KIDS FIRST! News

Elf is a feel-good Christmas movie that brilliantly balances Will Ferrell’s typical silliness with James Caan’s perfectly delivered tough-guy cynicism. Whichever humor is better suited to your personal funny bone, there’s plenty of it to raise a smile or guffaw through to the film’s epilogue.

With a touch of “The Ugly Duckling,” Ferrell’s title character grows up with the elves in Santa’s workshop at the North Pole after having crawled, unseen, from his crib in an orphanage into Santa’s bag of toys one Christmas Eve. The pathos of an orphanage existence is furthered by the scene in a sterile nursery being shot in darkness and shadows, in sharp contrast to the festive ambience of Santa’s North Pole. But rather than open on that dreary note, director Jon Favreau (Iron Man and Iron Man 2) introduces us to the story through a visit with the adoptive elf-father (a pointy-eared Bob Newhart, in his trademark deadpan delivery that imbues the far-fetched tale with an earnest honesty).

“Buddy” (named from the label on the diapers he was wearing on his arrival) grows up with all the positive self-esteem the elves can encourage in him, although it’s obvious to everyone but him that he just doesn’t fit in — literally as well as figuratively, as he spills out of his school desk, squeezes through doorways and nearly smothers Papa Elf when he sits in his lap. But his idyllic existence is shattered when he overhears two elves refer to him as “human.”

So Buddy sets off to find his real father (James Caan as Walter Hobbs), and the snow-globe essence of the scenes changes to real-life when he hits New York City. Misadventures and clumsy emotional overtures follow. Zooey Deschanel provides Ferrell with a sweet love-interest, and Daniel Tay becomes his compatriot as Caan’s other, emotionally starved, son.

There is some mild profanity and discreet sexual innuendo in this 2003, PG-rated, award-winning family film from New Line Cinema, but possibly more disturbing is the reference to unbelievers who think “parents leave the presents under the tree” and eat the cookies put out for Santa — although the film’s resolution affirms that Santa is as real as Christmas spirit.

A REMINDER ABOUT KIDS FIRST! FILM  CRITICS’ SEARCH:
Tomorrow, Oct. 20, is the last day to get those reviews entered in our first annual KIDS FIRST! Film Critics’ Search.

The videotaped reviews will be posted on KIDS FIRST!’s partner site, WonderWorldTV.com. Check it out — entries are posted there now. And be sure to vote for your choice to win. There are two more weeks, but remember that voting closes Oct. 31. Your vote is important — the popular vote will determine the 20 finalists.

Keep your Kleenex handy as you watch My Dog Skip. With a screenplay based on the same-named autobiography of writer and editor William Weaks “Willie” Morris, the award-winning Warner Bros. film from 2000 is a poignant revisit of a period of his childhood growing up in Yazoo City, Miss. Accompanied by his Jack Russell terrier Skip, Will (Frankie Muniz) experiences life lessons of idols fallen and retrieved, bullies, first love and, above all, loyalty and friendship.

The boy-dog partnership almost doesn’t happen, when the puppy Will’s mom gives him for his eighth birthday is taken away by his father. This seeming hard-heartedness is revealed to be anything but, as the stoic dad (in a consummate performance by Kevin Bacon) describes to his wife all the heartache he is trying to protect Will from. Pointing out that Will will face these things eventually, she perseveres, and the story unfolds in multiple layers. As much for adults as children, the film offers gems of insight such as, “Give a man a label and you never need to get to know him.”

It’s fall of 1942, and shy bookworm Will is losing the support he has heretofore relied on when the town athletic hero, Will’s next-door-neighbor and seemingly only friend, is shipped off to fight the Nazis in Europe. Although Dink has been a willing mentor, he’s been more crutch than ladder, and it is Skip who helps Will grow in confidence this pivotal year.

Peopled with believable characters in the adult roles, the film centers much on relationships between Will and other kids in his small town, and their performances are uniformly excellent. And aside from a few inconsistencies (such references to both moonshiners and a six-pack), the period in World War II, pre-integration South is nicely constructed.

A REMINDER ABOUT KIDS FIRST! FILM  CRITICS’ SEARCH:
Tomorrow, Oct. 20, is the last day to get those reviews entered in our first annual KIDS FIRST! Film Critics’ Search.

The videotaped reviews will be posted on KIDS FIRST!’s partner site, WonderWorldTV.com. Check it out — entries are posted there now. And be sure to vote for your choice to win. There are two more weeks, but remember that voting closes Oct. 31. Your vote is important — the popular vote will determine the 20 finalists.

Charlie St. Cloud (rated PG-13) is a sweet story about love – familial and romantic – and commitment. Charlie is a champion sailor whose prowess has won him a scholarship to Stanford. He shares a loving relationship with his kid brother, Sam, and his single-parent mom, and seems to have the respect of his teachers and fellow students when we see him at his high school graduation early in the movie. Charlie’s future seems rosy until he and Sam die in a car accident, Charlie promises Sam he will never leave him, and then an EMT brings Charlie back to life. Charlie gives up all other plans in order to meet his dead brother every evening in a nearby mountain clearing to play baseball, which had been Sam’s passion in life. Conflict enters the story when Tess, a former classmate and aspiring globe-circumnavigating sailor, pierces Charlie’s shell.

Although no one but Charlie can see Sam, there is internal evidence in the movie to suggest his visions are more supernatural than psychological. Whichever way the viewer chooses to interpret it, however, Sam serves as the foil against which Charlie must test his strength to move beyond the protected familiar of life and risk a relationship with another person.

The movie features mild language (“He’s a dick,” Charlie says to Tess about another young man in their small Northwestern seacoast town) and one satisfying fight scene in which Charlie asks his tormentor if he has dental insurance before punching his lights out. In spite of lingering kisses and a scene suggestive of Charlie and Tess having spent the night together, romance stays on a fairy-tale level.

Zac Efron is the teen heartthrob around which this movie is built; indeed, the film seems to be primarily a vehicle to show off his handsome visage and buff physique, from facial close-ups with his eyes in deep introspection to long shots of him standing, engagingly forlorn, in a forest clearing. Kudos also to the cinematography, capturing emotion from the sense of small-town quietude of streets and hillsides to the excitement of storm-tossed seas.