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[Movie] Moments that Mattered: 2021 Edition

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Sometimes, the year’s best moments don’t always happen in the best films. 

Even though we associate the best moments with awards-calibre films, that’s simply not always the case. The most memorable moments that hit us differently can happen at any time, whether we’re sitting in a blockbuster film with a giant bucket of popcorn or streaming an indie drama online. Whether or not awards are involved is almost irrelevant. The stories we hear all speak to us, if we’re willing to listen. 

With that being said, it’s time to examine the year that was through the moments that mattered (to me, at least). Interestingly, this year’s picks have some strange connections, including a surprising amount of cars and dinner scenes throughout my picks but there’s also a whole lotta grace. While many of these picks may not have made my Top 10 of the year, these were the moments that struck a chord with me for any number of reasons. So, let’s get to it.

As always, this article is rated ‘S’ for Spoilers…

Honorable Mention (without context) goes to:

  • The Final Concert – CODA; The Magic Trick – Beyond the Infinite Two Minutes; Conversation on a Chimney Stack – Poupelle of Chimney Town; Debating at the Dinner Table – The Eyes of Tammy Faye;

10.) Caaaaaaaars in Spaaaaaaaaaace – F9: The Fast Saga

Alright, a number of you are already ready to stop reading but hear me out. Over the years, the Fast and the Furious films have become their own unique franchise that celebrates insanity. From heists with cars dragging massive safes through city streets to world-saving spy escapades, the franchise that began about illegal street racing has become marked by over-the-top, adrenaline-fueled adventures in madness. Although the films themselves rarely makes any sense any more (if they ever did), they also continue to make money by the trunkload.

But F9 was the movie that connected in a different way.

For years, fans have been joking about the crazy logic-leaping effects that have been building in the series. Clamouring for more and more ridiculousness, the ongoing joke became that these would-be superheroes would make the jump to space. It was utterly preposterous.

And then they did it.

In F9, Diesel and Co. showed that they were in on the joke and wanted their fans to have their moment. By allowing their Ludacris and Tyrese to drive their car into space to destroy a satellite (!!!), the film demonstrated a relationship with their fans that few other franchises are willing to establish. In doing so, this non-sensical leap into the upper atmosphere validated their dedicated fans and included them in the process. Coming at a time where we’ve all been divided into our homes, this brought people together. (In fact, F9 was the highest grossing film during the pandemic until recently…) This brought fans into the process in a way that makes it noteworthy. (Now if the rumours of a team up with Jurassic World are true…)

9.) Blockade Drive – Beans

Back into an automobile but for an entirely different reason. In Tracey Deer’s Beans, Montreal’s Oka Crisis in the early 90s is put on display but tells the story from the eyes of the children and families that were affected. Conversations surrounding racial attacks on Indigenous populations are central to the film’s intensity but none of them are more terrifying than one simple drive.

As Lily attempts to gently drive through a blockade, their car is nearly frozen by angry protestors. With children in the car, Lily continues her efforts to get them to safety. However, as they move through the crowds, their vehicle is subjected to some of the most harrowing abuse that you will see onscreen. When their vehicle eventually reaches police, they find no safe harbour there either.

It’s a genuinely terrifying moment.

While simply being ‘terrifying’ isn’t enough to get on this list, there’s an honesty to this film which demands attention. Coming on the heels of the ‘Every Child Matters’ movement, Beans is a powerful film that serves as a reminder that history is almost always told from a perspective of power and inevitably means that others are suffering as a result. 

8.) Staring at the Mountains – The Power of the Dog

In Power of the Dog, Cumberbatch is garnering awards consideration for playing against ‘type’. As the gruff cowboy Phil Burbank, the ‘once and future Dr. Strange’ shows his incredible talents as an actor as he infuses his character with a mix of cruelty and timidity. Whether he’s bullying young Peter (Kody Smit-McPhee) or attempting to hide his inner yearnings, Cumberbatch is a sight to behold in the role. However, one of his best moments is also his most subtle.


Standing in the prairies and staring at the mountains in the distance, Burbank seems lost in thought. His friends push him to know more but they cannot penetrate his gaze. When he’s finally asked if there’s something specific that he’s staring at, Burbank simply remarks, “Not if you can’t see it, there ain’t”. To him, there’s a mystery in the mountains that few can comprehend. However, this also speaks to the turmoil that swirls within him as well. Knowing that he can never truly be himself, there’s a piece of him in those mountains that he wishes someone else could ‘see’. In a brief moment of humility, this brutish beast of a man expresses an inner struggle that he believes will never truly be fixed. Like the enigma of the rolling hills, Phil Burbank is one who believes he will never fully be understood and his character remains broken by loneliness.

7.) Walt Whitman – Nine Days

Directed by Edson Oda, Nine Days tells the story of souls who are looking for employment. In a premise not entirely dissimilar to Pixar’s Soul, Nine Days shows the process that it takes for a ‘pre-soul’ to get the job of a human person. However, unlike Soul, Days spins its focus to the employer (as opposed to the employee) and their dalliances on earth. 

As Will, an angelic creature broken by the sudden death of one of his chosen employees, Winston Duke spends much of the film attempting to understand the meaning of life because he’s never experienced it himself. As he weeds out the potential nominees for the new position, Will continues to be drawn to the seemingly reckless Emma (Zazie Beetz), a young woman who simply doesn’t ‘fit in the box’. As Will tries desperately to convince himself that nothing is of value, Emma seems to live in such a way that he cannot. 

In the film’s final moments, Will finally relents his anger and pain. However, his celebration of life takes the form of a recitation of Walt Whitman’s ‘Song of Myself’. As Will bears his soul through Whitman’s words that “every atom belonging to me as good belongs to you,” a rebirth slowly begins to break through his hardened heart. The power of Whitman’s art provides a moment of sheer joy that pierces the desert within him. 

Once dead, Will’s soul is now alive. 

In this brief moment, Duke demonstrates such energy that one cannot help but experience the ecstasy along with him. His playfulness becomes an infectious force of nature, highlighting the joy of life and the fuel of suffering simultaneously. While the film itself is a fascinating piece, it’s this finale that truly drives everything home and sparks life within it.

6.) ‘Therapy’ – Tick, Tick… Boom!

Andrew Garfield is having a moment in 2021. After three noteworthy performances in the last few months, Garfield has re-established himself as one of Hollywood’s most underrated performers. From entering the Spidey-verse to playing a corrupted televangelist, Garfield’s range has been on full display since the award’s season push began. But his performance in Tick, Tick… Boom! outshines them all.

As Broadway’s brightest son Jonathan Larson, Garfield demonstrated humility, passion and limitless energy all in the same performance. Perhaps the best example of this mix though comes through his performance of Larson’s ‘Therapy’. Fueling his performance with conflicted love and rage, Garfield attempts to navigate his relationship issues with his long-time girlfriend. In this moment, he feels focused, present and even honest. 

However, this performance is juxtaposed with his own live performance with Vanessa Hudgens where he displays an entirely different type of energy. Playfully bouncing around the screen, Garfield showcases the normalcy of these relationship struggles without ever taking away its impact. Suddenly, a moment that’s steeped in intensity and sadness is infused with joy and liveliness. By performing the song well after the event has finished, Garfield highlights the fact that so many of the things that we deem as important are often less so when we look back upon them. It’s an unbelievable juxtaposition that is simply incredible to watch unfold onscreen, unravelling the complexities of relationships while also revealing the fact that distance often creates perspective.

5.) Staircase Descent – Last Night in Soho

Edgar Wright has made a career out of creating gorgeous films with incredible soundtracks. But Last Night in Soho may be his best work to date. Co-written with Krysty Wilson-Cairns, Soho is a love letter to the 60s but also manages to hold them accountable at the same time. Though we tend to look back at our history with rose-coloured glasses, Soho reminds us that nostalgia isn’t always healthy. In fact, our love of an era could be covering up the suffering caused by a time of toxic masculine dominance. 

And it all begins with a staircase.

Here, Wright exemplifies and foreshadows much of the film’s ‘through the looking glass’ mentality. As Eloise (Thomasin Mackenzie) descends the steps into the nightclub as the soul of Sandy (Anya Taylor-Joy), Wright leans into the nostalgia love for the 60s while revealing that we’re going to see it through new eyes. Yes, Sandy is a stunning sight who captivates the room but Eloise’s reflection reminds us that there is a fractured image here. In one single shot, we are enchanted but also understand that all is not right. It’s a moment that may be visually stunning but, more importantly, it’s symbolic of the ride into revisionist history that we’re about to be taken on.

4.) The Hug – MASS

Written and directed by Fran Kranz, MASS feels like a one-act play and features four of the year’s best performances in its leads. Though much of the awards talk has centered on Ann Dowd, each star holds their own in captivating performances and a riveting script. 

Based on the simple but powerful premise of two couples (one couple, the parents of a victim and the other, the parents of the attacker) attempting to pick up the pieces after the tragedy of a school shooting, the film almost never leaves a single room and allowing the performers to go to work. Seemingly trapped in one small space in a church basement, these parents are left to hash out the complex and complicated feelings that come with tragedy of this magnitude, including all of its rage and uncomfortable silence.

But the final scene.

After the victims come to an impasse between them and grace finds its way through the pain, they begin to leave the church basement and return to their lives. But during that time, a hug between mothers becomes a sign of healing. Like a flower in the desert, life—uncomfortable life—returns where there was none. It is a symbol of hope and redemption unlike anything else you’ll see this year and breathes life into the moment in the most powerful of ways.

3.) The Last Supper – Pig

The ‘Nicolas Cage’ project has been a fascinating watch over the last decade. Fully willing to take on roles that dive into the ridiculous, the Oscar winner has become synonymous with and celebrated for B-projects and bizarre roles. 

But then, there’s Pig.

As a former chef forced back into his old life in order to find his lost pig, Cage’s performance here is nothing short of remarkable. On paper, the film seems like another entry into his crazy career. Bearded and disheveled, Cage’s Robin is a man who strikes fear into the other members of the culinary world. (In fact, structurally, the comparisons between Pig and John Wick are undeniable.) But then, the film goes in an entirely different direction. 

In what becomes one of the year’s best films, Pig takes an old trope and completely turns it on its head. Whereas these sorts of sorts of films always seem to end in a murderous rampage, Robin instead changes the world through the power of delicious meals. Without spoilers, the film’s final meal feels like it will fall into disaster but instead ends in a moment reminiscent of Babette’s Feast. This space around a dinner table opens the door for truth to be revealed yet never submits to the possibility of violence. In this role, Cage shows a nuance and courage that we have missed from him—and a grace that suggests there may be hope for us all. 

2.) Spider-Men – Spider-Man: No Way Home

And the grace line continues… With Spider-Man: No Way Home, expectations for Marvel were high. With old villains and cameos throughout the film, there was no doubt that No Way Home was gearing up to be a nostalgia-fest. So, we figured it was going to be fun, to say the least. But I wasn’t prepared for what we got.

Instead of just Spider-Madness, No Way Home‘s emotional arc and genuine character growth surprisingly gave us one of the best films of the year. Rather than simply use those cameos as stunt-casting, they actually felt like a necessary experience. Yes, it was undoubtedly fan service… but it wasn’t only fan service.

No scene summarized this more than the scene on the rooftop.

As all three iterations of Spider-Man (Tobey Maguire, Andrew Garfield and Tom Holland) met face to face on the roof, every fan revelled in the moment. But the scene illustrated the film’s powerful message of hope, grace (there’s that word again) and wrestling with guilt and pain. Maguire and Garfield provide Holland’s Spidey the chance to grieve while also feeling supportive and helpful. But they also help him to regain his perspective. This is a film about saving the worst of us, regardless of what we think they ‘deserve’. Here, Garfield & Maguire show their own emotional battle scars and still manage to remind Holland of his calling in the most loving of ways. 

I know that there are people who are clamouring for this to garner Oscar attention but that’s simply not going to happen. However, the moment—that moment on the rooftop—is easily one of the most special gifts that we were given in 2021. Nostalgia is fun… but this film understood that it’s meaningless without repairing the soul.

1.) Birth Story – Titane 

I really wrestled with this pick. Titane is one of those films which is difficult to recommend to the casual viewer due to its insanely graphic nature and wild premise. However, it’s also brilliant, touching and shockingly soul-filled. Brilliant performances from Agathe Rouselle and Vincent London take an example of body horror and elevate it into something truly special. As Alexia/Adrien, Rouselle fully immerses herself in the character with intensity and humility. However, the real story here is London. As grieving and broken father Vincent, London instills a grace-fuelled performance that breaks the heart and soul. As a result, what begins as the story of one young woman’s traumatic relationship with her car (yep, that’s real…) transforms into a modern representation of the Prodigal Son. 

Posing as Vincent’s long-lost son, Alexia manages to hide from her pain under his protection. Of course, eventually, the ruse is uncovered. Even so, although Vincent knows that Alexia is not related to him, he refuses to give up on her. In fact, it makes him more determined to fight for her. (“I am God to you,” he informs his staff. “And that makes him Jesus. If you harm him, you deal with me.”) 

As she gives birth to the child that exists solely as a result of her pain and trauma, Vincent accepts the child as his own. The film’s final shot of him holding the metallic-studded baby is easily the most touching and beautiful moment set to screen this year. It doesn’t matter that he has no relation to the child. It doesn’t matter how the child came to be. All that matters is that the child matters.

The love of this father changes their lives.

Horrifying and humbling, Titane’s Birth Story is one of those moments that leaves a mark on the soul. Even though the film is one of the most difficult watches in recent memory, the story of Alexia is also one of the most poignant and powerful experiences I’ve had in a theatre in some time. Coming at a time when we’re divided by so many issues and controversies, there is simply a stunning beauty to this moment that breaks through the most hardened of hearts.

To hear our episode of SF Radio that talks about our Top Movie Moments with Seeing & Believing‘s Kevin McLenithan, author Wade Bearden and several guests, click here (YouTube) or here (podcast).

This article has also been posted in partnership with InTheSeats.ca.

Darrel’s Dozen 2020 – and some bonuses

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It’s time for me to put up my favorite movies of the last year. So here’s Darrel’s Dozen for 2019 (with a few bonuses at the end). This year I’ll only rank the top film; all the rest will be alphabetical. Links are to my reviews, unless noted.)

The #1 film for 2019 (according to me) is A Hidden Life. Terrence Malick uses his visually poetic storytelling to bring a story of deep faithfulness and commitment. He tells the story of Franz Jägerstätter, an Austrian conscientious objector during World War II. It is also a beautiful love story of Franz and his wife Fani. Much of the narrative is taken from the letters they wrote back and forth while Franz was imprisoned. The story focuses on what it means to be faithful to God and stand up to evil. It’s three hours long, but well worth the time.

The rest of the best:

Amazing Grace. Footage of a 1972 two-night gospel concert by Aretha Franklin. The footage was unusable for decades, but now we get to see this marvelous entertainer as she returned to the roots of her talent. How good was the concert? How often do you get to see Mick Jagger rocking out in a church pew?

A Beautiful Day in the Neighborhood (reviewed by Steve Norton). A cynical reporter is assigned to do a piece on Fred Rogers. It transforms his life. Based on a true story, it reminds us of the beauty we can find in other people and ourselves. While many people think this is a movie about Mr. Rogers, keep in mind that Tom Hanks is considered a supporting actor in this film.

The Biggest Little Farm (reviewed by J. Alan Sharrer). A documentary about a Hollywood couple who want to build a sustainable farm (and life). There are lots of  poblems along the way, but the results are uplifting. It is not just about growing food. It is about growing in harmony with the world around us.

By the Grace of God. A fictionalized version of a real-life scandal in the Catholic Church. A group of victims are not satisfied with the way the Bishop of Lyon has responded to issues of sexual abuse. They keep up the pressure until change is made. The real issue addressed in the film is how the institution, in seeking to protect itself, is really damaging itself.

Clemency. A prison warden who oversees executions must deal with the emotional and spiritual fallout of capital punishment. While she believes she is in control of her life, we see that in reality she is falling apart.

The Irishman (ScreenFish podcast). Martin Scorsese returns to the gangster genre with an epic story of a hitman, those he works for, and those he kills. It isn’t glamorous violence. It is the story of a man who has gained the wealth of the world, but loses his soul in the process.

Little Women. Greta Gerwig’s version of the Louisa May Alcott story of sisters and their journey to happiness. Although it is set in the eighteenth century, it has a very current feel for what it means to be a woman, especially a woman with ambitions beyond marriage. (Although it still affirms that as a way to happiness as well.)

Luce (reviewed by Julie Levac). It’s classified a thriller, but it’s a very thought-provoking one. It is about racial stereotyping from a very different perspective. A very intelligent black young man brings confusion to his black teacher and his white adoptive parents. Anger and violence is constantly just below the surface, but never truly erupts. But will it?

Parasite. Bong Joon-Ho’s exploration of the haves and have-nots in Korean culture. A mixture of comedy, tragedy, and horror, the film captured the Palme d’Or at Cannes. (That’s almost as good as making Darrel’s Dozen.)

Styx. The global immigration crisis becomes personal for a doctor on a solo sailing vacation. After a storm she discovers there is a stranded trawler filled with immigrants near her boat. She radios for help, but it never comes. How can she turn her back on dying people? How can the world?

Yesterday (reviewed by Steve Norton). A wonderfully enjoyable frolic in the music of the Beatles, but in a world in which the Beatles never happened.

And now for some bonus picks in special categories!

Something from a previous year that I just discovered this year: Dawson City: Frozen in Time. It’s a bit ironic that I didn’t see it when it came out because it’s a doc about the Yukon gold rush city that was the end of the line for movies in the early years of last century. Now they’ve found a treasure trove of unknown films. But it’s also about the life and trials of the gold rush days.

Best movie I hope you get a chance to see: Antigone (Canada’s official Oscar submission for Best International Feature Film). I give it this category because I saw this at AFI Fest, but as far as I can tell, it doesn’t have a theatrical release planned yet. It is an updated version of the Sophocles tragedy. An immigrant teenager hatches a plot to get her brother out of jail and ends up there herself. A story of the importance of family in difficult times.

Best TV binge of the year: Russian Doll. Think of it as an adult-only version of Groundhog Day. A young woman keeps dying and going back to a party, but each time there are minor changes. How does she break the cycle and move on with life (or death)?

[Movie] Moments that Mattered (2019 Edition)

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Film criticism is a funny thing sometimes. 

While some love a film that you hate (or vice versa), there can be pressure to acknowledge that certain films deserve to be held up as ‘best’ when you simply don’t connect with them. In the same way, a movie that you don’t enjoy can also have redeeming moments that shine through, allowing some aspect of the piece to connect with your heart.

With that in mind, while everyone pieces together their own Top 10 films of the year (or decade… or 2000s…), I feel like it’s worth taking the opportunity to call out the moments that mattered this year. Not just the ‘best pics’ but those brief instances when a film really impacted me. As a result, I offer to you my Top 10 moments of the year. Some are emotionally powerful. Some are random. 

But all of them mattered to me.

Honourable Mentions: Once Upon a Time… in Hollywood (‘I try…’); Judy (‘Somewhere Over the Rainbow’); Abominable (Violin for the Mountains)

10) Avengers: Endgame (TIE): Captain Ameri-Thor / Lady Avengers

After 23 movies and 10 years, the most impressive aspect of Avengers: Endgame was that it was able to stick the landing as a (Note: Not The) finale to the franchise’s multiple story arc. Say what you will about the Marvel Cinematic Universe—and there are many arguments against their dominance—but they have led the decade as a pop culture phenomenon. That having been said, Endgame walked the balance between ‘greatest hits’ from the last decade and moments of ‘payoff’ for long-time fans. 

In one of the more unexpected (and beloved) visuals within the film is its overwhelming set pieces was this moment when, in the midst of the climatic battle against villainous Thanos, Captain America wielded Mjolnir to an awe-struck Thor, proving that he too was worthy of the weapons awesome power. While the visuals in this final fight for humanity were often overwhelming—they admittedly had to be—this was one of those brief moments that sticks out in my memory

With this in mind, another important moment in the climax of the saga came during the same battle when almost every major female character stood together in unison onscreen. In a culture that is trying to recognize the strength of women to fans of pop culture, this moment gets points for the sheer recognition of its female characters (even if there was very little actual action together). Despite its limited female led films, there are a large number of female heroes that have mattered in the MCU and this brief moment allowed for them to shine briefly as the series moves into its next chapter.

9) Us: The longest drive…

While it never fully achieves the unexpected greatness of Get Out, Jordan Peele’s Us was definitely strong in its own right. Featuring a memorable performance by Nyong’o, Us is yet another smart social commentary disguised as an entertaining horror pic. Without giving away any spoilers (you truly don’t want to know them if you haven’t seen the film), the final moments as the Wilson family are driving home feature an important moment. As Adelaide Wilson looks into the backseat at her son, their unspoken silence speaks volumes and leaves the viewer with the best type of questions. 

8) The Irishman: Can you leave the door open…?

As one of Scorsese’s best films in years, The Irishman is an ambitious and bold character study of a man who sits next to the seat of power but never ascends to the throne. Frank Sheeran is a truck driver who quickly works his way up through the mob scene through the mid-20th Century. While the film is a stunning character piece, the largest question remains about Frank’s motivation. If he isn’t interested in claiming power for himself, what is he looking for? Stability? Protection for his family? 

Perhaps the most telling answer to that may come at the film’s conclusion when an elderly Frank is meeting with a local pastor. While he seems to leave the details of his life in question, Frank clearly desires to still matter. Having been always seen as the ‘up and comer’, Frank has always had the ear of the most powerful men in the city. While he struggled to connect with his family, he had always been important to more important people. As an older gentleman though, he has lost all of this. Family relationships are gone. The local pastor visits infrequently. Even the police barely have a passing interest in his story now. In the film’s final moments, as the pastor is about to leave his room, Frank asks him to ‘leave the door open a little’ in order to let the light into the room. In the briefest of scenes, this moment demonstrates the life not-well-lived and how public recognition is fleeting at best.

7) Knives Out: The Donut of Truth

With a sparkling script and entertaining cast, Rian Johnson’s Knives Out is some of the most fun I had in at theatre all year. One of the key reasons for that though stems from the performance of a British Secret Agent as a Southern Detective. As Benoit Blanc, Daniel Craig, is at his free-wheeling best, offering sage wisdom and random commentary at the same time. In one of his more entertaining speeches, Blanc frets over the mystery by comparing the truth to a donut, complete with a hole in the middle that needs to be filled. As he begins to spiral, that analogy becomes increasingly complicated and even he looks confused by his ramblings. For a man who’s known for playing the silent killer that is James Bond, moments like this are completely against type and show his comedic range. Just as importantly, however, this speech shows the complexity of truth in our culture as it constantly shifts and often has pieces missing as well.

6) Sound of Metal: Sitting in Silence

Telling the story of Ruben, a young rock and roll drummer who suddenly experiences hearing loss, Sound of Metal is one of the most engaging films that hasn’t received a wide release yet. (I saw the film in the Fall at the Toronto International Film Festival.) In one of the film’s most poignant scenes, Ruben is confronted by a mentor who has challenged him to sit in silence in the morning. Frustrated that Ruben is unable to perform such a basic task, his mentor remarks, “Of all those times you were silent, were you ever really still? In stillness is when the Kingdom of God shows up… and those are the moments that matter.” By indicating the complex difference between mere quiet and spiritual rest, this is a description of the Divine that simply doesn’t get spoken in film (even faith-based ones). Ruben’s journey, without being explicit, is a spiritual exodus in the wilderness that also speaks to the hope and healing that occurs when God shows up in the lives of the broken.

5) Joker: Butterfly on the Stairwell

In its marketing campaign, Joker is a film that embraced controversy, almost to the point of encouraging it. Featured on the poster and trailer, the scene where the newly crowned (or freed?) Joker dances down the stairwell is also a mixed bag of emotion. On the one hand, it is definitely the character’s “butterfly moment”, where he throws off the shackles of his identity as Arthur Fleck and embraces his wild new persona. In one brief shining moment, the film’s darkness gives way to what appears to be light. The music is joyful and the energy of the moment is palpable.

However…

The scene is also serves as reminder that this character is intrinsically evil. This isn’t a hero breaking free to do what is right. We know what’s coming as the Joker has truly been unleashed. As a result, there is an incredible irony to the moment which seems exciting and fun, yet also the beginning of a hurricane of violence and terror. (In fact, this irony is also encapsulated within the choice of song itself. Through his decision to use ‘The History of Rock and Roll Part II’, director Todd Phillips also chooses a song that, while fun and energetic, also comes from an artist who has been somewhat banned from popular culture due to his own criminal actions.) As such, this moment encapsulated the entire charm/harm of the film, by exposing our culture’s desire to see the Clown Prince of Crime do the damage he was meant to achieve. (The moment even became so iconic that it also became a tourist destination in real life, with people choosing to take pictures in the same position that Joker is featured on the poster.) 

4) Rocketman: Hugging your inner child

When Rocketman was announced following the [controversial] success of Bohemian Rhapsody, I admit I met the trailer with an eye-roll. After all, here comes the long list of ‘musical biographical films’ (and, for the record, I wasn’t wrong). However, Rocketman succeeds in virtually every way that other entries have failed. By using Elton John’s music to tell the story rather than telling the story of his music, the film is engaging and honest about the superstar’s struggles. By framing the film through a therapy session, Rocketman not only speaks to the trials of stardom but the depth of hurt than can happen along the way. [Spoilers Begin] In the final moments, as an adult Elton John embraces himself as a child, the film demonstrates the power of accepting one’s self and celebrating who God has made you to be. [Spoilers End] 

3) Toy Story 4: Farewell, boys…

The Toy Story saga has lived on far longer than I would have ever believed and, amazingly, really hasn’t had a bad entry into the franchise. (The quality has remained high enough that, with each new entry, I become increasingly worried that they’ll finally deliver a true stinker.) Toy Story 4 continues this trend and, while not as good as some of the other entries, still manages to surprise and delight. In particular, the film’s final send-off between Buzz and Woody achieved a new dimension to their characters in a way that I never saw coming. 

[Caution: Spoilers] As Buzz begins to listen to his own inner voice, Woody has now embarked on his life of mission. No longer attempting to live a life of self-preservation but living in order to help other toys have the life he once had with Andy. [Spoilers end] It’s a powerful recognition of the power of mission and service others that speaks to a new direction and life purpose for Woody that has never been hinted at before in the franchise.

2) Marriage Story: Being Alive…

Noah Baumbach’s Marriage Story is both a searing and endearing film that tells the story of new life after the death of a marriage. Based on Baumbach’s experience as he processed his own divorce, the film features raw and relentless performances from Scarlett Johansson and Adam Driver (and a potential Oscar winning one from Laura Dern). As the two parents fight ferociously for their son and their freedom, this is a film that attempts not to take sides, openly admitting the strengths and flaws of both characters. 

As the film draws to a conclusion, one of the film’s more powerful scenes features song performances by both leads as their character arcs come to conclusion. While Johannsen sings a song about breaking free from the shackles of her relationship, Driver’s tone is more subdued as he performs a song that speaks to ‘Being Alive’. Surprisingly, the film attempts to celebrate both parties, without demonizing either, and therein lies the power of Marriage Story. This is not a film that seeks to blame one person or focus on one particular item of pain but rather the humility, grace (and love) that’s required to step forward from the wreckage of divorce. As the film highlights the contrast between the two leads in song, it reminds the viewer that both people in a marriage have different stories that matter and that they both need to ‘feel alive’

1) A Beautiful Day in the Neighborhood: “Let’s pause for a moment…”

Wisely, A Beautiful Day in the Neighborhood is not a ‘biopic’ of iconic children’s performer Fred (Mr.) Rogers. Rather, it’s a narrative that highlights the impact that one life can have on another. When reporter Lloyd Vogel meets Rogers on the set of his show, he is quickly stunned at his humility and grace. As a friendship develops between the two men, their relationship forces Vogel to re-examine the anger that drives him  within his own heart. In one of the film’s most powerful moments, Vogel and Rogers are seated in a diner eating together. As Vogel speaks of the pain of his past, Rogers pauses and slowly offers this statement: “May we pause for a moment and think of all the people that loved us along the way.” 

In one instant, the film breathes. Rather than focus on Vogel’s pain, Rogers reminds him that there is (and has been) love throughout this entire life, even if he was taking it for granted. As Rogers, Hanks completely invests in this moment and the entire restaurant slows to a halt. This is a testament that our story is more than the sum of our hurts. In a world where rage and division are the order of the day, this moment above all others stands out in my mind as the most counter-cultural moment of the year. Though hatred breaks us down, love breaks the chains.

5.09 Is MARY POPPINS RETURNS Practically Perfect?

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After 60 years, Mary Poppins Returns! With Emily Blunt stepping into the legacy (and Oscar-winning) legacy of Julie Andrews, Poppins automatically has massive expectations to live up to the charm of the original Disney classic. But, is the result practically perfect? Or does the sequel ‘go fly a kite’? In a supercalifragilisticexpialidocious conversation, I’m joined by Seeing and Believing co-host, Kevin McLenithan to discuss whether or not this film ’steps in time’ to the original, power of perspective, and—in a special segment—our Top 3 Movie Moments of 2018.

You can also stream the episode above on podomatic, SoundCloud or on Spotify! Or, you can download the ep on Apple Podcasts, Google Play or more!

5.09 Mary Poppins Returns

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.

Thanks Kevin for joining us!