Movies: January 2007 Archives

The only double award winner for drama at the 2007 Sundance Film Festival was James C. Strouse's powerful debut film, "Grace is Gone." John Cusack gives a remarkably restrained performance as Stanley Philips, a father of two girls, confronted by a shocking reality. Stanley's wife, Grace, dies serving as a soldier in Iraq. How and when should Stanley communicate such horrible and life changing news to his daughters? "Grace is Gone" presents a profound, de-politicized portrait of grief. It is about the human cost of war.

Unable to find words to express his pain, Stanley takes the girls on a road trip. The fun promised by "Enchanted Gardens" gives Stanley a tangible goal during a time of boundless confusion. The oldest daughter, Heidi, has difficulty sleeping, often wandering outside in the middle of the night. As 12-year-old Heidi, actress Shelan O'Keefe displays a wisdom and woundedness far beyond her age. Younger sister, 8-year-old Dawn, brings a bouncy enthusiasm to the family, despite missing her mother. Dawn synchronizes her watch with her mother, promising to think about each other at the same moment, every day. As Dawn, young thespian Gracie Bednarzyk combines humor and longing. Alessandro Nivola plays Stanley's irresponsible brother, a counterpoint to the unquestioning patriotism of Stanley.

The emotional heart of "Grace is Gone" resides in John Cusack's muted portrait of Stanley. Cusack alters his walk, his appearance, his entire persona to inhabit Stanley's decency and despair. The Weinstein Company purchased "Grace is Gone" at Sundance for $4 million and are already slating Cusack's performance to contend for next year's Academy Awards. It is that soul-achingly good.

Why did a star of Cusack's magnitude sign onto a modest, independent film directed by a novice director? During the post screening question and answer session, Cusack praised James C. Strouse's "restrained, economical, powerful piece of writing." "Grace is Gone" builds upon Strouse's laconic screenplay for the Sundance 2005 film, "Lonesome Jim." Strouse graces his Midwestern characters with moments of stillness, reflection, and familial love. From the girls fighting in the car to a father taking his daughters to get their ears pierced, "Grace is Gone" is loaded with precise and touching observations. Strouse quite appropriately won the Waldo Salt Screenwriting award.

Cusack called "Grace is Gone" "a big, small little movie." It is an important piece of work that cuts across our overly politicized era. Cusack noted our sense of helplessness surrounding the war in Iraq. He said, "We can get involved politically, we can pray or we can grieve." "Grace is Gone" is a film about grief. It puts a lump in your throat at the start of the film that never leaves.

"Grace is Gone" also won the Audience Award at Sundance for Best Drama. It is more cathartic than depressing. Audience members around me came prepared to cry, distributing Kleenex all around. I found myself reaching for a tissue, wishing that my tears could somehow bring peace to Iraq and the soldiers' home to their families. Afterwards, Cusack quoted Arthur Miller, suggesting, "An era is over when its illusions have been exhausted." "Grace is Gone" serves as both a wake and a wake up call. In poetically understated fashion, filmmaker James C. Strouse concluded, "I'm just trying to tell an honest story."

-- Posted by Craig Detweiler

Craig Detweiler is a screenwriter and co-author of "A Matrix of Meanings: Finding God in Pop Culture."

Who would guess that the Sundance Film Festival would offer not one, but two compelling stories of life inside Russian Orthodox monasteries? "The Island" is a dark, foreboding, but ultimately transcendent film set on an icy Russian setting. "The Monastery: Mr. Vig and the Nun" is a Danish documentary filled with eccentric humor and profound beauty. I caught both films on the same packed day of Sundance screenings.

Director Pernille Rose Gronkjaer invested five years (and her own money) chronicling Mr. Vig's 50-year effort to transform his Danish castle into a monastery. A former Lutheran pastor, Mr. Vig wants "to create something enduring, something of quality." As a student of world religions, Mr. Vig had initially tried to establish a Buddhist monastery on his Hesbjerg estate. But when Sister Amvrosya and a team of Russian Orthodox nuns come to inspect the castle, it is out with the Thangkas, in with the Icons. This is the first of a series of comedic clashes between the monkish Mr. Vig and the determined Sister Amvrosya. Mr. Vig must fix the heater and repair the roof before the nuns will embrace Hesbjerg as their new home. The nuns bring a literal warmth to Vig's dilapidated castle.

As the story evolves, the filmmaker Pernille Rose Gronkjaer, also enters the drama, asking telling questions to Mr. Vig about his love life. He has practiced poverty and chastity, but clearly he struggles with obedience to rigors of the Orthodox Church. In an exclusive audio interview, Gronkjaer talked to students from the WindRider Forum about the fairy tale elements of the story.

With his imposing beard and furry hats, Mr. Vig looks like a character straight out of a Hans Christian Anderson story. The beauty of the Danish countryside is contrasted with the crumbling castle. Gronkjaer salutes the persistence of Mr. Vig and Sister Amvrosya as they overcome the elements and their personality clash to create a rare and humane love story. By the time Mother Amvosya leads Mr. Vig in a procession around the property, there wasn't a dry eye in the theater.

"The Island" (Russian title, "Ostrov") also follows a long procession, from cowardly acts in World War II, to profound moments of contemporary healing. Under pressure from the Nazis, a young sailor, Anatoli, shoots his ship captain, Tikhon. Washing ashore on a remote Russian island, Anatoli is rescued by Orthodox monks. Thirty years later, Anatoli has become a revered holy man, working out his salvation by digging coal and stoking fires for the monastery. Father Anatoli has become a source of prophecy, healing, and hope. Despite his spiritual power, Anatoli veers along the edge of madness, still haunted by his dark past. He walks "The Island," begging for forgiveness.

Building upon the celebrated legacy of Russian director Andrei Tarkovsky, filmmaker Pavel Lounguine has crafted a classic story of redemption. Anatoli pushes the Russian Orthodox priests to purge themselves of material goods and distractions. Lounguine comments upon post-communist Russia and its uncritical embrace of commerce. Anatoli also performs an exorcism with nothing but a simple prayer and the sign of the cross. It is a memorable moment of pure, transcendental cinema. But will Anatoli find rest for his weary soul? "The Island" offers haunting answers to his fervent prayers. Amidst a dark and dreary setting, "The Island" concludes with a symbol of eternal hope--a slow, dramatic fade to white.

--Posted by Craig Detweiler

Screenwriter Craig Detweiler directs the Reel Spirituality Institute (www.reelspirituality.org) at Fuller Seminary.

The fake controversy surrounding Dakota Fanning's new film, "Hounddog"--in which the child actress plays a victim of abuse who, in one much-discussed scene, is raped--demonstrates the unfortunate and continuing power of a press release. Political activists on both sides of the aisle have learned that well-timed (and unsubstantiated) accusations can be an effective fundraising tool with their constituencies. Such calculated (and often groundless) attacks demonstrate why celebrities are so dependent upon publicists to navigate volatile and tiresome cultural wars.

In feigning concern over Dakota Fanning's on-set abuse, those who shined a spotlight upon "Hound Dog" stirred up substantial interest in the small, Southern gothic film. Tickets for the premiere became hard to acquire. Accusations flew across newspapers and the Internet. But the few who were able to squeeze into the packed theater reported that the rape scene in question was handled with restraint. Moreover, film critics considered the film itself a fairly unoriginal revisiting of trailer trash stereotypes. The end result: much ado about fairly little.

Overlooked at Sundance amidst the pseudo-event were transcendent dramas about children threatened by genuine dangers. "Trade" focuses upon human trafficking, particularly upon children sold into sexual slavery. "Ezra," "The Devil Came on Horseback," and "War Dance" deal with civil wars in Africa, where kids are all too often abducted and turned into soldiers. "Ezra" reports from Sierra Leone and "The Devil Came on Horseback" follows the transformation of a soldier into an activist in Darfur.

"War Dance" documents the dire situation facing war refugees in Northern Uganda. Over two million members of the Acholi tribe have been exiled from their homelands because of the ill-named Lord's Resistance Army. "War Dance" follows the stories of three children amidst the 60,000 refugees gathered at a "displacement camp." It is set against the backdrop of a national music competition, where war orphans from Patongo Primary School hope to compete. Produced by Shine Global to raise awareness and funds for the refugees, "War Dance" celebrates the power of music and dance to overcome the most overwhelming conditions.

For "War Dance," the husband and wife team of Sean Fine and Andrea Nix Fine won the award for best documentary directing at Sundance. Jeff Consiglio's editing juxtaposes the horrors of war with the lush colors of the African bush. The sounds and images are beautiful and haunting. The camera also serves as a confessional for three children, a safe place to reveal the painful realities they witnessed.

We see the prayers of Nancy, as she takes on the role of mother to her brothers and sisters. Dominic wants to grow into Uganda's finest xylophone player. Rose suffers under the hand of her aunt, pining for her mother and her old life. Despite their devastating circumstances, the children practice and perform the traditional Bwola dance with profound hope and joy.

"War Dance" reminds us where the religious leaders who claim to care about children should focus their efforts. It is the real story emerging from Sundance that the press needs to follow. Thankfully, Think Film has plans to release "War Dance" in theaters, making it an early contender for next year's Oscars. The movie going public will ultimately decide which films and stories to dignify.

For more info about War Dance or how to support children in Patongo, Uganda, go to www.shineglobal.org.

-- Posted by Craig Detweiler

Craig Detweiler works for the Brehm Center for Worship, Theology and the Arts (www.brehmcenter.org) at Fuller Theological Seminary.

Don't mistake "Eagle vs. Shark" for your average love story. This "romantic comedy turned on its head" by New Zealand director Taiko Waititi was one of the most talked-about premieres at Sundance. I heard at a previous screening someone called it "the best movie ever made." When I arrived at the line early, the waiting list for stand-by admission was already sold out. At the opening shot, before anything really funny even happened, half the audience was already laughing out loud.

Think "Napoleon Dynamite" meets "Pride and Prejudice" with a dash of "Monty Python" and "Homestar Runner." She is a shy but charming, guitar-playing underdog; he is a brooding, self-absorbed nerd at the top of the video gamers' social ladder. Imagine Mr. Darcy with taped-up glasses, martial arts T-shirts, and an old-school game console. But the resemblance to Jane Austen's famous couple ends there.

Instead of fluently witty banter, their interactions are rather awkward. The premise of two geeks clumsily falling in love was the film's selling point, but what makes "Eagle vs. Shark" great are the layers within it. What Lily and Jarrod are unable to articulate in words arrives via subtext and symbolism. They express themselves through their favorite animals--Jarrod is the eagle and Lily is the shark--reflecting their different personalities (perhaps a reference to "air" and "water" in ancient temperament theories).

Jarrod (Jemaine Clement) has his head in the clouds and an ax to grind. He is so hung up on a grudge with the old classmate who used to beat him up that he forgets what he has in front of him. Lily (Loren Horsley) is not the aggressive extroverted personality one would associate with a shark, but in her own quiet way she is determined to catch Jarrod, and her piercing eyes express much more than she is able to say.

At the heart of "Eagle vs. Shark" resides the desire for love and acceptance. Jarrod has a tense relationship with his family and exaggerates Lily's accomplishments in an unnecessary effort to get them to like her. He makes himself feel good about his catch. He also feels like his past defines him, and he gets preoccupied (hilariously) preparing for a "duel" to defend his "honor." Lily also wants acceptance. In one image, she feels the weight of staggering rejection. Later, the same image results in sudden popularity.

A stop-motion subplot carries the symbolism further. Wistful colors and beautiful shots of New Zealand are mixed with abstract imagery and computer technology of questionable age. As in the breakout Sundance hit, "Napoleon Dynamite," it is hard to tell when "Eagle vs. Shark" takes place... but you're laughing so much you don't care.

"Eagle vs. Shark" is unlike any other romantic comedy I've seen. It already scored a distribution deal with Miramax and is slated for a summer release. I can see the Hot Topic merchandise already. But don't mistake this for mindless entertainment. While "Eagle vs. Shark" may not inspire late-night coffee shop conversations on social justice, it still hits close to home regarding human nature. This New Zealand comedy inspires laughter--and even healing.


-- Posted by Rachelle Klemme

Rachelle Klemme is a film major at Biola University (www.mcom.biola.edu) in La Mirada, California.

Last week my husband returned from Seattle on Delta Airlines, and told me he had some "Idol Chatter blog-worthy" news: As they crossed the country at 35,000 feet, they were treated to quite the interesting version of the Golden Globe-winning "The Queen." All the references to "God" were bleeped out, he explained in shock. And not just the "Lord in vain" kind--but the "God save the Queen" kind too. As one after the other reference to God was edited out of the film, people all around him began questioning whether or not it was just them, or had somebody censored the film.

Turns out, they weren't imagining things!

The Washington Post reports that yes, it's true, "all mentions of God are bleeped out of a version of the film distributed to Delta and some other airlines," and passengers have been hearing characters delivering lines in the following manner: "(Bleep) bless you, ma'am." God is edited out a total of seven times.

Their explanation? It was a rookie employee blunder:

Jeff Klein, president of Jaguar Distribution, the Studio City, Calif., company that supplied the movie to the airlines earlier this month, said it was a mistake, committed by an overzealous and inexperienced employee who had been told to edit out all profanities and blasphemies.

"A reference to God is not taboo in any culture that I know of," Klein said. "We excise foul language, excessive violence and nudity.

Who knew that God could be such a dirty word? Presumably Delta will either stop showing the film or begin screening a newly edited version, though no comment has been made by Delta about where they go from here. "The Queen" is still listed as in-flight entertainment on Delta's website.

I may not be a comic book junkie, nor have I been swept up--at least in any lasting way--into the graphic novel craze that has hit the bookshelves of late, but I couldn't pass by "Persepolis," Marjane Satrapi's vivid (literally)...

Philip Yancey, author of "Where Is God When It Hurts?", once said that if the church was more present in this world and attending to its pain, people would be asking the question that is the title of his book...

What is a Sundance Film? This was one of the writing prompts for an article review I wrote for a class in conjunction with the Sundance Film Festival. I said it was simply the absence of a studio backed film...

Upon viewing the film "Trade" (2007) by Marco Kreuzpainter, the scales have been removed from my eyes by this frightening film, which portrays the horror that goes on with in the world of sex trade. Jorge (Cesar Ramos Ceballos) is...

Do we have a purpose? Can we control our life, or do we utterly lose control as we realize our helplessness? The movie “Slipstream” by Anthony Hopkins deals with these questions in a slipstream of so many flashbacks and sequences...

Looking for God at the Sundance Film Festival is an intriguing enterprise. The Festival is certainly short on Focus on the Family style films. That doesn't mean, however, that God can't be found lurking in shadows, alleyways and in other...

It’s not often that you finish off a film at two o’clock in the morning only to find yourself sitting in the same theater 6 hours later to begin the next. Well, at Sundance – what else are you there...

Given our cultural obsession with the new and the novel, perhaps nothing is as daunting as following initial success. The sophomore slump can hamper creative efforts and lead to artistic blocks or overreaching.In 2005, director Craig Brewer (at right, with...

It's hard to recall the last time the Sundance Film Festival made any real noise--buzz, yes, but nothing like the howl sent up this year about "Hounddog," an independent film starring Dakota Fanning as an urchin who is raped by...

This is how they touted "Color of the Cross": a film that will completely change the way we view Jesus and the crucifixion. But, instead of changing my heart, it hardened it for every second of the movie's hour-and-29-minute runtime....

A couple of years ago, Tyler Perry came out of nowhere--at least for white Americans--with the smashing success of his film "Diary of a Mad Black Woman." A well-known playwright and actor among African Americans, Perry was suddenly one of...

Edgy, independent, artsy. Over the past 25 years, the Sundance Film Festival has become the place to discover new talent and launch original films. From first-time filmmakers searching for their big break to established stars seeking "indie" credibility, thousands of...

As the red carpet season officially started with Monday's Golden Globe Awards, I have decided it is finally time to announce my personal picks for the best films of 2006. Granted, there are two films I have yet to see...

Critics often throw around the term "feel-good movie" to describe a film that warms your heart to the very core, but "Stomp the Yard" was forgotten in that lot.The story follows DJ (Columbus Short), a troubled youth who witnesses the...

A young mother gives birth to a miracle child destined to save humanity but then must flee with her child to safety or be killed. No, I am not describing the plot of "The Nativity Story," but the plot of...

I liked "The Good Shepherd" and enjoyed Ellen Leventry's Idol Chatter review of it, with one main point of disagreement. Where she saw it as perhaps an incomplete movie about the CIA, I thought it was a thorough--if not ingenious--look...

The world has seen its share of cheesy teacher-transforms-students movies ("Dangerous Minds" starring Michelle Pfeiffer is a classic example). But the "Stand and Deliver" examples of the genre--those that not only inspire but are also well-told, well-acted stories--are a rare...

A clip from a new documentary about the Lost Boys of Sudan, some of whom came to America:...

Read any number of reviews of "The Good Shepherd," Robert De Niro's fascinating look at the birth of the Central Intelligence Agency through the eyes of a character loosely based on former counter-intelligence head James Jesus Angleton, and you will...

With the success of the film adaptation of the musical "Chicago," and to a lesser degree, "Rent," Hollywood looks to the world of Broadway one more time for a hit--this time with the Motown celebration "Dreamgirls." Beyonce, Jamie Foxx, and...

While some reviewers panned it, I thought "A Night at the Museum" was full of surprises. The advertising run-up to this movie made it seem like it'd be sort of an indoors version of "Jurassic Park," and the first several...

While some reviewers panned it, I thought "A Night at the Museum" was full of surprises. The advertising run-up to this movie made it seem like it'd be sort of an indoors version of "Jurassic Park," and the first several...