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The Martian

Mars (Ep 1): The Journey Begins

November 14, 2016 by J. Alan Sharrer Leave a Comment

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.

Filed Under: Film, Reviews, Television Tagged With: Andy Weir, Astronauts, Ben Cotton, Daedalus, Elon Musk, Everardo Gout, IMSF, Mars, Matt Damon, National Geographic, Ron Howard, SpaceX, The Martian

Seeing and Believing: SciFi Returns to the 80s

November 2, 2016 by Steve Norton Leave a Comment

“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.”)

martian-gallery3-gallery-image

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.

strangerthings4

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.

finn2

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.

doctor-strange-poster-slice-600x200

Filed Under: Editorial, Film Tagged With: Benedict Cumberbatch, Darren Aronovsky, Dr. Strange, Exodus, Finn, J. J. Abrams, Jedi, lightsaber, Marvel, Matt Damon, Noah, Ridley Scott, Star Wars, stranger things, The Force Awakens, The Martian

The Fishing Hole (Vol. 1, Issue 1): Oscar Roundtable (Oscar Spotlight)

February 24, 2016 by ScreenFish Staff 2 Comments

stevejobsThe ScreenFish staff compiled some of their favorites for the top Academy Award prizes. The results were… varied.

 

trumbo2Best Actor

Chris: Leo. It’s his time.  Don’t hate.  Dude gave his guts and glory to film that puppy in freezing cold temps. That’s how it’s done, kiddos!

Darrel: This one I see as very close between Eddie Redmayne and Bryan Cranston, but Redmayne manages to exude the vulnerability of someone who was transgendered before anyone ever thought of a word for it. It is not just that he can do both genders within his character’s personality, but he does it with great sympathy. (Note: I didn’t see Steve Jobs.)

Jacob: I’ll still stick with Michael Fassbender but after seeing Trumbo, I wouldn’t be upset if Cranston won.

Alan: I’m with Jacob. It’s Michael Fassbender (In Steve Jobs, you simply couldn’t take your eyes off the guy. That movie fails to exist without him in the cast.)

Steve:  DiCaprio is not only going to win, but it’s not even going to be close.  Not only did he bring a raw, visceral quality to his performance, he also wins the (more important) ‘it’s his time’ category.  Biggest lock of the night.

 

room1Best Actress

Chris: Brie Larson.  She’s got all the momentum. What sealed it for her was the 2nd half of Room. (Spoiler alert!) The post escape aftermath was more harrowing than the confinement sequences.

Darrel: Maggie Smith (Oh, wait. she wasn’t nominated). In that case, Charlotte Rampling really had the hardest of the nominated roles, and she carried it exceedingly well.

Alan: Brie Larson (If only for the subject material and the skills necessary to pull the role off…)

Jacob: Gulp. I’m going to agree with Chris and Alan. Just so much weight on her performance.

Steve:  Brie.  Brilliant performance in a simply wild role.  Also, it’s a Canadian film so…

 

creed-movieBest Supporting Actor

Chris: Sly has the momentum for Creed.  Mark Rylance SHOULD win for Bridge of Spies.  I could feign false outrage that the Academy is gonna give an Oscar to character they had little respect for in the 80’s (Rocky Balboa).  But…in the words of the character I think should win, “Would it help?”

Darrel: Mark Rylance was amazing in every scene he was in. It was a very deadpan amazing, but amazing none the less.

Jacob: Could it happen twice? Yeah, I’m with Chris. It’s Stallone over a weak field.

Alan: Yes, it’s Sylvester Stallone with the sentimental pick. It would also potentially give him a chance to talk about the injustice of Michael B Jordan not getting a Lead Actor nom.

Steve:  I agree that Mark Rylance was brilliant in Spies and would definitely deserve it… still, we all know Stallone won’t be back in here again and he’s too respected.  Plus, his performance in Creed was one of the most human portrayals of the year.

 

hateful8Best Supporting Actress 

Chris: Since Alicia Vikander is the Flavor Of The Month, she’ll probably win. My heart is with Jennifer Jason Leigh.  When I sat in the theatre, I had a feeling Daisy (her Hateful Eight character) was gonna outsmart all the boys. Happily, I was right.

Alan: I’m going with Rachel McAdams. Spotlight is too good to not have someone win something–here’s where it happens.

Darrel: Rooney Mara. Actually, I think Carol is really Rooney Mara’s film more than Cate Blanchett’s. If it were up to me they would switch categories. But such are the politics and business of Oscar nominations.

Jacob: Just to be contrarian … Having not seen Carol, I’ll go Kate Winslet. I just wasn’t into Leigh’s performance (she grunts about the same way DiCaprio does).

Steve:  Sigh.  While I would love to see my Alicia Vikander step to the podium, momentum suggests that Kate will upgrade her resume (likely on a Mac).

 

Mad Max Fury Road MainBest Director

Chris: Inarritu will go back to back.  Like I said: genuine big screen filmmaking. I wish he could have shot that thing in 70MM instead of Tarantino!

Darrel:  Adam McKay (and co-screenwriter Charles Randolph [they should win adapted screenplay as well]) took an amazing complex issue and history and made it both understandable and entertaining.

Jacob: Puhlease. George Miller sculpted a masterpiece that’s nearly dialogue-free. There is more to unpack there than should be possible. And it’s all about Miller’s vision and direction.

Steve:  Oh, Jacob.  How very cute.  While Miller may even be the one that arguably deserves it more, Inarritu will double his wins this year.  Revenant accomplished the same feat of bringing depth to the silence… and he’s more popular right now.

 

spotlight3Best Picture

Chris: The Revenant.  My heart was with The Martian for most of the awards season but The Revenant is genuine big screen filmmaking.  And that bear scene is already legend.

Darrel: Why Spotlight (which I see as head and shoulders above the others)? It’s a well done film, but beyond that it shows how systemic evils can find ways of staying hidden without a vigilant 4th Estate. And I think it gives us a chance to consider if that vigilant press is dying off in today’s culture.

Alan: It’s The Revenant. The top three award ceremonies split their vote this year. I’m going to say, however, that Inarritu gets a second Best Picture statue to join his previous one for Birdman.

Arnaldo: Mad Max: Fury Road … but only because Sicario wasn’t nominated.

Jacob: While I preferred Fury Road in its style, Spotlight has more to say – and frankly, so did Trumbo. I’m with Darrel here.

Jason N: I’ll take Mad Max but please say it’s not The Revenant!

Steve:  I have little doubt that Spotlight will walk away with the win.  With The Big Short the only likely challenger this year, Spotlight not only gave us something to think about, it also provided a throwback to some of the classic films of the 70s like Network.

Filed Under: Current Events, DVD, Editorial, Featured, Film, Fishing Hole, Oscar Spotlight Tagged With: Alejandro G. Iñárritu, Bridge of Spies, Carol, George Miller, Mad Max: Fury Road, Michael Fassbender, Rylance, Spotlight, Steve Jobs, The Martian, The Revenant

And The Winner Is…or Should Be (Oscar Spotlight)

February 22, 2016 by Jacob Sahms Leave a Comment

revenant2The Oscar races this year are absolutely clear cut… in my mind. Having seen fourteen of the nominated films (out of approximately sixteen films in the major categories), these are my favorites to win.

At Best Actor, the portrayal of screenwriter and Communist Dalton Trumbo by Bryan Cranston put him in rare air, not that of the illicit drugs he manufactured as Breaking Bad’s Walter White. I was immensely moved by Cranston’s depiction of this flawed-yet-heroic man, and the way Jay Roach framed all of the movable parts around Cranston. Sadly, he’ll be runner up to Michael Fassbender, whose turn as Steve Jobs delivers something that Noah Wyle and Ashton Kutcher couldn’t: a performance that gets to the soul of the man. (Film I missed: The Danish Girl -my apologies to Eddie Redmayne.) Here’s a mad genius who lacks the emotional power to connect with others – until those who care about him the most challenge him spiritually.

stevejobs2I’ll openly admit that I’ve only seen a few of the five films in the Best Actress category but I have a hard time believing anyone could surpass Brie Larson’s portrayal of the kidnapped and raped young woman who raises her son in a garden shed in Room. While another year might produce more wins, this will be Room’s lone trophy. It’s harrowing and powerful, both in captivity and in the world outside, but all of it is made human by the quiet power of Larson’s delivery.

room1While this is a “makeup call” (a term ripped from other contact sports), I’ll predict that the Academy awards a lifetime achievement award to Sylvester Stallone for his Best Supporting Actor turn in Creed. Simply put, there are too few scenes in The Big Short, The Revenant, Spotlight, or Bridge of Spies for the other nominees to salt away a win. It’s Stallone by default, even if Michael B. Jordan deserves much of the credit for making Stallone look good (and recovering from the insufferable Fantastic Four).

Consider this your commercial break before we reach my big two awards for the year – consider it burying the lede.

creed-movieBest Original Screenplay: Straight Outta Compton delivers the time, the music, and the mythos of NWA. Were these guys prophets? Exploiters? Exploited? This complex story spins a tale that entertains, reminisces, and challenges us to think about how we define our worldview.

Adapted Screenplay: Michael Lewis’ The Big Short over Emma Donaghue’s Room robs the latter of a double win. Three times nominated, this one has to finally pull off the win. Greed sucks the life out of you in the long run – and proves there are no victimless crimes. It’s not the best film I saw this year, but it serves as a morality tale for all of us to consider in our day-to-day spending and relationships.

Cinematography: Director Alexandro Inarritu can do amazing things with film (think last year’s Birdman). This year, The Revenant dukes it out with The Hateful Eight (only win: Best Original Score). Both films are beautiful in their brutality, with the elements and humanity playing against each other for spellbinding cinematic moments.

straightouttaAnd now… Best Director goes to … Mad Max: Fury Road’s George Miller. Having established a dystopian world decades ago, he returns to the world that Hardy said was in Miller’s head and delivered it in a sprawling, dialogue-short film that visually does everything. No stone was left out of place, and every moment mattered to the overall picture. [Unfortunately, Inarritu will probably win… There, I said it.]

So, does that make Mad Max: Fury Road my Best Picture? Not exactly. While it (and Creed) was my favorite film of the year, it doesn’t qualify as the most important film of 2015. [It also came too early in the year, and surprised everyone with its depth.] A story about working within society to change it (versus running from the world we live in and hitting a restart) makes for a powerful testament of humanity in the midst of an apocalypse. It should be a challenge to us all – global warming, AIDs, violence, racism, whatever – be the change you want to be.

Mad Max Fury Road MainIs it The Revenant? No. Leonardo DiCaprio’s ability to grunt, Inarritu’s ability to shoot enigmatic scenes, and the makeup crew’s ability to generate the ferocious aftermath of a bear mauling do not make a complete picture. If you push me, I’ll admit this film looked cool but I thought the storytelling was shallow. (It’s why I preferred Mad Max: Fury Road.)

bridge3How about Bridge of Spies? Nope. While Tom Hanks delivers a tour de force performance, the film is almost entirely on his shoulders. Yes, it speaks to the way we are divided and guarded in society today, but it’s not enough to just have a strong lead. The film itself was good but not great; without Hanks, it’s a dud.

Left to right: Steve Carell plays Mark Baum and Ryan Gosling plays Jared Vennett in The Big Short from Paramount Pictures and Regency Enterprises

Does The Big Short…? An ensemble cast with solid performances couldn’t save a primarily financial film (here’s looking at you, Margin Call and Moneyball). Brooklyn? Didn’t see it. (Gulp). Room? Too claustrophobic.

And suddenly, we’re down to two.

martian-gallery3-gallery-imageWith the look on Matt Damon’s face as he accepted his award at the Golden Globes, I can tell there were fewer people laughing at the “comedy” that was The Martian. With the ridiculous categorization of the film, The Martian was condemned to be remembered not for Andy Weir’s story but the ridiculous politicization of the awards. And this isn’t even the best film where a dedicated group of brave people willingly sacrifice their lives to bring Matt Damon home or the best film where someone is castaway without human companionship…

spotlight3So, Spotlight it is. While Birdman and The Artist (2015 and 2012, respectively) proved that the Academy sometimes falls in love with the visuals, the track record of 12 Years a Slave, Argo, The King’s Speech, and The Hurt Locker show a trend toward based-on-a-true-story moments that highlight something about our society. With Spotlight, there’s an effort to show the power of the press (ding!), expose a hidden darkness (ding! ding!), and confront a powerful force in the world, the Catholic church (ding! ding! ding!)

Let’s hear the counter arguments. I know Chris Utley will be sharpening his knives… This should be fun.

Filed Under: Editorial, Featured, Film, Oscar Spotlight Tagged With: Alejandro G. Iñárritu, Bridge of Spies, Brie Larsen, Brooklyn, Bryan Cranston, Charlize Theron, Christian Bale, Creed, Eddie Redmayne, Emma Donaghue, Mad Max: Fury Road, Mark Ruffalo, Michael Fassbender, Michael Keaton, Michael Lewis, Room, Ryan Gosling, Spotlight, Steve Carrell, Steve Jobs, The Big Short, The Danish Girl, The Martian, The Revenant, Tom Hanks, Tom Hardy, Trumbo, Walter White

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

February 9, 2016 by J. Alan Sharrer Leave a Comment

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.

Filed Under: DVD, Featured, Film, Oscar Spotlight, Reviews Tagged With: Academy Awards, Best Picture, Donald Glover, Hermes, Isolation, Jeff Bridges, Jessica Chastain, Kate Mara, Mars, Matt Damon, NASA, Oscar, Sebastian Stan, Space, Survival, The Martian

And the Nominees are… Important?

January 14, 2016 by Steve Norton Leave a Comment

The 85th Academy Awards® will air live on Oscar® Sunday, February 24, 2013.
The 85th Academy Awards® will air live on Oscar® Sunday, February 24, 2013.

The announcement of this year’s Academy Awards nominations always brings with it the usual debates.  Who surprised?  (Straight Outta Compton!)  Who got snubbed?  (Ridley Scott!)

Momentum.  Controversy.  Favourite.  Underdog.  Every year, all of these words are used to argue about the Academy’s picks.  In fact, I’m even sure that I’ll address these issues as time draws nearer to the eventual opening of the envelopes.

Though really, the question for the Church today is something different…

“Should we care?”

revenant2

Most people give a resounding ‘No!’ to this issue.  After all, the Oscars is really nothing more than an opportunity for Leonardo DiCaprio, Jennifer Lawrence and Brie Larson to gear up in Versace and Prada and walk the red carpet.  It seems to be frivolous fluff.  (See Globes, Golden) Besides, they haven’t seen the other movies anyways.

As a church, however, I don’t think we should be so quick to tune out.

Although the Academy has always been accused of being ‘out of touch’, the films that win (and are even nominated) demonstrate themselves to be cultural touch points.  Because everything is always a product of its own time, we learn a lot about the worldview and values of our culture from the stories it feels the need to tell.  Films like The Big Short, Mad Max: Fury Road, and The Revenant are films which speak our moment in time (even if they’re not set in it).  For the Church at large to ignore this fact is to miss an opportunity to engage Hollywood on their turf.

Christian Bale plays Michael Burry in The Big Short from Paramount Pictures and Regency Enterprises
Christian Bale plays Michael Burry in The Big Short from Paramount Pictures and Regency Enterprises

Art is a doorway to a culture.  The Apostle Paul knew that and would study the poetry and art of a city upon his arrival.  (Lest we forget the statue to the ‘Unknown god’ in Acts 17)  As Christians, we have been called into our world to speak hope in a relevant manner with humble hearts.  We don’t always like the messages we hear from the cinema–but that doesn’t make them less important.  How can we truly speak the Kingdom of God into a culture if we aren’t willing to listen to them first?  (After all, Karl Barth once said that the best theologians are the ones that “have a Bible in one hand and a newspaper in the other.”)

At the same time, I also think that the answer to our question about the Oscars can also be ‘No’ as well.  (Though maybe not for the reason you’d expect.)  The truth is that, as important as it is to engage the stories of our dominant culture, it doesn’t hold a candle to the truth of the stories of those in our nearest proximity and community.  In other words, although understanding the theological values inherent within The Martian and Room is a healthy exercise of the mind, the stories that matter most are the ones from the people we know.  To contemporize the Gospel, we must first engage our own world.  The values in our area may be entirely different than those that are revealed in this year’s Oscar race.

room1

Wrestling with the texts of those worthy of even being mentioned with the phrase “Best Picture Nominee” needs to be vital exercise within the church if it is to stay relevant.  Still, we also can’t assume they reflect the views of everyone we know.

And seriously, what does Ridley Scott have to do to get a win for directing?  Not even for Gladiator?  Throw him a bone, people…

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Filed Under: Current Events, Editorial, News Tagged With: Brie Larson, Jennifer Lawrence, Leonardo DiCaprio, Oscars, Ridley Scott, Room, Straight Outta Compton, The Martian

Awakening the Force

December 7, 2015 by Steve Norton Leave a Comment

Star_Wars

Have you got your tickets?

That seems to have been one of the main questions amongst Star Wars fans over the last 6 weeks. Amazingly, as soon as Fandango opened their digital doors for advance tickets for The Force Awakens, the latest chapter in the Star Wars canon, they didn’t just get snapped up… they shattered box office records.

Don’t believe me? On the first day alone, The Force Awakens sold 8x more tickets than previous record holder, The Hunger Games. Then, by November 19th, they reported over $50 million in sales—a full month before the film’s release!

For a lot of movies, that’s more than what they get in their entire theatrical run.

And Luke, Han and Co. did it before anyone’s seen the movie.

Clearly, we’re all still clamouring for a visit to a galaxy far, far away. But why?

After all, it’s not like we haven’t had a slew of incredible sci-fi fantasy to capture our imagination in recent months and years. Mad Max: Fury Road was one of the best films of the year (not just sci-fi). The Martian is arguably favoured to win Best Picture at next year’s Oscars. Gravity, Interstellar, Ex Machina, and Edge of Tomorrow are just a few of the excellent entries into the genre in recent years as well. (We’ll just pretend that Jupiter Ascending and Tomorrowland didn’t happen…)

There has to be more to it.

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Recently, the folks at Reel World Theology made a comment that got me thinking. They suggested that Star Wars offers more than the casual sci-fi film, especially when compared to today’s entries into the genre that do everything they can to feel authentic. For example, films like The Martian, Gravity and the rest do an amazing job of grounding themselves in our world. In most cases, they go to great lengths to prove to people that they are scientifically sound. (Yes! We can plant potatoes on Mars!) In other words, they want to emphasize the ‘science’ in ‘science fiction’.

However, in the process, the focus of these films invariably becomes ourselves.

Our achievement.

Our importance.

The Star Wars franchise takes a different approach. Coming at a time when culture was reeling from tragedies like Watergate and Vietnam, Star Wars offered a new hope. With its focus on the Force, our efforts and choices remain important but it demonstrates a desire to connect with something beyond ourselves. It’s a cry for help and hope for those who are weak. A recognition of something beyond our limited understanding of the universe.

There’s a reason ‘May the Force be with you’ resonates with so many.

As its characters gradually discover the Force, they’re called to significance. Luke lives a humble life but doesn’t discover his purpose until he begins his training with Obi-Wan. In response to the arguments of the Imperial leadership, Vader himself claims, “The ability to destroy a planet is insignificant next to the power of the Force.” In fact, Ford’s beloved Han Solo is treated as misguided by his claims that “[he’s] never seen anything to believe in some all powerful force that controls everything.”

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In this story, the skeptic is the one who’s missing something.

The Star Wars films have always called us to realize that our significance doesn’t lie within ourselves but in the hand of something mysterious. There is a calling and a longing for us to have purpose. Having had many conversations with atheists, it is clear to me that their desire is to know what’s tangible. Like Han, they rely on their passion for quantifiable substance to judge what’s real. While I completely respect that, I have heard a quiet yearning within them at times that suggests they want to believe in more. As a Christian, I believe that this longing is part of the image of God that calls us back to Him. Isaiah 26:9 says “At night, my soul longs for you. Indeed, my spirit within me seeks you diligently.”

At our heart, we want to believe. It’s a piece of who we are.

Unlike a lot of sci-fi films, the Star Wars franchise points us beyond what we can see to a life of meaning found in something (or Someone) else. It connects with us because it’s part of us. When Lucas began this series, this spiritual imprint was embedded into its narrative framework—and it awakened something within us. I believe that our enthusiasm for the franchise goes far beyond lightsabers, Jedi or even Harrison Ford. At a time when terrorists seem to attack at will and violence has poured in our streets, we find ourselves in a world that echoes the heartache and tragedy of the 70s in many ways. Once again, we’re looking for a new hope. We want our eyes to be opened to the world of the spiritual when so many other stories attempt to close them.

When we allow ourselves to do that, in the words of Obi-Wan, we find ourselves “taking our first steps into a larger world.”

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Filed Under: Current Events, Editorial, Film Tagged With: Faith, film, Han Solo, Harrison Ford, Interstellar, Kylo Ren, Luke Skywalker, Obi Wan Kenobi, Star Wars, Star Wars: The Force Awakens, The Force, The Hunger Games, The Martian

TIFF Hits: THE MARTIAN

October 1, 2015 by Steve Norton Leave a Comment

The-Martian-book-cover

Are we truly alone in the universe?

It’s a question asked by a number of entries into the sci-fi genre.

However, The Martian is not like other films.

Directed by Ridley Scott (Alien, Blade Runner), The Martian doesn’t wrestle with this question in terms of alien life on other planets. Rather, it is far more interested on what it takes to survive when you are alone–and whether or not we are alone spiritually.

The Martian tells the story of astronaut Mark Watney (Matt Damon) who, on a mission to Mars, is accidentally left stranded on the surface of the planet by his crew. Alone and presumed dead, Watney opts to fight for his life, rather than cower under the circumstances. As NASA gets wind of his plight, they begin to move forward with a plan to bring their boy home, assuming that he can stay alive long enough to be rescued at all.

Far more Cast Away than Gravity, The Martian chooses to tackle its subject matter with a sober tone. In fact, one of the things that the film prides itself on is the fact that the various methods of survival Watney chooses throughout his experience are all scientifically possible. Although the term ‘non-stop thrill-ride’ doesn’t apply to this film, Matt Damon is charming as Watney and keeps your interest with his engaging asides to his journal. (Incidentally, while I admit the film is really well made and quite interesting to watch, I would also argue that this lack of action prevented the film from truly ascending to amazing heights. Personally, I just didn’t feel that the film carried much drama.)

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Similar to The Man Who Knew Infinity, The Martian is also a ‘love letter to science’. Interestingly, though, the two films differ in their spiritual dynamics. While Infinity pointed towards a joint venture between science and faith, Martian has no such goals. Faith is mentioned only in passing, and it’s always ‘someone else’s’. For example, Damon refers to the faith of another team member rather than his own. In another instance, during a scene at mission control, faith is mentioned but in the context of “well, hopefully, that’ll work.” Although this isn’t really a surprise–director Ridley Scott has explored faith issues before and clearly struggles with the idea–it does put the emphasis solely on the efforts of human achievement.

Matt Damon literally says at one point that, given impossible odds, he’s going to have to ‘science the [crap] out of it’… and manages to do so. Again, like Infinity, the world is broken down into a series of mathematical equations, yet the wonder is taken away, substituted with a simple pat on the back for the human race and what we’ve accomplished. While this actually makes for a fascinating film (and offers an encouraging view for human achievement), it does subtly inform the audience that life is ultimately about us.

Personally, I found that to be the most tragic part of the film.

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The Martian

Starring Matt Damon, Jessica Chastain

d. Ridley Scott

(out of five)

Filed Under: Current Events, Film, Reviews, TIFF Tagged With: Matt Damon, Ridley Scott, The Martian, TIFF

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