ScreenFish

where faith and film are intertwined

Daniel Bruhl

7.19 Diverse Heroes in THE FALCON AND THE WINTER SOLDIER

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With the release of The Falcon and the Winter Soldier, Marvel finally begins to grapple with one of the most pertinent questions after Avengers: Endgame: Who will take on the shield of Captain America? However, at the same time, the latest series on Disney+ also tries to delve into the much larger issues of American history and racial inequity. This week, Seun Olowo-Ake and Heather Johnson return to tackle questions regarding murky morality, the importance of new perspectives and the battle for the American soul.

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

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

7.19 The Falcon and the Winter SoldierDownload

The Cloverfield Paradox: When Action Impacts All

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I don’t do horror movies.

I don’t do loud clangs, shrieks, or shadows that jump across the screen. I especially don’t do creepy sci-fi films. Movies that mess with time, reality, or my basic understanding of physics (which is very, very basic) rarely make it to my queue. In all seriousness, George of the Jungle is one of my all-time favorite movies if that says anything about my standards.

So it probably isn’t a shock I’ve not seen the previous Cloverfield films or a single episode of Lost. And yet here I am, contributing today regarding The Cloverfield Paradox, the Netflix release of J.J. Abrams’s newest Cloverfield installment.

Yeah, I don’t know how I got here either. But since I did, let’s roll with it. I’ll keep it spoiler free too…if anything because I’m not exactly sure what I witnessed.

Despite my nonchalant “sure I’ll give it a go” attitude, I was hooked 6 minutes in. With the world on the verge of self-destruction, tensions high across nations due to dwindling energy resources, Ava Hamilton (Gugu Mbatha-Raw is a-mazing) accepts a position on an international mission to do something I can only describe as “mine” energy from space. And it’s a truly international crew, so props to Abrams for bringing together the cast of David Oyelowo (Kiel), Daniel Brühl (Schmidt), Ziyi Zhang (Tam), John Ortiz (Monk), Chris O’Dowd (Mundy), Aksel Hennie (Volkov), Elizabeth Debicki (Jensen), and Roger Davies as Michael. The cast makes this movie.

Of course, things go horribly wrong once they finally harness the needed energy after two years of unsuccessful attempts. Cue lots of banging, fires, and the beginning of creepy things. I admit there might have been a scene or two where I had to close my eyes – the sounds were enough and one scene in particular involved worms. Just… ew. No.

Once the initial “avert my eyes,” scenes cycled, I was sucked right back in. How does Jensen know Hamilton? What is Mundy’s arm up to? Where did the Earth go? Like I mentioned in the beginning, I tend to steer clear of movies that propose alternate realties and concepts such as there is a second Earth, with a second crew, trying to solve for the same problem but within a very different reality. But I was so wrapped up in Hamilton and the crew, I found myself actually engaged.

Now I have seen enough non-jittery science fiction to confidently say that there are plenty of “standard sci-fi movie moments,” like fires, crashes, doors getting stuck, people dying, and “are we losing our minds or is this really happening” conversations. And if you’re an Abrams fan, you’ll also notice his trademark homages to earlier science fiction films, (such as the original Alien movies), his continued exploration of inter-dimensional interactions, and the overall “is this real or not” feeling. So if that combination works for you, I don’t think you’ll be wasting your time if you check it out and move on.

But personally, I kind of sat in an awed state at the conclusion. Not so much because the movie itself was anything spectacular (again, I think the most compelling aspect of it all was the cast), but because I began to consider how my individual actions can affect others.

I’m not versed enough in science to propose any thoughts on the possibility of alternate realities or if my every-day decisions change the fate of another me somewhere across the cosmos. I’m not going that deep here. But I do believe that humanity is designed to crave interaction and relationship, which gives me pause and forces me to think beyond my personal interests and instead about how what I do, what I say, how I act, etc., can impact someone else.

More than likely my actions will never alter the fate of the entire human race. Yet every day I am presented with opportunities to influence the course of any one person’s journey. Not because I have control or am powerful or that persuasive, but because I am a representative of Jesus Christ. How I respond in times of crisis, how I rejoice in times of excitement…even how I greet each person who travels across my path…at any moment what I say or do can be used for help or for harm.

In the book of Matthew, chapter 22, verses 36-40, Jesus is answering the question of “what is the greatest commandment?” To paraphrase, Jesus responds with “love God with everything you have and everything you are, and love others as you love yourself.” For me this means each action I take and each word I speak needs to ladder back up as either loving God or loving others. Even if I don’t “love” the person on the other end of my action, or even know them, I still love God. And my behavior toward that other person is reflective of that love of God.

I’m not saying I have to sit and analyze every detail of my actions and how they might one day a long time from now have a negative impact on some stranger’s life. That’d be practically impossible.  But I am saying that as a Christian, it’s important that I choose my words and actions carefully.

The Alienist – CSI 1896

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“I must follow this wherever it goes, even if it leads me to the darkest pit of hell.”

We’re used to police procedural TV shows that include forensic science (including fingerprints and autopsies) and psychological profiling. But there was a time when such things were not commonplace in solving crimes. That is the world of The Alienist, based on the Caleb Carr novel, (Carr also wrote the first two episodes of the series which I was able to preview.)

The series is set New York City in 1896. A boy prostitute has been found murdered. Hearing of the circumstances, Dr. Laszlo Kreizler (Daniel Brühl) sends John Moore (Luke Evans) an illustrator for the Times, to capture the scene. Kreizler is certain that this is the work of a serial killer and that he can use his skills as an Alienist (what we would call a psychologist today) to find the killer. The police are indifferent, at best. Most are completely disdainful.

New police commissioner Theodore Roosevelt (Brian Geraghty) wants to reform the corrupt NYPD. He encourages Kreizler to conduct a parallel enquiry outside of the police department. Kreizler is joined by Moore; Sara Howard (Dakota Fanning), a secretary in the police department; and Marcus and Lucius Isaacson (Douglas Smith, Matthew Shear), two detectives with a scientific outlook. They set out to follow the evidence that their innovative theories provide.

As the subject matter would suggest, there is a great deal of darkness. It is not limited to killings, but also is reflected in the much harsher world that existed at the time. The police are brutal and corrupt. Brothels were commonplace (and Moore regularly frequents on). Antisemitism is the norm. I think what I appreciated most in the first two episodes was the ability to create the time and place so well. (The series filmed in Budapest to provide a semblance of 19th century New York.)

The term alienist reflects the view that those with mental illness were “alienated’ from their true nature. But it is also the case that the characters in this story are alienated from society in various ways. The principals in the series are each in their own way an outsider. Moore, a journalist, is disdained by police. Kreizler is a practitioner of a strange new discipline. Howard, as a woman, is deemed unimportant and powerless. The Isaacsons are Jewish and so not trusted by others in the police. Even Roosevelt with his power is an outsider within the police department, seen more as a threat to the status quo than really part of the department. Because they are not part of the police culture, they will face additional obstacles, but also be able to bring different perspectives to the task.

The first two episodes are essentially table setting. We meet the characters, see the crime, and the group is formed to set out on the task. The mystery solving is only just beginning.

Having seen only two episodes I am left to guess where the series will lead. But I expect that the theme of alienation will continue to be advanced, as will the idea of the darkness that fills the world. There will likely be many contrasts, including rich and poor, and graft and honesty. I suspect the darkness will not be limited to whoever is going around killing boy prostitutes, but also include the darkness within the so-called proper people of society. Those that look the other way. Those who think what happens to the underclasses is unimportant. I suspect that the “darkest pits of hell” to which Kreizler and the others will encounter will not be limited to the criminal world.

Photos courtesy of TNT

The Zookeeper’s Wife – Providing Sanctuary

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“I don’t belong here. They don’t belong here. You don’t belong here.”

The Zookeeper’s Wife opens in an almost Edenic world. Jan (Johan Heldenbergh) and Antonina (Jessica Chastain) Zabinski live on the grounds of the Warsaw Zoo, where Jan is the head zookeeper. Their son sleeps with lion cubs. When Antonina bicycles around the zoo, a young camel runs along with her. It is a happy and carefree existence. Not quite carefree, because war is looming. The serpent of this Eden is Lutz Heck (Daniel Brühl), the visiting head of the Berlin Zoo. He is obviously taken with Antonina, but claims he isn’t involved in politics.

When Germany invades on September 1, 1938, beginning the Second World War, the zoo is bombed with the rest of Warsaw. Animals are loose and in fear. Many are killed. Soon Heck is back, in an SS uniform, to take control of the animals, to ship the best to Berlin (for “protection”) and to try to use the zoo’s bison to breed long extinct aurochs (a reminder of the Nazi’s concern with eugenics and scientific exploitation). But soon, the Germans are forcing Jews into the Ghetto, and perhaps worse fates await.

The Zabinskis at first secretly harbor Antonina’s best friend, but as the world inside the Ghetto gets worse, they ask the Germans for permission to use the zoo as a pig farm to feed troops, and to feed the pigs with garbage from the Ghetto. Each day Jan goes to pick up the garbage, and smuggle out some of the Jews who are given refuge in the zoo. Through the years, over 300 persons made their way to the safety of the zoo. The Zambiskis, of course, are risking their lives by doing this. They not only provided safety; they provided friendship and even a bit of culture. Each night after the German guards left the zoo, Antonina would play the piano to let those in hiding know they could come out. That time became almost like an evening salon of conversation and companionship.

The film is based on a book by Diane Ackerman, which is a more extensive telling of the Zabinskis’ true story. As is often the case, time constraints require that things are often left out in adaptations of books. Here, we get very brief glimpses of parts of the story, such as Antonina’s pregnancy and Jan’s going off to fight with the Resistance, leaving Antonina alone to deal with their guests.

The Zabinskis’ decision to harbor as many Jews as they could was a courageous act—and a very illegal one. They were well aware of the threat that the Germans represented—both to the Jews and to those who harbored them. Yet, for them, the humanity of their neighbors took precedence over the laws that history has shown to be abhorrent. The idea of offering sanctuary to those in danger has a long history—and continues to be a valid question for people today. We live in a world filled with refugees of various kinds. Many have a difficult time finding a safe and welcoming place. More and more nations are closing their borders to those in need—or seeking to deport those already here. Some—including many churches—are seeking ways to provide a haven for those in need and fear. Stories from the Holocaust, like this one, are a reminder of how important those havens are.

Available July 4 on Blu-ray, DVD, and On Demand; available now on Digital HD. Special features include deleted scenes, the making of the film, and a look at the Zabinski family. 

 

 

Captain America 3.0: Dents in the Armor #SPOILERS

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captain2A year ago, as ScreenFish was born, we rallied to cover Avengers: Age of Ultron. I had glowing things to say about this popcorn genre film that reached for the stars and shared a vision of our humanity. A year later, Marvel/Disney dropped close to our anniversary, and my partners in crime were awestruck.

I, on the other hand, refuse to drink the Marvel Kool-aid. Without further ado, here’s my dissection of the film- it’s not for the faint of heart (or those trying to avoid spoilers.) You’ve been warned.

Yes, there were some high points to the film. Let’s hit those first.

captain3Chadwick Bozeman might be the big winner here. T’Challa has always been on the cool, mysterious side of the Marvel Universe, but as the only character in the film to show a single ounce of character development, I couldn’t be more excited to see the standalone Black Panther film. As one of my fellow theater goers commented, “That’s how you introduce a new character, DC!” [This went better than their use of Nemo (Daniel Bruhl), who suddenly switched from timeless Nazi to low-level Sovakian military. Or the promotion of Ross (William Hurt) from General to Secretary of State. Hello, Red Hulk?]

Tom Holland (Spider-Man) and Paul Rudd (Antman) tie for secondary awards. These two brought the customary Marvel sense of humor and panache to the second half of the film that was missing in the first. [Yes, this also highlights the bi-polar “two parter” segmentation of the film. And the fact that they spent almost 2.5 hours setting us up for a showdown and let the tension dissipate without reconciliation? That’s just poor.] Stan Lee’s cameo here might be his best yet- yes, Tony stank!

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Visually, the film takes us to some cool places – just not as cool as the upcoming Doctor Strange film. There were some solid battles. Crossbones (Frank Grillo) versus Cap’s undercover team was solid [Crossbones was the baddest villain in the film]. While I’m over the good guy versus good guy battles (thanks, Batman V Superman), the final confrontation between our heroes might have actually been one of the best. Again, unfortunately, in a good versus good battle, the writers can’t make us believe that any of them really give up any ground because they need them for their solo outing.

In the comics, the action is caused when a group of rough-around-the-edges superheroes pull a television stunt that ends in tragedy. You might say that Scarlet Witch’s tragic rescue of Captain America carries more direct weight because they’re principal heroes, and I’d accept that. BUT, in the comics, the forcibly divisive law put into place was the Superhuman Registration Act. This is wildly more politically charged than the Sokovia Accords because it was about identity and the families of masked superheroes.

For what it’s worth, it’s interesting to note that the current Republican frontrunner is promoting growing legislation about ‘registration,’ even though Republicans have historically been more interested in local government and individual responsibility. In Civil War, Cap’s questions about responsibility crash into the armor of Stark’s own personal interaction with the mother of a man lost as collateral damage. The head versus heart argument might apply here, but the film doesn’t ask us to care too much about any of these characters in poignancy or emotional depth.

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The Sokovia Accords divides our heroes because of collateral damage, but forces the plot around the Winter Soldier storyline while also ignoring the responsibilities of pro- registration heroes when it comes to innocent lives.

Seriously, Iron Man is infuriated over the death of his parents twenty-five years ago, at the hands of a guy who wasn’t in control of his own actions, but his pet android gets all mushy, paralyzes his best friend, and he ignores the implications? Please. [For the record, yes, comic fans know these two mismatched, star-crossed lovers can tangle, but cooking with paprika was a little weird.]

Seriously, this no-name villain with no powers, no help, no plan, no NOTHING, is able to manipulate two friends who’ve battled universe-destroying, villainous armies into nearly killing each other? At least in Batman v Superman, Luthor had an actual plan, continually manipulated, and had a host of financial resources tied to his character. [No, that doesn’t make B v S a better movie, but it did provide us with a more reasonable explanation of the conflict, and the tension.] Zemo is a weak villain – and one which highlights the Cap versus Iron Man divide.

That leads to my largest frustration of the whole film: that superheroes would turn so dark. I wasn’t thrilled with Affleck’s Batman obsession with taking down Superman, but I wonder where we’ve gotten to when we would actually have people leave the theater on #TeamIronMan? Seriously? This guy was an inch away from killing Cap, and Bucky. Sure, they’re beating on each other, but Cap draws the line at incapacitation. Where’s Iron Man’s line? Is this where we begin to see Marvel delve into his alcoholism? What separates Iron Man from Zemo, as men bent on revenge after a major injustice? Thankfully, Cap can at least look himself in the mirror.

CivilWar571fee863dfd0I am well aware that this film will bust charts (although at my theater, it was nowhere near The Force Awakens) but this film SCREAMED marketing spinoff for some new characters – and obvious sellout for Infinity War. Was it as telegraphed as the T’Chaka hand-on-cheek moment with T’Challa before he’s blown to bits? I’m not sure. But for all its smoke and mirrors, Captain America: Civil War qualifies as the low point for Marvel’s scriptwriting as far as I’m concerned.

Where Age of Ultron challenged us to grow, Civil War simply allows us to sink back into our own baser instincts, without challenging us to see heroism in our ability to grow.

[Oh yeah, and I’m #TeamCap.]