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Max Cloud: The Importance of Teamwork

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“Max Cloud will shoot first and ask pointed questions later.”

One of the unique aspects of growing up in the 1980s (besides being able to roam free in the neighborhood after school) was the advent of video games.  Sure, you could go to the arcade in the mall or the local pizza parlor and pump quarters into Pole Position, Donkey Kong, or Ms. Pac Man (my personal nemesis), but we longed for something more.  

I have received a number of game systems over the years thanks to my father’s job (Pong; Bally; Odyssey2; Texas Instruments-even learning to code in BASIC), but it was the Nintendo Entertainment System in 1986 that jolted me into a world I never knew existed.  Suddenly there was a connection among friends, all of us attempting to accomplish the same task – defeat games without the use of the Internet, email, chat, or online play. Yes, we called each other on the phone.  Yes, we spent the night at each other’s houses and played until the sun rose. Yes, we drew highly sophisticated maps and conjectured ways of defeating Ganondorf or the Mother Brain. Yes, we did eat highly caloric snacks and played quintessential 1980’s tunes.  Yes, we celebrated the takedown of a game like we won the NBA Championship.

I think that’s why the new film Max Cloud brought back memories for me in a flood of music, icons, and 1980’s-era graphics.  I wanted it to be a film that would evoke the geekiness and excitement of Ernest Cline’s Ready Player One while adding a new layer to the world I grew up in.  Sadly, it does neither.   

The story itself is fairly straightforward in nature. Sarah (Isabelle Allen, Les Misérables) is a fan of the Max Cloud videogame series.  While playing one day, she finds an easter egg (code for a secret item) that sends her from playing in her bedroom to being an active part of the game as Jake (Elliot Langridge), Max Cloud’s cook. Her friend Cowboy (Franz Drameh, Hereafter) looks for her and suddenly realizes that in order for Sarah to return to the land of the early 1990’s, he’s going to have to beat the game—or bye bye Sarah/Jake. Sarah’s comrades in the game consist of Rexy (Sally Collett), a somewhat shy and gregarious commander, and Max Cloud himself (Scott Adkins, Zero Dark Thirty; Doctor Strange), a vainly pretentious fighter in the vein of Buzz Lightyear, complete with references to himself in third person.

Every teenager’s bedroom, circa 1990

This sounds awesome! Where does the film go wrong?, you might wonder.  I think it begins with the screenplay itself. There are a number of opportunities for fleshing out the characters and having the viewer connect with Sarah and Max.  However, these are all brushed aside, leaving a bare-bones structure that simply cannot overcome the lack of detail.  The characters simply aren’t given enough to do. I do appreciate the concept, but in this case, less is not necessarily more.

Another area of concern is the unevenness of the graphics and set quality.  The video game Sarah gets pulled into is 16-bit (a la Double Dragon) and would be pretty respectable if it existed in real life. That might explain why the actual video game sets look like something one might find on Mighty Morphin Power Rangers. Some of the props look wonky as well, such as Rexy’s backpack blaster (it looks better in the actual game than in real life) and the helmets the characters have in case of going out into space. At the end, the final battle is of significantly higher quality, but it’s a bit jarring to see such differing graphics on the screen (think early Nintendo versus a PS5).

Even though there are some definite issues with the film, I did notice that the concept of teamwork is on grand display for the viewer.  The Cowboy realizes that if he doesn’t beat the game (which he has never done), his friend dies. He can hear Sarah, so the two partner to make sure he does the best he can—even resorting to her calling out button presses so the characters will get out of a tight jam. Even her father jumps in to make a critical save of the game at the end.  I’m reminded of a passage in the Bible that says, “Two are better than one because they have a good return for their labor; for if either of them falls, the one will lift up his companion. But woe to the one who falls when there is not another to lift him up!” (Ecclesiastes 4:9-10). Life is challenging enough as it is right now (Covid or not), so to have people around to help when the going gets tough-or even to talk to about all types of things-is important. Let us take a lesson from the Bible and video game players—we need each other.

Max Cloud is available on VOD now.

High Life: [Star] Trek of the Damned

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Told mostly in flashback, High Lifefocuses on the journey of prisoners who have been told that they would be sent into space for the betterment of mankind, only to discover that they were misled. Supervised by the vicious Dr. Dibs (Juliette Binoche), the convicts are left to their own depravity as they struggle to find meaning in their mission to the stars.

Directed by Claire Denis, High Lifereveals an existence that runs counter to the seemingly-positive tone of its title. As truly one of our great directors, Denis often does not shy away from the darkness in her films, exploring our modern pain and sorrows. With this in mind, High Lifeis no different as Denis focuses her attention on humanity in its worst possible context. As the maniacal Dibs, Binoche tackles what is arguably one of her darkest roles in years, creating a character reminiscent of Nurse Ratched in One Flew Over the Cuckoo’s Nest. Broken from her own criminal past, Dibs treats her subjects as sexual lab rats, attempting to create life at their expense. In fact, only through Pattison’s silent monk, Monte, is any particular hope allowed to enter the room. Pattison, who continues to mature as an actor, has very little to say in this role, yet his expressions demonstrate his desire to live a life of meaning in the midst of tragedy.

Denis’ intent in this film appears to be to explore the nature of what it means to truly live and, for her, sexuality is key to this conversation. By forcing the men to submit their semen for the purpose of inseminating the women, Dibs’ passion to ‘create perfection’ portrays sexuality as a cold (and, at times, terrifying) process. Here, intimacy is largely non-existent as sexuality become a clinical procedure. As a result, the prisoners, who have been essentially jettisoned from earth for the purpose of sexual experimentation, have been all but abandoned by society. Having been lied to about the purpose of their mission (they were informed that it was for the purpose of scientific research and, potentially, their own redemption), the crew has become disillusioned and broken. Though some (like Andre Benjamin’s faithful farmer, Tcherny) hold on to the belief that their journey still matters, most have unravelled living lives of depression, anger and angst. 

In stern contrast to this, however, stands Monte, the self-proclaimed monk. Opting to remain celibate, Monte seeks redemption by living a life of service to others. He is dutiful, hard-working and determined not to fall into the chaos that surrounds him. Despite his criminal past, Monte is determined to be a better man, setting him up as a model of integrity against Dibs’ darkness. (“I’ll get you,” she warns him ominously.) For Monte, intimacy trumps sexuality, modelled through the way he cares for the other women, including a mysterious child. As a result, there is a beauty to Monte’s character that stems out of a desire to ‘do better’, not only for himself but for others as well.

Though the film is dark and disturbing, there is a light to be found within it. Though many of the characters have lost all sense of humanity, allowing themselves to be debased, there is still a sense that life matters. While Denis does not fear delving into the darkness (especially regarding the meaning of sexuality), there is a sense that there is something greater to live for, especially if we allow ourselves to stand up against those that seek to drag us down.

High Life treks into theatres on April 18th, 2019.   

Star Wars: The Last Jedi -The Force of Hope

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“That’s how we’re going to win. Not by fighting what we hate, but by saving what we love.”

Okay, so millions of people are going to see Star Wars: The Last Jedi, the newest installment of the Skywalker saga. They will go for many reasons: They’ve been following this story for forty years. It is such a piece of popular culture that to not see it would be unthinkable. There are amazing special effects and battles. It is the last film for Carrie Fisher, who died nearly a year ago. Some will go to nitpick the physics. Others will want to consider the mythology around the Force and how that relates to our own ideas of philosophy and religion. This review is primarily directed to that last group.

The film carries the story on from The Force Awakens. The First Order is seeking to eliminate the last of the Resistance. Leia (Carrie Fisher) manages to evacuate their planet just before the First Order ships arrive, but soon the First Order finds them and puts them under siege. Fighter pilot Poe (Oscar Isaac), who is undisciplined and hotheaded, continues to break all the rules as he tries to fight against the enemy.  Meanwhile Rey (Daisy Ridley), a young woman who has an affinity for the Force, tracked down Luke (Mark Hamill) on a remote island. She wants Luke to come back and bring hope to the rebels. Luke refuses, saying the Jedi need to die off. Yet Rey persists to learn more of the Force. And so the battle goes on between the good and evil, but of course, when the Force is involved, light and dark are often at war within the characters more than they are between the armies.

Ever since the series began with what was later named A New Hope, the Force has been the main spiritual aspect of the series. It has a very mystical element.  The description that Luke gives to Rey about the nature of the Force is very close to panentheism—not that God is within all things, but that all things are within God. (But of course the Force is really a religion without a divine being.) Even though some of the characters are more connected to the Force, in reality, all live within the spiritual system of the Force. And so when each character steps up for their time of heroism or villainy, they are acting out their understanding of the Force. It allows even minor characters to bring enlightenment.

There has often been an almost monastic quality to the Jedi. Luke, like Obi-wan Kenobi in A New Hope wears hooded robes. The shelters on Luke’s solitary island are like the stone bee-hive shaped cells of an Irish monastery. Luke has become very like an anchorite, having separated himself from the world. Perhaps this hermit life is a form of penance. He had brought others here to train as Jedi, but when Kylo Ren (Adam Driver), son of Leia and Han Solo, went to the dark side, Luke’s faith in the Jedi philosophy was broken.

In this film, the real Force-related conflict is centered on Rey and Ren. Both have a special affinity for the Force. They are both in a struggle about how the Force is to be used. That good and evil exist in parallel within the Force is part of what makes the Force an interesting examination of the spiritual/theological realm.

Rey and Ren also seem to be connected in some way. While Rey in on the island with Luke, she and Ren begin to see each other remotely and have conversations. Rey recognizes that Ren is deeply conflicted. Ren sees in Rey a person who is searching. Both think the other can be brought over to the other side. There is a complexity to this relationship that opens many possibilities, both for this film and future episodes.

This film spends a good deal of time talking about hope. When Rey finds Luke, it is because she sees him as the embodiment of hope, even though he has essentially lost hope. The Resistance is trying to survive so that they can be the hope to others throughout the galaxy. Hope, in this film, is best seen in the darkest of times. It is not always easy to live in hope. Poe has not learned to hope, so he often acts impulsively. It is hope that sustains the rebels, even as they face sure annihilation. And hope that gives them new insights. It is also the need for hope that opens the door for Episode IX.

For me, the key part of the Star Wars franchise has been the web relationships. Going back to A New Hope, the links between Luke and Leia, Luke and Obi-wan, Han Solo and Leia, Darth Vader and both Luke and Obi-Wan, and R2-D2 and C3PO. In the current set of films (going back to the Force Awakens) new relationships are forming: Rey and Finn (John Boyega), Rey and Poe, Ren and Supreme Leader Snoke (Andy Serkis), and in this film Finn and Rose (Kelly Marie Tran). At the same time some of the older relationships are running their course to a finale. One of my complaints about the Star War series as it’s progressed is that the technological advances in effects has taken the fore and the relationship aspect of the stories has been diminished. As I said, some will go to the film to relish the battle scenes and CGI special effects. Although that is a legitimate reason, I’m not in that group. For me the amount of time blowing each other up is time away from the people and the connections that was so important in creating this franchise.

Photos courtesy of Walt Disney Studios

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.