EL CAMINO: A BREAKING BAD MOVIE (2019)

Written & Directed By: Vince Gilligan Cinematography: Marshall Adams Editor: Skip MacDonald

Cast: Aaron Paul, Jonathan Banks, Jesse Plemmons, Matt Jones, Charles Baker, Robert Forester, Larry Hankin, Tom Bower, Marla Gibbs, Tess Harper,  Brendan Sexton III, Kevin Rankin, Krysten Ritter, Bryan Cranston 

Fugitive Jesse Pinkman runs from his captors, the law, and his past.


If you are a fan of the series this is a must-see as it doesn’t Disgrace the legacy of the show as some finales can do. It adds to it a little. Though for those who had their own fantasies and theories about what happens to Jesse Pinkman after he drives away at the end of the series. This gives a definite answer rather than what some fans might have to imagined or believed. Hopefully, you will find it better. What do you think.

This is partially difficult to review as it helps the viewer to know what came before it by watching the series. It’s not a must but probably helps your enjoyment and understanding but it is entirely necessary. As it also does a good job of exposing itself and its scenes as well as its motivations.

The film plays more like an epilogue of the series but also feels kind of like a finale for the series and the remaining lead character you care about. As many major characters cameo in this film.

The film is a slow burn that could easily have played like two episodes from the series. As they are expansive yet tiny and meticulous.

As we watch the character of Jessie maneuver his actions and motivations are hampered by the past. As we see various flashbacks that tell their own story but explain Jesse’s Actions and kind of work as inner monologues of sorts. Though they help explain where he is going or at least heading to.

He is still down and dirty and trying to make an escape where it either seems like he is having the worst luck or a comedy of errors keeps happening to him.

While certainly a crime thriller it also works as a character study and as goodbye in the form of a kind of side story to the series. That helps explain exactly some of his treatment and trauma. As well as letting the character continue his story and get his own proper ending.

Grade: B

JOE BELL (2021)

Directed By: Reinaldo Marcus Green
Written By: Larry McMurtry & Diana Ossana
Cinematography: Jacques Jouffret 
Editor: Mark Sanger 

Cast: Mark Wahlberg, Reid Miller, Connie Britton, Gary Sinise, Charles Halford, Maxwell Jenkins, Morgan Lily 

The true story of a small town, a working-class father who embarks on a walk across the U.S. to crusade against bullying after his son is tormented in high school for being gay. Meanwhile, he realizes he is instead missing out on his son’s life back at home.


Though based on a true story it’s a movie that feels more ideal in its instincts to produce a message. Even as the exact message isn’t quite so clear and makes the film feel awkward about its own subjects.

As it is definitely a message movie that ends up being about the main character rather than its message. As we follow an all-American mid-west manly man the films seems to take aim at trying to court for the film. As he deals not only with his son’s sexuality but the lack of acceptance he offered which leads to tragedy and guilt that threatens to Tear him And his family apart.

So the film seems aimed at the character trying to Make amends for his past. What the film is trying to do, Spread the message of his cause and humanize it into acceptance. 

Especially with a tough guy action star Mark Wahlberg is sensitive and open emotionally. Learning the lessons of his wrongs while also learning to be accepting. Even learning to fight for it. Hoping to open more audience members eyes and hearts to teach them about being open to others who are not like them, but help and protect them against prejudice. 

Though for as honorable as the character might be. It shows how hypocritical the character can be and how damaged he is by guilt. Allowing for a complex character, but makes the film More about him Then the message.

Luckily all the performances are believable and strong. Which is a particular strength of director Reinaldo Marcus Green in his previous films KING RICHARD and MONSTERS AND MEN he usually Gets grounded performances out of the stars more than expected by burying them so deep that it never feels Like showboating or a stunt. 

The film manages to stay on message by trying to be poignant. It feels heavy-handed but that might be what is needed in trying to send this film’s message. As not to be some kind of saintly or martyred movie or make one of the wrong characters. Instead of trying to make it a character study.

The film is admirable, we see the main character break down and cry. We watch him as he goes downtrodden and even beat up.  

Connie Britton’s character is the strongest throughout. As she is no-nonsense and always feels truthful. She quickly becomes the film’s heart. As she always seems in the right place with most scenes built to get an emotional reaction.

The film shows the horror of bullying and the prejudices you face when being LGBTQ+ in a small and small-minded community and what is going Against them. 

The film also manages to show some good people in the world and that through it all. We are all Messed up and have our own personal problems, but we should try to help and support one another. That maybe you dislike or choose to hate, has nothing to do with them and says something more about you.

The film spells it all out in the third act. If you think it might be too subtle. Those you love let them know you love and support them. Accept them for who they ate or it might forever haunt you literally.

This is a good-hearted film that feels like it is pandering to a degree. As the story is more told in the aftermath. While literally showing is to don’t judge another until you have walked a mile in their shoes.

The film didn’t seem to ah e much attention upon release. It was on my radar to watch especially with mark Wahlberg trying a more dramatic socially conscious role. Which is a kind of relief from his other usual roles where there is always a certain comfort that can feel Smug or overbearing. 

Even if it feels hypocritical and heavy-handed at times. Especially the Ending. Where it really hits home. As a tragedy with flashbacks. Though have to go with the true story and try to inform. What might have happened on the road. As the film ends up being episodic more about dealing with guilt. That strays from

The message. Especially with speeches that seem not that special and just more short homespun wisdom That could be said at group therapy or an AA meeting. As they Don’t Come off enlightening just basic 

Grade: C+

MOMMIE DEAREST (1981)

Directed By: Frank Perry
Written By: Frank Perry, Frank Yablans, Tracy Hotchner & Robert Getchem 
Based on The Book by: Christina Crawford 
Cinematography: Paul Lohmann
Editor: Peter E. Berger 

Cast: Faye Dunaway, Diana Scarwid, Steve Forrest, Howard Da Silva, Rutanya Alda, Jocelyn Brando 

This is a mother and daughter tale and partial biography as it is more Christina Crawford’s story and memoir. 


This movie already has its own reputation. Mostly as a camp classic. Not that it seems like it was intended that way, which is what makes it more enjoyable overall is that this was done with an earnestness. Seeking to be a Hollywood tale based on a bestseller that qualifies more like gossip. More a supposed peek behind the scenes at a legendary actress that by today’s standards would have maybe been a tv-movie. This seems to be a blueprint for future films of this type.

One wonders if it was meant to be camp with Faye Dunaway’s look and some of the raised ridiculous melodrama of some scenes. It sometimes feels like an homage to the women of classic movies and the types of movies. Ms. Crawford made it throughout her career.

As his film goes behind the scenes but constantly seeks to have an aura of glamour. The film isn’t as grand as it presents itself. As it stays mostly indoors and feels like it takes place more on sets.

The film isn’t a biography of Joan Crawford, but more of Christina Crawford and her years spent with her adoptive mother. Based on her book which became a bestseller. As it is a gossip piece which I am sure has helped and hurt its reputation. These days there are so many books like this that they barely make an impact. 

What gives the film its luster is Faye Dunaway over the top but it seems pitch-perfect performance which has been the anchor and mascot for this film. It seems particularly when it comes to drag performers too. A sort of early inspiration. It might have partially damaged her career at the time, but she gives it her all and makes it memorable. As soon as you are done with the film. She is the one thing you probably won’t forget. She is at the center of it all.

No matter what happens or who she is in a scene with the film And scene is all about her. Diana Scarwid Co-Stars as Christina Crawford. Has to endure and stand up to her. She holds her own but is nowhere near as strong or powerful, but gets full credit for surviving and not backing down

So much so that you barely really notice a thing or anyone else. It is legendary in its own right as it is still talked about today next to her best-remembered performances in films such as NETWORK and BONNIE & CLYDE.

The scene that helped me discover camp and made me Laugh. While Christina is in boarding school and she ends up fooling around with a guy in a barn. (The teenagers are all played by adult actors who look too old) another girl discovers them and yells “I’m Gonna tell” is so ridiculous and the tone is so over the top. Almost what you would believe a 9-year-old would tell.

So many memorable scenes that are like the greatest hits of a sort with the forced haircut, the wire hangers meltdown, or the swimming race. 

The film is melodramatic, though as flagrant as she is her behavior is somewhat to be expected of what we know now 

While the film is fine at times it feels overwrought and downright dull as you wait for the next over-the-top thing to happen. 

Grade: B-

SUMMER OF 85 (2020)

Written & Directed By: Francois Ozon

Based on the book “Dance On My Grave” By Aidan Chambers

Cinematography: Hichame Alouie

Editor: Laurie Gardette

Cast: Felix Lefebvre, Benjamin Voisin, Philippine Velge, Valeria Bruni Tedeschi, Melvil Poupaud, Isabelle Nanty 

When 16-year-old Alexis is caught up in the deceitful Normandy sea, David heroically saves him from drowning. And, this is how Alexis meets the person of his life. But, how long will this tumultuous, dreamy relationship last? Will the dream last for more than one summer, the summer of 85?


The film doesn’t go where you expect it to go. What keeps you guessing and mystified when it comes to his film is how it plays with time throughout and leaves you expecting the worse when things are mostly innocent 

It feels a bit similar to CALL BE BY YOUR NAME. As it is a coming-of-age love story between two males of intense feelings and obsession, but yet always feels a bit more of a thriller than a true romance. Though then again young love can be innocent and messy.

Even though nonchalant It’s not even truly coming out film. As it is all relatively handled with no big revelations. Though shows itself as a love story and not one of lust or dangerous obsession 

The film runs on expectations. So that as it goes along. You constantly feel a sense of dread. Always looking for clues, hints, or motives. 

All seems to go well until a girl is thrown into the mix. Even when she had the best of interests. Proving to be loyal to all.

The main characters are the rebellious carefree type versus an introverted romantic. At first, he believes it is all in his head and just an innocent friendship. Then he realizes he is being seduced. Even though the more aggressive character might be bisexual or a sensationalist, narcissistic and not prepared for his feelings. Especially being so young, not ready for the intensity.

By the end, you find instead of a thriller you have gone through a dark drama. That also feels like a string after-school special or a coming-of-age film that has thriller elements. 

Grade: B-

THIS IS THE NIGHT (2021)

Written & Directed By: James DeMonaco
Cinematography: Anastas N. Michos
Editor: Keith Fraase 

Cast: Naomi Watts, Frank Grillo, Lucius Hoyos, Madelyn Cline, Chase Vacnin, Bobby Cannavale, River Alexander, Max Casella, Steve Lipman, Method Man, Lenny Venito, Jonah Hauer-King

A teenager living in Staten Island during the summer of 1982 embarks on a quest that draws in his family members.


This is a sweet coming-of-age film. It is earnest and tries to give you an overview of the neighborhood, families, times, and atmosphere. So that it feels more natural. Which in a way only exposes how false it is at times. The problem is that it feels way too familiar for the audience.

It tells the tale of a family throughout two days that will come to define them. Each member of the family has to deal with a challenge and we see how they deal with it and overcome it.

Even if most of the film is the adventure of the youngest son and his mission to tell the girl of his dreams happy birthday and that he loves her. With plenty of traps and roadblocks along the way.

The film works as far as nostalgia taking us to STATEN island during the 1980s and while that is fun. Even putting at the heart of the film is the debut of ROCKY III. Which inspired and ties the films and its character together.

The film still feels way too familiar. It’snWorth watching if not necessarily a film fan or for a younger audience, but it offers no surprises nor any reason to really stay invested.

As even when young ladies are willing to sneak them into a bar and give them plenty of drinks out of nowhere. You can tell something is not right and it feels too much of a scene from the warriors.

So that by the end this feels more like an Italian American inspired television movie and while it might be more autobiographical for the writer-director James DeMonaco

It also feels more like a movie that has a checklist and makes sure it goes through the list one by one and on schedule. As the teen adventures Seem a bit like an homage to THE WARRIORS.

Even when it comes to the bully getting their comeuppance you can’t wait. Even if the film makes you wait a bit too long and his girlfriend gives him up a little too easily. It just makes her seem that much more innocent despite her father being the local heavy 

Even in the part that involves a character coming out of the closet while it’s Appreciated that the character is confused and not sure about who they are exactly. Was it necessary for them to do it in drag? Maybe that was the truth for the character and how they choose to express themselves, but it offers up a bonding Experience. It also feels a bit stereotypical.  Especially when it comes to acceptance from others who are just a little too quick. So the true film feels cookie-cutter. As everything is resolved in the end a little too neatly and finally.

The cast is impressive and the bigger names get a chance to show off in certain roles we might not expect. Especially Method man who seems like he is playing a minor role but is one of importance later on and as a known resident of STATEN island it is nice to see him represent. 

It could easily be seen as ironic that the film in question At the center of this film is ROCKY III, but it shows no matter what might be universally thought of Something. If you can identify with characters that bring you peace, pride, or inspiration that is all that matters, and how some characters are icons to communities and bring them together on the same wavelength. 

Though Bobby Cannavale is left with a more stereotypical role. That can be said of half the cast. Though Frank Grillo gets to play a more dramatic role it still has him involved in a fight scene. 

In the end, the film can be entertaining. It just feels like you have seen it before and has been built off of other films you have seen and never quite feels itself or fresh. Even if it has its heart in the right place.

GRADE: C

JUMBO (2020)

Written & Directed By: Zoe Wittock 
Cinematography: Thomas Buelens
Editor: Thomas Fernandez 

Cast: Noemie Merlant, Emmanuelle Bercot, Bastien Bouillon, Sam Louwyck, Tracy Dossou

Jeanne, a shy young woman, works in an amusement park. Fascinated with carousels, she still lives at home with her mother. That’s when Jeanne meets Jumbo, the park’s new flagship attraction.


This film will remind some audiences in the know of Titane. As they have particular storylines that are similar but are in Totally different ways.

The French film, TITANE is dark and about more than necessarily meets the eye. Where it has things to say about many subjects. This film Is sweeter and has no pregnancies though it is a fairy tale based On reality and tries to keep matters at hand. 

This film has a sweetness but doesn’t ignore its own implausibility. As it even has the character question her sanity. Though her own faith shows through. We in The audience begin to question as we see erratic behavior and every time there is something fantastical involving others we never see it as random there is a logical reason for it all. 

The film doesn’t shy away from sex but it doesn’t make it feel tawdry it feels erotic but more out of innocence. 

Even those close to her who doubt her and her sanity. We are left to wonder if they are doing it for their own self-interest and out of jealousy. 

As the main character feels like a typical one you would find in a quirky romantic French film. She looks and dresses like a shy teenager even though she is a young woman in her 20’s.

The movie starts off innocent and as it goes along it gets more serious and into more issues and questions that are surprisingly asked. That is usually left out in films with scenarios such as these. 

Noemie Merlant really shines in this film. She stays believable and strong even though her character can be weak at times and doesn’t speak up for herself. She seems to run away rather than confront. Though she gains our sympathy and soon finds ourselves rooting for her. As we watch from the beginning her character is a tomboy but wears such shapeless clothes we wonder if she is in arrested development. through it all even in various sex scenes. She still seems like an innocent more than anything.

Emmanuelle Bercot as her mother is also strong. As a hard-driven woman. She has had her heart broken quite a few times and wants to believe in love but finds herself defined by the company she keeps usually male. She wants the best for her daughter but that seems in the daughter more or less getting into a relationship and finding a man. As she tries to act more like her sister than her mother. She is tough to a certain degree but has a soft spot for her daughter that she rarely shows.

This is a film that might not always make sense but it does have a charm that is constantly on display and tries to always stay in reality. Even with its more fantastical elements.

Grade: B

UNDINE (2020)

Written & Directed By: Christian Petzold
Cinematography: Hans Fromm 
Editor: Bettina Bohler

Cast: Paula Beer, Franz Rogowski, Maryam Zaree, Jacob Matschenz, Anne Ratte-Polle, Gloria Andres De Oliveira 

Undine works as a historian lecturing on Berlin’s urban development. But when the man she loves leaves her, the ancient myth catches up with her. Undine has to kill the man who betrays her and return to the water.


Writer/Director Christian Pertzold, Always seems to bring nostalgia and powerful epic love stories into the modern age. 

The film feels like a short story compared to his other films that felt like full novels even if the same length. This just doesn’t feel as strong or as Rich. Making it feel somewhat lightweight, not as daring or demanding. Which can be forgiven. As not every movie needs to be a fraught tragedy. 

As this like most of his films is expressive, vivid, and powerful. Usually unforgettable with a romance that you might aspire to have and dream of despite their tragedy. To love is to gamble and lose big at times. Even when getting what you want it hurts to a certain degree and you lose or have to sacrifice a bit to be affected in the end.

Amazed by what you went through and proud of it. As an expression of passion in all ways. Your own epic story that is universal. Only you can truly understand. As you have your own point of view and are telling this particular tale as a memoir. That is what went through my brain while watching this film.

This film feels like a more modern fairy tale, but the emotions are deep. As it is detailed and textured as one without the lore though. The tragedy is that the tale feels like it ends too soon. Never knowing what you have until over and the characters obsessing over it. Raising it to a level of legend.

Think about how you feel when you break up with someone and feel you will never get over them. Then you meet someone new and realize how bad the other relationship really was. As you never reached the same happiness or highs as is the new one

This film Feels too short. Yet it doesn’t disappoint as it has the same strength and emotions affecting two lives immeasurably but seems to have the substance of a shorter story. That here gets by more on emotions. A brief romance that packs a full love story rather than one that takes place over a longer time period. 

That has an intensity where you wonder if given more time together. Would it have flamed out? Had more stories to tell that reinforced and made this love story as rich as Uncle Scrooge’s vault from DUCKTALES or with time made to realize it was a footnote and more a blueprint for future relationships to revolve around and know what you want and how you want to feel.

It Seems after romantic epics such as PHOENIX and COLD WAR. That Writer-Director Christian Petzold has set his sights on a smaller story that while not having as much of an expanse. its depths are just as strong

Grade: B

PUMPKIN (2002)

Directed by: Anthony Abrams & Adam Larson Broder
Written By: Adam Larson Broder 
Cinematography: Tim Shurstedt
Editor: Richard Halsey & Sloane Klevin 

Cast: Christina Ricci, Hank Harris, Brenda Blethyn, Dominique Swain, Marisa Coughlan, Sam Ball, Harry Lennix, Nina Foch, Caroline Aaron, Melissa McCarthy, Julio Oscar Mechoso, Michael Bacall, Erin Bartlett, Amy Adams, Michelle Kruseic, Shaun Weiss 

Perky, perfect Carolyn and her Alpha Omega Pi sisters plan to win Sorority of the Year by impressing the Greek Council with a killer charity: coaching mentally challenged athletes for the regional Challenged Games. When Carolyn’s assigned to coach Pumpkin she’s terrified at first, but soon sees in him something she’s never seen before: gentle humanity and honest clarity that touches her soul. To the horror of her friends and Pumpkin’s overprotective mother, Carolyn falls in love, becoming an outcast in the process. As Carolyn’s “perfect life” falls apart, Pumpkin teaches her that perfect isn’t always perfect after all.


This film tries to be subversive in that it tries to satirize 1950s forbidden romance melodramas. While also trying to be one with a few modern sensibilities. As well as more humor that tends to be cynical at times.

Where it seems like the whole world will be shattered because of this romance between a sorority college girl and a mentally challenged man she meets while trying to do charity work.

That at times can be seen as in bad taste, but ultimately remains sweet. 

Most of the characters here come across as stereotypes at first until the film allows them to show more depth. At first, it seems fairly typical but then becomes more subversive.

Though there is sex it is delivered in a more subdued manner, Except for one scene.

The film plays more like a teenage melodrama. Though too mature for them. So it might appeal to college-aged audiences. It is also a film full of bright colors 

The film seems to try to be naughty and a little controversial to gain more interest. Almost like a stunt, but as it goes along proves itself to be a little more conventional.

Though it does show a nice transition for the characters. From living their lives in a kind of young dreamworld and then being awakened to the harsh truth of reality and the world outside of college.

The soundtrack is very catchy and achieves a life of its own. As I was obsessed with it and one particular song immediately after watching the film. It ended up being the thing I remember most about the film:

The reason I discovered it was the cast. Especially Star Christina Ricci. As this was a time when she seemed to be the independent film girl. After BUFFALO’ 66 and THE OPPOSITE OF SEX. Though this doesn’t rise to the same level as those films. Here she gives an earnest performance. As most of the film is built around her character.

This feels like a film that is missing writer/director John Waters’ touch as he might have made it a little more sharp and grotesque to a degree. Though the filmmakers here seem to win for his territory with a little more modesty and sweetness, that can be bitter, with touches of bad taste. Lacking the camp needed. As a throwback to simple times and exposing the ridiculous class traditions with humor 

GRADE: C

KIMI (2022)

Directed By: Steven Soderbergh 
Written By: David Koepp
Cinematography: Peter Andrews
Editor: Mary Ann Bernard 

Cast: Zoe Kravitz, Byron Bowers, Devin Ratray, Robin Givens, Rita Wilson, Derek Delgaudio, Erika Christensen, Charlie Halford, Jacob Vargas, David Wain, Andy Daly 

During the COVID-19 pandemic in Seattle, an agoraphobic tech worker discovers evidence of a violent crime while reviewing a data stream, and is met with resistance and bureaucracy when she tries reporting it to her company. To get involved, she realizes she must face her greatest fear by venturing out of her apartment and into the city streets, which are filled with protestors after the city council passes a law restricting the movements of the homeless population.


For a Steven Soderbergh film, especially a thriller he doesn’t really really execute as much visual panache as usual.

The film is a fine thriller that feels a little bland and straightforward at times. Even as it is partially inspired by films such as BLOW OUT, BLOW UP and even the conversation, that seems to only count in characters and story. As the visual style is direct and more clinical.

It feels like a modern-day Brian De Palma-inspired film only without the visual dynamics but the conspiracy thriller elements still in there. 

Zoe Kravitz is what really shines throughout. As she is finally given a lead role in which to flourish and show her talents after so many supporting roles in other films. She even has an interesting walk/run that fits her character and seems cute. It is also a little funny. 

The look they give her sets her apart and makes the viewer especially focus on her as the backgrounds are usually dull color-wise and she is so colorful that your eyes immediately focus on her. Her beauty also helps shine Through.

The film’s first half makes you believe this will be more of a contained thriller and is a little slow but that is to set up the characters and the story. When it comes to the second half we venture outside more and the plot comes more to the forefront but isn’t as layers as in the first half 

Luckily in the first half though we are more contained. The film expands the space of her apartment so that it feels luxurious.

In the end, the film is fairly predictable but will keep your interest. Don’t know if it was always meant to be so small scale or if it was more due to covid but it makes it work for it.

Grade: C+

28 DAYS (2000)

Directed By: Betty Thomas 
Written By: Susannah Grant 
Cinematography: Declan Quinn
Editor: Peter Teschner 

Cast: Sandra Bullock, Elizabeth Perkins, Viggo Mortensen, Dominic West, Margo Martindale, Diane Ladd, Reni Santoni, Alan Tudyk, Azura Skye, Steve Buscemi, Michael O’Malley, Marianne Jean-Baptiste, Susan Krebs 

A big-city newspaper columnist is forced to enter a drug and alcohol rehab center after ruining her sister’s wedding and crashing a stolen limousine.


This movie is charming in its own way.  As it is primarily a comedy but it gets deeply dramatic and doesn’t always provide a happy ending. 

This movie marked a difference In Sandra Bullock’s career. Where she seemed more interested in trying to stretch past her girl next door image and have more edge to her but also kind of realized her limitations. So she was trying to have a middle ground here. 

The film is too light to really be too hard-hitting, but gets to the emotional landscapes that it needs to and hits those aspects hard.

It’s a relief to watch a film where there is a hint of romance but treats it more for what it is a connection that can easily be read as a distraction from your true problems. 

While Sandra bullock is engaging it’s the side characters that really pepper the film

And make it spicy. They are also more the heart and dramatic pulls of the movie. Luckily though Sandra bullock is clearly the star. She lets the supporting characters breathe enough for us to care about them. Even if some stay one-dimensional.

Even though in hindsight the plotline with Azura Skye’s character would have been more recognizable and maybe a more informed outcome. Though she is one of the more heartbreaking. Elements of the film And definitely memorable characters. 

Though Viggo Mortensen comes into this film Like a true movie star and makes his presence felt he still feels more like a minor element to the film As a whole. Whose most dramatic and Piercing scene is a throwaway one at a gas stop. Though throughout the oozes charisma.

Though when the film hits her dramatic past. It does feel right and strong. Yet luckily never quite overdramatic. 

When I first saw the film I wasn’t prepared as it seemed to ride the middle as far as genres and quality. Watching it again recently though it might not have a typical happy ending film Makes you feel comfortable. As the film is infinitely rewatchable.

The only problem with the film Might be that In trying to be so many different things instead of going in-depth it kind of flirts and gives a bit, little too passable when it comes to everything. 

We are just given enough to feel or be informed about characters, situations, and the road to recovery. While feeling a bit spiritual but not the hokey hippie kind.

In the end, it shows the power and charisma of Actress Sandra Bullock that lasts to this day. As she is one of the last true stars of the big screen. Where audiences follow her no matter what genre of film she stars in and is still usually a hit of some kind. Yet she never comes across as the stereotype of a star. 

Grade: B-