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Monique Greene's performance again commands attention, not as the ugly friend but in the role of the funny and relatable Natalie. Her irresistible charm shines through her smooth delivery of snarky lines in this whacky offbeat comedy short.

Monique Greene is a standout as the bubbly Erica, who's last to go before the judging panel casting for a music video in Twerk. Despite the lack of equal billing this breakout performance more than warrants, she's exuberant and her comical appeal is riveting!

With the NFL Draft season officially in full swing, if you haven't already, now's a great time to see "Draft Day" the movie! Even if it does stand to reason, foretelling whether or not it would be received more positively by non-football enthusiasts and resonate less with true football fans (as some critics have deduced), is nonetheless a rush to judgment.

In any case, the box office draw doesn't differentiate one over the other. The entertaining sports vehicle about the NFL draft not actual gridiron game play goes against formula.

We've seen football films that keep to standard rough and tumble field action, which fit the bill. However, the focus here in itself, is a good departure as a movie on the managerial side of the sport of interest for either group.

Being a non-fanatical Monday morning quarterback, I enjoyed watching a view from behind-the-scenes for a change of pace, and getting a crash course in the extraneous details of what occurs in a crucial 24-hour period-similar to TV series "24"-leading up to the draft day ceremony.

As for the question of is it realism or Hollywood hype? Co-star and former professional football player now actor Terry Crews, who said he was an 11-round draft pick in 1991, in a pre-release call-in interview to the Steve Harvey Morning Show, stated that "Draft Day" was the first movie endorsed by the NFL.

So would the League sign-off on a film that represents a 'day-in-the-life of' a general manager played by sports cinema veteran Kevin Costner, managing the real-life Cleveland Browns, if it didn't measure up? Most likely not.

Sure, football fans will probably have a better understanding than will others of the evolving events being dramatized on the big screen, but I believe that's meant to give the rest of the audience a microcosmic picture of the high-pressured inner-workings and how it all comes together.

It presents an intimate look at the level of intensity that comes when the selection process rises to fever pitch (forgive the baseball reference) and how the lives of the hopefuls looking to get picked, as well as their families, hinges on the manager's final decision.

The film works well at drawing you into the thought-provoking/judgment-making job of Costner's character Sonny Weaver, while also keeping you glued to the countdown timer. The spliced boiler room frames meld cohesively to sustain moviegoers' heightened curiosity for the anticipated outcome.

Jennifer Garner is low-key as Costner's girlfriend, though a far cry from her starring lead role in TV's "Alias." Hers, along with Ellen Burstyn's portrayal, brings necessary added value to balance out the storyline.

As the father of a potential student draftee, Crews delivers a meaningful, non-comedic performance. The elements put in play, overall, make for a finely crafted sports entertainment feature everyone can enjoy.

An introspective modern day fairytale literally come-to-life.

Similar to the literary classic Pygmalion, in which the sculptor falls in love with the statue he's created, actress and writer Zoe Kazan's enlightened indie goes a step further.

Her real-life boyfriend Paul Dano, plays a writer experiencing writer's block, who begins writing a description of his ideal girl. From the page, his real-life fantasy appears suddenly in the flesh as his girlfriend. So it didn't require any Method Acting—on either of their parts.

Dano is freaked out initially and has a hard time believing that Kazan's real. Soon after the honeymoon phase starts to dissipate, he feels she's too clingy and decides to make her more independent. He tries again to tweak her traits to suit his selfish needs to make her his perfect female.

Then back to the typewriter keys he goes yet again-and again-to re-tweak her after she displays too much independence, until finally Dano sees that Kazan is unhappy trying to be all that he wants her to be instead of who she is.

Cinematic history has shown us this lesson: Remember Frankenstein's quest to create a superior being wasn't successful either. He created a monster!

Film buffs no doubt know the under 30 year-old, New York Brooklynite Kazan is the grand-daughter of director Elia Kazan, infamous for naming names of those in the Hollywood industry suspected of being Communists during the Cold War Blacklist period of the 1950s.

Since this is a rom com not a horror, it has a brighter than dark ending. Touchingly cute.

You wouldn't have been remiss if initially chalking this one up to yet another done-to-death clichéd run-of-the-mill black church gets saved from the brink of disaster mediocre comedy, if not for the main theme of Madea's Witness Protection. Then the subplot of the church being in a pinch becomes less consequential to the larger premise, serving only to bring the storyline full circle.

The culture clash angle provided by the unwanted house guests Madea's paid to house, who've outstayed their welcome and tried Madea's patience, gives it mainstream appeal beyond (director and star) Tyler Perry's core fan base. Loved for her wit and strong spiritedness equaled by her moral convictions, Madea embodies the archetypal matriarchal figure in many African-American families.

More than mildly amusing, it's still no surprise that it ends on a similar note with their house of worship—a major pillar and staple in the black community—getting spared from impending doom, thanks to Madea's quick thinking intervention.

Black churches are a natural point of reference, central focus and source of inspiration for screenwriters, novelists and playwrights of color. And Hollywood, or in Perry's case, Georgia (where his studio is located), loves a clean finish unless there's a planned sequel in the offing or a prequel, given the huge potential profitability of movie franchises.

Feeding our pop culture obsession, his blatant referencing of Titanic, the Golden Girls, the View, the Bates Motel in Psycho, the Jacksons, Tyra Banks and Bernie Madoff, peppered throughout the dialogue, make the movie relatable. Madea steals an idea right out of Ghost, taking a cue from Whoopi Goldberg's character in the film.

And having co-starred in "Bringing Down the House", Eugene Levy is no stranger to working in predominantly black casts. There's a real talent to being funny without being offensive. And Perry's Madea wonderfully manages a good balance, which doesn't offend even while making light of sensitive topics like racism, bi-racial heritage, class snobbery, divorce, step-parenting and serious timely issues including the Ponzi scheme and crimes against the elderly...all done flippantly for the best affect. But the message comes through.

Perry works it all into this, one of his better comical adventures: a light-hearted cautionary tale played strictly for laughs.

The 3D re-release of James Cameron's 1997 big screen epic based on the R.M.S Titanic's 1912 sinking, starring a young Leonardo DiCaprio and Kate Winslet—to-date, has received the most acclaim of any of the other nearly 30 film, documentary and made-for-television productions.

His initial 2D version of the modern classic Titanic saga snagged a record 11 of its 14 Academy Award nominations, including Best Picture and Best Director for Cameron, whose cinematic achievement ignited renewed interest in the most infamous maritime disaster in history for another generation of ardent viewers.

The very fact that the strategic timing of the digitally enhanced movie coincided with the 15th anniversary of the original picture and the 100th year commemoration of the incident that occurred at approximately 2:20 am on April 15, 1912, set the stage for local and international observances. Reports cited 25 million people visited centennial exhibits worldwide.

Although the exact numbers are slightly skewed, over 1500 of the more than 2,200 passengers and crew on board were tragically lost at sea after the luxury ocean liner struck an iceberg in the icy waters of the North Atlantic. Billed at the time as "unsinkable," the ship, built at a cost of $7,500, 000 was bound for New York harbor when it sank on its maiden voyage from England, four days into the estimated 137-hour trip. The sinking garnered huge headlines around the world largely due to widely publicized advance launch announcements by the White Star Line.

Numerous depictions of the colossal tragedy quickly followed with two produced the same year. The first completed just 29 days later: Saved from the Titanic, was written by a survivor who also starred in the silent film destroyed in a studio fire. Similar titled features included a 1943 Titanic that emphasized the president of White Star urging the ship's captain 'to make the fastest possible crossing to NY,' a second in 1953 and A Night to Remember in 1958, which depicted the facts from the standpoint of the most senior officer to survive the ill-fated shipwreck.

The addition of special effects to the heart-tugging, romantic blockbuster delivered even more impact to put you right there amid the action and drama. While it may not have been as effective in early scenes, it improved the quality of the sequences leading up to the fateful night. Given the new discoveries, as well as discrepancies uncovered in "Titanic: The Final Word with James Cameron" during the 30 plus dives he's made to the wreckage since serving as screenwriter, producer and editor of Titanic, this upgrade didn't lengthen the minute runtime—much.

Denzel Washington returns in this gritty espionage crime thriller, playing mild-mannered, smug anti-hero Tobin frost in the engagingly suave, signature style fans have come to love.

Once considered a topnotch CIA operative, Frost is now a renegade ex-agent whose reputation rivals his Oscar-winning rogue cop character in Training Day.

After eluding capture for almost a decade for allegedly selling government intelligence, he's brought to a remote safe house for debriefing. But the damaging info he holds provides the real suspense factor that keeps viewers completely on edge.

The action turns wildly fast and unpredictable when the isolated South African site is attacked, and frustrated novice agency 'house sitter' Ryan Reynolds (Matt Weston) barely escapes with his fugitive 'houseguest' in-tow.

Seizing the opportunity to prove himself worthy of full fledged officer status, Weston is forced to rely upon Frost to help him discover whether they are the targets of inside man while being under continuous threat. It gets extremely high-energy packed and adrenaline fueled as the two become hunted prey fleeing an unknown enemy possibly within the CIA.

The life and death situation climaxes in testosterone overdrive to bring about a surprising, though gratifying conclusion that seems to end abruptly.

However, it won't be apparent. That is, unless you see the additional footage shown after the closing credits.

A gifted adolescent girl forcibly brought to the US from China is rescued by chance by a distraught stranger in Safe. The two must then safeguard themselves as they embark on a dangerously clever undertaking to outwit the bad guys, who highly revile the man and want to exploit the girl's rare talent for personal gain.

Can the accidental pair pull off a 'mission-impossible?' Isn't that the joy of cinema: being able to suspend reality? With imagination and creative license—anything is possible, right? Still, the random encounter seems far-fetched, given their meeting occurs at such a dire time in Jason Statham's life.

Just the sheer coincidence of it happening at the very moment he decides to chuck it all, goes against the odds. You can only suspend reality so far before glaring lack of a crucial element like probability has to be attributed to either a hole in the script or its editing.

When Statham eyes several crooked cops he recognizes in a New York City subway pursuing the distressed minor named Mei, whom he later discovers is a virtual orphan, he immediately springs to her aid. After winning her trust he becomes Mei's sole protector and is determined to keep her safe.

The young actress does an exceptional job as an innocent, mathematical whiz kid pandering to the familiar stereotype of Asian students possessing natural abilities in math and science (although they do rank higher than American-born schoolchildren). It's safe to say, Safe initially offers little discernment. The art of flashback necessary for setting-up and/or establishing the back-story—handled effectively by most filmmakers—is wholly underutilized. Key events needed to lead into the present day drama are blindly glossed over and insufficiently used for the full benefit of clarity—at the onset and mid-way through.

The story eventually culminates into a hard-hitting,quick-paced action thriller—and crowd pleaser, although it takes a bit longer to get there. In the role of ex-cage fighter, Statham demonstrates how deft he is at fighting off multiple opponents, proving again that he can hold his own in comparison to past big screen tough, austere good guy-at-heart/heroes in his quest to protect the frightened youngster.

The audience agreed, cheering and applauding the well-orchestrated, intense brawls in which the British actor displays pure brawn.

However, the overused rapid-fire pacing likely deployed for the sake of intensity not only reflects a common unmistakable flaw of contemporary films but, is also unfortunately, a sign of the times.

You'll be blindsided if you're not at least able to discern basic football positions cited in its intro and used throughout The Blind Side. Narrated by Sandra Bullock in the voice of character Leigh Anne Tuohy, a professional upscale Caucasian wife and mother who opens her house—and heart to a then homeless African American teen referred to as 'Big Mike.' Bullock explains that the job of the left tackle " is to protect the quarterback's blind side."

Although Michael Oher is the focal figure of the heartwarming movie based on true events in his life documented in "The Blind Side: Evolution of a Game," each Tuohy family member has a key role, which figures prominently in helping Oher to overcome the challenges of his impoverished childhood. At the time Oher's unaware of the whereabouts of his drug-abusing mother, who is displaced from their Project apartment.

Accused of having ulterior motives for taking in the genteel and peaceful-natured, promising athlete; the National Collegiate Athletics Association (NCAA) investigates the Tuohys on suspicion of being 'boosters' for their alma mater: University of Mississippi (Ole Miss), and imposing undue influence over Oher to play for the school's team. Passed through the educational system with a near zero IQ, below average reading level and no personal records; Oher succeeds despite the odds against him to make the Dean's List, and become a 2009 NFL first-round draft pick offensive tackle for the Baltimore Ravens.

(Oher's high school assessment test reveals a 98% rating for protective instinct, a pivotal point that factors in the overall film and positive outcome). Youngest child and only son—before legal guardianship of Oher is obtained—adorable pint-sized, freckle-faced charmer Jae Head as SJ (replete with braces), steals the spotlight the moment he appears on screen and holds it to the very end.

Bullock's Oscar-winning portrayal of Leigh Anne's strong,domineering character is evident as she literally bounds into the scene. Not as aggressively but with more subtlety, country crooner Tim McGraw is surprisingly equally endearing as her mild mannered, docile husband Sean, who customarily gives in to his wife's overly willful personality.

The personal photos of Oher, the Tuohys and a video clip of the televised first round draft ceremony shown alongside the ending credits roll, appropriately demonstrate recent black history at its best.

Making non-fiction entertaining has to be more difficult than adapting a work of fiction. Yet it seems most Hollywood films-whether large or small scale-always include an obligatory emotional component usually in the form of a romance. Think Like a Man doesn't veer far from this general formula, and in the process alleviates the fresh insight we'd hoped for.

So is this romantic comedy entertaining? Sure, but as with other highly anticipated, overly hyped releases, fails to deliver any real substance. If you want to know how men actually think,read Steve Harvey's 2010 book "Act Like a Lady, Think Like a Man,"on which the film's based. The comedian/actor/radio host and author does a much better job at laying out the premise chapter-by-chapter. Then again isn't the book always better than the movie?

Despite the fact that the NY Times bestselling self-help was read by scores of females, no doubt fans of his personal advice segment heard daily on the syndicated Steve Harvey Morning Show—the film's approach flips delivery of Harvey's intended ideological route almost entirely.

Three of the specific types represented include: the Mama's Boy, the Non-Committer,self-proclaimed Playa and the recently divorced friend with a jaded view of committed relationships, although he's not being truthful about the feelings he harbors for his domineering ex-wife.

Fellow actor and stand-up Kevin Hart infuses the comic relief into the ensemble cast. The decisive spin adopted in creating the multi-faceted storyline, which weaves Harvey's words into a cohesive screenplay revolving around the characters, shifts from a woman's perspective to a man's. And unfortunately, the whole point of females getting an insider's view into the male psyche gets lost in the shuffle. The book provides serious life strategies for women rather than a common thread of interwoven scenarios of men reacting to how they think women think who've read Harvey's book.

Ultimately, the screen adaptation's a lot less complicated than it sounds. Nonetheless, you won't really learn how a man thinks ladies. Harvey appears on screen giving input, but not enough to make his presence effective. He also wouldn't advise women to definitively follow their hearts.

There's no greater measure for 'separation of church and state' than the just-released film For Greater Glory, which poses the question: What price would you pay for freedom? Billed as an action epic, the powerfully riveting faith-based drama reconstructs factual events surrounding the 20th century Mexican revolt led by devout Catholics against the federal government for freedom of religion, known as the Cristeros War. From 1926 to 1929, the civil resistance escalated into a bloody battle before the United States intervened.

Included among the Cristeros highlighted for heroic efforts—those who zealously resisted the anti-clerical laws in the name of Cristo Rey (Christ the King)—was retired General Enrique Gorostieta.Oscar-nominated Cuban-born actor Andy Garcia portrays the general as a man of little faith, who ultimately goes against the militia to become a fierce leader of the grassroots rebellion.

The depth of emotion evoked by newcomer Mexican native Mauricio Kuri's commercial film debut as the adolescent martyr Jose Luis Sanchez del Rio, whom courageously refused to denounce his sacred allegiance to the cause at all cost, will move you regardless of your religious affiliation. He was beatified (declared holy) by Pope Benedict XVI in 2005.

"It's a story that had to be told," said producer and fellow Mexican Pablo Jose Barroso of the English-language movie shot-on-location and formerly titled Cristiada for foreign-speaking audiences. "For Greater Glory is not about Catholicism but about a piece of Mexican history that not many people know about, even many Mexicans, including myself," Barroso added. "We wanted a deep, non-preachy message."

If opening at No.1 in Mexico is any indication, American viewers too, will know of the unconscionable atrocities suffered by some 50,000 valiant rebels, including those among them who sacrificed their lives in what's been called 'the daring people's revolt.'

Panamanian actor/musician Reuben Blades is ruthless President Elias Calles. Veteran actor and Honorary Academy Award recipient Peter O'Toole plays a priest that befriends young Jose Luis but is assassinated for non-compliance with sacrilegious laws enforced by the Federales. Eva Longoria stars opposite Garcia as his emotionally torn wife along with an international ensemble of actors and actresses that helped bring this dark chapter in the history of Mexico's Republic to a world audience. Besides Mexican heritage, many of the cast and crew share a Catholic upbringing as well.

According to a letter Garcia reportedly received from the general's granddaughter thanking him for honoring Gorostieta's part in the insurgence Calles downplayed so much that it's still not spoken about in Mexico today, purportedly due to fear of opening old wounds.

Formal relations with the Vatican were not re-established until 1992.

Debut author Kathryn Stockett's New York Times bestseller was transformed into one of the most talked about screen adaptations at the time of its release.

Her period-based novel is a revealing exposé on the treatment of southern black maids in Jackson, Mississippi in the racially divisive culture of the 1960's—an era she grew up in, and like many others, her family employed domestic help. Both poignant and eye-opening, the plot uncovers an aspect of fairly recent history you won't find in any textbook.

The screenplay stays true to the book with a young, white liberal-minded protagonist woman writer of an anonymously veiled tell-all about the community's local society-set.

This theme-driven drama presents strong depictions by members of the virtually all-female cast, comprised of Academy Award nominated Viola Davis (Aibileen) and Octavia Spencer (Minny) as the first maids to courageously tell their experiences of working for the close-knit womenfolk to Skeeter, played by Emma Stone.

A budding journalist, Stone's character is distressed to learn that even though they clean, cook, serve and tend to their children; the maids are not allowed to use the household bathrooms. She initiates a secret writing project in which she compiles personal accounts from their perspectives on the relationships between the hired help and those they may have worked years for.

Davis is the tolerant maid, who suffers a heartbreaking loss. Spencer is a standout as the brash and sassy scene-stealer. Bryce Dallas Howard, daughter of Ron Howard, gives a brilliant portrayal of unfeeling antagonistic housewife Hilly, whom you'll love to hate.

A reflective look into the past highlights the harsh realities of the times when bigotry ruled the Jim Crow South; the Help will make you laugh and cry.

Although there is a gross factor alert that some may find distasteful. The inevitable fallout occurs after the book's release.

With the considerable build-up for the long-awaited sequel to the mega hit potboiler Wall Street that starred Michael Douglas, fans of the original film, understandably so, flocked to theaters for Wall Street 2,15 years later.

But while a large majority of the movie-going public's attention was diverted to the powerful role that garnered him critical praise, and was touted as his return—Douglas' other film; the Indie drama Solitary Man, quietly previewed with less fanfare of course than you'd expect for a hugely anticipated follow-up.

Therefore, technically, Douglas' comeback is that of an aging, formerly successful automobile magnate, who at the prospect of possibly facing a serious health condition proceeds to systematically destroy his marriage and professional reputation as his life goes into free fall.

In choosing to deal with this probability by not dealing with it at all, subsequently causes Douglas' character to spiral out-of-control into a self-imposed mid-life crisis, where the story picks up. We find him attempting to regain his once high profile, privileged lifestyle in the world of big auto industry wheelers and dealers.

As compassionate human beings we like to root for the underdog to rebound when he gets knocked down or tries to regain what he's lost. However, there's little if any sympathy for this solitary man, except when his reckless behavior threatens to jeopardize his relationship with his daughter and grandson. Then we see some hint of penitence.

Likewise, a person in peril will nearly always instinctively elicit audience reaction, but Douglas' portrayal of the self-destructive, foul-mouthed figure is so indisputably warped it is virtually impossible to view him sympathetically. Sort of like watching a train wreck in slow motion.

The hypothesis isn't focused so much on Douglas' fear of mortality or even having lost his lucrative livelihood, as it is on his visible tendency towards attracting younger women—even in the presence of his daughter and ex-wife (played by Susan Sarandon, who coincidentally is also in Wall Street 2).

Yet again, due to his unapologetic attitude for his actions and lack of display of any real desire to redeem himself for the damage he's done to his family and his career, you can't help feeling justified in not investing emotionally in him.

The well-chosen words used by reigning Queen Elizabeth (daughter of King George VI) to describe the film that won the Best Picture Oscar as "touching" and "entertaining," echo the critical praise it received.

In addition, the authentic big screen re-creation based on factual incidents in the life of the future King—is insightful, humorous and inspiring. Colin Firth, the Academy Award winner for Best Actor, portrays the King with earnest sensitivity; and the filmmakers masterfully succeed at extracting a succinct chunk of history that could be perceived as inconsequential and making it commercially viable.

Although it covers an inclusive timeline of publicly recorded events, which occurred within the five-year period prior to America's entry from 1934 - 1939; the back-story doesn't bog down the principle tale centered on the King's severe stammer with historic setup. It begins with the current queen's late mother's quest to seek professional help for her husband's speech impediment.

Best Supporting Actress winner Helena Bonham Carter, lovingly portrays the much beloved 'Queen Mum,' as a devoted and supportive wife to King George V, who finds unorthodox and uncredentialed speech therapist Lionel Logue (Geoffrey Rush).

The candid depiction of George's personal struggle to overcome his self-consciously crippling stutter with the aid of Logue before and after he becomes King, is a profoundly empowering account of courage and self-determination that bears telling—with meticulous direction—which-bares viewing.

Much of its mass appeal is due to the sympathetic, humanizing representation of the King as a traditional monarch ultimately extricating himself from the segregative barriers of royal protocol, and revealing how the common vocal disorder immensely impacts his life. Shedding light on the debilitating disorder may, hopefully alter the perception of the dysfunction, frequently a source of ridicule aimed at those who suffer with the verbal handicap.

Prior to his first national radio address broadcast live at the onset of World War II, guided by Logue, he had been literally thrust into the position of 'accidental' king. The death of his father King George V, was followed closely by the abdication of the throne by the next son in succession to become king in order to marry the soon-to-be twice divorced Wallis Simpson. Through Logue'unconventional methods, he eventually relinquishes his initial resistance and skepticism—to find his voice. As the King eloquently remarks, when he speaks, the nation believes he speaks for them.

It was no surprise that the two men forged a working relationship and lifelong bond.

An ancient Christian pilgrimage route to Northwestern Spain, the Way—short for the Saint James Way: Camino de Santiago—is independent filmmaking at its finest! The religious element of the premise gives the bittersweet drama heart, and the diverse cast provides the humor, for what may well be heralded best feel-good sleeper of 2011.

Veteran film and television actor Martin Sheen's performance as a bereft father, who goes to France to transport his son Daniel's body back to the U.S. when he's accidentally killed on the first day of the trek, is authentic. Sheen's character first decides to cremate Daniel and continue the sacred path he began.

Incorporating universal themes of loss and community, the idea for the story was conceived as the result of Sheen and his young adult grandson's initial drive over the length of the trail to the Cathedral of Santiago de Compostela, the site where the remains of Apostle St. James are believed to be buried.

Writer, producer and director, Emilio Estevez, Sheen's real-life son, also portrays his on-screen son (via flashback). Estevez took great pains to present an accurate representation of what walking the Way is like.

This thoroughly entertaining must-see gem will renew your faith in the human spirit. He describes it as "a re-telling of the Wizard of Oz," since Sheen—essentially as a Baby Boomer Dorothy—is joined by three odd characters all seeking something different. Excluding the main players, the fellow travelers are all actual pilgrims.

Today, thousands of people from around the world undertake the walk by foot, bicycle or following their Medieval Age predecessors, on horseback or mule.

A vast majority of 'modern day pilgrims' participate in the historically holy journey for reasons other than religion, such as sport, travel, the challenge of completing it after weeks or even months, or simply to experience a spiritual adventure. Several roads lead the way, but the French Way is said to be the most popular

Besides beautiful cinematography and a fabulous soundtrack, there are a lot of laughs along the way.

Comparatively, "Martha Marcy May Marlene" strongly resembles an unmistakably fictionalized account of the infamous Charles Manson family—had they not been imprisoned for the gruesome Los Angeles massacre committed in 1969. One violent Helter Skelter scene is included, making the only differentiation, locale.

It is one woman's story told through her eyes. But it's the same story. Martha, played by sophomoric actress Elizabeth Olsen, is somewhere in Upstate New York, three hours from where her sister is vacationing when she calls her after fleeing an exploitive sect. Because she hasn't spoken to her sister in two years and won't tell her what she encountered there, the audience assumes Martha has been in this family for that time. There's no back-story to explain how she wound up there, beyond saying that she had a boyfriend and he left her. The continuity throughout is compromised due to continuous interspersing of Martha's experiences at the commune and present day at her sister and brother-in-law's lake-side rental retreat in Connecticut.

The film deals with Marcy May/Marlene (both aliases she is designated as part of her indoctrination) trying to adjust to being Martha again, living in the 'real' world and understanding what is and is not considered normal behavior. This is accomplished without giving any new insight into the aftercare people receive after they've been part of a Manson-like cult for a couple of years. That would've been more interesting, as well as informative for viewers. Rather, what is projected is what we've come to expect: how damaged and brainwashed she is, and how the women are used and have to be subservient to the males. We're aware of the goings-on.

So, the similar graphic and disturbing situations played out are not too shocking for those familiar with the gory details of the horrific crime that led to the arrests of Manson and his followers. It effectively depicts someone suffering from the dual effects of sexual abuse and the Stockholm Syndrome. In other words a person that isn't getting treatment: the equivalent of going cold turkey.

The abrupt ending comes at a pivotal point. Although she's definitely distinguishing herself from her older more famous siblings; Olsen twins Mary-Kate and Ashley won't need to move over anytime soon.

If you've ever doubted that truth could be stranger than fiction, you won't after viewing American Violet. Based on true events surrounding reluctant and (as a stereotypical unwed teen mom working as a waitress)—unlikely heroine under the pseudonym Dee Roberts, the 2008 release depicts one woman's story. Starting with her arrest in Texas in late 2000, it sheds light on the virtual police state imposed upon residents of a besieged housing project where Roberts, her children, the father of two of her four daughters, and his girlfriend live. The storyline, however, culminates differently then usual Hollywood-scripted endings, in early 2002.

You'll be shocked and appalled as the real-life saga, at times more harrowing than a roller coaster ride, unfolds. Multi-layered with a multitude of insightful twists and turns throughout, including Roberts' volatile relationship with her babies' daddy and their embittered back and forth custody battle; you can't write this stuff.

The filmmakers note the Texas community represents a microcosm of many U.S. cities plagued by similar problems that exist all over America, and Roberts quickly learns 'the truth will not always set you free.' At the heart of the compelling urban drama is the profound impact of a singular change in Texas judicial law that significantly impacts the penal system, which potentially affects scores of minorities. Thousands were literally swept up in the nearly ten-year, tyrannical reign of terror led by the bigoted district attorney against inhabitants of the public complex to insure they reached maximum numbers of drug convictions.

While the cast features mostly unknowns in key supporting parts, veteran stage, screen and TV stars Alfre Woodard (the first black neighbor on Desperate Housewives) as Roberts' mother, and former Roc series lead Charles Dutton in the pivotal role of the local reverend. Hip Hop icon Xzibit, plays Roberts' ex. Brooklyn, NY native Malcolm Barrett distinguishes himself as the second ACLU attorney helping to bring down the corrupt D.A. and overtly racist drug enforcement agency.

Directed by Tim Disney, grandnephew of Walt, American Violet is world's apart from the classic animated features and family-oriented comedies the family business was built on. This Disney is adapting serious themes to entertain, as well as inform and enlighten.