ScreenFish

where faith and film are intertwined

Steve Norton

8.04 Looking Through THE EYES OF TAMMY FAYE

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Within the world of faith-based television, few names are as famous (and infamous) as that of Jim and Tammy Fay Bakker. After developing the largest faith-based network in the world, Jim Bakker’s improprieties and scandals brought their legacy crumbling down in shame. Now, in the new biopic THE EYES OF TAMMY FAYE, Jessica Chastain takes on the role of Tammy Faye in an effort to retell the story from her perspective while also showcasing the toxic systems that bubbled under the surface. This week, we bring together author Colin McCartney (Connect Ministries), friend to the show Ben Dower and ScreenFish’r Shelley McVea to discuss Tammy Faye’s eyes, faith vs the Church and experiencing love in a shame-based world.

You can watch the episode on YouTube and stream on podomatic, Alexa (via Stitcher), Spotify, Google Play or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

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Ron’s Gone Wrong: But His Movie Goes Right

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Ron’s Gone Wrong is an unexpected joy.

Developed by 20th Century [Fox] Studios, Ron’s Gone Wrong is a weird and wonderful mixture of ET: The Extra Terrestrial, Mission: Impossible and buddy comedy that’s filled with heart and humour. While Pixar and Illumination seem to garner the animated headlines, 20th Century is also the same studio that offered the vastly underrated The Peanuts Movie and Spies in Disguise films and, with Ron, they continue to offer animated fair that’s both silly and smart. 

Ron’s Gone Wrong tells the story of Barney (Jack Dylan Grazer), a socially awkward pre-teen who struggles to connect with his peers. Living in a small house with his grandmother and dad, Barney’s family loves each other but struggles financially. Then, as every other kid in school is given a B-bot, a highly intelligent robot toy that plays infinite games and videos, Barney feels excluded. After his dad finally manages to buy Barney one of the highly-coveted toys, Barney quickly discovers that there’s something unique about his bot. Calling himself ‘Ron’ (Zach Galifianakis), the droid begins to malfunction, drawing the ire of a corrupt CEO who values his company’s stock prices over everything else.

Anchored by an endearing performance by Galifianakis, the film is sharply written, engaging and should provide some key conversations for parents and their children as they attempt to navigate the complexities of connecting in an online world. While Ron himself looks and feels like a smaller version of Big Hero Six’s Baymax, the character carves out an emotional arc entirely his own. (Seriously, if Disney isn’t working on a line of Ron merchandise, they’re missing out on a golden opportunity here…)

Though it looks like a simple comedy about a boy and his toy, the film actually works on several levels. Written by Peter Baynham and Sarah Smith, Wrong is ultimately a conversation about what it means to be a friend. As we become increasingly self-absorbed in an iPhone, iPod, iMac culture, the emphasis on ‘i’ cannot overstated. In answer to this, Ron‘s Gone Wrong focusses on the fact that friendship is a two-way street. Here, friendship is shown as not being about finding somebody who wants to do the things your way. Instead, it is about two individuals coming together and both recognizing each other as important simply for who they are. For example, although Barney has a few kids who are willing to be his friend, there is also an expectation that he will be just like them. Feeling ashamed of his home life, Barney keeps them away from his family and begs his parents to buy him a Bubblebot so that he can fit in properly. When Ron pops out of his box, Barney believes that he has finally found a friend that he can shape in his own image yet the broken bot fails to meet his expectations. Over time though, his relationship with Ron shows him how important it is to see things from another perspective. 

At the same time, everything in Ron‘s world is seen as a commodity and the Bubble corporation knows it. Bubble CEO Andrew (Ed Helms) sees every disaster as an opportunity to drive up stock prices. To him, publicity and sales are the end target and every Ron mishap requires cost analysis.  However, on the other hand, Marc (Justice Smith), the young creator of B-bots, seems to genuinely want to build connections amongst people to him, what he wants us to bring people together. He believes that he can use the robots to accomplish this by sharing mutual interests and information, thereby improving the lives and relationships of their youthful consumers. With kids’ attention (and money) on the line, Marc and Andrew consistently vie for control of the situation with the hope of driving Bubble’s vision and future. (In a complete coincidence, the film’s conversation regarding profits vs. consumers couldn’t be more timely as it comes on the heels of the now famous ‘Facebook Whistleblower’.) 

Interestingly, the film even wants to have a conversation about the right to privacy and how we have given it away for the sake of validation from others. Despite Marc’s desire to help consumers, his B-bot algorithm is far from perfect. By creating more opportunities for validation from viewers around the world, Marc’s product unintentionally distracts kids from what (and who) is around them. Suddenly, as kids put an increasing emphasis on ‘content’ and ‘likes’, they become more self-obsessed and focus their attention on viewership instead of personal connections. With each streamed video and customization, they are willing to give up all their personal information the sake of gaining more followers. (It’s worth noting as well that parents are not immune from tech addiction or self-absorption either. In a brief moment at the beginning of the film, Barney’s dad begins to lecture him on having too much screen time until he is immediately distracted by his phone himself.)

Even so, it’s also important to realize that Wrong never actually seeks to demonize technology itself. Instead, the film explores the types of problems that can develop when people aren’t critical of their online usage. The problem with Ron (or rather, the perceived problem) is that he helps his friend to see the world as opposed to simply focusing on content creation or playing games. All other robots are trying to emphasize the importance of kids focusing on the digital world as opposed to what and who are around them. However, Ron is different. Ron wants to learn about the world and his new friend. Whereas other B-bots become mirrors that reflect the interests of their owners, Ron becomes an opportunity for Barney to genuinely connect with others.

Though it may seem ironic that a film about selling tech is also chastising the sale of it, Ron’s Gone Wrongseems acutely self-aware of its intent. With a sharp satirical eye, Baynham and Smith have written a film that understands the need to live in a digital world without allowing ourselves to become trapped by it. As such, while Ron’s Gone Wrong, the film is absolutely right.

Ron’s Gone Wrong is available in theatres on Friday, October 22nd, 2021.

Dune: Massive Scale & Messianic Spirituality

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Never let it be said that Denis Villeneuve isn’t willing to take risks. After the financial disaster of critical darling Blade Runner 2049, one might have thought that the Canadian director would move on to smaller projects.

But why do that when you can tackle a complex work of science fiction with a history of failures onscreen?

Although adapted several times before, Frank Herbert’s 400-page sci-fi epic Dune has often been described as ‘unfilmable’ due to its incredible ambition and scale. However, Villeneuve has never been one to shy away from a challenge. Inching towards a three hour runtime, Dune seems like it could be almost overwhelming or impractical for audiences. (What’s more, its no secret that this is only the first half of the story as well.)

Even so, the experiment works. In taking this approach, Villeneuve has the opportunity to let the film breathe and allow its expansive storytelling and scale to unravel at its own pace. As a result, the film never feels like it’s unnecessarily cutting material for the sake of the runtime yet never really drags either. The director of such films as the vastly underrated Blade Runner 2049 and Arrival, Villeneuve has made a name for himself taking on material with multiple layers and massive landscapes and Dune certainly fits that description.

And to say that Dune operates on a massive scale is to put it mildly. 

Dune tells the story of Paul Atreides (Timothee Chalamet), a gifted young man who believes his destiny is to do great things. As the heir to the House Atreides, Paul is drawn into an interstellar conflict when his father Leto (Oscar Isaacs) attempts to negotiate the exclusive rights to mining a rare and essential natural resource on the planet Arrakis. As discussions move forward, tensions between the House Atreides are stalled when the brutal House Harkkonen attempt to take the resources for themselves. As a result, Paul finds himself caught between loyalty to his father and seeking the destiny that he believes lies before him.

Complex and expansive, there is little wonder why Herbert’s novel is held in such high esteem. The sheer audacity and scope of this piece is awestriking and really truly should only be seen in IMAX. (It’s obvious to see why Villeneuve would have balked at the proposal to release on HBO Max.) While the cinematography may not be quite as impressive as Deakins’ Oscar-winning work in Blade Runner 2049, there is no doubt that Dune is meant to make you feel insignificant against its landscapes. Deserts are expansive and dry. Planets of rain are feel as though they will be drench the audience. Every moment onscreen is constructed to emphasize that its characters are insignificant when compared to the immensity of their environments. 

Filled with creativity and detailed history, this is the sort of sci-fi epic that seeks to honour its source material by fully immersing you within its story. Similar to Game of Thrones, Dune is not a simple ‘good versus evil’ battle but instead becomes a deep political thriller with multiple sides, history and theology. As such, casual fans may need to be patient in order to find their way through at first. (Personally, I was unfamiliar with the material and it took me some time to feel like I fully grasped the relationships and tensions between worlds.) That’s not to say that the film doesn’t feature eye-popping special effects and enormous space battles. Villeneuve has some truly amazing visual action set pieces here as well. Instead, it is simply a caution that the film’s strong political emphasis can be overwhelming to the unfamiliar. 

As warring factions collide over their interest in ‘spice’, their interest truly lies in power and conquest. The primary propellant for space travel, spice also can extend human life and create super-human levels of thought. As a result, this strange material has become the most sought-after resource in the universe, initiating complicated political machinations in order to maintain control of its reserves. (It’s worth noting that Villeneuve seems to use this as a metaphor to echo the battle for oil in the Middle East.) To those involved, those who control the spice control the galaxy.

Complicating this battle is the Fremen, natives of Arrakis who live in the deep desert. To those who seek only the spice, they are viewed as helpless nomads that need the strength and might of their conquerors. However, it is clear from the outset that the Fremen require no protection. Confident, intelligent and well-organized, the Fremen have survived for centuries on their own amidst the dangers of the desert. Though viewed by the powerful as the ‘savages’ of the desert, in truth they have the greatest understanding of their world and how it operates. However, this matters little to their conquerors. Rather than take the time to learn about the Fremen, the people of Atreides and Harkkonen instead view them as obstacles that threaten their quest for power. Like so many victims of colonization before them, the Fremen are treated with disrespect by those who hold the military might and are therefore kept to the margins.

What’s most interesting about Villeneuve’s Dune though is its spiritual underpinnings. Unlike the cold cynicism of Blade Runner 2049, this is a world that has deeply theological roots that inform its culture with hope. From the authority of the Bene Gesseret to the underlying prophesy, Dune is very interested in imbuing its world with messianic themes. This becomes particularly true in the case of the culture’s view of Paul Atreides and his mother. Believed to be the ‘chosen one’, Paul’s relationship with the people of Atraxis reveals two differing worldviews. On the one hand, the two are held in reverence by those who believe. At the same time, they are kept at a distance by those who simply cannot fathom that this insignificant little man could be the one who has been prophesied about. (Echoing the Biblical narrative of Mary and Jesus, the comparisons to the New Testament journey of Christ are undeniable.) Despite their technological advancements and social systems, this is still a world waiting for something (or someone) more powerful that will give them hope and bring justice.

Bound to be divisive due to its long runtime and complex political landscapes, there will be those who feel they cannot connect with Dune. What’s more, its always a risk to make a film with the intent of future installments, especially for science fiction epics. However, Villeneuve’s Dune is one which deserves to be completed. Featuring expansive storytelling, landscapes and a cast that seems to contain almost everyone in Hollywood, Dune simply works. With deep affection for his source material and incredible skill, Villeneuve has yet again created a film which is both stunning and smart. Most importantly though, this story feels like it has something to say… but it simply needs the opportunity to finish its thought.

Dune is be available in theatres on Friday, October 22nd, 2021.

The Boss Baby: Family Business – Wild, Weird… and Kinda Works…?

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The Boss Baby: Family Business reacquaints the viewer with the life of Tim Templeton (James Marsden). Once a child dealing with his bossy baby brother, Tim is now a stay-at-home dad caring for his two daughters. With his eldest daughter approaching teenage years, Tim begins to feel like he’s losing his connection with her like he did with his baby brother Ted (Alec Baldwin). Now a big-shot CEO, Ted has the world at his feet and has had little time for his family for several years. However, when Baby Corp comes calling once again, the two brothers must reunite—and turn back the clock—to go undercover and prevent an evil genius from destroying the relationships between babies and their parents around the world.

Once again directed by Tom McGrath, The Boss Baby: Family Business is another insanely strange mindtrip that takes the unexpected path for its sequel. Instead of simply charting ‘the next chapter’ in the relationship between Tim and Ted Templeton, Family Business unnecessarily fast forwards 30 years into the future, with both men fully grown adults who have taken different paths. Why this decision was made is somewhat of a mystery, especially as it forces them to ‘rewind time’ by making the men younger. Perhaps the decision has something to do with the fact that Netflix has a fairly successful series (yes, there is a series…) but, admittedly, somehow that sort of strange writing is also a staple of the franchise. As always, Family Business provides fast-paced animation, wild storytelling and ridiculous humour that borders on the insane.

But, somehow, it kinda works…?

For those who are unaware, the Boss Baby franchise is anchored on voice and comedic talent of Alec Baldwin. While he may not be the first name you think of when you think of funny, Baldwin has done more than his share of humour, having won Emmys for his role on 30 Rock and his portrayal of Donald Trump on Saturday Night Live. As Ted Templeton, Baldwin excels in the role of CEO/’Boss Baby’ by playing his unique style of ‘business-themed comedy’ to the Nth degree here. In fact, it should be noted that Baldwin’s silly business rhetoric really is the show here. (If you’re not sure of that, note that he remains in the lead role while the voice of his onscreen brother was recast for the sequel, by substituting James Marsden for Tobey Maguire.)

Whereas the first film is a bit of a mind-trip about one brother, the second film fully embraces its own madness. Now adults, Family Business knows that it’s a film about babies so it creates a magical milk that gives full-grown adults an opportunity to be kids again. Between tyrannical toddlers to robotic exo-suits to ninja newborns, Family Business is a wild and unruly ball of crazy that will make some laugh and frustrate others. Are the events entirely in Tim’s head as he attempts to reconnect with his daughters? Or are they actually taking place in reality? Honestly, it doesn’t really matter. This is a franchise that doesn’t care if it blurs the lines between reality and imagination if it offers a few laughs on the side. 

Having said this, the world of Boss Baby actually seems to thrive on the chaos. Despite its utterly nonsensical plot devices and silliness, the sequel may actually be funnier than the original. (Or maybe I’m immune now?) By focusing more on the adventure than the ‘business ethics’, Family Business has more opportunity to lean into the bizarre more than its predecessor, which works for this franchise. In fact, the film is even entirely self-aware of its divisiveness. For example, when adult Tim Templeton is asking his daughter what she thinks of his stories of his childhood, she seems unimpressed. “But the jokes were funny, right?,” he asks. “Not really,” she replies.

Even so, there still is an unexpected genuineness to this franchise. At its heart, the film has its brothers on two different (but connected) emotional arcs. On the one hand, Tim is a man who fears losing his daughter as she begins to show signs of growing up. On the other, Ted is a man who has grown up too much, throwing money (and neglect) on his nieces rather than spending time with them. As they work together to save babies around the world, so too do the ‘men’ begin to reassess their priorities and how they understand their families. Whereas Ted begins to realize how little he has appreciated his brother and his kids, Tim begins to recognize that growing up doesn’t mean the end of everything good. 

Flooding the screen with inane colour and drug-induced dreamscapes where it can, the animation admittedly does look quite good on disc, especially in 4K. What’s more, the bonus features offer the necessary extras to keep your kids engaged. The most noteworthy additions may be the new short, Precious Templeton: A Pony Tale which is entertaining and Boss Baby Art Class which offers some tips on how to draw. While the materials aren’t enough to excite, they are in great quality and worthy additions to the disc.

Though there will be many who aren’t interested in the film, The Boss Baby: Family Business is a relatively worthy successor to the original. There’s such a silliness to the movie that, if you can enjoy, manages to draw you in with its madness.

However, if you’re looking for logic, it’s best to take your Business elsewhere.

The Boss Baby: Family Business is now available on 4K, Blu-Ray, and VOD.

8.03 Times Up in NO TIME TO DIE

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After five films, time is up on the Daniel Craig era as James Bond with NO TIME TO DIE. Directed by Cary Joji Fukunaga, this entry sees Bond called back into action when secrets from the past come back to haunt him. This week, we welcome an all-star team of Bond villains as OriginalCin’s Thom Ernest, The Mind Reels‘ Tim Rideout and In The Seats’ Dave Voigt commiserate to discuss whether Bond still matters and what we want in a hero.

You can watch the episode on YouTube and stream on podomatic, Alexa (via Stitcher), Spotify, Google Play or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

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Mass: Rage, Forgiveness and Everything In Between

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Set years after a school shooting ripped their families apart, Mass tells the story of two sets of parents who gather in a church basement to discuss what took place. Having lost their son in the devastation, Gail and Jay (Jason Isaacs and Martha Plimpton) have come to the meeting with the intent of getting answers. Meanwhile, as the parents of the assailant, Linda and Richard (Ann Dowd and Reed Birney) have come in humility to listen but also grieve themselves. As the two families unleash their burdens upon one another, they become faced with an emotional crossroads which demands that they decide the next steps for their lives.

Written and directed by Fran Kranz, Mass is an in-depth examination of what it means to deal with our suffering and what steps it takes to move forward. For his first feature, Kranz shows remarkable maturity by allowing his characters to search for something—anything—to cling to that would explain what took place yet he also acknowledges the complexity and ambiguity of cultural pain that cannot easily be explained away. By keeping the film in one location, Kranz forces the viewer to remain in the uncomfortable nature of the moment. Like these four souls trapped in this wrestling match of sorrow, so too is the viewer incapable of escaping this difficult conversation. Leaning into the obscurity of their suffering, Kranz speaks of many potential contributing factors for the shooting itself. From parental neglect, mental health or even violent video games, Mass mentions as many reasons as possible yet never focuses on any specific blame. Instead, the film recognizes that these events have no easy answers. As such, Kranz never over-simplifies the conversation, allowing this discussion of trauma and its effects to spin out in ways that feel natural and honest.

In addition, the film features four truly remarkable performances from its leads. While it could be argued that performances by Plimpton and Dowd rise to the top, this is an ensemble film in its truest sense. Each lead feels fully present throughout the film, giving it an aura of authenticity and purity. From Birney’s burden of shame to Plimpton’s passionate reluctance to acknowledge the humanity of those in front of her to Isaac’s search for answers and Dowd’s quiet inner pain, every character is shown as a complex person struggling to survive their own suffering, There is no stereotypical ‘villain’ to hate, nor any particular hero to love. Instead, this is a space of brokenness and trust between four artists who understand how to bring the pain of their character to life in ways that never lean into caricatures or stereotypes.

Perhaps what’s most impressive about Kranz’s script is its interest in humanizing its characters by balancing its voice and perspective. As parents left in the shadows of grief for the loss of their son, Gail and Jay are given every opportunity to vent their rage, pain and questions as they deem necessary. In every way, Mass validates the suffering of the victims who were affected by this unbelievable tragedy. However, whereas other films of this nature might be tempted to exact their pound of flesh on the parents of the shooter, Kranz also manages to portray them as victims themselves. Although Gail and Jay’s son may have been one of the many who were killed, so too have Linda and Richard experienced losses. Whether it’s the loss of a son they thought they knew or simply the fallout from a community looking to blame them for his actions, Linda and Richard are experiencing as many questions and anger as those who sit across the table from them. Through stories and tears, Linda and Richard paint a beautiful picture of their son as valuable that never absolves him of responsibility for his actions. 

Though both families were affected differently, both matter.

What’s more, the film also examines what it means to move forward from these substantial losses. Left with only emotional rubble behind them, these families must navigate the next steps that are required to allow for healing. What does it mean to let go of one’s rage and suffering? Forgiveness here feels like an ‘f-word’ in and of itself. Does it still honour the victim? Does it release the guilty of blame? In many ways, forgiveness feels like the only possible step yet it is almost impossible to utter out loud. Mass recognizes that there is a cost to grace that releases the guilty but also frees the broken hearted and leaves space for hope to begin.

Powerful and unrelenting, Mass is definitely one of the best films of the year. Featuring some truly remarkable performances and a sparkling screenplay, Kranz leans into the darkness and pain of the moment without ever losing hope that something new can begin. As a result, despite its difficult subject matter and challenging conversations, this is definitely one Mass worth attending.

To hear our interview with director Fran Kranz and star Ann Dowd, click here (YouTube) or here (audio).

MASS opened in limited release in the US on October 8th, 2021 and will be available in theatres on Friday, October 15th, 2021.

I’m Your Man: Digital Dating and Loving Lavishly

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You can’t buy love. But can you build it?

Set in the present day, I’m Your Man tells the story of Alma (Maren Eggert), a scientist who is offered a job evaluating a new line of humanoid companions. After her boss manages to convince her with some mild bribery, Alma agrees to bring the cybernetic Tom (Dan Stevens) into her home for a period of three weeks in order to ascertain their value as romantic mates and potentially the rights they deserve sociologically. Although she’s skeptical (and even resistant), Tom never wavers from his desire to make her happy, forcing Alma to re-examine what she believes to be the nature of love.

Co-written and directed by Maria Schrader, I’m Your Man is a fun and philosophical film that asks some big questions in surprising ways. While the film could potentially unravel due to its high concepts, the film manages to sell its premise and draw the audience in with genuine affection. Admittedly, much of the film’s effectiveness is largely due to the utter charisma of Stevens, who sells Tom with such adorable charisma that you never really question the fact that this woman in this robot seem to be falling in love. (In fact, in the film’s greatest achievement, you’re even rooting for them as a couple.)

At the same time, this is very much a film that wants to explore what love actually means. While the film acknowledges the social implications and dangers of becoming too obsessed with items which aren’t authentic, there is a charm that plays out in this relationship as well. Can a person love a thing as much as it does another human? In truth, this could be argued that this is already the case. If the act of love involves in our investment of time, than where we put our focus should be indicative of what we care most about. For example, rather than invest in our in-person relationships, we frequently spend our days connecting more deeply with our cell phones then we do with those around us. While it seems counter-intuitive, the nature of love has never necessitated that our hearts focus on another living person. (After all, didn’t one say that the ‘love of money is a root of all kinds of evil’?) If love is based on an emotional attachment (even an unhealthy one), I’m Your Man wants to investigate the boundaries of that argument.

What’s most interesting about Alma is that her relationship with Tom truly is beneficial to her soul. When she’s with him, she feels safer and she is more in touch with her own feelings. Because of his programming, Tom will always be affectionate, caring and instill emotional value into Alma. Starved for healthy friendships that encourage and empower, her time with Tom fills her with a security and joy that she is unable to find with others. In short, Tom makes Alma happy (“Isn’t being happy a good thing?” Tom asks repeatedly) As a result, the film makes a compelling argument for this type of connection, one without flaws or missteps.

However, as she grows closer to her robotic companion, Alma recognizes that loving an object has become a primarily selfish act. She’s not wrong in this conclusion. The type of love that has been programmed into Tom is one that allows its owner to focus entirely on being told how wonderful they are. Rather than challenge them towards personal growth, this romance becomes entirely self-validating and one-sided. The healthiest relationships ask both parties to offer grace to their spouse while, at the same time, accepting grace from them. There is an unconditional give and take to love that acknowledges imperfections in both partners and says that they are acceptable to them anyways. 

Last time I checked, my iPhone can’t do that. (Though maybe there’s an app for that.)

Surprisingly witty and compelling, I’m Your Man is a strange blend of sci-fi and romance that absolutely makes you fall in love with its charms. Thanks to a delightful performance by Stevens and some compelling conversations about the true nature of love, the film surprisingly manages to sweep you off your feet while also forcing you to re-examine your priorities.

Now, back to checking my notifications.

I’m Your Man premiered at TIFF ’21 on Monday, September 13th, 2021

GIVEAWAY! BOSS BABY: FAMILY BUSINESS on Blu-Ray!

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This (Canadian) Thanksgiving weekend, you can bring the [Boss] Baby home!

Thanks to our friends at TARO PR, we are giving away a Blu-Ray copy of The Boss Baby: Family Business!

With the adventures of their youth (mostly) forgotten or the stuff of legends, Tim Templeton and his Boss Baby brother Ted are now adults and living their own separate lives. Whereas Tim has settled down with his wife and two daughters, Ted is now a big-shot CEO and living his corporate dream. However, when Baby Corps comes calling, the two men are called back into action. After drinking a magical formula that reverts them into babies for 48 hours, the two brothers must join forces with Tim’s secret-agent daughter in order to prevent an evil genius from destroying the fabric of families everywhere.

In order to enter, simply like/share this post on Facebook and/or Twitter and tell us the actor who plays Ted Templeton, the Boss Baby himself!

Winners will receive a Blu-ray copy of Boss Baby: Family Business.

All entries must be received by 11:59pm on Wednesday October 13th, 2021.

Boss Baby: Family Business was be released on Blu-Ray, 4K and DVD on September 14th, 2021.

8.02 Family History in SHANG CHI AND THE LEGEND OF THE TEN RINGS

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In SHANG CHI AND THE LEGEND OF THE TEN RINGS, Sean (Simu Liu) is enjoying his life of simplicity in San Francisco. However, when a group of hired assassins attempt to attack him and his friend Katy (Awkwafina), Sean must re-enter a world that he has left behind in an attempt to stop an old foe from destroying the world. This week, Jason Thai and Daniel Collins drop by to talk about celebrating culture, breaking free from our parents’ legacy, and owning who we are.

You can watch the episode on YouTube and stream on podomatic, Alexa (via Stitcher), Spotify, Google Play or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

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Adventures of a Mathematician: Adding Up the Losses

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Set against the backdrop of World War II, Adventures of a Mathematician tells the true story of Stanislav Ulam (Philippe Tlokinski), a Polish immigrant and mathematicians who emigrated to the United States during the 1930s. Hired by the military, Ulam’s incredible intellect made him an essential member of the team tasked with developing both the atomic and hydrogen bombs, as well as the first computer.

While Adventures of a Mathematician feels like somewhat standard fair for a biopic, some particularly enjoyable work by lead Tlokinski keeps the film from dragging. Written and directed by Thor Klein, the film becomes an engaging and surprisingly emotional film that underscores the importance of human life, especially at a time of war. By following the work of Ulam during the 1930s and 40s, Klein brings a unique spin on the events surrounding the discovery of the atomic bomb. Instead of focusing on the wartime efforts on the field of battle, he instead spends his time with those who never carried a gun themselves. Choosing to focus on Ulam’s emotional journey and family relationships, he is able to tell a story that feels so much more human, without getting bogged down by set pieces or special effects. (After all, who would’ve expected a film about the atomic bomb to feature no explosive footage?) 

The most surprising aspect of Mathematician is its conscience. Despite the fact that Ulam and his team worked tirelessly to create weapons which changed the landscape of the world, the film goes to great lengths to also show these men grapple with the ramifications of their actions. One example of this comes when the team of scientists responsible for developing the atomic bomb gather after the desolation of Nagasaki. Despite the fact that they have supposedly accomplished their goal, Ulam and his teammates are quietly despondent, broken by the devastating losses that they are responsible for creating. Whereas past films of this nature have celebrated the ingenuity of its developers or honouring American pride for defeating their enemies, Mathematician sits in the sadness of the moment. Recognizing that their goal was never to cause suffering, this group of men are left mourning the deaths of the innocent. Having believed that the US would only use the nuclear bomb as a deterrent, they are shattered by the heavy losses. (“Aren’t we supposed to be having a party or something?” one scientist laments.) For them, the loss of human life far outweighs the importance of their discovery.

In this way, Mathematician highlights the moral responsibility of knowledge. Rooted at the heart of the film is Ulam’s struggle to reconcile what he knows he can do with whether or not he should do it. To him, science is the opportunity to do the impossible yet those around him consistently misappropriate his knowledge to do evil. As a result, Ulam wrestles with the implications of applying his knowledge in ways that could be misused. While Mathematician never suggests that scientific advancement is problematic, Ulam’s journey points to the fact that there is always a moral question that hovers over their discoveries. Although Ulam believes that the scientific works that matter most are those that better the lives of others and keep people safe, there are those who are willing to abuse them for the sake of power.

Backed by a likable performance from its star, Adventures of a Mathematician is an entertaining look at history from an alternative perspective. As he leans into the moral implications of the discovery, Klein offers a different look at the lives of those that have created weapons of mass destruction and the burden that it placed on their souls. Most importantly though, the film is willing to ask whether or not having all the mathematical equations outweighs having to add up the losses that result.

Adventures of a Mathematician was available on VOD on Friday, October 1st, 2021.