Wiener Dog Nationals (2013)

RECENTLY, JACK-JACK WAS OBSESSED with dachshunds, aka “wiener dogs.” Whenever he’d see one, he’d point it out and giggle until the little four-footed frankfurter was out of sight.

So when I heard there was a new family film all about wiener dogs, I was on it like relish on a…well, you know…

Wiener Dog Nationals introduces us to the Jack family: unemployed widower Phil (Jason London) and his three children, teenager Skip (Austin Anderson) and kids Bridget (Caitlin Carmichael) and Danny (Julian Feder). When Danny adopts a wiener dog named Shelly for his birthday, he discovers Shelly’s got speed and enters her – unbeknownst to Phil – in the Wiener Dog Nationals, a real-life dachshund race sponsored by the Wienerschnitzel fast food chain. With the help of Wiener Dog Nationals employee Melanie (Alicia Witt), Shelly and the Jacks keep one step ahead of the scheming Ms. Merryweather (Morgan Fairchild), a filthy-rich debutante who’ll stop at nothing to see her wiener dog, Princess, win the big race.

For a film called Wiener Dog Nationals – about a wiener dog who enters a series of wiener dog races – the amount of screen time dedicated to wiener dogs is shockingly minimal. Ironically, Shelly is marginalized in her own film. In fact, there’s so much screen time dedicated to the Jack family’s internal strife and miscommunication, the film should’ve been called A Fractured Family – Oh, and They Have a Dog Too.

First-time feature director Kevan Peterson should have added establishing scenes of Shelly bonding with Danny and his family beyond the dog races (of which, there are only three in the entire film). How about the kids playing with the dog? Getting into wacky antics much to the dismay of their strict father? Even when Shelly turns on the hijinks, it’s all shown after the fact: ripped-up couch pillows here, a chewed-up newspaper there. Where’s the fun in that?

As the exasperated dad, London spends the entire film looking either perplexed or annoyed. Fairchild comes off as Cruella DeVil Lite as she schmoozes the race’s head judge (Mad Men’s Bryan Batt) when not resorting to espionage and blackmail (!) to get Shelly disqualified. And don’t get me started on the always-painful experience of watching extended scenes of marginally talented kid actors struggling to deliver dialogue to each other (see Opposite Day, Labou).

By the time the stakes are raised in Wiener Dog Nationals’ last act, it’s too little too late. Shelly’s screen time has been scant, simple questions are left unanswered, and it all ends with (spoiler alert!) a happy ending, but an underwhelming one that basically says, “Shelly didn’t win the big race, but thanks to two completely unrelated disqualifications, she’s the winner by default!” Um, yay?

Flat and forgettable, Wiener Dog Nationals’ ultimate flaw is simple: It has too much dialogue, and not enough dachshunds. Or, as my wife puts it, “Too many words, not enough wieners.”

Rating:

What did FilmBoy and Jack-Jack think?

All I could get out of FilmBoy regarding Wiener Dog Nationals was complete indifference. Did he like it? “Sort of.” Jack-Jack could not be reached for comment (he fell asleep before the ending).

Is it suitable for your kids?

Wiener Dog Nationals is suitable for all ages. A few uses of “stupid” and “losers,” and Phil and Melanie make awkward advances toward each other, but that’s about it.

Will your FilmMother want to watch it?

My wife was unimpressed with Wiener Dog Nationals’ plot holes and overall B-movie feel. She did hope that with Shelly’s race winnings, the Jacks can afford to get Danny a haircut. Major white kid ‘fro going on there.

Bad: Your dog drinks your milk.

Worse: She's lactose intolerant.

Wiener Dog Nationals (2013)
* Director: Kevan Peterson
* Screenwriter: Gregory Gutierrez
* Stars: Alicia Witt, Jason London, Morgan Fairchild, Marque Richardson, Bryan Batt, Caitlin Carmichael, Chris Moss, Laura Ann Kesling, Austin Anderson, Julian Feder
* MPAA Rating: G



Rent Wiener Dog Nationals from Netflix >>

Texas Chainsaw (2013)

THE TEXAS CHAINSAW MASSACRE has established itself as a true classic of relentless terror. But its many sequels, prequels, and remakes have delivered continually diminishing returns. This year’s Texas Chainsaw picks up where the original Chainsaw left off, with an opening sequence that shows the demented Sawyer family holed up in their farmhouse, surrounded by an armed, angry mob. The mob opens fire on the house and then burns the place down, apparently killing everyone inside – including the maniacal Leatherface, who wields the titular chainsaw and wears a mask of human skin.

Fast forward a couple decades, and we meet Heather (Alexandra Daddario), who learns that a grandmother she never knew has died and left Heather her mansion in Texas. Bringing along her friends Ryan (Trey Songz), Nikki (Lost’s Tania Raymonde), and Kenny (Keram Malicki-Sánchez), Heather heads to her grandmother’s mansion to finalize some paperwork. Turns out that inheriting Grandma’s mansion comes with a little snag: Leatherface (Dan Yeager) is alive and living in the sprawling basement, which he’s turned into his personal butcher shop.

Like the many Chainsaw films that followed the largely bloodless original, Texas Chainsaw piles on the gore – with Leatherface putting his trusty saw to use on several victims, including his own grisly not-so-magic trick of sawing a person in half. (Texas Chainsaw’s gore comes courtesy of FX master Greg Nicotero, who also worked on Leatherface: Texas Chainsaw Massacre III.)

But Texas Chainsaw is more than a story about a boy and his power tool; the sins of the past also come to light, as Heather discovers her connection to the Sawyer family – and uncovers the tragic demise of a family she never knew. Corrupt policemen, brutish locals, and small-town secrets start playing a big (if not bigger) role than the horror of Leatherface, and the film falls into some sort of horror/crime hybrid that dilutes any small shred of terror it succeeded in creating.

Texas Chainsaw director John Luessenhop should get credit for attempting a fresh approach to bridge to the original film, as well as taking the terror of Leatherface beyond the house of horrors and into the local population (police investigate the killings, and Leatherface chases Heather through a crowded town fair). But not even cameos by the original Chainsaw cast can save this latest lackluster attempt at keeping the franchise alive. Uneven, rarely scary, and hobbled by an awkward and unsatisfying conclusion, Texas Chainsaw is yet another sub-par installment in a film series where, nearly 40 years later, the first is still the best.

Rating:

Is it suitable for your kids?

Texas Chainsaw is rated R for “strong grisly violence and language throughout.” So, no.
Violence: People are shot, impaled, bludgeoned to death, beheaded, dismembered, skinned alive, and ground into meat.
Sex/Nudity: Heather and Ryan make out, with Heather only wearing a bra on top. Nikki strips to her bra and panties on several occasions.
Language: Countless four-letter words. A couple mentions of “retard.”

Will your FilmMother want to watch it?

Highly doubtful. Even if she’s a horror film buff, avoid this one and watch the original.

Hmmm...decisions, decisions...

Texas Chainsaw
* Director: John Luessenhop
* Screenwriters: Adam Marcus, Debra Sullivan, Kirsten Elms
* Stars: Alexandra Daddario, Tania Raymonde, Scott Eastwood, Dan Yeager, Trey Songz, Shaun Sipos, Keram Malicki-Sanchez, James MacDonald, Thom Barry, Paul Rae, Richard Riehle, Bill Moseley
* MPAA Rating: R



Rent Texas Chainsaw from Netflix >>

A Talking Cat!?! (2013)

OFFICES OF RAPID HEART PICTURES, BURBANK, CA – SUMMER 2012

“Mornin’, Sam.”
“Mornin’, Ralph.”
“Listen, Sam, we’ve done great with our line of Z-grade, homoerotic horror films, but I think we need to broaden our audience. Let’s make a family-friendly kids film.”
“Sure. What’d you have in mind?”
“A Talking Cat!?!”
“A talking cat? Where?!”
“No, no – let’s make a movie about a talking cat.”
“You had me at ‘let’s make a movie.’”
“By the way, A Talking Cat!?! is also the title.”
“We’re going to call a movie about a talking cat A Talking Cat!?!”
“Yep. That’s two exclamation points and one question mark. To emphasize the wackiness.”
“How about two question marks and one exclamation point?”
“C’mon, Sam, that’d just look stupid.”
“Don’t you think we should try and call it something remotely clever or cute, like Cat Got Your Tongue or Kitten Caboodle? Y’know, so it looks like we put an ounce of thought behind it?”
“Nah. A Talking Cat!?! is direct, honest. Parents look for that in movies for their kids.”
“So what’s the plot?”
“I dunno. Something simple that’s been done a hundred times over. How about two families who need to be brought together for some happy-ending reason…but with a talking cat.”
“Works for me. What about the cast?”
“Get a handful of some marginally competent teen actors. It doesn’t matter if they can actually act…kids who watch this won’t care.”
“Done.”
“We also need some actors to keep the parents’ attention. Get some young actors from the ‘70s to play the adults. For the dad, let’s get the kid from Sigmund and the Sea Monster.”
“You mean Sigmund and the Sea Monsters.”
“No, I think it’s Monster.”
“I’m pretty sure it’s Monsters. Y’know, a quick Google search could settle this…”
“No time. Just make sure it’s correct on the box.”
“You got it.”
“For the female lead, get that girl-next-door cutie from Meatballs. The blonde.”
“Yeah, she was cute. Those eyes. That smile…”
“Focus, Sam.”
“Hey, speaking of Meatballs, you think Bill Murray would do a cameo?”
“[blank stare]”
“Right. Never mind.”
“Finally, we need someone to voice the cat. And that someone is Eric Roberts.”
“Eric Roberts?”
“Yeah. We can get him, cheap. He owes us for not talking about that thing…you know…”
“Oh yeah…that thing…”
“Mmm-hmm. But don’t have him talk like a fun-loving cat. Have him talk kinda like a smarmy robot. Kids love robots.”
“A smarmy…robot…”
“And make sure his voiceover sounds good. Whatever you do, don’t make it sound like he recorded his lines using a rolled-up paper megaphone while standing in a large bathroom.”
“Question: How will we make the cat’s mouth move without spending a fortune?”
“No sweat. My nephew’s a whiz with Microsoft Paint. I’ll buy him a six-pack of Red Bull, and he’ll make us an animated black hole for the cat’s mouth. In no way will it look like a pulsating black diamond with complete disregard to the actual words Roberts is saying.”
“Great.”
“Also, work the story so the cat can only talk to each human once. It’ll cut down on the cost of the effects.”
“But…”
“Every penny counts, Sam.”
“Uh-huh. Well, what about a director? Who’s gonna helm this masterpiece?”
“Let’s get David to do it.”
“David DeCoteau, the guy who runs this place?”
“Yeah. He got his start with Roger Corman, so some of that has to rub off, right? At least we know he’ll bring it in under budget.”
“After directing stuff like Sorority Babes in the Slimeball Bowl-O-Rama and Test Tube Teens From the Year 2000, a flick about a talking cat should be no-brainer.”
“Exactly. Oh, and he might use the pseudonym Mary Crawford. It’s his…thing.”
“I wish I had a ‘thing.’ Should we scout locations?”
“Nah. Let’s just use the same mansion from our 1313 films.”
“That was easy. What about the music score?”
“Let’s get the guy who scores all the other films for Rapid Heart: Henry Mancini!”
“Henry Mancini’s dead. I think you mean Harry Manfredini.”
“Yeah, that guy. Did you know he scored all the Friday the 13th movies?”
“Yes. Yes he did.”
“For the trailer, here’s what I’m thinking…”

“Um, okay.”
“Make sure to use Comic Sans for the title cards. It screams ‘professional filmmaking.’”
“Plus, the kids will love it.”
“Exactly. And make sure you show the cat’s butthole in close-up at least once. Kids will think that’s hysterical and they’ll talk about it for days.”

A TALKING CAT!?! DVD RELEASE – FEBRUARY 2013

“Sam! Look at the buzz for A Talking Cat!?! It’s a hit!”
“Uh, don’t know if those reviews qualify it as a hit: ‘I swear my 10-year-old could make this film on her video camera.’ ‘The cat's acting is all thanks to a laser pointer that is clearly visible.’ ‘This is awesomely bad.’ Ralph, did we really screen A Talking Cat!?! at the Wisconsin Transgender Film Extravaganza?”
“Who cares? The point is, people are talking about this film: on the world wide web, the blogosphere, even in those social mediums. You know what I’m thinking?”
“No. What?”
“Two words: Talking. Pony.”

“Oh God.”
“I smell franchiiiiiise!!!”
“I sure smell something.”

Rating:

What did FilmBoy think?

Recently, FilmBoy’s been a bit of a connoisseur of bad movies. So it means a lot when he says of A Talking Cat!?!, “It makes Ratatoing look like a masterpiece.”

 Is it suitable for your kids?

Aside from its inherent existence, there’s nothing inappropriate with A Talking Cat!?! Two teen siblings exchange insults such as “shut it,” “I hate you,” “loser,” and “nerd,” but that’s about it.

Will your FilmMother want to watch it?

If she does, tell her some of these quotes from my FilmMother. She told FilmBoy, “Your brother’s the smartest one in this family: He’s not watching this.” Then at the end, she turned to me and said, “I don’t think I’m ever gonna forgive you for that one.” And she’s a cat person.

Oh my God...that's what our dailies look like!?!

A Talking Cat!?!
* Director: David DeCoteau (as Mary Crawford)
* Screenwriter: Andrew Helm
* Stars: Kristine DeBell, Johnny Whitaker, Eric Roberts, Alison Sieke
* MPAA Rating: N/A


Rent A Talking Cat!?! from Netflix >>

Elf-Man (2012)

PICTURE THIS: an independent, family-friendly holiday movie from the creators of horror films such as House, Scarecrows, and Children of the Corn V – and featuring one of the stars of MTV’s Jackass?

Elf-Man tells the story of the Harper family – scientist dad Eric (The Facts of Life’s Mackenzie Astin), son Ryan (Blake Kaiser), daughter Kasey (Carly Robell), and visiting Gramma (Marty Terry) – who are about to celebrate their first Christmas without their mom, who recently died. After dad invents a powerful energy-conserving device on Christmas Eve, he steps out to run an errand and is abducted by a trio of bumbling kidnappers, led by Jeffrey Combs (of the ‘80s horror classic Re-Animator), who want Dad’s new invention for themselves.

Meanwhile, as Gramma puts the kids to bed, Santa and his sleigh arrive on the rooftop, accompanied by a pair of elves. To make Kasey’s Christmas wish for a happy family come true, he leaves behind one of his elves (Jason “Wee Man” Acuña) to help find Dad. Will the elf lose faith in himself, or will he find his true powers to become a real superhero?

Despite backgrounds in horror, Elf-Man director Ethan Wiley and co-writer Richard Jeffries do a commendable job of creating a balance in tone for kids and adults. They also successfully capture the idyllic setting of Christmas in a small town (Jeffries’ hometown of Frederick, MD), enhanced by the heartwarming score by Joseph Bauer.

That’s not to say Elf-Man is all warm and fuzzies. There’s plenty of action and hijinks to keep the film moving, including the antics of the kids, the elf, and the trio of goofy kidnappers – resulting in laugh-out-loud moments such as a funny homage to The Good, The Bad, and The Ugly and a running joke of people mistaking the elf for a troll, a hobbit, a leprechaun, and an Oompa-Loompa.

After the elf lets the kids down by not bringing their dad home, he get a firm talking-to by Dad’s female companion Amy (Mirrely Taylor) as she hands him a superhero suit made by the kids. He then transforms into Elf-Man (play along), pushing his elfin magic to the limit to stop the bad guys, bring back Dad’s invention, and create the happy family Christmas that Kasey asked for in her wish.

Some leaps in logic and continuity in Elf-Man may frustrate grown-ups, but kids won’t care or notice. And the acting range of Acuña and the kids is a bit limited compared to the experienced cast. But Elf-Man is fun family viewing and a nice detour from (or addition to?) the standard Christmas favorites we watch every year.

Rating:

What did FilmBoy and Jack-Jack think?

They both really enjoyed Elf-Man, laughing often at the stupidity of the kidnappers and rooting against them. Though when Dad and Amy share a mistletoe kiss, FilmBoy deadpanned, “I hate this movie.”

 

Is it suitable for your kids?

Elf-Man is not rated, but was given the “Family Approved” seal by The Dove Foundation.
Mild Rude Humor: Elf-Man handles a “pooper scooper” for Santa’s reindeer; one of the reindeer farts. Elf-Man belches loudly in the film’s finale.
Violence/Scariness: Dad is held captive by the three kidnappers; they tie him up and put duct tape over his mouth. Kasey cries in bed about her deceased mom, which may be upsetting to some younger children.
Language: Mild name-calling, such as “idiot” and pea-brain.”
Adult Situations: Dad and Amy share a romantic kiss.
Drugs/Alcohol: A man at a bar appears a bit inebriated.

Will your FilmMother want to watch it?

Elf-Man can be fun holiday viewing for the whole family, FilmMother included…though I don’t know how she’ll feel about yet another family film featuring a dead mom (i.e. Finding Nemo, Bambi, Cloudy with a Chance of Meatballs).

Hold still…I’m just gonna take a little off the top…

Elf-Man
* Director: Ethan Wiley
* Screenwriters: Richard Jefferies, Ethan Wiley
* Stars: Blake Kaiser, Carly Robell, Jason “Wee Man” Acuña, Jeffrey Combs, Mackenzie Astin, Mirelly Taylor
* MPAA Rating: N/A


Rent Elf-Man from Netflix >>

We Need To Talk About Kevin (2011)

WE SEE IT WAY TOO OFTEN: A school shooting where students die at the hands of one of their classmates. We eventually learn more about the killer – what he was like, if there were any warning signs, etc. – but what about the parents of such a child? What life is left to live after the kid you raised is responsible for a mass killing?

That’s the premise for director Lynne Ramsay’s grim and unsettling We Need To Talk About Kevin, as we follow Eva (Tilda Swinton) while she tries to rebuild her life after her son Kevin kills several classmates at his high school with a bow and arrow.

A former high-profile writer and traveler, Eva now works at a two-bit travel agency, consumes large amounts of wine and pills to dull the pain, and lives in a tiny, beat-down home that, as the film opens, has been splattered with red paint by vandals. As Eva struggles with her daily existence, we’re shown flashbacks of how she went from carefree newlywed to bearing and raising Kevin – a cold, emotionless, hurtful child played at different ages by Rock Duer (toddler), Jasper Newell (child), and Ezra Miller (teen).

Each scenario in We Need To Talk About Kevin is more unsettling and disturbing than the previous one. Ramsey and co-writer/husband Rory Kinnear make each interaction between Eva and Kevin uncomfortable, pitiful, or downright heartbreaking, and any occasional glimmer of hope for these two to form a true mother-son bond is quickly dashed by the next scene.

The performances in Kevin are top caliber. Swinton is in virtually every scene, yet barely speaks (her total dialogue is 30 minutes, tops); her expressions and body language are what speak for Eva, and in volumes. The always reliable John C. Reilly plays Eva’s pushover, all-is-well husband Franklin, who’s more of a buddy to Kevin than a father and oblivious to how Kevin treats Eva. Ezra Miller is creepily effective as teen Kevin, combining adolescent attitude with a dead-behind-the-eyes stare that gets under your skin and stays there. And while the plot of the film is pinned on Kevin’s high school rampage, it’s his years as a gradeschooler that are the most terrifying. Jasper Newell delivers a scarily realistic performance as a child who’s become a cruel, sadistic sociopath by the age of eight.

Ramsey’s use of red permeates the film, seen in everything from food and clothing to the flooding lights of emergency vehicles at the scene of Kevin’s massacre. And while Eva’s ongoing struggle to clean the blood-red paint off her porch may seem a bit too symbolic, it almost becomes its own subplot. We want to see if, both literally and metaphorically, Eva can ever cleanse herself from what happened with Kevin – or if she’ll be permanently stained, forever marked as the mom who’s kid killed his classmates.

Kevin does have its debits. Occasionally, Miller’s portrayal of the evil Kevin teeters on caricature. Some “tell-tale signs” of Kevin's penchant for violence – a fascination with weapons, killing the family pet – could be seen as a bit cliché. And the ending may have some viewers wanting more of an explanation or closure.

With We Need To Talk About Kevin, Lynne Ramsey creates one of the most gripping, unnerving horror/thrillers in recent history. It’s extremely powerful, yet very difficult to watch. That goes double if you’re a parent.

Rating:

Is it suitable for your kids?

We Need To Talk About Kevin is rated R for “disturbing violence and behavior, some sexuality, and language.” There are several scenes of the aftermath of Kevin’s attack at his high school, with bloody bodies carried out on stretchers. Several people, including a young child, are shown dead by Kevin’s arrows. A few sexual situations are shown in shadows or silhouette, except for one fully lit scene where Eva catches Kevin in a compromising position in the bathroom. In terms of alcohol and drugs, Eva consumes a lot of wine and pills. Ironically, teenagers about Kevin's age and older would be the appropriate audience.

Will your FilmMother want to watch it?

It’s a safe bet that We Need To Talk About Kevin will be a tough film for any mother to watch, especially one with young or teenage children. You might want to watch it yourself, then decide if she’d be up for it.


We Need To Talk About Kevin
* Director: Lynne Ramsey
* Screenwriters: Lynne Ramsey, Rory Kinnear
* Stars: Tilda Swinton, John C. Reilly, Ezra Miller, Jasper Newell
* MPAA Rating: R



Rent We Need To Talk About Kevin from Netflix >>

Rio (2011)

LOOKING AT MY REVIEWS for April, I noticed there wasn’t one kid movie in the whole bunch. (The last was the terrific LEGO movie from mid-March.)

I usually try to alternate kid movies with dad movies, or at least stick to a 2-to-1 ratio to keep things somewhat balanced. But I fell short last month, and I needed to stock up on more reviews of kid flicks.

As fate, luck, and good timing would have it, the four of us got out to see a family-friendly movie together over Spring Break…

Plot:
Set in Rio de Janeiro and the rainforest of Brazil, Rio centers on Blu (Jesse Eisenberg), a rare macaw who thinks he is the last of his kind. When Blu’s owner (Leslie Mann) is told that there's another — a female macaw — she takes Blue from the comforts of his cage in small-town Minnesota and heads with him to Rio. But it's far from love at first sight between domesticated, flight-challenged Blu and fiercely independent, high-flying Jewel (Anne Hathaway). Unexpectedly thrown together, they embark on an adventure where they learn about friendship, love, courage, and being open to life's many wonders.

Critique:

With a lavish opening musical number featuring dozens of colorful tropical birds, Rio makes its intentions of a festive experience known immediately. Yet after that opening number, the festivities take a back seat as Blu and his owner make the tough decision to head to Rio and help his species survive by, um, “relating” with Jewel. (FYI: The mating concept is handled lightly and comically, so don’t worry about having to explain the birds and the bees – or in this case, the bird and the bird – to your kids.)

The design and art direction in Rio are truly something to behold – lush, extravagant backdrops and settings, including wide aerial shots that look like true-life photographs of Rio’s mountains, beaches, and iconic Jesus statue.

Eisenberg brings his trademark neurotic delivery to the voice of Blu, which is a perfect fit since Blu is unsure and skittish about much of what (and whom) he encounters during his journey. Hathaway is a good fit and enjoyable as the strong-willed and eventually sympathetic Jewel. And as much I was fearing over-the-top, grating performances from George Lopez and Tracy Morgan, they reeled it in just enough to make their characters (Rafael the toucan and Luiz and the bulldog) a lot of fun. In addition, Flight of the Concords’ Jemaine Clement provides one of the most memorable animated villains since Toy Story 3’s Lotso Huggin’ Bear as the sadistic cockatoo Nigel.

Music – specifically, Latin dance – plays a huge part in Rio, and rightfully so since the film takes place in Rio de Janeiro during Carnavale. Legendary musician/producer Sergio Mendes, along with Black Eyed Peas leader will.i.am, provide a rich soundtrack highlighted by the film’s signature track, “Hot Wings.” In addition, Rio’s music brings something back to animated features that hasn’t been heard since Disney’s early ‘90s heyday: signature songs by the characters in the film. The best of the bunch is Nigel’s wicked tune, “Pretty Bird."

Character development in Rio is a slow build, but it eventually gets there, along with much more laugh-out-loud comedy. Yes, there’s a pinch of pop culture references, but not too much as to spoil things or jeopardize the film’s freshness ten years from now.

With Rio, director Carlos Saldanha (and a small team of screenwriters) has tapped into something unique in both story and location. Yes, Pixar still has nothing to worry about (though rumor has it they canceled their film Newt because it was too similar in story). But with its gorgeous, vibrant, energetic vibe, Rio is well with the trip.

Rating:

Will your kids like it?

Absolutely. Rio is a lot of fun, with great songs, fun characters, and a visually amazing execution.

Will your FilmMother want to watch it?

The trailers really didn’t sell Rio as anything special, but the film is much better than she may expect. Convince her to make it a movie for the whole family to watch; nobody will be disappointed.

Hmmm...did the filmmakers intend for this

shot to be in 3-D? Guess we'll never know...

Rio
* Director: Carlos Saldanha
* Screenwriters: Don Rhymer, Joshua Sternin, Jeffrey Ventimilia, Sam Harper
* Stars: Jesse Eisenberg, Anne Hathaway, Tracy Morgan, Leslie Mann, Rodrigo Santoro, George Lopez, Jake T. Austin, Carlos Ponce, Bernardo De Paula, Wanda Sykes, Jane Lynch, will.i.am
* MPAA Rating: G


Rent Rio from Netflix >>

Win Win (2011)

IT’S SATURDAY NIGHT, and I’m taking FilmMother out for a belated birthday dinner and a movie. I’m excited about getting the chance to see a film in a theater, and I wonder aloud about when was the last time she and I did so without the kids.

“Valentine’s Day,” she informs me. She’s referring to both the holiday and the movie from 2010. In other words, over a year ago.

So yes, while we have seen movies in theaters since then (Toy Story 3, Despicable Me), this is the first time in a long time that we’re hitting the local cineplex childless.

My immediate thought: Let’s make this count by picking a good movie that the kids either couldn’t or wouldn’t want to see.

Plot:
In Win Win, Paul Giamatti (Private Parts, Shoot ‘Em Up) is small-time New Jersey lawyer Mike Flaherty, who has a declining practice, financial woes (both in his practice and his family life), and an aging client named Leo (Burt Young) battling the early stages of dementia. When Mike learns that Leo’s estate would pay $1,500 a month for an at-home guardian, he offers himself for the job, then puts Leo in a senior living facility and pockets the money anyway. But Mike’s visions of an easy payday begin to fade when Leo’s teenage grandson Kyle (Alex Shaffer) suddenly appears on the scene. And just when Mike thinks he's found a way to make this new development work, the boy's mother (Melanie Lynskey) shows up and puts Mike’s plans in jeopardy.

Critique:

From the opening scene of two joggers passing Mike as he tries to keep a steady pace, Win Win writer/director Tom McCarthy (The Station Agent) prepares us for a portrait of a man who is losing ground: Mike’s caseload is waning, expenses at work and home are growing, and he’s coaching a god-awful high school wrestling team.

McCarthy’s films thrive on relatable characters in an environment that captures the realism of everyday life, and Giamatti is a perfect fit for both of these elements as Mike – a good guy and family man who, in desperation, makes a move to improve his life that he believes will truly hurt no one.

Of course, no film is complete without conflict, and Win Win has its share in the form of Leo’s supposedly reformed addict daughter Cindy (played with convincing vulnerability and opportunism by Lynskey) and the fallout from when Mike’s little scam is ultimately exposed. However, the film isn’t just 105 minutes of heavy drama; it also features several laugh-out-loud scenes as well as engaging and well-shot wrestling sequences.

And while the framework of Win Win has been seen many times – guy does something for selfish reasons, grows feelings for those he's exploiting, tries to explain “it's not like that now” when he gets caught – it’s a true testament to McCarthy's vision, and to the stellar cast he's assembled, that in watching Win Win you don’t feel like you've seen it all before.

Speaking of the cast, in addition to the always reliable Giamatti, Win Win features The Office’s Amy Ryan as Mike’s supportive yet Jersey-tough wife Jackie; Jeffrey Tambor as Mike’s colleague and assistant wrestling coach Steve; Bobby Cannavale in a highly entertaining turn as Mike’s childhood friend Terry, who’s still clinging to his glory days as a high school wrestler (even though he sucked); and newcomer Shaffer, who does an impressive job as the brooding and guarded Kyle.

Had it been packed with A-list stars, Win Win (a hit at Sundance) would currently be the talk of the town and number one at the box office. But the fact it’s not jammed with “movie stars” but rather with believable, respected, relatable actors is truly what makes it work.

There were only eight other people in our theater when FilmMother and I saw Win Win. A great movie-going experience for us, but a travesty for such a well-made, feel-good, and rewarding film as this. Right this wrong; go see Win Win as soon as you can.

Fun facts:
* McCarthy planned for Amy Ryan’s character to have a leg tattoo of her favorite Jersey rocker, but he wasn’t sure if it should be Bruce Springsteen or Jon Bon Jovi. He asked Alex Shaffer’s mom, who’s from Jersey, and her immediate response was, “Jon Bon Jovi, of course!”
* Shaffer is a nationally ranked wrestler in real life. A two-time regional champion, he became a New Jersey state champion in his weight class just before filming Win Win (his acting debut).

Rating:

Is it suitable for your kids?

Win Win is rated R largely for adult language, with some adult themes and one butt shot courtesy of Cannavale’s character as he e-mails a picture of his bare ass to his estranged wife.

Will your FilmMother want to watch it?

Most definitely. Win Win is a great movie to share together, and she’ll be happily satisfied after viewing it.

They’ve fallen, and they can’t get up!
(What, you think you can do better?
Add your witty caption in the Comments section.)

Win Win
* Director: Tom McCarthy
* Screenwriter: Tom McCarthy
* Stars: Paul Giamatti, Amy Ryan, Bobby Cannavale, Jeffrey Tambor, Burt Young, Melanie Lynskey, Alex Shaffer, Margo Martindale, David W. Thompson
* MPAA Rating: R


Buy Win Win (DVD) at Half.com >>
Buy Win Win (Blu-ray) at Half.com >>
Rent Win Win from Netflix >>