Are You There God? It’s Me, Margaret Review

BY JULIA GOLDBERG @votergirl

Spoiler alert: Yes, God is there. “There” being the mind, heart and soul of not-quite-12-year-old Margaret Simon (rendered wonderfully with humor and winsomeness by Abby Ryder Fortson), who would like divine intervention so she can: get her period, grow breasts, fit in with her friends and determine to which, if any, religion she belongs.

In other words, Simon is struggling with a combination of puberty and existential angst, and she’s doing so in a very specific time and place: 1970, in the wood-paneled, green-lawned New Jersey suburbs where her parents have unceremoniously relocated her from New York City just in time to start sixth grade.

Are you There God? It’s Me Margaret, of course, is based on the 1970 Judy Blume novel of the same name, a book that has been read by millions, banned periodically since its publication and remained, despite the significant cultural shifts in the last half-century, significant enough to finally earn a big-screen debut.

If you’ve been hiding out from popular culture, Judy Blume is having a moment; a new documentary about her also debuted on Amazon this month (Judy Blume Forever). The 85-year-old writer serves as producer on Are you There God? and remains an unflinching champion of reading and anti-censorship efforts (she and her husband run an independent nonprofit bookstore in Key West, Florida).

The film mostly hews to its source material. Margaret isn’t the only Simon searching for answers: Her mother Barbara (a terrific Rachel McAdams) is taking the suburban relocation as an opportunity to become a stay-at-home mom versus an art teacher. She’s also reached out to her estranged conservative Christian parents who balked when their daughter married a Jewish man (a family show-down over which religion Margaret should follow is the only new material this viewer noticed). Margaret’s glamorous grandmother Sylvia (a hilarious Kathy Bates) has to learn to let go a little bit now that the family has decamped— although she jumps to take her granddaughter to Temple (and to see some live Gilbert and Sullivan, of course).

But those subplots, though threaded well throughout the film, are secondary to Margaret’s comingof-age concerns. Writing for the New York Times, Elisabeth Egan notes the novel’s importance for “the girls of Generation X,” who grew up with rotary phones, listening to the radio in the hopes of hearing their favorite songs. In this way, Are You There God?

It’s Me, Margaret’s belated film debut is perhaps less a tribute to its ongoing relevance than its nostalgic value for middle-aged women who love Judy Blume. Fortunately, we are legion.

ARE YOU THERE GOD? IT’S ME, MARGARET

Directed by Kelly Fremon Craig With Ryder Fortson, McAdams and Bates Regal, Violet Crown, PG-13, 105 minutes

Evil Dead Rise

7 + FUN AND WEIRD; DRIPPING WITH STYLIZED GORE - QUESTIONS UNANSWERED

Writer/director Lee Cronin (The Hole in the Ground) picks up the Sam Raimi/Evil Dead mantle and runs with it in Evil Dead Rise, the newest chapter (offshoot?) in the enduring horror franchise that always expertly merges real scares with a certain silliness.

Here, Cronin trades Raimi’s more pastoral cabin-based environs for the stuffy confines of a small Los Angeles apartment on some high-up floor of a former bank building. There, estranged sisters Beth (Australian import Lily Sullivan) and Ellie (Alyssa Sutherland, The Devil Wears Prada) reunite as the former faces a pregnancy scare and the latter prepares her three children for a move following the collapse of her marriage. Nobody feels OK. But then an earthquake reveals an entrance to a bank vault, where Ellie’s kid Danny (Morgan Davies) discovers the freaking Necronomicon (that’s the book that unleashes them demons, n00bs). The Deadites rush in, possessing Ellie and wreaking havoc. The already fractured family finds themselves stuck on their floor as the demon in charge starts picking off other residents and Beth is thrust into a de facto protector role; gore and frights abound.

Cronin’s film is at its best when paying tribute to Raimi’s shooting style and pacing. In some aspects, the homage feels almost like hero worship, and why shouldn’t it? Even in his later works with blockbuster properties, Raimi always managed to insert his signature beats into things. The man’s a master and a visionary and Cronin knows this well—he also lets the omnipresent oppressive bleakness permeate the air in everything from the reality of being trapped to the horrors of your parent, or something that looks just like them, out to consume your soul.

Evil Dead Rise is Sutherland’s show. As much as Sullivan seems to revel in her character’s rise to agency, and as well as how the kids (Davies, plus Gabrielle Echols and Nell Fisher) handle tears and frights and hard-swallowing lines about, “I don’t think you should open that book,” Sutherland’s committed dive into contortionist mayhem and bad-ass demon lines like, “Mommy’s in hell with the maggots,” steals every scene she’s in. Otherwise, Cronin’s bloody pastiche hits cinematographic highs (like a sequence shot through an apartment door’s fisheye peephole or the absolutely stunning opening credit reveal that flips a mainstay Raimi technique into the most metal thing in the world) and lows (why does that elevator magically work again?) on its quest to gory greatness. Horror fans shouldn’t miss it, but those with weaker stomachs or possession phobias might wanna just move on and forget the whole thing. (Alex De Vore) Violet Crown, Regal, R, 97 min.

Renfield

7 + CAGE SLAYS; SILLY IN THE RIGHT WAYS - ORIGINAL PREMISE BUT UN-ORIGINAL EXECUTION

Some might be surprised to see Walking Dead creator Robert Kirkman’s name scroll by in the credits for new action/comedy Renfield, but if we remember all the way back to Kirkman’s 2000 comic series Battle Pope, it starts to make more sense. Turns out Kirkman was funny once, and his story/writing credits for Renfield—what with its over-the-top comedic gore and wry take on the over-stuffed horror genre by way of Universal movie monsters—proves that big time. It isn’t that this new one’s a capital-G Good movie per se, more like it’s exactly the kind of thing in which you want to see Nicolas Cage.

Renfield flips the script with the character Robert Montague Renfield (played by Tom Waits in the campy 1992 Francis Ford Coppola Dracula movie if that helps you picture who we’re talking about; here played by The Menu’s Nicholas Hoult). The plot turns the familiar character into a neurotic type struggling with his toxic relationship to his boss, Dracula (Cage), in modern day New Orleans. Our hero, as it were, stumbles into a support group for people in similar relationships, and uses their tales of woe to source bad guy meals for his convalescing vampire boss. Working this angle, however, puts Renfield at odds with the city’s most nefarious crime syndicate, the Lobos, which in turn leads him into a new world of good and evil, prompting him to join forces with dogged cop Rebecca (Awkwafina, who notably ditches the AAVE speaking patterns that landed her in hot water some time ago). They fight gangsters while Renfield works out how to get himself out from under Dracula’s thumb.

Renfield is, at times, very funny—like in an exchange of ska joke one-liners between support group members or in how director Chris McKay (The Lego Movie) faithfully sends up scenes from the 1931 Bela Lugosi Dracula. Hoult, meanwhile, keeps leaning further into comedy following roles in things like Hulu’s The Great. He has a knack for it, though he tends to play funny the same way across whatever he’s doing. Awkwafina is awkwa-fine as the cop with an over-inflated sense of justice, though it’s odd that her idea of right and wrong seems cherry-picked based on whom she likes personally or not. Parks and Rec alum Ben Schwartz is just plain bad as the heir to the crime family; Shohreh Aghdashloo as the matriarch, however, carries gravitas, brief though her scenes may be. Cage, meanwhile, for all his bluster in interviews about the film being Hoult’s thing, is at the height of his powers as the legendary movie/lit monster. Somehow, he straddles a bizarre sincerity within his over-the-top performance. Renfield is undoubtedly better when he’s on screen, unless, of course, we’re talking about the absurd gore; including a rather gruesome homage, presumably, to Mortal Kombat that we shan’t spoil here, but which made our entire audience groan, “Ohhhhhhhh!!!! Ewwww!”

And so it goes, all the way through to the predictable conclusion. Perhaps Renfield could be described as a formulaic buddy cop flick, like Lethal Weapon meets Dracula, but its players relish in its silliness, particularly under the learned craftwork of Cage. Don’t expect a transformative experience, obviously, but do expect a super-fun time at the movies. (ADV) Violet Crown, Regal, R, 93 min.

THE SUPER MARIO BROS. MOVIE

5 + STUNNING ANIMATION AND SOUND - BARELY-THERE STORY; SUBPAR VOICE ACTING; TOO CUTE AT TIMES

OK, yeah, sure—The Super Mario Bros. Movie is made for and aimed at children. But just like most animated properties since the dawn of animation, a contingent of adult moviegoers will certainly see the thing. Don’t forget, either, the parents who will have to take their kids; there should be things in there for them, too. And yet... ugh.

Animation studio Illumination (makers of the Minions movies) would surely know the very concept of a Mario Bros. film would speak to various generations. For so many of us, Mario, Luigi, Princess Peach, Bowser and all the rest have been ubiquitous characters as far back as we can remember. Why, then, does this movie work so hard to be devoid of originality? Dimensional characters? Why does it eschew much of anything outside of repeated jokes from other films, Easter egg nods that feel less like sly winks than they do hammers emblazoned with “remember when...?” on them and celebrity voices less interested in crafting characters than sounding as much like themselves as possible?

In The Super Mario Bros. Movie, we follow brothers Mario and Luigi as they embark upon a new plumbing venture in New York City. No one believes in them, though, which proves an especially damning reality to endure when they’re swept into the alternate dimension Mushroom Kingdom through a pipe located deep within the sewers of Brooklyn. Seems a big ol’ fire-breathing turtle guy called Boswer (Jack Black; the only truly fun element of the movie) is hell-bent on domination and has taken over parts of the realm. Separated and forced to rely on the expositional facets crammed down our throats in the film’s early minutes, Mario (Chris Pratt) sets off to do brave stuff and make quips about heart or whatever, while Luigi (Charlie Day) drops Scooby-Doo-esque lines about g-g-g-g-ghosts or, in this case, k-k-k-k-koopas! Mario teams up with the Mushroom Kingdom’s Princess Peach (Anya Taylor Joy in what is just plain a mind-numbingly boring performance), Toad (Keegan-Michael Key, who, like Black, actually tries acting) and Donkey Kong (Seth Rogen doing his best impression of Seth Rogen) to find his brother and stop Bowser. Spoiler alert? They win.

As for recycled humor from other movies and a whole heck of a lot of assuming most people will just know who the Mario characters are, well, let’s just say that if a kid who never had video games wandered into a theater, they’d be baffled. Oh, but look—there’s Rainbow Road from Mario Kart! There’s Kranky Kong from Donkey Kong Country! Flashing lights! Yoshi the dinosaur in the background! Love conquers all while the 50th slo-mo moment stands in for anything the least bit clever! (ADV)

Violet Crown, Regal, PG, 92 min.

JOHN WICK: CHAPTER 4

9 -

Keanu Reeves is back as John Wick in the aptly titled John Wick: Chapter 4, and it is everything we’ve come to expect from director Chad Stahelski’s franchise over the past near-decade. We rejoin Mr. Wick hot on the heels of his last foray, which found him traipsing the globe in search of forgiveness from the shadowy High Table order of assassins after he’d killed someone at the Continental, a neutral ground hotel for assassins wherein so-called “business” is strictly prohibited. Turns out Mr. Wick didn’t quite earn his freedom despite lopping off a finger in deference in the last movie, so the leaders of the High Table dispatch the Marquis (It star Bill Skarsgård) to kill the guy with all of their nefarious resources at his disposal. A hail of bullets and tempest of blades follows.

Throughout the John Wick series, there has rarely been a lull. Bodies pile up in these films through no shortage of creative martial arts, swordplay and gun-fu, but it’s the broader world of assassins that keeps things interesting. We don’t know much about the High Table, nor can we—but therein lies much of the fun.

Beyond that, all that matters is the onslaught of fight scenes meticulously choreographed like a bloody ballet. The addition of martial arts cinema legend Donnie Yen as former Wick associate Caine only ups the ante. Yen takes part in the long-running canon of blind swordsmen that includes such iconic entries as Zatoichi and Ninja Scroll. In tandem with Wick’s blend of over-the-top insanity...well, let’s just say there’s something satisfying about a blind guy beating everyone’s ass.

Back in the fray are other longtime franchise favorites like Continental manager Winston (Ian McShane) and his concierge Charon (Lance Reddick, rest in power!), plus Reeves’ Matrix co-alum Laurence Fishburne and, thrillingly, veteran character actor Clancy Brown (The Shawshank Redemption). Together, they represent the various bits and pieces of the otherwise enigmatic Mr. Wick; they, too, are badass.

As Stahelski leaves Wick behind (at least for now) and moves on to his next project, an adaptation of the Ghost of Tsushima video game, fans of the series will find an organic and satisfying conclusion. Turns out homeboy did it all for love, and that’s an OK reason enough to blast fools, right? (ADV)

Violet Crown, Regal, R, 169 min.

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“Say That Again?”—echoing that sentiment.

by Matt Jones

Psychics

Mind Body Spirit

Rob Brezsny Week of May 3rd

ARIES (March 21-April 19): Before forming the band called The Beatles, John Lennon, George Harrison, and Paul McCartney performed under various other names: the Quarrymen, Japage 3, and Johnny and the Moondogs. I suspect you are currently at your own equivalent of the Johnny and the Moondogs phase. You’re building momentum. You’re gathering the tools and resources you need. But you have not yet found the exact title, descriptor, or definition for your enterprise. I suggest you be extra alert for its arrival in the coming weeks.

TAURUS (April 20-May 20): I’ve selected a passage to serve as one of your prime themes during the rest of 2023. It comes from poet Jane Shore. She writes, “Now I feel I am learning how to grow into the space I was always meant to occupy, into a self I can know.” Dear Taurus, you will have the opportunity to grow ever-more assured and self-possessed as you embody Shore’s description in the coming months. Congratulations in advance on the progress you will make to more fully activate your soul’s code.

GEMINI (May 21-June 20): Georges Rouault (1871-1958) was a Gemini painter who bequeathed the world over 3,000 works of art. There might have been even more. But years before he died, he burned 315 of his unfinished paintings. He felt they were imperfect, and he would never have time or be motivated to finish them. I think the coming weeks would be a good time for you to enjoy a comparable purge, Gemini. Are there things in your world that don’t mean much to you anymore and are simply taking up space? Consider the possibility of freeing yourself from their stale energy.

CANCER (June 21-July 22): Britain occupied India for almost 200 years. It was a ruthless and undemocratic exploitation that steadily drained India’s wealth and resources. Mahatma Gandhi wasn’t the only leader who fought British oppression, but he was among the most effective. In 1930, he led a 24-day, 240-mile march to protest the empire’s tyrannical salt tax. This action was instrumental in energizing the Indian independence movement that ultimately culminated in India’s freedom. I vote to make Gandhi one of your inspirational role models in the coming months. Are you ready to launch a liberation project? Stage a constructive rebellion? Martial the collaborative energies of your people in a holy cause?

LEO (July 23-Aug. 22): As crucial as it is to take responsibility, it is also essential to recognize where our responsibilities end and what should be left for others to do. For example, we usually shouldn’t do work for other people that they can just as easily do for themselves. We shouldn’t sacrifice doing the work that only we can do and get sidetracked doing work that many people can do. To be effective and to find fulfillment in life, it’s vital for us to discover what truly needs to be within our care and what should be outside of our care. I see the coming weeks as a favorable time for you to clarify the boundary between these two.

VIRGO (Aug. 23-Sept. 22): Virgo-born Marie Laveau (1801–1881) was a powerful Voodoo priestess, herbalist, activist, and midwife in New Orleans. According to legend, she could walk on water, summon clairvoyant visions, safely suck the poison out of a snake’s jowls, and cast spells to help her clients achieve their heart’s desires. There is also a wealth of more tangible evidence that she was a community activist who healed the sick, volunteered as an advocate for prisoners, provided free teachings, and did rituals for needy people who couldn’t pay her. I hereby assign her to be your inspirational role model for the coming weeks. I suspect you will have extra power to help people in both mysterious and practical ways.

LIBRA (Sept. 23-Oct. 22): What are the best methods to exorcize our personal demons, ghosts, and goblins? Or at least subdue them and neutralize their ill effects? We all have such phantoms at work in our psyches, corroding our confidence and undermining our intentions. One approach I don’t recommend is to get mad at yourself for having these interlopers. Never do that. The demons’ strategy, you see, is to manipulate you into being mean and cruel to yourself. To drive them away, I suggest you shower yourself with love and kindness. That seriously reduces their ability to trick you and hurt you—and may even put them into a deep sleep. Now is an excellent time to try this approach.

SCORPIO (Oct. 23-Nov. 21): As she matured, Scorpio poet Sylvia Plath wrote, “I am learning how to compromise the wild dream ideals and the necessary realities without such screaming pain.” I believe you’re ready to go even further than Plath was able to, dear Scorpio. In the coming weeks, you could not merely “compromise” the wild dream ideals and the necessary realities. You could synergize them and get them to collaborate in satisfying ways. Bonus: I bet you will accomplish this feat without screaming pain. In fact, you may generate surprising pleasures that delight you with their revelations.

SAGITTARIUS (Nov. 22-Dec. 21): Some primates use herbal and clay medicines to self-medicate. Great apes, chimpanzees, bonobos, and gorillas ingest a variety of ingredients that fight against parasitic infection and help relieve various gastrointestinal disturbances. (More info: HYPERLINK “https://tinyurl.com/PrimatesSelfMedicate” https://tinyurl.com/PrimatesSelfMedicate.) Our ancestors learned the same healing arts, though far more extensively. And many Indigenous people today still practice this kind of self-care. With these thoughts in mind, Sagittarius, I urge you to spend quality time in the coming weeks deepening your understanding of how to heal and nurture yourself. The kinds of “medicines” you might draw on could be herbs, and may also be music, stories, colors, scents, books, relationships, and adventures.

CAPRICORN (Dec. 22-Jan. 19): The mythic traditions of all cultures are replete with tales of clashes and combats. If we draw on these tales to deduce what activity humans enjoy more than any other, we might conclude that it’s fighting with each other. But I hope you will avoid this normal habit as much as possible during the next three weeks, Capricorn. I am encouraging you to actively repress all inclinations to tangle. Just for now, I believe you will cast a wildly benevolent magic spell on your mental and physical health if you avoid arguments and skirmishes. Here’s a helpful tip: In each situation you’re involved in, focus on sustaining a vision of the most graceful, positive outcome.

AQUARIUS (Jan. 20-Feb. 18): Is there a person who could serve as your Über Mother for a while? This would be a wise and tender maternal ally who gives you the extra nurturing you need, along with steady doses of warm, crisp advice on how to weave your way through your labyrinthine decisions. Your temporary Über Mother could be any gender, really. They would love and accept you for exactly who you are, even as they stoke your confidence to pursue your sweet dreams about the future. Supportive and inspirational. Reassuring and invigorating. Championing you and consecrating you.

PISCES (Feb. 19-March 20): Congratulations on acquiring the Big New Riddle! I trust it will inspire you to grow wiser and kinder and wilder over the coming months. I’ve compiled some clues to help you unravel and ultimately solve this challenging and fascinating mystery. 1. Refrain from calling on any strength that’s stingy or pinched. Ally yourself solely with generous power. 2. Avoid putting your faith in trivial and irrelevant “benefits.” Hold out for the most soulful assistance. 3. The answer to key questions may often be, “Make new connections and enhance existing connections.”

Homework: Name three wonderful things you want to be experiencing one year from today.

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Go to RealAstrology.com to check out Rob Brezsny’s Expanded Weekly Audio Horoscopes and Daily Text Message Horoscopes . The audio horoscopes are also available by phone at 1-877-873-4888 or 1-900-950-7700.

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Santa Fe Reporter

4/26/23 & 5/3/23