BOB'S BURGERS

 Voices of:  Kristen Schaal     H. Jon Benjamin    John Roberts     Dan Mintz     

Eugene Mirman     Kevin Kline     Zach Galifianakis     Aziz Ansari     Larry Murphy

         I overheard an audience member in the screening I attended say that he didn’t like the televised version of Bob’s Burgers at first, but it grew on him and he eventually got to watching it regularly.  I’ve never seen one episode, so you can imagine my reaction during the first fifteen minutes of the movie.  What was said about the television show “Seinfeld”? Yeah, that it was “a show about nothing.”  And that was my reaction to Bob’s Burgers Movie—it was amusing but didn’t engage me.  It seemed like I was wasting my time. 

         It is, however, a kind of low-key comedy that I can appreciate others really liking.  Writer/Co-director (with Bernard Derriman) Loren Bouchard, who was largely responsible for the television series, has produced an appealing movie version with many/most of the same actors as on television.  That and the wry comedy and “adventure” means that fans of the show are very likely to adore the movie.

         Action centers around young Louise Belcher (Schaal, whom I have long admired) responding to a taunt at school making fun of her hat with rabbit ears, calling her a “baby”, and accusing her of being a fraidy-cat.  Louise is outraged at the same time she is already worried about her parents’ losing Bob’s Burgers because the bank is calling in their loan.  And oh yes, a large sink hole has manifested itself right outside the front door of the burger place, keeping customers away.  Well, this is certainly not a “show about nothing.”

         Louise’s compulsion to prove her bravery puts her in detective mode, which means she proceeds to solve a murder (the body was found in the sink hole), aided only by her two siblings Tina (Mintz) and Gene (Mirman). 

         Solving a murder, trying to save a business, dealing with school, and getting into a wealthy family’s dynamics—all of this is put together in a meaningful way to tell a story that is entertaining and has some substance.  As I have been writing my review of Bob’s Burgers, more features that I can admire have come to mind.  In addition to the creativity involved in weaving together such disparate elements into a meaningful whole, I especially enjoyed various characters solving their problems by using made-up characters and sequences in their imagination.  

         Hmmm.  It sounds like I might be one of those viewers who initially discount Bob’s Burgers, then end up thinking there is more to it than I initially thought.

 

Bob’s Burgers Movie is a story with characters that eventually grow on the viewer—enough apparently to warrant over 100 episodes of the Belcher family on Fox TV.

 

Grade:  B                    By Donna R. Copeland

MISSING LINK

Zoe Saldana     Hugh Jackman     Timothy Olyphant     Zach Galifiankis     Stephen Fry

     Laika Entertainment Production Company is developing a notable reputation for its production design and animation that enliven well-conceived stories and get the viewers’ rapt attention.  Writer/director Chris Butler (Kubo and the Two Strings, Coraline, ParaNorman) and production designer Lou Romano wow us again with artistically drawn images and sets and with a tale full of suspense and adventure (along with some chuckles—e.g., the panicked call that “The people we don’t want here are leaving!”).

     Sir Lionel Frost (Jackman) is trying valiantly to achieve a reputation as an adventurer and discoverer of anthropological links heretofore (late 19^thCentury) unknown. He has received some recognition, but wants the London scientific society to endorse him.  Well, Lord Piggot-Dunceb, head of the society is trying desperately to hold onto the old, standard ways—e.g., that man descended only from great statesmen (not apes, for goodness sakes!), and none of this includes women, etc. But Frost gets Lord Piggot to agree to a bet, that he can prove the existence of an entirely new evolutionary branch, after which he will be accepted into the Society.

     From there, we accompany Frost on a series of adventures—finding the “missing link” in Washington State [an enormous being (Galifianakis) that measures up to Frost’s exact measurements], locating the map to the Himalayan Yetis where “Mr. Link” thinks his ancestors reside—and fulfilling Mr. Link’s desires to rejoin who he thinks are his ancestors.  But a number of obstacles will stand in the way.  First of all, they have to find the map of Sir Frost’s and his previous colleague, Aldous Fortnight’s, joint exploration into the Himalayas looking for the Yetis.  

     This brings him into a confrontation with Aldous’s widow, Adelina.  She’s not disposed to Sir Frost because of their prior association, and refuses to give him the map at first.  Then, when he steals it, she decides she could be useful in the effort and insists on joining the party.

     To add to the intrigue, Lord Piggot has hired a nefarious character, Stenk (Olyphant) to get rid of Foster by any means possible.  He appears and reappears throughout the adventurers’ pursuits, on the scene to the very end, trying to do away with Frost.  The most spectacular and tense scenes come at the end when characters are hanging onto ropes and pickaxes to save themselves.

     The story makes good points in exposing the sometimes underbelly of scientific research—self-serving pride and recognition, exploitation of subjects studied and lack of concern/respect for them.  It pays homage to women who follow men, but have the fortitude ultimately to pursue their own interests.  Most notably, it avoided the obvious pull for a romantic relationship, an expected and tired trope.

A beautifully told story about dedication, commitment, and good will.

Grade:  A                                    By Donna R. Copeland

A WRINKLE IN TIME

Storm Reid     Oprah Winfrey     Reese Witherspoon     Mindy Kaling

Chris Pine     Gugu Mbitha-Raw     Zach Galafianakis     Michael Pena     David Oyelowo

     This is a fabulous production through and through.  Based on a novel of the same name by Madeleine L’Engle, it packs an emotional punch in following the arc of transformation in an embittered girl trying to cope with perceived abandonment and possible death of her father.  She has cut herself off from friends, allowed her performance at school to slump, and of course then becomes the butt of cruel barbs from classmates.  Her self-esteem has bottomed out, and it seems as if no one can help her.

     But something miraculous happens that reunites her with her father’s dream and prods her to begin a painful, terrifying journey of self-discovery and acceptance.  This is where film comes into its own in telling a wondrous story, and the filmmakers responsible for cinematography, art and production design and visual and special effects create the magic for us to go on that journey with her.  It will be beautiful, but terrifying and emotional and exciting as well, as we travel through warped space and time.  An end goal of a search to find someone actually becomes a rescue mission (of more than one person).

     Three supernatural beings make their appearance in Meg’s (Reid) life in the forms of the three Mrs.:  Mrs. Whatsit (Witherspoon), Mrs. Who (Kaling), and Mrs. Which (Winfrey).  They are other-worldly, but present themselves as “warriors who serve the good and right in the universe.”  Whatsit is more human-like in her playfulness and in making errors in communication, and she represents the annoyance of Meg’s mother, her school principal, and friends who get exasperated with Meg.  Who talks in quotes from famous writers to get her points across, and represents intellectual curiosity and and warmth—which is a nice combination.  Which is a guiding force that seems best equipped to get through Meg’s defenses and guide her to a more realistic picture of herself, emphasizing the fundamental importance of faith in oneself and allies sticking together.

     The fantasy has a way of reminding us of current events with some of its principles, such as fear leads to rage, which leads to violence, which leads to darkness.  It has a message about the value of individuals’ being a source of light in dark times.

     The positive messages in A Wrinkle in Time make it more than just a thrill and fantasy; it has substance as well with respect to truthfulness (including to oneself), frankness (expressing thoughts/feeling that need to come out), and self-acceptance (including owning and accepting our faults.  We get to see all the main characters profit from their experiences and introspection. 

      Ava DuVernay can be so proud of her accomplishments in film; it’s mind-blowing to think about how she has ranged from Selma to A Wrinkle in Time, two vastly different genres and movie making.  The three “Mrs.’s” are entertaining and extremely helpful to Meg in their insight and encouragement.  Meg has two other fine supports on the journey; her brother (Deric McCabe) and friend Calvin (Levi Miller).  Her parents (Pine and Mbitha-Raw), both scientists, come across as realistic and loving but with flaws.  Their mixed-race family is inspiring in its inclusiveness; although I have to admit that I was a bit turned off by the “preciousness” of the opening scenes showing the family as more idealistic than real.

     A Wrinkle in Time has some very frightening scenes, so a caution to parents with sensitive children.  They will want to make sure to wait until their child is older, but above all be prepared to discuss the movie afterwards with their children, regardless.  As an adult, those scenes were thrilling to me, and add much to the quality of the film, so I’m glad they were left in. 

A marvelous fantasy based on a beloved book with outstanding visual and special effects and powerful messages for all kinds of children.

Grade:  A                                                By Donna R. Copeland

THE LEGO BATMAN MOVIE

Voices of:  Will Arnett   Ralph Fiennes   Zach Galifianakis   Michael Cera   Jenny Slate   
Rosario Dawson   Zoe Kravitz     Channing Tatum   Jonah Hill   Jemaine Clement   
Ellie Kemper   Adam Devine   Kate Micucci   Seth Green   Eddie Izzard

     The humanization of Batman (Arnett) turns out to be very funny with glitzy animation and some substance to the message.  As evidenced by audience reaction at the screening, those familiar with DC comics will get many references that fly past those of us who are uninformed.  But even for those unfamiliar with all the Batman comics and movies, this is a flashy, entertaining story that will even pull your heartstrings in places.

Batman is full of himself, depicting the stereotypical male out of touch with his emotions or others’, and needing to be a savior in order to feel good about himself.  He has boxed himself in by shutting everyone else out, thinking he has to do everything on his own, ignoring his own needs for support and connection, and hell bent on being the hero of Gotham City.  His competitiveness with others—including Superman—is not overlooked.

     But the Joker (Gallifianakis) is back on the scene, and is intent on taking over Gotham City.  The police commissioner (Dawson) wants to help, as does Alfred Pennyworth (Fiennes), Batman’s aide, but he puts them off and strikes out on his own.  Someone he can’t put off is an orphan whom he absent-mindedly adopted one day.  Dick (Cera) is entranced with Batman, and insists on following him everywhere and getting outfitted in Batman-like clothes.  Batman tries to brush him off repeatedly, but the little guy is so persistent, Batman starts feeling some attachment to him—not admitting any such thing, of course.

     Themes that are treated both seriously and funny recurring throughout the movie include attachment, responsibility, cooperation, and the joy of play.  Even the Joker can’t get Batman to acknowledge that he is meaningful to him, and his wheedling and arguments with Batman are some of the funniest scenes.  A sense of responsibility outweighs anything else in Batman’s mind, preventing him from accepting help from others and making him actually lonely.  Pennyworth tries his best to get Batman to lighten up, and Dick enthusiastically takes to everything like it’s one big joyous game.  It takes a while for all this to get through to Batman and for him to become aware of his own emotional experience.

     Lego Batman is highly entertaining and visually beautiful, and is not directed toward any one age.  Children and adults should enjoy it for different reasons.  Although many of the references to other DC Comics film productions are likely to go over kids’ heads, there is enough animation and color—and even jokes—to keep them engaged.  Lorne Balfe’s music enhances the different moods of the film, notably playing Three Dog Night’s “One is the Loneliest Number” when Batman returns home and finds he is warming up his dinner and eating alone. 

     Director Chris McKay and the whole Warner Brothers-Lego-DC Comics team deserve the immense pride they most likely take in this production.  The voices of the actors deserve praise as well.

Fine animation with humor, adventure, and thoughtful points for viewers of all ages.

Grade:  A                                     By Donna R. Copeland