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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.