We all know about Juno, Knocked Up, Bella, Waitress, and the original version of Alfie.

But how about checking out one of these lesser-known movies this weekend with a pro-life theme or subplot:

August Rush:

AUGUST RUSH is an inspiring movie about a gifted boy who believes he can find his parents through music. It opens with a young beautiful concert cellist (Keri Russell) having a one-night fling with a guitar playing lead singer in an Irish band. The cellist gets pregnant but when the baby is born early due to a car accident, her domineering father forges adoption papers and tells his daughter the child died.

The young boy is raised in an orphanage where he is considered a nut because he hears sounds as music and believes this gift will help him find his parents. The boy winds up in New York City where his amazing musical gift results in his being “adopted” and renamed August Rush by a musical talent pimp known as the Wizard, a character straight out of Charles Dickens’ OLIVER TWIST. The Wizard, played by Robin Williams, posts talented children around town playing instruments for donations which must be brought back to “the family.” Williams’ role is both sympathetic and sinister. He does “rescue” and feed children, but he treats them like property.

The film, as noted, also shows a powerful belief in the family, and perhaps unintentionally, the nuclear family (dad, mom, child). This is a great insight as well. Though the family is also not ultimately transcendent, as August Rush might lead us to think, we may say that the family is perhaps God’s greatest earthly gift to us. It is simply impossible to enumerate the ways in which we are blessed on a daily, even hourly, basis by our families, even if they are not families of considerable health. Just having a family is immensely meaningful. The support that one has in being part of a family is not often consciously thought of but is precious beyond quantification. The film knows this, and shows us what it means for people to live without the structures of family–and most clearly to live without parents as an abandoned boy. One can have talent, and beauty, and joy, but without a family, one is ultimately unhappy. We Christians would of course go beyond this to say that God alone is our greatest need, that it is our most urgent necessity to enter into not an earthly family but a spiritual family that transcends this earth. On an earthly level, though, it is clear that God has structured the family to be the central part of our earthly existence. He has done so, I would argue, to show us something of the taste of familial perfection as expressed in the Trinity, the union of Father, Son, and Spirit, of which our families are but a type and shadow.

August Rush seeks true transcendence and fails to find it. But we may commend it for its pursuit and enjoy for its depiction of two of the choicest gifts God has given humanity: music and family. This movie shows us for the hundredth time that the people around us are not living atomistic lives, at least not all of the time. No, they are looking for something; something greater, something higher, something unified, something beautiful. Though they may discover numerous gifts of common grace in their search, we know that until they find the Christ, the salvation-giver, this search will prove fruitless in the end. We must be around them, then, to tell them where transcendence, and joy, and true hope may be found. It is not in music, but the One who created music; not in the family, but in the One who created the family; it is not found in the gift, but only in the Giver.

Black Snake Moan:

Jackson sets about saving himself and exorcising his own formidable demons by rescuing Ricci from a life of sin and degradation. Their gradually improving relationship is contrasted with Jackson’s sweet, stumbling courtship of kindly pharmacist S. Epatha Merkerson, in a subplot that epitomizes the film’s surprising social conservatism. In Moan, promiscuity and abortion are the problems—Jackson is mourning the termination of his unborn child as much as the death of his marriage—and fidelity and marriage are the solution…

Expelled: No Intelligence Allowed:

A surprising character makes a cameo appearance in Ben Stein’s new movie, “Expelled: No Intelligence Allowed.”

It’s Margaret Sanger, the matriarch of Planned Parenthood, the nation’s largest abortion operation. Stein notes that Sanger was a proponent of eugenics, the pseudo-science which involves trying to create a master race of human beings through breeding.

The implication in the film is that Darwinism leads to eugenics which leads to abortion and euthanasia.

The public relations machine at Planned Parenthood must not be happy about what’s happening at the local Cineplex.

In essence, “Expelled” blows Sanger’s cover as a benevolent birth control promoter. Instead, she is portrayed as one of the founding mothers of an ideology that treats human beings as animals and readily dismisses the sanctity of human life.

The Life Before Her Eyes:

There is also an abortion in the film. An ugly, messy abortion that only complicates everything. The abortion is presented so matter-of-factly as the taking of a life that movie reviewers in Toronto wrote this film off as an “anti-abortion screed”! “The Life Before Her Eyes” joins a new tradition of “abortion is not the answer” films: “Knocked Up,” “Bella,” “The Waitress,” “Juno,” etc., but is not really about abortion any more than it’s about a school shooting. In less capable hands, this would have been an issue-crammed, multi-themed movie that bit off more than it could chew, but that’s just not the case. It takes some reflection to find the heart of the film (and it may be different for each viewer), but it certainly isn’t any of the “issues”–it’s bigger than all the issues put together, a kind of poking at the mysterious connected root of them all–and smaller than all the issues: you just have to take this film personally.

A Walk in the Clouds:

A WALK IN THE CLOUDS is a romantic tale of a young GI, Paul Sutton, who returns home to his bride of four years to discover they do not share the same dreams. He leaves his wife to find his dream but instead encounters Victoria, a vineyard owner’s daughter who is returning home to tell her domineering father, Alberto, she is pregnant and unwed. Paul agrees to pose as Victoria’s husband. During the harvest, Paul and Victoria’s passion ignite, yet Paul refuses to let the relationship go any further because he is still married. Alberto becomes increasingly suspicious of the two, questioning whether they are really married. At the harvest celebration, Alberto lays his doubts aside and demands a proper church wedding that evening. In disgrace, Victoria is forced to reveal the truth to her bewildered family. Paul returns to his wife, and discovers she has attained an annulment. He rushes to Victoria’s father for her hand in marriage.

In this film, adultery is not an option, but honor, respect and God’s blessing of a marriage are a necessity. This is refreshing because Hollywood usually shows free sex and broken vows. A WALK IN THE CLOUDS, offers a look at a strong moral Christian family where God and family are of utmost significance.


But then, suddenly the film switches gears. It was weird that the tone switched so quickly, because I was expecting a horror film all the way through, but for the most part, “Re-Cycle” is a fantasy, almost a fairy tale for adults, like “Pan’s Labyrinth”. The author is transported to some other world, which is soon revealed to be the place that everything that has been abandoned goes. Interesting premise, and it’s pretty well executed, because of its great and memorable visuals. Among them is a cave of aborted babies, which is pretty creepy.

Speaking of caves of aborted babies, the film has a very prominent anti-abortion message.
The main character has a little girl helping her through the entire movie, and at the end, it’s revealed that the little girl is actually her baby she aborted eight years ago. The protagonist begs and begs for the little girl to come with her back to Earth, to which the girl responds “you had your chance to live with me.” Boom. Schooled.

Rob Roy:

One of the finest moments in the movie Rob Roy, is the scene where it is revealed to Rob Roy MacGregor that the infant his wife is carrying may indeed be the child of a hated enemy and his wife’s pregnancy the result of a vicious rape. Tearfully, she admits that her inability to abort the infant is only because there is no way to be certain which of the two men is the father. In response, MacGregor replies that it is not the fault of the child, and assures her that it makes no difference, it will be loved.

North Country:

Ironically, however, the movie also contains a scene that delivers a subtle, but powerful, message against abortion. In the scene, Theron’s character Josey tells her son Sammy that, although he was the product of a vicious rape, she decided to keep him and love him because the baby in her womb was not responsible for the rape.

This pro-life message is slightly muted by an indication that the issue of keeping the baby or not was a choice that Theron’s character made for herself, but the message should encourage women who see it not to abort their babies, even if they have been raped.


Dominant liberal humanist worldview with strong politically correct, left-leaning, feminist content making wild comparisons between the really bad things happening to the women in the movie and the mild (relatively speaking) allegations of Anita Hill against conservative Supreme Court Justice Clarence Thomas (but no references to similar, and even worse, accusations against liberal President Bill Clinton),

Last Chance Harvey:

Wonder of wonders, a current hit movie makes a subtle anti-abortion statement.

How did this slip by the liberal Hollywood thought controllers?

The film is “Last Chance Harvey,” a thoroughly delightful and uplifting story of an August-December romance between Dustin Hoffman and Emma Thompson.

The anti-abortion sentiment is expressed quite briefly, and don’t expect Roger Ebert or Richard Roeper to even make note of it, but it is in there, plain as day.

In a scene where the protagonists are talking, heart to heart, getting to know each other better, Emma Thompson’s mood changes abruptly.

“You just became sad,” Hoffman says. “Why?”

“I was thinking about my days as a college student. I became pregnant. I did away with it. But sometimes I find myself wondering if he or she would have have been funny — or clever — or neurotic.

“Stupid of me to get this way, really.”

Abortion remorse in a major Hollywood movie — interesting.

Some speculate that the shift in public opinion polls showing a majority of Americans now opposed to our liberal abortion laws, may be significantly due to the remorse felt by many baby boomer women over abortions that they had during an earlier, less thoughtful, time in their lives.

I doubt the Hollywood moguls would have kept this off the cutting room floor unless they perceived that a profound sentiment, like abortion remorse, was, indeed, in the air.


many more abortion-related or life-themed movies here.

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