The Last Exorcism could have been a very thoughtful exploration of skepticism being thrown into doubt (if not out the window) in the face of spiritual evidence to the contrary; unfortunately, however, the film throws all that out with its ridiculous ending.
Though she has been dubbed the anti-Mary Poppins, Nanny McPhee is essentially a repackaged version of Mary Poppins, minus the lovely beauty of Julie Andrews and a spoonful of sugar, and with the addition of a snaggletooth, enormous nose, and magical walking stick. This does not distract from the charms and adventures of the Nanny McPhee films, however. Directed by Susanna White, Nanny McPhee Returns tells a slightly different tale from the original 2005 Nanny McPhee movie, but manages to attain the same hearty comedy, morality, and special effects that made the first film a success.
Directed by Ryan Murphy, Eat Pray Love is a movie adaptation of the New York Times bestseller Eat, Pray, Love: One Woman’s Search for Everything Across Italy, India, and Indonesia, �written by Elizabeth Gilbert. Based on Gilbert’s real-life experiences, the memoir focuses on Gilbert’s struggles with her divorce, from which she attained closure through her journeys across the world. Unfortunately, both the novel and the film appeal to a very specific audience, leaving all others in a coma-like state throughout the reading/viewing experience.
If you’re looking for a hilariously inappropriate but original film on which to spend some money, I have three words for you: The Other Guys. In this satirical buddy cop movie, Will Farrell and Mark Wahlberg shine, while revealing the humor in the sad realities of today’s economic climate.
Everything about Burr Steven’s Charlie St. Cloud is predictable, except for the spiritual gravity and Christian undertones, rendering an otherwise teen “chick flick” a worthwhile expenditure. Based on a 2004 Ben Sherwood novel, The Death and Life of Charlie St. Cloud, Charlie St. Cloud is a film about the consequences of a single promise.
While I certainly look back with fondness on the “Greatest Generation,” I can’t help but think that the superlative applied to it may be unwarranted. They did weather the Great Depression and defeat the National Socialists, but they also greatly empowered international socialists. These would be people such as Franklin Delano Roosevelt, who gave the big-government ball American history’s hardest push and made constitutional trespass an art form. And then there is something else: If we believe the truest measure of a person is how he raises his children, we should note that WWII-era Americans gave us Generation Zero.
A good spy thriller should accomplish two things — it should thrill and it should intrigue. With taut action sequences and a well-written script, Salt, Angelina Jolie's latest foray into action, provides plenty of both.
Leonardo DiCaprio does it again with this summer’s new blockbuster hit, Inception. Not everyone will agree with that, however. I contend that there will be two camps that develop in the theaters: those who become so frustrated over the utter confusion and suspension of disbelief involved in viewing Inception that they despise the film; and those who throw caution to the wind, allow themselves to be sucked into the science fiction, and enjoy every captivating moment. Count me in the second camp.
For parents interested in a pleasant way to pass the afternoon with their children, consider newly released Despicable Me (that is, if Toy Story 3 is not an option). Characterized by warmth, humor, and even some insight into the human psyche, Despicable Me is a winner.
The Last Airbender is M. Night Shyamalan's ninth directorial effort and is an imaginative and wonderfully visual film — as long as no one is talking. For a director on his ninth feature who has shown that he is capable of eliciting an academy award worthy performance from child actor, Haley Joel Osment, in his breakout film The Sixth Sense, there is absolutely no excuse for the excruciatingly hackneyed child performances in this film.