James Bond movie where the sexual relationships are less visually intense but extremely casual, polygamous, and intended to be very short-term. 

I was genuinely offended by the blasphemous language, yet the actions of those same characters were often Christian – self-sacrificing, demonstrating mercy, seeking to help others to redemption, and aimed at protecting children from those who would take advantage of them, even when those children posed a danger to the heroes trying to save them, which is a whole lot more than I can say for more "acclaimed" movies like Blockers and Call Me By Your Name which tried to push pedophilia into the mainstream.

While I was offended by implications insulting to the Church – such as the headmaster at an abusive school using Bible quotes to justify his actions, or Deadpool, the character, casually comparing himself to Jesus – Deadpool, the movie, never seriously calls the existence of God or Jesus into question as movies like the Dan Brown series do. As a matter of fact, there is a moment when Deadpool is asked if there had ever been someone who was 100% altruistic and he replies "Jesus Christ". It goes by very fast and I had to have it pointed out to me, but that’s a lot more respect than movies like Dogma or Angels and Demons has for the Church.

While it is faint praise to say a movie is not terrible because of what it does not do, Deadpool also has the positive attributes of actively exercising the virtues of self-sacrifice, mercy, family, and marriage.

I can stand the violence as it's mostly cartoonish, I can even wince past most of the sexuality as it's between two consenting adults who intend not only to get married but to have children. However, what I found most offensive was the frequent verbal and referential blasphemies throughout. Sadly, this was the point at which Tevye would have had to have said, "No, there is no other hand."

So for all of its virtues, there is too much, if you’ll excuse the pun, DEAD weight on the other side of the scale for me to me give it a recommendation, even for the older crowd.

OUR FIRST VIDEO BLOG/VLOG — WE PREMIERE WITH — OVERBOARD

WE ARE SO EXCITED TO PRESENT YOU WITH OUR VERY FIRST VIDEO BLOG !!!!!

(also known as vlogs which is succinct but difficuult to pronounce).

We will continue to develop this project so any suggestions you have will be appreciated!!

IT IS ON OVERBOARD THE NEW REMAKE OF THE 1987 ROM-COM OF THE SAME NAME

HOPE YOU ENJOY OUR FIRST ENTRY INTO AN EVER DEVELOPING NEW PROJECT AND FEEL FREE TO LEAVE COMMENTS BELOW!!!

 

VIDEO BLOG OF OVERBOARD

 

THE WEEK OF – A CRASS ADAM SANDLER MOVIE WITH A GEM AT ITS HEART

SHORT TAKE:

Adam Sandler semi-slapstick about a working-stiff middle class Dad trying to provide the kind of wedding for his daughter which will impress the family of his wealthy son-in-law to be.

WHO SHOULD SEE IT:

Only for adults and then only for those who do not take offense at tasteless humor, raunchy sight gags, strippers, or bad language.

LONG TAKE:

The pickings were very thin this week at the movie theater so I decided to think outside the box and try a Netflix original.

There's an old Jewish folk tale called "It Could Always be Worse" wherein a poor farmer, grieved that his house was too small and his pantry too bare, seeks advice from his Rabbi. The Rabbi advises him to invite his lazy brother to come visit and open his house to his obnoxious neighbors and demanding friends. Reluctantly the farmer went home and told his wife, who, desperate to cheer her husband up, agreed. Soon every room in the house was taken up with noisy people who raided their pantry and slept in their beds and on their sofas and sprawled on their floor. Soon losing his mind the farmer returned to the Rabbi.

This time the Rabbi shocked the farmer by advising he bring all of his animals into the house as well – the chickens, the goats, the cow, the family dog, and all the cats. Soon even the obnoxious neighbors were complaining about the crowding and having their toes stepped on by cow hooves, the mooing and the barking in the middle of the night, and the smell.

After a full week the farmer was at his wits end and more miserable than he was before. Angrily, the farmer returned to the Rabbi who simply smiled and said now go throw everyone and everything out. Send your neighbors back to their own homes, kick your brother out, and put the animals back in the barn.

After sweeping up behind all of their departed guests the farmer and his wife discovered, much to their astonishment, how much bigger their house was, and how much more food they had.

At the height of the Rabbi's lesson for the farmer, while the house was full of neighbors and relatives and animals, Kirby, the visiting father of the groom, in the movie The Week Of, would have noticed little difference between staying at the farmer's house or staying at the home of Kenny, the father of the bride.

SPOILERS

In the premise of The Week Of, Kenny, played by Adam Sandler, is a working stiff who makes a very modest living bringing dilapidated hotels up to passing health inspector levels. Despite his limited resources, he is determined to pay for his oldest daughter's wedding without the proffered help of the much wealthier Kirby, played by Chris Rock.

Unable to provide adequate housing for the multitude of guests and finding the hotel completely unsuitable despite his best efforts, many of the relatives on both sides end up staying at his modest-sized home. Amongst the participants are Seymour (Jim Barone – a real double amputee) his uncle, Noah his emotionally fragile cousin fresh out of rehab, Charles (Steve Buscemi) his raunchy cousin, loud obnoxious elderly deaf ladies and the monster sized German Shepherd owned by one of his visiting kin.

I normally do not watch this kind of movie and likely would have turned it off had I not been planning to review it. So watching to the end, imagine my shock to discover a tiny gem buried in the bottom of this pond full of less than subtle sex jokes and caricatures.

In classic Adam Sandler comic style, there's something to offend everyone. Sandler and Robert Smigel, the screenwriters, make fun of Jewish culture, the mentally ill, the physically disabled, and the elderly. It's hard to tell which is more cringey, the often crude and tasteless jokes or the fact that Chris Rock plays a straight man and is old enough to be someone who has a groom-aged son. But somehow, The Week Of still manages to make all these characters approachable, even likeable, giving each moments that makes them relatable and human. Part of it, I think, is that even though the situations make fun of these vulnerable and sometimes inherently ridiculous people, Adam Sandler's Kenny treats them all with genuine affection and respect.

At different points in the movie, Kenny, literally, carries his legless Uncle Seymour around. Kenny never acts as though it is a burden. And this becomes an interesting analogy for the entire movie. Despite Kenny’s lack of financial resources, despite his pride, and despite his occasionally bad judgment, everyone looks to Kenny whenever there is a problem. He is the one with the heart to usually do what he genuinely believes is the right thing for his family, has the cleverness to get it accomplished, and the determination to see it through to the end no matter how ridiculous some of the plans are. It eventually becomes obvious that it is not just Seymour he cheerfully carries on his willing back.

In a side note, despite the fact the story pivots around an interracial marriage, absolutely NO references are made to this, cliche or otherwise, and refreshingly, race is the ONLY thing about which Sandler does not shark up a cheap laugh. The race of the two families ends up merely being a convenience for the audience to help keep track of which of the dozens of characters are likely to be from which side of which family – like wearing different jerseys at a sports event or using shirts versus skins at a pickup game of basketball.

Chris Rock's character, Kirby, is an extremely successful cardiac surgeon who lives out of very swanky hotels with a succession of mistresses. Kenny on the other hand has three kids who he adores and dotes on, but for whom he can provide "only" a middle-class lifestyle. Kirby's life is reflected in the swanky hotels he stays in, his clean, quiet, organized, unencumbered, glass and steel life without distractions. Kirby's life, on the other hand, is cluttered, messy, noisy, and full of humanity, conversation, hugs, arguments, interactions and affection.

Kenny is always there, always in the mix, always doing his best and keeping a calm, optimistic perspective on even the wildest moments. So – despite all of the epic fails in Kenny's attempts to provide for his daughter's wedding, despite: the leaky ballroom, the poor choice of a magician to entertain the guests, using his 11 year old nephew as a wedding reception DJ, feeling shown up by the sumptuous wedding rehearsal dinner provided by Kirby, the crude bachelor party at a stripper trampoline exhibit, the death of one of the guests and a fire – it is Kirby who ultimately feels both overwhelmed and outclassed by the modestly resourced Kenny.

In one example, representatives of both families meet at the emergency room as a result (trying not to spoil TOO much) of one of the "high jinx". Tyler (Roland Burch, III), the groom, feels responsible and Kenny explains to him how the outcome would have been worse had the group not done what they did, then embraces him comfortingly. Kirby can be seen in the background watching this exchange, and in a lovely but easily missed moment, Kirby realizes he is the outsider – that his son sought advice naturally and first, not from him, but from his future father-in-law, who seems to understand how everyone ticks.

In a funny repeat motiff, whenever Kenny and his wife Sarah (Allison Strong, who played a very strange secretary in another and similarly themed Sandler movie, Click) disagree, both put on a happy face, retreat to their bedroom and audibly yell at each other, believing no one can hear them. One of the cousins asks one of Kenny’s younger children if they are getting a divorce. With the exhausted confidence that every child should have in their parents' marriage, he says, "They NEVER do."

The wealthy Kirby ends up: sleeping on the floor, suffering the indignities of living with about 50 strangers at Kenny's house, being made fun of during a Parcheesi game in Kenny's asbestos infected basement, and is conscripted to help catch bats in one of Kenny's crazy plans to save face. Kirby as a result, comes to understand that the sum of all this lunacy is a close-knit family that will suffer through and with each other because of a love based on a lifetime of intimacy. Kirby threw money at every problem his family encountered. Kenny throws himself into the line of fire whenever someone in his family needed him.

Kirby comes to realize that Kenny is indeed the much richer man. Realizing what a bad father and poor husband he has been Kirby apologizes to his ex-wife, begins to make amends with his children for his neglect, and looks forward to spending real time with his grandchildren. It’s a little like Mary Poppins for the Zohan crowd.

And meanwhile all this is set against some appropriately chosen Billy Joel songs. The ending genuinely had me choked up, and not just because I was sick to death of all the bad jokes. I can forgive a lot in a movie if it makes a good end. And I have to say that in spite of the raunchy humor, the borderline offensive caricatures, and the repetitive visual jokes – for the sake of the movie’s final couple of scenes ….. all is forgiven.

 

 

 

LIKE ARROWS: THE ART OF PARENTING – 50 YEARS OF REAL ROMANCE

SHORT TAKE:

Another family-endorsing, Christian-centered, Kendrick Brothers movie – this time following 50 years of one couple's epic parenting journey.

WHO SHOULD GO:

Anyone and everyone.

LONG TAKE:

Since 2003 Stephen and Alex Kendrick have focused their careers on making intelligent, funny, engaging, spiritually uplifting, eccumenically Christian themed movies which have jumped the chasm between "religious" movies and mainstream cinema to become an integral part of our popular culture.

Their first, Flywheel, was a modern day Zacharias story about a used car salesman, originally intended only as a learning tool for the Kendrick Brothers' congregation at Sherwood Baptist Church in Albany, Georgia. Flywheel's astonishing success funded the next Kendrick movie, Facing the Giants in 2006, about a high school coach challenged with crises of family, career, and faith. Facing the Giants has the Death Crawl scene, five of the most inspirational minutes on sports "celluloid" I have ever watched. Fireproof in 2008, starring former child star Kirk Cameron, was next, about a fireman trying to rebuild his almost shattered marriage. Courageous, in 2011, is their masterpiece, about four policeman and a civilian friend who confront their shortcomings as fathers. 2015 saw War Room about a marriage shuddering under the weight of deceit. This year the Kendricks bring usLike Arrows: The Art of Parenting.

As overtly Christian themed and occasionally, what mainstream audiences consider, "preachy" movies, these often fall through the cracks of the average movie goers attention. That is a shame because these movies are funnier, warmer, savvier, more clever, more insightful, and will leave you feeling far more satisfied than most of the movies that get a lot of popular "love".

Movies like Titanic and The Notebook get a lot of publicity and huge budgets but they are shallow views of relationships which never get beyond the infatuation stage, rarely include children, and never deal with dirty diapers, resolving petty spousal fights, money issues or any of the other million challenges which face couples on a daily basis. Like Arrows presents a more realistic view of a marriage with far more depth, examining a relationship that endures in true heroic fashion with love, and describes a romance that perseveres for 50 years DESPITE dealing with family estrangements, money problems, career strains, and ……..catastrophically dirty diapers.

In Like Arrows, Charlie (Alan Powell) and Alice (Micah Hanson) are a cute young dating couple. A terrified Alice surprises Charlie with the news that she is unexpectedly pregnant. Charlie "mans up" and the rest of the movie follows them through five decades of marriage and parenting four children. For most of the movie Powell and Hanson are aged. But in the later scenes the elderly couple is portrayed by Garry Nation and Elizabeth Becka. I met Mr. Nation at a Christian Film Festival in connection with his starring role in Polycarp.  He is as gracious and patient off screen as his character is on.

Charlie and Alice’s family will seem very familiar. They are ordinary people who work hard and strive to do their best. But ultimately they discover their best is woefully insufficient to raise morally strong and family connected children without God at the center of their lives.

Again Charlie "mans up," takes responsibility for the family direction and leads them to a more spiritually fulfilling way of life, including spending more quantity (not just a little "quality") time with their kids, at church and in prayer.

The acting is good, the writing natural, often funny and occasionally even profound – Charlie’s best friend Kenneth (Joseph Callender) offers a disillusioned and tired Charlie advice on parenting: "The days are long but the years are short."

The title, Like Arrows, comes from Psalm 127: "Like arrows in the hands of a warrior are children…." They are, as Mr. Kendrick explains, the messages parents send into the future. And, as the movie demonstrates, parents have an unshirkable, irreplaceable responsibility to be sure those arrows are strong and well guided enough to get to their intended destination and that resilience and confidence can best be crafted by working with the Hands of God.

Like Arrows is also the launching point for the new website 

which offers free seminars, sessions and classes on parenting. I’ve checked the website out and while it is a little awkward to maneuver through it is worth the effort. Video sessions are about 6 minutes long and could be done on a daily basis. Registration and access are FREE.

A lot of advice they give would have been considered common sense in previous generations but given the family-hostile culture in which we find ourselves today, the concepts of self and child discipline, lifetime committed marriages, spousal faithfulness, church attendance, prayer, and supervision of one’s child can be innovative life saving ideas to younger couples.

So endorse and encourage these family affirming films by going to see them. Check out Like Arrows where and when available or get it on DVD. Show your kids – likely future parents themselves, inform other young couples with this movie, show friends. Enjoy a 50 year love story with far more substance to it than popular infatuation stories which talk a good game and are fluffy fun to watch but are really only the cotton candy filler that substitutes for the true meat and potatoes commitment demonstrated in movies such as Like Arrows.

TULLY – AN UNUSUALLY HONEST AND FRANK LOOK AT MOTHERHOOD

SHORT TAKE:

Well done and insightful view of an ordinary family undergoing a crisis as an exhausted and post-partum depressive mom deals with three children, including one who is a special needs and another a newborn, by welcoming a "night nanny" into her life.

WHO SHOULD SEE IT:

Adults only. Language gets raw under stress and sexuality is openly discussed, including the mom's habit of watching a porno reality site called Gigolos.

LONG TAKE:

When our oldest son was only a few months old he gave up sleeping. I discovered that going without sleep for months can make you hallucinate. I started seeing things out of the corner of my eye I knew were not there. Fortunately, I had a very supportive husband who helped me get the household and his sleeping habits under control.

OBLIQUE SPOILER

Marlo (Charlize Theron) has a similar problem. On top of the responsibilities of a newborn and a first grader, she also cares for a special needs kindergarten aged son who everyone identifies merely as "quirky" so does not really get the help he needs, she holds down a full time job, and her husband's demanding job requires he goes out of town often. With a history of detail-mysterious severe post-partum depression, her concerned and wealthy brother, Craig (Mark Duplass) offers to hire a "night nanny" for them. Marlo's pride gets in the way at first, but eventually one arrives. Her name is Tully (MacKenzie Davis) and she is a twenty something free spirit who seems to understand Marlo to her core. The two women bond immediately and Tully does a good job of caring for their new baby, cleaning the disaster that had become their house and even makes cupcakes for Marlo's children's classmates – all the things that Marlo feels guilty for not having done.

One of the great thngs about Tully is the ordinariness of the house, the kitchen, the bedroom and the people. Theron gained 50 pounds for the role. She, personally, has two adopted children so has never been pregnant but you'd never know it. We have six children and breast fed them all. So I know what a post-partum body looks like and Ms. Theron, baring almost all, certainly LOOKS like she has a genuine maternal belly. And the scenes with the leaking, pumping, breastfeeding are very very familiar. I say this to note that while the script reaches into the reality of the struggles of parenthood, the film makers go to great lengths to present what looks like an authentic family dynamic.

Ms. Theron carries most of the water in Tully and is amazing. She is one of those truly talented actors who do not mind making herself look ugly for a role. While she can be convincing as the almost supernaturally athletic spy in Atomic Blonde and convincingly sexual magnet in Gringo, here she looks like any other mother who just gave birth, including flabby tunmmy and leaky boobs. In one very funny scene her kindergartener spills a glass of juice on the dinner table and all over her. In a state of apathetic exhustaion she simply strips off her shirt and sits almost catatonically at the table. Her grade school daughter takes one look at her and innocently asks: "Mom, what's wrong with your body?"

So, for all of the occasionally dark tinged situations, this is not a depressing movie. In many ways it is a comedy – though a subtle one. And be aware, there are some seemingly startling or even shocking things that happen during the movie. But stick with it – things are not always as shocking as they appear. Tully is, ultimately, a very family, marriage, child and life affirming movie wherein normal people deal with every day challenges in their own creative ways. The people in the family strive to stay close and keep it working and stable the best way they know how. Tully advocates for the value of a family, warts and all.  In Tully, the spouses – Marlo and Drew – care about each other and their children very much. The couple has each learned from the failures of their parents' broken marriages and Drew loves and is faithful to Marlo despite her occasionally fragile mental state. They are supportive and kind to each other and to the children, tryng their best to be good attentive parents. This is greatly refreshing and necessary in a culture which promotes popular media in which the father is often marginalized, and the marriage is often portrayed as broken or only one in a cascading list of failures.

If the movie has one great flaw it is in not showing more of the beautiful ecstacy that can be parenthood – the joy of holding a newborn, the miracle of which never grows old. The story examines Marlo's overburdened exhausted life but rarely any of the blissful moments of bonding with the mom, dad and the newborn. There is also, to its detriment, no reference to the core values of any kind of spiritual life, which would have gone a long way to ameliorating Marlo's pain and depression.

As all of us, coming from our own unique brand of family, knows – it is not always easy and it is not always obvious, but, more often that not, families are, as Carly Simon once famously sang – "the stuff that dreams are made of."

OVERBOARD – CHARMING ROM-COM WITH A POSITIVE MESSAGE ABOUT TRUE WEALTH AND FAMILIES

SHORT TAKE:

Romantic comedy which teaches the lessons that all the hedonistic pleasures money can buy can not compare to the joyful satisfaction of raising a family who needs you, and that both a father and a mother are indispensable to completing a home, especially when you have children.

WHO SHOULD SEE IT:

This movie is really for late teens and 20 somethings and up. There is a little bit of language, some unmarried unseen sexual activity and conversations about condoms and infidelity. Nothing you really want to have to explain to a younger teen. But the lessons for what is the correct demographic target are definitely worth your time.

LONG TAKE:

When Nate Ruess of the band Fun was being interviewed in 2011 for their big hit single "We Are Young" one of the recurring topics was appearing to be an overnight success. No one had really heard of them until this popular single. In fact they had been touring and rehearsing and playing night clubs for 10 years. It is almost cliche to consider that most overnight successes … are not. They are the result of years, if not decades, of serious, heartbreaking, back-breaking effort.

Such is, I expect, going to be the case for Eugenio Derbez, who is the Mexican born lead in the remake of Overboard.

Overboard was originally a 1987 vehicle for Kurt Russell and Goldie Hawn, a real life couple, who respectively play Dean, a poor widowed carpenter with three boys and Joanna a rich woman living on a yacht. Joanna falls off her yacht and is stricken with amnesia, then taken in, in both senses of the term, by Dean. Joanna had peevishly refused to pay Dean for some carpentry work done on her yacht. So Dean decides to retrieve her from the hospital and convince her she is his wife. The relationship is completely platonic. All Dean wants her to do is enough housework, cooking and babysitting to reimburse him for the work he had done for her.

The setup is similar in the new 2018 version of Overboard, only this time the genders are switched. Kate, played by Anna Faris (Chris Pratt's ex-wife) and Leo, Eugenio Derbez, are the couple this time.

SOME SPOILERS

Kate is a struggling widow of three little girls, holding down two jobs while studying for her nursing board exam. One of her jobs is to carpet clean and she is sent out to tend to the carpets of billionaire Leonardo’s yacht. Leonardo is the playboy son of a corporate magnet. He refuses to pay her for her work and literally throws her and her equipment off his yacht – pretty much just because he can. He is not really intentionally cruel, just so self-absorbed he doesn't consider the consequences of his actions. 

Later that night, in a drunken stupor, he falls off his yacht and washes up on shore with amnesia. Leonardo’s conniving sister, Sophia, in order to get Leonardo’s share of their elderly and ill father’s corporation, decides to abandon her obnoxious brother, denying his identity in the hospital and tells everyone he was eaten by a shark. Anna and her friends see Leo on the news and concoct a plan, using forged documents and a borrowed wedding ring, to pretend that he is her wayward alcoholic husband having blacked out after a binge. She arranges for him to work several jobs in order for her to catch up on the bills, study for her exam, and pay for the equipment that he ruined.

Being a romantic comedy the outcome is pretty much a foregone conclusion. That is perfectly fine with me. I love happy ending where the only real suspense is in trying to figure out HOW the star crossed lovers are going to overcome the obstacles, not IF.

Not only are the genders of the protagonists switched in this version of Overboard but the genders of the children involved as well. This will become significant in a moment.

Gender switching doesn't always serve a useful purpose in remakes. One of the most egregiously bad examples is the Marlo Thomas version of It's a Wonderful Life. Miss Thomas, as sweet, as wonderful, and as generous a humanitarian as she is, made a terrible female George Bailey-type character in this embarrassingly bad adaptation. Similarly, Ghostbusters did not benefit and gained nothing from switching the all-male crew to an all-female crew. The verdict is still out on what the Oceans franchise is going to look like with an all female crew of con…people. And even the brilliant Helen Mirren could not bring a female Prospero up to speed in a 2010 remake of The Tempest.

However, in the case of this year’s Overboard, the switch – like one installed by a good electrician —  works. Not only does the gender switching shed some new light on the dynamics of the fish-out-of-water tale, but I think helps facilitate a more thorough examination of the theme as well as highlights the subtext.

In both of the Overboard movies, the main theme demonstrates that all the material benefits and hedonistic pleasures of the world cannot compete with the soul core satisfying responsibilities of being a good spouse and raising children in a home with a mom and a dad.

But, in addition, there is a subtle subtext which is never spoken out loud, but in conjunction with the gender switched original, becomes more obvious. In the first Overboard, Hawn’s character turns the boys’ house into a home – cleaning, decorating, nurturing, and erupting into a fiercely protective mama bear when the need arises. In the second one, Leo converts the simple home the girls have created into a castle – repairing, providing, counseling, calming the harried mother Kate down, providing the protection the family needs for the women now in his life to blossom, and intervening as a watchful papa bear when the need arises. Both movies make clear that no matter how capable the single parent, no matter the gender of the children, that the entire family thrives more readily in the circled arms of both a mother and a father.

I’ve brought this up in other blogs before, but to reiterate, this does not mean that there are not amazing single parents whose Herculean efforts are not appreciated, or that a single, caring, God fearing, hard working parent can not raise wonderful children. But those same single parents are likely to be the first ones to agree that having a mom AND a dad together to raise children is the ideal.

To be sure, both Overboards are kind of silly in their exposition, but then again, so are the setups for Aesop's Fables. What difference does it make that the vehicle is a bit cartoonish, as long as a valuable lesson is beautifully taught? For example, Leo confides to his fellow construction workers how disconnected he feels to this family, how he doesn’t really recognize Kate as his wife and how he feels like he belongs somewhere else. Understandably, the other men assume his dismay is part of a mid-life crisis and reminisce about how their married relationships have changed. But one of the older men, Vito (Jesus Ochoa) reminds Leo that, as a married man, he has a responsibility to forget all that, "be a man" and appreciate the fact he has a good job, beautiful healthy children who love him, and a wife who has (he thinks) stuck by him through thick and thin – in short to stop moaning and count all of his blessings. Good advice under any circumstances. 

I love the title with its multiple applications. Overboard: 1. how the rich protagonist gets amnesia, by falling …………, 2. refers to the cockamamie plan the poor antagonist concocts, in order to get their money they may have gone just a bit…………., and 3. reflects how the protagonists will eventually feel about each other – that they will eventually dive head first into their relationship like someone diving ………….

And speaking of over – anything, as for being an overnight success, Eugenio Derbez has been a popular actor in Mexico for some time and is no stranger to family supportive themed movies. In Instructions Not Included he plays yet another irresponsible playboy who is presented unexpectedly with a baby daughter to raise. The responsibility makes a man out of him as he decides to be a good father.

However, despite the fact that Derbez has had a thriving career in Mexican TV and film since 1994, Derbez is only just now coming to the attention of the American moviegoer with Overboard. If Mr. Derbez continues making movies like this one, I suspect he will soon be perceived as an overnight success here.

So, if you fall into the right demographic age group, go see this charming rom-com where the characters realize that a rich life is more important than having a life full of riches and which points out that children thrive best with a steady mother figure and a father figure in their lives.

FORGET TEAM CAP VERSUS TEAM IRON MAN – ARE YOU TEAM AVENGERS OR…TEAM THANOS?

SHORT TAKE:

Amazing Part One of the two part Marvel culmination of 10 years, 19 movies, and 3.5 BILLION dollars spent exploring the Superhero Universe.

WHO SHOULD GO:

Anyone old enough to have seen the previous Marvel movies. There is no inappropriate sexual activity and the language is kept to a few mild profanities – with the exception of a "reference" to a raw word and "only" the first part of Samuel L Jackson’s now "signature" choice of obscenity. There is a LOT of cartoon violence, with some sudden and brutal deaths of humanoids but without any graphic displays of gore. There ARE some gory deaths but of monster "critters". So roughly, "tweens" and up – but parents, please, check it out yourself before taking the younger and those especially sensitive to emotional scenes.

LONG TAKE:

First, did you know that EVERYONE on the planet could live in Texas? If you want to know why I ask that, read through to the latter part of this review.

SPOILER FREE PORTION:

The premise is that all of the super heroes from the Marvel Universe assemble to fight a Universe-sized threat, Thanos, played by Josh Brolin.  Brolin's villain gives as good as he gets. His is not a caricature but a legitimate character with his own motivations and goals. Brolin is an excellent actor, featuring not only here but as Cable in another upcoming Marvel movie, Deadpool 2, from what has been "dubbed" the R (for R rated) Marvel division. Just for the record, my favorite of Brolin's roles has nothing to do with Marvel, but is a Cohen Brothers movie – Hail Caeser!, the loving homage comedy about the '50's and '60's era Hollywood. In Hail, Caesar! Brolin plays a faith filled decent man simply trying his desperate best to keep the studio for which he works from self destructing. In Infinity War Brolin's role is quite the opposite on all points. 

Avengers: Infinity War is NOT your average Marvel movie. This is an extraordinary achievement and a unique historic cinematic accomplishment. This studio has invested ten years, and billions of dollars to fund 19 movies all revolving, like a galaxy unto itself, around this centerpoint in which most every major hero and several villains who have graced a Marvel movie appears.

Because I am a BIG fan of superheroes, I could never tell which was Marvel and which DC. My kids were constantly chiding me for getting them confused. Not any more. Aside from Antman and Hawkeye, who are signed up for Avengers 4, pretty much every major and medium Marvel superhero you’ve seen in the last 18 movies is in this one. So if they are not in Infinity War, they are not Marvel.

This is also probably the most spoiler vulnerable movie I have ever reviewed – if not ever SEEN. Tom Holland, who plays the most recent and the absolutely best incarnation of Spiderman, is notorious for giving away spoilers, so they had to send Benedict Cumberbatch (Dr. Strange) with him on the interview circuit to verbally intercept. The interview I heard demonstrated this, as the interviewer asked Holland what it was like to work with the Guardians of the Galaxy group. As Holland opened his mouth, Cumberbatch jumped in with a good natured and comical set of static imitations and Holland snapped quiet immediately. You see, Infinity War takes place all OVER the galaxy. Different planets, different locales with different groups, so even saying whether or not you were part of a group or made it to a particular planet could give away CRUCIAL details you don’t want to know before watching.

The special effects are spectacular. From the brightly lit super technology of Wakanda, to the dark interiors of Thor’s Asgardian ship, from the humorous "body language" of Dr. Strange’s cape to the viciously feral attack "dogs" brought by Thanos’ henchmen, the details are lovingly layered and conveyed to manifest a beautiful, frightening, stunning and very believable world.

The acting is terrific. These characters, even and especially those who are later versions – like Ruffalo’s Banner/Hulk and Holland’s Spiderman – have truly made these characters their own. Newbies to the group like Boseman's T'Challa and Gillian's Nebula have fit in seamlessly. Others, like Johannson’s Black Widow and Evans’ Captain America, move in these skins so comfortably that, on screen, they ARE those characters – irreplacably …… at least for the next generation or two. Most of these actors have been working on these Marvel films together for over 10 years. So when I say the chemistry amongst them comes very naturally and it seems as though they have known each other for a very long time, it is because they HAVE.

Downey’s Stark and Jackson’s Fury, for example, go all the way back to the very first Marvel Easter egg in 2008's Iron Man.

The interplay of emotions between the different dramatis personae have such long and complexly interwoven backstories that the actors now have the theatrical palette to approach every conversation with subtle intimacy of long acquaintance – like old married couples or childhood friends, college roommates or combat buddies – even if the couples have divorced or the friends have had a falling out.

It’s not surprising that the quality of the writing is excellent because Christopher Mankus and Stephen McFeely’s pedigrees, between the two of them, include all three Captain Americas and the Narnia movies. These are writers who know how to work with a large ensemble of characters, using intelligent, even heightened, language with humor and a core sense of morality, instilling in their creations’ dialogues an irrefutable understanding of what is right and what is wrong.

And since I have mentioned it – one of the things I think shines out beautifully in this script is the unspoken, undiscussed assumption that there IS a right and a wrong. There are some points on which there IS no gray area – nor should be. The heros in Infinity War do not really care about Thanos’ motivations, nor do they care to engage in an intellectually elite roundtable discussion on the pros and cons of his plan. They do not even care if Thanos is correct. All they know is that what Thanos is DOING is WRONG and evil. That there IS a good and bad in the Universe and that no amount of situational ethics or moral relativity can justify it. What Thanos wants to do is BAD, end of debate. And they will do everything in their power to stop him. Because what he is trying to do is, prima facie, EVIL. They don’t even need to talk about it and it is not even brought up, but the rightness of the cause for which the heros fight is a constant background hum against which they measure their every conversation and every plan.

Some condemn super hero movies as formulaic or repetitive. But the moral compass with which these extraordinary and idealized men and women sail NEEDS to be reiterated, especially, now, as often as we have breath.

And, again, without spoilers, it shines through in our heroes. Revelations are to be had about Thanos’ plans and reasons behind them. He is made an understandable, if not sympathetic character and his reasons, to him, seem logical. And if you want to know what they are and what Texas has to do with it – continue reading.

SPOILER – BUT ONLY OF THANOS’ MOTIVATION

Did you know that everyone on the planet could live in Texas?

To explain this I need to warn you of one spoiler – but ONLY A SPOILER OF MOTIVATION – not of what happens to anyone.

The battle plans of Thanos, the big blue bad guy hovering on a throne since the Easter Egg at the end of 2011's Thor, should be no surprise anyway – his very name means DEATH. Thanos plans to kill half of every sentient creature in the Universe. Why?! Because – he actually says – he thinks the Universe has finite resources. Therefore, he reasons that to allow half of the universe to live with "full bellies" and to keep the worlds from being over harvested, over mined, over used – half of everyone should be randomly chosen to die. He claims to have saved Gamora’s planet by doing this and that his planet of Titan was reduced to a lifeless waste because this was not done. He sees himself as a hero who the Universe will later thank.

If this idea sounds familiar, it is because it should. It is in the mission statement of every population control, zero population growth, global warming, and pro-abortion organization that has crept in out of the cracks in our moral fabric over the last 100 years. The likes of The Sierra Club, Green Peace, Planned Parenthood, Zero Population Growth, many of the U.N. proposals, Stop Population Growth Now, Church of Euthanasia (shockingly it really is a thing), Center for Biologic Diversity, Captain Planet, and hundreds of others, were all either conceived or co-opted by people who would align themselves with the evilly misconceived (if you’ll excuse the pun) idea that ……human life is bad.

If you swallow the propaganda that there are "too many" people, then the logical conclusion would be to have fewer of them. This means either ones here should die (assisted suicide and Dr. Kevorkian), those that are sick or disabled should be denied assistance that would prolong their lives (eugenics/Hitler’s Holocaust, "death with dignity," Terry Schiavo, Charlie Gard, Isaiah Haastrup, and Alfie Evans – the latter four all murdered in either the U.S. or U.K. against their parents’ wishes because they were assessed by the courts as too inconvenient to live), or that future generations should be deliberately truncated (abortion and birth control).

If you believe there are "too many" people on Earth, then you have to side with Thanos – so put on your subservient face and get your lottery ticket from him.

Thanos never considers the possibility that, even were what he says is true now, that the creativity and intelligence and energy of the amazing minds against whom he fights could be better used to find ways to feed and comfort multiple times the number of people in existence. The technology available a thousand years ago could feed and clothe and shelter only a tiny fraction of those we can feed and clothe and shelter now using the same resources. Everything from antibiotics to sprinkler systems to knowledge of crop rotation and hydroponics makes increased production a no brainer.

This, of course, begs the question that every human life is a valuable, irreplacable gift from God which must not be discarded no matter the rationalization for it. That the moral imperative of humans should be that innocent life must be protected.

This also disregards the fact that what has been proposed by these population control advocates is merely a global sized pile of what Harry Truman might only refer to in polite company as….manure.

But did you know that everyone on Earth could fit into Texas?

I’m going to throw some numbers at you to demonstrate this, but to give you an aim to where I am headed: Everyone on the entire planet Earth could theoretically live in families of four in houses four times as large as the average house in England and ALL still fit into the State of Texas?

The current Earth population is 7.6 billion. The State of Texas land mass is roughly 7.5 TRILLION square feet. If you placed the world population into groups of four people each, this would give you 1.9 billion groups. If you assigned the square feet out evenly amongst those groups, each group could have a minimum of 3,947 square feet to call their own.

The average sized plot of land on which a British home rests is the same size. The average home in England is only 915 square feet.  The average New York apartment high rise contains only 750 square feet.  But without having to endure cramped high rise life, everyone could, theoretically, live in a Harry Potter-type suburban area like this real one shown here from a satellite photo of Barton Le Clay.

Support areas such as roads, hospitals, schools, stores, business areas, even recreation centers such as parks, hotels, restaurants, ice cream parlors, old fashioned libraries and community swimming pools could GENEROUSLY be accommodated by about nine times the area needed to accommodate the homes.

The tally of the world’s only needed suburban area plus the support structures could handily be fit into 2.7 million square miles. There are 2.9 million square miles just in the lower 48 states of the United states.

The world’s only suburb could be fit into Texas.  The world’s only city could fit over the contiguous portions of the U.S.A. with considerable room to spare.

Keep in mind, were this to happen, the rest of the world would be completely and totally people free. India – uninhabited, China – zero, Russia – vacant, Europe – no one, England – empty, Australia – deserted.

This doesn’t EVEN take into account the possibility of ingeniously designed floating cities.

Of course, no one is suggesting we all move into the confines of the US. But to offer perspective, this World City could be fit into but HALF of Europe. Or less than a third of Russia. Or Australia, which is about the same size as the contiguous part of the U.S., WITH room to spare. And note how incredibly much land mass is left in the world – laughably vast stretches of thereby uninhabited areas would remain "people free" if we all just suburbed ourselves to Australia in neat little homes and their support buildings. The room we take up would be about 2.7 million square miles. The planet’s surface is 196 MILLION SQUARE MILES! 57 million is land mass.

So – those who propose to eliminate any of our human brethren for the sake of global overpopulation are planning genocide on bad information.

IN CONCLUSION:

A profound question arises from a bunch of comic book characters in a brilliant analogy to a real life monstrous philosophy seeking to crush out human life – all for the sake of a lie.

So I ask you again as you go to see this brilliant best that Marvel has to offer – Are you Team Avengers or….Team Thanos?

CHAPPAQUIDDICK – THOSE WHO DO NOT LEARN FROM HISTORY…..

SHORT TAKE:

Historic drama based upon the information in public knowledge surrounding the murder of Mary Jo Kopechne by Teddy Kennedy.

WHO SHOULD GO:

Only adults. The language is raw, the topics unsavory and the behavior of the main characters despiccable.

However, it is an expose of the disreputable goings on by the Kennedy pseudo-Mafia Clan during the 1960's so worth a look for the corruption, hypocricy and disgusting activities into which the Kennedys dove head first. Apparently the people involved took the aphorism to heart: If you can't be a good example, be a horrible warning.

LONG TAKE:

Before getting into Chappaquiddick…. figuratively as I have no intention of taking a swim, I thought I might make two points: the first is a reference to another movie and the second describes a thousand year old family dynamic.

In the 1987 drama Broadcast News, about TV journalism, Aaron played by Albert Brooks is concerned about the trustworthiness of William Hurt's character Tom. Knowing Jane, his best friend, played by Holly Hunter, is falling in love with Tom, Aaron gives Jane a warning. In an interview, Tom is filmed breaking down in tears while interviewing a young woman who had been the victim of a date rape. The young woman's recollection of the event cuts back and forth to Tom's emotional but dignified reaction. Knowing Jane would refuse to question Tom's sincerity, Aaron asks her to consider one simple fact: Tom only had one camera.

In 1199, John, son of Henry II and Eleanor of Aquitaine, was coronated King of England. The youngest of five sons, John was never expected to rule. His oldest brother, William, died of a seizure at three. Henry III died of the flux (dysentery) on rebellious campaign against Henry II. Richard died on the Crusades. Geoffrey died in a tournament accident leaving one son, Arthur who was imprisoned and left to die. John, both spoiled as a prince and ignored as unimportant – called Lackland as it was never thought he would own land – was not trained to rule, but only shooed off to manage some lands in Ireland – which he did badly, and was arguably the most corrupt, debauched, incompetent, ill prepared and venal ruler England ever had. But, nonetheless, the crown was placed upon his head because, refusing to consider any but the immediate male descendant of Henry II, John was assumed to be the rightful heir – irrespective of his lack of character or training or fitness for the position.

Teddy Kennedy was the youngest of four brothers. It was never thought he would be a candidate for President. Joe, Jr. died in action during World War II. John and Robert were both assassinated. Teddy had five Sisters, but at that time, much like in King Henry's era, it would have been unthinkable to place a crown on a daughter's head when a male heir was available, no matter who that heir might be.

The movie suggests that Teddy Kennedy himself recognized that he was the spare, the "also ran", the leftover, the one who no one thought would be put in a position of power, but who had been instead, like John with Ireland, given the political position of Senator in Massachusetts as a token gift by his extraordinarily powerful family. Debauched, spoiled, incompetent, unprepared, one almost feels sorry for him being thrust into the position of having to run for the presidency, the position even he knew he was not qualified to hold, except that he flagrantly used his position to abuse others and ultimately to murder.

The night of Mary Jo Kopechne's death, Kennedy, by his own admission, and according to the movie, had been drinking and driving and ran off a bridge with Mary Jo in the car. According to his testimony, he does not remember how he got out of the car. But he did ultimately confess to walking away without notifying any authorities of the accident, leaving Mary Jo to suffocate in the overturned car without hope of rescue. Had he notified the authorities promptly, it is very likely she would have survived……That is assuming the story told in the movie is complete and accurate.

Make no mistake, the movie does not whitewash any of the behavior of Teddy, his legal staff and advisors, his father Joe, or his drunken friends and co-workers.

Teddy and his colleagues had spent the night drinking and carousing with those they nicknamed The Boiler Room Girls.

Supposedly working as secretaries and campaign assistants, it seems as though the Boiler Room Girls also had other duties to perform that night for these powerful and influential men, duties in which they quite voluntarily participated.

At some point following Mary Jo's death, Teddy, supposedly in a sudden attack of conscience, decides to confess his complicity in the incident despite available alibis willingly provided by others and anxiously swallowed by their fawning media. Of course, he also takes the opportunity to attempt to make himself the victim and affects an unneeded neck brace that even the media found ridiculous. Completely out of character, if this is to be believed on face value, the confession is at least a small point in Teddy's favor. A very very small point.

Given a suspended sentence, the only real penalty for him was the hit to his political career.

However, as his confession DID seem completely out of character, one must ponder if there was more to the story than even this expose movie tells. Does the movie come clean as to just one of the dirty secrets of the Kennedy Clan or is it but yet just a further complicit hiding of what really happened on the night Mary Jo Kopechne died?

The movie, in and of itself, is fascinating, well performed and well done. Shot with care to the details of ‘60's style, clothes, music, architecture, and attitudes – all carefully reconstructed, all harken back to a time that I remember as a child.

Jason Clarke, who cut his teeth in American television through a very rough show called Brotherhood, has used that platform to launch himself into bigger and better things, including the

Planet of the Apes franchise, White House Down, and the

Terminator movies. Australian by birth, Clarke's restrained and convincing Boston accent is reminsicent of his time as Tommy Caffee in Brotherhood.

Kate Mara, previously in Fantastic Four and The Martian, as the ill fated Ms. Kopechne, is sympathetic.

Bruce Dern, a Hollywood constant in everything from comedies like The Burbs to sci fis like

Silent Running to dramas like

The Hateful Eight, plays Papa Joe, the patriarch of the Kennedys who, despite being almost immoble from strokes, still controls the dynasty.

Ed Helms, mostly known for comedies like The Office and The Hangover, takes a serious turn as the adopted Kennedy who acts as both trusted confidante and inadequate conscience-keeper of Teddy.

Clancy Brown, all 6 foot 3-1/2 inches of him, plays yet another in a long line of sinister characters, as Robert McNamara, the former Secretary of Defense under JFK who spearheaded the cover up and managed the fall out from the exposure of the Chappaquiddick murder.

The events leading up to Miss Mary Jo Kopechne's death took place the same weekend as the Moon Landing. This was either incredibly coincidental, collateral damage from the celebrations going on in connection with the landing, or very well planned, depending upon which view you take of the story this movie tells – whether you believe it is accurate or just another cover up for the benefit of what political functionaries believe is a willing audience.

Chappaquiddick feels like a murder mystery but without the denouement of a Sherlock Holmes or Hercule Poirot.

There are too many holes in the plot to be completely satisfying and one longs for a super detective to walk in, gather the suspects together and point unerringly at the guilty party or parties. But one question floats quite readily up to the surface of this cesspool.

If career politicians and their family and friends in places like Massachusetts or Arkansas, who feel they are routinely entitled, by birthright and political position, to exoneration from crimes like rape, murder, insider trading, selling access to the White House, opening our borders to foreign national criminals and terrorists, and incompetence bordering on treason by allowing an Ambassador to be slaughtered while ignoring pleas for help – then what ELSE are they lying about in order to further their careers?!? And shouldn't they go to jail as the rest of us peasants would? Will we, as voters, learn from history or be doomed to repeat it over and over and over again?

But MAYBE, perhaps, just possibly, it did all occur as the movie lays out. Pretty pitiful apology for a woman who was so unceremoniously dispatched and discarded by a powerful member of a political party which defines itself as protector of the little people. Extraordinarily meager payback for a young woman who was literally forgotten to death. Or is there a worse crime for which Teddy was guilty, for which the conviction of manslaughter was a slap on the wrist in comparison?

Let me leave you with a couple of final thoughts.

If you are still puzzling over the import of the single camera in Broadcast News, consider this: If Tom only had one camera, there is no way he could have cut back and forth between himself and the young lady. Therefore, Tom's quiet moving tears had to have been done at a later time and edited in. In short, they were faked after the fact. And despite Tom’s protestations that he really DID cry at the time but had to "recreate" them for the video, Jane was devastated and their relationship was over. If he was willing to lie to her about that to advance his career, then what else was he faking to proceed up the ladder?

Similarly, there is a question begging to be asked which is imperatively relevant to Chappaquiddick.

Mary Jo could not get out of the car. Evidence suggests she suffocated and did not drown. Is it possible that Mary Jo was already dead, already suffocated, when the car hit the water and Teddy was never in it when it was pushed or driven into the water? There was no way to definitively determine that immediately ex post facto because there was also no autopsy, despite the unusual and mysterious circumstances of her death, before a hastily organized and executed embalming and funeral.

But, admittedly, all that is speculation and circumstantial evidence.

So that is not the question I want to leave you to ponder.

But DO consider THIS: Just as Aaron had to point out Tom’s perfidity by asking Jane to reflect on one simple fact, I leave you with a riddle.

The divers had to pry open the car to get at Mary Jo’s body. There was no open window, no propped open door, no broken windshield. The car was flipped over on its hood and sealed up tighter than a drum when it was found.

So how did Teddy get out?

ISLE OF DOGS – A WES ANDERSON TAKE ON MAN’S BEST FRIEND

SHORT TAKE:

Peculiar stop-action animated dramedy about abandoned dogs and their nobility in a dystopian Japanese future and the boy who adventures out to rescue one of them.

WHO SHOULD GO:

The violence is, literally and figuratively, cartoonish, but unlike most cartoons, there are realistic outcomes: bitten off ear, bones of a starved dog, ripped eyes, missing fur – so mid-teens a minimum, and only then with parental discretion. As always, when in doubt, PARENTS YOU SEE IT FIRST before taking your kids.

Remember, they can not UNsee something.

LONG TAKE:

Isle of Dogs is a straight up tale of a boy searching for his lost pet.

But that is where the possibility of it being a kid movie ends. Isle of Dogs is really an animated stop action film for adults that most older kids could probably go see too. The premise of this very odd animated movie involves dog-hating corrupt politicians in a Japan 20 years into the future. (Not, according to Wes Anderson, necessarily OUR future or Japan's future but SOME future in the…future. Don't blame me, that is what Wes Anderson said.)

Acting on a thousand year old feud between dogs and cats, the evil Mayor of Megasaki gets his henchmen to devise and deliberately introduce a lethal snout flu into the dog population, making dogs both sick and more aggressive. To "protect" the population, all dogs from the fictitious Japanese town, (which name seems to stand for LOTS – mega – of very strong rice wine – saki), are sent to Trash Island, aptly named for the location to where all of the pollution, litter, industrial waste, radioactive discards, plastic bottles,

rusted car parts, broken glass and every day garbage are dumped from Megasaki.

The animation is almost entirely stop motion puppets, and the "making of" Isle of Dogs videos are fascinating. Each portion of this strange film is stylized:

a cave made of discarded soda containers, a mountain of black sand,

an island of tires. Anderson primarily uses bright colors in the peopled Magasaki and muted colors on Trash Island, not only to highlight and represent the desolation of Trash Island but to realistically reflect the fact that dogs are partially color blind and Anderson wanted the view of the place to be from the dog’s POV.

I wondered what would inspire Wes Anderson, the director of such disparate but equally quirky films as: the

Royal Tenenbaums,

The Grand Budapest Hotel,

The Fantastic Mr. Fox and

Moonrise Kingdom, (yes, Anderson likes that signature over-the-shoulder shot, doesn't he?), to make this rather odd film. It turns out after some research that the primary reasons are an amalgam of four disparate thoughts: a London street sign, a misunderstanding about him personally, a familiar trope, and 1960s Japanese directors.

It began apparently when Mr. Anderson was driving through London during the filming of The Fantastic Mr. Fox and saw a street sign "Isle of Dogs". Yes, it is a real place –

a suburban area built into a loop of the Thames. The name stuck with him. Further it's a bit of a play on words. Say it fast and it becomes "I love dogs". Which leads to the misunderstanding about him personally.

In Wes Anderson films, bad things often happen to dogs. This goes a long way to explaining why I'm not a big fan. See in my Sgt Stubby review where I talk about Lethal Weapon 2. This particular repeating motiff has led to the misunderstanding that he does not like dogs. However, according to Mr. Anderson, this is very much not true. So he has written a movie about a group of abused examples of these endearing creatures – which leads to the next reason I have uncovered.

Mr. Anderson likes to include the concept, in all of his movies, of the endearing Underdog.

The character up against seemingly overwhelming odds who surely cannot win but for whom everyone roots and who often overcomes the odds.

Mr. Anderson, in a conceptual pun, has written a screenplay about the ultimate Underdog – the downtrodden, less fortunate dog, who has become the under dog.

The abandon group of men's best friends, who are condemned to die alone on a trash island, who face seemingly insurmountable odds, but whom are very likeable and for whom we root are the very definition of the Underdog.

The ultimate underdogs.

Finally, Mr. Anderson simply is a fan of two Japanese directors.

Akira Kurosawa was the director of movies such as Ran, the Japanese version of King Lear, Rashomon, the brilliant classic film about an attack in a forest told consecutively from four points of view, and Kagemusha, (which translates to "political decoy") about a thief who is hired to be the body double of a king. For you Star Wars trivia buffs, just "so's ya' know," Kagemusha

was made possible through the influence and financial intervention of George Lucas. Lucas attributed inspiration for his breakthrough epic Star Wars from Kurasawa’s movie The Hidden Fortress. Shocked at finding out that Kurasawa could not get funding or attention to get Kagemusha filmed, Lucas pulled his now very thick and powerful strings – purse and studio – to get Kurasawa the backing he needed and the movie was a massive financial and critical hit.

Wes Anderson admits to being a big fan and was highly influenced in his use of style by Kurasawa as well.

The other Japanese director is

Hayao Miyazaki, an acclaimed manga animator of

Princess Mononoke, which Anderson says he admires for his use of nature and silence.

Therefore, Anderson set the location and the architectural styles of Japan

with a Frank Lloyd Wright flair.

The movie is not without humor. It is actually quiet funny in moments

with a dry wit often worthy of Steven Wright ("I woke up one morning to discover everything in my house had been replaced with an exact duplicate,") or George Carlin's "Hippy, Dippy Weatherman" routine, where he predicts that the nighttime would likely be "dark" with continued "dark" until the morning and that "the weather would continue to change for a long, long time."

Similarly, the dogs comment matter of factly on their tenuous, sometimes impossible, and seemingly hopeless situation with a jaunty optimistic naivety. Boss is voiced with

deadpan wryness by Bill Murray,

King with gentle common sense pragmatism by Bob Balaban,

Rex with a slight bit of snark by Ed Norton,

Duke as a gossipy worrywart by Jeff Goldblum, and Chief

with a straight man's frustration by Bryan Cranston. These dogs all have notably different personalities, despite the limited abilities of the puppets to express facially or look terribly individual.

Rounding out more of the cast are Scarlett Johansson's Nutmeg,

Leiv Schrieber's Spots,

Tilda Swinton as the TV interpreting Oracle,

Koyu Rankin as Atari, known to the dogs as the "Little Pilot"

for the daring way he arrived on Trash Island,

Greta Gerwig (the director of Ladybird, read about Ladybird in my Oscar Winners of 2018 review here) as

Tracy Walker, who takes up Atari's cause to the citizens of Megasaki, and

Frances McDormand who acts as narrator and occasionally Greek Chorus.

Incredible care and detail went into making each of the figures. For example, Andy Gent, working with 70 other artists, deliberately made the dogs' legs differently – they wanted to hit a "balance" between reality and "caricature," so to create that effect and for the convenience of the puppeteers, gave the dogs hind legs that look like front legs.

They brought in real dogs – sometimes pets from the cast and crew – and fashioned them according to certain actors they wanted to reflect, such as Charles Laughton's visage for Jupiter the St Bernard, voiced by F. Murray Abraham.

They also used

mechanical armature as a skeleton and crafted the fur from alpaca and merino wool.

There are virtues to be learned of: loyalty, redemption, fortitude and finding the purpose that God has given you. God IS mentioned in a positive way.

The dogs are at a loss until they are given the opportunity to once again serve humans and

humans have an obligation (defined Biblically as a stewardship) to care for, protect and respect the devotion lavished on us by dogs.

We are reminded often that dogs are supposed to be man's best friend and until that relationship is restored there is no real peace either in Megasaki or in the dog world.

While Isle of Dogs is aimed mostly at adults, despite its distinct peculiarities, this movie fits into that long honored list of films that remind us of the enduring relationship between humans and man's best friend.