Opening theater this fall, and during awards season, is the upcoming movie HERE.
Reuniting the director, writer and stars of Forrest Gump, HERE is an original film about multiple families and a special place they inhabit. The story travels through generations, capturing the most relatable of human experiences. Robert Zemeckis (Forrest Gump, Castaway, Who Framed Roger Rabbit, Contact, Back to the Future) directs from a screenplay by Eric Roth (Forrest Gump, Killers of the Flower Moon, Dune, A Star is Born) and him.
Watch the trailer now.
Told much in the style of the acclaimed graphic novel by Richard McGuire on which it is based, Tom Hanks and Robin Wright star in a tale of love, loss, laughter and life, all of which happen right HERE.
Sony Pictures has also released a second video in which Zemeckis, Wright and Hanks discuss their latest collaboration.
The cast includes Tom Hanks, Robin Wright, Kelly Reilly, Michelle Dockery and Paul Bettany.
HERE opens on November 15, 2024.
This film is rated PG-13 by the Motion Picture Association for the following reasons: thematic material, some suggestive material, brief strong language and smoking.
Agatha Christie fans will delight in A HAUNTING IN VENICE, because Kenneth Branagh really hits the mark with this one.
Branagh has directed and starred a few of these Christie classic mysteries as Belgian detective Hercule Poirot, featuring star casts and a big, splashy out-sized approach (including Branagh version of Poirot’s famous mustache). Those films have been based on very familiar Agatha Christie mysteries, the ones that have been done, on big screen and small, many times before over the years, which meant they invited comparison, sometimes unfavorable, to some stellar films and productions.
With A HAUNTING IN VENICE, Branagh takes a different tack. This Agatha Christie mystery film is based on a less-familiar Poirot mystery, Christie’s “Hallowe’en Party,” but it is re-set in an irresistible location, Venice, and the story is altered from the original in other ways, transforming it into a tale with elements of a supernatural ghost story. This time Branagh strikes gold. That extravagant mustache returns, and again there is a cast with some big name stars, but otherwise it feels like something completely fresh, a movie that is more immersive, unexpected and intriguing.
A HAUNTING IN VENICE leans into the mysterious atmosphere and haunting beauty of Venice, one of the world’s most storied cities. While all Agatha Christie mysteries are murder mysteries, this one is unusual in that it also has a ghost story side. Further, the story is set not during Venice’s Mardi Gras carnival season, with its masks and secrets, but at Halloween, with its masks and mischief, starting with a children’s costume party full or games and bobbling for apples, followed by a more serious seance attended by grown-ups.
Now-retired detective Hercule Poirot (Kenneth Branagh) is living quietly in Venice when he is sought out by mystery author Ariadne Oliver (Tina Fey) who wants the famous detective to help her de-bunk famed spiritualist medium Joyce Reynolds (Michelle Yeoh) at a seance in a private home on Halloween.
The seance is to take place at a grand old mansion, a palazzo, and before the seance, the home will host a Halloween party for orphaned children. The legend is that the palazzo was once a Medieval orphanage but when the plague hit, the orphans’ caretakers abandoned their charges, and the ghosts of those abandoned children still haunt the house, seeking revenge.
But that legend is not why the spiritualist is being called to conduct a seance. The woman who owns the palazzo is a retired famous opera singer, Rowena Drake (Kelly Reilly), and she is hoping to contact her dead daughter, a young woman who either jumped or fell to her death in the canal while in the grip of madness. Whether it was suicide, an accident or murder has remained unclear, but the distraught mother still mourns her lost child and seeks to hear her voice again.
Venice itself is almost a character in this tale, as is the still grand but eerie palazzo. Calling on this legendary atmosphere, Venice really shines in its dark, watery, and mysterious way. Branagh makes the most of the location, leaning into all things Venice, with art direction and moody half-lit photography.
Tina Fey’s author Ariadne Oliver’s arm-twisting compels Branagh’s Poirot to go to the palazzo’s Halloween party but whether he will even stay for the seance, much less expose the medium or solve any murder or murders, are details the film slowly reveals. Of course, as with any Christie tale, a diverse group turns up, invited or not, for the proceedings, and all of whom have some connection to the dead young woman, their own secrets, and perhaps motives for murder. Supporting characters include Olga Seminoff (French actress Camille Cottin, who was so excellent as Golda Meir’s assistant and confidant in GOLDA), a straight-laced servant with her own secrets, and Dr. Leslie Ferrier (Jamie Dornan, who played the father in Branagh’s BELFAST), the family’s doctor who is haunted by his war experiences, along with his young son Leopold Ferrier (Jude Hill, the boy in BELFAST) a solemn and wise-beyond-his-years youngster who seems more the parent than his sad father.
Branagh has dialed back his Poirot in this performance, and added a level of doubt not usually seen in Poirot, which works very well here. Tina Fey’s author Ariadne Oliver clearly to represent Agatha Christie, referring to her novels as being based on the exploits of the famous detective, but nothing in Tina Fey’s performance makes you think of the British writer. The supporting parts are strong, with young Jude Hill and, of course, Michelle Yeoh, as memorable standouts.
Without the intense familiarity of the better-know Agatha Christie tales, the audience is allowed the pleasure of trying to figure out the various mysteries, and to better appreciate the writer’s skill in building suspense, and the script made other changes to the novel’s plot to keep us guessing.
The mystery is given a big boost by the Venetian setting and the watery house alone but beautiful, austere, moody photography enhances things too. The photography is perfect and lovely, just what you want for Venice and that the story largely takes place at night adds even more to the mood. All old Venetian houses have unused levels below water and an inherent mysterious atmosphere in them, particularly after the sun goes down. Branagh draws on all that delicious atmosphere with relish. Add in some candlelight, fine old furniture, vintage details and all those period costumes, and our imaginations to do the rest.
All this is catnip for Christie fans but if this kind of cleverly-plotted, period murder mystery is not to your taste, this one might not be for you. As for me, as a fan of Christie, suspense and Venice generally, it is very much my cup of tea (and there are cups of tea). Also note that while is a supernatural element, this is a crime thriller, not horror.
Kenneth Branagh hits the Agatha Christie target dead-on with A HAUNTING IN VENICE, and one hopes that will continue with the next one, as there likely will be another. But it will be hard to top something like this suspense yarn set in Venice at Halloween.
A HAUNTING IN VENICE opens in theaters on Friday, Sept. 15.
Ready for growing hair, sprouting teeth, and howling at the moon that is a Werewolf horror movie?
Director Sean Ellis’ gothic thriller The Cursed will be released in theaters on February 18, 2022. Written and helmed by Sean Ellis, The Cursed stars Boyd Holbrook (The Sandman, The Fugitive, Logan), Kelly Reilly (Yellowstone, True Detective, Above Suspicion) and Alistair Petrie (Sex Education, Rogue One: A Star Wars Story, The Night Manager) in a reimagining of the werewolf legend.
Ellis said: “The Cursed was born from the desire to reimagine and update the Werewolf legend for a modern day audience. I wanted to play on the known folklore of the legend and give it a fresh approach to the cliched story devices that have been copied from the original 1941 film, The Wolf Man.”
In the late 1800s, a once-peaceful remote country village is under attack—but by who or what, no one knows. Villagers spread rumors of a cursed land, supernatural forces, and even demonic creatures, as the disappearances and killings continue. Pathologist John McBride arrives to investigate the danger, only to discover something much deeper and more sinister than he ever could have imagined.
Released by LD Entertainment, the film is produced by Ellis, Mickey Liddell and Pete Shilaimon, and executive produced by Alison Semenza and Jacob Yakob. Ellis also shot the film. Formerly titled Eight for Silver, the film premiered at the 2021 Sundance Film Festival.
Filmmaker Sean Ellis commented, “Sundance is always an incredible place to showcase your work. In the time that has followed that valuable experience, we took the opportunity to invigorate the film with an updated score by Lorne Balfe; we changed much of the CGI and decided to put back much of the original in-camera effects. We also elevated elements of the story that pay tribute to the incredible multitude of layers that live within the horror genre.”
LD’s Mickey Liddell and Pete Shilaimon said, “We set out to make a genre film with an incredibly talented filmmaker. Sean Ellis has created a story that is so much more than that: it’s timely, scary as hell, and most importantly unique. We are thrilled for people to finally see Sean’s striking vision on the big screen.”
A rouge CIA agent helps a small-time criminal in the intense-action film, The Take, available now on Digital HD and on Blu-ray and DVD on February 7, 2017 from Universal Pictures Home Entertainment. This powerful story stars Idris Elba (Star Trek Beyond, Beast of No Nation) and Richard Madden (Game of Thrones).The TakeBlu-ray™ and DVD include exciting bonus content that take viewers on a journey behind-the-scenes and inside the making of the film.
Idris Elba stars as Sean Briar, a rogue CIA agent who isn’t afraid to step on a few toes to solve a case. While roaming the streets of Paris, a pickpocket (Richard Madden) swipes a bag containing a bomb and inadvertently ruins a bank heist attempt by corrupt French government officials. Now labeled as a terrorist threat and running for his life, the only person who can save him is Sean. This unlikely duo join forces to solve the case before they become victims in a devious plot of international conspiracy.
Now you can own the DVD of THE TAKE. We Are Movie Geeks has four copies to give away! All you have to do is leave a comment answering this question: What is your favorite movie that stars Idris Elba ? (mine is PROMETHEUS). It’s so easy!
Good Luck!
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No purchase necessary
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BONUS FEATURES ON BLU-RAY, DVD AND DIGITAL HD
MakingThe Take–Stars Idris Elba and Richard Madden discuss the characters and storyline at the center of The Take.
Cast:Idris Elba, Richard Madden, Charlotte Le Bon, Kelly Reilly, Jose Garcia Casting By:Michael Laguens, Julie Harkin CDG Directed By:James Watkins Written By:Andrew Baldwin, James Watkins Executive Producers:Michael Dreyer, Fabrice Gianfermi, Guy Stodel, Steve Golin, Oliver Courson, Ron Halpern, Dan MacRae Produced By:David Kanter, p.g.a., Bard Dorros, p.g.a., Philippe Rousselet , p.g.a. Co-Producer:Raphael Benoliel Director of Photography:Tim Maurice-Jones BSC Production Designer:Paul Kirby Edited By:Jon Harris Music By:Alex Heffes Costume Designer:Guy Speranza
“Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.”
Sometimes it’s wonderful to write film reviews. Some folks enjoy tearing a film to shreds. Me? I love praising first-rate films and SET FIRE TO THE STARS is definitely one of them: Based on events concerning the brilliant poet Dylan Thomas and his wild and revelatory misadventures while visiting America, I was easily enthralled and taken back to the nineteen fifties. However, as visually beautiful as the movie is, the film stays focused on two main characters: powerful acting.
Elijah Wood is John Malcolm Brinnin, an academic and poet who was instrumental in bringing the legendary poet to the United States. He is quite good, erasing, for the time being, his iconic performance as Frodo in The Lord of the Rings films.
Actor/co-screenwriter Celyn Jones, giving a portrayal of the poet that is obviously something special for him, gives a compelling, in-depth performance. Like many poets, writers and artists, Dylan is in love with the bottle. His is a tortured and romantic vision of the world, free of much of the academic drivel that many characters in the film float around in. For me, it was very entertaining watching Dylan shock the literati of New York.
The film really works when, in desperation, Brinnin, realizing that the situation is about to unravel, takes his hero to a hidden, boyhood cottage, ostensibly to keep Dylan from going on another insane bender, but also, I believe, to really have time to learn about his hero. What follows changes the young academics life and, I imagine broadens his life and a writer, poet and human.
There is also gorgeous jazz and folk music throughout the film, conveying the poetically human dimensions of the film.
As for this reviewer and writer, a dude that loves the written word and the art of poetry and fiction, this film, directed by Andy Goddard, cleverly conveys the era with honesty and truth. Andy Goddard will have a great future as a film director, I believe. Oh, and although, off hand, I haven’t seen the truthful acting of Celyn Jones before, there is no doubt: He can handle very difficult performances.
The real Dylan Thomas was not only brilliant, but also a bit of a Looney. While my friends in the Midwest would probably enjoy having some drinks with him, the poet could easily offend upper crust folks with more delicate sensibilities.
Visually, the black and white cinematography gives a magical sheen to the east coast, in particular the New York City skyline, but also interiors that often appear to be enhanced with a super real effect. As a person interested in visuals, this didn’t distract from the film. So, although it is first and foremost a character study of two great men, the film does have a rather cool and stylish look to it.
Subtle, simple, yet powerful, SET FIRE TO THE STARS is easily the best film I’ve seen this year: Passionate, Heartbreaking and true.
Opens June 12 in Select Theaters; in Los Angeles on June 19, 2015 at Laemmle’s NoHo 7
Opening in select U.S. theaters on June 12, watch the trailer for SET FIRE TO THE STARS.
The film premiered in 2014 at the Edinburgh International Film Festival and was released in the UK in November.
Shelagh Rowan-Legg (Twitchfilm.com) wrote the film, “is a tribute not only to a poet, but to poetry, and how cinema can find its own way to convey poetry, through its own lyricism,” and “the stand-out feature of the poetic extention is by far the incredible score by Gruff Rhys.”
Based on true events, Elijah Wood stars as John Malcolm Brinnin, the New York academic who brought Dylan Thomas to America.
Actor/co-writer Celyn Jones plays the volatile celebrity poet – tormented by anonymity, alcohol and the abyss – who scandalized the Manhattan literati of the Fifties and challenged Brinnin’s hero worship of his work. In the face of the Welsh poet’s wilder excesses in the Big Apple – angel, beast and madman – John has no choice but to hijack Dylan to a private retreat to get him ready for America. The days and nights that follow will change his life forever.
Part literary biopic and – shot in cut-glass black-and-white – part love-letter to the American B-movies of the Forties and Fifties, Andy Goddard’s (TV’s Doctor Who – 2008; Downton Abbey – 2011-12) debut feature is both a character driven chamber piece and a cautionary tale about the flytrap of meeting your heroes.
SET FIRE TO THE STARS opens Friday, June 12, 2015 in New York at The Village East with a national and Los Angeles release to follow on June 19 in major cities.
The film will be released nationwide on July 21 on DVD, VOD, Digital platforms and Itunes.
The cinematic treatment of the Catholic church, particularly the priesthood, has, more or less, reflected the changing attitudes of the general public along with many revelations that have dominated the news headlines in recent years. In the 1930’s and 40’s priests were a gentle, pleasant, understanding band of brothers frequently portrayed by actors like Pat O’Brien (who was quoted as saying he would take any film or TV role as a man of the cloth) and Bing Crosby (who won a Best Actor Oscar for GOING MY WAY, and then starred in its sequel THE BELLS OF ST. MARY’S). With the turbulent 60’s we were treated to films more critical of church politics like THE SHOES OF THE FISHERMAN. And in the next decade priest became heroes again in the wake of the box office smash THE EXORCIST and its many supernatural follow-ups and rip-offs. But soon movies showed us their fallibility as in THE RUNNER STUMBLES and the TV mini-series “The Thorn Birds”. The scandals of the last couple of decades have been explored with films such as PROOF. It is in this territory where we encounter the new release CALVARY. Though set on the Emerald Isle, this film addresses the barrage of accusations and lawsuits leveled at the church. But it’s also a thriller, a mystery, and, often, a gut-busting comedy. Talk about your Irish stew!
The first face we see is that of greying, burly,bearded father James (Brendon Gleeson) as he settles in to hear confession. The angry voice on the other side of the screen relates the ugly childhood story of being sexually assaulted by a priest. James is stunned, saying that this is quite an opener. He offers help to the confessor via counseling or the legal authorities. But the angry voice wants none of that, not even revenge against his molester. The confessor will have justice against the church and its followers by murdering James. Think of the flock’s reaction to a good, innocent, decent man being slain. Before leaving the voice states that he’ll carry out his mission a week from Sunday. James is shaken and tells this to the Bishop that oversees the parish. Fearful of lawsuits, he offers no helpful suggestions. The police inspector cannot help without knowing the confessor’s identity. Who is it? Is it one of the men involved with the wild, free-spirited Veronica Brennan (Orla O’Rourke)? Perhaps it’s her dim-witted cuckholed hubby Jack (Chris O’Dowd) or her lover, the surly, dark Ivorian Simon (Isaach De Bankole’), an auto mechanic who might be getting rough with her. Is it the snarky, soused, deeply unhappy estate owner Michael Fitzgerald (Dylan Moran)? Or perhaps it’s the elderly American writer (M. Emmet Walsh) who needs something more than the chocolates and whiskey that James brings to him. The writer wants a gun to take himself out before disease ravages him. Maybe it’s the coked-up atheist emergency room doctor, Frank Harte (Aidan Gillen). Or is it the motor-mouthed, tattooed gay hustler Leo (Owen Sharpe) who thinks himself a wise-cracking character right out of a 30’s gangster flick. Maybe it’s the twitchy virgin Milo (Killian Scott), or the bitter local pub owner? Or could it possibly be the priest that shares duties at the church, the up-tight Father Leary (David Wilmot)? This little seaside village has suspects to spare.
But James tries to go about his work. He gets a visit from his daughter (yes, he was married before joining the priesthood) Fiona (Kelly Reilly) who needs to heal emotionally and physically after another failed bid at romance. James also pays a call to the prison to talk with convicted serial killer Freddie Joyce (Brendon’s real-life son Domhnall), who desires a hanging. And James comforts a French widow Teresa (Marie-Josee Croze) at the hospital, who has just lost her husband in a horrible auto accident. But as he goes about his work, the clock keeps ticking and soon that dreaded Sunday arrives.
This film rises or falls on Gleeson’s big shoulders, and the veteran actor is more than up to the task. His Father James is indeed a good priest as his stalker readily admits. He’s actually a better man than his ungrateful, surly flock deserve (to quote a recent Sci Fi hit “What a bunch of A-holes!”). They constantly mock his faith and deride the church for its wealth and secrecy, but James takes it, turning that other cheek. But we see how it wears on him and we wish him to put “the haters” in their place. Gleeson shows us a bit of the pre-priest man as he must avoid “the drink” (perhaps this is what ended his family and sent him to the cloth). We also get to see a bit of his light side as he banters with a sneaky altar boy and later converses with a teen girl he encounters strolling on his walking path. A sweet moment until the girl’s father pulls up and pushes her into the car, as if saving her from a monster. A hateful moment as all the evil done by others condemns this gentle man. We see that gentleness during the quiet scene at the hospital chapel as he comforts a new widow. But he will tolerate no nonsense either with the rich investor or a convicted killer. Some of his dark side is finally revealed as the deadline approaches and his bottled-up rage is finally released. But we’re still hoping that all will turn out right for him. It’s the role of a lifetime for Gleeson, who deserves every award and accolades that should come his way.
This is not to say that Gleeson’s the whole show, he generously shares the film with a superb supporting cast. Leading the stand-outs is Reilly as the daughter James left behind. Her sassy facade tries to hide the hurt from losing her daddy so soon after her mother’s passing. This may be the reason for her poor chose of life partners, that’s made Fiona part of the walking wounded. In the ensemble are a few great comedic actors who get a chance to venture into the dramatic arena. O’Dowd is very funny as the bewildered butcher who’s not that upset about his wandering missus. Scott’s deadpan spin on the shy fella’ who really needs a gal is hysterical and endearing. And Moran is able to generate big laughs and sympathy as the bitter, angry banker. At the opposite end of the spectrum is the tense exchange between the two Gleesons. Domhnall makes us forget his nice guy screen persona as the twisted killer who will get no pass from the good Father. It’s a crackling good sequence.
Writer/director John Michael McDonagh (THE GUARD) keeps us guessing up to the end in classic “whodunit” (maybe “who’s-gonna’-do-it” would be more appropriate) style, only losing the momentum when James takes a unusal last-minute-trip (and neglects to remind us of each passing day). At least we get to revisit the French widow. The county Siglo locations are quiet breath-taking , especially that pivotal beach. As I stated earlier, this is very dark subject matter that ventures into brutal territory that’s not for the easily offended. CALVARY is an adult exploration of the role of the church in modern life with Gleeson and his acting troupe making it one of the year’s most compelling films.
4 Out of 5
CALVARY screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas
CALVARY’s Father James (Brendan Gleeson) is a good priest who is faced with troubling circumstances brought about by a mysterious member of his parish. Although he continues to comfort his own fragile daughter (Kelly Reilly) and to help members of his church with their various problems, he feels a foreboding sinister force closing in, and begins to wonder if he will have the courage to face his own personal Calvary.
From the director of THE GUARD, John Michael McDonagh, CALVARY opens in St. Louis August 15th.
WAMG invites you to enter to win passes to the advance screening of CALVARY on Tuesday, August 12th in the St. Louis area. We will contact the winners by email.
If you are a winner, you will need to head over to FoxSearchLightScreenings.com and register to receive your two passes.
Answer the following:
What profession did Brendan Gleeson leave in order to pursue a career in acting? What film role brought him to the attention of Hollywood?
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Fox Searchlight Pictures, Bord Scannán Na Héireann, The Irish Film Board And BFI present, in association with Lipsync Productions LLP, a Reprisal Films And Octagon Films production, CALVARY starring Brendan Gleeson, Chris O’Dowd, Kelly Reilly, Aidan Gillen, Dylan Moran, Isaach De Bankolé, M. Emmet Walsh, Marie-Josée Croze, Domhnall Gleeson, David Wilmot, Gary Lydon, Killian Scott, Orla O’Rourke, Owen Sharpe, David McSavage, Mícheál Óg Lane, Mark O’Halloran.
The film is written and directed by John Michael McDonagh (THE GUARD). Producers are Chris Clark (JOHNNY ENGLISH), Flora Fernandez Marengo (THE GUARD) and James Flynn (“The Borgias); executive producers are Robert Walak (SHAME) and Ronan Flynn (“Foyle’s War”); co-producers are Elizabeth Eves and Aaron Farrell with Patrick O’Donoghue as line producer.
The filmmaking team includes director of photography Larry Smith BSC (ONLY GOD FORGIVES); casting by Jina Jay (THE GRAND BUDAPEST HOTEL); production designer Mark Geraghty (“Vikings”); editor Chris Gill (THE BEST EXOTIC MARIGOLD HOTEL); costume designer Eimer Ní Mhaoldomhnaigh (ONDINE); composer Patrick Cassidy (LAYER CAKE) and music supervisor Liz Gallacher (ELYSIUM)
Brendan Gleeson (THE GUARD) and director John Michael McDonagh reteam in this brand new trailer for CALVARY.
Also featuring Chris O’Dowd and Kelly Reilly, the film screened previously at the Sundance Film Festival and Berlin International Film Festival.
CALVARY’s Father James (Brendan Gleeson) is a good priest who is faced with sinister and troubling circumstances brought about by a mysterious member of his parish.
Although he continues to comfort his own fragile daughter (Kelly Reilly) and reach out to help members of his church with their various scurrilous moral – and often comic – problems, he feels sinister and troubling forces closing in, and begins to wonder if he will have the courage to face his own personal Calvary.
In his review, Guy Lodge (HitFix) says Gleeson, “delivers McDonagh’s sculpted words — akin more to prose than dialogue in many scenes — with classical heft.”
Fox Searchlight Pictures will release CALVARY in select theaters on August 1.
When you die and go to heaven will you really see your late loved ones, sit on Jesus’ lap, and get serenaded by angels? That’s exactly how Colton Burp described his trip to the afterworld after an out-of-body experience when he was four years old. His father Todd, a pastor in Imperial Nebraska, shared his son’s experience in the family-friendly book HEAVEN IS FOR REAL which was a surprise best-seller on the Christian circuit and now here comes the film version. HEAVEN IS FOR REAL is as wholesome and square as it sounds. No profanity. No sex. No violence. That’s its hook. Unpretentious and plainspoken, it knows its target Christian audience well.
The plot of HEAVEN IS FOR REAL is disarmingly simple and there appears to be no question regarding the general circumstances themselves. The Burpos are a classic wholesome American family from the heartland, hardworking and faithful. Dad Todd (Greg Kinnear) is the town pastor, volunteer fireman, and has a garage door repair biz. He and his wife Sonja (Kelly Reilly) face a heartrending crisis when a burst appendix in their little son Colton (Connor Curom) nearly costs the lad his life. He pulls through and when recovered, begins to share memories of having gone to heaven during his surgery. Jesus comforted him there and introduced him to a sister his mom had miscarried and a great-grandfather he’d never met.
There are no real plot twists and not much more to the unchallenging story other than how Colton’s revelations affect Todd and the other residents of Imperial. HEAVEN IS FOR REAL has something of a Made-for-TV feel about it, unsurprising considering the subject matter and PG rating and feels padded even at just 100 minutes – we didn’t need to take two side trips to Denver’s Butterfly Pavilion to hold Rosie the Tarantula and the film spends way too much time detailing the Burpo’s financial problems (which I bet they don’t have any more!).
There have been more and more of these Christian films sneaking into theaters and making money from a large and receptive audience (OCTOBER BABY, GRACE UNPLUGGED, GOD’S NOT DEAD) and since they usually aren’t shown to critics in advance, I don’t see them. HEAVEN IS FOR REAL seems to be a more prestige Christian entry with a bigger budget, a couple of Oscar nominees in the cast, slick heartland lensing, and a lush score by Mick Glennie-Smith. HEAVEN IS FOR REAL is not a movie for skeptics. They’ll find it naïve and superficial and may be highly suspicious of Todd Burpo’s motives and personal gain. But all the critic eye-rolling and snarking likely to greet the film won’t matter to its target audience, the ones that made the book a hit, and they will leave the film with big smiles on their faces. Not just because it will reaffirm their faith but also because it has an emotional story with an adorable little boy at its center (who almost dies!) and some church singin’. It serves as a reminder of the great love of family and has a comforting message about what is important in our lives.
HEAVEN IS FOR REAL is anchored by a terrific, hardworking performance from Greg Kinnear who’s required to pull off a tricky role. Except for the Heaven sequences, Todd is almost always on screen – it’s really his story. He’s a bit of a saint and he’s given a lot of dialog and speeches but Kinnear brings a likeable bit of Jimmy Stewart to the part as he deals with his own George Bailey-like adversities. Kelly Reilly, a sexy actress I admired in FLIGHT, is good as Mrs. Burpo, though almost too smokin’ hot to pull off country plain. Thomas Hayden Church and Margo Martindale offer moral support in concerned supporting roles. HEAVEN IS FOR REAL is not a great movie but if you take it for what it is: a sweet story of the love of parents for their child and a look at the care of Christians for each other in times of crisis, you may admire it.
