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Annie
Lowest Recommended Age: Kindergarten - 3rd Grade
MPAA Rating:
Rated PG for some mild language and rude humor
Release Date:
December 19, 2014

 

The Maze Runner
Lowest Recommended Age: High School
MPAA Rating:
Rated PG-13 for thematic elements and intense sequences of sci-fi violence and action, including some disturbing images
Release Date:
September 19, 2014

Night at the Museum: Secret of the Tomb
Lowest Recommended Age: 4th - 6th Grades
MPAA Rating:
Rated PG for mild action, some rude humor and brief language
Release Date:
December 19, 2014

 

Magic in the Moonlight
Lowest Recommended Age: High School
MPAA Rating:
Rated PG-13 for a brief suggestive comment, and smoking throughout
Release Date:
August 1, 2014

The Hobbit: The Battle of the Five Armies
Lowest Recommended Age: Middle School
MPAA Rating:
Rated PG-13 for extended sequences of intense fantasy action violence, and frightening images
Release Date:
December 19, 2014

 

Teenage Mutant Ninja Turtles
Lowest Recommended Age: 4th - 6th Grades
MPAA Rating:
Rated PG-13 for sci-fi action violence
Release Date:
August 8, 2014

Jessica Alba ‘Enhanced’ for Campari

posted by Nell Minow

ALBA-large.jpgWhat kind of lunatic would try to improve on Jessica Alba? Apparently the folks at Campari felt that the beautifully curvy star was just a little too curvy and they retouched her photo to make her look slimmer.
It is just this kind of nonsense that sends a message of impossible standards to young girls and women. Anyone who thinks the retouched picture is more attractive than the original has a distorted idea of beauty and of reality — two concepts that did not used to be considered mutually exclusive.

Broadcast Film Critics Announce Nominees

posted by Nell Minow

The Broadcast Film Critics Association is the group behind the Critics Choice Awards, the first awards broadcast of the year and the one that has recently been a good predictor of the Oscars. This morning we announced our nominees. As I consider my votes, your thoughts are welcome!
BEST PICTURE
Changeling
The Curious Case of Benjamin Button
The Dark Knight
Doubt
Frost/Nixon
Milk
The Reader
Slumdog Millionaire
Wall-E
The Wrestler
BEST ACTOR
Clint Eastwood – Gran Torino
Richard Jenkins – The Visitor
Frank Langella – Frost/Nixon
Sean Penn – Milk
Brad Pitt – The Curious Case of Benjamin Button
Mickey Rourke – The Wrestler
BEST ACTRESS
Kate Beckinsale – Nothing But the Truth
Cate Blanchett – The Curious Case of Benjamin Button
Anne Hathaway – Rachel Getting Married
Angelina Jolie – Changeling
Melissa Leo – Frozen River
Meryl Streep – Doubt
BEST SUPPORTING ACTOR
Josh Brolin – Milk
Robert Downey, Jr. – Tropic Thunder
Philip Seymour Hoffman – Doubt
Heath Ledger – The Dark Knight
James Franco – Milk
BEST SUPPORTING ACTRESS
Penelope Cruz – Vicky Cristina Barcelona
Viola Davis – Doubt
Vera Farmiga – Nothing But the Truth
Taraji P. Henson – The Curious Case of Benjamin Button
Marisa Tomei – The Wrestler
Kate Winslet – The Reader
BEST ACTING ENSEMBLE
The Curious Case of Benjamin Button
The Dark Knight
Doubt
Milk
Rachel Getting Married
BEST DIRECTOR
Danny Boyle – Slumdog Millionaire
David Fincher – The Curious Case of Benjamin Button
Ron Howard – Frost/Nixon
Christopher Nolan – The Dark Knight
Gus Van Sant – Milk
BEST WRITER (Original or Adapted Screenplay)
Simon Beaufoy – Slumdog Millionaire
Dustin Lance Black – Milk
Peter Morgan – Frost/Nixon
Eric Roth – The Curious Case of Benjamin Button
John Patrick Shanley – Doubt
BEST ANIMATED FEATURE
Bolt
Kung Fu Panda
Madagascar: Escape 2 Africa
Wall-E
Waltz With Bashir
BEST YOUNG ACTOR/ACTRESS (Under 21)
Dakota Fanning – The Secret Life of Bees
David Kross – The Reader
Dev Petal – Slumdog Millionaire
Brandon Walters – Australia
BEST ACTION MOVIE
The Dark Knight
Indiana Jones and the Kingdom of the Crystal Skull
Iron Man
Quantum of Solace
Wanted
BEST COMEDY MOVIE
Burn After Reading
Forgetting Sarah Marshall
Role Models
Tropic Thunder
Vicky Cristina Barcelona
BEST PICTURE MADE FOR TELEVISION
John Adams
Recount
Coco Chanel
BEST FOREIGN LANGUAGE FILM
A Christmas Tale
Gomorrah
I’ve Loved You So Long
Let the Right One In
Mongol
Waltz With Bashir
BEST DOCUMENTARY FEATURE
I.O.U.S.A.
Man On Wire
Roman Polanski: Wanted and Desired
Standard Operating Procedure
Young At Heart
BEST SONG
“Another Way to Die” (performed by Jack White and Alicia Keys, written by Jack White) – Quantum of Solace
“Down to Earth” (performed by Peter Gabriel, written by Peter Gabriel and Thomas Newman) – Wall-E
“I Thought I Lost You” (performed Miley Cyrus and John Travolta, written by Miley Cyrus and Jeffrey Steele) – Bolt
“Jaiho” (performed by Sukhwinder Singh, written by A.R. Rahman and Gulzar) – Slumdog Millionaire
“The Wrestler” (performed by Bruce Springsteen, written by Bruce Springsteen) – The Wrestler
BEST COMPOSER
Alexandre Desplat – The Curious Case of Benjamin Button
Clint Eastwood – Changeling
Danny Elfman – Milk
Hans Zimmer/James Newton Howard – The Dark Knight
A.R. Rahman – Slumdog Millionaire

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Man on Wire

posted by Nell Minow
B+
Lowest Recommended Age:High School
MPAA Rating:Rated PG-13 for some sexuality and nudity, and drug references.
Movie Release Date:July 25, 2008
DVD Release Date:December 9, 2008

“Beacause it’s there.”Philippe Petit.jpg
George Mallory’s reason for conquering Everest applies to feats of exploration and adventure that include traveling to the moon. This documentary shows us that it also explains how a French teenager leafing through a magazine at his doctor’s office could see a picture of the plans for building the two World Trade Center towers and instantly decide that when they were built, he would string a wire between them and walk across it.
In order to make it happen, tightrope walker Philippe Petit trained and planned for years, and this film shows us the combination of meticulous preparation, whimsical optimism, a lot of hubris, and some well-timed luck combined to make it happen on August 7, 1974, 34 years ago today. The article-less title of the film comes from the designation on Petit’s arrest form. A combination of current interviews with the participants, archival footage, and some mostly understated re-enactments makes this as mesmerizing as the most intricate heist film, and we find ourselves rooting for the young man who wanted to dance in the air and never tried to explain why to himself or anyone else — or profit from his stunt. The result is an exhilarating film about a pure gesture of art, courage, and folly that seems enchantingly gentle. It is also wrenchingly poignant. Every shot of the two towers reminds us of the aspirations of those who built them and the immeasurable loss of 9/11. Every element of the plan to circumvent security reminds us of those who attacked the towers out of hatred rather than joy. All the more important to see this reminder of a moment when a man danced in the air for the pure pleasure of giving himself and the people who watched him a reason to smile.
So, if you cannot understand that there is something in man which responds to the challenge of this mountain and goes out to meet it, that the struggle is the struggle of life itself upward and forever upward, then you won’t see why we go. What we get from this adventure is just sheer joy. And joy is, after all, the end of life.
George Mallory

Parents should know that this film has some drug use and brief nudity with a post-wire-walking celebratory groupie.
Families who see this movie should talk about how people discover their dreams and what they should be willing to do to make them happen. How do the participants differ in their feelings about what happened?
If you like this, try: “Rififfi”

The Dark Knight

posted by Nell Minow
B+
Lowest Recommended Age:Mature High Schooler
MPAA Rating:Rated PG-13 for intense sequences of violence and some menace.
Movie Release Date:July 18, 2008
DVD Release Date:December 9, 2008

“Dark” is right. Christopher Nolan’s sequel to his Batman Begins is not only dark; it is searing and disturbing. The bad guys are very, very bad. These are not guys who do bad things because that is the only way for them to get what they want. These are bad guys who do bad things because they enjoy them. As the Joker (Heath Ledger, in his last completed performance) says early on, “That which does not defeat us makes us…stranger.”

joker.jpg

But what is more unsettling about this ambitiously epic film is the way that it shows us how even the good guys are perilously close to being bad. We like duality in our superhero sagas, but we like the meek or ineffectual character with the hidden strength and ability — Clark Kent as the incorruptible Superman and Bruce Wayne as the eternally honorable Batman. But this movie is an exploration of the way that none of us, not even heroes, not even ourselves — none of us know exactly where our boundaries are drawn. Over and over in this film people find themselves crossing lines they once were certain that nothing could tempt or force them to breach, with the most fundamental elements of identity and integrity revealed as ephemeral.

In the last episode, we saw how billionaire Bruce Wayne, a damaged man, found his deepest essence expressed as a masked avenger, Batman. The pull of turning himself into a creature of the night to protect the innocent and put the guilty in jail was so powerful that he risked losing the woman he loved, his childhood sweetheart Rachel Dawes (Katie Holmes in the first film, Maggie Gyllenhaal in this one). But as this movie begins, the clean-up efforts by Batman and district attorney Harvey Dent have infuriated Gotham’s criminals, who are escalating their efforts and working together to spread corruption throughout the community so that no one trusts anyone. A man with a mask can be anyone — or more than one. Copycat Batmans (Batmen) are showing up with something the real Batman never carries — guns. “That wasn’t exactly what I had in mind when I said I wanted to inspire people,” Wayne says. The line between justice and vengeance is blurring.

Blurring of lines is one of the themes snaking through this film. Characters slide in and out, over and across lines of identity, principle, and purpose. This is a comic book movie and it has chases and crashes and fight scenes, including a astonishing somersaulting truck, but when it is over it is the wrenching choices, the internal confrontations, that reverberate. The most stunningly unforgettable moment concerns a choice made by a character who is on screen for less than five minutes. But because we know so little about him (far less than we think we know, as it turns out) and because the decision he must make is so heart-rending, his choice becomes ours.

And Batman’s time and place becomes ours, too. The setting is less stylized than previous Gothams, recognizably Chicago. This is a real city with windows opening up on sun light that is always on the other side of glass and steel. We, like the characters, are relegated to the shadows, the underground passages, the airless buildings, a kind of architectural mask.

The sense of dread, of corruption, of dissolution of structures permeates the film. A bad guy who is ruthless in pursuit of money or power is not nearly as scary and unsettling as one who cares about nothing — not even his own life — as long as he is messing with everyone’s head. Like the bad guy in “Saw,” the Joker likes to expose moral weakness and exploit hypocritical pretense to honor and integrity. “Some men aren’t looking for anything — just to watch the world burn,” says loyal retainer Alfred (Michael Caine). “They can’t be bullied, negotiated, or reasoned with.” And the greatest damage this kind of terrorism inflicts is that it no longer allows us to be the trusting, decent people we like to think we are.

Ledger, in his last completed performance, is mesmerizing. His tongue flicking like a lizard, there is a wetness to his speech that makes us feel as well as see the nerve-slashing wounds that give his face the grotesque rictus that imitates a smile. Instead of the careful clown-like make-up of previous Jokers, Ledger’s is smashed and smeared, chaos upon chaos. Bale continues to make Batman and Wayne compelling and Freeman and Michael Caine as Alfred are watchable as ever. “You complete me,” the Joker says to Batman. Ledger completes this film and his loss is just one more reason to walk out of it a little sad and dazed.

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