Katherine Winter (Hilary Swank) is an ordained minister who loses her faith after losing her family in a tragedy and has turned to debunking purported miracles around the world. Along with her handsome religious sidekick Ben (Idris Elba) she explains away one religious phenomenon after another. Then a science teacher (David Morrissey) from a small town called Haven comes to her lecture to ask for help. It turns out the river running through town has turned red with blood and the townspeople are blaming it on a 12-year-old girl (AnnaSophia Robb) who looks a lot like Katherine's dead daughter. Before the religious fanatics of Haven turn into a lynch mob Katherine gets help from the girl's very crazy mother (Andrea Frankle) the town's sheriff (William Ragsdale) and a priest she once worked with (Stephen Rea). Nevertheless plagues start happening: Frogs drop from the skies locusts swarm cows die kids get lice people get boils on their skin and more. Katherine begins wondering if the girl really is to blame and what she has to do to stop it. Two-time Oscar winner Swank once again nails it as a smart strong professor. Some people would say she's slumming doing a horror movie but Swankbrings the necessary gravitas and charm to a potentially one-dimensional role. And she always looks great in a tank top whether she's playing a boxer a boy or a teacher. Her connection with Elba (Daddy's Little Girls) is palpable as well as her connection with Morrissey (Basic Instinct 2). All three of them have seething sensuality and dark secrets that make their characters intriguing every step of the way. Although she may get confused a lot with Dakota Fanning AnnaSophia Robb (Bridge to Terabithia) has proven herself a fine young actress and is particularly odd and creepy in The Reaping. The usually great Stephen Rea (Crying Game) is the only one out of place. He seems to be just phoning it in sometimes quite literally. The supporting cast of rural townsfolk is oddball enough to be distinguishable each with their own quirk. Director Stephen Hopkins knows how to put together a suspenseful film. He has helmed the pilot to 24 as well as movies Under Suspicion Predator 2 and Nightmare on Elm Street 5: The Dream Child. Sometimes however he resorts to cheap scares that really aren't necessary and an overbearing score by John Frizzell leads too obviously into frightening moments. The Reaping is also confusing at times and it's never clear why the plagues are invading this tiny town. Swank delivers long monologues on actual history and Biblical verse but thankfully makes them interesting. Once the plagues unravel however all the pretensions melt away. The special effects aren’t solely dependant on computer graphics even if a few of the final plagues go over-the-top. Overall The Reaping does what it intends to do assuring more than a few jumps.
She's a hip-hoppin' be-boppin' mean ol' nanny who whips a mean stew and your butt for not doing your homework—and now she's back! Alas we don't speak of the Mrs. Doubtfire sequel but rather that of Big Momma a.k.a. FBI Agent Malcolm Turner (Martin Lawrence). Agent Warner has cut ties with the FBI at the behest of Sherry (Nia Long)—who as you no doubt recall is the granddaughter of the real Big Momma—since she's pregnant with Malcolm's baby. But wouldn't you know that he gets sucked back in after a former colleague is killed. Posing as Big Momma he's hired as a nanny to a suburban family the deadbeat dad of which is involved in the murder and a crime plot. She does it all—cooks cleans dances and even runs down bad guys but it's a race against time to stop the potential national security crisis. That is a race against the film's (mercifully) short running time. Although Lawrence's resume includes some of the dregs of comedy it's hard to argue that he is truly blessed when it comes to physical comedy and comedic timing. He continues both trends here this time without the help of the breakthrough actors of the past two years Paul Giamatti and Terrence Howard who yes both starred in the first Big Momma's House. That means Lawrence's urban mania is truly on its own and absurd and juvenile as the film may be even film snobs can't hold back a few laughs at his Big Momma outlandishness. Longreturns for no more than a select few scenes and to provide a minor conflict in the story. The notable newcomer is CSI's Emily Procter as the sterile mother who hires Big Momma. She does a serviceable job as a suburban Petite Momma. Might she be the next Giamatti or Howard to bolt to bigger and better things in time for the next sequel? No.
Big Momma's House 2 is right up director John Whitesell's alley. He's the guy behind such misses—though not necessarily financially—as Malibu's Most Wanted and See Spot Run and he's right at home here. Whitesell doesn't hold back in (literally and figuratively) pulling the robe off Big Momma but he clearly knows that nothing is to interrupt Lawrence's antics not even the thin story line. Aside from that he knows quite well how to execute thinly veiled rip-offs of the aforementioned Mrs. Doubtfire as well as countless other hidden-motive comedies (i.e. Kindergarten Cop Houseguest et al). Because while the main guise is the Big Momma fat suit Whitesell parades the film about as a feel-good/family flick.