Well made indie film about the relationship between a foster teen, her eccentric aunt, and a pro-life message.
WHO SHOULD GO:
Older teens and up for some mild cussing but mostly for the conversation and plot topics of family violence and teen sexuality.
Who would have thought you could make a charming (mostly) family friendly comedy about a dead dog, an abused foster child, and her eccentric aunt. Well director Jeffrey Ault manages to do just that in the movie Sam and Elvis. Based on Susan Price Monnot’s play titled Dead Dogs Don’t Fart, with the screenplay written by a collaboration between Monnot and Ault, the story is about a bright but defensive and hostile orphaned foster teenager named Samantha played by Marcela Griebler placed in the care of her Aunt Olina played by Sally Daykin who in turn lives alone with her taxidermied dog Elvis.
This little indie film starts off a bit clunky as Olina expresses her doubts to Elvis, avoids an incessantly ringing phone and eats the random junk food she finds about her cluttered home. However, it finds its footing quickly once the aunt and her ward are brought together and bounce their strong personalities against each other.
The acting demands occasionally become significant but newcomer Griebler holds her own. Rounding out the cast are Pete Penuel as Larry, Olina’s platonic friend and Sara Hood as Rebecca, the well-intentioned and overly sincere but somewhat inept social worker who serves as occasional comic relief.
Ault uses simple and natural settings and clothes that likely came out of the actors own wardrobes. This is to the plus, as the focus is correctly placed on the relationships involved. The other production values like cinematography, sound and the background music are sterling and perfectly meet the mood of this small gem filmed almost entirely within Olina’s house.
People speak their minds in Sam and Elvis. No polite pussy footing around impolite or bad behavior. No tip toeing around differences of opinion. And in this there is a large plus in the negative.
What I mean by that is – despite circumstances which emerge in the plot, which I won’t divulge but you can easily guess, at no time does anyone consider abortion as an option for anyone. At no time is it suggested that an unborn baby is merely a “fetus” or some other euphemism for unborn child, which circumlocution liberals and pro-death dealers fling around like a shield to disguise the holocaust level murders they champion. A baby is called a baby regardless of whether it is in or out of a womb. And that is a breath of fresh air.
There is a bit of mild cussing sprinkled throughout and the topics of domestic abuse and teen sexuality make Sam and Elvis inappropriate for younger teens. But the powerful message of familial bonds and respect for life shine forward making Sam and Elvis a definitely should-see film.
* AND IF YOU ARE INTERESTED IN THIS MOVIE PLEASE CHECK OUT UNPLANNED– THE STORY OF ABBY JOHNSON, THE FORMER ABORTION ACTIVIST AND DIRECTOR OF THE PLANNED PARENTHOOD FACILITY IN BRYAN, TEXAS, WHO CONVERTED TO THE PRO-LIFE MOVEMENT IN ONE EPIPHANAL MOMENT.
AUDIO PODCAST OPTION OF ALITA: BATTLE ANGEL REVIEW
Fascinating animation/real action mix story based on a long-running Japanese manga series, about a cyborg girl reconstructed and “adopted” by a human and the dystopian society they both must navigate to survive.
WHO SHOULD GO:
Older teens/young adults minimum for language, and extreme violence.
BEYOND HERE BE OCCASIONAL SPOILERS
This first heads up is more of a warning than a spoiler. Alita: Battle Angel is nowhere near a completed story. James Cameron takes a page from Peter Jackson’s playbook – giving us great character introductions, wonderful interpersonal relationships, interesting and fearsome enemies, exciting battle scenes …. and an abrupt unfinished ending. OK – technically the titular director is Robert Rodriguez but with James Cameron as the scriptwriter you know many of the decisions in the filming of this movie were done as a collaborative effort.
A musical analogy would liken it to ending a symphony on a dominant chord instead of the tonic chord, meaning a note that does not feel complete. Another way to look at it would be to begin the phrase ” shave and a haircut…”
Anyone who has seen the brilliant three-part Lord of the Rings series or the bloated Hobbit trilogy knows that Mr. Jackson likes to end his first story not exactly with a cliffhanger but with a temporary break in the action, taking Donald O’Conner’s advice to: “Always leave your audience wanting more,” to heart. Jackson ends his movies at about the place where one might choose to hit the pause button in the middle of the movie after one has had too many sodas.
And Mr. Cameron and Robert Rodriguez have done exactly the same thing with Alita – starting with an involving, well told story which then drops off a cliff. To be fair, this is on purpose.
HOWEVER, this is not surprising as Alita: Battle Angel is based, in whole and in part, on the first four of a NINE VOLUME manga series written between 1990-1995 by Yukito Kishiro called Gunnm (translated literally as “Gun Dream”). Alita: Battle Angel, the movie, like the manga series before it, is about a cyborg girl rescued from a dumpster and reconstructed by a cybernetics physician in a dystopian society set about 500 years from now.
The CGI was astonishing. James Cameron, who has been enamored of this manga series for about 10 years, said that he was waiting for the technology to become advanced enough to meet the demands of how he saw the film should be made. And he does not disappoint.
Rosa Salazar who plays the eponymous character is quoted to have said: “I’m a walking piece of technology, so that made it actually quite easy to fall into the physicality of a cyborg.” Photos of her show her dressed literally from head to foot in motion capture, including the unusual addition of two cameras on her face. Watching the behind-the-scenes was amusing as the actress would have to subtly duck and weave around the other actor’s head when coming close to avoid clobbering them with the extra headgear (which technology was, of course, CGIed out in post production). But the slight dance goes smoothly in the final product due to Ms. Salazar’s skillful body language and the technical prowess of the computer geniuses who brought Alita to life.
It’s interesting to see Christoph Waltz as a good guy. Usually he plays very rough, sometimes cold blooded or downright evil characters – such as being the most recent incarnation of James Bond’s antagonist Blofeld in Spectre, or the chilling psycho-Nazi Landa in Inglourious Basterds (sic), or the abusive plagiarizing husband in Big Eyes – the list goes on. But in Alita, Waltz is a nurturing protective creator/father-figure, his normally scary edge giving believability to his “side job”.
Jennifer Connelly, whose pedigree dates all the way back to David Bowie’s 1986 fantasy, Labyrinth, is Ido’s estranged wife and, therefore, Alita’s “mother”.
Mahershala Ali (Green Book – see my post on that brilliant movie) is the lead baddie’s main henchman.
Keean Johnson does a delightful job of charming Alita as the shady boyfriend, Hugo, in a mixed motivational character with shifting alliances that Clark Gable might have played way back when. And I MUST note that Mr. Johnson is a HOMESCHOOLED KID!!! Check out his bio here on us.imdb.com.
There are also some VERY fun cameos, which are designed for Mr. Cameron’s hoped for sequel. Jai Courtney (Terminator Genisys – and don’t laugh at me, I REALLY LIKED that movie – see my post on it here) plays Jashugan, a champion in Motorball, the gladiatorial game played in Alita. Edward Norton (he is to Hulk as Tobey Maguire was to Spiderman – close but no cigar, also in Collateral Beauty – see post here, Fight Club, and American History X), appears in a couple of – don’t blink or you’ll miss it – moments as Nova the ULTIMATE controller of the sky city of Zalem, who becomes Alita’s nemesis and the target of her future goals to storm said city. Both have uncredited parts. Mr. Cameron explained that even if they never make the sequel, that those characters were must-haves in the story and essential to show. And, he said, if they did make a sequel that they wanted heavy hitters for those roles. Both men, Courtney and Norton, are friends and work colleagues of Cameron’s, so were more than willing to participate even in these tiny roles to help further the prospect of a sequel.
The soundtrack, written by Antonius B. Holkenborg, who goes by Junkie XL, is gorgeous and positively symphonic, creating a delightful variety of emotions from Alita’s sweetly, almost fairy-like awakening in Dr. Ido’s home to Terminator-feel violent reflections of her experiences in the Motorball battles against homicidal cyborgs during the Rollerball-level lethal game.
For anyone who is not old enough or geeky enough to remember the 1975 movie Rollerball, starring James Caan (whose credits date from the iconic tear-jerker sports game Brian’s Song, to the ill-fated Corleone son in The Godfather, to the voice of the tech-befuddled Dad in Cloudy with a Chance of Meatballs), it is worth taking note. Motorball, as presented in Alita is a DUPLICATE of the murderous gladiatorial eponymous game played in the movieRollerball, set in another dystopian ultra-violent society. It is obvious Mr. Kishiro is familiar with this story.
There has been some controversy over the use of oversized eyes in Alita. Some say they are disturbing and off-putting. I strongly disagree with the naysayers. Alita’s unusually large orbs perform a multiplicity of plot functions. For one, it highlights Alita AS a cyborg. There is no mistaking her for a natural born full human. For another, if windows are the eyes to the soul, then Alita wears hers not just on her sleeve right next to her heart but right there on her face for all the world to see. Between the fine acting and the quality CGI every subtlety of Alita’s growing and changing emotions and character are there for the audience to relate. Large, disproportionate eyes are also a feature of small young creatures, including humans. It is one of the designations which mark an inchoate being, not just inspiring protective feelings of those around them but signaling their fundamental innocence. While Alita does do some horrific things it is from her training in her previous life and only done for the protection of others – Ido, her human friend Hugo, even a stray dog.
Alita has a couple of obstacles to hurdle to gain the attention and affection of a Western audience. The first and most obvious is, of course, the manga origin, which is a subset of an already limited demographic of comic book sales. The second is her identity as a warrior cyborg, which could have been an automatic bias against her given the Terminator series. I think her preternaturally large eyes help create an almost instant connection to this character, helping break down those barriers. I thought the device clever, without being (IF you will excuse the VERY deliberate pun) “in your face” and quite effective.
While animated AND based on a comic book character, Alita is NOT for children. There is EXTREME violence, which includes dismemberment, crushed heads, and death. It is likely the movie might have been saddled with an R rating had Cameron and Rodriguez not had the simple foresight to make cyborg “blood” obviously manufactured blue instead of gory red. There is at least one gratuitous “F” bomb uttered by Alita, herself. And they even violate one of MY personal taboos – they KILL A DOG! Though this happens, admittedly, out of sight, Alita smears the dog’s red blood under her eyes like war paint before beginning her quest to defeat the tyrannical forces which have been unleashed against her and her ersatz family.
As a result this is not a movie either for the young nor the faint of heart. For a more mature audience, however, it is a spectacular and creatively told outing. It is interesting to almost “feel” the Japanese manga origins in the way the characters react in more restrained, almost “Vulcan” ways than an America audience might be used to.
In addition, the plot moves along quickly and efficiently. It does not dawdle on relatively trivial points on which many similar genre American movies might languish. For example, there is a bit of tension created from Ido not telling Alita initially that the name he chose for her was that of his murdered daughter. (In the original manga series it was Ido’s cat, but Cameron’s script, wisely, I thought, decided on a more emotionally compelling attachment). Honestly, in an America movie this omission might have been held on to for a prolonged period then left as a mid-first act or even mid-second act “reveal”. Instead, Alita establishes this “secret” only long enough for the audience to find out, then has Ido explain it to Alita fairly expeditiously. To avoid spoilers I won’t give any more examples, but suffice to say this style is adapted throughout the movie. Such choices clear the way for a more intelligent plot.
I do recommend Alita but only for an older audience of late teens/young adults and up. It is refreshingly different and well written. It features excellent acting, especially considering the massive amounts of green screen in the landscape and motion capture equipment on the people with which the actors must contend. The music is worth listening to all by itself. But DO keep in mind the ending is VERY unsatisfying – albeit contrived purposefully so – as a build up for the next installment.
Death Wish – style movie with a more sophisticated philosophy and more intelligent presentation than most.
WHO SHOULD GO:
Adults only. Little sexuality but a lot of harsh language and extreme amounts of violence.
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One of the rules of good scriptwriting is SHOW DON'T TELL and I think Equalizer 2 did a (excuse the pun) bang up good job on this point.
I've gotten rather fond of Jeremy Scott's eviscerative observations on Cinema Sins. Although replete with profanity and spiced with the occasionally mildly raunchy comment, his analysis of movies, and disclosure of poorly written, clichéd weaknesses and foibles are not only usually very funny but spot on. When writing screen and stage plays, I now pointedly try to avoid the fallback easy positions like: heavy handed exposition, predictable setups, and stereotype characters, with a small voice in the back of my head optimistically warning that if ever this is produced, you don't want to hear that bell count out ill-advised boiler plate tropes.
And while watching movies, I find myself predicting what Jeremy will catch. Citing "Narration" as the self-explanatory critique and reason for the "sin," one of his pet peeves is excessive expositing. In the beginning of even blockbuster or well respected movies, such as Black Panther or Lord of the Rings, a chronicler will spout a long garrulous anecdote, covering decades or centuries worth of background.
That does not happen in Equalizer 2.
SPOILERS BUT ONLY FOR PEOPLE WHO HAVE NOT SEEN THE TRAILER
The premise, building upon the original, is that an ex-CIA operative, Robert McCall, now thought dead, lives a quiet life as a Lyft (read Uber) driver, doing good deeds where he can. The main storyline of Equalizer 2 follows McCall when, about a half hour into the movie, his friend is brutally murdered. McCall announces, is expected to, and eventually does, take violent retribution against the perpetrators. But I found the subplots, and the way the narrative is handled, far more interesting.
For example, the movie starts, (and not properly a spoiler as it is in the trailer) with a Muslim-costumed Denzel Washington confronting Turkish thugs on a train. Only later, as he goes about his normal routine back in Chicago do we OBSERVE how he knew of a problem and what it would take to fix it. The set up and solution were very quietly and subtly handled. And this small subplot did not even directly relate to the main action, but only served to establish McCall's abilities and personality.
The most compelling part of the screenplay was how McCall exercises that platitude of doing random acts of kindness using the gifts we have. For us ordinary mortals, it might be holding someone's door open or even paying for the coffee of the stranger in line behind you. For McCall it's beating the tar out of dangerous, abusive men then making them call the cops on themselves afterwards. When asked why he would take on the job of cleaning spray paint graffiti off of a wall when anyone else could do it, he responds that, although anyone else COULD, no one else DOES, so he does. This is the mantra from which he lives and a motto which raises the bar on what could otherwise have been just another Death Wish vigilante violence porn clone. While I'm not advocating vigilantism, often the mentality is a "kill them all and let God sort them out" philosophy.
It's refreshing to see this hero, in this genre, genuinely attempt to mete out justice, even often allowing the bad guys an opportunity to "do the right thing" on their own first.
Another of McCall's "projects" is a neighborhood kid who shows some promise as an artist, but is tempted by the quick money and allure of drug running. When asked by the boy, "Why me?" as in: why would you care or why risk your safety for me or do this for me, McCall answers simply, "Why NOT you?"
I was reminded of the parable of the Starfish. Traditionally attributed to an inspiration from the St. Augustine philosophy of doing what you can for those whom God puts in your path, the short tale is of an adult coming upon a child throwing starfish into the ocean. When asked what the child thinks he will accomplish, the child responds that the tide is going out and those left on shore will die. Surveying the thousands of starfish which littered the shore, the adult cautioned the child that he would make little difference given the overwhelming job facing him. The child responded with a smile as he threw another starfish into the ocean: "But I made a BIG difference to this one."
So go see Equalizer 2, not for the overused, familiar vengeance fueled chaos, or even for the nicely handled "show don't tell" exposition. Go to watch Washington's McCall use his singular gifts to save what starfish he can.
NOTE: As I was out of town for the writing of this one I was limited in the pictures I could add but will be updating, God willing, upon my return.
Unfortunately, in all good conscience, I can not recommend this movie to anyone.
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.
Well written, well acted espionage movie which is unwatchable for most audience members because of the extreme nudity and violence.
WHO COULD WATCH IT:
Were this movie edited to remove some of the most graphic moments I might have a cautionary recommendation for young adults and up. As it is, I would advise only mature married couples who have a strong stomach and fairly tough sensibilities.
Back in the day when movies would come on TV after a thorough scrubbing of content inappropriate for family viewing I might have been able to recommend you wait to see Red Sparrow when it comes on your local viewing station. Now that that is no longer a viable option I am hard pressed to advise what demographic this movie might be suitable for. It’s a shame too because it is well done. A fast paced, cohesive spy thriller with a flaw-free plot, worthy of a Mission Impossible scenario with excellent acting, good believable character and relationship developments and a pacing and editing that keep you guessing to the very end.
The problem is they show too much. I don’t mean that pedantically they talk down to the audience. I mean they SHOW — TOO — MUCH!!
The premise is that a young Russian woman, Dominika, (Jennifer Lawrence – Hunger Games and Passengers), just at the end of the Cold War is extorted, by her highly placed uncle, (Matthias Schoenaerts) into selling herself to a wealthy Russian businessman in exchange for medical assistance for her desperately ill mother (Joely Richardson – Return to Me and Liam Neeson's sister-in-law). But the job is far more than she was led to believe and at its conclusion is told she can either be considered a loose thread to cut or "volunteer" to be a "Sparrow" – a spy who learns how to elicit, through seduction, any target – as Dominika, herself, later describes it "whore school". This is where the movie begins its elevator-like descent into scenes which made me glad my husband and I went to this movie without friends or family.
Upon her "graduation" she is sent on assignment by her superiors (Jeremy Irons – Scar from Lion King, the new Batman Alfred, and Ciarán Hinds – Aberforth Dumbledore from Harry Potter and Claudius in Benedict Cumberbatch' Hamlet) to become "acquainted" with an American agent (Joel Edgerton – Bright, The Great Gatsby and The Thing). Given the nature of espionage movies one can guess that the motives of each of the many characters involved is not always what you expect and the plot will take some precipitous twists and turns – which this movie artfully does.
Red Sparrow is Kingsman without the humor or any comicbook filter, Black Widow's origin story without the PG rating, Mission Impossible with the violence ratcheted up several notches, James Bond without the gentility or leaving anything to the imagination.
There are scenes of complete frontal nudity of men and women. There is sexual, emotional, psychological and physical torture, shocking and bloody graphic violence. Not that any of it is, really, gratuitous. This, I suspect, is the nature of espionage at its basest level, especially the brutality, dehumanization and and the stripping away of individuality that defines Communist Russia. It is even likely that what the filmmakers here have shown IS filtered compared to what really goes on in the liberals' dangerously ill-informed idea of Utopia. But we, the audience, don't really need to see every — single — detail. The viewing audience does have an imagination, which, arguably could have been put to better use.
Sharks eat people. We know that. But Spielberg didn't even SHOW Bruce the shark in Jaws until way late in the movie knowing that what you do not see is often far worse than what you do. (That and the fact the mechanical shark didn't work but hey – chicken feathers into chicken salad…) The audience in Jaws did not need to see ever single bite, chew, and serrated incision the shark made on every one of its victims – though the scene with Robert Shaw was pretty grotesque and possibly the least effective because of it.
The story itself is intriguing but the episodes of violence, nudity and sexuality are enough to disturb the suspension of disbelief — and I've seen A Clockwork Orange and am a Monty Python fan!!!Screenit.com the review website which provides a detailed analysis of movies allowing parents to determine whether this movie is appropriate for their children REDLINED on every category that counts.
It doesn't happen often but this is a good movie which I just can not recommend.