About Greg & Jenn Wright: Greg and Jenn Wright have been married since 1999, and share passions for God, drama, literature and movies (among other things). In 2003, they were honored as Best Actor and Best Actress in a production of While the Lights Were Out at Redwood Theatre in Redmond, Washington; since then, health issues have kept them off the stage. Freelance writers and editors, they both have degrees in Literature and Theology, and are proud to be members of Harambee Church in Renton. Greg is Writer in Residence at Puget Sound Christian College in Everett, Washington, and is the author of 
Reviews for May, June, and July
Monster House
Jenn reviews: Here’s what disturbs me — once they determine that the house has a human’s soul, they set out to kill “her.” Not “it,” but “her.” And when Nebbercracker miraculously returns from the hospital (apparently the myocardium wasn’t really infarcted), he pulls out dynamite that apparently has been saved specifically for this purpose. He knows that killing Constance (whom he still talks to as his wife) is the “right” thing to do, but because he loves her so much he has not yet been able to bring himself to do it. So what does he do? He asks a boy to do it for him!
You, Me & Dupree
Greg reviews: Not since Risky Business has there been a romantic comedy so misogynistic and so male-centered, yet made with such back-slapping, nudge-nudge precision that men are unlikely to notice how literally faceless the women in this film are (with that One Notable exception) — and scripted so ingratiatingly that women will fawn over Dupree in spite of (even because of?) his free-spirited and libertine male sexuality.
Superman Returns
Greg reviews: Fans will be happy. Critics will fawn, and other critics will gripe. The publicity wheels will turn. Sequels will be greenlit. Christians will be oh-so-pleased to champion the Only-Son Savior in Blue Tights who sacrificially brings Light to the World. Never mind that this Superman has an awful lot in common with Dan Brown’s Jesus. Never mind. Superman returns and saves the day. Hurrah.
Wordplay
Greg reviews: Oddly, even though Jenn and I are word game enthusiasts, and even though the conclusion to the tournament is actually pretty mindblowing, Wordplay was not particularly compelling for us—from that standpoint. What was most interesting about the movie was its portrayal of a very distinct (and very white) subculture.
An Interview with Patrick Creadon (Wordplay)
by Jenn: "There were several people we shot for the film that ultimately weren't included in the final cut. This was probably the hardest part of the process for me. I feel very indebted to people when they open up to me and my camera, and not including someone in the final cut makes me feel quite badly."
The Omen
Greg reviews: The Omen mixes actual snippets of Scripture with pure fabrications in order to set its plot in motion. What’s perhaps more perplexing is the idea that a conclave of Roman Catholic cardinals would buy into an end-times scenario promoted by Left Behind and The Omega Code. Catholics, by and large, just don’t subscribe to such readings of Revelation.
An Interview with Mia Farrow (The Omen)
by Greg: "What’s more interesting and accurate is the dual nature of humankind and our—I’m stating the obvious, but—our capacity for altruism and tremendous good, and our capacity for evil and the terrible... I mean, you don’t have to look further than the Darfur region of Sudan as we sit at this table."
The Break-Up
Greg reviews: It’s a poignant reminder of how romance works out in real life: unpredictable, heartbreaking, and still full of promise. TV evangelists may try to sell the world the vision of a blissful, rosy existence. But The Break-up, quite honestly, knows better. It’s closer to the truth than prayer hankies will ever get you.
Drawing Restraint 9
Greg reviews: There are some nice visual touches in Drawing Restraint 9; but Barney overdoes much of what he does well and takes up far too much screen time to do the rest. This movie could have made its statements—about East-West tensions, whaling industry waste, correlative prophecies about the coming end of petroleum exploitation, and a productive marriage of humanity with the environment—in easily a third of the screen time.
Jenn reviews: Here’s what disturbs me — once they determine that the house has a human’s soul, they set out to kill “her.” Not “it,” but “her.” And when Nebbercracker miraculously returns from the hospital (apparently the myocardium wasn’t really infarcted), he pulls out dynamite that apparently has been saved specifically for this purpose. He knows that killing Constance (whom he still talks to as his wife) is the “right” thing to do, but because he loves her so much he has not yet been able to bring himself to do it. So what does he do? He asks a boy to do it for him!
You, Me & Dupree
Greg reviews: Not since Risky Business has there been a romantic comedy so misogynistic and so male-centered, yet made with such back-slapping, nudge-nudge precision that men are unlikely to notice how literally faceless the women in this film are (with that One Notable exception) — and scripted so ingratiatingly that women will fawn over Dupree in spite of (even because of?) his free-spirited and libertine male sexuality.
Superman Returns
Greg reviews: Fans will be happy. Critics will fawn, and other critics will gripe. The publicity wheels will turn. Sequels will be greenlit. Christians will be oh-so-pleased to champion the Only-Son Savior in Blue Tights who sacrificially brings Light to the World. Never mind that this Superman has an awful lot in common with Dan Brown’s Jesus. Never mind. Superman returns and saves the day. Hurrah.
Wordplay
Greg reviews: Oddly, even though Jenn and I are word game enthusiasts, and even though the conclusion to the tournament is actually pretty mindblowing, Wordplay was not particularly compelling for us—from that standpoint. What was most interesting about the movie was its portrayal of a very distinct (and very white) subculture.
An Interview with Patrick Creadon (Wordplay)
by Jenn: "There were several people we shot for the film that ultimately weren't included in the final cut. This was probably the hardest part of the process for me. I feel very indebted to people when they open up to me and my camera, and not including someone in the final cut makes me feel quite badly."
The Omen
Greg reviews: The Omen mixes actual snippets of Scripture with pure fabrications in order to set its plot in motion. What’s perhaps more perplexing is the idea that a conclave of Roman Catholic cardinals would buy into an end-times scenario promoted by Left Behind and The Omega Code. Catholics, by and large, just don’t subscribe to such readings of Revelation.
An Interview with Mia Farrow (The Omen)
by Greg: "What’s more interesting and accurate is the dual nature of humankind and our—I’m stating the obvious, but—our capacity for altruism and tremendous good, and our capacity for evil and the terrible... I mean, you don’t have to look further than the Darfur region of Sudan as we sit at this table."
The Break-Up
Greg reviews: It’s a poignant reminder of how romance works out in real life: unpredictable, heartbreaking, and still full of promise. TV evangelists may try to sell the world the vision of a blissful, rosy existence. But The Break-up, quite honestly, knows better. It’s closer to the truth than prayer hankies will ever get you.
Drawing Restraint 9
Greg reviews: There are some nice visual touches in Drawing Restraint 9; but Barney overdoes much of what he does well and takes up far too much screen time to do the rest. This movie could have made its statements—about East-West tensions, whaling industry waste, correlative prophecies about the coming end of petroleum exploitation, and a productive marriage of humanity with the environment—in easily a third of the screen time.
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