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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Now more than ever we’re bombarded by darkness in media, movies, and TV. Movieguide® has fought back for almost 40 years, working within Hollywood to propel uplifting and positive content. We’re proud to say we’ve collaborated with some of the top industry players to influence and redeem entertainment for Jesus. Still, the most influential person in Hollywood is you. The viewer.
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Movie Reviews
“Resurrection” Movie Review: To Burn, Anyway
“What can one person do but two people can’t?”
“Dream.”
I knew the 2025 film “Resurrection” (狂野时代) would be elusive the second I walked out of Amherst Cinema and into the cold air, boots gliding over tanghulu-textured ice. The snow had stopped falling, but I wished it hadn’t so that I could bury myself in my thoughts a little longer. But the wind hit my uncovered face, the oxygen slipped from my lungs, and I realized that I had stopped dreaming.
“Resurrection” is a love letter to the evolution of cinematography, the ephemerality of storytelling, and the raw incoherence of life. Structured like an anthology film and set in a futuristic dreamscape, humanity achieves immortality on one condition: They can’t dream. We follow the last moments before the death of one rebel dreamer, called the “Deliriant” or “迷魂者,” as he travels through four different dream worlds, spanning a century in his mind.
Being Bi Gan’s third film after the 2015 “Kaili Blues” (路边野餐) and the 2018 “Long Day’s Journey Into Night” (地球最后的夜晚), “Resurrection” follows Gan’s directorial style of creating fantastical, atmospheric worlds. Jackson Yee, known for being a member of the boy group TFBoys, stars as the Deliriant and takes on a different identity in each dream, ranging from a conflicted father-figure conman to an untethered young man looking for love to a hunted vessel with a beautiful voice. His acting morphs unhesitatingly into each role, tailored to the genre of each dream. Of which, “Resurrection” leans into, with practice and precision.
Opening with a silent film that mimics those of German expressionist cinema, “Resurrection” takes the opportunity to explore the genres of film noir, Buddhist fable, neorealism, and underworld romance. The Deliriant’s dreams are situated in the years 1900 to 2000, as we follow the evolution of a century of competing cinematic visions. The characters don’t utter a single word of dialogue in the first twenty minutes, as all exposition occurs through paper-like text cards that yellow at the edges. I was worried it would be like this for the whole film, but I stayed in the theater that Tuesday night, the week before midterms, waiting for the first line of spoken dialogue to hit like the first sip of water after a day of fasting.
Through a massive runtime that spans two hours and 39 minutes, this movie makes you earn everything you get. Gan trains the audience’s patience with a firm hold on precision over the dials of the five senses and the mind.
The dreams may move forward in time through the cultures of the twentieth century, but on a smaller temporal scale, the main setting of each dream functions to tell the story of a day in reverse. The first dream, being a film noir, is told on a rainy night. Without giving any more spoilers, the three subsequent dreams take place at twilight, during multiple sunny afternoons, and then at sunrise. “Resurrection” does not grant sunlight so easily; we are given momentary solace after being deprived of direct sunlight for a solid 70 minutes, until it is stripped from us again and we are dropped into the darkness of pre-dawn – not that I am complaining. I love a movie that knows what it wants the audience to feel. I felt a deep-seated ache as I watched the film, scooting closer to the edge of my seat.
“Resurrection” is a movie that is best watched in theaters, but a home speaker system or padded headphones in a dark room can also suffice. Some of its most gripping moments are controlled by sound. Loud, cluttered echoes of the world, whether from people chatting in a parlor or anxiety in a character’s head, are abruptly cut off with ringing silence and a suspended close-up shot. We are forced to reckon with what the character has just done. I knew I was a world away, but I was convinced and terrified at my own culpability and agency. If I were him, would I have done the same? I could only hear my thoughts fade away as we moved onto the next dream.
Beyond sight and sound, the plot also deals intimately with the senses of taste, smell, and touch, but you will have to watch the movie yourself to find that out.
My high school acting teacher once told us that whenever a character tells a story in a play, they are actually referencing the play’s overall narrative. This exact technique of using framed narratives as vessels of information foreshadowing drives coherence in a seemingly ambiguous, metaphorical anthology film. Instead of easy-to-follow tales that mimic the hero’s journey, we are taken through unadulterated, expansive explorations of characters and their aspirations. We never find out all the details of what or why something happens, as the Deliriant moves quickly through ephemeral lifetimes in each dream, literally dying to move onto the next, but we find closure nonetheless through the parallels between elements and the poetry of it all.
That is why I like to think of “Resurrection” as pure art. It is not bound by structure; it osmoses beyond borders. It is creation in the highest form; it is a movie that I will never be able to watch again.
Perhaps because the dream worlds are so intimate and gorgeous, the exposition for the actual futuristic society feels weak in comparison. We learn that there is a woman whose job is to hunt down Deliriants, but we don’t see the rest of the dystopian infrastructure that runs this system. However, I can understand this as a thematic choice to prioritize dreams over reality. Form follows function, and these omissions of detail compel us to forget the outside world.
What it means to “dream” is up for interpretation, and we never learn the specifics of why or how immortality is achieved. Instead, “Resurrection” compares dreaming to fire. We humans are like candles, the movie claims, with wax that could stand forever if never used. But what is the point in being candles if we are never lit?
The greatest reminder of “Resurrection” is our own mortality. Whether we run from the snow-dipped mountaintops to the back alleyways of rain-streaked Chongqing, we can never escape our own consequences. “Resurrection” gives me a great fear of death, but so does it reignite my conviction to live a life of mistakes and keep dreaming anyway.
Dreaming is nothing without death. Immortality is nothing without love. So, I stumbled back to my dorm that Tuesday night, the week before midterms, thinking about what I loved and feared losing. So few films can channel life and let it go with a gentle hand. I only watch movies to fall in love. I am in love, I am in love. I am so afraid.
Movie Reviews
‘Project Hail Mary’ Review: Ryan Gosling and a Rock Make Sci-Fi Magic
In contrast to other sci-fi heroes, like Interstellar’s Cooper, who ventures into the unknown for the sake of humanity and discovery, knowing the sacrifice of giving up his family, Grace is externally a cynical coward. With no family to call his own, you’d think he’d have the will to go into space for the sake of the planet’s future. Nope, he’s got no courage because the man is a cowardly dog. However, Goddard’s script feels strikingly reflective of our moment. Grace has the tools to make a difference; the Earth flashbacks center on him working towards a solution to the antimatter issue, replete with occasionally confusing but never alienating dialogue. He initially lacks the conviction, embodying a cynicism and hopelessness that many people fall into today.
The film threads this idea effectively through flashbacks that reveal his reluctance, giving the story a tragic undercurrent. Yet, it also makes his relationship with Rocky, the first living thing he truly learns to care for, ever more beautiful.
When paired with Rocky, Gosling enters the rare “puppet scene partner” hall of fame alongside Michael Caine in The Muppet Christmas Carol, never letting the fact that he’s acting opposite a puppet disrupt the sincerity of his performance. His commitment to building a gradual, affectionate friendship with this animatronic creation feels completely natural, and the chemistry translates beautifully on screen. It stands as one of the stronger performances of his career.
Project Hail Mary is overly long, and while it can be deeply affecting, the film leans on a few emotional fake-outs that become repetitive in the latter half. By the third time it deploys the same sentimental beat, the effect begins to feel cloying, slightly dulling the powerful emotions it built earlier. The constant intercutting between past and present can also feel thematically uneven at times, occasionally undercutting the narrative momentum. At 2 hours and 36 minutes, the film feels like it’s stretching itself to meet a blockbuster runtime when a tighter cut might have served better.
FINAL STATEMENT
Project Hail Mary is a meticulously crafted, hopeful, and dazzling space epic that proves the most moving friendship in film this year might just be between Ryan Gosling and a rock.
Movie Reviews
Dan Webster reviews “WTO/99”
DAN WEBSTER:
It may now seem like ancient history, especially to younger listeners, but it was only 26 years ago when the streets of Seattle were filled with protesters, police and—ultimately—scenes of what ended up looking like pure chaos.
It is those scenes—put together to form a portrait of what would become known as the “Battle of Seattle” —that documentary filmmaker Ian Bell captures in his powerful documentary feature WTO/99.
We’ve seen any number of documentaries over the decades that report on every kind of social and cultural event from rock concerts to war. And the majority of them follow a typical format: archival footage blended with interviews, both with participants and with experts who provide an informational, often intellectual, perspective.
WTO/99 is something different. Like The Perfect Neighbor, a 2026 Oscar-nominated documentary feature, Bell’s film consists of what could be called found footage. What he has done is amass a series of news reports and personal video recordings into an hour-and-42-minute collection of individual scenes, mostly focused on a several-block area of downtown Seattle.
That is where a meeting of the WTO, the World Trade Organization, was set to be held between Nov. 30 and Dec. 3, 1999. Delegates from around the world planned to negotiate trade agreements (what else?) at the Washington State Convention and Trade Center.
Months before the meeting, however, a loose coalition of groups—including NGOs, labor unions, student organizations and various others—began their own series of meetings. Their objective was to form ways to protest not just the WTO but, to some of them, the whole idea of a world order they saw as a threat to the economic independence of individual countries.
Bell’s film doesn’t provide much context for all this. What we mostly see are individuals arguing their points of view as they prepare to stop the delegates from even entering the convention center. Meanwhile, Seattle authorities such as then-Mayor Paul Schell and then-Police Chief Norm Stamper—with brief appearances by Gov. Gary Locke and King County Executive Ron Sims—discuss counter measures, with Schell eventually imposing a curfew.
That decision comes, though, after what Bell’s film shows is a peaceful protest evolving into a street fight between people parading and chanting, others chained together and splinter groups intent on smashing the storefronts of businesses owned by what they see as corporate criminals. One intense scene involves a young woman begging those breaking windows to stop and asking them why they’re resorting to violence. In response a lone voice yells their reasoning: “Self-defense.”
Even more intense, though, are the actions of the Seattle police. We see officers using pepper spray, tear gas, flash grenades and other “non-lethal” means such as firing rubber pellets into the crowd. In one scene, a uniformed guy—not identified as a police officer but definitely part of the security crowd, which included National Guardsmen—is shown kicking a guy in the crotch.
The media, too, can’t avoid criticism. Though we see broadcast reporters trying to capture what was happening—with some affected like everybody else by the tear gas that filled the streets like a winter fog—the reports they air seem sketchy, as if they’re doctors trying to diagnose a serious illness by focusing on individual cells. And the images they capture tend to highlight the violence over the well-meaning actions of the vast majority of protesters.
Reactions to what Bell has put on the screen are bound to vary, based on each viewer’s personal politics. Bell revels his own stance by choosing selectively from among thousands of hours of video coverage to form the narrative he feels best captures what happened those two decades-and-change ago.
If nothing else, WTO/99 does reveal a more comprehensive picture of what happened than we got at the time. And, too, it should prepare us for the future. The way this country is going, we’re bound to see a lot more of the same.
Call it the “Battle for America.”
For Spokane Public Radio, I’m Dan Webster.
——
Movies 101 host Dan Webster is the senior film critic for Spokane Public Radio.
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