Surprises are sparse in this tedious film. There is one exception however. Edward Norton’s career establishing, Oscar nominated performance is compelling. The commanding young Norton overshadows Richard Gere who struggles to be interesting in drab lead role.

Relentless Catholic bashing acts as the film's foundation as it once again explores the homosexual pedophilia troubles the clergy has had over the years. While it certainly isn't a subject that should be ignored, it gets a little tiring to see it once again used to denigrate the whole faith.

One wonders, when will Hollywood come out with a rash of public school teachers as predators movies? I'm certain the percentage of pedophile teachers out numbers those found in the church. Just sayin'.


Related Reviews:
Other "Ain't the Clergy Awful" movies
Stigmata (1999)
The Da Vinci Code (2006)


Other Critic's Reviews:
eFilmCritic
FilmCritic.com




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Labels: Alfre Woodard, Andre Braugher, anti-catholic, Edward Norton, film, Frances McDormand, Joe Spano, Jon Seda, Laura Linney, Maura Tierney, movie review, Richard Gere

Short Review: Can't get a biopic of MLK done but this pervert gets lionized. Someone stick a fork in our culture...



Look at the original DVD box above. Liam Neeson peeking through a keyhole with the words "Let's Talk About Sex" underneath. The marketing team thinks showing the main character obviously peeking through a keyhole at others copulating is a selling point. Can we, as a society with hopfully an ounce of self-respect left, please give a collective "ewwww!"

I hope you're not shocked when I tell you that this was unpleasant movie.

I’m not against frank discussions about sexuality. such conversations are needed in a mature, intelligent culture. I believe people should be given information about sexuality and safe sexual practices. I am hardly a prude. What I do have a serious problem with is public discussions of sexuality and sexual practices outside of a moral context. It is one thing to offer biological dissertations on how intercourse occurs, its another to start rambling on about what should be considered normative behaviors with the same cold tone.

The film proposes America was a ignorant place where no one understood human sexuality. In comes Alfred Kinsey with his brave pronouncements of just how depraved we all are and now everyone is better. We all can talk about sex and think about it freely and with an informed attitude. But where is the morality?

People used to have horribly misguided ideas about the biological functions of sexuality (oral sex leads to pregnancy as an example.) But now, in our new enlightened state everyone is informed. Oral sex does not lead to pregnancy – heck even children know this. The problem is that sexuality without morality leads to a new kind of ignorance. We now have a couple of generations who believes oral and anal sex aren’t really sex. Which society is worse off? Which kind of sexual ignorance is more damaging?


Kinsey was a troubled man who did a great deal of damage to the world. To offer him a film honoring his efforts is ignorant and deceptive. To offer grand proclamations about the need for sexual freedom is easy from the high towers of the universities and Hollywood. But there is a deep and serious human cost involved. Look at your society and tell me if this “freedom” is free.

By the way, the film itself was passably done. It was neither a strong production nor a weak one technically speaking. The positives of the film are outweighed by the obtuse message and glaring anti-morality messages in the story. The point of the film is to obviously denigrate anyone who holds a connection between morality and sexuality and praise the free-love types.

This is a blatant reworking of history which means it is propaganda. As far as propaganda is concerned, you can do better than this. Obviously, I do not recommend this film.


Related Reviews:
Liam Neeson movies
Taken (2008)
Excalibur (1981)


Other Critic's Reviews:
Cinema Blend
London Times




Click here to buy your copy of
You Are What You See and learn
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Labels: biography, Chris O'Connell, Dylan Baker, film, John Lithgow, Laura Linney, Liam Neeson, movie review, Oliver Platt, Peter Sarsgaard, Tim Curry, timothy hutton, William Sadler

HBO for all of its lowbrow content and stupid programming does distribute some very good films every once in a while. This seven-part mini-series is an absolute joy. Like Band of Brothers, another series released by HBO, this production is awe-inspiring in its scope and more importantly, its quality. Across the board this series is an impressive achievement that I can't recommend strongly enough.

The series follows the life of founding father John Adams (Paul Giamatti) from his days as an upstart lawyer in Boston to his final days, decades later, on his farm with his children. What this series is a very strong defense of the man. History hasn't been generous to Adams, who spends his time in the shadow of Thomas Jefferson, George Washington and Benjamin Franklin (which is how he spent good portions of his life). This series serves to concentrate on his sacrifice, his ideals and his hand in the creation of the most prosperous and generous country in the world. The film also serves to promote his wife Abigail Adams (Laura Linney) as a foundation figure during this time. Abigail, the first second lady and second first lady of the country, is presented as the "woman behind the man" who not only keeps the overly emotional Adams in line but guides his policies as well.

The sense of reality in the series is what struck me. The portrayal of John Adams is not flattering. He is shown to be an bitter and generally unpleasant man who is the victim of his colleagues' embarrassment and political plotting. He's like the guy at the office who known as the workhorse who everyone dumps work on knowing he'll do it. Sure he grumbles but he'll get it done. Then everyone forgets to invite him out to drinks after work. Adams was abused by his cohorts, then again, the film makes it difficult to find too much sympathy for him, after all, he was rather abrasive.

Kirk Ellis' scripts are hands down brilliant and he should get the credit he deserves. His handling of this epic tale is impressive. He spans huge tracts of time without stumbling or breaking his pacing. His dialog is at once rich and literate while also not being above the head of the average audience. He knows how to use the spoken word to deliver layered scenes and how to use them to establish character. Ellis has a very sharp ear for dialog. His talent is on full display throughout this production.

Given the vibrant scripts, the actors are given rich ground in which to do their work. Paul Giamatti proves himself in the titular role. Giamatti (Howard Stern's Private Parts, The Lady in the Water, Sideways) is absolutely commanding in his role. Easily the best performance of his career thus far, Giamatti presents a man who is brilliant, but tormented by his own personality. Adams' midlife is so consumed by panics of insecurity it would have been easy for Giamatti to become melodramatic in his presentation. Buttressed by Ellis' writing, Giamatti navigates the emotional roller coaster of Adam's life with apparent ease. Alongside Giamatti, Laura Linney (The Exorcism of Emily Rose, Breach, Kinsey) gives an equally striking performance as Abigail. Linney's performance is far more subdued, more controlled but nonetheless enthralling. She is the perfect match to Giamatti's big on screen presence. Where Giamatti is a broad performer, Linney is more refined, able to express quite a bit with a well placed smile or turn. The pairing of the two in the specific roles is at the center of this series' success.

Overall, this is worth the investment of seven hours. This series should be shown at schools. It plainly shows the common lives of the founding fathers, shows how they were real men and not just iconic figures. It also presents the birth of our nation in an even light. Most importantly, it is a reminder that this country was founded to be a land of freedom FROM government not a bloated welfare state for the world. The qualities of personal, individual freedom, which are under attack by both political parties, is defended by this production and anything that makes the argument for personal liberty deserves all the attention it can get.


Cautions: There is a scene with frontal male nudity. A man is being tarred and feathered and he is one full display during this torment. Other than this exception, the series is very restrained in its violence and sexuality. The language is not strong and most off color comments are buried in flowery language.


Worldview: This series, as any look at the founding fathers, confirms the hand of God in the birth of the United States. Those men brought together under those circumstances at that time is mind boggling. Throughout the film the hand of provenience is credited. It is remarkable that Adams, Jefferson and particularly Franklin were so flawed as men but were still selected to be the devices which created this land. These men, each remarkable in their own right, combined to create a great country that spawned an ever greater people.


Related Reviews:
The Crossing (2001)


Other Critic's Reviews:
Beyond Hollywood
Movie Hamlet

Labels: Laura Linney, mini-series, movie review, Paul Giamatti, Tom Wilkerson

Short Review: Even sans pea soup, this is the best horror film in decades.


This film was made for $19,000,000.00. Released at the same time, Spielberg’s War of The Worlds cost $132,000,000.00. Proof that it doesn’t take massive budgets to make greatness.

The Exorcist dominated cinematic exorcisms much in the same way Bond is the only real spy and Star Wars is the touchstone for all space films. These classics defined their subject matter, and to even think of getting a foothold on their ground is risky business. The Exorcism of Emily Rose made me forget about The Exorcist (the best horror film of all time.) This was done through the film's revolutionary element its deep sense of reality. Director/Co-Writer Scott Derrickson infuses a strong sense of the real into his film which only serves to buttress the horror. Exorcism and demonic possession is a serious topic and Derrickson has the intelligence to take it sincerely. His honest look at the subject is what makes this film brilliant. The Exorcist took its subject matter very seriously as well, but upon reflection took loose translations of reality. This film doesn’t go the pea soup and head-spinning route. It keeps its characters and their troubles within the realm of the possible.

Derrickson’s film is strongly paced and smartly presented. Through the lens of a courtroom, we are exposed to the strange case of Emily Rose. Emily’s priest Father Moore is on trial for negligent homicide, a result of the young woman’s death. Since the film comes at the subject matter through this avenue, Derrickson is able to present Emily’s story patiently and to it fullest effect. The courtroom scenes issue explanations of what is to come and then we are sent off to the horrible world of poor Emily Rose. The continual set up presentation of scary scenes is quite powerful. The courtroom setting also sets up a Protestant court convicting a Catholic idea vibe…luckily this isn’t pushed too hard. I’ll move on before I get into a Protestant vs. Catholic thing.

The performances in the film match the strength of the writing and directing. Tom Wilkinson as Father Moore and Laura Linney as his attorney Erin Bruner perform to their normal high standards. These two are continuously good performers who almost always manage to offer solid work. The star of the film is Jennifer Carpenter who portrays Emily. While she doesn’t get many actual lines, she offers very convincing renditions of being possessed and going insane. This may not seem like much but it can be very difficult for an actor to get this kind of performance done properly. There is a thin line between scary and stupid. While filming, the actor must look like a complete idiot writhing on the ground or making funny faces. They have to give their full trust to their director and hope they are talented enough to keep them from looking like a moron on the big screen. Carpenter’s performance is striking in that it doesn’t seem forced. As with Derrickson’s direction, Carpenter shows truthfulness in her performance and that gives this film its heart.

Overall, this is a truly brilliant film. If you haven’t already seen this film, you should. It is clearly worth the rental price. Outstanding.




Related Reviews:
Possession movies
Fallen (1998)
Dominion: The Prequel To The Exorcist (2005)

Other Critic's Reviews:
Film Geeks
Beyond Hollywood

Labels: film, Jennifer Carpenter, Laura Linney, movie review, Tom Wilkerson

Labels: exorcism, film, Laura Linney, movie review, Tom Wilkinson

Short Review: For some strange reason I kept expecting Adams to scream out at the Congress that he wasn't going to drink any %$#@ merlot.


HBO for all of its lowbrow content and stupid programming does distribute some very good films every once in a while. This seven-part mini-series is an absolute joy. Like Band of Brothers, another series released by HBO, this production is awe-inspiring in its scope and more importantly, its quality. Across the board this series is an impressive achievement that I can't recommend strongly enough.

The series follows the life of founding father John Adams (Paul Giamatti) from his days as an upstart lawyer in Boston to his final days, decades later, on his farm with his children. What this series is a very strong defense of the man. History hasn't been generous to Adams, who spends his time in the shadow of Thomas Jefferson, George Washington and Benjamin Franklin (which is how he spent good portions of his life). This series serves to concentrate on his sacrifice, his ideals and his hand in the creation of the most prosperous and generous country in the world. The film also serves to promote his wife Abigail Adams (Laura Linney) as a foundation figure during this time. Abigail, the first second lady and second first lady of the country, is presented as the "woman behind the man" who not only keeps the overly emotional Adams in line but guides his policies as well.

The sense of reality in the series is what struck me. The portrayal of John Adams is not flattering. He is shown to be an bitter and generally unpleasant man who is the victim of his colleagues' embarrassment and political plotting. He's like the guy at the office who known as the workhorse who everyone dumps work on knowing he'll do it. Sure he grumbles but he'll get it done. Then everyone forgets to invite him out to drinks after work. Adams was abused by his cohorts, then again, the film makes it difficult to find too much sympathy for him, after all, he was rather abrasive.

Kirk Ellis' scripts are hands down brilliant and he should get the credit he deserves. His handling of this epic tale is impressive. He spans huge tracts of time without stumbling or breaking his pacing. His dialog is at once rich and literate while also not being above the head of the average audience. He knows how to use the spoken word to deliver layered scenes and how to use them to establish character. Ellis has a very sharp ear for dialog. His talent is on full display throughout this production.

Given the vibrant scripts, the actors are given rich ground in which to do their work. Paul Giamatti proves himself in the titular role. Giamatti (Howard Stern's Private Parts, The Lady in the Water, Sideways) is absolutely commanding in his role. Easily the best performance of his career thus far, Giamatti presents a man who is brilliant, but tormented by his own personality. Adams' midlife is so consumed by panics of insecurity it would have been easy for Giamatti to become melodramatic in his presentation. Buttressed by Ellis' writing, Giamatti navigates the emotional roller coaster of Adam's life with apparent ease. Alongside Giamatti, Laura Linney (The Exorcism of Emily Rose, Breach, Kinsey) gives an equally striking performance as Abigail. Linney's performance is far more subdued, more controlled but nonetheless enthralling. She is the perfect match to Giamatti's big on screen presence. Where Giamatti is a broad performer, Linney is more refined, able to express quite a bit with a well placed smile or turn. The pairing of the two in the specific roles is at the center of this series' success.

Overall, this is worth the investment of seven hours. This series should be shown at schools. It plainly shows the common lives of the founding fathers, shows how they were real men and not just iconic figures. It also presents the birth of our nation in an even light. Most importantly, it is a reminder that this country was founded to be a land of freedom FROM government not a bloated welfare state for the world. The qualities of personal, individual freedom, which are under attack by both political parties, is defended by this production and anything that makes the argument for personal liberty deserves all the attention it can get.


Cautions: There is a scene with frontal male nudity. A man is being tarred and feathered and he is one full display during this torment. Other than this exception, the series is very restrained in its violence and sexuality. The language is not strong and most off color comments are buried in flowery language.


Worldview: This series, as any look at the founding fathers, confirms the hand of God in the birth of the United States. Those men brought together under those circumstances at that time is mind boggling. Throughout the film the hand of provenience is credited. It is remarkable that Adams, Jefferson and particularly Franklin were so flawed as men but were still selected to be the devices which created this land. These men, each remarkable in their own right, combined to create a great country that spawned an ever greater people.


Related Reviews:
The Crossing (2001)


Other Critic's Reviews:
Beyond Hollywood
Movie Hamlet

Labels: Laura Linney, mini-series, movie review, Paul Giamatti, Tom Wilkerson

In a time when the industry feels comfortable to casually infuse political messages in films where politics has no place, it is refreshing that this movie about the capture of real life FBI Agent turned traitor Robert Hanssen doesn't come with an agenda. Chris Cooper is outstanding as Hanssen. Hanssen was a devout Catholic and family man while also a despicable turncoat. Cooper does a fantastic job balancing this double life and bringing the conflicted man to screen.

Opposite Cooper, Ryan Phillippe portrays a young clerk who is instrumental in bringing the Russian spy down. Phillippe gives a performance that will be familiar to anyone who has seen him act before. Phillippe may be a one trick pony, his sole trick being looking young and out of his depth, does work here however.

The film as a whole isn't one that will set the cinematic world on fire but it is a solid piece of drama. Given that the audience knows the resolution of the piece, the script by Adam Mazer, William Rotko and Billy Ray manages some good moments of suspense. I'd recommend picking this one up when what you want to watch isn't available. It's a good standby.

Labels: Chris Cooper, FBI, film, Laura Linney, movie review, Ryan Phillippe, spy

Labels: Chris Cooper, FBI, Laura Linney, movie trailer, Ryan Phillippe, spy