ScreenFish

where faith and film are intertwined

You are here: Home / Film

Film

Avengers, Age Of Ultron: Wrestling With Divinity

by Leave a Comment

avengers mineAvengers: Age of Ultron pulled off the nearly impossible feat: the sequel was better than the original. Boasting eye-popping stunts and fast-flying quips just like the original, this one added a series of story lines that proved much more thought-provoking than the “See alien, hit alien” motif of the first installment in 2012. James Spader’s alien Ultron is the engaging villain every superhero needs, but the fleshing out of the different members of the Avengers team also added fodder to the spiritual conversation. And above it all flies an integrated conversation about what it means to be morally absolute, even divine.

The Scarlet Witch’s “reach” into Tony Stark’s mind unearths a series of feelings and emotions revolving around Stark’s survivor guilt at a potential future. It sets in motion everything that will take place after it, hinging on Stark’s own assumption that he is smart enough, rich enough, and resourceful enough (with Jarvis as his co-pilot) to prepare for any, inevitable moment. He’s aimed at keeping the world safe, but he doesn’t really know what that means. Stark just knows he doesn’t want to “hear the man was not meant to meddle medley,” even as he attempts to play god and create a synchronistic artificial intelligence.

But the thing about artificial intelligence is that it never comes with a moral guideline without fault. That’s the truth about moral guidelines: they’re subjective and flexible even when we don’t expect them to be. And when it comes to the Avengers, it’s a loosely assembled group of people, forced into being a team without having had a chance to explore their individual and corporate truths. From Captain America to Bruce Banner to Black Widow to Hawkeye, they all have their own moral guidelines, and they’re all different. Throw in Stark, and it’s an explosive mix.

avengers mine2And Ultron is the straw that stirs that drink. Ultron is the classic Pinnochio figure: he wants to be a real boy, and even sings “there are no strings on me.” But he doesn’t just long to be Geppetto, or to be a man: Ultron wants to be a god. Ultron wants to rule all and control all. That issue, of godhead, is explored by Whedon through the words of Clint Barton’s wife, through Thor’s condemnation of Stark’s decision to mess with artificial intelligence. They are more than mere mortals but they are not infinitely moral gods. They are broken and battered, and Scarlet Witch’s meddling reveals the shame and fear in all of them, that thing that causes them to wonder whether they’re really monsters or not.

All of this culminates in the battle royale… in a church. Ultron points it out that church was placed in the center of the city so that everyone could be equally close to God. Ultron calls that the “geometry of belief.” But there’s a difference between proximity and belief, there’s a difference between structure/religion and faith. Ultron thinks that can be established through fear because he sees it as the primary motivator for decisions and faith; he’s seen the way that the villagers in Sokovia received the Avengers and the way that the Maximoff twins hate and fear them because of Stark Industries. He’s a fear monger, not a peacemaker; he will make peace but he will not work for peace.

All of this exhibits quite nicely in Whedon’s story and his use of the Ultron character. He’s constantly spouting off things that sound vaguely (and more specifically) religious. “There is no man in charge” could refer to his inhumanity or God himself; he says about vibranium, “On this rock I will build my church,” a knock off Matthew 16:18. Ultron is another ultimate tempter/devil character, beyond Loki and yet ahead of Thanos, who is moving in the background. Ultron is the bottled up darkness of Stark, who says he doesn’t trust Cap because he doesn’t have a dark side, while at the same time calling Cap “God’s righteous man.” The darkness of Stark’s heart has been passed in raw form into this A.I., without any sense of compassion or moral ambiguity.

That leads Ultron to his Noah allusion, his presentation of God as an ‘actor’ in the narrative who gets fed up periodically and ‘throws a rock’ at Earth, to generate change. He says he intended to provide the world with an opportunity to look ‘up to the sky and see grace and mercy.” But his own moral fortitude (in his own mind) leads him to believe the only way to cleanse the Earth is to wipe all of the humans off of it. He’ll even allude to his ‘final solution’ as his “swift and powerful sword” (Isaiah 27:1, Hebrews 4:12, and… “The Battle Hymn of the Republic”).

visionIn same ways, Whedon’s script still leads us to a confusing end. Because Stark could not save the world from himself or from Ultron, but his other, collaborative AI creation, Vision, does. Vision who says, “I am not Jarvis, I am not Ultron, I am,” a correlation to Exodus 3:14, where God tells Moses “I am who I am.” Vision is – and that defies explanation, but he is still ultimately made. And yet, he is the best of Stark, with the ability to choose morally: he doesn’t want to kill Ultron, because he knows that this other A.I. is in pain. Still, Vision recognizes that Ultron must be stopped, while acknowledging grace in the beautiful, broken humanity of Earth.

The thesis on all of this seems wrapped up in Captain America’s line that the final battle is “not just about beating [Ultron] but about whether he’s right or not [about the Avengers being monsters].” We may never get a true theological statement definitively from Whedon (how can we in a blockbuster film chock full of so many ideologies?) But when Scarlet Witch hears the redemptive words spoken by the “non-god” on the team, Hawkeye, and chooses to blaze out of her hiding place, she claims the salvation he offers – which sounds a lot like the words of Jesus calling his disciples:

“It doesn’t matter what you did or who you were. You step out that door and you’re an Avenger.”

In the end (except for Thor), no one is divine, but a few of them prove to be more than monsters, even saviors of men.

Five Reasons We Should Integrate Faith & Entertainment

by 5 Comments

Integration of fiber optics
The Civil Rights Movement was the harbinger of notable changes to the landscape of America. In addition to the leadership of Dr. Martin Luther King, Jr., the March on Selma, and the numerous photos depicting a dual-class society, the struggle for integration in schools was brought to the national forefront. One famous video featured an African-American student walking into a high school while being assailed on every side by jeers and sneers of both kids and adults of a different skin color. We haven’t quite gotten to the place in society where these things are ancient history (the recent incident at the University of Oklahoma is one example), but we’ve come a long way in fifty years.

There’s another area of our society that needs to be better integrated—one that we at ScreenFish are well-equipped to deal with.  When it comes to media such as television, books, movies, music, and comics, the faith element is in play in a limited capacity.  Often, it’s only made relevant to a limited crowd or simply not discussed at all. There has to be a middle ground where faith is integrated into the fabric of media in relevant, life-altering ways.

The question is this: Why should faith and entertainment be integrated at all? Can’t they just remain separate?  There are a number of reasons why the integration of faith and media will go a long way to bridging the gap between those who are Christians and those who want nothing to do with anything Jesus-related.  Let’s look at five of them:

A person popping a bubble with a needle

  • Integration eliminates a disconnect between those of faith and those not of faith already.

The phrase ‘Christian bubble’ is often employed to refer to the community of faith as a collective whole. It’s like a version of heaven on earth, so to speak, where the popular culture of the time is parodied (and in some cases out-and-out copied) via trinkets, t-shirts, and tracts. Within the bubble, books and other media speak directly to a built-in audience with little to no intention on reaching anyone other than Christians. After all, are we one hundred percent certain that Jesus always wore a flowing white robe, had shoulder-length brown hair, and used an electric grooming kit to keep His beard looking perfect?  When you’re completely in a bubble, you tend to think only in terms of what you see and hear that is acceptable within that bubble. The outside world becomes something akin to Elsewhere in Lois Lowry’s The Giver.

With integration, however, the bubble becomes thinner and thinner and allows for a whole myriad of possibilities, including making quality shows, books, and films that people of all walks can appreciate, enjoy, and not be scared of due to the messages contained therein. Besides, it provides people of faith no excuse in hiding from a world they’re biblically mandated to be in (see Matthew 28:18-20).  To that end . . .

  • Integration increases the quality of faith-based films that are often predicated on the reach of a faith-based audience.

Let’s just get this out in the open: from either a story-telling or artistic viewpoint, most Christian-made productions are sorely lacking in one or both. You know what I’m talking about—even though you might not care to admit it—they’re full of cookie-cutter stories, trite characters, and stilted dialogue that would never be used in an actual conversation, plots with serious issues in continuity, poor pacing, and points that are driven home with a sledgehammer when a feather is more useful.

And why is this? For the most part, it’s what Christians have asked for. Sadly, those of faith will be quick to find a reason to complain about a film—but are just as quick to forgive glaring artistic issues if the message is true. This should never be the case.  All this does is tell faith-based media producers that their already flawed works are just fine and that they should make new items in the same fashion in order to maximize their reach to an audience that is already limited because of their faith in Jesus. In other words, if Christians are fine with inferior forms of media and register that with their hard-earned dollars, that’s all they’re going to get in the future.

This limits the potential audience to those of faith, completely ignoring a wider swath of the public who could be made to see the film with the right promotional strategy. And you know good and well it works in the opposite fashion (raise your hand if you saw Avengers: Age of Ultron and are a Christian). The point is that art and the message should always go hand-in hand. Good stuff begets more good stuff down the road.

  • Integration extinguishes the inability of faith-based producers to be creative.

The poet Emily Dickinson once penned the line “Tell all the truth but tell it slant.” Oftentimes, writers, producers, and actors feel so stifled by the words of Scripture that they completely lose any creativity to tell a story in a way that both captivates and entices people to want more. As Jesus noted, salt is good, but when it’s not used for the right things, it becomes useless (see Matthew 5:13). Of course, I’m not saying to go so far off the beaten path that the finished product becomes sacrilegious, but maintaining the kerygma (kernel) of truth is something that can—and should—be held to. The great thing is that it can be done creatively without sacrificing one’s beliefs at the altar of pop culture. Yes, really.

  • Integration destroys the protection mentality of a bubble from improper influence from the world, forcing people to react to the lessons and not let them wash over them.

The real world happens. People live, make decisions, watch a little Netflix (or binge; take your pick), and, eventually, die. Life is also gritty at times, as you can tell when you check out the news or log into your Facebook account. For faith-based media producers to shield Christians who live in the world from struggles found in the world is unfortunate. By depicting real life (not a caricature of it), people of faith have to seriously look at their lives and experiences.  This forces them to deal with tough issues such as loneliness, suffering, acceptance, love, grace, and mercy in ways that aren’t rote and memorized.  It also provides the opportunity for learning experiences that carry far outside the book, living room, or theater.

You see, each of us have a unique ‘grid’ comprised of our beliefs and life events that everything is filtered through. Thus, a film (faith-based or otherwise) that doesn’t provide easy answers to the struggles in real life has the ability to challenge people on completely different levels. The rubber has to meet the road. As a result . . .

Friends enjoying a film

  • Integration provides for a richer viewing experience and allows for dialogue with others.

It’s one thing to watch Daredevil and be challenged by Matt Murdock’s faith struggles about what he should do while fighting crime at night, but it’s something completely different to stand around the water cooler at work and talk about parts of the show that meant something to you.

This is where the fun really begins. And if you think about it, we unconsciously do this all the time. To dialogue is simply to go a step further and talk about themes, issues, and situations in a production using the grid of our lives as guidance. It can be challenging. It can be enthralling. It can be entertaining. It can be all of these at once.

Dialogue allows for the grittiness of life, the uncertainty of how to handle situations, and our creative minds to join together and take a film to a completely different realm than simply two hours of mind-numbing ‘entertainment.’ Answers cannot always be reduced to pithy sayings or a single verse of the Bible. And in the end, we get the chance to apply our discoveries to our lives, adding a new component to our grid that we can use for future shows we watch, books we read, or other entertainment.

This, in essence, is what we at ScreenFish hope to accomplish with your help. We can share our thoughts gleaned from our previous dialogue with others, but the dialogue doesn’t stop when an article is posted. This is where you come in. Your comments, questions, and ideas can help to shape and challenge others just as iron sharpens iron. We’re also hoping to learn from you. Who knows, you might find something useful to take and use in your own life! That, for us, is the part that keeps us looking at entertainment, keeps us thinking, keeps us questioning, keeps us talking, keeps us learning.

So let the integration of faith and entertainment be received in your life with open arms and hearts.  We’re looking forward to taking the journey with you!

Selma: We Must Overcome But We Can’t Save Ourselves

by Leave a Comment

selmaSelma should’ve won at least two Academy Awards, for Best Picture and Best Actor. David Oyelowo was that spectacular as the Reverend Martin Luther King, Jr. More than that, Ava DuVernay’s film arrives at a time where racial tension and worldwide conflict could not be more in the news. With a world where Ferguson (and Baltimore) rages and Christians are being killed worldwide, Selma whispers into the silence: we must make a stand.

DuVernay frames that movement for us in the opening vignette where King receives the Noble Peace Prize, while two acts of violence take place. The first is physical violence, where four black schoolgirls are blown up in the bombing of 16th Street Baptist Church in Birmingham; the second is political and verbal violence, where Annie Lee Cooper (Oprah Winfrey) is denied registration to vote. We will arrive on the steps of the Alabama Capitol with King by the end of the movie, but DuVernay reminds us that this effort is one bathed in blood, and without end (yet).

selma 2Watching Selma for a second time, I found myself mourning the loss of humanity at times and thanking God for the grace by which others rose to find it. When Jimmy Lee Jackson (Keith Stanfield) is gunned down in the diner, I found myself flashing to the ways that the country watches the phone video of beatings and shootings. “Why is this still happening?” When the politics of the situation drag down the efficacy of progress, I see why; when the hordes of people stand by and simply watch the violence occur, I understand the mountain left to climb. When the participants themselves fail to work together in one accord, I recognize our human nature.

But Selma is not just an episode of PBS’ Eyes on the Prize miniseries. No, this is a sermon aimed at America, and specifically, the church, to consider whether the words of the anthem, “Glory,” will be sung one day: “One day, when the glory comes/ It will be ours, it will be ours/ Oh, one day, when the war is one/ We will be sure, we will be here sure.” That day is not here yet, but we take comfort in the words of Scripture that remind us that God’s kingdom is a “here and not yet” juxtaposition. We need reminded, even as King was.

Selma 3In a cell, arrested in Selma early in the film, King bemoans the impact of the movement’s non-violence, questioning whether they will ever be justified in their sacrifice and struggle. Ralph Abernathy (Colman Domingo) quotes Matthew 24:26-7 back to him: “Look at the birds of the air; they do not sow or reap or store away in barns, and yet your heavenly Father feeds them. Are you not much more valuable than they? Can any one of you by worrying add a single hour to your life?” King is reminded that God’s plan is not ours, and God’s timing is not ours, but we are called to be obedient. King led, yes, but he was not alone.

In a world that sometimes feels painted in violent hues and drowning in apathy, the beating death of a Universal Unitarian pastor from Boston, James Reeb (Jeremy Strong), made the film real to me. As a New Englander growing up, I had never seen the level of racism I’ve seen in the south, and the idea of the civil rights movement seemed to be a concluded, justified thing. To recognize in the last twenty years that our country has not ratified equal rights for all by its actions, the example of a white Northern minister sacrificing his life for the cause was powerful indeed. To acknowledge that this battle is not over, that all people are not in fact “free,” we must wrap our hearts around films like Selma. We must break the cycle of violence. We must stand with our brothers and sisters who are held back and oppressed. We must stand with our heads bowed to heaven and our hands to the labor of loving the unloved. We must overcome.

“Injustice anywhere is a threat to justice everywhere.”

The Avengers: Marvel’s Cinematic Formula

by 2 Comments

avengers2At this point, there is no reason to recap a film that most have already seen at least several times. So with the sequel upon us, let us look back as to why the film was so great. I feel in order for a summer blockbuster to really take off and break records like The Avengers did, it has to have certain elements that make fans want to go to the theatre more than just once. So what was Marvel’s secret?

The Marvel Cinematic Universe Formula

Before the first Iron Man film, comic book movies stayed in their respective places. They didn’t venture off with other franchises. With Spider-Man, X-Men, Fantastic Four and some others in the hands of other studios, Marvel had little to play with. The decision to form their own studio was bold and brave. They didn’t have that big draw superhero that the common public was very familiar with.

The second bold decision was to not just pick a hero and make a movie, but to make a universe in the film industry that models comics. They had a vision to create a cinematic world where Iron Man interacts with Captain America and Thor. When the first Iron Man film came on, and they put in the after-credit scene with Nick Fury and the Avengers Initiative, fans went crazy with anticipation. And the Marvel Cinematic Universe was born.

Each film after that just led to the next film, with teasers that left you wanting more and craving to see all these heroes on screen together. The Marvel films were good, but they weren’t box office behemoths. Still, they managed to create a giant franchise that branches off to individual franchises who all can stand alone by themselves, yet together create a giant world that we love.

lokiA Compelling Villain

A few years ago, Tom Hiddleston arrived at Comic-Con in San Diego fully clothed in his Loki outfit. The amount of cheers and ovation for him and his character were amazing. Somehow, Marvel and Hiddleston have managed to create a villain that many can say has become a modern Darth Vader. It’s a villain that we know is bad, yet we root for because he’s so compelling. And although Loki is bad, there is a sense of compassion for him and his history. In Thor we saw how mischievous he is, fully resembling the “god of mischief” label. Yet, he’s a perfect representation of how the devil works.

In a way it makes him the perfect villain because he’s not this evil ugly monster but instead he’s an attractive and desirable bad guy. Our nature is drawn to it because we don’t see it so much of a threat until it is too late. The reality is that a villain drew us back into Avengers was perfectly done. And to top it off, we know he wasn’t the main villain in the Marvel universe connecting this point to the one above.

A Strong Reason To Bring Them All Together

Now Loki is a great villain, but not one that requires the Avengers to be formed. That’s why Marvel showed its future goal to bring us to an outer world and expand their universe. With the introduction of the cosmic cube (tessaract) in Captain America: The First Avenger and the beautifully done Asgard in Thor, the Marvel universe is set to expand beyond that.

So what does all this mean?

When we look at this in the “lens of faith,” there is much to take out. But in all of Marvel’s tangled webs, there is one great, evil, hidden and scheming. And although Loki operates like the devil, he’s merely an agent of the devil.

There is a much greater and more powerful enemy that stays hidden, waiting like a roaring lion to attack. A new world is presented here where someone like Tony Stark finds everything he thought flipped upside down. I imagine the wormhole opening to show a world where something like spiritual warfare actually does exist. It’s like a wave of Chitauri (demons) out to destroy and conquer mankind, while standing between them and the world are The Avengers (Angels).

When we look at it through “faith” lens, we can definitely see the comparison and use it as an opportunity to brush up on our faith. We need to remember that the enemy is like a roaring lion roaming and looking for whom to devour and that we ought to guard ourselves with the full armor of God.

With the release of Avengers: Age of Ultron, these same elements will be seen played out differently. Once again, Marvel will have a record-breaking summer, and I can’t complain about that.

As far as I’m concerned, anything coming out of Marvel Studios is a great catch.

Discipling Iron Man

by Leave a Comment

Seven years ago (has it been that long?), I remember sitting in the theatre to see a movie about a ‘B’ level superhero in the Marvel canon. Or so I thought.

His name was Iron Man.

Iron-Man-3-Header1

As I sat there riveted by Tony Stark’s journey, I can honestly say that I knew then that Marvel had something special. Now, after the birth of the Marvel Cinematic Universe and six different films, Tony Stark—and, more specifically, Downey–has become an iconic figure in our culture.

But why?

Other than the fact that Downey infuses a relentless charm into just about every character he plays, there is something undeniably appealing—even relatable—about Marvel’s broken billionaire. Despite his vast wealth and intelligence (not to mention his electromagnetic heart), Tony Stark’s new beginning feels almost familiar—even spiritual—in some respects.

A few years ago, I heard James Harleman speak on Stark’s journey, comparing it to that of a modern-day disciple. Harleman argued that Stark’s self-centered lifestyle is shattered by his own sinfulness (weaponry). However, after a mysterious stranger gives him new life by literally exchanging his old heart for a new one, Stark is reborn. (Yinson even sacrifices himself to help Stark escape his captors.) This ‘new life’ gives Tony a new purpose and starts him on a path that puts the well-being of others before his own.

And that’s where he stopped.

But, as we know, the journey of Tony Stark continued.

In Iron Man 2, we see similar patterns as Tony battles the demons of his past in the form of a vengeful Whiplash and his own ‘broken heart’. (Admittedly, the ‘illness’ aspect of the narrative was merely a pale reflection of the Demon in a Bottle storyline. Had they had the courage to really delve into Tony’s battle with alcohol, we would have seen a much better example of someone grappling with their own sinfulness while desiring to break free. And that scene of him sitting in the doughnut shop would have made much more sense…) What’s more, the ‘new’ Tony also struggles with his own place in a larger ‘superhero’ world. While called to be a part of the Avengers, he struggles with the idea of being part of a larger community. This portrait of a ‘new disciple’ reveals a person who, although they have a new life, have yet to fully come to grips with their past while also struggling to connect with their new—and broken—community.

iron-man-donut

Iron Man 3 furthers Stark growth by forcing him to deal with the burden of his responsibility. With the development of his PTSD, Tony’s spiritual journey becomes overwhelmed by the sheer size of his place in the universe. Whereas he once felt that he was somehow greater than those around him, he can no longer handle the weight of his role. In many ways, his tech becomes his cross to bear as he struggles to find himself. As a Christian, this echoes the burden that can come as our spiritual responsibilities increase as well. In the end, as Tony develops the tech to heal himself, he also manages to accept his role and fully become the new man he has been called to be.

As a Christian, I believe that it’s this journey that makes a character like Tony Stark so compelling, especially spiritually. While he may consider himself to be a ‘self-made man’, he’s also broken, relying heavily upon his new heart. Similar to the apostle Paul’s experience on the road to Damascus, Stark’s life is suddenly changed with a new purpose. His transformation speaks to the reality that there is hope for everyone who seeks it.

Like Tony, we too can have a new beginning.