Five New Films About Breast Cancer Premiere Oct 10 on Lifetime

Posted on October 4, 2011 at 3:55 pm

Every life has been touched by breast cancer.

  • About 1 in 8 women in the United States (12%) will develop invasive breast cancer over the course of her lifetime.
  • Although death rates have been decreasing since 1990 due to earlier diagnosis and more effective treatment, about 39,840 women in the U.S. were expected to die in 2010 from breast cancer.
  • Breast cancer is the second most commonly diagnosed cancer among U.S. women after skin cancer. Breast cancer is the second most common cause of cancer death after lung cancer.
  • More than 1 in 4 cancers in women (about 28%) are breast cancer.
  • In 2010, there were more than 2.5 million breast cancer survivors in the U.S.

The Lifetime Channel pays tribute to those who face the challenges of breast cancer treatment with “Five,” an anthology of five short films made by women, exploring the impact of breast cancer on people’s lives. “Five” highlights the shared experience each short film’s title character endures from the moment of diagnosis, through an interconnected story arc that uses humor and drama to focus on the effect breast cancer and its different stages of diagnosis have on relationships and the way women perceive themselves while searching for strength, comfort, medical breakthroughs and, ultimately, a cure.   The five directors are Jennifer Aniston, Alicia Keys, Demi Moore, Independent Spirit Award winner Patty Jenkins (“Monster”) and Penelope Spheeris (“Wayne’s World”).

The all-star ensemble cast includes Academy Award nominee Patricia Clarkson (“Pieces of April”), Rosario Dawson (“Sin City”), Lyndsy Fonseca (“How I Met Your Mother”), Ginnifer Goodwin (“Big Love”), Josh Holloway (“Lost”), Taylor Kinney (“The Vampire Diaries”), Jenifer Lewis (“The Princess and the Frog”), Jennifer Morrison (“House M.D.”), Kathy Najimy (“WALL-E”), Golden Globe Award winner Bob Newhart (“Horrible Bosses”), Annie Potts (“Law & Order: SVU”), Tracee Ellis Ross (“Girlfriends”), Emmy and Golden Globe winner Tony Shalhoub (“Monk”), and Emmy nominees Jeffrey Tambor (“Arrested Development”) and Jeanne Tripplehorn (“Big Love”).

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Television

Zookeeper

Posted on July 7, 2011 at 6:00 pm

D
Lowest Recommended Age: Middle School
MPAA Rating: Rated PG for some rude and suggestive humor and language
Profanity: Fake swearing ("frickin'") and some crude potty language
Alcohol/ Drugs: Social drinking
Violence/ Scariness: Comic peril and violence, reference to abuse of animals
Diversity Issues: Diverse characters
Date Released to Theaters: July 9, 2011
Date Released to DVD: October 11, 2011

This is a movie about how Kevin James can do so much better, but Kevin James can do so much better than this movie.  In the film, he tries to change his life to be worthy of a woman he thinks he loves.  In the audience, we want him to stop making movies about what a shlub he is.

James and a team including some of his “King of Queens” writers have produced a dull and oddly mean-spirited movie about a zookeeper who takes advice about dating (or, as the animals call it, “mating”) from the talking animals at his zoo.

The woman he likes is a fashion designer named Stephanie (the game and able Leslie Bibb), who dumps him in the first five minutes of the film after a proposal.  Still heartbroken five years later, Griffin (James) sees her again.  At first, he resists her indications of interest but then, just as he begins to respond, another old boyfriend enters the picture (Joe Rogan as Gale).  The animals decide to reveal their secret power of speech so they can give Griffin some guidance on how to get Stephanie back.  As you can imagine (and as perhaps you would rather not), the animals have their own ideas about how to attract the opposite gender.  Since, except for the bickering lions (voices of Sylvester Stallone and Cher!), none of them appear to have significant others of any species, their advice is of questionable value.  Nevertheless, this gives us an opportunity to see James walking like a bear and marking his territory like a wolf.  Thankfully, he does not follow the monkey’s direction about what to throw.

But there isn’t much more to be thankful for.  Adam Sandler (who provides the voice of the monkey) produced, which means it’s yet another slacker no-effort film, with another soundtrack filled with 80’s songs not to make any point or for any particular purpose but just because that’s the last time Sandler listened to the radio.  And despite its superficial endorsement of being yourself and doing what you love, that over-done message is eclipsed by a weird turn in the third act.   Griffin takes advice from the animals that seems to have been stolen from Mystery the Pickup Artist.  They tell him to keep Stephanie off-balance by alternating insults and affection to make her insecure — and it works, not just on her but on others as well.  There is a cliched race-t0-the-airport scene which makes no sense in an era of cell phones, but it does show us what and who is important to Griffin — until a pointless and distracting detour just so he can hit someone along the way that undermines that message as well.  Griffin does some things he is not proud of but makes no attempt to fix his mistakes.  The film seems to suggest that it is all right, even a sign of strength and confidence to hurt someone’s feelings.

The PG rating should not be a signal that this is a kids’ movie.  Children will not be very interested in Griffin’s romantic adventures or the night out on the town he gives to the zoo’s melancholy gorilla (“Send some fried zucchini to that table of secretaries,” he tells the waitress).  It’s downright smarmy, with the use of fake swear words like “frickin'” to keep the MPAA ratings board at bay.  Poor Ken Jeong for the second week in a row is stuck in a humiliatingly shrill, borderline racist caricature as a snake specialist and Donnie Wahlberg is wasted as an animal-abusing zoo staffer.

James is a talented and appealing performer and even this mess can’t hide the radiant beauty and class of Rosario Dawson as a warm-hearted zoo vet. There are a few nice moments when Dawson sails across a dance floor on acrobat’s streamers and a few it-could-have-been-worse moments when it turns out that Griffin is not the usual comedy movie incompetent. He has a nice relationship with his brother and is good at what he does.  But James and Dawson could be so much better doing something else.

(more…)

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Comedy Movies -- format Romance Talking animals

Seven Pounds

Posted on March 31, 2009 at 8:00 am

The way you feel about “Seven Pounds” will depend on the way you feel about the choice made by the main character at the end of the film. Some may consider it admirable and selfless but for me the choice, while understandable, is unforgivable. And that makes it impossible for me to recommend the film.

Will Smith stars as a man who has clearly faced some deep tragedy, and his sensitive portrayal of loss and regret is heart-wrenching. As the movie goes back and forth in time and place, we begin to piece together his past. He is an IRS investigator who at one time had another job, another home, another life. Now he has a desperation that all but consumes him, a fury for some sort of completion or expiation. He says he has the power to fundamentally change the circumstances of some people and we see the way he decides which ones deserve that help.

One of those people is Emily (Rosario Dawson), $56,000 behind on her payments to the IRS because of medical bills for a congenital heart weakness. As he gets to know her in order to decide whether to and how to help her, he finds himself drawn to her. Despite her illness, she has a life force that warms and centers him and he finds himself disconcerted at being helped as well as helping.

The movie is undeniably touching, skillfully and sincerely made. But its decision to portray behavior that is at best morally compromised as an idealized sacrifice is a poor choice as an ethical matter and as a narrative matter. The issue of how we can find redemption after causing great harm is an important subject and it deserves a more thoughtful exploration than this ultimately superficial film. SPOILER ALERT It is not the obviousness and phoniness and manipulation that bothers me as much as the clueless and even condescending immorality of it. No one thinks that suicide, even to benefit others, is a legitimately redemptive act, and it is contemptible and irresponsible of the movie to suggest otherwise.

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Drama Romance

Eagle Eye

Posted on December 23, 2008 at 8:02 am

A promising premise, some intense action, and a lively appearance by Billy Bob Thornton might have been enough to squeak this one by as a summer movie but when the days grow shorter and the wind blows chill we ask for a little more in our movies and this one does not make it.

The always-appealing Shia LaBeouf plays Jerry Shaw, whose job as a “copy associate” requires him to greet customers, “Welcome to Copy Cabana; how can I help you?” He is behind on his rent and gets an “insufficient funds” notice when he visits the ATM. After his brother’s funeral, he suddenly has three-quarters of a million dollars and an apartment full of weapons. And then he gets a cell phone call telling him that the FBI will arrive in 30 seconds to arrest him and he needs to run. He stays put, the FBI arrives, and he finds himself being interrogated by Agent Tom Morgan (Thornton). He gets another call with instructions to escape and this time, there is no alternative. Meanwhile, Rachel, a young single mother (Michele Monaghan) who has just put her little boy on a train trip to Washington with his school band, gets a call with instructions, too, threatening to kill her son unless she goes along. They meet (“Who are you and why are people shooting at us?”).

Pretty soon, they’re on the road together, doing that bickering/personal revelation/impressing each other/building trust dance amidst chases, explosions, and shoot-outs, with Agent Morgan and an investigator from the Air Force (Rosario Dawson) on the trail.

I’m always up for a good paranoid thriller, and these days the incursions on privacy from both increased technological capability and Patriot Act-era transparency provide some plausible and nicely creepy possibilities to explore. What if someone could track all of our conversations, even when our phones were off and process all of the data stored about us, our families, and our friends, at work, at the bank, at the insurance company, in the IRS files. It turns the enemy into something between Hannibal Lecter, the Borg, and the Terminator, with resistance futile in the face of such an implacable and all-knowing foe.

So far, so good. There are some inventively staged moments, especially one that looks like a live-action variation of the climax from “Monsters Inc” with a chase scene in an airport cargo conveyor system. Thornton brings some twisty humor (and, given the variation in quality, his skill as a writer to his own dialogue) to the story. But the thinness of the premise and the even greater thinness of the characterizations kick in and it all begins to fall apart. I can’t really explain how dumb the resolution is without spoilers, so I am invoking the legendary “Gothika Rule” and will give away the surprise ending to anyone who sends me an email at moviemom@moviemom.com. Let me just say that it doesn’t take an eagle eye to figure it all out.

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“Gothika Rule” Action/Adventure
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