Decent Films Blog
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.
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!
I seem to be on a comparison kick: A while back I did a massive comparison/contrast between Harry Potter and the Deathly Hallows: Part 1 and The Empire Strikes Back. Then I followed up with a comparison/contrast of Fantasia and Fantasia 2000.
More recently, I found myself in a discussion weighing the relative merits of two of DreamWorks Animation’s recent features, Kung Fu Panda and How to Train Your Dragon. How do they stack up? My exhaustive analysis is below! (If Mark Shea thought my Harry Potter/Star Wars post was super-nerdy, wait till he sees this one!)
Warning: Spoilers ahoy!
UPDATE (December 3, 2010): A belated announcement that “Reel Faith” is back for 5 weeks only, starting last Sunday. Now airing on Sundays at 7pm, the mini-season runs through December 26.
The first episode, covering Megamind, Morning Glory and Due Date, is currently available at the Reel Faith website. Episode 2, covering Harry Potter and the Deathly Hallows: Part 1, Tangled and 127 Hours, airs on NET this Sunday (watch online).
UPDATE (September 2, 2010): Last week’s episode of “Reel Faith,” now available at the Reel Faith website, was the last episode for the summer. Following NET’s season schedule, the show is now on hiatus. When will we return? Watch this space! I’ll keep you posted.
For what it’s worth, I had a blast doing the show. I’m grateful to NET for giving David and me the chance to try this. I think the show was a success; we learned a lot over the course of the 12 episodes, and I’m pleased to say that I think we came a long way in a short time. (Which is another way of saying we had a sort of rocky start. Hey, TV is hard!) Our last show, I think, showcases some of our best work, so check it out! And watch for “Reel Faith” to return.
UPDATE (June 16, 2010): Hey! Looks like NET is able to host episodes Reel Faith episodes right on the show’s website! If you missed last week’s show, you can still catch it online, at least until it’s replaced by this Friday’s show. (As far as I know the plan for now is to post only the most recent show.) Check it out! And please, let us (and the NET folks) know what you think at the Reel Comments page!
Original post follows.
Hey! I’m reviewing movies on TV!
I mean, you know, I’m on TV reviewing movies. The movies are in theaters, not on TV. Movies on TV, I’ve reviewed before, not on TV. Me, I mean.
Ahem. Over the summer I’m co-hosting a cable TV movie review show with David DiCerto, formerly of the USCCB Office for Film and Broadcasting, for NET NY, a “faith-centered cable TV network” in Brooklyn, New York. (For more on NET, see Joseph Pronechen’s National Catholic Register article “Putting Out into the Deep to Cast the NET.”)
“Reel Faith” is a half-hour movie review show reviewing opening and new theatrical releases. The show airs on Fridays at 8:30pm EDT. For the first episode, which aired last Friday, we did a sort of catch-up, reviewing Iron Man 2, Robin Hood, Shrek Forever After and Babies. For tonight’s episode, we’re doing The Karate Kid, Prince of Persia: The Sands of Time, Killers and Marmaduke. Next week is Toy Story 3, The A-Team, Splice and more.
Each episode also features discussion of one of the 45 films of the 1995 Vatican film list, hosted by Fr. Robert Lauder, who hosts a Friday night film series at Immaculate Conception Center in Queens.
I’m enjoying doing the show. I’m learning that TV is very different from radio, and co-hosting a show is very different from (read: harder than) being a guest! I’ve done TV before, but always as a guest. We’re learning as we go, we’re having fun, and I’m looking forward to the rest of the summer season!
So how can you watch? If you don’t live in the NYC area or don’t have access to NET via cable, you can catch the show online at NET’s Watch Now page. For now at least you need to catch the shows when they broadcast; it’s not clear whether it will be possible to archive the shows at YouTube, since we use clips from the movies and studios can be weird about that. (Apparently it’s fine for the cablecast and webcast, but some studios don’t like to see clips on YouTube.)
So, head over tonight at 8:30pm EDT and catch our second episode. I’ll post more as the summer season develops.
Arts & Faith veteran “mrmando” skewers Ron Howard’s version of the Dan Brown potboiler with a brilliant angle I hadn’t thought of.
A great irony occurs to me, which seems to have escaped Brown, Howard, and the screenwriters: at the end of the film, we learn that Illuminati involvement in the plot is a myth, fabricated by McKenna to divert suspicion from himself. Furthermore, no one seriously suspects the Illuminati until Langdon shows up and starts “discovering” clues that are tailor-made to fit in with his paranoid fantasies. McKenna admits when he first meets Langdon that it was his idea to bring Langdon there. And indeed it was — Langdon becomes an essential but unwitting pawn in the plot, fanning the flames through his own gullibility, which very nearly leads to McKenna’s success. If we assume that McKenna’s real goal is to become pope rather than blow up the Vatican, it becomes obvious that he couldn’t accomplish it without Langdon on hand to stir everyone up. The misdirection part of McKenna’s plot depends on a pack of lies about the Illuminati — and because they are lies, no one in the Vatican is familiar with them. That’s why he needs to bring Langdon in.
So Langdon is not the brilliant hero of this film … he’s the patsy. The plot is so preposterous that only he would believe it.
Zing! Wish I’d thought of that.
Blaise Pascal was a great critic of Jesuit casuistry, and coined the pejorative adjective “Jesuitical,” meaning “crafty; practicing equivocation or overly subtle rationalization.” That may not have been fair to the Jesuits of Pascal’s day, but the image of the sly, deceptive Jesuit stuck.
More recently, among many orthodox Catholics, the Jesuit order has become associated with dissent and “progressive” theological heterodoxy, which, again, may or may not be fair.
Soon, though—if Last Temptation of Christ filmmakers Paul Schrader and Willem Dafoe have their way—the Jesuit name could carry another connotation entirely: hyper-violent criminal reign of terror?
In The Jesuit, a man comes out of prison in south Texas: “Neto” wants only a new life, far removed from his violent past. Just when it seems he might regain his wife and ten-year old son, she is brutally murdered and the boy kidnapped. Neto must abandon his dream of happiness in an explosive return to methods that made him the most feared man in Texas, and earned him the nickname … the Jesuit.
First Dan Brown imbued the name “Opus Dei” with sinister, murderous connotations; if people think of anything at all in connection with the name “Opus Dei,” it’s “albino assassin monk.”
Now, according to Schrader, if you’re a brutally violent criminal, the handle the world gives you is … “the Jesuit”?
What’s next? A Franciscan hit squad? Outlaw bikers called the Knights of Columbus? An international crime lord known only as “the Thomist”?
How about a thriller about a serial killer who plays Russian roulette with his victims, called Pascal’s Wager?
Whatever. Hey, who’s looking forward to Shrader’s follow-ups, The Mullah and The Hasid?
Some readers may have noticed posting at Decent Films has been a little light. I’ve been more than usually busy lately with various things that have kept me from posting here as often as I’d like. Partly it’s a number of exciting film-related projects that will eventually be noted here at Decent Films. Partly it’s been personal matters. I hope to pick up the pace again soon. (If you’ve written to me recently, or even not that recently, I probably haven’t responded. I’m sorry and I’ll try to get back to you soon!)
On the plus side, for the benefit of readers in Arizona, I’ll be in Phoenix this Friday, November 5, speaking at Xavier College Preparatory at 7:00 pm on behalf of the Emeth Society. I’ll be speaking on “Faith & Film: Truth, Beauty, & Catholic Teaching in a Mass Media World.” If you’re interested, the Emeth Society has an online flyer at their website. Admission is free! Hope to see you there.
Buy at Amazon.com
For almost a couple of years now, I’ve been crowing about the joys of “Shaun the Sheep,” Aardman Animation’s “Wallace & Gromit” spin-off series on British television—until now available on Region 1 DVD only in one-disc collections of six to eight episodes. Now at last all 40 episodes of the first season of “Shaun the Sheep” are available in a two-disc edition from Lionsgate and HIT Entertainment. If you’ve been holding out, now is the time to discover the joys of Shaun.
The seven-minute episodes feature a sheep named Shaun (get it?), originally introduced in the third “Wallace & Gromit” short, “A Close Shave,” as part of a flock on a small English farm with a trio of mischievous pigs, a tolerant farm dog named Bitzer who tries to keep order, a stereotypically nasty housecat, and a dim-witted, near-sighted farmer who speaks only in mumbles.
Shaun’s adventures are simple enough to engage the youngest viewers, but clever enough to entertain older kids and grown-up fans. It’s an archetypal example of how good family entertainment can be. The pilot episode, “Off the Baa,” sums up everything that’s great about the show: When a head of cabbage comes rolling into the field, Shaun takes an experimental bite—then kicks it up like a soccer ball, then begins juggling and balancing it like a show-off footballer … much to the fascination of the impressed flock, who soon split up into teams. When Bitzer comes over blowing his whistle, it looks like he’s going to break it up. But no, he’s just playing referee.
It’s that odd blend of naivete and sophistication that’s the hallmark of the show. The sheep are wide-eyed and curious about everything, but also savvy and familiar with the ways of the world. To cite a couple of Toy Story reference points, they combine the wonder and innocence of the three-eyed rubber aliens (“OoOOo!”) with the knowingness of Hamm the piggy bank (“Oh, I seriously doubt he’s getting this kind of mileage”)—all of course without any dialogue. In “Saturday Night Shaun,” when the farmer gets a new CD player and throws out his old vinyl records and player, the sheep examine the discarded equipment inquisitively and try playing frisbee with the records—but as soon as Shaun plugs it in and they get the tunes going, they set up a dance club in the barn, with Bitzer acting as bouncer (Pidsley the cat: on the list; Naughty Pigs: no).
The running gag is that while Shaun’s ovine posse get into all kinds of un-sheep-like escapades, Bitzer and Shaun collude to make sure the farmer never notices anything strange. Occasionally the sheep must make covert incursions into the farmhouse; other times the farmer dallies in the farmyard, dabbling in oil painting, sheep shearing or some other unwonted activity. Silliness ensues.
Like most of Aardman’s output, the “Shaun” episodes spoof various cinematic genres and and conventions. They also amount to modern animated slapstick silent films: The characters have no dialogue, except for animal noises from the animals and inarticulate grunting from the farmer. Although Aardman makes the most of the soundtrack, with clever effects and a generally spare score, Shaun and friends are essentially successors to the comedic tradition of Buster Keaton and Charlie Chaplin by way of “Road Runner” and “Tom & Jerry,” with a goofy creative twist that’s all Aardman.
I’m a huge fan of watching silent films with children (Harold Lloyd’s The Kid Brother or Buster Keaton’s The General are ideal starting places). Between Wall‑E, Mr. Bean and Shaun the Sheep, the joys of silents seem to be enjoying a sort of mini-resurgence in family entertainment.
Standout season 1 episodes include “Shaun the Farmer,” in which the farmer takes sick and Bitzer takes care of him (when he’s not playing video games), leaving the farm chores to Shaun; “Stick With Me,” in which the flock gets into some sticky situations with super-glue; and “Shaun Encounters,” in which a pair of aliens land on the farm at night and cause havoc.
Until the release of Season One, Shaun’s adventures were available only via one-disc collections of first eight and later six episodes. Once we have Season Two, those discs will be obsolete (give them away to friends!). It’s shameful double-dipping, but the material is so good they can get away with it. (Also, a small packaging annoyance: The case is twice as thick as a typical DVD case, though there’s no reason for it to be. Both discs are mounted on the back of the case with a typical overlapping media tray, so why not a standard width case?)
Less incidental is the fact that the Season One set, like all the earlier discs from Lionsgate, crops Shaun’s adventures to fullscreen—a pan-and-scan presentation of a show that was shot and originally aired in widescreen (1.78:1 aspect ratio), so part of the picture has been lost. Memo to Lionsgate: Family audiences have been happily buying widescreen animation DVDs and Blu-rays from Disney/Pixar, DreamWorks and Fox for years. Why are you skimping on Shaun the Sheep? He deserves better, as do we. (Readers who have an all-region DVD player can order Shaun’s complete adventures from UK Amazon and actually get the complete picture.)
On the plus side, the Lionsgate set offers the full complement of bonus features from the Region 2 edition, including a number of brief featurettes, a sing-along version of the opening song and a couple of simple games. You’ll probably watch those once; the episodes you’ll watch again and again.
Just a quick note drawing your attention to a couple of modest enhancements in the site that hopefully make it more usable.
First, in the left and right columns, the listings for “In Theaters” and “DVD — Recent Releases” are now arranged alphabetically rather than by order of release.
The big change is the DVD page. Replacing the previous DVD section (which was probably a little too complicated and never worked quite as hoped), the new DVD page offers a simple alphabetical listing of all titles recently released on DVD with ratings and blurb — essentially an expanded version of the right margin column, with additional context. As with the leftnav, the most recent titles are called out at the top, with all other titles arranged alphabetically.
Secondly, the In Theaters page has been reorganized on the same principles. The main listing is now alphabetical rather than by order of release, and most recent titles are at the top.
Please let me know what you think — about that, and anything else regarding the site.
Thanks to Simeon, volunteer developer extraordinaire, for making time in his busy schedule to make these updates!
Matt Damon and Cécile de France in Clint Eastwood's Hereafter
Are religious themes cropping up in more mainstream movies these days? Stephen Whitty, film critic for New Jersey’s largest newspaper, the Newark Star Ledger, thinks they may be. In a recent article Whitty connects the dots on a number of recent Hollywood offerings that touch on spiritual questions or themes of faith, from Clint Eastwood’s Hereafter, starring Matt Damon, to the Ed Norton/Robert De Niro prison film Stone, from Woody Allen’s You Will Meet a Tall Dark Stranger to the Disney sports film Secretariat.
“These aren’t tiny indies,” Whitty notes, “like the evangelical films that sprang up after The Passion of the Christ” (i.e., movies like Facing the Giants and One Night With the King). “No, these are the mainstream pictures … Faith-based film fans used to be seen as a niche audience. Now, in Hollywood, they’re just seen as the audience.”
If that’s true, it’s a potentially promising development, though the resulting films may be mixed. Obviously there’s no going back to the pervasive Judeo-Christian milieu of Golden Age Hollywood (though a film here or there, like Secretariat, may hearken back to that era). The actual content of these films, including the spiritual content, may be problematic, from the credulous spiritualism of Hereafter to what seems to be a muddle of Christian and New Age ideas in the sexually explicit Stone.
“C. S. Lewis once opined that rhetorical nonsense doesn’t become sense just by inserting the word ‘God’ into a sentence,” notes Ken Morefield in his review of Stone (Christianity Today Movies & TV). “Likewise, just because Stone is asking questions that are essentially ‘religious’ doesn’t necessarily transform a muddled movie into something insightful. Sometimes it just results in muddled ideas about spiritual subjects.” That doesn’t just apply to Stone, either.
Still, even muddled ideas about spiritual subjects might be better than no thinking about spiritual subjects at all. Hereafter may be a disappointment that condescends to believers and skeptics alike, but at least there’s an awareness of issues that matter. I doubt many viewers will find the movie’s answers convincing, but they might be moved to think about the questions. And a film industry that produces a number of problematic spiritually themed movies every year is more likely to produce a good one now and then than an industry that simply ignores spiritual themes altogether.
If there’s a trend at all, though, it’s a long, gradual one, not a recent surge. I can’t see that the current crop of spiritually themed movies is notably different from Hollywood offerings from the last several years. Hereafter is reminiscent of other (also mediocre) God/afterlife-haunted films like Dragonfly and Henry Poole is Here. Secretariat, from the Christian director of We Were Soldiers and the Christian screenwriter of The Rookie and The Nativity Story, plays like a cross between The Rookie and The Blind Side. Woody Allen has a long history of noodling religious themes, as does M. Night Shyamalan, the creative force behind Devil (a close relative of Signs).
I talked with Whitty for his story, and he’s got a couple of quotations from me in the piece, on the weaknesses that still affect Christian indie moviemaking, and on audience receptiveness to spiritual themes in mainstream movies.
In the Christian movie scene, alas, the message comes first, and story and character are secondary considerations. That’s a recipe for mediocrity. Truth has to emerge from a commitment to the characters and their story; it may be messy, but it will be more convincing. Here is a story I love: Marc Rothemund, the director of Sophie Scholl: The Final Days, is an atheist, but he told me, “I believed in God the whole time I was making Sophie Scholl.” That is, telling Sophie’s story was what mattered to him, and he put himself and his beliefs aside to do her justice. How many Christian would-be moviemakers outside Hollywood even understand that principle?
On the flip side, in the film world (including my department, film criticism) there is still a lingering perception of Christianity as the domain of reactionary moralists, Tea Party Republicans—or worse. (See Andrew O’Hehir’s outrageous assault on the perceived Christian/Tea Party/“master race” subtext of Secretariat for an obvious recent example. For another, see the savagely stereotyped culty Evangelical clique in the Emma Stone comedy Easy A.)
Granted, it’s a perception with some basis in actual Christian culture. Take the Christian review site MovieGuide, where all movie reviews begin with a lengthy content-advisory catalogue of positive and negative content and themes (preceded by a string of impenetrable abbreviations, e.g., “PaPaPa, OOO, FR, C, BB, L, VV, S, N, AA, DD, MM”). Too often at MovieGuide, “safe” movies get high marks simply for avoiding objectionable content. (Four stars for Legend of the Guardians: The Owls of Ga’Hoole and Prince of Persia? Three stars for Marmaduke and Alpha and Omega? Really?) Moral analysis at MovieGuide can verge on the Orwellian: Babies, one of the most delightful movies of the year, may have a “strong moral worldview,” yet it’s dinged for a “light humanist quality” (i.e., secular humanist) “because no mention is made of God.”
On the other hand, MovieGuide critics are capable of praising positive spiritual and/or moral dimensions even in movies with horrific content, such as Winter’s Bone and District 9. That’s a pretty striking indicator of the breadth of Christian interest in mainstream films of all kinds that take these matters seriously.
Christian moviegoers don’t necessarily want to be catered to (although it beats getting beat up on), nor do they necessarily want only safe, family-friendly, uplifting fare (although we could certainly use more well-done family entertainment). Many serious Christians are also serious moviegoers who would rather be challenged than merely affirmed—as would serious moviegoers of all stripes. Religious ideas, questions and symbols remain a potent part of the world we live in. There’s no reason for them to be confined to a religious movie ghetto.
Here is a strange thing. Secretariat, a quietly faith-laced Disney movie from Christian director Randall Wallace (We Were Soldiers) and Christian screenwriter Mike Rich (The Rookie), has bizarrely been catching politically tinged flak even more violent than last year’s inspirational sports film, The Blind Side. It also has an ironic if not improbable defender: Roger Ebert.
Take Jeffrey Wells’s comment at Hollywood Elsewhere: “I didn’t hate it—the racing footage is wonderful—but I loathe the white-a** Republican atmosphere. As I wrote last Sunday, ‘You never forget you’re watching a Randall Wallace family-values movie for the schmoes.’”
Notice that he doesn’t say there is a political white Republican agenda. It’s just the atmosphere, the cultural milieu, that he loathes. This isn’t politics per se, it’s mere cultural tribalism: Wells is aware that this is a movie made by people who are different from him in ways he disdains, and he’s going to disdain them for being different even if no substantial reasons for disdain present themselves.
However, Wells approvingly quotes Salon.com critic Andrew O’Hehir, who perceives the hidden agenda in Secretariat—and holy smokes, is it ugly. I’ve appreciated O’Hehir’s work for years, but this review really pulled me up short. He writes:
I enjoyed [Secretariat] immensely, flat-footed dialogue and implausible situations and all. Which doesn’t stop me from believing that in its totality “Secretariat” is a work of creepy, half-hilarious master-race propaganda almost worthy of Leni Riefenstahl, and all the more effective because it presents as a family-friendly yarn about a nice lady and her horse.
Did he say master race propaganda? He did—and there’s more …
Although the troubling racial subtext is more deeply buried here than in “The Blind Side” (where it’s more like text, period), “Secretariat” actually goes much further, presenting a honey-dipped fantasy vision of the American past as the Tea Party would like to imagine it, loaded with uplift and glory and scrubbed clean of multiculturalism and social discord. In the world of this movie, strong-willed and independent-minded women like Chenery are ladies first (she’s like a classed-up version of Sarah Palin feminism), left-wing activism is an endearing cute phase your kids go through (until they learn the hard truth about inheritance taxes), and all right-thinking Americans are united in their adoration of a Nietzschean Überhorse, a hero so superhuman he isn’t human at all.
Well, of course Secretariat “isn’t human at all”—he’s a horse. (Of course, of course.) And yes, he was a superhorse, and yes, all Americans—right-thinking and otherwise—were united in their adoration back in 1973. There is something twisted about leaping from that to “master race propaganda.” Behind this I suspect what could be called Godwin’s fallacy: the dangerous habit of critically comparing the other side to Nazis.
I think the most telling bit is O’Hehir’s reference to Diane Lane’s character, Penny Chenery, as “a classed-up version of Sarah Palin feminism.” For one thing, is there something wrong with “Sarah Palin feminism”? Is it Palin’s feminism O’Hehir objects to—the can-do, independent, have-it-all, public style that Camille Paglia has praised—or her political views?
And for another, O’Hehir’s tone brims with the obssessive fury of a political junkie who is just so beside himself with rage at Glenn Beck and Fox News, and is so livid at the thought of the November elections, that not only can he not put the subject aside long enough to enjoy an inspirational movie about a nice lady with a fast horse, he is outraged at the thought that anyone else might, either.
Andrew O’Hehir of Salon is a critic I admire, but he has nevertheless written a review of “Secretariat” so bizarre I cannot allow it to pass unnoticed … we do not find proof that Obama is a Muslim Communist born in Kenya. No, the news is worse than that. It involves Secretariat, a horse who up until now we innocently thought of as merely very fast. We learn the horse is a carrier not merely of Ron Turcotte’s 130 pounds, but of Nazism, racism, Tea Party ideology and the dark side of Christianity.
Oh, and I forgot the Ku Klux Klan: “The movie itself is ablaze with its own crazy sense of purpose,” O’Hehir writes, “…as if someone just off-screen were burning a cross on the lawn.” …
I question if a single American, right-thinking or left-thinking, thought even once of Secretariat as a Nietzschean Überhorse. Nor did many consider the Triple Crown victories as a demonstration of white superiority, because race horses (which seem to enjoy winning for reasons of their own) are happily unaware of race. …
Wait. There is yet another sinister subtext to be exposed in the film. O’Hehir mentions that Randall Wallace, who directed the film, “is one of mainstream Hollywood’s few prominent Christians, and has spoken openly about his faith and his desire to make movies that appeal to ‘people with middle-American values’.” To which I respond: I am a person with middle-American values, and the film appealed to me. …
When O’Hehir says Wallace is “one of mainstream Hollywood’s few prominent Christians,” what exactly does he mean by that? That one is too many? Surely the Hollywood mainstream has room for several prominent Christians? Surely it is permitted for Wallace to speak openly about his faith? …
Many of the comments in Ebert’s blog are almost equally entertaining. Eventually O’Hehir himself commented—and Ebert responded to his comment. Does their exchange illuminate or obscure the issues? What do you think? Comment at NCRegister.com.
I’m not sure, but I think that Babies is the only movie this year that I’ve already seen three times. (Movies I’ve seen twice include Inception and Iron Man 2, the latter of which arrives on DVD today.) The first time was my initial screening. After it opened, I brought my whole family to see it in the theater—and we were joined by friends from church—another family with six kids, so there were sixteen of us in all. (We were easily the majority of people in the theater.) And last week I received an advance DVD screener, and my whole family sat down and watched it again. (My second viewing of Iron Man 2 was also via advance screener, watching with Suzanne, who hadn’t seen it in theaters. Suz sees a lot of movies that way.)
Over three viewings, certain images stand out more and more. Some of my favorite moments highlight eye-opening cross-cultural differences, such as the newly postpartum Mongolian mother with newborn Bayar in her arms straddling her husband’s motorcycle behind him for the journey from the clinic back to their yurt. Others are universally recognizable experiences that are the same for grown-ups and babies all over the world, such as sleepy Ponijao in Africa being repeatedly jerked away by her own nodding head. Of course Balmes often contrasts one image with another, the highlight being the intercutting between Bayar’s delight at getting his mitts on a roll of toilet paper and Mari in Japan’s despairing tantrum over her frustration with blocks. At one point she picks up a book, trying to distract herself, but the problem with the blocks has made the sun dark in her eyes, to borrow a Calormene idiom, and for the moment nothing can be right.
Today on the first hour of “Catholic Answers Live” (6pm–7pm EDT): Waiting For Superman; Legend of the Guardians: The Owls of Ga’Hoole; The Town; Easy A; Devil and more. Listen live!