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Movie Reviews From A Family Perspective
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Eight Below
Elizabethtown
Elizabeth: The Golden Age
Enchanted
Eragon
Everyones Hero
Everything Is Illuminated
Eye, the
Expelled: No Intelligence Allowed
Paul
Walker, Bruce Greenwood, Jason Biggs. Disney Pictures. Action/adventure.
2/17/06
Inspired by a true story, Eight Below is an action-adventure about loyalty
and the bonds of friendship set in the extreme wilderness of Antarctica. The
film tells the story of three members of a scientific expedition who are forced
to leave behind their team of beloved sled dogs due to a sudden accident and
a threatening storm. During the harsh, Antarctic winter, the dogs must struggle
for survival alone in the intense frozen wilderness for over 6 months until
the adventurers can mount a rescue mission. The film is inspired by the
events of a 1957 Japanese Antarctic Expedition, which served as the basis for
the blockbuster Japanese film, “Nankyoku Monogatari” (“Antarctica”).
Dogs are an incredible gift to mankind. Some serve as our eyes and ears, while others stand in for our other inabilities. They serve & protect, love unconditionally, and compliment who we are. And some of them become movie stars. Indeed, Hollywood has manufactured a whole genre in order to salute our canine buddies. A few of these films can easily be called great (My Dog Skip, Lassie Come Home, Lady and the Tramp, Old Yeller, A Dog of Flanders, just to name a few). While Eight Below may not be able to reside among the great classic dog movies, it wouldn’t be because of the animal stars. The problem lies in its two-legged filmmakers. The talking stars are a blah bunch with Jason Biggs acting the comic fool and everyone else doing little with the standard Disney stereotypes.
I hate to use the word “awesome” as it has become a colloquialism used by pimple-poppers to describe satisfaction derived from a McDonald’s cheeseburger, but awesome is the right word for this film’s cinematography. It’s full of impressive, almost unworldly locations and is photographed with tender Disney loving care.
Along with breath-taking visuals, there’s an uplifting theme of friendship, respect for wildlife and, as in March of the Penguins, we see just how far the animal world will go to survive. In a time when audiences are subjected to pro messages concerning euthanasia (“Million Dollar Baby,” “The Sea Inside”), the need for abortion (“Vera Drake”), and desensitizing images of violence toward our fellow man (most films), here is a movie that reveals creatures in the wild sacrificing all in order to preserve life.
Exciting, moving, everything a dog movie should be, but parents of little ones beware: there are several tense moments and the film does deal with death. There is one jolting moment. That said, the kids at the screening seemed to handle the spooky moment. I can’t answer for their dreams later that night.
PG (3 minor expletives, but I caught no harsh language; mostly the film deals with the animals struggling with an unforgiving environment, the cold and falls off cliffs take the lives of a couple of the dogs; a man nearly falls to his death down a cavern; he later breaks a leg in a fall; the adventurers face several perilous situations; the dogs face down a dangerous seal in order to eat the carcass of a dead whale; the dogs catch seagulls for food; two scenes feature social drinking – a man drinking a beer and another drinking a highball; one jolting scene – as a dog comes across the carcass of a dead whale, he starts to eat, then suddenly a ferocious, huge seal jumps out from inside the carcass – everyone in the theater jumped; parents should attend to reassure little ones.
Orlando Bloom, Kirsten Dunst, Susan Sarandon, Alec Baldwin, Bruce McGill, Judy Greer, Jessica Biel. Paramount. Romantic comedy/drama. W&D-Cameron Crowe. Opens 10/14/05
After causing the shoe company he works for to lose a billion bucks, Drew Baylor is fired from his job. Devastated over his failure, Drew contemplates suicide, only to be interrupted by a phone call informing him that his dad has suddenly died. On the plane ride to his father’s hometown, a talkative flight attendant, sensing he is hurting, follows Drew to Elizabethtown, where he is greeted by eccentric relatives. Numbed by life, his new friend sends him on a road trip, hoping he will have a journey of self-discovery.
Believe it or not, the professional film critic does have some credentials other than the ability to sit for long periods of time. But at the end of the day, his work only amounts to opinion. And I freely admit that my judgment is biased. “Elizabethtown” is being touted as a feel-good comedy romance and has already been embraced by many critics. I, as you will soon discover, am not one of them.
Director Cameron Crowe is responsible for my favorite film of 2000, “Almost Famous.” He also gave audiences the amusing romance “Jerry Maguire” and he adapted his own novel, “Fast Times At Ridgemont High,” a film every teenage boy has seen since its début in 1982. The guy is a very talented man, renown for his wry and reflective approach to both story and character. But in his attempt here to bring us something fresh and engaging, Mr. Crowe has left us with a mixed bag. There are some touching moments and a few laugh-out-loud sequences, but his film fails to emotionally connect with the audience. Well, this audience, anyway.
First and foremost, any romantic comedy depends on the likeability of its stars. Now, here is where I may come into contention with many of my colleagues in criticism. I just don’t get the film’s stars.
Orlando Bloom reminds me of so many other bland movie males of today. In their films, Bloom, Elijah Wood, Ashton Kutcher and Topher Grace look like they just stepped out of a UPN television series. (Come to think of it, most of them did.) They don’t look or act like men, but rather held-back high school seniors who lack direction. They’re rebels without a clue. As for the film’s female star, Kirsten Dunst, well, she always looks like an unmade bed, with her matted hair, thrift store wardrobe, and flip-flop-clad feet. And, hey, is it that dirt under her fingernails? Her flighty flight attendant character seems alone in her universe, with even a make-believe boyfriend. And her “charming,” playful eccentricity comes across as creepy, like a stalker. Together Bloom and Dunst behave like the leads of “Harold and Maude,” a quirky cult favorite from a cinema generation ago. He’s the stone-faced loner who becomes entranced by her relentless free spirit. Harold and Maude were hip, but demented. I think Mr. Crowe was attempting to capture that same oddball chemistry. But sensibilities are different today and the obsessive antics of Harold and Maude, which captivated audiences in 1971, today seem like warning signs of dysfunction.
Next, the script, also by Mr. Crowe, seems ill constructed at times, while bloated with endless montages at others. A montage is a group of scenes spliced together in order to further character or story development. They are most effective when used sparingly; otherwise they can be perceived as lazy writing, like a comic who relies on crudity to get laughs. Mr. Crowe incorporates at least five montages in this film – one to reveal Drew’s climb up the ladder of success, one to acquaint us with daffy family members, two to unveil the leads’ developing relationship, and yet another to represent a road trip taken by the male lead.
Ah, yes, let me mention the road trip. Just when you think we’re through with montages, the lead road-trips the nation with Dad’s ashes seat-belted next to him. We see compacted images of America before settling on a southern town where we get a tour of Elvis’s first recording studio and Colonel Sanders’ tomb. I’m sure the local travel agents are thrilled because now people will want to come see where the goateed man who gave us a unique blend of herbs and spices is buried.
And then there is the implausibility of it all. Example: Susan Sarandon’s character refuses to attend the funeral because of an earlier conflict with his family. Unable to cope with her aloneness, she takes up auto repair, gourmet cooking and tap dance, all in the two days before her husband is cremated. Suddenly, without much of an explanation, she shows up at the memorial and gives mourners a taste of the tap-dancing prowess she has mastered in the last two days, between yoga, car matainance, cooking classes and toilet repair. While each and every character is quirky, as if we’ve stumbled upon a village populated by Gary Larson caricatures, she behaves more like a character out of Mad Magazine.
In its defense, there are lessons about holding onto the things that are true – family, friendship and love, as compared to the world’s definition of success – the acquisition of money and fame. And in a round-about way it sends an important message concerning the cherishing of life even when it all seems hopeless. But the film’s approach to these themes as well as the central storyline, is somewhat synthetic. None of the emotions ring true. And that’s its ultimate failing. It didn’t move me.
PG-13 (5 or so obscenities, but I caught no misuse of God’s name; a brief, fairly tame sexual conversation; the lead couple sleeps together, but it is implied that there was no sexual activity; the male lead considers suicide when he fails at business; some drinking; a kid vomits on an adult; while having a phone conversation, the male lead uses the bathroom; but mostly the film avoids crude behavior).
Video Alternative: The Straight Story. The comedy/drama was filmed along the 260-mile route that the actual Alvin Straight (Richard Farnsworth) traversed in 1994 from Laurens, Iowa to Mt. Zion, Wisconsin on a lawnmower. Rated G, the film chronicles Alvin’s patient odyssey and those he meets along the way. Alvin encounters a number of strangers, from a teenage runaway to a fellow WWII veteran. By sharing his life’s earned wisdom with simple stories, Alvin has a profound impact on these people. It contains lessons about the importance of family and forgiveness.
Cate Blanchett, Geoffrey Rush, Clive Owen, Samantha Morton, Abbie Cornish. Universal. Historical thriller. Written by William Nicholson & Michael Hirst. Directed by Shekhar Kapur.
FILM SYNOPSIS: Reprising the roles they originated in Elizabeth, Cate Blanchett and Geoffrey Rush return for a historical drama laced with treachery and romance. Joining them in the epic is Clive Owen as Sir Walter Raleigh, a dashing seafarer and newfound temptation for Elizabeth. The Golden Age finds Queen Elizabeth I facing bloodlust for her throne and familial betrayal. Growing keenly aware of the changing religious and political tides of late 16th century Europe, Elizabeth finds her rule openly challenged by the Spanish King Philip II (Jordi Molla) with his powerful sea-dominating armada determined to restore England to Catholicism.
Preparing to go to war to defend her empire, Elizabeth struggles to balance ancient royal duties with an unexpected vulnerability in her love for Raleigh. But he remains forbidden for a queen who has sworn body and soul to her country. Unable and unwilling to pursue her love, Elizabeth encourages her favorite lady-in-waiting, Bess (Abbie Cornish), to befriend Raleigh to keep him near. But this strategy forces Elizabeth to observe their growing intimacy.
REVIEW: A work of art. Simply a stunning cinematic conception. Like classics of old that either accidentally or magically found their filmmaking elements coming together like a perfect recipe, writers William Nicholson and Michael Hirst, director Shekhar Kapur, and all the artists and technicians involved in this production have given moviegoers an exceptional evening’s entertainment.
As with all period pieces, costumes and set decoration play a major role in the final cut. But here costumes, art direction, and cinematography are so well used they become atmospheric characters, never overshadowing the production, but effectively harmonizing both story and performances like water colors in a fine Degas.
And what can be said about Cate Blanchett? When given the proper material this is an actress who, like Meryl Streep, takes her profession seriously, paying her craft reverence. Worthy of honors, but this is not a performance done in order to achieve award recognition. It is done, as I said, out of respect for an artistry that can touch the very soul of the audience. In other words, she did good.
As for Clive Owen, I still say he’s the best James Bond who never was. He’s simply magnetic, relaying a masculine flourish along with a world weary twinkle that could only be matched by the James Bond, himself, Sean Connery. Mr. Owen seems to share the same veneration of the acting craft as Ms. Blanchett. In a role that could have been one dimensional, he is masterful, yet controlled. During a revealing monologue to the Queen, for instance, his Sir Walter Raleigh punctuates the scene with a lulling description of a sailor’s view of sea and land, captivating not just Blanchett’s Elizabeth, but the audience, as well. You could hear a pin drop, we were that engrossed.
How much of the glory should be given to the film’s director? Well, all these other elements, including the actors, are the paints. The director is the painter. And Shekhar Kapur brush strokes his story like an artist who shades, highlights, and inserts emotion into a picturesque mural. Renowned in India, Mr. Kapur has yet to distinguish himself in America (The Guru, The Four Feathers). His first Elizabeth, made in 1998, showed skill and promise, but with Elizabeth: The Golden Age it’s as if this were the project he had been waiting to make. He no doubt will also be recognized come Oscar announcement time.
Interestingly, the story has much to do with Catholicism and Protestantism, or at least the political significance of these Christian religions. Spain’s King Philip, according to the film, was devout in his Catholic beliefs. He was sure he was meant to defeat Elizabeth, seeing Protestantism as the devil’s deception. Queen Elizabeth, on the other hand, is portrayed as politically and socially savvy. She wants the two religions to dwell in harmony under her reign, and despite urgings from her court, she won’t punish people for their beliefs, only their deeds.
The film has several positive messages, including seeing people devoted to the power of prayer and a queen who eventually seeks and gives forgiveness to others.
Pg-13 (In a fit of jealous rage, the Queen utters several angry expletives, including the film’s one use of the f-word; I caught no profane use of God’s name; As the kingdom prepares for war, we see a few people tortured in order to gain information; the scenes are not long, but they depict the suffering of physical torment; these scenes are not suitable for little children; a woman is beheaded for treason; we see the axe raised before the scene cuts away; a man is hanged; during the battle at sea with Spain’s armada, cannon fire blows people up; in a rage the queen slaps her lady in waiting; Some blood surrounding the wounds of a tortured person; One implied sexual situation that leads to pregnancy; they couple then wed; We see the queen disrobe, seeing her naked from behind; the scene is not meant to be more character revealing than physical; Sir Raleigh introduces England to tobacco – if he only knew).
Running Time: 114 min.
Intended Audience: Teens and older
Amy Adams, Patrick Dempsey, James Marsden, Timothy Spall, Susan Sarandon. Disney. Comedy/musical. Original songs from Alan Menken and Stephen Schwartz (Pocahontas, Hunchback of Notre Dame). Written by Bill Kelly (Blast from the Past). Directed by Kevin Lima (Tarzan, Eloise At Christmastime). Opens 11/21/07
FILM SYNOPSIS: The film follows Princess Giselle (Amy Adams) as she is banished by the evil queen (Susan Sarandon) from her magical, musical, animated land and finds herself in the gritty reality of the streets of modern-day Manhattan. Shocked by this strange new environment that doesn’t operate on a “happily ever after” basis, Giselle is now adrift in a chaotic world badly in need of enchantment. But when Giselle begins to fall in love with a charmingly flawed divorce lawyer who has come to her aid, she begins to wonder if a storybook view of romance can survive in the real world.
REVIEW: There’s nothing really wrong with this production other than sometimes it struggles to be charming. Everyone does his or her job with a robust effort to bring family-friendly storytelling to the holiday season. Somehow, though, the Disney magic is missing. I’ll see The Little Mermaid again. And Beauty and the Beast. Maybe even The Hunchback of Notre Dame. But I have no desire to re-see this one. Mermaid had me with the witty and memorable Under the Sea, as did Hunchback with the spiritually enlightening God Help the Outcasts and the whimsical Be Our Guest in Beauty and the Beast. With the exception of the theme-revealing, mood-setting number True Love’s Kiss, the music here is like cotton candy: bright and fluffy, but with no lasting substance.
My personal disenchantment shouldn’t be misconstrued as a denouncement of the picture, and despite my picayune letdown, I grant that it is one where both kids and their older companions can find engaging themes or laugh-out-loud antics. And if you consider yourself a Disney trivia buff, you’ll find yourself amid a treasure trove, as the film is loaded with Where’s Waldo-isms (pardon, Hidden Mickey-iconics), including a glass slipper and poisoned apples and recognizable names that pop up with amusing frequency. Disney’s past glories are constantly being saluted with cameos and tips-of-the-hat, such as the appearances of Jodi Benson, the voice of The Little Mermaid, appearing as Robert’s assistant, Sam, Paige O’Hara – Belle of Beauty and the Beast – portraying an actress on a soap opera, and clever moments such as the scene where Giselle encounters a very short, very angry business man, whom she mistakenly calls Grumpy.
It just made me long for the days of Mary Poppins, 101 Dalmations (the original) and Beauty and the Beast. In fact, I may borrow my nieces and nephews so I can watch those again!
PG (though the producers handle most everything with discretion, there is some suggestive humor that seems unsuitable for a film parents are taking their little ones to see; fellow Christian critics made no mention of this at the press junket I attended for the film. Are we all becoming so desensitized that we don’t recognize inappropriate content when we see it? Are we no longer concerned with sexual innuendos that infiltrate innocent little minds? It contains some slapstick humor, and then the Queen shows up and tries to kill the heroine with poisoned apples, and then by turning herself into a dragon and causing havoc before being conquered; there are a couple of scary visuals; most kids will be able to handle them, but a parent should be there in order to reassure.
A couple of misunderstandings get the male lead’s girlfriend to think he’s fooling around with another girl; it is stated that the male lead is not living with his girlfriend because of his little girl – no biblical reasoning is given. Several suggestive misunderstandings about characters being gay; this is played for laughs, but seemed inappropriate).
Running Time: 90-some
Intended Audience: Family
Edward
Speleers, Jeremy Irons, Sienna Guillory, Robert Carlyle, Djimon Hounsou,
Garrett Hedlund, and John Malkovich. 20th Century Fox. Kids/teens sci-fi
action drama.
Based on the best-selling novel, this is an epic fantasy-adventure about a young farm boy named Eragon whose destiny is revealed with the help of a dragon. Eragon, now a Dragon Rider, is swept into a world of magic and power, as he attempts to save an Empire.
I only like generous helpings of special effects if they enhance the story. And that they do here. It’s simply a remarkable film to look at. But it is also one that entrances with its story and characters. With the same elements found in the original Star Wars, the filmmakers give us true Hollywood magic, a good vs. evil parable, with flying dragons, evil sorcerers and maidens fare.
Also reminiscent of Dragonheart, another period tale of Knights, dragons and the never ending struggle for justice (with Sean Connery doing the voice of a dragon in that one), Eragon contains messages of bravery, sacrifice, and the need for doing what is right. And though there is a demonic sorcerer, this good vs. evil parable is more Narnia than Hogwarts, and is not an attempt to interest youth in the dark arts. Completely enjoyable, perhaps even the best action fantasy of the year.
PG (There are several intense battle scenes and several demonic-looking creatures do battle with the good guys; our young hero's guardian is killed; another main character is killed; many are killed in battle; while this is a positive adventure for older children, little ones may be disturbed by the loss of life and the frightening imagery). Intended Audience: Older children, teens and adults.
Rob
Reiner, Whoopi Goldberg, Brian Dennehy, William H. Macy, Mandy Patinkin,
Dana Reeve, Robert Wagner, Richard Kind, Raven-Symone, Joe Torre, Jake Syzmanski,
Jake T. Austin. 20th Century Fox. Animated family adventure. Written by Bob
Kurtz. Directed by Dan St. Pierre, Colin Brady. Opens 9/15/06
It’s the 1930s when Depression-era America was uplifted by the prowess of the mighty Babe. The Sultan of Swat – Babe Ruth – was nearly every boy’s hero, including young Yankee, the son of a hard-working man whose favorite team was, you guessed it, the Yankees. Alas, young Yankee has not mastered the skill of ball playing. And just when he is about to give up, he finds a magical baseball – one that talks! And if that’s not wild enough, boy and ball befriend the abducted bat belonging to the great Bambino. Together the three have the adventure of a lifetime, one where Yankee restores his family’s honor, befriends the world’s biggest sports superstar, and reveals the hero within.
Christopher Reeve was the original director on this computer-generated animated feature, the late actor-director’s dream project. The script contains good family relationships, positive life lessons and an engaging plotline. Lively, imaginative and uplifting, this is truly a fun flick for the entire family.
G (a couple of flatulence jokes, but nothing excessive; the animated adventure features a few perilous situations, but the filmmakers handle the material responsibly; there are several chase scenes and some slapstick as the villain constantly stumbles or is hit by inanimate objects, mostly by his own ineptitude; some subject matter may need to be explained, like the time period where most in America had to struggle financially; the boy is bullied at school and there is some name calling; there are a couple of jolting scenes that may scare very little ones; parents should attend in order to reassure).
Intended Audience: The whole family. Some of the adventure may not hold the attention of very little ones, but kids five and up should be enthralled.
For more information visit: www.everyoneshero.com
Elijah Wood, Eugene Hutz, Boris Leskin.W&D-Liv Schreiber. Opens 10/7/05
A young man attempts to find the woman who saved his grandfather in a small Ukrainian town that was wiped off the map by the Nazi invasion. What has started as a journey to piece together one family’s story under the most absurd circumstances turns into a surprisingly meaningful journey with a powerful series of revelations – the importance of remembrance, the perilous nature of secrets, the legacy of the Holocaust, the meaning of friendship and love.
Humorous, especially in the beginning as we get to know the eccentric characters, the film then becomes a moving tribute that celebrates the love of family, a bond that transcends foibles and faults. Writer/director Liv Schreiber presents a portrait of the descendants of those who suffered during the Holocaust. His film reminds us that we become better, more rounded, more understanding when we examine the past and the lives of our ancestors.
My one concern is the presentation of a sudden suicide. Having survived the horrors of war, this person could have embraced God’s gift of life, but rather lived the remainder of his life at odds with the world. That said, who ever really knows why someone kills themselves. This movie reminds us that suicide does happen suddenly, unexpectedly. At times we are all tormented and see no way out. We forget or don’t know that God is still in control and sees the big picture.
Know anyone who is hurting physically, mentally, spiritually, financially? Lift them up and make sure they know how cherished they are, because you never know when the dark side of man can overwhelm a soul.
PG-13 (2 profanities and 7 or so obscenities; brief sexual discourse; brief view of women in provocative clothing in a dance club; out of curiosity, boys examine a men’s magazine; suicide of a main character; adult subject matter dealing with the loss of life during the Holocaust; a father punches his grown son; the grandfather is grumpy throughout, but we learn and moved by what has affected his life).
Jessica Alba, Parker Posey, Alessandro Nivola. Lionsgate. Suspense/horror. Written by Sebastian Gutierrez. Directed by David Moreau & Xavier Palud. 2/1/08
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.
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 camera work, 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.
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. 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.
PG-13 (a couple of minor expletives, but I caught no harsh or obscene language; An irreverent use of Christ’s name and one of God’s; the angels of death are scary in appearance and cause show no mercy to their dying victims; people are caught in a burning factory; they die due to the flames and smoke; an explosion sends flying glass into a woman’s eyes, blinding her; we see a woman commit suicide by hanging; the film is loaded with frightening and disturbing imagery; we see blood coming out of a woman’s eyes several times; the lead appears in a shower scene, but her nudity is hidden. The lead drinks from a bottle of sherry in order to steady her nerves; the emissaries from another realm are frightening, with hostile attitudes toward the living).
Running Time: 97 min.
Intended Audience: Mature teens and above
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.
EXPELLED: NO INTELLIGENCE ALLOWED
FILM SYNOPSIS: This investigative documentary probes
the snubbing of scientists and teachers who teach the theory of intelligent
design. Ben Stein, who’s had an eclectic career ranging from
presidential speech writer to droning actor (he played the blaze teacher in Ferris
Bueller’s Day Off), hosts this outing of those determined to prevent
the creationist hypothesis. Mr. Stein interviews respected scientists
and teachers who have lost their jobs and/or careers because of their desire
just to be open to ideas other than evolution.
REVIEW: With touches of cynical humor and moments of thoughtful reasoning, the filmmakers take on a system that has long since said that there is no place for the concept of intelligent design outside Sunday morning worship. Indeed, in the halls of prejudicial academia, spiritual matters have become archaic. And when someone has the nerve to test the theory that man came from fish in the sea or apes in the trees or a big cosmic bang, not only are they ridiculed by many in the field of science, they are also ridiculed by the media (hence the overwhelming negative reviews from the secular press).
What an eye opener this has been. Movie critics, so proud of their liberal and objective stances, are clearly dominated by personal views and agendas. After reading some of the poisoned-pen smears of this film by many of my colleagues in criticism, I have come to the conclusion that they demand not only separation of church from state, but of church from anything. Their so-called open-mindedness only extends so far as to the boundaries of their own beliefs.
I must point out that there are exceptions to that previous statement. I know people in the press who are positive role models for the term “liberal,” in that they debate, but also listen to the views of others. They are, however, few and far between.
Admittedly, the film has an agenda. It mocks the narrowness of man’s all-knowing, all-seeing intellect conceit. Stein and his team use any means to make cartoons of evolutionists, including the actual use of cartoons to do it. Stein attacks them much the way Michael Moore does everyone else. Of course, Moore’s tactics are generally accepted as filmmaking tools to make an entertaining point. Stein’s, however, are mocked as amusement and denounced as disingenuous and deceitful.
The makers of Expelled are using the very stratagem documentarians have used to puncture Detroit, McDonald’s and church hierarchies. Ah, the evolutionary worm turns. The film is thought-provoking, amusing and scary because it points out that our nation’s schools, which once embraced a reverence for God and spiritual concepts, are now manned by those who don’t.
PG (a couple of minor expletives, but I caught no harsh or crude language; concentration camp victims are displayed in one scene; it is a harrowing image; this could be very disturbing for children; there are a few violent scenes taken from old movies to make a point; these are fairly tame; frightening moment: Bill Maher states matter-of-factly that religion should be regulated).
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