Best Dramas

A new teacher at a stuffy prep school in 1959 (Robin Williams) inspires his students to capitalize on their natural talents and develop a passion for life because they only have one shot and in 60 years or so they'll all be worm-food. Each boy starts to act on Keating's dynamic ideas with explosive consequences -- both good and bad.

This is an outstanding drama that'll inspire you, especially if you've fallen into a life-stifling, growth-stultifying rut of drudgery.

"Snow Angels" is easily one of the most potent and realistic dramas ever filmed. The story is about a handful of ordinary couples, young and older, in a NE hamlet at winter time (filmed in Nova Scotia).

Some criticize that the film is depressing but it's inaccurate to say that the WHOLE movie is depressing. Nor does the film leave the viewer in a totally depressed state. There's a lot of beauty and hope amidst the shadows and darkness; and it left me pondering many things, including the numerous real-life people the characters remind me of. Certainly one storyline is tragic and depressing, but that's not the whole focus of the story (altough it is the dominant focus). The film is about romantic relationships in various stages and whether they're successful or not depending upon their responses to the inevitable crises & temptations of life.

"Snow Angels" IS reality in every sense -- storyline, cast, acting, music, etc. It's brilliant. Once seen, you'll never forget it.

Based on the 1964 civil rights workers' murders in Neshoba County, Mississippi, the film details the investigation of two FBI agents who travel down there to solve the case. One of them (Willem Dafoe) does everything by the book while the other (Gene Hackman) mingles with the people to sniff out the culprits. Their vastly different approaches create tension, but they both have their strengths and weaknesses.

This is just a great film about the injustice of one group of smallminded people wanting to suppress another and those who seek a more perfect world.

Hackman stands out as the main protagonist, but Dafoe is good as well. Brad Dourif and Frances McDormand play the couple that the Hackman character zeroes in on. He knows the husband is guilty and his wife is the weak link because (1.) she's also oppressed and unhappy, (2.) she sees the injustice going on and doesn't like it, but knows there's realistically little she can do to stop it without incurring the wrath of her husband & his colleagues, and (3.) she enjoys the agent's flirtations and he senses it.

"Grand Canyon" (1991) is essentially about the 'grand canyon' that exists between the races and the haves & have-nots in America. It starts out powerfully with middle-aged lawyer Kevin Kline taking an unwise detour in L.A. and breaking down on the bad side of town; the situation turns threatening when a group of thugs harass him, but a tow truck driver comes to his aid (Danny Glover). Thus begins a relationship that positively impacts both of their lives and the lives of those connected to them.

One subplot involves Kline's love/lust for women (like any red-blooded male). He and his wife (Mary McDonnell) are experiencing the empty nest syndrome; he naturally veers toward an affair at work. There's an early scene where the potential "other woman" (Mary-Louise Parker) comes into his office at work and puts her hand on his. It's a simple yet potent scene. Is it wrong for Kline to have feelings for this woman? Should he risk destroying his marriage by pursuing a more intimate relationship? And, if he does commit adultery, can he still change his mind before it's too late? Will he?

That's just one subplot amongst many. Some reviewers feel there are TOO many stories going on. I suggest they stick to lighter fare, like maybe "RV" (giggle).

"Grand Canyon" is a film of the most eminent order; a masterpiece.

Despite his obvious flaws, McMurphy (Jack Nicholson) is the protagonist of the story. Although he's impulsive and has a weakness for the female gender, which got him into prison in the first place, he has a spirit of freedom and life. His problem is that he needs to learn a bit of wisdom; then he can walk in his freedom without causing unnecessary harm to himself and others.

Nurse Ratched, on the other hand, represents legal-ism, which is an authoritarian spirit obsessed with laws or rules. This is clearly seen in the World Series sequence: Even though McMurphy gets the final vote he needs for his ward to watch the Series Ratched refuses to allow it on a technicality. When McMurphy then PRETENDS to watch the game and works the guys up into a state of euphoria, Ratched reacts with sourpuss disapproval. That's because legalism is the opposite of the spirit of freedom, life and joy. Legalism is all about putting on appearances and enforcing the LETTER of the law (or rule). The problem with this is that "appearances" are not about reality and, worse, "the letter kills."

Despite his folly and mistakes, McMurphy does more good for the guys in his ward than Ratched and the institution could do in a decade. How so? Not only because he has a spirit of freedom and life, but because he loves deeply, yet only those who deserve it – the humble – not arrogant abusers.

The film attempts to show the German, American and French sides of the war. Brando stars as a young German officer who becomes increasingly disillusioned with Hitler's regime and the world war he started. Martin plays a worldly Broadway musician who struggles with cowardice. Montgomery Clift's character is a poor, naive Jewish American who falls in love with Hope Lange and fights the anti-semitic guys in his platoon.

Most reviewers note that Brando's German storyline is more interesting than the two American story lines, which is true, but repeat viewings grant the viewer more appreciation for the latter.

There are three incredibly gorgeous women featured in the picture: Barbara Rush, May Britt and Liliane Montevecchi. Rush is Martin's marriage-minded gal, who flirts with Brando early on; Britt plays the luscious sexpot wife of Brando's captain (Maximilian Schell); and Montevecchi performs as a French girl who initially insults Brando (because he's a German occupant) yet ultimately falls for his charm.

There's quite a bit of action (France, Northern Africa, etc.), but this is more of a war DRAMA where the emphasis is on the characters and their stories. So if you're looking for a mindless action flick this is not the one to see. This perhaps explains some of the less-than-stellar reviews. Yet, make no mistake, "The Young Lions" is without a doubt a WAR film. It's also a masterpiece of cinematic art, not to mention one of Brando's most mesmerizing performances.

"September Dawn" (2007) is a powerful and unforgettable film. While it's a Western, it's also a historical drama. It details the long covered-up massacre at Mountain Meadows, Utah, on September 11, 1857 where a group of Mormons murdered well over a hundred settlers traveling from Arkansas to California. The settlers stopped in Utah to rest and resupply and the Mormons graciously allowed it. Unfortunately, in the ensuing days the decision was made to slaughter the settlers, likely due to paranoia over the brief "Utah War" that was going on at the time (between the Feds and the Mormon settlers in Utah) and also because of the Mormons' severe persecutions back East in the 1830s-40s, which provoked them to seek sanctuary in Utah in 1847.

Brigham Young was the president of the LDS denomination at the time and the governor of Utah. Was he involved in the decision to slaughter the innocent settlers? Although Mormon leaders deny this to this day it's very probable for two reasons: (1.) As the LDS president and Utah governor it's unlikely that something of this magnitude would have been carried out without Young's authorization; and (2.) the leader of the slaughter, John D. Lee – the only man convicted and shot for the massacre – was the adopted son of Brigham Young. The film theorizes that the murderers took an oath of silence and that's why the massacre has been covered-up by LDS officials to this day, although Lee admitted to being the scapegoat before his execution. Chew on that.

Although it's sometimes a hard film to watch for obvious reasons, "September Dawn" is a worthy modern Western that dares to sneer at political correctness and tell the truth, at least as far as can be done by the documented facts. Sure there's some fictionalization, but all movies based on historical events do this to some extent. I guarantee you that "September Dawn" is far more historically accurate than heralded films like "Braveheart." Since the film is so well done I can only chalk up the ridiculous criticism to intolerant liberal ideology. After all, the film dares to show Christians in a positive light being led to the slaughter literally by wacko non-Christian religious fanatics. Not that all Mormons back then or today are wacko religious fanatics, not at all, but that group that murdered the innocent settlers definitely were, and those who authorized it as well.

Based on the hit song by Bobbie Gentry, this 1976 film is an outstanding coming of age drama about the potential romance of two teens in the backwoods of Mississippi. The film really captures the deep south (shot in the heart of Mississippi) and both Glynnis O'Connor and Robby Benson shine as the likable protagonists. Benson impressively tackles the tough role of a teen tormented by the guilt of a horrible mistake while O'Connor brims with love and compassion.

"Ode to Billy Joe" could only be released independently today as it refuses to be politically correct and dares to show the awful truth about this generation's sin du jour.

"Last Summer" is a unique coming-of-age film featuring a fascinating study of the herd mentality: Alone, the three main characters are normal teenagers, but together their inhibitions and sense of morality diminish. Set at one of the most beautiful beach settings on the East Coast, the film hints at the possibility that Fire Island itself is an accessory in unleashing the youths' disturbing deviance.

But, mostly, this is a commentary on the dark side of hedonistic adolescence and the power of a sociopath, meaning Sandy. Her maniacal laugh, what she ultimately does to a seagull, her treatment of Rhoda, and her manipulation of the two naïve boys, testify to this. Naturally, entry into Sandy's clique is the admission of some past act of cruelty. Why? Because she subtly revels in cruelty and despises compassion.

This is an outstanding drama that proves that ordinary life conveyed effectively is more engaging than the most overblown CGI-laden blockbuster with constant "exciting" things going on. Those types of movies have their place, of course, but they're usually only good when they include elements of ordinary life in which the viewer can relate (2009's "Star Trek" and 2013's "Star Trek Into Darkness" are good examples). As my title blurb points out, "The Horse Whisperer" is so potent it's a veritable spiritual experience; you just have to be in the right mode for a long drama.

Why do I call "The Horse Whisperer" a veritable spiritual experience? Because everything about it works to produce this effect – the story, the music, the cinematography, the locations – and maybe especially because it's a film about healing. Both Grace (Scarlett) and the horse desperately need healing, but so do Annie and her marriage; and I think maybe even Tom Booker.

I don't know how else to describe "The Horse Whisperer" except to say that it's just a beautiful film and easily one of the greatest dramas ever made. If you love great films like "Grand Canyon" (1991), "The Green Mile" (1999), "Whale Rider" (2002) and "Dances With Wolves" (1990) you will also love this one. "The Horse Whisperer" shares qualities of these excellent movies, but is unique.

Let me share a powerful scene from late in the film (don't read further if you haven't seen the movie, but it's only a mild spoiler at best): Booker tells Grace about this Blackfoot boy whom he was friends with and who became a paraplegic after an accident. Tom would visit him now and then, but the spirited boy he once knew was gone. It was as if he "just went somewhere else." Grace responds, "I know where he goes."

Robert Redford in his prime stars as David Chappellet, a taciturn loner from Colorado, who competes with an underdog American team for Olympic gold in Europe. Gene Hackman co-stars as the coach who tries to temper Chappellet's narcissistic and reckless drive for glory.

"Downhill Racer" is reminiscent of 1966's "The Blue Max" in that both films are about an unlikable loner who is ruthlessly ambitious in his area of skill and functions as a fish out of water in the social circles to which he's thrust. It goes without saying that if you liked "The Blue Max" you'll probably like this one too.

A teammate criticizes Chappellet for not being a team player and another guy responds, "Well, it isn't exactly a team sport, is it?" It takes a very certain kind of individual to be successful at downhill -- someone who's ultra-daring and bold; someone with a wild, reckless edge balanced by the necessary discipline to train and compete. Redford effectively plays such a person here. He rises up in the ranks to become the American team's only true hopeful; the coach attempts to keep him under reigns and criticizes his individualism and recklessness even while he knows these are the very qualities that makes him a winner. Throughout the picture Chappellet and the coach act like they don't like each other at all, and it's true because Chappellet is a loner in the truest sense, but ultimately the coach is squarely on the young racer's side: When it comes time for the vital Olympic run the coach looks into Chappellet's eyes and confidently states, "You can win this."

This is a biography of the renown French artist Henri de Toulouse-Lautrec from the 1890s who had very short legs and grew to stand only about 4'11" due to an accident and bone disease. Although he was from an aristocratic family he chose to live alone in Paris to pursue his art career. He would spend time at a local cabaret, Moulin Rouge, where he'd find inspiration for his art, as well as fuel for his increasing alcoholism.

Although Henri (José Ferrer) was brilliant artistically & intellectually, he understandably had a poor self-image due to his dwarfism, which was constantly reinforced by various mean-spirited people. Yet, he discovers love for the first time when he meets a spirited woman bred in the cobblestone jungles of Paris (Colette Marchand). Will this love enhance his life or ultimately poison him?

You really want to see Henri find true love, happiness and victory, despite his deformity, but his cynicalism and alcoholism sadly enshroud him.

The story is both entertaining AND thought-provoking. My wife & I had some good discussions after the film. For instance, real-life people & couples that the story brought to mind, the nature of existence as "unattractive" and unloved, missed opportunities thrown in our laps due to poor self-image and addictions, being a "has-been" and a "continue-to-be", etc.

There's another significant female character who shows up in the third act. She's NOT embarrassed to appear with Henri in public like the pathetic Marie Charlet. This is an important part; take note.

The Grim Reaper (i.e. Angel of Death) comes to take billionaire industrialist Bill Parrish (Anthony Hopkins) but instead decides to take a holiday in the corporeal universe by possessing the body of a young man who just recently died (Brad Pitt). Death's deal with Parrish is that, as long as he's entertained, he'll delay Bill's death. Mr. Death emerges as a mysterious stranger with child-like qualities known as 'Joe Black.' His "holiday" is complicated when he falls in love with Parrish's daughter (Claire Forlani).

This film is 3 hours long but is so captivating that it feels shorter than most 90-minute mindless action flicks. The plot is reminiscent of other good "fish out of water" stories like Spock in Star Trek, etc. Yes, it's outlandish but the film expertly presents the bizarre situation in a totally believable manner. In other words, this is indeed a serious drama, which nicely balances out the heavy moments with lighter (humorous) touches. I would compare it to "The Green Mile" which was another long drama with supernatural touches and wholly captivating.

Despite its outlandish premise, "Meet Joe Black" consistently offers profound insights to the most vital topics of the human experience -- love, life, death and numerous others (e.g. betrayal, hostility, comeuppance and the mysterious beyond).

One good example is when Parrish's son-in-law offers a definition of love to Joe Black (aka Mr. Death): To know the worst thing about someone and it's okay.

This is just one example; the film is filled with such insights. ”

"Instinct" is a psychological drama/thriller that entertains but also makes you think and ponder: How free are we really in society? Are you a giver or a taker? A blesser or an abuser? A liberator or a controller? How can you be freer? How can you escape the manipulations and shackles of others, of society, of "government"? How can you walk free of "the game"? And so much more, like the "doctor" learning from the patient and the humility it takes to learn from someone who's "under" you.

Some people criticize it as a mix of "Gorillas in the Mist" and "One Flew over the Cuckoo's Nest," which is only valid on a surface level. I've seen the latter film (a great film) and "Instinct" stands on its own; in fact, it's quite unique, which is a sign of greatness. The movie stands or falls on Hopkins and Cuba Jr making the characters and their story come alive and seem real to the viewer. They succeeded for my wife and me. Within 20 minutes we found ourselves absorbed into the story and the characters.

Some critics, like Roger Ebert, complain that the film takes on too many topics or messages, but I never got this impression, nor did my wife. There are the main themes—the limitations of freedom in conventional society and the abuse of controllers (or "takers")—and there are a few subthemes, like the flaws of our prisons and mental institutions. The film never confused us or gave the impression that it cut off more than it could chew. If you appreciate films like "Grand Canyon" and "One Flew over the Cuckoo's Nest" you'll probably value "instinct."

Some have criticized the film as an imbecilic fantasy, arguing that a simpleton like Gump would never become successful. It's true that the picture exaggerates Forrest's successes and experiences, and in that sense it's not realistic, but the film plainly reveals WHY he experienced continued success throughout his life. We can all learn from these little gems of wisdom:

• Whatever your I.Q., zero in on the areas for which you have a real talent. - Focus on those gifts and master them. Don't be a jack of all trades. If you chase 8 rabbits you'll catch none. - Mastering your talents will take HARD WORK (which explains why lazy people are never wealthy, unless they inherit it). - Whatever you do, do it WITH ALL YOUR HEART. - Love deeply and cultivate deep loyalties (e.g. Jenny, Bubba & Lt. Dan). Loyalty is underrated. - Be patient and slow to judge (unless someone abuses another person). - Allow others the freedom to choose and make mistakes, even if it seems like it takes forever for them to learn from them. - If something or someone STINKS, reject it and stay away from it (remember the prostitute?). - Keep your word. - Pray and have FAITH. - Keep a humble spirit no matter how successful or great you become.

The story is set in a California high school in 1982. What makes "Fast Times" work so well is, despite the goofy Spicoli antics, it honestly attempts to depict the high school/teenage experience in all it's glory & shame, good times & bad. Too many films of this ilk focus on raunchy shenanigans and go no deeper. "Fast Times" doesn't make this mistake. The film features quality characters with great depth and the viewer experiences (or re-experiences) the fun/painful high school years through them. Although there's a little nudity and sexual explicitness it's not overkill and, besides, it belongs in a film that endeavors to honestly depict the high school experience, otherwise it wouldn't be true-to-life; in other words, it'd be a lie.

Damone is a great character with his smooth-talking mesmerism. He strongly believes in putting on airs to succeed and conceals any weakness. If he falls flat, so to speak, he immediately covers-up and acts like nothing happened. Never advertise your failings or the savage wolves will tear you to pieces, he seems to think. Many of his pithy sayings & beliefs are absolutely true, e.g. "Wherever you're at, that's the place to be." In other words, "Live in the moment." Although he uses a girl as a sex object and swiftly loses a good friend & follower as a result, I found it interesting that he later genuinely apologizes, which shows humility and character. The friend then sees the humanity behind Damone's smooth-talk and properly opts to forgive & forget. This is great stuff.

Late in the film we observe Stacey make a huge mistake and suffer the consequences. It's to the movie's merit that this episode is genuinely heart-wrenching, especially considering that the film's largely a comedy. Then her brother unexpectedly shows up, faithful and dependable; he doesn't say much but it's clear he loves his sister dearly. It's scenes like this that propel "Fast Times" head & shoulders above the competition.

Another sequence that hits home is when a certain character humorously fantasizes about his dream girl, but it goes too far and... (I can't give it away, but it's totally hilarious and true-to-life).

This is survival drama about a group of men who crashland in the Libyan desert. A German airplane designer (Hardy Krüger) amongst them suggests utilizing the workable remains of the wreckage to create a new Frankenstein plane, "The Phoenix," and fly out. Although his scheme is initially perceived as mad they soon realize it might be their only legitimate way out.

Even though "Flight" is a survival adventure it's just as much a drama since the setting is stationary (a relatively small area of desert) and there's very little opportunity for action, except the occasional punch or two. The action here is the tension between the men. First and foremost there's pilot Towns' friction with the *beep* airplane designer, Dorfmann. Towns (James Stewart) is a man of old-fashioned practicality whereas Dorfmann is a visionary. Between the two is Towns' assistant, Moran (Richard Attenborough), who understands & likes Towns but sees the genius of Dorfmann.

A stiff-upper-lipped British officer and his sergeant provide more tension. The officer always seems to make the quasi-heroic decision that, while admirable on the surface, is usually the dumbest choice. The sergeant realizes this and is stuck between a rock and a hard place. Does the British Army's chain of command mean anything in such a survival situation? Should he follow this boneheaded officer to a premature grave in the name of respect and loyalty or should he follow the wiser choices for the sake of survival? Towns despises the sergeant for choosing the latter, but is he really wrong? It's debatable.

Other notables are on hand, like Ernest Bornine, Christian Marquand, George Kennedy and Ian Bannen. Borgnine's excellent as a half-crazed employee sent home in the company of his doctor, played by Marquand. One passenger resorts to constant joking and mocking to cope with the situation (Bannen).

The first and greatest disaster film about an ocean liner that gets turned upside down by a tidal wave and the band of survivors who must find a way out by traveling up to the bottom ship! While this is a disaster film it's also very much a drama.

The film has a great cast and potent themes: How can God be good if he allows suffering, death and evil? Gene Hackman plays the passionate reverend who has it out with God Himself at the end, even while he becomes the Christ figure.

Tom Hanks plays the head Death Row guard at a Tennessee prison during the Depression. A new inmate is introduced, a hulking black man named John Coffey (exquisitely played by Michael Clarke Duncan), who is condemned to death for the rape and murder of two little girls. Hanks and his guard friends slowly become intrigued by the seemingly pure-hearted giant and begin to realize that he is eminently gifted in a decidedly supernatural way; they conclude that there's no way he could be guilty of the crime. If that's the case, who is guilty? And will the guilty party get away with it.

"The Green Mile" is a 3-hour film, way over my limited attention span, and yet it is somehow utterly engrossing, even on repeat viewings. The film is character/dialogue driven, unique and wholly unpredictable. Please don't mistake this for a run-of-the-mill prison flick. The fact that it largely takes place in a prison in the 1930s is a secondary issue. This is an incredibly powerful supernatural mystery/drama.

Robert Duvall's idea was to do a modern take on the King David tragedy -- a man of God who falls into adultery and, then, possibly murder, albeit unintentional. Even so, Duvall stated in a 2010 interview that Sonny's sins aren't half as bad as David's since there's a huge difference between involuntary manslaughter and outright (indirect) murder.

"The Apostle" is the greatest kind of character study because it evokes strong opinions and discussions. Is Sonny a genuine but seriously flawed minister or just a phony who doesn't know it? Put another way, can a Christian be a "man (or woman) after God's own heart" and still commit serious sins? Does Sonny legitimately repent or does he evade repentance? Is the theology presented in the film shallow or heavy? Is resorting to righteous anger or corporeal punishment sometimes appropriate for the New Testamen believer or should Christians always be lovey-dovey doormats?

There's nothing like "The Apostle" in cinema. It's truly a unique film and it gets better with repeat viewings because a lot of what is conveyed is subtle and wordless. There's just the right amount of ambiguity that keeps the viewer guessing and the movie open to interpretation.

The film tells the story of New Englander James McKay (Gregory Peck), who goes out West to meet up with his fiancé, Patricia (Caroll Baker), on her father's huge ranch. McKay stirs up rivalry in the stud foreman of the ranch, Leech (Charleton Heston), and finds himself in the middle of a feud over water rights.

Also on hand are Charles Bickford as Patricia's father, Major Terrill, Burl Ives as the patriarch of the Hannessey clan and Chuck Conners as his brutish son.

"The Big Country" is engrossing from beginning to end. As with all great films, it has excellent character development. These people seem real. They have good points and bad. For instance, Patricia and her father are introduced as protagonists, but we slowly discover that they're selfish and immature in some ways. Rufus Hannessey starts out as somewhat of a villain but the viewer can't help but respect him as the story unfolds. Conners is excellent as the loathsome Buck Hannessey and Jean Simmons is perfect as the angelic owner of the watering hole.

I like how McKay refuses to take Leech's bait and handles him on his own terms. Also his refusal to try to prove his manhood to anyone other than himself. Despite his conditional pacifism (which is different than absolute pacifism), McKay proves he's ten times the man Major Terrill is. Note how he treats the Hispanic stableman and his family with respect and appreciation while Terrill speaks down to them like they're his slaves.

The reason the film's called "Lantana" is because lantana is a tangled shrub common in Australia, which represents the entanglements of the lives of the characters. It also symbolizes marriage since lantana has a sweet but bitter smell; it's beautiful with its flowers, but has "stings"; its branches weave together in a complicated way and in the story a woman is caught in the complexity of it.

"Lantana" is the antithesis of big, dumb, effects-laden "blockbusters," which -- oddly enough -- often become boring with their overload of "exciting" things going on. "Lantana" effectively shows that ordinary life is more interesting and compelling, if done right. Human nature is explored through a blend of passionate emotions, misconceptions, betrayals, anger, premature conclusions, vanity, duty, ethics, honesty, loyalty and repentance.

Two of my all-time favorite dramas are "Grand Canyon" and "Snow Angels". I place "Lantana" in their company. That's how good it is.

Robert Pattinson (the vampire dude from the Twilight films) stars as college kid who is forced to drop out when his parents unexpectedly perish. It's the depression and there aren't many job opportunities so he joins a traveling circus and ends up being their vet, which is what he was studying in school. He slowly develops a friendship with the main showgirl, played by Reese Witherspoon, who's the wife of the circus owner and ringmaster, played by Christoph Waltz.

I love films that involve circuses and carnivals, but -- surprisingly -- there aren't that many and, when there are, the circus is usually just a fairly minor side plot. This isn't the case with "Water for Elephants" as the circus IS the environment throughout.

One thing that prevented me from seeing "Water for Elephants" sooner is that it was advertised as a romance (look at the DVD cover), but it's so much more. The best movies mix genres and this is the case with this film. It's really an adventure-drama with elements of romance.

The film reminded me of DC's The Shadow comics from the 70s. Issue number 2 from 1973 dealt with a depression-era circus and was drawn by the outstanding Mike Kaluta. This comic had an impact on me growing up; the other Shadow comics did too, but this one in particular. "Water for Elephants" captures the awesome feel of this comic, despite the absence of The Shadow.

Michael, excellently portrayed by John Travolta, is an unorthodox Archangel enjoying his last mission (vacation?) to Earth. A supermarket tabloid from Chicago sends a team to Iowa to get a story and pictures; after discovering that he's a real angel they naturally want to bring him back to the big city.

What works best is that the story is essentially a fun-spirited road movie. William Hurt, Andie MacDowell and Robert Patorelli have an exceptional time meeting Michael and trying to escort him back to Chicago. Michael acts like a tourist having the time of his life, humorously wanting to see those silly little 'attractions' dispersed across the countryside (e.g. "the world's biggest non-stick frying pan," etc.) -- you know, the ones most of us adults roll our eyes at.

Lots of fun things and miracles take place along the way. What struck me the most about Michael (the angel) is that he has a true spirit of JOY. The simple joy-of-living-itself is all over him; and this has a phenomenal impact on the people around him. It's something most of us could learn from Michael.

The film has loads of laughs and, surprisingly, even some profundities.

This is a great updating of the classic movie about twin sisters who meet at a camp retreat and scheme to get their parents back together. Believe it or not, it's actually better than the original version. ”

Similar to "The Flight of the Phoenix, which was released the same year, and almost as good, "Sands of the Kalahari" is about plane crash survivors in the uncompromising desert. Stuart Whitman plays the alpha male antihero and Susanna York the babe he attracts. The climax is unforgettable.

This is a low-budget, straight-to-video film and shows some of the limitations thereof, like questionable acting by some of the peripheral characters (e.g. Casey and Luke's boss), but it's Grade A at heart. Seriously, this is an outstanding coming-of-age drama. Despite some of the questionable acting I was able to buy into the characters and their story. The people became "real" to me because they ring true. Excellent job by the director, writers and cast in this regard.

What I especially liked was the overtness of things pertaining to God, like prayer and such. Mainline films (whether theatrical or TV) have to be "politically correct" in order to appeal to as wide an audience as possible. Anything having to do with God is typically watered down, (but not always, see the pull-no-punches "Black Death", as an example). Thankfully, independent films aren't as constrained in this respect and can therefore address "touchy areas" like God and faith.

"Cutback" boldly shows the awful truth along with the gospel truth. Mistakes happen, anger is flared, divorce is threatened, tragedy strikes and intense doubts are vented. But amidst all this is the nobility of the central characters, which makes you root for them. Luke and Casey are bosom buddies, and it shows; there's a palpable attraction between Luke and Emily; Luke's dad is a weary cop who's understandably sick of being taken for granted; and his mother's a precious cornerstone of faith, but not without her own failings.

The film is also salted with inspirational scenes that are nigh life-changing. There's a potent discussion on integrity at a youth group that forces the viewer to check their own integrity; there's a marital counseling session that's similarly effective; there's a visceral response to tragedy and the equally visceral counter, albeit wisely subdued.

I'll be honest with you, this is one of the best coming-of-age dramas I've ever seen. It's inspirational, even enlightening, not to mention heart-warming and moving.

Rose (Kate Winslet) instinctively feels trapped and would rather die than marry some fake snob, no matter how handsome and wealthy (Billy Zane). She's attracted to Jack (Leonardo DiCaprio) because he's the antithesis of Cal. By contrast, her mother views Jack as a threat because she thinks that her only hope of retaining the airs of wealth is through marrying her daughter into a rich family. The "Unsinkable" Molly Brown (Kathy Bates) is another significant personality. She's new enough to "high society" to still relate to the "commoners" and so goes out of her way to help Jack and his brushes with the stuffy aristocracy.

it's the powerful subtext that inspires me most. What good is great wealth without love, virtue, respect and freedom? In her untainted teenage idealism, Rose would rather die than have this. Jack lacks the former but possesses the latter and, therefore, possesses the former as well, even if you can't see it (if you know what I mean). Rose instinctively senses this and therefore throws all caution to the wind. Some criticize that she goes too far by prematurely getting intimate in the vehicle, but – remember – she grew up with her life-stifling, greedy, fear-mongering mother and so when she finally gets away from her clutches she naturally goes overboard. Have some compassion! ”

If you ignore the lame skits at the freedom school on the reservation and some slow dramatics, "Billy Jack" is a worthwhile independent period piece. The title sequence is stirring with "One Tin Soldier", covered by Coven. It's interesting that Billy Jack became so popular with the hippies since he's an ex-Green Beret, rejects the concept of total pacifism and has short hair!

The film features a fascinating debate between Billy and Jean as to which tactics are better: A peaceable attitude that only resorts to violence when necessary (i.e. limited pacifism) or absolute pacifism, which refuses to ever turn to violence in response to evil. Contrary to the complaints of the film's critics, this movie is not hypocritical in that "it preaches pacifism while occasionally showcasing violence." It's only Jean and, by extension her school, that supports total pacifism whereas Billy advocates limited pacifism, only resorting to violence when justified.

"Billy Jack" shows that total pacifism does not work. It supports the balanced position advocated by the New Testament. Some erroneously think that the New Testament supports the idea of absolute pacifism, but it doesn't. Jesus' ministry team had a treasury box with loads of money and some of his workers carried swords for protection from thieves and murderers. Not to mention that Jesus got a whip and chased all the greedy fools out of the temple -- throwing over tables, swinging the whip and yelling. This caused the legalistic religious leaders to fear him and plot murder (Mark 11:12-18). Harmless pacifists don't inspire fear and provoke murder plots. Also, Romans 13 clearly states the righteous laws of human governments are God-ordained for the purpose of punishing criminals, including the right to execute when appropriate. The majority of sane Christians realize this, but there are a few extremists who refuse to be balanced with the Scriptures on this matter and insist that conflict and especially armed conflict is never appropriate. "Billy Jack" shows that some people are so degenerate and evil that radical opposition and even execution are sometimes just reactions.

The film also delivers in the area of women with Susan Foster standing out as the stunning Cindy. There's a great scene at the end with Cindy brandishing a rifle while wearing a jean jacket and purple hose and... it's just a great look, lol.

The film also explores spiritual issues: The youth of America rejected the religious indoctrination of their culture because it largely devolved into sterile, powerless, em-bondaging legalism. Billy Jack turns to Native mysticism and draws parallels to biblical Christianity. I'm not saying I agree with every jot and tittle of his claims, but some of them are interesting and he makes some valid points.

Three soldiers coming back from Iraq meet at JFK in NY where all flights are delayed due to a blackout. One soldier is older and getting out of the Army for good (Timothy Robbins), one has a serious groin injury and is trying to heal-up (Michael Pena) and the other is on leave to visit the family of a dead comrade (Rachel McAdams). They end up in a rental vehicle traveling across the country where they experience many sides of American culture and each other's deepest secrets, hopes and pains.

All three stars have great chemistry and Rachel McAdams (who I've never seen in a movie before) is a total revelation as Colee. Although Colee isn't highly educated she's not dumb. In fact, she excels socially and is the catalyst to hope and healing for the other two. A more beautiful, spunky, stimulating woman could hardly be found!

Both Timothy Robbins as Cheaver and Michael Pena as TK shine in their roles as well. Cheaver becomes the necessary father-figure in the trio and the others become increasingly concerned about the well-being of their temporary "dad."

Sean Patrick Flanery plays a hairless albino teen in East Texas, nicknamed Powder, who's discovered living in a basement after his grandfather's sudden death. As a ward of the state, he is placed in a boy's school where his uniqueness stirs up trouble.

For a film like this to work you have to buy into the character, and this is one of the movie's strengths. Flanery reveals his acting expertise in his utterly convincing portrayal of the gifted teen. Seriously, Flannery's Powder stands strong with the greatest misfits in cinema, like Nimoy's Spock and Hank's Forrest Gump.

Actually, the acting is great across the board: Lance Henriksen as the hardened-but-open sheriff, Mary Steenburgen as a psychologist who grows to really love Powder (in a motherly way), Jeff Goldblum as a science teacher who's astonished, Bradford Tatum as Powder's main enemy at school, Brandon Smith as a redneck deputy who instinctively hates him, but actually fears him, and the beautiful redhead Missy Crider, Powder's fellow student and potential love interest.

Roger Ebert complained that Powder's electrical tricks upstage his emotional insights. Really? I think it's the reverse. While the electrical tricks are there to maintain the attention of those with cinematic ADHD, it's the film's potent insights that stay with the viewer. Don't get me wrong, I enjoy the electrical tricks, but they're way too overdone to be realistic. At the same time, I understand why the writer/director (Victor Salva) included them -- this is a MOVIE, not real life; it's meant to transfer ideas AND entertain, and it does both pretty effectively.

Ebert also griped that the ending is unsatisfying the more you think about it. Actually, the ending makes a powerful statement and is reminiscent of the spectacular translations of Elijah and Enoch in the Bible. Let's just say Powder was too good, too spiritual, for the simpleminded and mundane.

I'm not saying the film doesn't have flaws or roll-your-eyes moments, but they can be overlooked in view of the big picture and the film's successes.

As for the paranormal phenomena featured in the story -- like psychokinesis, telepathy, extraordinary empathy and what the Bible calls "the word of knowledge" -- although some of these are exaggerated in the film I have a secret:

They're real.