SYDNEY WHITE Add To My Top 10
Politically Correct Ending
Release Date: September 21, 2007
Audience: Teenagers and adults
Runtime: 102 minutes
Distributor: Universal Pictures/General Electric
Director: Joe Nussbaum
Executive Producer: Guy McElwaine and Wayne Morris
Writer: Chad Gomez Creasey
Address Comments To:Jeff Zucker, President/CEO, NBC Universal Entertainment (A division of General Electric)
Ron Meyer, President/COO, Universal Studios
Marc Shmuger, Chairman
David Linde, Co-Chairman
100 Universal City Plaza
Universal City, CA 91608-1085
Phone: (818) 777-1000
Web Page: www.universalstudios.com
Amanda Bynes plays the title role, Sydney White, a petite tomboy who wants to follow in the footsteps of her late mother. That means joining her mother’s sorority at Southern Atlantic University, Kappa Phi Nu. Rachel Witchburn, the Kappa president and student council president, hates Sydney, however, because Sydney attracts the attentions of Rachel’s ex-boyfriend, Tyler Prince.
Rachel eventually gets Sydney kicked out of the sorority. There’s only one place for Sydney to go: the dilapidated college house where seven dorky male students live. Sydney urges the boys to end Rachel’s reign on campus by running for student council. Rachel fights back, however, which leads to the movie’s climactic election battle.
SYDNEY WHITE starts off as a halfway decent, relatively clean movie for teenagers. It even has a nice scene set in a kitchen for the homeless located in a Christian church. Then, however, the movie overstays its welcome by preaching a weird kind of politically correct multiculturalism where student politicians, the nation’s future leaders, reach out not only to Orthodox Jews but also to homosexuals, people who get sex change operations, people who have adopted the depressing Goth lifestyle, and dorks with raging hormones itching to lose their virginity. Everyone feels like outsiders at some point, the movie argues, implying that people who lust after sex or engage in perverted homosexual acts are just misunderstood creatures who need love and acceptance.
Of course, this is the Romantic philosophy of Jean-Jacques Rousseau, Lord Byron and others, which teaches that people are inherently good and noble rather than sinful as the Bible clearly teaches, that people are corrupted by civilization, that feelings are more important than logic and reason, that imagination should not be restrained by rules and regulations, and that individual human rights are more important than moral duty. Socially, politically and theologically, Romanticism has been disastrous. For instance, it has led to unrestrained nationalism like that of Adolf Hitler, radical socialism like that of Joseph Stalin and Mao, mystical notions of the brotherhood of humanity, and a preference for emotional and mystical experiences in religion at the expense of systematic theology rooted in a logical, comprehensive interpretation of the biblical texts that define Christianity.
In reflecting Romantic philosophy, SYDNEY WHITE teaches that individual human rights are more important than moral rules and regulations. It also argues overtly for the “inclusive” politics of the religious left. As the heroine’s political science teacher says in the movie, politicians should not just reach out to their base, but also to all kinds of minority groups. As usual, Evangelical Christians and conservatives are not included in this mixed-up, mind-numbing notion of “diversity.”
SYDNEY WHITE also contains some foul language and a few off-color jokes.
SYDNEY WHITE starts off as a halfway decent, relatively clean movie for teenagers. It even has a nice scene set in a kitchen for the homeless in a Christian church. Then, the movie overstays its welcome by preaching a weird kind of politically correct multiculturalism where student politicians, the nation’s future leaders, reach out not only to Orthodox Jews but also to homosexuals, people who get sex change operations, people who have adopted the depressing Goth lifestyle, and dorks with raging hormones itching to lose their virginity. SYDNEY WHITE also contains some foul language and some off-color jokes.