20 WEEKS

20 WEEKS 

Film Review by FIORE

When women complain about the disrespect they experience in Hollywood for their contributions to filmmaking, they can use 20 WEEKS  as an example for this impertinence.  It’ not that the film is bad, it’s just not entertaining, as it is mired in a feminist philosophy which belittle the family unit and disregards men in society.   Helmed primarily by women, it postulates an ideology of gender superiority, male superficiality and the sanctimonious virtues of single parenthood, all in a pop culture envelope. 

Anna Margaret Hollyman (one of the dreaded three name people) plays Maya.  Maya is a woman who is caviler about children and family.  She falls in love with Ronan, played by Amir Arison.  Ronan is Maya’s antithesis as he loves children and the concept of family.  Arison is best known for his role of Aram, on TV’s THE BLACKLIST.

The couple’s mad love affair encounters a hurdle with an unwanted pregnancy.  They have what passes for a meaningful discussion whether to have the child, based on each character’s ideologies.  The script here is filled with platitudes and not thought-provoking rhetoric.  Those ideologies shift dramatically when a sonogram reveals a possible genetic problem with the baby.

Leena Pendharker directs and scripts 20 WEEKS.  It’s apparent she is too anxious to wave the Helen Reddy banner to rally her sisters globally.  While Maya is a strong and intelligent character, Ronan is a stereotype of the 90’s girlie man.  He is constantly apologizing for everything and kowtowing to the superior woman.  I like Arison as an actor, so I continued to watch 20 WEEKS   through all the feminist propaganda hoping his Ronan would eventually grow a pair.  He never did.   

This film was an affront on many levels.  The couple is comfortable with marrying after the pregnancy.  See, this isn’t how society effectively works.  Marriage comes first, then the family.  This concept is ignored by Pendharker’s feminist bent.  She makes the proposal of marriage similar to a leveraged buyout for the child.

The argument whether to abort the child is laden with feminist mantras.  For those with a strong religious foundation, or even a sense of a stable society, this dilemma is moot.  The film could only occur in California, where abortion is permitted up to the final week of gestation.  Maya dominates the arguments and is bullish on getting her way.  Ronan is too busy acquiescing to give any credence to his viewpoints. 

The film’s conclusion is ludicrous.  Faced with a reconciliation, Maya raises the flag of women superiority, supported by her friends, that raising a child is much better if done by a single mother rather than a cohesive family unit. This is socialist garbage at its zenith.  The first concept to destroy a civilization is to demean the family unit.  20 WEEKS   does it with aplomb.

This film is strictly for the women who are men-haters and spend most of their time confused over why Hillary isn’t president.  20 WEEKS is not thought-provoking, nor controversial.  It is the feminist religion on full display, promoting a female dominated society where men are utilized solely for recreative purposes only.  Skip this one, unless you have already taken the Kool-Aid.