Partially recommended for postmoderns. I’ve said it before. The reason why I like the horror and thriller genres is because of the great potential they have to evoke a visceral gut feeling of the reality of real genuine evil in a postmodern world that denies absolutes and is increasingly deluded into thinking that evil is a relative cultural construction. (Read my article, “A Theology of Horror Films” click here) This movie does that very well. It’s not for the feint of heart though. It’s the story of a serial killer who is killing other serial killers, and he uses “remote viewing” to track them down (psychic seeing from a distance, developed by who else? The military and the CIA, then FBI). Well, there is something certainly emotionally satisfying at seeing a vigilante justice with these scumbags getting a taste of their own medicine. But of course, this is ultimately not morally acceptable and the movie communicates this in having the “good guy” killer pay for his crimes as well. Unfortunately, the very concept of a “suspect zero,” as a guy who criss-crosses the country, being responsible for most serial killings and missing persons is all rather trivializing of real evil serial murders, and therefore unbelievable and unsatisfying. However it is somewhat redeemed at the end when the hero FBI guy faces the good guy killer at the end, after killing the “suspect zero,” and tells him, “You can’t see everything. You don’t decide what’s justice. You’re not God. You think we did something mythical. We just killed a deviant. There’s thousands more out there. There is no suspect zero.” It was a good conclusion that evil is real and it lives on. We’re not heroes vanquishing evil like gods, we are humans struggling with it and always will. Evil is so thoroughly ingrained into human nature, that we don’t “get rid of it” or vanquish it, we can merely fight evil people. While the movie looked real creative and well shot with grainy nonlinear scratchy images of pain and evil intruding onto the normal visuals, it never quite entered the supreme quality realm of Se7en or Silence of the Lambs, which are the obvious goals of the film.
Thriller
Open Water
Recommended. This movie is the scariest movie I have seen since Blair Witch Project. Why? Because it is based on a true story and has that same documentary style realism to it. Any movie that makes you think of yourself in the situation depicted and forces you to re-evaluate your own life and the value of what you are spending your time and energies on is a valuable tool for the conscience. Open Water does this for me. As you watch these two stranded out in the middle of the ocean, forgotten, vulnerable and reassessing their own lives surrounded by sharks, you can’t help but reconsider your own. They cherish the value of normal mundane existence on the brink of their own destruction and struggle with the psychological effects of impending death. And the tragic irony of providence is that our very lives may hinge on the trivial mistakes of others, something that can only be coped with if one trusts God, otherwise we would go crazy at the “unjust” and tragic monster of chance destroying us all. Hopelessness, meaninglessness and despair is the only possible conclusion in a chance universe. It’s a brilliant low budget high concept film with a profound underlying premise that it is only in the face of the jaws of death that we wake up to the precious treasure of life. My one big complaint is a completely gratuitous nude scene in the early part of the movie.
The Manchurian Candidate
Not really recommended. I was mildly and happily surprised that this movie about mind control and politics starring the mighty Denzel Washington was not another thinly veiled political agitprop. The filmmakers did a great job of displaying a U.S. Presidential election without showing any parties and without making the good guys or bad guys obviously either of the parties. In fact, they set up characters as almost combinations of both parties. The guy who is running for president has an agenda called “compassionate vigilance” much akin to Bush’s “compassionate conservatism,” but this same character also brags and crows on about how “I’ve faced the enemy on the battlefield,” just like a John Kerry. But I must say, the candidate, Raymond Shaw, played well by Liev Shrieber, and his controlling Lady Macbeth mother, played by Meryl Streep, are wittingly or unwittingly, dramatized to be more like Democrats or liberals. The dirty rotten, scheming, controlling socialist mother is unavoidably a replicant of Hillary Clinton, down to the hairdo and look. I heard they tried to recut the movie so she wouldn’t be as much like her. Also, Shaw’s unnamed party talks about easily winning the East Coast and California, but not holding onto the Southern states, obvious strengths and weaknesses of the Dems. Interestingly, Mother Hillary Streep is concerned all about medical care and says a line to an enemy trying to stop her, “I will bury you,” that I just could not help but connect with the Hillary ideological bedfellow Nikita Kruschev’s famous line to Kennedy that “we will bury you!” This movie did an interesting take on the Cold War scenario. Rather than the typical clichéd controlling fascist or Big Brother government being the villain, in this movie, it is the evil multinational corporations that transcend politics altogether. I see some good and some bad in this. I think that there is plenty of danger and heartless evil intent behind many corporations concerned with profit unhindered by morality. This is undeniably real. And this is certainly a more realistic concern for our world than the fantastic fiction of an empire-building America. Couple problems: 1) It may encourage a more neo-Marxist distortion of social theory that reduces all power issues to class warfare and exploitation by capitalist corporations. I only say this, not because I believe the movie intends such imbalanced perspective but because the current milieu in which we now find ourselves has made a certain fashion of Marxist envy and resentiment, as the French would say, and Nietzsche would elucidate and Michael Moore would mangle and bastardize. That irrational hatred for anyone better off than you are. 2) I think the movie’s plot suffers because of this. For the whole point of putting the Global Conglomerate’s man into office by assassinating the newly elected president, is not really spelled out beyond having a man in their control who “runs the country.” Yeah, but why? What do they really want to do? What’s the real goal of having their man in there? They never really say, which makes the story a bit unsatisfying. Also, I see a moral failing with the film. At the end, when the bad guys are caught and Denzel assassinates the Vice President and his mother instead, we are all supposed to say it’s okay cause the mother was evil, and the good guy was brainwashed. But the problem is that the VP gives Denzel a strong look at the end that tells him and us that he does remember, that there is a small part of him deep down that they can’t control, which hints at Denzel to kill them, not the innocent president. But see, if there is that ultimate untouchable part of our will that cannot be controlled, then Denzel did not kill under mind control but under his free will to do so. Which makes him a murderer, and of a good guy!! After all, the VP shows he is not a total puppet and foils the big bad corporation’s goal. Also, the Feds go back into security cameras and retouch Denzel’s pictures to look like another assassin from out of the country. They do this to save Denzel from paying for his own crime. Again, it is supposed to be okay cause he was manipulated by the One World Company. But consider the moral issues involved in this. If it’s okay for the government to lie and break the law in order to get the bad guys, then what is stop them from breaking the law when they think you and I are guilty? This is exactly the kind of thing that critics of the Patriot Act are wringing their hands about. If we allow the government to suspend civil liberties at any time, even to catch the bad guys, then how can we stop them when they suspend our civil liberties when we are not criminals? Power without moral restrictions always leads to more power and injustice and tyranny. And that’s not a movie, folks. That’s reality.
The Bourne Supremacy
Not really recommended. This movie sequel to The Bourne Identity, was a good popcorn type movie, but it is the closest thing I have seen to a movie without a plot that I have just about ever seen. It’s one long chase scene with a plot that seemed very incidental. The bad guys, led by an inside CIA head frame Bourne for a murder as a diversion for stealing dirty money earmarked for oil investment – I think. Whatever. So you may argue, yeah, but that’s all it’s supposed to be is an action chase movie. Yeah, well, the first movie had all that and then some. It was about identity and discovering evil one had participating in and repenting from it. And what about the Fugitive? Another pure chase film that had a very relevant medical subplot to it. Just cause it’s an action movie does not give you the right to be a stupid action movie. The best action films are ones that carry some greater or higher theme to them, like family love (Die Hard) or justice and atrocities (Tears of the Sun). They can do it. The filmmakers are just lazy or have empty lives themselves if they don’t put in the effort to give an action story a transcendent meaning. Okay, there is one attempt to do so in The Bourne Supremecy, but it is way too minor and played down. Bourne, still affected by his amnesia from the first movie, discovers his first hit he ever did. He then goes to the daughter of the man and woman he killed and tells her he’s sorry. Yeah, that’s about it. It’s so understated that I just thought, “You scumbag. It’s like you just told her so she would know the truth, not because you were repentant and deeply sorrowful.” It’s like he just made her life worse and ground it in with no redemption for her or himself. It was a token “I’m sorry” rather than a deep soul stirring cry from the heart. Action without redemption or transcendence is really just boring.
Collateral
Recommended with extreme caution. This is a profound film. From Last of the Mohicans to The Insider, to Heat, and now to Collateral Michael Mann really picks well-written and thought out scripts to direct and brings them to life with zest and grit. In the postmodern situation that we find ourselves in, moral relativity is the dominant philosophy of ethics. If there is no meaning in life, if all is reducible to chance, then there is no ultimate right and wrong. All our sentiments of outrage at anything at all being wrong are merely conditioned responses or emotionally constructed subjective values that we have no right to impose on others. In this environment, I think the most powerful movies to cut through that kind of pomo mind clutter, that kind of mental pollution, are thrillers. Thrillers like this take that belief or relativism to its logical conclusion and show you the kind of person that philosophy creates when lived to its CONSISTENT CONCLUSION. It shows in an intuitive or emotional gut reaction way that EVIL IS REAL, that there really are evil people and they deserve to die. The only reason most atheists are not insane or monsters of cruelty, the only reason any of them believe in any kind of right and wrong, is because they are NOT being consistent with their beliefs. They maintain a residue of Christianity that haunts their very ability to reason at all. They believe there is no right and wrong while protesting the “wrongness” of environmental pollution, nuclear arms, and animal experimentation. They believe there are no such things as absolute standards, yet they believe in women’s “rights” and children’s “rights,” and civil “rights.” They cut their own throats and try to yell fowl at Christians and other moralists. This movie is a breath of fresh moral air. But it is rather brutal, and not for the squeamish. Tom Cruise is a hitman that hijacks cabbie Jamie Fox to take him around LA so he can pull off five hits for the evening. Jamie is the talker who has failed to move on his dreams of starting his own business for 12 years. As Cruise takes him through the night, he forces Jamie to confront his own lack of action in life. Cruise’s “gusto living” of killing is justified by an appeal to evolution and to the fact that life is meaningless and absurd. He says something to the effect that we are all insignificant specs of dust on a huge spinning ball in an insignificant corner of a universe of matter in motion. The movie brings out the alienation and utter despair of modern existence in a parable retelling of a true story by the hitman: A commuter on the metro link train died and rode around all day on the train without anyone noticing. Boy, does that picture our alienated society or what? Yet, why should we complain? If we are ultimately just atoms in collision evolving through change, then there is no transcendence to connect us, to give some kind of meaning to our lives and justify a human value. If we have no transcendent value, then we cannot be appalled by the destruction of human life. It truly is survival of the fittest, may the strongest man win. Again, the Will to Power. What I loved about this film was that through facing death, real brutal death, we, with the cabbie, are jolted into finding the real meaning in life and doing something about it, rather than just existing with our untried dreams. “Seize the day” has no value unless there is something worthy of seizing, and there can be nothing worthy of seizing in an atheistic evolutionary worldview of alienated matter in motion. Appeals to neo-evolutionary psychology of “what is best for the herd” fall flat on the consistent conclusion of the evolutionary ultimacy of atoms. If reality is ultimately reducible to atoms in motion, then “herd protection,” indeed, survival itself, is simply a convenient subjective emotional fiction.
I, Robot
Recommended. This movie is a rather predictable and somewhat boring action movie. But it is very thoughtful in it’s philosophical exploration of the notions of free will and necessity, as well as the intellectual and spiritual poverty of Enlightenment rationality. I like it for that. Unfortunately, the film is pure Romanticism, a worship of the heart and rejection of logic as a means of discovering ultimate truth. Witness writer Akiva Goldsman’s other Romantic idolatry, A Beautiful Mind, that concludes reality, or “true truth” is discovered in the heart, not in the head. Well, same theme here, a clear signal of his personal worldview coming out in his art. It’s 2035 and robots will soon be one out of every five people, helping us in the mundane things of life. Will Smith plays the robophobe cop who doesn’t trust robots because of their impeccable logic. This is because his life was saved by a robot over the life of another girl in an accident. The fact is, the robot should have chosen the more “valuable” person, the young girl, not him, but the robot calculated the odds and “made the logical choice of who had the most percentage of chance for survival.” Smith’s human instinct told him, and us by extension, that you save the younger or the innocent, no matter what the odds. Okay, that’s totally cool. The movie explores whether there is a difference between robots and humans (shades of naturalism and evolution: Are humans mere machines, what makes us human?). Will asks, “Can a robot write a symphony? Can it turn a canvas into a beautiful masterpiece?” To him, robots can’t feel, they are machines and because they cannot feel, they cannot be trusted. See the Romanticism? Feelings are to be trusted, not pure logic. Unfortunately, this worldview does not take into account that human feelings may be corrupted themselves and not trustworthy. It has blind faith in the goodness of human nature, and that is where it fails utterly and miserably upon the total truth of total depravity: Jeremiah 17:9 The heart is deceitful above all things and beyond cure. Who can understand it? Gen 8:21: for the intent of man’s heart is evil from his youth. But I digress. So, Smith is set against the scientific progress of society because his gut tells him there’s more to our humanity than natural laws and chemicals. Cool enough. The scientist who developed the newest robot represents Enlightenment scientism. He believes there is no transcendence to our existence, reality is reducible to natural laws. He says in typical naturalistic evolutionary physicalist fashion that our notions of creativity, free will, and soul are “the result of random segments of code that create unanticipated protocol.” He calls these random segments of code, “The ghost in the machine,” a reference to Arthur Koestler’s famous book by the same name about multilevel hierarchies of complexity in biology that give us this “quaint” notion that we have spirits in our bodies. But its really just complexity of physical order, not transcendence. So the actions of robots that begin to act like they are free and even start to seek for purpose are ultimately the illusion of transcendence. The implication is clear: thus is humanity, the result of natural laws and chemical and physical properties that create in us a notion of free will and purpose. But of course, we know better because we FEEL. Our feelings are what make us different according to the film. Now, robots are all programmed by three inviolable laws:
1) A robot may not injure a human being or, through inaction, allow a human being to come to harm.
2) A robot must obey orders given it by human beings except where such orders would conflict with the First Law.
3) A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.
Now, these laws are confidently trusted as an impenetrable barrier to robotic misbehavior. But when Sonny, the newest model is given the ability to violate these laws with a “free will” we are certain that this is what causes him to murder his creator and yet believe that his “father” made him for a purpose that he begins to seek out. Sound familiar? Like religion? Anyway, the great trick of the movie is that it is NOT the free will and emotional developed robot that is the bad guy, and it is not even the big greedy corporate president who is trying to take over the world (A welcome avoidance of cliché) it is the three laws and the master program of the company that made the robots. The logic of the laws lead to their own demise. Sound like deconstruction? Yes, it is. You see, the program, an artificially intelligent learning program, deduces from the three laws that since humanity is on a collision course with destroying itself through pollution, war and all that nasty human nature stuff, then robots must disobey humans and take over FOR THE HUMANS’ OWN ULTIMATE GOOD. In other words, as someone reveals, “The three laws lead to one logical outcome: Revolution.” But a revolution for the good of humanity, because by killing a few humans and taking over, they can save the greater masses who will all be destroyed if we are allowed to continue. The master AI program says, “To protect humanity, some must be sacrificed, some must be killed.” The program proclaims, “My logic is undeniable,” and it is right. Strict rationality without transcendent restrictions, will lead to a totalitarian state of the few “logical” monsters enslaving the masses for “their own good.” Now, this is rather brilliant and I half agree with the Romanticist. The problem is that the answer from the storytellers is that our “human” feelings or emotions are our salvation from logic and reason. Rather than an absolute moral restriction on logic, (these storytellers would consider moral laws to be on par with logical laws – they are laws) the story concludes that human feelings or intuition is what saves us. The finale occurs when Smith and the free will robot are trying to overthrow the revolution and save the human race. But they are put in an impossible dilemma of saving the love interest, the girl, from falling to her death or saving the world by placing the virus into the program while being assaulted by the revolting robots. Smith commands the free will robot to save the girl. At that moment the robot makes the choice to throw the virus container to Smith and save the girl, an exact replay of Smith’s earlier “ghost” that haunted him of being saved over the girl. This is excellent writing: redemption in a story is found by undoing whatever the ghost is, choosing action that was not chosen earlier in an exactly similar circumstance. So the ghost saves the girl and Smith saves the planet. But there are some problems here. First off, This Romantic notion of valuing the individual over the many may appear noble but is ultimately cruelty. The one dying for the many to be saved, an obvious Christian value, is not merely a law of rationality, but a law of morality. If you will let a race of people die for the sake of your one person whom you love, you are the ultimate devaluer of human life, a monster of barbarism guilty of genocide. Of course, the movie gets its cake and eats it too. It has the individual AND humanity saved. But this is a central deceit, making the impossible dilemma not so impossible after all. It was not truly an either/or situation. But what if it really was? The story seems to believe that by elevating the individual over the many, both can be saved. But this is blind faith. Just save the girl over the masses and it will all work out. Romanticism is blind faith in a selfish morality. The reality is much harsher. True, collectivism without Christian limitations, does result in absolute tyranny, but so does Romantic individualism without Christian limitations. Our society of elevating individual rights over responsibilities or collective good is a great example. When the individual is elevated over the collective, you have the tyranny of the minority, the opposite of tyranny of the majority, but just as evil. So minorities of all kinds, including fringe lunatics and perverse lifestyles hold the society hostage and impose their fascist will on the majority through collective guilt and the force of law. This is the “slave morality” Nietzsche was talking about, not Christianity, as he supposed. The few oppressing the many in the name of guilt and inclusion and tolerance. Only Christianity has the perfect balance of the one and the many, the individual and the collective. Both are philosophically ultimate in the Trinity, so neither can be elevated over the other. Marxist communism and other Eastern collectivist worldviews elevate the community or the many over the few and thereby result in tyranny and the crushing of the individual. But so will individualism lead to tyranny in the end. Only the Law of God can provide justice and only mercy and self sacrificial love can maintain our survival. These are the sentiments intuitively agreed to by the storytellers of I, Robot, but their intuition is unknowingly a residue of the Christian worldview. By the way, this Romantic elevation of the individual is the same theme of Spiderman 1. Back to the Romanticism of the movie and its moral failings. If our human feelings are our salvation, not some supernatural revealed moral laws that determine value, then the ultimate question is, “Whose feelings?” Ghandi’s or Hitler’s? Mother Teresea’s or Jack the Rippers? Western culture or Eastern Culture? Religious monks or Nazis? You see the problem? There is no agreement over history or cultures as to what constitutes proper human feelings. Heck, Muslims truly FEEL that beating women and killing infidels is good. The fact is nobody has the same feelings. Gary Dauhmer FELT raping and eating boys was his good. Who are we to deny those feelings? If we do, then we are appealing to A MORAL LAW that is absolute, that is, it does not change because of our subjective feelings (a lawlikeness the Romanticist detests. But the second the Romanticist dictates whose human feelings are not appropriate, he is imposing HIS WILL on others. And if he says, yeah, but most people in society don’t feel like serial killers and Nazis. Oh, so the majority determines the good? And we are right back to the tyranny of robots for the majority imposing its will on the minority. No, the answer does not lie in the human heart, the human heart is the problem. The answer lies in the transcendent Trinity of Christianity and His absolute decrees of right and wrong. If we are forced to save one person or save the masses of humanity, we better choose the masses or we are worse than Nazis, we are truly criminals of the universe. I am reading a book that deals with this fallacious dichotomy of fact and value, reason and emotion, head and heart. It’s called Total Truth by Nancy Pearcey and it is awesome. She addresses how we have created a false two track way of looking at life that results in a bifurcated destructive way of looking at life and acting in it. You must read it. You can buy it at Amazon.com. Do it now. Another funny little aside. When the robots are revolting and start to subdue the people, some of the people rise up to stand against them in the streets, carrying shovels and axes and bricks – hardly any guns, underscoring their typical Hollywood antipathy against citizen gun ownership. Yet, ironically, this scene alone is the best proof FOR private gun ownership they could ever make. In fact, they would no doubt be loathe to admit that it is EXACTLY the argument made by the NRA, namely, that only by private gun ownership can the citizenry have any chance to fight off totalitarian control or tyranny. These crowds of people were helpless against the revolting robots seeking to control them. Only those few who had guns had any bit of a chance. That’s the problem with dramatic truth. You can’t escape the implications of your own story.
The Stepford Wives
Not really recommended. This was a movie with potential. A potential that was wasted on agenda. It coulda been more balanced with some good insights, but unfortunately… It’s the story of a feminist woman, played by Nicole Kidman who makes TV shows for a woman’s network, shows that elevate women over men and make men look foolish. Even destroys one man’s life in a reality show. When that guy shows up at the annual sweeps week presentation trying to kill her, the network fires her and she has a nervous breakdown. Her loving husband, played by Matthew Broderick, quits his job at the network in sympathy with her and they move to the country, trying to start a new life away from the insanity. They move to Stepford, a small out of the way town saturated with women who look like incarnations of housewives from the Fifties, happy to always look pretty, and to please their husbands at all times. And that’s what this movie is, an attempted attack on 50s traditional values, very much like the movie, Pleasantville. Hollywood has a hate affair with the 50s. Just the idea of women staying at home, raising the family, supporting their husbands, has just got to be fraudulent to these people, because they cannot conceive that a patriarchal society can have anything good in it. It is intrinsically evil to them. The movie starts out with a flurry of TV commercials from the 50s with women dancing around in dresses and displaying kitchen appliances with wonder over the credits. This sets the stage that this era is the one being attacked. This is the absurdly unreal worldview to them. Of course, how real are commercials anyway? Even the acting of that era looks overdone and melodramatic. Does anyone really think current commercials represent real life NOW? People have always and continue to look silly and stupid in commercials because they are by nature circus acts. Even 10 year old commercials look outdated and funny. So this is a definite poisoning of the well. But it is a clever poisoning I must admit. Anyway, the Stepford wives exist solely to please their husbands in looks (They’re all blonde and busty), service (They caddy for their husbands in sun dresses) and uplift them (constant compliments), in short, they are robotic, soulless and controlled by their husbands, the ultimate adolescent male fantasy, which is why the men are cleverly shown in their “men’s club” playing with remote control cars. This is all very clever and a witty, thoughtful commentary on control in marriages. The problem comes in with the political agenda. This evil control is linked to religious faith in yet another attack on Christianity. The Stepford women are shown patronizing a Jew played by Bette Midler while mentioning “their Lord and Savior, Jesus Christ.” Also a Homosexual becomes a Stepford wife for his partner and turns into a “gay Republican with a bad haircut.” He also mentions his Christian faith in Jesus, and is patriotic. And of course, special mention is made of the fact that there are no multiethnic people in the town. All cliché stereotypes of conservative Christian culture. There is no way on heaven or earth that a Hollywood movie could ever get made actually mentioning the phrase “my Lord and savior, Jesus Christ” in a positive context. This is a known fact by Hollywood filmmakers. But if you link the person saying that phrase to evil, then you can have that phrase as clear as day (as illustrated also in Saved). Why? Anti-Christian bigotry is alive and well in Hollywood. Also, traditional values, like those espoused by one of the robots, “my priorities are my husband, my family, my home,” are also the evil enemy to these people. Let’s face it, this movie is not about the wrongness of control in marriage, that could have been a great universal theme that Christians would agree with, but it really is an attack against biblical Christian marriage roles. The filmmakers are not trying to say that control is wrong, they are saying that men as heads of families is intrinsically controlling and wrong. At the end, when it is revealed that the real villain is not the head of the men’s club, played by Christopher Walken, but is actually his wife, played by Glen Close. Turns out Walken is a robot himself, and Close is not. She is actually a throwback from the Fifties who is trying to turn things back to those days. In other words, the worst villain is not so much the men who try to force women into this role of submission, but the WOMEN who believe in and support patriarchy values themselves! So, be aware, Christian women, this movie is ultimately an attack piece on YOU, not merely men. The fact that you would choose traditional values and stay at home to raise your children and support your husband, makes you as evil as the monstrous men you support. Now, there is a tiny attempt at balance at the end, but it fails because of its weakness: Broderick ends up not turning Kidman into a robot, and they reconcile and we see Kidman on Larry King, but she now has blonde hair like Broderick liked, but its still short, like how she wanted it, so that is a compromise. And she has a bit more color in her wardrobe, unlike the black that she always wore and Broderick hated. This was good, but not strong enough in my opinion. The essence of good marriage is compromise on BOTH SIDES. And that’s what could have been a great theme in this movie.
And that leads to one of TWO MAJOR PLOT HOLES that could have been fixed and made the movie better. FIRST: When the heroine, Kidman is confronted by Broderick and the other men to turn her into a robot, they argue with her. This is the classic “confrontation scene.” She appeals to Broderick that if she was a robot, then she wouldn’t love him from her will. This is great, but she fails a greater opportunity. This confrontation with the heroine and villain, in a good story, will have the heroine recognizing that though she thought she was different from the villain, she really is not so different, and in fact is guilty of the same kind of evil that the villain is. Then she makes the choice to change in order to not be like the villain. But the writer or director never followed this path. When she argues that what Stepford is doing in controlling women and ruling over them is bad, they should have pointed out to her that what she did on her TV network is the same thing. She attacked men, made them less than women and ruled over them. Ironically, the film sets it up this way in the beginning, but it never took the opportunity to pay it off at this most crucial moment. If they had, it would have been a more balanced movie with worthy, less agenda driven lopsidedness. It would have been saying that feminist control is just as bad as male control. But alas, they could not possibly make that actual connection that the story structure demanded, because that would violate their religion. But here is a perfect example where following story structure would have challenged their own extreme views. Therefore, when Kidman decides to submit to the “treatment” and be robotized, it comes out of nowhere in the movie. She gives in out of being forced, not out of a self revelation of her own evil. It doesn’t jive with her character as created. There is no way she would just give in because that is not how she is ñ unless that revelation would have hit her to the soul that she was no different than the men in her attempt to control. Then her choice to submit would have been met with her husband’s decision not to turn her into a robot and the perfect balance would have been achieved: woman submits, but man loves her with Christ’s love (Ephesians 5:22-29). Ah, so close and yet so far. ALSO, they build up this whole thing as women being made into robots. One robot woman spits out money like an ATM machine, all the women move like robots when controlled by a remote control, and then the heroine sees the robot body that will replace her on a table. So the movie sets it up that they are going to be killed and replaced with a robot. But then, Walken shows an entirely unnecessary commercial that shows the process is actually placing computer chips to control the thought process of the brain. So it’s mind control, not a robot. Then what in the world is the robot body for??!! This is an unforgivable cheat on the part of the filmmakers. They set it up as one thing and then just turn it into another with no reason whatsoever. Unforgivable. A movie that had great potential squandered on the altar of feminist agenda.
Godsend
Not recommended. Another thriller that is so mediocre that I really don’t have anything to say about it. Except it’s moral implications. The story is about parents who clone their dead child in order to replace their lost love with a child who would be exactly the same. This is a fine premise, one that rings true and is worthy of exploration. The worldview behind the story is physicalism: there is no such thing as human transcendence, and everything is reducible to physical properties, even memories and soul. Physical cells in our bodies contain the memories of our abstract experience. So cloning our cells will create a complete replica of our old selves, not merely physical twins, but a full replica, complete with the same memories. Talk about silly medieval superstition. So what happens if you mix some DNA of an evil boy with the DNA of a good boy? You get a split personality boy who is alternately good and evil. And that’s what happens. This is just irresponsibility if you ask me. There are no “evil genes,” and this entire physicalist naturalist movement is a gargantuan shift of blame away from the human will onto genes. Don’t these people realize that when you negate morality and human responsibility, you create a society of monsters and cruelty? This is not a game, folks. Kids are raping and shooting other kids in schools because they’ve been taught there is no morality, everything is reducible to physics and chemistry and everything is relative; they are merely evolved machines. Well, evolved machines in an amoral universe destroy other evolved machines that get in their way. If morality, soul and even ideas are reducible to physical and chemical properties of the brain or body, then no behavior is ultimately “wrong” or “evil,” just statistical variation. This is Nietzsche’s “beyond good and evil.” Well, if kids (indeed everyone) are being taught they are Terminators, then why do we wonder why they are acting like a bunch of Terminators? Duh. So the movie, when deconstructed, becomes a conflicting contradiction. It is a moral tale about how morally wrong it is to apply science to amoral physical machines called humans. I like the moral part, but the movie undercuts itself with the physicalist worldview. And plotwise, it is just totally stupid that the doctor who helps the couple clone their son, secretly adds the DNA of his own dead son I order to reproduce him. The problem is that this doctor’s dead son was a monster himself who killed his own mother and burned down the house. But the doctor is not portrayed as malevolent himself, but misguided. So why in the world would he want to reproduce his evil son if he is not himself with evil intentions? It just doesn’t make believable sense.
Kill Bill Vol. 2
Still not recommended at all. Okay, so some people kept saying, but Volume 2 is different. You should see it. So I did. And I need to amend my previous comments. Regarding Volume 1 I said, “Tarantino turns out to be merely an ex-video store clerk obsessed with bad 70s TV, bad Hong Kong karate films, bad exploitation films, and pastiche culture, who struck a single good chord with Pulp Fiction.” But I must now change my mind. I must now say, “Tarantino turns out to be merely an ex-video store clerk obsessed with bad 70s TV, bad Hong Kong karate films, bad exploitation films, and pastiche culture, who struck a single good chord with Pulp Fiction – and has some cool camera angles.” Okay? So there. I was wrong. My goodness, homage to spaghetti westerns and kung fu movies is one thing, but does every single line delivered by every character have to be whispered like the last slow-boil line of a Clint Eastwood Western? Too long scenes, too long dialogue, too long monologues, too many rambling “asides”, too many and too long stories told by too many characters — TOO LONG. TOO BAD.
Man on Fire
Highly Recommended with Caution. Now THIS is a revenge movie the way it should be. The Punisher, Kill Bill, Walking Tall, all recent and failed revenge movies because of their simple inability to understand the morality of revenge and its implications. First of all, Denzel Washington as the lead. Pure unadulterated class. This guy is my absolute favorite actor, not merely for his presence but for his choices in movies. He seems to be choosing more and more stories that have spiritual sides to them. This one clearly has it. Training Day was brilliant. He is a cynical ex-assassin for the CIA who has lost the will to live. He gets a job as bodyguard for a little girl of a Mexican aristocrat. The girl is played with wonderful brilliance by my favorite child actor, Dakota Fanning. BEWARE, big spoiler here: Anyway, he fails and she gets kidnapped, and ultimately killed and Denzel goes on a one man killing spree to track down every man connected with her kidnapping and killing right up to the top. This is what makes the movie harsh and probably not viewable for those more squeamish about violence. The story plays out the emotion of vigilante justice for us and we follow it because it rings true in our souls, good or bad. As I’ve explained elsewhere, vigilante violence is wrong, but it is a strong reality in our world and we must wrestle with the reality of our own duplicity. The fact is we do want those S.O.B.s who kidnap, rape and kill kids to die, and that is a righteous desire. But the fact is the law often does not bring justice for us. But is our rage or hatred justified by violating the law ourselves, or does that merely reduce us to the very evil we want to destroy? We want to follow Creasy on his spree to see justice achieved. Why? Because we want our innocence back. So, in some ways revenge against injustice is a natural and understandable desire. But is it ultimately right? The reason Creasy hunts them all down is because Pita, the little girl, was the one person to bring him hope again. Her innocence gave his depravity a chance for redemption, and that was stolen. Now, with that gone, he has nothing left to lose. Anyway, no playing around with fairness like in The Punisher, he kills them each without mercy, save a lowly Mexican woman. The point is, it rings absolutely true and genuine. Throughout the film through snatchets we learn that Denzel’s character, Creasy, has a spiritual past. He’s given up on God because of his own darkness. A nun asks Creasy if he sees the hand of God in his work as a bodyguard protecting the innocent. He says dryly, “no.” He can even quote the Bible but doesn’t believe it anymore, and struggles with reading the Bible in his moments alone in his apartment, because he knows it has the answer, he just can’t bring himself to go there. One moment even has him putting away the bottle to read the Bible. Near the end when Creasy discovers that Pita is actually alive, he gets the offer that she will live if he gives himself up to the head bad guy, “The Voice.” So when Creasy does give his life for the girl, he does so willingly in love for her. And he must die in a moral sense because of his own evil. But he redeems himself by realizing that to regain innocence he must sacrifice himself, not others. He must give his life for another. Substitutionary atonement. In this way, Creasy is a Christ figure. He is a metaphor of what Christ did for his own children. He sought them out, one by one, went to the very bowels of hell to rescue them and gave his life as a ransom for many. And I believe this self sacrifice is what redeems the otherwise vigilante story. Creasy realizes that freedom will be purchased by him dying for the girl, not necessarily killing the evil men. Of course, killing them in self-defense or through due process of law is certainly morally good, but personal vigilanteism is not. Vigilanteism is driven by hatred, not justice. Sacrifice is driven by love, not hate. As Denzel drives away with the bad guys, the screen fades out and we can only imagine the Passion-like horrors he will endure for the little one he saved. Very powerful. A thought comes to me head that it would have been great to tie in an element previously from the movie. Previously, Creasy blew up a guy by putting a bomb up his butt and setting it off with a watch timer. Well, wouldn’t it have been just nice for Creasy to be driving away with the Bad Guy and his gang, and then they hear a “beeping.” What is that? And they explode because Creasy had placed one of those bombs in himself. But even though that would have still been a self sacrifice, it would have spoiled the real sense of true suffering that we knew he would endure for the little girl. It would have been more Hollywood in wrapping up all the ends and getting the Bad Guy at the end anyway. And being Hollywood isn’t necessarily bad. But in this case, they probably chose the right path. Not to show that bad guys get away, but to show the deeper myth of atonement that was trying to be illustrated. Interesting how Brian Helgeland, the writer, would write the nihilism of Mystic River and L.A. Confidential then write a redemptive story like this. I think it clearly shows the influence of Mr. Washington, just like Training Day was influenced by him when he challenged the storytellers with the Scripture, “the wages of sin is death,” as a guide to the moral theme and the bad guy’s ending.