Teenage Mutant Ninja Turtles

By Joseph McAleer, Catholic News Service

NEW YORK (CNS) – Thirty years after bursting onto the comic book scene, the wise-cracking, pizza-loving “Teenage Mutant Ninja Turtles” (Paramount) re-emerge from the sewers of New York City. Their mission, once again: to save the world.

This reboot marks the fifth film to feature the reptilian heroes, created by Peter Laird and Kevin Eastman. With Michael Bay of the “Transformers” franchise on board as producer, action and destruction (and noise level) are ramped up in vivid 3-D, with the turtles effectively rendered through live action and motion-capture technology.

Fortunately, the script, by Josh Appelbaum, Andre Nemec and Evan Daugherty, honours the ridiculousness of the subject matter and keeps tongue firmly in cheek. Director Jonathan Liebesman (“Wrath of the Titans”) joins in the fun while slipping in a few good lessons about honour and family.

The backstory and mythology surrounding the Turtles are extensive, to say the least. Simply stated, there are four, each named (for no particular reason) for an Italian Renaissance artist: Leonardo (Pete Ploszek), Raphael (Alan Ritchson), Michelangelo (Noel Fisher), and Donatello (Jeremy Howard).

Products of an experiment gone wrong, they have grown into rambunctious anthropomorphic teenagers, mask-wearing 6-footers who shout “Cowabunga!” and scarf down ‘za.

The turtles live beneath the Big Apple with a wise Japanese rat named Splinter (Danny Woodburn), who has trained them in the martial arts.

“My sons, you will become the warriors that legends are made of,” Splinter says. “You live, you die, you fight as brothers. Remember, nothing is as strong as family.”

As Leonardo admits, “We were created as weapons, and we knew the world would never accept us … but one day, it would need us.”

That day is now, for a reign of terror has gripped Gotham, thanks to the notorious Foot Clan, a seemingly invincible gang of criminals led by a razor-sharp monster appropriately dubbed Shredder (Tohoru Masamune).

At first, the turtles do battle at night, fighting the Foot Clan while protecting their identity. All that changes when April (Megan Fox), an intrepid TV reporter, stumbles upon their ninja moves.

Excited by her first big scoop, April has a hard time convincing Vern (Will Arnett), her cameraman, and Bernadette (Whoopi Goldberg), her skeptical boss, of the turtles’ existence.

So she turns to an old family friend, billionaire industrialist Eric Sacks (William Fichtner), for help. He’s a scientist, with more than a passing interest in mutated reptiles – and a wicked secret alliance with Shredder for (of course) world domination.

If it all sounds silly, it is, and “Teenage Mutant Ninja Turtles” is more thrill-ride than serious drama. As such, the action sequences may be too intense (and loud) for young viewers. Everyone else, however, will have a ball careening down sewer tunnels as though they were water slides on steroids.

The film contains intense but bloodless cartoon violence, some bathroom humor, and a few vague references to sexuality. The Catholic News Service classification is A-II – adults and adolescents. The Motion Picture Association of America rating is PG-13 – parents strongly cautioned. Some material may be inappropriate for children under 13.

This Is Where I Leave You

By John P. McCarthy, Catholic News Service

NEW YORK (CNS) – Billed as a dramatic comedy, “This is Where I Leave You” (Warner Bros.) tries, unsuccessfully, to wring laughs and sentiment from one suburban family’s dysfunction.

A tagline reads, “Welcome Home. Get Uncomfortable.” And when four adult siblings gather for their father’s funeral, they quickly get under one another’s skin. But their tendency to over-share is also likely to make viewers squirm, which undercuts the aim of being funny and insightful. Many audience members will be discomfited by the coarse language and litany of tawdry, juvenile behaviours.

Adding to the disappointment, the project boasts an appealing ensemble – likable performers who, in most cases, are asked to play unlikable characters. Few are able to keep their mouths or libidos in check. Actions meant to be outrageous and irreverent are predictable and insufficiently entertaining.

Adapted from a novel by Jonathan Tropper, the story focuses on one member of the Altman clan, Judd (Jason Bateman), who discovers his wife is having an affair with his boss, the host of a radio program called “Man Up.” Despondent over the break-up of his marriage and the loss of his job, he then learns his father has died. Judd returns to his childhood home, joining stolid older brother Paul (Corey Stoll), sarcastic, unhappily married sister Wendy (Tina Fey), and spoiled younger brother Phillip (Adam Driver).

Their outspoken mother, Hillary (Jane Fonda), is a child psychologist who 25 years earlier penned a best-seller entitled “Cradle and All” that revealed intimate details about her offspring. Now, claiming it was her husband’s last wish, she insists they all sit Shiva – the Jewish custom of a weeklong mourning period for the decedent’s closest kin.

Over the course of the following week, in addition to the squabbling and ribbing, Judd reconnects with Penny (Rose Byrne), his free-spirited high-school crush. Wendy finds she still has feelings for the boy across the street she grew up with, who has sustained a traumatic brain injury. Paul and his wife grapple with their inability to conceive a child, and Phillip introduces his much-older fiancé, who was formerly his therapist.

Regarding the tenor of the humor, siblings do tend to regress under such circumstances, sharing private jokes and cracking themselves up by recalling youthful shenanigans. So a certain degree of immaturity is to be expected. Moreover, irreverent jocularity and dark, gallows humor is a common response to painful events.

Yet when Hillary yanks a breathing tube from her husband’s corpse in the hospital, it’s more macabre than funny. A running gag about Wendy’s son’s potty training, while underscoring the rampant infantilism on display, fails to amuse. Likewise, the attention paid to Hillary’s surgically enhanced cleavage. And the glee the Altmans take in addressing their rabbi, a long time family friend, by his crude childhood nickname borders on cruelty.

Novelist Tropper wrote the screenplay and presumably kept what he believes are the best bits from his book. Director Shawn Levy is best known for the “Night at the Museum” franchise and his excitement at the chance to helm a smaller-scale; fantasy-free piece is palpable. You suspect, however, this is one of those movies that were more fun to make than it is to watch.

Hearing these entitled characters complain about their problems soon becomes tiresome. Wendy has a line emblematic of the film’s pose of world-weary cynicism. She tells Judd, “Love causes cancer, like everything else, but it has its moments.” Unfortunately, “This is Where I Leave You” has precious few.

The film contains frequent rough, crude and crass language, much profanity and sexual banter, a number of sexual encounters – one featuring rear male nudity and most involving marital infidelity, drug use, an approvingly depicted same-sex relationship, and a glib attitude toward religious faith. The Catholic News Service classification is O – morally offensive. The Motion Picture Association of America rating is R – restricted. Under 17 requires accompanying parent or adult guardian.