Abraham Lincoln was a storyteller, so it’s fitting that his story has been hashed out on the silver screen — without vampires.
And to say that it simply was “hashed out” would be an injustice to director Stephen Spielberg and everyone who contributed to Lincoln, a film that will be remembered as much for its beauty as the iconic character from which it gets its name.
I’m not going to lie (pun intended), even though Lincoln is one of the most important figures in American history, I was hesitant about seeing a movie with the potential to be a two-and-a-half hour history class.
But I was more than pleasantly surprised.
Despite its length, the film drew me in and held my attention — even as a millennial growing up with the Internet, which I’m convinced has significantly chipped away at the already small attention span I have.
Tomorrow night is the first presidential debate. It will undoubtedly be an important moment in the campaign for the highest office in the land. But, whose lives will it be important to?
Certainly, there will be a lot for pundits to discuss and dissect. They will analyze phrases and statements, and will compare them to polling data and focus groups in swing states. Super PACs will record gaffes by either candidate, ready to turn them into multi-million dollar commercial buys.
But, as a person of faith, what I want to know is: how will the words that are said and the positions that are staked out affect the 46 million people in our country living in poverty? What does it mean for the hardworking families who can't put food on the table? Or the 1 in 5 children for whom poverty is an everyday reality and opportunity seems to be an illusion?
Tonight is the world premiere of a film that puts those questions front and center. The Line is a new documentary film from Emmy award-winning writer and producer, Linda Midgett. It tells the stories of real people struggling to make ends meet but still falling below the poverty line. These are stories far too common in our country today and should be a central topic of this debate.
It’s a little over 12 hours since I walked out of the movie theater, as the seemingly never-ending credits of Prometheus rolled behind me. It’s safe to say that I walked out of the theater in a very different mood than I had entered it. Three hours previously, I had butterflies in my stomach – the anticipation that I and my fellow late-night moviegoers exuded was palpable – we were all ready to witness something special. A master storyteller returning to, arguably his greatest work.
It is 33 years since Sir Ridley Scott scared the wits out of filmgoers with his horror/sci-fi classic Alien. In Prometheus, he returns to the universe he created all those years ago, to the mysterious workings of the Weyland Corporation, and to deep space where, as we all know, “no one can hear you scream.”
At 12:01 this morning, I was ready to see a film that has been a decade in development, an epic piece of cinema that would tantalize everyone who loves the Alien franchise, and that would introduce a younger generation to one of the most feared cinematic monsters in history. Sadly, the film I was ready to see was not the one I saw.
Editor's Note: Earlier this week, our intrepid blogger/reporter/resident-God-Nerd Christian Piatt sat down with the makers of the highly-anticipated film Blue Like Jazz — Donald Miller, director Steve Taylor and Marshall Allman, the actor who portrays protagonist "Don" in the screen adaptation of Miller's best-selling memoir — to talk about faith, film and ... fate.
Blue Like Jazz premiered at the SXSW Festival in Texas earlier this month and opens nationwide April 13. Piatt caught up with the filmmakers in a Colorado Springs theater where they were hosting a sneak-peek screening and persuaded the gents to unpack the story of the-little-film-that-could and the Spirit that buoyed them along the way.
The wide-ranging interview covers everything from John Coltrane's "A Love Supreme" and what Miller calls "dangerous theological ideas" to the astounding grace of God and peanut butter cups. Fascinating and funny, the conversation with the hearts and minds behind Blue Like Jazz is a humdinger.
Watch the interview in its entirety and read Piatt's reflections on the film and his conversation with its makers inside the blog ...
HUZZAH! IT'S BANNED BOOK WEEK!
It's been a fabulous few weeks for movies -- at theaters and at home. There are images in the great Russian director Andrei Tarkovsky's Solaris, recently released on Blu-ray and DVD, that are so beautiful they can evoke an aching longing for transcendent experience. This is entirely the point, for the film is about the search for meaning in a God-breathed universe. A man goes to space to investigate a mystery, discovers himself in the face of his loved ones, and ends in an embrace with the divine -- love itself. It's an astonishing work of art that repays multiple viewings, and serves as nothing less than an icon for worship. This summer's The Tree of Life, the fifth film in 40 years from the Christian humanist artist Terrence Malick, becomes something similar, and in the process makes excellent cinematic use of Brad Pitt and Sean Penn as avatars of contemporary masculinity. It's the most moving film I've seen this year.
When evangelical politicians pronounce on topics like the origins of the universe, the results are almost always awful -- embarrassing, infuriating, unwatchable. When a reclusive, visionary filmmaker like Terrence Malick treats the same subject matter, as he does in his new movie The Tree of Life, one is transported. Which is a useful reminder that the mysteries of creation are best grappled with through art. The book of Genesis, after all, begins not with scientific description or theological argument, but with a poem.