Abe


MasterChef, Junior.

(2019) Family (Blue Fox/Breaking Glass) Noah Schnapp Seu Jorge, Dagmara Dominczyk, Arian Moayed, Mark Margolis, Tom Mardirosian, Salem Murphy, Daniel Oreskes, Gero Carillo Victor Mendes, Ildi Silva, Devin Henry, Steve Routman, Josh Elliiott Pickel, Alexander Hodge, Debargo Sanyal, Teddy Coluca, Jorja Brown, Troy Valjean Rucker, Vivian Adams. Directed by Fernando Grostein Andrade

 

There are equalizers that remind us that we all are human regardless of our cultural, ethnic and religious differences; music is one. Family is another. Food is a third.

Abe (Schnapp) knows all about those differences. His father (Moayed) is an atheist whose parents are devout Palestinian Muslims. His mother (Dominczyk) comes from a Jewish family from Israel. Family gatherings, like Abe’s twelfth birthday, are a little bit like the Seven Days War at the dinner table. For the love of Pete, even a discussion of hummus can turn into a knock-down, drag-out fight.

Abe – whose Israeli grandfather (Margolis) calls him Avraham, his other calls him Abraham and his paternal grandfather (Mardirosian) and grandmother (Murphy) call him Ibrahim – prefers just plain old Abe, and plain old Abe is just plain old nuts about food. He’s a twelve-year-old foodie, interested in trying out new things, new tastes and he lives in the perfect place in all the world for that – Brooklyn. He longs to become a chef, uniting cuisines and hopefully, in doing so, uniting people. Like his family, for instance.

His parents, too busy making decisions about his life without really listening to him, particularly his stubborn father who refuses to allow any other school of thought other than his own enter Abe’s sphere of consciousness. All Abe wants to do is cook. His parents, meaning well, want to send him to summer camp but the cooking camp they send him to is pretty remedial. He chooses to give this camp a miss.

Abe, like a lot of kids his age, is Internet-savvy and there’s a chef on Instagram who is an up-and-coming king of fusion. Chef Chico (Seu) is a Brazilian who brings bold flavors to his food. Abe seeks him out and pesters him into giving him a job so that Abe can learn from him. At first, the job consists mainly of taking out the trash but Abe picks up on things, eventually taking his grandmother’s recipe for lamb shawarma in to make tacos for the crew meal. Chico is actually impressed.

&His parents are not, however, when they learn what Abe has been up to. All the stress of familial pressures has been tearing his mom and dad apart and they separate. Abe is devastated; he looks to reunite his fractured family with a Thanksgiving meal featuring the flavors of both countries, but can a conflict nobody has been able to solve be settled over a meal of turkey and falafel?

Well, no, but that won’t stop this movie from letting you think that it can. I admit, food is a powerful thing, bringing emotions and memories of home to the fore, but for most of us, we are aware that some differences can’t be settled simply. To the film’s credit, it doesn’t send the message that it can, but it does send a message that people can have their minds opened up, which is the first step towards understanding which in turn is the first step towards peace.

For a movie about a foodie, there isn’t as much food porn as I thought there’d be, which is actually kinda nice. I didn’t leave this movie particularly jonesing for falafel, hummus or shawarma. Not even for ramen tacos, which is Abe’s first attempt at fusion.

Schnapp, whom Netflix viewers might recognize from Stranger Things, does a pretty credible job considering that the role is kind of Afterschool Special plucky kid 101. Abe is likable and Schnapp brings that across; he is also anguished that everything he does seems to offend one side of the family or another, and I can actually sympathize with his plight. It is every adolescent nightmare, but in Abe’s case it is literally true.

Andrade, directing his first American movie (it’s actually a co-production with Brazil), uses what is becoming a new cliché in showing the smartphone screens of Abe’s various searches and chat programs, which actually takes you out of the story a little bit. While I agree that if you’re going to show a typical 12-year-old kid in 2020, you’re going to have to show him/her having on online life, the way it is done here becomes somewhat intrusive, as does the Latin-tinged score. The comedy here, while gentle, feels forced and the ending is a bit too sitcom-style pat with everyone sitting to a meal together.

This is an appropriate movie for kids, but if I were you parents, I wouldn’t tell them what it’s about. They might not want to see it based on the description, but they will probably end up getting a kick out of it, although I might warn them that the Palestinian-Israeli conflict isn’t going to be settled over a good meal. Nonetheless it is a pretty decent family film that can be enjoyed over a nice bowl of popcorn; how you choose to season it is up to you.

REASONS TO SEE: Does tackle some serious subjects in a non-threatening manner.
REASONS TO AVOID: A little bit self-aware, a little too pat, a little too forced.
FAMILY VALUES: There are some adult themes.
TRIVIAL PURSUIT: Margolis and Mardirosian, who play Israeli and Palestinian patriarchs here, both played prisoners in the hit HBO series Oz.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, Hoopla, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 6/2/20: Rotten Tomatoes: 71% positive reviews; Metacritic: 62/100
COMPARISON SHOPPING: The Samuel Project
FINAL RATING: 6.5/10
NEXT:
Polar

The Standoff at Sparrow Creek


How quickly the paranoid turn on one another.

(2018) Drama (RLJE) James Badge Dale, Chris Mulkey, Brian Geraghty, Robert Aramayo, Patrick Fischler, Happy Anderson, Gene Jones, Cotter Smith, Bret Eric Porter, Nichole Abshire, James Healey Jr., Max Konz, David Adams, Marcellus Anthony, Danny Augustus, Brian Bethel, Stephen Bouldin, Michael W. Bunch, Arlene Cavazos, Karia Barbelotto. Directed by Henry Dunham

 

In a time when heavily armed angry white men go to a state capital with semi-automatic weapons clearly at the ready to protest being quarantined during a pandemic, this movie, which takes a look at what goes on in a civilian militia when driven to a crisis point, seems all the more relevant.

Ex-cop Gannon (Dale) is out hunting when he hears the distant pop of automatic weapons fire as well as several explosions. He quickly heads home with his buck, knowing that he’s about to get a call, and so he does; from Ford (Mulkey), the leader of the militia group that Gannon has joined. They are to meet up at the warehouse that serves as an armory for the group.

The group assembles, including mute Keating (Aramayo), young Noah (Geraghty), laconic Hubbel (Jones), nervous Beckman (Fischler), and ex-Aryan Morris (Anderson) to compare notes. Gradually, they learn that there was an attack on a funeral – a cop’s funeral – which took down many of the dead officer’s brethren. It was believed to be the work of a militia. Ford knows that there will be some angry law enforcement looking warily at every militia group locally, and so he decides to button down the armory and make sure everyone has an alibi. Then, they discover one of their automatic weapons is missing, along with some grenades and a set of Kevlar body armor. The attacker was one of their own.

Ford realizes that if they are to survive the night, they must discover who went rogue and deliver that person up to the police. In the meantime, other militia groups have taken the attack as a sign and are mounting attacks against police officers all over the country. Gannon is assigned to do the interrogating of the likeliest subject, as he probes each man’s reasons for being there and discovers that some of the men harbor dangerous secrets.

Dunham does a commendable job of setting up an atmosphere of tension and paranoia, and he does so with a group of character actors whose faces may well be familiar to reasonably knowledgeable moviegoers. Dunham keeps that level of tension rising throughout until it boils over in a climactic scene that is staged with precision and artistic grace. While the dialogue can be a bit on the chest-thumping side, the real issue with the movie is that it is chronically underlit. I understand that Dunham wants to convey that groups like these operate in the shadows, but it doesn’t have to be literal for us to get the point. Still, this is a mighty fine film that flew under the radar. It’s worth checking out.

REASONS TO SEE: Keeps the tension building. The final confrontation is masterfully staged.
REASONS TO AVOID: Chronically underlit.
FAMILY VALUES: There is profanity, violence and some adult themes.
TRIVIAL PURSUIT: This was Uruguay’s official submission for the 2019 Academy Awards Best Foreign Language Film award.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, Hoopla, Hulu, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 6/2/20: Rotten Tomatoes: 77% positive reviews, Metacritic: 62/100
COMPARISON SHOPPING: Betrayed
FINAL RATING: 7.5/10
NEXT:
Abe