CGB Review of Detroit (2017)

I cannot believe this happened in America…and yet, in a most depressing way, I actually can.

This is my review of Detroit.

Detroitmoviepolicelineupmain599sv1

On July 23rd, 1967, an after-hours unlicensed bar called “Blind Pig” had been raided (for the third time, according to historical records).  As bar patrons were taken into police custody, a Molotov cocktail was thrust at police, setting off a riot that would throw all of Detroit into anarchy.  With residents looting and officers arresting left and right, trust between kinsmen had evaporated.  The spirit of hate and violence found its way to the Algiers Motel, where various people had sought refuge from the chaos outside.  When one of the motel guests, a man named Carl Cooper, shoots a starter pistol out the window, the police outside are alarmed and suspect there to be a sniper.  They end up at the doorstep of the Algiers Motel and from there is the beginning of a horrific night: Twelve people–ten black men and two white women–are harassed and interrogated by three Detroit police officers for several hours in a search for a rogue sniper.  False executions, beatings and, eventually, actual deaths–specifically the murders of Carl Cooper, Fred Temple, and Aubrey Pollard occur within the walls of the Algiers Motel.

The Hits
So I did some research on the 12th Street Riot and the Algiers Motel tragedy (it’s commonly called an “incident,” but I’m calling it a tragedy), and based on what I read and the information I collected, I think that both events were recreated the best way they could have been.  The movie opens with the Blind Pig raiding and the riot that ensues provides context leading up to what happened at the Algiers Motel.  The first twenty minutes have a sense of grand scale and visual storytelling.  If anything, this film is a thoughtful depiction of two things: the mob mentality and anarchy.  We see the bar patrons and observers angrily question the nature of the arrests in the opening scene, and it is made clear that raids such as these are commonplace but infuriating for all who are subjected to it.  This certainly does not justify the Molotov cocktail being thrown at police, but in terms of the narrative it does provide context.  The first hour presents a picture of harassed people succumbing to blind anger and a plethora of police officers– who were probably not prepared for a riot to literally conquer an entire city–reacting the best and worst way they know how.  I mentioned anarchy and that is because Detroit has a beleaguered past and the descent of a city to the depths of chaos is masterfully portrayed in this film.   Characters are seen running into grocery stores and rushing out with food, but because we are first shown looters fueling the flames, the sense of who is friend and who is foe is significantly blurred, which is typically how things play out in real-world riot situations.  There’s a particularly heart-wrenching scene where it had been previously established that there were rogue snipers targeting officers.  With this in mind, we cut to a young black girl peeking through closed blinds.  The camera then focuses on an officer who looks up and raises his gun at the window where we can only see the girl’s eyes…but not her face.
Now let us talk about the actual Algiers Motel storyline itself.  Halfway through the second act of the film, I found myself thinking that the Algiers Motel plot is both a strength and a weakness of the film.  I will explain the strengths first.
As a depiction of authoritarianism and realistic racism, this movie does a damn good job at showing both.  It is clear right from the get-go that the officers who are interrogating the Algiers Motel residents are less concerned with finding the starter pistol and are fueled by the thrill of having power over vulnerable human beings, as well as their own personal prejudices.   In terms of realistic racism, kudos go to Will Poulter, whose performance as Officer Philip Krauss is humanistic and terrifying.  This is not a cartoony racist; this is a racist person who you could conceivably pass by at the grocery store.  He’s not a moustache-twirling villain and he’s not given any overtly racist lines to spout out.  The racism of Philip Krauss is all in his attitude, in his treatment of the rioters leading up to what happens at the Algiers Motel.  A nuanced portrayal of an individual who sees certain groups of people as subhuman is far more unnerving.  You don’t have to use the “N-word” to be a racist.  It is how you perceive and treat those who are of a different race than yourself that speak volumes about your view on human dignity.

The Misses
If you watch the second trailer for Detroit (Detroit Trailer 2 on YouTube, if you’re interested), it shows a gripping scene from the film of John Boyega trying to recollect and explain to two detectives what happened at the Algiers Motel.
I am sad to say that this scene is not the first scene of the movie and it really should have been.  The raiding of the Blind Pig bar is the opening scene, and as compelling as it is, it lacks the introduction of our main characters.  This leads into the main problem with Detroit: there is no one main character to gravitate towards and this is a chaotic story that really needs a consistent point of view.  John Boyega’s security guard protagonist Melvin Dismukes is marketed in both trailers as the film’s moral center.  However, the movie struggles to balance the character arches of both Melvin Dismukes and Larry Reed, the lead singer of The Dramatics, played brilliantly by Algee Smith.  As a result, John Boyega’s character is certainly sympathetic, but doesn’t evolve into an empathetic three-dimensional character.  Because the film is more focused on what happens rather than getting to know all who were involved, there’s no one character to connect with and feel the story through, which makes Detroit more of a spectator experience rather than a cinematic participation.  This is why Detroit is an unfocused narrative that would’ve made an excellent docudrama on the History Channel.
Here is the downside of the Algiers Motel plotline: As the second act of the film goes on, the Algiers Motel story devolves into an audience endurance test.  To be fair, because everything that happens in this plotline is intertwined, i.e. if one scene is cut from it, entire context is lost, I don’t know how the filmmakers could have shortened the second act.  That said, there is a way to properly lengthen such a heavy plotline so that it doesn’t become too long and lose impact.
I would like a final point that having John Krasinski, or Jim from The Office, play a hotheaded lawyer in the last twenty minutes of your gritty drama is a little distracting.  Just saying.

Overall Detroit will make you angry.  Whether you are black, white, whatever your background is, the ending is an egregious miscarriage of justice worthy of righteous anger.  Despite its setbacks in characterization and narrative focus, Detroit gives us a consummate picture of a frightening time in American history that we are seeing play out once again in 2017, a time when everyone thought they were in the right and nobody took the time to even consider that they could be wrong.  It depresses me and yet it does not surprise me that this tragedy happened in America.  Let us do our very best to ensure that another Algiers Motel does not happen in the land of opportunity again.

Saint Martin de Porres and Saint Josephine Bakhita, pray for us.

 

Algiers-motel-victims-1-1-640x293 (2)
Please pray for the repose of the souls of Carl Cooper, Aubrey Pollard, and Fred Temple. May they rest in the arms of our just and merciful Lord.

 

 

 

Advertisements

CGB Review of Dunkirk (2017)

You’re gonna need a nap after this movie because MY GOODNESS, this is quite an intense experience!

This is my review of Dunkirk!

untitled (52)

The year is 1940.  Nazi Germany has invaded France and, as a result, thousands of Allied soldiers are now held hostage on the seaside town of Dunkirk.  On the surface, the situation might not seem so urgent (just stay put in that town and wait for help to come along)…until we realize that the Allied perimeter is shrinking and–ergo–German forces are closing in on the vulnerable men.   In addition, these are 400,000 men who are needed back in England to protect the homefront.  Told from three perspective angles–land, air, and sea–we the audience watch with bated breath the horrors these men endure as they desperately await deliverance from the evil closing in on them.

The Hits
In reviewing movies, something I have learned is that with certain film pieces–primarily ones with unconventional narrative styles–is to look at what the filmmaker’s intention was in the creation of the project.  When I kept hearing from friends who had seen the film that there was little dialogue and essentially no main protagonist, I knew that finding out Christopher Nolan’s intent would be key in giving the movie a fair review.  Sure enough, I came across a quote from Nolan himself where he explains the main goal of Dunkirk:

“The empathy for the characters has nothing to do with their story.  I did not want to go through the dialogue, tell the story of my characters… The problem is not who they are, who they pretend to be or where they come from.  The only question I was interested in was: Will they get out of it?  Will they be killed by the next bomb while trying to join the mole?  Or will they be crushed by a boat while crossing?”
–Christopher Nolan on “Dunkirk”

With that in mind, did Christopher Nolan achieve his goal in employing visual storytelling to chronicle the battle on Dunkirk?
Ladies and gentlemen…YES!  He did and he did it masterfully.   This isn’t like with Michael Bay’s “Pearl Harbor,” where the historical narrative gets bogged down by a clichéd romance between Ben Affleck and Kate Beckinsale.  No, this is a straightforward visual saga of 400,000 men trying to keep their heads above water (quite literally at some points in the film) as they fight to stay alive each day and night.  To quote YouTube movie reviewer Ralph Sepe Jr., “A really great film is one you can watch with the sound off and still know what’s going on.”  Dunkirk is most certainly an experience and one that should be viewed in IMAX.  Granted, it would still be effective without IMAX, but for an even more dramatic effect, I would recommend seeing it in IMAX.  The bang and clamor is palpable as the men go from one brush with death to another.  The visual experience of Dunkirk is so visceral that you WILL hear the bullets whizzing by your ear.  Your heart WILL pound rapidly at each and every bomb that falls from the sky and blasts the sand beneath their boots.  This movie provides very little breathing room, i.e. no scenes of the men joking with bottles of beer in hand, so expect to be holding your breath many times throughout the film.
Yes, there is very little dialogue in this film, and in a strange way it actually works to the film’s advantage.  Let’s be honest: In a high-stress situation, would there really be any small chit-chat going on?  No, I don’t think so.  Okay, maybe there’d be that one guy who tries to lighten the mood, but even he would have one thing on his mind in the midst of danger: “Survive.”  Because there’s no cheesy sentences about a girlfriend back home or clichéd speeches about freedom and the American way, the story is what take center-stage–as it should be.  While there is no main protagonist to relate to, this enables the audience to care for all the men, which from a Catholic perspective brings to mind the Church’s stance on the dignity of every person; how whether you know somebody’s name or not, they have an inherent dignity simply because they are.
A friend of mine pointed out, “Notice how there is very little blood.  Nobody gets decapitated or anything.  Saving Private Ryan focused on the physical aspects of war; Dunkirk is more interested in the psychological.”  You are definitely right, M.P.!  This movie will definitely leave you in a state of dread and anticipation.  The first five minutes puts us through sudden gunfire that will leave you shaken, and you’ll be even more anxious when the men narrowly survive the first round of bombs dropped.  The film is unrelenting in not letting a single moment pass without the men coming face-to-face with some form of catastrophe.   The end result is that we, the audience, are right there with them.  Our hearts are pounding as loudly as theirs, we tremble every time the characters look up at aircrafts hovering over them in the ashen skies, we do not feel safe on land or sea.  Even the skies bring the promise of hellfire upon these stranded soldiers.  Yes, there are physical deaths and wounded fighters, but the psychological hell of waiting for a bullet to come for you burns itself into your brain all the way to the end credits.

The Misses
This movie does not transition between Acts very well.  The majority of mainstream films follow a three-act structure.   I’ll give just one example:
The First Act of Pan’s Labyrinth begins with the faun’s narration of the fairytale and ends when–in present day–the faun tells Ofelia that she has to find three items before the full moon.  The Second Act starts when Ofelia crawls into the large tree to confront the Toad and ends when [SPOILER] her mother dying in childbirth.  The Third Act begins at Carmen’s funeral and leads us to the climax and resolution.
Case in point: With Pan’s Labyrinth, you knew exactly when and how the story was progressing.  Meanwhile with Dunkirk, it was a bit hard to tell where we were in terms of story progression.  I actually had to look at my phone at one point, and I saw that it was only 9:00 and I was at the 8:00 screening.  I wouldn’t have pointed this out if it weren’t for the fact that SO MUCH happens in the first act that I thought we were somewhere in the second act.  You know those movies that have a scene or two that is all shot in one take?  This whole movie felt like it was done in one take, which would be revolutionary if there were indicators in the plot that, “The first act is drawing to a close, now we’re heading into Act Two.”  The weaving and connecting of the storylines on air, land and sea was a tad clumsy.
I kind of wish it had an ending that was a little more hopeful.  Basically if you’ve watched The Theory of Everything all way through (which you absolutely should do because it is amazing), the vibe you got with the way that movie ended is the same one you’ll feel at the end of Dunkirk.  I’ll just put it this way: For a movie that markets the triumphant rescue of 400,000 men, the actual triumph is really downplayed.  Going back to Christopher Nolan’s intent, maybe that was the point, but still a small spark of hope after being rescued would have been welcomed.

Dunkirk is, above all things, an experience.  A bone-chilling, white-knuckled, gut-wrenching depiction of war.  Crisp camerawork, subtle acting and to-the-point storytelling elevates Dunkirk so that it stands firmly among the great war movies all while standing alone as a unique art piece in modern cinema.

Blessed Fr. Jacques Hamel, pray for us.

CGB Review of Wonder Woman (2017)/Two-Year Anniversary of Catholic Girl Bloggin’! :D

Two years ago today, Catholic Girl Bloggin’ was launched and boy, what a wild ride it has been!  I would like to thank my followers from WordPress and Facebook for all the support.  I don’t know where I’d be without you guys and gals.

Let us celebrate with a review of Wonder Woman!

2017-The-Wonder-Woman-Gal-Gadot-wide

Diana is (quite literally) the only child on an island of Amazonian women.  She grows up to be a skilled fighter, ready to defend her island against Ares, the god of war, a.k.a. this story’s version of Lucifer.  Then one day, a World War I plane pierces the force shield that keeps her island invisible to Ares.  Inside the plane is Captain Kirk–I mean–Steve Trevor (Chris Pine).  Like Ariel in The Little Mermaid, Diana jumps into the sea, saves Prince Eric–sorry, I mean–Steve and carries him to shore.   No, she doesn’t sing to him, but she does ask him who he is.  With the lasso of truth, the Amazonian women get Steve to reveal that he is an American spy who has discovered a terrible plot from the Germans to use chemical warfare to claim victory in this war.  Moved by his testimony, Diana sees an opportunity to enter our world, join the effort in World War I and defeat Ares, the one responsible for pitting men against each other.

The Hits
Gal Gadot is a fantastic Wonder Woman!  Ever an idealist, her black-and-white view of the world is grounded in her compassion for others and her belief in humanity’s potential for goodness.  This makes her naiveté seem less childish, coming from a place of empathy, not ignorance.  I like how she’s not totally clueless when she first steps onto the shores of WWI-era London, but she doesn’t completely get the hang of modern-day living in one fell swoop.   Her fish-out-of-water innocence is believable and her strength is unquestionable.  What really makes her shine is her compassion for others.  Her view on humanity’s goodness is a tad romantic, but it is also similar to Catholic theology of humans being born inherently good.  Her desire to save humans never comes off as condescending, as in, “Oh, these poor weak humans are so helpless and I’m the only one who can protect them.”  Rather she sees very clearly the threat of Ares and recognizes that humans don’t know what she knows about him, so the sooner she can find and kill him, the safer humans will be.
Chris Pine really shines as Steve Trevor.  Granted, Steve’s character on paper is pretty typical (good dude who finds himself in a situation he didn’t ask for), but Chris Pine makes him so likable.  Charming but never arrogant, he treats Diana as an equal.  He is protective of her without patronizing her.  Their relationship is not based on obligation just because she saved his life.  Because she helps him get off Themyscira (her Amazonian island) and he agrees to take her to the war, there was a potential danger of their relationship becoming one where they inadvertently use each other, but fortunately the script focuses more on the fish-out-of-water aspect, so they have a legitimate reason to stay together before they fall in love.
I really gotta applaud the film for NOT saturating the Amazonian women with makeup.  We are allowed to see their wrinkles and crow’s feet, which makes sense because these women are always out in the sun, training and caring for their island.
Without giving too much away, one of the strongest aspects of the script is that it is respectful to both Diana’s otherworldly beliefs and Steve’s reality.  There’s never a scene where Steve spats out, “It’s all make-believe!  Ares, Zeus, clay babies, none of it is real!”  While she does become discouraged when things don’t turn out the way she had hoped, Diana doesn’t throw in the towel with a jaded attitude.  Diana and Steve are very tactful when handling each other’s thought process, adding to their very equal relationship.  We know that Steve really does find her world hard to believe, but he has seen enough and experienced enough to know that Diana is who she is and he respects that.  As for her, Diana grows in maturity and forms a more well-rounded view of the world while holding on to her convictions.

The Misses
The movie uses slow-motion a little too much.  I’m not saying it doesn’t look cool when it is used, but it does get repetitive after a while.
Okay, so the island of Themyscira (try saying that ten times fast) is hidden by an invisible force shield that Ares, an immortal god of war, cannot find…and YET Steve’s plane pierces right through it with no issue.  In addition, the very-mortal Germans pass through the veil effortlessly.  Granted, this doesn’t ruin the movie for me at all, but it’s about as laughable as how [SPOILER for the movie “Arrival”] the climax of Arrival is solved by a phone call.  I get it, you need an inciting incident to get the plot going, but it’s still kind of funny to me.
As much as Ares is built up in this film, Ares himself is pretty generic.  Yeah, he’s basically the DCEU’s version of Lucifer, but he’s still a “gotta destroy this world and replace it with a better one because humanity sucks” kind of guy.

Praise Jesus (and director Patty Jenkins) for FINALLY giving us a solid DCEU (DC Extended Universe) movie!  Despite a few clichés and generic plot points, the greatest strength of both the titular character and the movie is its heart.  Wonder Woman is a much-needed home run for the DCEU thanks to a strong and compassionate heroine, a romance with tons of chemistry and a balanced approach to its ideas.

Side Note: I really think that Wonder Woman is going to be the best part of Justice League.  I’m callin’ it right here, right now.

Most Gracious Virgin Mary, pray for us.

CGB Collaboration Review of Beauty and the Beast (2017) with Monique Ocampo/MsOWrites

Certain as the sun rising in the east, tale as old as time, song as old as rhyme…

This is my review of Beauty and the Beast (2017), guest-starring the one and only Monique Ocampo, also known as MsOWrites!

beauty-and-the-beast-emma-watson-track-spicypulp

Cue the music, Jay!  (Our friend Jay plays the Belle/Little Town theme)

CGB: (Walks out of little cottage) Huh, I didn’t know I lived in a cottage.  (Shrugs, smiles at quaint little cottage) I’m not complainin’.  Oohh, there’s tulips on the side of the cottage!  Well, anyway….(Begins singing) Little film, it’s a brand new remake.  All-star cast and some brand new songs.  Little film, starring Emma Watson.  Everybody says…

Critic 1: IT SUCKS!

Critic 2: IT SUCKS!

Critic 3: IT SUCKS!

Rad-Trads: IT SUCKS!

All together: IT SUCKS!

CGB: There go the critics with their gripes like always.

MsOWrites: Seems like they’re never satisfied.

Both of Us: Because way back when we were kids, Disney made a princess flick.  And it was one that we both loved.

Nostalgia Critic: Good morning, girls!

MsOWrites: Good morning, NC!

Nostalgia Critic: Where are you off to?

CGB: We’re doing a review.  It’s the remake of the classic Disney movie.

Nostalgia Critic: That’s nice.  But honestly?  It was meh.

CGB: Well, we haven’t even seen it yet.

MsOWrites: We might be in for a pleasant surprise.

Nostalgia Critic: It still sucks, though.

Critics: Look there they go, they’re just so optimistic.   Can’t they see that the original’s the best?

Critic 1: Emma Watson’s auto-tuned.

Critic 2: The supporting cast was underused.

Rad-Trads: And let’s not forget the token gay LeFou!

(MsOWrites and I come out of the theater two hours later)

MsOWrites (crying): Oh, isn’t this amazing?

CGB: Are you crying?  Because so am I!

MsOWrites: I never do…but yeah, I’ll make this exception.  There’s just so much of this film that’s good and true…

CGB: It would certainly please JP2!  Let us do a review, just me and you!

MsOWrites: We could show both the Catholic and secular world why it’s good!

CGB: Let us begin!

 

The Hits
CGB: So how did Hermione Granger do playing everyone’s favorite “most peculiar mademoiselle”?  My answer: Emma Watson is a wonderful Belle!   This Belle is a lovely reinterpretation of the original character, mixing her trademark book-loving nature with an inventor’s vibe.  I really appreciate that Emma Watson’s Belle actually feels different from Paige O’Hara’s Belle from the 1991 classic.  O’Hara’s Belle is dreamy, optimistic and overall innocent.  Watson’s Belle is grounded, pragmatic and even bohemian in more ways than one.   One of my biggest concerns is that Emma Watson would come off as an overconfident-in-her-own-self-actualization character, but luckily there’s a sweetness and humility to this new Belle.  Also Watson’s Belle has more agency in this film than she did in the original; locking herself in the dungeon while pushing her father away, telling the Beast that he has to stand so that she can take back to the castle and so on.   Finally, I’m going to add brownie points for that one scene where she teaches a young girl how to read.  Brilliant!  😀  The Beast’s character is pretty much the same as he was in the original; starts off as mean, coarse and unrefined, but ends up becoming so dear and almost kind.  😉 Here, though, his temper is not as jarring as it was in the original.  The sympathy factor of his character is applied right away so that we, the audience, are easily able to refrain from judgment before we get to know him.  His pain and torment are palpable as his growing feelings for Belle begin to break down the inner walls he has placed around his broken, guarded heart.
Kevin Kline is a wonderful Maurice!  I really appreciate that they dialed down his quirkiness big time and made him into an actual character.  Warm, gentle, thoughtful, I can just see him hoisting little Belle onto his lap and reading to her by the fireplace.
Luke Evans is having the time of his life playing Gaston, and I had a great time watching his Gaston.   The usual arrogance of the original character is still there, but we see his progression towards evil.  Also I do like that he’s not impractically buff like in the cartoon, but that his toxic masculinity is displayed by his ignorance and overcompensation.  Now, given that I’ve brought up Gaston, you’re probably waiting to see LeFou mentioned here.  Before MsOWrites and I get into the whole gay LeFou thing, let me talk about the character LeFou.  He is definitely an improvement from the cartoon character.  His “hero-admiration” toward Gaston explains his loyalty to him and he is actually the smarter of the duo.  In a way, he serves as a manifestation of Gaston’s effect on people; how he [Gaston] is able to grab and hold the attention of women and men alike, which was always the point of Gaston’s character to begin with.
EVERMORE!  Oh my goodness, what a beautiful song!  It’s like someone took Augustine’s Confessions, some passages from the Book of Psalms and a hint of the Song of Solomon, then threw them into a blender and then–somehow–they just mixed into the most melodic purée.  Also the song really sums up a wonderful theme in this film: That people come into our lives who touch our hearts so much that when they leave us, just their presence will remain in our memory forever.  They illustrate this when Maurice is singing about Belle’s mother, but the theme comes full circle with Evermore.

MsOWrites: First of all, the opening scenes were stunning in their visuals.  We actually get to see the prince and the residents in the castle and watch the Enchantress cast her spell.  As much as we all love the stained glass narration from the original, the prince’s character arc is to learn what true beauty is, which is kind of the whole point of the entire story in the first place.
The scene with Pere Robert wasn’t as elaborate as the bookshop scene in the original, but there’s a good explanation.  It wouldn’t make sense for there to be a bookstore in a town that doesn’t have that many people who can or even want to read.  However Pere Robert is a priest with a personal library.   He doesn’t have as many books, but he generously loans the books he does have to Belle.
I appreciate the nuances that have been added to the story.  For one, when Belle asks Monsieur Jean if he has lost something again, he responds, “I believe I have.  Problem is I can’t remember what!”  This is actually a small hint at [BIT OF A SPOILER, though it’s told to us in the opening prologue] the “forget-the-freaking-huge-castle-just-down-the-road” enchantment that the Enchantress placed on the entire town.   Yeah, her spell not only turned the now-adult Prince into a hideous CGI goat-man, but also did what the neuralyzer from Men in Black does to people.   It does feel like a convenient cop-out, but it works within the context of the story.
In defense of the songs, I thought these new versions of songs we all know sounded just fine.  They had a more Broadway stage vibe to them, which makes sense given that this is an event musical film.  The auto-tuning is necessary for the actors who are not professional singers and the background music of the songs are faithful to the original music.

The Misses
MsOWrites: So about that magic book thing…yeah, it kind of creates a plot hole.  If it can just transport the Beast anywhere he wants, then why wasn’t he using it all the time prior to Belle’s arrival?  Also, why didn’t Belle use it to get back to the village and return to her father?  The book is used once and then we never see it again.  What?

CGB: Remember how filled with wonder Belle was when she sang about the beauty of books to those sheep?
What?  You don’t sing to sheep?  I do it all the time!  Alas, that’s not the point.  The point is that Hermione–er, I mean–Emma Watson could’ve sung that part about, “oh, isn’t this amazing?  It’s my favorite because…here’s where she meets Prince Charming, but she won’t discover that it’s him till Chapter 3” with a little more enthusiasm.
Speaking of which, Obi-Wan Kenobi (from the Star Wars prequels) plays Lumiere, but there is a bit of a catch: Ewan McGregor himself has stated that he has never seen the original film.  GASP!  Anyway, once I learned that, his performance in this film kind of made more sense.  I’ve seen this movie twice and I didn’t really care for this Lumiere during either time I saw it.  In fact, I think because there was so much focus on getting Belle, the Beast and Gaston right, the supporting cast feels less colorful.

An Unexpected Theological Truth
Both of Us: We consider ourselves students of Mother Teresa.  Throughout her ministry to the poor in Calcutta, she deemed every person she helped as, “Jesus in His most distressing disguise.”  That credo is on display in this film and in the original, as well.  We are going to focus on this film for the sake of argument.  While the Beast most certainly doesn’t act Christ-like in the beginning, Belle does when she chooses to bring him back to the castle after he rescues her from the wolves.  As their relationship develops, he begins displaying Christ-like characteristics such as mercy, understanding and kinship.  One of the many, many beautiful realities of Jesus is that when we follow Him, He brings out the best in us even during difficult times.  With this in mind we see how once she begins ministering to him, Belle becomes the best version of herself and the same happens to the Beast in return.  There is a saying that difficult people show their need for love in unlovable ways and the Beast is a manifestation of that adage.
We challenge you to think of the “Beast” in your life and ask yourself if he/she is in need of mercy and forgiveness.  Sometimes Christ comes to us in the form of an unpleasant person who we can either wash our hands off and avoid at all cost, or show them compassion and forgive their faults just as Belle does with the Beast.

The Elephants in the Room
#1. This film has a gay agenda!
MsOWrites: Let’s address the biggest elephant in the room first. There was a lot of hype and backlash about a “gay scene” in this movie involving the character of LeFou. While it’s true that LeFou is shown to have feelings for Gaston, the actual gay scene is just two seconds long.
Neither of us are promoting gay marriage.  However, we do agree with the idea of representation. We need to acknowledge that there are people out there who are attracted to the same sex and treat them as people instead of a stereotype.  This advocating of representation also applies to those who identify as asexual as well.  (I’m looking at you, Riverdale!)
Trust me when I say that Disney isn’t the only name in “children’s programming” to include a gay character.

CGB: So I already talked about this on both the blog FB page, but I’ll just rehash some of my thoughts here.
The original film makes it very clear that Lefou, as well as every woman and man in the entire village, is hopelessly enamored with Gaston. In addition, Gaston presents himself (quite loudly and boldly) to be THE ideal man, THE symbol of masculine perfection. Lefou, being Gaston’s right-hand man, would most likely be the one who gets the most sucked in to the–I guess we can call it–the cult of Gaston.  It’s not just LeFou, it’s him and all of the village who are swept up in it, which explains why everyone immediately goes along with Gaston’s “let’s-kill-the-Beast” tirade with no questions asked.
Also, let’s look at Lefou himself. What does he personally gain from being around Gaston all the time? They’re not brothers or related in any fashion, and there’s no indication that Lefou owes him money or anything; in retrospect, Lefou has no real reason to associate himself with Gaston at all. One could make the argument that there is a social benefit to being around Gaston, but Lefou is never established to be a self-serving character who is trying to get ahead in society by being around the “right people,” so that wouldn’t hold up.
Simply having a character who happens to be gay in a film is not in and of itself promoting same-sex marriage.  How it is presented is what matters.  LeFou never actively hits on Gaston and there’s no gay wedding at the end.  There will be those who say, “You give [gay people] an inch and they’ll take a mile!”  However, that inch has to make sense.
You can be a faithful Catholic who staunchly defends the sanctity of marriage and acknowledge that there are LGBT people who are created in His likeness and image.  In fact, that’s basically what we’re supposed to be doing.  We are supposed to bring all people, gay or straight, to the Gospel, not chase them away from it by foaming at the mouth over a fictitious character who happens to be gay.  As Christians, we are called to rise above our outrage culture and be a people of the better way.  Love without truth is permissiveness and truth without love is brutality.  Only the truth spoken with love brings hope and enlightenment. 

#2. This film is uber-feminist!

CGB: I’m pretty sure I’ve made it clear by now that I identify as a pro-life feminist (I would emphasize, but the label itself is pretty self-explanatory).  With this lens, I observed that the feminist undertones of this film were centered around the theme of the anti-intellectual village.  For one, notice how only the boys go to school and the girls are the ones learning to keep house.  This establishes how Belle is the outsider woman who chooses the solace of books over the conventions of the little town.  It is not wrong to use film to point to the very bleak reality that there are still countries in our world where girls are not allowed to read or even go to school.  I would argue that it would probably behoove Western feminists to focus less on promoting abortion and more on calling attention to the injustice of depriving girls an education.

MsOWrites: The main issue that Belle has with the villagers is that they choose to stay in their simple, provincial ways. Belle is shown doing laundry by having a horse pull a barrel full of soap and clothes. When I heard about Belle being an inventor who created a washing machine, I actually expected some kind of steampunk contraption. The invention that Belle created was actually something all the villagers could use. But instead of being open-minded about a better way to do their laundry, they destroy her invention. They also berate her about teaching a young girl to read.
There’s a similar argument going around that Belle, her father, and even the local priest are members of a “literate caste.” Keep in mind that Belle and her father fled Paris in the midst of the plague and that priests are more often than not assigned to minister to small towns. And at the time, priests were well-educated. It’s not that these three deliberately kept their books away from everyone else. They have a school for young boys, but LeFou admits to being illiterate and they would rather side with the amoral war hero (Gaston) over the kind music box maker (Maurice). The townspeople chose to be ignorant throughout the film.

CGB Review of Logan (2017)

Well, someone REALLY liked “The Last of Us” and decided to make a movie out of it, but starring Wolverine…

…And I’m okay with that.

This is my review of Logan!
logan-still-1-2

The year is 2029.  James Howlett, also known as Logan–and also known as Wolverine–is a weary, beaten-down, old mutant who is just barely getting by with booze in hand and a desire for the end of his pain.  He is a limo driver by day and caring for Professor X by night.  Logan’s miserable existence is chaotically interrupted when a young mutant named Laura Kinney (Dafne Keen) shows up on his doorstep with a ruthless agency on the hunt for her and others like her.  With one mutant Caliban in captivity and Charles Xavier being senile and fading, it’s ultimately up to Logan to get Laura to a shelter where she will be kept company by (quite possibly) the next generation of mutants.

The Hits
The action in this film is quite spectacular to behold.  Gripping, fast-paced and relentlessly violent, there is an underlining catharsis to each stab and shot fired.  You can feel the excruciating pain that runs through Wolverine’s hands every time he unleashes his steel claws.   The oppression of violence from the antagonists presses you down and forces you to hold your breath as you pray for the start of a new scene.
So this is Hugh Jackman’s final time playing the Wolverine and, by golly, he gives this performance his all.  Logan is a broken man; Weakened yet never pitiful, struck down but not destroyed, just the act of living takes every ounce of strength that he can muster.  He has seen it all, heard it all and lived through every conceivable disaster you can think of; nothing is new to him and nothing more can further damage an already irreparable man.  I really appreciate how he never gets too sappy or sentimental.  His care for Laura and Professor X is displayed through his actions, never his attitude or words.  He’s like a father who isn’t very outwardly affectionate, but shows his kids he cares for them just by working hard for them.  In the same vein as Masey McClain’s performance in “I’m Not Ashamed,” Hugh Jackman’s portrayal of Wolverine is the glue that holds this movie together, the mythological Atlas who holds the weight of the narrative on his
One review I read described this film as “unexpectedly moving” and quite frankly, I concur.  The heart of this story are Logan’s withering relationships; his fragmented rapport with Professor X, his tension with Caliban and his resistance to empathy for Laura are fascinating and strangely moving to watch.  In addition, Patrick Stewart gives a very powerful monologue along with an endearing, while Dafne Keen’s Laura is a force to be reckoned with.  She’s essentially a young, female version of Logan, but is surprisingly both hardened and yet hopeful all at the same time.  She is a child soldier who somehow maintains a believable amount of innocence that allows her to experience the world around her with fresh eyes.

The Misses
Much like the first Hunger Games movie, this movie does involve violence against children and violence being committed by children, in particular by Laura herself.  This can be very unnerving to watch, especially if you have and/or work with children.  Even the fact that they are mutant children who are more than capable of protecting themselves doesn’t make the violence against them or the violence they are engaging in any less disturbing.
A few days ago, one of the friends I saw this movie with texted me to ask, “…are you okay with excessive blood and gore?  From what I’ve heard, this [Logan] is supposed to be more graphic than Deadpool?”  To which I responded with, “M.P., my favorite movie of all time is Pan’s Labyrinth and that movie features a guy [Captain Vidal] getting stabbed in the shoulder, chest and THEN having his cheek sliced from the inside!  I’ll be fine.”  As my friend M.P. said, this movie has some seriously excessive blood and gore.  Viewers who are squeamish and sensitive to gore might want to think twice before buying a ticket.

Overall Logan turned out to be much better than I expected.  In fact, the more I think about this movie, the more compelling it becomes and I almost want to see it again.  Logan can come off as nihilistic, but never goes into full-blown “there’s no point to this” despair.  This is a dreary, pragmatic film held together by one shattered man and his fragmented relationships, a grounded comic book adaptation with grit and style that is bound to stay with you long after the credits roll.  Whether you are a fan of the X-Men franchise or an outsider looking in, the multifaceted character of James “Logan” Howlett, aka the Wolverine, goes out with both a blood-soaked bang and a curdling whimper.

Blessed Laura Vicuna, pray for us.

CGB Review of I’m Not Ashamed (2016)

I am not going to apologize for speaking the Name of Jesus, I am not going to justify my faith to them, and I am not going to hide the light that God has put in me.  If I have to sacrifice everything…I will.  I will take it.
–Rachel Joy Scott in a letter she wrote on April 20th, 1998; one year to the day before the Columbine tragedy.

This is my review of I’m Not Ashamed!

090216_movie_trailer_1280

April 20th, 1999 started out as an ordinary day. Seventeen-year old Rachel Joy Scott went to school and attended her classes as she would any other day.
At exactly 11:19 am, Rachel was eating lunch with her friend Richard Castaldo on the grass near the west entrance of the school.  They were soon approached by Eric Harris and Dylan Klebold, who attacked them both with guns in their hands and hatred in their hearts.

Rachel was the first person killed by Harris and Klebold, who would go on to kill eleven other students and a teacher.
This is the story of her life and how she sparked a chain reaction of God’s love that continues to this day.

I discovered Rachel when I was fourteen-years old and just starting my Confirmation journey. My mother bought me the book “Rachel’s Tears” and I read it during my first Confirmation retreat.  As a kid, I always prayed and went to church, but reading about Rachel’s walk with God inspired me to make my Catholic faith my own.  Now having rediscovered her as an adult, I realize how much Rachel’s story has impacted my own walk with Jesus, which is why she holds a special place in my heart.  As you can imagine, I’ve been looking forward to this movie for quite some time.
Well, I finally own the DVD and have finally watched it…twice.
Here we go, on with the review.

The Hits
Masey McLain is the glue that holds this movie together, and my goodness, she carries the film on her shoulders with excellence.  She is a wonderful Rachel Scott.  Not only does she resemble her very well, but she captures Rachel’s outgoing personality, her passion for life, her heart for others and her desire to be real in one fell swoop.  She brings an authenticity and depth to the character so that she’s not just some sheltered good girl, but a real person who struggles with everyday issues all while clinging to her faith.  Speaking of which, PRAISE BE TO GOD that Rachel isn’t given the God’s-Not-Dead treatment, i.e. the “all-Christian-characters-are-perfect-beings” trope. While the film rightfully highlights her loving nature and acceptance of others, it allows her to make mistakes, to fall flat on her face and miss opportunities to do what is right.  Making light of her flaws allow her good deeds and triumphs to be even more meaningful.  We know that these acts of kindness are being done by a relatable human being and not a two-dimensional archetype.
The relationship between Rachel and her friend Nathan Ballard (based on her real life friend named Mark Bodiford) is the emotional anchor of this film.  They have a great rapport and Ben Davies’ performance serves to make Nathan the grounded “big brother” to his newfound, spirited “little sister.” Their friendship serves as a heartfelt subplot and an evolving example of a life touched by Rachel’s compassion.  On a side note, I really appreciate how her influence isn’t shown in some ridiculous burst of everyone at Columbine high school turning into nice people because–potatoes–but rather in small doses of kindness here and there.
In her journals, Rachel was incredibly deep in her relationship with God to the point where if you only read the journals without any context of her overall personality, she could come across as an uber-pious person who is difficult to connect with.  The film takes a different approach and actually dials down on her religiosity.  Her faith takes the form of her treatment of others and through excerpts of her writings via voiceover narration.  She never quotes scripture or beats anyone over the head with the Bible.  Her Christianity is expressed by her choices and her response to the world around her.  People need to see the human side of following God and this movie presents this beautifully.
All right, how does the movie portray the actual tragedy?  My answer: As well as it could have.  Mind you, we’re talking about a tragedy that changed America, so of course portraying it would be a delicate issue.  The filmmakers recognize this and go about it with as much tact and respect as possible.  While we follow Rachel’s story, we cut to brief scenes of Eric Harris and Dylan Klebold plotting and preparing for the massacre at Columbine.  As the third act draws to the climax, it becomes effectively sickening to watch Rachel go about her final days as the knowledge of what is about to happen to her sinks in.

The Misses
The filmmaking itself is passable.  Aside from some nice transitions and a particularly creepy shot of Harris and Klebold approaching the school on the day of the shooting, there are a few scenes that just stop abruptly.  If you’re looking for a more avant-garde film style, you probably won’t find it here.
Rachel’s biological father Darrell Scott is weirdly absent from this film.   I say “weirdly” because in real life, Darrell Scott and Beth Nimmo (Rachel’s parents) had a good relationship with one another.  Rachel herself was close with both them and her stepparents Larry Nimmo and Sandy Scott.  However, you wouldn’t know that if you watched this before reading the book “Rachel’s Tears” because Darrell Scott in this movie is the absentee father who is nowhere to be found.  This wouldn’t bother me too much if I didn’t know that shortly after Rachel’s death, Darrell was the one who started the organization Rachel’s Challenge and is one of its prominent speakers to this day.
Speaking of Beth and Larry Nimmo, their parenting in this movie is kind of inconsistent.  In the first fifteen minutes, Rachel gets busted by her mother for sneaking out with her friends and engaging in smoking and drinking.  But then we see her being allowed to walk alone to her youth group Breakthrough.  Granted, when we first see her at Breakthrough, she is driven by her sister Dana, but after that, she’s going to Breakthrough by herself at night.  The parenting tries to be both assertive and lax, which results in some odd inconsistency.
There is only one thing that really bugs me.  Granted, it doesn’t ruin the movie for me at all, it’s just a side effect of the burden of knowledge.  Here it is:
So on April 20th, 1998, Rachel wrote, “I am not going to apologize for speaking the Name of Jesus…if I have to sacrifice everything, I will.”  As mentioned in the review’s opening, that was written one year to the day before her death.   Meanwhile, the movie starts in April of 1998, Rachel’s sophomore year.  During this time, she’s not shown as being religious yet.  She doesn’t verbalize this quote until the end of the second act, which I am assuming takes place in either February or March of 1999.  The only reason this bugs me is because I know how significant it is that she wrote the quote one year to the day before her death.  Yes, I know that her alleged martyrdom is still hotly debated after all this time, but that doesn’t take away from the significance of that particular quote and when exactly it was written.

If more Christian films were like I’m Not Ashamed, then the genre would be so much better.  I’m Not Ashamed is a powerful example of how to follow Jesus, all you have to do is be an ordinary person who is willing to be used by Him to make a difference in the lives around you.  Despite some strange choices regarding the portrayal of the Scott family and hasty editing, the handling of the tragedy is as tactful as it could have been and Masey McLain’s performance pays a respectful homage to Rachel, capturing the essence of who she was during her short time on Earth.  This is the story of Rachel and everything about her is presented correctly.  That fact alone is why I can forgive the film’s mistakes.
The Christian film genre needs to present stories of people being people while they serve God, not holier-than-thou stereotypes who only serve to propel an agenda.

Thank you Rachel for your faith, your courage and for starting a chain reaction of kindness and compassion.  You have touched my heart and will continue to touch millions of people’s hearts forever.

Rachel Joy Scott, pray for us.
ee049e1147664f5e3f05d2336f1324ad

 

school-shooting-victims-6
May they rest in peace.

If you are interested in supporting the organization Rachel Challenge, be sure to check out their website: http://rachelschallenge.org

CGB Review of Patriots Day (2017)

As I did in the Hidden Figures review, I would like to thank our law enforcement, first responders and the people of Boston for their services in the aftermath of the Boston marathon bombing.

This is my review of Patriots Day!

patriotsdaymovie

This is the story of the officers, first responders and everyday civilians who came together to hunt down Tamerlan and Dzhokhar Tsarnaev, the two men responsible for the Boston marathon bombing on April 15th, 2013.
I was at a Political Science club meeting when the Boston marathon bombing happened.  The professor who was moderating the meeting brought it to our attention, but it wasn’t until I got home and my parents had turned on the news when I learned what had taken place.

The Hits
Patriots Day seemingly blends its own camerawork with actual footage before and moments after the bombing.  This technique works so well that I honestly had a hard time telling which was footage and which was the film.  There are a few times where the difference becomes easy to spot, but for the most part, the footage and the recreation of said footage work well together.
This movie places great emphasis on the efforts of different people from all walks of life uniting for one cause: To catch the two men who orchestrated the bombing.  Because unity is the focus of the film, all of the characters act like real people in a very real situation.  There is no “big-bad-government-official-versus-rogue-cop-who-knows-it-all” or anything too cliché.  In this story, the citizens of Boston–police, civilian and all–are the heroes and the bombers are the enemies.  Any infighting that happens between the law enforcement characters and the government agents is short-lived when a new development in the case emerges or an even trickier situation comes up.  These moments cast aside all petty agendas and force the characters to look the big picture in the face.
I appreciate how the movie acknowledges the conflict with labeling the attack as “terrorism.”  Although the Boston marathon bombing was absolutely a terrorist attack on civilian life, the fact is once an attack is defined as terrorism, the media, the government and other powers that be jump headfirst into controversial waters and–yes–American Muslims who are trying to live peacefully with their families find themselves bracing for Islamophobic backlash.  The movie uses dialogue between government officials to tackle in a subtle way the realities of post-9/11 America, and I commend the film for doing so.
There is an intense, masterfully-done interrogation scene between an interrogator named Veronica (Khandi Alexander) and Katherine Russell (Melissa Benoist, who you may known as Supergirl), the wife of Tamerlan Tsarnaev and American convert to Islam.  It is entirely dialogue driven with faint background music, which allows the tension of the scene to simmer and settle.
Speaking of the bombers and Katherine Russell, the portrayal of these characters are as realistic as possible.  It is clear that Tamerlan calls the shots in his house and that Dzhokhar, though has his own agenda, is mostly a sheep following his brother’s sinister lead.  As for Katherine, she is shown as a witting bystander; neither verbally encouraging nor discouraging her husband’s plot.  The brothers work on making bombs while Katherine quietly feeds her child milk and cereal.

The Misses
If you are an anxiety-sufferer like myself, then the first act might have you on edge.  I knew that the bombs were coming, but because the film doesn’t show time cards during the Boston marathon itself, I didn’t know when to brace myself for impact.  I literally jumped in my seat and had to take deep breaths after the bombing happens. Granted, I’m sure the filmmakers do this intentionally, but I also want to keep moviegoers who may be sensitive to certain things in mind.

Overall Patriots Day is a harrowing, gut-wrenching, emotional film, which is exactly why you should see it.  Like Silence, it does what movies are supposed to do: It made me cry, it made me anxious, it made me mad; it is an engaging experience that makes you feel for the characters on their quest for justice.   Compelling performances, tactful screenwriting and a thoughtful portrayal of the event makes Patriots Day a powerful film that needs to be experienced by the masses.

Saint Botolph, patron saint of Boston, pray for us.

marathonbombingvictims-2
May the victims of the Boston marathon bombing rest in peace.