Top Ten: Science Fiction and Fantasy!

Welcome to our new Top Tens series in celebration of I Think, Therefore I Review's Tenth Anniversary! These monthly lists will highlight special themes and topics from our extensive archive of reviews.

This time I Think, Therefore I Review presents in chronological order...

 Our Top Ten Science Fiction and Fantasy!

Fantastic Voyage

The Last Starfighter

Somewhere in Time

The Beastmaster

The Princess Bride

The Witches (1990)

Highlander: The Series

Soldier

Maleficent

Star Wars: The Force Awakens

Don't forget to visit our Science Fiction, Fantasy, and Kid Friendly labels for still more genre entertainment!

I Think, Therefore I Review began as the blog home for previously published reviews and reprinted critiques by horror author Kristin Battestella. Naturally older articles linked here may be out of date and codes or formatting may be broken. Please excuse any errors and remember our Top Tens will generally only include films, shows, books, or music previously reviewed at I Think, Therefore I Review. 

Bone Tomahawk

Bone Tomahawk is a Wonderfully Horrific Western Road Trip

by Kristin Battestella

For audiences that don't like westerns or straight, terse drama, the opening half of the 2015 genre bender Bone Tomahawk will be too slow. However, for viewers seeking gritty period pictures and horror films set in unique places, this is definite yes!

While tending to the crazed and wounded outlaw Purvis (David Arquette), Samantha O'Dwyer (Lili Simmons) is abducted by a mysterious, hear tell tribe of nameless, ruthless cave dwellers the local Native Americans fear and avoid. Nonetheless, Bright Hope Sheriff Franklin Hunt (Kurt Russell), his elderly deputy Chicory (Richard Jenkins), and local gunslinger John Brooder (Matthew Fox) mount a rescue. However, foreman Arthur O'Dwyer (Patrick Wilson) is also determined to join the mission to save his wife despite a broken leg that has kept him off the work trail. It's a dangerous ride with raiders, injuries, and rough terrain testing the posse's prayers, convictions, and mettle – yet more primitive, gruesome, bone chilling horrors are in store...

Not Your Average Western

“Flies buzzing” is the first caption of writer and director S. Craig Zahler's (The Incident) two hour and thirteen minute festival darling, and those words set the tone for the throat slicings, body crunching, and bleak western horrors viewers aren't supposed to see coming. This is just the lawless ways of the 1890s frontier – robberies and thieving never mind those skulls on torches and Indian burial grounds. The people in this era were gun belt wearing badasses, nothing more than the Wild West is supposed to be happening, right? Howling wolves and spooked horses invoke a western realism, and we expect to see this ironic but charming Old West gritty. The nearby Bright Hope pioneer town provides quaint Victorian interiors, polite men escorting women at night, and a laid back, boots up, playing checkers comfort. However, Bone Tomahawk has no rousing music and sweeping pans or thriving, progressive hustle and bustle to its town. Despite respectful and articulate mannerisms, there's a gruff to these voices. The empty edge of white civilization is relatively silent with no ritzy to its saloon and a drunken piano player in need of whiskey to finish his ten cent tunes. Although side actions are told rather than seen, that hearsay unreliability adds to the lack of knowing what really occurred, and excising this surplus action builds surprise for when abrupt shootouts and violent confrontations do happen. Suddenly, missing livestock, mysteriously empty jail cells, and torn up bodies add to this isolated town's crimes and scares.

Arrows in the dark and shadowy figures suggest Indian suspects to the frontier folk, but even friendly Native American scouts fear this no language, nameless troglodyte tribe with behaviors more beast-like than of men. Although everyone looks the part in Bone Tomahawk and we believe these rugged but civilized men forming a revenge posse can handle what's out there, these old fashioned heroes on white horses are facing some untold, cave dwelling ruthlessness. Bone Tomahawk is very well acted with quality players audiences may not expect would do this kind of seemingly smaller western or horror fair. Hopefully, one recognizes a good script when he sees it, for time is taken to get to know these excellent characters as individuals. Strong banter and a period sense of courage add dimension among the not so unblemished men before the primitive horrors add new terror to the traditional western rescue. Prayers about the campfire, dry humor, personality – viewers quickly come to like these boys, and we're rooting for them in a pursuit already struggling against the usual trail perils such as gangrene, raiders, and dead horses. There's a simmering, on edge at night when the posse bed downs. We don't know what's going to happen next any more than they know what awaits in the dark. Will such ongoing strain and the agony of travel get to one of them? The exhaustion and hopelessness add tension, arguing, pointing fingers – this is a terse, escalating journey whether the troglodyte horrors are ahead or not. Difficult group decisions must be made amid cynical thoughts and suspicions on what heavy tolls are inevitably happening to the captured. Of course, those horrors are worse than the rescuers of Bone Tomahawk could ever imagine. Survival is slim all around, yet they forge on to face the intense man versus man, man versus nature, and man versus himself battles.

Nail-biting pocket watch ticking and ominous horns blowing in the wind make the audience pay attention as Bone Tomahawk switches from bright tumbleweeds, dangerous expanse, and western perils to dark caves, trapped interiors, sudden sieges, otherworldly screeching, and harrowing wounds. Yes, there is an hour and a half onscreen before the film horrors arrive – that's the length of most quick horror productions. One could also argue there is no need for an entire movie's worth of western study ahead of such horror. Some viewers may want to see the western in itself alone without a horror finale or vice versa. There are several flaws in the final act regarding logistics and implausibilities as well, but the onscreen terrors in Bone Tomahawk forgive any contrivances. We appreciate the deaths, sacrifices, and final cigars before the goodbyes more because we are totally invested in seeing these characters through whatever comes at them in final forty minutes. All that has happened is summed up in few terrifying sentences – arousing all our fears of violation, injury, and desecration and leaving all the heroics we have previously seen for naught. The unpleasant nudity will not be soon forgotten by anyone who sees this movie, and a countdown of kills adds to the hopelessness. Who's next? The tedium of waiting is at times far worse, and silly discussions fill the interim between the unknown time when life and death is imminent. The horror and fantastics may be tough for the realistic western audiences to accept, however, Bone Tomahawk is a brilliant and complete before, during, and after emotional experience with rubber necking can't look away and a realistically cringe worthy not often seen in today's cinema.

A Fine Ensemble

Despite a calm exterior and seemingly quiet post, Sheriff Kurt Russell (Overboard) has the mustache to match the grit in Bone Tomahawk. Franklin Hunt is a wise, relaxed, old fashioned lawman who's good at his job but nonetheless indulges his old deputy when a stranger's manner is suspicious. Sheriff Hunt doesn't think there's much hope in rescuing those abducted, and his wife objects to the journey, too. However, he is going to see his mission through regardless. Hunt prepares as best possible – he knows they need to care for themselves, their horses, and keep their wits about them to trump any thieves or beasties and do what needs to be done. Polite even when the circumstances turn barbaric, Hunt also knows Arthur O'Dwyer shouldn't come on this rescue with a broken leg, yet he doesn't bother asking for the objection. Russell gives a wonderfully poignant performance, and it's bittersweet to see a man unchanged, doing what he sets out to do, and keeping his word whether the beholden are there to know his convictions or not. Likewise, Patrick Wilson (The Conjuring) has become a pleasing go to horror actor. Arthur's a strong foreman not used to being laid up at home thanks to injury – nor his doctor's assistant wife being on top in the bedroom. Arthur doesn't share his emotions well and has difficulty talking with her, but his love and tenderness are unquestionable. He rides on this mission, learning how to handle his broken leg and show his tears while on the move. Wilson brings to life Arthur's contradictory behaviors as the desperate husband comes to rely more on opium than prayer to go forward. How can he continue as his injury worsens? We may not think of such breaks, splints, and pain as being so difficult today, but in this wilderness, love is not enough to mount a rescue – or is it?

Arrogant and vain but no less witty and likable gunslinger Matthew Fox (Lost) is the suave, white suit wearing sophisticate of Bone Tomahawk. John Brooder says he's the most intelligent man there and this rescue needs his smarts, fast shot, and fancy gunnery. Though not always as right as he thinks he is, there is a grain of truth to his tactics when it comes to making camp or taking defensive positions. Unfortunately, his suspicions on outsiders, potential theft, and his shoot first, ask questions later mentality doesn't always help. Eventually, there are consequences to this quick draw attitude, and while he has good reason to hate certain Indians, Brooder gains sad respect for his horse and learns to trust his compatriots. By contrast, aged deputy Richard Jenkins (Six Feet Under) is not on his game but Chicory will continue to do his duty nonetheless – even if he can't figure out something as simple as how to read a book in the bathtub without getting the paper wet. He talks too much, sometimes adding dry humor and reflection or philosophical speculation, but again, such seemingly random conversation helps fill the idle and take one's mind off the impending horrors. Chicory is slightly off his rocker yet remains the voice of reason and moral center of the group – a lovely audience anchor pondering what we too are thinking. Although their scenes may seem slightly out of place, humorous but ruthless and hands on killer David Arquette (Scream) and expert throat slitter Sid Haig (House of 1000 Corpses) have some warped fun to open Bone Tomahawk, and their offbeat charm bookends the horror.

Fine older white men though they are, Bone Tomahawk is unfortunately a picture populated with precious few women. Despite being a respectable wife and doctoring assistant named Sam, Lili Simmons (Banshee) is nude fifteen minutes into the movie and feels out of place compared to the more developed male characters. Broadly swinging the pendulum from tender wife to bitchy snob, Sean Young's (Blade Runner) uppity, domineering mayor's wife is addressed on the situation instead of her little husband. These frontier women are tough pioneers yet remain sickly or put in their place with sex from their man, and even with these injun abducting the womenfolk fears, the audience sees too little of them to feel a personal investment. Big shocker – the few African American stable hands and servants are killed early in Bone Tomahawk, and Mexican moments or brief Spanish words are treated with xenophobic suspicion. Horses are more important than questioning the death of foreigners, but there are onscreen arguments about whether such reactions are right or wrong, fortunately utilizing the ills of the time for layered social commentary. More importantly, Bone Tomahawk makes the distinction between its horror neanderthal savages and local Native Americans, recognizing this is not normal tribe behavior whilst also implying the Manifest Destiny trespassing of the so called Bright Hope should have left the area alone. Locals knew to steer clear, but did the supposedly smart and superior white man? Nope.

Must See Looks

Old fashioned suits, cowboy hats, and late Victorian décor add to the frontier town woodwork and simplicity in Bone Tomahawk. Proper beds and an oil lamp patina with quills, books, a magnify glass, and period ephemera create a would be civilized and golden interior. I almost wish this was a television series to revisit and explore! However, natural sounds, horses, creaking wood, and swinging saloon doors add a lawless atmosphere alongside the beautiful, but untamed outdoor scenery. Precious few weeping strings and fiddlery accent choice bittersweet moments and echoing gunshots. While animal action, well edited attacks, and on the move tracking shots do capture the restlessness when it happens, Bone Tomahawk is a simple tale simply shot with no need for the sweeping panoramas and whirlwind camerawork often seen in expansive westerns or period pieces going for scope rather than inward terror. Gruesome frontier surgeries, scalping, disemboweling or worse provide enough horror gore while the briefly see beastly men leave room for the audience to imagine more fears. Their natural camouflage, animal trophies, horned masks, and primal, swift moving resistance to bullet grazes completes the disorienting civilized versus uncivilized frights. Subtitles are necessary for any whispering, but the Bone Tomahawk blu-ray release also provides plenty of deleted scenes, featurettes, and film festival Q&As with cast and crew. Unfortunately, it is just baffling when finely crafted pictures such as this are overlooked by the major movie awards. Tsk tsk.

Though worth seeing for the uniqueness alone, this R/Unrated horror is not for everyone. Instead of a cheap slasher with teens in minimum Victorian dressings, this is a niche western brimming with scares we don't expect. Granted, Bone Tomahawk has many of the same flaws seen again and again with a one and the same writer/director who has no soundboard on what to do or not do. The lengthy run time could have been trimmed further and some scenes should have been more swiftly paced. Bone Tomahawk is also oddly structured as two halves of two different movies – leading with a western character study uninteresting to audiences expecting fast shootouts, boobs, and horror a minute. In fact, most viewers will be unaccustomed to having time dedicated to such full embodied and well developed characters. However, we should embrace this kind of ingenuity not bury it and push pictures like this to fringe audiences, and I would rather have a few slow scenes with extra time to achieve a cinematic vision than a butchered PG-13 picture sacrificing its meaty for maximum cinema screenings and more almighty millions. Despite a blink and you missed it limited box office release, Bone Tomahawk is currently available on several rental and streaming options. Go into Bone Tomahawk cold for full immersion into the fine performances, western drama, Deliverance effectiveness, and entertaining horror.

80s Horror and Science Fiction Fears

80s Horrors and Scares Again

By Kristin Battestella

Mirror mirror on the wall, I am a Garbage Pail Kids horror fiend eighties baby after all.

Galaxy of Terror –  This 1981 SF freaky produced by Roger Corman (The Masque of the Red Death) has some fine scary and gory zooms, nice jump out moments, a little bit of fantasy, and some funny tossed in for good measure. The space scenery and creepy ship effects look good, especially decent if you think about how much worse and uber low budget it could have been. Okay, so it’s too dark in some spots, the eighties music is too loud, and the bad laser effects give me a headache. It’s tough to tell who is forgettable who beyond Erin Moran (Happy Days) and Robert Englund (Nightmare on Elm Street), the controls look like Simon, and the creature effects are quite the hokey.  Having said all that, the creepy and freaky works!  Contemporary audiences might not like the rapacious nasties, psychological fears, and disturbing body horror if they haven’t seen this one before, but it still works damn fine and better than predictable modern slashers.

My Bloody Valentine – There’s more forgettable 1981 interchangeable hokey hicks here- but this time all the juicy gore, unique deaths, and claustrophobic dangers are in a great labyrinthine mine inhabited by a pickaxe wielding killer.  The re-inserted deadly details are shocking and sweet, with interesting or askew camerawork, kink, and mystery. However, the scenes are unrestored and noticeably out of place- making a tough viewing for some audiences who expect a bit more polish on blu-ray.  Naturally due to the titular Valentine plot twists, I’m not so sure this is a good October or Halloween-esque film.  Then again, we could all use a little freaky in our February, for sure. I must say I did predict the killer’s identity before the finale, but it was dang entertaining in getting there nonetheless.

Near Dark – Oscar winning director Kathryn Bigelow (The Hurt Locker) also co-wrote this cult cowboy-esque and unique 1987 vampire tale starring Adrian Pasdar (Heroes), Jenny Wright (St. Elmo’s Fire), Bill Paxton (Aliens), Lance Henriksen (Aliens), Jenette Goldstein (Aliens), and Joshua John Miller (he’s the kid brother in Teen Witch!). Granted the Southern eighties style may seem dated or too country to some. However, this is quite the stylized show, with a serious look at nomadic vampire rites of passage and dangerous family drama.  There’s even room for humor, sardonic fun, and a little romance, too.  Traditional vampire bits are here- though in unexpected ways- and there is plenty of blood, gruesome, fire, and deaths. Yet this isn’t all gore and bite juice for the sake of it, rather most of the meat is handled by twisted performance alone.  It’s subtle, sexy, and the blu-ray looks great.

Swamp Thing – There’s a great story here from the DC Comics plots- all kinds of kinky, monster innuendo, power debates, sociological statements, and demented science.  I do, however, expect a little more polish from director Wes Craven (Nightmare on Elm Street, Scream), as the photography and editing presentation hampers this most. Despite the serious relationships onscreen, numerous and disjointed fade ins or weird slide transitions make this feel like a series of action incidents rather than a cohesive tale. Thankfully, the swampy water and South Carolina locations work wonderfully, and Adrienne Barbeau (The Fog), Ray Wise (Twin Peaks), and the late Dick Durock (also of the Swamp Thing TV series) are a lot of fun. Though he appears to have never been in anything else, Reggie Batts is also a scene-stealing treat as the sarcastic Jude. We can believe Barbeau as the smart, sexy woman who can handle herself, as well- just that dang 1982 mini afro mullet combo hair does not work. Louis Jourdan (Octopussy) is also mustache twisting villainy sweet, even if the monster make-up and the action finale is quite hokey.  Fortunately, the uncut version is currently available on Netflix’s Instant Watch, complete with boobs a plenty.  And really, I’m so, so tired of forthcoming 3D remakes!

The Thing – Director John Carpenter (Halloween, Christine) mixes alien fears, scary isolation, dangerous locations, miscommunications, mistrust, suspicion, and more in this 1982 science fiction freaky.  In some of the hectic scenes, it may be tough to tell who is who in the all-male cast, yes. But stars Kurt Russell (Escape from New York), Keith David (Platoon), and Wilfred Brimley (Cocoon, or rather, The Quaker Oats Guy) build all the paranoia necessary. Everyone is afraid of not just the titular menacing getting in, but also of letting it out into the populated world- which is exactly what it wants. Maybe some of the effects are corny today, but the gore also looks gruesome good whilst also being realistic or bizarrely well thought.  Jumps and scares, of the time restrictions, little technology to help, and a jury-rigged compound add to the horror, too. And again, I’m not interested in the remake. Why, oh why, oh why would anyone be?

Soldier (1998)

Soldier a Nice Little SF Movie

By Kristin Battestella

It took fore-ev-er for the 1998 film Soldier to arrive from Netflix, and I confess I held onto it a little bit longer than I should have just to make someone else have the ‘very long wait’.  For such a relatively dismissed and unloved sf action yarn, somebody is obviously still watching!

Bred from birth to be a soldier, Sergeant Todd (Kurt Russell) is replaced after forty years of deadly service by the new, elite model Caine 607 (Jason Scott Lee).  Thought dead, Todd is dumped on the waste planet Arcadia 234.  He survives the brutal conditions there and is rescued by Mace (Sean Pertwee) and his wife Sandra (Connie Neilson) – members of a community of crashed space travelers building a meager life out of the junk dumped on the planet.  Colonel Mekum (Jason Isaacs) wants to test Caine and his new soldiers and chooses Arcadia 234 as the site of his training exercises.  Despite initial resentment from the community, Todd helps defend his newfound society now that they have been deemed hostile by his replacements.

Perhaps because it was supposed to be a big budget action fest, we expect something more from Soldier and director Paul W. S. Anderson (Resident Evil, Alien vs. Predator) and writer David Peoples (Blade Runner, Ladyhawke, Twelve Monkeys). Though I don’t know why- thus far I’ve actually liked everything I’ve seen Anderson involved with; and the source screenplay and story are originally from sf literary master Harlan Ellison- and Harlan Ellison is, well, Harlan Ellison. When looking at the film with an intelligentsia perspective, it’s actually quite an intriguing little science fiction dilemma.  Yes, some of Soldier plays small like its Ellison predecessor- an original Outer Limits episode. This is probably why the action and design style look kind of hokey and not up to cinematic par.  But what’s wrong with having a science fiction action film that provides as much- if not more- food for thought over run and gun fighting eye candy? Are genetically engineered soldiers better than those trained to kill at birth?  Do those out-dated not deserve the right to defend their existence?  Can such extreme conditioning be overcome with something so seemingly useless as compassion? If compassion can defeat all ills, then why not let it?  It’s perfectly acceptable for a society to cut out its ills if it must- yet the crash survivors’ initial reaction is to help a man in need.  Which is right? Why does either have to be wrong? I just love sociological science fiction allegory!

Well, if it really came down to Kurt Russell (Escape from New York, Overboard, Stargate) and Jason Scott Lee (Dragon: The Bruce Lee Story, The Jungle Book, Rapa Nui) in a fight, it would certainly be very easy to put your money on the younger and pumped Lee.  This is the exact dilemma that Soldier presents.  Russell, however, makes it very easy to feel for his character, and Lee likewise enjoys the villainy. Can one change once he is deemed obsolete? Are you truly superior if you lose all essence of the human condition? Russell conveys Todd’s badass and his somber in cool moves and little dialogue. Sure, his clipped delivery is a little stilted and often hokey, but Todd is not meant to handle conversation. And when was the last time we had the lead in a big flick speak so clunky and so little- Conan the Barbarian? Maybe someone else could have done a better job, but Russell does all right. His awkwardness at kindness, children, even hugging wonderfully says more- and the way his soldier style benefits his new community is also delightful.  See the bigger picture, people! Can a man have both affection and strength and not be weak or out of date? Lee’s ruthless steamrolling mentality is a wonderful contrast as well.  Where Todd seems almost a broken, traumatized case, Caine is styled as an unyielding sociopath- and that is supposed to be the efficient next step. Where one can be fixed, or at least accepted, the other cannot.

Naturally, a woman goes a long way in creating house and home, doesn’t she? Connie Neilson (Gladiator, The Devil’s Advocate) is lovely and warm and you have to wonder on the latent kinky possibilities between Sandra and Todd.  Sean Pertwee (Dog Soldiers, Camelot) and Michael Chiklis (The Commish, The Shield) are also great at being middle of the road guys who accept and befriend Todd, extreme conditioning and all. As much as we have teased Gary Busey (The Buddy Holly Story, Under Siege) in recent years or love to see him play the crazy jerk, his aptly named Captain Church is actually a wonderfully harsh good guy.  Of course, oft baddie Jason Isaacs (The Patriot, Harry Potter) is typecast as a villain, yes, but he’s just so dang good at it!  

Loud bangs and booms, naturally, are super loud against the soft dialogue- but there are enough chunks of both action montages early and quiet conversations in between to relax on the volume control.  Fortunately, there are subtitles on the DVD to fix all that, too.  The outer space shots and distant, supposedly otherworldly panoramas, however, look kind of crappy.  Yes, they live on a bleak and trash heap ridden dusty planet, but ergo Soldier also looks like a load of junk.  If you were flicking through the channels and came across the supposedly big and dusty action finale here, you’d probably snark and pass on by- especially in comparison to our much beloved CGI. Thankfully, the effects aren’t meant to be the essence of the picture here, coughavatarcough, and the drama of a well told concept wins.  Though there’s good old R violence and some innuendo, tweens and anyone who can appreciate substance with their sci-fi can enjoy Soldier. Though elusive, the DVD is well worth the wait- er hunt.

Family Friendly Fantasy and Science Fiction

Family Friendly Fantasy and Science Fiction

By Kristin Battestella

Hello again with another quick list of recommendations for your rainy days and family fun nights. Here are a few genre keepers that can be enjoyed by the entire family-young and old, modern and classic.

­The Adventures of Robin Hood - This 1938 classic may seem hokey to some, but tales of Sherwood Forest don’t get much better than this. Juvenile audiences and old time memories still make Errol Flynn’s be greened Robin, Olivia de Havilland’s Maid Marion, and Basil Rathbone’s Sir Guy of Gisborne a delight.

Swiss Family Robinson- Forget Pirates of The Caribbean, this 1960 Disney classic has tree houses, wild animals, tropical locations, and pirates! How can you not love Dorothy MacGuire and the scrawny boy who’s obviously a girl? Everyone can still enjoy this one-and it looks great on DVD. Disney just doesn’t make ‘em like they used to.

Clash of the Titans- This sword and sandal fanfare looks so bad yet still looks so good. The All-Star cast, Harryhausen-laden visuals, and story filled with meddling gods and mythical creatures is a delight for young and old. Very young children might be scared by the darker imagery and there’s a touch of toddler nudity; but kids 10 and under can still delight in this 1981 charmer.

Ladyhawke- Yes the music’s bad and the ending is weak, but this fanciful and tragic love story is still beautiful and moving. Rutger Hauer and Michelle Pfeiffer are bittersweet as two cursed lovers who can only see each other for a moment at dawn. Fine characters, witty humor, and nothing scandalous make this a family keeper.

Jurassic Park- This Steven Spielberg extravaganza isn’t exactly one of my favorites, but the sequels are down hill from this groundbreaking and visually stunning dinosaur ‘what if’. A fine cast and some awesome dinosaurs will always look good to the paleontologist at heart.

Stargate- The long running series and spin-offs have their fans, but the original 1994 Stargate is a commitment free fix for a night of archeology and action. Kurt Russell’s Colonel O’Neill has more edge, and who doesn’t love a little bit of aliens with their Ancient Egypt?

Batman Forever- Not as dark, serious, and thought provoking as the recent Batman installments, this 1995 edition from Joel Schumacher has comic book fun, color, Robin, and Bat Girl. Nicole Kidman, Jim Carrey, and Tommy Lee Jones add the supporting grit, humor, and charm. Kids can enjoy the lighthearted take on the Caped Crusader while parents critique Val Kilmer’s entry as Batman.

The Mummy- Another original film that reigns above its sequels and direct to DVD spin-offs. Here’s more Egyptology and fantasy to inspire the kids, along with charm and wit from Brendan Fraser and Rachel Weisz. The mummy effects still look good to the mature, critical eye, and despite some humorous romance; there’s nothing skimpy and offensive.

X-Men- Perhaps not the best one in this mutant superhero trilogy, X-Men still packs in a lot of introductions and back-story, setting the scene for a fantastic look at discrimination. Teens who don’t already enjoy X-Men will love this tale of the gifted and misunderstood for its reflection of their own lives.

Bruce Almighty­- Though humorous and a little fresh in some places, Jim Carrey proves here that he can handle drama and mature story telling. Morgan Freeman is charming as God, and Carrey’s everyman struggles to do the right thing when given such enormous opportunity. Family friendly or even acceptable for youth group-beat that!