FROZEN II

Voices of:  Kristen Bell     Jonathan Groff     Evan Rachel Wood     Jason Ritter

Idina Menzel     Sterling K. Brown     Josh Gad     Alfred Molina

     Frozen II is enchanting in the way fairytales are supposed to be, with thrilling visual effects, inspiring story, and imaginative characters—some endearing, some fearful, and some odious.  The film jumps back to when Elsa and Anna are children, and their father tells them the story of Arendelle and his role in it. Arendelle was friendly to another group in the Enchanted Forest and things were peaceful, until something happened to put them at war with each other.  This caused the four spirits of Air, Water, Fire, and Earth to create an impenetrable mist to descend on the forest, so that neither group could live there any more.

     Jump forward to the present when sisters Elsa (Menzel) and Anna (Bell) are grown up and thriving in their beloved Arendelle.  But Elsa, who has special powers with ice and snow, starts hearing voices in song calling to her.  She eventually feels it so strongly, that she is determined to enter the Enchanted Forest (described to her by her father) now covered in mist. Anna begs to go with her, and she finally relents, but suddenly, Kristoff (Groff)—trying desperately to protect Anna—riding on Sven the reindeer, and Olaf (Gad) the snowman are in the entourage.  

     On the treacherous journey, they’ll encounter numerous obstacles that will test their courage and strength.  Right off the bat, when a few try to penetrate the mist, they are abruptly thrown back on their rears.  They will have to go through the spirits of air, water, fire, and earth and use them to their advantage in order to get the answer they’re seeking and return home.

     At one point, Elsa decides she has to persist on her own, and takes off, leaving the others behind.  After forging through harrowing obstacles, she encounters family members of the past, learns crucial information about what happened, and solves the problem.  Not without her sister, however; one point of the story is the importance of working together and communicating to one another.  

     I imagine that most children will love this story, and it has many gems for them about the importance of history, human needs for family and friends and their communication and cooperation in achieving tasks, and the value of hope. 

     Frozen II, like the previous Frozen, is a musical, with characters breaking out into song, always expressing the character’s experience and furthering the story.  Christophe Beck, composer, has played an essential role in this, which is one of the eloquent aspects of the story.  All the writers (directors Chris Buck and Jennifer Lee, Kristen Anderson-Lopez, Robert Lopez, Allison Schroeder, and Marc Smith) deserve artistic credit for weaving a captivating story with heart and soul.

Do take your children/grandchildren to see Frozen II to delight, inspire, and thrill them.

Grade:  A                                    By Donna R. Copeland

TEEN TITANS GO! TO THE MOVIES

Voices of:  Scott Menville     Kristen Bell     Nicolas Cage     Tara Strong     Will Arnett

Khary Payton     Hynden Walch     Stan Lee     Patton Oswalt     Jimmy Kimmel

     In our narcissistic age, it’s fitting that we have more films for kids about its consequences, particularly when Hollywood has such a draw.  This animated film is about a “sidekick, a nobody” who has aspirations for greatness like the known superheroes enjoy.  Robin (Menville) is chafing about his insignificance in the superhero world, and his team’s references to his small hands only makes it worse.  (Wonder where the filmmakers got the idea that small hands has some significance in a film about hubris…)  So he begins to whip up enthusiasm among his team of Teen Titans, consisting of Raven (Strong), Cyborg (Payton), Starfire (Walch), and Beast Boy (Cipes), for making a superhero movie with them as stars.

     They proceed to Hollywood with high hopes of getting a contract, and wonder about who would be their nemesis, which all superheroes have.  Not surprisingly, one appears in the form of Slade (pronounced ‘slade-a’ to give it more oomph and voiced by Arnett). His power is in mind manipulation, and we see all kinds of manifestations of that in the story, except those times when Robin is onto him and doesn’t succumb to some of his mis-directions.  But Robin is susceptible to thinking about his own interests without regard to his team.  He keeps chanting that he wants “a movie all about me.”

     In the meantime, the Titans go to Warner Brothers and try to enlist the interest of director Jane Wilson (Bell).  [As an aside, much of this film is spoofing not only Hollywood, but superhero films in general, and this includes DC and Marvel comics.  Stan Lee of Marvel Comics has two wonderful cameos.] Wilson comes across as a caricature of director stereotypes, dismissing the Titans initially for their inconsequentiality.

     Eventually, though, the movie will get made, but at considerable cost; Robin will have to make compromises (like dispensing with his team) and learn a life lesson—one that will be to the edification of children in the audience.

     Clever references to previous superhero movies will please those knowledgeable about DC and Marvel Comics.  At one point when Robin wants to take him in, Slade reminds him that superheroes’ archenemies never go to jail—instead, their next plan gets foiled in the next movie by a superhero.  

     Teen Titans is clearly geared toward children, both in its humor (yes, farts and poops) and in its attempts to convey good principles such as thoughtfulness toward others and the pitfalls of pride. But with its running commentary on super hero figures and the comics behind them, it’s entertaining for adults as well, particularly those familiar with the genre.

     The core group responsible for the “Teen Titans Go!” TV series are at work in the movie version as well, for instance, directors Aaron Horvath and Peter Rida, production designer Dan Hipp, and musician Jared Faber.  The design, animation, and graphics match up nicely with the action, creating a unified whole.  Actors’ voices are apt for their parts, and special shout-outs go to Scott Menville as Robin and Will Arnett as Slade who are onscreen the majority of the time.

High Jinks and fanciful animations keep this production entertaining for children and adults.

Grade:  A-                                    By Donna R. Copeland

HOW TO BE A LATIN LOVER

Eugenio Derbez   Salma Hayek   Rob Lowe   Kristen Bell   Raphael Alejandro

Michael Cera   Rob Corddry   McKenna Grace   Raquel Welch   Linda Lavin

       There are not many films with lovers 25 years apart in age—that is, with the man being younger.  But How to be a Latin Lover has not just one but two such couples.  Maximo (Derbez) walks and talks like he is God’s gift to the world, comfortably ensconced in his wealthy partner’s mansion, with maids running after him serving his every whim and constantly cleaning up his clutter.  He’s been a bit thoughtless in marking his anniversary, so impulsively buys her a sporty car, charging it to her account.  It doesn’t dawn on him that her knees wouldn’t allow her to sit in it, so it turns out to be a car for him.  But…to his shocking amazement, since he thinks she doesn’t notice his lapses, she quickly falls in love with the car salesman (Cera), and he is kicked out of her life.

     Maximo is in his late 40’s and has never worked a day in his life, so what to do?  Suddenly, he’s back in his modest childhood days when he calls on his sister Sara (Hayek), who doesn’t want to see him (they are estranged because he hasn’t bothered to keep in touch or even attend their mother’s funeral), but she grudgingly allows him to stay with her and her son Hugo (Alejandro) in their small apartment temporarily.  Maximo’s years of being indulged and not having any responsibility gets him into one awkward situation after another.  He knows nothing about family life, so devalues his relatives, seeing them only as means to an end, i.e., finding another sugar mama.

     He tries to get help from one of his friends (Lowe), who has a similar arrangement with an older woman (Lavin), but the two men get into a brawl when one betrays the other—another scene that is supposed to be hilarious.

     Most of the story deals with the bizarre premise that Maximo can guide his sister (an attractive widow who hasn’t dated in years) and naïve nephew smitten with his 10 year-old classmate) in the art of seduction.  But this is the one (only) thing in which he is an expert, and in the process of helping others, he finds the value of family.

     Significant mishaps occur along the way, with a script intended to be funny, and indeed, the screening audience did get a big kick out of it.  My own impression is that except for the young-men/old-women twist, not much is novel or particularly funny in this film.  It is the same tired theme of the infantile man somehow achieving his goals without earning them in honorable ways.  His only redemption in my eyes is his realization that he has let his nephew down and then tries to make up for it in a touching, meaningful way.

     How to be a Latin Lover has a good cast, and the director, Ken Marino, has created a particular kind of comedy that makes people in the mainstream laugh, but leaves those of us who want more substance, hungry.  

Hard lessons for a Latin lover to learn

Grade:  C-                                    By Donna R. Copeland

BAD MOMS

Mila Kunis   Kathryn Hahn   Kristen Bell   Christina Applegate   Jada Pinkett Smith   Annie Mumolo

Cameos:  J. J. Watt, Wanda Sykes, Martha Stewart

          Observe a typical American mother’s day, as Bad Moms illustrates, and you will get dizzy.  That is, if the mom is conscientious, guilt-ridden, and feeling that she has never done enough.  Mila Kunis as Amy is such a woman, driving the kids to school and activities, helping with (doing) their science projects, attending their games, shopping, cooking, active in PTA, and a myriad of other tasks, all while holding down a job.  Her husband (David Walton) seems to have a cushy job and no other responsibilities at home, and has no clue about empathy.  However, when he transgresses beyond her tolerance—about the same time that she meets two women who will be bosom buddies, Carla (Hahn) and Kiki (Bell)—Amy begins to see the light and realize what her life has become. 

        The instant friendship that develops among the three women is not only beneficial to all, but their antics are often funny (except the over-drinking), and they are the embodiment of true friends.  Kunis as the lead actor holds her own and shows her considerable talent.  Hahn is bawdily hilarious as a street-smart, good-hearted but not-so-good mother, and she elicits most of the chuckles.  Kristen Bell, is perfect as the wide-eyed Kiki who has always been the epitome of good girl, good wife, etc., then draws applause for her assertiveness toward the end of the film.

        Of course, in a film like this, there has to be baddies, and the principal role for that is played by Gwendolyn (Applegate), the president of the PTA, who not only wields her power within that organization, but within the entire school.  Her two yes-women are Stacy (Smith) and Vicky (Mumolo).  Shows about women, sadly, seem to require a cat fight at some point, and this is included in Bad Moms in the form of Amy standing up against Gwendolyn’s demands (ridiculous requirements for a bake sale) and competing with her in an election. 

        There are some very good lines in Bad Moms, like, “Everything that comes out of your mouth is a cry for help” and “You’re not a slow learner; you’re just entitled.  Do you know what that means?”    And I enjoyed those, but much of the plot is like a canned sitcom going for easy laughs without much thought going into making the comedy meaningful and inspirational.

       The basic premise of this film is good—that American moms try to do too much, don’t expect enough from their kids, and have continuous self-doubts.  And I can imagine making a very successful comedy to get those points across.  The mistake writers/directors Jon Lucas and Scott Moore make is duplicating their Hangover films; their good points are over-shadowed by bad behavior that is supposed to be funny (and, granted, it is to some people).  I’m often taken aback by what people do laugh out loud about in movies.  Inevitably, pratfalls, farts, and getting hit on the head will draw them out, but they might also laugh about over-drinking, driving recklessly, and even sad events.  This film shows, as do a number of movies recently (e.g., Absolutely Fabulous, Ghostbusters, Mike and Dave Need Wedding Dates, The Neon Demon), women at their worst—sniping at one another, over-drinking, being hysterical—which are meant to be funny, and indeed many do laugh.  I don’t.

The female version of Hangover films—if you like that kind of humor.

Grade:  C-                        By Donna R. Copeland

THE BOSS

Melissa McCarthy   Kristen Bell   Peter Dinklage   Kathy Bates   
Cecily Strong   Kristen Schaal   Ben Falcone

        The Boss is typical Melissa McCarthy fare (Bridesmaids, This is 40, Identity Thief, Tammy), and if you like those films, you will like this one.  I see her role in Spy (written and directed by Paul Feig) as one that shows her more serious acting abilities, and the direction I wish she would go in her career.  McCarthy has considerable acting talent, and I think it’s time for her to part with the slapstick persona she is known for and get serious.  She is one of those interesting women who are heavy, but beautiful and talented.  The reason I liked Spy so much is that Feig showed a blended, more complex character, with smarts overriding klutz.

     The story in this film is that Michelle Darnell (McCarthy) is a highly successful businesswoman who grew up as a foster child—one that was returned surreptitiously to the orphanage numerous times—and now has a chip on her shoulder and determined to “make it”, no matter the cost.  And she does, but along the way she allies with “Renault” (Dinklage), her “twin” in business practices (win, whatever it takes) and sometimes lover.

          When he feels betrayed by her, he gets her charged with inside trading (the reference to Martha Stewart is explicit), and while she is in prison sees that her company goes bankrupt.  When she is released from prison, she has to completely start over, and relies on her previous assistant Claire (Bell)—whom she treated very badly—to reenter society. 

      This story is very much about sociopathy—essentially using other people (in the negative sense of the word) for one’s own narcissistic needs.  So Michelle blithely barges in on Claire and her daughter, co-opts the child’s Girl Scout cookie project to form a competing organization, all in the guise of being more generous to children than the Girl Scouts.  But Michelle’s rival, Renault (Ron, really, since he is from Brooklyn) is still seething and out to get her again.

        I won’t tell you how this turns out because I don’t need to; I’m sure you’ve already guessed.  But if you enjoy these kinds of comedies, then it will be to your taste.

         I object to this kind of movie on a number of fronts.  First, it wastes so much talent (the cast is truly fine in every respect) on a story with so much potential for substance.  Second, it models really bad behaviors too numerous to list and treats them as comedic material.  Do we really want to laugh at corporate misconduct, exploitation of employees and children, and physical altercations (note that when men fight, it is admired or at least exhilarating; when women do it, it’s comedic or even sexually titillating for some).  Well, despite the considerable talent—and the obvious enjoyment by many in the screening audience—I have to give this film a thumbs-down.

Typical Melissa McCarthy fare, in which bad business practices are presented as comedy by a very talented cast.

Grade:  D+                        By Donna R. Copeland