Movie Reviews
THE BALLAD OF DAVY CROCKETT Review
Dominant Worldview and Other Worldview Content/Elements:
Strong Christian, moral, pro-family worldview promotes family, parental love and loyalty, a strong father and mother, boys begin to recite the Lord’s Prayer in one scene, and friendship between friendly American Indians and settlers, but there is some revisionist history such as title character’s first wife was actually dead at the time of the story, and he had already married a second time and had more than just two sons and movie says Davy Crockett at first supported President Andrew Jackson controversial Indian Removal Act, but he actually opposed it from the beginning and belonged to the opposing party to Jackson’s Democrat Party, plus the movie is marred by a politically correct attitude of moral equivalence;
Foul Language:
One “d” word;
Violence:
[SPOILERS FOLLOW] Strong and light violence such as villain has young boy whipped for walking too slowly, villain sets fire to family’s home, man falls off horse and is impaled by sharp stick, man shoots injured horse when they’re menaced by wolves, man shoots a racoon for a meal, Indian chases man, and then man fights three other Indians trying to kill the first Indian, man saves Indian from falling over a cliff, villains invade a family’s cabin and kidnaps the two boys, father fights villain and his men, villains beat up title character, man shot off horse, man stabbed in stomach, Indian who befriended father earlier and his tribal men attack villains too at an opportune moment;
Sex:
No sex;
Nudity:
No nudity; Alcohol: No alcohol use;
Smoking and/or Drug Use and Abuse:
No smoking or drugs; and,
Miscellaneous Immorality:
Fur trader steals from his employees’ earnings and kidnaps Davy Crockett’s boys for the purpose of indentured servitude.
THE BALLAD OF DAVY CROCKETT which has been released to theaters, follows the life of the king of the wild frontier, Davy Crockett. THE BALLAD OF DAVY CROCKETT creates a moral, inspiring, patriotic representation of the folklore hero Davy Crockett with action packed sequences and intense displays of violence. While there are some accurate depictions of 19th Century frontier life, the story is riddled with inaccuracies and a more idealistic and romantic view of the world and society at the time.
The movie begins with Davy Crockett as a Congressman in a meeting with President Andrew Jackson and his cabinet discussing the President’s plans to pass an Indian removal bill. Each member signs their petition to support the President. However, when it’s Davy’s turn to sign, he is reluctant but eventually caves due to pressure from the President. Before more discussion of the Jackson’s agenda can be planned, Davy receives a letter from his wife, Polly, that she has fallen ill. Davy immediately excuses himself much to the chagrin of the President who tries to manipulate Davy into staying. Unabated, he departs the meeting and begins his journey west to Tennessee.
Meanwhile, back at home, his two boys are having a difficult time taking care of the homestead. From cutting wood to shooting muskets, they are novices at almost every task, which begs the question why Davy would leave them in charge in the first place?
During these events, the movie follows the dealings of the Northern Fur Trading Company boss, Caleb. A greedy, conniving, arrogant person, Caleb discovers that this month’s beaver pelt quota is short by 25 pelts. Reactively, he takes out his outrage on one of the first men he sees, who is short this month, by firing him and leaving him with no belongings. Determined to find the pelt thief, Caleb searches the surrounding areas for all leads.
While galloping home, Davy Crockett falls from his horse and is impaled by a sharp branch. Disoriented and in pain, he observes that wolves are lurking nearby, ready to attack. Upon noticing the predators, Davy’s frightened horse sprints off to avoid being eaten. However, instead of trying to calm the horse down or scare the wolves away, Davy takes out his musket and mercy kills his own horse to avoid falling prey to the ravenous wolves. With leg bleeding out, Davy succumbs to bodily limitations and passes out.
Back home, the boys see that their mother is getting worse, so they begin to recite the Lord’s Prayer. The younger asks the older if he can pray to which the older allows. As they pray, “Our Father who art in Heaven, hallowed be your Name,” the scene shifts to an unconscious Davy under the dark rainy night of the Tennessee sky. As if the prayers echoed into his ear, Davy miraculously awakes and makes a fire in the cold wet night.
The next few scenes try to display Davy Crockett’s skills as a frontiersman and trapper. He is seen building a shelter, shooting a racoon for a meal, and even capturing a wild horse that happened to not run away, not even once. Once the horse is captured and broken (rather quickly), he continues his journey.
As if the journey home could not be more exciting, Davy encounters a lone native traveling on the same path as him. Abruptly, and without warning, a chase begins as the lone native rides after Davy along a narrow path through the woods. The pursuit seems to go on slowly until Davy ditches his horse and sprints up a hill to catch his pursuer off guard.
The lone native, seeing that the trail runs cold, jumps off his horse to look around. Immediately, he is cornered by three other natives from a different tribe, who appear out of nowhere, like ghosts. Seeing that his then single attacker is now fighting for his own life, this leads to another decision in Davy Crockett’s journey. Instead of turning his back on his outnumbered attacker, he helps by firing a musket round as a warning shot. This action immediately puts him on the hit list of this new war party. This leads to a fight and then chase scene between Davy and his lone ally and the three marauding tribesmen.
The hunt comes to a cliff hanging halt when Davy’s former attacker, now ally, falls over off a cliff but is barely saved by Davy’s outstretched arm. With a miraculous amount of time on their hands, Davy lifts his lone ally to safety and then sneaks away from their marauding pursuers. After this, the two of them depart from each other in peace.
While this is commencing, Caleb and one of his goons track down the missing beaver pelt to the Crockett family’s cabin and bangs on the door, demanding to be admitted. Davy’s oldest son readies his musket and fires a shot as the door is busted open. He misses and now the whole house is taken hostage by Caleb and his goon. After much arguing and fighting Caleb says they will wait for the boy’s father’s arrival to settle the debt. While all this is happening, Polly, apparently too ill, remains asleep in the small cabin despite the gunfire and loud commotion.
The next day, more of Caleb’s men arrive to provide backup to him and his right-hand man. As they are outside discussing things, Polly finally stirs awake and readies her musket that had been hiding under her blanket. She tells the boys to run and find Pa. Once one of Caleb’s men enters, she fires her shot, wounding him and yelling for the boys to run. They manage to escape through all Caleb’s men and make their way to Davy Crockett, who’s now nearby. However, they are all quickly taken as hostages, as Caleb’s men catch up to them. Back at the cabin, Polly bravely attempts to give her sons more time by fighting her captives but is beaten severely to the point of unconsciousness.
After Caleb’s men bring Davy and his boys back to the family’s cabin, Davy finally comes face to face with Caleb. A bunch of accusations ensue from the fur trading boss to which Davy exhaustedly defends. Caleb shrewdly manipulates the facts of the case and claims the boys are responsible for not just the one pelt but all twenty-five. Caleb tells Davy they must work four years to pay back the debt, but Davy desperately offers himself as a surrogate. Caleb refuses, however, a fight breaks out.
So, the question becomes, Can Davy Crockett save his family from this evil man and his gang?
THE BALLAD OF DAVY CROCKETT has a strong Christian, moral, pro-family biblical worldview, which promotes family love and loyalty, and prayer. For example, Davy decides to return home for his family despite getting pushback from President Andrew Jackson. He also offers himself to the villain to save his sons from a life of indentured servitude.
However, many scenes in the movie make no sense, seem rushed or end abruptly. They also could use better transitions. The movie also contains some violence, including a scene where the villain whips Davy’s oldest son.
THE BALLAD OF DAVY CROCKETT is also marred by some revisionist history. For example, although the movie’s notes say it’s set in 1815, the movie depicts Davy serving in Congress in 1830 helping Andrew Jackson while still being married to Polly. However, according to all historical texts, she passed away over 10 years before his Congressional run for the Tennessee ninth district in 1827. Also, by 1830, Davy had already remarried, his second wife had two other children of her own, and they had three children together. Finally, the beginning of THE BALLAD OF DAVY CROCKETT says Davy initially supported President Jackson’s Indian Removal Act of 1830. However, history shows that Davy fiercely opposed the Act from the beginning.
In addition, THE BALLAD OF DAVY CROCKETT makes a false, politically correct moral equivalence between people groups. At one point, when the malevolent fur trader Caleb captures Davy, he explains why he wants repayment in full from Davy’s sons. Caleb says, “Without the law, our whole society will be overrun by the savages” (meaning the Indians), to which Davy replies, “We are all savages.” From a biblical standpoint this may true, in the sense that we are all sinners in the eyes of God. However, it is factually inaccurate to say that all people groups behave and act the same. The brutality and savagery committed by people differs from group to group. An example of this are people groups living in Communist China or in Muslim countries living under Sharia Law versus nations operating under a general Christian, biblical worldview, such as the United States. So, although it’s true to say that, during the Indian Wars in the 19th Century, the United States was not a perfect nation and didn’t always deal honorably with the native American tribes, research shows that the some of the tribes of North America waged war against one another, enslaved one another and even engaged in cannibalism before the Europeans arrived in their various territories.
THE BALLAD OF DAVY CROCKETT warrants caution for older children because of violence and the movie’s revision history and politically correct content.
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Movie Reviews
Is ‘Josie and the Pussycats’ (2001) Really Even A Rock N Roll Movie? (FILM REVIEW) – Glide Magazine
The satirical romp Josie and the Pussycats (2001) is a fun movie. But is it a great rock ‘n’ roll movie?
Eh, not so fast on that second one. Welcome back to Glide’s quest for what makes a good rock ‘n’ roll movie. Last month, we looked at Almost Famous, a great launching pad because it gets so much right. And every first Friday, we’ll take another look at a rock ‘n’ movie and ask what it means in the larger pantheon. This month, the Glide’s screening room brings you Josie and the Pussycahttps://glidemagazine.com/322100/almost-perfect-why-almost-famous-sets-the-gold-standard-for-rock-movies/ts. The film is a live-action take on the classic comic-and-cartoon property of a sugary, all-girl rock trio that exists in the world of Riverdale, a.k.a. fictional home of the iconic Archie Andrews.
But this Josie has next to nothing to do with Riverdale and is instead a satire of consumerism and ’00s boy bands. A worthy target, and a topic that has stayed worthy in the quarter-century since Josie dropped. The film was not a hit, but it has become something of a cult classic (like many movies featured in this series).
The plot is fairly simple. Wyatt Frame, an evil corporate type, is making piles of money off boy band Du Jour. They start to wise up to his evil scheme and have to be… taken care of. Frame needs a new group to front his plot, which revolves around mind control to push consumer culture. Enter Josie and the Pussycats, who are about to have a whirlwind ride to the top. And along the way, foil a plot with tentacles so far-reaching they have ensnared… Carson Daly?
Josie is a fun, clever movie, but it doesn’t have a whole lot to say about real rock ‘n’ roll, unless you want to simply accept a perspective that it’s just another cynical consumer-driven product. Even that is an argument that can be made, as long as you’re willing to ignore underground and indie scenes and passionate artists making amazing music.
And it is true that this is a theme of Josie. The band triumphs at the end via their authentic music. But it somehow doesn’t feel authentic, which makes it something of a hollow victory. Let’s consider the criteria already established for a good rock ‘n’ roll movie, and how Josie delivers on that front. The first is in the characters department. The film dodges the previously established Buckethead Paradox, which states that “The real-life rock stars are so much larger than life that you can’t make up credible fictional versions. There is no way someone like Buckethead would come out of a writer’s room and make it to a screen.”
For better or worse, Josie dodges the Paradox by essentially embracing it. The characters themselves are cartoons, and there’s no effort at realism. Given that intent is a huge part of art, it seems unfair to call these characters “cartoons” as a criticism, and it should probably be a compliment. At the same time, they aren’t particularly memorable, which is not a great quality.
And—as a bonus—Tara Reid is perfectly cast as drummer Melody Valentine. Josie was a few years after her turn in Around the Fire (1998), an unintentionally hilarious classic that plays like a jam band afterschool special from the producers of Reefer Madness (look for this amazing film in an upcoming piece).
The acting in general is good, with Rachel Leigh Cook as Josie McCoy and Rosario Dawson as bassist Valerie Brown rounding out the band. And Alan Cumming almost steals the show as sleazy corporate weasel Wyatt Frame.
The character of Wyatt is the film’s funniest riff on a rock ‘n’ roll archetype: the sleazy, corporate manager accompanied by assorted crooked accountants. From Colonel Tom Parker to Albert Grossman to The Great Rock ‘n’ Roll Swindle. It’s all about the benjamins. Which is where the music comes in. If the music is good, that’s what makes it worth it. And Josie’s music has aged particularly well. It’s well-recorded, produced and executed. The songs are particularly catchy. The vocals are by Kay Hanley of Letters to Cleo. Much of the soundtrack sounds like a lost album from The Muffs, and one wonders why Kim Shattuck wasn’t involved.
There’s an argument that power pop was never supposed to be dangerous, and that the Muffs aren’t dangerous either. Fair on the surface, but they played real punk clubs and came from a real scene. There’s not even a hint of that in Josie. So an argument that they play pop punk (which they kinda do) is really lacking the punk part.
And it was produced by Babyface, of all people. While that doesn’t seem like it should lead to great rock ‘n’ roll, sometimes preconceptions are wrong.
That said, this is a very commercial product and sound—as catchy as it is—so maybe it’s not a misconception. Maybe the right question to ask is whether it’s all too perfect? And that’s what gives this ostensibly rock ‘n’ film a smoothed-down edge? After all, the basic ingredients are there. But part of what makes good rock good is that it feels actually dangerous. Maybe there are some actual subversive messages, or a genuine counterculture scene. And Josie simply isn’t that film. The soundtrack is fondly remembered enough that Hanley appeared live and performed the songs at a screening in 2017. That appearance also included the film’s stars Cook, Dawson and Reid.
It’s worth noting that while Cook and company obviously lip sync to the songs in the film, their performances are credible. They went through instrument boot camp, so they pull off the parts.
In the end, the film is primarily a satire of consumer culture. And even more strangely, is loaded with actual product placement. Clearly, the joke was intended to “hit harder” with real products, but having Target in the film constantly makes it feel like more of what it is parodying than a parody. Where’s the joke if the viewer actually pushes to shop at Target while watching the film? And if the filmmakers actually took money (which they almost certainly did)?
And perhaps that is the lesson for this month: a great rock ‘n’ roll movie needs to have something to say about the larger meaning or culture of the music. And while Josie may have a lot to say about culture in general, and it may say it in a fun and likeable way, it’s just not very rock ‘n’ roll. There’s no grit. Now, does it have some things to say about being in a band? Yes, though they are arguably true of most collaborations.
If someone in a hundred years wanted to understand early 21st century rock, Josie and the Pussycats is a bad choice. It doesn’t show the sweat of a performance or the smell of beer. But it’s a great choice for anyone looking for a light-hearted, fun watch with a great soundtrack. We could all use some sugar in our lives these days.
Join us again next month, when we’ll look at one of the inspirations for Josie, A Hard Day’s Night, the legendary first film from The Beatles
Movie Reviews
Peaky Blinders: The Immortal Man review – Tommy Shelby returns for muddy, bloody big-screen showdown
After six TV series from 2013 to 2022, which caused a worrying surge in flat cap-wearing among well-to-do men in country pubs, Peaky Blinders is now getting a hefty standalone feature film, a muscular picture swamped in mud and blood. This is the movie version of Steven Knight’s global small-screen hit, based on the real-life gangs that swaggered through Birmingham from Victorian times until well into the 20th century. Cillian Murphy returns with his uniquely unsettling, almost sightless stare as Tommy Shelby, family chieftain of a Romani-traveller gang, a man who has converted his trauma in the trenches of the first world war into a ruthless determination to survive and rule.
As we join the story some years after the curtain last came down, it is 1940, Britain’s darkest hour and Tommy is the crime-lion in winter. He now lives in a huge, remote mansion, far from the Birmingham crime scene he did so much to create, alone except for his henchman Johnny Dogs, played by Packy Lee. Evidently wearied and sickened by it all, Tommy is haunted by his ghosts and demons: memories of his late brother, Arthur, and dead daughter, Ruby, and working on what will be his definitive autobiography. (Sadly, we don’t get any scenes of Tommy having lunch with a drawling London publisher or agent.)
But a charismatic and beautiful woman, played by Rebecca Ferguson, brings Tommy news of what we already know: his malign idiot son Erasmus Shelby, played by Barry Keoghan, is now running the Peaky Blinders, a new gen-Z-style group of flatcappers raiding government armouries for guns that should really belong to the military. And if that wasn’t disloyal and unpatriotic enough, Erasmus has accepted a secret offer from a sinister Nazi fifth-columnist called Beckett, played by Tim Roth, to help distribute counterfeit currency which will destroy the economy and make Blighty easier to invade. Doesn’t Erasmus know what Adolf Hitler is going to do to his own Romani people? (To be fair to Erasmus, a lot of the poshest and most well-connected people in the land didn’t either.)
Clearly, Tommy is going to have to come down there and sort this mess out. And we get a very ripe scene in which soft-spoken Tommy turns up in the pub full of raucous idiots who cheek him. “Who the faaaaaack is ‘Tommy Shelby’?” sneers one lairy squaddie, who gets horribly schooled on that very subject.
In this movie, Tommy Shelby is against the Nazis, and he can’t get to be more of a good guy than that. (Tommy has evidently put behind him memories of Winston Churchill from the first two series, when Churchill was dead set on clamping down on the Peaky Blinders.) The war and the Nazis are a big theme for a big-screen treatment and screenwriter Knight and director Tom Harper put it across with some gusto as a kind of homefront war film, helped by their effortlessly watchable lead. Maybe you have to be fully invested in the TV show to really like it, although this canonisation of Tommy is a sentimental treatment of what we actually know of crime gangs in the second world war. Nevertheless, it is a resoundingly confident drama.
Movie Reviews
Movie Review: Here comes “THE BRIDE!”, audacious and wild – Rue Morgue

That’s both a promise and a challenge she delivers, since what follows may rub some viewers the wrong way. Yet Gyllenhaal’s full-throttle commitment to her vision is compelling in and of itself, and she has marshalled an absolutely smashing-looking and -sounding production. The story proper begins in 1936 Chicago, which, like everything and everyplace else in the movie, has been luminously shot by cinematographer Lawrence Sher and sumptuously conjured by production designer Karen Murphy. Her involvement is appropriate given that her previous credits include Bradley Cooper’s A STAR IS BORN and Baz Luhrmann’s ELVIS, since among other things, THE BRIDE! is a nostalgic musical. Its Frankenstein (Christian Bale), who has taken the name of his maker, is obsessed with big-screen tuners, and imagines himself in elaborate song-and-dance numbers. (Considering the reception to JOKER: FOLIE À DEUX, one must applaud the daring of Warner Bros. for greenlighting another expensive film in which a tormented protagonist has that kind of fantasy life.)
THE BRIDE! may be revisionist on many levels, but its characterization of its “monster” holds true to past screen incarnations from Karloff’s to Elordi’s: His scarred appearance masks a lonely soul who desires companionship. Frankenstein has arrived in Chicago to seek out Dr. Cornelia Euphronious (Annette Bening), correctly believing she has the scientific know-how to create an appropriate mate for him. Rather than piece one together, Dr. Euphronious resurrects the corpse of Ida (Jessie Buckley), whose consorting with underworld types led to her brutal death. Previously chafing against the man’s world she inhabited in life, she becomes even more defiant and unruly as a revenant, apparently possessed by the spirit of Shelley herself, declaiming in free-associative sentences and quoting rebellious literature.
Buckley, currently an Oscar favorite for her very different literary-inspired role in HAMNET, tears into the role of the Bride (who now goes by the name Penny) with invigorating abandon that bursts off the screen. Unsure of her identity yet overflowing with self-confident bravado, she’s the opposite of the sensitive “Frank,” but they’re united by the world that stands against them. That becomes literal when a violent incident sends them on the lam, road-tripping to New York City and beyond, on a trail inspired by the films of Ronnie Reed (Jake Gyllenhaal), Frank’s favorite song-and-dance-man star.
With THE BRIDE!, Gyllenhaal has made a film that’s at once her very own and a feverish homage to all sorts of cinema past and present. It’s a horror story, a lovers-on-the-run movie, a crime thriller, a musical and more, and historical fealty be damned if it makes for a good scene (as when Penny and Frank sneak into a 3D movie over a decade before such features became popular). In-references are everywhere: It might just be a coincidence that the couple’s travels take them past Fredonia, NY (cf. “Freedonia” in the Marx Brothers’ DUCK SOUP), but it’s certainly no accident that the former Ida is targeted by a crime boss named Lupino, referencing the actress and pioneering filmmaker whose works included noirs and women’s-issues stories. Penny’s exploits lead legions of admiring women to adopt her look and anarchic attitude, echoing the first JOKER (while a headline calls them “Twisted Sisters”), and the use of one Irving Berlin song in a Frankensteinian context immediately recalls a classic comedic take on the property.
Whether the audience should be put in mind of a spoof at a key point in a film with different goals is another matter. At times like these, Gyllenhaal’s pastiche ambitions overtake emotional investment in the story. As strong as the two lead performances are (Bale is quite moving, conveying a great deal of soul from behind his extensive prosthetics), it’s easier to feel for them in individual scenes than during the entire course of the just-over-two-hour running time. The diversions can be entertaining, to be sure, but they also result in an uncertainty of tone. The dissonance continues straight through to the end, where the filmmaker’s choice of closing-credits song once again suggests we’re not supposed to take all this too seriously.
There’s nonetheless much to admire and enjoy about THE BRIDE!, and this kind of risk-taking by a major studio is always to be encouraged (especially considering that we’ll see how long that lasts at Warner Bros. once Paramount takes it over). Beyond the terrific work by the aforementioned actors, there’s fine support from Peter Sarsgaard and Penelope Cruz as detectives on Penny and Frank’s heels, with Sandy Powell’s lavish costumes and Hildur Guðnadóttir’s rich, varied score vital to fashioning this fully imagined world. Kudos also to makeup and prosthetics designer Nadia Stacey and to Chris Gallaher and Scott Stoddard, who did those honors on Frank, for their visceral, evocative work. Uneven as it may be, THE BRIDE! is also as alive! as any film you’ll likely see this year.
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