Mom Makes "Room" Home (no spoiler review)

Room – the only home that five-year-old Jack (Jacob Tremblay) has ever known. We see it from Jack’s eyes as he introduces us to everything in the 10X10 box: bed, chair 1, chair 2, toilet, bath…wardrobe. Room and mom (Brie Larson) are this little dude’s whole world.

As a mother myself, I see more. I see a mother who is doing her best to give her boy a happy, healthy life.  She encourages his creativity with songs, drawings, and homemade toys. She gives him her undivided attention. Their daily ritual includes brushing their teeth (she counts to make sure it is long enough), exercising (she makes a game of “running track” across the little room), cooking, and cleaning together.  

Though there doesn’t appear to be anyone they have to account to, mom has set down certain rules: rules on how much TV is allowed (she explains that she was turning into a TV watching zombie before Jack came to rescue her), and rules for bed time.  Important rules.  We soon find that the bedtime rules are vital for Jack’s protection. Jack must be quietly asleep in wardrobe when mom’s unwelcome visitor arrives. Through the crack in the door, we get glimpses of that visitor through Jack’s curious eyes.  Some nights Jack falls asleep counting the squeaks in the bed. His breathing in the wardrobe seems thunderous. The tension is palpable.

But as Jack grows more curious and protective of his mother, it becomes clear that they are in peril. Mom concocts a dangerous plan to get them out of room. (I have excluded the usual link to the trailer to retain the suspense – though I felt considerable tension even on my second viewing.)

What really struck me is how real it feels. The room seems lived in. We get an intimate look at their lives. Jack isn’t the usual precocious Disney child.  Writer Emma Donoghue is obviously someone who understands kids and mothers. The boy goes from rambunctious play to a defiant tantrum.  He has meltdowns like a real kid. We see the effect of the night visits on his mother as she withdraws into herself and snaps at the boy when he gets on her last nerve. But she forces herself out of her depression when her child needs her to be attentive.

The acting is outstanding, heart-wrenchingly genuine. In an interview, the award winning actress Brie Larson spoke about her process. After in-depth research with abduction survival therapists, she isolated herself from any human communication and subsisted on a meager diet for six months. She shared how she became depressed, but then had a breakthrough moment when she recalled a childhood memory of living in a one room studio with her mom and sister. The girls only had two toys each, but it was the best time of her life because their creative mom made everything a game and gave them undivided attention. She brought that experience to the role.  Watching “Room” brought back my own memories of my mom encouraging my creativity with arts and crafts when I was four. It didn't matter how little money we had, we were always encouraged to follow our creative pursuits. That love of creativity got me through some hard, lonely years. Needless to say, I cried. Grateful to my mom for being present. Sad for all the families today that don't have the time or money to build that kind of foundation.

One of the reasons Abrahamson chose Brie Larson was because of her warmth. He knew that she could bond with 7 year old Jacob.  The authenticity of their connection makes the suspense all the more devastating.

 Emma Donoghue

“Room” is a highly moving, thrilling adaptation of the novel by Emma Donoghue. Director Lenny Abrahamson stayed true to the source (as promised) by working closely with Donoghue on the script. What is truly admirable (and what makes it a must-see Reel Inspiration film) is how Donoghue and Abrahamson succeed in making the victims heroes, while not glorifying their captor. “Room” was a collaborative effort with the director, writer, cast, and crew all working for a common vision – to make a life affirming story showing the importance and resilience of the mother-son bond.  

Movie blessings!

Jana Segal 

www.reelinspiration.blogspot.com


Oscar news: "Room" was nominated for Best Picture, Best Director Lenny Abrahamson, Best Adaptation Emma Donoghue, and Best Actress Brie Larson.

You Can’t Get Rid of the Babadook

In the opening scenes, “The Babadook,” appears to be another child possession thriller with the primary question being whether the child is troubled (a bad seed) or whether supernatural forces are at work. Writer/Director Jennifer Kent masterfully creates a chillingly claustrophobic home atmosphere capable of attracting the family's greatest fear, The Babadook.

While grieving the death of her husband, Amelia (Essie Davis in an Oscar worthy performance) struggles to raise a son with behavioral issues. Since the tragedy, her son Samuel’s (Noah Wiseman) childhood fears have intensified. Checking for monsters under the bed and in the closet has become a nightly ritual. The situation gets worse when a children’s Gothic picture book called, “Mister Babadook,” pops up. Assuming that it is a story about coping with the childhood fear of monsters under the bed, Amelia begins reading it to Samuel. The director takes this familiar domestic scene and infuses it with a sense of dread. It soon becomes evident that there is no happy ending in this bed-time tale. The storybook child doesn't make friends with the monster, but understands that it is here to stay. “If it’s in a word or it's in a look, you can’t get rid of the Babadook.”

The book unleashes an evil being that only Samuel can see. “I’ll kill the monster when it comes,” he tells his mom, “I’ll smash its head in.” He constructs a crude trebuchet to protect them. As his behavior becomes more erratic and violent, mother and son become isolated from family, friends or any kind of support system. Tired to the bones, Amelia grows seriously depressed, trapped in this impossible situation with a strange child she doesn't understand. The movie breaks an industry taboo by showing the darker side of motherhood – the idea of a mother resenting or disliking her child.

This is particularly unsettling for the mothers in the audience who have been deprived of sleep by a sick or colicky baby. As mothers, we are suppose to put on a brave face for our children. But when you are depressed, you are not thinking rationally. You are barely able to hold it all together. There are times when you are so utterly exhausted that you don’t feel anything, much less love for your screaming, demanding infant. You feel shame because mothers are always supposed to be strong for their children, lovingly sacrificing their own needs to protect them. What makes this horror story groundbreaking is that we get a rare glimpse into the mind of the female protagonist as she is caught in this downward spiral of grief and depression. The tension builds as Amelia, trapped by motherly duty, is pushed beyond her limits, becomes angry and completely loses it. The realization that it can happen to us, makes it all the more harrowing. 

Writer/Director Jennifer Kent

Writer/Director Jennifer Kent shared her objective in making a horror film. “I think where horror excels is when it becomes emotional and visceral. It was never about, ‘Oh I wanna scare people.’ Not at all. I wanted to talk about the need to face the darkness in ourselves and in our lives. That was the core idea for me, to take a woman who’d really run away from a terrible situation for many years and have to face it. The horror is really just a byproduct.”

I was blown away by this film. I left the movie theater still trying to process it. I asked a horror fan in the lobby what he thought of it. He said it wasn't really his kind of horror. I wondered why. Certainly, there weren't the blood and guts of a slasher flick, but there were plenty of jumps and starts. And I felt a lingering sense of dread throughout. He said he preferred things more black and white. Good vs. evil. That was one of the things I liked about it – that it wasn't that simple. It required reflection on the part of the audience. Even the monster’s origin wasn't painted out for us. The horror comes from the tragic situation – how their grief unhinged the little family as they became increasingly isolated.

Kent forgoes shocking violence in lieu of artistry and delving deeper into authentic emotions. She pushes boundaries by showing us the inner world of a female protagonist and cracking open a societal taboo by shining a flashlight on the dark side of motherhood.  She explores the themes of loneliness and isolation and shares how to cope with that isolation by facing our dark side together.

Movie blessings!

Jana Segal 

www.reelinspiration.blogspot.com 

Look out for my review: "A Girl Walks Home Alone at Night," by Ana Lily Amirpour.

Why do I do what I do?

You could say that I started attending AIVF (Association of Independent Video and Filmmakers, now IFA) with the goal of finding an indie filmmaker to produce my screenplay. But what I found were indie filmmakers anxious to produce their own scripts, so I helped develop them.  Meanwhile, I saw a need for more advanced training for Tucson Filmmakers, so I organized workshops. I got caught up in helping our film community grow.

Now here’s the part that drives people crazy… It wasn't about the money. In order to provide workshops that were affordable enough for Tucson filmmakers, I couldn't pay myself. Did all this “networking” lead to paid jobs? No. I spent hours, then years, promoting films with my reviews, organizing film contests and networking events. I didn't make any money, but it was rewarding.

In this capitalistic society it seems the only thing people value anymore is the pursuit of money. I know how blessed I was to be a stay at home mom while developing my art. But it is really heartbreaking when your own children are disappointed in you because you’re not more “successful” by society’s standards. They don’t seem to  value my role as a mother. One question I hear a lot is, why aren't there more successful women filmmakers?  I can’t speak for anyone else, but for me some things are more important than money:  living a full, balanced life, raising creative children, building a film community, empowering filmmakers to make meaningful films, and writing (and sometimes directing) my love projects.

How come I never succeeded in getting my screenplays produced? Perhaps, between being a mom and pursuing my other passions, I didn't have the single-minded ambition needed to sell my script. Or perhaps it was because I wasn't willing to write something more commercial. All the stories I chose to write were love projects.  I never could wrap my mind around writing high concept movies for money.

One of my first love projects was, “Walking with Grace,” about a sweet elderly couple I had taken care of while attending grad school. When Grace’s husband couldn't deal with her mind deteriorating from Alzheimers, I moved in full-time to allow them to spend their last days together in their home. This story was very dear to my heart.

I spent an embarrassingly long time working on it. One reason was that people thought my story was depressing.  I workshopped it at the Frederick Douglas Creative Writing Center in New York City; writing draft after draft, trying to make it more upbeat. But what it came down to was that people couldn't understand why a young woman would sacrifice her life to take care of “strangers.” What was so hard to understand? I loved them!  I finally did a major rewrite changing my character into their granddaughter.

And I did shop it around. For years. I researched possible actors and production companies.  I pitched it at screenwriting conferences. I made phone calls.  I sent off query letters. Even got a hand-written letter from Hume Cronyn explaining how the story was too depressing because it hit so close to home. People suggested that I put it away and work on something more commercial. They said that once I had a big hit, I could parley that into the power to get my love project done.  I pitched it to the perfect producer - the producer of the family drama “Christy.” He made a special effort to encourage me. He said that it was good writing, but that no one would do a film about old people. (I still cringe at my lack of determination as I watch numerous Alzheimer movies flash across the screen: “Away From Her,” “Savages,” “Amour,” my favorite, “The Notebook," and the recent, “Still Alice.” It’s practically become a genre!)

At least I had the rare opportunity to see my screenplay performed as part of the staged-reading series at DamesRocket Theater. I watched, in the sold-out theater, as professional actors gave full-out emotional performances. A 50 year-old man was moved to tears because it reminded him of his father. That experience was so satisfying that I was finally able to put the script away and start concentrating on something new. Someone suggested that I might have a better chance selling the script if I adapted it into a novel (they were onto something there), but artistically it was time to move on.

I critiqued my mom’s (Lorna Kerin Beall) historical fiction book, “Model-T Biscuits,” and helped her draft a cover letter to market it. I even pitched it at local writers’ conferences when she couldn't afford to attend. Eventually, I was inspired to adapt this cherished family story to the screen. It was really a love project working with my mother and staying true to her vision. I think people could feel the love as they read it. We ended up winning first place at the Santa Clarita Family Film Festival and the Moondance Film Festival.

My mom, Lorna Beall, and me

 When Julianne Moore won an Oscar for her portrayal of an Alzheimers patient in, “Still Alice,” my boys asked why don't I sell, “Walking with Grace.” I just shook my head and smiled. I think Best Foreign Film winner, “Amour,” and, “Still Alice,” have it covered. But in this day when paying for defense is favored over healthcare or housing, when big business trumps the environment, we need more movies with themes of giving and responsibility. Maybe there’s hope for “Grace,” yet.

So I continue to write my love projects and encourage others to do the same.  Because, like the Dali Lama said, “The planet does not need more ‘successful people.’ The planet desperately needs more peacemakers, healers, restorers, storytellers and lovers of all kinds.”

Go ahead. Ask me why I do it.

One word...Love.

Celebrate "Women in Film" at TUCSON LUNAFEST!

TUCSON LUNAFEST 2015


TUESDAY, MARCH 10 AT 7:00PM at the LOFT | ADMISSION: $10 • STUDENTS: $5

To purchase tickets in advance call WOSAC at (520) 621-5656. Advance tickets are not available at The Loft Cinema. Presented by WOSAC and The University of Arizona Department of Gender and Women’s Studies. Featuring an exciting raffle for fabulous prizes, including jewelry, gift certificates to fine dining and services, and the traditional, handmade, annual Lunafest quilt! Raffle tickets are $5 each or 3 for $10.

Proceeds from Tucson Lunafest 2015 admissions and raffle ticket sales will benefit WOSAC (The Women’s Studies Advisory Council) and the Breast Cancer Fund.

Get ready for an entertaining and enlightening evening of short films made by, for and about women. This annual nationally-touring film festival brings the best short films from around the world together for one special night of cinematic excitement! This year’s program of EIGHT brand-new films will compel discussion, make you laugh, tug at your heartstrings and motivate you to make a difference in your community. Incredibly diverse in style and content, Lunafest is united by a common thread of exceptional and inspiring storytelling – by, for and about women.

This year’s films at LUNA FEST:

A Good Match
Ann and Alex have split up, but does that mean it’s over with Alex’s mom, too? Ann wants to give the relationship another try.

Flor de Toloache
A group of women daringly challenge gender social norms as an all-female mariachi band.

Miss Todd
In 1910 New York, Miss Todd works to understand the principles of flight, but she has more than gravity holding her down.

Tryouts
Being a teenager isn’t easy, especially for Nayla, a Muslim American girl who wants to join her new high school’s cheerleading squad.

Chicas Day
Today is a girls’ day out, everything is allowed. But don’t forget that this is just a game …

Lady Parts
In an industry dominated by men, Lady Parts Automotive brings a woman’s touch.

Tits
A story about feminine exploration.

Viva
A documentary portrait of Cornwall’s grandmother of punk, or, how to be a rebel at 82.

"Philomena"

Last Year's Best Picture nominee, "Philomena," is based on the nonfiction book, "The Lost Child of Philomena Lee," by journalist Martin Sixsmith. For 50 years, “Philomena,” (Judi Dench) longed for the son who was taken from her by the nuns entrusted with their keeping. Ashamed of being an unwed mother, she kept that secret all those years. She sets off on a journey to find her son with political reporter, Martin Sixsmith (Steve Coogan). Martin isn't thrilled about doing a human interest story, but he needs the job.

As an ex-Roman Catholic, Martin voices an issue many can relate to – how the church shames people for having sex. “Why would God bestow on us a sexual desire that he then wants us to resist?” He can’t understand why Philomena would protect the very nuns who shamed the unwed mothers into indentured servitude and then sold off their babies. But Philomena’s faith is not limited to a flawed institution; it is built on God’s forgiveness.

Director Stephen Frears takes us on an “odd couple” road trip, steering clear of sappy MOW (Movie of the Week) pitfalls. Comic moments are accentuated by exaggerating their differences: Philomena’s small town naivety in contrast to Martin’s world-weary cynicism. Much of the humor comes from Philomena taking everything Martin says literally. When he politely asks her how she is, she goes on …and on…about her hip replacement. She is portrayed as a sort of "everymom." In the end, she doesn't want the story published because she is ashamed. While Martin finally understands the importance of sharing this “everymom” story - to help other mothers whose children were given up for adoption.

Movie blessings!

Jana Segal

www.reelinspiration.blogspot.com

"Extremely Loud and Incredibly Close"

What you might not know about me is that despite a fairly embarrassing learning disability (I was the one kid in my school who was in both special education and the gifted program), I actually have a very active problem solving mind. I loved unraveling the enigma that was the "Tree of Life" for my review on reelinspiration.blogspot.com. I loved every minute spent solving the puzzle of what really happened behind the gunfight at the OK Corral for my Tombstone comedy. So it's no wonder I greatly enjoyed, "Extremely Loud and Incredibly Close." It basically takes the audience on a problem solving reconnaissance mission. To be honest, I relate to it in other ways as well.

According to his dad (adorably played by Tom Hanks), the way Oskar sees the world is a gift. Oskar's (Thomas Horn) overly active mind continuously scrutinizes the connections he observes in order to make sense of the physical world. Things he can't observe – like people's feelings (including his own) - are elusive and frightening to him. For a boy in need of concrete answers, even the inconclusive results of his Asperger Syndrome test are unsettling.

His dad's gift was to find creative ways to challenge his son. Their favorite games were reconnaissance missions. One such mission was to search the five boroughs of New York for something from every decade. In the process, Oskar spoke to people from all walks of life. The purpose being to overcome his fear of interacting with people. True to form, Oskar comes up with a concrete answer to the riddle – a rock.

When his father is killed in the 9/11 tragedy, Oskar is ill equipped to make sense of the senseless act. His mother (Sandra Bullock) buries an empty coffin in an awkward attempt to make his father's death more real for him and Oskar is outraged at yet another senseless act. Searching for some part of his father to hold onto, Oskar digs through his father's closet and discovers a key inside an envelope with the word BLACK written on it and a newspaper clipping indicating that he should keep looking. Did his father leave him one last message locked away somewhere in the city that only this key can open? The audience is invited along on one last reconnaissance mission. We observe as Oskar constructs an elaborate filing system to chart all the people in the city named Black and set off with him in search of the answer.

Oskar becomes obsessed with this mission because it is the only way he can feel connected to his father. As Oskar compulsively traverses the five boroughs in search of the lock, he inadvertently learns the lessons his father set out to teach him. He makes connections with other New Yorkers with their own stories of heartache from 9/11. The quest gives him a concrete objective enabling him to deal with unmanageable feelings of guilt, fear, grief, and redemption. He faces physical manifestations of his fears – such as crossing a bridge - that he can overcome. The quest gives him a concrete method to deal with a tragedy that makes no sense.

Thomas Horn does a fine job creating a sympathetic character with some very unsympathetic Aspberger traits. The young actor handles both the intensity and humor effortlessly. But not all the credit goes to the actor. For the benefit of the writers out there, I'll share a writing device that the was successfully used by screenwriter Eric Roth. Considerable time was spent setting up the father's love of the boy and his gifts - so we are already rooting for Oskar well before we witness his negative traits (being rude to the door man and the intense meltdowns).

One of my readers suggested that I include more of my opinions on the films. There was one thing that bothered me a bit. The movie went on well beyond the point where I felt there could have been a satisfying ending – presenting several resolutions. But that was the result of the multi-layered story. That's a price I'm willing to pay for a story with some depth.

I believe one reason we go to the movies is to find meaning in the senseless events of our lives. Perhaps there is no way to come to a solid understanding of the senseless act that was 9/11. But "Extremely Loud and Incredibly Close," offers hope that we can find some comfort in our shared experience and our connections with others.

Movie blessings!
Jana Segal
www.reelinspiration.blogspot.com

"The Tree"

Despite their shared theme of dealing with loss, "The Tree," is a very different movie than the hard to watch, impressionistic, "The Tree of Life." I found Director Julie Bertucelli's poetic sensitivity more heartfelt and accessible.

Eight-year-old Simone is enjoying a joy ride standing up in the back of her father's pick up when it goes off track and rolls into the sprawling, twisted tree shading their house. She finds her father dead inside the cab.

The family's world is turned up side down – not only by of the loss of their father, but also by the loss of their mother (Charlotte Gainsbourg) when she retreats into a deep depression. The oldest son tries to keep things together, but it is more than he can handle with his own grief and anger.

SPOILER AHEAD

Unable to accept that her father is gone, Simone begins to hear her father's voice in the tree. To be near him, she climbs high into the branches. This frightens her mother out of her isolation. The girl sets up a bedroom cradled in the tree branches to spend more time with her father. At first her mother is worried, but then she does something startling – she listens to the tree and hears his voice too. She finds comfort in the idea that her husband is there. The next morning, the children discover their mother curled up in the roots of the tree.

Director Julie Bertucelli

The family experiences a rare moment of joy when funny yellow frogs emerge from the toilet drain. The roots of the tree have blocked the pipes and it is almost like their fun loving father is trying to say it's time to lighten things up, there is still joy in life. The little girl seems to have learned that lesson. When her friend asks her why she isn't sad anymore, she replies, “You have a choice to be happy or sad. I choose to be happy and I am happy.”

The root incident motivates the mother to finally go out into the world to find a plumber. She manages to get a job with the plumber (and possible new beau) George (Marton Csokas.) That night a huge branch breaks through the window into her room. Unfazed, she crawls into her bed with the fallen branch and wraps its limbs protectively around her.

When her plumber boyfriend comes to survey the damage, he is shocked by the degree of damage that she has been living with. “You didn't tell me it was so bad.” But he is even more shocked by her reply, “I don't think it was trying to hurt me.” It becomes evident that she is overwhelmed with adult responsibilities when she says, “I know I need to do something, but I don't know where to start.” She leaves it to her new boyfriend to handle. But when George arranges for a tree service to remove the tree, she sends the workers and George away. Her attachment to that tree threatens to destroy the very foundation of their home. Mom must grow up and find the strength within herself to protect her family.

"The Tree," is captivating in its beauty, compelling in its action sequences and poetic in its symbolism. It has a valuable theme on the importance of pulling together as a family to survive loss.

Movie blessings!
Jana Segal
www.reelinspiration.blogspot.com

"The Help"

In the prelude, Abileen stoically tells an unseen interviewer that her grandmother was a house slave and her mother was a house maid. She, herself, has raised 17 white children. A naive voice asks if she ever thought of being something else. Her answer is the blank stare of resignation passed on from generations of subservience.

The movie proper starts with recent college grad Skitter (a wide eyed Emma Stone) being interviewed for her first newspaper job. Skitter is hired to write a housekeeping and cooking column – a subject she knows nothing about. No matter. While at a bridge club meeting, she asks her friend permission to interview her maid. Ironically, the maid, Abileen, is the only one she knows who keeps house. It becomes clear that her friend sees Abigail as her property when she catches Skitter affirming Abileen's contribution to the household. She tells Skitter that Abileen will be unable to continue working on the project.

Upset by her friend's mistreatment of Abileen and the unexplained absence of the beloved maid who raised her, Skitter is inspired to write a book on the maids' perspective of working for a white family. Her editor warns that she will never be able to get any maids willing to risk their jobs or their lives to talk to her. It is dangerous. It is 1960, the dawn of the civil rights movement. Jim Crow laws make it illegal to even print civil rights material. Tensions mount as a black activist is killed. The fear is palpable as black passengers are thrown off the bus near the murder sight and Abileen flees for her life past race riots.

This movie is about the shared delusion that blacks and whites in the South were separate. In 1960s Jaskson, Mississippi, Jim Crow laws and bridge club etiquette rule their lives. The laws were designed to separate the whites from the blacks, but black women had always worked very close to white families - preparing their food, cleaning their bathrooms, and changing their babies' diapers. For generations, the black “maids” raised the white children. Skitter explains to her publisher, “We are raised by our black maids. They love us and we love them, but they can't use the same bathroom.”

The setting is the domestic world of kitchens, nurseries and bathrooms which gives ample opportunities for kitchen (and bathroom) humor. On the whole, writer/director Tate Taylar does a good job balancing comedy and drama. The 146 minutes flies by with some laughs, tears, and dramatic tension. But sometimes the comedy goes a bit over the top. Hilly starts a petition initiating a law to have separate bathrooms for the help - even though her feisty maid, Minny, is the envy of the bridge club for her great cooking. This gives new meaning to the phrase, “Don't crap where you eat.”

There are multiple storylines. Care is given in showing the intertwining lives of the blacks and the whites. The writer seems to be saying both races are enslaved by the cultural restrictions of the time. Even Skitter's mother couldn't stand up to the bigots in her social club. She admits to Skitter, "Sometimes courage skips a generation." But it's the performances of Viola Davis as Abileen and Oscar winner Octavia Spencer as Minny that holds it all together. Davis adds gravity to every scene she is in. In Abileen's carriage we see the weight of generations of suppression as well as the personal risk she is taking with her involvement in the taboo book. Minny is different. After working for segregationist bridge club president Hilly, Minny has had enough. She is a fire cracker ready to explode. These women are survivors. But they have risen above that. They have stood up to their fears. They are heroes in their own civil rights protest and free women. I can't say so much for Hilly and her bridge club.

Movie blessings!
Jana Segal
www.reelinspiration.blogspot.com

Official site: http://thehelpmovie.com/us/

"The Tree of Life"

“Where were you when I laid the earth's foundation... while the morning stars sang together and all the sons of God shouted for joy?”

A beam of light unfurls.

THE TREE OF LIFE is a reflection on the meaning of life. What is the filmmaker trying to say? That is highly subjective. Aside from an opening narration that cues us in on the theme, the director leaves it to the audience to form our own conscious or subconscious impressions on the images he presents. Each audience member brings their own experiences which informs the meaning for them.

This is a challenging film because of the nonlinear structure that shifts between time and space, three different character's points of view, and nature photography. After the screening, I overheard someone respond, “What the Hell was that?” This review is for the “What the Hell was that?” crowd or anyone else who could benefit from cliff notes in order to enjoy this surreal film. I don't pretend to understand it all. This is just my interpretation drawn from my own memories and recounting similar images from science programs.

The filmmaker uses this opening narration to give us a handle on how to understand the nature images and memories to follow. The mother meditates, "There are two ways through life – the way of nature and the way of grace. We have to choose the way we will follow.” Basically, nature is competitive and only cares for itself while grace relies on a sense of oneness with all of existence.

Soon after the opening images and narration, we witness the family getting the news that one of their three sons has died. The Father, Mother and their oldest son try to make sense of the loss. This brings on a lot of soul searching about how the children were raised and inspires prayers requesting understanding of the meaning of life, suffering, and death.

This may be a good point to see the movie yourself to create your own impressions.

139 minutes later. Now, for my take on it....

The Mother's narration suggests that there are two ways of experiencing life – one through nature and the other through grace.

The Mother represents the “way of grace”- our connection with all things, unconditional love, empathy, and freedom of spirit. Scenes of the Mother and her children playing and exploring the wonders of nature are interwoven with footage of nature showing that they are interconnected. The Mother teaches them to see the world through the eyes of the soul.

The Father represents “the way of nature” that is competitive and only out for it's own survival. The father tries to toughen up his sons by teaching them to fight. He demands that they hit him harder, “Hit me! Hit me!” and finally knocks the older boy to the ground. He lectures that you can't be too good if you want to get ahead. “It takes fierce will to get ahead in this world.” But the Father forces his children to bend to his will by enforcing overly strict rules. “The way of nature” is also represented in the animal world by a scene where one dinosaur happens onto a wounded dinosaur. He demonstrates his dominance by holding down the weaker animal's head before walking away.

But the father's competitive nature isn't working. He is unsuccessful in his life. He never misses a day of work, yet he is laid off from his job. He never even pursued his dream of being a musician. He has lost the connection with his sons. They are so suppressed that when the Father goes on a trip, the family celebrates by running free and purposely breaking all his rules.

The older son struggles to find his place in the world. “Father, Mother, always you wrestle inside of me. Always you will.” As the architect of his life, he designs skyscraper buildings with steel walls separating him from nature and relationships. It is only when he sees a tree being planted outside the building that he remembers the tree that his parents once planted for him.

I believe the true message of the film is that “the way of grace” and “the way of nature” are connected through unconditional love. At one time the family was very close - embraced by both the Mother and the Father. The Father and the Mother loved their young children unconditionally. It was only when the Father tried to impose his competitive will that the family fell apart.

The film interweaves happy memories of the birth of the children, the family's early years, and exploring the wonder of nature with spectacular images that show the formation of the universe such as planets, the big boom, volcanic activity, and the beginnings of life under the ocean. In all this grandeur we sense the presence of God. If we just let go, it's almost as if our consciousness is connected with the beginning of time.

The branches of that tree now reach up to the sky – as if nature is reaching to touch God.

Movie Blessings!
Jana Segal
www.reelinspiration.blogspot.com

Movie trailer:
http://www.youtube.com/watch?v=WXRYA1dxP_0

"Cyrus" and "Winter's Bone" The Ties that Bind

"Winter's Bone" and "Cyrus" are two very different films about the bonds of family.

Director Debra Granik 

In "Winter's Bone,"17 year-old Ree Dolly (Oscar nominated Jennifer Lawrence) is bound by family responsibility. When her daddy goes missing, Ree must take care of her siblings and her mentally ill mother. She has an innate gift for parenting. She teaches the youngins' how to survive in a way they can understand and they show her due respect. But she soon finds that she is way over her head when the sheriff comes by to inform them that they are about to lose their house and farm because Pa put it up for his bail bond, then disappeared. Danger mounts as she is forced to defy her deadly clan's code of silence to find her Pa and bring him home. In authentic "slice of life" style, the filmmaker (Debra Granik) gives us a rare glimpse of the gritty mountain people, customs, and code of conduct of the Ozarks. You can just feel the sticks cracking under Ree's feet as she traverses the backwoods country and tastes the squirrel meat. "Winter's Bone" is about family ties that bind and gag; and finding the strength to survive in the hardest times.

"Cyrus," explores the bond between a mother and son and how much bonding is healthy. John's ex-wife (Catherine Keener) tells him she's getting married then proceeds to invite him to a party to meet other women. John (John Reilly) gets totally sloshed at the party, yet miraculously manages to pick up the most understanding woman, Molly, (the vivacious Marisa Tomei) with his clumsy attempt at honesty. John can't help but be drawn to Molly's kind heart. The relationship gets off to a great start. Then John meets Molly's 21 year-old, home-schooled, new age musician son, Cyrus (Jonas Hill). Suffice it to say that it is a very close family. Single mom Molly is so protective of her boy that she can't see the battle he is waging with John over her affections. "Cryus," has a different tone than most comedies. It is quirky and original, yet it somehow feels real. "Cyrus," is about the ties that blind, eh, bind between mother and son; and whether a mere man should get between them. Can love win out in the end?

It is more than the theme that binds this thriller and comedy. They also share truly original, honest writing and great performances. These are two of the best films I've seen for a while.

Movie blessings!
Jana Segal
www.reelinspiration.blogspot.com

"Mother and Child"

"Mother and Child" is a drama about three women connected by their roles in an adoption. Adoption has had a deep impact on each of their lives.

Karen (Annette Bening) is a bitter, fifty-year-old, health care professional who takes care of her distant, defeatist mother. Karen has never gotten over the loss of the baby girl that her mother forced her give up when she was a teen. She writes letters to the daughter she never knew. She is jealous of any attention her mother gives their housekeeper and her little girl. The girl is a painful reminder of what she has lost. Karen's heart has been closed off for so long that she doesn't know how to respond to the attention from the new physical therapist (Jimmy Smits) at work. Her mother encourages her to be careful so she doesn't "fall" again.



Elizabeth (Naomi Watts) was adopted by an uncaring couple. Shrouded in protective armor, she has grown up to be a cold, steely lawyer in complete control of her life. When she is hired at a new firm, she uses sex to control her bewildered, delighted boss and keep him at safe distance.

Lucy, (Kerry Washington) a successful baker and loving wife, has failed to conceive with her husband. She is bound and determined to adopt a baby - even if that includes anxiously jumping through the hoops created by the baby's birth mother (Shareeka Epps) or raising a child on her own.

This film shows the filial longing and feeling of loss caused by breaking the natural bond between mother and child: how the child doesn't feel complete without her mother and the mother feels that a part of her is missing. There is a deep seated emptiness. The wounds are passed down from generation to generation. These women must find the strength to open their hearts in order to end the cycle of loss.

Motherhood is hard even with the support of a traditional family. Some young women can't find the strength to meet that challenge alone. They make the difficult decision to give their baby up for adoption - in hopes that it will have a better life. This film suggests that the struggles of single motherhood may be less traumatic then severing the maternal bond.

What makes this film special are some painfully authentic scenes. While there are some TVmovie-like conversations about the trials of adoption, there are also silent moments where the action does the talking. It is in these silences that the audience ponders the meaning. In a sense, the experience is enhanced by what the audience brings to it - their memories and experiences allow them to relate. It is those silences that make this a powerful work that leaves you thinking as the credits roll.

Of course, there are some viewers who will not relate to this at all - some will be offended by the inherit subtext that adoption is an unnatural state. Some may complain that the fathers are conspicuously absent. Indeed, the male characters are relegated to supporting roles in the world of, "Mother and Child."

This is film for single mothers who made the difficult decision to put their baby up for adoption, the children they lost, and the people who love them.

Movie blessings!
Jana Segal
www.reelinspiration.blogspot.com

"Mid-August Lunch"

The cliche of the Italian bachelor living at home with a doting mother who waits on him and prepares his favorite meals is turned on it's head in the delicious Italian treat, "Mid-August Lunch." In this film, unemployed fifty-ish bachelor Gianni (Gianni Di Gregorio) shows respect for his ninety-something mother by taking good care of her and lovingly preparing their meals.

The small family has been living off of credit for some time and is months behind on their maintenance and electric bills for their ancient apartment. The landlord is willing to forgive the dept if they take in his mother so he can get away for the Mid-August holiday. The landlord drops off his mother AND his aunt. And soon the doctor's mother joins the mix. So Gianni must survive the weekend playing good host to four strong-willed shut-ins. What impressed me most was how he never loses his manners but treats these woman with the respect earned by those who have reached a certain age.

This is a film about the joys of entertaining. It illustrates the isolation that comes with aging and our continued need to socialize. There is an Italian saying, "A tavola no s'invecchia," that articulates the theme perfectly, "The passage of time is suspended with experiencing the pleasure of good food, good wine and company."

"Mid-August Lunch" dishes up "slice of life" humor with simple, authentic Italian flavors like those in the perch with potatoes, oregano and rosemary lovingly served at the holiday feast.

Movie blessings!
Jana Segal
www.reelinspiration.blogspot.com

"PRECIOUS" and "THE MESSENGER"

From Despair to Hope

Two powerful, acclaimed films, "Precious," and, "The Messenger," have heart-achingly honest performances that express the strength of the human spirit to move through despair to hope.

The synopsis of, "Precious," couldn't be more depressing. Precious, (Gabourey "Gabby" Sidibe) an obese thirteen year old, is pregnant for the second time with her father's child. Her mother (Mo'Nique) treats her as less than a servant, beating her and constantly reminding her that she is nothing. We get a glimpse of the girl's spirit as Precious escapes into her dreams of being a glamorous star. At school Precious is pretty much invisible aside from being teased for her weight. But there is one teacher who recognizes her potential in math. When Precious is kicked out of school, he recommends that she be placed in a alternative school. Her new teacher (Paula Patton) asks Precious how she felt about introducing herself to the class and Precious says she feels, "Here." The teacher assigns her a journal where she expresses herself for the first time. Precious finds the strength to get an education and keep her baby even as the abuse intensifies at home.

It is a minor miracle and a credit to director Lee Daniels, screenwriter Geoffrey Fletcher, and actress Gabby Sidibe that you leave the theater actually feeling hopeful. The film demonstrates the transforming power of having one person - in this case a teacher - who believes in you. Precious illustrates the strength of the human spirit to survive extreme abuse and find hope.

In, "In the Messenger," war "hero" Will Montgomery (Ben Foster) returns from Iraq and is assigned to the Army's casualty notification service. He has not gotten any grief counseling since receiving his own battle wounds - just a quick lesson in protocol from his jaded partner Tony Stone (Woody Harrelson) who instructs the soldier to avoid physical contact or hugging the N.O.K. (next of kin.) Ben assures him, "I'm not going to be offering any hugs."

Will has come home to a lonely apartment and an empty life. (When he went off to war he broke up with his girlfriend.) He diligently carries out his duty, but the grief of the families of the deceased hits close to home. He finds himself drawn to a widow with a brave facade. Her husband's story brings out his own neglected issues. Will his "war scars" heal so he can be a decent husband and father? Or should he reenlist because war is the only thing he is still good for? Somehow he finds the strength to choose life. "The Messenger," shows the resiliency of the human spirit to move through grief to hope.

Movie blessings!
Jana Segal
www.reelinspiration.blogspot.com

OSCAR ALERT:

Mo'Nique won Best Supporting Actress, Geoffrey Fletcher won Best Adapted Screenplay

"Tulpan" and "Moon."

Business has been bustling lately at the Loft Cinema (http://www.loftcinema.com/) with so many great movies to see such as "Food Inc.," "Moon," "Unmistaken Child," and "The Lemon Tree."  I recommend all of these movies highly. I'm sorry I have been too busy organizing a directing workshop to write them up.

Reflecting back on, "Moon." This mostly two set, two actor production (by director Duncan Jones and screenwriter Nathan Parker) was one of the best indie films of the year. Sam Bell (Sam Rockwell) is completing his job of extracting helium-3 from the moon's soil. He has been stationed at the mostly automated lunar base for three years with his robotic assistant Gerty (Kevin Spacey). His only human contact are recorded transmissions from his wife and young daughter back on earth. With just weeks left of his assignment, Sam has started to hallucinate about other people on board and their motives.

"Moon," illuminates what it is to be human: the necessity of having hope and our need to connect with other people.

"Tulpan" was just so special that I was inspired to write the following review. (See below.) Enjoy!

"Tulpan"

Long shot of the desolate, dusty Kazakhstan terrain with a scraggly herd of sheep, two donkeys, a honking camel, and a round sheep skin yurt.

Snug in the yurt is a family. A lovely young mother enjoys her three playful children. The kids get on their tired father's nerves. Uncle Asa (Askhat Kuchinchirekov) has just arrived home after a stint in the navy.

It feels like the filmmaker just happened onto this little nomad family and captured a glimpse of their lives on film. There is a naturalism and ease you won't find in documentaries. The conflict is subtle - like the tension when the baby climbs out of a trap door near a herd of scampering sheep. The father demands that the mother not spoil the child by calling him back inside. The father (Ondasyn Besikbasov) is intent on toughening up his young ones to be herdsmen.

But the mother (Samal Yeslyamova) is intent on keeping her loved ones close and safe. She cherishes her family as her source of happiness in this isolated, harsh land.

At first their lives seem bleak by modern standards. Their only connection with the outside world is the scratchy news broadcast on the older boy's portable radio and occasional visits from Asa's friend to deliver water. Even this little bit of civilization seems to encroach on their way of life. The portable radio distracts the boy from his chores and the irrelevant news reports compete with traditional folk songs his sister sings for entertainment. The water carrier with his truck decorated in nudie pictures, beckons Asa to leave the family cocoon to find a wife or a job in the city.

But Asa longs for a family of his own and a herd - of camels. This guy has big dreams. Unfortunately the only eligible girl in the regain, Tulpan, isn't interested in marrying Asa because he has big ears. And Asa has yet to gain his brother-in-laws respect as a herdsman.

"Tulpan," is full of cinematic miracles. Cinematographer Jola Dylewska uses long shots to catch actual acts of nature (often in a single take) such as the dust devil that threatens the herd. This is all integrated beautifully into the story. Director Sergy Dvortsevoy shepherds a herd of scruffy animals, non-actors and young children into unbelievably real performances with quirky humor and touching moments in this meaningful story.

Movie blessings!
Jana Segal
www.reelinspiration.blogspot.com

"My Sister's Keeper"

In "My Sister's Keeper," Anna (Abigail Breslin) was conceived as a donor for her sister Kate (Sofia Vassilieva) who has cancer. By the age of eleven Anna has already gone through several painful medical procedures to save her sister. Now she must endure another surgery in order to give her dying sister her kidney. Anna shocks her parents by hiring a lawyer (Alex Baldwin) to get medical emancipation so she can make her own decisions about her body and live her own life.

"My Sister's Keeper" succeeds as a tear jerker. Despite some script problems including undeveloped characters, contrived plot elements, and a stereotypical terminally wise child, it moved me to tears. It could be because of what I brought to the film as an audience member. I related to the marriage straining under the responsibilities of parenthood. The mother (Cameron Diaz) had given up everything, including her relationship with her husband (Jason Patric), to take care of her sick child. In her single minded pursuit to keep her daughter alive, she has forgotten the importance of living. Though this storyline paid off with an emotionally stirring scene, it would have been more powerful if their marital problems had been set up earlier and we actually saw the father being pushed out of the picture.

In an interesting structural device, each character narrates their point of veiw on how having a family member with cancer affects their lives. You would think that this would give ample opportunity for each characters' storyline to be developed. Unfortunately, some storylines have gaping holes in them.

The male family members are nearly non-existent through much of the film. You could argue that it was the director's (Nick Cassavetes, The Notebook) intent since everything evolves around the sick child's needs while everyone else is neglected. For instance, there are some vague references to the brother (Evan Ellingson) needing help because he is dyslexic, but that story thread is abruptly dropped. In one scene he wanders into a bad section of the city and watches street walkers. Nothing happens. No one even notices that he's gone. Perhaps that's the point. But it may have had more impact if he had gotten into trouble.

Their many sacrifices have weighed on the family, but I believe the spirit of giving has a positive impact on the children. They have grown so much closer from taking care of each other. The film touches on the theme that giving to others is it's own reward and a worthwhile way to live.

If you could use a good cry or a reminder of how good life can be, watch "My Sister's Keeper". How you spend your entertainment dollars tells Hollywood what kind of movies you want. Want more family dramas? Then go see "My Sister's Keeper" while it is still in the first run theaters.

Movie Blessings!
Jana Segal
www.reelinspiration.blogspot.com

"Then She Found Me"

Actress/Director Helen Hunt

Award-winning actress Helen Hunt makes her feature directing debut with, "Then She Found Me," adapted from the best-selling Elinor Lipman novel about an adopted woman who wants to have her own child.

At first, I had some problems getting into it. The opening sequences felt rushed and contrived. Before April has a chance to deal with one tragedy, another one takes it's place. Writer/Director Helen Hunt seems to rush through some life altering events without allowing her character to learn the inherit lessons.

April has an urgent need to have her own baby to experience that special bond that she never felt as an adopted child. That's when her shallow, self-centered husband (Matthew Broderick) chooses to leave her.

Before she has time to digest that her husband is gone, she meets a man who just might be her soul mate - the father of one of her students. The film seems to be saying that love doesn't come in a neat little package (a bundle of joy) or even at a good time. Love is messy - full of human weakness and flaws. In this case, the package comes with a lot of extra baggage. Colin Firth is vulnerable and sexy as the recently dumped father of two who bumbles his way through the initial stages of this potentially important relationship. Helen Hunt gives an honest, nuanced performance as the confused and conflicted April. Kudos to Ms. Hunt for creating the most romantic relationship I've seen in a very long time.

To further complicate matters, April's birth mother (Bette Midler) turns up to show how really flawed love can be. This is your typical sitcom fare with Midler playing it predictively over the top. However, despite the best jokes being thrown away in the trailer, the Divine Miss M got some good laughs. And there are some touching moments of genuine bonding between the two women.

I also appreciate how the film touches on the spiritual side of being Jewish - not just having the characters perform rituals for the sake of tradition.

Sometimes good art, like life and love, can be flawed. I found this to be the case with THEN SHE FOUND ME. I'm looking forward to seeing it again. If you've been longing for a truly romantic comedy, go see THEN SHE FOUND ME as soon as possible and bring your friends. Lets send a message to Ms. Hunt to keep up the good work!

Movie Blessings!
Jana Segal
www.reelinspiration.blogspot.com

"Under the Same Moon" (La Misma Luna)

In Tucson, the debate of what to do about illegal immigration is a heated one with hard questions and no easy answers. Under the Same Moon (La Misma Luna) doesn't attempt to give the answers but does it's best to humanize the issue. Even the title suggests that we are all "under the same moon."

Writer Liquiah Villalobos and director Patricia Riggen present the rarely told story of the child who is left behind when a parent leaves Mexico to work in America. "Under the Same Moon," tells parallel stories of mother and son. In the opening sequence they appear to be in the same household as they perform similar chores while waiting to be reunited. Nine-year-old Carlitos (Adrian Alonso ) can't wait until Sunday for his mother's weekly call at the town pay phone. His mother, Rosario, (Kate de Castillo) is in East L.A. working to provide a "better life" for him. Carlitos doesn't understand how it can be a better life without his mother. He needs her now. So when his grandmother unexpectedly dies,Carlitos sneaks across the border to find her.

The parallels continue as Carlitos experiences first hand the same hardships and dangers his mother had to endure crossing the border and working illegally. While he is struggling to get to her in America, she is preparing to return to Mexico to be with him. Carlitos looks at the moon when he's lonely because he's been told that she is looking at it too. Their connection is that strong.

Some reviewers have a problem with this precocious nine year old whose innocent devotion brings out the decency in folks. Perhaps it would be more real if he got tired and irritable sometimes. But this is a movie that believes in the goodness in people and the connection between a son and his mom. If you still believe in the goodness in people that connects us all, don't miss, "Under the Same Moon."

Movie Blessings!
Jana Segal
www.reelinspiration.blogspot.com/

"Juno"

by guest reviewer Gary Ray

One Liner Review

If you’ve seen the trailer for Juno and decided that it’s
not for you, please read on: I’d like to change your mind.
I thought the same thing when I saw the trailer: here we
go again, another “quirky” movie peopled with characters
who’d never do or say half the things they door say and
with a lead character that spouts smart-alecky remarks
that no one could possibly dream up that didn’t have a
week to ponder them.

Then I saw the movie.  Arms folded.  Third row.  In
the first several scenes, my worst fears had come
true— yes, the film was exactly like the trailer.
Then, bit by bit, scene by scene, the story began to
surprise me.  My arms unfolded.  I relaxed. I laughed.
The characters were real.  And the acting— superb.
I know that lead Ellen Page is getting the lion’s share
of the praise (she was the only one nominated for an
Independent Spirit Award), but the rest of the ensemble
possibly give stronger performances than she does.
Michael Cera is astonishingly natural (and understatedly
funny). And one thing I love about the screenplay is
the relationship between him and his baby-mama Juno:
they’re just friends.  They had sex once.  But the script
doesn’t dwell on any “what are we gonna do!” madness.

And then there are Juno’s parents played by Allison
Janney (The West Wing)and J. K. Simmons (he plays Peter
Parker’s editor at the newspaper in the Spiderman movies)
who give stellar performances. And, finally— if I can
think of another superlative—there is Jennifer Garner and
Jason Bateman, who steal the show: both magnificent. It’s
the Garner storyline in particular that, in the final
analysis, won me over on Juno.

As with all great movies, it’s not just the beating of
one single note: but an array of subplots and minor
characters whose lives are affected by the lead
character’s trajectory that make for an ideal movie
experience.  We see how Juno is affecting so many
people’s lives. And, in her separate relationships
with the Garner and Bateman characters, we see an
evolution in her understanding of human nature. And
again, how many movies about teen pregnancy do you know
that aren’t about what a big, dumb mistake it is.
Juno is practically matter-of-fact about the pregnancy
itself. Instead it’s about the world we live in.  Its
about how less screwed up Juno is in light of how more
screwed up the adults are around her. And it’s about
how everything can be okay, no matter how bleak the
outlook.

OSCAR UPDATE: Juno was nominated for Best Picture, Best Directing, Best Actress and Best Screenplay. Diablo Cody won a well deserved Best Screenplay Oscar for her witty and honest writing in Juno. She gave a moving acceptance speech thanking her amazing director (Jason Reitman), lead actress (Ellen Page), and her mom for "accepting me just the way I am."

"August Rush"

"A boy stands in a wheat field conducting a symphony that only he can hear. As the wind picks up, the stalks of wheat bend and sway in rhythmic harmony, each sound of nature becoming a note flying off instruments in the boy's mind." The boy narrates, "The music is all around us. All we have to do is listen." This opening sets the mood for the soul lifting film, August Rush. The story is presented as a musical fairytale. I found it to be a spiritual parable.

"August Rush," is the story of a supposedly orphaned boy (Freddie Highmore) who can hear the harmonic connection between all living things -- including his musician parents. He believes his parents are communicating to him through the music in the world around him. He eventually runs away in search of his parents and his musical destiny.

First, the boy must deal with adults who don't understand his gift and orphanage bullies who try to silence the music by tormenting him. I think many artists will identify with the theme of society trying to squash their creativity. I know I did. It took years for me to silence the voices in my head, "When are you going to get a real job?" so I could live up to my potential as a writer. It was inspiring to watch him overcome the influence of the skeptics and reach his potential as a music prodigy. His parents' stories represent the other side of the coin - how we can sleep walk through life if we don't follow our dream.

Some skeptics, eh, reviewers called the movie hokey or schmaltzy, and there were times when the story treads into that territory with a wacky Oliver Twist storyline with Robin Williams playing the Wizard, a musical conman resembling Dicken's Fagon. I found myself wondering how director Kirsten Sheridan could build suspense when the ending is telegraphed in the film's trailers. It is actually the Wizard storyline that successfully builds that suspense. One reviewer couldn't tolerate the coincidences. If this is taken as a spiritual parable, those are serendipities. Serendipities signal that you are going down the right spiritual path.

If you thought it was hokey when Will (in Good Will Hunting) picked up the chalk and figured out advance math problems with no higher education, you may cringe when our hero picks up a guitar and expresses the music of his soul without prior training. To me this scene is nothing less than a miracle. To justify his sudden ability, Director Kirsten Sheridan fashioned his guitar playing after the work of teenage Michael Hedges who used the same innovative method of slapping the guitar strings to make music. Sheridan was prepared to cast a real music prodigy in the role but was won over by Freddie Highmore. Freddie practiced for six months and does an amazing job with the musical performances. Another theme of the film is how music touches the soul and connects us with others. The music in August Rush uplifts the soul with its blend of ambient sound with rock, classical, and gospel.

OSCAR UPDATE: “Raise It Up” was nominated for best Song. (See 2008 Academy Award Nominations for more details.)

August Rush received a standing ovation at the Heartland Film Festival. Why the mixed reviews? The audience at the Heartland Festival was looking for a heartwarming, moving experience and they got it. What do you bring to the movie as an audience member? I believe that if you go with an open heart, seeking a spiritual experience, you will find it in August Rush.
Read more about the music: Finding the Right Notes for 'August Rush' by Robert W. Welkos, Los Angeles Times Staff Writer. 

Movie Blessings!
Jana Segal
www.reelinspiration.blogspot.com

"Akeelah and the Bee"

I had my reservations about going to see "Akeelah and the Bee." Did we really need another spelling bee movie right on the tail of the award-winning documentary "Spellbound" and the mystic "Bee Season?" I'm not that into spelling. I couldn't even pronounce Akeelah, much less spell it. But I was totally won over by this heartwarming, family film. By the end, I could not only pronounce Akeelah, but I could spell it. Akeelah. Definition: Eleven year old girl from South Los Angeles who overcomes great personal trials to become a national spelling bee champion and an inspiration to her neighborhood. A-K-E-E-L-A-H.

Writer/Director Doug Atchison overcomes a somewhat formulaic plot through strong performances from his stellar cast including Angela Bassett (as Akeelah's mother) and Laurence Fishburne (as her coach.) But it was Kete Palmer's authentic performance as Akeelah that drew me into the story. By the end, I was whole-heartedly rooting for her -- not only for her courage and perseverance but for the kindness she shows in competition.

Her coach teaches her to overcome her fears and embrace her strengths and talents. He shares a quote from Marianne Williamson, "Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure....As we let our own light shine, we unconsciously give other people the permission to do the same." Akeelah holds onto this into the competition and becomes an inspiration to her neighborhood and all those who see this film.

While leaving the theatre, a father asked his nine year old daughter, "Think that helped your Scramble any?" The girl answered with an enthusiastic thank-you hug. Encourage all the girls in your life to let their light shine by bringing them to this uplifting film.

You can encourage Hollywood to make more inspiring, family films by attending "Akeelah and the Bee" while it is still in the first run theatres. If you love it as much as I did, pass this review onto your friends. Let's create a market for meaningful films!

Movie blessings!
Jana Segal
www.reelinspiration.blogspot.com