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blindsidefinal123English Movie Review
Sandra Bullock (“The Proposal”), Tim McGraw (“Friday Night Lights”) and Oscar®-winner Kathy Bates (“Misery,” “Revolutionary Road”) star in Alcon Entertainment and Warner Bros. Pictures’ “The Blind Side,” which depicts the remarkable true story of All-American football star Michael Oher.

A homeless African-American youngster from a broken home, Oher (Quinton Aaron) is taken in by the Touhys, a well-to-do white family who help him fulfill his potential on and off the football field. At the same time, Oher’s presence in the Touhys’ lives leads them to some insightful self-discoveries of their own.

Living in his new environment, the teen faces a completely different set of challenges to overcome. As a football player and student, Oher works hard and, with the help of his coaches and adopted family, becomes an All-American offensive left tackle.
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I think it’s possible to recognize that something (say, a trailer) has been created to manipulate your feelings and force you to cry, and to still cry anyway. This is what watching the trailer for The Blind Side was all about for me. The movie is based on a book by Michael Lewis which, as I recall from reading it a while ago, focuses a great deal on technical football analysis. Still, Lewis also weaves in the story of the remarkable left tackle Michael Oher, who was a homeless kid in Memphis until he was taken in by a wealthy white family. Soon after, his size and impressive abilities on the football field brought him attention — and recruitment battles — from college coaches. The movie centers on Oher’s (played by Quinton Aaron) story, with Sandra Bullock in the role of the mother who takes him in.

I love watching Sandra Bullock and still, I was so engrossed in this trailer that I’d forgotten who she was by the end of it. It may turn out to be a predictable, sentimental film but I’m going to watch it nonetheless. What do you think?
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The adventure of this cine is about a affluent ancestors who gets in an sandra bullock The Blindside Movie Reviewbenighted and abandoned jailbait from burst abode and helps him to change his activity through their guidance. When Michael Oher meets with Anne Touhy at that time he is an under-educated, colossal and poor teenager, again he adopted by her. Michael Oher ultimately develops a aboriginal annular aces in the “2009 NFL Draft” and into an All-American awful larboard undertake; so you would ascertain that adventure of this blur is still actuality written. It was not aloof a life-saving acquaintance for Michael Oher but additionally a adventure of self-discovery for ancestors of Leigh Anne Tougy.

You can see Aboriginal bivouac of the cine “The Blind Side” from beneath which will be in the theatres on 20th of November, 2009. It’s absolutely seems to be a accurate and amazing story.The Blind Side

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After swinging for the fences and scoring a sleeper success with “The Rookie” (2002), writer-director John Lee Hancock takes the field with “The Blind Side,” another uplifting and entertaining feel-good, fact-based sports drama. The combo of top-billed Sandra Bullock’s marquee allure and a true-life story with well-nigh irresistible emotional appeal probably would be enough to fill megaplex stadiums at any time of the year. But this Nov. 20 Warners release is particularly well positioned to be a four-quadrant hit as the consensus choice of family auds during the upcoming Thanksgiving and Christmas holidays.

Based on material in “Moneyball” author Michael Lewis’ “The Blind Side: Evolution of a Game,” the attractively packaged pic occasionally runs the risk of straining credibility — or, worse, inviting skepticism — while dramatizing the particulars of what was, evidently, a best-case scenario for all parties involved. Indeed, there’s not even the threat of an insurmountable obstacle until the final half-hour.

But then again, it’s difficult to imagine anything that could long impede or contain the force of nature that is Leigh Anne Tuohy, the feisty Memphis belle played by Bullock with equal measures of acerbic sass, steel-willed brass and unabashed sentiment. Bullock is thoroughly convincing in the role — right down to her credible accent and the blonding of her normally brown tresses — and she’s not afraid to occasionally keep auds guessing as to whether Leigh Ann’s actions are driven by a heart of gold or a whim of iron.

Both motives appear to be at work when Leigh Ann impulsively invites into her family’s palatial home one of her daughter’s classmates: Michael Oher (Quinton Aaron), an immense African-American teenager from the poor side of town. Virtually homeless and barely educated after years of neglect, Michael can scarcely speak, much less read. But he shows promise as a football player, and that’s more than enough for a desperate coach (Ray McKinnon) to finagle a way for Michael attend his tony Memphis private school.

After that, it’s up to Leigh Ann and her family — lovingly tolerant husband Sean (Tim McGraw), lovely teen daughter Collins (Lily Collins) and wiseacre young son SJ (Jae Head) — to make sure Michael takes advantage of his good fortune and actually learns a few things from his teachers.

If “The Blind Side” weren’t based on a true story — the real Oher ultimately was adopted by the Tuohys, thrived in his new environment and currently plays for the Baltimore Ravens — it likely would be dissed by dismissive critics as a simplistic white-liberal fantasy. (It’ll be interesting to see how many reviewers won’t be able to resist comparing the film with a certain other recent drama about an overweight, illiterate African-American teen who transcends humble origins.)

In fact, the veracity of the storyline won’t be enough to prevent some of the professionally outraged from accusing “Blind Side” of implying that underprivileged black folks must rely on rich, well-intentioned white folks — Leigh Ann is a successful interior decorator, and her husband owns a gazillion fast-food restaurants — to escape the slums and be all they can be.

But what happened, happened. And even though Hancock applies more than a smidge of sugar-coating to his dramatization, “The Blind Side” remains involving, affecting and, for the most part, emotionally honest. Better still, the pic has an insightful and evenhanded view of racial and political realities in the contemporary South.

Leigh Anne is disappointed but not entirely surprised by the not-so-veiled racism of her well-to-do-friends, which the pic dutifully acknowledges. On the other hand, Leigh Anne and Sean fleetingly own up to prejudices of their own after hiring a left-leaning tutor (zestfully played by Kathy Bates) for Michael. “Who ever thought,” Sean remarks, “we would have a black son before we knew a Democrat?”

Newcomer Aaron gracefully treads a fine line, playing Michael as neither dullard nor idiot savant, but making him emotionally vulnerable, painfully self-aware and surprisingly resilient. Better still, Aaron more than holds his own opposite Bullock, enabling the pic to come off as something far more rewarding and complex than a mere star vehicle.

Country music superstar McGraw again evidences quietly impressive thesping ability, while Collins and Head ably complete the family unit. Adriane Lenox makes every moment count in her brief but layered cameo as Michael’s crack-addicted mom, and actor-filmmaker Ray McKinnon demonstrates fine comic chops as a character who couldn’t be more unlike the white-trash interloper he so memorably essays in “That Evening Sun.”

Tech values are first-rate, with Atlanta locations adequately subbing for Memphis locales.

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One thing you hear a lot about the great HBO series The Wire is some variation on “it ruined all other cop shows for me.” And it’s true. The Wire was so smart about policework, so painfully realistic without sacrificing drama, that it made damn near everything else, with the obligatory gun-and-badge-scene clichés and pat little whodunnits, seem downright silly; ridiculous. Creators and writers David Simon and Ed Burns called the bluff of an entire genre. They stripped away the Hollywood varnish and made their peers look goofy, clueless, like so many deer staring at headlights.

Michael Lewis’s The Blind Side isn’t quite like that, but it’s close. Certainly I will henceforth have trouble restraining gales of laughter at the naiveté of football movies about scrappy underdog quarterbacks who overcome the odds and lead their teams to victory. Or about the glory of college football. Or about players who make it to the NFL through sheer pluck and determination.

Even more so than The Wire to lame cop dramas, The Blind Side is an explicit rebuke to such stories. Straight up, Lewis (who also wrote Moneyball) says: it doesn’t work that way. First of all, the quarterback isn’t even that important. A coach with a handle on strategy and talent elsewhere on the roster, can, within reason, make damn near anyone look good throwing the ball. Second: who makes it to the NFL is determined, 99% of the time, not by persistence and heart, but by genetics. Size. Much more than you might think, shape. Innate athleticism that cannot be taught or learned. Depressingly, the selection process for great football prospects often resembles a state fair where people admire the girth and gait of cattle and “hmm” and point thoughtfully.

Third: the road from high school ball to college ball to “the league” is a combination of farce, madness and travesty. Word about great high school prospects – kids deemed to be big enough, wide enough, fast enough – spreads like wildfire. Coaches flock to the high schools these players call home, but NCAA rules prohibit them from actually speaking to the players until a certain point in their senior year, so they just stand there and watch and drop hints. Then the coaches pull out all the stops to convince the players to sign with their respective schools – schools that, by the way, wouldn’t even consider these poor, academically inept, occasionally illiterate kids if they did not carry with them the promise of lucrative football championships.

And it’s not like this process regularly leads to poor inner-city kids getting opportunities they otherwise would not have had. Sure, sometimes it works out that way. But since only a small minority of college football players is likely to hit the big time, the system usually chews up and spits out the rest. These are “students” in name only, existing in a sort of academic ghetto. The school cares not about their success but their NCAA eligibility. Graduation rates mostly hover between 50 and 60%. When it becomes clear that the NFL is not in the cards, many players just quit and go back from whence they came.

If this seems like heady material for a Sandra Bullock movie, rest assured that The Blind Side does have a good old-fashioned underdog story – of a sort – at its center. It’s the story of Michael Oher, who was drafted by the Baltimore Ravens this year from the University of Mississippi (Ole Miss). Oher was a destitute, essentially illiterate – but enormous – kid from inner-city Memphis who set off one of the biggest recruiting frenzies in football history without really even setting foot on a football field. Good-hearted and fiercely protective of people who show him kindness, Oher wound up at an upscale Christian school and was adopted by a wealthy white family with Ole Miss connections (this is where Bullock comes in). Thanks to his extraordinary physical gifts, he went from having literally nothing and no one to having a genuinely loving family and the prospect of an epic NFL career at left tackle – one of the most prized and well-compensated positions in modern football, charged with protecting the right-handed quarterback’s blind side.

This is stirring stuff, but Lewis filters it through the whip-smart, somewhat jaundiced perspective I describe above. My worry, of course, is that the movie – directed by John Lee Hancock (The Rookie) – will make this into a generic story of overcoming the odds. (This is not promising.) Don’t be fooled. The message of The Blind Side isn’t that even a poor black kid from Memphis can achieve his dreams with persistence and determination. Rather, it’s that at the critical time, the market greatly valued what Michael Oher could provide. And what the market wants, the market gets.

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Release Date: November 20, 2009
Studio: Warner Bros. Pictures
Director: John Lee Hancock
Screenwriter: John Lee Hancock
Starring: Sandra Bullock, Tim McGraw, Kathy Bates, Quinton Aaron, Lily Collins, Jae Head
Genre: Drama, Sportsblind

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