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An aspiring author during the civil rights movement of the 1960s decides to write a book detailing the African-American maids' point of view on the white families for which they work, and the hardships they go through on a daily basis.
Director:
Tate Taylor
Stars:
Emma Stone,
Viola Davis,
Bryce Dallas Howard
A mentally retarded man fights for custody of his 7-year-old daughter, and in the process teaches his cold-hearted lawyer the value of love and family.
Director:
Jessie Nelson
Stars:
Sean Penn,
Michelle Pfeiffer,
Dakota Fanning
set in South Carolina in 1964, this is the tale of Lily Owens a 14 year-old girl who is haunted by the memory of her late mother. To escape her lonely life and troubled relationship with ... See full summary »
Director:
Gina Prince-Bythewood
Stars:
Dakota Fanning,
Queen Latifah,
Jennifer Hudson
The story of how the novel "Mrs. Dalloway" affects three generations of women, all of whom, in one way or another, have had to deal with suicide in their lives.
When a man with AIDS is fired by a conservative law firm because of his condition, he hires a homophobic small time lawyer as the only willing advocate for a wrongful dismissal suit.
Director:
Jonathan Demme
Stars:
Tom Hanks,
Denzel Washington,
Roberta Maxwell
The Deep End of The Ocean is a film about a family's reaction when Ben, the youngest son is kidnapped and then found nine years later, living in the same town, where his family had just moved.
Anna Fitzgerald looks to earn medical emancipation from her parents who until now have relied on their youngest child to help their leukemia-stricken daughter Kate remain alive.
Director:
Nick Cassavetes
Stars:
Abigail Breslin,
Walter Raney,
Cameron Diaz
Siddalee, a famous New York playwright, is quoted in Time magazine and infuriates her dramatic, Southern mother. A long-distant fight wages until her mother's friends (and members of the Yaya Sisterhood) kidnap Siddalee and take her "home" to the South, where they hope to explain her mother's history and to patch up the rift between mother and daughter. Written by
kzmckeown
When Teensy blocks Vivi on the bridge, Vivi slams on the brakes, causing tire marks. Yet, when Vivi gets out of the car, we don't see any tire marks behind her on the road. See more »
Quotes
Younger Vivi:
[after throwing dinner on the floor]
You can starve for all I care!
[storms out]
Little Sidda Walker:
I'll make dinner, Daddy. Okay?
Younger Shep Walker:
Thank you. I'll get the skillet. Don't touch it; it's hot.
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`The Divine Secrets of the Ya-Ya Sisterhood' is nothing short of self-indulgent twaddle. The entire premise of this movie seems to be about never letting any male come between the members of this girls' club. Vivi, this spirited leader, is this specially gifted person who is somehow stultified in her spiritual growth by circumstances. But besides riding in a car without her bra, what actions does she take for her growth? It's like it is everyone else's fault! She fantasizes but doesn't do anything, except drink and run away. Education anyone? Had Vivi's original beau, who was killed in the war, lived, one is expected to believe that things would have somehow been different. But the failure of Vivi's motherhood seems to have nothing to do with her husband. How many kids did she have? When was it that she discovered that she wasn't going to be mother material or, for that matter, wife material? This woman was supposed to be unusually bright! I did enjoy the relationship of the Ya-Ya's. One gets the impression, however, that some things were there just because they were part of some real life experience. For example, Maggie Smith's oxygen bottle isn't all that great a prop. Additionally all the accents are generic rather than from Louisiana. Sandra Bullock continuously plays an hysterical person who is occasionally waking up or calming down. Additionally, her character remembers a difficult childhood, but oddly, doesn't recall the really bad things until she begins to look at the scrapbook. While I can understand how she might want to block out being beaten with a belt while Mom was drunk, it certainly would be nice to have these things set as an emotional barrier before she starts re-reading it all. Why is she the only one with issues? Where are the rest of the kids? It took me about half the movie before I realized that the real hero is Dad. He just remains where he is supposed to be and does what he is supposed to do and more. Vivi moves out of their bedroom in the 60's and he just keeps on taking care of things. I am surprised that a man would be allowed such a portrait in a feminist movie. The real issue is that even when you forgive things, you have the etched stain of the sin, in this case the damage of some 30 years or more, alcohol, worry, desertion, emptiness and more. No one is carrying the effects of the pain in this movie. When Dad and Mom get back together, it looks like they have had a 10-minute spat. The question of forgiveness never gets the billing that it deserves. All the horrors are slowly piled onto one another. But does one have any choice but to forgive someone else when he or she needs it? Forgiveness isn't about the mind, but about the heart. It's a great lesson not to allow pride to stand in its way. That should have been the story of the movie before it bored you to death with the obvious clichés at the end.
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`The Divine Secrets of the Ya-Ya Sisterhood' is nothing short of self-indulgent twaddle. The entire premise of this movie seems to be about never letting any male come between the members of this girls' club. Vivi, this spirited leader, is this specially gifted person who is somehow stultified in her spiritual growth by circumstances. But besides riding in a car without her bra, what actions does she take for her growth? It's like it is everyone else's fault! She fantasizes but doesn't do anything, except drink and run away. Education anyone? Had Vivi's original beau, who was killed in the war, lived, one is expected to believe that things would have somehow been different. But the failure of Vivi's motherhood seems to have nothing to do with her husband. How many kids did she have? When was it that she discovered that she wasn't going to be mother material or, for that matter, wife material? This woman was supposed to be unusually bright! I did enjoy the relationship of the Ya-Ya's. One gets the impression, however, that some things were there just because they were part of some real life experience. For example, Maggie Smith's oxygen bottle isn't all that great a prop. Additionally all the accents are generic rather than from Louisiana. Sandra Bullock continuously plays an hysterical person who is occasionally waking up or calming down. Additionally, her character remembers a difficult childhood, but oddly, doesn't recall the really bad things until she begins to look at the scrapbook. While I can understand how she might want to block out being beaten with a belt while Mom was drunk, it certainly would be nice to have these things set as an emotional barrier before she starts re-reading it all. Why is she the only one with issues? Where are the rest of the kids? It took me about half the movie before I realized that the real hero is Dad. He just remains where he is supposed to be and does what he is supposed to do and more. Vivi moves out of their bedroom in the 60's and he just keeps on taking care of things. I am surprised that a man would be allowed such a portrait in a feminist movie. The real issue is that even when you forgive things, you have the etched stain of the sin, in this case the damage of some 30 years or more, alcohol, worry, desertion, emptiness and more. No one is carrying the effects of the pain in this movie. When Dad and Mom get back together, it looks like they have had a 10-minute spat. The question of forgiveness never gets the billing that it deserves. All the horrors are slowly piled onto one another. But does one have any choice but to forgive someone else when he or she needs it? Forgiveness isn't about the mind, but about the heart. It's a great lesson not to allow pride to stand in its way. That should have been the story of the movie before it bored you to death with the obvious clichés at the end.