Johnny Depp, Orlando Bloom, Keira Knightley, Geoffrey Rush. Written by Ted Elliot, Terry Rossio. Directed by Gore Verbinski.
FILM SYNOPSIS: Will and Elizabeth (Orlando Bloom, Keira Knightley) align with Captain Barbossa (Geoffrey Rush) to save Jack (Johnny Depp) from Davy Jones (Bill Nighy). Betrayals, battles and buffooneries ensue. PREVIEW REVIEW: I admit it, I preferred the Disneyland ride that spawned this swashbuckling franchise. (I think what I really enjoyed about that attraction was the anticipation of dinner afterward in the attached Blue Bayou.) The ride was re-formed as an outrageous blockbuster-series with Johnny Depp portraying the Paul Lynde of pirates. It was an interesting characterization at first, but three films worth of this guy preening and prancing? Depp unapologetically plays his swishing seafarer as if he were a cross between Dudley Moore’s inebriated Arthur and England’s Dame Edna. A little of that goes a long way. I knew these movies would be loud and long. And I was right. Lots of “Yh, maties” and other pirate jargon shouted over the roar of a swirling sea would be supported by battle scenes laced with swordfights, things that go boom, and enough special effects to, well, sink a ship. Again, I was right. But all this clamorous cacophony seemed strained by the end of the second installment. Make that the endless second installment. Despite, or because of, this latest sequel’s multitudinous explosions and countless characters and ceaseless yak-yak-yaking (the girl even gives us a speech about freedom ala Braveheart while standing on the rail before her scurvy crew), I was bored to death. Okay, the curmudgeon has spoken. The audience at the screening was more accepting. There was no clapping at film’s end, but the moviegoers, there on a free pass, seemed to enjoy all the activity. It cost a great deal of money to make this movie and every doubloon spent is visible on screen. It has a spectacular look and the special effects guys must have put in a lot of overtime, giving the audience a treasure chest of eye-popping visuals. And if you like your pirate movies full of battle scenes – you got it. Hint to ye hearty souls, should you attend this nearly three-hour movie, sit through the ending credits, despite their seven-minute length. There’s one more scene. And it would suggest, oh Lord, Pirates of the Caribbean Part Four!
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Voices: Mike Myers, Eddie Murphy, Cameron Diaz, Antonio Banderas, Rupert Everett, Justin Timberlake, Julie Andrews, John Cleese. Animated comedy. Written by Jeffrey Price, Peter S. Seaman and Chris Miller & Aron Warner. Directed by Chris Miller.
FILM SYNOPSIS: When Shrek married Fiona, the last thing he had in mind was becoming the next king. But when Shrek’s father-in-law, King Harold, suddenly croaks, that is exactly what he faces. Unless Shrek (with the help of his trusted companions) can find a suitable king for Far Far Away, the ogre could be stuck with the job. PREVIEW REVIEW: There’s comfort in familiarity. And I’m convinced that third films in a series don’t have to be good, just familiar. That was my impression of Shrek the Third. The script was either under- or overwritten, the author’s jokes mostly just missing the funny bone. Oh, kids laughed at the screening, usually at flatulence jokes and the like, but they also got antsy more than once. For them and for me, there was what we in the movie reviewing trade call “moments of tedium.” It’s fairly clean, there are some positive messages about loyalty, but it lacks the creativity of the first installment and the charm and funniness of the second. It’s not a bad film; it’s just one that passes the time. It’s a case where animated moviemakers have gone to the pixel-well once too often. Video Alternative: Shrek 2. I could spend time focusing on the artistry, the look, the story and the pacing of this film. Certainly these areas deserve the attention as they all work together beautifully. But I am going to keep this one simple. It’s funny. There are a few jokes based on crudeness, such as an ogre flatulating here and a princess belching there, but the crudities have been toned down from the original. The majority of humor, both visually and in the dialogue, stems from clever references to pop culture icons and creative parodies. What’s more, the creators have seen to it that the film amuses children and adults alike.
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FILM SYNOPSIS: Tom Reilly (Zach Braff) is a bit of an underachiever when it comes to his career (or lack thereof), but his adoring wife, Sofia (Amanda Peet), a formidable lawyer, has always been happy to act as the breadwinner. With the birth of their first child, Sofia decides she wants to be a stay-at-home mom so Tom needs to step up and take care of his growing family. Unfortunately he gets fired from his job in New York City and is forced to start working with his father-in-law (Charles Grodin) in Sofia’s hometown of Ohio. Tom soon clashes with his work colleagues, especially the outrageous Chip (Jason Bateman), who still carries a torch for Sofia from their high school days, and Sofia becomes increasingly uncomfortable staying home with their new baby. PREVIEW REVIEW: Loaded with a lot of family strife ala Everybody Loves Raymond (indeed, Mr. Braff looks and acts like a younger version of Ray Ramono) the film grates on the nerves. There’s nothing worst than having someone covertly alter your life by saying and doing things to make you look foolish, corrupt or inept. The lead goes through this from opening to nearly the end, with the last few minutes turning around much like a TV situation comedy. The film is just not smartly written. From all I could learn, this was the first film script for the writers and it looks like silly slapstick TV comedy. That said, many people in the screening room enjoyed the slapstick silliness. That would explain why King of Queens and Life According to Jim have lasted so long.
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Jane Fonda, Lindsay Lohan, Felicity Huffman, Dermot Mulroney, Cary Elwes, Garrett Hedlund. Drama. Written by Mark Andrus. Directed by Garry Marshall.
FILM SYNOPSIS: Rebellious teenager Rachel (Lohan) is taken by her mother to stay with her grandmother. It becomes apparent quickly that these are all members of a dysfunctional family. Granny is distant, mom’s an alcohol who hates her mother, and the little rebel is promiscuous and reveals that her stepfather began sexually abusing her when she was twelve. Is this true or is the teenager making up the story to get back at her mother? You have to stick around to the end, putting up with incessant bad behavior before learning the truth. The film has all three women revealing family secrets before they bond and find redemption. PREVIEW REVIEW: Incest is at the core of this production. It’s hinted at, not just with Rachel and her step-dad, but it is also ever-so slightly implied that the dead grandpa may have been a child abuser, as well. It’s kind of an R-rated Lifetime for Women movie – you know, where men are bad and woman are confused. While the arts should be used to explore human relationships and expose wrongdoings, incest is a difficult subject to sit through on a date, while eating popcorn. And though the actresses do a nice job, and it is witty with occasional insight, how many films do we have to sit through where quirky and dysfunctional families are the source of comic and melodramatic strife? In the last two years, we’ve been subjected to family strife in countless theatrical releases, including Babel, Click, Deck the Halls, Firehouse Dog, Flicka, A Good Year, Keeping Mum, Little Miss Sunshine, Miss Potter, Nanny McPhee, Pearl Diver, The Quiet, Running with Scissors, RV, Santa Claus 3, The Shaggy Dog, Madea’s Family Reunion, Winter Passing, Are We Done Yet?, Because I Said So, Curse of the Golden Flower, Daddy’s Little Grils, Disturbia, The Ex, In the Land of Women, The Lookout, The Last Sin Eater, Norbit, TMNT, The Ultimate Gift and Vacancy. Enough with the family strife, already. “Hollywood, let’s get another genre to beat to death. How about comic book superheroes?” Oh, right.
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Keri Russell, Jeremy Sisto, Cheryl Hines, Andy Griffith. Comedy. Written & directed by Adrienne Shelly.
FILM SYNPOSIS: A waitress has a dream of a better life. But doggone it, life keeps getting in the way. PREVIEW REVIEW: The Bible instructs us to get outside ourselves. We are to put God first, others second and ourselves last. It is a sign of faith and a proof of God’s love indwelling us when we so order our lives. Ironically, that structure is the best way to find peace and fulfillment. In its quirky way, Waitress exemplifies that premise. Trapped in a loveless marriage to an abusive wacko, Jenna (Keri Russell) fights off depression by making pies for the restaurant where she waits tables. She puts such skill and dedication into her baking that customers find a little piece of Heaven whenever they partake. Upon learning that she is pregnant after a night when her husband got her drunk, Jenna further relieves her frustrations by applying exotic names to her baked goods such as “I Hate My Husband” pie, “Kick In the Pants” pie and “I don’t Want Earl’s Baby” pie. Though she is unhappy, frustrated and stuck, Jenna shows compassion for others. And though she doesn’t want a baby by a man she has come to despise, she realizes that the unborn child has rights and she does everything possible to see that the fetus is getting what it needs to develop correctly. (This is an unusual theme to find in a Hollywood movie these days.) Without uttering the term “pro life,” the film suggests that this stance is valid and just. Being pregnant, without any money, Jenna is further trapped in a loveless marriage; yet, terminating the pregnancy is never considered. Outstanding, a poignant film that makes you laugh out loud and ultimately touches your soul, Waitress is as delicious as Jenna’s “Kick In The Pants” pie. On one level, it is somewhat fluffy, but as you savor the story, dialogue and performances, you begin to realize that it is layered and thoughtful. Out of utter discouragement with this passionless marriage, Jenna begins an affair with the new doctor – a married man. Now, I wouldn’t justify such a deed, but if you stick with the film, you’ll see Jenna realize that her actions are wrong. When we finally see the doctor’s wife, it becomes clear that Jenna’s actions will hurt this woman. I don’t want to give anything away, but I will say lessons are served to the audience by the depiction of the adulterous affair. Despite her giving into wrongdoing, Jenna is a moral person and that morality ultimately prevails. As for the sanctity of life, there is a wonderful moment. I hate to give anything away, but this is such an important statement being made by the filmmaker, that I must spotlight it. Jenna has not wanted this baby. But upon its birth, with just one look, she falls instantly in love with the infant. Suddenly, the film is an inspirational parable. A horrible deed has added poignancy to this production. Writer/director Adrienne Shelly, who also has a supporting role as one of Jenna’s waitress buddies, was murdered before her film was released. Those involved in the production finished it and made sure it was distributed, paying homage to a gifted artist and friend. As we enter into a season of superhero gimmickry, Adrienne Shelly has reminded moviegoers that the ultimate special effects are story, dialogue and performances. Andy Griffith has a supporting role and in one scene delights us with his description of his favorite Jenna pie. As he lovingly describes the tasty dessert, we suddenly realize he’s talking about life, her life. It is a terrific screen moment, proficiently handled by the veteran actor/comedian. And from a one-time actor’s insight, I can tell you that every moment Keri Russell is on screen is downright magical. The actress (TV’s Felicity and movies Mission Impossible 3, The Upside of Marriage) has pitch perfect comic timing and handles dramatic moments with truth and depth. It is a balanced, always mesmerizing performance. There is so much going on in her character and the actress relays it all. Will the Oscar folks remember Ms. Russell come awards season? They should. I praise this film for its positives, but read the content portion before attending. Please remember that I see so many films that simply are not smartly written or films that don’t take regard for the sanctity of life. So when I see a film like Waitress, one that is smartly written and contains positives, I like to spotlight it for its artistic qualities. That said, it does contain sexual matters, including adultery. I’m not suggesting that we support films that go against God’s instructions. I am aware that many do not feel we should see a film that portrays sexual situations. Indeed, the media bombards us with sexuality. But this film reminded me that there are people all around us who feel trapped, unloved and frightened. I hope this movie aids in making me sensitive to others. And my prayer is that if any reader is going through such a trail, know you are being prayed for this very day and that our Lord loves you. It’s a dark valley, I know, we all spend time there. And God seems nowhere to be found. Just remember, even David, who was beloved of God, spent time in that valley. He asked “God, where are you?” He wasn’t just having a bad day. There were times when God seemed to have left him. Oh, but He’s there. Read the Psalms. In fact, read the Bible. Read it. And may God bless you and may your days in the valley be short and ultimately rewarding… See, I told you this film affected me.
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Tobey Maguire, Kirsten Dunst, James Franco, Thomas Haden Church, Topher Grace, Bryce Dallas Howard, James Cromwell. Action/adventure. Written by Sam Raimi, Ivan Raimi, Alvin Sargent. Directed by Sam Raimi.
FILM SYNOPSIS: In Spider-Man™ 3, based on the legendary Marvel Comics series, Peter Parker has finally managed to strike a balance between his devotion to his girlfriend and his duties as a superhero. But when his suit suddenly changes, turning jet-black and enhancing his powers, it transforms Peter as well, bringing out the dark, vengeful side of his personality. Under the influence of the suit, Peter becomes overconfident and starts to neglect the people who care about him. Forced to choose between the seductive power of the new suit and the compassionate hero he used to be, Peter must overcome his personal demons as two of the most feared villains yet, Sandman and Venom, gather a thirst for retribution against Peter and those he loves. PREVIEW REVIEW: There’s a great deal of good to say about this film, so let’s get the negative out of the way. First, I expect a film to logically lay out its plot and subplots without my having to read the book it was based on (or in this case, comic strip). Nor do I want to depend on its prequels in order to know who is who and what is really what. I admit, wanting a logical explanation from a movie about a guy with super spider powers is rather like expecting honesty and ability from either the Republican or Democratic parties. Still, it always seems like lazy writing when things go unexplained in a movie script. For instance: a character gets sucked up in some giant blender, whereupon he becomes merged with sand, becoming the super-shifting Sandman. I never could figure out who the scientists were or what they were trying to do, let alone why sand would suddenly take on a life form. Nor is there any explanation for the tar-like substance that came from outer space and turned a good soul into a dark one. Of course, ours is not to reason why... My other complaint has to do with the fact that there are more subplots here than in a Chekhov play. These minor conflicts and countless side characters lengthen the film to nearly a two and a half hours, often retarding its pace and purpose. And these are a weepy bunch. There’s more emoting here than in a week’s worth of Days Of Our Lives episodes. And then there’s Ms. Dunst. I have never warmed to her Mary Jane Watson character. She’s a wannabe Broadway star, but she always looks classless and unkempt. The character strikes me as someone who doesn’t wash her fruit. Okay, now for the good. Spider-Man 3 is jam-packed with action and eye-popping effects. And beyond the rich design and look, the film deals with subjects of substance, including themes of vengeance, love, forgiveness, and the message, “We always have a choice.” Indeed, it is the first superhero film with soul.
Nicolas Cage, Julianne Moore, Jessica Biel, Thomas Kretschmann, Tory Kittles, Peter Falk. Written by Gary Goldman, Jonathan Hensleigh, Paul Bernbaum. Directed by Lee Tamahori.
FILM SYNOPSIS: A Las Vegas showroom magician can see a few minutes into the future. When a terrorist group threatens to detonate a nuclear device in Los Angeles, a government agent must convince the magician to help her stop the cataclysm. PREVIEW REVIEW: Nobody plays quirky better than Nick Cage (Moonstruck, Valley Girl, Raising Arizona). And no one is more likable on screen. He proved that when he portrayed a vulnerable arms dealer in Lord of War and a car thief in Gone in 60 Seconds. Who else could play likeable weapons dealers and car thieves? Nor does anyone attempt more interesting screen conceptions (Adaptation, Matchstick Men). But he doesn’t always decide well when choosing roles. Let’s put it this way – he takes chances. Unfortunately, those choices don’t always pan out. Ghost Rider must have looked good on paper. So, I’m sure, did this one. You enter the theater thinking “Maybe someone could really have the power of seeing into the future.†By the end, however, it has become a corny, cartoonish premise so farfetched you feel like you’re watching an action-adventure adaptation of Groundhog Day. Actually, that was a good film because it was a purposely funny parable, one that didn’t take itself seriously. Here, everyone is very serious. Those associated with the production have proven themselves talented. But an actor has to fit a role. Julianne Moore as an infield FBI agent? Who thought that was a good idea? Surely no one did by the last day of filming. And here is a film where terrorists are plotting to blow up LA. But we wouldn’t want to insult real terrorists, so these guys are French. I kid you not. But the lead doesn’t want to help the FBI. So we spend the majority of the movie eluding, not the bad guys, but the good guys. Oh, come to think of it, according to Hollywood, the FBI are the bad guys. Those folks who want to blow up America, they’re just reacting to our capitalistic and imperialistic ways. I forgot. After the lead is held hostage in what looks like a communist debriefing room, his eyes forced open ala A Clockwork Orange, and before the writer has Nick’s character splitting into several clones, running around trying to elude the French terrorists while attempting to save his girlfriend who’s bound to a wheelchair, wearing a vest made out of dynamite, I found myself thinking, this isn’t a movie, it’s a pipe load. Try my suggested video alternative: Groundhog Day. Bill Murray learns how to treat others after being caught in a surreal world where he wakes up each morning to re-live the same day.
Joining a group of former classmates for the funeral of his best friend, Jeremy finds himself caught between his new fiancé and the girl he left behind. Hidden Secrets, an ensemble play-like drama similar in theme to The Big Chill, addresses the need for forgiveness, as well as controversial issues such as abortion, homosexuality, pre-marital sex, and the true meaning of faith.
There are some who don’t want me to badmouth a film containing gospel themes, despite my misgivings. But when you make your living examining the artistic skills of moviemakers, it’s not honest or fair to critique Christian artists on a different scale than their secular counterparts. That said, I’d hate for someone to miss a message that may further his spiritual walk because I had problems with the film’s low-budgeted merits. Having made a few, shall we say, “artistically challenged” church films in my youth, I am aware that even they were used by the Holy Spirit to bring some unbelievers to a spiritual awareness. Therefore, I will tread these waters as carefully as possible.
I remember thinking when The Big Chill was released, how interesting it would be if there was a Christian version about old friends reunited and coming to grips with life’s challenges. Evidently writers Shawn Paul Murphy and Timothy Ratajczak thought so, too. You won’t find the great soundtrack or bawdy performances that made The Big Chill a hit. You will, however, get some interesting examinations of Christians dealing with complex life issues. There’s also a poignant depiction of a Christian who forces biblical laws upon others, while ignoring the whole “love one another” thing.
This film does contain lessons concerning guilt and forgiveness, and a reminder to not browbeat the still unconverted. What’s more, it contains several good lines and heart-felt performances. There. That’s to alleviate the guilt I will feel concerning the following disappointments.
I won’t linger on the rip-off scenario or the pretentiousness of some dialogue. I will examine the score. The background music of The Big Chill became a main character in that film; each ‘60s and ‘70s tune incorporated furthered that story. Here the ever-present sugary background musical riffs unsuccessfully highlight the countless speeches that are delivered like skit-reinforced Sunday sermons.
But here is my real objection. Hidden Secrets is overrun with montages. I counted five. There may have been more. A montage (a sequence of images or quick scenes blended together to compress action) is used to further a story or show the development of a character. They should be utilized sparingly as the gimmick can become redundant and reflect a lack of writing skill.
There were other filmmaking misdemeanors that caused this critic to squirm, but I hung in there for the messages. Alas, a good sermon could address the same issues in a lot less time. “But this is a movie,” you say. “There should be no sermons in a movie.” Exactly.
FILM SYNOPSIS: A petty thief and a young boy trapped in the social service system in New York City set out on a road trip that will change both their lives.
A series of bad deeds lands Daniel (Mark Webber) in community service at an elementary school in New York City, where he bonds with Boone, a cheeky boy whose spirit belies his family situation. When Boone disappears from school one day, Daniel feels a surge of responsibility for the first time in his 20 years.
Daniel snatches the boy from a home for parentless kids and the two flee to Dallas, on a quest to find Boone's only sister. But Daniel is no angel, and the challenges of evading police and paying for gas kick his survivalist mentality into high gear. Although Daniel may be saving a would-be orphan from falling through the system's cracks, he is also breaking the law.
PREVIEW REVIEW: The end justifies the means. Surely that is the theme of those who break all the rules in order to accomplish their goal. Undeniably that is the reasoning of the lead character in Just Like the Son.
Headed down a path paved with self-centeredness, Daniel finally gets what his father has tried to teach him about facing responsibility and finishing what you start. He shows a genuine love for a child who is in desperate need to be loved. But Daniel’s noble intentions are fueled by law-breaking and a steadfastness that generate strife for others. With the six-year-old’s willingness, he snatches the kid from a protective environment, right in front of a worker at the orphanage. Now, that worker would have no idea who that kid-snatcher was or what his intent would be. Think on that, because Daniel doesn’t.
Daniel takes his father’s car without permission, and when funds run low, he steals food from a store, gas from other people’s cars and ultimately gets the kid to serve as a decoy while he pick-pockets a man, stealing his wallet, taking the money and casually throwing the wallet away.
There are times when laws get in the way of justice, but the concept here seems ridiculous. He’s trying to get the boy to his sister. Why doesn’t the dying mother do that? How come a six-year-old and a stranger can do what computers and child-care authorities can’t? With a little detective work, couldn’t Daniel have reunited them with a phone call and a plane ticket? In an age when child abduction has become an epidemic, the kidnapping of a child, even in the name of justice, is not only dysfunctional, but alarming to contemplate.
Mark Webber gives an adequate performance, while little Antonio Ortiz steals the show with his timing and sincerity. Director Morgan J. Freeman keeps the action lively and injects some tender moments, but he’s saddled with a low budget and a faulty premise that reflects an age governed by mixed morality messages. We live in a time and culture where laws seem more like suggestions. And that seems alright with this production.
Unrated at time of screening, the script is fairly clean, punctuated infrequently by a couple of obscenities, a few comic crudities and the implication that the lead spends the night with a girl he’s just met. The lead justifies his frequent crimes not only to himself, but to the boy. The lead is seen smoking dope and drinking.
Simon Pegg, Nick Frost, Jim Broadbent. Comedy. Writers: Simon Pegg and Edgar Wright. Director: Edgar Wright.
FILM SYNOPSIS: The action-packed comedy comes from the makers of Shawn of the Dead. Nicholas Angel (Simon Pegg) is the finest cop London has to offer, with an arrest record 400% higher than any other officer on the force. He’s so good, he makes everyone else look bad. As a result, Angel’s superiors send him to a place where his talents won’t be quite so embarrassing – the sleepy and seemingly crime-free village of Sandford. However, as a series of grisly accidents rocks the village, Angel is convinced that Sandford is not what it seems. PREVIEW REVIEW: At first I was reminded of the staid English comedies of the 1950s, those satirical films released by Ealing Studios, which usually starred Peter Sellers and/or Alec Guinness. Like those pictures, Hot Fuzz contains a premise ripe for understated, mocking humor, with just enough bawdiness to remind viewers this is for grownup people. Alas, it’s a different time and filmmakers and filmgoers seem more entertained the more a film becomes obsessed with crudeness. The humor in Hot Fuzz dwindles into lazy R-rated rudeness – you know, the kind that depends on viewing a drunk urinating in public. This happens not once, mind you, but at least twice. I don’t know, seeing a middle-aged man so drunk that he starts peeing inside a barroom always strikes me as sad, not funny. And rather than use language, the filmmakers pretty well abuse it in this film, the f- and s-words now acceptable speech in nearly film, by nearly every character/actor. Then there are the killings. In Kind Hearts and Coronets, a dark farce about a castoff relative doing in family members in order to inherit the family title, such demises were handled with dark but subtle humor. Here, the killings just shock and revolt (an adulterous couple are decapitated, a man’s head is splattered by a falling cement spike, another spike shoots up through a man’s jaw, a woman gets a pair of garden shears through the neck, the blood spewing). Oh, the deaths are played for laughs, but I still feel guilty laughing at the visual of a gruesome killing. Go figure. Video Alternatives: Each of the following was made by Ealing Studios and contains irreverent but understated humor and reminds us that comedy need not come solely from anatomical and scatological graphicness. Kind Hearts and Coronets, The Lavender Hill Mob, and The Ladykillers (the 1955 version – not the Tom Hanks remake of a few years back).
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Adam Brody, Kristen Stewart, Meg Ryan, Olympia Dukakis, Makenzie Vega. Written and directed by Jonathan Kasdan.
FILM SYNOPSIS: Aspiring writer Carter Webb has just been dumped by his true love, Sophia. Heartbroken and depressed, he escapes Los Angeles to suburban Michigan to care for his ailing grandmother and to start work on a book he has always wanted to write. Soon after his arrival, Carter stumbles into the lives of the family across the street: Sarah Hardwicke and her two daughters (Paige, a precocious, effervescent eleven-year-old, and her older sister Lucy, an angst-ridden teenager). PREVIEW REVIEW: Perhaps it’s just because I haven’t seen a film lately without a car crash or a barbarian slicing and dicing Mongol hordes, but I enjoyed being In the Land of Women. It’s the first film I’ve seen in a couple of weeks that could be called a drama. In it, people have real problems, including a woman facing breast cancer while dealing with an adulterous husband, an old woman facing death, and plenty of teen angst. The characters realize that they must draw together in order to cope with said problems. Though the screenwriter found it necessary to make several of his characters a little too quirky, the direction is lively and there are nice performances by all, especially Meg Ryan. Sadly, they are not a group that seeks spiritual fulfillment. It evidently isn’t a film today unless someone uses the s- and f-words. And here most of the objectionable language comes from women and girls. When people, even those made of sugar and spice, get mad or face fearful outcomes, they often release those frustrations through language. But I got the feeling that the s-word was a regular expression in this household. I don’t know, maybe there’s nothing really wrong with that word… See? You see what happens when it’s heard enough. Video alternative: The Bishop’s Wife. Cary Grant, Loretta Young. An angle aids a struggling minister. I marveled at the ending sermon given by the Bishop, played by David Niven. Standing behind his pulpit, the Reverend reminded his parishioners to focus attention on Christ. “All the stockings are filled, except one. We’ve even forgotten to hang it up. The stocking for the child born in a manger. It’s his birthday we’re celebrating. Don’t let us ever forget that. Let us each ask what He would wish for most. And then, let each put in his share.” Wow.
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