Storming the Gates

“Would you like a pill?”

In a world broken by disease, hunger and lack of resources, it seems that attempted solutions are often token in nature. The above quote, taken from Neill Blomkamp’s highly anticipated sci-fi actioner, Elysium, is an illustration of a lack of consideration towards those who suffer. Spoken by a disinterested parole robot, the offer of a pill to sooth ex-con Max Da Costa’s (Matt Damon) nerves serves as a metaphor for a much deeper attitude that exists within the world.

Set in the 2154, Elysium reveals a world divided by financial barriers. While the wealthy enjoy life on Elysium, a space-station utopia orbiting the earth that offers unlimited resources, the remainder of the population are left to suffer amidst the planet’s rubble and disease. Living amongst the masses, Max is an ex-con who simply wants to make a fresh start with his life. However, after an industrial accident leaves Max with only a few days to live, he realizes that his only manner of survival is to get to Elysium so that he can make use of their health care technology.  As a result, Max is forced to revisit a life of crime so that he can earn his ‘ticket’. However, after the assigned ‘job’ goes awry, Max becomes a fugitive and must choose which path his life is going to take moving forward

Clearly influenced by the recent Occupy movement, Elysium begs the question of fairness when it comes to the distribution of resources. As the wealthy maintain their life of luxury orbiting the earth, the demand for proper health care continues to increase amongst the rest (and increasingly restless). Disease is rampant and hospitals are overrun. Violence and crime are everywhere. Still, Blomkamp wants his audience to sympathize with the people rather than sit in judgment of them.  Although Elysium’s earth has been ravaged by criminal activity, one recognizes that much of the behavior has been driven out of desperation rather than a desire to do evil. Here, the finger is pointed squarely at the ‘haves’, not the ‘have-nots’.

On the other hand, it’s also interesting to note that the majority of the ‘super-rich’ are not portrayed as particularly evil either. Instead, despite the fact that much of Elysium’s resources are produced on the backs of the rest of humanity, the wealthy merely seem to wish to turn a blind eye to what’s happening below. In other words, in a much more literal interpretation of ‘out of sight, out of mind’, the wealthy appear more concerned about preserving their own way of life rather than intentionally exploit those less fortunate. As a result, the wealthy remain content yet distant from the rest of humanity, ignoring the devastation that lies below.

Without question, this conversation elicits thoughts of Christ’s conversations about care for the less fortunate. Scripture references such as Matthew 25 command to feed and clothe the less fortunate or even Jesus’ seemingly endless healings of the sick and blind point to a much deeper spiritual calling for humanity. From the moment Jesus established the foundation of his Kingdom, He has called for us to live in a manner that brings healing through love rather than further pain and suffering.

Still, the spiritual conversation within Elysium also travels much deeper than a broad plea for social justice and also offers a powerful example of what is meant to take place during a journey of discipleship. One of the best examples of this comes through Max’s story. A low-level employee of Armadyne Corporation, Max’s life seems no different than anyone elses. Simply trying to survive, his life has little purpose or direction. Nevertheless, after he receives his exo-skelton and attempts his first ‘job’, things change dramatically. [MINOR SPOILERS AHEAD] After understanding the importance of his newly stolen ‘cargo’, Max begins to understand the impact that his life could have on the rest of the world. [SPOILERS END] In fact, in a fascinating Scriptural connection, Max’s associate even tells Max that he holds “the keys to the Kingdom”. Using this analogy, this direct reference to Matthew 16:19 suggests that Max suddenly has the ability to ‘bind and loose on earth and heaven’, placing a great deal of power and social responsibility upon him. As a result of this realization, Max’s journey begins to be reshaped as he wrestles with the questions of calling and personal responsibility as he moves forward with his life. Moreover, in drawing this comparison, Blomkamp also reminds the viewer that much of the responsibility for change lies on the viewer himself. Are we willing to help create change? Do we recognize that our lives have meaning in the world? In the same manner that Jesus calls for justice in His Kingdom, he also commands us to be active participants in what He wants to happen.

In the end, Elysium certainly delivers in the area of sci-fi action. However, director Neill Blomkamp also offers an intense—but grounded—metaphor for the damage that is left by selfishness and greed. In moments such as these, Elysium connects very deeply with the heart of Jesus and his Kingdom. Whereas Elysium speaks of a world divided by suffering, we are reminded that Christ invites us to a world healed by wholeness. As such, Elysium challenges us to decide whether we will seek to be an advocate for change on His behalf or remain silent.

After all, through Christ, we have the power to “override their whole system”.

Elysium

Starring Matt Damon, Jodie Foster, Sharlto Copley                         

Directed by Neill Blomkamp                                                

Rating: **** (out of 5)

Political SciFi: Suffering (and Healing) in District 9

“We must learn to regard people less in the light of what they do or omit to do, and more in the light of what they suffer.”

― Dietrich Bonhoeffer, Letters and Papers from Prison

If it’s true that history is told by the ‘winners’, what does it look like when we allow ourselves to hear the story of the ‘others’?

This question lies at the heart of District 9, a science fiction action film set against the backdrop of racially divided South Africa and the remarkable directorial debut from Neill Blomkamp (Elysium). Using pseudo-documentary style filmmaking, District 9 tells follows the relationship between the human race and group of aliens (derogatorily named ‘prawns’) who landed in Johannesburg in 1982.  After 28 years of confinement in District 9, a local government-enforced camp, the South African leadership decides that it’s time to relocate their ‘tenants’ to a new facility and hire Multinational United (MNU) to carry out the mission. 

Enter Wikus van de Merwe (Sharlto Copely), an Afrikaner bureaucrat who is appointed to lead the camp relocation by serving the aliens with eviction notices.  Inexperienced but cocky, Wikus and the MNU forces raid the homes of their alien tenants with boyish glee, taking pleasure in their mistreatment. However, after being inadvertently sprayed by alien fluid, Wikus’ body slowly begins to change, taking on the form of a ‘prawn’ himself. As Wikus slowly mutates, he also starts to learn first-hand what life is like at the hands of the merciless MNU. With the transformation process accelerating and the MNU closing in, Wikus is forced to join forces with Christopher Johnson, a prawn who believes that there might be a cure for his situation.

Released in August 2009, District 9 entered into the hectic summer blockbuster market with very little fanfare or star-power.  (In fact, the only “name” in the promotional materials was the film’s producer Peter Jackson, director of the Lord of the Rings films.) Written and directed by then-unknown filmmaker Neill Blomkamp, District 9 became an instant hit with critics and audiences, garnering 4 Oscar nominations including Best Picture and Best Adapted Screenplay.

Although the film takes the form of a sci-fi actioner, District 9 actually offers an unsettling (and honest?) look at Apartheid and it’s effect on South African culture.  (Incidentally, this theme should come as no surprise in that, having grown up in South Africa, this is likely something that would be close to Blomkamp’s heart.) What makes District 9 so unique however isn’t the subject matter but rather the manner with which it is handled. By focusing on Wikus’ journey, Blomkamp manages to actually reshape the perspective of his audience as well.  In other words, by opening the film with the story of Wikus and the MNU, Blomkamp invites sympathy for their reaction against a species that appears to be the aggressors. However, as Wikus becomes increasingly invested in the world of the ‘prawn’, Blomkamp is also able to challenge our assumptions, revealing an alternate story that exposes the nature of true evil.

What’s more, it’s also on this level that Wikus’ journey echoes the Christian narrative and, more specifically, the story of Jesus Himself. As Jesus willingly sacrificed his Divine nature to become human, he also entered into our story in a way that he hadn’t before. In doing so, he was able to understand the human experience in a different manner, even ‘empathizing in our weaknesses’ (Hebrews 4:15). As a result, Jesus’ experience enabled him to offer his own life on our own behalf as the penalty for our sin. Similar to the manner in which Wikus’ life exemplifies what could be considered a moment of renewal for human-prawn relations, so too does Christ’s incarnation demonstrate hope to us spiritually by offering us new life.

Nevertheless, this is not to suggest that Wikus is actually a Christ figure.  (His self-absorbed and racist heart eliminates any possible comparisons on that level.)  However, because of his transformation and gradual assimilation into the world of the ‘prawn’, what follows is an incredible example of incarnation.  Although the experience is far from his own choice, Wikus’ chance encounter with alien fluid slowly opens his eyes to an alternate version of the narrative that he thought he knew.  By suffering at the hands of his military counterparts, Wikus begins to enter into the story of the alien population himself.  As a result, this experience eventually begins to challenge his beliefs about their culture, reshaping his own behavior as well. In a powerful example for the church, Wikus suffers with the oppressed and, potentially, may serve as an advocate on their behalf in the future. As a result, Wikus’ ‘plight’ becomes his greatest blessing—and, potentially, an opportunity for hope for the prawn culture.

In the end, District 9 finds an effective balance between sci-fi action and social commentary by drawing the audience into the story of an unknown culture. This invitation to suffer with those who suffer echoes the heart of Christ as He calls us to seek His Kingdom here on earth. What’s more, in doing so, Blomkamp also invites his audience to re-examine their own hearts and, potentially, offer a voice to those who have none.

Elysium will be released on August 9^th, 2013.

Breaking the Bad

“Sometimes, in order to see the light, you have to risk the dark.”

– Dr. Iris Hineman (Minority Report, 2002)

Why is it that, as a culture, we tend to expect in the inevitability of darkness?

It seems that, as our world dreams of its future, more often than not the picture is one of destruction and despair. For instance, in much of our science fiction storytelling, post-apocalyptic realities, common themes include worldwide corruption and oppressive regimes are common themes, especially in realm of film.  Through classic movies such as Blade Runner (often held as the standard for contemporary sci-fi), Serenity, The Matrix and many more, the future of our world is depicted as cold, disengaging and terrifying.  (Heck, even the Christian film industry has cashed in on this notion of apocalyptic reality through films like Left Behind and its subsequent sequels.)

Admittedly, there’s little argument that much of the intent behind science fiction is to offer a critique of our contemporary world and its issues.  For instance, there’s no question that Blomkamp’s District 9 and the highly anticipated Elysium serve as metaphors for larger, more immediate problems.  Still, it is interesting to note that the overarching theme of most science fiction films seems to be that the future is inevitably evil.  Sometimes that evil may be specified as the end result of greed (Elysium; In Time), over-reliance on technology (The Terminator, WALL-E) or war and oppression (The Hunger Games; Nineteen-Eighty Four).  Sometimes, as in the case with Luc Besson’s The Fifth Element, that evil simply remains an ominous and ever-present darkness.  Whatever the depiction, there is certainly a sense of hopelessness that permeates the atmosphere in contemporary visions of the future.

The real question is why?

Is it the assumption that things are so bad now that they can only get worse? Or is it some deeper belief that an oncoming darkness is simply part of who we are and, as a result, inescapable? Whatever the reason, every possible scenario points to the realization that the world is not the way that it’s supposed to be and that, left unchecked, it’s only going to get worse.  As a Christian, I recognize this stain upon humanity as the destructive presence of sin and its effect on our world.  Without question, the sinfulness of man has left damage in virtually every area of life, manifesting itself in ways that range from corporate greed to human trafficking.  As we gaze into our history and see the carnage in our wake, is it any wonder that our expectation of the future would be any different?

Fortunately, science fiction stories also offer another common element… the hero who fights the system.  From Elysium’s Max DaCosta (Matt Damon) to Snake (Kurt Russell) in Escape from L.A., every sci-fi features at least one character who attempts to defy the social conventions.  Some, like The Matrix’s Neo, manage to break the system, bringing freedom and hope.  Some, as in the case of Deckard (Harrison Ford) in Blade Runner, are less successful.  However, in every scenario, there is always one to recognize that this way of life cannot go on in the same way.  Although the results vary from film to film, each sci-fi venture places its protagonist on a quest for hope. 

In a larger sense, this quest for freedom and newness connects deeply as well within the Christian faith which points to the life, death and resurrection of Jesus as the hope for humanity. (To be fair, that is not to say that every sci-fi hero is a Christ-figure.  Can you really accurately compare Jesus to Judge Dredd or even Iron Man’s Tony Stark?)  Through his humble sacrifice for humanity, Christ established his Kingdom in a way that offers hope in a world engulfed by darkness.  In other words, his life and ministry remind us that hope for the world is something tangible.  While many protagonists have been broken by the system in a way that causes them to rebel, Jesus himself is the very incarnation that things can—and were intended to be—different.  Because of who He is, we have hope.

With this in mind, it is important for us to recognize that sci-fi does offer us a window into the future, grim as that may appear to be.  As the ramifications of sin run rampant, science fiction films often remind us that our journey will drive us into further chaos if we continue along this path.  However, it is also crucial for us to realize that the God of the world is also building something new in its midst. Although it may appear that our culture lives in the heart of darkness, the light of His Kingdom is beginning to break through.

Even if Hollywood can’t always see it.

Elysium will be released on August 9^th, 2013.

Monsters University

Starring Billy Crystal, John Goodman                        By Steve Norton

Directed by Dan Scanlon                                            Rating: **** (out of 5)

In Monsters University, Disney’s beloved Mike and Sully want to take you back to school.

Really back to school.

Released 12 years after Monsters Inc. first introduced us to Mike and Sully, Monsters University transports us back many years before that to their school days. Releasing a prequel over a decade after the original charmed audiences is always a risky decision, especially for an animated film. Still, in Monsters University, director Dan Scanlon (Cars) manages to strike a balanced tone of comedy and heart that both honours its predecessor and explores new territory as well.

Having always dreamt of being a full-time scarer, Mike Wazowski (Billy Crystal) enrolls in Monsters University (or MU), determined to study hard and prove to the world ‘what [he] can do’. It is here that he meets young James P. Sullivan (John Goodman), a gifted slacker with a family legacy for scaring. Although we know them as best friends later in life, here the two monsters instantly dislike one another and quickly develop a rivalry to prove their scaring prowess. However, after an incident takes place that threatens their education, Mike and Sully decide (begrudgingly) to join local fraternity Oozma Kappa and take part in the Scare Games, a set of challenges designed to reveal Monsters University’s best scarers.

Although the film is certainly of the ‘college movie’ genre, Monsters University does have more to offer. At its heart, MU contains a positive message about the nature of community and the value of others.  Although each sorority seems to fall into different clichés (i.e. the jocks, the sisterhood, the bullies), Mike, Sully and the rest of Oozma Kappa stand out for their distinct oddities. Far from the elite, the students of Oozma Kappa—or, significantly known as ‘OK’—appear (almost) blissfully unaware of their social deficiencies. (A two-headed monster where only one half is a dance major? A student with parental-attachment issues?) Unaware, that is, until Mike and Sully bring their ambitious dreams of being professional scarers into the fraternity. In doing so, the Oozma Kappas quickly find themselves in over their head as they attempt to compete with the MU’s best and brightest.  Nevertheless, as the film progresses, the boys from OK begin to discover the value of their inherent ‘oddness’. While watching professional scarers at work, Mike points out that “what makes them great is that they use their differences as their strengths.” In moments like this, the film recognizes not only the value of others and their differences but also that, when brought together in humility and purpose, they are able to accomplish greatness together as well.

Ideas such as this resonate deeply with the heart of Scripture when one understands that God Himself creates community. Beginning when Adam is told that it wasn’t ‘good for him to be alone’, God has continuously emphasized the importance of connectedness amidst difference. United in Christ and His heart for reconciliation, everyone is invited to find equality and healing. Similarly, the different abilities of each person are recognized as invaluable to one another, even offering special attention to the ‘outcasts’. For example, Paul writes that “God has combined the members of the body and has given greater honor to the parts that lacked it so that there should be no division in the body, but that its parts should have equal concern for each other.” (1 Cor. 12:24b-25) Films like Monsters University exemplify this trait of the Kingdom effectively by recognizing that community starts around something that draws people together (in this case, Oozma Kappa and the Scare Games) but maximizes its impact when the individuals collectively allow themselves to shaped by it, especially when that unifier is Christ Himself.

Without question, Monsters University is a family comedy with heart. While not one of Pixar’s top films, it does manage to recapture glimmers of them at their best by getting beyond typical animated fare and tapping into something unexpected (especially towards the end). In Monsters Inc., it was always apparent that the relationship between Mike and Sully was always one of depth that had clearly been built over time by living together throughout the hardships.

Monsters University provides a window into how those types of friendships begin.

Kal-El Among Other gods

“The stone which the builders rejected has become the cornerstone.” (Psalm 118:22)

With the much-anticipated Man of Steel hurtling towards us, there’s much to reflect upon regarding the value of Superman in our culture.  For example, as a Christ metaphor, Superman exhibits the characteristics of the Savior that our world needs.  His purity offers us something to aspire for.  His otherworldly strength and compassion demonstrates himself as one who will keep us safe from supernatural evil.  Though, despite the truth of all of these statements, there is still another important element that is less discussed.

The human race isn’t the only group that needs Superman.

I’m speaking, of course, of the Justice League.

Although the primary emphasis for Superman remains as a salvific force for the human race, he also remains a key figure in DC’s alliance of superheroes.  (In fact, Warner Bros. has gone on record by saying that the fate of the long-awaited Justice League film hinders on the success of Man of Steel.) Interestingly, however, exactly how central a role that may be is a subject of much debate. For years, despite being one of the founding members of the Justice League  (and, arguably, the most powerful), his worthiness as leader of this team of DC’s finest has been questioned openly amongst fans.  Having been accused of being a ‘boy scout’, Superman’s ‘small-town morals’ and relentless pursuit of truth often fly in opposition of other, more ‘progressive’ members of the team.

While Superman may be only one member of this very diverse group of heroes, the truth is that Justice League would be a very different team without him at the helm.  Could the team truly function properly if centered around Batman’s vigilante nature and moral ambiguity? Would the team remain as grounded if led by Green Lantern and his cockiness? The Flash’s immaturity and impulsiveness? (In some ways, a sound case can be made for Wonder Woman yet she seems to lack the charisma necessary.) Despite their many positives, all of these superhero legends contain very visible character flaws that hinder their leadership abilities.

Superman, however, exudes a character that creates an element of stability to a team that, if weak in leadership, could become volatile. For instance, his commitment to serving others and sacrificing himself to protect humanity reveals a God-like humility that allows him to recognize the value of others, despite their differences. As a result, he inspires the best in his fellow heroes, encouraging them to work together for the good of humanity instead of themselves. Similarly, his lack of compromise and unwavering moral centre helps call the Justice League to a higher ethical standard (one that, say, Batman has little interest in serving). In other words, by centering itself on Superman, the Justice League automatically develops a sense of moral accountability that it needs to lead benevolently. In fact, other than simply being unpopular in today’s ethically ambiguous cultural climate, one would be hard pressed to find any particularly glaring character flaw within the Son of Krypton.

And, it’s for this reason that Superman is the very cornerstone of the Justice League.

Historically, the ‘cornerstone’ refers to the first brick laid in the construction of a building’s foundation. The importance of this stone increases due to the fact that all other pieces are placed in reference to this one piece. In essence, this brick quickly becomes the basis of the entire foundation. Theologically, this principle has also been used in Scripture in reference to the household of God that was “built on the foundations of the apostles and prophets, with Christ Jesus himself as the chief cornerstone.” (Eph. 2:20; NIV) In Biblical examples like this, the author seeks to draw attention to the fact that Jesus is the foundation of our faith and the reference point that we build our lives upon. Without Jesus, the faith collapses.

In the realm of DC superheroes, however, there is little question that this mantle falls on Superman. Although fictitious, his role in the Justice League reveals the need for Christ-like influences that offer a foretaste of the Kingdom to those around us. In the same way that Superman sets the standard for all members of the Justice League that follow, so too does Christ becomes the very foundation of our faith, offering the example of Godly living.

And that is something everyone must build upon.

Not Another Top Ten List...

It's been a long time since I've posted here.

Too long, in fact.

Interestingly, my last post indicated an in-depth synopsis of TIFF 2012 was coming--and, believe me, it was intended.  I had a lot to say.  However, the week was tainted by a painful family tragedy that essentially killed my ability to think for a while.  I actually have a post that I began during that time that  explains a great deal.  Maybe I'll release it sometime.  (Besides which, my commitments to Hollywood Jesus have simply kept me too busy to revisit my personal site.)

Nonetheless, with the end of 2012 over and done, I've come up with the completely original idea of my Top 10 favourite films of the year.  I'm certain that this has never been done before and I'm even more sure that you will be amazed at the fact that ten films in a compiled list can speak so loudly.

Obviously, I'm kidding.  (In fact, the last thing the world needs is another Top 10 list.)

What's more, there are also huge holes in my comprehensive viewings right now.  The truth is that I've yet to see some of the most anticipated films of the year.  Silver Linings Playbook, Lincoln, Life of Pi, Zero Dark Thirty, et al. are some of the titles that I have yet to see and so, admittedly, this list is unfairly compiled at this time.  As such, there's still a chance this list could be changed.  Still, I think it's a solid exercise in reflection over the year.

Most Overrated:  The Amazing Spiderman -- Kudos to director Marc Webb for generating some fabulous chemistry between his leads (Andrew Garfield and Emma Stone) but his heart clearly lies in independent filmmaking.  Webb excels at developing characters and building emotional tension but that's just not enough for a tentpole superhero pic like this.  Action set-pieces were lacking and a relatively bland villain holds the film back from greatness.  Ironically though, it's not that this film is bad.  It's not.  It is, however, unnecessary.  I believe it was the Toronto Star that stated that the greatest enemy to this film was 'time'.  This feels accurate to me.  With the well-received Raimi Spiderman films so recently in our memory, it's hard to simply retread the same ground so soon.  Still, this is not to say it's terrible.  Simply overrated.  (Possible Alternate:  The Hunger Games.  Yeah, I said it.)

Most Underrated:  Cloud Atlas -- Time Magazine went on record as saying this was the worst film of the year, placing above films such as (I kid you not) One for the Money and John Carter.  I simply don't agree.  Yes, the film is dense, heavily layered and difficult to penetrate but the script offers so much to say about the human condition and the nature of our development that it doesn't deserve to be written off.  The problem is that the film requires effort to understand that most aren't willing to put into their viewing experience.  This doesn't mean it's a bad film.  Quite the contrary, I think.  It becomes more compelling.  Not in my Top Ten but certainly does not deserve what it's gotten.

Top 10 Favourites of 2012:
10)  Prometheus -- The most dangerous science fiction is that which has something powerful to say.  Of course, this also means that it should know what it is that it wants to say.  This is the most difficult challenge to Ridley Scott's Prometheus.  The sheer scope and effort is impressive and the issues that it raises is definitely worth the effort, especially spiritually.  As such, I loved the film personally.  It engaged me in a way that not a lot of other films did this year.  Nonetheless, the problem I found was that it also didn't really seem to know where it landed on these issues--or what type of movie it was.  (Horror? Philosophy piece? Sci-Fi?)  That's not so much a criticism as it is an observation.  It certainly made the film divisive.  For every person who loved the philosophy and felt the gore was excessive, there was someone who felt the opposite.  Nonetheless, I confess that it was one of my most beloved films of the year to be sure.

9)  Chronicle -- The 'found-footage' film is most definitely a fad--and an increasingly tiresome one at that.  With that in mind, it's refreshing to see a film that breathes some new life into the genre.  This 'little' film didn't get much fanfare when it came out but it really does deserve your attention.  If you're a fan of the superhero film (arguably, another tired genre at this stage), this vision may be of particular interest as it manages to ground the content in a way that's almost relatable.  The story of three young men who begin to experience superpowers after encountering an alien meteorite, Chronicle examines what happens when great power is thrust upon someone that isn't a "billionaire playboy philanthropist".        With the exception of the third act--that gets a little too big in some ways--the film keeps the men human, despite their superhero tendencies, and examines the motivations that one wrestles with when power is thrust upon them.

8)  Safety Not Guaranteed -- This little sci-fi/drama/comedy probably isn't on many people's radar when it comes to their 'best-of' lists.  In fact, I'm not even sure that I know anyone else that's seen it.  Based on a real-life situation, the film follows a crew of reporters investigating an out-of-the-ordinary ad placed in 1997 in Backwoods Home Magazine:  "WANTED:  Someone to go back in time with me...  Must bring own weapons.  Safety not guaranteed."  The film is both fun and engaging, while grappling with issues such as coming to grips with our past and healing.

7)  Much Ado About Nothing -- Admittedly, this is a bit of a cheat.  Not receiving a wide-release until June of 2013, my wife and I were fortunate enough to attend the world premiere at TIFF this past September.  Written, directed and scored by Joss Whedon, this modern day retelling of Shakespeare's play is nothing short of brilliant.  Not only is it genuinely funny and well-acted, it actually presents the material in a way that makes it accessible to the average viewer.  There's also an emphasis on light and dark that offers much to discuss afterwards as well.  What's most remarkable?  It was filmed in Whedon's home (!) over a mere two weeks (!!!) -- in fact, the entire production took a scant four weeks from script stage to completion.  It was, without a doubt, one of the best cinematic experiences I had all year.  June 7th, 2013 for wide release, btw...

6)  Les Miserables --  This is a film that hasn't appeared on any Top Ten lists that I've seen thus far.  I'm a little surprised by that.  Yes, I understand the criticisms--especially Tom Hoopers face-focused directing--but there is so much good in this film that it needs to be recognized.  Hathaway is an all-but lock on the Supporting Actress Oscar next month.  Jackman is solid as Jean Valjean.  Russell Crowe isn't horrible (as I expected he would be).  Even Bora... I mean Sacha Baron Cohen manages to do his job.  In addition, the themes of grace and redemption that penetrate the story are potentially life-changing as well.  Without question, the most moving cinematic experience I've had this year.

5)  The Avengers -- Many will be surprised how 'low' this is on my Top Ten.  Hear me out.  Absolutely shattering box office records left, right and centre, The Avengers was a fantastic superhero film with much to discuss theologically as well.  (Start with 1 Corinthians 12 and go from there...)  BUT... it's not a perfect film.  The first act drags a little and the third is a little 'super-epic' in some ways.  Don't get me wrong.  I love the film.  Without a doubt, I had a blast.  Still, as great as it is, I don't think it can be much higher on this list given the strength of the competition this year.

4)  The Dark Knight Rises -- This will forever be compared to The Avengers as if they're somehow incompatible.  In truth, they're very different films.  No, it doesn't quite live up to The Dark Knight but that's really a testament to Heath Ledger's performance as the Joker.  Nevertheless, Rises is one of the more intelligent films of the year--and that's saying a lot for a tentpole.  It has an incredibly ambitious scope to it both in scale and in its ethical themes.  No, it's not without it's problems.  However, I give it a higher rating than Avengers simply because it offered so much more than just being 'a ride'.

3)  Looper -- I don't think I can think of a film that surprised me more this year than Looper.  Yes, the premise looked intriguing and the presence of Joseph Gordon-Levitt and Bruce Willis gives it street cred... but I was not prepared for the film's quality and intensity.  The time travel genre has been done to death, making it extremely difficult to bring anything new to the genre.  Despite borrowing plot points from multiple sci-fi films, Looper manages to break the mold by weaving a story around deeper issues, rather than merely action set pieces.  Without flinching, Looper becomes a morality play that causes you to empathize with both points of view.  It's raw, gritty and simply excellent.

2)  Monsieur Lahzar -- Similar to Much Ado, this is also a bit of a cheat.  Nominated for the Academy Award for Best Foreign Film (Canada) this past year, it technically was released in 2011.  However, it didn't receive a wide release until April so I decided to count it.  In fact, my list would be incomplete without it.  Taking place in Montreal, this film tells the story of an immigrant substitute teacher who steps into a grade school classroom following the suicide of their homeroom teacher.  There is a strong sense of commitment to the broken while grappling with one's own brokenness as well.  Directed by the creator of Incendies, Lahzar is complex and moving in a way that most films simply do not accomplish.  Without question, one of the finest films that I've seen in a very long time.

1)  Argo -- In truth, I simply don't think I could select any other film than Argo as my number one film for 2012.  Yes, there are others I haven't seen but this was simply filmmaking at it's best.  I heard someone recently describe Affleck as a man who "has made three films but directs like he's made twenty".  I completely agree.  I honestly can't believe I'm saying this but Ben Affleck has quickly become one of our premiere storytellers.  By leaving behind films like "Daredevil" and "Sum of All Fears" and focusing on direction, Affleck has shown that he actually does better behind the camera than in front of it.  His acting has improved but, really, he shines in telling stories.  What's more with Exodus-ian themes of redemption and sacrifice (yes, with Affleck playing Moses), the film offers a great deal of subtext that is worth our time and effort.  Although I've yet to see Zero Dark Thirty, don't count this film out yet come Oscar time.

Honorable Mentions:  End of Watch; Skyfall; The Grey

What do you think?  Please feel free to make comments and share your favourite film experiences of the year as well.

Possible Divine Moments: Summer 2012 Edition

Welcome to Summer 2012.

Yes, I know that it's only May 1st... but this time of year always feels like an early summer for me.  And the reason is simple.

The summer movie season begins.

For a film-lover, I can rejoice that--finally--we can move out of the dead zone from January-April that rarely offers anything of significance (other than the Oscar nominees and winners which we released last winter).  Too early for films to be noticed for next year's awards and the least opportunity in terms of financial success, it's a dark few months in terms of quality.  Yes, occasionally, The Hunger Games or The Matrix raises eyebrows but really the winter months usually brings little value in terms of selection.

Now, don't get me wrong.  The summer box office is often filled with below average tripe that makes more money than it should.  It's the time of year when studios put forth their most marketable projects in an effort to draw moviegoers out of the heat and into the air conditioning.  Still, there's something to be said for the thrill of Hollywood's big budget projects--and the lesser known films--that are released during the next three and a half months.

As such, I have decided again to offer some of my picks for the most intriguing films of the summer.  Now, as a caveat, I would state that these are not necessarily the films I'm most excited about seeing, though there is certainly some of that here. (Prometheus, anyone?)  Rather, due to the focus of this blog, I feel it important to mention some films which may have some of the most relevance to my faith and spiritual journey.  In other words, the purpose of this post is to look for what could be moments of God's Kingdom breaking through in our cultural zeitgeist.

So, let's get started...

Marvel's The Avengers - May 4th, 2012

'Wait?  There's an Avengers movie now?'... is what you'd be saying if you had just emerged from living in a cave for the last 4 years.  In truth, ever since Samuel L. Jackson announced that 'they were going to put a team together" at the end of the first Iron Man movie, Marvel has been building to this Friday.  That's four years and five movies... promoting one movie.

To say that this isn't going to make buckets of money is to live in denial... but will it be good?  Early reviews have been extremely positive (96% on Rotten Tomatoes!?) and it's been doing VERY well overseas already--something which happens rarely for superhero films.

Nevertheless, what interests me more than whether or not I get my money's worth in explosions is the content of the film.  Since it's directed by Joss Whedon, I expect that The Avengers could carry with it some emotional depth.  Whedon is known for caring about emotional story arcs while balancing it well with action set pieces so this will be interesting to watch unfold.  How does God figure into a story like this?  Personally, I expect conversation about the value of living in community but, with Whedon at the helm, a film like this could very much surprise us.

Safety Not Guaranteed - June 8th, 2012


When I first heard about this film, I was intrigued.  Based on a true story, the story centres around a team of journalists tasked with getting to know a man who recently took out an ad in the newspaper who was 'looking for someone to go back in time with [him]'.  (Incidentally, the fact that the ad really took place is the only grain of truth in the story.)

Why include it on the list?  Truthfully, I'm simply intrigued.

An independent film, Safety seems free to explore things other than one man's belief that he's a time traveller.  Based only on the trailer, there appears to be hints of the exploration of the reality of the human experience.  If that's the case, then Safety could provide some insight into our understanding of how the world views the image of God or simply our culture's quest for hope.

Though, to be fair, that's 'not guaranteed' either...

Seeking a Friend for the End of the World - June 22nd, 2012

Since the turn of the millennium, end of the world movies have almost become a genre unto themselves, with mixed results.  (Actually, the same can be said about Steve Carell's movies...)  Still, there seems to be something earnest in this effort that appeals to me.  Carell seems to bring an emotional groundedness to this film and yet, also guarantees that this will be decidedly lighter in tone than, say, Von Trier's Meloncholia.

The questions that films like these ask are always interesting as they inevitably explore what one would do with the remaining hours of their lives.  In this case, Carell and co-star Keira Knightly's road trip appears to search for family and the meaning of love.  Still, whatever the focus of the journey, films like this can provide valuable insight into the values of our culture.  It may be one to watch.

Katy Perry: Part of Me 3D - July 5th, 2012

Wait a minute.  Hear me out.

I'll explain myself.

I don't think I've entirely lost my mind by including this.  Love her or hate her, Katy Perry has emerged as this generation's Britney Spears (as opposed to the Britney Spears, circa this generation).  In a few short years, she's quickly become a cultural icon.  Over that time, through songs like 'Last Friday Night (T.G.I.F.)' and 'California Gurls', she has shown herself to be both controversial, divisive and even somewhat endearing as a celebrity.  The interesting thing to me is that she has strong Christian roots.  Growing up in the Church, she actually began her recording career as a gospel singer known as Katy Hudson.  However, when her albums failed to chart, she 'kissed a girl', changed her name to Katy Perry and the rest is history.

Why does this interest me?  Mainly because I'm interested to hear how a change like this took place.  Not to judge her at all.  I would just like to know what happened and what place her faith remains in her life.  No, I'm not entirely sure that the film will deal with these type of issues... but the trailer does indicate that it will wrestle with her Christian roots.  (The film was also directed by the same team that put together the Justin Bieber doc, Never Say Never, which was truthfully quite well done.)

Hopefully, that helps to explain myself.


The Dark Knight Rises - July 20th, 2012

Maybe including this film on the list restores my credibility... lol.

Similar to Marvel's The Avengers, this film has been a long time coming.  Building Christoper Nolan's Batman trilogy to a climax, expectations for this film are higher than most other superhero films.  Why?  Quite simply because Nolan's trilogy alway seems to be about something else.  Although the content is about Batman and DC Comic universe, the context is always much deeper in its scope.  For instance, even though The Dark Knight was promoted as an action film (built around Ledger's Oscar-winning performance as The Joker), it was really about living outside of the moral black and white and the nature of true justice.

Ever since Memento, Nolan's films have proven themselves to be intelligently written and directed, often in a way that other filmmakers seem to be missing right now.  There is absolutely no reason to suspect that this will change here.

So, circle the date on your calendar.

And do yourself a favour... see it in IMAX.

(BTW, as I was writing this the long-awaited third trailer was released online.  If you haven't seen it a hundred times already, you can see it here.)

The Bourne Legacy - August 3rd, 2012

Personally, I see this as an interesting film.  Neither starring Matt Damon nor helmed by Paul 'Shaky Cam' Greengrass, The Bourne Legacy arrives with expectations of failure.  Still, a solid first trailer led by a fierce looking Jeremy Renner appears bring with it a bit of hope.  Why include it on the list?  Mainly because I have a feeling that this film may surprise us with some depth.  Although this is Tony Gilroy's first turn as a director in this series, he did write the first three scripts so he clearly understands the world.  What's more, Gilroy even has shown himself adept behind the camera already, receiving an Oscar nomination for his directorial debut, Michael Clayton, in 2007.

In light of this, I am extremely curious to see where this film attempts to go.  The first three Bourne films were well-written characters pieces about a man attempting to wrestle with the events of his past.  If the same holds true here, we could be looking at a fascinating exploration of how one's history affects their present and future.

Or we could just end up missing Matt Damon.

The Giant Mechanical Man

Starring Jenna Fischer, Chris Messina, Topher Grace            By Steve Norton

Rated PG-13 for some language                                                Rating: ***1/2 (out of 5)

Official Selection: 2012 Tribeca Film Festival

Currently available on iTunes

What do you do when you feel alienated from your own life? 

At least, that’s the key question being asked in Lee Kirk’s new dramedy, The Giant Mechanical Man.

If you haven’t heard of the film yet, you’re not alone.  In fact, Mechanical Man only premiered a couple of weeks ago at the Tribeca Film Festival in New York and, as far as I’m aware, has yet to score a wide release date.  However, this case is unique in that Mechanical Man is also one of several independent films that are taking a new approach to film distribution by offering itself for rent on iTunes prior to its wide release.  (Personally, I think it’s an ingenious idea that I hope continues to develop, especially for smaller films of this nature.)

As for the film itself, The Giant Mechanical Man follows the journeys of both Tim (Chris Messina) and Janice (The Office’s Jenna Fischer, who also serves as the film’s producer).  Considering himself an artist, Tim spends his time by mounting stilts, covering himself with silver paint and openly performing as a robot for the general public.  When his girlfriend becomes disenchanted with his art and breaks up with him, Tim is forced to look for work and starts to rethink his place in society.  Similarly, Janice’s story begins when she loses her job and is forced to move in with her domineering sister, Jill (Malin Akerman).  Jill believes wholeheartedly that her sister ‘lacks confidence’ and attempts to push her into a relationship with popular motivational speaker Doug Duncan (Topher Grace) in order to fill the perceived void.  As a result, Janice becomes caught between her sister’s expectations and her own beliefs about self-fulfillment.

In some ways, both Janice and Tim have opposite problems.  Tim’s art demands attention but people refuse to hear his voice while Janice appears to identify most with a small plastic figurine and seeks constant approval from others.  When they take menial jobs at the zoo, both Janice and Tim’s stories begin to intertwine.  Through their connection, they soon start to explore what makes life really meaningful while, at the same time, wrestling with their personal situations as well.

At its heart, Mechanical Man is really about struggling with a sense of powerlessness.  Tim’s ‘mechanical man’ is performance art and draws a crowd, yet he remains safely anonymous due to his make-up.  Janice works hard yet lives under the thumb of everyone in her life, be it employers or family.  Even the nature of their jobs at the zoo suggest an atmosphere of fading into the background.  (For example, although they are ever present amongst zoo patrons, they go relatively unnoticed by those who came to view something else.)  Invisible, Tim and Janice live in a silence imposed upon them by their friends, family and society at large.  They are the ones who don’t exist.  One poignant example of this comes when a reporter takes note of Tim’s performance as the mechanical man and invites him for a televised interview.  Excited by the opportunity to share the vision and purpose for his art with others, Tim becomes frustrated when the reporter deflects from his candidness in order to speak about his dance moves.  In other words, despite the fact that Tim is willing to bare his soul to the world, he finds himself muted by a culture that wishes to sweep his heart into the background.

With this in mind, Mechanical Man also heavily emphasizes the search for wholeness.  Both Janice and Tim are people who seek meaning in their lives yet find themselves stifled by the expectations of others.  In the majority of their encounters with people, they are pressured to believe that they must fill their void with success, relationships or simply “confidence”.  This notion is best exemplified through the character of Doug.  The author of several self-help books, Doug is worshiped by his adoring fans and appears fully satisfied with himself (literally).  Nevertheless, Doug’s ramblings contrast with Janice’s groundedness, causing him to appear vapid and empty despite his notoriety.  There’s no question that both Janice and Tim are realistic in their beliefs insofar that they understand their need for work to survive.  They simply do not wish to be limited by this view of success.  They seek a sense of completeness and purity to life that appears distant from them. 

As a Christian, it’s here that I most connect with this story.  Living within a culture that attempts to satiate our natural human desire for wholeness with financial success and relationships, one can easily lose sight of their own sense of humanness, creating feelings of isolation amidst the chaos.  Only by seeking a clearer understanding of God and his relationship to our world and ourselves can we begin to rediscover the true nature of our own humanity.  It is here that we experience true wholeness, regardless of whether or not society considers us ‘powerful’.  (Besides which, that recognition of our own powerlessness also puts us in greater position to be used by God as well.) 

Having said this, it’s true to say that The Giant Mechanical Man isn’t going to win any Academy Awards next February.  With a fairly standard premise, the film operates primarily upon the level of romantic dramedy.  However, its sweetness and authenticity won me over quickly and I found it to be an unexpected gem that was well worth the cost of the rental.

After all, sometimes the most satisfying films are the titles that you’ve never heard of.

On Hugo, Sundays and Matters of Preparation

To view a film is a fascinating experience.

Take my last time in a theatre, for instance.  For our 'Youth Christmas Extravaganza' this year, we opted to split our evening playing games at the church and taking in a late movie.  There are numerous ones available this time of year and so I decided to allow them to vote online for their pick.

This year's pick was Hugo.

Now, sure, it wasn't my first choice--but I maintained a very open mind.  After all, it has gotten great reviews and several people I know were particularly excited about it.  After all, the trailer seemed promising enough and the synopsis of the film describes it as "a thrilling journey to a magical world".  So, I popped on my 3D glasses and settled in for a magical ride.

Man, I was bored.

That's hardly an exaggeration either.  I mean 'bored'.  It's one of only a handful of film experiences I've had that I can say that I chose to go to sleep for a bit.  Not dozed off.  Chose.

Now, let me pause here for a minute.  Oddly enough, I'm not even really being critical of the film.  I could see that it was particularly well-made (although, to be honest, I felt the 3D aspect was entirely unnecessary).  The film was relatively well-acted and included valuable themes of value and hope.  What's more, Hugo even referenced classical cinema in a way that provided a veritable cornucopia of film history.  (A Trip to the Moon!  In a children's film!)

All of this sounds like it's right up my alley, doesn't it?  And yet, bored.

For me, this begs the question of 'why?'  After much thought--and yes, I spent time investigating why I didn't like a movie--I think I've come to an answer.

I felt like I'd been lied to.

To digest the promotional materials for the film, Hugo is billed as a wild ride into whimsy yet what the we're given is actually quite different.  For example, take a moment and compare the one-sheet posters for Hugo and newest vision for The Adventures of TinTin.  Although they maintain different content, I would argue that the visuals in both scenes are virtually identical in tone.  In all seriousness, this type of advertising does not do Hugo justice.  The film is not the adventure that is sold to us.  In fact, it's more of a character study.  There's a depth to the piece here that puts the film far above Arthur Christmas.

They sell you Narnia but, in actuality, you buy a Dickens novel.

Interestingly, I can't really blame the marketing campaign either.  They're simply trying to give the film as general an appeal as possible.  It's their job to make money and movies like Hugo are a pretty tough sell to the general public.  Usually, I'm fairly self-aware of these things.  They just simply caught me off guard this time.  (Besides, the last thing that I want is to come across as this person...)

Nevertheless, in light of this, I found myself wrestling with the issue of expectation and preparation.  In truth, we do prepare ourselves for a film before the lights dim and camera rolls.  If we're viewing a serious drama, we anticipate experiencing the film differently than if we were seeing, say, anything with Tom Cruise.  Further, there are also many factors that play into our enjoyment of a particular film as well.  Issues such as stress, exhaustion, personal interests or even motivation for seeing a certain film all play a role in whether or not we can engage a film properly.  Heck, even distractions in a theatre can ruin a film experience.  (Bah!  Cell phones!)  In fact, if you were to be totally honest with yourself, you might admit that--most of the time--you have already decided whether or not you'll like a film at all before you watch it anyways.  (Incidentally, Greg Wright has some good insight into this idea in his recent review of 'The Help'.  You can read it here if you're interested.)  Regardless of the issue at hand, our movie experiences do not exist in a vacuum.

Ironically, I find that this is also the case with Sunday morning services as well.

Now, obviously, I'm not really comparing a worship service with attending the Cineplex--at least practically speaking anyways.  They both serve different purposes in our daily experience.  Nonetheless, when you think about it, it's not really that big of a stretch in the context of this conversation, especially in the North American church.  For instance, in our culture, attending a Sunday morning service really isn't that different from going to the theatre.  (Maybe that's why so many churches thrive in theatres?)  For instance, in both scenarios, you come and sit down with people that you may or may not know, stare at the front and are encouraged to digest what is presented to you.  Good churches try to break out of this mould and engage the people more directly... but, in our culture, its not all that common.

With this in mind, I have heard (and stated) many arguments as to why someone (myself?) does not get anything out of a time of worship.  Like going to see a film, I believe that there is definitely responsibility that lands on the leaders of the church to create an environment that is conducive to engaging God and one another.  This includes worship that draws people to the heart of God, a sermon that challenges the hearts, lives and theology of the people and a community which supports, engages and cares for one another in a way that exemplifies God's presence.  These are absolutely essential to meet people where they are and invite them to a deeper faith journey.

But it doesn't end there.

I do believe that there is something to be said for our own preparation and motivation on a Sunday morning as well.  It is true that responsibility lies on the church for what is presented... but, like my experience in Hugo, my own issues and preparation affect how I engage the worship.  Again, stress, exhaustion, motivation... all of these are things that we bring into church on a Sunday morning.  We can't avoid them.  They're part of our lives.

Still, if we are largely unaware of these things, we risk missing out on what God has for us in these moments. In an echo of our experience with the arts, worship requires a heart of openness and intent to engage in the moment.  It requires a willingness to own our distracted and sinful hearts and allow ourselves the freedom to offer them to God so that we might be made new by meeting with Him.  It is one thing to be aware of these outside factors and release them.  It is quite another to hold onto them in a way that allows them to shape our experience of God.  As such, if we can allow God to help us move beyond these barriers, connecting in a worship service can provide opportunities for us to be spoken to in a way that leaves us unsettled.

It's in these moments when we can be shaped.

It's in these moments that we meet God.

So, as we ingest a film, book, song, or sermon for that matter, we must be aware of the factors that shape us in that moment.  If left unchecked, these issues can prevent us from connecting with the text in a way that impacts us.  Maybe Hugo deserves a second viewing.  Maybe it doesn't.  Either way, I'll never know what God may/may not have had for me in that theatre that night.

And, as an avid believer that God speaks actively to us in all forms of media, that is the real disappointment.

TIFFology 103: Further Thoughts and a New Hope...

As September slips into October, TIFF is starting to fade into a distant memory for this year.


Nevertheless, I do feel that one more reflection is appropriate.  I've enjoyed doing these too much and still have more to say to keep from one final shot.  I guess that's what happens when you see six movies in one week.  Man, does God do some serious mashups...


Besides, what would a movie blog be without a trilogy?  Hopefully the third one won't be a mass disappointment, ruining the effort of the first two.  (I'm looking at you, Matrix Revolutions...)


An additional theme to emerge from my experience at TIFF 2011 was that love is the ultimate impulse.  Within our culture, it's clear that the driving force behind much of life's decisions is determined by our relationships with one another and the world.  Our experience of love (or lack thereof) shapes our view of the world and influences the way that we interact within it.  In light of this, the best example of love's influence comes through the story of Sam Childers (Gerard Butler) in Marc Forster's Machine Gun Preacher.  Based on a true story, Machine Gun Preacher follows Childers' journey from drug dealer to born-again Christian.  Soon after accepting Christ, Childers opts to participate in a service trip to the Sudan where he witnesses first-hand the horrors of a country torn apart by civil war and violence.  His heart broken for the plight of these families, Childers decides to build an orphanage as a refuge for child soldiers.  Despite the fact that he is the target of violent attacks of the opposition, Childers' love for the children calls him to remain dedicated in his desire for justice and protection for these people.  Further, this commitment to justice is a complete turnaround for him.  Having once thought only of himself, Childers has now had his world reshaped by Christ's love in such a way that he is compelled to sacrifice his wants for the benefit of others.  He understands that his actions are seen as a threat to the status quo.  For example, when confronted with the fact that his actions are making him a target, he responds by arguing that "[he] must be doing something right then."  Still, he remains steadfast in his 'calling from God'.  In essence, Childers' experience of love then becomes the primary motivator for his expression thereof.


Interestingly, however, the story really gains its narrative tension from the division between Childers' two worlds:  his American home life and his Sudanese orphanage.  It is within this dichotomy that Preacher really grapples with the imbalance that can occur when love becomes obsession.  [POTENTIAL SPOILER ALERT]  In other words, as Childers first embarks upon his mission to rescue child soldiers, he is driven by love for their safety and well-being.  What's more, he also manages to balance this love of justice while fully offering his heart to his wife and daughter back in the US.  Nevertheless, as his heart is slowly broken down by the ravages of war, Childers becomes filled with anger, causing him to increasingly disengage from his family while obsessing endlessly about his personal war.  [SPOILERS DONE]  In this case, the impulse of love moves from a call to health and healing to the driving force for destruction.  Although still technically Childers' primary motivator, his commitment to love is tainted by rage, creating a darker, more ferocious heart within him.


This darker side to love leads us quickly into the idea that, within our culture, true honour is morally grey.  A theme like this permeates much of popular culture these days, especially within television and film narratives.  Much is rationalized in the name of love.  An excellent example of this comes through Nicholas Winding Refn's gritty crime drama, Drive.  Here, Ryan Gosling plays a nameless character (simply known as 'Driver') who works as a stunt driver by day while moonlighting as a getaway car driver at night.  His existence is a quiet one that operates with few attachments, keeping relatively off the grid.  Nevertheless, his world quickly changes after connecting with a young family who live down the hall.  As his relationship with the family--including the beautiful young mother, Irene (Carey Mulligan)--deepens, Gosling soon becomes involved with some former mob ties that still haunt the family and chooses to fight in an effort to free his friends from their past.  This particular film is interesting insofar as the clear heart of love that beats within Gosling's character is offset by the extremes that he is willing to go in terms of violence.  In an interview, Refn described his protagonist as 'part man, part machine'.  After seeing the film, I truly don't really know how else to describe it.  Gosling's 'Driver' is clearly a damaged soul who appears to find wholeness in the love of this family.  Nonetheless, this desire to protect also awakens a roaring lion inside of him that operates without restraint when the need arises.  [SPOILER ALERT] Interestingly, although Irene initially objects to this type of violence, even she cannot help but be thankful for the liberty that comes as a result.  [SPOILERS DONE]  Without question, this is a clear example of the 'ends justifying the means'.  Viciously stomping skulls or nailing bullets into foreheads means little to Gosling if it provides freedom to those he loves in the end.  Because his intentions are honourable, his actions must be as well.


Interestingly, this viewpoint also permeates Machine Gun Preacher as well.  Like Gosling in Drive, Childers is a man divided (albeit much less composed).  As he grapples with the horrors of life in the Sudan, there is no doubt that Childers wants peace and justice... however, he also believes that taking action is the best way to get it.  In short, he simply sees no other option.  Every time that he straps on assault weapons to fight the resistance army, he is fully aware of the controversial nature of his methods.  When confronted by another aid worker about his use of weapons, Childers growls, "Why don't you fight the evil in this place your way and let me fight it mine?"  What's even more fascinating to me is that, for the majority of the film, we, as the audience, sympathize with him.  Although there are moments towards the end when we can see that his behaviour is going too far, much of the narrative is spent from Childers' perspective.  As such, we journey with him as the viewers, all the while torn between the method and the motivation.


Moreover, it is in the midst of stories like these that we must ask ourselves where the Gospel permeates.  There is no question that the Gospel offers hope and freedom to the oppressed.  Out of our experience with Christ and motivated by love, we, as believers, are called to exhibit these qualities and call for justice in our world today.


Few would argue this truth.


Things get complicated, however, when one engages discussion as to how that freedom should be brought about.  In a scene during the closing credits of Preacher, the real Sam Childers asks a simple question:  "If one of your children were taken and I said I could bring them home, would you care how I did it?"  As a believer and, not to mention, as a parent, it's a question that I cannot easily answer.  Must peaceful action and violence be mutually exclusive if they are motivated by love?  Films like Drive and Machine Gun Preach thrive within this tension.  (Incidentally, this tension is even evident within Preacher's print ad campaign.  Witness the differences between the first promotional poster and the second one-sheet.  It's staggering.)


In response to this, I believe that much of this discussion stems from a quest for hope.  Whether one takes a violent approach to seeking justice or whether they opt for a more peaceful recourse, one's actions often stem from their belief in the root of hope.  Does God really take an active role in the world or is it really just up to us to make things happen? 


To attempt to answer this, I would argue that the larger question in films like these is whether or not genuine hope actually exists.  


Cue John Williams score... now.

The search for hope is ubiquitous in all of the films that I took in at this year's festival, each with their own questions and answers.  Whereas Drive offers hope through taking matters into one's own hands, a film like Jeff, Who Lives At Home believes that it comes from outside of ourselves, as if we're part of some greater plan of which we are unaware.  While From the Sky Down finds hope in community that is united by the Spirit of God, Anonymous focuses its hope on human freedom and creativity.  Interestingly, both Machine Gun Preacher and Martha Marcy May Marlene end open-endedly on their quest for hope.  However, it is also intriguing to note that, while Preacher celebrates Childers dedication as a source of hope, Martha Marcy leaves us with an overwhelming sense of fear and hopelessness.  (This dichotomy is further echoed in the promotional materials as well.  For instance, although Machine Gun Preacher's poster carries the message that "Hope is the greatest weapon of all", Martha Marcy offers no such platitudes or taglines, implying that there's no easy answer.)

As a believer, this quest for a new hope draws me back to our Creator for answers.  There is no doubt in my mind that Jesus Christ speaks to each of these issues, calling us back to wholeness and restoration in Him.  Though we might not always agree on how it manifests itself, there is no question that the truth of the Gospel does offer freedom to the broken and oppressed in a way that brings both healing and hope.  The movement of God towards His people reveals the depth of His love for us in ways that reshape us in such a manner that we are prepared to grapple with issues like honour and justice from His perspective.

As a result, love really does become the ultimate motivation after all.

TIFFology 101: God Creates...

As much as it breaks my heart, another edition of the Toronto International Film Festival has come and gone.

I certainly feel as though I got the most out of the experience.  As has become my tradition, I took in multiple films with multiple people which, to me, adds to the week.  Honestly, the movies are great... but the discussion afterwards is what puts this over the top for me.  Without the interaction, so much gets left in the theatre... but with it?  That's when God really opens up space for spiritual challenge and shaping.  Thanks to everyone who came with me.

Sometimes, when it comes to picking films, it really does seem like you're throwing darts at a dart board.  With so many films to choose from, you never really know what you're going to experience at TIFF.  Add in the fact that there wasn't a whole lot of Oscar buzz beforehand this year--unless your name is Clooney--and selecting one's schedule can create wild picks and combinations.  Still, I'm constantly amazed that God seems to use these experiences and, as a result, themes/issues are mashed up in ways that I would never have expected.

So, with that in mind, I think it would be worthwhile to collect my thoughts and speak to the issues that I grappled with in this year's edition of TIFF...

Better get comfortable.  

This may take a while.  (In fact, it'll likely take several blog posts...)

To get us started, one key theme that emerged from TIFF this year for me is that the creative impulse comes from God.  This 'inspiration from the Divine' was most evident to me in Davis Guggenheim's U2 documentary, From the Sky Down.  Rather than attempt to tell the story of the band's entire 36 year history, Guggenheim opts to take a more focused look at the creation of their album Achtung Baby (1991) and the early years of the band leading up to it.  Choosing to tell the story in this way frees Guggenheim to really focus on the creative process and explore the psychology of the members of the band during Achtung's inception.  It's here that From the Sky Down becomes most poignant.  Bono refers several times to the Spirit that descends when music is brought to life.  As he describes the creative experience, he recalls that, "when the Spirit is in the room, you know it." To Bono, the music comes from another place and the effect is Divine in nature.  (Even the film's title, From the Sky Down, speaks to the band's belief that their inspiration descends upon them from a more spiritual place.)  Although Guggenheim doesn't directly speak to the creative power of God, there is little doubt that Bono et al. believe that He is present in their artistic expression.  Through moments like the creation of "One", the band speaks to how the development of their music comes from somewhere else, as if they are merely the vessels through which it is released.  

What I didn't expect, however, was that this theme of the Divine nature of the arts also came through the character of the Earl of Oxford (Rhys Ifans) in Roland Emmerich's Anonymous.  In Anonymous, Emmerich explores the theory that Shakespeare was incapable of having written any of the works credited to him because he was likely functionally illiterate due to his lack of social status.  Instead, the film suggests that Edward DeVere, 17th Earl of Oxford, is in fact responsible for such works as Romeo and Juliet and Hamlet.  In addition, however, the film also suggests that there was a great deal of controversy surrounding the arts at this time, ironically stemming from the Church and issues of social status.  (After all, the arts were 'for the peasants'.)  In an effort to refrain from spoilers, I can say that, under these circumstances, DeVere is under tremendous pressure to distance himself from his writings and offers his works to another to claim as their own.  Interestingly though, he cannot fully separate himself from his artistic expression.  Although there are some members of the Church who oppose the arts (claiming that it leads to fornication and debauchery), it is interesting that the vast majority of people believe that it's a powerful art form.  In fact, DeVere even states that he cannot stop writing because he has all these stories and characters in his head that need to be put to paper.  "Only then," he claims, "do I have peace."  For DeVere, to create art is to bring to life what has been given to him.  It's not a hobby.  It's a spiritual experience.  Like Bono argues, it's from somewhere else:  a gift from God.

In both of these cases, the reality of God's involvement in the arts is significant and shines through beautifully.  That is not to say that all art glorifies God.  That would be naive.  However, I would suggest--as I have before--that the very fact that we have the ability to create is an expression if the imago Dei (image of God) that He instilled in us at our creation.  Further, as has so often has been the case in my own life, there is always something spiritual that can be grappled with in the arts, be it film, music or other areas.  God cares about the arts... and plays a starring role in its inception.

Interestingly enough, mixed in with these ideas comes the notion that God speaks into our world today. In particular, this message becomes most clear through the Duplass Brothers' comedy Jeff, Who Lives at Home.  This film focuses on the story of Jeff (Jason Segel), a 30-year-old man who lives in his mother's basement.  With no job and no prospects, Jeff spends his days smoking pot and looking for signs from 'the Universe' to lead him forward.  Similar to Bono's understanding of the Spirit's role in creativity, Jeff is a firm believer that we can have a connection to something larger than ourselves.  The best example of this comes in the film's opening moments when Jeff receives a phone call for someone named Kevin.  Because he doesn't know anyone by that name, he assumes that the sheer oddity of the situation must carry with it special significance.  You see, for Jeff, purpose and fulfillment can be found only when one is willing to follow when the universe calls (or, in this case, dials a wrong number).  Thus, Jeff sets off on a journey to discover the meaning of the mysterious connection between himself and 'Kevin'.

Ironically, despite the fact that his character is the least successful and has the least amount to 'show for' his life, Jeff is also the only one who appears to be even remotely satisfied with his existence.  Sure, he's looking for the 'missing piece' to his humanity... but he realizes that it lies outside of himself and what the world has to offer.  Similar to both Bono and DeVere, when the Universe (or 'Spirit', for our purposes) is in the room, you need to pay attention.  What's more, this theology is actually jarring to his materialistic brother (Ed Helms) and socially-imprisoned mother (Susan Sarandon), who both want him to 'get his act together'.  However, by contrasting the pseudo-spiritual Jeff with the emptiness experienced by the rest of his family, the film invites the viewer to explore the very motivations that our society bases itself upon.  Sure, Jeff is a loser by society's standards... but he's also the closest to a sense of peace and spiritual meaning.

Without naming him as such, Jeff understands that it is God who speaks something new into the world.  Something impregnated with the ability to bring new life and wholeness to the troubled soul.

Still, today, God creates.

And, like both Bono and DeVere, he knows that it means something.