And, I’m out.
As the latest “Christian” movie, “War Room,” takes a surprise first-place showing at the box office, I feel like I’m compelled to write something about it. After all, I’m the film and faith guy. And certainly, I’ve read my fair share about the film. From allegations that it encourages women to “pray out” an emotionally abusive relationship to comments (typical of films from the Kendricks) that it shows that true Christians are shown by whether God answers their prayers, to the generally abysmal reviews for its film-making, I really have read more than I care to about a movie that I never planned on seeing. I don’t want to write a post about a movie I haven’t seen, and I don’t want to pay to go see it. So, here we are. What can I say about the latest piece from the Christian culture crap factory?
And what can I say that I haven’t said before? Just over a year ago, I wrote about why I avoid most “Christian” movies. I wrote two pieces (here and here) about Kirk Cameron’s “Saving Christmas,” which I named the worst film of last year. And just a few weeks ago, I tackled the whole issue again in my review of “Little Boy” — which is arguably the best-made of the lot but also features the uncomfortable idea that a million people died by the atomic bomb because God wanted to bring one little boy’s daddy home from war. Peruse this blog long enough and you’ll find that I’ve talked the problems of Christian cinema and art to death (and, as Derek Webb has said, there’s no such thing as “Christian” art). And, honestly, I don’t want to bring bad movies any more attention. It’s why there are no screeds about Adam Sandler here. It’s why I just steer clear of the “Transformers” movies. And, honestly, the whole thing makes me sad.
It makes me sad because I believe film is one of the most powerful art forms we have. Its use of images, sound and the written word make it uniquely suited to discuss matters of the soul. And I have personally been moved and had my faith enriched by films — sometimes more than in sermons. I love movies. I love my faith. I serve a God who I believe calls us to excellence — and that means that it’s not enough for a movie to talk about God yet be poorly made. I don’t want to turn people away from any film that might engage them in spiritual discussion and growth. And I don’t want Christians to walk away feeling like their only options are finely crafted moral filth or well-intentioned pieces of crap. I want people to have cinematic experiences that shake their souls, cause them to ask deep questions and move further in their walk with God.
And so, consider this a “see this/not that” list. These are several films that I feel are of strong-to-great quality and also have impacted my faith deeply. A word of caution: I don’t believe a rating is a mark of quality or necessarily an advisement of what to see or what to avoid, so there’s some R-rated stuff here. And I believe the best films are dangerous, not safe — these aren’t always films that perfectly capture theology or share a Gospel message, or even leave us in a place of certainty. But they are movies that speak to my soul and have made me ask the questions. And they’re films I want to point to you. Some of them I’ve written about before (and I’ll link to them). Others, I hope to see and write about again. All are worthy of discussion.
Blue Like Jazz (PG-13, 2011): I put this one first because I think it’s the best “gateway” movie for those moving from “faith-based” films and also because it’s based on a book that many in modern Christian culture (including myself) hold dear. A loose adaptation of Donald Miller’s memoir of the same name, this film finds Miller leaving his strict Baptist roots and encountering a new culture at ultra-liberal Reed College. Director/rock star Steve Taylor probably leans a bit too heavily on formula and cliche, and he needs to get better about lighting a scene, but he finds truth and heart in Miller’s story. Like “God’s Not Dead,” this is a movie about a young evangelical encountering a culture that is hostile to his faith. Unlike that movie, it allows its characters to find common ground and friendship, and has just as much love for its sinners as it does for its saints. The confession scene that closes the film is one of the most moving looks at Christian reconciliation I’ve seen, and the film manages to both critique modern Christian culture and celebrate the goodness of loving Jesus.
Lord, Save Us From Your Followers (PG-13, 2010): Based on Dan Merchant’s book of the same name, this documentary explores the question “Why is the Gospel of love dividing America?” Merchant festoons himself in bumper stickers to poke fun at the way we use platitudes to discuss deep matters of the soul, but the film’s not a Michael Moore-style ambush doc. Merchant’s really concerned about the image Christians are putting out there, and speaks with theologians, pastors, activists and more to get a well-rounded answer. He doesn’t shy away from scenes of Christians acting hostile to people who don’t share their faith, but this isn’t a hit piece. Merchant also takes time to show the way that many Christians go about serving their communities, loving society’s untouchables and showing compassion. For bonus points, he also spends some time using “Monty Python’s Life of Brian” as a tool for how silly some of our religious squabbles make us look. It’s not a particularly deep doc, but it is a great conversation-starter (and I recommend his book).
Calvary (R, 2014): Martin McDonagh’s powerful movie was one of my top 10 films last year. Brendan Gleeson gives an amazing performance as an Irish priest caring for a community that alternately despises him and treats him with indifference, even as he carries the knowledge that one of parishoners is planning to kill him by the end of the week. Gleeson dominates the film as a flawed, caring and sincere man. His priest is a recovering alcoholic with a suicidal daughter, living in a community that seems to have no need for him. And yet, he serves with compassion, grace and (when needed) toughness, sometimes without even knowing why. “Calvary’s” a tough film — it opens with an ugly and disturbing confession — and yet one of remarkable beauty and tenderness, and it delves into questions of doubt, forgiveness and the place of the church in the modern world.
Hell House (Unrated, 2001) : I don’t re-watch documentaries that often, unless there’s some entertainment value in them. But I’ve seen “Hell House” nearly 10 times. This documentary visits a charismatic church in Texas that hosts the nation’s largest “Hell House” — a haunted house designed to frighten people into conversion. The scenes in the Hell House are amazing in themselves — they’re truly dark and disturbing, delivered with a tone-deafness and self-righteousness that is somehow both horrifying and unintentionally hilarious. But what draws me back is director George Ratliff’s fly-on-the-wall objectivity. He trains his camera on the church members and never judges them. And what he observes is amazing. I see a culture I know, fueled by motives I used to agree with (the idea of scaring the hell out of people in a literal sense). These aren’t people who are portrayed as hypocrites or mean-spirited; they’re likable, funny and often very sweet. And sometimes — as in a moment where a father seems to pray his baby out of seizure — they seem to have a direct line with God. And yet, there’s something troubling about the concept of Hell Houses that comes out — a lack of compassion or understanding, of turning souls into sales tallies, of vicariously living through the hell houses like it’s the closest they’ll get to the sins. It’s a troubling, haunting and intriguing movie, and I never get tired of watching it.
Babette’s Feast (G, 1987): Gabriel Axel’s Oscar-winning adaptation of Karen Blixen’s acclaimed short story is not a film I would have sought out on my own. A film about 19th century Danish parishoners preparing for a meal really wasn’t at the top of my list when I was 25. But Jeffrey Overstreet’s “Through a Screen Darkly” (a must-read for Christians seeking to engage with film) called it out and I thought I’d give it a look. Axel’s film is a beautiful, joyous and deeply moving look at a repressed community that seems to think enjoyment is a sin. And when the town’s chef wins the French lottery and offers to cook a feast of her homeland’s delicacies, the pious townfolk are terrified about what they may be asked to consume. While the story sounds simple, it’s a rich, deeply satisfying meal. It’s a funny and insightful look at legalism, passion, grace and fellowship. I’d write more, but I keep promising myself that this is a movie I’m going to write about in more depth some time.
Why Should the Devil Have All the Good Music? (Unrated, 2004): Usually hard to track down, but available on Youtube for free right now, this documentary set at the Cornerstone music festival is a fascinating look at the collision of faith and art. Vickie Hunter and Heather Whinna focus mainly on the then-emerging genre of Christian screamo and hardcore music, along with a few alternative Christian rock bands, including Pedro the Lion and Five Iron Frenzy. What emerges is a balanced look at the mixing faith and music, and the call to excellence that fuels some of these artists. And while there’s some novelty in hearing the Christian hardcore, there’s also true power in watching Five Iron’s Reese Roper turn a rock show into a worship service as he closes a concert with the band’s “Every New Day.” (For fans of 90s-centric Christian ska, I’d also recommend the three-hour doc “The Rise and Fall of Five Iron Frenzy,” which captures the band’s mix of goofiness and sincerity and also gets extremely personal about the struggle of making art for the faith community).
Note: I couldn’t find a trailer for the movie (although, as stated, it is on Youtube for free right now). But here’s a video of Larry Norman singing the title song. You’re welcome.
The Tree of Life (PG-13, 2011): I almost hesitated to put this one on the list, simply because it’s become the go-to for Christian film fans when they want to talk about faith in the movies. But there’s no way I can’t put Terrence Malick’s masterpiece on here, especially since it’s one of my favorite movies ever. Malick’s ode to growing up in Texas is a 2.5-hour prayer, a meditation on our place in the grand scheme of the entire universe (it also involves a wordless, 20-minute creation of the universe sequence). Malick doesn’t tell his stories in sentences; he’s poetic, and scenes end with ellipses. The result is a film that washes over you, with some of the most gorgeous cinematography I’ve seen, backed by beautiful classical music. Yes, it stars Brad Pitt, Jessica Chastain and Sean Penn. And yet, you leave the movie not thinking about them, but about individual shots and moments of beauty — rain dripping off a branch, a woman twirling in the front lawn, young kids swimming in a pool, fireworks in the Texas sky. What does God care of the suffering of our little lives? Why is such grace lavished on us? What role do our stories play in this eternal tale? The film doesn’t offer answers, but it’s wise enough to ask the questions. It’s the rare film that draws me into a state of worship.
Into Great Silence (Unrated, 2005): Okay, you’re going to just have to trust me on this one. Philip Groning’s film is a nearly three-hour documentary. About monks. Told in nearly complete silence. And yet, possibly more than “Tree of Life,” this is a movie that prompts me to deep contemplation and worship. Groning lives among France’s Carthusian monks, observing their daily routines and rituals. The film captures the quiet rhythms of life, the silent joy with which they go about their work. It’s beautiful and incredibly peaceful to watch. But to get the full effect, you have to watch it right. View it in one sitting. No distractions. No breaks. And listen to yourself. You’ll begin to wonder why these men can be quiet and still for a lifetime, when you’re itching to get up and move just five minutes in. How often do we take time to be silent and let God seduce us? How much does the busyness of life distract us from our reverence and service? It’s a film experience like none I’ve had before.
The Sunset Limited (Unrated, 2011): HBO’s adaptation of Cormac McCarthy’s play features the best performances Tommy Lee Jones and Samuel L. Jackson have given in years. It’s just the two of them sitting in an apartment in this tense, riveting drama. Jones is an atheist who was attempting suicide when Jackson, a believer, intervenes. The rest of the film is the two of them debating God’s existence and the human condition. Jackson’s character feels that God has called him to save Jones’ life, but the man is steadfast in his refusal to budge. It’s a fascinating debate that doesn’t close with certainty or easy answers. And while some of it may be a bit melodramatic, it’s absolutely worth it to watch these two titans spar with each other.
The Gospel According to St. Matthew/ Jesus Christ Superstar/The Last Temptation of Christ/ The Passion of the Christ: For Christians, Jesus is the central person in all of history. And so making a movie about him is fraught with peril. Stay too close to the biblical accounts and you wind up with something turgid and dull. Veer too far and you flirt with heresy. And I don’t think there’s a single perfect Jesus movie. And yet, there are things about several of them that have moved me deeply and made me think more both about Christ’s deity and humanity.
“The Gospel According to St. Matthew” is Pier Paolo Pasolini’s 1964 masterpiece. The story of its making is fascinating — Pasolini was a homosexual and a Marxist who read Matthew’s gospel after being stuck in traffic. And if you want a straightforward retelling of Christ’s life, this is probably the best of it. Pasolini’s dialogue only uses text from the gospel. A neorealist, he doesn’t use special effects or enhancements and sticks closely to following Christ’s sermons (the Sermon on the Mount sequences is fantastic). The result is a surprisingly vibrant and lively telling of the story, framing Jesus as a revolutionary and friend of the oppressed. It’s probably my favorite Jesus movie.
I know you’re going to roll your eyes about “Jesus Christ Superstar,” but it’s my go-to film on Holy Week. Sure, the adaptation of Andrew Lloyd Weber’s rock opera is a bit dated, but it’s still one of the great modern musicals. And yeah, it takes a lot of liberties with the story. And yet, I find it the most fascinating look at the response to Jesus that I’ve ever seen. This isn’t a biography. Rather, it’s a story about the impact Jesus had on the people who were around him. From the disciples he baffled and outraged, to the sinners who found belonging, to the priests who felt threatened by him — this about the fact that you can’t be presented with the person of Jesus and have a neutral opinion. These people wanted a Christ in their own image, and when he confounded that, they put him to death. Plus, the music is amazing.
Martin Scorsese’s “The Last Temptation of Christ” is a troubling, yet deeply powerful film. I remember my mom warning me about it back upon release in 1989, and I was so worried about what heresies this film may hold that I avoided seeing it until I was 25 — and even then, it took me two tries over two years to finish it. And yes, Scorsese’s adaptation of Nikos Kazantzakis’ novel borders on heresy in some parts, particularly the idea that Christ felt He had too much sin to follow God’s role for him and the idea that Judas might be the unsung hero of the story. And yet, Scorsese’s film is deeply reverent and interested in what it meant for Christ to be fully God and fully man (it helps to remember that Scorsese is a deeply catholic filmmaker and once considered the priesthood). Willem Dafoe’s Jesus is the only screen Jesus who feels dangerous, off-the-cuff and alive. His struggle between his deity and humanity is incredibly powerful and tense. And the much-condemned “last temptation,” in which Christ imagines what would await him if he came down from the cross, got married and raised a family, is not something I consider blasphemous, but possible. We believe Christ was tempted more than any man — I have to believe the temptation to come down from the cross and live a normal life was a very real one; the point of the film (and reality) is that Christ didn’t succumb to that temptation. Scorsese’s film is powerful, deep and unsettling. And I’d argue that any film about Jesus needs to be all of those things.
I actually find Mel Gibson’s 2004 “The Passion of the Christ” to be a more troubling movie in some ways. The megahit ditches any context in the Christ story and risks becoming a snuff movie or torture porn — two hours of watching Jesus be whipped and beaten nearly to death before being crucified. And I think it’s problematic viewing for anyone who watches unfamiliar with the Christ story — and for those of us tempted to see it as the definitive account and forget the rest of the story. And yet, I find this to be a deeply moving meditation. It’s beautifully made; it’s some of the most breathtaking horror I’ve seen put to film. And for devout believers, it’s a film that asks us to meditate on Christ’s suffering and sacrifice and the lengths to which he went to please the father and bring us home — and I’m still amazed at the work done by Jim Caviezel, who not only had to suffer and speak in Aramaic, but also had to do most of his work with only one eye open. I understand and sympathize with those who feel they can’t watch this, and it’s not a film I revisit often at all. Yet, I find it one of the most powerful and moving meditations on the cross that I’ve seen, and I think it’s definitely an essential film for those looking for Christ stories.
