In fact, the outsized, introverted teen never has even played the game before when crosses paths with Bullock's Tuohy one wet winter night as she and her family pass her son's schoolmate on the street, braving the elements in just a T-shirt and shorts.
We know nothing about how her character has dealt with her own internalized racism – or, even if she has – to get to the point of confronting her lunch-friends. Has she always wanted to confront them about their racism?
Or, does she secretly agree with them, but just prefer them to engage in the “polite silence” around matters of race that has come to prevail in many social settings? Does she lose their friendship because of this confrontation? And how does that pain factor into her feelings about her son? This is not a film with much nuance (the predominant metaphor is about football).
Missed opportunities and surface gestures aside, Hancock draws affable, energetic performances from all concerned, including Tim Mc Graw as Bullock's successful fast-food entrepreneur husband, Sean and Kathy Bates as Big Mike's tutor, Miss Sue.
But it's immediately clear who wears the designer jeans in the Tuohy household, and Bullock, who looks more than a smidgen like Kathie Lee Gifford here, goes the distance as an unstoppable, well-coiffed, force of determination.
His mother, a drug addict, drifts between Nashville streets and ramshackle low income housing projects.
"Last I checked," he argues, "our sign had the word 'Christian' on it.The most important interpersonal communication principles exemplified in this movie are: Finally the movie carries several genres: drama, comedy, sports, biopic as well as adaptation.Therefore more interpersonal communication principles can be picked by students and movie reviewers because the movie involves characters who have differences in age, race, education and economic backgrounds.Bullock's feisty performance should ensure solid midrange numbers, driven by a decidedly larger female demographic than what is usually drawn to gridiron fare.Hancock, who added a thoughtful page to the sports-movie playbook with 2002's "The Rookie," goes for a decidedly broader attack here in his depiction of Tennessee's Tuohy family and their head-turning houseguest.Along the way, it would have been nice if Oher had been presented as something other than essentially a large prop.Not until the end of the film do we ever get a chance to really see what's going on in Oher's head -- how he feels about being the chosen one plucked from the poverty-stricken projects of Memphis and thrown into this protected, nonliberal-leaning environment of privilege.She stops them cold and says to them, “Shame on you.” It’s a remarkable filmic moment in many ways.First, it clearly depicts whites – in this case, white women – engaging in the kind of back stage behavior we’ve talked about so often here on the blog.is not the film you might expect judging solely from the previews and marketing.Bearing the burden of being potentially schmaltzy, the film instead threads an almost impossible needle, pulling off a surprisingly moving and inspirational story of compassion, self-discovery and hope.