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Wonder Woman 1984: Be Careful What You Wish For

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What’s your greatest wish?

Whether it’s world peace, romance or even just ‘more wishes’, everyone has something that they would ask for if given the chance. But what are you willing to sacrifice to get it? 

This is the primary question behind Wonder Woman 1984 (or WW84), the follow-up to Patty Jenkin’s 2017 blockbuster that revived a flagging DC cinematic universe. Once again directed and co-written by Jenkins, WW84 is bombastic blast of colour that never loses the character moments that gives this franchise its heart. While it isn’t as ground-breaking as its predecessor, WW84 is still a thoroughly enjoyable follow-up that continues the journey of the Amazonian princess and solidifies her as one of the great cinematic superheroes of the modern age.

Set amidst the vibrant and sleek 1980s, Wonder Woman 1984 finds Diana Prince (Gal Gadot) keeping a low profile amongst the mortals that she loves so dearly. Working as a museum curator, she only steps into the heroic limelight if she can do so without public acclaim. However, when an ancient artifact with magical abilities draws the attention of the smarmy businessman Maxwell Lord (Pedro Pascal), Diana must not only face off against a growing evil but her own battle with temptation as well.

Though this is a film that truly does deserve the big screen treatment, it is significant that WW84 followed through with its 2020 release date, even if it must be on demand instead of its planned theatrical rollout. (Honestly, who could’ve expected that this would be the only superhero epic that we got to see this year?) With its bright colours, infectious energy and positive messages, it’s fair to say that this may be the blockbuster that we have been waiting for in 2020. (No offense, Tenet.) While one would be hard pressed to say that this film were gritty or self-reflective in any way (again, read: Nolan, Christopher), WW84 still proves poignant as it emphasizes the importance of living in the truth of the moment as opposed to clinging to false dreams or ‘what-if’ scenarios.

For her second time leading the franchise, Jenkins’ work in WW84 continues to impress. As only her third feature (!!), she understands the sort of character development required to engage the audience without losing the impact of the action sequences. Given the setting, this is a film that leans heavily into nostalgia, even in its set pieces. (In fact, even an early fight scene in the mall feels like a campy throwback to the very earliest of superhero films like Superman: The Movie) Keeping the tone light throughout the film, Jenkins allows the fun to shine brightly yet still manages to give the drama some real emotional stakes. (Heck, she even manages to bring back the deceased Steve Trevor in a way that feels justified within the film.)

With every turn as the character, Gadot grows more confident and comfortable in the role of Diana Prince. What’s more, her onscreen chemistry with co-star Chris Pine continues to ground their characters, as they support and challenge one another in various moments. (In fact, in an interesting twist, WW84 actually flips the dynamic between the two characters from the first film, with Pine’s Trevor as the somewhat naïve soul learning from the more confident and self-aware Diana.) However, the real surprise of the film is Wiig who clearly relishes the opportunity to take on the role of villain. Known for her comedic work, Wiig’s performance feels familiar at the film’s outset as the awkward and self-conscious Barbara Minerva. However, as the film progresses, Wiig truly settles into the role, imbuing Barbara with a dark ambition that makes her a suitable foil for Gadot’s Diana.

Whereas the film’s ‘period setting’ admittedly felt gimmicky when details of the sequel were first announced, it’s extremely appropriate for the film. Set at the height of the ‘Me Generation’, WW84 makes good use of the psychology of self-improvement and selfishness that defined the 80s. Drenching the film in golden colours throughout much of the film, Jenkins leans into this notion of self-indulgence by creating a visual world of luxury that would make King Midas jealous. At a time of financial excess and an obsession with the ‘image’, this was an era that sought to teach us that who we were was never enough and to always reach for more. (“Life is good, but it could be better,” Lord repeats.) 

However, without giving away any spoilers, it’s worth noting that WW84 recognizes the damage of this greediness and its effect on others. For every wish that’s fulfilled, there comes a cost to be paid by the person who makes the request. The more one leans into their own selfishness, the greater the impact on those around them. As such, the film calls for global humility in order to survive and serves as a reminder that self-sacrifice is required by all in order to heal the world. (Again, a much-needed commentary during the current pandemic.)

Fun and enthusiastic, Wonder Woman 1984 sparkles with joy. Rather than use the sequel to create a ‘darker’ entry into the franchise, Jenkins continues to allows heart, love and reason to win the day. In essence, WW84 is a film about finding contentment in the moment despite our circumstances and working together to build a brighter future.

And, in 2020, what more could you want?

“Wonder Woman 1984” 4K UHD Combo Pack and Blu-ray includes special features “The Making of Wonder Woman 1984: Expanding the Wonder,” “Gal & Kristen: Friends Forever” and “Gal & Krissy Having Fun” about its two stars; “Small But Mighty,” two scene studies, “Meet the Amazons,” the “Black Gold” commercial; a gag reel; and the WW1984 retro remix.

I Am the Night – TV Noir

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“Some stories you can’t tell. Some stories don’t want to be told. Some stories will eat you alive.”

TNT’s limited series I Am the Night is a large dose of noir for the small screen. It is moody and ominous, but with a certain moral light flickering amidst overwhelming darkness that envelops the story. It is the kind of story that will eat the characters alive. Produced by Patty Jenkins (who also directed three episodes) and Chris Pine (who also stars), it is based on the true story of Fauna Hodel with ties to Los Angeles’s most notorious unsolved murder. Perhaps because I saw the first episode on a big screen during AFIFest, I note a cinematic quality to the series that makes it seem bigger than expected for a TV series.

When sixteen year-old Pat (India Eisley) discovers that her mother (Golden Brooks) has lied to her about where she came from and that her real name is Fauna Hodel, she sets off to L.A. to connect with her “real family”, her mother Tamar Hodel and her grandfather Dr. George Hodel (Jefferson Mays).

At the same time, we meet a washed-up journalist, Jay Singletary (Pine). Singletary is trying to prove himself worthy of a job, but his alcoholism, drug use, and PTSD and moral injury from his time as a Marine in Korea compound to make it hard for him to cope with life. He is haunted by the story that destroyed his career and by the ghosts from his past. Singletary is in many ways a broken man, but he also has an idealistic approach to his job, looking for the truth, even when facing corruption and power. (While the series is “based in real events” as told in Fauna Hodel’s memoir, Jay Singletary is a composite character.)

As the story progresses from week to week, Fauna and Singletary discover that each can help the other in their quests—her for family, him for redemption through the truth that everyone refuses to see. They are not so much partners in their endeavors as two people who use each other to accomplish parallel goals. Yet in the end, what connects them is their survival in the face of monstrous evil.

Set in 1965, we see an LAPD that is corrupt and violent. (This is the year of the Watts riots, which we see briefly later in the story.) The truths that both Fauna and Singletary seek to uncover run afoul of the powers behind the corruption. Those powers are far more concerned with maintaining the way things are than the truth that could tear them apart. Issues of racism, truth, and identity play out over the course of the series.

Noir often sees the world as a place that is generally filled with evil. That is true of I Am the Night. At the end of the first episode we hear a warning about Dr. Hodel. As the story progresses from week to week, he becomes an ominous presence. We quickly see him as creepy, but step by step he becomes the embodiment of darkness that deepens each week. Each episode brings a new revelation and new depravities to keep us involved and a bit off-balance as we await the next installment.

Just as Dr. Hodel keeps darkening, we begin to feel more hopeful for Singletary, who in spite of his many flaws, continues to hold to an ideal of goodness. We may well understand him as a knight in very rusty armor. He is relentless in the face of physical beatings and his own emotional demons grow from his belief that the evil that fills his world must be defeated. It is the goodness that comes from such flawed characters that brings hope into the dark world of noir. Eventually a character can say, “I think there is grace here… if you can find it.” The grace that is to be found in I Am the Night is not warm and fuzzy, but as is often the case in life, the ability to see the small bits of goodness in an evil world.

Friday at AFIFest 2018

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Welcome to Hollywood and the AFIFest Presented by Audi. This is an amzing festival that brings together some of the world best filmmakers and new talent bringing fresh voices to the cinema. To be sure, there are more movies than anyone can get to, which makes me appreciate the programmers’ job of finding the best of the best.

I started the festival with what is actually the first episode of a limited TV series. The opening episode of I Am the Night introduced us to two main stories that will come together as the series moves forward. In one, Pat (India Eisley), a light-skinned African-American girl, discovers that she is actually the granddaughter of a rich white doctor in L.A. After a confrontation with the woman who raised her, she sets off to L.A. to find who she really is. Meanwhile in L.A., Jay Singletary (Chris Pine) is a washed-up photojournalist who will do anything to get a picture he can sell. I have no doubt that we’ll discover that what he’s really searching for is redemption. At the end of episode one, things just begin to turn dark and ominous. I’m looking forward to seeing the rest of this six-hour series based in a true story. One of the reasons is that it is executive produced and the first episodes are directed by Patty Jenkins (Wonder Woman). It will play on TNT in January.

In the evening I took in a French film, Non-Fiction (Double Vies), a comedy of relationships from director Olivier Assayas. It is the story of a husband and wife (Guillaume Canet and Juliette Binoche). He runs a publishing house; she is a TV actress on a successful police procedural show. We learn that all the characters are cheating on their partners, all suspect their partners are cheating on them, but does it matter. This is a very talky film, mostly taking place at dinner parties. The main discussion is the shift from old media to new and how that affects our idea of truth. More importantly, it questions how, in a post-truth world, we might think our subjective desire of reality may be more important than reality itself. There is a great deal of cynicism as the film plays out. I can’t find a North American release date for this, but I’m sure we’ll get a chance to see it in theaters.

A Wrinkle in Time: Put on Some Glasses

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Mrs. Which and Meg Murry work on finding balance.

“It was a dark and stormy night.”

Thus begins the 1962 Newbery Award-winning novel A Wrinkle in Time, written by Madeleine L’Engle. Over the years, this coming-of-age fantasy about Meg Murry and three oddly-named witches has captivated the thoughts and imaginations of millions of children worldwide. In Disney’s new adaptation of A Wrinkle in Time, Director Ava DuVernay (Selma) has taken L’Engle’s vision and created a dazzling tale of hope and love fit for today’s younger generation.  We adults might find something to take from it as well—if we view the story from the eyes of a child.

A Wrinkle in Time is a very challenging work to translate from page to screen.  It has a heavy scientific focus, takes place on numerous planets, contains fantastical creatures, and personifies the constant battle between darkness and light in an abnormal manner. There are a lot of missteps that can occur along the way, as Disney themselves learned when they attempted a direct-to-TV adaptation of Wrinkle in 2003.  L’Engle’s thoughts? “I expected it to be bad, and it [was].”

I’ve learned over the last few weeks how few individuals have actually read the book (DuVernay and Oprah Winfrey only read it before accepting their roles in the film), so to assume knowledge of the basic plot isn’t a good idea. So here’s a quick summary:

A young girl named Meg (played by Storm Reid) has to deal with being a misunderstood child while living in a home with her two scientist parents (Chris Pine and Gugu Mbatha-Raw) and her brainiac younger brother, Charles Wallace (Deric McCabe).  Four years after her dad goes missing while attempting to discover a new method of time travel, Meg and Charles Wallace are visited by three beings—Mrs. Whatsit (Reese Witherspoon), Mrs. Who (Mindy Kaling), and Mrs. Which (Oprah Winfrey)—who tell them their father is alive and take them on a trip across the universe (along with Calvin O’Keefe [Levi Miller], a student at Meg’s school) in an attempt to save him from IT, the embodiment of evil in the form of a pulsating human brain. Along the way, Meg learns much from the three beings about faith, love, and life itself.

Which is which? (L-R: Mrs. Who; Mrs. Which; Mrs. Whatsit)

In the film, Reid admirably shows Meg’s sensitivity, uncertainty, and fortitude of someone coping with the loss of her father and her desire to get him back, though she doesn’t know what she’s capable of.  School isn’t easy in general, much less when you’re picked on and harassed by other kids as well as the principal.  Meg is a storm (pun intended) waiting to be unleashed, which aptly depicts the opening line of the book. The beings—happy-go-lucky Mrs. Whatsit, wisdom-spouting Mrs. Who, and sage Mrs. Which, encourage Meg and her group along the way.  They’re “in search of warriors . . . who can bring hope back.”  Witherspoon shows some comedic range as Whatsit while Winfrey comes across as larger than life–literally at times.  Kaling’s Mrs. Who isn’t given enough to work with and falls a bit flat for me.  Zach Galifianakis, as the Happy Medium, provides some levity to the film.

But for me, the film rises and falls on the shoulders of 5 year-old Charles Wallace.  McCabe doesn’t disappoint, absolutely stealing every scene he’s in.  He’s charming, ebullient, and when possessed by IT, powerful and frightening. Pine’s portrayal of Dr. Alex Murry is scientific yet human; he gets to experience some of the same harassment Meg feels.  It makes their reunion more touching. Mbatha-Raw provides necessary realism in her marriage to Dr. Murry through a number of flashbacks, but doesn’t do much else.

Wrinkle’s set designs are varied and interesting, from the earth-like majesty of Uriel to the claustrophobic confines of CENTRAL Central Intelligence. Her costume choices for the witches are majestic yet unique, as Winfrey sports jewels for eyebrows and Kaling’s Mrs. Who has a familiar phrase embroidered all over her outfit (see Isaiah 41:10). Witherspoon’s character, true to form, looks like she grabbed some sheets off Mrs. Buncombe’s clothesline and fashioned a dress from them.

DuVernay is willing to take some significant risks with the movie, which is a fancy way of saying that purists of the book will mostly be happy, but not with everything.  The scientific aspect is played up heavily, to fantastic effect in Camazotz (the bouncing ball scene is appropriately scary and nervy). Mrs. Whatsit’s transformation into a unicornish beast on Uriel in the book becomes something akin to a leafy stingray (impressive-looking nevertheless).  Fortinbras the dog makes an appearance, but Meg’s twin brothers Sandy and Dennys do not.  Aunt Beast is basically nowhere to be found.

The faith aspect was a major part of L’Engle’s book, as she directly quoted passages from the Bible in sections. You’ll hear a more universalistic view on faith in the film as Mrs. Who quotes Gandhi, Buddha, and even Outkast. I would’ve loved a piece of Scripture in there to balance things out a bit, but perhaps the point to be made is to look deeper for the truth—just like Meg has to do in finding her father and combating the IT (there is one particular scene that may give those below the age of six [6] nightmares—parents be warned).  Sometimes we have to believe before we can see, and as we get older, we have a more difficult time accomplishing this.  There’s a reason Jesus said that “whoever does not receive the kingdom of God as a little child will by no means enter it” (Mark 10:15).

This, in my opinion, is why DuVernay said the film was geared to kids age 8-12—not adults.  It also explains why my 15-old daughter enjoyed the film more than I did.  Adults are likely going to see Wrinkle in a different light than their younger counterparts–and possibly pillory DuVernay in the process.  But perhaps the right thing to do is step back, take a deep breath, and view A Wrinkle in Time through the lenses of Mrs. Who—lenses that remind us that children are the future and they will realize their potential before we know it (see: survivors of the Parkland HS shooting in Florida).  And if we do, we’ll realize L’Engle (and DuVernay) have created works that have a whole lot more to offer than at first glance.

Special features include bloopers, deleted scenes, music videos (DJ Khaled with Demi Lovato, Chloe x Halle), commentary from DuVernay, Jim Whitaker, and Jennifer Lee, and a making of featurette starring DuVernay, Oprah, and other members of the cast and crew called “A Journey Through Time.”

Wonder Woman: 2017’s Best Film?

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Wonder Woman is the film that we need. In fact, in the midst of a depressed box office (good films are harder and harder to find), Wonder Woman stands out as my favorite film of the year with only three months left to go.

Diana Prince (Gal Gadot) is raised by her mother, Queen of the Amazons Hippolyta (Connie Nielsen), in the cloaked, royal confines of Themyscira (or Paradise Island). Taught to fight by her aunt and the general of the Amazonian forces, General Antiope (Robin Wright), Diana longs to do battle in the ways her legendary mother did. Lured by the legends of the Greek gods, Diana wants to be a warrior, even while her mother tries to protect her from the “world of men” that exists outside. With these childhood stories, Diana learns about the long-ago defeat of the God of War, Ares, and the ancient battle between the gods that founded the Amazons as defenders of the world of men.

When Captain Steve Trevor (Chris Pine) crashes his plane in the waters of Paradise Island, Diana and the Amazons are drawn into the events of World War I as it is drawing toward a peaceful armistice. But in Europe, General Ludendorff (Danny Huston) and his henchwoman, Doctor Poison (Elena Anaya), are developing a poison that would swing the force of the war back into Germany’s favor. Dreading that Diana’s involvement in the affairs of men would attract the attention of Ares who she assumes is involved, Hippolyta forbids Diana from leaving; certain that her training has prepared her for a moment such as this, Diana leaves Themyscira, headed for London and beyond.

Directed by Patty Jenkins with cinematography by Matthew Jensen, the film is lavishly shot – in Italy for the first third of the film taking place on Themyscira and in London’s King’s Cross Station and Trafalgar Square for various scenes in the second and third segments. Painted beautifully in bright colors on Themyscira, the drab grays and greens of London and the battlefield stand in even harsher contrast to the peace the Amazons maintain. These visuals only serve to reinforce the Diana-in-the-world-of-men experience: she’s as much a fish out of water as Captain America post-deep freeze in the present.

By comparison, this is DC’s best superhero film in nearly a decade, with Batman Begins as its most recent DC counterpart, because Wonder Woman is the best superhero film, the best origin story, that DC has told since then. But Captain America: The First Avenger is its closest counterpart because of the tones in which WW and CA paint their heroes as stalwarts of virtue and principle in a world threatening to implode due to violence and hubris.

Into this world rides the naive Diana, bent on fulfilling her people’s obligation to defend the world of men, and Trevor, deeply affected by the evil and violence he has seen as a spy. Together, apparently at first as an aside, Jenkins moves them in closer and closer concentric circles as their love and admiration for each other grows, even as they develop a romance that crosses cultural categories. In the main frame, Trevor recruits the diverse ‘crew’ of Sameer (Said Taghmaoui), Charlie (Ewen Bremner), and Chief (Eugene Brave Rock), to assist Diana in her quest to track down the heart of World War I. [She’s sure that Ares is masquerading as a man, namely Ludendorff.]

Together, this “crack” team of misfits and warriors will stand against the German war machine. It’s incredibly telling in its perspective of mission, justice, peace, and virtue – in a way that too many superhero films have gone away from. Rather than ‘muddying up’ Diana’s virtue, her principles become inspirational – and powerful – because she is true to who she is. In that way, Wonder Woman is the first superhero movie film that truly inspires, because Diana/Wonder Woman is the hero of old, and probably the one that we need. She’s the embodiment of “good” and the bridge between gods and the world of men. It’s what makes Wonder Woman a must-see film, with power and responsibility to inspire.

Wonder Woman is an epic film, building mythos and theology, full of spirit and heart, with lessons for today about heroism, sacrifice, belief, and responsibility. Finally, DC has delivered its first win in a decade, while pushing a woman to the front of the pantheon and crowning her queen.

****For more …. read below the break… but be aware SPOILERS ENSUE!****

Wonder Woman presents a Greek mythology, tinted by the Judeo-Christian worldview. While she grows up believing she is an “Adam,” shaped by Hippolyta out of clay, she is in fact incarnational – god among people. In that twist, from ‘old school’ comics to New 52 stuff, Diana’s purpose, responsibility, and connection to the divine/greater universe, broadens with that knowledge, instantaneously. In the process, she’s wrestling with Trevor, a man who wants to know he can be redeemed but who wonders if he’s lied, killed, and stolen his way into judgment. Diana becomes the physical embodiment of grace – because of who she is and because of what she does.

The innate goodness Diana possesses – leaving the island because it’s her duty to concern herself with the lives of men, tackling a trench worth of German snipers to save a village, refusing to bow to the presence and lures of Ares – permeates and inspires Trevor in his final mission. But his love, sacrifice, and desire for redemption proves the love that ultimately serves as the thesis for the film. The two of them ultimately end up believing in each other. In the final articulated argument between Ares and Diana, Diana “chooses love,” believing in the innate goodness of people to choose justice and sacrifice, when she is tempted to use her powers to obliterate men for their inclination to war.

The gods’ argument over the souls of man proves to be a conversation about TULIP and creation in the image of God discussion worthy of contemporary-ish theologians Johns Calvin and Wesley. Is man truly evil, destined by the fall to be fully corrupted? Or is man created good and perfect in the image of God the father, corrupted by original sin, and waiting to be redeemed? Ares wants one to be true, while Diana believes the other; her belief stems from her experience of one such man, Steve Trevor, who proves both saved and savior in his own way.

While Ares is “Satan” to Zeus’ Father God, proposing that people are twisted and evil, Diana comes as the Christ figure who is willing to set aside her place at the god table in Themyscira and serve the very humans who should worship her. By her example, she proves worthy to be worshipped – in the praise of those below the church steeple after she disarms the sniper in the village and again at the end, as the soldiers from both sides praise her – and one even takes a knee.

On the Blu-ray Combo Pack, Warner Bros.’ special features include the extra scene, “Epilogue – Etta’s Mission,” commentary by director Patty Jenkins, extended scenes, and a blooper reel.  The mission to take Wonder Woman back to the screen, the big screen for the first time, gets a look in “Crafting the Wonder” while Jenkins also shows her view of the material in the series of featurettes on Themyscira, the battle between the Amazons and the Nazis on the beach, and more.  There’s also a look at the Amazon army in “Warriors of Wonder Woman” and the stature of Diana next to Superman and Batman in “The Trinity.” There’s also a celebration of the decades of Wonder Woman’s character through the eyes of notable public figures in “Finding the Wonder Woman Within.”

3.22 Celebrating WONDER WOMAN

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This week, Steve welcomes actor Amanda Jane Smith and pastor Judith McCartney to enter into the battle with Patty Jenkins’ Wonder Woman.  While the film has scored with both critics and fans, there seems to be something much more significant about this particular moment.  Is it true that Diana’s story provides a proper role model for young women?  Does the strength of her character really create something unique or is there a veiled sexism at the hands of the male gaze?  In a lively discussion, they dialogue about equality, feminine identity and the nature of evil.

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.

3.22 Wonder Woman

A special thanks to Amanda and Judith for joining us on the show!

Hell or High Water – Brothers at Arms

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hhwThe neo-Western Hell or High Water is one of the funniest, saddest, most exciting, thought-provoking films I’ve seen this year. Wrapped around the story of two brothers’ attempts to rob banks, this wildly different film shares their relationship, the saga of the nearly-retired Texas Ranger on their heels, and the way that the U.S. economy plays a part in their story. It’s a must-see film of 2016, and one that you can now bring home on Blu-ray, DVD, or digital.

Desperate, divorced father Toby Howard (Chris Pine) throws in with his wildly spastic ex-con brother, Tanner (Ben Foster), starting a spree of bank robberies at branches of the Texas Midland Bank. Their plan seems flawless (doesn’t every heist film seem flawless at the beginning) but Tanner’s growing restlessness (and unnecessary penchant for violence) begins to grate on Toby – and threaten their plan. Meanwhile, the eccentric Marcus Hamilton (Jeff Bridges) leads his partner, Alberto Parker (Gil Birmingham), closer and closer to capturing the two. [Of the other actors on screen, Katy Mixon’s turn as a diner waitress is a scene stealer.]

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The rapport between the two blood brothers, and the two brothers-at-arms in the Rangers, lends itself to a more intimate film. It’s a close-up on the robbers, and on the cops, but it shows the way that the concerns the pairs have are similar. [Note how the pictures of the two sets of men lay out nearly identical to each other.] They want security, friendship, and trust; they want to believe that their lives have meaning and purpose. But somehow, the violent streak of Foster’s Tanner seems to lurk like a threatening villain off in the corners. And ultimately, that violence takes a turn (as all of Foster’s roles do) that spins the course of the story off in a different direction from the feel-good Robin Hood vibe we have up until that point.

Until violence completely breaks out, we’ve been lulled into nearly believing that there are no victims because the big bank is really the villain; we can believe that we see ourselves in Toby and Tanner as decidedly upset with the way our economies are unraveling or that we’re just like Hamilton, hoping to retire gracefully when the time comes, just not yet. But we shouldn’t be surprised that somehow Taylor Sheridan’s (Sicario) script is both realistic and terrifying at the same time, at least if we’ve seen that Denis Villenueve thriller.

hhw3Somewhere along the way, we recognize that Tanner can’t settle for the same things Toby and Hamilton want; there’s just something off about him. But we recognize in the way that the storyline plays out that both sets of brothers would do whatever it takes for their loved ones, that they would lay their lives down for their friends. It leads us to reflect on what we would fight for, how we define justice in an unjust world, and where we would go (and what lines we would cross) if our lives were on the line.

On the special features included in the home media releases, fans of the film can see how the characters of the film were developed in “Enemies Forever”; the look of the tan-and-green backdrop to the dusty America our robbers inherit gets unwrapped in “Visualizing the Heart of America”; and the way the cast delivers the story gets a spin in “Damaged Heroes.”

The Finest Hours: Follow The Light

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finesthours1

Off of the coast of Cape Cod in 1952, two oil tankers were split in half by a giant storm, but only one of them had a chance to send out an S.O.S. As the main Coast Guard unit worked to rescue those on the first ship, SS Fort Mercer, a handful of men left the Chatham, Massachusetts, station to conduct a suicide mission in an effort to save the thirty-three crewmen aboard the SS Pendleton.

The Finest Hours is the story of these men.

Director Craig Gillespie’s film shines a backdrop into the life of Bertrand Webber (Chris Pine), a quiet man who is too meek to ask the love of his life, Miriam (Holliday Grainger), to marry him or to speak up when he’s being bullied. We know that Webber’s last mission ended disastrously, and some in his community still blame him for the loss of life. But now, Webber has a new boss from out of town who doesn’t know the history (or the waters) in Daniel Cluff (Eric Bana) and he’s sent out to save the men of the Pendleton, even when all of the locals know that it can’t be done.

Aboard the Pendleton, Ray Sybert (Casey Affleck) tries at first to avoid the destruction of his ship, and after that, he does everything he can to save the crew. With only half of a ship to navigate, he aims to run it aground, but his biggest problem may be in the selfishness of loudmouthed Seaman Brown (Michael Raymond-James). While Sybert refuses to believe in luck, Brown says that each of the men must fight for themselves, that abandoning the ship (and therefore, community) is there only way of survival. But Sybert and Seaman Quirey (John Ortiz) hold to hope – and prayer – that rescue will be possible.

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While the film has a bit of a Perfect Storm feel to it, there’s quite a bit of the Walt Disney underdog going on, too. Webber is someone we want to root for, even while Miriam proves to be both the force and the light that drives him. They banter early on about how “not everyone comes back,” and we’re told that this might be about marriage or it might be about the Coast Guard (to chuckles from the audience). But either way, we’re clear that this is a story of romance and marriage forged in a dangerous cauldron of real-life and experience. Yes, there are moments we wish might be more potent but it’s based on a true story.

Sitting at approximately 50% on Rotten Tomatoes, The Finest Hours might be one of the purest of stories. Sure, it’s not groundbreaking or mind-blowing, but it’s the kind of story Unbroken was: it’s based on a true story that should carry its own weight. Four men facing certain death went out into the dangerous night for the infinitesimally small chance that they might rescue thirty-three. Call it “duty,” or “courage,” “honor,” or “redemption,” what they did was extraordinary.

Webber is urged to turn back, even ordered to, but he knows who he is on the sea – even when he doesn’t know who he is on the land. He goes boldly out even while others urge him to fake it, to do just “enough.” He goes out without a plan for how to get back because that isn’t his call. And because he goes out, he inspires others as well. [This is a fair point for Sybert, too, to be fair.]

There are plenty of smaller points to be made – the bits about the forgiveness for Webber’s failed mission, or the intelligence and strength of the women who stand behind their men to create a community of salvation for others, or the way that four men answer a call while others put their heads down and turn away – but the image of the light which shows us “home” shines as the brightest image of the film.

When we get lost, how do we get back? It’s no GPS or bread crumbs, but the illumination that shows us how to return. As Sybert says, “it’s not luck,” but guidance, profound and spiritual – lit up by the love and blessing of a God who overcomes all and works in all for our good. Is there danger? Yes. Suffering? Yes. But in the end, it’s the prayers that are accompanied by faith and work in community that see us through – as they do these men. When we look down, away, wildly about, yes, we sink like Peter  – but when we stay focused on the Light, we can find our way, ultimately, home.

Trailer: Star Trek Beyond

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The first official look at the new Star Trek film, set to be released this summer, was like a Christmas miracle to Trekkie fans overwhelmed with Star Wars hoopla. A small gift to the fans of the other Star franchise. Here is the trailer for Star Trek: Beyond.

Go ahead, it’s okay, take another look.

Here’s a small attempt to unpack what’s happening in this minute and a half of footage.

What’s Happening to the Enterprise? 

As Kirk (Chris Pine) narrates, “We have no ship. No crew. How are we gonna get out of this one?” we see the Enterprise being attacked. Not only that, it begins to break apart. Something has gone wrong, terribly, terribly wrong. And it appears that the crew is stranded and separated from one another. Some appear to be injured, and other captured.

The crew appears to be just as broken as the Enterprise.

A look at the villain.

We finally get a glimpse at Idris Elba as the villain. He is unrecognizable.

Star Trek Beyond

In the voiceover he says, “This is where it begins, Captain. This is where the frontier pushes back.” We can assume that Elba’s villain is the one capturing the crew (and everyone else in that scene). But why?

A New Alien

Sofia Boutella plays a new alien whose name is not yet known. But based on the trailer, she plays an important role in the story.

Star Trek Beyond New Alien

Where’s Spock?

In one scene, Spock and Dr. McCoy are being surrounded. McCoy says, “Well, at least I won’t die alone.” As soon as he says this, Spock is beamed somewhere else. But where? McCoy’s response is typical McCoy: “Well, that’s just typical.”

Overall, it looks like a film in the same thread as the other two Star Trek films from J. J. Abrams, who is getting a lot of attention right now in light of Star Wars The Force Awakens.  Perhaps the biggest clue to what may be happening in this new film is the soundtrack for the trailer. The whole thing is set to the Beastie Boys’ “Sabotage.”