Hard to recommend. This was a well done political thriller about an attempted assassination of some president of an African country while he is at the U.N. building in New York. Brilliant performances by Sean Penn as the cop and Nicole Kidman as the Interpreter who overhears the assassination plot. What I liked about this film was an underlying theme that was explored about the effect of revenge on the soul of the avenger. Nicole’s brother is killed by this African president’s henchmen, a president whose origins is as a Nelson Mandela type figure who began as a freedom fighter for his country’s people, but when he got into power, he turned into a killer himself, slaughtering those who were against him. Well, we find out about a tradition of this African tribe who, when they catch a killer, they bind him and drop him in the river, and if the survivors of the victim want to, they can either let him drown as justice, or jump in and save him with mercy. If they save him, then the crime is atoned for and the criminal has redemption, but if they let him drown, they may have their justice, but they will live with the impact of their decision for the rest of their lives. Of course, this very parable is what this movie is about, as Nicole discovers the president killed her brother and then she must decide if she wants to kill the president or let him go. A saying, “Vengeance is a lazy form of grief” is said in the movie, along with some other very clever lines. I think this is a very thoughtful theme. We all too often think revenge will get us justice, but we do not think about its effect on us after we do. I think that this is also somewhat biblical. For example, as I understand the Law of God, the punishments prescribed by God for most crimes are victim oriented, meaning that they are maximum penalties (eye for an eye), but not absolute, in that the victim’s survivors do not have to press for the maximum penalty, UNLESS the Scriptures mandate a punishment. So, for example, God gives the right for a victim of an adultery to press for capital punishment, but this is not necessary if they choose forgiveness. But other crimes, like murder contain the pleonasm, “Dying he shall die,” which indicates a mandated penalty that the State must enforce regardless of individual charges. Biblical law is victim oriented. A great Must Read book that applies God’s Law to modern day terms is “Victim’s Rights” by Gary North. Boy, talk about the confusion that is cleared up in legal jurisprudence if people would just use the Creator’s directions when constructing legal theory. Anyway, there is one caveat that I would add. That is, biblically, the victim CAN experience just retribution in state enforced punishment and walk away feeling good knowing that justice is done and crime is atoned for. The difference is that the Bible says this is to be done through due process. That is, the victim can throw the first stone as long as the crime has gone through proper channels judicially through the State. The State is God’s ordained means of justice, NOT the individual. This is where so many miss the beauty and goodness of biblical justice. Eye for an eye is not about personal revenge, it is to be administered judicially through the state. Personal revenge is sin, punishment through the State is God ordained justice (Romans 12:17-13:6). So many think that Jesus was denying this “lex talionis” principle when he said to the accusers of a woman caught in adultery to cast the first stone if they were without sin (John 8). But a careful look into Old Testament law will yield the fact that Jesus was REINFORCING biblical law, not contradicting it. You see, the men who caught the woman were not following due process, they were being vigilantes operating outside the law courts. This was not biblical. AND the Law said they were supposed to stone BOTH parties of an adultery, so they were not following the Law, they were being partial. Also, the Law said that those who engaged in capital penalties on others could not themselves be guilty of a known crime (Deut 19:15; Num 17:7). All this to say that biblical justice can be experienced without soul guilt if it is done through due process of law. So vigilante vengeance is not biblical but capital punishment through the State is biblical. So when Nicole has the gun pointed at the president who killed her brother and many others, she forces him to read his own words he wrote about justice before he came to power. It’s a powerful thematic moment, but ultimately did not ring true to me because we see this genocidal monster “realize” what he had done wrong, and I just don’t believe that these monsters ever do recognize such evil in themselves outside of a religious conversion. You see, without God, there is ultimately nothing but power, might makes right. Without God, morality is arbitrary. This brings me to the main problem I have with the worldview of the film. The U.N. is depicted in this movie as the answer to our world’s hatred and evil. As if the U.N. represents the harmony that all nations should have. Nicole says, “Words and compassion are a better way, even if it’s slower than a gun.” Well, the bottom line is that a gun is the only thing that will stop genocidal maniacs, tyrants, and maniacal dictators. There simply is no reasoning with such evil men. Neville Chamberlain cried for peace and harmony in our time through compassion and words, and let Hitler almost destroy and kill them all, It took the “gun” of Winston Churchill to save them. Some evil can only be stopped by force, that is just and righteous force. The plain reality is that the UN is NOT about peace and harmony among nations, it is about two things: The dismantling of US hegemony and global socialism. THAT is not peace and harmony that is bigotry, hatred and tyranny. Hey, the UN sub-commission on the protection and promotion of human rights contains such shining beacons of human rights violators as Cuba, China, and Pakistan, and THEY talk about human rights as their hands are dripping with the blood of millions? I think not. The Interpreter is unfortunately self-righteous bumper sticker propaganda for one world socialism, or in other words, Communism. Too bad, cause it was a well-written political thriller, as genres go.
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Chocolat
Not Recommended. My brother-in-law recently did a detailed analysis of this movie to point up how it is an anti-christian movie. I thought it was very helpful, so here it is:
I guess my main concern was with the underlying message of the film. Yes, you are correct that it was a good portrayal of being bound by legalistic ways, but unfortunately the answer to the problem was not freedom through Christ (or anything to do with His attributes or character). Freedom was found through self expression. Or as the director stated in the bonus materials, “This is a story about temptation and not denying yourself the good things in life.” In other words, the age-old, “If it feels good, do it.” What could have been a good morality tale ended up being yet another manifesto of existentialism and humanism. (BTW, the director—Lasse Hahlstrom—also directed “Cider House Rules” which was more of the same.)
Every drama has a hero or messianic figure, and Vianne (Juliet Binoche) was the “savior” of this movie. She is presented as sweet and kind and all-embracing, but has obvious disdain for anything to do with the church or the people’s chosen attempts to be more godly (lent, fasting, etc.). Anything coming close to self-denial or self-discipline is represented as bondage. Vianne is the standard “against-the-rules” type along with Armaund (Judi Dench), the other character who is presented in a positive light. Between the two of them, their godless ways are flaunted instead of being presented as shameful, sinful or unwise. Worse, they teach their rebellious ways to others. Consider…
• Armaund shares a story with Vianne about sneaking out at night as a youth and swimming naked with her boyfriend. They both laugh with glee that she didn’t get caught by her mother.
• Armaund slams her daughter Caroline for not allowing her to see her grandson Luc because Caroline feels Armaund is a bad influence. Armaund frequently denigrates Caroline’s choices and modes of parenting, while Vianne empathizes with Armaund instead of supporting Caroline’s wishes and parental authority with the child. Worse, Vianne goes on to lure Luc into visiting (even after he tells her his mother has forbidden it) by asking him to draw a portrait of Armaund. He does this deceptively behind his mother’s back while she is at the hair salon.
• During one of Luc’s visits to the chocolate shop, he is offered some cake. “I’m not supposed to,” he says (because of lent). Armaund replies, “Don’t worry so much about ‘not supposed to’.” The boy eats it. Armaund says, “Live a little.”
• When the inevitable confrontation happens with Caroline finding out what’s been going on, Armaund sarcastically tells her, “Blame me for corrupting him with cocoa.” Caroline replies, “How dare you, Mother?” Armaund says, “Look at him, he’s fine.” Caroline turns to Luc and says, “Come with me.” Luc says, “I don’t want to.” Another character chimes in and says, “He’s happy here. It’s good for him.” Thankfully, Caroline responds, “I will decide what is good for my son.” Yet the whole scene paints Caroline as cruel and stifling, as if Luc is in some kind of abusive situation.
• The boy continues his deceptive ways by sneaking out for his grandmother’s birthday party. No consequence is portrayed for any of his deliberate disobedience.
• Armaund states proudly, “I swear. I read dirty books. And I won’t go to church.” She gives Luc a poetry book with poems that read, “Dead bodies, skin rotting, worms in my armpits and in my hair.” Yet she doesn’t seem to think she is a bad influence on her grandson. She dies after what she terms “a perfectly decadent evening” but is another “positive” character in the film.
• When Anouk (Vianne’s daughter) is teased at school for not having a father, she responds, “I have a father. We just don’t know who he is.” As if this is something the child, or anyone else, should consider normal.
• Vianne visits a woman who says, “He thinks you’re a bad influence.” The woman is speaking of Reynaud (Alfred Molina), but Vianne thinks she is talking about her husband and says, “You don’t have to listen to a word your husband has to say.” The woman also asks Vianne, “Does my husband know you’re here?” Vianne replies, “Does it matter?”
Another major concern I had was the way the church was portrayed. I know that Reynaud was the villain, but since the church was in his back pocket, it was also vilified. And we’re not talking about a “cultic” church like LDS or something else like Islam. This was Catholicism, basically the only other major faith in the world that adheres to the main tenets of Christianity. Anything to do with the church was usually presented irreverently or as something stifling. Consider…
• During the sex scene between Vianne’s parents, the voiceover said, “Now George had been raised a good Catholic. But in his romance with Cheetza (sp?), he was willing to slightly bend the rules of Christian courtship.”
• An abusive husband says, “We are still married in the eyes of God.” His wife replies, “Then He must be blind.”
• After an attempt at rehabilitation, the abusive husband said, “God has made me a new man.” But the man hadn’t really changed, so does that mean God is powerless? Although change can indeed occur through accountability at a Christ-centered church, the church was portrayed as weak and having no influence.
• Anouk asks her mother, “Why can’t we go to church.” Vianne replies, “You can if you want. But it won’t make things easier.” Once again, ‘do whatever is right for you’ followed by another slam against the church.
• When Reynaud finally appeals to God for help, he seemingly appears very contrite, crying out, “Tell me what to do.” But then he immediately looks up at Jesus on the cross and then down at the letter opener in his hand, then heads off to the chocolate shop with a somewhat manic look upon his face. So what was that supposed to mean? God told him to kill? He violently stabs at the chocolate, but then submits to its pleasure, gobbling it like an animal, eventually literally writhing around in it. He tries to “kill” his enemy, as represented by the pleasures of chocolate, but gives in to its allure. Again, this would seem to represent that following God is useless because one will always be powerless to innate sinful urges.
• Probably the most disturbing moment was the sermon on Easter Sunday, which followed the movie’s climax and summed up the whole film. The priest said, “Do I want to speak of the miracle of our Lord’s divine transformation? Not really, no. I don’t want to talk about his divinity. I’d rather talk about his humanity—how He lived His life here on earth, His kindness, His tolerance. I think we can’t go around measuring our goodness by what we don’t do, by what we deny ourselves, what we resist, and who we exclude. I think we’ve got to measure goodness by what we embrace, what we create, and who we include.” The blatant humanism here is appalling. To downplay Christ’s divinity in light of His humanity is chilling. And the irony of it all is that it was Christ’s divinity that allowed Him to be all-embracing and loving and all these other things the movie is saying we’re supposed to enact through our humanity. Furthermore, goodness is not measured by our actions or deeds; it is measured solely by the Word of God. Even if we were able to achieve all this “goodness” in our own strength and flesh, it would still be as filthy rags apart from the righteousness of Jesus.
• Immediately following the sermon, the final voiceover says, “It was certainly not the most fiery or eloquent sermon. But the parishoners felt a new sensation that day—a lightening of the spirit, a freedom from the old tradition.” A sermon that told them not to focus on the divinity of Jesus Christ is what lightened their spirits and brought freedom. Go figure.
Sahara
Kinda recommended for popcorn fun only. I was a Dirk Pitt fan when I was a kid. And this is a an okay standard action fare type stunt film. But I don’t really have anything to say about it because it is not inspirational in any way. It’s just a bunch of action and stunts and treasure hunting. Why do I go to these films? I gotta say that these action movies are getting more and more boring to me. Action, action, action, stunts, stunts, stunts, special effects, special effects, special effects. This is all very empty to me. I am more intrigued by drama, humanity, emotion, relationships, people, human beings and the meaning of life. Okay, so that’s my bias. But life is short, and I want entertainment that challenges me as a human being to be better, to examine my life. All right, yes, the simplest version of inspiration to fight evil is the action movie. And that in and of itself is good. I won’t deny that. But I just want more. I want a deeper meaning or at least a rudimentary exploration of the complexities of human nature. Life is too short to waste it on empty action.
Sin City
Not Recommended. This is a visual masterpiece of cinematography that more accurately translates a black and white graphic novel into cinema than any other movie has ever done. Splashes of color on a black and white canvas, harsh contrasts of light and dark, surreal landscapes, exaggerated characters. It is inescapably brilliant in this aspect. BUT it is pornography. And I don’t mean merely the sexual softcore porn that litters its celluloid like a two hour Victoria’s Secret Ad on steroids, but the violence is also pornographic and exploitative. This is a juvenile male fantasy, with all the women as sex objects—literally all of them tramping around in leather and lingerie AND shooting guns — the two male idols of the mind. And it is an orgy of revenge without redemption. The most extreme violence you can imagine contextualized as legitimate because it’s less bad guys giving it to worse bad guys. And for that reason it will do extremely well in the box office and monstrously better on DVD with all the myriads of teenage youth who should NOT be ingesting this filth watching it by the droves. And they wonder why kids are killing kids with guns in our schools. Its various episodes are all based on vengeance. Mickey Rourke is Marv, a killer who goes on a killing rampage of criminals connected to the murder of the only woman who would sleep with his ugly mug, a high class call girl. And because the ultimate killer is himself a sick cannibalistic serial killer who mounts the heads of his victims on the wall, well, it’s supposed to be all right that Marv cuts off the cannibal’s arms and legs and keeps him alive to have his own wolf eat him alive. And oh, yeah, the serial killer, of course, READS A BIBLE with a cross on it, once again linking Christianity with the worst of the worst in humanity. Religious bigotry at its finest. And this is the kind of stuff in this story that doesn’t stop. Another episode of Josh Hartnett as a contract hit man who mulls over the beauty and value of certain women before he kills them for his employers. Clive Owen goes on a murderous rampage to protect a town of prostitutes who are themselves murderous rampagers. But it’s all supposed to be moral because after all, it’s women beaters, women murderers and women haters who are getting their comeuppance. Bruce Willis is a cop, who is the closest thing to a good guy in this movie, but even he is a cynical nihilist just like everyone else. And his revenge on bludgeoning a yellow criminal monstrosity is supposed to be okay as well because it is in the defense of a little girl who was going to be raped and murdered by the “yellow bastard” as he is called. So this depraved little series of tales is diabolically genius because it cloaks its nihilistic evolutionary survival of the fittest worldview in a pseudo-moral context. It makes the villains all woman haters and woman abusers so extreme that the moral protective sense in all of us wants to see them pay for their evil. But the problem is, it is all entirely violent vigilante revenge outside the law. It is a nihilistic world of the flesh without grace anywhere. Even all the religious characters are frauds (A corrupt priest and a cannibalistic cardinal). There is no hope outside of sheer brutal violence driven by hatred. Now, I would not say that I do not want all these evil men to die. I do. In fact, I know some people whose young girl was killed by a serial killer, and I can tell you that the God of the Universe gave lex talionis (“eye for an eye”) for a good and just reason. Because rape and murder and certain other crimes can only be justly paid with by another life. BUT that God also dictates that it must only be accomplished through due process, through the law, NOT through vigilanteism (Romans 12:19-13:4). God says that the state is God’s avenger, not individuals. If you want a more in depth examination of this concept, see my article, A Time For Revenge? Vigilanteism and Movie Justice in A Time to Kill. The difference between this movie and a moral movie about revenge, like Man on Fire, is that Man on Fire acknowledges that inner lust for personal revenge that we all have for the wicked of this world, but concludes that it does not accomplish true justice. It begins with vengeance, but ends with grace. Man on Fire illustrates atonement and grace from God found in the midst of this dark world. Sin City exploits an inner sense of justice against evil into a rationalization for unjust violence. It is a religion of carnage, where personal revenge, not grace or justice is what accomplishes redemption. Sure, there’s concern for girls and woman in this movie, sure there’s self-sacrifice and even substitutionary atonement (one dies that another may live) and protective instincts for the “innocent.” But there is no transcendent context for these values. They take place in a Godless universe of nihilistic meaninglessness, of kill or be killed ultimacy. At best, this is an example where, as Francis Schaeffer would say, the unbelieving artist cannot escape God’s image in himself. These reflections of redemption are echos of the conscience in the writer, that bleed out, regardless of how hopelessly lost he is. Even the depraved lovers of violence know the universal need for redemption. But I would say that the dominant ethic of this movie is ultimately: kill or be killed.
Romans 12:17 Never pay back evil for evil to anyone. Respect what is right in the sight of all men. 18 If possible, so far as it depends on you, be at peace with all men. 19 Never take your own revenge, beloved, but leave room for the wrath of God, for it is written, “Vengeance is Mine, I will repay,” says the Lord. 20 “But if your enemy is hungry, feed him, and if he is thirsty, give him a drink; for in so doing you will heap burning coals upon his head.” 21 Do not be overcome by evil, but overcome evil with good. 13:1 Let every person be in subjection to the governing authorities. For there is no authority except from God, and those which exist are established by God. 2 Therefore he who resists authority has opposed the ordinance of God; and they who have opposed will receive condemnation upon themselves. 3 For rulers are not a cause of fear for good behavior, but for evil. Do you want to have no fear of authority? Do what is good, and you will have praise from the same; 4 for it is a minister of God to you for good. But if you do what is evil, be afraid; for it does not bear the sword for nothing; for it is a minister of God, an avenger who brings wrath upon the one who practices evil.
p.s. Oh, and by the way, I never thought I would see a movie that had more useless voice-over narration than Million Dollar Baby, but Sin City beats it hands down. I realize that was part of the translation of the graphic novel, which relies heavily upon thought bubbles and narration, but it only works half the time. The other half, it’s just telling us what we are seeing the character do anyway. I love voice-over narration, but this is the kind of movie that gives it a bad reputation.
Robots
Not really recommended. This CGI animated story about a small town robot that wants to go to the big city and be a famous inventor was a good little cartoon with some good morals. The moral themes were pretty obvious here from the mouths of the characters: “Follow your dream, and never give up,” “a dream that you don’t fight for can haunt you the rest of your life,” and “You can shine, no matter what you’re made of” (The old tagline for the company of inventions that the hero wants to be a part of). These are simple but good inspirational morals about the value of each and every person, even the oddballs, as represented in this story by oddball robots that are made of spare parts. But it also contains a theme of comparing the modern greedy corporate exploitation of the consumer with the old school understanding of “see a need, fill a need.” As one of the robots says, “It used to be about making life better. Now, it’s about money.” The new head of the biggest company decides to abolish making spare parts for robots to fix themselves and to advertise “Why just be yourself, when you can be NEW!” or something like that. In other words, they are going to only make upgrades, and robots who can’t afford it become outmoded and are sent to the chop shop, where the villain’s evil mother destroys and burns up all such old robot pieces. She is the Hilary Clinton of the corporation. Now, this obviously has a Marxist bent to it with it’s reduction of people to poor robots being economically exploited by the rich, but it’s not all bad or entirely false. What made it so unmoving to me personally was the inherent inhumanity in robots. Even though they were anthropomorphized and even though the themes were very human, at the end of the day, these are ultimately contraptions of mechanical soullessness. I could not ultimately care for them because they are not soulish animals. No matter how much you “humanize” them, they simply aren’t alive. It’s one thing to anthropomorphize animals like Finding Nemo and Ice Age. But these are animals that have souls, living organisms that have that link with humans in their “breath of life.” But I’m sorry, robots just don’t draw my affection. They may work as comic relief, as in Star Wars, but not as a materialistic world of machines. This is another argument against Darwinism and the claim that consciousness is merely a higher order of complexity or organization of matter without transcendence. But why did Toy Story work then? I think because even though they were toys, they were toys of people (Buzz and Woody) as well as animals (Godzilla, etc.) So the few purely mechanical toys that were not of living things were clearly overshadowed by the toys of “living things.” I am not against anthropomorphism, I’m just saying that anthropomorphizing robots is not satisfying to me because the gap between lifeless robots and humans is too great to draw human affection, whereas the gap between humans and animals is not.
The Downfall
Recommended. I confess a morbid fascination with what went on down in that Fuehrerbunker during the last ten days of Hitler’s Germany. And this German movie delivers with brilliance and verisimilitude. Bruno Ganz as Hitler is absolutely incredibly frighteningly real. In fact, all of the men, Himmler, Goebbels, and others are eerie look alikes that accomplish the goal chillingly to the bone. The descent into madness of this titan of evil accurately portrays the irrationality of evil. When a man is so consumed with evil motive, reality will soon crush him, as it does here on Hitler. And this is one of the best Anti-evolution movies ever. As Hitler and his high men use the language of Darwin, we see the logical fruit of the atheist evolutionary worldview. They weed out the weak and unfit members of society. They trample over the people who are in the way of their pursuit of Triumph for the German people. When evolution allegedly destroys the foundation for all moral claims and truth claims by reducing reality to chance and eliminating Intelligence, then there is simply absolutely NO moral outrage that is justifiable against Nazism. If it is the strongest, then it kills the weak to further its survival. You can’t have it both ways. You can’t say there is no morality or truth because of your theory and then cry “unfair” or “false” when a society lives consistently with that dictum. Who are you to impose your morality on the Germans anyway? Or to impose YOUR version of evolution? Your moral views have already been reduced to conventions of your own ignorance and chance. And your views of what evolution SHOULD BE are simply social constructs YOU created for your survival. Which is merely in competition with others’ views. And may the strongest man win. Cooperation is the morality of the weak in a consistent evolutionary worldview. That’s one complaint I had about the film: No Nietszsche references, another origin of Nazism and 20th century evil. These mealy mouthed Western evolutionists who claim there is no morality, survival of the fittest, etc. etc. and then cry like babies that societies take that belief to its logical conclusion? They complain when the Supermen move beyond good and evil? Namely the weeding out of the weak and sickly members of society for the health of the whole. So, the fact of the matter is that atheist evolution gives justification to genocide and Christianity is the only bulwark against such thinking. These antichrists who attack religion (read: Christianity) as evil and the cause of evil in this world, are so stupid not to realize that they are letting the pit bull out of the cage, and there is nothing to protect them any longer. Well, I simply say, what did you expect when you convinced people that there is no transcendent morality and hell is a fantasy and people are mere animals? Did you expect them to act morally and polite? Or according to YOUR morals? The darkness of loyalty to National Socialism as political salvation is frighteningly true to the Far Left Wing religious zealots in this country who believe that the government will save us, save the poor, save the sick, save the old, save us from ourselves. instead of us taking responsibility for our own lives. We see the young woman hero of the story follow her Fuehrer like a Monica Lewinsky, just worshipping his saviorhood, just dying to light his cigar to serve his greatness. To see the dedication to evil that occurs in those who are not dedicated to a Transcendent God, but to some political salvation was scary. Goebbels’ wife kills all five of her children because she can’t imagine them living in a world without National Socialism. It was just brutal. One saving grace of the film was how much suicide was accomplished by so many of these true believers in political salvation and National Socialism. In a twisted way, it was good to see the self-destruction that such loyalty breeds in Socialism. Made me think of the politicians dedicated to their political salvation religions rather than the living God and His Law. There are only two choices in government: Theonomy or Autonomy. If man is not ruled by God’s Law, then he will be ruled by Man’s Law, and man’s law always ends in tyranny. That made me truly frightened for my country.
Be Cool
Not Recommended. Chili Palmer leaves the movie business to try his hand in the music business. A couple of great jokes in this sequel to Get Shorty. Especially a great intelligent response by a Hip Hop producer to a Russian who calls him the N-word. The producer describes a litany of creative and economic influence of the black culture on the history of America – and then shoots him. On the one hand, very clever, on the other, the very problem with this story and its merchants of cool. I’m sorry, but ghetto gangsta culture is NOT COOL. It is EVIL. Its promotion of hatred, racism and violence against women and authority and violence in general, is just not worthy of be considered “cool.” And for that matter, neither is gangster and Hollywood culture. I like movies that mock those cultures, but not CELEBRATE them. And that’s why I could not enjoy this film. It seemed to have more fun with betrayal, murder, gangsters and gangstas than it did about any sense of doing the right thing. Yes, Chili Palmer is cool in that he talks his way out of most confrontations rather than using force . But HE REMAINS A CRIMINAL without repentance, and therefore is not a worthy hero to elevate or celebrate.
The Jacket
Recommended with Caution. A thought-provoking postmodern film that uses the questioning of reality and dreaming as a vehicle to face our mortality and make the best out of life. But it is a dark thriller, with a couple inappropriate flashes of nudity in it. Adrien Brody plays a good guy Gulf War vet who is picked up hitchhiking and has a near fatal head injury when the driver kills a cop. Brody’s character, Jack Starks, has amnesia and is framed for the shooting, and because of his amnesia and bad Gulf War experience he is labeled criminally insane and ends in an insane asylum. While there, he undergoes some rather controversial “therapy” called “the jacket” that is likened to sensory deprivation by a behavioral psychologist, Dr. Beck, played by Kris Kristofferson. But the jacket experiences in some bizarre twist of reality, enable Jack to time travel into the future, where he meets and falls in love with a girl from his past who has grown up, played with swanky hardness by Kiera Knightley. Jack’s search to discover the cause of his death in the past by researching the facts while in the future has a very fatalistic edge to it at first, but ends up with a hopeful worldview of freedom to change behavior. What I liked about this film was how it portrayed Dr. Becker, the behaviorist and physicalist, who believes that our problems are the result of chemical imbalances. This whole worldview is shown to be the darkness that it really is, and it shows the toll even on the doctor as we see him always taking drugs himself to calm himself down. In other words, behaviorism and sociobiology are slave systems for worldviews, and they deny the strength and responsibility of the human will. And guess what? They are still creeping around the halls of our institutions. I met a sociobiologist when I did research at a hospital for the criminally insane. These social engineers, these “world controllers” are nothing more than Monsters in white lab coats. Or as C.S. Lewis said, they are torturers in the name of compassion because of their worldview that defines our beliefs or behavior as resulting from our chemicals. Therefore, they must experiment with our chemicals “for our own good” to get us “better.” I just read in a Wired article about a sociobiologist criticizing 12 step programs as destructive while he offered his instant gratification chemical solution to solving addiction, entirely ignorant of the human dimension of who we are. These Nazis actually think they are helping us. As Becker says in the film to Jack that he puts him in a bizarre torture device that it is “with every intention of helping you.” Jack replies, “That justifies it?” I guess you’d call modern psychology “Compassionate Fascism.” Another thing I liked about this film was its postmodern use of questioning our notions of reality. A doctor tells Jack, that “his mind doesn’t have the ability to distinguish between reality and delusion” and yet, the reality is that THESE scientists, these modernist social engineers are the ones who are deluded in their understanding of reality. I consider that to be a profound truth about our society that worships science and it’s high priests. I also like movies like this that make us face our death because it wakes us up to what is really important in life and whether we are using our time wisely. One of the inmates says, “I’m in here because of a nervous condition. Who wouldn’t be nervous to look at themselves?” In other words, this isn’t about crazy people, it’s using crazy people as a metaphor for ourselves. After all, we are all a bit screwed up, if we are really honest with ourselves, eh? At the end, Jack says a string of things, some of which sounded like gobbledy gook, some of which I caught and appreciated. He says, “Life can only begin with the knowledge of death. When you die, there’s only one thing you want to happen. You want to come back.” Very true. As the clock ticks down to Jack’s death that he knows will happen soon, he seeks to help several others in a way that changes their lives forever for the better. And that’s what makes this otherwise dark movie into a hopefully realistic movie. Jack discovers a woman’s life is going to be lost through her own negligence and he seeks to convince her that “things are not as bad awake as they are asleep” (Another obvious metaphor to the woman’s addicted lifestyle and hardness of life). And then the very end of the movie is the phrase spoken by Jack’s love interest, “How much time do we have?” In other words, we don’t have much time, our deaths are imminent, so make the most out of this life, live it, and love others, don’t squander it. Because Jack’s interactions with people bring redemption into their lives, this movie transcends the desulatory nihilism of fate that other time travel movies sometimes promote (such as 12 Monkeys). One thing I did not like about the movie was its negative view of God that they just had to force into the dialogue. Out of the blue, this sociobiologist, Becker tells Jack, “I’ll say a prayer for you, Jack. Maybe God will pick up where medicine left off.” And Jack replies, (that is, the hero of the story), “Sure you know where to find him?” This of course is the traditional nihilism that sees the suffering universe as without God. Later, Jack finds Becker at church. He tells him, “How does that help? God doesn’t remember?” Well, this is a great line of conviction upon a man who does evil to people and tries to escape his guilt, but considering the fact that they are linking it with a bad guy, that makes it a negative indictment of Christianity, not merely abused religion. Especially since the hero manifested his negative attitude toward God. If you don’t portray good religion in a story, just bad religion, then you are saying there is no good religion. The irony is that it should have been the other way around. The hero should have had some kind of religious faith in the dignity and freedom of man – because THIS IS THE ONLY LEGITIMATE OPPOSING BELIEF SYSTEM to the secular humanistic vision of behaviorism. Christianity is the only worldview that gives humanity dignity and value. It was not consistent with Becker’s belief system to go to church because sociobiology has no place for religious beliefs as truth. To them, it is a chemical abberation. The only way that would have worked would be to make the hero a man of faith somehow, so that the villain’s hypocritical pursuit of religious atonement becomes a validation of the truth of the opposing viewpoint, rather than just another jab at religion in general. But alas, you can only write from what you believe and if the filmmakers do not have redeeming faith, they would certainly not understand the true answer. So, it results in a humanistic work your way to heaven redemption of loving your neighbor. So, I guess it’s half true. But of course, a half-truth is still ultimately a LIE.
Because of Winn Dixie
Partially recommended. A well-intentioned family film by Walden. Walden’s Holes was mediocre, and this one is a little better. It’s all about a young girl whose preacher father moves them to a small rural town in the South. So it’s all about coming of age and learning to love your neighbor. The little girl, Opal, is befriended by an unclaimed dog on the loose, she names “Winn Dixie” because it was the first thing that popped into her head at the grocery store by the same name. So the dog becomes her best friend and because of its slapstick antics, gets her in trouble and rescues her time and again. It’s got some cute scenes and warm fuzzies all over it. I salute the attempt at good morals in the movie, as Opal becomes an agent of grace in a small town where everyone has something they are hiding and are sad about. This sadness alienates them from each other and turns them into stereotypes in other’s eyes. There’s the grumpy old landlord who hates dogs and doesn’t want Winn Dixie in Opal’s house trailer. There’s a blind black lady that the local kids think is a witch, but she’s just a sweet little old lady. There’s the goofy Barney Fife Deputy in town. There’s the animal shop owner with a dark past, who turns out to be a sensitive musician who was unjustly jailed. And Opal’s father, the preacher who can’t get over his wife leaving them because of her drunkeness. As Opal says, “everybody’s hurting. Gloria says people are alone because they forgot how to share their sadness, but I think it’s because they forgot how to share their joy.” Little Opal is the optimistic person who responds to meanness with grace. To the little boys who taunt her, and the grumpy landlord, she invites both to her party, which stuns them with grace. Very touching moments. When Opal has to face the possible loss of Winn Dixie, who also has a hidden fear of thunder that alienates her as well, she learns that “you cannot hold on to anything that wants to go. You can only love what you got, while you got it.” By the end of the story, little Opal brings all these alienated people together so that they are having a party and praying over the food, thanking God for little Opal. It’s all sweet and nice, and a good values movie for families. But I must say, I had some qualifications on its values. First off, the Barney Fife cop was over the top and not funny because of it. And it was all a tad bit too herd-like to make fun of the authority figure in the town. I’m not against doing so, but only in a bigger context of respect for proper authorities, which this film did not seem to have. So that reinforces an imbalanced disrespect for authority, especially in young people. One scene has the dog chasing a rat in the middle of a church service. Opal tells her dad to keep preaching, while she gets the dog. So the dog runs around after the rat, that they call a “mouse”—since the filmmakers evidently didn’t want to be politically incorrect and call it a rat – and well, the dad keeps preaching. It was utterly unbelievable that he would do so as the dog is upsetting chairs and people and everything. It just stretched the credulity way too far. Particularly, since this was done in a realistic style. Another out of place element was that this realistic story out of the blue adds a fantasy element that DID NOT work for me. Opal gets a hold of some old candy lozenges made years ago and the old lady who gives them to her tells her that the candy maker lost some sons in the war or something so he added sadness to the sweetness of the candies. So Opal proceeds to hand out the candies to all the people in her life, and they proceed to tell her how sad the candy tastes and recount some source of sadness in their life. WAY TOO ON THE NOSE, too contrived. Did not fit the genre they were making. Took me out of the story. Also, there was a tendency in the story towards a humanistic conception of man as basically good. People are just mean because they are hurt, but they are basically good inside. Well, I’m all for the power of grace and forgiveness to change lives, but there was a bit too much attempt to make people appear good when they were not. For instance, the blind black lady was a drunkard in the past and kept her bottles hanging on strings from a tree in her backyard to remind her of her dark past. Cool. But when Opal says in reference to bad behavior in someone, the lady tells her that she’s not bad, it’s just that good people do bad things. Otis, the animal shop keeper tells the story of how he was arrested. How some cops were hassling him and tried to take his guitar and he fought them because of it. He went to jail for his violence. Then he says, “I’m not a bad man, but an unlucky man.” Well, bub, it ain’t unluck that makes you react violently and break the law, no matter how much of a jerk a cop is. So, the point of this is that there is a real shifting of blame away from themselves and an unwillingness to acknowledge one’s evil nature out of which they behave. This is the inherent goodness of man that Secular Humanism preaches. But Jesus said, “So every good tree bears good fruit, but the bad tree bears bad fruit. “A good tree cannot produce bad fruit, nor can a bad tree produce good fruit. So then, you will know them by their fruits.” (Matt 7:17-20) Rather than people being good people who do bad things, Jesus said we are bad people who do some good things, “If you then, being evil, know how to give good gifts to your children, how much more will your Father who is in heaven give what is good to those who ask Him! In everything, therefore, treat people the same way you want them to treat you, for this is the Law and the Prophets. (Matt 7:11-12) It appears that Because of Winn Dixie gets the second part right, but no the first. And lest we forget the universal dictum in Romans 3:9 “What then? Are we better than they? Not at all; for we have already charged that both Jews and Greeks are all under sin; 10 as it is written, “There is none righteous, not even one; 11 There is none who understands, There is none who seeks for God; 12 All have turned aside, together they have become useless; There is none who does good, There is not even one.” 13 “Their throat is an open grave, With their tongues they keep deceiving,” “The poison of asps is under their lips”; 14 “Whose mouth is full of cursing and bitterness”; 15 “Their feet are swift to shed blood, 16 Destruction and misery are in their paths, 17 And the path of peace have they not known.” 18 “There is no fear of God before their eyes.” Yes, this is the true nature of mankind: evil, not good. But boy how our culture seeks to brainwash against this truth. Opel says people shouldn’t judge the animal store keeper by his past but by how he treats the animals now. Well, okay, we have to be careful to acknowledge that people can change, BUT I got news for you Opal, some serial killers are very kind to their dogs and rabbits while eviscerating human beings, so I would rather judge someone by how they treat people. All in all, though, the movie is a strong step in the right direction of family friendly films.
Constantine
Recommended with qualifications. Constantine is a mixed bag of good and bad theology with high production values, proving once again that secular movie makers make movies about Christian concepts better than Christians do. But everyone suffers because of it. This is basically a secular interpretation of spiritual warfare that a movie of Frank Peretti’s novel, This Present Darkness should have been. But this is a topic I am sore about, because it seems that the world does better movies about Christian themes than Christians do. Okay, The Omen or Left Behind? Which is better, Hmmmm? I wonder. By the way, The Omen still stands strong as a movie 30 years later. Scary as hell. I don’t even agree with its theology but I still think it’s the best Antichrist movie ever. (That is, until they make Hank Hannegraaf’s book The Last Disciple into an epic). The Exorcist or Raging Angels? Heck, even the Seventh Sign was better than the slew of Christian end times movies, and that was a pretty bad movie. I wrote a review of Constantine for Christian Research Journal, so I have to write something different here. Okay, so Constantine is an exorcist who has a special talent of seeing the spiritual world. He committed suicide in the past, but came back to life, so he is condemned to hell by Roman Catholic theology for a mortal sin. Therefore he seeks to work his way back to heaven by casting demons out of people and sending them to hell, thinking that his good deeds will outweigh his bad. Okay, here are the good things I liked about the movie: 1) you have to realize that in our postmodern society that denies evil as a cultural construct, a movie about good angels and evil demons battling over souls of men, with a REAL hell where people suffer for their sins, is A GOOD BEGINNING. No, an excellent beginning. After all, in our world, there is a growing number of people who actually believe that one God’s “terrorist” is another Satan’s “freedom fighter,” as if Satan has a legitimate perspective. As if evil is relative. Well, this movie dispels that ignorance pretty well and I like it for that. 2) It shows angels, not just demons, 3) it communicates a rudimentary notion of salvation through faith when Gabriel tells Constantine that he can’t earn his way to heaven because of the sin he’s committed. That’s a powerful truth that is certainly politically incorrect to communicate. Constantine begins the story with a grudge against God, and he thinks God is a “kid who’s not planning anything,” but ends up asking God for a little help at the climax and concludes that God does have “a plan for all of us.” Before I talk about what I didn’t like, I want to establish that a movie DOES NOT HAVE TO be theologically correct to be a legitimate story. Much like Jesus’ parables, the important point is the overall worldview or overall theme of the movie. I have a movie coming out about demon possession (The Visitation) that takes creative liberties with the concept of demon possession and healing. But the whole point of the story is how people can be religious and miss the truth if they don’t have it right to begin with. But having said that, I still must give my complaints of elements that bugged me about Constantine: 1) The entire scenario of the movie is based on a Dualistic worldview where God and the devil make a bet to win the souls of men, but only through influence, not direct contact. It makes them look more like equal powers fighting “to see who would win.” Constantine is an Arminian Free Will nightmare of dualism where God and the devil are near equal beings of power…” Think about it, If our salvation is all up to our will and God can’t change our hearts he can only persuade us—as the Arminian believes—then God really is no stronger than Satan in the battle for men. Satan really does have a chance to win if he can convince more men to his side. In this view, God is thought of as the most powerful being in the universe, but not truly all-powerful. And technically, he isn’t even the most powerful. Man’s will is the most powerful being in the universe and gosh, I sure hope God is good enough to convince man. You get the point. This is on the level of the light and dark sides of the Force baloney. Some may point to Job as an example of the wager, but that is a specific instance of one man’s life and God is always in control the entire time, which he makes very clear in the final chapters: “Job 42:2 “I know that You can do all things, And that no purpose of Yours can be thwarted.” In Constantine, it is the ultimate picture of the universe, a worldview. But if one looks at the Bible, there may be a bet in Job, but the whole story has already been written from beginning to end, or Genesis to Revelation, and God’s battles with Satan are predestined to failure for Satan. So, yes, there is struggle in Biblical spiritual warfare, but from God’s perspective, he is still in control of every thing that happens and has it all planned out. 2) Another thing is that they set up the “Spear of Destiny” that pierced Christ’s side as the McGuffin that the demons are trying to get a hold of. They say that Christ didn’t die on the cross, the spear killed him, so whoever has the spear will rule the world. Well, GOD SAYS that Jesus gave up his spirit and the spear merely proved he was already dead by illustrating the division of his blood and water flowing from his side. This is a typical occult Gnostic view that uses talismans as objects of power in the spirit world. I’m not against using these as cinematic symbols of spiritual powers all together, but it’s just the whole context makes it seem that even GOD can’t stop them. I am reminded of the famous line in Raiders of the Lost Ark where they say that whoever has the ark is unstoppable, as if God can’t even do so. But when they open the Ark, God does kill them cause they did not anticipate God’s power. 3) Another thing, Even though hell is real in this story, the depiction of demons ruling over hell is more like a Roman Catholic medieval picture out of Dante than the Bible. The Bible says that the devil and his angels will THEMSELVES be tormented forever in the lake of fire (Revelation 20:10). So, hell is not a party or realm of power for demons, it is a place of punishment for them as well as humans. 4) Also, the goal of the demons is to bring forth the “Son of the devil” by human birth, in the same was as Jesus was the “Son of God.” Well, this is a common movie convention, but it is terribly unbiblical. There is not a single Scripture that indicates Satan can have the same kind of incarnation that God had. Here is another of my censored sentences from the Journal article: “This may fit the fanciful theology of Left-Behinders whose blessed hope is the coming of an incarnate “Antichrist,” but it has no place in a biblical theology of incarnation.” 5) There is a voodoo witchdoctor who is portrayed as “neutral” in this battle between God and Satan. Which is a joke, because God says that witchcraft is detestable in his sight and that there is no neutrality, you are either for Him or against Him (Deut. 18:9-14, Matt 12:30). Neutrality is, as they say, a lie of the devil. Ain’t no purgatory, folks. And there ain’t no sin, like Constantine’s suicide for instance, that cannot be forgiven. 6) An interesting thing that they had in the movie was that they used the term, “half-breeds” of angels or demons who were suspended between heaven and hell or something like that. Well, that seemed to me to be a pretty racist language in today’s politically correct fascist fashion. But all in all, considering our anti-supernatural Darwinian society, I consider the spiritual breakthrough of Constantine more good than bad, and quite frankly, I’m glad Christians didn’t make it cause they probably would have screwed up even worse. (Unless it were me, of course ☺)