Beliefnet
Movie Mom
New to Theaters
C

Lowest Recommended Age: High School MPAA Rating: Rated PG-13 for intense sequences of violence and action, and brief strong language Release Date: July 29, 2016
B+

Lowest Recommended Age: Middle School MPAA Rating: Release Date: July 15, 2016
B

Lowest Recommended Age: Mature High Schooler MPAA Rating: Rated R for strong violence, language throughout, some sexual content and drug material Release Date: July 12, 2016
New to DVD
Pick of the week
A-

Sing Street

Lowest Recommended Age: Middle School MPAA Rating: Rated PG-13 for thematic elements including strong language and some bullying behavior, a suggestive image, drug material and teen smoking Release Date: April 22, 2016
B+

Barbershop: The Next Cut

Lowest Recommended Age: Middle School MPAA Rating: Rated PG-13 for sexual material and language Release Date: April 15, 2015
C

The Boss

Lowest Recommended Age: Mature High Schooler MPAA Rating: Rated R for sexual content, language and brief drug use Release Date: April 8, 2016
| This product uses the TMDb API but is not endorsed or certified by TMDb.
What kind of movie do you feel like? Ask Movie Mom Click here

Be sure to tune into VH1 on Jan 15 to watch the Critic’s Choice Awards! I will be there, so see if you can spot me. Kevin Bacon will receive our Joel Seigel award, presented by Meryl Streep (who, of course, has a Bacon score of 1 because she co-starred with him in ???). Our host for the evening will be the lovely Kristen Chenoweth and our house band will be Nick Jonas and the Administration!

You can vote along with us, too.

Those who want to see the Michael Cera they know and love and those who want to see him do something else can both find what they are looking for in “Youth in Revolt,” based on the popular epistolary novels by C.D. Payne. Cera plays Nick Twisp, the typical adolescent hero — his parents are insensitive mess-ups with love lives that embarrass Nick and make him even more acutely aware of how alone he is and how unlikely it seems that he will ever find a girlfriend.
And at first this is the typical Michael Cera role — a sensitive teenager who is not sure of himself but whose hesitant delivery produces makes the surprisingly barbed coherence of his comments particularly winning. But then, when Nick meets Sheeni (appealing newcomer Portia Doubleday) and realizes that faint heart never won fair lady and nice guys finish last, etc. etc., he realizes he needs to up his game. And so, like the Dark Knight, Dr. Jekyll, and The Nutty Professor, he takes on another persona, one that manifests his darker impulses. Nick becomes Francois Dillinger, named for the fantasy Frenchman Sheeni says she hopes to marry and, well, you know. Francois has a mustache, he smokes, and he wears slim, European white pants. He gets Nick into a lot of trouble, but he coolly keeps pushing him forward. The two Michael Ceras interact like “The Parent Trap” on crack.
YIR.jpg
The exceptionally strong supporting cast includes the Mary Kay Place and M. Emmett Walsh as Sheeni’s very strict Christian parents and Fred Willard as a soft-hearted liberal neighbor. Jean Smart plays Nick’s perpetually-unlucky-in-love mother (her suitors are Zach Galifianakis and Ray Liotta) and Steve Buscemi is his BMW-loving father. The episodic nature of the story seems to drift toward an end that seems hasty and contrived. But Director Miguel Arteta (“The Good Girl,” “Chuck and Buck”) maintains a darkly comic tone, twisted but buoyant, that will feel authentic to anyone who has survived — or hopes to survive — adolescence.

Many thanks for the very thoughtful comments on my post about the commentary that “Avatar” has inspired. I was particularly glad to be directed to some thoughtful assessments of the film I had not seen.
Thanks to Sheherazahde and Cheryl Anne for suggesting John Crowley’s commentary.

As to the story — it was astonishingly standard, every element, every twist, every emotion having been seen a thousand times before. It was nearly identical to both Disney’s and Terence Malick’s Pocohantas, but more Disney — the heroine even closely resembled Disney’s. But it also took from John Ford cavalry epics and a dozen other sources. It also was a derivative of Ursula LeGuin’s The Word for World is Forest, one of her lesser and more platitudinous all-life-is-sacred-and-women-know-it stories, up to and including interconnected wise trees and brutal uncaring corporate and military types. Hilarious, actually, rather than lowering.

James led me to Carl McColman’s commentary on the film as a Christian parable.

I think it’s interesting to breathe through the obvious contours of this story and consider it as a parable of the intersection between sky-god and earth-goddess spiritualities. Here’s the key: one of the main characters is named Grace Augustine. Can you get any more heavy-handed than that?…

So in the end, wisdom proves greater than either might or avarice — and the “Christian” wisdom of grace and justice joins together with the “Pagan” wisdom of the goddess-as-the-web-of-life. And this integrated wisdom proves to be too much for the “sky people.” Quaritch dies at the hand of Neytiri, felled by the very arrows he laughed at throughout the story. Selfridge, meanwhile, is marched ingloriously onto a ship that is sent packing. Only Grace’s team is allowed to remain on Pandora, and the movie ends with Jake finally solving the problem of his paraplegic body.

Indeed, I think the fact that Jake is disabled is as central to understanding Avatar as is the symbolism of Grace Augustine (“grace pre-destined”?). Jake comes from a disabled planet. As he mournfully tells Eywa, “our home has no green on it; we’ve killed it all.” Both he and Grace experience a death-and-resurrection; but where hers is more classically Christian in tone: she, the sinner (smoker) is felled by sin (a gunshot wound) and dies, only to find new life in the post-corporeal, beatific vision of Eywa — whose name seems to be a möbius-strip inversion of “Yahweh” suggesting that she encompasses both earth goddess and sky god. Jake, on the other hand, undergoes a more explicitly Pagan death-and-rebirth, reincarnating in the healthy body of his avatar.

Sheherazahde also pointed us to this response from Druid blogger Ali, showing, as I said before, that the spareness of the story allows each of us to bring our own perspective (and bias) to it.
And I am grateful to Andy Culpepper for giving us a link to his “Avatar” commentary at The Hollywood Beat.

The electronic game and cyber worlds have given us a skewed definition of what an avatar represents, but the original meaning from the Sanskrit translates “one who crosses over….”

Not since 1999 and “The Matrix” (http://www.cnn.com/SHOWBIZ/Movies/9903/31/matrix/) have I come across such an accessible major motion picture so rich in mythological, literary and Judeo-Christian references. Like “The Matrix,” “Avatar” expands expectations of what a feature film can offer an appreciative audience.

Early on, Cameron lets us know that we’re following a protagonist who represents much more than what meets the eye. The Sanskrit definition – one who crosses over – refers to a deity who comes to Earth in body form. Is his Jake a Christ figure? No – he isn’t sacrificed. Does he undergo apotheosis? Oh, yeah.

Both Jake and his dead brother, Tom, have been named with a nod to the Bible. Thomas was also known as Ditimus, the original “doubting Tom,” and Jake is short for Jacob, a second-born twin whose name translates from the Hebrew as “the foot catcher.” Jacob was born in a breach birth – his hand clasping the heel of his slightly-older brother, Esau. In “Avatar,” Jake is a metaphorical foot-catcher: Becoming an avatar allows him the chance to walk on two feet again, if only during his cross-over or dream state.

Just as Jake in the movie “crossed over” to literally connect to the wisdom of the Pandorans, it seems to me that Cameron, in releasing his film, has opened up his story to the wisdom of the audiences. This discussion has enriched the experience of the movie for me. I loved jestrfyl’s reference to the ewoks! And his very wise conclusion that “These films, like Jesus’ parables, favor the characters who have no authority and have yet to realize their own power.”
A rabbi once told me to keep in mind that the only difference between a mirror and a window is a coating of silver. Some people want movies to be a mirror, to reflect back to them what they already believe. They can feel threatened or offended by any story that does not explicitly validate or reinforce their beliefs. Others look to movies as a window, to give them a sense of something they have not seen or thought of before. They cherish other views, even those that contradict their own, as a reinforcement of their notion of freedom and humanity, and an opportunity for deeper understanding and greater connection.

The Wrap reports that the Muppets are having a comeback.

After being put to pasture a few years ago following a string of disappointing films and a ho-hum return to TV, the Muppets are a pop culture phenomenon once again.

And they’re doing it by popping up all over the Disney corporate matrix, including appearances on ABC and ESPN programs, top billing on the Walt Disney Company’s homepage and, soon, in a network special and feature film written by “Forgetting Sarah Marshall” star Jason Segel.

They’ve adapted to the era of social networking with two videos that have become viral sensations.

Coming up — a Halloween special scheduled for fall 2010. Can’t wait!

Previous Posts