Disconnect (***)

People who liked Crash, the 2004 Oscar winner, and Babel, the 2006 Golden Globe winner, will probably enjoy this. Like those films, it features an ensemble cast and interlocking storylines. In one, two teenage boys target a classmate by pretending, via text message, to be a female admirer. In another, a female news reporter sees a good story in another teen working for an online webcam service. In a third, identity theft brings a couple’s financial and emotional truths into sharp relief.

 

People who didn’t care for those award-winning films might yet like this one for the very reason this is less likely to win an award, which is that it does not scream Important Film quite as loudly, despite culminating in simultaneous confrontational sequences, complete with slow-motion footage. It lacks the cross-cultural aspects—the “we’re all racists” message of Crash, the ethereal “we’re all invisibly connected” one of Babel (though also the visual impact).

 

The uniting theme, as the title suggests, is the need for connection, and the way that the digital world can both provide that and provide the illusion of that. Not everything works — I couldn’t figure out why the prankster kid hates his father so much — but for the most part the characters and stories are credible, if not indelible. Jason Bateman and Hope Davis, as the parents of the teen prank victim, are the best-known stars.

 

IMDb link

 

viewed 4/4/13 7:30 [PFS screening] at Ritz East and reviewed 4/5–15/13

Happy Feet (***)

? It’s the November of the penguins in this computer-animated feature about a young emperor penguin who becomes something of an outcast because, unlike the rest of his colony, he can’t carry a tune. He can, however, tap dance, and finds some acceptance with some folks in a neighboring colony where everyone sounds Hispanic. George Miller (The Road Warrior) directed the Aussie-made movie, which features the voices of Elijah Wood, Brittany Murphy, Hugh Jackman, Nicole Kidman and, doing his best Isaac Hayes impression, Robin Williams as a comical guru who also narrates the story.

+  Antarctica and the penguins are rendered with an almost photographic accuracy. (The penguins actually look pretty much alike, so size is mostly used to distinguish one from the other.) The musical numbers, even the medleys, are mostly well produced. Since they’re hits of the last 50 years, they’re guaranteed to push the buttons of anyone from 6 to 66. Amusingly, a major plot point involves whether “aliens” exist. A flying bird that almost eats the hero insists that he was the victim of an alien abduction that resulted in the tag he sports on his leg. For a story that appears headed for a familiar destination, the route is surprising. If this weren’t a family-oriented cartoon, I might even call the last segment existential. Like some kind of mini-Penguin of the Rings, it was definitely the most interesting segment for me, even if it might confuse the youngest viewers. The movie also carries a pro-conservation message.

- Perhaps reflecting the four credited writers, this is a somewhat disjointed movie. The first 2/3 has about 12 minutes of plot and a lot of visual and musical riffs that collectively made the movie seem a little long. (For an animated movie, it is.) At times the plight of the hero seems to be a metaphor for gay rights, at others a shot at cultural reactionaries. But then the last part of the movie is chock full of plot, and, as noted, possibly confusing for little kids. (A sequence where whales nearly have penguin tartare might frighten them too.) The fact that nearly all the penguins look alike might prevent the characters from leaving as indelible a mark as some other cartoon heroes.

= *** I’m not sure what kids will think of this. It’s warm and fuzzy in parts, not in others, but they’ll like the singing penguins. The ending is magical for all ages.

IMDb link