Five Horror Films Worth Watching

It’s that time of year again. Time for too much candy and scary movies. I’ll say this upfront – I love horror movies. Of all the people that contribute to REO, I’m confident that my love for the genre is head-and-shoulders above the rest. I love the tension, the mood, and the thrill of a good, scary film. One day, I would like to further explore what draws people to horror films. I’ll leave that topic for another time. For today, I want to shine the spotlight on a handful of films that represent the things I love the most about the horror genre. For what it’s worth, I tend to avoid violent or bloody horror films. Seeing someone tortured or killed in some gratuitously grisly manner are not things I typically enjoy. I prefer my thrills to come from atmosphere, tone, perfectly-timed jump-scares, and other things of that nature. Give me a story with good characters and a creepy plot, and I will most likely enjoy the trip.

In an effort to make this a little different, I am going to forgo the usual mini-review format we have used in the past. Instead, I will do a brief Q&A with myself about each film. Yes, I will talk to myself and then share with you the fruits of my conversation…with myself. It all makes sense in my head so hopefully it will make sense to at least a few of you out there. Warning: If you are not a fan of horror films, this article is probably not for you. Now, if you are curious about horror movies that avoid excessive violence and gore, and don’t rely on strong sexual themes or content, then perhaps this list can be of service to you. Warning Number 2: I’ve included the trailers for each of these films and if you are easily scared or sensitive to this type of thing, you might as well move along and read something else on our website. Might I recommend a nice poem or love letter to tacos?


The Exorcism of Emily Rose

 

What are the basic facts about this film?

It came out in 2005. It was directed by Scott Derrickson (Doctor Strange) and it stars Laura Linney and Tom Wilkinson. It is based on a true story about an apparent demonic possession and subsequent exorcism where things went horribly wrong.

In 50 words or less, what can I expect from this film?

A smart, well-constructed film. The story is told from the perspective of an agnostic defense attorney (Linney) and she tries to build a case to defend a priest (Wilkinson) in a homicide trial. It’s as much courtroom drama as it is supernatural thriller.

If you had to pick one thing, what is it about this film that really won you over?

I love that it treats spirituality and the supernatural seriously. It creates a very compelling dialogue by examining this very complicated case. Derrickson is a professing believer and because of that, he never panders nor does he make light of the idea of evil.

The Exorcism of Emily Rose is rated PG-13.


 

The Conjuring

 

What are the basic facts about this film?

It came out in 2013. It was directed by James Wann (Insidious, Furious 7). It’s based on the true story of a demonic attack that was investigated by paranormal investigators, Ed and Lorraine Warren, played by Patrick Wilson and Very Farmiga. Also starring Ron Livingston and Lili Taylor.

In 50 words or less, what can I expect from this film?

A fantastically creepy atmosphere. Wonderful scares throughout. A strong storyline with real heart.

If you had to pick one thing, what is it about this film that really won you over?

While I realize that the real-life Warren’s are controversial figures, in the film, they are a fantastic team. They are a beautiful picture of a strong, supportive marriage and their dedication in fighting evil is captivating. Plus, the film is about as good as it gets in mood and tension. And just to cheat a little on this question by giving you more than one thing, the family that is victimized in this demonic attack, the Perrons, are as sympathetic and believable as you could hope for.

The Conjuring is rated R.

The Conjuring 2

 

What are the basic facts about this film?

The sequel to the previous Conjuring film, it came out in 2016. Also directed by James Wann. Also starring Patrick Wilson and Very Farmiga. Also based on a true story about a poltergeist in England that was investigated by the Warrens.

In 50 words or less, what can I expect from this film?

Similar, if slightly less-satisfying, returns as the first film in the franchise. While it never reaches the highs of that one, it brings enough thrills, tension, and drama to warrant a view. It amps up the supernatural activity, which might be a draw for some.

If you had to pick one thing, what is it about this film that really won you over?

Much like the first film, this series takes the supernatural seriously. But more importantly, it takes Christianity seriously. The Warrens are believers and fight back against the forces of evil with Scripture, prayer, and conviction. I’m not saying that I endorse all the views of the film, but it is refreshing to see a film like this when so much about Christianity is reviled in popular American culture.

The Conjuring 2 is rated R.

Quick note about both Conjuring films – they are both rated R. Not due to language, gore, or sexual content. The MPAA (the ratings board) gave them an R rating because they deemed them too scary for a PG-13 rating.


The Others

 

What are the basic facts about this film?

The film came out in 2001. It was written, directed, and scored by Alejandro Amenábar. It stars Nicole Kidman and Fionnula Flanagan.

Set just after World War II, on the Channel Islands, The Others tells the story of a mother (Kidman) who cares for her two young children who suffer from a rare photosensitivity that makes it impossible for them to ever be exposed to direct sunlight. They live in a huge mansion and weird stuff starts to happen.

In 50 words or less, what can I expect from this film?

A foreboding, claustrophobic atmosphere. A haunted house film where the true nature of the haunting gets revealed little by little throughout. The Others is a film that takes a simple concept and layers it with wonderful characters and poignant family moments.

If you had to pick one thing, what is it about this film that really won you over?

The sense of mystery. I love not knowing where a film is going and trying to guess how it is all going to end. The Others does that and does it well. There are signposts throughout the film and perhaps more observant viewers will pick up on those, but for most people, the climax will be satisfying and not the least bit shocking.

The Others is rated PG-13.


The Woman In Black

 

What are the basic facts about this film?

The film was released in 2012. It was directed by James Watkins and stars Harry Potter…I mean, Daniel Radcliffe. Also starring Ciarán Hinds, Janet McTeer, Sophie Stuckey, and Liz White.

The Woman In Black tells the story of a young lawyer (Radcliffe) who is sent to a remote village to orchestrate the sale of an estate on the marshland. He stays in the old house on the estate looking for records to facilitate the sale. The villagers treat him poorly, outside of one man (Hinds) and it quickly becomes apparent that something is very wrong on the marsh.

In 50 words or less, what can I expect from this film?

The Woman In Black feels like a throw-back haunted house film. It has good scares, a creepy tone, and a good lead performance by Radcliffe. It relies on shadows, darkness, and the viewer’s imagination to create a lot of the most frightening moments.

If you had to pick one thing, what is it about this film that really won you over?

It’s a very simple film with a well-worn storyline and concept. Sometimes that doesn’t work, but in this case it does because it’s all done with style and care. The film rarely uses cheap thrills to scare the audience, though it is not above a few good jump-scares.

The Woman In Black is rated PG-13.


So there you have it. Let us know in the comment section what you think. Now that you have read through my list, which is not a top five or anything like that, feel free to chime in below with some of your favorites.

 




“Luther: The Life and Legacy of the German Reformer” – A Review

In celebration of the 500th anniversary of the Ninety-five Theses by Martin Luther, filmmaker Stephen MacCaskell made the documentary Luther: The Life and Legacy of the German Reformer (2017). Many scholars of the Reformation may criticize the film’s evangelical bias, but it is refreshing to see a well-executed historical documentary that celebrates the same doctrine that drove Luther. Just as Luther was dedicated to the authority of Scripture and the doctrine of Justification by Grace through Faith, so are the Reformed theologians (including R.C. Sproul) who provide consistently insightful commentary.

I write this commentary as an Arminian Christian, a historian of the Reformation era, and a High School History teacher. From an Arminian perspective, there is nothing to shy away from in this documentary. Like all forms of Reformation Christianity, Arminianism fully agrees that salvation is the work of God and not a product of works. This film should serve as a catalyst for the discussion of many foundational theological truths.

An hour and a half is not sufficient to do justice to the life and influence of the “monk who changed the world.” The film was certainly made more for a congregation than for historians. Even so, the film is historically accurate and doesn’t avoid difficult issues. One section deals with Luther’s temper, untamed tonged, and his “Jewish Problem” (anti-Semitism). Many may find the film’s treatment of the “Jewish Problem” as unsatisfactory, but I am impressed that a short celebratory film took the time to point out Luther’s significant flaws. It even uses the words of Scripture and John Calvin to do so.[1. See this article for a good discussion]

This treatment of the Reformation follows a typical Protestant, specifically Reformed, approach. Late Medieval Religion is understood to be works based and pervasively corrupt. Corrupt Popes, such as Julius II, and greedy clergy members like John Tezel, are portrayed as normative. While I don’t disagree with this general narrative (examples of corruption abound), I was disappointed that the film didn’t make any attempt to discuss examples of late medieval Catholic reformers like the fiery preacher Savonarola, the mystic Thomas a Kempis, or the humanist scholar Erasmus. Rather than complicate the story with a richer view of late medieval piety, the film simply discussed the condemned pre-reformers, John Wycliffe and Jan Hus and their impact on Luther. While a simplified narrative is easier on its audience, from a historical point of view, it’s unsatisfying.

I teach 9th grade World History. Aside from being a little slow for an audience with the attention span of a poodle, one of the significant flaws of Luther is that it assumes far too much knowledge of theology and history. While it may be a great resource for a theologically educated congregation, 9th graders, even at a Christian school, lack the previous knowledge to make this video a good use of time for a classroom. This, of course, can be addressed as long as the teacher uses the video to reinforce what they have already learned of Luther and the Reformation and not to introduce it. This approach might also help the teacher facilitate a discussion of the film’s historical interpretation that could also help to mitigate some of its shortcomings.

Overall, I recommend Luther: The Life and Legacy of the German Reformer. It is well made, which is rare for Christian films of any kind. It makes effective use of some simple computer animation as well as crisp on-location footage. Although its interpretation of the Reformation is too simplistic to satisfy the historian and too advanced for the high school student; it can be a great resource for the man or women in the pew. Hopefully, this film will only be the beginning of a deeper exploration into the Reformation.

(Editor’s note: You can rent or buy the movie at Amazon by clicking this link.)




Five More Movie Dinner Scenes We Love

We enjoyed putting together our last list so much we decided to do it again. We also loved all the interaction we received in response to our previous list, even from those that yelled at us and called us names. We are confident this second list will inspire the same sort of reaction. (Finger’s crossed!) Feel free to post your feedback, insults, and name-calling in the comment section below. Bon appetite!


The Thin Man by Benjamin Plunkett

The Thin Man dinner scene

The Thin Man was released in 1934, two years after the publication of the book on which it is based. Most of the acting in the movie is okay at best. It is saved by two things: The masterful, charismatic acting of William Powell and Myrna Loy; and excellent writing throughout. Along with the help of his trusty dog, Asta, Nick Charles (Powell) investigates the mysterious disappearance of an old inventor friend who he discovers is murdered. It culminates in a dinner with all the assembled suspects in which Charles reveals the culprit. Like most great dinner scenes, the dinner is chock full of some angst-driven dialogue between the hilariously tense guests, Nora (Loy), and engineered by the very laid back Nick who is obviously relishing the evening. While revealing the facts of the case he sometimes randomly shouts the name of this or that guest. This guest jumps out of their pants (no, not literally). At other times he makes sudden comments directly to guests such as asking one not to hold his butter knife in a threatening way or asking another if he saw anything important as he gazed into his crystal. And in the end the evil-deed doer is revealed to be no other than—ho, ho, ho, you sly devil. You’ll have to watch the movie for that juicy bit of info. At the time, the movie was so popular that it spawned five sequels.


Christmas Vacation by Gowdy Cannon

Christmas Vacation dinner

Christmas Vacation was released when I was in the 8th grade and at my small town high school the following exchange got randomly quoted year round, and not just at Christmas:

“GRACE!”
Grace? She passed away 30 years ago!!”
They want you to say grace. THE BLESSING.”

And then someone would invariable start into the Pledge of Allegiance. Considering the fact that she wrapped up her cat earlier in the movie, Aunt Bethany definitely could steal a scene, as she does at this epic family dinner.

But of course we should not fail to mention a classic Clark vs. Cousin Eddie moment. After Clark announces Santa Clause has been spotted by the news, Eddie chimes in, “You serious, Clark?” Village idiots are dime a dozen in entertainment, but very few people have played the doofus this well. The list of people that I am positive could have delivered that line so believably starts with Chris Pratt and Randy Quaid. And it’s probably not much longer than that.

Just a hilarious four minutes. Back in my teen years and on through college and young adulthood, watching this movie was a Christmas tradition. It helped kick off the festivities. So I am thrilled to include it in this sequel to our great dinner scenes article.


The Incredibles by Phill Lytle

The Incredibles dinner scene

In 2004, Pixar Studios gave us The Incredibles. Written and directed by Brad Bird, the film was an original superhero story about the Parr family – a family of super-powered individuals who have been forced, due to governmental and societal pressures, to keep their powers hidden from the world. They live normal lives. They are the classic nuclear family. Yet underneath that veneer of familiarity and averageness, everyone in the family, besides baby Jack-Jack, are gifted with powers ranging from super strength to elasticity.

Early in the film, there is a scene set at the dinner table. It is the quintessential examination of both sides of their lives. It is the picture of a family that is not connecting – something that many viewers can identify with. You see the stay-at-home wife and mother, Helen, after a long day of juggling household duties, running the kids to and from school, and caring for an infant, sitting down at the dinner table trying to engage her husband with the events of the day. You see the husband and father, Bob, home from a long day at a job he hates, distracted and irritable. You have the young boy, Dash, with too much energy to spare and no outlet for any of it. Finally, you have the teenage girl, Violet, sullen, withdrawn, and doing everything she can to stay hidden from the world. (The baby is there as well but he is perfectly oblivious to all the tension in the room.)

Throughout the dinner, each character demonstrates all aspects of who they are – the normal and the super. Helen is pulled in all directions (both literally and figuratively) as she tries to manage the household and make things work in less-than-ideal circumstances. Bob is dissatisfied and frustrated because he knows full well that his life is meant for more than sitting in a cubicle all day. His talents are being wasted and his impressive power flashes at inopportune moments throughout the meal. The kids all add their own unique issues and gifts to the conversation. The scene is funny and intelligent, insightful and recognizable. We can connect with it, even though we do not have powers, because we identify with exactly what this family is facing. Brad Bird uses one of the most familiar settings – the dinner table – to peel back layer after layer of family dynamics, cultural expectations, and the dangers of settling and compromise. This scene firmly establishes each character, their roles, the major themes of the film, and foreshadows the climactic resolution of the film by presenting its inverse in a delightfully funny sequence.


The Return of the King by Benjamin Plunkett

The Return of the King Denethor eating scene

Although there are those who claim to be able to do so, you will be very hard pressed to settle on any one element in the theatrical trilogy The Lord of the Rings as the one element that is better than anything else in it. The movies, all three of them, are caked with brilliance and layered with excellence. One of the many, many ingenious elements is Denethor’s lunch/dinner scene in Return of the King. In this scene Denethor appears to be eating a meal composed of many vegetables, with baby tomatoes making an Oscar-worthy appearance. His madness and the decadence in which his life has become steeped is characterized by his viciously chomping the cherry tomatoes like some brute beast as their red ooze dribbles carelessly down his face like blood. He eats his little feast while commanding Pippen to sing a song to him. The singing, the eating, all seamlessly juxtaposed with a scene of his son, Farimir, and his men, riding to certain death by Denethor’s mad command. To this day, I can’t eat baby tomatoes without thinking of that scene. In those instances, I do the only rational thing and pretend to be old Denethor.


Lars and the Real Girl by Phill Lytle

Lars and the Real Girl dinner scene

I’ve written about this movie for REO before – you can read that here. In hopes of not spending too much time getting bogged down in the details, I’ll keep this concise: Lars, the protagonist, is different. He lives in a converted garage behind his brother (Gus) and sister-in-law’s (Karin) house. He is withdrawn and awkward. His family worries about him. He orders a sex doll online and pretends she is a real person. (Read my review if you need more details.) The first time we, and his family, meet his new “girlfriend” Bianca, is at dinner. When Lars tells them he is bringing a girl to eat with them, they are so excited. Then, they are sitting across the table staring at a life-like, sex doll. They are dumbfounded. Lars is as happy as can be. Bianca takes it all in stride. The scene is a masterpiece of awkward humor, strained conversation, and quirky character interaction. It sets the table for the rest of the film perfectly.




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.




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 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.

 




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.