Review: This unceasingly manipulative entertainment, in which Haley Joel Osment plays a bird-boned secular saint, may honestly be intended as a spiritual experience for people who are bored by the same-old, same-old religious and ethical concepts of decency, generosity, and good deeds. What it is, though, is reprehensible — not only for trotting out the most shameless cliches of emotional and physical damage since the old daytime-TV misery contest Queen for a Day, but for then blackmailing audiences into joining the let’s-be-nice ”movement,” as if in penance for the sin of critics’ heartless skepticism.
(I’ll calm down now, but not before I say this: Pay It Forward gladhands so brazenly — for awards, for publicity, for love — that although the press materials request critical collusion in not revealing the ending, I am going to reveal the ending. Later. In my own contribution toward paying it forward, however, I’ll give fair warning before the spoiler.)
So. For those who think ”a thousand points of light” is so one George Bush generation ago, or who don’t know from mitzvahs and Maimonides’ Eight Degrees of Charity, Trevor McKinney (Osment) has a cool new plan: Do something for somebody who needs something but can’t do it himself. Then help two others. Then each of those three should help three more. And so on. And so on. Pretty soon everyone will be swaying to ”We Are the World.”
This is a breakthrough idea only if the do-gooder is 11 years old, with an absent, alcoholic, abusive father (Jon Bon Jovi) and a mom, Arlene (Helen Hunt), who works as a dolled-up waitress at a Las Vegas topless joint, then hits the bottle, dingy drunk, during off-hours. Young Trevor, with Osment’s vulnerable shoulder blades and squooshable face of sad patience, could use a moral road map to rescue him from feelings of powerlessness, and when his new seventh-grade social studies teacher, Eugene Simonet (Kevin Spacey), exhorts the class to think of an idea to change the world, then put it into effect, Trevor is enflamed by the possibilities. (Flames, sorry, bad word: Eugene bears the angry, over-smooth scars of fire damage — the cause, you can be sure, is deeply tragic. And with his face streaked and plasticized so that it looks spin-dried, Spacey putties over most of his own more interesting, actorly sharp edges.) ...