"The Way" Review and DVD giveaway

There hasn't been a good Lenten movie since "The Passion of the Christ". "The Way" directed and  produced by Emilio Estevez, starring his father Martin Sheen, is a fascinating film which, though not as overtly Catholic as "The Passion" nevertheless explores themes of spiritual healing and the universal longing for a connection with God. This could be a good film to share with that relative who is "spiritual but not religious" who balks at films as overtly religious as "The Passion."

Maritin Sheen plays Tom, an opthamologist with an ostensibly comfortable life in California, he has a good practice, and a regular foursome at the local golf course, yet he seems distanced from it all. A recent widow with a rocky relationship with his only child, Daniel, played by Emilio Estevez, Tom's  life is not all contentment. A man who has achieved success by choosing his life's course early and keeping on track, Tom's son rejects the same course of action, saying, "You don't choose your life, you live it".  Daniel suspends his PhD studies in anthropology to experience foreign cultures in person. He ventures to Spain to walk the thousand year old pilgrimage called "El Camino de Santigao" or "the way" to the cathedral of Santiago de Campostelo, where the remains of St James the Apostle are buried in Spain.

Tom is stunned when he receives a long distance call from a policeman in France saying that Daniel was found dead at the start of the Camino in the French Pyrenees, puts his life on hold and takes the next plane to Europe. The story follows Tom in his quest to complete Daniel's pilgrimage, distributing his ashes along the route. A fascinating mix of characters engage Tom, who at first reluctant to share his purpose, later embraces the companionship on El Camino. Stunning scenery, interesting characters,  and surprising plot twists keep the story from blandness, and the ending is unusually thought provoking for a Hollywood film.
Adult themes are explored, and a surprising pro-life theme is touched upon, so this may be a good film to open up discussions in youth groups. Characters are well developed and believable, and follow the typical mix of travelers one encounters while backpacking in Europe. Emilio is still exploring his religious beliefs, a fact which he shared with me in his interview.

 I grew up in a house, where, as a boy, we lived in New York City for six years, my mother was raised Southern Baptist, and my father was a devout Catholic. And, as a boy, I heard nothing but arguments about religion, and it was very, very confusing to me, and, as a result it left a very distasteful feeling for me. Where I finally ended up, is that all of the children were Baptized, but we were not practicing Catholics, in fact, my father fell away from the Church for quite some time, and then came back in 1981, there was a reconversion. So, for me, this has been a long journey, my mother likes to call me a work in progress. And I am that, and I think the film is a reflection of my spiritual journey. Its often said that the proof is in the pudding, but I like to say that its in the eating of the pudding. And if you’ve seen the film then its pretty clear where I’m at in my spiritual path.

The only feature of this film which may offend some viewers is the manner in which Tom distributes the ashes of his son's remains, since it is against Catholic teaching not to bury them in consecrated soil and there was no funeral. It is highly recommended as an engaging, yet meditative film for adolescents and up.

To win a copy of "The Way" leave your name in the comm box with your email.

Review of "John Paul II; The Man, The Pope, and His Message"

Review of John Paul II; The Man, The Pope, and His Message

By Alberto Michelini

Leticia Velasquez

Catholic Media Review.

Volume 8 I Am Your Voice: The Pope on Human Rights

Catholics have long enjoyed the work of papal videographer, Alberto Michelini. Now under a special arrangement with the Vatican, what was formerly available on video has been converted to a four DVD set containing five hours of dramatic documentary footage, organized by topic into ten 30 minute films. Each film focuses on a different aspect of the pontificate of Blessed John Paul; including youth, children, the poor, the family, Marian devotion, historic events, a day in the papal apartments, and the working world. The series is available in English, French, and Spanish.  The companion website wwwjohpaulseries.com for this DVD set has free downloads of companion discussion guides for leaders and participants for each volume with tools for group discussion. This makes this series an ideal tool for teachers to use in Catholic school, CCD, and parish adult ed programs. Study groups could use these films in private homes. Homeschooling mothers from the JPII Generation will find this ideal for teaching their children about the legacy of Blessed John Paul.

Volume 8 “I Am Your Voice” is the powerful film on human rights; Pope John Paul is seen interacting with and addressing poor, sick and persecuted people from every corner of the globe.  A heartbreaking cry of misery is documented in this film; from the slums of Latin America and Calcutta, the prairies of Canada, the plazas of South Korea, the Australian Outback, the savannahs of Africa, and the shipyards of Gdansk. The desperation of the members of the human family who are callously denied basic human dignity are heard by the man who himself suffered under two oppressive regimes.  South Americans who are living forsaken in squalid slums while neighbors enjoy luxury, occupying land was stolen from them. African lepers whom the government has forgotten, living in filth, workers who are deprived of just wages and political freedom, aboriginal tribes whose numbers are decimated yet remain proud of their culture. The Pope listens to their pleas with love and tells them “The Church hears your voice”

He responds to such pain with tears of compassion, embracing the disconsolate and dying, and railing with righteous indignation at the perpetrators of injustice at the rich who ignore the hunger of the poor, and the violence between protesters and police in Chile while he shouts to the multitude, “Love is stronger, Love is stronger!” John Paul speaks unflinchingly in defense of human rights at the United Nations in 1979, attempting to awaken the powerful of the world from the somnolence of egotism. He prays with profound sorrow at the grave of murdered Polish priest and Solidarity activist Fr Jerzy Popieluszko. Not taking sides for political purposes, as he is often accused of doing, the Pope is consistently on the side of the downtrodden, pointing out that the Church cannot be silent when human dignity is at stake.

During this moving footage, the narrator adds context to the scenes, and quotes from John Paul’s numerous encyclicals dealing with social justice; allowing viewers to grow in understanding of the Church’s position on human rights issues, as a preferential option for the poor,  while avoiding the errors of Liberation Theology. He says that Christ came that we might have life abundantly, yet does not favor one political solution over another, rather, he attempts to stir the consciences of those in charge of the world’s economic systems, both left and right. For this he receives criticism for “dabbling in politics”.

Today there are protests of increasing intensity around the world, expressing frustration with injustices both political and economic. The Holy Father addressed this in his speech at the United Nations in 1979 when he said, “wars develop when inalienable rights are violated.” His warning was fulfilling the prophetic duty of the Church, to be the voice of the oppressed. He exclaims “the Church cannot be silent when human dignity is at stake”. One of the most emotionally charged moments of this documentary is when John Paul II upbraids his fellow Poles in 1991 in Kielce when he reminds them, shortly after the Solidarity Movement brought freedom to those behind the Iron Curtain and there  was a movement to tell the Church to get out of politics with regard to abortion. He reminded his countrymen that a child is a gift from God.

No human being is forgotten in John Paul’s passionate defense of the dignity of mankind from birth to natural death. These films are compellingly narrated using the best of John Paul II’s encyclicals to educate the public about why Pope John Paul is called the Great and why millions attended his funeral shouting “Santo Subito!”

Don’t miss this outstanding series which offers an unparalleled opportunity to relive this extraordinary pontificate, and grow in your appreciation of the historical legacy of soon to be St John Paul.

In the spirit of the Gospel as well as out selfless Pope, It is “better to give than to receive”, CCC of AMERICA is hosting a contest: JPII They Love You. People who go to the Pope Series website to complete a brief web form in order to enter someone of their choosing to win a DVD set (valued at $49.99). They will have only 50 words or less to say why they are entering that particular friend, relative, neighbor, CCD teacher, Priest, etc to win a copy of the series.

More information may be found at this website; wwwjohpaulseries.com

Movie Review: The Sorcerer's Apprentice - PG

Balthazar (Nicholas Cage) was one of Merlin's apprentices. So was Horvath (Alfred Molina), but he and Morgana turned against Merlin. For centuries, Morgana has been trapped in a nesting doll with Veronica, a friend of Balthazar. 

Also during these centuries, Balthazar has been looking for the Prime Merlinian, the sorcerer destined to be another Merlin, a great sorcerer.  He finds him, in 20 year-old Dave.  It is noteworthy that he is a physics student, because that factors into the story.  Balthazar begins to train Dave,  and they soon join forces to battle Horvath and his apprentice Drake.  They have to stop Horvath from releasing Morgana,  which will mean the end of the world.

There is plenty of action, and dazzling special effects to showcase the characters'  "magic".  The main characters each manage to stand out in their own way, without overshadowing each other.

There is never a dull moment, and I found no objectionable content.  I took my nephews, ages 10 and 12, and they gave it a thumbs up also.  I highly recommend this!

http://disney.go.com/disneypictures/sorcerersapprentice/

Movie Review: The A-Team - PG13

Hannibal. Face, BA and Murdock are back. 

As far as the characters, I think these 4, especially Liam Neeson (Hannibal) and "Rampage" Jackson (BA) did better in their roles than the original cast. They brought the necessary qualities to the characters to make them engaging.

As with the series, The team is set-up and framed for something they didn't do, and are on the run while trying to find and trap the real bad guys.  (I was able to figure out the bad guy this time :)  There wasn't a great deal of dialogue, it was very often one-liners.

As far as the plot and story, it was very comparable to what you would have seen in the series.  The story was told in a very fast-paced style, which I thought made it more enjoyable.  There was lots of action, and some violence.

Although there was violence, there wasn't much gore.  The language wasn't very bad, although there was some cursing.  It is probably fine for teenagers, but you might want to take smaller children to something else.

VERY enjoyable.

http://www.ateam-movie.com

Review of "The Perfect Game"

PG On limited release April 16 in NY, LA and Texas only. Let's give it a great opening weekend so the whole country can see this outstanding family film.
When is the last time you saw a great baseball movie; the kind which inspires you to go outside and play ball? How about a rags-to-riches story about the underdogs who made good despite bigotry, poverty, and family drama? When is the last time you saw a film which made your heart swell with pride about being a Latino or belonging to the Catholic Church? Would you believe there is a film out there like this? And that this film stars Cheech Marin, as Padre Esteban, a devout, old-fashioned priest?” This would take a miracle”, you say, well, in this film, Padre Esteban says “Sometimes God gives us the ability to make them.”

“The Perfect Game” is all about miracles, it is based the true story of the 1957 Little League World Series in which a rag-tag group of poor Mexican boys from the metal forge town of Monterrey cut a swathe of victory through the United States, to the admiration of American children and the chagrin of racists. Their meteoric rise to fame captured the attention of America and will capture your heart.

How did boys who didn’t speak English, had no field or fancy equipment, and weighed 50 pounds less on average than their opponents win so many games? The diminutive athletes have two secret weapons, their coach Cesar (Clifton Collins Jr.)A former employee of the St Louis Cardinals gave them each a role model in a Major League Baseball star, and their pastor, gave them his blessing. With the support of these men, hard work and heartfelt faith, the Monterrey Industrials went out to make history. The story follows the tight knit band of amigos from their simple homes in Mexico all the way to the Little League championship in Williamsport, PA. But their unlikely championship does more than impress the hometown folks, they managed to change hearts and inspire those they met. In Mexico, they bravely faced the scorn of the wealthy Mexico City team, yet the boys were not prepared for the harsh realities of segregation in the South of the 1950’s. Separate bathrooms were new to them, and it angered the boys when one of the American team members ate alone at the diner, because he was black. Soon the entire Monterrey team had moved over to share a meal with him. They forged a kinship with a black Protestant Pastor Clarence (John Cothran Jr) who pinch hit as team chaplain for Padre Esteban and they forged the common bond as underdogs who refuse to let hatred win.
The unique and memorable characters of the teammates are what make the film a winner. Jake T Austin has an incredible range of emotions as Angel Macias, the pitcher who strove to pitch a perfect game. Moises Arias, is adorable as Mario, the shortest teammate famous for his charm with the ladies. The feisty yet humble personalities of the little boys captured the hearts of the teenage audience who viewed the film with me. They recognized the actors from Disney Channel, and were charmed by their characters in the film, cheering them on as they wowed America onscreen.

When Cheech Marin was asked by Brian Kilmeade of Fox and Friends how it was that he played the role of Padre Esteban so convincingly, he recalled his childhood in the Church where he was an altar boy. “I imitated the priest”, he said. In his childhood, Cheech was also a big fan of the Monterrey Industrials; “I had a lot in common with them” he said. Perhaps that’s why he successfully embodied the Padre whose heartfelt prayer for a means of giving the boys hope began the story. Soon after his prayer, a baseball saying “Property of St Louis” was found by Angel Macias, next to an abandoned church, and the boys took it as a sign from God that they were meant to play baseball. They convinced Cesar to be their coach, cleared the abandoned church plaza for a field, and began to play ball. Soon the relationship between the team and down-on-his-luck Cesar took on the warmth of a friendship as the boys assisted his budding romance with the beautiful Maria (Patricia Manterola). Cesar, an unkempt drunk, finds himself spellbound in the presence of a Maria as the two meet at the market. The boys convince him that she can be found at Sunday Mass, where Cesar stands out like a sore thumb. This impresses Maria who invites him to dinner with her family. The involvement of the entire team in Maria and Cesar’s romance is part of the film’s charm, making it an excellent date flick.
The theme of father son relationship is central to the film, where the tension is thick between pitcher Angel Macias and his father, Umberto (Carlos Gomez). Umberto is angrily mourning the loss of Angel’s big brother Pedro. Angel somehow manages to excel as a pitcher, despite his father’s insistence that he will never fill Pedro’s shoes, and his utter lack of interest in his playing. Yet, in the end, the film underscores the crucial importance of a father’s approval to a growing son.

The authentically Mexican flair of the soundtrack and unique cinematography, blending newsreel footage of the actual team and the film itself, enhance the feeling of being witness to history.

This is a film which will be soon added to the family collection, to be played and replayed, along with director William Dear’s other baseball classic, “Angels in the Outfield”. Its not often that at film comes along which baseball is merely a vehicle to inspire hope and not an end in itself. The boy’s faith, dogged perseverance and winning personalities will make you laugh, cry and cheer for them. “The Perfect Game” is an example of what sports can do for a group of children with a good adult role model to guide them.

No nudity (little boys in underwear, a verbal reference to jock straps), no sexual innuendos, an appropriately negative portrayal of drunkenness and a scene where stealing is correctly called ‘sinful’ make this film an outstanding family film, suitable for all ages. I give this film my highest recommendation. If you only go to see one film this year, go see “The Perfect Game”.

Movie Review: The Perfect Game

UPDATE APRIL 14
As I prepare my review for this wonderful film, I thought I'd revive the excellent review of a friend of mine who attended a screening over a year ago (original date of this post was 7/08), and never lost faith that this film would be released.
Leticia Velasquez

A guest post by Lynn Mary Wilson who attended a preview of this film

In 1957 North America, baseball was, as it is today, filled with miracles of all sizes. In The Perfect Game, based on a true story of baseball and miracles, a ragtag group of young altar boys in Mexico without hope of baseball but living in a culture filled with miracles and formed by an unlikely padre played remarkably by Cheech Marin, unfold their story. It may be just in time to rescue modern baseball fans of all stripes from apathy, cynicism, disgust and maybe even football. Many things have not changed in baseball or in life - men have fallen to envy, prejudice and corruption in every age - the real story is in the redemption of fallen or disheartened or oppressed or angry men and The Perfect Game is a unique kind of redemption story - a story of faith, hope, charity and a little romance - and the victory of the underdog that is more timely now than half a century ago. There is even a great little subplot about women in sports journalism.

Uplifting us from the sandlot of Monterrey to the glory of Ebbets Field, this is a movie to cheer about. In fact, at the screening I attended, that's just what happened in the audience! People love a story of men who believe in a cause and fight for it, and this is one story and one cause that should have no detractors. There WAS prejudice in 1957 in all quarters, but that did not stop one faithful priest and his flock from giving one desperate man (Clifton Collins, Jr.) a reason to believe and some good work to do. In the process, from a most unlikely corner of the continent, comes a story that reminded a nation what it means to seek and to find not only the American dream, but the God Who is behind it all. It bears repeating that the story has not changed much over the years.

This movie was to have been released on August 8th, 2008, but has been put on the backburner. If you believe in the power of miracles, please contact Lionsgate to vote for release of this movie sooner rather than later.

The Blind Side

The Blind Side Directed by John Lee Hancock (Alcon Entertainment, 2009)


When the subject of homelessness is brought up, as it rarely is in polite conversation, it evokes a variety of responses; hand wringing, finger pointing and guilty donations to charity among them. The reaction rarely seen is action. How many of us want to roll up our sleeves and get involved with the homeless personally like Mother Teresa? The Blind Side is the true story of Leigh Anne Tuohy(Sandra Bullock), a Southern Belle who did just that, remaking the life of Michael Oher (Quinton Aaron) so well that he ended up getting a scholarship to play football at her alma mater, Ole Miss, and becoming an offensive lineman for the Baltimore Ravens.



At 6-foot-9, 350 pounds, Oher certainly stood out at Wingate, a mostly white upper-class school in Memphis. He had been admitted to the school for his athletic prowess, since his sketchy academic record and GPA of 0.6 showed little promise.



Taciturn and shy, Big Mike traveled the halls of the school like a shadow, seen but not heard, until one night, when the fact that he was wearing a short-sleeved shirt on a cold fall evening caught Leigh Anne Tuohy's attention. The Tuoys took Mike home ‘for just one night' and an unusual new relationship was born.



Sean Tuohy (Tim McGraw) is a successful entrepreneur who owns as his son SJ (Jae Head) explained to Mike "about a million Taco Bells" and was providing his family a lavish lifestyle, yet something was missing. Somehow, the homeless teen became the final link completing the Tuohy family, despite the comments of Leigh Anne's well heeled lunch lady friends. Only one of her friends was positive: "You've changed that boy's life." Leigh Anne replied, "No, he's changed ours."



A football film that's not really about football, The Blind Side has garnered two awards, Sandra Bullock's first Oscar for Best Actress, and The Critics' Choice Award, but more importantly, it captured the imagination of the American public. The film was released November 20, 2009, yet when I finally got to see it after Christmas, the theater was packed. A mixed crowd with a number of senior citizens laughed and cried at this remarkable film.



Not expected to be the huge success it was, The Blind Side is the most popular film of Sandra Bullock's career. Part of the film's success is a talented cast with chemistry which sends sparks flying; Sandra Bullock is as Leigh Anne Tuohy whose effervescence stands in bold relief against Quinton Aaron's inscrutability.



The heart of the film is the story about someone who followed her faith to go beyond her comfort zone and reach out to a young man who had every right to bitterness, but left it behind and accepted her help gratefully. It seems that the tired theme of a person haunted by a traumatic childhood which drives him or her over the edge has finally played itself out. In tough economic times, we need more encouragement than self-pity. As Michael Oher says, "We all have tough times. What we have to do is taking it and run with it."



The Blind Side does just that.



By Leticia Velasquez, whose film reviews have been published by Reuters, USA Today, and her own site Catholic Media Review.

Leticia's review of "The 13th Day" quoted in Ignatius Press

I was excited to see the enticing array of films in the new Ignatius Press catalogue, but I was more thrilled to see my review of "The 13th Day" quoted with that of Steve Greydanus and Daria Stockey. "Catholics need a wake-up call on what it means to be the Church Militant. In the face of a darkening world landscape, "The 13th Day" is just that" says the quote on page10.


I was even more amazed when I read the other quote from my review on the Ignatius Press website page for "The 13th Day". My heart beat faster when I saw those whose quotes were chosen.

I was quoted with Fr Andrew Apostoli, CFR, the Official Fatima Shrine and Most Rev Vincent Nichols the Archbishop of Westminster, UK. Such august company!

"Directors Ian and Dominic Higgins, accomplished more than a pious revival of a fond moment in Catholic history, they re-cast familiar images of a story whose relevance has grown with time."
– Leticia Velasquez, Hartford Catholic Examiner
(read full review - also on Catholic Media Review)

This is a great honor for me as a writer to have my work quoted by such a fine publisher and in such respected company. I consider it part of my calling as a writer to help interpret books and film for busy Catholics who are wading their way through the filth of the culture of death. I will be interviewing a cast member of "The Blind Side" next week, and publishing my review in "US Catholic".

For Your Viewing Enjoyment...Or Not

We spent considerable time watching movies this past holiday season, either in the theater or at home. I don't have time to write individual critiques and some might find it interesting to learn what my family watches.

A couple of caveats: with the exception of DD#2 who is 16, my "children" are adults. My antennae are not quite so finely tuned to the occasional swear word (although overuse of the "f-bomb" bothers me) or sexual situation.

Plot holes to big to ignore, however, are another story...

Avatar: DD#1 summed this movie up nicely--Pocahontas with aliens. Only Pocahontas had better songs.

The graphics were stunning. The acting, with the exception of Sigourney Weaver when she was being a diva of a xenobiologist, was serviceable considering the characters were little more than one-dimensional. At one point during his impassioned soliloquy, I fully expected the hero to yell, "They may take our planet, but they will never take OUR FREEDOM!"

How bad was the story and the acting? When the xenobiologist dies, I didn't cry. Throughout the entire movie, while I marveled at the vision and the special effects, I kept thinking, "Imagine what Ursula K. LeGuin (whose father, Alfred Krober, earned the first Ph.D. in anthropology in the U.S. and founded the department of anthropology at Cal) could do with this!" I rather wish James Cameron had decided to forgo the story all together and just made a film about Pandora and the indigenous population, the Na'vi. An xenopological study, as it were. Ms. LeGuin did that with one of her books, which included a cassette tape of the "natives" playing their songs.

The rest of the family was able to overlook the lack of story and was blown away by the effects. We had several discussions on the importance of story and plot, believability, and internal consistency in fantasy and science fiction.

On the March Hare scale: 2.5 out of 5 Golden Tickets. Go for the razzle dazzle, so spend the bucks to see it in 3D IMAX. Go to the bathroom before the film starts; it's a long one. Definitely not for younger children or those who are sensitive to loud sounds and violent action.

The Princess and the Frog: Hubs was off with the older kids, so I took DD#2 to this one. I've been curious about Disney's "return to classic animation" since Hubs & I went to Disneyland this summer and saw the trailers.

I was impressed. The Disney magic is definitely there and the twist on the old story is clever and well-done.

Set in 1920's New Orleans, there is food and music and lush scenery everywhere. The heroine is Tiana, a young African-American (Creole?) girl whose mother sews for a white family. The daughter of the white family, Charlotte (or Lottie), loves princesses and the movie opens with Tiana and Lottie listening raptly while Tiana's mother reads the story of the frog prince while she finishes the latest princess gown for Lottie.

Historically accurate relationships between blacks and whites are ignored. Lottie's father, The Colonel, treats Tiana's mother respectfully. On the trolley home, Tiana and her mother sit in the middle of the car. They live in a modest home and there is a hard-working dad who comes in just after they do. Dad is proud of his daughter's precocious cooking skills and invites the neighbors over when she makes gumbo. His dream is to open a restaurant, called "Tiana's Place", and he shares that with his daughter. And while she may wish upon a star, like Lottie does, her parents remind her that success takes hard work.

Work she does, two jobs as a waitress, carefully saving her tips in coffee cans so she can put a payment down on the old sugar mill that she wants to convert to a restaurant. Meanwhile, Lottie is looking forward to the arrival of a Prince and the chance to become a "real" princess.

The Prince loves jazz and parties and hates to work.

There is voodoo, a gator whose ambition is to play jazz with Louis Armstrong, a Cajun firefly, an old blind "Mama" in bijou with mysterious powers. There is music--I especially liked the zydeco number. But while there is black magic and white magic afoot, the message about working hard to achieve your dreams and the satisfaction it brings is always present. Along with messages about the importance of love and family. No fairy godmother magically resolves our heroine's problems: she does the heavy lifting herself, with help from her friends. Oh--the Prince learns a few lessons, too. But DS#2 would definitely categorize this as a "girl film" based on the system he set up when he was four or five.

There was plenty of wit and humor in the dialog to keep the adults in the audience entertained. DD#2 enjoyed it as well.

On the March Hare scale: 4.5 out of 5 Golden Tickets

Sherlock Holmes: Honestly, with eye candy like Robert Downey, Jr., and Jude Law as Mr. Holmes and Dr. Watson, even if this movie was horrid, I'd still want to see it.

I read my first Sherlock Holmes story when I was ten and was hooked immediately. I've read the canon as well as some of the "undiscovered" stories, like The Seven Percent Solution. I don't have quite the same familiarity with the movie version, although I've seen several.

But I have to say I thoroughly enjoyed this version. Robert Downey, Jr., is definitely too short and stocky and Jude Law is too thin, but they captured the essence of their characters. The movie takes place after Holmes and Watson have become a team; in fact, Watson is moving out as he plans to marry his Mary Morstan (Kelly Reilly). And Irene Adler (Rachel McAdams) shows up with barely an introduction--you have to listen as clues about who she is and her importance to Holmes are dropped throughout the movie. (Unless, of course, you've read the stories.)

But this story is not based on any of the stories of the canon, although it uses details from many of them. Someone is killing prostitutes and Sherlock Holmes is on the trail, which leads to a secret society and Lord Blackwood (Mark Strong). He is convicted and before his death, he asks to see Holmes. He tells Holmes that three more will die. The next day Blackwood is hanged and Dr. Watson pronounces him dead.

The next day, the groundskeeper of the cemetery swears he saw Lord Blackwood walk out of his grave. Holmes and Watson are called in to investigate. As the investigation continues, we also see the relationship between Holmes and Watson and how dependent Holmes is on Watson to keep him grounded and how Watson relishes the excitement Holmes brings to his otherwise conventional life.

Dr. Watson walks with a limp, keeping with his injury in the Afghan wars. Holmes has no use for social graces or conventions; he seems to enjoy insulting everyone he works with, even Watson. True to form, Holmes's knowledge is eclectic, encompassing esoteric poisons, botany, chemistry, biology, and music. He is a master of observation and of disguise. He smokes a pipe, though not a meerschaum, and he wears hats, though not a deerstalker cap. Watson is no intellectual slouch, either, having learned much while accompanying Holmes on his "adventures."

I thought the director, Guy Ritchie, did a terrific job recreating Victorian London through the judicious use of CGI as well as capturing the spirit of Sherlock Holmes without slavishly recreating him. Purists may disagree.

Hubs enjoyed it--there was plenty of action and he was able to follow it, although he is not as familiar with the Holmes-verse as I am. DD#2 also enjoyed it; DS#2 was the only one who thought it was just "okay."

I wish Mr. Ritchie, Mr. Downey, and Mr. Law return for another romp. (I hope Ms. McAdams does, too.) However, I don't think Sherlock Holmes will bring the kind of revenue or buzz to encourage a second one. Plus, Mr. Downey is in the midst of a multi-series, Iron Man, and he may not be eager to commit to another. Too bad--I enjoyed the clever story and the witty dialog.

On the March Hare scale: 4 out of 5 Golden Tickets.

Julie & Julia: DD#2 and I came home and later that night ordered this movie from the Comcast On Demand menu. The movie is based on the experiences of Julie Powell (Amy Adams), a mid-level government employee dealing with the aftermath of 9/11, and Julia Child (an amazing Meryl Streep), the wife of a diplomat assigned to Paris who finds herself at loose ends. Their stories intersect when Julie decides she is going to write a blog as she cooks her way through all the recipes in Julia Child's, Mastering the Art of French Cooking. As Julie blogs, the movie cuts to Julia Child's life in France (and beyond). After taking classes in hat making and bridge, Paul Child (Stanley Tucci) asks Julia what she likes to do. She replies, "I like food. I like to eat!" Her first day at the famed Cordon Bleu was less than successful. The class, Julia carefully explains, is too basic. She wants the more difficult class. That class, she is told, is for professional cooks, is all men, and is very expensive. No problem to Julia, who finds herself in the class, but behind in some very basic skills. Undeterred, Julia practices and perseveres.

Julie, too, perseveres. Her blog begins to gain readers other than her mother. Suddenly this isn't just a small thing she is doing--her goal and her blog are dominating her life, causing stress instead of relieving it.

Both Julie and Julia have supportive husbands. There are several small scenes where Julia and Paul show their shared grief over their inability to have children. Julie and Eric Powell (Eric Messina) have a rockier relationship--Julie is a drama queen and a bit neurotic and Eric puts up with her histronics patiently (for the most part).

Meryl Streep does an amazing job capturing Julia Child's voice and her physical presence. DD#2 commented how annoying it was and I told her that was how I remembered it. She was also a pioneer: the first woman to graduate from the Cordon Bleu, writing a cookbook making French cooking accessible to American women (which took eight years and while living in a different city, then country from her co-authors), then bringing cooking instruction--live!--to American T.V.

Amy Grant makes Julie Powell cute and endearing and plays some of her foibles for laughs. There is a gratuitous slam against "Republicans" by Julie's boss (as well as a scene where Paul Child is questioned by a Congressional committee about his time while serving in the OSS in China during WWII); otherwise this movie is really about food, finding your passion, and the amazing places that can lead.

This movie is also available on DVD.

On the March Hare scale: 4.5 out of 5. Made me want to get my own copy of Mastering the Art of French Cooking and trying out the recipes. But then I had a drink and came to my senses. :)

crossposted at The Mad Tea Party

A Christmas Carol

Stingy Scrooge and hungry Londoners, scary spirits and creepy doorknockers, we have all seen countless versions of Charles Dickens’s novella, “A Christmas Carol.” It’s been trivialized in a musical,” and lampooned with puppets. The last thing one expects is for the 3-D Disney version to be among the most faithful versions of the immortal tale of avarice vs. charity. But wait.

Rather than reducing the story line to a vehicle to showcase special effects and off color slapstick as do many Christmas-themed films, “A Christmas Carol” returns to the heart of the play. It offers a piercing glimpse at of a man in a prison of his own making. Enter ghostly visitors to quite literally lend a hand in breaking free in time to celebrate Christmas. Overcoming the limitations of the unrealistic figures, the emotional power of the acting and use of Dickens’s original dialogue maintain the strength of the story against the intensity of the special effects. Wild flights through the streets of London and unanticipated bits of levity kept this film from being a downer, and are likely the very things Dickens had intended with his descriptive passages. This may be the film which best conforms to the writers’ original intent.

Though secondary scenes from the book are not shown, and some liberties are taken, the central scenes are played with respect for their original meaning, and powerful use of close-ups. Particularly moving is the scene where Bob Crachit is brought face to face with the invisible visitor Scrooge as he mourns the loss of his son Tiny Tim, poignantly aiding Scrooge’s discovery of the secret of a life well lived. Mature themes of charity, repentance, and greed are portrayed in a way, which reaches the youngest of viewers.

Although the story already has strong Christian moral themes, the filmmakers added completely appropriate Christian elements to the film including; the score’s rendition of the “Ave Maria” as the Spirit of Christmas Past touched Scrooge’s heart in blessing, and an aerial view of a London church with worshippers streaming in. As Scrooge beholds the gold cross on the church’s steeple, he exclaims “how beautiful” to the approval of the Ghost of Christmas Present. The only disappointment was when the converted Scrooge passed a church on Christmas Day without entering himself.
Jim Carrey is at his flexible best in “A Christmas Carol” he scowls as the curmudgeonly Scrooge, is sprightly and winsome as the Ghost of Christmas Past, and laughs uproariously as the Ghost of Christmas Present. His personality is a varied as his characters, yet does not overpower them. Thanks to Carey’s physicality, Scrooge is dramatically overwhelmed by the powers of the spirits, who remind him that there is a world where money has no power. Colin Firth is charming as Scrooge’s nephew, adding an authentic accent to the film.

Beautiful orchestration weaves together favorite Christmas carols, and keep the fantasy alive. The credits roll with a new Christmas song sung by Andrea Boccelli, helping to make this film a new Christmas classic.
The teenagers who accompanied me took turns hiding their eyes from and laughing at the up-close-and-personal ghosts, enjoyed the 3-D which gave them the feeling of actually flying. They loved it.

As long as you do not bring children who could be frightened by the larger than life ghosts, this is the family film to ring in the Christmas season. Some immodest dress and a slightly provocative dancer. No language. Brief violence and frightening scenes.


My review is also up at Mercatornet.

Movie Review: Up

But first, the short....

Partly Cloudy starts off with an homage to the opening scene from Dumbo: the air is filled with storks carefully carrying bundles and depositing them on windowsills and doorsteps. Inside the bundles are babies: human, kittens, puppies... After they are taken in by their parents, the storks fly away, back to their clouds where, we discover, the babies are made.

The system works pretty smoothly, except for one poor stork whose cloud specializes in more aggressive baby animals like alligators and sharks. The stork is worse for wear and finally takes off for another, sympathetic cloud.

The first cloud becomes angry, causing a storm. But surely the stork wouldn't just abandon his cloud! Would he?

Like all Pixar shorts, there is no dialogue. But the visual expressions are very well done. Although I wondered if today's kids know the storks-bringing-babies story.

Now to the featured presentation...

Up starts with a Movietone Newsreel detailing the exploits of Explorer and Adventurer Charles Muntz (Christopher Plummer). A young boy, complete with a leather aviator cap and goggles, watches wide-eyed and breathless. On his way home, dreaming of adventure, he hears a voice coming from an abandoned house, shouting directions to an unseen crew. Cautiously he steps in and meets a young girl, also wearing an aviator cap and goggles, who introduces herself as Ellie (Elie Docter, the daughter of director Pete Docter, who was 7 at the time). Ellie is an irresistible force and the young boy finds himself swept along in her fantasy. When he finally does find his voice, he can only say his name, Carl, and not much else. She dares him to retrieve his balloon; in doing so, he breaks his arm. She climbs up to his window later that day and makes him a member of her Adventurers Club, whose membership pin is a grape soda bottle cap on a pin.

The next several minutes goes through their life from young adults, with all the possibilities of life, to newlyweds, through the tragedy of miscarriage, to Ellie's death. And Carl (Ed Asner) is now sitting in his living room with Ellie's empty chair next to him. His big adventure is walking to the mailbox every day.

And when he does, we see that his house is surrounded by the construction of modern office buildings. Carl isn't about to sell his house, leaving all memories of Ellie behind. The Construction Foreman (John Ratzenberger) is sympathetic, but there's not much he can do. There's a confrontation and (shades of Miracle on 34th Street), Carl ends up bopping someone on the head. The Man in Charge seizes the opportunity to get Carl committed to an old folks' home.

But while Carl is old, he's not witless. He hatches a plot to float his entire home off to South America--specifically to Paradise Valley, where he promised to take Ellie.

And it works. There's only one small hitch: a Wilderness Explorer named Russell (Jordan Nagai), who only has to assist an elderly person to get his "Helping the Elderly" badge. Russell is on Carl's front porch and Carl has no choice but to take him inside.

Russell is bright and eager and annoying. Carl wants to be left alone with his memories. Russell wants to help and, of course, makes the situation worse. But they do make it to Paradise Valley, just not in the spot where Carl wants to be. So they start walking, "towing" the house behind them.

Along the way they meet a strange and exotic bird that Russell decides to name "Kevin." Carl tells Russell Kevin can't join them--but he does. And then they meet a dog, Dug (Bob Peterson) who is wearing a collar that allows him to talk. Despite Carl's protests, Dug joins the group.

Dug is not the only talking dog. One is a particularly nasty Doberman named Alpha (also Bob Peterson) who is leading the search for Kevin.

Will Carl get the house to its ideal spot? Will he warm up to Russell, Kevin, and Dug? And whatever happened to Charles Muntz anyway?

Hubs and I saw this movie in 3D, which brings a nice, realistic feel to the movie. There isn't anything jumping out from the screen at you, so the movie doesn't scream "3D!" The characters are well-developed, especially Carl and Randall, once again proving to me that it's the story, not the effects, that make a movie great. I was teary-eyed at the end.

Fenton's is mentioned and is a real ice cream parlor in Oakland, apparently one of the hang outs of the gang at Pixar. Besides ice cream, Fenton's also has excellent crab salad sandwiches on toasted sourdough, served only on Fridays.

Like Wall*E, stay for the credits.

This movie is rated PG and there are a couple of scenes involving growling dogs, which might be too intense for young or sensitive children, especially in 3D. One little girl behind us started crying.

Overall, positive messages, although Russell's dad is an absentee father. And our family now has several new phrases in our family vocabulary, including "Squirrel!" and the Wilderness Explorer call.

On the March Hare scale: 5 out of 5 Golden Tickets. Basically, I went to work Monday morning and told everyone they had to see it.

crossposted at The Mad Tea Party

"Angels and Demons"

Robert Langdon (Tom Hanks), professor of symbology at Harvard University was swimming his customary laps in the University pool, when he emerges from the pool face to face with a bleary-eyed stranger Claudio Vincenzi (David Pasquesi) carrying what he immediately recognizes as a Vatican briefcase. Now why would the Vatican want to run after Langdon, who, according to the film “The Da Vinci Code” uncovered the greatest hoax of all time; the fact that Jesus Christ had a child with Mary Magdalene? Because they are desperate, and even though they have repeatedly denied him access to the Vatican Archives, this time the Vatican security is seeking his expertise in an emergency, which is above their capacity. This improbable opening scene immediately weakens the credibility of the plot of the film. In the novel, Langdon is summoned by scientists to CERN a huge laboratory complex in Geneva, to solve a murder of a priest-scientist, with the word “Illuminati” branded on his chest. Landon has written a book about this secret society of artists and scientists formed by Galileo in response to persecution by the Church. It seems that the ancient Illuminati have re-emerged for revenge, stealing anti-matter, a highly combustible secret discovery. Landon finds himself swept along with CERN physicist Vittoria Veetra (Ayelet Zuhrer) to Rome; to solve the Illuminati plot. It seems that, after the Pope’s death, the Illuminati are poised to strike at a leaderless Church to deal Rome a mortal blow. In the headquarters of the Swiss Guard, the Vatican Security Police, Langdon meets scientist Vittoria Veetra partner of the slain CERN scientist who is there to diffuse the ticking time bomb of undetectable, highly explosive anti-matter, before it is detonated at midnight. Langdon and Veetra’s missions merge as they discover that the Illuminati are behind both the threat to murder four cardinals in four different Churches in Rome, and the threat to release the power of the antimatter to incinerate the entire Vatican in an explosion of light.

The strange opening scene; Vatican comes to non-believing scientist for assistance, serves two ends; sparing the audience the painstakingly slow scenes in CERN, and lionizing Professor Langdon as a forgiving soul who overlooks the anti-knowledge bent of the Vatican by impetuously agreeing to save the Church. The cardinals are not portrayed as enemies; they are merely simple decrepit old men who cling to traditions for their own sake. The head of the Swiss Guard Commander Richter (Stellan Skarsgard) is a bull of a man with an instant distrust of Langdon and Veetra. Nowhere is there a profound display of religious belief, until we meet the young Irish Camerlengo Fr. Patrick McKenna (Ewan McGregor), who was raised by the deceased pope, and bears the responsibility of holding the reigns of power until a new pontiff is elected. His calmness under pressure makes him a natural leader, despite his youth, but his authority is challenged by Cardinal Strauss (Armin Mueller-Stahl) Head of the College of Cardinals, and the Commander Richter. Fr Patrick overrides their objections and allows Langdon and Veetra access to the Vatican Archives to research Galileo’s files. Langdon’s current book involves the Church’s persecution of Galileo, and his founding of the Illuminati. It is in his pamphlet that clues to the first of four churches where the cardinals will be murdered within an hour are to be found. Galileo spread this pamphlet throughout Europe to invite scientists and artists to his secret meeting place within Rome itself. Will the team of intellectual unbelievers be able to lead the Catholic law enforcement team to the murder sites in time to save the Preferitti, or the four cardinals most favored to be elected pope?
Stunning visuals of Roman art and architecture are mixed seamlessly with remarkable computer generated scenes inside the Vatican (no commercial films are permitted in the interior of Rome’s churches) The score by Hans Zimmer ranges from traditional Gregorian chant to stirring modern choral crescendos, which add eternal significance to the film’s National Treasure style action. Director Ron Howard was right about one thing; this film portrays the Catholic Churches of Rome and the ancient splendor of the ceremony of the conclave with power and majesty, all built upon the bones of St Peter himself. Yet it is an empty grandeur, resting its foot on the neck of true knowledge, and without belief in Jesus Christ. In fact, Christ’s name is conspicuously absent in the film.
Ron Howard’s direction and the beauty of Roman churches may take the edge off Dan Brown’s cheap shots at the Church; however, some of them manage to puncture what could be a seamlessly spellbinding film with the adolescent vulgarity of spitballs in church. How is it essential to the plot for Langdon to mention a Pope Pius who allegedly ‘castrated’ statues to make them more modest? Bill Donohue said in his review, “Pope Pius IX is said to have bludgeoned the genitalia of male statues, a complete fabrication. In reality Pius IX lavishly funded the arts.” Then there is the Church’s alleged mistreatment of artists Rafael and Bernini whose genius decorate much of the Vatican, who Brown claims, became Illuminati, will rankle Catholic filmgoers. One does not have to be a Renaissance historian to recognize an illogical premise.
Further plot twists confirm the film’s erroneous position that the Church has always been anti-science, including a completely erroneous clash between ‘promoters of compassion and life’ and Catholics who oppose stem cells which takes place in front of St Peter’s Square. The Catholic protestors carry signs saying, “Stem cell research is murder,” a misstatement of Church position. The Church promotes adult stem cell research, which is responsible for 73 cures, while opposing embryonic research, which has produced nothing but cancer. MIT geneticist Dr James Sherley said that Europeans no longer consider embryonic research worthwhile, which further reduces the plausibility of a such a clash of protesters at the Vatican.
This is why Catholic criticize “Angels’ and Demons”: they sense an agenda behind an adventure film, their Church singled out again by Dan Brown who plays fast and loose with history to turn a profit. Thus, Dr Donohue requested a disclaimer at the start of the film stating that the film is fictional. There was such a disclaimer, way at the extreme end of the credits. I read it while the ushers were sweeping up the popcorn.
One artistic flaw of the film was casting Tom Hanks, as Professor Landon, the stuffed shirt who lectures Vittoria Veetra relentlessly while peering timidly into moldy tombs and awkwardly chasing gun-toting murderers a la Indiana Jones. Sorry, but Hanks lacks Harrison Fords’ masculine gusto. Indy was never more at home than when facing overwhelming odds in a dusty tomb, Langdon just looks and sounds ridiculous.
If you want a scenic, thrilling adventure film with less historical accuracy than the Indiana Jones and National Treasure films, and can stomach the cheap shots at Catholicism, “Angels and Demons” is worth a view. It contains graphic torture, murder, and morbid corpse views, gunfights and frightening explosions. No sexual content beyond Victoria’s low necklines and the reference to castration of statues. Occasional swearing in various languages. This picture is for adults only.
For further discussion of the misrepresentation of facts about the Catholic Church, see my comments "Just the Facts, Please" on Catholic Online.

Movie Review: Henry Poole is Here

"Do you ever feel like things happen for no reason?
Like you're just along for the ride?"

So speaks Henry Poole who is without hope or faith and is trying to avoid any and all human contact.

Henry has moved into a neighborhood where he is unknown only to find that his neighbor, Esperanza, sees the "face of Christ" in the new stucco on his house. Insisting that it is a water stain, unable to remove it with bleach, and equally unable to keep Esperanza away, he agrees to let the local priest bring in experts for evaluation.

Meanwhile, we discover why Henry is hiding from the world and see him pulled into interaction despite himself with his neighbors. Henry provides the skeptical, reasonable voice of the world, wanting rational explanations and refusing to believe in ... "don't say that word!" ... miracles because those just don't happen. This provides not only many humorous situations but poignant moments as well. As the movie progresses we are aching to know if the "face of Christ" is genuine or only a water stain. Equally, we are aching for Henry.

In the most basic sense, the overall message of this movie could be that no man is an island, as Henry is unable to avoid people constantly reaching out to him in friendly interest. Those people spark a transformation that Henry can not possibly imagine as he continually attempts to bat them away. We do not see every situation resolved but the sense that resolution lies in the future is clearly present by the end of the film. The story overall is a human, interesting look at hopelessness and faith, isolation and love, memories and future.

There are some script flaws. There could have been more plot lines and a bit less telegraphing of some of the story. The flashbacks are awkwardly jumps in time and some story points move unrealistically quickly. However, it does not make claims to be something it is not. This is a little, refreshing, quirky movie with heart. I have watched many simple movies such as The Castle and Eagle vs. Shark with exactly those same qualities that have stuck with me for a very long time. This movie is no less.

Here is a no-doubt-about-it faith message that was delivered interestingly, and with realistic characters, using subtle methods to enhance the story. Predictable in some ways, it made us think along the way, didn't spoon feed us everything, and was far superior to Fireproof in technique and delivery. It speaks about faith and prayer in the way that normal people do, without stopping to deliver speeches about "accepting the Lord." As Tom says, "You can lead a horse to water, but you probably can't beat it to water."

An indie-style movie with a simple but well delivered story, it is a lesson in how to deliver messages when you're not already preaching to the choir, as "Christian" movies are wont to do. Excellent acting enhanced the movie greatly. For example, I have never seen George Lopez in anything but broad comic roles, which were painful, to tell the truth. Here he does a subtle, low key delivery as the very real seeming neighborhood priest who is called in to give judgment on the "appearance."

We appreciated the acknowledgment that it is possible to have a woman look beautiful and modest while dressing like a normal person. (No stereotypical "sensible" pumps, no frumpy blouse and skirt sets that your mother might wear, and no ugly hair styles ... yes, "Fireproof," I'm lookin' at you all the way here.) Equally, there is no immodest behavior although everyone's behavior is entirely normal. I particularly enjoyed the device of using the tape recorder to both engage Henry with another person and remind him and the audience of key points. As well, we both appreciated the sequence informing of us Henry's past while he is at the river. Artfully and subtly done, especially in a movie with this overall message.

The symbolism likewise was there for us if we wanted it but didn't intrude on our viewing. Take note of characters' names, keeping in mind Esperanza is Spanish for "hope." Equally, remember that a cross never shows up in a movie, even as a shadow, without the filmmaker deliberately placing it there (kudos to Tom who caught this one in the movie). As a larger example: Henry's house is empty, barren, dark, and bleak. A neighbor's backyard, likewise, is in stages of raw disorder, although their house is warm and inviting. We were shocked every time Henry left his home and we saw the neighborhood full of lush, flourishing yards and homes. The contrast between Henry and other people is shown to us thus to make an overall impression that sinks in at a level we did not have to have a spoken declaration to understand. This is not all but we will let it unfold for you.

Well done and definitely recommended for those interested in what they would do if the "face of Christ" showed up on the wall of their house.

Cross-posted at Happy Catholic.

Movie Review: "Twilight"

PG-13
A moody, intellectual young woman, Bella is the product of divorced parents who seem to have difficulty handling their own life challenges, much less that of their lonely daughter. Bella leaves her home in sunny Phoenix to begin small town life in her father’s house in gloomy Forks, Washington, since her mother is pursuing a love interest and has no time to wait for her daughter to finish high school. Bella (Kristen Stewart) is instantly surrounded by slavish new friends, but none of them inspire her respect like the one who won’t speak with her, the aloof, eerily handsome Edward Cullen (Robert Pattinson) who glides into the school cafeteria with his eccentrically beautiful siblings. Legends swirl around the Cullens but Bella’s father, Charlie, the small town sheriff (Billy Burke) dismisses them as unfair. He cites Dr Carlisle’s stellar reputation as a surgeon in the local hospital, who has taken in an odd assortment of foster children, who don’t mix with their peers yet are the talk of the town.
Soon Bella and Edward are thrust into a crisis which forces her to confront Edward about what makes the Cullens so different. Bella discovers that they are vampires, but unlike the murderous types who have been stalking the locals, the Cullens have learned to satisfy their cravings for human blood by hunting and killing wild animals. They are ‘vegetarian vampires’. “It’s like humans living on tofu. You are not hungry but you are never fully satisfied”, Edward explains to Bella. That is why he has been so cold to her, all the while drawing her in with his sultry silence. Soon Bella finds herself recklessly in love with a man who, every moment they are together, has to fight a relentless lust, not as much for her body as for her blood.

Following on the heels of one of the cultishly popular book series, “Twilight” filmmakers had a distinct advantage: millions who have read the series were longing for this film to come out, selling out entire theatres in advance, with many women planning parties to celebrate the film’s premiere, and to go in groups to see this film. This undoubtedly insured the film’s all-important opening box office returns. However, this advantage of a vast built in audience was also fraught with peril. Devotees of a book, particularly a romance can be adamant that certain details ( i.e. the romance) be done right. Director Catherine Hardwicke wisely included author Stephanie Meyers on the movie set to advise her. Most of the big decision makers; casting, production, etc. were women, so one would assume that the magnetic pull of the book would make it to the screen in its purest form. It seems they were wrong. One week after the film’s successful opening, I attended a sparsely populated matinee the day after Thanksgiving. How could the incredible furor this film created have died out so rapidly? Teen fans of the books told me of their bitter disappointment before I saw the film. “They (the romantic characters Edward and Bella) looked like they hated each other.”
Could it be that in their devotion to the perception of the romance, readers of the book overlooked the darker aspects of the story? After all, Edward’s reaction to meeting Bella, the new student in the small town high school did convince Bella that he was sorry she had the seat next to him in science class. His interior struggles to overcome his particularly keen blood lust for her were plainly and chillingly stated in the book. Did fans assume that his unearthly physical attractiveness or the pathos of the tragic vegetarian vampire, trying to overcome his bloodthirsty nature overcome this cold-blooded fact in the reader’s minds? I read many an online discussion of the book when the darkness of the love affair where Edward who is fighting the urge to kill his beloved is defended on both these terms. Did women refuse to face the bald fact that Bella’s abandonment into the hands of Edward and his kind is ultimately going to cause her pain? Or was the danger part of the attraction? I assumed it was. Apparently so did the producers of “Twilight” as they had begun production on the sequel before the release of “Twilight”. Read a review of the book here. http://www.mercatornet.com/articles/view/the_best_thing_since_harry_potter/
Perhaps the darkness of Edward’s true nature when seen onscreen was too unsettling for even the most loyal fans. Maybe Bella’s blind devotion to Edward pales in the gloomy light of the cinema, and this film dwindles in stature from a modern rendering of the gothic “Wuthering Heights” down to just another unhealthy teenage relationship?

Perhaps a generation of young women who haven’t read such classics are seeking the darkness into light of a true gothic romance, or a strong, strangely chivalrous romantic man (it admit it’s a unique device to make Edward seem noble for saving Bella from himself!) Couldn’t these young women so hungry for masculinity, self-sacrificing love, and romance find a better story than “Twilight”?

The film, with its nightmarish mood, constant undercurrent of sexuality, and jarring score, might just have succeeded too well in conveying the dream of Stephanie Meyers which inspired the series in the first place.
Disturbing violence and overt sexual content.
Not recommended.

Review of "Fireproof"

Fireproof- coming to theatres September 26th
A prominent couple married for seven years realize they are heading towards divorce. He is a firefighter who has his eye on an expensive boat, and an addiction to internet smut, she is a PR person for a major hospital with her eye on a charming doctor. They don’t speak, except to argue, neither feels any love for the other. He feels like the whole world values his heroism except his wife. She is humiliated by his pornography addiction and insensitivity to her mother’s needs for a new wheelchair and hospital bed. Her friends say it’s time to get rid of him, and move on. She makes up her mind to file for divorce. Is there any hope for this marriage? Why should the couple try to save their marriage if the love is gone and there are no children to be hurt?
The startling assertion of “Fireproof” is in its tag line, “never leave your partner behind”. No matter what the conditions of the fire, you bring your partner with you. You may get burned, but you make sure your partner emerges from that fire safely. Caleb, (Kirk Cameron) is the husband who just wants peace. His father however assures him that not all peace is equal, and gives him a book he wrote called, “The Love Dare”. It is a 40 day program of loving acts to do for one’s estranged spouse in order to repair an ailing marriage. Caleb reluctantly puts the book’s suggestions into practice, but assures his father that it’s a hopeless cause, and warns him against talking about Jesus with him. Caleb wants to hear none of his parents’ newfound Christian faith; he says “it’s not for me”.
At first, Catherine is taken aback by her husband’s unusual behavior; he’s buying her flowers, cleaning up around the house, and bringing her coffee. She girlfriends warn her he’s just ‘buttering you up for a divorce’, so, to protect herself, she takes the first step of calling a lawyer. Caleb is crushed and wants to give up on “The Love Dare”,’ it’s over’, he tells his father. How could he, as an unbeliever, know how the powerful prayers of his parents and friend at the firehouse, could change hardened hearts?
“Fireproof” is a powerfully counter-cultural film in an age where Christians have a similar divorce rate to unbelievers and the relevance of marriage is under attack. Caleb’s dogged persistence in performing acts of love without feeling love or receiving any sign of their effectiveness in changing Catherine’s heart, seem unrealistic at best, if not downright irrational. Catherine’s hostile response seems to confirm the common assumption that once the love is gone, the marriage is over. But halfway through the forty days of trial, Caleb meets another Man whose love was rejected. A Man of sorrows and acquainted with grief. He meets Jesus Christ, who, while we were still sinners, died to save us. The powerful use of symbols, 40 days, firefighter partners, the large wooden cross in the woods, make this an intensely personal movie for married couples in the audience, inviting comparisons of one’s own marriage to that of Caleb and Catherine.

“Fireproof”, written and directed by the Kendrick brothers whose low budget sleeper hit “Facing the Giants” made an astounding $10 million, find themselves with a larger budget ($250K) and the backing of a major studio (SONY Pictures faith based division, Provident Films) for this film. Their didactic methods are subtler, and more effective than the somewhat predictable “Giants”. Nail-biting action scenes, comic relief characters, a lush natural setting, and a moving score make “Fireproof” a film which should appeal to an even larger audience.
Many film critics decry the obvious agenda of their films, but the Kendrick brothers view filmmaking as a ministry, not a profession: the book “The Love Dare” will be available in the same leather-bound edition used in the film. “Fireproof”, though means of a familiar, engrossing story, teaches this generation, many of whom are the children of divorce, about the covenantal nature of marriage, and sacrificial love.
As a Catholic, the only feature of the story which bothered me was that, after seven years of marriage, the lack of children was never discussed. In “Facing the Giants” the couple’s infertility was seen as a source of suffering, in “Fireproof”, children seemed extraneous to the marriage. Catholic teaching that marriage must be faithful and fruitful indicates that this was one of the marriage’s major flaws, and mentioning this would have helped delineate the selfishness of the couples’ lifestyle.
Nothing offensive in this film, even references to indecent content on the internet were subtly handled; the PG rating was for the tense rescue scenes, heated arguments, and mature subject matter (not ‘adult’, just not for young children who might be upset or simply bored). Highly recommended for adolescents adults who want to grow up and learn to live for others.

"Henry Poole is Here"

PG 1 hour 40 min

All Henry Poole wants to do is to be left alone. In most neighborhoods, this would not be a problem, but, in this unpretentious LA neighborhood, for some odd reason, people care. It begins with his perky real estate broker Meg, (Cheryl Hines) who is baffled by Henry’s insistence on buying a certain home which isn’t on the market and his refusal to bargain down the price of the drab bungalow he does buy from her. She even has the place re-stuccoed and painted as a surprise for him, since he insisted on paying full price, and he is rather ungrateful in his reaction to her kindness. She informs his next door neighbors of his peculiar behavior, who start to look in on him, provoking Henry’s exasperation. His middle aged next door neighbor Esperanza (outstanding performance by Adrianna Barraza) tries to establish ties with a plate of tamales, but Henry rebuffs her. Just why is he so insistent on being alone when he is obviously miserable?
Henry Poole is a complex character ably played in a memorable performance by Luke Wilson whose portrayal reaches deeper into his emotions than any male character since Jose in “Bella”. He has the same air of tragedy without Jose’s nobility of character, in Henry Poole, it’s the women who are gallant. All of them have seen heartache; Esperanza has just lost the love of her life, Dawn was deserted to raise her daughter alone, yet their private grief has made them more sensitive to the pain which Henry is feeling, and inspire them to reach out to their neighbor who is hurting.
“Henry Poole is Here” has an intriguing title, and begs the question, why everyone around him cares for drunk, gloomy, intractable Henry. Indie films have a penchant for leaving clues which are only intelligible later in the film, keeping the viewers mentally perched in the edge of their seats.” Henry Poole is Here” is no exception, and the miraculous image of Christ which appears on the wall of his home does not, turn this into a simplistic religious-themed film. This film is about the interior workings of a human heart which is raw with grief, and completely bereft of hope. It is rich in visual cues, such as the moonlit nights which give way to dawn, which happens to be the name of Henry’s beautiful next door neighbor(Radha Mitchell) whose oddly silent daughter (Morgan Lily) has been watching and recording him on her tape recorder. Even the lyrics of the songs in the soundtrack provide insights into the tenor of Henry’s emotions. Patience, hope, and especially love are missing in the life of this man who has sought out his childhood home to find peace at the end of his life. The film flashes back to his childhood in unhappy scenes, parental feuds, and a lonely boy writing his name under the bridge. Henry has just been told that he is going to die young. This is why he is angry at the whole world, pushing it away, and seeking peace by reconnecting to his unhappy childhood, as the Hound of Heaven locks His sights on Henry.
Director Mark Pellington, who lost his wife to cancer, has visited that of the valley of shadows, and gives us a film which, as dark as it is in places, drawing us into Henry’s agony, suddenly bursts open with potent moments of joy in which the love of his neighbors and the quirky store clerk Patience (Rachel Seifert) are the conduit of grace into his life. They believe that the face of Christ has appeared on his wall, and won’t rest until Henry surrenders and accepts the love of his neighbors and comes to believe in the mysterious image which, like them, won’t allow Henry to give up hope. He does have a future, and somebody loves him.
This marvelous film will have you talking long after your after-film lattes are finished, examining your own reaction to the ways in which God has tried to touch your life through others, and your response. References to the Catholic Church are respectful, and George Lopez plays the priest who is organizing the investigation into the alleged miracle on the wall. His portrayal of a priest, though not a major part of the film, was warm and engaging yet displayed the mind of the Church in the face of extraordinary signs as that which appears on Henry’s wall.
Recommended for adolescents and older, due to sober content, mild language, revealing outfits and outbursts of rage.

The Mummy: Tomb of the Dragon Emperor-PG13

I found it quite unbelievable to watch Brendan Frazer (born in 1968) playing the father of Luke Ford (born in 1966). That was a pretty big negative for me. It made the whole movie less believable.

Approximately 2000 years ago, a curse was placed on a brutal Chinese emperor Han (Jet Li). He was seeking immortality, but the sorceress instead turned him, and his army, into clay. Now, in 1946, Alex O'Connell discovers the tomb and raises the Emperor. Alex is soon joined by his parents Rick and Evelyn O'Connor (Brendan Frazer and Maria Bello). If the Emperor drinks from the pool of immortality, which he does, he will become immortal. He then raises his army, and if they cross the Great Wall of China, they will be indestructible. There is only one way to kill the Emperor, which I won't spoil here. Another army is also raised to combat the Emperor's army. The O'Connells are joined by the daughter of a General that Han had killed, and her mother.

Comments on content:

The Emperor embodies evil...he thinks he is God, and he seeks to conquer all and become immortal. He is also a "shape shifter" who can appear as anything...at one point, he does become a 3-headed dragon.

There are a few scenes of self-sacrifice, which I though added to the plot of the movie.
There was plenty of action and neat special effects.

My favorite characters were the yetti.

A very cool movie.


cross-posted on A Catholic View

http://www.themummy.com/

Get Smart

PG-13 1:50
Maxwell Smart (Steve Carrell) is a pencil pushing bureaucrat in CONTROL a US government spy agency whose moment has finally arrived. After eight attempts to pass the field agent’s exam, he eagerly awaits the good news that he has passed, and is finally given an assignment. To his disappointment, the Chief (Alan Arkin) says that headquarters needs Max’s meticulous though boring reports on the Russian terrorist agency KAOS, and can’t spare him. To make matters worse, macho Agent 23(Dwayne Johnson), struts in from his latest mission abroad, garnering the affection of the blonde receptionist. He leaves of the office dejectedly, feeling that all is lost. Max’s frustration is short lived, however, for headquarters is attacked by KAOS and all the field agents’ identities are compromised, opening an opportunity for the rookie. He is sent to Russia to intercept a nuclear bomb plot to blow up the US. Sophisticated Agent 99 (Anne Hathaway) isn’t thrilled to be paired with the bumbling Max, a fact she pointedly asserts, ignoring him on their flight to Russia. Max, thanks to his techno-geek friends Bruce (Masi Oka) and Lloyd (David Koechner) who fitted up a Swiss Army knife complete with flamethrower and mini cross-bow, shows it off in an effort to impress 99, and the pair’s famous chemistry begins.

Anne Hathaway’s portrayal of sultry yet hard-hitting Agent 99 is first-rate, and Steve Carrell is the consummate Maxwell Smart; brainy yet klutzy. The film has enough classic spy action, evil enemies, and humor to keep the audience engaged. A spirited tango competition at a Russian party and testy banter between the two, are reminiscent of the 1960’s TV show we are soon reminded that we are not in the 1960‘s anymore. The humor gets progressively raunchy; the sexual elements are too blatant to go over the heads of anyone; a male to male kiss, fondling, and simulated homosexual acts. There was no nudity beyond bare buttocks, but has Hollywood lost all subtlety? Director Peter Segal apparently tried to cover for the lifeless dialogue in the screenplay with overdone sexual content. To say times have changed since the 60’s is no excuse. Why not wow the audience with spectacular special effects, keep the slapstick gags, and leave out the smut?

There were several adolescent boys in the audience who were obviously bored, just what audience was Segal aiming for? If this was a film for adults, and the sexual content obviously makes it so, the film should have aimed for an R rating so families would know enough to ‘Get Smart’ and stay home. Wait for a TV showing of this film where you can enjoy the action and humor, and the offensive language and overt sexual references are deleted.
Not recommended.

"Prince Caspian": Christine's Review

I saw Prince Caspian today, I thought it was great. The 4 kids (well, a couple of them are teens :) from the first Narnia movie are back in Prince Caspian. They are referred to as the Kings and Queens of Narnia. As you can see by the previews and posters, Aslan is also back. However, his role is more brief than in the first.


This movie takes place 1 year, in our time, and 1200 years in Narnia time, after the first one. As they are standing on a subway platform, Peter, Edmund, Susan and Lucy are returned to Narnia. They find it quite different than the first time they were there. They meet Prince Caspian, who is in hiding from King Miraz, his uncle. Miraz wants to kill Caspian so his own newborn son can be Prince. The talking animals and creatures are missing, at first.

In the first Narnia movie, there were some stark biblical images: Aslan giving his life for Edmund, then being resurrected, etc.
I did not see such images in this one, but Aslan did say a couple of things with a somewhat biblical reference. When Lucy first sees Aslan, she tells him the others didn't believe she had seen him. He says "that should not keep you from coming to me." This kind of reminded me of when Thomas did not believe the other apostles had seen the risen Christ. Also, when he refers to Caspian as King, and Caspian says "I'm not sure I am ready." Aslan responds: "Perhaps that is what shows that you are." This reminded me of "Whoever is last shall be first" I found myself actually looking for biblical refernces. I think that might be because of the Christianity of C.S. Lewis.

After the talking animals return, it becomes more like the first Narnia. My favorite part of the movie was a climactic fight between Peter and King Miraz.

The only content warning is some violence in the fight to restore Narnia. I thought of it as exciting and entertaining, but I can see where small kids might view some parts as scary.

At the end, look for a hint about who will, or won't be in the next Narnia movie.

Overall, an excellent movie well worth seeing.

cross-posted on A Catholic View

http://disney.go.com/disneypictures/narnia/