Our Five Favorite Dinner Scenes of Film

Some of the best conversations occur during a meal. Sitting at a table and breaking bread together is almost mystical in its power to produce vibrant and enjoyable discussion. It’s no different in the world of entertainment. Movies are full of examples of great scenes set around a meal or a table. Some are funny, some are sad. Some are tense while others are full of joy. Some are heartwarming yet others can be heartbreaking. We have chosen to spotlight five scenes that capture so much about what makes a great dinner scene work.


Back To The Future 2

Back to the Future 2

The scene where Jennifer gets taken to her future 2015 home and the McFly family sits down over pizza is not as elaborate or as funny as other dinner scenes but it has stood out in my family since this movie was released in 1989.

And in a trilogy rife with mind-bending time travel, exhilarating plots, and inimitable character performances, it boggles my mind why this short scene is so entertaining.

Is it because Michael J. Fox plays all of the McFlies? That does make me smile so surely that’s part of it. Is it how fun it is to see the domestic aspects of an imaginative futuristic world with double ties and pizza hydrators? Without a doubt. Is it because it’s so utterly quotable? Seeing as how often my brother Jeremy says, “Fruit! Fruit please!” and I can’t help but reply with “Why don’t I just shove it all in my mouth ?!? HA HA!” when I have food in my hand the size of that tiny, yet-to-be hydrated pizza, I’d say definitely.

BttF sets the standard for fun, summer action-adventure, summer popcorn cinema and in the midst of all the movie’s twists and turns this simple meal that lasts 90 seconds and barely impacts the plot stands out. I love it. (Gowdy Cannon)


The Bachelor and the Bobby-Soxer

The Bachelor and the Bobby-Soxer

I have always loved a good “dinner” scene almost entirely because they are so conducive to great dialogue. The nightclub scene in The Bachelor and the Bobby-Soxer is a prime example of that. Maybe one of the best. I have watched BatBS every few months for the past few years and appreciate it more every time. It is an easy to underrate lighthearted comedy that is chock full of great writing, wonderful scenes, and extremely witty quotes. At the center of it all is Richard Nugent (Cary Grant), and the sisters judge Margaret (Myrna Loy) and Susan (a teenage Shirley Temple) Turner. Susan has developed a huge crush on Nugent. In exchange for the dismissal of a wrongdoing, judge Margaret orders Nugent to “date” her younger sister until her crush wears off. During the course of this “courting,” Nugent and Margaret fall in love. On the flimsy pretext of wanting to discuss their legal arrangement, Nugent and Margaret attend a nightclub for dinner, drinks, and dancing. And then everything comes crashing down as most of the personal dynamics encountered throughout the film converge in this single scene and collide in a beautiful explosion of dialogue. (Ben Plunkett)


Heat

Heat, Robert De Niro and Al Pacino

Two of the most famous, decorated, and iconic actors of all time, Robert De Niro and Al Pacino, had never been in a scene together on film. They had been in the same film, The Godfather Part 2, but they played characters during different time periods. These two actors had spent decades wowing audiences with their craft, but had yet to speak to each other on camera. That all ended with Michael Mann’s tour de force crime drama, Heat.

Pacino plays a detective. De Niro plays a master thief. After a lot of cat and mouse moves, the film finally places them together in a diner somewhere in Los Angeles. They are two masters of their craft, both in the film and in real life. They feel each other out. They give information and they hold some things back. When Pacino leans in to deliver a line, De Niro counters it with a slight shift here or a slight move there. They present their philosophies of life with dialogue that is crisp, tense, playful, and precise. They end their conversation with very specific promises that they are willing to kill the other if it comes down to that. Now that they have met, they won’t want to do that, but they will, because that’s the job. That’s the way it is.

In a movie filled with memorable performances, genius set pieces, and impressive directing, this scene stands above them all. And to make matters even more astounding, the final scene in the film is almost entirely one take filmed with two cameras over their shoulders. They barely rehearsed because they wanted to preserve the spontaneity and energy of the scene. The diner scene in Heat is a masterpiece. (Phill Lytle)


Meet the Parents

Meet the Parents

Ben Stiller honestly has had more misses than hits in his career to me. And Robert De Niro, he of a legendary filmography with too many hits to try to list, had never had a role that I’d seen that was fall on the floor funny. And even though the two sequels were forgettable, everything came together perfectly for an excellent 95 minutes of comedy in Meet the Parents.

And for all the scenes that make this move totally rewatchable–Greg losing it on the airplane, the volleyball game in the pool (“It was a big shot!”)–the first time Greg has dinner with Pam’s parents is one that causes tears of laughter every time.

Jack’s poem about his mother is simultaneously disturbing and hilarious. Jack’s continued subtle and psychological intimidation of the nervous and awkward Greg causes Greg to pop a cork in an urn of Jack’s mother’s ashes. Then Greg tries to work his way around a lie about growing up on a farm by talking about milking a cat, which prompts one of the greatest follow up questions of all time by Jack. And to round it off, Jewish Greg tries to impress Jack by saying grace at the meal and recites “Day by Day” from Godspell.

And it all works. I have fallen on the floor laughing during this scene more than once. It is truly one of the funniest dinner scenes in movie lore. (Gowdy Cannon)


Babette’s Feast

Babette's Feast

As mentioned, I love “dinner” scenes in movies because they are so conducive to great dialogue. The long dinner scene in Babette’s Feast is certainly no different. However, there is a lot more than just the dialogue going for it. A whole lot more. In short, two sisters are leading an extremely humble life leading a small, elderly flock of pious Lutherans in a tiny Danish village. Yes, they are very pious, very devoted to their faith, but they know nothing of grace or joy. Into this scene steps Babette, a world-class French chef fleeing much hardship amid the French Revolution. She enters the employ of the two sisters. After several years she wins a lottery of 10,000 francs from her homeland. Instead of spending it on herself, she opts to spend the entire thing to make a top French gourmet meal for the sisters and their congregation. In the end Babette’s presents the true face of grace and joy to the graceless, joyless villagers. But the scene is a masterpiece for more than one reason. In my opinion, it is the king of this specific genre. And the dinner scene is only the centerpiece of a masterfully adorned cinematic table. The whole movie is dense with layers of theological and philosophical meaning. It is perfect and an absolute joy to watch every single time. (Ben Plunkett)




500WoL: Spider-Man: Homecoming

Spider-Man is back on the big screen. It seems like just yesterday that Andrew Garfield donned the red and blue Spidey suit in two Spider-Man films. And only a short time before that Tobey Maguire filled the role for his own trilogy. Surely there haven’t been three different iterations of this character in the last 16 years?

Let’s get the bad stuff out of the way first. Yes, Spider-Man has been booted, rebooted, and re-rebooted too many times. Sony knows how popular the character is and they desperately made the Amazing Spider-Man films in an effort to not lose the rights. (This is all technical and boring, but they would have lost the rights for the character had they not made the Garfield film.) So, we have seen too many origin stories. We have seen too many versions of the character: the middle-aged barely out of high school, mopey, Maguire version. The too cool for school, overly complicated Garfield version. And now we have the Tom Holland, first seen in Captain America: Civil War, version. You would think audiences would be tired of Spidey, Peter Parker, and all the rest. You would think filmmakers would have run out of good ideas for the character.

You would be wrong. While Spider-Man: Homecoming is not a perfect film, it is fun, exciting, and smart. It is tonally the most consistent and appropriate Spider-Man film yet. Peter Parker is a high school student. He is a nerd. Things just never go exactly right for him and this film captures all of those things perfectly. Tom Holland is the first actor to get both Parker and Spidey right. Both Maguire and Garfield got certain things right but were both off on other aspects of the character. Holland plays both the excitement and energy of a 15 year old Spider-Man as well as the awkwardness and insecurities of a high school aged Peter Parker.

The film does suffer from some good but not great set pieces, and the music is mostly forgettable. The action sequences are good but lack enough clarity and overall vision to really make them excel.

While there are shortcomings, the film earns its keep with the characters, the relationships, and the humor. The supporting cast is given plenty of great material to work with and everyone makes the most of it. The villain is well rounded and given enough personality and motivation to work. And including Tony Stark and Happy Hogan at strategic moments serves the film well and adds a much needed dimension to the story.

The end result is a good film. A fun film. The groundwork is there for a great film and hopefully the team that made this will tighten the few areas that need work and hone those areas where they already impressed. We are in good hands with the character moving forward. Spider-Man: Homecoming is a worthy addition to the Marvel roster and well worth your time.

Stay through all the credits. You can thank me later




The Annual Super Awesome Film Festival: Making Wiser Movie Choices

I’ve said this before, but it is worth repeating: I love movies. In some ways, I am probably a little too in love with movies. Many jokes have been made at my expense at my single-minded obsession with The Lord of the Rings Movies. I’m not that compulsive with all movies, but I watch, think about, and discuss movies more than most people I know. It only seemed natural then, to share that love of movies with my kids.

I’ve watched movies or television shows with my boys since they were little. When they were young, we watched things they enjoyed and I had to sit patiently and long for the day when I could introduce them to the things I loved and enjoyed. I jumped the gun a few times though. I watched the Star Wars films with my middle son when he was too young to appreciate them. His older brother loved them, but it has taken him time to even tolerate them, all because he wasn’t ready. Similarly, I thought my oldest son was ready for The Lord of the Rings, but I was proven wrong when he completely freaked out over Bilbo trying to take the ring away from Frodo in Rivendell. For those that have seen the film, you know the scene I am referencing. Kindly, old Bilbo, fueled by his desire for the ring of power, transforms into a snarling, angry creature. It is a shocking moment and it caught my son completely by surprise. He had nightmares about that scene for a very long time afterwards. I felt like a complete failure for not recognizing how that scene, or other scenes, could potentially horrify him. It was after that traumatic event, I decided that I needed to do better. I needed to be more thoughtful about what we watched and when we watched.


It was around this time that one of my favorite film critics, Drew McWeeny, started writing a series called Film Nerd 2.0. While I didn’t always agree with what films he introduced to his boys, and I would have pretty strong reservations about endorsing the entirety of his approach, the specific, thought-out system he created appealed to me. I knew my version would look different, but he had inspired me to do this whole “watching movies with my kids” thing better.

The Super Awesome Film Festival was born

Five years ago, I kicked off our very first Annual Super Awesome Film Festival ©. We held the festival over the summer, when the boys had later bed times and our schedules were not as busy. For that first Festival, I chose four movies to watch over one weekend. At that time, my youngest son was only four years old, so he would only watch one of the films. I chose a couple films that were new to the older boys, one favorite that they wanted to see again, and one that my youngest had not seen but would hopefully enjoy. We made a big deal out of the whole thing – we bought popcorn and movie theater style candy. We had drinks aplenty. The entire event was a huge success and has since become an annual tradition.

The film selection has grown and expanded with each year. The following year, I even made a simple poster for the Festival.

Click to enlarge

That year, my youngest was able to watch two of the films in the lineup – Willow and Peter Pan. He enjoyed both of them and proclaimed them the best movies he had ever seen. He has since adjusted his rankings a bit. The older two fell in love with Remember the Titans in a way that I did not expect. I figured they would like it, but their level of passion for that film took me by surprise.

Each year I have attempted to introduce new types of films to the boys, not just the action/adventure films they love so much. As they get older and able to handle more difficult and complex storytelling, I will challenge them with lesser known gems or films way outside of their interests. Besides having a good time with my kids, I hope that the films we watch serve as a chance for discussion and inquiry. I still do my best to balance the festivals with plenty of fun and exciting stuff, but I don’t want to limit our viewing to only one style of film.

This year we are finally watching the Marvel Cinematic Universe films with my youngest son, who turned eight a few weeks ago. Almost all of his friends at school have seen these films – some starting back when they were three or four years old. I chose to wait, convinced that he would enjoy them but not truly appreciate them as much as he could at that young age. Plus, all of the films, while very clean, have content that is just too much for someone that young. The older boys are watching the Marvel films with us, so I will also select a couple of films to watch with just them that will keep them on their toes and engage a different part of their mind and heart. While the Annual Film Festival has been the primary example of my adjusted approach to movie watching with my kids, I now work through a similar process any time we watch something.


What we watch matters

As a Christian, I believe that what we consume – physically, mentally, or otherwise – affects us. I believe that as a father, it is my responsibility to develop discernment and wisdom in my children. Right now, I am their guardian and their protector. For the most part I can control what enters their eyes and ears. There are various approaches that I have seen for how to do this.

There is the avoidance approach – shielding our children’s eyes from anything and everything potentially dangerous. Building a wall around them so that the sin of the world cannot stain them. The problem with this approach is that sin has already stained them, regardless how much I protect and shield them. And this approach does nothing to help them make good, and Godly, decisions as they age. Instead, it leaves them vulnerable and weak; unable to process and examine the sound and fury the world will throw at them once they are away from the defenses built by their parents.

Then there is the full embrace approach – letting our children watch anything and everything because it’s “just a movie.” This approach goes hand-in-hand with the idea that we turn our brains off when we watch television or movies, simply because we need a way to unwind and relax. This approach exposes our children to content, ideas, and worldviews they are unable to process or examine. They are fed dangerous philosophies about life, religion, faith, morality, and a host of other important things. It’s akin to putting your eight-year-old behind the wheel of a car with no training or practice.

Finally, we have the “examine everything” approach. This approach does not hide from the ugly or the sinful, but uses wisdom and common sense to determine what and when we watch. It puts the onus on the parents to actually think about what they allow their children to watch. Taking it further, we should be on the look out for more than just curse words or dirty jokes. There are plenty of films aimed squarely at families and children that contain no cursing, no sex, and no offensive jokes, but are entirely bankrupt in the philosophy and worldview they present. This approach forces us to do some hard work on the front and back end. We can’t just watch a movie that contains problematic material, and leave it hanging in their minds with no further exploration on our part. As parents, and more importantly, as Christian parents, we are called to do much better.


Final thoughts – One size does not fit all

I don’t want this to seem like I am advocating for my way and only my way. I realize that every parent has a different perspective. That is one reason why I did not delve into checklists or comprehensive guides. What you do needs to work for you and your family. But–and I believe this as strongly as anything I have written–we have to take this seriously. Your approach might vary significantly from mine, but as long as you are approaching it with wisdom and thoughtfulness, I can’t really criticize. The key is that you are thinking about these things. You are engaging with your children and what they are being exposed to. As parents, we have to stop being lazy and complacent about the things our children consume. There is too much power in the things they are seeing, reading, and hearing for us to give anything but our best.

So, develop your own traditions. Hold your own film festival. Do a movie marathon. Do what works for you. I’ll be over at the Lytle house holding the Fifth Annual Super Awesome Film Festival. We’ll be eating popcorn and candy, watching Iron Man and Atticus Finch, and spending some time examining everything carefully and holding on to what is good.

 




My Irrational Love For the Karate Kid Franchise

Daniel: Hey, what kind of belt do you have? 

Miyagi: Canvas. JC Penney, $3.98. You like? 

Daniel: [laughs] No, I meant… 

Miyagi: In Okinawa, belt mean no need rope to hold up pants. Daniel-san… [taps his headKarate here. [taps his heartKarate here. [points to his beltKarate never here. Understand?

 

 

Nearly everyone loves the sports underdog. Nearly everyone loves it when a bully gets his comeuppance. Nearly everyone loves a sage mentor teaching a protege about life and skill.

So it’s no wonder that the 1984 movie The Karate Kid was so well received in the U.S. that it spawned three sequels and a remake that all together earned well over $400 million at the American box office.

But even with that success, I still sometimes feel like I love theses movies a tad too much. Well, most of them. They were a cultural phenomena in the 80s and to many I am sure have not aged well. But to me, I adore them more now than back then. And in honor of the 33rd anniversary of the release of the original this week, I wanted to give my thoughts on each of the five movies in the franchise.

 

The Karate Kid (1984) 

Karate Kid PosterAmerican moviegoers in the 80s had a ton of martial arts exposure thanks to still legendary names like Bruce Lee and Chuck Norris. By that time we already had a pantheon of movies about a sports underdog overcoming great odds to win. Yet we had not seen the two put together quite like this.

Perhaps the most amazing thing about this movie is that Daniel comes across as a whiner for much of the movie and his love interest isn’t interesting at all to me, yet the aforementioned tropes are so good they overcome the lesser aspects.

Most notably, Pat Morita gave the world a gift with his performance as Mr. Miyagi. He is utterly quotable: “Lie become truth only if person want to believe it.” His broken English is insanely endearing. The scene where we learn that this humble, easy-to-overlook maintenance man can kick major hindquarters in karate makes me ridiculously giddy.

But the star moment of the movie to me is the way he teaches Daniel-San karate. He makes him wax his cars and stain his fence and other menial, backbreaking chores. And of course Daniel eventually gets upset by it and threatens to break their pact and quit. So in one of the truly special moments to me in movie history, Mr. Miyagi shows him that everything he is doing is subconsciously teaching him karate. He is teaching Daniel his way with Far Eastern methodology and without the dojo mentality. Mr. Miyagi in this scene does an epic mic drop before that was even a thing. “Wax on, Wax off” was a huge part of the 80s American movie vernacular.

Make no mistake, this movie hinges on how good Mr. Miyagi is. Beyond the karate, we feel for him deeply when we learn about the death of his wife. And his excellence in bringing this unique character to life overwhelms the weaknesses of the other two main characters to me.

Kreese, Johnny and the Cobra Kai are excellent villains and perfectly easy to hate. The climactic fight in the tournament is superbly dramatic and the music compliments it well. There is so much to love in this movie that how poorly it has aged has not affected my fan hood in the least.

 

The Karate Kid II 

Is it possible that I love this sequel more than the original? This is something that rarely happens, especially if you take out Top 1% movies like Empire Strikes Back and Godfather 2. Yes, yes it is possible.

Maybe it is the fact it takes place in Okinawa. And the stakes become more real. This installment definitely captures the magic of Rocky in that it finds a new, fresh way to keep our champion in the underdog role. Mr. Miyagi’s telling Daniel near the end, “This not tournament, this for real” pretty much captures how they were able to take a great idea and two years later make it even better. Beating Johnny the Cobra Kai in a city tournament was classic. Facing Chozen in a theoretical fight to the death is just terrifying. And intense, even if it is a tad over the top. I pretty much stop breathing during this scene every time I watch.

But the movie scores big to me as well because it develops Mr. Miyagi even more, teaching us more about his past and his failures and his reason for leaving. These scenes are not cheesy at all.

But at its heart, the story is the Miyagi/Daniel relationship. Even as Daniel is getting throttled by Chozen, Miyagi is shouting out instructions that help Daniel. And even though I’ll never understand how Daniel merely swinging his arms back and forth turned the tide in the fight, no one can deny the music, the choreography and the cinematography of this scene come together for a chill bump-inducing masterpiece.

And for it to end with Peter Cetera singing The Glory of Love…well that is just the cherry on the captivating movie conclusion sundae.

 

The Karate Kid Part III 

Karate Kid III Whereas the second one masterfully kept us interested in Daniel-San as the underdog, this one absolutely fails in every way. This movie is an abomination. It’s horrible in every way it can be. It is tired, boring and unnecessary and the fact the first two made $200 million in the US between them and that this one tanked at $38 million is proof.

When I showed my wife this franchise early this year I refused to show her this one. I will tackle her if she ever tries (since we own all of them). The fact that this movie exists and it doesn’t cause me to feel any less passionately about the whole series is a testimony to how good the others are. I saw this movie a couple of times in the 80s and tried to give it one more chance about ten years ago. Nope. I am surprised I have not just thrown it in the garbage yet.

 

The Next Karate Kid 

The Next Karate KidAs far as quality we find this reprisal of sorts in the franchise between the magic of the first two and the dumpster fire of the third one, released in 1994. It was obvious that Daniel was done as a character so to add some spice they make Mr. Miyagi’s new project a female. And not just any female: Hiilary Swank several years before she shocked the world with two Best Actress Oscar wins.

So the fact that you have such an acting talent alongside the iconic Mr. Miyagi means this movie has some redeeming value. The story itself is retread and does not capture the imagination of the beginning of the franchise. But at least it brings the novelty of a girl, Julie-San, being the one who needs to overcome demons and bullying. Not a necessary movie but I don’t mind watching it if someone wants to see all of the “Karate Kid” movies.

And we get to see Mr. Miyagi light somebody up one more time before retiring the character forever so that alone almost makes it worth watching.

 

The Karate Kid (2010)

The Karate KidFirst, let me be clear that there is no doubt this movie belongs to this franchise. The title, as well as the obvious and subtle references to the plot of the original manifest its strong connection to the 1984 version.

And I had little faith they could redo the original in a modern way and not destroy it. They did the opposite. It exceeds the original in my mind and competes with KK2 for the best of the franchise.

First, Mr. Han is an incredible updated version of Mr. Miyagi. I had never seen Jackie Chan like this. He absolutely knocks this role out of the park.

This can be seen best in the re-imagining of the “menial task is teaching kung fu” scene. As memorable as this moment is in the first one, I think this movie improves upon it. Dre doesn’t hang up his jacket like his mother wants him to. So Mr. Han uses that as the basis for developing his muscles and reactive instincts, by having him take off and hang up his jacket for hours at a time. Which is a small but powerful difference from “wax on, wax off”. And the mic drop speech given by Mr. Han at the end of this scene is even more potent: “Kung Fu lives in everything we do. It lives in how we put on the jacket, how we take off the jacket. It lives in how we treat people. Everything is Kung Fu.” Please note that as a Christian I don’t believe this in real life but I cannot deny it makes amazing cinema. I stood up and clapped in the theater at this moment.

Jayden Smith is pretty good in his role but just as with the originals, it rises and falls on the mentor. I could not love Mr. Han any more and I refuse to try to pick who is better out of him and Miyagi.

 

So as summer heats up and Hollywood makes the news with regularity, we at REO take time to remember the summer blockbusters of yesteryear. For me, almost nothing tops The Karate Kid, or three variations at least. I love them, indeed, far beyond logic.




It’s Easy to Love Chris Pratt

The Humble Beginnings of the future Star-Lord

Before there was Andy Dwyer and before there was Peter Quill, there was Bright Abbott.

I watched Everwood religiously from 2002 to 2006. A guilty pleasure for sure. As far as a person with a Christian worldview can be over a TV show, I was devastated when it was cancelled. I had just moved to Chicago and was dealing with girl problems, so I saw myself in Ephraim since he dealt with the same things. But in my watching I could not help but love Bright as well. He wasn’t funny or intelligent or the star of the show. He was just likeable.

So why did I like him? At the time I wasn’t sure. But a few years later the man I knew as Bright and whose real name I may have sort of known at the time, appeared on my TV screen in a trailer for Zero Dark Thirty. It seemed obvious to me that he didn’t have a big part, but just his one-line speaking role in the trailer made the movie almost as appealing as the the actual story.

And I watched it. And later I watched Moneyball. And “Bright Abbott” continued to make me smile and remained close to the top of my Hollywood conscious.

 

Johnny Karate’s Greatest Hit

Then a few years ago the guys from REO were championing a modern sitcom called Parks and Rec and eventually I realized that I needed to watch it. And voilà! There he was again! And for the million reasons Parks and Rec worked as a sitcom and landed at the number 3 spot on our list of Top Ten Sitcoms of all-time, Andy was a huge one.

I doubt anyone in sitcom history has a higher laugh-per-line ratio to me than Andy Dwyer. Even George Costanza. George is still the best to me because he makes me laugh and applaud the hardest, but nearly everything Andy says is funny. Playing the role of the clueless doofus has been popular in sitcom history, like Joey Tribbiani on Friends. But no one has done it like Chris Pratt. It’s a wonder to behold. My wife and I just finished Parks and Rec for the second time, and Andy has caused pools of tears in laughter. See this scene for a classic example:

 

It’s not hyperbole to me to say that Chris Pratt is a comedic genius. Some of it is innate, which can be seen if you watch PnR outtakes (caution: they have cursing) and Pratt just shoots from the hip without a script and has all of his co-workers on the floor laughing. But some of it is just him understanding what is truly funny and having the courage to do what would embarrass 99% of people.

Summer Blockbuster Cool

Somewhere in all that I saw Guardians of the Galaxy. By accident. Even though Chris Pratt was that guy I liked I apparently didn’t know enough about this movie to know he was in it. But one August night in 2014 I went to see the new Ninja Turtle movie and got the showtime wrong. I watched Guardians instead. Needless to say, by the end of that movie Chris Pratt rocketed to the top of my “I want to see it because he’s in it” list.

So when it was announced a few years ago that he was going to be in the new Jurassic Park movie I was bonkers. I already love the franchise, even the oft-disparaged second and third volumes, so his involvement in Jurassic World made it an opening weekend viewing for me. So I was there opening Friday night front and center to experience what would surely be amazing American cinema. I didn’t think it was a great movie but I was not disappointed even one iota in Chris Pratt. Star-Lord and Owen prove that he’s not lovable just because he’s funny. He has something special that goes beyond that. These movies sell themselves on many things, but I don’t think it’s an accident that Pratt has been in three of the top 50 domestic grossing of movies of all-time all in the last three years (Guardians 2 being the other).

Everwood Was His Bosom Buddies

In the book Blink by Malcom Gladwell, he talks about the first time Brian Grazer met Tom Hanks. Grazer says, “He came in and read for the movie Splash, and right there, in the moment, I can tell you just what I saw. We read hundreds of people for that part, and other people were funnier than him. But they weren’t as likable as him. I felt like I could live inside of him. I felt like his problems were problems I could relate to.”

I think Chris Pratt has the same thing Hanks does. I have never met him and doubt I ever will. But if I ever saw him I would feel like I was meeting a buddy from high school. It would probably be surreal since he is famous, but almost paradoxically I think it would feel so familiar. Because Pratt just comes across that way. Recently he was caught in the middle of a typical American controversy that some thought would offend the deaf community. And Pratt’s response it–by signing an apology in sign language–was as touching and real as anything you’ll see from Hollywood off screen.

 

We’ll follow your lead, Star-Lord

In the Season 6 Parks and Rec episode “New Slogan” Andy is trying to find bands to play for a unity concert and by accident he discovers that Ron is Duke Silver. This is a unique episode because Andy ditches, for the most part, the dim-witted persona. When he talks to Ron, he’s more of an adult. In sharp contrast to “ambling down the street naked on crutches” Andy, this Andy is smooth. And cool. And bears semblance to Pratt’s other roles. I am not sure why he’s like this for one episode but I realize as I’m watching that it’s not the shtick or the writing that makes Andy great. It’s the man behind the character.

And I have little doubt his white hot career arc is just getting warmed up. Because he will bring this undefinable Tom Hanks-like personality to whatever he does. And on his 38th birthday, we celebrate the privilege of seeing his career unfold in real time.

 

 




500WoL: Wonder Woman

I am convinced that if Wonder Woman had been released ten years ago, it would have been rejected by most critics and the majority of audiences. The template had been set: heroes needed to be flawed and conflicted. They needed to have their own personal demons to fight, because that would humanize them. Wonder Woman is not that film and most certainly not that kind of hero.

Sometimes, a film is delivered to the world at the perfect time. We live in an era of extremes. Our politics are divisive and partisan. Our cultural conversations are loaded with hostility and vitriol. 2017 is cynical and angry. I believe people are grasping for hope and inspiration; something to help make sense of the world around them. An ideal worth celebrating.

Enter Wonder Woman.

Rejecting every modern convention on how to present a hero to the world, Wonder Woman opts for something more inspired. Diana, Princess of  Themyscira, is not the hero our society deserves, but she is definitely the hero we need. She is brave, kind, selfless, noble, loving, and strong. The film never calls her Wonder Woman, but anyone that sees her in action could not conceive of a more appropriate name. The film wonderfully eschews the need for the hero to grow and overcome internal flaws. Diana sees a need – the slaughter of innocents at the hands of World War I – and she does everything she can to make matters right. All this said, she is not a static character. She still has room to grow and evolve as the story is told. As events unfold, her driving motivation changes, going from a sense of duty to a more profound impetus to help.

The two leads, Gal Gadot as Wonder Woman and Chris Pine as Steve Trevor, have fantastic chemistry and elevate the movie in every way. The supporting cast does fine work, adding color and humor. The music is epic and moving. The cinematography is excellent throughout. The action sequences are well staged with a fantastic sense of pacing and speed. There are many “hero shots” in the film, and virtually all of them add a true sense of spectacle and awe.

I have enjoyed the DC films up to this point, outside of the completely inane Suicide Squad. I am a big fan of Man of Steel. I appreciate and even love sections of Batman v Superman: Dawn of Justice. I realize that might cloud your opinion of this review, since those films are not loved by most. Wonder Woman is better than all of them. It is a film soaked in light, with none of the angst and darkness. It is worth your time and money if you love movies about heroes that are truly heroic. I recommend it as highly as I can.

(The film is rated PG-13 due to violence and frightening imagery. There are also a few scenes that discuss sexuality, but do so in a way that is incredibly tactful and mild.)




Five Classic Curmudgeons of TV and Film

Movie and Television history is profuse with amazing and unforgettable crusty old men. Mean, cranky, ancient, eccentric – got to love those aged dudes and their disdain of all these hippies (everyone under 50) and newfangled contraptions. In our adoration of these wise, gray-haired, ne’er-do-wells, we have decided to highlight five iconic crusty old curmudgeons from either film or TV lore. Note: This is not necessarily a “best-of” list. These are simply the five cantankerous old coots that we have chosen to write about. – Ben Plunkett

 

Arthur Spooner – The King of Queens
by Gowdy Cannon

Frank Costanza could go from 0 to outrageously psychotic in two seconds. Arthur Spooner could get there, just a bit more slowly. And sometimes that was actually funnier. Arthur was Carrie’s dad, but it was his interactions with son-in-law Doug that showed how uninhibited Jerry Stiller was as a comedic actor and that caused me to cry tears from laughter. From the simple way he called him “Douglas” to their insane, petty, over-the-top, roll-on-the-floor-laughing showdowns in the kitchen, Arthur Spooner was just different enough from Frank, yet just enough the same. My favorite moments:

–Arthur tries some of Doug’s kids breakfast cereal and gets the prize 3D glasses. Doug is clearly upset because the cereal is his but he tries to be an adult about it. But he can’t because Arthur won’t stop acting juvenile. So Doug acts childish in return and the back and forth ends with Arthur ripping up the glasses and Doug destroying the still-full box of his own cereal as Carrie walks in.

–Arthur asks Doug how many stamps he needs for tickets he is mailing. Arthur doesn’t like Doug’s answer so Doug insults Arthur’s mooching off his family. It ends with Arthur destroying Doug’s sandwich and Doug destroying Arthur’s mail.

–Arthur asks Doug to pass the “catsup”. Doug won’t until he says “ketchup”. Arthur refuses so Doug pours an insane amount of ketchup on Arthur’s burger, demanding that Arthur call it “ketchup” as both yell back and forth until Arthur cedes. “And that’s how we learn”.

(And my personal favorite)

–Doug is answering a political survey over the phone when Arthur comes in and tries to make a phone call on the same line. He realizes what Doug is doing, insults his answers and this begins an exchange of severe putdowns between the two (including “Why don’t you tell him you’re enormous?” and “Why don’t you tell him you live in our basement?”) that ends with Doug asking “Why don’t you tell him your total salary last year was $12?” To which Arthur replies: “That was after taxes!” I don’t know why that Arthur line is so funny. Maybe the look on his face. Or the volume of the conversation. Or how inane the comment is. But I hurt from laughing at it and I’ve seen it several times.

As far as cranky old curmudgeons, Arthur Sponer takes a backseat to no one.

 

Carl Fredricksen – Up
by Phill Lytle


Merriam Webster defines crotchety as: subject to whims, crankiness, or ill temper. Thesaurus.com gives us these synonyms for crotchety: Cantankerous, crusty, grouchy, grumpy, and ornery. When we first meet the older Carl Fredricksen, he is all these things and more. He has grown sour after the passing of his beloved Ellie. He is prone to outbursts of anger, is mean-spirited to Russell, a young “Wilderness Explorer.”, and doesn’t seem to enjoy much about his life anymore. In other words, every second he is on screen is a joy for the audience. His complaints are hilarious. His lack of patience with Russell, and anyone else for that matter, never ceases to amuse. Buried deep down in Carl is a noble, honest, and good man. It takes some time for the audience to find it, but the journey is no less enjoyable during the search.

Favorite moments and lines:

Already exasperated with Russell’s constant talking and enthusiasm, Carl says, “Hey, let’s play a game. It’s called “See Who Can Be Quiet the Longest”. The line is perfectly delivered by Ed Asner, one of the great curmugeonly actors of all time. But the response by Russell takes the joke to another level, one that makes us laugh, but also reveals a great deal about our main characters, “Cool! My mom loves that game!”

Once they have nearly reached their destination by air, they are forced to continue the rest of the way on foot. Carl, wanting things quiet delivers this little nugget of gold to Russell, “Now, we’re gonna walk to the falls quickly and quietly with no rap music or flashdancing.” I’ve always loved that the two things Carl mentions are rap music and flashdancing, as if those were obviously things Russell would be involved in.

Finally, early in the film, when the builders are trying to get Carl to leave his home, he spots one of the businessmen in the distance. The man is wearing a suit, looking distinguished and professional. Carl yells at him, “You in the suit! Yes, you! Take a bath, hippie!” I think that one speaks for itself.

 

 

Merlin – The Sword in the Stone
by Ben Plunkett and Phill Lytle

He is, perhaps, the progenitor of all curmudgeons. Merlin is both cranky yet full of vigor. Quick tempered yet a great teacher. Ornery yet kind and caring. The first time we meet this magical old hermit is right after young Arthur literally drops in on him and Merlin is literally waiting. Along with Merlin’s even more curmudgeonly pet talking owl, Archimedes, Arthur is prepared for his rightful place of king. Every kid I knew wanted to have a mentor like Merlin, someone who could transform us into a fish or a squirrel. Someone who could teach us about the world. Someone to take note of us and invest in our lives. Someone who would fly off the handle and disappear to Bermuda when he got angry…

Favorite moments and lines:

Merlin tries to explain the way of the world to young Arthur, telling him that everyone faces adversity, “Oh, bah! Everybody’s got problems. The world is full of problems.” Merlin gets his beard caught in the door and yells, “Oh, blast it all! There, now! You see what I mean?”

When Merlin transforms Arthur and himself into squirrels, an older, lady squirrel becomes quite enamored with Merlin. Growing every more frustrated, yelling “Madame!” at key points of discomfort, Merlin finally decides enough is enough, “By George! I’ve had enough of this nonsense! ALAKAZAM!” He transforms himself back into a human being, leaving the female squirrel confused and upset. “There! Now you see? I’m an ugly, horrible, grouchy old man!” Even Merlin recognizes that he belongs on this list.

While he could be a very grouchy curmudgeon, Merlin also had times of great wisdom, like when he taught Arthur the lesson of love during his very squirrely adventure: “Ah, you know, lad, that love business is a powerful thing,” said Merlin.
“Greater than gravity?” asked Arthur.
“Well, yes, boy. In its way, I’d, uh… Yes, I’d say it’s the greatest force on earth.”

 

 

Frank Costanza – Seinfeld
by Ben Plunkett


Ah, Frank Costanza. Prone to psychotic outbursts. Hilariously and boisterously confrontational. No wonder his son George is a mess (with the very capable assistance of the almost equally psychotic Estelle, of course). The senior Mr. Costanza was portrayed to perfection by Jerry Stiller, whose acting, I imagine, was key to making Frank one of the most iconic crusty old curmudgeon’s of all time. But like all of Seinfeld, there was seriously great, hilarious, and memorable writing going down. A handful (but not nearly all) of Frank’s most memorable quotes and moments:

– “Serenity Now!”

– In my mind the episode “The Strike” is the perfect Seinfeld episode in just about every way. It is in this episode that much to George’s chagrin, Frank’s creation, the alternative holiday Festivus, is revealed to the world.

– “This is Frank Costanza. You think you can keep us out of Florida? We’re moving in lock, stock and barrel. We’re gonna be in the pool. We’re gonna be in the clubhouse. We’re gonna be all over that shuffleboard court. And I dare you to keep us out!”

– Festivus wasn’t the only case of Frank thinking outside the box. In the episode “The Doorman” in another insane fit of invention Frank collaborates with Cosmo Kramer to invent the Bro/Mansierre to assist older fellas in holding up their increasingly sagging chests.

– “He stopped short. You think I don’t know what that’s about? That’s my old move! I used it on Estelle forty years ago! I told everybody about it! Everybody knows! (demonstrates the move) Mmm! I stopped short.”

 

Lt. Mark Rumsfield – The ‘Burbs
by Phill Lytle


I’ve long considered The ‘Burbs to be one of the Tom Hanks’ greatest films. I realize I am in the minority, but I am not alone. I’ve met many people that believe the film is wildly underrated. What makes the film work so well is not just the fantastic performance by Hanks, but the wonderful and eccentric supporting cast. No one steals more lines and earns more laughs than Bruce Dern as Lt. Mark Rumsfield. Rumsfield is a retired military man, yet still living in constant vigilance and readiness for war. He is opinionated, suspicious of everyone, and ready to jump to the worst conclusion possible at the drop of a hat.

Favorite moments and lines:

Unfortunately, most of his dialogue is salty, after years in the military, and I will not reprint it on REO. (The film is rated PG-13, so the saltiness is not as extreme as it could have been.) Just watch the movie and enjoy his well directed vitriol and sarcasm. But, for the sake of this article, here are a couple I can mention:

Rumsfield takes great pride in his yard. Unfortunately, he has a neighbor (Walter Seznick) down the block whose yard far surpasses his own. His reasoning why his yard can’t compete with Walter’s, “That old fart. He’s got the best lawn on the block. And you know why? Because he trains his dog to crap in my yard.” A bit coarse and rough around the edges, but straight to the point.

When a group of our main characters head over, uninvited, to the new neighbor’s house, Rumsfield does his best to make everyone uncomfortable with questions, poking around, and examining as much of the house as he can. His interaction with the new family, the Klopeks, is delightful in its boldness and rudeness. One particular exchange has always cracked me up. Introducing himself to the youngest of the Klopek family, “Rumsfield’s the name. Don’t think I caught yours, sonny?” Hans, responds nervously, “H-H-Hans.” Rumsfield responds in the most natural manner possible, “Hans! Oh-ho! A fine Christian name. Hans Christian Andersen! What are you, Catholic?”

That should give you a good idea what to expect from Lt. Mark Rumsfield and an indication why he made our list.




Five War Movies to Honor the Fallen

No one on the REO staff has served in the military. We have never had to risk our lives in service of our country. Yet, we recognize the bravery, courage, and sacrifice that so many of our citizens have displayed throughout the history of our nation. We recognize and we admire those men and women who have fought and died to protect those of us on the home front. There is little that we can do to honor that ultimate sacrifice. Our words amount to so very little in the end. Even so, we will forever be grateful.

So that we do not forget, the REO staff has selected a handful of movies to commemorate this Memorial Day. These films range in style and focus; some telling the story of a few soldiers, while others tell the story of many. Some were made decades ago and some are much more recent. All of them capture the nobility and sacrifice of the soldiers that fought and died so we can have freedom. Take some time this weekend to remember those who have given their all so that we can be free.

 

The Longest Day – by Benjamin Plunkett

The Longest Day recounts the hours immediately preceding and then every single hour on the day of the Invasion of Normandy. I have loved The Longest Day ever since I was a kid. However, it has not always been my favorite. I do not deny that I have had a long illicit love affair with war movies in general. It has not been until the last ten years or so that this has taken first place among the library of war movies that I love. There are a number of reasons it is a war movie to be deeply appreciated. Two are tops in my mind:

1) A huge international cast of some of the most famous actors of all time. Some of the most recognizable actors of yore appear in this movie, all-time greats like John Wayne, Robert Mitchum, Richard Burton, Sean Connery, Henry Fonda, and Rod Steiger. While that is a very impressive lineup, it is only a sampling of the amazing cast from the U.S., Germany, France, and the U.K. This means that multiple languages are spoken throughout the course of the film, which, of course, means plenty of subtitles.

2) The meticulous attention to historical detail. The examples of this in the film are legion. And many of the scenes are said to have been among the most complicated scenes to shoot in movie history. To do this multiple directors and units collaborated on the project to make it painstakingly accurate. Two that are particularly impressive: The paratroopers dropping in Mere Eglise and the assault on Ouistreham (which was supposedly the most complicated shoot in the whole thing).

This blurb barely scratches the surface of this great war movie. Its place as a historic educational tool is massive. D-Day was one of the greatest and proudest days in the history of mankind. This is one of the best ways to learn about that very historic event.

 

The Thin Red Line – by Phill Lytle

“This great evil, where’s it come from? How’d it steal into the world? What seed, what root did it grow from? Who’s doing this? Who’s killing us, robbing us of life and light, mocking us with the sight of what we might’ve known? Does our ruin benefit the earth, does it help the grass to grow, the sun to shine? Is this darkness in you, too? Have you passed through this night?” – Private Edward P. Train in The Thin Red Line

Meditative. Poetic. Profoundly spiritual: Qualities rarely used to describe a war film, but they serve as the perfect descriptors for Terrence Malick’s World War II masterpiece. There will be many who will walk away from this film bored or disengaged, but for those fortunate enough to understand the unique cinematic language, the film contains unexpected and unrelenting rewards. Malick uses narration, inner dialogue, and sublime visuals to move beyond the words and actions of the soldiers who fought and died. He allows their spirits to speak to the horror, the passion, and the humanity of war. The Thin Red Line transcends the usual movie treatment, presenting instead an exploration of our deepest questions and longings viewed through the prism of combat and war.

 

Saving Private Ryan – by Mark Sass

Very few movies truly redefine a genre. Saving Private Ryan was one such film. At the very least it revolutionized audio/visual techniques, style, and tone for war sequences in film. Prior to Saving Private Ryan no war movie had ever looked so real on screen. The film made a commitment to communicating the horrors of war like no other. At times the movie was visceral to a degree that was difficult to watch. However, the realism of the film encompassed much more than only violence. Audiences didn’t merely watch the film; they experienced it. Several scenes stood out in this regard, but none so like the 22 minute sequence on Omaha Beach in Normandy on D-Day. Unlike many other war movies nothing was glamorized, toned down, or embellished in this film. To this day many regard the Omaha Beach scene as the most realistic depiction of war ever put on film. Audiences got the smallest taste of the true nature of war from the film. And that was very different from how other movies portrayed it. For this reason it’s difficult to say this was an enjoyable movie. No, it’s better said the movie was one to appreciate and respect. Saving Private Ryan told a story that was worth telling. The plot masterfully jumped between the events of WWII and present day in a way that captivated the viewer. Familiar emotions for the genre such as courage, heroism, and sacrifice permeated the film. Led by Tom Hanks, the entire cast delivered top notch performances from beginning to end. The acting, cinematography, editing, music, FX, and everything in between, all came together to deliver a film of the highest quality which will never be forgotten. Saving Private Ryan might be the pinnacle of director Steven Spielberg’s long and illustrious career.

 

Sergeant York – by Gowdy Cannon

When I was a teenager I did not like history. Yeah, I was a doofus. I didn’t like black and white movies. I didn’t like war movies. So when Mr. Marshall Thompson, my 10th grade American history teacher, showed our class a movie that was both, and that I loved, he basically did the impossible.

Based on his personal diary and with the demand that Gary Cooper play the lead, Alvin Cullum York let Hollywood give us his story in a truly remarkable and unforgettable way. I bought the VHS and watched it over and over. I would go around randomly saying “Killn’s agin the book” and “I’m fer the book” in high school and college. I did my character presentation for Mr. John Carter in U.S. History in college on him. (And to this day I regret not doing Sergeant York’s turkey call when classmate and future best friend Joshua Crowe tried to prompt me to during the Q&A time.) I love “Give Me That Old Time Religion” because of this movie. Every time I am driving into Nashville on the interstate and see something off of an exit dedicated to him, I still smile.

A tale of not just war heroics but of a man’s personal and riveting journey, notably of the struggles that come with the Christian faith and its convictions, I think most people can enjoy this film. Even the knuckleheads who do not normally go for movies of its age and genre. I am thankful to it for teaching me how good those types of movies can be.

 

Band of Brothers – by Phill Lytle

Though not a film, no list of this type would be complete without including the HBO adaptation of Stephen E. Ambrose’s Band of Brothers. First released in 2001, Band of Brothers is a ten-part epic mini-series that follows the formation, training, and World War II experiences of “Easy Company”, part of the Parachute Infantry Regiment of the Army’s 101st Airborne Division. Due to its longer run time, Band of Brothers is able to do something that no film can: it can tell a long, sweeping, fully immersive story that features dozens of main characters, locations, and battles. The viewer is able to spend time with these brave men. We are able to get to know them, understand their strengths and weaknesses. See them perform heroically time after time.

Produced by Tom Hanks and Steven Spielberg, every detail is handled with care and respect. These were real men that are portrayed on screen by an assortment of incredibly gifted and committed actors. There are interviews with the actual soldiers before and after episodes, which adds another layer of authenticity and power for the series. For my money, there is no greater picture of the war than Band of Brothers.

 




J.K. Rowling, Chekhov’s Gun and the Joys of Rereading

Remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it’s not going to be fired, it shouldn’t be hanging there.[1.Valentine T. Bill (1987), Chekhov: The Silent Voice of Freedom, Philosophical Library]” (Anton Chekhov)

 

(Editor’s note: Major spoilers are included in this article. You have been warned.)

The only thing I have found more enjoyable than reading through the Harry Potter series is reading through it many times.  

My reasons for reading it twice a year or so (with the intention of continuing to do so a minimum of once a year ’til I die) are legion and normal. I get just as many chills the 5th time I read Harry call for his Firebolt during the first task of the Triwizard Tournament as I did the first time I read it. I got just as emotional during Dobby’s death and during Snape’s final pensieve memories the last time I read as the first time.

Some things are better when I reread, such as the final battle between Harry and Voldemort, which is so rich in detail it had my head spinning the first time. I needed several times to grasp it all. Sometimes I just miss details ’til I reread, as I didn’t note ’til about my third reading that Ron put his socks on Dobby’s feet before they buried him, a detail so touching and impacting I cannot believe I missed it the first times.

But on that note, there is one thing that stands out about Harry Potter than causes me to adore rereading beyond the typical reasons. They call it “Chekhov’s Gun” and J.K. Rowling was a master at introducing seemingly minor plot devices in passing that turn out to be hugely significant hundreds and sometimes thousands of pages later. Some were major their first appearance but even then their magnitude after the gun goes off blows me away as I reread.

I am pretty much the opposite of someone like Sherlock Holmes; I don’t notice detail immediately and that actually helps to get lost in stories while reading and watching TV and movies. Plot twists and fired guns catch me completely off guard. Which is a glorious feeling. And Rowling was a magician at these things for over 4000 pages. I remember during my first reading my wife told me: “Rowling doesn’t introduce anything by accident. It all has a purpose.”

And while her plot twists are already legendary, and as they are so well covered, I want to focus on these Chekhov’s Guns, which is trope of a different color. There are many and I’ll mention several but not nearly all.  These are more or less my favorites after having been through the series several times (note I may have some minor details wrong on these and if I do I welcome correction):

 

The Vanishing Cabinet(s)

First mentioned in Book 2 when Harry hid in the one in Borgin and Burkes after he ended up in in Knockturn Alley by mistake. The Hogwarts twin is mentioned that same book when Harry is in Filch’s office for getting in trouble for spreading mud on the floor. They become a bigger yet still minor part of Book 5 when the Weasley twins trap Slytherin Montague in the one at school, where as a result he realizes there are two and that they connect. And that becomes the basis for how Draco uses them to help kill Dumbledore in Book 6.  Amazing.

 

The Necklace at Borgin and Burkes

In the very same scene on page 52 of Chamber, Draco notices the poisonous necklace that he eventually uses in Book 6 to try to kill Dumbledore, but instead nearly kills Katie Bell.

 

The Hand of Glory

Yet again first mentioned in Book 2 when Draco sees it in B&B (how insignificant these details–in such a short scene–seem at the time!) Then, early on in Book 6, Ron mentions that Draco has a HoG. And it becomes a crucial part of how he foils Harry’s friends from stopping him in the climactic scene.  

 

The Tiara on the Mannequin

This one and the next one win for “Most random, easy-to-overlook-while-reading detail that becomes monumental later on”. In Book 6 when Snape has Harry trapped for using the Half Blood Prince’s potions book, Harry hides in in the Room of Hidden things and marks its location by noting it is next to a bust with a wig and tiara. Finding that Tiara is as crucial to anything in Book 7, as it was a horcrux.  

[Not quite as cool but still on topic is that halfway through Book 7 Luna casually mentions the “lost diadem of Ravenclaw” in passing and her father was wearing a (sort of) replica.]

 

The Locket at 12 Grimmauld Place

The mention of the locket is so brief in Book 5 when they are cleaning the Order’s Headquarters that I’ve twice read the book looking for its mention and still missed it. It’s so brief and camouflaged by a million other details on the page that only the most brilliant, hyper observant people likely remembered it the first time through when Hermione recalls it in Book 7. What a gun to go off in the last book!  Covering pages and pages and chapters and chapters of finding the locket, stealing it back, carrying it around and then finally destroying it. And think of all that happens in those pages: the break into the Ministry, Ron leaving, Ron coming back, the doe, the sword, etc.  

 

Dumbledore’s Broken Nose

3,500 pages or so between gun appearance (the very first appearance of Dumbledore in the first book mentions his nose) and gun going off (Rita Skeeter publishes that Aberforth punched Albus coffinside at Ariana’s funeral). Incredible!

 

Ron’s Prophecy about Bat Snape

Not nearly as crucial to the plot as the others but very funny: Ron says in Book 4, “…not unless [Snape] can turn into a bat”…and in Book 7 Snape escapes, by turning into a bat.

 

Dumbledore’s Prophecy About Wormtail

As Harry bemoans letting Wormtail go free at the end of Book 3, Dumbledore assures him one day he will be grateful he did so. And in Book 7, thousands of pages later, Wormtail’s mercy in return helps them escape certain death.  

 

Dumbledore and Snape’s Argument

In Book 6 Hagrid lets it slip that they were arguing so Harry thinks it’s a reason to not trust Snape. Book 7 clears up that they argued about whether Snape would kill Dumbledore.  

 

Dumbledore references the Room of Requirement

In Book 4 at the Yule Ball, Dumbledore casually claims he found a secret room to use the bathroom when he needed it most.  In Books 5 and 7 that very room, the “Come and Go Room” (or “Room of Requirement”), becomes the room for the Hogwarts anti-Voldemort movement.  Thank you, Dobby. And sadly, in Book 6 it is used to plot the eventual death of Dumbledore.  

 

The Diary

This is a huge gun shown in Book 2 (marvel at the moment towards the beginning of the book when they are going to King’s Cross and Ginny forgets the diary at home and they have to go back and get it) that goes off at the end of that book. But even more impressively, it goes off again in as it ends up being deemed a horcrux in Book 6.

 

Marvelo Gaunt’s Ring

Another major gun first mentioned in Book 6 in a pensieve memory, it is so significant that it turns out to be a Hallow and a Horcrux by Book 7.

 

Dumbledore and the Mirror of Erised

No, Dumbledore doesn’t see socks, as he tells Harry in Book 1; Harry surmises correctly all the way at the end of Book 7 at the Hog’s Head what Dumbledore really sees, as Aberforth unloads truths about the Dumbledores that even Rita Skeeter could not dig up.

 

Harry’s Scar Prickling

This one is very early, less than halfway through the very first book and of course we think it has to do with Snape. But we learn quickly that it does not. And it goes off over and over, Rowling adding layer upon layer to why Harry and Voldemort are connected. So while not as obscure as many others, I mention it because amazingly, the final firing of the gun (and the richest detail) isn’t until the penultimate chapter, at King’s Cross in Book 7. We find out that Harry was the horcrux Voldemort never intended to make. This makes reading about the first prickling of his scar in the Great Hall his first day in Book 1 so much more meaningful. And speaking of this…

 

Dumbledore Tells Harry (Essentially) That He is a Horcrux…in Book Two 

This is probably my favorite of all.  Read this dialogue, with the end of Book 7 in mind:

“You can speak Parseltongue, Harry,” said Dumbledore calmly, “because Lord Voldemort can speak Parseltongue. Unless I’m much mistaken, he transferred some of his own powers to you the night he gave you that scar. Not something he intended to do I’m sure.”
“Voldemort put a bit of himself in me?” Harry said, thunderstruck.
“It certainly seems so.”

Mind. Blown.

 

 

Did I miss some you consider your favorites?  Let us know below!

 

 

 




Five Movie Resurrections and Why They Matter

In honor of Easter and our celebration of the resurrection, I have decided to compile five of my favorite film resurrections. Now, some of you more pious and holy readers might be shaking your heads right now wondering if you should continue reading this, with its borderline-sacrilegious-sounding premise. I assure you, no sacrilege or disrespect is intended. I just happen to be a huge movie fan and I believe strongly in the concept of art imitating life. Or in this case, art imitating death-then-life. I am convinced that resurrection, in a variety of forms, is a powerful storytelling device, primarily since it is grounded in the truth of the greatest story ever told. This will not be an in-depth exploration of these films. There is simply too much ground to cover. I do reserve the right to revisit these films down the road with a more thorough examination. With that in mind, here are five of my favorite movie resurrections. Warning: Many spoilers ahead. You have been warned.

 

Gandalf (The Lord of the Rings)

Tolkien scattered Christ figures throughout his most popular work, with Gandalf being one of the most obvious and powerful. Director Peter Jackson, though not sharing Tolkien’s faith, fully embraced many of these allusions and in some ways, upped the ante. When Gandalf falls to the Balrog in the Mines of Moria, in the first film in the trilogy, he “dies” with his arms extended in cruciform. He gives his life to save the fellowship. When he returns in The Two Towers, he returns transfigured. He descended into the bowels of death and is raised up again in power and glory.

 

E.T. (E.T. The Extraterrestrial)

Everyone knows about E.T. If you don’t, stop reading this and go watch it right now. It is one of the greatest films ever made and you are less of a person if you have not watched it. The film includes one of the best Christophanies, which is ironic considering it was directed by a Jewish man who had no intention of making that connection. E.T. dies, comes back to life, performs miracles, and ascends to the heavens by films end. Awesome stuff which is only helped by the incredible John Williams’s score.

 

Neo (The Matrix)

Whoa! I realize that the religious symbols, words, and imagery that are liberally sprinkled throughout the film were included not out of any devotion to the truth, but more in an effort to tie the film to older and deeper archetypes. For the most part, it is effective. The final scenes in the film step into the eternal conversation about death and rebirth and while the filmmakers divorce their exploration of these things from Christian ideals like selflessness and sacrifice, they do touch upon the concept of Messianic necessity.

 

Truman (The Truman Show)

At some point, I am going to do a deep dive into the spiritual and social truths layered into this film, but for now, we will just hit some highlights. The Truman Show is the story of one man – Truman Burbank – who lives a false life. He doesn’t realize his life is fake, but everyone around him does. He is the unwitting star of a television show that has followed his every move since the day he was born. His entire world is fake; the makers of the show even construct a city-sized studio to preserve the illusion. Late in the film, once Truman has discovered that things are not what they appear, he is confronted by Christof, the creator of the show. Christof summons a storm to destroy Truman’s boat, leaving Truman tangled in ropes and unconscious under water. For the lack of a better word, Truman dies. Then he rises from the dead. Truman continues his attempt to escape, using the still floating  boat and Christof, in a final, desperate attempt, uses the studio’s sound system to speak to Truman. He is the very voice of the god of this fake and empty world. He tries to convince Truman to stay. Every plea and bargain rings hollow and Truman remains steadfast in his desire to leave. There is imagery throughout the final moment of the film that are clearly signposts to the crucifixion, Jesus, and the empty tomb. Combined with the thematic ingenuity of the film, the ending makes for a powerful and satisfying resolution.

 

Thor

Scoff if you want, but in my mind, there are few films that incorporate the ideas of self sacrifice and resurrection better than Marvel’s Thor. Without getting too specific, Thor, the god of Thunder, goes through a massive character transformation; going from arrogant and foolish to noble and selfless during the course of the film. The emotional climax of the film occurs when Thor offers his life to save his friends. He is rewarded with death and then a return to life in a powerful and triumphant bit of cinematic magic. In the clip below, the elements that truly sell the moment are the amazing score by Patrick Doyle and the radiant smile on Lady Sif’s face when she realizes that her friend is not dead.

So there you have it. Those are a few of my favorites. I would love to hear your thoughts on them. Or, you can tell us about some other resurrections in popular culture that mean a lot to you.