Secondhand Lions Roars

Secondhand Lionsrecommends "believing in something"

When 12-year-old Walter's mother (Kyra Sedgwick) abandons him for the summer on the remote Texas farm of his two crazy uncles, he's scared and hurt. He's also skeptical about what he's been told: That Uncle Hub (Robert Duvall) and Uncle Garth (Michael Caine) have a fortune hidden on their property. As the days pass, Walter (Haley Joel Osment) warms up to the uncles, his imagination fueled by Garth's hard-to-believe tales about the adventures he and his brother enjoyed in foreign countries, battling nasty villains and defending the honor of a beautiful princess. He also learns why Uncle Hub is prone to fits of melancholy and sleepwalking. Could these guys be telling the truth? Could these geezers, who like to sit on their front porch and fire rifles at approaching salesmen, really be living legends?

Writer/director Tim McCanlies's film Secondhand Lions has a lot in common with the animated feature that he wrote a few years back: The Iron Giant. Both films are about a boy without a father figure. In both tales, a dislocated figure, larger-than-life and bit melancholy, inspires the boy, and is likewise inspired by his wide-eyed wonder and faith. The two films also include a meddling investigator who represents another possible father figure, a man who is rash and dangerous. And in the end, both films celebrate the value of imagination, faith in far-fetched ideas, and the idea that age has nothing to do with importance.

The veteran actors are in fine form as the grouchy old men, and Osment, although he may have been miscast as "an ordinary kid," shines in one emotional scene after another. The script is whimsical and full of ideas, but it spends too much time telling instead of showing. As a result, its multitudinous platitudes and morals feel tacked on. Fortunately for viewers, there is plenty to enjoy in spite of the sentimentalism.

Next week in Film Forum, I'll feature a chat with Tim McCanlies about his film. My full review and my interviews with Duvall, Caine, and Osment will appear in the new issue of Paste Magazine this month.

Other religious press critics are receiving the film with applause and enthusiasm, happy to have a family film they can recommend without apology.

Frederica Mathewes-Green (Our Sunday Visitor) describes it as "a sweet story … balanced by a sense of masculine nobility that is virtually never seen in movies."

Michael Elliott (Movie Parables) agrees, calling it "a sweet, life-affirming tale. McCanlies … has struck cinematic gold by illustrating the impact that a father figure can have upon the development of a young and impressionable teen."

David DiCerto (Catholic News Service) says it "hits all the right emotional notes, resulting in an enchanting story about family and the transmission of values as generations change hands." He also praises Duvall and Caine as "masters at the top of their game."

Steven D. Greydanus (Decent Films) objects to the film's central sentiment, spelled out in a speech that Hub (Duvall) gives to Walter: "If you want to believe in something, then believe in it! Just because something isn't true, that's no reason you can't believe in it!" Greydanus objects: "Expressed this way, this is bogus sentimentality, not belief or faith—and this notion casts a long shadow over the rest of the film. McCanlies's heart is in the right place, but his head could use a little straightening out."

Nevertheless, Greydanus gives Lions a pass: "What carries the film in spite of these weaknesses … are the appealing relationships that develop between Walter and his uncles, tongue-in-cheek serial-cliffhanger style flashbacks of derring-do … a couple of subversively funny subplots … and some good-hearted themes about responsibility, growing up, and old age."

The quote that bothers Greydanus actually makes good sense in context, according to Greg Wright (Hollywood Jesus). "In the context of the movie, the statement takes on an entirely different meaning: 'Believe the things that are important to believe, even if "facts," experience and the opinions of others contradict what you believe: because the appearance of things is only an illusion.' Secondhand Lions delivers much the same message. It's a message sorely needed today."

Bob Smithouser (Plugged In) writes that "[a] gifted cast, smart writing and [a] moral compass make this unassuming little film a good one for teens, parents and grandparents to experience together. It is without a doubt the pride of the fall movie season."

Michael Medved (Crosswalk) says, "The film's fairy-tale atmosphere and sentimental soul never detract from its earthy, irresistible humor or off-kilter wisdom."

John Thompson (Relevant) calls it "surprisingly satisfying. This film flies in the face of most modern, nihilistic, youth-obsessed Hollywood fare."

"You'll think about the story long after you walk out of the theater," promises Holly McClure (Crosswalk). "It's a reminder of how important it is that a boy have a male role model in his life."

Steve Beard (Thunderstruck) says the film shows "how disjointed lives can be put into some kind of sensible order with love, virtue, and truth. This is the kind of story that Hollywood should be telling."

Cliff Vaughn (Ethics Daily) calls it "first-rate entertainment. The movie has touches of Don Juan de Marco and Princess Bride, and it is certainly as good as those films."

Tom Snyder (Movieguide) is bothered by "light obscenities" and what he perceives as the film's philosophy. He writes, "The idea that people are basically good is a Rousseauian Romantic, liberal notion that contradicts biblical truth and reality." And yet, he concludes that the movie "will lighten and enrich the hearts and minds of all who see it."

If you take your family, or see it on your own, let me know if you think this is the "treasure of the fall movie season", "certainly as good as The Princess Bride," or a film of "Rousseauian Romantic, liberal notions that contradicts biblical truth." I'm curious.

Bonhoefferbiography tells a suspenseful tale of a World War 2 hero

A documentary on the life of Dietrich Bonhoeffer continues to play in select cities around the country. Mainstream critics are impressed with Martin Doblmeier's re-telling of the great German theologian's incredible story, Bonhoeffer, which richly illustrates the man's life with news footage, photomontages, and interviews with some of Bonhoeffer's surviving students and family members. His complex and dramatic life story draws a stark contrast between militant Nazism and Christian compassion, as he strives to publicly discredit Hitler's views and ends up working as a double agent plotting Hitler's assassination.

The film only scratches the surface of Bonhoeffer's writings and views, and the documentarians face the usual challenges, having limited resources for the screen. But Bonhoeffer is a compelling, even suspenseful, tribute in spite of these limitations. His courageous politics and his role in history should draw in audiences that would normally shy away from biographies of Christian heroes.

Movieguide's critic says, "This documentary is must viewing for those who have faith in Jesus Christ, for those who want to see the true role of the Church in society, and for those who need to understand that we should not worship politics."

Underworldoverrated

Kate Beckinsale made an impression on audiences several years ago in Kenneth Branagh's Much Ado About Nothing, playing the part of Hero. She went on to critical acclaim for her work in The Last Days of Disco and Cold Comfort Farm before stumbling unfortunately into Michael Bay's Pearl Harbor. This week she's back as a different sort of hero in Underworld. Beckinsale plays Selene, a beautiful vampire caught up in a war against werewolves. Her allegiance to the vampires is tested when she loses her heart (no, not literally) to Michael (Scott Speedman), a not-so-warlike werewolf.

Religious press critics are not usually impressed by werewolves and vampires. But this film has scored with audiences and become the week's box office champion, so this time … well, no, the critics are still not impressed.

Michael Medved (Crosswalk) calls it "stylish, slick, lavishly atmospheric, surprisingly well acted, competently plotted—and a complete waste of talent and time. The convoluted story line … seems impenetrably confusing at first, but slowly comes together to make as much sense as vampire/werewolf plots normally do."

"We don't really care about these creatures," says Michael Elliott (Movie Parables). "The movie is reduced to watching unappealing beings attacking each other with unmerciful zeal."

David DiCerto (CNS) nicknames it "West Side Gory. The story loses its bite midway through, unraveling into a tedious series of graphically violent clashes leading to the film's mind-numbing climactic mother-of-all rumbles; think Democrats and Republicans with fangs."

Jerry Langford (Movieguide) says the fantasy elements didn't offend him because it "manages to avoid the typical occult trappings often found in movies of this kind. It is clearly fantasy and is content to dwell there." (In other words, this is safe, but Harry Potter is still a threat.)

Cold Creek Manoronly lukewarm

Director Mike Figgis, best known for arthouse films like Timecode and Leaving Las Vegas, turns in a mainstream thriller this week: Cold Creek Manor. When a house-hunting couple (Dennis Quaid and Sharon Stone) settle on a magnificent fixer-upper in the country, the kids are thrilled and a happy season of remodeling lies ahead. But as the family gets to work, they find more to worry about than paint and plumbing. The house, it seems, has a troubling history—and present, once its former inhabitants show up.

Critics are troubled indeed. Ben Cornish (Christian Spotlight) says, "A cloud of hopelessness and despair shadow each character, yet the lack of character development never helps the audience explore why."

Gerri Pare (CNS) calls it a "ho-hum thriller. Thoroughly lackluster dialogue hampers Richard Jeffries' script, making it hard for Quaid and Stone to pump much life or chemistry into their roles. Figgis' direction telegraphs every plot development and, with virtually no surprises, a bland thriller results."

Nevertheless, the movie spooked Lisa Rice (Movieguide). She argues that "the filmmakers were masterful … the knuckles do stay white throughout the movie." But she concludes, "Regrettably, though, families and moral audiences will likely avoid this movie because the filmmakers load it with obscenities, sex, nudity, and excessive violence."

Bob Smithouser (Plugged In) agrees: "Frequent obscenities (plus … nudity and a loud, barely obscured sex scene) earn Manor its R rating and make it impossible to recommend."

Critics would rather see anything than Anything Else

Woody Allen's latest film, Anything Else, is being marketed as a teen comedy along the lines of American Pie. Allen appears only in a small part. This time, Jason Biggs (American Wedding) takes lead as Jerry Falk, an agitated New York writer whose interest in an unpredictable girl (Christina Ricci) disillusions him about the grownup world of love.

According to critics, the marketing for the movie is misleading. They describe the film as "Recycled Woody Allen"—cynicism, sarcasm, crass sexual behavior, and neuroticism re-packaged for youngsters.

"Woody may continue to make films which showcase neurotic behavior and dysfunctional relationships," says Michael Elliott (Movie Parables), "but he has long ceased to find anything new or interesting to say about them."

Still, says David DiCerto (CNS) "No one can consistently tell the same joke over and over again and still make it sound as funny as Woody Allen. While his philosophy—atheistic nihilism—saturates every frame, undermining what is arguably one of the most original voices in cinema, his films routinely raise profound theological questions."

Movieguide's critic calls it "a sad commentary on life in a universe without God and without hope."

More about recent releases: Thirteen, Lost in Translation

Contrary to the "Avoid this film!" reviews at other religious press sites, Darrel Manson (Hollywood Jesus) thinks that Thirteen deserves some applause. He is impressed by Catherine Hardwicke's lead character, Tracy (Evan Rachel Wood), an impressionable teenager who follows in the footsteps of a popular and rebellious girl named Evie.

"What I appreciate most about the film," says Manson, "is that it doesn't look at the problems in her home as an excuse for what Tracy does. It doesn't even blame it on Evie. Evie is certainly a seductress to Tracy's desire to change, but in the end, we know that it is Tracy's desire that is the base for all that happens. It isn't really about 'peer pressure'; it's about the pressure of self. It is about the seduction of a promise that we can be happy or complete if we are just like someone else."

Manson also reviews Lost in Translation this week, which gained raves from religious press writers last week. Manson agrees: "It's worthy of whatever honors it may garner. I expect there will be many."

Are you ready to go back to The Lion King?

Is The Lion King a favorite movie with your family? Have you ever thought about the story that the popular Disney film's plot most resembles?

Jim Rovira (Metaphilm) says, "The Lion King, of course, is Hamlet with a happy ending. It's yet another proof that real, unqualified, remorseful tragedy has been banished from American mass market cinema. I think we need more Hamlet and less Lion King, more real tragedy with permanent consequences and fewer happy endings. It just seems more like real life."

Fighting Temptations "has no rhythm"

While critics continue to praising the riveting gospel music performances in The Fighting Temptations, they still find the film's craftsmanship shoddy.

Cliff Vaughn (EthicsDaily) says the movie "has no rhythm. [It] will have you tapping your toes during the musical sets, but also scratching your head as to why Cuba Gooding, Jr. isn't half as engaging here as he was in Jerry Maguire. It's almost as if the movie is split in two: good musical sets, bad almost everything else."

Michael Medved (Crosswalk) says the movie "deserves credit for its warm-hearted, affectionate portrayal of a religious community, and for the soul-stirring gospel music featured on the sound track, but the feeble story line and cardboard performances undermine its entertainment value."

J. Robert Parks (Phantom Tollbooth) writes, "The narrative might be formula, but at least the music is great. [Gooding's] over-the-top style reeks of a desperate need to please, and it's none too flattering. The final 20 minutes … is an appalling display of screenwriting laziness. The script inconsistencies … would be mind-boggling if anyone was actually using that part of their anatomy."

Corrections

Last week I credited the Decent FilmsMatchstick Men review to the wrong Steven. The review was written by Steven D. Greydanus, not Steven Isaac (a critic for Plugged In.) I also said Wings Hauser co-starred in the film, but I was confusing Hauser with his co-star from The Insider—Bruce McGill. Perhaps I should warn readers that the film Matchstick Men causes confusion and disorientation in those who see it. Apologies to the readers, reviewers, and artists.

Next week: A few words with Tim McCanlies, director of Secondhand Lions. Plus: Under the Tuscan Sun and In This World.

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