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Star Wars Episode IX: The Rise of Skywalker

December 18, 2019 by Darrel Manson 1 Comment

Daisy Ridley is Rey and Adam Driver is Kylo Ren in STAR WARS: THE RISE OF SKYWALKER

The first words in the scrolling text that opens Star Wars Episode IX: The Rise of Skywalker are “The dead speak!” It continues on with a few things to remind us where the story left off. But those first three words are all we really need, because as the film progresses, the dead will indeed speak over and over.

This is the final film of the Skywalker Saga that began in 1977 with what would become Episode IV: A New Hope and eventually restarted with Episode I: The Phantom Menace. Because it is the final film in the series (the last film in the last trilogy), its main task is to bring the story that has taken over forty years to tell to a satisfying end. Star Wars is such a cultural touchstone that opinions on how well that has been accomplished will vary. My own opinion is that the series does not go out with a bang, but rather with a sigh.

This episode continues the stories of two characters with strong connections to the Force: Kylo Ren (Adam Driver), son of Leia Organa (Carrie Fisher) and Han Solo (Harrison Ford) and grandson of Darth Vader, and Rey (Daisy Ridley) an orphan who has tried to become a Jedi by training with Luke Skywalker (Mark Hamill). Ren has chosen to follow the Dark Side and has been trying to bring Rey to join him and together rule the galaxy. They continue their dance of trying to convert each other through this film. Both are seeking a hidden planet where the real power is to be found and grasped or eliminated. While there are other characters involved in various subplots, these two are the real heart of the story.

Ren (aka Ben Solo) fashions his own version of Vader’s mask, and when wearing it has something of Vader’s ominous voice. He has taken the title Supreme Leader, and seeks to grab all power for himself, but would like Rey to join him. Together they would be a formidable power.

Rey, on the other hand, rejects the Dark Side. She trained with Luke, but still feels unworthy to carry his lightsaber. When she sets off on her mission, Leia tells her, “Never be afraid of who you are.” But who is she? That becomes a central question as the film plays out. What is it about her that has made her such a focus of the Force? (And since this is the final film, it will be revealed—but not in this review.) The knowledge of her background will be a challenge for her to accept.

There will be lightsaber duels, space fighter dogfights, explosions, and all the other accoutrements of Star Wars. There will be redemption, sacrifice, and even resurrection. Love will be declared. Loss will be devastating. And the story will be wrapped up with some tears and some celebrations. Then there will be a coda that takes us back to Tatooine, where the Saga began to bring the circle to a close. (Sigh)

But what about those first three words of the scroll? The dead speak! Initially it is because the dead Emperor Palpatine has been making a comeback. But then we get to see or hear others from the past episodes who have died as the story played out. Luke, is prominent, even though he died at the end of The Last Jedi. Now a glowing personage, he continues to teach Rey what she needs to know for her final battle. But in a decisive scene for Kylo Ren’s character, there is another visit from one who has died. Who are all these who speak from the grave? Well, they are essentially the saints of the Saga. Through their words they bring healing and they bring power. As Rey must face her final challenge, she gathers strength from many of these voices.

The scripture that comes to mind is Hebrews 12:1. After retracing the history of Israel’s heroes, the author says, “Therefore, since we are surrounded by so great a cloud of witnesses, let us lay aside every weight and the sin that clings so closely, and let us run with perseverance the race that has been set before us.” [NRSV]

Star Wars has always attracted theological/spiritual reflection. The Rise of Skywalker gives us a chance to consider the idea of the fellowship of the saints. It is not just what we think of sitting drinking coffee in the fellowship hall after worship. It is not even just what it means to come around the Lord’s Table as God’s people. It is also an attachment to the whole history of God’s salvation. We are joined to those who have come before us. And we are joined to those who will come after us.

As we look at the end of the Skywalker Saga, we are able to see the whole arc of a story in which faith in action has been passed on from one to another. It has not always been an easy passing. There are those who have been corrupted, but also those who have found redemption and restoration. The past brings ist strength to a new day—a dawning of new life.

Filed Under: Film, Reviews Tagged With: Adam Driver, Carrie Fisher, Daisy Ridley, fellowship of the saints, Harrison Ford, J. J. Abrams, Mark Hamill, science fiction, Skywalker Saga, Star Wars

Captain Marvel – Putting the Super in Human

March 7, 2019 by Darrel Manson Leave a Comment

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

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

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

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

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

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

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

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

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

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

Photos courtesy Marvel Studios

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

4.14 Piercing the Darkness with A WRINKLE IN TIME

March 25, 2018 by Steve Norton Leave a Comment

http://screenfish.net/wp-content/uploads/2018/03/4.14-A-Wrinkle-in-Time.mp3

Directed by Ava Duvernay and based on the book by Madeline L’Engle, A WRINKLE IN TIME has a powerful message for young girls about courage and how to make a difference. Still, for some reason, the film has yet to catch on with critics. This week, Steve welcomes Amanda Jane Smith (BRICKS WITHOUT CLAY) and Heather Mills (WatermarkWords.org) to talk about WRINKLE’s value as a story, its calling to live in light and loving our faults.

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.

4.14 A Wrinkle in Time

Thanks Amanda and Heather for joining us!

Filed Under: Film, Podcast Tagged With: A Wrinkle in Time, Disney, Madeleine L’Engle, Mindy Kaling, Oprah, Reese Witherspoon, science fiction, Storm Reid, Zach Galifianakis

4.13 Rebirth in ANNIHILATION

March 13, 2018 by Steve Norton Leave a Comment

http://screenfish.net/wp-content/uploads/2018/03/4.13-Annihilation.mp3

With ANNIHILATION, director Alex Garland has created a film which both dazzles its audience while dividing them at the same time. Starring Natalie Portman, the film offers gorgeous visuals yet it’s wild ending has polarized critics and science fiction fans alike. This week, Steve welcomes Patrick Hicks (co-host, Feelin’ Film podcast) to wrestle through Garland’s vision while discussing the nature of repentance and new life.

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.

4.13 Annihilation

Thanks Patrick for joining us!

For those of you in Canada who are interested, you can donate to ScreenFish by clicking the link below and simply selecting ‘ScreenFish’ from the ‘Apply Your Donation…’ area. 

https://www.canadahelps.org/en/charities/connect-city/

Filed Under: Film, Podcast Tagged With: Alex Garland, Annihilation, Ex Machina, Gina Rodriguez, Jennifer Jason Leigh, Natalie Portman, Oscar Isaac, Oscars, science fiction, Shimmer, Sonoya Mizuno, Tessa Thompson, Tuva Novotny

Blade Runner 2049: Still Running

January 16, 2018 by Steve Norton Leave a Comment

Let’s get this out of the way quickly.  If you’re not a fan on the original Blade Runner, you will likely not be particularly interested or impressed by its sequel, Blade Runner 2049.

If you, like myself, are a fan of the original, however… maybe everything has led to this.

Directed by Denis Villeneuve (Arrival), Blade Runner 2049 picks up thirty years after the original film.  Officer K (Ryan Gosling) is a Blade Runner, a bounty hunter tasked with ‘retiring’ the final remnants of the old edition Replicants, androids in human form created to serve society.  However, when a routine raid uncovers a box containing the remnants of a deceased replicant, K begins to unravel a mystery that threatens the divide between humanity and machine.

Admittedly, when this film was announced, the idea was met with disbelief.  After all, Blade Runner is now largely heralded as a cinematic achievement as one of the most influential science fiction films ever made. Known for its in-depth exploration of humanity and its stunning visuals, Blade Runner was a film that was not in need of a sequel. Unbelievably, Denis Villeneuve seems to have done the impossible. Amazingly, 2049 actually manages to expand and enhance the world first created by Ridley Scott over 30 years ago. Rather than simply offer a retread of the original film as so many reboots have done in recent years, 2049 builds upon its predecessor’s themes and takes the story in a new direction. In fact, it somehow even feels… necessary.  Fans of Harrison Ford’s Rick Deckard should be aware that his role is much smaller than the trailers would have you believe.  Still, Villeneuve makes good use of Ford and his appearance is worth the wait. (Approaching three hours in length, the film does feel a little long so be warned.) Visually, while the color scheme is much brighter than the original’s focus on shadows and darkness, Villeneuve and master cinematographer Roger Deakins succeed in making even the lightest tones feel claustrophobic and menacing.

Whereas the original Blade Runner is preoccupied with what it means to have life, 2049 takes the conversation further with its discussion of what it means to have a soul.  Even though he is a replicant, Officer K is in search of what is real. Despite his love for his digital assistant, he also understands the limitations of and falsehood within that relationship. When approached by a prostitute, he resists her, causing her to accuse him of “being afraid of real girls”. While he seems at peace with his android life, he wonders what life would be like if there (or he himself) were more. He continues to be drawn to things that are ‘real’, albeit nervously. In a subtle homage to Pinocchio, K too seems caught within the ambiguity of his own existence. Is he a replicant?  Could he be more? These are the questions that he needs to answer.  In many ways, this bookend to the original [or potential middle piece of a trilogy?] has within it a sense of hope that is missing from the first entry. Whereas Deckard in the original film feels like a man who is lost, 2049 presents K (and, potentially, Deckard) as a man who is found (or, at least, wishes to be).  2049 recognizes that humanity has something that no android can imitate.

They are missing something.

Interestingly though, 2049 also suggest that the replicant Creator himself is dissatisfied with his achievement. While other recent films have portrayed the Creator as relentless (Noah), distant (Alien: Covenant) or reckless (Guardians of the Galaxy: Volume 2), 2049 reveals him as restless.

As designer of the new breed of replicants, Niander Wallace (Jared Leto) remains constantly frustrated by his inability to create self-sustaining life. Although he has produced a being of perfect obedience, Wallace is unable to crack the code of procreation. As a result, 2049 presents humanity is viewed as something to withhold. Wallace wants to see life flourish (as long as it follows orders) but he struggles to find the formula to make life actually grow. There is a miracle to life that remains just out of reach. In this sense, while one could look at Wallace as god-like within the film, he remains largely ineffective. This is a Creator who doesn’t understand how to create… and he knows it. As a result, Wallace holds no love for his creation, despite his talk of it. He speaks of his creations as Angels but they still seem to pale in comparison to the reality of humanity.

In 2049, life itself is a miracle.

Herein lies the real heart of Villeneuve’s argument. Although Wallace believes himself to be the ultimate creator, the miracle of life is outside of his understanding. Despite his knowledge, there remains something greater than he. While the film never engages the question of what that something may be, it is a seed of humility that points to a much larger Creator in the end.

Blade Runner 2049 is a film that will require multiple viewings. While it is a little long at almost 3 hours, it’s a dense and beautiful piece that could spark conversations for years to come.

Special features on the Blu-ray combo pack include three prologues: the anime “2022: Black Out”, “2036:Nexus Dawn,” and “2048: Nowhere to Run”. There are also featurettes on the way Denis Villeneuve put the follow-up story together through “Designing the World of Blade Runner 2049” and “To Be Human: Casting Blade Runner 2049.” Views of this strange, new world are also available in “The Replicant Evolution,” “Blade Runners,” “The Rise of Wallace Corp,” “Welcome to 2049,” “Jois,” “Within the Skies: Spinners, Pilotfish and Barracudas.”

Filed Under: DVD, Film, Reviews Tagged With: Blade Runner, Blade Runner 2049, Denis Villeneuve, Harrison Ford, Ryan Gosling, sci-fi, science fiction

Going Colossal: An Interview with Anne Hathaway and Jason Sudeikis

April 21, 2017 by Steve Norton Leave a Comment

Colossal co-stars Anne Hathaway, Jason Sudeikis and director Nacho Vigalondo

In her latest film, Colossal, Hathaway manages to channel all of her experience into her portrayal of Gloria, an alcoholic with a deep desire for belonging.  During the film’s world premiere at the Toronto International Film Festival in September of last year, we had the opportunity to sit down with Hathaway and co-star Jason Sudeikis as they shared about the challenges to bring such complicated characters to life.  Having portrayed numerous emotionally-broken characters in her career (including her Oscar-winning role in Les Miserables), Hathaway says she is drawn to these characters because she can relate to them.

“I love them.  I have a lot of addicts in my life that I feel a great tender affection for. I think we’re living in a time of such exciting consciousness in terms of compassion levels.  Obviously, worldwide but within individuals, it’s been so inspiring and I love when stories present the opportunities to present groups that have been stigmatized, groups that have been judged, groups that have been looked at with very hard hearts, binary thinking, value-based judgment and I love going inside them and showing the human side of them because I always look at it and say ‘That’s me in there’ on some level… I want everyone to be treated with love”

“I know I began my career as a Disney princess but that wasn’t what my life was.  So, I know this character pretty well.”

In Colossal, Gloria (Hathaway) lives her life the only way she knows how… for herself.  Ruined by alcohol and partying, she finds herself out on the street after her boyfriend (Dan Stevens) tires of her behavior and asks her to move out of his apartment.  With nowhere else to go, she returns to her childhood home and reconnects with Oscar (Jason Sudekis), her childhood friend.  Meanwhile, seemingly unrelated events from across the globe involve a gigantic monster rampaging through Seoul, destroying everything in its path.  In the light of this global event, Gloria attempts to build a fresh start and soon discovers that she has a surprising connection with the beast itself.

Without question, Colossal is truly one of the most unique projects in recent years, spinning a story that has shades of warmth, fear, comedy, and even an homage to kaiju movies.  When asked what drew him to this film, Sudeikis argues that it was the script that compelled him to leave his young family to take on the role.

“It’s gotta be a story worth leaving the house for,” he states, matter of factly.  “[It needs to be] worth leaving this home that we’ve made for ourselves and this was one of those.  Six weeks in Vancouver?  I would’ve spent twelve weeks on Mars to because I think the story’s worth telling.”

Interestingly, instead of opting for the more traditional Japanese location of films such as Godzilla and Gamera, Colossal focuses its attention on Seoul, Korea.  Given that the film grapples with a battle for Gloria’s soul, Hathaway explains that she appreciated the connection between location and heart.

Says Hathaway, “It was just one of those happy things.  I loved saying those lines… ‘Seoul is behind that fence.  Giant monsters attacking Seoul… I loved the way that Nacho filmed the street scenes of people.  I got really moved seeing the depiction of joy in the streets.  So often the things that we’ve seen are of terror in the movies and in real life.  To see that was good for my heart.”

When asked whether or not she believes that the film industry contains a sense of toxic masculinity, Hathaway warns us to refrain from lumping all forms of masculine culture in the same box.

“I think it’s important to say that [toxic masculinity] is very different from male energy,” she reflects.  “Male energy is beautiful.  [It’s] welcome.  [It’s] necessary.  [It’s] half the reason that we’re here.  That said, there has been a perversion of this male energy into this macho ideal and I don’t think it serves anybody… I don’t think it serves love… In terms of this movie, what I think our director was saying was that he thinks this energy has no place in our world anymore.”

Taking on the villainous role of Oscar in Colossal is Jason Sudeikis, an actor known primarily for his comedic abilities.  While some might find it less than positive to be viewed as a villain, Sudeikis was excited to take on the challenge.

“I was flattered to be seen that way, which is a weird thing to say.  For me, I can view him now as a bad guy but there you have to feel this sort of empathy for this person.  He breaks my heart a little because he just doesn’t love himself.  He has so much self-hate that it’s spilling over.  So many grudges kept and holding on to so many things.”

Despite his obvious flaws, however, Sudeikis also believes that there’s more to Oscar than simply being labelled a ‘bad guy’.

“I’m not sure he is [a bad guy],” he argues.  “What makes that eight-year old boy do that thing?  What makes him feel so badly about himself?  What drove him to such self-loathing?  We don’t have the option of throwing each other away… We have to find a way to reach into people and not label them ‘good’ or ‘bad’ but just say ‘are you hurting?’ and ‘do you want to heal?’…  Let’s celebrate the grays.”

Of course, given that so much of Colossal focuses on the emotional journey of its female protagonist, it also seeks to set an example for other films to follow. Hence, Hathaway believes that the responsibility to show the strength and courage of women lies in providing alternatives to what could be, as opposed to the way things already are.

“What you want to do is create examples that people can site as to why the old model of thinking is old.  You want try to create examples that people can site so that they can take risks.  It can’t just be the filmmakers.  The media has to help out…”

“I think everybody is poised and primed for change.  And I think we just have to be kind right now because change isn’t perfect.  And there’s going to be disappointments and I think we just need to be patient.”

 

Colossal is in theatres now.

To hear our entire roundtable interview with Anne Hathaway and Jason Sudeikis, you can download it from iTunes or stream it here.

To read our review of Colossal from TIFF16, click here.

To read our exclusive interview with director Nacho Vigalondo, click here.

 

Filed Under: Film, Interviews, TIFF Tagged With: Anne Hathaway, colossal, drama, Godzilla, Jason Sudeikis, kaiju, Nacho Vigalondo, sci-fi, science fiction, women, women's rights

3.16 The Meaning of LIFE

April 10, 2017 by Steve Norton 3 Comments

http://screenfish.net/wp-content/uploads/2017/04/3.16-Life.mp3

This week, Steve is joined by special guest and friend to the show, Wade Bearden (Seeing and Believing) to talk about whether or not there’s a meaning to LIFE, the newest sci-fi actioner to hit the big screen.  Yes, the film is tense but does it have something to say?  Plus, the guys give their top 3 remakes since the year 2000!  Only 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.

3.16 Life

A special thanks to Wade for coming on the show!

Filed Under: Film, Podcast Tagged With: Action, Alien, Deadpool, George Clooney, Jake Gyllenhaal, life, Rebecca Ferguson, Ridley Scott, Ryan Reynolds, sci-fi, science fiction

ARRIVAL: Guess Who’s Coming to Earth?

February 14, 2017 by Steve Norton Leave a Comment

amyadamsarrival

America needs Arrival.

Directed by Denis Villeneuve, Arrival begins on the day that (the latest) aliens appear over major cities around the world. Resting silently and still above the earth, these objects send the population into a moment of fear as everyone awaits what will happen next. When the military begins the process of communicating with their visitors, they assemble a team led by linguist Louise Banks (Amy Adams), theoretical physicist Ian Donnelly (Jeremy Renner), and US Army Colonel Weber (Forest Whitaker). As humankind teeters on the verge of global war, Banks, Donnelly and Weber take a chance that could threaten their lives, and quite possibly, humanity.

Despite the familiar premise, Arrival is far from your traditional ‘alien invasion’ film. While films of this genre generally play out with intergalactic space battles or wanton destruction (yes, I’m looking at you Independence Day: Resurgence), Arrival carves out it’s own unique and compelling place amongst the very best of science fiction by focusing on the pratfalls of language.

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Caution: Potential spoilers ahead…

Playing out like a sci-fi vision of the Cold War, humans and aliens wait anxiously to see who will make the next move. Will it be an act of aggression? An offer of peace? Unlike other sci-fi entries, the real tension within this film exists in the realities of learning how to communicate with another who you neither understand nor trust. Of course, the obvious implications of this are between human and alien… however, the film reveals that similar issues lie amongst the people of Earth themselves.

Having first seen the film at the Toronto International Film Festival in September, I found myself struck by the boldness of this film. However, to be honest, I could never have predicted how timely it would become. Living in the shadow of the Presidential election, it has become frighteningly clear of the breadth of the divide amongst the American people. As thousands of people protest the election results in rallies across the country, philosophical differences have never been more apparent and anger and fear appear rampant amongst the people. The ability to humble ourselves and have conversation has given way to bitterness and resentment.

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As a pastor, I wonder where ideas like either ‘Judge not, lest ye be judged’ or ‘love your neighbor as yourself’ have gone in a moment like this.

But Arrival hasn’t forgotten.

Here, as military officers increase the pressure to attack their visitors, linguist Banks cries out for patience, even when the communication seems as though it’s gone awry. As the challenges of communication increase, Banks and her team recognize the value in the other and fight for the reality that words matter. They understand that one narrative doesn’t tell the whole story—and that that builds bridges.

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In a time where American culture seems primed to rip itself in two, the notion of seeing beyond our own views and truly listening to one another couldn’t seem more poignant.

In the end, Arrival is a film about risking our lives not for a cause, but for the benefit of others. It’s a film about leaning into suffering for the sake of receiving blessings along the way.

It’s a film that shows that every life matters and that communication requires humility on our behalf to connect us.

America needs Arrival.

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Special features include a look at language (“Xenolinguistics: Understanding Arrival”), sound and score (“Acoustic Signatures: Sound Design”, “Eternal Recurrence”), the editing (“Nonlinear Thinking”), and time (“Principles of Time, Memory & Language”), all the main elements (in addition to Adams) that make the film great. 

Filed Under: Film, Reviews, TIFF Tagged With: aliens, Amy Adams, Arrival, Denis Villeneuve, Forest Whitaker, Independence Day, invasion, Jeremy Renner, science fiction, SciFi, TIFF, TIFF16, Toronto, Toronto International Film Festival

2307 WINTER’S DREAM: Finding God in the Snow

November 26, 2016 by Steve Norton Leave a Comment

2307-winters-dream-1

Directed by Joey Curtis, 2307 Winter’s Dream takes place in the distant future when Earth has become a frozen wasteland and humans live underground to survive the sub-arctic temperatures. With no “man power” on the Earth’s surface, scientists bio-engineer Humanoids that possess great strength, speed, and tolerance to extreme cold. When a rogue humanoid named ASH-393 escapes from captivity and leads a rebellion against mankind, an elite team of soldiers led by Bishop (Paul Sidhu) are dispatched onto the ice to brave the elements and terminate the threat.

Playing out like a hybrid of numerous entries into the sci-fi genre, 2307 doesn’t break any particularly new ice… er… ground. Still, the film is fun and does offer characters to root for, particularly the ragtag band of soldiers sent out into the icy apocalypse. (In addition, after Timothy Lee Depriest shared with me the challenges they faced while filming, I have a much greater appreciation for the visuals themselves.  You can read that interview here.)

2307trailer6

What I found most surprising, however, was the film’s search for the soul. Taking place 120 years ‘after man killed God’, the film begins to set itself up as an argument for mankind’s ability to survive as a testament to his own efforts. Feeling abandoned in their fight for survival, it is clear to them that they must be alone in the universe. Combined with their ability to clone the humanoids through their own scientific efforts, humanity has decided that the belief in God has become irrelevant. After all, with the power to create life in his hands, man has placed himself in a position to take on the role of God himself, despite his wintery wasteland.

Curiously though, 2307 isn’t content to leave the conversation there.

2307trailer2

In fact, much of the film makes a case that despite man’s delusion of power, there remains an element of life that can be neither contained nor eliminated. Although the humanoids may have been engineered by men, they begin to demonstrate aspects of a ‘soul’ that were not programmed into them by their creators. Through their ability to feel love for one another, bear children and even develop religious practices, the humanoids begin to reveal unexplainable spiritual fingerprints. For a world that unquestionably ‘killed God’, this creates a fascinating tension between man’s self-delusion and the reality of something more. Regardless of whether or not he believes there is a God, Bishop finds himself caught in the middle of this spiritual battle and forced to accept the truth. This new reality allows Bishop to reinterpret his entire understanding of the world and, more importantly, the value of the humanoids. What’s more, in doing so, Bishop also regains a part of his soul that has been missing for a long time.

While 2307 is hardly a game-changer in the Sci-Fi world, it does carve out its own space within the genre. More importantly, however, it also wants to have a conversation about the nature of our souls that doesn’t leave you cold.

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2307: Winter’s Dream is currently playing the festival circuit and is looking at a wide release in the spring.

Filed Under: Film, Reviews Tagged With: 2307 Winter's Dream, Bishop, cold, humanoids, ice, Joey Curtis, sci-fi, science fiction, Timothy Lee DePriest, Westworld, winter

Podcast: Ordering the [MIDNIGHT] SPECIAL

April 19, 2016 by Steve Norton Leave a Comment

Midnight-Special-Movie

http://screenfish.net/wp-content/uploads/2016/04/2.13-Midnight-Special-Wade-Bearden.mp3

This week on the show, Steve Norton welcomes Seeing and Believing co-host Wade Bearden as they discuss Jeff Nichols’ MIDNIGHT SPECIAL. Plus, the guys offer up their Top 3 Sci-Fi films of the 21st Century!

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.

2.13 Midnight Special

Filed Under: Film, Podcast Tagged With: belief, Faith, film, indie film, Jeff Nichols, Joel Edgerton, Kirsten Dunst, Michael Shannon, Midnight Special, science fiction, SciFi

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Shrinking: Laughing through Life

SF Radio 9.12: Behind the Walls of BABYLON

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