In deciding on a title for his 1999 reflection on South Africa's Truth and Reconciliation Commission, Nobel laureate Anglican Archbishop Desmond Tutu chose "No Future Without Forgiveness," a reconciliatory sentiment thematically echoed late in "Catch a Fire" (Focus).

The film is an intelligent, if unevenly compelling, truth-based drama set against the dark days of that country's apartheid policy.

Australian director Phillip Noyce, who demonstrated versatility directing big-budget action films such as "Clear and Present Danger" as well as smaller dramas including "The Quiet American," combines elements of both well here. But from an emotional standpoint -- despite a remarkable real-life story, solid cast and Oscar-pedigreed producer Anthony Minghella ("The English Patient") and executive producer Sydney Pollack ("Out of Africa") -- "Catch a Fire" never ignites.

Derek Luke is husband and father Patrick Chamusso, a foreman at a vital South African oil refinery. When not working, the resolutely apolitical Chamusso coaches a children's soccer team and takes classes at night to better the life of his family.

While on an overnight trip with the team, he sneaks off to visit a woman with whom he fathered a child years earlier, putting him in a difficult position when he is arrested later in connection with a sabotage attack on the refinery that occurred on the same evening. Fearing for his job and marriage, Chamusso, though innocent, remains silent about his alibi, drawing the suspicions of quietly menacing police colonel Nic Vos (Tim Robbins).

In trying to coerce Chamusso into confessing, the authorities arrest and torture his wife, Precious (Bonnie Henna). They are both released, but the injustices spark a fire in him to take action.

Leaving his family behind, he joins the outlawed African National Congress, or ANC, as a rebel fighter in its militant "MK" wing. Using his inside knowledge, he eventually masterminds a plot to blow up the entire plant where he once worked, setting himself on a collision course with Vos.

Luke ("Antwone Fisher") continues to establish himself as one of the best young actors today. Robbins, however, is just adequate, turning in a low-key performance that borders on listless, though he manages to humanize Vos beyond a one-dimensional villain. Vos -- also shown as a caring family man -- doesn't see himself as cruel but believes he is preserving order in his country. (Some historical context would have helped give the story and characters more texture.)

The film's taut pacing is energized by Ron Fortunato's cinematography, which contrasts the oppressive poverty of the shantytown where Chamusso lives with the comfort of the blithely oblivious white communities.

Contentwise there's nothing really objectionable beyond scattered four-letter words and some dramatically justified brutality, but even that is handled with restraint.

Working from a screenplay by South African Shawn Slovo -- daughter of Joe Slovo, who headed the MK when Chamusso was a member -- Noyce, in exploring themes of race and social justice, raises the timely issue of using violence as a means of political protest. The film's final word on the matter should resonate with Catholic viewers in its renouncing of violence.

A brief, but poignant, epilogue shows the real Chamusso -- who served 10 years of a 24-year sentence imprisoned on Robben Island with future South African president Nelson Mandela and now runs an orphanage -- advocating forgiveness as imperative in healing his country's deep wounds. That conversion, from vengeful anger to compassion, would have been a far more interesting and inspiring story, but here is treated in footnote fashion.

The film contains some violence, images of torture, an instance of rough language and a few crude expressions. The USCCB Office for Film & Broadcasting classification is A-III -- adults. The Motion Picture Association of America rating is PG-13 -- parents strongly cautioned. Some material may be inappropriate for children under 13.

-- David DiCerto

Babel (Paramount Vantage)
Quietly powerful film charting three interconnected stories: an American couple (Brad Pitt and Cate Blanchett) stranded in Morocco when the wife is seriously wounded by a stray bullet on their tour bus; the deaf-mute teenage daughter (Rinko Kikuchi) of a widower father (Koji Yakusho) in Tokyo who achingly longs for love; and a Mexican governess (Adriana Barraza) and her nephew (Gael Garcia Bernal) who take her two young charges across the border to attend a wedding with tragic results. Director Alejandro Gonzalez Inarritu's somber and lengthy film imparts an admirable message about a shared global humanity and the senselessness of violence, even as it blames U.S. foreign policy and bureaucracy as an obstacle, has superbly empathetic performances by an international cast, and ultimately packs an emotional wallop. Partially subtitled. Some rough language and profanity, crude expressions, some violence including a killing, full female nudity, some discreet sexual elements, and alcohol and drug use. (L, R)

Conversations With God (Samuel Goldwyn)
Drama based on the successful series of spiritual self-help books by author Neale Donald Walsch (Henry Czerny), who, after losing his job and finding himself homeless, alleges that God, prompted by his questioning, began speaking to him directly, with their ongoing "conversation" resulting in his best-sellers. Earnestly directed by Stephen Simon, the film fluctuates between maudlin and genuinely moving, and while clearly containing ideas (a hodgepodge of gnosticism, pantheism and New Age mysticism) incompatible with Christian theology, nevertheless imparts a sincere message about God's unconditional love and abiding presence that should resonate with Catholic viewers. Questionable theological underpinnings, some mature themes and brief mild innuendo. (A-III, PG)

Running With Scissors (TriStar)
Author Augusten Burroughs' best-selling memoirs about his wildly unconventional adolescence during which his mentally fragile mother (Annette Bening), estranged from her husband (Alec Baldwin), sent the boy (Joseph Cross) to be raised by her quack psychiatrist (Brian Cox) and his extremely dysfunctional family (Jill Clayburgh, Gwyneth Paltrow, Evan Rachel Wood and Joseph Fiennes). Director Ryan Murphy's episodic adaptation -- which may puzzle those unfamiliar with the book -- handles the provocative material with sensitivity, toning down the racier elements. Though some of the situations are in themselves morally objectionable (making the film unpalatable for many), the overall tone and resolution have a distinctly moral center. Pervasive rough language and profanity, a couple of discreetly handled same-sex relationships including a disturbing age-inappropriate one, other sexual themes and innuendo, scatological humor, drug use, domestic violence, an irreverent remark, and discussion of suicide. (L, R)

Saw III (Lionsgate)
Homicidal mastermind Jigsaw (Tobin Bell) -- now on his deathbed and aided by a young apprentice (Shawnee Smith) -- is at it again, devising depraved games for his two latest pawns: a father (Angus Macfadyen) grieving the death of his son, and a melancholy doctor (Bahar Soomekh) who is kidnapped and brought to Jigsaw alive. New players, same sadism, as director Darren Lynn Bousman piles on the gore in inventing more grisly ways to shock audiences increasingly desensitized to brutality. Graphic and gratuitous violence, including cruel scenes of torture and self-mutilation, a bloody surgical procedure, shadowy full frontal nudity, as well as much rough and crude language. (O, R)

David DiCerto is on the staff of the Office for Film & Broadcasting of the U.S. Conference of Catholic Bishops. More reviews are available online at www.usccb.org/movies.