The following are capsule reviews of movies recently reviewed by the Office for Film & Broadcasting of the U.S. Conference of Catholic Bishops.
Echoes of Innocence (New World)
Well-intentioned, Christian-flavored teen "romantic thriller" about a high school senior (Sara Simmonds) who is obsessed with St. Joan of Arc and whose childhood vow to remain a virgin until she can marry her long-disappeared first love attracts the curiosity --- and eventually, affections --- of a reporter from the school paper (Jake McDorman), as well as the predatory interest of a menacingly mysterious student (Matt Vodvarka). Earnestly directed by Nathan Todd Sims, the film's positive portrayal of religious belief and admirable pro-chastity message is greatly handicapped by the uneven performances and clumsy story line, little of which makes sense. An implied teen sexual encounter and sexual thematic elements, minimal violence, scattered crude expressions, and a questionable -- but reverent -- treatment of the sacraments of penance and marriage, making it suitable for older adolescents and up. (A-III, PG-13)
The Exorcism of Emily Rose (Screen Gems)
Sober, theologically oriented thriller based, in part, on true events surrounding a Catholic priest (Tom Wilkinson) on trial for negligent homicide in connection with an exorcism he performed on a young woman (Jennifer Carpenter) believed to be possessed that resulted in her death. Thoughtfully directed by Scott Derrickson and with a solid performance by Laura Linney as the priest's skeptical attorney, the film eschews horror-movie cliches (though not entirely) in favor of serious reflection on faith and the mystery of evil. Disturbing scenes of demonic possession, a brief but violent vehicular homicide, a grisly death image, as well as minimal crude language. (A-III, PG-13)
Innocent Voices ("Voces Inocentes") (BB Entertainment Marketing)
Gripping true-life story of an 11-year-old boy --- who together with his mother and siblings --- is caught up in the horrors of the civil war in El Salvador in the 1980s, including a subplot involving a brave priest who tries to stand up to the brutal government troops. Luis Mandoki's film --- actually shot in Mexico --- is intensely moving, though there are lighter and even humorous moments to leaven the tragedy. The performances, especially that of Carlos Padilla as the young boy, are beautifully natural, and the overall message of the effects of war on youngsters --- with its present-day resonance --- is palpable. In Spanish, subtitles. Some rough and crude language and expressions, wartime violence and bloody bodies make this best for older adolescents and adults. (A-III, R)
Just Like Heaven (DreamWorks)
Charming romantic fantasy about a dedicated young doctor (Reese Witherspoon), comatose after a near-fatal car accident, whose spirit "haunts" a grieving widower (Mark Ruffalo) who has rented her former apartment. Despite a somewhat formulaic setup and an uncertain start, director Mark Waters directs with just the appropriate gossamer touch, and the highly appealing leads play with the requisite delicacy. Some sexual innuendo and banter, mild profanity, a few crass expressions, brief rear hospital nudity, mild medical procedures including incisions, some occult thematic material, and an exorcism used for comic point make this best for adults (and older adolescents). (A-III, PG-13)
Lord of War (Lions Gate)
Thought-provoking, if at times contrived, morality play about an opportunistic and morally bankrupt Ukrainian emigre (Nicolas Cage) who rises from small-time gunrunner to international arms dealer, while living a double life as a respectable family man, all the while staying one step ahead of his rivals, his ruthless clients and the law, that is, until his own conscience catches up with him. By turns action drama and black comedy (neither completely successful), the film's serious social commentary and anti-violence themes are saddled with message-heavy melodrama and standard action cliches that bog down the otherwise effective narrative. Strong images of violence, sexual situations with partial nudity, recurring drug content, some racial stereotyping, and pervasive rough and crude language. (L, R)
The Man (New Line)
Minor action comedy about nerdy middle-aged dental products salesman (Eugene Levy) who's mistaken for a stolen-arms dealer, and becomes the unwilling sidekick of a Detroit-based federal agent (Samuel L. Jackson), whose crooked partner has just been murdered in a sting operation against the bad guys. Director Les Mayfield's film is fitfully amusing, thanks to the chemistry of the two intentionally mismatched stars, and though there are positive underlying themes the formulaic plot construction and uninspired dialogue severely undermine what might otherwise have been a more recommendable escapade. Excessive crude language, as well as a few instances of rough language and profanity, some action violence, general vulgarity, some sexual innuendo, and ethnic humor. (L, PG-13)
Proof (Miramax)
Absorbing adaptation of David Auburn's award-winning Broadway play concerning a young woman (Gwyneth Paltrow) coping with the mental illness --- and subsequent death --- of her genius mathematician father (Anthony Hopkins), and fearing that she may have inherited his madness. Director John Madden has sensibly opened up the play for the screen, and with strong performances by Paltrow, Hope Davis as her uptight sister, and Jake Gyllenhaal as her father's ex-student, the play's theme that some things --- like love and trust --- can never be "proven" in a mathematical or scientific sense and must be verified in less concrete terms resonates as well as ever. Scattered instances of profanity, rough and crude language and expressions, a nongraphic premarital sexual encounter, other brief sexual references, and drug use make this best for older adolescents and up. (A-III, PG-13)
The Thing About My Folks (Picturehouse)
Well-intentioned but talky father-son bonding movie, as irascible dad (a superb Peter Falk), suddenly abandoned by his wife (Olympia Dukakis), takes a road trip with his son (Paul Reiser who also wrote the script). They survey farm property, attend a baseball game, play pool, instigate a barroom brawl, dine with a flirtatious mother and daughter, and ponder the stars, all the while hammering out the past and coming to a greater understanding of their present relationship. Director Raymond De Felitta's sentimental film has some undeniable truths with which everyone will empathize, but despite fine performances and several touching moments the film is dramatically weak and contrived. Considerable profanity, rough and crude language and humor, a violent episode and sexual innuendo. (L, PG-13) |