erik lundegaard

Movie Reviews - 2013 posts

Monday October 14, 2013

Movie Review: Captain Phillips (2013)


In 2004, Karl Rove declared that American liberals want to “understand our enemies.” In 2008, Sarah Palin declared that Barack Obama wants to “read terrorists their rights.” Both are not-very-veiled code for the perceived weakness and general softness of the left.

In “Captain Phillips,” directed by Paul Greengrass (“United 93”), written by Billy Ray (“Shattered Glass”), and starring Tom Hanks (you know), we come to understand, a little better, our enemy, the Somali pirates, one of whom is read his rights at the end. But there is no sign of weakness here. The opposite. The superorganized, superefficient, massive technological power of the United States of America—aircraft carriers, helicopters, superbuff Navy SEALS, superscope weaponry—is brought to bear on four skinny dudes on a raft. Yes, the Somalis have automatic weapons. Yes, they are holding our title character hostage. Yes, they are often unpleasant.

Even so, the power discrepancy is so great, so absurd, I literally laughed out loud in the theater. Where’s the drama? There’s no drama. One side has everything, the other nothing. It’s such an unfair battle, you begin to wonder who to root for. The weight and power of the response almost seems to justify the crime.

Greater competition
Paul Greengrass tends to make smart action movies about the collision of first and third world: “United 93,” “Green Zone,” “Bloody Sunday.” Captain Phillips domestic posterIn these, he never fails to show us a bit of the other side.

So with “Captain Phillips.” The movie opens in Underill, Vermont, in the quiet home of Capt. Richard Phillips (Hanks), who, in spring 2009, is prepping for his next assignment aboard the Maersk Alabama, which is moving hundreds of tons of cargo—food, fuel, water—from Oman to Kenya. Then he and his wife, Andrea (Catherine Keener), drive to the airport. They have a conversation that’s a bit freighted. It comes to us with quotes attached. The kids aren’t trying hard enough in school, he says. The world isn’t like the world they came up in, he says. It will be tougher. Fifty guys are competing for every job. There will be greater competition.

CUT TO: Greater competition. Men in vans, with automatic weapons, pull up in a village in Somalia, and wonder why no one’s at sea. “The boss wants another ship today,” they say. Teams are picked. Sides are chosen. One team leader is hopped-up and wide-eyed. The other, Muse (Barkhad Abdi), casts cool, almost disdainful looks over the proceedings. He’s got a stillness to him. He says little and chooses carefully. At times he looks like the emaciated younger brother of Omar from “The Wire.” In another movie, he’d be the hero.

This is the collision that occurs: between two men doing their jobs.

The first half of the movie is exciting, pulse-pounding, etc., as Muse and Phillips play cat-and-mouse from a distance, then face-to-face. “You know the ship, they don’t,” Phillips tells his crew as the Maersk is being boarded. “Stick together and we’ll be alright.”

The crew hides. They power down the ship and claim it’s broken. Phillips plays innocent in the face of a semi-automatic. One pirate is nearly crippled by broken glass, another, Muse, is taken hostage. In the standoff, they offer the pirates $30K from the ship’s safe and a lifeboat, which looks a bit like the submarine from “Yellow Submarine.” The pirates take both and Capt. Phillips and head back to Somalia.

And that’s when all the drama drains away.

Killing drama
I’m not blaming the filmmakers for this, by the way. “Captain Phillips” is based upon a true story, or at least Captain Phillips’ account in “A Captain's Duty: Somali Pirates, Navy SEALS, and Dangerous Days at Sea,” written by Stephan Talty. The movie fudges some details from the book—apparently Phillips was on the lifeboat for five days, not a day and a half; and apparently he was beaten and mock executed after his attempted escape; and apparently he didn’t have a nervous breakdown after his rescue—but overall the movie strives for verisimilitude.

No, I blame the U.S. defense budget. In 2012, according to the Stockholm International Peace Research Institute, the U.S. spent $682 billion on defense, which is $30 billion more than the defense budgets for the next 10 countries combined. Face to face, no one else has a chance. Put it this way: The Somali pirates in this movie got bested by unarmed slacker crewmembers and a 50-year-old man in a light blue polo shirt. What chance do they have against men who trained their entire professional lives for this? They don’t. Remember when the Dream Team—Michael Jordan, Magic Johnson, et al.—first showed up in the Olympics in 1992 and beat teams by like 75 points? It wasn’t a question of whether they would win, it was a question of by how much. Same here. You wonder how, not if, Capt. Phillips will be rescued.

Here’s how. U.S. military technology identifies the pirates, the square-jawed negotiator then calls them by name and gets them to agree to be towed. They take Muse on board, ostensibly for negotiations, but there are no negotiations. Instead SEALS take out the three remaining pirates with simultaneous headshots—boom boom boom—and Muse is read his rights. He’s now serving 33 years in a federal penitentiary.

Compare all of this with “Kapringen,” a 2012 Danish film about Somali pirates hijacking a Danish frigate, which was named best Danish film at the 2013 Bodil Awards. Without a military to come to the rescue, it becomes a matter of tense negotiations and threats and inevitable death. It’s about the toll taken and the lessons learned.

What lessons are learned in “Captain Phillips”? Unarmed frigates should be armed? Sail 600 miles rather than 400 miles from the coast of Somalia? Keep a SEAL team on retainer, as one doofus American posted on IMDb about “Kapringen”?

Here’s the lesson I learned: The U.S. military is powerful enough to kill drama. It’s so powerful, the people it’s protecting don’t need to learn lessons. Which explains so much about the current state of the United States of America.

Posted at 07:36 AM on Oct 14, 2013 in category Movie Reviews - 2013
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Tuesday October 08, 2013

Movie Review: Gravity (2013)


Is “Gravity” the new Hollywood spectacle?

The original kind, created in the wake of television, tended to be overlong, wide-screen, supersaturated Biblical epics. Hollywood studios were trying to give you an experience you couldn’t get in your home. They were trying to get you out of your home and away from your TV set. This type of spectacle was eventually replaced by epic musicals (“Sound of Music,” etc.), which were replaced by director-driven films with sex and/or violence (“Bonnie and Clyde,” etc.), which were replaced by the ascendance of B-movie fodder with A-movie production values (“Star Wars,” etc.). We’re still in this last period, more or less, but Hollywood studios are still looking to give you something you can’t get in your home. They’re trying to entertain you away from your home entertainment system.

“Gravity” is short: 90 minutes. It’s a novella of a movie. It promises, not a cast of thousands, but a cast of two. For much of the movie, in fact, it’s just one. It’s “Castaway” in space.

But it’s still a kind of experience, particularly with IMAX and 3-D, that you can’t get in your home. It’s an event.

But how’s the story?

In space, no one can hear things explode
“Gravity” opens beautifully. We see the Earth, boom, in front of us, huge, and surrounded by the silence of space. Gravity posterThen writer-director Alfonso Cuarón (“Children of Men”; “Y Tu Mama Tambien”) holds on it. And holds on it. Then, slowly, people and voices come into view. They rotate into view.

It’s the five-person crew of the Explorer, a U.S. ship in orbit. Ryan Stone (Sandra Bullock), a medical engineer tethered to the Explorer, is attempting to fix a motherboard outside the ship. Matt Kowalski (George Clooney), astronaut, an old space hand, jets about, filling the vast silence of space with his cynical, amused charm. “Houston, I have a bad feeling about this mission,” he jokes. He tells well-worn or half-finished stories about his wife leaving him, about New Orleans in the 1980s, about how he’s going to come up short of breaking the space-walk record set by Anatole Somethingorother. He’s a George Clooney character: He knows his business, he knows the score, he’s been broken in some way but charm seeps through the cracks.

For the moment, Ryan is resisting that charm. She lives up her family name. She’s lost in her work.

Not for long, though. The Russians have destroyed one of their satellites, and this has destroyed others, setting off a chain reaction of orbiting destruction, with the Explorer directly in its path. This storm of debris arrives like a silent meteor shower, and Stone is torn from the Explorer and goes rocketing and flipping through space. Earlier, when asked what she likes about being up there, she replied, “The silence.” Here, she finds out how frightening that silence can be. Here, she’s grateful when she finally hears a human voice, Matt’s, in her radio transmitter. He urges calm. He tells her what to do so he can find her. Then he brings her back to the ship.

But the Explorer is no longer a ship, simply more space debris, and the rest of the crew are dead. There’s no radio contact with Houston. They’re alone up there. But Matt has a plan.

See that light over there? That’s a Soyuz space station. They’re going to head over there, Ryan tethered to Matt, Stone to Kowalski, and take one of its capsules back to Earth. But beware the orbiting space debris. By his calculations it will return in 90 minutes.

There are other things to worry about, too. They arrive just as she’s running out of oxygen and he’s running out of jet fuel. (Why does he not run out of oxygen? Isn’t he the one doing all the talking?) Worse, Soyuz is damaged, they bounce off it, and Ryan almost goes flying off into the void, forever, but her feet get tangled in the cords of a deployed parachute. Matt is less lucky. He sees that she won’t make it unless he lets go. So he lets go.

And then there was one.

The roller coaster
Other movies come to mind watching this one. “Alien,” obviously. (Terror in space, female survivor.) “Barbarella,” oddly. (A woman removing her spacesuit in zero gravity.) “Castaway,” as above.

But the dominating influence is Steven Spielberg. “Gravity” is a roller-coaster ride with smarts and art and, well, gravity, but it’s still a roller coaster ride. It’s still skin-of-the-teeth stuff. For 90 percent of the movie, Ryan is staying just one small step (rather than one giant leap) ahead of destruction, until the final, beautiful shots when her capsule splashes to earth, she crawls to shore, and pulls herself up on the land. You almost feel the weight of gravity holding her in place then. It’s a great shot. “Gravity” begins well and ends well, and the middle is a ride. But it’s just a ride.

Within this ride, yes, Cuarón and company do some good work. We get a bit of background. We find out Ryan lost a child, a girl, 4 years old, and when she died much of Ryan’s reason for living died with her. She shut herself off. She almost does that here. In Soyuz, before traveling to the Chinese space station, Tien Gong, she powers down the systems, turns off the air, gives up. She’s ready to die. She’s ready to join her daughter.

Then a knock on the door.

No joke. At first I thought it was one of the cosmonauts—the face looked gigantic and grotesque—but it’s actually Matt, the sexiest man alive, who has miraculously survived. He enters the spacecraft and fills it with his energy. Did you find the vodka? he asks. Well, I finally broke the spacewalk record, he says. Now let’s take this puppy home. It’s a great moment, even if it doesn’t seem reasonable—given the verisimilitude of everything else in the movie—and it isn’t. It’s a dream. A figment. Matt’s dead, she’s alone, but the moment—the dream, the vision, whatever—inspires her to try again. The whole scene is really well-done. I was happy when Matt returned (we needed something), and I was sad he turned out to be a figment, even as I realized it was the right thing to do for the story.

A helluva story to tell
So they do good things within the ride, but is it enough? Is Ryan an interesting enough character to hold the screen by herself for half the movie?

At one point, Matt, or maybe his figment, tells Ryan why she needs to keep trying: You’ll either die, he says, or you’ll have a helluva story to tell.

When you see “Gravity,” see it on an IMAX screen with 3-D. Make it an event. Because for all its spectacle, for all its effects, “Gravity” doesn’t have a helluva story to tell.

Posted at 06:56 AM on Oct 08, 2013 in category Movie Reviews - 2013
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Saturday October 05, 2013

Movie Review: Una Noche (2013)


“From the tops of the trees you can see the planes coming in from Miami. Sometimes people come back to Cuba from the outside world. They return like kings: fatter, happier, trusting. They lose that nervous desperation.”

-- Lila (Anailín del la Rúa de la Torre) in writer-director Lucy Mulloy’s “Una Noche.”

Filmed in cinéma véritée fashion, “Una Noche” is a movie about that nervous desperation. It’s about three young people in Havana bouncing here and there, scrimping this and that. Do they have a plan? We assume so. We’ve seen the movie poster. We know what the movie’s about, more or less. But the plan has no center.

It’s a subtle film. Some friends of Elio (Javier Núnez Florían) pick on a gay guy and his face retreats. Is he gay? (Yes.) It’s an ironic film. Raul (Dariel Arrechaga) prostitutes himself to get the money to get the drugs to help out his prostitute mother, who has AIDS. It’s an evocative film. One of the characters mentions you can smell the tourists coming. “They use a soap we can’t get here.”

But mostly it’s about 90 miles.

We three
That’s the distance from Cuba to Miami, from poverty to wealth, from communism to capitalism. It’s the distance to a different kind of desperation.

Una NocheLila and Elio are twins—she’s eight minutes older—who have always communicated well, who can almost finish each other’s thoughts. Lately, though, Elio’s grown distant, and Lila follows him around to find out why. She follows their father, too, a military man, and discovers he’s having an affair. She’s teased by other girls for the hair on her arms, and wonders whether she should pluck her eyebrows. She holds off the boys but dreams of first kisses. Despite all this, we don’t really get to know her, and what we do know isn’t that interesting. She’s most interesting in voiceover. All of them are.

We don’t really get to know Elio, either. Lila thinks he has a girl but he has a boy. Except the boy, Raul, doesn’t know it. Of the three, Elio is the most serious. He’s not following after other people’s drams, as Lila, nor sabotaging his own, as Raul, but moving forward. He’s doing it all for love.

That’s an answer to this question: What kind of desperation makes someone get on a small raft and paddle 90 miles across shark-infested waters? It’s not just the beacon on the other side. You need a push.

Raul is pushed by a mistake. There are two classes of people in Havana, citizens and tourists, and he’s seen talking to a tourist, and that tourist—or her father?—winds up in the hospital, so Raul is suspected since no one else is. “In Havana,” Lila says in voiceover, “only a fool runs from the police.” Raul is that fool. And that’s his final push. Elio is then pushed—or pulled—by his love for Raul. Lila discovers their plans and can’t abide Havana without her brother. That’s how all three wind up on this small raft, paddling.

The young and the pretty
One hopes, away from the bustle of the city, that things will calm down and the three will get serious. Instead, on the small raft, their stupidity has nowhere to hide. Raul complains about paddling. He asks for a backrub from Lila, flirts with Lila, tries to kiss Lila. Elio kisses Raul. They fight. Then the shark comes. By then, I’d lost interest. The characters were too stupid, too spoiled, to care about.

I gained some sympathy back again when Lila and Raul finally float, exhausted, to land, and are greeted by white jet skiers. For a second, we think: Miami. But wait, doesn’t the blonde-haired girl look familiar? Isn’t she the one Raul was talking to earlier? Indeed. One of the jet skiers, a tourist boy, leans forward and says, “Are you trying to get to Miami?” and flashes a big grin to his friends. It’s a joke to them, these boat people, trying to get to Miami but winding back in Havana. It’s a kind of horror for us. Elio doesn’t make it.

“Una Noche” is at its best when it gives us flashes of the hectic life in Havana, a city that time forgot, where 1950s cars coexist with knockoff smartphones. (They’ve improved the catcalls anyway. One guy, to a hot girl passing: “I’ll wash, iron and cook for you daily!”) It’s a trapped city and these three try to break free of it. They’re young and pretty, and, like the young and pretty everywhere, just not that interesting.

Posted at 09:02 AM on Oct 05, 2013 in category Movie Reviews - 2013
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Friday October 04, 2013

Movie Review: Rush (2013)


Everyone’s driven by something.

That’s the movie’s tagline. Of course, being a movie, it’s more interested in the “driven” than the “something,” but at least it makes feints toward the latter. It’s written by Peter Morgan and directed by Ron Howard, the team who gave us “Frost/Nixon,” so it should aspire to some kind of meaning. It shouldn’t just be zoom-zoom.

And it’s not. It’s zoom-zoom but it’s also a vague character study in the Peter Morgan mould. Is that enough?

Peter Morgan is big on his dichotomies, isn’t he? He’s particularly big on historical dichotomies of the past 40 years. Thus Idi Amin and Dr. Nicholas Garrigan in “The Last King of Scotland” (2006), Tony Blair and Queen Elizabeth in “The Queen” (2006), David Frost and Richard Nixon in “Frost/Nixon” (2008), and Don Revie and Brian Clough in “The Damned United” (2009). Rush, a Ron Howard film. Also a Peter Morgan film.Now, in “Rush,” we get the epic battle between 1970s-era Formula-One race-car drivers James Hunt (Chris Hemsworth) and Niki Lauda (Daniel Brühl).

Ready? Hunt is tall, blond, a sex machine and a party animal. Lauda is short, mousy, with rat-like buck teeth. He’s blunt and friendless while Hunt is friends with everyone. Hunt takes risks, Lauda less so. Lauda is all about calculations and odds, while Hunt is like Han Solo: Don’t tell him the odds! He’s balls out. Lauda keeps his balls in, thank you.

At the start, we get voiceovers from both men about why men in general race cars around tracks: They’re rebels, dreamers, people desperate to make a mark. “I don’t know why it became such a big thing,” Lauda says about his rivalry with Hunt. “We’re just driven.”

These voiceovers occur on August 1, 1976, a rain day full of portent. At which point we flash back six years earlier. Hunt is walking, almost strutting, into a hospital with bloody nose and bare feet. In voiceover, he asks us, as he flirts with one of the nurses, (Natalie Dormer of “Game of Thrones”), why women like racecar drivers.

Uhhh... Cuz you look like Thor?

“It’s our closeness to death,” he answers.


At this point Hunt is only a Formula Three driver. But in the first race we see, he butts heads, and cars, with Lauda. Hunt shows up late, having partied all night, while Lauda shows up early to study the race track. He’s a student and a businessman. He’s careful. Too careful. At a particular turn, he doesn’t take the risk, Hunt does, Hunt wins. Thus begins the rivalry.

This rivalry takes them to the top: Lauda drives for Team Ferrari, Hunt for Team McLaren, in Formula One racing. Along the way, Hunt settles down, kinda, with supermodel Suzy Miller (Olivia Wilde, who looks great as a ‘70s blonde), while Lauda meets cute with a German girl, Marlene (Alexandra Maria Lara), as both flee a party where neither wants to be. He was driven there, she’s driving. He pauses to tell her everything wrong with her car. She scoffs. Cut to: the car smoking by the side of the road. OK, so we see that coming. Then it becomes a riff on the hitchhiking scene from “It Happened One Night.” He tries, gets nowhere. She tries, in her party dress, and a car comes screeching to a halt. Except, nice bit here, the two men, rowdy Italians, bypass her to get to Lauda, the Formula One racecar driver for Ferrari! They’re beside themselves. They even let him drive their car. When Marlene mocks his careful driving, he takes it to another level. All in all, a nice scene.

The focus of the film is the rivalry between Lauda and Hunt in 1976. Lauda, the reigning world champion, starts out strong, winning race after race. Then Hunt begins to win. Will he catch up? That takes us to the day of portent, in rainy Nurburg, West Germany, the 10th race of the 16-race season. Lauda, who measures the odds, who knows that with every race he has a 20 percent chance of dying, and that the rain is increasing those odds, suggests cancelation. The others vote to race. He’s the one who pays. His car spins out, erupts in flames, and he suffers smoke inhalation damage and lifelong scars on his face. He’s done but Hunt continues.

But Lauda isn’t done. Less than two months later, he’s back, and the rivalry plays out on the final race of the season.

On another rainy day, Lauda, mid-race, bows out, deciding it’s not worth it. He sees the face of Marlene, whom he’s married, and whom he told on their honeymoon, “Happiness is the enemy. It weakens you. Suddenly, you have something to lose.” That’s what appears to happen here. He sees his wife’s face, he quits. Meanwhile, Hunt, with a last-minute sprint, finishes third in the race, which gives him just enough points to beat Lauda for the world championship. Now he’s World Champion.

At which point we get one of the odder things I’ve seen in a movie.

Most movie montages are there to set up the third act, a la “Rocky,” but once Hunt wins we get a kind of “Will Success Spoil James Hunt?” montage: partying, sex, blow, and TV commercials. I thought: “Wait, isn’t the movie nearly over?” It is. This montage sets up the epilogue. And the epilogue upsets the rest of the story.

In an airplane hangar, Hunt runs into Lauda, who’s working on his plane, and who waxes poetic about flying. He seems like he’s retired from racing and encourages Hunt to try flying. Then he encourages Hunt back on the track. But Hunt is too busy being a celebrity. They have a serious moment here. Hunt says he feels bad about his part in making Niki race on August 1, 1976. Lauda acknowledges it, in his blunt manner, but adds, “You were equally responsible for getting me back in the car.” I.e., Because Hunt kept winning races, Lauda had to come back from his horrific accident and disfigurement.

And he’s still racing. That’s the thing. Lauda is back on the track and he wants Hunt there, too. He talks about how far both of them have come, in part because of their rivalry, and he wants that rivalry to continue. But Hunt is noncommittal. In an afterword, we’re told he stops racing to become a TV commentator while Lauda wins back the world championship in 1977 and again in 1984. You think, “Wow! That’s a great story. How come we didn’t get more of that story?” In this way, “Rush” is similar to Morgan’s “Damned United.” There, in an afterword, we’re told that Brian Clough, the careful coach, went on to huge success, but the movie focuses on his rivalry with Don Revie, the balls-out coach, because apparently that’s what Peter Morgan likes to focus on. Apparently he thinks such rivalries and dichotomies are more dramatic. Maybe they are. Even so. Something’s missing here. And it’s “something.”

Everyone’s driven by something. It’s a movie, yes, so we get the “driven” more than the “something.” Normally that would be fine. But since the “something” goes away for one man and not the other, that’s the key. But we don’t get it.

Look, “Rush” is a good movie. It’s fun and semi-serious. The acting is good, the production values high. It’s just missing something.

Posted at 08:04 AM on Oct 04, 2013 in category Movie Reviews - 2013
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Thursday October 03, 2013

Movie Review: Short Term 12 (2013)


“Short Term 12,” written and directed by Destin Cretton, and based on his 2008 short film of the same name, not to mention his own time working at a foster-care facility, feels natural. The lighting is natural (read: washed out), the dialogue is natural (read: mumbled), the acting is natural (no glam). It’s like a Dogme 95 film without the pretension.

It’s about trouble teens who are helped by troubled staff who aren’t much older than they are. It’s the children leading the children. When do we see anyone over 30 in this thing? I guess when Dr. Hendler (Nora Walters) tells Grace (Brie Larson) she’s pregnant, but she’s only in it for like 15 seconds. I guess when the director of the foster-care facility, Jack (Frantz Turner), appears, but that’s not often. Mostly we just get the kids. It’s almost like a Peanuts cartoon in this regard.

Short Term 12It’s tough to pin down why it’s so good. It might have something to do with its ease and lack of pretension and the feeling it has for its characters. These characters move in a dramatic arc but there’s a cyclicality to the movie, too. Issues are resolved but we wind up back where we started.

The shark and the octopus
We start with storytelling. “There is no way not to tell this right,” says Mason (John Gallagher, Jr.), bearded, amused, laid back. “It’s a storyteller’s wet dream.”

Various staff members at Short Term 12 are standing outside and taking a smoke break and welcoming the newest staff member, Nate (Rami Malek of “The Pacific”), when Mason decides to tell his well-worn story. It’s about a big kid named Wesley who bolted on Mason’s first day on the job. He left the premises and got on a bus, and Mason, who was dealing with stomach issues, followed. But the pressure in his stomach grew worse and when he finally confronted Wesley it all flowed south. That’s the punchline. They’re all laughing about it when one of the kids, Sammy (Alex Calloway), redhaired, pale and skinny, bolts from the place and they have to chase him down. That’s Sammy’s thing, by the way: making repeated and fruitless feints at escape.

All the kids have a thing. Luis (Kevin Hernandez) tends to tease Marcus (Keith Stanfield), who tends to burn with quiet rage, while Jayden (Kaitlyn Dever), the new girl, is flip, closed-off, doesn’t give a fuck. It’s the job of the staff, Grace particularly, to open them up. Yet at the end of the day, in the quiet evenings she shares with Mason, Grace herself is closed off. Traditional gender roles here are reversed: he cooks; she instigates sex. She’s closed off, a mystery, while he wants her to talk about how she’s feeling.

At the moment, she’s feeling pregnant. That’s one of the things she won’t tell him. There’s other stuff: past abuse issues. She cut herself for a while. Jayden cuts herself, too, and Grace suspects Jayden is also abused. Or neglected? Her father is supposed to pick her up for her birthday and doesn’t, and Jayden cuts herself, and ...

To be honest, writing about it lessens it. There’s a subtlety to it. The revelations are just suddenly there, as if they’ve always been there, and are accepted with a barely discernible nod by the other characters. There are dramatic moments and histrionics, sure, but revelations tend to be made quietly and obliquely. One of the best such moments is a short story Jayden writes and reads to Grace. It’s about the friendship between a shark and an octopus. I won’t spoil it.

In life there are those who close us off and those who open us up, and “Short Term 12” is about a group of people who do the latter for a living; then they go home and do it with each other. You could argue that that’s the big battle: to remain open, and open others, in a world that tends to close us off.

That’s how the movie proceeds until we wind up back where we started: with a smoke break and storytelling and Sammy making a break for it.

Not exactly “Free to Be, You and Me”
I didn’t think I’d like “Short Term 12.” The trailer has a ’70s vibe. Not a ’70s film vibe, which would be great, but a living-through-the-‘70s-as-a-kid vibe, and dealing with the various “Free to Be, You and Me” group activities and unstructured environments that we were placed in. I hated them. They were supposed to be free and edgy and interesting but they were generally dull and chaotic. Sometimes they seemed a step above “Lord of the Flies.” With me as Piggy. But the movie’s not that.

“Short Term 12” is sort of like Grace herself. It sits next to you and quietly works on you without seeming to. After a while, you just find yourself opening up to it.

Posted at 06:59 AM on Oct 03, 2013 in category Movie Reviews - 2013
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