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Hotel Transylvania View Comments
by Sister Rose Pacatte, FSP


Hotel Transylvania
When Mavis (voice of Selena Gomez), daughter of the widowed Count Dracula, or “Drack” (voice of Adam Sandler), comes of age at 118, she wants to go beyond the human-free resort for monsters that her father built to protect her. As their friends gather to celebrate Mavis’ birthday, Drack builds a fake village and disguises zombies as humans so Mavis will return home convinced that people are mean.

A hiker named Jonathan (voice of Andy Samberg) stumbles upon the hotel and meets Mavis. Drack tells one of his monster pals that a father must do everything to protect his child, even if it means lying. Of course, this becomes his undoing.

The moral of this 3-D animated comedy, aimed at the entire family for Halloween, is for parents: don’t lie to your kids because it will come back to haunt you! Drack thinks he’s protecting his daughter out of love, but we find out there is a good dose of fear as well. He is afraid of how humans will react when they find out that she is a vampire.

Hotel Transylvania is entertaining for kids under 10, and I heard some adults laughing at the screening I attended. Though all the characters are likable, there’s nothing new in yet another too-long, Hollywood-animated feature predicated on a deceased mother and an anxiety-riddled father.
A-2, PG ■ Rude humor, action that may frighten the very young.

Trouble with the Curve
This small movie is about the relationship between a grumpy, growling, aging baseball scout for the Atlanta Braves, Gus (Clint Eastwood), and his lawyer-daughter Mickey (Amy Adams). When Gus’ friend Pete (John Goodman) alerts Mickey to Gus’ eyesight problems, she joins her dad to scout players in North Carolina, jeopardizing her promotion to partner at her law firm.

Father and daughter spar, but they love each other—and the game—even though Mickey, named for Mickey Mantle, has abandonment issues. When Mickey was 6, her mother died, and Gus sent her to live with relatives for a year and then to boarding school.

One of Gus’ protégés, Johnny (Justin Timberlake), is retired because of injuries and is now a scout for the Boston Red Sox. He arrives at the local ballpark because all the teams are looking at a promising player. Johnny finds himself attracted to Mickey, who turns out to be a pretty good scout herself.

Director Robert Lorenz has been a crew member on several of Eastwood’s films, and first-time writer Randy Brown keeps the story uncomplicated. The plot is predictable because some of the camera shots and closeups signal what’s going to happen. Even so, the film hums along and never tries to be more than it is.
A-3, PG-13 ■ Mild language, some sexual references.

The Perks of Being a Wallflower
It’s 1991 in Pittsburgh, Pennsylvania. High school freshman Charlie (Logan Lerman) is shy, quiet, and anxious as school starts—afraid the other kids will know he has spent time in a hospital. When Patrick (Ezra Miller), a senior who’s gay, finds out that Charlie’s best friend committed suicide recently, he recognizes a wounded soul and brings Charlie into a small group of wallflower friends who are different for one reason or another: Sam (Emma Watson), Patrick’s stepsister and companion, and Mary Elizabeth (Mae Whitman), a vegan Buddhist.

The friends party a lot—from acting in a production of The Rocky Horror Picture Show to smoking pot. Charlie is captivated by his friends’ love for music, especially when they drive their truck through a tunnel at night to blaring music and Sam stands and reaches for the stars. Music becomes the way Charlie communicates his feelings.

Charlie’s family is attentive to him, but his mom (Kate Walsh) and dad (Dylan McDermott) only realize the source of his mental problems when he has a breakdown at the end of the year. It is a moment of grace for Charlie—a rebirth.

Stephen Chbosky wrote and directed the film, based on his novel of the same name. The actors excel and infuse The Perks of Being a Wallflower with so much heart and soul. The film shows how brave teens can be when faced with terrible odds and how important friends are. It does so without excluding parents, as so many of these stories often do.
Not yet rated, PG-13 ■ Mature themes including child sex abuse, domestic violence, drug use, and alcohol.

CATHOLIC CLASSIFICATIONS
A-1 General patronage
A-2 Adults and adolescents
A-3 Adults
L Limited adult audience
O Morally offensive

The USCCB's Office for Film and Broadcasting gives these ratings. See www.usccb.org/movies/index.htm.

Find reviews by Sister Rose and others at www.CatholicMovieReviews.org.

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Jutta of Thuringia: Today's patroness of Prussia began her life amidst luxury and power but died the death of a simple servant of the poor.
<p>In truth, virtue and piety were always of prime importance to Jutta and her husband, both of noble rank. The two were set to make a pilgrimage together to the holy places in Jerusalem, but her husband died on the way. The newly widowed Jutta, after taking care to provide for her children, resolved to live in a manner utterly pleasing to God. She disposed of the costly clothes, jewels and furniture befitting one of her rank, and became a Secular Franciscan, taking on the simple garment of a religious.
</p><p>From that point her life was utterly devoted to others: caring for the sick, particularly lepers; tending to the poor, whom she visited in their hovels; helping the crippled and blind with whom she shared her own home. Many of the townspeople of Thuringia laughed at how the once-distinguished lady now spent all her time. But Jutta saw the face of God in the poor and felt honored to render whatever services she could.
</p><p>About the year 1260, not long before her death, Jutta lived near the non-Christians in eastern Germany. There she built a small hermitage and prayed unceasingly for their conversion. She has been venerated for centuries as the special patron of Prussia.</p> American Catholic Blog The confessional is not the dry-cleaner’s; it is an encounter with Jesus, with that Jesus who is waiting for us, who is waiting for us as we are.

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