42 christian movie review

Reviewed by: Curtis McParland CONTRIBUTOR

COURAGE AND BRAVERY—It takes great strength to resist the natural urge to fight back in anger when faced with persecution and unfairness.

Living God’s way, ultimately gives us both dignity and honor.

importance of standing up for what is right and defending the persecuted

difficulties of being a black baseball player and star in the 1940s

Wesley Branch Rickey —known for breaking Major League Baseball’s color barrier

Jackie Robinson

“Negro league baseball” (Wikipedia)

Pee Wee Reese —famous for his support of his teammate Jackie Robinson

Ben Chapman

RACISM —What are the consequences of racial prejudice and false beliefs about the origin of races? Answer

J ackie Robinson (portrayed by Chadwick Boseman ) was not only a baseball legend, but a man of courage that kept a strong faith , even during the most excruciating moments in a very racist culture. In a game divided by racial segregation, Robinson united the world of baseball by being the first African-American baseball player to play outside of the Negro Leagues.

But it isn’t easy being the first African-American on an all white baseball field. While constantly being discriminated against, hurled with insults, and even receiving death threats, Robinson has to take a stance for equality by setting a high moral example for us all.

However, we can really thank the owner of the Brooklyn Dodgers, Branch Rickey ( Harrison Ford ), for being willing to take on the task of bringing the very first African-American into the major leagues. Together, Robinson and Rickey made history and brought a nation divided by racial segregation closer, as a whole; even if it was through the all American sport of baseball. Rickey saw potential in not just Robinson, but many players in the Negro Leagues and was willing to take that first big step of bringing an African-American player into the ball club. It was his faith and yearning for equality that brought a divided game and nation closer together.

“42” is a phenomenal story of faith, trust, perseverance, love , and friendship. But most of all, the film’s realistic portrayal of racial segregation stirs up an audience’s emotions and really brings the historical events to life through its outstanding performances, musical score, cinematography, production design and direction. The 1940s are brought back to life for its two hours. Because of the film’s strong writing, I actually started to feel the emotional stress Jackie Robinson was going through. I can’t even imagine what it would be like to be in that man’s position.

In terms of the film’s content of concern, the script includes a handful of profanities, including a single use each of the s-word, a**, and b**tard. God’s name is paired with d*mn 4 times, and we hear the words S.O.B. (3) and h*ll (14). As one can expect from a film with the theme of racial segregation, the n-word is used a lot—close to forty times. We must remember that such discriminating language was used extensively during this time period. There’s also one racist comment towards Jews.

There is some mild sports violence, including Robinson getting beaned in the head by a pitch, spiked in the leg by an opponent’s cleats (we his stitches later on), and a few small scuffles between players, including a bench clearing brawl. Robinson also gets threatened a number of times (some including death threats) and smashes a bat against a wall in frustration.

There is some light drinking and smoking in the film, and there is some light sexual content, as well, including a reference to pregnancy and periods. Married couples kiss, and we see shirtless players in locker rooms, sometimes just wearing towels. A man is shown in bed with a woman whom we later find out he isn’t married to (they're mostly covered in sheets; he’s shirtless and she’s wearing a nightgown). Because of his acts, he eventually gets suspended because a Catholic organization threatens to boycott the Dodgers. We see the same man in his boxers in another scene. We also see Robinson kiss his wife’s chest tenderly (she’s wearing a nightgown), as he tells her that “she has his heart”. An opposing team’s coach implies that Robinson is sleeping around with some of his teammate’s wives (he isn’t). A joke also arises when one of Robinson’s teammates tries to convince him to take a shower with the rest of the team.

But amidst some mild language and light sexual content, viewers can pull a lot of positive and inspiring messages from “42”. Although Jackie Robinson’s Christian faith isn’t displayed in the film, the audience can still see that he is a man of character that never backed down and kept a very strong faith. Deuteronomy 31:6 comes to mind when watching Robinson’s bold character:

“Be strong and courageous. Do not fear or be in dread of them, for it is the Lord your God who goes with you. He will not leave you or forsake you.” (ESV)

1 Corinthians 16:13 also says to…

“Be watchful, stand firm in the faith , act like men, be strong.”

Even through the most excruciating moments of discrimination, Robinson stands firm, and it is apparent that he keeps a strong faith.

As a Methodist, Branch Rickey exercised a strong faith as well. He quotes some Scripture to Robinson. He tells him that when insults are hurled against him to just “turn the other cheek” ( Matthew 5:39 ) and to “ love his neighbor” ( Mark 12:31 ). Robinson also tells Rickey that God built him to last, and Rickey later says the same thing about Robinson to one of his colleagues. Rickey even reprimands one of his colleagues by telling him that “The Bible has a thing or two to say about adultery ” when he figures out there is an affair going on.

“In a game divided by color, he made us see greatness”. That tagline perfectly sums up the story of Jackie Robinson. He inspired many and made us see, well… greatness. Through his strong faith, character, and integrity, he earned not only the respect of many of his teammates, but fans. He made us see that we are created equal and that each and every one of us deserves a fair chance in life.

I highly recommend “42” with slight caution (ages 12-13+ based on maturity) due to its intense themes of racism, momentary language, and light sexual content. There are so many great themes and messages that we as Christians can use for discussion. May the legacy of Jackie Robinson live on. “42” is nothing short of a tribute to a man who made us see greatness.

“So God created man in his own image, in the image of God he created him; male and female he created them.” ( Genesis 1:27 —ESV)

Violence: Mild to moderate / Profanity: Moderate / Sex/Nudity: Mild to moderate

See list of Relevant Issues—questions-and-answers .

• Young people

PLEASE share your observations and insights to be posted here.

Film Review – 42

By ChristianWeek | May 17, 2013

Sports and spirituality are often closely tied to one another, even in recent years as society has become less and less willing to talk about matters of faith in public settings like professional athletics.

Keeping with that tradition comes the film 42 , a new biopic detailing the life and career of baseball legend Jackie Robinson (played by Chadwick Boseman), most famously known as being the first African-American player to break the colour barrier and play in the major leagues. Though not billed as a Christian film necessarily, 42 just might be the most Christian film we've seen from a major Hollywood studio in years.

Synopsis and technical notes

Written and directed by Brian Hedgeland, 42 takes in the late 1940s, beginning almost immediately with the start of Robinson's foray into the big leagues as orchestrated by then-Brooklyn Dodgers general manager Branch Rickey (Harrison Ford). While Rickey's motivations to sign Robinson are glossed over a little too quickly for the storytelling purposes of the film, the focus of 42 is in the right place for the most part, and communicates a strong message of patience and perseverance in lieu of angry retribution.

Key sub-plots of 42 include Robinson's relationship to his wife Rachel (Nicole Beharie), who offers her support and concern throughout the film, as well as Jackie's determination to be a better husband and parent than his own father, who walked out on he and his mother at a very young age. As well, the film focuses on the teambuilding of the Brooklyn Dodgers who slowly grow to appreciate Jackie as a teammate who can help them win and most importantly, as a human being just trying to do the best he can amid some particularly potent hostility, sometimes from his own teammates.

For much of the rest of the movie, the focus is on Robinson's life in and outside of baseball, and how he comes to grips with the obvious implications of his decision to step into "white baseball" at a time when racial segregation was still largely commonplace in the United States. And while some of the more "highbrow" cinema-goers in the room may groan at the heavily orchestrated soundtrack, which has a way of turning every scene into an Academy Award ballot clip, the message is an inspirational one that does a fine job in capturing the look and cultural atmosphere of 1940s America.

General disclaimers

While 42 is not short on spiritual content (which we'll explore in a moment), a number of disclaimers should be made for parents wondering whether to take their children to see this film.

Though not graphically depicted, 42 contains a few brief instances of suggestive sexual content and scantily-clad cast members, both in the bedroom and the locker room. But aside from a few moments, the film is pretty tame in terms of sexual content, though not completely without incident.

Parents will likely have the biggest concerns with coarse language in this one. And while there's a fair bit to be concerned about in regards to general profanities, it's perhaps the racial epithets that might be the cause of most anxiety among parents and language-conscious viewers in general.

But while the language might be difficult for modern audiences to stomach comfortably, it's worth noting that their usage, though abundant, is not gratuitous. Truly, themes of overcoming racism are at the heart of 42 , and this is one of those rare cases where harsh language (in this case, several uses of the n-word) is actually crucial to the impact of the movie. It's hard to feel the emotional weight of what Jackie goes through in the film, and so for that reason, audiences might be best served to set aside their concerns of racial slurs for the sake of the point that 42 attempts to make.

Deeper meanings and greater gleanings

While many films require we as Christian viewers to do some digging to search for spiritual themes within an otherwise secular medium, 42 is a rare case in which the themes of the biblical text are mentioned more overtly to which we as the audience are accustomed. Throughout the entirety of 42 , themes of religious nature are mentioned regularly, and even worked into the script humorously, in a way that doesn't mock spirituality in the same way that has become commonplace in many Hollywood movies.

"Robinson's a Methodist. I'm a Methodist. God 's a Methodist," quips Branch Rickey in one early scene. And while audiences are led to chuckle at the ridiculousness of the statement, it's more reflective of the character than the beliefs he's expressing.

The most obvious lesson we can draw from 42 is the often talked-about but rarely realized practice of "turning the other cheek," as mentioned explicitly by Branch Rickey in one of the early scenes of the film. The best quote of the film comes from an exchange between Jackie and Rickey, in which Jackie asks, "You want a player who doesn't have the guts to fight back?"

To which Rickey responds, "No. I want a player who's got the guts not to fight back."

It's something that we as Christians are really good at understanding in theory, but very rarely are we forced to live it out in the same way that Jackie Robinson did in the early days of his Major League career. We're far more likely to seek immediate retribution (often under the guise of "acting justly") than we are to display the type of patience that Jesus calls us to—the kind exemplified by Jackie Robinson in 42 .

Very rarely do mainstream movies speak with such obvious spiritual motivations, which is something that Christian audiences should make the most of, despite a few imperfections with coarse language and sexually suggestive content. 42 is a film that Christian audiences should make the effort to see, as it offers a good real-world example of how difficult it can be to truly live out the words of the gospel in practical terms, like turning the other cheek in the face of prejudice, discrimination and outright hatred.

Jesus' message was never meant to be comfortable, and in the case of Jackie Robinson as showcased in 42 , it sometimes hits a little closer to home than we might like to acknowledge. The good news is that there's always time to come around and be a part of changing the status quo, and making the world the kind of place that God desires.

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42: Movie Review

Chris Carpenter

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Baseball icon Jackie Robinson’s story of breaking professional baseball’s color barrier in 1947 is not only an important moment in sports history but it also forged a critical bridge to easing the racial divide in America.  Despite the extreme prejudice Robinson faced, his willingness to walk this very courageous path paved the way to racial integration in all sports.

42, the well-crafted biopic about Robinson, is an ambitious attempt to re-tell an iconic moment in the annals of baseball history.  Starring newcomer Chadwick Boseman (Robinson) and Harrison Ford (Branch Rickey), 42 is the story of two men from very different worlds who were willing to face unabashed racism at every turn to make positive change.

THE MOVIE IN A MINUTE

Jackie Robinson is a promising young baseball player who starred at UCLA but finds himself relegated to playing in the Negro Baseball League, a fine collection of baseball talent but one that is relegated to having its teams play in virtual obscurity.  Long bus rides, sub-par playing conditions and being prohibited from decent food & lodging establishments are the norm rather than the exception.

Legendary Brooklyn Dodgers General Manager Branch Rickey, who was never known for his social grace, decides that it is time to change the game of baseball.  Just a year removed from the end of World War II, Rickey puts himself at the forefront of history when he signs Robinson to a Major League contract, a deal that breaks baseball’s infamous color barrier.  In doing so, the duo faces a barrage of hateful prejudice from the public, the press, and a vast majority of the other players.  Yet for all the racial injustice that ensues, during that first season Robinson ultimately wins over the fans and his teammates.

THE GOOD AND BAD IN 42

From a physical standpoint, Boseman closely resembles the legendary Dodgers star and does a commendable job embodying the spirit in which Robinson played the game.  The only drawback is that viewers are continually reminded that Boseman is likely only scratching the surface in plumbing the depths of who Robinson really was.

This is never more evident than in several scenes throughout the movie when Robinson asks Rickey, “Why Me?”  We never get a clear answer other than a powerful exchange between the pair when Robinson signs his contract.  He asks the general manager, “You want a player that doesn’t have the guts to fight back?”  Rickey’s response – “No I want a player who’s got the guts not to fight back.”

In playing Rickey, Ford makes a valiant effort to shed his other iconic film roles (ex. Indiana Jones) by dropping his voice an octave and altering his look a bit through the use of prosthetics.  The end product is a gruff, enjoyable character, if not a bit of a caricature.

Visually, director Brian Helgeland ( A Knight’s Tale ) has done a tremendous job of making a movie that looks like the era it actually transpired in.  Warm, faded color tones make 42 look like actual sports films from the late 1940s but with a much crisper clarity.  The ballpark exterior of legendary Ebbets Field as well as the interiors of the several other stadiums featured is genuinely authentic in feel and scope.

As a baseball fan, it should also be noted that Helgeland gets the action on the field right.    It is obvious he has gone to great lengths to cast actors who can actually play baseball.  Boseman as well as Lucas Black ( Seven Days in Utopia ), who plays teammate Pee Wee Reese, appear completely at ease wearing Dodger blue. 

42 is not for the faint of heart.  Filled with several explicitly disturbing scenes of racial horror, you will definitely squirm in your seat as Robinson’s story unfolds.   In a scene late in the movie, Philadelphia Phillies manager Ben Chapman (Alan Tudyk, I Robot ) spews a tirade of hate-filled slurs every time Robinson steps to the plate.  Moments like this one are highly offensive but make their point.

Christian viewers will be thrilled with several faith-laced monologues by Rickey.  Most poignant is a scene where he has woken up Dodger manager, Leo Durocher (Christopher Meloni, Law & Order ), with a late night phone call to tell him Robinson will be on the team.  At the time, Durocher is in bed with a woman who is not his wife.  Rickey quips, “Leo, it says eight times in the Bible that we are to love our neighbor as ourselves.  How do you feel about that in relation to Jackie Robinson?”  Durocher mumbles that as long as he can play baseball at a high level he doesn’t care what his ethnic background is.  Rickey concludes the conversation by saying, “And Leo, the Bible has a lot to say about adultery, too.”  Click. 

A warning, there is mild profanity in 42 as well as players drinking beer.

While it seems 42 is just skimming the surface in its quest to hit various touch points in Robinson’s life, this is an important movie to see for anyone interested in learning more about an American hero’s incredible sacrifice for the good of baseball, and more importantly, paving the way for racial equality in all sports.

About The Author

Chris Carpenter is the program director for CBN.com, the official website of the Christian Broadcasting Network. He also serves as executive producer for myCBN Weekend, an Internet exclusive webcast show seen on CBN.com. In addition to his regular duties, Chris writes extensively for the website. Over the years, he has interviewed many notable entertainers, athletes, and politicians including Oscar winners Matthew McConaughy and Reese Witherspoon, evangelist Franklin Graham, author Max Lucado, Super Bowl winning coach Tony Dungy and former presidential hopefuls Sen. Rick Santorum and Gov. Mike More

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42: Movie Review

If everyone around was insulting you for being different, could you turn the other cheek?

How do you react under pressure?  That’s the question on show in the biographical film 42 .

The film is all about Jackie Robinson, a baseball star in the late 1940s, and the first African-American baseball player to break the sport’s colour barrier to play in Major League Baseball.

42 chronicles the time from his recruitment to rising stardom as part of the Boston Dodgers (and gaining the jersey with the number 42, in case you were wondering). While you might expect this to be a film about baseball, it’s much more about racism and breaking down barriers.

Our recent racist history

Watching a film like this now – it’s hard to believe that such division and racism was around less than 100 years ago. The film portrays public toilets divided between white and black; seating at sport stadiums is also split; and it’s all well and good for racial slurs to be screamed across a field by an opposing team’s manager.

Just as recent films like The Sapphires and Django Unchained have reminded us, our world has a hard history of racism behind us, with effects still felt today. I’m really glad this story has been turned into a screenplay, and an effective one at that. The film isn’t flawless – there are holes in the script and it takes 75 minutes before Robinson is revealed as imperfect – but this story was the catalyst for a social change in one of America’s biggest sports, and is still celebrated today.

Have you got the guts?

Robinson is recruited by Branch Rickey (Ford), a God-fearing man seeking social change in baseball. He acknowledges Robinson as a fellow methodist and takes on a mentor role. Just after Rickey signs Robinson, he warns ‘Like our Saviour, you gotta have the guts to turn the other cheek’.

This line rings true through the rest of the film. Robinson is heckled for being black, receives death threats, and is treated like an animal – and how he responds is on show. Will he imitate his Saviour, or snap and punch someone? 1 Peter 2:20-23 tells us exactly how his Saviour Jesus reacted:

But how is it to your credit if you receive a beating for doing wrong and endure it? But if you suffer for doing good and you endure it, this is commendable before God. To this you were called, because Christ suffered for you, leaving you an example, that you should follow in his steps. “He committed no sin, and no deceit was found in his mouth.” When they hurled their insults at him, he did not retaliate; when he suffered, he made no threats. Instead, he entrusted himself to him who judges justly.

The immediate context of this passage is addressing slaves, but it shows us who we should be imitating, no matter what we’re going through.

For Robinson, he is called the most horrible of words and it takes everything he has to take on Rickey’s advice to imitate his Saviour. It’s a challenge for us too – when we suffer insults for being a Christian, how do we respond? Do we fight back with equally harsh words, or respond with grace while entrusting ourselves to him who judges justly?

42 is an uplifting story that I reckon you should check out. It's rated PG-13.

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By-the-Numbers 42 Still Hits for the Cycle

• Christian Hamaker Contributing Film and Culture Writer
• Updated Jul 16, 2013

DVD Release Date: July 16, 2013 Theatrical Release Date: April 12, 2013 Rating: PG-13 for thematic elements including language Genre: Drama Run Time: 128 min. Director: Brian Helgeland Actors: Chadwick Boseman, Harrison Ford, Nicole Behari, Christopher Melonie, John C. McGinley, Ryan Merriman, Lucas Black

The pressure on the makers of 42 —the story of Jackie Robinson, the first African-American player in the major leagues—was great. The film would need to honor a story sacred to baseball fans and history buffs. Could they bring Robinson’s story to life without falling into drab stereotypes, portraying Robinson as strong rather than subservient to all-white league players and officials? Could they let Robinson’s inspirational accomplishments speak for themselves, without taking on the tone of a powder-keg racial drama? And would they be able to sidestep Hollywood’s tendency to tell important stories of African-American triumph through the eyes of a Caucasian lead character? ( Read more about the making of the movie here. )

42  doesn’t avoid every possible pitfall. Although it includes a breakout lead performance from Chadwick Boseman as Robinson (the actor is primarily known—if known at all—for his work on TV), it also includes Harrison Ford  ( Cowboys & Aliens ) in the key supporting role of Brooklyn Dodgers' General Manager Branch Rickey. That bit of casting is commercially savvy—a huge (if aging) star that should ensure a racially diverse audience for 42 —but risks emphasizing Rickey’s against-the-grain boldness over Robinson’s athleticism and determination.

The film opens in 1945, with a reminder that black veterans of World War II returned to an America to face racism, segregation and Jim Crow laws. Rickey, GM of the Dodgers, knows it’s time for things to change. He decides it’s time for a baseball player to join the all-white National League rather than the Negro Leagues , and he chooses to recruit Robinson to his minor league team in Montreal. If all goes as planned, that sting will lead to a starting position for Robinson on the Brooklyn Dodgers.

Rickey faces instant skepticism from team officials who warn him about the trashing Rickey will get in the press, but Rickey is motivated to some degree by a divine calling. "Robinson’s a Methodist. I’m a Methodist. God’s a Methodist," he says. He orders that Robinson be brought into the organization.

Robinson tells Rickey he’s up to the challenge of integrating baseball, but the player’s reputation as hot-tempered concerns the GM. "I want a player who will have the guts not to fight back," Rickey tells Robinson, reminding him that his "enemy will be out in force."

Those enemies include Robinson’s own teammates, several of whom sign a petition saying they won’t take the field with a Negro. That plan is quashed by the team’s manager, Leo Durocher ( Christopher Melonie ) , who, like Rickey, knows integration of the sport could be the key to the league’s long-term financial success.

42 never shies away from less-than-admirable motives for major league integration (Rickey notes that the only color that matters in baseball is green), but it also gives Rickey's cause a moral urgency. Rickey believes God is on his side in the matter, at one point berating an opposing manager for threatening to boycott a game if Robinson takes the field. Rickey reminds the other man that he’ll one day have to stand before God and explain his actions.

Rickey’s moral concerns also extend to sexual ethics. He reminds Durocher, who’s involved in an extra-marital affair, of the Bible’s teaching on adultery, and the film shows how such moral failings can catch up with us in publicly embarrassing ways.

42 is similar to The Blind Side , a well performed story about a black athlete who benefits from the intercession of a sympathetic white protagonist. Like The Blind Side , faith is integral to the story, and is presented unapologetically. And like The Blind Side , the film is rated PG-13 with some content that isn’t appropriate for all ages. That’s a shame, because the film’s lessons should appeal to viewers too young for some of the film’s more mature moments.

Parents should exercise discretion in deciding which, if any, of their kids see 42 , but they can take some confidence in knowing that the film’s lessons in decency, fairness and biblical authority come through loud and clear. Like The Blind Side , 42  may be dismissed by many critics, but like that earlier film, it should find a receptive public. And if 42 , like The Blind Side , ends up a year-end awards contender, that shouldn’t come as much of a surprise either.

• Language/Profanity:  Racist taunts and epithets throughout; “son of a b--ch”; “screw you”; “Judas priest!” “I’ll smash his go-d-mn teeth in”; “piece of s-it”; “what in satan’s fire does he want?”; “ba-tard”
• Alcohol/Smoking/Drugs : Drinking; a man asks, “You been drinking?” and a character responds, “I wish”
• Sex/Nudity:  Leo is shown in bed, under covers, with a woman who drapes herself around him; Leo is later shown in bed, in his underwear; kissing; men in locker room are shirtless or wrapped in towels; Robinson stands shirtless by a hotel window, and Rachel approaches him and kisses him; Robinson shown in his boxer shorts, and from the waist up in a locker-room shower
• Violence/Crime:  Robinson is said to have been court-martialed, but Rickey believes the charge was unjust; reckless driving; a violent collision at home plate; a pitch to the head; and on-field melee; letters to managers and players include death threats
• Religion/Morals/ Marriage :  Rickey proclaims his Methodism, and is drawn to Robinson, who’s also a Methodist; Rickey says God is a Methodist; Rickey asks Robinson if he has “the guts” to turn the other cheek ; Rickey encourages Robinson to put “the fear of God” into opposing players; Robinson marries Rachel, and they have a child; Robinson says his father left him when he was an infant, but he’ll always be there for his child; Robinson says, “God built me to last,” and Rickey repeats that declaration about Robinson later; Rickey says the Bible tells us eight times to love our neighbors as ourselves; Rickey and Leo both claim that money is the bottom line for why they’re bringing Robinson to the team; a Catholic group threatens to boycott the Dodgers over Leo’s moral failings; Rickey tells Robinson he’s “the one living the sermon, in the wilderness”; Rickey challenges a racist manager to consider how he’ll explain himself on the day he faces God and accounts for his actions

Questions? Comments? Contact the writer at  [email protected] .

Publication date : April 12, 2013

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That Rookie at First Is in a New Position

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By A.O. Scott

• April 11, 2013

Biographies of great athletes can be roughly sorted into three categories. There are hero-worshiping fables suitable for fourth-grade classrooms, scandalous feet-of-clay exposés and, rarest of all, narratives that link sports with significant, nonathletic historical events and social issues. In America those events and issues almost always have to do with race, which makes the life of Jackie Robinson especially ripe for sweeping, comprehensive treatment.

But while “42,” Brian Helgeland’s new film about Robinson, gestures toward the complicated and painful history in which its subject was embroiled, it belongs, like most sports biopics, in the first category. It is blunt, simple and sentimental, using time-tested methods to teach a clear and rousing lesson.

In other hands — Spike Lee’s, let’s say, or even Clint Eastwood’s — “42” might have taken a tougher, more contentious look at the breaking of Major League Baseball’s color barrier. But Mr. Helgeland, whose previous directing credits include “Payback” and “A Knight’s Tale” (and who wrote “Blood Work” and “Mystic River,” speaking of Clint Eastwood), has honorably sacrificed the chance to make a great movie in the interest of making one that is accessible and inspiring. Though not accurate in every particular, the movie mostly succeeds in respecting the facts of history and the personality of its hero, and in reminding audiences why he mattered.

After a clumsy and didactic beginning — in which every scene ends with Mark Isham’s score screaming “This Is Important!” in Dolby — the movie settles into a solid, square rhythm. By then we have met Robinson, played with sly charm and a hint of stubborn prickliness by Chadwick Boseman.

A shortstop for the Kansas City Monarchs of the Negro leagues, a four-sport athlete at U.C.L.A. and a commissioned Army officer during World War II, Robinson has been selected by Branch Rickey (Harrison Ford) to become the first African-American major leaguer of the modern era. After some time with the Dodgers’ minor-league affiliate in Montreal, Robinson, now married and with a baby (his wife, Rachel, is played by Nicole Beharie), starts at first base, wearing No. 42, for the Dodgers on opening day in 1947.

The story of what happened before and after that game has been told well before — in Arnold Rampersad’s biography and in parts of Ken Burns’s “Baseball,” for instance — but “42” does a good job of dramatizing the salient emotions of the moment and the racism that surrounded Robinson and every other black American of his time. To his credit Mr. Helgeland avoids the trap that so many depictions of the Jim Crow era fall into, which is to imply that racial prejudice was an individual or regional pathology rather than a national social norm.

So while there are a handful of snarling Southern bigots — most notably Ben Chapman (Alan Tudyk), the manager of the Philadelphia Phillies — their actions are treated not as exceptions to the rule but as especially ugly instances of it. Robinson is threatened and harassed by vigilantes and police officers in Florida during his first spring training, but white fans in the North, Brooklyn included, are hardly shy about showering him with boos and slurs when he takes the field.

The other players — including Robinson’s own teammates — are not much better. He is spiked by base runners and beaned by pitchers. A petition circulates in the Dodgers’ clubhouse demanding his removal from the team, and rival owners call Rickey demanding the same thing.

As I said: a well-known story. But it is useful for young viewers to have a look at the world their grandparents were born into, a world that is still frequently given, in movies and on television, a glow of nostalgic innocence.

Of course there was decency and courage as well, here embodied by Rickey, the Dodgers pitcher Ralph Branca (Hamish Linklater) — one of the only Brooklyn players to shake Robinson’s hand when he first walks into the locker room — and the shortstop Pee Wee Reese (Lucas Black), whose public embrace of Robinson before a game in Cincinnati is the emotional high point of the movie. But “42” does not give these men disproportionate credit for passing a fairly easy test of character that most of the country was proud to fail, and it does not pretend that Robinson’s story is really theirs.

His triumph is edged with bitterness and shadowed by profound loneliness. In spite of Rachel’s steadfast support and the enthusiasm of black fans, Robinson is surrounded by hostility and by people who, even if they are on his side, cannot begin to understand his experience. When Rickey describes his new player as “superhuman,” he is bestowing a curse in the form of praise, and identifying a paradox central to postwar racial politics. To be accepted as human, as equal to whites, the black pioneers of the era had to rise above all kinds of ordinary human temptations — to fight back, to show anger or fear — and become flawless exemplars of their race.

“42” not only identifies this burden but also surrenders to it. Robinson, the film’s undisputed hero, is in some ways its least interesting character. Rickey is a cigar-chomping, Scripture-spouting old coot; Leo Durocher (Christopher Meloni), the Dodgers’ manager, is a cynical womanizer who speaks in cracked aphorisms, while the radio broadcaster Red Barber (a wonderful John C. McGinley) extemporizes jewels of English prose.

In contrast, the main African-American figures in the story — Jackie, Rachel and the journalist Wendell Smith (Andre Holland) — seem a little stiff, unable to be themselves in their own story. Which may just be to say that the cultural transformation in which Jackie Robinson played a significant early role is still incomplete.

“42” is rated PG-13 (Parents strongly cautioned). Some rough language, including racial epithets.

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Here's to You, Mr. Robinson.

Chadwick Boseman makes a big impression as baseball legend Jackie Robinson in the respectable, but conventional biopic 42, also starring Harrison Ford in his crustiest old man role yet.

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'42' review: must-see story of jackie robinson.

Friday has arrived with the nationwide premiere of "42," a new film based on the true story of baseball great Jackie Robinson.

Harrison Ford stars as Major League Baseball executive Branch Rickey while Chadwick Boseman shines in his portrayal of Robinson in the new film, directed by Brian Helgeland.

In his first role ever as a non-fiction character, Ford delivered a powerful performance as the pivotal Baseball Hall of Famer who broke the MLB's color barrier in 1947. After signing Jackie Robinson to the Brooklyn Dodgers, Rickey helped put an end to segregation and paved the way for the unquestionably talented athlete's decorated career.

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With the help of a "fat suit," Ford was transformed into Rickey; a hefty, bushy-browed and adamant General Manager whose strong faith as a Christian led him to recognize the potential in Robinson.

"I had the idea that the film would be much better served by a Rickey look-alike than a Harrison Ford look-alike," the Academy Award nominated actor revealed during a press event in Los Angeles.

The avant-garde baseball mogul signed Robinson to the Dodgers on April 15, 1947, much to the rest of MLB's chagrin at the time.

"When God asks you why you didn't [approve of an African American's addition to MLB,] that answer might not be sufficient," Rickey roars in a scene where he is defending Robinson.

Also revealing a strong faith in "42," Robinson sought strength in God, and many scenes included spiritual elements such as prayer and reverence.

"God built me to last," said Robinson during the film.

Together, Robinson and Rickey rose above the hatred and racism found in baseball as well as the rest of the world at that time.

Bearing a slight resemblance to Robinson, fresh-faced actor Boseman accurately depicts the self-containment, patience and virtue with which Robinson went on to become one of the most celebrated athletes in history.

In a most painful scene, Robinson unleashes his frustration on a baseball bat in the stadium tunnel, violently shattering it on a wall. Then, in tears, Robinson is consoled by Rickey who compares his strife to that of Jesus Christ.

Furthermore,"42" offers several laughs in addition to shedding light the lesser-known story of the marriage between Robinson and his wife Rachel. The unexpected love story adds depth and background to Robinson's legacy while also emphasizing the importance of family.

Meanwhile, in homage to Robinson, the number 42 jersey became the first number ever to become retired in MLB history. Also, each year on April 15, every MLB player on every MLB team bears the distinctive number in remembrance of the illustrious athlete.

In theaters everywhere on Friday, "42" includes strong language and is rated PG-13.

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Movie Review: 42 (2013)

• Greg Eichelberger
• Movie Reviews
• 7 responses
• --> April 13, 2013

Breaking the color barrier.

Making a film based upon an iconic figure, such as Lincoln or Gandhi, forces one to walk a thin line between legend and humanization. How do we show the warts (no pun intended in Honest Abe’s case) and foibles and yet still uphold the impeccable character of the subject. Such was the task of writer/director Brian Helgeland (“ A Knight’s Tale ,” screenwriting credit for “ L.A. Confidential “), in the newest Warner Bros. release, 42 , a movie based on two years in the life of professional baseball player Jack Roosevelt Robinson.

Known better as Jackie Robinson, he became the first black player in the Major Leagues, breaking the longtime color barrier in 1947 (other African-Americans such as Josh Gibson, Roy Campanella and Satchel Paige were considered, but nixed for various reasons, although the latter two eventually joined the Majors).

Starring relative newcomer Chadwick Boseman (“ The Kill Hole “), who bears enough of a resemblance of Robinson to make his performance passable, if not workmanlike, along with ancient Harrison Ford as Brooklyn Dodger General Manager Branch Rickey, Helgeland has created an earnest and sincere biopic that deserves telling (even though Robinson himself starred in the first biography of the man in 1950). Unfortunately it runs a bit long in the tooth and takes little, if any, chances.

It plays out like the director was trying to film Mt. Rushmore by splicing in scenes from “ The Natural ;” it works on a fundamentally laudatory level, yet seems almost detached at times because the outcome is a known quantity. Little dramatic license was exhibited, so there were really no surprises for the audience. The film “ Titanic ” had the same problem, yet James Cameron was able to add some interesting moments here and there, enough to keep the project afloat for more than two hours.

42 runs about 128 minutes (although at times it seems to go on a lot longer), and contains more than enough examples of blatant race-baiting that seems strangely foreign to today’s viewers, but were very real at the time. Alan Tudyk (“ Transformers: Dark of the Moon “), for example, has the thankless task of playing the redneck manager of the Philadelphia Phillies who’s every other utterance is the “n” word and has a cracker accent that comes straight from central casting.

But Robinson is not only verbally abused, he’s also beaned, spiked, spit on, boycotted, thrown at and degraded in other various and sundry ways. And except for a meltdown in an Ebbett’s Field tunnel, he maintains the grace reserved for a demigod. Boseman’s clenched jaw and stern demeanor is given a rest — ever so slightly — when he interacts with wife, Rachel (Nicole Beharie, “ The Last Fall “) and black reporter Wendell Smith (Andre Holland, “ 1600 Penn ” TV series).

Reflecting.

Harrison Ford, as the man who signed Robinson, once again goes into his gravelly-voiced curmudgeon mode that he seems to have been stuck in since 2006’s “ Firewall ,” but at least his Rickey has passion and heart. He pushes the often-reluctant star to forget the catcalls, insults and slurs and just play the game, to beat his oppressors on the field. His scenes with Boseman are the best in the picture. Robinson’s teammates, though, are not given much to do but either stare angrily at the colored interloper or gush in wonderment at his amazing diamond skills. Two exceptions to this are pitcher Ralph Branca (Hamish Linklater, “ Battleship “) and Kentucky-bred shortstop Pee Wee Reese (Lucas Black, “ The Fast and the Furious: Tokyo Drift “), the former a bumbling but sincere admirer, while the latter actually puts his life and reputation on the line to befriend the black ballplayer.

For slight comic relief, Max Gail (of the old “ Barney Miller ” TV series) plays doddering manager Burt Shotton, who comes out of retirement to replace the suspended skipper Leo Durocher (Christopher Meloni, “ Law & Order: SVU “).

Ultimately, 42 is inspiring, but not as entertaining as it could have been. Had the deity’s nose been tweaked, 42 could have been more like “ 61* ,” the Billy Crystal homage film about Roger Maris and the 1961 home run chase: True to life, but a lot of fun with more drama and more human interest.

Tagged: athlete , baseball , racism

I have been a movie fan for most of my life and a film critic since 1986 (my first published review was for "Platoon"). Since that time I have written for several news and entertainment publications in California, Utah and Idaho. Big fan of the Academy Awards - but wish it would go back to the five-minute dinner it was in May, 1929. A former member of the San Diego Film Critics Society and current co-host of "The Movie Guys," each Sunday afternoon on KOGO AM 600 in San Diego with Kevin Finnerty.

Movie Review: Despicable Me 3 (2017) Movie Review: Transformers: The Last Knight (2017) Movie Review: All Eyez On Me (2017) Movie Review: The Mummy (2017) Movie Review: Baywatch (2017) Movie Review: King Arthur: Legend of the Sword (2017) Movie Review: The Promise (2016)

'Movie Review: 42 (2013)' have 7 comments

April 13, 2013 @ 1:59 am William Diaz

Good movie but I think the Jackie Robinson story warrants a great movie.

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April 13, 2013 @ 12:21 pm Andrew Abbott

I really wanted to like this however the melodrama is so unecessarily thick it chokes the movie.

April 13, 2013 @ 2:04 pm Phoebe

Such a wonderful film.

April 13, 2013 @ 10:44 pm Janet

The audience cheered at the end especially when the fitting fate of Ben Chapman was announced.

April 13, 2013 @ 3:49 pm PajamaTop

Very sugarcoated. Good for the kids to see to understand the times and significance of what Robinson did.

April 13, 2013 @ 5:09 pm CtrlAltDel

Sentimental crap.

April 13, 2013 @ 6:20 pm Shelby

I took my 11 year old to see this this afternoon. It was an eye-opening experience for him.

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If you were offended by the supposedly profligate use of the n-word in “Django Unchained,” it stands to reason you’ll be outraged by a scene in “42” in which Philadelphia Phillies manager Ben Chapman climbs out of the dugout and spews cruel racist epithets at Brooklyn Dodgers rookie Jackie Robinson.

You can see the pain and rage on Robinson’s face as he tries to concentrate on his at-bat, knowing if he goes after Chapman, the headlines won’t be about the hateful manager — they’ll be about the first black player in the major leagues “attacking” the opposition.

It’s a tough scene to sit through, with the likable character actor Alan Tudyk bravely portraying this real-life embodiment of pure, ignorant, racist hate, and Chadwick Boseman doing equally fine work as a the fiery, intense Robinson, who must perform with the weight of instant history on his shoulders — while racists such as Chapman (and some of Jackie’s own teammates) are hectoring him every step of the way. (Sadly, the Chapman character wasn’t the least bit fictionalized. The ’47 incident really happened. Before that, as an All-Star outfielder with the Yankees, Chapman reportedly taunted Jewish fans with anti-Semitic slurs and the Nazi salute. What a guy.)

The sliding moral scale of major league baseball at the time was such that Brooklyn Dodgers manager Leo Durocher was suspended for an entire season for having an affair with a married actress — but Chapman was just told to knock it off with the racist taunts and to pose for a publicity photo with Robinson.

That this all happened in 1947 — history recent enough there are people around who remember it — might come as shocking news to younger generations who know little about Jackie Robinson other than that his number 42 being universally retired because he broke baseball’s shameful color barrier. For this reason alone, “42” is a valuable film — a long overdue, serious big-screen biopic about one of the most important American pioneers of the 20th century.

But this is more a ground-rule double than a grand slam.

As written and directed by Brian Helgeland , “42” is competent, occasionally rousing and historically respectful — but it rarely rises above standard, old-fashioned biography fare. It’s a mostly unexceptional film about an exceptional man.

Boseman is a fine actor, and he looks like a baseball player in the spring training and game-time sequences, but other than one bat-breaking meltdown that takes place out of sight of fans and teammates, we rarely get that visceral, punch-to-the-gut true feeling for the pressure Robinson surely must have felt when he took the field in 1947 as a pioneer. (As “42” reminds us, black Americans fought and died for their country in World War II — but they returned home to a country with separate drinking fountains and a ban on Negroes in the major leagues.)

To be sure, there are scenes of racist fans heckling Robinson and many of his own teammates signing a petition demanding Robinson not be allowed to join the Dodgers — but “42” falls short in giving us a full measure of the man himself. The Jackie Robinson of “42” is a high school history lesson, lacking in complexity and nuance. Even the domestic scenes with the beautiful Nicole Beharie as Rachel Robinson paint an almost too-perfect picture. The real Rachel Robinson was also a hero, but in “42,” she’s portrayed as a near-saint, patiently counseling Jackie to hold his temper, and looking like a movie star as she quietly endures the morons in the stands behind her.

We’re told Robinson was chosen over other major league-ready players (and future teammates) such as Roy Campanella and Don Newcombe because he wasn’t as “nice,” i.e., soft, and would be better equipped to deal with the hate and intolerance.

In “42,” Robinson is indeed pragmatic. When he gets the offer to sign with the Dodgers, he’s more excited about the pay increase than the historical implications.

Harrison Ford is all eyebrows and speeches as Branch Rickey, the Dodgers executive determined to break the color barrier. It’s a rather remarkable performance by Ford in that he goes for it whole hog, scowling and barking and delivering sound bite-sized life lessons. Whether Rickey’s lecturing young whippersnappers in his sun-dappled office (which looks like it was borrowed from “ The Natural ”) or observing his ballclub from the sidelines, he’s filled with one-liner wisdom and perfectly timed punch lines.

John C. McGinley delivers a gem of a performance as the great announcer Red Barber, and Andre Holland is solid as Wendell Smith, a black sportswriter who’s more of a baby-sitter and travel guide for Robinson than an objective journalist.

From the soundtrack to the speechifying to the subject material to the script’s somber tone, “42” has the uniform of an Oscar contender, but it falls short of Hall of Fame status. Jackie Robinson was great. “42” is good.

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Rated PG-13 thematic elements, including language

115 minutes

Chadwick Boseman as Jackie Robinson

Harrison Ford as Branch Rickey

Christopher Meloni as Leo Durocher

Jon Bernthal as Ralph Branca

John C. McGinley as Red Barber

T.R. Knight as Harold Parrott

Directed by

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Wish (Christian Movie Review)

Verdict: Despite lacking the inventiveness of Disney’s golden era, Wish is a charming fairytale that should entertain young viewers.   

About The Movie

The narrative that Disney has completely lost its magical touch is challenged by the fact that many of its “modern” films— Moana, Zootopia, Tangled —are quite good . Nevertheless, several recent movies (see Strange World and Lightyear ) were emphatically rejected by family audiences due to uninspiring stories and problematic content. The once invincible animation studio is leaking some water and in need of a hit. To that end, Wish feels like Disney’s purposeful (some might say “desperate”) attempt to restore its reputation and earn back some goodwill. Wish may not be a smash hit destined to become a beloved classic, but it’s a reminder that Disney still knows how to weave an enjoyable fairytale.  

In many ways, Wish is a middle-of-the-road Disney movie. It’s not bad, but it never elevates itself into the stratosphere of the classic canon. Whereas the early Disney stories were groundbreaking, Wish feels like an uninspired retread of familiar paths. Rather than telling a “tale as old as time,” Wish seems to tell a narrative about Disney itself, brimming with Easter eggs and playful nods to prior films. These allusions are fun, but also a reminder of the studio’s better days.    

Musically, Wish is hit or miss. There are a few great tunes. The movie’s signature song, “This Wish,” is powerful, and “Knowing What I Know Now” works surprisingly well. Unfortunately, the rest of the soundtrack is forgettable. Chris Pine is a fantastic actor, but he doesn’t have the vocal pipes to elevate several lackluster songs. 

The gorgeous visual aesthetic makes a greater impression. The movie blends 3D animation with a delightfully classic 2D style. The beautiful hand-drawn animation style made me yearn for a return to that seemingly abandoned aesthetic.

The characters that populate that artfully animated world are enjoyable too, though they don’t really stand out. Asha (voiced by Arianna DeBose) is capable as the new Disney heroine, but she isn’t given much personality beyond her internal goodness. King Magnifico (Chris Pine) is an amusing but mostly one-dimensional villain. Valentino (a talking goat) is the standout as a fun sidekick who provides effective comic relief. 

Regarding content, Wish is relatively clean, lacking the problematic language or sexual elements that have derailed other recent animated films. But there are a few elements for Christian parents to note. Like Sleeping Beauty and Snow White , the villain is a magic-user who dabbles in so-called “forbidden” magic. Personally, magic in fairytales does not trouble me, but I know some Christians feel differently. Additionally, like many Disney stories, the film’s messaging reflects a nonbiblical worldview (see “themes” section below).  

Ultimately, Wish is unlikely to displace Frozen on a child’s movie rotation or change disillusioned parents’ minds, but it is a fun adventure. It may lack the inventiveness of Disney’s golden era, but Wish is a charming and enjoyable fairytale.  

For Consideration

Language: None. 

Violence: The “wishes” are depicted as tangible objects, and their destruction has a physical (but not fatal) effect on the wisher. While not necessarily “violence,” the film’s villain is quite menacing at times and may prove to be too intense for some younger viewers.  

Sexuality: There is nothing explicit, but there may be some ambiguous implications. One of Asha’s male friends becomes dejected when reminded that she won’t turn 18 for a few more months. The moment is likely harmless (in the story, turning 18 is a significant milestone), but it still struck me as odd. Additionally, some of Asha’s friends’ sexuality is somewhat ambiguous. There’s nothing clear cut regarding any character’s sexuality, and young viewers won’t perceive anything deeper taking place. But given Disney’s recent track record, some parents may read more into it.

Other: Magic is used frequently throughout. Magnifico is a sorcerer. His castle tower is filled with spell books and potions. Throughout the film, his magic becomes increasingly darker and more akin to witchcraft, as he speaks of “curses” and is shown adding items to a steaming caldron. His dark magic is reflective of Sleeping Beauty ’s Maleficent and Snow White ’s Evil Queen, visualized by green tendrils. The magic is mostly depicted as evil (although Asha is also granted magic wand akin to Cinderella’s Fairy Godmother).

Engage The Film

Naturalistic human origin stories    .

The song “ I’m a Star ” opens with the lyrics, “Have you ever wondered why you look up at the sky for answers?” To expect a Disney fairytale to provide a biblical or theological answer to that question is wishful thinking. Instead, the film presents a more naturalistic explanation: “See we’re all just little nebulae in a nursery. From supernovas now we’ve grown into our history. We’re taking why’s right out of mystery,” later concluding, “We are our own origin story.” In Wish , characters have a connection with the stars. Beyond the song lyrics, this cosmic relationship becomes a major plot element.  

The nature of the characters’ connection to the stars is not explicitly explained, but the clear implication is that life originated from the cosmos in a way that points toward naturalism rather than creationism. The song is akin to “The Colors of the Wind” in Pocahontas or “The Circle of Life” in The Lion King in that it emphasizes the connectivity of all living things. I don’t think it’s anything a simple, “No son, we’re not actually stars,” won’t clear up, but parents may want to use the film as a conversation starter about human origins and God’s creation. 

Don’t Just Make Wishes, Pursue Them      

Despite being based on Disney’s classic “wishing star,” the film’s message about wishes has been updated. Wish suggests that life is not about passively waiting for our wishes to be granted; it’s about pursuing them. 

In the story, characters surrender their wishes to Magnifico for safekeeping because they fear that they will fail to achieve them. These wishes are depicted as a segment of their lifeforce, a significant part of themselves that is lost when they give it up. Through Asha’s actions, the characters eventually learn that it is the pursuit of those dreams, not merely obtaining them, that gives them life. 

Of course, some Christians may still find this updated messaging to be far too individualistic and self-focused. Although, to be fair, while some of the wishes are trivial (e.g. flying like a bird), many are depicted as being for the collective good (e.g. creating something to inspire the next generation). Even so, is life really about pursuing our own wishes? Disney has always been idealistic in its messaging, rejecting pragmatism in favor of encouraging viewers to follow their heart and dream big. While still in that mold, I think Wish represents a more mature presentation of that classic message.   

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Fallout First Reviews: A 'Violent, Fun, Emotional, Epic' Video Game Adaptation, Critics Say

Critics say prime video's new series benefits from strong storytelling, committed performances, and a deft balance of tone, making it one of the best video game adaptations ever..

TAGGED AS: First Reviews , streaming , television , TV

Fallout is the latest video game adaptation to hit the small screen. Created by Geneva Robertson-Dworet and Graham Wagner , and executive produced by Westworld ‘s Jonathan Nolan and Lisa Joy , the eight episode series, inspired by the hit game franchise from Bethesda Softworks drops on Wednesday, April 10 to Amazon Prime Video.

The post-apocalyptic series stars Ella Purnell as Lucy; Aaron Moten as Maximus; and Walton Goggins as The Ghoul. Joining them is an ensemble cast that includes Kyle MacLachlan , Sarita Choudhury , Michael Emerson , Leslie Uggams , Zach Cherry , Moises Arias and Johnny Pemberton , among others.

With nearly three decades of lore under its belt, the video game franchise has drawn a massive fanbase. Needless to say, there’s a lot of hype surrounding the new series. Does it live up to expectations? Here’s what critics are saying about Fallout :

How does it compare to the video games?

Prime Video’s TV adaptation of Fallout does something the games in the legendary franchise never have—put storytelling above all else. — Bernard Boo, Den of Geek

Fallout is the new standard for video game adaptations. This series is violent, fun, emotional, epic, and just plain awesome. — Alex Maidy, JoBlo’s Movie Network

Opting for a new narrative that simply takes place in the Fallout  world, the series is a mix of adventure and puzzle-box mystery, with more than enough action scenes to satisfy the RPG faithful. It’s fun, and only occasionally overcomplicated. — Kelly Lawler, USA Today

Fallout takes the ideas of the games and crafts its own story in an already interesting world. Nails the satire, the wackiness, and about everything a fan could want. — Zach Pope, Zach Pope Reviews

Bodies fly, heads explode, and video game logic reigns triumphant. — Niv M. Sultan, Slant Magazine

How is the cast?

(Photo by Prime Video)

All of the performances are great; Purnell is a strong, loveably naive lead, while Moten delivers a fascinatingly, sort-of loathsome turn. Excusing the wonderful pooch that plays CX404, aka Four, Goggins is the runaway MVP, an agent of chilly, smooth-talking chaos somewhere between John Marston and Clarence Boddicker. — Cameron Frew, Dexerto

“I hate it up here,” Lucy mutters early on, and given the horrors to which she’s subjected, nobody could blame her. Yet her quest not only involves no shortage of carnage but also insights into her community and its origins, as well as encounters (some relatively brief) with a strong array of co-stars, including Moisés Arias, Kyle MacLachlan, Sarita Choudhury, Michael Emerson, and Leslie Uggams. — Brian Lowry, CNN

The Ghoul serves as the perfect foil for Lucy and Maximus, with Goggins deploying megatons’ worth of weary charisma in his performance as Fallout’ s resident lone wolf, black hat archetype. — Belen Edwards, Mashable

Emancipation’s Aaron Moten and And Just Like That… standout Sarita Choudhury nail the determined, world-weary drive that propels their characters forward while Justified’ s Walton Goggins gives one of his best performances yet as Cooper Howard, a mutated ghoul of a gunslinger who gives everyone a hard time with biting quips and searing bullet work. — David Opie, Digital Spy

How’s the writing and world-building?

The show’s creators have done such an impeccable job fleshing out the world of Fallout that it feels like the characters are treading stories and quests you’ve experienced yourself in one way or another. — Tanner Dedmon, ComicBook.com

Story-wise, Fallout  smartly eschews trying to adapt specific storylines or side-quests from any of the games, but rather concocts a new one set in the rich and familiar landscape. — Brian Lloyd, entertainment.ie

There are plenty of Easter eggs, as you might expect from a video game adaptation, but Fallout manages to make them seem like part of the world, too. It all feels real and believable as pieces of a whole existence that these people have scraped together, which goes a long way toward helping the show’s humor land. Even the Easter eggs feel carefully designed to fit into the world and the lives of the characters, rather than drawing focus away from them or sticking out as a glaring distraction. — Austen Goslin, Polygon

Do the violence and humor work?

It’s strong, it’s goddamn hilarious, and it highlights exactly how to swing for the fences while still knowing where Homebase is. It may be a new series, but Fallout is an instant classic of the streaming age. — Kate Sánchez, But Why Tho? A Geek Community

A bright and funny apocalypse filled with dark punchlines and bursts of ultra-violence, Fallout is among the best video game adaptations ever made. — Matt Purslow, IGN Movies

Finding a tonal balance between the drama and the comedy is a razor’s edge, but Fallout  makes it look effortless. As a result, spending time in this hardened world is as fun, engaging, and engrossing as the games. — William Goodman, TheWrap

It’s an equal parts funny and nightmarish show that, like its protagonist, isn’t content to live inside a projection of the past. — Kambole Campbell, Empire Magazine

Crucially, these laugh-out-loud moments of disbelief don’t detract from the harsh reality of this world, which is perhaps even more violent than you might expect, especially for newbies to this franchise. — David Opie, Digital Spy

Any final thoughts?

Fallout is a clever, twisted apocalyptic odyssey that soars as both a video game adaptation and a standalone series. — Lauren Coates, The Spool

For those who have never played the Fallout series, especially those of the time-strapped ilk who can’t just pour hundreds of hours into a game, they should give Prime Video’s Fallout a go. — Howard Waldstein, CBR

Fallout is both totally rad and an absolute blast. — Neil Armstrong, BBC.com

The show’s clearly committed to being the definitive Fallout adaptation, a love letter to fans, no question, while still opening the vault door to welcome in just about everyone else brave enough to step inside. — Jon Negroni, TV Line

There’s really nothing like Fallout on television right now, and that’s ultimately a good thing. — Therese Lacson, Collider

Thumbnail image by Amazon Studios. On an Apple device? Follow Rotten Tomatoes on Apple News .

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Moody teen romance has sex, language, and violence.

A Lot or a Little?

What you will—and won't—find in this movie.

To love takes courage. Abuse can cause people to s

Teenagers have residual trauma from physical and e

The film is shot in Italy and in Italian. One of t

Kids lose their parents and are physically and emo

Two teens share a strong mutual attraction. They k

One use of "f--k," plus "s--t," "a--hole," and "id

The film could inspire interest in the book it's b

Teens drink alcohol; one says she wants to "drink

Parents need to know that book-based Italian melodrama The Tearsmith has a dark and moody feel and features teenagers who have suffered abuse, experience violent situations, and embark on sexual relationships. The film also has language (in the English subtitles, "f--k" plus "s--t" and "a--hole") and teen…

Positive Messages

To love takes courage. Abuse can cause people to shut down their emotions. People can overcome traumatic experiences. Grieving takes time. Women deserve respectful treatment.

Positive Role Models

Teenagers have residual trauma from physical and emotional abuse they experienced as children. The trauma makes them question their own self-worth and their ability to love others or lead normal lives. Young men behave violently to get what they want in love, and also in sex. A couple suffering the loss of their own son adopt two teenagers and treat them as family.

Diverse Representations

The film is shot in Italy and in Italian. One of the key characters is a lesbian who hasn't revealed her sexuality because she's in love with her best friend. Background characters show a diversity of races.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Kids lose their parents and are physically and emotionally abused in an orphanage. They're tied down to beds, threatened, and say they were "tortured." They grow up with a kind of post-traumatic stress that leads to flashbacks and emotional turmoil for some. Two different car accidents leave people dead or comatose. A boy has a neurological condition that has gone untreated. A boy tries to kiss a girl repeatedly and he eventually gets violent.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Two teens share a strong mutual attraction. They kiss and fondle each other. We see his hands on her breasts, inside the top of her pants, and on her bottom as he kisses her. We see her nipples when the two take off each other's shirts.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

One use of "f--k," plus "s--t," "a--hole," and "idiot" in the English subtitles.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

The film could inspire interest in the book it's based on as well as other titles by the same author.

Drinking, Drugs & Smoking

Teens drink alcohol; one says she wants to "drink herself to sleep." A boy takes a medication that he hides from others.

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Parents Need to Know

Parents need to know that book-based Italian melodrama The Tearsmith has a dark and moody feel and features teenagers who have suffered abuse, experience violent situations, and embark on sexual relationships. The film also has language (in the English subtitles, "f--k" plus "s--t" and "a--hole") and teen drinking. Two teens share a strong mutual attraction. They kiss and fondle each other. We see his hands on her breasts, inside the top of her pants, and on her bottom as he kisses her. We see her nipples when the two take off each other's shirts. Another boy tries to kiss her repeatedly as well, and he eventually gets violent. The teens are recovering from extreme physical and emotional trauma as children in an orphanage. The trauma makes them question their own self-worth and their ability to love others or lead normal lives. Kids and adults deal with death and loss. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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• Parents say (5)
• Kids say (2)

Based on 5 parent reviews

What's the Story?

In THE TEARSMITH, Nica (Caterina Ferioli) and Rigel (Simone Baldasseroni) are children in a bleak orphanage run by a sadistic woman. Rigel watches out for Nica, and when she's adopted as a teen, he asks to go with her. There, Nica will attempt to fit in with her new family and classmates, while Rigel will continue to lurk in the shadows without explaining his intentions or his own mysterious recurring headaches. Nica begins dating classmate Lionel (Alessandro Bedetti), but she can't deny her feelings for Rigel. Will their mutual attraction destroy their new lives and send them back to the orphanage?

Is It Any Good?

Twilight meets the After series in this tortured teen romance from Italy that features an excellent lead performance and murky undertones of childhood loss and trauma. The Tearsmith 's shadowy settings and moody soundtrack (featuring Billie Eilish and Olivia Rodrigo ) underscore the tale's dark elements. The voiceover and dialogues also make frequent reference to fairytales, particularly the character of the wolf. This adds to the ambiance but was ultimately unnecessary. Teens can have epic romances without a need for meta myths, near-death experiences, or melodrama. Even so, The Tearsmith makes for engaging entertainment, and star Ferioli is especially magnetic.

Talk to Your Kids About ...

Families can talk about the abuse the characters in The Tearsmith experienced as children. How did this continue to impact them as teenagers, even outside the orphanage?

How would you describe the mood of this movie? How about its color palette?

What were some of the fairy tale elements in the movie? Would the film have been the same for you without these?

The film uses a lot of voiceovers to explain characters and storylines. Were there other ways the film could have filled in these pieces? Can you think of examples?

Movie Details

• On DVD or streaming : April 4, 2024
• Cast : Caterina Ferioli , Simone Baldasseroni , Alessandro Bedetti
• Director : Alessandro Genovesi
• Inclusion Information : Female actors, Female writers
• Studio : Netflix
• Genre : Romance
• Topics : Book Characters , Fairy Tales , Friendship , High School
• Run time : 105 minutes
• MPAA rating : NR
• Last updated : April 9, 2024

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Fallout review – an absolute blast of a TV show

This immaculately made, supremely witty post-apocalyptic drama is yet another brilliant video game adaptation. It’s funny, self-aware and tense – an astonishing balancing act

The following review contains spoilers for the first episode of Fallout .

The first thing to note is that, as with The Last of Us, there is no need for any viewer to be au fait with the source material of Fallout, Amazon’s new competitor in the field of hit video game adaptations (though a fan of the game who watched it with me assures me that there is much to enjoy in addition to the basic narrative if you are).

For newcomers such as me, this intelligent, drily witty, immaculately constructed series set in the Fallout universe fully captivates and entertains on its own terms. It opens in 1950s America, at the height of the cold war and the “red scare”, with former TV star Cooper Howard (Walton Goggins) reduced to appearing at a children’s birthday party after being tarred with the pinko brush. A mushroom cloud appears on the horizon, the blast wave hits, the apocalypse arrives.

All those who can afford it rush to the secure vaults they have had built in preparation. We cut to Vault 33 two centuries later, by which point they appear to be doing very nicely. All the naivety of the 50s and the better parts of its mores – politeness, consideration, cooperation, modesty and restraint – have been preserved, albeit with the occasional twist. Like daily weapons training, and chipper approaches to the avoidance of marrying one of your many cousins.

The underground idyll is shattered when they are brutally raided by surface dwellers led by a woman called Moldaver (Sarita Choudhury). Vault Overseer Hank MacLean (Kyle MacLachlan) is kidnapped and his daughter Lucy (Ella Purnell) defies orders from the remaining Council and leaves the Vault to find him. As a wide-eyed believer in the Golden Rule (do unto others as you would have them do unto you), she is wildly unprepared for the array of delights surface-dwelling holds. It’s not like she can disguise herself effectively either. As one gnarled resident of the desperate nearby town of Filly says – “Clean hair, good teeth, all 10 fingers. Must be nice.”

Surface threats include, but are not limited to: giant cockroaches, godawful sea monsters (the Gulper’s innards haunt my dreams), radiation poisoning, strung-out survivors, fanatics of various kinds, puppy incinerators and cannibalistic Fiends. The Brotherhood of Steel try to control the Wasteland but you can’t help but feel, committed warrior faction though they are, that they are on a losing wicket. The Brotherhood is divided into Lords (in battered Iron Man-esque suits), Squires who attend and hope to become them and Aspirants training as Squires. Aspirant Maximus (Aaron Moten) is our guy and we follow him as he rises from bullied victim to rogue Lord. His mission? Acquire the severed head that Lucy also needs to find, containing a chip that Moldaver wants (and which Lucy hopes to trade for Daddy MacLean).

The biggest threat of all, however, is the Ghouls, and one in particular – a noseless, mutated remnant of Cooper Howard who is also hunting for the head and the bounty on it. He is the first to cross paths with Lucy, and oh the fun we have! By the end of a fishing trip, she’s in such a state that if she were to return to Filly, they would probably accept her unquestioningly as one of their own.

Co-creators Geneva Robertson-Dworet and Graham Wagner somehow manage to combine traditional post-nuclear apocalypse tropes with semi-ironic takes on 50s motifs, B-movie conventions and horror-level blood and gore (and work in plenty of Easter eggs and other pleasures for gamers). It’s a perfectly paced story that is both funny and self-aware without winking at the camera, undercutting our increasing emotional investment in characters who reveal – and sometimes unexpectedly redeem – themselves layer by layer. If I tell you that the organ-harvesting robot is voiced by Matt Berry, that the Ghoul’s meeting with a long-lost, rotting colleague almost made me cry and that neither element jarred with the other, perhaps that will convey something of the triumphant balancing act that is maintained throughout the eight-episode series.

It is, if you’ll pardon the pun, an absolute blast. Goggins is wonderful as both the unsullied golden boy Cooper and the wretched Ghoul, Moten brings such nuance to what could easily be a one-note role and Purnell performs Lucy’s fall from innocence brilliantly. The growing mystery back at Vault 32, as Lucy’s brother Norm (Moises Arias) becomes suspicious of the origins of the murderous raid and the supposedly benign Council that has protected them all these years, adds yet another strand to the story and ratchets up the tension even further. In short, for Fallout, I’m all in.

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‘The First Omen’ Review: A Decently Executed Prequel Pales Next to Superior ‘Immaculate’

Director Akasha Stevenson concocts a twisted-nun backstory to 'The Omen' that's less scary than the 1976 horror classic suggested, but infinitely more profane.

By Peter Debruge

Peter Debruge

Chief Film Critic

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“Why wouldst thou be a breeder of sinners?” spat Hamlet. “Get thee to a nunnery!” Oh, if the Prince of Darkness … er, Denmark, only knew what evil lurks within such walls.

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Since horror fans know where things are headed, director Akasha Stevenson and co-writers Tim Smith and Keith Thomas can slyly embed references that achieve full ominousness by association with what’s to come — like the nun who steps off a high ledge after pledging, “It’s all for you,” or the close-call opening scene, which foreshadows how the surviving priest dies in the original film. For most audiences, our imaginations did a freakier job of extrapolating Damien’s provenance than this prequel can manage.

Incidentally, long after Ira Levin wrote “Rosemary’s Baby,” he followed it up with a potboiler called “Son of Rosemary,” in which the assumed Antichrist grows up to be a celebrated humanitarian. On the eve of the millennium, the charismatic 33-year-old convinces the whole world to light celebratory candles, unleashing a toxic substance that wipes out humankind … and then Rosemary wakes up — not at the beginning of Levin’s sequel, but at the start of the first book, effectively invalidating all that has come before. There’s a risk, in extending any popular horror myth, of diluting the impact of the original.

Stevenson takes a respectful approach to the “Omen” series, if not to Catholic traditions or clergy. In addition to reverently acknowledging Jerry Goldsmith’s disconcerting choral score, “The First Omen” brings back Father Brennan (Ralph Ineson), whom we saw so iconically impaled in the 1976 film. While it’s fun to see this blathering loon alive again, the true protagonist is a virginal American novice named Margaret ( Nell Tiger Free ), who arrives wide-eyed and openhearted at Vizzardeli Orphanage in Rome, incapable of imagining the scope of the conspiracy practiced within.

Run by prune-faced old nuns (led by Sônia Braga) and the kindly but not-to-be-trusted Cardinal Lawrence (Bill Nighy), the centuries-old orphanage serves as an incubator for the Antichrist. Meek at first but increasingly defiant as she discovers her superiors’ sinister intentions, Margaret embodies modern audiences’ changing relationship to the church: She approaches her faith with sincerity, only to discover a total perversion of her values by the institution’s supposed authority figures.

Once Brennan plants the seed of his own paranoia in her, the empathetic new arrival starts to worry about one of the girls, Carlita (Nicole Sorace), who keeps to herself, scribbling demented portraits of her suspicious guardians in coal-black pencil. Apparently, Margaret had a disturbing childhood as well, and sees herself in the feral outsider. So she takes Carlita under her wing, assuring the orphan that it’s not unusual to experience extreme visions — an admission that gives director Stevenson license to spring all kinds of jump scares on audiences, then immediately dismiss them as hallucinations.

One such scene etches itself in our minds, impossible to unsee. Margaret hears screaming and follows the sounds to the infirmary, observing a childbirth so unnatural, even the climactic delivery of Damien can’t help seeming tepid by comparison. It’s a wild, word-of-mouth-worthy gimmick, closer in spirit to classic Italian gialli (from which Stevenson derives much of the film’s jagged, destabilizing style) than to the Richard Donner-directed original. The “Omen” brand should get them in the door, while this graphic gag distinguishes it, guaranteeing the otherwise expendable entry a certain shelf life.

Free, who plays Sister Margaret, provides an easily identifiable entry point into the film’s appropriately Goth-looking milieu. Like a young Eva Green, her face can read as innocent one moment and cunning the next, inviting the possibility that there’s far more to the character than meets the eye. Through her, the movie takes a righteous approach vis-à-vis this Catholic sect’s transgressions. Ironically, no church on Earth would sanction something so dastardly; it’s the filmmakers who conceived such a twisted plot, with loose ends clearly intended to spawn additional sequels. You’ve heard of faith-based films. A week after Easter, here’s the faith-debasing alternative.

Reviewed at Regency Village Theatre, Los Angeles, March 26, 2024. MPA Rating: R. Running time: 119 MIN.

• Production: A 20th Century Studios release and presentation of a Phantom Four Films production, in association with TSG Entertainment. Producers: David S. Goyer, Keith Levine. Executive producers: Tim Smith, Whitney Brown, Gracie Wheelan.
• Crew: Director: Arkasha Stevenson. Screenplay: Tim Smith & Arkasha Stevenson, Keith Thomas; story: Ben Jacoby, based on characters created by David Seltzer. Camera: Aaron Morton. Editors: Bob Murawski, Amy E. Duddleston. Music: Mark Korven.
• With: Nell Tiger Free, Ralph Ineson, Sônia Braga, Tawfeek Barhom, Maria Caballero, Charles Dance, Billy Nighy, Nicole Sorace.

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