However, discerning Christians can perceive the errors, recognize the truths, and enjoy the movie.
What seemed downright mean-spirited to me about the movie was the first six minutes, where his wife from the first film divorces him after six days for the presumed reason that the character is fat and doesn't make any money. HA. THEN his mother, this seemingly really kind-hearted old woman gets hit by a milk truck.
After a few sips, only a whisper slipped from her lips. The drink burned her vocal cords. Sly as a snake, a boy’s family concocted a drink in order to harm her. Like Maloti, 50 million other women experience this persecution sealed within India’s borders.
This decay of his life bleeds through the film in Andrew’s practice sessions. In the beginning, he plays like one would think a jazz drummer would play. He moves his head with the beat, sways, and makes viewers want to jump on a drumset. As his practice sessions continue, he moves his bed into his practice room, grimaces, sweats, and bleeds through the layers of Band-Aids plastered on his blistered hands.
It is the inspiring story based on the journey of “The Lost Boys” who trekked over a thousand miles across Africa to save their lives. Sudan has been involved in a civil war fueled by religious, ethnic, and regional strife since the mid-1980s. Thousands of children experienced unfathomable horrors and unimaginable hardship.
The Song is a modern day adaption of Song of Solomon. Viewers will walk out of the theatre inspired by THE SONG and encouraged to pursue a life of significance yet challenged with the question, “From where does true significance come?”
Sadly, some in the “Christian” culture will probably be offended by the film, others may dismiss the deeper questions raised because they do hit close to home by depicting a not too pretty reality that lies hidden underneath churches and ministries. But hopefully, most will see the parody and humor and appreciate the film’s quality and realness.
Finally, director Zach Snyder and story writer Christopher Nolan cut all the corny traditions of Superman mythology that have embarrassed Superman fans for decades and put some real humanity into the man of steel. No Lex Luther “I’ll get you, Superman!” lines, no convenient kryptonite rocks, and no red underwear. Snyder reinvents Superman similar to the new Batman trilogy, based in a stronger sense of reality with a relatable hero riddled with inner conflict.
One can only imagine what it must have been like for Daniel when he served King Nebuchadnezzar. Did Daniel ever resent the Babylonian people? Exactly how much was he oppressed for his faith and heritage? How did he cope with serving the king of a nation who enslaved his entire people? Through the story of Cecil Gaines (Forest Whitaker), The Butler (directed by Lee Daniels) shares with us insight on how a White House butler, who served under eight presidents, lived in a nation bent on oppressing him and his people.
I confess; there’s just something about movies where the bad guy goes down in flames and the good guy wins. It may be in the spiritual DNA; we live in a time where evil reigns, and we long for the day when it is utterly vanquished. Movies that mimic the good-triumphs-over-evil theme temporarily satisfy the longing for justice.
The history books tell of Honest Abe’s achievements, of ending the bloodiest American war and healing the nation. Some books may tell of his personality, that he was earnest, patient, guarded, generous, and firm, all of which may be interpreted as differently as the eye that reads about them. But with the movie Lincoln, we now have a tangible, indelible portrayal of the character of our 16th president.
Unconditional, directed by Arlington native Brent McCorkle, says many things about love, forgiveness, underprivileged children, and even a little on racism. Quite a lot to cover in less than two hours. Wind lifts the story of Samantha and her journey to find peace, but the film glides shakily under the weight of its many themes. With so much to teach this fallen world, the biggest mistake for Christian filmmaking is trying to say it all in one story.
It’s almost impossible not to like Jordin Sparks. Her stunning performances on American Idol’s sixth season instantly won her a place in the hearts of many music lovers, not to mention she’s gorgeous and comes off as exceedingly humble. What’s not to like? Well, with last month’s release of Sparkle, a remake of the 1976 movie of the same name, there is at least one thing. Her acting.
On top of this Bane-sized disappointment, the story has more holes than a paper snowflake. Bane and his partner in crime Talia Al Ghul (Marion Cotillard) have no motive for blowing up Gotham other than because that’s what Daddy would have wanted.
Before viewing War Horse, the latest Steven Spielberg film, my first thought was, “Oh no. Not another horse movie.” Horse movies tend to portray the underdog horse and its owner working together to beat the odds in some sort of contest. Next.
The Kendrick brothers are back with lots of truth and a little less cheese. Courageous, the new film by the Kendrick brothers of Fireproof and Facing the Giants fame, has those trademark Kendrick moments. Which is a good thing and a bad thing.
When Minny bakes up a chocolate pie, mixes in her own feces, and serves evil Hilly Holbrook two “delicious” slices, everyone in the theater where I watched The Help exploded into laughter and applause. I didn’t. But we’ll get to that.
There’s been no shortage of conversation over the last few weeks about the big-screen adaptation of Kathryn Stockett’s best-seller, one of the year’s blockbusters. As entertaining as it is–blacks and whites alike have raved about the film to me—The Help is a re-warmed version of countless fictitious looks at the Jim Crow-era South, where racism is presented like a Saturday-morning cartoon full of laughs and underdogs and superheroes and good prevailing over evil.