• Movie Preview •

Mark Wahlberg, Michael Pena, Danny glover, Kate Mara, Elias Koteas, Rhona Mitra, Ned Beatty. Action/drama. Written by Jonathan Lemkin. Directed by Antoine Fuqua.

FILM SYNOPSIS: This action/thriller has Mark Wahlberg as a former army sniper who leaves the military when a mission goes bad. After he is reluctantly pressed back into service, he is double-crossed. Hunted and wounded, he begins his revenge, which will take down powerful people in the government.

PREVIEW REVIEW: The Sea Chase stars John Wayne as the skipper of a boat that becomes infested with rats. They land on a deserted island and come up with a unique method of getting the vermin to leave the ship. As they sail off, one of the crew says he’d hate to come back in twenty years – the implication being that the varmints would take over and destroy the once beautiful isle. Objectionable content has been allowed to do the same to movies in about the same period of time. In some films, savage style has taken precedence over substance (Kill Bill, Sin City), while lewdness masks itself as comedy in others (American Pie), profane and obscene language infest some (Glengarry Glen Ross), and desensitizing violence has become the main element in still others (The Departed). I mention those films because they were actually considered acceptable movie fare by both critics and audiences, alike. A generation before each of these films was released moviegoers would have been shocked had the studios been allowed to make them. Now moviemakers are more apt to place their focus on excessive content than on story or moral.

This leads up to the nail-biter Shooter. Mark Wahlberg is a cross between Rambo and James Bond, a killing machine constructed by the U.S. government to sniper kill those who threaten world peace. Production values, direction and star all come together to give audiences an engrossing espionage thriller. But the filmmakers incorporate graphic violence to the point that it overwhelms both story and viewer. Heads bust apart like melons from the bullets of a sharpshooter, necks are broken by stealth-like assassins, and lots of folks get incinerated by fire bombs. Baddies torture innocents, a rogue soldier rapes and beats the heroine, she in turn kills a wounded, helpless villain and the lead dispassionately shoots a wounded man begging for his life. In the end justice is left to a renegade because the law has become impotent.

What becomes somewhat amusing is the fact that the producers couldn’t refrain from making this a “political” action adventure. While killing off an army of no-goodnicks with all the zeal of Rambo, the writer also jabs the present administration, and America in general. It’s a cynical, conspiratorial movie where the military and covert services sacrifice their best people for no apparent reason other than the release of their barbarous nature. And of course, the really, really bad guys are the political leaders – the ones who wear the lapel flags. In other words, those nasty old hypocritical conservatives.

Well, who knows, maybe the filmmakers are justified. Maybe the FBI, the Secret Service, the Military and our President are all controlled by Rupert Murdock or Karl Rove or Bill O’Reilley. Must be, because anti-leadership movies never seem to get made when a Democrat is in the Oval office.

Distributor: Paramount

Hugh Dancy, John Hurt, Clare-Hope Ashitey, Nicola Walker. Written by David Wolstencroft. Directed by Michael Caton-Jones.

FILM SYNOPSIS: Beyond the Gates concerns a young man who has come to teach at a Catholic secondary school during the Rwandan genocide. A non-religious man, he is nonetheless an admirer of the priest who heads the school. As danger nears, hundreds of Rwandans take refuge behind the gates of the school, while the UN does nothing to help them. Another tribe waits outside to slaughter these people. They know the UN soldiers guarding the compound will leave. They wait in order to kill their fellow Rwandans.

It is a story about love, the sacrifices we make for others, and the choices we make when our faith is tested. The film will begin opening in select theaters March 9. The story was written by producer and former BBC reporter David Belton, and is based on a Catholic priest he met, and whom he credits for saving his life and many others, during his time as a reporter in Rwanda. Additional information can be found at: http://www.alrcnewskitchen.com/beyondthegates.

PREVIEW REVIEW: A powerful, deeply moving film, maybe the most important one you’ll see this year. Director Michael Caton-Jones (City By the Sea) skillfully involves the viewer, as we grow to know and care for the characters, and the script by first-time screenwriter David Wolstencroft addresses faith and presents a man of God as truly that, a man who reverences God and embraces Christ’s command to love others.

Rated R for some language and for violent imagery, but the content is not exploitive. Too often we see films featuring the foibles and evils of men who proclaim to be Christians while living an immoral life. Here, in the face of death, the priest shows courage, while expressing compassion and love for his assailant. It is a very effecting moment. Indeed, it reminds us to draw closer to Christ in order to find that love for our fellow man.

Distributor: IFC Films

Chris Cooper, Ryan Phillippe, Laura Linney, Dennis Haysbert, Caroline Dhavernas, Gary Cole, Kathleen Quinlan. Written by Adam Mazer & William Rotko and Billy Ray. Directed by: Billy Ray

FILM SYNOPSIS: Inspired by true events, Breach is set inside the halls of the FBI—the gatekeeper of the nation’s most sensitive and potentially volatile secrets.

When young Eric O’Neill (Phillippe) is promoted out of his low-level surveillance job and into the headquarters of the Federal Bureau of Investigation, his dream of becoming a full-fledged agent is on the verge of becoming reality. Even more impressive, O’Neill is hand picked to work for renowned operative Robert Hanssen (Cooper) within “information assurance,” a new division created to protect all classified FBI intelligence.

But O’Neill is quickly confronted with the true reason behind his hire: Hanssen is the sole subject of a long-term, top-secret investigation, a suspected mole made all the more dangerous by the sheer global import of the information he is charged with protecting. The Bureau asks O’Neill to use Hanssen's growing trust and slowly draw the traitor out of deep cover. Engaged in a lethal game of spy-versus-spy without the benefit of a cover story or backup, O’Neill finds himself fighting to bring down Hanssen before the treacherous double-agent can destroy O’Neill, his family and the nation they are both sworn to serve.

PREVIEW REVIEW: Lively, suspenseful and completely engrossing, this is a first rate espionage thriller. Sadly, the villain, a traitor to his country, is portrayed as a deeply religious man. This is not portrayed as merely a cover, but a part of his beliefs. I suspect this delights some unbelievers as it adds to a misguided portrait of all Christians secretly being hypocrites and phonies.

Distributor: Universal

Sandra Bullock, Julian McMahon, Nia Long, Kate Nelligan, Amber Valletta, Peter Stormare. Psychological thriller. Written by Bill Kelly. Directed by Mennan Yapo.

FILM SYNOPSIS: A woman’s perfect life is turned upside down when she receives devastating news that her husband had died in a car accident. But the next morning, she wakes up with him by her side, alive and well. She assumes it was a bad dream. But the nightmare is not over. The surreal ordeal keeps happening, with new information given after each terrifying wake-up.

PREVIEW REVIEW: Though a few scenes were clumsily directed, overall, I found myself engrossed by the film’s cleverness. However, there are some silly moments. At one point, for instance, hearing someone in the shower after her husband is dead, she slowly (and I mean slowly) creeps up to the curtain. With the music building to a jolt, she reaches out and nervously pulls it back, revealing the hubby. He turns to her ala Bobby Ewing in TV’s Dallas, as if he’s been home all along. The filmmaker would have been wise to set up this situation differently, as the missing-husband-in-the-shower motif has been spoofed numerous times since the Dallas days.

There are other scenes that didn’t ring true, but generally it is an involving film, with a strong performance by Ms. Bullock. What’s more, there are several positive messages, including the sanctity of marriage and fighting for what’s important in your life. And the film presents a man of God in a positive light (very rare in movies). Disturbed to near madness by the strange occurrences, Ms. Bullock’s character goes to see her priest. She has turned to a man of faith for guidance. What’s more, she takes his advice. The film addresses issues of the need for faith, forgiveness, realizing what’s important and other spiritual aspects. Though the ending is not the happy one we associate with Sandra Bullock movies, it does offer hope and inspiration.

Distributor: Sony

Jeffrey Donovan, Bruce Dern, Samantha Mathis. Sports drama. Written by Harold Keith and Robert Collector. Directed by Robert Collector.

FILM SYNOPSIS: Based on the novel Brief Garland by Harold Keith, Believe In Me tells the story of Clayton Driscoll, a boy's assistant basketball coach who accepts his first head coaching assignment in tiny, drought-riven Middleton, a backwater on the Oklahoma panhandle. Fortune sours immediately, though, when Driscoll discovers he's coaching girls, not boys. It is 1964 and, though the Civil Rights Amendment just passed and winds of social change swirl, time stands still on the prairie, where girls' athletics are merely a trifle, an afterthought, especially the woeful Middleton Lady Cyclones, for years an unfunded laughing stock. Driscoll's embarrassment with the girls' ineptitude, however, is soon tempered by their character and families: these are decent, tough, uncomplaining farmers' and ranchers' daughters, desperate to please their determined young coach. Encouraged by his wife, Driscoll gives his team "permission to be who they really are" on the court, as hard-nosed and passionate about winning as boys.

Believe In Me is based on the true story of coach Jim Keith, the novelist's nephew, who became a legend in Oklahoma high school basketball by inspiring girls to believe in themselves

PREVIEW REVIEW: As I’ve said before, no other genre suffers more from sameness that the sports film. They are the equivalent of a by-the-numbers painting. Believe In Me fares no better. Even the ending has the last second winning point, like so many other sports flicks. But despite the same themes and character definitions, some of these films stand out due to style, message or just from an engaging performance. Believe In Me has all those qualities. It speaks of determination, team work, looking out for others and becoming the best you can be. Those precepts have been in every good sports film from Knute Rockne All American to Hoosiers to Remember the Titans. But those elements never seem to grow tiresome because they are elements hot-wired into the makeup of mankind. Though differing on political, social and religious dogmas, underneath we all desire the same things: to be warm, fed, loved and respected. This same movie gets made over and over because they acknowledge those fundamentals.

Believe In Me is entertaining, filled with tender moments as well as humorous ones, with a satisfying, uplifting ending.

Distributor: IFC Films

Samuel L. Jackson, Christina Ricci, Justin Temberlake. Drama. Written & directed by Craig Brewer.

FILM SYNOPSIS: From the writer and director of the sleeper hit Hustle & Flow comes a gritty, seductive, blues-soaked tale of love, sex, music, and redemption. With a title inspired by a Blind Lemon Jefferson song - and a story driven by the soul-stirring rhythms and themes of blues music – writer/director Craig Brewer’s Black Snake Moan descends into the dark, spellbinding heart of fear and desire and comes out the other side.

Haunted from being sexually abused as a little girl by her trailer-trashy mother’s live-in boyfriend, young Rae has become promiscuous. She has deep psychological problems that cause her fears to manifest through nymphomania. As her boyfriend goes off to join the military, she quickly succumbs to sexual desires. He’s not gone two days and already she’s had two sexual encounters. The second results in a brutal beating that leaves her on the road in front of the home of Lazarus Woods, a black farmer whose wife has just left him for his brother.

Lazarus is hurting and full of rage, but suddenly there’s this brutalized girl whom he quickly discovers to be just as self-abusing as abused. He truly feels sympathy for her. He cleans her up, gets her medicine, then chains her to the couch in order to have the time to set her straight concerning her wicked ways.

At first, Rae is a bit put off by her captivity, but slowly she realizes this man has no intension of hurting or raping her. He wants to help her find peace and redemption.

PREVIEW REVIEW: (But first, the sermon.) By now, I’m sure most of my readers are aware of my, uh, appreciation for the female form. Right or wrong, good or bad, righteous or sinful, I enjoy the female form. The story, the camera and the star of Black Snake Moan gave me endless opportunity to feed my, uh, appreciation. Now, hang with me for a minute, I’m going somewhere with my earthiness.

There are going to be other men who want to see this film because Ms. Ricci is seen in most of the film wearing nothing but her underwear. And she has worked out to put that near-nakedness into Playboy-ish illumination. So, they’ll get to, uh, appreciate Ms. Ricci as much as I did.

Ladies, it’s natural for us guys to want to look at a beautiful woman with very little on. It’s the natural man. And now we live in a culture where females in underwear abound. I even saw a TV commercial the other night that displayed one model after another moving about in the briefest of lingerie. There’s no escaping it.

Alas, I can’t completely enjoy the view. It’s that darn old spiritual desire in me that demands more than equal time. Biblical teachings keep telling me to dwell on holy things, to aspire to the things above. What’s more, the Bible pretty much makes it clear that I’m not supposed to look upon women as sexual objects. So you have the inner man longing to dwell on the female form and the culture saying that’s okay, but the Holy Spirit counters with a command that I treat women with respect. What’s a guy who likes good legs to do?

The first thing is to evaluate why you want to go to this movie. Are you going because you’re looking for a message film – one that addresses redemption and discovering how to treat yourself with respect? Or are you just going to see another fine performance by Sam Jackson? (And that poster of the body-revealing chained-up girl has nothing to do with it.) Well, then you’re a better man than I.

God knows our frame. He knows our weaknesses, yet loves us, despite our foibles and faults. What truly pleases Him, along with faith, is our desire to follow the example of His Son (the result of faith). You see that young woman jogging in short shorts and you look the other way, rather than dwell on her. That pleases Him. You’ve shown respect for the girl and said with your actions that you truly want to follow Jesus. If you’re anything like me, the success rate is about 40-60. But I actually feel joy when I look the other way. I feel His pleasure when I succeed out of a righteous desire.

It’s not a numbers game. God won’t be saying, “You did this many things right and only this many things wrong, therefore, you may enter my kingdom.” He measures the desire of our heart, not the number of triumphs. Just think, isn’t there someone in your life who has often failed you, but you remember one moment where they showed their loyalty or friendship or love and that moment outweighs their misdemeanors? I don’t mean to be presumptuous, but I kind of think it’s the same way with our Redeemer.

The more we grow in our spiritual walk, the more often we will desire to look the other way. The more we dwell on things above, the less time we will spend with the lusts of this world. I’m not a hypocrite, just a man; therefore there will be times when I falter and let the natural man win out over the spiritual one. But I pledge to you, that I will never watch this film again. I won’t stumble over Christina Ricci’s form. Hope you guys won’t, either.

You don’t hear me often sermonize. I understand that you’ve reading me for a film review, not a Sunday School lesson. But sexuality is very much a part of Black Snake Moan, so I felt it needed to be addressed. I’m hoping the Holy Spirit will use my meager abilities to aid my brothers in Christ. There is a moral to the story and the acting is fine, but I think the sensuality will be the allurement for many men. Can’t answer for you ladies, but guys aren’t going to this one for a deep message.

As for the review, well, this is a bizarre concept for a film story. This is not an era when you can chain up a girl in order to set her on the right path. In the film, her captivity is discovered by Lazarus’ pastor, who goes along with his friend. In real life, that would be two men going to jail. By film’s end, Rae is seeing clearly that her destructive ways are not solving the problems of her past. But in reality her troubled soul needs considerable healing. Maybe she’ll make it, maybe not. We don’t know by film’s end. But there was something untrue about her character. I come back to the film’s main draw, a young woman in her underwear. Would she really have the body of a fashion model? This is a girl who has abused drugs, alcohol and her body for years. Would she really look like she’d been in the hands of a physical trainer? I think not.

As for the theme of redemption, that also rang false. I don’t see much of a lifestyle change. He goes back to performing songs containing profanity and obscenity, while she sensually dances with everyone in the place, including some women. The ending does offer hope for these characters, but we have to sit through a great deal of sexploitation to get to it.

Video Alternative: Les Miserables. The 1978 version with Richard Jordan and Anthony Perkins comes the closest to capturing Victor Hugo’s inspirational message of forgiveness and redemption. When a thief is pardoned by a priest, the Christian example changes his life and he finds himself living for others.

Distributor: Paramount Vantage

Heather Graham, Tom Cavanaugh, Bridget Moynahan, Alan Cumming, Sissy Spacek. Comedy. Written & directed by Sue Kramer.

FILM SYNOPSIS: An inseparable brother and sister meet a lovely woman in the park. Bro immediately falls for her and that weekend they are off to Las Vegas to get married. Small problem: Sis is also in love with said lovely woman and tags along in hopes of wooing the woman for herself. Her camouflaged attempts are unsuccessful and the brother gets a wife. As the sister comes out of the closet with her gayness awareness and her declaration of love for her new sister-in-law, it causes great turmoil between the siblings.

PREVIEW REVIEW: As the subject of homosexuality and its national acceptance has been addressed often by this writer, I would prefer to focus on the film’s artistic shortcomings rather than the lesbianism. Here we go.

I still maintain that Because I Said So is the worst film so far this year. But Gray Matters is a close contender. (By the way, Gray is the name of Heather Graham’s character. It’s the second film this year wherein the female lead was saddled with that cheerless color as a name. Is Gray the new Brittany or Heather?)

Along with relaying a pro-same-sex message, Gray Matters is hampered by klutzy comedy, ditzy dialogue and a pea-brained plot. It tries to be both titillating and insightful, but I think even gay activists will be insulted. It’s Hollywood-ized picture of the glamorous world of lesbianism is cartoonish and plastic.

Here’s an example of the “hilarious” humor. Gray and a male friend go to a lesbian bar, but they won’t let him in. You know, because he’s a M-A-N. Guess, what he does so Gray won’t have to go in by herself? Go on, guess. You got it. He dons a dress and makeup. With his unhidden hairy chest and a falsetto octave that wouldn’t mislead Helen Keller, he plays the fool. And of course, there’s a big, brutish lesbian who thinks he’s just the cat’s meow.

I found the lead to be a selfish and amoral character. Gray is so close to her brother that new acquaintances assume they are a couple, not brother and sister. Yet she is rather callous when it comes to his marital happiness. Imagine: you have a sibling who finally finds a meaningful relationship, but you are also attracted to that person. Would you back off or put yourself deliberately between them in hopes of winning the heart of your sibling’s new love? I realize that affairs of the heart tend to trump good sense or even love for others, but the depiction here seemed careless and self-centered.

The filmmakers don’t muster enough effort to make it good satire, screwball or bawdy drawing room comedy, or even plain old burlesque. It seems to serve no further objective than to place one more building block in the subconscious of this generation concerning the merits of same sex couplings.

The ladies are beautiful and the entire cast sparkles enough to momentarily blind audiences to the shallowness of the script. I expect, upon reflection, most will find this nonsense about as effective as amateurish filmmaker Ed Wood’s campy ‘50s Glen or Glenda.

Distributor: Yari Film Group

Gerard Butler, Lena Headey, David Wenham and Dominic West. Action/drama. Writers: Zack Snyder & Kurt Johnstad and Michael B. Gordon, based on the Graphic Novel by Frank Miller and Lynn Varley. Director: Zack Snyder.

FILM SYNOPSIS: Based on the epic graphic novel by Frank Miller (Sin City), 300 is a ferocious retelling of the ancient Battle of Thermopylae in which King Leonidas (Gerard Butler) and 300 Spartans fought to the death against Xerxes and his massive Persian army. Facing insurmountable odds, their valor and sacrifice inspired all of Greece to unite against their Persian enemy, drawing a line in the sand for democracy. The film brings Miller’s acclaimed graphic novel to life by combining live action with virtual backgrounds that capture his distinct vision of this ancient historic tale.

PREVIEW REVIEW: Taken from history, though I suspect that it has no more allegiance to fact than Oliver Stone’s Nixon was to the 37th president, 300 is action/adventure/storytelling at its most stylish, if not most barbarous. (There just seems to be no limit to the amount of screen carnage with which filmgoers are now willing to infect themselves.) Like a graphic comic book (from which it is taken), it is heavier on the visceral than character development or historical accuracy. And in case you don’t know before going into the film who these guys are – they are Spartans. Trust me, the filmmaker won’t let you forget that.

Sensibilities have changed as the cinema has aged. The major movie-going audience of today may be overly impressed with the film’s visuals, including slo-mo beheadings and tons of computer-generated arrows descending from the sky like locusts, but with all the studio magic afforded to this sword-and-sandal epic, 300 doesn’t have the same heart as Spartacus.

For me it had a few too many battles and far too many pre-battle speeches. Leonidas is kind of like a head coach for Notre Dame. Had I been one of his soldiers, by the time Leonidas hollered, “Eat a hearty breakfast for tonight we eat in HELL,” I might have considered taking an early retirement. Still, if you like graphic novels come to life, this is an eye-popper.

Video alternative: Spartacus. Kirk Douglas stars as a slave who heads a rebellion against the tyranny of Rome. It contains terrific acting, score and theme, and in Spartacus, when you see legions of soldiers on the battlefield – they are real, not computer generated.

Distributor: Warner Bros.

Drew Fuller, Abigail Breslin, Ali Hillis, Lee Meriwether, Brian Dennehy, James Garner. Drama. Written by Cheryl McKay. Based on the novel by Jim Stovall. Directed by Michael O. Sajbel.

FILM SYNOPSIS: Upon the death of his extremely wealthy grandfather, a rebellious rich kid (Drew Fuller) learns that he has to accomplish several tasks before receiving his inheritance. Through these arduous missions and the grounded people he meets along the way, the young man comes to a spiritual enlightening.

PREVIEW REVIEW: Biblical lessons are making their way back into films with the arrival of studio branches designed to reach Christians and spiritual thinkers. It’s a time of new birth complete with labor pains. These movie companies are searching for the best way of presenting spiritual matters much the same way pioneer filmmakers once experimented with camera placement, editing trickery and the addition of sound. Most of these recent explorations containing religious subtext have disappointed critics and moviegoers alike, as we have expected instant maturity in this field. The motion picture trailblazers of the ‘20s, ‘30s and ‘40s had one advantage over their current counterparts; the innocence of the cinema patron. Modern moviegoers, however, have seen it all, every special effect and every story element, including a few examples of New Testament enlightenment. And they aren’t much for stepping back in time.,p>The filmmakers attempting the blending of technical and artistic achievement with an infusion of spiritual subject matter often appear simplistic, like toddlers taking first steps. Gratefully, with many of these new films we see growth. Such is the case with The Ultimate Gift, the latest effort released by Fox Faith. The Ultimate Gift doesn’t preach, it merely suggests. For example, when the lead character finds himself in a hospital chapel, he reverently contemplates at the foot of a statue of Christ. It is an honest, moving moment as he discusses eternal matters with a sickly child. And when this protagonist determines to do for others by building a massive clinic, he points out where a chapel will stand. The film doesn’t say, “Repent,” but this significant detail implies that religious awareness is at the center of his good intentions, and should therefore, be apart of ours.

Writer Cheryl McKay (Gigi: God’s Little Princess) and director Michael O. Sajbel (who also helmed One Night With the King) slyly incorporate an acknowledgement of spiritual development within their storyline. My only problem with their noble effort was in the casting of young Drew Fuller. The actor has to play a self-absorbed jerk. This he does effectively. Unfortunately, I was never convinced of his subsequent evolution. The actor had difficulty in relaying an inner emotional turmoil and was unable to reflect a believable change of heart. In the scene where a child dies, he turns away from the camera, which comes across as unable to muster tears or the emotion of loss. We see change in the character, but it’s in the script and direction, sadly, not in the performance. Surrounded by pros such as Bill Cobbs, James Garner and Brian Dennehy, newcomer Fuller is simply outclassed and out-acted. (That said, he’s good looking and charismatic; if he takes the challenge, I expect he will develop into a fine actor.)

Now, some are going to find my observations a bit picayune, but I support my evaluation with reflections of the spiritual dynamic depicted in films gone by (Places in the Heart, Stars in My Crown, The Apostle, and the more recent Tsotsi). Others will consider my lack of enthusiasm as betrayal to the cause. Not so. The Ultimate Gift is sound filmmaking, with an uplifting narrative, but if we call good stuff great, then we may never get great stuff.

Due to all the dynamics involved in filmmatic storytelling, it is a miracle when any film comes together. Adding spiritual elements to the equation only makes for an even more miraculous accomplishment, when it succeeds. Thanks to these filmmakers and companies like Fox Faith, we may one day find ourselves watching a masterpiece that also honors God and shrewdly points the way to the cross.

Here’s my caution for those who’ll decide to wait until the next Christian-respecting movie rather than supporting this one. If we don’t back early efforts containing Christian themes, then studios may lose heart and forsake the possible masterpiece. This is a movie worth attending as it fuses Christian values with an interesting plotline. Writer McKay and director Sajbel should be congratulated for their efforts.

Distributor: Fox Faith

Nicolas Cage, Eva Mendes, Wes Bentley, Sam Elliott, Donal Logue, Peter Fonda. Comic book thriller. Written & directed by Steven Johnson.

FILM SYNOPSIS: From Marvel Comics comes Ghost Rider™. Long ago, superstar motorcycle stunt rider Johnny Blaze (Nicolas Cage) made a deal with the devil to protect the ones he loved most: his father and his childhood sweetheart, Roxanne (Eva Mendes). Now, the devil has come for his due. By day, Johnny is a die-hard stunt rider... but at night, in the presence of evil, he becomes the Ghost Rider, a bounty hunter of rogue demons. Forced to do the devil's bidding, Johnny is determined to confront his fate and use his curse and powers to defend the innocent.

PREVIEW REVIEW: You’d think a $100-million-budgeted film with Peter Fonda playing the devil and Nick Cage playing a biker whose head turns into a flaming skull would be somewhat interesting. Alas, and despite the fact that it lured in an unsuspecting audience its first weekend, I found it – boring – annoying – stupid – take your pick.

Nearly burned up by a nonsensical script and bland baddies, the producers hired a cleavage-baring Eva Mendes to be sacrificed on the altar of teen fantasy in a last-ditch effort to buoy a film that has less dimension or pizzazz than a black & white comic book.

Along with the flagrant swipe of the Faust story, with the lead having sold his soul to the devil, there’s also the demonic characters. True, the silly premise can’t be taken seriously, but there is a Satan, there are demonic beings and it’s unwise to mock them or write them off as cartoonish creatures that can be easily defeated by the likes of Nicolas Cage. In Jude 1:9 we learn that even the archangel Michael didn’t jeer at Satan, but merely said, “The Lord rebuke you.” In other words, it takes our Savior to defeat the devil. We can’t do it. While there have been movies that address the demonic world in order to make us aware, we should never consider this an appropriate subject matter for mere amusement.

Distributor: Sony Pictures

John Travolta, Tim Allen, Martin Lawrence, William H. Macy. Comedy. Written by Brad Copeland. Directed by Walt Becker.

FILM SYNOPSIS: Four stressed-out middle-aged buddies take a much needed vacation. As they are motorcycle enthusiasts, they decide to bike across the country. Hell’s Angels, these guys ain’t. So when they cross a bad--- biker band, havoc ensues.

PREVIEW REVIEW: The first half-hour or so is bland and makes it clear that no true revelations or self-discoveries will be found, but after Ray Liotta is introduced as the leader of the rough-neck bikers, suddenly the comedy and the film’s energy go into a higher gear. That said, though the content is not as graphic and blatant as you might expect in a men-on-the-road picture, read the content before deciding to go.

Distributor: Buena Vista Pictures

Jake Gyllenthal, Mark Ruffalo, Robert Downey, Jr., Anthony Edwards. Crime thriller. Written by James Vanderbilt. Directed by David Fincher.

FILM SYNOPSIS: It began in 1969. San Francisco and Northern California had to deal with a stalking serial killer. He would communicate with one of San Francisco’s main papers. What was so truly horrifying was the seeming randomness of the killings and how impotent the police and California’s citizens felt. Though the murders finally ended, Zodiac was never caught. The film concerns the police and press attempting to decode the clues the killer sends them.

PREVIEW REVIEW: Suspenseful, completely engrossing, Zodiac is a truly terrifying movie-going experience because it is a horror movie about a real-life monster.

Writer James Vanderbilt (The Guardian, Darkness Falls) and director David Fincher (Lords of Dogtown) mesh their talents brilliantly, using visuals and dialogue to completely captivate the audience. The acting and technical components are standout, with the set designer and art director bringing the look of that era to the screen with such skill that those of us who were around during those years will feel they’ve been warped back through time. Technically and artistically, this is as good as it gets. But before you decide to attend, keep the content in mind. Mingled with the sparking dialogue, we are forced to endure a stream of invective language. And then there is the misuse of Christ’s name. Whenever the actors want to portray confusion, exasperation or irritation, out comes “For Christ’s sakes, Jesus Christ or Jesus H. Christ.” There’s even one use of His name with added verbs that I won’t print here. Trust me, it’s as close to blasphemy as you can get. How did this ever happen? How did the name of our Savior, who died for all mankind so that they could have an everlasting relationship with the Creator of the universe, become nothing more to moviemakers than a relief of frustration?

Next, there is the film’s violence. Understandably, the violent acts are there to convey the utter soullessness of the killer. But each recreated crime jolts you. At one point, I actually said, “Oh my God” out loud as if viewing the real thing. There was a time when we couldn’t handle the imagery of two tied people being stabbed repeatedly while groaning their terror and pain. Evidently, moviegoers have evolved into beings capable of such realistic detail. But were we meant to? And is it necessary to graphically portray this act of inhumanity in the name of entertainment?

Long, at 2 hrs, 40 minutes, it is spellbinding, yet unnerving. And those who put hearing the profane use of Christ’s name up there with fingernails on a chalkboard may find the filmmakers’ achievements ultimately unsatisfying.

That said, my Video Alternative will sound hypocritical. Dead Man Walking. Starring Susan Sarandon and Sean Penn this film was surprisingly open to all sides of the capital punishment debate. What's more, the gut-wrenching plight of victims of crime was never overshadowed by the fate of the criminal. Although Ms. Sarandon and director Tim Robbins are renown for their extreme political and social ideals, here they seem tempered by an openness to every point of view. The audience was never subjected to sermonettes, but rather we saw average people dealing with terror, loss, guilt and forgiveness. I offer up this video suggestion because the R-material (violent acts and obscenity) was never exploitive, but rather seemed justified as it revealed the ignorance of the perpetrator. The strong message of the courage and strength of Jesus overrides the movie's brutality. (At least for me). The events of this true story reveal how a heart ruled by patience and faith can "move mountains." Several ending scenes focus on the outcome of a life dedicated to spiritual truths. We see how a hurting and ignorant heart can be changed when we live the greatest command - love.

Distributor: Warner Bros/Paramount Pictures

Ioan Gruffudd, Romola Garai, Ciaran Hinds, Rufus Sewell, Youssou N’Dour with Micael Gambon and Albert Finney. Drama. Written by Steven Knight. Directed by Michael Apted.

FILM SYNOPSIS: Ioan Gruffudd (Black Hawk Down, Fantastic Four) plays William Wilberforce, the man who championed the abolition of slavery in the British Empire. Elected to Parliament at age 29, Wilberforce led a diverse coalition of believers in a decades-long struggle to end the lucrative but dehumanizing slave trade. Several friends, including Wilberforce’s minister, John Newton (Albert Finney), a reformed slave ship captain who penned the beloved hymn Amazing Grace, urge him to see the cause through.

PREVIEW REVIEW: I have to admit, I was a little disappointed. Not by what’s up on the screen, but by what isn’t. The picture is engrossing, with a solid (if staid) performance from the lead. Amazing Grace enlightens while never forsaking the goal of any devout filmmaker: to entertain. But I was letdown by its neglect of the man who first combined those two words – Amazing Grace. Considering the title, I thought the film would focus around the author of one of the most stirring hymns ever written. Sadly, we don’t learn much about John Newton.

The always engaging, if blustery, Albert Finney depicts Newton as a guilt-ridden man in a few scenes where he mops a church floor or looks off into oblivion after losing his eyesight (there’s an irony that could have been developed - Once I was blind, but now I see). We don’t, however, witness his conversion or come to understand what brought on that reversal, except through a discursive anecdotal monologue. By not focusing the film on Newton’s transformation, the filmmakers discard one of the most affecting conversions in all of history. Oh, how I would loved to have seen this epic, yet personal subject matter, in the hands of writer Robert Bolt (A Man for All Seasons, Dr. Zhivago) and director David Lean (Great Expectations, Lawrence of Arabia).

Once again, well-meaning Christian producers (there are several of them attached to this production) have dropped the ball. We never see the mistreatment of the black man. It’s just talked about. You’d think such gifted filmmakers as Apted and Knight would be well aware that in movies a picture is worth a thousand words. In this film, we always get the thousand words, while the most powerful imagery is neglected. Because of this neglect, there’s no visceral punch to the production. For instance, we hear a man discuss the villainy of chains and shackles, he even puts one around his neck, but we never see men held captive by such devices. A brief flashback could have pictured the life-changing horror undergone by Africans stolen from their homeland. That’s the astonishing aspect of movies, they picture what words fail to reveal. We are therefore left with a production that is more TV Masterpiece Theater than majestic theatrical drama. Misters Apted and Knight have made a good movie, just not an amazing one.

That said, director Michael Apted (Nell, 42 Up, The Long Way Home) and Steven Knight (Dirty Pretty Things, Eastern Promises) do combine their efforts in order to relate a bit of history – how the slave trade was brought to the attention of the world. Though it’s not the moving film I expected, Amazing Grace is an important film because it reminds us of the horrors mankind is capable of inflicting. It should also remind us that we need to be vigilant of the insidious nature of evil. Malevolence sprouts up when and wherever possible, and is designed to destroy the soul of mankind.

What’s interesting, scary, actually, is that despite the efforts of godly men such as Wilberforce, Abraham Lincoln and all those who argued and fought to end slavery, such activity still exists. It’s now called human trafficking, and it is a multi-million-dollar, worldwide industry. Children and adults are sold for hard labor and for sexual gratification. And there are soulless people who benefit from this trade not just for financial gain, but because they enjoy harming others.

Along with this film, allow me to suggest the viewing of The Civil War. Ken Burns’ eloquent look at the struggle between the North and the South should be required viewing, especially for teens. The 1989 quintessential documentary series on the War Between the States will take several nights to view, but worth the time. It is a stirring learning experience about the foibles and nobility of the human spirit.

(Allow me a final note about the Christian producers of Amazing Grace, two of whom are Patricia Heaton (Everybody Loves Raymond, Thou Shalt Laugh) and Ken Wales (who often worked with the brilliant Blake Edwards). I don’t mean my disenchantment with the production to come across as denigrating their work. These are people I have a great deal of respect for and could never come close to the entertainment mountains they’ve topped. Indeed, I don’t want my efforts to ever be perceived as hostile toward any artist. With every new production, the movie maker puts his everything on the line. And his goal is always to make a good product. His efforts deserve respect. This is why I seldom make a joke at a filmmaker’s expense. I have merely given an impression, a point of view, one I hope will serve those who cherish the promise of movies.)

Distributor: Fox Faith

Billy Bob Thornton, Virginia Madsen, Bruce Dern, Tim Blake Nelson. Family Adventure. Written by Mark Polish & Michael Polish. Directed by Michael Polish.

FILM SYNOPSIS: Dismissed from NASA’s space program, former astronaut-in-training Charles Farmer (BILLY BOB THORNTON) pursues his lifelong dream by building his own rocket. On the eve of his launch, Farmer must battle foreclosure on his ranch and a small-town community of disbelievers, while simultaneously drawing heavy scrutiny and surveillance from the FBI, CIA, FAA and the U.S. military, all of which see him as a potential risk to civilian safety and will take the necessary steps to shut down his operation. But he remains determined to reach his goal and instill in his children the courage to pursue their own dreams, no matter the odds.

PREVIEW REVIEW: Three times a year I pretend I’m critic Addison DeWitt, the George Saunders character in All About Eve. Armed with barbed wire and poison pens, DeWitt didn’t review, he attacked. But as I said, I only allow myself to go there three times a year. But it’s early in the year and I have already given a keyboard lashing to the equally unsatisfying Diane Keaton “comedy” Because I Said So, the producers of Astronaut Farmer may rest easy. Well, easier.

First off, I will congratulate the cast and those who cast them for their sincere efforts. The actors are perfectly matched to their characters and they brought strength, warmth and believability to a project that deserved less. The story, on the other hand, is about the silliest I can remember seeing. Perhaps the writer should be congratulated for seeking a fresh subject, but as I sat there viewing an implausible plot, headed by the most unlikable lead character since Bad Santa, I began to contemplate a recurring nightmare – maybe all the best films have been made.

The theme is an admirable one, to dream the impossible dream. Charlie Farmer has such a dream. But this guy isn’t exactly Martin Luther King. Dr. King’s dream would affect an entire nation, even the world, while Charlie Farmer’s aspiration stays a little closer to home. He wants to fly in space. And he’s willing to do anything to make that dream come true. Again, that sounds like a man of character. But he’s not. He has gone into debt, owing the local small-town bank over $600,000. When the friendly banker is put on the spot and refuses to extend the loan, in Farmer’s eyes his banker friend has betrayed him. It’s the bank’s fault. So angry is he that Farmer throws a brink through the bank window, and then gives a disingenuous apology when forced to by the good-ol'-boy judge.

Farmer’s wife goes ballistic when her debit card is denied at the store and the family has to leave without any food. She’s upset that Charlie hasn’t provided for her and their three children. He gets mad at her, then proclaims his love, but never attempts to resolve their financial woes. You see, Charlie’s vision is tunneled. He’s not thinking about family needs or his obligations. He’s thinking of his goal.

It’s understandable that the government would object to a private citizen launching a missile. In this era of terrorism, it would be difficult for officials to allow one person to blast off with a weapon-capable projectory, while refusing another citizen the same right. But again, it is they who are the bad guys in Charlie’s mind, because they are standing in the way of his flight of fancy.

Those with a love/hate relationship with our government and/or a rebellion to conformity may look upon Charlie’s determination as a pioneer-like philosophy, a spirit that made America great. But this isn’t a hero. This is a man who denies the cost of his actions. And the production is obviously manned by anti-establishment-minded artists. Its sly put-downs toward the government and conservative/religious folks (the pastor and several church-goers are portrayed as hypocritical) also seem of a rebellious nature. The Patriot Act is mocked and government officials are all portrayed as boorish buffoons.

Perhaps this critique sounds harsh but believe me, I was easy on the implausible situations, areas that will most likely be ridiculed by other members of my profession. It’s well made, but deceptive. Charlie threatens the existence of his family and unnecessarily endangers his life in order to satisfy his selfish desires. What’s even more stupefying is the fact that he has a loving wife, three terrific kids, a beautiful farm and a good relationship with the community. Charlie already has the dream.

Video alternatives concerning dedicated parents with dreams: Friendly Persuasion. Charming Gary Cooper film about a Quaker family standing up for its religious beliefs while the country faces the Civil War conflict.

I Remember Mama. Yeah, I know it’s old. But I saw it again not long ago and it holds up. Irene Dunne stars in this gentle story of a Norwegian immigrant family’s struggles while living in San Francisco at the turn of the century.

It’s a Wonderful Life. Jimmy Stewart is given a chance to see how life would have turned out for friends and loved ones if he had never been born.

Spencer’s Mountain. Henry Fonda and Maureen O’Hara star as parents struggling to send their son to college.

Our Vines Have Tender Grapes. Edward G. Robinson (outstanding), Margaret O'Brien. Charming look at rural life during the beginning of WWII. Contains a respect for Christianity, life, and the price we pay for freedom.

Penny Serenade. Unable to have children, a young couple (Cary Grant, Irene Dunne) adopts a baby. This romantic drama shows a couple dealing with a loss and how their marriage survives the tragedy. Moving performances, especially from Grant, in one of his few dramatic roles.

Distributor: Warner Bros.