THE JUNGLE BOOK

Neel Sethi and voices of:  Bill Murray   Ben Kingsley   Idris Elba   Lupita Nyong’o  

Scarlett Johansson, Christopher Walken   Giancarlo Esposito

                  

“Now this is the Law of the Jungle -- as old and as true as the sky;

And the Wolf that shall keep it may prosper, but the Wolf that shall break it must die.

As the creeper that girdles the tree-trunk the Law runneth forward and back --

For the strength of the Pack is the Wolf, and the strength of the Wolf is the Pack.”

                                                          The Jungle Book by Rudyard Kipling

          This is a beautiful production for children that adults will enjoy just as much.  The Jungle Book is based on Rudyard Kipling’s book of the same title (screenplay by Justin Marks.)  It is truly a work of art in its portrayal of sound principles and its visual manifestation in production design (Christopher Glass, Abhijeet Mazumder) and cinematography (Bill Pope); in music (John Debney); and in the phenomenal acting by young Neel Sethi as Mogli supported by a stunning cast of voices.  After starting out as an actor, Jon Favreau seems to have come into his own in directing (previous features include Chef, Cowboys and Aliens, and two Iron Man films), as here he is spot-on.

          There have been numerous productions through the years of the Kipling Jungle Book stories (including other Disney films and books), but this is probably the most successful by virtue of the talented filmmakers and new technology.  Mowgli sprinting through the jungle on his bare feet, shimmying up tall trees, and hanging precariously from brittle limbs and sheer cliffs should impress everyone.

       One of the most important contributions of the film is the crux of the story, which demonstrates over and over again the necessity for cooperation among all living things.  Humans are shown to be destructive in our many uses of fire, but we’re at the top of the chain in our creativity and resourcefulness.  Nevertheless, when we ignore the essentialness and value of the other components of our universe (e.g., animals, plants, air, water), we risk our own destruction.  Mowgli serves as a model for us to follow; he makes friends everywhere he goes (except for one glaring example who refused to cooperate), primarily through his contributions to others and the common good and promoting cooperation in general. 

        There is one feature about Jungle Book that warrants explanation.  Part of Mowgli’s success with others is his use of tools to help him solve problems.  While this shows human creativity that separates us from animals, it’s hard to imagine how Mowgli could have learned these, having been brought up by wolves.

       Some of the conflicts in this film are fierce and bloody, and I wondered if smaller children would get too frightened.  However, I heard no cries from any of the young children in the screening I attended, but parents with children who are sensitive to violence (even in the jungle) may want to wait until they are older to show them this film.

To everyone else, I say, “GO”, for a thrilling, fun, quality time in the theater.

Disney scores a hit with The Jungle Book.

Grade:  A                 By Donna R. Copeland

CITY OF GOLD

          After watching City of Gold, you will want to rush right out to Los Angeles and visit all the eating places talked about in this documentary about Jonathan Gold, who writes about food and restaurants in L.A.   Numerous people appearing in the film (including people like Ruth Reichl, Calvin Trillin. and David Chang) remark about his publications’ being as much about L.A. and its culture as they are about food and restaurants.  He clearly loves the city where he grew up with a rich background in classical music (he plays the cello), punk rock, and hip hop, along with museums and cultural arts centers.  He brings all this experience to bear in his L.A. Times articles, so not surprisingly was the first writer about food and restaurants to receive a Pulitzer Prize in 2007.

         Gold was one of the first food critics to seek out-of-the-way places to write about, such as food trucks and ethnic neighborhood restaurants.  Many of the owners have been gratified by their sudden popularity after they appear in one of his columns.  He has a reputation for being fair and democratic in the places he visits and what he says about them.  When talking about the large immigrant population in L.A., he says that when there was a tremendous increase in people settling there from other countries in the 1960’s, it became “not a melting pot, but a glittering mosaic” in that neighborhoods and larger sections of the city maintained their ethnic identities.  His reviews have been described as a “cultural mapping” of Los Angeles.

        The documentary by Laura Gabbart gives a full picture of the man, his family, and the restaurateurs and critics he chats with during the film.  It also touches on his relationships with L.A. Times editors, and Gold’s need to be prodded to get his articles in on time.  It omits any mention of negative reviews—which, presumably, there have been. 

About the L.A. Times Pulitzer prize-winning food and restaurant reviewer:  Delicious.

Grade:  B                                    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

I SAW THE LIGHT

Tom Hiddleston     Elizabeth Olsen     Bradley Whitford     Cherry Jones

          When the movie first opened, I was captured with Hank Williams (Hiddleston) singing “Cold, Cold Heart” without accompaniment and the chiaroscuro effect in the scene.  The mood was just right, and it was deeply moving.  Unfortunately, two basic flaws in I Saw the Light emerged soon after, which I attribute to Marc Abraham’s screenplay and direction.  He has primarily worked as a producer without much experience in writing and direction, hence, the movie sags almost every time there is dialog.  It doesn’t matter whether the conversation is between husband and wife in intimate moments or band members talking to one another or to agents—he puts the audience to sleep.  I marveled at how such an interesting person’s life could be made boring.

       The other problem I had with the film is the number of scenes where neither the issue nor the personalities involved are explored; they’re simply left unresolved.  A particular example is Hank and his agent Fred Rose (Whitford) visiting the MGM Studio, and their host wants Hank to take off his hat.  Hank refuses, and we don’t know why it’s so important to the MGM producer or to Hank.  We don’t even know whether he actually took it off or didn’t.  And we don’t know whether the incident ruined Hank’s chance to be supported by MGM.  With so many of such scenes in a film, it becomes unsettling.

      Hank Williams was decidedly a fascinating, complex person with a markedly eventful life, and whatever interest is maintained in the movie is because we’re curious about him and want o understand him and because Hiddleston aced the role.  Even though we’re presented with event after event in his life, it’s more like a chronicle; there is not much exploration into Hank’s character in the larger sense of the word that would essentially help us understand him. 

      On the other hand, Tom Hiddleston has done the seemingly impossible, converting his British accent into American country, learning to sing on pitch and play the guitar (tutored by Rodney Crowell), and moving his body like a person with spina bifida—all for this movie.  I had to smile when in an interview he said that he had heard a few Hank Williams’ songs before he got the role, but was more intrigued with the word ‘honky tonk’; he had no idea what it meant, but he loved the sound of it.  Hiddleston put on the Williams persona so completely and convincingly, it fit like a body suit.

      The talents of other main actors were fine supports:  Elizabeth Olsen as the disillusioned but shallow wife; Bradley Whitford as the agent-like-a-father Fred Rose; and Cherry Jones as the cloying, possessive mother of Hank.  I had anticipated seeing I Saw the Light, so was disappointed that it contained so little “fleshing out” of the characters. 

     On the other hand, Tom Hiddleston’s performance is worth the price of a ticket to the movie theater.  The last song, “Your Cheatin’ Heart” is a perfect ending.  After seeing important events in his life, he could just as well be singing the song to himself as to someone else. 

A reminder that good writing and direction are essential, although sometimes an actor’s performance is worth a viewing.

Grade:  D+                                    By Donna R. Copeland

REMEMBER

Christopher Plummer     Martin Landau     Dean Norris     Henry Czerny     Jurgen Prochnow

            The star of Remember is Zev (Plummer), an elderly man with dementia.  He is in a nursing home, and has trouble remembering that his wife recently died.  He has made friends with another resident, Max (Landau), who has secretly sent him in search of a Nazi who was a block commander at Auschwitz, someone they both knew during WWII and feel is responsible for killing Max’s and Zev’s families.  The man named is supposed to have stolen a Jew’s identity after the war in order to leave Germany and settle in the U.S. as ‘Rudy Kurlander.’  Max has tracked down four people with the name ‘Kurlander’, given Zev detailed instructions on how to get to each one, and when he recognizes the man they are looking for, Zev is to kill him. 

            The film has a number of problems, the most salient being that the character as written, Zev, is not convincing as someone with dementia.  He remembers a number of things, such as who his son is, and somehow manages to travel by train, bus, and taxi to four different cities—even one in Canada where he must navigate the border.  I think that even those in the beginning stages of dementia would have major difficulties in managing such a trip, all the while keeping track of Max’s letter and cash and following his instructions.  Contradictions like these abound; at times, he cannot even remember who Max is, and has to have someone read the letter to him.

            The cast is good—particularly Plummer, who is the whole reason for seeing Remember.  He is captivating, even with the faulty script and editing.  The film does a good job in “leading the audience on” in such a way that you’re intrigued as to exactly what Zev’s mission is, and including scenes with drama and even playfulness when Zev is talking to children.  Landau is also very good in conveying critical importance to the mission he sends Zev on and reminding him to honor his promise.

            Atom Egoyan is known for his earlier work (The Sweet Hereafter, Exotica), for which he received awards, but his films since then have not been acclaimed.  His collaboration here with writer Benjamin August is not much help, and is more of a step away from quality filmmaking.  The plot simply does not hold together. 

            The surprising turn of events at the end of Remember make for a climactic conclusion, but it’s a little rushed and is not related enough to the rest of the story to make it logically grounded.

Plummer as someone with dementia is a testament to his acting skills, but weak screenplay and editing detract from the film Remember.

Grade:  C                                    By Donna R. Copeland

EYE IN THE SKY

Helen Mirren     Aaron Paul     Iain Glen     Alan Rickman     Barkhad Abdi

          This is a different thriller from most; the tension is mostly in the inaction rather than the action.  Helen Mirren is the no-nonsense Colonel Katherine Powell in London and in direct command of the U.S. drone operators who are waiting to pull the trigger on a target in Kenya.  She is logical and decisive while still being compassionate, unlike some of her superiors who cannot seem to think through problematic situations and come up with a plan.  Clearly, many of them have sat at a desk through most of their careers.  That is unlike Lieutenant General Frank Benson (Rickman), however, who immediately comprehends Powell’s reasoning and is prepared to give his authorization of a strike.  He is a military man.  It is the political officials who may not have had direct experience in war who struggle with making a decision.

         There are agonizing moments as we watch two suicide bombers get fitted with their vests while we wait for multiple authorizations (these have been “kicked upstairs” or over to U.S. officials to avoid personally taking responsibility).  Since this is spur-of-the-moment, many of the authorities are otherwise occupied, and are stunned about making such a decision at all, much less on the fly.  The salient issue has to do with weighing the cost of one innocent casualty versus the potential of killing 80 men, women, and children.  It becomes much more potent because everyone can see a particular little girl who could be caught in the explosion.

         It is instructive for nonmilitary people to see the kind of agony that decision-makers must go through during a war—especially the newly appointed and young drone operators.  In this instance, it is just as agonizing for the audience to sit through long sequences waiting for the higher-ups to make up their mind.  And we have to listen to considerations that have more to do with political fall-out and “covering one’s butt” than humanitarian and ethical concerns, which makes it even more nerve-wracking. 

       During and after this long process, instructions are given as to how to report the incident, and the quote at the beginning of the film becomes applicable:  “In war, truth is the first casualty” (Aeschylus).

          Director Gavin Hood and writer Guy Hibbert have created a fine picture of substance that will grab your attention and pull you right in with the feeling of being a part of the action.  They shed light on the new arena of drone warfare and help us understand some of its complexities.  The cast is part of the excellence of the film, headed up by the ever-perfect Mirren who seems to be able to convincingly play any role.  She and Rickman (May he rest in peace) make a good team, in sync with one another in timing and emotional space.  Aaron Paul subtly evinces the conscience-ridden drone operator who has no experience in actual “kills”, and knows enough about the law that he can request reconsideration of an order.  Barkhad Abdi reprises his role as a Somalian (Captain Phillips), but this time he is one of the good guys—well played. 

Eye in the Sky will make you squirm and groan about wartime decision-making.

Grade:  A                                    By Donna R. Copeland

MARGUERITE

Catherine Frot     Andre Marcon     Christa Theret     Michel Fau     Denis Mpunga     Sylvain Dieuaide     Aubert Fenoy

          Delusion is sometimes shared—even among a whole crowd of people—but it’s seldom  perpetuated in one individual by everyone around her, as in this film, Marguerite (performed expertly by Catherine Frot).  Marguerite’s husband, Georges (Marcon) is convinced that it would kill her to learn the truth—that is, that she sings noticeably off key.  And it’s astounding to see the lengths to which people will go to maintain her delusion.  (She does not appear to have any insight into her failing.)  Some are paid to flatter her, which is perhaps more understandable than when it’s done without recompense.  

           Marguerite is from a wealthy family and has married a baron, Georges.  She has a passion for music and says she sings 4-5 hours a day.  She seems to want mostly to please her husband, but somehow, his car is always breaking down and he arrives late to her concerts performed in their mansion.  At one point, some unscrupulous young men see an opportunity to exploit her, and arrange for her to sing in more public places and to engage a voice teacher (Fau) for her.  She is so flattered and touched by the attention, she seems to blossom, even though her voice gets no better.

          She becomes ill a couple of times, and Georges tactfully tries to get her to rest her voice and stop singing, but her doctor says that’s not necessary; however, this is before he hears her sing.  After the doctor attends a concert, he and Georges devise a plan that is supposed to convince her to stop performing.  However, it does not turn out exactly as they hope.

         French director Xavier Giannoli wrote the screenplay and directed this farce/drama that is taking place in the 1920’s.  It is well done, keeping its audience engaged—though antsy during Marguerite’s songs—and with a fine cast.  I think it would have been better if the bad singing had been made less pronounced; as it is, it’s rather absurd, especially since Marguerite recognizes good musical performances of others.  The film is based on a true story, but I doubt the real woman (Florence Foster Jenkins) sang this far off key. 

      Catherine Frot maintains a wide-eyed look and ebullient personality throughout, although she certainly has some thoughtful moments.  But she is basically an optimist who looks on the bright side of life.  Her faithful butler Madelbos (Mpunga) almost worships her and takes countless photos of her, but he too cannot resist hoping to realize a profit from the pictures one day.  Marcon shows his character to be genuine and mostly sincere and honorable; he just doesn’t seem to know what to do with the situation.

A farce about a woman of ambition who can’t hear herself singing off key.

Grade:  B                                   By Donna R. Copeland