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Movie Reviews From A Family Perspective
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Facing
the Giants
Failure to Launch
Family Affair (DVD)
Feast Of Love
Final Inquiry, The (DVD)
Final Season, The
Firehouse Dog
Firewall
Flags Of Our Fathers
Flicka
Flushed Away
Flyboys
Flywheel (on DVD)
Fools Gold
For Your Consideration
Freedomland
Fred Claus
Fun with Dick and Jane
Starring (all volunteer cast): Alex Kendrick; Shannen Fields; Steve Williams; Bailey Cave; Jason McLeod; Tracy Goode; Chris Willis; Jim McBride; Mark Richt
An Associated Press story recently highlighted some controversy surrounding the upcoming movie, "Facing The Giants," which releases September 29th from Sony Pictures. On one side of the issue are the film’s producers, who say they were told by the Motion Picture Association of America (MPAA) that the movie earned the rating due to it's explicit religious content. On the other side, the MPAA, who denies that the film’s blatant Christian message is the reason for the rating.
The MPAA gives a movie a PG rating for material that may not be suitable for children, and in the article, AP writer Sam Hananel reported that MPAA Chairman and Chief Executive Office Dan Glickman cites the film's "mature discussion about pregnancy" as one example of mature material that earned the film a PG rating, adding, "It also had other mature discussions that some parents might want to be aware of before taking their kids to see this movie."
Since I’ve actually watched the movie, let me shed some light on the film’s possible "mature elements" that are a concern to the MPAA.
There's not a word of cursing in the movie. None. Zip. Zilch. Nada. Not even a diddle or a dang. The talk of pregnancy (or lack of pregnancy for Coach Taylor and his wife) doesn't even include the use of the word sperm. That's mature in a good way, and less explicit than most prime time network programming. There are television commercials for bathroom products that are more offensive than anything you'll see in this movie.
We see a kid who wears his disdain for his father like a badge, until the coach points out that he's being disrespectful and that to honor God he should honor his parents. The son has a change of heart and actually apologizes to his father - in his office and in front of a business colleague - and promises to change his behavior. That's a kind of maturity I think parents would want their kids to witness.
We see kids with poor attitudes buck up and take on responsibility and leadership while remaining normal teens. A little kidding around in the classroom, a little whining or doubt here and there in a honest teen fashion, mixed with a heavy doses of "do the right thing" when the chips are down. When we tell our kids to "grow up" this is what we mean.
The football scenes are shown in a most non-violent way. They're exciting and intense, but there aren't extreme hits with helmets flying off or bones cracking. That the film's football scenes are violent is ridiculous; if that's mature violence then "Bambi" needs a PG rating.
And as for that religious content? You need to understand that this film is about a Christian man who coaches football at a Georgia Christian high school. They talk about faith and God and Christ because that's what Christians do with other Christians, especially at a Christian school. It's not religious propaganda any more than "Pirates of the Caribbean" is advertising meant to lure young kids into a life of piracy. It just is what it is: A story about a bunch of Christians doing what Christians do with other Christians.
Coach Taylor has problems (boy, does he have problems) and it's a David vs. Goliath tale on many levels. Comparisons to "Remember the Titans" are inevitable, but this is a much different film. Rather than just tell a story about a team overcoming obstacles it offers a realistic look into the lives of thousands of Christian Americans - those people in the red-state, fly-over country that Hollywood loves to stomp on. Yes, Virginia, these people really do exist, people who love God and country, who aren't out to bash liberals or force Jesus down anyone's throat, people who get up and go to work and live decent, hardworking lives because their faith drives them to honor their God and praise Him in both good and bad times.
In true fairy tale fashion, the little guys conquer the giants, but the tale is told in a most unHollywood-like fashion. In fact, the film is the product of Sherwood Baptist Church. Brothers Alex (who portrays Coach Taylor) and Stephen Kendrick raised $100,000 from within the church and used a group of volunteers to make the movie. Talk about little guys taking on giants.
"Facing the Giants" is a simple story about average, everyday Americans with an uplifting and clearly biblical message. It's well made, well acted and well written, especially when you consider the filmmakers’ humble resources. There's nothing offensive in the movie, unless you're offended by Christians. Even then, you should check out the movie, if only to see that your stereotype of Christians is probably all wrong.
For more information or to watch the film's trailer, visit www.facingthegiants.com
Matthew McConaughey, Sarah Jessica Parker, Zooey Deschanel, Justin Bartha, Bradley Cooper, Terry Bradshaw and Kathy Bates. Paramount Pictures.
Tripp (Matthew McConaughey) is 35 and lives at home with his parents. He makes a good living selling boats, but has always had some reason for not leaving the nest. Finally, out of frustration, his parents hire a gorgeous lure (Sarah Jessica Parker) who makes her living getting men who suffer from “failure to launch” as she puts it, to fall for her, then subtly gets them to fly the family coup.
Dying is easy, comedy is hard. And trying to find a fresh slant on the man/woman relationship is nearly impossible. These are the two mountains director Tom Dey had to climb, all the while pulling a game cast behind him. But the mistake that doomed his production was made at the outset – dishonesty. For there is not one honest, real emotional tug in the entire film. Well, now wait, the audience was touched when the comic sidekicks, trying to scare off an annoying mockingbird, accidentally shot it square in the chest with a bb gun. Seeing feathers fly and the film’s thematic symbol fall to the ground, we all let out a heartfelt “ahhh.” But even that moment had an untrue payoff when the bird is given CPR, recovers and reeks havoc before flying off. “Did I say, CPR – on a bird?” Yes, for this is a love story peppered with slapstick and absurdity, two comedy staples that have been troublesome for comedic legends, let alone comic neophyte Matthew McConaughey.
I feel somewhat like a surgeon about to operate, but while examining the film’s failures, I realized that to fix this film, you’d first have to gut it like a fish. Take warning, the following critical procedure is going to be messy.
Let us begin with this gal’s profession. I’m not sure what the Yuppy name is for her occupation. Let’s see, she deceives men into believing she cares for them, so that they’ll leave mom and dad and get a place of their own in order that the happy couple can live happily ever after. Only, when the guys fall for her and get their own places, she leaves them, her missions accomplished (this is implied, as we never actually see the completion of her business arrangements). What would you call such a profession? I know what you’d call the woman…the leading lady. Ha, you thought I was going to be like, all crude, right?
Then there’s the leading guy. Handsome, successful, clever, a real catch, but whenever a girl gives him the “look,” a glance that reveals a desire to take the relationship to a more substantial level, he takes them home to have sex. In the morning the unsuspecting female/victim discovers he’s living with the folks. In a huff, the girl always leaves, thereby ending the relationship without him having to bother with unsightly breakup scenes. (The script is careful not to be explicit with just how uncaring these two really are.)
This is a romantic comedy, therefore we all know at the outset that the two leads are going to get together. So despite their shallowness, they’re going to become finer people. But I’m not sure they really do. They fall in love, so they realize their behavior to one another has been atrocious – but at no point do they seem repentive toward others they’ve wronged. In other words, it’s okay to use and abuse people, just not the ones we choose to call loved ones. Now, that’s a fine moral distinction for a film’s protagonists.
Next, we have Zooey Deschanel (Elf, Winter Passing) playing Sara Jessica’s cynical roommate. She uses her deadpan scoffing humor to great success. She’s funny. She’s also foul. She curses throughout the film and uses Christ’s name as a mere expletive for releaving frustration. She even profanes God’s name twice in her introductory scene. (There’s a real mood setter for a romantic comedy; the incorporating of God’s name followed by a curse.)
Then there’s the film’s foundation – men who live with their parents. Guys living at home has been a running gag on TV and in films for years now, it being a plot device that lets us know they’re losers. How these poor souls have escaped political correctness is beyond me, for the humor is cruel and often unfairly labeling. But we’re a society that needs someone to cast aspersions upon. And no other sect or group will let us do that.
Last and least, is the film’s humor. Bawdy sexual comments abound, supplemented by another comedy staple, the painful mishap. The tiresome and out-of-place slapstick runs the gambit from bicycle and boating mishaps to wilderness creatures biting the male lead because as we’re eventually told he’s not at one with nature. Some of these gags work. And comedy being what it is, you may enjoy the ones I didn’t. But by Act Two, my giggles changed to groans, and the laughter from other audience members seemed strained, as well.
It’s slick, hip, yet somehow shallow and disconnected. Looking for something affirmative to say about the film, I keep coming back to the title. It’s a good title. But the premise and execution are like the promise of a firework that ultimately fizzles.
PG-13 (no bodily function humor, but the film is filled with sexual innuendo and suggestiveness; Nearly ten rough swear words, mostly the s-word which has become the equivalent of “darn it” in today’s cinema; the male lead also curses, using the f-word once; God’s name followed by a curse is heard 4 times, as well as Jesus’ name misused the same amount. The expression “Oh God” is heard 3 times; Several slapstick situations involving falls off bicycles, boats and mountain cliffs, plus the male lead beaten by three members of the animal kingdom; a graphic sexual situation under the covers; an implied situation between the two leads; sex outside marriage is treated casually in this film, an accepted lifestyle; We see the lead’s father, a bald, fat man unclothed from behind in a comic scene; One implied joke about a man who lives at home but stays often with his male friends. The female lead has a rule that she tells her clients – she doesn’t sleep with these men. However, when she’s about to be dumped by her latest “project,” she seduces, then stays the night with him; Bawdy sexual dialogue is heard on several occasions. A 8-year-old tells the lead that a certain lady is a lesbian. The boy has several other scenes where he discusses sexual matters, all meant to be amusing; the leads drink wine and beer on several occasions; I felt it is a film weak on message and moral.
In 1966 Family Affair, perhaps the gentlest family comedy ever, premiered on CBS. The sweet-natured sitcom had Brian Keith playing bachelor Bill Davis, an engineering consultant who lives in a posh Manhattan apartment with his proper English butler, Mr. French (Sebastian Cabot). Davis’ carefree existence is turned upside-down when his brother and sister-in-law die suddenly in a tragic plane crash, leaving their three children orphaned. Davis becomes an instant father figure to 6-year-old twins, Buffy and Jody (Anissa Jones, Johnnie Whitaker), and their big sister, Cissy (Kathy Garver). Through humorous trial and error, coupled with big doses of love and patience, the five become a real family.
Family Affair Season One debuts on DVD from MPI Home Video on June 27. The box set contains all thirty episodes from the first season on five discs, plus never-before-seen bonus features. Produced by Don Fedderson (My Three Sons) throughout its five-year run (1966-71), it was one of the first TV shows to air in color
Kathy Garver played elder sister Cissy after appearing in The Ten Commandments (1956) and The Bad Seed (1956). The effusive actress was asked how she thought this generation would react to the decades-old cute comedy. “I’m constantly asked ‘When’s Family Affair coming to DVD?’ I think the values people remember from the show are ones they want to pass on to their children or grandchildren. They were stories about people who loved each other and showed it. Back in the turbulent ‘60s, shows like Family Affair were a refuge. This was a gentle, loving, sweet show, one that always taught a moral. I think there are still TV viewers who will embrace those qualities.”
Anissa Jones played Buffy on Family Affair. Buffy and her best friend, Mrs. Beasley, quickly became overnight sensations to the delight of little girls nationwide. From lunch boxes to paper dolls, Anissa Jones’ likeness was everywhere. She also had a featured role was in 1969’s The Trouble With Girls, opposite Elvis Presley.
Johnnie Whitaker was hand picked by Brian Keith to play Buffy’s twin brother, Jody, after Keith starred with him in The Russians Are Coming, The Russians Are Coming. After Family Affair, he co-starred with actress Jodie Foster in the Disney flick Tom Sawyer (1973) and on the Saturday morning kids’ show Sigmund and the Sea Monsters.
Both Anissa and Johnnie later had problems with the pressures of show business -- Anissa, sadly, losing her battle with drug use. Asked about the two-edged sword of fame, Ms. Garver responded, “I think you need a very strong family that does not use the child as the bread winner. There are many temptations in that industry. And if one doesn’t have the wherewithal to combat them, unfortunately, they’re going to succumb.
“If the child likes to act and has a talent, then go for it. But he or she shouldn’t be pushed into it. Unfortunately, Anissa was.
“Paul Peterson (The Donna Reed Show) has a wonderful organization called A Minor Consideration that offers guidance for the parents of youngsters who have entered show business. The organization is designed to help kid actors deal with the pressures of fame and publicity.”
And what’s up for the former big sister of Jody and Buffy? “I do a lot of audio books and voice overs. One big project coming up that I’m excited about is a recording of the King James New Testament, with James Caviezel (The Passion of the Christ) supplying the voice of Jesus. And I’m going to be doing a TV series called TV Dinners, an interview/cooking show she that will feature among other guests, former child stars. Kathy has also started The Family Affair Foundation, its function is many fold, including reading to the elderly and to children who need help in reading.
Want to know more about Kathy? Visit her at her site: www.kathygarver.com
Morgan Freeman, Greg Kinnear, Selma Blair, Radha Mitchell, Alexa Davalos. Drama. MGM. Written
by Allison Burnett, Charles Baxter. Directed by Robert Benton. Opens
9/28/07.
FILM SYNOPSIS: From venerable, multiple Academy Award winning director Robert Benton (Kramer Vs. Kramer, Places in the Heart), comes a kaleidoscopic ode to life and love. In a coffee shop in a tight-knit Oregon community, local professor Harry Stevenson (Academy Award winner Morgan Freeman) witnesses love and attraction whipping up mischief among the town’s residents. From the unlucky-in-love, die-hard romantic coffee shop owner, Bradley (Academy Award nominee Greg Kinnear), who has a serial habit of looking for love in all the wrong places, including with his current wife Kathryn (Selma Blair) who leaves him for a lesbian lover; to the edgy real estate agent Diana (Radha Mitchell), who is caught up in an affair with a married man (Billy Burke) with whom she shares an ineffable connection; to the beautiful young newcomer, Chloe (Alexa Davalos), who defies fate in romancing the troubled Oscar (Toby Hemmingway); to Harry himself, whose adoring wife (Jane Alexander) is looking to break through his walls of grief after the wrenching loss of a beloved son, they all intertwine into one story in which no one can escape being bent, broken, befuddled and ultimately redeemed by love’s inescapable spell.
REVIEW: With its erudite script, masterful directorial detail, and outstanding cast headed by the superb Morgan Freeman, Feast of Love is a potent, hard-hitting tale of love, betrayal and the resilience of the heart. Alas, the “grownup” themes of lesbianism and adultery are handled with even less shyness than the many actors who depict various sexual activities as if they were making an adult video. Indeed, most everybody is seen without clothes and enacting sex in explicit detail.
I was moved by characters dealing with betrayal and the loss of love, as people discover the need for forgiveness, but the abundant sexual activity and the profane language doused the lessons with an air of decadent hedonism. Simply put, it is excessive. And once again the new morality is reinforced with depictions of people going to bed with each other on the first date, marriage vows broken with all the guilt of one who constantly runs red lights, and spiritual matters often falling outside biblical teaching.
R (a few crude sexual remarks, mainly from a villainous character; around 20 obscene words; Around ten profane uses of God’s name; a drunken man threatens a woman with a knife; a brief skirmish where a good man scuffles with a knife-bearing drunk; a woman is slapped; a man dies suddenly; loss of a child is discussed; to earn money, a young couple makes a porno movie; several graphic sexual situations; both male and female nudity; two women are seen in bed kissing and caressing one another; many sexual discussions).
Running Time: Around two hours
Intended Audience: Adults
THE FINAL INQUIRY (on DVD February 19, 2008)
The story begins three years after the crucifixion of Jesus. Rumors that He is a prophet who has risen from the dead are inciting the people to rebel against the Roman empire. In an effort to control the unrest, the Roman Emperor recruits a formerly exiled, clever and disenchanted investigator to disprove the story. As the search is aided by a beautiful, young Israeli woman and hampered by Governor Pontius Pilate, a proud, honest Roman hero is drawn deeply into a deep realm of love, honor and spiritual understanding.
REVIEW: Epic sword & sandal movies need an epic budget in order to give the action sequences a potent effect. Here the Final Inquiry loses the battle. The sword fighting scenes looks like rehearsals, with the actors moving like kids at their first dance. That said, the filmmakers still manage to make it look excessively violent. But the bloodletting skirmishes fail to give either a realistic or arm-grabbing effect. This is one area where filmmakers attempting to declare Jesus as the Savior fail miserably. Their production values often disappoint.
That’s the bad part. There are positives. The acting is sincere and the production causes viewers to think. It answers questions such as; “was there a cover-up?” and “did the disciples steal Jesus’ body after the crucifixion?” Ultimately, the film presents a profound declaration of who Jesus is and the effect He has on friends and foes.
Directed by Guillio Base, starring F. Murray Abraham, Daniele Liotti, Dolph Lundgren, Max von Sydow, and Monica Cruz, the DVD from Fox Home Entertainment includes a making-of featurette.
DVD Alternative: The Robe. Based on the Lloyd C. Douglas novel about a Roman centurion who wins Christ's robe in a dice game. Soon his life and that of his slave are changed as they discover Jesus to be the Savior of the world. We see Jesus through the use of long shots and camera angles that focus the attention not on an actor portraying Christ, but on the people who came into His presence. This method was effectively used, giving the story a great dignity. Richard Burton was nominated for an Oscar, but Victor Mature steals the picture with a moving performance as the converted slave, Demetrius. The depiction of the early church and the life-changing power of our Lord make this film worth viewing. Other well-made productions on the life of Christ: Ben Hur, Jesus of Nazareth, The Passion of the Christ(R-rated, not for kids or the squeamish, but a detailed look at what Christ physically underwent on our behalf), Cotton Patch Gospel (a musical comedy/drama placing the Gospel of Matthew in modern-day Georgia; ask your Christian bookstore to order it from the Bridgestone Production Group).
Sean Astin, Powers Boothe, Rachael Leigh Cooke, Michael Angarano, Tom Arnold.
Yari Film Group. Directed by David Mickey Evans. Opens 10/12/07
FILM SYNOPSIS: Directed by David Mickey Evans (The Sandlot), The Final Season is based on the true the story of a small-town baseball team facing insurmountable odds. Tradition in Norway, Iowa (pop. 586) can be summed up in one word: baseball. From father to son, generation to generation, this high school David exists to defeat Goliaths ten times its size. As Coach Jim Van Scoyoc (Powers Boothe) leads the team to its 19th State title, it seems following it with a 20th is a foregone conclusion. The unexpected strikes when bureaucracy intercedes, merging the town with another. Petty jealousies and political designs conspire to rob Norway of its heritage and a 20th championship. Making matters worse, legendary coach Van Scoyoc is fired and replaced with a one-season assistant coach, Kent Stock (Sean Astin) – a move that seems to guarantee the team’s failure. The Final Season is a film about the sudden nature of change, the identity of a small town and the strength that brings out the best when we need it most.
REVIEW: By now you know my feelings about sports movies. It’s a limited genre, with each film seemingly containing the same themes – about underdogs and team effort and finding yourself, etc. But once in a while a visionary brings such style and finesse to a sports film that you can’t help but root for the team during the final game. Director David Mickey Evans has achieved this with The Final Season. Solid performances, an involving true story, and well-paced direction place this baseball film up there with The Rookie, Pastime, Field of Dreams and a few others that touch something fundamental within viewers.
Here’s an example of director Evans’s ability. Keep in mind, we are talking about baseball, a sport renowned for its moments of slowness, where there seems little to do but watch the players scratch and spit. But Evans doesn’t give us a chance to get bored. He uses every technical and editing trick known to filmmakers in order to keep the game footage engrossing and energized. He not only has a heart for the game of baseball, but an ear for dialogue and an eye for detail when it comes to filming such stories. The filmmaker also manages to relay the nostalgic effect high school sports has on the psyche of a small Midwest community. In an era where social change happens by the second, Evans helps us reconnect with values we share with each generation. As Coach Jim Van Scoyoc says in the film, “It's the only game on Earth where the object is to get home.”
Two nights after I saw this film, I found myself in a very small Kansas community at a Friday night high school football game. My brother’s son was playing and I attended, not as a sports enthusiast, but wanting to support my nephew. Well, the night couldn’t have been more perfect. Perhaps the best weather I’ve experienced in Kansas. Absolutely perfect. We were surrounded by committed Friday night attendees in a community where sports, be it baseball, football, or soccer, is all. And to top off the evening, every so often a distant train could be heard passing on its melancholy way. I sat there thinking, “I’ve seen this in movies a dozen times.” And I can tell you, the producers of The Final Season got it right.
Click here to read a bonus interwiew with the director and star of The Final Season.
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Josh Hutcherson, Bruce Greenwood, Bree Turner, Dash Mihok. 20th Century
Fox. Family comedy. Written by Clair-Dee Lim, Mike Webb, Michael Colleary. Directed
by Todd Holland. 4/6/07
FILM SYNOPSIS: A movie star dog (the star of The Fast and the Furriest and Jurassic Bark) gets lost, then found and taken in by the son of a fire chief. The 12-year-old has issues mostly brought on by the sudden death of a beloved uncle and a distant father who masks his sadness with work. But soon the once pampered pouch proves himself a valuable asset to the fire station, helps reunite father and son, and then aids them in detecting the culprit of a recent batch of arson fires.
REVIEW: Despite the comedy antics aimed at the eight-year-old set, Firehouse Dog manages to bring a smile to the faces of accompanying adults. Cornball, to be sure, but somehow satisfying, it addresses life issues while cramming in kid-pleasing screwball humor and lively action.
PG (some mild crude humor and language; when the dog belches, the boy calls it a mouth fart; the dog fluctuates several times; a couple of mild expletives but no harsh or profane language; an arsonist is the cause of a man’s death; he threatens the boy; there’s an explosion and the boy and dog are trapped in a burning building; there are a few other action sequences played for drama, but overall, the material is handled with discretion by the filmmaker; the boy’s father has a beer in one scene; while much of the film is gentle slapstick humor, the film also deals with serious issues such as the loss of a loved one).
Running Time: 102 min.
Intended Audience: Family
Harrison Ford, Virginia Madsen, Mary Lynn Rajskub, Robert Patrick, with Robert Forster and Alan Arkin. Action/suspense. Written by Joe Fort. Directed by Richard Loncraine.
Good guy Jack Stanfield (Harrison Ford) is a trusted computer security executive for a prestigious banking institute. Bad guy Bill Cox (Paul Bettany) has been studying Jack and his family for the better part of a year. This white collar thief has been methodically infiltrating every aspect of Jack’s identity, and now Cox is ready to make good on his investment. See where we’re going?
I’m sure real computer security experts would find the plot laughable, but then again, if they knew everything, how come they can’t prevent us mere mortals from getting new software viruses each and every week? My point: maybe a bank exec and a thief can siphon off $100 million by way of a computer hack job. Feasible or not, Firewall is engrossing and intense, a true actioneer for grownups.
That said, be cautioned: filmmakers find it too tempting to portray a psycho-thief these days without revealing his gruesome side. Most of Hitchcock’s villains were menacing without being allowed to bombard the audiences with excessive bloodlust. But filmgoers have come to expect, perhaps even desire the depiction of bloody gunfights, and even bloodier fistfights from today’s cinematic thrillmeisters. And director Richard Loncraine makes sure we get them. And even though Mr. Ford is reaching Grandpahood, he’s still an action figure, so he gets to go all fisticuffs with the movie’s nutcase. There’s even a fierce, drawn-out finale fight scene that has our sexagenarian hero pushed over balconies and through windows, then stomped on, all barely winding him. Mr. Ford is like your dad’s Timex – he just keeps on ticking.
While I appreciate Harrison Ford’s screen persona, his character in most of his films profane God, then use the name Jesus as if it were designed for the soul purpose of relieving frustration. Though this writer has little right to throw stones at other glass houses, still the steady practice of incorporating irreverence to our Creator in nearly every film an actor makes deserves mentioning. It says something about that performer’s philosophy of spiritual matters. Here the lead does it at least ten times.
PG-13 (10 or more profanities, 12 or so obscenities; as well as the psychological brutality, the family, including kids, are pushed about and threatened with death several times; there are several up-close murders; a couple of extensive fight scenes; casual drinking in a bar, once; though it is an exciting game of wits, it’s extremely violent in both action and mood. There is one side character who is a Christian. We even see him at a church function. Though his religion is not ridiculed, he is).
The
ensemble cast of Flags of Our Fathers includes Ryan Phillippe (Crash), Jesse
Bradford (Happy Endings), Adam Beach (Windtalkers), Paul Walker (Into the
Blue), Jamie Bell (Billy Elliot), Barry Pepper (Saving Private Ryan) and
John Benjamin Hickey (Flightplan). Clint Eastwood directed Flags of Our Fathers
from a screenplay adapted by William Broyles, Jr. (Cast Away) and Oscar® winner
Paul Haggis (Million Dollar Baby, Crash). Eastwood also produces,
along with Steven Spielberg (Saving Private Ryan, Schindler’s List),
and Rob Lorenz (Mystic River). Opens 10/20/06
I understand one of the weakest areas of education in America is the study of history. You keep hearing these horror tales where high school seniors can’t name the father of our country or tell you where the Civil War was fought. So when Hollywood reenacts a time in our past, well, let’s just say, the medium redeems itself.
Mr. Eastwood and Mr. Spielberg can sleep well, knowing they have made a masterpiece that succeeds on many levels. First, they further point out the message that much of history is built on, a theme John Ford addressed in The Man Who Shot Liberty Valance – “When the legend becomes fact – print the legend.” The legend here is the famous photo of the flag-raising on Iwo Jima. In reality, the propagandistic photo was the second picture taken. According to the film, the first flag, placed by other men, was taken down and given to a politician. As the second flag was hoisted, the perfect picture was taken, sending waves of patriotic hope throughout America.
Second, the artistic and technical merits stand out as the screenplay scrutinizes the guilt-ridden lives of those in the picture. Mr. Eastwood’s vision gives us a thoroughly involving examination of men taken over by war and publicity.
Thirdly, the filmmakers justly inspect the nature of heroics. At first, the viewer may think the film is another in a long line designed merely to correct history books by tarnishing American folklore. But I don’t believe that’s the film’s intent. While it blows away a fairytale definition of heroism, the film really exposes the heroics submerged in the average person.
In WWII, Americans had to put their own interests on hold, along with the rest of the world, in order to defeat evil’s last obvious effort to destroy the soul of man. (Since then the father of all lies has become more savvy.) The film makes it clear that in battle a man is not fighting for his country. He’s doing his best to stay alive. That said, the majority of men in battle press forward while still trying to stay alive. They aren’t running back. Indeed, they press forward, stopping just long enough to help others begging for comfort.
And lastly, the film justly declares war to be a tragedy. While one side may win, everyone involved pays a life-long price. Those who go to battle are destined to be scared whether physically injured or not. It’s bad luck to have to go to war. It’s easier to be born at a time when your character doesn’t have to be tested under the fire of machine guns and hand grenades.
Trouble with this antiwar message, it’s normally viewed in movie theaters by those who don’t start the conflict. The madmen of the world are not affected by such sentiments or realities. So the lives of Average Joes are forever altered by madmen they’ve never met. They no longer control their own destiny. Madmen do.
Films such as Saving Private Ryan, We Were Soldiers and now Flags of our Fathers remind us of how lucky we are for seasons when madmen do not rule and how grateful we should be for Average Joes, the heroes, who defend us when madmen do.
R (around 30 obscenities, as many minor expletives, a couple of crude jokes about masturbation and 20 profane uses of God’s name and Christ’s; though the violent wartime action is not meant to be exploitive, but rather used to recreate realism, beware that it is graphic and plentiful; we see things such as a severed head, mangled bodies and the result of a hand grenade on the bodies of Japanese soldiers in a cave; there are many other such visuals difficult to take in; a great deal of blood; some drinking; one of the soldiers is an alcoholic; we see how this abuse aids in the early death of this man). Running Time: 125 min. Intended Audience: Adults.
For more info visit: www.flagsofourfathers.com
Alison
Lohman, Tim McGraw, Maria Bello, Ryan Kwanten. 20th Century Fox. Family adventure/drama.
Written by Mark Rosenthal & Lawrence Konner, based upon the novel “My
Friend Flicka” by Mary O’Hara. Directed by Michael Mayer. Opens
10/10/06.
Here’s a remake they got right. Oh, there’s nothing new being said, and certainly it was said with real panache 50 years ago when Elizabeth Taylor first got on the Pie (National Velvet), but a new generation of 13-year-old girls, and maybe even their male counterparts, will find this absorbing and relatable. I say that with such authority because our screening audience was filled with teen and preteen girls and they seemed to be relating and absorbing. True, not many boys in the audience, but with all the rodeo action and wild Wyoming locales, I believe they will find the proceedings worth their time.
Though parental units may occasionally lift an eyebrow at the vehement voices of adolescent revolt, the film portrays positive family relations and is replete with valuable life lessons. I enjoyed this film and found it to be the best horse-and-her-girl movie since National Velvet.
PG (three or four minor expletives (damn and dang), but the filmmakers avoid harsh language; the expression “Oh my God” is heard twice when the horse is injured, but no profane use of God’s name – or of His Son’s; a mountain lion threatens the girl, but she is protected by Flicka; later, the horse is attacked by the bobcat; we see this attack, but the filmmakers avoid excessive brutality; attempting to tame the wild mustang, Katy gets bumped around and scratched up a bit, but again, the filmmakers are trying to make the story exciting without excessive violence; teenage attraction leads to some kissing; there is some teen disobedience, but the family proves to be loving and caring). Running Time: 96 min. Intended Audience: Family
For more information visit: www.flickamovie.com
From DreamWorks Animation and Aardman Features, the teams behind the Oscar®-winning hits Shrek and Wallace & Gromit: The Curse of the Were-Rabbit, comes the computer-animated comedy Flushed Away. Blending Aardman’s trademark style and characterizations with DreamWorks’ state-of-the-art computer animation, the film marks a unique new look for the artform.
In this new comedy set on and beneath the streets of London, Roddy St. James (Hugh Jackman) is a pampered pet mouse who thinks he’s got it made. But when a sewer rat named Sid (Shane Richie) - the definition of “low life” - comes spewing out of the sink and decides it’s his turn to enjoy the lap of luxury, Roddy schemes to rid himself of the pest by luring him into the loo for a dip in the “whirlpool.” Roddy’s plan backfires when he inadvertently winds up being the one flushed away into the bustling world down below. Underground, Roddy discovers a vast metropolis, where he meets Rita (Kate Winslet), a street-wise rat who is on a mission of her own.
If Roddy is going to get home, he and Rita will need to escape the clutches of the villainous Toad (Sir Ian McKellen), who royally despises all rodents and has dispatched two hapless henchrats, Spike (Andy Serkis) and Whitey (Bill Nighy), as well as his cousin - that dreaded mercenary Le Frog (Jean Reno) – to see that Roddy and Rita are iced… literally. Flushed Away is being directed by David Bowers and Sam Fell. Opens wide 11/3/06.
When I heard the title, I thought, “Okay, how crude is this one going to be while in the guise of being a family animated comedy?” But I haven’t been this surprised by a film in a long time. It is sweet, good-natured, clean, and very, very funny. It reminded me of the Wile E. Coyote cartoons, not simply because it’s loaded with the same slapstick buffoonery where the pompous and the dastardly get pummeled, but because it is so obvious that the filmmakers are having a blast.
Most animated films aimed at kids, yet desiring to appease accompanying guardians, have a tendency to inject their work with several current pop culture references. In Flushed Away, we not only get these iconic giveaways, but a few that only us old-timers will remember, such as a quick tribute to the ‘60s Batman TV series. One of the funniest comic cameos was a reference to Finding Nemo. As Roddy is caught in a quick-moving flush of water, he passes a small fish who asks him, “Have you seen my dad?” It didn’t get much of an amused response from my screening crowd. I wasn’t sure if that was because it went by so quickly, or if the reference was already dated, Finding Nemo having come out a whole three years ago. But I got it and wasn’t shy about laughing out loud. Indeed, I laughed out loud a lot.
I might hesitate to put it alongside the classics (Finding Nemo, Toy Story, Shrek), but of all the animated films this year (and there were a bunch and still more to come) Flushed Away tickled my funny bone the most. I could tell and loved the fact that the filmmakers made a point that friendship and family are more important than possessing things. At the same time they follow the standards of Chuck Jones and Loony Tunes – make ‘em laugh.
PG (though it avoids most sophomoric humor, it does contain a few moments parents may raise an eyebrow to as their little ones giggle; the sewer rat is a crude fellow who belches; some of the slapstick humor involves hits to the groin, a couple of jokes are mined from religious parody (but nothing hostile or sacrilegious), and the inevitable flatulence joke; much of the action is cartoonish slapstick and the heroes are often in peril, but the filmmakers are mindful of little audience members).
James
Franco, Jean Reno. MGM Written by Blake T. Evans, David S. Ward, Phil Sears.
Directed by Tony Bill. 9/22/06
Flyboys is the World War I aviation film inspired by the courageous tale of the American young men who would become known as the legendary Lafayette Escadrille. They were ordinary boys who went to France and volunteered for the first World War before America got involved.
It most likely won’t be considered a classic because it lacks an emotional punch, the acting is only so-so and the fighting sequences are more video arcade game than true depiction of men at war. There’s a love story and we see several characters die who we have gotten to know, but everything seems superficial, by the numbers. James Franco, unable to shake his James Dean wannabe persona, is a fine actor, but far too limited in his emotional range. If he takes acting seriously, he may become a true thespian, but will Hollywood still be calling by that time? And though the film’s action sequences are mesmerizing, they often look too computerized and game-like. Fourteen-year-old boys will think the flying debris and the bullet-riddled bodies are awesome, or cool, or whatever the colloquialism of the day is, but fourteen-year-old boys shouldn’t be thinking WW1 is a game by Nintendo.
My last complaint is the language. On the one hand, the filmmakers deserve credit for creating dialogue sans the now customary amount of obscenity. To punctuate frustration, there’s a damn here and a hell there, but the two main obscenities featured in every genre from romantic comedy to, well, war films, are thankfully missing, proving people can complete a simple declarative sentence without the aid of the S- or F-words. The only offense is the one misuse of God’s name. Wouldn’t you know it. While only one use of God’s name followed by a curse may seem like Hollywood on its best behavior, I question why it had to be there in the first place. It was obvious that the writer/director wanted to tell the story without incorporating the F-word. So why include the profane use of God’s name?
Okay, those are my objections. There are also positive elements to this film. It is about honor, comradeship and love. What’s more, one of the pilots is a devout Christian; he’s not a buffoon, nor is he ridiculed. And on top of that, Philip Winchester, who plays Jenson, another flyboy, is a Christian in real life. I was able to speak with him recently via a telephone interview and found him to be sound in his gospel belief and level headed. Philip has several upcoming projects soon to be released. I warned him that his life will change. He is well aware that he will be bombarded by the usual temptations and superficial glitz normally thrust upon new movie stars. He has surrounded himself with a core group of men in the entertainment community who share his spiritual beliefs. From my brief talk with the 25-year-old who studied acting in London, I found him not only sincere, but desiring to witness his faith.
Flyboys is entertaining with several positive messages and, with the exception of the one profanity, a clean film.
PG-13 (3 minor expletives and one profanity; there are several wartime battles; we see planes blown apart and men shot up; one man loses his hand, but the scene is not graphic; one man, caught in a fire that will kill him, shoots himself – we hear the gunshot but don’t see the action; some blood as bodies are blown apart; shot down, two men are rescued and recover in a bordello; one man is seen with arms around two prostitutes, suggesting he is going to have sex with them, but we do not see the activity; the lead is relieved to discover that his angel of mercy is not a prostitute; one suggestive comment; there is a great deal of drinking, showing how these men dealt with the horrors they faced each day; one anti-war comment). Running Time: 120 min. Intended Audience: Teens and adults.
For more information visit: www.mgm.com/flyboys
FLYWHEEL (on DVD).FILM SYNOPSIS: From Alex Kendrick, the director of Facing the Giants, comes the award-winning family film Flywheel: Director’s Cut. Available on DVD November 13 from Sony Pictures Home Entertainment, the story concerns a used car salesman, Jay Austin (Kendrick), who will say anything in order to sell a car until the day he cheats his own pastor. Austin becomes disgusted by the masks he wears and lies he tells. While having a classic convertible repaired, the used car dealer begins a humorous and inspiring journey to win back the hearts of his wife, his son, and his community.
PREVIEW REVIEW: Last year, Facing the Giants proved to be the little movie that could. Made by church folk with a budget of $100,000, the spiritually uplifting film proved to be phenomenally successful, both financially and dramatically. And despite an even lower budget, Flywheel is also a phenom. Made before Facing the Giants, it has actually been previously released on video, but this new director’s version has been infused with some Hollywood glimmer with improved color and audio, as well as some edited scenes.
Admittedly, you have to suspend your cinema-going savvy, much the way you do when viewing a play or a vintage TV series, in order to overlook amateurish acting and some blatant, if sincere, manipulation in order to appreciate the production to its fullest. If you do, you’ll find the effort rewarding.
For anyone who has ever purchased a car, there has always been that nagging suspicion that we are being suckered. Indeed, after first leasing, then finally paying off my 1999 Pontiac Grand Am, I have come to the conclusion that I could have bought a Rolls Royce for approximately the same amount. So writers (and real-life pastors) Alex and Stephen Kendrick have picked the perfect symbolic character – a used car salesman – around whom to build a story of redemption.
Alex Kendrick gives a nice performance. It is heartfelt and believable, with touching lessons that give hope that God does indeed care for individuals and that He intervenes and blesses contrite hearts.
Though I’m honest and conscientious in my profession, viewing the film just made me want to strive harder to turn over my work and worries to our Heavenly Father. Though the film signals that your good deeds will someday be acknowledged by man, I’m not sure that’s always the case. However, the film points out that those deeds are seen by the One that counts. I was entertained and blessed by this production and will be viewing it again in order to remind myself that when we live on God’s terms, not our own, then we are truly successful.
Flywheel became a film festival favorite where it won numerous awards, including Best Feature Film at the 2004 Christian WYSIWYG Film Festival, the Bronze Crown at the 2004 ICVM Crown Awards, and Best Screenplay at the 2004 Sabaoth International Film Festival. The bonus features include deleted scenes, bloopers, a behind-the-scenes “making of” documentary, and a director’s commentary. Flywheel: Director’s Cut will be available for the suggested retail price of $19.94.
Matthew McConaughey, Kate Hudson, Donald Sutherland. Warner Bros. Pictures. Comedy Adventure. Written by John Claflin, Daniel Zelman, Andy Tennant. Director: Andy Tennant. Opens 2/8/08.
FILM SYNOPSIS: Ben “Finn” Finnegan (Matthew McConaughey) is an affable, modern-day treasure hunter who is obsessed with finding the legendary 18th century Queen’s Dowry—40 chests of priceless treasure that was lost at sea in 1715. In his quest, Finn has sunk everything he has, including his marriage to Tess (Kate Hudson). Just as Tess has begun to rebuild her life, working aboard a mega-yacht owned by billionaire Nigel Honeycutt (Donald Sutherland), Finn discovers a vital clue to the treasure’s whereabouts. Much to Tess’s consternation, Finn maneuvers himself aboard Nigel’s yacht and, using his roguish charm, convinces the tycoon and his celebutante daughter, Gemma (Alexis Dziena), to join him in the pursuit of the Spanish treasure. But they are not the only ones after the prize.
REVIEW: Good title, the scenery is beautiful and the leads are attractive. Shall we just leave it at that or do you want me to comment on the energy-less direction, the inaneness of the plot or the adolescent TV sitcom-like dialogue?
Stories of treasure hunters have become a genre unto itself. It’s a fun concept, but these folk stumble over treasure exiting their bedroom. It becomes laughable how easy these seekers come across dead men’s chests. With just a bit of screenwriting effort, the story and the characters could have contained more depth, more layers, more humor. But evidently studio moguls don’t require such screenwriting intricacies. Nor does a generation of moviegoers brought up on cable TV. Sorry, don’t mean that as an insult. We’ve just become too lackadaisical with our entertainment dollars. I would think people shelling out ten bucks a ticket would be more demanding. The amounts of money 27 Dresses, Meet the Spartans and Rambo are sucking in would indicate otherwise.
Now, about the film’s juvenile dialogue, let me ask: is the expression “oh my God” to be a movie-making staple much like the bouncing hand-held camera? I noticed it popping up in TV sitcoms beginning with Friends, where the irreverent phrase could be heard as many as ten times in a single episode. Now it’s used by every lightweight screen scribe (and performer). Well, I suppose it’s better than hearing the s-word every time a character wants to express frustration or insight. But that’s all these characters in this film say when a thought crosses their minds. I mean every character in the film says “oh my God” or variations of it. Oh, and they use the s-word, as well. What they don’t use is wit or creativity. When the dialogue is not crude or profane, it’s sophomoric. We’re more forgiving of such lazy scripting on television comedies. I can’t help it, I expect more from a movie writer than a television writer. So far this year, I’m not getting it.
PG-13 (around ten obscenities, mostly the s-word; as many minor expletives such as “damn” or “hell;” “Oh my God” is uttered at least 20 times; and the male lead profanes God’s name twice; he also utters “Jesus” once, and not in a reverential way; being a romantic comedy, the violent nature of the film seems out of place; the lead is hit in the head many times throughout the film; a man is shot to death at point blank range; another gets blown up; and another is pushed out of a plane, we see him fall to his death – most of this violent imagery is played for laughs; that may be the most disturbing part; lots of implied sexual situations, but no graphic situations; the lead couple, divorced, fall back into love, or at least lust at one point, having sex in a church basement; this is not shown in detail and the awkwardness of the situation is played for laughs; brief shot of party girl exposing her breasts; several women are seen in brief attire throughout; it is stated that the yacht’s two chefs are gay lovers; they have running commentaries about sexuality; there are no graphic sexual situations between them; lots of social drinking).
Running Time: 112 min.
Intended Audience: Teens and above
Christopher Guest turns the camera on Hollywood for his next film, For Your Consideration. The film focuses on the making of an independent movie and its cast who become victims of the dreaded awards buzz. Like Guest's previous films, Waiting For Guffman, Best In Show and A Mighty Wind, this latest project will feature performances from his regular ensemble, including co-writer Eugene Levy.
The cast includes Carrie Aizley, Bob Balaban, Ed Begley, Jr., Jennifer Coolidge, Paul Dooley, Ricky Gervais, Christopher Guest, Rachael Harris, John Michael Higgins, Michael Hitchcock, Don Lake, Eugene Levy, Jane Lynch, Michael McKean, Larry Miller, Christopher Moynihan, Catherine O'Hara, Jim Piddock, Parker Posey, Harry Shearer, Deborah Theaker, Fred Willard and Scott Williamson. Directed by Christopher Guest and written by Eugene Levy and Christopher Guest, For Your Consideration is a Castle Rock Entertainment Production and opens 11/22/06.
For those of us who follow the comings and goings of the showbiz elite (meaning we who watch Entertainment Tonight, Access Hollywood and the other ten or so daily programs dealing with movie and TV celebrity), Christopher Guest concludes with what we have all suspected right along – the famous are a silly bunch. Mr. Guest’s movie parodies that community with a searing wit, and he takes no prisoners. Every resident of Tinseltown is fair game, from Mary Hart to Charlie Rose.
There are moments in each of Christopher Guest’s films that are absolutely hysterical. Indeed, the take-off on Charlie Rose in this picture is simply genius, as the filmmaker pokes fun at Mr. Rose’s (rambling, verbose, vociferous – take your pick) style of interviewing. But there’s one difference. In the films where he parodies simple folk putting on a play or those who enter their beloved canines in dog shows, Guest shows an affection for those he’s lampooning. It’s an affectionate burlesque. Here, closer to home, Guest doesn’t seem to have the same affection. It’s not satire; this film mocks the inane and pompous in that land of make-believe. But again, I don’t think he’s being mean- spirited. It’s just harder to find affection for those caught up in an artform that glorifies a person beyond all reason.
There are a few sexual innuendoes, and Christ’s name is used as an expletive on two occasions, but generally Mr. Guest builds his satire on wit and insight. The question remains whether the general public will be drawn to this type of mockumentary humor. And many will agree that by his third act, the film loses momentum as it turns somewhat serious. But there are visuals and dialogue that are as funny as anything I’ve seen in a long time. That said, please consider the content before making your decision to support this film.
PG-13 (two curse words and two misuses of Christ’s name; one effeminate character appears to be gay, yet claims to be married; in the movie being made, a young woman brings home her female lover, but there are no sexual situations; a few sexual innuendoes; A character is seen drunk after a rough night). Running Time: 86 min. Intended Audience: Adults
Julianne Moore, Samuel L. Jackson, Edith Falco, Ron Eldard, William Forsythe. Written by Richard Price. Directed by Joe Roth. Sony Pictures. Crime drama. Opens wide 2/17/06
A white woman blames a black man for the kidnapping of her son. But the crime detective begins to wonder if it is the mother, herself, who is the guilty culprit.
Perhaps the most intense movie I have ever seen, I found myself so disturbed by the escalating theatrically charged events that I actually stepped out of the theater momentarily. The film is dealing with the kidnapping and death of a 4-year-old child and the setting is in a poor, crime-ridden projects area, its citizenry enraged by their imprisoning poverty and the indifference of the white community. The mother has been a doper, and soon it becomes obvious that she is also struggling with mental disorder. The policeman has his own problems, with a grown son now incarcerated and his community up in arms. And racism, which just doesn’t seem to be quenchable, is a theme threaded throughout the main storyline. This subplot may make many audience members feel guilty, while others may find themselves frustrated that there seems to be no viable answer to racial tensions in a country that professes to be overwhelmingly anti-intolerance. Put these elements together and you have a movie that’s enlightening, yet emotionally violent.
Well written, expertly directed and movingly acted, the film is quality. It reminds viewers of the need to keep reaching out to those less fortunate. And surprisingly, the male lead professes a belief in God and is motivated by that belief. There are at least two instances where he speaks of God and the need for Him in our lives, as well as putting that faith into action by reaching out to others. He has found redemption and he witnesses this salvation to others. That’s an incredible element seldom found in movie cops. But, oh my, what we have to sit through in order to come face to face with life issues.
TV news manages to feature at least one crime against children nightly. The same is true for cases of prejudice and man’s inhumanity to man. Some may be further enlightened by seeing a dramatization of these atrocities. I admit to being moved by this film, and especially the lead character’s spiritual confession, but it battered me emotionally. Those looking to escape such painful issues when selecting a movie may want to pass on this one.
Preview Reviewer:
Phil Boatwright
Distributor: Sony Pictures
R (the dialogue is peppered with the s-word and the f-word throughout; at least 6 times God’s name and that of His son are misused; much emotional and physical violence, including mobs being held back by the authorities, and a couple of physical fight scenes; there is much hostility in this film as people grapple with injustice and substance abuse; briefly a man is wounded; we see blood on a woman’s hands; a discussion concerning drug abuse, but it does not glorify its use; a great deal of tension as the script deals with child abduction and race relations.
Cast: Vince Vaughn, Paul Giamatti, Miranda Richardson, Elizabeth Banks, John
Michael Higgins, Rachel Weisz, Kathy Bates, Kevin Spacey. Warner Bros. Comedy. Written
by Dan Fogelman. Directed by David Dobkin. Opens 11/9/07
FILM SYNOPSIS: Fred Claus (Vince Vaughn) has lived
almost his entire life in his little brother’s very large shadow. Fred
tried, but he could never live up to the example set by the younger Nicholas
(Paul Giamatti), who was just a perfect…well…saint. True
to form, Nicholas grew up to be the model of giving, while Fred became the
polar opposite: a repo man who then steals what he repossesses. Now
Fred’s dirty dealings have landed him in jail. Over Mrs. Claus’s
objections, Nicholas agrees to bail his big brother out on one condition:
that he come to the North Pole and work off his debt making toys. There
Fred is regrouped with his parents and brother, with whom he has been estranged
for many years. While having to deal with a belittling mother, a silent
father and an overly saintly sibling, Fred must also contend with an efficiency
expert bent on shutting down Santa’s workshop.
REVIEW: If It’s A Wonderful Life is the most heartwarming of Christmas classics, and Elf is the silliest, then surely Fred Claus is the angriest. While the concept must have shown promise on paper, and certainly Vince Vaughn is the best suited at representing underlining bitterness, this resulting Christmas farce is more suited to a Tennessee Williams film festival.
Along with the acidity of the lead character and the dysfunctional spin incorporated into the Claus family (the arguments become so fierce that several little kids in the screening audience began crying – loudly), the film also suffers from not being as original as the narrator promises at the opening: lots of Little People with fake pointy ears glued to their own (gee, never saw that before), Fred sleeps with his legs bent over the edge of the tiny bed (Elf already did that one), we get a tour of Santa’s Toyland (Isn’t it magical!), and Santa is threatened with the end of his annual holiday adventure (I think that’s the plot of every Santa movie). Okay, it’s hard being new with this genre, but how about being clever or witty to make up for the oft-repeated themes? Most of the humor here is overly familiar, while the rest is tinged with cynicism (the in-vogue humor of the day, thanks to Comedy Central and Stephen Colbert).
Those involved have proven track records, and Mr. Giamatti stands out as Santa. There’s even a funny (if surreal) scene in which Fred attends a support group consisting of real-life relatives of famous people (including the bros of Bill Clinton, Alec Baldwin and Sylvester Stallone). Of course, you have to recognize them in order for the scene to work.
Sibling rivalry and family strife are suitable premises for a Christmas-themed movie, but unsuspecting grownups may think they are taking little ones to a holiday film, much like Elf, with little more on its mind than flinging slapstick buffoonery around like snowballs. However, the resulting experience here may be disturbing for the littlest members of the family, while just annoying for the rest of your kith and kin.
There are a few laughs, but the genial mood is often disrupted by a searing harshness, as if the folks who once gave us Who’s Afraid of Virginia Woolf? were trying their hand withthe meaning of Christmas.
PG (there are a couple of crude comments, but mostly the writers, and the star, steer clear of offensive dialogue; a couple of minor expletives, but I caught no harsh language; slapstick antics such as the lead in a fight with and flight from a group of Salvation Army Santas; while there is no sex, one Elf, a grown woman, is dressed in a revealing outfit; at the end of the film, the lead tells his girlfriend that he’s going to move in with her; there is no mention of marriage; a couple of slight innuendoes; Santa’s helpers meet at a sort of bar, they seem to be drinking egg nog).
Running Time: 90-some min.
Intended Audience: Family
DVD Alternatives: Elf. I saw this film on a press junket in New York. During the following day’s cab ride to the airport with two fellow critics, one recounting of an uproarious sight gag led to countless others. Soon, we were in stitches. That’s always a good indication that a film is more than just a time-consuming event. Elf is funny, clean, and heartwarming.
The Gathering. (1977) Ed Asner, Maureen Stapleton. This Emmy-winning TV movie focuses on a dying man's efforts to reunite his family. It reinforces the importance of family and presents positive Christian images including a believable prayer, the scripture reading of Jesus' birth, and a child's christening.
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. And now it’s in color! Paramount Home Video has just released a 2-disc collector’s set, which includes a documentary on the making of the film and a special tribute to Frank Capra narrated by his son. Plus, the box set has both a brand new color version, as well as a restored black and white version (both in pristine shape).
Jim Carrey, Téa Leoni, Alec Baldwin, Richard Jenkins. Sony Pictures. Comedy. W-Judd Apatow & Nicholas Stoller. D- Dean Parisot. Opens 12/21/05
Dick (Jim Carrey) and Jane (Téa Leoni) are living the American dream — until one day when it turns into a nightmare. The company Dick works for becomes involved in an Enron-like scandal and he is set up to take the rap. Dick and Jane are suddenly faced with the prospect of losing everything. After playing by the rules and getting burned, Dick has an idea: If stealing was good enough for his boss, then it’s good enough for him. Using his newfound skills, he and Jane decide to exact revenge and teach big business a lesson.
Someone once said, “Morality is a luxury of the rich,” or words to that effect. I can’t remember if it was a Greek philosopher, Tennessee Williams or Groucho. Whoever, the fact remains, if you get hungry enough, you’re gonna steal a loaf of bread. Still it’s unnerving to think that the only way to succeed financially is by hook or crook as portrayed in both the George Segal/Jane Fonda version and now this update of the tale of the little guy, well, the little middle class guy getting back at the big rich guy.
Both films gleefully point a finger at corporate America, but I’m not sure these two slapstick slaps will do much to change the order of economic realities. And despite the fact that they are funny, the subject matter is grim. Though Jim Carrey is amusing doing what Jim Carrey does – manic buffoonery, and Téa Leoni stays in step with his every comic move, it’s difficult to get past the underlining theme. America is teetering on economic change, one that has already seen the demise of the middle class as we knew it. Oh, the illusion remains; we still have a car in every garage and a TV in every room. But they’re no longer paid for. And never will be. It’s a grim thought, but it’s the reality. A lot of people who once saw the American dream coming their way have seen it pass by. That’s shaky ground to be building a comic movie plot upon. The subject matter is ripe for dark satire, but neither film version is up to the challenge. Both succumb to cartoonish behavior and implausible and far from helpful endings.
Mr. Carrey is fine and during his sensitive moments is downright touching. Ms. Leoni is just as good. What’s more, most of the jokes work. Bottom line, however, it’s hard to laugh at people losing everything and not being able to find a job.
This version does have three better segments than the original. First, during a heartwarming moment we see Dick looking tenderly at his sleeping wife, it being obvious how much he adores her. The moment gives substance to his character. Second, the ending is one where we see that Dick and Jane caring for others rather than just feathering their own nest. And thirdly, there’s a humorously poignant moment before the ending credits where the filmmakers thank those responsible for the making of this film. I won’t give it away who they are, but it’s very brave and very clever statement.
PG-13 (3 profanities and 10 obscenities; during highpoints of frustration, both respond by uttering “Jesus” as if it were not a name but an expletive; a couple of mild sexual innuendoes between the married couple; and occasional humorous drug references – in one brief comic scene, an old woman who can’t get a job is growing pot, but smoking up the profits; others are also committing crimes in order to stay afloat; some social drinking and one crook stays drunk through much of the film, anesthetize himself against the reality of his wrong doing; some mild slapstick violence including holding people at gunpoint, a man ramming a car into another in order to cause a diversion, car chases, and two physical altercations).
© 2008 Good News Tucson™