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They're back with a sequel, American Pie 2, in which the same sexually reckless teenagers, now college age, continue to indulge in promiscuous and shameless adolescent antics. And there's not isn't a dignified grownup in sight. What is left of this tattered envelope to push? What boundaries haven't been crossed? Most moviegoers don't care: the movie set a box office record this week.

Phil Boatwright at The Dove Foundation is among the many dismayed (and apparently unheeded) critics: "When the cast is not indulging in sexual activity, they spend the rest of the screen time discussing how much they wish they were. Every single laugh is based on crudity, humiliation or shock value. Most of the characters are either high-school age or college freshmen, yet they drink and carouse with all the amoral fortitude of a buccaneer."

The U.S. Catholic Conference's critic reports, "Director J.B. Rogers' plodding, pathetic effort recycles plot points from the first film while again presenting sex as raunchy sport devoid of responsibility or consequences." And Preview's Mary Draughon confirms, "Inedible filling such as 57 obscenities, disgusting bathroom humor, breast nudity, group sex, a teenager having sex with his friend's mother, and teenage drinking complete this nasty mud pie." Focus on the Family's Bob Smithouser shakes his head: "We may still see a more bankrupt film released this year, but it will be hard-pressed to undermine as many teens' value systems as this second helping of American Pie." Movie Parables' Michael Elliott adds: "Many of the returning actors are given relatively no reason for reappearing. They are as gratuitous as many of the sexual jokes and references."

Elliott does, however, see these popular fools fumbling their way toward some unexpected shreds of wisdom. "The relationship which showed the most promise was the one developing between Jim and Michelle. As she helps him improve upon his obviously lousy sexual technique, we can see his growing awareness that the 'girl of his dreams' might not necessarily be the one with the largest breasts and lowest IQ. It is a lesson that more young men could stand to learn."

While Pie's teenagers violate the rules of decency, the characters in The Others have crossed a very different boundary. They've stirred up some rather temperamental spirits. Spanish director Alejandro Amenábar gives Nicole Kidman the starring role as the protective governess of two children who have an allergy to sunlight, and as she "keeps them in the dark," she gives them rigorous religious lessons to rid them of their notion that the house is haunted.

Religious media critics are, for the most part, critical of the supernatural world portrayed here, but some found wisdom in the shadows. The U.S. Catholic Conference calls The Others "a chilling tale of isolation … well-written, deftly building tension until its startling conclusion while prompting questions about faith and the mysteries of life after death."

Focus on the Family's Lindy Beam denounces the basic message of the story: "The Others takes direct ideological aim at Christianity. Beginning with a naturalistic worldview, the film sets out to prove that this world is all that really exists and that religion is merely a man-made crutch. A more basic representation of the lies of this age is hard to find." But she also suggests we might be able to contend with the film's arguments by highlighting scriptural truths within the film that subvert its premise. "It's crucial to remember that what's being attacked is someone's perception of Christianity, which is clearly not the same as the living faith described in the Bible. And, ironically, some of the images and techniques used in The Others underscore vital Christian precepts. Most notable are the played-up visual contrasts between light and dark and the repeated theme that abiding in the light, fully facing reality and accepting the truth, is the best way to live."

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August (Web-only) 2001, Vol. 45