A Veiled Tell: Nil Soli - 5/11/2008

Iron Man (2008)

On Friday night my friends and I viewed the much hyped Iron Man movie. We all enjoyed the film. This review is done for those who have seen the movie as I have made no attempt to conceal spoilers. I have subdivided the review with headings as most will not be interested by all of it (or any of it). Theological applications are at the end of the post.

Synopsis

Iron Man is the story of Tony Stark (Robert Downey Jr.), an extremely affluent industrialist whose company specializes in producing armament. On the one hand, Stark is a sarcastic womanizer with no impulse control. On the other, he is also a genius with a “work hard, play hard” mentality. He seemingly has it all.

While field testing Jericho missiles, his latest weapon of mass destruction, in Afghanistan his convoy is attacked by terrorists and Stark is mortally wounded by a blast from one of his own weapons. His attackers take him hostage and a fellow captive and scientist (Shaun Toub) saves his life with a makeshift electromagnetic implant that keeps the deeply embedded shrapnel from piercing his heart. Thus, Stark literally has a change of heart.

Stark is held captive in a cave and forced to replicate his weapon. Instead, necessity being the mother of invention, he develops a suit of armor equipped with rocket boosters to escape. The experience of seeing his own weapons used against him and innocents produces a stark realization (pun intended) and a mid-life crisis. Upon his return to the United States he announces that his weapons manufacturing company will no longer produce weapons. He upgrades his make shift armor and with that Iron (technically “titanium alloy” Stark specifies) Man, the technologically advanced superhero, is born.

Production

The movie not only marks the first blockbuster of the summer but Marvel Studios' first self-financed movie. Instead of leasing out their characters to other studios, they are finally making movies themselves.

The film was eighteen years in the making. In April 1990, Universal Studios bought the rights to develop Iron Man with plans for horror icon Stuart Gordon to direct a low-budget film. Iron Man bounced around studios, being optioned to both 20th Century Fox and Paramount at various times. Directors Quentin Tarantino (1999), Josh Whedon (2001), and Nick Cassavetes (2004) were all attached to the project at one time. In November 2005, Marvel Studios worked to start development from scratch, and announced it as their first independent feature, as Iron Man was their only major character not yet depicted in live action. Jon Favreau (Elf, Zathura) was hired and directed the film that hit theaters.

The movie was filmed from March 12-June 25, 2007. Favreau chose to shoot primarily in California, rejecting the New York setting of the comics in an attempt to differentiate the film from numerous other superhero movies. The location was so close to her home that Gwyneth Paltrow could with her two children during the entire shoot which was one of the reasons she took the part. Evidently one way to secure Paltrow’s services is giving her an Apple a day...

Iron Man Comic Book

The film is based upon the Marvel comic of the same name, though the viewer need not be familiar with the comic to appreciate the movie. This is the first attempt to bring Iron Man to the big screen. As Marvel made the film, it is faithful to the source material while adapting it to a modern setting. Iron Man debuted in 1963 amidst the idealism of John F. Kennedy's presidency. In the comics, Tony Stark participated (and became Iron Man) in the Vietnam War; whereas in the film the character's origin was updated to modern-day Afghanistan as Favreau did not wish to make a period piece.

Creator Stan Lee admittedly based the character on Howard Hughes (1904-1976). As a tribute to Hughes, production was mainly based in the former Hughes Company sound stages in Playa Vista. The scene where the Iron Man Mark III armor was created was filmed in the area where Hughes assembled the H-4 Hercules airplane (better known as “The Spruce Goose”).

The film is a compilation of many parts of Iron Man’s history. The origin story is the modern version detailed by Warren Ellis in "Extremis" (as noted, with Afghanistan instead of Vietnam). The presence of James Rhodes (Iron Man #118, January 1979) as the supporting character and villain Obadiah Stane (Iron Man #163, October 1982) is from the later Bob Layton/David Michelinie period. Tony Stark's immediate motivation for becoming a superhero is modeled heavily on "Armor Wars."

Though Iron Man is a Marvel staple, he has hardly been an A-list superhero, languishing behind his more easily recognizable peers who have already had movies made. This movie may change that.

On the surface, Iron Man shares much in common with DC’s Batman. Like Bruce Wayne, Tony Stark is a rich, brilliant, (in the films) orphaned playboy who must endure personal tragedy in order to trigger a heroic transformation. Each are humans with no superpowers who use their vast wealth and intelligence to produce gadgetry to compensate for their humanity. As such each spends time perfecting their suit of war. Their wealth also allows them the time to develop an alter ego. Each has an entrusted assistant. Their lack of super powers also gives them the unique (for superheroes) attribute of having agency in their creation.

Iron Man also shares similarities with Robocop - a robotic human who served justice, battled an internal conflict, and saves the day.

Despite these parallels, Iron Man is unique in that he is exceedingly flawed. Iron Man is a man. He is cynical, promiscuous, often drunk, arrogant and seldom reflects upon his actions. He earns billions creating inventive weaponry for America. Robert Downey Jr. described the role as the "a challenge of making a wealthy, establishmentarian, weapons-manufacturing, hard-drinking, womanizing prick into a character who is likable and a hero."

His wealth and fame may make Tony Stark less relatable. While Iron Man, by his very nature, cannot provide the everyman perspective of a Spiderman, he can be identified with for his desire to make amends for past mistakes. The need for redemption is universal.

Robert Downey Jr., Terrence Howard's father, composer Ramin Djawadi and Stan Winston are among the film's crew who are fans of the Iron Man comic book.

Cast

Iron Man is aided by an all-star cast. In addition to Downey Jr, Jeff Bridges, Gwyneth Paltrow, and Terrence Howard all have prominent roles. All four have been nominated for an Oscar, with Paltrow winning (Shakespeare in Love). This is rare for a comic film. Unfortunately, like most origin stories, there is not a lot of room for the supporting characters to shine.

The movie is a showcase for Downey Jr. Casting an actor over-40 to be a superhero was a bold move. Even were he not 43 years old, Downey would not be the typical superhero (perhaps a villain). Favreau had planned to cast a newcomer in the role, but ultimately chose Downey (a fan of the comic) because he felt the actor's past, including cocaine use, made him an appropriate choice for the part. Art imitates life as the comic character delves into alcoholism. Only in Hollywood would cocaine use be a plus for obtaining a job.

Downey Jr. worked very hard to develop the character. He also had a great deal of input into it. It was his idea to have Stark hold a news conference on the floor and he created the speech Stark makes when demonstrating the Jericho missiles. To prepare for his role as Iron Man, Downey Jr. also spent five days a week weight training and practiced martial arts to get into shape. This was necessary as The Iron Man Mark I armor weighed 90 pounds.

Downey Jr's charm mixed with Stark's flawed character makes this hero more interesting than most. Downey Jr not only brings humor to his role, but also makes the conversion from an egocentric billionaire to humanitarian believable. Without Downey’s understated performance and humor, the role could have seemed...mechanical.

Typically, a hero is only as good as his villain. Favreau faced a serious challenge in determining who would be Iron Man’s adversary as he wished his film to be grounded in reality (as much as possible). It was decided to have a foe in the film who would parallel Stark (an armored opponent) and Favreau also wanted the enemy to be enormous, akin to RoboCop 2. Well-known enemies like the Titanium Man and the Crimson Dynamo were considered, until the lesser-known Iron Monger, Obadiah Stane, was chosen as Iron Man's adversary. The character is never named “War Monger” in the film though Stane uses the phrase in his dialogue. The choice to create Obadiah Stane was actually done after Jeff Bridges was cast.

Bridges plays a rare villain. He shaved his head and his being older makes Stark appear younger. Favreau does a good job making Bridges seem enormous and intimidating in every shot, even while riding a Segway, which is an accomplishment in and of itself.

Stane’s betrayal is predictable. The less talented underling is seldom actually a good guy. In a brilliant move, the classical music that Stane plays at the piano is that of Antonio Salieri (1750-1825) who, according to legend, was so jealous of Mozart and his superior intellect, that he tried to kill him. The relationship parallels the Stane-Stark dynamic.

Other villains that appear in the film are the terrorist group that kidnaps Tony Stark. It is called the ‘The Order of the Ten Rings’ and is a based on long-time Iron Man foe, The Mandarin. Mandarin uses ten rings that he found in the wreckage of an alien spacecraft as his own source of power. Favreau felt depicting The Mandarin as the primarily villain would be challenging, as he finds the character dated (it was created as a metaphor for communism).

Some complained that Arab militants were typecast as villains but they were not portrayed as terrorists working on their own but as men hired for a specific reason. Relatively speaking, the film vindicates them by exposing Stark himself (and therefore, America) as the supplier of their entire arsenal. The film even humanizes the Arab “other” by having Iron Man fly to Afghanistan to save a sympathetic village. As such, the film is not anti-Islamic.

Perhaps the greatest villains in Iron Man are the weapons manufacturers whose personal profit is their the sole reason for being. Jeff Bridges' character personifies their greed. In many ways, Stark himself is the villain, as Iron Man spends his time fighting Stark's inventions.

Terrence Howard plays Stark’s military liaison and friend, James Rhodes. To prepare for his role, Howard visited the Nellis Air Force Base on March 16 2007, where he ate with the Base's airmen and observed the routines of HH-60 Pave Hawk rescue helicopters and F-22 Raptor jets. His part is highly underwritten and his soft voice does not seem to fit the part. The character serves as a contrast for Stark as to chooses between the team (military) and a solo act.

The jury is still out on his role as he was cast with sequels in mind as his character becomes “War Machine.” This is foreshadowed prominently as when Stark leaves Rhodes to face Iron Monger, Rhodes looks at Stark's Mark II armor and says, "Next time."

Gwyneth Paltrow plays Pepper Potts (a great name), Stark’s administrative assistant and confidant. She is his girl Friday. Jon Favreau wanted Potts' and Stark's relationship to be reminiscent of a 1940s comedy. In the framework of the antique role, Potts loves Stark but cannot say so. Due to the this, some may find the film to have retrograde attitudes about women.

There is good chemistry between she and Downey. What is best about her role is what was is not done. Stark does not exactly get the girl and she refrains from sleeping with him.

There are many cameos in the film. The director plays the driver ("Hogan") who, in the comics, becomes Pepper's love interest. Comic book writer Stan Lee, as always, has a cameo as well. This time he is the man with three blondes whom Tony Stark mistakes for Hugh Hefner. Lee has cited this as his most fun cameo.

The most ballyhooed cameo is after the credits roll. Like most Marvel films, there is an additional scene. Samuel L. Jackson makes an appearance a Marvel's Ultimate Nick Fury. The cameo was filmed with a skeleton crew in order to keep it a secret, but rumors appeared on the internet only days later. Marvel Studios's Kevin Feige subsequently ordered the scene deleted from all preview prints in order to maintain the surprise.

Cinematography

The film, though long (126 minutes), is paced well. The plot is coherent and the action sequences are easy to follow. The humor is appropriate, unlike the far campier Spider-Man 3. This is also the first Marvel superhero movie to abandon an opening credit sequence in favor of thrusting the viewer directly into the action.

Favreau's ability to supply dual information simultaneously is well orchestrated, showing Stark creating in his basement while the television in the background updates what is happening in the outside world and inside his own company. The only pacing flaw is the unnecessary flashback at the film’s outset following Stark's abduction. The movie's rhythm is stunted unnecessarily and makes the film seem disjointed.

The CGI is exceptional. Stark's ability to interact with three-dimensional holographic representations is stunning. The building of his suit and the process by which it is mounted are also stellar. This process also answers a question raised in episode of "Seinfeld" which has Jerry Seinfeld and George Costanza debating whether or not Iron Man wore underwear. George famously says, "and I still say he's naked under there!" Costanza was wrong again.

Make no mistake about it, though an action film, the movie is more about Tony Stark than Iron Man. It focuses less on the high-tech superhero than the human condition behind the hero. As such, as much time is devoted to building the iron men as using them and the movie is not as action-packed as the trailers would lead one to believe.

Like any comic book film, there must be some suspension of disbelief as the film has several implausible scenes. Examples: A weapons demonstration would not be conducted in a war zone. Stark would not be able to create an iron suit in the middle of a terrorist camp while under surveillance. (This was like the A-Team always being held in a room full of building materials.) Stane should nit be able to enter Stark's technologically advanced mansion without some security detainment. The chairman of the board should not be able to throw together an Iron Monger suit more advanced than Iron Man's. Further, some technology is contemporary while much of it is light years away.

The most disappointing aspect of the film is the final showdown. It never lives up to the material preceding it. It is very ordinary, vague and not even especially climactic. At least it does not drag on.

This movie, however, sets the stage for sequels...

Sequels

The day following the first film's highly successful opening weekend, Marvel announced a release date of April 30, 2010, for Iron Man 2. Favreau planned Iron Man as the first in a trilogy, and has signed on all the original actors for two sequels. Downey will also cameo as Stark in the upcoming The Incredible Hulk. The series is building to an Avengers movie as the director considers The Avengers as the third film. He explains, "It's very difficult to keep these franchises from running out of gas after two [movies]. The high point seems to be the second one, judging by history."

Some future developments are foreshadowed. S.H.I.E.L.D., the spy organization of the Marvel Universe, is referenced throughout. An expansive terrorist network referred to as the "Ten Rings" (of the Mandarin) is also included. The most obvious precursor is Rhodes (the future War Machine) vowing "next time, baby" upon seeing a silver-grey suit of Iron Man armor.

Downey noted, "the next one is about what do you do with the rest of your life once you've completely changed...I think the drinking and all that stuff would be a good way to confront his age, to confront his doubts, to confront the fact that maybe Pepper gets a boyfriend." Downey and Favreau met with Shane Black, who suggested they model Stark on Robert Oppenheimer, who became depressed with being "the destroyer of worlds" after working on the Manhattan Project.

Conclusion

The film is the best the Iron Man story could have been presented. It is a story of a man literally reinventing himself, and realizing the world is far more complex than he believes. Who would have known that Iron Man would be such a hit both commercially and critically?

The movie earned a PG-13 rating for some intense sequences of sci-fi action and violence and brief suggestive content. The Lord’s name is taken in vain in addition to other limited foul language. Still, there should be nothing overly offense to most Christians.

I went away entertained, but not wowed. It is typical Marvel fare: good vs. evil, an attractive female sidekick, lots of one liners and humor juxtaposed with action, new model cars (and other shameless endorsements), and the obligatory Stan Lee cameo.

Theological Applications

The film has a lot of material that can be used in presenting gospel themes. The most obvious theological theme of Iron Man is that of redemption. Iron Man is aimed at those who have made mistakes and want to redeem themselves. You too?

Like most people, Tony Stark's first priority was himself. After a frightening wake up call in which he is hailed as America’s most prolific mass murderer, he seizes the chance to redeem himself. Stark grows from a carefree tycoon to a man with a mission to improve the world. Tony Stark resolves to use his gifts for good instead of for evil, for the common welfare instead of for personal gain. He is a fictional example of the fact that a person redeem herself, regardless of how poorly they have lived in the past (See Romans 10:9).

In the process, Stark literally gets a new heart. One of the central images in the film is the glowing circle over Tony’s heart. (The character has much in common with L. Frank Baum's Tin Man.) For Christian viewers, this new-heart metaphor will especially resonate. (Ezekiel 11:19, 36:26).

"Moreover, I will give you a new heart and put a new spirit within you; and I will remove the heart of stone from your flesh and give you a heart of flesh." (Ezekiel 36:26, NASB)

As in Christianity, true repentance leads to a new creation (II Corinthians 5:17). Stark turns from his (and his corporation’s) former sins, to help others. He, however, still maintains much of his original personality. Downey Jr. explains, "What I usually hate about these [superhero] movies [is] when suddenly the guy that you were digging turns into Dudley Do-Right, and then you're supposed to buy into all his 'Let's go do some good!' That Eliot Ness-in-a-cape-type thing. What was really important to me was to not have him change so much that he's unrecognizable. When someone used to be a schmuck and they're not anymore, hopefully they still have a sense of humor."

Like Christian conversion, Stark is given a purpose for living. As Yinsen lay dying, having sacrificed himself so that Stark can escape, Stark acknowledges, "Thank you for saving me.” Yinsen, replies (in shades of Saving Private Ryan), “Don’t waste your life.” Stark later confesses, “I shouldn't be alive... unless it was for a reason. I'm not crazy, Pepper. I just finally know what I have to do. And I know in my heart that it's right.” Purposeful living is also a Biblical concept (See II Corinthians 5:11–21). Rick Warren would be proud.

Yinsen's sacrificial death is one of the principal reasons behind Stark's decision to change the direction of his life and company. His own death is also a catalyst as he faces his mortality, realizes that his life has counted for nothing, and resolves to be a different sort of person. All of us have experienced sacrificial death whether we realize it or not (John 3:16-17).

The film also accurately presents the futility of hedonism. Tony Stark sleeps with supermodels, drinks expensive alcohol, has all of the latest stuff from a mansion to a fleet of expensive cars, and has celebrity, yet he has nothing.

Tony Stark: You got a family?
Yinsen: Yes, and I will see them when I leave here. And you, Stark?
Tony Stark: [quietly] No.
Yinsen: So you're a man who has everything, but nothing.

Jesus addresses this issue in Mark 8:36.

"For what does it profit a man to gain the whole world, and forfeit his soul?" (Mark 8:36, NASB)

The presumably wealthy tax collector Zacchaeus (Luke 19:1-10) is another example of a man who has everything but has nothing.

The film also addresses the issue of how public one should be about it once she has discovered her purpose in life,. In the final scene (pre-credits), Stark admits publicly that he is Iron Man essentially doing away with the duality of superheroes (the hero and the disguise). There are likewise no undercover Christians. In Christian circles this is known as a public profession. Jesus admonishes those who are publicly ashamed of him (Mark 8:38, Luke 9:26).

Another distinct Christian parallel is between Iron Man's armor and to the Christian clothing herself in the whole armor of God as presented in Ephesians 6:10-18. The obvious comparison between the two is that the armor is an exterior apparatus used for life-support and for the purpose of fighting evil.

Like many superheroes (most obviously Captain America) , this version of Iron Man is created in wartime. The viewer takes solace in a hero who can easily mow down villains even if their real life counterparts are not so easily defeated. Iron Man is the first comic book based movie to openly discuss the 9/11 trauma. It has a very contemporary reminder of the current status of world politics and weapons distribution.

In doing so, it addresses the issue of moral responsibility. Stark's first premise, of power being the ultimate deterrent (and hence a peace-keeping force) is undermined when the enemy gets hold of the same weapons and starts killing indiscriminately. American Christians must face the reality that America is the world’s largest arms merchant and supplied many of its enemies (most notably Saddam Hussein) with much of his arsenal. In the film, American soldiers are shown being killed with American weapons to illustrate the consequences of weapon distribution and Tony Stark renounces the military-industrial complex. America has actually lived out the words Tony uses about his conversion experience: "I saw young Americans killed by the very weapons I created to defend them and protect them. And I saw that I had become part of a system that is comfortable with zero-accountability."

Other possible comparisons:

• Much like Paul's "thorn of the flesh (II Corinthians 12:7), it is ironic (pun intended) that the man encased in armor who can protect others cannot save himself.
  
• Jeff Bridges' Obadiah is a an obvious Judas character who conspires with another group to kill his friend (Matthew 26:14-15).
  
• Iron Monger may be an example of David fighting in Saul's armor (I Samuel 17:39). His unfamiliarity in the armor not designed for him contributes to his demise.

Iron Man, also has some Biblical allusions. Jericho, the name given to Stark's finest military weapon, was the first city destroyed in the conquest of the Promised Land (Joshua 6). Obadiah, the name of the villain, is also the smallest book of the Old Testament and deals with the theme of retribution (for Edom).

Current IMDB rating: 8.3/10. Chanalysis: 7/10.

A Veiled Tell: Nil Soli - 4/26/2008

The Nines (2007)

JTH and I viewed The Nines last Sunday while we were engaged in some spring cleaning. We watched the movie because we are both fans of the film’s star Ryan Reynolds (in a completely heterosexual way) . We quickly realized that this metaphysical film was not best viewed while multitasking. Thus, I watched the film again later in the week.

The Nines is the pet project of writer/director John August. He is a highly respected screenwriter, scripting films such as Go (1999) Big Fish (2003), and Corpse Bride (2005). This was his directorial debut. August wanted the film to be seen so badly they he alerted potential viewers where they could download the film illegally online.

Unfortunately for him, few people saw his movie in theaters. The movie, which debuted at the Sundance Film Festival, was released on August 31, 2007, but was only shown in Los Angeles, New York and Austin. It was released on DVD on January 29, 2008.

Despite its limited release, it turned a profit as it had a miniscule budget and as such little incentive for the studio to push it. The movie had virtually no publicity and was shot very quickly - 22 days in Los Angeles and two days in New York. Much of the film was shot in John August's own house.

The movie is difficult to detail without spoilers and I will not try. If you do not want any spoilers, stop reading now.

The Nines is self-consciously presented in three acts - "The Prisoner," "Reality Television" and "Knowing" with titles in between each to denote a new section. The cast is the same in each part and Ryan Reynolds is present throughout. Reynolds plays 1. Gary, a dense and destructive actor who is under house arrest, 2. Gavin, a gay screenwriter trying to get his television pilot picked up by a network, and 3. Gabriel, an acclaimed video game designer, stuck in the woods with his wife and daughter due to car trouble.

The script provides Reynolds a departure from his typical comedic fare and allows him to showcase his versatility. He seems to be breaking free from typecasting that resulted from films such as Van Wilder and Waiting. He also played against type in another 2007 movie, Smokin’ Aces. In The Nines, he portrays three diverse characters without resorting to acting ploys and seamlessly transitions between roles. He is believable in each incarnation.

There are nine roles (three actors in three shorts) in the film. The other two actors are the unconventional female leads Hope Davis and Melissa McCarthy. Both are excellent in their roles. In each segment, McCarthy clings to Reynolds while Davis tries to pull Reynolds away from her, often incorporating the phrase "Look for the Nines." McCarthy has long collaborated with August, acting in his scripts for the features Charlie's Angels and Go, the short film God and the short-lived television series "D.C.."

Elle Fanning (Dakota's near clone little sister) is also excellent playing the mute Noelle, who habitually appears trying to communicate truth to Reynolds through sign language. Fanning’s character was written as mute due to August’s apprehensiveness of child actors. She was originally written only in the third act, which was filmed first. August was so pleased with Fanning that he reincorporated her into the other plots.

The first act features Reynolds as the star of the television show "Crim9 Lab." Dejected due to an ended romance, he inadvertently burns his house down while attempting to burn his lover's possessions. The segment introduces the dynamics between the actors. The camera never moves except when Hope Davis is on screen, demonstrating the unsettling effect she has. Davis also inexplicably breaks the fourth wall in the first act, singing Peggy Lee (1920-2002)'s staple "Is That All There Is?"

Melissa McCarthy reprises her role as Margaret from a John August short film “God” which is included on the DVD release.

In a trivial note, the house that Reynolds burns down is that of Dodgeball writer/director Rawson Thurber who was once an assistant of August's and later appears in a cameo as himself.

The second act, "Reality television", is highly autobiographical. Reynolds unabashedly plays the character "Gavin" as John August himself, mimicking both his voice and mannerisms. The relationships Gavin has with each person is the same as August has with them in reality. August’s own house even served as the set and he provides the voice of the cameraman asking the questions. The segment is based upon his experiences with the television show "D.C." (2000) in general and specifically with his recasting of Mia Kirshner. A large part of the second part was unscripted with dialogue being improvised by the actors.

Melissa McCarthy's role in "Reality Television" further blurs the lines between fact and fiction as she plays a more glamorized version of herself. The character "Melissa McCarthy" leaves her real-life series "Gilmore Girls" to star in Gavin's new show. The segment incorporates other real life aspects of her life such as McCarthy and her real husband Ben Falcone agonizing over buying a house and her really being in the comedy troupe Groundlings. The coffee shop where McCarthy is fired in the film is the same Burbank restaurant that August informed her he had written the role for her three years prior to filming.

The third installment is the pilot from the scene before. It tries to connect the first two sequences in an essential way. In it, Reynolds plays a world renowned video game designer. It is an homage to August’s World of Warcraft addiction. In fact, many have proposed that the entire film is based upon the video game The Sims 2. There is a Sim Logo diamond at the end of the film and a piece of Sims art on the wall (in the dining room shot). Further, the prism floating on top of the people head is a classic Sims 2 trade mark. In the game, green indicates happiness.

Each segment has its own distinct feel as August shot each with different film and color schemes. “The Prisoner” features rich yellows and oranges shot in 16MM. The second act, “Reality Television”, is shot in digital video as a reality television show would be. The third and final chapter is the pilot pitched in the second installment - “Knowing.” It showcases darker blues and greens and was shot in 35MM. The first two acts are insider portraits of Hollywood - first a self-absorbed actor's tale followed by a screenwriter's. The third is located outside after the first is confined and the second emotionally confined.

The three stories intersect and overlap. All the parallel stories cross over, defying both space and time. Each sequence has much in common including alliterative names of the three characters. Each segment also explores the relationships between creators and their creations.

August intentionally deflects the usual suspects for explanations at each turn. The tying of the green string in the title sequence was not in the original script but was added to cue the viewer that Reynolds' character(s) is not insane. At the end of act one, McCarthy questions Reynolds and the possibilities of death, coma, and dream sequence are discarded. At the end of act two, the truth is finally revealed.

Each chapter ends in a way that partially reveals the meaning of the film's title and connects the chapter to the other two. Small clues in each story hint at the idea that Reynolds is the unsuspecting “author” of all three worlds. For 4,000 years he has been creating universes for his amusement. The film portrays only three of the 90 worlds. He becomes addicted to the process all the while becoming so engrossed with each role he's playing in each universe that he forgets that he himself is the creator. At some point, he eliminates the universe and starts another one.

The title of the movie becomes apparent when Sierra informs Gabriel that the universe is hierarchical in nature. Human beings are only 7s, koala bears are 8s (because they control the weather!) and Gabriel is a 9 - an extraterrestrial being in a human incarnation.

His addictiveness to the creations is problematic and has to be coaxed back to his more spiritual realm by three recurring characters who are also nines (Hope Davis, Octavia Spencer, and David Denman). They are trying to intervene and convince him to return to his natural state - a region that is warm and full of light and indescribable using human words or thoughts.

The movie concludes with an amalgamation of the three scenes which McCarthy's character classifies as "the best of all possible worlds." McCarthy's character's name is now Mommy and as such the viewer does not know which incarnation was the best. Her child, Noelle, can speak in this world. The ending is anticlimactic and too happy. It was not the original ending from the script.

While I totally disagree with the film’s metaphysical and existential worldview, I appreciate the film for what it is. It attempts to merges indie realism with metaphysical surrealism to form an existential piece, characterized by the question "Is that all there is?" It might also be classified as "metafiction." The movie explores philosophy, metaphysical multi-dimensional theory, simulated reality, ect.

It makes a bold statement against addiction, particularly getting wrapped up in a creative canvas, such as a video game. It also takes well-aimed pot shots at reality television and Parade magazine.

I also appreciate my God and savior more by comparison. Here are some of theological thoughts:

• The film's three principle actors all have characters who begin with the names G (Reynolds), S (Davis), and M(McCarthy). This perhaps represents God, Satan, and Man.
  
• While Reynolds' character is a 9, the movie leaves open the possibility of a theoretical ten that may or may not exist. Humans rate a seven on the same scale. Spinoza (1632-1677) developed the concept of the hierarchical representation of nature of the "beings" from eternal and infinite to finite. This in and of itself is not contrary to the Bible. The Psalmist states the obvious that man is lower than God (Psalm 8:5), which Hebrews interprets as "angels." (Hebrews 2:7) Jesus himself says that humans are more valuable than sparrows (Matthew 10:31), sheep (Matthew 12:12), and birds (Luke 12:24). The problem in the film is that humanity should not be even remotely close to God on any scale. In the words of John Bertram Phillips (1906-1982), "Your God is too small."
  
• Naturally John August’s God incarnate resembles himself. This is no more surprising than Mel Gibson’ Jesus being an action hero. People often envision God in the image of the best traits they like about themselves.
  
• Like the leading character in the film, my God exists in Trinitarian form, but all in the same universe at the same time.
  
• My God came to earth for love, but not of just one but of all (Romans 2:11), and not for his own benefits.
  
• Has anyone else notices this movie has the God figure on crack?
  
• The movie addresses Joan Obsourne's lyrical question "What if God was one of us?" The God of the film is as flawed as any viewer, an experience-junkie who leaves humanity to its own fate. My God came and died for my sins to prevent such a thing.
  
• The film also addresses the dilemma of a perfect God creating an imperfect world. The phrase "the best of all possible worlds" enters the film through Voltaire's Candide. Voltaire (1694-1778) was merely parodying Gottfried Leibniz (1646-1716). Leibniz coined the expression (French: le meilleur des mondes possibles) in his 1710 work Essais de Théodicée sur la bonté de Dieu, la liberté de l'homme et l'origine du mal. It is the central argument in Leibniz's theodicy, or his attempt to solve the problem of evil.
  
• In the film, the “best of all possible worlds” comes when the God figure leaves. John August explains, “To create a compelling world, an author must enter into the world of his story. But for that story to thrive, he must eventually leave it. This is the only way to create the best of all possible worlds." In the best of all worlds, we have the Holy Spirit with us continually as our disposal.
  
• The movie also asks if ours is the only world ever created. C.I. Scofield (1843-1921) popularized what is known as Gap Theory - a gap between creations in Genesis 1:1 and 1:2. The gap theory speculates that an indefinite span of time exists between the two verses. This time span is usually considered to be massive (millions of years) which could account for “geologic ages.” Supporters of this theory also postulate that a cataclysmic judgment was pronounced upon the earth during this period as the result of the fall of Lucifer (Satan) and that the ensuing verses of Genesis chapter 1 describe a re-creation or reforming of the earth from a chaotic state and not an initial creative effort on the part of God.
  
• Unlike Christianity, the film is somewhat polytheistic as there are multiple nines.
  
• The Gnostic undertones ("Knowing" is featured in all three pieces) also make this a film that most orthodox Christians would consider blasphemous.

The Nines is rated R for some drug content, language and a brief bit of (non-graphic) sexuality. It naturally runs 99 minutes. The film is structured to be viewed in a loop. Unfortunately, few viewers will be enthralled with the first viewing enough to rewatch the film. The hybrid may find it difficult finding an audience as well. This being said, I enjoyed the thought-provoking film.

Current IMDB rating: 6.8/10. Chanalysis: 7/10.

A Veiled Tell: Nil Soli - 4/19/2008

Lemony Snicket's A Series of Unfortunate Events (2004)

On Wednesday night, the RAW family and I watched Lemony Snicket's A Series of Unfortunate Events. The film was released in time for Christmas 2004 though I had not yet seen it.

Lemony Snicket (the unseen Jude Law) narrates the movements of three orphans after their parents are killed in a fire. Violet, Klaus and infant Sunny Baudelaire are all exceptionally intelligent children and each possesses a unique gift. They are an inventor, reader, and biter respectively. The three combine to form a collective “MacGyver.” Though Sunny does not actually speak, she is given many of the punch lines as her noises are translated via subtitle.

The trio is pitted against their first guardian, the evil thespian Count Olaf (Jim Carrey). He pursues the children in hopes of acquiring their vast inheritance. Though Carey dominated the film’s publicity, he does not overtake the film. Count Olaf fits Carey’s resume of outlandish characters. He plays Olaf as humorous and not dark and some of his lines (presumably ad-libbed) do not fit the film. ("I'll give him the old wax-on, wax-off.") Co-producer John Malkovich might have been better for the part.

Olaf’s acting troupe has many recognizable faces including Jennifer Coolidge (aka “Stifler's Mom”), Luis Guzmán, and late night personality Craig Ferguson.

The film is dark and almost instantly the viewer is subjected to the news of the first in a series of unfortunate events. The film presents Charles Dickens’ style quirky characters on a Tim Burton landscape. It is not surprising that Burton was once attached to direct this film. Under Burton’s direction, Johnny Depp was to play Count Olaf and Glenn Close was cast as Aunt Josephine. When Burton left the project, Johnny Depp bolted as well. Replacement director Brad Silberling replaced Close with Meryl Streep, feeling she better fir the role.

The film’s sets and costumes draw from a wide range of periods, giving it a timeless, fairy tale feel. It especially utilizes the vastly different Edwardian period and the 1950's. For the record, according to a letter the children receive at the end of the film, the Baudelaire Mansion, is located at 23 Prospero Place, Boston, Massachusetts.

The film is an adaptation of the 13-book series by Daniel Handler. The viewer need not be familiar with the books to appreciate the movie. Only eleven books had been completed at the time of the film’s release.

The movie condenses the first three books -"The Bad Beginning," "The Reptile Room," and "The Wide Window" - into one unit by sandwiching books two and three between the first novel. This gives the film a choppy episodic feel. The film also has countless allusions to other books in the series. The abridgement was necessary as the books are simply not long enough to merit a feature length film. Even so, this treatment has alienated some of the books’ loyal fan base.

The film has several positive themes such as the benefits of teamwork and the refusal to give up regardless of how dire the circumstances. Despite having children as the lead actors, this film is too dark for the small children, but is acceptable for most anyone else. There is almost no profanity and no sex.

On the negative, the payoff is weak and the plot is full of full of holes. Still, if you enjoy macabre fairy tales, there is a good chance you will like this film.

Current IMDB rating: 6.9/10. Chanalysis: 6/10.

A Veiled Tell: Nil Soli - 4/17/2008

Lars and the Real Girl (2007)

Upon the strong recommendation of MLM, I watched Lars and the Real Girl on Wednesday morning. The independent film was nominated for an Oscar for Best Original Screnplay. Even so, there is no way to describe its plot without sounding ridiculous despite the fact that the film is anything but.

27-year old Lars Lindstrom (played by Ryan Gosling) is a socially dysfunctional young man living in a small mid-western town. He lives in the remodeled garage next to his brother Gus (Paul Schneider) and pregnant, concerned sister-in-law, Karin (Emily Mortimer). Lars purchases a sex doll online and begins treating her as though she were his girlfriend. He introduces "Bianca" to his tightly-knit community and she is met with an unexpectedly heartwarming response. Bianca touches each member of the community differently.

Writer Nancy Oliver (TV’s “Six Feet Under”) got the idea while surfing the web and stumbling upon a web site offering lifelike dolls.

Ryan Gosling is brilliant, having the unenviable task of playing against the doll. To help him stay in character, the doll was treated like an actual person on set, as is done by the characters in the movie. She was dressed privately in her own trailer and was only present for scenes that she was in.

The film provides a unique look at mental illness. It has a highly positive view of human nature, depicting the community as genuinely wanting to help their neighbor. While this may be deemed unrealistic, the setting challenges the viewer to assess the possibilities for the mentally ill if they were in an idyllic environment.

I was especially interested in the church’s response in the film. When Lars’ minister, Reverend Bock (R.D. Reid), is confronted with the prospect of having the doll as a parishioner, he challenges his congregants to do what Jesus would do and be accepting. I think he chose wisely. Would I do the same?

Despite the risque premise of the film, there is no crude content. The movie has a powerful message about a community’s ability to nurture the socially challenged individual by treating her compassionately.

While the movie has a strong message and is undoubtedly unique, it is also very slow. Though classified as a comedy, and there are certainly some funny lines (“She loves kids!”), this is a drama. If you are in the frame of mind to watch a thought provoking drama, this film is terrific.

Current IMDB rating: 7.8/10. Chanalysis: 7/10.

A Veiled Tell: Nil Soli - 4/3/2008

Gone Baby Gone (2007)

On Wednesday, I watched Gone Baby Gone, Ben Affleck's major motion picture directorial debut. The movie is based upon a novel by Dennis Lehane (Mystic River). Affleck also penned the screenplay in tandem with his friend Aaron Stockard.

The movie begins with a 4-year-old girl missing from a tough working class Boston neighborhood (Dorchester). The girl's aunt enlists private investigators Patrick Kenzie (Casey Affleck) and Angela Gennaro (Michelle Monaghan) to assist in the investigation as they know the neighborhood. As the case progresses, Kenzie and Gennaro face drug dealers, gangs and pedophiles.

The movie brilliantly depicts Kenzie facing two moral dilemmas, one in the middle of the movie and one at the end. Kenzie's opening monologue sets the stage for these choices. Kenzie narrates, "When I was young, I asked my priest how you could get to heaven and still protect yourself from all the evil in the world. He told me what God said to His children. 'You are sheep among wolves. Be wise as serpents, yet innocent as doves.'"

This quote from Matthew 10:16 sets up a morality play pitting Catholic (Christian) ethics against a world whose morality is governed by different guidelines. As with any good dilemma, there are personal consequences involved and the viewer views the film's world through Kenzie's eyes and as such must choose with Kenzie.

The movie has been lauded for its authentic feel. Affleck, a Boston native, shot on location. His brother Casey may or may not have been hired due to nepotism, but performs beautifully in one of his first leading roles. Amy Ryan was so convincing as a low class Dorchester mom that a security guard mistook her for a fan on the first day of location filming, and would not let her on the set.

I could tell the movie was authentic Boston as many of the characters, including Affleck, seemed like they would fit into New Kids on the Block.

In addition to the obvious moral dilemmas presented, the film also subtly critiques the media’s role in horrific stories such as abductions as well as accentuating the overlooked subject of children's rights.

The movie should stimulate a good ethical debate as the questions asked are left for the viewer to decide for herself.

As far as inapproprate content, there is excessive cursing (though it appears this is an authentic part of the culture depicted), some drug use, and some gun violence. Otherwise,I highly recommend this film for adults.

Current IMDB rating: 8.0/10. Chanalysis: 9/10.

A Veiled Tell: Nil Soli - 3/29/2008

No Country For Old Men (2007)

On Saturday, SMA and I viewed the Coen Brothers’ critically acclaimed film No Country For Old Men. It is their 12th feature together and marked only the second time in history in which co-directors merited an Oscar.

The movie is a faithful adaptation of Pulitzer Prize winning author Cormac McCarthy (b. 1933)’s novel of the same name. McCarthy is a Knoxville native who attended the University of Tennessee. He also wrote All the Pretty Horses.

The movie is set in rural Texas in 1980. While hunting, Llewelyn Moss (Josh Brolin) stumbles upon large quantities of corpses, heroin, and cash near the Rio Grande. He leaves with the money. Mayhem ensues as sociopath Anton Chigurh (Javier Bardem), local sheriff Ed Tom Bell (Tommy Lee Jones), FBI agents, a host of Mexicans, and many others relentlessly attempt to find Moss. Note: The sheriff is not named Ed but “Ed Tom.”

The film has a very gritty feel to it as the locations are bleak and the soundtrack is minimal. The game of cat and mouse is captivating. The viewer pulls for Moss, who has survival skills that would make MacGyver jealous. During most of the movie, it can be assumed his skills come because he is from Texas and has a moustache. That is good enough for me.

The three principle actors are great and all have unique appearances. Josh Brolin looks very much like the large moustached Texan WWE wrestler Bradshaw before he transformed into JBL. Bardem looks eerily like “Everybody Loves Raymond”’s Brad Garrett with a Prince Valiant haircut. Tommy Lee Jones looks like an aged version of, well, Tommy Lee Jones.

Bardem’s portrayal of the psychopath is brilliant with both a unique look and weapon (captive bolt pistol). The Coen Brothers used a photo of a brothel patron taken in 1879 as a model for Anton Chigurh's hair. After getting the hair cut Javier Bardem lamented, "Oh no, now I won't get laid for the next two months." His portrayal exuded evil and he was well deserving of his Oscar for Best Performance by an Actor in a Supporting Role.

All actors, including Scottish born Kelly Macdonald, play convincing Texans. Jones (San Saba) and Brolin (Templeton) are native Texans. In fact, in a scene where Llewelyn asks to buy a jacket from a bystander, the coat supports Brolin's hometown Templeton Eagles.

The film is a very good existential piece. It examines the issues of chance and the inevitably of death considerably. Like most existential films, it has an unsatisfying conclusion.

From a plot perepctive it is also excellent. There were often too many variables, including the completely superflous character Carson Wells (Woody Harrelson), who adds little to the film. Otherwise, it is a solid story.

Theologically, the film is as barren as the West Texas locations in which it is set. There is very little God or good in the film. Only in a brief discussion between Ed Tom Bell and his relative Ellis, is God mentioned. From a Christian perspective, there are very few sympathetic characters. Though justice is in the film, it does not emanate from the law. In short, from a theological standpoint, the film could be titled No Country For God.

In short, the movie is a very thought provoking film with a non-Christian worldview. It won four Oscars and is presently #45 on IMDB's Top 250. There is a great deal of violence in the film and if you are troubled by graphic violence, avoid this flick. If you like violence and killer moustaches, this is the film for you.

Current IMDB rating: 8.5/10. Chanalysis: 7/10.

A Veiled Tell: Nil Soli - 3/11/2008

Ella Enchanted (2004)

Last night JTH and I watched Ella Enchanted. The always enjoyable Anne Hathaway stars as the title character in this fairy tale. The premise is that a fairy godmother bestows the gift of obedience on baby Ella. She then must obey any command she receives. (We both noted how much more interesting the film would be if the character “Stiffler” from the American Pie series was in the film.)

If you remember the film’s genre, it is very enjoyable. It is a fairy tale and questions such as why someone does not just give Ella a command to negate her horrible requests or why Mandy (Minnie Driver) can suddenly reinstate her boyfriend’s humanity after years spent as a book should not be addressed.

We found the film as it was recommended for those who enjoy A Cinderella Story. (It is sad when you can do this under the assumption that I will already own whatever movie is recommended.) This movie preceded the Hilary Duff feature by three months in 2004. They are very similar, as each are derived from Cinderella (Cinder-Ella.). They both even have an African-American fairy godmother and a character who humorously gets botox treatments.

This movie, as a fairy tale, attempts to convey a moral - that of securing one’s own destiny. It also brings up the issue of stereotyping by having stock figures play against type, e.g. an elf who deplores singing, friendly ogres, etc. The elf is not particularly short either.

I especially liked a scene in which the male lead “Prince Char” (High Dancy) was topless. No, it is not what you think. It is just that he and Hathaway are both exceedingly pale actors and as a fellow pale person, I was pleased that they were used as leads. Hollywood has often neglected my ‘you’re so pale you could pass for a corpse’ look.

The movie also has some musical numbers. Hathaway provides her own vocals in the film, beginning with a rendition of Queen’s Somebody to Love.”

The supporting cast is also good, especially Cary Elwes (Westley from The Princess Bride) as the over-the-top villain, Sir Edgar. Jim Carter (not the president) is also loveable as Nisch the Ogre. Also noteworthy us that Heidi Klum plays a giant in the movie who marries a dwarf. So, there is more of Heidi than usual which cannot be all bad.

Overall, it was a fun movie. Temporary suspension of disbelief is the key.

Current IMDB rating: 6.4/10. Chanalysis: 6/10.