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where faith and film are intertwined

Will Smith

Dads: A Love Letter to Fathers

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

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

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

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

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

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

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

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

Dads is available to stream on Apple TV+ now.

GIVEAWAY: Digital Copy of SPIES IN DISGUISE

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Super spy Lance Sterling and scientist Walter Beckett are almost exact opposites. Lance is smooth, suave and debonair. Walter is not. But what Walter lacks in social skills he makes up for in smarts and invention, creating the awesome gadgets Lance uses on his epic missions. But when events take an unexpected turn, Walter and Lance suddenly have to rely on each other in a whole new way. And if this odd couple can’t learn to work as a team, the whole world is in peril.

To enter, tell us your favourite spy show/film and why. For a bonus entry, like or share the post on Twitter, Facebook and/or Instagram.

The winner will receive a digital copy of Spies in Disguise on iTunes.

All entries must be completed by 11:59pm on Thursday, March 19th, 2020.

6.17 Maturing Mayhem in BAD BOYS FOR LIFE

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After 17 years, renegade cops Mike Lowry and Marcus Burnett (played by Will Smith and Martin Lawrence) return to the screen in BAD BOYS FOR LIFE. After the vicious leader of a Miami drug cartel starts a murderous rampage throughout the streets of Miami, Lowry and Burnett are forced to work with the newly-created elite team AMMO to bring them down. However, with time catching up to them, the two aging hot shots must re-examine what matters most to them as they jump back into the crosshairs of another ruthless crime lord. This week on the show, film analyst Chris Utley joins us to talk about carnage, clutching at glory, and connecting with the soul.

You can also stream the episode above on podomatic, Alexa (via Stitcher), Spotify or Soundcloud! Or, you can download the ep on Apple Podcasts or Google Play!

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.

6.17 Bad Boys for LifeDownload

6.04 Doubling Down on GEMINI MAN

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In Will Smith’s latest sci-fi auctioneer, GEMINI MAN, veteran hitman Henry Brogan has come to the point where he wants to hang up his rifle and retire. However, when his government agency turns on him, he must come face to face with his greatest enemy… himself… sort of. This week on the show, filmmaker Nathanael Draper stops by to talk about what makes us human and dealing with our ghosts.

You can also stream the episode above on podomatic, Alexa (via Stitcher), Spotify or Soundcloud! Or, you can download the ep on Apple Podcasts or Google Play!

6.04 Gemini ManDownload

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.

Aladdin – Making Way for Prince Ali (Again)

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No, he’s not like Robin Williams… and that’s okay.

Ever since Disney released the first trailer for Aladdin, their latest—and second of four this year(!)—live-action remake of their own animated property, the #1 issue on the Twitter-verse has been the questions surrounding Will Smith’s portrayal of the Genie. Originally made famous by the wildly frantic Robin Williams, few (if any) Disney characters remain so closely tied to their respective voice actors in terms of tradition. As a result, Twitter has not been kind to the prospect of a new suitor for the role, even someone with enduring star-power like Will Smith. What’s more, unfinished special effects or underwhelming song clips did little to excite audiences about Prince Ali’s mighty return. Thankfully, while not perfect, the film (and Smith’s performance) remains an endearing and entertaining family night out.

As in the original animated classic, Aladdin (Mena Massoud) is a lovable street urchin who meets Princess Jasmine (Naomi Scott), the beautiful daughter of the sultan of Agrabah. Enlisted by the villainous sorcerer Jafar (Marwan Kenzari) to find a mysterious lamp, Aladdin stumbles upon a magic oil lamp that unleashes a powerful, wisecracking, larger-than-life genie (Smith). As Aladdin pursues his dream of winning Jasmine’s hand, he also soon discovers a plot by Jafar to overthrow the Kingdom

Directed by Guy Ritchie, this depiction of Aladdin still manages to charm. Massoud and Scott have solid chemistry onscreen as the star-crossed lovers and Smith brings his trademark charm, humour and swagger to the role. (In fact, the very fact he took on the role is somewhat courageous and a no-win situation. Even if they had cast someone similar to Williams, Disney would be accused of the person of ‘trying too hard’ or being ‘too Williams-esque.’) As such, the casting works and the musical numbers are presented with the proper balance of nostalgia and fresh takes. Even the new Oscar-targeting ballad, “Speechless”, while feeling modern than the older songs, pops and shows actress Scott’s range and talent. (Although, it’s clear that Guy Ritchie seemed most uncomfortable shooting these scenes.)

Another traditional knock against Disney’s live-action remakes has been their ability to pad the narrative unnecessarily. Similar to previous examples, this version of Aladdinis a full forty minutes longer than the original, yet never really feels as though it’s dragging or taking away from the primary story. Whereas other live-action films such as Dumbo or Beauty and the Beast have added distracting side plots (A rival circus? The mystery of Belle’s mother’s death?), Aladdin keeps the film flowing for the most part by simply adding more humor or increased exposition. In short, the film still feelslike Aladdin… and that’s probably why you went in the first place.

One of the most significant changes to the film is Jasmine’s character who, in this incarnation, is much more assertive and proactive. Subtle changes to dialogue and a significant (but important) change to the film’s ending give Jasmine a voice in a culture of oppression. Unlike the original version, Jasmine is far more aware of the need for change within her kingdom, whether it stems from the value of the poor to the role of women. Thanks to the wisdom imparted by her deceased mother (who was ‘loved by the people’), Jasmine recognizes that true leadership involves knowing and respecting those under her care. Rather than content to stay in the palace, Scott’s Jasmine is one who sees vibrancy within the lives of others (and her own) and seeks to empower them. (Interestingly, a slightly more-fleshed out story for Jafar also suggests that his attempt to usurp the throne also stems from the abuse of a caste political system.) Unlike the original animated film which simply accepts its cultural oppression, this Aladdin(2019) recognizes that more work needs to be done to give voice to those who are ‘speechless’. 

While not necessarily perfect, Aladdin is certainly one of Disney’s best live-action properties thus far. Vibrant with color and filled with (mostly) well-crafted musical numbers, Aladdinsurprises with its ability to re-capture the heart of its audience. While it’s not entirely a ‘whole new world’, it is still worthwhile to ‘make way for Prince Ali’.

Aladdinis currently making his way in theatres.

1on1 w/Allan Loeb (screenwriter, COLLATERAL BEAUTY)

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One last present under the Christmas tree! This week, Steve has the privilege to speak with screenwriter Allan Loeb (21, WALL STREET: MONEY NEVER SLEEPS) about his latest film, COLLATERAL BEAUTY, which stars Will Smith and Helen Mirren. They chat about love, death and the nature of fables.

A special thanks to Allan for joining us on the show!

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Collateral Beauty – Arguing with the Cosmos

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“When something starts with a six year old dying, nothing’s going to feel right.”

Unresolved grief fills and drives Collateral Beauty. The film opens with a joyful Howard (Will Smith) presiding over his ad agency’s Christmas party, reminding his employees that they make connections with people through three key concepts: time, love, and death. Then the film jumps ahead three years. The joy is gone from the office. While others quietly work, Howard spends days at a time building elaborate domino structures, just to knock down the first block and walk away. Obviously something has happened.

Three of his partners, Whit (Edward Norton), Claire (Kate Winslet), and Simon (Michael Peña) watch this, wondering when Howard will snap out of it. The business is beginning to suffer. And they have an offer to buy the agency, but Howard won’t even talk with them. So they hatch a plan they hope will bring Howard back—or if not, be evidence that he is incompetent.CB40594.DNG

They come across three actors, Brigitte (Helen Mirren), Amy (Keira Knightly), and Raffi (Jacob Lattimore), who operate out of a very off, off Broadway theatre (The Hegel Theatre). But perhaps it is the actors who really find them. When it is discovered that Howard has written angry letters to Time, Love, and Death, the coworkers hire the actors to confront Howard as Time (Raffi), Love (Amy), and Death (Brigitte). In time the seeming hallucinations drive Howard to a grieving parent group when the leader (Naomie Harris) connects with him. But it turns out that the three coworkers also have their own issues that need to be addressed. As the co-workers work with the actors to focus on Howard, Time, Love, and Death also seem to speak Whit, Claire, and Simon as well.

Besides working well on the level of plot and character, this is a film that also provides some philosophical depth. (Note the theatre’s name.) As the actors confront Howard as the cosmic personae, the discussions become heated and quickly move into more complex ideas that many films would not want to touch on. Because these are impassioned philosophical discussions, they never become off-putting or overly cerebral. But the film does respect the audience’s intelligence and ability to comprehend that ideas being presented without talking down.15021626_83452_still_2_s-high

Along the way, as Howard vents his rage at the cosmic forces, he gives voice to all the pain and anger that can often accompany grief. That pain and anger includes religious concepts that never seem adequate for people in the time of loss. He is an equal opportunity ranter. He takes on Christian, Buddhist, and secular ways that we use to try to explain away the pain of death.collateral

It should be noted that a simpler film would have just set Howard against his idea of God but, through blaming these non-divine cosmic forces, we can still imply that Howard is rebelling against a divinity he finds inadequate. (Although there is a certain Trinitarian vibe to the trio of Time, Love, and Death.) In this, Howard is the newest incarnation of Job. He is willing to state his case that the way the universe works is wrong. Like Job, Howard receives answers that may be less comforting than he wants, but in the challenge of confronting the questions there is an opening for him to begin to find a way through the pain to see again that there is beauty in the world and his life.

 

Podcast: SUICIDE SQUAD(Goals)

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This week on the show, Steve assembles his own band of misfits by inviting comic aficionado Arnaldo Reyes and Greg Banik to do battle with the SUICIDE SQUAD! Are Deadshot, Harley Quinn and the rest really the ‘worst heroes ever’?  Is the film worth the 27% on Rotten Tomatoes?  All this and more, 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.

2.23 Suicide Squad

 

Podcast: Celebrating INDEPEDENCE DAY: RESURGENCE

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This week on the show, Chris Utley joins Steve to discuss INDEPENDENCE DAY: RESURGENCE, the sequel to the 1996 classic alien film. Plus, the guys talk about the least and most successful reboots/sequels.

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.

2.19 Independence Day Resurgence

Focus: No One Wants To Die For The Con

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focus1Will Smith has been “on the rocks” for a while now. Since 2007, Smith’s headlining films have included the disappointing Hancock, Seven Pounds, and After Earth but, in Warner Bros.’ Focus, Smith stems the tide.  He manages to lift a better-than-average performance out of an uneven script to deliver a spellbinding con of epic proportions. Smith stars as Nicky Spurgeon, a grifter with a complicated past who befriends a less experienced con, Jess Barrett (Margot Robbie), falls hard for her, abandons her, and reconnects years later in the midst of a much bigger con. Given all of the layers of misdirection between them, can Nicky and Jess find their ‘focus’ or will they be lost in the depths of the con?

Honestly, the first half of the film is just straight-up fun. If you loved Oceans Eleven or The Italian Job, then Focus is just what you’re looking for. Whether it’s Nicky and Jess showing off their pickpocket skills or tackling an affluent, addictive gambler (B.D. Wong), the flow is entertaining and easy on the eyes. But there has to be a way that the film ratchets up its tension, and that requires more than money.

When Nicky breaks Jess’ heart, the two go their separate ways but they find each other again in Buenos Aires, where race car billionaire Raphael Garriga (Rodrigo Santoro) hires Nicky to break his chief opponent’s (Robert Taylor) team. Complicating things are Garriga’s relationship with Jess, and the jealousy that spawns in Nicky. It’s enough to break the first rule of the con: don’t get emotionally engaged.

For all of its complications, Focus is pretty simple: a lack of trust breaks up the relationship and only trust will heal the wounds that Nicky and Jess carry. Along the way, they’ll find out more about each other, and what causes those wounds to replicate. But it really is a story about finding love and surviving everything that rises up to break that love apart and threaten its longevity.

focusIn my experience, love is a lot like faith: you have to be all in, even as things change over time, and you have to have the necessary amount of trust to make both work. “But whoever lives by the truth comes into the light, so that it may be seen plainly that what they have done has been done in the sight of God” (John 3:21). Jesus was talking about what it means to be a Christian, but ultimately, Christians are judged by their love. To have a mutually loving relationship, there’s a joint pool of trust that has to exist between two people (romantically or not) that ultimately makes that relationship work.

When Nicky and Jess are broken, it’s over trust. But their love, their feelings for each other and their recognition of a kindred soul, remains. It’s broken, but it’s there. When the two reunite, they begrudgingly build trust again – trust that must be exhibited by acts of vulnerability and sacrifice. It’s the difference between the con and the real thing: no one is really willing to die for the con.

Focus works because Smith and Robbie have chemistry, and we all want to know what happens when the truth comes out.