notes on christianity, belief, and art
Some of you may have seen John Oliver’s recent take on the prosperity gospel. It’s been making its rounds since Monday—for good reason. It’s energetic and thought-provoking. Fair warning: if you do watch it, be prepared for language. Continue Reading…
I won’t spoil the end of The Jinx here—if by some chance you haven’t already read reports of the much lauded HBO documentary series—but I think it’s safe to say that the finale provided the seemingly “definitive” conclusion we all pined for in Serial. The last episode plays more like a suspense thriller than an open-ended study of the American justice system. The Jinx possesses a clear beginning, middle, and, most importantly, powerful resolution. Not that an open-ended plot can’t have a “conclusion,” but there’s a certain amount of satisfaction attached to having all the answers handed to you before the credits roll (though “all” is certainly up for debate here). Continue Reading…
A few Easters ago, I lectured on the evidence for the resurrection of Jesus. At the end of my talk, a woman chastised me in front of the group. “It doesn’t matter what theologians, scholars, or logic says. All that matters is the Bible.” Work that statement out as you may, but I think the main thrust of it was, “You just have to believe.” Continue Reading…
Clint Eastwood’s American Sniper is neither pro-war nor antiwar. It’s simply war. Groups and/or individuals who campaign to place the film in one of these categories over the other are, I believe, missing the point. In Sniper, Eastwood seems less concerned with pronouncing strict judgement than he is with telling a story that will provoke audiences on both sides to assess their prior presuppositions regarding the effects of violence and retaliation. Continue Reading…
I’ve seen some great films this year. Though there are still more I need to catch (Whiplash, Selma, Inherent Vice, and Birdman to name a few), I thought it would be fun to put together a list highlighting my favorites so far. I hope this will be a guide of sorts for those of you looking to expand your filmography. My top ten list includes blockbusters, independent and foreign films, dramas, a horror picture, a black and white feature, and even one movie with Tom Cruise.
Because one of my passions is examining how art and Christianity coincide, I’ve included within each description a number of themes I feel interact with that particular film’s story. This will, hopefully, help you look at these movies through a more critical, spiritually-minded lens. Continue Reading…
Much like the stereotype in an average fairy tale film, Katniss Everdeen gets a makeover in Mockingjay – Part 1. Her long, slightly frizzed hair is weaved into a trademark single braid. Makeup is applied. She wears a black combat suit in the vein of Christopher Nolan’s Dark Knight. Yet, in contrast with most stories involving princesses and magical outward transformations, Katniss’ new style doesn’t help her blend in with the bar set by society. The image of her glamorized figure is juxtaposed with the dirty, ruffled edges of war. She looks out of place among the wounded. Her outfit doesn’t match the rubble she walks through. Continue Reading…
It could be argued that Interstellar is a product of how far humanity has come. In his ninth feature film, Christopher Nolan stretches technology to a near breaking point, producing a visceral absorption of sight and awe-producing sound (and silence). Narratively speaking, Interstellar also presents human technology at its highest heights, it’s outermost point of human evolution. Man can go farther than they have ever gone before, reaching the ends of the galaxy, and more. Just like technological advancement isn’t what keeps its characters scratching and crawling for life, Interstellar is a humanistic film grasping for something more. It pushes us to look to the stars. And when we do, we’ll find something bigger than ourselves.
I can’t keep up with Halloween costumes anymore. It has gotten out of control. I miss the days when you could celebrate in a simple, homely ensemble—maybe even go as the Ghostbusters if you were feeling fancy and free. Now, one has to be incredibly and specifically creative or they won’t get noticed at all. Continue Reading…
In Fury’s opening scene, Brad Pitt stabs a German officer in the eye. This act of brutality makes two important statements about David Ayer’s new film. First, Fury isn’t for the squeamish—those uncomfortable with such displays of brutality should probably sit this one out. Second, Fury won’t be a glossy, glorified homage to the “greatest generation”…READ THE REST OF THE ARTICLE HERE.
I sincerely believe there’s a good narrative hidden somewhere in the Left Behind series. A fan of rapture theology or not, the idea of an event where Christians are instantly transported to heaven has an air of intrigue to it. How will the world recover from the fallout? Even more so, how will those not taken live with the inevitable feeling of rejection? Then there’s the apocalyptic element; a window into a world tearing itself apart. Continue Reading…
