Decent Films Blog
He slaughtered at least five of them.
I’ve gotten a number of queries about the fevered discussion about Opus Dei’s murderous history and sinister influence in the Church related by filmmaker Roland Joffé in the press conference I reported on a couple of weeks ago.
Exactly how did the conversation go? For your shock and amusement, here’s the full exchange as Joffé related it. The discussion begins with Joffé mentioning that he’s making a film about Opus Dei.
Friend: Oh my God, that’s a Fascist organization! I mean, they slaughtered hundreds of people!
Joffé: They have? Really? How do you know that?
F: Well, even if they haven’t, they’re extremely influential in the Church. I mean, they basically control the Church.
J: How would they control the Church?
F: They control the cardinals and the pope.
J: They hypnotize them? How do they do it?
F: They do it through the cardinals.
J: How many cardinals are in Opus Dei?
J: Well, how many cardinals are there [in the world]?
F: I don’t know, but lots and lots of them are definitely in Opus Dei.
J: Well, I think there may be one or two, or maybe in three.
F: Well, that’s what I’m saying—that’s the way it works. It’s all kept secret.
J: Well, okay. Anything else?
F: Bishops. Lots and lots of bishops. How do you account for all these bishops in Opus Dei?
J: How many bishops are in Opus Dei?
F: Well, I don’t know—thousands of bishops …
Apparently it went downhill from there.
I don’t think any further commentary is needed, do you? As Pat Archbold put it recently, we hold certain untruths to be self-evident.
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It’s not often that I encounter a Line I Wish I Had Written right in the headline of a review, but here’s a case in point.Tim Brayton, who blogs at Antagony & Ecstasy, kicks off his cathartic (though also occasionally obscene) review of Hop with the brilliant headline:
Abandon All Hop, Ye Who Enter Here
That headline isn’t the only quotable bit from Tim’s review. Here’s how he opens:
I will assume that you have been unable to avoid the omnipresent advertisements for Hop, and that you have formed an opinion of it. I will further assume that you have anything like taste, and that your opinion is not positive. In fact, I suspect that you think Hop looks bad - absolutely dreadful, even. If that’s the case, your expectations are too high.
This tracks exactly with my thoughts while watching the movie (and it’s not the only line in Tim’s review that does): Coming out of the theater, I texted Suz that as bad as the trailers made it look, the movie was worse.
Oh, I love this line too:
[T]here’s an eye-brow raising moment when Papa Bunny (Hugh Laurie) makes note of Easter’s 4000 years of tradition, a calculation that makes the baby Jesus cry. And indeed, every other iteration of Jesus as well.
Other recent releases include Tron: Legacy and new Blu-ray/DVD editions of Fiddler on the Roof (buy), Babe (buy), The Incredibles (buy), Cars (buy), Peter Pan (buy), Lars and the Real Girl (buy) and Much Ado About Nothing (buy).
For more on these releases, see this week’s “DVD Picks & Passes” column at NCRegister.com (subscribers only).
This Friday, March 15 I’ll be on the first hour of “Catholic Answers Live” (6pm–7pm EST) with Patrick Coffin. Movies we’ll be talking about include Rio; The Conspirator; Hop; Soul Surfer; Born to Be Wild; Jane Eyre and more. Listen live!
My esteemed colleague Pat Archbold’s lively and engaging post on big-screen Jesuses has obliged me to add a few notes of my own (with apologies for the post title joke—I don’t really think Pat “forgot” anything, since his list wasn’t meant to be exhaustive in the first place, and certainly mine isn’t either).
Judging from Pat’s combox, the best big-screen Jesus for a lot of people is either Robert Powell of Jesus of Nazareth or Jim Caviezel of The Passion of the Christ. I think there’s a lot to be said for both, although obviously no actor could truly do Jesus justice, and both performances have weak spots in my opinion.
Powell aptly conveys authority, fire and tenderness, but there are moments, particularly during miracle sequences, when, to quote Mike Hertenstein of Flickerings.com, Powell’s “Jedi-like histrionics” are a bit much. As for Caviezel, he embodies the Suffering Servant of the Passion narratives as well as any actor could, I think—yet he’s less convincing, at least to me, in the crucial flashback sequences as the New Moses of the Sermon on the Mount and the High Priest of the Last Supper. (On the other hand, both films have utterly flawless Blessed Virgins, in my opinion: I can find no fault in either Olivia Hussey or Maia Morgenstern.)
Paying tribute to Winter’s Bone in a 30-second rhyming review presented some challenges. I decided to riff on one of the bluegrass songs in the film, although without instruments (and with only 30 seconds to get it out) I had to make some adjustments to the rhythm and melody.
The last two lines were a last-minute change that I’m somewhat ambivalent about. “We’ll understand it better by and by” refers to the title of the gospel hymn by Rev. Charles A. Tindley played over the end credits. I like the allusion to the hymn, but I’m not sure I should have changed the last two lines, which originally ran, “It’s not for the faint of heart / But there’s grace and beauty in this work of art.” This was maybe better because it gave critically helpful information (the content is pretty rough but treated in a redemptive way). The new lines are more of an homage and less of a review, which is okay, but I’m thinking it would be better to keep it critical where possible.
More to come!
This week’s home-video releases include Disney’s charming Tangled (buy) and an anniversary celebration of Cecil B. DeMille’s magnum opus The Ten Commandments (buy), along with “Charlton Heston Presents the Bible.”
A passel of Disney sports films come to Blu-ray: Miracle (buy), The Rookie (buy), Remember the Titans, The Greatest Game Ever Played (buy), Invincible. Paramount has rereleased a pair of Audrey Hepburn classics, Sabrina (buy) and Roman Holiday (buy). Other new releases or rereleases, some seen and some unseen by me, include Black Swan, King of Kings, The Spiderwick Chronicles (buy), The Secret of NIMH and The Human Experience.
With Tangled, Disney finally takes on the Rapunzel story, with winning results. An ingenuous and personable heroine, a dashing rogue, a twisted villainess, and an extremely conscientious horse make for a sparkling tale with heart, wit and swashbuckling action. It’s not a perfect film, and the climax is a bit of a letdown, but the fun along the way is definitely worth the trip.
I’m a fan of Blu-ray/DVD combo editions, whether or not you have a Blu-ray; there’s also a Blu-ray/DVD set that includes a 3D version of the film, but 3D for television hasn’t arrived yet in my opinion. Whichever Blu-ray edition you get, the highlight of the bonus features is a 12-minute making-of featurette called "UnTangled: The Making of a Fairy Tale" that goes into character design, the lantern sequence, the animation of Rapunzel’s 70 feet of hair and Disney history trivia.
Celebrating its 55th anniversary, The Ten Commandments is newly available in three editions, a DVD edition, a 2-disc Blu-ray edition and a 6-disc Blu-ray/DVD Gift Set. The best new bonus feature is a 75-minute making-of documentary "The Ten Commandments: Making Miracles" that’s on the DVD set and the 6-disc Blu-ray/DVD Gift Set, but not the 2-disc Blu-ray edition. The best previously available extra is DeMille’s original 1923 silent version of The 10 Commandments — for film buffs a must-see thanks to the awesome sets and the spectacular Jell-O parting of the Red Sea — which is only available on the 6-disc mega-edition, making that the edition to get.
I haven’t had a chance to see “Charlton Heston Presents the Bible.” (buy), a set of four documentaries now available as a 4-disc set from Warner Bros. The series comprises “Genesis,” “The Story of Moses,” “Jesus of Nazareth” and “The Passion.”
Back from a week in Spain! More to come this week on Of Gods and Men, once I catch my breath—and catch up on a few other things—but for now here’s my 30-second look at Inception. Enjoy!
My latest Reel Faith YouTube mini-review.
Live in Illinois or California? Of Gods and Men opens a bit wider today, possibly in your area. It’s also playing in New York. Next week it’ll be all over the place. Check out the release dates and locations.
This week’s home video releases include two ambitious animated films from Studio Ghibli, an ambitious Arthurian saga and a modest but essential religious family classic that should be in everyone’s home library, especially at Easter season.
New on DVD, Tales From Earthsea (buy) is the directorial debut of Goro Miyazaki, son of legendary Studio Ghibli co-founder Hayao Miyazaki. Tales from Earthsea isn’t remotely the classic that is the elder Miyazaki’s Nausicaa of the Valley of the Wind (buy), newly available in a two-disc Blu-ray/DVD combo edition, but there are resonances between the two works, and Goro’s film, flawed though it is, shows promise.
Also in a new two-disc Blu-ray/DVD combo edition is The Miracle Maker (buy), a minor masterpiece of stop-motion animation that's one the best films ever made on the life of Jesus, and indispensable Easter viewing at our house. Indispensable, I say. If you haven’t seen it, you don’t know what you’re missing. Trust me. I practically guarantee you’ll be glad you did.
New on Blu-ray, much less essential: John Boorman’s Excalibur (buy), a film that makes a real attempt at being the Arthurian classic that Hollywood never produced — and pretty much makes a mess of it, although it’s a kind of interesting mess. It tries to honor as much of the Arthurian material as possible, but fails to make a coherent whole out of it. Still, if you’re an Arthur buff, you may want to catch it.
Lots of Red Riding Hood reviews, including mine, made obvious connections to the Twilight films, the first of which was directed by Red Riding Hood director Catherine Hardwicke. It takes a mind like Peter Chattaway’s to contemplate connections to Hardwicke’s The Nativity Story — and conclude that Red Riding Hood is in some ways “the anti-Nativity Story.”
In addition to the obvious fact that “The Nativity Story pandered to Christian audiences while Red Riding Hood casts a basically negative light on the Church,” Peter notes the following connections:
Hardwicke, a former production designer and art director, went out of her way to meticulously reconstruct first-century Palestinian life in The Nativity Story — to make it as “authentic” as possible — whereas Red Riding Hood feels very much like a movie that was shot indoors, in a studio, under artificial lights, even when people are supposed to be standing in broad daylight in the town square. I don’t say this as a criticism — I think Hardwicke must have been trying pretty deliberately to give this film a quasi-artificial storybook fairy-tale feel rather than anything approaching historical naturalism — but it’s still an interesting difference …
One less-obvious connection would be the fact that there is talk of an arranged marriage in Red Riding Hood, just as there was in The Nativity Story. I’m not sure if there are any others …
Oh, one other Nativity Story connection: Both films feature a scene in which people look at a model of the celestial spheres. (In The Nativity Story, it’s the Magi interpreting “the star”. In Red Riding Hood, it’s Gary Oldman explaining the difference between a “blood moon” and a regular full moon.)
Warning: Spoilers below.
Today on the first hour of “Catholic Answers Live” (6pm–7pm EST), I’ll be talking about Of Gods and Men; Red Riding Hood; Rango; The Adjustment Bureau and more. Listen live!
Don’t worry—no joking around this time. Silliness is a hallmark of my 30-second reviews so far (most notably yesterday’s The Social Network), but this film is different. Of Gods and Men—read my full-length review—is one of the most sublime films I’ve ever seen. This is a sincere tribute not only to Xavier Beauvois’ film, but to the monks of the Tibhirine monastery itself—and while I do use rhyming verse, it’s quite different from my usual approach.
There is no excuse for this, I know. So I won’t try. Creation myths may need a devil, but Mark Zuckerberg didn’t make me do it. Mea cula, mea cula, mea maxima culpa.
Complementing my full-length review of The Adjustment Bureau in today’s news section, here’s my 30-second take on the film in verse—the latest of my “Reel Faith” 30-second reviews from NET TV …
Noteworthy home-video releases this week include one of the most grueling adult films of last year and one of the gentlest family films of all time.
Don’t let James Franco’s impression of a mannequin hosting the Academy Awards this Sunday put you off: His performance in 127 Hours (buy) richly deserves his Best Actor nomination. As real-life adventurer Aron Ralston, Franco spends nearly the whole film playing opposite a rock pinning his arm to a canyon wall in the Utah desert, but his volatile performance — and Danny Boyle’s flamboyant direction — make for a riveting, cathartic experience.
…even though I liked True Grit better.
Helena Bonham Carter, Colin Firth and Geoffrey Rush in The King’s Speech
Last night at the Academy Awards, my favorite film of 2010, True Grit, went 0 for 10, winning none of the impressive lineup of nominations it had garnered including best picture, director, actor, supporting actress and adapted screenplay. (Read full Oscar coverage.)
Ace cinematographer Roger Deakins, nominated eight times before without winning, lost a ninth nomination, this time to Wally Pfister for Inception. And for my money 13-year-old Hailee Steinfeld deserved the supporting actress award for her uncanny poise and self-assurance and her ability to hold the screen against Jeff Bridge and Matt Damon—all while effortlessly wrapping her mouth around the screenplay’s archaic language. (By the time Melissa Leo got through her rambling, cringe-inducing acceptance speech, with its bleeped f-bomb, I suspect some Academy members regretted not voting for Steinfeld.)
And yet, I’m glad that the evening’s big winner was The King’s Speech. Although not necessarily a better film than True Grit, it’s a very good film of a kind that we desperately need, and one in desperately short supply in mainstream cinema: a good, wholesome film about good, wholesome people. The wholesomeness of these characters and their milieu is something lacking in many of the year’s best films, including Inception, The Social Network, Winter’s Bone and even True Grit.
Tune in this weekend for a one-hour Oscar special of Reel Faith, in which David DiCerto and I discuss our predictions and favorites as well as snubs and such. Airtimes are Saturday, February 26th at 8pm & 11pm & Oscar Sunday, February 27th at 6am, 9am, 2pm and 6pm. You can catch the broadcast online at the NET homepage; not sure when the episode will be posted at the Reel Faith website. (If you haven’t caught our last episode, now’s the time.)
Also, this afternoon around 5:40pm EST I’ll be on Al Kresta discussing the transcendent film Of Gods and Men, which opens this weekend in NY and LA. (I wouldn’t be surprised if he brings up spiritual themes at the Oscars too.
Colin Firth and Helena Bonham Carter in The King’s Speech
The Academy Awards are upon us, and the two top contenders for major awards—The King’s Speech and True Grit—are both excellent films with significant moral and/or spiritual overtones. In fact, Lisa Respers France at CNN.com’s Religion Blog suggests that many of this year’s Oscar nominees have “deeply spiritual overtones.”
As an aside, last year’s most profoundly and transcendently religious film—conspicuously not nominated by the Academy, though it’s won lots of other awards, including the jury prize at Cannes—makes its American debut this weekend in New York and Los Angeles: Of Gods and Men. If you live anywhere in the New York or Los Angeles area, go see it. This weekend. I’m not kidding. I’ll write more about it soon (and I’ll be talking about it this afternoon on Kresta around 5:40 EST), but for now the best mainstream take on it I’ve seen is Kenneth Turan’s (LATimes.com).
Citing a number of writers and teachers whose work links faith and film, France argues that the current crop of Oscar nominees “explore themes that many contain elements of spirituality”:
My 2010 year-end piece and top 10/20 films has been up for a few weeks, and with the Academy Awards upon us we’re almost ready to be finished with the movie year 2010. Before turning the page entirely, though, I’d like to draw attention to a few more year-end lists worth noting.
From the top, the 2010 CT Movies & TV Critics’ Choice winners are …:
This week, one of my favorite films of 2010 is available on DVD and Blu-ray: Aaron Schneider’s Get Low (buy), a loosely fact-inspired Depression-era comedy-melodrama starring Robert Duvall as an eccentric Tennessee backwoodsman who decides to throw himself a “funeral party” while he’s still alive. Duvall is Duvall, of course, but the whole cast is terrific: Bill Murray, Sissy Spacek, Lucas Black, Bill Cobbs.
Also new this week, DreamWorks’ Megamind (buy) is a rare Will Ferrell movie I can actually enjoy, and a surprisingly entertaining Superman spoof, with Brad Pitt as a man of steel with feet of clay and Tina Fey in the spunky gal-reporter role.
And don’t overlook Last Train Home (buy), an eye-opening documentary that takes the enormous human migration that occurs every year in China when urban workers go home for Chinese New Year as a point of departure for exploring Chinese culture today.
Finally, since I was too busy last week to note it, last week’s DVD releases include Waiting For “Superman” (buy), David Guggenheim’s thought-provoking documentary on the current state of public education, and Unstoppable (buy), a Tony Scott action-fest pitting Denzel Washington and Chris Pine against a runaway train.
The Passion of Joan of Arc (Carl Dreyer, 1927)
As a longtime member of the Arts & Faith community, I’m pleased to report that this week Arts & Faith and Image Journal released the 2011 edition of the Arts & Faith Top 100 Films list—possibly the best edition of the list to date, and in many ways an improvement on last year’s list.
For some background on the Arts & Faith Top 100 as well as Arts & Faith and Image Journal—along with some perspective on why I think this year’s list may be the best—please see my essay “Reading the Eternities: The 2011 Arts & Faith Top 100,” the official introduction to this year’s list. (Some trends I’m pleased to see include more Golden Age Hollywood titles (and more English titles generally; last year’s list was pretty thin on English title), a number of animation titles and more documentaries.)
Here I’d like to flesh in some of the details I didn’t have space to discuss in that essay.
Several weeks ago (but only five updates back) ago I mentioned I would be scarce through all of January, and for most of last month I hoped that life would return to normal by Groundhog Day or so.
Alas, my January crunch overran most of February. For the last several months I’ve been working harder than probably at any time in my life since graduate school. (Too busy, actually … it’s taken a toll on my health, alas.)
Now, though, it’s finally over — which means I’m going back to being only ordinarily super-busy. (For starters, I’ve got two article deadlines next week, in addition to whatever screenings I attend and whatever I hope to write here at Decent Films and NCRegister.com.) But that’s okay! Ordinary super-busyness, I can handle.
What this means is that content will begin appearing more frequently here at Decent Films and NCRegister.com, starting tomorrow (Friday, 2/18). I’ll be writing for other venues too — stay tuned.
Also, if you’ve written to me in the past few months, I may have missed your email entirely. I apologize, and will try to catch up over the next month or so.
A number of readers have inquired about what I’ve been spending my time on lately.
Part of the answer can be found on my updated “About” page, which now notes that I have “contributed several entries to the New Catholic Encyclopedia, including ‘The Church and Film’ and a number of filmmaker biographies.”
The “Church and Film” entry is a few years old, but the others are new. I’ve been researching and writing about Cecil B. DeMille, Leo McCarey, François Truffaut and Franco Zeffirelli. This has been hard work but very rewarding. Besides the privilege of writing for the New Catholic Encyclopedia, I’ve learned a lot, and watched or rewatched a lot of great films. (Yes! I plan to write about some of them in the coming months!)
Beyond that, I’ve screened a couple of films, and attended a junket (my first in years) that I’ll be reporting on soon. And there’s another piece that I just finished this morning that I’ll announce in a bit.
Anyway, now that that’s done, I plan to start making up for lost time here at Decent Films. Maybe not quite as energetically as I’d like — in part because I also need to make up for lost time with my family, who’ve done without me more often than any of us would like, and partly also because I need some rest, frankly.
But I’m not taking time off. I will be back tomorrow. And for all who’ve asked, I will do my best to review The King’s Speech in time for the Oscars.
Thanks for your patience, and see you around.
Here’s something I had fun doing: 30-second movie review videos—some in rhyming verse, some not!
The five spots below were created for my cable TV show “Reel Faith,” which I co-host with David DiCerto. Our next full season is this summer, but the show’s not entirely on hiatus: We did a mini-season over Christmas (the last episode of which you can still watch online), and last week we taped a special one-hour Academy Awards episode that I believe will be airing this Sunday (I’ll let you know).
Now David and I have done a series of 30-second spots that run on NET as advertisements for the show, and are available online at YouTube.
Regular readers are probably familiar with my predilection for writing reviews in verse (including haiku), and I’ve done readings for a number of these on the air, including singing my Scooby-Doo review to the tune of the “Scooby-Doo” theme song on “Fully Alive” with Greg and Lisa Popcak. This is the first time I’ve performed reviews in verse on video, though.
Three of the 30-second spots below, Harry Potter and the Deathly Hallows: Part 1, Tangled and The Tourist, are in verse. The other two, True Grit and Rabbit Hole, are prose. I hope to do some more 30-second spots in the near future, both in verse and prose.
Enjoy! And, if you enjoy ’em, share the YouTube links with others who may enjoy them too.
2010 was a good year for Decent Films, though there’s room for improvement in 2011. I do want to let readers know I may be scarce (not absent!) for most of January, as I’m laboring under some major deadlines for a couple of exciting projects (more to come). My 2010 roundup and top 10 is coming, of course, and I hope to come roaring back in February. I also hope to announce some new developments for the site in the near future. God bless you all!
Major props to Dr. David C. Downing, whose essay on The Voyage of the Dawn Treader (Ignatius Insight) closes with this brilliant line:
I will not try to rate this movie in terms of stars, for stars in Narnia are magnificent living beings, not mere balls of hot gas or marks on a page!
Of course, even in our world, balls of hot gas and marks on a page are not what stars are, only what they are made of.
Tune in Friday, December 17 for an hour of Decent Films radio on Catholic Answers Live with Patrick Coffin. I’ll be doing the second hour, so that’s 7–8 EST (4–5 PST). In addition to talking Christmas movies, we’ll be covering some or all of the following: True Grit, Tron: Legacy, Rabbit Hole, The Voyage of the Dawn Treader, The Fighter, The King’s Speech and much more. Special bonus: Yogi Bear is not on the table! Listen live!
Also, don’t miss episode 4 of our special Christmas mini-season of “Reel Faith” this Sunday at 7pm EST. David and I will be reviewing Tron: Legacy, Black Swan, The Fighter and our NET Pick of the Week, March of the Wooden Soldiers. Watch live!