VeteranLight I don't have all the words right now but this film is a work of art.

Baseshment I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Mathilde the Guild Although I seem to have had higher expectations than I thought, the movie is super entertaining.

sageonelove Contains spoilers .... This movie had some good moments, the acting was terrific, the portrayals of both sides of the blue line was pretty balanced, and the story line was compelling.But with all the realistic character studies, they completely ruined the ending. The writers obviously had zero knowledge of narcissistic mothers and the limits of the four year old mind. Right at the end the whole story went off the rails because they tried to make the mother a more sympathetic character than she was. And they attributed a complex mental thought process to a four year old that would have been impossible. I came away frustrated and irritated that they completely messed up the ending.I was also dumbfounded at the lack of resolution with the brother. He was a visible character, then he just seemed to melt away. He never confronted his sister with the awful facts, and with her cover up of what really must have happened. I gave the movie four stars for the good parts, but the movie, as a whole, let me down.

sandx Once again, Julianne Moore,has shown us what a superb actress she is. Her performance as the mother of the missing child is a 'tour de force'. She expresses all the anguish and confusion of that character and had me believing I was watching real life. As usual Samuel L Jackson was Samuel L Jackson, which he does brilliantly. I can't remember a bad performance from him. I gave this film 8 and might have been a tad more generous but for the sub-plot, which I found invasive and unnecessary.Quite why the director found it good to drag us away from the unfolding drama to another conflict left me baffled. However ,plaudits for the brilliant Miss Moore .

Python Hyena Freedomland (2006): Dir: Joe Roth / Cast: Julianne Moore, Samuel L. Jackson, Edie Falco, Ron Eldard, William Forsythe: Disappointing thriller about freedom of culture. Julianne Moore arrives battered at a hospital and informs a detective that she was carjacked and her four year old son was in the backseat. The fact that the alleged carjacker is black causes racial tension. Starts out fine but loses focus with the whole racial bit. Story never focuses on the issue at hand with the missing child. Instead the screenwriter throws in a racial subplot that not only distracts, but is totally unnecessary. Even the ending is difficult to accept. Director Joe Roth does well with ominous lighting but Moore is intolerable with every whine, moan and shriek. This is unfortunate given that she has done wonderful work in films that highlight her talent with notable roles. Samuel L. Jackson does his best as the detective but the role is subdued within that whole racial subplot that never worked to begin with. Flat supporting work by Edie Falco and Ron Eldard as if their contribution could save this farce. When spectators left the theatre there was more than one individual mocking Moore in her plea filled last scene. That is probably not what the filmmakers intended but it is a good sign of a bad thriller nonetheless. It never remains focused leaving one to wonder if the screenwriter was given too much freedom. Score: 4 / 10

Jakealope This movie was a crock from the start. The writer Price is some white liberal who anointed himself as an interpreter of inner city blacks to us ignorant white yahoos. His previous venture was the better "Clockers", which was made into a lame movie by Spike Lee. In a country where the two latest racial flaps were a black whore falsely accusing 3 frat boys of rape and that case dragged on for a year in spite of the fact EVERY shred of evidence pointed to their innocence and the woman changed her story with the weather. Don't forget how every white academic liberal and their black studies cohort spewed venom on the students based on the old ante-bellum "slaves being raped by massa" myth, which goes against reality where there are 112 black on white rapes for every case of the reverse. Or the Jena 6 case where six violent black youths beat a white kid silly. But since some nooses were hung months earlier, which had nothing to do with either race or the kid they beat, the black power movement and the white liberal drones descended on Jena to exonerate the punks and excoriate the town. But, in their defense, I do add that attempted murder was too steep a charge, but those Jena 6 punks belong in jail, not addressing the NAACP or appearing on BET.Back to the movie, this wigged out white mother, Julianne Moore, claimed she was carjacked and her kid was taken from her, and this happened in the projects. She is no racist, as a matter of fact she works in the same project in the day care center, along with her son who is in the class. So naturally everyone goes haywire trying to find the kid. There are shades of the 1994 Susan Smith case, the murdering Southern mom who killed her kids then tried to blame it on a black man. But, as I remember, the police never bought her story and never shut down a project either. Her brother is a white cop in the neighboring working class suburb. Natch, he's a racist and angry as heck. Yet even he thinks his sister is a loser who is hiding something. So the suburban cops buffalo themselves into the city and shut down the project This is the first bit of unreality. As if the city and the mayor are going to put up with this. As if ten thousand lawyers, civil rights protesters, Sharpton rabble rousers and Nation of Islam thugs wouldn't descend on this city in a matter of hours; this in the middle of New Jersey not the Sudan, in 1999, not 1949. That alone makes most of the other racial drama superfluous. Then there is the other persistent whine about "Our black kids go missing and you do nothing, but when a white kid goes missing....", like the black on black crime whine(as if black on white crime is acceptable), this falls on deaf ears to me since it is the criminal street code of silence and the horrid conditions of black inner city "families" that hinder solving and creates the conditions for those crimes and tragedies.The movie quickly devolves into an almost father - daughter relation between Detective Council, Sam Jackson, and the distraught mother Brenda Martin, played by Julianne Moore. Credit must be given to Ms. Moore for her thankless performance of a really messed up woman, as well as to Edie Falco, who played a woman who finds lost children and helps crack the case. Samuel Jackson played the requisite strong black guy who sets all the racist whites, as well as his brood in the projects, straight. He even had a chance to quell the requisite racial confrontation in the end by telling everyone the case was solved, but that would have been too simple. I wonder if all those black cops in New Orleans, the ones who looted and abandoned their posts during the flood or committed violent crimes on the side should invite him in as a role model? He even has a nice working class white guy cop sidekick, William Forsythe, just to make us trailer trash feel a little better about themselves, "Find a strong black man to teach you and you can be enlightened as I am", is what the writer seems to be saying through him. As a missing child case, this might had made a good Lifetime movie. But with the hyped up, dishonestly created racial tension as the theme, it is an exercise in affirmative action film-making designed to elicit outrage when none was called for.