mother! is a disturbing portrait of God that says nothing good about God's followers. Immediately after watching the visitors kill her child, mother hears Him say that these people must be forgiven — that they didn’t mean to do it, that they only want to be close to Him. The Christian theory of redemption is supposedly one of forgiveness and sacrifice, predicated on Christ’s death and resurrection, but the death of this child doesn’t read at all triumphant. From the mother's point of view, the visitors were never supposed to be in the house in the first place — if they hadn’t intruded on her life, they wouldn’t need forgiveness for killing her child.
But really, the best performance in the film belongs to Nanjiani —no surprise, since it’s partly his own story. The affection he feels for his parents makes him afraid to upset them, but to really come into his own as a person, and as a comedian, he has to be honest with them about what he wants for his life.
Unfortunately, the script, by writer Colin Bateman often tends toward the bland, with the exception of a couple of pivotal scenes. Both Paisley and McGuinness were big, powerful personalities, with many facets to explore. The script, however, takes what could be a truly interesting exploration of two dynamic characters, and often reduces them to a pair of old men arguing in the back of a car. There are some standout moments where beliefs are challenged and moments of real emotional honesty are reached, but it takes some waiting to get there.
The new film Baby Driver is a movie that expresses joy through art, specifically music. The action film from director Edgar Wright connects the joy of listening to a favorite song to the way those musical rhythms color our everyday lives. At its best, the film is a celebration of joy in creativity that bleeds over into a joy in creation itself. It struggles, however, to turn that aesthetic delight into something of substance.
At first glance, the meaning behind this tagline for Wonder Woman feels obvious, it is the next step on the DC franchise road to November’s Justice League movie. But of course, there’s more to it than that. Wonder Woman marks a feminist milestone, too, one that feels like artistic justice: it’s the first major superhero movie to feature a female hero, and the first to use a female director, Patty Jenkins.
In Guardians of the Galaxy Vol. 2, out this weekend, Peter Quill (Chris Pratt), Gamora (Zoe Saldana), Drax (Dave Bautista), Rocket, (Bradley Cooper) and Groot, (Vin Diesel) are still learning lessons in openness and humility. But oddly, the film they’re in needs help maintaining emotional honesty, too. Where the first movie kept a fine balance of pathos and jokes, the second Guardians film is almost caustically cynical. The film is so preoccupied with witty banter that it misses nearly every opportunity to plumb the depths of the themes it presents, until finally pulling it together at the very end.
A GRIZZLED LAW enforcement officer, days from retirement, looking for one last challenge. A team of bank robbers, one with noble(ish) motivation, the other psychopathic. Great American vistas to enforce the notion that what we’re watching is Important. So far, so clichéd.
But Hell or High Water, Taylor Sheridan’s script directed by David Mackenzie, brilliantly transcends such hokum in favor of utterly honest dialogue, a plausible plot, and real settings. The drama, as embodied in career-highlight performances from its leads, takes on an almost-Shakespearean gravity. Two brothers steal from a bank that’s been stealing from them. People get hurt, but they were hurting already, so who cares? And the Old Man of the West experiences the lack of resolution that may result from even the most dogged pursuit.
Marcus (Jeff Bridges) and Alberto (Gil Birmingham), Texas Rangers chasing bad guys, have known each other for years. Marcus ignorantly throws racial insults at Alberto, believing them to be affectionate, while Alberto quietly winces. The memory of land theft and genocide is in Alberto’s bones, his half-Mexican, half-Comanche personhood betrayed by the forebears of the very authority he seeks to uphold.
Meanwhile, Toby (Chris Pine) and Tanner (Ben Foster) rob branches of the bank that’s been trying to manipulate their family. Like all families, it’s a family with secrets, but the lack of healthy community bonds has allowed those secrets to wreak havoc on the lives of its members. There’s no support for moving beyond the trauma of a violent upbringing, just resignation to things as they are and belief that maybe a bit of money could get them out of it. A bleak Texas standing in for a bleak America, one in which the aching desire to connect is buried under economic desperation and get-rich-quick schemes. Even the church is in on it—a televangelist merely replicates the system of social inequality and betrayal of trust. People need help, but no one shows them how to ask for it.
GOOD VIBRATIONS is a brilliant roof-raising musical from 2012 about making a difference in the world by being yourself. It’s the kind of film that makes you fall in love with life. And it was the last movie about which Ken Hanke and I wholeheartedly agreed.
Hanke, our local newspaper film critic in Asheville, N.C., recently passed away at the too-young age of 61. His byline identified him as “Cranky Hanke,” but he had a generous heart. He knew that good film criticism requires knowing three things, at least: something about cinema, something about how to write well, and something about life. The first of these comes naturally to people who watch enough good movies. The second is part gift to be channeled, part skill to be nurtured. As for the third, well, we all know something about life—the trick is whether or not we’re willing to let what we know of ourselves be known in our work.
Ken Hanke was a critic who believed his own opinions, but didn’t impose them on others. He understood film criticism as a conversation between movie and audience, in which being right isn’t as important as being authentic.
This kind of critical engagement is often ignored in favor of mere criticizing—reacting, not responding, snap judgments instead of considered reflection. “That’s one of the worst things I’ve ever seen” limits the possibility of conversation to discover more of what the movie might be inviting us to. I want to know why you think it’s the worst (or best). I want to be invited into a conversation about authenticity and what it is to live better in the light of what artists and other provocateurs are trying to tell us.
STANLEY KUBRICK’S Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb was released in 1964, and it was echoed later that year by a film on a similar topic, Fail-Safe. Directed by Sidney Lumet, Fail-Safe imagined the idea of a nuclear explosion being unpreventable by the people supposed to be in charge of it. Strangelove is hilarious but chilling satire; Fail-Safe is just chilling. The central notion, that ethics can’t be trusted to machines, lingers today: George Clooney produced a live television version of Fail-Safe as recently as 2000.
A current version of the dilemma is brilliantly portrayed in Eye in the Sky. Cutting between four main locations (a British government committee room, a military control center in the English countryside, a Nevada drone piloting bunker, and the Kenyan house from where a suicide bomb attack may be launched), it’s like a relentless tennis match in which the crisscrossing ball is a matter of life and death.
Who decides who can be killed? If blowing up the house will prevent an attack that might kill 80 people, how much does it matter that a little girl selling bread nearby will probably die too? What is legal? Does “legal” mean “right”? Such questions have rarely been handled with such compelling dexterity in a movie. Eye in the Sky deserves comparison with Dr. Strangelove and Fail-Safe because it doesn’t offer easy answers, only difficult questions, and its seamless movement between locations fully immerses the audience inside the debate. But it transcends those earlier films because of the way it treats the characters that might be seen as “other.”
THE TEACHER Edwin Friedman believed that good leadership creates conditions for people to find tools to become emotionally mature. In other words, no matter what its stated goal (civil rights, community organizing, religious engagement), the most important purpose of leadership is to help us become more fully human.
Of course this is also true for artistic endeavors—stories that create emotional dependency in audience members are not offering good leadership, and they usually make for bad art too. We may like them, as they satisfy the surface-level desire for easily grasped narratives and quick resolution. But that’s the aesthetic equivalent of a cheap burger. Our deeper hunger is for stories that strive to tell the truth about life and its possibilities, that demand self-reflection, and that permit subtexts to breathe so we can fill in the gaps.
I saw three such films recently. Inside Out displays astonishing imagination, bringing us into the human psyche to figure out how we think. There’s genius in a story that gives the five core emotions personalities, wisdom in how it makes honest work of how people confront change, and a delightful bonus in the form of Bing Bong, a character with all the lovableness of Baloo the Bear and a purpose with which Carl Jung would be pleased. Inside Out offers no shortcuts to spiritual well-being. It’s film-as-therapy that’s as entertaining for kids as it is wise for adults (and vice versa).
“God has to be busy with everyone else. And hopefully he will come into my life. I hope it happens. It’s going to break my heart if it don’t.”
So says Andrew, one of the three teenage subjects of the documentary Rich Hill, currently playing in theaters across the country. While film refrains from any sermonizing on poverty, or any direct call to action from its audience, it’s mighty hard for socially minded Christians to hear these words and not feel compelled to react. Tracy Droz Tragos and Andrew Droz Palermo’s documentary is an unflinching portrait of poverty in rural America, and its sympathetic portrayals give heartbreaking examples of neighbors in need.
The film follows a year in the lives of three boys: Andrew, Harley, and Appachey. They don’t know each other, but they have much in common. Besides living in the small town of Rich Hill, Mo., all three come from troubled families living well below the poverty line. Andrew is the most hopeful of the group. He’s got a family he loves, and a father who means well, but whose unrealistic dreams keep the family moving from place to place and dodging unpaid bills. Thirteen-year-old Appachey and 15-year-old Harley, however, come from darker situations. Harley is a victim of sexual abuse (his mother is in jail for attempting to kill the man responsible), while Appachey’s violent behavioral issues are simply too much to handle for his single mom, overwhelmed with his siblings and a dilapidated house filled to the rafters with junk.
This will be a night to remember!
On Monday, I had the opportunity of attending an advance screening of The Hobbit: An Unexpected Journey with a good childhood friend of mine. I sat in my favorite movie-watching seat (a few rows back and dead center), munching on free popcorn and drinks provided by a fellow moviegoer who wanted nothing more than to ensure that his entire row in the theater was happy and well-fed (not too unlike a Hobbit, really).
Just before the lights dimmed, I remember thinking how perfect the whole moment was. However, as exciting and as wonderful as those final moments of anticipation were, I also couldn’t help but wonder if I might be setting my expectations too high for the film that was about to come.
It turns out I needn’t have worried.