Netflix’s Sci-Fi Duds: Extinction and How It Ends

Image result for extinction netflix movieImage result for how it ends netflix movie

Netflix has become not only our entertainment overlord, but also a relentless content factory. Their business model has become “throw it to the wall and see what sticks.” So while it takes more time to sift through the bad content to get to the good, an unexpected side-effect is that the company has been leaning hard into sci-fi, and has been turning out an impressive number of films. Altered Carbon, Mute, Lost in Space, Annihilation, Okja, The Cloverfield Paradox, Bright, and What Happened to Monday have all come out within the last year, and are a very mixed bag (Okja and Annihilation are the best of the bunch). I love the idea of Netflix becoming a patron of sci-fi, supporting smaller productions with up-and-coming talent. But with Netflix becoming the dumping ground for films that studios don’t think can make it on the big screen, I have to wonder if this is actually improving the genre. Unfortunately, Extinction and How It Ends, both newly-released Netflix fare, are not helping Netflix’s case.

Extinction was a movie I was very excited about. I like stars Michael Pena and Lizzy Caplan, and the story of a dad who has visions about an apocalypse he will soon have to save his family from is familiar territory, but could be taken in a unique direction.

Alas, this film only has one goal in mind: get to the plot twist, which comes about thirty minutes from the end. So for at least an hour, we get a blasé, dull, and standard sci-fi alien invasion film. The twist doesn’t get enough time to fully develop, and it doesn’t impact the first hour of the film enough to make it worth watching. The lead-up to the twist is more filler than a compelling narrative.

Extinction tries to have a political undercurrent. For example, there’s a sign that says, “A Cyborg Took My Job.” But if you try to read the groups in the film as an allegory, the implications become a little concerning. Don’t think too hard about it. But if you take it for what it is in the film, the twist does attempt to add a different dimension to the are-robots-people question. It just comes so late in the film that it is kept from reaching its full potential.

So while I can see why Extinction was pulled from the Universal movie slate, it is still a passable two hours if you have Netflix. But with so much to see right now, passable isn’t enough. You’re worth more than that.

But Extinction is a Hitchcockian masterpiece compared to How it Ends, which is my new worst movie of the year. Congratulations! You took my favorite subgenre- the road trip- and made it a contender for the dullest two hours of my life.

Here’s why road trips paired with disaster films should work: road trips are an inevitable part of most of our lives. Pair it with something abnormal, and suddenly you’ve created the perfect dynamic in your movie. The macro-conflict can come from the disaster, zombies, robots, whatever. The micro-conflict that drives characters come from the road trip aspect. How we react in a disaster becomes framed by the normality of driving.

So what this film about a guy named Will (Theo James) and his prickly future father-in-law Tom (Forest Whitaker) driving across the country after something bad takes out all the power to get to his fiance should have had was Will and Tom arguing about where to take bathroom breaks, what kind of music to play, and exchanging stories about their daughter/fiance. It could be tense at times, sure, but not the lifeless sludge it ends up being. An endless repetition of being attacked by people on the road does not an exciting movie make.

I have no idea who these people are by the end of the film, and the “in-law road trip from hell” pitch is completely wasted in favor of the blandest War of the Worlds rip-off ever. There is no originality anywhere in this film. No clever solutions, no interesting dialogue, no real emotions, nothing of substance or that will be remembered. Theo James stares blankly at everyone he encounters and has the personality of a video-game shooter. Forest Whitaker solves every problem in the film by looking characters in the eyes and saying, “Trust me,” and if that doesn’t work, killing them.

I can’t recommend not seeing this film enough. It has the worst ending I’ve ever seen, a non-ending. Not to be too picky, but I feel pretty strongly that a movie called How It Ends should have an ending. My only explanation is that screenwriter Brook McLaren fell asleep before writing the ending, somehow hit his head, got amnesia, and forgot his idea for the ending. I too wish I could forget this film.

I’m not giving up on Netflix as a patron of science fiction. It has still given us good sci-fi films (again, Annihilation and Okja, people). But quality is better than quantity, and I don’t want flops like these to dilute and drag down such an exciting genre.

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Filming Hobbits and Narnians: Film Sets in New Zealand

Here at madeleinelovesmovies.com, we’re not just film critics, we’re also fans. And what do film fans do on their vacations? They go visit movie sets! So, we traveled halfway around the world to visit some of the sets and a studio where The Lord of the Rings and The Chronicles of Narnia were filmed. Before we get into pictures, though, here are some observations:

  1. New Zealand is even more beautiful than the movies make it look. No kidding, Norway, Austria, and Alaska are gorgeous, but New Zealand might be the most beautiful place on earth.
  2. While The Lord of the Rings is beautifully shot, tracking down the sets lets you know that it was much more of a ‘backyard shoot’ than you might think. For instance, the awesome scene where the four hobbits hide from a Nazgul under a massive tree root? It was filmed in a little city park on the top of Mount Victoria about 15 minutes away from WETA Worship. The epic location for the Battle of Helm’s Deep? A little stone quarry just off the main highway outside of Wellington (see pics below).
  3. While we weren’t huge fans of the Chronicles of Narnia movies released in 2005, 2008, and 2010 (mainly because we love the books so much and didn’t feel like they represented the books well enough), some of the places where they filmed were definitely worth visiting.
  4. It is a shame that they didn’t keep more of the sets of The Lord of the Rings. Hobbiton is the obvious exception, although we learned that they destroyed the Shire after the first trilogy (that’s actually the film set being burned in the Shire-burning scene in Return of the King) and then they rebuilt the whole thing again for the 2nd trilogy. The 2nd time they left Hobbiton intact on the Alexander farm on the North island, and the tour is definitely worth doing.
  5. Visiting all of these places, and particularly the WETA Workshop (where they do a lot of the special effects as well as costumes and miniatures), is really a celebration of the craftsmanship and passion of the people who make these movies (thousands of people, not just Peter Jackson). Seeing and reading about the process adds to the enjoyment of the films and is a gratifying experience for anyone interested in the art of film.

Here are our pictures with corresponding film stills (note for future travelers: all locations are on the North Island except Castle Hill, which is on the South Island):

Cathedral Cove in Coromandel/ Prince Caspian

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Bag End in Hobbiton/ The Fellowship of the Ring

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The Green Dragon Inn in Hobbiton/ The Fellowship of the Ring

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Mount Doom (Mt. Ngauruhoe) in Tongariro National Park/ Return of the King

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Mangawhero Falls in Tongariro National Park/ The Two Towers

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WETA Worship in Wellington/ The Lord of the Rings, The Hobbit, Narnia…

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Rock Quarry outside Wellington/ The Two Towers (gotta use your imagination here)

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Rivendell in Kaitoke Park outside Wellington/ The Fellowship of the Ring

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Castle Hill near Arthur’s Pass/ The Lion, the Witch, & the Wardrobe

IMG_6228Castle Hill

-Madeleine D and Jonathan D

 

Just Say No To: Teen Titans GO! To the Movies

Image result for teen titan go to the movies*Major spoilers for Incredibles 2

Exactly 364 days before Teen Titans Go! To the Movies was released, The Emoji Movie was released. A film that was so disgusting, I offered to babysit any child for an hour and a half in exchange for them not to see the film.

While I cannot offer that currently, I wish I could, because Teen Titans Go! To the Movies isn’t deserving of your child’s affection.

Granted, it’s not the worst movie made for people who believe kid entertainment should lack any element of sophistication. And I’ll give it this- the songs are catchy. Most kid movie songs aren’t very catchy.

Now I want to stress that I actually like the TV show this movie is from. I have watched quite a few episodes on Cartoon Network of Teen Titans Go! while babysitting. I understand why it’s popular. The twenty-minute episodes are full of superhero deconstructionism, goofiness, creative visual gags, and appealing characters done by great voice actors. As someone who didn’t know who the Teen Titans were in DC comic lore before the show, I have a better appreciation for the characters and understand why this team has such staying power. If there was an eighteen-year-old sitting in that movie theater by herself that was ready to give this movie a fair shot, it was me.

But some things that are twenty minutes are not meant to be stretched to an hour and a half. Just like emojis are not meant to shoulder a full-length commercial, Teen Titans Go! was not meant to be both Deadpool for kids and a “we read your internet complaints” message from Warner Brothers.

The basic premise of Teen Titans Go! To the Movies is that every superhero has a movie except Robin and the Teen Titans (consisting of Starfire, Beast Boy, Cyborg, and Raven). Robin, in particular, wants a movie and will do anything, even find a supervillain and abandon his friends, to do so.

And that’s the whole plot. And it’s stretched ttthhhhiiiiiiiinnnnnnnn. To be fair, it avoids feeling as episodic in structure as many TV shows-turned-into-movies are, but still. The only things moving this story forward to the inevitable moral conclusion are dance numbers and jokes about Batman V Superman. There are a few good gags, and excellent voicework all around, but it’s not enough.

While watching the third fart joke of the film, my mind started to wander, and I decided to reflect on the philosophical implications of Teen Titans Go! To the Movies. The villain, Slade, has an evil plan that, not to spoil anything, basically involves using screens to mind control people, including other heroes like the Justice League. He gains control of people’s screens through superhero movies, and because superheroes are too busy staring in these movies, they aren’t around to save people.

That is actually an interesting idea, that we spend too much time consuming media about superheroes but not actually enacting the morals they are supposed to teach us. And at the end of the film, Robin decides that it is better to be a superhero with his friends than a movie star.

However that message is defeated by the fact that this is a movie, and half of the runtime is dedicated to selling how cool superhero movies are. So kids are probably not going to walk away thinking- I should consume less superhero media and instead live out the values I have learned from them so I may serve my neighbors and community. I’m pretty sure they’ll be thinking, Robin and the Teen Titans are so cool! I want to watch more of their show! I wish I could be a movie star!

But you know what other movie has a villain with this exact same plan? Incredibles 2. In that film, Screensaver/Evelyn Deavor uses screens to control superheroes. She believes the existence of superheroes makes the public weak and passive, believing someone else will save them. So she uses mind control to make the superhero’s fail publicly, and ruin their reputation forever. She believes this will force people to become active again.

The “who did it first” argument doesn’t really matter here, although I’m going to give it to Incredibles 2, considering that Teen Titan Go! To the Movies looks like a rush job. The point is, we have two children’s films where the main question is: do superheroes (and superhero movies) make us more passive, easier to mind-control? Teen Titans does very little with the premise, ultimately burying it under the goofiness and flippant style of the film. Incredibles 2 thinks through it more clearly and ultimately comes to the conclusion that it’s on us to be superheroes, although we should let superheroes share their gifts. Both films suffer by having only the superheroes save the day, when thematically it would probably be better to get some human people in there, but Incredibles 2 gets to the heart of both the problem and appeal of superheroes, even more than the meta-Teen Titans Go!

And plainly, Incredibles 2 is a much better film. It is for both kids and adults. So why not see that? Unless you are a strong Teen Titans Go! TV show fan, this movie will feel like a chore. It’s a bummer there aren’t more animated movies out this year, but there are plenty of classic family movies to rent or stream. In a world with so many movies, why pay to see this one? Or watch a few episodes of the TV show instead. The Teen Titans may be going to the movies, but you don’t have to.

-Madeleine D

You Never Really Escape: Eighth Grade

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There has started to become a trend of there being a coming-of-age movie every year that garners awards and praise. Last year it was Lady Bird. Two years ago it was The Edge of Seventeen. Before that was Brooklyn, and before that Boyhood. Eighth Grade will probably be this year’s contender. But before you think “Oscar bait!” let me persuade you otherwise.

Eighth Grade doesn’t really have a plot, which isn’t necessarily a bad thing. The film moves along at a good pace and ends satisfyingly, but it does feel more episodic than you might expect. The whole story takes place during thirteen-year-old Kayla Day’s last week in eighth grade.

The film is based on cringe humor and terrific performances. Josh Hamilton as Kayla’s dad is one of the best movie dads of all time. That’s it. No debate. This is almost as much a movie about parenting as it is teenagerhood. And Elsie Fisher is incredible as Kayla. While watching the film, you realize a large majority of it is focused on her face. Many directors wouldn’t trust such a young talent to carry the film exclusively on her shoulders and let the camera linger on her for long periods of time. But this film does, because Fisher can handle it. Most striking is her physicality- she slumps the whole movie, her eyes anxiously glancing back and forth, and on top of that, she actually looks like a real thirteen-year-old. It was realistic, sometimes I felt like I was watching old footage of myself.

That’s how I think most people will react. While some aspects of the film are going to be relatable primarily to women, I am positive that everyone will see parts of themselves in both Kayla and others. The universality of the awkwardness of that period- whatever age you are- overcomes the superficial differences.

But it’s not just enough to make a movie about how awkward teenagers are. All coming-of-age movies do that. What makes Eighth Grade different is its insight. It doesn’t it just say, “wow teens are so weird.” It understands why, and perfectly showcases its philosophy through the central framing device. Throughout the film, Kayla makes youtube videos. She does them on subjects such as “how to have confidence,” and “how to make friends.” Her advice is cliche-ridden, but it is good. She just struggles to live it out. The disconnect between what she says and does is evident.

This, the movie says, is why teenagers struggle so much. Unlike children, they realize they aren’t perfect. They have a hole in their heart, and they don’t know why they are incomplete. But unlike adults, they either don’t have the words and tools to start figuring out what is missing, or they don’t have a dependency on various coping mechanisms/idols yet. They know they are incomplete but cannot figure out what to do about it.

This hole, this sense of incompleteness, is sin. It’s our fallen nature and can only be filled by God. We all have it, and in that sense, we all understand the anxiety and fear of the teenage years. It simply looks different in adults.

Kayla knows the person she wants to become- that’s who her videos describe. She knows what she’s missing, but cannot get there. She says in the film, “I’m nervous, like I’m waiting in line for a roller coaster, (but) I never get the feeling you get after you ride the roller coaster.” Waiting for release, for everything to fall into place and seem whole, but never getting there. That is the curse teenagers are growing into.

I was introduced to writer/director Bo Burnham’s comedy about a year ago at the recommendation of a friend (you can find two of his specials on Netflix). I found his work to be incredibly clever, but also incredibly cynical. I was worried that his cynicism and snarky nihilism would be an element of this film.

Not so. Bo Burnham has created a hopeful film, one that teaches that what you feel in eighth grade will probably be temporary, and even if it’s not, there will always be people who will love you through it. But probably the best message of Eighth Grade comes simply from its existence. Seeing it, and knowing you are not alone, is the empathetic message of the film, and I can’t think of a better one to send to both real eighth graders, and the rest of us.

-Madeleine D

Documentary Double: Three Identical Strangers & Whitney

Image result for three identical strangersRelated image

It is the summer of documentaries, and after RBG and Won’t You Be My Neighbor? I’m happy to report there are two more excellent films to add to your list. They are very different, but both tell some of the most compelling stories of the year.

It’s difficult to review documentaries because you can’t very well review their subject matter. I can’t review and critique Whitney Houston and her life, so with Whitney I have to think about how the film presents the information it has. How does it tell her story? What kind of bias is introduced? What does the audience take away from the film? In Whitney, we see her entire life, from childhood to rising star, to troubled singer to her tragic death.

Director Kevin MacDonald stays mostly mute during the film, letting the interview subjects- close family and business associates of Whitney- speak, squabble, and accuse. Whenever one person accuses another of something, the accused gets to speak. I don’t want to reveal the biggest revelation the film digs up, but it turns the already somber film into a different piece of work about the artist’s life. It not only searches for answers to Whitney’s pain, but in all of the right moments, simply lets us live in it. Some things don’t have explanations, and I appreciated that the film just lets Whitney speak for herself in some cases, and doesn’t try to connect everything that happened with a reason. That said, as someone who didn’t know much about Whitney Houston before seeing the film, I learned a lot from not only hearing about the events in her life, but also from the various viewpoints on how those events occurred, the responses to them, and the effects on Whitney. The film balanced those two elements thoughtfully.

Walking away from the film, I am left with feeling like I just heard an Old Testament tragedy. A family, broken by addiction and greed and misplaced love, and at the center of it, a girl without a foundational identity and sense of purpose. The film is compassionate to its subjects, but unblinking in its depiction.

Three Identical Strangers is not as fair or compassionate as Whitney to the “enemies” of its subjects, but is one of the best thrillers of the year. What starts out as the lighthearted, human-interest story of three 19-year-olds finding out they are identical triplets, separated at birth, becomes a dark and uncomfortable tale as revelations are made about the circumstances surrounding their separation. The less you know going in, the better, but let’s just say that if you were born in the 1960s and adopted through a Jewish agency, you might come out thinking that you just might have a long-lost twin somewhere out there. It’s a story about nature vs nurture, the lies we tell ourselves to cope, and experimental ethics. The film ends with an angry plea for justice, which means the story of these three identical strangers, if the film becomes influential enough, may not be done quite yet.

Aesthetically, both films make use of talking heads (people looking at the camera as they are being interviewed) and footage from different media sources. Three Identical Strangers also makes use of reenactments in the beginning of the piece, and clips along at a nice pace. It’s not flashy, but it gets the job done. Whitney, while a little too long, is excellently edited. It mixes famous public footage (MTV and talk shows) with home-videos that capture Whitney unfiltered. It includes three montages of Whitney singing, intercut with clips of cultural touchstones that depict rapidly the environment Whitney was in and what the world was using her music to help them face. While neither film tries any cutting-edge documentary techniques (like the rotoscope animation used in 2016’s Tower or the animation from 2016’s Life, Animated) they still get their stories effectively and engrossingly across.

I don’t know why documentaries are having a box-office moment this summer. Perhaps the normal fare is weaker this year. Maybe MoviePass is encouraging people to see films they wouldn’t have considered otherwise. Perhaps, hearing true stories is a cathartic way to remind ourselves that nothing new is under the sun. Real life is crazy and bizarre and sad and beautiful, and we may find more security after we’ve made peace with that than if we only ask art to provide us an escape. Both of these films make the audience have an experience, an experience that draws us closer to fellow human beings, living and deceased. If that’s not worth the price of admission, I’m not sure what is.

-Madeleine D.

Movie Minute: Ant-Man and the Wasp, Leave No Trace, and Mamma Mia 2

July has been a hectic month, but nothing can stop me from seeing movies, so here is what you need to know about these three new releases.

Ant-Man and the Wasp

After Infinity War, Ant-Man and the Wasp is somewhat of a palette cleanser. Not from any of the Marvel formula, but from even pretending to have stakes. It sheds the foreboding nature of Infinity War and relishes in simpler times, by redoing jokes from the first film and being just as pleasant. I had a great time watching it, but I struggle to remember much, and while things technically happen in the lives of the characters, there aren’t any far-reaching consequences for the MCU as a whole, nor is there anything thematically to take away.

It does make a few improvements on the first film. The villain, Ghost, played by Hannah John Kamen, is not only a visually arresting character but one with twisted motivations who gets a surprising ending for an antagonist. Evangeline Lilly and Paul Rudd continue to make a charming pair, and seeing them work together in a way no other pair of superheroes have in the MCU is exciting to behold. And Michael Peña continues to steal the screen and our hearts. But all of that isn’t enough to make it a necessary film. And while you may ask, are any of these movies actually necessary? within the story the Marvel brand is telling as a whole, Ant-Man and the Wasp is a pleasant romp but very forgettable, and when the other Marvel films are going in an exciting new direction, this feels like a step back.

Leave No Trace

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Leave No Trace struck me in a place I haven’t been struck since my favorite film of last year, The Unknown Girl. Both films tell small stories about people struggling with messy, complicated ethical decisions, who ultimately bring out the best in other people and themselves through conviction and will. This slow and enchanting Debra Granik film never goes where you think it will, and ends with a startling conclusion that works perfectly with its compassionate, melancholy, yet hopeful, story of a father and daughter struggling to keep out of a society they cannot rest in. Watching the coming-of-age of daughter Tom (Thomasin McKenzie) and her realization that her desires might be different from her fathers is both heartbreaking and empowering, told with the nuance of experience by Granik. I won’t say more, because the less you know the better, but I would say it’s a must-see.

Mamma Mia! Here We Go Again

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If you liked the first Mamma Mia, then you’ll like this one. Case closed.

It’s an accurate description though! Mamma Mia 2 is exactly like the first one, good and bad in all of the same ways. It has a flimsy story and weak characters, and everything is in paradise and beautiful and is the ultimate wish fulfillment (primarily for women. It is a film made for the female gaze, and honestly, it feels nice to be catered to in such a way, albeit superficially). It’s a joyful movie that celebrates family, friendship, and motherhood (and free love and deep pockets, but that’s beside the point). Abba’s music is infectious, and the cast, young and old, is having so much fun that it’ll wear down the sourest of souls. Fittingly, my feelings are as they sing in the film:

I tried to hold you back but you were stronger. Oh yeah! And now it seems my only chance is giving up the fight. And how could I ever refuse? I feel like I win when I lose!

-Madeleine D

Off The Deep-End Fun: Jurassic World: Fallen Kingdom

Related image*Massive spoilers!
Jurassic World: Fallen Kingdom is the second installment in the reboot of the Jurassic Park franchise. I found the first Jurassic World (2015) dumb and boring. This movie is a major improvement in that it is dumb and off its rocker, which if your movie isn’t good, is the second-best-thing.

Fallen Kingdom takes the franchise out of the park, finally justifying the “Jurassic World” title and taking the series in a different direction. Director J.A Bayona has a horror background and puts it to good use here. The lighting and cinematography, along with setups and suspense, flip-flop between being unique and almost shot-for-shot copies of the original Jurassic Park, but are all used well within the story. It’s a monster movie, with visual allusions to Godzilla, King Kong, and werewolves. While it doesn’t always succeed, Fallen Kingdom is an ambitious next step, and I find that very admirable for a franchise.

Of course, it doesn’t experiment with everything. We’ve still got our two leads from the first film. Chris Pratt is Owen, aka Chris Pratt, which I’m pretty tired of right now, but hey, he does leading man well. But it’s really Bryce Dallas Howard as Claire who really gets to shine here, taking her character development from the first film even further, and giving a terrific balanced performance of action-hero competence and raw emotion. The movie also tries to, like its predecessor, attempt some winking-topical “humor”. The first used its corporate focus and egregious brand-promotion to say… something meta. I don’t think it succeeded. Fallen Kingdom has a military character call a character a “nasty woman” and has the rich billionaire villain have a Trump-style hairdo. Oooh, back up everyone. This is a topical film, not here to mess around. These attempt at relevancy are shallow, meaningless, and fall flat. It’s okay Jurassic World, you don’t need to do anything like that. You know what you’re about.

The ultimate argument of the film is that since humans brought dinosaurs back to life, it’s our duty to give that life as much freedom as we give other living things. This is encapsulated by a child named Maisie, a human clone (yes, you’re reading that right) releasing the dinosaurs into the world  and saying they’re “alive like I am.” Which might be a more convincing argument if human clones were real, but… they aren’t. Yet. This film does not dive into human cloning and this revelation, which is probably just a set-up for the third movie, feels a little cheap. Furthermore, these dinosaurs were brought to life by a tiny group of powerful people who promised to keep the dinosaurs safely away from human civilization. Their malpractice should not mean a more dangerous world for everyone else. As my vegetarian sister counter-argued against the dinosaurs-should-be-free-despite-being-a-danger-to-humans argument: “I try not to eat chicken, but if a giant chicken was going to eat you, I would eat it.” In other words, unless we believe dinosaur life is of completely equal value to human life, then we should prioritize the safety of humanity.

To its credit though, the film does do an excellent job setting up its thesis. It shows how similar humans and these dinosaurs can be. Both kill each other and both are capable of love, protection, and emotion. The dinosaurs have emotional range! It sure sets up an interesting debate on the sanctity of dinosaur life and freedom. And having the “parents” of Jurassic World (as a character in the film labels Owen and Claire) make the mess, and then the new generation (represented by child Maisie) take on that responsibility, is surprisingly touching.  

All that doesn’t mean the film isn’t silly and derivative at times- it is- but I’d rather watch a film taking a running dive off the deep end than shrug in mediocracy.

(P.S, While I will not be reviewing them, I highly recommend the documentary Won’t You Be My Neighbor? and Incredibles 2, both in theaters now. Won’t You Be My Neighbor? is a touching tribute to Fred Rogers and a peaceful protest/plea against the anger and divisiveness that is depicted in our media and politics. It is also a positive (but also honest) view of a Christian who used media to teach everyone that they are loved and worthy of love and dignity as a creation of God. Meanwhile, Incredibles 2 is just as fun and smart as the first, with laugh-out-loud humor, sweet family lessons, and incredible action. It’s a truly deserving sequel worth waiting 14 years for.)

-Madeleine D