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Movie Reviews From A Family Perspective

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For titles released after to July 2005.

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Wager, The (DVD)
Waitress
Wallace & Gromit in Curse of the Were-Rabbit.
Wall-E
Water
We Are Marshall
We Own The Night
When I Find The Ocean (on DVD)
Wordplay

THE WAGER  (on DVD)

Randy Travis, Nancy Stafford, Jude Ciccolella, Candace Cameron Bure, Dough Jones, Bronson Pinchot.  Pure Flix.  Story by Bill Myers.  Screenplay by Judson Pearce Morgan.  Directed by Judson Pearce Morgan.

New on DVD, this religious-themed drama is well intended, but lacks any credibility.  What’s more, it’s nerve-wracking viewing the lead go through a modern-day version of Job.  He’s an actor, up for an Oscar, but he is having problems with his egocentric director, his wife is filing for divorce, his costar wants to sleep with him until she spots a little kid staying at his house and assumes this family-values devotee is really a pervert, members of the  merciless media try him before the facts, an end-is-nigh specter with a  discompassonate stare appears throughout, making our put-upon hero wonder if he isn’t losing it, and what’s this, his devoutly religious sister has a cough.  Is that blood on her tissue?   The only thing missing is a tax audit.

A dreary and humorless screenplay that relies on music-laced montages to further the story, heavy-handed proselytizing, and hammy acting, which suggests unseasoned directing, the film is made by people who want to follow in the steps of Billy Graham’s World Wide Pictures, a studio that sporadically gave viewers entertaining as well as devotional tales.

This has been a difficult review to write.  First, the filmmakers are dealing with spiritual matters.  They want to strengthen Christians and witness to non-believers.  I don’t much like attacking their efforts.  Second, those involved are talented people.  Candace Cameron Bure grew up before our eyes on Full House, Bronson Pinchot has made us laugh both on Perfect Strangers and in a couple of the Beverly Hills Cop movies, and Randy Travis is an acclaimed country western performer.  But besides all the elements that must come together in a collaborative movie-making venture, the filmmakers must also wrestle with just how to inject spiritual themes.  Bringing faith subjects to the screen is a delicate matter.  They are personal and ultimately have more to do with the soul than the intellect.  We simply cannot reason out what the Holy Spirit will do in changing a person’s thought process. 

Third, wouldn’t it be awful to cause someone not to view this effort only to learn in Heaven that God was using it to bring someone to a closer fellowship with Him?  Therefore I will pray that those who would be comforted or enlightened by The Wager will be drawn to it despite critical assessments. 

And lastly, Bill Myers, the author of the story, was once a close friend.  To say anything hostile of his work because I am no longer a confidante would be petty and I sincerely hope I don’t suffer from that foible.  Bill is a solid writer, well respected and extremely diligent in bringing spiritual themes to book after book, all in a desire to draw readers to Christ.

Despite my picayune inspection, it’s not a bad movie.  It’s just not one that touched me.  Though it wants to go behind the intellect to reach emotions, both the script and its execution are aloof, almost cold.  I think of the moving ending to Places in the Heart, where healing of spirit and relationships is so effective that it brings up emotion just speaking of it. Nothing in this film gave my emotions a workout.  I guess like a junkie looking for the euphoria of his first high, I keep looking for a film and a filmmaker capable of exposing matters of the soul.

The DVD has several special features, including a commentary and a behind-the-scenes documentary.  For more information, go to www.Wager-TheMovie.com.

DVD alternatives: The Apostle.  This perceptive drama, written, directed and starring Robert Duvall, never condescends, nor is it antagonistic toward people of faith while telling its story of a good but imperfect man’s redemption. PG-13. I found nothing offensive for exploitive purposes. The implied adultery, its one violent scene, the reverend's faulty nature, and a couple of mild expletives serve to further the story rather than shock us or malign the ministry.

Babette’s Feast. A woman travels to a far land and becomes the housekeeper of two religiously devout sisters.  It is a gentle, yet sumptuous story about self-discovery, one that nourishes the spirit. 

The Gospel.     A semi-autobiographical film about the transformative power of faith and forgiveness, The Gospel is a contemporary drama packed with the soaring, soulful sounds of gospel music.  Set in the impassioned world of the African-American church, The Gospel tells the story of David Taylor (Boris Kodjoe), a dynamic young R&B star torn between his successful new life and the one he used to know.

Places in the Heart.  A literate script presents a determined widow (Sally Field) bent on saving her farm during the '30s Depression.  Contains perhaps the greatest ending to a film this buff has ever seen.  A repentant adulterer is finally forgiven, when his wife, moved by the pastor's sermon, takes her husband's hand during the service, signifying the restoring of a relationship through Christ's love.  Just as we put our hankies away after that moving moment, another symbolic healing occurs.  I won't give that one away.  Trust me, it's powerful!  Rated PG (some mild language, implied adulterous affair – but it furthers the story and it is not explicit).

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WAITRESS

Keri Russell, Jeremy Sisto, Cheryl Hines, Andy Griffith. Fox Searchlight Pictures. Comedy. Written & directed by Adrienne Shelly.

FILM SYNPOSIS: A waitress has a dream of a better life. But doggone it, life keeps getting in the way.

REVIEW: The Bible instructs us to get outside ourselves. We are to put God first, others second and ourselves last. It is a sign of faith and a proof of God’s love indwelling us when we so order our lives. Ironically, that structure is the best way to find peace and fulfillment.

In its quirky way, Waitress exemplifies that premise. Trapped in a loveless marriage to an abusive wacko, Jenna (Keri Russell) fights off depression by making pies for the restaurant where she waits tables. She puts such skill and dedication into her baking that customers find a little piece of Heaven whenever they partake. Upon learning that she is pregnant after a night when her husband got her drunk, Jenna further relieves her frustrations by applying exotic names to her baked goods such as “I Hate My Husband” pie, “Kick In the Pants” pie and “I don’t Want Earl’s Baby” pie.

Though she is unhappy, frustrated and stuck, Jenna shows compassion for others. And though she doesn’t want a baby by a man she has come to despise, she realizes that the unborn child has rights and she does everything possible to see that the fetus is getting what it needs to develop correctly. (This is an unusual theme to find in a Hollywood movie these days.) Without uttering the term “pro life,” the film suggests that this stance is valid and just. Being pregnant, without any money, Jenna is further trapped in a loveless marriage; yet, terminating the pregnancy is never considered.

Outstanding, a poignant film that makes you laugh out loud and ultimately touches your soul, Waitress is as delicious as Jenna’s “Kick In The Pants” pie. On one level, it is somewhat fluffy, but as you savor the story, dialogue and performances, you begin to realize that it is layered and thoughtful.

Out of utter discouragement with this passionless marriage, Jenna begins an affair with the new doctor – a married man. Now, I wouldn’t justify such a deed, but if you stick with the film, you’ll see Jenna realize that her actions are wrong. When we finally see the doctor’s wife, it becomes clear that Jenna’s actions will hurt this woman. I don’t want to give anything away, but I will say lessons are served to the audience by the depiction of the adulterous affair. Despite her giving into wrongdoing, Jenna is a moral person and that morality ultimately prevails.

As for the sanctity of life, there is a wonderful moment. I hate to give anything away, but this is such an important statement being made by the filmmaker, that I must spotlight it. Jenna has not wanted this baby. But upon its birth, with just one look, she falls instantly in love with the infant. Suddenly, the film is an inspirational parable.

A horrible deed has added poignancy to this production. Writer/director Adrienne Shelly, who also has a supporting role as one of Jenna’s waitress buddies, was murdered before her film was released. Those involved in the production finished it and made sure it was distributed, paying homage to a gifted artist and friend.

As we enter into a season of superhero gimmickry, Adrienne Shelly has reminded moviegoers that the ultimate special effects are story, dialogue and performances. Andy Griffith has a supporting role and in one scene delights us with his description of his favorite Jenna pie. As he lovingly describes the tasty dessert, we suddenly realize he’s talking about life, her life. It is a terrific screen moment, proficiently handled by the veteran actor/comedian. And from a one-time actor’s insight, I can tell you that every moment Keri Russell is on screen is downright magical. The actress (TV’s Felicity and movies Mission Impossible 3, The Upside of Marriage) has pitch perfect comic timing and handles dramatic moments with truth and depth. It is a balanced, always mesmerizing performance. There is so much going on in her character and the actress relays it all. Will the Oscar folks remember Ms. Russell come awards season? They should.

I praise this film for its positives, but read the content portion before attending. Please remember that I see so many films that simply are not smartly written or films that don’t take regard for the sanctity of life. So when I see a film like Waitress, one that is smartly written and contains positives, I like to spotlight it for its artistic qualities. That said, it does contain sexual matters, including adultery. I’m not suggesting that we support films that go against God’s instructions. I am aware that many do not feel we should see a film that portrays sexual situations. Indeed, the media bombards us with sexuality. But this film reminded me that there are people all around us who feel trapped, unloved and frightened. I hope this movie aids in making me sensitive to others. And my prayer is that if any reader is going through such a trail, know you are being prayed for this very day and that our Lord loves you. It’s a dark valley, I know, we all spend time there. And God seems nowhere to be found. Just remember, even David, who was beloved of God, spent time in that valley. He asked “God, where are you?” He wasn’t just having a bad day. There were times when God seemed to have left him. Oh, but He’s there. Read the Psalms. In fact, read the Bible. Read it. And may God bless you and may your days in the valley be short and ultimately rewarding… See, I told you this film affected me.

PG-13 (there are several crude sexual comments and references to the male anatomy; six or seven minor expletives (damns and hells) and two obscenities (the f-word and the s-word); I caught no misuse of God’s name; the husband abuses his wife mentally, but he also slaps and pushes her. There is an element of danger every time he is around; he is obviously mentally unbalanced; there are several sexual situations, not overly graphic;
there are several conversations dealing with sex).

Running Time: 104 min.
Intended Audience: Adults

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WALLACE AND GROMIT IN CURSE OF THE WERE-RABBIT

Voices: Peter Sallis, Helena Bonham-Carter, Ralph Fiennes. D-Nick Park (creator of the series) and Steve Box.

This comic claymation film from DreamWorks has Wallace & Gromit cashing in with their newest invention, a humane pest-control device, “Anti-Pesto.”

Too many rabbits are eating far too much vegetation, so eccentric inventor Wallace comes up with a mind-control device to thwart off the veggie-eating rodents. But his efforts backfire when he applies the machine to a bunny and himself, only to find they trade characteristics. And when the moon if full, they become huge threatening beasts.

Though the film has some minor innuendo that will no doubt go over the heads of little ones, most of the humor is sweet natured and extremely clever, aimed at both kids and adults. Parents may be concerned with little things like the visual of several characters smoking pipes or an animated character displaying a bit too much bottom cheek as he slides down a pole. And then there are several visuals that may frighten little ones, as it is a comic horror spoof, where man and bunny become huge hairy beasts. But it is a very funny film with two loving main characters whose antics and friendship harkens back to the great screen comedy teams.

As I said, there are a few allowances for crass humor, though subtly done, but basically, the comedy stems from ingenious writing – something lacking in most of today’s comedies. This spoof is witty, spooky, parody, British satire.

G (one or two crass words, but no harsh or profane language; a few minor innuendos; and though there is a gentleness to the film, some of the humor is derived from spooky imagery and cartoonish violence; as always, a parent should attend with children in order to reassure is something should upset them).

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WALL•E

Voices: Fred Willard, Jeff Garlin, Sigourney Weaver, John Ratzenberg, Kathy Najimy. Disney/Pixar. Animated action adventure. Written & directed by Andrew Stanton. Opens: 6/27/08.

FILM SYNOPSIS: In this ecologically themed cartoon, the question is asked: What if mankind had to leave Earth, and somebody forgot to turn the last robot off? Academy Award®-winning writer-director Andrew Stanton (Finding Nemo) and the inventive storytellers and technical geniuses at Pixar Animation Studios (The Incredibles, Cars, Ratatouille) transport moviegoers to a galaxy not so very far away for a new computer-animated cosmic comedy about a determined robot named WALL•E.

After hundreds of lonely years of doing what he was built for, WALL•E (short for Waste Allocation Load Lifter Earth-Class) discovers a new purpose in life (besides collecting knick-knacks) when he meets a sleek search robot named EVE (Extra-terrestrial Vegetation Evaluator). EVE comes to realize that WALL•E has inadvertently stumbled upon the key to the planet's future, and races back to space to report her findings to the humans (who have been eagerly awaiting word that it is safe to return home). Meanwhile, having developed feelings for EVE, WALL•E chases her across the galaxy, where they have a most exciting adventure.

REVIEW: The most creative, original, fun film of the summer, Wall•E is both funny and touching. While never forgetting its target audience, by supplying enough slapstick humor and expressive visual movement to keep wee ones hypnotized, the creators have also produced an animated sci-fi adventure with something to say to viewers of all ages.

Opening with a dark, apocalyptic tableau, we discover a planet of buildings built out of compacted junk. Mankind has exited Earth, leaving one last busy-beaver robot to clean up their mess. It’s a sad sight, for he’s all alone, but for one pal, an unsquashable cockroach. It doesn’t take long, however, to sense that Wall•E has a tender Tin Man-like heart that yearns for companionship. When it comes in the form of a determined lady robot, our mechanical hero falls head over treads. At this point it becomes a romantic film, for it reminds us that one can have the whole world and all its charms, but without someone to share the experience, it’s a lonely existence. In other words, relationships are more important than materialism.

That anti-accumulation message has to cause any viewer already aware of the Disney franchise machine to smirk at its audacity. The film bemoans our overindulgence of big store consumerism (Wall•E – Wal-Mart, hmmm) while at the same time blatantly showcasing one cute toy-like creature after another – the studio knowing full well that each will get its own trademarked replica for parents to buy, kids to enjoy, and the future to dispose of. The studio responsible for Wall•E tells us we are bad for cluttering up the planet with unnecessary and un-dissolving excess, while continuing to create more themselves. “Don’t buy non-biodegradable stuff. Except ours.”

But despite this two-faced handling of an ecological dilemma, the makers of Wall•E have given the public a fascinating, cuddly and humorous adventure. Both Disney and Pixar remain dedicated to the premise that an involving story is central to a great movie. Though no studio outdoes their magic, these two studios make sure that special effects and CGI sparkle add to the tales rather than replace interesting characters or thought-provoking narrative. But they haven’t stopped there. Every detail has been given loving and experienced detailing. From the animation to the film’s score (incredible use of music that aids in telling the story) to the directorial pacing. It contains an overall sense of wonder missing in most films aimed at families.

By the way, there’s this really cool Wall•E U-Command robot with infrared remote control I gotta have… We’re doomed.

G (there are some slapstick situations, handled with discretion and several perilous situations, but the filmmakers have kept their youngest audience in mind and soften the action to make it palatable for most children; Eve is destructive when she first appears, blowing things up, and almost eliminating Wall-E, but she undergoes change and becomes a caring character due to the lead’s gentleness and self-sacrifice; Parents should attend with little ones in order to reassure, for the film does deal with some sci-fi scariness).

Running Time: 90-some
Intended Audience: Family

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WATER

Lisa Ray, John Abraham, Seema Biswas, Sarala. Fox Searchlight. Written and Directed by Deepa Mehta. Opens 4/28/06.

Set in 1938 Colonial India, against Mahatma Gandhi's rise to power, Water begins when 8-year-old Chuyia is widowed and sent to a home where Hindu widows must live in penitence. Chuyia's feisty presence deeply affects the lives of the other residents, including a young widow, who falls for a Gandhian idealist, which causes the widows to question their faith and future.

With its exotic locales, involving storyline, and insightful look into the religious and social status of the people of India, this amazing, if somewhat depressing, foreign film (with subtitles) is like National Geographic come to life.

That said, the storyline runs second to its insights concerning India's way of life. The viewer will garner a look into the daily life of the Indian people, especially the women's role. The female of the race is so subjugated to males and their religion that even a little girl can be married off, and if her husband dies she must live out her life banished from her former family. The rejected women need find any way possible to survive, including the prostituting of one of their own in order that the others may carry on.

While I am against the belittling of anyone's beliefs, the Hindu way of life is beyond modern Western comprehension. Cows roam free, regarded as holy, while people starve. Dogs are a bad omen, people bow down to toy-sized idols, masses live in poverty and misery, their religion offering little hope other than reincarnation into the same grueling existence. It has been so for hundreds of years. And when Gandhi offered his countrymen a way out of dominated rulership by the English through passive resistance, he stated that he once believed "God is truth," then amended that conviction to "Truth is God." This contrived concept of the Creator only further led souls from a true understanding of God's nature.

There is a tragic irony to this man many believed to be India's messiah. It is reported that in his search for spiritual knowledge, Gandhi examined Christianity, only to harden to it because English churchgoers, feeling superior, did not want the Indian in their worship service. Had he been welcomed with open arms as Christ wills, the religious and communal landscape of that nation might well have been different.

Not Rated: One of the women discusses sex in crude terms three or four times. This same woman, an elder among the group, bitter, sad and dominating, uses the two b-words on several occasions referring to men and women, but I caught no other coarse language.

The little girl struggles against the older women when she is first brought to the house, unaware of her fate. She has her hair shaved off, a custom of the widows. A young woman is held against her will, her beautiful hair also chopped off. A woman must prostitute herself on behalf of the others, but it is implied. It is also implied that the little girl, about 8 years old, is also to be used as a prostitute. She is brought to the pervert's house. In horror, one of the other ladies rescues her after the deed is done. The bitter woman is seen smoking a narcotic. There are some things difficult to watch as the film presents a realistic view of women with little to no rights.

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WE ARE MARSHALL

Matthew McConaughey, Matthew Fox, David Strathairn, Ian McShane, Anthony Mackie, Brian Geraghty, January Jones, Kimberly Williams-Paisley, Huntley Ritter, Kate Mara, Warner Bros. Pictures. Sports drama. Directed by McG Written by Jamie Linden. Opens 12/22/06.

SYNOPSIS: In 1970, while traveling back to Huntington, West Virginia, 75 members of Marshall University’s football team and coaching staff were killed in a plane crash. A community steeped in football tradition, Marshall football was more than just a sport, it was a way of life. As those left behind struggled to cope with the devastating loss of their loved ones, the grieving families found hope and strength in the leadership of Jack Lengyel, a young coach who was determined to rebuild Marshall's football program and in the process helped to heal a community.

REVIEW: Well, I said it after the last twelve football movies and I’ll say it again: the films in this genre are as alike as Indian head nickels. Of course, to sell the concept to a studio head, the pitch man has to come up with some sort of hook. In case of football movies, these hooks range from a girl fighting for and eventually being accepted onto a chauvinistic team, to the new coach having to rebuild his foundering team. Actually, those are pretty much the only two hooks for football movies. And since the last film about a girl joining a male team starred a teenaged Helen Hunt clear back when cheerleaders still wore knee socks, moviegoers have pretty much had just one type of football movie scenario – that of the new coach rebuilding his foundering team.

Here we have a story based on a true and tragic incident. But make no mistake, this film isn’t really about the dead team members. We don’t learn much about that team. Heck, we don’t even learn why the plane crashed. This film is more about the perseverance of a sport by those who think football is something God himself prefers to Sunday worship.

Despite the sameness of these movies, they can be enjoyable. First, however, it helps to like football. And from what I’ve noticed about most football enthusiasts, just about any film where people wear helmets is their first choice for a Friday date movie. If the football action is interestingly filmed and the team roster consists of wise-cracking but sympathetic players, then pigskin zealots will go – no matter how often they’ve seen the hook.

Matthew McConaughey channels Robert Duvall in his effort to create a tough but sensitive head coach who must rebuild the team while motivating the rest of the town to rebuild the football program. There are some attempts at motivating messages about starting over and dealing with the guilt and anger that follows tragedy, but most every emotion that’s tackled here has been handled with more filmmaking skill in past entries.

There’s plenty of football field carnage and of course there’s the final slow-motion pass that will make or break the game. Nothing new. Nothing really challenging. Nothing really entertaining. And even the loss from the crash could have been treated with more poignancy. For me, it was just something I had to sit through. Kind of like when I have to watch Monday night football with a family football fanatic (of which I have many, may God bless and keep each and every one of them).

My video alternatives: Brian’s Song, Rudy, Invincible, Remember the Titans, and Facing the Giants (soon to be released on DVD).

PG (about 8 or 9 uses of the s-word and several minor expletives; a player starts to profane God’s name once, but the phrase is not completed; a brief scuffle between teammates; we see a fire after a plane has crashed; there are the typical action sequences on the field; several college teammates get drunk on beer one night).

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WE OWN THE NIGHT

Joaquin Phoenix, Mark Wahlberg, Eva Mendes, Robert Duvall. Crime Thriller. Columbia Pictures. Written & directed by James Gray.

FILM SYNOPSIS:  Bobby Green (Joaquin Phoenix) has turned his back on the family business. The popular manager of El Caribe, the legendary Russian-owned nightclub in Brooklyn’s Brighton Beach, he has changed his last name and concealed his connection to a long line of distinguished New York cops. For Bobby, every night is a party, as he greets friends and customers or dances with his beautiful Puerto Rican girlfriend, Amada (Eva Mendes), in a haze of cigarette smoke and disco music.  But it’s 1988, and New York City's drug trade is escalating. Bobby tries to keep a friendly distance from the Russian gangster who is operating out of the nightclub – a gangster who is being targeted by his brother, Joseph (Mark Wahlberg), an up-and-coming NYPD officer, and his father, Burt (Robert Duvall), the legendary deputy chief of police.

REVIEW:  Superb filmmaking, with solid performances all around and an emotional theme about family ties, but it’s a rough movie to sit through.  The killing is brutal, the language even more so.  That said, it is a powerful parable, not meant to glorify drug use or violence, but to reveal the evils connected to the lifestyle and the people who participate in the selling of narcotics.  The film’s title is the motto of the 1980s-era NYPD street crimes unit.

R (a few crude sexual comments from people in a night club; around 60 uses of the f-word, with the dialogue peppered with other obscenities, as well; three or four misuses of Jesus’ name, but when one of the brothers says God’s name in frustration, the scene occurring in a Catholic church, he looks up and apologizes, signifying they have been taught to show reverence toward God; extremely violent, with several people being shot at close range, blood oozing out on the floor; a car chase ends with a main character being killed by a shotgun blast; a lead is shot at close range, his car firebombed, another man has his throat slit, the body twitching, blood flowing from the wound; there is a jolting car wreck, other violent activity, along with an air of violence throughout; lots of blood from wounded and dead bodies; a graphic sex scene occurs early on, with Eva Mendes masturbating, and her lover participating; the scene is meant to show an intimacy between the two, but the act is graphically depicted; we see topless dancers in a club; there are a couple of intimate sexual discussions between Joaquin Phoenix and Eva Mendes; drug use in the nightclub, the Phoenix and Mendes characters freely participating; there is no physical consequence shown for the drug activity; these two characters smoke pot before entering a police function, showing disregard for the law; the activity is portrayed to show the lead character’s attitude; this changes as he begins to see the evil of the drug dealers and the lifestyle; lots of inner turmoil).

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WHEN I FIND THE OCEAN

On August 5th, Monterey Media will release on DVD When I Find the Ocean, inspired from a true story.   The PG-rated film focuses on 12-year-old Lily Strickland (Lily Matland Holly), who longs for the father she lost to the ocean.  Her mother has found a new man to share her life, but is unaware that the man she’s about to wed has a mean side and secretly beats young Lily.  Leaving behind a safe, loving environment with her grandparents (Diane Ladd and Lee Majors) and loving mother (Amy Redford), Lily runs away to escape the abuse and to learn more about her father.

PREVIEW REVIEW:  Every time reviewers attend a sci-fi film, we are looking for The Day the Earth Stood Still, or His Girl Friday for a battle of the sexes.  And when it comes to a story about  a young girl discovering the realities of life, we’re hoping for To Kill A Mockingbird.   So when we see an effort such as When I Find the Ocean, we are let down despite the positives. 

It’s a frustration, because while most secular reviewers congratulate a filmmaker for his artistic and technical achievements, those of us looking at movies from a spiritual perspective tend to be impressed with its message and its family-friendliness without regard for the rest.  Well, that’s the best thing you can say about When I Find the Ocean: it certainly is family friendly.  I was pleased with seeing a household on screen pray over their meal, revealing a reverence for God, then praying for a missing child, showing a need for God’s guidance.  Sadly, it’s also heavy handed with its message, limited in its budget, and performed with an air of amateurishness.  And while it has garnered awards and Dove merit badges, I can only assume that these citations were given because there are no swear words.  Or are we now rewarding artistic mediocrity because the film’s characters are seen praying?

One doesn’t like to say anything negative about a child actress.  Only a monster would enjoy that.  But it’s frustrating when the young lead doesn’t connect with the audience.  I suspect that Elizabeth Taylor (National Velvet), Tatum O’Neil (Paper Moon), or Dakota Fanning (Man on Fire) would have felt adrift amid Tonya S. Holly’s sophomoric script and rhythmless directing, but their personas would have at least made the proceedings tolerable.  Alas, Ms. Holly’s daughter Lily Matland Holly comes across as bland and unprepared.  You can be a bad actress and still have a good career (I won’t name names), but the unforgivable sin is being too blasé on screen.  Youngster Lily suffers from this inertness.  She’s just not interesting to watch.  Nor does she seem equipped to handle dialogue or long stretches when she doesn’t have to speak.  Here’s a case where nepotism rears its ugly and misguided head.

(Sorry Ms. Holly and young Ms. Holly, for the rough treatment, but you got in the game.)

At one point the girl uses shoe polish to disguise herself as she seeks to help a black man escape jail.  If it isn’t offensive, it’s at least cornball.

The film attempts to address important issues such as racism and dealing with the loss of a parent.  Unfortunately, its underwritten script and overbearing background score left me wanting to see a better production, one that deals with the same subjects, one that truly touches the heart, say, To Kill a Mockingbird. 

PG (Though we don’t see the abuse, a man has been beating a preteen girl with a belt, leaving serious bruises on her back; the film deals with racism and the loss of a parent, but the filmmaker handles the content with discretion). 

DVD Alternatives:  Along with renting To Kill a Mockingbird, allow me to also suggest Pearl Diver.  This PG-rated film concerns two sisters and how they are haunted by the twenty-year-old murder of their mother.  I was moved by the sacrifices portrayed and how this incisive film reminds us that no sacrifice ultimately goes unrewarded.  Caution: contains brief language and some violent imagery, but the message is positive, as is the portrayal of Christians. 

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WORDPLAY

Who would associate revealing, involving, or funny with a documentary about crossword puzzles players? Surprisingly, the production values, direction, pacing and humor make for an insightful movie as we get to know various people obsessed with word puzzles. What's more, there may be a built-in audience for this documentary (over 50 million Americans do crosswords every week). That said, I would not put this in the league with the dramatic Akeelah and the Bee or the nature study March of the Penguins, both of which inspired. Akeelah bettered her life and drew her community together through her commitment to language use, while the penguins communicated a sanctity of life. Wordplay is more a curiosity, as it spotlights self-described geeks whose world revolves around word puzzles.

Since the film is seen from the perspective of Will Shortz, who works for the New York Times and National Public Radio, the film proclaims those organizations as being the best news outlets in the world. Uh-huh.

PG (Shortz reads some derogatory mail he receives, one calling him a smart ass, another uses the minor expletive, hell; a gay couple kiss).

For more details visit: www.wordplaythemovie.com

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