Walk the Line Review

—1. Overview (multimedia)
—2. Overview Basic (dial up speed)
—3. Reviews and Blogs
—4. Cast and Crew
—5. Photo Pages
—6. Trailers, Clips, DVDs, Books, Soundtrack
—7. Posters (Joaquin Phoenix)
—8. Production Notes (pdf)
—9. Spiritual Connections
—10. Presentation Downloads

Perhaps better than any other icon, Johnny Cash most closely carried the message of Christ to the world during his lifetime. Walk The Line, though not overtly Christian, certainly holds true to the spirit of love and acceptance that Christ lived. Johnny Cash exemplifies the message of hope to sinners, regardless of how twisted or destructive their lives have become. It is this same message that Christ carried to the people he encountered. Christ said, “It is not the healthy who need a doctor, but the sick…for I have not come to call the righteous, but sinners.� (Matt.9:12-13). Christ chose to dine with prostitutes and tax collectors and called the religious zealots of his day whitewashed tombs. This is what Johnny Cash did.

Morality
In the opening scenes, Johnny (or John as he is often called) brings up how “good� his brother Jack is, as if Jack’s nature is somehow inherently different than his own. John insinuates that he is the lesser person and could not possibly ever be as good as his brother. The fantastic dialogue between these brothers is riveting; the
one admitting a guilt he has not yet lived out, and the other encouraging him to do the best with what he has – music. Much later in the film, John completes his detox from the pills and reflects on how many bad things he’s done. Again, he compares himself to his brother. June encourages him that God is giving him a second chance. It this moment, John realizes the message of forgiveness is even more powerful than a life perfectly lived. Despite his struggle with feeling like a bad person, it is this very element of sin that gives credence to the redeeming work of Christ. It is the redemption from imperfection that exposes the depth and power of God’s love for us.

Sin
When John goes to his first audition, he chooses a black shirt. He claims, “It’s the only color we all have (meaning the band).� Then after his transformation, he digs through his closet to find the perfect shirt to wear to the Folsom prison concert. He chooses the black one. If the black shirt stands for sin, then isn’t it a candid
statement that black is, in fact, the only color we all have? In both scenes, someone comments, “You look like you’re going to a funeral.� He replies, “Maybe I am.� The first time he says it, he fears the death of his future. The second time he says it, he appreciates the death of his past. Burying the life of desperation he had lived up to that point, he resolves to carry a message of hope to those who need to hear it. So, what song does he sing? Does he bring back an old gospel tune from his youth, or does he sing a song about sin? Guess you’ll have to see the movie…

Telling the right story
John’s brother Jack explains why he studies the Bible so diligently. He asks rhetorically, “How can I help people if I can’t tell the right stories?� Later, just before John goes into the concert at Folsom prison, he stands with one finger on a saw blade, reflecting on his brother’s untimely death. It is with great strength and admiration for his brother’s intentions that he steps into the makeshift stage area to tell the right story. Throughout the film, director James Mangold does a fantastic job of showing how Cash’s songs are born out of the events of his life. Without even realizing it, Johnny Cash brings his brother’s dreams and aspirations to fruition by making the best of what he has. He uses music to tell not only the story of his life, but the story of the human condition. That’s why people loved his music.

Unconditional love
If I had to pick a Christ figure for this film, perhaps the closest I could come would be June Carter. Though she had her share of hard times and made her own mistakes, both she and her family committed themselves to helping those who could not help themselves. In this story, she loves John through the very worst stage of his
life. It is her unconditional love for him that transforms his life and reveals the love of God to him. She gives him the message, the words of life, that God desires each of us to hear: “God has given you a second chance.�

Sharing faith (spoiler warning)
There is a particularly beautiful scene in this film where John addresses the warden just before going onstage to sing to the prisoners. The warden asks him not to remind the prisoners of their condition, but rather give them some uplifting gospel music. He laughs and asks the warden if he thinks they’ve forgotten. Cash then asks if the warden has ever drunk the water from the prison. The warden replies that he has not, but that he’s a Coca-Cola man. John lifts a glass of dirty water and steps onto the stage. As if to say that he has drunk the water of iniquity, he takes a drink in front of the prisoners. He tells them that he hasn’t done hard time like they have, but that he has had his share of hard times. In a way, that glass of water represents a common bond that we all have – sin. Those who refuse to admit they have drunk from the glass remain completely unaware of their human condition. They merely entertain notions of “uplifting gospel music� in a world where Coca-Cola
consumers reign.
(end spoiler)

While there are many more fabulous scenes and dialogues that could be discussed in a spiritual context, I’ll save a few for you to discover on your own. Be sure to view this film through spiritual eyes. Rather than simply being entertained by the romantic story of John and June, look for the messages that unfold throughout the story - messages of freedom from personal prisons, of the healing power of unconditional love, and of the incredible impact that Christ’s forgiveness makes on the weary soul.

—Overview (multimedia)

Walk The Line Feature

—1. Overview (multimedia)
—2. Overview Basic (dial up speed)
—3. Reviews and Blogs
—4. Cast and Crew
—5. Photo Pages
—6. Trailers, Clips, DVDs, Books, Soundtrack
—7. Posters (Joaquin Phoenix)
—8. Production Notes (pdf)
—9. Spiritual Connections
—10. Presentation Downloads

There's just something about Johnny Cash. Most people can't put their finger on it. After the screening of the film, a young college writer was asked what it was that people of his generation admired about Johnny Cash. He said it was probalby that famous photograph of Johnny flipping off the camera. And also that he collaborated with some edgy, alternative, non-christian musicians near the end of his life. Do you think this is how Johnny Cash would want to be remembered? I say with resounding confidence, yes.

Director James Mangold and co-writer Gill Dennis did an incredible job showing Johnny Cash's authenticity throughout every stage of his life. Cash was transparent, and he was who he was at every moment he was alive. He didn't pretend to be something he was not. He didn't really have to pretend. Mangold, who worked with John on the film for several years, said, "There was something deeply human and humble about him, and at the same time something so magical."

As a young man, Cash (Joaquin Phoenix) and his friends went on tour together. Tyler Hilton, who played Elvis, commented, "I really want people to see this movie and not see Elvis and Jerry Lee Lewis, and not Johnny Cash. I think that part of the movie's supposed to be, 'Wow, these people are kids. They're kids! They don't know what they're doing, blowing up trees and talking about girls.'"

From his interview at Sun records to the touring days, John's journey through life meant living each moment and growing as a person. Mangold commented, "John finds himself creatively in the course of the movie...it's not like he was touched by God and everything he sings or does is genius. He's someone who's stumbling into greatness. That's part of what made John so appealing to so many people was that he didn't seem like he was from another planet." Joaquin Phoenix also commented, "The power of John's music is a real sense of intimacy. You always feel like you're in the room with him...and we don't see that anymore."

But soon John's life took a turn for the worse. Instead of hiding away, he wrestled with his issues through music. Mangold said, "John is a storyteller. His lyrics, what these songs were about on a character level was so profoundly about himself, that I needed to see these songs being born out of his emotions not just his talent." Well, Mangold accomplished his task. Throughout the entire movie, I could see a song emerging from every event or struggle in his life.

June Carter seemed to be struggling alongside him in the movie, though in different circumstances. She was a woman who broke all the rules in a time when rules weren't allowed to be broken. The film depicts her struggle but also illuminates the way her faith carried her through. And at a pivotal point in John's life, she carried the same message to him. Reese Witherspoon, who plays June, said, "There's a lot of stuff that happened to them. I mean, he had near death experiences and all sorts of stuff happened in his life. This is a very small part of what established his faith. I think June brought a lot of Christianity into his life and and brought him to church."

The Johnny Cash that emerged from those trials was profoundly insightful and full of passion. He was also full of strife. Mangold explained his version of what happened, "The other aspect I really wanted to make sure we got in the film was his taming of his own demons and his finding of his own love and finding peace in his own life. Integral with that was finding the reins of his own creativity as well, and learning to control almost this river of darkness that he had been riding and corral it in some way." Though John may have tamed his demons, he never let them far from him. In the true spirit of a conqueror, he practiced the principle of keeping his friends close and his enemies closer. His perpetual awareness of sin in his life prevented him from letting it overtake him. Mangold said, "You know, everyone thinks he was born the man in black, but in a way, the identity that developed of this man in black was...also a way of actually taking control and owning himself. And making it something he was in charge of as opposed to something that was running him."

Though his Christian faith was not discussed in the interviews as much as would be convenient for this article, anyone will tell you that his faith in Christ changed his life. The forgiveness he received from God transformed him. It gave him power to tame the demons of depression, addiction and failure. No longer fearing sin's power over him, he was free to love people and to understand sin on a different level. Joaquin Phoenix told this story about his dinner with Johnny Cash. He said, "But then having experienced...what was really, truly a profound sense of love [between John and June], then moments later him quoting to me my most sadistic dialogue in Gladiator, saying it was his favorite part of the movie, kind of encapsulated Johnny Cash to me - those kind of two separate forces that lived equally inside of him." Anyone who knew John would say the same thing. He was both completely devoted to God in his faith and yet highly aware of his sin nature.

Throughout the remainder of his life, Johnny Cash remained approachable, semi-rebellious, and honest about his trials. He remained authentic in every way. This quote from James Mangold pretty much sums up the singer, teacher, evangelist that Johnny Cash was and still is today, even after his passing:

"The contradictions are really interesting that he so admired his brother, and his brother wanted to be a preacher...His brother was such a good boy, religious, obeying his dad, working so hard, so much more focused on his studies. But, with no tarnishing the memory of Jack Cash (who died at the age of 12), I believe that John became twice to a hundred times the preacher that his older brother would have become. And that it's not like John Cash is the one you'd recommend to somebody, but that he knew what sin was and he knew what mistakes felt like and he knew what it was to forgive.

...The part of John's life we were telling the story about is the part where he pushed God away. And really, God starts coming back to him, as did belief in love and life and living and art at the point the movie ends...A man who's lost, taking pills and trying to destroy himself, is not a man who you can easily just stick in a seed of faith. Because that is his period of pushing goodness away from himself, because he can't either accept it, feel worthy of it, or he doesn't believe in it. But that journey made him in a way not only fulfilling his own destiny, but in a way picking up his brother's. That still gives me chills."

—Overview

Just Friends Review

—1. Overview (multimedia)
—2. Overview Basic (dial up speed)
—3. Reviews and Blogs
—4. Cast and Crew
—5. Photo Pages
—6. Trailers, Clips, DVDs, Books, Soundtrack
—7. Posters (comedy films)
—8. Production Notes (pdf)
—9. Spiritual Connections
—10. Presentation Downloads

First let me say that I find sexual humor more stupid than funny. But this film has enough genuinely hilarious moments in it that I'd actually watch it again. Though some of the stunts were predictable, the film as a whole resisted the canned feel of most romantic comedies. I don't think it's going to be a boxoffice smasher, but word of mouth will keep it in the theaters longer than it might otherwise stay. Three things will help this film do better after the opening weekend: Samantha James (Anna Farris), the way the brothers beat each other up, and the realistic portrayal of plot events.

Let's talk first about Samantha James, the wacky rock star that Ryan Reynolds described in his interview as "Brittany Simpson Jessica Lohan." The director, screenwriter and Anna Farris have successfully birthed an archetype. Like Napoleon Dynamite, we simply haven't seen this person on screen before. Her behavior, dialogue, and facial expressions encapsulate everything we hate about MTV divas. But at the same time, we want to invite her out on Friday night knowing there will be great stories to tell the next day. She's so fascinating and multi-layered that you can't take your eyes off of her - all the while wishing she would just go away. What a wonderful character!

The relationship between the brothers will have every man in the theaters nodding their heads and smiling. When Chris (Ryan Reynolds) pins his brother Mike (Christopher Marquette) to the floor and dangles a loogie (is there actually a proper spelling for that word?) over his face, virtually everyone who has a sibling will relate. Add to that, the brothers perpetually beat each other up, though not in the silly slapstick way. They waylay each other like real brothers would, beating each other mercilessly until one can't move anymore. After all, when do real life brothers ever quit after the first punch or two? This is the nature of brothers. And yet, we know that these two brothers will be there for each other forever.

The third thing that draws me to this film is the authenticity of the action. In one scene, Chris sees his high school love, Jamie Palomino (Amy Smart) across the room working as a bartender. She ducks quickly to hide, but doesn't do it fast enough. A cheesy comedy would let that slide. Instead, Chris makes a beeline for Jamie and leans over the bar to talk to her as she cowers on the floor. He doesn't let her get away with it. That's real life. Although many of the scenes are a bit over-the-top, every major character is portrayed as intelligent, particularly the males. This is a rare treat in comedies today. I tire of men being portrayed as witless, mindless victims of their female counterparts. Men are not dolts. In this film, they are treated as real people going down wrong pathways instead of idiotic fools who will never learn.

As for theme, I can't honestly say that this film tries for any spiritual message or moral lesson. It just doesn't try. But it does have some elements that can mirror our spiritual struggles.

The struggle to find balance:
Chris strugles to find a balance between being the old emotionally vulnerable high school kid and the new overly guarded player. His plight mirrors the Christian's struggle to find a balance between the old and the new. How do we get rid of the sin that so easily entangles and yet not cross over into the artificially pious, unapproachable, elitist camp? How can we make faith real and integrate our new beliefs into our priceless wealth of worldly experience and knowledge?

The struggle of the temporal:
(Spoiler Warning)
Chris crumbles when he has the opportunity to sleep with Jamie. He doesn't change his mind for any blind moralistic reason, but for the reason the moral was established in the first place. He tells his friend the next day that instead of jumping on the opportunity, he started thinking about how they would feel the next morning. What would be next? What do I want out of this relationship and what will this action do to our relationship? I hope every teenager in America watches this film just to hear those lines. As a culture, we need to start thining beyond the immediate gratification of whatever indulgence we prefer, and begin to contemplate the long term implications of those actions.
(End Spoiler)

The struggle to decide what we want in life:
Chris comes to a crossroad when Jamie re-enters his life. Will he carry on as the career-driven player in Los Angeles, or will he move back to Jersey and start a family? Although decisions like these are rarely so black and white in real life, we face small decisions every day that define who we are and where our futures are headed. Sometimes we make a decision, sometimes we decide by not deciding, and sometimes we stay put because we're right where we want to be. The band Switchfoot asks the right question, "This is your life. Are you who you want to be?" We need to awaken periodically and ask that question. It's a spiritual one as much as a physical one.

I think this movie is a great one, but not for the reasons it was marketed. It's fresh, funny, raw, and it pushes the limits of the PG-13 rating. But it is also well-written, well-performed and has a little meat to chew on - if you're hungry.

—Overview

Yours, Mine and Ours Review

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—2. Overview Basic (dial up speed)
—3. Reviews and Blogs
—4. Cast and Crew
—5. Photo Pages
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—7. Posters (Dennis Quaid)
—8. Production Notes (pdf)
—9. Spiritual Connections
—10. Presentation Downloads

This is a film that kids will absolutely love. At first, I was not particularly impressed with it. The predictable plot and heavy use of slapstick is not generally my style. However, as I left the theater, a mom asked her son, “How did you like the movie?� He replied with unbelievable enthusiasm, “I loved it! It was awesome!� That’s when I got it.

Children’s films of our generation appeal to a different side of the child’s psyche – that of fun and desire. What kid wouldn’t want to roll a watermelon down the stairs and chase a pig through the house? Many children only dream of doing the outrageous things that are done in the North household, and I wouldn’t exclude the military-like Beardsley household either. Kids thrive on order. Have you ever asked a group of kids to march in a line? They love it! The stylized symmetry of Frank Beardsley’s family is something to be admired. This film tries to combine two outrageous households: one that is liberal, wacky and wild, and one that is conservative, structured and orderly. What a perfect combination for kids. In my mind, an ideal home runs efficiently but also encourages creativity and spontenaity. These two worlds, when combined, develop the whole person instead of only one facet. And that seems to be missing in modern households.

Although some of the lines were over-the-top, the message is still a good one: love conquers all. The two families try to integrate solely based on the parents’ love for one another, and the vision that they have for their futures. Frank Beardsley (Dennis Quaid) and Helen North (Rene Russo) have a history together. They also know that they will not likely find another partner who will both love and accept all of their kids. It is from their great capacity to love that they are driven to attempt the impossible. And for a while, it is impossible.

Frank Beardsley tries to create an environment of teamwork. No doubt, his military training helps him see the natural bonding that comes as a result of working together. His attempt to bring the kids together by fixing up the house fails miserably. Instead, they unite over something entirely different: a plan to break up their parents. Frank makes a fantastic speech that I wish all blending families would embrace. He tells them that they just need to stay together long enough to see why their parents think they’re wonderful. Far too often, families (and marriages too) split up because people never get beyond the negative. They never try to see what others love about them. By a twist of plot, Frank’s theory proves to be true. Teamwork does unite them, and they see the uniqueness and value of each family member.

Another fun aspect of this film is the exploration of large families. Much like Cheaper by the Dozen, this film shows the chaos that can be a persistent element in large families. And let me tell you, the kids love it! Even I was riveted by the busy-ness and disarray of the scene over breakfast. It was a little overwhelming, much like trying to absorb the cartoon world of Robots. What an adventure it must be, though, to be part of something so ever-changing. Large families are like a flock of birds in flight. You just watch as the complete disorder falls into order as they fly away together. Some say large families can’t make it in this society, but I’ve seen it done. Love unites.

Although this film is not directly spiritual, it does incorporate several elements that are indicative of spiritual or moral conviction.

As I mentioned above, love is the foundation of family and it is from love that all things grow.

Also, the parents get married before they try to live together. In a world where many people want to “test the waters� before making a commitment, these characters throw caution into the wind and rely on an underlying faith that things will work out. Their commitment supercedes their fear. Of course, they struggle when the differences begin to overwhelm them. They want to give up. They do give up.

But, a third spiritual element is that the family is held together by the kids. Some may frown on the idea that kids can keep a marriage together longer than it “should be� together, but God created families and all parties are equally important. I have several friends who are thankful for the times when their kids held their marriages together. Even if it was for what many would say are the wrong reasons, they held on long enough for things to improve. The children inspired them to work out their differences, and they enjoy the benefits of that work today. Of course, just waiting out a marriage until the kids are grown is not enough – we can be inspired by our children, inspired to stretch our faith and our hope during trials.

Lastly, the concept of multi-cultural integration is something that is badly needed in the church. Not only do we need to accept blended families as a reality and a blessing, we also have some room to grow in the area of church denomination. Blended families and denominations within the Christian faith reflect the concept of the Body of Christ, the universal church. God created each of us so vastly different. We all have something to bring to the table. The more we recognize that, the harder we will work to operate as a team. And the better we will put into practice Christ’s call to love one another deeply.

Overall, this film is very cute. If you’re looking for a fun family film, this is it. It might be a great Saturday afternoon activity to remind us of how valuable every member of our family is.

—Overview

Yours, Mine and Ours Feature Article

—1. Overview (multimedia)
—2. Overview Basic (dial up speed)
—3. Reviews and Blogs
—4. Cast and Crew
—5. Photo Pages
—6. Trailers, Clips, DVDs, Books, Soundtrack
—7. Posters (Dennis Quaid)
—8. Production Notes (pdf)
—9. Spiritual Connections
—10. Presentation Downloads

Director Raja Gosnell impressed me with his unapologetic tone when the critics in our interview room were hammering him. He set out to make a movie, and he made it the way he wanted it. As it turns out, the interviews with the cast and filmmakers turned me around on this film.

I wasn’t particularly impressed with the film at first, but the cast and crew revealed the heart of their mission: to create a fun family film. Everyone seemed genuinely excited about the movie. The expressions on their faces and their voices conveyed a sense of gratification from a job well done. Dennis Quaid said, "I always thought this was a romantic comedy with kids. Most of the time I know when I go see a family film with my son, it'll be a really nice nap for me. There's nothing in it for me. But, this I thought had something for everybody."

The film deviates drastically from the original, but again, there are no apologies. Screenwriters Ron Burch and David Kidd were very familiar with the original film but did not take the same direction or storyline. When asked if the studios wanted them to change it up, they said they were asked to contemporize it. "That has as much to do with the structure of the film as it does with any story specifics or things like that...The original film was very funny and very warm, but very much a kind of slice of life comedy. It doesn't really drive the way people demand their family comedies to drive now. That was probably the biggest challenge. How do you make the film, which theoretically should be about relationship? How do you give it a drive? And that's really what they meant by contemporize." They also wanted to avoid a comparison situation. Burch said, "We were kind of relieved that we didn't have to frame for frame remake the original film, because there is no way you could compare. There's no way you could compete. Rene Russo is not Lucille Ball and she'd be forever compared to Lucille Ball. I think with the role she has now, she won't be compared to Lucille Ball. She is her own character, her own person..." Their expectation is that viewers will go back home, rent the original and really enjoy it as a different film.

Burch and Kidd also changed up the original by exploring the conflict between the merging family members rather than focusing on the individual conflicts within each separate family. In an effort to develop the theme of learning to love people who are different, they created conflicts between the kids. The three actors who portrayed teens in the film explained their characters' arcs along the lines of these conflicts. Katija Pevec played the popular cheerleader, Christina Beardsley, who was the exact opposite of her new sister Phoebe North (Danielle Panabaker). She described her character's turning point, "They go through a boy situation...That was the turning point at the party scene when they (the sisters) kind of clicked. She makes it know that her sister is more important than a boy." Drake Bell, who played Dillan North, explained that his graffitti-loving character went through a change as a result of helping his brother make flyers to become class president. In the end, he decided that he didn't want to break the family up, but wanted to make it work. Sean Faris played William Beardsley, the ringleader in the effort to break up the parents. He explained that his character changed, "...when everything started coming together and they started developing a friendship without realizing it because they were teaming up. At the moment that the breakup happens, he realizes what he's just lost..." In each of the kids' conflicts, the moral of the story was "Together is better."

In conversations later with the other reviewers, we thought that contemporizing the film also translated to simply adding more slapstick. In the fashion of other successful films like Home Alone, Parent Trap and Cheaper by the Dozen, Yours, Mine and Ours centers much of the story around those kid-friendly slips and falls. Dennis Quaid described his experience with getting slimed, "It wasn't so bad. All the ten year olds want to get slimed. I took my own son to the Nickelodeon Kids Choice awards all the time and he always gets up front to get slimed." Director Raja Gosnell told us, however, that he wanted to go a little deeper than that. "I've done the prat falls, I've done the slips and falls, and the other stuff, but here's a love story which takes place inside that movie and it's very, very unusual that in any sort of kid movie that there's an adult love story. And I wanted to somewhat ground it in reality. So, the challenge of juggling those two worlds to have that legitimate love, this ligitimate marriage that breaks up and to really feel the weight of that, the weight that the kids have to feel, the consequences of what they've done was really really important to me. Combining that with the slapstick...that was our attempt to make a movie that appealed to six year-olds to sixty."

One reviewer asked about the fact that the original film had more spirituality in it than this version. Ron Birch explained, "I like to think there is a lot of spirituality in it without an overt reference to religion. We did want them to get married. We did want a spirit of love and acceptance to pervade the film. Because ultimately the larger issue in the original film is about acceptance...We didn't want to exclude anyone [religion-wise], so we just didn't pick one." Gosnell also explained that the film deals somewhat with the concept of consequence. Although he didn't set out to highlight the idea, he said, "People do tend to find someone else to blame, whether it's the government or the guy next door, or something else. So, for people to stand up and take responsibility and actually deal with what they've done and how they're gonna fix it, is a good message."

Most likely critics will attack this film for the overuse of slapstick, the predictabile plot, or the fact that it's different from the original. But I think it was Gosnell that really turned me around on this film. In his cool, collected voice he said, "Movies that please mass audiences rarely seem to please critics." He explained that the critics are going to do their jobs, but that his motive is different. He said, "My favorite thing is to sit in the theater and watch families from little kids, to moms and dads, to grandmas laughing and having a good time and enjoying a family night out. If I can provide that, then that's rewarding for me."

—1. Overview (multimedia)
—2. Overview Basic (dial up speed)
—3. Reviews and Blogs
—4. Cast and Crew
—5. Photo Pages
—6. Trailers, Clips, DVDs, Books, Soundtrack
—7. Posters (Dennis Quaid)
—8. Production Notes (pdf)
—9. Spiritual Connections
—10. Presentation Downloads

Just Friends Feature Article

—1. Overview (multimedia)
—2. Overview Basic (dial up speed)
—3. Reviews and Blogs
—4. Cast and Crew
—5. Photo Pages
—6. Trailers, Clips, DVDs, Books, Soundtrack
—7. Posters (comedy films)
—8. Production Notes (pdf)
—9. Spiritual Connections
—10. Presentation Downloads

Just Friends begins with a basic storyline, one familiar to almost everyone. It doesn't stop with the common experience however. It transcends the ordinary in almost every way. From the writing, to the filming, to the story and characters, this film went a step beyond the average movie-making experience.

To begin with, the set location was extreme. Filmed in Saskatchewan in the middle of winter, both cameras and actors were dramatically affected by temperatures that fluctuated between negative 20 and negative 50 degrees. The crew scattered handwarmers throughout their clothes and the cameras were heated. In the production notes, Chris Klein comments, "When I walked out of the airport terminal, the cold punched me in the face." Of course, Ryan Reynolds had the luxury of wearing the fat suit. The way he described it, "The thing was made out of lava. It was minus 40 out there and I'd just sit out there and steam."

Beyond the trials of filming, the story itself underwent seven or eight years of development before director Roger Kumble came on the project and took the script apart again. Screenwriter Adam "Tex" Davis held on throughout the whole process. Kumble said, "I told Tex, 'Here's the deal,' cause I"m a writer too, 'I'm gonna kill you. I'm gonna sit with you and you're gonna hate me, but I'm never gonna replace you. You're gonna be the only writer on a studio comedy.' And that never happens. Never happens. I said, 'Hate me now, love me later.' He was a great sport about it because we'd make him do things over and over." With the addition of changes, comments and improvisation scenes by the actors, it's amazing that the story flows so smoothly.

Roger Kumble deliberately set out to make a movie that would push the limits. He said, "So often, you have that R rated movie and they say it’s gotta go PG-13, and you end up hacking it up in the editing room. But we knew we were making a pg-13 movie. So with the producers and the studio and Ryan, [we thought] let’s think of the funniest PG-13 movie. If we could go right up to the line and try to do everything, it’d work." The risque picture of Samantha James (Anna Farris) will raise some eyebrows in the theaters, but Kumble did take it before the ratings board to make sure it stayed within the bounds of the PG-13 rating. He said, "This is an example of trying to take PG-13 as far as it will go." Kumble also fostered the idea of pushing the characters to the limits of humor. Ryan Reynolds joked, "With Roger you'd do ten versions of the same scene. He'd go, 'Let's do this one pissed off, the whole one, just be totally pissed off. Let's do this one like you've got a secret that is, you know, you've got a squirrel somewhere inside your body.' It'd be so random..." Amy Smart commented in the production notes, "One of Roger's greatest strengths is being able to determine how to tweak a scene, make it funny, dynamic and really come alive."

The story didn't stop with extreme humor. They chose to keep the story grounded in reality by making the characters three-dimensional. Chris Klien said, "I read the script and I thought all the characters were just so good, just so filled in on the page and that rarely happens in comedy." The main character, Chris Brander (Ryan Reynolds), has both a soft side and a brutally manipulative side. Reynolds described his character's sensitive side, "[He] is just reacting to a very painful moment in his life. He doesn't quite have the maturity and growth to realize that he's spent ten years reacting to that. This is a gigantic life lesson and it's the exact wrong one to get. So he's got to go back ten years later and try to figure it out." Amy Smart, who plays Jamie Palomino, described her character's backstory, "She went to college, got into law school, had a nervous breakdown and moved back home. And then decided to do something that made her happy." She said that the director and writer worked to make her character more three-dimensional than the original script portrayed. She commented, "The problem is that a lot of writers tend to make their dream perfect girl so boring. And the truth is that you don't fall in love with the perfect girl. You fall in love with the flaws and the things that make her unique." With the character of Samantha James, Kumble and Davis created an entirely new, outrageous entity. Although Reynolds described her as, "Brittany Simpson Jessica Lohan," Kumble said, "We threw a lot of them in a blender. When Anna and I first met on this role, she was the MTV, the six-minute soundbite. They’re so A.D.D. and scattered that we can really kinda satirize that whole lot of them: Brittany, Paris, Ashley, I could keep going on. But we were also trying to give her heart. We didn’t want to make her so one note. We wanted to bring her down at levels. We were trying to say, 'This person could actually live on planet earth.'"

Although I've never cared much for sexual humor, the slapstick was done surprisingly well. When Chris Brander was launched down a hill to skid across the ice, I couldn't stop laughing. Not because of the stupid humor of simply launching a person down a snowhill in a gurney. No, they went a step further and sent him sliding across the ice face-down. I don't think I've laughed that hard since the "Meow" scene in Super Troopers. Kumble was particularly proud of the wedgie scene between the brothers, which they worked very hard to perfect. When asked about his influences in doing slapstick, he replied, "I had two teachers. One was Peter Farrelly, who taught me a lot about directing and taught me if it's funny, go for it. Don't listen to anybody, trust your gut. And I saw Pete's process. That stuff is brilliant. David Schwimmer, who I went to college with...He really kinda taught me about how to direct and how to do some of that stuff."

Yes, they pushed this film to its limits, but it seems to work. With the exception of a couple of raunchy scenes, I genuinely enjoyed it. It seems to me that few comedies tell a good story, develop interesting characters, and manage to stay in the "funny zone." Congratulations cast and crew of Just Friends, I'm going to take my husband to see this one (It's a rare day that I watch any movie twice!).

—Overview

Message to Moms of Toddlers

Hi ladies,

I realize this has little to do with film, but I have been writing a lot about kids in my recent reviews (Desperate Housewives; Yours, Mine and Ours; and Super Nanny). As I've been writing, I've been thinking about all the women out there struggling, like me, with toddlers who push the very limits of everything we once thought admirable about ourselves. And I wanted to encourage you ladies with a few thoughts.

First, don't underestimate this time in your life. It is truly difficult, and anyone who thinks otherwise simply hasn't walked in your shoes. And if they have walked in your shoes, they're idealizing their past experiences. I am frequently told, "Enjoy them while you can, these are the best years! And they grow up so fast!" For a long time, that kind of talk sent me away guilt-ridden and sulking under the condemnation of being a bad parent. How am I really supposed to enjoy these years? I mean, come on! I've got a newborn who relies on me for every basic body function known to mankind, and a toddler who wants to push each rule (regardles of how established it is) to its very limit - just to see if I'll enforce it. Am I supposed to enjoy the screaming, whining, and backtalking of a three year old? Am I supposed to cherish my infant's perpetual crying until I discover whether it's the diaper or the new tooth that's the problem? Not necessarily. I seem to to enjoy MOMENTS of my day, but rarely the whole thing. And now that I realize that, it's okay. I am being a good parent. And so are you. If you can enjoy the few golden moments that this age offers, you are a good parent.

Second, most toddlers' bad behavior is age-appropriate. Although it's extremely frustrating to deal with on a daily basis, the tantrums, button-pushing, and outright defiance are just things that two and three year olds do. Have you ever noticed that shows like Super Nanny never work with kids under 3, and rarely under 4? There's a reason for that! Kids age 2 and 3 just aren't "fixable" in a week. They are able to receive training, and I highly recommend it to improve the 4's and 5's, but there' s no magic technique to get them through this phase earlier. All of my friends had kids about the same time I did, and one thing I repeat as often as I can is, "Whatever you're doing, you're probably doing fine." We all know discipline is a killer - How do I do it? When do I do it? Am I doing it wrong? But it seems to be true that kids only care about the boundaries themselves. Some parents use time out, some spank, some teach through...whatever. The truth is, if you've made some rules and are enforcing them, you're doing a fine job. Just because the kids aren't learning or obeying every time, you're still doing all you can do for this age. It's AGE-APPROPRIATE for us to have to repeat ourselves a thousand times, to discipline for the same offense over and over again, and to wonder at some point if they have any long-term memory at all. It's okay. Let the condemnation go. Just make some rules and enforce them. You can make more later. You're doing fine.

Third, there's light at the end of the tunnel. How many people say, "The five's and six's were a killer! My kids were horrible at those ages!" It's rare. Truth is, the terrible two's and terrible three's are a phase of life. They're named that for a reason. They're kinda like the teenage years. Everyone accepts that teenagers are rebellious, mindful, and seeking their own independence. The same is true of two year olds. And like teenagers, they secretly want the boundaries. On the surface, they'll tell you differently because it's the stage of life they're in. But it's just a stage. It will pass. They will learn and they will stop testing the boundaries...for a while. I hear it comes in waves. But before the next wave comes, we will get a break. And the work we do now will pay off in the long run. It's hard to think long term, but it's worthwhile if it helps us make it another day.

Fourth, give yourself a pat on the back for something every day. There is so much guilt and condemnation that comes with child-rearing today. In truth, very few new parents have been trained on how to raise kids. Some (very few) have been taught first hand through the great example of their parents, but the vast majority of folks learn about child-rearing and child-training through books. How crazy is that? Who has time to read? Most days, it seems like we fly by the seats of our pants. Once we have kids, it's practically too late to do any in-depth study. So, as one of those people who never took time to learn about kids until they were in my house, I want to remind you to cut yourself some slack. Research what you can when you can. Read a magazine article in the doctor's office. Ask a friend who has kids older than yours. But for heaven's sake, give yourself a pat on the back for trying. If today we can believe that we've been good moms for any reason at all, then we'll keep working on it tomorrow. And tomorrow will be better than today.

Fifth, God gave your kids to you for a reason. I hear women comparing themselves all day long. "Well, Susie is good at keeping a clean house," or "Brenda is so creative with her kids--they're always doing something original," or "Anne is such a great cook--her kids know how to bake anything. " Forget it. Just forget it. God gave us our kids for a reason. Our kids are supposed to learn that special thing that we do well. If we have a special talent, that's what our kids are supposed to grow up with. People put too high a value on doing everything well, and no one can measure up. Did you ever think that the world's greatest atheletes probably had atheletic parents? Or perhaps the great business people and industrial leaders had financially responsible parents? We've got to be content with being who we are. We are exactly the people our kids need in their lives.

Last, everything is reparable. If I've learned anything at all, it's that kids respond to us. So I haven't been consistent in my discipline, change it. So I haven't read enough to my kids, do it now. So I accidentally yelled at my daughter at the end of a terrible day, apologize. Kids are the most accepting, loving, unjaded people in the world. If somewhere in your childrearing, you think you've done one thing really wrong, change it. There's still time. It's never too late to love our kids more, teach them something new, or repair broken hearts. All we have to do is make the change. They are responders, and if we make the change permanent, they will rarely remember the ways we did it wrong. And if they do remember, they will be more forgiving than we can ever imagine. Kids want to forgive. They want to love and be loved in return.

Hang in there ladies. Toddler years are not for the weak. And if you have another great piece of encouragement, please post it. I like to hear things too! I've been told these are the roughest years of a woman's life and some days, it certainly feels like it. But I am not alone. And neither are you. We have each other and we have God - the creator of the universe, the designer of our childrens' souls, and the lover of us all.