What a vile, disgusting piece of propaganda. No, not Christian propaganda. I have seen the comments from many folks here saying they were surprised the film did not end up preachy because it was a "Christian" film. I saw nothing of Christian indoctrination in it, or even Christianity at all. The role that religion does play in this film is almost in passing.What we have on first glance is a little girl's burden over a horrible accident involving her and her sister when they were younger. In a time before grief counselors and the "five stages of grief," people have their own ways of rationalizing and dealing with sorrow, some not all too healthy for those still left living.The film really promises to be beautiful. A really beautiful offering. And yet... we stick for this entire film for ONE HOUR and THIRTY-SIX MINUTES so that we can arrive to the "surprise" ending. The "shocking" revelation. The "appaling" truth. And what might that be? ***SPOILERS AHEAD*** ***SPOILERS AHEAD*** ***SPOILERS AHEAD*** What the entire film comes down to is a "dark secret" the community of Welsh immigrants hides. What, you ask?? Is it something relevant? NO. It all comes down to some idiotic, contrived, imbecilic hidden "past" which shows the newly arriving Welsh immigrants double-crossing those poor, accepting Indians and slaughtering them.Red alert! Evil white men on the prowl! I am so sick and tired of these pathetic one-sided anti-white portrayals of history. I cannot imagine any other country other than a Western one where films are made on a routine basis to disparage the very people at whom they are directed. (Then those same people, replete with unfounded "guilt," come here and vote down reviews like mine. Morons.)Throughout history people have committed atrocities on both sides on every continent. And yet, the writers of this film operate under the stupid assumption that we "white men" (as was so obviously pointed out in the film) are by now so fully conditioned to hating ourselves that even the most contrived portrayal of "white injustice" is enough to win us over and make us justify a now utterly destroyed film? What hogwash.This could've been a wonderful film. Instead it completely leads you on, making you think something deep and moving will happen, and instead you get liberal American history manure.Someone said they cried for this film's entire half hour? Huh? Stay away from this thing unless you are an easily led automaton.

According to ancient Celtic tradition, a "sin eater" is a person chosen by lottery to take the transgressions of others onto his soul so that the newly deceased can pass over to the great-beyond free of the stain of iniquity."The Last Sin Eater," the latest offering from FoxFaith Films (the branch of Twentieth Century Fox Studios that specializes in Christian-friendly movie-making) is a well-meaning but leaden and strangely eclectic work, sort of "The Village" meets "The Old Time Gospel Hour" meets "Little House on the Prairie" (no surprise in this last one, since the movie was directed and co-written by Michael Landon Jr.). Cali Forbes is a sweet-natured young girl, growing up in early 19th Century Appalachia, who believes that a mysterious hooded hermit - the local "sin-eater" - will be able to take away the guilt she feels over "causing" the death of her little sister in a river accident. She spends most of the movie seeking him out, much to the consternation of her parents and the myriad "colorful" folk who inhabit their little cove. However, it isn't until Cali encounters a wandering preacher (played by E.T.'s now-grownup buddy, Henry Thomas) that she learns who the "true" sin-eater really is (though one wonders how anyone in this particular time and place can be as woefully ignorant about the gospel as the people here seem to be).Although the first half of the movie achieves a certain portentous creepiness in its tone and atmosphere, once the evangelist shows up, the movie devolves into an overwrought melodrama, marked by stilted dialogue, holier-than-thou speechifying and heavy-handed sentimentality. The acting, even on the part of Thomas and Louise Fletcher, is generally amateurish and wooden, although young Liana Liberato as Cali has a natural dignity and poise that work well on screen. And, oh yes, the scenery is eye-popping and gorgeous.Based on the novel by Francine Rivers, "The Last Sin Eater" clearly has its heart in the right place, but good intentions alone can't make it a satisfying movie.

First let me address the Criticism. Editing- the editing is NOT bad but rather we've all become used to the Hollywood standard of pace and rhythm that leaves scenes shortchanged and without finishing a line of thought. The scenes here are thankfully played through to allow a more realistic flow for the actors.Accents- Unless there are thousands of Gaelic language professors out there, the rest of us can suspend belief and listen to the "Welsh" accented English just fine. Christian theme- Would it really kill any of you to actually enjoy a movie with a message that is Christian, or do you need an F bomb every 30 seconds? Special Effects- OK, so Idustrial Light and Magic wasn't utilized in the filming, but then, Cadi Forbes wasn't twirling a light saber either.Thank you Michael Landon Jr. for a wonderful film and a welcome refreshing movie. Just when I thought all was lost, you created a ray of hope. Everyone, please see this movie and quit whining.

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.