Jennifer Garner, Timothy Olyphant, Kevin Smith, Sam Jaeger, Fiona Shaw, Juliette Lewis. Romantic Comedy/Drama. Written and Directed by Susannah Grant.
FILM SYNOPSIS: After the sudden death of her fiancé, Gray Wheeler (Jennifer Garner) finds comfort in the company of his friends: lighthearted and comic Sam (Kevin Smith), hyper-responsible Dennis (Sam Jaeger), and, oddly enough, his old childhood buddy Fritz (Timothy Olyphant), an irresponsible playboy whom she’d previously pegged as one of the least reliable people in the world. As secrets about her supposedly perfect fiancé emerge, Gray comes to see new sides of the man she thought she knew, and at the same time finds herself drawn to the last man she ever expected to fall for. PREVIEW REVIEW: It’s The Big Chill- lite. There are some good things, including nice performances, especially from Juliette Lewis, as well as beautiful locations, the mountains and valleys of Colorado looking like they popped out of a Hemingway novel, and a compelling concept that is both humorous and at times touching. But it’s not quite the grownup movie it wants to be. Indeed, some of the funniest moments seemed more geared to the eight-year-old sitting behind me. I expected a touch more depth from writer-director Susannah Grant (Erin Brockovich). But what truly deserves attention is the film’s shallow attitude concerning morality and premarital sex. Here sex seems to be used as therapy. People feel bad over the loss of a friend or fiancé, so they jump in the sack. In one case, a couple (complete strangers) has sex in a bathroom, with the lead in a “comical” situation as she has hid out in this very bathroom. Having taken refuge in the sanctuary of the curtain-covered bathtub, she overhears the copulating couple. This isn’t meant to be judgmental, but our society in general looks upon sexuality as merely a bodily function. That’s true for animals, but there is something bonding about the act between two people that causes it to rise above the functions of eating or relieving oneself. It has been blessed by God between husband and wife. It is the most intimate moment a person can have with another, so intercourse deserves a certain homage. It is not to be taken lightly. Yet, it is here. The people portrayed in this film are those who attend church services when they marry and when they bury. That’s about it. So questions of morality for them are made only from a human perspective. God’s input is never considered.
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Ben Affleck, Andy Garcia, Alicia Keys, Ray Liotta, Jeremy Piven, Ryan Reynolds, Peter Berg, Taraji Henson, Chris Pine, Martin Henderson, Jason Bateman. Comedy/action/crime adventure. Written by Joe Carnahan. Directed by Joe Carnahan.
FILM SYNOPSIS: This is a dark action comedy from Joe Carnahan, the acclaimed director of Narc, about the interlocking tales of high stakes and low-lifes such as Mob boss Primo Sparazza, who has taken out a hefty contract on Buddy "Aces" Israel (Piven)—a sleazy magician who has agreed to turn state’s evidence against the Vegas mob. The FBI, sensing a chance to use this small-time con to bring down big-target Sparazza, places Aces into protective custody-under the supervision of two agents (Reynolds and Liotta) dispatched to Aces' Lake Tahoe hideout. When word of the price on Aces’ head spreads into the community of ex-cons and cons-to-be, it entices bounty hunters, thugs-for-hire, and double-crossing mobsters to join in the hunt. PREVIEW REVIEW: In the early ‘80s, a title such as Smokin’ Aces would have indicated a good-ol’-boy car chase movie starring Burt Reynolds and Loni Anderson. Such is not the case here. This is a movie about several hit men (and women) on various steps of the evolution chain bent on killing an informer in order to earn a million bucks. It starts out interestingly enough, with a moving narrative you have to pay attention to, fast pacing, and editing that gives the production a manic energy. But suddenly elements of bizarreness and gruesomeness found in Tarantino’s Kill Bill and Gibson’s Mad Max begin to pour forth. The gore fest quickly gets underway. Examples: an FBI agent in a gun battle with a demonic killer inside, get this, an elevator; a Three Stooges-like hit crew straight out of a horror show, who use chainsaws to cut up people for the fun of it; two attractive hit-women with a vocabulary made up mostly of the f-word; there’s even a nutcase kid with a serious – make that demented – attitude and a penchant for martial arts. There’s lots of dark-as-night humor and the action is endless (much like the running time), but like every action film these days, it does its best to outdo the others – not with style or story, but with endless variations on how to humiliate or devastate the human body. Okay, it’s not to be taken seriously, but there are so many of these movies containing macabre humor and debauched behavior, as well as excessive bloodbaths. Each time we attend, we find ourselves getting pummeled rather than entertained. What’s more, this one seems to have no moral point. It’s got established actors and some amusing dialogue, but it’s just about maiming and killing people. If there is a point, it gets drowned in a sea of blood. There was a film in the early 1970s called The Wild Bunch, directed by Sam Peckinpah. That rogue filmmaker began the use of stark brutality in order to further a storyline. Indeed, violence became a character in that particular film. Some defended his use of graphic violence, while others were appalled. Though there are subplots exposing corruption and double-cross in Smokin’ Aces, I wonder what Peckinpah would think if he saw how his “true-to-life” bloodshed has become a tradition, one to be out-blasted by each successive effort.
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FILM SYNOPSIS: China, Later Tang Dynasty, 10th Century. On the eve of the Chong Yang Festival, golden flowers fill the Imperial Palace. The Emperor (Chow Yun Fat) returns unexpectedly with his second son, Prince Jai (Jay Chou). His pretext is to celebrate the holiday with his family, but given the chilled relations between the Emperor and the ailing Empress (Gong Li), this seems disingenuous. For many years, the Empress and Crown Prince Wan (Liu Ye), her stepson, have had an illicit liaison. Feeling trapped, Prince Wan dreams of escaping the palace with his secret love Chan (Li Man), the Imperial Doctor's daughter. Meanwhile, Prince Jai, the faithful son, grows worried over the Empress's health and her obsession with golden chrysanthemums. Could she be headed down an ominous path? The Emperor harbors equally clandestine plans; the Imperial Doctor (Ni Dahong) is the only one privy to his machinations. When the Emperor senses a looming threat, he relocates the doctor's family from the palace to a remote area. While they are en route, mysterious assassins attack them. Chan and her mother, Jiang Shi (Chen Jin) are forced back to the palace. Their return sets off a tumultuous sequence of dark surprises. Amid the glamour and grandeur of the festival, ugly secrets are revealed. As the Imperial family continues its elaborate charade in a palatial setting, thousands of golden armored warriors charge the palace. Who is behind this brutal rebellion? Where do Prince Jai's loyalties lie? Between love and desire, is there a final winner? Against a moonlit night, thousands of chrysanthemum blossoms are trampled as blood spills across the Imperial Palace. PREVIEW REVIEW: Curse of the Golden Flower could easily have been titled The House of Borgia-san, for this sick group shares much in common with the heirs of that back-stabbing, murdering Italian Renaissance family. What begins as a stylized and colorful visceral experience eventually sinks into the familiar martial arts debacle, this one just a bit more perverse, and a lot more violent. Those who enjoy the action adventure found in fantastical Asian martial arts films may become bored with the slow-paced intrigue, while those who demand integral storyline may feel assaulted by debauchery and the stylized violence. Shakespeare proved that most any theme could be addressed, or masked, with eloquent language. He did more than one play concerning dastardly dealings among family members. And he did it in such a spellbinding manner that audiences kept coming back. I’m not sure the makers of Curse of the Golden Flower will find such devotion. This film has a scintillating look, and its action sequences move along at an energetic pace, but the computer-generated overdoing coupled with themes of incest and loveless/vengeful relationships become vile and demoralizing. Shakespeare dealt with hidden human desires in similar family calamities, but this production avoids the human condition almost completely, preferring to bombard with chop-socky silliness. My Video Alternative: Crouching Tiger; Hidden Dragon. Li Mu Bai (Chow Yun-Fat), a weary martial arts warrior anxious to hang up his 400-year-old sword, must first dissuade a young woman from seeking a life of adventure by following his old nemesis Jade Fox (Cheng Pei Pei). With the aid of Yu Shu Lien (Michelle Yeoh), a female warrior Li Mu Bai has loved in silence, he soon discovers that the young beauty is nearly as proficient with a sword and the art of battle as is he. When the ancient sword is stolen, the stage is set for the honorable warriors to battle Jade Fox, who is determined to destroy Li Mu Bai. Bruce Lee made physicality the central element to the success of Chinese action films. Jackie Chan added humor and precision to the genre. Now, director Ang Lee brings astonishing visual effects to martial arts. He adds magic to the mystique of Asian kicksuey. His warriors don’t merely jump higher than physically possible, they literally fly. Indeed, much of the film has its heroes chasing their adversaries over rooftops and, in one instance, through forests, stopping to sword fight atop towering trees. The film is action-packed, equally splitting time between romance and confounding fight sequences. It is, to say the least, a very visual film. Although it has a woman praying to a shrine, Crouching Tiger, Hidden Dragon is not about promoting Eastern religious beliefs. Nor does the exuberant choreography suggest legitimate sorcery. Nothing in it, except for the themes of love and honor, is to be taken seriously. It is fantasy. The fly in the dim sum, however, is the film’s one sexual encounter between an unwed couple that seems to imply the unimportance of marriage. But it is a short scene with no nudity, and it is clear that they truly love each other. The violence, while continuous, is artful and nearly bloodless. While I suggest caution concerning the brief sexuality, Crouching Tiger, Hidden Dragon’s positive message is that good will conquer evil if we continue to battle it. It is rated PG-13 and contains one sexual situation between an unmarried couple, but it is not graphic, nor does it exhibit nudity. It receives its rating for the many fight scenes.
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FILM SYNOPSIS: This remake tracks the terrifying trajectory of Grace Andrews (Sophia Bush) and Jim Halsey (Zachary Knighton), a collegiate couple who are tormented by the mysterious hitchhiker John Ryder, a.k.a. The Hitcher (Sean Bean). The young couple hit the road in a 1970 Oldsmobile 442, en route to spring break, but their pleasure trip soon turns into a waking nightmare. The initial encounters with Ryder are increasingly off-putting for Grace and Jim, and they bravely fight back when he ambushes them. But they are truly blindsided when he implicates them in a horrific slaying and continues to shadow them. The open road becomes a battleground of blood and metal as they elude not only Ryder but also New Mexico State Police Lieutenant Esteridge’s (Neal McDonough) officers. PREVIEW REVIEW: When I was a kid and in my early teens, I used to watch a Friday Night Fright flick every weekend. Back then you could watch them on TV, hosted by some ghoulish guy or gal, and they usually starred Karloff or Lugosi because television in those days had what was quaintly known as standards. These horror tales were in reality morality plays – good vs. evil, with evil being defeated by film’s end. What’s more, because these films had been made a generation or more before I was born, a time of true innocence in terms of what Americans were willing to allow picture makers to make, there was generally a theme that acknowledged God, or even reverenced Him. Well, the world and spooky movies have changed since I was called an adolescent. This genre is no longer populated by the likes of Karloff or Lugosi, themes of good vs. evil are now colorized with shades of grey, and our senses are pummeled with sadistic and often gory demises made possible by the magic of computer-generated special effects departments. I’m sure the studio would prefer us to call it a thriller, but The Hitcher is essentially a horror flick, for the antagonist is a true monster if ever there was one. The pacing, the energy, and the jolts are impressive. It’s a real nail-biter, but it’s also riddled with offensive language, exploitive sexuality and a high quotient of gory imagery, including a scene where a man gets his throat slit, blood gushing from the wound. It’s rated R, so technically the kids aren’t supposed to be able to see it, unless accompanied by an adult, but here’s the really scary aspect associated with youngsters attending fright flicks – Moms and Dads help their offspring enter these movies. After all, they’re only movies, right? We went to see them and we turned out alright, right? So, we are bombarded by improper language, sadism, and sexual misconduct (casual sex, unprotected sex, sex without consequences) as a standard in this era’s presentation of films of this genre. Seemingly, we can handle this aggressive impact, right? But is that what God had in mind for us? No matter what the society considers acceptable, followers of Christ are to live by a different rule book. (We actually have a rule book.) And considering the fact that it has been authored by the Holy Spirit, it sure would be nice if the kids brought up in Christian homes actually read it. Look up Philippians 4:8. If today’s horror films – or any film, for that matter – don’t run afoul of that verse, then go ahead, send the kids. If today’s fright flicks don’t meet with biblical standards in your view, well, just say no. You’re the parent. It’s an R-rated movie. You’re the boss. Now, while I’m setting you straight on child-rearing, let’s discuss teens and cell phones…
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FILM SYNOPSIS: According to the press notes, the French were aided by over 130,000 North Africans fending off the Germans during WWII. Directed and co-written by Rachid Bouchareb, the story showcases the bravery of the North African Muslims and reveals the bigotry and mistreatment they received under French leadership. PREVIEW REVIEW: It’s interesting that two war films out right now either focus on understanding the enemy (Letters from Iwo Jima) or making sure Westerners get to know Muslim warriors. Indeed, in Days of Glory there are several scenes depicting the followers of Islam as decent and devout, whereas the Christians are hypocrites. It doesn’t, however, go into much depth as to the core beliefs of either religion. It’s a blatant attempt to put a happy face on Islam. This is a well-made film, but like Clint Eastwood’s Letters From Iwo Jima, it has an agenda. Making nice with folks you don’t know seems a noble cause and certainly we Christians are to be peacemakers, but Matthew 10:16 also warns, “I am sending you out like sheep among wolves. Therefore, be as shrewd as snakes and as innocent as doves.” That verse should always be applied when being subjected to a filmmaker’s viewpoint. We learn from history that blind villainy befell many nations for a season, including, the Roman Empire, Spain, Germany and Japan. Evil can overtake any nation and must be guarded against. The same holds true for any religion.
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FILM SYNOPSIS: Cinderella’s wicked stepmother takes control of the Fairy Tale world, creating havoc for all who dwell there, including the Seven Dwarfs, Little Red Riding Hood, and of course, Cindi. A wizard goes on vacation, leaving his two comic underlings in charge and telling them to maintain a balance of good and evil. But one of his minions is bored with all the happy endings until he learns what can happen when evil takes charge. PREVIEW REVIEW: Those newly taken with light and sound coming from enormous flat screens will be the ones most enthralled, while older viewers may find the story subversive and the animation lackluster. That said, I didn’t find it as dismal as a great many reviews have proclaimed. Because it’s January, when we critics are used to the studios bringing out all the films that wouldn’t qualify for Oscar attention (many call this the dumping ground month), sometimes we are a bit too critical of new releases. What lessons are incorporated seem confusing and lost in the comic (semi-comic) antics. But it has an interesting twist. Cinderella thinks she’s supposed to get the prince, not realizing that the commoner next door is the real hero. First-time director Paul Bolgar and writer Rob Moreland (1998’s Ground Control, which examined the high-pressure world of air traffic controllers) don’t do anything outstanding, but they do try to entertain. And with character actors Wallace Shawn and Andy Dick as the inept servants of the wizard, well, there are bound to be at least a few funny moments. Kids at the matinee where I saw this one seemed to enjoy it, getting the biggest kick out of the self-centered (also inept) prince. I was entertained and generally it takes more than light and sound coming from enormous flat screens to do that.
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FILM SYNOPSIS: When Sheba Hart (Cate Blanchett) joins St. George's as the new art teacher, Barbara Covett (Judi Dench) senses a kindred spirit. But Barbara is not the only one drawn to her. Sheba begins an illicit affair with a 15-year-old student and Barbara becomes the keeper of her secret. Notes on a Scandal is a story of loneliness, loyalty, envy and love. PREVIEW REVIEW: Come awards time, Hollywood seems bent on dismissing the feel-good movie, let alone the feel-good ending. Certainly, some of these bleak storylines are credible as they carry an impassioned message within their sleazy or morose plotlines. The belief of the filmmakers, I suspect, is that viewers may avoid the same pitfalls if allowed to view the moral ambiguity of screen characters. These past few months, most films to be taken seriously by the Oscar folks have contained a bleak, dark look at the future or the bleak, dark side of our fellow man. And one of the few exceptions – The Nativity Story – well, nobody went to see it. After being subjected to such dispiriting subject matter in award-contender after award-contender, one begins to suspect that “serious” filmmakers prefer the darker side of mankind’s nature. Okay, it makes for good drama, but some of these picture makers avoid the light much like Dracula shuns the sign of the cross. A mix of today’s headlines blended with a female take on Fatal Attraction, Notes on a Scandal’s phlegmatic script has to do with one female teacher hot for her student while another female teacher is hot for her. Though well-structured and meticulously acted by the eloquent Dame Judi Dench, Notes on a Scandal is also bleak and dark. Though it is somewhat enticing mainly for its acting quality, the film’s content is sordid. Of course, what’s sordid to one movie-goer, is catnip to another. Video Alternative: Vertigo. Complex Hitchcock romantic thriller about ex-cop hired to follow a woman whom he soon falls in love with. The director’s powerful imagery and James Stewart’s remarkable performance focus on obsession and hidden fears.
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FILM SYNOPSIS: Based on the classic novel by W. Somerset Maugham, The Painted Veil is a tale of revenge that becomes a love story. Set in the 1920s, it tells of a young English couple: Walter, a middle-class doctor, and Kitty, an upper-class woman, who get married for the wrong reasons and relocate to Shanghai, where she falls in love with someone else. When he uncovers her infidelity the husband accepts a job in a remote village ravaged by a deadly epidemic and forces her to go along. It is an act of vengeance, as she is subjected to danger, discomfort and the threat of cholera. Slowly, her shallow nature and his dark heart are both transformed as they attempt to help others. Their discovery of the other’s qualities leads to a loving regard. PREVIEW REVIEW: This was one of the best film-going experiences I’ve had this past year. Perhaps that is due to its containing the greatest special effect ever conceived – the written word. Novelist Somerset Maugham was a storyteller of the highest magnitude and movie writer Ron Nyswaner (Swing Shift, Philadelphia, Mrs. Soffel) understands, appreciates and honors that fact. His screenplay (updated just a touch in order to appeal to politically correct sensibilities) almost subliminally composes an effective balance of world-weary cynicism with romantic hope. Director John Curran (We Don’t Live Here Anymore, Praises) skillfully brings out the human inner emotions that magically develop between a married couple. It’s a love story. There just aren’t that many around, these days. The one major disappointing for me has to do with the portrayal of the leads as un-churched and un-accepting of Christian theology. Even the head nun at the hospital (sensitively played by the great Avenger herself, Diana Rigg) reflects on her disintegrating relationship to God. It is always a letdown when a character study depicts people developing in every area but a spiritual one. The ignoring of the spiritual nature of mankind always seems shallow, especially when a storyline has a theme that acknowledges the sanctity of life. But I was able to put my disappointment aside and focus on the marital relationship that developed between the lead couple. Upon discovery of his wife’s adultery, the man, full of rage, tries to become indifferent. The rage eats away at his soul, but it is indifference that threatens the relationship. Fortunately for the protagonists, they begin to realize the significance of their life mate and learn to cherish one another. Oh, if that were so for everyone who says “I do.” Here’s a good DVD to go along with The Painted Veil: Inn of the Sixth Happiness. Ingrid Bergman stars in this true story of a missionary who leads a group of children on a perilous journey in pre-WW2 China. It contains the most moving conversion I’ve seen in the movies, as we witness change in a man’s life due to this courageous woman’s example. It reminds viewers that our openness to Christ’s will does affect others.
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Columbus Short, Meagan Good, Darrin Henson, Courtney B. Vance. Drama/performing arts. Written by Robert Adetuyi. Directed by Sylvain White.
FILM SYNOPSIS: When DJ (Columbus Short), a troubled youth from Los Angeles, moves to Atlanta to attend Truth University, he discovers “stepping,” the age-old style of dance traditionally done in African-American fraternities, where teams demonstrate complex moves and create rhythmic sounds by using their bodies. DJ’s raw talent and hip-hop inspired moves quickly place him at the center of a fierce rivalry between two fraternities, the winner of which will be determined in front of a sold-out arena at the annual stepping championships. But before he can help his teammates, he must battle his own demons and learn the true meaning of brotherhood. PREVIEW REVIEW: Before the movie began, the screening audience was subjected to several real-life “Stepping” exhibitions. I say subjected, because while we all enjoyed the first group, the following four groups revealed the fact that there’s really not that much to this rather frivolous performing art. I appreciated the precision, but kept thinking, this has to take a lot of time to get right – time that could be spent doing something of a higher calling. I suppose the same could be said for cheerleading, except cheering was designed to back a team and stir the team’s supporters. “Stepping,” with its accompanying hoops and hollers, seems more like a fad, a self-expression that can’t sustain audience support. (I admit, I could be wrong. I thought hip hop would last for only a season.) By the time the film began, I had already seen all the stepping I cared to. That said, this variation on the hand bone has morphed from centuries-old African culture. Indeed, the screening audience was made up mostly of young African-Americans who seemed to appreciate the inventiveness of performance art more so than I. They enjoyed the movie and I enjoyed them. They were enthusiastic about the film. Being with people who enjoy a film always helps with a writer’s perspective. However, besides its too many slap-and-holler routines, the film’s cookie-cutter format offers nothing new: bad boy faces obstacles before finding himself and getting the good girl. There’s the prerequisite antagonist who happens to be dating the girl our hero longs for. Her dad also objects to his dating her and, being the college dean, he holds the young man’s future in his hands. And there are a couple of misunderstandings and challenges before the couple get to walk off into the sunset. Make that step off into the sunset. Okay, so there’s nothing fresh about the film other than a new form of dance/athletics. There are, however, several positive messages dealing with how to treat a woman, having self-respect, working to uplift the team, not just yourself, and the importance of getting an education. What’s more, while these young people are athletic, they are also pretty good actors. They draw you into the story and give more depth than the overly familiar scenario deserves. My only real reservation concerning this film is that it seems to take place in an alternate world, one populated only by African Americans. True, it takes place at a black university, but the only scene featuring whites is in a snooty restaurant, with whites as peripheral extras. Perhaps that’s payback for all the times Blacks have suffered the same lack of notice on TV and in movies. But is that where we’re still at? Here, there’s a complete ignoring of Caucasian society. Pictures on dorm rooms feature only blacks, the campus history museum features only blacks, and the big Stepping national playoff only features blacks and only black spectators. No other race fares better. This is a film about black culture and it seems to have no room for any other perspective. It’s sadly ironic, when you consider how African-Americans have struggled to make America aware of their significance, yet these filmmakers ignore the contributions or even the presence of others. Some day, we will realize that God made us all and that each race complements the others. Distributor:
Cedric the Entertainer, Lucy Liu. Action/comedy. Written by David Rotman, Ryan Oxford. Directed by Les Mayfield.
FILM SYNOPSIS: A janitor awakens in a swanky hotel and discovers another guy in the bed – dead! On the floor is a briefcase full of money. Suffering from amnesia, he is unaware that the day before he discovered some nefarious goings-on where he works. But before the baddies can kill him, they must retrieve a micro chip he doesn’t realize he has. Befriended by two beautiful women, one claiming to be his wife, and being chased for an unknown reason, our hero decides he must be a secret agent. Comic situations mixed with chase scenes and provocative come-ons from the beautiful women ensue.
PREVIEW REVIEW: There seems to be a difference of opinion, here. I thought the film was a snoozer, whereas the audience seemed to enjoy it. I’d look around the theater (what else was there to do) and see pleasant expressions on faces, almost as if they were watching a different movie. Indeed, I seemed to be the only one bored. Well, with the exception of the groaner behind me.
The story is so implausible with its numerous situations going beyond the realm of reality that the plot becomes more sci-fi than comedic. For instance, the lead is at the Seattle airport when suddenly someone shoots through the glass window at him. No one seems to react. No High Alert. No security. No police. No nothing. He just keeps running around the airport being car-chased by the villains. In another ludicrous situation, he disguises himself as a Dutch dancer (envision a corpulent black man in wooden clogs and lederhosen – ha, ha) in order to elude the police and suddenly finds himself on stage having to perform a number with the group. No one in the dance team asks who he is, yet he’s dancing in place with them. Magically he knows the choreography. It’s pretty silly stuff.
I like Cedric the Entertainer, but in small doses. The producers mistakenly thought he was ready to take the entire burden of a movie on his shoulders. The truth is, he’s still a supporting player. He goes on persona, but lacks any true acting ability and runs short of comic ideas. For instance, he gets the wrong impression that he’s a secret agent and starts doing karate moves much like an eight-year-old who’s just seen a Jet Li movie. That may be funny – once – but five times! This isn’t a movie, it’s an unsold TV pilot.
Okay, now, about that screening audience. I think there are two reasons they seemed to be enjoying themselves. First, they got in free. It was a Wednesday night and nothing good on television. Second, they obviously like Cedric. And it’s difficult not to. As I said, he’s not much of an actor – yet – but he has a likable screen persona. Sometimes people look for a film-going experience that doesn’t test them. They just want to relax and let someone they like do all the talking. Well, in this film, Cedric does plenty of that.
Distributor: New Line Cinema
Hilary Swank, Patrick Dempsey, Scott Glenn, Imelda Staunton, April Lee Hernandez. Drama/biography. Written & directed by Richard LaGravenese.
FILM SYNOPSIS: Based on a true story, the film tells of high school English teacher Erin Gruwell, a young California woman who requests to be sent to a Long Beach school where she is determined to better the lives of students the education system feels are un-teachable. It seems impossible to get through their defiance until she comes up with the idea of having them keep a daily journal. Once they are able to express their inner torment, she begins to understand their situation and they begin to open up to her.
Hampered by a vice-principle who won’t even give the class books, Erin takes on two extra jobs in order to pay for teaching materials. Time spent with the class begins to erode her marriage, but she is determined to help these teens get out of their nightmare existence.
PREVIEW REVIEW: An unabashed tribute to Erin Gruwell, her screen characterization makes the educator from Mr. Holland’s Opus look like a complete shirker. It’s a simple format: white mentor gets personally involved with minority students. Though some in this genre are better than others, they all have one thing in common – they are inspirational. Hopefully these films reach struggling students and give educators a desire to do the best they can. Though nowadays, with moral precepts left in the faculty lounge, the task of reaching troubled teens is doubly difficult.
With nearly every white adult distant and uncaring, the scenes without the kids and their teacher seem heavy-handed. And poor Patrick Dempsey pouts his way through every scene like a petulant child unhappy with Santa’s offerings. But these are mild distractions as the film’s inspirational message transcends the film’s faults. Added to Hilary Swank’s marvelous portrait, the performances of the class, plus the engaging and revealing dialogue written by Richard LaGravenese (based on the book) make this a worthwhile film-going experience.
Alas, there is one aspect of the film that troubles me (besides the occasional profanity). While helping the underprivileged is the most noble of causes, the sacrifice of a marriage union may seem justified in a story, but it is not something to be honored in real life. We live in an age where both man and wife must work in order to attain the American dream. That makes it extremely difficult as the couple find themselves going in different directions too often. But when vows are taken, bride and groom are assuring one another that they will forsake all others in order to maintain that union. It’s a vow taken before the spouse, his or her family, and God. Taken with a cause, noble though it may be, the lead sacrifices her husband’s needs in order to fulfill her own ambition. Hard call. Someone needs to help these children, but she already made her life choice. If marriage is to last, those taking the vows must adhere to them.
Distributor: Paramount Pictures
FILM SYNOPSIS: When a young seminary student is targeted by a psychopathic killer, he joins forces with a criminal psychologist whose brother was murdered by the same madman. Together they must unravel the killer's riddles and catch him before he strikes again, but the closer they get, the more twisted the path becomes. This heart-pounding thriller will keep you guessing up until the final shocking scene! Based on the best-selling novel by Ted Dekker.
The film is being released by FoxFaith, the newly created faith-based label from Twentieth Century Fox Home Entertainment LLC. FoxFaith was created to provide compelling entertainment to the Christian audience as well as those seeking quality inspirational and spiritual entertainment. Additional information about specific titles and programs can be found at www.foxfaith.com and www.foxfaithmovies.com.
PREVIEW REVIEW: If you’ve read my piece on FoxFaith, you know that I think it is important for Christians to be supportive of films they release. Geared to audiences fed up with the gratuitous content prevalent in today’s cinema, FoxFaith is attempting to find stories representing several film genres. Steven Feldstein, VP of Corporate and Marketing Communications for FoxFaith, told me, “As time goes on the films will improve. Well, improve isn’t the right word. You’ll see an evolution. Stick with us. We’ve got so many different projects going that it’s really an exciting time.”
That said, no studio or distribution company will hit a home run each time up to bat. That goes for FoxFaith’s new release, Thr3e. It appears that the writer was highly influenced by the terrifying thrillers Saw I, II and III. Thr3e tells of a mad electronics expert with a sadistic bent and revenge on his evil mind. A brilliant mad mastermind, he is somehow capable of going undetected when strapping bombs to buses, cars and people. Armed with a surveillance system that would cause envy at CIA headquarters, he manages to avoid capture.
Dreary and lethargic, the storyline is devoid of curse words, as if that was the main problem people of faith have with Hollywood productions, but otherwise I see little difference between this and any “secular” thriller. Perhaps, the objective was not to give viewers a positive or redemptive theme, just an entertaining and scary thriller about a maniac with a penchant for sadistic behavior. The lead is a seminary student, but there’s little to no depiction of his faith. Indeed, there is nothing of consequence concerning spiritual matters until the closing scene, when a professor states, as if tacked on to fit the FoxFaith objective, that we need God.
For fans of cat-and-mouse thrillers, it might be of interest. But even they could be disappointed as the villain is less than capable. This guy does blow up a character at the opening, but his subsequent attempts are all met with failure. He’s kind of a loser as movie monsters go, being more Bullwinkle’s Boris Badenov than Saw’s Jigsaw.
The acting is adequate, but no one stands out. And it’s a shame to see the one-time beauty Priscilla Barnes doing an atrocious mugging and scenery chewing combination of Sunset Blvd.'s Norma Desmond and Mommy Dearest’s Joan Crawford. Ms. Barnes plays a nutty guardian who ties up her little nephew for the slightest behavioral infraction, while the family lives in a dilapidating house, the rooms filled with (can you guess?) tons of old newspapers. She’s a fine actress, but her choices here seem ungoverned by the director.
The characters in general, all supposedly having matriculated at big league universities, come across dumber than a bagful of hammers. Despite several attacks on their lives, they continue to wander off alone, thinking they need no backup, despite the fact that the nutcase has nearly killed them several previous times. As they take off, they turn and give varying takes on the dumbbell standby line, “Wait here.”
The film lacks any originality and therefore any purpose. Well, I give you, no one cusses – not even the villainous Saw knockoff.
Distributor: FoxFaith
Freddie Highmore, Mia Farrow, and the voices of David Bowie, Madonna and Snoop Dogg. Live action/animation. Written and directed by Luc Besson.
FILM SYNOPSIS: Ten-year-old Arthur lives on a nice farm with his loving grandmother. But Grandpa disappeared a while back and now a mean guy means to foreclose on their nice farm. Ah, but Grandpa was good enough to leave a treasure behind. If found, their money worries are over. Clues left behind suggest the treasure is in another realm governed by pixies called Mimimoys. Tiny, almost invisible, the Mimimoys have problems of their own. The land developer who aims to get the farm will bring serious changes to their cozy environment.
Smart boy Arthur discovers how to shrink himself in order to seek help from the fairy creatures. But before the happy ending, there come several perilous adventures for young Arthur and his pointy-eared pals.
PREVIEW REVIEW: It’s reminiscent of Ferngully: The Last Rainforest, with a softer ecological message and without the zany wit of Robin Williams. Clever and energetic, it’s more adventure than comedy, but pleasant enough for kids bored with their recent Christmas morning haul.
Distributor: The Weinstein Company
Renee Zellweger, Ewan McGregor, Emily Watson, Barbara Flynn, Bill Paterson, Lloyd Owen. Writer Richard Malby Jr. Director Chris Noonan.
FILM SYNOPSIS: Beatrix Potter has delighted generations of children with her books. But she kept her own private life locked carefully away. Oscar-winning star Renee Zellweger is now bringing her secret story to the screen in Miss Potter, the first film directed by Chris Noonan since his charming 1995 movie, Babe. It is set in the high summer days of late Victorian and Edwardian England, during which Beatrix develops her natural skills as artist and story-teller. When she finally publishes her debut book, The Tale of Peter Rabbit, she becomes a writing celebrity. It also leads to courtship and her first love with publisher Norman Warne, played by Ewan McGregor. Their relationship and his marriage proposal in July, 1905, was to change Beatrix’s life for ever.
It was a love she could not announce - or even talk about. In high-society London, her parents had insisted she keep it from friends and neighbors. They considered her proposed wedding a mismatch. Warne, they said, was from “trade” and demanded that she carefully reconsider their life together. Beatrix allowed herself to be persuaded to leave her fiancé and London. It was supposed to be a time for reflection and calm. But, instead, she faced tragedy and loneliness, and returned with a different outlook. She became a woman of strong views and independence. She also built up a farming dynasty in the Lake District - a dynasty over which she took charge long after her writing career virtually ended in 1913. It established her as a woman ahead of her time. Despite becoming the world’s most successful children’s writer and a wealthy landowner and prize-winning farmer, she never forgot her first love.
PREVIEW REVIEW: Your mission, ladies, should you decide to accept it, is to convince your husbands that this film is a prequel to the action-packed Harry Potter series – and not a “chick flick.” It is believed that the men folk will enjoy this production once they are tricked into attending. (After all, I am a man, all my heroes are cowboys, yet I liked it.)
It is beautifully photographed, with a witty and sharply written script. Ms. Zellweger plays her part well as an independent woman in an era when that outlook was shunned. What’s more, she radiates joy as a woman who discovers self-respect and one who lives to see her work appreciated. On top of that, Miss Potter is the most romantic film of the year. (Bring hankies – one for you, and yes, one for him.)
As always, should you be caught or found out at any point during this Harry Potter pretense, Preview On Line will disavow any knowledge of your mission. Good luck. This review will self-destruct in 15 seconds.
Distributor: MGM