Jessica Alba, Parker Posey, Alessandro Nivola. Suspense/horror. Written by Sebastian Gutierrez. Directed by David Moreau & Xavier Palud.
FILM SYNOPSIS: Remake of scary Japanese film has a young blind woman seeing visions and dead people after she undergoes eye surgery. Haunted by one particular specter, our heroine is soon convinced that her anonymous eye donor has somehow opened the door to a terrifying world only she can now see. PREVIEW REVIEW: Hey, this actually has a moral. It’s scary, with smoky demonic beings protruding from walls and hovering over people about to die, but it also contains an adage; it’s best to see life from a spiritual perspective. But you have to undergo a great deal of jolting imagery, not to mention faux-literate dialogue, less than inspiring direction, and a misleading look at the spiritual world. And Jessica Alba, though determined to be a good actress, is just too hampered by the incredulous script and her limitations as a thespian, to give her character or the story much depth. Studios wisely refrain from inviting press to prior screenings of films they know will meet with little but negative comment. Such is the case with this film. However, even if people don’t read reviews, they should be leery of a film the studio made sure reviewers couldn’t see. Beware, there’s a reason. DVD Alternatives: Awakenings. A man is brought out of a catatonic state after 30 years. Although rated PG-13 for 4 obscenities and the use of an Ouija board in two scenes, it does carry a message of hope and a reminder that the soul needs to be nourished. Robin Williams, Robert DeNiro. Or: The Canterville Ghost. A parable about finding courage within, this classic fantasy has a cowardly ghost bound to his ancestral home until a descendant does a brave deed. This film teaches a life lesson rather than seriously promoting the existence of ghosts. Or: The Enchanted Cottage. Robert Young and Dorothy McGuire star in this heart-warming fantasy about a scarred war vet and a homely woman, both made beautiful by their love. Like way old, and in B&W, but a very romantic film that teaches love looks beyond the superficial. Or: The Ghost & Mrs. Muir. A gothic romance without promiscuity, starring Rex Harrison, Gene Tierney and George Sanders. No, I don't believe in ghosts (angels and demons, yes), but the serene love affair is difficult to resist. It contains, you should excuse the expression, a “haunting” score by Bernard Herrmann. I know, it’s also old, but man, great filmmaking. And folks, it’s difficult to find more recent films with a positive message that don’t reflect today’s acceptance of objectionable material.
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Rutina Wesley, Dwain Murphy, Tracey Armstrong. Drama/dance musical. Written by Annmarie Morais. Directed by Ian Iqbal Rashid.
FILM SYNOPSIS: Raya Green is seventeen-years-old, bright and full of promise. She attends a prestigious private school outside her tough, crime-ridden neighborhood. When a family tragedy leaves her family unable to pay her tuition, Raya is forced to return to the old community she so desperately wants to escape. She soon finds herself drawn into the world of underground dance competitions and smells an opportunity to win some money, get out of the neighborhood, help her family and return to her old school. But as the dance tournament unfolds, Raya realizes that real success only comes to those brave enough to tackle it on their own terms. Featuring a fresh cast of new discoveries, this Sundance Film Festival hit marks the feature film debut of the electric Rutina Wesley, with street-style step sequences by top choreographer Hi Hat and special appearances by R&B singer-songwriter Keyshia Cole and comedian DeRay Davis. PREVIEW REVIEW: It’s not original, and you have to be open to rap and “stepping” to get the most out of this film, but the cast is sincere and able in their chosen music field, the director keeps the pacing lively and involving, and the messages are clear and positive. The story rests on one prominent line – “One moment changes a million after it.” The filmmaker obviously wants to send a positive message to urban audiences that despite ordeals, travail can be overcome. And without sermonizing, there is a gentle nudge to steer clear of drugs.
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Mathieu Amalric, Emmanuelle Seigner, Max Von Sydow. Drama. Written by RONALD HARWOOD. Directed by JULIAN SCHNABEL
FILM SYNOPSIS: Based on a true story of Jean-Dominique Bauby (Mathieu Amalric), a successful and charismatic editor-in-chief of French Elle, whose sudden stroke leaves him in a life-altered state. Unable to move, he is trapped in his mind, where he begins to find solace reexamining his rich memories. After getting over self-pity, he uses his newfound imagination to escape his physical boundaries and, with the assistance of a patient aide, even to write a book. PREVIEW REVIEW: It’s a masterpiece! But as with all masterpieces, it will not be appreciated by all audiences. It’s deliberately paced (translation – it’s often slow), it’s subtitled, and the subject has to do with a man paralyzed from head down due to a stroke – not exactly Friday night escapist fare. Another drawback for us Christians is the fact that the lead is anti-religion and the content is peppered with objectionable language and casual sex (though nothing is included in order to be titillating, but merely to reveal his outlook and lifestyle). The lead character is not just a man with little use for religion; he’s downright hostile to the concepts of Christianity and the Hereafter. He’s uncomfortable with being in the presence of spiritual images and reflections, as if a hidden awareness of his guilts are being smothered by ego and self-centeredness. This becomes disturbing, for his rejection of spiritual matters leaves him with little more than his limited time left in a world where he is scrubbed and tended to by others. Despite these PG-13 deterrents, the film remains, as I said, a masterpiece. Julian Schnabel (Rockets Redglare, The Million Dollar Hotel) directs like a baroque painter – using thoughts that reflect underlining tension and images that demand attention with their violent movement and strong emotion. It’s almost a classical movie. But what makes the film so powerful, so worthwhile, is the lesson that lingers once we leave the theater. We are reminded that our health and place in this life can change instantly. We are reminded to live every moment, enjoy every day as a gift, and to realize that our limitations and struggles often pale in comparison to the true afflictions of others. By film’s end, this viewer thanked God for His blessings and prayed for a merciful end when that time comes.
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Jason Lee, Jane Lynch, Cameron Richardson, David Cross. Kids comedy. Written by Jon Vitti, Chris Viscardi, Will McRobb. Directed by Tim Hill.
FILM SYNOPSIS: A wannabe songwriter’s house is invading by three precocious chipmunks. And to his surprise, they talk. And to his astonishment – they sing! Soon a record deal is signed and the trio of rodents find themselves beloved rock stars. But is life on the road what the little guys are looking for? And is the songwriter about to learn that it’s a lonely life without family – even if family consists of three talking, troublemaking tree-dwellers? PREVIEW REVIEW: If you’re looking for a sparkling satire on the music industry, what are you doing at this movie? This one’s slapstick and poop-humor fueled. Though baby boomers may have a nostalgic warm spot for these cartoon critters, their generational appeal is as outdated as the Slinky. What grownup wants to see a live-action/computer-generated kiddie film about high-pitched speaking squirrels? Not even those who bought Alvin’s two biggest hits, The Chipmunk Song and The Witch Doctor, are going to be first in line for this one – surely. That’s not to say the film is a stinker. It has some positives. Basically, it’s aimed at little ones. And that’s where the grownup appreciation will come in. Sitting amid a matinee audience (I missed the press screening, darn), I got a charge out of the reaction of little ones in the theater. Their laughter helped make it an enjoyable experience for this critic. I assume that’s the greatest aspect for a parent having to sit through such films, as well. There are some funny moments, some positive messages about needing to be loved and belonging to family, the special effects are satisfactory, and despite some gyrating dancers, and the requisite poop joke or two, it’s a clean movie – mostly. Entertainment wise, well, it’s better than 27 Dresses. But don’t expect me to go buy the soundtrack. Wondering about the PG rating? Please read the content section.
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Eva Longoria Parker, Paul Rudd, Lake Bell, Jason Biggs. Comedy. Written & directed by Jeff Lowell.
FILM SYNOPSIS: Devastated when his fiancée, Kate (Eva Longoria Parker), is killed on their wedding day (crushed by a falling ice sculpture), Henry (Paul Rudd) reluctantly agrees to consult a psychic named Ashley (Lake Bell) at the urging of his sister Chloe (Lindsay Sloane). Despite his skepticism over her psychic abilities, Henry finds himself falling hard for Ashley, and vice versa. But there is a big snag. Ashley is being haunted by Kate’s ghost, who considers it her heavenly duty to break up Henry and Ashley’s fledging romance, if it is the last thing she does on this earthly plane... PREVIEW REVIEW: I am grateful when a studio delivers a film during the first two months of the year that catches the imagination and tickles the funny bone. I’ve come not to expect it. Alas, Over Her Dead Body is not one of those welcome surprises. Despite the promise of the title, this is one of those films studios stuff into movie theaters in January and February while talented movie makers and real movie stars complete summer blockbusters and year-end award contenders. The concept of ghosts haunting numbskulls has been around since Topper. Here, that concept and the story structure suffer from what I call TV-itis. TV-itis is an ailment which numbs the part of the brain that distinguishes between wit and sit-com klutziness. The writing may be okay for home entertainment, where phone disruptions and children’s needs don’t necessarily cause viewers to lose sight of the storyline. Once these projects are given the big screen treatment, however, audiences can clearly see through the plot holes and the absurdity that’s meant to pass as comic calamity. Here’s a symptom of TV-itis found in Over Her Dead Body. The comic sidekick is thought to be gay. But maybe he’s not. Maybe he just pretends to be for five years so he can be the best friend of the woman he secretly loves. Oh, I know that doesn’t make since. That’s TV-itis at its most insidious. Here’s another example of how TV-itis has stricken writer/director Jeff Lowell. When the sidekick’s arm catches on fire during a cooking mishap, he plunges it into a huge pot of boiling water, then rants around the room like Ralph Kramden. That’s what I said, his arm catches on fire. Seeing a human being on fire – that’s always classic. Much of the film’s humor runs in that vein. The ghost causes one embarrassing situation after another, making everyone in the story think the other female lead is nuts. And how does the victim of this supernatural harassment handle these embarrassing moments? Well, think back to each episode of I Love Lucy. Trouble is, Ms. Lake is no Lucy. And I suspect the crudeness of the situations here would have been discarded by Lucy’s writing staff. As this review is already more time consuming than the film deserves, suffice it to say, my theory that no one sets out to make a bad movie has once again been tested. DVD Alternative: Topper with Cary Grant, Constance Bennett and Roland Young, and directed with style and class by Norman McLeod. Unsettled ghosts return to earth to dominate then befriend a meak businessman. I realize it’s really old (made in 1937), and in black and white to boot. I mention it because a few weeks ago a young publicist told me she loved it. So, maybe there are those who will watch a clever and funny film despite its age. Want a stupid one, but funny due to its star? Try The Ghost and Mr. Chicken with Don Knotts. Remember, I told you it’s stupid. Or Ghostbusters. The first one has some objectionable material, but there are also a few positives – there’s a reverential discussion about Jesus and the movie is funny.
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