One promising way to get in the holiday mood is to watch a Christmas-themed movie. And, since yuletide films naturally tend to qualify as family-friendly, they can also provide an opportunity to gather the clan, make some popcorn and relax together.

Following, in alphabetical order, are capsule reviews of eight such pictures with their OSV News classifications and, where applicable, their Motion Picture Association ratings. Please note that movies dating from before 1968 were not rated by the MPA upon their initial release.

“The Bishop’s Wife” (1947)

A debonair, smartly tailored angel (Cary Grant) uses his heavenly powers to help the neglected wife (Loretta Young) of a busy Episcopalian bishop (David Niven) renew her husband’s ministry to those in need rather than raise the money for a new cathedral. Director Henry Koster’s sentimental Christmas fable has the virtue of a good script, sincere performances and some amusing moments with Grant’s angelic powers and Monty Wooley as a softhearted old cynic. Most of the family will find it charming entertainment. The OSV News classification is A-II — adults and adolescents.

“A Christmas Carol” (1951)

This British version of the Dickens classic has worn well over the years principally because of Alistair Sim’s zestful performance as Scrooge, the old humbug whose transformation into a loving human being is a pleasure to behold. Director Brian Desmond Hurst’s period piece does well with its 19th-century London setting, and the ghostly visitations are done simply but with considerable flair. The result is dandy family viewing. The OSV News classification is A-I — general patronage.

“A Christmas Story” (1983)

Adapted from Jean Shepherd’s nostalgic piece of whimsy, “In God We Trust, All Others Pay Cash,” the movie re-creates what it was like to be a boy (Peter Billingsley) yearning for a genuine Red Ryder air rifle for Christmas in the Midwest of the 1940s. Director Bob Clark gets some good performances from Darren McGavin and Melinda Dillon as the understanding parents, and the period atmosphere is nicely conveyed with what is essentially a warm celebration of a more innocent, less sophisticated America. Fleeting vulgar mutterings. (A-II) The Motion Picture Association rating is PG — parental guidance suggested. Some material may not be suitable for children.

“Elf” (2003)

Warmhearted yuletide comedy about a foundling (Will Ferrell) raised by elves in Santa’s workshop who travels from the North Pole to New York City in order to reconnect with his long-lost father (James Caan), a workaholic scrooge bereft of Christmas cheer. Full of goofy candy-cane humor, director Jon Favreau’s holiday film imparts a strong family-friendly message, but uses a secular sieve to filter out any religious references to the true meaning of Christmas. Minimal mildly crude language and humor. (A-II) (PG)

“It’s a Wonderful Life” (1946)

Seasonal favorite about the joys and trials of a good man (James Stewart) who, facing financial ruin on the eve of Christmas, contemplates suicide until his guardian angel (Henry Travers) shows him how meaningful his life has been to those around him. Director Frank Capra’s unabashedly sentimental picture of mainstream American life is bolstered by a superb cast (including Lionel Barrymore as a conniving banker) and a wealth of good feelings about such commonplace virtues as hard work and helping one’s neighbor. Young children may find the story’s dark moments unsettling. (A-II)

“The Man Who Invented Christmas” (2017)

This charming fact-based historical drama tells the origin story of Victorian author Charles Dickens’ (Dan Stevens) beloved novella, “A Christmas Carol.” With his last three titles having failed to sell, Dickens fears falling into debt if his next production is equally unpopular. As he struggles with writer’s block and the endless distractions of his burgeoning family’s domestic life — a visit from his feckless father (Jonathan Pryce), whom Dickens blames for the sufferings of his childhood, is a particular source of worry and conflict — the writer fancifully summons up and interacts with his own characters, most prominently dour miser Ebenezer Scrooge (Christopher Plummer). His patient wife (Morfydd Clark) and unpaid literary agent (Justin Edwards) offer him encouragement, and the conversion story he eventually pens finds a real-life counterpart in the amendment of Dickens’ own behavior. Director Bharat Nalluri’s adaptation of Les Standiford’s 2008 book is family-friendly in most respects and will likely prove a winner with a broad range of age groups. A very vague sexual joke, a single mild oath. (A-II) (PG)

“Miracle on 34th Street” (1947)

Familiar seasonal favorite follows a department store Santa (Edmund Gwenn) as he strives to convince a lonely little girl (Natalie Wood) that he’s the genuine article, despite the objections of her rigidly pragmatic mother (Maureen O’Hara) and a court trial that hinges on the U.S. Post Office. Director George Seaton’s amusing romantic fantasy has its sentimental moments while spreading a reasonable amount of holiday cheer, largely due to Gwenn’s charming performance as Kris Kringle. Problems of single parenthood. (A-II)

“The Nativity Story” (2006)

Dramatization of the New Testament birth narratives from the Annunciation to the birth of Jesus, focusing on the relationship between Mary (Keisha Castle-Hughes) and Joseph (Oscar Isaac) and their arduous trek from Nazareth to Bethlehem, with subplots tracking the journey of the three Magi and the efforts of King Herod (Ciarán Hinds) to prevent the prophecy of a messiah from coming to pass. A composite of the Gospels of Matthew and Luke, embroidered with apocryphal traditions and the imagination of the filmmaker, the Bible story gets the prestige treatment in director Catherine Hardwicke’s artful, reverent and affecting retelling, with soulful performances from an excellent international cast — including Shohreh Aghdashloo as Elizabeth — and impressive production design. Mike Rich’s screenplay manages to flesh out Mary and Joseph while remaining faithful to Scripture, poignantly suggesting the humanity beneath the halos. Some violent images. (A-I) (PG)
– – –
John Mulderig is media reviewer for OSV News. Follow him on Twitter @JohnMulderig1.

The post A selection of holiday movies appeared first on The Central Minnesota Catholic.

Accomplished songwriter and music producer Adam Anders and his wife, Nikki, have been writing music together since their first date two decades ago. So when he was visiting his wife’s family in Iowa 17 years ago and trying to find a good Christmas movie to watch, Anders was dismayed that he could not find anything.

And he knows what he’s talking about, having been executive music producer of the TV musical comedy-drama “Glee” and involved in many other television and movie projects.

“Coming from the music side of things, I was like, there’s got to be a musical about the Nativity,” he said. Although it seemed obvious to him, he realized no one had done it.

“I’ve got this brilliant idea that nobody had thought of and I thought honestly, all these years I’ve been trying to make this, I kept thinking somebody’s going to do it before me.” But no one did, so during the COVID shutdown, he finally had time to work only on the project, which became the movie musical, “Journey to Bethlehem,” which opened in theaters Nov. 10.

Originally, Anders planned to co-write the music with Nikki, but then he decided to produce it, too. He figured that was enough, until he completed the work and realized he had to direct it to complete the vision. If that’s not enough, Anders also sings in the choir for some of the songs in the movie.

“I think the initial vision 17 years ago was tattooed on my heart. I couldn’t let it go,” he said in an interview with Catholic Review Radio.

Anders is quick to point out that “Journey to Bethlehem” is not a documentary. The opening credits say, “Inspired by a true story – the greatest story ever told.”

Having worked in TV and movies for 20 years, Anders knows that entertainment needs a love story, some lightness, and good actors and singers.

He “invented” two sisters for Mary, as well as an instance in which Mary (played by Fiona Palomo) and Joseph (Milo Mannheim) meet before their formal betrothal. The magi are more like the Three Stooges than wise men, Anders admits, providing comic relief when the story gets too serious. Part of that seriousness comes from King Herod (Antonio Banderas), the natural villain of the story.

Anders, who is a non-Catholic Christian, said it was perhaps bold to fill in the story outside what Scripture already offers. “What I try to do is live in the in-betweens, as I call it, in between the Scriptures,” he said. “It doesn’t say much. It doesn’t say why Joseph stayed. It doesn’t say how Mary felt, what she said.”

Anders said, “(In) all the great movies, we relate to the characters and that’s what makes you lean in and want to hear more.”

He realized if he tried to make “Journey to Bethlehem” in a way that satisfied everyone, it would satisfy no one.

“But it’s definitely tricky because I know how sacred this text is and how much it means to so many people, including me. … So, I just did the best I could as a believer and as an artist.”

Anders said he did not necessarily look for believers for the cast and crew, though many are. “I started the first day and I told everyone I don’t know where your faith is, but I can tell you your director is a man of faith. And I’m praying for us and I’m praying for you and this movie every day.”

He cannot say whether the movie will become a holiday classic; only time will tell. “My hope and dream, of course, is that this becomes a part of people’s Christmas routine — ‘Let’s watch ‘Journey to Bethlehem!’”
– – –
Christopher Gunty is associate publisher/editor of Catholic review Media, the news outlet for the Archdiocese of Baltimore. Listen to the full radio interview with Anders on Catholic Review Radio at https://bit.ly/crradio-110523.

The post ‘Glee’ producer brings Nativity musical ‘Journey to Bethlehem’ to theaters appeared first on The Central Minnesota Catholic.

Early on in the history of film, stage actors had to make the transition from the outsized gestures and expressions needed to convey emotion to a crowded theater to the restraint required by the intimacy of the camera. The same contrast is always likely to be highlighted in a movie dedicated to capturing a lavish stadium music concert.

Those attending “Taylor Swift: The Eras Tour” (AMC Theaters) will discover that the titular singer-songwriter – the current doyenne of breakup songs – is aware of this. Just as the smirks and eye rolls of some of her numbers become cloying, the solo balladeer emerges and equilibrium is restored.

While Swift can be credited with aesthetic insight, parents of teens clamoring to see her on screen will be concerned with other matters. In a world of ultra-raunchy rap and the obscenity-laden lyrics often found even outside that genre, Swift shows considerable moderation. A smattering of vulgar words aside, her performance is more glitzy than gritty. So, although her preteen fans may have to be kept away from this production, older teens can probably be given the green light.

They’ll find “Eras” a lively recap of all 10 of her studio albums across 17 years. Directed by Sam Wrench, the footage was compiled from concerts at SoFi Stadium in Inglewood, California, outside Los Angeles, during Swift’s ongoing tour.

This is, then, no valedictory. Rather, it’s a powerful summation of Swift’s life and work so far. The idea is to craft an experience just as communal and immersive as the vocalist’s live events. Audience members, for instance, are encouraged to sing along. Yet in a movie theater the noise is not overwhelming, making it possible to concentrate on Swift in all her sparkly glory throughout.

Little exposition is provided. Instead, there’s continuous music, enhanced by CGI special effects and a bit of dancing. By contrast to some of the documentaries in which Swift has featured in the past, no backstage segments are included and no forum is given to her opinions.

Her lyrics do, however, address the loneliness of her level of stardom and hint, pretty consistently, at past heartbreak. At their poignant best, her songs somehow manage to combine the varied qualities of honky-tonk blues and the sophisticated work of German-born American composer Kurt Weill.

It’ll cost you a lot more than three pennies, though, to have a look.

The film contains fleeting rough and crude language. The OSV News classification is A-III – adults. The Motion Picture Association rating is PG-13 — parents strongly cautioned. Some material may be inappropriate for children under 13.
– – –
Kurt Jensen is a guest reviewer for OSV News.

The post Movie Review: Taylor Swift: The Eras Tour appeared first on The Central Minnesota Catholic.

A pilgrimage to Lourdes provides the framework for the tender drama “The Miracle Club” (Sony Classics). By turns humorous and touching, director Thaddeus O’Sullivan’s delicate film will appeal to grown-ups and perhaps mature teens. But it’s neither aimed at nor suitable for kids.

In a hardscrabble neighborhood of 1967 Dublin, best friends Lily (Maggie Smith) and Eileen (Kathy Bates) excitedly prepare to journey to the sacred destination in the company of a third pal, Dolly (Agnes O’Casey). Dolly is hoping that the trip will cure the mysterious muteness of her young son, Daniel (Eric D. Smith), while Eileen is secretly worried about a lump on her breast.

The dynamics of their expedition are suddenly transformed, however, by the unexpected — and initially unwelcome — return of Chrissie (Laura Linney), a former member of the main duo’s social circle who’s been absent in America for 40 years. Chrissie’s reappearance has been prompted by the death of her estranged mother, with whom both Lily and Eileen were close.

The reasons for Chrissie’s exile are not immediately made clear, though a connection to the long-ago drowning death of Lily’s son, Declan, is apparent. Despite the fact that Lily and Eileen continue to shun her, Chrissie decides to join the tour to France which is to be presided over by Father Dermot (Mark O’Halloran), the wise and sympathetic, if not very forceful, local cleric.

What follows is a sensitive exploration of tragedy and spiritual healing as long-festering emotional wounds are laid bare and the possibilities of reconciliation and renewed relationships examined. Although the confessions of wrongdoing required to restore harmony and peace of mind are interpersonal, rather than sacramental, they are positive examples of moral honesty.

Questions are briefly raised in the dialogue about the authenticity of the apparitions to St. Bernadette Soubirous and the miracles attributed to Our Lady of Lourdes, and such skepticism may grate on believers’ nerves. They may also wince at the repetition of an all-too-common Irish expletive that at least approximates misuse of the Lord’s name.

As for viewers focused on the effectiveness of the tale, as penned by Jimmy Smallhorne, Timothy Prager and Joshua D. Maurer, they may feel it takes too easy a shortcut to forgiveness. Yet, in the age of the three-hour comic book adaptation, there’s something to be said for a modest, character-driven movie that comes full circle in a mere 90 minutes.

The film contains mature themes, including abortion, one direct and several oblique profanities, a rough term and occasional crude and crass language. The OSV News classification is A-III — adults. The Motion Picture Association rating is PG-13 – parents strongly cautioned. Some material may be inappropriate for children under 13.
– – –
John Mulderig is media reviewer for OSV News. Follow him on Twitter @JohnMulderig1.
– – –
CAPSULE REVIEW
“The Miracle Club” (Sony Classics)
A pilgrimage to Lourdes provides the framework for this tender tale about long-festering emotional wounds and the possibilities of reconciliation and renewed relationships. In a hardscrabble neighborhood of 1967 Dublin, two best friends (Maggie Smith and Kathy Bates) excitedly prepare to journey to the sacred destination in the company of a third pal (Agnes O’Casey) who hopes the trip will cure the mysterious muteness of her young son (Eric D. Smith). But the dynamics of their expedition are suddenly transformed by the unexpected, and initially unwelcome, return of a former member of the main duo’s social circle (Laura Linney) after an absence of 40 years and the exile’s decision to join the tour. By turns humorous and touching, director Thaddeus O’Sullivan’s drama, which also features Mark O’Halloran as the wise and sympathetic, if not very forceful, local priest, is a delicate exploration of tragedy and spiritual healing, though some viewers may not care for the briefly expressed skepticism of some of the characters, while others may feel that the film takes too easy a shortcut to forgiveness. Mature themes, including abortion, one direct and several oblique profanities, a rough term, occasional crude and crass language. The OSV News classification is A-III — adults. The Motion Picture Association rating is PG-13 – parents strongly cautioned. Some material may be inappropriate for children under 13.
– – –
CLASSIFICATION
“The Miracle Club” (Sony Classics) – OSV News classification, A-III — adults. Motion Picture Association rating, PG-13 – parents strongly cautioned. Some material may be inappropriate for children under 13.

 

 

The post The Miracle Club appeared first on The Central Minnesota Catholic.

Ah, time travel. It’s long been a favorite device for screenwriters who like to pile up the possibilities — and paradoxes — that might flow from an ability to flout the calendar.

Yet, while such speculations are sometimes amusing, they also run the risk of leaving viewers earnestly intent on following the plot befuddled. Where does the era-jumping, DC Comics-based adventure “The Flash” (Warner Bros.) lie on that continuum? Somewhere in the middle.

As for the film’s thematic material, it’s a mixed bag as well. A fundamental message about accepting both the good and bad that befall us is mixed up with ingredients that make this a doubtful proposition for the teens at whom, along with grown-ups, the movie is presumably aimed.

As he did in 2017’s “Justice League,” Ezra Miller plays the titular super-speedy “metahuman” (as the folks at DC like to call their superheroes). The Flash’s everyday alter ego is nervous forensics investigator Barry Allen.

Socially awkward Barry has been traumatized by a double tragedy: during his childhood, his mother, Nora (Maribel Verdú), was mysteriously murdered and his father, Henry (Ron Livingston), has since been unjustly convicted of the crime. Henry has an appeal pending but the case doesn’t seem hopeful.

After more or less accidentally discovering that he can outrun time, it occurs to Barry to journey into the past and undo his twin misfortunes. Predictably, however, doing so only creates innumerable fresh problems.

To retrieve the situation, Barry teams with a carefree youthful version of himself (also Miller) from the timeline in which mom went unscathed as well as with a previously unknown variant (Michael Keaton) of his pal Bruce Wayne/Batman (Ben Affleck). Eventually, Krypton-born Supergirl (Sasha Calle) also joins the fray.

Action abounds in director Andy Muschietti’s sprawling saga. But the chronological convolutions he charts hover between interesting and confusing.

As for Christina Hodson’s script, it puts forward a view of suffering that comports with Christian values. Thus original Barry is equal to the tas

ks he undertakes as the Flash precisely because of the trials he’s undergone. Having evaded such calamities, frivolous, callow kid Barry, by contrast, is considerably less than heroic – at least initially.

While younger moviegoers would obviously benefit from the elder Barry’s example, it comes intertwined with elements that make this seem an unusually hard-edged project compared to similar adaptations. These include consistent vulgar vocabulary and an embarrassing lesson for Barry 2.0 about why the Flash requires a specially designed low-friction suit.

Sound at heart but somewhat gritty on the surface, “The Flash” will divert parents. But they should probably leave their adolescents at home.

The film contains much stylized violence with occasional gore, rear male nudity in a nonsexual context, at least one use each of profanity and rough language, several milder oaths and frequent crass talk. The OSV News classification is A-III — adults. The Motion Picture Association rating is PG-13 – parents strongly cautioned. Some material may be inappropriate for children under 13.
– – –
John Mulderig is media reviewer for OSV News. Follow him on Twitter @JohnMulderig1.

The post The Flash appeared first on The Central Minnesota Catholic.

As its title indicates, “Fast X” (Universal) is the 10th direct installment of the “Fast & Furious” car-racing franchise that first put the pedal to the metal back in 2001. So by now, the characteristic ingredients of the series’ recipe should be familiar.

On the one hand, they include references to the need for a very vaguely defined version of faith as well as religious imagery that might be characterized as Catholic-lite. There’s also much rhetoric about the bonds that unite its self-constituted family of skilled drivers. Yet offsetting these congenial – if inconsequential – details, as usual, is a high quotient of nasty mayhem.

This time out, the clan’s patriarch, Dom Toretto (Vin Diesel), goes up against Dante Reyes (Jason Momoa), the scion of a Brazilian drug-dealing dynasty. As those paying close attention will recall, Dante’s dad, Hernán (Joaquim de Almeida), tangled with Dom and his crew back in 2011’s “Fast Five” – with fatal results. Needless to say, Dante is not exactly the forgiving type.

Loopy but resourceful, Dante doesn’t necessarily want to kill Dom. Instead he aims to make him suffer. So he targets those closest to Dom, including his brother, Jakob (John Cena), his wife, Letty (Michelle Rodriguez), and his young son, Brian (Leo Abelo Perry).

In fact, Dante is so ingenious that, early on in the proceedings, he somehow gets hold of a neutron bomb with which he threatens Rome in general and the Vatican in particular. The sight of this device rolling through the streets of the Eternal City is an apt reminder that any resemblance to reality in director Louis Leterrier’s glossy adventure is purely accidental.

Thus the fact that the gang – which also includes aspiring leader Roman (Tyrese Gibson), tech whiz Tej (Chris “Ludacris” Bridges) and gifted hacker Ramsey (Nathalie Emmanuel) – continues to show a reckless disregard for the welfare of pursuing police and innocent pedestrians need not be taken very seriously.

In lieu of applying moral scrutiny, those grown moviegoers for whom this extension of the saga is appropriate can relax, munch their popcorn and laugh at the often overheated, occasionally risible dialogue (scripted by Justin Lin and Dan Mazeau). As for those who can’t get enough of Dom and his pals, a cliffhanger ending points to outing 11.

The film contains frequent bloodless but sometimes harsh violence, gruesome images, a scene of marital sensuality, a few uses of profanity, about a half-dozen milder oaths, considerable crude and crass language and an obscene gesture. The OSV News classification is A-III — adults. The Motion Picture Association rating is PG-13 — parents strongly cautioned. Some material may be inappropriate for children under 13.
– – –
John Mulderig is media reviewer for OSV News. Follow him on Twitter @JohnMulderig1.

The post Movie review: Fast X appeared first on The Central Minnesota Catholic.