EARLY MAN – LAUGH AS WALLACE AND GROMIT MEETS EVERY SPORTS MOVIE CLICHE KNOWN TO MAN

SHORT TAKE:

Adorable, funny, family friendly, typical sports outing about an underdog cavemen team playing soccer against a more sophisticated "Bronze Age" team to win their valley back, all brought to us by Nick Park and friends, the creators of SHAUN THE SHEEP!!!

WHO SHOULD SEE IT:

If you like Wallace and Gromit or Shaun the Sheep or Chicken Run or The Wrong Trousers or…. oh EVERYBODY!!!

LONG TAKE:

What do the fantasy franchises: Harry Potter, The Avengers, Game of Thrones and……. Wallace and Gromit have in common? Wallace and Gromit????!!!!

The answer is: Early Man.

Early Man is an adorable plasticine animation feature length movie brought  to you by the same instigators, led by Nick Park, who created The Wrong Trousers, and The Curse of the Were-Rabbit.

With tongue firmly planted in cheek, the story is spun about the lives of a group of Cavemen who were forced into the lone habitable spot by a meteor which devastated the rest of the known Earth. Their valley is lush and green, where all about them is the Badlands: with dangerous mutant animals, harsh rocky ground, and volcanos. The Badlands looks a bit like I'd imagine the Wembley Stadium parking lot after an EFL Championship game. But there are a couple of silver linings. Not only did the meteor strike carve out at least this one fertile area but the meteor, itself, also gave them the template for history's first football. By that, for those of you reading in America, I mean soccer. But the Brits call it football, so there it is.

Fast forward a couple "eras" and Dug (voiced by Eddie Redmayne – Newt Scamander from the "Harry Potter" world of Fantastic Beasts) and the tribe of which he is a member, happily lives on fruits, nuts and the odd rabbit (which said presented rabbit is about as catchable as Bugs Bunny so, in effect, they are de facto vegetarians). But Dug is ambitious – he wants to hunt mammoths………!

But that's not what the story is about. Their idyll is interrupted when Lord Nooth (voiced by The Avengers' Tom Hiddleson) sporting an impenetrable guise of Italian accent, comes upon the scene with equipment made of the bronze which he has mined from his nearby kingdom.

Dug challenges them to a game of soccer/football to win their valley back. Completely outmatched, Dug's group has no equipment, no training, no experience and doesn't even know the rules, but his chutzpah gets the attention of a local girl, Goona (voiced by Game of Thrones' Maizie Williams) from the Bronze kingdom who coaches Dug's tribe in exchange for a spot on the team. Nick Par, the creator, even lends a hand — or voice — for the emotive and communicative grunts and snorts of Dug's intelligent pig, Hognob.

The story is a pretty formulaic case of underdog team goes up against much better players with nothing but a good cause, lots of heart, and a ringer. We've seen the like in everything from The Karate Kid (karate) to Facing the Giants (American football) to Bad News Bears (baseball) to Mystery Alaska (hockey) and Balls of Fury (ping pong), and it works — every — time because, as Patton put it so well – "Americans love a winner" and everyone loves the underdog because in them we all  find inspiration. But this time it's played for laughs, parodying the sport, the genre, diva professional players, sports announcers, a "win one for the Gipper" moment, a hen pecked husband, you name it.

It's a clean, gentle, lovable movie that kids will enjoy for the claymation/plasticine animation and adults will appreciate for the pokes at the cliches. While there is a good deal of spoofing and teasing, there's not a mean spot in Nick Park's entire imaginative brain.

The cast list is like an old home week of favorite kids' characters, especially from the Harry Potter franchise. So when you take your kids you can happily point out that Eddie Redmayne is both Dug andNewt Scamander.  Timothy Spall, who voiced Chief Bobnar also moonlighted as Peter Pettigrew. Mark Williams, who does the voice for Barry, was also Mr. Weasley.

Miriam Margolyes, who voices Queen Oofeefa was also Professor Sprout. And Tom Hiddleson is Lord Nooth andLoki! I'll let you figure out how to explain Maisie Williams' stint in Game of Thrones. But, if it helps, she was also in a handful of Dr. Whos.

Early Man is available on Amazon now. So go watch this cute movie that will be delightful to kids, footballers, adults, fans of Wallace and Gromit, Harry Potter afficianados, pig farmers, rabbits, cavemen ………………

WON’T YOU BE MY NEIGHBOR – THE STORY OF FRED ROGERS AND HIS NEIGHBORHOOD

SHORT TAKE:

Lovely, delightful and moving documentary covering the life of both Fred Rogers and his Neighborhood.

WHO SHOULD SEE IT:

Absolutely everyone. No really – unequivocally, no holds barred, universally, unabashedly, and without even the smallest reservation – EVERYONE!!!!

LONG TAKE:

When I was a kid, I had a brother and sister who were 9 and 10 years older, respectively, than I. Come to think of it, they STILL are 9 and 10 years older. Also, my Dad and I were buddies. I’d go to the hardware store with him, and I would hang around and “help” him with construction projects around our house. He was 40 when I was born. My point is that when we turned on the TV it was “Fractured Fairy Tales” on Rocky and Bullwinkle, Star Trek, Hogan’s Heroes, Abbot and Costello, The Great Escape, Wagon Train and The Magnificent Seven. The quiet and gentle wisdom of Mr. Roger’s Neighborhood and his cardigan sweaters was just not on my radar. So later, when I had kids, while I respected the show, and thought he was doing something nice for kids, I just wasn’t that interested.

So I was surprised by my own emotional reaction to Won’t You Be My Neighbor. I realized then that Fred Rogers had seeped, ever so slowly, into my consciousness with his gentle, joyful manner over the last 50 years. He was simply a kind and decent man who both advocated as a motto of his show and lived by the personal  ethic: “I like you just the way you are.” Fred Rogers spent his life wisely, as the personification of Jesus' answer to the question which preambled the parable of The Good Samaritan: "Who is my neighbor?" There is no doubt in my mind that the name of his show was intended as an incarnation of that answer – that, to Mr. Rogers, everyone was his neighbor. And Fred Rogers' personal Inspired ministry was to bring God's Love to all people in a very practical, first hand way – by demonstration.

St. Francis famously advocated to: “Preach always, sometimes even with words.” Fred Rogers, through his actions, showed himself to be an avid disciple. Though the subject of Fred Rogers’ specific spiritual beliefs came up sparingly in the documentary, aside from the fact of his ordination as a minister, his adherence to the foundational Christian belief that all men are brothers, beloved of and equal in God’s eyes, comes out boldly and profoundly in everything Fred Rogers did, or said.

The documentary dips into the very deep well of video on which he appears. Not just the copies of almost 1,000 shows, but his personal appearances on interview programs, at schools, and even before Congress! There is no lack of documentation of Fred Rogers’ progress from his early philosophical musings before a piano on teaching children about serious issues, probably filmed by his wife, in 1962, all the way through the blooper video clips from his very last show in 2001 and his PSA in 2002 on 9/11.

The documentary interviews his wife, his sons, John and Jim, his co-workers, friends, associates, and other interviewers. They come from many walks of life, and life styles. But all people were equal in Fred Rogers’ eyes. Rogers maintained a tight ship, monitoring every aspect of the show, and required understandably scrupulous behavior, watching over the reputation of the show with care and affection for everyone involved in the production. Mr. Rogers, for example, forbade one actor from frequenting a particular bar and Betty Aberlin (Lady Aberlin) from appearing in Romero’s Night of the Living Dead. However, Rogers’ fatherly supervision of his cast and crew did not discourage a certain level of good-natured juvenile behavior amongst those Mrs. Rogers remembered he called his “playmates”, such as practical jokes on set or a poster made from a tasteless but amusing photo clandestinely left on Rogers’ camera by a mischievous member of the crew.

SPOILERS

Back in the 1960's, there were topics, it was understood, that children’s programming just would not explore. Mr. Roger’s Neighborhood’s stock in trade was the places where angels would fear to tread. He tackled issues head on that many adults avoided: death, divorce, lost children, serious illness, and disabilities. He had guest stars, wrote books, made appearances, did interviews, and performed puppet plays intended to translate these complex topics in ways which children could understand, talk about, and express their confusions and concerns.

The cast and crew were close and the show was very personal to everyone involved. Daniel the Tiger, the avatar most close to Fred Roger's heart and personality, according to those who knew him best, often spoke of insecurity and self doubt. King Friday XIII and his Queen dealt frequently with parental concerns. Everyone on the cast was known by a real name. Lady Aberlin's name was Betty Aberlin, Officer Clemmons was, in real life, the powerhouse singer, Francois Scarborough Clemmons, and the name Mr. McFeely, though played by David Newell, was Fred Rogers' middle name.

In the ‘60's, when black people were forced out of public pools, Fred Rogers pointedly invited Francois Clemmons, a black man portraying Mr. Rogers’ local police officer, to come join him on a hot day as he soaked his feet in a child’s plastic pool and to share his towel. Fred Rogers went out of his way to rinse Officer Clemmons' feet with his hose and offer him his towel. There is no mistaking the reference to Jesus' washing of his disciples feet nor of the point Mr. Rogers made. I couldn’t help but laugh as Mr. Rogers looked up at the camera from contemplating their cooling feet. There was an expression I'd never seen on the face of this usually sweet, impeturbable man –  just a glimpse of his righteousness anger at the injustices which inspired this demonstration, as though, for a moment, he was staring down anyone who would dare question his actions. I hoped those at the time, he was silently addressing, had seen and squirmed in shame. Mr. Roger and Mr. Clemmons re-enacted the event some years later.

When Bobby Kennedy was murdered, Fred Rogers’ show had Lady Aberlin and Daniel the Tiger discuss what the word “assassination” meant. When the Challenger blew up in front of millions of kids, Fred Rogers was there to confront the topic with his beloved puppets in ways small children could understand. When the horrific attack on our country was made by Islamic terrorists on 9/11, Fred Rogers came out of retirement, ill with only months left before he would pass away, to offer comfort to 33 years of children who had grown up watching him.

Mr. Rogers was the personification of kindness and the exemplification of Jesus’ instruction to his apostles as he sent them to preach, to be: “…wise as serpents and harmless as doves.” Rogers  loved and put at ease everyone he met, but was uncompromising in his beliefs and could talk anybody into anything he believed was right.

Rogers’ powers of persuasion were legendary. Mr. Clemmons, during the documentary, explained that just portraying a police officer as a black man at the time was initially out of his comfort zone, because he had grown up afraid of police. But Clemmons put on the uniform and gave good example, portraying this character for decades. Mr. Rogers could reason anyone into doing the right thing, including convincing an extremely prejudiced and skeptical Congressman Pastore out of the 20 MILLION dollars needed in 1969 to keep a fledgling Public Broadcast System afloat, by simply being reasonable. See the Youtube of Rogers' appearance before the subcommittee here.

Mr. Rogers recognized what a force for good the power of the television medium could be and how its worth was being wasted on frivolous, violent and brainless assaults on children’s senses. His mind set was to minister to children of all ages by taking their feelings and thoughts seriously, and help them cope with the normal struggles of life. He featured everyone from the profoundly physically challenged Jeffrey Erlanger to a young Wynton Marsalis to the famous Julia Child to Koko the Gorilla. Yo Yo Ma, the famous cellist, not only appeared several times on the show, but was a friend, was interviewed for the documentary, and is credited by the director, Morgan Neville, as being the inspiration for the documentary. While interviewing Mr. Ma for a different project, Mr. Neville asked Mr. Ma how he dealt with fame. Ma's response surprised him – that he learned it from Mr. Rogers who, it turned out, assured Mr. Ma that fame was not an inherently bad thing, and mentored him on the appropriate ways to use this gift.

Like Colonel Pickering, who treated even a flower girl like Elisa Doolittle as though she were a lady, Mr. Rogers treated everyone alike, to be valued as a child of God. His love for every man was carried out in his prison ministry, and his outreach to adults, Old Friends, New Friends which aired during the hiatus of his Neighborhood during 1967-8.

He was a missionary of fraternal love to mankind and The Good Samaritan to the world. I am so glad his ministry lives on in his shows, in the memories of his friends, family, co-workers and those children, now adults, who watched him and were positively influenced.  The picture of humility, his wife remembered how on his death bed he wondered if he would be accepted into Jesus' sheepfold. Known world wide, recognized and admired by celebrities, all he thought of himself was God's unworthy servant.

In this, the 50th anniversary year of his show’s debut, not only will a commemorative U.S. postage stamp featuring Fred Rogers be released, but work has begun on a biopic of the legendary minister, starring Tom Hanks, planned for release in 2019.

Jesus said the second half of the greatest law is to: “Love your neighbor as yourself.” Rogers was an ordained minister, so it was obviously not a coincidence that in the world of his “Neighborhood,Fred Rogers' declared, by word and action, daily, that he liked his fellow man, with a Christian love, just the way they were. St. Francis should be proud.

ANT-MAN AND THE WASP: A MIXED BAG – BUT ANOTHER PUZZLE PIECE IN THE MARVEL UNIVERSE OVERALL PICTURE

SHORT TAKE:

Flawed selfish characters in a plot full of holes, but even faulty Marvel hero films are fun. If you do go – STAY FOR TWO IMPORTANT END CREDIT SCENES!

WHO SHOULD GO:

I'd advise parental discretion here. There is a lot to commend it as a fun action-adventure. But while Ant-Man is altruistic and focused on his family, the Pyms are selfish and unconcerned about the damage they do to others. And there is a sprinkling of mild "cuss" words as well as one very inappropriate strong profanity, especially for a child's film, uttered by Hank in a moment of stress.

LONG TAKE:

Before I start my review, let me just say that I LIKED Ant-Man and The Wasp. The story and characters are very flawed, but like the oddly cut, and hard to place piece in a jigsaw puzzle, it fits into its own little niche.

TRIED NOT TO SPOIL BUT SOME REFERENCES INEVITABLY IMPLY THINGS SO HEREBY BE FOREWARNED

The Pyms are the singularly most flawed enhanced individuals in the Marvel Universe. I don't call them "heroes" because during the course of the entire movie they don't do one heroic thing. Lang and his ex-cons are another story, as they risk their lives, livelihood and freedom to help the Pyms. But outside of Loki and pretrained Dr. Strange, the Pyms are the most selfish "good guys" we've met. Strange reforms and Loki is at least witty and has spectacular style.

Even Thanos THINKS what he's trying to do is for the good of the Universe and is willing to make personal sacrifices for others – no matter how colossally and tragically misguided Thanos' intentions are.

And DEADPOOL! While, admittedly, Deadpool has an agenda of vengeance, his goal is to take out bad guys, which is to the benefit of innocents everywhere, AND he is willing to sacrifice his otherwise potentially immortal life for a kid he hardly knows. When Deadpool is a better moral example than the Pyms, you know the Pyms have issues.

Here's another way to look at it.

Whether Ant-Man AKA Scott Lang (Paul Rudd), the Wasp AKA Hope Pym (Evangeline Lilly), and Hank Pym (Michael Douglas) are good guys or bad guys kind of depends upon whether or not their universe is full of NPC's. For those of us not video gamers, an NPC is a non-player character, a critter or human which is really just part of the landscape serving as a decoration, target, or information access. Their deaths are irrelevant to the game's outcome.

The premise of Ant-Man and The Wasp concerns the Pyms who are trying to retrieve Janet Pym, (Michelle Pfeiffer), the wife of Hank and mother of Hope, from the quantum realm in which she was lost three decades before during a mission to disarm a nuclear weapon.

To accomplish this they kidnap Scott from his house arrest 3 days before he will have served his full term, which sentence resulted from his participation in the events of Captain America: Civil War. This kidnapping puts Scott at risk of getting him thrown in jail for the next 20 years and missing his daughter's entire youth. During the course of the movie the Pyms shrink and enlarge everything from cars to buildings to Pez dispensers and humans. In the real world many of these activities, especially when accomplished during car chases on busy highways and in populous areas, would have resulted, inevitably, in the collateral deaths of many bystanders.

All this in order to rescue one adult human, who, though lost performing a heroic act, volunteered knowing exactly what would happen to her. While their goal is admirable, the lengths to which they go are not. I understand WHY they do what they do but it does not justify their actions.

There is a Biblical truism which warns that no goal, no matter how good, can be justified with even a single evil act. While granting that rule must be temporized with common sense, someone committing a small sin to further the noblest goal would still have to take responsibility for their actions. And there is no doubt that wrecking havoc on an entire city and putting hundreds, if not thousands, of other people's lives in danger for the benefit of a single person, is neither a small sin nor an admirable plan.

In addition, Hope Pym is another in a growing list of tiresome, condescending, feminist, "I can do anything better than you can," chip-on-their-shoulder, self-absorbed, female characters which have most notably reared their ugly heads in the Star Wars franchise, as well as movies like Oceans 8. (Click on the names to access those reviews.)

All that being said Ant-Man and The Wasp is, kind of obviously even from the title, a fantasy science fiction. If we can keep that in mind, for the sake of this review, and the fantasy in which such stories live, let us presume that at least no innocent person, by some miracle, was harmed during the course of the movie and that all property damage was duly compensated by the Pyms using some kind of techno gizmo.

If you think that's absurd, then consider that we are discussing a movie wherein the characters can shrink themselves down to quantum level size and enlarge themselves to the height of tall buildings in a moment and with no permanent ill-effects.

I can live with that.

Moving forward from there, I can safely say that Ant-Man and The Wasp is a very fun movie. It is a family-friendly action adventure with a couple of provisos. Scott Lang and his crew of lovably goofy but well intentioned fellow ex-cons, Luis (Michael Pena), Kurt (David Dastmelchian), and Dave (Clifford Joseph Harris, Jr. aka T.I. shortened and altered into initials from the nickname "Tip" which his grandfather gave him), appropriately enough, run a security company. Who better would know how to stop a thief than another thief? They risk their new business to help the Pyms.

The dialogue is often tongue and cheek, such as when cliche comments are taken literally and responded to in kind. An example is a prolonged and funny discussion between Luis and the villain Sonny (Walton Goggins) as to whether or not the torture drug they are about to administer to Luis should be properly referred to as truth serum and then the Shrek style Pinocchio recitation Sonny gets from Luis of irrelevancies in response to asking where Scott is.

Little is taken really seriously so I suppose the car chases and suddenly and constantly expanding and shrinking buildings and people shouldn't be either.

The plot is interesting, especially as there are multiple sets of conflicting interests. The Pyms wish to save Janet. Scott wants to help the Pyms but stay out of jail. Sonny wants the Pym's tech to sell. Ava (Hannah John-Kamen) needs the Pym tech to solve her chronic state of quantum flux inflicted on her as a child when her father's experiment goes awry, an accident she blames on Hank Pym. Foster has his own agenda. The Fed, Jimmy Woo (Randall Park), wants to catch SOMEbody — ANYbody!. And the ex-con friends are just simply agog to be involved with super hero "stuff". Frankly, given all the contrasting interests involved, the ONLY thing that maintains Hank's priority of use of the tech is the fact that he invented and owns the technology.

Everyone believes their cause justifiable but only Sonny is seen as the real bad guy . Hwever, since Scott, the Pyms and their friends are the ones through whose eyes we see the proceedings, they are the ones for whom we are supposed to root.So we are to ignore when bystanders are put at risk……………??

OK.  I'm fine with that. This is, after all, a science fiction fantasy. I mean, come on, the guy's riding an ant.

Violence is cartoonish and the language is pretty clean until Hank lets loose with at least one over the top profanity I could have done without in a child's movie. For parental guidance I am quick to seek information from www.screenit.com. Membership is cheap and well worth it.

The rest is what we've come to expect from a Marvel Superhero Movie, with lots of exciting special effects which worked really well with 3D by the way. I'm not normally a big 3D fan but the flying-fighting scenes were ratchted up at least a half a notch by the glasses. The flashbacks featuring a younger Michelle Pfeiffer were the best I've ever seen, though Douglas suffered from the typical overly smoothed face and peculiar facial expressions common to this cinematographic magic trick. I think it is something about the mouth that just doesn't look right most of the time. I'm not singling out Douglas. I am aware of his medical issues and that is not the problem because this is universal to any time older actors are "youthened" by CGI.

 Also, Pfieffer's character is the point of one of the biggest plot holes – how did she survive 30 years in a hostile environment with zero resources? Food? Water? Bathroom? She aged and referenced being aware of the passage of 30 years time. She didn't even have a pack of cards so even if she didn't have to eat or drink, how did she manage not to go insane? This is completely glossed over without mention and I've found no precedent for answers even from comic book geeks on the net.

Another one that bugged (sorry about the pun) me was the physics which operated conveniently to the plot. On the one hand, being shrunk seems to afford some survivability not usually possible – like falls and impacts which would destroy a normal unshrunk human. This would imply a certain enhanced density. Granted, the suit they wear must help a lot but does not account for every instance – such as when their helmets are off. If the humans had been tiny but undense they could have been swatted like fairies or butterflies. Instead they carry an enormous amount of momentum and punch in fights. This implies the matter is all there but concentrated. On the other hand, Hank can pick up an entire shrunken building and people carry it around as though it was made of styrofoam. Even a scale model of that building would have been heavier than presented had it been made of the same unconcentrated steel girder and concrete materials, much less how many thousands of tons it should weight even in its shrunken but dense state. So which is it guys?

On the positive side, the jokes are funny, Scott doing his best as a father was refreshing, and I enjoyed the lighter tone of the movie, especially since the previous one I saw was Infinity Wars. However, on that note, and without giving any spoilers — hold onto your seat. Let's just say it is important to sit through all of the credits and that the FIVE screenwriters (talk about a story written by committee!): Chris McKenna, Erik Sommers, Paul Rudd (the Ant-Man, himself), Andrew Barrer and Gabriel Ferrari, as well as director, Peyton Reed, were definitely aware of the aforementioned movie.

In short, without a score card, it is difficult to tell whether the Pyms or Sonny is the "bad guy" team. The Pyms' goals are exclusively personally, relatively trivial in the grand scheme considering what they are willing to do to others, ignore the desperate needs of others, like Ava, casually put the safety and security of Lang's family and friends at risk by yanking Scott out of his house arrest a mere three days before he will be free, dismissively ignore Hank's possible culpability in Ava's condition, and put thousands of innocent bystanders in mortal danger.

It is not their best Marvel movie, nor does it try to be but it does hold its own and finds its place in the Marvel universe. I especially enjoyed the addition of Michelle Pfeiffer as new blood into the mix and the return of Scott's motley crue of comic convicts led by Michael Pena (Collaterol Beauty), who is always a pleasure, especially when he is telling one if his overly convoluted stories.

So, you older geeks (like me) – go see Ant-Man and the Wasp, if for no other reason than to put another puzzle piece into the overall picture that is the Marvel Universe, but I'd see it before deciding whether or not to bring impressionable kids.

UNCLE DREW – SURPRISINGLY GOOD SPORTS FILM BASED ON A PEPSI COMMERCIAL

SHORT TAKE:

Charming and gentle, entertaining, though formulaic, sports comedy about the value of family and respect for an elderly generation with much to teach, set on the basketball court.

WHO SHOULD GO:

Young teens and up, or anyone with a lively enthusiasm for basketball, as long as parents go with them to caution against the good natured smack talk and the fact one of the protagonists begins the movie living with his very unpleasant girlfriend.

LONG TAKE:

My expectations were not high for Uncle Drew. After all, it was based upon a series of Pepsi advertisements masquerading as faux infomercials about an elderly retired basketball player who goes to different street courts to surprise the neighborhood kids with his skilled prowess and spread his sage advice on the game.

The fact that the elderly man is actually a young active professional ball player in prosthetic makeup makes the shorts seem more like Candid Camera stunts than any legitimate effort to convey life experience advice to a younger generation of basketball players.

However, in approaching the movie, Uncle Drew, I felt there was a glimmer of hope, as the entire Pirates of the Caribbean franchise was created with checkerboard success from the ephemeral beginnings of a singular feature in a Disney theme park ride. But, then again, I was also aware of the pathetic sequel failures Disney has milked out of that dying series.

So it was much to my surprise that I discovered Uncle Drew is a lovely, charming, entertaining, fairly family friendly movie for  teens and up, directed by Charles Stone, thoughtfully written, acted to the best of the performers' abilities, and espousing a number of admirable virtues. The Pepsi commercials were written by Kyrie Irving but the screenplay was written by Jay Longino who does an excellent job of creatng a smart and warm story.

The premise of Uncle Drew concerns Dax (Lil Rey Howery who steals the show in both Get Out and Tag), an enthusiastic, and overly optimistic, coach of a street basketball team, who spends his life savings outfitting and entering his team, Harlem's Money, into the Rucker Park Tournament, a tournament now known as the Entertainer's Basketball Classic. The prize money is $100,000 but Dax is more concerned about proving his worth in the game he loves but doesn't feel worthy to play. His long time rival, Mookie (Nick Kroll), steals both his team and his mercenary girlfriend out from under him.

Desperate, Dax discovers Uncle Drew, an elderly but skilled basketball player, on a court during a one-on-one challenge with a young player in an effort to teach this younger generation how basketball should be played. Dax prevails upon/begs Drew to play for him. Drew agrees on the condition that he can choose his own teammates. Dax and Drew proceed to travel around the country in his formerly hippie van picking up his old teammates. The first is Preacher (Chris Webber), aptly named and married to a woman, Betty Lou (Lisa Leslie), who does not wish him to return to the court. Without giving any spoilers here, the scene during the baptism is worth the price of admission alone. And, of course, Preacher, goes anyway. Lights (Reggie Miller) can't see and  Boots (Nate Robinson) is at first confined to a wheelchair. The last is Big Fella (the one the only Shaquille O'Neal) a karate teacher with a grudge against Uncle Drew which will serve as a plot point later in the movie.

Acting as counterpoint to his former girlfriend is Maya (Erica Ash), the granddaughter of Boots who tags along as a gentle and caring companion for her grandfather.

The rest of the movie is a pretty standard, formulaic sports movie of an underdog entering an important competition, confronting old rivals, resolving past conflicts, improving themselves, and becoming more than the sum of their parts or their surface appearance.

This does not take away from the fact that the movie is quite funny, and features opportunities to demonstrate forgiveness, repentance and taking responsibility for sins even when the offenses are decades-old, loyalty, altruism, respect  and appreciation not only for what the elderly can teach us, but for their past experiences and accomplishments, familial bonds, and kindness. There is even a very cute dance off – believably pulled off as older men by these young athletes.

I especially want to note the effort and lengths these young men go to, to portray older men. The acting, while not especially subtle, was obviously taken quite seriously by these basketball players. All took great pains with the makeup and to genuinely convey with dignity and understanding the challenges that elderly people often face physically and emotionally. For example, I read that Nate Robinson, who performed Boots, and who went throughout the first half of the movie as mute and almost immobile, is himself normally an extremely high energy and active person. He portrayed, quite effectively and convincingly, a man who had almost given up on life and himself, until he has the opportunity to work again with friends and do what he loves best.

I also admired the care and detail with which Mr. Irving portrayed his Uncle Drew. Irving, as Uncle Drew, moved convincingly, with the painful care, and conveyed the slow, cautious steps, affected gestures, and challenged movements of an elderly person. The warm ups on the court, as these older men become inspired once again to engage in the game they all love so much, and to watch them slowly blossom on the court, was both believable and inspiring.

Uncle Drew is a credit to its sports genre, and exemplifies the best of what that kind of movie can be and teach in a light-hearted, comedic but respectful way.

My cautions about a minimum age or parent-attended audience, comes primarily from the the fact that the main character lives with his girlfriend instead of being married, and the language, which is really just good-natured smack talk between elderly close friends and former teammates, who chide and tease each other about intimate behaviors.

As always, use parental discretion for younger teens, but if I had a child who was especially fond of basketball, I would accompany them with plans to admonish them about language use, and explain that living together without marriage is wrong and a sin. Otherwise, Uncle Drew is a delightful little film with a lot to commend it, and keeping the provisos in mind, I would definitely endorse it. Pepsi, you did good.

 

SUPERFLY – MORALLY TOXIC AND OFFENSIVE

 

SHORT TAKE:

Remake of a bad 1972 movie of the same name which lionizes a drug dealer.

WHO SHOULD SEE IT:

NO ONE!

LONG TAKE:

Coined by the French critic Nino Frank in 1946, the dictionary defines a "FILM NOIR" (literally French for "film dark") as: a style or genre of cinematographic film marked by a mood of pessimism, fatalism, and menace. This title applies to such movies as: The Third Man, Chinatown, Scarface, The Postman Always Rings Twice, Sin City, Bladerunner, The Big Sleep, White Heat, and Strangers on a Train. In all of these movies, superior by several factors of ten, there is a cautionary tale in which we expect the protagonist of questionable motive and character to get his comeuppance through repentance, death, prison or some combination.

Not so with Superfly. It is a bewilderment to me why someone thought remaking a particularly bad movie from the 1970's was a good idea. But they did. This year's Superfly is an exact replica of the movie from 1972. The original Super Fly's iconic, though dated, funky, Motown music by Curtis Mayfield was the only thing that could even marginally recommend it and is a certainly better soundtrack than the excessively profane, garish, unnecessarily loud, repetitive technopop nonsense that prevades the 2018 version. Although admittedly, the 2018 version has much higher quality production values and slightly better acting, the story, and a goofy choice for the lead character's hair, remains precisely the same.

SPOILERS

The story, written by Alex Tse and directed by Julien Christian Lutz who, understandably, goes by the pseudonym Director X (I would not want my real name on this piece of trash either), revolves about a young man who goes by the name of Youngblood (so dubbed because he was the youngest of his gang when he was a kid) Priest (because he wears a cocaine spoon in the shape of a cross), also inexplicably known as Superfly (Trevor Jackson). Superfly sports a hairdo, of which he is inordinately proud, which bears a comedic and distracting resemblence to the skull piece worn by Alan Rickman's Alexander Dane in Galaxy Quest.  Superfly is also the leader of one of several cocaine dealer gangs in Atlanta. He plans on one final score to fund his retirement. All the gangs co-exist in relative peace until one day Juju (Kaalan Walker), a member of the Snow Patrol (laughably outfitted in white EVERYTHING), inexplicably becomes jealous of Youngblood's money and women, despite the fact Juju's own boss assures him that he has all the money and women he could possibly ever desire.

When leaving a strip club one night Juju picks a fight then takes a pot shot at Priest, misses and hits a bystander. This starts a chain of events which will ultimately lead, after a labrynthian trail of carnage and graphic sexuality, to Youngblood getting everything he wants. During the course of the movie his best friend, Eddie (Jason Mitchell) gets Freddie (Jacob Ming-Trent), Youngblood's enforcer killed, and the Snow Patrol wiped out. Youngblood ingratiates himself with the corrupt Mayor of Atlanta by plying him with cocaine and his own girlfriend. Youngblood also betrays Scatter (Michael Kenneth Williams), Youngblood's mentor and supplier, by cutting a deal with Scatter's supplier, a Mexican cartel drug lord, (Esai Morales), eventually getting Scatter killed.

Youngblood gets all the parties with whom he has done deals to turn on each other, LOTS of people get killed, after which Youngblood buys a yacht and sets sail in luxury with his surviving girlfriend. Not that any of the "victims" in this travesty have clean hands, but instead of a protagonist, Youngblood is more of a very clever King Rat standing on a pile of corpses, including, but never ever mentioned, his cocaine snorting customers.

In short, we have a drug dealer and thug who has made millions by destroying the lives of untold thousands of other people, who gets away with a lifetime supply of sex and money.

In a previous blog I exposed  Ocean's 8, in which we are supposed to side with a group of career criminals who steal, destroy and sell priceless historic jewelry from a donation-funded museum, in order to fund their own private vanity projects.

Both Superfly and Ocean's 8 ask the audience to applaud the "cleverness" of egotistic, sociopathic criminals, who harm the innocent and whose only "virtue" is that we see the proceedings from their point of view. The appalling parade of immoral, ruthless, selfish activites we are expected to cheer on in both cinematic obscenities is nauseating and offensive. If you are curious about the plot just read the wikipedia.org version of Super Fly from 1972 and you will get a pretty detailed idea of what the 2018 movie is about. Don't bother to watch any of them.

Cast and crew of all three movies should be ashamed of themselves. Keep your children away from these toxic movies.

THE LONG KISS GOOD NIGHT – INTENSE, BRILLIANT AND LITTLE KNOWN CULT CLASSIC WHICH PAVED THE WAY FOR ATOMIC BLONDE AND BLACK WIDOW

SHORT TAKE:

A rare example of a wildly successful, female-lead, action adventure about MOTHERHOOD — for adults only.

WHO SHOULD SEE IT:

Any adult who enjoys James Bond or one of the reboot Mission Impossibles.

LONG TAKE:

With the quality-questionable Uncle Drew being the most promising of the new movie releases this week, I thought I might do a review of one of my favorite movies you've probably never heard of: The Long Kiss Goodnight.

In 1996, far before Charlize Theron became  Atomic Blonde, and back when Scarlett Johanssen was still a child, starring in low budgets like Manny and Lo, well before she grew up to be Black Widow, a unique cinematic excursion was released called The Long Kiss Goodnight. Geena Davis, from Stuart Little, A League of Their Own, The Fly, and Beetlejuice costarred with the truly ubiquitous and eternally youngSamuel L Jackson (who looks no different now than he did 22 years ago – see my comment about this in my review of The Incredibles 2) in a movie about a woman named Samantha Caine. Samantha washes up, two months pregnant, on the shores of Honesdale, PA, a sleepy New England town, with nothing but clothes on her back she doesn't remember buying, a few fighting scars and complete "focal retrograde amnesia". She remembers nothing about herself: not her identity, where she came from, her age, who the father of her child is, nothing, except her name and even that is a guess.

Honestly, the background pictures during the opening credits reveal WAAAAY more than they should or is necessary. So – if you rent or buy this movie, on first viewing, you should START AT THE THREE MINUTE MARK. You can go back and watch the opening credit images after you have finished the movie.

Eight years later, as the movie begins, Samantha is now a teacher in the local elementary school and a devoted mother to Caitlin. While riding in her adopted home town's Christmas parade, in what seems to be a complete non-sequitor, an inmate in a nearby prison, watching the event on a caged TV, suddenly goes into a fury. About the same time, Mitch, (Samuel L Jackson) the low rent detective Samantha hired then forgot about, unexpectedly comes up with a lead, and Nathan (Brian "Stryker" Cox), an old friend from Samantha's past, sets out to find her.

With the exceptions of Ms. Theron, Ms. Johanssen, and Gal Gadot, I generally find that action adventures featuring women protagonists fall pathetically flat. The Long Kiss Goodnight is the Gold Standard of exceptions and the predecessor to all the blockbusters in which the aforementioned ladies have starred.

Clever, rough, violent, funny, startling and profane, it is one of the most unusual, fascinating and memorable films about motherhood I know. It ranks right up there with Hotel Artemis (click to check out my previous blog) and Aliens. While the language, ironically, has even Mr. Jackson's character, Mitch, complaining, there is no blasphemy, and the sexuality is very low key for this genre. If you want to check the details of profanity and sexuality out for yourself click Screenit, if you are a member, before watching.

GENTLE SPOILERS

Geena Davis' slow transition from the sweet and charming, happily domestic Samantha to the fierce and indomitable Charley is a tour de force. Ms. Davis and Mr. Jackson make superb platonic team mates in the kind of movie relationship usually reserved for bromances. The plot is part James Bond, part North by Northwest, part Mission Impossible, with a little bit of Dr. Jekyl/Mr. Hyde thrown in for good measure.

One of the things I find most commendably endearing and notably rare about this movie in general, and Samantha in particular, is that there is not even a hint she ever considered killing her unborn child, despite the desolateness of her situation as Samantha. Even while Charley, the most unlikely of mother candidates,  lurks in her subconscious, she has and embraces her natural and powerful maternal instincts. And after re-embracing her distinctly ungentle previous life Samantha/Charley remains a profoundly dedicated mother.  The idea that motherhood would trump everything else, even for the fully re-realized Charley, is a truly inspiring thought.

MODERATE SPOILER

To the point about motherhood, one of my favorite all time movie scenes is the way Samantha/Charley protects Caitlin and handles the "One Eyed Jack" when he invades her home. That's a heck of a mom. I can picture Weaver's Ripley giving Samantha a standing "O".

So if you're in the mood for something different than your usual film fare, be sure the kids are in bed and no where near close enough to hear Mr. Jackson as he chides Charley for HER language, and cue up The Long Kiss Goodnight.

JURASSIC WORLD: FALLEN KINGDOM – FLAWED BUT FUN VARIATION ON THE SAME LOVED THEME

SHORT TAKE:

Repeat of all the tropes from previous movies to create what is now a formulaic Jurassic Park movie – BUT I still loved it.

WHO SHOULD GO:

Anyone old enough to see the original Jurassic Park movie. Same scare level, no sex or nudity and very little profanity. These movies are a hoot and this one is just as much fun as the others, though nothing really very new under the sun. Just a variation on the same theme.

LONG TAKE:

I love the Jurassic Park franchise. Even the ugly stepchildren JP Lost World and JP III. I know they are derivative. I agree the first was the best – character driven as opposed to the far more special effects driven sequels. I understand they have become formulaic to the point where you can accurately and safely predict the characters who will and will not survive, and the general outline of the story. But I don’t really care. People who ride roller coasters are pretty familiar with how they work, know what to expect and are not especially surprised by the effects of free falls but they still ride them.

These movies are not Shakespeare, or Chekov, or even Woody Allen. They are "what if" stories about what would happen if you threw people and dinosaurs together. And they are a lot of fun.

Two of my favorite all time cinematic scenes are from the franchise. (click pic) One is the scene where Alan Grant, renowned paleontologist, reacts to his first encounter with a live dinosaur – a brachiosaurus. He is so overwhelmed he turns to Ellie, points and can barely get out the words – "It’s…. it’s a dinosaur," and then has to sit down on the ground. Makes me smile every time.

(click pic) Another of my favorite scenes is seeing Owen racing through the jungle on his motorcycle, hunting alongside raptors. After being oriented to how terrifying these critters are, through all the previous movies, all the way back to the first movie, to see a human as part of their pack gives me goose pimples.

The premise of JP Numero V is that the dinosaurs on Isla Nublar are facing extinction – again – because their island is about to be destroyed by an active volcano. Some think nature should reclaim these anachronistic Frankenstein monsters. Others believe we have a stewardship duty to save them despite the inherent extreme danger of the attempt. Another faction is in play with more mercenary motivations.

The actors re-create the characters we have enjoyed in previous movies.

Jeff Goldblum reprises his wisecracking, snarky and insightful Ian Malcolm, in a small cameo, offering his opinions to a Congressional committee on what should be done now that these creatures are facing an(other) extinction level event on their island. The movie cuts back and forth between his testimony and the adventures with Claire and Owen on Isla Nublar.

Chris Pratt returns as Owen, the dinosaur whisperer who is reluctantly pulled in to the rescue mission in order to help Blue, the raptor he raised.

Bryce Dallas Howard appears again as Claire, former executive assistant to the CEO who owned the destroyed park. She now runs an organization attempting to save the dinosaurs and whose primary job in this movie is to scream, escape from dinosaurs and be rescued by Owen.

The ubiquitous James Cromwell creates the character of Benjamin Lockwood, a heretofore unknown partner of the Jurassic concept’s inventor John Hammond (formerly played by the late Sir Richard Attenborough and appears only as a painting). The backstory is that for a previously undisclosed reason, which will become important to a subplot, they had a falling out.

Geraldine Chaplin – the oldest of eight children who Charlie Chaplin had with his wife Oona – appears in a small part as Lockwood’s trusted housekeeper.

Others fill out smaller bits seemingly just to fluff up the roster: Justice Smith as Franklin, the geeky tech guy who seems to have been hired for having a girlier scream than Howard and vaguely imitates Jake Johnson’s character Lowery from Jurassic World I. Daniella Pineda plays Zia, a tough talking self styled paleo-veterinarian (though she has never actually met a dinosaur up close). Ted Levine is the obligate bad guy, unnecessarily cruel to the dinos and callously dismissive of human life, much like Vincent D’Onfrio’s Hoskins from JW. Rafe Spall plays Eli, Cromwell’s assistant who is reminiscent of the lawyer Gennero (Martin Ferrero) from JP I. There’s the absolutely required kid (Isabella Sermon), of course who is cute then in danger. And so on.

Special mention must be made of BD Wong. He pops up once again as the "evil" scientist Wu, who is the embodiment of everything that alarmed Ian Malcolm when he admonished Hammond in the first JP movie that: (click pic) "Your scientists were so preoccupied with whether or not they could, they didn’t stop to think if they should." It is interesting to note that Wong and Goldblum were the representatives of the dipolar opposite views in the original JP and are the only major recurring members from the original cast. And I give the filmmakers kudos for going out of their way to make this conceptual point obvious by the small but significant presence of these two characters.

The special effects are remarkable, recreating not only multiple dinosaurs but a volcanic eruption, and chases across a variety of terrain from forest to rooftops.

It is a satisfying thrill ride of a movie, make no mistake.

BUT….

SPOILERS FOR JURASSIC FRANCHISE MOVIES, GENERATIONS, SERENITY AND  LAST JEDI

All this being said I still have some issues with the movie.

The de rigeur between-movies "break" in the romantic relationship of the leads is particularly silly. It is literally explained as having occurred because Owen wouldn’t let Ellie drive his van. Huh? In JP III the break up of Alan and Ellie is heartbreaking and gracefully presented. Alan is shown playing with Ellie’s child. You assume it is his until Ellie’s husband shows up. Then you realize not only that they are not a couple any more, but guess at why – that Alan never wanted to settle down and start a family.

Lava is, at one point, everywhere. Claire and Franklin (Justice Smith) would probably have cooked just being that close to it in an enclosed space as they were. Minutes later they are fleeing from a pyroclastic flow which moves at 50 mph and is full of toxic deadly fumes. An old dilapidated gyrosphere wouldn’t have gone that fast and Owen, even running downhill, couldn’t have come close.

In another scene, an experienced hunter, Ken, (Ted Levine) goes into the cage of THE most dangerous dinosaur ever created for a souvenir tooth. It's an insult to JP I's Muldoon who was taken by a pack of raptors while trying to save other people's lives. It was pretty transparent Ken's death in JW: FK was only to set up the escape of the Indoraptor.

 There was really no reason to try to murder Owen or Claire. They were brought along because of their unique insight into the creatures then discarded as soon as one was found. This didn’t make a lot of sense. They try to commit murder of experts who can help them in order to cover up the theft of animals who have been left to die anyway. Huh?

The most galling problem I have is with the demise of one of the creatures. The very first live dinosaur we see EVER in the franchise is an brachiosaurus. Yes, it is pretend and CGI and no dinosaurs were harmed in the making of the movie because all the dinosaurs are actually….extinct! But because of its emotional impact of awed amazement in the iconic moment of the first JP movie when we first saw what a living breathing dinosaur might look like today, there is a vested connection which audiences over 25 years and five movie have earned. But when Owen and Claire are fleeing the erupting island we watch a brachiosaurus – maybe supposed to be the very one we saw in the first movie – die a prolonged agonizing death. There is a drawn out, extremely painful scene where Owen and Claire watch the creature as it moans at the end of the dock, abandoned, without help, is enveloped by the toxic smoke, becomes a silhouette in the light from the lava and is destroyed. Like the death of Captain Kirk in Generations, the disappearance of Luke at the end of The Last Jedi, or Wash’s demise in the movie Serenity, it felt like a deliberate sign off from the parent franchise. Whether it will signal a new successful batch of movies is another question.

As I pointed out, it is really just an audio-visual emotional roller coaster ride so I shouldn’t expect subtlety.

 Overall I enjoyed JW: FK and do hope this is not the last of their progeny. But I also hope care is take in the future with those characters – human and otherwise – of which we have become so fond.

CHRIS PRATT – SPEAKS OUT STRONGLY FOR GOD, PRAYER, GRACE AND THE BLOOD OF JESUS – AT THE MTV AWARD CEREMONY!!!

Chris Pratt – Mr. Guardians of the Galaxy and Jurassic Park franchise – just blew me away with this excerpt from his MTV Award Ceremony speech. The entire list has humorous parts too and a part is transcribed below (with editorial bolding) but click this video to hear his inspirational message to a demographic who probably does not hear this often if EVER! And who desperately needs it the most!

Be sure your kids watch this GOOD example of a relatable celebrity from children-popular movies, showing his faith in God, grace, and a good sense of humor.

 

Chris Pratt at MTV Award Ceremony

 

Breathe.

You have a soul. Be careful with it.

Don’t be a turd.

When giving a dog medicine, put the medicine in a little piece of hamburger.

It doesn’t matter what it is, earn it.

God is real. God loves you. God wants the best for you, believe that. I do.

If you have to poop at a party, pee first and flush quick.

Learn to pray. It’s easy and it’s so good for your soul.

Nobody is perfect. You are imperfect. You always will be. You were made that way. There is a powerful force that designed you that way. And if you accept that you will have grace. Grace is a gift. And like the freedom we enjoy in this country that gift was paid for by somebody else’s blood. Do not forget it.

TAG – GOOFY MOVIE GIVES GOOD ADVICE

SHORT TAKE:

Based loosely on the real life camaraderie amongst 10 friends who have been playing the same game of Tag one month a year for 30 years, the movie Tag focuses on a representative five, plus one wife, a fiancee, and a reporter from the Wall Street Journal who breaks the story to the world.

WHO SHOULD GO:

Not for kids. Young adults and up only. The language and topics discussed are often raw and juvenilely crude and graphic. And the stunts these men are shown to pull are dangerous even under the supervision of stunt men, as Jeremy Renner found out. You would not want young impressionable kids trying to imitate them. UNLESS you want to show them clips and this photo to make the point – DON'T TRY THIS AT HOME!!!

LONG TAKE:

"You do not stop playing games because you grow old, you grow old because you stop playing games." This rather wise saying by George Bernard Shaw is the avowed, often repeated, theme of the movie Tag.

I have often advised my girls and teased my husband and sons that I do not believe men ever really get beyond the age of 13. Be they the Pope, your husband, your 80 year old grandfather, your investment broker, or your doctor, they hit puberty and that's — that. The only difference amongst them is their ability to hide it. It's one of the things that is most charming about them and used properly is a superpower.

And for anyone who does not believe me, you should see Tag, the movie, based on a real group of ten men, written up in a 2013 Wall Street Journal  article by Russell Adams.. Back row, from left to right: Mike Konesky, Bill Akers, Patrick Shultheis, Mark Mengert, Chris Ammann and Brian Dennehy. Front row, from left to right: Father Sean Raftis, Joey Tambari, Joe Caferro and Rick Bruya. (Courtesy of Father Sean Raftis ) These men, from all walks of life, one a priest, met at a Catholic school and  have been playing the same game of Tag, on and off, for THIRTY years. The Tag Brothers as they call themselves, particpate in this childlike joyous event for one month every year as a way to keep in touch —- literally — with each other. They have played despite and sometimes because of: births, deaths, weddings, illness and distances. They have tagged each other, in real life, by their own admission: in disguise, after flying hundreds of miles, appearing at family events, and even breaking into each others' HOMES! It's a wonder none of them have shot the other yet. One got tagged during his father's funeral – the taggee acknowledging it was a form of comfort and condolence and that his father, a big supporter of their game, would have thought funny. The group collected to support one of them when his wife was undergoing chemo and tagged him there. They have tagged each other when wives were in labor, and even when those children were being conceived!! (I do NOT even want to IMAGINE that one!) It is the way these men have chosen to stay friends.

As funny as this premise is you'd think it would be a one trick pony, perhaps documentary worthy but not enough to carry a movie. But you'd be wrong. The screenwriters, Rob McKittrich and Mark Steilen, have rather cleverly condensed the reality and formed it into an analogy for what keeps people together.

SPOILERS

Obviously an ensemble cast, to introduce them in rough order of appearance: Ed Helms as Hoagie, a successful veterinarian married to Isla Fisher’s extremely competitive Anna. Jon Hamm plays Bob, a wealthy CEO of a drug manufacturing company. Annabelle Willis is Rebecca, the reporter who embeds herself into the group. Jake Johnson is "Chili," the loser friend, stuck in his hippie, weed smoking, teenaged days.  Hannibal Buress is Sable, an air-heady sweet guy who sees life existentially. And then there is Jerry – Jeremy "Hawkeye" and "Bourne" Renner  – waxing and waning with the group as they pursue him during his wedding preparations. He is the main target this year because, in thirty years of playing tag with these same four friends, he has NEVER —- BEEN —– TAGGED, and rumor has it he will retire at the end of the month. And there is almost no lengths to which these men will go – physically, legally or in mental gamesmanship – in order to avoid being the last "it" – or to end the game without Jerry beng tagged at least once.

The personalities in the story are composites. There are no comparable individuals who are directly represented in the movie, but the premise and inspiration which ignited this crazy story did and does continue. The game, as it were, is STILL a foot!

WSJ also published the Tag Agreement drafted and signed as young adults by the Tag Brothers, based upon the rules they followed as children.

I normally consider profanity in movies largely a lack of creativity. But I have to admit on some level it is appropriate in Tag. Once the game is on, the men revert to the crude one-upsman language of adolescent teenagers – comparing and hitting genitalia, awkwardly throwing out "cuss" words, and using profanity as though they are trying to win a secondary competition for the most vulgarity. But this is what little boys do. They play rough and crash headlong in and through windows, businesses, private homes, yards and garbage cans during the chases. So energetic were the scenes as filmed that during one failed stunt involving a stack of chairs Jeremy Renner broke bones in both arms. The rest of the movie was filmed having to CGI around the "green screen" casts he had to wear.

But what was most charming about Tag was the moral to the story. Jerry, the all time champion who had never been tagged, knew everything about his friends. He knew how they thought, acted, what they did for a living, the strengthes and weaknesses of their personalities and could thereby anticipate any schemes to trap him. This, and his almost superhuman running speed, has kept him the reigning champion for 30 years. Ironically, but in hindsight predictably, his friends knew very little about him. They didn't know he was getting married or to whom. They didn't know he had a drinking problem or that he was in AA – until they bribe one of Jerry's own employees to rat out Jerry's location. Jerry may have been the Olympic Tag gold medalist but the cost was not spending any time with his friends during the one month the rest were together scheming to get him. Tag deals with the 30 years resolution to this conundrum.

It is the heart to this goofy movie which helps ratchet up Tag above its threadbare premise.

Another clever and memorable aspect to Tag are the homages to other movie genres. A number of schemes are attempted to tag Jerry. One plays out like a classic monster movie as the group moves through a foggy forest. Another scenario includes Jerry's internal POV as a voice over describing his analysis of their attacks and how he plans to countermand them – much like Downey, Jr.'s Sherlock Holmes. Other scenes give nods to Renner's stint as the Bourne Legacy character Aaron Cross as he uses everything from tablecloths to donuts and a walker to thwart his friends and leaps chairs, through windows and around staircases with an agility that his own Hawkeye would have admired.

As ridiculous as this movie is, I could not help but smile at the irresistable charm of grown men letting loose in a spirit of genuine fun with their friends. If the quote by Shaw is right, the Tag Brothers will remain eternally young as they keep their bonds of friendship alive. And that is a game worth playing.

BAO – DISTURBING SHORT IN FRONT OF THE INCREDIBLES 2 YOU MAY WANT TO MISS

 

Bao

There is a strange little short at the beginning of The Incredibles 2 called Bao (meat or vegetable filled dumpling) about a dumpling which comes to life for a lonely woman, so is spared from being eaten, until it grows to an age where he wants to leave home and marry, at which point the mom EATS the dumpling! The movie has nothing to do with The Incredibles 2 plot, except perhaps as a counterpoint DYSFUNCTIONAL family dynamic, making the strong family of Incredibles look even better. This is some fairly disturbing imagery, softened very little by the revelation that the "dumpling" is merely a reflection of her real life son, an only child, who left his parents to marry. While there is reconciliation with said son in the end, brought about by his understanding father, and acceptance of the non-Asian wife as she learns dumpling making from her mother-in-law, I could not get the unsettling imagery out of my head of the mother willingly eating her child rather than allow him to mature and leave home. This is a short you may want to either get in late enough to avoid or prepare to discuss with your kids later.

For anyone interested in what Domee Shi, the young lady writer-director of Bao has to say about her film, please click : Bao Director Interview.