DADDY’S HOME (Rated PG-13)

There are two things to know about the comedic reunion in “Daddy’s Home” of Will Ferrell and Mark Wahlberg, once again polar opposites that previously carried the day when they were mismatched detectives in “The Other Guys.”

First, the slapstick humor is crude and raunchy often enough to be extremely questionable family-oriented entertainment.

That’s why it seemed surprising that the screening was set up so that critics could bring along younger kids.

Second, this is type of film that one must grant is sufficiently predictable in many ways and yet leads to some dumb fun, which many critics are going to dislike.

Perhaps they were duped into bringing their grade school children to the screening and now seek payback with bad reviews.

For the rest of us, the overriding consideration is whether “Daddy’s Home” might provide enough laughter so that our concern about a PG-13 rating is mitigated by having the good sense not to take young kids to this kind of movie in the first place.

It’s good to see Will Ferrell and Mark Wahlberg back together on screen, this time around as parental rivals vying for the affection of grade school kids who need the nurturing of the stepdad but yearn for the reckless fun times with their cool biological father.

In familiar typecasting, Ferrell’s Brad Whitaker, the sensitive beta male, is now married to Sara (Linda Cardellini), the mother of Dylan (Owen Vaccaro) and Megan (Scarlett Estevez).

Brad is an executive at the Panda, a smooth jazz radio station rated the third most popular in the nation, where his boss Leo Holt (Thomas Haden Church) is fond of giving marital advice while telling absurd stories about his many failed marriages.

Driving a sensible Ford Flex family car, Brad wants to be a model stepfather, often reading from the self-help book “Step by Stepdad” and trying hard to win over bratty kids that have been drawing crayon pictures of the nuclear family with Brad depicted in various stages of distress.

Along comes Mark Wahlberg’s Dusty Mayron, the ultra smooth alpha male father who rides a Harley, wears cowboy boots and often takes off his shirt to expose a well-sculpted muscular torso, thereby revealing a true contrast to Brad’s basic nice guy timidity and flabby physique.

That Brad is essentially insecure and unsure of himself may have a lot to do with his inability to procreate. A flashback shows that Brad suffered a blow to his manhood as the result of an accident with an errant dental x-ray machine.

Having returned to the family scene with macho swagger, Dusty senses an emerging chasm in the household that he may exploit in order to reclaim his patriarchal role.

It’s not without irony that Dusty enjoys telling bedtime stories to his little tykes about the noble king being the superior person in returning to the castle to protect the kingdom where the step king has failed.

At first, Brad is seemingly seduced by Dusty’s self-assured charm offensive, trying a bit too hard to be his friend even though Sara has knowingly warned that her ex-husband is potential trouble.

Trouble arrives quickly in the guise of very competitive games to win the hearts and minds of the young children for the title of the finest dad, with Brad constantly one-upped by the cunning, persuasive Dusty.

The competition goes from the ridiculous to the sublime, and along the way Dusty manages to turn others against Brad, even convincing African-American handyman Griff (Hannibal Buress) that Brad is a racist.

Dusty does not confine his damage to the Whitaker household. On a visit to Brad’s radio station, he lucks into a chance to become the on-air voice of the station’s identity, thereby securing a handsome residual income.

The outlandish competition goes to extremes. Dusty builds an awesome tree house fit for an entire family, while Brad stages a full-blown Christmas celebration with expensive gifts during the summer.

Some of the humor is a bit cringe-worthy such as the visit to a fertility doctor where Brad and Dusty are reduced to the primitive state of exposing their manhood for the sake of medical examination.

Sexual innuendos, questionable at best for a younger audience, aren’t confined to clinical assessment. This and other forms of more adult-oriented humor are just part of the territorial contest between the father figures.

“Daddy’s Home” is filled with plenty of goofy antics, which are not only downright conventional and predicable, but on the whole prove to be quite funny.     
 
Tim Riley writes film and television reviews for Lake County News.

The only times I feel truly homicidal are when I see somebody abusing a pet, and I was glad to find this poem so I could get that off my chest.

But don’t ever even think about taking a kick at my old dog, Howard.

Wesley McNair lives in Maine and is that state’s poet laureate. This is from his book Lovers of the Lost, from David R. Godine. His most recent book is The Lost Child: Ozark Poems, (Godine, 2014).

The Puppy

From down the road, starting up
and stopping once more, the sound
of a puppy on a chain who has not yet
discovered he will spend his life there.
Foolish dog, to forget where he is
and wander until he feels the collar
close fast around his throat, then cry
all over again about the little space
in which he finds himself. Soon,
when there is no grass left in it
and he understands it is all he has,
he will snarl and bark whenever
he senses a threat to it.
Who would believe this small
sorrow could lead to such fury
no one would ever come near him?

American Life in Poetry is made possible by The Poetry Foundation ( www.poetryfoundation.org ), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. They do not accept unsolicited submissions. Poem copyright ©2010 by Wesley McNair, “The Puppy,” from Lovers of the Lost: New & Selected Poems, (David R. Godine, 2010). Poem reprinted by permission of Wesley McNair and the publisher. Introduction copyright © 2015 by The Poetry Foundation. The introduction's author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006.

STAR WARS: THE FORCE AWAKENS (Rated PG-13)

The hype for the major film of the holiday season has been colossal, but it has proven authentic.

Yes, I’m talking about “Star Wars: The Force Awakens,” which is the real deal after the regret of the remarkably dull trilogy of prequels that fans had to endure to get to Episode VII.

In the capable hands of director J.J. Abrams (two “Star Trek” films), the feeling that we are back on track for the tone, style and even humor of the original “Star Wars” is unmistakable, and obviously a welcome relief to the misfires that George Lucas foisted on us with “The Phantom Menace” and the two episodes that followed.

The “Star Wars” franchise is now in the hands of the Disney Empire. Good news for all, it’s not an evil empire. Evidence abounds that the new home for this beloved franchise (okay, just the first three films) has treated this new adventure with great respect and reverence.

Right from the very opening scene of the screen crawl that informs us that Luke Skywalker has gone missing somewhere in the galaxy, the audience is propelled into a state of wonder and absolute delight within the vastly exhilarating realm of the “Star Wars” universe.

Darth Vader may no longer be around, but his progeny are in full villainous mode in the oppressive force called by the totalitarian name of First Order, commanded by Kylo Ren (Adam Driver) under the tutelage of hulking Supreme Leader Snoke (voiced by Andy Serkis).

Landing on the desolate planet of Jakku, the First Order descends on the unsuspecting inhabitants, setting loose the army of stormtroopers to exterminate everyone while searching for a piece of a digital map that may reveal the hideaway of Luke Skywalker.

It’s on Jakku that we are introduced to several new key players, all of whom prove to be valuable assets to the series. Giving C-3PO and R2-D2 a run for their money is the new adorably rotund robot BB-8, an essential figure in helping the Resistance fend off the First Order goons.

Up until the attack on Jakku, the clever BB-8 had been the constant companion of fighter pilot Poe Dameron (Oscar Isaac), the best commander in the Resistance fleet. The charismatic Poe is a prime figure in later battle scenes that have a superbly familiar yet welcome feeling.

Probably the most inviting new character is Daisy Ridley’s Rey, an outcast loner and scavenger on Jakku, who’s barely scraping by selling spare parts taken from abandoned spacecraft and other equipment. But she’s drawn into the Resistance from a most unlikely source.

During the raid on Jakku, a stormtrooper who only goes by a serial number develops a conscience and becomes appalled at having to kill innocents. Later taking the name of Finn (John Boyega), this former member of the First Order joins forces with Rey for pure survival.

More resourceful than her scavenging skills would suggest, Rey proves to be an adept female hero and a true fighter, and along with Finn’s brave new outlook, this dynamic duo eventually gets noticed by Harrison Ford’s iconic Han Solo.

By the time Han Solo makes his entrance, teamed up as usual with his co-pilot Chewbacca (Peter Mayhew), the massively hairy creature that delights with his quirky behavior, the story line is moving into full battle conflict mode between the heroic Resistance fighters and the First Order goons.

There are hardly more satisfying moments than when Han Solo joyfully brings the Millennium Falcon, derisively called a heap of junk by others, out of mothballs and gets it going once again to travel through the galaxy.

Han Solo may be the most beloved character for his nicely offbeat nature, being characteristically grumpy and irreverent, while tossing off sarcastic barbs. It’s also funny when rival bounty hunters show up to threaten his life for failure to deliver promised goods.

Princess Leia (Carrie Fisher) is also in the picture, but she’s ditched her royal title and the hair buns to become General Leia, head of the Resistance. But what she really needs is a Jedi Knight, and well, Luke Skywalker is the one who can harness the power of the Force.

Without giving too much away, the quest to find Skywalker is the primary reason for an escalating fight between the Resistance and the First Order. The bad guys know Skywalker could train legions of brave souls to turn back the predatory Evil Empire.

Certain things happen in the course of “Star Wars” that no one should know when experiencing this Episode VII for the first time. Disney pleaded with critics not to reveal too much, and that request is honored here.

Suffice it to say, for “Star Wars: The Force Awakens” the title says it all. Indeed, the Force is now awake and alive, and it is something to be reckoned with. From start to finish, the whole enterprise is a glorious adventure, one that lets us forget if not forgive the George Lucas mistakes of the past.

This shiny new “Star Wars” easily ranks with the best movies of the year, and without question, it is the best one for this holiday season.

At least two more installments are in the works, and let’s hope the Force is with the creative talent putting them together.

Tim Riley writes film and television reviews for Lake County News.

Several years ago, I co-edited an anthology of poems about birds, and I wish I’d had the opportunity to include this one, a delight. J. Allyn Rosser lives in Ohio. Her most recent book is Mimi’s Trapeze (University of Pittsburgh Press, 2014).

Pelicans in December

One can’t help admiring
their rickety grace

and old-world feathers
like seasoned boardwalk planks.

They pass in silent pairs,
as if a long time ago

they had wearied of calling out.
The wind tips them, their

ungainly, light-brown weight,
into a prehistoric wobble,

wings’-end fingers stretching
from fingerless gloves,

necks slightly tucked and stiff,
peering forward and down,

like old couples arm in arm
on icy sidewalks, careful,

careful, mildly surprised
by how difficult it has become

to stay dignified and keep moving
even after the yelping gulls have gone;

even after the scattered sand,
and the quietly lodged complaints.

American Life in Poetry is made possible by The Poetry Foundation ( www.poetryfoundation.org ), publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. We do not accept unsolicited submissions. Poem copyright ©2014 by J. Allyn Rosser, “Pelicans in December,” from Mimi’s Trapeze, (University of Pittsburgh Press, 2014). Poem reprinted by permission of J. Allyn Rosser and the publisher. Introduction copyright © 2015 by The Poetry Foundation. The introduction's author, Ted Kooser, served as United States Poet Laureate Consultant in Poetry to the Library of Congress from 2004-2006.

THE NIGHT BEFORE (Rated R)

The holidays are fast approaching, and as usual, films with a Christmas holiday theme geared to family viewing are often on hand.

Of course, that may not be the case when part of the seasonal revelry involves an extended humorous scene involving Anthony Wiener-style cell phone imagery.

With Seth Rogen as no stranger to drug-fueled comedies, including “Pineapple Express” and “This is the End,” it should come as no surprise that “The Night Before” is appropriately rated R for drug use, strong sexual content and graphic nudity.

Oddly enough, “The Night Before” gets a rousing start with traditional storybook narration by Tracy Morgan, setting the stage for the enduring friendship of three disparate characters upholding a Christmas Eve tradition dating back to the their teenage years.

Having lost his parents in a tragic car accident when in high school, Joseph Gordon-Levitt’s Ethan remains in a state of arrested development. Unable to commit to his former girlfriend Diana (Lizzy Caplan) for whom he still carries a torch, Ethan’s life is stuck in place.

Meanwhile, Seth Rogen’s Isaac is a married man with an established career. His wife Betsy (Jillian Bell) is pregnant with their first child.

Needing to settle down into adulthood, Isaac find this Christmas Eve in New York to be likely his last night of debauchery.

That wild times loom for Isaac’s blowout holiday finale is made all the more evident by the unexpected gift he receives from Betsy, a tidy little box of hallucinogenic drugs, from mushrooms and cocaine to weed and an assorted mix of various pills.

Rounding out the trio is Anthony Mackie’s Chris, a journeyman professional football player suddenly thrust into fame in his NFL career at the unlikely age of 34, most likely due to the fact that his on-field performance has been recently enhanced by steroids.

These buddies have formed a pact to celebrate Christmas Eve each year with a series of rituals, from visiting the massive Christmas tree at Rockefeller Center and wearing garish holiday sweaters to signing karaoke in a dive bar and searching for an elusive underground party.

Since Ethan is somewhat adrift in his professional life, he starts the evening as a waiter dressed in an elf costume serving drinks and hors d’oeuvres before being demoted to the position of coat room attendant.

While putting away an overcoat, Ethan stumbles upon three golden tickets which are the coveted invites to the exclusive Nutcracka Ball, a secret shindig that moves around the five boroughs of New York City.

The tickets represent the Holy Grail of holiday partying, and while Isaac and Chris are ecstatic about the sudden good fortune that has fallen into Ethan’s hands, there are number of obstacles and humorous situations that may derail their long-awaited celebratory plans.

First of all, Isaac has consumed so many drugs that he tries to counteract one bad reaction with an ingestion of other drugs that he mistakenly believes would ameliorate the ill effects.

Getting separated from the group, Isaac staggers around Manhattan in a state of freefall, winding up in front of a Catholic church where he encounters Betsy and her family attending a midnight mass. Let’s just say that he ends up causing a horribly embarrassing commotion during the service.

Meanwhile, Chris is trying to impress his team’s star quarterback by attempting to score a supply of weed, which leads him back to his childhood home turf in search of the enigmatic drug dealer Mr. Green (Michael Shannon), a deadpan existential philosopher who proves to be as fascinating as he is inscrutable.

When not getting into a fight with a pair of drunken louts wearing Santa Claus costumes, Ethan finds himself at a party where his former flame Diana is hanging out with Mindy Kaling’s Sarah, an uninhibited co-worker who has a visceral dislike for Isaac.

One of the funny bits is how Sarah’s cell phone gets switched with Isaac’s phone, with some hilarious complications for both parties, particularly when Isaac reacts to messages from a man posting photos of his private parts.

The journey of “The Night Before” is meant to represent the closing of one chapter in life and moving on to the next level of adult responsibility. Not surprisingly, Seth Rogen’s Isaac is mostly humorously challenged in transitioning to respectability.

As to be expected in this type of comedy, there’s plenty of room for hit-and-miss gags and slapstick silliness, and while some of the humor falls flat, other situations are preposterously and outrageously funny.

In the end, “The Night Before” is somewhat uneven but will likely appeal to fans of the genre and films that pair up Seth Rogen and James Franco.    

Tim Riley writes film and television reviews for Lake County News.

KELSEYVILLE, Calif. – December can be the hardest month of the year, especially when you have fresh losses and uncertainties for the future.

Carolyn Wing Greenlee and friends invite you to come sing with them Scriptures chosen to strengthen and encourage you through whatever you have to face.

The concert, “Let Not Your Heart Be Troubled," is this Thursday, Dec. 10, at 7:30 p.m. at Kelseyville Presbyterian Church, 5340 Third St.

Admission is free.