By JOHN MULDERIG, Catholic News Service | Published February 6, 2014
Gimme Shelter (Roadside)
NEW YORK (CNS)—Perhaps the best moment in the fact-based drama “Gimme Shelter” (Roadside) comes when its beleaguered, deeply sympathetic protagonist, played by Vanessa Hudgens, wonderingly recites a passage from the Book of Psalms that tells of God’s promises to those who trust in him.
It’s a moving scene precisely because such faith-based optimism seems so far removed from all that Hudgens’ character, teenager Agnes “Apple” Bailey, has previously endured.
Long neglected by her drug-addicted, emotionally unstable mother, June (Rosario Dawson), Apple is also a veteran of numerous foster homes—in one of which, we eventually learn, she was sexually abused by the father of the family to which she had been entrusted.
As the film begins, Apple has understandably had enough of June’s manipulative ways. So she flees the inner city, and seeks out her estranged, wealthy father, Tom Fitzpatrick (Brendan Fraser), the owner of a luxurious mansion in an upscale New Jersey suburb.
Though taken aback by Apple’s arrival—he comes home to find the scruffy runaway being carted off by the police, who’ve mistaken her for a thief—Tom is at least tentatively willing to do his part for the girl. Apple gets a colder reception from Tom’s wife, Joanna (Stephanie Szostak), who’s intent on pursuing her ultra-respectable lifestyle undisturbed. (Tom and Joanna’s two young kids look as though they’ve just stepped out of a Brooks Brothers catalog.)
Joanna’s attitude grows even chillier when a bout of morning sickness tips all concerned off to the fact that Apple is pregnant. Both Joanna and Tom pressure Apple to have an abortion. But she insists on keeping her child, even if it means losing the security of her newfound refuge.
Back on the streets, Apple has an altercation with a predatory passerby that ends with her stealing—and crashing—the lowlife’s car. This turns out to be a positive development because it brings her into contact with kindly hospital chaplain Father Frank McCarthy (James Earl Jones).
Father Frank is, of course, wholeheartedly supportive of Apple’s determination to preserve the life of her baby. He offers her the opportunity to take up residence with his redoubtable friend, Kathy (Ann Dowd), the founder of a home for expectant adolescents.
Modeled on Kathy DiFiore, who established just such a ministry—called Several Sources Shelters—in 1981, Dowd’s character is gentle but firm, both with her charges and with any outsider who might threaten their welfare. Down-to-earth practicality, tough love and a belief in the need for structure characterize her approach.
Chaffing under such discipline, Apple finds herself tempted to escape it. But she simultaneously discovers a winning new aspect of life through her burgeoning friendship with the other moms-to-be.
A strong pro-life message obviously undergirds writer-director Ron Krauss’ intermittently touching movie, which is also genuinely feminist, as witness the camaraderie cited above. And Hudgens’ passionate performance provides the project with another important asset.
Yet, perhaps because fidelity to the facts has been prioritized over dramatic structure, the story unfolds at a deliberate pace that may be too leisurely for some viewers. Others may sense something approaching a documentary tone in this unhurried timing and the absence of artificial plot turns.
Whichever stance individual moviegoers may take toward Krauss’ fictionalized account, the lifesaving reality standing behind it is worthy of universal support and celebration. The educational value and moral impact to be derived from the screen portrayal of this real-life work, moreover, allow for cautious endorsement of it for older teens, despite the elements listed below.
The film contains mature themes, including molestation, out-of-wedlock pregnancy and substance abuse, a scene of disturbing, though not gory, violence, at least one rough term and a handful of crass expressions. The Catholic News Service classification is A-III—adults. The Motion Picture Association of America rating is PG-13—parents strongly cautioned. Some material may be inappropriate for children under 13.
“Labor Day” (Paramount)
A glossy look and skillful performances fail to disguise the improbability at the heart of this romantic drama in which an escaped convict (Josh Brolin) forces a depressed, reclusive divorcee (Kate Winslet) and her adolescent son (Gattlin Griffith) to give him temporary shelter in their home. But then he manages to transform himself, over the course of the titular holiday weekend, from hostage-taker to aspiring husband and dad. Though its portrayal is restrained throughout, sensuality permeates writer-director Jason Reitman’s screen version of Joyce Maynard’s best-selling 2009 novel which finds the fugitive stoking the banked fires of his hostess’ eroticism, a process uncomfortably juxtaposed with the teen’s emerging sexuality. Though the primary relationship eventually shows itself ready for the long haul, it takes on a physical dimension within hours. Fleeting violence, brief semi-graphic premarital sexual activity, another unseen but audible encounter of the same nature, at least one use of profanity, several sexual references. The Catholic News Service classification is L—limited adult audience, films whose problematic content many adults would find troubling. The Motion Picture Association of America rating is PG-13—parents strongly cautioned. Some material may be inappropriate for children under 13.
“Dallas Buyers Club” (Focus)
The onset of the AIDS epidemic in the 1980s, with its devastating impact on victims and on society as a whole, provides the backdrop for this true story of a macho Texas cowboy (Matthew McConaughey) whose life is turned upside down when he unexpectedly tests positive for HIV. Refusing to accept the apparent death sentence, he learns there are treatments in Mexico to relieve symptoms and prolong life. Together with an HIV-positive transvestite (Jared Leto), he establishes the organization of the title whose members pay monthly dues for access to experimental smuggled drugs. Despite all the sinful behavior on display—director Jean-Marc Vallee re-creates a sordid world of sex, drugs, and general decadence—there is a worthy (and Christian) message underlying the proceedings, one that condemns prejudice toward individuals and uplifts compassion for the suffering. Yet the fact that immorality of various stripes is consistently given a pass in screenwriters Craig Borten and Melisa Wallack’s script precludes endorsement even for a mature and restricted audience. A benign view of promiscuity and of homosexual acts, strong sexual content, including graphic casual sex, full nudity, masturbation and sexually themed dialogue, drug use, pervasive profane and crude language. The Catholic News Service classification is O—morally offensive. The Motion Picture Association of America rating is R—restricted. Under 17 requires accompanying parent or adult guardian.
“That Awkward Moment” (Focus)
Though it presents itself as a quip-filled romantic comedy, writer-director Tom Gormican’s film is, sad to say, not much more than a collection of smutty moments. Zac Efron stars as a commitment-phobe who, together with his friends, longs for near-daily sexual encounters but flees at the first sign of stability. They eventually arrive at some form of maturity and wisdom, but the film takes an ugly approach before getting them there. Frequent nonmarital sexual encounters, partial male nudity, sexual sight gags and banter, constant references to body functions, pervasive rough and crude language. The Catholic News Service classification is O—morally offensive. The Motion Picture Association of America rating is R—restricted. Under 17 requires accompanying parent or adult guardian.