ScreenFish

where faith and film are intertwined

Matt Damon

Comfort Films #5 – OCEAN’S [MAD MONEY]

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When times are tough, what stories do you turn to? Our new series, Comfort Films, is designed to look at the stories that are important to us and why they help bring us up with everything feels down. This week, Allen Chabot and Adam Howard return to chat about the sleek star power of Ocean’s Eleven, coming together in Mad Money and growth in The Truman Show.

You can also stream the episode above on podomatic, Alexa (via Stitcher), Spotify or Soundcloud! Or, you can download the ep on Apple Podcasts or Google Play!

Ford v. Ferrari: Driven to Win

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Based on the true story, Ford v. Ferrari takes us back to the year 1966 when the Ford Motor Company was at a crossroads. Losing money and having failed in their attempt to buy Ferrari, they decide that they ultimate opportunity to turn around their company is to compete against the race cars of Enzo Ferrari at the 24 Hours of Le Mans in France. In an effort to redesign their vehicles for racing, Ford enlists the help of American automotive designer Carroll Shelby (Matt Damon) and fearless British race car driver Ken Miles (Christian Bale). However, with innovation comes new ideas which threaten the status quo and, as a result, the two men must battle corporate interference, the laws of physics and their own personal demons in order to change history.

Shot with energy and excitement, Ford v. Ferrari feels a throwback film to the such classic ‘guy films’ as Days of Thunder and Top Gun at times. Similar to these other films, Ford v. Ferrari shoots its race sequences with vigor, intensity and fun while emphasizing the stakes at hand. Simple and straightforward in its approach, the film is entertaining and engaging with solid chemistry between its characters. Though the entire cast remains engaged throughout the film, it’s really enthusiastic performances by stars Damon and Bale that push the film forward as their brotherly bromance serves as the film’s backbone.

Given that some of his most recent work includes Logan, 3:10 to Yuma and Walk the Line, it should come as no surprise that director James Mangold continues to explores the masculine identity here as well. However, while these other examples seek to explore the complexity of the male ego, Ford v. Ferrari instead celebrate masculine intensity and competitiveness. While women in the film are held with respect, this really is a film about men looking to prove the size and power of their engines. When Henry Ford’s masculinity is threatened by Enzo Ferrari, his immediate response is to crush his enemies on their home turf of La Mans. Meanwhile, within Ford’s company, right-hand man Leo Beebe reminds Shelby who signs the paychecks by insisting that he does things the ‘Ford way’. Money, winning and power are the gold standards in this world as men scratch and claw at one another for dominance.

Christian Bale and Matt Damon in Twentieth Century Fox’s FORD V. FERRARI.

Where the film differs in this approach however is through Shelby and Miles who, although driven to prove their worth on the racetrack, get most excited when invited to create. Their purest joy comes through developing new technology and breaking barriers. Rather than being driven to win, their primary interest in Le Mans is based on breaking new barriers and showing the stodgy old regimes in power that their ideas and improvements matter. For Shelby and Miles, progress and innovation are the ultimate victory. Even though winning the competition at Le Mans is the goal, there is a freedom in their creativity that creates an almost divine sense of joy in these men that gives them life and energy. For Shelby and Miles, hope lies in the challenge of making something new, as opposed to maintaining the status quo.

In the end, Ford v. Ferrari races across the finish line with fun and fervour. While the film does slightly miss an opportunity to explore the fragile nature of the male ego, it also proves highly entertaining and engaging. As a result, solid performances and high-octane energy ensures that Ford v. Ferrari crosses the finish line well.

Ford v. Ferrari recently had its Canadian premiere at the Toronto International Film Festival and roars into theatres on November 17th, 2019.

TIFF ’19: Ford v. Ferrari

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Based on the true story, Ford v. Ferrari takes us back to the year 1966 when the Ford Motor Company was at a crossroads. Losing money and having failed in their attempt to buy Ferrari, they decide that they ultimate opportunity to turn around their company is to compete against the race cars of Enzo Ferrari at the 24 Hours of Le Mans in France. In an effort to redesign their vehicles for racing, Ford enlists the help of American automotive designer Carroll Shelby (Matt Damon) and fearless British race car driver Ken Miles (Christian Bale). However, with innovation comes new ideas which threaten the status quo and, as a result, the two men must battle corporate interference, the laws of physics and their own personal demons in order to change history.

Christian Bale and Matt Damon in Twentieth Century Fox’s FORD V. FERRARI.

Shot with energy and excitement, Ford v. Ferrari feels a throwback film to the such classic ‘guy films’ as Days of Thunder and Top Gun at times. Similar to these other films, Ford v. Ferrari shoots its race sequences with vigor, intensity and fun while emphasizing the stakes at hand. Simple and straightforward in its approach, the film is entertaining and engaging with solid chemistry between its characters.

In the end, Ford v. Ferrari races across the finish line with fun and fervour. While the film does slightly miss an opportunity to explore the fragile nature of the male ego, it also proves highly entertaining and engaging. As a result, solid performances and high-octane energy ensures that Ford v. Ferrari crosses the finish line well.

Ford v. Ferrari recently had its Canadian premiere at the Toronto International Film Festival and roars into theatres on November 15th, 2019.

Ocean’s Thirteen: Shaking Sinatra’s Hand

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Near the beginning of Ocean’s Thirteen, Willie Banks (Al Pacino) muscles Reuben Tishkoff out of his share of a casino, offering Reuben a pittance for his half. Reuben responds:

Everybody said that you would try to screw me. That you done it to every one of your partners. But I defended you. I said, “No! Me and Willy Bank been around long enough… that we both shook Sinatra’s hand. And there’s a code among guys that shook Sinatra’s hand.”

Thirteen is about loyalty. It is about the rest of the “eleven” being loyal to Reuben, and a general “honor among thieves.” Sinatra was known as a celebrity who did not look down on people and genuinely cared about them. He wasn’t like Terry Benedict or Willie Bank, merely using people to get ahead. A couple of quotes on Wikipedia, from an interview in 1963 he did with Playboy, stand out:

I’m for decency — period. I’m for anything and everything that bodes love and consideration for my fellow man.

If you don’t know the guy on the other side of the world, love him anyway because he’s just like you. He has the same dreams, the same hopes and fears. It’s one world, pal. We’re all neighbors.

Sinatra was jaded toward organized religion, but he seems to have a good grasp on how Jesus taught us to treat our fellow human beings. The rumors about his relationship with organized crime persist, by I have the impression if he was your friend, he would be the most loyal friend you could have. People like Bank and Benedict never understand that type of loyalty; they’re, well… Benedict Arnolds.

The phrase “shaking Sinatra’s hand” could also be applied to the movie as a whole. It is the only one of the trilogy which even mentions Frank Sinatra, even though he was the preeminent star of the movie which inspired it. And it is the only movie of the three which includes one of his songs.

Most of the songs Sinatra is famous for are fluff. “This Town” is no exception. As I researched it for this review, I came across the lyrics for a song, also titled “This Town,” by Niall Horan, from the band One Direction. I was amazed how the first verse fit in with the movie.

Waking up to kiss you and nobody’s there
The smell of your perfume still stuck in the air
It’s hard
Yesterday I thought I saw your shadow running round
It’s funny how things never change in this old town
So far from the stars

The first two lines of the song remind us the leading ladies from the last two films are not around. We are told, “It’s not their fight.” Tess and Isabel aren’t really part of the eleven, and are not close enough to Reuben that loyalty would demand they take part. They understand, but neither have liked their partners being involved in criminal activity.

The end of the first verse, however, is just the opposite of the movie. The movie is filled with stars, and a recurring theme is how Vegas has changed—since Sinatra passed on, anyway. Change can either be good or bad.

The first time we run into the word “change” in the movie is when Rusty and Danny get off a private plane. Linus, who is picking them up, asks, “Any change?” He is asking about Rueben’s condition. Reuben has had a heart attack after being cheated by Bank. He has given up hope.

In a flashback, Bank tells Reuben, “The arrangement is changing. Was changed. As a matter of fact, there is no arrangement.” When he is given a casino chip with the words “The Bank Casino” on it, Reuben laments, “You changed the name.”

Bank wanted to effect a change that would devastate Reuben. His friends wanted to affect him in a way that would bring a positive change. Their constant encouragement—especially from their letters—brings him back. Reuben’s health and attitude following adversity changes for the better. His financial situation will also change for the better at the end of the movie.

In a sequence with reminiscences about how kind Reuben was to them, Rusty and Danny remember what Vegas used to be like. Not all change is good. Bigger is not always better.

Rusty: The Sands was there, Desert Inn.
Danny: They built them a lot smaller back then.
Rusty: They seemed pretty big.
Danny: Town’s changed.

At the end of the movie, as Danny talks to Bank about what a rough night the casino owner had (“half a billion running out the door”), Bank retorts that he will quickly bounce back; Danny hasn’t really hurt him. “This town might’ve changed, but not me.”

Bank thinks his unchanging ruthlessness will save him. What he doesn’t realize is the way he treats people has earned him enemies, and Danny’s loyalty has earned him friends. As Danny tells him, “…you shook Sinatra’s hand. You should know better, Willie.”

In the other two movies, after the “bad guy” is taken down, the guy gets the girl. In this movie, the bad guy is left with the girl, and her fate is probably not good. The role of women in the Ocean’s movies is, at best, problematic. Tess and Isabel end up partners with criminals, although Danny and Rusty are at least loyal criminals. Not the worst choice the ladies could have made, but not exactly a wise choice, either.

Abigail Sponder (Ellen Barkin) not only works for the worst of the bad, but she allows herself to be manipulated into unknowingly betraying him. She is a specimen of two of the worst stenotypes of women: both the heartless bitch and the oversexed slut. As the only major female character in the film, this is a travesty.

This weekend, Ocean’s 8 opens with the title roles all being portrayed by women. Will this movie redeem the legacy from its sexist past? We shall see.

Suburbicon: Neighbourhood Disturbance

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There goes the neighbourhood…

Directed by George Clooney, Suburbicon is a satirical look at the suburban world of the late 50s, as racial integration was truly beginning to break down social barriers.  The film tells the story of Garner Lodge (Matt Damon), a family man who lives with his wife, paralyzed as a result of a car accident, and adolescent son.  When a home invasion turns tragic, the Lodge family is thrown into turmoil.  However, as the truth begins to reveal itself, the family—and the neighbourhood—begins to unravel in unexpected ways.

Written by Joel and Ethan Coen, Suburbicon is filled with their signature brand of dark humor and violence yet Clooney very much puts his own stamp on the film as well.  Through his use of framing and lighting, the film might be the best example of 50s-style film noir in years.  What’s more, he wisely remains behind the camera for this film, resisting the obligatory cameo.  In doing so, he allows the script and cast to bring the film to life on their own, which they do so successfully.  Damon hasn’t appeared this menacing since The Talented Mr. Ripley while Moore plays the stereotypical housewife with a subversive edge.  (Meanwhile, Oscar Issacs almost steals the film in his brief cameo as an insurance adjuster.)

Clooney portrays Suburbicon as a city of ‘diversity’, yet the set design and entirely Caucasian cast remind us of the myth of that claim.  (This reality is emphasized from the very beginning through the film’s opening credit sequence, which hilariously mimics classic promotional films.)  This town is one that believes it has ‘bettered itself’ and has ‘opportunities for prosperity for all’ yet refuses to recognize its unspoken flaws.  Image is everything in Suburbicon but what happens when the seething cesspool of injustice and murder underneath begins to bubble to the surface?

In fact, one of the most interesting facets of Suburbicon is its interest in exploring racial tensions, without that narrative becoming the primary focus of the film.  By focusing on the gradual destruction of the Lodge family, Clooney somehow manages to allow the racial issues to gain prominence.  In other words, through its emphasis on the murderous intrigue, it is a reminder of how often the real social injustices of our culture get either swept aside or misplace blame.  Although it takes place in the late 50s, there is a timeliness and urgency to Suburbicon that give it a much-needed satirical bite.  It’s hard to watch Suburbicon and remain comfortable, which is to its credit.  The film knows what it wants to say and it does so efficiently and effectively.

But, if you decide to move there, just don’t drink the tea.

This year, ScreenFish was invited to the TIFF17 press conference for SUBURBICON! Narrated by George Strombolopolous, this revealing conversation includes director George Clooney, writer Grant Heslov, and stars Matt Damon, Julianne Moore and Karimah Westbrook.  You can stream the audio from the event here:

 

 

Jason Bourne: Matt Damon Returns

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In the fifth film of the modern-day Jason Bourne series, Matt Damon returns after the mis-hit that was Jeremy Renner’s take. Paul Greengrass – he of the herky-jerky camera directs – using a storyline he worked out with The Bourne Ultimatum’s co-writer Christopher Rouse. Here, the one-time amnesiac wants to know more about his father, but CIA Director Dewey (Tommy Lee Jones) sends cyber operative Heather Lee (Alicia Vikander) after him with gun-happy agents aplenty.

Vincent Cassel brings some international flair as a baddie, while The Night Of’s Riz Ahmed joins the franchise as head of a social media corporation. The film shot in Nevada, Berlin, London, D.C., and Spain, giving it a true sense of worldwide panache. But while all of the new blood may diversify it (heck, he killed off most of his enemies the last time), the long-lost Julia Stiles reprises her role as Nicky Parsons, because, you know, Treadstone has to be involved.

jasonbourne3While some series drag on, slow down, or just re-percolate the same old beans, Bourne films have become like Bond films. We know there’s enough mystery to keep us guessing, the action is hot and heavy, and Damon’s cool shines through everyone else’s cloak and dagger. We think we know how this will end, but it still makes for a wild ride – one we’d sign up for again and again. Here, we get more on Bourne’s background – how he volunteered, who his father is – but we also see a (slightly) more introspective version of the assassin. We recognize that Bourne has reservations, even regrets, about what he’s done, and that he is struggling with his own sense of penance (shown through the way he submits to the bareknuckle beatings he could obviously avoid).

Special features include the 4K Ultra HD Movie with 4x sharper picture than HD on the Blu-ray combo pack that highlights the brights and darks, as well as an immersive audio. On Blu-ray (which also includes the Digital HD option for on the go), special features include Damon’s return to Robert Ludlum’s hero, as well as a look at “Bare-Knuckle Boxing,” “Close Quarters Combat,” and “Underground Rumble,” highlighting the action. Shooting on the Las Vegas Strip gets its own look here, too.

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Mars (Ep 1): The Journey Begins

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Alberto Ammann as Javier Delgado the Spanish hydrologist and geochemist on the Daedalus. The global event series MARS premieres November 14 at 8/9c in the U.S. and internationally Sunday November 13 on the National Geographic Channel. (photo credit: National Geographic Channels/Robert Viglasky)
(photo credit: National Geographic Channels/Robert Viglasky)

There was a time not too long ago when it seemed children wanted to be one of three things when they grew up: a police officer, a fireman, or an astronaut.  I fell into the latter category.  Watching some of the early flights of the Space Shuttle on television made me want to consider what it would be like to travel beyond the grasp of Earth’s gravity, exploring strange planets, discovering new forms of life, and avoiding the dreaded reading of Vogon poetry.  Not even watching the explosion of the Challenger in 1986 could deter me from that goal.  Unfortunately, it took a Tilt-a Whirl ride in college to reveal that I didn’t have the right stuff. Nevertheless, space has continued to be a fascination of mine to this day.

It also seems Hollywood has exhibited a case of space fever over the last decade, releasing new episodes of Star Trek and Star Wars while producing other quality films such as WALL*E, The Martian, and an upcoming flick called Passengers. It’s so contagious that Ron Howard, director of the critically acclaimed movie Apollo 13 in 1995, has jumped back into the genre as executive producer of a new series for National Geographic Channel called Mars (starts Monday November 14 at 9 PM [8 CT]).  It’s a challenging reminder of why space exploration is so risky and yet holds out so much hope for the inhabitants of this planet.

Olivier Martinez as Ed Grann the French CEO of the Mars Mission Corporation at a press conference. The global event series MARS premieres November 14 at 8/9c in the U.S. and internationally Sunday November 13 on the National Geographic Channel. (photo credit: National Geographic Channels/Robert Viglasky)
(photo credit: National Geographic Channels/Robert Viglasky)

Mars is going to inevitably draw comparisons to Matt Damon’s recent film, but it need not immediately do so.  In director Everardo Gout’s first episode entitled “Novo Mundo” (“New World” in Portugese), the IMSF (International Mars Science Foundation) has finally found six astronauts to make the trip.  It’s an international crew with members from Nigeria, Spain, Russia, and the US.  Each has their specific specialties that will be necessary as they set up the pre-positioned base camp. And with that, the trip on the spaceship Daedalus begins.  All seems to be going fine until they attempt to enter Mars’ limited atmosphere, when one of the thrusters cannot fire, threatening to end the mission before even setting foot on the planet. Split-second decisions have to be made, and Mission Commander Ben Sawyer (Ben Cotton) makes the biggest one—but physically pays for it. The team lands successfully, but a significant distance away from the camp, increasing the difficulty of the mission.

Interspersed within the episode is a documentary featuring major players in space exploration, technology, and former astronauts (even the author of “The Martian,” Andy Weir, makes an appearance). For this episode, the focus involves how to get people and cargo to space in an economical fashion using reusable spacecraft.  Elon Musk (of Tesla fame) has another company called SpaceX whose goal is to “make life interplanetary.”  They’ve been working on reusable rockets—you may have seen recent stories about their attempts to land one on a floating barge (they’ve been successful a few times, but have failed as well).  If we can’t get this part right, we won’t be able to make it happen.

For the most part, the first episode works.  The situations seem plausible and I appreciated the way Sawyer solves the thruster problem—not creating a solution, but using something that already works. The acting is a bit wooden in places and the IMSF headquarters seems awfully antiseptic in nature, but the tension of the situation reveals itself quite well.  Life on the Red Planet isn’t going to be easy, and I have a feeling we’re about to find out why.  I also think the interspersed documentary segments are interesting and add some nice background for something that is a bit difficult to quantify for the average viewer.  Your mileage may vary, however.

Ben Cotton as Ben Sawyer the American mission commander and systems engineer on the Daedalus. The global event series MARS premieres November 14 at 8/9c in the U.S. and internationally Sunday November 13 on the National Geographic Channel. (photo credit: National Geographic Channels/Robert Viglasky)
(photo credit: National Geographic Channels/Robert Viglasky)

It’s pretty clear that everyday survival is going to be a challenge for the astronauts—even without additional hurdles being added to the equation. But the six humans knew what they were getting into beforehand. They brought mementos from Earth—photos, trinkets, toys—to remind them what they were giving up. This sounds a lot like a conversation a young man had with Jesus one day–he said he would follow him but asked to bury his parents first (This was a euphemism of wanting to live out life before committing to something). Jesus knew this and said, “No one who puts a hand to the plow and looks back is fit for service in the kingdom of God” (Luke 9:62 NIV).  This sounds awfully familiar as Mission Commander Sawyer asks the Daedalus crew before launch if there’s anything in the world that is more important than their mission.  If there is, he asks them to leave. He’s sharing the assumed risk of never seeing family or friends again and wants them to understand the full gravity of their calling.  The same goes for following after Christ—there’s a high cost involved (friends, family, life goals), but Christ says it’ll be worth it. To take the journey means not looking back.

Mars is one of those shows that needs to be given a chance simply due to the subject matter involved.  And after the first episode, you might be hooked.  I’m ready to see what happens next—and how in the world we’re going to make it a reality. The future of our species may be at stake.

Seeing and Believing: SciFi Returns to the 80s

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“There has been an awakening. Have you felt it?”   -Supreme Leader Snoke, Star Wars: The Force Awakens

Star Wars: The Force Awakens Supreme Leader Snoke (Andy Serkis) Ph: Film Frame © 2014 Lucasfilm Ltd. & TM. All Right Reserved..

There’s always been a tension between seeing and believing.

Especially over the last few decades, there has been an increasingly heavy emphasis that truth exists only when we can prove things scientifically or experience them for ourselves. Over that time, this debate has caused a real tension between the church and the scientific community, seemingly forcing people to ‘pick a side’.

Unsurprisingly, this has also shown up on the big screen.

For instance, let’s just look at some of the most popular science fiction stories in recent years. Films like Prometheus, Interstellar, and The Martian have all been hits at the box office and explored questions of our purpose in life. In each case, the films shoot for lofty ideas but land on the idea that life is really about us and what we can do. (For instance, often called a ‘love letter to science’, The Martian also explains that, “if you solve enough problems, you get to come home.”)

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In an interesting twist, even some of the most recent Biblical epics attempted to explain God’s interaction with creation in a more scientific manner. Films such as Ridley Scott’s Exodus: Gods and Kings and (arguably) Aronovsky’s Noah have both offered new depictions of the Biblical stories with a smaller focus on God and a greater emphasis on our human perspective and understandings as a source of hope.

Now, hear me out. I’m not, in anyway, taking a shot at science. Not at all. It’s our primary way of understanding our world. However, what I am noticing is that the pendulum of knowledge has swung so far in the ‘seeing to believe’ direction that our culture seems to have lost it’s ability to believe in anything other than itself.

But I think that the pendulum is about to swing back.

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All of a sudden, science fiction has opened the door a crack to admit that, sometimes, they don’t have all the answers. This year alone, there have been some substantial film releases that take a scientific approach that, although helpful and meaningful, isn’t always the final word on what’s real. Films like Jeff Nichol’s Midnight Special, Marvel’s Dr. Strange, this summer’s underrated Ghostbusters reboot or even Netflix’s massive hit, Stranger Things, have all fused a scientific worldview with an eye staring keenly into the spiritual.

Now, these films tell us that we have to believe to see.

Just look at Star Wars: The Force Awakens.

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When rebooting the franchise, one of the most important factors in the film’s success was bringing back an emphasis on the mystery of ‘the Force’. Whereas George Lucas wanted to explain away this amazing power in his infamous prequels—remember Midichlorians?—the fans and director J. J. Abrams wanted the Force to be seen as mysterious. By emphasizing the power of the Force, Abrams breathed new life into an idea that had lost its grandeur, without taking away any scientific explanations the Lucas had introduced.

Science and faith were friends again.

Interestingly, all of these examples are ‘throwback’ feel to them. Whether they take place in the 1980s themselves or are simply reboots of old franchises, each case seems to point to a ‘simpler time’. With this in mind, one has to ask if, maybe, our world is wondering if, for all our advancements, we’ve lost something along the way. Is it possible that, with all we’ve learned, we’re starting to realize that there’s still something powerful that we can’t explain? Does God really fit into our scientific worldview?

Maybe, our culture has finally realized that, to understand our world, we need both seeing and believing.

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Podcast: JASON BOURNE again?

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This week on the show, Steve welcomes Wade Bearden, co-host of Seeing and Believing, to talk about Matt Damon’s return to JASON BOURNE. Has the franchise gone stale? How does Bourne deal with a new world and his past? All this and more, this week on ScreenFish.

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.

2.22 Jason Bourne

The Martian: Survive or Die (Oscar Spotlight: Best Picture)

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The MartianHumans have, ingrained in their DNA, a desire and longing for community. It started when God realized that it wasn’t good for Adam to be alone—his response was to create Eve as a companion and helper (see Genesis 2:18). But what happens if, by some unfortunate series of events, you’re the only one left on the planet—or worse, another planet? You really have two options—survive or die. This is part of the reason why the The Martian is up for a Best Picture nomination at this year’s Academy Awards. Based on the book by Andy Weir, it chronicles the harrowing adventures of astronaut Mark Watney on the planet Mars.  The film is actually up for seven different Oscars (including Matt Damon for Best Actor), but I’m going to focus on the Best Picture award.

First, a reminder of the plot. The Martian begins with an emergency escape from the planet when a massive storm appears at base camp. Five of the six astronauts make it onboard the rescue rover, with Watney left behind for dead after he’s speared by a communications antenna. Miraculously, he survives, but is in a world of hurt as the next mission to the Red Planet isn’t scheduled to arrive for another four years. With a limited supply of food and water, he has to decide what to do.  Watney’s decision: “I’m not going to die here.” Thus, he sets about trying to make life happen, all while recording his escapades via video journals.  His saving grace is that he’s a botanist and knows how to grow things. But that won’t last forever, and when the habitat depressurizes, destroying his crop, the fight for survival becomes more acute.

Watney and his plantsMeanwhile, NASA finally discovers he’s alive (after announcing his death) and sets out creating a plan to get him back, helped by scientists at the Jet Propulsion Laboratory. Rushing things doesn’t work, as they find out the hard way on their next launch.  Director Teddy Sanders (Jeff Bridges) has to try something, and when out of options, gets help in the form of China’s space program. When an astrodynamics student named Rich Purnell (Donald Glover) comes up with a faster way to get Watney—but one that will keep the rescued astronauts in space for another year—the idea is dismissed.  But when it’s covertly shared with the crew, they agree to try it—risking their own lives in the process.  The world holds its collective breath as an unheard of rescue is attempted.

So what makes The Martian worthy of Best Picture status? First off, the landscape and set design is exquisite and conveys a planet of extreme isolation, complete with unpredictable storms and unforgiving terrain. The attention to detail even extends to the scientific terminology used, conveying the possibility that an event like this could feasibly occur.  Dialogue is realistic and doesn’t seem to be forced (outside of a) the constant references to Commander Lewis [Jessica Chastain] and her love of disco and b) the relationship between Johanssen [Kate Mara] and Beck [Sebastian Stan]). Speaking of music, the soundtrack is refreshingly sparse.

Tension is controlled by director Ridley Scott in ways that make the viewer experience a range of emotions—from shock to euphoria. Finally, the acting is on point, with believable and convincing characters (none moreso than Damon’s intriguing portrayal of Watney). As a result, the viewer is transported from the theater into a very delicate situation where one wrong move could mean a loss of lives.

The crew of the HermesOutside of the earlier reference to community, there are also many references to faith found in the film (not that they have any bearing on making a film Best Picture-worthy, but are still nice). The concept of mission is found as Watney emails Commander Lewis a note with the charge to tell his parents, “I’m dying for something big and beautiful and greater than me.” That sure sounds like something the apostle Paul would’ve penned—and probably the other apostles to boot. The ending also allows for the concept of complete trust to have someone save you when you have no ability to do it yourself (see Romans 5:8).

In the end, The Martian is a worthy film to be considered for this year’s Best Picture nomination. Will it win?  I’m not certain, as there are a number of films that take that title as well. But if it succeeds, I wouldn’t be surprised at all. With a compelling story, great acting, and fantastic visuals, you should give this one a viewing if you haven’t already. You’ll understand what it means to truly survive—as well as a few other things along the way.