The following are capsule reviews of "Being Julia," "Eulogy," "Shall We Dance?" "Team America: World Police," and "Vera Drake."
These films recently were reviewed by the Office for Film & Broadcasting of the U.S. Conference of Catholic Bishops.
Being Julia (Sony Classics)
A few bright spots in an otherwise tedious adaptation of W. Somerset Maugham's novel, "Theatre," about a larger-than-life English stage actress (Annette Bening) who has an open marriage with her producer husband (Jeremy Irons), and takes up with an earnest young American accountant (Shaun Evans) in her husband's employ. Hungarian director Istvan Szabo is no stranger to period drama, having succeeded brilliantly with films like "Mephisto" and "Sunshine," but was perhaps the wrong choice for a film that doesn't quite ring true in its depiction of the 1938 period or very English locale (it was shot mainly in Budapest). Nor is American Bening completely convincing either, in spite of some effective moments. Evans as the young man is far too contemporary in his demeanor, though otherwise the blue chip cast -- including Juliet Stevenson, Bruce Greenwood, Michael Gambon, Rosemary Harris and Rita Tushingham -- is fine. A few instances of crude language, casual depiction of extramarital sex and an instance of rear nudity. The USCCB Office for Film & Broadcasting classification is L -- limited adult audience, films whose problematic content many adults would find troubling. The Motion Picture Association of America rating is R -- restricted.
Eulogy (Lions Gate)
Uneven comedy about feuding family members (including Ray Romano, Debra Winger, Hank Azaria and Kelly Preston) brought together to mourn the death of their patriarch (Rip Torn), who must survive the days leading up to the funeral without killing each other. First-time director Michael Clancy has assembled a solid cast and displays some sharp wit, but the mean-spirited tone of the humor and overall cynical view of family life are more than a bit off-putting. Gay and straight sexual encounters, drug content, two attempted suicides, as well as recurring rough and crude language and humor. (L, R)
Shall We Dance? (Miramax)
Delightful remake of 1996 Japanese film, now set in Chicago, about a lawyer (Richard Gere) in a rut with his loving but preoccupied wife (Susan Sarandon) and two teenage kids, whose life is transformed when he secretly enrolls in a ballroom dancing school, after he observes a beautiful and sad woman (Jennifer Lopez) looking out of the school's window. Director Peter Chelsom directs Gere in one of his best roles, Sarandon is appealing as the wife wondering at her husband's late nights, and Lopez has an ideal part as the emotionally damaged dance instructor with whom the husband bonds, with the dancing scenes a special treat. Wonderful feeling of uplift in terms of following one's dreams, and strong affirmation of family. A few instances of rough and crass language. (A-III, PG-13)
Team America: World Police (Paramount)
Intentionally outrageous adventure-comedy, with songs, by the "South Park" creators, featuring surprisingly lifelike marionettes (strings and all), about a governmental police team out to thwart global terrorists in Paris, the Mideast and Korea. A Broadway actor is drafted to help the squad take on the nefarious Korean dictator, Kim Jong II, who with the help of Chechen and Middle Eastern terrorists is planning to unleash weapons of mass destruction upon the world. Dexterous puppetry and eye-catching production design -- and yes, some humorous moments -- in Trey Parker's follow-up to "South Park: Bigger, Longer & Uncut," but puppets and humorous intent or not, the sexual content, overall vulgarity and frequent violence go way over the top. Sexual activity both straight and gay, extreme violence, including dismemberment and blood, ethnic stereotypes, crude and profane language, albeit all done by puppets. (O, R)
Vera Drake (Fine Line)
Superbly written and acted period drama (circa 1950) of a lower-middle-class English housewife (Imelda Staunton) who, unbeknownst to her family, helps desperate women who have become pregnant by performing abortions, until a young woman nearly dies after Vera's ministrations, and the authorities apprehend her. Master filmmaker Mike Leigh's abortion theme will be troublesome for Catholic viewers, but his approach to the controversial subject leaves the moral judgments to the viewer. Staunton's performance is towering, and the human dynamics extraordinarily natural in the narrative of a woman who wants to help others, but who simply doesn't appreciate the consequences -- moral or physical -- of her actions. Abortion theme, and one sexual situation. (L, R) |