A Day Late and [Several] Dollar(s) Short II: Awards Edition

It’s become a tradition around our house to wait until long after awards season to actually watch any of the films up for Golden Globes or Academy Awards. By “tradition”, of course, I mean that a busy life with three kids and our general cheapskatiness dictates that we seldom go to the movies and are willing to politely wait until the library will share a DVD with us.

A parallel tradition (if, by “tradition”, I’m allowed to mean “I did it once”) is to briefly review these films once the haze of homemade popcorn (coconut oil will set you free) has settled. This isn’t an exhaustive list, and there’s more movies we haven’t yet managed to wheedle from the library stacks. With that in mind (and in no particular order) here goes nothing.

Hell or High Water

Hell_or_High_Water_film_poster

Courtesy Lionsgate Films

I’m a sucker for the bleak neo-Western (and the Western genre more generally). The grassy expanse of West Texas is a classic clean slate on which to draw the bright lines of a morality play. Even given the contemporary milieu of the story, the elements are all here: bank robbery, the conflicted anti-hero, the grizzled veteran lawman and his idealistic younger partner, the cold-eyed outlaw who can’t be trusted or reasoned with. Add to that a frustrating family drama and the backdrop of a crooked financial system and the mortgage crisis, and you should have a fine piece of work.

Like so many other Hollywood products, however, this movie falls prey to the temptation to be more “authentic” with excessive language and glorying a bit much in the violence and gore necessary to the narrative. At times, it felt like the director padded out the screenplay with these flourishes to fit the feature-length running time. Jeff Bridges earns his Oscar nod, but he doesn’t get enough screen time for us to know his character well. The last 15 minutes (essentially a lecture from Bridges’ character) almost make up for all this, but it seems overall a less than fully realized vision.

Shorter Hell or High Water: Lukewarm. Should’ve either been a tightly directed short or a longer, more complex study.

Fences

Fences_(film)

Courtesy Paramount Pictures

August Wilson’s Pulitzer-winning play (for which he wrote a screenplay before his death in 2005) seems to have been tailor-made for Denzel Washington, but for Denzel in his 60s. He had to age into the role of Troy Maxson (who he portrayed in a 2010 broadway revival of the play), and he filled the director’s chair for this effort with just as much strength and nuance. Viola Davis’ embodiment of Troy’s wife, Rose, was rightly praised and certified by acting awards.

This emotionally charged story took so long to come to the screen because Wilson insisted that an African American direct it, and Washington’s touch was well worth the wait. Though emphatically a black story (with strong civil rights notes), the themes of family, sin, aspiration, frustration, love, and community lay claim to the universal human condition like all great literary works.

Shorter Fences: The true and better Death of a Salesman—more resonant with more of American life.

La La Land

La_La_Land_(film)

Courtesy Summit Entertainment

It had been conventional wisdom in Hollywood for quite some time that musical film as a genre was dead. And, aside, from the persistent presence of songs on screen in most animated flicks, the idea of people in a dramatic frame esoterically bursting into song was relegated back to Broadway. The success of 2012’s adaptation of Les Misérables and 2014’s Into the Woods (and the fact that a Broadway play—Hamilton—became 2015’s pop-culture sensation), it was perhaps inevitable that someone would come up with a good, original movie musical.

Damien Chazelle’s creative effort is lively, enjoyable, and (most importantly) the music sticks in your head. Though contemporary in setting, the pacing, framing, and set design feels like a more old-fashioned film. Ryan Gosling and Emma Stone both do some good work, but overall, I found it did not quite live up to the hype. It falls flat, not because of the music or acting, but because the story falls prey to Hollywood’s love affair with itself. Still, it gets my recommendation because I want to see more in this vein getting produced.

Shorter La La Land: Good music, great ending, but impossible to take too seriously after Hail, Caesar!. Also, Loudon Wainwright III’s song, “Grey in LA“, provides a nice counterpoint.

Florence Foster Jenkins

Florence_Foster_Jenkins_(film)

Courtesy 20th Century Fox

Now for the obligatory Meryl Streep vehicle of this year’s lot. This film is funny, and though tender and sad, mercifully does not take itself too seriously. Without spoiling too much of the plot, it involves the musical prowess of someone who cannot sing her way out of a paper sack, and some very sad marital issues.

Overall, it is a fun and finely produced piece, and the cast look like they had fun playing in it. Meryl Streep is always good. Hugh Grant plays, well, Hugh Grant (playboy-with-accent-and-charm), and Simon Helberg (of Big Bang Theory fame) has a wonderful turn as an aspiring classical pianist co-opted into Florence’s orbit. Not a great film, but a decent one.

Shorter Florence Foster Jenkins: Almost worth it just for Helberg’s facial expressions…

Silence

Silence_(2016_film)

Courtesy Paramount Pictures

Portraying any form of Christianity on screen and avoiding ridicule or kitsch requires a directorial pirouette. Through his adaptation of Shūsaku Endō’s 1966 novel, Martin Scorsese has pulled it off. Beyond that, he has crafted a beautiful, richly moving film, pitch perfect on nearly every front—acting, cinematography, pacing, etc. That it is loosely based on real people and real events in 17th century Japan gives it even more force.

The entire film is a gut punch, reminiscent of The Power and the Glory (and Endō’s work is often compared to Graham Greene’s), but without the antiheroic angst of the Whiskey Priest. The clerics of Silence are earnest and faithful, and the suffering they endure (and, perhaps, cause) is sustained and painful. Like the source material, it raises many questions that Christians living under persecution have faced since the first century. What is apostasy? Can the church be the church in secret? The highly visible nature of Catholicism accentuates these tensions, but there are lessons here for believers of all stripes. An incredible work of art.

Shorter Silence: Wow. Just Wow.

A Man Called Ove

A_Man_Called_Ove

Courtesy Nordisk Film

Foreign language films can be a bit daunting, but the effort to follow along is just as often rewarding. I read Fredrik Backman’s superb novel earlier this year, and was prepared (as most readers always are) to be let down by the film version.

Hannes Holm’s deft rendering was a pleasant surprise, keeping the tenor of the story just right, and managing to tell it in such a way that even those who haven’t read the book should be able to appreciate it. Rolf Lassgård as Ove and Bahar Pars as Parvaneh shine. Just like the novel, I found myself laughing and crying almost simultaneously. This is a story for our time. There is more to life than simply individuals and an administrative state, and the people we do not want to “bother” us (neighbors, co-workers, and those in need) are precisely the ones put in our path to save us from despair. Well done!

Shorter A Man Called Ove: Grumpy old men may not always be what they seem.

***UPDATE***

Arrival

Arrival,_Movie_Poster

Courtesy Paramount Pictures

Science Fiction is, for most, an acquired taste. Were there more films made like Arrival, combining artistry and compelling stories with the mind-bending concepts of the genre, more moviegoers would likely acquire the taste. So much of recent sci-fi tends toward the grotesque, relying more on horror-film tropes than intelligent writing, or the outlandishly comedic. The transcendent themes of a movie like Arrival (based on “Story of Your Life”, a short story by Ted Chiang), remind us what a treasure the best of sci-fi can be.

Amy Adams and Jeremy Renner deliver top-shelf performances as a linguist and physicist tasked by the U.S. government with deciphering the purpose of alien visitors to earth who have come to in peace (or have they?). Along the ride we are treated to a plethora of questions about language, cognition, time, and human agency. This is well worth any serious movie-lover’s time.

Shorter Arrival: People will be talking about this film for a long time.

 

Considering Our Options: Reviewing Rod Dreher’s Benedict Option

The Benedict Option: A Strategy for Christians in a Post-Christian Nation, by Rod Dreher, 2017, New York, Sentinel.*

Jeremiads against the corrupt culture of the surrounding world are nothing new in Christianity. The looming collapse of the social order has been forecast time and again, with a standard of accuracy that would turn meteorologists into clairvoyants. Why, then, consider the subject again? What value could there possibly be in stirring up despair and provoking jeers from those outside the faith?

For one thing, the Jeremiad has fallen out of favor, within the church as much as without. We in the West don’t see the problem. Rather than wringing our hands waiting for the apocalypse, we are often twiddling our thumbs and trying to get the most out of our comfortable lives here and now. In this sense, Rod Dreher’s The Benedict Option is not a Jeremiad at all, but more akin to the work of another prophet: “A voice of one calling: ‘In the wilderness prepare the way for the LORD….‘” (Isa. 40:3).

There is a plenty in the book that weeps for the state of our culture, but Dreher focuses his criticisms and prescriptions on the Western church—namely our unwillingness to see how the ground beneath our feet has shifted. The time has come, he argues, to look around, make a strategic retreat from the familiar battlefields of the culture war, and shore up our homes, churches, and institutions against the quicksand of what he calls “liquid modernity.” We can no longer “fight the last war,” attempting to persuade non-Christians through politics and preaching to return with us to the (largely fictitious) halcyon good old days. The majority has turned against the teachings of Scripture, and we must instead build a case for the truth and goodness of Christ and His church, as well as the structures and commitment to live that out.

Dreher’s approach here is neither new nor untried, and he engages in the text with several contemporary authors (Russell Moore, Yuval Levin, James K. A. Smith, and others) sounding similar themes. He has several advantages in this space, though. As a journalist rather than a professional theologian, he has taken the time to observe culture from a more critical remove, seeing the flood rising across denominational and regional lines, and finding stories of silver linings in unlikely places. As an Eastern Orthodox Christian, he has been steeped neither in the culture of hyper-spiritual gnosticism that so often has infected fundamentalists nor the individualism and over-emphasis on relevance that has often hollowed out the mainstream American evangelical worldview. As somewhat of a political “crank”, broadly conservative but standing outside of either major party, his ideas push well past political solutions to the problems he identifies. His even-handed, ecumenical tone acknowledges the divides between the various constituenciesbenedict-option_w-copy he addresses while calling attention to the divide that runs through each of them: their relative unwillingness to acknowledge the dissolution of the faith taking place under their collective noses.

Because Dreher has been talking about these themes in public (largely through his blog at The American Conservative) for many years, The Benedict Option as a book is a chance for him to clarify (and answer critics) of the Benedict Option as a concept. It is rare for a work to come to an audience who have so many settled opinions on it (see here and here for a couple of recent examples), and Dreher’s good-faith effort to make his case here has been broadly successful. In just 244 pages, Rod manages to distill a decade of blog posts, seminars, and conversations into an adroit summation that covers vast ground with earnest clarity while avoiding undue simplification.

Continue reading

Election Reflection: Burned out, but Building up

Much as this election felt like a long national nightmare—and the wreckage in the rearview mirror leaves me nearly in despair—the outcome and its potential future makes the campaign itself seem merely like the end of the beginning.

I’ve generally refrained from talking partisan politics in this space, and I’ve waited until the end of this cycle to avoid any perception of endorsement or campaigning. This year, though, has so squeezed my principles that they’ve nearly collapsed in on themselves. Whatever spark remained of my younger self’s zest for the intrigues of the political process has been thoroughly snuffed. I’ve watched men & women I respect make apologies for the most reprehensible behavior and diabolical ideas (from both ends of the spectrum). I’ve watched the notion that character matters a whit in any area of life go up in smoke. In an eerily sacramental finale, those of us in the Southeast have had to process these events in a haze of literal smoke.

Though neither party nor their “chosen” candidates (the election was not between two candidates so much as between their anti-matter counterparts—#nevertrump vs. #neverhillary) had anything of substance to offer to most Americans, many projected their desires and fears onto them. Of course this is nothing new, but the level to which fear was the only note played by this year’s band astonished even my inner pessimist.

In the weeks leading up to November, my wife & I both read two recent books that effectively capture two prominent perspectives in the present America. Though undertaken for general interest and learning, reading Hillbilly Elegy by J. D. Vance and Ta-Nehisi Coates’ Between the World and Me quickly came to reverberate the two basic fears driving opposition to the two parties. In these two books, two very different cultures with problems and responsibilities that are both similar and wholly different cry out to be heard and reckoned with. Both are being spoken to by certain constituencies. Both are being sold a mess of pottage by the governing elite and ignored by the broader upper middle class (Charles Murray’s “broad elite“).

Both Vance & Coates speak as “insider-outsiders” with unashamed fondness for their cultural background (and baggage) even as they have risen into the same elite class so blindsided this year. True to his chosen title of “Elegy”, Vance raises more questions than he attempts to answer; Coates’ refrain is more of a damning, poetic indictment of the destruction of black men, women, & children by the dominant culture. Both, though, lean hard into the conversations that our culture doesn’t want to  have but soon may not be able to live without. Both name the unspeakable loss that comes from watching what you love being stripped away by forces often completely out of your control.

These books also reflected for us an exercise in empathy. We are given a glimpse into a culture that, for many of us, is simply “other”: former coal miners or factory workers wade through unemployment, drug addiction, and family breakdown; young black men navigate recognition of their fraught history and witness friends and brothers being killed by police. Walking in such shoes is not something that comes easily to a modestly well-off, educated suburbanite like me. In this respect, readings like this are another step in my own journey to making peace with the privilege and responsibility inherent (to some level or another) in each of our lives.

Empathy goes a long way toward explaining how hard it’s been to watch this political year unfold. The level of my emotional reaction to Trump’s win surprised me. As I’ve tried to tease that out, I’ve joked with friends that “I didn’t know I had an inner liberal before this year, but I do, and he’s angry.” More truthfully, what’s changed for me is having forged real friendships over the past few years with people with very different stories from mine. Blessed with a life full of ladies (I have two sisters and three daughters; no brothers and no sons), I already had a built in revulsion to the way Trump treats and talks about women and the way Mrs. Clinton has thwarted her husband’s accusers, and no desire to see that kind of behavior rewarded and empowered. Watching Trump’s bumbling bring out some of the worst elements of our culture helped me see that the racism (both tacit and virulent) I thought was dead and gone is a part of daily life for my African American brothers and sisters.

Added to that, I’ve been working since March for a ministry focused on equipping churches to alleviate poverty. You can’t spend your time & energy teaching others to recognize and respect the God-given dignity of all people and then sit idly by when the platforms of those who would strip it from so many of them get mainstreamed into American political life.

What I have in common with all of the rest of my compatriots this year is fear. It is written on so many faces; scribbled as the subtext of every commentary on our fractured politics. Fear, powerful motivator though it may be, is most dangerous when we allow it to define our hope. They are natural opposites, these two, but they always tag together. As Paul wrote to the Corinthian church: “Since we have these promises, beloved, let us cleanse ourselves from every defilement of body and spirit, bringing holiness to completion in the fear of God.” When our fear is properly placed in the Lord (who holds our destinies), our hope is found in him as well. Letting fear reside elsewhere (say, in a Hillary Clinton Presidency) allows hope to attach to utterly untrustworthy objects (such as Donald Trump). All of us struggle to keep this divine perspective, living in quiet terror of losing our spot in life’s queue.

As frustrated as many are with the situation we find ourselves in, I’m forced to wrestle with what a luxury political angst is. Apocalyptic rhetoric has always been a feature of politics in a free society, but (however much it may be justified) it always distracts from the worthwhile endeavors of actually building the communities that build a country. What is worth our time? What will last? What are we willing to give up to gain what is not so easily lost? If each of us (pointing the finger at myself first) spent half the time getting to know and serve our neighbors that we spend digesting national news and wringing our hands, what could be built? The day after the election, a group of us (black and white) sat across the breakfast table from a South Sudanese pastor (whose church is in a refugee camp) talking about the future of his ministry, and our “justifiable” despair at the state of our nation began to look a lot more like petulant self-absorption in the grand view of God’s kingdom.

As 2016 comes to a close and the sorrows of national life mingle with the joys our family and friends have experienced this year, the memory of this apparent annus horribilis may be sweeter than I have capacity to see. Taking time to think and feel and process all that has passed will, I hope allow me to someday tell my children how God is faithful in things big and small, working out His plan despite our penchant to accuse Him of unconcern.

May we all see that, despite the apparent priority of political life, “your life doesn’t change by the man that’s elected” nearly as much as we might think. God is on His throne, and our daily marching orders are still posted as ever.

Thrones and Dominions

The sands of time drift and drive, sift and shrive, covering multitudes.

He is the image of the invisible God.

The winds of change pummel and trounce, grumble and grouse, untying bonds.

He is the image of the invisible God.

In the temples, madmen shout, “Wither is God ?” in the gladdest moods.

Everlasting to everlasting, you are God.

From within each sepulchral apse, the unforced reticence responds.

Everlasting to everlasting, you are God.

“Give us first our freedom, our comfort, and from there we will march forth.”

For in Him dwelleth complete the fullness God.

“Any banner you offer, we will gladly unfurl, but leave us…”

For in Him dwelleth complete the fullness God.

“… the space to be who we are called to be, so we may point the world to north.”

He maketh peace by the blood of His cross. My God!

“Far be it from us to take sides.” To earth and heaven treasonous!

He maketh peace by the blood of His cross. My God!