Idres Elba, Gabrielle Union, Avant, Louis Gossett Jr. Comedy/romance. Written & directed by Tyler Perry.
FILM SYNOPSIS: A single, hard-working, blue-collar father of three is suddenly faced with losing the girls to his drug-dealing ex-wife. With the aid of a pretty lawyer, he battles for custody as romance blooms. PREVIEW REVIEW: Certainly not a film that delves into custody situations with much realism, but the film is involving and often funny. My one hesitation concerns Mr. Perry’s sexual depictions. While he suggests old-fashioned ideals concerning how we regard one another, and though he brings faith and church-going to the forefront, he is very lenient about pre-marital sex. Whatever your interpretation of the Bible’s teaching regarding this matter, casual sex (meaning sex before you’ve really gotten to know the person) has consequences most filmmakers do not deal with. That said, there are many fine messages dealt with, with a positive example of a father who sacrifices his dreams for those of his children. He is also a man who turns to God when in need. Further, he is seen worshipping his Creator. (How often do you see that in a film?) As you know, Mr. Perry brings church and faith into his all his productions. He is one of the few filmmakers who acknowledges the spiritual makeup and needs of people. Nice performances by all and Gabrielle Union, oh my, that’s a pretty woman.
Jim Carrey, Virginia Madsen, Danny Huston. Psychological thriller. Written by Fernley Philips. Directed by Joel Schumacher.
FILM SYNOPSIS: A man’s life begins to unravel after he comes into contact with an obscure book titled The Number 23. As he reads the book, he becomes increasingly convinced that it is based on his own life. His obsession with the number 23 starts to consume him, and he begins to realize the book forecasts grave consequences that may destroy his family. PREVIEW REVIEW: It’s always a dark, spooky place we have to go to when viewing a person so obsessed with himself that everything else loses importance. We may be seeing that happening to pop princess Brittany Spears. That’s why I hate hearing jokes at her expense by Letterman, Leno and the rest. And that’s why I dislike dramatic thrillers such as The Shining with Jack Nicholson or The Number 23 with funnyman Jim Carrey. Both these examples star actors who frolic in plagued playgrounds too often and far too easily. Someone once said that there is a fine line between genius and madness. Now, I’m not going to say that these two thespians are nuts, but they sure do play lots of nuts. And nobody does nuts better than Nicholson, except for Carrey. While there are some positive messages including a man displaying love for his wife and son, and doing the right thing despite the cost, the depiction of suicides (several of them) and other explorations inside the darker side of man’s nature left this viewer heavy-hearted. That’s not a feeling I like feeling after seeing a movie. Still, any theme can be handled with style and finesse. If a movie buff wants to view a film dealing with obsession, my I suggest this video alternative: Vertigo. This complex Hitchcock romantic thriller concerns an ex-cop hired to follow a woman whom he soon falls in love with. The director’s powerful imagery and James Stewart’s remarkable performance focus on obsession and hidden fears. But where the muddled Number 23 becomes grungy and progressively unsatisfying, Vertigo’s dreamlike quality lulls you while its haunting mystery finds resolution.
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Josh Hutcherson, AnnaSophia Robb, Robert Patrick, Zooey Deschanel. Fantasy/Adventure. Written by Jeff Stockwell. Directed by Gabor Csupo.
FILM SYNOPSIS: Based on the popular Newbery Award-winning novel by Katerine Paterson, Bridge To Terabithia is a fantasy/adventure story of friendship, family and the power of imagination from the producers of The Chronicles Of Narnia: The Lion, The Witch And The Wardrobe. Jess Aarons (Josh Hutcherson) is an outsider at school and even in his own family. Eleven-year-old Jess has trained all summer to become the fastest kid in his middle school class but his goal is unexpectedly thwarted by the new girl in school, Leslie Burke (AnnaSophia Robb) who competes in the "boys only" race and wins. Despite their awkward introduction, the two outsiders quickly become best friends. Leslie loves to tell stories of fantasy and magic. Jess loves to draw, but until he met Leslie it was something he kept to himself. Leslie opens a new world of imagination for Jess. Together they create the secret kingdom of Terabithia, a magical place only accessible by swinging on an old rope over a stream in the woods near their homes. There, the friends rule the kingdom, fight the Dark Master and his creatures and plot against the school bullies. PREVIEW REVIEW: The first great film of 2007, Bridge To Terabithia is a creative parable for young and old. Once again, Disney Studios and Walden Media have combined their talents to offer a motion picture that entertains while reestablishing the lost art of parable telling. Director Gabor Csupo (Rugrats Go Wild, The Wild Thornberrys – the Movie) keeps the pacing lively and involving while addressing subjects that range from preteen angst to appreciating what and who you have. Young Josh Hutcherson is introspective and sincere, while AnnaSophia Robb, also effective in Because of Winn-Dixie, lights up the screen with her smile and visionary nature. As for the special effects, they serve the story rather than domineer it. We get caught up in the action without being diverted by its technical magic. Like most films that address mature precepts, Bridge To Terabithia should not be mistaken for a giddy kiddie matinee. It receives the PG rating because of thematic elements that include bullying, a parent unable to show affection, feelings of being overshadowed and unloved, and the death of a friend. The film contains some spooky imagery and the narrative jolts us with the discovery that a main character has suddenly died. On the surface, these subjects may seem dark, but these truisms concerning fears and death may help young audience members cope with similar concerns, while reminding us older moviegoers to not let a good word go unsaid, a good deed go undone. At one point, Robb’s character, unfamiliar with church going, can’t grasp the concept that God would send a soul to Hell. Her young companions clumsily attempt to explain the religious notion, while she simply sees God as too busy creating and sharing the wonders of nature to ever dwell on mankind’s disobedience. I’m sure the scene will raise the eyebrow of many a church deacon, but I thought the scene was wisely handled in that it reminds us to teach little ones about God’s love. The concept of the Creator’s justice confuses even biblical scholars and probably should be shared with one’s progeny when they’re a little nearer the accountable age. After all, who would want their six-year-old to say to a fatherless friend, “Your daddy went to Hell because he didn’t know Jesus”? There are some scary imaginary forest creatures the leads see as real, but these hostile beings serve as symbolic metaphors that represent misconceptions and unknowns. That may sound high-minded, but I believe kids will associate these monsters with their own fears and frustrations. That said, Mom or Dad should be in attendance in order to reassure. You’ll hurt over the loss of the film’s important character, but you’ll be uplifted by the lead’s journey of discovery. These mature elements may not sit well with very little children, but I expect the themes will draw out a robust discussion between parent and older child during the drive home. And isn’t it fun when a film does that?
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Hugh Grant, Drew Barrymore, Brad Garrett, Kristen Johnston, Campbell Scott. Romantic Comedy. Written & directed by Marc Lawrence.
FILM SYNOPSIS: Alex Fletcher (Hugh Grant) is a washed-up ‘80s pop star who’s been reduced to working the nostalgia circuit at county fairs and amusement parks. The charismatic and talented musician gets a chance at a comeback when reigning diva Cora Corman invites him to write and record a duet with her, but there’s a problem – Alex hasn’t written a song in years, he’s never written lyrics, and he has to come up with a hit in a matter of days. Enter Sophie Fisher (Drew Barrymore), Alex’s quirky plant lady, whose flair for words strikes a chord with the struggling songwriter. On the rebound from a bad relationship, Sophie is reluctant to collaborate with anyone, especially commitment-phobe Alex. As their chemistry heats up at the piano and under it, Alex and Sophie will have to face their fears – and the music – if they want to find the love and success they both deserve. The film co-stars newcomer Haley Bennett as the young pop-princess Cora Corman. PREVIEW REVIEW: A pleasant piffle, it comes close to being urbane, like an old Cary Grant/Irene Dunne movie, only without the inspired direction of Leo McCary (The Awful Truth). In other words, it’s a romantic screwball comedy that could have been more romantic and more screwball. Still, if you can get past fornication handled as casually as filling up the gas tank, then you may find it amusing and somewhat charming.
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Louise Fletcher, Henry Thomas, Liana Liberato, Soren Fulton, A.J. Buckley, Stewart Finley-McLennan, Peter Wingfield, Elizabeth Lackey, Thea Rose, Kim Myers. Written by Michael Landon, Jr., Brian Bird. Directed by Michael Landon, Jr.
FILM SYNOPSIS: During the late 18th and early 19th centuries Welsh immigrants coming to America brought with them an ancient Celtic ritual practiced for hundreds of years. The ritual was known as the Sin Eater and it took place at funerals. In this story, a young girl, guilty over the cause of her sister’s death, is seeking the Sin Eater in order to ask for this burden to be removed. During her adventure, she discovers the one who can truly take sins away. PREVIEW REVIEW: I wouldn’t call this a great movie, but Michael Landon, Jr. (Love’s Abiding Joy, The Redemption of Sarah Cain) proves he’s got the same stuff as his old man. He’s a sensitive storyteller, one bent on enlightening while entertaining. What’s more, he’s a Hollywood filmmaker with the guts not only to incorporate spiritual themes, but to go so far as to proclaim Jesus as the Christ, the one and only “sin eater.” The story concept is fresh and little Liana Liberato, the film’s lead, is engaging as she seeks forgiveness for her “sins.” The technical aspects are what you’d expect from the son of Landon, effective and expertly done. Mr. Landon grows as a filmmaker with each production. I can’t wait for his next effort. Until then, The Last Sin Eater is original and touching.
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