Jamey Sheridan

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Mea Maxima Culpa: Silence in the House of God Review


Excellent

There's a reason this expertly shot and edited documentary is skimming under the radar: no one wants you to see it. The hugely skilled Gibney is taking on the world's biggest corporation, the Vatican, with a lucid, personal exploration of child abuse in the Catholic church. And while a first-person approach draws us in, it's the wide-ranging evidence against the top echelons of the church that takes us aback. This film is exposing one of the biggest ever conspiracies without ever shouting about it.

The main focus here is four men (Kohut, Smith, Kuehn and Budzinski) who were abused by a priest while they were students at a school for the deaf in Milwaukee. One of them blew the whistle in a 1972 letter, but the priest was never brought to justice for his crimes. It seemed like the local diocese was covering up his actions, but an investigation showed that the orders to stay silent came right from the Holy See in Rome. And as years passed, similar stories emerged from Boston, Ireland and Italy itself. In each case, the Vatican ordered the churches not to report the abuse to the police. 

Yes, this conspiracy goes all the way to the top, although Pope Benedict has tried to remain outside the fray even though his previous job was to investigate these cases.  And in looking at this careful outline of the events, it's clear that the real problem stems from the Catholic church's insistence that priests should never answer to earthly powers, which is why parents are so reluctant to believe their children's accusations against a holy man. In other words, the church is more concerned for the office of the priesthood than the victims of abuse.

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19th Annual Screen Actors Guild (SAG) Awards - Arrivals

David Marciano, Jamey Sheridan, Hrach TitizianRainn Wilson and Holiday Reinhorn - 19th Annual Screen Actors Guild (SAG) Awards - Arrivals Los Angeles California USA Sunday 27th January 2013

David Marciano, Jamey Sheridan, Hrach TitizianRainn Wilson and Holiday Reinhorn

Picture - Jamey Sheridan at a special... Toronto, Canada, Thursday 28th October 2010

Jamey Sheridan Thursday 28th October 2010 Jamey Sheridan at a special autograph session at Woody's to promote his latest film 'Handsome Harry'. Toronto, Canada

Jamey Sheridan
Jamey Sheridan
Jamey Sheridan
Jamey Sheridan
Jamey Sheridan

Picture - Jamey Sheridan & Sons Agoura Hills, California, Monday 29th March 2010

Jamey Sheridan and Sons - Jamey Sheridan & Sons Agoura Hills, California - at the 12th annual method film festival screening of The Lightkeepers during which the Lifetime Achievement Award was presented to Bruce Dern Monday 29th March 2010

The Amati Girls Review


Unbearable
Did you hate those cheesy PBS after-school specials when you were a kid? The ones where the smallest conflict was made into a volcanic crisis but all was miraculously solved within a half an hour's time? If your answer is "yes", stay away from The Amati Girls.

Written and directed by Anne De Salvo, this sickeningly saccharine 91 minutes revolves around a supposedly tight-knit, triple-generation family of women. Each character embodies the ultimate in annoying stereotypes, from selfless martyr to irresponsible wanderer. And of course, they each have a male in their life to represent the standard issues of women's liberation from 30 years ago.

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Life as a House Review


OK
The good news for George, a middle-aged, washed up architect, is that an enormous life change has motivated him to connect with his horrible teenage son and build a house by the ocean. The bad news is that the change is terminal cancer. The good news for moviegoers is that Irwin Winkler's Life as a House is filled with sharp, solid acting, a decent, sometimes harsh, script, and a few surprises. The bad news is that anything worth seeing here lives within an uneven sap of a film, unable to break free from the traditional Hollywood devices.

But much of Life as a House is completely watchable. Mark Andrus's script (he's written As Good As It Gets and the underrated, rarely seen Late For Dinner) appears cookie-cutter: he gives us the lazy, lonely, eccentric nobody (Kevin Kline); his estranged family, including beautiful ex-wife (Kristin Scott Thomas) and alienated teen (Hayden Christensen); and his predictably uptight neighbors, pissed off that his ramshackle of a house has stood in their beautiful oceanside neighborhood for twenty years.

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Cradle Will Rock Review


Good
Arguably, one of the best directors of the motion picture industry, Orson Welles was once quoted as saying, "When I die, they'll be picking over my creative bones. The films will suddenly get financing; the films will get restored. Old scripts that we couldn't get financed, they'll find the financing for some kid to direct."

Strangely enough, Welles couldn't have been more prophetic.

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Let the Devil Wear Black Review


OK
Something's rotten yet again in this moody update to Hamlet, this time set in modern-day Los Angeles.

Stacy Title (The Last Supper) throws enough originality into the film to make it mildly worthwhile, and Jonathan Penner's dark prince (here the son of a nightclub owner) channels both Ethan Hawke and that mean guy from Dawson's Creek. Most priceless is Mary-Louise Parker's Ophelia, seen sampling dog food to let us know she's really nuts.

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Desert Saints Review


OK
Passable little flick has Sutherland as La Femme Kiefer, a mysterious hitman who picks up a drifter girl (Melora Walters), a pathetic loser who turns out to be anything but. Against any semblance of good judgment, he takes her on as a partner... only to have her turn out to be an FBI agent on his case. Or is she??? It's a capable thriller but hardly a standout -- there's basically only one more plot twist and it's not all that unexpected. Walters is getting too old to play the hottie vixen... and come to think of it, so is Sutherland.

Hamlet (2001) Review


Essential
When most people think of Shakespeare they cringe, thinking of melodrama, costumes, and strange vocabulary. But what happens if you pare down the stereotypical theatrical imagery of Shakespeare and simply concentrate on the characters in the story?

This new version of Hamlet, directed by Campbell Scott (The Spanish Prisoner) and Eric Simonson does just that, and beautifully so. The setting is Americanized (the post-Civil War-era South), the production design simple, and nobody is forcing an accent unknown to them. It makes you want to scrounge for the books you packed away in high school because you didn't feel like figuring them out at the time.

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Cradle Will Rock Review


Good

A wonderfully ambitious, old-school ensemble piece, very much in the can-do spirit of the community to which it pays homage, "Cradle Will Rock" is a politically-undertoned dramedy about theater, censorship, ambition, apprehension, oppression, Orson Welles and the Great Depression.

Written and directed by Tim Robbins -- never one to shy away from cause-fueled entertainment -- this passionate labor of love celebrates and fictionalizes a legendary moment in American theater, when the government shut down the performance of a musical produced by the Works Progress Administration -- and the actors, at the risk of losing their jobs during the bleakest economic season in U.S. history, staged it anyway in a show of inspiring solidarity.

The play was entitled "The Cradle Will Rock" and its story of a greedy industrialist taken down by the organized working man made a lot of federal bureaucrats see red -- as in communism.

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