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US Magazine critic Thelma Adams has a blog post about one of the most common questions I get asked: where are the parents in movies about kids?  She quotes my comments:

Nell Minow, the Movie Mom, told me “This is the second-most frequent question I get asked by parents (first is: I am so careful with my kids, but what do I do when they go over to someone else’s house?)”

The answer, Minow continued, referencing Tom and Huck, Pippi Longstocking, and David Copperfield, et. al., is that “if the parents are there, the child can’t have an adventure. They’d be saying, ‘You can’t go on the yellow brick road today — you have homework, and you need a sweater!’ The satisfying fantasy of the story is that the child is able to do what the child in the audience would like to feel he can do — to master the scary adult world.”

She still doesn’t like it though, and wonders how many more parts there would be for mature actresses if the movies allowed more of their young characters to have moms.  And privately, we agreed that even though we loved “Finding Nemo,” the beginning is wrenching.






Slate has taken data from Rotten Tomatoes to compute the career trajectories of actors and directors.  The results are unexpected — would anyone guess that the actor with the best reviews is….Daniel Autueil?  And the worst actress…Jennifer Love Hewitt?  I’m a fan of both.

To be fair, on Rotten Tomatoes actors do not get individual scores, though that’s a fun idea.  How would you like to read a review that gave individual report cards to each of the people in or behind the film?  Autueil is a brilliant French actor who is equally adept at drama and comedy.  If he has made bad films, they have not made it to the United States.  Jennifer Love Hewitt is a fine actress who has appeared in some lousy (but financially successful) movies.  But the statistics are fascinating nevertheless, and Slate has included its own interactive chart, so you can put in the name of any actor or director to see how his or her career has risen and fallen over the years and even compare them to each other.  Try John Travolta, Jim Carrey, and Brad Pitt.

The two most interesting aspects of the X-Men are absorbingly explored in this prequel that takes us back to the childhoods of rival mutants Magneto and Professor Xavier, played in the first three films by classically trained Shakespearian actors Ian McKellan and Patrick Stewart.  Professior Xavier wants to work with humans and use the evolutionary mutations that result in superpowers to promote peace.  Magneto believes that the mutants are the product of an evolutionary leap forward and the sooner the humans are dispensed with, the better.  While the super-powers and special effects are fun, it is this argument and the fluid loyalties of their followers is at the heart of the X-Men saga. This film takes us back to the days when the two were allies, if not friends, set in the post WWII Cold War era.

First, it gives us a glimpse of the two men as children.  Magneto, then Erik Lehnsherr , is taken to a Polish concentration camp with his mother.  His anger and anguish at being separated from her fuel his power to bend metal and control magnetism.  He is taken to meet with a doctor who murders his mother to get him to access that power again.  He is tortured to develop it further.

Charles Xavier is a British boy from a wealthy family living far from the war in Westchester, New York.  His power is telepathy.  And his only friend is a fellow mutant named Raven, whose natural appearance is blue and scaly but who has the power to take on any shape.  Xavier (played as an adult by James McAvoy) gets a PhD in genetic mutation while Lehnsherr (played as an adult by Michael Fassbender) is exclusively focused on revenge against the doctor who killed his mother, now known as Sebastian Shaw (Kevin Bacon).

The great strength of the X-Men series is the way it taps into the feelings of all teenagers of being mutants.  It is a natural part of that time of life to feel alienated and isolated, a bit horrified with the changes they are going through.  Some of the best moments of the X-Men sagas are when the mutants learn for the first time that they are not alone and begin to own their strangeness and take pride in their powers.  This film has a witty “outing” reference and as an origin story, it makes the most of its opportunity to show the young mutants collected by Xavier showing off for each other.  The film also makes good use of its mid-century setting, hyper-accurate in the production design and slightly skewing the history to make the atomic age both a cause of the mutations and playing field for those who want a “final solution” for the human race.  Lehnsherr’s views are more understandable in the context of his experiences; he has seen what happens when those who are seen as “other” are identified; they can be rounded up and killed.  January Jones looks like she just walked out off the set of “In Like Flint” and her expressionless style works well for the icy Emma Frost.  Bacon looks like someone who has just come from a party at the Playboy Mansion, smooth as a member of the Rat Pack in German and English.  And it makes judicious use of archival footage, weaving President Kennedy’s announcements about the Cuban missile crisis into the story so effectively he might qualify for a supporting credit.

Director Matthew Vaughn gives the material a more straight-forward and conventional treatment than he did with “Layer Cake” and “Kick-Ass.”  There are some sly in-jokes for the fanboys (a cameo appearance, two references to Xavier’s future baldness) but it does not have the heightened tone or self-awareness of his other work or the witty romantic fantasy of the underrated “Stardust.”  Fassbender and McAvoy do their best, but he story and characters are more in service to the summer-movie special effects, which makes it fun, if not especially memorable.  It is a serviceable film with moments of brightness and energy and fine performances but it never really comes alive.


Director John Houston’s “The Man Who Would Be King,” released this week for the first time on Blu-Ray, is a magnificent spectacle, based on a story by Rudyard Kipling.  Michael Caine and Sean Connery star as British sergeants and adventurers during the colonialist era of the British Raj.  They travel to Kafiristan (now Afghanistan) and are briefly able to persuade the indigenous people that one of them is a god.  Caine’s real-life wife co-stars in one of those they-don’t-make-them-like-that-anymore adventure sagas.  Indeed, Houston had hoped at one time to film it with Clark Gable and Humphrey Bogart.  I would love to have seen it, but I am certain it could not have been any better than this thrilling and touching story.

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