TOY STORY 4

Tom Hanks     Keanu Reeves     Christina Hendricks     Annie Potts

Joan Cusack     Tim Allen     Tony Hale     Madeleine McGraw     Emily Hahn 

     After the toys have said goodbye to their previous child, Andy, they are getting used to their new child, Bonnie (Hahn).  Woody (Hanks) is hurt that he is not the favorite toy for Bonnie like he was for Andy, but he still has protective feelings toward her, as he has come to have toward all the toys.  It’s kindergarten time for Bonnie, but she is loath to go. Woody sees that she will need his help, so stows away in her backpack to keep an eye on her.  Sure enough, after her parents leave, Bonnie is sad, and when a boy shuns her and grabs her art materials, she is really about to cry.  Woody steps up, rummages through the trashcan, and finds materials she can use to make something. It turns out, he has thrown on Bonnie’s table a fork and other little things like plastic eyeballs which she promptly makes into a toy.  She is so pleased and proud, she names her toy “Forky”.

     The problem is, Forky (Hale) doesn’t want to be a toy (something foreign to him) and keeps charging back to any trashcan he can find.  This will now be Woody’s primary responsibility:  Retrieving Forky for Bonnie every time he runs away. He also has to teach him many things about his new world.  Adventures follow when Bonnie’s family takes a trip in an RV, ending up at a park with a carnival.  Woody’s job is cut out for him, as Bonnie has become so attached to Forky and he keeps running away.  Not only are there adventures and challenges on the road and at the carnival, some of the scariest moments take place in an antique store!  Woody goes to the store when he recognizes a lamp in the window that reminds him of his old friend Bo Peep (Potts).

     Toy Story 4 comes through for children in its addressing—and making an adventure of—some of their deepest fears (abandonment, uselessness, rejection) and the means of coping with them (asking for help, turning to friends, being loyal to one’s own people).  Normal fears are countered with encouragement (“C’mon, you can do this!”) and, sometimes, (“Let it go; it’s not important”). And, ultimately, the film models the value in taking calculated risks in life for the goals of exploration of self and the world, and letting go of comfort and security, at least temporarily.  I have to admit that “Yes, we can-ada!” brought a smile to my face every time.

     Director Josh Cooley lives up to his reputation for Inside Out, Up, and Rataouille in making a film that is appealing to children and adults and, most importantly, speaking to children about important issues.  Production design by Bob Pauley and music by Randy Newman—along with the excellent cast—make this follow-up to previous Toy Storyiterations worthwhile.  

     Cooley and the producers must have had unbelievable influence to pull in A-list actors like Tom Hanks, Keanu Reeves, Jordan Peele, Annie Potts, Mel Brooks, Joan Cusack, Tim Allen, Laurie Metcalf, and Betty White for voicing the major characters.  Music by Randy Newman and production design by Bob Pauley, along with the animation and art crews boost the production to high quality film—shocking for a fourth version of a movie.  Cheers to Pixar and Walt Disney Pictures.

An adventurous, fun children’s movie with substantive messages for kids, and still entertaining for adults.

Grade:  A                                    By Donna R. Copeland

AMERICAN WOMAN

Sienna Miller     Christina Hendricks     Aaron Paul     Sky Ferreira     Amy Maddigan

     American Woman reflects the lives of many middle-lower class Americans today who are not necessarily exposed to the “American dream” of getting an education and then proceeding on up the scale. No, it’s more a comment on the lives of these citizens as it is and, unfortunately, the dilemmas many women find themselves in when they have not been steered toward that education we hear so much about, along with self-sufficiency and independence.

     Debra (Miller) finds herself in the all too familiar situation of having to bring up her daughter on her own when she is still not really mature (e.g., rebellious, headstrong, impulsive, and angry), but she is doing the best she can. Somehow, even though her family relationships are studded with conflict, she believes they will support her when push comes to shove.  Debra clearly loves her daughter who is now a teenager and with a son of her own, and the mutual support and affection—even playfulness—between them is obvious.  Clearly, she is not prepared for what happens when her daughter doesn’t come home one night. 

     Along the way, Debra must make compromises in order for herself and her grandson to survive.  At first it’s “anybody who will pay the mortgage and other bills”, then it’s a charmer whose charms are not limited.  As she is fighting her way through these “significant others”, her family tries its best to support her, but she is not ready for that or tolerant enough of them to accept their offers.

     What will happen to this woman?  She has a better chance if she is attractive (which she is), but she also needs capabilities in maneuvering through grief, loss, unexpected responsibilities, and pure luck.  It’s especially disheartening when she becomes involved with Chris (Paul), seemingly a mensch, only to have him turn out to be less than.  Will “true grit”—also passed down as an American virtue—see her through?

     I pondered about why this British-produced film was entitled American Woman.  Is it that this woman’s experience is uniquely American?  I think probably not, but perhaps she embodies the stereotypical view of American women being unprepared for curve balls society might be throwing their way.

     Sienna Miller plays her role with all the flair and pathos it requires, and pretty much holds the movie on her own.  

The American story from a certain woman’s point of view.

Grade:  C+                                    By Donna R. Copeland

FIST FIGHT

Charlie Day     Ice Cube     Christina Hendricks     Tracy Morgan     Jillian Bell     Dean Norris

     This is one of the most pathetic, obnoxious films I’ve ever seen.  It’s hard to know where to start.  It pains me to learn that it is supposed to be a comedy.  Mr. Campbell (Day) is an English teacher in a high school completely out of control where students are able to put porn on TVs, use their cell phones to disrupt a video on the Civil War, write obscene remarks on a teacher’s blackboard (which are not erasable), spray the hallway floor with oil, and so on.  (Hopefully, you don’t know of any school in the world like this, and that it’s completely a product of the filmmakers’ minds.)  Campbell is a nice guy, but on the wimpy side, who is not averse to being sneaky—both of which he is accused of by everyone.  He gets framed right and left, but often because he simply doesn’t stand up for himself.

     He is a perfect foil for the teacher-bully at the school, Mr. Strickland (Ice Cube), who is able to maintain authority simply with a loud, commanding voice and penetrating stare.  Strickland is a good example of how this kind of authoritarianism is ineffective at best and abusive at worst.  He is also primed to single people out with pointed finger to blame for his troubles.  He’s still a (very) big kid with poor impulse control.

     The basic scenario of the film is that these two characters get cross-wires with each other, abetted by the students, but aided by their own poor problem-solving skills.  They have regressed to the point that the bully insists on the wimp coming outside after school for a fistfight (Fist Fight; get it?).  “We’re gonna handle this like real men”, says Strickland.  Real men?  Not!

     To add “spice” to the drama, the script calls for the school counselor to be the hopeless counselor who does drugs and flirts with a student, and another (Hendricks), who whips out a knife, wanting Strickland to use it on Campbell. 

     I always dread films that have school or psychology as subjects because Hollywood is notorious for mishandling and miscasting them.  Here, most of the students look like they’re at least in their twenties (making the action even more absurd), and the adults behave like children with poor impulse control who resort to outright lying when confronted.  Fist Fight models such a bad school environment it becomes absurd. 

     But the most disturbing experience of the screening is that a significant number of people in the audience, laughed throughout and applauded at the end.  I wonder, “Who are these people?  Do they not grasp the importance of modeling in films?  Do they think it’s hilarious when mobs egg on two people to fight one another, even when there’s a mismatch?”

Fist Fight is not recommended for anybody anywhere anytime.

Grade:  F                                               By Donna R. Copeland

BAD SANTA 2

Billy Bob Thornton     Kathy Bates     Tony Cox     Christina Hendricks     Brett Kelly     Ryan Hanson

          The perverse filmmakers must have had an uproarious time indulging themselves in a buffet of non-PC barbs, images, and insults in Bad Santa 2.  If all the obscenities and lewd remarks were removed from the dialog, there would hardly be a script—except, of course, for dear Thurman’s (Kelly) lines.  He manages to give even the crusty, hardened Willie (Thornton) pause, and the possibility for redemption.

       Filmgoers should be aware that this is a justifiably R-rated film showing risky sex, violence, crime, and alcoholism—and does not necessarily speak against it.  Willie’s mother-from-hell (Bates), whom he despises, has manipulated him back into her sphere by using Marcus (Cox) to tempt him with a $2million job.  Of course, these three cannot be in the same room together more than five minutes before they’re at each other’s throats and spouting every obscene threat that comes into their pathetic minds. 

       The setting for their non-PC operations is a Christmas charity run by the Hastings (Hendricks and Hanson), where they are dressed in Santa costumes.  It is true that the Hastings are not really admirable, but c’mon, a robbery of a charity with Santa drinking alcohol and using offensive language with the kids??  This makes me want to limit the Constitutional Amendment for free speech.

        Bad Santa 2 is meaningless, without any scrap of redeeming quality.  Even the one cheery character, Thurman, is portrayed as dimwitted, and persists even after plain good sense should tell him not to continue his pursuit of Willie as “family.”  We see no cleverness in the jokes or in the plans for the robbery (turn out the lights, open the safe, escape through the garbage chute—which is fitting).  We see the expected end result, including a slightly sheepish Willie making a turn…oh no, not making a turn.  

Tell me you don’t want to see this movie.

Grade:  F                 By Donna R. Copeland

THE NEON DEMON

Elle Fanning   Keanu Reeves   Christina Hendricks

          For the most part, this movie isn’t just slow; it’s interminable, at least for the first hour.  And then the rest of it is violence for violence sake.  It’s high porn masquerading as art.  Perhaps writer/director Nicholas Winding Refn is making a statement about the cutthroat business of high fashion, but it really does remind me of pornography with its long, slow camera pans across bodies, husky seductive voices, Lesbian love and girl fights, all with clichés for dialog.  Dialog example:  “Ruby……….Ruby……….Ruby……….thank you.”

          The subject is about a young girl named Jesse (Fanning)--without parents, of course—who has aspirations for modeling.  She lives in a seedy hotel with Psycho vibes (Keanu Reeves has the role of creepy owner), and we’re supposed to see that the modeling agency photographer likes ‘em better the younger they are.  Jesse has been told to lie and say she is 19; she is much younger.  The make-up girl Ruby (Malone) takes her under her wing saying she’ll “protect” her, and introduces Jesse to her two snipe-y girlfriends.  As expected, the story devolves into the stereotypical portrayal of jealous, conniving, vindictive females who will stop at nothing to achieve their aims and are unforgiving when they’re thwarted.  One envious character muses,  “Who’s she fucking?  How high can she get, and is it higher than me?”

        There are sadistic themes, with characters exploiting those who don’t stand up for themselves or are perceived by others as being weak or are incapacitated so can’t defend themselves.  Scenes often involve two characters, one controlling, the other, submissive.  Although Jesse comes across initially as very naïve, submissive and in need of a protector, she has flashes of strength that seem out of character, such as when she shoves another person out of bed.  But mostly, she acquiesces to whatever is requested of her.  She reasons, “I can’t sing, I can’t dance, I can’t write, but I’m pretty.  I can make money off of pretty.”

         Refn did have two female co-writers (Mary Laws and Polly Stenham) whom he says contributed significantly to the script, but the point of view is so predominantly masculine I didn’t recognize any substantive feminine influences.  I exclude the music (Cliff Martinez), cinematography (Natasha Braier), and costume design (Erin Banach) from this observation, all of which are gorgeous, and stand in contradiction to the script in artistic quality.  One caveat is a scene in which beautiful, artistic shots are interspersed during an attempted rape scene.  I found this offensive, but presume it was composed in the editing process.

         This film is a mass of contradictions, which likely accounts for the divergent ratings of it (e.g., current Rotten Tomatoes score, 50%; and booing with clapping at its premier in Cannes).  My conclusion is that the music, cinematography, costume and production design warrant an ‘A’, whereas the dramatic conception, script, and editing deserve an ‘F’.  I guess I’ll go for an average, not in the sense of being so-so but because of the gap between some aspects of the film and others.

Inform yourself about this film before going to see it.

Grade:  C-                                    By Donna R. Copeland