In this task, you are given a text of many news articles seperated by special token "|||||". Your task is to summarize them.

Sandra Bullock retrieves much of the career momentum that The Proposal gave her and that All About Steve threatened to kill with The Blind Side, a surprisingly smart and moving drama about a Memphis steel magnolia who doesn’t truly bloom until she takes in a homeless teen and gives him a life. 
  
 Bullock gives her best performance in years in service of a John Lee Hancock (The Rookie) film that’s about compassion, empathy, family and that old-time Southern religion — football. She stars as Leigh Anne Tuohy, an upper-middle class Memphis decorator, happily married to a successful Taco Bell franchisee (Tim McGraw), a glammed-up woman of a certain age who is used to getting her own way. 
  
 And when she sees the very large, plainly poor black teen (Quinton Aaron) who seems to have nowhere to go, walking aimlessly in the rain, her better angel runs smack dab into her blunt, bluff style. Does he have a home? 
  
 “Don’t you dare lie to me.” 
  
 As Michael Oher walks into the House Beautiful two-story that the Tuohys call home, an odyssey begins, a journey that the Tuohy family take with young Michael. He’s an enormous kid labeled as “slow” and dumb, but a “gentle giant,” and a guy of such size and athleticism that he’s a natural at a position that Leigh Anne, narrating from the Michael Lewis book this is based on, tells us is the “second most important position” in football – left offensive tackle. He’s the guy who protects the quarterback from his blind side, the sacks that can cripple a guy like Joe Theismann, as we see in the opening credits. As the story unfolds, we invest in Michael’s struggle and we watch the Tuohys invest as well. They have his back, and he’s their rock – protecting their blind side. 
  
 The movie’s a pretty conventional feel-good sports drama in many ways. But Bullock and Aaron give it heart that transcends the genre. Aaron, without much dialogue, gets across that this big, quiet, seemingly dumb guy has a soul and native intelligence, even as he struggles with the game, the academics and everything else at the private school he attends. 
  
 “I look and I see white everywhere,” he writes. “White walls…and white people.” 
  
 In The Blind Side Bullock shows us something she hasn’t trotted out as an actress – righteous fury. Leigh Anne is a tigress defending herself and her decision to take in this kid in racially polarized Memphis, and Bullock makes her sympathetic, a Christian conservative who bristles at the suggestion that she’s doing this out of “white guilt.” 
  
 McGraw gives sturdy support and has one great line, defending his broadening horizons. 
  
 “Whoever thought we’d have a black son before we knew a Democrat?” he says on meeting a tutor (Kathy Bates) hired to help the kid. 
  
 It meanders and stumbles more often than one would like. But Hancock manages to turn a movie that could have been about nothing more than “white guilt” into something that surprisingly defies expectations and can be downright inspiring. Talk about being hit on your blind side. ||||| Sandra Bullock is smart, sexy and talented. So what exactly happened the last 10 years? We have had to endure Bullock shortchanging herself in All About Steve, The Proposal, The Lake House, Two Weeks Notice and Divine Secrets of the Ya-Ya Sisterhood. 
  
 Movie Information The Blind Side Rating: Showtimes | Official site | Trailer Director: John Lee Hancock John Lee Hancock Actors: Sandra Bullock, Tim McGraw, Kathy Bates and Quinton Aaron Run time: 129 minutes 129 minutes MPAA rating: PG-13 (one scene involving brief violence, drug and sexual references) PG-13 (one scene involving brief violence, drug and sexual references) Synopsis: Sandra Bullock and Tim McGraw take in a homeless teen in this film based on a true story. More movies from GuideLive.com 
  
 And the question is: Why? 
  
 Her peculiar career choices make writer-director John Lee Hancock's fine and powerful new film, The Blind Side, even more welcome than it might be otherwise. For the overwhelming reaction upon seeing this Oscar-worthy performance is "finally!" followed quickly by, "Why the heck did it take so long?" 
  
 Bullock plays well-to-do Memphis housewife Leigh Anne Tuohy. Tuohy defies social convention, her well-manicured but not so well-meaning ladies' lunch group and numerous other obstacles by offering food and a place to sleep to a homeless, hulking, African-American kid with no education and a crack-addicted mom. 
  
 As Longview native Hancock says, this amazing true story is all about nature versus nurture, and because of Tuohy, nurture wins in a big way. Bullock brings the best of her abilities to a role that calls for the same physical humor she mastered so endearingly in the 1995 romantic comedy While You Were Sleeping. 
  
 But playing Leigh Anne Tuohy demands so much more from an actress, and Hancock, who played a huge role in casting The Blind Side, saw Bullock as perfect for the part. He says he based his decision on having seen her in Crash which, partly because of her, won Best Picture. 
  
 In its title, The Blind Side alludes to the unprotected area that allows a quarterback to be sacked when he least expects it, often with disastrous consequences. The film opens with actual footage of former Washington Redskins quarterback Joe Theismann suffering a career-ending injury when linebacker Lawrence Taylor floors him from the blind side with a crippling tackle. 
  
 Taylor's ferocious hit prompted the National Football League to put far more emphasis on the position of left offensive tackle, whose primary job is to protect a right-handed quarterback's blind side. It's no coincidence, of course, that the young man Leigh Anne Tuohy championed is now the Baltimore Ravens' superstar left tackle. 
  
 Michael Oher came from nowhere to be a highly coveted offensive lineman, and not just because his adoptive mom (far more than his coach) taught him the value of protecting those he loves. She protects his blind side and does so in a way that teaches us about caring and compassion and how as a society, with an ever-widening gulf of haves and have-nots, the haves have a dire responsibility to do so much more than they are. ||||| Despite the accuracy of much of the story, the film still suffers from a saccharine overdose and unnecessary touches meant to lend credibility. 
  
 'Blind Side' is moving, but self-satisfied 
  
 By Matthew Odam 
  
 Austin American-Statesman 
  
 As "The Blind Side" opens, video of one of the most gruesome hits in NFL history rolls. For anyone with a passing interest in football, the scene of the maniacal Lawrence Taylor snapping quarterback Joe Theismann's leg like a twig is hauntingly familiar. One that will make you cover your eyes in the theater. 
  
 But the most jarring thing about the opening of the movie is not the visuals, but the audio. Narrating the play-by-play and the backstory of the injury's impact on the way football would be played in the future is the syrupy Southern female voice of Sandra Bullock's Leigh Anne Tuohy. 
  
 Despite the classic NFL footage, there should be no mistake, however, that this movie is about the person telling the story, not the game itself. (Indeed, the paucity of actual gridiron action makes it difficult to classify this as a sports movie.) 
  
 Based on Michael Lewis' investigative journalism that created the nonfiction book of the same name, "The Blind Side" tells the story of the Tuohy family and the young man they saved from abject poverty and the perilous streets of West Memphis. 
  
 Massive African American teenager Michael Oher (Quinton Aaron) has spent his adolescence bouncing around friends' houses, an orphan whose crackhead mother, while still living, has long since lost the ability to raise her son. He is symbolic of the failure of the Memphis public school system and seems to have run out of chances. 
  
 The last person in his corner seems to be an older gentleman who has taken an interest in saving the child and getting him enrolled along with his son in the Wingate Christian School. The overeager football coach at the private institution appeals to the Christian charity of the school's administrators, persuading them to accept on probationary terms the kid with an IQ of 80 known as "Big Mike." 
  
 But Mike's salvation does not come simply from enrollment. A foreigner in the pristine world of his new school, Mike is still homeless, adrift and left with seemingly one pair of raggedy shorts and a T-shirt. His new classmates are almost as scared of the new mute beast in their school as he is of them. 
  
 All of that changes on a wet, winter evening when Leigh Anne and husband Sean Tuohy (an effective and subtle Tim McGraw), whose two children attend Wingate, spot Big Mike wandering the streets and decide to pick him up and take him home. 
  
 Although she has trouble ascertaining the history of Mike, the iron-willed Leigh Anne is determined to create a brighter future for the young man. Thus begins the amazing transformation of Big Mike from gentle giant to a warmly accepted member of the Tuohy family. 
  
 In the face of latent racism from her country-club friends, and with the support of her deferential and kindly husband, Leigh Anne not only helps Mike accept the love of his new family, but also teaches him how to play football, in a scene that borders on the ridiculous. 
  
 Despite the accuracy of much of the story, the film still suffers from a saccharine overdose and unnecessary touches meant to lend credibility. Young actor Jae Head, who plays S.J. Tuohy, mugs with an over-the-top performance as Big Mike's adopted little brother and best friend. And the parade of college coaches who play themselves demonstrated why these men work on the sidelines and not on movie sets. Bullock, on the other hand, plays the nouveau riche take-no-guff matriarch with equal parts toughness and sensitivity that represents a refreshing departure from some of her past rom-com fare. 
  
 Much of the feel-good film would be impossible to digest, its story seemingly cobbled from a pile of clichés, if it weren't for the veracity of its narrative. As Lewis' book explains, Oher suffered from extreme learning difficulties that left him years behind his peers in a developmental sense. 
  
 Despite the brutal surroundings of his childhood, Oher was not filled with a rage or ferocity. Instead, he became a prisoner trapped in his own body, his heart and mind seemingly inscrutable even to himself. The love, support and encouragement he received from his adoptive family taught him confidence and gave him purpose that led him to a life in the highest realm of football. (Oher was eventually drafted by the Baltimore Ravens in the first round of the NFL draft.) 
  
 In the movie as in real life, it seems impossible to penetrate Mike's thoughts, leaving him an enigmatic cipher. Writer-director John Lee Hancock ("The Rookie") instead chooses to tell his story solely through the eyes of the loving but self-righteous Leigh Anne, who, in an act of false humility at the end of the film, asks if she is in fact "a good person." By this time, it seems the answer is obvious, and the question lends her and the film more an air of self-satisfaction than altruism. |||||
The Blind Side lacks inherent suspense—it's based on the true story of Michael Oher, a rookie offensive tackle for the Baltimore Ravens. But the tale of a homeless African-American teen adopted by big-hearted white yuppies, at bottom a Sandra Bullock vehicle, goes over big in football country. Writer-director John Lee Hancock "manages to turn a movie that could have been about nothing more than 'white guilt' into something that surprisingly defies expectations and can be downright inspiring," writes Roger Moore in the Orlando Sentinel. "The overwhelming reaction upon seeing this Oscar-worthy performance is 'finally!' followed quickly by, 'Why the heck did it take so long?'" Michael Granberry of the Dallas Morning News says of Bullock's star turn as Memphis interior designer Leigh Anne Tuohy. In Austin, reality intrudes: "Despite the accuracy of much of the story, the film still suffers from a saccharine overdose and unnecessary touches meant to lend credibility," Matthew Odam writes for the American-Statesman, and Hancock errs when he "chooses to tell his story solely through the eyes of the loving but self-righteous Leigh Anne." "The overriding virtue of the movie is that it fleshes out the inspiring idea that a young man from a destructive environment can bloom in a caring one," writes Michael Sragow in Oher's new hometown paper, the Baltimore Sun, "even if he's already in his teens when he gets there."