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Movie Reviews From A Family Perspective
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Hairspray
Hancock
Happily N'Ever After
Hellboy 2: The Golden Army
Harry Potter and The Order Of The Phoenix
Hidden Secrets
Hollywoodland
Hoodwinked
Hoot
Dr. Seuss' Horton Hears A Who! (DVD Classic)
Dr. Seuss' Horton Hears A Who! (2008)
How She Move
11th Hour, The
How To Eat Fried Worms
Nicole Blonsky, John Travolta, Queen Latifah, Michelle Pfeiffer, Christopher Walken, Amanda Bynes, Allison Janney, Brittany Snow, Zac Efron. New Line. Musical comedy. Written by Leslie Dixon. Directed by Adam Shankman.
FILM SYNOPSIS: Based on John Waters’ 1988 cult classic, this new version concerns a local teenage Baltimore dance show coming to terms with integration. A salute to those who don’t fit in, this nostalgic satire is set during the backdrop of the early 1960s, when racial inequality was about to meet its doom by a new generation of whites who found hypocrisy in the treatment of America’s blacks.
REVIEW: I’m not a fan of men in drag movies, and the trailer to this one focused so much attention on John Travolta in a female fat suit that I found it a chore to attend the screening. I had not seen the original and have always found the bizarre John Waters more antagonistic than talented. There just didn’t seem to be anything in this film’s favor. Then the first number was sung by the exuberant new kid on Hollywood’s block, Nicole Blonsky. Her character’s hopeful, positive nature is captured in the amusing song that touts “every day is an open door.” Full of personality and gifted with a more than satisfying musical voice, the novice movie actress (this is her first film) is a treasure.
The film addresses racial issues, but never sacrifices its lighthearted nature. The supporting cast is up to the script and the musical numbers are lively and enlightening. Christopher Walken stands out as the lead’s dad, a sensitive man who owns a magic store called the Hardy Har Hut. And then there’s Mr. Travolta. Move over Dame Edna, Travolta is the new girl in town. Funny, touching, Travolta meets the task. Not sure why this part needs to be played by a man, but it was first handled by Divine, a gay man who played women whenever possible. Perhaps the reasoning is to subtly let viewers know that this film is about all those who feel ostracized by society.
The biggest surprise of the summer, Hairspray is engrossing, touching and joyous. Of course, this is a cosmetic treatment of integration, but it successfully stresses that the differences in people help complement us as a species. (Think that’s what God had in mind?)
The only letdown for me is the treatment of Christians. To show a generation slow to change, a stuffy, matronly mother becomes the caricature of narrow-mindedness. In one scene, she ties her teenage daughter to a bed in order to keep her from going out with a black youth. This being a comedy, the mother hurls holy water on her bound daughter while calling her “devil child.” It’s funny, admittedly, but there’s an underlying hostility. The story spotlights the evil of bigotry and the silliness that separates races, but the filmmakers use a cartoonish representation of a Bible-reader as the picture of villainy. In far too many movies, including this one, Christ and His church are becoming symbols of ignorance and intolerance.
PG (there are several slight sexual innuendos and a couple of crude comments; we see a flasher – played by John Waters; contains a couple of minor expletives (damns) but I caught no harsh language; trying to cause trouble in another home, a woman makes advances on a married man, but he is loyal to his wife). Running Time: 115 min. Intended Audience: Older kids and up
Will Smith, Jason Bateman, Charlize Tharon. Sony Pictures. Comedy/action/drama. Written by Vy Vincent Ngo, Vince Gilligan. Directed by Peter Berg. 7/2/08
FILM SYNOPSIS: An unpopular superhero saves the life of a PR executive, who attempts to salvage his public image. Hancock is one of a kind, a super-being with amnesia, preventing him from knowing his past. But what’s this? Is there another super-being on the planet? And might she look like Charlize Theron?
REVIEW: For me, head-scratching began as I heard actor Will Smith, a reported Christian, misusing Christ’s name in order to emphasize his character’s flaws. Then I noticed that the film’s tone was different from that of the movie trailer. And along with its clumsy and overly familiar humor, the film was just plain ugly.
The movie is filmed entirely with a handheld camera that weaves and bobs as if the holder had delirium tremens. Now, an unsteady Steadicam is often used to project nervous energy, or inject a production with a vigor that the script didn’t possess. It’s become a style, one utilized by every artiste who ever made a music video. At some point, this camera trickery transferred into moviemaking and is now with us much like rap music and Paris Hilton. It just won’t go away.
Besides that gimmick, the close-ups and the lighting give it a harsh feel, as if it’s supposed to be a 60 Minutes exposé. It’s a bad looking film, and that’s not easy to do with stars like Will Smith and Charlize Theron filling the screen. But that’s what cinematographer Tobias Schliesslerand and Steadicam operator David Luckenbach managed.
The tone is unsettling and unconvincing, dealing first humorously with the superhero’s slothful behavior, then becoming some kind of boring psychological study. This season, we’ve had nothing but whinny superheroes. Superman never went around griping about being more powerful than a locomotive or being able to leap tall buildings, etc. But the Hulk and now Hancock do little else. And though I’m a fan of Will Smith’s (I enjoyed him and the message in I Am Legend),here herelies entirely on a charismatic charm (and special effects) to do all the heavy lifting.
Lastly, there’s aggressiveness of the production. The violence of the comic-book-to-movie-version has become far more intense and abusive than the originators of that genre probably conceived. Each offering gets decidedly more agitated and rampageous. We’ve become so bombarded with this violent imagery that we’ve come to expect it. Indeed, it, along with CG effects, replaces story or character.
It’s not a bad film, but with the glut of summer’s superhero movies, it’s easy to compare what works (Iron Man) with what doesn’t (The Incredible Hulk). Though Hancock is a step above The Incredible Hulk, it fails to amuse or impress as much as we had hoped from a Will Smith action/comedy/adventure.
PG-13 (a couple of crude sexual remarks and a great deal of objectionable language; everybody gets their turn at telling off Hancock; he deals with it until they call him an asshole; and everyone does call him that, including two kids; around 10 obscenities, mostly the s-word, but the hero also uses the f-word on one occasion; Mr. Smith misuses Christ’s name; moviemakers infuse their comic book movies with more and more violence; here it becomes not only intense, but excessive; lots of gunfire, car crashes, titan battles and near deaths of main characters; then there’s the humor derived from the violence such as one guy getting his hands cut off).
Animated comedy from Lionsgate, with the voices of Sigourney Weaver, Sarah Michelle Gellar, Freddie Prinze, Jr. and Patrick Warburton. Written by Rob Moreland. Directed by Paul Bolgar.
FILM SYNOPSIS: Cinderella’s wicked stepmother takes control of the Fairy Tale world, creating havoc for all who dwell there, including the Seven Dwarfs, Little Red Riding Hood, and of course, Cindi. A wizard goes on vacation, leaving his two comic underlings in charge and telling them to maintain a balance of good and evil. But one of his minions is bored with all the happy endings until he learns what can happen when evil takes charge.
REVIEW: Those newly taken with light and sound coming from enormous flat screens will be the ones most enthralled, while older viewers may find the story subversive and the animation lackluster. That said, I didn’t find it as dismal as a great many reviews have proclaimed. Because it’s January, when we critics are used to the studios bringing out all the films that wouldn’t qualify for Oscar attention (many call this the dumping ground month), sometimes we are a bit too critical of new releases.
What lessons are incorporated seem confusing and lost in the comic (semi-comic) antics. But it has an interesting twist. Cinderella thinks she’s supposed to get the prince, not realizing that the commoner next door is the real hero.
First-time director Paul Bolgar and writer Rob Moreland (1998’s Ground Control, which examined the high-pressure world of air traffic controllers) don’t do anything outstanding, but they do try to entertain. And with character actors Wallace Shawn and Andy Dick as the inept servants of the wizard, well, there are bound to be at least a few funny moments. Kids at the matinee where I saw this one seemed to enjoy it, getting the biggest kick out of the self-centered (also inept) prince.
I was entertained and generally it takes more than light and sound coming from enormous flat screens to do that.
PG (there are a couple of “butt jokes” and a few slight crudities, but generally the filmmakers steer clear of such material; like all fairy tales, the action has witches and trolls doing dastardly things, but nobody is overtly spooky looking – they are more comical than scary; there are several slapstick situations involving violent acts; as always, parents should attend to reassure during moments that might frighten little ones; the villainess is drawn very sexily, with low cleavage-revealing garments; one suggestive remark; though witches and wizards are featured, along with a magic staff, the filmmakers are not attempting to promote an interest in the dark arts; it’s merely a comic take on fairy tales).
Running Time: 87 min.
Intended Audience: Kids 5 and above.
Ron Perlman, Selma Blair, Doug Jones, Jeffrey Tambor, John Hurt. Universal. Action-thriller. Written & directed
by Guillermo del Toro. 7/11/08
FILM SYNOPSIS: With a signature blend of action, humor
and character-based spectacle, the saga of the world’s toughest, kitten-loving
hero from Hell continues to unfold in Hellboy II: The Golden Army. Bigger
muscle, badder weapons and more demonic villains arrive in an epic vision
of imagination from Oscar®-nominated director Guillermo del Toro (Pan’s
Labyrinth, Hellboy).
After an ancient truce existing between humankind and the invisible realm of the fantastic is broken, hell on Earth is ready to erupt. A ruthless leader who treads the world above and the one below defies his bloodline and awakens an army of mechanical soldiers. Now, it’s up to the planet’s toughest superhero, along with his expanding team - pyrokinetic girlfriend Liz (Selma Blair), aquatic empath Abe (Doug Jones) and protoplasmic mystic Johann to battle the merciless dictator and his marauders.
REVIEW: It has oft been said, the world is divided into two camps, those who like Neil Diamond and those who don’t. This aged homily also applies to movies about Herculean comic book figures. Some of us still prefer intimate stories full of characterizations and thought-provoking themes, while others like watching superheroes and their sizeable opponents smash things. The summer cinema has been stuffed with this genre. And it’s only half over. More to come.
I kept thinking about the amount of money spent as countless cars, mostly cop cars, were crashed and crunched for the edification of those in the audience who just can’t get enough of such activity. There is some wit to the proceedings, even a salute to the special effects wizardry of Ray Harryhausen (Jason and the Argonauts, The Seventh Voyage of Sinbad), but mostly it’s about this huge red guy with horns and a tail, and his cute girlfriend (who turns into a ball of flame when ticked off), facing off with a martial arts sorcerer and his legions of unstoppable iron warriors. Oh, there are lots of battle scenes – and they go on and on.
Well, I may not have given away how I feel about Neil Diamond, but you’ve probably guessed about my interest in comic book anti-hero movies. Despite all the action, money spent, and special effects magic, they usually bore me after the first twenty minutes. I can’t get enough of dialogue that stirs the imagination or the soul. Story and witty dialogue – those are my favorite special effects. Whereas, if you’ve seen a superhero throwing a car onto another car, well, the first 100 times was enough.
That said, the majority of the attending screening audience didn’t seem to share my lack of enthusiasm. They were caught up with each round of zap, boom, bash. To each his own.
In the ‘80s, Ron Pearlman starred as the leonine man-beast in the TV adaptation of Beauty and the Beast. It was an interesting series, a romantic fairy tale, replete with poetic dialogue and involving storylines. Linda Hamilton costarred. If you view her in that program, you’ll see just how lacking Selma Blair is when it comes to romancing a different species. (Another divided camp: those who like Selma Blair and those who don’t.)
PG-13 (our red/horned anti-hero uses such expletives as damn, crap and pissed to reflect his displeasure and on two occasions uses a nearly inaudible exclamation – either “Geez” or “Jesus;” the lead’s girlfriend in frustration profanes Jesus’ name; though it’s comic book in nature, the violent imagery is incessant; add this two hours of combat with those from the several other such movies of this summer and you’ve seen more coercive action than returning Iraq vets; Hellboy and his flaming girlfriend are about to have a baby; the lead drinks beer on a couple of occasions; he and a co-hero get drunk; Hellboy smokes cigars throughout).
Running Time: Nearly two hours
Intended Audience: Those who don’t like Neil Diamond.
John Schneider, Tracy Melchior, David A.R. White, Staci Keannan, and Christian recording artist Rachel Lampa. Pure Flix. Written by Shawn Paul Murphy, Timothy Ratajczak. Directed by Carey Scott. 10/6/06 (in selected cities).
Joining a group of former classmates for the funeral of his best friend, Jeremy finds himself caught between his new fiancé and the girl he left behind. Hidden Secrets, an ensemble play-like drama similar in theme to The Big Chill, addresses the need for forgiveness, as well as controversial issues such as abortion, homosexuality, pre-marital sex, and the true meaning of faith.
There are some who don’t want me to badmouth a film containing gospel themes, despite my misgivings. But when you make your living examining the artistic skills of moviemakers, it’s not honest or fair to critique Christian artists on a different scale than their secular counterparts. That said, I’d hate for someone to miss a message that may further his spiritual walk because I had problems with the film’s low-budgeted merits. Having made a few, shall we say, “artistically challenged” church films in my youth, I am aware that even they were used by the Holy Spirit to bring some unbelievers to a spiritual awareness. Therefore, I will tread these waters as carefully as possible.
I remember thinking when The Big Chill was released, how interesting it would be if there was a Christian version about old friends reunited and coming to grips with life’s challenges. Evidently writers Shawn Paul Murphy and Timothy Ratajczak thought so, too. You won’t find the great soundtrack or bawdy performances that made The Big Chill a hit. You will get some interesting examinations of how Christians deal with complex life issues as well as a poignant depiction of a Christian who forces biblical laws upon others, while ignoring the whole “love one another” thing.
This film does contain lessons concerning forgiveness and a reminder to not browbeat the still unconverted. What’s more, it contains several good lines and heart-felt performances. There. That’s to alleviate the guilt I will feel concerning the following disappointments.
I won’t linger on the rip-off scenario or the pretentiousness of some dialogue. I will examine the score. The background music of The Big Chill became a main character in that film; each ‘60s and ‘70s tune incorporated furthered that story. Here the ever-present sugary background musical riffs unsuccessfully highlight the countless speeches that are delivered like skit-reinforced Sunday sermons.
But here is my real objection. Hidden Secrets is overrun with montages. I counted five. There may have been more. A montage (a sequence of images or quick scenes blended together to compress action) is used to further a story or show the development of a character. They should be utilized sparingly as the gimmick can become redundant and reflect a lack of writing skill.
There were other filmmaking misdemeanors that caused this critic to squirm, but I hung in there for the messages. Alas, a good sermon could address the same issues in a lot less time. “But this is a movie,” you say, “there should be no sermons in a movie.” Exactly.
Not rated
at time of screening: I found nothing objectionable in the content.
Running Time: 90 min. Intended Audience: Teens and adults
Rated R. Entertainment: +2. Acceptability: -4.
Adrien Brody, Ben Afflect, Diane Lane, Bob Hoskins. Focus Features. Crime/Bio pic. Written by Paul Bernbaum, Howard Korder. Directed by Allen Coulter. 9/8/06
June 16, 1959 actor George Reeves, the hero of TV’s Adventures of Superman, was found dead, apparently from a self-inflicted gunshot wound. But soon after, questions began to surface that perhaps the former Man of Steel didn’t commit suicide. A private detective is hired by Reeves’ mother to get the truth. As the film progresses, we see several enacted scenarios explaining the shooting.
I left the theater depressed and grieved. It was sad to see another celebrity who couldn’t live up to his publicity hype. (I think we’d all be surprised at just how many movie stars are not happy despite their gifts and blessings.) And grieved because of the language. Now, I’ve been reviewing for 19 years, so I’m sure that many think I should be used to rough language by now. But I will never get used to God’s name followed by a curse. And in this film nearly every actor uses that profane expression – one character played by Robin Tunney uses it many times. The unchurched are used to it and I’m sure many churchgoers who grew up with movies that freely use that irreverence are so accustomed to the expression that they pretend they are tuning it out.
“Phil, you’ve
told us a gajillian times about profanity in movies.”
And I’m going to continue to tell you about it until they stop saying
it or we stop supporting films that contain it. “But
Phil, we’d hardly get to go to any movies.”
It’s the third of the Ten Commandments – “You shall not misuse the name of the Lord your God…” Its common use should never be accepted by those attempting to better their spiritual walk.
As for Hollywoodland, the noir-ish crime drama is well acted, directed with an interesting nonlinear approach, and, with the exception of the 30-some obscenities and 17 profanities, sharply written in a style vaguely reminiscent of Raymond Chandler. The art and set direction capture the look of the 1950s and the combined efforts of all involved sharply reflect the underbelly of the glitz of the entertainment community of that time – and this. Perhaps seeing the folly of self-absorbed people may teach some that we are better off dwelling on biblical principles, but you have to sit through a great deal of R-rated content to learn the lesson.
“Well, Phil, you watched it.”
It’s my job. And I won’t be watching it again.Preview Reviewer: Phil Boatwright
Distributor: Focus Features
Summary
Crude Language:
There are several crude sexual remarks.
Obscene Language: 16 f-words, 13 s-words, and a few other vulgar or obscene
expressions.
Profanity: 12 GDs and 5 misuses of Christ’s name.
Violence: There are three beatings, one brutal with a man hit in the head with
a chain; we see the crime reenacted with different scenarios attempting to
explain the death of George Reeves.
Blood: Blood is splattered on the walls for the gunshot to the head. We see
the blood- stained wall many times throughout the film.
Sex: There are three sex acts, one implied, but two are explicit.
Nudity: None
Homosexuality: We see a picture of two men kissing.
Sexual Dialogue/Gesture: There are two or three crude conversations concerning
the sex act or the female body.
Drugs: A great deal of drinking and smoking throughout.
Running Time: 126 min.
Intended Audience: Adults
Animated family tale from the Weinstein Company. Voices: Anne Hathaway, Glenn Close, Jim Belushi, Patrick Warburton, Anthony Anderson, David Ogden Stiers, Chazz Palminteri, Andy Dick. 81 min. W-Cory Edwards, Todd Edwards, Tony Leech. D-Cory Leech and Tony Leech. Opens 1/13/05
It’s the story of Little Red Riding Hood, with several of the main characters giving various accounts to the police – kind of a Rashomon for kids, if you will. Witty, song- filled, it is a funny film parents will enjoy with the little ones.
PG (there are a couple of jolting scenes with the wolf scaring Red and there are a few perilous situations, but the filmmakers handle these scenes with sensitivity and humor. That said, parents should view with little ones in order to reassure in case something alarms them.).
Logan Lerman, Brie Larson, Cody Linley and Luke Wilson. New Line Cinema and Walden Media. Written & directed by Wil Shriner. Opens 5/5/06
An eighth-grade trio tackles a greedy land developer bent on building a new breakfast restaurant over a nest of endangered burrowing owls. Musician and environmental guru Jimmy Buffett produces, provides songs for and acts in this adolescent comic adventure that warns of man’s continuing encroachment upon Mother Nature.
No one sets out to make a bad movie. And those involved here are game: the youngsters showing acting promise, the writer/director having proved his skill on television (Frasier, Everybody Loves Raymond, Becker), the producers incorporating a noble cause. But the road to discounted video stores is paved with the best of intentions.
I suppose if you’re one to go “ahhh” when you see a ground-dwelling owl pop its feathered head out of a hole, or if you side with conservationalists against the building of one more condo, hotel or pancake house, or if you enjoy seeing brave, concerned kids besting cloddish adults, then this may be the film for you. But I’m not even sure those folks will be much satisfied. For though everyone involved wanted to make an intelligent kids’ movie, they didn’t. While the filmmakers did avoid flatulence jokes and the perpetuation of cell phones and iPods, much of the dialogue and many of the situations needed tightening or expulsion. Most viewers will find the film’s overbearing message and broad and clumsy comedy tedious, at best.
Pre-preteens may enjoy the slapstick shenanigans of the film’s young protagonists as they outwit buffoonish authority figures and older teens may become conscious of man’s obligation to treat nature with respect (a biblical principle – Genesis, Chapter 1), but parents will not appreciate the sock-it-to-the-man terroristic tactics the filmmakers allow their young cast to use in order to punctuate the writer’s agenda.
The film’s main middle schooler has run away from an uncaring home to live out his life as a barefooted teenage Tarzan, becoming an avenger of defenseless wilderness creatures. Not having been taught right from wrong, his deeds lead to breaking the law (vandalizing a cop car, holding people hostage, destroying property). I’m sure the filmmakers are using this over the top comedy in order to entertain the youngest audience members and perhaps shouldn’t be taken too seriously. Still, there is a lot of attitude and several bad examples of behavior parents may not want your children subjected to. As for you adults, most of the dialogue and many of the situations needed tightening or expulsion.
That said, the film does contain some positive elements. It’s a clean movie, one avoiding crudity and bad language, and there are several life lessons including the young lead developing a good relationship with his folks and sending a message to your children about the need to care for our planet. HOOT Bible / Activity Guide coming out.
PG (Though played for laughs, the vigilante youth causes property damage and ties up several characters. A boy is bit by a dog. A boy punches a school bully, breaking his nose. The leads break the law, damage the property of others and tell lies in order to do what they feel is right).
Running Time:
90 min.
Intended Audience: children and preteens
DR. SEUSS' HORTON HEARS A WHO! (DVD Classic)
The animated TV classic, a Peabody Award-winner, is now on DVD. And
what a treasure! This isn’t just for kids. Genius animator
Chuck Jones, who gave us everything good from the Warner Bros. cartoon department,
matches the artistry and inspiration found in the author’s book. Horton
Hears A Who magically captivates young and old.
The metaphorical tale concerns a sweet-natured elephant by the name Horton, who hears a cry for help coming from a tiny speck of dust floating through the air. Suspecting there may be life on that speck and despite a surrounding community that thinks he has lost his mind, Horton is determined to help.
I can only hope that the movie version soon to be released will have a smidgen of the same charm and poignancy found in this gentle made-for-TV version. The remastered DVD is to be released March 4, 2008 and contains three bonus episodes from the Best of Dr. Seuss, including Butter Battle Book, Daisy-Head Mayzie and Horton Hatches the Egg! Also included: a kid-friendly sing-a-long music video and an Emmy nominated 90-minute documentary hosted by actress Kathy Najimy. The film tells the story of Dr. Seuss’ life through celebrity skits, music and animated clips from his best-loved stories.
The plan is to give my copy to my nephews and niece. Truth be told, I’m going to hate letting go.
Through the high jungle tree tops, the news quickly spread:
“He talks to a dust speck! He’s out of his head!
Just look at him walk with that speck on the flower!”
And Horton walked, worrying, almost an hour.
“Should I put this speck down?…” Horton though with alarm.
“If I do, these small persons may come to great harm.
I can’t put it down. And I won’t! After all
A person’s a person. No matter how small.”Then Horton stopped walking.
The speck-voice was talking!
The voice was so faint he could just barely hear it.
“Speak up, please,” said Horton. He put his ear near it.
“My friend,” came the voice, “you’re a very fine friend.
You’ve helped all us folks on this dust speck no end.
You’ve saved all our houses, our ceilings and floors.
You’ve saved all our churches and grocery stores.”
“You mean…” Horton gasped, “you have buildings there, too?”
“Oh, yes,” piped the voice. “We most certainly do…
“I know,” called the voice, “I’m too small to be seen
But I’m Mayor of a town that is friendly and clean.
Our buildings, to you, would seem terribly small
But to us, who aren’t big, they are wonderfully tall.
My town is called Who-ville, for I am a Who
And we Whos are all thankful and grateful to you”
Are you ever too old for that?
DR. SEUSS' HORTON HEARS A WHO.
Voices: Jim Carrey, Steve Carell. Horton the elephant hears a cry for
help coming from a tiny speck of dust floating through the air. Suspecting
there may be life on that speck and despite a surrounding community that thinks
he has lost his mind, Horton is determined to assist. Rated G (I
found nothing objectionable.)
It has a great look, and certainly it is family friendly, but the whimsy of
Dr. Seuss is missing. Kids may enjoy the movement, the color and the
humor, but I suspect some will get nearly as fidgety as accompanying adults
by the third act. My choice would be to buy the recently released animated
1970 version. This remastered DVD contains three bonus episodes from
the best of Dr. Seuss. Also included: 90-minute documentary that tells the
story of Dr. Seuss’ life through celebrity skits, music and animated
clips from his best-loved stories.
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Rutina Wesley, Dwain Murphy, Tracey Armstrong.
Paramount Vantage. Drama/dance musical. Written by Annmarie Morais. Directed
by Ian Iqbal Rashid.
FILM SYNOPSIS: Raya Green is seventeen-years-old, bright and full of promise. She attends a prestigious private school outside her tough, crime-ridden neighborhood. When a family tragedy leaves her family unable to pay her tuition, Raya is forced to return to the old community she so desperately wants to escape. She soon finds herself drawn into the world of underground dance competitions and smells an opportunity to win some money, get out of the neighborhood, help her family and return to her old school. But as the dance tournament unfolds, Raya realizes that real success only comes to those brave enough to tackle it on their own terms.
Featuring a fresh cast of new discoveries, this Sundance Film Festival hit marks the feature film debut of the electric Rutina Wesley, with street-style step sequences by top choreographer Hi Hat and special appearances by R&B singer-songwriter Keyshia Cole and comedian DeRay Davis.
REVIEW: It’s not original, and you have to be open to rap and “stepping” to get the most out of this film, but the cast is sincere and able in their chosen music field, the director keeps the pacing lively and involving, and the messages are clear and positive. The story rests on one prominent line – “One moment changes a million after it.” The filmmaker obviously wants to send a positive message to urban audiences that despite ordeals, travail can be overcome. And without sermonizing, there is a gentle nudge to steer clear of drugs.
PG-13 (there are a couple of lewd dance moves and a couple of suggestive sexual remarks, but mostly the filmmaker avoids crudity; around 15 obscenities – the s-word; one f-word from the bad guy; I caught no misuse of God’s name; one brief skirmish between the lead and another girl; the lead’s sister has died from a drug overdose, but we do not see this; the antagonist is seen with a girl in his lap, suggesting a sexual situation, but it is not graphic; the villain has a wild party, with supposedly underage drinking, drug use and smoking; the lead leaves immediately, disgusted).
Running
Time: 91 min.
Intended Audience: Teens and older.
Leonardo
DiCaprio hosts this documentary from Warner Independent Pictures. Written & directed
by Leila Conners Peterson and Nadia Conners. 8/17/07
FILM SYNOPSIS: From activist sisters Leila Conners Peterson and Nadia Conners comes a documentary which speculates that natural catastrophes are signaling the end of life on earth as we know it.
REVIEW: With a cast of “experts” that Rush Limbaugh might refer to as whackos, weirdoes and political agendists, each with that Greenpeace stare that suggests a reluctance to give up a belief in Bigfoot, the audience is pounded with the declaration “we’re doomed!” Though they are sincere, the refusal to offer other opinions gives the production a shallowness, with those speaking (all of whom may have lived on the corners of Haite and Ashbury during the reign of the Flower Power children), doing so with a determination that suggests none of them believes God is in control, or that Republicans should be allowed near the White House.
The first half of the film is jam-packed with dubious authorities proclaiming today’s administration ignores the warning, “the sky is falling,” yet conveniently avoiding President Clinton’s eight-year residence in the Oval Office. (I guess he had more important matters.) Like the documentaries Artic Tale and that one starring Al I-couldn’t-get-noticed-without-this-gig Gore The 11th Hour attempts to scare folks into driving hybrids and voting Democrat. That said, the second half does present some interesting ways to meet the challenges of cleaning up the planet.
An interesting, if one-sided debate, The 11th Hour tries to impress and frighten with phrases such as “bio mass,” “environmental refugees,” “death-based cycle” and “indifferent political system.” However, it does encourage discourse concerning global warming and how to clean up the planet. With cleaning up the planet, I have no problem. Though man was given dominion over God’s other creations, there is no way to take from God’s Word that we are to mistreat them. Plus, our sloppy management of the environment seems congruent with our greed and self-satisfaction. This is something most of us seem to share with members of both sides of America’s political aisle. My main problem, however, is the singling out of the United States as the main culprit for the planet’s condition.
Whether global warming is a grand size hoax or truly foreshadows mankind’s demise, The 11th Hour points a sometimes pious, always accusatory digit at America as if China, Russia, India or Africa barely made a difference. The film demands that the U.S. become the world’s Planeteers, a sort of global garbage collection company that doubles as a force to police the world pollutants.
It’s hard to argue that we use a great deal of the world’s resources. We have indeed been given much. And to whom much is given, much is expected. Our enormous indulgence is impossible to contradict. In a quick montage, one picture shows a warehouse-sized storage facility where people rent space to store stuff they’ll never use again. With that one single shot, Americans are indicted.
But the film doesn’t just pick on America’s citizens. It takes a just aim at conglomerates, especially the oil companies. Experts on both sides of the ecology question will continue to debate the threats and the solutions until doomsday or the Lord returns, but there is one thing on which we can all agree: the oil companies are the masters of the world. This knowledge is not new. In the 1976 movie Network, we realized just how little power we as a people have concerning the world’s outcome.
“You are an old man who thinks in terms of nations and peoples. There are no nations. There are no peoples. There are no Russians. There are no Arabs. There are no Third Worlds. There is no West… There is only IBM and ITT and AT&T and Du Pont. Dow. Union Carbide. And Exxon. Those are the nations of the world today…We no longer live in a world of nations and ideologies, Mr. Beale. The world is a college of corporations inexorably determined by the immutable bylaws of business. The world is a business, Mr. Beale.”
PG (there are photos and videos of world catastrophes, with a scary message that mankind may soon become extinct).
Running Time: 95 min.
Intended Audience: Older teens and adults
Luke Benward, Adam Hicks, Hallie Kate Eisenberg, Kimberly Williams, Tom Cavanagh. New Line Cinema. Family comedy. Written & directed by Bob Dolman. Opens 8/25/06
FILM SYNOPSIS: Based on the hugely popular Tomas Rockwell book, How To Eat Fried Worms, the film revolves around 11-year-old Billy, the new kid in town, who inadvertently challenges the school bully. In order to save face and earn the respect of his new classmates, Billy agrees to a bet that calls for him to eat 10 worms in one day. As the pressure mounts, Billy must summon all his strength to keep his younger brother from blabbing, his weak stomach from betraying him, and his big mouth from getting him in even more trouble.
MOVIE REVIEW: Funny, creative, disgusting - it’s everything kids love in movies. And though I was not looking forward to it, I also found this a genuinely entertaining movie-going experience. This was a surprise as both the trailer and the film itself feature squirmy night crawlers as co-stars. Although I understand God’s purpose for the wiggly earth movers, I confess a bigotry for them. But the filmmakers had me with the opening credits. Done in animation, these initial sequences set the stage and did so with wit, quickly assuring me that the filmmakers were not just cranking out another inane film aimed at indiscriminate adolescents. As each of the cast was introduced, I again realized that those associated with the production not only wanted to make a good film, but knew how. Sharp writing and good casting are the two main ingredients. Walden Media then adds in a proficient director (Bob Dolman, Willow, Far and Away) who gives the proceedings a lively, well-paced narrative, one that is honest in its emotional impact.
There’s another essential ingredient needed to raise a kid’s film above the rest – theme and how to reveal it. If a storyteller has a message, he must measure it out, splashing it into the mixture sparingly. Mr. Dolman does so. And what wonderful messages he does include. The picture deals with kids wanting to fit in, but realizing that standing up for who they are is more important than trying to be like everyone else. Here the lead wins over the bully’s minions by being himself, then eventually he stands up for the bully, himself. Our young hero learns, as we do, that bullies behave as they do usually because they are being mistreated in some manner, and that it is best to not judge too quickly. That’s not easy for a kid to learn. Or anyone else for that matter. So a film like this helps educate while entertaining.
Though I freely admit I had to look away a couple of times when the featured stars were mixed into culinary concoctions meant to unsettle even the bravest of breadbaskets; I found the entire production to be a delight. A funny film parents will enjoy with the little ones.
PG (there is some mild crude humor such as the site of a little kid picking his nose and the discussions concerning puking; there is some mild name calling. Have a weak stomach? Beware that we see some disgusting images of disgusting food preparation. The bully pushes the lead and threatens him and others with physical harm, but never carries out the threats; the father has a glass of wine with dinner; though the principal is the object of ridicule, the kids calling him Boiler Head, there is a positive relationship between the parents and the lead boy) Running Time: 98 min. Intended Audience: Family, especially kids.
HARRY POTTER AND THE ORDER OF THE PHOENIX.
Daniel Radcliffe, Rupert Grint, Emma Watson, Helena Bonham Carter, Robbie
Coltrane, Ralph Fiennes, Michael Gambon, Richard Griffiths, Jason Isaacs,
Gary Oldman, Alan Rickman, Fiona Shaw, Maggie Smith, Timothy Spall, Imelda
Staunton, David Thewlis, Emma Thompson. Warner Bros. Pictures. Fantasy adventure.
Screenplay by Michael Goldenberg, based on the novel by J.K. Rowling. Directed
by David Yates. Opens 7/11/07.
FILM SYNOPSIS: Harry returns for his fifth year of study at Hogwarts and finds he must teach fellow students how to defend themselves against the Dark Arts and a teacher bent on replacing Headmaster Dumbledore.
REVIEW: I object when films such as the Harry Potter series require you to study the novels in order to comprehend their movie counterparts. A motion picture should stand on its own. So, if you are a devotee of all things Potter, this is probably a well-told good-vs.-evil parable. For those whose only exposure to Hogwarts comes every couple of years when a new movie sequel is released, the story and dialogue may be a muddled, bleak mess. I am in that latter category and must be content with the wizardry of the Warner Bros.’ special effects department.
The film feels more like a bridge between installments four and six than a stand-alone sequel. Normally, I would like how the action adventure is subdued in this episode, allowing exposition to take center stage. That usually leads to character development, where people become more human, less cartoonish. But there’s not much new in anyone’s development, here, other than everyone is a bit taller. Though Ron has a few nice moments where he defends both Harry and Hermione, overall, the leads seem cardboard-ish, placed in scenes like props. The portrayals are one dimensional and the mood throughout is gloomy (but then what would you expect from a community dominated by witchery). The confusing names, places and theories that must have been more clearly defined in the books, here are muttered too casually by youngsters who talk at 45-rpm while the rest of us remain at 33-speak. Emma Watson is especially guilty of this quick-blurting. She needs to slow down and enunciate, because, it would be nice to understand anything she says.
This pop culture phenomenon is both fantastical and controversial. The books draw adolescent readership much the way catnip seduces felines. The movies have the same effect, as they invite viewers into this adventurous alternate world. But, the concern persists for those leery of the thematic foundation contained in the series: should we be sending young minds off to see stories infused with witchcraft? Revelation 22:15: “…Outside are the dogs, those who practice magic arts, the sexually immoral, the murderers, the idolaters and everyone who loves and practices falsehood.” In both the Old and New Testaments, we are warned to steer clear of witchcraft.
There are millions of practicing witches worldwide. Members of Wicca teach a philosophy that embraces no absolute truth, and replaces the patriarchal male creator God of the Bible with a belief in both male and female gods. The cult instructs members to embrace spirits and teach how to use spells and curses to control their lives and the lives of others.
Okay, maybe there are no hidden agendas; maybe author J.K. Rowling is just a brilliant storyteller. But I hope that thinking parents would want to examine any phenomenon that has catapulted a once poverty-ridden writer to the status of richest female in the world. Good or bad, Rowling is a Pied Piper. So what exactly is the allure?
Arguably, perceptive children can view such material without succumbing to the snare of the occult. But there are those who view films such as The Craft or TV shows such as Charmed and find themselves drawn to experimenting with the occult. Unhappy at home, unpopular at school, frustrated with the trials of life, many young ones seek solace in something supernatural. And since Christianity and Judaism often seem an established part of their parents’ organized world, they rebel by delving into the opposite. Then, once ensconced in the dark nature of the occult, they find it governing their lives and ultimately destroying their souls.
In a television special entitled Hollywood Spirituality, which aired several years ago on E! Entertainment, Raven Mounauni, a professing witch and owner of an occult paraphernalia store, credited the 1996 movie The Craft with inspiring young women to explore the world of witches. “I get a lot of teenage girls in here. You can always tell when The Craft has been on TV, ‘cause we get a big influx of girls looking for supplies.”
Mysticism shouldn’t be considered just diverting amusement. Ouija boards, psychic readers, and other forms of misleading supernatural entertainment should not be taken lightly. In Leviticus 19:26 we are instructed, “Do not practice divination or sorcery.” So, if God is instructing us to avoid occult practices, how can we justify using it to entertain ourselves? God’s Word doesn't apply to just parts of our lives, but to the sum total - including how we entertain ourselves.
I am suggesting several video alternatives that might be of interest to members of your family. Check with your local Christian bookstore first. They may also have some interesting fantasies/fables.
For Little Ones… The Lion, The Witch and the Wardrobe. (Public Media Video). A group of children discover a closet that leads to a far-off land called Narnia. The tale is full of Christian analogies and symbolism. This is truly a 4-star adaptation of the C.S. Lewis classic tale. It is complete with terrific special effects, animation, as well as live action, musical score, and costumes.
Adventures from the Book Of Virtues. (1996) Based on the best-selling book by William J. Bennett, this superbly animated series is filled with exciting adventures and inspiring messages for little ones. It has been designed to cultivate the best in human qualities: loyalty, courage, honesty, perseverance, self-discipline, respect, etc. Two children, Zach and Annie, face everyday challenges and issues with the help of Plato, a wise and friendly buffalo, Aristotle, a feisty but loyal prairie dog, and Aurora, a warm and caring red-tailed hawk.
For Older Siblings… The Chronicles of Narnia: The Lion, the Witch and the Wardrobe. Not since Dorothy landed on the yellow brick road have young and old alike entered such an enchanting world. Its story and dialogue are witty for adults, its magical look spellbinding for kids. PG (Though there is no blood and the filmmakers attempt to avoid excessive brutality, this good vs. evil tale does include violence – from bombs exploding, to a wicked witch slapping a youngster, to wolves attacking, to an all-out Braveheart-like battle. There are a few jolting scenes and several scary moments; parents should attend with little ones in order to reassure. The kids learn life lessons, the film is pro-family and the spiritual insights are distinctly biblical).
Fairy Tale: A True Story. (1997) Florence Hoath, Elizabeth Earl, Peter O'Toole. Paramount. Fantasy. Two young girls discover a village of fairies at the bottom of a garden. It contains a wonderful message about believing in things unseen. PG (one mild crude expression; concerns a belief in fairies and guardian angels).
Harry Potter and the Order of the Phoenix is rated PG-13 (a couple of minor expletives, but I caught no harsh language; the opening sequence has Harry under attack by two ghost-like demons (called Dementors); they are frightening to look at and bent on sucking the life out of Harry and another kid; not as chaotic as other installments, but there are several battles between forces of evil and our young heroes; the evil forces are smighted, but so is a supporting character; he is wounded in battle and vaporizes; another man is brutally attacked, left near death; Harry gets kissed; both are supposed to be fifteen, this being their first kiss, yet they seem very knowledgeable; it’s not done awkwardly, but rather with the aptitude and efficiency of one with lots of drive-in theater experience; there are several weird and spooky-looking villains; the visual of these characters may be nightmarish to very young viewers).
Running
Time: 138 min.
Intended Audience: Teens and up.
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