ENCOUNTER

 Riz Ahmed     Lucian-River Chauhan     Aditya Seaton

Octavia Spencer     Rory Cochrane     Janina Gavanker

            Viewers’ expectations are set up immediately by opening scenes of comets flashing across the sky and close-ups of microorganisms that look like aliens.  But then we’re introduced to a typical American family—mom, stepdad, and two young boys.  The older child Jay (Chauhan) shows resentment toward the “new” dad and sits at the dinner table drawing pictures for his own father Malik (Ahmed).  He’s had frequent correspondence with him, in which Malik indicates that he has an important job fighting for the country.  And it is true he has been in the Marines, but that is only part of the story.  

            It’s best not to know much more than that before seeing the movie because it is packed with ambiguities, tension, and fear.  Suffice it to say that the dad appears suddenly to take his boys on a road trip, which he calls a “secret mission.”  His imagination charms them and they look forward to a big adventure. 

            This is a well-conceived movie directed by Michael Pierce and co-writer Joe Barton.  It leads you along from the set-up to something much more frightening, in a way, and to something that will prompt your thinking about some relevant and important truths.  As you see it, you ask questions, consider hypotheses, and do a bit of nail-biting when the action gets hairy.  But afterwards, you ponder the fundamental ideas the filmmakers want you to think about.

            The acting is superb; Riz Ahmed again proves his talent as he did in Sound of Metal playing a musician confronting deafness.  Here, he plays a devoted father—albeit one who lacks some parenting skills—whose intention is to rescue his children from an impending threat.  The young actors (Lucian-River Chauhan and Aditya Seaton) playing his children are also uncanny in their portrayals of real children put in threatening, sometimes traumatic, situations.  One is an eight-year old, the other a four-year old, and the scripting for them is outstanding in its accurate depiction of the way children those ages think.  It’s clear the two actors grasped what they needed to do, and they did it admirably with apparent precociousness.  

            Enter Octavia Spencer as the parole officer who lends common sense, genuineness, and perspicuity to all situations.  These are the attributes Spencer is so gifted in portraying, as seen in The Help, Hidden Figures,and The Shape of Water.  She shows that she is the only one in government who truly understands Malik, and appropriately asserts her presence in helping to resolve an incredibly tense situation.

            This is a movie about so many important subjects—parenting, children, guns, mental health, and governmental approaches to enforcement.  It dramatizes all of these in a suspenseful high-tension script that engages your value system as you assess the drama.  

            Director and co-writer with Joe Barton, Michael Pearce has been recognized for his 2017 movie Beast, as a promising filmmaker.  He lends credence to that accolade in his portrayal of a family drama that informs about parenting, mental health, and law enforcement in a manner that is realistic and compassionate.

Encounter thrills and chills, but also makes you think about important considerations in looking at families and human behavior.

 

Grade:  B                              By Donna R. Copeland

THE WITCHES

Anne Hathaway     Octavia Spencer     Chris Rock     Jahzir Bruno     Stanley Tucci

     When the witches are away, the mice will play.  This is a fun piece narrated by Chris Rock and starring him and two excellent actors, Octavia Spencer and Anne Hathaway, in a fantasy based on a Roald Dahl novel.  Kid-friendly, of course, but with suspense that is likely to be enjoyed by adults as well as children.  

     It starts out tragically, but Spencer’s warm presence as a grandma is soothing, and she has her work cut out for her with her grandson’s (Bruno) grief and, later, his dilemma.  To help him with his grief, Grandma (Spencer) brings home a pet mouse for her grandson, which does indeed spur him to move on to the next step.

     After the boy encounters a witch in the store, Grandma decides they need to go stay in a fancy hotel where the wealthy white people stay.  (This is on the premise that Witches only seek out minorities—e.g., the blacks—and the disadvantaged.)  Grandma knows this from losing her childhood friend in just such circumstances, and she informs her grandson about witches.  They are demons made to look like humans. They have no toes, no hands, no hair—and must compensate for this with gloves, wigs, high-heeled shoes, etc. When they go out in public, they look like regular society women.  

     By coincidence, the International Society for the Prevention of Cruelty of Children is having a convention at this very hotel.  Crossing of paths between this group (which is a front for the Grand High Witch played by Hathaway and her coven) and Grandma and her grandson forms most of a plot filled with nail-biting suspense, along with some horror and comedy.  Mice-phobic people might want to stay away—but should see—this escapade.

Special effects (Adrian Bennett, Fernando da Silva et al.) take center stage in showing what happens when magic appears to spice up the action in the story. Here it is used to engage the audience as much as the plot and the actors.  And it is so satisfying!

     Co-writer and director Robert Zemeckis, with the help of Alphonso Cuaron and Guillermo del Toro (Mexican filmmakers we all know and love), has assembled a cast and crew that elevate this film from a run-of-the-mill children’s movie to one that is capturing and entertaining, but has important messages related to acceptance of others, regardless of their appearance, the importance of family, and simply enjoying life, whatever happens.  

The film can be seen on HBO MAX beginning 10/22/20.

 

A film for the times in terms of its message and as a vehicle to escape momentarily the concerns of the day.

 

Grade:  A                                    By Donna R. Copeland

ONWARD

Chris Pratt     Julia Louis-Dreyfus    Octavia Spencer    Tom Holland    Mel Rodriguez

     This is a fun animated movie that kids are likely to love (and some adults too, based on the guffaws I heard at the screening), with a couple of good messages.  Two brothers live with their solicitous mother, getting along fairly well (except maybe for the older one’s bossiness toward the younger, and his chaotic way of dealing with life).  Ian the younger (Holland) is imminently responsible and sincere, but painfully shy and woefully lacking in self-confidence.  His older brother Barley (Pratt) is just the opposite, never fearing where angels fear to tread, knocking things over and getting into trouble everywhere he turns.  But he is good-hearted, and thinks he is doing a yeoman’s job in helping Ian in the father’s absence.  Their mother Laurel (Louis-Dreyfus) does a heroic job in running interference and trying to bolster Ian’s self-image and tame Barley’s dominating bluster.  Just a typical American family, right?

     On Ian’s 16^thbirthday, Laurel presents the boys with a gift from their father he wanted them to have when they’ve both reached age 16.  Come to find out, their father believed in magic, and gave them something that would pass on his love of the craft. Barley is a bit ahead, being familiar with the Quests of Yore fantasy game, so he coaches Ian every step of the way, even through the “Path of Peril”, with many adventures in between. Their quest is to find the Phoenix Gem that will allow their father to visit them for one day.  The quest constitutes the bulk of the movie, which is complicated by Laurel’s need to keep her boys from harm, and in doing so, she enlists the aid of Manticore (Spencer), a good witch.

     There are a number of clever—even funny twists—in the plot, such as a spell that gets interrupted brings only the bottom half of the father back, but still, he is able to impress the boys with his dance steps and witty communication.  Manticore is a hoot in her blustery problem-solving, grand sweeps, and funky dialog.

     Many symbols of magic are sprinkled throughout the story—as in a fantasy game—with the underlying thrust of helping the brothers come of age, Barley in learning the value of wisdom and thoughtfulness and Ian in developing self-confidence. Storytelling is done in such a way that I think kids will get the messages while still being entertained by the animated production.  

     This is typical Pixar, with stunning graphics and a decent story to go with.  It should be popular, but is not likely to make a big splash.

A tale about two brothers and how magic can bring them together and foster their development, overseen by their parents.

Grade:  C+                                    By Donna R. Copeland

LUCE

Naomi Watts     Tim Roth     Kelvin Harrison, Jr.    Octavia Spencer

Norbert Leo Butz     Andrea Bang     Astro     Noah Gaynor

     Complexity is an understatement in this film about weighty topics ranging from race, privacy, security, trust, secrets, and communications that are misread because of listeners’ presumptions and conscious or unconscious wishes.  Luce’s strength is in illustrating how much anxiety and pain come to bear when there are no easy answers.  It’s a story that is worthy of much discussion after the movie among those genuinely moved by the events depicted.

     Initially, the Edgar family seems so admirably ideal.  Amy (Watts) and Peter (Roth) adopted a 10 year-old survivor of abuse and former child soldier in African Eretrea, and seem to have brought up a black-skinned child with all the privileges typical of privileged white children.  Named ‘Luce” (meaning “light”), the child is so gifted, personable, and emotionally balanced, he arouses expectations of fame, not only from his parents, but teachers and even other students—which, ironically, becomes a burden to him when he sees how favorably he is treated compared to fellow classmates. 

     In high school, Luce has a diverse group of friends and easily recognizes the bias with which some are treated, while he is excused.  He has a highly ambivalent relationship with his favorite teacher, Miss Wilson (Spencer), who is one of those who, he feels, expect him to be perfect.  He and the history teacher have sparring sessions fraught with a mixture of respect, overt politeness, and outright barbs.  It’s hard for the viewer to sort out the truths in this relationship, just as it is for the protagonists.  In a clever bit of script writing, the two people at different times make the statement, “Unfair doesn’t make it untrue.”

     During the course of the drama, we learn more about the Edgars’ conflicts with each other and between them and Luce.  It’s clear that husband and wife differ in their relationships with Luce.  As best as she tries to keep her private life confidential, Miss Wilson’s family history is exposed in a most unsettling way.  Luce’s diverse group of friends provides further intrigue and muddying of the waters.

     This production, directed by Julius Onah and co-written with J. C. Lee is fascinating in its grasp of contemporary issues that are not easily sorted out, all while being engrossing and entertaining.  Kelvin Harrison, Jr., as Luce performs expertly, portraying a character a bit too facile in his explanations and studied politeness.  However, at 25, he just can’t be convincing as a high school teenager.  (My ongoing gripe is the casting of young adults to play teenagers when there is an abundance of qualified younger actors in that age range.  Age discrepancy is highly disconcerting to those of us well acquainted with teenagers.  All of the “teens” in this film are in their mid-twenties, and one is 30 years old.)

     Octavia Spence is one actor continually worthy of praise.  She has recently branched out into roles where the character is a mix-up of good and bad qualities (e.g., Ma), all captivating, and highlighting her ability to portray conflicting personality characteristics.  Naomi Watts and Tim Roth also have nuanced performances that are convincing as real people going through major self-exploration and adaptation.  

     Julius Onah is early in his career as director and producer (this is only his second full feature film), and with Luce, he shows promise as a sensitive filmmaker knowledgeable about human frailties and strengths, and expert in storytelling.  Contributing to the quality of Luce are writer J. C. Lee, musicians Geoff Barrow and Ben Salisbury, and cinematographer Larkin Seiple.  

Combining mystery, intrigue, and entertainment with topical issues of race and privilege, Luce challenges viewers to question what is truth in the story and ways in which our own biases may come into play.

Grade:  B+                                    By Donna R. Copeland

MA

Octavia Spencer     Diana Silvers     McKaley Miller     Juliette Lewis     Luke Evans

Corey Fogelmanis     Dante Brown     Gianni Paolo     Allison Janney     Tanyell Waivers

      Successfully blending chilling horror, high comedy, and serious drama with intelligence is a rarity in the world of filmdom.  But director Tate Taylor, writer Scotty Landes, and actress Octavia Spencer have together achieved just that in Ma.  It’s cleverly paced, so that the characters are a bit puzzling in the beginning—especially Spencer’s lead character Sue Ann—or they seem to fit a well-known trope that makes you think they will be predictable.  

     But not much is predictable in this horror-farce; it’s delightfully surprising almost every step of the way.  Even the ending.  As the story gets more and more complicated, one wonders how the filmmakers are going to resolve it, and they did a good job.  

     Maggie (Silvers) and her mother (Lewis) have moved back to the mother’s hometown after a sojourn in California.  Maggie is a teen and a bit apprehensive about the first day of school.  She first meets a shy classmate in a wheelchair and helpfully gives her a push when she needs it before entering her own class.  There, she is immediately welcomed by extrovert Haley (Miller) who treats her like an old friend, invites her to a party, and disparages her for declining in favor of going to a concert with her mother.  When the concert falls through, Maggie gets back on board for the party, and is immediately taken in by Haley and her three friends.  

     They’re a raucous high school group all ready to party and drink.  They have a ruse for getting drinks by asking a passerby outside a liquor store to buy them liquor.  This is where Sue Ann comes in and refuses at first to oblige them, lecturing them about drinking.  But just as she will any number of times, she later pulls the “Just kidding” routine, and even has them come to her basement to party rather than going to a favorite place for teens outside of town where they might get caught.  

     This is all great fun, with Sue Ann joining them and becoming close so that one teen slips and calls her “Ma”, which she seems to like.  But gradually, things start becoming weird.  The teens attempt to distance themselves, but they have no idea whom they are dealing with.  We the audience are privy to some of her actions, but even we won’t know the half of it yet.

     Octavia Spencer lives up to her award-winning performances, and this is likely to be one of her “best yet.”  She is new to the horror genre, and proves that she is well up to a starring role as a psychologically complex figure who displays a range of temperaments, antagonisms, and personal qualities.  Hopefully, she will be recognized at awards time for her brilliance in this role.  

     One of the intelligent features of Ma is its illustration of precursors in Sue Ann’s life that helped form her current personality, including when we get an inkling of Munchausen syndrome. It highlights the destructiveness of teasing, along with the obliviousness of active and passive participants to its cruelty.  So the movie is more than thrills, chills, and entertainment; it touches on elements of peer pressure, over-reactive parents, drug use, and taking action in an emergency.  It’s also about the sins of a father being visited upon his progeny.

     Not to be ignored are the numerous truly funny scenes that take place, sometimes during horrific incidents.  Just two prime examples are in addressing one character’s talkativeness, and the other in infusing a bestial character with sera meant for a dog. But also, Allison Janney’s Dr. Brooks, a veterinarian with an acerbic air who is Sue Ann’s boss is priceless; a perfect cameo.

Who would not want to see such an intelligent horror-comedy with a heavy dose of drama?

Grade:  A                                    By Donna R. Copeland

THE SHAPE OF WATER

Sally Hawkins     Michael Shannon     Richard Jenkins     

Doug Jones     Michael Stuhlbarg     Octavia Spencer     Nick Searcy

     The playful, loving nature of Sally Hawkins’ Elisa perfectly captures the nature of this film and Guillermo del Toro’s creativity and imagination.  She’s a complex character—as is the plot—and continually surprises us with her thinking and actions.  She is mute, but not deaf, and is one of the two housecleaners at a research facility, the other being Zelda (Spencer), who knows sign language and assumes a maternal stance toward her.  Elisa’s neighbor, Giles (Jenkins), a rather fussy, inhibited man who doesn’t seem to know that she does not like key lime pie, and goes ahead and orders it for her, despite her protests.  He knows sign language as well, and is able to express his appreciation to her for looking out for him.

     The research facility is an odd one, with Dr. Robert Hoffstetler (Stuhlberg) in charge, and he has invited Strickland (Shannon) to come to the lab to study a strange creature Strickland found in the Amazon Jungle.  Elisa is immediately fascinated with “Amphibian Man”, and sneaks a peak at it as often as she dares.  Then she gets bolder when she finds that he appreciates a boiled egg she has brought to him.  She teaches him sign language, which he rapidly acquires, and they begin to communicate.

     The story takes on more adventure and drama when we learn of the varying motivations among all parties to study the creature (Jones).  Strickland, a speculator wants to make dough and please the five-star General Hoyt (Searcy); Hoffstetler, a scientist (and more, which we don’t find out until later) has interests beyond the scientific; and Elisa, a good-hearted maid with strong moral principles, simply wants to protect it.

    Del Toro inserts quirky mannerisms for the characters and plot twists and turns to entertain us with while he is telling his story, which turns out to be a bit of a thriller.  For instance, take Strickland—not minding that the women are cleaning the men’s room—he proceeds to wash his hands before he pees, and expounds on his thoughts about washing before or after relieving himself.  Mystery is introduced when he leaves behind a trace of blood on the lavatory.  Elisa loves movies and dancing, and proceeds to tap-dance along her way when she is alone.  Giles makes odd pronouncements such as, “Corn Flakes were invented to keep people from masturbating.”  Zelda has a demanding husband, who doesn’t seem to do much of anything, which she endures with patience; but she’s good-hearted like Elisa, so they make very fine friends.

     All this is bound together with the flowing score of diverse but script-meaningful songs by the musically elite Alexandre Desplat and artistic camerawork of Dan Laustsen. 

    Del Toro likes to play with magic in his films, and he is like a magician himself in putting together in The Shape of Water all of the many elements of filmmaking to give us excitement, creativity, full-bodied characters, and visual displays that we can see as a true work of art.

     Bravo! Guillermo del Toro! 

Weird meanderings of a beautifully told story with an unexpected ending.

Grade:  A                                                Donna R. Copeland

GIFTED

Chris Evans   Grace McKenna   Lindsay Duncan   Jenny Slate   Octavia Spencer

     Gifted is a film for the masses in that it has charm in the form of a super-smart, sassy child; a sincere guardian who is doing his best, although he’s a bit myopic; a soulful neighbor; a sincere, sharp schoolteacher; a villain in the form of an ambitious mother/grandmother; and a plot with suspense.  It could be—and is—dismissed as a bunch of froth, but it does bring up important issues about the needs of truly gifted children and how the courts handle child custody cases.

     We first get a picture of the child in a normal school (preferred by the uncle/guardian of the child in trying to respect his deceased sister, the child’s mother, who was a genius with resentment toward their mother).  It’s clear that Frank (Evans) is trying to guide his niece Mary (McKenna) in social skills, but she is only six years old and still has a way to go.  She has been home schooled previously, but is now in first grade in a public school.  After a bit of cheekiness on Mary’s part, her teacher (Slate) is confounded at first, then realizes that she has a super smart child on her hands.  She immediately talks to the principal, and of course, they recommend a school for the gifted and talented—with a scholarship.  But Frank knows from experience what his sister went through with an over-involved mother and is adamant that Mary have a normal childhood and friends.

     When the grandmother (Duncan) appears on the scene, all her frustrations about her gifted daughter surface, and she is determined to take over and see that her granddaughter achieves what her daughter gave up on.  She haughtily dismisses her son and his living conditions and sues to get custody of the child.  She doesn’t succeed, and a compromise is made, but that’s not the end of the story.

     Writer Tom Flynn and Director Marc Webb do a reasonably good job in illustrating the challenges of bringing up children with extraordinary intelligence.  There is a lot to be said for presenting them with experiences that will be challenging; at the same time, giving them the opportunity to have a childhood, relate to normal people, and deal with everyday problems is just as crucial.  We see a bit of both approaches in the film, which is not terribly exciting, but it’s realistic, and I think it’s helpful for the general audience to see both sides of the issue.

     Part of the suspense of the film is to hear the arguments in court and wonder how custody will be resolved.  Of course, it’s not too hard to predict, but just how it happens is interesting.  Loose ends are left hanging, such as what happens to two particular people who were essential players in the drama.

     Chris Evans steps out of his Captain America role to become a rather ordinary Joe, but one with a past worth noting.  Lindsay Duncan brings all her British Thespian skills to bear in playing the aristocratic grandmother, confident of her considerable resources.  Grace McKenna is delightful as the pugnacious Mary, and Jenny Slate as her devoted teacher are both entertaining.  Their interactions with Frank give the film its soul.  It’s more than refreshing to see a person of color playing an essential role in normalizing Mary’s life, and Octavia Spencer is just the ticket.  Her character gives Frank the common sense he needs for grounding.

     Gifted could have probed into the child and family issues with more depth, but for its intended audience (mainstream America), I would guess that it will serve as thoughtful, meaningful entertainment. Although they may not have dealt with a gifted child, they are likely to have experienced child custody issues.  The filmmakers definitely should have omitted the romantic interludes, which are not only unnecessary, but in poor taste.

A challenging case of a gifted child caught up in a myriad of family history and dynamics.

Grade:  C+                                    By Donna R. Copeland 

SMALL TOWN CRIME

John Hawkes     Octavia Spencer     Robert Forster     Anthony Anderson

      Mike Kendall (Hawkes) is an ex-policeman who was fired from the police force after becoming an alcoholic and using poor judgment in a traffic stop.  He leads a lonely life, once ending up in the bushes off the highway when, heading toward home, spots a body on the side of the road.  He stops, and loads the body, a young woman into his car.  He still has a friendly contact on the force, so turns the body over to him to process.  To his frustration, his friend is unable ethically to give him any information about her. 

     However, when he gets back in his car, he discovers the woman’s cell phone.  He misses police work so much, he can’t resist doing a little investigation, to the point that, despite his colleague’s warnings and advice he decides to become a private investigator.  With his experience on the force, he easily qualifies for certification.

     Now that he has the woman’s name and address, he goes to visit the woman’s parents and grandfather (Forster).  The parents prefer simply letting the police—who had already visited—handle the case.  But when Mike goes to talk to the grandfather, he gets hired because the man is critical of the parents and suspects the girl’s boyfriend, and enthusiastically joins up with Mike.

     But this girl will not be the first one to die, and Mike realizes that the young woman was mixed up in a major crime ring involving drugs and prostitution.  The story becomes complex as Mike tries to uncover the truth while needing to sidestep the police. 

     Mike was adopted as a child, and has a sister (Spencer) and her husband who have been supporting him and trying to get him to shape up.  When they are inadvertently involved in the murder mystery, the stakes become even higher for Mike to be successful.  Plots, car chases, and extreme violence ensue.

     Small Town Crime is interesting, exciting and well choreographed by the writers/directors Eshom and Ian Nelms.  Hawkes is his usual captivating character, and Spencer and Anderson add warmth and sensibility to the production.  The first part is too long in detailing Mike’s alcoholism, and makes him an unsympathetic figure, despite his heroics and efforts to reform himself.  When the crime figures enter the picture, the story heats up considerably, especially when the limits to which the criminals will go to protect their assets becomes apparent.

A thrilling crime story involving a reforming policeman, young women, and ruthless criminals.

Grade:  C+                                                            By Donna R. Copeland

HIDDEN FIGURES

Taraji P. Henson     Octavia Spencer     Janelle Monae     Kevin Costner     Kirsten Dunst     Jim Parsons     Mahershala Ali

       Heartbreaking, thrilling, suspenseful, funny—Hidden Figures embodies all these, including inspirational.  I’m sorry it has taken so long for the story about three heroic black mathematicians at NASA to be told to the mainstream.  But at least it’s out now for all to see at their local theaters.  The film is based on the book, Hidden Figures, by Margot Lee Shetterly, who also served as one of the producers.  Shetterly won an Alfred P. Sloane Fellowship based on this work, and apparently, Levantine Films bought the film rights soon after she completed it (or maybe before, since her book is dated 2016).

         The film opens with little Katherine Harrison (Henson) demonstrating her mathematical genius to school officials when she was in the sixth grade.  Her teacher was determined that she would have educational opportunities that were appropriate for her.  Soon, we meet her as a grown-up on the road to work at NASA with her two friends, Dorothy (Spencer) and Mary (Monae).  They’re having car trouble, but since Dorothy is a mechanical as well as math genius, she fixes it.  After showing their work IDs to a stunned policeman who had stopped to investigate, he offers to escort them to work with red lights blinking so their delay won’t make them late. 

         Most of us simply have no idea about the countless indignities these women will have to face, from having to go to the restroom labeled “Colored Women” a half-mile away, to having pertinent information for their jobs hidden from them, to a separate coffee maker (so white people won’t have to touch it)…we could go on and on.  Throughout, the women are polite, patient, and kind (until pushed too far, then they react strongly, effectively, and appropriately).  The rationalization they are given for such treatment?  “That’s just the way it is.”

         Hidden Figures, to its credit, gets into the fears about the Soviets and the space race at the time, which shows up at NASA certainly, but also by the patrolman on the country road and by the children at school who have drills to get under their desks in case the Soviets attack the U.S.  President Kennedy is featured prominently in showing the pressure to be first in the space race, which dials up the pressure on NASA.  All this reinforces the importance of three black women in their previously unheard of roles.

         Henson, Spencer, and Monae are all standouts, but Henson shows special flair when she answers in an outburst why she disappears for 40 minutes at a time (the walk to the restroom) and why it’s crucial for her to receive updated information immediately.  She also shines when she’s perched on a ladder writing complicated formulas for problems that have perplexed a whole room full of mathematicians.  In the evening, she slides into being a loving, demonstrative mother to her three girls.  I loved Henson’s portrayal of her policewoman character in CBS TV’s “Person of Interest”, where she showed intelligence, canniness, and wit, just like she does here; but here, she’s in an elevated position finally being recognized for her worth.  Ah…..!

A story that should have been told long ago.

Grade:  A                                    By Donna R. Copeland

ZOOTOPIA

Voices of:  Jason Bateman     Ginnifer Goodwin     Idris Elba     J. K. Simmons     Octavia Spencer

          It’s so refreshing to see a children’s film that has so much going for it.  Zootopia’s palette and visual effects are beautifully dimensional and the picture contains endearing and diverse animal characters that behave so human, some really fine observations about our own species can be drawn from them in terms that children can easily grasp.  The basic point is that viewing and treating others as stereotypes can be misguided and even dangerous, especially when simplistic explanations are used to “understand” them.  Or assumptions are made such as “we may have evolved, but deep down we’re still animals that can go savage.”  On the other hand, it’s demonstrated that kindness and genuine charm can be supremely effective in winning cooperation from others.

          Judy Hopps (Goodwin) is a perky rabbit determined to become a police officer despite everyone from her family to her friends and co-workers openly discouraging her from the notion.  But she is determined (“I don’t know when to quit”), and is “quick as a bunny” and smart as a whip.  She graduates from training first in her class, bids goodbye to Bunny Burrow, and boards the train for Zootopia (which, of course, she regards as utopian).  Her goals have the same utopian quality; she plans to unite the “vicious predator with the meek prey” so that everyone can live in harmony.

          But her anticipations are not met, and sure enough others refer to her as a “stupid carrot farming dumb bunny”, even the police chief, who assigns her to be a meter maid.  She provides valuable modeling for children in coping with such a job situation.  That is, instead of 100 tickets she is supposed to issue, she will issue 200; but, in addition, she keeps her eyes and ears open, and soon sees an opportunity for real police work that she hopes will allow her to “make the world a better place.”

          Judy’s parents have warned her about foxes, and she soon encounters a wily one by the name of Nick Wilde (Bateman).  (All the names of characters relate to the metaphors used in the film’s story.)  They have a contentious, bargaining relationship at first; she is wary and he is cynical, and each has to earn the other’s respect.  It’s rewarding to see their friendship develop across time into a trusting, collaborative partnership.

          The filmmakers include major intrigues to heighten interest and excitement and lend a bit of scariness to the plot; namely that of a serious problem of mammals disappearing.  It will take Judy and Nick some time to figure out what is going on, amidst some misunderstandings, misinterpretations, and mistakes in interpreting the data.  Both will develop valuable insights into themselves and their friendship in the process.

       For fun, the film has clever little jokes sprinkled throughout, such as Lucky Charms cereal labeled “Lucky Chomps” and all the workers in the DMV being sloths maddeningly slow and methodical in their responses.  And it has helpful maxims:  “If the ones in power can make the prey fear the predator, their power is assured.

       Walt Disney Studios and Directors Byron Howard, Rich Moony and Jared Bush have created a highly entertaining but substantive picture that can be enjoyed by all ages of viewers.

Striving for a utopian society by a most unlikely pair.

Grade:  A                                   By Donna R. Copeland