A Jesus who commits sins — who even thinks he commits sins, who talks a great deal about needing "forgiveness" and paying with his life for his own sins; a Jesus who himself speaks blasphemy and idolatry, calling fear his "god" and talking about being motivated more by fear than by love; who has an ambivalent at best relationship with the Father, even trying to merit divine hatred so that God will leave him alone — all of this is utterly antithetical to Christian belief and sentiment. This is not merely focusing on Jesus’ humanity, this is effectively contradicting his divinity.
From a religious point of view, Kevin Smith’s Dogma comes a lot closer to making sense if you just accept one premise: The angels in it — fallen and otherwise — are all really bad at theology.
(Written by Jimmy Akin) Moral and spiritual issues raised by the Star Wars phenomenon range from the problem of where to draw the line on Star Wars tie-in products all the way to the theological problems associated with the concept of "the Force."
(Written by Jimmy Akin) "Hey Arnold!" — the television series — is different. It manages to keep its low-key, kid-friendly tone while still turning in episodes that are entertaining and even witty.
Open letter to the mother sitting in front of me at last week’s Cradle 2 the Grave screening: Your daughter seemed to be about 8 years old, with her white dress and her hair done up in braids. I wonder what she thought when the people in this
Still others, trying to strike a happy medium, opt for a tolerant ecumenical openness to various interpretations. "Pray for ’pre’ but prepare for ’post,’ " advised Fundamentalist singer Keith Green when asked about his views on the timing of the rapture and the tribulation. Many likewise feel that the interpretation of end-times prophecy is an inessential matter regarding which Christians may legitimately hold different views. (Incidentally, if you’re already having trouble with terms like "pre" and "post," try this summary to get up to speed.)
But there were positive trends too. For instance, it was a better year for families at the movies than in quite some time. Despite some disappointments and failures (Spy Kids 2, Big Fat Liar, Hey Arnold!, Scooby-Doo), there were solid successes (The Rookie, Stuart Little 2, Lilo & Stitch) and a sizable number of decent efforts (Jonah: A VeggieTales Movie, Powerpuff Girls, Return to Never Land, Tuck Everlasting, Treasure Planet, Wild Thornberrys).
What, then, defines morally acceptable use of good magic in fiction? Where, and how, do we draw the line? How do we distinguish the truly worthwhile (Tolkien and Lewis), the basically harmless (Glinda, Cinderella’s fairy godmother), and the problematic or objectionable (Buffy, The Craft)? And where on this continuum does Harry Potter really fall?
The first line of the film’s closing credits read, "Introducing S1m0ne as Herself." At the time of the early-look screening I attended, no further information about "Simone" was readily available. The movie’s production notes, website, and Internet Movie Database entry were all silent about who, or what, Simone might be.
Just as no writer or editor can do without a copy of Strunk and White’s The Elements of Style, so no child’s library is complete without one or more of the latter writer’s beloved trilogy of children’s books: Stuart Little (1945), Charlotte’s Web (1952), and Trumpet of the Swan (1970).
“Hi, Internet,” Steven Spielberg says affably.
It was only last week, though it seems like a lifetime ago, that I was standing on top of the Empire State Building, squinting to the south with my two older children toward the proud twin towers of the World Trade Center.
(Co-written with Chris Otsuki) "Those who made us," Joe explains to David, with a glance at the statue of the Blessed Mother, "are always looking for the ones who made them."
That said, 2001 was still a pretty lackluster year for film. All spring and all summer, only a tiny handful of worthwhile flicks stood out in a vast wasteland of dreck. The summer’s big special-effects extravaganza, Tim Burton’s Planet of the Apes, was big on effects and short on absolutely everything else, including excitement, humor, charm, characterization, and narrative logic. The annual Disney animated release, Atlantis: The Lost Empire, continued the studio’s dismal slide into modest entertainment values and increasingly glaring New-Age rot. Then the end of the year came with such an onslaught of new releases that it hardly seemed possible to do them all justice. And, unfortunately, Hollywood continued to reap the rewards of its bad behavior with ever-higher box-office returns.
What is it about this film that’s pulling in ordinarily subtitle-phobic U.S. audiences and eliciting cheers and applause from jaded American critics and festival audiences, yet leaves the kung-fu fans of the East cold? Is this a good martial-arts movie, or not?
Does he think of himself as being part of a generation of filmmakers? Smith reflects. "If I am part of a generation of filmmakers," he says with typically self-depracating candor, "it would be the generation that got in too easily." He recounts the epiphany he had after seeing Richard Linklater’s 1991 low-budget indie comedy Slacker: "I thought to myself, ’This counts? This is a movie? ’Cause I think I could do that!’" The result of this epiphany was Smith’s first film, Clerks, a cheerfully obscene comedy that Smith admitted he "never expected to play outside Monmouth County" in New Jersey.
Movies this year were so bad that theater attendance was at an almost ten-year low; yet, paradoxically, box office revenues hit record highs — thanks largely to increased ticket prices. Never before have so few paid so much to see so little.
Copyright © 2000– Steven D. Greydanus. All rights reserved.