Paranormal Activity

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A fake “reality” documentary in the tradition of The Blair Witch Project, only this time it’s real supernatural evil. Micah and his live-in girlfriend Katie decide to videotape the strange haunting experiences that have followed Katie since she was young. So we see it through the eyes of their camera as they record it all, including their sleeping at night. It is a straightforward and simple demon story that builds from the sounds and noises, through the “open doorway” of a Ouija board, and all the way to the possession at the end. This story reinforces the reality of supernatural evil.

I had to change my original understanding of the movie’s worldview because I had missed one shot in the movie that made a big difference in the meaning. Originally, I had said that “The only two references to God occur once when they research an exorcism on the internet which remains a distant story to no effect, and once at a climactic moment where Katie clutches a crucifix in her hands till she bleeds – also to no effect.” But I was wrong because I missed a shot that occurred shortly after this. Micah says, “I’ve had enough of this” and he tosses something in the fireplace to burn. Well, I had thought he tossed the Ouji board pointer into the fire, but a friend told me it was the wooden cross. BIG BIG difference.

Because it is after this symbolic discarding of the cross of Christ that the demon has the power to invade their lives even more so. A shallow approach to God is useless and that without a real connection to the living God in Christ, we have no hope of overpowering such evil. After all, Micah is portrayed as expressing that he is not afraid of this entity and he can fight it by himself. And in the end, without the power of God, he ultimately cannot.

Cirque Du Freak: The Vampire’s Assistant

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Darren is a high school student with a best friend, Steve, who gets him in trouble, and who experiences existential angst in a typical suburban family that repeats the mantra of boredom to him, “a productive life. College, job family, college, job family.” His dread is compounded by the belief that “we’re all gonna end up in the same place (dead) whether we like it or not.” When he visits a circus freak show in his town, he discovers it is led by a “good” vampire who doesn’t want to kill people, just suck their blood a little. Turns out that a band of “bad” vampires who still kill people are trying to start a war with these “good” vampires in order to get some real blood spilt. Darren becomes a half vampire in order to save his best friend from dying, but unfortunately that friend gets caught up with the bad vampires. So we now have best friends on opposite sides of this building war.

But the real theme behind this story is that of determinism and free will, namely, that biology is not destiny. We create ourselves through our choices: Existentialism. Early on, we hear Steve talk about his “bad blood,” which is confirmed by the good vampire later. And as he says that, we are taken on a cinematic journey into his very blood cells to see that there are evil “elements” in his DNA. We hear the phrases, “Destiny, we all have a destiny,” “It’s all been written down in a book.” After Steve goes “bad vampire” he tells, Darren, “Too late, I have my destiny, you have yours.”

However, the tension of free will is woven in throughout as we hear the lead vampire, John C. Reilly, state, “I may write the script, but the characters seem to do what they want.” And Darren is told, “You seem to have a lot of free will” because he is able to avoid drinking blood even though it will ultimately kill him. Finally, when Darren struggles with whether or not he will become bad because he is a vampire, his monkey girl girlfriend tells him the theme tagline: “Being human is not about what you are, it’s about who you are.” Darren concludes, “Just cause I’m a vampire, doesn’t mean I’m blood thirsty.” Thus the film argues against Original Sin in that it concludes we can have control over our natures to do good or evil and there is no inherent evil to our nature, merely natures that can be used for good or evil (thus, the good and evil vampires, a similar concept to the Twilight series).

Another way of looking at it: “What you are” is an argument for identity being rooted in an essence or substance (biology), but “Who you are” is identity being rooted in personhood or free will.

There is some comfort here for those of us who consider ourselves freaks in society and don’t fit in as we are shown that everyone has their place and special purpose to perform, though of course, we must choose to do so.

Coco Before Chanel

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The story of the beginnings of Gabrielle Chanel from a destitute French orphan near the turn of the 19th century to the beginnings of what would become her empire of fashion design. It’s feminist tale of liberation as Gabrielle seeks to make her own way in a “man’s world” as the end titles say. It portrays the French aristocracy as decadent and even boring in their life of leisure — to this woman, a hard working seamstress and bar dancer. So in that sense it elevates the protestant work ethic and self-made entrepreneurship over aristocratic inheritance and old money.

When Coco becomes a mistress of French millionaire Balsan, she pursues her hobby of decorating hats and wearing simple clothes that bucked the system of lavish overwrought women’s apparel with imprisoning corsets and padding of the time period. She seeks to give women freedom in their clothes and thus their bodies, and thus, their social status. Of course, she never really loves Balsan, who eventually falls in love with her and is willing to marry her against his social status. But it is too late, because she falls in love with Balsan’s best friend, “Boy” Capel, all the while maintaining her independent spirit.

The movie attempts to disconnect true passionate and meaningful love from marriage and link it to adulteress lifestyles. In the movie, all the rich men, including Coco’s lover, marry for socio-economic status, but have mistresses for true love, where they “really” experience the intimacy of being known and loved (which in the movie is depicted as nothing much beyond “fun trips and sex”). Coco complains that her mother married for love and ended up destitute and dead, with Coco and her sister in an orphanage. So marriage does not get very high marks in Coco’s mind of romantic hope.

Coco is devastated when she realizes she cannot marry Capel because he is getting married for status, but hardens herself and decides to never marry and just live the life of Capel’s mistress while growing her own business and maintaining her own independence. And they are able to do so until Capel dies in a car accident and we see in the face of Coco, a devastating loss – in the midst of her increasing success – that it appears she never overcomes for the rest of her life, since she never married.

In an ironic deconstructive way, the movie seems to bear the internal contradiction that regardless of this liberation of Coco, she doesn’t really have the intimate love she found in that one man and ends life rather sad, despite her worldly success. It seems that career may be a fulfillment of her genius, but is not the ultimate meaning for this woman who desired to be known by love, a love she sought outside marriage, a love that evaded her to her death.

Law Abiding Citizen

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This is a gritty violent story of prosecuting DA attorney, Nick Rice, played by Jamie Foxx, who only takes cases he knows he can win, and plea bargains the weak cases so he can play the legal system in order to maintain a high record of wins to better his career. In other words, he doesn’t really care about justice, and be bargains with murderers, and then he justifies his actions by an appeal to pragmatism, you get the best deal you can with an imperfect system. Along comes an inventor Clyde, played by Gerard Butler, whose family is killed by scum, and who experiences the injustice of our legal system as one of them gets away for plea bargaining, led by Nick, and against Clyde’s wishes. Well, I don’t know if this is possible, but the point of the movie is to show that our legal system is corrupted by this kind of bargaining with murderers and results in injustice through compromise with evil.

Clyde’s response is to snap and plan retribution for 10 years through his inventive mind. He hacks into the system and makes the one killer’s lethal injection execution a torturous event, and captures the other killer and brutally tortures him before killing him. Then Clyde hands himself in and in a poignant moment at his own defense for bail, he quotes legal precedent to convince the judge to let him go without bail. Then when she is persuaded, Clyde chastises her that this is what’s wrong with the system. He clearly should not be allowed to be let free, yet, he just used the rules to manipulate her and she bought it. He heaps insults upon her for her moral idiocy and deliberately loses the appeal and lands in jail. Then, while in jail, has worked out a way to start killing everyone connected to his case, from the judge to each of the lawyers, while he is in prison. Meanwhile, each time, he makes ridiculous demands, such as receiving a steak dinner and an ipod in prison, or he will kill the next person.

When Nick accuses Clyde of sick vengeance, Clyde tells him if he wanted vengeance, he could have killed everyone years ago. No, he is making a point, he is going to bring down the whole justice system to make that point. But what is the point? Well, we learn at the end, when Nick figures out how Clyde is able to do these killings and he turns Clyde’s inventions against him. Nick finally says, he won’t make any more deals with murderers like Clyde, and Clyde says now you finally get it. In other words, the whole moral of the movie is that justice doesn’t make deals with murderers, you’ll just get more mayhem because evil people will only use deals as weakness to exploit and will continue to do evil until they are forcibly stopped. Law Abiding Citizen is not merely a vengeance movie about vigilante violence, it is a moral fable that condemns our legal system. It makes the argument that making deals with murderers only results in more murder, that plea bargaining results in high recidivism rates of criminals being released into society only to rape and kill again and again.

In light of the current geopolitical events in Iran, I suspect the filmmakers may also be making an analogy to making deals with terrorists and fanatical dictators, which only result in perceived weakness by said terrorists as an opportunity to exploit for more power and violence.

A Serious Man

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Joel and Ethan Coen’s latest movie wrestles with God’s sovereignty and man’s free will in this story of a 1960s Jewish physics professor and his world falling apart like the 2nd law of thermodynamics. Larry Gopnik’s wife has fallen in love with a Jewish widower and wants to give him a ritual divorce so she can remarry within the religion, his son is approaching his bar mitzvah while exploring drugs and rock and roll, and Larry’s brother, a loser with a Rain Man-like psychological dysfunction, is living with him sucking the life out of him. In fact, everyone seems to be sucking the life out of Larry, what with all his responsibilities in life. Even a Chinese student with failing grades tries to bribe him and then blackmail him for accepting bribes.

And all throughout the movie, we hear the repeated phrase, mostly from Larry, but also others: “But I didn’t do anything.” It is used in various contexts but often as an excuse for feeling treated unfairly in life by others or God. Larry’s brother is taken in by the cops for gambling, “but I didn’t do anything”: Larry’s wife tells him she wants a divorce, “but I didn’t do anything” he replies, and so on throughout. The point seems to be that we make excuses for not being active in our lives, for not taking responsibility for what happens to us. And the biggest accusation in this story seems to be a religious one, that in our resignation to God being “in control” we become passive agents in a universe that are acted upon – we miss the opportunities of a lifetime because we are immobilized by our worldview or theology.

Larry is portrayed as believing that he is just supposed to be a good boy and bad things won’t happen – but they do – to him. He seems to keep losing everything dear to him from his wife to his reputation, to his lawn, to his job, all because he “goes along” and doesn’t take action in his life. At marriage counseling his too-young rabbi tells him he should just accept this divorce, resigning himself to the fact that God is in control and it’s just a matter of changing his perspective and he’ be able to cope. In other words, an almost Buddhist approach where you do not fight what happens in the world, you change your desires. This religious resignation is shown as being at fault for Larry not really living life. By resigning one’s self to the will of a deity, rather than choosing to act, one misses out on living life, such as the pot smoking libertine hot chick next door, who Larry notices sunbathing (reminiscent of King David on the roof seeing Bathsheba) – or rather, that Larry fantasizes as being a pot smoking libertine, but he never acts upon his fantasies.

A Serious Man brings in the Heisenberg Uncertainty principle as well as Schrodinger’s cat metaphor as a philosophical expression for Larry’s worldview that concludes after explaining a huge chalkboard of mathematics that we can’t possibly know what’s going to happen. Another excuse for “not doing anything.” I think the humanist worldview to this film is that since we can’t know what is going to happen because the future is not determined, then to resign ourselves to God’s will is to not take the responsibility we have for making our own fate and destiny by acting upon our desires. Larry is a passive hero who keeps avoiding responsibility for his life and keeps missing out on really living because he refuses to be the master of his fate and thus becomes the pawn of others.

Whip It

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Drew Barrymore’s directorial debut about a young girl in a small town in Texas who desires to get out from under her mother’s stifling expectations for her so she can do what she has discovered she really wants: Roller derby! Starring Ellen Page as Bliss Cavender, this story, as with all Barrymore’s stories, is a women’s empowerment narrative about women needing to come out from under oppressive social norms for their roles.

Ellen’s mom, played by Marcia Gay Hardin, is molding her two daughters to be beauty pageant queens just like herself. This of course doesn’t fit for Bliss, but she goes along to make mom happy until she finds what she really loves to do, roller derbying, which causes the turmoil. Bliss accuses mom of shoving her small town “50s morality” (an obvious reference to the traditional gender roles and family notions) down her throat. But what makes this more than a simplistic feminist fairytale is when a fellow roller derby queen challenges Bliss that she is being selfish and that her mom may be wrong about roller derby, but she cares for Bliss and is only trying to help her, and that mom’s rules are for her own good, NOT because she wants to hurt her or control her – that there is value to what her mother thinks. The mom and dad are actually happily married and even frisky, thus showing such “traditional” marriage as mostly positive.

There are no strong men characters in this movie, illustrating a female gender bias in the viewpoint. The roller derby coach is a loony obsessed with exercise and acting like a pothead with a few screws loose. Bliss’s very first rock and roll boyfriend turns out to be a womanizer, and the announcer of the roller derby is a loser horny toad always failing to get laid. Bliss’ dad, played by Daniel Stern, is a stereotypical couch potato sports fan who follows mom’s lead instead of being a leader in the family. He is too weak to face mom about her contempt for sports so he watches the football game by lying to her that he is staying late at work. He pretty much cow tows to her until the end, when he is the first one to support Bliss and takes the lead by pulling Bliss out of the big pageant and bringing her to the roller derby. So his leadership is portrayed as good when supportive of Bliss’ desires.

So this film seems to prioritize the individual’s dreams without negating the value of family. The collective family and the individual member can get along and balance each other’s interests.

Monsters Vs. Aliens

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Susan Murphy is struck by a meteor and grows to be 50 feet tall, which, needless to say, jeopardizes her wedding plans with a television weather reporter. Also, she is captured by the military and imprisoned with other monsters they’ve captured over the years. Susan, as the “50 foot woman” meets the Missing Link, Dr. Cockroach and B.O.B., which are homages to the monster movies of the 50s and 60s: the Creature from the Black Lagoon, The Fly and the Blob. Meanwhile, a hostile alien robot has come to earth to “extract” the special substance that made Susan grow big and strong, so that he can become powerful and take over the earth, destroy it and start his own civilization of clones of himself. This bad guy alien is an expression of colonialism that imperialistically exploits other “worlds” for their natural resources and then destroys the inhabitants in order to make it his home.

This appears to be a feminist woman’s empowerment story. We follow the journey of Susan, who begins her story as a weaker woman who gets her self worth from supporting or following a man, her fiancé. The fiancé is a self-obsessed man only concerned with his own career, and not with Susan’s concerns at all. So when Susan becomes huge and even saves the city by destroying a robot, the fiancé breaks off the engagement because as he says, he can’t be in someone else’s shadow, and her shadow is particularly big. In other words, he wants a woman in HIS shadow and any “powerful” woman, or a woman who has become “big” (an obvious metaphor for a successful career woman) is too intimidating for him. He perceives that the relationship exists to serve his interests, not hers, a common accusation against “patriarchy.”

Susan realizes that her fiancé is a jerk and was only concerned with himself, so she muses to her monster friends that she doesn’t need a man to accomplish great things in life, after all, it was she who fought and destroyed an alien robot, not HIM. She stands to her full 50 foot height with clenched fists of empowerment (lacking only the Virginia Slims cigarette due to Hollywood political correctness) and says, “I’m not going to short change myself ever again.” And at the climax, when she has the chance to “become normal” by becoming small again, she chooses to become 50 feet again to save her monster friends, who have become more important to her. So at the end, when her fiancé asks for her back (for obvious selfish reasons again, to benefit his career), she stands him up and makes a fool of him and walks away, not needing a man as a fish needs not a bicycle.

Surrogates

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This is a story of cop Tom Greer (Bruce Willis) in a world where people live their lives through robotic surrogates that they control remotely through virtual computers. The moral of the story is spoken right up front in the narration by the human activist that “We weren’t made to live life through machines, “ and that “what it means to be human is to sacrifice yourself for a higher cause and purpose.” There are people living in surrogate free zones because they want to be more human. It turns out there is a weapon that will kill people through killing their surrogates, never possible before. But the big crime turns out to be the repentant creator of the surrogates attempting to download a virus that will breakdown every surrogate in the world so that people will be forced to life real life again. The movie is really just an amplification of the avatar “social networking” that already goes on online. People live through false identities, they choose to all be younger and prettier avatars than to accept themselves as they really are. They become shadows of themselves, projections of their fantasies rather than reality. They don’t want to face reality. They seek to experience the pleasures of life without having the consequences. But as a main character says, “we must sacrifice certain pleasures to be truly connected.” So the cop and his wife suffer from the loss of their son, and she seeks to stay in the false world, while the cop seeks to redeem their marriage and make the human connection in their real bodies and souls. By the end, when the virus works and all surrogates drop, we see a lot of fat people walking around outside in their pajamas dazed as what they have been missing in the real world, but certainly better for it – because “We were not meant to live life through machines.”

Pandorum

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The world overpopulates and sends a ship of thousands of people to a distant planet to start over. But in the midst of the hyperspace sleep, some of them come to and realize that there are creatures hunting and killing survivors around the huge space ship. Turns out these creatures are some of the original passengers, who were accidentally mutated by being fed strange nuclear chemicals and turned them into predator monsters. Pandorum refers to the psychological state of coming out of hypersleep and becoming so disoriented that you go crazy and do things like killing everyone on board by jettisoning their pods into space. Of course, this is what happens to the captain who argues with the hero at the end about destroying lives on board. The captain who becomes a villain in his pandorum state says, “It’s easy when you free yourself from the chains of morality.” The theme of survival versus sacrifice and these mutated creatures are pure predators and the humans must save the rest of the hypersleep passengers on the ship by resetting the nuclear reactor on the ship. The story seems to be comparing pure survival and predatory nature with a moral approach to being human.

Zombieland: Love in the Post-Apocalypse

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We got to talking about this on the Hollywood Worldviews Group, and I watched it again. So here is the post I wrote on it a while back, with a couple additions.

A standard zombie storyline about a few living humans trying to survive after most of America is overrun with a zombie apolcalypse after a virus outbreak.

Particularly, it is the story of Columbus, a kid who is trying to get to his home town in Ohio to see if any of his family has survived. Along the way, he picks up loner, Woody Harrelson and a couple of girls, one with which he falls in love.

The story follows Columbus as a young nerd who has managed to survive by following “rules,” of survival such as good cardio (to outrun the zombies), always check back seats of cars, always wear seatbelts and “double tap” (always make sure to shoot a zombie in the head to finish him off for sure), and never be a hero, it gets you killed. The point being that these are all rules of self protection because Columbus is living fearfully in life and unwilling to take a risk. Zombies are the metaphor for what we become when we become loners in this world to protect ourselves. Everyone avoids personal names because they don’t want to get too involved in case they have to kill them as zombies later. So everyone goes by the name of the town they come from.

When he meets Witchita, the girl he falls for, she draws him out to take risks like not wearing a seatbelt. Turns out she likes bad boys, so Columbus tries to rise to the occasion. Of course, he comes to realize his family is not alive so he makes this new group his family as he says in voiceover. This seems to be a metaphor for leaving behind traditional notions of family in a corrupted world.

But in the finale, the boys and girls split up, but Columbus realizes that he has to “go after the girl,” to seek her out by putting aside his fears and self protection and ultimately says, “Some rules you gotta break such as ‘don’t be a hero,'” and he becomes a hero by saving the girls and ultimately his ability to love. And of course, the girl whispers her real name in his ear at the end, signifying that they make the human connection needed to love another person.

Columbus becomes a man by putting aside his desire to survive and self protection and by risking himself sacrificially for another. Sacrifice over survival, but no real sense of danger in the entire movie.