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where faith and film are intertwined

tye sheridan

The Tender Bar – Learning “the male sciences”

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“Grandpa’s house was a revolving door of cousins and aunts, with a full complement of laughter and tears, with an occasional nervous breakdown. But above all, it’s where Uncle Charlie lived.”

The Tender Bar, directed by George Clooney and based on a memoir by J.R. Moehringer, can be characterized as a coming-of-age story, but it veers a bit into the philosophy of masculinity. While the film is very male-oriented, its story is appealing enough that women should find it enjoyable as well.

LILY RABE and DANIEL RANIERI star in TENDER BAR Photo: CLAIRE FOLGER © AMAZON CONTENT SERVICES LLC

It begins in 1973 when nine year old, J.R. Maquire (Daniel Ranieri, later Tye Sheridan) moves with his mother (Lily Rabe) into her father’s house, an event she views as a sign of failure, but J.R. finds exciting. His father abandoned them long ago. He is a semi-nomadic radio DJ who J.R. refers to as The Voice—after all, that is about all J.R. knows of him. Grandpa (Christopher Lloyd) is a curmudgeon who seems to resent having his adult children back in his house. (But at least he is willing to help support them.)

J.R. finds an important role model in his Uncle Charlie (Ben Affleck). Charlie is a bar tender at a local dive, The Dickens. It is there that Charlie (and some of the barflies that are always there) teach J.R. what Charlie refers to as the “male sciences”, simple rules of how to live and especially how to treat women. (The prime directive in these sciences is “You don’t hit a woman, ever, up to and including if she has stabbed you with scissors.”) Charlie is something of an autodidact philosopher. He seems to have read everything, and makes sure that J.R., who wants to be a writer, reads it as well.

CHRISTOPHER LLOYD and DANIEL RANIERI star in TENDER BAR Photo: CLAIRE FOLGER © AMAZON CONTENT SERVICES LLC

J.R.’s mother is laser-focused on him going to an Ivy League school, even though there’s no way she could afford it. In time he is accepted to Yale on scholarship, and the film explores his life there, and continues to build on Charlie’s life training. At Yale he falls in love with a beautiful and bright young woman (Briana Middleton). The relationship with her is something that teaches J.R. about trials that he cannot control.

J.R., with the help of family (which includes the patrons of The Dickens) and friends, slowly negotiates life without his father, life at Yale where he feels out of place, and entering adulthood with confidence—enough to face his father and to assert himself.

BEN AFFLECK and TYE SHERIDAN star in TENDER BAR Photo: CLAIRE FOLGER © AMAZON CONTENT SERVICES LLC

For all the “male science” aspect of Charlie’s mentorship of J.R., the philosophy that he teaches is applicable to all people. It can be summed up is a few important concepts: kindness, honesty, and honor. I don’t think Charlie ever uses those words, but through the instructions he gives J.R.—and through his actions—those ideas are clear. Such a view of life is certainly in line with Paul’s comment: “…Whatever is true, whatever is honorable, whatever is just, whatever is pure, whatever is pleasing, whatever is commendable, if there is any excellence and if there is anything worthy of praise, think about these things.” (Philippians 4:8 NRSV)

The Tender Bar is in theaters and is streaming on Prime Video

Photos courtesy of Amazon Content Services.

The Mountain – Are We Sane?

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“Where do they go? The people, when you change them?”

It’s difficult to put The Mountain from writer director Rick Alverson into a familiar category. Drama doesn’t seem to say quite enough. It borders at times on surrealism, but there is also a strong sense of reality as it looks back to a time. Its dark and brooding mood carries us into a world in which reality and the portrayal of reality seem to blend.

Andy (Tye Sheridan) is leading a life without goal or meaning. His world is as cold and flat as the ice rink where he runs the Zamboni. His father is even colder. His mother has been institutionalized for many years. When his father dies, Andy is approached by Dr. Wallace Fiennes (Jeff Goldblum), to accompany him on a trip across the country to take photographs. Dr. Fiennes is a lobotomist who goes from hospital to hospital to perform the increasingly controversial procedure. Little by little, Andy begins to identify with the patients. Is it an emotional connection, or is he beginning to recognize his own mental illness? Or perhaps it is his guilt in being involved in this procedure. When he connects with a young woman patient (Hannah Gross), his life becomes increasingly fragile.

Set in the 1950s, this film is actually the opposite of nostalgic. Whereas that time is often seen as a golden age in American culture (well, at least since American Graffiti and Happy Days), this film reminds us that it was a period with a very dark side. We are meant to be uncomfortable with the way people are treated in that time. We are also meant to be wary of those who, like Dr. Fiennes, claim to be experts and saviors, but who leave a trial of broken lives in their wake.

Visually, the film offers some interesting cinematography that aids in the storytelling, helping us to feel the very depression and neuroses that are central to the film. Sometimes that is fairly subtle. For example, scenes in which Andy and Dr. Fiennes are in a small room talking to each other face to face, but then the viewer notices as the camera goes back and forth, that there are no doors in the room. Is this reality or dream?

It could be that this film serves not just as a reminder of the flaws in our “good old days”, but also as a metaphor for understanding the world in which we find ourselves. In a “post-truth” society, in which news is called false when it doesn’t agree with one’s version of reality, the question of sanity may not be about individuals, but the culture as a whole. There are so many versions of reality competing to be accepted, that we might well think our society is living with schizophrenia. And there are those who would like nothing more than to pacify those who have differing realities. In that sense, The Mountain seeks to be a cautionary tale concerning where we are headed—or may already have arrived.

Photos courtesy of Kino Lorber

Ready Player One: Real Life

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I have completely forgotten the title of the story. I have forgotten what magazine I read it in. I have even forgotten most of its plot.

All I remember is the protagonist visiting another character she met online, only to discover her initial thoughts were completely incorrect.  The other person lived in a very small studio apartment and spent nearly his entire waking existence ‘living’ inside virtual worlds via cartridges he inserted into a head mounted device he wore. What was a reality to him was a virtual existence to others.*

Every time I think about virtual reality and the possibilities it can hold for our quickly deteriorating planet, I come back to the story I don’t fully remember. Simply put, life isn’t meant to be lived that way.

As the strains of Van Halen’s hit song ‘Jump’ welcome viewers to the world of Ready Player One, a camera snakes through an apartment complex created out of trailers crudely stacked like Jenga blocks (see picture above).  It focuses on the top trailer before panning down to reveal individuals playing tennis, shadow boxing, and pole dancing while wearing virtual reality goggles. The dystopian nightmare revealed in the last paragraphs of the story I can’t fully remember is on full display.

But is there hope?

Ernest Cline’s book Ready Player One, a massively geeky love letter about the 1980s wrapped in virtuality, sold so well that Steven Spielberg chose to direct a big-budget film based on it.  The end result is a movie that is noticeably different from the book yet somehow works well enough that people will come in droves to watch.

Here’s the basic premise: An eccentric video game programmer named James Halladay (Mark Rylance) created a virtual society called the Oasis, a place where anyone’s dreams could come true with a VR suit. Before he died, he hid three virtual keys that, when acquired, would lead one individual to an Easter egg and control of his company, valued at over a trillion dollars. For over a decade, nobody could find the first key.  But after Wade Watts (known in the Oasis as Parzival and played in the film by Tye Sheridan) is successful, it’s a race to complete the task before a company called IOI succeeds and takes Halladay’s company over for themselves. Along the way, Wade is helped by his online friends Aech (Lena Waithe), Sho (Philip Zhao), and Daito (Win Morisaki).  Then there’s Art3mis (Olivia Cooke), a wild but successful gunter (slang for egg hunter) who steals Wade’s heart. But are they who their unique avatars make them out to be?

Wade’s devoted most of his life to claiming the Easter egg, living the virtual life I read about in the story I opened this review with.  But when virtual blends with reality, real consequences happen. IOI discovers his real persona and attempts, through the wiles of Sorrento (Ben Mendelsohn), to convince Wade to join their team (known as the Sixers).  When he refuses, Sorrento blows up his real house, killing his aunt—and potentially others—in the process.  It is only then that Wade realizes physical life and virtual life aren’t the same.

As for the main aspects of the film . . . The virtual world was typical Spielberg, that is to say: well-polished, well-designed, and well-executed.  It was chock full of 1980s references that will take multiple viewings (or somebody putting it in a YouTube video) to catch. In the first five minutes, I picked up on Marvin the Martian and Hello Kitty.  Halladay’s library was incredible, as was the race for the first key (although the book is completely different in this aspect).

The real world was a mixed bag. I loved Rylance’s portrayal of the eccentric, quirky, yet charming Halladay. Cook does a great job with Art3mis, blending passion with feistiness and hidden charm.  My one issue comes with Wade.  Sheridan feels wooden and forced playing the real-life version of Parzival, giving him an unrealistic quality. However, his blonde haired-avatar fits in perfectly as a leader to the virtual world, unfettered by size or power.  Give Spielberg credit there. Regardless, this is a film that deserves to be seen regardless of what generation you come from.

There are a number of themes that can be discussed here (Halladay’s attempt at playing God [Genesis 1]; escaping one’s past; games people play; being one’s real self; people will rally to the right cause), but I’ll go with one.  There is a reason we need to be connected with others in real life.  VR isn’t as good as the Oasis (and may never be), but that doesn’t mean we need to spend every minute of every day staring at a phone or other form of technology. It might be fun to chat and mingle with people virtually, but in the end, all that’s left are memories. We were not designed by God to live 24/7 by ourselves (after all; he made Eve because it wasn’t good for Adam to be alone).  We need real people around us to support, encourage, and enjoy life with.  No matter how good VR graphics get, it’s simply not the same experience. Living life can be quite fun and invigorating.

Besides, in online communication, we have the ability to be who we want to be, not what we are in real life.  It’s why I get so frustrated with people on Facebook who always seem to have it perfectly together with constant selfies and successes. Real life is messy and struggles are as common as the sunrise.  A community allows us to be real, be honest, be ourselves.

Real life, with all of its challenges, trumps a virtual life every time.  And you don’t have to read a story to know that.

* If you know what story I’m referring to, let me know in the comments.

The Warner Bros.’ Blu-ray Combo Pack contains special features that take us back to the ’80s (“The ’80’s: You’re the Inspiration”) as well as a series of featurettes going over ninety minutes into details about how Spielberg made the film, like “Game Changer: Cracking the Code,” “Effects for a Brave New World,”  “Level Up: Sound for the Future,” “High Score: Endgame,” and “Ernie & Tye’s Excellent Adventure.”

4.15 Finding your Oasis in READY PLAYER ONE

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Set in the year 2045, the global population seeks solace in the OASIS, a digital haven with limitless possibilities. However, when the creator dies, he challenges the world to unlock an Easter egg hidden somewhere in the game, giving them total control over the system itself.

Filled with pop culture references and stunning visual effects, READY PLAYER ONE heralds a return to the adventure genre for Steven Spielberg. Though one could argue the film is primarily a nostalgia bonanza, Spielberg imbeds his story with his own Easter eggs of truth. This week, Steve welcomes Jeff Baker and Benjamin Porter to discuss about the nature of identity in the digital world and the relationship between Creator and his creation.

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.

4.15 Ready Player One

Thanks Jeff and Benjamin for joining us!

READY PLAYER ONE Giveaway!

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Are you ready?

In the year 2045, much of Earth’s population centers have become slum-like cities due to overpopulation, pollution, corruption, and climate change. To escape their desolation, people engage in the virtual reality world of the OASIS (Ontologically Anthropocentric Sensory Immersive Simulation), where they can engage in numerous activities for work, education, and entertainment.

Wade Watts (Sheridan) is a teenage Gunter (short for “egg hunter”) from Columbus, Ohio who frequents the OASIS and attempts to win “Anorak’s Quest”, a game created by the deceased creator of the OASIS, James Halliday (Rylance), by finding the Easter Eggs. The winner is to be granted full ownership of the OASIS, among other things.

To enter, simply like or share our post on Facebook and answer the following question in the comment section: Tell us your favourite Steven Spielberg film and why!

The winner will receive a copy of the original book for Ready, Player One, written by Ernest Cline.

For a bonus entry, like or retweet this post on Twitter.

All entries must be completed by 11:59pm on Thursday, March 29th, 2018.

 

Ready, Player One will be unleashed in theatres on March 29th, 2018

Last Days in the Desert – Struggling Fathers and Sons

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“He was in the wilderness forty days, tempted by Satan; and he was with the wild beasts’ and the angels ministered to him.” (Mark 1:13, NRSV)

“To prepare for his mission, the holy man went into the desert to fast and pray, and to seek guidance.” -opening title card in Last Days in the Desert

Last Days in the Desert is not the biblical story alluded to above, but it is set within that story. Jesus (Ewan McGregor) is wandering through the desert feeling out of touch with God. Satan (also played by Ewan McGregor) is trying to take advantage of that alienation. Satan tries to convince Jesus that God is self-centered and capricious. Jesus is uncertain of himself and of God.

It should be noted that “Jesus” and “Satan” are not actually named (although the Satan character does refer to Jesus as Yeshua, the Hebrew version of the name). Rather Jesus is usually just referred to as the holy man, while the Satanic character is left completely nameless. I use the name Satan for him in this review because I view him as similar to the role of Satan in the story of Job—a part of the heavenly court, but perhaps the most cynical of God’s servants.

Along the way Jesus comes across the tent and half-built house of a desert dwelling family. The mother (Ayelet Zurer) is an invalid. The father (Ciarán Hinds) and son (Tye Sheridan) are at odds because the son wants to see the world. The father believes their life in the desert is the best way to live. As is often the case, the two generations don’t know how to speak to each other and understand each other’s dreams and desires. Satan offers Jesus a deal: if Jesus can resolve the situation to everyone’s satisfaction that he will leave Jesus alone. Jesus spends time with them, helping them build the house that is to be the son’s inheritance and incentive to stay.

Some will have issues with the way Jesus is portrayed in the film because he is filled with doubts. He worries about knowing what to do to help people. Most importantly he worries over where God is. This leads to some interesting conversations between Jesus and Satan. Satan seems to have no doubts about God, but is very cynical about God’s nature. Many of the things he tells Jesus often create anxiety for Jesus, but they also seem in some way to strengthen his resolve to do what God has in mind for him. It is an interesting choice to have Jesus and Satan done by the same actor. It creates a sense of an internal dialogue as Jesus struggles with his human and divine natures to come to terms with his mission.

While that may be bothersome to some, the Gospels (at least the Synoptics) are not always clear about Jesus’ self-awareness and his understanding of himself as divine. Writer/director Rodrigo Garcia focuses on Jesus’ human side. He says in production notes, “I cannot know what the divine side feels like, so I decided to treat Jesus, his predicaments, and his problems the same way I would treat a regular person. Also, this story takes place before Jesus begins his public ministry. There is a sense that this time in the desert serves in some way as an internship for what he will be doing when he emerges from this forty days.

Because of Jesus’ doubts concerning God, the father/son issues of the desert family become an inroad to consider the relationship of Father and Son. There is a lot of talking about fathers and sons and that relationship. Just as the son in the film is trying to come to terms with his father’s hopes and plans for him, Jesus is also trying to come to terms with God’s plan for him. The boy wants to go his own way and live his own life. Is that an option for Jesus to consider? Of course, there is a great deal of difference between the relationships of the father and son and the Father and the Son. Whereas one is exacerbated by the constant proximity of the father and son, the problem Jesus faces in his relationship with God is the seeming absence of God in the wilderness of Jesus’ life. In both the father/son and Father/Son relationships the difficulty of having faith in the interpersonal bonds is a constant struggle.

The film has a slight affinity to Martin Scorsese’s (and Nikos Kazantzakis’s) The Last Temptation of Christ. That was also a story that was not so much biblical as set within the biblical narrative. It was also a story in which Jesus’ doubts play as big of a role as his faith and that focused on the human aspect of Jesus during his ministry. I have to admit that I am personally more comfortable with the human aspects of Jesus. Like Garcia, I cannot understand what it would mean to be divine, so I relate to Jesus much more as a man, even though I do not deny his divinity. So this film, like The Last Temptation of Christ, is more to my liking than the overly reverent treatments of Jesus’ life that are often produced.

Photos credit: Gilles Mingasson / Broad Green Pictures

Scouts Guide to the Apocalypse: No Human Left Behind

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SCOUTS VS. ZOMBIES

The coming-of-age high school comedy gets mashed up with the zombie onslaught in Christopher B. Landon’s (Paranormal Activity, Disturbia) latest horror flick. Though, in Scouts Guide to the Apocalypse, the zombies are just the backdrop for an overarching story about three friends who must fight through their own impulses and mistakes to discover that … scouting is cool.

Ben (Tye Sheridan) and Carter (Logan Miller) ditch their friend Augie (Joey Morgan) on the greatest night of his scouting life, figuring that chasing girls is better than seeing him earn his Condor Patch. Scout Leader Rogers (David Koechner) has a night in the woods all set up for them, but the two decide that they’re better off at the “Secret Seniors Party” (which of course doesn’t actually exist). But when a zombie plague is accidentally unleashed on the world, the three friends must come together to fight for their lives and “the girl,” cocktail waitress Denise (Sarah Dumont).

scoutsguide1Now, with background on how the film was made and the specifics on zombie creating in the special features, Scouts Guide is available to irreverently take scouting where it’s never gone before. More Zombieland or American Ultra than Shaun of the Dead, the film has its funny moments and zombie/high school fans will want to give this one a spin. Still, the straight ahead nature of the film makes it pretty predictable, with the exception of some gross-out gags to disturb you.

The story is more about Ben and Carter figuring out the error of their ways – that friendships should come before chasing sex, that popularity doesn’t breed happiness (a lesson Denise explains). The zombies and the humor are wraparound to the ‘moral of the story’ that’s not just expressed in narrative form but which is literally delivered to us orally like a sermon. Yes, it has its moments but amidst the gore and raunchiness, the film doesn’t trust us to get the moral and feels the need to remind us repeatedly what we’re supposed to be learning.

Scouts honor.