Category: film

THE WAY GOD DOES HOPE

THE WAY GOD DOES HOPE

God delivers hope in the strangest ways. When we want hope, we look for it in large promises made by powerful people. But when God provides hope, it looks like a tiny mustard seed covered in dirt. Like a pinch of leaven in a batch of dough, kneaded to a rubbery lump and left to rise in the dark, God’s hope comes to unlikely people in unknown places. And with it comes a crisis.

That’s the story of Jesus’ birth, well told in New Line Cinema’s 2006, The Nativity Story. The gritty reality of a family from impoverished Nazareth, staggering under cruel Roman oppression, comes through like no other movie on the birth of Christ in recent memory. Nothing is romanticized. Cecil B. DeMille would not recognize the sets or the clothing. The cast learned how to use the era’s tools, build houses, crush grapes and olives, milk goats, and make goat cheese.

Everything feels authentic, including Ciarán Hinds’ (Star Wars, Game of Thrones) menacing, paranoid, ruthless Herod. He reminds us that evil is everpresent when God is at work. Nazareth’s Jews’ stifling legalism is also palpable as Mary returns, obviously pregnant, from her visit with Elizabeth. The three wise men provide comic relief and a cosmic perspective on the birth of the King of Kings. But Oscar Isaac’s smitten, conflicted, and finally, courageous Joseph is the hero of the story. His portrayal of Jesus’ adopted father is a beautiful example of the positive power of a good man who puts others before himself.

Sadly, the weakest performance in the film is Keisha Castle-Hughes’ Mary. It may have been the script, but her portrayal, while authentic in biblical detail, seemed flat. Still, her and Joseph’s steadiness in the crisis of faith created by God’s entrance into their lives is worth the Amazon rental price. It reminds us that that is how God works hope into our lives. Not in big promises made by influential people but through small acts of faith by regular people facing the crises of obedience.

The smallest of seeds an inch deep in the dirt. A pinch of leaven in the dough in the dark. The greatest of kings born in the most humble of places. That is how God does hope. Watch The Nativity Story and find your hope this Christmas.  

RISEN: A Day Without Death

RISEN: A Day Without Death

At the end of Act I in the 2016 film, Risen, a cynical Pilate probes his Tribune, Clavius, “Your ambition is noticed. Where do you hope it will lead?”

“Rome. Position. Power,” says Clavius.

“Which brings?”

“Wealth, a good family, someday a place in the country.”

“Where you will find?”

“An end to travail. A day without death.”

But death reigns in Risen, as an ever-present element in the Roman Tribune’s life. He is either delivering it, mourning it, trying to prove it, or outrun it as the film unfolds. I think that’s what makes it my new favorite Easter movie. It does not shrink from the stark reality of death and the impossibility of escaping it.

Risen follows the tradition of The Robe and Ben Hur by inserting a fictitious historical character into the Biblical narrative as an eyewitness to events. And while it doesn’t aspire to the epic proportions of those classics, it is a good story well told.

Joseph Fiennes (Luther 2003, On Wings of Eagles 2016) turns in a phenomenal performance as Clavius, the Roman Tribune charged by Pilate (Peter Firth) with insuring that Jesus stays dead, the Sanhedrin remains mollified, the mob remains pacified. And Caesar stays in the dark about all of it. The cinematography is excellent. The plot is believable, the film is well-paced, and even though special effects got the shallow end of the budget pool, the script and the acting more than made up for it. Pilate’s cynicism is palpable, but not overdone, as he and Clavius play a high-stakes game of political chess with the equally cynical High Priest. We come away reminded of how quickly truth goes by the boards as the players manipulate the message in a never-ending battle to shape public opinion.

Risen does have several historical flaws and anachronisms. Except for the High Priest once a year during the Yom Kippur ceremony in the temple, Jews would never speak the name, Yahweh. Mary Magdalene appears as a redeemed prostitute, another commonly made historical error. And those concerned with fidelity to the biblical text will note a glaring omission in the words of Jesus just before the ascension. But these are minor problems, offset by biblical faithfulness throughout the rest of the script and an excellent supporting cast. Watch especially for the drunken guard’s testimony in the bar.

Far more important, however, and ultimately more moving than any of these things is Fiennes’ Clavius. He is utterly convincing as a man’s man intimately acquainted with the brutal parts of life on a fallen planet. The moment he catches the disciples in the upper room is worth the price of the film. It’s the most compelling portrayal of a cynical man’s encounter with the risen Christ I’ve ever seen. And everyone who watches will struggle with him to reconcile two irreconcilable things: “A man dead without question, and that same man alive again.”

CREATED EQUAL Is a Great Story

CREATED EQUAL Is a Great Story

“Eah ya got ‘nud jah?” the sweaty, African American man said as he handed back the glass Mom had given him.

“Whut,”? I asked.

“Eah ya got ‘nud jah?”

“Momma, I cain’t unnerstan this man. Whuts he wont?”

“He wants more water, honey. It’s awfully hot outside. Here, give me the glass.” She refilled it and handed it back to the man who walked into our backyard every week, dumped our garbage cans into his large metal one, slung it on his shoulder, and hauled it back to the county truck at our curb.

I was about eight years old, and the only black men I met were the ones that collected the trash or trimmed the hedge across the street from my grandma’s house. I had no idea of the life these men led or of the events swirling through our country in 1968. But the Civil Rights movement was about to make itself known in powerfully negative terms in my small southern world. By the time I reached eighth grade in DeKalb County, just outside Atlanta, racial gang fights were regular events. And dodging them was an art form for this pudgy 13-year-old.

I did not understand the roots of the anger in my black classmates. All I knew was I felt like I was paying for something I hadn’t done and over which I had no control, and I was angry. Little did I know that they felt the same way. And as a people, they’d had enough of it.

About the same time that I was waking up to racism, future Supreme Court Justice Clarence Thomas was coming to terms with his anger about the injustice. In the new documentary, Created Equal: Clarence Thomas in His Own Words, we learn how this coastal Georgia, Gullah-Geechee speaking boy, grew up from poverty to become one of the youngest men ever appointed to the bench. And how the once-radical leftist became a bastion of conservative jurisprudence.

Schooled by his grandfather’s fierce work-ethic—“Old man Can’t is dead. I helped bury him,”—and Irish Catholic nuns sympathetic to racial oppression, Thomas was bound for the priesthood. But when Martin Luther King Jr. was shot, a white seminary classmate’s comment, “I hope he’s dead,” unleashed a fury in Thomas that drove him from the ministry and into the arms of campus Marxist revolutionaries in Boston. “I’m angry with my grandfather. I’m angry with the Church. If it’s a warm day, I’m angry. If it’s a cold day, I’m angry. I’m just angry. I’m angry. I’m sort of flying, lashing out at every single thing. Nothing is right.”

But a night of violence with campus radicals shook him to his core and drove him back to the Church where he asked God, “If you take anger out of my heart, I’ll never hate again. Anger and hate,” he says, “are just other forms of slavery. Other people are controlling you.”

He would need that resolve when leftist ideologues tried to torpedo his nomination with bogus sexual assault charges during confirmation hearings. “We know exactly what’s going on here. This is the wrong black guy. He has to be destroyed,” he says in the film. Thomas’s humanity, faith, and courage are reminiscent of Jacky Robinson’s in the movie 42 as he withstands without rancor the vicious assault on his character that he termed “a high-tech lynching for uppity blacks.” Watching his story unfold helped me better understand mine and strengthened me for the cultural battles we face today.

Black history month has come and gone, and the film is no longer playing in theaters. But it will be air on PBS in May, and no doubt be available soon on DVD and streaming services. In these culturally confusing, racially tense times, it goes down like a cold drink of water on a hot summer day.

The Gospel Streamed

The Gospel Streamed

I sat down expecting to be disappointed. Religious television and movies have dissatisfied my artistic, historical, and theological sensibilities so often over the years that my wife, who had already seen the episode, had to nudge a bit to get me to watch.

I came away profoundly moved and ready to buy the first season of The Chosen, a new streaming television series on the life of Jesus as experienced by his followers. It is billed as the largest crowd-funded production in television history and it doesn’t disappoint.

Artistically, The Chosen is very satisfying. The scenery, the videography, the acting, plot lines and story structure draw you in and keep you engaged. Often, in Bible-based films, one or more of those elements is so bad it’s like hearing a soloist mangle the Star-Spangled Banner. You just wish they’d left it alone. Not here. Only a few of the actors were recognizable. Eric Avari (The Mummy, Independence Day, The Brink) plays a nuanced Nicodemus. Jonathon Roumie (The Good Wife, Fallout 4) plays a kind and believable Jesus. But none hit a flat note.

Historically, The Chosen hits its marks with credibility. The interplay between Matthew the tax collector and his Roman body guard and between Nicodemus and a Roman Centurion rings true to what we know of the relationships between oppressed and oppressor. Andrew and Peter’s fishing boat and business and their interaction with tax collector Matthew are also believable.

I’ve only seen the first episode, available here for free, but so far, The Chosen doesn’t disappoint in the spiritual or theological arena either. In fact, just the opposite. Director Dallas Jenkins, son of well-known evangelical author Jerry Jenkins, is a Bible-believing evangelical who has “zero desire to mess with Scripture or make some sort of new theological point. This is about telling these stories in a way that makes the moments in Scripture even more impactful.”[1] Justin Tolley, a producer on the project, agrees. “We don’t want to roll one frame that’s contrary to the Word of God. We want to do it with excellence, to give God our best.”[2] Show consultants include a New Testament scholar and a Messianic Jewish rabbi.

The storytellers of a culture shape the values of the culture. This is the greatest story ever and in The Chosen it is being well told. So far so good, but there is one fly in the ointment. VidAngel, the streaming service they’ve partnered with just lost a big legal battle with the Hollywood movie industry that has the potential to kill the service. That would force the producers to go with another platform that may not be as friendly to The Chosen’s production values. That would be a shame.

If you’re looking for something edifying to watch with excellent production values, I encourage you to try The Chosen, or look up their Facebook page for trailers and background videos. You won’t be disappointed.

[1] https://www.thegospelcoalition.org/blogs/justin-taylor/interview-dallas-jenkins-first-multi-season-drama-life-christ/

[2] From The Chosen Facebook page.

OF JEOPARDY AND BIBLICAL EPICS

 

The game show Jeopardy is an occasional evening indulgence. Answering correctly, before the contestants, is the big draw, and fun when it happens, but let’s just say that I’m never tempted to audition, except when the Bible is the category. Alex Trebek became the host of the hit game show the year we got married, and since that time it seems the contestants’ biblical knowledge has decreased with each decade.

We have become a visual media culture, learning more from television, film, and streaming sources than any civilization in history. Fewer Americans, it seems, are reading the Bible, but more are watching movies.

That’s why I’m recommending my top five biblical movies just before Easter. I’m not suggesting that anyone can build a solid foundation of biblical literacy, still less doctrine by watching, but we can get the big picture, and some of the major themes. And movies contribute to cultural conversation. It’s always easier to begin a discussion with, “Have you seen …?” than with “Have you read the book of Matthew lately?”

The Passion of the Christ – Mel Gibson’s R-rated (for violence) 2004 blockbuster is not for children, or the faint of heart. It was controversial, but brutally accurate in its portrayal of the final twelve hours before Jesus’s death. The expressions on Jesus’s (Jim Caviezel) face at the beginning and the end capture the conflict with evil, and the hope of resurrection, like nothing else available on screen.

Ben Hur – The 1959 classic with Charlton Heston in the title role was remade last year by husband and wife team Mark Burnette and Roma Downey (The Bible). The new film is shorter, by an hour, and faster paced. But the mid-twentieth century version is truer to the best-selling, 1880, Lew Wallace novel Ben Hur: A Tale of the Christ. The story of revenge and redemption between two adoptive brothers, Roman Messala, and Jewish Ben Hur, plays out in and around the crucifixion and resurrection. The climactic chariot race benefits from better special effects in the newer film, but the 1959 classic won eleven Academy Awards.

Risen –The 2016 film follows the tradition of The Robe and Ben Hur by inserting a fictitious historical character into the Biblical narrative as an eyewitness to events. And while it doesn’t aspire to the epic proportions of those classics, it is a good story well told.

Prince of Egypt – The 1998 animated epic remains one of the most powerful and accessible retellings of the Exodus ever produced. Watch it with your children and grandchildren. It is visually compelling and musically breathtaking.

The Jesus Film – This 1979 film hasn’t won many awards–on earth. Neither has it made much money, but the two-hour long, faithful rendering of the Gospel of Luke has been shown on more screens, to more audiences, in more diverse places than any other biblical film in history. From Bible-less peoples in the Amazon jungle, to Aborigines in the Outback, this film has probably changed more lives, and will win more awards in heaven, than any other. If you want a literal rendering of the most historically detailed Gospel, this is it.

These are just my favorites, included because I’ve seen them. What are yours?

 

 

 

HIGH OCTANE ANGELS

I have a problem with angels. But maybe that’s because the angels I’m talking about are on the take from Hollywood.

You’ve seen them. They show up in film and television with names like “Al,” played by the always nutty Christopher Lloyd in Angels in the Outfield; or “Seth,” (Nicolas Cage) in City of Angels, who falls in love with a human; “Dudley,” (Denzel Washington) in The Preacher’s Wife, who nearly seduces her; and the ever popular “Clarence” in It’s a Wonderful Life. Then there was the television hit, Touched by an Angel some years ago. Often suave, sometimes nutty, and usually cheerful if somewhat mystical, these angels are far too human for me. Yes, they do good things in the movies, and I’m not saying the films are particularly bad, just that their angels are low octane.

The angels I’m used to, the ones I expect to see one day, aren’t anything like the human-ish versions on screen. They aren’t cute, suave, falling in love, or trying to earn their wings. Neither are they funny, except possibly for the episode with Balaam’s donkey, but I bet he wasn’t laughing.

The angels scripture reveals are high octane representatives of heaven.

Angels are, when they appear in human form, on a clear mission to deliver God’s message, protect God’s people, and/or accomplish God’s purpose. Either way, they are not to be trifled with. When they appear in, shall we say, extra-human form they are terrifying: Ezekiel’s angels, technically known as Cherubim, had four faces, four wings, and feet like burnished bronze. Fearsome power is the idea. Other Old Testament angels kill hundreds of thousands of God’s enemies, swoop down in chariots of fire to gather up Elijah, and surround foreign armies to protect Elisha (2 Kings).  We also find them quenching the fiery furnace and closing the mouths of lions (Daniel), or, as in the New Testament, tossing tomb stones, springing apostolic prisoners, and standing, rank upon magnificent, military rank roaring glory to God.

When angels show up, humans fall down — either dead or just frightened out of their wits.

That’s what happened to the prophet Daniel (See 8:15-17) as well as Zechariah, father of John the Baptist. Both men, hundreds of years apart, were stunned by the presence of Gabriel, the being who seems to be heaven’s press secretary in all things related to Christ. Daniel fainted and Zechariah, who though terrified managed to show a little disrespect, was struck dumb by Gabriel until the Baptizer was born.

Real angels are high octane.

So this year, whether you’re watching your favorite Christmas movie, or just having a cup of hot chocolate while gazing at the little angel ornaments on the tree, remember, the beings that announced the birth of Christ shimmer with power and glory. And when he returns, they’re coming with him.

RISEN: Something Good Out of Hollywood

Based on Bible stories made into movies of late, the Nathaniel’s among us would be justified in paraphrasing the dubious disciple’s first question about Jesus: “Can anything good come out of Hollywood?”

Noah, in spite of my initial enthusiasm about it, turned out to be a theological mish-mash and a box office disappointment. The trailers for Exodus: God’s and Kings, revealed such an obvious hack job on the original story that I, along with many others, didn’t waste my time or money on it. Roma Downey and Mark Burnette’s 2015 television hit, AD, also left me disappointed by the middle of the series.

Not so with Risen, the Sony Pictures release now playing in local theaters. Instead of trying to make something more or something different than the original Easter story, Risen follows the tradition of The Robe and Ben Hur by inserting a fictitious historical character into the Biblical narrative as an eyewitness to events. And while it doesn’t aspire to the epic proportions of those classics it is a good story well told.

Joseph Fiennes (Luther 2003) turns in a phenomenal performance as Clavius, the Roman Tribune charged by Pilate (Peter Firth) with insuring that Jesus stays dead, the Sanhedrin remains mollified, the mob remains pacified, and Caesar stays in the dark about all of it. The cinematography is good. The plot is believable, the film is well paced, and even though it’s obvious that special effects were relegated to the shallow end of the budget pool, the script and the acting more than made up for it. Pilate’s cynicism is palpable, but not overdone, as he and Clavius play a high-stakes game of political chess with the equally cynical High Priest. We come away reminded of how quickly truth goes by the boards as the players manipulate the message in a never-ending battle to shape public opinion.

Risen does have a few weaknesses. One actor is glaringly amateurish in the two short scenes he inhabits. It wouldn’t matter if they weren’t so strategically placed. And those of us concerned with fidelity to the biblical text will note a glaring omission in the words of Jesus just prior to the ascension. But these things are minor and offset by biblical faithfulness throughout the rest of the script and an otherwise excellent supporting cast. Watch especially for the drunken guard’s testimony in the bar. That actor should win an Oscar.

Far more important however and ultimately more moving than any of these things is Fiennes’ Clavius. He is utterly convincing as a man’s man intimately acquainted with the brutal parts of life on a fallen planet. Every man who feels the cynicism of Pilate creeping up on him in mid-life will identify with Clavius’ quest for truth. And everyone who watches will struggle with him to reconcile two irreconcilable things: “A man dead without question, and that same man alive again.”