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Ron Howard

Dads: A Love Letter to Fathers

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Dads don’t always get a lot of good press these days.

At a time when important conversations about toxic masculinity dominate the news and absentee and abusive fathers have become common, men have become better known for their sins than their strengths. From acts of violence to abuse of their authority, the nightly news features the latest examples of how men have lost sight of what it means to be a positive influence.

Thankfully, Dads, the new documentary by Bryce Dallas Howard, wants to tell us another story.

In her directorial debut, Howard takes the opportunity to explore modern fatherhood and celebrate those men who want to leave a positive mark on the lives of their children. Beginning with personal stories about her own famous father, Howard clearly wants Dads to be a love letter to fathers who remain dedicated to their families. Juxtaposing the testimonials of such celebrity parents as Will Smith, Neil Patrick Harris, Kim Jeong, Hasan Minhaj and many others with the stories of everyday families around the world, Howard recognizes the successes, challenges and failures that dads experience as they attempt to navigate the world of contemporary parenting.

Charming and engaging, Howard’s doc balances its voice effectively by showcasing men of different races, sexualities and social status in order to offer a variety of perspectives on fatherhood and the male experience. In doing so, Howard brings to light many of the common experiences of these men who want their children to be healthy and feel loved. Though their circumstances differ, each of the men featured in Howard’s doc hold the responsibility of parenthood firmly in view as they struggle to navigate the challenges of raising children. Whether they are breaking stereotypes as stay-at-home fathers or looking to maintain a work-life balance, each testimonial speaks to the sacrifices that these men are willing to make for the sake of their child’s emotional or physical health. While none of these men suggest their own perfection, each one speaks to the depth of their commitment to their families, despite their anxieties about their role as parents.

In fact, it’s the film’s openness about paternal insecurities that gives Dads its emotional weight. While the film offers numerous success stories about what it means to be a committed parent, the openness of her subjects and interviews serves as a reminder that fatherhood is often riddled with feelings of inadequacy. Regardless of their situation, each man openly expresses the fears and frustrations of attempting to navigate the trials of raising children ‘without a manual’. Though every father featured adores their family, they all confess to feeling insufficient in their role, unsure of whether or not they actually measure up as a parent. (In fact, in one particularly honest moment, Minhaj even points out that his greatest question is whether it’s actually he or his children that are the ones that truly decide the quality of his parenting.) 

By giving voice to their parental insecurities, Howard recognizes the humanity of the men that have influenced our lives. Highlighting their brokenness, the true beauty of Dads is that it paints these men with a loving brush of grace as a reminder that their role matters in the lives of their children. For Howard, the point is not to depict these men as faultless but rather serve as a reminder of the love that drives so many fathers, despite their imperfections. (After all, doesn’t love cover a multitude of sins?) In this way, Howards portrays her subjects as examples of commitment and courage, regardless of their situations or flaws.

While Dads contains very few ‘revelations’ about parenting, it’s clear from the outset that this is never the intent of the film. Instead, Howard’s debut is meant to be ‘thank you card’ to fathers of all types that reveals what goes on in their minds, whether it be their reactions when they first meet their child to dealing with feelings of failure. As a result, Dads is an emotionally powerful celebration of the imperfect men in our lives and their impact upon us all.

Dads is available to stream on Apple TV+ now.

Mars S2E1: Unity Can Be A Good Thing

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(photo credit National Geographic)

Just when you thought the adventures of the International Mars Science Federation (IMSF) were completed upon finding life on the red planet, it’s time for a new season of drama!

Mars was one of the highest rated shows on National Geographic last year, prompting six completely new episodes of the hybrid drama/documentary (Mondays @ 9 PM/8 CT).  I’m thrilled, and after watching the first episode of the second season, think the show has chosen a fantastic topic to explore: How do two groups of people co-exist on a new world with completely antithetical hopes, dreams, and plans?

Set five years after the end of the first season, much has changed for the group of scientists calling the planet home. The declaration that life exists on Mars (at the end of Season 1) turned Olympus Town into a reality and brought more scientists to the planet for research. But they knew it was only a matter of time before science brought about industry wanting a lucrative place in the terraforming of the planet, not to mention lots of money. It comes in the form of Lukrum Industries, run on Earth by Roland St. John (Esai Morales), an enterprising businessman, and led on Mars by Kurt Hurrelle (Jeff Hephner), who eschews standard convention and pushes as many boundaries as possible, often stepping over them with absolutely no remorse.  The IMSF, now led by Amanda Richardson (Cosima Shaw) from the first season, is hesitant to create any partnership with Lukrum. She makes the decision to help even though the mining company arrived completely intent on using the good graces of the scientists to provide them with water and electricity.  This frustrates the commander Hana Seung (Jihae) and the rest of her staff, who anticipate difficulties going forward.

It seems the drama portion of the show has been ratcheted up a notch, as we begin to see the struggles of the main characters manifest themselves. Robert (Sammi Rotibi) is tired of not putting his skills to use (having built the city); Spanish Mission Specialist Javier (Alberto Ammann) feels that his love, French doctor Amelie (Clementine Poidatz) has lied to him as she reveals she’s leaving in a few months due to losing her mind; and the Russian biologist Marta (Anamaria Marinca) is frustrated that there have been no other scientific discoveries in five years.  Add in the act-first-and-apologize-later mentality of Lukrum, and things are going to boil over at some point.

(photo credit: National Geographic/Dusan Martincek)

I’ve always appreciated how well the documentary portions of Mars have meshed with the dramatic ones, and this season is no exception.  It does feel like there’s less documentary, but I somehow don’t feel bothered by that fact. The first episode relates the situation on Mars to drilling for oil in the Arctic—there’s nobody around; it’s dangerous; and simply existing is a goal at times.

The ending of the first season of Mars was, in my opinion, way too abrupt. Thankfully, Executive Producers Ron Howard and Brian Grazer seem to have fixed that problem in the opening episode, leaving the viewer with a cliffhanger regarding if unity is even possible with the two groups.  Here on Earth, we have enough tensions and challenges for a lifetime—between countries, between companies, between individuals.  Paul encouraged the one of the New Testament churches to “[b]ear with each other and forgive one another if any of you has a grievance against someone. Forgive as the Lord forgave you. And over all these virtues put on love, which binds them all together in perfect unity” (Colossians 3:13-14 NIV). If only these words were put into action, perhaps we could start the process of restoring relationships, which can lead to so many other good things.

I know the folks on Mars could use this advice.  Otherwise, the animosity and tension is going to possibly spiral out of control.  We’ll have to find out.

Solo: A Star Wars Fan War Continues

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Has the Star Wars franchise peaked? Is it running out of steam? If you listen to some of the voices in the fan base, or certain critics, you begin to get that impression.

I don’t think so.

On FilmRejects.com, Max Covill states the film “didn’t connect with audiences.” I’ll address that assertion in a moment. Covill goes on to say why he thinks the movie didn’t live up to box office projections (a bit different assertion):

A few explanations come to mind for what might’ve happened to this latest entry in the Star Wars canon. The biggest of which might be box-office fatigue. The Last Jedi launched in theaters around Christmas time and that meant only five months between the release of Star Wars features. Never in the history of the franchise have movies released that close to one another. Star Wars has always been positioned as an event film. When you make it a common occurrence, it becomes less exciting. Disney might have thought they could get away with it, given how their Marvel movies have been released, but it doesn’t work for Star Wars. The series’ next entry, Episode IX, won’t launch until Christmas 2019. By then, the fever for a new Star Wars feature will be higher than right now for sure.

Covill doesn’t believe the franchise is over, by any means, but that this particular film just doesn’t live up to Star Wars standards. I’ll let you decide for yourself if this is true. Just, please, watch the movie for yourself before you decide if you like it, and then consider what I have to say below.

Before I get into the movie itself, I want to clarify some things about the box office numbers, and the connection with the audience.

  • If you look at the box office records for every Star Wars film which opened on a Memorial Day weekend, Solo is number one. The only other Disney film which did a better box office on that holiday weekend is Pirates of the Caribbean: At World’s End.
  • Solo was the number one domestic movie from the day that it officially came out until Friday, June 8, when Ocean’s 8 (deservedly) took the top spot. Solo was number three, behind the newcomer Hereditary, and still ahead of Deadpool 2 and Avengers: Infinity War. May and June have been very competitive months, and the matchups certainly have hurt the numbers for Solo.
  • Solo is the number 5 box office movie of 2018, hitting that mark in only its second week in theaters.
  • The audience has connected with the movie. As of this writing, Rotten Tomatoes gives it 71% critics score, and a 65% audience score. These are not nearly as high as the scores for Rogue One, but the audience score for Solo is higher than for The Last Jedi. The audience seems to be more critical when it comes to Star Wars films that resurrect main characters, which is understandable. But, while The Last Jedi was much preferred by the critics, Solo is preferred over Last Jedi by the general audience.

So much has been said already about Solo that I have decided to go a little rogue with my review of the film. There will be spoilers ahead, so if you have yet to see the film, I would recommend you view it before continuing. I contend there are some great things in the movie, and I’d hate to spoil the fun. My concentration will be not so much on the plot, but how Solo fits into the Star Wars universe, and whether the harsh criticisms made about it are justified.

When we first meet Han Solo in the 1977 movie which started it all, we meet a jaded man who is all about himself. Leia tells him, “If money is all that you love, then that’s what you’ll receive.” Han has lived the greater portion of his life serving the underworld. He is about survival, and has learned to fear gangsters more than the Empire.

But, as we find out at the end of that movie, there is a “good guy” side to him, too. Han doubts along the way, but he always comes back, becoming an important part of the Rebellion. However, when the New Republic fails, it is no wonder that in The Force Awakens we find back to his old pirate ways. Even then, when he meets up with Rey and Finn, he tell them the stories about The Force are “all true.” There is still a small hope alive in him after all he’s been through.

Ironically, the Han we meet in Solo is hopeful in an era when hope had been lost. He dreams of leaving his taskmasters, with Qi’ra at his side. He is not the jaded man we saw in the original trilogy. He is only interested in money as a means to escape and give himself a chance. Even his experience of war doesn’t completely destroy the altruism which lies beneath the surface. He is happy to let Enfys Nest have the coaxium, even if he is unwilling to join her group, which apparently is a germ of the Rebellion.

Qi’ra, however, has her own agenda. She certainly still has feelings for Han, but not an unconditional, sacrificial love. Nor does she believe Han would love her back if he knew what she had done. She only knows how to use him for her own advantage. At first it looks like Qi’ra betrays Dryden Vos simply because of her love for Han, but she has a more insidious purpose. She wants power.

Qi’ra now takes Dryden Vos’ mantle, and the movie sets itself up for a sequel, or at least a potential television series. It is also revealed Crimson Dawn is under the control of Maul (formerly Darth Maul). Some have complained about Maul’s appearance in the film, but many who have watched the animated series and read the comics know how he fits. If you are interested, here is a good place to start: Star Wars Solo movie: How did Darth Maul survive? What is Crimson Dawn?

The movie ends with Han being betrayed by both Qi’ra and Beckett, whom he shoots first—an obvious reference to the controversy over who shot first in the bar scene in A New Hope. With all he has been through, Han still has a positive attitude. He goes back to beat Lando at his own game, and wins the Millennium Falcon. He then talks about going to Tatooine to work for the Hutts.

Some of you who have made it this far into my piece are asking, “Who cares?” And you have a right to ask. Some of you don’t care about the minutiae of Han Solo’s life; you’d like to just leave him as you knew him in the original trilogy. And that’s fine.

But some of us want to know. We want to know how Han got his last name and what making the Kessel run in 12 parsecs means. (I was delighted to know I was right in saying, all these years, that Han had to be talking about distance, not speed.) We want to know how Han met Chewbacca. We want to know the story about how Han got the Millennium Falcon.

I am one of those guys who actually plodded through The Silmarillion because he wanted to know the backstory. Admittedly, it was not as pleasurable as reading The Hobbit and The Lord of the Rings, but I’m glad I did it. I’m glad I watched the Star Wars prequels, too. Not because they were top-notch movies; they weren’t. But they satisfied an itch that could not be satisfied any other way. I wanted to know. And there is a certain satisfaction in knowing.

And apparently millions of others wanted to know, too.

Breakthrough S2: Ep 1 and 2 – Protect Thyself

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Eighteen months ago, Brian Grazer and Ron Howard decided to spearhead a series on National Geographic Channel involving advances in scientific technology.  Entitled Breakthrough, each episode was created by a specific director and tackled a unique aspect of how science could help society in general. The series was recently renewed for a second season (10PM/9 CT on Tuesdays), providing the viewing audience six more glimpses into a world where science meets life head-on.

The first episode aired last week and centered around an issue many people deal with on a daily basis: addiction.  This doesn’t necessarily refer to drugs or tobacco, but can also refer to cell phone usage, selfies, or other items/hobbies that become “something more” to a person.  There are numerous ways addictions can be dealt with, but the episode focused on an experimental technique—psychedelic drugs such as LSD, Ibogaine, or Psilocybin (magic mushrooms).  The treatment is not for all, that’s for sure—but in the three cases shown, director David Lowery (Pete’s Dragon) made the treatment process look absolutely spellbinding.  The episode was definitely not what I expected, but was intriguing nevertheless.

Cyber terror was the subject of the second episode—an issue many of us summarily dismiss as something that can’t happen to us.  Target doesn’t think so after seeing their online system compromised a number of years ago with millions of credit card numbers exposed for the world to use.  It doesn’t take a lot to break into a computer – a simple USB drive can wreak all sorts of havoc.  However, there are white hat hackers who legally help companies secure their networks by attempting to break into them.  They have lots of work to do—major companies’ detection rate of cyberattacks is only 6%, and when they do find something, it takes seven months to find it.   In fact, by 2019, cyberattacks will cost the global economy $2 trillion dollars. It needs to be fixed now.

To make things worse, director Steven Hoggard (Inside the Green Berets) reveals that cybercriminals (black hat hackers) are using encryption-based devices to recruit people into terrorist groups such as ISIS. Some have even been able to hack into US Central Command!  Some journalists in the UK havegone undercover to help stop this from occurring, using a similar technique to how criminals were caught on the show To Catch a Predator.  Do they always succeed?  Not quite. But stopping one attack is better than none.  That’s why it’s always important to protect oneself from the attacks of enemies who cannot be seen.  It sounds eerily like what Paul told the church in Ephesus when describing the armor of God.  The various components—helmet, breastplate, sword, and other elements—protect a Christian from the attacks of the devil and his minions (see Ephesians 6:11-20). Protection can be a good thing—we just need to be aware of the problem and prepare accordingly.

Genius Ep. 1 – Knowing Your Place

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(National Geographic/Robert Viglasky)

One of the most lauded advertisements of Super Bowl LI aired immediately after the halftime performance.  In it, a gentleman looks out the window of his study while playing Lady Gaga’s song “Bad Romance.”  It turns out to be Albert Einstein, who sticks out his tongue at the camera once he’s finished playing.  The screen then cuts to black, revealing an upcoming series called Genius airing on the National Geographic Channel.

Genius is a 10-part, fully scripted series chronicling the life of Dr. Einstein as never seen before (the first part airs tonight at 9 PM/8 CT).  I was at the world premiere in Los Angeles last night and had the opportunity to hear from executive directors Brian Grazer and Ron Howard before viewing the first episode.  Grazer noted that Einstein was the earliest modern example of disrupting the status quo and was thus the perfect subject to portray.

Ron Howard speaking before the premiere (ScreenFish/J Alan Sharrer)

The series is based on the work Einstein: His Life and Universe, written by Walter Isaacson.  In the opening episode, broad strokes are painted as Howard intersperses the younger and elder versions of Einstein (played by Johnny Flynn and Academy Award-winner Geoffrey Rush, respectively).  The younger Einstein is a daydreaming free thinker who has an extremely difficult time with school in Munich due to the rote memorization of facts.  His disregard for the systems of the day put him at odds with his teachers and his father. After his parents move to Italy, Einstein stays with the Winteler family in Switzerland for a year before continuing his studies in Zurich (he failed his entrance exam the first time he took it, so there’s hope for the rest of us).

(National Geographic/Dusan Martincek)

The older version of Einstein is wiser, yet extremely stubborn.  While at the University of Heidelberg, the SS begin to make their presence felt in German life.  For those of Jewish heritage, these days are difficult as people are beaten up, assaulted, and in some cases, assassinated. When Einstein is told his name is on a list to be killed, he steadfastly refuses to leave, much to the chagrin of his wife Elsa (Emily Watson).  It takes a series of events involving copies of Mein Kampf and a child’s request for an autograph to change his mind.  But it’s not easy leaving Germany, as the US Embassy wants to know more about his political leanings and refuses him asylum until he talks.

Einstein once said, “Falling in love is not at all the most stupid thing that people do—but gravitation cannot be held responsible for it.” To this end, he is shown to be incredibly smart, a bit reckless, and very attracted to women.  By the end of the first episode, Einstein has been involved with three—Marie Winteler (Shannon Tarbet), Elsa, and his secretary.  Upon his entrance to Zurich, he meets a fourth lady named Mileva Maric (Samantha Colley), who in later years will change Einstein’s life for the better—or worse.

(National Geographic/Robert Viglasky)

As for the first episode, I thought it was quite good.  The camerawork was exquisite, as can be expected with something coming from Ron Howard. The interspersed scenes were a bit jarring and didn’t quite work for me, but that may change since there are still nine episodes left.  I was impressed, however, at the level of detail given to the scenes—it helped to draw me into the story more. There is some CGI used for a few daydream sequences, but they’re used to good effect in explaining some rather difficult mathematical and scientific concepts. The episode is designed for mature audiences due to the romantic interludes and some graphic killings.

It was interesting to watch the struggle the elder Einstein had about leaving Heidelberg due to Hitler’s ascension in power.  After hearing news that his friend was assassinated for his common ancestry, he stayed put.  Even when informed that he was on an extermination list, he stayed.  Could he make a bigger difference for the world where he was? This reminds me of Esther in the Old Testament.  In an oft-quoted verse of Scripture, she was reminded and challenged by Mordecai, “For if you remain silent at this time, relief and deliverance will arise for the Jews from another place and you and your father’s house will perish. And who knows whether you have not attained royalty for such a time as this?” (Esther 4:14 NIV) As a result, she used her position of authority to save her people from extinction via the hands of Haman.  It’s always better to know your place and make a difference there than run away from the tasks God has planned for you to accomplish.

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.