The Last Sin Eater

I had no idea what this movie was about however I did have some preconceived ideas about "sin eaters" coming from a Celtic background. Having said this....I very much enjoyed this movie, bad accents aside and little inaccuracies here and there, I would definitely recommend. A movie that can make me sad, happy, tearful and ultimately hopeful, is all right in my book!

This movie showed how fear can rule no matter what time or place, how old traditions and beliefs are not always the way to go, especially coming from the old world to the new. Man kinds inability at times to adapt to his surroundings is not only sad but can be brutal and horrific in the process. There is a moral in this story for all.

Happy viewing.

First off the budget is small so be kind. Its a pretty solid story although it probably could have been fleshed out and feels a little disjointed in places. It is still a solid film and an excellent addition for fans of Christian films, unlike many Christian films it does not whitewash its message.

The best part of the film is the performance of Peter Wingfield as the Sin Eater. While he is almost a minor character as far as screen time his performance makes the film. His voice is so sorrowful in his scenes (he is hidden for the majority of the movie) that you could just sob for him. His pathos is spot on. He is not overly dramatic but succeeds in selling the believability of the film.

I saw a pre-screening for "The Last Sin Easter" land it is a wonderful movie. The location was beautiful and the acting was outstanding – especially by Liana Liberato as well as Soren Fulton. Liana was amazing as Cadi Forbes. Other standouts: Stewart Finlay-McLennan was excellent and brought a lot of energy and ferocity to his role as the tyrant of the cove, Brogan Kai, and Henry Thomas was very good as the kind, sympathetic Man of God. Actually, all the actors did a very nice job. Plus, Brian Bird did a phenomenal job of orchestrating the essential, intricate plot and back-stories of the book into a movie script. The directing was good as well.

A book character, Cadi's brother, was left out completely and the emphasis on the other "bad" Kai boys was also left out too but it is understandable that it was necessary in order to give more time to the main characters and their actions. The identity of Miz Elda (Louise Fletcher) and her relationship to Iona Kai and her friendship with Granny Forbes was not brought to light either but it wasn't necessary to understand that each child, Cadi and Fagan, had a trusting friendship with this woman. Gervase O'Dara's character was not as prominent as in the book, but, again a necessary omission for the time constraints of a movie. Therefore, I feel those out there who, like me, read and enjoyed the book, will not be disappointed at all (as sometimes happens with books being made into movies) because, as stated before, Brian Bird did an outstanding job of conveying the most important aspects and scenes of the book into the movie script. I highly recommend this movie, as it is certainly complementary of the book.

Not to give away the ending but things were only very slightly changed from what I recall of the book and not quite as harsh. I liked the ending a lot but would have enjoyed a little longer monologue from Cadi telling us more of what happened to the cove and some of the people, but it still tied things together very nicely and was beautifully done.

Although the movie does not leave you cheering, laughing or weeping it does have you leaving the theater very hopeful and satisfied as well as a bit contemplative. Jesus is given credit for being the true, original sin eater yet, for non-Christians, the movie is not preachy. It is a lovely movie and would be a good addition, when it comes out on DVD, to anyone's home library. Congratulations to all those who were involved from the grippers, make-up artists, drivers, and the other crewmembers to the cast, writers, producers and director.

This is a film that requires some willing suspension of disbelief, since its makers seem possibly to be prey to the fallacy that it enough that Christian art be Christian. Which is not to say that they didn't get most of it right, just that their missteps are so avoidable. Fortunately, most (like the young star's unbelievably sumptuous wardrobe) weren't major distractions for me. But the crudeness of the special effects scenes (which, thankfully, are brief) did disrupt my experience, as I wondered, "What were they thinking that this looked right to them?"

Most of the cast does a truly fine job, with all the central characters (the Forbes family and Fagan Kai) getting moving, heartfelt and convincing performances from their players. There's a relationship here between quantity of screen time and quality, so the minor characters remain pretty two-dimensional, though not distractingly so.

The cinematography (except for special effects, as noted) is beautiful and effective, and successfully evokes the feeling of confining, dense Appalachian woods and isolation.

Bottom line: despite its minor shortcomings, this is an effective, affecting, non-preachy and original retelling of one of the central concepts of Christianity.

This is a work of art with universal appeal. The fact that the "Christian right" is claiming it as their own, should not turn off everyone else. Whether your world view is shaped by Jungian archetypes, Western philosophy, Eastern karma, or the books of Judaism, you will find deep meaning in this tiny-budget film.

The landscape is overwhelming, the characters captivating and the last few minutes of the film will require at least two hankies. Liana Liberato turns in a stunning performance as Cadi, the guilt burdened child around whom the story revolves; and Peter Wingfield brings incredible warmth and passion to a character whose face is obscured for most of the film. This work will endure as an art classic.