37 posts categorized "Children's Cinema"

January 14, 2019


Sailboat posterAustralian actor-turned-director Cameron Nugent’s debut feature is an inept magical realist story infused with a tone-deaf sense of humor and a vague sense of thematic direction. This film’s rudderless political subtext, involving an immigrant Mexican family living in an unnamed dusty American border town, gives way to bizarre sexual content (witness Jake Busey’s cock-show as an elementary school teacher in tight sweat pants with no underwear). A pro-Big-Tobacco message gets smuggled in for good measure. Shooting guns into the air for no reason also happens out of context. Nothing adds up.

Noel Gugliemi plays Jose, a face-tattooed Chicano family man with Meyo (Elizabeth De Razzo), his loyal housekeeping wife, and their six-year-old son Sailboat (Julian Atocani Sanchez). Jose supports his family’s leaning ramshackle house with a single wood beam that prevents the structure from collapsing on its occupants, ostensibly killing them. Jose drives around in a homie-not-approved four door ‘50s Oldsmobile missing its backseat doors.

There might be some arcane political commentary the filmmakers are attempting to make with the collapsing-house metaphor, but it doesn’t come across. 


The child actor Sanchez delivers monotone voice over narration that upends the movie before it gets started.

“You find the most important things when you’re not looking.” Sailboat finds a ukulele that every character inexplicably calls a guitar.

Sailboat 1

This “important thing” enables our young musical prodigy to write a song that casts a spell over anyone who hears it. The problem is that the filmmakers didn’t go to the trouble of creating a piece of music to fill the bill. They instead play a single tone akin to a honking car horn whenever Sailboat performs his soul-quenching sonic creation. This is just lazy filmmaking. It’s infuriating for an audience to feel so openly insulted by irresponsible filmmakers.

Without irony, a repeating guitar motif arrives in the guise of “The Sound of Silence.”

JK Simmons

J.K. Simmons’s presence seemingly endorses “A Boy Called Sailboat,” although the A-List actor probably shot his scenes in a single day, and didn’t know much about the movie beyond his isolated bit as a used vehicle salesman in the middle of nowhere.

The people who come from miles around to hear Sailboat play his (silent) song sure do enjoy Meyo’s spicy meatballs. There are a lot of things not right about “A Boy Called Sailboat,” not the least of which are the mixed messages the film sends to kids. This is not a movie to leave laying around for your children to watch alone or even with parental guidance.

Not Rated. 92 mins.

One Star


Groupthink doesn't live here, critical thought does.

This website is dedicated to Agnès Varda and to Luis Buñuel.

Get cool rewards when you click on the button to pledge your support through Patreon. Thanks a lot pal!

Cole Smithey on Patreon

January 16, 2016



The magic is gone from the “Star Wars” franchise. It has been for a very long time. The franchise started its decline when “Return of the Jedi” fell short of its predecessor (“The Empire Strikes Back”) way back in 1983. Every sequel or (ill conceived) prequel that has arrived since “The Empire Strikes Back” has possessed ever-less panache. If you think otherwise, go back and watch the films in the order that they were made.

You’ll never hear a Star Wars fan criticize George Lucas’s decision to abandon a linear approach to the storyline by inverting the series to break up the narrative into an abstract puzzle. Still, the overall effect is annoying to the point of distraction. No audience member should feel impelled to do a refresher course to figure out where the latest film of a franchise falls into its grand scheme. Faulty logic. This is one of a myriad of reasons that the James Bond franchise far outweighs Star Wars.  

Stunning Array Of Star Wars: The Force Awakens Images Showcase Rey, BB-8  And Much More

This latest installment of fandom’s favorite mongrel pet is a poorly paced MacGuffin-chase plot, ginned up with groan-inducing spoonful doses of pro-war imagery and its attendant rudimentary vocabulary.

“We blow up the big gun.” “Keep the target hard.”

I kid you not.

Such dumbed down dialogue flows like so much toxic water in Flint, Michigan throughout this movie.

Yes, yes, yes, and amen. This is war fantasy cinema propaganda for kids. Barf.


This film’s pro-war indoctrination warms kids up to the idea of killing faceless victims (as always the soulless storm troopers, who it’s hinted at might be an army of black slaves).

No one ever said “Star Wars” was highbrow entertainment. If you doubt that this film’s core genre is children’s cinema, just look for its corollary toy merchandising. The bloated, overworked, storyline is all bubblegum gobbledygook about a map that leads to Luke Skywalker (played by Mark Hamill, looking oddly similar to a late era Oliver Reed).   

Star Wars: Episode VII – The Force Awakens' TV Spot – The Hollywood Reporter

The franchise’s culturally malnourished formula is to blame. “The Force Awakens” has none of the political commentary of “The Legos Movie,” but it does possess a political agenda, however oblique, aimed at its intended pre-teen audience.

The narrative surface is shallow and brittle. It’s all recycled style with accidental war propaganda thrown in as subtextual substance. George Lucas might believe in socialist ideas in his private life, but that’s never on display in the Star Wars films. Such potential complexity is a moot point considering that co-writer/director J.J. Abrams (“Star Trek — 2009) oversees this film’s production.

Star Wars: Episode VII - The Force Awakens Movie Review for Parents

Rejiggering the same formulaic storyline results in an awkward cast of bland character prototypes reused though another sluggish round of children’s soap opera cinema parading as sci-fi. This is not the science fiction of social satire that Paul Verhoeven or Neil Blomkamp brings to the sci-fi genre.


The filmmakers here avoid an obvious opportunity for social subtext by not taking advantage of interracial romance between Daisy Ridley (as Rey, a junkyard salvager) and John Boyega (as Finn, an AWOL stormtrooper). Daisy Ridley is a spot-on cross between Emma Watson and a young Keira Knightley. That might sound like a compliment, but it’s not. If ham acting is your thing, then you’ll love watching Ridley mugging and pulling faces like a community theater actress playing to the last row.

Star Wars: Episode VII - The Force Awakens, movie (2015) - Film review by  Kadmon

What could have provided the movie with some much-needed heart merely gets blended through the Star Wars machine recipe. The writers go out of their way to renege on Finn’s potential as a renegade freedom fighter for the resistance. Finn describes himself as a member of the resistance when it suits him in the moment, but is quick to privately reveal that he holds no such allegiance. The character’s lack of integrity speaks to the film’s unwillingness to make any meaningful allegories, ever. The film’s ostensibly mindless viewer is invited to shut up and eat his or her freaking popcorn.


Sure the filmmakers make sure to tug at nostalgic heartstrings to induce a tear wherever possible, but that isn’t enough to redeem this undeniable snooze of a film. The movie could loose 25 minutes and still feel too long. As if that weren’t enough, this picture’s lame use of 3D is a final insult to make you wish you’d spent your money and time on “The Hateful Eight” instead.

Rated PG-13 135 mins.

1 Star


Groupthink doesn't live here, critical thought does.

This website is dedicated to Agnès Varda and to Luis Buñuel.

Get cool rewards when you click on the button to pledge your support through Patreon. Thanks a lot pal!

Cole Smithey on Patreon

July 11, 2011


Going Not So Gently Into That Good Night
Harry Potter and Company Close up Shop
By Cole Smithey

Harry_potter_and_the_deathly_hallows_part_two_ver10After the rambling first-half effort of the final Harry Potter installment, the filmmakers get down to business to give the franchise a generally rewarding send-off.

Although many integral supporting characters from the previous seven films are given short shrift, and some seemingly key plot twists break rather than rotate, "Harry Potter and the Deathly Hallows" strikes a resilient balance between emotion, story, and spectacle. Harry, Hermione, and Ron continue their search-and-destroy mission to smash the last "horcruxe" that will finish off Lord Voldemort once and for all. The trio exhibit considerably more focus than previously noted.

Harry Potter and the Deathly Hallows: Part 1

Thrills come during a wild gyroscopic-designed rollercoaster journey deep into the subterranean bowels of the Gringotts wizard bank where gold bars and goblets multiply like a wild fire infection inside Bellatrix Lestrange's vault of riches. A gargantuan fire-breathing dragon provides some unexpected assistance for our three protagonists to escape onto the wistfully gray London streets above. The stuff of primordial fantasy doesn't get much more tastefully exotic.


Late character revelations deliver narrative surprises that relieve the ten-year series' overburdened accretions. Still, some crucial elements arrive too little too late. The promised romantic connection between Ron and Hermione, and between Harry and Ginny (Bonnie Wright), comes more as an afterthought than they do with any significant internal veracity. Here's how to reduce a "snog" to a blip.

The Last Thing I See: 'Harry Potter and the Deathly Hallows: Part 2' Movie  Review

For all of Harry Potter's years of study at Hogwarts, he still doesn't have much wizardly prowess to show for it. It's a good thing Hermione took her incantation studies seriously. She reigns supreme above her peers in the realm of wand wielding.


The final climax of more than 20 hours of story comes down to a blow-out battle at Hogwarts against an army of Death Eaters and Dementors. Dame Maggie Smith's Minerva McGonagall finally has her day. For a brief moment Smith steals the show. The special effects that follow, involving giant animated stone soldiers and some very impressive explosions, connect with their intended epic impact. The strategic design of Hogwarts architecture with its long wood bridge and lofty mountain-top placement allows for the audience's mind to bend and for their pupils to dilate at the stunning visuals.


Ciarán Hinds and John Hurt sink their teeth into their singular scenes as Aberforth Dumbledore and Ollivander, respectively. Their brief but weighty scenes contribute to the accumulation of magisterial British actors that have imbued the franchise with a massive scale of thespian nobility. Alan Rickman chews the scenery as the delightfully diabolical Severus Snape whose underlying character motivations provide for the story's most significant piece of hidden information. Rickman's payoff scene is the most rewarding moment of any in the entire series.


The filmmakers clearly made an enormous faux paux in splitting the final chapter into two parts. Considering how exasperating Part 1 was as compared to the dynamic Part 2, it makes you doubt the overall construction of both Rowling's source material and the films as a whole. I wouldn't want to have to sit through all of Part 1 of the Deathly Hallows just to get to Part 2. For that matter, I wouldn't want to watch the previous seven films again either. Still, I could watch "Harry Potter and the Deathly Hallows: Part 2" again without compunction, so long as it wasn't the 3D version. Take from that what you will.

Rated PG-13. 131 mins.

3 Stars


Groupthink doesn't live here, critical thought does.

This website is dedicated to Agnès Varda and to Luis Buñuel.

Get cool rewards when you click on the button to pledge your support through Patreon. Thanks a lot pal!

Cole Smithey on Patreon

Featured Video

SMART NEW MEDIA® Custom Videos



Throwback Thursday

Podcast Series