Valentina

Mother and daughter share a smile.

(2020) Drama (Corriola) Thiessa Woinbackk, Guta Stresser, Rômulo Braga, Ronaldo Bonafro, Maria De Maria, Pedro Diniz, Leticia Franco, João Gott, Paula Passos. Directed by Cássio Pereira dos Santos

As humans, we like to put people in boxes. It makes it easier for us to figure out who they are, I suppose. The boxes can be narrow or broad – from a teenage girl to a gaming nerd to a math geek. Or maybe all of the above. People, though, seldom stay in the boxes we put them in.

Valentina (Woinbackk) is your average teen girl in Brazil. She likes music, argues with her mom, can be temperamental and has a healthy dose of drama in her DNA. She also happens to be transgender.

She and her mom (Stresser) have moved from Sao Paolo to a small country town to get a new, fresh start. Victimized by bullies at her own school, she is eager to enroll in school under her new identity. The problem is that the school won’t let her do that without the signature of both parents, including her father (Braga) who is no longer with her mom and who has had a hard time adjusting to the change that Valentina has undertaken.

At school, she is wary about telling anyone her secret, not wishing to be victimized again. She does start making friends but elects not to tell them that she wasn’t born a girl. However, complications begin to ensue when she is groped by a young man who works in the butcher shop who was, up to then, sweet on her. He in turn tells her bigoted brother who wants Valentina to be thrown out of school and is willing to go to extremes to see that it happens, including rallying the other parents in school to sign a petition. However, nothing is going to keep Valentina down – especially after her father turns up in her corner.

Woinbackk is a trans activist and popular YouTube personality in her native Brazil, and she has loads of screen presence; she has the ability to become a big star down the line with the right roles. One wonders how much of Valentina’s story is her story; I assume that she had her share of resistance to her decision to make the change. Woinbackk, if you get a chance to see her videos, has a forceful personality and it’s easy to see where Valentina got that aspect of her personality from.

In fact, one of the things I admire the most about the film is how Valentina is portrayed not as a transgender first and a girl second, but as a girl who just happens to be transgender. We get to meet the person, not a stereotype. Valentina could be any teen girl you meet in your own hometown – and there are probably several just like her that you don’t know about, who have elected as she did not to tell anyone for fear of persecution. One wonders why adults feel the need to terrorize a teenage girl, but that isn’t an unusual situation, in Brazil or the United States, sadly.

There are some elements of the movie that don’t work, unfortunately; at times the action becomes overly dramatic to the point where it feels more like a soap opera. The classroom confrontation at the end of the movie between Valentina and the bigot feels extremely contrived, and while it does hit the right feels, it never rings true.

That’s a shame because other than that this is a marvelous first feature for Pereira dos Santos, and an impressive acting debut for Woinbackk. A terrific character was created here, a true role model who isn’t perfect (Valentina can be a little hotheaded, and she has a tendency to not give her trust easily) but is still someone to admire. This is out on the festival circuit for now; hopefully one of the indie distributors that features LGBTQ films, or a cable/streaming service that serves that community will pick up this fine film.

REASONS TO SEE: Valentina is portrayed not so much as a trans girl, but as a girl who is transgender (a crucial difference).
REASONS TO AVOID: Has an occasional tendency to go the soap opera route.
FAMILY VALUES: There is profanity and some sexuality.
TRIVIAL PURSUIT: 82% of all Brazilian trans boys and girls drop out of school due mainly to bullying.
CRITICAL MASS: As of 8/25/20: Rotten Tomatoes: No score yet, Metacritic: No score yet
COMPARISON SHOPPING: A Fantastic Woman
FINAL RATING: 6.5/10
NEXT: 5 Years Apart

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Girl (2018)

Showers aren’t always the great equalizer.

(2018) Drama (Netflix) Victor Polster, Arieh Wolthalter, Oliver Bodart, Tijmen Govaerts, Kateljine Damen, Valentijn Dhaenens, Megali Elali, Alice de Borqueville, Alain Honorez, Chris Thys, Angelo Tijssens, Marie-Louise Wilderijckx, Virginia Hendricksen, Daniel Nicodéme, Els Olaerts, Hélène Theunissen, Alexia Depicker, Steve Driesen, Ingrid Heiderscheidt. Directed by Lukas Dhont

 

Girl is a movie that had the best of intentions, but ends up pissing off a lot of people it was meant to honor. This first feature from Flemish director Dhont is about a young ballerina named Lara (Polster) who has just been provisionally accepted into a prestigious ballet school in Antwerp, necessitating a move there for her father (Wolthalter) and little brother (Bodart). But if undergoing the rigorous, demanding and often punishing training necessary to become a ballerina wasn’t enough, Lara is also transitioning from being a young boy into becoming the gender she knows herself to be.

Her father is incredibly supportive and her classmates seem to be (although there is a scene where they demand that she show her genitalia, which humiliates her) and she has the benefit of a really good counselor (Dhaenens) who repeatedly tells her not to put everything in life off until after she gets her surgery. “You also have to live now,” he wisely tells her.

But Lara, like most adolescents, doesn’t have a ton of patience. She wants to be rid of the male body that she was born with, checking for signs of growing breasts that are not yet apparent, and anxiously wondering if the hormones are working, although her doctors assure her that they are – it just takes time, time that Lara isn’t particularly willing to give. As the pressures mount and her need to be the woman that everyone says she already is, she commits an act of graphic self-harm that moved Netflix to take the unusual step of placing a warning title at the beginning of the film.

The movie has come under heavy criticism from the trans and LGBTQ community, first of all for casting a cis-gender male in the role of Lara, although that complaint isn’t as realistic as you might think; finding a trans actress of the right age who can handle the grueling dancing and training sequences is nearly impossible and it proved to be so for Dhont, who eventually found Polster while casting the background dancers.

And a lucky casting that was indeed. Polster has the grace and dancing chops to pull off the role, but also the facial expressions; Lara isn’t much of a talker and like many adolescents, isn’t able to articulate what’s bothering her. Polster does a good job of using non-verbal acting to convey Lara’s anguish.

The second issue that the LGBTQ community has brought up bears more scrutiny and it is the movie’s almost pornographic obsession with Lara’s crotch. Shot after shot after shot is centered there and we see enough of Polster’s genitalia to last a lifetime. Trans advocates rightly complain that the movie reduces Lara down to her genitalia, and like all people, trans people are much more than the equipment they have. Lara’s clear self-loathing for her body also sends a message to young transgenders that might not necessarily be the one that Dhont meant to send. Gender dysphoria is something that deserves to be explored seriously and Dhont attempts to do that, but at the end of the day, is unsuccessful in that regard.

=I do like that the approach that Dhont takes is almost documentary-like. There isn’t here that you might consider melodramatic beyond the usual melodrama generated by teens. There is a lot here that gives outsiders an idea of what trans folks in the process of transition have to go through and it is nice to see that it is presented in a supportive manner; that isn’t always the case in real life.

At the end of the day I give the film high marks for good intentions, but demerits for not executing them as well as they might have been. This could easily have been an extremely important film, even an essential one, instead of merely being very good.

REASONS TO SEE: Tackles a subject rarely handled seriously in the movies. Takes a documentary-like approach.
REASONS TO AVOID: Way too long and accentuates the most conspicuous aspects of gender dysphoria.
FAMILY VALUES: There is a bit of profanity, sexuality, some nudity, adult issues and a shocking scene.
TRIVIAL PURSUIT: Inspired by the story of Nora Monsecour, a Belgian trans ballerina.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 5/31/20: Rotten Tomatoes: 85% positive reviews, Metacritic: 73/100
COMPARISON SHOPPING: Girl, Interrupted
FINAL RATING: 7/10
NEXT: Glass

Hotel Transylvania 3: Summer Vacation

Don’t you want to take me on a sea cruise?

(2018) Animated Feature (Columbia) Starring the voices of Adam Sandler, Andy Samberg, Selena Gomez, Kevin James, David Spade, Steve Buscemi, Mel Brooks, Fran Drescher, Molly Shannon, Keegan-Michael Key, Jim Gaffigan, Kathryn Hahn, Joe Jonas, Chrissy Teigen, Tara Strong, Chris Parnell, Asher Blinkoff, Genndy Tartakovsky, Aaron LaPlante, Michelle Murdocca. Directed by Genndy Tartakovsky

 

The Cartoon Network has done the world a disservice. Yes, some of the things that they have put out are actually pretty good, but the majority of their output is poorly animated and dumbed down, treating kids like easily distracted morons rather than actual people. Sadly, that tendency has begun to filter into major studio animated features as well as studios are looking for franchises that they can market and merchandise out the yin-yang.

Dracula (Sandler), proprietor of the monsters’ resort Hotel Transylvania is lonely and tired. His beloved daughter Mavis (Gomez) notices and decides to book a family vacation on a monster cruise ship. There Drac finds love with Ericka (Hahn), captain of the vessel but she is hiding a secret that might just destroy Dracula once and for all. Never mind that; at least the gang is all there with him for the fun.

The animation here is much improved over the first two films in the franchise; it is certainly the best of the series so far. Sadly, the script doesn’t keep pace; it is just as predictable and lowbrow as other kid flicks that have dominated the big screen of late. The sad fact is that Pixar and Illumination have shown that animated features can appeal to both adults and kids. Most adults will probably be better off finding something else to distract them while the kids are watching this.

There is an air of finality about this one; I think that it was initially intended to be the last in the series but Sony has scheduled a fourth installment for December 2021. I hope that the animation is as good or better as this one but that they put a little more effort into writing a script that has a bit more heart and a bit less fart jokes.

REASONS TO SEE: The animation is better-than-average.
REASONS TO AVOID: Kids will love this; parents, not so much.
FAMILY VALUES: There is some fairly rude humor.
TRIVIAL PURSUIT: Some of the names of the ships in the Bermuda Triangle sequence are the names of ships that reportedly disappeared there in reality.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, Netflix, Vudu, YouTube
CRITICAL MASS: As of 12/31/19: Rotten Tomatoes: 62% positive reviews: Metacritic: 54/100.
COMPARISON SHOPPING: Mad Monster Party
FINAL RATING: 6/10
NEXT: Slender Man

Won’t You Be My Neighbor?

The world needs Fred Rogers more than ever.

(2017) Documentary (Focus) Fred Rogers, Joanne Rogers, Robert F. Kennedy, Yo-Yo Ma, Chtista McAuliffe, Joe Negri, Francois Scarborough Clemmons, Elizabeth Seamans, Jeff Erlinger, Tom Snyder, Margy Whitmer, Kailyn Davis, David Newell, McColm Cephas Jr. John O. Pastore, Betty Aberlin, Koko. Directed by Morgan Neville

Entire generations of kids grew up with Fred Rogers, whose PBS television show Mister Rogers’ Neighborhood was a mainstay in many households across the country. Rogers himself was an unlikely TV star; soft-spoken, a little bit corny and prone to using silence on his show to allow kids to digest things, he took the conventions of frenetic-paced kids television of the day (the same conventions that remain today) and turned them upside down and inside out. For this he became a beloved figure. Few celebrities have ever been able to relate as well to children as he.

An ordained minister, he eschewed the cloth to utilize the fairly new medium of television in order to spread his gospel of talking to children as equals rather than talking down to them, to listening to what they have to say instead of dismissing it out of hand. He wanted to teach children the virtues of kindness and generosity. He wanted them to know that every one of them are unique and special.

Of course, in later years Fox News seized on this and blamed Rogers for the entitlement of Millennials. As usual, Fox News got it wrong; what he was getting across was that every child is unique and has something different to offer. Some kids are fast runners, some great singers, others are just good at giving hugs. Everything is valid. Of course, Fox News and their ilk have succeeded in getting across that a person’s value can only be measured in dollars and cents. It’s that ridiculous and heartless idea that only people who are gainfully employed in “serious” jobs are successes in life.

The format of the documentary isn’t particularly earth-shattering; it’s essentially what most modern documentaries do; archival footage, talking head interviews and animated sequences (of Daniel Tiger in this case) mixed together. Neville, an Oscar winner for Twenty Feet from Stardom, mixes the elements together in a roughly chronological order and with a wealth of video from Rogers’ show as well as contemporary and archival interviews with Rogers, his family, his colleagues and noted celebrities like Yo-Yo Ma, bring together a picture of the man – who struggled with feelings of inadequacy his entire life – and of the impact of his show, which was clearly considerable.

Rogers helped teach children to deal with real issues, like divorce and death. His show following the assassination of Bobby Kennedy was perhaps his finest moment as kids learned from Daniel Tiger that it’s okay to be sad and to feel bad about someone being assassinated. While Rogers likely wouldn’t have voted for Kennedy (he was a lifelong Republican), he could at least cross party lines and help heal those hurting following a national tragedy. I wonder if any modern Republicans or Democrats could do that today.

In fact, given the recent news of children at the border being forcibly taken away from their parents, one wonders what Fred Rogers would have thought about that? I can only imagine but I have no doubt in my mind his soft voice would be among the loudest in demanding that the practice be discontinued immediately and that the children separated from their parents be returned to them without delay. His wife Joanne, talking about the political division that exists in this country nowadays, asserts that while Fred would have been disappointed in it, he would be at the same time on the front lines trying to heal those divisions rather than complaining about it. He certainly would not give up hope. To me, that’s why America needed Fred Rogers then and why we need him more than ever no and indeed, the world needs men like him always.

If you’re looking for a documentary that gives you a warm feeling of nostalgia, this one delivers. If you’re looking for one that gives you a sense of hope and well-being, this one delivers. If you’re looking for a film that will make you want to be a better person, this one delivers. I hope that we all continue to learn from Fred Rogers the lessons he taught so gently yet effectively. Every neighborhood would benefit.

REASONS TO GO: This is the rare documentary that makes you feel good exiting the theater. It’s a very informative film about Fred Rogers and his TV show. The life lessons taught here continue to be valid.
REASONS TO STAY: The structure of the documentary isn’t particularly remarkable.
FAMILY VALUES: There is perfectly suitable for the entire family.
TRIVIAL PURSUIT: The various puppets used on the show were based on people Rogers knew or in the case of Daniel Tiger, on Rogers himself.
CRITICAL MASS: As of 6/19/18: Rotten Tomatoes: 99% positive reviews. Metacritic: 85/100.
COMPARISON SHOPPING: I Am Big Bird: The Carrol Spinney Story
FINAL RATING: 8.5/10
NEXT: Annihilation

Radio

Cuba Gooding Jr. turns it on.

(2003) Biographical Drama (Revolution) Cuba Gooding Jr., Ed Harris, Debra Winger, Alfre Woodard, S. Epatha Merkerson, Riley Smith, Brent Sexton, Sarah Drew, Chris Mulkey, Patrick Breen, Bill Roberson, Kenneth H. Callender, Michael Harding, Charles Garren, Leslea Fisher. Directed by Michael Tollin

A good cry can be as exhilarating as a good laugh. Any movie that can move viewers to tears, then leave them marveling at the triumph of the human spirit, is the aces.

Harold Jones (Harris) is a successful high school football coach in Anderson, South Carolina. As he enters the 1976 season, his mostly untested young team has a lot of question marks, especially when it comes to character. When the star running back (Smith) and some of his cohorts lock a young man (Gooding) of diminished mental capabilities in a shed after tying him up and terrorizing him, Coach Jones and his assistant, Honeycutt (Sexton) step in and punish the boys.

Gradually, the taciturn Coach befriends the young man, who at first is unresponsive, unable even to tell the coach his name. Because of the quiet man’s attachment to transistor radios, Coach Jones dubs his new friend Radio (his real name turns out to be James Robert Kennedy) and begins an amazing, unusual relationship. Jones takes Radio under his wing, despite the suspicions of his mother (Merkerson) and the misgivings of the school’s principal (Woodard).

Radio blossoms, finally having people in his life who accept him instead of humiliate him. He goes from barely able to mutter more than a word or two at a time to an enthusiastic, talkative person, a regular at athletic practices and at the school itself, where he becomes an unofficial hall monitor and broadcaster. Gradually, he becomes an important part of the community.

But all is not perfect. The football team is not performing to expectations, and some believe that the distractions that Radio brings are to blame, particularly the town’s banker (Mulkey) whose son is the star running back who caused the initial trouble with Radio. His son plays an even crueler joke on Radio which causes the school board in the person of Tucker (Breen) to cast a suspicious eye on the situation. Radio overcomes the adversity, but nobody is prepared for the greatest obstacle of all.

The cast is outstanding, particularly Gooding. At times his expression is so truly vacant it seems that nobody really is home. And he skillfully makes the transition to an open personality, capturing the effusive personality of the real Radio to a “T”. After capturing an Oscar in Jerry Maguire, Gooding had undermined himself with a series of terrible choices (Snow Dogs, Boat Trip et al.), but Radio puts him back on the right track, at least temporarily – he still continues to be plagued with movies that are unworthy of his talents..

Harris is one of the most distinguished actors of our time. He is rarely seen in a role that he doesn’t elevate and I can’t remember him ever giving a bad performance. Here, he is low-key, a Southern gentleman desperately wanting to do the right thing, but reluctant to explain why his relationship with Radio is so important to him. It puts a strain on his relationship with his wife (Winger) and daughter (Drew), but Harris underlies the flawed goodness within the man that makes him believable and real.

Enough can’t be said about Winger. She make movies very infrequently, and that’s a shame. She has a tremendous presence, and here shows particular restraint in a thankless role that isn’t developed terribly well (she is seen reading Betty Friedan’s The Feminist Mystique early on, but her character is hardly a feminist here), but Winger carries it off well. I hope she can find the time to return to the big screen more regularly but it really hasn’t happened up to now.

Director Michael Tollin captures the importance of high school football in a small Southern town, and sums it up neatly in a speech Harris gives hear the end of the film: “There’s nothing better than looking for a win on a Friday night, and waking up on Saturday morning after you found one.” He wisely concentrates on the relationship between Jones and Radio, how it develops and why. He cast Gooding and Harris well; the two work well off each other, and in one of the most gripping scenes of the movie — when a distraught Radio is kneeling in the center of his room, inconsolable, the taciturn football coach, never a demonstrative man, opens up and comforts him. The charm of Radio is that he treats everyone he meets with joy and love, as Coach Jones explains, “He treats all of us the way we wish we could treat half of us.”

Be warned; this is the kind of movie that doesn’t just elicit a sniffle; it’s a full-on, tears-streaming-down-the-face weepy that leaves viewers feeling awesome when the lights come back up. The real Radio continues to be a presence at T.L. Hanna High, where he can be found regularly during the football season leading the Yellow Jackets onto the field and joining the cheerleaders when the spirit moves him. He’s as important to Anderson as the air they breathe, and one can only feel good that the rest of us get to share him. Feel-good movies aren’t always my cup of tea, but as manipulative as this one sometimes get, it certainly worked its magic on this cynic. Don’t forget your hankies.

WHY RENT THIS: Utterly cathartic. Terrific performances from Gooding, Harris and Winger. Captures the mentality of a Southern high school football town.

WHY RENT SOMETHING ELSE: May be a bit too tear-inducing if there is such a thing.  Sometimes a bit formulaic.

FAMILY MATTERS: There are a few bad words scattered here and there. Some of the thematic elements might be a bit too much for smaller children.

TRIVIAL PURSUITS: The movie was primarily filmed in neighboring Walterboro because the town looked more like the era depicted here. The real Radio and Coach Jones are seen at the end of the movie.

NOTABLE HOME VIDEO FEATURES: The making-of featurette contains input from some of the real people depicted in the film.

BOX OFFICE PERFORMANCE: $53.3M on a $35M production budget; the movie just about broke even.

COMPARISON SHOPPING: Molly

FINAL RATING: 8/10

NEXT: Happy Feet Two