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Brie Larson

Just Mercy: Never Too Late for Justice

March 24, 2020 by Julie Levac Leave a Comment

Image result for just mercy movie

Based on true events, Just Mercy tells the story of Walter “Johnny D” McMillian (Jamie Foxx), a man who was wrongfully convicted of the murder of Ronda Morrison and sentenced to death in Alabama. Adapted from the book by Johnny D’s attorney, Bryan Stevenson (Michael B. Jordan), Just Mercy is a hard-hitting look at racism in Alabama in recent decades, and the reality of a corrupt justice system.

Set in Monroeville, Alabama, the birthplace of author Harper Lee, the film makes multiple references to Lee’s To Kill A Mockingbird, a fictional yet soberingly accurate comparison to some of the events that took place in Just Mercy. If you’ve seen To Kill a Mockingbird, the scene in Just Mercy where all people of colour are standing at the back of the courtroom will give you a chilling flashback.

Bryan Stevenson moved to Alabama to begin the Equal Justice Initiative, a non-profit organization providing legal services to prisoners who could not afford a proper representative, who were not granted a fair trial, or who were likely wrongly convicted.

Image result for just mercy movie

The case against Johnny D was based on very little evidence, including a fabricated testimony of a fellow inmate. It was clear that he was targeted based on race and class. Johnny D had also been unfaithful to his wife with a Caucasian woman, and this news had travelled around town.

When Bryan first met with Johnny D to reopen his case, it was clear that Johnny D was broken and had lost hope. He didn’t want to feel the pain or put his family through it again. With every turn, it seemed as though there were more road blocks that they had to face. People were intentionally trying to sabotage the appeal despite knowing that there was no real case against Johnny D.

Just Mercy is yet another look into how the justice system does not always provide justice, and how people who serve time in prison often come out worse then when they went in. Johnny D developed dementia later in his life which was thought to be the result of his time in prison and the trauma of what he went through. In addition, the film also brings up the moral debate about the death penalty. On a human level it was very difficult to watch the emotional trauma these men experienced as they sat and waited to be killed.

Image result for just mercy movie

This film is real and powerful. 

Special features on the Blu-ray include “Making Mercy,” “The Equal Justice Initiative,” “This Moment Deserves,” and deleted scenes. The film is now available for digital purchase and download from Warner Bros.

Filed Under: Reviews, TIFF Tagged With: Alabama, Brie Larson, Bryan Stevenson, Equal Justice Initiative, Harper Lee, Jammie Foxx, Johnny D, Just Mercy, Michael B. Jordan, racism, Rob Morgan, Tim Blake Nelson, To Kill A Mockingbird, Walter McMillian

TIFF ’19: Just Mercy

September 11, 2019 by Julie Levac Leave a Comment

Image result for just mercy movie

Based on true events, Just Mercy tells the story of Walter “Johnny D” McMillian (Jamie Foxx), a man who was wrongfully convicted of the murder of Ronda Morrison and sentenced to death in Alabama. Adapted from the book by Johnny D’s attorney, Bryan Stevenson (Michael B. Jordan), Just Mercy is a hard-hitting look at racism in Alabama in recent decades, and the reality of a corrupt justice system.

Bryan Stevenson moved to Alabama to begin the Equal Justice Initiative, a non-profit organization providing legal services to prisoners who could not afford a proper representative, who were not granted a fair trial, or who were likely wrongly convicted. When Bryan first met with Johnny D to reopen his case, it was clear that Johnny D was broken and had lost hope. He didn’t want to feel the pain or put his family through it again. With every turn, it seemed as though there were more road blocks that they had to face. People were intentionally trying to sabotage the appeal despite knowing that there was no real case against Johnny D.

I have never heard so many sniffles or deep breathes in a theatre as I did during Just Mercy.  This film is real and powerful.  What’s more, knockout performances by stars Jamie Foxx, Michael B. Jordan, Brie Larson, Rob Morgan, and Tim Blake Nelson, do not be surprised if you hear some–if not all–of these names as award season approaches.

Just Mercy recently premiered at the Toronto International Film Festival and will begin its wide release on December 25th, 2019.

Filed Under: Film, Film Festivals, Premieres, TIFF Tagged With: Brie Larson, Jamie Foxx, Just Mercy, Michael B. Jordan, TIFF17, TIFF19

Captain Marvel: Nothing to Prove

June 17, 2019 by Arnaldo Reyes Leave a Comment

There’s a lot to be said about longevity. Over the last ten years, Marvel Studios has released twenty-three films. Halfway through, many talked about superhero fatigue and yet, they’re still a seventeen-billion-dollar juggernaut that has fans coming out in numbers for the next wave.

As we drew closer to the much anticipated Avengers: Endgame, Marvel sent us back in time to the nineties for Marvel’s next origin film, Captain Marvel. After Infinity War, one of the biggest questions was, if Fury knew her beforehand, where was she? That question is definitely answered in this film (among others, like Fury’s lost eye). However, the film came with some early (and unwarranted) controversy. We now live in a world where taking to the interwebs and bashing a film one has not seen because of ‘made up’ reasons is okay.

Now, what about the movie itself?

First and foremost, thank you Marvel for that wonderful opening tribute. And THANK YOU STAN LEE!

As a film, Captain Marvel doesn’t land in the top five of Marvel films. It’s an above-average origin film that has funny moments and some good action scenes. Some of the CGI could have been better, but overall it is definitely a good film to watch. There are some tender and heartbreaking moments as well. Like all other origin films, Captain Marvel contains a message where the hero must find themselves and choose which path to take. This one stands out in that story because her path to get there was different. The twist is both expected and surprising at the same time. Though not perfect in terms of film making, this is easily the second most influential film Marvel has released.

The film isn’t the “social justice warrior” hogwash that “those people” will have you believe. It is, however, a film that inspires and empowers women, and rightfully so. It’s no coincidence that Marvel/Disney decided to release it on International Women’s Day. As a male, I cannot begin to fathom this era in films. But as a father to an eight-year-old young girl, I am thankful that, for her, there aren’t just princesses that need a prince or damsels in distress. My daughter now has princesses that are strong and courageous. She has leaders, Jedi, rebels and warriors in a galaxy far, far away. She has  Wonder Woman. She was warriors and tech genius in Wakanda that look like her. And she now has a Captain.

All these heroes have something in common and is what stands out in Captain Marvel. They have nothing to prove. They are strong and don’t need affirmation from men to prove it. They remind me of Queen Esther, as they are here ‘for such a time as this’. Forget the “rules” of the past. Kick open the door and present yourselves as worthy because your people, the next generation, needs you. This doesn’t mean that men are not wanted or that we are inferior. But as men we need to support and empower the women around us. The world is a better place with both strong men and women. When we value others by their own merits and not the standards that we place based on ours, we as a society can overcome.

Captain Marvel is a fun film that serves a deeper purpose than just film. Men, see it and enjoy. Appreciate that it isn’t for us, and that’s ok.

Again, THANK YOU STAN LEE….this film embodied your spirit.

Special features on the Blu-ray/Digital combo pack include commentary on the film, six deleted scenes, and a gag reel. But fans of the film will enjoy the special features about the heroine and heroes, “Becoming a Super Hero,” “Big Hero Moment,” and “The Origin of Nick Fury,” as well as a few bonuses, “The Skrulls and the Kree” and “Hiss-sterical Cat-titude.”

Filed Under: Reviews Tagged With: Brie Larson, Captain Marvel, Disney, Disney Princess, feminism, Goose the Cat, International Women's Day, Jude Law, Marvel, MCU, Samuel L. Jackson

Captain Marvel – Putting the Super in Human

March 7, 2019 by Darrel Manson Leave a Comment

“There is nothing more dangerous for a warrior than emotion.” (Yon-Rogg)

A new superhero comes to the Marvel Cinematic Universe. Captain Marvel brings us the MCU’s first woman superhero, a soldier in the midst of an intergalactic war who ends up on earth and becomes ground zero for that war. Ah, but all may not be as it seems at first.

We first meet Vers (rhymes with fears, played by Brie Larson) in her dream. She seems to be haunted by some dreams that come from her past, which she doesn’t remember. All she knows is that the last six years she has been training as a warrior for the Kree. She trains with her commander and mentor Yon-Rogg (Jude Law) who keeps pushing her to not use her ability to throw proton beams, except when needed.

She is being sent on her first mission to rescue another soldier from the enemy Skrull. But before she goes, she has to meet with the Kree’s Supreme Intelligence (Annette Benning). Vers ends up captured, tortured as the Skrull leader Talos (Ben Mendelsohn) seems to mine her mind for information from her past (which triggers bits of memory in her), escapes from their ship and crash lands in a Blockbuster store on earth in 1995.

Once she communicates with Yon-Rogg, who starts a rescue mission, she is discovered by young S.H.I.E.L.D. agents Coulson (Clark Gregg) and Fury (Samuel L. Jackson). Eventually Vers realizes that she must team up with Fury to trace back the mystery of her past. She discovers she was an Air Force pilot named Carol Danvers who was part of a secret project and was killed in a crash. She traces down her friend Maria (Lashana Lynch) who was also a pilot. But Talos is also trying to find Vers again. At this point the twists start coming into play. Oh, and there’s a cat (sort of).

The journey from Vers to Captain Marvel requires her to rediscover who she is and what she is. It also requires that she come to terms with the very emotions that Yon-Rogg has been trying to have her bury. It is only after she finds her human side that she is able to make the transition from soldier to superhero. It is not so much a matter of power as it is of confidence, attitude, and compassion.

A part of that transformation is not just discovering her humanity, but embracing it. That means accepting the emotions that come so naturally to her—including fear, compassion, and even love. These are things that Yon-Rogg tried to suppress in her, but they become a kind of liberation as Vers becomes more than she knew she could be—and discovers that she has already been more that she knew.

The phrase “only human” comes up at one point, but for Captain Marvel the idea of being human is not about being “only” human. Her humanity opens up for her a new range of possibilities. It is only in being human that she becomes superhuman. This is emphasized visually near the end when Captain Marvel hangs in space in a pose very similar to paintings of the Ascension.

Within the Judeo-Christian creation story, humankind is created in the image of God. It just seems wrong to think “just human” when we have that understanding. Instead we should consider that fully understanding our humanity allows us to see the divine within ourselves—the superhuman.

Note: There are two scenes embedded in the credits. The first, midway through the credits, sets the stage for Avengers: Endgame. The second, at the very end, is a humorous scene, which may or may not have something to do with Endgame. There is also a montage of Stan Lee at the very beginning of the film, which got a bit of applause at the screening I attended.

Photos courtesy Marvel Studios

Filed Under: Film, Reviews Tagged With: Annette Binning, Ben Mendelsohn, Brie Larson, Clark Gregg, Jude Law, Lashana Lynch, Marvel Cinematic Universe, Marvel Studios, S.H.I.E.L.D., Samuel L. Jackson, science fiction, superhero film

Exiting the ROOM (Oscar Spotlight)

February 27, 2016 by Steve Norton Leave a Comment

room 2

Caution:  The following review contains spoilers.

Directed by Lenny Abrahamson, Room tells the story of Joy, a woman who has been held prisoner as a sex slave for the last 7 years. During that time, she gives birth to her son, Jack and all that he knows is contained within the walls of their tiny, single room. After finally achieving their freedom, Jack and Joy breathe fresh air for the first time in years… but are they truly free?

In many ways, this is the quiet nominee for best picture. No, I don’t mean any lack of dialogue or music. (We’ll leave that category to The Revenant or Mad Max: Fury Road.) Rather, although this is one of the more deserving nominees in the category, it’s also one of the films with the least amount of viewership.

It’s their mistake.

Powerful from the first scene to the last, Room delivers a beautiful and moving portrait of the damage left in the shadow of sexual abuse and the challenges of moving forward afterwards. What’s more, in an unexpected turn, Abramson chooses to tell the story through the perspective of Jack’s young 5-year old eyes. As a result, the film manages to tell its story with a sense of wonder, fear and innocence that seems to make each moment feel fresh. (It also manages to keep the film from taking a more exploitative tone, which would have been a temptation for many other filmmakers.)

As Jack’s world expands beyond his (albeit brief) life experiences, he is forced to readjust his entire understanding of the universe. Whereas he has been told since birth that there is nothing but outer space beyond the walls of Room, now he is forced to accept that there are trees… and pets… and other people. The life he knew is only a small part of the world that really exists.

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Scripture says that the ‘truth will set you free’… but this film takes its time with responding to this idea.

As he and Joy get to experience new life, the question is whether or not they will ever actually experience freedom. Both characters have been damaged deeply and their spiritual journey has only begun. In many ways, this journey is a powerful depiction of our experience with the Gospel. While the story of Christ’s life, death and resurrection promises freedom, our story does not end when in that moment of new spiritual reality. It is just beginning. In fact, all of us who accept Christ must still deal with our stories from the past.

It is possible for one to both breathe the air and yearn for the life we once knew at the same time.

The heart of the Gospel is such that, despite our past hurts, we can begin to see that hope lies outside of ourselves. We understand that, because Christ loves us, we have value. We matter. We were created in His image and that has stayed (even if we’ve mucked it up a little bit.)

No one can take that away from us.

And there is hope within that.

The journeys of Jack and his mother in Room are very different, to be sure. Without spoiling too much, it is fair to say that, while one is able to slowly breathe the joy of new life, the other finds separation from the past to be far more difficult. They are forced to decide whether they’re willing to nervously begin to step into their new life. Their freedom becomes less about the man ‘Old Nick’ and becomes focused on the damage left by him. In the end, they must allow themselves to discover that the hope from their lives lies beyond the walls of Room.

In the end, they must allow themselves to believe that the truth can set them free.

Filed Under: Film, Oscar Spotlight Tagged With: Brie Larson, Jacob Tremblay, Lenny Abrahamson, Oscars, Room, truth

And the Nominees are… Important?

January 14, 2016 by Steve Norton Leave a Comment

The 85th Academy Awards® will air live on Oscar® Sunday, February 24, 2013.
The 85th Academy Awards® will air live on Oscar® Sunday, February 24, 2013.

The announcement of this year’s Academy Awards nominations always brings with it the usual debates.  Who surprised?  (Straight Outta Compton!)  Who got snubbed?  (Ridley Scott!)

Momentum.  Controversy.  Favourite.  Underdog.  Every year, all of these words are used to argue about the Academy’s picks.  In fact, I’m even sure that I’ll address these issues as time draws nearer to the eventual opening of the envelopes.

Though really, the question for the Church today is something different…

“Should we care?”

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Most people give a resounding ‘No!’ to this issue.  After all, the Oscars is really nothing more than an opportunity for Leonardo DiCaprio, Jennifer Lawrence and Brie Larson to gear up in Versace and Prada and walk the red carpet.  It seems to be frivolous fluff.  (See Globes, Golden) Besides, they haven’t seen the other movies anyways.

As a church, however, I don’t think we should be so quick to tune out.

Although the Academy has always been accused of being ‘out of touch’, the films that win (and are even nominated) demonstrate themselves to be cultural touch points.  Because everything is always a product of its own time, we learn a lot about the worldview and values of our culture from the stories it feels the need to tell.  Films like The Big Short, Mad Max: Fury Road, and The Revenant are films which speak our moment in time (even if they’re not set in it).  For the Church at large to ignore this fact is to miss an opportunity to engage Hollywood on their turf.

Christian Bale plays Michael Burry in The Big Short from Paramount Pictures and Regency Enterprises
Christian Bale plays Michael Burry in The Big Short from Paramount Pictures and Regency Enterprises

Art is a doorway to a culture.  The Apostle Paul knew that and would study the poetry and art of a city upon his arrival.  (Lest we forget the statue to the ‘Unknown god’ in Acts 17)  As Christians, we have been called into our world to speak hope in a relevant manner with humble hearts.  We don’t always like the messages we hear from the cinema–but that doesn’t make them less important.  How can we truly speak the Kingdom of God into a culture if we aren’t willing to listen to them first?  (After all, Karl Barth once said that the best theologians are the ones that “have a Bible in one hand and a newspaper in the other.”)

At the same time, I also think that the answer to our question about the Oscars can also be ‘No’ as well.  (Though maybe not for the reason you’d expect.)  The truth is that, as important as it is to engage the stories of our dominant culture, it doesn’t hold a candle to the truth of the stories of those in our nearest proximity and community.  In other words, although understanding the theological values inherent within The Martian and Room is a healthy exercise of the mind, the stories that matter most are the ones from the people we know.  To contemporize the Gospel, we must first engage our own world.  The values in our area may be entirely different than those that are revealed in this year’s Oscar race.

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Wrestling with the texts of those worthy of even being mentioned with the phrase “Best Picture Nominee” needs to be vital exercise within the church if it is to stay relevant.  Still, we also can’t assume they reflect the views of everyone we know.

And seriously, what does Ridley Scott have to do to get a win for directing?  Not even for Gladiator?  Throw him a bone, people…

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Filed Under: Current Events, Editorial, News Tagged With: Brie Larson, Jennifer Lawrence, Leonardo DiCaprio, Oscars, Ridley Scott, Room, Straight Outta Compton, The Martian

Room: Defining Reality

November 13, 2015 by Jacob Sahms Leave a Comment

room1You’re seven years old and your entire existence has been contained in a garden shed. You and your mother name each of the elements of your life and they become your friends. Your mother tries to protect you and keep you from danger, but one day, she realizes that she cannot. You do not know it until later but your mother has been held captive since before you were born, and there is more to the world than you think. 

This is Room.

Joy/Ma (Brie Larson, Trainwreck) has been held captive for seven years, and co-exists with her son, Jack (Jacob Tremblay), surviving on the supplies delivered nightly by her captor, rapist, and only adult contact, Old Nick (Sean Bridges). On a daily basis, Joy cares for her son’s needs and education, teaching him that the world is imaginary outside of their room. That is, until he turns five, Old Nick is laid off, and Joy realizes that merely protecting, or at least interfering for, her son is not enough. They must escape.

room 2The conversations that cover the transition from one world to another make the film even more engaging than the dread-filled moments when we recognize the extent of Old Nick’s power and rage. Here, Joy must prove, or convey, that there is an outside world that exists and is possible. It’s a moment that shows, from a Christian perspective, what happens when we begin to see the world through the eyes of God’s kingdom for the first time. There is a sense of disbelief slowly blending with wonder that begins to fill Jack’s mind about what the world might look like.

And then there is the moment of escape. To pass from one world to another, when Jack must die to the world he knows to live in the real world. This is not a Jesus-like moment but a recognition that to share in Christ’s life, we must die to the self we know. And even after, is it not sometimes harder not to return to the hell that we have considered home for so long? Are we not sometimes confused about what real freedom looks like?

The idea reminds me of the prison analogy – forgive me but I can’t come up with who wrote it – where a man enters a prison and shares with the inmates about how they can all be freed if they would follow him through the door. Instead of trusting that he knows the way out, the inmates kill him and retreat to their cells, even with the door wide open. Too often, the world outside is harsher and more difficult to comprehend than the cells we find ourselves in.

This is the beauty of Room, part thriller, part horrific truth, part wonderful story of survival. Larson and Tremblay are so skillfully matched, and their depiction of the bond between a mother and son is amazing. It’s a gripping, epic story that bears watching, like a play in two parts – and one that will ultimately be rewarded in February. No part was overlooked (even the dreaded television interviewer who I loathed) and no detail was glossed over. The tension, the beauty, the dominant spirit – all of these make Room a film that must be seen to be understood.

Filed Under: Featured, Film, Reviews Tagged With: Brie Larson, Emma Donoghue, Jacob Tremblay, Lenny Abrahamson

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