Only the Brave: Extinguishes the Flames of Toxic Feminization

True story of the Granite Mountain Hot Shots, an elite group of firefighters facing one of the worst fires in Arizona.

I have big deadlines and don’t have the time to give to this that I wish I could. But I just wanted to say that this film has an essential quality that I have not seen in a loooong time in movies: a real heroic masculinity. I’m not talking about fake karate fights and sci-fi effects and comic book silliness. I mean the kind of heroism that inspires you to be a strong man in the self-loathing, self-destructive society that we live in.

If you are sick of the infantilization of colleges, the sexist attack on masculinity by feminism, the attempt to emasculate all males based on the sexual depravity of some in power, the agenda to destroy God’s image by gender confusion, and the outright cowardice of our politically correct, SJW society, then you must see Only the Brave.

It highlights not merely bold, gritty courage and bravery in men, but it gives honor to their women, and even shows the men’s flaws and how they seek to address them to become better husbands and fathers and role models.

Heroism, courage, love, comradery, maturity, masculinity, it has it all.

And we need it all.

Go see this movie.

 

Blade Runner 2049: Boring Soulless Mediocre Atheist Christ Story

Decades after the original, a new blade runner is tasked to hunt down a replicant that was “miraculously” born. Such a birth would justify giving replicants “human dignity,” and thereby stop their slavery to humans.

The original cool movie concept of a hunter of A.I. robots becoming the hunted has turned into another sophomoric attempt to philosophize that bleeds contempt for the audience by delivering no real action and long boring 1980s camerawork that lasts a sleep-inducing 2 hours and 44 minutes.

I don’t even want to waste my time blogging on this, but if I do, then you don’t have to waste your time regretting watching it.

I had originally assumed Ridley Scott directed this, but he only exec produced it. So…

My God, when are these Hollywood “artistes” going to stop trying to subvert the Bible with atheist Christ stories and God hatred? I’m praying that Denis Villeneuve, the director, is doing this because he’s being bothered in his conscience as he faces his own mortality. But I fear a more cynical reality that he is just another filmmaker who thinks he’s being “deep” by adding religious themes he doesn’t even believe in to a story he’s trying to make profound.

What is the line between machine and humanity? Do our dreams constitute our reality?

It seems that this is the era where atheist propaganda movies have achieved the preachy mediocrity of Christian propaganda movies. Now, when they throw out “God’s Not Dead” and “Fireproof,” we can say, “Oh, yeah? What about Alien Covenant and Blade Runner 2049?” And Exodus: God’s and Kings? And Noah?

Give me the hearty paganism of Gladiator any day over this heartless soulless atheism. (It’s paganism is not ultimately satisfying either, but it connects more deeply with our universal hunger for transcendence in a way that BR 2048 cannot.)

Soullessness is Boring

First off, the very premise upon which the entire movie rests is the atheistic evolutionary fairy tale that “souls” or consciousness arises or grows out of material complexity. This is all the rage now in some brain science circles etc. They have no actual explanatory mechanism for this “miracle” of matter sprouting “soul,” they just believe it happens. It “self-organizes.” This is what’s called in science, “just so” stories, or “magical thinking.”

And they laugh at Christians?

Ironically, the movie still operates within a modernist paradigm of Greek dualism that argues that humans are “ghosts in machines.” The Gnostic version says it this way: “the body is a prisonhouse of the soul.” Be that as it may, it’s the same delusion of A.I. movies all over. There is some point at which machines and/or their programming become so complex that they sprout souls.

This is actually a reductionism that reduces spirit to properties of matter. They try to deny that and craft clever ways of “transcending” materiality, but they cannot do so. And we humans know this when we watch these stories. Which means that when such atheist premises are engaged in the course of “love stories” between robots and other such “dignifying” activities, the audience knows as they watch that it’s a contradiction. Even if they don’t know it intellectually, or they can’t put their finger on it, they can sense it as they watch. Robots and programs are not humans, and no amount of verisimilitude can change that. Verisimilitude is a means of deception. And I think the audience can sense that truth.

Now, here’s how the deception tries to mimic truth… Continue reading

Please Support these Most Courageous Storytellers in Hollywood

Here is an opportunity to do something active regarding changing our culture for the better.

Phelim McAleer and his wife Ann McElhinney, are the most boldly courageous filmmakers I have met. I am working with Phelim on a project so this is very personal to me. This is not just an idea or a distant and cold cultural observation.

Take a look at their trail of storytelling righteousness…

They spoke truth to the power of Big Green by making the documentary Frack Nation. This doc uncovered the malicious lies of the anti-fracking movement and “documentary” Gasland. They raised their own funds through Kickstarter to make it. It’s now on Netflix and Amazon Video. They showed the truth about fracking, that quite literally has saved our nation.

Phelim and Ann made history by raising their own funds of a couple million dollars to make a feature film (and book) about America’s worst serial killer, Hermit Gosnell. The press and everybody ignored this monster because he was an abortionist who engaged in infanticide. You read that right. Infanticide, not merely abortion. I’ve seen the movie, called, Gosnell. It’s a good movie. And it’s a courtroom drama, not a politicized piece. It has no gruesome pictures. It’s about the humanity of those who uncovered his dark crimes. But no distributor in Hollywood will touch it, because, well, Infanticide is a woman’s right to the Left. So Phelim and Ann are raising their own funds to distribute.

The New York Times suppressed their book about Gosnell from their best-sellers list, because, well, infanticide is a woman’s right to the  NYT.

When Kickstarter found out about the Gosnell project, it banned them from their website, because, well, infanticide is a woman’s right to Kickstarter. So Phelim and Ann went to Indiegogo, a more tolerant and inclusive fundraising website for their next projects… Continue reading

The Handmaid’s Tale: The Delusionary Hysterical Fear of Christian Theocracy

Hulu series about a dystopian world where infertility has become widespread, threatening the survival of the human race. A Christian theocracy has taken over and has enslaved the few fertile women as concubines for birthing children to the leaders—and to oppress women everywhere, because, well, that’s what Christianity is all about, don’t you know. Or something.

This won an Emmy for Drama Series. So I tried to watch it. I couldn’t get very far. It was an unending parade of Christophobic stereotypes, cliches and demonizations of Christianity. A litany of the fevered delusions and projections of left wing paranoia. But even worse: It was just bad storytelling.

It’s clear why this series is getting critical accolades. Not because it’s good. It’s terrible. But because it reflects the collective intolerance and bigotry of the Hollywood elite.

The storytelling here was more preachy, more juvenile in it’s exaggeration, more ridiculously melodramatic than any Christian movie I have ever seen. And if you know me, you know I do not like preachy Christian movies.

It was like watching a sincere yet laughable horror movie from the 1950s with every shot a “scary” melodramatic exaggeration of ugly lighting, ominous music, dour acting and extreme dialogue. And more ominously ominous music. Dr. Evil has nothing on this.

The Christian leaders in this story are of course fascists with Nazi-like traits, rituals and decorations. Their barren wives are begrudging enablers of the evil patriarchy who abuse the handmaidens out of their resentment, thus damning Christian women as traitors to their gender.

The heroine is a newly enslaved handmaiden who is taught that pollution caused the worldwide infertility, which is God’s punishment. In the first episode we see that the Christians execute Catholic priests, abortionists and gays. So, it is Evangelical Christianity who is the real villain here.

Or at least Atwood’s bizarre twisted misinterpretation of what Evangelical Christianity is. Continue reading

The Red Pill: Feminist Discovers Men Are Not Demons

Now available for free on Amazon Prime.

Cassie Jaye is a feminist filmmaker who takes a look at Men’s Rights Groups and their issues through a fair and objective lens. What she finds is shocking.

I don’t care for many documentaries because most of them are “docuganda,” that is, agenda-driven propaganda in the guise of impartial “journalism.” Heck, most of them don’t even bother to pretend being impartial anymore. And it’s no surprise most of them are left wing agitprop, because, well, conservatives still don’t believe in the power of culture and media, so they’re still cursing the darkness without lighting a candle.

But The Red Pill is different. The Red Pill is fascinating. It’s riveting.  It’s the anatomy of a conversion taking place right before your eyes. All right, I’m going to give a big fat spoiler, but in this case, I think it’s actually the selling point of the film… Continue reading

The Movie IT: Christians Who Condemn All Horror Need to Grow Up

I was interviewed by John Piper’s website in response to their questions about horror movies. Understandably, and respectfully, they do not share my appreciation of horror. But they were very open-minded and open-hearted to listen to me and give me a voice.

I really think Christians need to realize the tremendous moral power of the horror genre. It’s not for everyone, but God loves the horror genre, so Christians should at least respect it.

The movie IT, is a classic coming of age horror story of a group of young misfit outcasts who must not only face the returning supernatural evil in their small town, but face the fears and evils in their own lives in order to grow up. It’s not for the feint of heart, and it’s not perfect, but I think it exemplifies moral lessons in line with the Christian worldview.

Read on for the interview…

Continue reading

Because of Gracia: Standing up for Your Faith Against Anti-Christian Bigots

Timid undercover Christian, Chase Morgan, hides his faith at his high school, you know, like it’s supposed to be in our brave new world of secular regressive politics. When beautiful and bold Christian, Grace Davis, arrives as a new student, Chase becomes close friends and falls for her. But their experience of faith being suppressed by a double standard at their school, finds Grace standing up for God in her debate class, which challenges Chase to stand up, speak out and find his voice.

Okay, I have a love/hate relationship with the Christian movie genre. I don’t really care for them. But unlike cynical Hollywood “Christians” who condemn all Christian movies because of their own self-loathing “faith,” I actually see a place for the genre.

But to be honest, it takes a lot to get me to watch one. Because, usually they’re just so poorly written, poorly directed, and poorly acted, that I can’t get through the first ten minutes. My bias is that I was raised on Hollywood quality production values. So yes, the first hurdle you must overcome before you can be considered respect-worthy is the basics of good filmmaking.

But this I will say. Christian movies are getting better. And Because of Gracia is one of the best I’ve seen. This is not saying much, I will admit. Yes, there still needs to be work on the writing, directing and acting. But this movie was very watchable, and emotionally connective in a way others I have seen have not been.

Because of Gracia rang true to the human experience, especially for Christians.

Here’s how it does… Continue reading

War for the Planet of the Apes: Cultural Appropriation and the Battle for the Social Narrative

In this fourth installment of the Planet of the Apes series we watch the next episode in how earth humans became overcome and enslaved by intelligent speaking apes.

This is a perfectly crafted well told epic that focuses on the personal journey of revenge for the leader of apekind, Caesar, played with understated brilliance by Andy Serkis. It is a moving and complex portrait of a leader who seeks peace, is pushed to revenge, but discovers mercy when he faces his own hatred. It’s what makes epics so… well, epic. War has ape characters that you can do nothing but root for, which makes you think twice, since they represent the creatures who will ultimately overthrow humanity on earth.

Are our enemies more like us than we would like to admit? Not always. But is it moral relativism to humanize the enemy? Not always.

Steven Zahn plays a comic relief chimpanzee who almost upstages Serkis with his lovably selfish personality (I’m telling you, Zahn rivals Serkis’ “good” Gollum paws down). The apes who join Caesar are loyal men—whoops—I mean apes of honor. The “humanization” of the apes is smartly captured by having Caesar’s band of assassins end up caring for a little mute human girl who steals your heart with every gesture she makes.

The visual effects are stupendous. Not one moment in the entire film did I ever think I was watching CGI. That is a compliment not only to the quality of the technology, but to the acting. War exemplifies the best of Hollywood visual effects, not in drawing attention to it, but in making it invisible. Bravo!

Unfortunately, War for the Planet of the Apes is also another example of bigoted Christophobia that seems to spill from the talented yet depraved souls of many Hollywood storytellers.

(Though, thank God, not all of them)

Human Exceptionalism: The Image of God

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American Gods: Secular Man Still Worships & the Gods are Crazy

The Starz network series, American Gods, based on Neil Gaiman’s horror novel is a supernatural story of the “old gods” who immigrated to America with various people groups rising up in war against the new gods of technology and culture that now rule our society.

It’s a great creative idea that in some ways reflects what I have been doing in my own universe of fictional writing. So I was naturally fascinated by the premise.

Unfortunately, it turns out to be a great idea gone bad. A mixed bag of profound spiritual wisdom and depraved humanist blasphemy.

Disenchantment

American Gods focuses on a convict, Shadow Moon (Ricky Whittle), just released from prison only to discover his wife, Laura (Emily Browning), and his best friend died in a car accident while in an adulterous affair. On his way to the funeral, Shadow meets a peculiar old man, named Wednesday (Ian McShane), who hires him as a bodyguard of sorts. Shadow soon discovers that Wednesday claims to be a chief of the old gods who once laid claim to America through those who found their way here in the past, willingly or not. And we see vignettes in each episode of these gods arriving on America’s virgin shores—or really, raped shores. Odin with the Vikings, Bilquis and Anubis with some of the slaves, a Leprechaun with the Irish, Jinn with Muslims and others. In the story, these are real beings with real, though limited supernatural powers.

It’s a common fantasy theme about the “disenchantment” of the natural world that science and technology creates in modernity. The “old gods” represent the sense of wonder that the ancients had of the life in a world interpreted as containing a goddess of spring, a god of storm, a goddess of sex, and so on. In modernity, and in this story, these gods have become like neglected elderly homeless who scrounge around in lives of squalor as the new gods of technology, like “Media,” “Technical Boy,” and others occupy us with obsessive entertainment and electronic diversion that amounts to sacred devotion to the profane. We’ve lost the “magic” and “wonder” of life. We think we’ve become enlightened and put behind us the ignorance of religion, but we remain decidedly religious creatures who worship new gods under the guise of secularism. The goddess Media sometimes appears as Lucille Ball, sometimes as Marilyn Monroe, icons of worship no less religious than Bilquis the old god of sexuality who calls upon her sexual partners to verbalize worship to her as they engage in sex with her.

Spiritual Profundity

And that is the brilliance of the story, as in the original book by the same title (Although in this case, the show is better than the book). It brings alive a profound truth that modern secular man seeks to deny, namely that secular modernity is just as much a culture of religious worship as the old world. We humans are homo religicus, worshipping beings. And the world of media that traffics in narrative imagination is just as much an artificial creation of the human craving for the transcendent as are the religions of old. We have replaced one mythology with another mythology and mistaken the latter as progress.

Ah, but therein lies the rub… Continue reading

Wonder Woman: Women Can Be Warriors, as Long as They are Sexy

Wonder Woman is like most first-in-a-series comic book fantasy movies, pretty cool action, great ironic humor, with some depth of character and a big silly battle of gods at the end. The sequel will of course be crap. But at least we’ll have WW1.

In the run up to its release, this movie became a lightning rod of feminist hope for transforming the superhero genre, and a weapon of feminist hatred against men. It proves to be neither.

It’s just another good fantasy comic book movie. With the emphasis on fantasy.

It works precisely because the notion of women warriors is an odd rarity and a biological anomaly. It’s a fantasy that does not fit reality, and that is why it is entertaining. Yes, I know Ronda Rousey could kick my butt. That is why I wrote “anomaly.” Butt the biological fact of the matter is that military reality proves that most women cannot meet the standards of warriors. It is basically not in their nature or their biology.

Third wave feminists and their leftist useful idiots believe that if they can change the narrative and promote their ideology agenda of univocal male and female identity in culture, that it will magically change reality. But it won’t. It will turn some men into emasculated geldings that they will then use and discard from dissatisfaction, but it won’t change scientific reality. And that is why they are using law to force this diabolical social engineering in our own military as well as society. They know the military is the ultimate expression of masculinity in a culture, so that is why they want to fundamentally transform it.

Wonder Woman carries a sense of originality that makes it stand out from other comic book movies precisely because of its irony… Continue reading