One of his first works was ‘The hand that rocks the cradle’ (Curtis Hanson, 1992), which was followed by ‘The body of crime’ (Uli Edel, 1993) and other titles such as ‘The fugitive’ (Andrew Davis, 1993), ‘Nine months’ (Chris Columbus, 1995), ‘Assassins’ (Richard Donner, 1995) or ‘The lost world: Jurassic Park’ (Steven Spielberg, 1997).Īt 61, Julianne has a filmography of more than a hundred titles that demonstrate her versatility in all genres. With a Bachelor of Fine Arts, she began her acting studies in 1983, in New York, while working as a waitress. But for the most part the dialogue is convincing and the characterizations surprisingly complex, with Sam’s struggle to reconcile his Christian values with his anger over his partner’s racist attitudes being particularly moving.Īlthough it features a largely non-professional cast and crew - Joy Moore, who plays Mack’s wife, is an elementary school teacher here making an impressive acting debut - the film boasts excellent production values, especially DP John Paul Clark’s lensing of the suitably gritty Memphis locations.Fireproof actress, Julianne Moore It has shown that there is no role or film that can resist it.
Klausner ( Space Cowboys), the film has its heavy-handed moments, such as the frequent spiritual advice offered by Sam’s grandfather ( Louis Gossett Jr.). David Evans (moonlighting from his day job as an optometrist) and written by Hollywood veteran Howard A. It isn’t until a violent tragedy occurs involving Mack’s estranged teenage son ( Rob Erickson), who has turned to drugs and crime as a result of his father’s anger issues, that the two men form a bond that leads Mack to reappraise his values and learn to embrace the concept of forgiveness.ĭirected by first-time filmmaker Dr.
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Sam is also conflicted, unable to decide whether to pursue his career in law enforcement or devote himself full time to the pulpit. When the two become temporary partners, Mack’s prejudice inevitably rises to the surface. So he’s particularly incensed when he’s passed over for a long overdue promotion in favor of Sam ( Michael Higgenbottom), a black fellow officer who also happens to be a preacher. The young boy was run over by an African-American criminal fleeing the scene of a crime, resulting in his father becoming a bitter racist. This tale of a Memphis cop finding spiritual redemption in the face of a family crisis suffers from a late act lapse into melodrama, but it offers some potent dramatic moments along the way.Īctor-comedian Michael Joiner delivers a powerfully intense performance as “Mack” MacDonald, still grieving over the loss of his young son many years earlier. Clearly inspired by the success of such independent films as Fireproof, The Grace Card is a surprisingly hard-edged, faith-based drama that should well satisfy its target audience, even if crossover prospects seem limited.
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