The Films of 2024: Reagan (dir by Sean McNamara)


In Reagan, Dennis Quaid stars at the 40th President of the United States.

Framed as a story being told by a former KGB agent (Jon Voight) who is attempting to make a younger politician understand why Russia lost the Cold War, Reagan starts with Reagan’s childhood, includes his time as an actor and as the anti-communist head of the SAG, and then gets into his political career.  Along the way, several familiar faces pop up.  Robert Davi plays a thuggish Russian leader.  Mena Suvari plays Reagan’s first wife while Penelope Ann Miller plays his second.  Xander Berekely plays George Schultz (who was just previously played by Sam Waterston in The Dropout miniseries.)  C. Thomas Howell, Kevin Dillon, Dan Lauria, and Lesley-Anne Down all have small but important roles.  And the usual suspects when it comes to conservative filmmaking — Nick Searcy, Kevin Sorbo, and Pat Boone — are there to compliment Voight and Davi.  I was a little surprised to see that Dean Cain was not present.

As usually happens to films that feature sympathetic Republicans, Reagan was slammed by critic but better-appreciated by the audience for which the film was made.  I wasn’t particularly surprised.  Movie critics tend to be liberal and Reagan is very much not that.  For a professional film critic, a film like Reagan must be met with snark and derision because otherwise, one would risk cancellation.  Don’t get me wrong.  I’m not saying that there aren’t things to criticize about Reagan the film.  I’m just saying that one should always keep in mind that critics have their own individual biases.  One reason why the Rotten Tomatoes score is such an unfortunate development is because it ignores the fact that most films have things that work and things that don’t work and that quality is often in the eye of the beholder.  Instead, it just tells us that a film is either a 90% or a 10%.

As for Reagan, it’s definitely a bit on the heavy-handed side but, then again, I think the same can be said for just about every political film that’s come out over the last few decades.  For those who claim Reagan is somehow more heavy-handed than most, I invite them to sit through Rob Reiner’s LBJ.  Indeed, the only director who has really shown a willingness to admit that a President can be both good and bad was Oliver Stone and when was the last time anyone watched NixonReagan is at its weakness when it tries to recreate Reagan’s time as an actor.  Dennis Quaid gives a good and charming performance throughout the film but he’s also 70 years old and, in the scenes where he plays the youngish Ronald Reagan, all of the soft-lighting and Vaseline on the lens ends up making him look like a wax figure.  Once Reagan gets older, Quaid is allowed to act his age and both he and the film become much more convincing.  I enjoyed the film once Reagan became President, though you should understand that I have biases of my own.  I’m a fan of low taxes and individual freedom, which is why I’m also not a fan of communism or, for that matter, any extreme ideology that attempts to tell people how to live or think.  “Tear down this wall!” Regan says while standing in front of the Berlin Wall and it’s a rousing moment, both in reality and on film.

In the end, Reagan is a film that will be best appreciated by people who already like Ronald Reagan.  Yes, the film is heavy-handed and the framing device is a bit awkward.  But Dennis Quaid’s heartfelt (and, towards the end, heartbreaking) performance carries the film.  The film is not at all subtle but you know what?  I’ve seen a countless number of mediocre films that have portrayed Reagan negatively, often with as little nuance and just as heavy-handed an approach as Reagan uses in its positive portrayal of the man.  I sat through The Butler, for God’s sake.  There’s nothing wrong with having a film that looks at the man from the other side.  Those who like Ronald Reagan will feel vindicated.  Those who don’t will say, “What was up with that Pat Boone scene?”

Film Review: On a Wing and a Prayer (dir by Sean McNamara)


Having just attended the funeral of his brother, Doug White (Dennis Quaid) and his family — wife Terri (Heather Graham) and daughters Bailey (Abigail Rhine) and Maggie (Jessi Case) — are flying back to their home in Louisiana.  Unfortunately, shortly after takeoff, their pilot suffers a heart attack and dies.  Now Doug, who’s had only one flight lesson in his entire life, has to not only fly the plane but also land safely.

Doug has people on the ground, trying to talk him through the landing even though they don’t know what is actually happening in the cockpit.  Hard-drinking Dan Favio (Rocky Myers) calls his friend, Kari Sorenson (Jesse Metcalfe).  Kari has never gotten over the death of his family in a similar plane crash so, for him, helping Doug land is about more than just saving Doug and his family.  It’s also about achieving his own personal redemption and hopefully finding the strength to forgive himself.

While this is going on, two kids — Donna (Raina Grey) and Buggy (Trayce Malachi) — follow the flight online and then head down to the airport so that they can watch it try to land.  To be honest, I’m really not sure why either one of them is in the movie.  When Donna first showed up, talking about how she wanted to be a pilot because “Mr. Jones” told her that girls can’t fly planes, I found myself dreading the inevitable moment when the kids would take it upon themselves to help Doug land the plane.  I dreaded Donna calling the cockpit and Doug going, “Wait a minute …. you’re just a kid!”  Fortunately, that moment didn’t happen but I was still left wondering why Donna and Buggy were in the film to begin with.

It feels almost churlish to be overly critical of a film like On a Wing and a Prayer because it is based on a true story.  Doug White really did have to land an airplane after the pilot died mid-flight and he really was instructed on what to do by a group of air traffic controllers and Kari Sorenson.  It’s a good story and the film ends with some undeniably touching shots of the real people involved in the landing.  That said, this is ultimately a film that many filmgoers will want to like more than they actually do.  Thanks to some dodgy special effects, the viewer never forgets that Dennis Quaid and his family aren’t really tapped up in the sky.  Instead, one is always aware that they’re just watching a movie and a rather cheap-looking one at that.  As well, the script is full of awkward dialogue and heavy-handed moments.  As soon as I saw that one of the daughters wouldn’t stop looking at her phone, I knew that she would be the one who would be forced to grow up in a hurry.  As soon as the other daughter ate something with nuts in it, I knew that there was going to be a desperate search for an epi-pen.

On the plus side, Dennis Quaid was as likable as ever and Heather Graham managed to wring some genuine feeling out of even the most sentimental of dialogue.  On A Wing and a Prayer was directed by Sean McNamara, who also directed one of my favorite films of 2011, Soul Surfer.  (Later this year, McNamara and Quaid have another project that is scheduled to be released, a biopic of President Ronald Reagan.)  On A Wing and A Prayer doesn’t really work as a film but, as a story, it at least reminds us of what people are capable of doing when they all work together.

The Films of 2020: Mighty Oak (dir by Sean McNamara)


Mighty Oak tells the story of Army of Love.

Back in the day, Army of Love was an up-and-coming band in Los Angeles.  They were led by charismatic frontman Vaughn Jackson (played by Bob Dylan’s incredibly handsome grandson, Levi Dylan) and managed by Vaughn’s overprotective sister, Gina (Jannel Parrish).  Unfortunately, one night. they were driving home from a gig when a drunk driver collided with their van.  Vaughn was thrown through the windshield and killed.  Army of Love went into permanent hiatus.

However, ten years later, Army of Love is back!  Gina is once again managing and they’ve got a new lead singer.  His name is Oak Scroggins (Tommy Ragen) and he’s ten years old!  But he plays guitar and sings like he’s at least in his early 20s!  At first, some members of the band are skeptical but everyone is won over once Oak starts to perform.  Gina is especially impressed, to the extent that she becomes convinced that Oak is literally Vaughn’s reincarnation.

Of course, Oak’s life isn’t perfect.  Despite his talent (or perhaps because of it), he’s a bit of an outcast at school.  His father’s dead and his mother is the type of drug addict who misses her son’s musical debut because she’s too busy getting arrested on the California-Mexico border.  His grandparents are back in Minnesota and they seem like they mean well but his grandfather has a habit of shouting stuff like, “Kids should be seen not heard!,” so who knows?  Can Gina and the band provide Oak with the family that he needs and will Gina ever discover whether or not Oak is actually her dead brother?  Watch the film to find out.

This is kind of a weird movie.  Sean McNamara previously directed Soul Surfer, which was such a sincere and unapologetically emotional film that it was pretty much impossible not to love it.  Mighty Oak is also extremely sincere and unapologetic but it’s also such a mishmash of different elements and contradictory tones that it’s hard to really know what to make of it.  It starts out as a drama and then it becomes a bit of a broad comedy and then it goes back to being a tear jerker and, in the end, it seems to be trying too hard to convince you that reincarnation is a logical solution as opposed to just being wishful thinking.  Even if you can buy into the idea that Vaughn was reincarnated as Oak, you also have to be willing to believe that the members of defunct hard rock band wouldn’t have any issue with reforming so that they could back up a ten year old.

That said, it’s difficult to really dislike a film like Mighty Oak.  Yes, the plot is a mess and the tone is totally inconsistent and I don’t know much about reincarnation but I’m sure there’s more to the belief than what is presented in this film.  But, as I said at the start of this review, the film’s heart appears to be in the right place and everyone involved seems to mean well and there is something to be said for that.  It helps that Tommy Ragen is a real-life musical prodigy and that he actually can play the guitar just as well in real life as he does in the film.  If nothing else, this elevates the film in a way that casting a typical child actor would not.  It’s a silly movie but you can’t deny that Tommy Ragen is a talented kid.

Hallmark Review: Love in Paradise (2016, dir. Sean McNamara)


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I have to admit I was scared going into this. Based on the plot summary it sounded like it was going to be Strawberry Summer Retread: A Country Wedding, Part II. Strawberry Summer was the epic disaster that I can’t possibly summarize and A Country Wedding was about 90 minutes of snide, stupid, ignorant, and redneck dialogue that made both of the characters look like hicks. Also, this movie was directed by the man who keeps bringing us Baby Geniuses sequels and directed 3 Ninjas: High Noon at Mega Mountain (1998). So you can imagine my trepidation going into this movie. But how bad could it be? I mean I like Luke Perry. Well, it turned to out to reasonably good. It has it’s problems, but it’s not bad at all.

First things first though. With this movie, and Jesse Stone: Lost In Paradise, Luke Perry is yet another of the Beverly Hills, 90210 crowd to make their way to Hallmark:

James Eckhouse in Second Chances
Jason Priestley in Expecting A Miracle
Jennie Garth in The Last Cowboy
Shannon Doherty in Growing The Big One
Tori Spelling in Family Plan

Those are just the ones I have reviewed. However, I’m pretty sure we haven’t seen Gabrielle Carteris, Joe E. Tata, Carol Potter, or Brian Austin Green yet. Ian Ziering is busy fighting sharks. And yes, I am aware that Tiffani Thiessen was in Northpole, but I haven’t seen it so it doesn’t count. Same goes for those other Luke Perry Hallmark movies as well.

But back to this movie. It opens up with Luke in front of a green screen, then we get the title card, before it cuts back to this.

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I know his character’s name is Avery Ford, but I don’t care. He is Dylan McKay to me now and always. So Dylan here is an aging star of westerns called Aim To Please. And look! They were made by the same people who worked on this film.

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Notice that includes Luke Perry himself as a producer. Dylan isn’t a happy man. He doesn’t like hocking beans. Now we meet Heather (Emmanuelle Vaugier) and her father Casey (Tom Butler).

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Turns out Casey is a fan of Dylan’s work as a western star. Also, it turns out the hotel/ranch is in Montana. And by Montana, they mean Agassiz, British Columbia, Canada. Well, at least for these shots.

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I have to assume the main set is also in the area, but I couldn’t pin it down. They also do a reasonably good job with the license plates too. I think all the major cars in the movie have Montana plates on them.

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So, how is Dylan going to end up in the country you ask? Nearly the same way as in Strawberry Summer. The hotel is in trouble and she figures since her father is a bit of a celebrity cowboy it might be mutually beneficial for her and Dylan if he pays a PR visit. But unlike Strawberry Summer, the first words out of Dylan’s mouth are that she could be a crazy person like Kathy Bates in Misery.

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I don’t care that he goes anyways. I am just grateful this movie acknowledged that fact. Strawberry Summer just glosses over that she is an obsessed fan who uses her personal connections to lure a celebrity to her small town because she believes she can fix him. Thank you Luke Perry, Tippi Dobrofsky, and Neal Dobrofsky for writing that into this film.

After landing, Dylan buys some boots because you know, he’s just an actor, not a real cowboy. That’s where a problem with this film is. Also, it’s a little wishy washy about it. She kind of acts like the girl in A Country Wedding even commenting on his obviously new and not really his boots. In her case though, it’s not that she’s being a jackass and more that for some reason she doesn’t know what acting is. If Anthony Hopkins had shown up in town, then would she have been expecting him to be a cannibal? The wishy washy part is that basically nobody else thinks that way. Certainly not the father who makes it very clear he knew he wasn’t a real cowboy. He’s an actor who plays one in movies. Movies that happen to make him happy when he watches them.

Well, they go through the standard city slicker in the country bit. Yes, that includes this nonsense.

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But what’s nice is that this tapers off within the first 30 minutes or so of the movie. The rest of the time is Dylan, Heather, and Casey just getting to know each other and themselves better. Dylan already knew he wasn’t super happy with where he was in his life, but it won’t mean that he just up and stops acting. That’s one of the really nice things about this movie. He finishes the film with a much more moderate and realistic response to his time with Heather and Casey. Heather gets to know Dylan and generally begins to appreciate what her father sees in him. Up till then she didn’t watch his movies. They don’t take that as far as I would have liked, but it’s quite implied that she understands his acting has brought her dad happiness. As for the dad, it’s a win win situation for him. He gets to hang out with his favorite actor and his daughter is happy as she grows closer to Dylan. At least as close as most Hallmark romances do before just having them end up together.

There is a little subplot with a guy who wants to do something by buying her place, but I really don’t know why they even bothered with it. It barely comes into play.

However, there are two things to notice in this movie.

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In that scene the guy who wants to buy up the place shows up to harass Heather. Luke Perry goes right into classic Dylan McKay for that moment. You know, those scenes when he would walk right over and tell someone to back off if they were bothering one of his friends. It’s suddenly Beverly Hills, 90210 for that moment and she might as well be Kelly.

The other thing.

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That is Matt Frewer as the local doctor, and that scene is a major missed opportunity. Do you see it? Let me change the line: Name is Marion, but people call me Max. Boom! A John Wayne reference, which was done that way in One Starry Christmas, plus a reference to Matt Frewer as Max Headroom. Too bad.

Ultimately what do you have with Love in Paradise? You have Strawberry Summer and A Country Wedding put into a blender and mixed by screenwriters who knew what they were doing. It works. There are cliches they could have left out, and moments they could have shot for something more meaningful, but it’s Hallmark. I will gladly praise the ones that really rise above, but I’m not going to come down on this one hard for it’s flaws. I recommend it.

Lisa Marie Reflects on Soul Surfer (dir. by Sean McNamara)


As I was writing up my review of Shark Night 3D, I found myself thinking about Soul Surfer, another film that came out earlier this year and also featured a character losing an arm to a shark.  Oddly enough, both Shark Night and Soul Surfer feature supporting performances from former American Idol contestants.  (Carrie Underwood has a small supporting role in Soul Surfer.)  Beyond that, however, the two films couldn’t be any more different.

Soul Surfer is based on the true story of Bethany Hamilton, a surfer who, back in 2003, lost her arm to a shark.  I can still remember when this happened because, despite the fact that I live in one of the most land-locked parts of the country, it really, really freaked me out.  I have a morbid fear of somehow losing a limb whether by shark attack, car accident, or Jigsaw Killer.  (I guess, in my case, car accident would be the most likely possibility.)  I couldn’t help but look at the endless footage of a seemingly cheerful Hamilton being interviewed without wondering how I would react if the same thing happened to me.  Would I be able to stay as positive as Hamilton? I hope I could but, to be honest, I probably wouldn’t.

That’s one reason why I avoided seeing Soul Surfer when it was first released to theaters and instead only saw it once it showed up On Demand and I was looking for a movie to watch before bedtime.  Once I actually saw it, I was surprised to discover that Soul Surfer is an effective (if predictable) film that is occasionally even touching.

The film opens with some truly beautiful scenes set in Hawaii and rather quickly establishes Bethany Hamilton (played here by AnnaSophia Robb) as a normal teenage girl who just happens to be a very talented surfer.  Hamilton loses her arm about thirty minutes in and the rest of the film is devoted to her struggle to come to terms with both the loss of her arm and her newfound fame.  The film ends with Hamilton’s triumphant return to competetive surfing and, in its undeniably sincere and old-fashioned way, it makes for an undeniably touching moment.  Robb is likable as Hamilton though the film’s true heart and soul is provided by Dennis Quaid and Helen Hunt.  They play Hamilton’s parents and both of them prove they are capable of making even the most mawkish of lines effective.

Soul Surfer was popular with audiences but got slammed by critics who complained that the film was 1) predictable and 2) far too manipulative.  I would say that these critics are missing the point and their criticism has more to do with their own need to show off their cynical credentials than anything they may have actually seen on-screen. 

Yes, Soul Surfer is emotionally manipulative and yes, the film is predictable but so what?  

The important thing is that the film works.  

That’s a lot more than you can say for the much more cynical Shark Night 3D.