It is tough to deride a film like Sleepwalking, a well-intentioned, heavy handed message movie about ending a family's cycle of violence that will open in theatres today. This is especially so when the film is the child of proud momma executive producer Charlize Theron. When I met with/basked in the glow of Ms. Theron this past Wednesday, she spoke about the joys and satisfaction of stepping into the role of film producer. She spoke enthusiastically of the “overall sensation and energy” she receives when reading and developing a new project. Theron readily conceded that she has not yet been jaded by the system, and that her foray into film production has been overwhelmingly rewarding. For her sake, I hope the good times last. I suspect that with her radiant smile, towering height, and steadfast ideals, she is a difficult woman to face in the boardroom.

Her upstart Denver and Delilah Films (run by Theron and two other women) is focused on telling stories of complicated, real women. The company produced Monster, for which Theron won a Best Actress Academy Award a few years back.

As I have found  in speaking with many young, talented actresses, there is a deep fear and concern that Hollywood affords male actors long and diverse careers, while the women (with very few exceptions) are required to sparkle-burst onto the scene in their twenties, and graciously fade and disappear before their fortieth birthday.

Instead of wallowing in that harrowing reality, Theron, hearty South African woman that she is, has taken matters into her own hands and avowed to make a difference. Again, this makes it difficult to degrade her handiwork. Because while ninety percent of actors claim to seek out meaningful roles, Theron, a former model, has proven and taken steps to support her claim.

I think Sleepwalking's quality issue emanates purely from Zac Stanford's amateurish, melodramatic, clich